UrduShahkar: Recent Episodes
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For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2024/11/daaGh-tere-vaade-pe-etebaar-kiya-Sung-Version-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2024/11/daaGh-tere-vaade-pe-etebaar-kiya-mehdi-hasan.mp3
mehdi hasan
https://urdushahkar.org/wp-content/uploads/2024/11/daaGh-tere-vaade-pe-etebaar-kiya-tahira-syed.mp3
tahira syed
https://urdushahkar.org/wp-content/uploads/2024/11/daaGh-tere-vaade-pe-etebaar-kiya-fariida-Khaanam.mp3
fariida Khaanam
- اُردو
- देवनागरी
- Roman
- Notes
ترے وعدے پہ اعتبار کیا ۔ داغؔ دہلوی
۱
غضب کیا ترے وعدے پہ اعتبار کیا
تمام رات قیامت کا انتظار کیا
۷
تجھے تو وعدۂ دیدار ہم سے کرنا تھا
یہ کیا کیا کہ جہاں کو امیدوار کیا
۸
یہ دل کو تاب کہاں ہے کہ ہو مآل اندیش
انہوں نے وعدہ کیا اِس نے اعتبار کیا
۹
کہاں کا صبر کہ دم پر ہے بن گئی ظالم
بتنگ آئے تو حال دل آشکار کیا
۱۴
ہم ایسے محوِ نظارہ نہ تھے جو ہوش آتا
مگر تمہارے تغافل نے ہوشیار کیا
۲۰
ہوا ہے کوئی مگر اس کا چاہنے والا
کہ آسماں نے ترا شیوہ اختیار کیا
۲۱
نہ پوچھ دل کی حقیقت مگر یہ کہتے ہیں
وہ بے قرار رہے جس نے بے قرار کیا
तेरे वा’दे पे ए’तेबार किया – दाग़ देहलवी
१
ग़ज़ब किया तेरे वा’दे पे ए’तेबार किया
तमाम रात क़यामत का इंतेज़ार किया
७
तुझे तो वादा-ए दीदार हम से करना था
ये क्या किया के जहाँ को उमीद-वार किया
८
ये दिल को ताब कहाँ है के हो म’आल-अंदेश
उन्हों ने वा’दा किया इस ने ए’तेबार किया
९
कहाँ का सब्र के दम पर है बन गई ज़ालिम
बतंग आए तो हाल-ए दिल आश्कार किया
१४
हम ऐसे महव-ए नज़ारा न थे जो होश आता
मगर तुम्हारे तग़ाफ़ुल ने होश्यार किया
२०
हुआ है कोई मगर उस का चाहने वाला
के आस्माँ ने तेरा शेवा एख़्तियार किया
२१
न पूछ दिल की हक़ीक़त मगर ये कहते हैं
वो बे-क़रार रहे जिस ने बे-क़रार किया
Click here for background and on any passage for word meanings and explanatory discussion. daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (because of the marriage of his widowed mother to zafar’s oldest son). After 1857, he had to move to rampur and later to hyderabad, where he died after 10+ happy years. His Ghazal are more earthy and romantic than sufiyaana or philosophical, but they are very popular because of their musicality. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib. This is a long Ghazal. It is posted in three parts to make for easy reading and listening. In addition, many singers have sung it, but each has selected a slightly different ash’aar in a slightly different order. A fourth post has been created with a composite version and audios of singers to read and listen at the same time. This Ghazal is linked to other ham-radeef Ghazal on the radeef-refrain Index page.
1
Ghazab1 kiya tere vaade2 pe e’tebaar3 kiya
tamaam4 raat qayaamat5 ka intezaar6 kiya 1.calamity 2.promise 3.trust, believe 4.all 5.doomsday, day of judgement 6.wait
I brought down a calamity on myself by trusting your promise. I waited for you all night long (trusting your promise that you would come). Waiting for the beloved is like waiting for the day of judgement. It is certain that it will come, but you don’t know when. Or waiting for the beloved is like waiting for doomsday, because that is the effect she has.
7
tujhe to vaa’da1-e diidaar2 ham se karnaa thaa
ye kyaa kiya keh jahaaN3 ko umiid-vaar4 kiya 1.promise 2.sight, viewing, meeting 3.world 4.hopeful
You should have promised me that you would come before me so that I could see/meet you. What have you done, you have made the whole world hopeful of your sight i.e., she has promised to come out (but not exclusively for the poet/lover). It is also possible that ‘the whole world’ is an exaggerated expression to mean ‘the rival’.
8
ye dil ko taab1 kahaaN hai keh ho m’aal-andesh2
unhoN ne vaa’da3 kiya iss ne e’tebaar4 kiya 1.strength, ability to bear 2.apprehension of result 3.promise 4.trust, believe
The poet/lover’s heart is simple and trusting. How can it have the ability to bear the apprehension of the result (the result being a broken promise). She has promised and it (the heart) trusts.
14
ham aise mahv1-e nazaara2 na th’e jo hosh3 aataa
magar tumhaare taGhaaful4 ne hoshiyaar5 kiya 1.engrossed, captivated 2.looking 3.awareness, senses 4.indifference 5.alert, wise
The first misra should be read as either as a question or as an exclamation. Was I not so engrossed in looking at you that I would not have come to senses, meaning I was so captivated that I would have remained in a trance forever. But your indifference woke me up, it made me alert to what was going on.
20
huaa hai koi magar uss ka chaahne vaalaa
keh aasmaaN1 ne teraa sheva2 eKhtiyaar3 kiya 1.sky, fate 2.habits, ways 3.adopt
The ways of the beloved are cruelty and indifference. In poetic tradition, the sky is considered to be fate … because the common expression is that fate descends from the sky. Fate too, is cruel and indifferent. Thus, the sky has adopted the ways of the beloved. But has anyone loved the sky, like they love you!
21
na puuchh dil ki haqiiqat1 magar ye kahte haiN
voh be-qaraar2 rahe jis ne be-qaraar2 kiya 1.true/real condition 2.restless, agonized
Don’t ask me about the real condition of my heart, but they say the one who causes agony is also restless. It is the beloved who has caused agony in the heart of the lover. She is also restless and asking about the condition of his heart.
daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (because of the marriage of his widowed mother to zafar’s oldest son). After 1857, he had to move to rampur and later to hyderabad, where he died after 10+ happy years. His Ghazal are more earthy and romantic than sufiyaana or philosophical, but they are very popular because of their musicality. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib. This is a long Ghazal. It is posted in three parts to make for easy reading and listening. In addition, many singers have sung it, but each has selected a slightly different ash’aar in a slightly different order. A fourth post has been created with a composite version and audios of singers to read and listen at the same time. This Ghazal is linked to other ham-radeef Ghazal in the radeef-refrain page on the Theme Index.
1
Ghazab1 kiya tere vaade2 pe e’tebaar3 kiya
tamaam4 raat qayaamat5 ka intezaar6 kiya
1.calamity 2.promise 3.trust, believe 4.all 5.doomsday, day of judgement 6.wait
I brought down a calamity on myself by trusting your promise. I waited for you all night long (trusting your promise that you would come). Waiting for the beloved is like waiting for the day of judgement. It is certain that it will come, but you don’t know when. Or waiting for the beloved is like waiting for doomsday, because that is the effect she has.
7
tujhe to vaa’da1-e diidaar2 ham se karnaa thaa
ye kyaa kiya keh jahaaN3 ko umiid-vaar4 kiya
1.promise 2.sight, viewing, meeting 3.world 4.hopeful
You should have promised me that you would come before me so that I could see/meet you. What have you done, you have made the whole world hopeful of your sight i.e., she has promised to come out (but not exclusively for the poet/lover). It is also possible that ‘the whole world’ is an exaggerated expression to mean ‘the rival’.
8
ye dil ko taab1 kahaaN hai keh ho m’aal-andesh2
unhoN ne vaa’da3 kiya iss ne e’tebaar4 kiya
1.strength, ability to bear 2.apprehension of result 3.promise 4.trust, believe
The poet/lover’s heart is simple and trusting. How can it have the ability to bear the apprehension of the result (the result being a broken promise). She has promised and it (the heart) trusts.
14
ham aise mahv1-e nazaara2 na th’e jo hosh3 aataa
magar tumhaare taGhaaful4 ne hoshiyaar5 kiya
1.engrossed, captivated 2.looking 3.awareness, senses 4.indifference 5.alert, wise
The first misra should be read as either as a question or as an exclamation. Was I not so engrossed in looking at you that I would not have come to senses, meaning I was so captivated that I would have remained in a trance forever. But your indifference woke me up, it made me alert to what was going on.
20
huaa hai koi magar uss ka chaahne vaalaa
keh aasmaaN1 ne teraa sheva2 eKhtiyaar3 kiya
1.sky, fate 2.habits, ways 3.adopt
The ways of the beloved are cruelty and indifference. In poetic tradition, the sky is considered to be fate … because the common expression is that fate descends from the sky. Fate too, is cruel and indifferent. Thus, the sky has adopted the ways of the beloved. But has anyone loved the sky, like they love you!
21
na puuchh dil ki haqiiqat1 magar ye kahte haiN
voh be-qaraar2 rahe jis ne be-qaraar2 kiya
1.true/real condition 2.restless, agonized
Don’t ask me about the real condition of my heart, but they say the one who causes agony is also restless. It is the beloved who has caused agony in the heart of the lover. She is also restless and asking about the condition of his heart.
The post ter’e vaa’de pe e’tebaar kiya-sung version-daaGh dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2024/11/daaGh-tere-vaade-pe-etebaar-kiya-21-29-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ترے وعدے پہ اعتبار کیا ۔۲۱۔۲۹۔ داغؔ دہلوی
۲۱
نہ پوچھ دل کی حقیقت مگر یہ کہتے ہیں
وہ بے قرار رہے جس نے بے قرار کیا
۲۲
جب ان کو طرز ستم آ گئے تو ہوش آیا
برا ہو دل کا برے وقت ہوشیار کیا
۲۳
فسانۂ شب غم ان کو اک کہانی تھی
کچھ اعتبار کیا کچھ نہ اعتبار کیا
۲۴
اسیریِ دلِ آشفتہ رنگ لا کے رہی
تمام طُرّۂ طرار تار تار کیا
۲۵
کچھ آگے داور محشر سے ہے امید مجھے
کچھ آپ نے مرے کہنے کا اعتبار کیا
۲۶
کسی کے عشق نہاں میں یہ بد گمانی تھی
کہ ڈرتے ڈرتے خدا پر بھی آشکار کیا
۲۷
فلک سے طور قیامت کے بن نہ پڑتے تھے
اخیر اب تجھے آشوب روزگار کیا
۲۸
وہ بات کر جو کبھی آسماں سے ہو نہ سکے
ستم کیا تو بڑا تو نے افتخار کیا
۲۹
بنے گا مہرِ قیامت بھی ایک خالِ سیاہ
جو چہرہ داغِؔ سیہ رو نے آشکار کیا
तेरे वा’दे पे ए’तेबार किया- २१-२९ – दाग़ देहलवी
२१
न पूछ दिल की हक़ीक़त मगर ये कहते हैं
वो बे-क़रार रहे जिस ने बे-क़रार किया
२२
जब उन को तर्ज़-ए सितम आ गए तो होश आया
बुरा हो दिल का बुरे वक़्त होश्यार किया
२३
फ़साना-ए शब-ए ग़म उन को एक कहानी थी
कुछ ए’तेबार किया कुछ न ए’तेबार किया
२४
असीरी-ए दिल-ए आशुफ़्ता रंग ला के रही
तमाम तुर्रा-ए तर्रार तार तार किया
२५
कुछ आगे दावर-ए महशर से है उम्मीद मुझे
कुछ आप ने मेरे कहने का ए’तेबार किया
२६
किसी के इश्क़-ए नेहाँ में ये बद-गुमानी थी
के डरते डरते ख़ुदा पर भी आश्कार किया
२७
फ़लक से तौर क़यामत के बन न पड़ते थे
अख़ीर अब तुझे आशोब-ए रोज़गार किया
२८
वो बात कर जो कभी आस्माँ से हो न सके
सितम किया तो बड़ा तू ने इफ़्तेख़ार किया
२९
बनेगा महर-ए क़यामत भी एक ख़ाल-ए सियाह
जो चेहरा दाग़-ए सियह-रू ने आश्कार किया
Click here for background and on any passage for word meanings and explanatory discussion. daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (because of the marriage of his widowed mother to zafar’s oldest son). After 1857, he had to move to rampur and later to hyderabad, where he died after 10+ happy years. His Ghazal are more earthy and romantic than sufiyaana or philosophical, but they are very popular because of their musicality. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib. This is a long Ghazal. It is posted in three parts to make for easy reading and listening. In addition, many singers have sung it, but each has selected a slightly different ash’aar in a slightly different order. A fourth post has been created with a composite version and audios of singers to read and listen at the same time. This Ghazal is linked to other ham-radeef Ghazal on the radeef-refrain Index page.
21
na puuchh dil ki haqiiqat1 magar ye kahte haiN
voh be-qaraar2 rahe jis ne be-qaraar2 kiya 1.true/real condition 2.restless, agonized
Don’t ask me about the real condition of my heart, but they say the one who causes agony is also restless. It is the beloved who has caused agony in the heart of the lover. She is also restless and asking about the condition of his heart.
22
jab unn ko tarz-e-sitam1 aa ga’e to hosh2 aayaa
buraa ho dil ka bur’e vaqt hoshiyaar3 kiya 1.ways of tyranny/oppression 2.awareness, knowledge, wisdom 3.wise
When the beloved mastered the art of tyranny and oppression, only then did it become aware. May the heart be cursed, it became wise after it was too late, when conditions had already gone bad.
23
fasaana1-e shab2-e Gham un ko ek kahaani thi
kuchh e’tebaar3 kiya kuchh na e’tebaar kiya 1.story 2.night 3.trust, believe
The story of my nights of sorrow was nothing but fictional to her. She believed some of it, and dismissed some.
24
asiiri1-e dil-e aashufta2 raNg3 laa ke rahi
tamaam4 turra5-e tarraar6 taar-taar7 kiya 1.captivity 2.agitated 3.colour, style, condition, appearance 4.all 5.tassle, crown of turban 6.smart 7.shredded to threads
The beloved has captured his heart. The captivity of the agitated heart finally caused this condition; the turban got shredded to threads all the way to the crown. The agitated poet/lover adopted the ways of majnuN, the legendary distraught lover.
25
kuchh aage1 daavar2-e mahshar3 se hai umiid4 mujhe
kuchh aap ne mere kahne ka e’tebaar5 kiya 1.future 2.lord 3.day of judgement 4.hope, trust 5.trust, belief
It is understood that the poet/lover must have put the fear of god into the heart of the beloved by describing what might happen on the day of judgement. This may have caused her to change her ways and be more attentive to the lover. This has restored his trust for the future, in the lord of the day of judgement.
26
kisi ke ishq-e nehaaN1 meN ye bad-gumaani2 thi
keh Darte-Darte3 Khudaa par bhi aashkaar4 kiya 1.hidden 2.suspicion, fear, apprehension 3.with fear/hesitation 4.revealed
The lover is supposed to hide his love from everyone. He was so apprehensive about this that he hesitated and was fearful even in revealing it to god.
27
falak1 se taur2 qayaamat3 ke ban na paRte4 the
aKhiir5 ab tujhe aashob6-e rozgaar7 kiya 1.sky, fate 2.ways, methods 3.doomsday, tumult 4.an expression meaning-could not perform 5.finally 6.affliction 7.daily life
Fate could not adopt the (extremely cruel) ways of doomsday. Finally, it made you the affliction of life. The ‘you’ here is the beloved. She causes more cruelty than the sky/fate could ever cause. Thus, when falak failed in its mission, god created the beloved to complete it.
28
voh baat kar jo kabhi aasmaaN se ho na sake
sitam1 kiya to baRaa tuu ne ifteKhaar2 kiya 1.oppression, torment 2.pride, taking pleasure
This is addressed to the beloved. You have tormented me and take pride in your ability to torture. Now do something that the sky is incapable of doing. What is it that the sky is incapable of doing? In urdu poetic tradition fate/bad luck visits the poet rained down on him by the ‘sky’. The sky always brings bad luck and torment and is never benevolent or kind. Thus, the poet is calling upon the beloved to be kind to him.
29
banegaa mahr1-e qayaamat2 bhi aek Khaal-e-siyaah3
jo chehra4 daaGh5-e siyah-ruu6 ne aashkaar7 kiya 1.sun 2.doomsday 3.dark mole, dark spot 4.face 5.pen-name of the poet 6.black face, ugly 7.reveal, show, display
It is thought that on doomsday the sun will come close to the earth and shine fiery and bright. But here the poet says that even the bright doomsday sun will be reduced to a dark spot if ugly daaGh were to show his face. daaGh is making fun of his own ugliness. He had been afflicted with smallpox as a child. His taKhallus – ‘daaGh’ also hints at the pock marks on his face.
daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (because of the marriage of his widowed mother to zafar’s oldest son). After 1857, he had to move to rampur and later to hyderabad, where he died after 10+ happy years. His Ghazal are more earthy and romantic than sufiyaana or philosophical, but they are very popular because of their musicality. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib. This is a long Ghazal. It is posted in three parts to make for easy reading and listening. In addition, many singers have sung it, but each has selected a slightly different ash’aar in a slightly different order. A fourth post has been created with a composite version and audios of singers to read and listen at the same time. This Ghazal is linked to other ham-radeef Ghazal on the radeef-refrain Index page.
21
na puuchh dil ki haqiiqat1 magar ye kahte haiN
voh be-qaraar2 rahe jis ne be-qaraar2 kiya
1.true/real condition 2.restless, agonized
Don’t ask me about the real condition of my heart, but they say the one who causes agony is also restless. It is the beloved who has caused agony in the heart of the lover. She is also restless and asking about the condition of his heart.
22
jab unn ko tarz-e-sitam1 aa ga’e to hosh2 aayaa
buraa ho dil ka bur’e vaqt hoshiyaar3 kiya
1.ways of tyranny/oppression 2.awareness, knowledge, wisdom 3.wise
When the beloved mastered the art of tyranny and oppression, only then did it become aware. May the heart be cursed, it became wise after it was too late, when conditions had already gone bad.
23
fasaana1-e shab2-e Gham un ko ek kahaani thi
kuchh e’tebaar3 kiya kuchh na e’tebaar kiya
1.story 2.night 3.trust, believe
The story of my nights of sorrow was nothing but fictional to her. She believed some of it, and dismissed some.
24
asiiri1-e dil-e aashufta2 raNg3 laa ke rahi
tamaam4 turra5-e tarraar6 taar-taar7 kiya
1.captivity 2.agitated 3.colour, style, condition, appearance 4.all 5.tassle, crown of turban 6.smart 7.shredded to threads
The beloved has captured his heart. The captivity of the agitated heart finally caused this condition; the turban got shredded to threads all the way to the crown. The agitated poet/lover adopted the ways of majnuN, the legendary distraught lover.
25
kuchh aage1 daavar2-e mahshar3 se hai umiid4 mujhe
kuchh aap ne mere kahne ka e’tebaar5 kiya
1.future 2.lord 3.day of judgement 4.hope, trust 5.trust, belief
It is understood that the poet/lover must have put the fear of god into the heart of the beloved by describing what might happen on the day of judgement. This may have caused her to change her ways and be more attentive to the lover. This has restored his trust for the future, in the lord of the day of judgement.
26
kisi ke ishq-e nehaaN1 meN ye bad-gumaani2 thi
keh Darte-Darte3 Khudaa par bhi aashkaar4 kiya
1.hidden 2.suspicion, fear, apprehension 3.with fear/hesitation 4.revealed
The lover is supposed to hide his love from everyone. He was so apprehensive about this that he hesitated and was fearful even in revealing it to god.
27
falak1 se taur2 qayaamat3 ke ban na paRte4 the
aKhiir5 ab tujhe aashob6-e rozgaar7 kiya
1.sky, fate 2.ways, methods 3.doomsday, tumult 4.an expression meaning-could not perform 5.finally 6.affliction 7.daily life
Fate could not adopt the (extremely cruel) ways of doomsday. Finally, it made you the affliction of life. The ‘you’ here is the beloved. She causes more cruelty than the sky/fate could ever cause. Thus, when falak failed in its mission, god created the beloved to complete it.
28
voh baat kar jo kabhi aasmaaN se ho na sake
sitam1 kiya to baRaa tuu ne ifteKhaar2 kiya
1.oppression, torment 2.pride, taking pleasure
This is addressed to the beloved. You have tormented me and take pride in your ability to torture. Now do something that the sky is incapable of doing. What is it that the sky is incapable of doing? In urdu poetic tradition fate/bad luck visits the poet rained down on him by the ‘sky’. The sky always brings bad luck and torment and is never benevolent or kind. Thus, the poet is calling upon the beloved to be kind to him.
29
banegaa mahr1-e qayaamat2 bhi aek Khaal-e-siyaah3
jo chehra4 daaGh5-e siyah-ruu6 ne aashkaar7 kiya
1.sun 2.doomsday 3.dark mole, dark spot 4.face 5.pen-name of the poet 6.black face, ugly 7.reveal, show, display
It is thought that on doomsday the sun will come close to the earth and shine fiery and bright. But here the poet says that even the bright doomsday sun will be reduced to a dark spot if ugly daaGh were to show his face. daaGh is making fun of his own ugliness. He had been afflicted with smallpox as a child. His taKhallus – ‘daaGh’ also hints at the pock marks on his face.
The post ter’e vaa’de pe e’tebaar kiya-21-29-daaGh dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2024/11/daaGh-tere-vaade-pe-etebaar-kiya-11-20-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ترے وعدے پہ اعتبار کیا ۔۱۱۔۲۰۔ داغؔ دہلوی
۱۱
ملے جو یار کی شوخی سے اس کی بے چینی
تمام رات دل مضطرب کو پیار کیا
۱۲
بُھلا بُھلا کے جتایا ہے ان کو راز نہاں
چھپا چھپا کے محبت کو آشکار کیا
۱۳
نہ اس کے دل سے مٹایا کہ صاف ہو جاتا
صبا نے خاک پریشاں مرا غبار کیا
۱۴
ہم ایسے محوِ نظارہ نہ تھے جو ہوش آتا
مگر تمہارے تغافل نے ہوشیار کیا
۱۵
ہمارے سینے میں جو رہ گئی تھی آتش ہجر
شب وصال بھی اس کو نہ ہمکنار کیا
۱۶
رقیب و شیوۂ الفت خدا کی قدرت ہے
وہ اور عشق بھلا تم نے اعتبار کیا
۱۷
زبان خار سے نکلی صدائے بسم اللہ
جنوں کو جب سر شوریدہ پر سوار کیا
۱۸
تری نگہ کے تصور میں ہم نے اے قاتل
لگا لگا کے گلے سے چھری کو پیار کیا
۱۹
غضب تھی کثرت محفل کہ میں نے دھوکہ میں
ہزار بار رقیبوں کو ہمکنار کیا
۲۰
ہوا ہے کوئی مگر اس کا چاہنے والا
کہ آسماں نے ترا شیوہ اختیار کیا
तेरे वा’दे पे ए’तेबार किया – ११-२०- दाग़ देहलवी
११
मिले जो यार की शोख़ी से उस की बेचैनी
तमाम रात दिल-ए मुज़्तरिब को प्यार किया
१२
भुला भुला के जताया है उन को राज़-ए नेहाँ
छुपा छुपा के मोहब्बत को आश्कार किया
१३
न उस के दिल से मिटाया के साफ़ हो जाता
सबा ने ख़ाक-ए परेशाँ मेरा ग़ुबार किया
१४
हम ऐसे महव-ए नज़ारा न थे जो होश आता
मगर तुम्हारे तग़ाफ़ुल ने होश्यार किया
१५
हमारे सीने में जो रह गई थी आतिश-ए हिज्र
शब-ए विसाल भी उस को न हम-कनार किया
१६
रक़ीब ओ शेवा-ए उल्फ़त ख़ुदा की क़ुद्रत है
वो और इश्क़ भला तुम ने ए’तेबार किया
१७
ज़बान-ए ख़ार से निकली सदा-ए बिस्मिल्लाह
जुनूँ को जब सर-ए शोरीदा पर सवार किया
१८
तेरी निगह के तसव्वुर में हम ने अए क़ातिल
लगा लगा के गले से छुरी को प्यार किया
१९
ग़ज़ब थी कस्रत-ए महफ़िल के मैं ने धोके में
हज़ार बार रक़ीबों को हम-कनार किया
२०
हुआ है कोई मगर उस का चाहने वाला
के आस्माँ ने तेरा शेवा एख़्तियार किया
Click here for background and on any passage for word meanings and explanatory discussion. daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (because of the marriage of his widowed mother to zafar’s oldest son). After 1857, he had to move to rampur and later to hyderabad, where he died after 10+ happy years. His Ghazal are more earthy and romantic than sufiyaana or philosophical, but they are very popular because of their musicality. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib. This is a long Ghazal. It is posted in three parts to make for easy reading and listening. In addition, many singers have sung it, but each has selected a slightly different ash’aar in a slightly different order. A fourth post has been created with a composite version and audios of singers to read and listen at the same time. This Ghazal is linked to other ham-radeef Ghazal on the radeef-refrain Index page.
11
mil’e jo yaar1 ki shooKhi2 se uss ki bechaini3
tamaam4 raat dil-e muztarib5 ko pyaar kiya 1.friend, beloved 2.playfulness, miscief 3.restlessness 4.all 5.agitated
The undefined pronoun ‘uss’ in the first misra is to be interpreted to mean ‘the poet/lover’s heart’. When the restlessness of my heart encountered/experienced the playfulness/mischief of the beloved, the heart was so distraught/agitated that I had to lovingly embrace and console it all night long.
12
bhulaa-bhulaa1 ke jataayaa2 hai un ko raaz3-e nehaaN4
chhupaa chhupaa5 ke mohabbat ko aashkaar6 kiya 1.forgetting again and again 2.assert, remind 3.secret 4.hidden 5.hiding (from others), privately 6.disclose, reveal
The poet/lover is supposed to keep his love hidden from everyone. He is also supposed to bear his agony (of unrequited love) stoically, without speaking of it to the beloved. But he keeps forgetting this convention and reminds the beloved of his hidden secret. He reveals his love to the beloved, hiding the fact from others.
13
na uss ke dil se miTaayaa1 keh saaf2 ho jaataa
sabaa3 ne Khaak4-e pareshaaN5 meraa Ghubaar6 kiya 1.erase 2.clear, clean 3.morning breeze 4.dust 5.scattered 6.fog, doubt, ill-feeling
The word ‘Ghubaar’ is also used to mean distrust, ill-feeling. Here daaGh uses it in two very different ways. In the abstract sense as distrust in the first misra and in the concrete sense as dust in the second misra. The undefined pronoun ‘uss’ in the first misra refers to the beloved. Conventionally, the beloved always entertains a distrust towards the lover. She thinks that he is not loyal enough. The morning breeze did not erase the distrust from her heart so that it could have been cleared. Instead, it blew the poets dust and scattered it throughout the garden.
14
ham aise mahv1-e nazaara2 na th’e jo hosh3 aataa
magar tumhaare taGhaaful4 ne hoshiyaar5 kiya 1.engrossed, captivated 2.looking 3.awareness, senses 4.indifference 5.alert, wise
The first misra should be read as either as a question or as an exclamation. Was I not so engrossed in looking at you that I would not have come to senses, meaning I was so captivated that I would have remained in a trance forever. But your indifference woke me up, it made me alert to what was going on.
15
hamaare siine meN jo rah gaii thi aatish1-e hijr2
shab3-e visaal4 bhi uss ko na ham-kanaar5 kiya 1.fire, pain 2.separation 3.night 4.union 5.embrace
The poet/lover still had lingering fire/pain of separation in his heart/bosom. It was still strong enough that even on the night of union he did not embrace the beloved. The ‘uss’ in the second misra is interpreted as referring to the beloved.
16
raqiib1 o sheva2-e ulfat3 Khuda ki qudrat4 hai
voh aur ishq bhalaa tum ne e’tebaar5 kiya 1.rival 2.nature, character, habit 3.love 4.an expression roughly meaning-for god’s sake 5.trust, believe
This is addressed to the beloved with a tinge of sarcasm. For god’s sake, how can you associate the rival with the nature/habit of love. He and true love, how could you trust that.
17
zabaan1-e Khaar2 se nikli sadaa3-e bismillaah4
junuuN5 ko jab sar-e shoriida6 par savaar7 kiya 1.tongue, mouth 2.thorn 3.sound, call 4.in the name of god 5.passion, madness 6.disheveled, distraught 7.esconsed, place on top
Traditionally, ‘bismillah’ is said whenever someone begins any task. Also, the mad passionate lover wanders the desert in distress and his feet get pricked by thorns and bleed. Thus, when the poet/lover placed ‘madness on his head’ i.e., went mad with passion (and started his wandering through the wilderness), thorns said ‘bismillah’ because their task of piercing his feet was about to begin.
18
teri nig’h1 ke tasavvur2 meN ham ne aye qaatil3
lagaa lagaa ke gale se chhuri ko pyaar kiya 1.glance 2.thought, memory 3.killer, beloved
The sidelong glance of the beloved is sharp-it cuts and kills. Hence the knife reminds the poet/lover of the beloved’s glance. In memory of it he embraces and knife and kisses it again and again.
19
Ghazab1 thi kasrat2-e mahfil3 keh maiN ne dhoke4 meN
hazaar baar raqiiboN5 ko ham-kanaar6 kiya 1.used as an exclamation-wondrous 2.multitude 3.gathering 4.by mistake 5.rivals 6.embrace
There is a huge multitude of admirers/lovers in the gathering around the beloved. There are so many people that the poet/lover is confused and by mistake he embraces rivals many times.
20
huaa hai koi magar uss ka chaahne vaalaa
keh aasmaaN1 ne teraa sheva2 eKhtiyaar3 kiya 1.sky, fate 2.habits, ways 3.adopt
The ways of the beloved are cruelty and indifference. In poetic tradition, the sky is considered to be fate … because the common expression is that fate descends from the sky. Fate too, is cruel and indifferent. Thus, the sky has adopted the ways of the beloved. But has anyone loved the sky, like they love you!
daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (because of the marriage of his widowed mother to zafar’s oldest son). After 1857, he had to move to rampur and later to hyderabad, where he died after 10+ happy years. His Ghazal are more earthy and romantic than sufiyaana or philosophical, but they are very popular because of their musicality. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib. This is a long Ghazal. It is posted in three parts to make for easy reading and listening. In addition, many singers have sung it, but each has selected a slightly different ash’aar in a slightly different order. A fourth post has been created with a composite version and audios of singers to read and listen at the same time. This Ghazal is linked to other ham-radeef Ghazal on the radeef-refrain Index page.
11
mil’e jo yaar1 ki shooKhi2 se uss ki bechaini3
tamaam4 raat dil-e muztarib5 ko pyaar kiya
1.friend, beloved 2.playfulness, miscief 3.restlessness 4.all 5.agitated
The undefined pronoun ‘uss’ in the first misra is to be interpreted to mean ‘the poet/lover’s heart’. When the restlessness of my heart encountered/experienced the playfulness/mischief of the beloved, the heart was so distraught/agitated that I had to lovingly embrace and console it all night long.
12
bhulaa-bhulaa1 ke jataayaa2 hai un ko raaz3-e nehaaN4
chhupaa chhupaa5 ke mohabbat ko aashkaar6 kiya
1.forgetting again and again 2.assert, remind 3.secret 4.hidden 5.hiding (from others), privately 6.disclose, reveal
The poet/lover is supposed to keep his love hidden from everyone. He is also supposed to bear his agony (of unrequited love) stoically, without speaking of it to the beloved. But he keeps forgetting this convention and reminds the beloved of his hidden secret. He reveals his love to the beloved, hiding the fact from others.
13
na uss ke dil se miTaayaa1 keh saaf2 ho jaataa
sabaa3 ne Khaak4-e pareshaaN5 meraa Ghubaar6 kiya
1.erase 2.clear, clean 3.morning breeze 4.dust 5.scattered 6.fog, doubt, ill-feeling
The word ‘Ghubaar’ is also used to mean distrust, ill-feeling. Here daaGh uses it in two very different ways. In the abstract sense as distrust in the first misra and in the concrete sense as dust in the second misra. The undefined pronoun ‘uss’ in the first misra refers to the beloved. Conventionally, the beloved always entertains a distrust towards the lover. She thinks that he is not loyal enough. The morning breeze did not erase the distrust from her heart so that it could have been cleared. Instead, it blew the poets dust and scattered it throughout the garden.
14
ham aise mahv1-e nazaara2 na th’e jo hosh3 aataa
magar tumhaare taGhaaful4 ne hoshiyaar5 kiya
1.engrossed, captivated 2.looking 3.awareness, senses 4.indifference 5.alert, wise
The first misra should be read as either as a question or as an exclamation. Was I not so engrossed in looking at you that I would not have come to senses, meaning I was so captivated that I would have remained in a trance forever. But your indifference woke me up, it made me alert to what was going on.
15
hamaare siine meN jo rah gaii thi aatish1-e hijr2
shab3-e visaal4 bhi uss ko na ham-kanaar5 kiya
1.fire, pain 2.separation 3.night 4.union 5.embrace
The poet/lover still had lingering fire/pain of separation in his heart/bosom. It was still strong enough that even on the night of union he did not embrace the beloved. The ‘uss’ in the second misra is interpreted as referring to the beloved.
16
raqiib1 o sheva2-e ulfat3 Khuda ki qudrat4 hai
voh aur ishq bhalaa tum ne e’tebaar5 kiya
1.rival 2.nature, character, habit 3.love 4.an expression roughly meaning-for god’s sake 5.trust, believe
This is addressed to the beloved with a tinge of sarcasm. For god’s sake, how can you associate the rival with the nature/habit of love. He and true love, how could you trust that.
17
zabaan1-e Khaar2 se nikli sadaa3-e bismillaah4
junuuN5 ko jab sar-e shoriida6 par savaar7 kiya
1.tongue, mouth 2.thorn 3.sound, call 4.in the name of god 5.passion, madness 6.disheveled, distraught 7.esconsed, place on top
Traditionally, ‘bismillah’ is said whenever someone begins any task. Also, the mad passionate lover wanders the desert in distress and his feet get pricked by thorns and bleed. Thus, when the poet/lover placed ‘madness on his head’ i.e., went mad with passion (and started his wandering through the wilderness), thorns said ‘bismillah’ because their task of piercing his feet was about to begin.
18
teri nig’h1 ke tasavvur2 meN ham ne aye qaatil3
lagaa lagaa ke gale se chhuri ko pyaar kiya
1.glance 2.thought, memory 3.killer, beloved
The sidelong glance of the beloved is sharp-it cuts and kills. Hence the knife reminds the poet/lover of the beloved’s glance. In memory of it he embraces and knife and kisses it again and again.
19
Ghazab1 thi kasrat2-e mahfil3 keh maiN ne dhoke4 meN
hazaar baar raqiiboN5 ko ham-kanaar6 kiya
1.used as an exclamation-wondrous 2.multitude 3.gathering 4.by mistake 5.rivals 6.embrace
There is a huge multitude of admirers/lovers in the gathering around the beloved. There are so many people that the poet/lover is confused and by mistake he embraces rivals many times.
20
huaa hai koi magar uss ka chaahne vaalaa
keh aasmaaN1 ne teraa sheva2 eKhtiyaar3 kiya
1.sky, fate 2.habits, ways 3.adopt
The ways of the beloved are cruelty and indifference. In poetic tradition, the sky is considered to be fate … because the common expression is that fate descends from the sky. Fate too, is cruel and indifferent. Thus, the sky has adopted the ways of the beloved. But has anyone loved the sky, like they love you!
The post ter’e vaa’de pe e’tebaar kiya-11-20-daaGh dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2024/11/daaGh-tere-vaade-pe-etebaar-kiya-01-10-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ترے وعدے پہ اعتبار کیا ۔۰۱۔۱۰۔ داغؔ دہلوی
۱
غضب کیا ترے وعدے پہ اعتبار کیا
تمام رات قیامت کا انتظار کیا
۲
کسی طرح جو نہ اُس بُت نے اِعتبار کیا
مری وفا نے مجھے خوب شرمسار کیا
۳
ہنسا ہنسا کے شب وصل اشک بار کیا
تسلیاں مجھے دے دے کے بے قرار کیا
۴
یہ کس نے جلوہ ہمارے سرِ مزار کیا
کہ دل سے شور اٹھا ہائے بے قرار کیا
۵
سُنا ہے تیغ کو قاتل نے آب دار کیا
اگر یہ سچ ہے تو بے شبہ ہم پہ وار کیا
۶
نہ آئے راہ پہ وہ عِجزِ بے شمار کیا
شبِ وصال بھی میں نے تو انتظار کیا
۷
تجھے تو وعدۂ دیدار ہم سے کرنا تھا
یہ کیا کیا کہ جہاں کو امیدوار کیا
۸
یہ دل کو تاب کہاں ہے کہ ہو مآل اندیش
انہوں نے وعدہ کیا اِس نے اعتبار کیا
۹
کہاں کا صبر کہ دم پر ہے بن گئی ظالم
بتنگ آئے تو حال دل آشکار کیا
۱۰
تڑپ پھر اے دل ناداں کہ غیر کہتے ہیں
اخیر کچھ نہ بنی صبر اختیار کیا
तेरे वा’दे पे ए’तेबार किया – ०१-१०-दाग़ देहलवी
१
ग़ज़ब किया तेरे वा’दे पे ए’तेबार किया
तमाम रात क़यामत का इंतेज़ार किया
२
किसी तरह जो न उस बुत ने ए’तेबार किया
मेरी वफ़ा ने मुझे ख़ूब शर्मसार किया
३
हँसा हँसा के शब-ए वस्ल अश्क-बार किया
तसल्लियाँ मुझे दे दे के बे-क़रार किया
४
ये किस ने जल्वा हमारे सर-ए मज़ार किया
के दिल से शोर उठा हाए बे-क़रार किया
५
सुना है तेग़ को क़ातिल ने आब-दार किया
अगर ये सच है तो बे-शुब्ह हम पे वार किया
६
न आए राह पे वो, इज्ज़ बे-शुमार किया
शब-ए विसाल भी मैं ने तो इंतेज़ार किया
७
तुझे तो वादा-ए दीदार हम से करना था
ये क्या किया के जहाँ को उमीद-वार किया
८
ये दिल को ताब कहाँ है के हो म’आल-अंदेश
उन्हों ने वा’दा किया इस ने ए’तेबार किया
९
कहाँ का सब्र के दम पर है बन गई ज़ालिम
बतंग आए तो हाल-ए दिल आश्कार किया
१०
तड़प फिर अए दिल-ए नादाँ के ग़ैर कहते हैं
अख़ीर कुछ न बनी सब्र एख़्तियार किया
Click here for background and on any passage for word meanings and explanatory discussion. daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (because of the marriage of his widowed mother to zafar’s oldest son). After 1857, he had to move to rampur and later to hyderabad, where he died after 10+ happy years. His Ghazal are more earthy and romantic than sufiyaana or philosophical, but they are very popular because of their musicality. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib. This is a long Ghazal. It is posted in three parts to make for easy reading and listening. In addition, many singers have sung it, but each has selected a slightly different ash’aar in a slightly different order. A fourth post has been created with a composite version and audios of singers to read and listen at the same time. This Ghazal is linked to other ham-radeef Ghazal on the radeef-refrain Index page.
1
Ghazab1 kiya tere vaade2 pe e’tebaar3 kiya
tamaam4 raat qayaamat5 ka intezaar6 kiya 1.calamity 2.promise 3.trust, believe 4.all 5.doomsday, day of judgement 6.wait
I brought down a calamity on myself by trusting your promise. I waited for you all night long (trusting your promise that you would come). Waiting for the beloved is like waiting for the day of judgement. It is certain that it will come, but you don’t know when. Or waiting for the beloved is like waiting for doomsday, because that is the effect she has.
2
kisi tarah1 jo na uss but2 ne e’tebaar3 kiya
meri vafaa4 ne mujhe Khuub sharmsaar5 kiya 1.any condition 2.idol, beloved 3.trust, believe 4.fidelity, credibility 5.ashamed
The lover asserts his steadfast love and loyalty to the beloved. But under no circumstance does she believe/trust him. Thus his fidelity to put to extreme shame.
3
haNsaa haNsaa ke shab1-e vasl2 ashk-baar3 kiya
tasalliyaaN4 mujhe de de ke be-qaraar5 kiya 1.night of 2.union 3.shedding tears 4.consoling 5.restless
The poet/lover has finally achieved access to the beloved. It is the night of union and she does something to make him laugh to the point of tears. Then she consoles him and makes him even more restless. The imagery presented between the lines is that even though he has gotten access to the beloved all the time together is spent in fun and games, trivialities and he does not really get the emotional access that he craves.
4
ye kis ne jalva1 hamaare sar-e mazaar2 kiya
keh dil se shor3 uThaa haa’e be-qaraar4 kiya 1.appearance 2.grave, tomb 3.cry, loud noise 4.restless, yearn
The poet is dead and buried. He is in his tomb, but he can still see who is visiting and can write about it. Thus, who is it that has appeared at the head of my tomb to cause a loud wail to rise from the depths of my heart and made me even more restless. Of course, it is the beloved who is visiting.
5
sunaa hai teGh1 ko qaatil2 ne aab-daar3 kiya
agar ye sach hai to be-shub’h4 ham pe vaar5 kiya 1.sword 2.killer, beloved 3.shining, sharp 4.without doubt 5.strike, blow, cut
It is heard that the beloved has sharpened her sword. If this is true, there is no doubt that she strikes a blow at me. ‘ham pe vaar kiya’ can be read as a past tense in which case the sword needed sharpening after having struck a blow. It can be read as a future tense in the sense that she is getting the sword ready for him. Or, it can be read as figurative, if the sword has beens sharpened, it must be for me.
6
na aaye raah1 pe voh, ijz2 be-shumaar3 kiya
shab4-e visaal5 bhi maiN ne to intezaar6 kiya 1.path 2.entreaty, pleading 3.countless, numerous 4.night of 5.union 6.waiting
‘raah pe aana’ is an expression that means ‘to come to the straight path, to do the right thing. But here, the beloved does not come to the right path, does not give up her bad habits, even though the poet/lover has pleaded with her numerous times. After all, she promised to come and I waited for her all night long on the promised shab-e visaal i.e., she has not changed her old habit of not keeping her promise.
7
tujhe to vaa’da1-e diidaar2 ham se karnaa thaa
ye kyaa kiya keh jahaaN3 ko umiid-vaar4 kiya 1.promise 2.sight, viewing, meeting 3.world 4.hopeful
You should have promised me that you would come before me so that I could see/meet you. What have you done, you have made the whole world hopeful of your sight i.e., she has promised to come out (but not exclusively for the poet/lover). It is also possible that ‘the whole world’ is an exaggerated expression to mean ‘the rival’.
8
ye dil ko taab1 kahaaN hai keh ho m’aal-andesh2
unhoN ne vaa’da3 kiya iss ne e’tebaar4 kiya 1.strength, ability to bear 2.apprehension of result 3.promise 4.trust, believe
The poet/lover’s heart is simple and trusting. How can it have the ability to bear the apprehension of the result (the result being a broken promise). She has promised and it (the heart) trusts.
9
kahaaN ka sabr1 keh dam par hai ban gaii2 zaalim3
bataNg4 aaye to haal5-e dil aashkaar6 kiya 1.patience 2.life-threatening 3.tyrant, beloved 4.tired, exhausted 5.condition 6.revealed
The poet/lover speaks of his agony to the beloved and she gets upset with him. ‘dam pe ban jaana’ or ‘jaan pe ban jaana’ is an expression that means become a question of life and death i.e., a life-threatening situation/condition. How long can I be patient, O tyrant. I have been patient for a long time and only when it has become a question of life and death have I revealed the condition of my heart to you.
10
taRap1 phir aye dil-e naadaaN2 keh Ghair3 kahte haiN
aKhiir4 kuchh na bani5 sabr6 eKhtiyaar7 kiya 1.suffer, thrash in pain 2.naive, simpleton 3.others, rivals 4.in the end 5.nothing worked out 6.patience, acceptance 7.adopted
Suffer once again, O naïve heart, because the rivals say (sarcastically) that in the end (in spite of my constant trying) nothing worked out and we (the lover and his heart) have adopted patience/helplessness.
daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (because of the marriage of his widowed mother to zafar’s oldest son). After 1857, he had to move to rampur and later to hyderabad, where he died after 10+ happy years. His Ghazal are more earthy and romantic than sufiyaana or philosophical, but they are very popular because of their musicality. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib. This is a long Ghazal. It is posted in three parts to make for easy reading and listening. In addition, many singers have sung it, but each has selected a slightly different ash’aar in a slightly different order. A fourth post has been created with a composite version and audios of singers to read and listen at the same time. This Ghazal is linked to other ham-radeef Ghazal on the radeef-refrain Index page.
1
Ghazab1 kiya tere vaade2 pe e’tebaar3 kiya
tamaam4 raat qayaamat5 ka intezaar6 kiya
1.calamity 2.promise 3.trust, believe 4.all 5.doomsday, day of judgement 6.wait
I brought down a calamity on myself by trusting your promise. I waited for you all night long (trusting your promise that you would come). Waiting for the beloved is like waiting for the day of judgement. It is certain that it will come, but you don’t know when. Or waiting for the beloved is like waiting for doomsday, because that is the effect she has.
2
kisi tarah1 jo na uss but2 ne e’tebaar3 kiya
meri vafaa4 ne mujhe Khuub sharmsaar5 kiya
1.any condition 2.idol, beloved 3.trust, believe 4.fidelity, credibility 5.ashamed
The lover asserts his steadfast love and loyalty to the beloved. But under no circumstance does she believe/trust him. Thus his fidelity to put to extreme shame.
3
haNsaa haNsaa ke shab1-e vasl2 ashk-baar3 kiya
tasalliyaaN4 mujhe de de ke be-qaraar5 kiya
1.night of 2.union 3.shedding tears 4.consoling 5.restless
The poet/lover has finally achieved access to the beloved. It is the night of union and she does something to make him laugh to the point of tears. Then she consoles him and makes him even more restless. The imagery presented between the lines is that even though he has gotten access to the beloved all the time together is spent in fun and games, trivialities and he does not really get the emotional access that he craves.
4
ye kis ne jalva1 hamaare sar-e mazaar2 kiya
keh dil se shor3 uThaa haa’e be-qaraar4 kiya
1.appearance 2.grave, tomb 3.cry, loud noise 4.restless, yearn
The poet is dead and buried. He is in his tomb, but he can still see who is visiting and can write about it. Thus, who is it that has appeared at the head of my tomb to cause a loud wail to rise from the depths of my heart and made me even more restless. Of course, it is the beloved who is visiting.
5
sunaa hai teGh1 ko qaatil2 ne aab-daar3 kiya
agar ye sach hai to be-shub’h4 ham pe vaar5 kiya
1.sword 2.killer, beloved 3.shining, sharp 4.without doubt 5.strike, blow, cut
It is heard that the beloved has sharpened her sword. If this is true, there is no doubt that she strikes a blow at me. ‘ham pe vaar kiya’ can be read as a past tense in which case the sword needed sharpening after having struck a blow. It can be read as a future tense in the sense that she is getting the sword ready for him. Or, it can be read as figurative, if the sword has beens sharpened, it must be for me.
6
na aaye raah1 pe voh, ijz2 be-shumaar3 kiya
shab4-e visaal5 bhi maiN ne to intezaar6 kiya
1.path 2.entreaty, pleading 3.countless, numerous 4.night of 5.union 6.waiting
‘raah pe aana’ is an expression that means ‘to come to the straight path, to do the right thing. But here, the beloved does not come to the right path, does not give up her bad habits, even though the poet/lover has pleaded with her numerous times. After all, she promised to come and I waited for her all night long on the promised shab-e visaal i.e., she has not changed her old habit of not keeping her promise.
7
tujhe to vaa’da1-e diidaar2 ham se karnaa thaa
ye kyaa kiya keh jahaaN3 ko umiid-vaar4 kiya
1.promise 2.sight, viewing, meeting 3.world 4.hopeful
You should have promised me that you would come before me so that I could see/meet you. What have you done, you have made the whole world hopeful of your sight i.e., she has promised to come out (but not exclusively for the poet/lover). It is also possible that ‘the whole world’ is an exaggerated expression to mean ‘the rival’.
8
ye dil ko taab1 kahaaN hai keh ho m’aal-andesh2
unhoN ne vaa’da3 kiya iss ne e’tebaar4 kiya
1.strength, ability to bear 2.apprehension of result 3.promise 4.trust, believe
The poet/lover’s heart is simple and trusting. How can it have the ability to bear the apprehension of the result (the result being a broken promise). She has promised and it (the heart) trusts.
9
kahaaN ka sabr1 keh dam par hai ban gaii2 zaalim3
bataNg4 aaye to haal5-e dil aashkaar6 kiya
1.patience 2.life-threatening 3.tyrant, beloved 4.tired, exhausted 5.condition 6.revealed
The poet/lover speaks of his agony to the beloved and she gets upset with him. ‘dam pe ban jaana’ or ‘jaan pe ban jaana’ is an expression that means become a question of life and death i.e., a life-threatening situation/condition. How long can I be patient, O tyrant. I have been patient for a long time and only when it has become a question of life and death have I revealed the condition of my heart to you.
10
taRap1 phir aye dil-e naadaaN2 keh Ghair3 kahte haiN
aKhiir4 kuchh na bani5 sabr6 eKhtiyaar7 kiya
1.suffer, thrash in pain 2.naive, simpleton 3.others, rivals 4.in the end 5.nothing worked out 6.patience, acceptance 7.adopted
Suffer once again, O naïve heart, because the rivals say (sarcastically) that in the end (in spite of my constant trying) nothing worked out and we (the lover and his heart) have adopted patience/helplessness.
The post ter’e vaa’de pe e’tebaar kiya-01-10-daaGh dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/zhdsh-taa-sahar-nahiN-aati-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تا سحر نہیں آتی ۔ ضمیر حسن دلؔ شاہجہاں پوری
۱
دل کی امید بر نہیں آتی
ہم کو آتی نظر نہیں آتی
۲
نَحنُ اقرب کے ہیں یہی معنی
کبھی صورت نظر نہیں آتی
۳
نہیں آتا جو کوئی وعدہ خلاف
نیند بھی تا سحر نہیں آتی
۴
عالمِ خواب میں بھی وہ صورت
نظر آتی نظر نہیں آتی
۵
دیر کو دور ہی سے اپنا سلام
جب وہ صورت نظر نہیں آتی
۶
کیا موذن کو آگئی شبِ غم
کہ اذانِ سحر نہیں آتی
۷
قیس کیا دیکھتا ہے ناقے کو
گرد بھی اب نظر نہیں آتی
۸
مجھ سے بیمار پر یہ جور! افسوس
تجھ کو اے چارہ گر نہیں آتی
۹
یہی اندھیر ہے جو اے شبِ غم
صبح ہوتی نظر نہیں آتی
۱۰
ہیں تغافل شعار اہل عدم
کچھ کسی کی خبر نہیں آتی
۱۱
تھی اجل کی امید حضرتِ دلؔ
وہ بھی آتی نظر نہیں آتی
ता सहर नहीं आती – ज़मीर हसन दिल शाहजहाँपुरी
१
दिल की उम्मीद बर नहीं आती
हम को आती नज़र नहीं आती
२
नहनु अक़्रब के हैं यही म’आनी
कभी सूरत नज़र नहीं आती
३
नहीं आता जो कोई वादा-ख़िलाफ़
नींद भी ता सहर नहीं आती
४
आलम-ए ख़्वाब में भी वो सूरत
नज़र आती नज़र नहीं आती
५
दैर को दूर ही से अपना सलाम
जब वो सूरत नज़र नहीं आती
६
क्या मो’अज़्ज़िन को आ गई शब-ए ग़म
के अज़ान-ए सहर नहीं आती
७
क़ैस क्या देखता है नाक़े को
गर्द भी अब नज़र नहीं आती
८
मुझ से बीमार पर ये जौर! अफ़्सोस
तुझ को अए चारागर नहीं आती
९
यही अंधेर है जो अए शब-ए ग़म
सुब्ह होती नज़र नहीं आती
१०
हैं तग़ाफ़ुल शे’आर अहल-ए अदम
कुछ किसी की ख़बर नहीं आती
११
थी अजल की उम्मीद हज़रत-ए दिल
वो भी आती नज़र नहीं आती
Click here for background and on any passage for word meanings and explanatory discussion. zamiir hasan dil shahjahaaNpuri (1875-1959), was taught faarsi and arabi at home by a private tutor and he also learnt the family profession of ‘hakiim’ – traditional medicine. He set up a practice and also did other business (landowner and contractor) as a source of income. He started composing at the age of 15 and later became a disciple of amiir miinaaii. In addition to his collections of poetry he authored a novel and a translation of an English novel. This Ghazal, in the style of Ghalib’s ‘koi ummeed bar nahiN aati’ is linked to ‘Ghalib naqsh-e qadam’.
1
dil ki ummiid1 bar2 nahiN aati
hum ko aati nazar3 nahiN aati 1.hope 2.bear fruit, fulfilled 3.visible, seen
The hopes of the poet/lover’s heart do not bear fruit. I do not see it (hope) being fulfilled.
2
nahnu-aqrab1 ke haiN yahi mu’aani2
kabhi suurat3 nazar nahiN aati 1.fragment of a verse of the qur’aan 2.meaning, significance 3.face
‘nahnu-aqrab’ signifies divine presence nearer than the jugular vein. Even the divine is thought to be nearer than the jugular vein it cannot be seen. Thus, the meaning/significance of ‘nahnu-aqrab’ is that it cannot be seen. This thought can be applied both to the divine and the flesh and blood beloved. She is always veiled or beyond reach.
3
nahiN aata jo koi vaada-Khilaaf1
niind bhi taa2 sahar3 nahiN aati 1.promise breaker 2.until 3.dawn
The beloved promises to come but never keeps her promise. Thus she is a promise breaker … vaada Khilaaf. When she does not come, the lover does not get to sleep until dawn – but the implication is that he has go about doing things during the day, so he does not get to sleep at all.
4
aalam1-e Khwaab2 meN bhi voh suurat3
nazar4 aati nazar nahiN aati 1.condition, state 2.sleep, dream 3.face, image 4.be seen, become visible
It doesn’t look like that face (the face of the beloved) can be seen even in the state of sleep/dream.
5
da’er1 ko duur2 hi se apna salaam3
jab voh suurat nazar nahiN aati 1.temple 2.far, distance 3.goodbye, farewell
Normally you expect to see a ‘but-idol’ in the temple. There is a nice juxtaposition and implied double use of ‘but-beloved’. Thus, if I cannot see the beloved in it, then I bid farewell to the temple from afar.
6
kya mu’azzin1 ko aa ga’ii shab2-e Gham3
keh azaan4-e sahar5 nahiN aati 1.the person who does azaan-call to prayer 2.night of 3.sorrow 4.call to prayer 5.dawn
The poet has not heard the morning call to prayer and wonders … is the mu’azzin also afflicted with the ‘night of sorrow’ i.e., he suffers because of unrequited love and stays awake all night long, falling asleep at dawn.
7
qais1 kya dekhta hai naaqe2 ko
gard3 bhi ab nazar nahiN aati 1.the name of majnuN of laila-majnuN legend 2.camel 3.dust
laila has mounted her camel and gone away. qais/majnuN is staring the distance looking for her. The poet/interlocuter asks – O qais, why are you searching/gazing at the hornizon for laila’s camel. You can’t even see the dust anymore.
8
mujh se biimaar1 par ye jaur2! afsos3
tujh ko aye chaaragar4 nahiN aati 1.sick, love-sick 2.cruelty, torture 3.regret, sorrow, pity 4.healer, beloved
The poet/lover is sick with unrequited love. The only one that can heal him is the beloved through her attentions. But alas, she continues to torture him (perhaps with her indifference). But even the healer/beloved does not know how … I have a problem with the second misra. If I read it as ‘tujh ko aye chaaragar afsos nahiN aati’, then there is a gender problem. I would appreciate any help.
9
yahi andher1 hai jo aye shab2-e Gham
sub’h hoti nazar nahiN aati 1.injustice, oppression 2.night of
If this injustice/oppression continues through the night of sorrow, then I don’t see any way that dawn can emerge.
10
haiN taGhaaful1 she’aar2 ahl-e-adam3
kuch kisi ki Khabar4 nahiN aati 1.forgetful, indifferent 2.nature, character 3.people of the world of non-existence 4.news
The dearly departed people of the other world are forgetful. They don’t write back nor do they send back any news of their life.
11
thi ajal1 ki umiid2 hazrat3-e dil4
voh bhi aati nazar nahiN aati 1.death 2.hope 3.honourable 4.pen-name of the poet
The honourable poet/lover had been hoping to end his misery by death. But he does not see any way even death arriving to relieve him of his misery.
zamiir hasan dil shahjahaaNpuri (1875-1959), was taught faarsi and arabi at home by a private tutor and he also learnt the family profession of ‘hakiim’ – traditional medicine. He set up a practice and also did other business (landowner and contractor) as a source of income. He started composing at the age of 15 and later became a disciple of amiir miinaaii. In addition to his collections of poetry he authored a novel and a translation of an English novel. This Ghazal, in the style of Ghalib’s ‘koi ummeed bar nahiN aati’ is linked to ‘Ghalib naqsh-e qadam’.
1
dil ki ummiid1 bar2 nahiN aati
hum ko aati nazar3 nahiN aati
1.hope 2.bear fruit, fulfilled 3.visible, seen
The hopes of the poet/lover’s heart do not bear fruit. I do not see it (hope) being fulfilled.
2
nahnu-aqrab1 ke haiN yahi mu’aani2
kabhi suurat3 nazar nahiN aati
1.fragment of a verse of the qur’aan 2.meaning, significance 3.face
‘nahnu-aqrab’ signifies divine presence nearer than the jugular vein. Even the divine is thought to be nearer than the jugular vein it cannot be seen. Thus, the meaning/significance of ‘nahnu-aqrab’ is that it cannot be seen. This thought can be applied both to the divine and the flesh and blood beloved. She is always veiled or beyond reach.
3
nahiN aata jo koi vaada-Khilaaf1
niind bhi taa2 sahar3 nahiN aati
1.promise breaker 2.until 3.dawn
The beloved promises to come but never keeps her promise. Thus she is a promise breaker … vaada Khilaaf. When she does not come, the lover does not get to sleep until dawn – but the implication is that he has go about doing things during the day, so he does not get to sleep at all.
4
aalam1-e Khwaab2 meN bhi voh suurat3
nazar4 aati nazar nahiN aati
1.condition, state 2.sleep, dream 3.face, image 4.be seen, become visible
It doesn’t look like that face (the face of the beloved) can be seen even in the state of sleep/dream.
5
da’er1 ko duur2 hi se apna salaam3
jab voh suurat nazar nahiN aati
1.temple 2.far, distance 3.goodbye, farewell
Normally you expect to see a ‘but-idol’ in the temple. There is a nice juxtaposition and implied double use of ‘but-beloved’. Thus, if I cannot see the beloved in it, then I bid farewell to the temple from afar.
6
kya mu’azzin1 ko aa ga’ii shab2-e Gham3
keh azaan4-e sahar5 nahiN aati
1.the person who does azaan-call to prayer 2.night of 3.sorrow 4.call to prayer 5.dawn
The poet has not heard the morning call to prayer and wonders … is the mu’azzin also afflicted with the ‘night of sorrow’ i.e., he suffers because of unrequited love and stays awake all night long, falling asleep at dawn.
7
qais1 kya dekhta hai naaqe2 ko
gard3 bhi ab nazar nahiN aati
1.the name of majnuN of laila-majnuN legend 2.camel 3.dust
laila has mounted her camel and gone away. qais/majnuN is staring the distance looking for her. The poet/interlocuter asks – O qais, why are you searching/gazing at the hornizon for laila’s camel. You can’t even see the dust anymore.
8
mujh se biimaar1 par ye jaur2! afsos3
tujh ko aye chaaragar4 nahiN aati
1.sick, love-sick 2.cruelty, torture 3.regret, sorrow, pity 4.healer, beloved
The poet/lover is sick with unrequited love. The only one that can heal him is the beloved through her attentions. But alas, she continues to torture him (perhaps with her indifference). But even the healer/beloved does not know how … I have a problem with the second misra. If I read it as ‘tujh ko aye chaaragar afsos nahiN aati’, then there is a gender problem. I would appreciate any help.
9
yahi andher1 hai jo aye shab2-e Gham
sub’h hoti nazar nahiN aati
1.injustice, oppression 2.night of
If this injustice/oppression continues through the night of sorrow, then I don’t see any way that dawn can emerge.
10
haiN taGhaaful1 she’aar2 ahl-e-adam3
kuch kisi ki Khabar4 nahiN aati
1.forgetful, indifferent 2.nature, character 3.people of the world of non-existence 4.news
The dearly departed people of the other world are forgetful. They don’t write back nor do they send back any news of their life.
11
thi ajal1 ki umiid2 hazrat3-e dil4
voh bhi aati nazar nahiN aati
1.death 2.hope 3.honourable 4.pen-name of the poet
The honourable poet/lover had been hoping to end his misery by death. But he does not see any way even death arriving to relieve him of his misery.
The post taa sahar nahiN aati-zamir hasan dil shahjaaNpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/shmljb-zindagi-raah-par-nahiN-aati-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
زندگی راہ پر نہیں آتی ۔ شیام موہن لال جگرؔ بریلوی
۱
موت جب تک نظر نہیں آتی
زندگی راہ پر نہیں آتی
۲
ترکِ تدبیر بھی نہیں آساں
راس تدبیر اگر نہیں آتی
۳
مرکزِ دل پہ جو نہیں قائم
وہ نظر راہ پر نہیں آتی
۴
دل کو لذّت شناسِ غم کر لیں
موت ہم کو اگر نہیں آتی
۵
جس نے تیری نظر کو دیکھ لیا
اُس کو دنیا نظر نہیں آتی
۶
وہ کبھی مہربان ہو جاتا
ایسی صورت نظر نہیں آتی
۷
جیتے جی کے ہیں سارے ہنگامے
مر کے پھر کچھ خبر نہیں آتی
۸
آہ کیا ہو گیا زمانے کو
اب مُروّت نظر نہیں آتی
۹
ہے اُنہیں تو وقار عجز و نیاز
وہ تمنّا جو بر نہیں آتی
۱۰
زندگی سے نباہے جائیں گے
موت جب تک نظر نہیں آتی
۱۱
اشکِ پیہم جگرؔ نہیں تھمتے
راہ پر چشمِ تر نہیں آتی
ज़िंदगी राह पर नहीं आती – श्याम मोहन लाल जिगर बरेलवी
१
मौत जब तक नज़र नहीं आती
ज़िंदगी राह पर नहीं आती
२
तर्क-ए तदबीर भी नहीं आसाँ
रास तदबीर अगर नहीं आती
३
मरकज़-ए दिल पे जो नहीं क़ा’एम
वो नज़र राह पर नहीं आती
४
दिल को लज़्ज़त-शनास-ए ग़म कर लें
मौत हम को अगर नहीं आती
५
जिस ने तेरी नज़र को देख लिया
उस को दुनिया नज़र नहीं आती
६
वो कभी मेहरबान हो जाता
ऐसी सूरत नज़र नहीं आती
७
जीते जी के हैं सारे हंगामे
मर के फिर कुछ ख़बर नहीं आती
८
आह क्या हो गया ज़माने को
अब मुरव्वत नज़र नहीं आती
९
है उन्हें तो वक़ार-ए इज्ज़-ओ-नियाज़
वो तमन्ना जो बर नहीं आती
१०
ज़िंदगी से निबाहे जाएँगे
मौत जब तक नज़र नहीं आती
११
अश्क-ए पैहम जिगर नहीं थमते
राह पर चश्म-ए तर नहीं आती
Click here for background and on any passage for word meanings and explanatory discussion. shyaam mohan lal jigar barelavi (1890-1976). He had a long line of urdu and faarsi scholars on both sides of his family. He learnt urdu and faarsi from this grandfather at home and later matriculation in 1911 and BA in 1916 (urdu, faarsi and philosophy). He also followed the family tradition as an educator in schools but soon changed to government administration, progressing to become a Collector, but resigned to participate in the freedom movement, later working as a professor in a junior college. He has several collections of Ghazal and rubaaii to his credit. This Ghazal is linked to Ghalib naqsh-e qadam.
1
maut1 jab tak nazar2 nahiN aati
zindagi raah3 par nahiN aati 1.death 2.be seen, visible 3.raah par aana-come to the straight and narrow, be good
Unless we see/visualize death, life does not come to a focused path.
2
tark1-e tadbiir2 bhi nahiN aasaaN3
raas4 tadbiir2 agar nahiN aati 1.give up, quit 2.methodology, plan 3.easy 4.compatible, agreeable
This is a classic tussle between fate and free will. Plan/methodology-tadbiir represents free will. In usual poetic convention, ‘tadbiir’ is not successful, does not achieve the desired goal (taqdiir-fate determines what you achieve). Faced with failure, the poet wants to give up trying, give up making plans. But even that is not possible unless the plan to give up is compatible with your nature/fate.
3
markaz1-e dil peh jo nahiN qaa’em2
vo nazar3 raah4 par nahiN aati 1.centre, focus 2.steadfast, firm 3.eye, sight 4. raah par aana-come to the straight and narrow, be good
The focus of the heart maybe universal love, mystical love, truth. The eye that is not steadfast towards the focus of the heart cannot follow the straight and narrow path. It wanders aimlessly without a goal.
4
dil ko lazzat1-shanaas2-e Gham kar leN
maut3 ham ko agar nahiN aati 1.pleasure, joy 2.familiar, intimate 3.death
In fatalistic convention, you do not get any joy or any relief from pain as long as you are alive. Said Ghalib …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paae kyuN
But here the poet says, if does does not come i.e., if you don’t die, then what can you do – make the heart familiar with the ‘pleasure of pain’. In poetic convention the pain of love is considered to be of high value and something to be proud of.
5
jis ne teri nazar1 ko dekh liya
us ko duniya nazar2 nahiN aati 1.glance 2.to see
The one who has seen your glance, does not see anything else in the world i.e., he is so captivated by the beloved’s glance that he is blind to the world.
6
voh1 kabhi mehrbaan2 ho jaata
aisi soorat3 nazar4 nahiN aati 1.implied-beloved 2.kind, showing favours 3.method, possibility 4.to see
The poet/lover does not see any way/possibility that the beloved would begin to show favours towards him.
7
jiite ji ke haiN saare haNgaame1
mar ke phir kuchh Khabar2 nahiN aati 1.activity, tumult 2.awareness, news
As long as we are alive there is all this tumult. Once dead, we are not aware of anything.
8
aah1 kya ho gaya zamaane2 ko
ab muravvat3 nazar4 nahiN aati 1.alas 2.times 3.respect, regard, consideration 4.see
Alas what has happened to the times. The old traditions of regard for humanity cannot be seen anywhere.
9
hai unheN to vaqaar1-e ijz-o-niyaaz2
voh tamanna3 jo bar4 nahiN aati 1.dignity 2.humility and supplication 3.desire 4.bar aana-to bear fruit
The poet has a desire that does not bear fruit i.e., the poet desires union with the beloved, but that is not going to happen. This same desire is an expression of the poet’s ‘ijz o niyaaz’ – humility and supplication, and it is a source of pride/dignity for the beloved.
10
zindagi se nibaahe1 jaa’eNge
maut2 jab tak nazar3 nahiN aati 1.fulfil obligations 2.death 3.see
We will keep fulfilling the obligations of life, until we see that death is imminent i.e., only after death will we be relieved of our obligations.
11
ashk1-e paiham2 jigar3 nahiN thamte4
raah5 par chashm-e-tar6 nahiN aati 1.tears 2.continuous 3.pen-name of the poet 4.stop 5.raah par aana-come to the straight and narrow, be good 6.moist/tearful eye
The poet/lover is so sorrowful that his tears do not stop flowing. O jigar, the tearful eye does not follow the straight and narrow path.
shyaam mohan lal jigar barelavi (1890-1976). He had a long line of urdu and faarsi scholars on both sides of his family. He learnt urdu and faarsi from this grandfather at home and later matriculation in 1911 and BA in 1916 (urdu, faarsi and philosophy). He also followed the family tradition as an educator in schools but soon changed to government administration, progressing to become a Collector, but resigned to participate in the freedom movement, later working as a professor in a junior college. He has several collections of Ghazal and rubaaii to his credit. This Ghazal is linked to Ghalib naqsh-e qadam.
1
maut1 jab tak nazar2 nahiN aati
zindagi raah3 par nahiN aati
1.death 2.be seen, visible 3.raah par aana-come to the straight and narrow, be good
Unless we see/visualize death, life does not come to a focused path.
2
tark1-e tadbiir2 bhi nahiN aasaaN3
raas4 tadbiir2 agar nahiN aati
1.give up, quit 2.methodology, plan 3.easy 4.compatible, agreeable
This is a classic tussle between fate and free will. Plan/methodology-tadbiir represents free will. In usual poetic convention, ‘tadbiir’ is not successful, does not achieve the desired goal (taqdiir-fate determines what you achieve). Faced with failure, the poet wants to give up trying, give up making plans. But even that is not possible unless the plan to give up is compatible with your nature/fate.
3
markaz1-e dil peh jo nahiN qaa’em2
vo nazar3 raah4 par nahiN aati
1.centre, focus 2.steadfast, firm 3.eye, sight 4. raah par aana-come to the straight and narrow, be good
The focus of the heart maybe universal love, mystical love, truth. The eye that is not steadfast towards the focus of the heart cannot follow the straight and narrow path. It wanders aimlessly without a goal.
4
dil ko lazzat1-shanaas2-e Gham kar leN
maut3 ham ko agar nahiN aati
1.pleasure, joy 2.familiar, intimate 3.death
In fatalistic convention, you do not get any joy or any relief from pain as long as you are alive. Said Ghalib …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paae kyuN
But here the poet says, if does does not come i.e., if you don’t die, then what can you do – make the heart familiar with the ‘pleasure of pain’. In poetic convention the pain of love is considered to be of high value and something to be proud of.
5
jis ne teri nazar1 ko dekh liya
us ko duniya nazar2 nahiN aati
1.glance 2.to see
The one who has seen your glance, does not see anything else in the world i.e., he is so captivated by the beloved’s glance that he is blind to the world.
6
voh1 kabhi mehrbaan2 ho jaata
aisi soorat3 nazar4 nahiN aati
1.implied-beloved 2.kind, showing favours 3.method, possibility 4.to see
The poet/lover does not see any way/possibility that the beloved would begin to show favours towards him.
7
jiite ji ke haiN saare haNgaame1
mar ke phir kuchh Khabar2 nahiN aati
1.activity, tumult 2.awareness, news
As long as we are alive there is all this tumult. Once dead, we are not aware of anything.
8
aah1 kya ho gaya zamaane2 ko
ab muravvat3 nazar4 nahiN aati
1.alas 2.times 3.respect, regard, consideration 4.see
Alas what has happened to the times. The old traditions of regard for humanity cannot be seen anywhere.
9
hai unheN to vaqaar1-e ijz-o-niyaaz2
voh tamanna3 jo bar4 nahiN aati
1.dignity 2.humility and supplication 3.desire 4.bar aana-to bear fruit
The poet has a desire that does not bear fruit i.e., the poet desires union with the beloved, but that is not going to happen. This same desire is an expression of the poet’s ‘ijz o niyaaz’ – humility and supplication, and it is a source of pride/dignity for the beloved.
10
zindagi se nibaahe1 jaa’eNge
maut2 jab tak nazar3 nahiN aati
1.fulfil obligations 2.death 3.see
We will keep fulfilling the obligations of life, until we see that death is imminent i.e., only after death will we be relieved of our obligations.
11
ashk1-e paiham2 jigar3 nahiN thamte4
raah5 par chashm-e-tar6 nahiN aati
1.tears 2.continuous 3.pen-name of the poet 4.stop 5.raah par aana-come to the straight and narrow, be good 6.moist/tearful eye
The poet/lover is so sorrowful that his tears do not stop flowing. O jigar, the tearful eye does not follow the straight and narrow path.
The post zindagi raah par nahiN aati-shyaam mohan laal jigar barelavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/tchm-aaNkh-bhar-nahiN-aati-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آنکھ بھر نہیں آتی ۔ تلوک چند محرومؔ
۱
جب وہ صورت نظر نہیں آتی
کب میری آنکھ بھر نہیں آتی
۲
کوئے دلدار سے نسیمِ سحر
آتی ہے جب اِدھر نہیں آتی
۳
کیا ہوا سوزِ غم کہ اشکوں سے
بوئے داغِ جگر نہیں آتی
۴
حور سے کیا ملے گا دل واعظ
یاں طبیعت اگر نہیں آتی
۵
موت کو بھی خبر نہیں شاید
کہ وہاں سے خبر نہیں آتی
۶
زندگی یا تو ہے وبال کوئی
یا مجھی کو یہ کر نہیں آتی
۷
شب ہجراں وہ شب ہے جس کے بعد
تا قیامت سحر نہیں آتی
۸
شبِ فرقت کی داستاں ہے طویل
نیند المختصر نہیں آتی
۹
ہے طبیعت تری رسا محرومؔ
تجھ کو اُردو مگر نہیں آتی
आँख भर नहीं आती – तिलोक चंद महरूम
१
जब वो सूरत नज़र नहीं आती
कब मेरी आँख भर नहीं आती
२
कू-ए दिल-दार से नसीम-ए सहर
आती है जब इधर नहीं आती
३
क्या हुआ सोज़-ए ग़म के अश्कों से
बू-ए दाग़-ए जिगर नहीं आती
४
हूर से क्या मिलेगा दिल वा’एज़
याँ तबी’अत अगर नहीं आती
५
मौत को भी ख़बर नहीं शा’एद
के वहाँ से ख़बर नहीं आती
६
ज़िंदगी या तो है वबाल कोई
या मुझी को ये कर नहीं आती
७
शब-ए हिज्राँ वो शब है जिस के बा’द
ता-क़यामत सहर नहीं आती
८
शब-ए फ़ुर्क़त की दास्ताँ है तवील
नींद अल-मुख़्तसर नहीं आती
९
है तबी’अत तेरी रसा महरूम
तुझ को उर्दू मगर नहीं आती
Click here for background and on any passage for word meanings and explanatory discussion. tilok chand mahroom (1887-1955) and his son jagan nath azad are an illustrious father-son team of urdu shu’ara. From miaNvaali (now in pakistan), they migrated to India in 1948, after unsuccessfully trying to remain in lahore. This Ghazal is modeled after Ghalib’s ‘koi ummeed bar nahiN aati’ and is linked to it in the page ‘Ghalib naqsh-e qadam’.
1
jab vo soorat nazar nahiN aati
kab meri aaNkh bhar1 nahiN aati 1.aaNkh bhar aana is eyes well up with tears
When I don’t see that face/image, when do my eyes not well up with tears i.e., they always do.
2
koo1-e dildaar2 se nasiim3-e sahar4
aati hai jab idhar nahiN aati 1.street 2.beloved 3.breeze 4.morning
When the morning breeze blows from the street of the beloved, it never blows towards the poet/lover. The morning breeze blowing from the beloved’s street carries her fragrance. It is that which the poet/lover misses and considers himself unfortunate.
3
kya hua soz1-e Gham2 keh ashkoN3 se
buu4-e daaGh5-e jigar6 nahiN aati 1.fire, passion 2.sorrow 3.tears 4.fragrance 5.wound, scar 6.liver/heart
In urdu poetic tradition, liver is the seat of courage and of blood. Also, the passion of love is intense and causes intense sorrow in the heart. This makes tears of blood flow, hence there is a smell of blood (wound of the liver) in tears. But now it seems that times have changed. Lovers are no longer as passionate as they used to be. They no longer cry tears of blood and there is no smell of the liver in their tears i.e., love is not as intese as it used to be.
4
hoor se kya milega dil vaa’ez1
yaaN tabi’at2 agar nahiN aati 1.preacher 2.tabi’at aana – to be inclined towards, to be attracted to
In urdu poetic tradition the preacher carries a reputation of being a prude, considers it sinful to look at women. Thus, O preacher, if you are not attracted to the beloved in this world how can you expect to get anything from encountering hoor/angel in heaven.
5
maut1 ko bhi Khabar2 nahiN shaa’ed3
keh vahaaN se Khabar2 nahiN aati 1.death 2.awareness, knowledge 3.perhaps
The second misra is probably a bitter statement about the lack of any response/news from the beloved. She never responds to his messages. Perhaps even death does not know this. That is why it is waiting before drawing life out of the poet/lover. The implication is that death is waiting as a courtesy for the poet/lover to hear from the beloved before he dies. Even this courtesy of death becomes a problem for him because his life is too painful to bear and he wishes to die.
6
zindagi yaa1 to hai vabaal2 koi
yaa mujhi ko ye kar3 nahiN aati 1.either, or 2.misfortune, curse 3.tax, payment, dues
Either life is a curse in itself, or it is only I that does not receive its dues.
7
shab-e-hijraaN1 vo shab2 hai jis ke b’aad
ta-qayaamat3 sahar4 nahiN aati 1.night of separation 2.night 3.until doomsday 4.dawn
The night of separation is so long that it lasts forever. Its dawn does not arrive until doomsday i.e., the poet/lover never gets to meet the beloved.
8
shab-e-furqat1 ki daastaaN2 hai taviil3
niiNd al-muKhtasar4 nahiN aati 1.night of separation 2.story 3.long 4.in short
The story of the night of separation is long. Telling that story takes a long time because it never comes to an end. The consequence is that you don’t fall asleep.
9
hai tabii’at1 teri rasaa2 mahroom3
tujh ko urdu magar nahiN aati 1.nature, disposition, character 2.able to reach/grasp/understand, capable, skilful 3.pen-name of the poet
Your nature has the capacity to understand, O mahroom, but you cannot express yourself well because you don’t know urdu. This is a tongue in cheek, self-deprecating statement.
tilok chand mahroom (1887-1955) and his son jagan nath azad are an illustrious father-son team of urdu shu’ara. From miaNvaali (now in pakistan), they migrated to India in 1948, after unsuccessfully trying to remain in lahore. This Ghazal is modeled after Ghalib’s ‘koi ummeed bar nahiN aati’ and is linked to it in the page ‘Ghalib naqsh-e qadam’.
1
jab vo soorat nazar nahiN aati
kab meri aaNkh bhar1 nahiN aati
1.aaNkh bhar aana is eyes well up with tears
When I don’t see that face/image, when do my eyes not well up with tears i.e., they always do.
2
koo1-e dildaar2 se nasiim3-e sahar4
aati hai jab idhar nahiN aati
1.street 2.beloved 3.breeze 4.morning
When the morning breeze blows from the street of the beloved, it never blows towards the poet/lover. The morning breeze blowing from the beloved’s street carries her fragrance. It is that which the poet/lover misses and considers himself unfortunate.
3
kya hua soz1-e Gham2 keh ashkoN3 se
buu4-e daaGh5-e jigar6 nahiN aati
1.fire, passion 2.sorrow 3.tears 4.fragrance 5.wound, scar 6.liver/heart
In urdu poetic tradition, liver is the seat of courage and of blood. Also, the passion of love is intense and causes intense sorrow in the heart. This makes tears of blood flow, hence there is a smell of blood (wound of the liver) in tears. But now it seems that times have changed. Lovers are no longer as passionate as they used to be. They no longer cry tears of blood and there is no smell of the liver in their tears i.e., love is not as intese as it used to be.
4
hoor se kya milega dil vaa’ez1
yaaN tabi’at2 agar nahiN aati
1.preacher 2.tabi’at aana – to be inclined towards, to be attracted to
In urdu poetic tradition the preacher carries a reputation of being a prude, considers it sinful to look at women. Thus, O preacher, if you are not attracted to the beloved in this world how can you expect to get anything from encountering hoor/angel in heaven.
5
maut1 ko bhi Khabar2 nahiN shaa’ed3
keh vahaaN se Khabar2 nahiN aati
1.death 2.awareness, knowledge 3.perhaps
The second misra is probably a bitter statement about the lack of any response/news from the beloved. She never responds to his messages. Perhaps even death does not know this. That is why it is waiting before drawing life out of the poet/lover. The implication is that death is waiting as a courtesy for the poet/lover to hear from the beloved before he dies. Even this courtesy of death becomes a problem for him because his life is too painful to bear and he wishes to die.
6
zindagi yaa1 to hai vabaal2 koi
yaa mujhi ko ye kar3 nahiN aati
1.either, or 2.misfortune, curse 3.tax, payment, dues
Either life is a curse in itself, or it is only I that does not receive its dues.
7
shab-e-hijraaN1 vo shab2 hai jis ke b’aad
ta-qayaamat3 sahar4 nahiN aati
1.night of separation 2.night 3.until doomsday 4.dawn
The night of separation is so long that it lasts forever. Its dawn does not arrive until doomsday i.e., the poet/lover never gets to meet the beloved.
8
shab-e-furqat1 ki daastaaN2 hai taviil3
niiNd al-muKhtasar4 nahiN aati
1.night of separation 2.story 3.long 4.in short
The story of the night of separation is long. Telling that story takes a long time because it never comes to an end. The consequence is that you don’t fall asleep.
9
hai tabii’at1 teri rasaa2 mahroom3
tujh ko urdu magar nahiN aati
1.nature, disposition, character 2.able to reach/grasp/understand, capable, skilful 3.pen-name of the poet
Your nature has the capacity to understand, O mahroom, but you cannot express yourself well because you don’t know urdu. This is a tongue in cheek, self-deprecating statement.
The post aaNkh bhar nahiN aati-tilok chand mahroom appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/bKhdd-aah-e-jigar-nahiN-aati-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آہِ جگر نہیں آتی ۔ سید وحید الدین بیخودؔ دہلوی
۱
دل کی اب کچھ خبر نہیں آتی
لب تک آہِ جگر نہیں آتی
۲
نیند میری رفیقِ ہجراں تھی
یہ بھی اب رات بھر نہیں آتی
۳
محرمِ عشق تھی بنی غمّاز
شرم اے چشمِ تر نہیں آتی
۴
عشق میں کٹ گئی جوانی تو
عمر کٹتی نظر نہیں آتی
۵
بوئے گل کیا قفس سے ڈرتی ہے
کیوں نسیمِ سحر نہیں آتی
۶
مانگتا ہوں دعائیں فرقت میں
موت آئے، مگر نہیں آتی
۷
دل خوشی کے لیے ترستا ہے
بھول کر بھی اِدھر نہیں آتی
۸
سب ہنر یاد ہیں زمانہ کے
ہاں وفا اِک مگر نہیں آتی
۹
شرم نے کیا پڑھا دیا تم کو
آج مجھ تک نظر نہیں آتی
۱۰
دل لیا لطف کی نظر بھی نہ کی
شرم اے مفت بر نہیں آتی
۱۱
ہم بھی پیتے نہیں ہیں مے بیخودؔ
جب گھٹا جھوم کر نہیں آتی
आह-ए जिगर नहीं आती – सय्यद वहीदुद्दीन बेख़ुद देहलवी
१
दिल की अब कुछ ख़बर नहीं आती
लब तक आह-ए जिगर नहीं आती
२
नींद मेरी रफ़ीक़-ए हिज्राँ थी
ये भी अब रात भर नहीं आती
३
महरम-ए इश्क़ थी बनी ग़म्माज़
शर्म अए चश्म-ए तर नहीं आती
४
इश्क़ में कट गई जवानी तो
उमर कटती नज़र नहीं आती
५
बू-ए गुल क्या क़फ़स से डरती है
क्यूँ नसीम-ए सहर नहीं आती
६
माँगता हूँ दुआएं फ़ुर्क़त में
मौत आये, मगर नहीं आती
७
दिल ख़ुशी के लिए तरसता है
भूल कर भी इधर नहीं आती
८
सब हुनर याद हैं ज़माने के
हाँ वफ़ा एक मगर नहीं आती
९
शर्म ने क्या पढ़ा दिया तुम को
आज मुझ तक नज़र नहीं आती
१०
दिल दिया लुत्फ़ की नज़र भी न की
शर्म अए मुफ़्त-बर नहीं आती
११
हम भी पीते नहीं हैं मय बेख़ुद
जब घटा झूम कर नहीं आती
Click here for background and on any passage for word meanings and explanatory discussion. syed vahiduddin ahmed beKhud dehlavi (1863-1955) disciple of daaGh dehlavi, learnt arabi and faarsi from altaaf husain haali. He in turn helped illustrious shaagird including heera lal falak and murli dhar shaad. This Ghazal is modeled after Ghalib’s ‘koii ummeed bar nahiN aati’ and is linked to Ghalib naqsh-e qadam.
1
dil ki ab kuchh Khabar1 nahiN aati
lab2 tak aah3-e jigar4 nahiN aati 1.news, awareness 2.lips, mouth 3.sigh, moan 4.liver-seat of fortitude
In urdu poetic tradition the liver is the seat of forbearance and fortitude. When the pain of unrequited love becomes unbearable then a sigh/moan would emerge from the lips. But for some reason, this has not happened in a long time, so the lover does not know the condition of his own heart. Why has the ‘jigar’ not let out a sigh – it remains for us to guess. Perhaps it is because it has gotten used to the pain, bearing it silently.
2
niind meri rafeeq1-e hijraaN2 thi
yeh bhi ab raat bhar nahiN aati 1.companion, friend 2.separation
During nights of separation, sleep used to be a companion/friend of the lover. But now the pain has gotten so intense that he cannot sleep all night long i.e., sleep is no longer his companion.
3
mahram1-e ishq thi, bani Ghammaaz2
sharm aye chashm3-e tar4 nahiN aati 1.intimate, familiar 2.tale teller, gossip monger 3.eye 4.wet, tearful
The lover’s eye was his friend and trusted confidant, but now it has turned gossip monger and is revealing his secret. Shame on you O tearful eye. Of course, his eyes are tearful because of the pain of love and that is why the whole world knows his secret.
4
ishq meN kaT1 gaii javaani to
umr2 kaTti nazar3 nahiN aati 1.passed 2.life, life-span 3.contextually it means – doesn’t appear like
I passed through youth easily because of love. It doesn’t seem like the rest of life will pass that easily.
5
buu-e gul1 kya qafas2 se Darti hai
kyuN nasiim3-e sahar4 nahiN aati 1.rose 2.cage 3.breeze 4.dawn
The poet is like a bird in a cage. When the bird was free in the garden, the morning breeze blew and brought the fragrance of the rose. Now that he is in a cage, far away from the garden, he does not have that experience. Is the fragrance of the rose afraid of the cage. The morning breeze does not blow here.
6
maaNgta huN duaa’eN furqat1 meN
maut aaye, magar nahiN aati 1.separation
Distressed by separation from the beloved, the lover prays for death but his death ‘does not come’ (this literal translation is awkward in English).
7
dil Khushi ke liye tarasta1 hai
bhool kar bhi idhar nahiN aati 1.thirsts
The heart years/thirsts for happiness/peace/tranquility but even in forgetfulness it (happiness personified) does not turn this way.
8
sab hunar1 yaad haiN zamaane2 ke
haaN vafa3 ek magar nahiN aati 1.skill, talent 2.times, age 3.fidelity, keeping promises
The beloved is notorious for making promises but ignoring them. Thus, she remembers/knows all the skills/arts of the time except she does not know how to keep her promise.
9
sharm1 ne kya paRha diya tum ko
aaj mujh tak nazar2 nahiN aati 1.shyness, coyness 2.glance
What has shyness taught you today. Your eyes are not raised, your glance does not get directed towards me.
10
dil diya lutf1 ki nazar2 bhi na kii
sharm3 aye muft-bar4 nahiN aati 1.grace, elegance, kindness 2.glance 3.shame 4.free-loader
The implication is that if you take the heart you have to give something in return. Thus, I gave you my heart, you did not even give me a look of kindness. Are you not ashamed of being a free-loader.
11
ham bhi piite nahiN haiN mai1 beKhud2jab ghaTa3 jhoom kar nahiN aati 1.wine 2.pen-name of the poet 3.rain clouds
In poetic convention, spring is the time of festivities. It also coincides with the arrival of rain. Thus, whenever rain clouds appear in the sky, the poet/lover celebrates, calling for wine to drink. Thus, O beKhud, I too, don’t drink wine, unless dark, rainy clouds swirl in the sky.
syed vahiduddin ahmed beKhud dehlavi (1863-1955) disciple of daaGh dehlavi, learnt arabi and faarsi from altaaf husain haali. He in turn helped illustrious shaagird including heera lal falak and murli dhar shaad. This Ghazal is modeled after Ghalib’s ‘koii ummeed bar nahiN aati’ and is linked to Ghalib naqsh-e qadam.
1
dil ki ab kuchh Khabar1 nahiN aati
lab2 tak aah3-e jigar4 nahiN aati
1.news, awareness 2.lips, mouth 3.sigh, moan 4.liver-seat of fortitude
In urdu poetic tradition the liver is the seat of forbearance and fortitude. When the pain of unrequited love becomes unbearable then a sigh/moan would emerge from the lips. But for some reason, this has not happened in a long time, so the lover does not know the condition of his own heart. Why has the ‘jigar’ not let out a sigh – it remains for us to guess. Perhaps it is because it has gotten used to the pain, bearing it silently.
2
niind meri rafeeq1-e hijraaN2 thi
yeh bhi ab raat bhar nahiN aati
1.companion, friend 2.separation
During nights of separation, sleep used to be a companion/friend of the lover. But now the pain has gotten so intense that he cannot sleep all night long i.e., sleep is no longer his companion.
3
mahram1-e ishq thi, bani Ghammaaz2
sharm aye chashm3-e tar4 nahiN aati
1.intimate, familiar 2.tale teller, gossip monger 3.eye 4.wet, tearful
The lover’s eye was his friend and trusted confidant, but now it has turned gossip monger and is revealing his secret. Shame on you O tearful eye. Of course, his eyes are tearful because of the pain of love and that is why the whole world knows his secret.
4
ishq meN kaT1 gaii javaani to
umr2 kaTti nazar3 nahiN aati
1.passed 2.life, life-span 3.contextually it means – doesn’t appear like
I passed through youth easily because of love. It doesn’t seem like the rest of life will pass that easily.
5
buu-e gul1 kya qafas2 se Darti hai
kyuN nasiim3-e sahar4 nahiN aati
1.rose 2.cage 3.breeze 4.dawn
The poet is like a bird in a cage. When the bird was free in the garden, the morning breeze blew and brought the fragrance of the rose. Now that he is in a cage, far away from the garden, he does not have that experience. Is the fragrance of the rose afraid of the cage. The morning breeze does not blow here.
6
maaNgta huN duaa’eN furqat1 meN
maut aaye, magar nahiN aati
1.separation
Distressed by separation from the beloved, the lover prays for death but his death ‘does not come’ (this literal translation is awkward in English).
7
dil Khushi ke liye tarasta1 hai
bhool kar bhi idhar nahiN aati
1.thirsts
The heart years/thirsts for happiness/peace/tranquility but even in forgetfulness it (happiness personified) does not turn this way.
8
sab hunar1 yaad haiN zamaane2 ke
haaN vafa3 ek magar nahiN aati
1.skill, talent 2.times, age 3.fidelity, keeping promises
The beloved is notorious for making promises but ignoring them. Thus, she remembers/knows all the skills/arts of the time except she does not know how to keep her promise.
9
sharm1 ne kya paRha diya tum ko
aaj mujh tak nazar2 nahiN aati
1.shyness, coyness 2.glance
What has shyness taught you today. Your eyes are not raised, your glance does not get directed towards me.
10
dil diya lutf1 ki nazar2 bhi na kii
sharm3 aye muft-bar4 nahiN aati
1.grace, elegance, kindness 2.glance 3.shame 4.free-loader
The implication is that if you take the heart you have to give something in return. Thus, I gave you my heart, you did not even give me a look of kindness. Are you not ashamed of being a free-loader.
11
ham bhi piite nahiN haiN mai1 beKhud2jab ghaTa3 jhoom kar nahiN aati
1.wine 2.pen-name of the poet 3.rain clouds
In poetic convention, spring is the time of festivities. It also coincides with the arrival of rain. Thus, whenever rain clouds appear in the sky, the poet/lover celebrates, calling for wine to drink. Thus, O beKhud, I too, don’t drink wine, unless dark, rainy clouds swirl in the sky.
The post aah-e jigar nahiN aati-beKhud dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/dGhd-magar-nahiN-aati-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مگر نہیں آتی ۔ داغؔ دہلوی
۱
وہ نگہ راہ پر نہیں آتی
نظر آتی نظر نہیں آتی
۲
دلبروں پر طبیعت آتی ہے
اس طرح اس قدر نہیں آتی
۳
کوچہ یار ہی میں بیٹھ رہی
او قیامت ادھر نہیں آتی
۴
حسن مجرم رہا کہ عشق رہا
غیب کی کچھ خبر نہیں آتی
۵
کیا رکے اُس نگاہِ شوخ کی چوٹ
آتے جائے نظر نہیں آتی
۶
گو طبیعت ہے اس کی ہرجائی
پر مری راہ پر نہیں آتی
۷
قتل پر اپنے باندھ دیتے ہم
ہاتھ اُن کی کمر نہیں آتی
۸
دل کے لینے کی گھات ہے کچھ اور
یہ تجھے مفت بر نہیں آتی
۹
حال معلوم ہے قیامت کا
بات کہنے میں پر نہیں آتی
۱۰
آگے آتی تھی یاد بھی تیری
اب کبھی بھول کر نہیں آتی
۱۱
مر گِ عاشق ہے کس قدر آساں
نوبتِ چارہ گر نہیں آتی
۱۲
حضرت دل اور اُن سے حال کہیں
موت کہہ کر مگر نہیں آتی
۱۳
گل ہرے ہو گئے چمن میں داغؔ
تجھ پہ رونق مگر نہیں آتی
मगर नहीं आती – तिलोक चंद महरूम
१
वो निगह राह पर नहीं आती
नज़र आती नज़र नहीं आती
२
दिलबरों पर तबियत आती है
इस तरह इस कदर नहीं आती
३
कूचा-ए यार ही में बैठ रही
ओ क़यामत इधर नहीं आती
४
हुस्न मुज्रिम रहा के इश्क़ रहा
ग़ैब की कुछ ख़बर नहीं आतीं
५
क्या रुके उस निगाह-ए शूख़ की चोट
आते जाते नज़र नहीं आती
६
गो तबियत है उसकी हरजाई
पर मेरी राह पर नहीं आती
७
क़त्ल पर अपने बांध देते हम
हाथ उन की कमर नहीं आती
८
दिल के लाने की घात है कुछ और
ये तुझे मुफ़्त बर नहीं आती
९
हाल म’आलूम है क़यामत का
बात कहने में पर नहीं आती
१०
आगे आती थी याद भी तेरी
अब कभी भूल कर नहीं आती
११
मर्ग-ए आशेक़ है किस क़दर आसां
नौबत-ए चारागर नहीं आती
१२
हज़्रत-ए दिल और उन से हाल कहें
मौत कह कर मगर नहीं आती
१३
गुल हरे हो गए चमन में दाग़
तुझ पे रौनक़ मगर नहीं आती
Click here for background and on any passage for word meanings and explanatory discussion. daaGh dehlavi (1831-1905), grandson through marriage of his mother to the son of bahadur shah zafar. After 1857, he had to move to rampur and later to hyderabad, where he died. His Ghazal are more earthy and romantic than sufiyaana or philosophical. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib and wrote this Ghazal in the bahr of Ghalib, using many of the same phrases. It is linked to Ghalib naqsh-e qadam and to Ghalib peshrau-ham-asr.
1
voh nig’h1 raah2 par nahiN aati
nazar3 aati nazar nahiN aati 1.glance, eyes 2.raah par aana-an expression meaning coming on the straight and narrow path, being within bounds 3.to be seen
The beloved’s glance is mischievous and furtive. It plays games with her lovers and gives them grief. The poet does not see the beloved’s glance coming to the straight and narrow path, within bounds of accepted behaviour. The poet has also failed to see the furtive glance, because it is subtle and it comes and goes in a flash.
2
dilbaroN1 par tabi’at2 aati hai
uss tarah3 uss qadar4 nahiN aati 1.beautiful damsels 2.tabi’at aana-to be attracted to 3.like, similar to 4.so much
The poet is attracted to beautiful damsels but that way and not that much. The use of non-contextual pronouns makes it difficult and delightful to interpret. Does he mean he is not attracted as much as he used to in his youth, or does he mean that he is not attracted to them as much as he is attracted to the beloved.
3
koocha1-e yaar2 hi meN baiTh rahi
o qayaamat3 idhar nahiN aati 1.street 2.friend, beloved 3.tumult, doomsday
The tumult of doomsday has settled down in the street of the beloved. It does not come towards where the lover is. This is a total mystery to me. Why is the poet/lover not in the street of the beloved himself. Why does he want the the tumult to come to him. Why has the tumult settled in the street of the beloved.
4
husn1 mujrim2 raha keh ishq3 raha
Ghaib4 ki kuchh Khabar5 nahiN aati 1.beauty-beloved 2.blameworthy 3.love-poet/lover 4.the domain beyond, mysterious 5.news, judgment
There is a constant struggle between the beloved and the lover about who is to blame – the beloved for her cruelty and indifference or the lover for not being stoic enough or for not paying exclusive attention. The struggle and blame goes on in the world of love, but mysterious powers don’t seem to intervene, don’t seem to pronounce judgment.
5
kya rukay uss nigaah1-e shooKh2 ki choT3
aatay-jaatay4 nazar5 nahiN aati 1.glance 2.teasing 3.hurt, wound 4.coming and going, casual observation 5.be seen
The beloved shoots arrows with her coquettish/teasing glances. How can anyone escape being hit by these arrows, how can they escape the wounds. No one can see the arrow coming or going.
6
go2 tabi’at2 hai uss ki harjaaii3
par meri raah par nahiN aati 1.even though 2.nature, habits, mood 3.‘every placer’ i.e., one who frequents this place and that indiscrimately, unfaithful
This is a reflection of the lover’s jealousy. He thinks that the beloved goes everywhere, visiting all his rivals even though they are not ‘true lovers’. Even though she is a ‘harjaaii’, she never comes towards his path i.e., to his house.
7
qatl1 par apnay baandh2 detay ham
haath un ki kamar nahiN aati 1.killing 2.kamar baandhna-to be determined to do something
There is an interesting word play here associated with the waist of the beloved. The height of beauty is that the beloved has no waistline. So, in a literal sense, kamar baandhna – to tie something around the waist is not possible. But kamar baandhna also means to determined to do something. Also, it is an honour and a highly desirable thing for the lover that he be killed at the hands of the beloved. Thus, I would have made her determined to kill me, but I cannot get hold of her waist. English translation falls flat.
8
dil ke lenay ki ghaat1 hai kuchh aur
yeh tujhe muft2 bar3 nahiN aati 1.mode, manner, method 2.free 3.bear fruit
This is probably the lover addressing the beloved in a very unusual tone. Normally, he gives his heart freely and without any effort on her part. Here he says that the methodology of winning hearts is something else. Your desire (to win my heart) will not bear fruit free of charge. He wants something in return but does not specify what.
9
haal1 m’aaloom2 hai qayaamat3 ka
baat kahnay meN par nahiN aati 1.condition 2.known 3.doomsday
The conditions of doomsday are well known. But this is a topic that cannot be spoken about. The poet leaves for us to guess a lot. He may be talking about the conventional picture of doomsday when the beloved will have to face the lover and answer for all the cruelties that she has inflicted on him. But this is something that cannot be talked about at this time.
10
aagay1 aati thi yaad bhi teri
ab kabhi bhool kar nahiN aati 1.in the past
Memories used to rise in the mind of the lover in the past. But now they don’t even by mistake. Perhaps the only beauty of this she’r is the juxtaposition of ‘yaad’ and ‘bhool’. Ghalib’s similar she’r but of a completely meaning …
aagay aati thii haal-e dil pe haNsii
ab kisii baat par nahiN aati
11
marg1-e aashiq hai kis qadar2 aasaaN3
naubat4-e chaaragar5 nahiN aati 1.death, killing 2.so much 3.easy 4.time, turn, occasion 5.healer
It is so easy to kill off the lover. Even the occasion to call the healer does not arise.
12
hazrat1-e dil aur unn se haal2 kaheN
maut3 kah kar magar nahiN aati 1.honourific like ‘sir’ or ‘mister’ 2.condition 3.death
While the poet uses an honourific to talk about his heart, he really means ‘my poor heart’. Thus, my poor heart and tell her its condition. Death does not give you any advance notice of its coming. This probably means that if he were to describe his condition to the beloved she would kill him without any warning.
13
gul1 harey2 ho gaye chaman meN daaGh3
tujh peh raunaq4 magar nahiN aati 1.flowers 2.green, fresh 3.pen-name of the poet 4.glow, happiness, brilliance
This is probably a description of the arrival of spring. I doesn’t make sense to say that flowers have turned green. ‘green’ is used here to mean – freshly emerging as in spring. Thus, O daaGh, spring has arrived in the garden, but you don’t seem to be happy.
daaGh dehlavi (1831-1905), grandson through marriage of his mother to the son of bahadur shah zafar. After 1857, he had to move to rampur and later to hyderabad, where he died. His Ghazal are more earthy and romantic than sufiyaana or philosophical. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib and wrote this Ghazal in the bahr of Ghalib, using many of the same phrases. It is linked to Ghalib naqsh-e qadam and to Ghalib peshrau-ham-asr.
1
voh nig’h1 raah2 par nahiN aati
nazar3 aati nazar nahiN aati
1.glance, eyes 2.raah par aana-an expression meaning coming on the straight and narrow path, being within bounds 3.to be seen
The beloved’s glance is mischievous and furtive. It plays games with her lovers and gives them grief. The poet does not see the beloved’s glance coming to the straight and narrow path, within bounds of accepted behaviour. The poet has also failed to see the furtive glance, because it is subtle and it comes and goes in a flash.
2
dilbaroN1 par tabi’at2 aati hai
uss tarah3 uss qadar4 nahiN aati
1.beautiful damsels 2.tabi’at aana-to be attracted to 3.like, similar to 4.so much
The poet is attracted to beautiful damsels but that way and not that much. The use of non-contextual pronouns makes it difficult and delightful to interpret. Does he mean he is not attracted as much as he used to in his youth, or does he mean that he is not attracted to them as much as he is attracted to the beloved.
3
koocha1-e yaar2 hi meN baiTh rahi
o qayaamat3 idhar nahiN aati
1.street 2.friend, beloved 3.tumult, doomsday
The tumult of doomsday has settled down in the street of the beloved. It does not come towards where the lover is. This is a total mystery to me. Why is the poet/lover not in the street of the beloved himself. Why does he want the the tumult to come to him. Why has the tumult settled in the street of the beloved.
4
husn1 mujrim2 raha keh ishq3 raha
Ghaib4 ki kuchh Khabar5 nahiN aati
1.beauty-beloved 2.blameworthy 3.love-poet/lover 4.the domain beyond, mysterious 5.news, judgment
There is a constant struggle between the beloved and the lover about who is to blame – the beloved for her cruelty and indifference or the lover for not being stoic enough or for not paying exclusive attention. The struggle and blame goes on in the world of love, but mysterious powers don’t seem to intervene, don’t seem to pronounce judgment.
5
kya rukay uss nigaah1-e shooKh2 ki choT3aatay-jaatay4 nazar5 nahiN aati
1.glance 2.teasing 3.hurt, wound 4.coming and going, casual observation 5.be seen
The beloved shoots arrows with her coquettish/teasing glances. How can anyone escape being hit by these arrows, how can they escape the wounds. No one can see the arrow coming or going.
6
go2 tabi’at2 hai uss ki harjaaii3
par meri raah par nahiN aati
1.even though 2.nature, habits, mood 3.‘every placer’ i.e., one who frequents this place and that indiscrimately, unfaithful
This is a reflection of the lover’s jealousy. He thinks that the beloved goes everywhere, visiting all his rivals even though they are not ‘true lovers’. Even though she is a ‘harjaaii’, she never comes towards his path i.e., to his house.
7
qatl1 par apnay baandh2 detay ham
haath un ki kamar nahiN aati
1.killing 2.kamar baandhna-to be determined to do something
There is an interesting word play here associated with the waist of the beloved. The height of beauty is that the beloved has no waistline. So, in a literal sense, kamar baandhna – to tie something around the waist is not possible. But kamar baandhna also means to determined to do something. Also, it is an honour and a highly desirable thing for the lover that he be killed at the hands of the beloved. Thus, I would have made her determined to kill me, but I cannot get hold of her waist. English translation falls flat.
8
dil ke lenay ki ghaat1 hai kuchh aur
yeh tujhe muft2 bar3 nahiN aati
1.mode, manner, method 2.free 3.bear fruit
This is probably the lover addressing the beloved in a very unusual tone. Normally, he gives his heart freely and without any effort on her part. Here he says that the methodology of winning hearts is something else. Your desire (to win my heart) will not bear fruit free of charge. He wants something in return but does not specify what.
9
haal1 m’aaloom2 hai qayaamat3 ka
baat kahnay meN par nahiN aati
1.condition 2.known 3.doomsday
The conditions of doomsday are well known. But this is a topic that cannot be spoken about. The poet leaves for us to guess a lot. He may be talking about the conventional picture of doomsday when the beloved will have to face the lover and answer for all the cruelties that she has inflicted on him. But this is something that cannot be talked about at this time.
10
aagay1 aati thi yaad bhi teri
ab kabhi bhool kar nahiN aati
1.in the past
Memories used to rise in the mind of the lover in the past. But now they don’t even by mistake. Perhaps the only beauty of this she’r is the juxtaposition of ‘yaad’ and ‘bhool’. Ghalib’s similar she’r but of a completely meaning …
aagay aati thii haal-e dil pe haNsii
ab kisii baat par nahiN aati
11
marg1-e aashiq hai kis qadar2 aasaaN3
naubat4-e chaaragar5 nahiN aati
1.death, killing 2.so much 3.easy 4.time, turn, occasion 5.healer
It is so easy to kill off the lover. Even the occasion to call the healer does not arise.
12
hazrat1-e dil aur unn se haal2 kaheN
maut3 kah kar magar nahiN aati
1.honourific like ‘sir’ or ‘mister’ 2.condition 3.death
While the poet uses an honourific to talk about his heart, he really means ‘my poor heart’. Thus, my poor heart and tell her its condition. Death does not give you any advance notice of its coming. This probably means that if he were to describe his condition to the beloved she would kill him without any warning.
13
gul1 harey2 ho gaye chaman meN daaGh3
tujh peh raunaq4 magar nahiN aati
1.flowers 2.green, fresh 3.pen-name of the poet 4.glow, happiness, brilliance
This is probably a description of the arrival of spring. I doesn’t make sense to say that flowers have turned green. ‘green’ is used here to mean – freshly emerging as in spring. Thus, O daaGh, spring has arrived in the garden, but you don’t seem to be happy.
The post magar nahiN aati-daaGh dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/klshk-nehru-faKhr-e-insaaniyat-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
نہرو۔فخرِ اِنسانیت ۔ کنول لعل شرما کنولؔ
۱
بہار اپنی فضا اپنی گل اپنے گلستاں اپنا
جہاں چاہیں بنا لیں گے وہیں اب آشیاں اپنا
۲
زہے تقدیر اپنے باغ میں ہے باغباں اپنا
خزاں میں بھی اجڑ سکتا نہیں اب گلستاں اپنا
۳
نہ ہوگا تجھ سا کوئی اے جواہر پاسباں اپنا
تیرے دم سے ہے بامِ اوج پر قومی نشاں اپنا
۴
سنائیں اب کسے ہم قِصّۂ دردِ نہاں اپنا
نہیں تیرے سوا کوئی جہاں میں مہرباں اپنا
۵
بٹھایا ہے تیری نظروں نے ایسا نقش ہر دل پر
مٹانے سے بھی مٹ سکتا نہیں نام و نشاں اپنا
۶
دیا پیغامِ امن و آشتی ایسا زمانے کو
جسے بھی دیکھیے اب ہو گیا ہے ہم زباں اپنا
۷
قیادت کر رہا ہے اے جواہر لعل تو جس کی
ہزاروں منزلیں طے کر چکا وہ کارواں اپنا
۸
وطن والوں کی لاکھوں مشکلیں آسان کر ڈالیں
بجا ہے ناز اگر تجھ پر کرے عزمِ جواں اپنا
۹
بڑی ہمت سے تو نے بیڑیاں کاٹیں غلامی کی
تیرے دم سے وطن میں ہو گیا سِکّہ رواں اپنا
۱۰
ہمیں اب قصرِ آزادی کو یوں تعمیر کرنا ہے
جسے دیکھیں تو سب اہلِ وطن سمجھیں مکاں اپنا
۱۱
ترقی کا یہی عالم رہا تو اے وطن والو
عجب کیا اور بھی ممتاز ہو ہندوستاں اپنا
۱۲
نہیں ہیں مشکلیں اب اے کنولؔ راہِ ترقّی میں
نڈر ہو کر چلے منزل بہ منزل کارواں اپنا
नहरू-फ़ख़्र-ए इन्सानियत – कंवल लाल शर्मा कंवल
१
बहार अपनी, फ़ज़ा अपनी, गुल अपने गुल्सितां अपना
जहाँ चाहें बना लें गे वहीं अब आशियाँ अपना
२
ज़हे तक़्दीर अपने बाग़ में है बाग़बाँ अपना
ख़िज़ाँ में भी उजढ सकता नहीं अब गुल्सितां अपना
३
न होगा तुझ सा कोई अए जवाहर पासबाँ अपना
तेरे दम से है बाम-ए औज पर क़ौमी निशाँ अपना
४
सुनाएँ अब किसे हम क़िस्सा-ए दर्द-ए नेहाँ अपना
नहीं तेरे सिवा कोई जहाँ में महरबाँ अपना
५
बिठाया है तेरी नज़्रों ने ऐसा नक़्श हर दिल पर
मिटाने से भी मिट सकता नहीं नाम-ओ-निशाँ अपना
६
दिया पैग़ाम-ए अमन-ओ-आश्ती ऐसा ज़माने को
जिसे भी देखिए अब हो गया है हम-ज़बाँ अपना
७
क़यादत कर रहा है अए जवाहर लाल तू जिस की
हज़ारों मंज़िलें तय कर चुका वो कारवाँ अपना
८
वतन वालों की लाखों मुश्किलें आसान कर डालें
बजा है नाज़ अगर तुझ पर करे अज़्म-ए जवाँ अपना
९
बढी हिम्मत से तू ने बेढियाँ काटीं ग़ुलामी की
तेरे दम से वतन में हो गया सिक्का रवाँ अपना
१०
हमें अब क़स्र-ए आज़ादी को यूँ तामीर करना है
जिसे देखें तो सब अहल-ए वतन समझें मकाँ अपना
११
तरक़्क़ी का यही आलम रहा तो अए वतन वालो
अजब क्या और भी मुम्ताज़ हो हिन्दोस्ताँ अपना
१२
नहीं हैं मुश्किलें अब अए कंवल राह-ए तरक़्क़ी में
निडर हो कर चले मंज़िल-ब-मंज़िल कारवाँ अपना
Click here for background and on any passage for word meanings and explanatory discussion. kaNval laal sharma kaNval ambaalavi (1921-xxxx), professor at Gandhi Memorial National College, ambaala and later at aatmaram sanaatan dharm college, dehli. He did have an MA, but I could not figure out what it was in. He was a shaagird of josh malsiani and composed Ghazal, nazm and rubaaii with two published collections with the second one dated 1981. I tried to find out how he came to urdu, but could not. This nazm, a tribute to nehru is linked to nehru Khiraaj on the Theme Index page.
1
bahaar1 apni fazaa2 apni gul apne gulsitaaN apna
jahaaN chaaheN bana leNge vahiiN ab aashiyaaN3 apna 1.spring 2.air, surroundings 3.nest, home
The spring is ours, the air and surroundings belong to us; we will be able to build our homes wherever we want.
2
zah’e1 taqdiir2 apne baaGh meN hai baaGhbaaN apna
khizaaN3 meN bhi ujaR4 sakta nahiiN ab gulsitaaN apna 1.felicitations 2.fortune 3.autumn, dry season 4.destroyed, become barren
Felicitations, it our good fortune that in our garden, the gardener is one of our own. Now our garden will not go barren even in the dry season.
3
na hoga tujh sa koi aye javaahar1 paasbaaN2 apna
tere dam3 se hai baam4-e auj5 par qaumi6 nishaaN7 apna 1.javaahar l’aal nehru 2.protector, guardian, guide 3.power, dignity 4.roof 5.peak 6.national 7.symbol
O javaahar there cannot be another guardian/guide like you. It is because of your dignity that the national symbol flies high with pride.
4
sunaa’eN ab kise hum qissa1-e dard2-e nehaaN3 apna
nahiiN tere siva4 koi jahaaN5 meN mehrbaaN6 apna 1.story, tale 2.pain, sorrow 3.inner, hidden 4.except for 5.world 6.benefactor, guardian
To whom except you can we relate the story of our inner sorrow. There is no one else other than you in this world who is our guide.
5
biThaaya hai teri nazroN1 ne aisa naqsh2 har dil par
miTaane3 se bhi miT sakta nahiiN naam-o-nishaaN4 apna 1.vision, farsightedness 2.mark, stamp 3.erasing 4.name and reputation
Your farsighted vision has stamped on every heart such a mark of our name and reputation that no amount of trying can erase it.
6
diya paiGhaam1-e amn-o-aashti2 aisa zamaane3 ko
jise bhi dekhiye ab ho gaya hai hum-zabaaN4 apna 1.message 2.peace and tranquility 3.times, world 4.same words, in agreement
You have given such a message of peace and tranquility to the world that wherever you turn, people are in agreement with us.
7
qiyaadat1 kar raha hai aye javaahar l’aal2 tu jis ki
hazaaroN manzileN3 ta’e4 kar chuka voh kaarvaaN apna 1.leadership 2.nehru 3.stages along the journey, goals
You are providing such leadership to our caravan, O javaahar l’aal, that we have passed through many hurdles, achieved many goals along our journey.
8
vatan1 vaaloN ki laakhoN mushkileN2 aasaan3 kar DaaleN
bajaa4 hai naaz5 agar tujh par kare azm-e-javaaN6 apna 1.homeland 2.difficulties 3.easy 4.appropriate, justified 5.pride 6.youthful/strong resolve
Pride in our strong resolve is well deserved for (with your leadership) it can easily overcome the many difficulties of the people of our homeland.
9
baRi himmat1 se tuu ne beRiyaaN2 kaaTiiN Ghulaami3 ki
tere dam4 se vatan5 meN ho gaya sikka-ravaaN6 apna 1.courage 2.shackles 3.slavery 4.power, status 5.homeland 6.an expression meaning – become accepted/effective/respected
With such courage did you cut the shackles of slavery that because of your dignity/status our word is respected throughout the homeland.
10
hameN ab qasr1-e aazaadi ko yuN t’aamiir2 karna hai
jise dekheN to sab ahl-e-vatan3 samjheN makaaN4 apna 1.palace 2.build, construct 3.people of the homeland 4.home, house
Now we have to build the palace of freedom in such a way that all the people of the homeland consider it their own home.
11
taraqqi1 ka yahi aalam2 raha to aye vatan3 vaalo
ajab4 kya aur bhi mumtaaz5 ho hindostaaN apna 1.progress 2.condition 3.homeland 4.surprising 5.respected, exalted
If the condition/pace of progress remains just like this, then O people of the homeland, why would it be surprising that our country become even more respected.
12
nahiiN haiN mushkileN1 ab aye kaNval2 raah-e-taraqqi3 meN
niDar4 ho kar chale manzil-ba-manzil5 karvaaN apna 1.difficulties, hurdles 2.pen-name of the poet 3.path of progress 4.fearless, courageooud 5.stage by stage, goal by goal
O kaNval, if we fearlessly travel the path of progress stage by stage, then there will be insurmountable hurdles in our way.
kaNval laal sharma kaNval ambaalavi (1921-xxxx), professor at Gandhi Memorial National College, ambaala and later at aatmaram sanaatan dharm college, dehli. He did have an MA, but I could not figure out what it was in. He was a shaagird of josh malsiani and composed Ghazal, nazm and rubaaii with two published collections with the second one dated 1981. I tried to find out how he came to urdu, but could not. This nazm, a tribute to nehru is linked to nehru Khiraaj on the Theme Index page.
1
bahaar1 apni fazaa2 apni gul apne gulsitaaN apna
jahaaN chaaheN bana leNge vahiiN ab aashiyaaN3 apna
1.spring 2.air, surroundings 3.nest, home
The spring is ours, the air and surroundings belong to us; we will be able to build our homes wherever we want.
2
zah’e1 taqdiir2 apne baaGh meN hai baaGhbaaN apna
khizaaN3 meN bhi ujaR4 sakta nahiiN ab gulsitaaN apna
1.felicitations 2.fortune 3.autumn, dry season 4.destroyed, become barren
Felicitations, it our good fortune that in our garden, the gardener is one of our own. Now our garden will not go barren even in the dry season.
3
na hoga tujh sa koi aye javaahar1 paasbaaN2 apna
tere dam3 se hai baam4-e auj5 par qaumi6 nishaaN7 apna
1.javaahar l’aal nehru 2.protector, guardian, guide 3.power, dignity 4.roof 5.peak 6.national 7.symbol
O javaahar there cannot be another guardian/guide like you. It is because of your dignity that the national symbol flies high with pride.
4
sunaa’eN ab kise hum qissa1-e dard2-e nehaaN3 apna
nahiiN tere siva4 koi jahaaN5 meN mehrbaaN6 apna
1.story, tale 2.pain, sorrow 3.inner, hidden 4.except for 5.world 6.benefactor, guardian
To whom except you can we relate the story of our inner sorrow. There is no one else other than you in this world who is our guide.
5
biThaaya hai teri nazroN1 ne aisa naqsh2 har dil par
miTaane3 se bhi miT sakta nahiiN naam-o-nishaaN4 apna
1.vision, farsightedness 2.mark, stamp 3.erasing 4.name and reputation
Your farsighted vision has stamped on every heart such a mark of our name and reputation that no amount of trying can erase it.
6
diya paiGhaam1-e amn-o-aashti2 aisa zamaane3 ko
jise bhi dekhiye ab ho gaya hai hum-zabaaN4 apna
1.message 2.peace and tranquility 3.times, world 4.same words, in agreement
You have given such a message of peace and tranquility to the world that wherever you turn, people are in agreement with us.
7
qiyaadat1 kar raha hai aye javaahar l’aal2 tu jis ki
hazaaroN manzileN3 ta’e4 kar chuka voh kaarvaaN apna
1.leadership 2.nehru 3.stages along the journey, goals
You are providing such leadership to our caravan, O javaahar l’aal, that we have passed through many hurdles, achieved many goals along our journey.
8
vatan1 vaaloN ki laakhoN mushkileN2 aasaan3 kar DaaleN
bajaa4 hai naaz5 agar tujh par kare azm-e-javaaN6 apna
1.homeland 2.difficulties 3.easy 4.appropriate, justified 5.pride 6.youthful/strong resolve
Pride in our strong resolve is well deserved for (with your leadership) it can easily overcome the many difficulties of the people of our homeland.
9
baRi himmat1 se tuu ne beRiyaaN2 kaaTiiN Ghulaami3 ki
tere dam4 se vatan5 meN ho gaya sikka-ravaaN6 apna
1.courage 2.shackles 3.slavery 4.power, status 5.homeland 6.an expression meaning – become accepted/effective/respected
With such courage did you cut the shackles of slavery that because of your dignity/status our word is respected throughout the homeland.
10
hameN ab qasr1-e aazaadi ko yuN t’aamiir2 karna hai
jise dekheN to sab ahl-e-vatan3 samjheN makaaN4 apna
1.palace 2.build, construct 3.people of the homeland 4.home, house
Now we have to build the palace of freedom in such a way that all the people of the homeland consider it their own home.
11
taraqqi1 ka yahi aalam2 raha to aye vatan3 vaalo
ajab4 kya aur bhi mumtaaz5 ho hindostaaN apna
1.progress 2.condition 3.homeland 4.surprising 5.respected, exalted
If the condition/pace of progress remains just like this, then O people of the homeland, why would it be surprising that our country become even more respected.
12
nahiiN haiN mushkileN1 ab aye kaNval2 raah-e-taraqqi3 meN
niDar4 ho kar chale manzil-ba-manzil5 karvaaN apna
1.difficulties, hurdles 2.pen-name of the poet 3.path of progress 4.fearless, courageooud 5.stage by stage, goal by goal
O kaNval, if we fearlessly travel the path of progress stage by stage, then there will be insurmountable hurdles in our way.
The post nehru-faKhr-e insaaniyat-kaNval l’aal sharma kaNval appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/kakaa-zamaana-uss-ko-bhula-na-de-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2024/11/kakaa-zamaana-uss-ko-bhula-na-de-kaleem-aajiz.mp3
kaleem aajiz
- اُردو
- देवनागरी
- Roman
- Notes
زمانہ اُس کو بھلا نہ دے ۔ کلیم احمد کلیم عاجزؔ
۱
مرا حال پوچھ کے ہم نشیں مرے سوزِ دل کو ہوا نہ دے
بس یہی دعا میں کروں ہوں اب کہ یہ غم کسی کو خدا نہ دے
۲
یہ جو زخم دل کو پکائے ہم لئے پھر رہے ہیں چھپائے ہم
کوئی ناشناسِ مزاجِ غم کہیں ہاتھ اُس کو لگا نہ دے
۳
تو جہاں سے آج ہے نکتہ چیں کبھی مدّتوں میں رہا وہیں
میں گدائے راہ گزر نہیں مجھے دور ہی سے صدا نہ دے
۴
تب و تاب عشق کا ہے کرم کہ جمی ہے محفل چشم نم
ذرا دیکھیو اے ہوائے غم یہ چراغ کوئی بجھا نہ دے
۵
وہ جو شاعری کا سبب ہوا وہ معاملہ بھی عجب ہوا
میں غزل سناؤں ہوں اس لئے کہ زمانہ اُس کو بھلا نہ دے
ज़माना उस को भुला न दे – कलीम अहमद कलीम आजेज़
१
मेरा हाल पूछ के हम-नशीं मेरे सोज़-ए दिल को हवा न दे
बस यही दु’आ मैं करूँ हूँ अब के ये ग़म किसी को ख़ुदा न दे
२
ये जो ज़ख़्म-ए दिल को पकाए हम लिए फिर रहे हैं छुपाए हम
कोई ना-शनास-ए मिज़ाज-ए ग़म कहीं हाथ उस को लगा न दे
३
तू जहाँ से आज है नुक्ता-चीं कभी मुद्दतों मैं रहा वहीं
मैं गदा-ए राहगुज़र नहीं मुझे दूर ही से सदा न दे
४
तब-ओ-ताब-ए इश्क़ का है करम के जमी है महफ़िल-ए चश्म-ए नम
ज़रा देखियो अए हवा-ए ग़म ये चराग़ कोई बुझा न दे
५
वो जो शा’एरी का सबब हुआ वो मु’आमला भी ‘अजब हुआ
मैं ग़ज़ल सुनाऊँ हूँ इस लिए के ज़माना उस को भुला न दे
Click here for background and on any passage for word meanings and explanatory discussion. kaleem ahmed aajiz (1924-2015) writer, poet, academician, recipient of padma shri, taught urdu at paTna university. He has written powerfully and with much feeling about communal harmony in India as well as other political themes. He considers himself a successor of mir taqi mir, composing in his style. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page.
1
meraa haal1 puuchh ke ham-nashiiN2 mere soz3-e dil ko havaa na de
bas yahi du’aa maiN karuuN huN ab keh yeh Gham kisi ko Khudaa na de 1.condition, well-being 2.confidant, friend 3.fire, pain, passion
The poet has a burning pain in his heart. He has not defined what that pain is. It could be the pain of unrequited love, or the pain/passion to compose poetry. ‘havaa dena’ literally means to give air … like blowing on embers to increase the flame. Figuratively, it means increase the pain or passion. Thus, O friend, do not ask about my well-being because this only increases my pain. My sincere prayer now is only that may god not afflict anyone else with this kind of pain.
2
yeh jo zaKhm1-e dil ko pakaa’e2 ham liye phir rahe haiN chhupaa’e ham
koi naa-shanaas3-e mizaaj4-e Gham kahiN haath uss ko lagaa na de 1.wound 2.festering, maturation 3.unfamiliar, insensitive 4.nature, temperament
The poet carries a festering wound in his heart, hiding it from others. He does not define what this wound is due to. We have to fill in the gap. He is afraid that someone who is unfamiliar with the nature of such a wound might ‘touch’ it i.e., their unfamiliarity may lead to insensitivity and they might make light of it, make fun of it or dismiss it.
3
tu jahaaN1 se aaj hai nukta-chiiN2 kabhi muddatoN3 maiN rahaa vahiN
maiN gadaa4-e raahguzar5 nahiN mujhe duur hi se sadaa6 na de 1.where, place 2.critic 3.long time, ages 4.beggar, mendicant 5.roadside 6.call
The poet addresses his critic. This could be someone who is critical of his poetry or critical of his passion. He suggests that the place where the critic is i.e., the perspective that the critic holds is very familiar to the poet. He himself has spent ages in such a place. He is an expert in the field. He asserts, I am no roadside mendicant, I am a person of substance/skill, do not just call me from a distance i.e., do not judge me from afar, superficially, without understanding the full meaning of what I say.
4
tab-o-taab1-e ishq kaa hai karam2 keh jami3 hai mahfil4-e chashm-e-nam5
zaraa dekhiyo aye havaa-e Gham ye charaaGh koi bujhaa na de 1.splendour, dazzle 2.blessing, kindness 3.seated, arranged 4.gathering 5.moist/tearful eye
It is the kindness of the splendour of love/passion that a gathering has been arranged and that it is tearful/emotional. The imagery is a gathering which is hearing the poet recite and pour out his heart/love/passion in his poetry. The gathering is affected by his poetry and is teary-eyed. He considers this to be a blessing of his passion and calls upon the ‘wind of sorrow’ to be careful that no one blows out his candle. The ‘wind of sorrow’ could be a critic’s words, the indifference of the audience or something else. The candle is the flame of his passion. He wants to protect it.
5
voh jo shaa’eri kaa sabab1 huaa voh mu’aamla2 bhi ‘ajab3 huaa
maiN Ghazal sunaauuN huN is liye keh zamaana4 uss ko bhulaa na de 1.cause, basis, inspiration 2.affair, matter, incident 3.strange, mysterious 4.world
Central to the poet’s thinking is the mysterious inspiration of the affair of writing poetry. It is so central that he reads his Ghazal so that the world may never forget that which inspires poetry. What is it? It remains mysterious.
kaleem ahmed aajiz (1924-2015) writer, poet, academician, recipient of padma shri, taught urdu at paTna university. He has written powerfully and with much feeling about communal harmony in India as well as other political themes. He considers himself a successor of mir taqi mir, composing in his style. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page.
1
meraa haal1 puuchh ke ham-nashiiN2 mere soz3-e dil ko havaa na de
bas yahi du’aa maiN karuuN huN ab keh yeh Gham kisi ko Khudaa na de
1.condition, well-being 2.confidant, friend 3.fire, pain, passion
The poet has a burning pain in his heart. He has not defined what that pain is. It could be the pain of unrequited love, or the pain/passion to compose poetry. ‘havaa dena’ literally means to give air … like blowing on embers to increase the flame. Figuratively, it means increase the pain or passion. Thus, O friend, do not ask about my well-being because this only increases my pain. My sincere prayer now is only that may god not afflict anyone else with this kind of pain.
2
yeh jo zaKhm1-e dil ko pakaa’e2 ham liye phir rahe haiN chhupaa’e ham
koi naa-shanaas3-e mizaaj4-e Gham kahiN haath uss ko lagaa na de
1.wound 2.festering, maturation 3.unfamiliar, insensitive 4.nature, temperament
The poet carries a festering wound in his heart, hiding it from others. He does not define what this wound is due to. We have to fill in the gap. He is afraid that someone who is unfamiliar with the nature of such a wound might ‘touch’ it i.e., their unfamiliarity may lead to insensitivity and they might make light of it, make fun of it or dismiss it.
3
tu jahaaN1 se aaj hai nukta-chiiN2 kabhi muddatoN3 maiN rahaa vahiN
maiN gadaa4-e raahguzar5 nahiN mujhe duur hi se sadaa6 na de
1.where, place 2.critic 3.long time, ages 4.beggar, mendicant 5.roadside 6.call
The poet addresses his critic. This could be someone who is critical of his poetry or critical of his passion. He suggests that the place where the critic is i.e., the perspective that the critic holds is very familiar to the poet. He himself has spent ages in such a place. He is an expert in the field. He asserts, I am no roadside mendicant, I am a person of substance/skill, do not just call me from a distance i.e., do not judge me from afar, superficially, without understanding the full meaning of what I say.
4
tab-o-taab1-e ishq kaa hai karam2 keh jami3 hai mahfil4-e chashm-e-nam5
zaraa dekhiyo aye havaa-e Gham ye charaaGh koi bujhaa na de
1.splendour, dazzle 2.blessing, kindness 3.seated, arranged 4.gathering 5.moist/tearful eye
It is the kindness of the splendour of love/passion that a gathering has been arranged and that it is tearful/emotional. The imagery is a gathering which is hearing the poet recite and pour out his heart/love/passion in his poetry. The gathering is affected by his poetry and is teary-eyed. He considers this to be a blessing of his passion and calls upon the ‘wind of sorrow’ to be careful that no one blows out his candle. The ‘wind of sorrow’ could be a critic’s words, the indifference of the audience or something else. The candle is the flame of his passion. He wants to protect it.
5
voh jo shaa’eri kaa sabab1 huaa voh mu’aamla2 bhi ‘ajab3 huaa
maiN Ghazal sunaauuN huN is liye keh zamaana4 uss ko bhulaa na de
1.cause, basis, inspiration 2.affair, matter, incident 3.strange, mysterious 4.world
Central to the poet’s thinking is the mysterious inspiration of the affair of writing poetry. It is so central that he reads his Ghazal so that the world may never forget that which inspires poetry. What is it? It remains mysterious.
The post zamaana uss ko bhula na de-kaleem aajiz appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/moaKh-mazaa-aur-hi-kuchh-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مزا اور ہی کچھ ہے ۔ میر عثمان علی خاں عثمانؔ
۱
تڑپا کے وہ بولے یہ ادا اور ہی کچھ ہے
یہ جور نرالا ہے جفا اور ہی کچھ ہے
۲
آبِ دمِ خنجر سے ہوئی روح جو تازہ
معلوم ہوا آبِ بقا اور ہی کچھ ہے
۳
اے نالۂ پُر درد ذرا یہ تو خبر لے
ہے مدّ نظر وصل بھی یا اور ہی کچھ ہے
۴
دل لے کے ہوئے جاتے ہیں وہ جان کے خواہاں
یہ ہم سے تقاضائے وفا اور ہی کچھ ہے
۵
یوں قید سے چُھٹنے کی خوشی کس کو نہ ہوگی
پر تیرے اسیروں کی دعا اور ہی کچھ ہے
۶
آغاز بھی گو لطف سے خالی نہیں لیکن
انجامِ محبّت کا مزا اور ہی کچھ ہے
۷
ملتا ہے ثمر صبر کا دنیا میں بھی عثمانؔ
لیکن صلۂ روز جزا اور ہی کچھ ہے
मज़ा और ही कुछ है – मीर उस्मान अली ख़ाँ उस्मान
१
तढपा के वो बोले ये अदा और ही कुछ है
ये जौर निराला है जफ़ा और ही कुछ है
२
आब-ए दम-ए ख़ंजर से हुई रूह जो ताज़ा
मालूम हुआ आब-ए बक़ा और ही कुछ है
३
अए नाला-ए पुर-दर्द ज़रा ये तो ख़बर ले
है मद्द-ए नज़र वस्ल भी या और ही कुछ है
४
दिल ले के हुए जाते हैं वो जान के ख़्वाहाँ
ये हम से तक़ाज़ा-ए वफ़ा और ही कुछ है
५
यूँ क़ैद से छुटने की ख़ुशी किस को न होगी
पर तेरे असीरों की दुआ और ही कुछ है
६
आग़ाज़ भी गो लुत्फ़ से ख़ाली नहीं लैकिन
अंजाम-ए मोहब्बत का मज़ा और ही कुछ है
७
मिलता है समर सब्र का दुनिया में भी उस्मान
लैकिन सिला-ए रोज़-ए जज़ा और ही कुछ है
Click here for background and on any passage for word meanings and explanatory discussion. osman ali KhaaN (1886-1967), the erstwhile ruler of hyderabad was a prolific poet of considerable literary capability. His diivaan was collected and published posthumously in eight fair sized volumes. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page.
1
taRpaa1 ke voh bole ye adaa2 aur hii kuch hai
yeh jaur3 niraalaa4 hai jafaa5 aur hii kuch hai 1.to torture, to torment 2.mannerism, style 3.cruelty, tyranny 4.unique, distinctive 5.oppression, injustice
Here, ‘voh’ refers to the beloved. The beloved tortured me and said – this style is something else; this cruelty is novel/distinctive and oppression is something else. Editorial comment – I always get amused by the thought that this man was reported to have had a 100 concubines, and he writes about the cruelty of the beloved.
2
aab1-e dam2-e Khanjar se hui ruuh3 jo taaza4
maa’luum5 hua aab-e-baqaa6 aur hii kuch hai 1.water, shine, brilliance 2.sharp edge 3.soul, spirit 4.refresh 5.to know 6.water/nectar of life/immortality
The beauty of this she’r in the use of the word ‘aab’ which means both water and brilliance. In urdu poetic tradition, it is the epitome of life for the lover to be slaughtered at the hands of the beloved. This apparently is happening to the poet. He sees the brilliance of the sharp edge of the beloved’s knife and soul is stirred as if he has acquired a fresh/new life. Looking at the brilliance of the knife, he came to know that the nectar of immortality means something else i.e., it does not mean what you drink but it is getting slaughtered at the hands of the beloved to achieve immortality.
3
aye naala1-e pur-dard2 zaraa yeh to Khabar3 le
hai madd-e-nazar4 vasl5 bhii yaa aur hii kuch hai 1.wail, lament 2.full of pain 3.inquire, ask about 4.before the eyes, purpose 5.union
The shaa’er is addressing his own painful lament. He is asking his lament to ‘yeh to Khabar le’ – at least ask about this much. Ask whom? Itself? Is the purpose of letting out a wail, achieving union with the beloved? The implication may be that if that is the purpose, know that you are not going to be successful. Or, if the purpose is just to relieve some pain, even that is not going to happen and you are going to lose your reputation. He may be suggesting to the lament to consider this and stop.
4
dil le ke hue jaate haiN voh jaan1 ke KhaahaaN2
yeh ham se taqaazaa3-e vafaa4 aur hii kuch hai 1.life 2.desirous, to wish for 3.demand 4.fidelity, faithfulness
The ‘voh’ refers to the beloved. The beloved has taken his heart and now asks for his life. This demand of faithfulness from me is ‘something else’.
5
yuN qaid1 se chhuTne kii Khushii kis ko na hogii
par tere asiiroN2 kii du’aa aur hii kuch hai 1.prison, captivity 2.prisoners, captives
Who will not be happy at being released from captivity. But the prayer/desire of your captives is ‘something else’ i.e., they would rather not be released.
6
aaGhaaz1 bhii go2 lutf3 se Khaalii4 nahiN laikin
anjaam5-e mohabbat kaa mazaa6 aur hii kuch hai 1.beginning 2.even though 3.pleasure 4.empty, devoid 5.end, result 6.taste, joy
Even though the beginning is not exactly devoid of pleasure, but the joy of the end result of love is ‘something else’. Either the poet is going against the convention and stating that the end result of love is fulfilment, or he is stating that the end is painful but there is a pleasure associated with that pain which is ‘something else’.
7
miltaa hai samar1 sabr2 kaa duniya meN bhii osmaan3
laikin sila4-e roz-e-jazaa5 aur hii kuch hai 1.fruit, yield 2.patience 3.pen-name of the poet 4.recompense, reward 5.day of judgment
O osmaan it is likely that you may get some fruit of your patience in this world but the reward on the day of judgment is ‘something else’. Either he is sure that he is going to be awarded heaven or he is talking about something else. Could it be that he is looking forward to coming face to face with the beloved and giving an account of all the torture that he has suffered at her hands!
osman ali KhaaN (1886-1967), the erstwhile ruler of hyderabad was a prolific poet of considerable literary capability. His diivaan was collected and published posthumously in eight fair sized volumes. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page.
1
taRpaa1 ke voh bole ye adaa2 aur hii kuch hai
yeh jaur3 niraalaa4 hai jafaa5 aur hii kuch hai
1.to torture, to torment 2.mannerism, style 3.cruelty, tyranny 4.unique, distinctive 5.oppression, injustice
Here, ‘voh’ refers to the beloved. The beloved tortured me and said – this style is something else; this cruelty is novel/distinctive and oppression is something else. Editorial comment – I always get amused by the thought that this man was reported to have had a 100 concubines, and he writes about the cruelty of the beloved.
2
aab1-e dam2-e Khanjar se hui ruuh3 jo taaza4
maa’luum5 hua aab-e-baqaa6 aur hii kuch hai
1.water, shine, brilliance 2.sharp edge 3.soul, spirit 4.refresh 5.to know 6.water/nectar of life/immortality
The beauty of this she’r in the use of the word ‘aab’ which means both water and brilliance. In urdu poetic tradition, it is the epitome of life for the lover to be slaughtered at the hands of the beloved. This apparently is happening to the poet. He sees the brilliance of the sharp edge of the beloved’s knife and soul is stirred as if he has acquired a fresh/new life. Looking at the brilliance of the knife, he came to know that the nectar of immortality means something else i.e., it does not mean what you drink but it is getting slaughtered at the hands of the beloved to achieve immortality.
3
aye naala1-e pur-dard2 zaraa yeh to Khabar3 le
hai madd-e-nazar4 vasl5 bhii yaa aur hii kuch hai
1.wail, lament 2.full of pain 3.inquire, ask about 4.before the eyes, purpose 5.union
The shaa’er is addressing his own painful lament. He is asking his lament to ‘yeh to Khabar le’ – at least ask about this much. Ask whom? Itself? Is the purpose of letting out a wail, achieving union with the beloved? The implication may be that if that is the purpose, know that you are not going to be successful. Or, if the purpose is just to relieve some pain, even that is not going to happen and you are going to lose your reputation. He may be suggesting to the lament to consider this and stop.
4
dil le ke hue jaate haiN voh jaan1 ke KhaahaaN2
yeh ham se taqaazaa3-e vafaa4 aur hii kuch hai
1.life 2.desirous, to wish for 3.demand 4.fidelity, faithfulness
The ‘voh’ refers to the beloved. The beloved has taken his heart and now asks for his life. This demand of faithfulness from me is ‘something else’.
5
yuN qaid1 se chhuTne kii Khushii kis ko na hogii
par tere asiiroN2 kii du’aa aur hii kuch hai
1.prison, captivity 2.prisoners, captives
Who will not be happy at being released from captivity. But the prayer/desire of your captives is ‘something else’ i.e., they would rather not be released.
6
aaGhaaz1 bhii go2 lutf3 se Khaalii4 nahiN laikin
anjaam5-e mohabbat kaa mazaa6 aur hii kuch hai
1.beginning 2.even though 3.pleasure 4.empty, devoid 5.end, result 6.taste, joy
Even though the beginning is not exactly devoid of pleasure, but the joy of the end result of love is ‘something else’. Either the poet is going against the convention and stating that the end result of love is fulfilment, or he is stating that the end is painful but there is a pleasure associated with that pain which is ‘something else’.
7
miltaa hai samar1 sabr2 kaa duniya meN bhii osmaan3
laikin sila4-e roz-e-jazaa5 aur hii kuch hai
1.fruit, yield 2.patience 3.pen-name of the poet 4.recompense, reward 5.day of judgment
O osmaan it is likely that you may get some fruit of your patience in this world but the reward on the day of judgment is ‘something else’. Either he is sure that he is going to be awarded heaven or he is talking about something else. Could it be that he is looking forward to coming face to face with the beloved and giving an account of all the torture that he has suffered at her hands!
The post mazaa aur hi kuchh hai-osman ali KhaaN appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/amiirm-tasliim-o-raza-aur-hi-kuchh-hai-13-23-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تسلیم و رضا اور ہی کچھ ہے ۔۱۳۔۲۳۔ امیرؔ مینائی
۱۳
معشوق سے کرتا ہے جفا کا کوئی شکوہ
مجھ کو تو مری جان گِلا اور ہی کچھ ہے
۱۴
کیا خاک ہو بیمارِ محبت کو اِفاقہ
درد اور ہی کچھ ہے اور دوا اور ہی کچھ ہے
۱۵
کی میں نے لجائی ہوئی چِتون کی جو تعریف
آنکھوں نے کہا جُھک کے حیا اور ہی کچھ ہے
۱۶
کیا جانے کسے دیکھ رہا ہوں میں بتوں میں
آنکھوں میں ہے کچھ دل میں بسا اور ہی کچھ ہے
۱۷
کس سے میں کروں اپنے مسیحا کی شکایت
سمجھا ہے وہ کچھ، حال مرا اور ہی کچھ ہے
۱۸
ہنس ہنس کے جو وہ دل کو مرے چھیڑ رہے ہیں
آج اُس کے تڑپنے میں مزہ اور ہی کچھ ہے
۱۹
انداز حسینوں کے سنورنے میں ہیں کچھ اور
بگڑیں تو بگڑنے میں ادا اور ہی کچھ ہے
۲۰
بے لطف تو شمشیر قضا بھی نہیں قاتل
لیکن تیرے خنجر میں مزہ اور ہی کچھ ہے
۲۱
منہ سے تو کہا وصل کو تم نے مگر اے جان
آنکھوں نے اِشاروں میں کہا اور ہی کچھ ہے
۲۲
ہم مر بھی گئے، مر کے ہوئے خاک بھی لیکن
ظالم یہی کہتا ہے وفا اور ہی کچھ ہے
۲۳
عادت تو امیرؔ اچھی ہے فریاد و دعا کی
پر شیوۂ تسلیم و رضا اور ہی کچھ ہے
तस्लीम ओ रज़ा और ही कुछ है-१३-२३– अमीर मीनाई
१३
मा’शूक़ से करता है जफ़ा का कोई शिक्वा
मुझ को तो मेरी जान गिला और ही कुछ है
१४
क्या ख़ाक हो बीमार-ए मोहब्बत को इफ़ाक़ा
दर्द और ही कुछ है और दवा और ही कुछ है
१५
की मैं ने लजाई हुई चितवन की जो तारीफ़
आँखों ने कहा झुक के हया और ही कुछ है
१६
क्या जाने किसे देख रहा हूँ मैं बुतों में
आँखों में है कुछ दिल में बसा और ही कुछ है
१७
किस से मैं करूँ अपने मसीहा की शिका’एत
समझा है वो कुछ, हाल मेरा और ही कुछ है
१८
हँस हँस के जो वो दिल को मेरे छेढ रहे हैं
आज उस के तढपने में मज़ा और ही कुछ है
१९
अन्दाज़ हसीनों के सवंरने में हैं कुछ और
बिगढें तो बिगढने में अदा और ही कुछ है
२०
बे-लुत्फ़ तो शमशीर-ए क़ज़ा भी नहीं क़ातिल
लेकिन तेरे ख़ंजर में मज़ा और ही कुछ है
२१
मुँह से तो कहा वस्ल को तुम ने मगर अए जान
आँखों ने इशारौं में कहा और ही कुछ है
२२
हम मर भी गए, मर के हुए ख़ाक भी लैकिन
ज़ालिम यही कहता है वफ़ा और ही कुछ है
२३
आदत तो अमीर अच्छी है फ़र्याद ओ दुआ की
पर शेवा-ए तस्लीम ओ रज़ा और ही कुछ है
Click here for background and on any passage for word meanings and explanatory discussion. amir minaaii (1829-1900) was contemporary and close friend of daaGh dehlavi and much like him received patronage in rampur and later in hyderabad, but where he died within a year of his arrival. He is buried there. This Ghazal is posted in two parts because of its length and both parts are linked to other ham-radeef Ghazal on the Refrain Index page.
13
ma’shuuq1 se karta hai jafaa2 ka koi shikvaa3
mujh ko to meri jaan gilaa4 aur hi kuchh hai 1.beloved 2.cruelty, torture 3.complaint 4.reproach, lament
It is customary in urdu poetic tradition for the beloved to be cruel to the lover and for him to accept this cruelty without complaining. That is the statement that the poet/lover makes in the first misra … does anyone (any true lover) complain about torture at the hands of beloved! O my dear my lament is about ‘something else’. What that something else is, is left for us to imagine. It is best for me to leave it there.
14
kya Khaak1 ho biimaar2-e mohabbat ko ifaaqa3
dard aur hi kuchh hai aur davaa4 aur hi kuchh hai 1.literally dust but used here as an expression meaning ineffective, useless 2.afflicted, sickened 3.recovery 4.cure, remedy
It is useless to expect recovery of the one who is afflicted with love. His pain/illness is something else and the cure/remedy being used is something else.
15
kii maiN ne lajaaii1 hui chitvan2 ki jo taareef3
aaNkhoN ne kaha jhuk ke hayaa4 aur hi kuchh hai 1.blushing, shyness 2.appearance, facial expression 3.praise 4.bashfulness, shyness
When I praised her blushing appearance of shyness, her lowered eyes said that bashfulness was ‘something else’.
16
kya jaane kise dekh raha huN maiN butoN1 meN
aaNkhoN meN hai kuchh dil meN basaa2 aur hi kuchh hai 1.idols, beautiful women, beloved 2.residing, living
Who knows what I see in the beloved. There is one thing in her eyes and something else in her heart i.e., she captures the heart with her coy looks, but in her heart she entertains other thoughts.
17
kis se maiN karuuN apne masiihaa1 ki shikaa’et2
samjha3 hai voh kuchh, haal4 mera aur hi kuchh hai 1.healer 2.complain 3.understood 4.condition
Why should I complain to anyone about my healer. He thinks it is one thing, but my condition/malady is something else i.e., the healer does not understand that the lover’s affliction is the indifference of the beloved. It is just possible that the ‘healer’ is another name of the beloved.
18
haNs haNs ke jo vo dil ko mere chheR1 rahe haiN
aaj uss ke taRapne2 meN maza3 aur hi kuchh hai 1.teasing 2.thrashing in pain 3.pleasure
The beloved is laughing, mirthfully teasing the lover’s heart. Because of her mirthful/playful teasing, even though the heart is thrashing about in pain, there is a strange and unexplainable pleasure in this pain.
19
andaaz1 hasiinoN2 ke saNvarne3 meN haiN kuchh aur
bigReN4 to bigaRne meN adaa5 aur hi kuchh hai 1.manner, style 2.beauties 3.be adorned, embellished 4.annoyed, displeased 5.appearance, style, gesture
When these beauties adorn themselves and display their beauty, then their manner is something, but when they are annoyed/irritated their style is something else. The implication is that there is pleasure in both styles, just different kinds of pleasure.
20
be-lutf1 to shamshiir2-e qaza3 bhi nahiN qaatil4
laikin tere Khanjar5 meN mazaa6 aur hi kuchh hai 1.without pleasure 2.sword 3.fate, destiny 4.killer/beloved 5.dagger 6.pleasure
This is addressed to the qaatil/beloved. Even the sword of fate is not without its own particular kind of pleasure, but the pleasure in your dagger, O killer/beloved is something else i.e., the lover would much rather be killed at the hand of the beloved than by the sword of destiny.
21
muNh1 se to kaha vasl2 ko tum ne magar aye jaan3
aaNkhoN ne ishaaroN4 meN kaha aur hi kuchh hai 1.mouth, tongue, lips 2.union 3.love, beloved 4.signs, clues
You mouth the word ‘union’ my dear, but the signs in your eyes say ‘something else’ i.e., it is clear from your eyes that you do not mean what you say, and that you are not going to keep your promise of union.
22
ham mar bhi gaye, mar ke hue Khaak1 bhi laikin
zaalim2 yahi kahta hai vafaa3 aur hi kuchh hai 1.dust 2.cruel one, beloved 3.faithfulness, fidelity
In urdu poetic tradition, the lover is always faithful to the beloved and she always refuses to believe or pretends to refuse to believe his sincerity. This has carried on beyond his death. The lover is dead because of her indifference, but has remained faithful to his death. He has been reduced to dust but still the beloved insists that faithfulness is ‘something else’ – it is not what the lover did.
23
aadat1 to amiir2 achchhi hai faryaad3 o dua4 ki
par sheva5-e tasliim6 o raza7 aur hi kuchh hai 1.habit 2.pen-name of the poet 3.plea 4.prayer 5.nature, character 6.acceptance 7.agreement, submitting to the will of god
O amiir, the habit of prayer and plea is good but the nature of acceptance and submission to the will of god is something else.
amir minaaii (1829-1900) was contemporary and close friend of daaGh dehlavi and much like him received patronage in rampur and later in hyderabad, but where he died within a year of his arrival. He is buried there. This Ghazal is posted in two parts because of its length and both parts are linked to other ham-radeef Ghazal on the Refrain Index page.
13
ma’shuuq1 se karta hai jafaa2 ka koi shikvaa3
mujh ko to meri jaan gilaa4 aur hi kuchh hai
1.beloved 2.cruelty, torture 3.complaint 4.reproach, lament
It is customary in urdu poetic tradition for the beloved to be cruel to the lover and for him to accept this cruelty without complaining. That is the statement that the poet/lover makes in the first misra … does anyone (any true lover) complain about torture at the hands of beloved! O my dear my lament is about ‘something else’. What that something else is, is left for us to imagine. It is best for me to leave it there.
14
kya Khaak1 ho biimaar2-e mohabbat ko ifaaqa3
dard aur hi kuchh hai aur davaa4 aur hi kuchh hai
1.literally dust but used here as an expression meaning ineffective, useless 2.afflicted, sickened 3.recovery 4.cure, remedy
It is useless to expect recovery of the one who is afflicted with love. His pain/illness is something else and the cure/remedy being used is something else.
15
kii maiN ne lajaaii1 hui chitvan2 ki jo taareef3
aaNkhoN ne kaha jhuk ke hayaa4 aur hi kuchh hai
1.blushing, shyness 2.appearance, facial expression 3.praise 4.bashfulness, shyness
When I praised her blushing appearance of shyness, her lowered eyes said that bashfulness was ‘something else’.
16
kya jaane kise dekh raha huN maiN butoN1 meN
aaNkhoN meN hai kuchh dil meN basaa2 aur hi kuchh hai
1.idols, beautiful women, beloved 2.residing, living
Who knows what I see in the beloved. There is one thing in her eyes and something else in her heart i.e., she captures the heart with her coy looks, but in her heart she entertains other thoughts.
17
kis se maiN karuuN apne masiihaa1 ki shikaa’et2
samjha3 hai voh kuchh, haal4 mera aur hi kuchh hai
1.healer 2.complain 3.understood 4.condition
Why should I complain to anyone about my healer. He thinks it is one thing, but my condition/malady is something else i.e., the healer does not understand that the lover’s affliction is the indifference of the beloved. It is just possible that the ‘healer’ is another name of the beloved.
18
haNs haNs ke jo vo dil ko mere chheR1 rahe haiN
aaj uss ke taRapne2 meN maza3 aur hi kuchh hai
1.teasing 2.thrashing in pain 3.pleasure
The beloved is laughing, mirthfully teasing the lover’s heart. Because of her mirthful/playful teasing, even though the heart is thrashing about in pain, there is a strange and unexplainable pleasure in this pain.
19
andaaz1 hasiinoN2 ke saNvarne3 meN haiN kuchh aur
bigReN4 to bigaRne meN adaa5 aur hi kuchh hai
1.manner, style 2.beauties 3.be adorned, embellished 4.annoyed, displeased 5.appearance, style, gesture
When these beauties adorn themselves and display their beauty, then their manner is something, but when they are annoyed/irritated their style is something else. The implication is that there is pleasure in both styles, just different kinds of pleasure.
20
be-lutf1 to shamshiir2-e qaza3 bhi nahiN qaatil4
laikin tere Khanjar5 meN mazaa6 aur hi kuchh hai
1.without pleasure 2.sword 3.fate, destiny 4.killer/beloved 5.dagger 6.pleasure
This is addressed to the qaatil/beloved. Even the sword of fate is not without its own particular kind of pleasure, but the pleasure in your dagger, O killer/beloved is something else i.e., the lover would much rather be killed at the hand of the beloved than by the sword of destiny.
21
muNh1 se to kaha vasl2 ko tum ne magar aye jaan3
aaNkhoN ne ishaaroN4 meN kaha aur hi kuchh hai
1.mouth, tongue, lips 2.union 3.love, beloved 4.signs, clues
You mouth the word ‘union’ my dear, but the signs in your eyes say ‘something else’ i.e., it is clear from your eyes that you do not mean what you say, and that you are not going to keep your promise of union.
22
ham mar bhi gaye, mar ke hue Khaak1 bhi laikin
zaalim2 yahi kahta hai vafaa3 aur hi kuchh hai
1.dust 2.cruel one, beloved 3.faithfulness, fidelity
In urdu poetic tradition, the lover is always faithful to the beloved and she always refuses to believe or pretends to refuse to believe his sincerity. This has carried on beyond his death. The lover is dead because of her indifference, but has remained faithful to his death. He has been reduced to dust but still the beloved insists that faithfulness is ‘something else’ – it is not what the lover did.
23
aadat1 to amiir2 achchhi hai faryaad3 o dua4 ki
par sheva5-e tasliim6 o raza7 aur hi kuchh hai
1.habit 2.pen-name of the poet 3.plea 4.prayer 5.nature, character 6.acceptance 7.agreement, submitting to the will of god
O amiir, the habit of prayer and plea is good but the nature of acceptance and submission to the will of god is something else.
The post tasliim o raza aur hi kuchh hai-13-23-amir minaaii appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/amiirm-tasliim-o-raza-aur-hi-kuchh-hai-01-12-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تسلیم و رضا اور ہی کچھ ہے ۔۰۱۔۱۲۔امیرؔ مینائی
۱
او بندۂ بُت دیکھ خدا اور ہی کچھ ہے
بُت پردہ ہیں پردے میں چھپا اور ہی کچھ ہے
۲
اے چرخ حسینوں کی جفا اور ہی کچھ ہے
معشوق کی چھیڑوں میں مزا اور ہی کچھ ہے
۳
رنگ آج تو پھولوں کا صبا اور ہی کچھ ہے
آمد ہے جو اُس گُل کی ہوا اور ہی کچھ ہے
۴
آغازِ جوانی میں ادا اور ہی کچھ ہے
اُٹھتی ہوئی کوپل میں مزا اور ہی کچھ ہے
۵
قاصد یہ زباں اُس کی، بیاں اُس کا نہیں ہے
دھوکا ہے تجھے اُس نے کہا اور ہی کچھ ہے
۶
آفت تو ہے وہ ناز بھی انداز بھی لیکن
مرتا ہوں میں جس پر وہ ادا اور ہی کچھ ہے
۷
چہرے کو چھپائیں وہ بدن کو بھی چرائیں
آنکھیں یہی کہتی ہیں حیا اور ہی کچھ ہے
۸
عارف سے یہ کہہ دو جو ترے فہم میں آے
وہ سب ہے ترا وہم خدا اور ہی کچھ ہے
۹
آیا مرے بالیں پہ تو بولا یہ پری خواں
آسیب نہیں ہے یہ بلا اور ہی کچھ ہے
۱۰
کی اُس کی جفا پر جو وفا تُو نے تو اے دل
نازاں نہ ہو اِس پر کہ وفا اور ہی کچھ ہے
۱۱
کہتے ہو کہ ہم درد کسی کا نہیں سنتے
میں نے تو رفیقوں سے سُنا اور ہی کچھ ہے
۱۲
بیدرد کی فریاد کو کوئی نہیں سُنتا
جس پر ہے اثر غش وہ دعا اور ہی کچھ ہے
तस्लीम ओ रज़ा और ही कुछ है -०१-१२- अमीर मीनाई
१
ओ बन्दा-ए बुत देख ख़ुदा और ही कुछ है
बुत पर्दा हैं, पर्दे में छुपा और ही कुछ है
२
अए चर्ख़ हसीनों की जफ़ा और ही कुछ है
मा’शूक़ की छेढौं में मज़ा और ही कुछ है
३
रंग आज तो फूलों का सबा और ही कुछ है
आमद है जो उस गुल की हवा और ही कुछ है
४
आग़ाज़-ए जवानी में अदा और ही कुछ है
उठती हुई कोपल में मज़ा और ही कुछ है
५
क़ासिद ये ज़ुबाँ उस की, बयां उस का नहीं है
धोका है तुझे, उस ने कहा और ही कुछ है
६
आफ़त तो है वो नाज़ भी अन्दाज़ भी लैकिन
मरता हूँ मैं जिस पर वो अदा और ही कुछ है
७
चेहरे को छुपाएं वो बदन को भी चुराएं
आँखें यही कहती हैं हया और ही कुछ है
८
आरेफ़ से ये कह दो जो तेरे फ़हम में आए
वो सब है तेरा वहम, ख़ुदा और ही कुछ है
९
आया मेरे बालीं पे तो बोला ये परी-ख़्वाँ
आसेब नहीं है, ये बला और ही कुछ है
१०
की उस की जफ़ा पर जो वफ़ा तू ने तो अए दिल
नाज़ाँ न हो इस पर के वफ़ा और ही कुछ है
११
कहते हो के हम दर्द किसी का नहीं सुनते
मैं ने तो रफ़ीक़ौं से सुना और ही कुछ है
१२
बे-दर्द की फ़र्याद को कोई नहीं सुनता
जिस पर है असर ग़श वो दुआ और ही कुछ है
Click here for background and on any passage for word meanings and explanatory discussion. amir minaaii (1829-1900) was contemporary and close friend of daaGh dehlavi and much like him received patronage in rampur and later in hyderabad, but where he died within a year of his arrival. He is buried there. This Ghazal is posted in two parts because of its length and both parts are linked to other ham-radeef Ghazal on the Refrain Index page.
1
o bandah1-e but2 dekh Khuda aur hi kuchh hai
but2 parda3 haiN, parde meN chhupa aur hi kuchh hai 1.servant, devotee 2.idol 3.veil, front
This can be interpreted in two different ways. One – the ‘but-idol’ can be the beloved and the poet suggests that the beauty of the beloved is but a veil/cover for the beauty of the divine spirit. Two – the ‘but-idol’ can be literally an idol that is being worshipped. ‘nirgun’ and ‘sagun’ are two major streams of concepts in idol worship – the former saying that the divine does not have any physical attributes and the latter saying that it can be represented by physical attributes. In the spirit of reconciliation of nirgun and sagun concepts, the poet suggests that even behind the veil of the physical idol is the beauty of the divine spirit.
2
aye charKh1 hasinoN2 ki jafaa3 aur hi kuchh hai
maa’shuuq4 ki chheDauN5 meN maza6 aur hi kuchh hai 1.sky, heavens 2.beauties, beloved 3.torture 4.beloved 5.teasing 6.pleasure
O heavens, torture at the hands of the beloved is something else. There is nothing else like the pleasure in her teasing.
3
raNg aaj to phooloN ka sabaa1 aur hi kuchh hai
aamad2 hai jo uss gul3 ki havaa4 aur hi kuchh hai 1.breeze 2.arrival 3.rose 4.atmoshphere, ambience
Here ‘gul’ is symbolic of the beloved. She is about to arrive in the garden. Addressing the breeze, the poet says that in anticipation of the beloved’s arrival the colour/nature/attitude of the flowers has become something else. Note that ‘havaa’ in the second misra complements ‘sabaa’ in the first.
4
aaGhaaz1-e javaani meN ada2 aur hi kuchh hai
uThti hui kopal3 meN maza4 aur hi kuchh hai 1.beginning 2.style, coquetry 3.new shoot/leaf 4.pleasure
The beloved is an adolescent just breaking into youth. At this stage her coquetry and style change into ‘something else’, just like the pleasure of seeing new growth is ‘something else’.
5
qaasid1 yeh zubaaN2 us ki, bayaaN3 us ka nahiN hai
dhokaa4 hai tujhe, uss ne kaha aur hi kuchh hai 1.messenger 2.language 3.words 4.mistake
The messenger has arrived with either an oral or a written message from the beloved. The lover hears or reads her message and is surprised. It is left for us to guess whether the message is bitter and angry or unexpectedly loving. In either case, lover reacts … O messenger, these cannot be her language, these are not her words, you must be mistaken.
6
aafat1 to hai vo naaz2 bhi andaaz3 bhi laikin
marta huN maiN jis par vo adaa4 aur hi kuchh hai 1.astute, cunning, troublemaker 2.pride, coquetry 3.gesture, posture 4.style, grace
Every coquetry, every gesture of the beloved is astute and mischiefmaking, but the one graceful style that I die for is ‘something else’.
7
chehre1 ko chhupaa’eN voh badan2 ko bhi churaa’eN3
aaNkheN yahi kahti haiN hayaa4 aur hi kuchh hai 1.face 2.body 3.pull back/shrink away in modesty 4.shyness, coyness, modesty
She may hide her face, she may shrink away but her eyes say that her modesty is ‘something else’.
8
aarif1 se yeh kah do jo tere fahm2 meN aaye
voh sab hai tera vahm3, Khuda aur hi kuchh hai 1.mystic, scholar 2.knowledge, wisdom 3.illusion, delusion
Tell the mystic scholar that that which he understands/knows is his delusion; god is ‘something else’ i.e., cannot be understood/known.
9
aaya mere baaliiN1 peh to bola yeh pari-KhwaaN2
aaseb3 nahi hai, yeh balaa4 aur hi kuchh hai 1.head of the bed or grave 2.lord of fairies and jinns 3.ghoul, evil spirit 4.calamity
The lover is either on his death bed or already and dead. The chief of fairies and jinns arrives and the head of his bed or funeral bier and explains himself. I sounds like he is saying ‘none of my fairies or jinns did this to you. Whatever or whoever did it, is not a ghoul or a jinn, it is some other calamity’. Thus, the beloved is ‘something else’.
10
kii uss ki jafaa1 par jo vafaa2 tu ne to aye dil
naazaaN3 na ho iss par keh vafaa aur hi kuchh hai 1.torture 2.faithful 3.proud
O heart, do not be proud just because you have been steadfast/faithful in love even in the face of the torture she inflicts on you because ‘vafaa-steadfast love’ is ‘something else’. The poet leaves it to us to imagine what that might be. I will leave it at that.
11
kahte ho keh hum dard kisi ka nahiN sunte
maiN ne to rafiqoN1 se suna aur hi kuchh hai 1.rivals
The lover has finally gotten access to the beloved and complains about the pain he feels because of her indifference. She tells him that she does not take the time to listen to anyone’s complaints of pain/sorrow. He protests … but I have heard something else from the rivals i.e., they have claimed before me that they got a sympathetic/hearing from you.
12
be-dard1 ki faryaad2 ko koi nahiN sunta
jis par hai asar3 Ghash4 voh dua5 aur hi kuchh hai 1.unfeeling, cruel 2.plea, complaint 3.effect 4.faint 5.prayer, plea
‘asar Ghash hona’ is being used as an expression to mean the something is so effective that it is like effectiveness (personified) itself faints because of the intensity of the plea. The beloved is unfeeling and cruel. But it seems that she has complained about the lover – not clear to whom or about what. Perhaps to god or just a general complaint and perhaps about his perceived infidelity. Nobody listens to/believes such complaints, says the poet/lover. The plea that has a strong effect is ‘something else’. Perhaps the implication is that his own plea is so justified that it will be much more effective.
amir minaaii (1829-1900) was contemporary and close friend of daaGh dehlavi and much like him received patronage in rampur and later in hyderabad, but where he died within a year of his arrival. He is buried there. This Ghazal is posted in two parts because of its length and both parts are linked to other ham-radeef Ghazal on the Refrain Index page.
1
o bandah1-e but2 dekh Khuda aur hi kuchh hai
but2 parda3 haiN, parde meN chhupa aur hi kuchh hai
1.servant, devotee 2.idol 3.veil, front
This can be interpreted in two different ways. One – the ‘but-idol’ can be the beloved and the poet suggests that the beauty of the beloved is but a veil/cover for the beauty of the divine spirit. Two – the ‘but-idol’ can be literally an idol that is being worshipped. ‘nirgun’ and ‘sagun’ are two major streams of concepts in idol worship – the former saying that the divine does not have any physical attributes and the latter saying that it can be represented by physical attributes. In the spirit of reconciliation of nirgun and sagun concepts, the poet suggests that even behind the veil of the physical idol is the beauty of the divine spirit.
2
aye charKh1 hasinoN2 ki jafaa3 aur hi kuchh hai
maa’shuuq4 ki chheDauN5 meN maza6 aur hi kuchh hai
1.sky, heavens 2.beauties, beloved 3.torture 4.beloved 5.teasing 6.pleasure
O heavens, torture at the hands of the beloved is something else. There is nothing else like the pleasure in her teasing.
3
raNg aaj to phooloN ka sabaa1 aur hi kuchh hai
aamad2 hai jo uss gul3 ki havaa4 aur hi kuchh hai
1.breeze 2.arrival 3.rose 4.atmoshphere, ambience
Here ‘gul’ is symbolic of the beloved. She is about to arrive in the garden. Addressing the breeze, the poet says that in anticipation of the beloved’s arrival the colour/nature/attitude of the flowers has become something else. Note that ‘havaa’ in the second misra complements ‘sabaa’ in the first.
4
aaGhaaz1-e javaani meN ada2 aur hi kuchh hai
uThti hui kopal3 meN maza4 aur hi kuchh hai
1.beginning 2.style, coquetry 3.new shoot/leaf 4.pleasure
The beloved is an adolescent just breaking into youth. At this stage her coquetry and style change into ‘something else’, just like the pleasure of seeing new growth is ‘something else’.
5
qaasid1 yeh zubaaN2 us ki, bayaaN3 us ka nahiN hai
dhokaa4 hai tujhe, uss ne kaha aur hi kuchh hai
1.messenger 2.language 3.words 4.mistake
The messenger has arrived with either an oral or a written message from the beloved. The lover hears or reads her message and is surprised. It is left for us to guess whether the message is bitter and angry or unexpectedly loving. In either case, lover reacts … O messenger, these cannot be her language, these are not her words, you must be mistaken.
6
aafat1 to hai vo naaz2 bhi andaaz3 bhi laikin
marta huN maiN jis par vo adaa4 aur hi kuchh hai
1.astute, cunning, troublemaker 2.pride, coquetry 3.gesture, posture 4.style, grace
Every coquetry, every gesture of the beloved is astute and mischiefmaking, but the one graceful style that I die for is ‘something else’.
7
chehre1 ko chhupaa’eN voh badan2 ko bhi churaa’eN3
aaNkheN yahi kahti haiN hayaa4 aur hi kuchh hai
1.face 2.body 3.pull back/shrink away in modesty 4.shyness, coyness, modesty
She may hide her face, she may shrink away but her eyes say that her modesty is ‘something else’.
8
aarif1 se yeh kah do jo tere fahm2 meN aaye
voh sab hai tera vahm3, Khuda aur hi kuchh hai
1.mystic, scholar 2.knowledge, wisdom 3.illusion, delusion
Tell the mystic scholar that that which he understands/knows is his delusion; god is ‘something else’ i.e., cannot be understood/known.
9
aaya mere baaliiN1 peh to bola yeh pari-KhwaaN2
aaseb3 nahi hai, yeh balaa4 aur hi kuchh hai
1.head of the bed or grave 2.lord of fairies and jinns 3.ghoul, evil spirit 4.calamity
The lover is either on his death bed or already and dead. The chief of fairies and jinns arrives and the head of his bed or funeral bier and explains himself. I sounds like he is saying ‘none of my fairies or jinns did this to you. Whatever or whoever did it, is not a ghoul or a jinn, it is some other calamity’. Thus, the beloved is ‘something else’.
10
kii uss ki jafaa1 par jo vafaa2 tu ne to aye dil
naazaaN3 na ho iss par keh vafaa aur hi kuchh hai
1.torture 2.faithful 3.proud
O heart, do not be proud just because you have been steadfast/faithful in love even in the face of the torture she inflicts on you because ‘vafaa-steadfast love’ is ‘something else’. The poet leaves it to us to imagine what that might be. I will leave it at that.
11
kahte ho keh hum dard kisi ka nahiN sunte
maiN ne to rafiqoN1 se suna aur hi kuchh hai
1.rivals
The lover has finally gotten access to the beloved and complains about the pain he feels because of her indifference. She tells him that she does not take the time to listen to anyone’s complaints of pain/sorrow. He protests … but I have heard something else from the rivals i.e., they have claimed before me that they got a sympathetic/hearing from you.
12
be-dard1 ki faryaad2 ko koi nahiN sunta
jis par hai asar3 Ghash4 voh dua5 aur hi kuchh hai
1.unfeeling, cruel 2.plea, complaint 3.effect 4.faint 5.prayer, plea
‘asar Ghash hona’ is being used as an expression to mean the something is so effective that it is like effectiveness (personified) itself faints because of the intensity of the plea. The beloved is unfeeling and cruel. But it seems that she has complained about the lover – not clear to whom or about what. Perhaps to god or just a general complaint and perhaps about his perceived infidelity. Nobody listens to/believes such complaints, says the poet/lover. The plea that has a strong effect is ‘something else’. Perhaps the implication is that his own plea is so justified that it will be much more effective.
The post tasliim o raza aur hi kuchh hai-01-12-amir minaaii appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/mrv-naazuk-Khayaali-hoti-jaati-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
نازک خیالی ہوتی جاتی ہے ۔ پنڈت میلا رام وفاؔ
۱
جوانی میں طبیعت لااُبالی ہوتی جاتی ہے
ترقی پر مری شوریدہ حالی ہوتی جاتی ہے
۲
شب غم چھایا جاتا ہے دھواں آہوں کے شعلوں سے
ستارے ٹوٹتے ہیں رات کالی ہوتی جاتی ہے
۳
امیدیں آتی ہیں، آ آ کے دل سے نکلی جاتی ہیں
یہ وہ بستی ہے جو بس بس کے خالی ہوتی جاتی ہے
۴
کھلے جاتے ہیں گل مقتل میں کیا کیا عکس عارض سے
کسی کی تیغ بھی پھولوں کی ڈالی ہوتی جاتی ہے
۵
وہ سن کر حالِ فرقت، ہوگا ہوگا کہتے جاتے ہیں
کہانی میری ماضی احتمالی ہوتی جاتی ہے
۶
ملے ہیں سننے والے دل کے پتھر اے وفاؔ ایسے
کہ شرمندہ مری نازک خیالی ہوتی جاتی ہے
नाज़ुक-ख़याली होती जाती है – पंडित मेला राम वफ़ा
१
जवानी में तबी’यत ला-उबाली होती जाती है
तरक़्क़ी पर मेरी शोरीदा-हाली होती जाती है
२
शब-ए ग़म छाया जाता है धुआँ आहों के शो’लों से
सितारे टूटते हैं रात काली होती जाती है
३
उमीदें आती हैं आ आ के दिल से निकली जाती हैं
ये वो बस्ती है जो बस बस के ख़ाली होती जाती है
४
खिले जाते हैं गुल मक़्तल में क्या क्या अक्स-ए आरेज़ से
किसी की तेग़ भी फूलों की डाली होती जाती है
५
वो सुन कर हाल-ए फ़ुर्क़त होगा होगा कहते जाते हैं
कहानी मेरी माज़ी एहतेमाली होती जाती है
६
मिले हैं सुनने वाले दिल के पत्थर अए वफ़ा’ ऐसे
के शर्मिंदा मेरी नाज़ुक-ख़याली होती जाती है
Click here for background and on any passage for word meanings and explanatory discussion. panDit mela ram vafa (1895-1980) sialkoT, pakistan. His upbringing and schooling was very rural. He did attend Forman Christian College after high school but did not finish any degree. He was appointed to teach urdu and faarsi at the National College, Lahore. Served as editor of several newspapers and magazines including lajpat rai’s ‘vande mataram’ and madan mohan malaviya’s ‘viir bharat’ – both urdu. He served two years in prison for writing anti-colonial nazm. This Ghazal is linked to others of the same radeef on the ‘Refrain’ page.
1
javaani meN tabi’yat1 la-ubaali2 hoti jaati hai
taraqqi3 par meri shoriida-haali4 hoti jaati hai 1.disposition, nature, character 2.fearless, not caring for consequences 3.progress, increase 4.mad/passionate condition
Traditionally the passionate lover wanders the desert (or streets) like a madman with his clothes torn like majnuN. He does not care what happens to him. Thus, in youth, at the height of mad passionate love, his nature turns fearless. His condition increasingly turns wild and unkempt mad man.
2
shab1-e Gham chhaaya jaata hai dhuaaN aahoN2 ke sho’loN3 se
sitaare TooTte haiN raat kaali hoti jaati hai 1.night of 2.sigh 3.flames
It is the night of sorrow – the night of separation from the beloved. He is sighing in intense sorrow and because of his burning heart flames shoot out with his sighs and smoke from the flames covers the sky. When the flames rise to the sky, stars fall off and the night turns even darker. Note that falling stars are also parallel to shedding tears.
3
umideN1 aati haiN aa aa ke dil se nikli jaati haiN
ye vo basti2 hai jo bas-bas3 ke Khaali hoti jaati hai 1.hopes 2.habitation, homes, neighbourhood 3.lived in, inhabited, prosper
The heart is a place where hope makes its home and then departs. It is a homeland which prospers/gets populated and then empties out, again and again.
4
khile1 jaate haiN gul2 maqtal3 meN kya kya aks4-e aariz5 se
kisi ki teGh6 bhi phooloN ki Daali hoti jaati hai 1.bloom 2.roses 3.field of slaughter 4.reflection 5.face 6.sword
Roses bloom in the field of slaughter just because of the reflection of the beloved’s face. There could be an implication that this because slaughtering of the lovers causes so much blood to flow that it irrigates the field and roses bloom. Thus her curved sword is like a bough bent over laden with roses.
5
vo sun kar haal1-e furqat2 hoga hoga3 kahte jaate haiN
kahaani meri maazi4 ehtemaali5 hoti jaati hai 1.condition 2.separation 3.an expression meaning – it may be or let it be, it is not important 4.past 5.conjectural, speculative, unbelievable
The poet/lover is relating the story of his misery of separation. The beloved blows it off saying maybe it was so as if she does not quite believe it. She says it often enough that it feels as if the story of what happened to him has lost its credibility.
6
mile haiN sun’ne vaale dil ke patthar aye vafa1 aise
keh sharminda2 meri naazuk3-Khayaali4 hoti jaati hai 1.pen-name of the poet 2.ashamed, insulted 3.tender, delicate 4.thinking, imagination
The people who have come to listen to the poet are so ‘stone-hearted’ i.e., insensitive to sorrow/love that is fine/delicate thought process is insulted.
panDit mela ram vafa (1895-1980) sialkoT, pakistan. His upbringing and schooling was very rural. He did attend Forman Christian College after high school but did not finish any degree. He was appointed to teach urdu and faarsi at the National College, Lahore. Served as editor of several newspapers and magazines including lajpat rai’s ‘vande mataram’ and madan mohan malaviya’s ‘viir bharat’ – both urdu. He served two years in prison for writing anti-colonial nazm. This Ghazal is linked to others of the same radeef on the ‘Refrain’ page.
1
javaani meN tabi’yat1 la-ubaali2 hoti jaati hai
taraqqi3 par meri shoriida-haali4 hoti jaati hai
1.disposition, nature, character 2.fearless, not caring for consequences 3.progress, increase 4.mad/passionate condition
Traditionally the passionate lover wanders the desert (or streets) like a madman with his clothes torn like majnuN. He does not care what happens to him. Thus, in youth, at the height of mad passionate love, his nature turns fearless. His condition increasingly turns wild and unkempt mad man.
2
shab1-e Gham chhaaya jaata hai dhuaaN aahoN2 ke sho’loN3 se
sitaare TooTte haiN raat kaali hoti jaati hai
1.night of 2.sigh 3.flames
It is the night of sorrow – the night of separation from the beloved. He is sighing in intense sorrow and because of his burning heart flames shoot out with his sighs and smoke from the flames covers the sky. When the flames rise to the sky, stars fall off and the night turns even darker. Note that falling stars are also parallel to shedding tears.
3
umideN1 aati haiN aa aa ke dil se nikli jaati haiN
ye vo basti2 hai jo bas-bas3 ke Khaali hoti jaati hai
1.hopes 2.habitation, homes, neighbourhood 3.lived in, inhabited, prosper
The heart is a place where hope makes its home and then departs. It is a homeland which prospers/gets populated and then empties out, again and again.
4
khile1 jaate haiN gul2 maqtal3 meN kya kya aks4-e aariz5 se
kisi ki teGh6 bhi phooloN ki Daali hoti jaati hai
1.bloom 2.roses 3.field of slaughter 4.reflection 5.face 6.sword
Roses bloom in the field of slaughter just because of the reflection of the beloved’s face. There could be an implication that this because slaughtering of the lovers causes so much blood to flow that it irrigates the field and roses bloom. Thus her curved sword is like a bough bent over laden with roses.
5
vo sun kar haal1-e furqat2 hoga hoga3 kahte jaate haiN
kahaani meri maazi4 ehtemaali5 hoti jaati hai
1.condition 2.separation 3.an expression meaning – it may be or let it be, it is not important 4.past 5.conjectural, speculative, unbelievable
The poet/lover is relating the story of his misery of separation. The beloved blows it off saying maybe it was so as if she does not quite believe it. She says it often enough that it feels as if the story of what happened to him has lost its credibility.
6
mile haiN sun’ne vaale dil ke patthar aye vafa1 aise
keh sharminda2 meri naazuk3-Khayaali4 hoti jaati hai
1.pen-name of the poet 2.ashamed, insulted 3.tender, delicate 4.thinking, imagination
The people who have come to listen to the poet are so ‘stone-hearted’ i.e., insensitive to sorrow/love that is fine/delicate thought process is insulted.
The post naazuk Khayaali hoti jaati hai-panDit mela raam vafaa appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/11/mrv-maareka-sar-hone-tak-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
معرکہ سر ہونے تک ۔ میلا رام وفاؔ
۱
صبر مشکل تھا محبت کا اثر ہونے تک
جان ٹھہری نہ دلِ دوست میں گھر ہونے تک
۲
شبِ فرقت کی بھی ہونے کو سحر تو ہوگی
ہاں مگر ہم نہیں ہونے کے سحر ہونے تک
۳
سہنے ہیں جور و ستم جھیلنے ہیں رنج و الم
یعنی کرنی ہے بسر عمر بسر ہونے تک
۴
تیرا پردہ بھی اٹھا دے گی مری رسوائی
تیرا پردہ ہے مرے خاک بہ سر ہونے تک
۵
متزلزل تو ہے مُدّت سے نظامِ عالم
نوبت آ پہنچی ہے اب زیر و زبر ہونے تک
۶
فرصتِ ماتمِ پروانہ کہاں سے آئے
شمع کو موت سے لڑنا ہے سحر ہونے تک
۷
اے وفاؔ معرکۂ عشق تو سر کیا ہوگا
ہو چکیں گے ہمیں یہ معرکہ سر ہونے تک
मा’रका सर होने तक – मेला राम वफ़ा
१
सब्र मुश्किल था मोहब्बत का असर होने तक
जान ठहरी न दिल-ए दोस्त में घर होने तक
२
शब-ए फ़ुर्क़त की भी होने को सहर तो होगी
हाँ मगर हम नहीं होने के सहर होने तक
३
सहने हैं जौर-ओ-सितम झेलने हैं रंज-ओ-अलम
या’नी करनी है बसर उम्र बसर होने तक
४
तेरा पर्दा भी उठा देगी मेरी रुस्वाई
तेरा पर्दा है मेरे ख़ाक-ब-सर होने तक
५
मुतज़लज़ल तो है मुद्दत से निज़ाम-ए आलम
नौबत आ पहुँची है अब ज़ेर-ओ-ज़बर होने तक
६
फ़ुर्सत-ए मातम-ए परवाना कहाँ से आए
शम’अ को मौत से लड़ना है सहर होने तक
७
अए वफ़ा मा’रका-ए इश्क़ तो सर क्या होगा
हो चुकेंगे हमीं ये मा’रका सर होने तक
Click here for background and on any passage for word meanings and explanatory discussion. panDit mela ram vafa (1895-1980), siaalkoT district. Editor, novelist, journalist, song writer and poet. Taught urdu and farsi at the National College, lahore. Sentenced to two years imprisonment for writing resistance poetry against British Rule. This Ghazal composed in the style of Ghalib is linked to the appropriate Ghazal under ‘Ghalib naqsh-e qadam’.
1
sabr1 mushkil2 tha mohabbat ka asar3 hone tak
jaan Thahri na dil-e dost4 meN ghar hone tak 1.patience 2.difficult 3.effect 4.friend, beloved
It was difficult to be patient until love had its effect (in winning the heart of the beloved). Life could not wait until after I could make a home in the heart of the beloved i.e., the poet/lover died waiting for the beloved to reciprocate his love. Reminds me of Ghalib’s …
kaun jiita hai teri zulf ke sar hone tak
2
shab1-e furqat2 ki bhi hone ko sahar3 to hogi
haaN magar ham nahiN hone ke sahar3 hone tak 1.night of 2.separation 3.dawn
The night of separation too will pass. The dawn of the night of separation has to arrive and it will. But I will not be around until after that dawn.
3
sahne1 haiN jaur-o-sitam2 jhelne3 haiN raNj-o-alam4
y’aani karni hai basar5 umr6 basar hone tak 1.bear, accept 2.cruelty and injustice 3.suffer 4.sorrow and sadness 5.pass 6.life
We have to bear cruelty and injustice, suffer sorrow and sadness. That means we have to go through life until our lifetime is all spent. The implication is that suffering is a part of life. Reminds me of Ghalib’s …
qaid-e hayaat o band-e Gham asl meN donoN ek haiN
maut se pahle aadmi Gham se najaat paaye kyuN
4
tera parda bhi uTha degi meri rusvaii1
tera parda hai mere Khaak-ba-sar2 hone tak 1.shaming, disrepute 2.throwing dust on one head
The poet/lover is madly in love with the beloved. As long as he is in his senses he will hide his love and suffer in silence so as not to malign the beloved’s reputation. But if he were to go stark raving mad like majnuN and go about with dust in his hair, being shamed by everyone, then the secret will be out. The veil will be lifted and everyone will know the reason why he has gone mad.
5
mutazalzal1 to hai muddat2 se nizaam3-e aalam4
naubat5 aa pahuNchi hai ab zer-o-zabar6 hone tak 1.shaky, unstable (as in a zalzala-earthquake) 2.long time 3.administration, affairs 4.world 5.come to a stage 6.topsy turvy, confused, chaotic
For long now the affairs of the world have been shaky. They have now come to stage of utter chaos.
6
fursat1-e maatam2-e parvaana3 kahaaN se aaye
sham’a4 ko maut se laRna hai sahar5 hone tak 1.leisure, time 2.mourning 3.moth 4.candle 5.dawn
The candle is lit at night and moths circle around it and get burnt to death. The candle does not have time to mourn the death of the moth. It is fighting its own battle against death (getting extinguised) in a struggle to stay lit until dawn.
7
aye vafa1 m’aareka2-e ishq3 to sar4 kya hoga
ho chukeNge5 hamiiN ye m’aareka2 sar4 hone tak 1.pen-name of the poet 2.struggle, war 3.love 4.victorious, overcome 5.spent, finished
O vafa, how can I come out victorious in this struggle of love. I myself will be spent/dead long before this struggle is over. Said Ghalib …
Khaak ho jaayeNge hum tujh ko Khabar hone tak
panDit mela ram vafa (1895-1980), siaalkoT district. Editor, novelist, journalist, song writer and poet. Taught urdu and farsi at the National College, lahore. Sentenced to two years imprisonment for writing resistance poetry against British Rule. This Ghazal composed in the style of Ghalib is linked to the appropriate Ghazal under ‘Ghalib naqsh-e qadam’.
1
sabr1 mushkil2 tha mohabbat ka asar3 hone tak
jaan Thahri na dil-e dost4 meN ghar hone tak
1.patience 2.difficult 3.effect 4.friend, beloved
It was difficult to be patient until love had its effect (in winning the heart of the beloved). Life could not wait until after I could make a home in the heart of the beloved i.e., the poet/lover died waiting for the beloved to reciprocate his love. Reminds me of Ghalib’s …
kaun jiita hai teri zulf ke sar hone tak
2
shab1-e furqat2 ki bhi hone ko sahar3 to hogi
haaN magar ham nahiN hone ke sahar3 hone tak
1.night of 2.separation 3.dawn
The night of separation too will pass. The dawn of the night of separation has to arrive and it will. But I will not be around until after that dawn.
3
sahne1 haiN jaur-o-sitam2 jhelne3 haiN raNj-o-alam4
y’aani karni hai basar5 umr6 basar hone tak
1.bear, accept 2.cruelty and injustice 3.suffer 4.sorrow and sadness 5.pass 6.life
We have to bear cruelty and injustice, suffer sorrow and sadness. That means we have to go through life until our lifetime is all spent. The implication is that suffering is a part of life. Reminds me of Ghalib’s …
qaid-e hayaat o band-e Gham asl meN donoN ek haiN
maut se pahle aadmi Gham se najaat paaye kyuN
4
tera parda bhi uTha degi meri rusvaii1
tera parda hai mere Khaak-ba-sar2 hone tak
1.shaming, disrepute 2.throwing dust on one head
The poet/lover is madly in love with the beloved. As long as he is in his senses he will hide his love and suffer in silence so as not to malign the beloved’s reputation. But if he were to go stark raving mad like majnuN and go about with dust in his hair, being shamed by everyone, then the secret will be out. The veil will be lifted and everyone will know the reason why he has gone mad.
5
mutazalzal1 to hai muddat2 se nizaam3-e aalam4
naubat5 aa pahuNchi hai ab zer-o-zabar6 hone tak
1.shaky, unstable (as in a zalzala-earthquake) 2.long time 3.administration, affairs 4.world 5.come to a stage 6.topsy turvy, confused, chaotic
For long now the affairs of the world have been shaky. They have now come to stage of utter chaos.
6
fursat1-e maatam2-e parvaana3 kahaaN se aaye
sham’a4 ko maut se laRna hai sahar5 hone tak
1.leisure, time 2.mourning 3.moth 4.candle 5.dawn
The candle is lit at night and moths circle around it and get burnt to death. The candle does not have time to mourn the death of the moth. It is fighting its own battle against death (getting extinguised) in a struggle to stay lit until dawn.
7
aye vafa1 m’aareka2-e ishq3 to sar4 kya hoga
ho chukeNge5 hamiiN ye m’aareka2 sar4 hone tak
1.pen-name of the poet 2.struggle, war 3.love 4.victorious, overcome 5.spent, finished
O vafa, how can I come out victorious in this struggle of love. I myself will be spent/dead long before this struggle is over. Said Ghalib …
Khaak ho jaayeNge hum tujh ko Khabar hone tak
The post maareka sar hone tak-panDit melaa raam vafaa appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/10/ragm-majma-e-auhaam-raasta-to-de-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مجمعِ اوہام راستہ تو دے ۔ رام اوتار گپتا مضطرؔ
۱
بنا کے جب جسے چاہے بھلے مِٹا تو دے
ترا یہ کھیل بھی کیا ہے مگر بتا تو دے
۲
لگائے کان وہ بیٹھا ہے منتظر کب سے
پکار تو سہی اس کو ذرا صدا تو دے
۳
وفورِ سوزِ الم موجِ بُوِئے زُلف سہی
جھلستی دھوپ میں سایہ کوئی گھٹا تو دے
۴
میں کیسے طے کروں بے سمت راستوں کا سفر
کہاں ہے شہرِ تمنّا کوئی پتہ تو دے
۵
ہے میرے عشق کا ایماں تری قدم بوسی
مگر یہ مجمعِ اوہام راستہ تو دے
۶
جبینِ شوقِ عبادت جسے حرم کر لے
درِ نگاہ پہ دستک وہ نقشِ پا تو دے
मजमा’-ए औहाम रास्ता तो दे – राम अवतार गुप्ता मुज़्तर
१
बना के जब जिसे चाहे भले मिटा तो दे
तेरा यह खेल भी क्या है मगर बता तो दे
२
लगाए कान वो बैठा है मुन्तज़िर कब से
पुकार तो सही उस को ज़रा सदा तो दे
३
वुफ़ूर-ए सोज़-ए अलम मौज-ए बू-ए ज़ुल्फ़ सही
झुलसती धूप में साया कोई घटा तो दे
४
मैं कैसे तय करूं बे सम्त रास्तों का सफ़र
कहाँ है शहर-ए तमन्ना कोई पता तो दे
५
है मेरे इश्क़ का ईमाँ तेरी क़दम-बोसी
मगर ये मजमा’-ए औहाम रास्ता तो दे
६
जबीन-ए शौक़-ए इबादत जिसे हरम कर ले
दर-ए निगाह पे दस्तक वो नक़्श-ए पा तो दे
Click here for background and on any passage for word meanings and explanatory discussion. raam avtaar gupta muztar sundailvi (1936-xxxx) was a well recognized poet in both urdu and hindi. He was exposed to the Progressive Writers’ Association but explicitly chose to be apolitical. His compositions are classical romantic in their themes. His work is published in two collections – seepiyoN ka samandar and safeer-e aaKhir-e shab.
1
banaa ke jab jise chaahe bhale1 miTaa2 to de
tera yeh khel bhi kya hai magar bataa to de 1.as you please 2.erase, wipe out
The poet expresses existential confusion. He observes the arbitrary nature of life and death, the creation and destruction by a higher power (often interpreted as god). You create someone as you please, and then, as you wish, you destroy them. What kind of game is this of yours, at least explain it.
2
lagaa’e kaan1 voh baiThaa hai muntazir2 kab se
pukaar to sahi usko zaraa sadaa3 to de 1.attentive with ears perked 2.waiting eagerly 3.call
He’s been sitting there, ears perked, waiting for so long. Just call out to him, give him a sound. The one who has been waiting could be god, or the seeker. If god, then the poet is advising the seeker to call out and seek help, suggesting that god is ready and waiting to help. On the other hand, the poet could be speaking to god on behalf of humanity. They are waiting for your help, why don’t you call and help/guide them. This could also be about the beloved and the lover instead of god and the seeker.
3
vufoor1-e soz2-e alam3 mauj4-e buu5-e zulf6 sahii7
jhulasti8 dhoop meN saaya koi ghaTaa9 to de 1.abundance, excess 2.fire, pain 3.sorrow 4.wave, gust 5.fragrance 6.hair 7.it may be so 8.burning, searing 9.cloud
The poet/lover is overwhelmed by the intense/excessive pain and sorrow as he experiences a gust of breeze carrying the fragrance of the beloved’s hair. He acknowledges that this may be so – that he is in pain because of unreciprocated love. But on top of it he is burning in the searing sun (perhaps because of the cruelty of fate). He protests – at least some cloud of benevolence could provide some shade/protection.
4
maiN kais’e ta’e1 karuN be-samt2 raastoN ka safar3
kahaaN hai shah’r-e-tamanna4 koi pataa5 to de 1.traverse, travel 2.without direction 3.journey 4.city of desire 5.clue, indication, guidance
How can I travel along these directionless paths? Which way is the city of desires? At least give me some guidance. The poet/seeker is on a spiritual quest/journey and is confused because there are no clear directions on which path to take. The ‘city of desire’ is his destination of enlightenment/spirituality. He seeks guidance, probably from god.
5
hai mer’e ishq ka imaaN1 teri qadam-bosi2
magar yeh majma3-e auhaam4 raasta to de 1.faith, devotion 2.kissing feet, obeisance 3.crowd 4.superstitions, illusions
The faith/focus of my love is to kiss your feet. But this crowd of illusions/superstitions should at least step aside and give me a path.
6
jabiin1-e shauq2-e ibaadat3 jise haram4 kar le
dar5-e nigaah6 pe dastak7 voh naqsh-e-paa8 to de 1.forehead, brow 2.desire 3.prayer, obeisance 4.mosque, focus of worship 5.door 6.eyes 7.knock 8.footprints
The forehead of longing is ready/eager to make ‘it’ the focus of worship. What is the ‘it’ which is to become the focus of worship. It is the naqsh-e-paa of the beloved or the divine. The devotee is calling upon the ‘naqsh-e-paa’ to knock at the door of sight/perception i.e., to reveal itself or give some guidance.
raam avtaar gupta muztar sundailvi (1936-xxxx) was a well recognized poet in both urdu and hindi. He was exposed to the Progressive Writers’ Association but explicitly chose to be apolitical. His compositions are classical romantic in their themes. His work is published in two collections – seepiyoN ka samandar and safeer-e aaKhir-e shab.
1
banaa ke jab jise chaahe bhale1 miTaa2 to de
tera yeh khel bhi kya hai magar bataa to de
1.as you please 2.erase, wipe out
The poet expresses existential confusion. He observes the arbitrary nature of life and death, the creation and destruction by a higher power (often interpreted as god). You create someone as you please, and then, as you wish, you destroy them. What kind of game is this of yours, at least explain it.
2
lagaa’e kaan1 voh baiThaa hai muntazir2 kab se
pukaar to sahi usko zaraa sadaa3 to de
1.attentive with ears perked 2.waiting eagerly 3.call
He’s been sitting there, ears perked, waiting for so long. Just call out to him, give him a sound. The one who has been waiting could be god, or the seeker. If god, then the poet is advising the seeker to call out and seek help, suggesting that god is ready and waiting to help. On the other hand, the poet could be speaking to god on behalf of humanity. They are waiting for your help, why don’t you call and help/guide them. This could also be about the beloved and the lover instead of god and the seeker.
3
vufoor1-e soz2-e alam3 mauj4-e buu5-e zulf6 sahii7
jhulasti8 dhoop meN saaya koi ghaTaa9 to de
1.abundance, excess 2.fire, pain 3.sorrow 4.wave, gust 5.fragrance 6.hair 7.it may be so 8.burning, searing 9.cloud
The poet/lover is overwhelmed by the intense/excessive pain and sorrow as he experiences a gust of breeze carrying the fragrance of the beloved’s hair. He acknowledges that this may be so – that he is in pain because of unreciprocated love. But on top of it he is burning in the searing sun (perhaps because of the cruelty of fate). He protests – at least some cloud of benevolence could provide some shade/protection.
4
maiN kais’e ta’e1 karuN be-samt2 raastoN ka safar3
kahaaN hai shah’r-e-tamanna4 koi pataa5 to de
1.traverse, travel 2.without direction 3.journey 4.city of desire 5.clue, indication, guidance
How can I travel along these directionless paths? Which way is the city of desires? At least give me some guidance. The poet/seeker is on a spiritual quest/journey and is confused because there are no clear directions on which path to take. The ‘city of desire’ is his destination of enlightenment/spirituality. He seeks guidance, probably from god.
5
hai mer’e ishq ka imaaN1 teri qadam-bosi2
magar yeh majma3-e auhaam4 raasta to de
1.faith, devotion 2.kissing feet, obeisance 3.crowd 4.superstitions, illusions
The faith/focus of my love is to kiss your feet. But this crowd of illusions/superstitions should at least step aside and give me a path.
6
jabiin1-e shauq2-e ibaadat3 jise haram4 kar le
dar5-e nigaah6 pe dastak7 voh naqsh-e-paa8 to de
1.forehead, brow 2.desire 3.prayer, obeisance 4.mosque, focus of worship 5.door 6.eyes 7.knock 8.footprints
The forehead of longing is ready/eager to make ‘it’ the focus of worship. What is the ‘it’ which is to become the focus of worship. It is the naqsh-e-paa of the beloved or the divine. The devotee is calling upon the ‘naqsh-e-paa’ to knock at the door of sight/perception i.e., to reveal itself or give some guidance.
The post majma-e auhaam raasta do de-raam avtaar gupta muztar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/10/rajredd-zabaaN-baaqi-hai-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2024/10/rajred-zabaan-baaqi-hai-divaakar-meena.mp3
divaakar meena
https://urdushahkar.org/wp-content/uploads/2024/10/rajred-zabaan-baaqi-hai-rajesh-reddy.mp3
rajesh reDDi
- اُردو
- देवनागरी
- Roman
- Notes
زبان باقی ہے ۔ راجیش ریڈّی
۱
جانے کتنی اُڑان باقی ہے
اِس پرندے میں جان باقی ہے
۲
جتنی بٹنی تھی بٹ چکی یہ زمیں
اب تو بس آسمان باقی ہے
۳
اب وہ دنیا عجیب لگتی ہے
جس میں امن و امان باقی ہے
۴
امتحاں سے گزر کے کیا دیکھا
اک نیا امتحان باقی ہے
۵
سر قلم ہوں گے کل یہاں اُن کے
جِن کے منہ میں زبان باقی ہے
ज़बान बाक़ी है – राजेश रेड्डी
१
जाने कितनी उढान बाक़ी है
इस परिंदे में जान बाक़ी है
२
जितनी बटनी थी बट चुकी ये ज़मीं
अब तो बस आसमान बाक़ी है
३
अब वो दुनिया अजीब लगती है
जिस में अम्न-ओ-अमान बाक़ी है
४
इम्तेहाँ से गुज़र के क्या देखा
एक नया इम्तेहान बाक़ी है
५
सर क़लम होंगे कल यहाँ उन के
जिन के मुँह में ज़बान बाक़ी है
Click here for background and on any passage for word meanings and explanatory discussion. rajesh reDDii (1952-living), was born in nagpur and lives in mumbai. All I could get from radio interview recording is that he fell in love with urdu and particularly Ghazal during his college days. He worked for All India Radio and retired from there. He has published three collections of his verse. He writes politically astute Ghazal.
1
jaane1 kitni uRaan2 baaqi3 hai
is parinde4 meN jaan baaqi hai 1.who knows 2.flight, strength to fly 3.remaining 4.bird
In urdu poetic tradition poets often refer to themselves as a captive bird singing in pain of homesickness or a bird/nightingale singing love songs to its lover, the rose. Here, the poet may be (I am not sure) presenting himself as a bird singing songs of protest. The authorities have tried to silence him, perhaps threatening him. He declares that he is not fearful; there is still some life left in this bird; who know how much strength it has left to fly.
2
jitni baTni1 thi baT2 chuki yeh zamiiN
ab to bas3 aasmaan baaqi4 hai 1.to be divided 2.already divided 3.only 4.remaining
This can apply to national, political or communal divides depending on how liberally you interpret the worl ‘zamiin’ and ‘aasmaan’. The earth is already divided up among those who contend for ‘their’ portion. Only the sky is left now.
3
ab voh duniyaa ajiib1 lagtii hai
jis meN amn-o-amaan2 baaqi hai 1.strange, unusual 2.peace and well-being
Perhaps this is a reflection of changing times, worsening conditions between and within nations. That world (of memories) seems strange and unusual now; the world in which there was peace, tranquility and well-being.
4
imtehaaN1 se guzar ke kyaa dekhaa
ek nayaa imtehaan baaqi hai 1.test
This a reflection that life is a continuous struggle, trial after trial. There is no explicit suggestion that this either good or bad, to be welcomed or (more conventionally) to be shunned in preference to the ‘next’ life. Thus, having gone through one test, what do we see; that there is a new test remaining. More explicit on the desirability of continuous strussgle is jaikrishn chaudhray habiib –
voh bhi kya maz’e ki thi zindagi, jo safar safar meN guzar gaii
nahiN manziloN meN vo dil-kashi, mujhe phir safar ki talaash hai
5
sar qalam1 hoNge kal yahaaN unn ke
jin ke muNh meN zabaan baaqi hai 1.cut off, chopped
Their heads will be chopped off; those that still have a tongue in their mouth i.e., those who still dare to speak out will be eliminated, a rather pointed reflection of what is going on in India right now. Elsewhere the poet writes …
un ki koshish hai kaleja ho mera patthar ka
un ki koshish hai maiN jazbaat na likhne paa’uN
rajesh reDDii (1952-living), was born in nagpur and lives in mumbai. All I could get from radio interview recording is that he fell in love with urdu and particularly Ghazal during his college days. He worked for All India Radio and retired from there. He has published three collections of his verse. He writes politically astute Ghazal.
1
jaane1 kitni uRaan2 baaqi3 hai
is parinde4 meN jaan baaqi hai
1.who knows 2.flight, strength to fly 3.remaining 4.bird
In urdu poetic tradition poets often refer to themselves as a captive bird singing in pain of homesickness or a bird/nightingale singing love songs to its lover, the rose. Here, the poet may be (I am not sure) presenting himself as a bird singing songs of protest. The authorities have tried to silence him, perhaps threatening him. He declares that he is not fearful; there is still some life left in this bird; who know how much strength it has left to fly.
2
jitni baTni1 thi baT2 chuki yeh zamiiN
ab to bas3 aasmaan baaqi4 hai
1.to be divided 2.already divided 3.only 4.remaining
This can apply to national, political or communal divides depending on how liberally you interpret the worl ‘zamiin’ and ‘aasmaan’. The earth is already divided up among those who contend for ‘their’ portion. Only the sky is left now.
3
ab voh duniyaa ajiib1 lagtii hai
jis meN amn-o-amaan2 baaqi hai
1.strange, unusual 2.peace and well-being
Perhaps this is a reflection of changing times, worsening conditions between and within nations. That world (of memories) seems strange and unusual now; the world in which there was peace, tranquility and well-being.
4
imtehaaN1 se guzar ke kyaa dekhaa
ek nayaa imtehaan baaqi hai
1.test
This a reflection that life is a continuous struggle, trial after trial. There is no explicit suggestion that this either good or bad, to be welcomed or (more conventionally) to be shunned in preference to the ‘next’ life. Thus, having gone through one test, what do we see; that there is a new test remaining. More explicit on the desirability of continuous strussgle is jaikrishn chaudhray habiib –
voh bhi kya maz’e ki thi zindagi, jo safar safar meN guzar gaii
nahiN manziloN meN vo dil-kashi, mujhe phir safar ki talaash hai
5
sar qalam1 hoNge kal yahaaN unn ke
jin ke muNh meN zabaan baaqi hai
1.cut off, chopped
Their heads will be chopped off; those that still have a tongue in their mouth i.e., those who still dare to speak out will be eliminated, a rather pointed reflection of what is going on in India right now. Elsewhere the poet writes …
un ki koshish hai kaleja ho mera patthar ka
un ki koshish hai maiN jazbaat na likhne paa’uN
The post jin ke muNh meN zabaan baaqi hai-rajesh reDDi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/10/chbhKh-zaraa-saNbhal-kar-zabaan-kholo-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ذرا سنبھل کر زبان کھولو ۔ چندر بھان خیالؔ
ایک ہندو فرقہ پرست لیڈر کے مسلم مخالف بیان پر ردّ عمل
۱
ذرا سنبھل کر زبان کھولو
زبان کھلتے ہی کھنچ نہ جائیں سلگتی شمشیریں چار جانب
ادب سے بولو کہ میرؔ و غالبؔ
ابھی بھی ہندوستاں کے سینے میں دل کی صورت
دھڑک رہے ہیں
نظیرؔ کے رنگا رنگ نغمے پھڑک رہے ہیں
۲
جو لفظ ہونٹوں پہ شعلہ بن کر بھڑک رہے ہیں
وہ لفظ ہندو نہیں نہ ہندی نہ بھارتی ہیں
وطن پرستی کی بات کرنے سے قبل سونگھو
وطن کی مٹی
۳
کہ جس میں شامل ہے اس مسلماں کے خوں کی خوشبو
اُگا ہے جو فصلِ گل کی مانند اس زمیں سے
ملا ہے جو خاک ہو کے آخر اِسی زمیں میں
۴
کبھی وہ رسؔ کھان بن کے گونجا ہے برج کے بن میں
کبھی وہ عبدالحمید بن کر
کھڑا ہے سرحد پہ سینہ تانے
۵
کبھی وہ ٹیپو
کبھی وہ اکبر
کبھی وہ خواجہ سلیم چشتی
کبھی وہ حاجی ملنگ ہے تو کبھی اودھ کا نواب رسیا
کبھی وہ دو گز زمیں کی خاطر
پرآئی دھرتی پہ خوب روئے
۶
عجیب ہو تم، غریب ہو تم
کہ تم نے آ کے نہ جانے کس ملک، کس زمیں سے
بنا لیا ہے یہاں پہ مسکن
۷
تمہاری بھاشا، تمہارا لہجہ، تمہارا اندازِ فکر اور فن
نہ آبِ گنگ و جمن سے ملتا
نہ ست پڑا کی گپھاؤں جیسا
نہ بدھ کی انجمن سے ملتا
نہ دراوڈوں کے کلام جیسا
نہ کرشن جیسا نہ رام جیسا
۸
عجیب ہو تم
وطن کی عظمت کو ریگزاروں میں خاک کرنے کی ٹھان لی ہے
محبتوں کی، شرافتوں کی، تمدُّنوں کی
وراثتوں کو
ہلاک کرنے کی ٹھان لی ہے
۹
وطن کا پیغام ہے محبت
عداوتوں کو فروغ دینے سے کچھ نہ ہوگا
یہاں پہ یکسانیت کا مطلب انیکتا ہے
انیکتا ہی میں ایکتا ہے
۱۰
برائیوں کو برائیوں سے مٹانا ممکن نہیں ہے بھائی
نہ چھیڑو ایسی غلط لڑائی
ادب سے بولو
ذرا سنبھل کر زبان کھولو
ज़रा संभल कर ज़बान खोलो – चन्द्र भान ख़याल
एक हिन्दू फ़िर्क़ा परस्त लीडर के मुस्लिम-मुख़ालिफ़ बयान पर रद्द-ए अमल
१
ज़रा संभल कर ज़बान खोलो
ज़बान खुलते ही खिंच न जाएं सुलगती शमशीरें चार जानिब
अदब से बोलो के मीर और ग़ालिब
अभी भी हिन्दोस्तां के सीने में दिल की सूरत
धढक रहे हैं
नज़ीर के रंगा-रंग नग़मे फढक रहे हैं
२
जो लफ़्ज़ होंठों पे शोला बन कर भढक रहे हैं
वो लफ़्ज़ हिन्दू नहीं न हिन्दी न भारती हैं
वतन-परस्ती की बात करने से क़ब्ल सूंघो
वतन की मिट्टी
३
के जिस में शामिल है उस मुसलमां के ख़ूं की ख़ुशबू
उगा है जो फ़स्ल-ए गुल की मानिंद इस ज़मीं से
मिला है जो ख़ाक हो के आख़ेर इसी ज़मीं में
४
कभी वो रसख़ान बन के गूंजा है बृज के बन में
कभी वो अब्दुल हमीद बन कर
खढा है सरहद पे सीना ताने
५
कभी वो टीपू
कभी वो अक्बर
कभी वो ख़्वाजा सलीम चिश्ती
कभी वो हाजी मलंग है तो कभी अवध का नवाब रसिया
कभी वो दो गज़ ज़मीं की ख़ातिर
पराई धरती पे खूब रोए
६
अजीब हो तुम, ग़रीब हो तुम
के तुम ने आ के न जाने किस मुल्क, किस ज़मीं से
बना लिया है यहां पे मस्कन
७
तुम्हारी भाषा, तुम्हारा लहजा, तुम्हारा अंदाज़-ए फ़िक्र और फ़न
न आब-ए गंग-ओ-जमन से मिलता
न सतपुड़ा की गुफ़ाओं जैसा
न बुद्ध की अंजुमन से मिलता
न द्राविडौं के कलाम जैसा
न कृष्ण जैसा न राम जैसा
८
अजीब हो तुम
वतन की अज़्मत को रेगज़ारौं में ख़ाक करने की ठान ली है
मुहब्बतों की, शराफ़तों की, तमद्दुनों की
विरासतों को
हलाक करने की ठान ली है
९
वतन का पैग़ाम है मोहब्बत
अदावतों को फ़रोग़ देने से कुछ न होगा
यहां पे यक्सानियत का मतलब अनेकता है
अनेकता ही में एकता है
१०
बुराइयों को बुराइयों से मिटाना मुमकिन नहीं है भाई
न छेढो ऐसी ग़लत लढाई
अदब से बोलो
ज़रा संभल कर ज़बान खोलो
Click here for background and on any passage for word meanings and explanatory discussion. chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh. Graduated from saagar university. He was fascinated with urdu poetry and in his rural home, visiting a newly opened library, memorized a lot of Ghazal and nazm from books in devanagiri. He also started composing nazm. Could not find anyone in the village to teach him urdu. Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years. He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird. Participated in mushaa’era, published a collection and got started on a journalism career. Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli.
1
zaraa sambhal1 kar zabaan-kholo2
zabaan khulte hi khiNch na jaa’eN sulagti3 shamshireN4 chaar jaanib5
adab6 se bolo keh miir aur Ghaalib
abhi bhi hindostaaN ke siine meN dil ki suurat7
dhaRak rahe haiN
naziir8 ke raNgaa-raNg naGhme9 phaRak rahe haiN 1.with care 2.open your mouth, speak 3.flaming 4.swords 5.directions 6.respect 7.in the manner of, similar to 8.naziir akbarabadi (1735-1830) 9.songs
The poet is admonishing a bigoted hindu politician/speaker who has spoken offensive, inciteful words. Be careful when you open your mouth to speak. As soon as you utter such words, flaming swords can be drawn in all direction. Speak respectfully, for even now, miir and Ghalib, throb in the heart of hindustan like a heart. The colourful songs of naziir akbarabadi flutter/flap their wings here.
2
jo lafz1 hoNToN2 pe shola3 ban kar bhaRak4 rahe haiN
voh lafz hindu nahiN, na hindi, na bhaarati haiN
vatan-parasti5 ki baat karne se qabl6 suuNgho
vatan ki miTTi 1.words 2.lips 3.flames 4.bursting 5.patriotism, homeland loving 6.before
The words that burst from your lips like flames are not representative of hindu religion, of hindostaan or ancient bhaarat. Before you talk about patriotism, smell the soil of the homeland.
3
keh jis meN shaamil1 hai us musalmaaN ke Khuun ki Khushbuu2
ugaa3 hai jo fasl-e-gul4 ki maanind5 is zamiiN se
milaa hai jo Khaak6 ho ke aaKhir7 isi zamiiN meN 1.included, mixed 2.fragrance 3.sprouted 4.spring 5.like, similar to 6.dust 7.at last
For in it is mingled the fragrance of the blood of that muslim who sprouted from this earth like spring flowers and in the end, like dust blended into this very soil.
4
kabhi voh rasKhaan1 ban ke guunjaa2 hai braj3 ke ban4 meN
kabhi voh abdul hamiid5 ban kar
khaRaa hai sarhad6 pe siina taane 1.poet/devotee of krishna 2.echoed 3.birthplace of krishn 4.forest 5.one of the first Indian casualties of the Indo-Pak war of 1965 6.border
rasKhaan was born into a muslim family in dehli, went to brindaavan, experienced a vision of krishna and became a devotee. He composed many bhajans which are sung to this day, but the singers seldom know who composed them. abdul hamid was an Indian soldier, one of the first casualites of the war with pakistan in 1965. Thus, the poet is reminding the bigoted speaker that muslims were respectful to hindu religion, patriotic to the homeland, sacrificing their lives for it.
5
kabhi voh Tiipuu1
kabhi voh akbar
kabhi voh Khwaaja saliim chishti2
kabhi voh haaji malaNg3 hai to kabhi avadh ka navaab rasiyaa4
kabhi voh do-gaz5 zamiiN ki Khaatir6
paraa’ii7 dharti8 pe Khuub ro’e 1.Tiipuu sultan 2.sufi saint 3.another sufi saint 4.playful, one who enjoys life 5.two yards, burial spot 6.for the sake of 7.foreign 8.land
Tiipuu sultan is representative of an Indian king who died fighting the British. akbar is representative of a king who worked for communal harmony. saliim chishti and haaji malaNg are representative of sufi saints whose tombs are visited by people of all faiths. Thus, sometimes, the muslim manifests himself as Tiipuu; at other times as akbar; or saliim chisti or haaji malaNg. Sometimes he weeps in a foreign land for a burial spot in his homeland. This is a reference to bahadur shaah zafar who died in exile in raNgoon, yearning to be buried in his homeland.
6
ajiib1 ho tum, Ghariib2 ho tum
keh tum ne aa ke na jaane kis mulk3, kis zamiN4 se
banaa liyaa hai yahaaN pe maskan5 1.strange 2. stranger, outsider, foreigner 3.country 4.land 5.home, residence
The poet continues to admonish the bigoted speaker … you are strange, you are an outsider, who has come here from who knows which country, which land and made this your residence.
7
tumhaari bhaashaa1, tumhaaraa lahja2, tumhaaraa andaaz3-e fikr4 aur fun5
na aab6-e gaNg-o-jaman se miltaa
na satpaRaa7 ki gufaa’oN8 jaisaa
na buddh ki anjuman9 se miltaa
na draaviRoN ke kalaam10 jaisaa
na krishn jaisaa, na raam jaisaa 1.language 2.accents 3.style 4.thinking 5.skills 6.waters 7.northeaster region 8.caves 9.society 10.speech
The poet proceeds to completely disown the speaker. Not only is he strange and from a foreign land … he says … your language and accent, your way of thinking and working is not like the waters of the gaNga and jamuna, not from the caves of the northeast, not like the language of the draviD. It is neither like that of krishn nor of raam.
8
ajiib1 ho tum
vatan2 ki azmat3 ko regzaaroN4 meN Khaak-karne5 ki Thaan6 li hai
muhabbatoN ki, sharaafatoN7 ki, tamaddunoN8 ki
viraasatoN9 ko
halaak10 karne ki Thaan6 li hai 1.strange 2.homeland 3.greatness 4.sandy desert 5.reduce to ashes, wasted 6.determined, decided 7.civility, good manners 8.civilization, culture 9.legacy 10.kill
You are strange. You are determined to waste the greatness of the homeland in the sandy desert; you are determined to kill/destroy the legacy of love, civility and culture.
9
vatan1 kaa paiGhaam2 hai muhabbat
adaavatoN3 ko faroGh4 dene se kuchh na hogaa
yahaaN pe yaksaaniyat5 kaa matlab6 anekta7 hai
anekta hi meN aekta8 hai 1.homeland 2.message 3.rivalries 4.increase 5.uniformity 6.meaning 7.diversity 8.unity
The message of the homeland is that of love. You will not get anywhere by increasing rivalries. Here the meaning of uniformity is variety. Here, there is unity in diversity.
10
buraa’iyoN ko buraa’iyoN se miTaanaa mumkin1 nahiN hai bhaa’ii
na chheRo aisi Ghalat laRaa’ii
adab2 se bolo
zaraa sambhal3 kar zabaan kholo4 1.possible 2.respect 3.carefully 4.open your mouth
O brother, it is not possible to erase/overcome evil with evil. Do not start this wrong conflict. Speak respectfully. By careful when you open your mouth.
chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh. Graduated from saagar university. He was fascinated with urdu poetry and in his rural home, visiting a newly opened library, memorized a lot of Ghazal and nazm from books in devanagiri. He also started composing nazm. Could not find anyone in the village to teach him urdu. Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years. He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird. Participated in mushaa’era, published a collection and got started on a journalism career. Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli.
1
zaraa sambhal1 kar zabaan-kholo2
zabaan khulte hi khiNch na jaa’eN sulagti3 shamshireN4 chaar jaanib5
adab6 se bolo keh miir aur Ghaalib
abhi bhi hindostaaN ke siine meN dil ki suurat7
dhaRak rahe haiN
naziir8 ke raNgaa-raNg naGhme9 phaRak rahe haiN
1.with care 2.open your mouth, speak 3.flaming 4.swords 5.directions 6.respect 7.in the manner of, similar to 8.naziir akbarabadi (1735-1830) 9.songs
The poet is admonishing a bigoted hindu politician/speaker who has spoken offensive, inciteful words. Be careful when you open your mouth to speak. As soon as you utter such words, flaming swords can be drawn in all direction. Speak respectfully, for even now, miir and Ghalib, throb in the heart of hindustan like a heart. The colourful songs of naziir akbarabadi flutter/flap their wings here.
2
jo lafz1 hoNToN2 pe shola3 ban kar bhaRak4 rahe haiN
voh lafz hindu nahiN, na hindi, na bhaarati haiN
vatan-parasti5 ki baat karne se qabl6 suuNgho
vatan ki miTTi
1.words 2.lips 3.flames 4.bursting 5.patriotism, homeland loving 6.before
The words that burst from your lips like flames are not representative of hindu religion, of hindostaan or ancient bhaarat. Before you talk about patriotism, smell the soil of the homeland.
3
keh jis meN shaamil1 hai us musalmaaN ke Khuun ki Khushbuu2
ugaa3 hai jo fasl-e-gul4 ki maanind5 is zamiiN se
milaa hai jo Khaak6 ho ke aaKhir7 isi zamiiN meN
1.included, mixed 2.fragrance 3.sprouted 4.spring 5.like, similar to 6.dust 7.at last
For in it is mingled the fragrance of the blood of that muslim who sprouted from this earth like spring flowers and in the end, like dust blended into this very soil.
4
kabhi voh rasKhaan1 ban ke guunjaa2 hai braj3 ke ban4 meN
kabhi voh abdul hamiid5 ban kar
khaRaa hai sarhad6 pe siina taane
1.poet/devotee of krishna 2.echoed 3.birthplace of krishn 4.forest 5.one of the first Indian casualties of the Indo-Pak war of 1965 6.border
rasKhaan was born into a muslim family in dehli, went to brindaavan, experienced a vision of krishna and became a devotee. He composed many bhajans which are sung to this day, but the singers seldom know who composed them. abdul hamid was an Indian soldier, one of the first casualites of the war with pakistan in 1965. Thus, the poet is reminding the bigoted speaker that muslims were respectful to hindu religion, patriotic to the homeland, sacrificing their lives for it.
5
kabhi voh Tiipuu1
kabhi voh akbar
kabhi voh Khwaaja saliim chishti2
kabhi voh haaji malaNg3 hai to kabhi avadh ka navaab rasiyaa4
kabhi voh do-gaz5 zamiiN ki Khaatir6
paraa’ii7 dharti8 pe Khuub ro’e
1.Tiipuu sultan 2.sufi saint 3.another sufi saint 4.playful, one who enjoys life 5.two yards, burial spot 6.for the sake of 7.foreign 8.land
Tiipuu sultan is representative of an Indian king who died fighting the British. akbar is representative of a king who worked for communal harmony. saliim chishti and haaji malaNg are representative of sufi saints whose tombs are visited by people of all faiths. Thus, sometimes, the muslim manifests himself as Tiipuu; at other times as akbar; or saliim chisti or haaji malaNg. Sometimes he weeps in a foreign land for a burial spot in his homeland. This is a reference to bahadur shaah zafar who died in exile in raNgoon, yearning to be buried in his homeland.
6
ajiib1 ho tum, Ghariib2 ho tum
keh tum ne aa ke na jaane kis mulk3, kis zamiN4 se
banaa liyaa hai yahaaN pe maskan5
1.strange 2. stranger, outsider, foreigner 3.country 4.land 5.home, residence
The poet continues to admonish the bigoted speaker … you are strange, you are an outsider, who has come here from who knows which country, which land and made this your residence.
7
tumhaari bhaashaa1, tumhaaraa lahja2, tumhaaraa andaaz3-e fikr4 aur fun5
na aab6-e gaNg-o-jaman se miltaa
na satpaRaa7 ki gufaa’oN8 jaisaa
na buddh ki anjuman9 se miltaa
na draaviRoN ke kalaam10 jaisaa
na krishn jaisaa, na raam jaisaa
1.language 2.accents 3.style 4.thinking 5.skills 6.waters 7.northeaster region 8.caves 9.society 10.speech
The poet proceeds to completely disown the speaker. Not only is he strange and from a foreign land … he says … your language and accent, your way of thinking and working is not like the waters of the gaNga and jamuna, not from the caves of the northeast, not like the language of the draviD. It is neither like that of krishn nor of raam.
8
ajiib1 ho tum
vatan2 ki azmat3 ko regzaaroN4 meN Khaak-karne5 ki Thaan6 li hai
muhabbatoN ki, sharaafatoN7 ki, tamaddunoN8 ki
viraasatoN9 ko
halaak10 karne ki Thaan6 li hai
1.strange 2.homeland 3.greatness 4.sandy desert 5.reduce to ashes, wasted 6.determined, decided 7.civility, good manners 8.civilization, culture 9.legacy 10.kill
You are strange. You are determined to waste the greatness of the homeland in the sandy desert; you are determined to kill/destroy the legacy of love, civility and culture.
9
vatan1 kaa paiGhaam2 hai muhabbat
adaavatoN3 ko faroGh4 dene se kuchh na hogaa
yahaaN pe yaksaaniyat5 kaa matlab6 anekta7 hai
anekta hi meN aekta8 hai
1.homeland 2.message 3.rivalries 4.increase 5.uniformity 6.meaning 7.diversity 8.unity
The message of the homeland is that of love. You will not get anywhere by increasing rivalries. Here the meaning of uniformity is variety. Here, there is unity in diversity.
10
buraa’iyoN ko buraa’iyoN se miTaanaa mumkin1 nahiN hai bhaa’ii
na chheRo aisi Ghalat laRaa’ii
adab2 se bolo
zaraa sambhal3 kar zabaan kholo4
1.possible 2.respect 3.carefully 4.open your mouth
O brother, it is not possible to erase/overcome evil with evil. Do not start this wrong conflict. Speak respectfully. By careful when you open your mouth.
The post zara saNbhal kar zabaan kholo-chandrbhan Khayaal appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/10/joshm-jibriil-ki-bhi-taaziim-na-kar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جبریل کی بھی تعظیم نہ کر ۔ جوشؔ ملیح آبادی
۱
آزادہ منِش رہ دنیا میں، پروائے اُمید و بیم نہ کر
جب تک نہ ملیں فِطرت کے قدم، خم دیکھ سرِ تسلیم نہ کر
۲
سینے میں ہے اُس کے سوز اگر، شیطاں کے قدم لے آنکھوں پر
بیگانۂ دردِ دل ہے اگر، جبریل کی بھی تعظیم نہ کر
۳
کتنی ہی شعائیں ابر میں ہوں، خورشیدِ جنوں پر ایماں لا
کتنے ہی دلائل روشن ہوں، دانش کو کبھی تسلیم نہ کر
۴
سانچوں میں برابر ڈھلتا جا، رفتارِ جہاں سے پھیر نہ منہ
تنسیخ تو کیا اس دفتر میں، جینا ہے تو کچھ ترمیم نہ کر
۵
اے جوشؔ ہجومِ کُلفت میں، فریاد و فغاں سے کام نہ لے
گھٹ جائے گا اِس سے دل کا اثر، اجزائے تپش تقسیم نہ کر
जिबरील की भी ताज़ीम न कर – जोश मलीहआबादी
१
आज़ादा-मनिश रह दुनिया में परवा-ए उम्मीद-ओ-बीम न कर
जब तक न मिलें फ़ितरत के क़दम ख़म देख सर-ए तस्लीम न कर
२
सीने में है उस के सोज़ अगर शैताँ के क़दम ले आँखों पर
बेगाना-ए दर्द-ए दिल है अगर जिबरील की भी ताज़ीम न कर
३
कितनी ही शो’आएँ अब्र में हों ख़ुर्शीद-ए जुनूँ पर ईमाँ ला
कितने ही दला’एल रौशन हों दानिश को कभी तस्लीम न कर
४
साँचों में बराबर ढलता जा रफ़्तार-ए जहाँ से फेर न मुँह
तनसीख़ तो क्या इस दफ़्तर में जीना है तो कुछ तरमीम न कर
५
अए जोश हुजूम-ए कुल्फ़त में फ़र्याद ओ फ़ुग़ाँ से काम न ले
घट जाएगा इस से दिल का असर अजज़ा-ए तपिश तक़्सीम न कर
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. Here, he is being his usual rebellious/assertive self.
1
aazaada-manish1 rah duniya meN parvaa2-e ummiid-o-biim3 na kar
jab tak na mileN fitrat4 ke qadam5 Kham6 dekh sar-e tasliim7 na kar 1.free nature, free thinking 2.worry 3.hopes and fears 4.nature, mysteries of nature 5.feet 6.bow, bend 7.salutation, homage
Live this life like a free-thinker, free-actor. Do not worry about hopes and fears. Do not how your head in homage, except at the feet of the mysteries/wonders of nature. Given josh’s background a lot more can be read into these words … aazaada-manish is a rebel against orthodoxy, fears and hopes and heaven and hell and wonders of nature/creation are abover bounds of particular faith.
2
siine meN hai us ke soz1 agar shaitaaN ke qadam2 le aaNkhoN par
begaana3-e dard4-e dil hai agar jibriil5 ki bhi taaziim6 na kar 1.fire, sorrow 2.feet 3.unfamiliar, stranger 4.pain, love 5.archangel Gabriel 6.respect
‘qadam aaNkhoN par lena’ is an expression used to mean show great respect. Thus, if he has fire/pain of love in his heart, even if it were Satan, then offer him great respect. On the other hand, if the heart is devoid of love, even if were archangel Gabriel, then do not show him any respect. josh firmly establishes universal love above all other beliefs and rituals.
3
kitni hi shuaa’eN1 abr2 meN hoN Khurshiid3-e junuuN4 par iimaaN5 la
kitne hi dalaa’el6 raushan7 hoN daanish8 ko kabhi tasliim9 na kar 1.rays of light 2.cloud 3.sun 4.madness, passion 5.faith 6.logical arguments 7.shining, clear 8.wisdom, (worldly knowledge) 9.accept
In the light of previous ash’aar, I take the liberty of interpreting junuuN as the passion of love and iimaaN as faith in universal love. I also interpret ‘dalaa’el-plural of daliil’ and ‘daanish’ as pertaining to worldly/material knowledge, while universal love is more akin to spiritual/mystic knowledge. The rays of light of the sun of passion of love is obscured by dark clouds. However much the rays of light might be obscured, place your faith in universal love. Never accept, logic/knowledge pertaining to material/worldly interests.
4
saaNchoN1 meN baraabar2 Dhalta3 jaa raftaar4-e jahaaN5 se pher6 na muNh
tansiiKh7 to kya is daftar8 meN jiina9 hai to kuchh tarmiim10 na kar 1.moulds 2.continuously, as you go 3.get cast 4.speed, progress 5.world 6.turn away 7.cancel 8.office, records, instructions 9.live 10.amendment, modification
The world is speeding along the path of progress. Keep casting yourselves in new moulds of knowledge/progress. If you want to live in this world do not cancel or make changes to the path of progress, proceed along it.
5
aye josh1 hujuum2-e kulfat3 meN fariyaad4 o fuGhaaN5 se kaam na le
ghaT6 jaa’ega is se dil ka asar7 ajzaa8-e tapish9 taqsiim10 na kar 1.pen-name of the poet 2.onslaught, crowding 3.difficulties, problems 4.begging, appealing 5.wailing, crying 6.reduced 7.effect 8.ingredients 9.heat, distress 10.distribute
O josh do not beg or cry under the onslaught of difficulties. This will reduce the effect that your heart/resolve can have. Do not try to distribute the ingredients of pain.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. Here, he is being his usual rebellious/assertive self.
1
aazaada-manish1 rah duniya meN parvaa2-e ummiid-o-biim3 na kar
jab tak na mileN fitrat4 ke qadam5 Kham6 dekh sar-e tasliim7 na kar
1.free nature, free thinking 2.worry 3.hopes and fears 4.nature, mysteries of nature 5.feet 6.bow, bend 7.salutation, homage
Live this life like a free-thinker, free-actor. Do not worry about hopes and fears. Do not how your head in homage, except at the feet of the mysteries/wonders of nature. Given josh’s background a lot more can be read into these words … aazaada-manish is a rebel against orthodoxy, fears and hopes and heaven and hell and wonders of nature/creation are abover bounds of particular faith.
2
siine meN hai us ke soz1 agar shaitaaN ke qadam2 le aaNkhoN par
begaana3-e dard4-e dil hai agar jibriil5 ki bhi taaziim6 na kar
1.fire, sorrow 2.feet 3.unfamiliar, stranger 4.pain, love 5.archangel Gabriel 6.respect
‘qadam aaNkhoN par lena’ is an expression used to mean show great respect. Thus, if he has fire/pain of love in his heart, even if it were Satan, then offer him great respect. On the other hand, if the heart is devoid of love, even if were archangel Gabriel, then do not show him any respect. josh firmly establishes universal love above all other beliefs and rituals.
3
kitni hi shuaa’eN1 abr2 meN hoN Khurshiid3-e junuuN4 par iimaaN5 la
kitne hi dalaa’el6 raushan7 hoN daanish8 ko kabhi tasliim9 na kar
1.rays of light 2.cloud 3.sun 4.madness, passion 5.faith 6.logical arguments 7.shining, clear 8.wisdom, (worldly knowledge) 9.accept
In the light of previous ash’aar, I take the liberty of interpreting junuuN as the passion of love and iimaaN as faith in universal love. I also interpret ‘dalaa’el-plural of daliil’ and ‘daanish’ as pertaining to worldly/material knowledge, while universal love is more akin to spiritual/mystic knowledge. The rays of light of the sun of passion of love is obscured by dark clouds. However much the rays of light might be obscured, place your faith in universal love. Never accept, logic/knowledge pertaining to material/worldly interests.
4
saaNchoN1 meN baraabar2 Dhalta3 jaa raftaar4-e jahaaN5 se pher6 na muNh
tansiiKh7 to kya is daftar8 meN jiina9 hai to kuchh tarmiim10 na kar
1.moulds 2.continuously, as you go 3.get cast 4.speed, progress 5.world 6.turn away 7.cancel 8.office, records, instructions 9.live 10.amendment, modification
The world is speeding along the path of progress. Keep casting yourselves in new moulds of knowledge/progress. If you want to live in this world do not cancel or make changes to the path of progress, proceed along it.
5
aye josh1 hujuum2-e kulfat3 meN fariyaad4 o fuGhaaN5 se kaam na le
ghaT6 jaa’ega is se dil ka asar7 ajzaa8-e tapish9 taqsiim10 na kar
1.pen-name of the poet 2.onslaught, crowding 3.difficulties, problems 4.begging, appealing 5.wailing, crying 6.reduced 7.effect 8.ingredients 9.heat, distress 10.distribute
O josh do not beg or cry under the onslaught of difficulties. This will reduce the effect that your heart/resolve can have. Do not try to distribute the ingredients of pain.
The post jibriil ki bhi taa’ziim na kar-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/10/joshm-baiat-e-dast-e-subuu-kareN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
بعیتِ دست سبو کریں ۔ جوشؔ ملیح آبادی
۱
وقتِ سحر ہے آؤ حریفو وضو کریں
مینا اُٹھائیں خدمتِ جام و سبو کریں
۲
لو کُھل گیا وہ پرچمِ خورشیدِ زر نگار
اُٹّھو کہ وا دریچۂ صد رنگ و بُو کریں
۳
طائر خروش میں ہیں صبا گرمِ اختلاط
آؤ حریمِ کیف میں پھر ہا و ہو کریں
۴
مستانہ وار جیبِ جوانی کے چاک میں
پھر رشتۂ شرابِ کہن سے رفو کریں
۵
پھر روئے خوش نگار کی دہرائیں داستاں
حسن و جمالِ یار کی پھر گفتگو کریں
۶
ملبوسِ زندگانیِ و رختِ حیات کو
صہبا کی نرم آنچ سے پھر شُست و شُو کریں
۷
آؤ بنائیں یار کو پھر صدرِ انجمن
آئینہ آفتاب کا پھر رُو برُو کریں
۸
دنیا کو آؤ رشکِ بہشتِ بریں بنائیں
خشکی کو آؤ روکشِ صد آبجو کریں
۹
لیلائے کیفِ دوش کا مرجھا چلا ہے ہار
پھر تازہ پھول گوندھ کے زیبِ گُلُو کریں
۱۰
آنے لگی ہے دیر سے ناقوس کی صدا
آؤ، تصوّرِ صنمِ سادہ رُو کریں
۱۱
بحرِ وِغا زمانہ اُٹھائے ہوئے ہے ہات
یارو اُٹھو کہ بعیتِ دستِ سبو کریں
۱۲
پھر آؤ دل کا جوشؔ کے نغموں سے درس لیں
پھر آؤ تازہ رسم و رہِ آرزو کریں
बै’अत-ए दस्त-ए सबू करें – जोश मलीहाबादी
१
वक़्त-ए सहर है आओ हरो वुज़ू करें
मीना उठाएं ख़िदमत-ए जाम ओ सबू करें
२
लो खुल गया वो परचम-ए ख़ुरशीद-ए ज़र-निगार
उठो के वा दरीचा-ए सद-रंग-ओ-बू करें
३
ता’एर ख़रोश में हैं सबा गर्म-ए एख़्तेलात
आओ हरीम-ए कैफ़ में फिर हा-ओ-हू करें
४
मस्ताना-वार जेब-ए जवानी के चाक में
फिर रिश्ता-ए शराब-ए कुहन से रफ़ू करें
५
फिर रू-ए ख़ुश-निगार की दोहराएं दास्ताँ
हुस्न ओ जमाल-ए यार की फिर गुफ़्तगू करें
६
मल्बूस-ए ज़िंदगानी ओ रख़्त-ए हयात को
सहबा की नरम आँच से फिर शुस्त-ओ-शू करें
७
आओ बनाएं यार को फिर सद्र-ए अंजुमन
आइना आफ़्ताब का फिर रू-ब-रू करें
८
दुनिया को आओ रश्क-ए बेहिश्त-ए बरीं बनाएं
ख़ुश्की को आओ रूकश-ए सद आब्जू करें
९
लैला-ए कैफ़-ए दोश का मुरझा चला है हार
फिर ताज़ा फूल गूंध के ज़ेब-ए गुलू करें
१०
आने लगी है दैर से नाक़ूस की सदा
आओ, तसव्वुर-ए सनम-ए सादा-रू करें
११
बहर-ए वेग़ा ज़माना उठाए हुए है हाथ
यारो उठो के बै’अत-ए दस्त-ए सबू करें
१२
फिर आओ दिल का जोश के नग़्मों से दर्स लें
फिर आओ ताज़ा रस्म ओ रह-ए आर्ज़ू करें
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’. The ‘sahr-dawn’ he writes about in this nazm/Ghazal is an image of a new world order and social harmony.
1
vaqt-e sahar1 hai aao hariifo2 vuzuu3 kareN
meena4 uThaa’eN Khidmat5-e jaam-o-subuu6 kareN 1.dawn 2.rival, partner, friend 3.ritual washing, ablutions 4.decanter, flask 5.service 6.cup and glass
It is dawn, come my friends, let us perform ablution. Let us lift the wine flask and serve the cup and goblet. Ablutions are performed in preparation of namaaz. But here the call for ablution is followed by the call for serving wine. Does the poet consider serving wine to be his form of namaaz! Or does it signify the wine of love. With the new day, a fresh dawn, universal love is served. Could this be a call for social justice. The serving of red wine with the redness of dawn is also nicely juxtaposed.
2
lo khul gaya voh parcham1-e Khurshid2-e zar-nigaar3
uTho ke vaa4 dariicha5-e sad-raNg-o-buu6 kareN 1.banner 2.sun 3.decorating with gold 4.open wide 5.window 6.hundred colours and fragrances
Behold, the golden banner of the sun is unfurled in the sky. Rise and open the window wide to a hundred colours and fragrances. This could be a celebration of the beauty of dawn and/or to the promise of a new beginning – the colour and fragrance symbolizing justice and well-being.
3
taa’er1 Kharosh2 meN haiN sabaa3 garm4-e eKhtelaat5
aao hariim6-e kaif7 meN phir ha-o-huu8 kareN 1.birds 2.full throated sound/song 3.breeze 4.enthusiastically busy 5.amalgamation, mixing 6.sanctuary, realm 7.pleasure, joy 8.sounds of tumultous celebration
In poetic tradition, the morning breeze blows, tickling unopened buds and wakes them up – causing them to bloom, thus spreading fragrance, mixing fragrances. Thus, birds are in full song and the breeze is mixing fragrances, come let us celebrate with song in the realm of joy – welcoming the rising dawn – either the literal dawn or the dawn of justice, reason, universal love … it is up to us to imagine the possibilities.
4
mastaana-vaar1 jeb2-e javaani3 ke chaak4 meN
phir rishta5-e sharaab-e kuhan6 se rafu7 kareN 1.intoxicated state, mad 2.collar 3.youth 4.tear 5.relationship, thread 6.old 7.darn, stitch
Traditionally a mad passionate lover tears his collar. Youth is passionate (about change) and its collar torn. The poet wants to sew/stitch the torn collar with the thread of old wine. Could wine here symbolize universal love and/or justice.
5
phir ruu1-e Khush-nigaar2 ki dohraa’eN3 daastaaN4
husn-o-jamaal5-e yaar6 ki phir guftagu7 kareN 1.face, looks 2.beautiful lines/form/shape 3.repeat 4.story 5.beauty and grace 6.friend, beloved, god, dawn, social justice 7.conversation
The poet does not clearly state who the ‘yaar-friend’ is. He could be talking about the beloved, about god, the dawn or the coming era of social justice. We are left to choose. Once again, let us re-tell stories of that beautifully carved/formed face. Let us talk about the beauty and grace of the ‘friend’.
6
malboos1-e zindagaani o raKht2-e hayaat3 ko
sahba4 ki narm5 aaNch6 se phir shust-o-shuu7 kareN 1.garment 2.robe, provisions 3.life 4.wine 5.soft 6.fire 7.wash, clean, purify
The garments of life and its robes and provisions symbolize the restrictions that conventions, rituals and orthodoxy have placed on us … have used to cover up the real pleasures of life. On the other hand, wine symbolizes rebellion against conventions and orthodoxy. It symbolizes free thinking equality of all humans … everyone in the tavern is treated the same. Thus, the poet calls for washing away the restrictions of orthodoxy with the wine of universal love.
7
aao bana’eN yaar1 ko phir sadr-e-anjuman2
aaina aaftab3 ka phir ruu-ba-ruu4 kareN 1.friend, beloved 2.centre/focus of the gathering 3.sun 4.face to face, in front
The beloved is the mirror/reflection of the sun because of her brilliance/glory. But who is the beloved. Like for many of the progressive poets … maKhdoom, faiz, sahir … it could be the dawn of social justice. The poet calls upon the gathering to once again make the ‘beloved’ the focus of attention and come face to face with her glory.
8
duniya ko aao rashk1-e behisht2-e bariiN3 banaa’eN
Khushki4 ko aao ruu-kash5-e sad-aabjuu6 kareN 1.envy 2.heaven 3.lofty, sublime 4.dry, barren 5.equal, rival 6.hundred rivers
Come, let us make the world the envy of high heavens. Let us turn barren lands into lush valleys of a hundred rivers.
9
laila1-e kaif2-e dosh3 ka murjha4 chala hai haar
phir taazah5 phool goondh6 ke zeb7-e gulu8 kareN 1.of laila majnuN legend, beloved 2.pleasures, joy 3.past 4.wilted 5.fresh 6.string 7.embellishment 8.neck
The joys of the past (or revelries of last night) are pictured as laila, the beloved. Her garland is wilted. Let us gather fresh flowers and string them into a new garland for the embellishment of her neck. This may well be about peaceful times of harmony, friendship and love between communities. The poet harks back to those times.
10
aane lagi hai daer1 se naaquus2 ki sadaa3
aao, tasavvur4-e sanam5-e saada-ruu6 kareN 1.temple 2.conche shell 3.sound, call 4.imagination 5.beloved 6.simple face
I am really not sure why uses the word ‘saada-ruu’. He could easily have used ‘Khoob-ruu’. Perhaps ‘saada-ruu’ is used to signify uncomplicated, straightforward, truthful. Thus, the call of the conche shell sounds from the temple. Let us go there and imagine a simple/straight-faced beloved. This could then be about an uncomplicated, unifying god, rather than an angry and dividing god.
11
bahr1-e veGha2 zamaana3 uThaa’e hue hai haath
yaaro uTho keh bai’at4-e dast5-e subuu6 kareN 1.with the intention of 2.conflict, war 3.the times, world 4.pledge fielty/loyalty 5.hand 6.wine, bearer of wine cup
The world has raised its are with the intent of attack/conflict. Published in 1935, this could be about world war or about communal conflicts. ‘dast-e subuu’- the hand of wine (cup bearer), is the hand that offers love, acceptance, human equality. Thus, he calls upon his readers to pledge loyalty to these universal concepts.
12
phir aao dil1 ka josh2 ke naGhmoN3 se dars4 leN
phir aao taazah5 rasm-o-rah6-e aarzu7 kareN 1.heart, love 2.pen-name of the poet 3.songs, nazm/Ghazal 4.lesson 5.fresh 6.traditions and ways 7.desire, love
Come, let us once again learn the lesson of love from the verse of josh. Let us refresh the traditions and ways of love.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’. The ‘sahr-dawn’ he writes about in this nazm/Ghazal is an image of a new world order and social harmony.
1
vaqt-e sahar1 hai aao hariifo2 vuzuu3 kareN
meena4 uThaa’eN Khidmat5-e jaam-o-subuu6 kareN
1.dawn 2.rival, partner, friend 3.ritual washing, ablutions 4.decanter, flask 5.service 6.cup and glass
It is dawn, come my friends, let us perform ablution. Let us lift the wine flask and serve the cup and goblet. Ablutions are performed in preparation of namaaz. But here the call for ablution is followed by the call for serving wine. Does the poet consider serving wine to be his form of namaaz! Or does it signify the wine of love. With the new day, a fresh dawn, universal love is served. Could this be a call for social justice. The serving of red wine with the redness of dawn is also nicely juxtaposed.
2
lo khul gaya voh parcham1-e Khurshid2-e zar-nigaar3
uTho ke vaa4 dariicha5-e sad-raNg-o-buu6 kareN
1.banner 2.sun 3.decorating with gold 4.open wide 5.window 6.hundred colours and fragrances
Behold, the golden banner of the sun is unfurled in the sky. Rise and open the window wide to a hundred colours and fragrances. This could be a celebration of the beauty of dawn and/or to the promise of a new beginning – the colour and fragrance symbolizing justice and well-being.
3
taa’er1 Kharosh2 meN haiN sabaa3 garm4-e eKhtelaat5
aao hariim6-e kaif7 meN phir ha-o-huu8 kareN
1.birds 2.full throated sound/song 3.breeze 4.enthusiastically busy 5.amalgamation, mixing 6.sanctuary, realm 7.pleasure, joy 8.sounds of tumultous celebration
In poetic tradition, the morning breeze blows, tickling unopened buds and wakes them up – causing them to bloom, thus spreading fragrance, mixing fragrances. Thus, birds are in full song and the breeze is mixing fragrances, come let us celebrate with song in the realm of joy – welcoming the rising dawn – either the literal dawn or the dawn of justice, reason, universal love … it is up to us to imagine the possibilities.
4
mastaana-vaar1 jeb2-e javaani3 ke chaak4 meN
phir rishta5-e sharaab-e kuhan6 se rafu7 kareN
1.intoxicated state, mad 2.collar 3.youth 4.tear 5.relationship, thread 6.old 7.darn, stitch
Traditionally a mad passionate lover tears his collar. Youth is passionate (about change) and its collar torn. The poet wants to sew/stitch the torn collar with the thread of old wine. Could wine here symbolize universal love and/or justice.
5
phir ruu1-e Khush-nigaar2 ki dohraa’eN3 daastaaN4
husn-o-jamaal5-e yaar6 ki phir guftagu7 kareN
1.face, looks 2.beautiful lines/form/shape 3.repeat 4.story 5.beauty and grace 6.friend, beloved, god, dawn, social justice 7.conversation
The poet does not clearly state who the ‘yaar-friend’ is. He could be talking about the beloved, about god, the dawn or the coming era of social justice. We are left to choose. Once again, let us re-tell stories of that beautifully carved/formed face. Let us talk about the beauty and grace of the ‘friend’.
6
malboos1-e zindagaani o raKht2-e hayaat3 ko
sahba4 ki narm5 aaNch6 se phir shust-o-shuu7 kareN
1.garment 2.robe, provisions 3.life 4.wine 5.soft 6.fire 7.wash, clean, purify
The garments of life and its robes and provisions symbolize the restrictions that conventions, rituals and orthodoxy have placed on us … have used to cover up the real pleasures of life. On the other hand, wine symbolizes rebellion against conventions and orthodoxy. It symbolizes free thinking equality of all humans … everyone in the tavern is treated the same. Thus, the poet calls for washing away the restrictions of orthodoxy with the wine of universal love.
7
aao bana’eN yaar1 ko phir sadr-e-anjuman2
aaina aaftab3 ka phir ruu-ba-ruu4 kareN
1.friend, beloved 2.centre/focus of the gathering 3.sun 4.face to face, in front
The beloved is the mirror/reflection of the sun because of her brilliance/glory. But who is the beloved. Like for many of the progressive poets … maKhdoom, faiz, sahir … it could be the dawn of social justice. The poet calls upon the gathering to once again make the ‘beloved’ the focus of attention and come face to face with her glory.
8
duniya ko aao rashk1-e behisht2-e bariiN3 banaa’eN
Khushki4 ko aao ruu-kash5-e sad-aabjuu6 kareN
1.envy 2.heaven 3.lofty, sublime 4.dry, barren 5.equal, rival 6.hundred rivers
Come, let us make the world the envy of high heavens. Let us turn barren lands into lush valleys of a hundred rivers.
9
laila1-e kaif2-e dosh3 ka murjha4 chala hai haar
phir taazah5 phool goondh6 ke zeb7-e gulu8 kareN
1.of laila majnuN legend, beloved 2.pleasures, joy 3.past 4.wilted 5.fresh 6.string 7.embellishment 8.neck
The joys of the past (or revelries of last night) are pictured as laila, the beloved. Her garland is wilted. Let us gather fresh flowers and string them into a new garland for the embellishment of her neck. This may well be about peaceful times of harmony, friendship and love between communities. The poet harks back to those times.
10
aane lagi hai daer1 se naaquus2 ki sadaa3
aao, tasavvur4-e sanam5-e saada-ruu6 kareN
1.temple 2.conche shell 3.sound, call 4.imagination 5.beloved 6.simple face
I am really not sure why uses the word ‘saada-ruu’. He could easily have used ‘Khoob-ruu’. Perhaps ‘saada-ruu’ is used to signify uncomplicated, straightforward, truthful. Thus, the call of the conche shell sounds from the temple. Let us go there and imagine a simple/straight-faced beloved. This could then be about an uncomplicated, unifying god, rather than an angry and dividing god.
11
bahr1-e veGha2 zamaana3 uThaa’e hue hai haath
yaaro uTho keh bai’at4-e dast5-e subuu6 kareN
1.with the intention of 2.conflict, war 3.the times, world 4.pledge fielty/loyalty 5.hand 6.wine, bearer of wine cup
The world has raised its are with the intent of attack/conflict. Published in 1935, this could be about world war or about communal conflicts. ‘dast-e subuu’- the hand of wine (cup bearer), is the hand that offers love, acceptance, human equality. Thus, he calls upon his readers to pledge loyalty to these universal concepts.
12
phir aao dil1 ka josh2 ke naGhmoN3 se dars4 leN
phir aao taazah5 rasm-o-rah6-e aarzu7 kareN
1.heart, love 2.pen-name of the poet 3.songs, nazm/Ghazal 4.lesson 5.fresh 6.traditions and ways 7.desire, love
Come, let us once again learn the lesson of love from the verse of josh. Let us refresh the traditions and ways of love.
The post bai’at-e dast-e subuu kareN-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/10/joshm-rooh-ko-bedaar-kar-diya-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
روح کو بیدار کر دیا ۔ جوشؔ ملیح آبادی
۱
بے ہوشیوں نے اور خبردار کر دیا
سوئی جو عقل روح کو بیدار کر دیا
۲
اللہ رے حُسنِ دوست کی آئینہ داریاں
اہلِ نظر کو نقش بہ دیوار کر دیا
۳
یا رب یہ بھید کیا ہے کہ راحت کی فکر نے
اِنساں کو اور غم میں گرفتار کر دیا
۴
دل کچھ پنپ چلا تھا تغافل کی رسم سے
پھر تیرے التفات نے بیمار کر دیا
۵
کل اُن کے آگے شرحِ تمنّا کی آرزو
اتنی بڑھی کہ نطق کو بیکار کر دیا
۶
مجھ کو وہ بخشتے تھے دو عالم کی نعمتیں
میرے غرورِ عشق نے اِنکار کر دیا
۷
یہ دیکھ کر کہ اُن کو ہے رنگینیوں کا شوق
آنکھوں کو ہم نے دیدۂ خوںبار کر دیا
रूह को बेदार कर दिया – जोश मलीहाबादी
१
बे-होशियों ने और ख़बरदार कर दिया
सोई जो अक़्ल रूह को बेदार कर दिया
२
अल्लाह रे हुस्न-ए दोस्त की आईना दारियां
अहल-ए नज़र को नक़्श ब-दीवार कर दिया
३
या रब ये भेद क्या है के राहत की फ़िक्र ने
इंसां को और ग़म में गिरफ़्तार कर दिया
४
दिल कुछ पनप चला था तग़ाफ़ुल की रस्म से
फिर तेरे इल्तेफ़ात ने बीमार कर दिया
५
कल उनके आगे शरह-ए तमन्ना की आर्ज़ू
इतनी बढ़ी के नुत्क़ को बेकार कर दिया
६
मुझ को वो बख़्शते थे दो आलम की ने’मतें
मेरे ग़ुरूर-ए इश्क़ ने इन्कार कर दिया
७
ये देख कर के उनको है रंगीनियौं का शौक़
आंखों को हम ने दीदा-ए ख़ूंबार कर दिया
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’.
1
be-hoshiyoN1 ne aur Khabardaar2 kar diya
so’ii jo aql3 rooh4 ko bedaar5 kar diya 1.intoxication, trance 2.aware, alert 3.mind, intellect 4.soul 5.awake
This is a classic debate between the primacy of intelligence/knowledge vs spirituality. I must confess that I belong firmly in the former group. josh straddles both, here. In other places, he is stridently on the side of aql. Here, be-hoshi implies a sufi trance, deep feeling, getting lost in the larger entity. This makes you even more alert/wise, says the poet. When reason goes to sleep/goes into the background, then the sould wakes up. It’s a reflection on how profound insights/feelings often come from unexpected experiences.
2
allah re husn1-e dost2 ki aaina-daariyaaN3
ahl-e-nazar4 ko naqsh-ba-diivaar5 kar diya 1.beauty 2.friend, god 3.holding up a mirror, reflecting, showing 4.people with discerning sight 5.lifeless images on the wall, stunned, perplexed
By god, the display of the beauty of the friend – this could be the beloved, but more likely the divine spirit. Those who have the ability to preceive it are left stunned, unable to describe it, perplexed.
3
allah re husn1-e dost2 ki aaina-daariyaaN3
ahl-e-nazar4 ko naqsh-ba-diivaar5 kar diya 1.beauty 2.friend, god 3.holding up a mirror, reflecting, showing 4.people with discerning sight 5.lifeless images on the wall, stunned, perplexed
By god, the display of the beauty of the friend – this could be the beloved, but more likely the divine spirit. Those who have the ability to preceive it are left stunned, unable to describe it, perplexed.
4
dil kuchh panap1 chala tha taGhaaful2 ki rasm3 se
phir tere iltefaat4 ne bimaaar5 kar diya 1.recovering, getting better 2.indifference 3.tradition 4.favours 5.afflicted
There is a long tradition in urdu poetry that the beloved neglects, ignores is indifferent to the lover. He was just getting used to this and recovering from it, when the beloved showed a little favour, and he was afflicted again-afflicted with the sorrow of separation.
5
kal unke aage1 shar’h2-e tamanna3 ki aarzu4
itni baRhi keh nutq5 ko bekaar6 kar diya 1.in the presence of 2.explanation, narration 3.desire, love 4.wish 5.power of speech 6.useless, ineffective
The poet/lover was in the presence of the beloved and the wish to express his love became so intense that it rendered him speechless.
6
mujh ko voh baKhshte1 the do-aalam2 ki ne’mateN3
mere Ghuroor4-e ishq ne inkaar5 kar diya 1.grant 2.two worlds, here and hereafter 3.blessings 4.pride, self-respect 5.refuse
They wanted to grant me blessings of both worlds but my self respect refused to accept them. This could easily be about the poet refusing to sell himself to the powerful.
7
yeh dekh kar keh unn ko hai raNgeeniyoN1 ka shauq2
aaNkhoN ko hum ne diida3-e KhooNbaar4 kar diya 1.colourfulness 2.taste, wish 3.eyes 4.blood raining, blood dripping
Realizing that they/she likes colour, I wept tears of blood. This could be about the beloved and the lover’s readiness to do anything to please her or it might be about the injustice of the system … the only way that things can be made colourful for ‘them’ is through the tears of blood of the oppressed and the deprived.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’.
1
be-hoshiyoN1 ne aur Khabardaar2 kar diya
so’ii jo aql3 rooh4 ko bedaar5 kar diya
1.intoxication, trance 2.aware, alert 3.mind, intellect 4.soul 5.awake
This is a classic debate between the primacy of intelligence/knowledge vs spirituality. I must confess that I belong firmly in the former group. josh straddles both, here. In other places, he is stridently on the side of aql. Here, be-hoshi implies a sufi trance, deep feeling, getting lost in the larger entity. This makes you even more alert/wise, says the poet. When reason goes to sleep/goes into the background, then the sould wakes up. It’s a reflection on how profound insights/feelings often come from unexpected experiences.
2
allah re husn1-e dost2 ki aaina-daariyaaN3
ahl-e-nazar4 ko naqsh-ba-diivaar5 kar diya
1.beauty 2.friend, god 3.holding up a mirror, reflecting, showing 4.people with discerning sight 5.lifeless images on the wall, stunned, perplexed
By god, the display of the beauty of the friend – this could be the beloved, but more likely the divine spirit. Those who have the ability to preceive it are left stunned, unable to describe it, perplexed.
3
ya rab1 ye bhed2 kya hai keh raahat3 ki fikr4 ne
insaaN ko aur Gham5 meN giraftaar6 kar diya
1.lord 2.secret, mystery 3.comfort 4.worry 5.sorrow 6.captive, bound
O lord, what is this mystery/anamoly that in the search of comfort, humans become captives of even more sorrow. This is a reflection on the irony that the more you chase comfort and happiness the more you get entangled in sorrow/disappointment. Here, ‘comfort and happiness’ pertain more to happiness through material possessions.
4
dil kuchh panap1 chala tha taGhaaful2 ki rasm3 se
phir tere iltefaat4 ne bimaaar5 kar diya
1.recovering, getting better 2.indifference 3.tradition 4.favours 5.afflicted
There is a long tradition in urdu poetry that the beloved neglects, ignores is indifferent to the lover. He was just getting used to this and recovering from it, when the beloved showed a little favour, and he was afflicted again-afflicted with the sorrow of separation.
5
kal unke aage1 shar’h2-e tamanna3 ki aarzu4
itni baRhi keh nutq5 ko bekaar6 kar diya
1.in the presence of 2.explanation, narration 3.desire, love 4.wish 5.power of speech 6.useless, ineffective
The poet/lover was in the presence of the beloved and the wish to express his love became so intense that it rendered him speechless.
6
mujh ko voh baKhshte1 the do-aalam2 ki ne’mateN3
mere Ghuroor4-e ishq ne inkaar5 kar diya
1.grant 2.two worlds, here and hereafter 3.blessings 4.pride, self-respect 5.refuse
They wanted to grant me blessings of both worlds but my self respect refused to accept them. This could easily be about the poet refusing to sell himself to the powerful.
7
yeh dekh kar keh unn ko hai raNgeeniyoN1 ka shauq2
aaNkhoN ko hum ne diida3-e KhooNbaar4 kar diya
1.colourfulness 2.taste, wish 3.eyes 4.blood raining, blood dripping
Realizing that they/she likes colour, I wept tears of blood. This could be about the beloved and the lover’s readiness to do anything to please her or it might be about the injustice of the system … the only way that things can be made colourful for ‘them’ is through the tears of blood of the oppressed and the deprived.
The post rooh ko bedaar kar diya-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/10/joshm-bikhre-hue-gesu-bhi-dekh-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
بکھرے ہوئے گیسو بھی دیکھ ۔ جوشؔ ملیح آبادی
ا
پا چکا طاعت کی لذّت درد کے پہلو بھی دیکھ
شیخ! محراب سے باہر خمِ ابرو بھی دیکھ
۲
کافرِ نعمت! ادا کر کچھ تو حقِ چشم و گوش
نغمۂ مطرب بھی سُن، حُسنِ رخِ نیکو بھی دیکھ
۳
تا کجا طمبورۂ یزداں فریبِ خانقاہ
آ کسی دن میکدے کا رقصِ ہا ؤ ہُو بھی دیکھ
۴
سر جھکانے کو ہی سمجھا ہے مآلِ زندگی
جن سے دل جھکتا ہے حق جوئی کے وہ پہلو بھی دیکھ
۵
چونک! او دیوانۂ گُل گشتِ حورانِ بہشت
دو گھڑی میداں میں آ کر رمِ آہو بھی دیکھ
۶
ضربتِ تیغِ مجاہد کے ثنا خوانِ قدیم
بے سُتُوں پر کوہ کن کی قُوّتِ بازو بھی دیکھ
۷
فرشِ مسجد سے اُٹھا بھی خاک آلودہ جبیں
رکھ کے زیرِ سر کسی معشوق کا زانو بھی دیکھ
۸
عشقِ مولا کے لیے ہے عشقِ انساں نا گزیر
سازِ بے رنگی کے طالب! سوزِ رنگ و بُو بھی دیکھ
۹
گیسوئے طاعت میں پیدا کر خمِ سوز و گداز
دانۂ تسبیح پر بہتے ہوئے آنسو بھی دیکھ
۱۰
اے ہلالِ عید کی رویت کے مشتاقِ کہن
خنجرِ بُرّاں کو شرماتے ہوئے ابرو بھی دیکھ
۱۱
موشگافی تا کجا واللیل کی تفسیر میں
مہ وشوں کے دوش پر بکھرے ہوئے گیسو بھی دیکھ
۱۲
سحرِ اوراد و وظائف ہاں مُسَلَّم ہے مگر
نرگسِ مستانہ کا چلتا ہوا جادو بھی دیکھ
۱۳
حسن ذرّوں سے اُبلتا ہے کبھی تو جام اُٹھا
دیکھتی ہیں جوشؔ کی آنکھیں جو عالم تو بھی دیکھ
बिखरे हुए गेसू भी देख – जोश मलिहाबादी
पा चुका ताअत की लज्जत दर्द के पहलू भी देख
शेख! मेहराब से बाहर खम-ए-अब्रो भी देख
काफिर-ए-नेमत! अदा कर कुछ तो हक-ए-चश्म ओ गोश
नगमा-ए-मतरिब भी सुन, हुस्न-ए-रुख-ए-नेको भी देख
ता कुजा तम्बूरा-ए-यज्दां फरेब-ए-खानकाह
आ किसी दिन मैकदे का रक्स-ए-हा ओ हू भी देख
सर झुकाने को ही समझा है मआल-ए-जिंदगी
जिन से दिल झुकता है हक जोई के वो पहलू भी देख
चौंक! ओ दीवाना-ए-गुल गश्त-ए-हूरान-ए-बहिश्त
दो घड़ी मैदान में आ कर रम-ए-आहू भी देख
जर्बत-ए-तीग-ए-मुजाहिद के सना ख्वान-ए-कदीम
बे सुतून पर कोह कन की कुव्वत-ए-बाजू भी देख
फर्श-ए-मस्जिद से उठा भी खाक आलूदा जबीं
रख के ज़ेरे सर किसी मअशूक का जानू भी देख
इश्क-ए-मौला के लिए है इश्क-ए-इंसां ना गज़ीर
साज़-ए-बे रंगी के तलब! सोज़-ए-रंग ओ बू भी देख
गेसू-ए-ताअत में पैदा कर खम-ए-सोज़ ओ गुदाज़
दाना-ए-तसब्बीह पर बहते हुए आंसू भी देख
ए हिलाल-ए-ईद की रुएत के मुश्ताक-ए-कुहन
खंजर-ए-बुर्रां को शर्माते हुए अब्रो भी देख
मोशगाफी ता कुजा वल-लैल की तफ्सीर में
माह वशों के दोश पर बिखरे हुए गेसू भी देख
सहर-ए-औरााद ओ वजाइफ हां मुसल्लम है मगर
नरगिस-ए-मस्ताना का चलता हुआ जादू भी देख
हुस्न जार्रों से उबलता है कभी तो जाम उठा
देखती हैं जोश की आंखें जो आलम तो भी देख
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. In this nazm/Ghazal he sarcastically makes fun of orthodoxy and invites the shaiKh to come out of the ivory tower and experience and pain and pleasure of the real world.
1
paa chuka taa’at1 ki lazzat2 dard ke pahlu3 bhi dekh
shaiKh! mehraab4 se baahir Kham5-e abruu6 bhi dekh 1.obedience, namaaz-prayer 2.pleasure 3.facets, angles 4.prayer nook/arch 5.curve 6.eyebrows
In urdu poetic tradition, the arch of the beloved’s eyebrows is favourably compared with the arch of the mehraab – the central prayer niche in a mosque. O shaiKh, you have derived enough pleasure out of ritual namaaz/prayer. Now come out into the real world and look at the many facets of pain that people undergo. Come out of your prayer niche and enjoy the beauty of the arch of the beloved’s eyebrows.
2
kaafir1-e ne’mat2! ada3 kar kuch to haqq4-e chashm-o-gosh5
naGhma6-e mutrib7 bhi sun, husn8-e ruKh9-e neko10 bhi dekh 1.denier 2.blessing 3.pay 4.rights, dues 5.eyes and ears 6.song 7.singer 8.beauty 9.face 10.beautiful, elegant
Sight and hearing are also a blessing. Not using them fully is like denying this divine blessing and not paying the debt that is due to eyes and ears. The shaiKh, who shuns music, and would not look at a beautiful woman, is invited to listen to the song of the mutrib and see/enjoy the beauty of the beloved.
3
taa-kuja1 tambura2-e yazdaaN3 fareb4-e Khaanqah5
aa kisi din maikade6 ka raqs7-e haa-o-huu8 bhi dekh 1.how long 2.drone (musical) 3.god 4.(self) deception 5.sufi/darvesh monastery/retreat 6.tavern 7.dance 8.celebration and acclaim
How long will you keep droning about god. How long will you deceive yourselves with retreating into the monastery and dance of trance. Some day, come to the tavern and look at the celebratory dance and acclaim of the revelers.
4
sar jhukaane1 ko hi samjha hai m’aal2-e zindagi
jin se dil jhukta hai haq-juui3 ke wo pahlu4 bhi dekh 1.bowing down 2.net result, here it means ‘essence’ 3.search for truth 4.facets, angles
You think that the essence of life is bowing your head down in devotion. Come look at the facets of the search for truth that make the heart bow down. This could be the facets of the trials and tribulations of life, the facet of unrequited love or something else.
5
chauNk1! o divaana-e gul-gasht2-e hooraan3-e behisht4
do ghaRi5 maidaan6 meN aa kar ram7-e aahu8 bhi dekh 1.wake up 2.saunter/walk in the garden 3.virgin, fairy, nymph 4.heaven 5.moments 6.open field 7.leaping/running 8.deer
‘ram-e aahu’ the leaping/running of a startled deer is considered very graceful. Take a few minutes, come out in the open (in the real world) and enjoy the graceful leap of a deer instead of being stuck on the imagined beauty of angels in heaven.
6
zarbat1-e teGh2-e mujaahid3 ke sana-Khwaan4-e qadiim5
be-sutuuN6 par kohkan7 ki quvvat8-e baazu9 bhi dekh 1.strike 2.sword 3.warrior 4.admirer, praise-singer 5.long time, ancient 6.name of a mountain in iran 7.stone mason, another name of farhaad 8.power 9.arm
This uses the background of the legend of shiriiN-farhaad. The two are said to have fallen in love with each other and farhaad pestered the king (shiriin’s husband) to divorce her and let him marry her. Tired of his pestering the king set an impossible task as a condition. He asked farhaad to carve a channel through the mountain be-sutuun and make a river flow to the palace. The strength of the arm of farhaad is held up as the ideal of the manifestation of the strength of true love. Thus, the shaiKh, who has for long been singing praises of the warrior’s sword, is invited to see the strength of love.
7
farsh1-e masjid se uTha bhi Khaak-aaluda2 jabiiN3
rakh ke zer4-e sar kisi m’aashuq5 ka zaanu6 bhi dekh 1.floor 2.soiled by dust 3.forehead 4.under 5.beloved 6.lap
Pick your dust-laden forehead off the floor of the mosque and place it in the lap of the beloved and see.
8
ishq-e maula1 ke liye hai ishq-e insaaN na-guziir2
saaz3-e be-raNgi ke taalib4! soz5-e raNg-o-buu6 bhi dekh 1.lord 2.inescapable, unavoidable 3.musical instrument, harmony 4.demander, seeker 5.passion, fire, pain 6.colour and fragrance, senses – touch and feel
It is impossible to separate love of the divine from love of humanity. You, who seek colourless/bland harmony, try and experience the pain of the love of the real world. Thus, the ritual love of the divine is characterized as bland/meaningless without love of humanity.
9
gesu1-e taa’at2 meN paida3 kar Kham4-e soz-o-gudaaz5
daana6-e tasbiih7 par bahte8 hue aaNsu9 bhi dekh 1.hair 2.ritual prayer 3.cause to be born, create, make 4.curls 5.burning and melting, passion and pain 6.bead 7.rosary, prayer beads 8.flowing, dripping 9.tears
Ritual prayer is personified as a damsel with long hair. The poet invites the shaiKh to create some curls in the hair of ritual prayer, where these are the curls of real world pain and suffering. Thus, ritual prayer is bland, isolated in the ivory tower, but the pain and passion are real world. Real world tears flow on the beads of the rosary. It is more important to consider the meaning of those tears than the ritual of repeating chants on rosary beads.
10
aye hilaal1-e eid ki ruuyat2 ke mushtaaq3-e kohan4
Khanjar5-e burraaN6 ko sharmaate7 hue abruu8 bhi dekh 1.crescent moon 2.sighting 3.seeker, desirous of 4.ancient, long time 5.dagger 6.shining, sharp 7.put to shame 8.eyebrow
The arched eyebrow of the beloved is considered more beautiful and brighter than a shining dagger. The arch of the eyebrow puts a dagger to shame. Thus, O shaiKh, you always seek to see the crescent moon. Sometime, look at the beauty of the eyebrow that can put it to shame.
11
muu-shigaafi1 taa-kuja2 val-lail3 ki tafsiir4 meN
mah-vashoN5 ke dosh6 par bikhre hu’e gesu7 bhi dekh 1.hair splitting 2.how long 3.fragment of phrase of the qur’aan here representing all orthodox edicts 4.commentary 5.moon-faced 6.shoulders 7.hair
The shaiKh is characterized as splitting hair, sermonizing about meaningless wordsmithing of orthodox edicts. He is invited instead of splitting those hair to look at the beautiful hair of the beloved spread on her shoulders.
12
sahar1-e auraad-o-vazaaif2 haaN musallam3 hai magar4
nargis5-e mastaana6 ka chalta hua jaadu bhi dekh 1.magic 2.chants and prayers 3.accepted, credible 4.but 5.narcissus, analogy of beautiful eyes 6.intoxicating
The magical effect of chants and prayers is accepted and credible but look at the enchatment/magic of the intoxicating eyes of the beloved.
13
husn zarroN1 se ubalta2 hai kabhi to jaam3 uTha
dekhti haiN josh4 ki aaNkheN jo aalam5 tu bhi dekh 1.particles/grains of clay 2.boiling, overflowing 3.cup (of wine) 4.pen-name of the poet 5.condition, scene
I assume that this is a cup of wine made with clay. Every particle/grain of clays oozed beauty, causint it to overflow. Pick up that cup of wine and look at the scene that the eyes of josh can see.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. In this nazm/Ghazal he sarcastically makes fun of orthodoxy and invites the shaiKh to come out of the ivory tower and experience and pain and pleasure of the real world.
1
paa chuka taa’at1 ki lazzat2 dard ke pahlu3 bhi dekh
shaiKh! mehraab4 se baahir Kham5-e abruu6 bhi dekh
1.obedience, namaaz-prayer 2.pleasure 3.facets, angles 4.prayer nook/arch 5.curve 6.eyebrows
In urdu poetic tradition, the arch of the beloved’s eyebrows is favourably compared with the arch of the mehraab – the central prayer niche in a mosque. O shaiKh, you have derived enough pleasure out of ritual namaaz/prayer. Now come out into the real world and look at the many facets of pain that people undergo. Come out of your prayer niche and enjoy the beauty of the arch of the beloved’s eyebrows.
2
kaafir1-e ne’mat2! ada3 kar kuch to haqq4-e chashm-o-gosh5
naGhma6-e mutrib7 bhi sun, husn8-e ruKh9-e neko10 bhi dekh
1.denier 2.blessing 3.pay 4.rights, dues 5.eyes and ears 6.song 7.singer 8.beauty 9.face 10.beautiful, elegant
Sight and hearing are also a blessing. Not using them fully is like denying this divine blessing and not paying the debt that is due to eyes and ears. The shaiKh, who shuns music, and would not look at a beautiful woman, is invited to listen to the song of the mutrib and see/enjoy the beauty of the beloved.
3
taa-kuja1 tambura2-e yazdaaN3 fareb4-e Khaanqah5
aa kisi din maikade6 ka raqs7-e haa-o-huu8 bhi dekh
1.how long 2.drone (musical) 3.god 4.(self) deception 5.sufi/darvesh monastery/retreat 6.tavern 7.dance 8.celebration and acclaim
How long will you keep droning about god. How long will you deceive yourselves with retreating into the monastery and dance of trance. Some day, come to the tavern and look at the celebratory dance and acclaim of the revelers.
4
sar jhukaane1 ko hi samjha hai m’aal2-e zindagi
jin se dil jhukta hai haq-juui3 ke wo pahlu4 bhi dekh
1.bowing down 2.net result, here it means ‘essence’ 3.search for truth 4.facets, angles
You think that the essence of life is bowing your head down in devotion. Come look at the facets of the search for truth that make the heart bow down. This could be the facets of the trials and tribulations of life, the facet of unrequited love or something else.
5
chauNk1! o divaana-e gul-gasht2-e hooraan3-e behisht4
do ghaRi5 maidaan6 meN aa kar ram7-e aahu8 bhi dekh
1.wake up 2.saunter/walk in the garden 3.virgin, fairy, nymph 4.heaven 5.moments 6.open field 7.leaping/running 8.deer
‘ram-e aahu’ the leaping/running of a startled deer is considered very graceful. Take a few minutes, come out in the open (in the real world) and enjoy the graceful leap of a deer instead of being stuck on the imagined beauty of angels in heaven.
6
zarbat1-e teGh2-e mujaahid3 ke sana-Khwaan4-e qadiim5
be-sutuuN6 par kohkan7 ki quvvat8-e baazu9 bhi dekh
1.strike 2.sword 3.warrior 4.admirer, praise-singer 5.long time, ancient 6.name of a mountain in iran 7.stone mason, another name of farhaad 8.power 9.arm
This uses the background of the legend of shiriiN-farhaad. The two are said to have fallen in love with each other and farhaad pestered the king (shiriin’s husband) to divorce her and let him marry her. Tired of his pestering the king set an impossible task as a condition. He asked farhaad to carve a channel through the mountain be-sutuun and make a river flow to the palace. The strength of the arm of farhaad is held up as the ideal of the manifestation of the strength of true love. Thus, the shaiKh, who has for long been singing praises of the warrior’s sword, is invited to see the strength of love.
7
farsh1-e masjid se uTha bhi Khaak-aaluda2 jabiiN3
rakh ke zer4-e sar kisi m’aashuq5 ka zaanu6 bhi dekh
1.floor 2.soiled by dust 3.forehead 4.under 5.beloved 6.lap
Pick your dust-laden forehead off the floor of the mosque and place it in the lap of the beloved and see.
8
ishq-e maula1 ke liye hai ishq-e insaaN na-guziir2
saaz3-e be-raNgi ke taalib4! soz5-e raNg-o-buu6 bhi dekh
1.lord 2.inescapable, unavoidable 3.musical instrument, harmony 4.demander, seeker 5.passion, fire, pain 6.colour and fragrance, senses – touch and feel
It is impossible to separate love of the divine from love of humanity. You, who seek colourless/bland harmony, try and experience the pain of the love of the real world. Thus, the ritual love of the divine is characterized as bland/meaningless without love of humanity.
9
gesu1-e taa’at2 meN paida3 kar Kham4-e soz-o-gudaaz5
daana6-e tasbiih7 par bahte8 hue aaNsu9 bhi dekh
1.hair 2.ritual prayer 3.cause to be born, create, make 4.curls 5.burning and melting, passion and pain 6.bead 7.rosary, prayer beads 8.flowing, dripping 9.tears
Ritual prayer is personified as a damsel with long hair. The poet invites the shaiKh to create some curls in the hair of ritual prayer, where these are the curls of real world pain and suffering. Thus, ritual prayer is bland, isolated in the ivory tower, but the pain and passion are real world. Real world tears flow on the beads of the rosary. It is more important to consider the meaning of those tears than the ritual of repeating chants on rosary beads.
10
aye hilaal1-e eid ki ruuyat2 ke mushtaaq3-e kohan4
Khanjar5-e burraaN6 ko sharmaate7 hue abruu8 bhi dekh
1.crescent moon 2.sighting 3.seeker, desirous of 4.ancient, long time 5.dagger 6.shining, sharp 7.put to shame 8.eyebrow
The arched eyebrow of the beloved is considered more beautiful and brighter than a shining dagger. The arch of the eyebrow puts a dagger to shame. Thus, O shaiKh, you always seek to see the crescent moon. Sometime, look at the beauty of the eyebrow that can put it to shame.
11
muu-shigaafi1 taa-kuja2 val-lail3 ki tafsiir4 meN
mah-vashoN5 ke dosh6 par bikhre hu’e gesu7 bhi dekh
1.hair splitting 2.how long 3.fragment of phrase of the qur’aan here representing all orthodox edicts 4.commentary 5.moon-faced 6.shoulders 7.hair
The shaiKh is characterized as splitting hair, sermonizing about meaningless wordsmithing of orthodox edicts. He is invited instead of splitting those hair to look at the beautiful hair of the beloved spread on her shoulders.
12
sahar1-e auraad-o-vazaaif2 haaN musallam3 hai magar4
nargis5-e mastaana6 ka chalta hua jaadu bhi dekh
1.magic 2.chants and prayers 3.accepted, credible 4.but 5.narcissus, analogy of beautiful eyes 6.intoxicating
The magical effect of chants and prayers is accepted and credible but look at the enchatment/magic of the intoxicating eyes of the beloved.
13
husn zarroN1 se ubalta2 hai kabhi to jaam3 uTha
dekhti haiN josh4 ki aaNkheN jo aalam5 tu bhi dekh
1.particles/grains of clay 2.boiling, overflowing 3.cup (of wine) 4.pen-name of the poet 5.condition, scene
I assume that this is a cup of wine made with clay. Every particle/grain of clays oozed beauty, causint it to overflow. Pick up that cup of wine and look at the scene that the eyes of josh can see.
The post bikhre hu’e gesu bhi dekh – josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/joshm-aaGhaaz-e-bedaari-11-19-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آغازِ بیداری ۔۱۱۔۱۹ ۔ جوشؔ ملیح آبادی
۱۱
خوشا کے زیر سیوف برہنہ فقہا
کھڑی ہوئی ہے بصد عزم جرأتِ اِنکار
۱۲
زمیں کو مژدہ کہ اب پختگی پہ مائل ہے
میانِ ذرّہ و خورشید ذوقِ بوس و کنار
۱۳
رکاب چوم رہے ہیں نجوم و شمس و قمر
یہ کون توسنِ جوہر پہ ہو رہا ہے سوار
۱۴
قدم قدم پہ بِچھے جا رہے ہیں سرو و سمن
یہ گلستاں میں در آیا ہے کون جانِ بہار
۱۵
یہ سرخوشی میں کسے آ رہی ہے انگڑائی
کہ رشکِ قوس ہے محراب خانۂ خمّار
۱۶
ہوا ہے کون یہ گرمِ خرام نامِ خدا
اُبل رہی ہے رگِ سرخِ جادہ سے جھنکار
۱۷
یہ جا رہا ہے کہاں لشکرِ مہ و خورشید
یہ مڑ رہا ہے کدھر کاروانِ لیل و نہار
۱۸
یہ چاہِ تیرہ سے کس کی جبیں ہوئی ہے بلند
کہ غرقِ رنگ و تجلّی ہے مصر کا بازار
۱۹
یہ کس نگارِ دو عالم کی پیشوائی کو
چراغ اٹھائے کھڑے ہیں ثوابت و سیار
आग़ाज़-ए बेदारी -११-१९ – जोश मलीहआबादी
११
ख़ुशा के ज़ेर-ए सुयूफ़-ए बरहना-ए फ़ुक़हा
खढी हुई है ब-सद अज़्म जुर’अत-ए इन्कार
१२
ज़मीं को मुज़्श्दा के अब पोख़्तगी पे मा’एल है
मियान-ए ज़र्रा ओ ख़ुर्शीद ज़ौक़-ए बोस-ओ-किनार
१३
रकाब चूम रहे हैं नुजूम ओ शम्स ओ क़मर
ये कौन तौसन-ए जौहर पे हो रहा है सवार
१४
क़दम क़दम पे बिछे जा रहे हैं सरव ओ समन
ये गुल्सितां में दर आया है कौन जान-ए बहार
१५
ये सरख़ुशी में किसे आ रही है अंगढाई
के रश्क-ए क़ौस है मेहराब-ए ख़ाना-ए ख़म्मार
१६
हुआ है कौन ये गर्म-ए ख़राम नाम-ए ख़ुदा
उबल रही है रग-ए सुर्ख़-ए जादा से झंकार
१७
ये जा रहा है कहाँ लश्कर-ए मह ओ ख़ुर्शीद
ये मुढ रहा है किधर कारवान-ए लैल-ओ-नेहार
१८
ये चाह-ए तीरा से किस की जबीं हुई है बलंद
के ग़र्क़-ए रंग ओ तजल्लि है मिस्र का बाज़ार
१९
ये किस निगार-ए दो आलम की पेशवाई को
चराग़ उठाये खढे हैं सवाबित ओ सय्यार
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’. In this nazm, josh celebrates the dawn of intellect and its rebellion against orthodoxy.
11
Khusha1 keh zer2-e suyuuf3-e barhana4-e fuqaha5
khaRi hui hai ba-sad6 azm7 jur’at8-e inkaar9 1.blessed, fortune 2.under 3.swords 4.naked, out of the scabbard 5.religious jurist 6.with a hundred 7.resolve, determination 8.courage, daring 9.refusal, rebellion
How fortunate that the courage of refusal/rebellion stands with a hundred-fold strong resolve even under the naked sword of the religious jurist i.e., people are courageiously rebelling against orthodoxy.
12
zamiiN ko muzshda1 keh ab puKhtagi2 pe maa’el3 hai
miyaan4-e zarra5 o Khurshid6 zauq7-e bos-o-kanaar8 1.felicitations 2.maturity 3.inclined towards 4.short for darmiyaan – between 5.particle/grain of dust/clay 6.sun 7.desire 8.kissing and embracing
Felicitations to the earth that the desire to kiss and embrace (love each other) between the sun and dust is reaching maturation. The sun with its brilliance is symbolic of knowledge. Particles of clay on earth are symbolic of human beings. Thus, the love between knowledge and human beings is now inclined towards maturity. Hence, felicitations to the earth.
13
rakaab1 choom2 rahe haiN nujoom3 o shams4 o qamar5
ye kaun tausan6-e jauhar7 pe ho raha hai savaar8 1.stirrup 2.kiss 3.stars 4.sun 5.moon 6.stallion, horse 7.jewel, excellence, skill 8.mount
‘rakaab choomna-kissing the stirrup’ is offering great honour/homage. Symbolically, it is the human who is mounting the stallion of excellence and skill and the heavens (stars, sun and moon) are paying homage.
14
qadam-qadam1 pe bichhe2 jaa rahe haiN sarv3 o saman4
ye gulsitaaN5 meN dar6 aaya hai kaun jaan-e-bahaar7 1.every step 2.laying down 3.cypress, tall/slender/graceful tree 4.jasmine 5.garden 6.enter triumphantly 7.soul of spring
Here, the human being is characterized as the ‘soul of spring’ and they have forcefully entered the garden in triumph, showing that this is their domain. ‘sarv-o-saman’ are symbolic of the yield of the earth. It is laying down before the triumphant entrant at every step.
15
ye sarKhushi1 meN kise aa rahi hai angRaaii2
keh rashk3-e qaus4 hai mehraab5-e Khaana6-e Khammaar7 1.happiness 2.arched stretch/yawn 3.envy 4.rainbow 5.central arch, prayer niche 6.house of 7.winemaker
The house of the winemaker is the tavern which is symbolic of a liberal place for all humanity. The central niche, the arch is a place usually associated with a place of worship, but it is the central arch of the tavern that is ‘stretching/arching’ in happiness i.e., liberal thought is waking up. The contours of this arching are so beautiful that it has become the envy of the rainbow.
16
hua hai kaun ye garm-e-Kharaam1, naam-e Khuda
ubal2 rahi hai rag3-e surKh4-e jaada5 se jhankaar6 1.graceful walk with enthusiasm and purpose 2.boiling over, overflowing 3.vein 4.red 5.path 6.resonance
It is the human being that has launched on a graceful and purposeful walk towards progress and the jugular vein of the path is throbbing/resonating, boiling over with enthusiasm/joy. I am not sure what the ‘naam-e Khuda’ is doing here. A conventional interpretation might be that this walk is being taken in the name of god, but considering the flow of the rest of the nazm, I try to interpret it in a more irreverent way. In usual practice, the name of god is called when people are fearful. Thus, I think that naam-e Khuda is taken either to invoke fear, or say that ignorance is fearful at the increasing wisdom and approach/progress of humanity.
17
ye jaa raha hai kahaaN lashkar1-e mah2 o Khurshiid3
ye muR raha hai kidhar karvaan-e lail-o-nehaar4 1.army 2.moon 3.sun 4.day and night, passage of time
Where is this army of sun and moon turning towards. Which way is the caravan of time turning. The questions are a rhetorical expression of admiration of the direction which the progress of humanity is taking.
18
ye chaah1-e teera2 se kis ki jabiiN3 hui hai baland4
keh Gharq5-e raNg-o-tajalli6 hai misr7 ka baazaar 1.well 2.dark 3.forehead 4.high 5.immersed, drowned 6.colour and brilliance 7.Egypt
This has reference to the story of yusuf/Joseph. His brothers, out of a fit of jealousy threw him down a deep well. He was rescued by passing caravan and auctioned off as a slave in the bazar. Legend has it that he was an extremely handsome young man, and his beauty is used as a symbol in urdu poetry. Thus, whose bright forehead has been raised from the dark well that the bazaar of misr is immersed in light and colour. Symbolically, humanity as been raised from the deep dark well of ignorance and now its learning and wisdom immerses the whole world in colour and brilliance.
19
ye kis nigaar1-e do-aalam2 ki peshvaaii3 ko
charaaGh4 uThaa’e khaRe haiN savaabit5 o sayyaar6 1.beauty, beloved 2.two worlds, earth and sky 3.welcome, greet 4.lamp 5.still, fixed position of stars, stars 6.moving, moving planets, planets
‘savaabit of sayyaar’ symbolizes the sky and heavens and josh is characterizing human as ‘nigaar-e do-aalam’-the beloved of both worlds. The sky and heavens stand holding lamps to welcome the arrival of humans.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’. In this nazm, josh celebrates the dawn of intellect and its rebellion against orthodoxy.
11
Khusha1 keh zer2-e suyuuf3-e barhana4-e fuqaha5
khaRi hui hai ba-sad6 azm7 jur’at8-e inkaar9
1.blessed, fortune 2.under 3.swords 4.naked, out of the scabbard 5.religious jurist 6.with a hundred 7.resolve, determination 8.courage, daring 9.refusal, rebellion
How fortunate that the courage of refusal/rebellion stands with a hundred-fold strong resolve even under the naked sword of the religious jurist i.e., people are courageiously rebelling against orthodoxy.
12
zamiiN ko muzshda1 keh ab puKhtagi2 pe maa’el3 hai
miyaan4-e zarra5 o Khurshid6 zauq7-e bos-o-kanaar8
1.felicitations 2.maturity 3.inclined towards 4.short for darmiyaan – between 5.particle/grain of dust/clay 6.sun 7.desire 8.kissing and embracing
Felicitations to the earth that the desire to kiss and embrace (love each other) between the sun and dust is reaching maturation. The sun with its brilliance is symbolic of knowledge. Particles of clay on earth are symbolic of human beings. Thus, the love between knowledge and human beings is now inclined towards maturity. Hence, felicitations to the earth.
13
rakaab1 choom2 rahe haiN nujoom3 o shams4 o qamar5
ye kaun tausan6-e jauhar7 pe ho raha hai savaar8
1.stirrup 2.kiss 3.stars 4.sun 5.moon 6.stallion, horse 7.jewel, excellence, skill 8.mount
‘rakaab choomna-kissing the stirrup’ is offering great honour/homage. Symbolically, it is the human who is mounting the stallion of excellence and skill and the heavens (stars, sun and moon) are paying homage.
14
qadam-qadam1 pe bichhe2 jaa rahe haiN sarv3 o saman4
ye gulsitaaN5 meN dar6 aaya hai kaun jaan-e-bahaar7
1.every step 2.laying down 3.cypress, tall/slender/graceful tree 4.jasmine 5.garden 6.enter triumphantly 7.soul of spring
Here, the human being is characterized as the ‘soul of spring’ and they have forcefully entered the garden in triumph, showing that this is their domain. ‘sarv-o-saman’ are symbolic of the yield of the earth. It is laying down before the triumphant entrant at every step.
15
ye sarKhushi1 meN kise aa rahi hai angRaaii2
keh rashk3-e qaus4 hai mehraab5-e Khaana6-e Khammaar7
1.happiness 2.arched stretch/yawn 3.envy 4.rainbow 5.central arch, prayer niche 6.house of 7.winemaker
The house of the winemaker is the tavern which is symbolic of a liberal place for all humanity. The central niche, the arch is a place usually associated with a place of worship, but it is the central arch of the tavern that is ‘stretching/arching’ in happiness i.e., liberal thought is waking up. The contours of this arching are so beautiful that it has become the envy of the rainbow.
16
hua hai kaun ye garm-e-Kharaam1, naam-e Khuda
ubal2 rahi hai rag3-e surKh4-e jaada5 se jhankaar6
1.graceful walk with enthusiasm and purpose 2.boiling over, overflowing 3.vein 4.red 5.path 6.resonance
It is the human being that has launched on a graceful and purposeful walk towards progress and the jugular vein of the path is throbbing/resonating, boiling over with enthusiasm/joy. I am not sure what the ‘naam-e Khuda’ is doing here. A conventional interpretation might be that this walk is being taken in the name of god, but considering the flow of the rest of the nazm, I try to interpret it in a more irreverent way. In usual practice, the name of god is called when people are fearful. Thus, I think that naam-e Khuda is taken either to invoke fear, or say that ignorance is fearful at the increasing wisdom and approach/progress of humanity.
17
ye jaa raha hai kahaaN lashkar1-e mah2 o Khurshiid3
ye muR raha hai kidhar karvaan-e lail-o-nehaar4
1.army 2.moon 3.sun 4.day and night, passage of time
Where is this army of sun and moon turning towards. Which way is the caravan of time turning. The questions are a rhetorical expression of admiration of the direction which the progress of humanity is taking.
18
ye chaah1-e teera2 se kis ki jabiiN3 hui hai baland4
keh Gharq5-e raNg-o-tajalli6 hai misr7 ka baazaar
1.well 2.dark 3.forehead 4.high 5.immersed, drowned 6.colour and brilliance 7.Egypt
This has reference to the story of yusuf/Joseph. His brothers, out of a fit of jealousy threw him down a deep well. He was rescued by passing caravan and auctioned off as a slave in the bazar. Legend has it that he was an extremely handsome young man, and his beauty is used as a symbol in urdu poetry. Thus, whose bright forehead has been raised from the dark well that the bazaar of misr is immersed in light and colour. Symbolically, humanity as been raised from the deep dark well of ignorance and now its learning and wisdom immerses the whole world in colour and brilliance.
19
ye kis nigaar1-e do-aalam2 ki peshvaaii3 ko
charaaGh4 uThaa’e khaRe haiN savaabit5 o sayyaar6
1.beauty, beloved 2.two worlds, earth and sky 3.welcome, greet 4.lamp 5.still, fixed position of stars, stars 6.moving, moving planets, planets
‘savaabit of sayyaar’ symbolizes the sky and heavens and josh is characterizing human as ‘nigaar-e do-aalam’-the beloved of both worlds. The sky and heavens stand holding lamps to welcome the arrival of humans.
The post aaGhaaz-e bedaari-11-19-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/joshm-aaGhaaz-e-bedaari-01-10-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آغازِ بیداری ۔ ۱۔ ۱۰ ۔ جوشؔ ملیح آبادی
۱
زہے جلالتِ دربارِ حضرتِ انساں
زمیں ہے چتر بہ دست آسماں عصا بردار
۲
زہے پیمبریِ شعلہ ہائے فکرِ جدید
تمام دیوتا ایندھن، دھواں تمام اوتار
۳
صنم کدوں میں کوئی یہ پکار کر کہہ دے
کہ ہو رہے ہیں بغاوت پہ برہمن تیار
۴
جو پائے وقت میں دورِ کہن نے ڈالی تھی
پگھل رہی ہے وہ زنجیرِ سبّحہ و زُنّار
۵
بہا چکا ہے زمیں پر جو خون کے دریا
قریبِ ختم ہے وہ دورِ کافر و دیںدار
۶
فضا پہ دنگ ہیں ماضی کی جملہ آوازیں
جدید ذہن کے جنبش میں ہیں لبِ گفتار
۷
حریمِ فکر سے رہ رہ کے آ رہی ہے صدا
کہ علم و فضل بہت سہل آگہی دشوار
۸
اُتر رہا ہے بہ سعیِ درایت و بُرہاں
بہ راہِ گوش چڑھایا گیا تھا کل جو بخار
۹
وہ حرفِ حق ہے زبانوں پر اب جو تھا کل تک
دلوں میں ساقِ نگاراں، زبان پر تلوار
۱۰
خوشا کے فاصلہ اب بڑھ رہا ہے روز بروز
میانِ منبرِ تبلیغِ عقل و تختۂ دار
आग़ाज़-ए बेदारी – १-१० – जोश मलीहआबादी
१
ज़हे जलालत-ए दरबार-ए हज़्रत-ए इंसां
ज़मीं है चत्र ब-दस्त आसमां असा-बरदार
२
ज़हे पै’अम्बरी-ए शो’ला-हा-ए फ़िक्र-ए जदीद
तमाम देवता ईंधन, धुआं तमाम अवतार
३
सनम-कदौं में कोई ये पुकार कर कह दे
के हो रहे हैं बग़ावत पे बरहमन तय्यार
४
जो पा-ए वक़्त में दौर-ए कुहन ने डाली थी
पिघल रही है वो ज़ंजीर-ए सब्बह ओ ज़ुन्नार
५
बहा चुका है ज़मीं पर जो ख़ून के दर्या
क़रीब-ए ख़त्म है वो दौर-ए काफ़ेर ओ दींदार
६
फ़ज़ा पे दंग हैं माज़ी की जुम्ला आवाज़ें
जदीद ज़हन के जुम्बिश में हैं लब-ए गुफ़्तार
७
हरीम-ए फ़िक्र से रह रह के आ रही है सदा
के इल्म ओ फ़ज़ल बहुत सहल आगही दुश्वार
८
उतर रहा है ब-स’ई-ए दिरायत ओ बुरहां
ब-राह-ए गोश चढ़ाया गया था कल जो बुख़ार
९
वो हर्फ़-ए हक़ है ज़बानों पर अब जो था कल तक
दिलों में साक़-ए निगारां, ज़बान पर तलवार
१०
ख़ुशा के फ़ासला अब बढ़ रहा है रोज़-ब-रोज़
मियान-ए मिंबर-ए तब्लीग़-ए अक़्ल ओ तख़्ता-ए दार
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’. In this nazm, josh celebrates the dawn of intellect and its rebellion against orthodoxy.
1
zahe1 jalaalat2-e darbaar3-e hazrat4-e insaaN
zamiiN hai chatr6 ba-dast7 aasmaaN asaa-bardaar8 1.wonderful, bravo 2.glory 3.royal court 4.honoured, respected 6.royal umbrella 7.holding in hand 8.bearer of the royal mace
Bravo, the glory of the royal court of mankind, the earth holds up the royal umbrella and sky has been appointed the royal macebearer. This is symbolically about the increasing power of humanity – no longer superstitious, no longer afraid of the forces/mysteries of nature (earth and sky) but putting them to use.
2
zahe1 paiambarii2-e sho’la-haa3-e fikr4-e jadeed5
tamaam6 devta7 iindhan8, dhuaaN tamaam avtaar9 1.bravo 2.messages, teachings 3.flames 4.thought, reason 5.new 6.all 7.deities 8.fuel 9.manifestations, gods
Bravo to the message/teaching of new reasoning and thinking, all old deities and their manifestations become fuel to its flames. Deities and manifestations should be understood to apply to all superstitions and blind beliefs of all faiths.
3
sanam-kadoN1 meN koi ye pukaar2 kar kah de
keh ho rahe haiN baghaavat3 pe barhaman4 tayyaar5 1.idol-houses 2.loudly 3.rebellion 4.preachers, believers 5.getting ready
Here the ‘idols’ in ‘idol-houses’ are all deified beliefs, not necessarily just statues/idols, and ‘barhaman’ are purveyors/believers of any traditional beliefs. Thus, declare loudly in houses of deified beliefs that the believers are getting ready to rebel i.e. they are beginning to use their intellect.
4
jo paa1-e vaqt meN daur2-e kuhan3 ne Daali thi
pighal4 rahi hai vo zanjiir5-e subbah6 o zunnaar7 1.feet 2.age, times, period 3.ancient 4.melting 5.chain 6.tasbeeh thread, thread of prayer beads 7.hindu holy thread, janev
Here ‘paa-e vaqt’ is used to mean the progress of times. Thus, the ancient period had chained the feet of progress with chains of tasbeeh and janev threads. These are now melting, and humanity should be able to make progress.
5
bahaa chuka hai zamiiN par jo Khoon ke dariya1
qariib2-e Khatm3 hai vo daur4-e kaafir-o-diiNdaar5 1.rivers 2.near 3.end 4.period 5.non-believer and believer
The age of (inciting conflict between) believer and non-believer had already caused rivers of blood to flow. That age (of conflict) is near its end.
6
faza1 pe daNg2 haiN maazi3 ki jumla4 aavaazeN5
jadiid6 zahn7 ke jumbish8 meN haiN lab10-e guftaar11 1.air, atmosphere, surroundings 2.perplexed 3.past, ancient times 4.all, total 5.voices, calls 6.modern 7.mind, intellect 8.moving 10.lips 11.speech
The ‘voices of ancient times’ are those that create superstitions and conflicts. These voices all around are perplexed- they don’t know what to do, how to handle this new problem. The new problem is that the modern mind has begun to talk, its lips are moving and it is convincing people that old thinking was the cause of problems.
7
hariim1-e fikr2 se rah rah ke aa rahi hai sada3
keh ilm-o-fazl4 bahut sahl5, aagahi6 dushvaar7 1.sanctuary, private chamber 2.reason, logic, thinking 3.sound, call 4.(orthodox) learning and erudition as in ‘aalim o faazil 5.easy 6.knowledge, wisdom 7.difficult
From the sanctuary of reason, the call goes forth that it is easy to be schooled in orthodox belief systems but difficult to become knowledgable and wise.
8
utar1 raha hai ba-sa’ee2-e diraayat3 o burhaaN4
ba-raah5-e gosh6 chaRhaaya gaya tha kal jo buKhaar7 1.coming down 2.by the effort of 3.knowledge, wisdom 4.proof, logic 5.by way of 6.ears 7.fever
Yesterday (in past times), by way of ears (rote learning, repetition) a fever had been caused to rise. The fever is now coming down, by the effort of knowledge and logic.
9
voh harf1-e haq2 hai zabanoN3 par ab, jo tha kal tak
diloN meN saaq-e-nigaraaN4, zabaan par talvaar5 1.word 2.truth 3.tongues, lips 4.arms of beauties 5.sword
That which until yesterday was nurtured/hidden in delicate hands in the heart, has today become an open expression of the word of truth on lips and is being used as a sword to overcome ignorance. Thus, the word of truth had to be hidden and carefully handled in the heart until yesterday for fear of violent suppression. It has now come out in the open.
10
Khusha1 keh faasla2 ab baRh raha hai roz-ba-roz3
miyaan4-e mimbar5-e tableeGh6-e aql7 o taKhta8-e daar9 1.blessed, fortune 2.distance 3.day by day 4.short of darmiyaan, between 5.pulpit 6.preaching, teaching 7.intelligence 8.platform 9.hanging noose
How fortunate the distance between the pulpit of intelligence and teaching on the one hand and the hanging platform on the other is increasing day by day. This alludes to ancient practice of hanging, punishing by death, people who rebelled against orthodoxy a prime example in urdu poetry is masuur-al-hallaaj.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’. In this nazm, josh celebrates the dawn of intellect and its rebellion against orthodoxy.
1
zahe1 jalaalat2-e darbaar3-e hazrat4-e insaaN
zamiiN hai chatr6 ba-dast7 aasmaaN asaa-bardaar8
1.wonderful, bravo 2.glory 3.royal court 4.honoured, respected 6.royal umbrella 7.holding in hand 8.bearer of the royal mace
Bravo, the glory of the royal court of mankind, the earth holds up the royal umbrella and sky has been appointed the royal macebearer. This is symbolically about the increasing power of humanity – no longer superstitious, no longer afraid of the forces/mysteries of nature (earth and sky) but putting them to use.
2
zahe1 paiambarii2-e sho’la-haa3-e fikr4-e jadeed5
tamaam6 devta7 iindhan8, dhuaaN tamaam avtaar9
1.bravo 2.messages, teachings 3.flames 4.thought, reason 5.new 6.all 7.deities 8.fuel 9.manifestations, gods
Bravo to the message/teaching of new reasoning and thinking, all old deities and their manifestations become fuel to its flames. Deities and manifestations should be understood to apply to all superstitions and blind beliefs of all faiths.
3
sanam-kadoN1 meN koi ye pukaar2 kar kah de
keh ho rahe haiN baghaavat3 pe barhaman4 tayyaar5
1.idol-houses 2.loudly 3.rebellion 4.preachers, believers 5.getting ready
Here the ‘idols’ in ‘idol-houses’ are all deified beliefs, not necessarily just statues/idols, and ‘barhaman’ are purveyors/believers of any traditional beliefs. Thus, declare loudly in houses of deified beliefs that the believers are getting ready to rebel i.e. they are beginning to use their intellect.
4
jo paa1-e vaqt meN daur2-e kuhan3 ne Daali thi
pighal4 rahi hai vo zanjiir5-e subbah6 o zunnaar7
1.feet 2.age, times, period 3.ancient 4.melting 5.chain 6.tasbeeh thread, thread of prayer beads 7.hindu holy thread, janev
Here ‘paa-e vaqt’ is used to mean the progress of times. Thus, the ancient period had chained the feet of progress with chains of tasbeeh and janev threads. These are now melting, and humanity should be able to make progress.
5
bahaa chuka hai zamiiN par jo Khoon ke dariya1
qariib2-e Khatm3 hai vo daur4-e kaafir-o-diiNdaar5
1.rivers 2.near 3.end 4.period 5.non-believer and believer
The age of (inciting conflict between) believer and non-believer had already caused rivers of blood to flow. That age (of conflict) is near its end.
6
faza1 pe daNg2 haiN maazi3 ki jumla4 aavaazeN5
jadiid6 zahn7 ke jumbish8 meN haiN lab10-e guftaar11
1.air, atmosphere, surroundings 2.perplexed 3.past, ancient times 4.all, total 5.voices, calls 6.modern 7.mind, intellect 8.moving 10.lips 11.speech
The ‘voices of ancient times’ are those that create superstitions and conflicts. These voices all around are perplexed- they don’t know what to do, how to handle this new problem. The new problem is that the modern mind has begun to talk, its lips are moving and it is convincing people that old thinking was the cause of problems.
7
hariim1-e fikr2 se rah rah ke aa rahi hai sada3
keh ilm-o-fazl4 bahut sahl5, aagahi6 dushvaar7
1.sanctuary, private chamber 2.reason, logic, thinking 3.sound, call 4.(orthodox) learning and erudition as in ‘aalim o faazil 5.easy 6.knowledge, wisdom 7.difficult
From the sanctuary of reason, the call goes forth that it is easy to be schooled in orthodox belief systems but difficult to become knowledgable and wise.
8
utar1 raha hai ba-sa’ee2-e diraayat3 o burhaaN4
ba-raah5-e gosh6 chaRhaaya gaya tha kal jo buKhaar7
1.coming down 2.by the effort of 3.knowledge, wisdom 4.proof, logic 5.by way of 6.ears 7.fever
Yesterday (in past times), by way of ears (rote learning, repetition) a fever had been caused to rise. The fever is now coming down, by the effort of knowledge and logic.
9
voh harf1-e haq2 hai zabanoN3 par ab, jo tha kal tak
diloN meN saaq-e-nigaraaN4, zabaan par talvaar5
1.word 2.truth 3.tongues, lips 4.arms of beauties 5.sword
That which until yesterday was nurtured/hidden in delicate hands in the heart, has today become an open expression of the word of truth on lips and is being used as a sword to overcome ignorance. Thus, the word of truth had to be hidden and carefully handled in the heart until yesterday for fear of violent suppression. It has now come out in the open.
10
Khusha1 keh faasla2 ab baRh raha hai roz-ba-roz3
miyaan4-e mimbar5-e tableeGh6-e aql7 o taKhta8-e daar9
1.blessed, fortune 2.distance 3.day by day 4.short of darmiyaan, between 5.pulpit 6.preaching, teaching 7.intelligence 8.platform 9.hanging noose
How fortunate the distance between the pulpit of intelligence and teaching on the one hand and the hanging platform on the other is increasing day by day. This alludes to ancient practice of hanging, punishing by death, people who rebelled against orthodoxy a prime example in urdu poetry is masuur-al-hallaaj.
The post aaGhaaz-e bedaari-01-10-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/joshm-mai-Khaana-e-afkaar-audio.mp3
Recitation
- اُردو
- देओनागरी
- Roman
- Notes
مے خانۂ افکار ۔ جوشؔ ملیح آبادی
۱
مے خانہ تابناک رہے، رِند بامراد
یا رب دعائے شعلہ دلاں مستجاب باد
۲
تا کے رہیں گے سنگِ رہِ راست اے ندیم
زہادِ کوزہ عقل و فقیہانِ کج نہاد
۳
یاروں کی غیبت، اور پھر اُن کی جناب میں
جن کی نظر میں کفر ہے دشمن سے بھی عناد
۴
رکھی ہے روزگار کی ناپختگی نے حیف
اقوال کی زمین پہ بنیادِ اعتقاد
۵
اے رہروانِ جادۂ اسلاف ہوشیار
دیکھو وہ سامنے ہے مآلِ ثمود و عاد
۶
پھبتا نہیں ہے عشق پہ دارالقضا کا چتر
اب کج ہو فرقِ عقل پر اے تاجِ اجتہاد
۷
اے احولانِ مدرسہ، یادِ خدا ہے شِرک
اپنے کو بھی کیا ہے کبھی آدمی نے یاد
۸
دیکھیں وہ سوئے نعمتِ دارین کس لیے
حاصل جنہیں ہیں دولت بیدارِ قلبِ شاد
۹
ہم محرمان لیلیِ اضداد کے حضور
یخ میں جہندگی ہے شرارے میں اِنجِماد
۱۰
ہے نقشِ پائے مردِ خود آگاہ پر نثار
صد طرۂ سکندر و صد افسرِ قباد
۱۱
پست و بلند و ارض و سماوات و مہر و ماہ
اقطابِ فکر کے ہیں غلامانِ خانہ زاد
मय-ख़ाना-ए अफ़्कार – जोश मलीहाबादी
१
मय-ख़ाना ताबनाक रहे, रिंद बामुराद
या रब दुआ-ए शोला-दिलाँ मुस्तजाब बाद
२
ता कैय रहेंगे संग-ए रह-ए रास्त अए नदीम
ज़ुहाद-ए कूज़ा-अक़्ल ओ फ़क़ीहान-ए कज-नेहाद
३
यारौं की ग़ैबत, और फिर उन की जनाब में
जिन की नज़र में कुफ़्र है दुश्मन से भी इ’नाद
४
रक्खी है रोज़गार की नापुख़्तगी ने हैफ़
अक़्वाल की ज़मीन पे बुनियाद-ए एतेक़ाद
५
अए रहरवान-ए जादा-ए अस्लाफ़ होशियार
देखो वो सामने है म’आल-ए समूद ओ आ’द
६
फबता नहीं है इश्क़ पे दार-उल-क़ज़ा का चत्र
अब कज हो फ़र्क़-ए अक़्ल पर अए ताज-ए इज्तेहाद
७
अए अहवलान-ए मदरसा, याद-ए ख़ुदा है शिर्क
अपने को भी किया है कभी आदमी ने याद
८
देखें वो सू-ए ने’मत-ए दारैन किस लिए
हासिल जिन्हें हैं दौलत-ए बेदार-ए क़ल्ब-ए शाद
९
हम मेहरमान लैली-ए अज़्दाद के हुज़ूर
यख़ में जहंदगी है शरारे में इंजेमाद
१०
है नक़्श-ए पा-ए मर्द-ए ख़ुद-आगाह पर निसार
सद तुर्रा-ए सिकंदर ओ सद अफ़्सर-ए क़ुबाद
११
पस्त ओ बलंद ओ अर्ज़ ओ समावात ओ मेहर ओ माह
अक़्ताब-ए फ़िक्र के हैं ग़ुलामान-ए ख़ाना-ज़ाद
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’. This nazm/Ghazal was published in May 1963, in juNg-pakistani daily. It is amazing that it did not attract a fatva and a death sentence.
1
mai-Khaana1 taabnaak2 rahe, rind3 baamuraad4
ya rab5 dua-e sho’la-dilaaN6 mustajaab-baad7 1.wine-house, tavern 2.shining, brilliant 3.wine-lovers 4.wish/desire fulfilled 5.lord 6.flame-hearted, hearts burning with passion 7.agreeable, acceptable
May the tavern (of reason-the title of the nazm is maiKhaana-e afkaar) always remain shining, may the wine-lovers have their desires fulfilled. O lord may the prayers of the flame-hearted be accepted. The tavern is symbolic of a liberal place, a place that shows resistance to orthodoxy/authority. For it to remain brightly lit can mean always full of patrons/wine-lovers, or be a guiding light, a destination that can be seen from far and wide. People of flaming-hearts are people of passion- passionate for universal love, reason and knowledge, resistance to authority.
2
ta-kai1 raheNge saNg2-e rah3-e raast4 aye nadiim5
zuhaad6-e kuuza7-aql8 o faqiihaan9-e kaj-nehaad10 1.how long 2.rocks, obstacles 3.path 4.straightforward 5.friend 6.abstinent, observant 7.small cup 8.mind, intellect 9.religious law-giver, preacher 10.crooked nature
‘kuuza-aql’ represents intellect that can be filled in a small cup i.e., of low intelligence, narrow-minded. O friend, how long will these narrow-minded preachers and crooked natured orthodox law-givers, remain an obstacle in the straightforward path. Here, ‘raah-e raast-straight path’ is used more in the sense of a path clearly visible through common sense and intelligence rather than the ‘straight and narrow’ defined by conventions and orthodoxy.
3
yaaroN1 ki Ghaibat2, aur phir un ki janaab3 meN
jin ki nazar4 meN kufr5 hai dushman se bhi in’aad6 1.friends 2.invisibility, absence 3.presence 4.view 5.forbidden 6.hostility, conflict
There are those in whose view hostility even towards the enemy, is forbidden. The poet implies that these are enlightened people who have a lot to offer and expresses surprise/disappointment that friends are absent from the presence of such people.
4
rakkhi hai rozgaar1 ki napoKhtagi2 ne haif3
aqvaal4 ki zamiin pe buniyaad5-e e’teqaad6 1.daily life 2.immaturity 3.alas 4. traditional sayings 5.foundations 6.faith
Alas, the immaturity (incomplete reasoning) of daily life is built on the foundations of traditional sayings and blind belief.
5
aye rahravaan1-e jaada2-e aslaaf3 hoshiyaar4
dekho voh saamne hai m’aal5-e samuud6 o ‘aad6 1.travelers 2.path 3.ancestors 4.careful, vigilant 5.result, fate 6.ancient tribes
The ancient, pre-islamic tribes of samuud and ‘aad are mentioned as those tribes who refused to listen to the message of the respective prophets who were sent to them. They preferred to stick with the sayings of their ancestors. The consequence was that they were destroyed by the wrath of god through calamities. josh uses this only to draw on the first part of this story i.e., the calamities were a consequence of sticking with the sayings of ancestors. O travelers on the path of the ancestors, be vigilant, look at the fate of the tribes of samuud and ‘aad.
6
phabta1 nahiN hai ishq pe daar-ul-qaza2 ka chatr3
ab kaj4 ho farq5-e aql6 par aye taaj-e ijtehaad7 1.suitable, becoming 2.domain of justice 3.canopy, royal umbrella 4.askew, crooked 5.head 6.intellect, reason 7.interpretation based on legalistic scholarship of earlier jurists
The practice of ijtehaad is a scholarship, study and analysis of the judgements of earlier respected jurists. Interpretations and judgments of present-day issues are based on this scholarship. Also, ‘ishq’ here symbolizes universal love, free spirit released from constraints. Thus, ‘ishq’ does not sit well under the umbrella of legalistic orthodox jurisprudence. The crown of ijtehaad sits crooked on the head of reason/intellect.
7
aye ahvalaan-e-madrasa1, yaad-e Khuda hai shirk2
apne ko bhi kiya hai kabhi aadmi ne yaad 1.crooked sighted people of religious schools 2.deifying something in addition to god
In orthodoxy, ‘shirk’ is a major sin, god is recognized as the sole deity. Here josh turns it around. In his view universality of the human being and human service (Khidmat-e Khalq) is the primary deity and including god in it is ‘shirk’. He is warning/cautioning the ‘crooked sighted/narrow minded’ people of religious schools that remembrance of god is ‘shirk’. josh poses a rhetorical question – has man ever remembered, regarded, considered service to mankind as the primary deity?
8
dekheN voh suu1-e nai’mat2-e daarain3 kis liye
haasil4 jinheN haiN daulat5-e bedaar6-e qalb7-e shaad8 1.towards 2.blessing 3.here and hereafter 4.available 5.treasure, wealth 6.awakened 7.heart 8.joyous, content
Why would they look towards/for blessings of the here and hereafter (through orthodox rituals); those who have available to them the wealth of a joyous and awakened heart. An ‘awakened’ heart/mind is one that is open to ideas and reason.
9
hum mehrmaan1-e laili2-e azdaad3 ke huzuur4
yaKh5 meN jahandagi6 hai sharaare7 meN injemaad8 1.intimate, inner circle 2.laila, beloved 3.opposites 4.in front of, before 5.ice 6.movement, pulsations 7.sparks 8.solidification, congealment, freezing
In josh’s free-thinking mind the simultaneous existence of opposites is considered to be of high value and is personified in this she’r as laila, the beloved. All the liberal, free thinking people belong to the inner circle of the laila of opposites. Before them solid ice has movement, vibration, pulsations and sparks are congealed or frozen. The poet presents a paradox, suggesting that there is vitality in what appears cold and lifeless, and immobility in what seems fiery and dynamic.
10
hai naqsh-e-paa1-e mard2-e Khud-aaagah3 par nisaar4
sad5 turrah6-e sikandar7 o sad5 afsar8-e qubaad9 1.footprint 2.brave, daring 3.self-aware 4.devotional offering 5.hundred 6.crest of the crown 7.Alexander 8.officers, commanders 9.ancient Persian emperor
A hundred crowns of Alexander and the army/power of kai-qubaad can be sacrificed at the footprints of a brave who is aware of his inner self.
11
past1 o baland2 o arz3 o samaavaat4 o mahr5 o maah6
aqtaab7-e fikr8 ke haiN Ghulaamaan9-e Khaana-zaad10 1.low 2.high 3.earth 4.skies 5.sun 6.moon 7.poles, axis 8.reason, intellect 9.slaves 10.born in the house i.e., by birth
All the elements of the first misra, together symbolize the universe. These are slaves by birth of the intellect and reason; they revolve around the axis of reason.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’. This nazm/Ghazal was published in May 1963, in juNg-pakistani daily. It is amazing that it did not attract a fatva and a death sentence.
1
mai-Khaana1 taabnaak2 rahe, rind3 baamuraad4
ya rab5 dua-e sho’la-dilaaN6 mustajaab-baad7
1.wine-house, tavern 2.shining, brilliant 3.wine-lovers 4.wish/desire fulfilled 5.lord 6.flame-hearted, hearts burning with passion 7.agreeable, acceptable
May the tavern (of reason-the title of the nazm is maiKhaana-e afkaar) always remain shining, may the wine-lovers have their desires fulfilled. O lord may the prayers of the flame-hearted be accepted. The tavern is symbolic of a liberal place, a place that shows resistance to orthodoxy/authority. For it to remain brightly lit can mean always full of patrons/wine-lovers, or be a guiding light, a destination that can be seen from far and wide. People of flaming-hearts are people of passion- passionate for universal love, reason and knowledge, resistance to authority.
2
ta-kai1 raheNge saNg2-e rah3-e raast4 aye nadiim5
zuhaad6-e kuuza7-aql8 o faqiihaan9-e kaj-nehaad10
1.how long 2.rocks, obstacles 3.path 4.straightforward 5.friend 6.abstinent, observant 7.small cup 8.mind, intellect 9.religious law-giver, preacher 10.crooked nature
‘kuuza-aql’ represents intellect that can be filled in a small cup i.e., of low intelligence, narrow-minded. O friend, how long will these narrow-minded preachers and crooked natured orthodox law-givers, remain an obstacle in the straightforward path. Here, ‘raah-e raast-straight path’ is used more in the sense of a path clearly visible through common sense and intelligence rather than the ‘straight and narrow’ defined by conventions and orthodoxy.
3
yaaroN1 ki Ghaibat2, aur phir un ki janaab3 meN
jin ki nazar4 meN kufr5 hai dushman se bhi in’aad6
1.friends 2.invisibility, absence 3.presence 4.view 5.forbidden 6.hostility, conflict
There are those in whose view hostility even towards the enemy, is forbidden. The poet implies that these are enlightened people who have a lot to offer and expresses surprise/disappointment that friends are absent from the presence of such people.
4
rakkhi hai rozgaar1 ki napoKhtagi2 ne haif3
aqvaal4 ki zamiin pe buniyaad5-e e’teqaad6
1.daily life 2.immaturity 3.alas 4. traditional sayings 5.foundations 6.faith
Alas, the immaturity (incomplete reasoning) of daily life is built on the foundations of traditional sayings and blind belief.
5
aye rahravaan1-e jaada2-e aslaaf3 hoshiyaar4
dekho voh saamne hai m’aal5-e samuud6 o ‘aad6
1.travelers 2.path 3.ancestors 4.careful, vigilant 5.result, fate 6.ancient tribes
The ancient, pre-islamic tribes of samuud and ‘aad are mentioned as those tribes who refused to listen to the message of the respective prophets who were sent to them. They preferred to stick with the sayings of their ancestors. The consequence was that they were destroyed by the wrath of god through calamities. josh uses this only to draw on the first part of this story i.e., the calamities were a consequence of sticking with the sayings of ancestors. O travelers on the path of the ancestors, be vigilant, look at the fate of the tribes of samuud and ‘aad.
6
phabta1 nahiN hai ishq pe daar-ul-qaza2 ka chatr3
ab kaj4 ho farq5-e aql6 par aye taaj-e ijtehaad7
1.suitable, becoming 2.domain of justice 3.canopy, royal umbrella 4.askew, crooked 5.head 6.intellect, reason 7.interpretation based on legalistic scholarship of earlier jurists
The practice of ijtehaad is a scholarship, study and analysis of the judgements of earlier respected jurists. Interpretations and judgments of present-day issues are based on this scholarship. Also, ‘ishq’ here symbolizes universal love, free spirit released from constraints. Thus, ‘ishq’ does not sit well under the umbrella of legalistic orthodox jurisprudence. The crown of ijtehaad sits crooked on the head of reason/intellect.
7
aye ahvalaan-e-madrasa1, yaad-e Khuda hai shirk2
apne ko bhi kiya hai kabhi aadmi ne yaad
1.crooked sighted people of religious schools 2.deifying something in addition to god
In orthodoxy, ‘shirk’ is a major sin, god is recognized as the sole deity. Here josh turns it around. In his view universality of the human being and human service (Khidmat-e Khalq) is the primary deity and including god in it is ‘shirk’. He is warning/cautioning the ‘crooked sighted/narrow minded’ people of religious schools that remembrance of god is ‘shirk’. josh poses a rhetorical question – has man ever remembered, regarded, considered service to mankind as the primary deity?
8
dekheN voh suu1-e nai’mat2-e daarain3 kis liye
haasil4 jinheN haiN daulat5-e bedaar6-e qalb7-e shaad8
1.towards 2.blessing 3.here and hereafter 4.available 5.treasure, wealth 6.awakened 7.heart 8.joyous, content
Why would they look towards/for blessings of the here and hereafter (through orthodox rituals); those who have available to them the wealth of a joyous and awakened heart. An ‘awakened’ heart/mind is one that is open to ideas and reason.
9
hum mehrmaan1-e laili2-e azdaad3 ke huzuur4
yaKh5 meN jahandagi6 hai sharaare7 meN injemaad8
1.intimate, inner circle 2.laila, beloved 3.opposites 4.in front of, before 5.ice 6.movement, pulsations 7.sparks 8.solidification, congealment, freezing
In josh’s free-thinking mind the simultaneous existence of opposites is considered to be of high value and is personified in this she’r as laila, the beloved. All the liberal, free thinking people belong to the inner circle of the laila of opposites. Before them solid ice has movement, vibration, pulsations and sparks are congealed or frozen. The poet presents a paradox, suggesting that there is vitality in what appears cold and lifeless, and immobility in what seems fiery and dynamic.
10
hai naqsh-e-paa1-e mard2-e Khud-aaagah3 par nisaar4
sad5 turrah6-e sikandar7 o sad5 afsar8-e qubaad9
1.footprint 2.brave, daring 3.self-aware 4.devotional offering 5.hundred 6.crest of the crown 7.Alexander 8.officers, commanders 9.ancient Persian emperor
A hundred crowns of Alexander and the army/power of kai-qubaad can be sacrificed at the footprints of a brave who is aware of his inner self.
11
past1 o baland2 o arz3 o samaavaat4 o mahr5 o maah6
aqtaab7-e fikr8 ke haiN Ghulaamaan9-e Khaana-zaad10
1.low 2.high 3.earth 4.skies 5.sun 6.moon 7.poles, axis 8.reason, intellect 9.slaves 10.born in the house i.e., by birth
All the elements of the first misra, together symbolize the universe. These are slaves by birth of the intellect and reason; they revolve around the axis of reason.
The post mai-Khaana-e afkaar-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/bdshrp-jalva-nehaaN-kyuN-ho-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جلوہ نہاں کیوں ہو ۔ بام دیو شرما رشیؔ پٹیالوی
۱
بیانِ عشقِ غم انجام رسوائے جہاں کیوں ہو
اگر دردِ محبت دل میں ہو لب پر فغاں کیوں ہو
۲
جو ہے دلدار، دل آرام، دلکش، دل نشیں، دلبر
اِلہیٰ وہ میری مشتاق نظروں سے نہاں کیوں ہو
۳
رہِ اُلفت میں فرطِ شوق ہے جب رہنما اپنا
ہمیں تشویشِ منزل اور فکرِ کارواں کیوں ہو
۴
نگاہِ شوق پر احسان کر اے بے خودی تو ہی
دلیلِ ہوش بھی پردہ ہے یہ بھی درمیاں کیوں ہو
۵
زمانہ ربطِ عشق و حسن کا مفہوم تو سمجھے
یہ تیرا ذکر ہو جس میں وہ میری داستاں کیوں ہو
۶
حقیقت میں غرورِ آگہی بھی ایک پردہ ہے
اگر یہ راز کُھل جائے تو وہ جلوہ نہاں کیوں ہو
۷
کوئی مشکل نہیں ہنس ہنس کے کوہِ غم اُٹھا لینا
محبت بار ہو تو ہو مگر بارِ گراں کیوں ہو
۸
طبیعت کی پریشانی کو یہ صدمہ بھی کیا کم ہے
جہاں دردِ محبت ہو غمِ دوراں وہاں کیوں ہو
۹
رشیؔ اُٹھنا اُٹھانا کیا جہاں بیٹھے ہیں بیٹھے ہیں
جو منزل ہی نہیں کوئی تو فکرِ کارواں کیوں ہو
जल्वा नेहां क्यूँ हो – बाम देव शर्मा रिशी पटियालवी
१
बयान-ए इश्क़-ए ग़म-अंजाम रुसवा-ए जहां क्यूँ हो
अगर दर्द-ए मोहब्बत दिल में हो, लब पर फुगाँ क्यूँ हो
२
जो है दिल्दार, दिल-आराम, दिल्कश, दिल-नशीं, दिलबर
इलाही वो मेरी मुश्ताक़ नज़रों से नेहां क्यूँ हो
३
रह-ए उल्फ़त में फ़र्त-ए शौक़ है जब रहनुमा अपना
हमें तश्वीश-ए मंज़िल और फ़िक्र-ए कारवाँ क्यूँ हो
४
निगाह-ए शौक़ पर एहसान कर अए बेख़ुदी तू ही
दलील-ए होश भी पर्दा है, ये भी दरमियां क्यूँ हो
५
ज़माना रिश्ता-ए इश्क़ ओ हुस्न का मफ़्हूम तो समझे
ये तेरा ज़िक्र हो जिसमें वो मेरी दास्तां क्यूँ हो
६
हक़ीक़त में ग़ुरूर-ए आगही भी एक पर्दा है
अगर ये राज़ खुल जाए तो वो जलवा नहां क्यूँ हो
७
कोई मुश्किल नहीं हंस हंस के कोह-ए ग़म उठा लेना
मोहब्बत बार हो तो हो मगर बार-ए गिरां क्यूँ हो
८
तबीयत की परेशानी को ये सदमा भी क्या कम है
जहां दर्द-ए मोहब्बत हो, ग़म-ए दौराँ वहां क्यूँ हो
९
रिशी उठना उठाना क्या जहां बैठे हैं बैठे हैं
जो मंज़िल ही नहीं कोई तो फ़िक्र-ए कारवाँ क्यूँ हो
Click here for background and on any passage for word meanings and explanatory discussion. baam dev sharma rishi paTialavi (1917-1999) originally from hoshiarpur in punjab. He was a disciple of nasim noormahli, who in turn was a disciple of daaGh dehlavi. He has written exquite Ghazal in chaste urdu and many progressive nazm in chaste urdu as well as in spoken hindi/urdu/hindustani. He was part of group of friends who organized joint celebration of one another’s religious festivities to promote communal harmony. This Ghazal is linked to Ghalib naqsh-e qadam.
1
bayaan1-e ishq-e Gham-anjaam2 rusvaa3-e jahaaN kyuN ho
agar dard-e mohabbat dil meN ho lab4 pe fuGhaaN5 kyuN ho 1.narrative, story 2.resulting in sorrow 3.ashamed, embarrassed 4.lips 5.wail
In urdu poetic tradition love always results in sorrow because the beloved does not reciprocate the lover’s feelings. Thus, love is always ‘Gham-anjaam’. Why should the story of unfulfilled love result in embarrassment in the world. If there is pain of love in the heart, why should there be wailing on the lips. In poetic convention the lover should bear his sorrow secretly so as not malign the reputation of the beloved. Thus, why should he have wailing on his lips even if his heart aches with love. Such wailing would result in the embarrassment that the first misra asks us to avoid.
2
jo hai dildaar1, dil-araam2, dilkash3, dil-nashiiN4, dilbar5
ilaahi6 voh meri mushtaaq7 nazaroN8 se nehaaN9 kyuN ho 1.captor of the heart 2.comforter of the heart 3.pleasing to the heart 4.residing in the heart 5.comfort of the heart 6.god 7.eager 8.eyes 9.hidden
Here, the poet describes the beloved using various endearing terms. The poet wonders why the beloved, who possesses qualities like being affectionate, comforting, charming, and delightful, remains hidden from the poet’s longing eyes.
3
rah1-e ulfat2 meN furt3-e shauq4 hai jab rahnuma5 apna
hameN tashveesh6-e manzil7 aur fikr8-e kaarvaaN kyuN ho 1.path, journey 2.love 3.abundance 4.love, desire 5.guide 6.concern 7.destination 8.worry
The poet/lover on his journey of love has a guide – his own abundant love/desire. With such an expert guide why should he be worried about reaching the destination of the path/condition of the journey/caravan.
4
nigaah1-e shauq2 par ehsaan3 kar aye beKhudi4 tuu hi
daleel5-e hosh6 bhi pardah7 hai yeh bhi darmiyaaN8 kyuN ho 1.eye, gaze 2.desire 3.benevolence, generosity 4.unawareness (of self or of the material world) 5.evidence 6.knowledge, sobriety 7.veil 8.in the middle, obstacle
Ideal love is where the lover gets so absorbed in the thoughts of the beloved that he becomes totally unaware of everything else. He is calling upon this unawareness to be generous to him and to make him totally blind. Even the slightest evidence of knowledge/wisdom acts like a veil between his loving gaze and the beloved. Why should this be an obstacle between them. This applies to the divine beloved also.
5
zamaana1 rabt2-e ishq-o-husn3 ka maf’hoom4 to samjhe
yeh tera zikr5 ho jis meN voh meri dastaaN6 kyuN ho 1.world 2.connection, relationship 3.love and beauty, lover and beloved 4.meaning 5.mention, narrative 6.story
There is an inextricable relationship between love and beauty. If the world understood this relationship, then it would not question why in the narrative of the beloved there is also the story of the poet/lover.
6
haqiiqat1 meN Ghuroor2-e aagahi3 bhi ek pardah4 hai
agar yeh raaz5 khul jaaye6 to voh jalvah7 nehaaN8 kyuN ho 1.truth, reality 2.pride 3.awareness, knowledge 4.veil 5.secret 6.opened up, revealed 7.manifestation 8.hidden
The poet suggests that even the pride of knowledge is a veil. We think and are proud that we know. That is why we are unable to see the divine all around us. If this secret is revealed, then why should that hidden splendor remain hidden?
7
koi mushkil1 nahiN haNs-haNs2 ke koh3-e Gham4 uThaa5 lena
mohabbat baar6 ho to ho magar baar-e giraaN7 kyuN ho 1.difficult 2.cheerfully 3.mountain, burden 4.sorrow 5.lift, carry, bear 6.burden 7.heavy
The poet suggests that there is no difficulty in cheerfully bearing the burden of sorrow (of love). Love may be burdensome, but why should it be an unbearable burden? This reflects the poet’s resilience in the face of difficulties in love.
8
tabiiyyat1 ki pareshaani2 ko yeh sadma3 bhi kya kam hai
jahaaN4 dard5-e mohabbat ho Gham6-e dauraaN7 vahaaN kyuN ho 1.mood, disposition 2.worry, depression 3.shock, tragedy, sorrow 4.where 5.pain 6.sorrow 7.times, period, world
In poetic concepts there is a Gham-e jaanaaN and a Gham-e dauraaN – sorrow of love and sorrow of the condition of the world. Thus, the tragedy/shock of ‘dard-mohabbat – Gham-e jaanaaN’ is enough for the depression of my mood/disposition. Where there is dard-e mohabbat, why should there also be Gham-e dauraaN. A slight variation of this could be, Gham-e jaanaaNis is so intense that it eclipses Gham-e dauraaN.
9
rishi1 uThna-uThaana2 kya jahaaN3 baiThe haiN baiThe haiN
jo manzil4 hi nahiN koi toh fikr5-e kaarvaaN6 kyuN ho 1.pen-name of the poet 2.getting up and doing something 3.where 4.destination 5.worry 6.caravan/journey
O rishi, what is the use of getting up and trying to get anywhere, just sit where you are. If there is no destination in sight, why worry about the journey. This could be focussed on the futility of getting anywhere with the beloved and more related to the conventions of urdu poetry than to the progressive movement.
baam dev sharma rishi paTialavi (1917-1999) originally from hoshiarpur in punjab. He was a disciple of nasim noormahli, who in turn was a disciple of daaGh dehlavi. He has written exquite Ghazal in chaste urdu and many progressive nazm in chaste urdu as well as in spoken hindi/urdu/hindustani. He was part of group of friends who organized joint celebration of one another’s religious festivities to promote communal harmony. This Ghazal is linked to Ghalib naqsh-e qadam.
1
bayaan1-e ishq-e Gham-anjaam2 rusvaa3-e jahaaN kyuN ho
agar dard-e mohabbat dil meN ho lab4 pe fuGhaaN5 kyuN ho
1.narrative, story 2.resulting in sorrow 3.ashamed, embarrassed 4.lips 5.wail
In urdu poetic tradition love always results in sorrow because the beloved does not reciprocate the lover’s feelings. Thus, love is always ‘Gham-anjaam’. Why should the story of unfulfilled love result in embarrassment in the world. If there is pain of love in the heart, why should there be wailing on the lips. In poetic convention the lover should bear his sorrow secretly so as not malign the reputation of the beloved. Thus, why should he have wailing on his lips even if his heart aches with love. Such wailing would result in the embarrassment that the first misra asks us to avoid.
2
jo hai dildaar1, dil-araam2, dilkash3, dil-nashiiN4, dilbar5
ilaahi6 voh meri mushtaaq7 nazaroN8 se nehaaN9 kyuN ho
1.captor of the heart 2.comforter of the heart 3.pleasing to the heart 4.residing in the heart 5.comfort of the heart 6.god 7.eager 8.eyes 9.hidden
Here, the poet describes the beloved using various endearing terms. The poet wonders why the beloved, who possesses qualities like being affectionate, comforting, charming, and delightful, remains hidden from the poet’s longing eyes.
3
rah1-e ulfat2 meN furt3-e shauq4 hai jab rahnuma5 apna
hameN tashveesh6-e manzil7 aur fikr8-e kaarvaaN kyuN ho
1.path, journey 2.love 3.abundance 4.love, desire 5.guide 6.concern 7.destination 8.worry
The poet/lover on his journey of love has a guide – his own abundant love/desire. With such an expert guide why should he be worried about reaching the destination of the path/condition of the journey/caravan.
4
nigaah1-e shauq2 par ehsaan3 kar aye beKhudi4 tuu hi
daleel5-e hosh6 bhi pardah7 hai yeh bhi darmiyaaN8 kyuN ho
1.eye, gaze 2.desire 3.benevolence, generosity 4.unawareness (of self or of the material world) 5.evidence 6.knowledge, sobriety 7.veil 8.in the middle, obstacle
Ideal love is where the lover gets so absorbed in the thoughts of the beloved that he becomes totally unaware of everything else. He is calling upon this unawareness to be generous to him and to make him totally blind. Even the slightest evidence of knowledge/wisdom acts like a veil between his loving gaze and the beloved. Why should this be an obstacle between them. This applies to the divine beloved also.
5
zamaana1 rabt2-e ishq-o-husn3 ka maf’hoom4 to samjhe
yeh tera zikr5 ho jis meN voh meri dastaaN6 kyuN ho
1.world 2.connection, relationship 3.love and beauty, lover and beloved 4.meaning 5.mention, narrative 6.story
There is an inextricable relationship between love and beauty. If the world understood this relationship, then it would not question why in the narrative of the beloved there is also the story of the poet/lover.
6
haqiiqat1 meN Ghuroor2-e aagahi3 bhi ek pardah4 hai
agar yeh raaz5 khul jaaye6 to voh jalvah7 nehaaN8 kyuN ho
1.truth, reality 2.pride 3.awareness, knowledge 4.veil 5.secret 6.opened up, revealed 7.manifestation 8.hidden
The poet suggests that even the pride of knowledge is a veil. We think and are proud that we know. That is why we are unable to see the divine all around us. If this secret is revealed, then why should that hidden splendor remain hidden?
7
koi mushkil1 nahiN haNs-haNs2 ke koh3-e Gham4 uThaa5 lena
mohabbat baar6 ho to ho magar baar-e giraaN7 kyuN ho
1.difficult 2.cheerfully 3.mountain, burden 4.sorrow 5.lift, carry, bear 6.burden 7.heavy
The poet suggests that there is no difficulty in cheerfully bearing the burden of sorrow (of love). Love may be burdensome, but why should it be an unbearable burden? This reflects the poet’s resilience in the face of difficulties in love.
8
tabiiyyat1 ki pareshaani2 ko yeh sadma3 bhi kya kam hai
jahaaN4 dard5-e mohabbat ho Gham6-e dauraaN7 vahaaN kyuN ho
1.mood, disposition 2.worry, depression 3.shock, tragedy, sorrow 4.where 5.pain 6.sorrow 7.times, period, world
In poetic concepts there is a Gham-e jaanaaN and a Gham-e dauraaN – sorrow of love and sorrow of the condition of the world. Thus, the tragedy/shock of ‘dard-mohabbat – Gham-e jaanaaN’ is enough for the depression of my mood/disposition. Where there is dard-e mohabbat, why should there also be Gham-e dauraaN. A slight variation of this could be, Gham-e jaanaaNis is so intense that it eclipses Gham-e dauraaN.
9
rishi1 uThna-uThaana2 kya jahaaN3 baiThe haiN baiThe haiN
jo manzil4 hi nahiN koi toh fikr5-e kaarvaaN6 kyuN ho
1.pen-name of the poet 2.getting up and doing something 3.where 4.destination 5.worry 6.caravan/journey
O rishi, what is the use of getting up and trying to get anywhere, just sit where you are. If there is no destination in sight, why worry about the journey. This could be focussed on the futility of getting anywhere with the beloved and more related to the conventions of urdu poetry than to the progressive movement.
The post jalva nehaaN kyuN ho-baam dev sharma rishi paTialavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/rdss-ajab-pech-o-taab-meN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
عجب پیچ و تاب میں ۔ رگھوبیر داس ساحرؔ سیالکوٹی
۱
ہے اضطراب دل میں تو دل اضطراب میں
ڈالا ہے تم نے مجھ کو عجب پیچ و تاب میں
۲
ڈھونڈیں گے ایک دن مجھے خود جلوہ ہائے حسن
دیکھوں گا میں رہیں گے وہ کب تک حجاب میں
۳
اک حسنِ برق پاش کی دن رات ہے تلاش
اپنی قضا کو ڈھونڈ رہا ہوں شباب میں
۴
ہم نے جنوں کو عقل کہا عقل کو جنوں
کیا نکتہ رس تھا عشق ہمارا شباب میں
۵
اجزا یہی ہیں نسخۂ آبِ حیات کے
کچھ مستیٔ نگاہ ملا دو شراب میں
۶
پھر ہو رہی ہے پُرسش اعمال روزِ حشر
یا رب سزائے موت گئی کس حساب میں
۷
گیسو دراز مست نظر چہرہ آفتاب
اب کچھ کمی نہیں ہے تمہارے شباب میں
۸
خط میں کھری کھری بھی سنائی ہیں کچھ انہیں
مطلب یہ ہے کریں نہ توقف جواب میں
۹
دنیائے عقل و ہوش میں ساحرؔ کسے نصیب
وہ کیفِ بے خودی جو ہے بزم شراب میں
अजब पेच-ओ-ताब में – रघुबीर दास साहेर सियालकोटी
१
है इज़्तेराब दिल में तो दिल इज़्तेराब में
डाला है तुम ने मुझ को अजब पेच-ओ-ताब में
२
ढूँडेंगे एक दिन मुझे ख़ुद जल्वा-हा-ए हुस्न
देखूँगा मैं रहेंगे वो कब तक हिजाब में
३
एक हुस्न-ए बर्क़-पाश की दिन रात है तलाश
अपनी क़ज़ा को ढूँड रहा हूँ शबाब में
४
हम ने जुनूँ को अक़्ल कहा अक़्ल को जुनूँ
क्या नुक्ता-रस था इश्क़ हमारा शबाब में
५
अज्ज़ा यही हैं नुस्ख़ा-ए आब-ए हयात के
कुछ मस्ती-ए निगाह मिला दो शराब में
६
फिर हो रही है पुर्सिश-ए आमाल रोज़-ए हश्र
यारब सज़ा-ए मौत गई किस हिसाब में
७
गेसू दराज़, मस्त नज़र, चेहरा आफ़्ताब
अब कुछ कमी नहीं है तुम्हारे शबाब में
८
ख़त में खरी खरी भी सुनाई हैं कुछ उन्हें
मतलब ये है करें न तवक़्क़ुफ़ जवाब में
९
दुनिया-ए अक़्ल-ओ-होश में साहेर किसे नसीब
वो कैफ़-ए बे-ख़ुदी जो है बज़्म-ए शराब में
Click here for background and on any passage for word meanings and explanatory discussion. raghubir das sahir sialkoTi (1906-1984). BA sanaatan dharm college lahore. Worked for milaap daily in lahore after graduation. During partition mayhem he lost all his work. Went to jalandhar, an urdu literary hub at the time. Attended mushaa’era regularly and probably worked for magazines. When he went to hoshiarpur for a mushaa’era to hoshiarpur, he ran into his college class mate – amarchand qais who happened to have saved some of sahir’s Ghazal. Sahir became shaagird of josh malsiani. His collection was published in 1959. This Ghazal is linked to Ghalib naqsh-e qadam.
1
hai izteraab1 dil meN to dil izteraab2 meN
Daala hai tum ne mujh ko ajab3 pech-o-taab4 meN 1.(contextually) eagerness 2.restlessness 3.strange 4.hesitation, confusion
There is eagerness/imaptience in the poet/lover’s heart and his heart is restless. It is the beloved that has caused all this confusion.
2
DhooNDeNge ek din mujhe Khud jalva-haa1-e husn2
dekhuNga maiN raheNge vo kab tak hijaab3 meN 1.plural of jalva-appearance, manifestation, image 2.beauty 3.veiled
The poet/lover appears to be challenging the beloved. Today he is looking for the beloved but some day, the many manifestations of beauty (meaning the beloved) will look for him themselves. Let me see how long you will remain hidden behind a veil, he says.
3
ek husn1-e barq-paash2 ki din raat hai talaash3
apni qaza4 ko DhooND raha huN shabaab5 meN 1.beauty 2.lightning smashing 3.search 4.death 5.youth
The beloved is so beautiful and bright that she can ‘smash’ lightning. The poet/lover has been looking for such a beauty. That means he is looking for his own death in his youth … if he finds such beauty he is sure to be killed.
4
ham ne junooN1 ko aql2 kaha, aql ko junooN
kya nukta-ras3 tha ishq hamaara shabaab4 meN 1.passion, madness 2.wisdom, reason 3.able to reach/understand fine points 4.youth
In the field of love, the poet/lover considers passion to be superior to reason. Thus, in my youth I was able to understand fine points and was able to conclude that it is really wise to be governed by passion.
5
ajza1 yahi haiN nusKha2-e aab-e-hayaat3 ke
kuchh masti4-e nigaah5 mila do sharaab meN 1.ingredients 2.prescription, formula 3.water/nectar of life 4.intoxication 5.eyes
This is the formula of the ingredients of the nectar of life … just mix the intoxication of the saaqi/beloved’s eyes in wine.
6
phir ho rahi hai pursish1-e aamaal2 roz-e-hashr3
yaarab4 saza5-e maut6 gaii kis hisaab7 meN 1.inquiry 2.actions 3.doomsday, day of judgment 4.god 5.punishment 6.death 7.reckoning
The poet is dead and is being questioned about his virtues and vices … an account is being taken of his actions, good and bad. He protests. I have already been punished with death … o god, how are you accounting for that punishment.
7
gesu1 daraaz2, mast3 nazar4, chehra5 aaftaab6
ab kuchh kami7 nahiN hai tumhaare shabaab8 meN 1.hair 2.long 3.intoxicating 4.eyes 5.face 6.sun-like, bright 7.shortcoming 8.youth
Long hair, intoxicating eyes, bright face – now there is no shortcoming in your youthful good looks.
8
Khat1 meN khari-khari2 bhi sunaaii haiN kuchh unheN
matlab3 ye hai kareN na tavaqquf4 javaab5 meN 1.letter 2.pure, true, plain-speaking 3.meaning, purpose 4.delay 5.answer
The poet/lover has been sending messages/letters to the beloved and there is always a long delay in getting a response. So this time, he is writing plainly to her, his purpose being to provoke her enough so as to get a quick response.
9
duniya-e aql-o-hosh1 meN saahir2 kise nasiib3
vo kaif4-e be-Khudi5 jo hai bazm6-e sharaab meN 1.reason and sobriety 2.pen-name of the poet 3.available 4.pleasure 5.trance, intoxication 6.gathering, society
In a world of sobriety and reason, O saahir, who has available to them, the pleasure that can be had in the society of wine lovers.
raghubir das sahir sialkoTi (1906-1984). BA sanaatan dharm college lahore. Worked for milaap daily in lahore after graduation. During partition mayhem he lost all his work. Went to jalandhar, an urdu literary hub at the time. Attended mushaa’era regularly and probably worked for magazines. When he went to hoshiarpur for a mushaa’era to hoshiarpur, he ran into his college class mate – amarchand qais who happened to have saved some of sahir’s Ghazal. Sahir became shaagird of josh malsiani. His collection was published in 1959. This Ghazal is linked to Ghalib naqsh-e qadam.
1
hai izteraab1 dil meN to dil izteraab2 meN
Daala hai tum ne mujh ko ajab3 pech-o-taab4 meN
1.(contextually) eagerness 2.restlessness 3.strange 4.hesitation, confusion
There is eagerness/imaptience in the poet/lover’s heart and his heart is restless. It is the beloved that has caused all this confusion.
2
DhooNDeNge ek din mujhe Khud jalva-haa1-e husn2
dekhuNga maiN raheNge vo kab tak hijaab3 meN
1.plural of jalva-appearance, manifestation, image 2.beauty 3.veiled
The poet/lover appears to be challenging the beloved. Today he is looking for the beloved but some day, the many manifestations of beauty (meaning the beloved) will look for him themselves. Let me see how long you will remain hidden behind a veil, he says.
3
ek husn1-e barq-paash2 ki din raat hai talaash3
apni qaza4 ko DhooND raha huN shabaab5 meN
1.beauty 2.lightning smashing 3.search 4.death 5.youth
The beloved is so beautiful and bright that she can ‘smash’ lightning. The poet/lover has been looking for such a beauty. That means he is looking for his own death in his youth … if he finds such beauty he is sure to be killed.
4
ham ne junooN1 ko aql2 kaha, aql ko junooN
kya nukta-ras3 tha ishq hamaara shabaab4 meN
1.passion, madness 2.wisdom, reason 3.able to reach/understand fine points 4.youth
In the field of love, the poet/lover considers passion to be superior to reason. Thus, in my youth I was able to understand fine points and was able to conclude that it is really wise to be governed by passion.
5
ajza1 yahi haiN nusKha2-e aab-e-hayaat3 ke
kuchh masti4-e nigaah5 mila do sharaab meN
1.ingredients 2.prescription, formula 3.water/nectar of life 4.intoxication 5.eyes
This is the formula of the ingredients of the nectar of life … just mix the intoxication of the saaqi/beloved’s eyes in wine.
6
phir ho rahi hai pursish1-e aamaal2 roz-e-hashr3
yaarab4 saza5-e maut6 gaii kis hisaab7 meN
1.inquiry 2.actions 3.doomsday, day of judgment 4.god 5.punishment 6.death 7.reckoning
The poet is dead and is being questioned about his virtues and vices … an account is being taken of his actions, good and bad. He protests. I have already been punished with death … o god, how are you accounting for that punishment.
7
gesu1 daraaz2, mast3 nazar4, chehra5 aaftaab6
ab kuchh kami7 nahiN hai tumhaare shabaab8 meN
1.hair 2.long 3.intoxicating 4.eyes 5.face 6.sun-like, bright 7.shortcoming 8.youth
Long hair, intoxicating eyes, bright face – now there is no shortcoming in your youthful good looks.
8
Khat1 meN khari-khari2 bhi sunaaii haiN kuchh unheN
matlab3 ye hai kareN na tavaqquf4 javaab5 meN
1.letter 2.pure, true, plain-speaking 3.meaning, purpose 4.delay 5.answer
The poet/lover has been sending messages/letters to the beloved and there is always a long delay in getting a response. So this time, he is writing plainly to her, his purpose being to provoke her enough so as to get a quick response.
9
duniya-e aql-o-hosh1 meN saahir2 kise nasiib3
vo kaif4-e be-Khudi5 jo hai bazm6-e sharaab meN
1.reason and sobriety 2.pen-name of the poet 3.available 4.pleasure 5.trance, intoxication 6.gathering, society
In a world of sobriety and reason, O saahir, who has available to them, the pleasure that can be had in the society of wine lovers.
The post ajab pech o taab meN-raghubir das sahir sialkoTi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/aps-hamaare-darmiyaaN-kyuN-ho-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ہمارے درمیاں کیوں ہو ۔ اجئے پانڈے سحابؔ
۱
ترا ہی نام کافی ہے تو غیروں کا بیاں کیوں ہو
نئے کردار سے بوجھل یہ میری داستاں کیوں ہو
۲
ترے بھی پاؤں بڑھتے ہیں مری باہیں بھی پھیلی ہیں
تو پھر یہ فاصلہ اتنا ہمارے درمیاں کیوں ہو
۳
اگر ہے راہبر صادق تو کوئی راہ دکھلائے
جو بھٹکے در بہ در ایسے وہ میرِ کارواں کیوں ہو
۴
ہو دل میں غم مگر پر نم نہ ہو آنکھیں کبھی تیری
چھپا ہے دل میں جو دریا وہ آنکھوں سے رواں کیوں ہو
۵
ذرا بزمِ سخن دیکھے مرا معیارِ فن لوگو
دیا ہے جو خدا نے فن مجھے وہ رائیگاں کیوں ہو
۶
کئی کہسار درد و غم کے دنیا میں اٹھانے ہیں
تو پھر یہ ہجر کی شب ایک مجھ پر سرگراں کیوں ہو
۷
یہ اچھا ہے کہ سوزِ عشق میں چپ چاپ جل جائیں
فقط تشہیر کی خاطر سحابؔ اتنا دھواں کیوں ہو
हमारे दरमियाँ क्यों हो – अजय पांडे सहाब
१
तेरा ही नाम काफ़ी है तो ग़ैरों का बयाँ क्यों हो
नए किरदार से बोझल ये मेरी दास्ताँ क्यों हो
२
तेरे भी पाँव बढ़ते हैं मेरी बाहें भी फैली हैं
तो फिर ये फ़ासला इतना हमारे दरमियाँ क्यों हो
३
अगर है राहबर सादेक़ तो कोई राह दिखलाए
जो भटके दर-ब-दर ऐसे वो मीर-ए कारवाँ क्यों हो
४
हो दिल में ग़म मगर पुर-नम न हो आँखें कभी तेरी
छुपा है दिल में जो दर्या वो आँखों से रवाँ क्यों हो
५
ज़रा बज़्म-ए सुख़न देखे मेरा मे’आर-ए फ़न लोगो
दिया है जो ख़ुदा ने फ़न मुझे वो राएगाँ क्यों हो
६
कई कोहसार दर्द-ओ-ग़म के दुनिया में उठाने हैं
तो फिर ये हिज्र की शब एक मुझ पर सरगिराँ क्यों हो
७
ये अच्छा है के सोज़-ए इश्क़ में चुप-चाप जल जाएँ
फ़क़त तश्हीर की ख़ातेर सहाब इतना धुआँ क्यों हो
Click here for background and on any passage for word meanings and explanatory discussion. ajay paanDay sahaab (1969-living) ICS officer, commisioner GST, jhaarkhanD. Grew up in surroundings completely devoid of urdu. Read sahir, firaq and faiz in devanagiri and fell in love with urdu. Taught himself reading and writing and started composing at 16-17. He writes …
seekha isi se dard ye hindostaan ka
bachpan se mujh pe qarz hai urdu zabaan ka
This Ghazal is linked to Ghalib naqsh-e qadam – zabaaN kyuN ho.
1
tera hi naam kaafi1 hai to GhairoN2 ka bayaaN3 kyuN ho
na’ey kirdaar4 se bojhal5 ye meri daastaaN6 kyuN ho 1.enough 2.others, rivals 3.mention, narration 4.characters 5.burdened 6.story, legend
Your name alone is enough. Why then should names of the rivals be mentioned. Why should my story be burdened with these new/strange characters.
2
tere bhi paaNv baRhte haiN meri baaheN1 bhi phaili2 haiN
to phir ye faasla3 itna hamaare darmiyaaN4 kyuN ho 1.arms 2.spread out 3.distance 4.between
With you stepping forward and with my arms spread out, why should there be this much distance between us.
3
agar hai raahbar1 saadiq2 to koi raah3 dikhlaa’e
jo bhaTke4 dar-ba-dar5 aise vo mir-e-kaarvaaN6 kyuN ho 1.guide 2.truthful, capable 3.path 4.wander, stray, deviate 5.door to door, pillar to post 6.leader of the caravan (of seekers)
If the guide were capable, then he/she will be able to show the path. If he wanders from pillar to post, why should he be the leader of the caravan (of seekers).
4
ho dil meN Gham magar pur-nam1 na ho aaNkheN kabhi teri
chhupa hai dil meN jo dariya2 vo aaNkhoN se ravaaN3 kyuN ho 1.moist, tearful 2.river 3.flow
This she’r is addressed to the poet/lover himself or to other lovers. You may have the pain of love in your heart, but your eyes should never get moist/tearful. The river that is hidden in your heart, why should it flow from your eyes.
5
zara bazm1-e suKhan2 dekhe mera me’aar3-e fun4 logo
diya hai jo Khuda ne fun4 mujhe vo raa’egaaN5 kyuN ho 1.gathering, association 2.words, poetry 3.standard, level 4.skill, talent, art 5.wasted
May the association of poets (or those who like poetry) see the standard of my art. Why should my god-given talent go to waste.
6
ka’ii kohsaar1 dard-o-Gham2 kay duniya meN uThaane haiN
to phir ye hijr3 ki shab4 ek mujh par sargiraaN5 kyuN ho 1.hills 2.pain and sorrow 3.separation 4.night 5.heavy, unbearable
In this world/life there are many hills/difficulties to overcome. Why then, should this burden of the night of separation be specially heavy for me.
7
ye achchha hai keh soz1-e ishq meN chup-chaap jal jaa’eN
faqat2 tash’hir3 ki Khaatir4 sahaab5 itna dhuaaN kyuN ho 1.fire 2.only 3.advertising, showing 4.for the sake of 5.pen-name of the poet
It is good that I burn silently in the fire of love. Why should there be so much smoke just to show off your passion.
ajay paanDay sahaab (1969-living) ICS officer, commisioner GST, jhaarkhanD. Grew up in surroundings completely devoid of urdu. Read sahir, firaq and faiz in devanagiri and fell in love with urdu. Taught himself reading and writing and started composing at 16-17. He writes …
seekha isi se dard ye hindostaan ka
bachpan se mujh pe qarz hai urdu zabaan ka
This Ghazal is linked to Ghalib naqsh-e qadam – zabaaN kyuN ho.
1
tera hi naam kaafi1 hai to GhairoN2 ka bayaaN3 kyuN ho
na’ey kirdaar4 se bojhal5 ye meri daastaaN6 kyuN ho
1.enough 2.others, rivals 3.mention, narration 4.characters 5.burdened 6.story, legend
Your name alone is enough. Why then should names of the rivals be mentioned. Why should my story be burdened with these new/strange characters.
2
tere bhi paaNv baRhte haiN meri baaheN1 bhi phaili2 haiN
to phir ye faasla3 itna hamaare darmiyaaN4 kyuN ho
1.arms 2.spread out 3.distance 4.between
With you stepping forward and with my arms spread out, why should there be this much distance between us.
3
agar hai raahbar1 saadiq2 to koi raah3 dikhlaa’e
jo bhaTke4 dar-ba-dar5 aise vo mir-e-kaarvaaN6 kyuN ho
1.guide 2.truthful, capable 3.path 4.wander, stray, deviate 5.door to door, pillar to post 6.leader of the caravan (of seekers)
If the guide were capable, then he/she will be able to show the path. If he wanders from pillar to post, why should he be the leader of the caravan (of seekers).
4
ho dil meN Gham magar pur-nam1 na ho aaNkheN kabhi teri
chhupa hai dil meN jo dariya2 vo aaNkhoN se ravaaN3 kyuN ho
1.moist, tearful 2.river 3.flow
This she’r is addressed to the poet/lover himself or to other lovers. You may have the pain of love in your heart, but your eyes should never get moist/tearful. The river that is hidden in your heart, why should it flow from your eyes.
5
zara bazm1-e suKhan2 dekhe mera me’aar3-e fun4 logo
diya hai jo Khuda ne fun4 mujhe vo raa’egaaN5 kyuN ho
1.gathering, association 2.words, poetry 3.standard, level 4.skill, talent, art 5.wasted
May the association of poets (or those who like poetry) see the standard of my art. Why should my god-given talent go to waste.
6
ka’ii kohsaar1 dard-o-Gham2 kay duniya meN uThaane haiN
to phir ye hijr3 ki shab4 ek mujh par sargiraaN5 kyuN ho
1.hills 2.pain and sorrow 3.separation 4.night 5.heavy, unbearable
In this world/life there are many hills/difficulties to overcome. Why then, should this burden of the night of separation be specially heavy for me.
7
ye achchha hai keh soz1-e ishq meN chup-chaap jal jaa’eN
faqat2 tash’hir3 ki Khaatir4 sahaab5 itna dhuaaN kyuN ho
1.fire 2.only 3.advertising, showing 4.for the sake of 5.pen-name of the poet
It is good that I burn silently in the fire of love. Why should there be so much smoke just to show off your passion.
The post hamaare darmiyaaN kyuN ho-ajay paanDay sahaab appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/ahnt-to-koii-darmiyaaN-kyuN-ho-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تو کوئی درمیاں کیوں ہو ۔ علی حیدر نظمؔ طباطبائی
۱
مجھی کو کہہ رہے ہیں سب کہ سرگرمِ فغاں کیوں ہو
کوئی اُس سے نہیں کہتا کہ تم نامہرباں کیوں ہو
۲
نہ کھینچ اے چارہ گر پیکانِ قاتل میرے سینے سے
ملیں یوں دل سے دل باہم تو کوئی درمیاں کیوں ہو
۳
سرائے دہر میں ٹھہرے تو پھر شکوہ شکایت کیا
جسے خونِ جگر کھانا نہ ہو وہ میہماں کیوں ہو
۴
یکایک پھیر لینا آنکھ کا بس قہر ڈھاتا ہے
اگر کہہ سُن کے بگڑو بھی تو مرگِ ناگہاں کیوں ہو
۵
ملے گی داد کیا محشر میں ہم کو اُس ستمگر سے
نہیں ہونا ہوا نا کچھ تو پھر شور و فغاں کیوں ہو
۶
قیامت آج ہی آ جائے صورِ حشر پھنک جائے
شبِ غم میں سجے کیوں صبح کی نوبت اذاں کیوں ہو
۷
جب اپنی خُو یہ ٹھہرے منہہ میں جو آئے سو کہہ جاؤ
تو پھر کہنا کسی کا طبع نازک پر گراں کیوں ہو
۸
اشارہ میں گلِ نرگس نے پوچھا اُس کی آنکھوں سے
فدا میں تم پہ تم بیمار کیوں ہو ناتواں کیوں ہو
۹
نہ دیوانوں کے منہ لگ تو نہ گت ایسی بنے ناصح
اُڑیں دامن کے کیوں پرزے گریباں دھجّیاں کیوں ہو
۱۰
وہ میرا جستجو کی اُس کے جانا بزمِ خوباں میں
اور اُس کا بدگمانی سے یہ کہنا تم یہاں کیوں ہو
۱۱
اُسے بے مانگے ہی دینے کی عادت تو نے ڈالی ہے
تو شرمندہ کسی کا پھر گدائے آستاں کیوں ہو
۱۲
سمجھ لے دہر کو جاتا ہوا سیلاب ہے ورنہ
حبابِ آسماں کے ساتھ موجِ کہکشاں کیوں ہو
۱۳
خبر لو ایک رنگ آتا ہے اِک جاتا ہے چہرے کا
تلوُّن گر نہ ہو تو تیوریوں میں دھوپ چھاں کیوں ہو
۱۴
تڑپنا نیم بسمل ہو کے حیدرؔ تھا مقدّر میں
رکے ہیں جب وہی مجھ پر تو پھر خنجر رواں کیوں ہو
तो कोई दर्मियां क्यूं हो – अली हैदर नज़्म तबातबाई
१
मुझी को कह रहे हैं सब के सरगर्म-ए फ़ुग़ां क्यूं हो
कोई उस से नहीं कहता के तुम ना-मेहरबां क्यूं हो
२
न खींच अए चारागर पैकान-ए क़ातिल मेरे सीने से
मिलें यूं दिल से दिल बाहम तो कोई दर्मियां क्यूं हो
३
सराए-ए दहर में ठहरे तो फिर शिक्वा शिका’एन क्या
जिसे ख़ून-ए जिगर खाना न हो वो मेहमां क्यूं हो
४
यकायक फेर लेना आंख का बस क़हर ढाता है
आगर कह सुन के बिग्ढो भी तो मर्ग-ए नागहां क्यूं हो
५
मिलेगी दाद क्या महशर में हम को उस सितमगर से
नहीं होना हुआ ना कुछ तो फिर शोर ओ फ़ुग़ां क्यूं हो
६
क़यामत आज हि आ जाए सूर-ए हश्र फुंक जाए
शब-ए ग़म में सजे क्यूं सुबह की नौबत अज़ां क्यूं हो
७
जब अपनी ख़ू ये ठहरे मुंह में जो आए सो कह जाओ
तो फिर कहना किसी का तब’अ-ए नाज़ुक पर गिरां क्यूं हो
८
इशारे में गुल-ए नर्गिस ने पूछा उस की आंखौं से
फ़िदा मैं तुम पे, तुम बीमार क्यूं हो नातवां क्यूं हो
९
न दीवानौं के मुंह लग तू न गत ऐसी बने नास’ह
उढें दामन के क्यूं पुर्ज़े, गरेबां धज्जियां क्यूं हो
१०
वो मेरा जुस्तजू में उस की जाना बज़्म-ए ख़ूबां में
और उस का बदगुमानी से ये कहना, तुम यहां क्यूं हो
११
उसे बे-मांगे हि देने कि आदत तू ने डाली है
तो शर्मिंदा किसी का फिर गदा-ए आस्मां क्यूं हो
१२
समझ ले दहर को जाता हुआ सैलाब है वरना
हबाब-ए आस्मां के साथ मौज-ए कहकशां क्यूं हो
१३
ख़बर लो एक रंग आता है एक जाता है चेहरे का
तलव्वुन गर न हो तो त्योरियों में धूप छां क्यूं हो
१४
तढपना नीम-बिस्मिल हो के हैदर था मुक़द्दर में
रुके हैं जब वही मुझ पर तो फिर ख़ंजर रवां क्यूं हो
Click here for background and on any passage for word meanings and explanatory discussion. syed ali haidar nazm tabaatabaai (1854-1933), scholar, critic, translator and poet. In 1883 he moved to hyderabad, Professor, Nizam College and Department of Translation, Osmania University with josh malihabadi. Wrote an explanatory discussion of Ghalib’s diivaan and published his own diivaan. He composed several Ghazal in the style of Ghalib, this one styled after, ‘muNh meN zabaaN kyuN ho’, and is linked to ‘Ghalib naqsh-e qadam’ along with those of many other shu’ara.
1
mujhi1 se kah rahe haiN sub keh sargarm2-e fuGhaaN3 kyuN ho
koii us se nahiN kahta keh tum naa-mehrbaaN4 kyuN ho 1.only me 2.ardent, diligent 3.wailing, crying 4.unkind
Everyone asks only me why I am so diligent in wailing. Somebody should ask her (the beloved) why she is so unkind.
2
na khiiNch1 aye chaaragar2 paikaan3-e qaatil4 mere siine se
mileN yuN dil se dil baaham5 to koii darmiyaaN6 kyuN ho 1.pull 2.healer 3.tip of the arrow 4.killer, beloved 5.mutual 6.in the middle, interfering
The arrow is the beloved’s glance shot at the lover. The tip pentrates his heart and becomes one with it … like two loving hearts in mutual embrace. Thus, O healer do not remove the tip of that arrow from my bosom. If two hearts are willing to meet/embrace, why should anyone interfere.
3
saraa’e1-e dahr2 meN Thahre to phir shikva-shikaayet3 kya
jise Khuun-e jigar4 khaana na ho vo mehmaaN5 kyuN ho 1.travelers’ rest stop 2.world 3.complaints 4.liver – seat of fortitude 5.guest
The saraa’e is a rest stop for caravans along a long route. Thus, this world is nothing but a temporary caravan stop on a longer route (to the spiritual world). Why should we complain about conditions in a temporary stop, after all it will be over soon. If you don’t have the fortitude (ability to eat your liver) to undergo the trials and tribulations of this temporary stay in the caravan saraa’e, then why should you be a guest there.
4
yakaayak1 pher2 lena aaNkh ka bas qahr3 Dhaata4 hai
agar5 kah sun ke bigRe6 bhi to marg7-e naagahaaN8 kyuN ho 1.suddenly, unexpectedly 2.turn away 3.calamity 4.bring down 5.if 6.get annoyed 7.death 8.unexpected, sudden
The beloved is very unpredictable. For no known reason, without giving an explanation, she gets annoyed with the lover, turning her eyes away. This is like a sudden unexpected death to him. If she had said talked back and forth and then gotten annoyed, then perhaps the lover would not be taken by surprise.
5
milegi daad1 kya mahshar2 meN hum ko us sitamgar3 se
nahiiN hona hua na kuchh to phir shor-o-fuGhaaN4 kyuN ho 1.compensation 2.day of judgement 3.cruel, beloved 4.crying and wailing
There is no chance that the lover will get any recompense on judgement day for his suffering at the hands of the beloved, because the beloved will deny it and the lover will not testify against her. So, if nothing is going to happen (by way of recompense) and no pain was inflicted (because the beloved will deny it), then what is all the crying and wailing about!
6
qayaamat1 aaj hi aa jaaye, suur2-e hashr3 phuNk4 jaaye
shab-e-Gham5 meN saje6 kyuN sub’h ki naubat7 azaaN8 kyuN ho 1.doomsday 2.trumpet 3.day of judgement 4.get blown 5.night of sorrow 6.embellished 7.chimes/musicians playing music to announce time 8.call to prayer
According to the traditions of islam, soon after doomsday, an angel will play the trumpet, raising all the dead and calling them to the day of judgement. Also, in traditional societies, at the gates of a nobleman’s palace, a ‘naubat-band’ was played to mark every ‘pahr-three hour period’ beginning with dawn. This was considered a pleasant and joyous occasion as was the azaan. Thus, the poet is in such a sorrowful mood that he is willing to let doomsday come right now and let the angels blow the horn to call everyone to judgement day. In my night of sorrow why should there be this embellishment of joyous naubat or azaan at dawn. My dawn is going to be miserable anyway.
7
jab apni Khuu1 ye Thahre muNh meN jo aaye so kah jaao
to phir kahna kisi ka tab’a-e-naazuk2 par giraaN3 kyuN ho 1.nature, character 2.delicate/sweet temperament 3.heavy, disagreeable
When it is your nature to say whatever comes to your mind then, why should your delicate temperament find it disagreeable when someone else speaks plainly to you.
8
ishaare1 meN gul-e nargis2 ne poochha us ki aaNkhoN se
fida3 maiN tum pe, tum biimaar kyuN ho naatavaaN4 kyuN ho 1.sign language 2.narcissus 3.sacrificial offering 4.weak
‘fida hona’ is an expression that means offer oneself to take the curse that has fallen on someone they love. The ‘nargis/narcissus’ is used as a symbol for eyes since it has a dark centre like a pupil. The narcissus grows on river banks and droops down to ‘look at’ its own reflection in the brook as if in love with itself. The ‘nargis’ and its reflection are talking to each other in sign language. The narcissus sees itself in reflection as drooping-head bowed as if in sorrow and says … may I take the evil upon myself, why do you look so sad?
9
na diivaanoN ke muNh lag tuu, na gat1 aisi bane naaseh2
uReN daaman3 ke kyuN purze3, garebaaN4 dhajjiyaaN5 kyuN ho 1.condition 2.moralizer, sermonizer, preacher 3.hem of the robe 4.shreds 5.collar 6.rags, tears
The traditional picture is that mad passionate lovers gather in the street of the beloved and the preacher comes around and upbraids them. Apparently, they have roughed him up and poet says, O preacher if you had not gotten tangled up with these mad lovers, you would not have been reduced to this condition. Neither would the hem of your robe would have been shredded or would your collar have been torn.
10
vo mera justaju1 meN us ki jaana bazm2-e KhoobaaN3 meN
aur us ka badgumaani4 se ye kahna, tum yahaaN kyuN ho 1.search 2.gathering 3.beauties 4.suspicion
The poet/lover is looking for the beloved and has gone to the gathering of beauties in search of her. She is suspicious and asks him, why are you here.
11
use be-maaNge1 hi dene ki aadat2 tuu ne Daali hai
to sharminda3 kisi ka phir gadaa4-e aasmaaN kyuN ho 1.without asking/begging 2.habit 3.shamed, obligated 4.beggar
It appears that god has been giving generously without the receiver (human) having to ask. The human has gotten habituated to this and there is no more any shame for the ‘beggar’ to ask of the ‘skies-heavens-god’.
12
samajh le dahr1 ko jaata hua sailaab2 hai varna3
habaab4-e aasmaaN ke saath mauj5-e kahkashaaN6 kyuN ho 1.material world 2.flood 3.otherwise 4.bubble 5.waves 6.constellations
Understand that the material world is nothing but a passing flood. Otherwise, why would this sky which is like a bubble be accompanied by waves of constellation. Thus, bubbles and waves are symbolic of a passing flood.
13
Khabar1 lo aek raNg aata hai ek jaata hai chehre2 ka
talavvun3 gar na ho to teuriyoN4 meN dhoop chhaaN kyuN ho 1.awareness 2.face 3.changeable, capricious 4.wrinkled brow
Traditionally, the beloved is inconstant and changes favours among her many admirers. Thus, be aware of the changing colours on the face of the beloved. If this is not capriciousness, then why is there ‘dhoop chaauN’- changing shades of colour on her brow.
14
taRapna1 niim-bismil2 ho ke haidar3 tha muqaddar4 meN
ruke haiN jab vahi mujh se to phir Khanjar5 ravaaN6 kyuN ho 1.writhing in pain 2.sacrificed but only half-way 3.pen-name of the poet (sometimes nazm) 4.fate 5.knife 6.flow, move
The knife is supposed to move back and forth over the throat to complete the cut of the jugular vein. But in this case, it has not completed its job so the ‘bismil’-sacrifical animal’s pain is prolonged. He writhes in pain without dying. Thus, O haidar, if such a fate has stopped with you, you are the final ‘majnuN-like exemplar lover’ to suffer such a fate, then why should the knife continue and finish its work.
syed ali haidar nazm tabaatabaai (1854-1933), scholar, critic, translator and poet. In 1883 he moved to hyderabad, Professor, Nizam College and Department of Translation, Osmania University with josh malihabadi. Wrote an explanatory discussion of Ghalib’s diivaan and published his own diivaan. He composed several Ghazal in the style of Ghalib, this one styled after, ‘muNh meN zabaaN kyuN ho’, and is linked to ‘Ghalib naqsh-e qadam’ along with those of many other shu’ara.
1
mujhi1 se kah rahe haiN sub keh sargarm2-e fuGhaaN3 kyuN ho
koii us se nahiN kahta keh tum naa-mehrbaaN4 kyuN ho
1.only me 2.ardent, diligent 3.wailing, crying 4.unkind
Everyone asks only me why I am so diligent in wailing. Somebody should ask her (the beloved) why she is so unkind.
2
na khiiNch1 aye chaaragar2 paikaan3-e qaatil4 mere siine se
mileN yuN dil se dil baaham5 to koii darmiyaaN6 kyuN ho
1.pull 2.healer 3.tip of the arrow 4.killer, beloved 5.mutual 6.in the middle, interfering
The arrow is the beloved’s glance shot at the lover. The tip pentrates his heart and becomes one with it … like two loving hearts in mutual embrace. Thus, O healer do not remove the tip of that arrow from my bosom. If two hearts are willing to meet/embrace, why should anyone interfere.
3
saraa’e1-e dahr2 meN Thahre to phir shikva-shikaayet3 kya
jise Khuun-e jigar4 khaana na ho vo mehmaaN5 kyuN ho
1.travelers’ rest stop 2.world 3.complaints 4.liver – seat of fortitude 5.guest
The saraa’e is a rest stop for caravans along a long route. Thus, this world is nothing but a temporary caravan stop on a longer route (to the spiritual world). Why should we complain about conditions in a temporary stop, after all it will be over soon. If you don’t have the fortitude (ability to eat your liver) to undergo the trials and tribulations of this temporary stay in the caravan saraa’e, then why should you be a guest there.
4
yakaayak1 pher2 lena aaNkh ka bas qahr3 Dhaata4 hai
agar5 kah sun ke bigRe6 bhi to marg7-e naagahaaN8 kyuN ho
1.suddenly, unexpectedly 2.turn away 3.calamity 4.bring down 5.if 6.get annoyed 7.death 8.unexpected, sudden
The beloved is very unpredictable. For no known reason, without giving an explanation, she gets annoyed with the lover, turning her eyes away. This is like a sudden unexpected death to him. If she had said talked back and forth and then gotten annoyed, then perhaps the lover would not be taken by surprise.
5
milegi daad1 kya mahshar2 meN hum ko us sitamgar3 se
nahiiN hona hua na kuchh to phir shor-o-fuGhaaN4 kyuN ho
1.compensation 2.day of judgement 3.cruel, beloved 4.crying and wailing
There is no chance that the lover will get any recompense on judgement day for his suffering at the hands of the beloved, because the beloved will deny it and the lover will not testify against her. So, if nothing is going to happen (by way of recompense) and no pain was inflicted (because the beloved will deny it), then what is all the crying and wailing about!
6
qayaamat1 aaj hi aa jaaye, suur2-e hashr3 phuNk4 jaaye
shab-e-Gham5 meN saje6 kyuN sub’h ki naubat7 azaaN8 kyuN ho
1.doomsday 2.trumpet 3.day of judgement 4.get blown 5.night of sorrow 6.embellished 7.chimes/musicians playing music to announce time 8.call to prayer
According to the traditions of islam, soon after doomsday, an angel will play the trumpet, raising all the dead and calling them to the day of judgement. Also, in traditional societies, at the gates of a nobleman’s palace, a ‘naubat-band’ was played to mark every ‘pahr-three hour period’ beginning with dawn. This was considered a pleasant and joyous occasion as was the azaan. Thus, the poet is in such a sorrowful mood that he is willing to let doomsday come right now and let the angels blow the horn to call everyone to judgement day. In my night of sorrow why should there be this embellishment of joyous naubat or azaan at dawn. My dawn is going to be miserable anyway.
7
jab apni Khuu1 ye Thahre muNh meN jo aaye so kah jaao
to phir kahna kisi ka tab’a-e-naazuk2 par giraaN3 kyuN ho
1.nature, character 2.delicate/sweet temperament 3.heavy, disagreeable
When it is your nature to say whatever comes to your mind then, why should your delicate temperament find it disagreeable when someone else speaks plainly to you.
8
ishaare1 meN gul-e nargis2 ne poochha us ki aaNkhoN se
fida3 maiN tum pe, tum biimaar kyuN ho naatavaaN4 kyuN ho
1.sign language 2.narcissus 3.sacrificial offering 4.weak
‘fida hona’ is an expression that means offer oneself to take the curse that has fallen on someone they love. The ‘nargis/narcissus’ is used as a symbol for eyes since it has a dark centre like a pupil. The narcissus grows on river banks and droops down to ‘look at’ its own reflection in the brook as if in love with itself. The ‘nargis’ and its reflection are talking to each other in sign language. The narcissus sees itself in reflection as drooping-head bowed as if in sorrow and says … may I take the evil upon myself, why do you look so sad?
9
na diivaanoN ke muNh lag tuu, na gat1 aisi bane naaseh2
uReN daaman3 ke kyuN purze3, garebaaN4 dhajjiyaaN5 kyuN ho
1.condition 2.moralizer, sermonizer, preacher 3.hem of the robe 4.shreds 5.collar 6.rags, tears
The traditional picture is that mad passionate lovers gather in the street of the beloved and the preacher comes around and upbraids them. Apparently, they have roughed him up and poet says, O preacher if you had not gotten tangled up with these mad lovers, you would not have been reduced to this condition. Neither would the hem of your robe would have been shredded or would your collar have been torn.
10
vo mera justaju1 meN us ki jaana bazm2-e KhoobaaN3 meN
aur us ka badgumaani4 se ye kahna, tum yahaaN kyuN ho
1.search 2.gathering 3.beauties 4.suspicion
The poet/lover is looking for the beloved and has gone to the gathering of beauties in search of her. She is suspicious and asks him, why are you here.
11
use be-maaNge1 hi dene ki aadat2 tuu ne Daali hai
to sharminda3 kisi ka phir gadaa4-e aasmaaN kyuN ho
1.without asking/begging 2.habit 3.shamed, obligated 4.beggar
It appears that god has been giving generously without the receiver (human) having to ask. The human has gotten habituated to this and there is no more any shame for the ‘beggar’ to ask of the ‘skies-heavens-god’.
12
samajh le dahr1 ko jaata hua sailaab2 hai varna3
habaab4-e aasmaaN ke saath mauj5-e kahkashaaN6 kyuN ho
1.material world 2.flood 3.otherwise 4.bubble 5.waves 6.constellations
Understand that the material world is nothing but a passing flood. Otherwise, why would this sky which is like a bubble be accompanied by waves of constellation. Thus, bubbles and waves are symbolic of a passing flood.
13
Khabar1 lo aek raNg aata hai ek jaata hai chehre2 ka
talavvun3 gar na ho to teuriyoN4 meN dhoop chhaaN kyuN ho
1.awareness 2.face 3.changeable, capricious 4.wrinkled brow
Traditionally, the beloved is inconstant and changes favours among her many admirers. Thus, be aware of the changing colours on the face of the beloved. If this is not capriciousness, then why is there ‘dhoop chaauN’- changing shades of colour on her brow.
14
taRapna1 niim-bismil2 ho ke haidar3 tha muqaddar4 meN
ruke haiN jab vahi mujh se to phir Khanjar5 ravaaN6 kyuN ho
1.writhing in pain 2.sacrificed but only half-way 3.pen-name of the poet (sometimes nazm) 4.fate 5.knife 6.flow, move
The knife is supposed to move back and forth over the throat to complete the cut of the jugular vein. But in this case, it has not completed its job so the ‘bismil’-sacrifical animal’s pain is prolonged. He writhes in pain without dying. Thus, O haidar, if such a fate has stopped with you, you are the final ‘majnuN-like exemplar lover’ to suffer such a fate, then why should the knife continue and finish its work.
The post to koii darmiyaaN kyuN ho-ali haidar nazm tabaatabaaii appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/shb-meri-tishnagi-ko-baRha-na-de-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2024/09/shb-meri-tishnagi-ko-baRha-na-de-begum-aKhtar.mp3
begum aKhtar
- اُردو
- देवनागरी
- Roman
- Notes
مری تشنگی کو بڑھا نہ دے ۔ شکیلؔ بدایونی
۱
مرے ہم نفس مرے ہم نوا، مجھے دوست بن کے دغا نہ دے
میں ہوں دردِ عشق سے جاں بہ لب، مجھے زندگی کی دعا نہ دے
۲
میں غمِ جہاں سے نڈھال ہوں، کہ سراپا حزن و ملال ہوں
جو لکھے ہیں میرے نصیب میں، وہ الم کسی کو خدا نہ دے
۳
نہ یہ زندگی مری زندگی، نہ یہ داستاں مری داستاں
میں خیال و وہم سے دور ہوں، مجھے آج کوئی صدا نہ دے
۴
مرے گھر سے دور ہیں راحتیں، مجھے ڈھوندتی ہیں مصیبتیں
مجھے خوف ہے کہ مرا پتہ، کوئی گردشوں کو بتا نہ دے
۵
مجھے چھوڑ دے مرے حال پر، ترا کیا بھروسہ ہے چارہ گر
یہ تری نوازشِ مُختصر، مرا درد اور بڑھا نہ دے
۶
مرا عزم اتنا بلند ہے، کہ پرائے شعلوں کا ڈر نہیں
مجھے خوف آتشِ گُل سے ہے، یہ کہیں چمن کو جلا نہ دے
۷
درِ یار پر بڑی دھوم ہے، وہی عاشقوں کا ہجوم ہے
ابھی نیند آئی ہے حسن کو، کوئی شور کر کے جگا نہ دے
۸
مرے داغِ دل سے ہے روشنی، اسی روشنی سے ہے زندگی
مجھے ڈر ہے اے مرے چارہ گر، یہ چراغ تو ہی بجھا نہ دے
۹
کبھی جام لب سے لگا دیا، کبھی مسکرا کے ہٹا دیا
تری چھیڑ چھاڑ یہ ساقیا، مری تشنگی کو بڑھا نہ دے
۱۰
مری چشمِ شوق ترا بھرم، رہے عمر بھر یوںہی تازہ دم
نہ پکار اس کو کہ وہ صنم، کہیں جل کے جلوہ دکھا نہ دے
۱۱
وہ اُٹھے ہیں لے کے خُم و سُبُو، ارے اے شکیلؔ کہاں ہے تو
ترا جام لینے کو بزم میں، کوئی اور ہاتھ بڑھا نہ دے
मेरी तिश्नगी को बढ़ा न दे – शकील बदायूनी
१
मेरे हम-नफ़स मेरे हम-नवा, मुझे दोस्त बन के दग़ा न दे
मैं हुं दर्द-ए इश्क़ से जां ब-लब, मुझे ज़िन्दगी का सज़ा न दे
२
मैं ग़म-ए जहां से निड़ाल हुं, के सरापा हज़न ओ मलाल हुं
जो लिखे हैं मेरे नसीब में, वो अलम किसी को ख़ुदा न दे
३
न ये ज़िन्दगी मेरी ज़िन्दगी, न ये दास्तां मेरी दास्तां
मैं ख़याल ओ वहम से दूर हुं, मुझे आज कोई सदा न दे
४
मेरे घर से दूर हैं राहतें, मुझे ड़ूंडती हैं मुसीबतें
मुझे ख़ौफ़ है के मेरा पता, कोई गर्दिशौं को बता न दे
५
मुझे छोढ दे मेरे हाल पर, तेरा क्या भरोसा है चारागर
ये नवाज़िश-ए मुख़्तसिर, मेरा दर्द और बढ़ा न दे
६
मेरा अज़्म इतना बलंद है, के पराए शो’लौं का डर नहीं
मुझे ख़ौफ़ आतिश-ए गुल से है, ये कही चमन को जला न दे
७
दर-ए यार पर बढी धूम है, वही आशेक़ौं का हुजूम है
अभी नींद आई है हुस्न को, कोई शोर कर के जगा न दे
८
मेरे दाग़-ए दिल से है रौशनी, इसी रौशनी से है ज़िन्दगी
मुझे डर है अए मेरे चारागर, ये चराग़ तू हि बुझा न दे
९
कभी जाम लब से लगा दिया, कभी मुस्कुरा के हटा दिया
तेरी छेढ छाढ ये साक़िया, मेरी तिश्नगी को बढ़ा न दे
१०
मेरी चश्म-ए शौक़ तेरा भरम, रहे उम्र-भर युंहि ताज़ा-दम
न पुकार उस को के वो सनम, कहीं जल के जल्वा दिखा न दे
११
वो उठे हैं ले के ख़ुम ओ सुबू, अरे अए शकील कहां है तू
तेरा जाम लेने को बज़्म में, कोई और हाथ बढ़ा न दे
Click here for background and on any passage for word meanings and explanatory discussion. shakeel ahmed badayuni (1916-1970), perhaps more famous as a lyric-writer than a Ghazal composer, although he has an extensive portfolio of Ghazal some of which have been converted into movie lyrics.
1
mere ham-nafas1 mere ham-nava2, mujhe dost ban ke daGhaa3 na de
maiN huN dard-e ishq se jaaN-ba-lab4, mujhe zindagi ki duaa na de 1.breath-sharing, close friend 2.voice/thought-sharing, like-minded friend 3.betray 4.life hanging on the lips, on the death bed
The lover is on his death bed, dying of the pain of love because the beloved does not reciprocate his feelings. He is so despondent that he wants to die. His friend prays for his life. The lover considers this to be a betrayal. My dear friend, my companion, you have been my friend for long, don’t betray me now. I am about to die, don’t pray for my life, let me die.
2
maiN Gham-e jahaaN se niDhaal1 huN, keh saraa-paa2 huzn3 o malaal4 huN
jo likhe haiN mere nasiib5 meN, vo alam6 kisi ko Khuda na de 1.defeated, worn out 2.head to toe, envoloped 3.grief 4.sorrow 5.fate 6.anguish, torment
The poet/lover is exhausted from the ‘pain of the world’ – I don’t think he means the pain that he sees around him, that the world suffers but by this he means the pain that the world/this life has inflicted on him. He is so exhausted that he feels envoloped by grief and sorrow. The anguish and torment that has been written into my fate, my god never visit such pain on anyone else.
3
na ye zindagi meri zindagi, na ye daastaaN1 meri daastaaN
maiN Khayaal2 o vahm3 se duur huN, mujhe aaj koi sadaa4 na de 1.legend, story 2.thoughts, imagination 3.illusion 4.call
This is not the life I had wished for myself, this is the story I had written as my life-story. I am far removed from imagining that things will be any better, I don’t have any illusions, I wish to be left alone, I do not want anyone to call on me.
4
mere ghar se duur haiN raahateN1, mujhe DhunDhti haiN musiibateN2
mujhe Khauf3 hai keh mera pata4, koi gardishoN5 ko bata na de 1.comfort 2.problems 3.fear 4.whereabouts 5.misfortunes, vicissitudes of life
This re-states the conventional thought that blessings are a gift of fate, as are problems. Thus, comforts and blessings are far from where I am, problems seek me out. I fear that someone might let misfortune know my whereabouts.
5
mujhe choR de mere haal1 par, tera kya bharosa2 hai chaaragar3
ye teri navaazish4-e muKhtasar5, mera dard aur baRhaa na de 1.condition 2.trust 3.healer, saviour 4.favour, kindness 5.brief
The ‘chaaragar’ could be a healer or more likely, it is the beloved who has come to visit him on his death bed. He pleads, leave me to die, how can I trust you, O beloved (she has a history of making false promises). This brief kindness of yours (brief visit) might even increase my pain (another disappointment to follow).
6
mera azm1 itna baland2 hai, keh paraa’e3 sho’loN4 ka Dar nahiN
mujhe Khauf5 aatish6-e gul7 se hai, ye kahiiN chaman ko jalaa na de 1.resolve, self-confidence 2.high, strong 3.other 4.flames 5.fear 6.fire 7.rose
Here-paraa’e sho’le-is the pain inflicted by others and ‘gul’ is the beloved. Also, ‘aatish’ and the warmth of the beloved’s beauty are juxtaposed. Thus, my confidence is so strong that I am not afraid of the pain inflicted by anyone else. What I am afraid of is that the beauty of the beloved and the passion/flames it arouses might set the world on fire.
7
dar1-e yaar2 par baRi Dhoom3 hai, vahi aashiqoN ka hujoom4 hai
abhi niind aa’ii hai husn5 ko, koi shor6 kar ke jagaa na de 1.door, abode 2.friend, beloved 3.ruckus celebration 4.crowd 5.beauty, beloved 6.noise
This is a straightforward, not very meaningful, she’r. There is a joyous ruckus at the house of the beloved, there is the usual crowd of admirers/aspiring lovers. She has just fallen asleep, I fear that someone might make a noise and wake her up. But the she’r is a puzzle because the poet/lover’s direct access to the knowledge that she has just fallen asleep flies in the face of convention and all that he has been saying so far. This appears to be just crowd pleasing qaafiya-bandi – wordsmithing.
8
mere daaGh1-e dil se hai raushni2, usi raushni se hai zindagi
mujhe Dar hai aye mere chaaragar3, ye charaaGh4 tu hi bujha na de 1.wound 2.light 3.healer, saviour 4.lamp
There is a wound of love in his heart. It is like a flame because of the intensity of his passion. But he values this passion/love/intensity. The light of this flame is the essence of his life. I am afraid, O saviour, that you yourself will put this flame out. The next question is, who is the saviour, and if it is the beloved, how can she reduce the passion, how can she put out the lamp of his love. Conventionally, there is nothing she can do to make him stop loving her. The only way that the flame can be put out is if she kills her. But why should he be fearful of that! It could be that the healer is not the beloved but a friend or a counseler (even if the ‘tu hi-you yourself’ suggests that this might be the beloved). The counseler/friend is advising him to get out of his love. If his advice were to be successful, then he would have no reason to live.
9
kabhi jaam1 lab2 se laga diya, kabhi muskuraa3 ke haTaa diya
teri chheR-chhaaR4 ye saaqiya, meri tishnagi5 ko baRhaa na de 1.cup, goblet 2.lips 3.smile 4.teasing 5.thirst
The beloved appears here in the form of the saaqi. She is serving wine and is teasing him. At times she puts the goblet of wine to his lips and at other times, with a smile withdraws it, teasing him. He is afraid that her playfulness will increase his thirst even more. Of course, thirst here is the intensity of his yearning for the reciprocity of his love.
10
meri chashm1-e shauq2 tera bharam3, rahe umr bhar yuN hi taaza-dam4
na pukaar5 us ko keh voh sanam6, kahiiN jal ke jalva7 dikhaa na de 1.eye 2.desire 3.illusion 4.fresh, alive 5.call 6.beloved 7.manifestation, glory
My eye of desire and the illusion of seeing you, may they remain fresh thoughout my life. Do not call the beloved, for if she appears before you, her glory might set fire. The first misra suggests that the lover’s gaze is always intense and passionate, but he can see the beloved only as an illusion. She never appears before him. He is warning himself, do not call her, for if she appears, then there might be fire. I wonder if the second half of the second misra should read, ‘kahiiN jalva dikhe ke jalaa na de’.
11
voh uThe haiN le ke Khum1 o subuu2, aray aye shakeel3 kahaaN hai tu
tera jaam4 lene ko bazm5 meN, koi aur haath baRhaa6 na de 1.cup, goblet 2.flask, pitcher 3.pen-name of the poet 4.cup 5.gathering 6.extend, grab
The beloved appears here in the form of the saaqi and rises with cup and flask in hand to serve wine. For some reason, the poet thinks that it is his turn. He warns himself, O shakeel, where are you be careful, in this gathering someone else may extend their hand to grab the cup that is meant for you.
shakeel ahmed badayuni (1916-1970), perhaps more famous as a lyric-writer than a Ghazal composer, although he has an extensive portfolio of Ghazal some of which have been converted into movie lyrics.
1
mere ham-nafas1 mere ham-nava2, mujhe dost ban ke daGhaa3 na de
maiN huN dard-e ishq se jaaN-ba-lab4, mujhe zindagi ki duaa na de
1.breath-sharing, close friend 2.voice/thought-sharing, like-minded friend 3.betray 4.life hanging on the lips, on the death bed
The lover is on his death bed, dying of the pain of love because the beloved does not reciprocate his feelings. He is so despondent that he wants to die. His friend prays for his life. The lover considers this to be a betrayal. My dear friend, my companion, you have been my friend for long, don’t betray me now. I am about to die, don’t pray for my life, let me die.
2
maiN Gham-e jahaaN se niDhaal1 huN, keh saraa-paa2 huzn3 o malaal4 huN
jo likhe haiN mere nasiib5 meN, vo alam6 kisi ko Khuda na de
1.defeated, worn out 2.head to toe, envoloped 3.grief 4.sorrow 5.fate 6.anguish, torment
The poet/lover is exhausted from the ‘pain of the world’ – I don’t think he means the pain that he sees around him, that the world suffers but by this he means the pain that the world/this life has inflicted on him. He is so exhausted that he feels envoloped by grief and sorrow. The anguish and torment that has been written into my fate, my god never visit such pain on anyone else.
3
na ye zindagi meri zindagi, na ye daastaaN1 meri daastaaN
maiN Khayaal2 o vahm3 se duur huN, mujhe aaj koi sadaa4 na de
1.legend, story 2.thoughts, imagination 3.illusion 4.call
This is not the life I had wished for myself, this is the story I had written as my life-story. I am far removed from imagining that things will be any better, I don’t have any illusions, I wish to be left alone, I do not want anyone to call on me.
4
mere ghar se duur haiN raahateN1, mujhe DhunDhti haiN musiibateN2
mujhe Khauf3 hai keh mera pata4, koi gardishoN5 ko bata na de
1.comfort 2.problems 3.fear 4.whereabouts 5.misfortunes, vicissitudes of life
This re-states the conventional thought that blessings are a gift of fate, as are problems. Thus, comforts and blessings are far from where I am, problems seek me out. I fear that someone might let misfortune know my whereabouts.
5
mujhe choR de mere haal1 par, tera kya bharosa2 hai chaaragar3
ye teri navaazish4-e muKhtasar5, mera dard aur baRhaa na de
1.condition 2.trust 3.healer, saviour 4.favour, kindness 5.brief
The ‘chaaragar’ could be a healer or more likely, it is the beloved who has come to visit him on his death bed. He pleads, leave me to die, how can I trust you, O beloved (she has a history of making false promises). This brief kindness of yours (brief visit) might even increase my pain (another disappointment to follow).
6
mera azm1 itna baland2 hai, keh paraa’e3 sho’loN4 ka Dar nahiN
mujhe Khauf5 aatish6-e gul7 se hai, ye kahiiN chaman ko jalaa na de
1.resolve, self-confidence 2.high, strong 3.other 4.flames 5.fear 6.fire 7.rose
Here-paraa’e sho’le-is the pain inflicted by others and ‘gul’ is the beloved. Also, ‘aatish’ and the warmth of the beloved’s beauty are juxtaposed. Thus, my confidence is so strong that I am not afraid of the pain inflicted by anyone else. What I am afraid of is that the beauty of the beloved and the passion/flames it arouses might set the world on fire.
7
dar1-e yaar2 par baRi Dhoom3 hai, vahi aashiqoN ka hujoom4 hai
abhi niind aa’ii hai husn5 ko, koi shor6 kar ke jagaa na de
1.door, abode 2.friend, beloved 3.ruckus celebration 4.crowd 5.beauty, beloved 6.noise
This is a straightforward, not very meaningful, she’r. There is a joyous ruckus at the house of the beloved, there is the usual crowd of admirers/aspiring lovers. She has just fallen asleep, I fear that someone might make a noise and wake her up. But the she’r is a puzzle because the poet/lover’s direct access to the knowledge that she has just fallen asleep flies in the face of convention and all that he has been saying so far. This appears to be just crowd pleasing qaafiya-bandi – wordsmithing.
8
mere daaGh1-e dil se hai raushni2, usi raushni se hai zindagi
mujhe Dar hai aye mere chaaragar3, ye charaaGh4 tu hi bujha na de
1.wound 2.light 3.healer, saviour 4.lamp
There is a wound of love in his heart. It is like a flame because of the intensity of his passion. But he values this passion/love/intensity. The light of this flame is the essence of his life. I am afraid, O saviour, that you yourself will put this flame out. The next question is, who is the saviour, and if it is the beloved, how can she reduce the passion, how can she put out the lamp of his love. Conventionally, there is nothing she can do to make him stop loving her. The only way that the flame can be put out is if she kills her. But why should he be fearful of that! It could be that the healer is not the beloved but a friend or a counseler (even if the ‘tu hi-you yourself’ suggests that this might be the beloved). The counseler/friend is advising him to get out of his love. If his advice were to be successful, then he would have no reason to live.
9
kabhi jaam1 lab2 se laga diya, kabhi muskuraa3 ke haTaa diya
teri chheR-chhaaR4 ye saaqiya, meri tishnagi5 ko baRhaa na de
1.cup, goblet 2.lips 3.smile 4.teasing 5.thirst
The beloved appears here in the form of the saaqi. She is serving wine and is teasing him. At times she puts the goblet of wine to his lips and at other times, with a smile withdraws it, teasing him. He is afraid that her playfulness will increase his thirst even more. Of course, thirst here is the intensity of his yearning for the reciprocity of his love.
10
meri chashm1-e shauq2 tera bharam3, rahe umr bhar yuN hi taaza-dam4
na pukaar5 us ko keh voh sanam6, kahiiN jal ke jalva7 dikhaa na de
1.eye 2.desire 3.illusion 4.fresh, alive 5.call 6.beloved 7.manifestation, glory
My eye of desire and the illusion of seeing you, may they remain fresh thoughout my life. Do not call the beloved, for if she appears before you, her glory might set fire. The first misra suggests that the lover’s gaze is always intense and passionate, but he can see the beloved only as an illusion. She never appears before him. He is warning himself, do not call her, for if she appears, then there might be fire. I wonder if the second half of the second misra should read, ‘kahiiN jalva dikhe ke jalaa na de’.
11
voh uThe haiN le ke Khum1 o subuu2, aray aye shakeel3 kahaaN hai tu
tera jaam4 lene ko bazm5 meN, koi aur haath baRhaa6 na de
1.cup, goblet 2.flask, pitcher 3.pen-name of the poet 4.cup 5.gathering 6.extend, grab
The beloved appears here in the form of the saaqi and rises with cup and flask in hand to serve wine. For some reason, the poet thinks that it is his turn. He warns himself, O shakeel, where are you be careful, in this gathering someone else may extend their hand to grab the cup that is meant for you.
The post meri tishnagi ko baRhaa na de – shakeel badayuni appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/rsfg-voh-shab-aur-hi-kuchh-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
وہ شب اور ہی کچھ ہے ۔ رگھوپتی سہائے فراقؔ گورکھپوری
۱
ہر نالہ ترے درد سے اب اور ہی کچھ ہے
ہر نغمہ سرِ بزمِ طرب اور ہی کچھ ہے
۲
اربابِ وفا جان بھی دینے کو ہیں تیار
ہستی کا مگر حُسنِ طلب اور ہی کچھ ہے
۳
یہ کام نہ لے نالہ و فریاد و فغاں سے
افلاک اُلٹ دینے کا ڈھب اور ہی کچھ ہے
۴
اک سلسلۂ راز ہے جینا کہ ہو مرنا
جب اور ہی کچھ تھا مگر اب اور ہی کچھ ہے
۵
کچھ مہرِ قیامت ہے نہ کچھ نارِ جہنم
ہشیار کہ وہ قہر و غضب اور ہی کچھ ہے
۶
مذہب کی خرابی ہے نہ اخلاق کی پستی
دنیا کے مصائب کا سبب اور ہی کچھ ہے
۷
بیہودہ سری سجدے میں ہے جان کھپانا
آئینِ محبت میں ادب اور ہی کچھ ہے
۸
کیا حُسن کے اندازِ تغافل کی شکایت
پیمانِ وفا عشق کا جب اور ہی کچھ ہے
۹
دنیا کو جگا دے جو عدم کو بھی سُلا دے
سنتے ہیں کہ وہ روز وہ شب اور ہی کچھ ہے
۱۰
آنکھوں نے فراقؔ آج نہ پوچھو جو دِکھایا
جو کچھ نظر آتا ہے وہ سب اور ہی کچھ ہے
वो शब और ही कुछ है – रघुपती सहाए फ़िराक़ गोरखपूरी
१
हर नाला तेरे दर्द से अब और ही कुछ है
हर नग़्मा सर-ए बज़्म-ए तरब और ही कुछ है
२
अरबाब-ए वफ़ा जान भी देने को हैं तय्यार
हस्ती का मगर हुस्न-ए तलब और ही कुछ है
३
ये काम न ले नाला-ओ-फ़र्याद-ओ-फ़ुग़ां से
अफ़्लाक उलट देने का ढब और ही कुछ है
४
एक सिलसिला-ए राज़ है जीना के हो मरना
जब और ही कुछ था मगर अब और ही कुछ है
५
कुछ महर-ए क़यामत है न कुछ नार-ए जहन्नम
हुश्यार के वो क़हर-ओ-ग़ज़ब और ही कुछ है
६
मज़्हब की ख़राबी है न अख़्लाक़ की पस्ती
दुनिया के मसा’एब का सबब और ही कुछ है
७
बेहूदा-सरी सज्दे में है जान-खपाना
आईन-ए मोहब्बत में अदब और ही कुछ है
८
क्या हुस्न के अंदाज़-ए तग़ाफ़ुल की शिका’एत
पैमान-ए वफ़ा इश्क़ का जब और ही कुछ है
९
दुनिया को जगा दे जो अदम को भी सुला दे
सुनते हैं के वो रोज़ वो शब और ही कुछ है
१०
आँखों ने फ़िराक़ आज न पूछो जो दिखाया
जो कुछ नज़र आता है वो सब और ही कुछ है
Click here for background and on any passage for word meanings and explanatory discussion. raghupati sahay firaq gorakhpuri (1896-1982) pre-eminent urdu shaa’er, scholar of farsi and sanskrit. Was nominated to Indian Civil Service but chose to participate in the freedom movement. After independence he chose an academic career, teaching English at Allahabad University. Various ash’aar in this she’r have nuances that hint at politics, mysticism and romantics. It is quite a mix, with each she’r standing on its own. This Ghazal is linked to others of the same radeef on the Refrain Index page.
1
har naala1 tere dard se ab aur hi kuchh hai
har naGhma2 sar-e-bazm3-e tarab4 aur hi kuchh hai 1.wail, lament 2.song 3.openly before the gathering 4.joy, music
Who is this addressed to; who is ‘tere’. Most likely, it is the poet himself, as a rejected lover. Because of the intensity of his pain, every lament of his, is ‘something else’, very powerful, unique. Every song that you sing before the gathering of merriment, is something else i.e., your song of joy carries in it the pain that you feel.
2
arbaab1-e vafaa2 jaan bhi dene ko haiN tayyaar3
hasti4 kaa magar husn-e-talab5 aur hi kuchh hai 1.owners, masters 2.fidelity, true to promise 3.ready 4.existence, life 5.elegance/beauty of demand
‘arbaab-e vafaa’ are those who are loyal to the beloved or committed to a cause. They are so firm in their commitment that they are ready to die. But the ‘elegance of the demands of life’ is something else. What might this be. Could it be a deeper understanding of love, where the process of striving, yearning, and seeking is more valuable than even the ultimate sacrifice of life.
3
yeh kaam na le naala1-o-faryaad2-o-fuGhaaN3 se
aflaak4 ulaT dene kaa Dhab5 aur hi kuchh hai 1.lament 2.appeal, protest 3.wailing, crying 4.skies, fate, power structure 5.method
Do not try to accomplish this task with lamentation, complaints or crying. The method of overturning the cosmic/social order is something else.
4
ek silsila1-e raaz2 hai jiinaa keh ho marnaa
jab aur hi kuchh thaa magar ab aur hi kuchh hai 1.series, continuation 2.secret, mystery
The key is to understand ‘jab and ab – then and now’ in the second misra. Something has changed between then and now. In the light of the previous she’r … that the method of overturning the power structure is not wailing and complaining but something else … I interpret that what has changed is the call of the Progressive Writers’ Association to turn away from conventional themes of mysticism and love to socially relevant themes. Thus, life and death is a series of (mystical) mysteries. The theme of that mystery was something else then (then it was mysticism) but it is something else now (now it is socially relevant themes). If the call of the PWA seems a little far-fetched then it could be interpreted as changing times require different ways of looking at the mysteries of life and death.
5
kuchh mahr-e-qayaamat1 hai na kuchh naar-e-jahannam2
hushyaar3 keh vo qahr-o-Ghazab4 aur hi kuchh hai 1.burning sun of doomsday 2.fire of hell 3.beware, careful 4.wrath and fury, calamities
It is thought that on doomsday, the sun will come close to the earth and everything will burn up in its heat and of course after judgement, those who are to be punished will be thrown into the fire of hell. The first misra should be interpreted as symbolic of divine punishment. The second misra brings it all together … the calamities that befall us are not divine punishment, they are something else i.e., they are due to an unjust order.
6
maz’hab ki Kharaabi1 hai na aKhlaaq2 ki pasti3
duniyaa ke masaa’eb4 kaa sabab5 aur hi kuchh hai 1.defects, shortcomings 2.character 3.inferiority 4.misery, misfortune 5.cause, basis
It is neither the deficiency of faith nor the inferiority of character; the cause of the misfortunes of the world is something else i.e., it is an unjust order.
7
behuuda-sari1 sajde2 meN hai jaan khapaanaa3
aa’iin4-e mohabbat meN adab5 aur hi kuchh hai 1.futility, thoughtlessness 2.prayer, prostration 3.use up, waste 4.code, principles 5.politeness, being respectful – also means traditions
Thoughtless prostration is a waste of life. In the traditions of love, offering respect is something else i.e., following rituals blindly is a waste of life. The traditions of love (of humanity) call for something else.
8
kyaa husn1 ke andaaz2-e taGhaaful3 ki shikaa’et4
paimaan5-e vafaa6 ishq kaa jab aur hi kuchh hai 1.beauty, beloved 2.style 3.indifference 4.complain 5.measure, standard 6.fealty, fidelity
In poetic tradition, the beloved is always indifferent to the lover. What is the use of complaining about this, when the standards of fealty are something else. Conventional standards of fealty are to stoically bear the torment of indifference of the beloved. Sometimes he inconsolably lets out loud wails. Perhaps the poet is using the beloved and her indifference as symbolic of the power structure and its uncaring attitude towards public welfare. Why just complain about it, now the standards of fealty have changed. It is implied that some other action is needed.
9
duniyaa ko jagaa de jo adam1 ko bhi sulaa2 de
sunte haiN keh voh roz3 voh shab4 aur hi kuchh hai 1.afterlife, next world 2.put to sleep, banish that thought 3.days 4.nights
This is a dynamic call to wake the world up to the present life and banish thoughts of an imagined afterlife with rewards and punishments. The daily life (day and night) of such a world will be something else i.e., it will create vitality, consciousness and engagement with this life.
10
aaNkhoN ne firaaq1 aaj na puuchho jo dikhaayaa
jo kuchh nazar2 aataa hai voh sab aur hi kuchh hai 1.pen-name of the poet 2.seen, visible
O firaaq, do not ask what the eyes have revealed to me. Whatever has been shown to me is something else. As a stand-alone she’r this could mean the difference between perception/illusion and reality (spiritualism). But if this she’r is taken in the context of several preceeding ash’aar then it might mean that his eyes have seen the true nature of calamities that beset humanity … they are not divine, they are human created injustices.
raghupati sahay firaq gorakhpuri (1896-1982) pre-eminent urdu shaa’er, scholar of farsi and sanskrit. Was nominated to Indian Civil Service but chose to participate in the freedom movement. After independence he chose an academic career, teaching English at Allahabad University. Various ash’aar in this she’r have nuances that hint at politics, mysticism and romantics. It is quite a mix, with each she’r standing on its own. This Ghazal is linked to others of the same radeef on the Refrain Index page.
1
har naala1 tere dard se ab aur hi kuchh hai
har naGhma2 sar-e-bazm3-e tarab4 aur hi kuchh hai
1.wail, lament 2.song 3.openly before the gathering 4.joy, music
Who is this addressed to; who is ‘tere’. Most likely, it is the poet himself, as a rejected lover. Because of the intensity of his pain, every lament of his, is ‘something else’, very powerful, unique. Every song that you sing before the gathering of merriment, is something else i.e., your song of joy carries in it the pain that you feel.
2
arbaab1-e vafaa2 jaan bhi dene ko haiN tayyaar3
hasti4 kaa magar husn-e-talab5 aur hi kuchh hai
1.owners, masters 2.fidelity, true to promise 3.ready 4.existence, life 5.elegance/beauty of demand
‘arbaab-e vafaa’ are those who are loyal to the beloved or committed to a cause. They are so firm in their commitment that they are ready to die. But the ‘elegance of the demands of life’ is something else. What might this be. Could it be a deeper understanding of love, where the process of striving, yearning, and seeking is more valuable than even the ultimate sacrifice of life.
3
yeh kaam na le naala1-o-faryaad2-o-fuGhaaN3 se
aflaak4 ulaT dene kaa Dhab5 aur hi kuchh hai
1.lament 2.appeal, protest 3.wailing, crying 4.skies, fate, power structure 5.method
Do not try to accomplish this task with lamentation, complaints or crying. The method of overturning the cosmic/social order is something else.
4
ek silsila1-e raaz2 hai jiinaa keh ho marnaa
jab aur hi kuchh thaa magar ab aur hi kuchh hai
1.series, continuation 2.secret, mystery
The key is to understand ‘jab and ab – then and now’ in the second misra. Something has changed between then and now. In the light of the previous she’r … that the method of overturning the power structure is not wailing and complaining but something else … I interpret that what has changed is the call of the Progressive Writers’ Association to turn away from conventional themes of mysticism and love to socially relevant themes. Thus, life and death is a series of (mystical) mysteries. The theme of that mystery was something else then (then it was mysticism) but it is something else now (now it is socially relevant themes). If the call of the PWA seems a little far-fetched then it could be interpreted as changing times require different ways of looking at the mysteries of life and death.
5
kuchh mahr-e-qayaamat1 hai na kuchh naar-e-jahannam2
hushyaar3 keh vo qahr-o-Ghazab4 aur hi kuchh hai
1.burning sun of doomsday 2.fire of hell 3.beware, careful 4.wrath and fury, calamities
It is thought that on doomsday, the sun will come close to the earth and everything will burn up in its heat and of course after judgement, those who are to be punished will be thrown into the fire of hell. The first misra should be interpreted as symbolic of divine punishment. The second misra brings it all together … the calamities that befall us are not divine punishment, they are something else i.e., they are due to an unjust order.
6
maz’hab ki Kharaabi1 hai na aKhlaaq2 ki pasti3
duniyaa ke masaa’eb4 kaa sabab5 aur hi kuchh hai
1.defects, shortcomings 2.character 3.inferiority 4.misery, misfortune 5.cause, basis
It is neither the deficiency of faith nor the inferiority of character; the cause of the misfortunes of the world is something else i.e., it is an unjust order.
7
behuuda-sari1 sajde2 meN hai jaan khapaanaa3
aa’iin4-e mohabbat meN adab5 aur hi kuchh hai
1.futility, thoughtlessness 2.prayer, prostration 3.use up, waste 4.code, principles 5.politeness, being respectful – also means traditions
Thoughtless prostration is a waste of life. In the traditions of love, offering respect is something else i.e., following rituals blindly is a waste of life. The traditions of love (of humanity) call for something else.
8
kyaa husn1 ke andaaz2-e taGhaaful3 ki shikaa’et4
paimaan5-e vafaa6 ishq kaa jab aur hi kuchh hai
1.beauty, beloved 2.style 3.indifference 4.complain 5.measure, standard 6.fealty, fidelity
In poetic tradition, the beloved is always indifferent to the lover. What is the use of complaining about this, when the standards of fealty are something else. Conventional standards of fealty are to stoically bear the torment of indifference of the beloved. Sometimes he inconsolably lets out loud wails. Perhaps the poet is using the beloved and her indifference as symbolic of the power structure and its uncaring attitude towards public welfare. Why just complain about it, now the standards of fealty have changed. It is implied that some other action is needed.
9
duniyaa ko jagaa de jo adam1 ko bhi sulaa2 de
sunte haiN keh voh roz3 voh shab4 aur hi kuchh hai
1.afterlife, next world 2.put to sleep, banish that thought 3.days 4.nights
This is a dynamic call to wake the world up to the present life and banish thoughts of an imagined afterlife with rewards and punishments. The daily life (day and night) of such a world will be something else i.e., it will create vitality, consciousness and engagement with this life.
10
aaNkhoN ne firaaq1 aaj na puuchho jo dikhaayaa
jo kuchh nazar2 aataa hai voh sab aur hi kuchh hai
1.pen-name of the poet 2.seen, visible
O firaaq, do not ask what the eyes have revealed to me. Whatever has been shown to me is something else. As a stand-alone she’r this could mean the difference between perception/illusion and reality (spiritualism). But if this she’r is taken in the context of several preceeding ash’aar then it might mean that his eyes have seen the true nature of calamities that beset humanity … they are not divine, they are human created injustices.
The post voh shab aur hi kuchh hai – raghupati sahay firaaq gorakhpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/lchaag-raNg-e-haya-aur-hi-kuchh-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
رنگِ حیا اور ہی کچھ ہے ۔ للّن چودھری آفتؔ گجپوری
۱
گلزار میں رفتارِ صبا اور ہی کچھ ہے
اس شوخ کے چلنے کی ادا اور ہی کچھ ہے
۲
کرتی ہے خُنُک دل کی تپِش بادِ سحر بھی
لیکن ترے دامن کی ہوا اور ہی کچھ ہے
۳
شاید وہ شباب آنے سے آگاہ ہوا ہے
پلکیں ہیں جھکیں رنگِ حیا اور ہی کچھ ہے
۴
کس شوخ نے زلفوں کو ہوا میں ہے اڑایا
یہ توبہ شکن کالی گھٹا اور ہی کچھ ہے
۵
کہنے کو تو ہر فرد و بشر سب ہیں برابر
دنیا میں مگر شور بپا اور ہی کچھ ہے
۶
بیکس کا لہو شعلہ نہ بن جائے سنبھلنا
پیغام سناتی یہ ہوا اور ہی کچھ ہے
۷
وہ لاکھ سِتم ڈھائیں کبھی اُف نہ کروں گا
آفتؔ مرا دستورِ وفا اور ہی کچھ ہے
रंग-ए हया और ही कुछ है – लल्न चौघरी आफ़त गजपूरी
१
गुलज़ार में रफ़्तार-ए सबा और ही कुछ है
उस शूख़ के चलने की अदा और ही कुछ है
२
करती है ख़ुनुक दिल की तपिश बाद-ए सहर भी
लेकिन तेरे दामन की हवा और ही कुछ है
३
शा’एद वो शबाब आने से आगाह हुआ है
पलकें हैं झुकीं रंग-ए हया और ही कुछ है
४
किस शूख़ ने ज़ुल्फ़ों को हवा में है उढाया
ये तौबा-शिकन काली-घटा और ही कुछ है
५
कहने को तो हर फ़र्द-ओ-बशर सब हैं बराबर
दुनिया में मगर शोर बपा और ही कुछ है
६
बेकस का लहू शो’ला न बन जाए सँभलना
पैग़ाम सुनाती ये हवा और ही कुछ है
७
वो लाख सितम ढाएँ कभी उफ़ न करूँगा
आफ़त मेरा दस्तूर-ए वफ़ा और ही कुछ है
Click here for background and on any passage for word meanings and explanatory discussion. lallan chaudhry aafat gajpuri, gorakhpur (1921-xxxx). Refused to work for the colonial government. Worked as a daily wage labourer. Finished BA from aligaRh in 1955 and took up government service. Well versed in urdu and farsi but wrote initially in hindi. Moved to dehli and joined ‘halqa-e tishnagaan’, a group of shu’ara that met regularly. With this, he started composing regularly in urdu.
1
gulzaar1 meN raftaar2-e sabaa3 aur hi kuchh hai
uss shooKh4 ke chalne ki adaa5 aur hi kuchh hai 1.garden 2.speed, gait, gentle movement 3.breeze 4.mischievous, beloved 5.style
The gentle gait of the breeze in the garden is something else i.e., it is very soothing. But the style of walking of that mischievous one is something else i.e., not only is it more beautiful, but also it causes tumultous emotions rather than sooth.
2
karti hai Khunuk1 dil ki tapish2 baad3-e sahar4 bhi
laikin tere daaman5 ki havaa aur hi kuchh hai 1.cool 2.heat, burning 3.breeze 4.dawn 5.hem of the garment
The lover’s heart is burning in pain of love. The early morning breeze can provide some relief and cool the burning heart but blowing with the hem of the beloved’s garment is something else.
3
shaa’ed1 voh shabaab2 aane se aagaah3 huaa hai
palkeN4 haiN jhukiiN raNg5-e hayaa6 aur hi kuchh hai 1.perhaps 2.youth, adolescence 3.aware 4.eyelashes, eyelids 5.style, mannerism 6.coyness, shyness
In this case the beloved is very young and just budding into youth. Perhaps she has become aware of her budding youth that is why the mannerism of her coyness and lowering of her eyelids is now ‘something else’.
4
kis shooKh1 ne zulfoN2 ko havaa meN hai uRaayaa
yeh tauba-shikan3 kaali-ghaTaa4 aur hi kuchh hai 1.playful, mischievous 2.hair 3.repentence breaking 4.dark clouds
In the monsoon tradition dark clouds are a sign of coming rains, spring and rejuvenation; it is the season of celebration. It also is a sign for wine lovers to gather and drink to celebrate. The poet/wine-lover has repented and sworn off any more wine. But the dark clouds are ‘tauba-shikan’ – tempting him to break his penitence. But to the poet dark clouds themselves are as if someone who is playful (the beloved) has spread their hair and they are blowing in the air. Thus, it is the beloved herself that is tempting him to drink wine.
5
kahne ko to har fard-o-bashar1 sab haiN baraabar
duniyaa meN magar shor2 bapaa3 aur hi kuchh hai 1.individual and human 2.noise, tumult 3.prevalent
Everyone says that all people are equal but the real cry going around is something else. The ‘real cry’ could either be that of protest of the people who are being treated unequally or it could be the assertion of the powerful.
6
bekas1 kaa lahu2 sho’la3 na ban jaa’e sambhalnaa4
paiGhaam5 sunaati yeh havaa aur hi kuchh hai 1.helpless, oppressed 2.blood 3.flame 4.get steady, be ready, careful 5.message
Be careful lest the blood of the oppressed burst into flames. The message in the air is something else. This could well be about the independence movement and/or about social justice.
7
voh laakh sitam1 Dhaa’eN2 kabhi uff3 na karuuNgaa
aafat4 meraa dastuur5-e vafaa6 aur hi kuchh hai 1.oppression, torture 2.inflict suffering 3.wince, show pain 4.pen-name of the poet 5.tradition 6.keeping promise, fidelity
The lover has resolved not to wince, not to show any pain, no matter how much torture the beloved inflicts on him. O aafat, the tradition of my fidelity is something else.
lallan chaudhry aafat gajpuri, gorakhpur (1921-xxxx). Refused to work for the colonial government. Worked as a daily wage labourer. Finished BA from aligaRh in 1955 and took up government service. Well versed in urdu and farsi but wrote initially in hindi. Moved to dehli and joined ‘halqa-e tishnagaan’, a group of shu’ara that met regularly. With this, he started composing regularly in urdu.
1
gulzaar1 meN raftaar2-e sabaa3 aur hi kuchh hai
uss shooKh4 ke chalne ki adaa5 aur hi kuchh hai
1.garden 2.speed, gait, gentle movement 3.breeze 4.mischievous, beloved 5.style
The gentle gait of the breeze in the garden is something else i.e., it is very soothing. But the style of walking of that mischievous one is something else i.e., not only is it more beautiful, but also it causes tumultous emotions rather than sooth.
2
karti hai Khunuk1 dil ki tapish2 baad3-e sahar4 bhi
laikin tere daaman5 ki havaa aur hi kuchh hai
1.cool 2.heat, burning 3.breeze 4.dawn 5.hem of the garment
The lover’s heart is burning in pain of love. The early morning breeze can provide some relief and cool the burning heart but blowing with the hem of the beloved’s garment is something else.
3
shaa’ed1 voh shabaab2 aane se aagaah3 huaa hai
palkeN4 haiN jhukiiN raNg5-e hayaa6 aur hi kuchh hai
1.perhaps 2.youth, adolescence 3.aware 4.eyelashes, eyelids 5.style, mannerism 6.coyness, shyness
In this case the beloved is very young and just budding into youth. Perhaps she has become aware of her budding youth that is why the mannerism of her coyness and lowering of her eyelids is now ‘something else’.
4
kis shooKh1 ne zulfoN2 ko havaa meN hai uRaayaa
yeh tauba-shikan3 kaali-ghaTaa4 aur hi kuchh hai
1.playful, mischievous 2.hair 3.repentence breaking 4.dark clouds
In the monsoon tradition dark clouds are a sign of coming rains, spring and rejuvenation; it is the season of celebration. It also is a sign for wine lovers to gather and drink to celebrate. The poet/wine-lover has repented and sworn off any more wine. But the dark clouds are ‘tauba-shikan’ – tempting him to break his penitence. But to the poet dark clouds themselves are as if someone who is playful (the beloved) has spread their hair and they are blowing in the air. Thus, it is the beloved herself that is tempting him to drink wine.
5
kahne ko to har fard-o-bashar1 sab haiN baraabar
duniyaa meN magar shor2 bapaa3 aur hi kuchh hai
1.individual and human 2.noise, tumult 3.prevalent
Everyone says that all people are equal but the real cry going around is something else. The ‘real cry’ could either be that of protest of the people who are being treated unequally or it could be the assertion of the powerful.
6
bekas1 kaa lahu2 sho’la3 na ban jaa’e sambhalnaa4
paiGhaam5 sunaati yeh havaa aur hi kuchh hai
1.helpless, oppressed 2.blood 3.flame 4.get steady, be ready, careful 5.message
Be careful lest the blood of the oppressed burst into flames. The message in the air is something else. This could well be about the independence movement and/or about social justice.
7
voh laakh sitam1 Dhaa’eN2 kabhi uff3 na karuuNgaa
aafat4 meraa dastuur5-e vafaa6 aur hi kuchh hai
1.oppression, torture 2.inflict suffering 3.wince, show pain 4.pen-name of the poet 5.tradition 6.keeping promise, fidelity
The lover has resolved not to wince, not to show any pain, no matter how much torture the beloved inflicts on him. O aafat, the tradition of my fidelity is something else.
The post raNg-e hayaa aur hi kuchh hai-lallan chaudhry aafat gajpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/srja-kufr-aur-islaam-aye-vaaez-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کفر اور اسلام اے واعظ ۔ سراجؔ اورنگابادی
۱
عمل سے مے پرستوں کے تجھے کیا کام اے واعظ
شرابِ شوق کا تو نے پیا نئیں جام اے واعظ
۲
لگے گا سنگِ خجلت شیشۂ ناموس پر تیرے
عبث ہم بے گناہوں کو نہ کر بدنام اے واعظ
۳
نہیں ہے اِمتیازِ نیک و بد چشمِ حقیقت میں
مجھے یکساں ہوا ہے کفر اور اسلام اے واعظ
۴
نیازِ بے خودی بہتر نمازِ خود نمائی سے
نہ کر ہم پختہ مغزوں سے خیالِ خام اے واعظ
۵
کلامِ نقطۂ علم مختصر ہے سب معانی کا
بیان منطق درسی کو نہیں انجام اے واعظ
۶
دو شیریں لب کے کڑوے بول امرت ہیں میرے حق میں
تجھے معلوم کیا ہے لذّتِ دشنام اے واعظ
۷
سراجؔ اُس کعبۂ جاں کے تصوّر کو کیا ثمرن
یہی وردِ سحر ہے اور دعائے شام اے واعظ
कुफ़्र और इस्लाम अए वा’एज़ – सिराज औरंगाबादी
१
अमल से मय-परस्तौं के तुझे क्या काम अए वा’एज़
शराब-ए शौक़ का तू ने पिया नईं जाम अए वा’एज़
२
लगेगा संग-ए ख़जलत शीशा-ए नामूस पर तेरे
अबस हम बेगुनाहौं को न कर बदनाम अए वा’एज़
३
नहीं है इम्तियाज़-ए नेक ओ बद चश्म-ए हक़ीक़त में
मुझे यकसां हुआ है कुफ़्र और इस्लाम अए वा’एज़
४
नियाज़-ए बेख़ुदी बेहतर नमाज़-ए ख़ुदनुमाई से
न कर हम पुख़्ता मग़्ज़ौं से ख़याल-ए ख़ाम अए वा’एज़
५
कलाम-ए नुक़्ता-ए इल्म मुख़्तसर है सब म’आनी का
बयान-ए मंतक़-ए दरसी को नहीं अंजाम अए वा’एज़
६
दो शीरीं लब के कढवे बोल अमृत हैं मेरे हक़ में
तुझे मालूम क्या है लज़्ज़त-ए दुश्नाम अए वा’एज़
७
सिराज उस काबा-ए जां के तसव्वुर को क्या समरन
यही विर्द-ए सहर है और दुआ-ए शाम अए वा’एज़
Click here for background and on any passage for word meanings and explanatory discussion. syed sirajuddin siraj auraNgabadi (1715-1763), showed passion and impatience early in life, left home and became a mendicant. He composed verse both in faarsi and in urdu. He was tracked down and brought home and kept under guard until after he mentally stabilized. He lost much of his work but was finally able to complete his diivaan. There is a strong mystical/sufiyaana stream to his verse. He did write some romantic Ghazal as well as long narrative verse.
1
amal1 se mai-parastoN2 ke tujhe kya kaam aye vaa’ez3
sharaab-e shauq4 ka tu ne piya naiiN jaam5 aye vaa’ez 1.actions, conduct, character 2.wine-lovers 3.preacher 4.desire, love 5.cup
The preacher has been obnoxious and has been lecturing wine-drinkers. The poet protests … O preacher, what do you have to do with the character of wine-lovers. You have never had a drink from the cup of the wine of love. How would you know what they feel.
2
lagega saNg1-e Khajlat2 sheesha-e naamuus3 par tere
abas4 hum be-gunahoN5 ko na kar badnaam6 aye vaa’ez 1.rock 2.shame 3.dignity, reputation 4.unjustified 5.blame-less 6.bad-mouth
O preacher, we are blame-less/innocent. Do not bad-mouth us for no reason, otherwise the mirror of your reputation will crack when rocks of shame hit it.
3
nahiN hai imtiyaaz1-e nek2 o bad3 chashm4-e haqeeqat5 meN
mujhe yaksaaN6 hua hai kufr7 aur islaam aye vaa’ez 1.differentiation, partiality 2.good 3.bad 4.eyes 5.truth, god 6.equal 7.non-belief, non-islam
Here ‘nek o bad’ is used to mean a superficial labeling by faith name. In the eye of god there is no partiality towards such labels. O vaa’ez, for me there is no difference between islaam and non-islaam.
4
niyaaz1-e be-Khudi2 behtar3 namaaz-e Khud-numaai4 se
na kar hum puKhta-maGhazoN5 se Khayaal-e Khaam6 aye vaa’ez 1.devotional offering 2.trance, forgetting self, wiping ego 3.better 4.displaying oneself, advertising 5.mature brains, wise 6.defective
Making an offering through forgetting the self and concentrating on the divine/beloved is better than a display of ritual prayer. O vaa’ez, do not speak of your defective thoughts to us who already know of mysticism.
5
kalaam1-e nuqta2-e ilm3 muKhtasar4 hai sab m’aani5 ka
bayaan6-e mantaq7-e darsi8 ko naiiN anjaam9 aye vaa’ez 1.spoken word 2.dot 3.knowledge 4.short, brief 5.meaning 6.narration, description 7.logic 8.lesson 9.end
Here ‘ilm’ is used for mystical knowledge. The summary of all meaning is contained in one dot of mystical knowledge, while lessons in logic (worldly knowledge) go round and round with no end in sight. The same theme repeated by akbar allahabadi …
falsafi ko bahs ke andar Khuda milta nahiN
Dor ko suljha raha hai aur sira milta nahiN
6
do shiiriiN1 lab2 ke kaRve3 bol amrit4 haiN mere haq5 meN
tujhe maaloom kya hai lazzat6-e dushnaam7 aye vaa’ez 1.sweet 2.lips 3.bitter 4.nectar of life 5.towards/for 6.pleasure 7.abuse
Even bitter words from the beloved’s sweet lips are like nectar for me. O vaa’ez what do you know about the joy of abuse (at the hands of the beloved).
7
siraaj1 iss kaaba2-e jaaN3 ke tasavvur4 ko kya samran5
yahi vird6-e sahar7 hai aur duaa-e shaam aye vaa’ez 1.pen-name of the poet 2.focal point of prayer/devotion 3.life, soul 4.thought, imagination 5.prayer, chant 6.incantation 7.dawn, morning
The focal point of devotion can be the beloved or god. siraaj, the poet, has made this his chant with incantions and prayers in the morning and evening.
syed sirajuddin siraj auraNgabadi (1715-1763), showed passion and impatience early in life, left home and became a mendicant. He composed verse both in faarsi and in urdu. He was tracked down and brought home and kept under guard until after he mentally stabilized. He lost much of his work but was finally able to complete his diivaan. There is a strong mystical/sufiyaana stream to his verse. He did write some romantic Ghazal as well as long narrative verse.
1
amal1 se mai-parastoN2 ke tujhe kya kaam aye vaa’ez3
sharaab-e shauq4 ka tu ne piya naiiN jaam5 aye vaa’ez
1.actions, conduct, character 2.wine-lovers 3.preacher 4.desire, love 5.cup
The preacher has been obnoxious and has been lecturing wine-drinkers. The poet protests … O preacher, what do you have to do with the character of wine-lovers. You have never had a drink from the cup of the wine of love. How would you know what they feel.
2
lagega saNg1-e Khajlat2 sheesha-e naamuus3 par tere
abas4 hum be-gunahoN5 ko na kar badnaam6 aye vaa’ez
1.rock 2.shame 3.dignity, reputation 4.unjustified 5.blame-less 6.bad-mouth
O preacher, we are blame-less/innocent. Do not bad-mouth us for no reason, otherwise the mirror of your reputation will crack when rocks of shame hit it.
3
nahiN hai imtiyaaz1-e nek2 o bad3 chashm4-e haqeeqat5 meN
mujhe yaksaaN6 hua hai kufr7 aur islaam aye vaa’ez
1.differentiation, partiality 2.good 3.bad 4.eyes 5.truth, god 6.equal 7.non-belief, non-islam
Here ‘nek o bad’ is used to mean a superficial labeling by faith name. In the eye of god there is no partiality towards such labels. O vaa’ez, for me there is no difference between islaam and non-islaam.
4
niyaaz1-e be-Khudi2 behtar3 namaaz-e Khud-numaai4 se
na kar hum puKhta-maGhazoN5 se Khayaal-e Khaam6 aye vaa’ez
1.devotional offering 2.trance, forgetting self, wiping ego 3.better 4.displaying oneself, advertising 5.mature brains, wise 6.defective
Making an offering through forgetting the self and concentrating on the divine/beloved is better than a display of ritual prayer. O vaa’ez, do not speak of your defective thoughts to us who already know of mysticism.
5
kalaam1-e nuqta2-e ilm3 muKhtasar4 hai sab m’aani5 ka
bayaan6-e mantaq7-e darsi8 ko naiiN anjaam9 aye vaa’ez
1.spoken word 2.dot 3.knowledge 4.short, brief 5.meaning 6.narration, description 7.logic 8.lesson 9.end
Here ‘ilm’ is used for mystical knowledge. The summary of all meaning is contained in one dot of mystical knowledge, while lessons in logic (worldly knowledge) go round and round with no end in sight. The same theme repeated by akbar allahabadi …
falsafi ko bahs ke andar Khuda milta nahiN
Dor ko suljha raha hai aur sira milta nahiN
6
do shiiriiN1 lab2 ke kaRve3 bol amrit4 haiN mere haq5 meN
tujhe maaloom kya hai lazzat6-e dushnaam7 aye vaa’ez
1.sweet 2.lips 3.bitter 4.nectar of life 5.towards/for 6.pleasure 7.abuse
Even bitter words from the beloved’s sweet lips are like nectar for me. O vaa’ez what do you know about the joy of abuse (at the hands of the beloved).
7
siraaj1 iss kaaba2-e jaaN3 ke tasavvur4 ko kya samran5
yahi vird6-e sahar7 hai aur duaa-e shaam aye vaa’ez
1.pen-name of the poet 2.focal point of prayer/devotion 3.life, soul 4.thought, imagination 5.prayer, chant 6.incantation 7.dawn, morning
The focal point of devotion can be the beloved or god. siraaj, the poet, has made this his chant with incantions and prayers in the morning and evening.
The post kufr aur islaam aye vaa’ez – siraj auraNgabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/sraas-iimaan-o-kufr-ki-tafriiq-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ایمان و کفر کی تفریق ۔ سادھو رام آرزوؔ سہارنپوری
۱
فقط یہی کہ سمجھ لے تو ہست و بود کا راز
وگرنہ اس کے سوا کیا ہے مقصدِ تخلیق
۲
رمُوزِ سینۂ آدم سے واقفیت ہو
تو سہل تر ہیں حقیقت کے نکتہ ہائے دقیق
۳
شعاعِ نورِ یقیں ہو اگر ترے دل میں
قدم قدم پہ نظر آئے مرکزِ تحقیق
۴
خبر نہیں تو کسی درد مندِ عشق سے پوچھ
کہ یادِ دوست سے بہتر نہیں ہے کوئی رفیق
۵
خدا کرے تو کبھی اُس مقام سے گزرے
جہاں نہیں ہے کچھ ایمان و کفر کی تفریق
۶
ہر ایک طبقۂ اِنساں کی خدمتِ بے لوث
یہی رہا ہے ہمیشہ سے اہلِ دل کا طریق
۷
عزیز و دوست ہوں اپنے کہ دشمنِ جاں ہوں
الٰہی سب کو دے اعمالِ نیک کی توفیق
ईमान ओ कुफ़्र की तफ़्रीक़ – साधु राम आर्ज़ू सहारनपूरी
१
फ़क़त यही के समझ ले तू हस्त-ओ-बूद का राज़
वगरना इसके सिवा क्या है मक़्सद-ए तख़्लीक़
२
रमूज़-ए सीना-ए आदम से वाक़ेफ़ियत हो
तो सहल-तर हैं हक़ीक़त के नुक्ता-हा-ए दक़ीक़
३
शु’आ-ए नूर-ए यक़ीं हो अगर तेरे दिल में
क़दम क़दम पे नज़र आए मरकज़-ए तहक़ीक़
४
ख़बर नहीं तो किसी दर्द-मंद-ए इश्क़ से पूछ
के याद-ए दोस्त से बेहतर नहीं है कोई रफ़ीक़
५
ख़ुदा करे तू कभी उस मक़ाम से गुज़रे
जहाँ नहीं है कुछ ईमान ओ कुफ्र की तफ़्रीक़
६
हर एक तबक़ा-ए इंसाँ की ख़िदमत-ए बे-लौस
यही रहा है हमेशा से अहल-ए दिल का तरीक़
७
अज़ीज़-ओ दोस्त हों अपने के दुश्मन-ए जाँ हों
इलाही सब को दे आमाल-ए नेक की तौफ़ीक़
Click here for background and on any passage for word meanings and explanatory discussion. saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.
1
faqat1 yahii keh samajh2 le tu hast-o-buud3 kaa raaz4
vagarna5 iske sivaa6 kyaa hai maqsad7-e taKhliiq8 1.only 2.understand, know 3.present and past, all existence 4.secret, mystery, reason 5.otherwise 6.except for 7.purpose 8.creation
Only this, that you understand the true essence/purpose of existence/life, otherwise what else can be the purpose of creation i.e., god created the cosmos and life in it so that you understand the ‘meaning of life’. Editorial comment – this appears to be a circular argument. Here is another explanation of the purpose of life … dwarka das sho’la …
tu bhi mohtaaj hai Khushaamad ka
aye Khuda varna bandagi kya hai
2
ramuuz1-e siina2-e aadam3 se vaaqifiyat4 ho
to sahl-tar5 haiN haqiiqat6 ke nukta-haa7-e daqiiq8 1.secrets 2.bosom, heart 3.Adam, human 4.knowledge, understanding 5.easier than easy 6.truth 7.plural of nukta, points, views, meanings 8.difficult, subtle
If you can understand the inner secrets of the human heart, then it becomes much easier to understand the all the subtle meanings of (external) truths i.e., in order to understand the world, understand yourself first.
3
shuu’aa1-e nuur2-e yaqiiN3 ho agar tere dil me
qadam-qadam4 pe nazar5 aaye markaz6-e tahqiiq7 1.ray 2.light 3.certainty, faith 4.every step 5.visible 6.focus 7.search
If you have the ray of light of faith in your heart, then at every step of the journey, the focus of your search will appear i.e., you will see god in everything if you have faith. Editorial comment – once again a circular argument if ever there was one.
4
Khabar1 nahiiN to kisii dard-mand2-e ishq se puuchh
keh yaad-e-dost3 se behtar4 nahiiN hai koii rafiiq5 1.awareness, knowledge 2.wounded 3.rememberance of the friend/beloved/god 4.better 5.friend, companion
If you do not know, then ask anyone who has been wounded by/stricken with love (this could be love of god or love of humanity and it would be someone who has experienced the pain of love and separation). They will tell you that there nothing better than the rememberance of the friend/beloved/god.
5
Khudaa kare tu kabhii us maqaam1 se guzre2
jahaaN3 nahiiN hai kuchh imaan4 o kufr5 kii tafriiq6 1.place, stage, condition 2.pass through 3.where 4.belief, faith 5.other belief, disbelief 6.difference, distinction
May god that you sometime experience/pass through the stage where there is no distinction with one faith and another i.e., all faiths lead to the same end and there should be not distinction between them.
6
har ek tabqa1-e insaaN2 kii Khidmat3-e be-laus4
yahii rahaa hai hamesha5 se ahl-e-dil6 kaa tariiq7 1.class, group 2.humanity 3.service 4.self-less, without any selfish motive 5.always 6.people of heart/love/compassion 7.way, method, path
Self-less/unselfish service of humanity regardless of group/class/community has always been the way of people of love.
7
aziiz1 o dost hoN apne keh dushman-e jaaN hoN
ilaahii2 sab ko de aa’maal3-e nek4 kii taufiiq5 1.loved ones 2.god 3.actions 4.virtuous 5.ability, character
O god, whether they be dear friends and loved ones or sworn enemies, grant them all the ability/character to stay on the path of virtue – perform virtuous deeds.
saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.
1
faqat1 yahii keh samajh2 le tu hast-o-buud3 kaa raaz4
vagarna5 iske sivaa6 kyaa hai maqsad7-e taKhliiq8
1.only 2.understand, know 3.present and past, all existence 4.secret, mystery, reason 5.otherwise 6.except for 7.purpose 8.creation
Only this, that you understand the true essence/purpose of existence/life, otherwise what else can be the purpose of creation i.e., god created the cosmos and life in it so that you understand the ‘meaning of life’. Editorial comment – this appears to be a circular argument. Here is another explanation of the purpose of life … dwarka das sho’la …
tu bhi mohtaaj hai Khushaamad ka
aye Khuda varna bandagi kya hai
2
ramuuz1-e siina2-e aadam3 se vaaqifiyat4 ho
to sahl-tar5 haiN haqiiqat6 ke nukta-haa7-e daqiiq8
1.secrets 2.bosom, heart 3.Adam, human 4.knowledge, understanding 5.easier than easy 6.truth 7.plural of nukta, points, views, meanings 8.difficult, subtle
If you can understand the inner secrets of the human heart, then it becomes much easier to understand the all the subtle meanings of (external) truths i.e., in order to understand the world, understand yourself first.
3
shuu’aa1-e nuur2-e yaqiiN3 ho agar tere dil me
qadam-qadam4 pe nazar5 aaye markaz6-e tahqiiq7
1.ray 2.light 3.certainty, faith 4.every step 5.visible 6.focus 7.search
If you have the ray of light of faith in your heart, then at every step of the journey, the focus of your search will appear i.e., you will see god in everything if you have faith. Editorial comment – once again a circular argument if ever there was one.
4
Khabar1 nahiiN to kisii dard-mand2-e ishq se puuchh
keh yaad-e-dost3 se behtar4 nahiiN hai koii rafiiq5
1.awareness, knowledge 2.wounded 3.rememberance of the friend/beloved/god 4.better 5.friend, companion
If you do not know, then ask anyone who has been wounded by/stricken with love (this could be love of god or love of humanity and it would be someone who has experienced the pain of love and separation). They will tell you that there nothing better than the rememberance of the friend/beloved/god.
5
Khudaa kare tu kabhii us maqaam1 se guzre2
jahaaN3 nahiiN hai kuchh imaan4 o kufr5 kii tafriiq6
1.place, stage, condition 2.pass through 3.where 4.belief, faith 5.other belief, disbelief 6.difference, distinction
May god that you sometime experience/pass through the stage where there is no distinction with one faith and another i.e., all faiths lead to the same end and there should be not distinction between them.
6
har ek tabqa1-e insaaN2 kii Khidmat3-e be-laus4
yahii rahaa hai hamesha5 se ahl-e-dil6 kaa tariiq7
1.class, group 2.humanity 3.service 4.self-less, without any selfish motive 5.always 6.people of heart/love/compassion 7.way, method, path
Self-less/unselfish service of humanity regardless of group/class/community has always been the way of people of love.
7
aziiz1 o dost hoN apne keh dushman-e jaaN hoN
ilaahii2 sab ko de aa’maal3-e nek4 kii taufiiq5
1.loved ones 2.god 3.actions 4.virtuous 5.ability, character
O god, whether they be dear friends and loved ones or sworn enemies, grant them all the ability/character to stay on the path of virtue – perform virtuous deeds.
The post iimaan o kufr ki tafriiq – saadhu raam aarzu saharanpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/aaas-anand-narain-mulla-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آنند نرائن مُلّا ۔ آلِ احمد سُرُورؔ
۱
کیا بیاں ہوں صفات ملا کی
جس پہ پیار آے وہ برہمن ہے
۲
جس کی کرنوں سے جلوۂ صد رنگ
آج اُردو ادب کا دامن ہے
۳
نثر میں اک جہانِ دیدہ وری
نظم میں موجِ فکر روشن ہے
۴
رِند، جس سے ہے میکدے کو شرف
پھول، جو آبروئے گلشن ہے
۵
اپنی تہذیب کا منارۂ نور
روحِ انسانیت کا درپن ہے
۶
سوز میں ہر سخن کی آنچ گُھلی
ساز میں سب کے دل کی دھڑکن ہے
۷
ظلمتوں کی ہزار ہو یلغار
پھر بھی اپنا چراغ روشن ہے
आनन्द नरायन मुल्ला – आल्ए अहमद सुरूर
१
क्या बयान हों सिफ़ात मुल्ला की
जिस पे प्यार आये वो बरहमन है
२
जिस की किरनों से जल्वा-ए सद-रंग
आज उर्दू अदब का दामन है
३
नस्र में एक जहान-ए दीदावरी
नज़्म में मौज-ए फ़िक्र रोशन है
४
रिंद, जिस से है मैकदे को शरफ़
फूल, जो आब्रू-ए गुल्शन है
५
अपनी तहज़ीब का मिनारा-ए नूर
रूह-ए इंसानियत का दर्पण है
६
सोज़ में हर सख़न की आँच घुली
साज़ में सब के दिल की धढकन है
७
ज़ुल्मतों की हज़ार हो यल्ग़ार
फिर भी अपना चराग़ रोशन है
Click here for background and on any passage for word meanings and explanatory discussion. aal-e ahmad suroor (1911-2002) academic, critic, writer, editor and poet. MA in English and urdu literature. He taught at aligaRh and lakhnau universities, serving as head of the department of urdu at aligaRh. He was associated with, if not an active member of the Progressive Writers’ Association. His poetic compositions tend to be thoughtful and philosophical. This short nazm/Ghazal was written as a tribute to panDit anand narain mulla when a celebratory function was organized in his honour on his 90th birthday.
1
kya bayaan1 hoN sifaat2 mulla3 ki
jis pe pyaar aaye vo barahman hai 1.narrate, describe 2.qualities 3.anand narain mulla
How can I narrate/describe the qualities of mulla. He is the kind of brahman on whom love can be showered. Note the play of words. ‘mulla’ can be interpreted as the muslim priest and brahman as the hindu priest. Thus, how can I describe the qualities of the muslim priest who is a hindu priest on whom love can be showered.
2
jis ki kirnoN1 se jalva2-e sad-raNg3
aaj urdu adab4 ka daaman5 hai 1.rays of light 2.glory 3.hundred colours/styles/images 4.literature 5.hem of the garment, valley, spread, scope, vastness
Rays of light of his wisdom and his verse, fill the domain of urdu with a hundred glorious images.
3
nasr1 meN ek jahaan2-e diida-vari3
nazm meN mauj4-e fikr5 raushan6 hai 1.prose 2.world 3.discerning eye, wisdom 4.wave 5.thought, reason 6.lit up, shining
His discerning eye, evident in his prose writing and a wave of in depth thought and reason shines in his verse.
4
rind1, jis se hai maikade2 ko sharaf3
phuul, jo aabruu4-e gulshan hai 1.wine lover 2.tavern 3.nobility, honour 4.respect, dignity
A wine-lover who brings honour to the tavern; a flower that embodies the dignity of the garden.
5
apni tahziib1 ka minaara-e-nuur2
ruuh3-e insaaniyat4 ka darpan5 hai 1.culture 2.guiding light, lighthouse, tower of light 3.spirit 4.humanism 5.mirror, reflection
The guiding light of our culture, reflecting the soul/spirit of humanism.
6
soz1 meN har suKhan2 ki aaNch3 ghulii4
saaz5 meN sab ke dil ki dhaRkan hai 1.pain, fire, passion 2.words, verse 3.fire, glow 4.dissolved, melted 5.music, rhythm
The glow of pain and passion melting in every word, the heart of humanity throbbing in every rhyme.
7
zulmatoN1 ki hazaar ho yalGhaar2
phir bhi apna charaaGh3 raushan4 hai 1.darkness, ignorance 2.attack by a horde 3.lamp 4.lit
Even if darkness/ignorance/injustice attacks from all sides, his lamp of wisdom remains lit.
aal-e ahmad suroor (1911-2002) academic, critic, writer, editor and poet. MA in English and urdu literature. He taught at aligaRh and lakhnau universities, serving as head of the department of urdu at aligaRh. He was associated with, if not an active member of the Progressive Writers’ Association. His poetic compositions tend to be thoughtful and philosophical. This short nazm/Ghazal was written as a tribute to panDit anand narain mulla when a celebratory function was organized in his honour on his 90th birthday.
1
kya bayaan1 hoN sifaat2 mulla3 ki
jis pe pyaar aaye vo barahman hai
1.narrate, describe 2.qualities 3.anand narain mulla
How can I narrate/describe the qualities of mulla. He is the kind of brahman on whom love can be showered. Note the play of words. ‘mulla’ can be interpreted as the muslim priest and brahman as the hindu priest. Thus, how can I describe the qualities of the muslim priest who is a hindu priest on whom love can be showered.
2
jis ki kirnoN1 se jalva2-e sad-raNg3
aaj urdu adab4 ka daaman5 hai
1.rays of light 2.glory 3.hundred colours/styles/images 4.literature 5.hem of the garment, valley, spread, scope, vastness
Rays of light of his wisdom and his verse, fill the domain of urdu with a hundred glorious images.
3
nasr1 meN ek jahaan2-e diida-vari3
nazm meN mauj4-e fikr5 raushan6 hai
1.prose 2.world 3.discerning eye, wisdom 4.wave 5.thought, reason 6.lit up, shining
His discerning eye, evident in his prose writing and a wave of in depth thought and reason shines in his verse.
4
rind1, jis se hai maikade2 ko sharaf3
phuul, jo aabruu4-e gulshan hai
1.wine lover 2.tavern 3.nobility, honour 4.respect, dignity
A wine-lover who brings honour to the tavern; a flower that embodies the dignity of the garden.
5
apni tahziib1 ka minaara-e-nuur2
ruuh3-e insaaniyat4 ka darpan5 hai
1.culture 2.guiding light, lighthouse, tower of light 3.spirit 4.humanism 5.mirror, reflection
The guiding light of our culture, reflecting the soul/spirit of humanism.
6
soz1 meN har suKhan2 ki aaNch3 ghulii4
saaz5 meN sab ke dil ki dhaRkan hai
1.pain, fire, passion 2.words, verse 3.fire, glow 4.dissolved, melted 5.music, rhythm
The glow of pain and passion melting in every word, the heart of humanity throbbing in every rhyme.
7
zulmatoN1 ki hazaar ho yalGhaar2
phir bhi apna charaaGh3 raushan4 hai
1.darkness, ignorance 2.attack by a horde 3.lamp 4.lit
Even if darkness/ignorance/injustice attacks from all sides, his lamp of wisdom remains lit.
The post anand narain mulla – aal-e ahmad suroor appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/dKhaKhsh-ek-mazdoor-ki-zindagi-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ایک مزدور کی زندگی ۔ داؤد خاں اخترؔ شیرانی
۱
سوزِ دل میرے لیے زخمِ جِگر میرے لیے
زندگی ہے مری اک رقصِ شرر میرے لیے
۲
چرخ نے مری تباہی پہ بہائے آنسو
دیدۂ انجم و ناہید ہے تر میرے لیے
۳
قسمتِ دولتِ وجداں ہے بہ اندازۂ ظرف
رنگ و بو تیرے لیے سوز و شرر میرے لیے
۴
زندگی گرچہ ہے مجبوریِ فطرت کا ثبوت
پھر بھی ہیں دشت و جبل زیر و زبر میرے لیے
۵
خوف محنت سے نہیں ہمدمِ آرام پسند
خون اور خاک تو ہے شہد و شکر میرے لیے
۶
پاس منظور ہے فطرت کو مری رفعت کا
ورنہ گردش میں ہیں کیوں شمس و قمر میرے لیے
۷
بوالہوس! آ کہ بہ اندازۂ ہِمّت خوش ہوں
برگ و گل تیرے لیے تیغ و تبر میرے لیے
۸
تا ابد روئے گی اخترؔ جسے چشمِ دوراں
کی ہے مخصوص ازل نے وہ نظر میرے لیے
एक मज़दूर की ज़िंदगी । दाऊद ख़ाँ अख़्तर शीरानी
१
सोज़-ए दिल मेरे लिए ज़ख़्म-ए जिगर मेरे लिए
ज़िंदगी है मेरी एक रक़्स-ए शरर मेरे लिए
२
चर्ख़ ने मेरी तबाही पे बहाए आँसू
दीदा-ए अंजुम ओ नाहीद है तर मेरे लिए
३
क़िस्मत-ए दौलत-ए वज्दाँ है ब-अंदाज़ा-ए ज़र्फ़
रंग ओ बू तेरे लिए सोज़ ओ शरर मेरे लिए
४
ज़िंदगी गरचे है मज्बूरी-ए फ़ितरत का सुबूत
फिर भी हैं दश्त ओ जबल ज़ेर ओ ज़बर मेरे लिए
५
ख़ौफ़ मेहनत से नहीं हमदम-ए आराम-पसंद
ख़ून और ख़ाक तो है शहद ओ शकर मेरे लिए
६
पास मंज़ूर है फ़ितरत को मेरी रफ़’अत का
वरना गर्दिश में हैं क्यूँ शम्स ओ क़मर मेरे लिए
७
बू-ल-हवस! आ के ब-अंदाज़ा-ए हिम्मत ख़ुश हूँ
बरग ओ गुल तेरे लिए तेग़ ओ तबर मेरे लिए
८
ता अबद रोएगी अख़्तर जिसे चश्म-ए दौराँ
की है मख़्सूस अज़ल ने वो नज़र मेरे लिए
Click here for background and on any passage for word meanings and explanatory discussion. mohammed dawood KhaaN aKhtar shiiraani (1904-1948) ToNk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes, although there are many that are in progressive themes like this one. It is linked to ‘yaum-e mazdoor’ on the Theme Index page.
1
soz1-e dil mere liye zaKhm2-e jigar3 mere liye
zindagi hai meri ek raqs4-e sharar5 mere liye 1.fire, pain 2.wound 3.liver/heart 4.dance 5.spark
The worker feels constant pain and suffering. His life is like a dance of sparks i.e., a constant restlessness and struggle.
2
charKh1 ne meri tabaahi2 pe bahaa’e3 aaNsu
diida4-e anjum5 o naahiid6 hai tar7 mere liye 1.sky, fate 2.ruins 3.flowing, shedding 4.eyes 5.stars 6.Venus 7.moist, wet
The heavens/fate shed tears on my ruination. Even the eyes of stars and planets (celestial bodies) are moist for me.
3
qismat1-e daulat2-e vajdaaN3 hai ba-aNdaaza4-e zarf5
raNg-o-buu6 tere liye soz-o-sharar7 mere liye 1.fate, good luck 2.wealth, treasure 3.ecstasy, rapture 4.in proportion to 5.capacity 6.colour and fragrance, beauty and joy 7.fire and sparks, pain and restlessness
The gift/benevolence of the wealth of ecstasy is given in proportion to capacity. For you, beauty and joy; for me constant pain and restlessness. Here ‘you’ is the capitalist.
4
zindagi garche1 hai majbuuri2-e fitrat3 ka subuut4
phir bhi haiN dasht-o-jabal5 zer-o-zabar6 mere liye 1.even though 2.compulsion, limitation 3.nature 4.proof, testament 5.hills and valleys 6.turned upside down, having the opposite effect
Human civilization has survived the challenges of nature. It is said that it has overcome nature. Thus, even though life is a testament to human power overcoming the forces of nature, for me, hills and valleys (forces/gifts of nature) have the opposite effect, I remain deprived and still subject of the forces of nature.
5
Khauf1 mehnat2 se nahiN hamdam3-e aaraam-pasand4
Khuun-aur-Khaak5 to hai shah’d-o-shakar6 mere liye 1.fear 2.hard work 3.friend 4.comfort loving 5.blood and dust, sacrifice and toil 6.honey and sugar, sweet rewards
This is not a complaint about hard work. I do not fear hard work O comfort-loving friend. Toil and sacrifice are sweet rewards for me. The implication is that this is a complaint about the usurpation of the benefits of his toil and sacrifice.
6
paas1 manzuur2 hai fitrat3 ko meri raf’at4 ka
varna5 gardish6 meN haiN kyuN shams7 o qamar8 mere liye 1.regard, respect, acknowledgement 2.acceptable 3.nature 4.dignity, elevation 5.otherwise 6.revolving 7.sun 8.moon
It is acceptable to nature to acknowledge/respect the dignity of labour. Otherwise why would the sun and moon revolved around the earth (this of course, is symbolic, not scientific). The implication is that nature acknowledges the dignity of labour, the owners of capital don’t.
7
bu-al-havas1! aa keh ba-aNdaaza2-e himmat3 Khush huN
barg-o-gul4 tere liye teGh-o-tabar5 mere liye 1.greedy 2.in proportion to 3.courage 4.leaves and flowers 5.sword and hatchet
‘barg-o-gul’ symbolize beauty and comfort, ‘teGh-o-tabar’ symbolize struggle and hardship. O greedy one, come and see for yourself, I am happy in proportion to my courage and hard work. For you, beauty and comfort; for me, struggle and hardship. The greedy one, of course, is the capitalist.
8
taa1 abad2 ro’egi aKhtar3 jise chashm4-e dauraaN5
kii hai maKhsuus6 azal7 ne vo nazar8 mere liye 1.until 2.eternity, end of time 3.pen-name of the poet 4.eye 5.times 6.special, selected, reserved 7.beginning, from the beginning of the cosmos 8.glance
O aKhtar, the eye of times will weep until the end of time for me, for whom the beginning of the cosmos has reserved that weeping eye i.e., this has been the condition of the worker from the beginning of time. This recongizes the impact of feudalism and capitalism on the life of the worker. It does not sound quite like a passive acceptance of fate. There is still a hint of dynamism and change.
mohammed dawood KhaaN aKhtar shiiraani (1904-1948) ToNk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes, although there are many that are in progressive themes like this one. It is linked to ‘yaum-e mazdoor’ on the Theme Index page.
1
soz1-e dil mere liye zaKhm2-e jigar3 mere liye
zindagi hai meri ek raqs4-e sharar5 mere liye
1.fire, pain 2.wound 3.liver/heart 4.dance 5.spark
The worker feels constant pain and suffering. His life is like a dance of sparks i.e., a constant restlessness and struggle.
2
charKh1 ne meri tabaahi2 pe bahaa’e3 aaNsu
diida4-e anjum5 o naahiid6 hai tar7 mere liye
1.sky, fate 2.ruins 3.flowing, shedding 4.eyes 5.stars 6.Venus 7.moist, wet
The heavens/fate shed tears on my ruination. Even the eyes of stars and planets (celestial bodies) are moist for me.
3
qismat1-e daulat2-e vajdaaN3 hai ba-aNdaaza4-e zarf5
raNg-o-buu6 tere liye soz-o-sharar7 mere liye
1.fate, good luck 2.wealth, treasure 3.ecstasy, rapture 4.in proportion to 5.capacity 6.colour and fragrance, beauty and joy 7.fire and sparks, pain and restlessness
The gift/benevolence of the wealth of ecstasy is given in proportion to capacity. For you, beauty and joy; for me constant pain and restlessness. Here ‘you’ is the capitalist.
4
zindagi garche1 hai majbuuri2-e fitrat3 ka subuut4
phir bhi haiN dasht-o-jabal5 zer-o-zabar6 mere liye
1.even though 2.compulsion, limitation 3.nature 4.proof, testament 5.hills and valleys 6.turned upside down, having the opposite effect
Human civilization has survived the challenges of nature. It is said that it has overcome nature. Thus, even though life is a testament to human power overcoming the forces of nature, for me, hills and valleys (forces/gifts of nature) have the opposite effect, I remain deprived and still subject of the forces of nature.
5
Khauf1 mehnat2 se nahiN hamdam3-e aaraam-pasand4
Khuun-aur-Khaak5 to hai shah’d-o-shakar6 mere liye
1.fear 2.hard work 3.friend 4.comfort loving 5.blood and dust, sacrifice and toil 6.honey and sugar, sweet rewards
This is not a complaint about hard work. I do not fear hard work O comfort-loving friend. Toil and sacrifice are sweet rewards for me. The implication is that this is a complaint about the usurpation of the benefits of his toil and sacrifice.
6
paas1 manzuur2 hai fitrat3 ko meri raf’at4 ka
varna5 gardish6 meN haiN kyuN shams7 o qamar8 mere liye
1.regard, respect, acknowledgement 2.acceptable 3.nature 4.dignity, elevation 5.otherwise 6.revolving 7.sun 8.moon
It is acceptable to nature to acknowledge/respect the dignity of labour. Otherwise why would the sun and moon revolved around the earth (this of course, is symbolic, not scientific). The implication is that nature acknowledges the dignity of labour, the owners of capital don’t.
7
bu-al-havas1! aa keh ba-aNdaaza2-e himmat3 Khush huN
barg-o-gul4 tere liye teGh-o-tabar5 mere liye
1.greedy 2.in proportion to 3.courage 4.leaves and flowers 5.sword and hatchet
‘barg-o-gul’ symbolize beauty and comfort, ‘teGh-o-tabar’ symbolize struggle and hardship. O greedy one, come and see for yourself, I am happy in proportion to my courage and hard work. For you, beauty and comfort; for me, struggle and hardship. The greedy one, of course, is the capitalist.
8
taa1 abad2 ro’egi aKhtar3 jise chashm4-e dauraaN5
kii hai maKhsuus6 azal7 ne vo nazar8 mere liye
1.until 2.eternity, end of time 3.pen-name of the poet 4.eye 5.times 6.special, selected, reserved 7.beginning, from the beginning of the cosmos 8.glance
O aKhtar, the eye of times will weep until the end of time for me, for whom the beginning of the cosmos has reserved that weeping eye i.e., this has been the condition of the worker from the beginning of time. This recongizes the impact of feudalism and capitalism on the life of the worker. It does not sound quite like a passive acceptance of fate. There is still a hint of dynamism and change.
The post ek mazdoor ki zindagi-aKhtar shiiraani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/09/psh-sTeel-milz-ka-ek-Khusoosi-mazdoor-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اسٹیل مِلز کا ایک خصوصی مزدور ۔ پروین شاکر
۱
کالا بھوت
جیسے کوئلے کے نطفے سے جنم لیا ہو
۲
ایک جہنّمی درجہ حرارت پر رہتے ہوئے
اُس کا کام دہکتی بھٹّی میں کوئلے جھوکتے رہنا تھا
۳
اُس کے بدلے اُس کو اُجرت بھی زیادہ مِلتی تھی
اور خوراک بھی خصوصی
اور ایک وقت میں چار گھنٹے سے زیادہ کام نہیں لیا جاتا تھا
۴
لیکن شاید اُس کو یہ نہیں معلوم
کہ خود کشی کے اِس معاہدے پر
۵
اُس نے
بقائمی ہوش و حواس دستخت کیے تھے
اِس بھٹی کا ایندھن دراصل وہ خود ہے
स्टील मिल्ज़ का एक ख़ुसूसी मज़दूर – परवीन शाकिर
१
काला भूत
जैसे कोयले के नुत्फ़े से जनम लिया हो
२
एक जहन्नमी दर्ज़ा हरारत पर रहते हुए
उस का काम दहकती भट्टी में कोयले झोंकते रहना था
३
उस के बदले उस को उजरत भी ज़्यादा मिलती थी
और ख़ुराक भी ख़ुसूसी
और एक वक़्त में चार घंटे से ज़्यादा काम नहीं लिया जाता था
४
लेकिन शायद उस को ये नहीं मालूम
कि खुद कुशी के इस मुआहिदे पर
५
उस ने
बक़ाइमि होश ओ हवास दस्तख़त किए थे
इस भट्टी का ईंधन दरअस्ल वह खुद है
Click here for background and on any passage for word meanings and explanatory discussion. parveen shakir (1952-1994), English literature and linguistics, correspondent, educator, Pakistan Civil Service officer. Prolific writer bringing new thought and new forthright, feminist style to urdu shaa’eri. An explicit expression of love by women was taboo until courageous poets like parveen shakir pioneered it. This nazm is about the plight of a steel furnace worker and is linked to ‘yaum-e mazdoor’ on the Theme Index page.
1
kaala bhuut1
jaise koe’le2 ke nutfe3 se janam4 liya ho 1.blackened apparition 2.coal 3.seed, sperm, pedigree 4.birth
A blackened apparition, as if it has been born of the seed of coal, is of the same pedigree.
2
ek jahannami1 darja2 haraarat3 par rahte huay
us ka kaam dahakti4 bhaTTi5 meN koe’le6 jhoNkte7 rahna tha 1.hellish 2.degree 3.heat, temperature 4.burning fiercely 5.furnace 6.coal 7.pour, stoke
Remaining in a degree of hellish heat, his task is to stoke coal into an already fiercely burning furnace.
3
us ke badle1 us ko ujrat2 bhi ziyada3 milti thi
aur Khuraak4 bhi Khusuusi5
aur ek vaqt meN chaar ghaNTe se ziyada kaam nahiN liya jaata tha 1.exchange 2.compensation 3.additional 4.diet 5.special
In exchange for this, his compensation was a little more and he had the privilege of a special meal and was not asked to work more than four hours at a stretch.
4
laikin shaa’ed1 us ko ye nahiN maalum2
keh Khud-kushi3 ke is mu’aahide5 par 1.perhaps 2.know 3.suicide 4.contract, agreement
But perhaps he did not know before making this suicidal contract …
5
us ne
baqaa’emi1 hosh-o-havaas2 dastaKhat3 kiye the
is bhaTTi4 ka eindhan5 dar-asl6 vo Khud7 hai 1.well balanced, controlled 2.awareness and knowledge 3.signature 4.furnace 5.fuel 6.in reality 7.himself
… that he in full control of his senses had signed this contract in which he himself was the fuel of this furnace.
parveen shakir (1952-1994), English literature and linguistics, correspondent, educator, Pakistan Civil Service officer. Prolific writer bringing new thought and new forthright, feminist style to urdu shaa’eri. An explicit expression of love by women was taboo until courageous poets like parveen shakir pioneered it. This nazm is about the plight of a steel furnace worker and is linked to ‘yaum-e mazdoor’ on the Theme Index page.
1
kaala bhuut1
jaise koe’le2 ke nutfe3 se janam4 liya ho
1.blackened apparition 2.coal 3.seed, sperm, pedigree 4.birth
A blackened apparition, as if it has been born of the seed of coal, is of the same pedigree.
2
ek jahannami1 darja2 haraarat3 par rahte huay
us ka kaam dahakti4 bhaTTi5 meN koe’le6 jhoNkte7 rahna tha
1.hellish 2.degree 3.heat, temperature 4.burning fiercely 5.furnace 6.coal 7.pour, stoke
Remaining in a degree of hellish heat, his task is to stoke coal into an already fiercely burning furnace.
3
us ke badle1 us ko ujrat2 bhi ziyada3 milti thi
aur Khuraak4 bhi Khusuusi5
aur ek vaqt meN chaar ghaNTe se ziyada kaam nahiN liya jaata tha
1.exchange 2.compensation 3.additional 4.diet 5.special
In exchange for this, his compensation was a little more and he had the privilege of a special meal and was not asked to work more than four hours at a stretch.
4
laikin shaa’ed1 us ko ye nahiN maalum2
keh Khud-kushi3 ke is mu’aahide5 par
1.perhaps 2.know 3.suicide 4.contract, agreement
But perhaps he did not know before making this suicidal contract …
5
us ne
baqaa’emi1 hosh-o-havaas2 dastaKhat3 kiye the
is bhaTTi4 ka eindhan5 dar-asl6 vo Khud7 hai
1.well balanced, controlled 2.awareness and knowledge 3.signature 4.furnace 5.fuel 6.in reality 7.himself
… that he in full control of his senses had signed this contract in which he himself was the fuel of this furnace.
The post sTeel milz ka ek Khusoosi mazdoor-parveen shakir appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/aKhsh-Khwaab-e-pareshaaN-ho-gaiiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
خوابِ پریشاں ہو گئیں ۔ داؤد خاں اخترؔ شیرانی
۱
عمر بھر کی تلخ بیداری کا ساماں ہو گئیں
ہائے وہ راتیں کہ جو خوابِ پریشاں ہو گئیں
۲
میں فِدا اُس چاند سے چہرے پہ جس کے نور سے
میرے خوابوں کی فضائیں یُوسُفِستاں ہو گئیں
۳
عمر بھر کم بخت کو پھر نیند آ سکتی نہیں
جس کی آنکھوں پر تری زلفیں پریشاں ہو گئیں
۴
دل کے پردوں میں تھیں جو جو حسرتیں پردہ نشیں
آج وہ آنکھوں میں آنسو بن کے عریاں ہو گئیں
۵
کچھ تجھے بھی ہے خبر او سونے والے ناز سے
میری راتیں لُٹ گئیں نیندیں پریشاں ہو گئیں
۶
ہائے وہ مایوسیوں میں میری اُمّیدوں کا رنگ
جو ستاروں کی طرح اُٹھ اُٹھ کے پنہاں ہو گئیں
۷
بس کرو او میری رونے والی آنکھو بس کرو
اب تو اپنے ظلم پر وہ بھی پشیماں ہو گئیں
۸
آہ وہ دن جو نہ آئے پھر گزر جانے کے بعد
ہائے وہ راتیں کہ جو خوابِ پریشاں ہو گئیں
۹
گلشنِ دل میں کہاں اخترؔ وہ رنگِ نو بہار
آرزوئیں چند کلیاں تھیں پریشاں ہو گئیں
ख़्वाब-ए परेशाँ हो गईं – दाऊद ख़ां अख़्तर शीरानी
१
उम्र-भर की तल्ख़ बेदारी का सामाँ हो गईं
हाए वो रातें के जो ख़्वाब-ए परेशाँ हो गईं
२
मैं फ़िदा उस चाँद से चेहरे पे जिस के नूर से
मेरे ख़्वाबों की फ़ज़ाएँ यूसुफ़िस्ताँ हो गईं
३
उम्र-भर कम-बख़्त को फिर नींद आ सकती नहीं
जिस की आँखों पर तेरी ज़ुल्फ़ें परेशाँ हो गईं
४
दिल के पर्दों में थीं जो जो हसरतें पर्दा-नशीं
आज वो आँखों में आँसू बन के उर्यां हो गईं
५
कुछ तुझे भी है ख़बर ओ सोने वाले नाज़ से
मेरी रातें लुट गईं नींदें परेशाँ हो गईं
६
हाए वो मायूसियों में मेरी उम्मीदों का रंग
जो सितारों की तरह उठ उठ के पिन्हाँ हो गईं
७
बस करो ओ मेरी रोने वाली आँखो बस करो
अब तो अपने ज़ुल्म पर वो भी पशेमाँ हो गईं
८
आह वो दिन जो न आए फिर गुज़र जाने के बा’द
हाए वो रातें के जो ख़्वाब-ए परेशाँ हो गईं
९
गुलशन-ए दिल में कहाँ अख़्तर वो रंग-ए नौ-बहार
आर्ज़ूएँ चंद कलियाँ थीं परेशाँ हो गईं
Click here for background and on any passage for word meanings and explanatory discussion. mohammed dawood KhaaN aKhtar shiiraani (1904-1948) ToNk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes. This Ghazal is linked to Ghalib naqsh-e qadam on the Theme Index page.
1
umr-bhar1 ki talKh2 bedaari3 ka saamaaN4 ho ga’iiN
haa’e vo raateN keh jo Khwaab-e-pareshaaN5 ho ga’iiN 1.life long 2.hard, bitter 3.sleeplessness, wakefulness 4.means, cause 5.nightmare
Something has happened. It is implied that the poet/lover has given his heart to the beloved. As a result of this his nights are like nightmares and have become the cause of his lifelong sleeplessness.
2
maiN fida1 uss chaaNd se chehre2 pe jis ke nuur3 se
mere KhwaaboN ki fazaa’eN4 yuusufistaaN5 ho ga’iiN 1.devotional offering 2.face, looks 3.brilliance 4.ambience, surroundings 5.land of yusuf
I offer myself in devotion to the moon-faced beloved whose brilliance has turned my dreams into the land of yusuf. The ‘land of yusuf’ needs a bit of adventurous interpretation. yusuf’s brothers had thrown him in a well in a fit of jealousy. A passing caravan fetched him out and auctioned him off as a slave. yusuf was considered the epitome of beauty. Thus, the land/domain of yusuf could be the domain of beauty. Thus, the beloved’s brilliance changed his dreams into a domain of beauty.
3
umr-bhar1 kam-baKht2 ko phir niiNd aa sakti nahiN
jis ki aaNkhoN par teri zulfeN3 pareshaaN4 ho ga’iiN 1.life-long 2.unfortunate 3.hair 4.spread
Here ‘aaNkhoN par’ means before the eyes. Thus any unfortunate one whose eyes have seen your hair uncovered, untied, spread out will never be able to sleep all night long (any night). But instead of ‘aaNkhoN par’ they become ‘baazu par pareshaaN ho gaiiN’ then the result is completely different. Said Ghalib …
niind us kii hai dimaaGh us kaa hai raateN us kii haiN
terii zulfeN jis ke baazuu par pareshaaN ho gaiiN
4
dil ke pardoN1 meN thiiN jo jo hasrateN2 parda-nashiN3
aaj voh aaNkhoN meN aaNsu4 ban ke uryaaN5 ho ga’iiN 1.layers, veils 2.longing 3.veiled, hidden 4.tears 5.naked, exposed, visible
The lover longs for the beloved but his keeps his longing hidden deep in the layers of his heart. But all those desires that were hidden/veiled in the heart, today became tears in the eyes of the lover and everyone could see what was going on.
5
kuchh tujhe bhi hai Khabar1 o sone vaale naaz2 se
meri raateN luT3 ga’iiN niiNdeN pareshaaN4 ho ga’iiN 1.awareness, knowledge 2.style 3.robbed 4.became nightmares
niiNd pareshaaN hona is like dreams turning into nightmares. It is implied that this is happening because he has given his heart to the beloved and she is indifferent to him. She sleeps soundly, in style and is not even aware that the nights of the lover have been robbed of sleep, his dreams have turned into nightmares.
6
haa’e voh maayusiyoN1 meN meri ummidoN2 ka raNg3
jo sitaaroN ki tarah4 uTh uTh ke pinhaaN5 ho ga’iiN 1.disappointments 2.hopes 3.colour, nature, character 4.like, similar to 5.hide, disappear
Alas, the nature/character of my hopes that turn into disappointments, like stars that rise and soon disappear. Perhaps he means shooting stars.
7
bas karo o meri rone vaali aaNkho bas karo
ab to apne zulm1 par voh bhi pashemaaN2 ho ga’iiN 1.cruelty 2.regret, repent
Enough crying O eyes. By now even she regrets her cruelty. Thus, the beloved seeing him so mournful, regrets that she has been cruel. There is a slight awkwardness with the ‘ho gaiiN’. It is much more common to refer to the beloved as ‘ho gaii’ rather than ‘ho gaiiN’.
8
aah voh din jo na aa’e phir guzar1 jaane ke baa’d
haa’e vo raateN keh jo Khwaab-e-pareshaaN2 ho ga’iiN 1.passing 2.nightmares
Alas, those nights that do not return once having passed. Alas, the nights that have changed into nightmares. What were the nights that have passed … probably not nights spent with the beloved. That would be very unusual in urdu poetic tradition. They are probably the nights before he saw her. They were peaceful and will never return.
9
gulshan-e dil meN kahaaN aKhtar1 vo raNg2-e nau-bahaar3
aarzu’eN4 chaNd5 kaliyaaN6 thiiN pareshaaN7 ho ga’iiN 1.pen-name of the poet 2.style, character 3.new spring 4.desires 5.a few 6.unblossomed buds 7.scattered
O aKhtar, how can there be a new/fresh spring in the garden of my heart. My desires were like a few unblossomed buds (not bloomed, unfulfilled desires) that got scattered.
mohammed dawood KhaaN aKhtar shiiraani (1904-1948) ToNk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes. This Ghazal is linked to Ghalib naqsh-e qadam on the Theme Index page.
1
umr-bhar1 ki talKh2 bedaari3 ka saamaaN4 ho ga’iiN
haa’e vo raateN keh jo Khwaab-e-pareshaaN5 ho ga’iiN
1.life long 2.hard, bitter 3.sleeplessness, wakefulness 4.means, cause 5.nightmare
Something has happened. It is implied that the poet/lover has given his heart to the beloved. As a result of this his nights are like nightmares and have become the cause of his lifelong sleeplessness.
2
maiN fida1 uss chaaNd se chehre2 pe jis ke nuur3 se
mere KhwaaboN ki fazaa’eN4 yuusufistaaN5 ho ga’iiN
1.devotional offering 2.face, looks 3.brilliance 4.ambience, surroundings 5.land of yusuf
I offer myself in devotion to the moon-faced beloved whose brilliance has turned my dreams into the land of yusuf. The ‘land of yusuf’ needs a bit of adventurous interpretation. yusuf’s brothers had thrown him in a well in a fit of jealousy. A passing caravan fetched him out and auctioned him off as a slave. yusuf was considered the epitome of beauty. Thus, the land/domain of yusuf could be the domain of beauty. Thus, the beloved’s brilliance changed his dreams into a domain of beauty.
3
umr-bhar1 kam-baKht2 ko phir niiNd aa sakti nahiN
jis ki aaNkhoN par teri zulfeN3 pareshaaN4 ho ga’iiN
1.life-long 2.unfortunate 3.hair 4.spread
Here ‘aaNkhoN par’ means before the eyes. Thus any unfortunate one whose eyes have seen your hair uncovered, untied, spread out will never be able to sleep all night long (any night). But instead of ‘aaNkhoN par’ they become ‘baazu par pareshaaN ho gaiiN’ then the result is completely different. Said Ghalib …
niind us kii hai dimaaGh us kaa hai raateN us kii haiN
terii zulfeN jis ke baazuu par pareshaaN ho gaiiN
4
dil ke pardoN1 meN thiiN jo jo hasrateN2 parda-nashiN3
aaj voh aaNkhoN meN aaNsu4 ban ke uryaaN5 ho ga’iiN
1.layers, veils 2.longing 3.veiled, hidden 4.tears 5.naked, exposed, visible
The lover longs for the beloved but his keeps his longing hidden deep in the layers of his heart. But all those desires that were hidden/veiled in the heart, today became tears in the eyes of the lover and everyone could see what was going on.
5
kuchh tujhe bhi hai Khabar1 o sone vaale naaz2 se
meri raateN luT3 ga’iiN niiNdeN pareshaaN4 ho ga’iiN
1.awareness, knowledge 2.style 3.robbed 4.became nightmares
niiNd pareshaaN hona is like dreams turning into nightmares. It is implied that this is happening because he has given his heart to the beloved and she is indifferent to him. She sleeps soundly, in style and is not even aware that the nights of the lover have been robbed of sleep, his dreams have turned into nightmares.
6
haa’e voh maayusiyoN1 meN meri ummidoN2 ka raNg3
jo sitaaroN ki tarah4 uTh uTh ke pinhaaN5 ho ga’iiN
1.disappointments 2.hopes 3.colour, nature, character 4.like, similar to 5.hide, disappear
Alas, the nature/character of my hopes that turn into disappointments, like stars that rise and soon disappear. Perhaps he means shooting stars.
7
bas karo o meri rone vaali aaNkho bas karo
ab to apne zulm1 par voh bhi pashemaaN2 ho ga’iiN
1.cruelty 2.regret, repent
Enough crying O eyes. By now even she regrets her cruelty. Thus, the beloved seeing him so mournful, regrets that she has been cruel. There is a slight awkwardness with the ‘ho gaiiN’. It is much more common to refer to the beloved as ‘ho gaii’ rather than ‘ho gaiiN’.
8
aah voh din jo na aa’e phir guzar1 jaane ke baa’d
haa’e vo raateN keh jo Khwaab-e-pareshaaN2 ho ga’iiN
1.passing 2.nightmares
Alas, those nights that do not return once having passed. Alas, the nights that have changed into nightmares. What were the nights that have passed … probably not nights spent with the beloved. That would be very unusual in urdu poetic tradition. They are probably the nights before he saw her. They were peaceful and will never return.
9
gulshan-e dil meN kahaaN aKhtar1 vo raNg2-e nau-bahaar3
aarzu’eN4 chaNd5 kaliyaaN6 thiiN pareshaaN7 ho ga’iiN
1.pen-name of the poet 2.style, character 3.new spring 4.desires 5.a few 6.unblossomed buds 7.scattered
O aKhtar, how can there be a new/fresh spring in the garden of my heart. My desires were like a few unblossomed buds (not bloomed, unfulfilled desires) that got scattered.
The post Khwaab-e pareshaaN ho gaiiN-aKhtar shiiraani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/dKhaKhsh-charaaGh-e-shabistaan-e-aarzu-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2024/08/dKhaKhsh-charaaGh-e-shabistaan-e-aarzu-munavvar-sultana.mp3
munavvar sultaana
- اُردو
- देवनागरी
- Roman
- Notes
چراغِ شبستانِ آرزو ۔ داؤد خاں اخترؔ شیرانی
۱
میں آرزوئے جاں لکھوں یا جانِ آرزو
تو ہی بتا دے ناز سے ایمانِ آرزو
۲
آنسو نکل رہے ہیں تصوّر میں بن کے پھول
شاداب ہو رہا ہے گلستانِ آرزو
۳
ایمان و جاں نثار تری اک نگاہ پر
تُو جانِ آرزو ہے تُو ایمانِ آرزو
۴
ہونے کو ہے طلوع صباحِ شبِ وصال
بجھنے کو ہے چراغِ شبستانِ آرزو
۵
اک وہ کہ آرزؤں پہ جیتے ہیں عمر بھر
اک ہم کہ ہیں ابھی سے پشیمانِ آرزو
۶
آنکھوں سے جوئے خوں ہے رواں دل ہے داغ داغ
دیکھے کوئی بہارِ گلستانِ آرزو
۷
دل میں نشاطِ رفتہ کی دھندلی سی یاد ہے
یا شمعِ وصل ہے تہ دامانِ آرزو
۸
اخترؔ کو زندگی کا بھروسہ نہیں رہا
جب سے لٹا چکے سر و سامانِ آرزو
चराग़-ए शबिस्तान-ए आर्ज़ू – दाऊद ख़ां अख़्तर शीरानी
१
मैं आर्ज़ू-ए जाँ लिखूँ या जान-ए आर्ज़ू
तू ही बता दे नाज़ से ईमान-ए आर्ज़ू
२
आँसू निकल रहे हैं तसव्वुर में बन के फूल
शादाब हो रहा है गुलिस्तान-ए आर्ज़ू
३
ईमान ओ जाँ निसार तेरी एक निगाह पर
तू जान-ए आर्ज़ू है तू ईमान-ए आर्ज़ू
४
होने को है तुलू’-ए सबाह-ए शब-ए विसाल
बुझने को है चराग़-ए शबिस्तान-ए आर्ज़ू
५
एक वो के आर्ज़ुओं पे जीते हैं उम्र भर
एक हम के हैं अभी से पशेमान-ए आर्ज़ू
६
आँखों से जू-ए ख़ूँ है रवाँ दिल है दाग़ दाग़
देखे कोई बहार-ए गुलिस्तान-ए आर्ज़ू
७
दिल में नशात-ए रफ़्ता की धुँदली सी याद है
या शम-ए वस्ल है तह-ए दामान-ए आर्ज़ू
८
अख़्तर को ज़िंदगी का भरोसा नहीं रहा
जब से लुटा चुके सर-ओ-सामान-ए आर्ज़ू
Click here for background and on any passage for word meanings and explanatory discussion. mohammed dawood KhaaN aKhtar shiiraani (1904-1948) ToNk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes.
1
maiN aarzu-e-jaaN1 likhuN ya jaan-e-aarzu2
tu hi bata de naaz3 se iimaan-e-aarzu4 1.desire of my life 2.life of my desire 3.pride, style 4.belief/sanctity of desire
The poet says – the beloved is the desire of his life i.e., the main purpose of his life, without her, his life is meaningless. The beloved can also be the life of his desire i.e., his desire derives its strength . Thus, what should I call you, he asks. You tell me with all your pride/coquetry O faith of my desire i.e., the only faith the lover has is in love of the beloved.
2
aaNsu nikal rahe haiN tasavvur1 meN ban ke phuul
shaadaab2 ho raha hai gulistaan-e aarzu 1.imagination 2.verdant, blooming
In the lover’s imagination the world of his desire (love for the beloved) is a garden which he waters with his profuse tears which then appears as flowers and the garden blooms.
3
iimaan1 o jaaN2 nisaar3 teri ek nigaah4 par
tu jaan-e-aarzu5 hai tu iimaan-e-aarzu6 1.faith 2.life 3.devotional offering 4.glance 5.life of desire 6.faith of desire
The lover is ready of offer his faith and his life (this world and the next) in devotion to a single glance of the beloved. He says – you are the life and faith of my desire.
4
hone ko hai tuluu’1 sabaah2-e shab3-e visaal4
bujhne ko hai charaaGh-e shabistaan5-e aarzu 1.emerge, rise 2.morning, dawn 3.night 4.union 5.bedchamber
This was the night of union with the beloved. It has passed and dawn is about to emerge. The light of the bedchamber of desire is about to be extinguished. The implication is that this is not an actual physical union but his intense desire has transformed it into a night of union in his imagination, but even that is about to end.
5
ek voh keh aarzuoN1 pe jiite haiN umr-bhar2
ek ham keh haiN abhi se pashemaan3-e aarzu 1.desires 2.life-long 3.insulted, repentent
There is the rival who has lived all his life on the basis of his desire. And then there is the lover who is already insulted/abandoned by desire i.e., he has become hopeless … or perhaps he has been made so hopeless that he repents falling in love.
6
aaNkhoN se juu1-e KhuN hai ravaaN2 dil hai daaGh-daaGh3
dekhe koi bahaar4-e gulistaan5-e aarzu 1.river 2.flowing 3.wounded 4.spring, blooms 5.garden
It is conventional in poetic tradition to describe wounds as flowers, because of the red colour of blood from wounds and colour of flowers. The lover is crying tears of blood, so profusely that a river of blood flows from his eyes. On top of it, his heart/bosom as so many wounds that they appear like garden of flowers. He invites people to see his condition.
7
dil meN nashaat1-e rafta2 ki dhundli3 si yaad hai
ya sham’4-e vasl5 hai tah6-e daamaan7-e aarzu 1.pleasure, joy 2.past 3.dim, foggy 4.candle 5.union 6.beneath 7.hem of the garment
The forlorn lover is nostalgic about days gone by. He has a dim/vague memory of pleasure … or is it the candle of union (with the beloved) under the hem of the garment of desire? It is very likely that he has worked up that pleasure of union is his imagination. Thus, his intense desire has hidden under the hem of its garment a candle/light/hope of union. What appears to him to be a vague memory is actually the imagination of the intensity of his desire.
8
aKhtar1 ko zindagi ka bharosa2 nahiN raha
jab se luTa3 chuke sar-o-saamaan4-e aarzu 1.pen-name of the poet 2.trust 3.plundered 4.belongings/possessions, essence and means
The lover has been looted/plundered of the essence of his desire and of the means by which he could sustain his desire i.e., he has lost all hope that he will ever be able to achieve union with the beloved. As a result, he has lost all faith/trust in life.
mohammed dawood KhaaN aKhtar shiiraani (1904-1948) ToNk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes.
1
maiN aarzu-e-jaaN1 likhuN ya jaan-e-aarzu2
tu hi bata de naaz3 se iimaan-e-aarzu4
1.desire of my life 2.life of my desire 3.pride, style 4.belief/sanctity of desire
The poet says – the beloved is the desire of his life i.e., the main purpose of his life, without her, his life is meaningless. The beloved can also be the life of his desire i.e., his desire derives its strength . Thus, what should I call you, he asks. You tell me with all your pride/coquetry O faith of my desire i.e., the only faith the lover has is in love of the beloved.
2
aaNsu nikal rahe haiN tasavvur1 meN ban ke phuul
shaadaab2 ho raha hai gulistaan-e aarzu
1.imagination 2.verdant, blooming
In the lover’s imagination the world of his desire (love for the beloved) is a garden which he waters with his profuse tears which then appears as flowers and the garden blooms.
3
iimaan1 o jaaN2 nisaar3 teri ek nigaah4 par
tu jaan-e-aarzu5 hai tu iimaan-e-aarzu6
1.faith 2.life 3.devotional offering 4.glance 5.life of desire 6.faith of desire
The lover is ready of offer his faith and his life (this world and the next) in devotion to a single glance of the beloved. He says – you are the life and faith of my desire.
4
hone ko hai tuluu’1 sabaah2-e shab3-e visaal4
bujhne ko hai charaaGh-e shabistaan5-e aarzu
1.emerge, rise 2.morning, dawn 3.night 4.union 5.bedchamber
This was the night of union with the beloved. It has passed and dawn is about to emerge. The light of the bedchamber of desire is about to be extinguished. The implication is that this is not an actual physical union but his intense desire has transformed it into a night of union in his imagination, but even that is about to end.
5
ek voh keh aarzuoN1 pe jiite haiN umr-bhar2
ek ham keh haiN abhi se pashemaan3-e aarzu
1.desires 2.life-long 3.insulted, repentent
There is the rival who has lived all his life on the basis of his desire. And then there is the lover who is already insulted/abandoned by desire i.e., he has become hopeless … or perhaps he has been made so hopeless that he repents falling in love.
6
aaNkhoN se juu1-e KhuN hai ravaaN2 dil hai daaGh-daaGh3
dekhe koi bahaar4-e gulistaan5-e aarzu
1.river 2.flowing 3.wounded 4.spring, blooms 5.garden
It is conventional in poetic tradition to describe wounds as flowers, because of the red colour of blood from wounds and colour of flowers. The lover is crying tears of blood, so profusely that a river of blood flows from his eyes. On top of it, his heart/bosom as so many wounds that they appear like garden of flowers. He invites people to see his condition.
7
dil meN nashaat1-e rafta2 ki dhundli3 si yaad hai
ya sham’4-e vasl5 hai tah6-e daamaan7-e aarzu
1.pleasure, joy 2.past 3.dim, foggy 4.candle 5.union 6.beneath 7.hem of the garment
The forlorn lover is nostalgic about days gone by. He has a dim/vague memory of pleasure … or is it the candle of union (with the beloved) under the hem of the garment of desire? It is very likely that he has worked up that pleasure of union is his imagination. Thus, his intense desire has hidden under the hem of its garment a candle/light/hope of union. What appears to him to be a vague memory is actually the imagination of the intensity of his desire.
8
aKhtar1 ko zindagi ka bharosa2 nahiN raha
jab se luTa3 chuke sar-o-saamaan4-e aarzu
1.pen-name of the poet 2.trust 3.plundered 4.belongings/possessions, essence and means
The lover has been looted/plundered of the essence of his desire and of the means by which he could sustain his desire i.e., he has lost all hope that he will ever be able to achieve union with the beloved. As a result, he has lost all faith/trust in life.
The post charaaGh-e shabistaan-e aarzu-aKhtar shiiraani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/dKhaKhsh-naGhma-e-zindagi-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
نغمۂ زندگی ۔ داؤد خاں اخترؔ شیرانی
۱
بربتِ کائنات پر نغمہ سرا ہے زندگی ۔ مستِ نوا ہے زندگی
وادیِ مہر و ماہ تک بال کشا ہے زندگی ۔ جلوہ نما ہے زندگی
۲
جس کی کچھ اِبتدا نہیں جس کی کچھ اِنتہا نہیں ۔ جس کو کبھی فنا نہیں
خواب گہِ فنا میں وہ موجِ صدا ہے زندگی ۔ رقصِ صبا ہے زندگی
۳
موسمِ شعلہ بار میں دامنِ کشت زار میں ۔ سینہ کاشتکار میں
بن کے لہو کا اضطراب ہمہمہ زا ہے زندگی ۔ نغمہ سرا ہے زندگی
۴
جام ہیں مختلف تو ہوں ان میں شراب ایک ہے ۔ بادۂ ناب ایک ہے
سازِ فنا میں مشترک ایک صدا ہے زندگی ۔ ایک نوا ہے زندگی
۵
رہروِ راہِ اِرتقا کے لیے اک مقام ہے ۔ راہزنِ خرام ہے
لے کے عدم سے تا عدم ایک فضا ہے زندگی ۔ راہ نما ہے زندگی
۶
اُس کی ہوائے تند پر تیر رہی ہے کائنات ۔ مستِ شرابِ حِسّیات
طائرِ دہر کے لیے ایک فضا ہے زندگی ۔ کیا کہوں کیا ہے زندگی
नग़्मा-ए ज़िन्दगी – दाऊद ख़ां अख़्तर शीरानी
१
बरबत-ए काएनात पर नग़्मा-सरा है ज़िन्दगी – मस्त-ए नवा है ज़िन्दगी
वादी-ए महर-ओ-माह तक बाल-कुशा है ज़िन्दगी – जल्वा-नुमा है ज़िन्दगी
२
जिस की कुछ इब्तेदा नहीं जिस की कुछ इन्तेहा नहीं – जिस को कभी फ़ना नहीं
ख़्वाब गह-ए फ़ना में वो मौज-ए सदा है ज़िन्दगी – रक़्स-ए सबा है ज़िन्दगी
३
मौसम-ए शो’ला-बार में दामन-ए किश्त-ज़ार में – सीना-ए काश्तकार में
बन के लहू का इज़्तेराब हम्हमा-ज़ा है ज़िन्दगी – नग़्मा-सरा है ज़िन्दगी
४
जाम हैं मुख़्तलिफ़ तो हों इन में शराब एक है – बादा-ए नाब एक है
साज़-ए फ़ना में मुश्तरक एक सदा है ज़िन्दगी – एक नवा है ज़िन्दगी
५
रहरव-ए राह-ए इर्तेक़ा के लिए एक मक़ाम है – राहज़न-ए ख़िराम है
ले के अदम से ता अदम एक फ़िज़ा है ज़िन्दगी – राह-नुमा है ज़िन्दगी
६
उस की हवा-ए तुंद पर तैर रही है काएनात – मस्त-ए शराब-ए हस्सियात
ताएर-ए दहर के लिए एक फ़िज़ा है ज़िन्दगी – क्या कहूँ क्या है ज़िन्दगी
Click here for background and on any passage for word meanings and explanatory discussion. mohammed dawood KhaaN aKhtar shiiraani (1904-1948) Tonk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes, but this nazm shows that he did venture beyond romance.
1
barbat1-e kaa’enaat2 par naGhma-sara3 hai zindagi – mast4-e navaa5 hai zindagi
vaadi6-e mahr-o-maah7 tak baal-kusha8 hai zindagi – jalva-numa9 hai zindagi 1.lute 2.universe 3.singing songs 4.intoxicated 5.sound 6.valley 7.sun and moon 8.hair untied, uncovered and flowing 9.displaying beauty
Life sings to the melody/harmony of the music of the lute of the universe. It is intoxicated by this sound. In the second misra life is represented as a beautiful maiden, her untied, uncovered and flowing. The valley of the sun and moon can be the earth itself. Thus, on earth, life-the beautiful maiden, is enticingly displaying her beauty. Thus, it is in harmony with the universe and beautiful and attractive on earth.
2
jis ki kuchh ibteda1 nahiN jis ki kuchh inteha2 nahiN – jis ko kabhi fana3 nahiN
Khwaab-gah4-e fana3 meN voh mauj5-e sada6 hai zindagi – raqs7-e saba8 hai zindagi 1.beginning 2.ending 3.annihilation, non-existence 4.bed-chamber, realm 5.wave, gust 6.sound 7.dance 8.breeze
Life and death here should not be interpreted as events for any one individual but the cosmic rhythm of life-death-rejunvation much like ali sardar jafri’s ‘mera safar’. Thus, life is eternal without a beginning or an end. It has no non-existence or annihilation. ‘Khwaab-gah-e fana’ taken as a single expression can mean the realm of death. Thus, even in the realm of death life is rhythmic/beat, a reverberating sound. Life is the dance of the morning breeze. Thus, there is a rhythm of renewal, a throbbing energy in life.
3
mausam1-e sho’la-baar2 meN daaman3-e kisht-zaar4 meN – seena5-e kaashtkaar6 meN
ban ke lahu7 ka izteraab8 hamhama-zaa9 hai zindagi – naGhma-sara10 hai zindagi 1.season 2.flame-raining 3.hem of the garment 4.field of cultivation 5.bosom, heart 6.farmer, cultivator 7.blood 8.restlessness, throbbing 9.tumult raising 10.songster
It is possible to think of the ‘kaashtkaar’ as the divine cultivator/sustainer of life; of ‘daaman-e kisht-zaar’ as the earth itself in which life is nurtured; ‘mausam-e sho’la-baar’ as the time when calamities rain down on life. Thus, when calamities rain down on this field of cultivation (the earth) then in the bosom/heart of the divine cultivator, life raises a tumult (perhaps a protest) while at the same time the throbbing vitality of life’s blood and its harmonious song continues.
4
jaam1 haiN muKhtalif2 to hoN in meN sharaab ek hai – baada3-e naab4 ek hai
saaz-e-fana5 meN mushtarak6 ek sada7 hai zindagi – ek nava8 hai zindagi 1.cups 2.different 3.wine 4.pure 5.music of death 6.mingled, included 7.sound 8.call
It is the same universal spirit – pure wine that fills all cups/vessels/bodies. In the music of death is included the same/universal rhythm/sound of life.
5
rahrav1-e raah2-e irteqa3 ke liye aek maqaam4 hai – rahzan5-e Khiraam6 hai
le ke adam7 se taa8 adam aek faza9 hai zindagi – raah-numa10 hai zindagi 1.traveler, seeker 2.path 3.progress 4.place, stage 5.robber 6.graceful/leisurely walk, gait 7.non-existence 8.until 9.air, ambience 10.guide
The traveler/seeker is going along the path of progress. Life is but one stage along this journey. But it is a dynamic/restless stage which robs you of leisure. From non-existence to non-existence (from before birth to after death), life is the same ambience, the same harmony. This life is a guide to the longer journey.
6
uss ki havaa1-e tund2 par tai’r3 rahi hai kaae’naat4 – mast5-e sharaab-e hissiyaat6
taa’er7-e dahr8 ke liye ek faza9 hai zindagi – kya kahuN kya hai zindagi
1.wind 2.fast 3.swimming 4.universe 5.intoxicated 6.senses, feel and touch 7.bird 8.world 9.air, wind
The universe itself floats/swims along the fast wind of life i.e., the process creation and destruction and recreation is not confined to life on earth but the whole univers goes though it. Life is intoxicated with/fascinated by the sights and sounds around it. For the bird flying through this world, life is the wind that sustains i.e., life floats along what it can see, touch and feel but there is something mysterious beyond it … what can I say, how can I describe what life is.
mohammed dawood KhaaN aKhtar shiiraani (1904-1948) Tonk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes, but this nazm shows that he did venture beyond romance.
1
barbat1-e kaa’enaat2 par naGhma-sara3 hai zindagi – mast4-e navaa5 hai zindagi
vaadi6-e mahr-o-maah7 tak baal-kusha8 hai zindagi – jalva-numa9 hai zindagi
1.lute 2.universe 3.singing songs 4.intoxicated 5.sound 6.valley 7.sun and moon 8.hair untied, uncovered and flowing 9.displaying beauty
Life sings to the melody/harmony of the music of the lute of the universe. It is intoxicated by this sound. In the second misra life is represented as a beautiful maiden, her untied, uncovered and flowing. The valley of the sun and moon can be the earth itself. Thus, on earth, life-the beautiful maiden, is enticingly displaying her beauty. Thus, it is in harmony with the universe and beautiful and attractive on earth.
2
jis ki kuchh ibteda1 nahiN jis ki kuchh inteha2 nahiN – jis ko kabhi fana3 nahiN
Khwaab-gah4-e fana3 meN voh mauj5-e sada6 hai zindagi – raqs7-e saba8 hai zindagi
1.beginning 2.ending 3.annihilation, non-existence 4.bed-chamber, realm 5.wave, gust 6.sound 7.dance 8.breeze
Life and death here should not be interpreted as events for any one individual but the cosmic rhythm of life-death-rejunvation much like ali sardar jafri’s ‘mera safar’. Thus, life is eternal without a beginning or an end. It has no non-existence or annihilation. ‘Khwaab-gah-e fana’ taken as a single expression can mean the realm of death. Thus, even in the realm of death life is rhythmic/beat, a reverberating sound. Life is the dance of the morning breeze. Thus, there is a rhythm of renewal, a throbbing energy in life.
3
mausam1-e sho’la-baar2 meN daaman3-e kisht-zaar4 meN – seena5-e kaashtkaar6 meN
ban ke lahu7 ka izteraab8 hamhama-zaa9 hai zindagi – naGhma-sara10 hai zindagi
1.season 2.flame-raining 3.hem of the garment 4.field of cultivation 5.bosom, heart 6.farmer, cultivator 7.blood 8.restlessness, throbbing 9.tumult raising 10.songster
It is possible to think of the ‘kaashtkaar’ as the divine cultivator/sustainer of life; of ‘daaman-e kisht-zaar’ as the earth itself in which life is nurtured; ‘mausam-e sho’la-baar’ as the time when calamities rain down on life. Thus, when calamities rain down on this field of cultivation (the earth) then in the bosom/heart of the divine cultivator, life raises a tumult (perhaps a protest) while at the same time the throbbing vitality of life’s blood and its harmonious song continues.
4
jaam1 haiN muKhtalif2 to hoN in meN sharaab ek hai – baada3-e naab4 ek hai
saaz-e-fana5 meN mushtarak6 ek sada7 hai zindagi – ek nava8 hai zindagi
1.cups 2.different 3.wine 4.pure 5.music of death 6.mingled, included 7.sound 8.call
It is the same universal spirit – pure wine that fills all cups/vessels/bodies. In the music of death is included the same/universal rhythm/sound of life.
5
rahrav1-e raah2-e irteqa3 ke liye aek maqaam4 hai – rahzan5-e Khiraam6 hai
le ke adam7 se taa8 adam aek faza9 hai zindagi – raah-numa10 hai zindagi
1.traveler, seeker 2.path 3.progress 4.place, stage 5.robber 6.graceful/leisurely walk, gait 7.non-existence 8.until 9.air, ambience 10.guide
The traveler/seeker is going along the path of progress. Life is but one stage along this journey. But it is a dynamic/restless stage which robs you of leisure. From non-existence to non-existence (from before birth to after death), life is the same ambience, the same harmony. This life is a guide to the longer journey.
6
uss ki havaa1-e tund2 par tai’r3 rahi hai kaae’naat4 – mast5-e sharaab-e hissiyaat6
taa’er7-e dahr8 ke liye ek faza9 hai zindagi – kya kahuN kya hai zindagi
1.wind 2.fast 3.swimming 4.universe 5.intoxicated 6.senses, feel and touch 7.bird 8.world 9.air, wind
The universe itself floats/swims along the fast wind of life i.e., the process creation and destruction and recreation is not confined to life on earth but the whole univers goes though it. Life is intoxicated with/fascinated by the sights and sounds around it. For the bird flying through this world, life is the wind that sustains i.e., life floats along what it can see, touch and feel but there is something mysterious beyond it … what can I say, how can I describe what life is.
The post naGhma-e zindagi-aKhtar shiiraani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/dKhaKhsh-hameN-barbaad-na-kar-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2024/08/dKhaKhsh-hameN-barbaad-na-kar-nayyara-noor.mp3
nayyara noor
- اُردو
- देवनागरी
- Roman
- Notes
ہمیں برباد نہ کر ۔ داؤد خاں اخترؔ شیرانی
۱
اے عشق نہ چھیڑ آ آ کے ہمیں ہم بھولے ہوؤں کو یاد نہ کر
پہلے ہی بہت ناشاد ہیں ہم تو اور ہمیں ناشاد نہ کر
قِسمت کا ستم ہی کم نہیں کچھ یہ تازہ ستم ایجاد نہ کر
یوں ظلم نہ کر بیداد نہ کر
اے عشق ہمیں برباد نہ کر
۲
جس دن سے ملے ہیں دونوں کا سب چین گیا آرام گیا
چہروں سے بہارِ صبح گئی آنکھوں سے فروغِ شام گیا
ہاتھوں سے خوشی کا جام چھٹا ہونٹوں سے ہنسی کا نام گیا
غمگیں نہ بنا ناشاد نہ کر
اے عشق ہمیں برباد نہ کر
۳
ہم راتوں کو اُٹھ کر روتے ہیں رو رو کے دعائیں کرتے ہیں
آنکھوں میں تصوّر دل میں خلِش سر دُھنتے ہیں آہیں بھرتے ہیں
اے عشق یہ کیسا روگ لگا جیتے ہیں نہ ظالم مرتے ہیں
یہ ظلم تو اے جلاد نہ کر
اے عشق ہمیں برباد نہ کر
۴
یہ روگ لگا ہے جب سے ہمیں رنجیدہ ہوں میں بیمار ہے وہ
ہر وقت تپِش ہر وقت خلِش بے خواب ہوں میں بے دار ہے وہ
جینے سے اِدھر بیزار ہوں میں مرنے پہ ادھر تیار ہے وہ
اور ضبط کہے فریاد نہ کر
اے عشق ہمیں برباد نہ کر
۵
جس دن سے بندھا ہے دھیان ترا گھبرائے ہوئے سے رہتے ہیں
ہر وقت تصور کر کر کے شرمائے ہوئے سے رہتے ہیں
کُمھلائے ہوئے پھولوں کی طرح کُمھلائے ہوئے سے رہتے ہیں
پامال نہ کر برباد نہ کر
اے عشق ہمیں برباد نہ کر
۶
بے درد! ذرا اِنصاف تو کر اس عمر میں اور مغموم ہے وہ
پھولوں کی طرح نازک ہے ابھی تاروں کی طرح معصوم ہے وہ
یہ حسن ستم! یہ رنجِ غضب! مجبور ہوں میں مظلوم ہے وہ
مظلوم پہ یوں بیداد نہ کر
اے عشق ہمیں برباد نہ کر
۷
اے عشق خدارا دیکھ کہیں وہ شوخ حزیں بدنام نہ ہو
وہ ماہ لقا بدنام نہ ہو وہ زہرہ جبیں بدنام نہ ہو
ناموس کا اُس کے پاس رہے وہ پردہ نشیں بدنام نہ ہو
اس پردہ نشیں کو یاد نہ کر
اے عشق ہمیں برباد نہ کر
۸
اُمّید کی جھوٹی جنّت کے رہ رہ کے نہ دکھلا خواب ہمیں
آئندہ کی فرضی عِشرت کے وعدوں سے نہ کر بیتاب ہمیں
کہتا ہے زمانہ جس کو خوشی آتی ہے نظر کمیاب ہمیں
چھوڑ ایسی خوشی کو یاد نہ کر
اے عشق ہمیں برباد نہ کر
۹
کیا سمجھے تھے اور تُو کیا نکلا یہ سوچ کے ہی حیران ہیں ہم
ہے پہلے پہل کا تجربہ اور کم عمر ہیں ہم انجان ہیں ہم
اے عشق! خدآرا! رحم و کرم معصوم ہیں ہم نادان ہیں ہم
نادان ہیں ہم ناشاد نہ کر
اے عشق ہمیں برباد نہ کر
۱۰
وہ راز ہے یہ غم آہ جسے پا جائے کوئی تو خیر نہیں
آنکھوں سے جب آنسو بہتے ہیں آ جائے کوئی تو خیر نہیں
ظالم ہے یہ دنیا دل کو یہاں بھا جائے کوئی تو خیر نہیں
ہے ظلم مگر فریاد نہ کر
اے عشق ہمیں برباد نہ کر
۱۱
دو دن ہی میں عہدِ طفلی کے معصوم زمانے بھول گئے
آنکھوں سے وہ خوشیاں مِٹ سی گئیں لب کو وہ ترانے بھول گئے
اِن پاک بہشتی خوابوں کے دلچسپ فسانے بھول گئے
ان خوابوں سے یوں آزاد نہ کر
اے عشق ہمیں برباد نہ کر
۱۲
اُس جانِ حیا کا بس نہیں کچھ بے بس ہے پرائے بس میں ہے
بے درد دلوں کو کیا ہے خبر جو پیار یہاں آپس میں ہے
ہے بے بسی زہر اور پیار ہے رس یہ زہر چھپا اس رس میں ہے
کہتی ہے حیا فریاد نہ کر
اے عشق ہمیں برباد نہ کر
۱۳
آنکھوں کو یہ کیا آزار ہوا ہر جذبِ نہاں پر رو دینا
آہنگِ طرب پر جُھک جانا آوازِ فغاں پر رو دینا
بربط کی صدا پر رو دینا مُطرِب کے بیاں پر رو دینا
احساس کو غم بنیاد نہ کر
اے عشق ہمیں برباد نہ کر
۱۴
ہر دم ابدی راحت کا سماں دکھلا کے ہمیں دلگیر نہ کر
للٰلہ حبابِ آبِ رواں پر نقشِ بقا تحریر نہ کر
مایوسی کے رمتے بادل پر اُمّید کے گھر تعمیر نہ کر
تعمیر نہ کر آباد نہ کر
اے عشق ہمیں برباد نہ کر
۱۵
جی چاہتا ہے اک دوسرے کو یوں آٹھ پہر ہم یاد کریں
آنکھوں میں بسائیں خوابوں کو اور دل میں خیال آباد کریں
خلوت میں بھی ہو جلوت کا سماں وحدت کو دوئی سے شاد کریں
یہ آرزوئیں ایجاد نہ کر
اے عشق ہمیں برباد نہ کر
۱۶
دنیا کا تماشا دیکھ لیا غمگین سی ہے بیتاب سی ہے
اُمّید یہاں اک وہم سی ہے تسکین یہاں اک خواب سی ہے
دنیا میں خوشی کا نام نہیں دنیا میں خوشی نایاب سی ہے
دنیا میں خوشی کو یاد نہ کر
اے عشق ہمیں برباد نہ کر
हमें बर्बाद न कर – अख़्तर शीरानी
१
अए इश्क़ न छेड़ आ आ के हमें हम भूले हुओं को याद न कर
पहले ही बहुत नाशाद हैं हम तू और हमें नाशाद न कर
क़िस्मत का सितम ही कम नहीं कुछ ये ताज़ा सितम ईजाद न कर
यूँ ज़ुल्म न कर बे-दाद न कर
अए इश्क़ हमें बर्बाद न कर
२
जिस दिन से मिले हैं दोनों का सब चैन गया आराम गया
चेहरों से बहार-ए सुब्ह गई आँखों से फ़रोग़-ए शाम गया
हाथों से ख़ुशी का जाम छुटा होंटों से हँसी का नाम गया
ग़मगीं न बना नाशाद न कर
अए इश्क़ हमें बर्बाद न कर
३
हम रातों को उठ कर रोते हैं रो रो के दुआएँ करते हैं
आँखों में तसव्वुर दिल में ख़लिश सर धुनते हैं आहें भरते हैं
अए इश्क़ ये कैसा रोग लगा जीते हैं न ज़ालिम मरते हैं
ये ज़ुल्म तू अए जल्लाद न कर
अए इश्क़ हमें बर्बाद न कर
४
ये रोग लगा है जब से हमें रंजीदा हूँ मैं बीमार है वो
हर वक़्त तपिश हर वक़्त ख़लिश बे-ख़्वाब हूँ मैं बेदार है वो
जीने से इधर बेज़ार हूँ मैं मरने पे उधर तय्यार है वो
और ज़ब्त कहे फ़र्याद न कर
अए इश्क़ हमें बर्बाद न कर
५
जिस दिन से बँधा है ध्यान तेरा घबराए हुए से रहते हैं
हर वक़्त तसव्वुर कर कर के शरमाए हुए से रहते हैं
कुम्हलाए हुए फूलों की तरह कुम्हलाए हुए से रहते हैं
पामाल न कर बर्बाद न कर
अए इश्क़ हमें बर्बाद न कर
६
बेदर्द! ज़रा इंसाफ़ तो कर इस उम्र में और मग़्मूम है वो
फूलों की तरह नाज़ुक है अभी तारों की तरह मासूम है वो
ये हुस्न सितम! ये रंज ग़ज़ब! मज्बूर हूँ मैं मज़्लूम है वो
मज़्लूम पे यूँ बे-दाद न कर
अए इश्क़ हमें बर्बाद न कर
७
अए इश्क़ ख़ुदारा देख कहीं वो शूख़ हज़ीं बद-नाम न हो
वो माह-लक़ा बद-नाम न हो वो ज़ोहरा-जबीं बद-नाम न हो
नामूस का उस के पास रहे वो पर्दा-नशीं बद-नाम न हो
उस पर्दा-नशीं को याद न कर
अए इश्क़ हमें बर्बाद न कर
८
उम्मीद की झूटी जन्नत के रह रह के न दिखला ख़्वाब हमें
आइंदा की फ़र्ज़ी इश्रत के वादों से न कर बेताब हमें
कहता है ज़माना जिस को ख़ुशी आती है नज़र कमयाब हमें
छोढ ऐसी ख़ुशी को याद न कर
अए इश्क़ हमें बर्बाद न कर
९
क्या समझे थे और तू क्या निकला ये सोच के ही हैरान हैं हम
है पहले-पहल का तजरबा और कम-उम्र हैं हम अंजान हैं हम
अए इश्क़! ख़ुदारा! रहम-ओ-करम मासूम हैं हम नादान हैं हम
नादान हैं हम नाशाद न कर
अए इश्क़ हमें बर्बाद न कर
१०
वो राज़ है ये ग़म आह जिसे पा जाए कोई तो ख़ैर नहीं
आँखों से जब आँसू बहते हैं आ जाए कोई तो ख़ैर नहीं
ज़ालिम है ये दुनिया दिल को यहाँ भा जाए कोई तो ख़ैर नहीं
है ज़ुल्म मगर फ़रियाद न कर
अए इश्क़ हमें बर्बाद न कर
११
दो दिन ही में अहद-ए तिफ़्ली के मासूम ज़माने भूल गए
आँखों से वो ख़ुशियाँ मिट सी गईं लब को वो तराने भूल गए
उन पाक बेहिश्ती ख़्वाबों के दिलचस्प फ़साने भूल गए
इन ख़्वाबों से यूँ आज़ाद न कर
अए इश्क़ हमें बर्बाद न कर
१२
उस जान-ए हया का बस नहीं कुछ बे-बस है पराए बस में है
बे-दर्द दिलों को क्या है ख़बर जो प्यार यहाँ आपस में है
है बेबसी ज़हर और प्यार है रस ये ज़हर छुपा इस रस में है
कहती है हया फ़रियाद न कर
अए इश्क़ हमें बर्बाद न कर
१३
आँखों को ये क्या आज़ार हुआ हर जज़्ब-ए नेहाँ पर रो देना
आहंग-ए तरब पर झुक जाना आवाज़-ए फ़ुग़ाँ पर रो देना
बरबत की सदा पर रो देना मुतरिब के बयाँ पर रो देना
एहसास को ग़म-बुनियाद न कर
अए इश्क़ हमें बर्बाद न कर
१४
हर दम अबदी राहत का समाँ दिखला के हमें दिल-गीर न कर
लिल्लाह हबाब-ए आब-ए रवाँ पर नक़्श-ए बक़ा तहरीर न कर
मायूसी के रमते बादल पर उम्मीद के घर ता’मीर न कर
ता’मीर न कर आबाद न कर
अए इश्क़ हमें बर्बाद न कर
१५
जी चाहता है एक दूसरे को यूँ आठ पहर हम याद करें
आँखों में बसाएँ ख़्वाबों को और दिल में ख़याल आबाद करें
ख़ल्वत में भी हो जल्वत का समाँ वहदत को दुई से शाद करें
ये आर्ज़ुएँ ईजाद न कर
अए इश्क़ हमें बर्बाद न कर
१६
दुनिया का तमाशा देख लिया ग़मगीन सी है बेताब सी है
उम्मीद यहाँ एक वहम सी है तस्कीन यहाँ एक ख़्वाब सी है
दुनिया में ख़ुशी का नाम नहीं दुनिया में ख़ुशी नायाब सी है
दुनिया में ख़ुशी को याद न कर
अए इश्क़ हमें बर्बाद न कर
Click here for background and on any passage for word meanings and explanatory discussion. mohammed dawood KhaaN aKhtar shiiraani (1904-1948) ToNk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes. This whole nazm is written in the context of love with an unnamed beloved, both at a young age. Either the family of the beloved, or perhaps both families are opposed to the liaison and forcefully keep the two lovers apart. It speaks of the intense sorrow of the beloved and should be interpreted as applicable to this specific situation. In the general poetic convention only the poet/lover is sorrowful, but in this specific case both are affected.
1
aye ishq na chheR aa aa ke hameN ham bhuule huoN ko yaad na kar
pahle hi bahut naashaad1 haiN ham tu aur hameN naashaad na kar
qismat ka sitam2 hi kam nahiN kuchh ye taaza3 sitam2 ijaad4 na kar
yuN zulm5 na kar bedaad6 na kar
aye ishq hameN barbaad7 na kar 1.unhappy 2.oppression 3.fresh, new 4.invent 5.cruelty 6.injustice 7.destroy
O love, do not tease/harrass me; do not remember/visit me-the forgotten/overlooked one. I am already very unhappy, do not make me even more unhappy. Was not the oppression of fate enough, do not invent new ways of oppressing me. Do not be cruel like this, do not be unjust. O love, do not destroy me.
2
jis din se mile haiN donoN ka sab chain1 gaya aaraam2 gaya
chehroN3 se bahaar4-e sub’h gaii aaNkhoN se faroGh5-e shaam gaya
haathoN se Khushi ka jaam6 chhuTa hoNToN se haNsi ka naam gaya
GhamgiN7 na bana naashaad8 na kar
aye ishq hameN barbaad9 na kar 1.tranquility, calm 2.peace, quiet 3.faces 4.spring, blossom 5.brilliance, light 6.cup 7.sorrowful 8.unhappy 9.destroy
This is still addressed to ‘love’ but sometimes he addresses himself as the ‘embodiment of love’. Ever since the day that we met, my peace and quiet has been taken away. The bright happy looks of our faces have disappeared, the lights of evenings have been darkened. The cup of happiness has been snatched away from hands, there is no trace of a smile left on my lips. Do not make me even more sorrowful, even more unhappy. Do not destroy me.
3
ham raatoN ko uTh kar rote haiN ro ro ke duaa’eN karte haiN
aaNkhoN meN tasavvur1 dil meN Khalish2 sar-dhunte3 haiN aaheN4 bharte haiN
aye ishq ye kaisa rog laga jiite haiN na zaalim5 marte haiN
ye zulm6 tu aye jallaad7 na kar
aye ishq hameN barbaad na kar 1.imagination, image, memory 2.burning, pricking 3.beating/scratching head 4.sighs 5.tyrant 6.tyranny, cruelty 7.executioner, killer
I wake up at night and cry, I cry and pray for help. In the eyes I carry each her image; I feel pain in my heart, I beat my head and sigh deep sighs. O love what kind of a malady is this, neither do I live nor do I die. O tyrant (addressed to love), do not be so cruel, do not destroy me.
4
ye rog laga hai jab se hameN ranjiida1 huN maiN biimaar2 hai vo
har vaqt tapish3 har vaqt Khalish4 be-Khwaab5 huN maiN bedaar6 hai vo
jiine se idhar bezaar7 huN maiN marne pe udhar tayyaar8 hai vo
aur zabt9 kahe fariyaad10 na kar
aye ishq hameN barbaad na kar 1.sorrowful 2.ill, languid, weak 3.burning 4.hurting 5.sleepless 6.awake 7.disinterested, tired of 8.ready 9.self-control 10.lament
Ever since I have been stricken by this illness (love), I have been sorrowful and the beloved has been ill. A constant burning, constant pain, I am sleepless and the beloved is awake. Here I am tired of life, there she is ready to die. And self-control demands that we not lament. O love, do not destroy me.
5
jis din se baNdha hai dhyaan tera ghabraa’e hue se rahte haiN
har vaqt tasavvur1 kar kar ke sharmaa’e2 hue se rahte haiN
kumhlaa’e3 hue phuuloN ki tarah kumhlaa’e hue se rahte haiN
paamaal4 na kar barbaad na kar
aye ishq hameN barbaad na kar 1.imagine 2.coy, shy 3.withered, wilted 4.trampled
Ever since the day that my thoughts have been captured by her, I have been worried/perplexed. Every moment I imagine her, I feel shy. I am wilted like withered flowers. Do not trample me, O love do not destroy me.
6
bedard1! zara insaaf2 to kar is umr3 meN aur maGhmuum4 hai vo
phuuloN ki tarah naazuk5 hai abhi taaroN ki tarah maa’suum6 hai vo
ye husn7 sitam! ye raNj8 Ghazab9! majbuur10 huN maiN mazluum11 hai vo
mazluum11 pe yuN bedaad12 na kar
aye ishq hameN barbaad na kar 1.unkind 2.justice 3.age 4.sorrowful 5.delicate 6.innocent 7.beauty 8.sorrow 9.what a calamity 10.helpless 11.oppressed 12.injustice
O unkind one (love), be a little just, this tender age and she become sorrowful. She is still delicate like petals, innocent like bright stars. Such cruelty on this beauty, such pain, oh what a calamity. I am helpless and she is oppressed. Do not be unjust to the already oppressed. O love, do not destroy me.
7
aye ishq Khudaara1 dekh kahiN vo shooKh2 haziiN3 bad-naam4 na ho
vo maah-laqa5 bad-naam na ho vo zohra-jabiiN6 bad-naam na ho
naamuus7 ka uss ke paas8 rahe vo parda-nashiiN9 bad-naam na ho
uss parda-nashiN ko yaad na kar
aye ishq hameN barbaad na kar 1.by god 2.playful 3.sorrowful, melancholy 4.maligned, bad name 5.moon faced 6.brow like venus, bright brow 7.dignity 8.respect, regard 9.veiled, aloof, modest
O love by god, take care that that playful and sorrowful one not be maligned. That moon-faced one, that bright browed one does not lose her reputation. Have some regard for her dignity, let not that modest one be maligned. Do not remember/take her name (this is probably addressed to himself as a personification of ishq) that veiled one. O love do not destroy me.
8
ummiid1 ki jhuuTi jannat2 ke rah-rah3 ke na dikhla Khwaab hameN
aa’inda4 ki farzi5 ishrat6 ke vaa’doN7 se na kar betaab8 hameN
kahta hai zamaana jis ko Khushi aati hai nazar kamyaab9 hameN
chhoR aisi Khushi ko yaad na kar
aye ishq hameN barbaad na kar 1.hope 2.heaven 3.every moment, frequently 4.future 5.fictitious 6.pleasure 7.promises 8.restless, eager 9.rare
O love, do not entice me with frequent dreams of false hopes. Do not make me restless with false promises of future happiness. That which the world calls happiness, appears very rare to me. Leave it aside, do not remember (yearn for) such happiness. O love, do not destroy me.
9
kya samjhe the aur tu kya nikla ye soch ke hi hairaan1 haiN ham
hai pahle-pahal2 ka tajraba3 aur kam-umr haiN ham anjaan4 haiN ham
aye ishq! Khudaara5! rahm-o-karam6 maas’uum7 haiN ham naadaan8 haiN ham
naadaan haiN ham naashaad9 na kar
aye ishq hameN barbaad na kar 1.perplexed 2.first time 3.experience 4.inexperienced 5.by god 6.kindness and mercy 7.innocent 8.simpleton 9.unhappy
Look at what we had imagined and look at what has happened, it is perplexing. This was a first experience, we are still young and inexperienced. O love, by god, have some mercy, show some kindness, we are innocent simpletons. We are innocent, we are unhappy, O love, do not destroy us.
10
vo raaz1 hai ye Gham2 aah3 jise paa jaa’e koi to Khair4 nahiN
aaNkhoN se jab aaNsu bahte haiN aa jaa’e koi to Khair nahiN
zaalim5 hai ye duniya dil ko yahaaN bhaa6 jaa’e koi to Khair nahiN
hai zulm7 magar fariyaad8 na kar
aye ishq hameN barbaad na kar 1.secret, mystery 2.sorrow, pain, love 3.alas 4.safety, refuge 5.tyrannical 6.liked 7.cruelty 8.appeal, lament, cry
Alas, this pain (of love) is such a mystery that if someone acquires it, then there is no refuge. When anyone discovers tears flowing down your eyes, then there is no refuge. This world is tyrannical, if you begin to like someone, then it does not leave you alone. This cruelty, but there is no appeal, you are not allowed to lament. O love do not destroy me.
11
do din hi meN ahd1-e tifli2 ke maa’suum3 zamaane4 bhuul ga’e
aaNkhoN se vo KhushiyaaN miT si gaiiN lab5 ko vo taraane6 bhuul ga’e
un paak7 behishti8 KhwaaboN ke dilchasp9 fasaane10 bhuul ga’e
in KhwaaboN se yuN aazaad na kar
aye ishq hameN barbaad na kar 1.age, era 2.childhood, youth 3.innocent 4.times, period 5.lips 6.songs 7.pure, innocent 8.heavenly 9.interesting 10.stories
In a very short time I had to forget the carefree age of youth. Those joys were erased from my eyes, I had to forget those joyful songs. I had to forget those innocent, heavenly dreams. Do not set me free of those beautiful dreams. O love do not destroy me.
12
do din hi meN ahd1-e tifli2 ke maa’suum3 zamaane4 bhuul ga’e
aaNkhoN se vo KhushiyaaN miT si gaiiN lab5 ko vo taraane6 bhuul ga’e
un paak7 behishti8 KhwaaboN ke dilchasp9 fasaane10 bhuul ga’e
in KhwaaboN se yuN aazaad na kar
aye ishq hameN barbaad na kar 1.age, era 2.childhood, youth 3.innocent 4.times, period 5.lips 6.songs 7.pure, innocent 8.heavenly 9.interesting 10.stories
In a very short time I had to forget the carefree age of youth. Those joys were erased from my eyes, I had to forget those joyful songs. I had to forget those innocent, heavenly dreams. Do not set me free of those beautiful dreams. O love do not destroy me.
13
aaNkhoN ko ye kya aazaar1 hua har jazb2-e nehaaN3 par ro dena
aahaNg4-e tarab5 par jhuk jaana aavaaz-e fuGhaaN6 par ro dena
barbat7 ki sada par ro dena mutrib8 ke bayaaN9 par ro dena
ehsaas10 ko Gham-buniyaad11 na kar
aye ishq hameN barbaad na kar 1.agony, affliction 2.short for jazba-feelings, emotions 3.hidden 4.melody 5.joy 6.lamentation 7.harp, lute 8.singer 9.words, song 10.feelings, emotions 11.based on a foundation of sorrow
What is this malady that has afflicted my eyes, I burst into tears at every hidden emotion. I look down when I hear a joyous melody and cry at the sound of lamentation. I cry at the sound of the lute, and burst into tears at the words of the singer. Do not make sorrow the foundation of my feelings. O love, do not destroy me.
14
har dam1 abadi2 raahat3 ka samaaN4 dikhla ke hameN dilgiir5 na kar
lillaah6 habaab7-e aab-e-ravaaN8 par naqsh-e-baqaa9 tahriir10 na kar
maayuusi11 ke ramte12 baadal par ummid13 ke ghar taa’miir14 na kar
taa’miir na kar aabaad15 na kar
aye ishq hameN barbaad na kar 1.moment 2.eternal 3.happiness 4.means, methods 5.heart-broken 6.by god 7.bubble 8.flowing water 9.words/images of stability 10.write/draw 11.disappointment 12.floating, moving 13.hopes 14.build 15.populate, fill
Do not break my heart after showing me ways to achieve eternal happiness. By god, do not draw images of stability/permanence o a bubble floating on flowing water. Do not build a house of hopes on flowing clouds of disppointment. Do not build, do not fill this house with false hopes. O love, do not destroy me.
15
ji chaahta hai ek duusre ko yuN aaTh-pahar1 ham yaad kareN
aaNkhoN meN basaa’eN2 KhwaaboN ko aur dil meN Khayaal3 aabaad4 kareN
Khalvat5 meN bhi ho jalvat6 ka samaaN7 vahdat8 ko duii9 se shaad10 kareN
ye aarzu’eN11 ijaad12 na kar
aye ishq hameN barbaad na kar 1.eight durations, day and night 2.inhabit, grow, cultivate 3.thoughts 4.settle, prosper, fill 5.solitude 6.multitude 7.atmosphere, ambience 8.one-ness, alone 9.twosome 10.joyful 11.desires 12.invent, create
I wish that we could carry thoughts of each other day and night; that we could cultivate dreams in our eyes, and fill our hearts with thoughts of each other. I wish that we could make even our solitude like a joyful ambience of two being together. O love, do not create such emotions, do not destroy me.
16
duniya ka tamaasha1 dekh liya Ghamgiin2 si hai betaab3 si hai
ummiid4 yahaaN ek vahm5 si hai taskiin6 yahaaN ek Khwaab si hai
duniya meN Khushi ka naam nahiN duniya meN Khushi naayaab7 si hai
duniya meN Khushi ko yaad na kar
aye ishq hameN barbaad na kar 1.spectacle 2.sorrowful 3.restless 4.hope 5.illusion 6.solace, calm 7.unachievable
I have seen the spectacle of this world. It is sorrowful and restless. Hope is like an illusion, solace is like a dream. There is no trace of happiness in this world, happiness is unachievable. Do not wish for happiness in this world. O love, do not destroy me.
mohammed dawood KhaaN aKhtar shiiraani (1904-1948) ToNk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes. This whole nazm is written in the context of love with an unnamed beloved, both at a young age. Either the family of the beloved, or perhaps both families are opposed to the liaison and forcefully keep the two lovers apart. It speaks of the intense sorrow of the beloved and should be interpreted as applicable to this specific situation. In the general poetic convention only the poet/lover is sorrowful, but in this specific case both are affected.
1
aye ishq na chheR aa aa ke hameN ham bhuule huoN ko yaad na kar
pahle hi bahut naashaad1 haiN ham tu aur hameN naashaad na kar
qismat ka sitam2 hi kam nahiN kuchh ye taaza3 sitam2 ijaad4 na kar
yuN zulm5 na kar bedaad6 na kar
aye ishq hameN barbaad7 na kar
1.unhappy 2.oppression 3.fresh, new 4.invent 5.cruelty 6.injustice 7.destroy
O love, do not tease/harrass me; do not remember/visit me-the forgotten/overlooked one. I am already very unhappy, do not make me even more unhappy. Was not the oppression of fate enough, do not invent new ways of oppressing me. Do not be cruel like this, do not be unjust. O love, do not destroy me.
2
jis din se mile haiN donoN ka sab chain1 gaya aaraam2 gaya
chehroN3 se bahaar4-e sub’h gaii aaNkhoN se faroGh5-e shaam gaya
haathoN se Khushi ka jaam6 chhuTa hoNToN se haNsi ka naam gaya
GhamgiN7 na bana naashaad8 na kar
aye ishq hameN barbaad9 na kar
1.tranquility, calm 2.peace, quiet 3.faces 4.spring, blossom 5.brilliance, light 6.cup 7.sorrowful 8.unhappy 9.destroy
This is still addressed to ‘love’ but sometimes he addresses himself as the ‘embodiment of love’. Ever since the day that we met, my peace and quiet has been taken away. The bright happy looks of our faces have disappeared, the lights of evenings have been darkened. The cup of happiness has been snatched away from hands, there is no trace of a smile left on my lips. Do not make me even more sorrowful, even more unhappy. Do not destroy me.
3
ham raatoN ko uTh kar rote haiN ro ro ke duaa’eN karte haiN
aaNkhoN meN tasavvur1 dil meN Khalish2 sar-dhunte3 haiN aaheN4 bharte haiN
aye ishq ye kaisa rog laga jiite haiN na zaalim5 marte haiN
ye zulm6 tu aye jallaad7 na kar
aye ishq hameN barbaad na kar
1.imagination, image, memory 2.burning, pricking 3.beating/scratching head 4.sighs 5.tyrant 6.tyranny, cruelty 7.executioner, killer
I wake up at night and cry, I cry and pray for help. In the eyes I carry each her image; I feel pain in my heart, I beat my head and sigh deep sighs. O love what kind of a malady is this, neither do I live nor do I die. O tyrant (addressed to love), do not be so cruel, do not destroy me.
4
ye rog laga hai jab se hameN ranjiida1 huN maiN biimaar2 hai vo
har vaqt tapish3 har vaqt Khalish4 be-Khwaab5 huN maiN bedaar6 hai vo
jiine se idhar bezaar7 huN maiN marne pe udhar tayyaar8 hai vo
aur zabt9 kahe fariyaad10 na kar
aye ishq hameN barbaad na kar
1.sorrowful 2.ill, languid, weak 3.burning 4.hurting 5.sleepless 6.awake 7.disinterested, tired of 8.ready 9.self-control 10.lament
Ever since I have been stricken by this illness (love), I have been sorrowful and the beloved has been ill. A constant burning, constant pain, I am sleepless and the beloved is awake. Here I am tired of life, there she is ready to die. And self-control demands that we not lament. O love, do not destroy me.
5
jis din se baNdha hai dhyaan tera ghabraa’e hue se rahte haiN
har vaqt tasavvur1 kar kar ke sharmaa’e2 hue se rahte haiN
kumhlaa’e3 hue phuuloN ki tarah kumhlaa’e hue se rahte haiN
paamaal4 na kar barbaad na kar
aye ishq hameN barbaad na kar
1.imagine 2.coy, shy 3.withered, wilted 4.trampled
Ever since the day that my thoughts have been captured by her, I have been worried/perplexed. Every moment I imagine her, I feel shy. I am wilted like withered flowers. Do not trample me, O love do not destroy me.
6
bedard1! zara insaaf2 to kar is umr3 meN aur maGhmuum4 hai vo
phuuloN ki tarah naazuk5 hai abhi taaroN ki tarah maa’suum6 hai vo
ye husn7 sitam! ye raNj8 Ghazab9! majbuur10 huN maiN mazluum11 hai vo
mazluum11 pe yuN bedaad12 na kar
aye ishq hameN barbaad na kar
1.unkind 2.justice 3.age 4.sorrowful 5.delicate 6.innocent 7.beauty 8.sorrow 9.what a calamity 10.helpless 11.oppressed 12.injustice
O unkind one (love), be a little just, this tender age and she become sorrowful. She is still delicate like petals, innocent like bright stars. Such cruelty on this beauty, such pain, oh what a calamity. I am helpless and she is oppressed. Do not be unjust to the already oppressed. O love, do not destroy me.
7
aye ishq Khudaara1 dekh kahiN vo shooKh2 haziiN3 bad-naam4 na ho
vo maah-laqa5 bad-naam na ho vo zohra-jabiiN6 bad-naam na ho
naamuus7 ka uss ke paas8 rahe vo parda-nashiiN9 bad-naam na ho
uss parda-nashiN ko yaad na kar
aye ishq hameN barbaad na kar
1.by god 2.playful 3.sorrowful, melancholy 4.maligned, bad name 5.moon faced 6.brow like venus, bright brow 7.dignity 8.respect, regard 9.veiled, aloof, modest
O love by god, take care that that playful and sorrowful one not be maligned. That moon-faced one, that bright browed one does not lose her reputation. Have some regard for her dignity, let not that modest one be maligned. Do not remember/take her name (this is probably addressed to himself as a personification of ishq) that veiled one. O love do not destroy me.
8
ummiid1 ki jhuuTi jannat2 ke rah-rah3 ke na dikhla Khwaab hameN
aa’inda4 ki farzi5 ishrat6 ke vaa’doN7 se na kar betaab8 hameN
kahta hai zamaana jis ko Khushi aati hai nazar kamyaab9 hameN
chhoR aisi Khushi ko yaad na kar
aye ishq hameN barbaad na kar
1.hope 2.heaven 3.every moment, frequently 4.future 5.fictitious 6.pleasure 7.promises 8.restless, eager 9.rare
O love, do not entice me with frequent dreams of false hopes. Do not make me restless with false promises of future happiness. That which the world calls happiness, appears very rare to me. Leave it aside, do not remember (yearn for) such happiness. O love, do not destroy me.
9
kya samjhe the aur tu kya nikla ye soch ke hi hairaan1 haiN ham
hai pahle-pahal2 ka tajraba3 aur kam-umr haiN ham anjaan4 haiN ham
aye ishq! Khudaara5! rahm-o-karam6 maas’uum7 haiN ham naadaan8 haiN ham
naadaan haiN ham naashaad9 na kar
aye ishq hameN barbaad na kar
1.perplexed 2.first time 3.experience 4.inexperienced 5.by god 6.kindness and mercy 7.innocent 8.simpleton 9.unhappy
Look at what we had imagined and look at what has happened, it is perplexing. This was a first experience, we are still young and inexperienced. O love, by god, have some mercy, show some kindness, we are innocent simpletons. We are innocent, we are unhappy, O love, do not destroy us.
10
vo raaz1 hai ye Gham2 aah3 jise paa jaa’e koi to Khair4 nahiN
aaNkhoN se jab aaNsu bahte haiN aa jaa’e koi to Khair nahiN
zaalim5 hai ye duniya dil ko yahaaN bhaa6 jaa’e koi to Khair nahiN
hai zulm7 magar fariyaad8 na kar
aye ishq hameN barbaad na kar
1.secret, mystery 2.sorrow, pain, love 3.alas 4.safety, refuge 5.tyrannical 6.liked 7.cruelty 8.appeal, lament, cry
Alas, this pain (of love) is such a mystery that if someone acquires it, then there is no refuge. When anyone discovers tears flowing down your eyes, then there is no refuge. This world is tyrannical, if you begin to like someone, then it does not leave you alone. This cruelty, but there is no appeal, you are not allowed to lament. O love do not destroy me.
11
do din hi meN ahd1-e tifli2 ke maa’suum3 zamaane4 bhuul ga’e
aaNkhoN se vo KhushiyaaN miT si gaiiN lab5 ko vo taraane6 bhuul ga’e
un paak7 behishti8 KhwaaboN ke dilchasp9 fasaane10 bhuul ga’e
in KhwaaboN se yuN aazaad na kar
aye ishq hameN barbaad na kar
1.age, era 2.childhood, youth 3.innocent 4.times, period 5.lips 6.songs 7.pure, innocent 8.heavenly 9.interesting 10.stories
In a very short time I had to forget the carefree age of youth. Those joys were erased from my eyes, I had to forget those joyful songs. I had to forget those innocent, heavenly dreams. Do not set me free of those beautiful dreams. O love do not destroy me.
12
usa jaan-e-haya1 ka bas2 nahiN kuchh bebas3 hai paraa’e4 bas2 meN hai
bedard5 diloN ko kya hai Khabar6 jo pyaar yahaaN aapas7 meN hai
hai bebasi3 zahr8 aur pyaar hai ras ye zahr chhupa is ras meN hai
kahti hai haya fariyaad9 na kar
aye ishq hameN barbaad na kar
1.life/soul of modesty 2.control 3.helpless 4.other 5.unkind, cruel 6.awareness 7.mutual 8.poison 9.cry, appeal, lament
That soul of modesty is not in control. She is helpless, under the control of someone else. How can unkind hearts be aware of the love we have for each other. This helplessness is a poison, and love is the nectar in which this poison is hidden. Dignity demands that I not lament. O love, do not destroy me.
13
aaNkhoN ko ye kya aazaar1 hua har jazb2-e nehaaN3 par ro dena
aahaNg4-e tarab5 par jhuk jaana aavaaz-e fuGhaaN6 par ro dena
barbat7 ki sada par ro dena mutrib8 ke bayaaN9 par ro dena
ehsaas10 ko Gham-buniyaad11 na kar
aye ishq hameN barbaad na kar
1.agony, affliction 2.short for jazba-feelings, emotions 3.hidden 4.melody 5.joy 6.lamentation 7.harp, lute 8.singer 9.words, song 10.feelings, emotions 11.based on a foundation of sorrow
What is this malady that has afflicted my eyes, I burst into tears at every hidden emotion. I look down when I hear a joyous melody and cry at the sound of lamentation. I cry at the sound of the lute, and burst into tears at the words of the singer. Do not make sorrow the foundation of my feelings. O love, do not destroy me.
14
har dam1 abadi2 raahat3 ka samaaN4 dikhla ke hameN dilgiir5 na kar
lillaah6 habaab7-e aab-e-ravaaN8 par naqsh-e-baqaa9 tahriir10 na kar
maayuusi11 ke ramte12 baadal par ummid13 ke ghar taa’miir14 na kar
taa’miir na kar aabaad15 na kar
aye ishq hameN barbaad na kar
1.moment 2.eternal 3.happiness 4.means, methods 5.heart-broken 6.by god 7.bubble 8.flowing water 9.words/images of stability 10.write/draw 11.disappointment 12.floating, moving 13.hopes 14.build 15.populate, fill
Do not break my heart after showing me ways to achieve eternal happiness. By god, do not draw images of stability/permanence o a bubble floating on flowing water. Do not build a house of hopes on flowing clouds of disppointment. Do not build, do not fill this house with false hopes. O love, do not destroy me.
15
ji chaahta hai ek duusre ko yuN aaTh-pahar1 ham yaad kareN
aaNkhoN meN basaa’eN2 KhwaaboN ko aur dil meN Khayaal3 aabaad4 kareN
Khalvat5 meN bhi ho jalvat6 ka samaaN7 vahdat8 ko duii9 se shaad10 kareN
ye aarzu’eN11 ijaad12 na kar
aye ishq hameN barbaad na kar
1.eight durations, day and night 2.inhabit, grow, cultivate 3.thoughts 4.settle, prosper, fill 5.solitude 6.multitude 7.atmosphere, ambience 8.one-ness, alone 9.twosome 10.joyful 11.desires 12.invent, create
I wish that we could carry thoughts of each other day and night; that we could cultivate dreams in our eyes, and fill our hearts with thoughts of each other. I wish that we could make even our solitude like a joyful ambience of two being together. O love, do not create such emotions, do not destroy me.
16
duniya ka tamaasha1 dekh liya Ghamgiin2 si hai betaab3 si hai
ummiid4 yahaaN ek vahm5 si hai taskiin6 yahaaN ek Khwaab si hai
duniya meN Khushi ka naam nahiN duniya meN Khushi naayaab7 si hai
duniya meN Khushi ko yaad na kar
aye ishq hameN barbaad na kar
1.spectacle 2.sorrowful 3.restless 4.hope 5.illusion 6.solace, calm 7.unachievable
I have seen the spectacle of this world. It is sorrowful and restless. Hope is like an illusion, solace is like a dream. There is no trace of happiness in this world, happiness is unachievable. Do not wish for happiness in this world. O love, do not destroy me.
The post aye ishq hameN barbaad na kar-aKhtar shiiraani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/dKhaKhsh-gul-baaNg-e-qafas-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
گُل بانگِ قفس ۔ داؤد خاں اخترؔ شیرانی
۱
مدت سے نہ آئی کوئی خبر، یارانِ گلستاں کیسے ہیں
اے بادِ صبا اِتنا تو بتا، سرو و گل و ریحاں کیسے ہیں
۲
پابندِ قفس تو کیسے کہیں اور کس سے کہیں رُودادِ قفس
آزادِ قفس بتلائیں ہمیں، اربابِ گلستاں کیسے ہیں
۳
ہر ایک قدم یاں مجلسِ غم، ہر تازہ ستم اِک مصرِ الم
اِس حال میں پوچھیں کس سے ہم، غم دیدۂ کنعاں کیسے ہیں
۴
ہمدرد ہے اپنا کون یہاں، لا تُو ہی خبر اے بادِ خزاں
اس سال وطن کے باغوں میں، گلہائے بہاراں کیسے ہیں
۵
غربت ہی نہ تھی کم ہوش ربا، اُس پر یہ اسیری رنج فزا
ہے کون جو پوچھے آ کے ذرا، ہم خستۂ ارماں کیسے ہیں
۶
صیّاد نے کیوں چُن چُن کے کیا، بے جرم و خطا محبوسِ بلا
ہے کس کو غرض جو پوچھے ذرا، آباد یہ زنداں کیسے ہیں
۷
اے موجِ نسیمِ صبح چمن، خوش باش سُنا پھر حالِ وطن
کہسار و دمن کس حال میں ہیں وادی و خیاباں کیسے ہیں
۸
کیا پوچھتی ہے اے شامِ قفس، افسانۂ رنگ و بوئے چمن
ہم قیدیوں کو کیا علم کہ اب، گُل کیسے ہیں گُلِستاں کیسے ہیں
۹
گل بانگ قفس ہی بن جائے، اے کاش نوائے آزادی
کیا کہیے کہ اخترؔ سینے میں مچلے ہوئے ارماں کیسے ہیں
ग़ुल-बाँग-ए क़फ़स – दाऊद ख़ाँ अख़्तर शीरानी
१
मुद्दत से न आई कोई ख़बर, यारान-ए गुलिस्ताँ कैसे हैं
अए बाद-ए सबा इतना तो बता, सर्व ओ गुल ओ रेहां कैसे हैं
२
पाबंद-ए क़फ़स तो कैसे कहें और किस से कहें रूदाद-ए क़फ़स
आज़ाद-ए क़फ़स बतलाएँ हमें, अर्बाब-ए गुलिस्ताँ कैसे हैं
३
हर एक क़दम यां मजलिस-ए ग़म, हर ताज़ा सितम एक मिस्र-ए अलम
इस हाल में पूछें किस से हम, ग़म-दीदा-ए कन’आँ कैसे हैं
४
हमदर्द है अपना कौन यहाँ, ला तू ही ख़बर अए बाद-ए ख़िज़ाँ
इस साल वतन के बाग़ों में, गुल-हा-ए बहाराँ कैसे हैं
५
ग़ुर्बत ही न थी कम होश-रुबा, उस पर ये असीरी रंज-अफ़्ज़ा
है कौन जो पूछे आ के ज़रा, हम ख़स्ता-ए अर्मां कैसे हैं
६
सय्याद ने क्यूं चुन चुन के किया, बे जुर्म ओ ख़ता महबूस-ए बला
है किस को ग़रज़ जो पूछे ज़रा, आबाद ये ज़िंदाँ कैसे हैं
७
अए मौज-ए नसीम-ए सुब्ह-ए चमन, ख़ुश-बाश सुना फिर हाल-ए वतन
कोहसार ओ दमन किस हाल में हैं, वादी ओ ख़ियाबाँ कैसे हैं
८
क्या पूछती है अए शाम-ए क़फ़स, अफ़्साना-ए रंग ओ बू-ए चमन
हम क़ैदियों को क्या इल्म के अब, गुल कैसे हैं गुलिस्ताँ कैसे हैं
९
गुल-बाँग-ए क़फ़स ही बन जाए, अए काश नवा-ए आज़ादी
क्या कहिए के अख़्तर सीने में मचले हुए अर्मां कैसे हैं
Click here for background and on any passage for word meanings and explanatory discussion. mohammed dawood KhaaN aKhtar shiiraani (1904-1948) ToNk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes. This is a soul-stirring lament about loss of home – ToNk.
1
muddat1 se na aa’ii koii Khabar2, yaaraan3-e gulistaaN kaise haiN
aye baad4-e sabaa5 itnaa to bataa, sarv6 o gul-o-rehaaN7 kaise haiN 1.long time 2.news 3.friends 4.breeze 5.morning 6.cypress 7.rose and basil
Here ‘sarv-cypress’ is symbolic of graceful beauty and ‘gul-o-rehaaN rose and basil’ are symbolic of beauty and fragrance of the garden. The poet himself is portrayed as a caged bird away from the garden and missing his nest and friends. ‘baad-e sabaa the morning breeze’ is supposed to bring in fragrances, memories and news. Thus, it has been a long time since I have received any news. Tell me how my friends in the garden are. O morning breeze, tell me this much, how is the old grace, beauty and fragrance of the garden.
2
paaband1-e qafas2 to kaise kaheN aur kis se kaheN ruudaad3-e qafas2
aazaad4-e qafas2 batlaa’eN humeN, arbaab5-e gulistaaN kaise haiN 1.restricted, bound by 2.cage 3.story 4.free 5.lords, owners
I am restricted to the cage, how can I say, who can I tell, the story of my imprisonment. You who are free of the cage, tell me how fare the lords of the garden i.e., free birds.
3
har aek qadam1 yaaN2 majlis3-e Gham4, har taazaa5 sitam6 ek misr7-e alam8
is haal9 meN puuchheN kis se hum, Gham-diida10-e kan’aaN11 kaise haiN 1.step, moment 2.short for yahaaN, here 3.gathering 4.sorrow 5.fresh 6.oppression, cruelty 7.Egypt 8.sorrow 9.condition 10.sorrowful/tearful eyes 11.land of Canaan
This has reference to the story of yusuf/Joseph. His brothers, in a fit of jealousy, threw him down a well. He was rescued by a passing caravan and then auctioned in slavery in Egypt. In the meantime, his father, in the land of Canaan, cried for him so much that he became blind. Thus, Gham-diida-e kan’aaN is his father and others who might be mourning for him. ‘misr-e alam’ is figuratively a mountain of sorrow. Thus, here (in captivity) every moment feels like a mournful gathering, every fresh cruelty and mountain of sorrow. In this condition, who can I ask, how are those who mourn for me in the homeland of Canaan.
4
hamdard1 hai apna kaun yahaaN, laa tuu hii Khabar2 aye baad-e-KhizaaN3
is saal4 vatan5 ke baaGhoN meN, gul’haa6-e bahaaraaN7 kaise haiN 1.sympathizer 2.news 3.breeze of autumn 4.year 5.homeland 6.flowers (pluralization in faarsi is done by adding haa 7.spring
‘baad-e KhizaaN’ the breeze of autumn brings dryness, falling leaves and a barren garden. There is an implication that the caged bird (poet) has given up on ‘baad-e bahaarii-spring breeze’ and is content to ask the breeze of autumn to bring him news of this year’s blooming of spring flowers in the gardens of the homeland.
5
Ghurbat1 hi na thii kam hosh-rubaa2, us par ye asiirii3 raNj-afzaa4
hai kaun jo puuchhe aa ke zaraa, ham Khasta5-e armaaN6 kaise haiN 1.exile 2.losing senses, bewildering 3.captivity 4.sorrow increasing 5.broken 6.desires
As if exile was not enough, there is this sorrow enhancing captivity on top of it. Who is there to come and ask, how we, of shattered dreams, are doing.
6
sayyaad1 ne kyuN chuN-chuN2 ke kiya, be-jurm-o-Khataa3 mahbuus4-e balaa5
hai kis ko Gharaz6 jo puuchhe zaraa, aabaad7 ye zindaaN8 kaise haiN 1.captor, birdcatcher 2.carefully picking 3.without crime or fault 4.imprisoned, overwhelmed 5.calamity 6.concern 7.filled, occupied 8.prison, cage
Why did the captor selectively overwhelm me with calamities, without any fault or crime. Who has any concern to ask why these prisons/cages have been filled (by innocents).
7
aye mauj1-e nasiim2-e sub’h-e chaman, Khush-baash3 sunaa phir haal4-e vatan5
kohsaar-o-daman6 kis haal meN haiN vaadii-o-KhiyaabaaN7 kaise haiN 1.gust of wind 2.breeze 3.happy 4.condition 5.homeland 6.hills and valleys 7.plains and garden walks
O happy gust of the morning breeze from the garden, tell me again the condition of the homeland. How are the hills and valleys, how are the gardens/plains and garden walks.
8
kya puuchhti hai aye shaam1-e qafas2, afsaana3-e raNg-o-buu4-e chaman
ham qaidiyoN5 ko kya ilm6 keh ab, gul kaise haiN gulistaaN kaise haiN 1.night, evening 2.cage 3.story 4.colour/beauty and fragrance 5.caged 6.knowledge
O evening, I am in a cage, why do you ask about the beauty and fragrance of the garden. How do I, who is caged, know the condition of the flowers and the garden.
9
gul-baaNg1-e qafas2 hii ban jaa’e, aye kaash3 navaa4-e aazaadii5
kya kahiye keh aKhtar6 siine meN, machle7 hue armaaN8 kaise haiN 1.song of the nightingale 2.cage 3.I wish, I pray 4.sound, call 5.freedom 6.pen-name of the poet 7.restless, stubborn, demanding
The poet himself is the nightingale. I pray that my song in the cage become a call for freedom. How can I say, aKhtar, how many restless desires in my heart/bosom are eager to break out.
mohammed dawood KhaaN aKhtar shiiraani (1904-1948) ToNk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes. This is a soul-stirring lament about loss of home – ToNk.
1
muddat1 se na aa’ii koii Khabar2, yaaraan3-e gulistaaN kaise haiN
aye baad4-e sabaa5 itnaa to bataa, sarv6 o gul-o-rehaaN7 kaise haiN
1.long time 2.news 3.friends 4.breeze 5.morning 6.cypress 7.rose and basil
Here ‘sarv-cypress’ is symbolic of graceful beauty and ‘gul-o-rehaaN rose and basil’ are symbolic of beauty and fragrance of the garden. The poet himself is portrayed as a caged bird away from the garden and missing his nest and friends. ‘baad-e sabaa the morning breeze’ is supposed to bring in fragrances, memories and news. Thus, it has been a long time since I have received any news. Tell me how my friends in the garden are. O morning breeze, tell me this much, how is the old grace, beauty and fragrance of the garden.
2
paaband1-e qafas2 to kaise kaheN aur kis se kaheN ruudaad3-e qafas2
aazaad4-e qafas2 batlaa’eN humeN, arbaab5-e gulistaaN kaise haiN
1.restricted, bound by 2.cage 3.story 4.free 5.lords, owners
I am restricted to the cage, how can I say, who can I tell, the story of my imprisonment. You who are free of the cage, tell me how fare the lords of the garden i.e., free birds.
3
har aek qadam1 yaaN2 majlis3-e Gham4, har taazaa5 sitam6 ek misr7-e alam8
is haal9 meN puuchheN kis se hum, Gham-diida10-e kan’aaN11 kaise haiN
1.step, moment 2.short for yahaaN, here 3.gathering 4.sorrow 5.fresh 6.oppression, cruelty 7.Egypt 8.sorrow 9.condition 10.sorrowful/tearful eyes 11.land of Canaan
This has reference to the story of yusuf/Joseph. His brothers, in a fit of jealousy, threw him down a well. He was rescued by a passing caravan and then auctioned in slavery in Egypt. In the meantime, his father, in the land of Canaan, cried for him so much that he became blind. Thus, Gham-diida-e kan’aaN is his father and others who might be mourning for him. ‘misr-e alam’ is figuratively a mountain of sorrow. Thus, here (in captivity) every moment feels like a mournful gathering, every fresh cruelty and mountain of sorrow. In this condition, who can I ask, how are those who mourn for me in the homeland of Canaan.
4
hamdard1 hai apna kaun yahaaN, laa tuu hii Khabar2 aye baad-e-KhizaaN3
is saal4 vatan5 ke baaGhoN meN, gul’haa6-e bahaaraaN7 kaise haiN
1.sympathizer 2.news 3.breeze of autumn 4.year 5.homeland 6.flowers (pluralization in faarsi is done by adding haa 7.spring
‘baad-e KhizaaN’ the breeze of autumn brings dryness, falling leaves and a barren garden. There is an implication that the caged bird (poet) has given up on ‘baad-e bahaarii-spring breeze’ and is content to ask the breeze of autumn to bring him news of this year’s blooming of spring flowers in the gardens of the homeland.
5
Ghurbat1 hi na thii kam hosh-rubaa2, us par ye asiirii3 raNj-afzaa4
hai kaun jo puuchhe aa ke zaraa, ham Khasta5-e armaaN6 kaise haiN
1.exile 2.losing senses, bewildering 3.captivity 4.sorrow increasing 5.broken 6.desires
As if exile was not enough, there is this sorrow enhancing captivity on top of it. Who is there to come and ask, how we, of shattered dreams, are doing.
6
sayyaad1 ne kyuN chuN-chuN2 ke kiya, be-jurm-o-Khataa3 mahbuus4-e balaa5
hai kis ko Gharaz6 jo puuchhe zaraa, aabaad7 ye zindaaN8 kaise haiN
1.captor, birdcatcher 2.carefully picking 3.without crime or fault 4.imprisoned, overwhelmed 5.calamity 6.concern 7.filled, occupied 8.prison, cage
Why did the captor selectively overwhelm me with calamities, without any fault or crime. Who has any concern to ask why these prisons/cages have been filled (by innocents).
7
aye mauj1-e nasiim2-e sub’h-e chaman, Khush-baash3 sunaa phir haal4-e vatan5
kohsaar-o-daman6 kis haal meN haiN vaadii-o-KhiyaabaaN7 kaise haiN
1.gust of wind 2.breeze 3.happy 4.condition 5.homeland 6.hills and valleys 7.plains and garden walks
O happy gust of the morning breeze from the garden, tell me again the condition of the homeland. How are the hills and valleys, how are the gardens/plains and garden walks.
8
kya puuchhti hai aye shaam1-e qafas2, afsaana3-e raNg-o-buu4-e chaman
ham qaidiyoN5 ko kya ilm6 keh ab, gul kaise haiN gulistaaN kaise haiN
1.night, evening 2.cage 3.story 4.colour/beauty and fragrance 5.caged 6.knowledge
O evening, I am in a cage, why do you ask about the beauty and fragrance of the garden. How do I, who is caged, know the condition of the flowers and the garden.
9
gul-baaNg1-e qafas2 hii ban jaa’e, aye kaash3 navaa4-e aazaadii5
kya kahiye keh aKhtar6 siine meN, machle7 hue armaaN8 kaise haiN
1.song of the nightingale 2.cage 3.I wish, I pray 4.sound, call 5.freedom 6.pen-name of the poet 7.restless, stubborn, demanding
The poet himself is the nightingale. I pray that my song in the cage become a call for freedom. How can I say, aKhtar, how many restless desires in my heart/bosom are eager to break out.
The post gul-baaNg-e qafas-aKhtar shiiraani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/mjaKhal-aye-brij-ke-laal-aa-jaa-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اے برج کے لال آجا ۔ مرزا جعفر علی خاں اثرؔ لکھنوی
۱
اے برج کے لال آجا
اے مرے دیال آجا
۲
اے گلبنِ رعنائی اے رشکِ بہار آجا
اک جانِ ستمکش کو آجائے قرار آجا
۳
وا تیری تمنّا میں آغوشِ محبّت ہے
خود اپنی محبّت سے ہونے کو دو چار آجا
۴
تتلاتے ہوئے غُنچوں کی سادہ نفاست میں
پھولوں کی ملاحت میں اے طرفہ نگار آجا
۵
اے برج کے لال آجا
اے مرے دیال آجا
۶
بنسی کے مدھر گیتوں اور تان کے پلٹوں میں
ہنستا ہوا، اِٹھلاتا گلشن بکنار آجا
۷
بدمست ہواؤں کو دامن سے لپٹنے دے
آنکھوں میں لیے میٹھے سپنوں کا خمار آجا
۸
میں دل کے جھروکے سے جس وقت تجھے جھانکوں
اشکوں کے دھندلکے میں، میں تیرے نثار آجا
۹
اے برج کے لال آجا
اے مرے دیال آجا
अए ब्रिज के लाल आ जा – मिर्ज़ा जाफ़र अली ख़ां असर लखनवी
१
अए ब्रिज के लाल आ जा
अए मेरे दयाल आ जा
२
अए गुल्बन-ए रा’नाई ए रश्क-ए बहार आ जा
एक जान-ए सितमकश को आ जाए क़रार आ जा
३
वा तेरी तमन्ना में आग़ोश-ए मुहब्बत है
ख़ुद अपनी मुहब्बत से होने को दो चार आ जा
४
तुतलाते हुए ग़ुंचों की सादा नफ़ासत में
फूलों की मलाहत में ए तर्फ़ा निगार आ जा
५
अए ब्रिज के लाल आ जा
अए मेरे दयाल आ जा
६
बंसी के मधुर गीतों और तान के पलटों में
हंसता हुआ, इठलाता गुलशन बकनार आ जा
७
बदमस्त हवाओं को दामन से लिपटने दे
आंखों में लिए मीठे सपनों का ख़ुमार आ जा
८
मैं दिल के झरोके से जिस वक़्त तुझे झांकूं
अश्कों के धुंधलके में, मैं तेरे निसार आ जा
९
अए ब्रिज के लाल आ जा
अए मेरे दयाल आ जा
Click here for background and on any passage for word meanings and explanatory discussion. mirza jaafar ali KhaaN asar lakhnavi (1885-1967). Classical education at home until the age of 11, then formal schooling and college to BA. Indulged in MA and LLB but did not finish. Served in the British government as Deputy Collector (1909), Executive Officer and Collector until 1940. Resigned from service. Several collections of his Ghazal and nazm including descriptions of nature in kashmir where he served in the cabinet and also as acting prime minister (until 1945) to the maharaja. He also did a versified translation of the bhagwad-giita. This nazm/giit is linked to krish bhakti under kaaba kaashi on the Theme Index page.
1
aye brij1 ke laal2 aa ja
aye mere dayaal3 aa ja 1.birthplace of krishn 2.son, beloved child 3.generous
It is believed that whenever the world is in dire need god/vishnu comes in some incarnation/avtaar. Perhaps the poet feels that the world is in turmoil and he is praying for krishn to come back and show his generous self.
2
aye gulban-e-raa’naai1 aye rashk2-e bahaar3 aa ja
ek jaan-e sitamkash4 ko aa jaa’e qaraar5 aa ja 1.forest/field of roses of elegance/grace 2.envy 3.spring 4.oppressed 5.peace, calm
krishn is described in glowing terms … his beauty is the envy of spring, his grace and elegance are like a field of roses. The poet refers to himself as ‘jaan-e sitamkash’- a person whose life/soul is oppressed. He beseeches krishn to come so he may find peace and calm.
3
vaa1 teri tamanna2 meN aaGhosh3-e muhabbat hai
Khud apni muhabbat se hone ko do-chaar4 aa ja 1.wide open 2.desire 3.lap, embrace 4.face to face
The poet (and other devotees) have opened their arms wide to welcome and embrace him when he comes. They invite him to come face to face, to see himself, the love that his devotees have for him.
4
tutlaate1 hue GhunchoN2 ki saadaa3 nafaasat4 meN
phooloN ki malaahat5 meN aye turfah6 nigaar7 aa ja 1.lisp, childlike baby talk 2.unopened buds 3.plain, clean, pure 4.refined, exquisite 5.beauty of salty complexion 6.fascinating, mysterious 7.beauty, beloved
The most common image of krishn is that of his playful childhood which evokes maternal emotions. Thus, the poet krishn’s image in what he considers lisping buds. Of course, buds don’t actually lisp but the adjective is used to attribute childlike qualities to them. He see krishn in the plain, pure refinement of buds and in the salty beauty of blooming flowers. krishn is a mysterious beauty and begs him to come.
5
aye brij1 ke laal2 aa ja
aye mere dayaal3 aa ja 1.birthplace of krishn 2.son, beloved child 3.generous
It is believed that whenever the world is in dire need god/vishnu comes in some incarnation/avtaar. Perhaps the poet feels that the world is in turmoil and he is praying for krishn to come back and show his generous self.
6
bansi1 ke madhur2 geetoN aur taan3 ke palToN4 meN
haNsta hua, iThlaata5 gulshan6 ba-kanaar7 aa ja 1.flute 2.sweet 3.note 4.turns, layers 5.coquettish walk, strut 6.garden 7.edge, embrace
The poet sees krishn in the sweet notes of the flute. Hearing these he calls him to come to the garden (the world) smiling, walking with his beguiling/tantalizing gait.
7
badmast1 havaaoN2 ko daaman3 se lipaTne de
aaNkhoN meN liye meeThe sapnoN ka Khumaar4 aa ja 1.heavily inebriated 2.breeze, also means desire 3.hem of the garment 4.intoxication
All his devotees have an intense desire for him. The imagery for this desire is heavily inebriated breeze, drunk with love, reaching out to hold the hem of the garment of the child-krishn. The poets say, let this desire grasp the hem of your garment. Come with the intoxication of sweet dreams in your eyes.
8
maiN dil ke jharoke1 se jis vaqt tujhe jhaaNkuuN2
ashkoN3 ke dhundhlake4 meN, maiN tere nisaar5 aa ja 1.window 2.peep 3.tears 4.fog 5.devotional offering of self
The poet looks for krishn … described as his soul peeping out of his eyes. The longing to see brings tears to his eyes and he can only see a fuzzy and foggy scene. The poet offering himself in devotion, begs krishn to come through this fog.
9
aye brij1 ke laal2 aa ja
aye mere dayaal3 aa ja 1.birthplace of krishn 2.son, beloved child 3.generous
It is believed that whenever the world is in dire need god/vishnu comes in some incarnation/avtaar. Perhaps the poet feels that the world is in turmoil and he is praying for krishn to come back and show his generous self.
mirza jaafar ali KhaaN asar lakhnavi (1885-1967). Classical education at home until the age of 11, then formal schooling and college to BA. Indulged in MA and LLB but did not finish. Served in the British government as Deputy Collector (1909), Executive Officer and Collector until 1940. Resigned from service. Several collections of his Ghazal and nazm including descriptions of nature in kashmir where he served in the cabinet and also as acting prime minister (until 1945) to the maharaja. He also did a versified translation of the bhagwad-giita. This nazm/giit is linked to krish bhakti under kaaba kaashi on the Theme Index page.
1
aye brij1 ke laal2 aa ja
aye mere dayaal3 aa ja
1.birthplace of krishn 2.son, beloved child 3.generous
It is believed that whenever the world is in dire need god/vishnu comes in some incarnation/avtaar. Perhaps the poet feels that the world is in turmoil and he is praying for krishn to come back and show his generous self.
2
aye gulban-e-raa’naai1 aye rashk2-e bahaar3 aa ja
ek jaan-e sitamkash4 ko aa jaa’e qaraar5 aa ja
1.forest/field of roses of elegance/grace 2.envy 3.spring 4.oppressed 5.peace, calm
krishn is described in glowing terms … his beauty is the envy of spring, his grace and elegance are like a field of roses. The poet refers to himself as ‘jaan-e sitamkash’- a person whose life/soul is oppressed. He beseeches krishn to come so he may find peace and calm.
3
vaa1 teri tamanna2 meN aaGhosh3-e muhabbat hai
Khud apni muhabbat se hone ko do-chaar4 aa ja
1.wide open 2.desire 3.lap, embrace 4.face to face
The poet (and other devotees) have opened their arms wide to welcome and embrace him when he comes. They invite him to come face to face, to see himself, the love that his devotees have for him.
4
tutlaate1 hue GhunchoN2 ki saadaa3 nafaasat4 meN
phooloN ki malaahat5 meN aye turfah6 nigaar7 aa ja
1.lisp, childlike baby talk 2.unopened buds 3.plain, clean, pure 4.refined, exquisite 5.beauty of salty complexion 6.fascinating, mysterious 7.beauty, beloved
The most common image of krishn is that of his playful childhood which evokes maternal emotions. Thus, the poet krishn’s image in what he considers lisping buds. Of course, buds don’t actually lisp but the adjective is used to attribute childlike qualities to them. He see krishn in the plain, pure refinement of buds and in the salty beauty of blooming flowers. krishn is a mysterious beauty and begs him to come.
5
aye brij1 ke laal2 aa ja
aye mere dayaal3 aa ja
1.birthplace of krishn 2.son, beloved child 3.generous
It is believed that whenever the world is in dire need god/vishnu comes in some incarnation/avtaar. Perhaps the poet feels that the world is in turmoil and he is praying for krishn to come back and show his generous self.
6
bansi1 ke madhur2 geetoN aur taan3 ke palToN4 meN
haNsta hua, iThlaata5 gulshan6 ba-kanaar7 aa ja
1.flute 2.sweet 3.note 4.turns, layers 5.coquettish walk, strut 6.garden 7.edge, embrace
The poet sees krishn in the sweet notes of the flute. Hearing these he calls him to come to the garden (the world) smiling, walking with his beguiling/tantalizing gait.
7
badmast1 havaaoN2 ko daaman3 se lipaTne de
aaNkhoN meN liye meeThe sapnoN ka Khumaar4 aa ja
1.heavily inebriated 2.breeze, also means desire 3.hem of the garment 4.intoxication
All his devotees have an intense desire for him. The imagery for this desire is heavily inebriated breeze, drunk with love, reaching out to hold the hem of the garment of the child-krishn. The poets say, let this desire grasp the hem of your garment. Come with the intoxication of sweet dreams in your eyes.
8
maiN dil ke jharoke1 se jis vaqt tujhe jhaaNkuuN2
ashkoN3 ke dhundhlake4 meN, maiN tere nisaar5 aa ja
1.window 2.peep 3.tears 4.fog 5.devotional offering of self
The poet looks for krishn … described as his soul peeping out of his eyes. The longing to see brings tears to his eyes and he can only see a fuzzy and foggy scene. The poet offering himself in devotion, begs krishn to come through this fog.
9
aye brij1 ke laal2 aa ja
aye mere dayaal3 aa ja
1.birthplace of krishn 2.son, beloved child 3.generous
It is believed that whenever the world is in dire need god/vishnu comes in some incarnation/avtaar. Perhaps the poet feels that the world is in turmoil and he is praying for krishn to come back and show his generous self.
The post aye brij ke laal aa jaa-jafar ali KhaaN asar lakhnavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/saahsa-shri-krishn-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شری کرِشن ۔ سید عاشق حسین سیمابؔ اکبرآبادی
۱
ہوا طلوع ستاروں کی دل کشی لے کر
سُرور آنکھ میں نظروں میں زندگی لے کر
خودی کے ہوش اُڑانے بصد نیاز آیا
نئے پیالوں میں صہبائے بے خودی لے کر
فضائے دہر میں گاتا پھرا وہ پریت کے گیت
نشاط خیز و سکوں ریز بانسری لے کر
۲
جہانِ قلب سراپا گداز بن ہی گیا
ہر ایک ذرّہ محبت کا ساز بن ہی گیا
۳
جمال و حسن کے کافر نکھار سے کھیلا
ریاضِ عشق کی رنگیں بہار سے کھیلا
پیمبروں کی کبھی رسم کی اَدا اُس نے
گوالا بن کے کبھی سبزہ زار سے کھیلا
بہا دیے کبھی ٹھوکر سے پریم کے چشمے
کبھی جمن کبھی گنگا کی دھار سے کھیلا
۴
ہنسی ہنسی میں وہ دکھ درد جھیلتا ہی رہا
کرشمہ باز زمانے سے کھیلتا ہی رہا
۵
کیا زمانے کو معمور اپنے نغموں سے
سکھائے عشق کے دستور اپنے نغموں سے
صداقت اور محبت کی اُس نے دی تعلیم
اندھیریوں میں بھرا نور اپنے نغموں سے
لطافتوں سے کیا ارضِ ہند کو لبریز
کثافتوں کو کیا دور اپنے نغموں سے
۶
فلک کو یاد ہیں اُس عہدِ پاک کی باتیں
وہ بانسری وہ محبت کی سانولی راتیں
۷
دلوں میں رنگِ محبت کو اُستوار کیا
سوادِ ہند کو گیتا سے نغمہ بار کیا
جو راز کوششِ نطق و زباں سے کُھل نہ سکا
وہ راز اپنی نگاہوں سے آشکار کیا
اُداسیوں کو نئی زندگی عطا کر دی
ہر ایک ذرّے کو دل دے کے بیقرار کیا
۸
جو مشرب اُس کا نہ اِس طرح عام ہو جاتا
جہاں سے محو محبت کا نام ہو جاتا
श्री क्रिष्ण – सय्यद आशेक़ हुसैन सीमाब अक्बरआबादी
१
हुआ तुलू’ सितारों की दिलकशी ले कर
सुरूर आँख में नज़्रों में ज़िंदगी ले कर
ख़ुदी के होश उढाने ब-सद नियाज़ आया
नए पियालों में सहबा-ए बे-ख़ुदी ले कर
फ़ज़ा-ए दहर में गाता फिरा वो प्रीत के गीत
नशात-ख़ेज़-ओ-सुकूँ-रेज़ बाँसुरी ले कर
२
जहान-ए क़ल्ब सरापा-गुदाज़ बन ही गया
हर एक ज़र्रा मोहब्बत का साज़ बन ही गया
३
जमाल-ओ-हुस्न के काफ़िर निखार से खेला
रियाज़-ए इश्क़ की रंगीं बहार से खेला
पयम्बरों की कभी रस्म की अदा उस ने
ग्वाला बन के कभी सब्ज़ा-ज़ार से खेला
बहा दिए कभी ठोकर से प्रेम के चश्मे
कभी जमन कभी गंगा की धार से खेला
४
हँसी हँसी में वो दुख-दर्द झेलता ही रहा
करिश्मा-बाज़ ज़माने से खेलता ही रहा
५
किया ज़माने को मा’मूर अपने नग़्मों से
सिखाए इश्क़ के दस्तूर अपने नग़्मों से
सदाक़त और मोहब्बत की उस ने दी ता’लीम
अंधेरियों में भरा नूर अपने नग़्मों से
लताफ़तों से किया अर्ज़-ए हिन्द को लबरेज़
कसाफ़तों को किया दूर अपने नग़्मों से
६
फ़लक को याद हैं उस अहद-ए पाक की बातें
वो बाँसुरी वो मोहब्बत की साँवली रातें
७
दिलों में रंग-ए मोहब्बत को उस्तुवार किया
सवाद-ए हिन्द को गीता से नग़्मा-बार किया
जो राज़ कोशिश-ए नुत्क़-ओ-ज़बाँ से खुल न सका
वो राज़ अपनी निगाहों से आश्कार किया
उदासियों को नई ज़िंदगी अता कर दी
हर एक ज़र्रे को दिल दे के बे-क़रार किया
८
जो मशरब उस का न इस तरह ‘आम हो जाता
जहाँ से महव मोहब्बत का नाम हो जाता
Click here for background and on any passage for word meanings and explanatory discussion. syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’.
1
hua tuluu1 sitaaroN ki dilkashi2 le kar
suruur3 aaNkh meN nazroN meN zindagi le kar
Khudi4 ke hosh5 uRaane ba-sad6 niyaaz7 aaya
na’e piyaaloN meN sahba8-e be-Khudi9 le kar
faza10-e dahr11 meN gaata phira vo priit12 ke giit
nashaat-Khez13-o-sukuuN-rez14 baNsuri le kar 1.emerge, rise, born 2.heart conquering, pleasant, beautiful 3.ecstasy 4.ego, self-centred 5.senses 6.with a hundred 7.humble offerings 8.wine 9.trance, god-centred 10.atmosphere 11.world 12.love 13.joy increasing 14.tranquility/peace spreading
He rose carrying with him the gentle light of the stars. Ecstatic and joy focused on (the virtue of) life. To knock the senses out of selfishness, he came with a hundred offerings of the wine of love in new cups. Singing and spreading songs of love in the world; raising joy and spreading peace with the music of his flute.
2
jahaan-e-qalb1 saraapa2 gudaaz3 ban hi gaya
har ek zarra4 mohabbat ka saaz5 ban hi gaya 1.world of the heart 2.head to toe 3.soft, tender 4.particle, grain of dust 5.instrument, means, music
Because of his songs of love and his joyous flute, the heart of the world melted ‘head to toe’. Every grain of dust (the whole earth) turned into an instrument of love.
3
jamaal1-o-husn2 ke kaafir3 nikhaar4 se khela
riyaaz5-e ishq ki raNgiiN bahaar se khela
payambaroN6 ki kabhi rasm7 kii ada us ne
gavaala8 ban ke kabhi sabza-zaar9 se khela
baha diye kabhi Thokar se prem ke chashme10
kabhi jaman11 kabhi gaNga ki dhaar se khela 1.glory 2.beauty 3.used to mean mischievous 4.freshness 5.garden 6.(divine) messengers 7.traditions 8.cowherd 9.grassland, meadow 10.rivers 11.jamuna
He played with a fresh (innocent) mischief of glory and beauty. He played in the spring of the colourful garden of love. At times he fulfilled the traditions of a divine messenger; at times of a cowherd playing the meadow. He made rivers of love flow with the touch of his feet. At times he played with the flowing jamuna and at other times with the gaNga.
4
haNsi haNsi meN voh dukh-dard1 jhelta2 hi raha
karishma-baaz3 zamaane4 se khelta hi raha 1.pain and sorrow 2.bear, overcome 3.miracle performer 4.world
He bore pain and sorrow with a smile. The miracle worker, played with the world.
5
kiya zamaane ko m’aamuur1 apne naGhmoN2 se
sikhaa’e ishq ke dastuur3 apne naGhmoN se
sadaaqat4 aur mohabbat ki uss ne dii t’aaliim5
andheriyoN meN bhara nuur6 apne naGhmoN se
lataafatoN7 se kiya arz8-e hind ko labrez9
kasaafatoN10 ko kiya duur apne naGhmoN se 1.full, abundant 2.songs 3.traditions 4.veracity, truth 5.teachings 6.light 7.elegance 8.land 9.overflowing 10.impurities
He filled the world with his songs. He taught the traditions of love through his songs. He gave lessons of love and truthfulness. He filled darkness with the light of his songs i.e., brought joy to overcome sorrow, making the land of hindostan overflow with elegance, he banished impurities of the heart and soul.
6
falak1 ko yaad haiN uss ahd2-e paak3 ki baateN
voh baaNsuri voh mohabbat ki saaNvli4 raateN 1.skies 2.age, era, period 3.pure 4.sallow colour, twilight
Here ‘falak’ is used to mean everything under the sky i.e., the world. The world remembers the stories of that pure era, that flute and those evenings of love.
7
diloN meN raNg1-e mohabbat ko ustuvaar2 kiya
savaad3-e hind ko giita se naGhma-baar4 kiya
jo raaz5 koshish6-e nutq7-o-zabaaN8 se khul na saka
vo raaz apni nigaahoN9 se aashkaar10 kiya
udaasiyoN ko naii zindagi ataa11 kar dii
har ek zarre12 ko dil de ke be-qaraar13 kiya 1.colour, quality 2.strong 3.dark heart 4.raining songs 5.secret, mystery 6.effort 7.sound 8.tongue, words 9.eyes 10.reveal 11.granted 12.grain/particle of sand 13.restless
He made the quality of love strong. He rained songs of love on the darkness of hindostan with his giita. The mystery that could not be resolved through words, he revealed through the eyes i.e., by actions/deed that can be seen. He granted a new life to those who were sorrowful. He gave feelings to every grain of sand and made it restless with love.
8
jo mashrab1 us ka na is tarah2 ‘aam3 ho jaata
jahaaN4 se mahv5 mohabbat ka naam ho jaata 1.way, tradition 2.like this 3.common, wide-spread 4.world 5.forgotten
If his traditions (of love) had not become wide-spread like this, then love would have disappeared from this world.
syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’.
1
hua tuluu1 sitaaroN ki dilkashi2 le kar
suruur3 aaNkh meN nazroN meN zindagi le kar
Khudi4 ke hosh5 uRaane ba-sad6 niyaaz7 aaya
na’e piyaaloN meN sahba8-e be-Khudi9 le kar
faza10-e dahr11 meN gaata phira vo priit12 ke giit
nashaat-Khez13-o-sukuuN-rez14 baNsuri le kar
1.emerge, rise, born 2.heart conquering, pleasant, beautiful 3.ecstasy 4.ego, self-centred 5.senses 6.with a hundred 7.humble offerings 8.wine 9.trance, god-centred 10.atmosphere 11.world 12.love 13.joy increasing 14.tranquility/peace spreading
He rose carrying with him the gentle light of the stars. Ecstatic and joy focused on (the virtue of) life. To knock the senses out of selfishness, he came with a hundred offerings of the wine of love in new cups. Singing and spreading songs of love in the world; raising joy and spreading peace with the music of his flute.
2
jahaan-e-qalb1 saraapa2 gudaaz3 ban hi gaya
har ek zarra4 mohabbat ka saaz5 ban hi gaya
1.world of the heart 2.head to toe 3.soft, tender 4.particle, grain of dust 5.instrument, means, music
Because of his songs of love and his joyous flute, the heart of the world melted ‘head to toe’. Every grain of dust (the whole earth) turned into an instrument of love.
3
jamaal1-o-husn2 ke kaafir3 nikhaar4 se khela
riyaaz5-e ishq ki raNgiiN bahaar se khela
payambaroN6 ki kabhi rasm7 kii ada us ne
gavaala8 ban ke kabhi sabza-zaar9 se khela
baha diye kabhi Thokar se prem ke chashme10
kabhi jaman11 kabhi gaNga ki dhaar se khela
1.glory 2.beauty 3.used to mean mischievous 4.freshness 5.garden 6.(divine) messengers 7.traditions 8.cowherd 9.grassland, meadow 10.rivers 11.jamuna
He played with a fresh (innocent) mischief of glory and beauty. He played in the spring of the colourful garden of love. At times he fulfilled the traditions of a divine messenger; at times of a cowherd playing the meadow. He made rivers of love flow with the touch of his feet. At times he played with the flowing jamuna and at other times with the gaNga.
4
haNsi haNsi meN voh dukh-dard1 jhelta2 hi raha
karishma-baaz3 zamaane4 se khelta hi raha
1.pain and sorrow 2.bear, overcome 3.miracle performer 4.world
He bore pain and sorrow with a smile. The miracle worker, played with the world.
5
kiya zamaane ko m’aamuur1 apne naGhmoN2 se
sikhaa’e ishq ke dastuur3 apne naGhmoN se
sadaaqat4 aur mohabbat ki uss ne dii t’aaliim5
andheriyoN meN bhara nuur6 apne naGhmoN se
lataafatoN7 se kiya arz8-e hind ko labrez9
kasaafatoN10 ko kiya duur apne naGhmoN se
1.full, abundant 2.songs 3.traditions 4.veracity, truth 5.teachings 6.light 7.elegance 8.land 9.overflowing 10.impurities
He filled the world with his songs. He taught the traditions of love through his songs. He gave lessons of love and truthfulness. He filled darkness with the light of his songs i.e., brought joy to overcome sorrow, making the land of hindostan overflow with elegance, he banished impurities of the heart and soul.
6
falak1 ko yaad haiN uss ahd2-e paak3 ki baateN
voh baaNsuri voh mohabbat ki saaNvli4 raateN
1.skies 2.age, era, period 3.pure 4.sallow colour, twilight
Here ‘falak’ is used to mean everything under the sky i.e., the world. The world remembers the stories of that pure era, that flute and those evenings of love.
7
diloN meN raNg1-e mohabbat ko ustuvaar2 kiya
savaad3-e hind ko giita se naGhma-baar4 kiya
jo raaz5 koshish6-e nutq7-o-zabaaN8 se khul na saka
vo raaz apni nigaahoN9 se aashkaar10 kiya
udaasiyoN ko naii zindagi ataa11 kar dii
har ek zarre12 ko dil de ke be-qaraar13 kiya
1.colour, quality 2.strong 3.dark heart 4.raining songs 5.secret, mystery 6.effort 7.sound 8.tongue, words 9.eyes 10.reveal 11.granted 12.grain/particle of sand 13.restless
He made the quality of love strong. He rained songs of love on the darkness of hindostan with his giita. The mystery that could not be resolved through words, he revealed through the eyes i.e., by actions/deed that can be seen. He granted a new life to those who were sorrowful. He gave feelings to every grain of sand and made it restless with love.
8
jo mashrab1 us ka na is tarah2 ‘aam3 ho jaata
jahaaN4 se mahv5 mohabbat ka naam ho jaata
1.way, tradition 2.like this 3.common, wide-spread 4.world 5.forgotten
If his traditions (of love) had not become wide-spread like this, then love would have disappeared from this world.
The post shri krishn-aashiq husain seemab akbarabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2016/05/af-jila-vatani-song-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2016/05/af-jila-vatani-song-abida-parveen.mp3
abida parveen
- اُردو
- देवनागरी
- Roman
- Notes
او دیس سے آنے والے بتا ۔ داؤد خاں اخترؔ شیرانی
۱
او دیس سے آنے والے بتا، کس حال میں ہیں یارانِ وطن
وہ باغِ وطن، فردوسِ وطن، ائے دیس سے آنے والے بتا
۲
کیا اب بھی وہاں کے باغوں میں مستانہ ہوائیں آتی ہیں
کیا اب بھی وہاں کے پربت پر گھنگھور گھٹائیں چھاتی ہیں
کیا اب بھی وہاں کی برکھائیں ویسے ہی دلوں کو بھاتی ہیں
ائے دیس سے آنے والے بتا، ائے دیس سے آنے والے بتا
۳
وہ شہر جو ہم سے چُھوٹَا ہے ، وہ شہر ہمارا کیسا ہے
سب لوگ ہمیں پیارے ہیں مگر ، وہ جان سے پیارا کیسا ہے
۴
کیا اب بھی وطن میں ویسے ہی سرمست نظارے ہوتے ہیں
کیا اب بھی سہانی راتوں میں وہ چاند ستارے ہوتے ہیں
ہم کھیل جو کھیلا کرتے تھے کیا اب بھی وہ سارے ہوتے ہیں
ائے دیس سے آنے والے بتا، ائے دیس سے آنے والے بتا
۵
شب بزم حریفاں سجتی ہے ، یا شام ڈھلے سو جاتے ہیں
یاروں کی بسر اوقات ہے کیا ، ہر انجمن آرا کیسا ہے
۶
کیا اب بھی مہکتے مندر سے ناقوس کی آواز آتی ہے
کیا اب بھی مقدس مسجد پر مستانہ اذاں تھرّاتی ہے
۷
کیا اب بھی وہاں کے پنگھٹ پر، پنہاریاں پانی بھرتی ہیں
انگڑائی کا نقشہ بن بن کر سب ماتھے پہ گھاگر دھرتی ہیں
اور اپنے گھروں کو جاتے ہوئے ہنستی ہوئی چوہلیں کرتی ہیں
ائے دیس سے آنے والے بتا، ائے دیس سے آنے والے بتا
۸
مہران لہو کی دھار ہوا، بولان بھی کیا گلنار ہوا
کِس رنگ کا ہے دریائے اٹک، راوی کا کنارا کیسا ہے
۹
ائے دیس سے آنے والے مگر ، تم نے تو نہ اتنا بھی پوچھا
وہ کوَی جسے بن باس ملا ، وہ دَرْد کا مارا کیسا ہے
۱۰
کیا اب بھی کسی کے سینے میں، باقی ہے ہماری چاہ بتا
کیا یاد ہمیں بھی کرتا ہے، یاروں میں کوئی اب آہ بتا
ائے دیس سے آنے والے بتا، ائے دیس سے آنے والے بتا
لللہ بتا، لللہ بتا، لللہ بتا، لللہ بتا، لللہ بتا
ओ देस से आने वाले बता – दाऊद ख़ां
१
ओ देस से आने वाले बता, किस हाल में हैं यारान-ए वतन
वो बाग़-ए वतन, फ़िरदौस-ए वतन, ओ देस से आने वाले बता
२
क्या अब भी वहां के बाग़ों में मस्ताना हवाएं आती हैं
क्या अब भी वहां के परबत पर घनघोर घटाएं छाती हैं
क्या अब भी वहां के बरखाएं वैसे ही दिलों को भाति हैं
ओ देस से आने वाले बता, ओ देस से आने वाले बता
३
वो शहर जो हम से छूटा है, वो शहर हमारा कैसा है
सब दोस्त हमें प्यारे हैं मगर, वो जान से प्यारा कैसा है
४
क्या अब भी वतन में वैसे ही सरमस्त नज़ारे होते हैं
क्या अब भी सोहनी रातों में वो चांद सितारे होते हैं
हम खेल जो खेला करते थे, अब भी वो सारे होते हैं
ओ देस से आने वाले बता, ओ देस से आने वाले बता
५
शब बज़्म-ए हरीफ़ां सजती है, या शाम ढले सो जाते हैं
यारौं की बसर औक़ात है क्या, हर अंजुमन आरा कैसा है
६
क्या अब भी महकते मंदिर से, नाक़ूस कि आवाज़ आती है
क्या अब भी मुक़द्दस मस्जिद पर मस्ताना अज़’आं थर्राती है
७
क्या अब भी वहां के पनघट पर, पन्हारियां पानी भर्ती हैं
अंगड़ाई का नक़्शा बन बन कर, सब माथे पे गागर धरती हैं
और अपने घरौं को जाते हुए, हंसती हुई चोहलें करती हैं
ओ देस से आने वाले बता, ओ देस से आने वाले बता
८
महरान लहू की धार हुआ, बोलान भी क्या गुलनार हुआ
किस रंग का है दर्या-ए अटक, रावी का किनारा कैसा है
९
अए देस से आने वाले मगर, तुम ने तो न इतना भी पूछा
वो कवि जिसे बन बास मिला, वो दर्द का मारा कैसा है
१०
क्या अब भी किसी के सीने में, बाक़ी है हमारी चाह बता
क्या याद हमें भी करता है, अब यारौं में कोई, आह बता
ओ देस से आने वाले बता, ओ देस से आने वाले बता
लिल्लाह बता, लिल्लाह बता, लिल्लाह बता, लिल्लाह बता, लिल्लाह बता
Click here for background and on any passage for word meanings and explanatory discussion. mohammed dawood KhaaN aKhtar shiiraani (1904-1948) Tonk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes.
1
o des se aane vaale bata, kis haal meN haiN yaaraan-e vatan
vo baaGh-e vatan, firdaus1-e vatan, o des se aane vaale bata 1.heaven
The poet in exile has a visitor from home and inquires after his friends, the gardens and the heaven that he calls home.
2
kya ab bhi vahaaN ke baaGhauN meN mastaana1 havaaeN aati haiN
kya ab bhi vahaaN ke parbat2 par ghanghor ghaTaaeN chhaati haiN
kya ab bhi vahaaN ki barkhaaeN3 vaise hi dilauN ko bhaati4 haiN
o des se aane vaale bata, o des se aane vaale bata 1.intoxicating 2.mountain, hill 3.rains 4.pleasing, joyful
Does the breeze still blow fragrant and intoxicating, do dark clouds still gather at the top of the mountain, do the (benevolent, lifegiving) rains still please hearts. Tell me, o visitor from home, tell me.
3
vo shahr1 jo hum se chhooTa hai, vo shahr hamaara kaisa hai
sub log hameN pyaare haiN magar, vo jaan se pyaara kaisa hai
o des se aane vaale bata, o des se aane vaale bata 1.city but used here to mean homeland
The homeland that was taken away from me, how fares that home. All are dear to me, but that which is dearer than life, how is it. Tell me, o visitor from home, tell me.
4
kya ab bhi vatan meN vaise hi sarmast1 nazaare hote haiN
kya ab bhi sohaani2 raatauN meN vo chaand sitaare hote haiN
hum khel jo khela karte thhe, ab bhi vo saare hote haiN
o des se aane vaale bata, o des se aane vaale bata 1.intoxicating 2.pleasant
The poet continues to reminisce about intoxicating scenes, moon and stars in the clear skies of pleasant nights, the games that he and his friends used to play – is everything still the same. Tell me, o visitor from home, tell me.
5
shab bazm1-e hareefaaN2 sajti haiN, ya shaam Dhale so jaate haiN
yaarauN ki basar auqaat3 hai kya, har anjuman-aara4 kaisa hai 1.gathering 2.rivals/competitors 3.past-time 4.host (of sessions)
The poet remembers gatherings and late night sessions of poetry recitation. All friends get together – they are friends and rivals too, to see who recites the best poem. Do they still get together in the evenings or go to bed early. How do my friends spend their time. How is the host of (poetry) sessions. Tell me, o visitor from home, tell me.
6
kya ab bhi mahakte1 mandir se, naaqoos2 ki aavaaz aati hai
kya ab bhi muqaddas3 masjid par mastaana4 az’aaN tharraati5 hai 1.fragrant 2.shankh, conch shell 3.sacred 4.intoxicating/invigorating 5.vibrating/vibrant
Does the blowing of the conch shell still sound from the fragrant mandir/temple. Does the sacred masjid still vibrate with invigorating calls of the azaan.
7
kya ab bhi vahaaN ke panghaT1 par, panhaariyaaN2 paani bharti haiN
aNgRaaii ka naqsha3 ban ban kar, sub maathhe pe gaagar4 dharti haiN
aur apne gharauN ko jaate hue, haNsti hui chohleN5 karti haiN
o des se aane vaale bata, o des se aane vaale bata 1.river bank/lake shore to fill water 2.girls/women out to fetch water 3.picture 4.clay pot for water 5.deception/playfulness
In urdu poetry rural scenes with dirt trails, watering shores, girls out to fetch water are all evocative and romantic scenes also associated with playfulness and boy meets girl places. Stretching/yawning or lifting the water pot to place it over the head are similarly evocative. Thus the poet remembers all these playful romantic pleasant scenes. Tell me, o visitor from home, tell me.
8
mahraan1 lahu2 ki dhaar hua, bolaan3 bhi kya gulnaar4 hua
kis raNg ka hai darya5-e aTak6, raavi7 ka kinaara kaisa hai 1.old Arabic name for Sindh and/or for a river in Sindh 2.blood 3.Bolan Pass 4.red (like a rose) 5.river 6.River Attak, a tributary of the Indus 7.River Ravi, another tributary of the Indus
There has been so much bloodshed that rivers of Sindh flow with blood and the Bolan Pass is coloured red. Tell me what colour is the River Attak, how do the banks of the Ravi look
9
aye des se aane vaale magar, tum ne to na itna bhi poochha
vo kavi jise ban-baas1 mila, vo dard ka maara kaisa hai
o des se aane vaale bata, o des se aane vaale bata 1.forest dwelling, exile
O visitor from home, but you have not even asked about the poet who has been exiled, never inquired how this wretch is doing.
10
kya ab bhi kisi ke seene meN, baaqi1 hai hamaari chaah2 bata
kya yaad hameN bhi karta hai, ab yaarauN meN koii, aah bata
o des se aane vaale bata, o des se aane vaale bata
lillah bata, lillah bata, lillah bata, lillah bata, lillah bata 1.remaining 2.love
Does anyone still nurture love for me in their hearts. Do any of our friends remember me, alas, tell me. Tell me, o visitor from home, tell me. For god’s sake, tell me.
mohammed dawood KhaaN aKhtar shiiraani (1904-1948) Tonk, rajashthan. He received religious and classical education at home and was also given lessons in wrestling. In 1921, there was a rebellion against the local navaab. He was able to put down the rebellion but banished a lot of people, among them shiiraani’s family, who migrated to lahore. He started working as a journalist and publisher. His love interest and poetry caused a breakdown of relationship with his father, but his allowance continued. He died early due to heavy smoking and drinking. In his poetry he broke with the trend of progressive poets and stayed with romantic themes.
1
o des se aane vaale bata, kis haal meN haiN yaaraan-e vatan
vo baaGh-e vatan, firdaus1-e vatan, o des se aane vaale bata
1.heaven
The poet in exile has a visitor from home and inquires after his friends, the gardens and the heaven that he calls home.
2
kya ab bhi vahaaN ke baaGhauN meN mastaana1 havaaeN aati haiN
kya ab bhi vahaaN ke parbat2 par ghanghor ghaTaaeN chhaati haiN
kya ab bhi vahaaN ki barkhaaeN3 vaise hi dilauN ko bhaati4 haiN
o des se aane vaale bata, o des se aane vaale bata
1.intoxicating 2.mountain, hill 3.rains 4.pleasing, joyful
Does the breeze still blow fragrant and intoxicating, do dark clouds still gather at the top of the mountain, do the (benevolent, lifegiving) rains still please hearts. Tell me, o visitor from home, tell me.
3
vo shahr1 jo hum se chhooTa hai, vo shahr hamaara kaisa hai
sub log hameN pyaare haiN magar, vo jaan se pyaara kaisa hai
o des se aane vaale bata, o des se aane vaale bata
1.city but used here to mean homeland
The homeland that was taken away from me, how fares that home. All are dear to me, but that which is dearer than life, how is it. Tell me, o visitor from home, tell me.
4
kya ab bhi vatan meN vaise hi sarmast1 nazaare hote haiN
kya ab bhi sohaani2 raatauN meN vo chaand sitaare hote haiN
hum khel jo khela karte thhe, ab bhi vo saare hote haiN
o des se aane vaale bata, o des se aane vaale bata
1.intoxicating 2.pleasant
The poet continues to reminisce about intoxicating scenes, moon and stars in the clear skies of pleasant nights, the games that he and his friends used to play – is everything still the same. Tell me, o visitor from home, tell me.
5
shab bazm1-e hareefaaN2 sajti haiN, ya shaam Dhale so jaate haiN
yaarauN ki basar auqaat3 hai kya, har anjuman-aara4 kaisa hai
1.gathering 2.rivals/competitors 3.past-time 4.host (of sessions)
The poet remembers gatherings and late night sessions of poetry recitation. All friends get together – they are friends and rivals too, to see who recites the best poem. Do they still get together in the evenings or go to bed early. How do my friends spend their time. How is the host of (poetry) sessions. Tell me, o visitor from home, tell me.
6
kya ab bhi mahakte1 mandir se, naaqoos2 ki aavaaz aati hai
kya ab bhi muqaddas3 masjid par mastaana4 az’aaN tharraati5 hai
1.fragrant 2.shankh, conch shell 3.sacred 4.intoxicating/invigorating 5.vibrating/vibrant
Does the blowing of the conch shell still sound from the fragrant mandir/temple. Does the sacred masjid still vibrate with invigorating calls of the azaan.
7
kya ab bhi vahaaN ke panghaT1 par, panhaariyaaN2 paani bharti haiN
aNgRaaii ka naqsha3 ban ban kar, sub maathhe pe gaagar4 dharti haiN
aur apne gharauN ko jaate hue, haNsti hui chohleN5 karti haiN
o des se aane vaale bata, o des se aane vaale bata
1.river bank/lake shore to fill water 2.girls/women out to fetch water 3.picture 4.clay pot for water 5.deception/playfulness
In urdu poetry rural scenes with dirt trails, watering shores, girls out to fetch water are all evocative and romantic scenes also associated with playfulness and boy meets girl places. Stretching/yawning or lifting the water pot to place it over the head are similarly evocative. Thus the poet remembers all these playful romantic pleasant scenes. Tell me, o visitor from home, tell me.
8
mahraan1 lahu2 ki dhaar hua, bolaan3 bhi kya gulnaar4 hua
kis raNg ka hai darya5-e aTak6, raavi7 ka kinaara kaisa hai
1.old Arabic name for Sindh and/or for a river in Sindh 2.blood 3.Bolan Pass 4.red (like a rose) 5.river 6.River Attak, a tributary of the Indus 7.River Ravi, another tributary of the Indus
There has been so much bloodshed that rivers of Sindh flow with blood and the Bolan Pass is coloured red. Tell me what colour is the River Attak, how do the banks of the Ravi look
9
aye des se aane vaale magar, tum ne to na itna bhi poochha
vo kavi jise ban-baas1 mila, vo dard ka maara kaisa hai
o des se aane vaale bata, o des se aane vaale bata
1.forest dwelling, exile
O visitor from home, but you have not even asked about the poet who has been exiled, never inquired how this wretch is doing.
10
kya ab bhi kisi ke seene meN, baaqi1 hai hamaari chaah2 bata
kya yaad hameN bhi karta hai, ab yaarauN meN koii, aah bata
o des se aane vaale bata, o des se aane vaale bata
lillah bata, lillah bata, lillah bata, lillah bata, lillah bata
1.remaining 2.love
Does anyone still nurture love for me in their hearts. Do any of our friends remember me, alas, tell me. Tell me, o visitor from home, tell me. For god’s sake, tell me.
The post O des se aane vaale bata-aKhtar shiiraani-dawood KhaaN appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/msaa-aag-lagaa-de-naqaab-meN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آگ لگا دے نقاب میں ۔ مفتی صدرالدین آزردہؔ
۱
کیا جانو جو اثر ہے دمِ شعلہ تاب میں
یہ وہ ہے برق آگ لگا دے نقاب میں
۲
حال اِس نگہ کا اُس کے سراپے میں کیا کہوں
مُورِ ضعیف پھنس گئی جا شہدِ ناب میں
۳
ذکرِ وفا وہ سنتے ہی مجلس سے اٹھ گئے
کچھ گفتگو ہی ٹھیک نہ تھی ایسے باب میں
۴
کیا پوچھتے ہو چارۂ ہُو از خویشِ رفتگاں
سَو جا سے چاک جامہ ہے سوزن خَلاب میں
۵
آوازِ صور تیرے شہیدوں کو روزِ حشر
لگتی تھی اک بھنک سی تو کانوں کو خواب میں
۶
جو دیکھتے ہی اس کے یہ گزرا کبھو نہیں
یعقوب کے خیال و زلیخا کے خواب میں
۷
ہر ہر روئیں سے خرقہ کے میرے ہے خونچکاں
غوطے تو سَو دیے اسے زمزم کے آب میں
۸
اس چشم اشکبار کے کیونکر ہو سامنے
رونے کا مآدّہ ہی نہیں ہے سحاب میں
۹
قسمت تو دیکھ کھولی گرہ کچھ تو رہ گئے
ناخن ہمارے ٹوٹ کے بندِ نقاب میں
۱۰
ہر وقت آرزوئے عذابِ جحیم ہے
ہاتھوں سے ہِجر کے ہوں میں کیا کیا عذاب میں
आग लगा दे नक़ाब में – मुफ़्ती सद्रुद्दीन आज़ुर्दा
१
क्या जानो जो असर है दम-ए शो’ला-ताब में
ये वो है बर्क़ आग लगा दे नक़ाब में
२
हाल इस निगह का उस के सरापे में क्या कहूँ
मूर-ए ज़ईफ़ फँस गई जा शहद-ए नाब में
३
ज़िक्र-ए वफ़ा वो सुनते ही मज्लिस से उठ गए
कुछ गुफ़्तगू ही ठीक न थी ऐसे बाब में
४
क्या पूछते हो चारा-ए हू अज़-ख़्वीश-ए रफ़्तगाँ
सौ जा से चाक जामा है सोज़न ख़लाब में
५
आवाज़-ए सूर तेरे शहीदों को रोज़-ए हश्र
लगती थी एक भनक सी तो कानों को ख़्वाब में
६
जो देखते ही उस के ये गुज़्रा कभू नहीं
याक़ूब के ख़याल ओ ज़ुलैख़ा के ख़्वाब में
७
हर हर रुएँ से ख़िर्क़ा के मेरे है ख़ूँ-चकाँ
ग़ोते तो सौ दिए उसे ज़मज़म के आब में
८
इस चश्म-ए अश्क-बार के क्यूँकर हो सामने
रोने का माद्दा ही नहीं है सहाब में
९
क़िस्मत तो देख खोली गिरह कुछ तो रह गए
नाख़ुन हमारे टूट के बंद-ए नक़ाब में
१०
हर-वक़्त आर्ज़ू-ए अज़ाब-ए जहीम है
हाथों से हिज्र के हूँ मैं क्या क्या अज़ाब में
Click here for background and on any passage for word meanings and explanatory discussion. mufti sadruddin aazurda (1789-1868), dehli. Chief mufti/judge. He was a close friend of Ghalib. Ghalib was presented in his court on charges of gambling. He sentenced him and, on the side, paid his fine. After the 1857 war he was arrested, and all his property was confiscated. His compositions were probably never published during his lifetime, except in magazines. This Ghazal is linked to ‘saaqi ne kuchh mila na diya ho sharaab meN’ under the page, “Ghalib naqsh-e qadam”. But this and several others in the same zamin were probably composed for the same mushaa’era by Ghalib’s contemporaries. To recognize this, a category called “1800s hum asar” has been created and such Ghazal have been linked to it.
1
kya jaano jo asar1 hai dam2-e sho’la-taab3 meN
ye vo hai barq4 aag lagaa de naqaab5 meN 1.effect 2.breath 3.flaming hot 4.lightning 5.veil
How can you/we know what effect her flaming hot breath has. This is a lightning strike that can set fire to the veil (or burn through the veil). The poet leaves it to us to imagine why her breath is flaming hot. Is it because she is angry at him? Or, is he talking about his own breath; his sigh that can reach far and burn her veil.
2
haal1 is nigah2 ka us ke saraape3 meN kya kahuN
muur4-e zaiif5 phaNs gaii jaa6 shahd7-e naab8 meN 1.condition 2.glance, sight, eyes 3.head to toe 4.ant 5.feeble 6.short for ‘jaa kar’ – going there 7.honey 8.pure
How can I describe the condition of my eyes when I look at her from head to toe. It is as if a feeble ant is tangled up in pure honey. The poet simply cannot look away.
3
zikr1-e vafaa2 vo sunte hi majlis3 se uTh gaye
kuchh guftagu4 hi Thiik na thi aise baab5 meN 1.mention, narrative 2.fidelity, keeping faith/promise 3.gathering 4.conversation 5.door, house, domain
The beloved is famous for breaking promises – promises for coming to a tryst and/or promises not to see the rival anymore. But in the gathering, when the poet/lover started to talk about keeping promises, she rose and left. Such conversation was inappropriate in the (public) domain, he concludes.
4
kya poochhte ho chaara1-e huu2 az-Khweesh3-e raftagaaN4
sau jaa5 se chaak6 jaama7 hai sozan8 Khalaab9 meN 1.cure, remedy, used here to mean answer/solution to a question/puzzle 2.existence, being (of god) 3.from our relatives 4.departed, dead 5.places 6.tears 7.clothes 8.needle 9.quagmire, muddy swamp
The poet expects that those who have departed before us would be able to give a solution to his puzzle about the divine being. But he has received no answers and helplessly throws up his hands … don’t ask me about it. The problem is like having a hundred tears in the dress and the needle is somewhere in a vast quagmire.
5
aavaaz-e suur1 tere shahidoN2 ko roz3-e hashr4
lagti thi ek bhanak5 si to kaanoN ko Khwaab6 meN 1.trumpet sounded by the angel israfeel announcing the day of judement 2.martyrs 3.day of 4.resurrection 5.faint sound 6.dream
It is believed that on the day of judgement the angel israfeel will blow a trumpet calling all the dead to rise and present themselves before god. The sound of the trumpet will be loud and painful for sinners and will cause havoc all around. But the lovers/suitors/admirers who have been killed by the beloved are absolved of all sin, because what they have done is admirable and they are martyrs. They will barely hear the trumpet like a faint sound and even that in a dream.
6
jo dekhte hi us ke ye guzra1 kabhu nahiN
yaaqub2 ke Khayaal3 o zulaiKha4 ke Khwaab5 meN 1.pass through, happened, occurred 2.Jacob/yaaqub, father of yusuf/Joseph 3.thought, imagination 4.wife of Egyption trader who fell in love with the handsome slave, yusuf/Joseph, he brought home 5.dream
This has reference to the story of yusuf and zulaiKha. yusuf was enslaved but eventually returned to his father. zulaiKha, whose husband had bought yusuf as a slave, fell madly in love with him and made bold advances. But yusuf did not reciprocate and ran away.
The first misra in one print edition reads, “jo dekhte hi us se guzra kabhu nahiN”. I spent a long time with my ustaad, moazzam siddiqi, but could not make sense of it. He suggested that there might be an error by the ‘kaatib’ – copy writer. The misra as written above is our best guess at what might be the original. Also, in the second misra ‘Khayaal’ and ‘Khwaab’ are probably used as a saying, “Khwaab of Khayaal” meaning not even in the wildest imagination.
Thus, when yusuf returned to yaquub, he could not have believed in his wildest imagination that he would re-unite with his son. In much the same way, zulaiKha could not have believed in her wildest imagination that yusuf would run away from her.
7
har har ru’eN1 se Khirqa2 ke mere hai KhuN-chakaaN3
Ghote4 to sau diye use zamzam5 ke aab6 meN 1.cotton, fibre 2.hermit’s robe, torn/patched/fragile robe 3.blood dripping 4.immerse, dip, drown 5.well/spring of holy/cleansing water near the kaaba 6.water
Blood drips from every fibre of my torn robe even though I dipped/washed it in the cleansing waters of zamzam. The blood stains simply would not wash away. Probably the implication is that these are blood stains from the wounds inflicted by the beloved. They will not get washed away either because they are very dear to the poet/lover or because the wounds are so deep and so many that blood keeps oozing out.
8
is chashm1-e ashk-baar2 ke kyuNkar ho saamne
rone ka m’aadda3 hi nahiN hai sahaab4 meN 1.eye 2.tear raining 3.substance, material, capacity 4.cloud
The poet/lover cries/weeps a lot; so much that it causes rain storms and floods. He is proud of his crying. He says how can the cloud come before this tear raining eye. It does not have the capacity to rain like my eye does.
9
qismat to dekh kholi girah1 kuchh to rah gaye
naaKhun2 hamaare TuuT ke band3-e naqaab4 meN 1.knot 2.nails, fingernails 3.ties 4.veil
The poet/lover got close enough to try to untie the knots of the beloved veil. He tried, but look at his bad luck, his finger nails broke and got stuck in the knots. He failed to undo the knot.
10
har-vaqt aarzu1-e azaab2-e jahiim3 hai
haathoN se hijr4 ke huN maiN kya kya azaab2 meN 1.desire, longing 2.punishment, retribution 3.hellfire 4.separation (from the beloved)
Look at the trials and tribulations I go through in separation from the beloved. These are so severe that I long for an easier time – burning in hellfire i.e., burning in hellfire is pleasant compared to separation from the beloved.
mufti sadruddin aazurda (1789-1868), dehli. Chief mufti/judge. He was a close friend of Ghalib. Ghalib was presented in his court on charges of gambling. He sentenced him and, on the side, paid his fine. After the 1857 war he was arrested, and all his property was confiscated. His compositions were probably never published during his lifetime, except in magazines. This Ghazal is linked to ‘saaqi ne kuchh mila na diya ho sharaab meN’ under the page, “Ghalib naqsh-e qadam”. But this and several others in the same zamin were probably composed for the same mushaa’era by Ghalib’s contemporaries. To recognize this, a category called “1800s hum asar” has been created and such Ghazal have been linked to it.
1
kya jaano jo asar1 hai dam2-e sho’la-taab3 meN
ye vo hai barq4 aag lagaa de naqaab5 meN
1.effect 2.breath 3.flaming hot 4.lightning 5.veil
How can you/we know what effect her flaming hot breath has. This is a lightning strike that can set fire to the veil (or burn through the veil). The poet leaves it to us to imagine why her breath is flaming hot. Is it because she is angry at him? Or, is he talking about his own breath; his sigh that can reach far and burn her veil.
2
haal1 is nigah2 ka us ke saraape3 meN kya kahuN
muur4-e zaiif5 phaNs gaii jaa6 shahd7-e naab8 meN
1.condition 2.glance, sight, eyes 3.head to toe 4.ant 5.feeble 6.short for ‘jaa kar’ – going there 7.honey 8.pure
How can I describe the condition of my eyes when I look at her from head to toe. It is as if a feeble ant is tangled up in pure honey. The poet simply cannot look away.
3
zikr1-e vafaa2 vo sunte hi majlis3 se uTh gaye
kuchh guftagu4 hi Thiik na thi aise baab5 meN
1.mention, narrative 2.fidelity, keeping faith/promise 3.gathering 4.conversation 5.door, house, domain
The beloved is famous for breaking promises – promises for coming to a tryst and/or promises not to see the rival anymore. But in the gathering, when the poet/lover started to talk about keeping promises, she rose and left. Such conversation was inappropriate in the (public) domain, he concludes.
4
kya poochhte ho chaara1-e huu2 az-Khweesh3-e raftagaaN4
sau jaa5 se chaak6 jaama7 hai sozan8 Khalaab9 meN
1.cure, remedy, used here to mean answer/solution to a question/puzzle 2.existence, being (of god) 3.from our relatives 4.departed, dead 5.places 6.tears 7.clothes 8.needle 9.quagmire, muddy swamp
The poet expects that those who have departed before us would be able to give a solution to his puzzle about the divine being. But he has received no answers and helplessly throws up his hands … don’t ask me about it. The problem is like having a hundred tears in the dress and the needle is somewhere in a vast quagmire.
5
aavaaz-e suur1 tere shahidoN2 ko roz3-e hashr4
lagti thi ek bhanak5 si to kaanoN ko Khwaab6 meN
1.trumpet sounded by the angel israfeel announcing the day of judement 2.martyrs 3.day of 4.resurrection 5.faint sound 6.dream
It is believed that on the day of judgement the angel israfeel will blow a trumpet calling all the dead to rise and present themselves before god. The sound of the trumpet will be loud and painful for sinners and will cause havoc all around. But the lovers/suitors/admirers who have been killed by the beloved are absolved of all sin, because what they have done is admirable and they are martyrs. They will barely hear the trumpet like a faint sound and even that in a dream.
6
jo dekhte hi us ke ye guzra1 kabhu nahiN
yaaqub2 ke Khayaal3 o zulaiKha4 ke Khwaab5 meN
1.pass through, happened, occurred 2.Jacob/yaaqub, father of yusuf/Joseph 3.thought, imagination 4.wife of Egyption trader who fell in love with the handsome slave, yusuf/Joseph, he brought home 5.dream
This has reference to the story of yusuf and zulaiKha. yusuf was enslaved but eventually returned to his father. zulaiKha, whose husband had bought yusuf as a slave, fell madly in love with him and made bold advances. But yusuf did not reciprocate and ran away.
The first misra in one print edition reads, “jo dekhte hi us se guzra kabhu nahiN”. I spent a long time with my ustaad, moazzam siddiqi, but could not make sense of it. He suggested that there might be an error by the ‘kaatib’ – copy writer. The misra as written above is our best guess at what might be the original. Also, in the second misra ‘Khayaal’ and ‘Khwaab’ are probably used as a saying, “Khwaab of Khayaal” meaning not even in the wildest imagination.
Thus, when yusuf returned to yaquub, he could not have believed in his wildest imagination that he would re-unite with his son. In much the same way, zulaiKha could not have believed in her wildest imagination that yusuf would run away from her.
7
har har ru’eN1 se Khirqa2 ke mere hai KhuN-chakaaN3
Ghote4 to sau diye use zamzam5 ke aab6 meN
1.cotton, fibre 2.hermit’s robe, torn/patched/fragile robe 3.blood dripping 4.immerse, dip, drown 5.well/spring of holy/cleansing water near the kaaba 6.water
Blood drips from every fibre of my torn robe even though I dipped/washed it in the cleansing waters of zamzam. The blood stains simply would not wash away. Probably the implication is that these are blood stains from the wounds inflicted by the beloved. They will not get washed away either because they are very dear to the poet/lover or because the wounds are so deep and so many that blood keeps oozing out.
8
is chashm1-e ashk-baar2 ke kyuNkar ho saamne
rone ka m’aadda3 hi nahiN hai sahaab4 meN
1.eye 2.tear raining 3.substance, material, capacity 4.cloud
The poet/lover cries/weeps a lot; so much that it causes rain storms and floods. He is proud of his crying. He says how can the cloud come before this tear raining eye. It does not have the capacity to rain like my eye does.
9
qismat to dekh kholi girah1 kuchh to rah gaye
naaKhun2 hamaare TuuT ke band3-e naqaab4 meN
1.knot 2.nails, fingernails 3.ties 4.veil
The poet/lover got close enough to try to untie the knots of the beloved veil. He tried, but look at his bad luck, his finger nails broke and got stuck in the knots. He failed to undo the knot. 10
har-vaqt aarzu1-e azaab2-e jahiim3 hai
haathoN se hijr4 ke huN maiN kya kya azaab2 meN
1.desire, longing 2.punishment, retribution 3.hellfire 4.separation (from the beloved)
Look at the trials and tribulations I go through in separation from the beloved. These are so severe that I long for an easier time – burning in hellfire i.e., burning in hellfire is pleasant compared to separation from the beloved.
The post aag laga de naqaab meN-mufti sadruddin aazurda appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/bdshrp-mohabbat-ke-baab-meN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
محبّت کے باب میں ۔ بام دیو شرما رشیؔ پٹیالوی
۱
جب دل کو اِضطراب نہ تھا اِضطراب میں
ایسا بھی ایک دور تھا عہدِ شباب میں
۲
آئینہ بن گیا ہے مرے ذوقِ دید کا
وہ حسن جو نہاں ہے کسی کے حجاب میں
۳
ذوقِ نظر میں تابِ نظر ہی نہیں کہیں
جلوہ تو ہر جگہ ہے نظر کے جواب میں
۴
دل سے میں اس ادائے ستم پر نثار ہوں
سو سو کرم ہیں ایک خطا کے جواب میں
۵
اک درد لاعلاج، علاجِ غمِ حیات
لِکّھا گیا ازل سے ہمارے حساب میں
۶
سمجھے نہ ہم انہیں نہ ہمیں وہ سمجھ سکے
اِک عمر کٹ گئی ہے سوال و جواب میں
۷
ہوگا نہ ذوقِ دید پہ دل اپنا مطمئن
جلوے تڑپ اُٹھیں گے نہ جب تک نقاب میں
۸
اے احتیاطِ ضبطِ محبت تو ہی بتا
دل پر ہو اختیار کہاں تک شباب میں
۹
ذرّوں کو دے رہے ہیں جو انجم فروزیاں
کیوںکر وہ چھپ سکیں گے نقابِ حجاب میں
۱۰
جس لفظ میں نہاں ہو رشیؔ مدعائے شوق
ملتا ہے شاذ شاذ محبت کے باب میں
मोहब्बत के बाब में – बाम देव शर्मा रिषी पटियालवी
१
जब दिल को इज़्तेराब न था इज़्तेराब में
ऐसा भी एक दौर था अहद-ए शबाब में
२
आईना बन गया है मेरे ज़ौक़-ए दीद का
वो हुस्न जो नेहां है किसी के हिजाब में
३
ज़ौक़-ए नज़र में ताब-ए नज़र ही नहीं कहीं
जल्वा तो हर जगह है नज़र के जवाब में
४
दिल से मैं इस अदा-ए सितम पर निसार हूँ
सौ सौ करम है एक ख़ता के जवाब में
५
एक दर्द-ए ला-इलाज, इलाज-ए ग़म-ए हयात
लिक्खा गया अज़ल से हमारे हिसाब में
६
समझे न हम उन्हें न हमें वो समझ सके
एक उम्र कट गई है सवाल-ओ-जवाब में
७
होगा न ज़ौक़-ए दीद पे दिल अपना मुत्म’इन
जल्वे तढप उठेंगे न जब तक नक़ाब में
८
अए एहतियात-ए ज़ब्त-ए मोहब्बत तु ही बता
दिल पर हो एख़्तियार कहाँ तक शबाब में
९
ज़र्रों को दे रहे हैं जो अंजुम फ़रोज़ियाँ
क्यूंकर वो छुप सकेंगे नक़ाब-ए हिजाब में
१०
जिस लफ़्ज़ में नेहां हो रिषी मुद्द’आ-ए शौक़
मिलता है शाज़ शाज़ मोहब्बत के बाब में
Click here for background and on any passage for word meanings and explanatory discussion. baam dev sharma rishi paTialavi (1917-1999) originally from hoshiarpur in punjab. He was a disciple of nasim noormahli, who in turn was a disciple of daaGh dehlavi. He has written exquite Ghazal in chaste urdu and many progressive nazm in chaste urdu as well as in spoken hindi/urdu/hindustani. He was part of a group of friends who organized joint celebration of one another’s religious festivities to promote communal harmony. This Ghazal with the same radeef/qaafiya as Ghalib’s ‘saaqi ne kuchh mila na diyaa ho sharaab meN’ is linked to Ghalib naqsh-e qadam.
1
jab dil ko izteraab1 na tha izteraab1 meN
aisa bhi ek daur2 tha ahd3-e shabaab4 meN 1.restlessness, anxiety 2.times, period 3.era, times 4.youth
In nostalgia, the poet/lover recalls the time of his youth. He was in love and his heart was restless because of it, but the restlessness of his heart was a source of joy, not of anxiety. Such a time there was during my youth, he recalls.
2
aa’ina1 ban gaya hai mere zauq2-e diid3 ka
voh husn4 jo nehaaN5 hai kisi ke hijaab6 meN 1.mirror, reflection 2.desire 3.to see, sight 4.beauty 5.hidden 6.veil
The beauty hidden behind someone’s veil can either be the unseen, mysterious divine beauty or the beauty of the beloved. The poet/lover/devotee has an intense desire to see/discern that beauty, so much so, that the hidden beauty itself has become a reflection of his desire to see i.e., it also has a desire to be seen. Thus, even though both the desire to see and the desire to be seen are present, they can be present only as long as there is a veil, otherwise the mystery will break.
3
zauq-e-nazar1 meN taab-e-nazar2 hi nahiN kahiiN
jalva3 to har jagah hai nazar ke javaab4 meN 1.desire to see 2.ability/capacity to bear sight/discernment 3.manifestation, image 4.answer, response
We may have the desire to see, but we don’t have the capacity/ability to bear the sight, or to discern it from what we do see. Manifestation is everywhere, around us, in response to our desire to see. This refers to the supposed divine presence in everything around us and our inability to discern this manifestation.
4
dil se maiN is adaa-e-sitam1 par nisaar2 huN
sau-sau3 karam4 haiN ek Khata5 ke javaab6 meN 1.style/grace of cruelty 2.ready to lay down life, devoted 3.hundreds 4.kindnesses 5.transgression 6.answer, recompense
This could apply to the poet/lover’s unconditional love to the beloved, but I will concentrate only on the ‘divine beloved’. In mystic philosophy, the original ‘sitam’ is when humans were separated from the divine and given a body. The ultimate goal is ‘fanaa’ – annihilation of the self and merger with the divine spirit. There is also a wealth of ash’aar (one copied below) that say that god’s forgiveness is more than the creature’s transgressions. Thus, I am ready to give my life for this grace of kindness, for every transgression, I get hundreds of generosities.
mohammed iqbal
moti samajh ke shaan-e kariimi ne chun liye
qatre jo the mere araq-e infe’aal ke
5
ek dard1-e la-ilaaj2, ilaaj3-e Gham-e-hayaat4
likkha gaya azal5 se hamaare hisaab6 meN 1.pain, sorrow 2.incurable 3.remedy, cure 4.sorrow of life 5.eternity, beginning 6.accounting (of fate)
As a remedy of the sorrow of life, an incurable pain has been prescribed/written into the account of my fate. Thus, the poet/lover has the sorrow of life to deal with and as a cure for it, he has been granted an incurable pain i.e., the pain of love. Said Ghalib …
ranj se Khuu-gar hua insaaN to miT jaata hai ranj
mushkileN mujh par paRiiN itni keh aasaaN ho gaiiN
6
samjhe na hum unheN na humeN voh samajh sake
ek umr1 kaT2 ga’ii hai savaal-o-javaab3 meN 1.lifetime 2.passed 3.question and answer
This could be about mutual understanding between people or between lover and beloved. Both talk past each other and do not understand what the other means, even though a lifetime is spent in questions and answers.
7
hoga na zauq1-e diid2 pe dil apna mutma’in3
jalve4 taRap5 uTheNge na jab-tak6 naqaab7 meN 1.desire 2.sight, to see 3.satisfied 4.manifestations, images 5.become restless/eager 6.until and unless 7.veil
My heart will not be satisfied with the mere desire to see, until and unless the manifestations/images of the beloved become restless/eager to be seen.
8
aye ehtiyaat1-e zabt2-e mohabbat tu hi bata
dil par ho eKhtiyaar3 kahaaN tak shabaab4 meN 1.caution 2.forbearance, restraint 3.discretion, control 4.youth
The poet/lover is young, but has exercised forbearance in the expression of his love. Thus, O restraint of love, you yourselves tell me, how long can youth control its heart.
9
zarroN1 ko de rahe haiN jo anjum2 faroziyaaN3
kyuNkar4 voh chhup sakeNge naqaab5-e hijaab6 meN 1.particles, grains (of dust) 2.stars 3.brilliance 4.how 5.veil 6.pardah tradition
They who grant the brilliance of stars to grains of dust, how can they hide behind the veil of the tradition of pardah. The beauty and brilliance of the beloved, reflecting on dust, makes it shine like stars. How can such beauty hide behind a veil.
10
jis lafz1 meN nehaaN2 ho rishi3 mudd’aa4-e shauq5
milta hai shaaz-shaaz6 mohabbat ke baab7 meN 1.word 2.hidden 3.pen-name of the poet 4.purpose, goal 5.love, desire 6.rarely 7.theme, chapter
O rishi, the word behind which is hidden the (true) purpose of love, is only rarely found in the chapter/theme/story of love. What is the ‘true’ purpose of love, is left for us to define.
baam dev sharma rishi paTialavi (1917-1999) originally from hoshiarpur in punjab. He was a disciple of nasim noormahli, who in turn was a disciple of daaGh dehlavi. He has written exquite Ghazal in chaste urdu and many progressive nazm in chaste urdu as well as in spoken hindi/urdu/hindustani. He was part of a group of friends who organized joint celebration of one another’s religious festivities to promote communal harmony. This Ghazal with the same radeef/qaafiya as Ghalib’s ‘saaqi ne kuchh mila na diyaa ho sharaab meN’ is linked to Ghalib naqsh-e qadam.
1
jab dil ko izteraab1 na tha izteraab1 meN
aisa bhi ek daur2 tha ahd3-e shabaab4 meN
1.restlessness, anxiety 2.times, period 3.era, times 4.youth
In nostalgia, the poet/lover recalls the time of his youth. He was in love and his heart was restless because of it, but the restlessness of his heart was a source of joy, not of anxiety. Such a time there was during my youth, he recalls.
2
aa’ina1 ban gaya hai mere zauq2-e diid3 ka
voh husn4 jo nehaaN5 hai kisi ke hijaab6 meN
1.mirror, reflection 2.desire 3.to see, sight 4.beauty 5.hidden 6.veil
The beauty hidden behind someone’s veil can either be the unseen, mysterious divine beauty or the beauty of the beloved. The poet/lover/devotee has an intense desire to see/discern that beauty, so much so, that the hidden beauty itself has become a reflection of his desire to see i.e., it also has a desire to be seen. Thus, even though both the desire to see and the desire to be seen are present, they can be present only as long as there is a veil, otherwise the mystery will break.
3
zauq-e-nazar1 meN taab-e-nazar2 hi nahiN kahiiN
jalva3 to har jagah hai nazar ke javaab4 meN
1.desire to see 2.ability/capacity to bear sight/discernment 3.manifestation, image 4.answer, response
We may have the desire to see, but we don’t have the capacity/ability to bear the sight, or to discern it from what we do see. Manifestation is everywhere, around us, in response to our desire to see. This refers to the supposed divine presence in everything around us and our inability to discern this manifestation.
4
dil se maiN is adaa-e-sitam1 par nisaar2 huN
sau-sau3 karam4 haiN ek Khata5 ke javaab6 meN
1.style/grace of cruelty 2.ready to lay down life, devoted 3.hundreds 4.kindnesses 5.transgression 6.answer, recompense
This could apply to the poet/lover’s unconditional love to the beloved, but I will concentrate only on the ‘divine beloved’. In mystic philosophy, the original ‘sitam’ is when humans were separated from the divine and given a body. The ultimate goal is ‘fanaa’ – annihilation of the self and merger with the divine spirit. There is also a wealth of ash’aar (one copied below) that say that god’s forgiveness is more than the creature’s transgressions. Thus, I am ready to give my life for this grace of kindness, for every transgression, I get hundreds of generosities.
mohammed iqbal
moti samajh ke shaan-e kariimi ne chun liye
qatre jo the mere araq-e infe’aal ke
5
ek dard1-e la-ilaaj2, ilaaj3-e Gham-e-hayaat4
likkha gaya azal5 se hamaare hisaab6 meN
1.pain, sorrow 2.incurable 3.remedy, cure 4.sorrow of life 5.eternity, beginning 6.accounting (of fate)
As a remedy of the sorrow of life, an incurable pain has been prescribed/written into the account of my fate. Thus, the poet/lover has the sorrow of life to deal with and as a cure for it, he has been granted an incurable pain i.e., the pain of love. Said Ghalib …
ranj se Khuu-gar hua insaaN to miT jaata hai ranj
mushkileN mujh par paRiiN itni keh aasaaN ho gaiiN
6
samjhe na hum unheN na humeN voh samajh sake
ek umr1 kaT2 ga’ii hai savaal-o-javaab3 meN
1.lifetime 2.passed 3.question and answer
This could be about mutual understanding between people or between lover and beloved. Both talk past each other and do not understand what the other means, even though a lifetime is spent in questions and answers.
7
hoga na zauq1-e diid2 pe dil apna mutma’in3
jalve4 taRap5 uTheNge na jab-tak6 naqaab7 meN
1.desire 2.sight, to see 3.satisfied 4.manifestations, images 5.become restless/eager 6.until and unless 7.veil
My heart will not be satisfied with the mere desire to see, until and unless the manifestations/images of the beloved become restless/eager to be seen.
8
aye ehtiyaat1-e zabt2-e mohabbat tu hi bata
dil par ho eKhtiyaar3 kahaaN tak shabaab4 meN
1.caution 2.forbearance, restraint 3.discretion, control 4.youth
The poet/lover is young, but has exercised forbearance in the expression of his love. Thus, O restraint of love, you yourselves tell me, how long can youth control its heart.
9
zarroN1 ko de rahe haiN jo anjum2 faroziyaaN3
kyuNkar4 voh chhup sakeNge naqaab5-e hijaab6 meN
1.particles, grains (of dust) 2.stars 3.brilliance 4.how 5.veil 6.pardah tradition
They who grant the brilliance of stars to grains of dust, how can they hide behind the veil of the tradition of pardah. The beauty and brilliance of the beloved, reflecting on dust, makes it shine like stars. How can such beauty hide behind a veil.
10
jis lafz1 meN nehaaN2 ho rishi3 mudd’aa4-e shauq5
milta hai shaaz-shaaz6 mohabbat ke baab7 meN
1.word 2.hidden 3.pen-name of the poet 4.purpose, goal 5.love, desire 6.rarely 7.theme, chapter
O rishi, the word behind which is hidden the (true) purpose of love, is only rarely found in the chapter/theme/story of love. What is the ‘true’ purpose of love, is left for us to define.
The post mohabbat ke baab meN-baam dev sharma rishi paTialavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/mjaKhal-Khat-ke-javaab-meN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
خط کے جواب میں ۔ مرزا جعفر علی خان اثرؔ لکھنوی
۱
قطرے عرق کے رُخ پہ نہیں ہیں نقاب میں
تارے چھٹک رہے ہیں شبِ ماہتاب میں
۲
رکھتی ہے لطف برق کی چشمک سحاب میں
ہاں ہاں یوں ہی چھپائے رہو منہ نقاب میں
۳
قطرہ ہوں وہ جو بند ہے چشمِ حباب میں
دریا ہوں وہ جو موج کشا ہے سراب میں
۴
بے ربط ہو گئی تھی عبارت کہیں کہیں
کافر نے نقل کی وہی خط کے جواب میں
۵
اے مُطرِبِ خیال سنا دے پھر ایک بار
نغمہ شکستِ دل کا شکستِ حباب میں
۶
تڑپائے جا مجھے یوں ہی کچھ دیر ابھی کہ ہے
اک شائبہ سکوں کا میرے اِضطراب میں
۷
اُف شرم معصیت کی زباں لڑکھڑا گئی
میں اور عرضِ حال پھر ایسی جناب میں
۸
آنکھوں سے وہ نہاں ہے مگر جلوہ آشکار
حیراں ہوں فرق کیا ہے شہود و حجاب میں
۹
پژمردہ ہو کے پھول گرا شاخ سے تو کیا
وہ موت ہے حسین جو آئے شباب میں
۱۰
اِس بے قرار دل کو مقابل میں برق کے
طغراے اِمتیاز ملا پیچ و تاب میں
۱۱
دل خون کیا ہوا کہ زمانہ بدل گیا
سو اِنقلاب ہو گئے اک اِنقلاب میں
۱۲
یہ کون سوئے گورِ غریباں گزر گیا
پھر ہچکیاں اُلٹ گئیں ارباب خواب میں
۱۳
ہے قید تن میں روح حقیقت سے بے خبر
نا آشناے بحر ہے قطرہ حباب میں
۱۴
ہنگامۂ فراق میں تھی دل کی کیا بساط
اک آبلہ تھا پھوٹ گیا اِضطراب میں
۱۵
شیرازۂ حیات بکھر جائے گا اثرؔ
پیماں گسل کو یاد نہ کر اضطراب میں
ख़त के जवाब में – मिर्ज़ा जाफ़र अली ख़ां असर लखनवी
१
क़तरे अरक़ के रुख़ पे नहीं हैं नक़ाब में
तारे छिटक रहे हैं शब-ए महताब में
२
रखती है लुत्फ़ बर्क़ की चश्मक सहाब में
हां हां युंही छुपाए रहो मुंह नक़ाब में
३
क़तरा हुं वो जो बंद है चश्म-ए हबाब में
दरिया हुं वो जो मौज-कुशा है सराब में
४
बे-रब्त हो गई है इबारत कहीं कहीं
काफ़ेर ने नक़्ल की वही ख़त के जवाब में
५
अए मुतरिब-ए ख़याल सुना दे फिर एक बार
नग़्मा शिकस्त-ए दिल का शिकस्त-ए हबाब में
६
तढपाए जा मुझे युंही कुछ देर अभी के है
एक शा’एबा सुक़ूं का मेरे इज़्तेराब में
७
उफ़्फ़ शर्म मासियत की ज़बां लढखढा गई
मैं और अर्ज़-ए हाल फिर ऐसी जनाब में
८
आँखों से वो नेहां है मगर जल्वा आशकार
हैरां हुं फ़र्क़ क्या है शुहूद ओ हिजाब में
९
पज़्शमुर्दा हो के फूल गिरा शाख़ से तो क्या
वो मौत है हसीन जो आए शबाब में
१०
इस बे-क़रार दिल को मुक़ाबल में बर्क़ के
तुग़्राए इम्तियाज़ मिला पेच ओ ताब में
११
दिल ख़ून क्या हुआ के ज़माना बदल गया
सौ इन्क़ेलाब हो गए एक इन्क़ेलाब में
१२
ये कौन सू-ए गोर-ए ग़रीबां गुज़र गया
फिर हिचकियाँ उलट गईं अर्बाब ख़्वाब में
१३
है क़ैद तन में रूह हक़ीक़त से बे-ख़बर
ना-आश्ना-ए बहर है क़तरा हबाब में
१४
हंगामा-ए फ़िराक़ में थी दिल की क्या बिसात
एक आबला था फूट गया इज़्तेराब में
१५
शिराज़ा-ए हयात बिखर जाएगा असर
पैमाँ-गुसिल को याद न कर इज़्तेराब में
Click here for background and on any passage for word meanings and explanatory discussion. mirza jaafar ali KhaaN asar lakhnavi (1885-1967). Classical education at home until the age of 11, then formal schooling and college to BA. Indulged in MA and LLB but did not finish. Served in the British government as Deputy Collector (1909), Executive Officer and Collector until 1940. Resigned from service. Several collections of his Ghazal and nazm including descriptions of nature in kashmir where he served in the cabinet and also as acting prime minister (until 1945) to the maharaja. He also did a versified translation of the bhagwad-giita. This Ghazal is linked to ‘saaqi ne kuchh mila na diya ho sharaab meN’, Ghalib naqsh-e qadam, on the Theme Index page.
1
qatray1 araq2 ke ruKh3 peh nahiN haiN naqaab4 meN
taaray chhiTak5 rahe haiN shab6-e maahtaab7 meN 1.drops 2.liquid, sweat 3.face 4.veil 5.spraying, dripping 6.night 7.full moon
The beloved’s face is behind a (dark) veil … it is like the full moon in the night sky. The drops of sweat dripping from her face are like falling stars.
2
rakhti hai lutf1 barq2 ki chashmak3 sahaab4 meN
haaN haaN yuNhi chhupaa’e raho muNh naqaab5 meN 1.pleasure 2.lightning 3.flash 4.(dark) cloud 5.(dark) veil
The beloved’s bright face behind a dark veil with the brilliance of her beauty flashing through every now and then is beautiful like the flash of lightning in dark clouds. Thus, do keep your face hidden behind a veil, flashes of beauty show through anyway.
3
qatra1 huN voh jo band hai chashm2-e habaab3 meN
darya4 huN voh jo mauj-kusha5 hai saraab6 meN 1.drop 2.eye 3.bubble 4.river, sea 5.causing waves 6.mirage
I am the drop that is contained in the eye of the bubble. I am the sea that causes waves in the mirage. This is a vague, not very exact imagery to suggest that the poet has much more to offer than can be seen at the surface or from a distance.
4
be-rabt1 ho gaii hai ibaarat2 kahiiN kahiiN
kaafir3 ne naql4 ki vahi Khat ke javaab5 meN 1.incoherent 2.writing 3.often used for the beloved 4.copy 5.answer
The beloved has sent an answer to the poet/lover’s letter. In places, her writing is incoherent/discontinuous. He surmises that rather than thoughtful reply she has thoughtlessly copied passages from here and there in answer to his letter.
5
aye mutrib1-e Khayaal2 suna de phir aek baar
naGhma3 shikast4-e dil ka shikast-e habaab5 meN 1.singer 2.thought, imagination 3.song 4.breaking 5.bubble
There is sound/music in the breaking of the heart and the bursting of a bubble or so does the poet imagine and asks the singer in his imagination to sing that song again.
6
taRpaa’e1 jaa mujhe yuNhi kuchh der abhi keh hai
ek shaa’eba2 sukooN3 ka meray izteraab4 meN 1.torture 2.hint 3.peace, tranquility 4.restlessness, agitation
The poet/lover has been agitated (because the beloved has not reciprocated his love) but there is still a hint of tranquility in it. He wants to be totally agitated and asks the beloved to torture him some more so that even that hint of peace goes away.
7
uff sharm1 m’aasiyat2 ki zabaaN laRkhaRa3 gaii
maiN aur arz4-e haal5 phir aisi janaab6 meN 1.shame 2.sin, mistake 3.stumble 4.present, submit, petition 6.exalted presence
In the conventions of love, the lover never complains about the beloved. Said shaiKh ibrahim zauq …
ham nahiN vo jo kareN Khoon ka daa’va tujh par
balkeh poochhega Khuda bhi to mukar jaa’eNge
Me! and petition/appeal my condition and that in such an exalted presence (before god). My tongue stumbles with shame at such a transgression.
8
aaNkhoN se voh nehaaN1 hai magar jalva2 aashkaar3
hairaaN4 huN farq5 kya hai shuhood6 o hijaab7 meN 1.hidden 2.beauty, glory, reflection 3.manifest, seen 4.amazed, puzzled 5.difference 6.evidence 7.veiling
This is about god. He is hidden from the eyes but his glory is manifest all around. I am puzzled what the difference is between evidence/display and veiling/invisibility.
9
pazshmurda1 ho ke phool giray shaaKh2 se to kya
voh maut3 hai hasiin4 jo aa’e shabaab5 meN 1.wilted 2.branch 3.death 4.beautiful 5.youth, vigour
How can it be good if the flower wilts and falls off the branch. That death is beautiful which happens when life is still in vigour/activity.
10
iss be-qaraar1 dil ko muqaabil2 meN barq3 ke
tuGhra4-e imtiaaz5 mila pech-o-taab6 meN 1.agitated 2.compared to 3.lightning 4.medal 5.distinction 6.restlessness
There was a competition to see which was the most agitated. The poet/lover’s heart was competing with lightning and received a medal of distinction i.e., it won.
11
dil Khoon kya hua keh zamaana1 badal gaya
sau inqelaab2 ho gaye ek inqelaab meN 1.times, world 2.revolution, change
There was just one change which caused the whole world/times/life to change. What was that one change … dil Khoon ho gaya i.e., it broke asunder and bled – the beloved broke his heart and his whole life changed.
12
yeh kaun suu1-e gor-e-GhariibaaN2 guzar3 gaya
phir hichkiyaaN4 ulaT gaiiN arbaab5 Khwaab6 meN 1.towards 2.poor, deprived 3.passed by 4.hiccups 5.friends, masters 6.sleep
The poet/lover is dead and buried. He is relating this to his friends – perhaps fellow lovers. The beloved passes by. That is enough to set off intense weeping/mourning of the lover even in his death/sleep. The weeping is so intense that it sets off hiccups.
13
hai qaid1 tan2 meN rooh3 haqiiqat4 se be-Khabar5
naa-aashna6-e bahr7 hai qatra8 habaab9 meN 1.imprisoned, confined 2.body 3.soul 4.reality, truth 5.unaware 6.not knowing 7.ocean 8.drop 9.bubble
The sould is confined to the body unaware of the larger divine spirit and union with it just like the drop is unaware of the vast ocean and is confined in a bubble.
14
haNgaama1-e firaaq2 meN thi dil ki kya bisaat3
ek aabla4 tha phooT5 gaya izteraab6 meN 1.time, during 2.separation 3.used to mean status, position 4.bubble 5.burst 6.agitation
What was the status/importance of the heart during separation (from the beloved) – the implication is that there was no value. It was just a bubble that burst in agitation.
15
shiiraaza1-e hayaat2 bikhar3 jaa’ega asar4
paimaaN-gusil5 ko yaad na kar izteraab6 meN 1.binding, sequence, orderliness, harmony 2.life 3.scatter 4.pen-name of the poet 5.promise-breaker 6.agitation
O asar, the harmony of your life will be destroyed/scattered. Do not think of the promise-breaker in your agitation.
mirza jaafar ali KhaaN asar lakhnavi (1885-1967). Classical education at home until the age of 11, then formal schooling and college to BA. Indulged in MA and LLB but did not finish. Served in the British government as Deputy Collector (1909), Executive Officer and Collector until 1940. Resigned from service. Several collections of his Ghazal and nazm including descriptions of nature in kashmir where he served in the cabinet and also as acting prime minister (until 1945) to the maharaja. He also did a versified translation of the bhagwad-giita. This Ghazal is linked to ‘saaqi ne kuchh mila na diya ho sharaab meN’, Ghalib naqsh-e qadam, on the Theme Index page.
1
qatray1 araq2 ke ruKh3 peh nahiN haiN naqaab4 meN
taaray chhiTak5 rahe haiN shab6-e maahtaab7 meN
1.drops 2.liquid, sweat 3.face 4.veil 5.spraying, dripping 6.night 7.full moon
The beloved’s face is behind a (dark) veil … it is like the full moon in the night sky. The drops of sweat dripping from her face are like falling stars.
2
rakhti hai lutf1 barq2 ki chashmak3 sahaab4 meN
haaN haaN yuNhi chhupaa’e raho muNh naqaab5 meN
1.pleasure 2.lightning 3.flash 4.(dark) cloud 5.(dark) veil
The beloved’s bright face behind a dark veil with the brilliance of her beauty flashing through every now and then is beautiful like the flash of lightning in dark clouds. Thus, do keep your face hidden behind a veil, flashes of beauty show through anyway.
3
qatra1 huN voh jo band hai chashm2-e habaab3 meN
darya4 huN voh jo mauj-kusha5 hai saraab6 meN
1.drop 2.eye 3.bubble 4.river, sea 5.causing waves 6.mirage
I am the drop that is contained in the eye of the bubble. I am the sea that causes waves in the mirage. This is a vague, not very exact imagery to suggest that the poet has much more to offer than can be seen at the surface or from a distance.
4
be-rabt1 ho gaii hai ibaarat2 kahiiN kahiiN
kaafir3 ne naql4 ki vahi Khat ke javaab5 meN
1.incoherent 2.writing 3.often used for the beloved 4.copy 5.answer
The beloved has sent an answer to the poet/lover’s letter. In places, her writing is incoherent/discontinuous. He surmises that rather than thoughtful reply she has thoughtlessly copied passages from here and there in answer to his letter.
5
aye mutrib1-e Khayaal2 suna de phir aek baar
naGhma3 shikast4-e dil ka shikast-e habaab5 meN
1.singer 2.thought, imagination 3.song 4.breaking 5.bubble
There is sound/music in the breaking of the heart and the bursting of a bubble or so does the poet imagine and asks the singer in his imagination to sing that song again.
6
taRpaa’e1 jaa mujhe yuNhi kuchh der abhi keh hai
ek shaa’eba2 sukooN3 ka meray izteraab4 meN
1.torture 2.hint 3.peace, tranquility 4.restlessness, agitation
The poet/lover has been agitated (because the beloved has not reciprocated his love) but there is still a hint of tranquility in it. He wants to be totally agitated and asks the beloved to torture him some more so that even that hint of peace goes away.
7
uff sharm1 m’aasiyat2 ki zabaaN laRkhaRa3 gaii
maiN aur arz4-e haal5 phir aisi janaab6 meN
1.shame 2.sin, mistake 3.stumble 4.present, submit, petition 6.exalted presence
In the conventions of love, the lover never complains about the beloved. Said shaiKh ibrahim zauq …
ham nahiN vo jo kareN Khoon ka daa’va tujh par
balkeh poochhega Khuda bhi to mukar jaa’eNge
Me! and petition/appeal my condition and that in such an exalted presence (before god). My tongue stumbles with shame at such a transgression.
8
aaNkhoN se voh nehaaN1 hai magar jalva2 aashkaar3
hairaaN4 huN farq5 kya hai shuhood6 o hijaab7 meN
1.hidden 2.beauty, glory, reflection 3.manifest, seen 4.amazed, puzzled 5.difference 6.evidence 7.veiling
This is about god. He is hidden from the eyes but his glory is manifest all around. I am puzzled what the difference is between evidence/display and veiling/invisibility.
9
pazshmurda1 ho ke phool giray shaaKh2 se to kya
voh maut3 hai hasiin4 jo aa’e shabaab5 meN
1.wilted 2.branch 3.death 4.beautiful 5.youth, vigour
How can it be good if the flower wilts and falls off the branch. That death is beautiful which happens when life is still in vigour/activity.
10
iss be-qaraar1 dil ko muqaabil2 meN barq3 ke
tuGhra4-e imtiaaz5 mila pech-o-taab6 meN
1.agitated 2.compared to 3.lightning 4.medal 5.distinction 6.restlessness
There was a competition to see which was the most agitated. The poet/lover’s heart was competing with lightning and received a medal of distinction i.e., it won.
11
dil Khoon kya hua keh zamaana1 badal gaya
sau inqelaab2 ho gaye ek inqelaab meN
1.times, world 2.revolution, change
There was just one change which caused the whole world/times/life to change. What was that one change … dil Khoon ho gaya i.e., it broke asunder and bled – the beloved broke his heart and his whole life changed.
12
yeh kaun suu1-e gor-e-GhariibaaN2 guzar3 gaya
phir hichkiyaaN4 ulaT gaiiN arbaab5 Khwaab6 meN
1.towards 2.poor, deprived 3.passed by 4.hiccups 5.friends, masters 6.sleep
The poet/lover is dead and buried. He is relating this to his friends – perhaps fellow lovers. The beloved passes by. That is enough to set off intense weeping/mourning of the lover even in his death/sleep. The weeping is so intense that it sets off hiccups.
13
hai qaid1 tan2 meN rooh3 haqiiqat4 se be-Khabar5
naa-aashna6-e bahr7 hai qatra8 habaab9 meN
1.imprisoned, confined 2.body 3.soul 4.reality, truth 5.unaware 6.not knowing 7.ocean 8.drop 9.bubble
The sould is confined to the body unaware of the larger divine spirit and union with it just like the drop is unaware of the vast ocean and is confined in a bubble.
14
haNgaama1-e firaaq2 meN thi dil ki kya bisaat3
ek aabla4 tha phooT5 gaya izteraab6 meN
1.time, during 2.separation 3.used to mean status, position 4.bubble 5.burst 6.agitation
What was the status/importance of the heart during separation (from the beloved) – the implication is that there was no value. It was just a bubble that burst in agitation.
15
shiiraaza1-e hayaat2 bikhar3 jaa’ega asar4
paimaaN-gusil5 ko yaad na kar izteraab6 meN
1.binding, sequence, orderliness, harmony 2.life 3.scatter 4.pen-name of the poet 5.promise-breaker 6.agitation
O asar, the harmony of your life will be destroyed/scattered. Do not think of the promise-breaker in your agitation.
The post Khat ke javaab meN-jaafar ali KhaaN asar lakhnavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/aps-Khat-kay-javaab-meN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
خط کے جواب میں ۔ اجئے پانڈے سحابؔ
۱
جنّت کا ہے مزا مری کافر شراب میں
لکّھا کہاں ہے شیخ یہ تیری کتاب میں
۲
رضواں ہر ایک رِند کو جنّت میں لے گیا
جو پارسا تھے رہ گئے جنّت کے باب میں
۳
اُن کو کہاں یہ فکر کہ خط کا جواب دیں
ہم ہی اُٹھا کے لکھ دیں کوئی خط جواب میں
۴
واعظ جی آپ تو کبھی آئے نہ میکدے
کاٹی ہے عمر آپ نے آدھے ثواب میں
۵
ایسی ادا سے باغ میں آیا وہ گُل بدن
دیکھو بدل گئے سبھی کانٹے گلاب میں
ख़त के जवाब में – अजय पांडे सहाब
१
जन्नत का है मज़ा मेरी काफ़ेर शराब में
लिक्खा कहां है शैख़ ये तेरी किताब में
२
रिज़्वां हर एक रिन्द को जन्नत में ले गया
जो पारसा थे रह गए जन्नत के बाब में
३
उन को कहां ये फ़िक्र के ख़त का जवाब दें
हम ही उठा के लिख दें कोई ख़त जवाब में
४
वा’एज़ जी आप तो कभी आए न मैकदे
काटी है उम्र आप ने आधे सवाब में
५
ऐसी अदा से बाग़ में आया वो गुलबदन
देखो बदल गये सभी कांटे गुलाब में
Click here for background and on any passage for word meanings and explanatory discussion. ajay paanDay sahaab (1969-living) ICS officer, commisioner GST, jhaarkhanD. Grew up in surroundings completely devoid of urdu. Read sahir, firaq and faiz in devanagiri and fell in love with urdu. Taught himself reading and writing and started composing at 16-17. He writes …
seekha isi se dard ye hindostaan ka
bachpan se mujh pe qarz hai urdu zabaan ka
This Ghazal is linked to Ghalib naqsh-e qadam – saaqi ne kuchh mila na diya ho sharaab meN.
1
jannat1 ka hai maza2 meri kaafir3 sharaab meN
likkha kahaaN hai shaiKh ye teri kitaab meN 1.heaven 2.taste 3.forbidden
There is a common trope that wine is forbidden here on earth but is plentiful, available and allowed in heaven. The poet is using this background to make fun of orthodoxy. O shaiKh, you claim that my forbidden wine tastes like that in heaven (that I should forego it here and wait for the reward there). Where is this written in your book.
2
rizvaaN1 har ek rind2 ko jannat meN le gaya
jo paarsa3 the rah gaye jannat ke baab4 meN 1.keeper of the gates of heaven 2.wine lover 3.observant, abstainer 4.gates
The poet continues to make fun of orthodoxy. The ‘rind-wine lover’ is symbolic of a person who shuns conventional hypocritical traditions and goes to the tavern – an open place welcoming of all. The gatekeeper escorts all ‘rind’ into heaven and detains the observant (hypocrites) at the gates.
3
un ko kahaaN ye fikr1 keh Khat2 ka javaab3 deN
ham hi uTha kay likh deN koi Khat javaab meN 1.concern 2.letter 3.answer
When does she have any concern about writing in reply to my letter? Why don’t I myself write a letter in response to myself. Said daaGh dehlavi …
kya kya fareb dil ko diye izteraab meN
un ki taraf se aap likhe Khat javaab meN
4
vaa’ez1 ji aap to kabhi aaye na maikade2
kaaTi hai umr aap ne aadhe savaab3 meN 1.muslim preacher 2.tavern 3.blessing
O preacher, you have never come to the tavern. You have spent your life with only half the blessings that god bestows. That implies that having missed the half associated with wine in the tavern the preacher has enjoyed only the ‘other half’. It is not clear what that other half might be. I will leave it to the reader to imagine it.
5
aisi ada1 se baaGh meN aaya vo gulbadan2
dekho badal gaye sabhi kaaNTe gulaab meN 1.style 2.rose-bodied, beloved
The rose-bodied beloved arrived in the garden in such style that all thorns changed into roses.
ajay paanDay sahaab (1969-living) ICS officer, commisioner GST, jhaarkhanD. Grew up in surroundings completely devoid of urdu. Read sahir, firaq and faiz in devanagiri and fell in love with urdu. Taught himself reading and writing and started composing at 16-17. He writes …
seekha isi se dard ye hindostaan ka
bachpan se mujh pe qarz hai urdu zabaan ka
This Ghazal is linked to Ghalib naqsh-e qadam – saaqi ne kuchh mila na diya ho sharaab meN.
1
jannat1 ka hai maza2 meri kaafir3 sharaab meN
likkha kahaaN hai shaiKh ye teri kitaab meN
1.heaven 2.taste 3.forbidden
There is a common trope that wine is forbidden here on earth but is plentiful, available and allowed in heaven. The poet is using this background to make fun of orthodoxy. O shaiKh, you claim that my forbidden wine tastes like that in heaven (that I should forego it here and wait for the reward there). Where is this written in your book.
2
rizvaaN1 har ek rind2 ko jannat meN le gaya
jo paarsa3 the rah gaye jannat ke baab4 meN
1.keeper of the gates of heaven 2.wine lover 3.observant, abstainer 4.gates
The poet continues to make fun of orthodoxy. The ‘rind-wine lover’ is symbolic of a person who shuns conventional hypocritical traditions and goes to the tavern – an open place welcoming of all. The gatekeeper escorts all ‘rind’ into heaven and detains the observant (hypocrites) at the gates.
3
un ko kahaaN ye fikr1 keh Khat2 ka javaab3 deN
ham hi uTha kay likh deN koi Khat javaab meN
1.concern 2.letter 3.answer
When does she have any concern about writing in reply to my letter? Why don’t I myself write a letter in response to myself. Said daaGh dehlavi …
kya kya fareb dil ko diye izteraab meN
un ki taraf se aap likhe Khat javaab meN
4
vaa’ez1 ji aap to kabhi aaye na maikade2
kaaTi hai umr aap ne aadhe savaab3 meN
1.muslim preacher 2.tavern 3.blessing
O preacher, you have never come to the tavern. You have spent your life with only half the blessings that god bestows. That implies that having missed the half associated with wine in the tavern the preacher has enjoyed only the ‘other half’. It is not clear what that other half might be. I will leave it to the reader to imagine it.
5
aisi ada1 se baaGh meN aaya vo gulbadan2
dekho badal gaye sabhi kaaNTe gulaab meN
1.style 2.rose-bodied, beloved
The rose-bodied beloved arrived in the garden in such style that all thorns changed into roses.
The post Khat ke javaab meN-ajay paanDay sahaab appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/panm-insaani-darinde-aduio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اِنسانی درِندے ۔ پنڈت آنند نرائن مُلّا
۱
غارتِ قتل کی ہے گرمیِ بازار وہی
ابھی اِنسان کی ہے فطرتِ خونخوار وہی
۲
رائگاں سعیِ خِرد، علم کی دولت بے سود
جہلِ آدم کا جو تھا ہے ابھی معیار وہی
۳
سب سے قانون بڑا آج بھی قانونِ قصاص
سب میں مضبوط دلیل آج بھی تلوار وہی
۴
سطحی ہے فقط اِخلاص و محبت کی چمک
زیرِ آئینہ ابھی ہے تہہِ زنگار وہی
۵
دیکھنے کے لیے ہیں یہ خد و خالِ بشر
دل میں آباد ہے عفریتِ سیہ کار وہی
۶
اُڑی چہرے سے جہاں رنگِ تمدُّن کی نقاب
ہے نگاہوں کے دریچوں سے شرر بار وہی
۷
ٹُوٹی پَتلی سی جہاں کھوکھلی تہذیب کی آڑ
نظر آتا ہے درِندہ پسِ دیوار وہی
۸
ایک سے ایک سوا کون کہے کس سے کہے
اہلِ تسبیح وہی صاحبِ زُنّار وہی
۹
کس کو مظلوم کہیں کس کو ستمگار کہیں
آج مظلوم وہی کل ہے ستمگار وہی
۱۰
جِتنا ہی جو تھا روادار کبھی اُتنا ہی
آج ہم کیش لٹیروں کا طرفدار وہی
۱۱
آج کس سطح پہ ہے ذہنیتِ عام افسوس
روکتا ہے جو خطاؤں سے، خطاوار وہی
۱۲
جو تشدّد کا کرے ذکر وہی قوم پرست
نام بُھولے سے جو لے امن کا غدّار وہی
۱۳
فرقہ وارانہ حکیموں کی دوا سے ہوشیار
بھیس میں آج معالج کے ہے بیمار وہی
۱۴
وطن! اے میرے وطن! یوں مجھے مایوس نہ کر
شُبھ گھڑی آئی ہے تیری اُسے منحوس نہ کر
इंसानी दरिंदे – पंडित आनंद नरायण मुल्ला
१
ग़ारत-ए क़त्ल की है गर्मी-ए बाज़ार वही
अभी इंसान की है फ़ितरत-ए खूंखार वही
२
राएगाँ सई-ए ख़िरद, इल्म की दौलत बे-सूद
जिहल-ए आदम का जो था है अभी मियार वही
३
सब से क़ानून बड़ा आज भी क़ानून-ए क़सास
सब में मज़बूत दलील आज भी तलवार वही
४
सतही है फ़क़त इख़लास ओ मोहब्बत की चमक
ज़ेरे आईना अभी है तह-ए ज़ंगार वही
५
देखने के लिए हैं ये ख़द ओ ख़ाल-ए बशर
दिल में आबाद है अफ़रीत-ए सियह-कार वही
६
उड़ी चेहरे से जहाँ रंग-ए तमद्दुन की नक़ाब
है निगाहों के दरीचों से शरर-बार वही
७
टूटी पत्तली सी जहाँ खोखली तहज़ीब की आड़
नज़र आता है दरिंदा पस-ए दीवार वही
८
एक से एक सवा कौन कहे किस से कहे
अहल-ए तस्बीह वही साहिब-ए ज़ुन्नार वही
९
किस को मज़लूम कहें किस को सितमगार कहें
आज मज़लूम वही कल है सितमगार वही
१०
जितना ही जो था रवादार कभी उतना ही
आज हम कीश लुटेरों का तरफ़दार वही
११
आज किस सतह पे है ज़हनियत-ए आम अफ़सोस
रोکتا है जो ख़ताओ से, ख़तावार वही
१२
जो तशद्दुद का करे ज़िक्र वही क़ौम-परस्त
नाम भूले से जो ले अमन का ग़द्दार वही
१३
फ़िरक़ावाराना हकीमों की दवा से होशियार
भेस में आज जालज के है बीमार वही
१४
वतन! ऐ मेरे वतन! यूँ मुझे मायूस न कर
शुभ घड़ी आई है तेरी उसे मनहूस न कर
Click here for background and on any passage for word meanings and explanatory discussion. panDit anand narain mulla (1901-1997), lukhnow, thoughtful and thoughtprovoking shaa’er. MA English Literature. Learnt urdu and faarsi at home. First venture into poetry translation of parts of iqbal’s ‘payaam-e mashriq’ into English. First urdu nazm published 1925. Ardent urdu lover as a language of the people. High court justice, parliamentarian and strong secularist and rationalist/atheist. This was composed in October 1947 and probably addresses massacres at the border and inside the country. The last she’r in particular is aimed at the homeland. This nazm is linked to ‘Independence-Partition’ on the Theme Index Page.
1
Ghaarat1-e qatl2 ki hai garmi3-e baazaar vohi
abhi insaan ki hai fitrat4-e KhoonKhwaar5 vohi 1.devastation 2.killings 3.activity 4.nature, character 5.blood-thristy
The bazaar of devastation and killing is still active. Human nature is still blood-thirsty.
2
raa’egaaN1 sa’ii2-e Khirad3, ilm4 ki daulat5 be-suud6
jahl7-e aadam8 ka jo tha hai abhi me’aar9 vohi 1.wasted 2.effort 3.wisdom 4.knowledge 5.wealth 6.profitless, useless 7.ignorance, barbarism 8.human 9.standard, measure
All the effort at wisdom is wasted, the wealth of learning is lost. The standards of barbarism of the human species is still the same as in pre-civilization times.
3
sab se qaanoon1 baRa aaj bhi qaanoon-e qisaas2
sab meN mazboot3 daliil4 aaj bhi talvaar5 vohi 1.law, rule 2.revenge 3.strong 4.logic, proof 5.sword
The highest law is still the law of revenge. The strongest logic is the logic of the sword.
4
satah’ii1 hai faqat2 eKhlaas3 o mohabbat ki chamak
zer4-e aaina abhi hai tah5-e zaNgaar6 vohi 1.superficial 2.only 3.love, consideration 4.behind 5.layer 6.rust, vitriol, chemical layering behind mirrors (usually toxic before modern silvering)
The shine of mutual respect and love is only superficial. Behind the mirror is still that toxic layer.
5
dekhne ke liye haiN ye Khad-o-Khaal1-e bashar2
dil meN aabaad3 hai ifriit4-e siy’h-kaar5 vohi 1.shape and appearance 2.human 3.prospering 4.evil spirit, devil 5.evil working, wicked
The gentle shape and appearance of the human is just for show. The wicked devil is alive and prospering in the heart.
6
uRi chehre se jahaaN1 raNg-e tamaddun2 ki naqaab3
hai nigaahoN4 ke dareechoN5 se sharar-baar6 vohi 1.used here to mean when, as soon as 2.civilization 3.veil 4.eyes 5.windows 6.raining sparks, fiery
As soon as the pretense/veil of civilization was removed from the face, the devil inside could be seen raining sparks through the windows of the eyes.
7
TooTi patli1 si jahaaN2 khokhli3 tahziib4 ki aaR5
nazar6 aata hai darinda7 pas8-e diivaar vohi 1.thin 2.when, as soon as 3.hollow 4.civilization, culture 5.screen, fence 6.visible 7.carnivore, killer 8.behind
As soon and the hollow, thin wall of culture crashed, the screen was gone. From behind the wall emerged the killer.
8
ek se ek sivaa1 kaun kahe kis se kahe
ahl2-e tasbiih3 vohi saahib4-e zunnar5 vohi 1.beyond, more than 2.people of 3.islamic prayer beads 4.owners, lords 5.hindu sacred thread, janev
Each goes beyond the other. Who can we blame, how can we blame. The people of tasbiih (muslims, clerics) are the same and the people of janev remain the same.
9
kis ko mazluum1 kaheN kis ko sitamgaar2 kaheN
aaj mazluum vohi kal hai sitamgaar vohi 1.oppressed, trodden 2.oppressor, tyrant
Who can we call the oppressed and who the oppressor. The oppressor of today becomes the oppressor of tomorrow.
10
jitna hi jo tha ravaadaar1 kabhi, utna hi
aaj ham-kesh2 luTeron3 ka tarafdaar4 vohi 1.tolerant, good-natured 2.same/similar nature/character 3.plunderer, robber 4.partisan
Yesterday, as much as they were civilized, to the same extent, today they are partisans of plunders with whom they share their character.
11
aaj kis sat’h1 pe hai zahniyat2-e ‘aam3 afsos4
rokta hai jo KhataaoN5 se, Khatavaar6 vohi 1.layer, level 2.mentality 3.common, popular 4.alas 5.transgressions 6.transgressor
Alas, look at the (low) level that common mentality has reached today. The one who tries to stop them from transgression is himself considered the transgressor.
12
jo tashaddud1 ka kare zikr2 vohi qaum-parast3
naam bhoole4 se jo le am’n5 ka Ghaddaar6 vohi 1.oppression 2.narrative, talk about 3.patriot, homeland lover 4.casually, in passing 5.peace 6.traitor
They who talk about oppression (oppressing the ‘other’) are considered patriots/nationalists and the one who even casually talks of peace is considered a traitor.
13
firqa-vaaraana1 hakiimoN2 ki davaa3 se hoshiyaar4
bhes5 meN aaj mu’aalij6 ke hai biimaar vohi 1.bigoted, communal 2.healers 3.remedy 4.careful, beware 5.disguised 6.physician
Beware of the remedy dispensed by bigots posing as healers. They are the same old sick and distorted people in the guise of physicians.
14
vatan! aye mere vatan! yuN mujhe mayoos1 na kar
shubh2 ghaRi3 aa’ii hai teri usay man’hoos4 na kar 1.disappoint 2.auspicious 3.moment, time 4.inauspicious
O homeland, O my homeland, do not disappoint me. This is an inauspicious time for you, do not turn it into a curse.
panDit anand narain mulla (1901-1997), lukhnow, thoughtful and thoughtprovoking shaa’er. MA English Literature. Learnt urdu and faarsi at home. First venture into poetry translation of parts of iqbal’s ‘payaam-e mashriq’ into English. First urdu nazm published 1925. Ardent urdu lover as a language of the people. High court justice, parliamentarian and strong secularist and rationalist/atheist. This was composed in October 1947 and probably addresses massacres at the border and inside the country. The last she’r in particular is aimed at the homeland. This nazm is linked to ‘Independence-Partition’ on the Theme Index Page.
1
Ghaarat1-e qatl2 ki hai garmi3-e baazaar vohi
abhi insaan ki hai fitrat4-e KhoonKhwaar5 vohi
1.devastation 2.killings 3.activity 4.nature, character 5.blood-thristy
The bazaar of devastation and killing is still active. Human nature is still blood-thirsty.
2
raa’egaaN1 sa’ii2-e Khirad3, ilm4 ki daulat5 be-suud6
jahl7-e aadam8 ka jo tha hai abhi me’aar9 vohi
1.wasted 2.effort 3.wisdom 4.knowledge 5.wealth 6.profitless, useless 7.ignorance, barbarism 8.human 9.standard, measure
All the effort at wisdom is wasted, the wealth of learning is lost. The standards of barbarism of the human species is still the same as in pre-civilization times.
3
sab se qaanoon1 baRa aaj bhi qaanoon-e qisaas2
sab meN mazboot3 daliil4 aaj bhi talvaar5 vohi
1.law, rule 2.revenge 3.strong 4.logic, proof 5.sword
The highest law is still the law of revenge. The strongest logic is the logic of the sword.
4
satah’ii1 hai faqat2 eKhlaas3 o mohabbat ki chamak
zer4-e aaina abhi hai tah5-e zaNgaar6 vohi
1.superficial 2.only 3.love, consideration 4.behind 5.layer 6.rust, vitriol, chemical layering behind mirrors (usually toxic before modern silvering)
The shine of mutual respect and love is only superficial. Behind the mirror is still that toxic layer.
5
dekhne ke liye haiN ye Khad-o-Khaal1-e bashar2
dil meN aabaad3 hai ifriit4-e siy’h-kaar5 vohi
1.shape and appearance 2.human 3.prospering 4.evil spirit, devil 5.evil working, wicked
The gentle shape and appearance of the human is just for show. The wicked devil is alive and prospering in the heart.
6
uRi chehre se jahaaN1 raNg-e tamaddun2 ki naqaab3
hai nigaahoN4 ke dareechoN5 se sharar-baar6 vohi
1.used here to mean when, as soon as 2.civilization 3.veil 4.eyes 5.windows 6.raining sparks, fiery
As soon as the pretense/veil of civilization was removed from the face, the devil inside could be seen raining sparks through the windows of the eyes.
7
TooTi patli1 si jahaaN2 khokhli3 tahziib4 ki aaR5
nazar6 aata hai darinda7 pas8-e diivaar vohi
1.thin 2.when, as soon as 3.hollow 4.civilization, culture 5.screen, fence 6.visible 7.carnivore, killer 8.behind
As soon and the hollow, thin wall of culture crashed, the screen was gone. From behind the wall emerged the killer.
8
ek se ek sivaa1 kaun kahe kis se kahe
ahl2-e tasbiih3 vohi saahib4-e zunnar5 vohi
1.beyond, more than 2.people of 3.islamic prayer beads 4.owners, lords 5.hindu sacred thread, janev
Each goes beyond the other. Who can we blame, how can we blame. The people of tasbiih (muslims, clerics) are the same and the people of janev remain the same.
9
kis ko mazluum1 kaheN kis ko sitamgaar2 kaheN
aaj mazluum vohi kal hai sitamgaar vohi
1.oppressed, trodden 2.oppressor, tyrant
Who can we call the oppressed and who the oppressor. The oppressor of today becomes the oppressor of tomorrow.
10
jitna hi jo tha ravaadaar1 kabhi, utna hi
aaj ham-kesh2 luTeron3 ka tarafdaar4 vohi
1.tolerant, good-natured 2.same/similar nature/character 3.plunderer, robber 4.partisan
Yesterday, as much as they were civilized, to the same extent, today they are partisans of plunders with whom they share their character.
11
aaj kis sat’h1 pe hai zahniyat2-e ‘aam3 afsos4
rokta hai jo KhataaoN5 se, Khatavaar6 vohi
1.layer, level 2.mentality 3.common, popular 4.alas 5.transgressions 6.transgressor
Alas, look at the (low) level that common mentality has reached today. The one who tries to stop them from transgression is himself considered the transgressor.
12
jo tashaddud1 ka kare zikr2 vohi qaum-parast3
naam bhoole4 se jo le am’n5 ka Ghaddaar6 vohi
1.oppression 2.narrative, talk about 3.patriot, homeland lover 4.casually, in passing 5.peace 6.traitor
They who talk about oppression (oppressing the ‘other’) are considered patriots/nationalists and the one who even casually talks of peace is considered a traitor.
13
firqa-vaaraana1 hakiimoN2 ki davaa3 se hoshiyaar4
bhes5 meN aaj mu’aalij6 ke hai biimaar vohi
1.bigoted, communal 2.healers 3.remedy 4.careful, beware 5.disguised 6.physician
Beware of the remedy dispensed by bigots posing as healers. They are the same old sick and distorted people in the guise of physicians.
14
vatan! aye mere vatan! yuN mujhe mayoos1 na kar
shubh2 ghaRi3 aa’ii hai teri usay man’hoos4 na kar
1.disappoint 2.auspicious 3.moment, time 4.inauspicious
O homeland, O my homeland, do not disappoint me. This is an inauspicious time for you, do not turn it into a curse.
The post insaani darinde-panDit anand narain mulla appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/panm-subh-aazaadi-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
صبح آزادی ۔ پنڈت آنند نرائن مُلّا
۱
شبِ مردہ کی لیے لاش حسیں شانوں پر
کُنکُنا جس کا ابھی تک ہے بدن
رقص کرتا ہوا آتا ہے نیا طفلکِ صبح
صبح آزادیِ زندانِ وطن
۲
لڑکھڑاتے ہوئے اِس بارِ گراں کے نیچے
بہکے بہکے ابھی پڑتے ہیں قدم
پھر بھی اک خُلدِ نظر، جنّتِ کیف
مستیِ رقص سے ہر عضوِ حسیں نشہ میں چور
۳
تن پہ زرتار سہ رنگی پوشاک
زعفراں، سبز و سفید
جو سرکتی ہے ہر اک جنبش پا سے کچھ اور
نگہِ گرم تمنّا کے لیے ایک مہمیز
۴
اور اندر سے فروزاں وہ دہکتا ہوا جسم
جیسے فانوس میں اک شعلۂ لرزاں کی تڑپ
رفتہ رفتہ جو اُبھرتا ہی چلا آتا ہے
گُلِ نورس کوئی جیسے چمنستاں میں کھِلے
۵
شوخ، طرّار، جواں گام، سبک رو، مغرور
دلربائی پہ جسے اپنی بھروسہ پورا
لب پہ ہلکی سی وہ اک موجِ تبسُّم غلطاں
جس میں انگڑائیاں لیتا ہے امیدوں کا شباب
اور مچلتے ہوئے ارماں بے تاب
۶
اس کی نظروں میں ہے اک خوابِ حیات
اُس کی ہر جنبشِ پا ہے کہ ہے مضرابِ حیات
جس سے دیتا ہے گزرتے ہوئے انفاس پہ تال
۷
گرم رو، برق خرام
موج صرصر میں اُڑاتی ہوئی پرچم اک لَو
اور تیزی سے بجاتا ہوا اپنے گھنگرو
جس کے ہر بول کی گونجی ہوئی آواز میں ہے
قلبِ ہستی کے دھڑکنے کی صدا
۸
شوق کی زندہ و تابندہ شبیہ
خوابِ ارماں کی سنہری تعبیر
لمحۂ حاصلِ زیست
جس کے سینے میں نہاں ایک نشاطِ ابدی
सुब’ह-ए आज़ादी – पंडित आनंद नरायण मुल्ला
१
शब-ए मुर्दा की लिए लाश हसीं शानों पर
कुनकुना जिस का अभी तक है बदन
रक़्स करता हुआ आता है नया तिफ़्लक-ए सुब’ह
सुब’ह-ए आज़ादी-ए ज़िन्दान-ए वतन
२
लढखढाते हुए इस बार-ए गिरां के नीचे
बहके बहके अभी पढते हैं क़दम
फिर भी एक ख़ुल्द-ए नज़र, जन्नत-ए कैफ़
मस्ती-ए रक़्स से हर उज़्व-ए हसीं नशा में चूर
३
तन पे ज़रतार सह-रंगी पोशाक
ज़ाफ़्रां, सब्ज़ ओ सफ़ेद
जो सरकती है हर एक जुंबिश-ए पा से कुछ और
निग’ह-ए गर्म तमन्ना के लिए एक महमेज़
४
और अंदर से फ़रोज़ां वो दहकता हुआ जिस्म
जैसे फ़ानूस में एक शोला-ए लर्ज़ां की तढप
रफ़्ता रफ़्ता जो उभरता ही चला आता है
गुल-ए नौरस कोई जैसे चमनिस्तां में खिले
५
शूख़, तर्रार, जवां-गाम, सबुक-रौ, मग़्रूर
दिलरुबाई पे जिसे अपनी भरोसा पूरा
लब पे हल्की सी वो एक मौज-ए तबस्सुम ग़ल्तां
जिस में अंगढाइयाँ लेता है उमीदों का शबाब
और मचलते हुए अर्मां बे-ताब
६
उस की नज़रों में है एक ख़्वाब-ए हयात
उस की हर जुंबिश-ए पा है के है मिज़्राब-ए हयात
जिस से देता है गुज़रते हुए अन्फ़ास पे ताल
७
गर्म-रौ, बर्क़-ख़िराम
मौज-ए सरसर में उढाती हुई परचम एक लौ
और तेज़ी से बजाता हुआ अपने घुंघरू
जिस के हर बोल की गूंजी हुई आवाज़ में है
क़ल्ब-ए हस्ती के धढकने की सदा
८
शौक़ की ज़िंदा ओ ताबिंदा शबीह
ख़्वाब-ए अर्मां की सुनहरी ताबीर
लम्हा-ए हासिल-ए ज़ीस्त
जिस के सीने में नेहां एक निशात-ए अबदी
Click here for background and on any passage for word meanings and explanatory discussion. panDit anand narain mulla (1901-1997), lukhnow, thoughtful and thoughtprovoking shaa’er. MA English Literature. Learnt urdu and faarsi at home. First venture into poetry translation of parts of iqbal’s ‘payaam-e mashriq’ into English. First urdu nazm published 1925. Ardent urdu lover as a language of the people. High court justice, parliamentarian and strong secularist and rationalist/atheist. This nazm is linked to others under Independence-Partition on the Theme Index page.
1
shab1-e murda ki liye laash2 hasiiN3 shanoN4 par
kunkuna5 jis ka abhi tak hai badan6
raqs7 karta hua aata hai naya tiflak8-e sub’h
sub’h-e aazaadi-e zindaan9-e vatan 1.night 2.corpse 3.beautiful 4.shoulders 5.luke warm 6.body 7.dancing 8.infant, toddler 9.prison
Carrying the corpse of the dead night (colonialism) on its beautiful shoulders; the just dead corpse, still warm; the new infant of the morn arrives dancing; the dawn of deliverance of the homeland from the prison of foreign rule.
2
laRkhaRaate1 hue iss baar2-e giraaN3 ke niiche
bahke-bahke4 abhi paRte haiN qadam
phir bhi ek Khuld5-e nazar6, jannat-e kaif7
masti-e raqs8 se har juzv9-e hasiiN10 nashshe meN chuur 1.stumbling 2.burden 3.heavy 4.staggering 5.heaven 6.sight 7.pleasure, intoxication 8.dance 9.limb, part 10.beautiful
The infant dawn of independence is coming … stumbling under its heavy burden; a stagger in its gait/wait; but still a heaven to behold, a heaven of inebriation and pleasure. Every sculpted limb beautiful in the intoxication of its dance; drunk with joy.
3
tan pe zartaar1 seh-raNgi2 poshaak3
zaafraaN4, sabz5 o safed
jo sarakti6 hai har ek jumbish7-e paa8 se kuchh aur
nig’h-e garm-e tamanna9 ke liye ek mahmez10 1.golden thread 2.tri-colour 3.garment 4.saffron 5.green 6.slipping off 7.movement 8.step 9.desire, love 10.spur
The ‘infant’ is now portrayed as a young maiden using romantic imagery, with her garment slipping off. The body draped in a tri-coloured garment saffron, green and white, sewn with a golden thread; slipping off at every step, spurring on the eager gaze of love.
4
aur andar se farozaaN1 voh dahakta2 hua jism3
jaise fanoos4 meN ek sho’la5-e larzaaN6 ki taRap
rafta-rafta7 jo ubharta8 hi chala aata hai
gul-e-nauras9 koi jaise chamanistaaN meN khile 1.shining, bright 2.glowing 3.body 4.candelabra, glass shade 5.flame 6.trembling, fluttering 7.slowly 8.emerge, rise 9.newly blossomed rose
And from behind the tri-coloured garment a shining, glowing body, like a fluttering flame in a candelabra; slowly approaching; emerging into sight like a newly blossomed rose in the garden.
5
shoKh1, tarraar2, jawaaN-gaam3, subuk-rau4, maGhroor5
dilrubaaii6 pe jise apni bharosa7 poora
lab8 pe halki si voh ek mauj-e-tabassum9 GhaltaaN10
jis meN aNgRaaiyaaN11 leta hai umeedoN12 ka shabaab13
aur machalte hue armaaN14 betaab15 1.playful, mischievous 2.sharp 3.youthful step 4.fast paced 5.proud 6.heart-winning, alluring 7.confidence 8.lips 9.fleeting smile 10.immersed 11.stretching, waking up 12.hopes 13.youth, vigour 14.desires 15.impatient
By now the infant dawn has blossomed into a youthful maiden. Playful, sharp, youthful, fast paced and proud, fully confident of her alluring beauty; her lips painted with fleeting smiles in which awaken hopes/dreams of vigour and restless desires eager to breakout.
6
uss ki nazroN1 meN hai ek Khwaab2-e hayaat3
uss ki har jumbish4-e paa5 hai keh hai mizraab6-e hayaat
jis se deta hai guzarte7 hue anfaas8 pe taal9 1.eyes 2.dream, vision 3.life 4.movement 5.step 6.musical pluck 7.passing 8.breaths, moments 9.rhythmic beat
In her eyes she carries a vision of life. Every movement of her feet plucks the strings of life with which she lends a rhythmic beat to every passing moment.
7
garm-rau1, barq-Khiraam2
mauj-e-sarsar3 meN uRaati hui parcham4 ek lau5
aur tezi se bajaata hua apne ghunghru
jis ke har bol ki goonji hui aavaaz meN hai
qalb6-e hasti7 ke dhaRakne ki sada8 1.energetic step 2.lightning gait 3.gust of wind 4.flag 5.flame also means expectation, ardent desire as in lau lagaana 6.heart 7.life, existence 8.sound
The youthful damsel of freedom moves with an energetic step, with the gait/style of lightning; waving a banner of hope and desire in the gusty wind; her ankle bells tinkling to her fast pace; in whose echoes are the sounds of the beating heart of life.
8
shauq1 ki zinda o taabinda2 shabiih3
Khwaab-e armaaN4 ki sunahri5 taabiir6
lamha7-e haasil8-e ziist9
jis ke siine meN nehaaN10 aek nishaat11-e abadi12 1.desire, love 2.shining 3.image 4.longing, desire 5.golden 6.fulfillment 7.moment 8.result, yield 9.life, existence 10.hidden 11.pleasure, happiness 12.eternal
The youthful damsel of freedom represents the living and shining image of desires, the rich fulfillment of dreams, the moment of the full realization of life in whose bosom is hidden an eternal bliss. (Editorial comment … the dream has turned into a nightmare).
panDit anand narain mulla (1901-1997), lukhnow, thoughtful and thoughtprovoking shaa’er. MA English Literature. Learnt urdu and faarsi at home. First venture into poetry translation of parts of iqbal’s ‘payaam-e mashriq’ into English. First urdu nazm published 1925. Ardent urdu lover as a language of the people. High court justice, parliamentarian and strong secularist and rationalist/atheist. This nazm is linked to others under Independence-Partition on the Theme Index page.
1
shab1-e murda ki liye laash2 hasiiN3 shanoN4 par
kunkuna5 jis ka abhi tak hai badan6
raqs7 karta hua aata hai naya tiflak8-e sub’h
sub’h-e aazaadi-e zindaan9-e vatan
1.night 2.corpse 3.beautiful 4.shoulders 5.luke warm 6.body 7.dancing 8.infant, toddler 9.prison
Carrying the corpse of the dead night (colonialism) on its beautiful shoulders; the just dead corpse, still warm; the new infant of the morn arrives dancing; the dawn of deliverance of the homeland from the prison of foreign rule.
2
laRkhaRaate1 hue iss baar2-e giraaN3 ke niiche
bahke-bahke4 abhi paRte haiN qadam
phir bhi ek Khuld5-e nazar6, jannat-e kaif7
masti-e raqs8 se har juzv9-e hasiiN10 nashshe meN chuur
1.stumbling 2.burden 3.heavy 4.staggering 5.heaven 6.sight 7.pleasure, intoxication 8.dance 9.limb, part 10.beautiful
The infant dawn of independence is coming … stumbling under its heavy burden; a stagger in its gait/wait; but still a heaven to behold, a heaven of inebriation and pleasure. Every sculpted limb beautiful in the intoxication of its dance; drunk with joy.
3
tan pe zartaar1 seh-raNgi2 poshaak3
zaafraaN4, sabz5 o safed
jo sarakti6 hai har ek jumbish7-e paa8 se kuchh aur
nig’h-e garm-e tamanna9 ke liye ek mahmez10
1.golden thread 2.tri-colour 3.garment 4.saffron 5.green 6.slipping off 7.movement 8.step 9.desire, love 10.spur
The ‘infant’ is now portrayed as a young maiden using romantic imagery, with her garment slipping off. The body draped in a tri-coloured garment saffron, green and white, sewn with a golden thread; slipping off at every step, spurring on the eager gaze of love.
4
aur andar se farozaaN1 voh dahakta2 hua jism3
jaise fanoos4 meN ek sho’la5-e larzaaN6 ki taRap
rafta-rafta7 jo ubharta8 hi chala aata hai
gul-e-nauras9 koi jaise chamanistaaN meN khile
1.shining, bright 2.glowing 3.body 4.candelabra, glass shade 5.flame 6.trembling, fluttering 7.slowly 8.emerge, rise 9.newly blossomed rose
And from behind the tri-coloured garment a shining, glowing body, like a fluttering flame in a candelabra; slowly approaching; emerging into sight like a newly blossomed rose in the garden.
5
shoKh1, tarraar2, jawaaN-gaam3, subuk-rau4, maGhroor5
dilrubaaii6 pe jise apni bharosa7 poora
lab8 pe halki si voh ek mauj-e-tabassum9 GhaltaaN10
jis meN aNgRaaiyaaN11 leta hai umeedoN12 ka shabaab13
aur machalte hue armaaN14 betaab15
1.playful, mischievous 2.sharp 3.youthful step 4.fast paced 5.proud 6.heart-winning, alluring 7.confidence 8.lips 9.fleeting smile 10.immersed 11.stretching, waking up 12.hopes 13.youth, vigour 14.desires 15.impatient
By now the infant dawn has blossomed into a youthful maiden. Playful, sharp, youthful, fast paced and proud, fully confident of her alluring beauty; her lips painted with fleeting smiles in which awaken hopes/dreams of vigour and restless desires eager to breakout.
6
uss ki nazroN1 meN hai ek Khwaab2-e hayaat3
uss ki har jumbish4-e paa5 hai keh hai mizraab6-e hayaat
jis se deta hai guzarte7 hue anfaas8 pe taal9
1.eyes 2.dream, vision 3.life 4.movement 5.step 6.musical pluck 7.passing 8.breaths, moments 9.rhythmic beat
In her eyes she carries a vision of life. Every movement of her feet plucks the strings of life with which she lends a rhythmic beat to every passing moment.
7
garm-rau1, barq-Khiraam2
mauj-e-sarsar3 meN uRaati hui parcham4 ek lau5
aur tezi se bajaata hua apne ghunghru
jis ke har bol ki goonji hui aavaaz meN hai
qalb6-e hasti7 ke dhaRakne ki sada8
1.energetic step 2.lightning gait 3.gust of wind 4.flag 5.flame also means expectation, ardent desire as in lau lagaana 6.heart 7.life, existence 8.sound
The youthful damsel of freedom moves with an energetic step, with the gait/style of lightning; waving a banner of hope and desire in the gusty wind; her ankle bells tinkling to her fast pace; in whose echoes are the sounds of the beating heart of life.
8
shauq1 ki zinda o taabinda2 shabiih3
Khwaab-e armaaN4 ki sunahri5 taabiir6
lamha7-e haasil8-e ziist9
jis ke siine meN nehaaN10 aek nishaat11-e abadi12
1.desire, love 2.shining 3.image 4.longing, desire 5.golden 6.fulfillment 7.moment 8.result, yield 9.life, existence 10.hidden 11.pleasure, happiness 12.eternal
The youthful damsel of freedom represents the living and shining image of desires, the rich fulfillment of dreams, the moment of the full realization of life in whose bosom is hidden an eternal bliss. (Editorial comment … the dream has turned into a nightmare).
The post sub’h aazaadi-panDit anand narain mulla appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/saahsa-yaum-e-aazaadi-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
یومِ آزادی ۔ سید عاشق حسین سیمابؔ اکبرآبادی
۱
جدھر دیکھو اُدھر وِردِ زباں ہے یومِ آزادی
طرب افزائے ہر پیر و جواں ہے یومِ آزادی
مگر کب فی الحقیقت ضو فشاں ہے یومِ آزادی
نِرا دھوکا ہے لفظی اَرمُغاں ہے یومِ آزادی
فقط اک وہم ہے اور اک گماں ہے یومِ آزادی
کہاں ہے یومِ آزادی
۲
تمنّا یومِ آزادی اگر ہے ملک و مِلّت کی
تو کوشش سے بڑھاؤ اَکملیّت اپنی قوت کی
فقط باتیں نہیں ہیں آج ضامن اس ضرورت کی
ضرورت ہے کہ شمعیں ہوں فروزاں عزم و ہمت کی
غلامی کے اندھیرے میں نہاں ہے یومِ آزادی
کہاں ہے یومِ آزادی
۳
ابھی اک عمر ہے درکار گھر آباد ہونے کو
ابھی تو ہے اسیروں پر بہت بیداد ہونے کو
کوئی کتنا ہی فرضی شاد ہو لے شاد ہونے کو
مگر اب بھی زمانہ چاہیے آزاد ہونے کو
یہ مانا قسمت ہندوستاں ہے یومِ آزادی
کہاں ہے یومِ آزادی
۴
کہاں چھوڑی ابھی خوئے جبیں سائی غلامی نے
کہاں سمجھی ابھی اپنی گراں پائی غلامی نے
ابھی تو کی ہے آوازوں کی شِنوائی غلامی نے
ابھی تو نیند میں لی ہے اک انگڑائی غلامی نے
غلط سمجھے کہ صبح گلستاں ہے یومِ آزادی
کہاں ہے یومِ آزادی
۵
سرابِ نُور کو کیوں شمع سمجھے چشمِ پروانہ
نمودِ صبح کاذب پر نظارہ کیوں ہو دیوانہ
ابھی تمہید ہے اور وہ بھی یکرنگی سے بیگانہ
مکمل ہوتے ہوتے ہوگا آزادی کا افسانہ
ابھی تو اِک خیالی داستاں ہے یومِ آزادی
کہاں ہے یوم آزادی
यौम-ए आज़ादी – सय्यद आशेक़ हुसैन सीमाब अक्बराबादी
१
जिधर देखो उधर विर्द-ए जबां है यौम-ए आज़ादी
तरब अफ़्ज़ा-ए हर पीर ओ जवां है यौम-ए आज़ादी
मगर कब फ़ि’ल-हक़ीक़त ज़ौ-फ़शां है यौम-ए आज़ादी
निरा धोका है लफ़्ज़ी अर्मुग़ां है यौम-ए आज़ादी
फ़क़त एक वहम है और एक गुमां है यौम-ए आज़ादी
कहां है यौम-ए आज़ादी
२
तमन्ना यौम-ए आज़ादी अगर है मुल्क ओ मिल्लत की
तो कोशिश से बढ़ाओ अक्मलिय्यत अपनी क़ुव्वत की
फ़क़त बातें नहीं हैं आज ज़ामिन इस ज़रूरत की
ज़रूरत है के शम‘एं हों फ़रोज़ां अज़्म ओ हिम्मत की
ग़ुलामी के अंधेरे में नेहां है यौम-ए आज़ादी
कहां है यौम-ए आज़ादी
३
अभी एक उम्र है दरकार घर आबाद होने को
अभी तो है असीरों पर बहुत बेदाद होने को
कोई कितना ही फ़र्ज़ी शाद होले शाद होने को
मगर अब भी ज़माना चाहिए आज़ाद होने को
ये माना क़िस्मत-ए हिन्दोस्तां है यौम-ए आज़ादी
कहां है यौम-ए आज़ादी
४
कहां छोढी अभी ख़ू-ए जबीं-साई ग़ुलामी ने
कहां समझी अभी अपनी गरां-पाई ग़ुलामी ने
अभी तो की है आवाज़ों की शिन्वाई ग़ुलामी ने
अभी तो नींद में ली है एक अंगढाई ग़ुलामी ने
ग़लत समझे के सुब’ह-ए गुलिस्तां है यौम-ए आज़ादी
कहां है यौम-ए आज़ादी
५
सराब-ए नूर को क्यों शम‘अ समझे चश्म-ए परवाना
नुमूद-ए सुब’ह-ए काज़िब पर नज़ारा क्यों हो दीवाना
अभी तम्हीद है और वो भी यकरंगी से बेगाना
मुकम्मल होते होते होगा आज़ादी का अफ़्साना
अभी तो एक ख़्याली दास्तां है यौम-ए आज़ादी
कहां है यौम-ए आज़ादी
Click here for background and on any passage for word meanings and explanatory discussion. syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’. This nazm is dated 1930. Either it is very prescient of partition or it is a protest against settling for ‘home rule’ instead of demanding full independence. It is linked to ‘Independence-Partition’ on the Theme Index page.
1
jidhar dekho udhar vird1-e zabaaN hai yaum2-e aazaadi
tarab-afzaa3-e har piir4 o javaaN hai yaum-e aazaadi
magar kab fi-al-haqeeqat5 zau-fashaaN6 hai yaum-e aazaadi
niraa7 dhoka hai lafzi8 armuGhaaN9 hai yaum-e aazaadi
faqat10 ek vahm11 hai aur ek gumaaN12 hai yaum-e aazaadi
kahaaN hai yaum-e aazaadi 1.chant 2.day of 3.joy increasing 4.old 5.in reality 6.light spreading 7.pure, absolute 8.of words, insincere 9.gift 10.only, merely 11.suspicion 12.illusion
Wherever you look, you hear the chant of independence day. Old and young are happy. But in reality, is freedom shining? It is pure deception, a gift in name only. It is not real, only an illusion. Where is freedom.
2
tamannaa1 yaum2-e aazaadi agar3 hai mulk-o-millat4 ki
to koshish5 se baRhaao akmaliyyat6 apni quvvat7 ki
faqat8 baateN nahiN haiN aaj zaamin9 is zaroorat10 ki
zaroorat hai keh sham‘eN hoN farozaaN11 azm12 o himmat13 ki
Ghulaami ke andhere meN nehaaN14 hai yaum-e aazaadi
kahaaN hai yaum-e aazaadi 1.desire, wish 2.day of 3.if 4.homeland and community 5.effort 6.completion, perfection 7.power 8.only 9.guarantor 10.need 11.lit up 12.resolve 13.courage 14.hidden
If your desire is freedom of the homeland, then with your effort, increase your power. Only words cannot guarantee to fill this need. What is needed is that we light up lamps of resolve and courage. Freedom is still hidden in the darkness of slavery. This is no freedom.
3
abhi ek umr1 hai darkaar2 ghar aabaad3 hone ko
abhi to hai asiiroN4 par bahut bedaad5 hone ko
koi kitna hi farzi6 shaad7 ho le shaad hone ko
magar8 ab bhi zamaana9 chaahiye aazaad hone ko
ye maana qismat-e hindostaaN hai yaum-e aazaadi
kahaaN hai yaum-e aazaadi 1.lifetime 2.required 3.prosper, flourish 4.prisoners 5.oppression 6.not real, display only 7.happy 8.but 9.long time, ages
We still need a lifetime for this homeland to flourish. There is still a lot of oppression in store for the captives/slaves/colonized. But even now ages are needed to gain real freedom. I agree that it is the destiny of hindostaan to be free, but where is the day of freedom.
4
kahaaN chhoRi abhi Khuu1-e jabiiN-saaii2 Ghulaami ne
kahaaN samjhi abhi apni giraaN-paaii3 Ghulaami ne
abhi to kii hai aavaazoN ki shinvaaii4 Ghulaami ne
abhi to neend meN li hai ek aNgRaai5 Ghulaami ne
Ghalat6 samjhe keh sub’h-e gulsitaaN hai yaum-e aazaadi
kahaaN hai yaum-e aazaadi 1.nature, habit 2.rubbing forehead at someone’s feet, prostrating 3.heaviness of feet, difficulty in moving forward 4.making heard 5.stretching/yawning
Has slavery given up its habit of prostrating to power. Has it understood why it is unable to march forward. We have only just now obtained a hearing for our voice/demand. We are mistaken if we think that this dawn in the homeland is the day of freedom. Where is freedom?
5
saraab1-e noor2 ko kyuN sham‘a samjhe chashm3-e parvaana4
numood5-e sub’h-e-kaazib6 par nazaara7 kyuN ho diivaana
abhi tamhiid8 hai aur voh bhi yakraNgi9 se begaana10
mukammal11 hote hote hoga aazaadi ka afsaana12
abhi to ek Khayaali13 daastaaN14 hai yaum-e aazaadi
kahaaN hai yaum-e aazaadi 1.mirage, illusion 2.light 3.eyes 4.moth 5.emergence, rising 6.false dawn 7.vision, sight 8.introduction, preface, prediction 9.same colour/nature, communal harmony 10.unfamiliar 11.complete 12.imaginary, fiction 14.story, legend
The moth circles the flame attracted by light. But what we are seeing is ‘saraab-e noor’, the illusion of light. Thus, why should the moth/lover of freedom be fooled by the illusion of light/freedom. sub’h-e-kaazib-false dawn is the faint light before actual sunrise. It should not be mistaken for sunrise. Thus, why should we go mad (unnecessarily happy) at seeing the emergence of a false dawn. This only a prediction, and that too, devoid of harmony among ourselves. The story of freedom will be completely written gradually. So far, it is only a fictional legend. Where is freedom.
syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’. This nazm is dated 1930. Either it is very prescient of partition or it is a protest against settling for ‘home rule’ instead of demanding full independence. It is linked to ‘Independence-Partition’ on the Theme Index page.
1
jidhar dekho udhar vird1-e zabaaN hai yaum2-e aazaadi
tarab-afzaa3-e har piir4 o javaaN hai yaum-e aazaadi
magar kab fi-al-haqeeqat5 zau-fashaaN6 hai yaum-e aazaadi
niraa7 dhoka hai lafzi8 armuGhaaN9 hai yaum-e aazaadi
faqat10 ek vahm11 hai aur ek gumaaN12 hai yaum-e aazaadi
kahaaN hai yaum-e aazaadi
1.chant 2.day of 3.joy increasing 4.old 5.in reality 6.light spreading 7.pure, absolute 8.of words, insincere 9.gift 10.only, merely 11.suspicion 12.illusion
Wherever you look, you hear the chant of independence day. Old and young are happy. But in reality, is freedom shining? It is pure deception, a gift in name only. It is not real, only an illusion. Where is freedom.
2
tamannaa1 yaum2-e aazaadi agar3 hai mulk-o-millat4 ki
to koshish5 se baRhaao akmaliyyat6 apni quvvat7 ki
faqat8 baateN nahiN haiN aaj zaamin9 is zaroorat10 ki
zaroorat hai keh sham‘eN hoN farozaaN11 azm12 o himmat13 ki
Ghulaami ke andhere meN nehaaN14 hai yaum-e aazaadi
kahaaN hai yaum-e aazaadi
1.desire, wish 2.day of 3.if 4.homeland and community 5.effort 6.completion, perfection 7.power 8.only 9.guarantor 10.need 11.lit up 12.resolve 13.courage 14.hidden
If your desire is freedom of the homeland, then with your effort, increase your power. Only words cannot guarantee to fill this need. What is needed is that we light up lamps of resolve and courage. Freedom is still hidden in the darkness of slavery. This is no freedom.
3
abhi ek umr1 hai darkaar2 ghar aabaad3 hone ko
abhi to hai asiiroN4 par bahut bedaad5 hone ko
koi kitna hi farzi6 shaad7 ho le shaad hone ko
magar8 ab bhi zamaana9 chaahiye aazaad hone ko
ye maana qismat-e hindostaaN hai yaum-e aazaadi
kahaaN hai yaum-e aazaadi
1.lifetime 2.required 3.prosper, flourish 4.prisoners 5.oppression 6.not real, display only 7.happy 8.but 9.long time, ages
We still need a lifetime for this homeland to flourish. There is still a lot of oppression in store for the captives/slaves/colonized. But even now ages are needed to gain real freedom. I agree that it is the destiny of hindostaan to be free, but where is the day of freedom.
4
kahaaN chhoRi abhi Khuu1-e jabiiN-saaii2 Ghulaami ne
kahaaN samjhi abhi apni giraaN-paaii3 Ghulaami ne
abhi to kii hai aavaazoN ki shinvaaii4 Ghulaami ne
abhi to neend meN li hai ek aNgRaai5 Ghulaami ne
Ghalat6 samjhe keh sub’h-e gulsitaaN hai yaum-e aazaadi
kahaaN hai yaum-e aazaadi
1.nature, habit 2.rubbing forehead at someone’s feet, prostrating 3.heaviness of feet, difficulty in moving forward 4.making heard 5.stretching/yawning
Has slavery given up its habit of prostrating to power. Has it understood why it is unable to march forward. We have only just now obtained a hearing for our voice/demand. We are mistaken if we think that this dawn in the homeland is the day of freedom. Where is freedom?
5
saraab1-e noor2 ko kyuN sham‘a samjhe chashm3-e parvaana4
numood5-e sub’h-e-kaazib6 par nazaara7 kyuN ho diivaana
abhi tamhiid8 hai aur voh bhi yakraNgi9 se begaana10
mukammal11 hote hote hoga aazaadi ka afsaana12
abhi to ek Khayaali13 daastaaN14 hai yaum-e aazaadi
kahaaN hai yaum-e aazaadi
1.mirage, illusion 2.light 3.eyes 4.moth 5.emergence, rising 6.false dawn 7.vision, sight 8.introduction, preface, prediction 9.same colour/nature, communal harmony 10.unfamiliar 11.complete 12.imaginary, fiction 14.story, legend
The moth circles the flame attracted by light. But what we are seeing is ‘saraab-e noor’, the illusion of light. Thus, why should the moth/lover of freedom be fooled by the illusion of light/freedom. sub’h-e-kaazib-false dawn is the faint light before actual sunrise. It should not be mistaken for sunrise. Thus, why should we go mad (unnecessarily happy) at seeing the emergence of a false dawn. This only a prediction, and that too, devoid of harmony among ourselves. The story of freedom will be completely written gradually. So far, it is only a fictional legend. Where is freedom.
The post yaum-e aazaadi-seemaab akbarabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/panm-zanjiir-e-tilaaii-baaqi-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
زنجیرِ طِلائی باقی ہے ۔ پنڈت آنند نرائن مُلّاؔ
۱
خورشید گہن سے چھوٹ چکا، بدلی سے رہائی باقی ہے
طوفاں سے تو کشتی کھے لائے، ساحل پہ لڑائی باقی ہے
۲
وہ پیشِ نظر ہے وادیِ گل، ہمت سے ذرا اک اور قدم
اب کوہ تو تم سر کر ہی چکے، تھوڑی سی ترائی باقی ہے
۳
پیروں کی کٹی بیڑی جس دم، قیدی سمجھا آزاد ہوا
یہ بھول گیا گردن میں ابھی، زنجیرِ طِلائی باقی ہے
۴
رہرو دونوں خطروں سے اگر، بچ نکلا منزل پائے گا
اب راہ زنی تو ختم ہوئی، ہاں راہ نمائی باقی ہے
۵
اک جنگ پہ آمادہ دنیا، یہ راز نہ کب تک سمجھے گی
طاقت کی دُہائی فانی ہے، انساں کی اِکائی باقی ہے
۶
گردوں کے ستارے بجھنے دو، دنیا سے کہو ماتم نہ کرے
ذرّوں سے شعائیں پھوٹیں گی، مٹی کی خدائی باقی ہے
۷
اغیار کے قبضے سے چھٹ کر، خرمن میں تو اپنی فصل آئی
اس فصل کی مُلّا اب خالی، ہموار بٹائی باقی ہے
ज़ंजीर-ए तिलाई बाक़ी है – पंडित आनन्द नरायन मुल्ला
१
ख़ुर्शीद गहन से छूट चुका, बदली से रेहाई बाक़ी है
तूफ़ाँ से तो कश्ती खे लाए, साहिल पे लढाई बाक़ी है
२
वो पेश-ए नज़र है वादी-ए गुल, हिम्मत से ज़रा एक और क़दम
अब कोह तो तुम सर कर ही चुके, थोढी सी तराई बाक़ी है
३
पैरों की कटी बेढी जिस दम, क़ैदी समझा आज़ाद हुआ
ये भूल गया गरदन में अभी, ज़ंजीर-ए तिलाई बाक़ी है
४
रहरव दोनों ख़तरों से अगर, बच निकला मंज़िल पाएगा
अब राहज़नी तो ख़त्म हुई, हाँ राहनुमाई बाक़ी है
५
एक जंग पे आमादा दुनिया, ये राज़ न कब तक समझेगी
ताक़त की दहाई फ़ानी है, इंसाँ की एकाई बाक़ी है
६
गर्दूं के सितारे बुझने दो, दुनिया से कहो मातम न करे
ज़र्रों से शुआएँ फूटेंगी, मिट्टी की ख़ुदाई बाक़ी है
७
अग़्यार के क़ब्ज़े से छुट कर, ख़िर्मन में तो अपनी फ़सल आई
इस फ़सल की मुल्ला अब ख़ाली, हमवार बटाई बाक़ी है
Click here for background and on any passage for word meanings and explanatory discussion. panDit anand narain mulla (1901-1997), lukhnow, thoughtful and thoughtprovoking shaa’er. MA English Literature. Learnt urdu and faarsi at home. First venture into poetry translation of parts of iqbal’s ‘payaam-e mashriq’ into English. First urdu nazm published 1925. Ardent urdu lover as a language of the people. High court justice, parliamentarian and strong secularist and rationalist/atheist. This nazm, about the incompleteness of independence/freedom is linked to other similar nazm under ‘India-pakistan’ on the Theme Index page.
1
Khursheed1 gahan2 se chhuuT chukaa, badlii3 se rehaaii4 baaqi5 hai
tuufaaN se to kashti khay6 laaye, saahil7 pe laRaaii baaqi hai 1.sun 2.eclipse 3.clouds 4.release 5.remaining 6.row, steer 7.shore
The sun has emerged out of the shadow of the eclipse; release from dark clouds still remains i.e., the homeland is free from the yoke of conolonialism, but the social system is still unjust. We have steered the boat out of the storm, the struggle at the shore (for equality, communal harmony) remains.
2
voh pesh1-e nazar2 hai vaadii3-e gul4, himmat5 se zaraa ek aur qadam6
ab koh7 to tum sar8 kar hi chuke, thoRii sii taraaii9 baaqi hai 1.before, in front of 2.eyes 3.valley 4.flowers 5.courage 6.step 7.hill 8.climbed to the top of 9.wetland, valley, delta, field
There before you is the valley of flowers, just one more courageous step away. You have topped the hill now; just a field remains to be crossed. The difficult (hilly) task of driving out the colonizer is done, the more even path to equality (communal harmony) remains.
3
pairoN1 ki kaTii beRii2 jis dam3, qaidii4 samjha aazaad hua
ye bhuul gaya gardan meN abhi, zanjir5-e tilaa’ii6 baaqi hai 1.feet 2.fetters 3.moment 4.prisoner 5.chain 6.golden
The moment the fetters on his feet were cut, the prisoner thought he was free but he forgot that a golden chain still shackles his neck.
4
rahrau1 donoN KhatroN2 se agar, bach3 niklaa manzil4 paa’egaa5
ab raahzanii6 to Khatm huii, haaN raahnumaaii7 baaqi hai 1.traveler 2.dangers 3.safe, unharmed 4.destination, goal 5.reach, achieve 6.highway robbery 7.leadership, guidance, showing the way
If the traveler emerges unharmed from both dangers, then he will achieve his goal. What are the two dangers … highway robbery-colonialism and misguided, politically motivated leadership. Thus, highway robbery has ended but misguided leadership remains.
5
ek jaNg pe aamaada1 duniyaa, ye raaz2 na kab tak samjhegii3
taaqat4 kii duhaa’ii5 faani6 hai, insaaN kii ekaa’ii7 baaqi8 hai 1.inclined towards, bent upon 2.secret 3.understand 4.power 5.call for help 6.transitory, impermanent 7.one-ness, equality 8.(from baqaa) long lasting, permanent
When will this world, bent upon war, will understand this secret that the result of calling upon power to resolve issues is only transitory. Solutions based on human one-ness, equality are the only lasting solutions.
6
garduuN1 ke sitaare bujhne2 do, duniyaa se kaho maatam3 na kare
zarroN4 se shuaa’eN5 phuuTeNgii6, miTTii kii Khudaa’ii7 baaqi8 hai 1.sky 2.extinguish 3.lament 4.particles, grains of sand/dust 5.rays of light 6.burst out 7.reign 8.lasting, permanent
‘Stars of the sky’ are symbolic of the privileged few and the earth and grains of sand represent the common people. Thus, tell the world not to lament if the stars of the sky are extinguished because rays of light will burst out of the grains of sand. The reign of the earth is lasting. Of course, the dimming/extinguishing of stars is symbolic of the rise of a new dawn/social justice.
7
aGhyaar1 ke qabze2 se chuT kar, Khirman3 meN to apnii fasl4 aaii
is fasl kii mulla5 ab Khaalii6, hamvaar7 baTaa’ii8 baaqi hai 1.foreigners 2.control, possession 3.grain storage 4.harvest, yield 5.pen-name of the poet 6.only 7.even, equal, harmonious 8.division, distribution
Freed from the control of foreigners, our harvest arrives into our grain silos. O mulla, the only thing that remains to be done is to distribute the yield harmoniously and equitably.
panDit anand narain mulla (1901-1997), lukhnow, thoughtful and thoughtprovoking shaa’er. MA English Literature. Learnt urdu and faarsi at home. First venture into poetry translation of parts of iqbal’s ‘payaam-e mashriq’ into English. First urdu nazm published 1925. Ardent urdu lover as a language of the people. High court justice, parliamentarian and strong secularist and rationalist/atheist. This nazm, about the incompleteness of independence/freedom is linked to other similar nazm under ‘India-pakistan’ on the Theme Index page.
1
Khursheed1 gahan2 se chhuuT chukaa, badlii3 se rehaaii4 baaqi5 hai
tuufaaN se to kashti khay6 laaye, saahil7 pe laRaaii baaqi hai
1.sun 2.eclipse 3.clouds 4.release 5.remaining 6.row, steer 7.shore
The sun has emerged out of the shadow of the eclipse; release from dark clouds still remains i.e., the homeland is free from the yoke of conolonialism, but the social system is still unjust. We have steered the boat out of the storm, the struggle at the shore (for equality, communal harmony) remains.
2
voh pesh1-e nazar2 hai vaadii3-e gul4, himmat5 se zaraa ek aur qadam6
ab koh7 to tum sar8 kar hi chuke, thoRii sii taraaii9 baaqi hai
1.before, in front of 2.eyes 3.valley 4.flowers 5.courage 6.step 7.hill 8.climbed to the top of 9.wetland, valley, delta, field
There before you is the valley of flowers, just one more courageous step away. You have topped the hill now; just a field remains to be crossed. The difficult (hilly) task of driving out the colonizer is done, the more even path to equality (communal harmony) remains.
3
pairoN1 ki kaTii beRii2 jis dam3, qaidii4 samjha aazaad hua
ye bhuul gaya gardan meN abhi, zanjir5-e tilaa’ii6 baaqi hai
1.feet 2.fetters 3.moment 4.prisoner 5.chain 6.golden
The moment the fetters on his feet were cut, the prisoner thought he was free but he forgot that a golden chain still shackles his neck.
4
rahrau1 donoN KhatroN2 se agar, bach3 niklaa manzil4 paa’egaa5
ab raahzanii6 to Khatm huii, haaN raahnumaaii7 baaqi hai
1.traveler 2.dangers 3.safe, unharmed 4.destination, goal 5.reach, achieve 6.highway robbery 7.leadership, guidance, showing the way
If the traveler emerges unharmed from both dangers, then he will achieve his goal. What are the two dangers … highway robbery-colonialism and misguided, politically motivated leadership. Thus, highway robbery has ended but misguided leadership remains.
5
ek jaNg pe aamaada1 duniyaa, ye raaz2 na kab tak samjhegii3
taaqat4 kii duhaa’ii5 faani6 hai, insaaN kii ekaa’ii7 baaqi8 hai
1.inclined towards, bent upon 2.secret 3.understand 4.power 5.call for help 6.transitory, impermanent 7.one-ness, equality 8.(from baqaa) long lasting, permanent
When will this world, bent upon war, will understand this secret that the result of calling upon power to resolve issues is only transitory. Solutions based on human one-ness, equality are the only lasting solutions.
6
garduuN1 ke sitaare bujhne2 do, duniyaa se kaho maatam3 na kare
zarroN4 se shuaa’eN5 phuuTeNgii6, miTTii kii Khudaa’ii7 baaqi8 hai
1.sky 2.extinguish 3.lament 4.particles, grains of sand/dust 5.rays of light 6.burst out 7.reign 8.lasting, permanent
‘Stars of the sky’ are symbolic of the privileged few and the earth and grains of sand represent the common people. Thus, tell the world not to lament if the stars of the sky are extinguished because rays of light will burst out of the grains of sand. The reign of the earth is lasting. Of course, the dimming/extinguishing of stars is symbolic of the rise of a new dawn/social justice.
7
aGhyaar1 ke qabze2 se chuT kar, Khirman3 meN to apnii fasl4 aaii
is fasl kii mulla5 ab Khaalii6, hamvaar7 baTaa’ii8 baaqi hai
1.foreigners 2.control, possession 3.grain storage 4.harvest, yield 5.pen-name of the poet 6.only 7.even, equal, harmonious 8.division, distribution
Freed from the control of foreigners, our harvest arrives into our grain silos. O mulla, the only thing that remains to be done is to distribute the yield harmoniously and equitably.
The post zanjiir-e tilaaii baaqi hai-panDit anand narain mulla appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/panm-aivaan-e-adaalat-se-ruKhsat-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ایوانِ عدالت سے رخصت ہوتے ہوئے ۔ پنڈت آنند نرائن مُلّا
۱
یہ ہِمّتِ مردانہ پھر آئے کہ نہ آئے
مجھ سا کوئی پروانہ پھر آئے کہ نہ آئے
۲
طاقت کی رعونت کے مقابل بہ لبِ عدل
یوں حرفِ حریفانہ پھر آئے نہ آئے
۳
ساقی سے سوا تِشنہ لبوں سے تھا جسے اُنس
محفل میں وہ پیمانہ پھر آئے کہ نہ آئے
۴
جادے سے ہٹے گام تو اک جادۂ نو اور
یہ لغز شِ مستانہ پھر آئے کہ نہ آئے
۵
سَو خوشوں کی مستی بھی ہر اِک بُوند میں جس کی
وہ دانۂ صد دانہ پھر آئے کہ نہ آئے
۶
چُنتی ہی رہی شیخ کی داڑھی کے جو تنکے
یہ جرأتِ رندانہ پھر آئے کہ نہ آئے
۷
قانون کی آواز میں نغمے کی کھنک سی
یہ سازِ حکیمانہ پھر آئے کہ نہ آئے
۸
آتے ہی رہیں گے سرِ طور اور بھی موسیٰ
یہ ضربِ کلیمانہ پھر آئے کہ نہ آئے
۹
مسند پہ پہنچ کر بھی رہا حامی جمہور
مُلّا کا سا دیوانہ پھر آئے کہ نہ آئے
ऐवान-ए-अदालत से रुख़्सत होते हुए – पंडित आनंद नारायण मुल्ला
१
ये हिम्मत-ए-मर्दाना फिर आए के न आए
मुझ सा कोई परवाना फिर आए के न आए
२
ताक़त की रउ़नत के मुक़ाबिल ब-लब-ए-अदल
यूँ हर्फ़-ए-हरीफ़ाना फिर आए के न आए
३
साक़ी से सिवा तिश्ना लबों से था जिसे उन्स
महफ़िल में वो पैमाना फिर आए के न आए
४
जादे से हटे गाम तो एक जादा-ए-नौ और
ये लग़्ज़िश-ए-मस्ताना फिर आए के न आए
५
सौ ख़ुशों की मस्ती भी हर इक बूंद में जिस की
वो दाना-ए-सद दाना फिर आए के न आए
६
चुनती ही रही शेख़ की दाढ़ी के जो तिनके
ये जुरअत-ए-रिंदाना फिर आए के न आए
७
क़ानून की आवाज़ में नग़मे की खनक सी
ये साज़-ए-हकीमाना फिर आए के न आए
८
आते ही रहेंगे सर-ए-तूर और भी मूसा
ये ज़र्ब-ए-कलीमाना फिर आए के न आए
९
मस्नद पे पहुँच कर भी रहा हामी-ए-जम्हूर
मुल्ला का सा दीवाना फिर आए के न आए
Click here for background and on any passage for word meanings and explanatory discussion. panDit anand narain mulla (1901-1997), lukhnow, thoughtful and thoughtprovoking shaa’er. MA English Literature. Learnt urdu and faarsi at home. First venture into poetry translation of parts of iqbal’s ‘payaam-e mashriq’ into English. First urdu nazm published 1925. Ardent urdu lover as a language of the people. High court justice, parliamentarian and strong secularist and rationalist/atheist. He composed this when he took early retirement as Chief Judge of the High Court, UP. Sometime before this he had received an abusive call from a minister upon a ruling that was unfavourable to him. That nazm, ‘shabiih-e daara’ is worth reading too.
1
ye himmat1-e mardaana2 phir aa’e keh na aa’e
mujh sa3 koi parvaana4 phir aa’e keh na aa’e 1.courage 2.daring 3.short for jaisa, like, similar to 4.moth, lover (of justice)
The context of this nazm is the poet’s retirement from the position of Chief Jugde from which he offered daring, courageous judgments, even though they made political power unhappy. In this context, parvaana is a lover of justice. Thus, the poet/judge is not sure if another courageous judge will take his place, whether whoever is appointed in his place, be a lover of justice like him.
2
taaqat1 ki ra’uunat2 ke muqaabil3 ba lab4-e adl5
yuN harf6-e hariifaana7 phir aa’e keh na aa’e 1.strength, power 2.arrogance, hubris 3.against, facing 4.lips 5.justice 6.words 7.rival, matching, opposed
I do not know whether (in the future) from the lips of justice words will emerge that will rival the arrogance of power.
3
saaqi1 se sivaa2 tishna3 laboN4 se tha jise unss5
mahfil6 meN voh paimaana7 phir aa’e keh na aa’e 1.cup-bearer 2.more than, beyond 3.thirsty 4.lips 5.attachment, love 6.gathering 7.cup
The saaqi serves/offers wine to the people in the gathering/tavern. This makes the saaqi the centre of attention, the beloved of all. Here, wine can be used as an analogy for favours that the powerful bestow upon some of the populace. Thus the people in power are like the saaqi. But the poet is that cup in the gathering, which cares more about the thirsty than about the saaqi. He is not sure if there will be another cup like that. As a judge his sympathies lay with the powerless.
4
jaade1 se haTe gaam2 to ek jaada1-e nau3 aur
ye laGhzish4-e mastaana5 phir aa’e keh na aa’e 1.path 2.step 3.new 4.stumbling 5.intoxication
The imagery is that of an intoxicated person stumbling, but here the intoxication is that of love of justice and the stumbling is like searching for a new path, a new thought. Thus, if my steps leave the beaten path, it is only to explore/open up a new path.
5
sau1 KhoshoN2 ki masti3 bhi har ek boond4 meN jis ki
voh daana5-e sad-daana6 phir aa’e keh na aa’e 1.hundred 2.buches (as in grapes) 3.intoxication, daring, courage 4.drop 5.seed (grape) 6.one in a hundred seeds (grapes)
Here ‘daana’ is used to mean the grape itself and ‘masti’ to mean courage/daring. He was proud of his record and stood up to political pressure and called out the corruption of the police and officials. Thus, in every drop of wine made of this grape there is the courage of a hundred bunches of grapes. He is not sure if another grape like this, that is one in a hundred (rare) will take his place.
6
chunti1 hi rahi shaiKh ki daaRhi ke jo tinke2
ye jur’at3-e rindaana4 phir aa’e keh na aa’e 1.picking, sorting 2.piece of straw 3.daring 4.bold, unmindful of consequences
There is a common phrase ‘chor ki daaRhi meN tinka’, which implies ‘searching for the real culprit- sorting/picking hidden signs in the culprit’. He was able to discern when officials or politicians were flouting the law. To sort through this requires daring that is not fearful of the consequences. He is not sure if this will happen after him. Just consider how the narendra modi government has subverted the judicial system.
7
qaanoon1 ki aavaaz meN naGhme2 ki khanak3 si
ye saaz4-e hakimaana5 phir aa’e keh na aa’e 1.law, judicial system 2.song 3.tinkle, jingle 4.ability, skill 5.wise
The ‘tinkle of a song in the voice of justice’ is justice tempered by mercy. Will there be another one who has such wisdom.
8
aate hi raheNge sar1-e tuur2 aur bhi muusa3
ye zarb4-e kalimaana5 phir aa’e keh na aa’e 1.peak 2.mount tuur 3.Moses 4.blow, strike 5.like the strike of the staff of Moses
Moses used his staff to work miracles like the parting of the sea. Thus, zarb-e kaliim is used as a metaphor for miraculous work. There will be many more Moses who will come to the top of mount tuur (like Moses did) but will they be able to work miracles. Miracles is used here to signify unusual accomplishments rather than Biblical miracles.
9
masnad1 pe pahuNch kar bhi raha haami2-e jamhuur3
mulla4 ka sa diivaana phir aa’e keh na aa’e 1.throne, seat of power/honour 2.supporter, defender 3.democracy, rule of law 4.pen-name of the poet
Even after getting to the seat of power/honour he remained a defender of the rule of law. Will there be another madman like mulla.
panDit anand narain mulla (1901-1997), lukhnow, thoughtful and thoughtprovoking shaa’er. MA English Literature. Learnt urdu and faarsi at home. First venture into poetry translation of parts of iqbal’s ‘payaam-e mashriq’ into English. First urdu nazm published 1925. Ardent urdu lover as a language of the people. High court justice, parliamentarian and strong secularist and rationalist/atheist. He composed this when he took early retirement as Chief Judge of the High Court, UP. Sometime before this he had received an abusive call from a minister upon a ruling that was unfavourable to him. That nazm, ‘shabiih-e daara’ is worth reading too.
1
ye himmat1-e mardaana2 phir aa’e keh na aa’e
mujh sa3 koi parvaana4 phir aa’e keh na aa’e
1.courage 2.daring 3.short for jaisa, like, similar to 4.moth, lover (of justice)
The context of this nazm is the poet’s retirement from the position of Chief Jugde from which he offered daring, courageous judgments, even though they made political power unhappy. In this context, parvaana is a lover of justice. Thus, the poet/judge is not sure if another courageous judge will take his place, whether whoever is appointed in his place, be a lover of justice like him.
2
taaqat1 ki ra’uunat2 ke muqaabil3 ba lab4-e adl5
yuN harf6-e hariifaana7 phir aa’e keh na aa’e
1.strength, power 2.arrogance, hubris 3.against, facing 4.lips 5.justice 6.words 7.rival, matching, opposed
I do not know whether (in the future) from the lips of justice words will emerge that will rival the arrogance of power. 3
saaqi1 se sivaa2 tishna3 laboN4 se tha jise unss5
mahfil6 meN voh paimaana7 phir aa’e keh na aa’e
1.cup-bearer 2.more than, beyond 3.thirsty 4.lips 5.attachment, love 6.gathering 7.cup
The saaqi serves/offers wine to the people in the gathering/tavern. This makes the saaqi the centre of attention, the beloved of all. Here, wine can be used as an analogy for favours that the powerful bestow upon some of the populace. Thus the people in power are like the saaqi. But the poet is that cup in the gathering, which cares more about the thirsty than about the saaqi. He is not sure if there will be another cup like that. As a judge his sympathies lay with the powerless.
4
jaade1 se haTe gaam2 to ek jaada1-e nau3 aur
ye laGhzish4-e mastaana5 phir aa’e keh na aa’e
1.path 2.step 3.new 4.stumbling 5.intoxication
The imagery is that of an intoxicated person stumbling, but here the intoxication is that of love of justice and the stumbling is like searching for a new path, a new thought. Thus, if my steps leave the beaten path, it is only to explore/open up a new path.
5
sau1 KhoshoN2 ki masti3 bhi har ek boond4 meN jis ki
voh daana5-e sad-daana6 phir aa’e keh na aa’e
1.hundred 2.buches (as in grapes) 3.intoxication, daring, courage 4.drop 5.seed (grape) 6.one in a hundred seeds (grapes)
Here ‘daana’ is used to mean the grape itself and ‘masti’ to mean courage/daring. He was proud of his record and stood up to political pressure and called out the corruption of the police and officials. Thus, in every drop of wine made of this grape there is the courage of a hundred bunches of grapes. He is not sure if another grape like this, that is one in a hundred (rare) will take his place.
6
chunti1 hi rahi shaiKh ki daaRhi ke jo tinke2
ye jur’at3-e rindaana4 phir aa’e keh na aa’e
1.picking, sorting 2.piece of straw 3.daring 4.bold, unmindful of consequences
There is a common phrase ‘chor ki daaRhi meN tinka’, which implies ‘searching for the real culprit- sorting/picking hidden signs in the culprit’. He was able to discern when officials or politicians were flouting the law. To sort through this requires daring that is not fearful of the consequences. He is not sure if this will happen after him. Just consider how the narendra modi government has subverted the judicial system.
7
qaanoon1 ki aavaaz meN naGhme2 ki khanak3 si
ye saaz4-e hakimaana5 phir aa’e keh na aa’e
1.law, judicial system 2.song 3.tinkle, jingle 4.ability, skill 5.wise
The ‘tinkle of a song in the voice of justice’ is justice tempered by mercy. Will there be another one who has such wisdom.
8
aate hi raheNge sar1-e tuur2 aur bhi muusa3
ye zarb4-e kalimaana5 phir aa’e keh na aa’e
1.peak 2.mount tuur 3.Moses 4.blow, strike 5.like the strike of the staff of Moses
Moses used his staff to work miracles like the parting of the sea. Thus, zarb-e kaliim is used as a metaphor for miraculous work. There will be many more Moses who will come to the top of mount tuur (like Moses did) but will they be able to work miracles. Miracles is used here to signify unusual accomplishments rather than Biblical miracles.
9
masnad1 pe pahuNch kar bhi raha haami2-e jamhuur3
mulla4 ka sa diivaana phir aa’e keh na aa’e
1.throne, seat of power/honour 2.supporter, defender 3.democracy, rule of law 4.pen-name of the poet
Even after getting to the seat of power/honour he remained a defender of the rule of law. Will there be another madman like mulla.
The post aivaan-e adaalat se ruKhsat-panDit anand narain mulla appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/panm-shabiih-e-daara-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شبیہِ دارا ۔ پنڈت آنند نرائن مُلّا
۱
کل مجھ سے یہ فرمانے لگے ایک منسٹر
طاقت ہے مری اور ہے قانون تمہارا
۲
لہجے میں رعونت کی کھنک سی دمِ گفتار
جس طرح کہ ذرّے سے مخاطب ہو ستارا
۳
پھر نرگسِ سرشار کو چمکا کے یہ بولے
قانون بھی میرے خمِ ابرو کا اِشارا
۴
یہ سن کے جو تھی قبلِ ملاقاتِ سکندر
نظروں میں میری پھر گئی وہ صورتِ دارا
शबीह-ए दारा – पंडित आनन्द नरायन मुल्ला
१
कल मुझ से ये फ़रमाने लगे एक मिनिस्टर
ताक़त है मेरी और है क़ानून तुम्हारा
२
लहजे में रआ़ुनत की खनक सी दम-ए गुफ़्तार
जिस तरह के ज़र्रे से मुख़ातिब हो सितारा
३
फिर नरगिस-ए सरशार को चमका के ये बोले
क़ानून भी मेरे ख़म-ए अब्रू का इशारा
४
ये सुन के जो थी क़ब्ल-ए मुलाक़ात-ए सिकन्दर
नज़रों में मेरी फिर गई वो सूरत-ए दारा
Click here for background and on any passage for word meanings and explanatory discussion. panDit anand narain mulla (1901-1997), lukhnow, thoughtful and thoughtprovoking shaa’er. MA English Literature. Learnt urdu and faarsi at home. First venture into poetry translation of parts of iqbal’s ‘payaam-e mashriq’ into English. First urdu nazm published 1925. Ardent urdu lover as a language of the people. High court justice, parliamentarian and strong secularist and rationalist/atheist. He had made remarks highly critical of political and police practices. It is reported that he had an encounter with a minister who was abusive towards him. He composed this nazm in response. The nazm that he composed just as he took early retirement as Chief Judge of the High Court, UP, ‘aivaan-e adaalat se ruKhsat’, is also worth reading.
1
kal mujh se ye farmaane1 lage ek minister
taaqat2 hai meri aur hai qaanuun3 tumhaara 1.saying, lecturing 2.power 3.law
Yesterday, a minister lectured me sternly – you may have legal issues under your control but I have power in my possession.
2
lahje1 meN ra’uunat2 ki khanak3 si dam4-e guftaar5
jis tarah6 keh zarre7 se muKhaatib8 ho sitaara 1.accent, tone 2.hubris, pride 3.tinkle, used here to mean edge, sharpness 4.time 5.speaking 6.as if, like 7.grain of clay 8.addressing, talking to
A sharp edge of hubris in his tone at the time of speaking as if a lofty star is condescending to speak to lowly grain of dust.
3
phir nargis1-e sarshaar2 ko chamkaa ke ye bole
qaanuun3 bhi mayre Kham4-e abruu5 ka ishaara6 1.narcissus – used as a symbold of eye, eye 2.satiated, self-fulfilled 3.law 4.arch of the eyebrow 6.sign
And then with an angry glow in his self-fulfilled eye, even the law minds the signs of the arch of my eyebrow. The eyebrow gets arched when someone is annoyed or angry. Thus, even lawyers/judges should watch out if he shows anger.
4
ye sunn ke jo thi qabl1-e mulaaqaat2-e sikandar3
nazroN4 meN meri phir5 ga’ii vo suurat6-e daaraa7 1.before, earlier 2.meeting, encounter 3.Alexander 4.eyes 5.passed before, played out 6.face 7.Darius
Alexander soundly defeated Darius in two battles and forced him to surrender his kingdom. The poet envisions a scene before these battles and defeats. Darius’ proud face plays out before him. The implication is that after the battles, he must have looked crestfallen. Thus, when I heard this from the minister, the face of Darius before his encounter with Alexander played out before my eyes. The implication is that he (the poet/judge) was going to defeat/defy the minister in much the same way. Please see background notes above for context.
panDit anand narain mulla (1901-1997), lukhnow, thoughtful and thoughtprovoking shaa’er. MA English Literature. Learnt urdu and faarsi at home. First venture into poetry translation of parts of iqbal’s ‘payaam-e mashriq’ into English. First urdu nazm published 1925. Ardent urdu lover as a language of the people. High court justice, parliamentarian and strong secularist and rationalist/atheist. He had made remarks highly critical of political and police practices. It is reported that he had an encounter with a minister who was abusive towards him. He composed this nazm in response. The nazm that he composed just as he took early retirement as Chief Judge of the High Court, UP, ‘aivaan-e adaalat se ruKhsat’, is also worth reading.
1
kal mujh se ye farmaane1 lage ek minister
taaqat2 hai meri aur hai qaanuun3 tumhaara
1.saying, lecturing 2.power 3.law
Yesterday, a minister lectured me sternly – you may have legal issues under your control but I have power in my possession.
2
lahje1 meN ra’uunat2 ki khanak3 si dam4-e guftaar5
jis tarah6 keh zarre7 se muKhaatib8 ho sitaara
1.accent, tone 2.hubris, pride 3.tinkle, used here to mean edge, sharpness 4.time 5.speaking 6.as if, like 7.grain of clay 8.addressing, talking to
A sharp edge of hubris in his tone at the time of speaking as if a lofty star is condescending to speak to lowly grain of dust.
3
phir nargis1-e sarshaar2 ko chamkaa ke ye bole
qaanuun3 bhi mayre Kham4-e abruu5 ka ishaara6
1.narcissus – used as a symbold of eye, eye 2.satiated, self-fulfilled 3.law 4.arch of the eyebrow 6.sign
And then with an angry glow in his self-fulfilled eye, even the law minds the signs of the arch of my eyebrow. The eyebrow gets arched when someone is annoyed or angry. Thus, even lawyers/judges should watch out if he shows anger.
4
ye sunn ke jo thi qabl1-e mulaaqaat2-e sikandar3
nazroN4 meN meri phir5 ga’ii vo suurat6-e daaraa7
1.before, earlier 2.meeting, encounter 3.Alexander 4.eyes 5.passed before, played out 6.face 7.Darius
Alexander soundly defeated Darius in two battles and forced him to surrender his kingdom. The poet envisions a scene before these battles and defeats. Darius’ proud face plays out before him. The implication is that after the battles, he must have looked crestfallen. Thus, when I heard this from the minister, the face of Darius before his encounter with Alexander played out before my eyes. The implication is that he (the poet/judge) was going to defeat/defy the minister in much the same way. Please see background notes above for context.
The post shabiih-e daara-panDit anand narian mulla appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/bshz-chashm-e-nam-aahista-aahista-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
چشمِ نم آہستہ آہستہ ۔ بہادر شاہ ظفرؔ
۱
نہیں اے ہمدمو چلتا یہ دم آہستہ آہستہ
رواں ہے کارواں سوئے عدم آہستہ آہستہ
۲
کوئی دنیا سے جاتا ہے اگر آتے ہو جلد آؤ
نہ رکھو ناز سے اپنا قدم آہستہ آہستہ
۳
مزے لیتا ہے صیدِ عشق کیا کیا ذبح ہونے کے
چھری پھیرے ہے جب وہ پُر ستم آہستہ آہستہ
۴
شبِ فرقت میں اُس کے مجھ کو مثلِ شمع سر تا پا
گُھلاوے گا یہ میرا سوزِ غم آہستہ آہستہ
۵
وہ دو دو دن نہیں آتا ہے یا ہر روز آتا ہے
ملاقات اس قدر کی اُس نے کم آہستہ آہستہ
۶
نہ کیجو خاک کو برباد میری اُس کے کوچے سے
ذرا جانا نسیمِ صبح دم آہستہ آہستہ
۷
ہوا کہنے سے لکھنا معتبر باعث تامل کے
کہ چلتی ہے زباں جلد اور قلم آہستہ آہستہ
۸
جواب ایسا وہ دیتے ہیں کہ کھل جاتا ہے سب مطلب
اگر کچھ کان میں کہتے ہیں ہم آہستہ آہستہ
۹
نہیں رہنے کا باقی دل میں خوں کا ایک بھی قطرہ
بہا دے گی ظفرؔ جب چشمِ نم آہستہ آہستہ
चश्म-ए नम आहिस्ता आहिस्ता – बहादुर शाह ज़फ़र
१
नहीं अए हमदमो चलता ये दम आहिस्ता आहिस्ता
रवां है कारवां सू-ए अदम आहिस्ता आहिस्ता
२
काई दुनिया से जाता है, अगर आते हो जल्द आओ
न रक्खो नाज़ से अपना क़दम आहिस्ता आहिस्ता
३
मज़े लेता है सैद-ए इश्क़ क्या क्या ज़िब्ह होने के
छुरी फेरे है जब वो पुर-सितम आहिस्ता आहिस्ता
४
शब-ए फ़ुर्क़त में उस के मुझ को मिस्ल-ए शम’अ सर ता पा
घुलावेगा ये मेरा सोज़-ए ग़म आहिस्ता आहिस्ता
५
वो दो दो दिन नहीं आता है या हर रोज़ आता है
मुलाक़ात इस क़दर की उस ने कम आहिस्ता आहिस्ता
६
न कीजो ख़ाक को बरबाद मेरी उस के कूचे से
ज़रा जाना नसीम-ए सुब्ह-दम आहिस्ता आहिस्ता
७
हुआ कहने से लिखना मो’तबर बाइस ता’अम्मुल के
के चलती है ज़बां जल्द और क़लम आहिस्ता आहिस्ता
८
जवाब ऐसा वो देते हैं के खुल जाता है सब मत्लब
अगर कुछ कान में कहते हैं हम आहिस्ता आहिस्ता
९
नहीं रहने का बाक़ी दिल में ख़ूं का एक भी क़तरा
बहा देगी ज़फ़र जब चश्म-ए नम आहिस्ता आहिस्ता
Click here for background and on any passage for word meanings and explanatory discussion. bahaadur shaah zafar (1775-1862) became titular/nominal emperor of India in 1837. He was a scholar of faarsi and arabi and started composing at an early age. zauq and after zauq’s death in 1854, Ghalib became his ustaad. zafar used to hold frequent mushaa’era in the Red Fort. This Ghazal, with the same radeef as many others of ‘aahista aahista’ is linked to that icon on the ‘radeef/refrain’ page.
1
nahiN aye hamdamo1, chalta ye dam2 aahista aahista
ravaaN3 hai kaarvaaN soo4-e adam5 aahista aahista 1.friends 2.breath, life, strength 3.flow, proceed 4.towards 5.non-existence, death
The poet/lover is dying and is on his last breath. His friends around him are doing something, not clear what. Whatever they are doing, he begs them to either not do it or do it gently, for his breathing cannot keep up. The caravan of his life proceeds towards death gradually.
2
koii duniya se jaata hai, agar aate ho jald1 aao
na rakkho naaz2 se apna qadam3 aahista aahista 1.quickly 2.style, coquetry 3.step
The ‘koii’ here is the poet/lover himself and this she’r is addressed to the beloved. It is the tradition that the beloved visits the lover on his death bed. He begs – I am departing from this world, come quickly if you intend to come. Do not take your time, stepping forward slowly in coquettish style.
3
mazay leta hai sayd1-e ishq kya kya zib’h2 hone ke
chhuri phere hai jab vo pur-sitam3 aahista aahista 1.prey, victim 2.slaughter, throat-slitting 3.torturous
The beloved is ‘pur-sitam’ – full of torturous cruelty. See how much the prey of love enjoys getting his throat slit, when the torturous beloved runs the blade slowly across his throat.
4
shab-e-furqat1 meN us ke mujh ko misl2-e sham’a3 sar-ta-paa4
ghulaavega5 ye mera soz6-e Gham aahista aahista 1.night of separation 2.like, in the example of 3.candle 4.head to toe 5.dissolve, melt 6.fire/passion of love
It is the night of separation and poet/lover is melting away from head to foot in the fire of his love, just like a candle melting in its fire.
5
vo do do din nahiN aata hai yaa har roz aata hai
mulaaqaat1 is qadar2 ki us ne kam aahista aahista 1.meetings 2.so much
She is unreliable – sometimes she does not come for many days and on other days she comes every day. This is how she reduces meetings gradually. Editorial comment – this appears to be a rather awkward construction to me.
6
na kiije Khaak1 ko barbaad2 meri us ke kooche3 se
zara jaana nasiim4-e sub’h-dam5 aahista aahista 1.dust, ashes 2.destroy, scatter 3.lane 4.morning breeze 5.time of dawn
The poet is long dead, buried in her street, and converted to dust. The beloved is still alive, young and beautiful. He begs the morning breeze – blow gently, do not blow my dust away/scatter it away from the beloved’s street.
7
hua kahne se likhna mo’tabar1 baa’is2 ta’ammul3 ke
keh chalti hai zabaaN jald4 aur qalam5 aahista aahista 1.credible 2.reason 3.delay 4.fast 5.pen
Writing has become more credible than speaking because of its delay because the tongue works quickly (therefore without much thought) but the pen is more slow (therefore thoughtful and deliberate).
8
javaab1 aisa vo detay haiN keh khul jaata bai sub matlab2
agar kuchh kaan meN kahte hai ham aahista aahista 1.answer 2.meaning
The poet/lover whispers in her ear, hoping to keep his secret private. But she answers openly and publicly and his secret is revealed to everyone.
9
nahiN rahne ka baaqi1 dil meN KhooN ka ek bhi qatra2
bahaa degi zafar3 ab chashm4-e nam5 aahista aahista 1.remaining 2.drop 3.pen-name of the poet 4.eye 5.moist, weeping
Not a single drop of blood will remain in his heart. O zafar, the moist eye will cause it all to flow/drain out, little by little i.e., the poet is crying tears of blood.
bahaadur shaah zafar (1775-1862) became titular/nominal emperor of India in 1837. He was a scholar of faarsi and arabi and started composing at an early age. zauq and after zauq’s death in 1854, Ghalib became his ustaad. zafar used to hold frequent mushaa’era in the Red Fort. This Ghazal, with the same radeef as many others of ‘aahista aahista’ is linked to that icon on the ‘radeef/refrain’ page.
1
nahiN aye hamdamo1, chalta ye dam2 aahista aahista
ravaaN3 hai kaarvaaN soo4-e adam5 aahista aahista
1.friends 2.breath, life, strength 3.flow, proceed 4.towards 5.non-existence, death
The poet/lover is dying and is on his last breath. His friends around him are doing something, not clear what. Whatever they are doing, he begs them to either not do it or do it gently, for his breathing cannot keep up. The caravan of his life proceeds towards death gradually.
2
koii duniya se jaata hai, agar aate ho jald1 aao
na rakkho naaz2 se apna qadam3 aahista aahista
1.quickly 2.style, coquetry 3.step
The ‘koii’ here is the poet/lover himself and this she’r is addressed to the beloved. It is the tradition that the beloved visits the lover on his death bed. He begs – I am departing from this world, come quickly if you intend to come. Do not take your time, stepping forward slowly in coquettish style.
3
mazay leta hai sayd1-e ishq kya kya zib’h2 hone ke
chhuri phere hai jab vo pur-sitam3 aahista aahista
1.prey, victim 2.slaughter, throat-slitting 3.torturous
The beloved is ‘pur-sitam’ – full of torturous cruelty. See how much the prey of love enjoys getting his throat slit, when the torturous beloved runs the blade slowly across his throat.
4
shab-e-furqat1 meN us ke mujh ko misl2-e sham’a3 sar-ta-paa4
ghulaavega5 ye mera soz6-e Gham aahista aahista
1.night of separation 2.like, in the example of 3.candle 4.head to toe 5.dissolve, melt 6.fire/passion of love
It is the night of separation and poet/lover is melting away from head to foot in the fire of his love, just like a candle melting in its fire.
5
vo do do din nahiN aata hai yaa har roz aata hai
mulaaqaat1 is qadar2 ki us ne kam aahista aahista
1.meetings 2.so much
She is unreliable – sometimes she does not come for many days and on other days she comes every day. This is how she reduces meetings gradually. Editorial comment – this appears to be a rather awkward construction to me.
6
na kiije Khaak1 ko barbaad2 meri us ke kooche3 se
zara jaana nasiim4-e sub’h-dam5 aahista aahista
1.dust, ashes 2.destroy, scatter 3.lane 4.morning breeze 5.time of dawn
The poet is long dead, buried in her street, and converted to dust. The beloved is still alive, young and beautiful. He begs the morning breeze – blow gently, do not blow my dust away/scatter it away from the beloved’s street.
7
hua kahne se likhna mo’tabar1 baa’is2 ta’ammul3 ke
keh chalti hai zabaaN jald4 aur qalam5 aahista aahista
1.credible 2.reason 3.delay 4.fast 5.pen
Writing has become more credible than speaking because of its delay because the tongue works quickly (therefore without much thought) but the pen is more slow (therefore thoughtful and deliberate).
8
javaab1 aisa vo detay haiN keh khul jaata bai sub matlab2
agar kuchh kaan meN kahte hai ham aahista aahista
1.answer 2.meaning
The poet/lover whispers in her ear, hoping to keep his secret private. But she answers openly and publicly and his secret is revealed to everyone.
9
nahiN rahne ka baaqi1 dil meN KhooN ka ek bhi qatra2
bahaa degi zafar3 ab chashm4-e nam5 aahista aahista
1.remaining 2.drop 3.pen-name of the poet 4.eye 5.moist, weeping
Not a single drop of blood will remain in his heart. O zafar, the moist eye will cause it all to flow/drain out, little by little i.e., the poet is crying tears of blood.
The post chashm-e nam aahista aahista-bahaadur shaah zafar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/msbs-asar-rafta-rafta-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اثر رفتہ رفتہ ۔ کنور مہندر سنگھ بیدی سحرؔ
۱
محبت کا ہوگا اثر رفتہ رفتہ
نظر سے ملے گی نظر رفتہ رفتہ
۲
شبِ غم کی طولانیوں سے نہ گھبرا
کہ اس کی بھی ہوگی سحر رفتہ رفتہ
۳
نظر ان کی ایسے ملی ہے کہ جیسے
ملائیں گے دل بھی مگر رفتہ رفتہ
۴
قفس سے رہائی تو مل جائے پہلے
نکل آئیں گے بال و پر رفتہ رفتہ
۵
مری بندگی کا کرشمہ تو دیکھو
جبیں بن گئی سنگِ در رفتہ رفتہ
۶
جہاں ہم کہیں نقشِ پا چھوڑ آئے
وہیں بن گئی رہ گزر رفتہ رفتہ
۷
مرے ساتھ جو دو قدم بھی چلا ہے
وہی بن گیا ہم سفر رفتہ رفتہ
۸
خدا جانے کیوں سر جھکانے لگے ہیں
مجھے دیکھ کر چارہ گر رفتہ رفتہ
۹
ابھی اس نے آنے کا وعدہ کیا ہے
چمکنے لگے بام و در رفتہ رفتہ
۱۰
شبِ غم کی روداد کیا پوچھتے ہو
سحرؔ کو ملی ہے سحر رفتہ رفتہ
असर रफ़्ता रफ़्ता – कुंवर मोहिंदर सिंघ बेदी सहर
१
मोहब्बत का होगा असर रफ़्ता रफ़्ता
नज़र से मिलेगी नज़र रफ़्ता रफ़्ता
२
शब-ए ग़म की तूलानियों से न घबरा
के इस की भी होगी सहर रफ़्ता रफ़्ता
३
नज़र उन की ऐसे मिली है के जैसे
मिलाएँगे दिल भी मगर रफ़्ता रफ़्ता
४
क़फ़स से रेहाई तो मिल जाए पहले
निकल आएँगे बाल-ओ-पर रफ़्ता रफ़्ता
५
मेरी बंदगी का करिश्मा तो देखो
जबीं बन गई संग-ए दर रफ़्ता रफ़्ता
६
जहाँ हम कहीं नक़्श-ए पा छोढ आए
वहीं बन गई रहगुज़र रफ़्ता रफ़्ता
७
मेरे साथ जो दो क़दम भी चला है
वही बन गया हम-सफ़र रफ़्ता रफ़्ता
८
ख़ुदा जाने क्यूँ सर झुकाने लगे हैं
मुझे देख कर चारागर रफ़्ता रफ़्ता
९
अभी उस ने आने का वा’दा किया है
चमकने लगे बाम-ओ-दर रफ़्ता रफ़्ता
१०
शब-ए ग़म की रूदाद क्या पूछते हो
सहर को मिली है सहर रफ़्ता रफ़्ता
Click here for background and on any passage for word meanings and explanatory discussion. kuNwar mohindar singh bedi sahr (1909-1992) had to migrate to the Indian side after partition. In his writings he has reached across religious lines and national boundaries, writing about peace and harmony and odes to islamic as well hindu figures. This Ghazal is linked to ‘aahista aahista’ on the Refrain page.
1
mohabbat ka hoga asar1 rafta rafta2
nazar3 se milegi nazar rafta rafta 1.effect 2.gradually, by and by 3.eyes
Love will bear fruit gradually. Our eyes will meet over time.
2
shab1-e Gham ki tuulaniyoN2 se na ghabra3
keh is ki bhi hogi sahar4 rafta rafta 1.night of 2.length 3.worried, distressed 4.dawn
Do not get distressed with the long night of sorrow. It too will have its dawn in time.
3
nazar1 un ki aise mili hai keh jaise
milaa’eNge dil bhi magar rafta rafta 1.glance
Her glance has fallen me in such a way that I think she will give me heart too, but gradually.
4
qafas1 se rehaaii2 to mil jaa’e pahle
nikal aa’eNge bal-o-par3 rafta rafta 1.cage 2.release 3.feathers and wings
The poet is often depicted as a bird. The bird in the cage has had its wings clipped and feathers pulled. Normally, ash’aar depict these as a hopeless condition – what is the use of being released from the cage, I don’t have wings and feathers to fly. But here the poet presents a different picture … let me get my release first, feathers and wings will grow back in time.
5
meri bandagi1 ka karishma2 to dekho
jabiiN3 ban gaii saNg-e-dar4 rafta rafta 1.devotion 2.miracle 3.forehead 4.stone threshold (of the beloved’s door)
The poet/lover has been a sincere devotee bowing his head at the threshold of the beloved. He has done this so much that a miracle has happened. His forehead itself is now the threshold of the door.
6
jahaaN1 ham kahiiN naqsh-e-paa2 chhoR aaye
vahiiN ban gaii rahguzar3 rafta rafta 1.where 2.footprints 3.path
Where we left our footprints, gradually became the path that others followed.
7
mere saath jo do qadam1 bhi chala hai
vahi ban gaya ham-safar2 rafta rafta 1.steps 2.fellow seeker/traveler
Whoever has taken a couple of steps with me, became a fellow seeker with time.
8
Khuda jaane kyuN sar jhukane lage haiN
mujhe dekh kar chaaragar1 rafta rafta 1.healers
God knows why healers keep looking down when they see me. The implication is that the poet/lover has an incurable disease and healers know that they cannot do anything for him. The look down in embarrassment or in pity.
9
abhi us ne aane ka vaa’da1 kiya hai
chamakne lage baam2-o-dar3 rafta rafta 1.promise 2.roof 3.door
‘baam-o-dar’ as an expression means houses, in this case, houses along the street to the poet/lover’s house. The beloved is notorious for for making promises to come and not keeping them. Also well established is the thought that poet/lover deceives himself every time into thinking that this time she will come. Thus, she has just promised to come and gradually the houses along my street have begun to glow.
10
shab1-e Gham ki ruudad2 kya poochhte ho
sahar3 ko mili hai sahar4 rafta rafta 1.night of 2.story 3.pen-name of the poet 4.dawn
This is a play on words with the pen-name and the word sahar/dawn. Thus, what can I say about the story of the night of separation. Sahar has managed to achieve its dawn over a long time .
kuNwar mohindar singh bedi sahr (1909-1992) had to migrate to the Indian side after partition. In his writings he has reached across religious lines and national boundaries, writing about peace and harmony and odes to islamic as well hindu figures. This Ghazal is linked to ‘aahista aahista’ on the Refrain page.
1
mohabbat ka hoga asar1 rafta rafta2
nazar3 se milegi nazar rafta rafta
1.effect 2.gradually, by and by 3.eyes
Love will bear fruit gradually. Our eyes will meet over time.
2
shab1-e Gham ki tuulaniyoN2 se na ghabra3
keh is ki bhi hogi sahar4 rafta rafta
1.night of 2.length 3.worried, distressed 4.dawn
Do not get distressed with the long night of sorrow. It too will have its dawn in time.
3
nazar1 un ki aise mili hai keh jaise
milaa’eNge dil bhi magar rafta rafta
1.glance
Her glance has fallen me in such a way that I think she will give me heart too, but gradually.
4
qafas1 se rehaaii2 to mil jaa’e pahle
nikal aa’eNge bal-o-par3 rafta rafta
1.cage 2.release 3.feathers and wings
The poet is often depicted as a bird. The bird in the cage has had its wings clipped and feathers pulled. Normally, ash’aar depict these as a hopeless condition – what is the use of being released from the cage, I don’t have wings and feathers to fly. But here the poet presents a different picture … let me get my release first, feathers and wings will grow back in time.
5
meri bandagi1 ka karishma2 to dekho
jabiiN3 ban gaii saNg-e-dar4 rafta rafta
1.devotion 2.miracle 3.forehead 4.stone threshold (of the beloved’s door)
The poet/lover has been a sincere devotee bowing his head at the threshold of the beloved. He has done this so much that a miracle has happened. His forehead itself is now the threshold of the door.
6
jahaaN1 ham kahiiN naqsh-e-paa2 chhoR aaye
vahiiN ban gaii rahguzar3 rafta rafta
1.where 2.footprints 3.path
Where we left our footprints, gradually became the path that others followed.
7
mere saath jo do qadam1 bhi chala hai
vahi ban gaya ham-safar2 rafta rafta
1.steps 2.fellow seeker/traveler
Whoever has taken a couple of steps with me, became a fellow seeker with time.
8
Khuda jaane kyuN sar jhukane lage haiN
mujhe dekh kar chaaragar1 rafta rafta
1.healers
God knows why healers keep looking down when they see me. The implication is that the poet/lover has an incurable disease and healers know that they cannot do anything for him. The look down in embarrassment or in pity.
9
abhi us ne aane ka vaa’da1 kiya hai
chamakne lage baam2-o-dar3 rafta rafta
1.promise 2.roof 3.door
‘baam-o-dar’ as an expression means houses, in this case, houses along the street to the poet/lover’s house. The beloved is notorious for for making promises to come and not keeping them. Also well established is the thought that poet/lover deceives himself every time into thinking that this time she will come. Thus, she has just promised to come and gradually the houses along my street have begun to glow.
10
shab1-e Gham ki ruudad2 kya poochhte ho
sahar3 ko mili hai sahar4 rafta rafta
1.night of 2.story 3.pen-name of the poet 4.dawn
This is a play on words with the pen-name and the word sahar/dawn. Thus, what can I say about the story of the night of separation. Sahar has managed to achieve its dawn over a long time .
The post asar rafta rafta-mohinder siNgh bedi sahar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/hsrtm-aayega-qaraar-aahista-aahista-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آئے گا قرار آہستہ آہستہ ۔ حسرتؔ موہانی
۱
گھٹے گا تیرے کوچے میں وقار آہستہ آہستہ
بڑھے گا عاشقی کا اعتبار آہستہ آہستہ
۲
بہت نادم ہوئے آخر وہ میرے قتلِ ناحق پر
ہوئی قدرِ وفا جب آشکار آہستہ آہستہ
۳
جِلائے شوق سے آئینۂ تصویرِ خاطر میں
نمایاں ہو چلا روئے نگار آہستہ آہستہ
۴
محبت کی جو پھیلی ہے یہ نکہت باغ عالم میں
ہوئی ہے مُنتشر خوشبوئے یار آہستہ آہستہ
۵
دل و جان و جگر صبر و خِرد جو کچھ ہے پاس اپنے
یہ سب کر دیں گے ہم اُن پر نثار آہستہ آہستہ
۶
عجب کچھ حال ہو جاتا ہے اپنا بے قراری سے
بجاتے ہیں کبھی جب وہ ستار آہستہ آہستہ
۷
اثر کچھ کچھ رہے گا وصل میں بھی رنجِ فرقت کا
دلِ مضطر کو آئے گا قرار آہستہ آہستہ
۸
نہ آئیں گے وہ حسرتؔ انتظارِ شوق میں یوں ہی
گزر جائیں گے ایامِ بہار آہستہ آہستہ
आएगा क़रार आहस्ता आहस्ता – हस्रत मोहानी
१
घटेगा तेरे कूचे में वक़ार आहस्ता आहस्ता
बढ़ेगा आशक़ी का ए’तबार आहस्ता आहस्ता
२
बहुत नादिम हुए आख़र वो मेरे क़त्ल-ए नाहक़ पर
हुई क़द्र-ए वफ़ा जब आश्कार आहस्ता आहस्ता
३
जिला-ए शौक़ से आईना-ए तस्वीर-ए ख़ातिर में
नुमायाँ हो चला रू-ए निगार आहस्ता आहस्ता
४
मोहब्बत की जो फैली है ये निक्हत बाग़-ए आलम में
हुई है मुंतशर ख़ुश्बू-ए यार आहस्ता आहस्ता
५
दिल ओ जान ओ जिगर सब्र ओ ख़िरद जो कुछ है पास अपने
ये सब कर देंगे हम उन पर निसार आहस्ता आहस्ता
६
अजब कुछ हाल हो जाता है अपना बे-क़रारी से
बजाते हैं कभी जब वो सितार आहस्ता आहस्ता
७
असर कुछ कुछ रहेगा वस्ल में भी रंज-ए फ़ुर्क़त का
दिल-ए मुज़्तर को आएगा क़रार आहस्ता आहस्ता
८
न आएँगे वो हस्रत इंतेज़ार-ए शौक़ में यूँ ही
गुज़र जाएँगे अय्याम-ए बहार आहस्ता आहस्ता
Click here for background and on any passage for word meanings and explanatory discussion. hasrat mohani (1878-1951), freedom fighter who was jailed several times. He was a very devout, observant muslim, known as “maulana” for his orthodox practice. He went to hajj several times as well as to baGhdaad, najaf and karbala on pilgrimage. What is unusual is that he also did pilgrimages to mathura and nandgaam several times and wrote Ghazal style paens to krishn as well bhajans in the style of meera baaii. He also wrote bhajan style paens to sufi scholars/saints in colloquial language. At the same time, he declared himself to be a socialist/communist. This is linked to a series of Ghazal under ‘radeef-refrain’ to the icon ‘aahista aahista’ which includes more than 20 compositions with this radeef as well as ‘rafta rafta’, ‘dhiire dhiire’, ‘hote hote’ and ‘hallu hallu’.
1
ghaTega tere kooche1 meN vaqaar2 aahista aahista
baRhega aashiqi kaa e’tebaar3 aahista aahista 1.lane 2.respect, dignity, self respect 3.confidence
Right now the lane of the beloved throngs with helpless and hopeless lovers/admirers pining away for a glimpse of her. But gradually their confidence in themselves will increase and this will decrease the demand/respect of your lane.
2
bahut naadim1 hue aaKhir2 vo mere qatl3-e naahaq4 par
hui qadr5-e vafaa6 jab aashkaar7 aahista aahista 1.regretful 2.at last 3.killing 4.unjustified 5.value 6.fidelity 7.appear, manifest, revealed, realized
The beloved has killed the poet/lover. Gradually she realizes the value of his fidelity and regrets his unjustified killing.
3
jilaa1-e shauq2 se aaiina-e tasvir-e Khaatir3 meN
numaayaaN4 ho chalaa ruu5-e nigaar6 aahista aahista 1.brilliance 2.love, devotion 3.mind, heart 4.appear, emerge 5.face 6.beauty
Because of the brilliance/sincerity of love/devotion, the image/picture of the beauty of the beloved/divinity emerged gradually, in the mirror of the heart/consciousness.
4
mohabbat ki jo phaili hai ye nik’hat1 baaGh-e aalam2 meN
hui hai muntashir3 Khushbu-e yaar4 aahista aahista 1.fragrance 2.world 3.scatter, spread 4.friend, beloved
The fragrance that spreads in the “garden of the world” is nothing other than the fragrance of the beloved/divinity.
5
dil o jaan o jigar1 sabr2 o Khirad3 jo kuchh hai paas apne
ye sab kar deNge ham un par nisaar4 aahista aahista 1.liver – seat of courage, forbearance 2.patience 3.knowledge, wisdom 4.devotional offering
Whatever I have – my love, life, courage, patience and know – all of it I will make an offering of as time goes on.
6
ajab1 kuchh haal2 ho jaataa hai apnaa be-qaraari3 se
bajaate haiN kabhi jab vo sitaar aahista aahista 1.strange, unusual 2.condition 3.restless
Whenever the beloved plays the sitar gently, the poet/lover gets extremely restless.
7
asar1 kuchh kuchh rahega vasl2 meN bhi raNj3-e furqat4 kaa
dil-e muztar5 ko aayegaa qaraar6 aahista aahista 1.effect 2.union 3.sorrow, pain 4.separation 5.eager, restless 6.tranquility, peace of mind
The poet/lover has been separated from the beloved for a long time (probably because she did not let him get anywhere near her). Even though he has now gained union, the pain of separation will linger for a long time. He will get peace of mind only gradually.
8
na aayeNge vo hasrat1 intezaar2-e shauq3 meN yuN hi
guzar4 jaayeNge ayyaam5-e bahaar6 aahista aahista 1.pen-name of the poet 2.waiting, anticipation 3.love 4.pass 5.days 6.spring
Spring is supposed to be a time of union, fulfilment of love. The poet/lover is anticipating such a union but is fearful that she will not come without some special effort. The days of spring will gradually pass and wasted in anticipation.
hasrat mohani (1878-1951), freedom fighter who was jailed several times. He was a very devout, observant muslim, known as “maulana” for his orthodox practice. He went to hajj several times as well as to baGhdaad, najaf and karbala on pilgrimage. What is unusual is that he also did pilgrimages to mathura and nandgaam several times and wrote Ghazal style paens to krishn as well bhajans in the style of meera baaii. He also wrote bhajan style paens to sufi scholars/saints in colloquial language. At the same time, he declared himself to be a socialist/communist. This is linked to a series of Ghazal under ‘radeef-refrain’ to the icon ‘aahista aahista’ which includes more than 20 compositions with this radeef as well as ‘rafta rafta’, ‘dhiire dhiire’, ‘hote hote’ and ‘hallu hallu’.
1
ghaTega tere kooche1 meN vaqaar2 aahista aahista
baRhega aashiqi kaa e’tebaar3 aahista aahista
1.lane 2.respect, dignity, self respect 3.confidence
Right now the lane of the beloved throngs with helpless and hopeless lovers/admirers pining away for a glimpse of her. But gradually their confidence in themselves will increase and this will decrease the demand/respect of your lane.
2
bahut naadim1 hue aaKhir2 vo mere qatl3-e naahaq4 par
hui qadr5-e vafaa6 jab aashkaar7 aahista aahista
1.regretful 2.at last 3.killing 4.unjustified 5.value 6.fidelity 7.appear, manifest, revealed, realized
The beloved has killed the poet/lover. Gradually she realizes the value of his fidelity and regrets his unjustified killing.
3
jilaa1-e shauq2 se aaiina-e tasvir-e Khaatir3 meN
numaayaaN4 ho chalaa ruu5-e nigaar6 aahista aahista
1.brilliance 2.love, devotion 3.mind, heart 4.appear, emerge 5.face 6.beauty
Because of the brilliance/sincerity of love/devotion, the image/picture of the beauty of the beloved/divinity emerged gradually, in the mirror of the heart/consciousness.
4
mohabbat ki jo phaili hai ye nik’hat1 baaGh-e aalam2 meN
hui hai muntashir3 Khushbu-e yaar4 aahista aahista
1.fragrance 2.world 3.scatter, spread 4.friend, beloved
The fragrance that spreads in the “garden of the world” is nothing other than the fragrance of the beloved/divinity.
5
dil o jaan o jigar1 sabr2 o Khirad3 jo kuchh hai paas apne
ye sab kar deNge ham un par nisaar4 aahista aahista
1.liver – seat of courage, forbearance 2.patience 3.knowledge, wisdom 4.devotional offering
Whatever I have – my love, life, courage, patience and know – all of it I will make an offering of as time goes on.
6
ajab1 kuchh haal2 ho jaataa hai apnaa be-qaraari3 se
bajaate haiN kabhi jab vo sitaar aahista aahista
1.strange, unusual 2.condition 3.restless
Whenever the beloved plays the sitar gently, the poet/lover gets extremely restless.
7
asar1 kuchh kuchh rahega vasl2 meN bhi raNj3-e furqat4 kaa
dil-e muztar5 ko aayegaa qaraar6 aahista aahista
1.effect 2.union 3.sorrow, pain 4.separation 5.eager, restless 6.tranquility, peace of mind
The poet/lover has been separated from the beloved for a long time (probably because she did not let him get anywhere near her). Even though he has now gained union, the pain of separation will linger for a long time. He will get peace of mind only gradually.
8
na aayeNge vo hasrat1 intezaar2-e shauq3 meN yuN hi
guzar4 jaayeNge ayyaam5-e bahaar6 aahista aahista
1.pen-name of the poet 2.waiting, anticipation 3.love 4.pass 5.days 6.spring
Spring is supposed to be a time of union, fulfilment of love. The poet/lover is anticipating such a union but is fearful that she will not come without some special effort. The days of spring will gradually pass and wasted in anticipation.
The post aayega qaraar aahista aahista-syed fazl-ul-hasan hasrat mohani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/vsp-chhineNge-qalam-aahista-aahista-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
چھینیں گے قلم آہستہ آہستہ ۔ وجندر سنگھ پروازؔ
۱
مٹیں گے میرے دل سے رنج و غم آہستہ آہستہ
قرار آئے گا تجھ کو چشمِ نم آہستہ آہستہ
۲
یقیناً ایک دن منزل اُنہیں کے پاؤں چومے گی
بڑھائے جا رہے ہیں جو قدم آہستہ آہستہ
۳
ہمارے حال پہ اک دن کرم کی بارشیں ہوں گی
فنا ہو جائے گی رسم ستم آہستہ آہستہ
۴
ابھی تو رفتہ رفتہ یہ زباں بندی تک آئے ہیں
پھر اس کے بعد چھینیں گے قلم آہستہ آہستہ
۵
ہماری شاعری پروازؔ ایسا سلسلہ ٹھہری
کیا جس میں خیالوں کو رقم آہستہ آہستہ
छीनेंगे क़लम आहस्ता-आहस्ता – विजेंद्र सिंघ परवाज़
१
मिटेंगे मेरे दिल से रंज-ओ-ग़म आहस्ता-आहस्ता
क़रार आएगा तुझ को चश्म-ए नम आहस्ता-आहस्ता
२
यक़ीनन एक दिन मंज़िल उन्हीं के पाँव चूमेगी
बढ़ाए जा रहे हैं जो क़दम आहस्ता-आहस्ता
३
हमारे हाल पे एक दिन करम की बारिशें होंगी
फ़ना हो जाएगी रस्म-ए सितम आहस्ता-आहस्ता
४
अभी तो रफ़्ता-रफ़्ता ये ज़बाँ-बंदी तक आए हैं
फिर इस के बा’द छीनेंगे क़लम आहस्ता-आहस्ता
५
हमारी शा’एरी पर्वाज़ ऐसा सिलसिला ठहरी
किया जिस में ख़यालों को रक़म आहस्ता-आहस्ता
Click here for background and on any passage for word meanings and explanatory discussion. vijendra siNgh parvaaz (1943-living), Ghaziabad. MA (English Literature). Taught at Inter-College, meeraTh. Prose and nazm in urdu and hindi. Committed secularist with several books of verse on islamic figures. At least two collections of urdu poetry. This Ghazal is linked to other ham-radeef Ghazal on the Refrain page.
1
miTeNge1 mere dil se ranj-o-Gham2 aahista-aahista
qaraar3 aayega tujh ko chashm-e-nam4 aahista-aahista 1.erased, removed 2.pain and sorrow 3.peace, contentment 4.moist/teary eye
Pain and sorrow will get erased from my heart by and by. O teary eye, you will get peace and comfort in time.
2
yaqiinan1 ek din manzil2 unhiiN ke paaNv choomegi
baRhaa’e ja rahe haiN jo qadam3 aahista-aahista 1.certainly 2.destination 3.steps
Certainly one day, destination will kiss their feet; those that keep taking steady steps towards it one by one.
3
hamaare haal1 pe ek din karam2 ki baarisheN hoNgi
fana3 ho jaa’egi rasm4-e sitam5 aahista-aahista 1.condition 2.kindness, mercy 3.annihilate, erase 4.tradition, ways 5.opperssion
Some mercy will rain down on our condition. The ways of oppression will be erased.
4
abhi to rafta-rafta1 ye zabaaN-bandi2 tak aa’e haiN
phir is ke baa’d chhiineNge3 qalam4 aahista-aahista 1.gradually 2.censorship, silencing the tongue 3.snatch away 4.pen
For now, gradually/subtly, they are silencing us. After this they snatch away our pen. Said faiz ahmed faiz …
mat’aa-e lauh o qalam chhin gayii to kya Gham hai
keh Khoon-e dil meN Dubo liiN haiN uNgliaaN maiN ne
zabaaN pe mohr lagi hai to kya keh rakh di hai
har ek halqa-e zanjiir meN zabaaN maiN ne
5
hamaari shaa’eri parvaaz1 aisa silsila2 Thahri
kiya jis meN KhayaaloN3 ko raqam4 aahista-aahista 1.pen-name of the poet 2.continuation, tradition 3.thoughts 4.write, record
O parvaaz, our verse has long had this tradition, that we record our thoughts persistently and subtly.
vijendra siNgh parvaaz (1943-living), Ghaziabad. MA (English Literature). Taught at Inter-College, meeraTh. Prose and nazm in urdu and hindi. Committed secularist with several books of verse on islamic figures. At least two collections of urdu poetry. This Ghazal is linked to other ham-radeef Ghazal on the Refrain page.
1
miTeNge1 mere dil se ranj-o-Gham2 aahista-aahista
qaraar3 aayega tujh ko chashm-e-nam4 aahista-aahista
1.erased, removed 2.pain and sorrow 3.peace, contentment 4.moist/teary eye
Pain and sorrow will get erased from my heart by and by. O teary eye, you will get peace and comfort in time.
2
yaqiinan1 ek din manzil2 unhiiN ke paaNv choomegi
baRhaa’e ja rahe haiN jo qadam3 aahista-aahista
1.certainly 2.destination 3.steps
Certainly one day, destination will kiss their feet; those that keep taking steady steps towards it one by one.
3
hamaare haal1 pe ek din karam2 ki baarisheN hoNgi
fana3 ho jaa’egi rasm4-e sitam5 aahista-aahista
1.condition 2.kindness, mercy 3.annihilate, erase 4.tradition, ways 5.opperssion
Some mercy will rain down on our condition. The ways of oppression will be erased.
4
abhi to rafta-rafta1 ye zabaaN-bandi2 tak aa’e haiN
phir is ke baa’d chhiineNge3 qalam4 aahista-aahista
1.gradually 2.censorship, silencing the tongue 3.snatch away 4.pen
For now, gradually/subtly, they are silencing us. After this they snatch away our pen. Said faiz ahmed faiz …
mat’aa-e lauh o qalam chhin gayii to kya Gham hai
keh Khoon-e dil meN Dubo liiN haiN uNgliaaN maiN ne
zabaaN pe mohr lagi hai to kya keh rakh di hai
har ek halqa-e zanjiir meN zabaaN maiN ne
5
hamaari shaa’eri parvaaz1 aisa silsila2 Thahri
kiya jis meN KhayaaloN3 ko raqam4 aahista-aahista
1.pen-name of the poet 2.continuation, tradition 3.thoughts 4.write, record
O parvaaz, our verse has long had this tradition, that we record our thoughts persistently and subtly.
The post chhiineNge qalam aahista aahista-vijendra siNgh parvaaz appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/rsdr-an-al-haq-ki-sadaa-Khud-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اَن اَلحق کی صدا خود ۔ رگھوبیر سرن دِواکر راہیؔ
۱
راہیؔ! سوئے منزل تجھے جانا ہے تو جا خود
راہوں میں بھٹکتے ہیں یہاں راہ نما خود
۲
بیگانہ اگر آدمی ہو جائے خودی سے
آ جائے گا پھر سامنے بندے کے خدا خود
۳
جینے کے لیے آدمی کیا کیا نہیں کرتا
حتیٰ کہ وہ اپنے کو بھی دیتا ہے دغا خود
۴
غفلت سے نہ اے عزمِ جواں کام چلے گا
بدلی ہے نہ بدلے گی زمانے کی ہوا خود
۵
اُٹھ جائیں گے جس دم یہ حِجاباتِ من و تو
اُٹھے گی تہہِ دل سے اَن اَلحق کی صدا خود
۶
امرت بھی گوارا نہیں یوں تو مجھے ساقی
میں زہر بھی پی لوں گا مگر آ کے پلا خود
۷
اٹھنے کو ہے طوفان رہِ زیست میں راہیؔ
یہ ہم نہیں کہتے ہیں بتاتی ہے فضا خود
अन अलहक़ की सदा ख़ुद – रघुबीर सरन दिवाकर राहि
१
राहि! सु-ए मंज़िल तुझे जाना है तो जा ख़ुद
राहों में भटकते हैं यहाँ राह-नुमा ख़ुद
२
बेगाना अगर आदमी हो जाए ख़ुदी से
आ जाएगा फिर सामने बंदे के ख़ुदा ख़ुद
३
जीने के लिए आदमी क्या क्या नहीं करता
हत्ता कि वो अपने को भी देता है दग़ा ख़ुद
४
ग़फ़्लत से न अए अज़्म-ए-जवां काम चलेगा
बदली है न बदलेगी ज़माने की हवा ख़ुद
५
उठ जाएंगे जिस दम ये हिजाबात-ए मन ओ तू
उठेगी तह-ए दिल से अन-अल-हक़ की सदा ख़ुद
६
अमृत भी गवारा नहीं यूं तो मुझे साक़ी
मैं ज़हर भी पी लूंगा मगर आ के पिला ख़ुद
७
उठने को है तूफ़ान रह-ए ज़ीस्त में राहि
ये हम नहीं कहते हैं बताती है फ़ज़ा ख़ुद
Click here for background and on any passage for word meanings and explanatory discussion. raghubir saran divaakar raahi (1914-1968), rampur. Three Ghazal collection with hundreds of Ghazal in each. Born in amroha, learnt urdu and faarsi at school. BA, LLB from meeraTh. District Information Officer, UP. shaa’eri was in addition to his ‘day job’. Posted to and retired in rampur, 1954 and started law practice. Editor of hindi magazines. Very secular and makes much fun of the shaiKh and brahman.
1
raahi1! su2-e manzil3 tujhe jaana hai to jaa Khud4
raahoN5 meN bhaTakte6 haiN yahaaN raah-numaa7 Khud 1.pen-name of the poet, also means seeker 2.towards 3.destination, goal 4.yourself 5.paths 6.astray, lost, wander 7.guides, leaders
This could be about political or religious leadership. The theme between the lines is that not only are they themselves lost but that they are misleading us. Thus, O raahi/seeker, if you want to go towards your destination then find your own path. There are many guides/leaders who are themselves lost and leading others astray.
2
begaana1 agar2 aadmi ho jaa’e Khudi3 se
aa jaa’ega phir saamne bande4 ke Khuda Khud 1.estranged, break away from 2.if 3.ego, self-centredness 4.servant, devotee
If man’s walks away from his ego and selfishness, then god himself will appear before the devotee of his own volition.
3
jeene ke liye aadmi kya kya nahiN karta
hatt’a1 ki voh apne ko bhi deta hai daGha2 Khud 1.to this extent, to this limit 2.deception
What all does man not do to stay alive, even to this extent that he deceives himself.
4
Ghaflat1 se na aye azm-e-javaaN2 kaam chale ga
badli hai na badle gi zamaane3 ki hava4 Khud 1.forgetfulness 2.strong determination 3.times, world 4.trend, ways, character
The poet personifies ‘azm-e javaaN’ – strong determination and addresses it. This determination is to bring about change. Thus, forgetfulness/unmindfulness will not get the work done. The world has never nor will it now change its ways on its own.
5
uTh jaa’eN ge jis dam1 ye hijaabaat2-e man-o-tu3
uTThegi tah-e-dil4 se an-al-haq5 ki sadaa6 Khud 1.moment 2.veils, curtains 3.me and you 4.bottom of the heart 5.I am the Truth 6.cry
This has reference to the story of mansuur-al-hallaj (858-922), a sufi scholar who had a large following. He traveled a lot including to India where he read the vedas and spoke to vedic scholars. On his return he wrote and declared ‘I am the Truth – aham brahmasmi’. He was convicted, sentenced to death and asked to recant. He refused and chose to die instead. His name is used as a symbol of resistance to power and of universal one-ness including the ‘creator’. Thus, the moment the veils between you (creator) and I (created) are lifted, the cry of ‘an-al-haq’ will rise spontaneously from the bottom the heart.
6
amrit1 bhi gavaara2 nahiN yuN to mujhe saaqi
maiN zah’r bhi pii luuNga magar3 aa ke pilaa Khud 1.nectar of life 2.acceptable 3.but
O saaqi, (normally) I would not even accept the nectar of (eternal) life from anyone, but if you come yourselves and offer, I am ready to drink poison. The ‘saaqi’ here is the beloved.
7
uThne ko hai toofaan rah-e-ziist1 meN raahi2
ye hum nahiN kahte haiN bataati3 hai fazaa4 Khud 1.path of life, daily life 2.pen-name of the poet 3.shows 4.surroundings, ambience
I am not sure if this about an impending disaster, looming riots/calamities that were expected at the time this Ghazal was written/read. O raahi, a storm is about to rise in our daily lives. It is not I who is saying it, but the conditions around us show it.
raghubir saran divaakar raahi (1914-1968), rampur. Three Ghazal collection with hundreds of Ghazal in each. Born in amroha, learnt urdu and faarsi at school. BA, LLB from meeraTh. District Information Officer, UP. shaa’eri was in addition to his ‘day job’. Posted to and retired in rampur, 1954 and started law practice. Editor of hindi magazines. Very secular and makes much fun of the shaiKh and brahman.
1
raahi1! su2-e manzil3 tujhe jaana hai to jaa Khud4
raahoN5 meN bhaTakte6 haiN yahaaN raah-numaa7 Khud
1.pen-name of the poet, also means seeker 2.towards 3.destination, goal 4.yourself 5.paths 6.astray, lost, wander 7.guides, leaders
This could be about political or religious leadership. The theme between the lines is that not only are they themselves lost but that they are misleading us. Thus, O raahi/seeker, if you want to go towards your destination then find your own path. There are many guides/leaders who are themselves lost and leading others astray.
2
begaana1 agar2 aadmi ho jaa’e Khudi3 se
aa jaa’ega phir saamne bande4 ke Khuda Khud
1.estranged, break away from 2.if 3.ego, self-centredness 4.servant, devotee
If man’s walks away from his ego and selfishness, then god himself will appear before the devotee of his own volition.
3
jeene ke liye aadmi kya kya nahiN karta
hatt’a1 ki voh apne ko bhi deta hai daGha2 Khud
1.to this extent, to this limit 2.deception
What all does man not do to stay alive, even to this extent that he deceives himself.
4
Ghaflat1 se na aye azm-e-javaaN2 kaam chale ga
badli hai na badle gi zamaane3 ki hava4 Khud
1.forgetfulness 2.strong determination 3.times, world 4.trend, ways, character
The poet personifies ‘azm-e javaaN’ – strong determination and addresses it. This determination is to bring about change. Thus, forgetfulness/unmindfulness will not get the work done. The world has never nor will it now change its ways on its own.
5
uTh jaa’eN ge jis dam1 ye hijaabaat2-e man-o-tu3
uTThegi tah-e-dil4 se an-al-haq5 ki sadaa6 Khud
1.moment 2.veils, curtains 3.me and you 4.bottom of the heart 5.I am the Truth 6.cry
This has reference to the story of mansuur-al-hallaj (858-922), a sufi scholar who had a large following. He traveled a lot including to India where he read the vedas and spoke to vedic scholars. On his return he wrote and declared ‘I am the Truth – aham brahmasmi’. He was convicted, sentenced to death and asked to recant. He refused and chose to die instead. His name is used as a symbol of resistance to power and of universal one-ness including the ‘creator’. Thus, the moment the veils between you (creator) and I (created) are lifted, the cry of ‘an-al-haq’ will rise spontaneously from the bottom the heart.
6
amrit1 bhi gavaara2 nahiN yuN to mujhe saaqi
maiN zah’r bhi pii luuNga magar3 aa ke pilaa Khud
1.nectar of life 2.acceptable 3.but
O saaqi, (normally) I would not even accept the nectar of (eternal) life from anyone, but if you come yourselves and offer, I am ready to drink poison. The ‘saaqi’ here is the beloved.
7
uThne ko hai toofaan rah-e-ziist1 meN raahi2
ye hum nahiN kahte haiN bataati3 hai fazaa4 Khud
1.path of life, daily life 2.pen-name of the poet 3.shows 4.surroundings, ambience
I am not sure if this about an impending disaster, looming riots/calamities that were expected at the time this Ghazal was written/read. O raahi, a storm is about to rise in our daily lives. It is not I who is saying it, but the conditions around us show it.
The post an-al-haq ki sadaa Khud-raghubiir saran divaakar raahi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/aif-Khaamoshi-puuri-karegi-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
خامشی پوری کرے گی ۔ اننت ایّر فانیؔ
۱
کمی الفاظ کی پوری کرے گی
کہ بات اب خامشی پوری کرے گی
۲
کہانی میں حقیقت کم پڑی ہے
تو اس کو سنسنی پوری کرے گی
۳
اُداسی میں کمی جو رہ گئی ہے
اُسے تیری کمی پوری کرے گی
۴
سمندر کی ہے کیا کیا خواہشیں اور
اُنہیں کب تک ندی پوری کرے گی
۵
ملی کیا آپ کو وہ چیز فانیؔ
غزل جو آپ کی پوری کرے گی
ख़ामुशी पूरी करेगी – अनंत अय्यर फ़ानी
१
कमी अल्फ़ाज़ की पूरी करेगी
के बात अब ख़ामुशी पूरी करेगी
२
कहानी में हक़ीक़त कम पढी है
तो इस को सनसनी पूरी करेगी
३
उदासी में कमी जो रह गई है
उसे तेरी कमी पूरी करेगी
४
समंदर की है क्या क्या ख़्वाहिशें और
उन्हें कब तक नदी पूरी करेगी
५
मिली क्या आप को वो चीज़ फ़ानी
ग़ज़ल जो आप की पूरी करेगी
Click here for background and on any passage for word meanings and explanatory discussion. ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating. He started composing around 2022, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside. He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’.
1
kami alfaaz1 ki puuri karegi
keh baat ab Khaamushi2 puuri karegi 1.words 2.silence
The poet always imagines more profound thoughts, more beautiful imagery in his mind than he can express in words. Words can at best express incomplete thoughts/images. Sometimes it is the intensity of emotions that stand in the way of words. The gaps in the story left by words will be filled by silence … expressive looks, unsaid words, subtle gestures. Said jamuna parshaad raahi …
mu’aani-e tafsiir-e Gham gauhar ba-mizshgaaN ho gaiiN
Khaamoshi ki bazm meN aaNkheN suKhandaaN ho gaiiN
and asGhar gonDvi …
hota hai raaz-e ishq o mohabbat unhiiN se faash
aaNKhen zabaaN nahiN haiN magar be-zabaaN nahiN
even Ghalib struggled …
Ghalib nabuvad sheva-e man qaafiya bandi
zulmiist ke bar kilk o varaq meekunam imshab
O, Ghalib, it is not my practice to do word-smithing
It is cruelty that I visit on pen and paper tonight
2
kahaani meN haqiiqat1 kam paRi hai
to is ko sansani2 puuri karegi 1.truth, facts 2.fear mongering, dramatization, sensationalization
What a wonderful reflection on modern day news coverage and poll predictions. Truth/facts were not enough in telling the story. The gap will be filled by sensationalization.
3
udaasi1 meN kami2 jo rah gaii hai
use teri kami3 puuri karegi 1.sorrow, dejection 2.shortage 3.absence
The poet/lover is sorrowful and dejected, but someone (perhaps he himself) feels that this is not enough. He needs some more agony. The gap in agony will be filled by ‘your’ absence. Who is ‘your’ … the most obvious answer is ‘the beloved’, but the poet leaves the field wide open for his readers to fill in.
4
samundar1 ki haiN kya kya KhwaahisheN2 aur
unheN kab tak nadi puuri3 karegi 1.ocean, sea 2.wises, desires 3.complete, fulfil, satisfy
This also wonderfully wide open for interpretation … the ocean could be symbolic of capitalist greed, political power or even someone’s desire to learn. There are many rivers feeding this body of water, insatiable greed, lust for power, thirst for knowledge. The first two interpretations lead to a sense of exploitation of relatively powerless rivers compared to the powerful ocean/sea. The third interpretation leads to continuous striving and positive imagery.
5
mili kya aap ko voh chiiz faani1
Ghazal jo aap ki puuri2 karegi 1.pen-name of the poet 2.complete, make perfect
The word ‘kya’ can be interpreted in at least three different ways (a)straightforward question (b)sarcastic question/derisive comment or (c)a joyous exclamation of amazement, leading to three interpretations – (a)you keep composing Ghazal, O faani. Have you found the ingredient that will make your Ghazal perfect, (b)have you found the thing that will make your Ghazal stand out, make it different from what has been said in the past! Then, why do you keep writing the same old thing, (c)what a wonderful thought you have discovered O faani, the thought that will complete your Ghazal.
ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating. He started composing around 2022, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside. He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’.
1
kami alfaaz1 ki puuri karegi
keh baat ab Khaamushi2 puuri karegi
1.words 2.silence
The poet always imagines more profound thoughts, more beautiful imagery in his mind than he can express in words. Words can at best express incomplete thoughts/images. Sometimes it is the intensity of emotions that stand in the way of words. The gaps in the story left by words will be filled by silence … expressive looks, unsaid words, subtle gestures. Said jamuna parshaad raahi …
mu’aani-e tafsiir-e Gham gauhar ba-mizshgaaN ho gaiiN
Khaamoshi ki bazm meN aaNkheN suKhandaaN ho gaiiN
and asGhar gonDvi …
hota hai raaz-e ishq o mohabbat unhiiN se faash
aaNKhen zabaaN nahiN haiN magar be-zabaaN nahiN
even Ghalib struggled …
Ghalib nabuvad sheva-e man qaafiya bandi
zulmiist ke bar kilk o varaq meekunam imshab
O, Ghalib, it is not my practice to do word-smithing
It is cruelty that I visit on pen and paper tonight
2
kahaani meN haqiiqat1 kam paRi hai
to is ko sansani2 puuri karegi
1.truth, facts 2.fear mongering, dramatization, sensationalization
What a wonderful reflection on modern day news coverage and poll predictions. Truth/facts were not enough in telling the story. The gap will be filled by sensationalization.
3
udaasi1 meN kami2 jo rah gaii hai
use teri kami3 puuri karegi
1.sorrow, dejection 2.shortage 3.absence
The poet/lover is sorrowful and dejected, but someone (perhaps he himself) feels that this is not enough. He needs some more agony. The gap in agony will be filled by ‘your’ absence. Who is ‘your’ … the most obvious answer is ‘the beloved’, but the poet leaves the field wide open for his readers to fill in.
4
samundar1 ki haiN kya kya KhwaahisheN2 aur
unheN kab tak nadi puuri3 karegi
1.ocean, sea 2.wises, desires 3.complete, fulfil, satisfy
This also wonderfully wide open for interpretation … the ocean could be symbolic of capitalist greed, political power or even someone’s desire to learn. There are many rivers feeding this body of water, insatiable greed, lust for power, thirst for knowledge. The first two interpretations lead to a sense of exploitation of relatively powerless rivers compared to the powerful ocean/sea. The third interpretation leads to continuous striving and positive imagery.
5
mili kya aap ko voh chiiz faani1
Ghazal jo aap ki puuri2 karegi
1.pen-name of the poet 2.complete, make perfect
The word ‘kya’ can be interpreted in at least three different ways (a)straightforward question (b)sarcastic question/derisive comment or (c)a joyous exclamation of amazement, leading to three interpretations – (a)you keep composing Ghazal, O faani. Have you found the ingredient that will make your Ghazal perfect, (b)have you found the thing that will make your Ghazal stand out, make it different from what has been said in the past! Then, why do you keep writing the same old thing, (c)what a wonderful thought you have discovered O faani, the thought that will complete your Ghazal.
The post Khaamoshi puuri karegi-ananth iyer faani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/08/pdrp-magar-KhizaaN-ki-tarah-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مگر خزاں کی طرح ۔ پنڈت دلا رام رتنؔ پنڈوروی
۱
کُھلی نگاہ مری چشمِ رازداں کی طرح
قفس میں عیش میسّر ہے آشیاں کی طرح
۲
ملی حیات ہمیں مرگِ ناگہاں کی طرح
بہار آئی چمن میں مگر خزاں کی طرح
۳
قدم قدم پہ ہے نازل ستم، بلا، آفت
زمیں ہے آج مظالم میں آسماں کی طرح
۴
تعینات کی حد سے بڑھا ہوں بھی آگے
مری نظر میں مکاں بھی ہے لامکاں کی طرح
۵
گلوں کی فصل میں وحشت نے گل کھلائے ہیں
اُسی کے فیض سے صحرا ہے گلستاں کی طرح
۶
رہِ تلاش میں اے دل تیرا خدا حافظ
ستم شِعار نے دیکھا ہے مہرباں کی طرح
۷
نصیب ہو نہ سکا آستاں مجھے لیکن
جبینِ شوق مِٹی خاکِ آستاں کی طرح
۸
دلِ تباہ کا انجام دیکھیے کیا ہو
نگاہِ شوق اُٹھی مرگِ ناگہاں کی طرح
۹
اثر نواز کہاں تک ہیں اب مرے سجدے
کہ ذرّہ ذرّہ نظر میں ہے آشیاں کی طرح
۱۰
میری نگاہِ رسا نے اُٹھا دیے پردے
نہاں بھی آج نگاہوں میں ہے عیاں کی طرح
۱۱
گل و شجر کی محبت کا دم بھرو دائم
رہو چمن میں بسد شوق باغباں کی طرح
۱۲
رہِ وفا کا ہے ہر نقشِ پا نگاہوں میں
رتنؔ نشان ہے یہ بھی مرے نشاں کی طرح
मगर खिज़ाँ की तरह – पंडित दिलाराम रतन पंडोरवी
१
खुली निगाह मेरी चश्म-ए राज़्दां की तरह
कफ़स में ऐश मयस्सर है आशियां की तरह
२
मिली हयात हमें मर्ग-ए नागाहां की तरह
बहार आई चमन में मगर ख़िज़ाँ की तरह
३
क़दम क़दम पे है नाज़िल सितम, बला, आफ़त
ज़मीं है आज मज़ालिम में आस्मां की तरह
४
तैय्युनात की हद से बढ़ा हुं भी आगे
मेरी नज़र में मकां भी है लमकां की तरह
५
गुलों की फ़स्ल में वहशत ने गुल खिलाए हैं
उसी के फ़ैज़ से सहरा है गुल्सिताँ की तरह
६
रह-ए तलाश में अए दिल तेरा ख़ुदा हाफ़ेज़
सितम शे’आर ने देखा है मेहरबां की तरह
७
नसीब हो न सका आस्तानं मुझे लैकिन
जबीन-ए शौक़ मिटी ख़ाक-ए आस्तां की तरह
८
दिल-ए तबाह का अंजाम देखिये क्या हो
निगाह-ए शौक़ उठि मर्ग-ए नागहां की तरह
९
असर-नवाज़ कहां तक है अब मेरे सजदे
के ज़र्रा ज़र्रा नज़र में है आशियां की तरह
१०
मेरी निगाह-ए रसा ने उठा दिये परदे
नेहां भी आज निगाहों में है अयां की तरह
११
गुल ओ शजर की मोहब्बत का दम भरो दा’एम
रहो चमन में ब-सद शौक़ बाग़्बाँ की तरह
१२
रह-ए वफ़ा का है हर नक़्श-ए पा निगाहों में
रतन निशान है ये भी मेरे निशाँ की तरह
Click here for background and on any passage for word meanings and explanatory discussion. panDit dilaaraam ratan panDorvi (1909-1990), paThaankoT. There are many books to his credit including urdu instructional texts for school children, an explanatory, interpretive book of Ghalib’s Ghazal, literary history and criticism, rules of versification and representative compositions of muslim poets of hindi. A recognized authority of urdu, hindi and sanskrit and perhaps also of faarsi. This Ghazal is linked to other ham-radeef Ghazal on the Refrain page.
1
khuli nigaah1 meri chashm2-e raazadaN3 ki tarah
qafas4 meN aish5 mayassar6 hai aashiyaaN7 ki tarah 1.eyes 2.eyes 3.confidant 4.cage 5.luxury 6.available 7.nest
‘nigaah khulna’ as an expression is used to mean ‘begin to understand/comprehend’. The poet is like a caged bird and has been miserable in the cage. His eyes opened like those of a confidant, sharing secrets. What secret/knowledge did they share. They told him that all luxuries like those in the nest are available to him in the cage. So he does not need to make himself miserable. I am not sure that I get this, but that is the literal interpretation.
2
mili hayaat1 hameN marg2-e naagahaaN3 ki tarah
bahaar4 aaii chaman meN magar KhizaaN5 ki tarah 1.life 2.death 3.sudden, unexpected 4.spring 5.autumn, dry season
Even the life that we were given came along with an unpredictable death. It is as spring comes to the garden along with autumn.
3
qadam-qadam1 peh hai naazil2 sitam3, balaa4, aafat5
zamiiN hai aaj mazaalim6 meN aasmaaN ki tarah 1.every step 2.descends, happens 3.cruelty 4.curse 5.calamity 6.oppressions
In poetic convention all calamities come down from the sky … the sky is many times used as ‘fate’. But here it seems that even the earth has become like the sky and is also inflicting cruelty, curse and calamities on the poet just like the sky.
4
t’ayyunaat1 ki had2 se baRha huN bhi aagay3
meri nazar4 meN makaaN5 bhi hai laamakaaN6 ki tarah 1.pre-destiny, pre-ordained 2.limits 3.beyond 4.sight, point of view 5.place 6.non-place
‘laamakaaN’ is a concept used as an attribute of god who is everywhere and not confined to anywhere. I have even gone beyond the limits of pre-destiny. In my view even the confines of space are like unlimited space. This probably means … humans are limited to a material existence on earth. But if they have the courage/vision to develop a point of view beyond these limitations then they will see that the spiritual (not limited by space) co-exists with the material.
5
guloN1 ki fasl2 meN vahshat3 ne gul khilaa’e4 haiN
usi ke faiz5 se sehraa6 hai gulsitaaN7 ki tarah 1.flowers 2.season 3.madness of passion 4.gul khilaana-creating mischief 5.benevolence 6.desert 7.garden
‘gul khilaana’ literally means making flowers bloom but as an expression in means ‘creating mischief’. Also, in poetic convention during spring (the season of flowers) lovers go mad with passion. This passion has created mischief during spring. It is because of the benevolence of this mischief that the desert has become like a garden. Why does the desert become like a garden? Maybe simply because the mad lovers think of it as a garden but more likely as in poetic convention, they roam the desert with their feet pricked with thorns and bleeding. Blood dripping on the sands is described as red roses and hence the desert becomes a garden.
6
rah1-e talaash2 meN aye dil tera Khuda haafiz
sitam3 she’aar4 ne dekha hai mehrbaaN5 ki tarah 1.path 2.search 3.cruelty 4.habit, character 5.kind, favouring
The beloved is ‘sitam sheaar’ i.e., she is habituated to being cruel. But she has looked upon the poet/lover with favour. That means that he is sure to fall for her trickery and pay a heavy price for it later. Only god can protect him now.
7
naseeb1 ho nah saka aastaaN2 mujhe laikin
jabeen3-e shauq4 miTi5 Khaak6-e aastaaN2 ki tarah 1.fated, granted 2.threshold 3.forehead 4.desire 5.erased, wiped 6.dust
It was never the poet’s fate to reach the beloved’s threshold and bow his forehead to it. But he kept prostrating and bowing anyway until his forehead was erased into dust just like the dust on the beloved’s threshold. This could be interpreted to be directed at the divine beloved whose threshold he could never reach but kept offering obeisance anyway.
8
dil-e tabaah1 ka anjaam2 dekhiye kya ho
nigaah3-e shauq4 uThi marg5-e naagahaaN6 ki tarah 1.ruined 2.result 3.glance 4.desire 5.death 6.unexpected, sudden
The poet/lover lifted his eyes and glanced at the beloved. The beauty and the glory that he saw is enough to ruin his heart like sudden death. Let us see what will become of this runined heart.
9
asar-navaaz1 kahaaN tak haiN ab meray sajday2
keh zarra-zarra3 nazar4 meN hai aastaaN5 ki tarah 1.effect granting, being effective 2.bowing down, obeisance 3.every grain of dust 4.sight, eyes 5.threshold
The poet/lover wants to bow at the threshold of the (earthly or divine) beloved’s threshold but cannot reach it. The sincerity of his devotion/love is such that his prostration is granted great effectiveness such that every grain of dust appears like a threshold to him. Said Ghalib (faarsi) – (urdu recomposition-shahed) …
sajda hai bas habiib ka ho dayr ya haram
jaata us aastaaN pe hai, chaahe karo jahaaN
10
meri nigaah1-e rasaa2 nay uTha diye parday
nehaaN3 bhi aaj nigaahoN meN hai ayaaN4 ki tarah 1.sight, eyes 2.reaching, discerning 3.hidden 4.manifest, visible
My discerning eye has lifted the veil (of mystery). That which was hidden, now appears visible before the eyes. Possibly he is talking about his verse which makes clear the universality of the divine.
11
gul1 o shajar2 ki mohabbat ka dam bharo3 daa’em4
raho chaman meN ba-sad5 shauq6 baaGhbaaN7 ki tarah 1.rose 2.tree 3.dam bharna to blow breath into mean to give life to 4.always 5.with a hundred 6.desires 7.gardener
The world is a garden and rose and tree symbolize all ‘creation’. Always keep alive love of all creation. Live in this garden like a nuturing gardener.
12
rah1-e vafa2 ka hai har naqsh-e-paa3 nigaahoN4 meN
ratan5 nishaan6 hai yeh bhi meray nishaaN ki tarah 1.path 2.fidelity, love 3.footprints 4.eyes 5.pen-name of the poet 6.mark
On the path of love, I have before my eyes, the footprints of those who have gone before me and just like that are my own marks/footprints.
panDit dilaaraam ratan panDorvi (1909-1990), paThaankoT. There are many books to his credit including urdu instructional texts for school children, an explanatory, interpretive book of Ghalib’s Ghazal, literary history and criticism, rules of versification and representative compositions of muslim poets of hindi. A recognized authority of urdu, hindi and sanskrit and perhaps also of faarsi. This Ghazal is linked to other ham-radeef Ghazal on the Refrain page.
1
khuli nigaah1 meri chashm2-e raazadaN3 ki tarah
qafas4 meN aish5 mayassar6 hai aashiyaaN7 ki tarah
1.eyes 2.eyes 3.confidant 4.cage 5.luxury 6.available 7.nest
‘nigaah khulna’ as an expression is used to mean ‘begin to understand/comprehend’. The poet is like a caged bird and has been miserable in the cage. His eyes opened like those of a confidant, sharing secrets. What secret/knowledge did they share. They told him that all luxuries like those in the nest are available to him in the cage. So he does not need to make himself miserable. I am not sure that I get this, but that is the literal interpretation.
2
mili hayaat1 hameN marg2-e naagahaaN3 ki tarah
bahaar4 aaii chaman meN magar KhizaaN5 ki tarah
1.life 2.death 3.sudden, unexpected 4.spring 5.autumn, dry season
Even the life that we were given came along with an unpredictable death. It is as spring comes to the garden along with autumn.
3
qadam-qadam1 peh hai naazil2 sitam3, balaa4, aafat5
zamiiN hai aaj mazaalim6 meN aasmaaN ki tarah
1.every step 2.descends, happens 3.cruelty 4.curse 5.calamity 6.oppressions
In poetic convention all calamities come down from the sky … the sky is many times used as ‘fate’. But here it seems that even the earth has become like the sky and is also inflicting cruelty, curse and calamities on the poet just like the sky.
4
t’ayyunaat1 ki had2 se baRha huN bhi aagay3
meri nazar4 meN makaaN5 bhi hai laamakaaN6 ki tarah
1.pre-destiny, pre-ordained 2.limits 3.beyond 4.sight, point of view 5.place 6.non-place
‘laamakaaN’ is a concept used as an attribute of god who is everywhere and not confined to anywhere. I have even gone beyond the limits of pre-destiny. In my view even the confines of space are like unlimited space. This probably means … humans are limited to a material existence on earth. But if they have the courage/vision to develop a point of view beyond these limitations then they will see that the spiritual (not limited by space) co-exists with the material.
5
guloN1 ki fasl2 meN vahshat3 ne gul khilaa’e4 haiN
usi ke faiz5 se sehraa6 hai gulsitaaN7 ki tarah
1.flowers 2.season 3.madness of passion 4.gul khilaana-creating mischief 5.benevolence 6.desert 7.garden
‘gul khilaana’ literally means making flowers bloom but as an expression in means ‘creating mischief’. Also, in poetic convention during spring (the season of flowers) lovers go mad with passion. This passion has created mischief during spring. It is because of the benevolence of this mischief that the desert has become like a garden. Why does the desert become like a garden? Maybe simply because the mad lovers think of it as a garden but more likely as in poetic convention, they roam the desert with their feet pricked with thorns and bleeding. Blood dripping on the sands is described as red roses and hence the desert becomes a garden.
6
rah1-e talaash2 meN aye dil tera Khuda haafiz
sitam3 she’aar4 ne dekha hai mehrbaaN5 ki tarah
1.path 2.search 3.cruelty 4.habit, character 5.kind, favouring
The beloved is ‘sitam sheaar’ i.e., she is habituated to being cruel. But she has looked upon the poet/lover with favour. That means that he is sure to fall for her trickery and pay a heavy price for it later. Only god can protect him now.
7
naseeb1 ho nah saka aastaaN2 mujhe laikin
jabeen3-e shauq4 miTi5 Khaak6-e aastaaN2 ki tarah
1.fated, granted 2.threshold 3.forehead 4.desire 5.erased, wiped 6.dust
It was never the poet’s fate to reach the beloved’s threshold and bow his forehead to it. But he kept prostrating and bowing anyway until his forehead was erased into dust just like the dust on the beloved’s threshold. This could be interpreted to be directed at the divine beloved whose threshold he could never reach but kept offering obeisance anyway.
8
dil-e tabaah1 ka anjaam2 dekhiye kya ho
nigaah3-e shauq4 uThi marg5-e naagahaaN6 ki tarah
1.ruined 2.result 3.glance 4.desire 5.death 6.unexpected, sudden
The poet/lover lifted his eyes and glanced at the beloved. The beauty and the glory that he saw is enough to ruin his heart like sudden death. Let us see what will become of this runined heart.
9
asar-navaaz1 kahaaN tak haiN ab meray sajday2
keh zarra-zarra3 nazar4 meN hai aastaaN5 ki tarah
1.effect granting, being effective 2.bowing down, obeisance 3.every grain of dust 4.sight, eyes 5.threshold
The poet/lover wants to bow at the threshold of the (earthly or divine) beloved’s threshold but cannot reach it. The sincerity of his devotion/love is such that his prostration is granted great effectiveness such that every grain of dust appears like a threshold to him. Said Ghalib (faarsi) – (urdu recomposition-shahed) …
sajda hai bas habiib ka ho dayr ya haram
jaata us aastaaN pe hai, chaahe karo jahaaN
10
meri nigaah1-e rasaa2 nay uTha diye parday
nehaaN3 bhi aaj nigaahoN meN hai ayaaN4 ki tarah
1.sight, eyes 2.reaching, discerning 3.hidden 4.manifest, visible
My discerning eye has lifted the veil (of mystery). That which was hidden, now appears visible before the eyes. Possibly he is talking about his verse which makes clear the universality of the divine.
11
gul1 o shajar2 ki mohabbat ka dam bharo3 daa’em4
raho chaman meN ba-sad5 shauq6 baaGhbaaN7 ki tarah
1.rose 2.tree 3.dam bharna to blow breath into mean to give life to 4.always 5.with a hundred 6.desires 7.gardener
The world is a garden and rose and tree symbolize all ‘creation’. Always keep alive love of all creation. Live in this garden like a nuturing gardener.
12
rah1-e vafa2 ka hai har naqsh-e-paa3 nigaahoN4 meN
ratan5 nishaan6 hai yeh bhi meray nishaaN ki tarah
1.path 2.fidelity, love 3.footprints 4.eyes 5.pen-name of the poet 6.mark
On the path of love, I have before my eyes, the footprints of those who have gone before me and just like that are my own marks/footprints.
The post magar KhizaaN ki tarah-panDit dilaram ratan panDorvi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/afaani-sher-kah-do-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شعر کہہ دو ۔ اننت ایّر فانیؔ
۱
ارے دنیا سنے گی شعر کہہ دو
بھلے ہو دنیا پہ ہی شعر کہہ دو
۲
میاں کرسی ہے چھوٹی چیز چھوڑو
حکومت تک ہلے گی شعر کہہ دو
۳
قوافی اور ردیف اچھے ملائے
چلو اب بحر میں بھی شعر کہہ دو
۴
محبت پر بھی کر لو شاعری پر
زمانہ پر بھی کوئی شعر کہہ دو
۵
سمے بھی ہے سماں بھی ٹھیک ہی ہے
غزل میں ہیں جو باقی شعر کہہ دو
۶
جب اس سے پوچھا تم کیا چاہتی ہو
کہی پَھٹ سے اُداسی شعر کہہ دو
۷
زبان و دل میں سب کے تم بسو گے
طریقہ یہ ہے فانیؔ شعر کہہ دو
शे’र कह दो – अनन्त अय्यर फ़ानी
१
अरे दुनिया सुनेगी शे’र कह दो
भले हो दुनिया पे ही शे’र कह दो
२
मियाँ कुर्सी है छोटी चीज़ छोढो
हुकूमत तक हिलेगी शे’र कह दो
३
क़वाफ़ी और रदीफ़ अच्छे मिलाए
चलो अब बहर में भी शे’र कह दो
४
मोहब्बत पर भी कर लो शा’एरी पर
ज़माने पर भी कोई शे’र कह दो
५
समय भी है समाँ भी ठीक ही है
ग़ज़ल में हैं जो बाक़ी शे’र कह दो
६
जब उस से पूछा तुम क्या चाहती हो
कही फट से उदासी शे’र कह दो
७
ज़बान-ओ-दिल में सब के तुम बसोगे
तरीक़ा ये है फ़ानी शे’र कह दो
Click here for background and on any passage for word meanings and explanatory discussion. ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating. He started composing around 2002, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside. He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’. I have linked this to other Ghazal of the refrain ‘to Ghazal hoti hai’ on the Refrain Index page, because it is similar.
1
arey duniya sunegi she’r kah do
bhale1 ho duniya pe hi she’r kah do 1.it is good enough
The world will listen, write/speak a she’r. Even if you don’t have anything else. it is good enough to say a she’r about the world.
2
miyaaN kursi1 hai chhoTi chiiz chhoRo
hukuumat2 tak hilegi she’r kah do 1.chair, seat of power, office 2.government
Why talk about just one powerful post, leave that aside. Even the whole government can be shaken up, say a she’r. This recognizes the long tradition of protest against power/injustice, using urdu shaa’eri.
3
qavaafi1 aur radiif2 achchhe milaa’e
chalo ab bahr3 meN bhi she’r kah do 1.plural of qaafiya-rhyming sound 2.refrain 3.meter
As an example, in this Ghazal she’r kah do is the refrain/radiif and the sound ii as in sunegi, hilegi and bhi is the qaafiya. Thus, you have matched the radiif and qaafiya very well, now say a she’r in meter.
4
mohabbat par bhi kar lo shaa’eri par
zamaane1 par bhi koi she’r kah do 1.the times, the world
Go ahead and compose shaa’eri about love, but do say she’r about the world i.e., about oppression, injustice, inequality, suffering, sorrow and the like. This is similar to the call given by the Progressive Writers’ Association.
5
samay1 bhi hai samaaN2 bhi Thiik hi hai
Ghazal meN haiN jo baaqi3 she’r kah do 1.time, occasion 2.atmosphere, ambience 3.remaining
The time/occasion is right, the ambience (reception of the audience) is good, go ahead and recite the remaining she’r (ash’aar) of the Ghazal.
6
jab us se puuchha tum kya chaahti ho
kahi phaT1 se udaasi2 she’r kah do 1.immediately, rapidly 2.sorrow
When I asked her, what do you want, Sorrow immediately replied – say a she’r i.e., reciting a she’r gives comfort.
7
zabaan-o-dil meN sab ke tum baso1 ge
tariiqa2 ye hai faani3 she’r kah do 1.make a home 2.way, method 3.pen-name of the poet
You will make a home in all hearts and all tongues with repeat your verse. The way to do this, O faani, is to say a she’r.
ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating. He started composing around 2002, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside. He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’. I have linked this to other Ghazal of the refrain ‘to Ghazal hoti hai’ on the Refrain Index page, because it is similar.
1
arey duniya sunegi she’r kah do
bhale1 ho duniya pe hi she’r kah do
1.it is good enough
The world will listen, write/speak a she’r. Even if you don’t have anything else. it is good enough to say a she’r about the world.
2
miyaaN kursi1 hai chhoTi chiiz chhoRo
hukuumat2 tak hilegi she’r kah do
1.chair, seat of power, office 2.government
Why talk about just one powerful post, leave that aside. Even the whole government can be shaken up, say a she’r. This recognizes the long tradition of protest against power/injustice, using urdu shaa’eri.
3
qavaafi1 aur radiif2 achchhe milaa’e
chalo ab bahr3 meN bhi she’r kah do
1.plural of qaafiya-rhyming sound 2.refrain 3.meter
As an example, in this Ghazal she’r kah do is the refrain/radiif and the sound ii as in sunegi, hilegi and bhi is the qaafiya. Thus, you have matched the radiif and qaafiya very well, now say a she’r in meter.
4
mohabbat par bhi kar lo shaa’eri par
zamaane1 par bhi koi she’r kah do
1.the times, the world
Go ahead and compose shaa’eri about love, but do say she’r about the world i.e., about oppression, injustice, inequality, suffering, sorrow and the like. This is similar to the call given by the Progressive Writers’ Association.
5
samay1 bhi hai samaaN2 bhi Thiik hi hai
Ghazal meN haiN jo baaqi3 she’r kah do
1.time, occasion 2.atmosphere, ambience 3.remaining
The time/occasion is right, the ambience (reception of the audience) is good, go ahead and recite the remaining she’r (ash’aar) of the Ghazal.
6
jab us se puuchha tum kya chaahti ho
kahi phaT1 se udaasi2 she’r kah do
1.immediately, rapidly 2.sorrow
When I asked her, what do you want, Sorrow immediately replied – say a she’r i.e., reciting a she’r gives comfort.
7
zabaan-o-dil meN sab ke tum baso1 ge
tariiqa2 ye hai faani3 she’r kah do
1.make a home 2.way, method 3.pen-name of the poet
You will make a home in all hearts and all tongues with repeat your verse. The way to do this, O faani, is to say a she’r.
The post she’r kah do-ananth iyer faani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/ekm-GhamzadoN-ki-baat-kar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
غم زدوں کی بات کر ۔ الزبت کُرین موناؔ
۱
نہ مسجدوں کی بات کر، نہ بتکدوں کی بات کر
خدا کو ڈھونڈھنا ہو گر، تو غم زدوں کی بات کر
۲
جو چھاؤں بھی نہ دے سکے، شجر بھی کیا شجر ہے وہ
تلاش ہے جو چھاؤں کی، تو برگدوں کی بات کر
۳
خمار عشق میں بھی ہے، نشہ رنج و غم میں بھی
جنوں میں بھی ہیں مستیاں، نہ مے کدوں کی بات کر
۴
بشر بشر میں فرق کیا، ہر اِک ہے بندۂ خدا
ہے فرش اِک، ہے عرش اِک، نہ سرحدوں کی بات کر
۵
زمین میں گڑھے ہوۓ عمارتوں کے نیو ہیں
ہیں اِن کے بل پہ وہ کھڑے، نہ گنبدوں کی بات کر
۶
نڈھال جو رہےگا تو، نہ کچھ بھی ہاتھ آئے گا
جلا کے دل چراغ سا، تو مقصدوں کی بات کر
۷
جو ٹھان لی ہے دل میں تو، فلک کو موناؔ چھو کے دیکھ
ملیں تجھے جو راہ میں، نہ اُن حدوں کی بات کر
ग़मज़दों की बात कर – एलिज़बेत कुरियन मोना
१
न मस्जिदों की बात कर, न बुतकदों की बात कर
ख़ुदा को ढूँढना हो गर, तो ग़मज़दों की बात कर
२
जो छाँव भी न दे सके, शजर भी क्या शजर है वो
तलाश है जो छाँव की, तो बरगदों बात कर
३
ख़ुमार इश्क़ में भी है, नशा रंज-ओ-ग़म में भी
जुनूँ में भी हैं मस्तियाँ, न मय-कदों की बात कर
४
बशर बशर में फ़र्क़ क्या, हर एक है बंदा-ए-ख़ुदा
है फ़र्श एक, है अर्श एक, न सरहदों की बात कर
५
ज़मीन में गढे हुए इमारतों के नीव हैं
हैं इन के बल पे वो खढे, न गुम्बदों की बात कर
६
निढाल जो रहेगा तू, न कुछ भी हाथ आएगा
जला कि दिल चिराग़ सा, तू मक़सदों की बात कर
७
जो ठान ली है दिल में तो, फ़लक को मोना छू के देख
मिलीं तुझे जो राह में, न उन हदों की बात कर
Click here for background and on any passage for word meanings and explanatory discussion. Elizabeth Kurian ‘Mona’ (1949-living) is a poet in many languages – urdu, English, hindi, and her mother tongue malayalam, with published books in each. A true blue hyderabadi, she is a late comer to urdu, but apparently good at it as well as in love with it. She learnt urdu through a correspondence course offered by jaami’a-e millia islamia, dehli. She has written four urdu books of Ghazal/nazms and one on rules of poetic meter. She took early retirement from a management position in Reserve Bank of India and now lives in her hometown, hyderabad and pursues her passion in poetry. This Ghazal is linked to others with the refrain ‘ki baat kareN’ on the Refrain Index page.
1
na masjidoN ki baat kar, na butkadoN1 ki baat kar
Khuda ko DhoonDna ho gar2, to Gham-zadoN3 ki baat kar 1.idol houses, temples 2.if 3.grief-stricken, pained, sorrowful
Don’t talk to me about mosques and temples. If you want to search god, then talk about those who are deprived and grief-stricken.
2
jo chhaa’uN bhi na de sake, shajar1 bhi kya shajar1 hai voh
talaash2 hai jo chhaa’uN ki, to bargadoN3 ki baat kar 1.tree 2.search 3.banyan tree
What kind of a tree is a tree that cannot even provide shade. If you are looking for shade/shelter/protection, talk about the banyan tree.
3
Khumaar1-e ishq meN bhi hai, nasha ranj-o-Gham2 meN bhi
junooN3 meN bhi haiN mastiyaaN4, na mai-kadoN5 ki baat kar 1.intoxication 2.pain and sorrow 3.passion, mystic trance 4.intoxication, ecstasy 5.tavern
There is intoxication in love (it can also mean divine/spiritual love) as well as in pain and sorrow. There is ecstasy in mystic trance/passion, don’t talk to me only about taverns and wine.
4
bashar1 bashar meN farq2 kya, har ek hai banda3-e Khuda
hai farsh4 ek, hai arsh5 ek, na sarhadoN6 ki baat kar 1.human 2.difference 3.servant, creature, devotee 4.floor, earth 5.sky 6.boundaries
What is the difference between one human and another, everyone is created by the same god. Everyone has the same earth and the same sky, don’t talk to me about (man-made) boundaries.
5
zameen meN gaRay1 hue imaaratoN2 ke niiv3 haiN
haiN in ke bal4 pe voh khaRe, na gumbadoN5 ki baat kar 1.buried 2.buildings 3.foundation 4.power, support 5.domes
Foundations are buried deep in the ground. These buildings stand, supported by them, don’t talk to me about domes i.e., the real work is done by the foundation. The analogy could be applied to the working class on whose labour everything else is built.
6
niDhaal1 jo rahega tu, na kuch bhi haath aa’ega
jala ke dil charaaGh2 sa, tu maqsadoN3 ki baat kar 1.listless 2.lamp 3.purpose, goal
If you remain listless, you will not achieve anything. Lighting up your heart like a shining lamp, talk about your purpose/goal.
7
jo Thaan1 li hai dil meN to, falak2 ko mona3 choo ke dekh
mileN tujhe jo raah4 meN, na un hadoN5 ki baat kar 1.resolved, determined 2.sky 3.pen-name of the poet 4.path 5.limits, hurdles
Now that you have resolved in your mind, O mona, reach of the sky. Don’t dwell on the hurdles along the way.
Elizabeth Kurian ‘Mona’ (1949-living) is a poet in many languages – urdu, English, hindi, and her mother tongue malayalam, with published books in each. A true blue hyderabadi, she is a late comer to urdu, but apparently good at it as well as in love with it. She learnt urdu through a correspondence course offered by jaami’a-e millia islamia, dehli. She has written four urdu books of Ghazal/nazms and one on rules of poetic meter. She took early retirement from a management position in Reserve Bank of India and now lives in her hometown, hyderabad and pursues her passion in poetry. This Ghazal is linked to others with the refrain ‘ki baat kareN’ on the Refrain Index page.
1
na masjidoN ki baat kar, na butkadoN1 ki baat kar
Khuda ko DhoonDna ho gar2, to Gham-zadoN3 ki baat kar
1.idol houses, temples 2.if 3.grief-stricken, pained, sorrowful
Don’t talk to me about mosques and temples. If you want to search god, then talk about those who are deprived and grief-stricken.
2
jo chhaa’uN bhi na de sake, shajar1 bhi kya shajar1 hai voh
talaash2 hai jo chhaa’uN ki, to bargadoN3 ki baat kar
1.tree 2.search 3.banyan tree
What kind of a tree is a tree that cannot even provide shade. If you are looking for shade/shelter/protection, talk about the banyan tree.
3
Khumaar1-e ishq meN bhi hai, nasha ranj-o-Gham2 meN bhi
junooN3 meN bhi haiN mastiyaaN4, na mai-kadoN5 ki baat kar
1.intoxication 2.pain and sorrow 3.passion, mystic trance 4.intoxication, ecstasy 5.tavern
There is intoxication in love (it can also mean divine/spiritual love) as well as in pain and sorrow. There is ecstasy in mystic trance/passion, don’t talk to me only about taverns and wine.
4
bashar1 bashar meN farq2 kya, har ek hai banda3-e Khuda
hai farsh4 ek, hai arsh5 ek, na sarhadoN6 ki baat kar
1.human 2.difference 3.servant, creature, devotee 4.floor, earth 5.sky 6.boundaries
What is the difference between one human and another, everyone is created by the same god. Everyone has the same earth and the same sky, don’t talk to me about (man-made) boundaries.
5
zameen meN gaRay1 hue imaaratoN2 ke niiv3 haiN
haiN in ke bal4 pe voh khaRe, na gumbadoN5 ki baat kar
1.buried 2.buildings 3.foundation 4.power, support 5.domes
Foundations are buried deep in the ground. These buildings stand, supported by them, don’t talk to me about domes i.e., the real work is done by the foundation. The analogy could be applied to the working class on whose labour everything else is built.
6
niDhaal1 jo rahega tu, na kuch bhi haath aa’ega
jala ke dil charaaGh2 sa, tu maqsadoN3 ki baat kar
1.listless 2.lamp 3.purpose, goal
If you remain listless, you will not achieve anything. Lighting up your heart like a shining lamp, talk about your purpose/goal.
7
jo Thaan1 li hai dil meN to, falak2 ko mona3 choo ke dekh
mileN tujhe jo raah4 meN, na un hadoN5 ki baat kar
1.resolved, determined 2.sky 3.pen-name of the poet 4.path 5.limits, hurdles
Now that you have resolved in your mind, O mona, reach of the sky. Don’t dwell on the hurdles along the way.
The post GhamzadoN ki baat kar-Elizabeth Kurian mona appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/rsdr-isi-duniya-meN-jannat-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اِسی دنیا میں جنّت ہے ۔ رگھوبیر سرن دواکر راہیؔ
۱
اِسی دنیا میں دوزخ ہے، اِسی دنیا میں جنّت ہے
یہ دنیا ہے یہاں محتاط رہنے کی ضرورت ہے
۲
جسے معلوم ہے کیا واہمہ ہے، کیا حقیقت ہے
وہی چشمِ طلب آئینۂ حُسنِ بصیرت ہے
۳
مِرا اِدراک نابینا نہیں ہے اِس لئے واعظ
مرا ذوقِ تجسُّس تشنۂ رازِ حقیقت ہے
۴
مری آوارہ نظریں ایک مرکز پر نہیں رکتیں
مگر اک ایسا چہرہ ہے جو بے حد خوبصورت ہے
۵
غلط دعوے کریں اُردو پہ جب خود اُس کے دیوانے
تو اِس ماحول میں راہیؔ تمہارا دم غنیمت ہے
इसी दुनिया में जन्नत है । रघुबीर सरन दिवाकर राहि
१
इसी दुनिया में दोज़ख है, इसी दुनिया में जन्नत है
ये दुनिया है यहां मुहतात रहने की ज़रूरत है
२
जिसे मालूम है क्या वाहम है, क्या हक़ीक़त है
वही चश्म-ए-तलब आईना-ए-हुस्न-ए-बसीरत है
३
मेरा इद्राक नाबीना नहीं है इस लिए वाइज़
मेरा ज़ौक-ए-तजस्सुस तिश्ना-ए-राज़-ए-हक़ीक़त है
४
मेरी आवारा नज़रें एक मरकज़ पर नहीं रुकतीं
मगर एक ऐसा चेहरा है जो बे हद ख़ूबसूरत है
५
ग़लत दावे करें उर्दू पे जब खुद उसके दीवाने
तो इस माहौल में राहि तुम्हारा दम ग़नीमत है
Click here for background and on any passage for word meanings and explanatory discussion. raghubir saran divaakar raahi (1914-1968), rampur. Three Ghazal collections with hundreds of Ghazal in each. Born in amroha, learnt urdu and faarsi at school. BA, LLB from meeraTh. District Information Officer, UP. shaa’eri was in addition to his ‘day job’. Posted to and retired in rampur, 1954 and started law practice. Editor of hindi magazines. Very secular and makes much fun of the shaiKh and brahman.
1
isi duniya meN dozaKh1 hai, isi duniya meN jannat2 hai
yeh duniya hai yahaaN muhtaat3 rahne ki zaruurat4 hai 1.hell 2.heaven 3.careful, mindful 4.necessity
This suggests that both heaven (jannat) and hell (dozakh) are realized within this life itself. It implies that our experiences and the consequences of our actions can bring us either immense joy or suffering, depending on how we live our lives. We have to be cautious and mindfulness in navigating the rights and wrongs of life, as these choices determine what we experience – heaven or hell.
2
jise m’aaloom1 hai kya vaahema2 hai, kya haqiiqat3 hai
vahi chashm4-e talab5 aaiina6-e husn7-e basiirat8 hai 1.knowledge 2.superstition, conjecture 3.truth, reality 4.eye 5.desire, searching 6.reflection 7.beauty, skill 8.insight, discernment
They, who know what is conjecture and what is truth, it is their eyes that reflect the skill/ability of insight/discernment.
3
mera idraak1 naabiina2 nahiiN hai is liye vaa’ez3
mera zauq4-e tajassus5 tishna6-e raaz7-e haqiiqat8 hai 1.wisdom, knowledge 2.blind 3.muslim preacher 4.taste, ability 5.search, seek 6.thirsty 7.secret, mysery 8.truth, reality
My knowledge is not blind (as opposed to your blind belief) O vaa’ez. That is why my desire to seek (my intellectual curiosity) remains thirsty for the mystery/secret of truth i.e., in my thirst, I keep seeking the truth while you are satisfied in your blind belief.
4
meri aavaara1 nazareN2 aek markaz3 par nahiN ruktiiN
magar ek aisa chehra4 hai jo be-hadd5 Khuubsuurat6 hai 1.wandering 2.eyes, gaze 3.focus 4.face, image 5.without limits, exceeding 6.beautiful
Normally, the poet’s wandering gaze does not stop at any one focus, but there is one exceedingly beautiful image that captivates him. What this image is, he does not share with us. Perhaps it is intellectual curiosity itself that is the beautiful image.
5
Ghalat1 d’aave2 kareN urdu pe jab Khud us ke diivaane
to is maahaul3 meN raahi4 tumhaara dam5 Ghaniimat6 hai 1.wrong, misguided 2.claims, accusations 3.atmosphere, conditions 4.pen-name of the poet 5.breath, life, power, presence 6.fortunate, valuable
Here d’aava is used in the sense of accusation and claim. It is not clearly stated what that claim or accusation might have been. Perhaps there was an atmosphere of accusation that it was a language of muslims only. But ‘us ke diivaane’ throws a wrinkle. Hence the other possibility is that urdu speaking people themselves were claiming that it is a language of muslims. In either case, the poet’s power, ability, presence is fortunate that it can counter such claims/accusations.
raghubir saran divaakar raahi (1914-1968), rampur. Three Ghazal collections with hundreds of Ghazal in each. Born in amroha, learnt urdu and faarsi at school. BA, LLB from meeraTh. District Information Officer, UP. shaa’eri was in addition to his ‘day job’. Posted to and retired in rampur, 1954 and started law practice. Editor of hindi magazines. Very secular and makes much fun of the shaiKh and brahman.
1
isi duniya meN dozaKh1 hai, isi duniya meN jannat2 hai
yeh duniya hai yahaaN muhtaat3 rahne ki zaruurat4 hai
1.hell 2.heaven 3.careful, mindful 4.necessity
This suggests that both heaven (jannat) and hell (dozakh) are realized within this life itself. It implies that our experiences and the consequences of our actions can bring us either immense joy or suffering, depending on how we live our lives. We have to be cautious and mindfulness in navigating the rights and wrongs of life, as these choices determine what we experience – heaven or hell.
2
jise m’aaloom1 hai kya vaahema2 hai, kya haqiiqat3 hai
vahi chashm4-e talab5 aaiina6-e husn7-e basiirat8 hai
1.knowledge 2.superstition, conjecture 3.truth, reality 4.eye 5.desire, searching 6.reflection 7.beauty, skill 8.insight, discernment
They, who know what is conjecture and what is truth, it is their eyes that reflect the skill/ability of insight/discernment.
3
mera idraak1 naabiina2 nahiiN hai is liye vaa’ez3
mera zauq4-e tajassus5 tishna6-e raaz7-e haqiiqat8 hai
1.wisdom, knowledge 2.blind 3.muslim preacher 4.taste, ability 5.search, seek 6.thirsty 7.secret, mysery 8.truth, reality
My knowledge is not blind (as opposed to your blind belief) O vaa’ez. That is why my desire to seek (my intellectual curiosity) remains thirsty for the mystery/secret of truth i.e., in my thirst, I keep seeking the truth while you are satisfied in your blind belief.
4
meri aavaara1 nazareN2 aek markaz3 par nahiN ruktiiN
magar ek aisa chehra4 hai jo be-hadd5 Khuubsuurat6 hai
1.wandering 2.eyes, gaze 3.focus 4.face, image 5.without limits, exceeding 6.beautiful
Normally, the poet’s wandering gaze does not stop at any one focus, but there is one exceedingly beautiful image that captivates him. What this image is, he does not share with us. Perhaps it is intellectual curiosity itself that is the beautiful image.
5
Ghalat1 d’aave2 kareN urdu pe jab Khud us ke diivaane
to is maahaul3 meN raahi4 tumhaara dam5 Ghaniimat6 hai
1.wrong, misguided 2.claims, accusations 3.atmosphere, conditions 4.pen-name of the poet 5.breath, life, power, presence 6.fortunate, valuable
Here d’aava is used in the sense of accusation and claim. It is not clearly stated what that claim or accusation might have been. Perhaps there was an atmosphere of accusation that it was a language of muslims only. But ‘us ke diivaane’ throws a wrinkle. Hence the other possibility is that urdu speaking people themselves were claiming that it is a language of muslims. In either case, the poet’s power, ability, presence is fortunate that it can counter such claims/accusations.
The post isi duniya meN jannat hai – raghubir saran divaakar raahi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/ravis-darmiyaaN-gar-Khuda-na-aa-jaae-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
درمیاں گر خدا نہ آ جائے ۔ روی سِنہا رویؔ
۱
خود کا بھی جائزہ لیا جائے
پھر زمانے سے کچھ کہا جائے
۲
بود گہرا ہے تیز رو ہے حیات
آئیے ڈوب کر بہا جائے
۳
خود میں گہرائیاں سمیٹے ہوں
کس بلندی کو اب چڑھا جائے
۴
یوں تو خلوت ہے بے نیازی ہے
شور ہر سمت کیوں بڑھا جائے
۵
روشنی تو خلا میں بھٹکے ہے
اور عالم یہ پھیلتا جائے
۶
ہم ہیں ناظر ہمیں نظارہ ہیں
درمیاں گر خدا نہ آ جائے
۷
تخم کیا بوئیے قدامت کا
کیوں نہ جنگل کو ہی چلا جائے
दरमियाँ गर ख़ुदा न आ जाये – रवी सिन्हा रवी
१
ख़ुद का भी जा’एज़ा लिया जाये
फिर ज़माने से कुछ कहा जाये
२
बूद गहरा है तेज़-रौ है हयात
आइये डूब कर बहा जाये
३
ख़ुद में गहराइयाँ समेटे हूँ
किस बुलन्दी को अब चढ़ा जाये
४
यूँ तो ख़ल्वत है बे-नियाज़ी है
शोर हर सम्त क्यूँ बढ़ा जाये
५
रौशनी तो ख़ला में भटके है
और आलम ये फैलता जाये
६
हम हैं नाज़िर हमीं नज़ारा हैं
दरमियाँ गर ख़ुदा न आ जाये
७
तुख़्म क्या बोइये क़दामत का
क्यूँ न जंगल को ही चला जाये
Click here for background and on any passage for word meanings and explanatory discussion. ravi sinha ravi (1952-living) bihar, UP and dehli, physicist, writer, educationist and an activist-scholar associated with progressive and emancipatory movements for nearly four decades. PhD in theoretical physics, MIT. Worked in research and teaching institutions in Maryland, USA and later ahmedabad, gujarat, before resigning from his job to devote himself full time to writing, organizing and theorizing. He is the principal author of the book, Globalization of Capital, co-founder of the hindi journal, sandhan, and one of the founding members of the New Socialist Initiative – an informal group of intellectuals and activists. . Came to urdu late in life (at 65) to start on a new unexpected and challenging venture …
iss umr-e-Ghazal kii mahfil meN ek der se pahuNche shaa’er ko
maqte ki ghaRii aate-aate kahne ka saliiqaa aa jaa’e
His Ghazal maintain a progressive and enlightened outlook.
1
Khud1 ka bhii jaa’ezaa2 liyaa jaa’e
phir3 zamaane4 se kuchh kahaa jaa’e 1.self 2.assessment, evaluation 3.then, later 4.world
Let’s do some introspection, some self-assessment before we pass judgment on others.
2
buud1 gahraa2 hai tez-rau3 hai hayaat4
aa’iye Duub5 kar bahaa6 jaa’e 1.existence, being, life 2.deep 3.fast moving 4.life 5.dive, immerse 6.flow
This is a reflection on fast moving and deep flow of life. The poet invites us to jump in, dive and participate in life fully, go with the flow, rather than stand ashore and watch. Said jigar muradabadi …
ye ishq nahiiN aasaaN itna hi samajh liije
ek aag ka dariya hai aur Duub ke jaana hai
3
Khud1 meN gahraaiyaaN2 sameTe3 huN
kis bulandii4 ko ab chaRhaa jaa’e 1.self 2.depths 3.gathered 4.height
There are many mysteries gathered within the self that remain to be explored and understood. Reaching external heights does not seem necessary. Here external heights could very well imply the mysteries of ‘external’ divinity. Said mohammed iqbal-
apne man meN Duub kar paa jaa suraaGh-e zindagi
tuu agar mera nahiiN bantaa na ban apna to ban
In ‘sar paida kar’, shahed writes …
aab o hava, maah o Khala bas aseer kar chuke
shahed ana ko zer kare jo vo hunar paida kar
4
yuN to Khalvat1 hai be-niyaazii2 hai
shor3 har samt4 kyuN baRhaa jaa’e 1.seclusion, isolation 2.detachment, indifference 3.noise, disturbance 4.direction
Even though the poet is in seclusion, withdrawn and detached from the world, there is disturbance/tumult all around i.e., it is not possible to withdraw oneself and ignore the world; we are very much a part of it.
5
raushnii1 to Khalaa2 meN bhaTke3 hai
aur ‘aalam4 ye phailtaa5 jaa’e 1.light, knowledge 2.void 3.wander, lost 4.world, condition 5.spread, expand
The light of knowledge is lost, wandering in the void. While knowledge is lost, ‘this’ condition is spreading. What is ‘this’ – ignorance. If ‘aalam is interpreted as the world … while light that can guide and show the way is lost in the void, the world keeps spreading i.e., exploring all around in search of a path.
6
ham haiN naazir1 hamiiN2 nazaaraa3 haiN
darmiyaaN4 gar Khuda na aa jaa’e 1.observer 2.we ourselves 3.scene, the object that is observed 4.middle, obstacle
We could be the observer and we ourselves could be the observed if god did not become an obstacle. I am sure that there are many sophisticated/reverential interpretations that may talk about the union of the observer and observed i.e. god and creature implying that if the two merge then we see/experience the divine. But I prefer my irreverential reading that the concept of god prevents an understanding of the mysteries of the universe by simply assigning causality and washing hands of the effort to understand. Says shahed …
apni samajh ki hadd ko Khuda yuN banaa diya
aasaan tha yeh kahna keh voh hai hijaab meN
7
tuKhm1 kyaa bo’iye2 qadaamat3 kaa
kyuN na jaNgal ko hii chalaa jaa’e
1.seed 2.sow 3.antiquity
Why sow seeds of antiquity? Why not just go back to the jungle. I like to interpret this as a sarcastic observation on the politics of the day which plays up the glory of the past. If the past was so glorious, why not just go back to the jungle … implying perhaps rule of the jungle rather than civilization, primitive technology levels, primitive knowledge levels.
ravi sinha ravi (1952-living) bihar, UP and dehli, physicist, writer, educationist and an activist-scholar associated with progressive and emancipatory movements for nearly four decades. PhD in theoretical physics, MIT. Worked in research and teaching institutions in Maryland, USA and later ahmedabad, gujarat, before resigning from his job to devote himself full time to writing, organizing and theorizing. He is the principal author of the book, Globalization of Capital, co-founder of the hindi journal, sandhan, and one of the founding members of the New Socialist Initiative – an informal group of intellectuals and activists. . Came to urdu late in life (at 65) to start on a new unexpected and challenging venture …
iss umr-e-Ghazal kii mahfil meN ek der se pahuNche shaa’er ko
maqte ki ghaRii aate-aate kahne ka saliiqaa aa jaa’e
His Ghazal maintain a progressive and enlightened outlook.
1
Khud1 ka bhii jaa’ezaa2 liyaa jaa’e
phir3 zamaane4 se kuchh kahaa jaa’e
1.self 2.assessment, evaluation 3.then, later 4.world
Let’s do some introspection, some self-assessment before we pass judgment on others.
2
buud1 gahraa2 hai tez-rau3 hai hayaat4aa’iye Duub5 kar bahaa6 jaa’e
1.existence, being, life 2.deep 3.fast moving 4.life 5.dive, immerse 6.flow
This is a reflection on fast moving and deep flow of life. The poet invites us to jump in, dive and participate in life fully, go with the flow, rather than stand ashore and watch. Said jigar muradabadi …
ye ishq nahiiN aasaaN itna hi samajh liije
ek aag ka dariya hai aur Duub ke jaana hai
3
Khud1 meN gahraaiyaaN2 sameTe3 huN
kis bulandii4 ko ab chaRhaa jaa’e
1.self 2.depths 3.gathered 4.height
There are many mysteries gathered within the self that remain to be explored and understood. Reaching external heights does not seem necessary. Here external heights could very well imply the mysteries of ‘external’ divinity. Said mohammed iqbal-
apne man meN Duub kar paa jaa suraaGh-e zindagi
tuu agar mera nahiiN bantaa na ban apna to ban
In ‘sar paida kar’, shahed writes …
aab o hava, maah o Khala bas aseer kar chuke
shahed ana ko zer kare jo vo hunar paida kar
4
yuN to Khalvat1 hai be-niyaazii2 hai
shor3 har samt4 kyuN baRhaa jaa’e
1.seclusion, isolation 2.detachment, indifference 3.noise, disturbance 4.direction
Even though the poet is in seclusion, withdrawn and detached from the world, there is disturbance/tumult all around i.e., it is not possible to withdraw oneself and ignore the world; we are very much a part of it.
5
raushnii1 to Khalaa2 meN bhaTke3 hai
aur ‘aalam4 ye phailtaa5 jaa’e
1.light, knowledge 2.void 3.wander, lost 4.world, condition 5.spread, expand
The light of knowledge is lost, wandering in the void. While knowledge is lost, ‘this’ condition is spreading. What is ‘this’ – ignorance. If ‘aalam is interpreted as the world … while light that can guide and show the way is lost in the void, the world keeps spreading i.e., exploring all around in search of a path.
6
ham haiN naazir1 hamiiN2 nazaaraa3 haiN
darmiyaaN4 gar Khuda na aa jaa’e
1.observer 2.we ourselves 3.scene, the object that is observed 4.middle, obstacle
We could be the observer and we ourselves could be the observed if god did not become an obstacle. I am sure that there are many sophisticated/reverential interpretations that may talk about the union of the observer and observed i.e. god and creature implying that if the two merge then we see/experience the divine. But I prefer my irreverential reading that the concept of god prevents an understanding of the mysteries of the universe by simply assigning causality and washing hands of the effort to understand. Says shahed …
apni samajh ki hadd ko Khuda yuN banaa diya
aasaan tha yeh kahna keh voh hai hijaab meN
7
tuKhm1 kyaa bo’iye2 qadaamat3 kaa
kyuN na jaNgal ko hii chalaa jaa’e
1.seed 2.sow 3.antiquity
Why sow seeds of antiquity? Why not just go back to the jungle. I like to interpret this as a sarcastic observation on the politics of the day which plays up the glory of the past. If the past was so glorious, why not just go back to the jungle … implying perhaps rule of the jungle rather than civilization, primitive technology levels, primitive knowledge levels.
The post darmiyaaN gar Khuda na aa jaa’e – ravi sinha ravi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/afaani-maaNgta-hai-zamaana-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مانگتا ہے زمانا ۔ اننت فانیؔ
۱
ترے کُن کا تو پینترا ہے پرانا
نئے معجزے مانگتا ہے زمانا
۲
چھپا ہے جو ہم سے پتہ ہے نہ اُس کو
محبت میں ہے جرم کچھ بھی چھپانا
۳
بھرے ترکشوں کا بھرم بھی بہت ہے
نہیں لازمی تیر سارے چلانا
۴
سفر ہے پڑاؤ آتے جاتے رہیں گے
کسی اِک ٹھکانے سے کیا دل لگانا
۵
عجوبہ سا کچھ انت میں ہوگا فانیؔ
وگرنہ تو کیا ہی تھا سارا فسانہ
माँगता है ज़माना – अनन्त फ़ानी
१
तेरे कुन का तो पैंतरा है पुराना
नए मो’जेज़े माँगता है ज़माना
२
छुपा है जो हम से पता है न उस को
मोहब्बत में है जुर्म कुछ भी छुपाना
३
भरे तरकशों का भरम भी बहुत है
नहीं लाज़मी तीर सारे चलाना
४
सफ़र है पढा’ऊ आते जाते रहेंगे
किसी एक ठिकाने से क्या दिल लगाना
५
अजूबा सा कुछ अंत में होगा फ़ानी
वगरना तो क्या ही था सारा फ़साना
Click here for background and on any passage for word meanings and explanatory discussion. ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating.
1
tere kun1 ka to paiNtra2 hai puraana
na’ye mo’jize3 maaNgta hai zamaana4 1.to be, creation 2.tactic, trick 3.miracles 4.world
This draws on the conventional, orthodox story of creation – god said ‘be’ and the universe was created. Says the poet, this story/trickery is now old. The world demands new miracles … new demonstrations/logic.
2
chhupa1 hai jo ham se pataa2 hai na us ko
mohabbat meN hai jurm3 kuchh bhi chhupaana4 1.hidden 2.awareness, knowledge 3.crime, sin 4.hiding
The relationship between god and human is said to be one of love and god is hidden from our view. Is he/she not aware that it is a sin to hide anything in love.
3
bhare tarkashoN1 ka bharam2 bhi bahut hai
nahiN laazimi3 tiir saare chalaana 1.quiver, container for arrows 2.deception 3.necessary
The deception of a quiver full of arrows is a great trick. It is not necessary that all the arrows be used. Perhaps he means that the threat of using arrows (power of some sort) sometimes works without actually having to carry out the threat. Perhaps it is the beloved who has a quiver full of arrows, but does not have to use them to win over the lover’s heart.
4
safar1 hai paRaa’u2 aate jaate raheNge
kisi ek Thikaane3 se kya dil lagaana 1.journey 2.rest-stops 3.place
Life is a journey. There will be many rest-stops along the way. What is the point of getting attached to any one place. Here ‘Thikhaana’ can imply a position or a point of view. The she’r reflects the dynamism of life, the evolution of ideas and learning. There is no point in being stuck in one place.
5
ajuuba1 sa kuchh ant2 meN hoga faani3
vagarna4 to kya hi tha saara fasaana5 1.miracle, unusual happening 2.end 3.pen-name of the poet 4.otherwise 5.fable
This could be about the story of creation which was the subject of the first she’r or about any other fable perpetrated by orthodoxy. O faani, we must expect/experience some miracle towards the end. Otherwise, what is the use of this fable.
ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating.
1
tere kun1 ka to paiNtra2 hai puraana
na’ye mo’jize3 maaNgta hai zamaana4
1.to be, creation 2.tactic, trick 3.miracles 4.world
This draws on the conventional, orthodox story of creation – god said ‘be’ and the universe was created. Says the poet, this story/trickery is now old. The world demands new miracles … new demonstrations/logic.
2
chhupa1 hai jo ham se pataa2 hai na us ko
mohabbat meN hai jurm3 kuchh bhi chhupaana4
1.hidden 2.awareness, knowledge 3.crime, sin 4.hiding
The relationship between god and human is said to be one of love and god is hidden from our view. Is he/she not aware that it is a sin to hide anything in love.
3
bhare tarkashoN1 ka bharam2 bhi bahut hai
nahiN laazimi3 tiir saare chalaana
1.quiver, container for arrows 2.deception 3.necessary
The deception of a quiver full of arrows is a great trick. It is not necessary that all the arrows be used. Perhaps he means that the threat of using arrows (power of some sort) sometimes works without actually having to carry out the threat. Perhaps it is the beloved who has a quiver full of arrows, but does not have to use them to win over the lover’s heart.
4
safar1 hai paRaa’u2 aate jaate raheNge
kisi ek Thikaane3 se kya dil lagaana
1.journey 2.rest-stops 3.place
Life is a journey. There will be many rest-stops along the way. What is the point of getting attached to any one place. Here ‘Thikhaana’ can imply a position or a point of view. The she’r reflects the dynamism of life, the evolution of ideas and learning. There is no point in being stuck in one place.
5
ajuuba1 sa kuchh ant2 meN hoga faani3
vagarna4 to kya hi tha saara fasaana5
1.miracle, unusual happening 2.end 3.pen-name of the poet 4.otherwise 5.fable
This could be about the story of creation which was the subject of the first she’r or about any other fable perpetrated by orthodoxy. O faani, we must expect/experience some miracle towards the end. Otherwise, what is the use of this fable.
The post maaNgta hai zamaana-anant iyer faani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/ravis-aainda-badal-kar-dekheN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آئندہ بدل کر دیکھیں ۔ روی سنہا رویؔ
۱
وقت کے ساتھ بھی چل کر دیکھیں
چل گزشتہ سے نکل کر دیکھیں
۲
آپ ماضی کو بدل دیتے ہیں
کبھی آئندہ بدل کر دیکھیں
۳
اب سے آگے ہے زمانے کی ڈھلان
اور دعوت کہ پِھسل کر دیکھیں
۴
عربدہ جو کی سکونت ہے دماغ
دہر سے جنگ و جدل کر دیکھیں
۵
ہم کو معلوم ہے پتھر ہونا
آپ کہیے تو پِگھل کر دیکھیں
۶
کیا لطافت ہے گزر جانے میں
ساتھ میں شام کے ڈھل کر دیکھیں
۷
روز آئینہ بدلنے والے
کبھی خود کو بھی بدل کر دیکھیں
۸
ہر دفعہ ہوش گنوانا اپنا
اُن کو اِس بار سنبھل کر دیکھیں
۹
بندگی کا تو صلہ دیکھ لیا
آج کہیے تو مچل کر دیکھیں
आइन्दा बदल कर देखें – रवि सिन्हा रवि
१
वक़्त के साथ भी चल कर देखें
चल गुज़िश्ता से निकल कर देखें
२
आप माज़ी को बदल देते हैं
कभी आइन्दा बदल कर देखें
३
अब से आगे है ज़माने की ढलान
और दावत के फिसल कर देखें
४
अर्बदा-जू की सुकूनत है दिमाग़
दहर से जंग-ओ-जदल कर देखें
५
हम को मालूम है पत्थर होना
आप कहिये तो पिघल कर देखें
६
क्या लताफ़त है गुज़र जाने में
साथ में शाम के ढल कर देखें
७
रोज़ आईना बदलने वाले
कभी ख़ुद को भी बदल कर देखें
८
हर दफ़ा होश गँवाना अपना
उनको इस बार सँभल कर देखें
९
बंदगी का तो सिला देख लिया
आज कहिये तो मचल कर देखें
Click here for background and on any passage for word meanings and explanatory discussion. ravi sinha ravi (1952-living) bihar, UP and dehli, physicist, writer, educationist and an activist-scholar associated with progressive and emancipatory movements for nearly four decades. PhD in theoretical physics, MIT. Worked in research and teaching institutions in Maryland, USA and later ahmedabad, gujarat, before resigning from his job to devote himself full time to writing, organizing and theorizing. He is the principal author of the book, Globalization of Capital, co-founder of the hindi journal, sandhan, and one of the founding members of the New Socialist Initiative – an informal group of intellectuals and activists. . Came to urdu late in life (at 65) to start on a new, unexpected and challenging venture …
iss umr-e-Ghazal kii mahfil meN ek der se pahuNche shaa’er ko
maqte ki ghaRii aate-aate kahne ka saliiqaa aa jaa’e
His Ghazal maintain a progressive and enlightened outlook.
1
vaqt ke saath bhi chal kar dekheN
chal guzishtaa1 se nikal kar dekheN 1.past
This is wide open to interpretations. Let us walk with the times. Let us get out of the past. It can mean that present times are marching along with progress in knowledge and capability. Let us step up and keep up with it, rather than be stuck in past superstitions and ignorance. It can also be interpreted as – the world is moving forward, let us get out of our hubristic sense of past glory. Said rajesh reddy …
Khud ko maazi meN rakhuN haal meN rahte hue bhi
naye vaqtoN ke Khayaalaat na likhne paa’uN
Said fahmida riaz in ‘naya bharat’ …
ek jaap saa kartey jaa’o
baaram-baar yehi dohraa’okitna veer mahaan tha bharat
kaisa ‘aalishaan tha bharat
2
aap maazii1 ko badal dete haiN
kabhii aa’inda2 badal kar dekheN 1.past 2.future
You change/modify that past, sometime try and change/shape the future. This could mean … you invent fables to glorify the past, or you change history books to obscure the truth. Try and focus on improving/shaping the future.
3
ab se aage1 hai zamaane2 ki Dhalaan3
aur d’aavat4 keh phisal5 kar dekheN 1.in front, ahead 2.times, period 3.slope 4.invitation 5.slip
Our times are facing a steep downhill slope, and you invite us slip down into the abyss. This like many other ash’aar, can have political implications.
4
arbada-juu1 ki sukuunat2 hai dimaaGh
dahr3 se jaNg-o-jadal4 kar dekheN 1.conflict/struggle seeking 2.residence, home 3.world 4.war and conflict
This is also wide open to interpretations. In a positive view, the mind is the seat of struggle (against ignorance, injustice). Let us wage war (against injustice of the) world. In a more accusatory interpretation … your mind is the seat of war and conflict. You pick fights with the whole world. This could also have a lot of political implications.
5
ham ko maaluum hai patthar1 honaa
aap kahiye to pighal2 kar dekheN 1.rock, obstacle, obstinate 2.melt away, disappear, soften
‘patthar hona’ can be used for becoming an obstacle to progress or becoming insistent and obstinate, or even becoming a rock that can be used to throw and attack. Thus, we know how to be a rock/obstacle/obstinate. If you say/ask we can melt away and see what happens. Who is this addressed to? The beloved or to the political order? The poet invites us to create our own interpretation.
6
kyaa lataafat1 hai guzar2 jaane meN
saath meN shaam ke Dhal3 kar dekheN 1.elegance, subtlety, delicacy 2.passing by, passing 3.set (as in sunset)
This is an enigma to me. It could be about the passage of time/age. The day passes elegantly, subtly and smoothly into night. The second misra either invites the reader to witness the elegance of this passage or is it an invitation to try this ourselves. I am particularly sensitive to the latter because I am at a stage of life where I am fighting aging, struggling to keep up my old capabilities … this is an invitation to elegantly accept the processes of nature and age gracefully.
7
roz1 aa’iina badalne2 vaale
kabhii Khud3 ko bhi badal kar dekheN 1.daily 2.changing 3.self
You will see the same yourself even if you change mirrors every day. It is not the mirror, it is YOU, says the poet. I am reminded of a she’r of krishn bihari noor and was inspired to compose a rather politically loaded and mischievous she’r. Said krish bihari noor …
chaahe sone ke frame meN jaR do
aa’ina jhuuT boltaa hi nahiN
Says shahed …
roz dastaar badalne vaale
barhana-sar kabhi chal kar dekheN
8
har daf’aa1 hosh2 gaNvaanaa3 apnaa
unko is baar saNbhal4 kar dekheN 1.every time 2.senses 3.losing 4.balanced, tempered
Losing our senses every time; this time let us look with a balanced view. I am reminded of poets writing exaggerated descriptions of the beloved; people/fans getting enamoured with artists/politicians or the like; perhaps even divinity/god.
9
bandagii1 kaa to silaa2 dekh liyaa
aaj kahiye to machal3 kar dekheN 1.servitude, devotion 2.recompense 3.used to mean – rebel
I am tempted to apply this to god, especially since the word ‘bandagii’ is used. We have seen the results of blind obedience/devotion. Let us rebel today and see what happens.
ravi sinha ravi (1952-living) bihar, UP and dehli, physicist, writer, educationist and an activist-scholar associated with progressive and emancipatory movements for nearly four decades. PhD in theoretical physics, MIT. Worked in research and teaching institutions in Maryland, USA and later ahmedabad, gujarat, before resigning from his job to devote himself full time to writing, organizing and theorizing. He is the principal author of the book, Globalization of Capital, co-founder of the hindi journal, sandhan, and one of the founding members of the New Socialist Initiative – an informal group of intellectuals and activists. . Came to urdu late in life (at 65) to start on a new, unexpected and challenging venture …
iss umr-e-Ghazal kii mahfil meN ek der se pahuNche shaa’er ko
maqte ki ghaRii aate-aate kahne ka saliiqaa aa jaa’e
His Ghazal maintain a progressive and enlightened outlook.
1
vaqt ke saath bhi chal kar dekheN
chal guzishtaa1 se nikal kar dekheN
1.past
This is wide open to interpretations. Let us walk with the times. Let us get out of the past. It can mean that present times are marching along with progress in knowledge and capability. Let us step up and keep up with it, rather than be stuck in past superstitions and ignorance. It can also be interpreted as – the world is moving forward, let us get out of our hubristic sense of past glory. Said rajesh reddy …
Khud ko maazi meN rakhuN haal meN rahte hue bhi
naye vaqtoN ke Khayaalaat na likhne paa’uN
Said fahmida riaz in ‘naya bharat’ …
ek jaap saa kartey jaa’o
baaram-baar yehi dohraa’okitna veer mahaan tha bharat
kaisa ‘aalishaan tha bharat
2
aap maazii1 ko badal dete haiN
kabhii aa’inda2 badal kar dekheN
1.past 2.future
You change/modify that past, sometime try and change/shape the future. This could mean … you invent fables to glorify the past, or you change history books to obscure the truth. Try and focus on improving/shaping the future.
3
ab se aage1 hai zamaane2 ki Dhalaan3aur d’aavat4 keh phisal5 kar dekheN
1.in front, ahead 2.times, period 3.slope 4.invitation 5.slip
Our times are facing a steep downhill slope, and you invite us slip down into the abyss. This like many other ash’aar, can have political implications.
4
arbada-juu1 ki sukuunat2 hai dimaaGh
dahr3 se jaNg-o-jadal4 kar dekheN
1.conflict/struggle seeking 2.residence, home 3.world 4.war and conflict
This is also wide open to interpretations. In a positive view, the mind is the seat of struggle (against ignorance, injustice). Let us wage war (against injustice of the) world. In a more accusatory interpretation … your mind is the seat of war and conflict. You pick fights with the whole world. This could also have a lot of political implications.
5
ham ko maaluum hai patthar1 honaa
aap kahiye to pighal2 kar dekheN
1.rock, obstacle, obstinate 2.melt away, disappear, soften
‘patthar hona’ can be used for becoming an obstacle to progress or becoming insistent and obstinate, or even becoming a rock that can be used to throw and attack. Thus, we know how to be a rock/obstacle/obstinate. If you say/ask we can melt away and see what happens. Who is this addressed to? The beloved or to the political order? The poet invites us to create our own interpretation.
6
kyaa lataafat1 hai guzar2 jaane meN
saath meN shaam ke Dhal3 kar dekheN
1.elegance, subtlety, delicacy 2.passing by, passing 3.set (as in sunset)
This is an enigma to me. It could be about the passage of time/age. The day passes elegantly, subtly and smoothly into night. The second misra either invites the reader to witness the elegance of this passage or is it an invitation to try this ourselves. I am particularly sensitive to the latter because I am at a stage of life where I am fighting aging, struggling to keep up my old capabilities … this is an invitation to elegantly accept the processes of nature and age gracefully.
7
roz1 aa’iina badalne2 vaale
kabhii Khud3 ko bhi badal kar dekheN
1.daily 2.changing 3.self
You will see the same yourself even if you change mirrors every day. It is not the mirror, it is YOU, says the poet. I am reminded of a she’r of krishn bihari noor and was inspired to compose a rather politically loaded and mischievous she’r. Said krish bihari noor …
chaahe sone ke frame meN jaR do
aa’ina jhuuT boltaa hi nahiN
Says shahed …
roz dastaar badalne vaale
barhana-sar kabhi chal kar dekheN
8
har daf’aa1 hosh2 gaNvaanaa3 apnaa
unko is baar saNbhal4 kar dekheN
1.every time 2.senses 3.losing 4.balanced, tempered
Losing our senses every time; this time let us look with a balanced view. I am reminded of poets writing exaggerated descriptions of the beloved; people/fans getting enamoured with artists/politicians or the like; perhaps even divinity/god.
9
bandagii1 kaa to silaa2 dekh liyaa
aaj kahiye to machal3 kar dekheN
1.servitude, devotion 2.recompense 3.used to mean – rebel
I am tempted to apply this to god, especially since the word ‘bandagii’ is used. We have seen the results of blind obedience/devotion. Let us rebel today and see what happens.
The post aa’inda badal kar dekheN-ravi sinha ravi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/dss-vasf-e-zabaan-09-16-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
وصفِ زبان ۔ دُرگا سہائے سرور
۹
جوشیلے جوانوں کو لڑوانے والی
اکھاڑے میں شیروں سے بھڑ جانے والی
سواروں کے نیزوں کو چمکانے والی
شجاعت کے شعلوں کو بھڑکانے والی
جو تو بڑھ کے کڑکے سناتی ہے رن میں
دلیروں کی ہمت بڑھاتی ہے رن میں
۱۰
بندھاتی ہے تو رانڈ بیووں کی ہمت
یتیموں سے کرتی ہے اظہارِ شفقت
مریضوں کو دیتی ہے تسکین صحت
کہ ہے تیرے لب کی مُفرّح حلاوت
تیرے ہونٹ ہیں نوشداروے سادہ
مقوی ہے یا قوتیوں سے زیادہ
۱۱
کہانی سے راتوں کو تو ہے سلاتی
کہ بچوں کو تو لوریاں ہیں سناتی
کلیجے سے ماں کی طرح ہے لگاتی
کہ یوں ہولے ہولے ہے تو گاتی جاتی
اری نیند آجا، اری نیند آجا
میرے لال کو تیرے صدقے سلا جا
۱۲
کہیں شہد ہے تو کہیں قند ہے تو
مواعظ کہیں ہے،کہیں پند ہے تو
دہن میں نظربند ہرچند ہے تو
مگر وقتِ تقریر کب بند ہے تو
روانی میں ہے سیل، چلنے میں سرسر
چھلاوا ہے شوخی میں تیزی میں خنجر
۱۳
عیاں ہیں تیرے نکتہ سنجوں پہ جوہر
کہ ہے تو بشر کے فضائل کا زیور
ہر اقلیم میں ہے ترا سکۂ زر
کہ زیر نگیں ہیں تیرے ہفت کشور
چمک تیری ہر تاج و دیہیم میں ہے
نئی شاہ زادی ہر اقلیم میں ہے
۱۴
جو تو اے زباں ایشیا کی پری ہے
تو یورپ کی لیڈی شرارت بھری ہے
کہیں پہلوی ہے کہیں تو دری ہے
سخن کے حدیقے کی کبکِ دری ہے
کہیں تو ہے بھاشا کہیں فارسی تو
کہ ہے شاہدِ نطق کی آرسی تو
۱۵
ترانہ کہیں تو ہے مطرب کے لب پر
کہیں تو ہے جادو بیانوں کے لیکچر
کہیں بذلہ گو ہے کہیں پندگستر
کہ ہے طوطیِ شکرستانِ نیچر
زمانہ ہے شیدا تیرا او رنگیلی
ادا ہے رسیلی صدا ہے سریلی
۱۶
یہ رنگیں ادائی یہ رنگیں نوائی
تیرے روزمرّہ کی اف یہ صفائی
بشر کو کہاں طاقتِ لب کشائی
کہ ممکن نہیں تیری مِدحت سرائی
عجب نطق کی موہنی تو ہے مورت
ہوا ہے جنم تیرا کیا شبھ مہورت
वस्फ़-ए जबान – दुर्गा सहाय सुरूर जहानाबादी
९
जोशीले जवानों को लढवाने वाली
अखाढे में शेरों से भिढ जाने वाली
सवारौं के नेज़ौं को चमकाने वाली
शुजा’अत के शोलौं को भढकाने वाली
जो तू बढ़ के कढके सुनाती है रन में
दिलेरों की हिम्मत बढ़ाती है रन में
१०
बंधाती है तू रांड-बेवौं की हिम्मत
यतीमौं से करती है इज़्हार-ए शफ़्क़त
मरीज़ौं को देती है तस्कीन-ए सेहत
के है तेरे लब की मुफ़र्रह हलावत
तेरे होंठ हैं नोशदारू-ए सादा
मक़व्वी हैं या क़ुव्वतीयौं से ज़्यादा
११
कहानी से रातों को तू है सुलाती
के बच्चों को तू लोरियां है सुनाती
कलेजे से मां की तरह है लगाती
के यूं होले होले है तू गति जाती
अरी नींद आ जा, अरी नींद आ जा
मेरे लाल को तेरे सदक़े सुला जा
१२
कहीं शहद है तू कहीं क़ंद है तू
मवा’एज़ कहीं है कहीं बंद है तू
दहन में नज़र बंद हरचंद है तू
मगर वक़्त-ए तक़्रीर कब बंद है तू
रवानी में है सैल, चलने में सर सर
छलावा है शूख़ी में तेज़ी में ख़ंजर
१३
अयां हैं तेरे नुक्ता संजो पे जौहर
के है तू बशर के फ़ज़ाएल का ज़ेवर
हर एक़्लीम में है तेरा सिक्का-ए ज़र
के ज़ेर-ए नगीं हैं तेरे हफ़्त किश्वर
चमक तेरी हर ताज ओ देहीम में है
नई शहज़ादी हर एक़्लीम में है
१४
जो तू अए ज़बां एशिया की परी है
तो यूरोप की लेडी शरारत भरी है
कहीं पहलवी है कहीं तू दरी है
सुख़न के हदीक़े कि कुब्क-ए दरी है
कहीं तू है भाषा कहीं फ़ारसी तू
के है शाहेद-ए नुत्क़ की आर्सी तू
१५
तराना कहीं तू है मुत्रिब के लब पर
कहीं तू है जादू बयानौं का लेक्चर
कहीं बज़्ला-गो है कहीं पंद गुस्तर
के है तूती-ए शकरिस्तान-ए नेचर
जमाना है शैदा तेरा ओ रंगीली
अदा है रसीली सदा है सुरीली
१६
येह रंगीं अदाई येह रंगीं नवाई
तेरे रोज़-मर्रा की उफ़ येह सफ़ाई
बशर को कहां ताक़त-ए लब-कुशाई
के मुम्किन नहीं तेरी मदह-सराई
अजब नुत्क़ की मोहिनी तू है मूरत
हुआ जन्म तेरा क्या शुभ मुहूरत
Click here for background and on any passage for word meanings and explanatory discussion. durga sahay suroor (1873-1910) died young, probably because of excessive drinking. Tellingly, his books are named Khum-kada-e suroor, paimaana-e suroor, and Khum-Khaana-e suroor. He wrote about hindu religious themes also and moved easily and rhythmically between chaste urdu/farsi and hindi/khaRi boli. This nazm, in praise of urdu is linked to ‘urdu’ on the Theme Index page.
9
joshiilay javaanoN ko laRvaane vaali
akhaaRay1 meN sheroN se bhiR jaane vaali
savaaroN2 ke naizoN3 ko chamkaanay vaali
shujaa’at4 ke sho’loN5 ko bhaRkaanay vaali
jo tu baRh ke kaRkay6 sunaati hai runn7 meN
dileroN8 ki himmat baRhaati hai runn meN 1.wrestling field, battlefield 2.riders, horsemen 3.lance, spear 4.bravery 5.flames 6.thunder (sound) 7.war, struggle 8.braves
You give courage to passionate youth. You do not hesitate to face down lions in the field. You give brilliance to the spears of riders, you fan the flames of courage. When you advance in the field and sound your thunder, you encourage braves. All of this, using imagery of ancient battles, reflects the view of urdu as a language of resistance.
10
bandhaati1 hai tu raaND-bevauN2 ki himmat
yatiimoN3 se karti hai izhaar4-e shafqat5
mariizoN6 ko deti hai taskeen7-e sehat8
keh hai teray lab ki mufarrah9 halaavat10
tairay hoNT haiN nosh-daaru11-e saada12
muqavvi13 hai ya quvvatiyoN14 se ziyada15 1.himmat baandhna is a phrase-giving courage/hope 2.widows 3.orphans 4.expression 5.love 6.sick/unwell 7.comfort, consolation 8.health 9.joyful 10.sweetness 11.antidote 12.plain, simple 13.giving strength 14.strong 15.more
You give hope to widows and express love for orphans and comfort the sick. Your sweetness is pleasurable to the lips. You are an antidote to simple lips. You make us stronger than the strong. The poet highlights the cultural identification of urdu with the deprived – widows, orphans, the sick and the weak.
11
kahaani se raatoN ko tu hai sulaati
keh bachchoN ko tu loriyaaN hai sunaati
kaleje1 se maaN ki tarah hai lagaati
keh yuN haulay-haulay2 hai tu gaati jaati
ari neend aa ja, ari neend aa ja
meray laal ko teray sadqay3 sulaa ja 1.liver/heart 2.slowly, gently 3.offering devotion
You get us to fall asleep with your stories. You sing lullabies for children, holding them to your heart like a mother. Gently you sing – get to sleep, get to sleep. You sing – I (urdu) offer you my devotion, get my loved one to sleep.
12
kahiiN shah’d1 hai tu kahiiN qand2 hai tu
mavaa’ez3 kahiiN hai, kahiiN pand4 hai tu
dahan5 meN nazar-band6 harchand7 hai tu
magar vaqt-e taqreer8 kab band hai tu
ravaani9 meN hai saeyl10, chalne meN sar-sar11
chhalaava hai shooKhi meN tezi12 meN Khanjar13 1.honey 2.sweet 3.sermon 4.admonition 5.mouth 6.imprisoned, hidden 7.even though 8.speaking 9.flow 10.flood 11.wind, storm 12.sharpness 13.dagger
Here you are honey and there you are sweetness, here a sermon and there an admonishment. Even though you are hidden in the mouth, at the time of speaking, who can stop you. You flow like a flood, blow like a storm. You are playful in your mischief, sharp as a dagger. Such are the qualities of urdu language.
13
ayaaN1 haiN teray nukta-sanjoN2 peh jauhar3
keh hai tu bashar4 ke fazaa’el5 ka zevar6
har iqleem7 meN hai tera sikka8-e zar9
ke zer-e-nagiiN10 haiN teray haft-kishvar11
chamak teri har taaj o de’heem12 meN hai
na’ii shaahzaadi har iqleem7 meN hai 1.revealed, manifest 2.those who discern fine/subtle points 3.jewels 4.human 5.praises 6.jewels 7.domain, field 8.coin 9.gold 10.under the ring-stone 11.seven domains, seven skies 12.crown
Those who understand your subtleties have a wealth of jewels revealed to them. You are the best praise of humanity i.e., humanity is praiseworthy because it knows urdu language. In every field your gold coin is the accepted currency for the seven skies are under your control. Royal decrees were considered authentic when they bore the stamp etched on the ring that emperor wore on his finger. Thus, all orders were under his ‘zer-e nagiiN’. It is your light that sparkles in every crown. You are the new princess of every domain.
14
jo tu aye zabaaN asia ki pari hai
tu yorop ki laDy shararat bhari hai
kahiiN pahlavi1 hai kahiiN tu dari2 hai
suKhan3 ke hadeeqe4 ki kab’k-e-dari5 hai
kahiiN tu hai bhaasha kahiiN faarsi tu
keh hai shaahid6-e nutq7 ki aarsee8 tu 1.ancient faarsi 2.central asian variation of faarsi 3.speech, words 4.orchard 5.beautiful species of partridge 6.beloved 7.power of speech 8.mirror worn in finger ring
If you are a fairy in Asia, you are a mischievous lady in Europe. This probably refers to European women (notably Queen Victoria) who had a fondness for urdu language. Here you are like pahlavi and there like dari. You are the beautiful bird of the orchard of speech. Sometimes you are bhaasha, at other times you are faarsi. This probably implies that urdu is a mixture of many languages. Women of style used to wear a ring that had mirror embedded in it. They would look at themselves at critical times touch up their looks. Thus, urdu is that mirror worn on the ring of the power of speech (depicted as the beloved).
15
taraanah kahiiN tu hai mutrib1 ke lab2 par
kahiiN tu hai jaadu bayaanoN3 ke lekchar
kahiiN bazla-go4 hai kahiiN pand-gustar5
keh hai tooti6-e shakaristaan7-e naychar
zamaana hai shaida8 tera o raNgiili9
adaa10 hai raseeli sada11 hai suriili12 1.singer 2.lips 3.speaker 4.witticism 5.admonishment 6.parrot, parakeet 7.sweet country 8.admirer 9.colourful, beautiful 10.style 11.sound 12.melodious
Sometimes you are a song on the lips of a singer and at other times you are in the lecture of enchanting speakers. Here you show witticism and there admonishment for you are the sound of the parakeet of the sweetness of nature. O raNgiili, the whole world is your admirer for your style is colourful and your speech melodious.
16
yeh raNgiiN adaaii1 yeh raNgiiN navaaii2
teray rozmarrah3 ki uff yeh safaaii4
bashar5 ko kahaaN taaqat6-e lab-kushaaii7
keh mumkin8 nahiN taeri mid’hat-saraaii9
ajab10 nutq11 ki mohini12 tu hai moorat13
hua hai janam14 tera kya shubh-mahoorat15 1.style 2.sound 3.daily 4.clarity 5.human 6.power 7.opening mouth/lips 8.possible 9.speaking praises 10.unusual, rare 11.power of speech 12.beloved 13.idol, statue 14.birth 15.auspicious time
Your colourful style and beautiful sound is the reason for the clarity/purity of your every day use. How can humans have the power to open their mouth in praise of you. You are a unique idol of the beloved of the power of speech. What an auspicious time it was, when you were born.
durga sahay suroor (1873-1910) died young, probably because of excessive drinking. Tellingly, his books are named Khum-kada-e suroor, paimaana-e suroor, and Khum-Khaana-e suroor. He wrote about hindu religious themes also and moved easily and rhythmically between chaste urdu/farsi and hindi/khaRi boli. This nazm, in praise of urdu is linked to ‘urdu’ on the Theme Index page.
9
joshiilay javaanoN ko laRvaane vaali
akhaaRay1 meN sheroN se bhiR jaane vaali
savaaroN2 ke naizoN3 ko chamkaanay vaali
shujaa’at4 ke sho’loN5 ko bhaRkaanay vaali
jo tu baRh ke kaRkay6 sunaati hai runn7 meN
dileroN8 ki himmat baRhaati hai runn meN
1.wrestling field, battlefield 2.riders, horsemen 3.lance, spear 4.bravery 5.flames 6.thunder (sound) 7.war, struggle 8.braves
You give courage to passionate youth. You do not hesitate to face down lions in the field. You give brilliance to the spears of riders, you fan the flames of courage. When you advance in the field and sound your thunder, you encourage braves. All of this, using imagery of ancient battles, reflects the view of urdu as a language of resistance.
10
bandhaati1 hai tu raaND-bevauN2 ki himmat
yatiimoN3 se karti hai izhaar4-e shafqat5
mariizoN6 ko deti hai taskeen7-e sehat8
keh hai teray lab ki mufarrah9 halaavat10
tairay hoNT haiN nosh-daaru11-e saada12
muqavvi13 hai ya quvvatiyoN14 se ziyada15
1.himmat baandhna is a phrase-giving courage/hope 2.widows 3.orphans 4.expression 5.love 6.sick/unwell 7.comfort, consolation 8.health 9.joyful 10.sweetness 11.antidote 12.plain, simple 13.giving strength 14.strong 15.more
You give hope to widows and express love for orphans and comfort the sick. Your sweetness is pleasurable to the lips. You are an antidote to simple lips. You make us stronger than the strong. The poet highlights the cultural identification of urdu with the deprived – widows, orphans, the sick and the weak.
11
kahaani se raatoN ko tu hai sulaati
keh bachchoN ko tu loriyaaN hai sunaati
kaleje1 se maaN ki tarah hai lagaati
keh yuN haulay-haulay2 hai tu gaati jaati
ari neend aa ja, ari neend aa ja
meray laal ko teray sadqay3 sulaa ja
1.liver/heart 2.slowly, gently 3.offering devotion
You get us to fall asleep with your stories. You sing lullabies for children, holding them to your heart like a mother. Gently you sing – get to sleep, get to sleep. You sing – I (urdu) offer you my devotion, get my loved one to sleep.
12
kahiiN shah’d1 hai tu kahiiN qand2 hai tu
mavaa’ez3 kahiiN hai, kahiiN pand4 hai tu
dahan5 meN nazar-band6 harchand7 hai tu
magar vaqt-e taqreer8 kab band hai tu
ravaani9 meN hai saeyl10, chalne meN sar-sar11
chhalaava hai shooKhi meN tezi12 meN Khanjar13
1.honey 2.sweet 3.sermon 4.admonition 5.mouth 6.imprisoned, hidden 7.even though 8.speaking 9.flow 10.flood 11.wind, storm 12.sharpness 13.dagger
Here you are honey and there you are sweetness, here a sermon and there an admonishment. Even though you are hidden in the mouth, at the time of speaking, who can stop you. You flow like a flood, blow like a storm. You are playful in your mischief, sharp as a dagger. Such are the qualities of urdu language.
13
ayaaN1 haiN teray nukta-sanjoN2 peh jauhar3
keh hai tu bashar4 ke fazaa’el5 ka zevar6
har iqleem7 meN hai tera sikka8-e zar9
ke zer-e-nagiiN10 haiN teray haft-kishvar11
chamak teri har taaj o de’heem12 meN hai
na’ii shaahzaadi har iqleem7 meN hai
1.revealed, manifest 2.those who discern fine/subtle points 3.jewels 4.human 5.praises 6.jewels 7.domain, field 8.coin 9.gold 10.under the ring-stone 11.seven domains, seven skies 12.crown
Those who understand your subtleties have a wealth of jewels revealed to them. You are the best praise of humanity i.e., humanity is praiseworthy because it knows urdu language. In every field your gold coin is the accepted currency for the seven skies are under your control. Royal decrees were considered authentic when they bore the stamp etched on the ring that emperor wore on his finger. Thus, all orders were under his ‘zer-e nagiiN’. It is your light that sparkles in every crown. You are the new princess of every domain.
14
jo tu aye zabaaN asia ki pari hai
tu yorop ki laDy shararat bhari hai
kahiiN pahlavi1 hai kahiiN tu dari2 hai
suKhan3 ke hadeeqe4 ki kab’k-e-dari5 hai
kahiiN tu hai bhaasha kahiiN faarsi tu
keh hai shaahid6-e nutq7 ki aarsee8 tu
1.ancient faarsi 2.central asian variation of faarsi 3.speech, words 4.orchard 5.beautiful species of partridge 6.beloved 7.power of speech 8.mirror worn in finger ring
If you are a fairy in Asia, you are a mischievous lady in Europe. This probably refers to European women (notably Queen Victoria) who had a fondness for urdu language. Here you are like pahlavi and there like dari. You are the beautiful bird of the orchard of speech. Sometimes you are bhaasha, at other times you are faarsi. This probably implies that urdu is a mixture of many languages. Women of style used to wear a ring that had mirror embedded in it. They would look at themselves at critical times touch up their looks. Thus, urdu is that mirror worn on the ring of the power of speech (depicted as the beloved).
15
taraanah kahiiN tu hai mutrib1 ke lab2 par
kahiiN tu hai jaadu bayaanoN3 ke lekchar
kahiiN bazla-go4 hai kahiiN pand-gustar5
keh hai tooti6-e shakaristaan7-e naychar
zamaana hai shaida8 tera o raNgiili9
adaa10 hai raseeli sada11 hai suriili12
1.singer 2.lips 3.speaker 4.witticism 5.admonishment 6.parrot, parakeet 7.sweet country 8.admirer 9.colourful, beautiful 10.style 11.sound 12.melodious
Sometimes you are a song on the lips of a singer and at other times you are in the lecture of enchanting speakers. Here you show witticism and there admonishment for you are the sound of the parakeet of the sweetness of nature. O raNgiili, the whole world is your admirer for your style is colourful and your speech melodious.
16
yeh raNgiiN adaaii1 yeh raNgiiN navaaii2
teray rozmarrah3 ki uff yeh safaaii4
bashar5 ko kahaaN taaqat6-e lab-kushaaii7
keh mumkin8 nahiN taeri mid’hat-saraaii9
ajab10 nutq11 ki mohini12 tu hai moorat13
hua hai janam14 tera kya shubh-mahoorat15
1.style 2.sound 3.daily 4.clarity 5.human 6.power 7.opening mouth/lips 8.possible 9.speaking praises 10.unusual, rare 11.power of speech 12.beloved 13.idol, statue 14.birth 15.auspicious time
Your colourful style and beautiful sound is the reason for the clarity/purity of your every day use. How can humans have the power to open their mouth in praise of you. You are a unique idol of the beloved of the power of speech. What an auspicious time it was, when you were born.
The post vasf-e zabaan-09-16-durga sahay suroor appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/dss-vasf-e-zabaan-01-08-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
وصفِ زبان ۔ ۱۔۸ ۔ دُرگا سہائے سرور
۱
ترے نطق میں ہے عجب جاںفزائی
شکستہ دلوں کو ہے تو مومیائی
بھری تجھ میں ہے کُوٹ کر دل ربائی
تری ہر ادا میں ہے رنگیں ادائی
وہ جادو بیاں نطق کی تو دلہن ہے
کہ لٹ تیرے گیسو کی زلفِ سخن ہے
۲
جواہر کی لڑیاں ہیں فقرے مسلسل
کہ ہے تو فصاحت کی گردن کی ہیکل
ستم تیری شوخی غضب تیری چھل بل
مگر ہے کسی بت کے پاؤں کی چھاگل
تکلم کی گھنگرو بجاتی ہے چھم چھم
کہ تو ناطقہ کو نچاتی ہے چھم چھم
۳
پپیہا کبھی بن کے تو بولتی ہے
کبھی بن کے طوطی شکر گھولتی ہے
ہر اک رازِ سر بستہ کو کھولتی ہے
کہ کانٹے میں پھولوں کو تو تولتی ہے
سخن سنج ہے تیری میزانِ دانش
ترا نطق ہے جوہرِ کانِ دانش
۴
بنایا عجب تیرا قدرت نے پیکر
مَلا روغنِ نطق کا قاز منہ پر
کیا نظم نے زیبِ سر لا کے جھومر
پنہایا تجھے نثر نے اپنا زیور
بلاغت نے ہاتھوں میں مہندی لگائی
فصاحت نے زلفِ معنبر بنائی
۵
دہن میں جو تو بن کے تقریر آئی
ترے ساتھ لفظوں کی تاثیر آئی
لیے حسنِ مغنیٰ کی تنویر آئی
کہ تو نطق کی بن کے تصویر آئی
بجاتی ہوئی ارگنِ نطق آئی
اُڑاتی ہوئی توسنِ نطق آئی
۶
وہ دلچسپ نیچر کا چھیڑا ترانہ
کہ غش ہو گیا جس کو سن کر زمانہ
کیا نطق نے تیرے گیسو میں شانہ
کہ تھی وضع تیری عجب شاہدانہ
تجھے قال نے اپنے سانچے میں ڈھالا
رنگیلی، غضب تو نے جوبن نکالا
۷
فصاحت کے پھولوں کی او گہنے والی
تکلم کے پردے میں او رہنے والی
کسی کی کڑی تو نہیں سننے والی
کہ ہے ایک کے مکھ پہ دس کہنے والی
نہیں تجھ کو صولت پناہوں کی ہیبت
کہ غالب نہیں تجھ پہ شاہوں کی ہیبت
۸
سِناں ہو کہ نیزہ چھری ہو کہ خنجر
زرہ ہو کہ بکتر ہو یا خود و مِغفر
ہو اورنگ و دیہیم یا تاج و افسر
ہیں تیرے لیے اے زباں سب برابر
وہ آزاد رَو ہے کہ رکتی نہیں تو
وہ سر ہے درِ شہ پہ جھکتی نہیں تو
वस्फ़-ए जबान – दुर्गा सहाय सुरूर जहानाबादी
१
तेरे नुत्क़ में है अजब जां फ़ज़ाई
शिकस्ता दिलों को है तू मोमीयाई
भरी तुझ में है कूट कर दिलरुबाई
तेरी हर अदा में है रंगीं अदाई
वोह जादू बयान-ए नुत्क़ कि तू दुल्हन है
के लट तेरे गेसू की जुल्फ़-ए सोख़न है
२
जवाहर की लढियां है फ़िक़्रे मुसलसल
के है तू फ़साहत की गर्दन की हेकल
सितम तेरी शूख़ी ग़ज़ब तेरी छल बल
मगर है किसी बुत के पांव की छागल
तक्कलुम की घुंघरू बजाती है छम छम
के तू नातक़े को नचाती है छम छम
३
पपीहा कभी बनके तू बोलती है
कभी बनके तूती शकर घोलती है
हर एक राज़-ए सर-बस्ता को खोलती है
के कांटे में फूलों को तू तोलती है
सोख़न संज है तेरी मीज़ान-ए दानिश
तेरा नुत्क़ है जौहर-ए कान-ए दानिश
४
बनाया अजब तेरा क़ुद्रत ने पैकर
मला नुत्क़ का रौग़न-ए क़ाज़ मुंह पर
किया नज़्म ने ज़ेब-ए सर ला के झूमर
पिन्हाया तुझे नस्र ने अपना ज़ेवर
बालाग़त ने हाथों में मेहंदी लगाई
फ़साहत ने ज़ुल्फ़-ए मो’अम्बर बनाई
५
दहन में जो तू बन के तक़्रीर आई
तेरे साथ लफ़्ज़ौं की तासीर आई
लिये हुस्न मुग़न्ना की तनवीर आई
के तू नुत्क़ की बन के तस्वीर आई
बजाती हुई अर्गुन-ए नुत्क़ आई
उढाती हुई तौसन-ए नुत्क़ आई
६
वोह दिलचस्प नेचर का छेढा तराना
के ग़श हो गया जिसको सुनकर ज़माना
किया नुत्क़ ने तेरे गेसू में शाना
के थी वज़’अ तेरी अजब शाहेदाना
तुझे क़ाल ने अपने सांचे में ढाला
रंगीली, ग़ज़ब तूने जोबन निकाला
७
फ़साहत के फूलों की वो गहने वाली
तकल्लुम के पर्दे में ओ रहने वाली
किसी की कढी तू नहीं सुनने वाली
के है एक के मुख पे दस कहने वाली
नहीं तुझको सौलत पनाहौं कि हैबत
के ग़ालिब नहीं तुझ पे शाहौं की हैबत
८
सिनां हो के नैज़ा, छुरी हो के ख़ंजर
ज़िरह हो के बक्तर हो या ख़ूद ओ मिग़्फ़र
हो औरंग ओ देहीम या ताज ओ अफ़्सर
हैं तेरे लिए अए ज़बां सब बराबर
वोह आज़ादा रौ है के रुकती नहीं तू
वोह सर है दर-ए शह पर झुकती नहीं तू
Click here for background and on any passage for word meanings and explanatory discussion. durga sahay suroor (1873-1910) died young, probably because of excessive drinking. Tellingly, his books are named Khum-kada-e suroor, paimaana-e suroor, and Khum-Khaana-e suroor. He wrote about hindu religious themes also and moved easily and rhythmically between chaste urdu/farsi and hindi/khaRi boli. This nazm, in praise of urdu is linked to ‘urdu’ on the Theme Index page.
1
teray nutq1 meN hai ajab2 jaaNfazaaii3
shakista4 diloN ko hai tu momiyaaii5
bhari tujh meN hai kooT kar dilrubaaii6
teri har ada7 meN hai raNgiiN adaaii
voh jaadu bayaaN8 nutq1 ki tuu dulhan hai
keh laT9 tairay gesu10 ki zulf11-e suKhan12 hai 1.sound 2.unusual, enchanting 3.life-giving 4.broken 5.salve for broken bones 6.beauty 7.style, gesture 8.speech, voice 9.strand (of hair) 10.hair 11.tresses 12.poetry
Your sounds have an enchanting life-giving quality. You are a salve for broken hearts. You are full of/stuffed with beauty. Your every gesture is a colourful style. You are the bride of the sound of a magical voice. The beautiful tresses of poetry are made of strands of your hair.
2
javaahir1 ki laRyaaN2 haiN fiqray3 musalsal4
keh hai tu fasaahat5 ki gardan ki haikal6
sitam7 teri shooKhi8 Ghazab9 teri chhal-bal10
magar hai kisi but11 ke paa’uN ki chhaagal12
takallum13 ki ghuNgru bajaati hai chham-chham
keh tu naatiqay14 ko nachaati hai chham-chham 1.jewels 2.strands 3.phrases, sayings 4.constant, continuous 5.eloquence 6.shape, form 7.cruely (used here to mean playful) 8.mischief 9.intense 10.movement, swaying 11.idol, beloved 12.anklet 13.conversation, speech 14.power of speech
Your phrases are flowing strands of jewels. Your eloquence is like the slender neck of the beloved. Your mischief plays with our emotions, there is intensity of feelings in your swaying. You are the ankle bells on the beloved’s feet, tinkling with every word. You make speech dance with music.
3
papiiha kabhi ban ke tu bolti hai
kabhi ban ke tooti1 shakar gholti2 hai
har ek raaz3-e sar-basta4 ko kholti hai
keh kaaNTay5 meN phooloN ko tu tolti6 hai
suKhan-sanj7 hai teri miizaan8-e daanish9
tera nutq10 hai jauhar11-e kaan12-e daanish 1.parrot 2.dissolve sugar, make sweetness 3.secrets, mysteries 4.closed, hidden 5.thorn, balance 6.weigh, compare, evaluate 7.selecting poetry 8.balance, judgement 9.wisdom 10.sound 11.jewel 12.mine, cave
Sometimes you speak like a papiiha. At other times you spread sweetness like a parrot. You open/unravel/reveal every hidden mystery. You have the ability to ability to weigh flowers on a thorn/balance i.e., you have the ability to discern/compare beauty. You discriminating taste in poetry weighs it on the balance of wisdom/ideas. Your sound is rich like a diamond mine.
4
banaaya ajab1 tera qudrat2 ne paikar3
mala4 rauGhan-e-nutq5 ka qaaz6 muNh par
kiya nazm ne zeb7-e sar laa ke jhoomer
pinhaaya tujhe nasr8 ne apna zevar
balaaGhat9 ne haathoN meN mehndi lagaaii
fasaahat10 ne zulf11-e mu’ambar12 banaaii 1.unusual, exceptional 2.nature, god 3.image 4.rub 5.butter of sound 6.butter, fat 7.adornment 8.prose 9.rhetoric, refined language 10.eloquence 11.hair 12.amber perfume, fragrant
Nature/god made your image/form exceptional. It rubbed the butter of sound on your face. Rubbing butter/fat was/is considered high taste. By ‘butter of sound’ is meant the cream of the cream of sound i.e., the sounds of urdu poetry are of high refinement. Many poets have observed this. Poetry brought a jhoomer for your forehead and prose adorned you with its jewelry. Refined language applied henna to your hands and eloquence gave the fragrance of amber to your hair.
5
dahan1 meN jo tu ban ke taqreer2 aayi
tere saath lafzoN3 ki taaseer4 aayi
liye husn5 muGhanni6 ki tanveer7 aayi
keh tu nutq8 ki ban ke tasveer aayi
bajaati hui argun9-e nutq aayi
uRaati hui tausan10-e nutq8 aayi 1.mouth, lips 2.speech 3.words 4.effect, impact 5.beauty 6.singer, musician 7.brilliance 8.power of speech 9.musical organ, harmonium 10.horse
When you came out of the lips in the form of speech, the impact of words came with you. It brought along the beauty and brilliance of music. You came as the embodiment of speech, playing harmonious music, flying the horse of the power of speech.
6
voh dilchasp1 nature ka cheRa taraanah2
keh Ghash3 ho gaya jis ko sun kar zamaana4
kiya nutq5 ne taeray gesuu6 meN shaana7
keh thi vaz’a8 teri ajab9 shaahedaana10
tujhe qaal11 ne apne saaNchay12 meN Dhaala
raNgiili13, Ghazab14 tu ne joban15 nikaala 1.interesting, engrossing 2.anthem, song 3.faint, trance 4.world 5.speech 6.hair 7.comb 8.conduct, attitude 9.exceptional 10.like that of the beloved 11.speech 12.mold 13.colourful, beautiful, beloved 14.devastating 15.youth, body, beauty
You burst into such an engrossing song of nature that the whole world went into a trance. Speech itself combed your hair for your manner/conduct was like that of the beloved. Speech cast you in its own mould. O beautiful, what a devastating body/form have you acquired.
7
fasaahat1 ke phooloN ki o gahne2 vaali
takallum3 ke parday meN o rahne vaali
kisi ki kaRi4 tu nahiN sun’nay vaali
keh hai aek ke mukh5 peh das kahnay vaali
nahiN tujh ko saulat-panaahoN6 ki haibat7
keh Ghalib8 nahiN tujh peh shaahoN ki haibat7 1.eloquence 2.garland 3.speech 4.bitter, rude 5.face 6.powerful, showing off 7.fear 8.overwhelming
O you, of the flower garlands of eloquence, who hides behind the veil of speech. You are not ready to meekly hear any rude words, you answer them in full measure. You are not awed by pomp and grandeur. The fear of kings does not overwhelm you.
8
sinaaN1 ho keh naizah2, chhurii3 ho keh Khanjar4
zir’ah5 ho keh baktar6, ho yaa Khood7 o miGhfar8
ho auraNg9 o de’hiim10 ya taaj o afsar
haiN teray liye aye zabaaN11 sab baraabar
voh azaada-rau12 hai keh rukti nahiN tu
voh sar hai dar13-e shah peh jhukti nahiN tu 1.sword 2.spear 3.knife 4.dagger 5.chain armour 6.armour 7.metal helmet 8.face chain 9.throne 10.crown 11.language 12.free roaming 13.door
Be it sword or spear, knife or dagger, armour or chain, throne or crown, monarchy or high office – for you, O language, they are all equal. You are so freedom loving that you stop nowhere. Your head does not bow at any door.
durga sahay suroor (1873-1910) died young, probably because of excessive drinking. Tellingly, his books are named Khum-kada-e suroor, paimaana-e suroor, and Khum-Khaana-e suroor. He wrote about hindu religious themes also and moved easily and rhythmically between chaste urdu/farsi and hindi/khaRi boli. This nazm, in praise of urdu is linked to ‘urdu’ on the Theme Index page.
1
teray nutq1 meN hai ajab2 jaaNfazaaii3
shakista4 diloN ko hai tu momiyaaii5
bhari tujh meN hai kooT kar dilrubaaii6
teri har ada7 meN hai raNgiiN adaaii
voh jaadu bayaaN8 nutq1 ki tuu dulhan hai
keh laT9 tairay gesu10 ki zulf11-e suKhan12 hai
1.sound 2.unusual, enchanting 3.life-giving 4.broken 5.salve for broken bones 6.beauty 7.style, gesture 8.speech, voice 9.strand (of hair) 10.hair 11.tresses 12.poetry
Your sounds have an enchanting life-giving quality. You are a salve for broken hearts. You are full of/stuffed with beauty. Your every gesture is a colourful style. You are the bride of the sound of a magical voice. The beautiful tresses of poetry are made of strands of your hair.
2
javaahir1 ki laRyaaN2 haiN fiqray3 musalsal4
keh hai tu fasaahat5 ki gardan ki haikal6
sitam7 teri shooKhi8 Ghazab9 teri chhal-bal10
magar hai kisi but11 ke paa’uN ki chhaagal12
takallum13 ki ghuNgru bajaati hai chham-chham
keh tu naatiqay14 ko nachaati hai chham-chham
1.jewels 2.strands 3.phrases, sayings 4.constant, continuous 5.eloquence 6.shape, form 7.cruely (used here to mean playful) 8.mischief 9.intense 10.movement, swaying 11.idol, beloved 12.anklet 13.conversation, speech 14.power of speech
Your phrases are flowing strands of jewels. Your eloquence is like the slender neck of the beloved. Your mischief plays with our emotions, there is intensity of feelings in your swaying. You are the ankle bells on the beloved’s feet, tinkling with every word. You make speech dance with music.
3
papiiha kabhi ban ke tu bolti hai
kabhi ban ke tooti1 shakar gholti2 hai
har ek raaz3-e sar-basta4 ko kholti hai
keh kaaNTay5 meN phooloN ko tu tolti6 hai
suKhan-sanj7 hai teri miizaan8-e daanish9
tera nutq10 hai jauhar11-e kaan12-e daanish
1.parrot 2.dissolve sugar, make sweetness 3.secrets, mysteries 4.closed, hidden 5.thorn, balance 6.weigh, compare, evaluate 7.selecting poetry 8.balance, judgement 9.wisdom 10.sound 11.jewel 12.mine, cave
Sometimes you speak like a papiiha. At other times you spread sweetness like a parrot. You open/unravel/reveal every hidden mystery. You have the ability to ability to weigh flowers on a thorn/balance i.e., you have the ability to discern/compare beauty. You discriminating taste in poetry weighs it on the balance of wisdom/ideas. Your sound is rich like a diamond mine.
4
banaaya ajab1 tera qudrat2 ne paikar3
mala4 rauGhan-e-nutq5 ka qaaz6 muNh par
kiya nazm ne zeb7-e sar laa ke jhoomer
pinhaaya tujhe nasr8 ne apna zevar
balaaGhat9 ne haathoN meN mehndi lagaaii
fasaahat10 ne zulf11-e mu’ambar12 banaaii
1.unusual, exceptional 2.nature, god 3.image 4.rub 5.butter of sound 6.butter, fat 7.adornment 8.prose 9.rhetoric, refined language 10.eloquence 11.hair 12.amber perfume, fragrant
Nature/god made your image/form exceptional. It rubbed the butter of sound on your face. Rubbing butter/fat was/is considered high taste. By ‘butter of sound’ is meant the cream of the cream of sound i.e., the sounds of urdu poetry are of high refinement. Many poets have observed this. Poetry brought a jhoomer for your forehead and prose adorned you with its jewelry. Refined language applied henna to your hands and eloquence gave the fragrance of amber to your hair.
5
dahan1 meN jo tu ban ke taqreer2 aayi
tere saath lafzoN3 ki taaseer4 aayi
liye husn5 muGhanni6 ki tanveer7 aayi
keh tu nutq8 ki ban ke tasveer aayi
bajaati hui argun9-e nutq aayi
uRaati hui tausan10-e nutq8 aayi
1.mouth, lips 2.speech 3.words 4.effect, impact 5.beauty 6.singer, musician 7.brilliance 8.power of speech 9.musical organ, harmonium 10.horse
When you came out of the lips in the form of speech, the impact of words came with you. It brought along the beauty and brilliance of music. You came as the embodiment of speech, playing harmonious music, flying the horse of the power of speech.
6
voh dilchasp1 nature ka cheRa taraanah2
keh Ghash3 ho gaya jis ko sun kar zamaana4
kiya nutq5 ne taeray gesuu6 meN shaana7
keh thi vaz’a8 teri ajab9 shaahedaana10
tujhe qaal11 ne apne saaNchay12 meN Dhaala
raNgiili13, Ghazab14 tu ne joban15 nikaala
1.interesting, engrossing 2.anthem, song 3.faint, trance 4.world 5.speech 6.hair 7.comb 8.conduct, attitude 9.exceptional 10.like that of the beloved 11.speech 12.mold 13.colourful, beautiful, beloved 14.devastating 15.youth, body, beauty
You burst into such an engrossing song of nature that the whole world went into a trance. Speech itself combed your hair for your manner/conduct was like that of the beloved. Speech cast you in its own mould. O beautiful, what a devastating body/form have you acquired.
7
fasaahat1 ke phooloN ki o gahne2 vaali
takallum3 ke parday meN o rahne vaali
kisi ki kaRi4 tu nahiN sun’nay vaali
keh hai aek ke mukh5 peh das kahnay vaali
nahiN tujh ko saulat-panaahoN6 ki haibat7
keh Ghalib8 nahiN tujh peh shaahoN ki haibat7
1.eloquence 2.garland 3.speech 4.bitter, rude 5.face 6.powerful, showing off 7.fear 8.overwhelming
O you, of the flower garlands of eloquence, who hides behind the veil of speech. You are not ready to meekly hear any rude words, you answer them in full measure. You are not awed by pomp and grandeur. The fear of kings does not overwhelm you.
8
sinaaN1 ho keh naizah2, chhurii3 ho keh Khanjar4
zir’ah5 ho keh baktar6, ho yaa Khood7 o miGhfar8
ho auraNg9 o de’hiim10 ya taaj o afsar
haiN teray liye aye zabaaN11 sab baraabar
voh azaada-rau12 hai keh rukti nahiN tu
voh sar hai dar13-e shah peh jhukti nahiN tu
1.sword 2.spear 3.knife 4.dagger 5.chain armour 6.armour 7.metal helmet 8.face chain 9.throne 10.crown 11.language 12.free roaming 13.door
Be it sword or spear, knife or dagger, armour or chain, throne or crown, monarchy or high office – for you, O language, they are all equal. You are so freedom loving that you stop nowhere. Your head does not bow at any door.
The post vasf-e zabaan-01-08-durga sahay suroor appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/pljm-Khaak-e-karbala-eksiir-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
خاکِ کربلا اِکسیر ہے ۔ پنڈت لبھو رام جوشؔ ملسیانی
۱
بے گناہوں کے لہو کی یہ بھی ایک تاثیر ہے
اِس پہ حیرت کیا جو خاکِ کربلا اکسیر ہے
۲
تین دن سے تشنہ لب ہیں کربلا کے میہماں
ساحلِ دریا پہ قابض دشمنِ بے پیر ہے
۳
چاند سے چہرے ہوئے اِس دشت میں پیوندِ خاک
ذرّہ ذرّہ کربلا کا نور کی تصویر ہے
۴
اکبر و اصغر نے اِس صحرا میں کٹوائے گلے
آج تک موجِ صبا آہِ دلِ نخچیر ہے
۵
خاک و خوں میں پیکرِ اکبر کو تڑپاتے رہے
یہ نہ دیکھا ظالموں نے کس کی یہ تصویر ہے
۶
ماتمی اِن کے عراق و ہند و ایراں ہی نہیں
کشتگانِ کربلا کا سوگ عالمگیر ہے
۷
واقعاتِ کربلا کے بعد تو قائم رہی
کتنی عبرت ناک اے دنیا تیری تقصیر ہے
ख़ाक-ए करबला एक्सीर है – पंडित लभु राम जोश मल्सियानी
१
बे-गुनाहों के लहू की ये भी एक तासीर है
इस पे हैरत क्या जो ख़ाक-ए करबला एक्सीर है
२
तीन दिन से तिश्ना लब हैं करबला के मेहमाँ
साहेल-ए दर्या पे क़ाबेज़ दुश्मन-ए बे-पीर है
३
चाँद से चेहरे हुए इस दश्त में पैवंद-ए ख़ाक
ज़र्रा ज़र्रा करबला का नूर की तस्वीर है
४
अक्बर ओ अस्ग़र ने इस सहरा में कटवाए गले
आज तक मौज-ए सबा आह-ए दिल-ए नख़्चीर है
५
ख़ाक ओ ख़ूँ में पैकर-ए अक्बर को तढपाते रहे
ये न देखा ज़ालिमौं ने किस की ये तस्वीर है
६
मातमी इन के इराक़ ओ हिंद ओ ईराँ ही नहीं
कुश्तगान-ए करबला का सोग आलमगीर है
७
वाक़ेयात-ए करबला के बाद तो क़ायम रही
कितनी इबरत नाक अए दुनिया तेरी तक़्सीर है
Click here for background and on any passage for word meanings and explanatory discussion. panDit labhuram josh malsiani (1884-1976) from malsian in the now pakistani side of punjab, migrated to India a little before partition/independence. He has written with great feeling about communal harmony and about the loss of his homeland – pakistan. His son, baalmukund arsh malsiani was also a well recognized poet. This Ghazal structured verse is called a salaam – a tribute to figures of the war in karbala. It is linked to ‘karbal katha’ under kaa’ba-kaashi on the Theme Index page.
1
be-gunaahoN1 ke lahu2 ki ye bhi ek taasiir3 hai
is pe hairat4 kya jo Khaak5-e karbala eksiir6 hai 1.innocents 2.blood 3.effect 4.surprise 5.dust, soil, clay 6.remedy, cure
It is common shia belief that the clay of karbala has remedial effects because its status as associated with the sacrifices and the steadfast courageous stand of husain and his followers in the face of certain death. The poet acknowledges this belief … it is the effect of the blood of innocents (spilled on the soil of karbala); why should anyone be surprised if that clay has remedial/curative properties.
2
teen din se tishna-lab1 haiN karbala ke mehmaaN2
saahil3-e dariya4 pe qaabiz5 dushman-e be-piir6 hai 1.thirsty 2.guests 3.shore, bank 4.river, Euphrates, furaat 5.occupying, controlling 6.without spiritual guidance, unprincipled, cruel
husain was invited by the people of kufa (near karbala) to the imaam at the mosque and lead them in prayers. He had accepted this invitation and was headed to kufa when he heard news that yaziid had bribed the local leaders and created a rebellion and caused them to kill husain’s half-brother and emissary. The word ‘mehmaan-guest’ is used because of this background. husain decided to by-pass kufa and was passing through karbala, setting up temporary camp on the bank of the river. He was forced to move his encampment and access to water was cut off for three days before the battle of karbala. Hence, the guests of karbala were kept thirsty for three days while the cruel, unprincipled enemy occupied the riverbank.
3
chaand se chehre1 hue is dasht2 meN paivand3-e Khaak4
zarra-zarra5 karbala ka noor6 ki tasviir7 hai 1.faces 2.desert, wilderness 3.joint, patch 4.dust, clay 5.every particle/grain of sand 6.light, brilliance 7.likeness
‘paivand-e Khaak’ is an expression meaning buried in that soil … like the soil is dug and patched over, burying the body within. ‘chaand se chehre’ – meaning, beautiful like the moon, refers to the family of husain … his sons and nephews who were killed in battle and buried in the soil of karbala. Because of this every grain of sand is the picture of brilliance.
4
akbar1 o asGhar2 ne is sahra3 meN kaTvaa’e gale
aaj tak mauj4-e saba5 aah6-e dil-e naKhchiir7 hai 1.eighteen-year-old son of husain 2.six month old infant son of husain 3.desert, wilderness 4.gust, wave 5.breeze, wind 6.sigh 7.victim, hunted, killed
The sons of husain – ali akbar and ali asGhar, were slaughtered in this wilderness. To this day when gusts of wind blow, they sound like the sigh/last breath of the slaughtered.
5
Khaak o KhooN meN paikar1-e akbar2 ko taRpaate3 rahe
ye na dekha zaalimoN4 ne kis ki ye tasviir5 hai 1.image, body, person 2.eighteen-year-old son of husain 3.tortured 4.tormentors 5.picture
It is believed that ali akbar had a strong resemblance to mohammed, his great-grandfather. His tormentors disregarded this resemblance (even though, as muslims, they were followers and devotees of mohammed) tortured him as bled on the sands.
6
maatami1 in ke iraaq o hind o iiraaN hi nahiN
kushtagaan2-e karbala ka sog3 aalamgiir4 hai 1.mourners 2.killed, slain 3.sorrow, mourning 4.world conquering
Mourners of the death of husain, his family and followers are not just in iraaq, iraan and hindustan, but the sorrow of the victims of the war of karbala has conquered hearts all over the world.
7
vaaqe’aat1-e karbala ke baad tuu qaa’em2 rahi
kitni ibrat-naak3 aye duniya teri taqsiir4 hai 1.incidents, events 2.remained, survived 3.illustrative, lesson-giving 4.sin, guilt
The implication is that the battle of karbala is like an apocalyptic event and the world should have ended after it. But it survived even after the events of karbala. Your guilt/sin of survival, O world is shameful.
panDit labhuram josh malsiani (1884-1976) from malsian in the now pakistani side of punjab, migrated to India a little before partition/independence. He has written with great feeling about communal harmony and about the loss of his homeland – pakistan. His son, baalmukund arsh malsiani was also a well recognized poet. This Ghazal structured verse is called a salaam – a tribute to figures of the war in karbala. It is linked to ‘karbal katha’ under kaa’ba-kaashi on the Theme Index page.
1
be-gunaahoN1 ke lahu2 ki ye bhi ek taasiir3 hai
is pe hairat4 kya jo Khaak5-e karbala eksiir6 hai
1.innocents 2.blood 3.effect 4.surprise 5.dust, soil, clay 6.remedy, cure
It is common shia belief that the clay of karbala has remedial effects because its status as associated with the sacrifices and the steadfast courageous stand of husain and his followers in the face of certain death. The poet acknowledges this belief … it is the effect of the blood of innocents (spilled on the soil of karbala); why should anyone be surprised if that clay has remedial/curative properties.
2
teen din se tishna-lab1 haiN karbala ke mehmaaN2
saahil3-e dariya4 pe qaabiz5 dushman-e be-piir6 hai
1.thirsty 2.guests 3.shore, bank 4.river, Euphrates, furaat 5.occupying, controlling 6.without spiritual guidance, unprincipled, cruel
husain was invited by the people of kufa (near karbala) to the imaam at the mosque and lead them in prayers. He had accepted this invitation and was headed to kufa when he heard news that yaziid had bribed the local leaders and created a rebellion and caused them to kill husain’s half-brother and emissary. The word ‘mehmaan-guest’ is used because of this background. husain decided to by-pass kufa and was passing through karbala, setting up temporary camp on the bank of the river. He was forced to move his encampment and access to water was cut off for three days before the battle of karbala. Hence, the guests of karbala were kept thirsty for three days while the cruel, unprincipled enemy occupied the riverbank.
3
chaand se chehre1 hue is dasht2 meN paivand3-e Khaak4
zarra-zarra5 karbala ka noor6 ki tasviir7 hai
1.faces 2.desert, wilderness 3.joint, patch 4.dust, clay 5.every particle/grain of sand 6.light, brilliance 7.likeness
‘paivand-e Khaak’ is an expression meaning buried in that soil … like the soil is dug and patched over, burying the body within. ‘chaand se chehre’ – meaning, beautiful like the moon, refers to the family of husain … his sons and nephews who were killed in battle and buried in the soil of karbala. Because of this every grain of sand is the picture of brilliance.
4
akbar1 o asGhar2 ne is sahra3 meN kaTvaa’e gale
aaj tak mauj4-e saba5 aah6-e dil-e naKhchiir7 hai
1.eighteen-year-old son of husain 2.six month old infant son of husain 3.desert, wilderness 4.gust, wave 5.breeze, wind 6.sigh 7.victim, hunted, killed
The sons of husain – ali akbar and ali asGhar, were slaughtered in this wilderness. To this day when gusts of wind blow, they sound like the sigh/last breath of the slaughtered.
5
Khaak o KhooN meN paikar1-e akbar2 ko taRpaate3 rahe
ye na dekha zaalimoN4 ne kis ki ye tasviir5 hai
1.image, body, person 2.eighteen-year-old son of husain 3.tortured 4.tormentors 5.picture
It is believed that ali akbar had a strong resemblance to mohammed, his great-grandfather. His tormentors disregarded this resemblance (even though, as muslims, they were followers and devotees of mohammed) tortured him as bled on the sands.
6
maatami1 in ke iraaq o hind o iiraaN hi nahiN
kushtagaan2-e karbala ka sog3 aalamgiir4 hai
1.mourners 2.killed, slain 3.sorrow, mourning 4.world conquering
Mourners of the death of husain, his family and followers are not just in iraaq, iraan and hindustan, but the sorrow of the victims of the war of karbala has conquered hearts all over the world.
7
vaaqe’aat1-e karbala ke baad tuu qaa’em2 rahi
kitni ibrat-naak3 aye duniya teri taqsiir4 hai
1.incidents, events 2.survived 3.illustrative, lesson-giving, shameful 4.sin, guilt
The implication is that the battle of karbala is like an apocalyptic event and the world should have ended after it. But it survived even after the events of karbala. Your guilt/sin of survival, O world is shameful.
The post Khaak-e karbala eksiir hai-panDit labhuram josh malsiani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/bdshrp-partav-e-haidar-kidhar-hai-aaj-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
پرتوِ حیدر کدھر ہے آج ۔ بام دیو شرما رِشیؔ پٹیالوی
۱
ظلمت نصیب نقشِ ضیائے سحر ہے آج
بے آب و رنگ شیشۂ ذوقِ نظر ہے آج
۲
پھر کھنچ گیا ہے نقشۂ میدانِ کربلا
منظر بساطِ حشر کا پیشِ نظر ہے آج
۳
فتنہ وہی، فساد وہی، شور و شر وہی
رسمِ یزیدیّت وہی بیداد گر ہے آج
۴
پھر رُونما ہے خودسر و سرکش نُقُوشِ کُفر
مظلومیِ حیات کا نیزے پہ سر ہے آج
۵
حدّ نظر تک آگ کا دریا ہے موجزن
موجِ نفس میں گرمیِ سوزِ جگر ہے آج
۶
آواز حق پہ کون ہے جو سر لگائے گا
اِقدارِ رسمِ دار کی کس کو خبر ہے آج
۷
وہ بھی ہے بے قرار جسے کچھ خبر نہیں
وہ بھی بہ حالِ زار، جسے کچھ خبر ہے آج
۸
کیا وقت آ پڑا ہے کہ اُمّت کی طبع پر
فرمانِ حق، پیامِ عمل، بے اثر ہے آج
۹
عکسِ یزید و شِمر تو ہر آئینے میں ہے
جلوہ فروز پرتوِ حیدر کدھر ہے آج
۱۰
صدیوں سے سلسلہ ہے سلام و درود کا
یادِ حسین ورثۂ اہلِ نظر ہے آج
۱۱
لب پر ہے نامِ پاک رسولِ کریم کا
شاہِ اُمم کے پائے مقدّس پہ سر ہے آج
۱۲
ایسے میں بزمِ یومِ شہادت جمائیے
ایماں حدیثِ شاہِ شہیداں پہ لائیے
परतव-ए-हैदर किधर है आज – बाम देव शर्मा रिशी पटीआलवी
१
ज़ुल्मत नसीब नक्श-ए-जिया-ए-सहर है आज
बे आब ओ रंग शीशा-ए-जौक-ए-नज़र है आज
२
फिर खिंच गया है नक्शा-ए-मैदान-ए-कर्बला
मंज़र बसात-ए-हश्र का पेश-ए-नज़र है आज
३
फित्ना वही, फसाद वही, शोर ओ शर वही
रस्म-ए-यज़ीदियत वही बेदार गर है आज
४
फिर रू-नुमा है खुदसर ओ सरकश नकूश-ए-कुफ़्र
मज़लूमी-ए-हयात का नेज़े पे सर है आज
५
हद-ए-नज़र तक आग का दरिया है मौजज़न
मौज-ए-नफ़स में गरमी-ए-सोज़-ए-जिगर है आज
६
आवाज़-ए-हक़ पे कौन है जो सर लगाएगा
इकदार-ए-रस्म-ए-दार की किस को ख़बर है आज
७
वो भी है बेकरार जिसे कुछ ख़बर नहीं
वो भी बेहाल ज़ार जिसे कुछ ख़बर है आज
८
क्या वक्त आ पड़ा है कि उम्मत की तबा पर
फ़रमान-ए-हक़-ए-पयाम-ए-अमल, बे असर है आज
९
अक्स-ए-यज़ीद ओ शिमर तो हर आईने में है
जल्वा फरोज़ परतव-ए-हैदर किधर है आज
१०
सदियों से सिलसिला है सलाम ओ दरूद का
याद-ए-हुसैन विरसा-ए-अहल-ए-नज़र है आज
११
लब पर है नाम-ए-पाक रसूल-ए-करीम का
शाह-ए-उम्मम के पाये मुक़द्दस पे सर है आज
१२
ऐसे में बज़्म-ए-यौम-ए-शहादत जमाइए
ईमान हदीस-ए-शाह-ए-शहीदां पे लाइए
Click here for background and on any passage for word meanings and explanatory discussion. baam dev sharma rishi paTialavi (1917-1999) originally from hoshiarpur in punjab. He was a disciple of nasim noormahli, who in turn was a disciple of daaGh dehlavi. He has written exquite Ghazal in chaste urdu and many progressive nazm in chaste urdu as well as in spoken hindi/urdu/hindustani. He was part of a group of friends who organized joint celebration of one another’s religious festivities to promote communal harmony. He wrote this for and recited it at ‘yaum-e husain’, jammu, 1977. It is linked to karbal katha in k’aaba kaashi on the Theme Index page.
1
zulmat-naseeb1 naqsh2-e ziya3-e sahar4 hai aaj
be-aab-o-raNg5 sheesha6-e zauq7-e nazar8 hai aaj 1.darkness afflicted 2.image 3.light 4.dawn 5.without brilliance or colour 6.mirror, reflection 7.taste, desire 8.sight
Today, the light of dawn is afflicted by darkness. The mirror of discerning sight is colourless and dull. The ‘day’ of course is a day/occasion ‘yaum-e husain’, 1977, jammu, dedicated to the memory and honour of husain and his principled stand.
2
phir khiNch1 gaya hai naqsha2-e maidaan3-e karbala
manzar4 bisaat-e-hashr5 ka pesh6-e nazar7 hai aaj 1.drawn, sketched 2.picture 3.battle-field 4.scene 5.domain of doomsday 6.in front of 7.eyes
Once again, before our eyes, is drawn the picture of the battle-field of karbala looking like doomsday.
3
fitna1 vahi, fasaad2 vahi, shor-o-shar3 vahi
rasm4-e yaziidiyyat5 vahi bedaad-gar6 hai aaj 1.evil, anarchy 2.conspiracy, conflict 3.tumult and clamour 4.tradition 5.character of yaziid 6.cruelty, oppression
‘yaziid’ is a symbol of injustice, oppression and cruelty. Thus, even today the same evil, the same conspiracy, the same clamour and tumult, the same tradition of yaziid, the same tradition of oppression and cruelty remain.
4
phir ruu-numa1 hai Khudsar2 o sarkash3 nuqoosh4-e kufr5
mazloomi6-e hayaat7 ka naize8 pe sar hai aaj 1.displaying its face, emerging 2.arrogant, obstinate 3.raising its head, mutinous 4.signs, images 5.denial, evil 6.oppression 7.life 8.spear
This has reference to the battle of karbala in which husain’s head was cut off and stuck on a lance for display. Once again, the arrogant and mutinous face of evil is on display. The head of oppressed life is on the point of a spear.
5
hadd1-e nazar2 tak aag ka dariya3 hai mauj-zan4
mauj-e nafas5 meN garmi-e soz6-e jigar7 hai aaj 1.boundaries, limits 2.sight 3.river, sea 4.rising waves 5.breath 6.fire, pain 7.liver/heart
The heat of the day during the battle of karbala is legendary. That heat can also be a symbol of cruelty. In addition to that, this she’r refers to the fire/sorrow inside because of the loss of family and friends. As far as the eye can see, there are rising waves in the sea of fire of fire all around. Every breath is on fire due to the sorrow burning in the heart.
6
aavaaz-e haq1 pe kaun hai jo sar lagaa’ega2
eqdaar3-e rasm4-e daar5 ki kis ko Khabar6 hai aaj 1.truth, justice 2.sar lagaana – putting life of the line 3.respect, value 4.tradition 5.gallows, hanging platform 6.awareness, knowledge
Who is willing to give their life in answer to the call for justice. Who knows about the value of the tradition of being willing to climb the gallows i.e., who remembers the courage and traditions of husain.
7
voh bhi hai beqarqar1 jise kuch Khabar2 nahiN
voh bhi ba-haal3-e zaar4 jise kuchh Khabar hai aaj 1.restless, sorrowful 2.awareness 3.in the condition of 4.aggrieved, afflicted
The day (yaum-e husain) is such that everyone is affected … restless or aggrieved, those who know (about husain’s courageous stand in the face of certain death) and even those who don’t.
8
kya vaqt aa paRa hai keh ummat1 ki tab’a2 par
farmaan3-e haq4, payaam5-e amal6, be-asar7 hai aaj 1.community 2.nature, character, mood 3.edicts 4.truth, justice 5.message 6.action 7.ineffective
What kind of a time has fallen on us that the call for justice, the message for action, has no effect on the mood/character of the community.
9
aks1-e yaziid2 o shimr3 to har aa’ine meN hai
jalva-faroz4 partav5-e haidar6 kidhar hai aaj 1.reflection 2.self-proclaimed monarch who was called out for his injustice 3.commander of the forces of yaziid 4.shining manifestation 5.reflection 6.ali, husain’s father, legendary leader known for his commitment to justice
The image of yaziid and shimr can be seen in every mirror i.e., all of us have some element of injustice and should look at ourselves in the mirror. Where is the glorious manifestation of the image of ali i.e., where is justice today.
10
sadiyoN1 se silsila2 hai salaam3 o durood4 ka
yaad-e husain virsa5-e ahl-e-nazar6 hai aaj 1.centuries 2.continuation, tradition 3.offering of respect as a poem/salaam 4.salutation, benediction 5.legacy 6.people of discerning sight
This tradition of paean and salutation has been carried out for centuries. The memory of husain is the lasting legacy of people of discernment.
11
lab1 par hai naam-e-paak2 rasool3-e kariim4 ka
shaah-e-umam5 ke paa6-e muqaddas7 pe sar hai aaj 1.lips 2.respected/revered name 3.prophet, mohammed 4.generous 5.king of all – a title usually used for husain 6.feet 7.holy
With the revered name of mohammed on the lips, our heads are bowed at the feet of the universal king/leader of all time (husain).
12
aise meN bazm1-e yaum2-e shahaadat3 jamaaiye4
iimaaN5 hadees6-e shaah-e-shahiidaaN7 pe laaiye 1.gathering 2.day 3.martyrdom 4.arrange, convene 5.faith 6.sayings 7.king of martyrs
husain’s martyrdom in karbala is almost universally held up an ideal martyrdom, a courageous stand for justice in the face of certain death. He is quite often referred to as ‘shaah-e shahiidaaN’. Thus, under the conditions of today (described in the previous ash’aar), convene a day of rememberance of the martyrdom of husain. Express your faith in the sayings/actions of the king of martyrdom.
baam dev sharma rishi paTialavi (1917-1999) originally from hoshiarpur in punjab. He was a disciple of nasim noormahli, who in turn was a disciple of daaGh dehlavi. He has written exquite Ghazal in chaste urdu and many progressive nazm in chaste urdu as well as in spoken hindi/urdu/hindustani. He was part of a group of friends who organized joint celebration of one another’s religious festivities to promote communal harmony. He wrote this for and recited it at ‘yaum-e husain’, jammu, 1977. It is linked to karbal katha in k’aaba kaashi on the Theme Index page.
1
zulmat-naseeb1 naqsh2-e ziya3-e sahar4 hai aaj
be-aab-o-raNg5 sheesha6-e zauq7-e nazar8 hai aaj
1.darkness afflicted 2.image 3.light 4.dawn 5.without brilliance or colour 6.mirror, reflection 7.taste, desire 8.sight
Today, the light of dawn is afflicted by darkness. The mirror of discerning sight is colourless and dull. The ‘day’ of course is a day/occasion ‘yaum-e husain’, 1977, jammu, dedicated to the memory and honour of husain and his principled stand.
2
phir khiNch1 gaya hai naqsha2-e maidaan3-e karbala
manzar4 bisaat-e-hashr5 ka pesh6-e nazar7 hai aaj
1.drawn, sketched 2.picture 3.battle-field 4.scene 5.domain of doomsday 6.in front of 7.eyes
Once again, before our eyes, is drawn the picture of the battle-field of karbala looking like doomsday.
3
fitna1 vahi, fasaad2 vahi, shor-o-shar3 vahi
rasm4-e yaziidiyyat5 vahi bedaad-gar6 hai aaj
1.evil, anarchy 2.conspiracy, conflict 3.tumult and clamour 4.tradition 5.character of yaziid 6.cruelty, oppression
‘yaziid’ is a symbol of injustice, oppression and cruelty. Thus, even today the same evil, the same conspiracy, the same clamour and tumult, the same tradition of yaziid, the same tradition of oppression and cruelty remain.
4
phir ruu-numa1 hai Khudsar2 o sarkash3 nuqoosh4-e kufr5
mazloomi6-e hayaat7 ka naize8 pe sar hai aaj
1.displaying its face, emerging 2.arrogant, obstinate 3.raising its head, mutinous 4.signs, images 5.denial, evil 6.oppression 7.life 8.spear
This has reference to the battle of karbala in which husain’s head was cut off and stuck on a lance for display. Once again, the arrogant and mutinous face of evil is on display. The head of oppressed life is on the point of a spear.
5
hadd1-e nazar2 tak aag ka dariya3 hai mauj-zan4
mauj-e nafas5 meN garmi-e soz6-e jigar7 hai aaj
1.boundaries, limits 2.sight 3.river, sea 4.rising waves 5.breath 6.fire, pain 7.liver/heart
The heat of the day during the battle of karbala is legendary. That heat can also be a symbol of cruelty. In addition to that, this she’r refers to the fire/sorrow inside because of the loss of family and friends. As far as the eye can see, there are rising waves in the sea of fire of fire all around. Every breath is on fire due to the sorrow burning in the heart.
6
aavaaz-e haq1 pe kaun hai jo sar lagaa’ega2
eqdaar3-e rasm4-e daar5 ki kis ko Khabar6 hai aaj
1.truth, justice 2.sar lagaana – putting life of the line 3.respect, value 4.tradition 5.gallows, hanging platform 6.awareness, knowledge
Who is willing to give their life in answer to the call for justice. Who knows about the value of the tradition of being willing to climb the gallows i.e., who remembers the courage and traditions of husain.
7
voh bhi hai beqarqar1 jise kuch Khabar2 nahiN
voh bhi ba-haal3-e zaar4 jise kuchh Khabar hai aaj
1.restless, sorrowful 2.awareness 3.in the condition of 4.aggrieved, afflicted
The day (yaum-e husain) is such that everyone is affected … restless or aggrieved, those who know (about husain’s courageous stand in the face of certain death) and even those who don’t.
8
kya vaqt aa paRa hai keh ummat1 ki tab’a2 par
farmaan3-e haq4, payaam5-e amal6, be-asar7 hai aaj
1.community 2.nature, character, mood 3.edicts 4.truth, justice 5.message 6.action 7.ineffective
What kind of a time has fallen on us that the call for justice, the message for action, has no effect on the mood/character of the community.
9
aks1-e yaziid2 o shimr3 to har aa’ine meN hai
jalva-faroz4 partav5-e haidar6 kidhar hai aaj
1.reflection 2.self-proclaimed monarch who was called out for his injustice 3.commander of the forces of yaziid 4.shining manifestation 5.reflection 6.ali, husain’s father, legendary leader known for his commitment to justice
The image of yaziid and shimr can be seen in every mirror i.e., all of us have some element of injustice and should look at ourselves in the mirror. Where is the glorious manifestation of the image of ali i.e., where is justice today.
10
sadiyoN1 se silsila2 hai salaam3 o durood4 ka
yaad-e husain virsa5-e ahl-e-nazar6 hai aaj
1.centuries 2.continuation, tradition 3.offering of respect as a poem/salaam 4.salutation, benediction 5.legacy 6.people of discerning sight
This tradition of paean and salutation has been carried out for centuries. The memory of husain is the lasting legacy of people of discernment.
11
lab1 par hai naam-e-paak2 rasool3-e kariim4 ka
shaah-e-umam5 ke paa6-e muqaddas7 pe sar hai aaj
1.lips 2.respected/revered name 3.prophet, mohammed 4.generous 5.king of all – a title usually used for husain 6.feet 7.holy
With the revered name of mohammed on the lips, our heads are bowed at the feet of the universal king/leader of all time (husain).
12
aise meN bazm1-e yaum2-e shahaadat3 jamaaiye4
iimaaN5 hadees6-e shaah-e-shahiidaaN7 pe laaiye
1.gathering 2.day 3.martyrdom 4.arrange, convene 5.faith 6.sayings 7.king of martyrs
husain’s martyrdom in karbala is almost universally held up an ideal martyrdom, a courageous stand for justice in the face of certain death. He is quite often referred to as ‘shaah-e shahiidaaN’. Thus, under the conditions of today (described in the previous ash’aar), convene a day of rememberance of the martyrdom of husain. Express your faith in the sayings/actions of the king of martyrdom.
The post partav-e haidar kidhar hai aaj-yaum-e husain-baam dev sharma rishi paTialavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-108-1116-almadad-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
sifaat-e husain 54-60 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
haalaat-e daur-e yaziid 61-68 A few stanzas describing in musical language the changing order from principled governance to hubristic power grab and personal enrichment.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
جوش ملیح آبادی ۔ موجد و مفکّر ۔ ۱۰۸۔۱۱۶۔ المدد
۱۰۸
پھر بشر کے ذہن پر عکسِ جنوں ہے یا حسین
پھر حقیقت رہنِ اوہام و فسوں ہے یا حسین
پھر دلِ اقدارِ نازک غرقِ خوں ہے یا حسین
پھر بشر باطل کے آگے سر نگوں ہے یا حسین
آ، دِلِ انجام کو پھر گرمیِ آغاز دے
ائے بہادر، وقت کی آواز پر آواز دے
۱۰۹
ہو چکے ہیں غرق پھر شیرازہ بندی کے عروق
پھر رواں ہیں ذلتیں سوئے تنفّر جوق جوق
پھر شریعت ہے مساواتِ بشر کی بے وُثُوق
پھر خجِل ہیں نوعِ اِنسانی کے بنیادی حقوق
پھر بغاوت کر رہا ہے زندگی سے آدمی
دیکھ پھر ٹکرارہا ہے آدمی سے آدمی
۱۱۰
پھر حیاتِ نوعِ اِنسانی ہے کجلائی ہوئی
گلُ پڑے ہیں ولولے جراؑت ہے مرجھائی ہوئی
پھر زمین و آسماں پر موت ہے چھائی ہوئی
موت بھی کیسی خود اپنے ہاتھ کی لائی ہوئی
چہرہِ اُمید کو رخشندگی دے یا حسین
زندگی دے، زندگی دے، زندگی دے یا حسین
۱۱۱
عکس اپنا ڈال پھر اِس خاکداں پر اے حسین
پھر عطا فرما حدیثِ دِل کو ممبر اے حسین
بخش دے پھر بستہ قطرے کوسمندر اے حسین
زورِ حیدر، زورِ حیدر، زورِ حیدر اے حسین
خشک ہونے پر ہے جوئے عظمِ اِنساں یا حسین
موجِ طوفاں، موجِ طوفاں، موجِ طوفاں یا حسین
١١٢
ہونکتا پھرتا ہے پھر سرمایہ داری کا وقار
اُٹھ چکا ہے پھر عوامی برتری کا اعتبار
پھر خزاں کی آستاں بوسی پہ نازاں ہے بہار
پھر خدا کا ذوقِ تخلیقِ بشر ہے شرمسار
پھر زبوں ہے نفسِ اِنسانی کی حالت یا حسین
آ، کہ پھر دُنیا کو ہے تیری ضرورت یا حسین
۱۱۳
جہل پھر رکھے ہوے ہے عِلم کے سر پر قدم
خاک میں پھر مل چکا ہے آدمیت کا بھرم
زندگی پر مارتے پھرتے ہیں ٹھونگیں پھر دِرم
کھل چکا ہے پھر دِلِ اِنسان میں سونے کا علم
پھر دفِ زر بج رہا ہے شور ہے اشرار کا
صف شکن، یہ وقت ہے پھر تیغ کی جھنکار کا
۱۱۴
ہم کو تیرا، اور خود بھی خون کے دھارے میں تیر
دیکھ دیوارِ حرم تک آچکا ہے سیلِ دیر
شیرِ دولت نعرہ زن ہے تیغ اُٹھا اے روحِ خیر
راہ پر چاندی نہیں آئیگی لوہے کے بغیر
یوں ہمیں للکار ہم بڑھ کر چٹانیں توڑ دیں
خیبرِ تہذیبِ زر کی سمت باگیں موڑ دیں
۱۱۵
اے مجاحد روح! پھر سینوں کو دے سوزِ شرر
اے مقدّس تشنگی موّاج ہو سر سے گذر
اے امیرِ موت انوکھی زندگی بن کر اُبھر
اے مقرّر خامشی منبر پہ آ تقریر کر
اے لہو پھر قشقۂ پیشانیِ کردار بن
اے جراحت، میان سے بارہر نکل تلوار بن
۱۱۶
دیکھ پھر قصرِ جہنّم بن چکا ہے روزگار
آنچ میں غلطیدہ ہے پھر خیمۂ لیل و نہار
سر زمیں پر حکمراں ہیں باہزاراں اقتدار
آتش و دود و دُخان و شعلہ و برق و شرار
زندگی ہے برسرِ آتش فشانی یا حسین
آگ دنیا میں لگی ہے آگ، پانی یا حسین
जोश मलीहाबादी – मोजिद ओ मुफ़क्किर-१०८-११६ – अलमदद
१०८
फिर बशर के ज़हन पर अक्स-ए जुनूं है या हुसैन
फिर हक़ीक़त रहन-ए औहाम ओ फ़ुसूं है या हुसैन
फिर दिल-ए इक़्दार-ए नाज़ुक ग़र्क़-ए ख़ूं है या हुसैन
फिर बशर बातिल के आगे सर निगूं है या हुसैन
आ, दिल-ए अंजाम को फिर गर्मी-ए आग़ाज़ दे
अए बहादुर वक़्त की आवाज़ पर आवाज़ दे
१०९
हो चुके हैं ग़र्क़ फिर शीराज़ाबंदी के उरूक़
फिर रवां हैं ज़िल्लतें सू-ए तनफ़्फ़ुर जूक़ जूक़
फिर शरी’अत है मसावात-ए बशर की बे वुसूक़
फिर ख़जिल हैं नौ-ए इंसानी के बुनियादी हुक़ूक़
फिर बग़ावत कर रहा है ज़िन्दगी से आदमी
देख फिर टकरा रहा है आदमी से आदमी
११०
फिर हयात-ए नौ-ए इंसानी है कज्लाई हुई
गुल पढे हैं वलवले, जुर’अत है मुरझाई हुई
फिर ज़मीन ओ अस्मां पर मौत है छाई हुई
मौत भी कैसी ख़ुद अपने हाथ की लाई हुई
चेहरा-ए उम्मीद को रख़्शंदगी दे या हुसैन
ज़िन्दगी दे, ज़िन्दगी दे, ज़िन्दगी दे या हुसैन
१११
अक्स अपना डाल फिर इस ख़ाकदाँ पर अए हुसैन
फिर अता फ़रमा हदीस-ए दिल को मिम्बर अए हुसैन
बक़्श दे फिर बस्ता क़तरे को समंदर अए हुसैन
ज़ोर-ए हैदर, ज़ोर-ए हैदर, ज़ोर-ए हैदर अए हुसैन
ख़ुश्क होने पर है जू-ए अज़्म-ए इन्सां अए हुसैन
मौज-ए तूफ़ां, मौज-ए तूफ़ां, मौज-ए तूफ़ां अए हुसैन
११२
हौन्कता फिरता है फिर सरमायादारी का वेक़ार
उठ चुका है फिर अवामी बरतरी का ए’तेबार
फिर ख़िज़ां की आस्तां-बोसी पे है नाज़ां बहार
फिर ख़ुदा का ज़ौक़-ए तख़्लीक़-ए बशर है शर्मसार
फिर ज़ुबूं है नफ़्स-ए इंसानी की हालत या हुसैन
आ, के फिर दुनिया को है तेरी ज़रूरत या हुसैन
११३
जहल फिर रक्खे हुए है इल्म के सर पर क़दम
ख़ाक में फिर मिल चुका है आदमियत का भरम
ज़िन्दगी पर मारते फिरते हैं ठोंगें फिर दिरम
खुल चुका है फिर दिल-ए इन्सां में सोने का अलम
फिर दफ़-ए ज़र बज रहा है शोर है अश्रार का
सफ़ शिकन, ये वक़्त है फिर तेग़ की झंकार का
११४
हम को तैरा और ख़ुद भी ख़ून के धारे में तैर
देख दीवार-ए हरम तक आ चुका है सैल-ए दैर
शेर-ए दौलत ना’रा ज़न है तेग़ उठा अए रूह-ए ख़ैर
राह पर चांदी नहीं आऐगी लोहे के बग़ैर
यूँ हमें लल्कार हम बढ़ कर चटानें तोढ दें
ख़ैबर-ए तहज़ीब-ए ज़र की सम्त बागें मोढ दें
११५
अए मुजाहिद रूह! फिर सीनों को दे सोज़-ए शरर
अए मुक़द्दस तश्नगी मव्वाज हो सर से गुज़र
अए अमीर-ए मौत अनोखी ज़िन्दगी बन कर उभर
अए मुक़र्रिर ख़ामोशी, मिम्बर पे आ तक़्रीर कर
अए लहू फिर क़श्क़ा-ए पेशानी-ए किरदार बन
अए जराहत, मियान से बाहर निकल तलवार बन
११६
देख फिर क़स्र-ए जहन्नुम बन चुका है रोज़गार
आंच में ग़ल्तीदा है फिर ख़ैमा-ए लैल ओ निहार
सरज़मीं पर हुक्मरां हैं बा हज़ारां एक़्तेदार
आतिश ओ दूद ओ दुख़ान ओ शोला ओ बर्क़ ओ शरार
ज़िन्दगी है बरसर-ए आतिश फ़िशानी या हुसैन
आग दुनिया में लगी है आग, पानी या हुसैन
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
108
phir bashar1 ke zahn2 par aks3-e junuuN4 hai ya husain
phir haqiqat5 rahn6-e auham7 o fusuuN8 hai ya husain
phir dil-e iqdar-e nazuk9 Gharq10-e KhuuN hai ya husain
phir bashar baatil11 ke aage sar niguuN12 hai ya husain
aa, dil-e anjaam13 ko phir garmi14-e aaGhaaz15 de
aye bahadur vaqt ki aavaaz par aavaaz de 1.human 2.mind 3.reflection 4.madness 5.truth 6.captive 7.plural of vahm, superstitions 8.magic, deception 9.tender greatness, goodness 10.drowned 11.untruth, evil 12.bowed 13.end, fatalism 14.enthusiasm 15.beginning, starting (to change)
josh in the next stanzas addresses the present and says that many of the same problems of corrupt power exist today. He calls upon upon husain to help lead. He says that ‘husainiyat’ is in the hands of the people and that they should rise up to change the system … Once again the human mind is clouded by madness. Once again truth is captive to superstition and deception. Once again the delicate heart of goodness is drowned in blood. Once again man bows down towards untruth/evil/corrupt power. Come change our fatalism to an enthusiasm for a new beginning. O, brave one, lend your voice to support the need of the time.
109
ho chuke haiN Gharq1 phir shiraazabandi2 ke uruuq3phir ravaaN4 haiN zillateN5 su-e tanaffur6 juuq juuq7phir shari’at8 hai masavaat-e bashar9 ki be vusuuq10phir Khajil11 haiN nau-e insani12 ke buniyadi13 huquuq14phir baGhaavat15 kar raha hai zindagi se aadmi
dekh phir Takra raha hai aadmi se aadm 1.drowned 2.bookbinding glue 3.pages 4.flowing 5.insults 6.towards intense hatred 7.droves 8.laws of faith 9.equality of man 10.without proof (assertion) 11.ashamed 12.human species, humanity 13.fundamental 14.rights 15.rebellion
Once again the glue that binds is gone and pages are scattered. Insults flow in droves and become intense hatred. Once again the tradition of human equality is begging for proof. Once again fundamental rights of equality are put to shame. Once again man is revolting against the basic laws of life. See, (O, husain) once again man is in conflict with man.
110
phir hayaat-e nau-e insaani1 hai kajlaayi2 hui
gul3 paDe haiN valvale4, jur’aat5 hai murjhaai6 hui
phir zamin o aasmaaN par maut hai chaa’i hui
maut bhi kaisi Khud apne haath ki laa’ii hui
chehra-e ummid ko raKhshandagi7 de ya husain
zindagi de, zindagi de, zindagi de ya husain 1.survival of humanity 2.extinguished, blackened 3.extinguished 4.enthusiasm 5.courage, daring 6.wilted 7.brilliance
The survival of humanity is in doubt once again. All enthusiasm is extinguished and courage is wilted. It is as if death is hanging over the earth and sky. And death that humanity has invited upon itself. O husain, give brilliance to the countenance of hope. Give us a new life, O husain.
111
aks1 apna Daal phir is KhaakdaaN2 par aye husain
phir a’ta farma3 hadiis-e dil4 ko mimbar5 aye husain
baKsh de6 phir basta7 qatre8 ko samandar aye husain
zor-e haidar, zor-e haidar, zor-e Haidar aye husain
Khushk hone par hai juu-e-azm-e-insaaN9 aye husain
mauj-e tufaaN, mauj-e tufaaN, mauj-e tufaaN aye husain 1.reflection, shadow 2.bowl of dust=earth 3.grant 4.message of the heart 5.pulpit, announcement 6. grant 7.enclosed 8.drop 9.river of the greatness of humanity
O husain, cast your shadow again on this earth. Grant a pulpit/voice to the message of the heart (of the righteous). Once again grant that this confined drop become an ocean. Bring forth the power of haidar, O husain. The river of greatness of humanity is about to dry up. Bring forth torrential rains, O husain.
112
haunkta1 phirta hai phir sarmaayadari2 ka vaqaar3
uTh chuka hai phir awaami bartari4 ka e’tebaar5phir KhizaaN6 ki aastaaN-bosi7 pe hai nazaaN bahaar8phir Khuda ka zauq9-e taKhliq-e bashar10 hai sharmsaar11phir zubuN12 hai nafs-e insaani13 ki haalat ya husain
aa, ke phir duniya ko hai teri zarurat ya husain 1.roaring 2.wealth, capital 3.status 4.superiority of the (interests of the) common man 5.trust 6.autumn (metaphor for decline, evil) 7.kissing the threshold, obeisance 8.spring (metaphor for progress, goodness) 9.taste, enjoyment 10.creation of humans 11.ashamed, regretful 12.pathetic 13.human life
Once again wealth is roaring and strutting around. People have lost faith in the primacy of the common good. Once again goodness is kissing the threshold of tyranny. Once again god is regretful at the creation of man. Once again the condition of human life has become pathetic. Come, the world needs you, O husain.
113
jahl1 phir rakkhe hue hai ilm2 ke sar par qadam
Khaak meN phir mil chuka hai aadmiyat3 ka bharam4zindagi par maarte phirte haiN ThongeN5 phir diram6khul chuka hai phir dil-e insaaN meN sone ka alam7phir daf-e zar8 baj raha hai shor hai ashraar9 ka
saf shikan10 ye vaqt hai phir teGh11 ki jhankaar ka 1.ignorance, uncivilized 2.knowledge, civilization 3.humanity, human dignity 4.pretense 5.pecking (as a vulture pecking a dead body) 6.silver coin (metaphor for the wealthy) 7.banner of gold, desire for wealth 8.tambourine of wealth 9.mischief makers 10.breaker of the line (of soldiers), brave challenger i.e., husain 11.sword
Forces of evil are trampling on goodness. Even the pretense of human dignity has been buried in the dust. The wealthy peck on people like vultures. The banner of gold now flutters in the hearts of men. Mischief makers are playing music, celebrating their wealth. O husain, it is time for you to pull out your sword.
114
ham ko taira1 aur Khud bhi Khoon ke dhaare meN tair
dekh divaar-e haram2 tak aa chuka hai sael3-e dair4sher-e daulat n’aara zan hai teGh uTha aye ruh-e Khair
raah par5 chandi6 nahiN ayegi lohe ke baGhair
yuN hameN lalkaar7 ham baRh kar chaTaaneN toR deN
Khaiber8-e-tahziib-e-zar9 ki samt baageN moR deN10 1.make us swim 2.mosque (metaphor for principles to be protected) 3.flood 4.world, material (not spiritual) 5.come on the (straight) path 6.silver (metaphor for the wealth and power) 7.challenge, arouse 8.pre-Islamic fort 9.civilization based on wealth 10.turn reins towards, to attack
Come, lead us to swim in our own blood (O husain). The flood of materialism has risen right up to the wall of righteousness. The Tiger of Wealth roars, pick up your sword O spirit of Good. Wealth will not turn to the right path without force. Arouse us so that we may smash the rocks that stand in our way. That we may turn our horses to attack the ‘fortress of civilization of wealth’.
115
aye mujaahid rooh1! phir siinoN ko de soz-e sharar2
aye muqaddas3 tashnagi4 mavvaaj5 ho sar se guzar
aye amir-e maut6 anokhi zindagi ban kar ubhar
aye muqarrir7, Khamushi8 mimbar9 pe aa taqriir10 kar
aye lahu11 phir qashqa-e peshaani12-e kirdaar13 ban
aye jaraahat14, miyaan15 se baahar nikal talwaar16 ban 1.spirit of struggle 2.sadness of (due to) evil (around them) 3.holy 4.thirst 5.bringer of mauj ( waves) 6.conqueror of death 7.derived from iqrar-agreement –the one who can get people to agree to do the right but difficult thing (persuasive leader) 8.silence 9.pulpit 10.speech 11.blood 12. mark on the forehead(mark of distinction) 13.character 14.bravery, courage 15.scabbard 16.sword
O spirit of resistance once again light a fire in our hearts. O holy thirst, create waves that rise above our heads. The juxtaposition of thirst creating waves (of water) is beautiful and of course ‘making waves’ is also creating tumult, resistance. O conquerer of death, come back again with new life. O persuasive leader, all is silent, come on the pulpit and speak. O blood, once again mark our forehead with distinction. qashqa-e peshaani – mark of distinction on the forehead (hindu imagery). The mark in this case is made with blood, and it is a mark of distinction on the forehead of (personified) character. O courageous one, bring your sword out of the scabbard.
116
dekh phir qasr-e jahannum1 ban chuka hai rozgaar2
aanch meN Ghaltida3 hai phir Khaima-e lail o nihaar4sarzamiN5 par hukmraN haiN ba hazaraN6 iqtedaar7aatish8 o dood9 o duKhan10 o shola11 o barq12 o sharaar13zindagi hai barsar14-e aatish fishaani15 ya husain
aag duniya meN lagi hai aag, paani ya husain 1.house of hell 2.daily life 3.drowned in, covered by 4.place of night and day (place of living, life) 5.homeland 6.by the thousands 7.powers (of evil) 8.fire 9.steam 10.heat 11.flame 12.lightning 13.sparks 14.at the head of, at the door of, about to be 15.spreading flame, showering flame
Once again daily life has become a house of hell. Life is surrounded by burning fires. A thousand injustices rule in place of righteous law. Fire, steam, heat, flame, lightning and sparks! Life is at the point of being completely consumed by fire. The world is on fire, on fire – water! O husain. The plea for water is full of pathos and is very ironic because the defining feature of the death of husain is thirst – lack of water. josh turns it on its head so beautifully and powerfully as a climax to his marsia … asking for water of a person who was killed thirsty.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
108
phir bashar1 ke zahn2 par aks3-e junuuN4 hai ya husain
phir haqiqat5 rahn6-e auham7 o fusuuN8 hai ya husain
phir dil-e iqdar-e nazuk9 Gharq10-e KhuuN hai ya husain
phir bashar baatil11 ke aage sar niguuN12 hai ya husain
aa, dil-e anjaam13 ko phir garmi14-e aaGhaaz15 de
aye bahadur vaqt ki aavaaz par aavaaz de
1.human 2.mind 3.reflection 4.madness 5.truth 6.captive 7.plural of vahm, superstitions 8.magic, deception 9.tender greatness, goodness 10.drowned 11.untruth, evil 12.bowed 13.end, fatalism 14.enthusiasm 15.beginning, starting (to change)
josh in the next stanzas addresses the present and says that many of the same problems of corrupt power exist today. He calls upon upon husain to help lead. He says that ‘husainiyat’ is in the hands of the people and that they should rise up to change the system … Once again the human mind is clouded by madness. Once again truth is captive to superstition and deception. Once again the delicate heart of goodness is drowned in blood. Once again man bows down towards untruth/evil/corrupt power. Come change our fatalism to an enthusiasm for a new beginning. O, brave one, lend your voice to support the need of the time.
109
ho chuke haiN Gharq1 phir shiraazabandi2 ke uruuq3phir ravaaN4 haiN zillateN5 su-e tanaffur6 juuq juuq7phir shari’at8 hai masavaat-e bashar9 ki be vusuuq10phir Khajil11 haiN nau-e insani12 ke buniyadi13 huquuq14phir baGhaavat15 kar raha hai zindagi se aadmi
dekh phir Takra raha hai aadmi se aadmi
1.drowned 2.bookbinding glue 3.pages 4.flowing 5.insults 6.towards intense hatred 7.droves 8.laws of faith 9.equality of man 10.without proof (assertion) 11.ashamed 12.human species, humanity 13.fundamental 14.rights 15.rebellion
Once again the glue that binds is gone and pages are scattered. Insults flow in droves and become intense hatred. Once again the tradition of human equality is begging for proof. Once again fundamental rights of equality are put to shame. Once again man is revolting against the basic laws of life. See, (O, husain) once again man is in conflict with man.
110
phir hayaat-e nau-e insaani1 hai kajlaayi2 hui
gul3 paDe haiN valvale4, jur’aat5 hai murjhaai6 hui
phir zamin o aasmaaN par maut hai chaa’i hui
maut bhi kaisi Khud apne haath ki laa’ii hui
chehra-e ummid ko raKhshandagi7 de ya husain
zindagi de, zindagi de, zindagi de ya husain
1.survival of humanity 2.extinguished, blackened 3.extinguished 4.enthusiasm 5.courage, daring 6.wilted 7.brilliance
The survival of humanity is in doubt once again. All enthusiasm is extinguished and courage is wilted. It is as if death is hanging over the earth and sky. And death that humanity has invited upon itself. O husain, give brilliance to the countenance of hope. Give us a new life, O husain.
111
aks1 apna Daal phir is KhaakdaaN2 par aye husain
phir a’ta farma3 hadiis-e dil4 ko mimbar5 aye husain
baKsh de6 phir basta7 qatre8 ko samandar aye husain
zor-e haidar, zor-e haidar, zor-e Haidar aye husain
Khushk hone par hai juu-e-azm-e-insaaN9 aye husain
mauj-e tufaaN, mauj-e tufaaN, mauj-e tufaaN aye husain
1.reflection, shadow 2.bowl of dust=earth 3.grant 4.message of the heart 5.pulpit, announcement 6. grant 7.enclosed 8.drop 9.river of the greatness of humanity
O husain, cast your shadow again on this earth. Grant a pulpit/voice to the message of the heart (of the righteous). Once again grant that this confined drop become an ocean. Bring forth the power of haidar, O husain. The river of greatness of humanity is about to dry up. Bring forth torrential rains, O husain.
112
haunkta1 phirta hai phir sarmaayadari2 ka vaqaar3uTh chuka hai phir awaami bartari4 ka e’tebaar5phir KhizaaN6 ki aastaaN-bosi7 pe hai nazaaN bahaar8phir Khuda ka zauq9-e taKhliq-e bashar10 hai sharmsaar11phir zubuN12 hai nafs-e insaani13 ki haalat ya husain
aa, ke phir duniya ko hai teri zarurat ya husain
1.roaring 2.wealth, capital 3.status 4.superiority of the (interests of the) common man 5.trust 6.autumn (metaphor for decline, evil) 7.kissing the threshold, obeisance 8.spring (metaphor for progress, goodness) 9.taste, enjoyment 10.creation of humans 11.ashamed, regretful 12.pathetic 13.human life
Once again wealth is roaring and strutting around. People have lost faith in the primacy of the common good. Once again goodness is kissing the threshold of tyranny. Once again god is regretful at the creation of man. Once again the condition of human life has become pathetic. Come, the world needs you, O husain.
113
jahl1 phir rakkhe hue hai ilm2 ke sar par qadam
Khaak meN phir mil chuka hai aadmiyat3 ka bharam4zindagi par maarte phirte haiN ThongeN5 phir diram6khul chuka hai phir dil-e insaaN meN sone ka alam7phir daf-e zar8 baj raha hai shor hai ashraar9 ka
saf shikan10 ye vaqt hai phir teGh11 ki jhankaar ka
1.ignorance, uncivilized 2.knowledge, civilization 3.humanity, human dignity 4.pretense 5.pecking (as a vulture pecking a dead body) 6.silver coin (metaphor for the wealthy) 7.banner of gold, desire for wealth 8.tambourine of wealth 9.mischief makers 10.breaker of the line (of soldiers), brave challenger i.e., husain 11.sword
Forces of evil are trampling on goodness. Even the pretense of human dignity has been buried in the dust. The wealthy peck on people like vultures. The banner of gold now flutters in the hearts of men. Mischief makers are playing music, celebrating their wealth. O husain, it is time for you to pull out your sword.
114
ham ko taira1 aur Khud bhi Khoon ke dhaare meN tair
dekh divaar-e haram2 tak aa chuka hai sael3-e dair4sher-e daulat n’aara zan hai teGh uTha aye ruh-e Khair
raah par5 chandi6 nahiN ayegi lohe ke baGhair
yuN hameN lalkaar7 ham baRh kar chaTaaneN toR deN
Khaiber8-e-tahziib-e-zar9 ki samt baageN moR deN10
1.make us swim 2.mosque (metaphor for principles to be protected) 3.flood 4.world, material (not spiritual) 5.come on the (straight) path 6.silver (metaphor for the wealth and power) 7.challenge, arouse 8.pre-Islamic fort 9.civilization based on wealth 10.turn reins towards, to attack
Come, lead us to swim in our own blood (O husain). The flood of materialism has risen right up to the wall of righteousness. The Tiger of Wealth roars, pick up your sword O spirit of Good. Wealth will not turn to the right path without force. Arouse us so that we may smash the rocks that stand in our way. That we may turn our horses to attack the ‘fortress of civilization of wealth’.
115
aye mujaahid rooh1! phir siinoN ko de soz-e sharar2aye muqaddas3 tashnagi4 mavvaaj5 ho sar se guzar
aye amir-e maut6 anokhi zindagi ban kar ubhar
aye muqarrir7, Khamushi8 mimbar9 pe aa taqriir10 kar
aye lahu11 phir qashqa-e peshaani12-e kirdaar13 ban
aye jaraahat14, miyaan15 se baahar nikal talwaar16 ban
1.spirit of struggle 2.sadness of (due to) evil (around them) 3.holy 4.thirst 5.bringer of mauj ( waves) 6.conqueror of death 7.derived from iqrar-agreement –the one who can get people to agree to do the right but difficult thing (persuasive leader) 8.silence 9.pulpit 10.speech 11.blood 12. mark on the forehead(mark of distinction) 13.character 14.bravery, courage 15.scabbard 16.sword
O spirit of resistance once again light a fire in our hearts. O holy thirst, create waves that rise above our heads. The juxtaposition of thirst creating waves (of water) is beautiful and of course ‘making waves’ is also creating tumult, resistance. O conquerer of death, come back again with new life. O persuasive leader, all is silent, come on the pulpit and speak. O blood, once again mark our forehead with distinction. qashqa-e peshaani – mark of distinction on the forehead (hindu imagery). The mark in this case is made with blood, and it is a mark of distinction on the forehead of (personified) character. O courageous one, bring your sword out of the scabbard.
116
dekh phir qasr-e jahannum1 ban chuka hai rozgaar2aanch meN Ghaltida3 hai phir Khaima-e lail o nihaar4sarzamiN5 par hukmraN haiN ba hazaraN6 iqtedaar7aatish8 o dood9 o duKhan10 o shola11 o barq12 o sharaar13zindagi hai barsar14-e aatish fishaani15 ya husain
aag duniya meN lagi hai aag, paani ya husain
1.house of hell 2.daily life 3.drowned in, covered by 4.place of night and day (place of living, life) 5.homeland 6.by the thousands 7.powers (of evil) 8.fire 9.steam 10.heat 11.flame 12.lightning 13.sparks 14.at the head of, at the door of, about to be 15.spreading flame, showering flame
Once again daily life has become a house of hell. Life is surrounded by burning fires. A thousand injustices rule in place of righteous law. Fire, steam, heat, flame, lightning and sparks! Life is at the point of being completely consumed by fire. The world is on fire, on fire – water! O husain. The plea for water is full of pathos and is very ironic because the defining feature of the death of husain is thirst – lack of water. josh turns it on its head so beautifully and powerfully as a climax to his marsia … asking for water of a person who was killed thirsty.
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For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-091-107-Khiraaj-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
sifaat-e husain 54-60 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
haalaat-e daur-e yaziid 61-68 A few stanzas describing in musical language the changing order from principled governance to hubristic power grab and personal enrichment.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
جوش ملیح آبادی ۔ موجد و مفکّر۔۰۹۱۔۱۰۷۔ خراج
٩١
اے حسین ابنِ علی اے خسروِ روحانیاں
اے دِماغِ پختہ کی آواز، اے دِل کی زباں
اے شہِ ملکِ ابد، اے راکبِ عصرِ دواں
موت سے تیری اُبلتی ہے حیاتِ جاوداں
تو ازل سے تا ابد پھیلا ہوا منشور ہے
اے کے تیرا وقت کے دونوں سِروں پر نور ہے
٩٢
کر دیا تو نے یہ ثابت اے دلاور آدمی
زندگی کیا موت سے لیتا ہے ٹکر آدمی
کاٹ سکتا ہے رگِ گردن سے خنجر آدمی
لشکروں کو روند سکتے ہیں بہتر آدمی
ضعف ڈھا سکتا ہے قصرِ افسر و اورنگ کو
آبگینے توڑ سکتے ہیں حصارِ سنگ کو
٩٣
پشت پر تیری ہیں اِتنی عظمتوں کے کارواں
سجدہ کرتی ہے زمیں کو صولتِ ہفت آسماں
یوں تیرے سر پر ہے گرداں چترِ عمرِ جاوداں
دنگ ہیں تاجِ مسیح و خضر کی تابانیاں
تو بشر کی حِمّتِ عالی کا وہ اعجاز ہے
جس پہ یزدان و بشر دونوں کو اب تک ناز ہے
۹۴
تو صدا دے کر نہ پلٹاتا جو سُوئے آب جو
تشنہ لب اِنسان مر جاتا بھٹک کر کو بہ کو
اہلِ دُنیا بر بنائے آرزوئے رنگ و بو
اہرمن کی سمت مُڑ جاتا اگر ہوتا نہ تو
اِس زمیں پر کھینچ کر تو نے حدیں آئین کی
زلزلوں کی پشت پر رکھ دی بِنا تمکین کی
۹۵
پرتوِ آیات ہے تیرے دلِ حساس پر
تو گہر افشاں قلم ہے کوثریں قرطاس پر
زندگی تلتی ہے تیرے خون کی مقیاس پر
کشتیِ ایثار چلتی ہے تیرے انفاس پر
کاروانِ اِرتقا کا رہبرِ کامل ہے تو
سینۂ گیتی و گردوں کا دھڑکتا دل ہے تو
۹۶
تیری موجِ نطق میں ہے نغمۂ سازِ حیات
تیرا ہر خطِ جبیں ہے جادۂ ذات و صفات
تیری ہر موجِ نفس ہے اِنشراحِ کائنات
تیری مژگاں کی ہر اک لرزش ہے تفسیرِ حیات
جھومتے رہتے ہیں عرش و فرش تیرے ساز سے
زندگی جنبش میں آتی ہے تیری آواز سے
٩٧
نصب تو نے کر دئے انساں کی عظمت کے خیام
مرحمت تو نے کیا توقیرِ آدم کو دوام
جھوم کر تونے شہادت کا پیا جس وقت جام
روحِ دوراں نے محمد کو کیا جھک کر سلام
مصطفے کی کشتیِ نازش کو کھینے کے لئے
انبیا آئے مبارکباد دینے کے لئے
۹۸
تشنگی کو موجۂ یم نے مبارکباد دی
خاک داں کو عرشِ اعظم نے مبارکباد دی
فاتحِ خیبر کو آدم نے مبارکباد دی
فاطمہ زہرا کو مریم نے مبارکباد دی
فتح کے نغمات نکلے زندگی کے ساز سے
کبریا نے قُدسیوں کی سِمت دیکھا ناز سے
۹۹
ذرّہ ذرّہ جلوہ گاہِ ماہِ کنعاں ہو گیا
حلقۂ خِشت و خزف گوہر بداماں ہو گیا
بارگاہِ آدمیت میں چراغاں ہو گیا
رشتہ بر پا ذہنِ اِنسانی خراماں ہو گیا
پیکرِ ہستی میں نبضِ مدّعا چلنے لگی
جس سے جی اُٹھتے ہیں مرُدے وہ ہوا چلنے لگی
١٠٠
اے حسین اب تک ترا نقشِ قدم تابندہ ہے
زندہ ہے، پائندہ ہے، نازندہ ہے رخشندہ ہے
روشن و پائندہ و بالندہ و بخشندہ ہے
گام زن تو جس پہ تھا وہ جادہ اب تک زندہ ہے
ضو فِگن ہے ذہن کی ہر بند پر ہر جوڑ پر
شمع جو تابندہ ہے تیری گلی کے موڑ پر
۱۰۱
سیکڑوں قلزم ملا کرتے ہیں تیرے جام سے
سیکڑوں گردوں بٹا کرتے ہیں تیرے بام سے
کس غضب کی لو نکلتی ہے تیرے پیغام سے
زندگی کو جھرجھری آتی ہے تیرے نام سے
گونجتا ہے روح میں ہر نغمہ تیرے ساز کا
آج بھی کوندا لپکتا ہے تیری آواز کا
۱۰۲
اے حسین ابنِ علی اے شہ یزداں صفات
نور سے تیرے جھمکتی ہے جبینِ کائنات
محو ہو جائیں اگر دُنیا سے تیرے واقعات
گنبدِ تاریخ پر چھا جائے ہیبت ناک رات
بھول سکتا ہی نہیں اِنسان قربانی تیری
حافظے کے فرق کا جھومر ہے پیشانی تیری
۱۰۳
اے فضائے قدس کے ابرِ خراماں السلام
السلام اے شمعۂ ایوانِ عِرفاں السلام
السلام اے طرّہِ تاجِ شہیداں السلام
السلام اے ذولکلام و زندہ قرآں السلام
السلام اے سطوتِ محراب و مِنبر السلام
السلام اے خسروِ ناموسِ اکبر السلام
۱۰۴
اے گلوئے زیرِ شمشیرِ عدو تجھ پر سلام
کربلا کی خاک پر بہتے لہو تجھ پر سلام
دودمانِ مصطفیٰ کی آبرو تجھ پر سلام
اے بہ خوں غلطیدہ زلفِ مشک بو تجھ پر سلام
دینِ اہلِ درد و جانِ اہلِ ماتم السلام
شانۂ ایمان کے اے گیسوئے برہم سلام
۱۰۵
شاہِ غم کی شان، میرِ سوگواراں السلام
مشعلِ افسردۂ شامِ غریباں السلام
اے میرے ڈوبے ہوے مہرِ درخشاں السلام
اے دیارِ فاطمہ کے ماہِ کنعاں السلام
قلبِ تسلیم و رضا کے صبر و افسر السلام
السلام اے دشتِ غربت کے مسافر السلام
۱۰۶
سینہ عباس کے سوزِ نہانی کو سلام
توسنِ ابنِ مظاہر کی روانی کو سلام
اصغرِ معصوم تیری بے زبانی کو سلام
اکبرِ نوخیز تیری نوجوانی کو سلام
مصطفےٰ کے لال کو حیدر کے پیارے کو سلام
فاطمہ زہرہ تیری آنکھوں کے تارے کو سلام
١٠٧
اے زمیں کی خسروی، گردوں کی شاہی کو سلام
اے مدینے کی نسیمِ صبح گاہی کو سلام
اے شہادت کی ادائے کج کلاہی کو سلام
اے اجل کے روندنے والے سپاہی کو سلام
اے مرے ساونت میرے جری تجھ پر سلام
ناخدائے کشتیِ پیغمبری تجھ پر سلام
जोश मलीहाबादी – मोजिद ओ मुफ़क्किर-०९१-१०७ – ख़िराज
९१
अए हुसैन इब्न-ए अली अए ख़ुसरव-ए रूहानियाँ
अए दिमाग़-ए पुख़्ता की आवाज़, अए दिल की ज़बां
अए शह-ए मुल्क-ए अबद, अए राकिब-ए असर-ए दवां
मौत से तेरी उबलती है हयात-ए जाविदां
तू अज़ल से ता अबद फैला हुआ मंशुर है
अए के तेरा वक़्त के दोनों सिरों पर नूर है
९२
कर दिया तू ने ये साबित अए दिलावर आदमी
ज़िन्दगी क्या मौत से लेता है टक्कर आदमी
काट सकता है रग-ए गर्दन से ख़ंजर आदमी
लश्करों को रौंद सकते हैं बहत्तर आदमी
ज़ो’फ़ ढा सकता है क़स्र-ए अफ़्सर ओ औरंग को
आबगीने तोढ सकते हैं हिसार-ए संग को
९३
पुश्त पर तेरी हैं इतनी अज़मतों के कारवां
सजदा करती है ज़मीं को सूलत-ए हफ़्त-आसमां
यूँ तेरे सर पर है गरदां छत्र-ए उम्र-ए जाविदां
दंग हैं ताज-ए मसीह ओ ख़िज़्र की ताबानियाँ
तू बशर की हिम्मत-ए आली का वो एजाज़ है
जिस पे यज़्दान ओ बशर दोनों को अब तक नाज़ है
९४
तू सदा देकर न पल्टाता जो सू-ए आब-जू
तिश्ना लब इन्सान मर जाता भटक कर कू-ब-कू
अहल-ए दुनिया बर बिना-ए आर्ज़ू-ए रंग ओ बू
अहरमन की सम्त मुढ जाता अगर होता न तू
इस ज़मीं पर खैंच कर तू ने हदें आईन की
ज़ल्ज़लों की पुश्त पर रख दी बिना तम्कीन की
९५
परतव-ए आयात है तेरे दिल-ए हस्सास पर
तू गुहर अफ़्शां क़लम है कौसरीं क़िर्तास पर
ज़िन्दगी तुलती है तेरे ख़ून की मिक़्यास पर
कश्ती-ए ईसार चलती है तेरे अन्फ़ास पर
कारवान-ए इर्तेक़ा का रहबर-ए कामिल है तू
सीना-ए गेती ओ गर्दूं का धढकता दिल है तू
९६
तेरी मौज-ए नुत्क़ में है नग़्मा-ए साज़-ए हयात
तेरा हर ख़त-ए जबीं है जादा-ए ज़ात ओ सिफ़ात
तेरी हर मौज-ए नफ़स है इन्शेराह-ए काएनात
तेरी मिज़्श्गां की हर एक लर्ज़िश है तफ़्सीर-ए हयात
झूमते रहते हैं अर्श ओ फ़र्श तेरे साज़ से
ज़िन्दगी जुम्बिश में आती है तेरी आवाज़ से
९७
नस्ब तू ने कर दिए इन्सां की अज़्मत के ख़याम
मरहमत तू ने किया तौक़ीर-ए आदम को दवाम
झूम कर तू ने शहादत का पिया जिस वक़्त जाम
रूह-ए दौरां ने मोहम्मद को किया झुक कर सलाम
मुस्तफ़ा की कश्ती-ए नाज़िश को खेने के लिये
अंबिया आए मुबारकबाद देने के लिये
९८
तिश्नगी को मौजा-ए यम ने मुबारकबाद दी
ख़ाक दां को अर्श-ए आज़म ने मुबारकबाद दी
फ़ातेह-ए ख़ैबर को आदम ने मुबारकबाद दी
फ़ातिमा ज़हरा को मर्यिम ने मुबारकबाद दी
फ़तह के नग़मात निकले ज़िन्दगी के साज़ से
किब्रिया ने क़ुद्सियों की सम्त देखा नाज़ से
९९
ज़र्रा ज़र्रा जलवा गाह-ए माह-ए कन’आं हो गया
हल्क़ा-ए ख़िश्त ओ ख़ज़फ़ गौहर बदामां हो गया
बारगाह-ए आदमियत में चिरागां हो गया
रिश्ता-बर-पा ज़हन-ए इंसानी ख़रामां हो गया
पैकर-ए हस्ती में नब्ज़-ए मुद्दुआ चलने लगी
जिस से जी उठते हैं मुर्दे वो हवा चलने लगी
१००
अए हुसैन अबतक तेरा नक़्श-ए क़दम ताबिंदा है
ज़िन्दा है, पाइन्दा है, नाज़िन्दा है, रख़शिंदा है
रौशन ओ पाइन्दा ओ बालिंदा ओ बख़शिंदा है
गाम-ज़न तू जिस पे था वो जादा अबतक ज़िन्दा है
ज़ौ-फ़िगन है ज़हन की हर बंद पर हर जोढ पर
शम’अ जो ताबिंदा है तेरी गली के मोढ पर
१०१
सैकढों क़ुल्ज़ुम मिला करते हैं तेरे जाम से
सैकड़ों गर्दूं बटा करते हैं तेरे बाम से
किस ग़ज़ब की लौ निकलती है तेरे पैग़ाम से
ज़िन्दगी को झुरझुरी आती है तेरे नाम से
गूंजता है रूह में हर नग़्मा तेरे साज़ का
आज भी कौन्दा लपकता है तेरी आवाज़ का
१०२
अए हुसैन इब्न-ए अली अए शह-ए यज़्दां सिफ़ात
नूर से तेरे झमकती है जबीन-ए काएनात
महव हो जाएँ अगर दुनिया से तेरे वाक़े’आत
गुंबद-ए तारीख़ पे छा जाये हैबत नाक रात
भूल सकता ही नहीं इन्सान क़ुर्बानी तेरी
हाफ़िज़े के फ़र्क़ का झूमर है पेशानी तेरी
१०३
अए फ़िज़ा-ए क़ुद्स के अब्र-ए ख़रामां अस्सलाम
अस्सलाम अए शमा-ए ऐयवान-ए उर्फ़ान अस्सलाम
अस्सलाम अए तुर्रा-ए ताज-ए शहीदां अस्सलाम
अस्सलाम अए ज़ुल्कलाम ओ ज़िन्दा क़ुर’आं अस्सलाम
अस्सलाम अए सितवत-ए मेहराब ओ मिम्बर अस्सलाम
अस्सलाम अए ख़ुस्रव-ए नामूस-ए अकबर अस्सलाम
१०४
अए गुलू-ए ज़ेर-ए शम्शीर-ए अदू तुझ पर सलाम
करबला की ख़ाक पर बहते लहू तुझ पर सलाम
दूदमान-ए मुस्तफ़ा की आबरू तुझ पर सलाम
अए ब ख़ूं ग़ल्तीदा ज़ुल्फ़-ए मुश्क बू तुझ पर सलाम
दीन-ए अहल-ए दर्द ओ जान-ए अहल-ए मातम अस्सलाम
शाना-ए ईमान के अए गेसू-ए बरहम सलाम
१०५
शाह-ए ग़म की शान, मीर-ए सोग्वारां अस्सलाम
मश’अल-ए अफ़्सुर्दा-ए शाम-ए ग़रीबां अस्सलाम
अए मेरे डूबे हुए महर-ए दरख़्शाँ अस्सलाम
अए दयार-ए फ़ातिमा के माह-ए कन’आं अस्सलाम
क़ल्ब-ए तस्लीम ओ रज़ा के सब्र ओ अफ़्सर अस्सलाम
अस्सलाम अए दश्त-ए ग़ुर्बत के मुसाफ़िर अस्सलाम
१०६
सीना-ए अब्बास के सोज़-ए निहानी को सलाम
तौसन-ए इब्न-ए मज़ाहिर की रवानी को सलाम
अस्ग़र-ए मा’सूम तेरी बेज़बानी को सलाम
अक्बर-ए नौख़ेज़ तेरी नौजवानी को सलाम
मुस्तफ़ा के लाल को, हैदर के प्यारे को सलाम
फ़ातिमा ज़हरा तेरी आँखों के तारे को सलाम
१०७
अए ज़मीं की ख़ुसरवी, गर्दूं की शाही को सलाम
अए मदीने की नसीम-ए सुबह-गाही को सलाम
अए शहादत की अदा-ए कज कुलाही को सलाम
अए अजल के रौंदने वाले सिपाही को सलाम
अए मेरे सावंत, मेरे जरी तुझ पर सलाम
नाख़ुदा-ए किश्ती-ए पैग़म्बरी तुझ पर सलाम
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
091
aye husain ibn-e ali1 aye Khusrav2-e ruhaaniyaaN3aye dimaaGh-e puKhta4 ki avaaz, aye dil ki zabaaN
aye shah-e mulk-e abad5, aye raakib6-e asr-e davaaN7maut se teri ubalti hai hayaat-e-javidaaN8tu azal9 se ta abad10 phaila hua manshuur11 hai
aye ke tera vaqt ke donoN siroN par nuur hai 1.husain-son of ali 2.king 3.spirituality 4.mature mind, discriminating mind 5.land of eternity (paradise) 6. rider, one who holds the reins 7.present times or order 8.eternal life 9.beginning 10.end (also eternity) 11.manifesto
O husain, king of spirituality. O, voice of reason and the desire of the heart. O king of paradise, O holder of the reins of the world. Eternal life flows from your death. From the beginning to the end your manifesto covers all time. Your light shines on both ends of time (from creation to doomsday).
092
kar diya tu ne ye saabit1 aye dilaavar2 aadmi
zindagi kya maut se leta hai Takkar aadmi
kaaT sakta hai rag-e-gardan3 se Khanjar4 aadmi
lashkaroN ko raund5 sakte haiN bahattar6 aadmi
zo’f7 Dhaa sakta8 hai qasr9-e afsar o auraNg10 ko
aabgiine11 toR sakte haiN hisaar12-e sang13 ko 1.to prove 2.brave 3.jugular vein 4.dagger 5.trample, conquer 6. seventy two 7.weakness, old age 8. destroy 9.palace, castle 10.throne, king 11.crystals 12.parapet, wall 13.rock
You have proved, O brave man that man can overcome not only the difficulties of Life but also face down Death. You have proved that the jugular can cut through a dagger. You have proved that seventy two can prevail upon vast armies. Truth, even without arms can destroy castles and armies. You have proved that crystal can break walls of stone.
093
pusht1 par teri haiN itni azmatoN2 ke kaarvaaN
sajda3 karti hai zamiN ko sulat4-e haft-asmaaN5yuN tere sar par hai gardaaN6 chatr7-e umr-e javidaaN8daNg9 haiN taj-e Masih10 o Khizr12 ki tabaaniyaaN12tu bashar13 ki himmat-e aali14 ka vo ejaaz15 hai
jis pe yazdaan16 o bashar donoN ko abtak naaz hai 1.back 2.greatnesses 3.obeisance 4.respect, dignity 5.seven skies
6.circulating, hovering 7.umbrella, aura 8.eternal life, immortality 9.amazed 10.Jesus 11.legendary prophet who discovered the water of life, drank it and so has eternal life 12.brilliances, greatness 13.human 14.highest courage 15.miracle, epitome 16.god
On your back you carry such greatness that all seven heavens pay obeisance to the earth. The aura of immortality hovers over your head such that the grandeur of the crowns of Jesus and Khizr are amazed. josh by mentioning Jesus and Khizr (one raised the dead and the other achieved immortality) is saying husain gave up his own life to give eternal life to righteousness. You are the epitome of the highest courage of man. You make both god and man are forever proud.
094
tu sada1 dekar na palTaata jo su-e-aab-e-ju2
tishna-lab3 insaan mar jaata bhaTak4 kar ku-ba-ku5ahl-e duniya bar bina6-e aarzu7-e rang o bu8ahrman9 ki samt muR jaata agar hota na tu
is zamiN par khainch kar tu ne hadeN10 aaiin11 ki
zalzaloN12 ki pusht13 par rakh di bina14 tamkiin15 ki 1.call 2.towards the river water 3.thirsty lips 4.wandering, lost 5.street by street i.e.aimless wandering 6.on the basis of the ( philosophy) 7.desire, temptation 8.color and fragrance i.e.carnal pleasures, worldly gains
9.Zoroastrian name for Satan 10.boundaries 11.culture, code of conduct
12.earthquake, here instability, aimlessness 13.back 14.foundation
15.peace and tranquility
If you had not called humanity to the river of Truth, human being would have wandered thirsty of virtue. The people of this world, based simply on worldly pleasures would have turned towards Satan, had you not been there. You ‘drew lines’ explaining the culture of morality. You built a solid peace on the back of the earthquake.
095
partav1-e aayaat2 hai tere dil-e hassaas3 par
tu guhar4 afshaN5 qalam hai KausariN6 qirtaas7 par
zindagi tulti8 hai tere Khun ki miqyaas9 par
kashti-e eesaar10 chalti hai tere anfaas11 par
karvaan-e irteqa12 ka rahbar13-e kaamil14 hai tu
siina-e geti or garduN15 ka dhaRakta dil hai tu 1.shadow, reflection 2.verses (of the qur’aan) 3.sensitive, loving 4.pearls 5.scatter, shower 6.like Kausar (river in paradise) 7.page 8.gets weighed, evaluated 9.balance 10.sacrifice, consideration of others 11.breath
12.progress, betterment 13.guide 14.perfect 15.earth and sky
The verses of the qur’aan are reflected in your loving heart. You are the pen that scatters pearls on the heavenly page. Life is measured against the standard that you set with your blood. The boat of sacrifice moves because of the strength of your breath. You are the perfect guide for the betterment of humanity. You are the heart that throbs in this earth and the sky.
096
teri mauj-e nutq1 meN hai naGhma-e saaz-e-hayaat2
tera har Khat-e jabiN3 hai jada4-e zaat o sifaat5teri har mauj-e nafas6 hai insherah7-e ka’enaat8teri mizhgaN9 ki har ek larzish10 hai tafsir11-e hayaat12jhoomte rahte haiN arsh o farsh13 tere saaz14 se
zindagi jumbish15 meN aati hai teri avaaz se 1.wave of your voice/call 2.music and song of life 3.wrinkle on the brow 4.pathway 5.the being and attributes of god 6.wave of breath 7.explanation 8.creation, universe 9.eyelashes 10.movement 11.commentary 12.life 13.sky and earth 14.music 15.movement, activity
The sound of your call is the song and tune of life. Every wrinkle on your brow is a pathway to god. Every breath of yours explains the purpose of creation. The movements of your eyelashes explain the spirit of life. The earth and sky dance to your tune. Life moves/steps forward and answers when you call.
097
nasb1 tu ne kar diye insaaN ki azmat2 ke Khayaam3
marhamat4 tu ne kiya tauqir-e aadam5 ko davaam6jhoom kar tu ne shahadat ka piya jis vaqt jaam7rooh-e dauraN8 ne mohammed ko kiya jhuk kar salaam
mustafa9 ki kashti-e nazish10 ko khene ke liye
anbiya11 aaye mubarakbad dene ke liye 1.establish 2.greatness 3.tents, place 4.bestow 5.dignity of aadam (of man) 6.permanence, dependability, credibility 7.cup 8.spirit of present times, spirit of creation 9.another name of mohammed 10.pride 11.prophets
You proved the greatness of man in the scheme of the Universe. You bestowed credibility to the dignity of man. When you happily drank of the cup of martyrdom, the spirit of creation bowed low and paid respects to mohammed. To row the boat of pride of mohammed all the (past) prophets came to felicitate him.
098
tishnagi1 ko mauj-e yam2 ne mubarakbad di
Khaak daaN3 ko arsh-e aazam4 ne mubarakbad di
faateh-e-Khyber5 ko aadam ne mubarkbad di
fatima zahra6 ko maryam ne mubarakbad di
fateh7 ke naGhmaat8 nikle zindagi ke saz9 se
kibriya10 ne qudsiyoN11 ki samt12 dekha naaz13 se 1.thirst 2.waves of the river 3.container of dust (earth) 4.great sky,heavens 5.conqueror of Khyber, ali, father of husain 6.mother of husain 7.victory 8.songs 9.from the music of life 10.god 11.angels 12. towards 13.pride
Thirst felicitated the waves of the river. Heavens felicitated the earth. Adam felicitated ali and Mary felicitated faatima zahra. Mary the mother of Jesus who also underwent tortuous killing felicitating faatima zahra, the mother of husain. Life began to sing songs of victory and god glanced at his angels with pride.
099
zarra zarra1 jalva gaah2-e maah-e kan’aaN3 ho gaya
halqa-e Khisht o Khazaf4 gauhar badamaaN5 ho gaya
bargaah-e-aadmiyat6 meN chiraGhaaN7 ho gaya
rishta-bar-paa8 zahn-e insani KharamaN9 ho gaya
paikar-e hasti10 meN nabz-e muddua11 chalne lagi
jis se jii uThte haiN murde vo hava chalne lagi 1.particle 2.place where you can see, reflection of 3.moon of the Kanaan tribe yusuf/Joseph, who was extremely handsome, beauty personfied
4.circle/place of bricks and pebbles 5.full of pearls 6.abode of humanity, earth 7.illumination, festivities 8.rope/chain on feet 9.graceful walk 10.of existence (life) 11.pulse of desire (for deliverance)
Every insignificant particle relected the beauty of the moon. Brick bats and pebbles changed to pearls. The earth dazzled in festive lights. The bound/chained mind of man acquired a graceful gait. In the body of life began to throb the pulse of desire for deliverance. It was as if a life-giving breeze was blowing.
100
aye husain abtak tera naqsh-e qadam1 taabinda2 hai
zinda hai, paainda3 hai, naazinda4 hai, raKhshinda5 hai
raushan o paainda o baalinda6 o baKhshinda7 hai
gaam zan8 tu jis pe tha vo jaada9 abtak zinda hai
zau-figan10 hai zahn ki kar band11 par har joR12 par
sham’a jo taabinda2 hai teri gali ke moR par 1.foot print, example 2.bright 3.firm, strong 4.source of pride 5.brilliant 6.every increasing (in strength) 7. granting deliverance 8.walked 9.pathway 10.shining a light on 11.fold 12.connection
O husain, to this day, your footprints shine brightly. They are alive, firm, a source of pride and lustrous. Bright, firm, ever increasing in strength and granting deliverance. The path that you took, that path still beckons. Every fold and every connection in the mind is lit by the lamp that shines at the head of your path.
101
saikRoN1 qulzum2 mila karte haiN tere jaam3 se
saikroN garduN4 baTa karte haiN tere baam5 se
kis Ghazab6 ki lau7 nikalti hai tere paiGhaam8 se
zindagi ko jhurjhuri aati hai tere naam se
guunjta9 hai rooh10 meN har naGhma11 tere saaz12 ka
aaj bhi kaunda lapakta13 hai teri avaaz ka 1.thousands 2.oceans 3.cup 4.skies 5.roof,house 6.awe inspiring
7.brilliant flame 8.message 9.echoes 10.spirit, soul 11.song 12.music
13.lightning strike
Benevolence flows from your cup like a thousand oceans. Gifts given from your door are vast like a thousand skies. What an awe-inspiring flame it is that leaps from your message. The mention of your name sends tingling excitement through life. The melody of your song echoes through the human spirit. To this day your message has the impact of a thunderbolt.
102
aye husain ibn-e ali aye shah1-e yazdaaN2 sifaat3nuur4 se tere jhamakti5 hai jabiin6-e kaa’enaat7mahv8 ho jaa’eN agar duniya se tere vaqe’aat9guNbad-e tariiKh10 pe chhaa jaa’e haibatnaak11 raat
bhool sakta hi nahiN insaan qurbaani teri
hafize12 ke farq13 ka jhoomar hai peshaani14 teri 1.king 2.god 3.qualities (shah-e yazdaaN sifat – king with godlike/divine qualities) 4.light 5.sparkles 6.forehead 7.creation 8.forget 9.legends 10.history 11.fearsome 12.memory, history 13.face 14. forehead
O husain, king among great ones with divine qualities, it is with your light that the brow of creation sparkles. If your story were to disappear from this earth a dark fearsome night will descend on the dome of history. Man cannot forget your sacrifice. Your memory is the ornament on the brow of history.
103
aye fiza1-e quds2 ke abr-e KharamaaN3 assalam
assalam aye shama-e aivan-e irfaaN4 assalam
assalam aye turra5-e taj-e shaheedaaN assalam
assalam aye zulkalam6 o zinda Qura’aN7 assalam
assalam aye sitwat8-e mehrab9 o mimbar10 assalam
asslam aye Khusro11-e namuus-e akbar12 assalam 1.breeze 2.pure, holy 3.gentle cloud 4.assembly of mystics 5.top ornament of a cap/crown 6.lord (protector) of speech/word/qur’aan 7.living qur’aan
8.grandeur 9.central arch in a mosque 10.pulpit 11.king (protector) 12.greatest respect (respect for god)
O holy breeze and blessed cloud, peace on you. O light of the assembly of mystics, peace on you. O crown of the crown of martyrs, peace on you. O protector and personification of the qur’aan, peace on you. O grandeur of the arch and pulpit, peace on you. O protector of the dignity/respect for god, peace on you.
104
aye gulu1-e zer2-e shamshir-e adu3 tujh par salam
karbala ki Khaak par bahte lahu tujh par salam
dudman4-e mustafa5 ki aabru6 tujh par salam
aye ba KhuN Ghaltida7 zulf-e mushk8 bu tujh par salam
deen-e ahl-e dard9 o jaan-e ahle maatam10 assalam
shaana-e imaaN11 ke aye gesu-e barham12 salam 1.throat 2.under 3.sword of evil 4.house, family 5.mohammed 6.pride 7.drenched in blood 8. tress of musk trees 9.faith of the ‘people of pain’ –referring to the shia who mourn in pain recalling the pain of husain10.the life (center) of shia people of mourning 11.comb (shaana, in faarsi, is comb) of faith 12.scattered/tangled tresses
O throat that was slit by the sword of evil, salutations. O blood that flowed in the dust of karbala, salutations. O pride of the house of mohammed, salutations. O musky fragrant hair drenched in blood, salutations. O faith of the people who know pain and mourning, salutations. O you who comb and and straighten the tangled tresses of faith, salutations
105
shaah-e Gham1 ki shaan2, miir3-e sogwaaraaN4 assalam
mash’al5-e afsurda6-e shaam-e GharibaaN assalam
aye mere Doobe hue mahr-e daraKhshaaN7 assalam
aye dayaar-e faatima8 ke maah-e kan’aaN9 assalam
qalb10-e taslim o raza11 ke sabr12 o afsar13 assalam
assalam aye dasht-e Ghurbat14 ke musafir assalam 1.climax of mourning 2.glory 3.leader 4.mourner 5.torch 6.extinguished
7.brilliant sun 8.(door) house of faatima 9.moon of the tribe of Kan’aN (Joseph) 10.heart, centre 11.acceptance and agreement (with the will of god) 12.steadfast, accepting 13.leader, used here as ‘exemplar’ 14.wilderness away from home
The shia community while mourning for husain – is both sad and proud of his suffering and of his followers. josh calls husain the ‘pride of the climax/best of mourning’ and a ‘leader of mourners’ and offers his tribute (assalam). O, pride of the best of mourning, O leader of mourners, salutations. O extinguished lamp of ‘shaam-e GharibaaN’, salutations. O, sun that has set, yet shines brightly, salutations. O, moon of kan’aN of the house of faatima, salutations. O, exemplar of the acceptance of the will of god, salutations. Salutations O traveler in the desert of homelessness, salutations
106
siina-e abbas1 ke soz2-e nihaani3 ko salam
tausan4-e ibn-e mazahir5 ki ravaani6 ko salam
asGhar7-e maa’sum8 teri bezabaani9 ko salam
akbar10-e nauKhez11 teri naujavaani12 ko salam
mustafa ke lal13 ko, haider ke pyaare ko salam
fatima zahra14 teri aaNkhoN ke taare15 ko salam 1.husain’s half brother and commander of his force 2.sorrow 3.hidden
4.horse, steed 5.a 70 year old follower of husain who is reputed to have fought bravely 6.flow, speed 7.husain’s infant son killed in Karbala 8.innocent 9.inability to speak 10.husain’s 18 year old son who fought and killed in Karbala 11.new adult 12.youth 13.ruby, loved one 14. mohammed’s daughter and husain’s mother 15.star of the eyes … intensely loved
My tribute to abbas who hid his sorrows in his bosom. To the courage with which ibn-e-mazaahir rode his steed, to the innocence of the infant asGhar and to the new adult youth, akbar. My tribute to the beloved of mustafa and to haider’s beloved. My tribute to the loved one of faatima zahra.
107
aye zamiN ki Khusravi1, garduN2 ki shaahi3 ko salam
aye madine ki nasim-e subah gaahi4 ko salam
aye shahaadat5 ki ada6-e kaj kulaahi7 ko salam
aye ajal8 ke raundne9 vaale sipaahi ko salam
aye mere saavant10, mere jari11 tujh par salam
naKhuda12-e kishti-e paiGhambari tujh par salam 1.kingship 2.skies 3.kingship 4.breeze that brings tidings of dawn/aza’an
5.martyrdom 6.style 7. crooked cap metaphor for rebellion against tradition and power 8.eternity 9.trample (here-overcome eternity i.e.to become immortal) 10.brave 11.brave 12.helmsman
My tribute to the kings of the earth, the emperor of the skies. O, call of the az’aan in the morning of madina, salutations. O, great one, rebellious even in the face of death, salutations. O, immortal soldier of righteousness, salutations. O brave soldier, fearless fighter, my salutations. O, helmsman of the boat of mohammed, my salutations.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
91
aye husain ibn-e ali1 aye Khusrav2-e ruhaaniyaaN3aye dimaaGh-e puKhta4 ki avaaz, aye dil ki zabaaN
aye shah-e mulk-e abad5, aye raakib6-e asr-e davaaN7maut se teri ubalti hai hayaat-e-javidaaN8tu azal9 se ta abad10 phaila hua manshuur11 hai
aye ke tera vaqt ke donoN siroN par nuur hai
1.husain-son of ali 2.king 3.spirituality 4.mature mind, discriminating mind 5.land of eternity (paradise) 6. rider, one who holds the reins 7.present times or order 8.eternal life 9.beginning 10.end (also eternity) 11.manifesto
O husain, king of spirituality. O, voice of reason and the desire of the heart. O king of paradise, O holder of the reins of the world. Eternal life flows from your death. From the beginning to the end your manifesto covers all time. Your light shines on both ends of time (from creation to doomsday).
92
kar diya tu ne ye saabit1 aye dilaavar2 aadmi
zindagi kya maut se leta hai Takkar aadmi
kaaT sakta hai rag-e-gardan3 se Khanjar4 aadmi
lashkaroN ko raund5 sakte haiN bahattar6 aadmi
zo’f7 Dhaa sakta8 hai qasr9-e afsar o auraNg10 ko
aabgiine11 toR sakte haiN hisaar12-e sang13 ko
1.to prove 2.brave 3.jugular vein 4.dagger 5.trample, conquer 6. seventy two 7.weakness, old age 8. destroy 9.palace, castle 10.throne, king 11.crystals 12.parapet, wall 13.rock
You have proved, O brave man that man can overcome not only the difficulties of Life but also face down Death. You have proved that the jugular can cut through a dagger. You have proved that seventy two can prevail upon vast armies. Truth, even without arms can destroy castles and armies. You have proved that crystal can break walls of stone.
93
pusht1 par teri haiN itni azmatoN2 ke kaarvaaN
sajda3 karti hai zamiN ko sulat4-e haft-asmaaN5yuN tere sar par hai gardaaN6 chatr7-e umr-e javidaaN8daNg9 haiN taj-e Masih10 o Khizr12 ki tabaaniyaaN12tu bashar13 ki himmat-e aali14 ka vo ejaaz15 hai
jis pe yazdaan16 o bashar donoN ko abtak naaz hai
1.back 2.greatnesses 3.obeisance 4.respect, dignity 5.seven skies
6.circulating, hovering 7.umbrella, aura 8.eternal life, immortality 9.amazed 10.Jesus 11.legendary prophet who discovered the water of life, drank it and so has eternal life 12.brilliances, greatness 13.human 14.highest courage 15.miracle, epitome 16.god
On your back you carry such greatness that all seven heavens pay obeisance to the earth. The aura of immortality hovers over your head such that the grandeur of the crowns of Jesus and Khizr are amazed. josh by mentioning Jesus and Khizr (one raised the dead and the other achieved immortality) is saying husain gave up his own life to give eternal life to righteousness. You are the epitome of the highest courage of man. You make both god and man are forever proud.
94
tu sada1 dekar na palTaata jo su-e-aab-e-ju2tishna-lab3 insaan mar jaata bhaTak4 kar ku-ba-ku5ahl-e duniya bar bina6-e aarzu7-e rang o bu8ahrman9 ki samt muR jaata agar hota na tu
is zamiN par khainch kar tu ne hadeN10 aaiin11 ki
zalzaloN12 ki pusht13 par rakh di bina14 tamkiin15 ki
1.call 2.towards the river water 3.thirsty lips 4.wandering, lost 5.street by street i.e.aimless wandering 6.on the basis of the ( philosophy) 7.desire, temptation 8.color and fragrance i.e.carnal pleasures, worldly gains
9.Zoroastrian name for Satan 10.boundaries 11.culture, code of conduct
12.earthquake, here instability, aimlessness 13.back 14.foundation
15.peace and tranquility
If you had not called humanity to the river of Truth, human being would have wandered thirsty of virtue. The people of this world, based simply on worldly pleasures would have turned towards Satan, had you not been there. You ‘drew lines’ explaining the culture of morality. You built a solid peace on the back of the earthquake.
95
partav1-e aayaat2 hai tere dil-e hassaas3 par
tu guhar4 afshaN5 qalam hai KausariN6 qirtaas7 par
zindagi tulti8 hai tere Khun ki miqyaas9 par
kashti-e eesaar10 chalti hai tere anfaas11 par
karvaan-e irteqa12 ka rahbar13-e kaamil14 hai tu
siina-e geti or garduN15 ka dhaRakta dil hai tu
1.shadow, reflection 2.verses (of the qur’aan) 3.sensitive, loving 4.pearls 5.scatter, shower 6.like Kausar (river in paradise) 7.page 8.gets weighed, evaluated 9.balance 10.sacrifice, consideration of others 11.breath
12.progress, betterment 13.guide 14.perfect 15.earth and sky
The verses of the qur’aan are reflected in your loving heart. You are the pen that scatters pearls on the heavenly page. Life is measured against the standard that you set with your blood. The boat of sacrifice moves because of the strength of your breath. You are the perfect guide for the betterment of humanity. You are the heart that throbs in this earth and the sky.
96
teri mauj-e nutq1 meN hai naGhma-e saaz-e-hayaat2tera har Khat-e jabiN3 hai jada4-e zaat o sifaat5teri har mauj-e nafas6 hai insherah7-e ka’enaat8teri mizhgaN9 ki har ek larzish10 hai tafsir11-e hayaat12jhoomte rahte haiN arsh o farsh13 tere saaz14 se
zindagi jumbish15 meN aati hai teri avaaz se
1.wave of your voice/call 2.music and song of life 3.wrinkle on the brow 4.pathway 5.the being and attributes of god 6.wave of breath 7.explanation 8.creation, universe 9.eyelashes 10.movement 11.commentary 12.life 13.sky and earth 14.music 15.movement, activity
The sound of your call is the song and tune of life. Every wrinkle on your brow is a pathway to god. Every breath of yours explains the purpose of creation. The movements of your eyelashes explain the spirit of life. The earth and sky dance to your tune. Life moves/steps forward and answers when you call.
97
nasb1 tu ne kar diye insaaN ki azmat2 ke Khayaam3marhamat4 tu ne kiya tauqir-e aadam5 ko davaam6jhoom kar tu ne shahadat ka piya jis vaqt jaam7rooh-e dauraN8 ne mohammed ko kiya jhuk kar salaam
mustafa9 ki kashti-e nazish10 ko khene ke liye
anbiya11 aaye mubarakbad dene ke liye
1.establish 2.greatness 3.tents, place 4.bestow 5.dignity of aadam (of man) 6.permanence, dependability, credibility 7.cup 8.spirit of present times, spirit of creation 9.another name of mohammed 10.pride 11.prophets
You proved the greatness of man in the scheme of the Universe. You bestowed credibility to the dignity of man. When you happily drank of the cup of martyrdom, the spirit of creation bowed low and paid respects to mohammed. To row the boat of pride of mohammed all the (past) prophets came to felicitate him.
98
tishnagi1 ko mauj-e yam2 ne mubarakbad di
Khaak daaN3 ko arsh-e aazam4 ne mubarakbad di
faateh-e-Khyber5 ko aadam ne mubarkbad di
fatima zahra6 ko maryam ne mubarakbad di
fateh7 ke naGhmaat8 nikle zindagi ke saz9 se
kibriya10 ne qudsiyoN11 ki samt12 dekha naaz13 se
1.thirst 2.waves of the river 3.container of dust (earth) 4.great sky,heavens 5.conqueror of Khyber, ali, father of husain 6.mother of husain 7.victory 8.songs 9.from the music of life 10.god 11.angels 12. towards 13.pride
Thirst felicitated the waves of the river. Heavens felicitated the earth. Adam felicitated ali and Mary felicitated faatima zahra. Mary the mother of Jesus who also underwent tortuous killing felicitating faatima zahra, the mother of husain. Life began to sing songs of victory and god glanced at his angels with pride.
99
zarra zarra1 jalva gaah2-e maah-e kan’aaN3 ho gaya
halqa-e Khisht o Khazaf4 gauhar badamaaN5 ho gaya
bargaah-e-aadmiyat6 meN chiraGhaaN7 ho gaya
rishta-bar-paa8 zahn-e insani KharamaN9 ho gaya
paikar-e hasti10 meN nabz-e muddua11 chalne lagi
jis se jii uThte haiN murde vo hava chalne lagi
1.particle 2.place where you can see, reflection of 3.moon of the Kanaan tribe yusuf/Joseph, who was extremely handsome, beauty personfied
4.circle/place of bricks and pebbles 5.full of pearls 6.abode of humanity, earth 7.illumination, festivities 8.rope/chain on feet 9.graceful walk 10.of existence (life) 11.pulse of desire (for deliverance)
Every insignificant particle relected the beauty of the moon. Brick bats and pebbles changed to pearls. The earth dazzled in festive lights. The bound/chained mind of man acquired a graceful gait. In the body of life began to throb the pulse of desire for deliverance. It was as if a life-giving breeze was blowing.
100
aye husain abtak tera naqsh-e qadam1 taabinda2 hai
zinda hai, paainda3 hai, naazinda4 hai, raKhshinda5 hai
raushan o paainda o baalinda6 o baKhshinda7 hai
gaam zan8 tu jis pe tha vo jaada9 abtak zinda hai
zau-figan10 hai zahn ki kar band11 par har joR12 par
sham’a jo taabinda2 hai teri gali ke moR par
1.foot print, example 2.bright 3.firm, strong 4.source of pride 5.brilliant 6.every increasing (in strength) 7. granting deliverance 8.walked 9.pathway 10.shining a light on 11.fold 12.connection
O husain, to this day, your footprints shine brightly. They are alive, firm, a source of pride and lustrous. Bright, firm, ever increasing in strength and granting deliverance. The path that you took, that path still beckons. Every fold and every connection in the mind is lit by the lamp that shines at the head of your path.
101
saikRoN1 qulzum2 mila karte haiN tere jaam3 se
saikroN garduN4 baTa karte haiN tere baam5 se
kis Ghazab6 ki lau7 nikalti hai tere paiGhaam8 se
zindagi ko jhurjhuri aati hai tere naam se
guunjta9 hai rooh10 meN har naGhma11 tere saaz12 ka
aaj bhi kaunda lapakta13 hai teri avaaz ka
1.thousands 2.oceans 3.cup 4.skies 5.roof,house 6.awe inspiring
7.brilliant flame 8.message 9.echoes 10.spirit, soul 11.song 12.music
13.lightning strike
Benevolence flows from your cup like a thousand oceans. Gifts given from your door are vast like a thousand skies. What an awe-inspiring flame it is that leaps from your message. The mention of your name sends tingling excitement through life. The melody of your song echoes through the human spirit. To this day your message has the impact of a thunderbolt.
102
aye husain ibn-e ali aye shah1-e yazdaaN2 sifaat3nuur4 se tere jhamakti5 hai jabiin6-e kaa’enaat7mahv8 ho jaa’eN agar duniya se tere vaqe’aat9guNbad-e tariiKh10 pe chhaa jaa’e haibatnaak11 raat
bhool sakta hi nahiN insaan qurbaani teri
hafize12 ke farq13 ka jhoomar hai peshaani14 teri
1.king 2.god 3.qualities (shah-e yazdaaN sifat – king with godlike/divine qualities) 4.light 5.sparkles 6.forehead 7.creation 8.forget 9.legends 10.history 11.fearsome 12.memory, history 13.face 14. forehead
O husain, king among great ones with divine qualities, it is with your light that the brow of creation sparkles. If your story were to disappear from this earth a dark fearsome night will descend on the dome of history. Man cannot forget your sacrifice. Your memory is the ornament on the brow of history.
103
aye fiza1-e quds2 ke abr-e KharamaaN3 assalam
assalam aye shama-e aivan-e irfaaN4 assalam
assalam aye turra5-e taj-e shaheedaaN assalam
assalam aye zulkalam6 o zinda Qura’aN7 assalam
assalam aye sitwat8-e mehrab9 o mimbar10 assalam
asslam aye Khusro11-e namuus-e akbar12 assalam
1.breeze 2.pure, holy 3.gentle cloud 4.assembly of mystics 5.top ornament of a cap/crown 6.lord (protector) of speech/word/qur’aan 7.living qur’aan
8.grandeur 9.central arch in a mosque 10.pulpit 11.king (protector) 12.greatest respect (respect for god)
O holy breeze and blessed cloud, peace on you. O light of the assembly of mystics, peace on you. O crown of the crown of martyrs, peace on you. O protector and personification of the qur’aan, peace on you. O grandeur of the arch and pulpit, peace on you. O protector of the dignity/respect for god, peace on you.
104
aye gulu1-e zer2-e shamshir-e adu3 tujh par salam
karbala ki Khaak par bahte lahu tujh par salam
dudman4-e mustafa5 ki aabru6 tujh par salam
aye ba KhuN Ghaltida7 zulf-e mushk8 bu tujh par salam
deen-e ahl-e dard9 o jaan-e ahle maatam10 assalam
shaana-e imaaN11 ke aye gesu-e barham12 salam
1.throat 2.under 3.sword of evil 4.house, family 5.mohammed 6.pride 7.drenched in blood 8. tress of musk trees 9.faith of the ‘people of pain’ –referring to the shia who mourn in pain recalling the pain of husain10.the life (center) of shia people of mourning 11.comb (shaana, in faarsi, is comb) of faith 12.scattered/tangled tresses
O throat that was slit by the sword of evil, salutations. O blood that flowed in the dust of karbala, salutations. O pride of the house of mohammed, salutations. O musky fragrant hair drenched in blood, salutations. O faith of the people who know pain and mourning, salutations. O you who comb and and straighten the tangled tresses of faith, salutations
105
shaah-e Gham1 ki shaan2, miir3-e sogwaaraaN4 assalam
mash’al5-e afsurda6-e shaam-e GharibaaN assalam
aye mere Doobe hue mahr-e daraKhshaaN7 assalam
aye dayaar-e faatima8 ke maah-e kan’aaN9 assalam
qalb10-e taslim o raza11 ke sabr12 o afsar13 assalam
assalam aye dasht-e Ghurbat14 ke musafir assalam
1.climax of mourning 2.glory 3.leader 4.mourner 5.torch 6.extinguished
7.brilliant sun 8.(door) house of faatima 9.moon of the tribe of Kan’aN (Joseph) 10.heart, centre 11.acceptance and agreement (with the will of god) 12.steadfast, accepting 13.leader, used here as ‘exemplar’ 14.wilderness away from home
The shia community while mourning for husain – is both sad and proud of his suffering and of his followers. josh calls husain the ‘pride of the climax/best of mourning’ and a ‘leader of mourners’ and offers his tribute (assalam). O, pride of the best of mourning, O leader of mourners, salutations. O extinguished lamp of ‘shaam-e GharibaaN’, salutations. O, sun that has set, yet shines brightly, salutations. O, moon of kan’aN of the house of faatima, salutations. O, exemplar of the acceptance of the will of god, salutations. Salutations O traveler in the desert of homelessness, salutations
106
siina-e abbas1 ke soz2-e nihaani3 ko salam
tausan4-e ibn-e mazahir5 ki ravaani6 ko salam
asGhar7-e maa’sum8 teri bezabaani9 ko salam
akbar10-e nauKhez11 teri naujavaani12 ko salam
mustafa ke lal13 ko, haider ke pyaare ko salam
fatima zahra14 teri aaNkhoN ke taare15 ko salam
1.husain’s half brother and commander of his force 2.sorrow 3.hidden
4.horse, steed 5.a 70 year old follower of husain who is reputed to have fought bravely 6.flow, speed 7.husain’s infant son killed in Karbala 8.innocent 9.inability to speak 10.husain’s 18 year old son who fought and killed in Karbala 11.new adult 12.youth 13.ruby, loved one 14. mohammed’s daughter and husain’s mother 15.star of the eyes … intensely loved
My tribute to abbas who hid his sorrows in his bosom. To the courage with which ibn-e-mazaahir rode his steed, to the innocence of the infant asGhar and to the new adult youth, akbar. My tribute to the beloved of mustafa and to haider’s beloved. My tribute to the loved one of faatima zahra.
107
aye zamiN ki Khusravi1, garduN2 ki shaahi3 ko salam
aye madine ki nasim-e subah gaahi4 ko salam
aye shahaadat5 ki ada6-e kaj kulaahi7 ko salam
aye ajal8 ke raundne9 vaale sipaahi ko salam
aye mere saavant10, mere jari11 tujh par salam
naKhuda12-e kishti-e paiGhambari tujh par salam
1.kingship 2.skies 3.kingship 4.breeze that brings tidings of dawn/aza’an
5.martyrdom 6.style 7. crooked cap metaphor for rebellion against tradition and power 8.eternity 9.trample (here-overcome eternity i.e.to become immortal) 10.brave 11.brave 12.helmsman
My tribute to the kings of the earth, the emperor of the skies. O, call of the az’aan in the morning of madina, salutations. O, great one, rebellious even in the face of death, salutations. O, immortal soldier of righteousness, salutations. O brave soldier, fearless fighter, my salutations. O, helmsman of the boat of mohammed, my salutations.
The post mojid o mufakkir-091-107-Khiraaj-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-85-90-tarGheeb-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
sifaat-e husain 54-60 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
haalaat-e daur-e yaziid 61-68 A few stanzas describing in musical language the changing order from principled governance to hubristic power grab and personal enrichment.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
جوش ملیح آبادی۔موجد و مفکّر۔۸۵۔۹۱۔ترغیب
۸۵
کچھ خبر بھی ہے محبانِ حسین دور بیں
موت ہے شبیریت کے دائرے میں انگبیں
اِبتاع مرشدِ حق پرور و عہد آفریں
کاروبارِ مرگ ہے بازیچۂ طفلاں نہیں
زہر سے لبریز ہے جامِ حسین ابنِ علی
جان دینا ہو تو لو نامِ حسین ابنِ علی
۸۶
رعبِ سلطانی کو ٹھکراو تو لو نامِ حسین
بولتے رن میں نہ گھبراو تو لو نامِ حسین
دُشمنوں کی پیاس بجھواو تو لو نامِ حسین
موت کی چھاتی پہ چڑھ جاوٗ تو لو نامِ حسین
حلق سے تیغوں کا منہ موڑو تو لو نامِ حسین
برگ سے فولاد کو توڑو تو لو نامِ حسین
۸۷
خود پہ بابِ تشنگی کھولو تو لو نامِ حسین
دل کو برق و رعد میں تولو تو لو نامِ حسین
دوست دارِ دُشمناں ہو لو تو لو نامِ حسین
تیغ کے نیچے بھی سچ بولو تو لو نامِ حسین
منھ پہ ڈٹ کر برچھیاں کھا لو تو لو نامِ حسین
ہات جلتی آگ پر ڈالو تو لو نامِ حسین
۸۸
سوئے مقتل جھوم کر جاؤ تو لو نامِ حسین
بے خطر جی سے گزر جاؤ تو لو نامِ حسین
ڈوب کر کچھ اور اُبھر جاؤ تو لو نامِ حسین
نفس کی عزت پہ مر جاؤ تو لو نامِ حسین
ظلم کی تعمیر کو ڈھا دو تو لو نامِ حسین
شمع سے آندھی کو چکرا دو تو لو نامِ حسین
۸۹
خود کو تیغوں کی طرف ریلو تو لو نامِ حسین
مسکرا کر آگ سے کھیلو تو لو نامِ حسین
جملہ ممکن سختیاں جھیلو تو لو نامِ حسین
اوّل اپنا اِمتحاں لے لو تو لو نامِ حسین
ہاں پرکھ لو خوب ہمت کو تو لو نامِ حسین
جانچ لو اپنی شرافت کو تو لو نامِ حسین
۹۰
خانہ بربادی پہ اِتراوٗ تو لو نامِ حسین
بیکسی پر ناز فرماو تو لو نامِ حسین
چاند سے ٹکڑوں کو گہناو تو لو نامِ حسین
رن میں اک بے شیر کو لاو تو لو نامِ حسین
بیکسی کی موت نعمت ہو تو لو نامِ حسین
دھوپ میں سونے کی ہمت ہو تو لو نامِ حسین
۹۱
عزتِ دستور پر جو سر کٹا سکتا نہیں
جو خود اپنے ہی چراغوں کو بجھا سکتا نہیں
تان کر سینے کو جو میداں میں آ سکتا نہیں
موت کو جو اپنے کاندھے پر اُٹھا سکتا نہیں
ہاں خود اپنے خون میں کشتی جو کھے سکتا نہیں
وہ حسین ابنِ علی کا نام لے سکتا نہیں
जोश मलीहाबादी-मोजिद ओ मुफ़क्किर-८५-९१-तरग़ीब
८५
कुछ ख़बर भी है मुहिब्बान-ए हुसैन-ए दूर बीं
मौत है शब्बीरियत के दाएरे में अन्गबीं
इब्बेता’ए मुर्शिद-ए हक़ परवर ओ अहद आफ़रीं
कारोबार-ए मर्ग है बाज़ीचा-ए तिफ़्लां नहीं
ज़हर से लब्रेज़ है जाम-ए हुसैन इब्न-ए अली
जान देना हो तो लो नाम-ए हुसैन इब्न-ए अली
८६
रो’ब-ए सुल्तानी को ठुकराओ तो लो नाम-ए हुसैन
बोलते रन में न घबराओ तो लो नाम-ए हुसैन
दुश्मनों की प्यास बुझ्वाओ तो लो नाम-ए हुसैन
मौत की छाती पे चढ़ जाओ तो लो नाम-ए हुसैन
हल्क़ से तेग़ों का मुंह मोढो तो लो नाम-ए हुसैन
बर्ग से फ़ौलाद को तोढो तो लो नाम-ए हुसैन
८७
ख़ुद पे बाब-ए तिश्नगी खोलो तो लो नाम-ए हुसैन
दिल को बरक़ ओ र’अद में तोलो तो लो नाम-ए हुसैन
दोस्त दार-ए दुश्मनां हो लो तो लो नाम-ए हुसैन
तेग़ के नीचे भी सच बोलो तो लो नाम-ए हुसैन
मुंह पे डट कर बर्छियां खाओ तो लो नाम-ए हुसैन
हाथ जलती आप पर डालो तो लो नाम-ए हुसैन
८८
सू-ए मक़्तल झूम का जाओ तो लो नाम-ए हुसैन
बे-ख़तर जी से गुज़र जाओ तो लो नाम-ए हुसैन
डूब कर कुछ और उभर जाओ तो लो नाम-ए हुसैन
नफ़्स की इज़्ज़त पे मर जाओ तो लो नाम-ए हुसैन
ज़ुल्म की ता’मीर को ढा दो तो लो नाम-ए हुसैन
शमा से आंधी को चक्रा दो तो लो नाम-ए हुसैन
८९
ख़ुद को तेग़ों की तरफ़ रेलो तो लो नाम-ए हुसैन
मुस्कुरा कर आग से खेलो तो लो नाम-ए हुसैन
जुम्ला मुम्किन सख़्तियां झेलो तो लो नाम-ए हुसैन
अव्वल अपना इम्तेहां ले लो तो लो नाम-ए हुसैन
हाँ परख लो ख़ूब हिम्मत को तो लो नाम-ए हुसैन
जाँच लो अपनी शराफ़त को तो लो नाम-ए हुसैन
९०
ख़ाना-बर्बादी पे इतराओ तो लो नाम-ए हुसैन
बेकसी पर नाज़ फ़रमाओ तो लो नाम-ए हुसैन
चाँद से टुकढौं को गहनाओ तो लो नाम-ए हुसैन
रन में एक बे-शीर को लाओ तो लो नाम-ए हुसैन
बेकसी की मौत ने’अमत हो तो लो नाम-ए हुसैन
धूप में सोने की हिम्मत हो तो लो नाम-ए हुसैन
९१
इज़्ज़त-ए दस्तूर पर जो सर कटा सकता नहीं
जो ख़ुद अपने ही चिराग़ों को बुझा सकता नहीं
तान कर सीने को जो मैदां में आ सकता नहीं
मौत को जो अपने कांधे पर उठा सकता नहीं
हाँ ख़ुद अपने ख़ून में कश्ती जो खे सकता नहीं
वो हुसैन इब्न-ए अली का नाम ले सकता नहीं
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
85
kuchh Khabar1 bhi hai muhibbaan2-e husain-e duur-biiN3maut hai shabbiriyat4 ke daa’ere5 meN aNgabiiN6ibbetaa’e7 murshid8-e haq-parvar9 o ahd-aafriN10kaarobar11-e marg12 hai baazeecha13-e tiflaaN14 nahiN
zahr se labrez15 hai jaam16-e husain ibn-e ali
jaan dena ho to lo naam-e husain ibn-e ali 1.awareness 2.lovers 3.far sighted 4.shabbir (another name of husain) like husainiyat (followership of husain) 5.circle 6.honey 7.doing bai’at, accepting the leadership of 8.who shows the way 9.those who nurture righteousness 10.pride of determination or commitment 11.arrangements 12.death 13.playground 14.children 15.overflowing 16.cup
Are you aware O farsighted lovers of husain, that death in the followership of husain is sweet like honey. Acceptance of the leadership (bai’at) of husain is the business of death, not child’s play. The cup of husain is brimming with bitter poison. Take the name of husain only if you are willing to die.
86
ro’ab1-e sultaani2 ko Thukrao to lo naam-e husain
bolte run3 meN na ghabraao to lo naam-e husain
dushmanoN ki pyaas bujhvaao to lo naam-e husain
maut ki chhaati be chaRh jaao to lo naam-e husain
halq se teGhoN4 ka muNh moRo to lo naam-e husain
barg5 se faulad6 ko toRo to lo naam-e husain7 1.fear 2.kingship, power 3.heated conflict 4.sword 5.leaf, petal 6.steel 7.call the name of husain (declare allegiance)
If you can defy the power of the ruler, only then acclaim husain. If you are not afraid of heated conflict, only then acclaim husain. If you can quench the thirst of your enemies, only then acclaim husain (early in the battle of karbala, husain’s party camped at a location controlling access to the river and water. When an advance party of yaziid’s army arrived thirsty and tired, husain offered them water). If you can overcome the fear of death, only then acclaim husain. If you can turn swords back with your throat, only then acclaim husain. If you can break the power of steel with a petal, then acclaim husain.
87
Khud1 pe baab2-e tishnagi3 kholo to lo naam-e husain
dil ko barq o ra’ad4 meN tolo5 to lo naam-e husain
dost-daar6-e dushmanaaN ho lo to lo naam-e husain
teGh7 ke niiche bhi sach bolo to lo naam-e husain
muNh pe DaT kar barchhiyaaN khaa lo to lo naam-e husain
haath jalti aag par Daalo to to lo naam-e husain 1.self 2.door 3.thirst 4.thunder and lightning 5.weigh, compare 6.love (your enemy 7.sword
karbala story includes how husain, to avoid conflict and keep trying for some compromise, moved his encampment from a dominant location to a less secure one where they were vulnerable to loss of access to water – thus opening the door to thirst. If you can open the door to suffering by thirst for yourself, if you can summon courage like thunder and lightning, if you can show love/concern for your enemies, if you speak the truth even under the blade of sword, then you can acclaim husain. If you can bear wounds of the dagger to your face, if you can put your hand fearlessly into fire, then you can acclaim husain.
88
suu1-e maqtal2 jhoom3 kar jaao to lo naam-e husain
be-Khatar4 jii5 se guzar6 jaao to lo naam-e husain
Doob kar kuchh aur ubhar7 jaao to lo naam-e husain
nafs8 ki izzat9 pe mar jaao to lo naam-e husain
zulm ki t’aamir10 ko Dha11 do to lo naam-e husain
sham’a se aandhi ko chakra do12 to lo naam-e husain 1.towards 2.slaughter 3.with joy, happily 4.fearlessly 5.life 6.get past, give up 7.rise 8.soul, self 9.honour 10.multiple meanings here it means the order 11.destroy 12.to turn around
If you can joyfully face slaughter, if you can pass through life fearlessly, if after drowning you can rise even higher, if you are willing to die to safeguard the respect of your soul, if you can destroy the system of oppression, if you can turn back storms with just a lamp, only then can you acclaim husain.
89
Khud ko teGhoN ki taraf relo1 to lo naam-e husain
muskura kar aag se khelo to lo naam-e husain
jumla2 mumkin3 saKhtiyaaN4 jhelo to lo naam-e husain
avval apna imtehaaN le lo to lo naam-e husain
haN parakh lo Khoob himmat ko to lo naam-e husain
jaNch lo apni sharafat5 ko to lo naam-e husain 1.to move towards 2.total, all 3.possible 4.difficulties 5.virtue
If you can move forward towards drawn swords, if you can face fire and still smile, if you can bear all possible difficulties, if you can test/examine yourself (for righteousness) first, if you fully assess your own courage and proceed, if you examine your own virtue, only then can you acclaim husain.
90
Khaana-barbaadi1 pe itraao2 to lo naam-e husain
bekasi3 par naz farmaao4 to lo naam-e husain
chand se TukRoN5 ko gahnaao6 to lo naam-e husain
run7 meN ek be-shiir8 ko laao to lo naam-e husain
bekasi ki maut ne’amat9 ho to lo naam-e husain
dhoop meN sone ki himmat ho to lo naam-e husain 1.destruction of family 2.be proud of 3.helplessness 4.be proud of 5.loved ones 6.eclipsed 7.war 8. infant (breastfeeding) whose mother can no longer nurse him 9.blessing
If you can proudly sacrifice even your family for Truth, if you can stand firm even when friendless, if you are prepared to lose your loved ones, if you have the courage to bring an infant out in the field of war, if you can consider death to be a blessing, if you can sleep peacefully in burning sun, only then can you acclaim husain. ‘dhoop meN sone ki himmat’, refers to another karbla story – husain’s young daughter, reputedly often slept on his bosom. She wanted to do this before he went for his final encounter, and death. It is said that he lay down on the burning sand for her.
91
izzat-e dastur1 par jo sar kaTaa sakta nahiN
jo Khud apne hi chiraaGhoN2 ko bujha sakta nahiN
taan kar seene ko jo maidaaN meN aa sakta nahiN
maut ko jo apne kaandhe par uTha sakta nahiN
haN Khud apne Khoon meN kashti jo khe sakta nahiN
vo husain ibn-e ali ka naam le sakta nahiN 1.respect for tradition 2.one’s own loved ones
One who cannot sacrifice his life to save the honor of traditions, one who cannot sacrifice one’s own loved ones, one who cannot come out bravely to stand up for truth and fight, one who cannot carry Death on his shoulders, one who cannot row his boat in the river of his own blood, he cannot claim to be a follower of husain.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
85
kuchh Khabar1 bhi hai muhibbaan2-e husain-e duur-biiN3maut hai shabbiriyat4 ke daa’ere5 meN aNgabiiN6ibbetaa’e7 murshid8-e haq-parvar9 o ahd-aafriN10kaarobar11-e marg12 hai baazeecha13-e tiflaaN14 nahiN
zahr se labrez15 hai jaam16-e husain ibn-e ali
jaan dena ho to lo naam-e husain ibn-e ali
1.awareness 2.lovers 3.far sighted 4.shabbir (another name of husain) like husainiyat (followership of husain) 5.circle 6.honey 7.doing bai’at, accepting the leadership of 8.who shows the way 9.those who nurture righteousness 10.pride of determination or commitment 11.arrangements 12.death 13.playground 14.children 15.overflowing 16.cup
Are you aware O farsighted lovers of husain, that death in the followership of husain is sweet like honey. Acceptance of the leadership (bai’at) of husain is the business of death, not child’s play. The cup of husain is brimming with bitter poison. Take the name of husain only if you are willing to die.
86
ro’ab1-e sultaani2 ko Thukrao to lo naam-e husain
bolte run3 meN na ghabraao to lo naam-e husain
dushmanoN ki pyaas bujhvaao to lo naam-e husain
maut ki chhaati be chaRh jaao to lo naam-e husain
halq se teGhoN4 ka muNh moRo to lo naam-e husain
barg5 se faulad6 ko toRo to lo naam-e husain7
1.fear 2.kingship, power 3.heated conflict 4.sword 5.leaf, petal 6.steel 7.call the name of husain (declare allegiance)
If you can defy the power of the ruler, only then acclaim husain. If you are not afraid of heated conflict, only then acclaim husain. If you can quench the thirst of your enemies, only then acclaim husain (early in the battle of karbala, husain’s party camped at a location controlling access to the river and water. When an advance party of yaziid’s army arrived thirsty and tired, husain offered them water). If you can overcome the fear of death, only then acclaim husain. If you can turn swords back with your throat, only then acclaim husain. If you can break the power of steel with a petal, then acclaim husain.
87
Khud1 pe baab2-e tishnagi3 kholo to lo naam-e husain
dil ko barq o ra’ad4 meN tolo5 to lo naam-e husain
dost-daar6-e dushmanaaN ho lo to lo naam-e husain
teGh7 ke niiche bhi sach bolo to lo naam-e husain
muNh pe DaT kar barchhiyaaN khaa lo to lo naam-e husain
haath jalti aag par Daalo to to lo naam-e husain
1.self 2.door 3.thirst 4.thunder and lightning 5.weigh, compare 6.love (your enemy 7.sword
karbala story includes how husain, to avoid conflict and keep trying for some compromise, moved his encampment from a dominant location to a less secure one where they were vulnerable to loss of access to water – thus opening the door to thirst. If you can open the door to suffering by thirst for yourself, if you can summon courage like thunder and lightning, if you can show love/concern for your enemies, if you speak the truth even under the blade of sword, then you can acclaim husain. If you can bear wounds of the dagger to your face, if you can put your hand fearlessly into fire, then you can acclaim husain.
88
suu1-e maqtal2 jhoom3 kar jaao to lo naam-e husain
be-Khatar4 jii5 se guzar6 jaao to lo naam-e husain
Doob kar kuchh aur ubhar7 jaao to lo naam-e husain
nafs8 ki izzat9 pe mar jaao to lo naam-e husain
zulm ki t’aamir10 ko Dha11 do to lo naam-e husain
sham’a se aandhi ko chakra do12 to lo naam-e husain
1.towards 2.slaughter 3.with joy, happily 4.fearlessly 5.life 6.get past, give up 7.rise 8.soul, self 9.honour 10.multiple meanings here it means the order 11.destroy 12.to turn around
If you can joyfully face slaughter, if you can pass through life fearlessly, if after drowning you can rise even higher, if you are willing to die to safeguard the respect of your soul, if you can destroy the system of oppression, if you can turn back storms with just a lamp, only then can you acclaim husain.
89
Khud ko teGhoN ki taraf relo1 to lo naam-e husain
muskura kar aag se khelo to lo naam-e husain
jumla2 mumkin3 saKhtiyaaN4 jhelo to lo naam-e husain
avval apna imtehaaN le lo to lo naam-e husain
haN parakh lo Khoob himmat ko to lo naam-e husain
jaNch lo apni sharafat5 ko to lo naam-e husain
1.to move towards 2.total, all 3.possible 4.difficulties 5.virtue
If you can move forward towards drawn swords, if you can face fire and still smile, if you can bear all possible difficulties, if you can test/examine yourself (for righteousness) first, if you fully assess your own courage and proceed, if you examine your own virtue, only then can you acclaim husain.
90
Khaana-barbaadi1 pe itraao2 to lo naam-e husain
bekasi3 par naz farmaao4 to lo naam-e husain
chand se TukRoN5 ko gahnaao6 to lo naam-e husain
run7 meN ek be-shiir8 ko laao to lo naam-e husain
bekasi ki maut ne’amat9 ho to lo naam-e husain
dhoop meN sone ki himmat ho to lo naam-e husain
1.destruction of family 2.be proud of 3.helplessness 4.be proud of 5.loved ones 6.eclipsed 7.war 8. infant (breastfeeding) whose mother can no longer nurse him 9.blessing
If you can proudly sacrifice even your family for Truth, if you can stand firm even when friendless, if you are prepared to lose your loved ones, if you have the courage to bring an infant out in the field of war, if you can consider death to be a blessing, if you can sleep peacefully in burning sun, only then can you acclaim husain. ‘dhoop meN sone ki himmat’, refers to another karbla story – husain’s young daughter, reputedly often slept on his bosom. She wanted to do this before he went for his final encounter, and death. It is said that he lay down on the burning sand for her.
91
izzat-e dastur1 par jo sar kaTaa sakta nahiN
jo Khud apne hi chiraaGhoN2 ko bujha sakta nahiN
taan kar seene ko jo maidaaN meN aa sakta nahiN
maut ko jo apne kaandhe par uTha sakta nahiN
haN Khud apne Khoon meN kashti jo khe sakta nahiN
vo husain ibn-e ali ka naam le sakta nahiN
1.respect for tradition 2.one’s own loved ones
One who cannot sacrifice his life to save the honor of traditions, one who cannot sacrifice one’s own loved ones, one who cannot come out bravely to stand up for truth and fight, one who cannot carry Death on his shoulders, one who cannot row his boat in the river of his own blood, he cannot claim to be a follower of husain.
The post mojid o mufakkir-085-090-tarGheeb-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-75-84-karbala-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
sifaat-e husain 54-60 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
haalaat-e daur-e yaziid 61-68 A few stanzas describing in musical language the changing order from principled governance to hubristic power grab and personal enrichment.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
جوشؔ ملیح آبادی۔موجد و مفکر۔۷۵۔۸۴۔کربلا
۷۵
ہاں اُسی کی رو میں روحِ صفدری آگے بڑھی
خامشی کانپی، نشیدِ حیدری آگے بڑھی
تھرتھرآئیں ظلمتیں، پیغمبری آگے بڑھی
جگمگائی صبح، تابِ داوری آگے بڑھی
اِس زمیں کو داد اوجِ آسماں دینے لگا
ذرّہ ذرّہ قبلہ رو ہو کر اذاں دینے لگا
۷۶
ہیبتِ حق دہشت انگیزوں پہ طاری ہو گئی
ہر پلک آنکھیں جھکیں ڈر کر تو بھاری ہو گئی
تاجداری کی جلالت غرقِ خواری ہو گئی
پارہ، پارہ آبروئے شہریاری ہو گئی
خون کے بادل اُٹھے قلعوں کی جانب مڑ گئے
اور یوں برسے پہاڑوں کے پرخچے اُڑ گئے
۷۷
نوحۂ غم بن گیا ہر نغمعۂ فتح و ظفر
دابِ حق سے زلزلے خود ہو گئے زیر و زبر
قصر کی تکمیل سے اُبھری شکستِ بام و در
فرقِ شاہنشاہ پر گُھن بن گئی قندیلِ زر
گردنیں خود اپنی ہی تیغوں سے کٹ کر رہ گئیں
کشتیاں ساحل پر آتے ہی اُلٹ کر رہ گئیں
۷۸
صاحبانِ آب و ساغر دشت و صحرا بن گئے
خستگانِ تشنہ لب تسنیم و طوبیٰ بن گئے
دیو پیکر صیدِ مرگِ صبر پیما بن گئے
اور جو بیجان تھے رشکِ مسیحا بن گئے
کیا غضب ہے جو ڈراتے تھے وہ خود ہی ڈر گئے
یہ عجب ہے جی اُٹھے مقتول، قاتل مر گئے
۷۹
یوں بجھا کر رکھ دئے آہوں نے دولت کے دئے
آنسوؤں میں بہہ گئے طبل و علم کے دبدبے
بیڑیوں کی گونج سے ایوان تھرّانے لگے
ایک بی بی کی خطابت نے وہ ڈالے زلزلے
اشکِ خوں روشن ہوے نظروں سے تارے گر گئے
خاک پر قصرِ حکومت کے منارے گر گئے
٨٠
گوہرِ خوش آب نے شعلے کو پانی کر دیا
ضُعف نے طاقت کو صیدِ ناتوانی کر دیا
فقر نے دولت کو محوِ نوحہ خوانی کر دیا
دین نے دنیا کو وقفِ سرگرانی کر دیا
صرف ایک تنویر نے ظلمت کی خندق پاٹ دی
پنکھڑی کی دھار نے لوہے کی گردن کاٹ دی
۸۱
اہلِ دل سے کہہ رہی ہے یہ موُرِخ کی زباں
بعدِ پیغمبر ہوی تھیں کس قدر سرگوشیاں
چھا گیا تھا ہر طرف کس طرح دولت کا دھواں
کیا دبے پائوں چلے تھے سازشوں کے کارواں
اب بھی اِن امواج میں ڈوبی پڑی ہے کربلا
ہاں اُنھیں کی ایک تاریخی کڑی ہے کربلا
٨٢
کربلا میں امرِ حق کی برتری سے جنگ تھی
طاقتِ نانِ شعیرِ حیدری سے جنگ تھی
عظمتِ دیرینۂ پیغمبری سے جنگ تھی
جس کا قرآں میں ہے ذکر اُس داوری سے جنگ تھی
کب نِفاق اربابِ حق سے برسرِ پیکار تھا
وہ خدا پر آخری لات و ہبل کا وار تھا
٨٣
کفر نے کاٹا نہیں تھا مصحفِ ناطق کا سر
اصل میں قرآن وہ پھینکا گیا تھا پھاڑ کر
حملہ آور ابنِ حیدر پہ نہ تھے اربابِ شر
ضرب تھی وہ اصل میں اِسلام کی بنیاد پر
چند جانبازوں کی جانب رُخ نہ تھا آفات کا
دن پہ وہ دراصل دھاوا تھا اندھیری رات کا
۸۴
وہ نہ تھا اُفتادِ طشتِ حق کا صوتی اِرتعاش
مصطفےٰ سے دُشمنی کا وہ ہوا تھا راز فاش
خیمۂ شبیر کو گھیرے نہیں تھے بدقماش
گردنِ حق کے لئے تھی ریسماں کی وہ تلاش
اشقیا جھپٹے نہ تھے اِبنِ شہِ لولاک پر
اصل میں بُت آستینوں سے گرے تھے خاک پر
जोश मलीहाबादी-मोजिद ओ मुफ़क्किर-७५-८४-करबला
७५
हाँ उसी की रौ में रूह-ए सफ़्दरी आगे बढ़ी
ख़ामुशी कांपी, नशेद-ए हैदरी आगे बढ़ी
थरथराई ज़ुल्मतें, पैग़मबरी आगे बढ़ी
जगमगाई सुबह, ताब-ए दावरी आगे बढ़ी
इस ज़मीं को दाद औज-ए आस्मां देने लगा
ज़र्रा ज़र्रा क़िबला रू हो कर अज़’आं देने लगा
७६
हैबत-ए हक़ दहशत अंगेज़ों पे तारी हो गई
हर पलक आँखें झुकीं डर कर तो भारी हो गई
ताज्दारी की जलालत ग़र्क़-ए ख़्वारी हो गई
पारा पारा आब्रू-ए शहरयारी हो गई
ख़ून के बादल उठे क़िल’औं की जानिब मुढ गए
और यूँ बरसे पहाढौं के परख़चे उढ गए
७७
नौहा-ए ग़म बन गया हर नग़्मा-ए फ़तह ओ ज़फ़र
दाब-ए हक़ से ज़लज़ले ख़ुद हो गए ज़ेर ओ ज़बर
क़स्र की तक्मील से उभरी शिकस्त-ए बाम ओ दर
फ़र्क़-ए शाहंशाह पर घन बन गई किंदील-ए ज़र
गर्दनें ख़ुद अपनी ही तेगों से कट कर रह गईं
किश्तियाँ साहिल पर आते ही उलट कर रह गईं
७८
साहिबान-ए आब ओ साग़र दश्त ओ सहरा बन गए
ख़स्तगान-ए तिश्ना लब तस्नीम ओ तूबा बन गए
देव पैकर सैद-ए मर्ग-ए सब्र पैमां बन गए
और जो बेजान थे रश्क-ए मसीहा बन गए
क्या ग़ज़ब है जो डराते थे वो ख़ुद ही डर गए
ये अजब है जी उठे मक़्तूल, क़ातिल मर गए
७९
यूँ बुझा कर रख दिये आहों ने दौलत के दिये
आंसुओं में बह गए तब्ल ओ अलम के दबदबे
बेढियों की गूँज से ऐवान थर्राने लगे
एक बीबी की ख़ीताबत ने वो डाले ज़लज़ले
अश्क-ए ख़ूं रौशन हुए नज़्रों से तारे गिर गए
ख़ाक पर क़स्र-ए हुकूमत के मिनारे गिर गए
८०
गौहर-ए ख़ुश आब ने शोले को पानी कर दिया
ज़ो’अफ़ ने ताक़त को सैद-ए नातवानी कर दिया
फ़क़्र ने दौलत को महव-ए नौहा-ख़्वानी कर दिया
दीन ने दुनिया को वक़्फ़-ए सरगरानी कर दिया
सिर्फ़ एक तनवीर ने ज़ुल्मत की ख़न्दक़ पाट दी
पंखडी की धार ने लोहे की गर्दन काट दी
८१
अहल-ए दिल से कह रही है ये मो’अरिख़ की ज़बां
बाद-ए पैग़म्बर हुई थीं किस क़दर सरगोशियाँ
छा गया था हर तरफ़ किस तरह दौलत का धुआं
क्या दबे पाओं चले थे साज़िशों के कारवां
अब भी इन अमवाज में डूबी पढी है करबला
हाँ उन्हीं की एक तारीख़ी कढी है करबला
८२
करबला में अम्र-ए हक़ की बरतरी से जंग थी
ताक़त-ए नान-ए श’ईर-ए हैदरी से जंग थी
अज़्मत-ए देरीना-ए पैग़म्बरी से जंग थी
जिस का क़ुर’आं में है ज़िक्र उस दावरी से जंग थी
कब निफ़ाक़ अरबाब-ए हक़ से बरसर-ए पैकार था
वो ख़ुदा पर आख़री लात ओ हबल का वार था
८३
कुफ़्र ने काटा नहीं था मुस्हिफ़-ए नातिक़ का सर
असल में क़ुर’आन वो फैंका गया था फाढ कर
हमला आवर इब्न-ए हैदर पे न थे अरबाब-ए शर
ज़र्ब थी वो असल में इस्लाम की बुनियाद पर
चन्द जांबाज़ों की जानिब रुख़ न था आफ़ात का
दिन पे वो दर असल धावा था अँधेरी रात का
८४
वो न था उफ़्ताद-ए तश्त-ए हक़ का सौती इर्ते’आश
मुस्तफ़ा से दुश्मनी का वो हुआ था राज़ फ़ाश
ख़ैमा-ए शब्बीर को घेरे नहीं थे बद-क़माश
गर्दन-ए हक़ के लिए थी रेसमां की वो तलाश
अश्क़िया झपटे न थे इब्न-ए शह-ए लौलाक पर
असल में बुत आस्तीनों से गिरे थे ख़ाक पर
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
75
haN usi ki rau1 meN rooh-e safdari2 aage baRhi
Khaamushi3 kaaNpi, nashed4-e haidari5 aage baRhi
thartharaiiN zulmateN6, paiGhambari7 aage baRhi
jagmagaaii subah, taab8-e daavari9 aage baRhi
is zamiN ko daad10 auj11-e aasmaN dene laga
zarra12 zarra qibla roo13 ho kar azaaN dene laga 1.flow, wake 2.spirit of safdar (another name of ali) 3.silence (silent against ruling powers, conspiracy) 4. speech, message 5.name of ali 6.darkness, evil 7.prophethood (message of mohammed 8.brilliance 9.lord,god 10.compliments 11.pinnacle, apex 12.particle 13.facing qibla (k’aaba)
In the wake of the flow of that blood ali’s spirit moved forward. Conspiracy shivered, ali’s call was heard. Darknesses trembled in fear, mohammed’s message advanced. A bright new dawn emerged, god’s brilliance was established. The very pinnacle of the skies gave praise to the earth. Every particle turned towards the k’aaba in a call for prayer.
76
haibat1-e haq2 dahshat angezoN3 pe taari4 ho gayi
har palak aankheN jhukiiN Dar kar to bhari ho gayi
taajdaari5 ki jalaalat6 Gharq7-e Khwaari8 ho gayi
paara paara9 aabroo10-e shahryaari11 ho gayi
Khoon ke baadal12 uThe qilauN13 ki janib muR gaye
aur yuN barse pahaRon ke paraKhche uR gaye 1.fear 2.righteousness 3.terror mongers 4.dominant 5.monarchy 6.grandeur 7.drown 8.disrepute 9.smithereens 10.respect 11.king 12.clouds of blood, resistance, rebellion 13.fort, seat of power
Terror mongers were overwhelmed by fear of righteousness. Eyes closed with fear, they could not look Truth in the eye (‘palak bhari hona’ is an expression which says that eyelids became heavy that could not be raised again. To raise eyelids is to face others as equal. ‘aankhen jhukiiN’ means eyelids were lowered, unable to ‘look you in the eye’). The grandeur of monarchy was drowned in disrepute. Respect for monarchy was broken into smithereens. Defiance rose and turned towards seats of power and pulverized mountains of oppression.
77
nauha1-e Gham ban gaya har naGhma2-e fatah3 o zafar4daab5-e haq6 se zalzale Khud ho gaye zer o zabar7qasr8 ki takmiil9 se ubhri10 shikast11-e baam o dar12farq13-e shahanshah14 par ghun15 ban gayi qindiil-e zar16gardaneN Khud apni hi teGhoN17 se kaT kar rah gayiN
kishtiaN sahil18 par aate hi ulat kar rah gayiN 1.lamentation 2.song 3.victory 4.success 5.force 6.righteousness 7.scattered, destroyed 8. palace; 9.completion 10.emerged 11.defeat 12.roof and door 13.face 14.emperor 15.cloud, overwhelming force 16.lamp (brightness) of wealth 17.sword 18.shore
The lamentation of sorrow turned into the song of victory. The force of righteousness destroyed the forces of evil. husain’s killing contained in itself the destruction of yaziid – in the completion of the construction of palaces i.e., in the killing of husain, emerged the destruction of roof and door (of the palace) – there was defeat (spiritual) in victory (physical). The face of the emperor was clouded by his very wealth. The ‘victors’ cut their own necks with their swords. Even as their boats landed, they were overturned on the shore. Landing boats is metaphorically achieving goal i.e., their goal of killing husain and his followers. Even as the boats reached the shore, they were overturned … another reference to ‘victory in defeat’.
78
sahibaan1-e aab o saaGhar2 dasht o sehra3 ban gaye
Khastagaan4-e tishna lab5 tasniim6 o tuuba7 ban gaye
deo-paikar8 saed9-e marg10-e sabr11 paimaaN12 ban gaye
aur jo bejaan the rashk13-e masiha14 ban gaye
kya Ghazab15 hai jo Daraate the vo Khud hi Dar gaye
ye ajab16 hai ji uThe maqtool17, qaatil18 mar gaye 1.owners 2.water and cup 3.synonyms for wilderness, desert 4.wounded
5.thirsty 6.river in paradise 7.a tree in paradise that spreads to provide cover and fruit to everyone 8.giants 9.prey, targe 10.death 11.patience, endurance, steadfastness 12.determined, promised 13.envy 14.healer, Christ 15.irony 16.strange, unusual 17.killed 18.killer
The theme of ‘victory in defeat’ continues as a metaphor and message of resistance, even if you ‘lose’ or ‘get killed’, you are victorious because you speak ‘truth to power’. The owners of water and cup ended up in the desert wilderness. Those wounded by thirst became ‘tasniim and tuuba’. Giants fell prey to the steadfast determination of martyrs. The ones who were killed rose to become the envy of Jesus. How ironical that those who terrorized were themselves terrified. Amazing that martyrs rose to eternal life and killers destroyed.
79
yuN bujha kar rakh diye aahoN ne daulat ke diye
aaNsuoN meN bah gaye tabl o alam1 ke dabdabe2beRiyauN3 ki goonj se aiwaan4 tharraane lage
ek bibi ki Khitaabat5 ne vo Daale zalzale
ashk6-e Khoon raushan hue nazroN se taare gir gaye
Khaak7 par qasr8-e hukumat ke minaare gir gaye 1.drum and standard (flag) 2.glory 3.chains, ankle fetters 4.hallways (of palaces) 5.speech 6.tears 7.dust 8.palace
The sighs of the prisoners extinguished the ‘beacons of wealth’. The celebration of victory was washed away in their tears. The jangling of chains shook the hallways of power. One lady’s oratory caused such an earthquake, that the victors cried tears of blood and scales fell from their eyes. The minarets of the palaces of power crumbled into dust. This stanza focuses on the prisoners of war whose sighs and tears, jangling of chains blew and washed away signs of power. ‘ek bibi ki Khitaabat’ refers to zainab’s (husain’s sister) oratory in yaziid’s court which caused ‘earthquakes’ – a near revolt in yaziid’s followers. ‘blood of the eyes shone’ might mean ‘eyes became red with crying’ (when people heard zainab’s oratory) or they became angry at the injustice that had been done. ‘nazroN se taare girna’ is also a metaphor for ‘scales to fall’ or for people to realize/discover truth.
80
gauhar1-e Khush-aab2 ne shole ko paani kar diya3zo’af4 ne taaqat5 ko sayd-e-natawani6 kar diya
faqr7 ne daulat ko mahv-e-nauha-Khwaani8 kar diya
deen ne duniya ko vaqf-e-sargaraani9 kar diya
sirf ek tanvir10 ne zulmat11 ki Khandaq12 paaT13 di
pankhaRi ki dhaar ne lohe ki gardan kaaT di 1.pearl, tears 2.beautiful brilliance (also play of words with good water and pani kar dena) 3.pani kar diya means to defeat 4.feebleness 5.strength, power 6.prey of the powerless 7.poverty, here meaning no worldly goods 8.engrossed in lamentation 9.given in care of worries/difficulties 10.ray of light 11.darkness 12.moat, ditch 13.crossed
The metaphor/imagery of a rose petal as a sharp cutting edge goes back to iqbal in his translation of bhartari hari
phool ki pathi se kaT sakta hai heere ka jigar
mard-e nadaaN par kalaam-e narm o nazuk be-asar
Josh uses this imagery in multiple ways. See for example Stanza 73 (kaaT kar baatil ka sar apni anokhi dhar se).
The brilliance of tears/pearls put to shame the glory of the palace. Weakness turned strength into its prey. Helplessness got wealth engrossed in lamentation. Righteousness consigned worldliness to the realm of worries. Just a simple ray of light bridged over the moat of darkness. The edge of a rose petal cut through the neck of steel.
81
ahl-e-dil1 se kah rahi hai ye mu’ariKh2 ki zabaN
baad-e-paiGhambar3 hui thiiN kis qadar4 sargoshiaN5chhaa gaya tha har taraf kis tarah daulat ka dhuaN
kya dabe paoN chale the saazishoN6 ke karvaaN
ab bhi in amvaj7 meN Doobi paRi hai karbala
haaN unhiN ki ek tariKhi7 kaRi8 hai karbala
1.people of feeling (the audience) 2.historian (the poet) 3.after the prophet
4.how much 5.whisper 6.conspiracies 7.waves 8.of history 9.link (in the chain of history)
At first reading this might sound like a narrow chain of thoughts, specific to post-mohammed intrigues. It might even sound sectarian. But if you will allow yourselves to be seduced into thinking that josh is using these as metaphors for conspiracies and intrigues in the halls of power and is about to lead his audience to (his) present times, making the point that such intrigues are still going on … if you think of this as a metaphor for intrigues of power for all time, then you will enjoy the composition much more. O, people of feeling, the tongue of the historian/poet says to you that after mohammed too there were whisperings. The fog of wealth dominated everything. Caravaans of conspiracy came in with stealthy steps. Even now karbala is drowned in the same waves. Yes, karbala is a link in the same chain of history.
82
karbala meN amr-e-haq1 ki bartari2 se jaNg thi
taaqat3-e naan-e-sha’eer-e-haidari4 se jaNg thi
azmat5-e dereena6-e paiGhambari se jaNg thi
jis ka qura’aN meN hai zikr7 us daavari8 se jaNg thi
kab nifaaq9 arbab-e-haq10 se barsar-e-paikar11 tha
vo Khuda par aaKhri laat-o-habal12 ka vaar13 tha 1.word of Truth 2.superiority, to prevail 3.strength 4.jau ki roti/javari bread of Ali (Ali is reputed to have led a simple life – on ‘bread and water’ 5.greatness 6.past 7.mentioned, written 8.leadership (power struggle) 9.disagreement 10.friends of righteousness 11.engaged in war 12.pre-Islamic/pagan goddesses, daughters of allah (pre-Islamic chief god) 13.blow, attack
josh continues his quasi sectarian narrative but layered into this is a larger metaphorical imagery of resistance to absolute/arbitrary power. karbala was an attack on the word of righteousness. It was an attack against the simple values exemplified by ali. It was a war against the established glory of the prophet. It was an attack against the power grab mentioned in the qur’aan. You think dissenters were at war with the friends of righteousness, in reality it was the latest blow of pre-Islamic paganism on god.
83
kufr1 ne kaaTa nahiN tha mus-hif-e-natiq2 ka sar
asl meN qur’aan vo phainka gaya tha phaaR kar
hamla-aavar3 ibn-e-haidar4 pe na the arbaab-e-shar5zarb6 thi vo asl7 meN islam ki buniyaad8 par
chand jaaNbaazoN9 ki jaanib10 ruKh11 na tha aafaat12 ka
din pe vo dar-asl7 dhaava tha andheri raat ka 1.evil 2.speaking book/qur’aan – husain is called ‘living qur’aan’ 3.attacking
4.son of haider/ali i.e., husain 5.friends/people of evil 6.blow, attack 7.reality 8.foundation 9.a few braves ready to die 10.towards 11.face 12.catastrophies
josh is trying to assert that karbala was a lot bigger than an immediate war. He later relates it present day affairs but for now he is repeating a fairly conventional line that. It was not just that husain’s head was cut off, but it was really the qur’aan that was violated. It was not that evil doers were just attacking the son of haider, but it was a blow at the very foundation of islam. It was not that disaster was visited upon a few braves ready to die, it was a war on righteousness by the forces of evil.
84
vo na tha uftaad1-e tasht-e-haq2 ka sauti3 irte’aash4mustafa se dushmani ka vo hua tha raaz faash5Khaima-e-shabbir6 ko ghere nahiN the bad-qamaash7gardan-e-haq ke liye thi resmaaN8 ki vo talaashashqia9 jhapTe na the ibn-e-shah-e-laulaak10 par
asl11 meN but12 aastinoN13 se gire the Khaak par 1.calamitous fall, crash 2.platter of righteousness (which would fall and shatter) 3.sound, loud 4.quaking, reverberating, shattering 5.secret revealed 6.tents of Husain and his family 7.evil natured 8.rope, noose 9.cruel/evil oppressors 10.son of the king of creation – husain (ali is referred to as shah-e-laulaak) 11.in reality 12.idols 13.sleeves
This is the last of three somewhat conventional stanzas with considerable hyperbole bordering on the sectarian. josh continues to write that karbala was much larger than meets the eye. In this stanza he harks back to conventional shia position that karbala was a continuation of enmity against mohammed. In the last misra, the reference in ‘but aastinoN se girna’ is to some early converts to islam … who declared their allegiance to islam for political convenience but continued to carry idols hidden in their sleeves. When they came to namaaz the idols reportedly fell out revealing their secret. josh is implying that those who attacked husain were of the same ilk. The sounds of war in karbala were not just the crash of Truth they were in reality the revelation of the enmity of mohammed. Evil doers had not just surrounded the tents/camps of husain, they were looking for a rope/noose to hang righteousness. Killers had not just ambushed husain, it was really their old opposition to mohammed showing.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
75
haN usi ki rau1 meN rooh-e safdari2 aage baRhi
Khaamushi3 kaaNpi, nashed4-e haidari5 aage baRhi
thartharaiiN zulmateN6, paiGhambari7 aage baRhi
jagmagaaii subah, taab8-e daavari9 aage baRhi
is zamiN ko daad10 auj11-e aasmaN dene laga
zarra12 zarra qibla roo13 ho kar azaaN dene laga
1.flow, wake 2.spirit of safdar (another name of ali) 3.silence (silent against ruling powers, conspiracy) 4. speech, message 5.name of ali 6.darkness, evil 7.prophethood (message of mohammed 8.brilliance 9.lord,god 10.compliments 11.pinnacle, apex 12.particle 13.facing qibla (k’aaba)
In the wake of the flow of that blood ali’s spirit moved forward. Conspiracy shivered, ali’s call was heard. Darknesses trembled in fear, mohammed’s message advanced. A bright new dawn emerged, god’s brilliance was established. The very pinnacle of the skies gave praise to the earth. Every particle turned towards the k’aaba in a call for prayer.76
haibat1-e haq2 dahshat angezoN3 pe taari4 ho gayi
har palak aankheN jhukiiN Dar kar to bhari ho gayi
taajdaari5 ki jalaalat6 Gharq7-e Khwaari8 ho gayi
paara paara9 aabroo10-e shahryaari11 ho gayi
Khoon ke baadal12 uThe qilauN13 ki janib muR gaye
aur yuN barse pahaRon ke paraKhche uR gaye
1.fear 2.righteousness 3.terror mongers 4.dominant 5.monarchy 6.grandeur 7.drown 8.disrepute 9.smithereens 10.respect 11.king 12.clouds of blood, resistance, rebellion 13.fort, seat of power
Terror mongers were overwhelmed by fear of righteousness. Eyes closed with fear, they could not look Truth in the eye (‘palak bhari hona’ is an expression which says that eyelids became heavy that could not be raised again. To raise eyelids is to face others as equal. ‘aankhen jhukiiN’ means eyelids were lowered, unable to ‘look you in the eye’). The grandeur of monarchy was drowned in disrepute. Respect for monarchy was broken into smithereens. Defiance rose and turned towards seats of power and pulverized mountains of oppression.
77
nauha1-e Gham ban gaya har naGhma2-e fatah3 o zafar4daab5-e haq6 se zalzale Khud ho gaye zer o zabar7qasr8 ki takmiil9 se ubhri10 shikast11-e baam o dar12farq13-e shahanshah14 par ghun15 ban gayi qindiil-e zar16gardaneN Khud apni hi teGhoN17 se kaT kar rah gayiN
kishtiaN sahil18 par aate hi ulat kar rah gayiN
1.lamentation 2.song 3.victory 4.success 5.force 6.righteousness 7.scattered, destroyed 8. palace; 9.completion 10.emerged 11.defeat 12.roof and door 13.face 14.emperor 15.cloud, overwhelming force 16.lamp (brightness) of wealth 17.sword 18.shore
The lamentation of sorrow turned into the song of victory. The force of righteousness destroyed the forces of evil. husain’s killing contained in itself the destruction of yaziid – in the completion of the construction of palaces i.e., in the killing of husain, emerged the destruction of roof and door (of the palace) – there was defeat (spiritual) in victory (physical). The face of the emperor was clouded by his very wealth. The ‘victors’ cut their own necks with their swords. Even as their boats landed, they were overturned on the shore. Landing boats is metaphorically achieving goal i.e., their goal of killing husain and his followers. Even as the boats reached the shore, they were overturned … another reference to ‘victory in defeat’.
78
sahibaan1-e aab o saaGhar2 dasht o sehra3 ban gaye
Khastagaan4-e tishna lab5 tasniim6 o tuuba7 ban gaye
deo-paikar8 saed9-e marg10-e sabr11 paimaaN12 ban gaye
aur jo bejaan the rashk13-e masiha14 ban gaye
kya Ghazab15 hai jo Daraate the vo Khud hi Dar gaye
ye ajab16 hai ji uThe maqtool17, qaatil18 mar gaye
1.owners 2.water and cup 3.synonyms for wilderness, desert 4.wounded
5.thirsty 6.river in paradise 7.a tree in paradise that spreads to provide cover and fruit to everyone 8.giants 9.prey, targe 10.death 11.patience, endurance, steadfastness 12.determined, promised 13.envy 14.healer, Christ 15.irony 16.strange, unusual 17.killed 18.killer
The theme of ‘victory in defeat’ continues as a metaphor and message of resistance, even if you ‘lose’ or ‘get killed’, you are victorious because you speak ‘truth to power’. The owners of water and cup ended up in the desert wilderness. Those wounded by thirst became ‘tasniim and tuuba’. Giants fell prey to the steadfast determination of martyrs. The ones who were killed rose to become the envy of Jesus. How ironical that those who terrorized were themselves terrified. Amazing that martyrs rose to eternal life and killers destroyed.
79
yuN bujha kar rakh diye aahoN ne daulat ke diye
aaNsuoN meN bah gaye tabl o alam1 ke dabdabe2beRiyauN3 ki goonj se aiwaan4 tharraane lage
ek bibi ki Khitaabat5 ne vo Daale zalzale
ashk6-e Khoon raushan hue nazroN se taare gir gaye
Khaak7 par qasr8-e hukumat ke minaare gir gaye
1.drum and standard (flag) 2.glory 3.chains, ankle fetters 4.hallways (of palaces) 5.speech 6.tears 7.dust 8.palace
The sighs of the prisoners extinguished the ‘beacons of wealth’. The celebration of victory was washed away in their tears. The jangling of chains shook the hallways of power. One lady’s oratory caused such an earthquake, that the victors cried tears of blood and scales fell from their eyes. The minarets of the palaces of power crumbled into dust. This stanza focuses on the prisoners of war whose sighs and tears, jangling of chains blew and washed away signs of power. ‘ek bibi ki Khitaabat’ refers to zainab’s (husain’s sister) oratory in yaziid’s court which caused ‘earthquakes’ – a near revolt in yaziid’s followers. ‘blood of the eyes shone’ might mean ‘eyes became red with crying’ (when people heard zainab’s oratory) or they became angry at the injustice that had been done. ‘nazroN se taare girna’ is also a metaphor for ‘scales to fall’ or for people to realize/discover truth.
80
gauhar1-e Khush-aab2 ne shole ko paani kar diya3zo’af4 ne taaqat5 ko sayd-e-natawani6 kar diya
faqr7 ne daulat ko mahv-e-nauha-Khwaani8 kar diya
deen ne duniya ko vaqf-e-sargaraani9 kar diya
sirf ek tanvir10 ne zulmat11 ki Khandaq12 paaT13 di
pankhaRi ki dhaar ne lohe ki gardan kaaT di
1.pearl, tears 2.beautiful brilliance (also play of words with good water and pani kar dena) 3.pani kar diya means to defeat 4.feebleness 5.strength, power 6.prey of the powerless 7.poverty, here meaning no worldly goods 8.engrossed in lamentation 9.given in care of worries/difficulties 10.ray of light 11.darkness 12.moat, ditch 13.crossed
The metaphor/imagery of a rose petal as a sharp cutting edge goes back to iqbal in his translation of bhartari hari
phool ki pathi se kaT sakta hai heere ka jigar
mard-e nadaaN par kalaam-e narm o nazuk be-asar
Josh uses this imagery in multiple ways. See for example Stanza 73 (kaaT kar baatil ka sar apni anokhi dhar se).
The brilliance of tears/pearls put to shame the glory of the palace. Weakness turned strength into its prey. Helplessness got wealth engrossed in lamentation. Righteousness consigned worldliness to the realm of worries. Just a simple ray of light bridged over the moat of darkness. The edge of a rose petal cut through the neck of steel.
81
ahl-e-dil1 se kah rahi hai ye mu’ariKh2 ki zabaN
baad-e-paiGhambar3 hui thiiN kis qadar4 sargoshiaN5chhaa gaya tha har taraf kis tarah daulat ka dhuaN
kya dabe paoN chale the saazishoN6 ke karvaaN
ab bhi in amvaj7 meN Doobi paRi hai Karbala
haaN unhiN ki ek tariKhi7 kaRi8 hai Karbala
1.people of feeling (the audience) 2.historian (the poet) 3.after the prophet
4.how much 5.whisper 6.conspiracies 7.waves 8.of history 9.link (in the chain of history)
At first reading this might sound like a narrow chain of thoughts, specific to post-mohammed intrigues. It might even sound sectarian. But if you will allow yourselves to be seduced into thinking that josh is using these as metaphors for conspiracies and intrigues in the halls of power and is about to lead his audience to (his) present times, making the point that such intrigues are still going on … if you think of this as a metaphor for intrigues of power for all time, then you will enjoy the composition much more. O, people of feeling, the tongue of the historian/poet says to you that after mohammed too there were whisperings. The fog of wealth dominated everything. Caravaans of conspiracy came in with stealthy steps. Even now karbala is drowned in the same waves. Yes, karbala is a link in the same chain of history.
82
karbala meN amr-e-haq1 ki bartari2 se jaNg thi
taaqat3-e naan-e-sha’eer-e-haidari4 se jaNg thi
azmat5-e dereena6-e paiGhambari se jaNg thi
jis ka qura’aN meN hai zikr7 us daavari8 se jaNg thi
kab nifaaq9 arbab-e-haq10 se barsar-e-paikar11 tha
vo Khuda par aaKhri laat-o-habal12 ka vaar13 tha
1.word of Truth 2.superiority, to prevail 3.strength 4.jau ki roti/javari bread of Ali (Ali is reputed to have led a simple life – on ‘bread and water’ 5.greatness 6.past 7.mentioned, written 8.leadership (power struggle) 9.disagreement 10.friends of righteousness 11.engaged in war 12.pre-Islamic/pagan goddesses, daughters of allah (pre-Islamic chief god) 13.blow, attack
josh continues his quasi sectarian narrative but layered into this is a larger metaphorical imagery of resistance to absolute/arbitrary power. karbala was an attack on the word of righteousness. It was an attack against the simple values exemplified by ali. It was a war against the established glory of the prophet. It was an attack against the power grab mentioned in the qur’aan. You think dissenters were at war with the friends of righteousness, in reality it was the latest blow of pre-Islamic paganism on god.83
kufr1 ne kaaTa nahiN tha mus-hif-e-natiq2 ka sar
asl meN qur’aan vo phainka gaya tha phaaR kar
hamla-aavar3 ibn-e-haidar4 pe na the arbaab-e-shar5zarb6 thi vo asl7 meN islam ki buniyaad8 par
chand jaaNbaazoN9 ki jaanib10 ruKh11 na tha aafaat12 ka
din pe vo dar-asl7 dhaava tha andheri raat ka
1.evil 2.speaking book/qur’aan – husain is called ‘living qur’aan’ 3.attacking
4.son of haider/ali i.e., husain 5.friends/people of evil 6.blow, attack 7.reality 8.foundation 9.a few braves ready to die 10.towards 11.face 12.catastrophies
josh is trying to assert that karbala was a lot bigger than an immediate war. He later relates it present day affairs but for now he is repeating a fairly conventional line that. It was not just that husain’s head was cut off, but it was really the qur’aan that was violated. It was not that evil doers were just attacking the son of haider, but it was a blow at the very foundation of islam. It was not that disaster was visited upon a few braves ready to die, it was a war on righteousness by the forces of evil.
84
vo na tha uftaad1-e tasht-e-haq2 ka sauti3 irte’aash4mustafa se dushmani ka vo hua tha raaz faash5Khaima-e-shabbir6 ko ghere nahiN the bad-qamaash7gardan-e-haq ke liye thi resmaaN8 ki vo talaashashqia9 jhapTe na the ibn-e-shah-e-laulaak10 par
asl11 meN but12 aastinoN13 se gire the Khaak par
1.calamitous fall, crash 2.platter of righteousness (which would fall and shatter) 3.sound, loud 4.quaking, reverberating, shattering 5.secret revealed 6.tents of Husain and his family 7.evil natured 8.rope, noose 9.cruel/evil oppressors 10.son of the king of creation – husain (ali is referred to as shah-e-laulaak) 11.in reality 12.idols 13.sleeves
This is the last of three somewhat conventional stanzas with considerable hyperbole bordering on the sectarian. josh continues to write that karbala was much larger than meets the eye. In this stanza he harks back to conventional shia position that karbala was a continuation of enmity against mohammed. In the last misra, the reference in ‘but aastinoN se girna’ is to some early converts to islam … who declared their allegiance to islam for political convenience but continued to carry idols hidden in their sleeves. When they came to namaaz the idols reportedly fell out revealing their secret. josh is implying that those who attacked husain were of the same ilk. The sounds of war in karbala were not just the crash of Truth they were in reality the revelation of the enmity of mohammed. Evil doers had not just surrounded the tents/camps of husain, they were looking for a rope/noose to hang righteousness. Killers had not just ambushed husain, it was really their old opposition to mohammed showing.
The post mojid o mufakkir-075-084-karbala-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-69-74-Khoon-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
sifaat-e husain 54-60 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
haalaat-e daur-e yaziid 61-68 A few stanzas describing in musical language the changing order from principled governance to hubristic power grab and personal enrichment.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
جوشؔ ملیح آبادی۔موجد و مفکر۔۶۹۔۷۴۔خون
۶۹
جِس کے ہر قطرے میں تھی قلزم کی طغیانی وہ خون
کاہ جس کی راہ میں تھا کوہِ سُلطانی وہ خون
جس کے آگے خسروی کی آگ تھی پانی وہ خون
غرق ہوکر رہ گئی جس میں جہانبانی وہ خون
جس کی موجوں میں خمِ تیغ و مزاجِ سنگ تھا
نوح کا طوفان جس کے دبدبے سے دنگ تھا
۷۰
جو نوائے عظم و اعلانِ صداقت تھا وہ خون
جو چراغِ حکمت و شمعِ ہدایت تھا وہ خون
خاک پر جو آبشارِ آدمیت تھا وہ خون
جو علیل اِنسانیت کا غسلِ صحت تھا وہ خون
جس نے ظلمت کو خیابانِ چراغاں کر دیا
کفر پر وہ رنگ برسایا کہ ایماں کر دیا
۷۱
جو طبیب و چارہ سازِ نوعِ اِنساں تھا وہ خون
گردنِ قاتل پہ جو شمشیرِ بُرّاں تھا وہ خون
ساغرِ مقتول میں جو آبِ حیواں تھا وہ خون
جو نبوت کے اِدارے کا نگہباں تھا وہ خون
عرصۂ آفاق جس کی وُسعتوں پر تنگ تھا
جس کی پرتو سے رُخِ پیغمبری گل رنگ تھا
٧٢
جس میں غلطیدہ تھا روحِ اوجِ اِنسانی وہ خون
جس میں تھی روح الامیں کی بال جنبانی وہ خون
جس میں تھی مہرِ نبوت کی درخشانی وہ خون
دیکھتے تھے جس میں منہ آیاتِ قرآنی وہ خون
جس کی ہر اک بوند میں طوفانِ صد آہنگ تھا
جس میں روئے مرتضےٰو مصطفےٰ کا رنگ تھا
٧٣
چرخ پر مانندِ ابرِ کعبہ جو چھایا وہ خون
جس نے روحِ نوعِ اِنسانی کو چونکایا وہ خون
ڈوبتے قرآن کو ساحل پہ جو لایا وہ خون
خود مشیت کے جو آڑے وقت کام آیا وہ خون
کاٹ کر باطل کا سر اپنی انوکھی دھار سے
جس نے یزداں کو بچایا احرمن کے وار سے
٧٤
بنتِ پیغمر کی جس میں نوحہ خوانی تھی وہ خون
زینب و کلثوم کی جس میں کہانی تھی وہ خون
پھول سے بچے کی جس میں بے زبانی تھی وہ خون
قاسم و اکبر کی جس سے نوجوانی تھی وہ خون
جس کی ہر اِک بوند میں یادِ علم بردار تھی
جس سے اِک بیمار کی زنجیر میں جھنکار تھی
जोश मलीहाबादी-मोजिद ओ मुफ़क्किर-६९-७४-ख़ून
६९
जिस के हर क़त्रे में थी क़ुल्ज़ुम की तुग़ियानी वो ख़ून
काह जिस की राह में था कोह-ए सुल्तानी वो ख़ून
जिसके आगे ख़ुस्रवी की आग थी पानी वो ख़ून
ग़र्क़ हो कर रह गई जिस में जहांबानी वो ख़ून
जिसकी मोजों में ख़म-ए तेग़ ओ मिज़ाज-ए संग था
नूह का तूफ़ान जिस के दबदबे से दंग था
७०
जो नवा-ए अज़्म ओ ए’लान-ए सदाक़त था वो ख़ून
जो चिराग़-ए हिकमत ओ शमा’-ए हिदायत था वो ख़ून
ख़ाक पर जो आब्शार-ए आदमियत था वो ख़ून
जो अलील इंसानियत का ग़ुस्ल-ए सेहत था वो ख़ून
जिस ने ज़ुल्मत को ख़ियाबन-ए चिराग़ां कर दिया
कुफ़्र पर वो रंग बरसाया के ईमां कर दिया
७१
जो तबीब ओ चारा साज़-ए नौ-ए इन्सां था वो ख़ून
गर्दन-ए क़ातिल पे जो शम्शीर-ए बुर्रां था वो ख़ून
साग़र-ए मक़्तूल में जो आब-ए हैवां था वो ख़ून
जो नुबुव्वत के इदारे का निगहबां था वो ख़ून
अर्सा-ए आफ़ाक़ जिस की वुस’अतों पर तंग था
जिस के परतौ से रुख़-ए पैग़म्बरी गुल रंग था
७२
जिस में ग़ल्तीदा था औज-ए रूह-ए इंसानी वो ख़ून
जिस में थी रूह-उल-अमीं की बाल जुन्बानी वो ख़ून
जिस में थी महर-ए नुबुव्वत की दरख़्शानी वो ख़ून
देखते थे जिस में मुंह आयात-ए क़ुर’आनी वो ख़ून
जिस की हर एक बूँद में तूफ़ान-ए सद आहंग था
जिस में रू-ए मुर्तुज़ा ओ मुस्तफ़ा का रंग था
७३
चर्ख़ पर मानिंद-ए अब्र-ए काबा जो छाया वो ख़ून
जिस ने रूह-ए नौ-ए इंसानी को चौंकाया वो ख़ून
डूबते क़ुर’आन को साहिल पे जो लाया वो ख़ून
ख़ुद मशियत के जो आढे वक़्त काम आया वो ख़ून
काट कर बातिल का सर अपनी अनोखी धार से
जिस ने यज़्दां को बचाया अहरमन के वार से
७४
बिन्त-ए पैग़म्बर की जिस में नौहा-ख़्वानी थी वो ख़ून
ज़ैनब ओ कुल्सूम की जिस में कहानी थी वो ख़ून
फूल से बच्चे की जिस में बेज़बानी थी वो ख़ून
क़ासिम ओ अक्बर की जिस से नौजवानी थी वो ख़ून
जिस की हर एक बूँद में याद-ए अलमबरदार थी
जिस से एक बीमार की ज़ंजीर में झंकार थी
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
69
jis ke har qatre1 meN thi qulzum2 ki 3 tuGhiyaani vo Khoon
kaah4 jis ki raah meN tha koh5-e sultaani6 vo Khoon
jiske aage Khusravi7 ki aag thi paani vo Khoon
Gharq8 ho kar rah gayi jis meN jahaNbaani9 vo Khoon
jiski maujoN meN Kham-e teGh10 o mizaaj-e saNg11 tha
nooh12 ka toofan13 jis ke dabdabe14 se daNg15 tha 1.drop 2.ocean 3.flood, flow 4.level plain (low status) 5.mountain 6.monarchy 7.royalty 8.drowned 9.catering to worldly needs 10.curve of a sword 11.determination like a rock 12.Noah 13.storm 14.majesty, greatness 15.amazed
‘Blood’ is also used metaphorically to mean heritage. Thus, husain was literally offering his blood but also carrying with him the heritage received from ali and mohammed. The attributes of this blood so poetically described are to be viewed in that light. The blood every drop of which had the power of stormy seas. The blood which could reduce the grand mountain of royalty to a dusty plain. The blood which could douse the fire of royalty into extinction. The blood which could drown worldly hedonism. Blood with waves rippling like a curved sword and determination like a rock. Blood whose power amazed even Noah’s storm.
70
jo navaa1-e azm2 o e’lan3-e sadaqat4 tha vo Khoon
jo chiraaGh-e hikmat5 o shama-e hidaayat6 tha vo Khoon
Khaak par jo abshaar7-e aadmiyat8 tha vo Khoon
jo alil9 insaaniyat ka Ghusl-e sehat10 tha vo Khoon
jis ne zulmat11 ko Khiyabaan-e chiraGhaaN12 kar diya
kufr13 par vo raNg barsaaya ke imaaN14 kar diya 1.sound, announcement 2.greatness 3.declaration 4.truth, righteousness 5.lamp of wisdom 6.light of teaching 7.waterfall, rain 8.quality of being human – humanness 9.sick 10.bath of wellness recovery (traditionally in India that sick don’t bath until they are well and it is celebrated) 11.darkness, evil 12. garden of lights (virtue) 13.non-belief, evil 14.faith, virtue
Blood that was the proof of greatness and the declaration of truth. Blood which was the light of wisdom and the lamp of teaching. Blood which rained on earth like a blessing of humanness. Blood which brought sick humanity back to health. Blood that changed evil into a garden of virtue. Blood that rained such color/beauty/brilliance on evil that it turned into virtue.
71
jo tabiib1 o chaara saaz2-e nau-e insaaN3 tha vo Khoon
gardan-e qaatil4 pe jo shamshiir-e burraN5 tha vo Khoon
saaGhar6-e maqtuul7 meN jo aab-e haivaaN8 tha vo Khoon
jo nubuvvat9 ke idaare10 ka nigahbaaN11 tha vo Khoon
arsa-e aafaaq12 jis ki vus’atoN13 par taNg14 tha
jis ki partau15 se ruKh-e paiGhambari16 gul-raNg17 tha 1.physician, hakiim 2.healer 3.humanity 4.killer 5.sharp sword 6.flask 7.victim, murdered 8. water of life 9. prophethood, particularly of mohammed 10.school, institution, system 11.protector, guide, savior 12.spread of the horizons 13.expanse 14.narrow 15.reflection 16.prophethood 17.colour of rose, beautiful
Blood, which healed and nurtured humanity (Shia’s believe that ‘Khaak-e shifa’ – clay of Karbala – has curative powers). Blood which became a sword for the throat of the killer (husain’s throat was slit and his head was cut off, so the shamshiir (sword) prevailed over the gardan (neck, throat), josh turns this on its head to say that the spilled blood of husain prevailed over the power of the killer i.e. the message of husain prevailed over the evil actions of yazid). Blood that was the water/elixir of life carried in the flask of the martyr. Blood that was the savior of the message/institution mohammed. Blood with a message more vast that the expanse of the horizons. Blood in whose reflection the face of mohammed shone bright.
72
jis meN Ghaltiida1 tha auj2-e rooh-e insaani3 vo Khoon
jis meN thi rooh-ul-amiN4 ki baal junbaani5 vo Khoon
jis meN thi mehr-e nubuvvat6 ki daraKhshani7 vo Khoon
dekhte the jis meN muNh8 ayaat-e qur’aani9 vo Khoon
jis ki har ek boond10 meN toofaan-e sad-aahaNg11 tha
jis meN roo12-e murtuza13 o mustafa14 ka raNg tha 1.dissolved 2.epitome 3.human spirit, soul 4.jibril (Gabriel –carries god’s message to prophets) 5.fluttering of the wings (Jibril has wings and flies to convey messages) 6. sun of prophethood 7.brilliance 8. to look at their reflections, to find their own meaning 9.quranic verses 10.every drop 11.storms of a hundred melodies 12.face 13.another name of ali (husain’s father) 14.another name of mohammed
Blood which had the epitome of the human spirit dissolved in it. Blood which gave strength to jibriil’s wings to flutter. Is josh saying that the message of god which jibreel carried derives its strength from the blood (the character) of husain? Blood which reflects the brightness of the sun of prophethood. Reflecting the brightness of prophethood (of mohammed) means carrying his message forward. husain’s blood is the legacy of mohammed. Blood which reflects the verses of the qur’aan. The blood every drop of which contains storms of a hundred melodies. The blood that carries the color of the face of murtuza and mustafa.
73
charKh1 par maanind2-e abr-e k’aaba3 jo chhaaya vo Khoon
jis ne rooh4-e nau-e insaani5 ko chauNkaaya6 vo Khoon
Doobte qur’aan ko saahil7 pe jo laaya vo Khoon
Khud mashiat8 ke jo aaRe vaqt9 kaam aaya vo Khoon
kaaT kar baatil10 ka sar apni anokhi12 dhaar12 se
jis ne yazdaaN13 ko bachaaya ahrman13 ke vaar se 1.sky 2.like 3.cloud (protection) of Kaaba 4.spirit, soul 5.humanity 6.alerted 7.shore 8.god’s will, intention 9.difficult time 10.evil, injustice 11.unusual, uncommon 12.jet, edge (as of a sword) 13. Zoroastrian terms for god and satan, good and evil
Blood which provides shade/protection like a blessed cloud over kaaba. Blood
which woke the human spirit from its stupor. Blood which brought to shore (from stormy seas) the message of the qur’aan. Blood which rose to serve god in a time of need. The blood which, with its uniqe sharp edge slit the throat of evil. ‘dhaar’ is the sharp edge of a sword that cut husain’s throat, and metaphorically this ‘sharp edge of blood’ cut the head of evil off … it was victorious in its defeat. The blood which saved righteousness from the forces of evil.
74
bint-e paiGhambar1 ki jis meN nauha Khwaani2 thi vo Khoon
zainab o kulsum3 ki jis meN kahaani thi vo Khoon
phool se bachche ki jis meN bezabaani thi vo Khoon
qaasim o akbar4 ki jis se naujavani thi vo Khoon
jis ki har ek boond meN yaad-e alambardaar5 thi
jis se ek bimaar6 ki zanjiir7 meN jhankaar thi 1.mohammed’s daughter (fatima) 2. mourning 3.sisters of husain 4.husain’s young nephew and son 5.standard bearer-abbas, husain’s half brother 6.sick 7.chain
The Blood which carried the echoes of the wails of fatima. Blood which also contained the stories of zainab and kulsum (husain’s sisters were taken prisoner and subjected to public humiliation). The blood that showed the innocence of an infant in spite of being mute (this refers to refers to ali asGhar, the six month old infant son of husain, who was also killed on the battlefield). The blood which endowed youth to qaasim and akbar (husain’s nephew and son – both young men killed in battle). The blood that carried memories of abbas in its every drop (husain’s half-brother who was also the commander in battle). The blood that carried the jangling of the fetters of abid (husain’s oldest son who was too sick to fight, but was taken prisoner and put in chains and public display).
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
69
jis ke har qatre1 meN thi qulzum2 ki 3 tuGhiyaani vo Khoon
kaah4 jis ki raah meN tha koh5-e sultaani6 vo Khoon
jiske aage Khusravi7 ki aag thi paani vo Khoon
Gharq8 ho kar rah gayi jis meN jahaNbaani9 vo Khoon
jiski maujoN meN Kham-e teGh10 o mizaaj-e saNg11 tha
nooh12 ka toofan13 jis ke dabdabe14 se daNg15 tha
1.drop 2.ocean 3.flood, flow 4.level plain (low status) 5.mountain 6.monarchy 7.royalty 8.drowned 9.catering to worldly needs 10.curve of a sword 11.determination like a rock 12.Noah 13.storm 14.majesty, greatness 15.amazed
‘Blood’ is also used metaphorically to mean heritage. Thus, husain was literally offering his blood but also carrying with him the heritage received from ali and mohammed. The attributes of this blood so poetically described are to be viewed in that light. The blood every drop of which had the power of stormy seas. The blood which could reduce the grand mountain of royalty to a dusty plain. The blood which could douse the fire of royalty into extinction. The blood which could drown worldly hedonism. Blood with waves rippling like a curved sword and determination like a rock. Blood whose power amazed even Noah’s storm.
70
jo navaa1-e azm2 o e’lan3-e sadaqat4 tha vo Khoon
jo chiraaGh-e hikmat5 o shama-e hidaayat6 tha vo Khoon
Khaak par jo abshaar7-e aadmiyat8 tha vo Khoon
jo alil9 insaaniyat ka Ghusl-e sehat10 tha vo Khoon
jis ne zulmat11 ko Khiyabaan-e chiraGhaaN12 kar diya
kufr13 par vo raNg barsaaya ke imaaN14 kar diya
1.sound, announcement 2.greatness 3.declaration 4.truth, righteousness 5.lamp of wisdom 6.light of teaching 7.waterfall, rain 8.quality of being human – humanness 9.sick 10.bath of wellness recovery (traditionally in India that sick don’t bath until they are well and it is celebrated) 11.darkness, evil 12. garden of lights (virtue) 13.non-belief, evil 14.faith, virtue
Blood that was the proof of greatness and the declaration of truth. Blood which was the light of wisdom and the lamp of teaching. Blood which rained on earth like a blessing of humanness. Blood which brought sick humanity back to health. Blood that changed evil into a garden of virtue. Blood that rained such color/beauty/brilliance on evil that it turned into virtue.
71
jo tabiib1 o chaara saaz2-e nau-e insaaN3 tha vo Khoon
gardan-e qaatil4 pe jo shamshiir-e burraN5 tha vo Khoon
saaGhar6-e maqtuul7 meN jo aab-e haivaaN8 tha vo Khoon
jo nubuvvat9 ke idaare10 ka nigahbaaN11 tha vo Khoon
arsa-e aafaaq12 jis ki vus’atoN13 par taNg14 tha
jis ki partau15 se ruKh-e paiGhambari16 gul-raNg17 tha
1.physician, hakiim 2.healer 3.humanity 4.killer 5.sharp sword 6.flask 7.victim, murdered 8. water of life 9. prophethood, particularly of mohammed 10.school, institution, system 11.protector, guide, savior 12.spread of the horizons 13.expanse 14.narrow 15.reflection 16.prophethood 17.colour of rose, beautiful
Blood, which healed and nurtured humanity (Shia’s believe that ‘Khaak-e shifa’ – clay of Karbala – has curative powers). Blood which became a sword for the throat of the killer (husain’s throat was slit and his head was cut off, so the shamshiir (sword) prevailed over the gardan (neck, throat), josh turns this on its head to say that the spilled blood of husain prevailed over the power of the killer i.e. the message of husain prevailed over the evil actions of yazid). Blood that was the water/elixir of life carried in the flask of the martyr. Blood that was the savior of the message/institution mohammed. Blood with a message more vast that the expanse of the horizons. Blood in whose reflection the face of mohammed shone bright.
72
jis meN Ghaltiida1 tha auj2-e rooh-e insaani3 vo Khoon
jis meN thi rooh-ul-amiN4 ki baal junbaani5 vo Khoon
jis meN thi mehr-e nubuvvat6 ki daraKhshani7 vo Khoon
dekhte the jis meN muNh8 ayaat-e qur’aani9 vo Khoon
jis ki har ek boond10 meN toofaan-e sad-aahaNg11 tha
jis meN roo12-e murtuza13 o mustafa14 ka raNg tha
1.dissolved 2.epitome 3.human spirit, soul 4.jibril (Gabriel –carries god’s message to prophets) 5.fluttering of the wings (Jibril has wings and flies to convey messages) 6. sun of prophethood 7.brilliance 8. to look at their reflections, to find their own meaning 9.quranic verses 10.every drop 11.storms of a hundred melodies 12.face 13.another name of ali (husain’s father) 14.another name of mohammed
Blood which had the epitome of the human spirit dissolved in it. Blood which gave strength to jibriil’s wings to flutter. Is josh saying that the message of god which jibreel carried derives its strength from the blood (the character) of husain? Blood which reflects the brightness of the sun of prophethood. Reflecting the brightness of prophethood (of mohammed) means carrying his message forward. husain’s blood is the legacy of mohammed. Blood which reflects the verses of the qur’aan. The blood every drop of which contains storms of a hundred melodies. The blood that carries the color of the face of murtuza and mustafa.
73
charKh1 par maanind2-e abr-e k’aaba3 jo chhaaya vo Khoon
jis ne rooh4-e nau-e insaani5 ko chauNkaaya6 vo Khoon
Doobte qur’aan ko saahil7 pe jo laaya vo Khoon
Khud mashiat8 ke jo aaRe vaqt9 kaam aaya vo Khoon
kaaT kar baatil10 ka sar apni anokhi12 dhaar12 se
jis ne yazdaaN13 ko bachaaya ahrman13 ke vaar se
1.sky 2.like 3.cloud (protection) of Kaaba 4.spirit, soul 5.humanity 6.alerted 7.shore 8.god’s will, intention 9.difficult time 10.evil, injustice 11.unusual, uncommon 12.jet, edge (as of a sword) 13. Zoroastrian terms for god and satan, good and evil
Blood which provides shade/protection like a blessed cloud over kaaba. Blood
which woke the human spirit from its stupor. Blood which brought to shore (from stormy seas) the message of the qur’aan. Blood which rose to serve god in a time of need. The blood which, with its uniqe sharp edge slit the throat of evil. ‘dhaar’ is the sharp edge of a sword that cut husain’s throat, and metaphorically this ‘sharp edge of blood’ cut the head of evil off … it was victorious in its defeat. The blood which saved righteousness from the forces of evil.
74
bint-e paiGhambar1 ki jis meN nauha Khwaani2 thi vo Khoon
zainab o kulsum3 ki jis meN kahaani thi vo Khoon
phool se bachche ki jis meN bezabaani thi vo Khoon
qaasim o akbar4 ki jis se naujavani thi vo Khoon
jis ki har ek boond meN yaad-e alambardaar5 thi
jis se ek bimaar6 ki zanjiir7 meN jhankaar thi
1.mohammed’s daughter (fatima) 2. mourning 3.sisters of husain 4.husain’s young nephew and son 5.standard bearer-abbas, husain’s half brother 6.sick 7.chain
The Blood which carried the echoes of the wails of fatima. Blood which also contained the stories of zainab and kulsum (husain’s sisters were taken prisoner and subjected to public humiliation). The blood that showed the innocence of an infant in spite of being mute (this refers to refers to ali asGhar, the six month old infant son of husain, who was also killed on the battlefield). The blood which endowed youth to qaasim and akbar (husain’s nephew and son – both young men killed in battle). The blood that carried memories of abbas in its every drop (husain’s half-brother who was also the commander in battle). The blood that carried the jangling of the fetters of abid (husain’s oldest son who was too sick to fight, but was taken prisoner and put in chains and public display).
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For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-61-68-haalaat-e-daur-e-yaziid-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
sifaat-e husain 54-60 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
haalaat-e daur-e yaziid 61-68 A few stanzas describing in musical language the changing order from principled governance to hubristic power grab and personal enrichment.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
جوشؔ ملیح آبادی ۔ موجد و مفکّر۔۶۱۔۶۸۔ حالاتِ دورِ یزید
۶۱
ہاں اُسی کے دور میں گیتی پہ چھایا تھا جنوں
آدمی پر چل گیا تھا حبّ دولت کا فسوں
بج رہے تھے ممبروں پہ سیم و زر کے ارغنوں
حملہ آور ہوگئی تھی دین پر دُنیائے دوں
ظلمتوں کے ٹھٹ لگے تھے روشنی کے سامنے
موت منہ کھولے کھڑی تھی زندگی کے سامنے
۶۲
خیر و شر کے قاعدے سود و زیاں کے ضابطے
زیست کے محکم اُصول، انسانیت کے مسلے
کیف و کم کی مشعلیں اقدارِ نازک کے دئے
رہگزارِ باد پر رکھے ہوے تھے دیر سے
بڑھ چکے تھے برق رو طوفاں سفینوں کی طرف
اُٹھ رہے تھے سیکڑوں گھن آبگینوں کی طرف
۶۳
جمع تھے گنجِ ہدایت میں جو معنی کے گہر
عِلم و حِلم و بذل و فضل و رافت و فکر و نظر
روشن آوازوں کے انجم، شستہ لمحوں کے قمر
آ رہی تھی آنچ اُن کُل سکّہ ہائے نور پر
قاہری بیچین تھی کروٹ بدلنے کے لئے
شعلہ جھپٹا تھا شگوفوں کو نگلنے کے لئے
۶۴
لیلیِ حق کے اُجاڑے جا رہے تھے خدّ و خال
مصحفِ دوراں کے پھاڑے جا رہے تھے ماہ و سال
نعرہ ہائے شہریاری نے بذوقِ جاہ و مال
چھین لی تھی گوشِ اِنسانی سے آوازِ بِلال
لے رہی تھی پینگ تاریکی دلوں کے شہر میں
بہہ رہی تھی دھوپ صلح و آشتی کی نہر میں
۶۵
قصرِ شاہی میں بھنبھوڑی جا رہی تھی زندگی
دستِ وحشت سے جھنجھوڑی جا رہی تھی زندگی
موت کی خاطر نچوڑی جا رہی تھی زندگی
سوئے تاج و تخت موڑی جا رہی تھی زندگی
اور چھوڑا جا رہا تھا زندگی کے باغ کو
توڑ کر موتی کھلائے جا رہے تھے زاغ کو
۶۶
بجھ گئے تھے ہر روِش پہ رُشد کے نقشِ قدم
چُگ رہا تھا بہتریں اوصاف کو بوم و رم
خندہ زن تھا قصر کی صولت پہ دولت کا بھرم
پرفشاں تھا خود حرم کے بام پر شاہی علم
پل پڑا تھا لشکرِ حیوانیت اِنسان پر
پاؤں رکھا چاہتی تھی خسروی قرآن پر
۶۷
گِھر چکی تھی تیرگی کی یورشوں میں شمع طور
شعلہ ہائے روشنی ہونے کو تھے چور چور
زلزلوں کی حکمرانی تھی زمیں پر دور دور
ہل رہے تھے قصر ہائے مقبلانِ ذی شعور
پختہ کارانِ جہاں بھی صیدِ فکرِ خام تھے
انبیاؑ عرشِ بریں پر لرزہ بر اندام تھے
۶۸
تیرگی کی جیب میں تھی دولتِ شمس و قمر
جل رہا تھا خانۂ دیرینۂ فکر و نظر
زندگی پر یوں جہنم کا تسلط دیکھ کر
اِک عظیم اِنسان بہرِ خدمتِ نوعِ بشر
رنگ بھرنے زندگی کے نقش میں قانون کا
دوش پر لے کر سبُو آیا خود اپنے خون کا
जोश मलीहाबादी-मोजिद ओ मुफ़क्किर-६१-६८-हालात-ए दौर-ए यज़ीद
६१
हाँ उसी के दौर में गेती पे छाया था जुनूं
आदमी पर चल गया था हुब्ब-ए दौलत का फ़ुसूं
बज रहे थे मिम्बरों पे सीम ओ ज़र के अरग़ुनूं
हम्ला आवर हो गई थी दीन पर दुनिया-ए दूँ
ज़ुल्मतों के ठट लगे थे रौशनी के सामने
मौत मुंह खोले खढी थी ज़िन्दगी के सामने
६२
ख़ैर ओ शर के क़ाएदे सूद ओ ज़ियाँ के ज़ाबेते
ज़ीस्त के मुहकम उसूल, इंसानियत के मस’अले
कैफ़ ओ कम की मशालें एक़्दार-ए नाज़ुक के दिए
रहगुज़ार-ए बाद पर रखे हुए थे देर से
बढ़ चुके थे बर्क़ रौ तूफ़ाँ सफ़ीनों की तरफ़
उठ रहे थे सैकड़ों घन आबगीनों की तरफ़
६३
जम’अ थे गंज-ए हिदायत में जो मा’आनी के गुहर
इल्म ओ हिल्म ओ बज़्ल ओ फ़ज़्ल ओ राफ़त ओ फ़िक्र ओ नज़र
रौशन आवाज़ों के अंजुम, शुस्ता लम्हों के क़मर
आ रही थी आंच उन कुल सिक्का-हा-ए नूर पर
क़ाहरी बेचैन थी करवट बदलने के लिए
शोला झपटा था शगूफ़ों को निगलने के लिए
६४
लैली-ए हक़ के उजाढे जा रहे थे ख़द्द ओ ख़ाल
मुस्हिफ़-ए दौरां के फाढे जा रहे थे माह ओ साल
ना’रा हा-ए शहरयारी ने ब ज़ौक़-ए जाह ओ माल
छीन ली थी गोश-ए इंसानी से आवाज़-ए बिलाल
ले रही थी पेंग तारीकी दिलों के शहर में
बह रही थी धूप सुलह ओ आश्ती की नहर में
६५
क़स्र-ए शाही में भंभोढी जा रही थी ज़िन्दगी
दस्त-ए वहशत से झिन्झोढी जा रही थी ज़िन्दगी
मौत की ख़ातिर निचोढी जा रही थी ज़िन्दगी
सू-ए ताज ओ तख़्त मोढी जा रही थी ज़िन्दगी
और छोढा जा रहा था ज़िन्दगी के बाग़ को
तोढ कर मोती खिलाए जा रहे थे ज़ाग़ को
६६
बुझ गए थे हर रविश पे रुशद के नक़्श-ए क़दम
चुग रहा था बेहतरीन औसाफ़ को बोम ओ रम
ख़न्दा ज़न था क़स्र की सूलत पे दौलत का भरम
पर फ़शां था ख़ुद हरम के बाम पर शाही अलम
पल पढा था लश्कर-ए हैवानियत इंसान पर
पाऊँ रक्खा चाहती थी ख़ुस्रवी क़ुर’आन पर
६७
घिर चुकी थी तीरगी की यूरिशों में शमा-ए तूर
शोला-हा-ए रौशनी होने को थे चूर चूर
ज़ल्ज़लों की हुक्मरानी थी ज़मीं पर दूर दूर
हिल रहे थे क़स्र हा-ए मुक़्बिलान-ए ज़ि शा’ऊर
पुख़्ता कारान-ए जहाँ भी सैद-ए फ़िक्र-ए ख़ाम थे
अम्बिया अर्श-ए बरीं पर लरज़ा बर अन्दाम थे
६८
तीरगी की जेब में थी दौलत-ए शम्स ओ क़मर
जल रहा था ख़ाना-ए देरीना-ए फ़िक्र ओ नज़र
ज़िन्दगी पर यूँ जहन्नुम का तस्सलुत देख कर
एक अज़ीम इन्सान बहर-ए ख़िद्मत-ए नौ-ए बशर
रंग भरने ज़िन्दगी के नक़्श में क़ानून का
दोश पर लेकर सुबू आया ख़ुद अपने ख़ून का
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
61
haaN usi ke daur1 meN geti pe chhaaya tha junooN2aadmi par chal gaya tha hubb-e daulat3 ka fusooN4baj rahe the mimbaroN5 pe seem o zar6 ke arGhunooN7hamla aavar ho gayi thi diin par duniya-e dooN8zulmatoN9 ke ThaT10 lage the raushni ke saamne
maut muNh khole khaRi thi zindagi ke saamne 1.period, time 2.obsession 3.love of wealth 4.magic, spell 5.platform for sermon 6.silver and gold 7.organ (music) 8.unfaith, opposite of deen (faith) 9.darkness 10.layers, curtains
Yes, it was during his life that a mad passion engulfed the world. Love of wealth cast its magical spell on everyone. Even from the pulpit all talk was of wealth and power. The world of faith was under attack by ‘unfaith’. The light of reason was hidden behind layers of darkness. And Death was standing ready to gobble up life itself.
62
Khair1 o shar2 ke qaa’ede3 sood o ziyaaN4 ke zaabete5zeest6 ke muhkam7 usool, insaniyat ke masale
kaif o kam8 ki mash’aleN9 iqdaar10-e naazuk ke diye
rahguzaar-e baad11 par rakkhe hue the der se
baRh chuke the barq-rau12 tufaaN safinoN13 ki taraf
uTh rahe the saikDoN ghan14 aabginoN15 ki taraf 1.wellbeing, rightfulness 2.mischief, wrongfulness 3.rules 4.profit and loss 5.angles, rules 6.life 7. established 8.how and how much 9.torch 10.agreement, pledge 11.breeze 12.speed of lightning13.boats 14.hammer 15.crystals
The rules of right and wrong, the rules of profit and loss, established codes of living, the puzzles of human values, the torch of ‘how and how much’, the lamps of subtle agreements (thus all the rules of living) were exposed in the path of fierce winds for a long time. Storms were advancing at lightning speed towards the boat of life. Thousands of hammers were poised to descend on delicate crystals. Breeze and lamps, storms and boats, hammers and crystal … are oft used metaphors for attack by the powerful on the vulnerable.
63
jam’a1 the ganj-e hidaayat2 meN jo ma’ani ke guhar3ilm4 o hilm5 o bazl6 o fazl7 o raf’at8 o fikr9 o nazar10raushan aavaazoN11 ke anjum12, shusta13 lamhoN ke qamar14aa rahi thi aanch15 un kul sikka-haa-e noor16 par
qaahari17 bechain thi karvaT badalne ke liye
shola jhapTa tha shagufoN18 ko nigalne ke liye 1.collected, stored 2.store house of righteous guidance (wise, noble and virtuous people) 3. pearls of meaning/truth,wisdom 4.knowledge 5.patience 6.generosity 7.benevolence 8.eminence, dignity 9.thought 10.sight, discriminating 11.bright sound, metaphor for words of wisdom 12.stars 13.washed, clean, pure 14.moon 15.about to be burned 16.all coins of light (sikka/coin and nur/light), wealth/treasure of light 17.oppression 18.blossoms
Pearls of wisdom in the storehouses of righteous guidance. Knowledge, patience, benevolence, dignity, reason and discerning choice. Words of wisdom like bright stars, moments of brilliance and clarity. All this wealth of light was under attack, ready to be set on fire. Oppression was impatient to pounce. Flames were leaping to swallow tender blossoms of virtue.
64
laili-e haq1 ke ujaaRe ja rahe the Khadd o Khaal2mushif-e dauraaN3 ke phaaRe jaa rahe the maah o saal4na’ara5-haa-e shahryari6 ne ba-zauq7-e jaah o maal8chhiin li thi gosh-e insaani9 se aavaaz-e bilaal
le rahi thi paiNg10 tariiki11 diloN ke shahr meN
bah rahi thi dhoop12 sulh o aashti13 ki nahr meN 1.beloved of righteousness (Truth) metaphorically represented as ‘laila’ 2.face and features 3. the book of all times (qur’aan) 4.months and years, metaphor for all the knowledge stored over time 5.slogan, pronouncements 6.of the king 7.with the taste of 8.position and wealth 9.ear of humanity 10.swing 11. darkness, ignorance 12. sunlight used here for fire 13.peace and harmony
The face and features of the laila (Truth) were being disfigured. Pages of the qur’aan were being ripped out, denuded of Knowledge. The slogans of royalty with its power and wealth stole of the voice of bilaal from the ears of humanity. bilaal, an Ethiopian slave, freed by Mohammed was made the first muezzin. It is to his voice (aza’an, call for prayer) that the first muslims responded. The reference illustrates that how even a person of ‘low origins’ could rise to a position of influence. This was reversed in the age that josh is describing. Ignorance held sway in the hearts of men. Fire flowed in the stream of peace and harmony.
65
qasr-e shaahi1 meN bhanbhoRi ja rahi thi zindagi
dast-e vahshat2 se jhinjhoRi ja rahi thi zindagi
maut ki Khaatir nichoRi ja rahi thi zindagi
soo3-e taj o taKht moRi ja rahi thi zindagi
aur chhoRa ja4 raha tha zindagi ke baaGh ko
toR kar moti khilaaye ja rahe the zaaGh5 ko 1.royal palace 2.hand of terror 3.towards 4.neglect 5.crows, metaphorically the king’s cronies
Life of ordinary people was being squeezed to maintain the royal palace. Daily life trembled at the hand of Terror. Life was squeezed to the point of death. All rules of life were bent to the service of the throne. The garden of life was in neglect. Its fruit was being fed to the king’s cronies.
66
bujh gaye the har ravish1 pe rushd2 ke naqsh-e qadam3chug raha tha4 behteriiN5 ausaaf6 ko bom o rum7Khanda zan8 tha qasr9 ki soolat10 pe daulat ka bharam11par fashaN12 tha Khud haram13 ke baam14 par shaahi alam15pal paRa tha lashkar-e haivaaniyat16 insaan par
paauN rakha chaahti thi Khusravi17 qur’aan par 1.pathway 2.guides, wise ones 3.footprints 4.picking off and eating 5.the best 6.qualities 7. owl (metaphor for inauspicious or evil) 8.laughing at 9.house (of god- ka’aba) 10.dignity 11. arrogance of wealth 12.flying 13.mosque 14.rooftop 15.royal flag 16.army of bestiary (wild, uncivilized) 17.derived from Khusro (royalty)
The footprints of righteous guides were obliterated from all pathways. Evil and terror were picking off the best qualities of people. The arrogance of wealth was sneering at the dignity of the ka’aba. The royal flag was flying high atop the mosque. Humanity was under attack of wild forces. Royal power was getting ready to trample the qur’aan.
67
ghir chuki1 thi tiiragi2 ki yurishoN3 meN shama-e toor4shola-haa-e raushni5 hone ko the choor choor6zalzaloN7 ki hukmrani8 thi zamiN par duur duur9
hil rahe the qasr10-haa-e muqbilaan11-e zi-sha’uur12puKhta kaaraan13-e jahaaN bhi saeyd14-e fikr-e Khaam15 the
ambia16 arsh-e bari-N17 par larza-bar-andaam18 the 1.was surrounded 2.darkness, ignorance 3.ambush 4.moun toor where Moses received instruction/wisdom from god, lamp of toor is divine light 5.rays of light, wisdom 6.crumble 7.earthquakes 8.control 9.far and wide 10.houses 11.one who accepts 12. possessors of wisdom 13.people of mature/thoughtful action 14.victim, target, prey 15.useless thought 16.prophets 17.heaven of god 18.terrified/trembling bodies
The forces of evil had surrounded and ambushed the lamp of wisdom. The rays of righteousness were about to be crumbled into dust. The fear of quakes ruled the earth far and wide. The houses of people of faith were shaking in fear. People of thoughtful action fell prey to trivial thought. Prophets in heaven were trembling in fear.
68
tiiragi1 ki jeb meN2 thi daulat-e shams o qamar3jal raha tha Khaana4-e deriina5-e fikr o nazar6zindagi par yuN jahannum7 ka tassalut8 dekh kar
ek aziim9 insaan bahr-e Khidmat10-e nau-e bashar11rang bharne zindagi ke naqsh12 meN qanuun ka
dosh13 par lekar subu14 aaya Khud apne Khuun ka 1.darkness, evil 2.in possession, in control 3.wealth of sun and moon(light, truth, goodness) 4.house 5.old, well established 6.thought and discrimination (between good and evil) 7.hell, evil 8.power, dominance 9.great 10.for the service of 11.human species,humanity 12.map, scheme, picture 13. shoulder 14.flask
The forces of evil had the forces of truth and virtue in their pocket. Well established traditions of thought and discrimination were aflame. Seeing this dominance of evil over life. A great man came forward in the service of humanity. To fill color into the framework of righteousness, carrying on his shoulder a flask of his own blood
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
61
haaN usi ke daur1 meN geti pe chhaaya tha junooN2aadmi par chal gaya tha hubb-e daulat3 ka fusooN4baj rahe the mimbaroN5 pe seem o zar6 ke arGhunooN7hamla aavar ho gayi thi diin par duniya-e dooN8zulmatoN9 ke ThaT10 lage the raushni ke saamne
maut muNh khole khaRi thi zindagi ke saamne
1.period, time 2.obsession 3.love of wealth 4.magic, spell 5.platform for sermon 6.silver and gold 7.organ (music) 8.unfaith, opposite of deen (faith) 9.darkness 10.layers, curtains
Yes, it was during his life that a mad passion engulfed the world. Love of wealth cast its magical spell on everyone. Even from the pulpit all talk was of wealth and power. The world of faith was under attack by ‘unfaith’. The light of reason was hidden behind layers of darkness. And Death was standing ready to gobble up life itself.
62
Khair1 o shar2 ke qaa’ede3 sood o ziyaaN4 ke zaabete5zeest6 ke muhkam7 usool, insaniyat ke masale
kaif o kam8 ki mash’aleN9 iqdaar10-e naazuk ke diye
rahguzaar-e baad11 par rakkhe hue the der se
baRh chuke the barq-rau12 tufaaN safinoN13 ki taraf
uTh rahe the saikDoN ghan14 aabginoN15 ki taraf
1.wellbeing, rightfulness 2.mischief, wrongfulness 3.rules 4.profit and loss 5.angles, rules 6.life 7. established 8.how and how much 9.torch 10.agreement, pledge 11.breeze 12.speed of lightning13.boats 14.hammer 15.crystals
The rules of right and wrong, the rules of profit and loss, established codes of living, the puzzles of human values, the torch of ‘how and how much’, the lamps of subtle agreements (thus all the rules of living) were exposed in the path of fierce winds for a long time. Storms were advancing at lightning speed towards the boat of life. Thousands of hammers were poised to descend on delicate crystals. Breeze and lamps, storms and boats, hammers and crystal … are oft used metaphors for attack by the powerful on the vulnerable.
63
jam’a1 the ganj-e hidaayat2 meN jo ma’ani ke guhar3ilm4 o hilm5 o bazl6 o fazl7 o raf’at8 o fikr9 o nazar10raushan aavaazoN11 ke anjum12, shusta13 lamhoN ke qamar14aa rahi thi aanch15 un kul sikka-haa-e noor16 par
qaahari17 bechain thi karvaT badalne ke liye
shola jhapTa tha shagufoN18 ko nigalne ke liye
1.collected, stored 2.store house of righteous guidance (wise, noble and virtuous people) 3. pearls of meaning/truth,wisdom 4.knowledge 5.patience 6.generosity 7.benevolence 8.eminence, dignity 9.thought 10.sight, discriminating 11.bright sound, metaphor for words of wisdom 12.stars 13.washed, clean, pure 14.moon 15.about to be burned 16.all coins of light (sikka/coin and nur/light), wealth/treasure of light 17.oppression 18.blossoms
Pearls of wisdom in the storehouses of righteous guidance. Knowledge, patience, benevolence, dignity, reason and discerning choice. Words of wisdom like bright stars, moments of brilliance and clarity. All this wealth of light was under attack, ready to be set on fire. Oppression was impatient to pounce. Flames were leaping to swallow tender blossoms of virtue.
64
laili-e haq1 ke ujaaRe ja rahe the Khadd o Khaal2mushif-e dauraaN3 ke phaaRe jaa rahe the maah o saal4na’ara5-haa-e shahryari6 ne ba-zauq7-e jaah o maal8chhiin li thi gosh-e insaani9 se aavaaz-e bilaal
le rahi thi paiNg10 tariiki11 diloN ke shahr meN
bah rahi thi dhoop12 sulh o aashti13 ki nahr meN
1.beloved of righteousness (Truth) metaphorically represented as ‘laila’ 2.face and features 3. the book of all times (qur’aan) 4.months and years, metaphor for all the knowledge stored over time 5.slogan, pronouncements 6.of the king 7.with the taste of 8.position and wealth 9.ear of humanity 10.swing 11. darkness, ignorance 12. sunlight used here for fire 13.peace and harmony
The face and features of the laila (Truth) were being disfigured. Pages of the qur’aan were being ripped out, denuded of Knowledge. The slogans of royalty with its power and wealth stole of the voice of bilaal from the ears of humanity. bilaal, an Ethiopian slave, freed by Mohammed was made the first muezzin. It is to his voice (aza’an, call for prayer) that the first muslims responded. The reference illustrates that how even a person of ‘low origins’ could rise to a position of influence. This was reversed in the age that josh is describing. Ignorance held sway in the hearts of men. Fire flowed in the stream of peace and harmony.65
qasr-e shaahi1 meN bhanbhoRi ja rahi thi zindagi
dast-e vahshat2 se jhinjhoRi ja rahi thi zindagi
maut ki Khaatir nichoRi ja rahi thi zindagi
soo3-e taj o taKht moRi ja rahi thi zindagi
aur chhoRa ja4 raha tha zindagi ke baaGh ko
toR kar moti khilaaye ja rahe the zaaGh5 ko
1.royal palace 2.hand of terror 3.towards 4.neglect 5.crows, metaphorically the king’s cronies
Life of ordinary people was being squeezed to maintain the royal palace. Daily life trembled at the hand of Terror. Life was squeezed to the point of death. All rules of life were bent to the service of the throne. The garden of life was in neglect. Its fruit was being fed to the king’s cronies.
66
bujh gaye the har ravish1 pe rushd2 ke naqsh-e qadam3chug raha tha4 behteriiN5 ausaaf6 ko bom o rum7Khanda zan8 tha qasr9 ki soolat10 pe daulat ka bharam11par fashaN12 tha Khud haram13 ke baam14 par shaahi alam15pal paRa tha lashkar-e haivaaniyat16 insaan par
paauN rakha chaahti thi Khusravi17 qur’aan par
1.pathway 2.guides, wise ones 3.footprints 4.picking off and eating 5.the best 6.qualities 7. owl (metaphor for inauspicious or evil) 8.laughing at 9.house (of god- ka’aba) 10.dignity 11. arrogance of wealth 12.flying 13.mosque 14.rooftop 15.royal flag 16.army of bestiary (wild, uncivilized) 17.derived from Khusro (royalty)
The footprints of righteous guides were obliterated from all pathways. Evil and terror were picking off the best qualities of people. The arrogance of wealth was sneering at the dignity of the ka’aba. The royal flag was flying high atop the mosque. Humanity was under attack of wild forces. Royal power was getting ready to trample the qur’aan.
67
ghir chuki1 thi tiiragi2 ki yurishoN3 meN shama-e toor4shola-haa-e raushni5 hone ko the choor choor6zalzaloN7 ki hukmrani8 thi zamiN par duur duur9
hil rahe the qasr10-haa-e muqbilaan11-e zi-sha’uur12puKhta kaaraan13-e jahaaN bhi saeyd14-e fikr-e Khaam15 the
ambia16 arsh-e bari-N17 par larza-bar-andaam18 the
1.was surrounded 2.darkness, ignorance 3.ambush 4.moun toor where Moses received instruction/wisdom from god, lamp of toor is divine light 5.rays of light, wisdom 6.crumble 7.earthquakes 8.control 9.far and wide 10.houses 11.one who accepts 12. possessors of wisdom 13.people of mature/thoughtful action 14.victim, target, prey 15.useless thought 16.prophets 17.heaven of god 18.terrified/trembling bodies
The forces of evil had surrounded and ambushed the lamp of wisdom. The rays of righteousness were about to be crumbled into dust. The fear of quakes ruled the earth far and wide. The houses of people of faith were shaking in fear. People of thoughtful action fell prey to trivial thought. Prophets in heaven were trembling in fear.
68
tiiragi1 ki jeb meN2 thi daulat-e shams o qamar3jal raha tha Khaana4-e deriina5-e fikr o nazar6zindagi par yuN jahannum7 ka tassalut8 dekh kar
ek aziim9 insaan bahr-e Khidmat10-e nau-e bashar11rang bharne zindagi ke naqsh12 meN qanuun ka
dosh13 par lekar subu14 aaya Khud apne Khuun ka
1.darkness, evil 2.in possession, in control 3.wealth of sun and moon(light, truth, goodness) 4.house 5.old, well established 6.thought and discrimination (between good and evil) 7.hell, evil 8.power, dominance 9.great 10.for the service of 11.human species,humanity 12.map, scheme, picture 13. shoulder 14.flask
The forces of evil had the forces of truth and virtue in their pocket. Well established traditions of thought and discrimination were aflame. Seeing this dominance of evil over life. A great man came forward in the service of humanity. To fill color into the framework of righteousness, carrying on his shoulder a flask of his own blood
The post mojid o mufakkir-061-068-haalaat-e daur-e yaziid-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-54-60-sifaat-e-husain-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
sifaat-e husain 54-60 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
haalaat-e daur-e yaziid 61-68 A few stanzas describing in musical language the changing order from principled governance to hubristic power grab and personal enrichment.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
جوشؔ ملیح آبادی۔موجد و مفکّر۔۵۴۔۶۰۔ صفاتِ حسین
۵۴
تھا اُنھیں آبائے اِنسانی میں اک مردِ جلیل
قبلۂ عالم، امامِ عصر، امیرِ بے عدیل
اعتبارِ موجِ کوثر، آبروئے سلسبیل
فخرِ اِسمعیل، جانِ مصطفےٰ، نازِ خلیل
محورِ گیتی و گردوں، مرکزِ دنیا و دیں
مہبطِ آوازِ حق، مخدومِ جبریلِ امیں
۵۵
شاہِ اربابِ حوادث، شارعِ دینِ وفا
مخزنِ جنسِ ہدایت، مصدرِ صدق و صفا
صاحبِ امرِ قدر، سلطانِ آئینِ قضا
شاہدِ گُل پیرہن، شہزادۂ رنگیں قبا
کردگارِ عصرِ عرفاں، شہریارِ زندگی
کشتہِ حق، فاتح مرگ، اِفتخارِ زندگی
۵۶
ماہِ ایماں، راہِ عرفاں، شاہِ اِحساں، جاہِ دیں
شانِ حق، آنِ کرم، جانِ صفا، کانِ یقیں
پورِ حیدر، صورِ ہیجاں، نورِ جاں، طورِ مبیں
آبِ ایقاں، بابِ ضو، تابِ فلک، دابِ زمیں
اَوجِ بامِ دِل نوازی، موجِ بحرِ الطفات
بدرِ چرخِ سرفروشی، صدرِ بزمِ کائنات
۵۷
عالِمِ اَسرارِ عالم، عارفِ ذات و صفات
ناظمِ شہرِ ثقافت، ناشرِ اخلاقیات
ناصرِ حق، پیکرِ آئین، دستورِ نجات
نازشِ تاریخ، میرِ وقت، دارائے حیات
حرفِ دیں، نطقِ مبیں، درسِ عمل، فخرِ مِلل
بربطِ دشتِ مشیت، نغمۂ سازِ ازل
۵۸
مطلعِ مہرِ شہادت، مشرقِ ماہِ شہود
مصلحِ اوضاعِ ہستی، معنیِ حرفِ وجود
منزلِ اشراق، معراجِ بشر، موجِ صعود
منبرِ الطاف، محرابِ کرم، میزانِ جود
مظہرِ حسنِ عمل، شمع حریمِ حیدری
مورثِ اَقطابِ عالم، وارثِ پیغمبری
۵۹
منکسر، خوددار، شبنم طبع، صفدر، بُردبار
صبر پیماں، شام گستر، روز در شب، زندہ دار
تاج کوب، اورنگ سوز، ایواں شکن، سلطاں شکار
اوصیا اجلال، پیغمبر حشم، یزداں وقار
جامع اِبریق و سنداں، صاحبِ سیف و قلم
چترِ حق، بالائے سرتاجِ شہاں زیرِ قدم
۶۰
شمعِ عرفاں، آفتابِ رُشد، قِندیلِ اُصول
مشعلِ بابِ نبوت، کعبہِ حسنِ قبول
بوستانِ مرتضیٰ، فردوسِ آغوشِ بتول
ز ینتِ اورنگِ قدرت، راکبِ دوشِ رسول
اِسم اعظم در بغل، گل ہائے عرفاں در کلاہ
خلد برکف، آسماں بر دوش، کرُسی بر نگاہ
जोश मलीहाबादी-मोजिद ओ मुफ़क्किर-५४-६८- सिफ़ात-ए हुसैन
५४
था उन्हीं आबा-ए इंसानी में एक मर्द-ए जलील
क़िब्ला-ए आलम, इमाम-ए अस्र, अमीर-ए बे अदील
ए’तेबार-ए मौज-ए कौसर, आब्रू-ए सल्सबील
फ़ख़्र-ए इस्माईल, जान-ए मुस्तफ़ा, नाज़-ए ख़लील
महवर-ए गेती ओ गर्दूं, मरकज़-ए दुनिया ओ दीं
महबत-ए आवाज़-ए हक़, मख़्दूम-ए जिब्रील-ए अमीं
५५
शाह-ए अरबाब-ए हवादिस, शरा’-ए दीन-ए वफ़ा
मख़्ज़न-ए जिन्स-ए हिदायत, मस्दर-ए सिद्क़ ओ सफ़ा
साहब-ए अम्र-ए क़दर, सुल्तान-ए आईन-ए क़ज़ा
शाहेद-ए गुल पैरहन, शहज़ादा-ए रंगीं क़बा
किर्देगर-ए अस्र-ए इर्फ़ान, शहरियार-ए ज़िन्दगी
कुश्ता-ए हक़, फ़ातेह-ए मर्ग, इफ़्तेख़ार-ए ज़िन्दगी
५६
माह-ए ईमां, राह-ए इर्फ़ां, शाह-ए एहसाँ, जाह-ए दीं
शान-ए हक़, आन-ए करम, जान-ए सफ़ा, कान-ए यक़ीं
पूर-ए हैदर, सूर-ए हेजां, नूर-ए जां, तूर-ए मुबीं
आब-ए ईक़ां, बाब-ए ज़ौ, ताब-ए फ़लक, दाब-ए ज़मीं
औज-ए बाम-ए दिल नवाज़ी, मौज-ए बहर-ए इल्तेफ़ात
बद्र-ए चर्ख़-ए सरफ़रोशी, सद्र-ए बज़्म-ए काएनात
५७
आलेम-ए अस्रार-ए आलम, आ’रेफ़-ए ज़ात ओ सिफ़ात
नाज़िम-ए शहर-ए सक़ाफ़त, नाशिर-ए अख़्लाक़ियात
नासिर-ए हक़, पैकर-ए आईन, दस्तूर-ए नजात
नाज़िश-ए तारीख़, मीर-ए वक़्त, दारा-ए हयात
हर्फ़-ए दीं, नुत्क़-ए मुबीं, दरस-ए अमल, फ़ख़्र-ए मिलल
बर्बत-ए दश्त-ए मशियत, नग़्मा-ए साज़-ए अज़ल
५८
मत्ला-ए महर-ए शहादत, मश्रिक़-ए माह-ए शहूद
मसलह-ए औज़ा-ए हस्ती, मा’अनि-ए हर्फ़-ए वुजूद
मंज़िल-ए अश्राक़, मे’राज-ए बशर, मौज-ए सा’ऊद
मिम्बर-ए अल्ताफ़, मेहराब-ए करम, मीज़ान-ए जूद
मज़हर-ए हुस्न-ए अमल, शम’अ-ए हरीम-ए हैदरी
मोरिस-ए अक़्ताब-ए आ’लम, वारिस-ए पैग़म्बरी
५९
मुन्कसिर, ख़ुददार, शब्नम तबा’अ, सफ़्दर, बुर्दबार
सब्र पैमां, शाम गुस्तर, रोज़ दर शब, ज़िन्दा-दार
ताज कूब, औरंग सोज़, ऐवां शिकन, सुल्तां शिकार
औसिया, इज्लाल, पैग़म्बर हषम, यज़्दां वेक़ार
जामा’अ-ए इब्रीक़ ओ सिन्दां, साहब-ए सैफ़ ओ क़लम
चत्र-ए हक़, बाला-ए सरताज-ए शहाँ ज़ेर-ए क़दम
६०
शमा-ए इर्फ़ान, आफ़्ताब-ए रुश्द, क़िन्दिल-ए उसूल
मश’अल-ए बाब-ए नुबुव्वत, का’बा-ए हुस्न-ए क़ुबूल
बोस्तान-ए मुर्तुज़ा, फ़िर्दौस-ए आग़ोश-ए बतूल
ज़ीनत-ए औरंग-ए क़ुद्रत, राकिब-ए दोश-ए रसूल
इस्म-ए आज़म दर बग़ल, गुल हा-ए इर्फ़ां दर कुलाह
ख़ुल्द बर कफ़, आस्मां बर दोश, कुर्सी बर निगाह
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
54
thaa unhiN aaba-e insaani1 meN ek mard-e jaleel2qibla-e a’alam3, imaam-e asr4, amiir-e be adeel5e’tebar-e mauj-e kausar6, aabroo-e salsabeel7faKhr8-e ismail, jan9-e mustafa, naaz10-e Khaleel
mahvar11-e geti o garduN12, markaz13-e duniya o diiN14mahbat15-e aavaaz-e haq16, maKhdoom17-e jibriil-e amiiN18 1.ancestors of humanity/humanism 2.man of high status 3.focus of the world 4.leader of all times 5. leader without equal 6.waves of kauser depend on him 7.honor of salsabiil – kausar and salsabiil are springs in paradise 8.pride 9.beloved 10.pride 11.axis of rotation 12.earth and sky 13.center 14.faith 15.origin 16.voice of truth 17.served by 18.Gabriel
Among the leading lights of humanism was a man of high status. The qibla/focal point of the world, leader of all time, lord without equal. The basis of the waves of kausar, the honor of salsabiil. The pride of ismail, the beloved of mohammed, the joy of ibrahim. The axis of rotation of the earth and sky, the centre of the universe. The author of the word of truth, righteousness, served by jibra’iil. husain, in karbala was denied access to water. Legend has it that to illustrate principles he intentionally did not force his way to water. josh implies that by giving up water in karbala, husain is the lord of the water (kauser and salsabiil) in paradise. ismail, mustafa and Khaliil (ibrahim) are all prophets in the Judeo-Islamic tradition. josh choses these three because, (and I speculate) – the ‘beloved of mustafa’ is obvious, both as grandson and the ‘consolidator of mustafa’s message’. The pride of ismail- because ismail agreed to be ‘sacrificed’ by his father following god‘s command, and husain sacrificed himself to ‘consolidate’ mohammed’s message. ‘pride of Khaliil/ibrahim’ probably because ibrahim sacrificed his son and husain sent out his son to battle and certain death.
55
shaah1-e arbaab-e havaadis2, shaara’e3 diin4 o vafa5maKhzan6-e jins-e hidaayat7, masdar8-e sidq9 o safa10saahib-e amr-e qadar11, sultaan-e aaiin12-e qaza13shahed14-e gul pairahan15, shahzaada-e rangiN qaba16kirdegaar17-e asr18-e irfaN19, shahriyar20-e zindagi
kushta21-e haq22, faateh23-e marg24, ifteKhaar25-e zindagi 1.king 2.owners of happenings, people of action 3.path 4.religion 5. keeping your word 6.treasure 7.instrument of instruction 8. leader 9.truth 10.purity 11.decree of destiny 12.rules, traditions 13.death 14.beauty 15. flower robed 16.colored robe 17.lord 18.period, times 19. mystic knowledge 20.lord 21.killed 22.righteousness 23.conqueror 24.death 25.pride
King of righteous action, the pathway to faith. Treasure house of learning, paragon of Truth and Purity. Shaper of destiny, exemplar of ‘aaiin-e qaza’ (traditions of death/fate – the tradition that husain exemplified – dying with dignity rather than live with untruth/injustice). Flower bodied beauty, the prince of colorful robe (reference to his robe colored in blood as he was injured in battle and killed). Harbinger of mystic enlightenment, the king of Righteous Life. Killed for righteousness, conqueror of death, pride of life.
56
maah1-e imaaN, raah-e irfaaN2, shaah-e ehsaaN, jaah3-e diiN
shaan-e haq4, aan5-e karam6, jaan-e safa7, kaan8-e yaqiiN
puur9-e Hyder, suur10-e hejaN11, noor-e jaaN, toor12-e mubiiN13aab-e eeqaN14, baab-e zau15, taab-e falak16, daab-e zamiiN17auj18-e baam19-e dil navaazi20, mauj21-e bahr22-e iltefaat23badr24-e charKh25-e sarfaroshi26, sadr27-e bazm28-e ka’enaat29 1.full moon 2.mystic knowledge 3.honor 4.Truth 5.pride 6.benevolence 7.purity 8.mine (as in gold mine), treasure house 9.son 10. trumpet 11.declaration, defiance 12.Mt.Sinai, where Moses saw divine light 13.explication, clear 14.glory of faith 15.door to enlightenment 16.brilliance of the sky 17.weight (substance, dignity) of the earth 18.climax 19.roof 20.making (others) happy 21.wave 22.ocean 23.kindness 24.full moon 25.sky 26.sacrificing head (life), martyrdom 27.head 28.assembly 29.creation
Moon of Faith, pathway to Spirituality, king of Benevolence, glory of Belief. The grandeur of Truth, pride of Kindness, essence of Purity, treasure of Faith. Son of Hyder, trumpet of Defiance, lustre of Life, light of Divinity. Lustre of faith3, pathway to god, brilliance of Heaven, dignity of Earth. Epitomy of Empathy, swell of the ocean of Kindness. Moon of the sky of martyrdom, the center of Creation.
57
aalim1-e asraar2-e aalam3, a’arif4-e zaat o sifaat5
naazim6-e shahr-e saqaafat7, naashir8-e aKhlaaqiyaat9
naasir10-e haq11, paikar12-e aaiin13, dastur14-e najaat15
nazish16-e tariiKh17, mir-e vaqt18, daara19-e hayaat20
harf-e diN, nutq-e mubiiN21, dars-e amal22, faKhr-e milal23
barbat24-e dasht25-e mashiyat26, naGhma27-e saaz-e azal28 1.knower 2.secrets 3.universe 4.knower 5.instinct and nature 6.administrator 7.culture 8.publisher/writer 9.rules of behavior 10.helper 11.Truth 12.embodiment 13. canon, rule, principles 14.traditions, ways 15. deliverance 16.pride 17.history 18.lord of time (forever 19.king 20.life 21. clear voice 22.lesson of action 23.pride of communities (all) 24.music 25.forest, mystery 26.will of god 27.song 28.eternal music
Scholar of the mysteries of Creation, knowing the attributes of god. King of the city of Culture, the writer of the rules of Conduct. Helper of Truth, Embodiment of Principles, exemplar of Deliverance. Pride of History, lord of Time, captain of Life. Word of Faith, clarity of Word, lesson of Action, pride of Nations. Music of the word of god, song of Eternity. Just a powerful and musical torrent of adjectives and descriptors.
58
matla1-e mahr2-e shahaadat3, mashriq4-e maah5-e shahud6
maslah7-e auza-e hasti8, ma’ani-e harf-e vujud9
manzil-e ashraq10, me’eraj11-e bashar12, mauj13-e sa’ud14
mimbar15-e altaaf16, mehraab17-e karam18, mizaan19-e jud20
mazhar21-e husn-e amal22, sham’a-e harim23-e haidari
moris24-e aqtaab25-e a’alam, vaaris26-e paiGhambari27 1.emergence, rise 2.sun 3.martyrdom 4.east, rising 5.moon 6.martyrs 7.reformer 8.ways of life 9.existence 10.brightness, sunrise 11.apex 12. human 13.wave 14.sublime 15.platform, pulpit 16.kindnesses 17.centre piece 18.forgiveness 19. balance, measure 20.benevolence 21.manifestation 22.beauty of action 23.house 24.basis 25.north and south poles 26.helper 27.prophethood
Rising sun of martyrdom, glowing moon of martyrs. Teacher of the way of living, of the meaning of existence. Basis of Dawn, apex of Humanity, wave of Sublimity. Pulpit of Grace, arch of forgivenesses, standard of Benevolence. Exemplar of right action, light of the house of Ali. Axis of the world, keeper of the message of Mohammed.
59
munkasir1, Khuddaar2, shabnam taba’a3, safdar4, burdbaar5
sabr paimaaN6, shaam gustar7, roz dar shab8, zinda daar9
taj kob10, auraNg11 soz12, aiwaaN13 shikan14, sultaN shikaar15
ausia16 ijlaal17, paiGhambar hasham18, yazdaN viqaar19
jama’a-e ibriiq o sindaaN20, saahib21-e saif22 o qalam
chatr23-e haq24, baala-e sartaaj25-e shaahaaN26 zer-e qadam27 1.humble 2.self-respecting 3.nature of dew (soft, pleasing) 4.breaker of lines of battle, brave 5.dignified 6.committed to steadfastness 7.spreading coolness of the evening 8.lighting up the dark night 9.life giving 10.destroy 11.throne 12.burn 13.halls 14.break 15.hunt down kings 16.inheritor (of mohammed’s legacy) 17.grandeur 18.dignity of paiGhamber 19.high status (like god’s) 20.brings together sword and arrow, arms 21.owner 22.sword 23.umbrella, protection 24.righteousness 25.apex of the crown 26.kings 27.under foot
Self effacing, self-respecting, kind, brave and noble. Steadfast, dispenser of comfort, lighting up darkness, life giving. Breaking crowns, burning thrones, smashing halls of power, hunting kings. Heir to mohammed’s legacy and dignity, godlike status. Ready for war, if necessary, but weilding a pen to make peace too. Protector of Truth, trampling the royal crown.
60
shama’-e irfaaN1, aaftaab-e rushd2, qindil3-e usool4
mash’al-e baab5-e nubuvvat6, ka’aba7-e husn-e qubool8
bostan9-e murtuza, firdaus10-e aaGhosh-e batool11
ziinat12-e auraNg13-e qudrat14, raakib15-e dosh16-e rasool17
ism-e aazam18 dar baGhal19, gul-haa-e irfaaN20 dar kulaah21
Khuld22 bar kaf23, aasmaaN bar dosh24, kursi25 bar nigaah26 1.mystics 2.wise leader 3.lamp 4.rules (righteous) 5.door 6.prophethood (of mohammed) 7. focus, center 8. acceptable, right 9.garden 10. paradise 11.parents of Husain 12.beauty 13. throne 14. god 15.rider 16.shoulder 17.Mohammed 18. great name 19.under arm 20.flowers (knowledge) of the mystics 21.under his cap 22. paradise 23.in the fist 24.on the shoulder 25. (of god) 26.in sight
The light of mystics, the sun of wisdom, the lamp of rectitude. The torch of the door of mohammed’s message, the focus of the beauty of Truth. The garden of murtuza, the paradise of the womb of batool. The beauty of the throne of god, the rider on the shoulders of mohammed. The name of god under his arm, the knowledge of mystics in his grip. Paradise in his hand, heavens on his shoulders, mindful of the seat of god.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
54
thaa unhiN aaba-e insaani1 meN ek mard-e jaleel2qibla-e a’alam3, imaam-e asr4, amiir-e be adeel5e’tebar-e mauj-e kausar6, aabroo-e salsabeel7faKhr8-e ismail, jan9-e mustafa, naaz10-e Khaleel
mahvar11-e geti o garduN12, markaz13-e duniya o diiN14mahbat15-e aavaaz-e haq16, maKhdoom17-e jibriil-e amiiN18
1.ancestors of humanity/humanism 2.man of high status 3.focus of the world 4.leader of all times 5. leader without equal 6.waves of kauser depend on him 7.honor of salsabiil – kausar and salsabiil are springs in paradise 8.pride 9.beloved 10.pride 11.axis of rotation 12.earth and sky 13.center 14.faith 15.origin 16.voice of truth 17.served by 18.Gabriel
Among the leading lights of humanism was a man of high status. The qibla/focal point of the world, leader of all time, lord without equal. The basis of the waves of kausar, the honor of salsabiil. The pride of ismail, the beloved of mohammed, the joy of ibrahim. The axis of rotation of the earth and sky, the centre of the universe. The author of the word of truth, righteousness, served by jibra’iil. husain, in karbala was denied access to water. Legend has it that to illustrate principles he intentionally did not force his way to water. josh implies that by giving up water in karbala, husain is the lord of the water (kauser and salsabiil) in paradise. ismail, mustafa and Khaliil (ibrahim) are all prophets in the Judeo-Islamic tradition. josh choses these three because, (and I speculate) – the ‘beloved of mustafa’ is obvious, both as grandson and the ‘consolidator of mustafa’s message’. The pride of ismail- because ismail agreed to be ‘sacrificed’ by his father following god‘s command, and husain sacrificed himself to ‘consolidate’ mohammed’s message. ‘pride of Khaliil/ibrahim’ probably because ibrahim sacrificed his son and husain sent out his son to battle and certain death.
55
shaah1-e arbaab-e havaadis2, shaara’e3 diin4 o vafa5maKhzan6-e jins-e hidaayat7, masdar8-e sidq9 o safa10saahib-e amr-e qadar11, sultaan-e aaiin12-e qaza13shahed14-e gul pairahan15, shahzaada-e rangiN qaba16kirdegaar17-e asr18-e irfaN19, shahriyar20-e zindagi
kushta21-e haq22, faateh23-e marg24, ifteKhaar25-e zindagi
1.king 2.owners of happenings, people of action 3.path 4.religion 5. keeping your word 6.treasure 7.instrument of instruction 8. leader 9.truth 10.purity 11.decree of destiny 12.rules, traditions 13.death 14.beauty 15. flower robed 16.colored robe 17.lord 18.period, times 19. mystic knowledge 20.lord 21.killed 22.righteousness 23.conqueror 24.death 25.pride
King of righteous action, the pathway to faith. Treasure house of learning, paragon of Truth and Purity. Shaper of destiny, exemplar of ‘aaiin-e qaza’ (traditions of death/fate – the tradition that husain exemplified – dying with dignity rather than live with untruth/injustice). Flower bodied beauty, the prince of colorful robe (reference to his robe colored in blood as he was injured in battle and killed). Harbinger of mystic enlightenment, the king of Righteous Life. Killed for righteousness, conqueror of death, pride of life.56
maah1-e imaaN, raah-e irfaaN2, shaah-e ehsaaN, jaah3-e diiN
shaan-e haq4, aan5-e karam6, jaan-e safa7, kaan8-e yaqiiN
puur9-e Hyder, suur10-e hejaN11, noor-e jaaN, toor12-e mubiiN13aab-e eeqaN14, baab-e zau15, taab-e falak16, daab-e zamiiN17auj18-e baam19-e dil navaazi20, mauj21-e bahr22-e iltefaat23badr24-e charKh25-e sarfaroshi26, sadr27-e bazm28-e ka’enaat29
1.full moon 2.mystic knowledge 3.honor 4.Truth 5.pride 6.benevolence 7.purity 8.mine (as in gold mine), treasure house 9.son 10. trumpet 11.declaration, defiance 12.Mt.Sinai, where Moses saw divine light 13.explication, clear 14.glory of faith 15.door to enlightenment 16.brilliance of the sky 17.weight (substance, dignity) of the earth 18.climax 19.roof 20.making (others) happy 21.wave 22.ocean 23.kindness 24.full moon 25.sky 26.sacrificing head (life), martyrdom 27.head 28.assembly 29.creation
Moon of Faith, pathway to Spirituality, king of Benevolence, glory of Belief. The grandeur of Truth, pride of Kindness, essence of Purity, treasure of Faith. Son of Hyder, trumpet of Defiance, lustre of Life, light of Divinity. Lustre of faith3, pathway to god, brilliance of Heaven, dignity of Earth. Epitomy of Empathy, swell of the ocean of Kindness. Moon of the sky of martyrdom, the center of Creation.
57
aalim1-e asraar2-e aalam3, a’arif4-e zaat o sifaat5
naazim6-e shahr-e saqaafat7, naashir8-e aKhlaaqiyaat9
naasir10-e haq11, paikar12-e aaiin13, dastur14-e najaat15
nazish16-e tariiKh17, mir-e vaqt18, daara19-e hayaat20
harf-e diN, nutq-e mubiiN21, dars-e amal22, faKhr-e milal23
barbat24-e dasht25-e mashiyat26, naGhma27-e saaz-e azal28
1.knower 2.secrets 3.universe 4.knower 5.instinct and nature 6.administrator 7.culture 8.publisher/writer 9.rules of behavior 10.helper 11.Truth 12.embodiment 13. canon, rule, principles 14.traditions, ways 15. deliverance 16.pride 17.history 18.lord of time (forever 19.king 20.life 21. clear voice 22.lesson of action 23.pride of communities (all) 24.music 25.forest, mystery 26.will of god 27.song 28.eternal music
Scholar of the mysteries of Creation, knowing the attributes of god. King of the city of Culture, the writer of the rules of Conduct. Helper of Truth, Embodiment of Principles, exemplar of Deliverance. Pride of History, lord of Time, captain of Life. Word of Faith, clarity of Word, lesson of Action, pride of Nations. Music of the word of god, song of Eternity. Just a powerful and musical torrent of adjectives and descriptors.
58
matla1-e mahr2-e shahaadat3, mashriq4-e maah5-e shahud6
maslah7-e auza-e hasti8, ma’ani-e harf-e vujud9
manzil-e ashraq10, me’eraj11-e bashar12, mauj13-e sa’ud14
mimbar15-e altaaf16, mehraab17-e karam18, mizaan19-e jud20
mazhar21-e husn-e amal22, sham’a-e harim23-e haidari
moris24-e aqtaab25-e a’alam, vaaris26-e paiGhambari27
1.emergence, rise 2.sun 3.martyrdom 4.east, rising 5.moon 6.martyrs 7.reformer 8.ways of life 9.existence 10.brightness, sunrise 11.apex 12. human 13.wave 14.sublime 15.platform, pulpit 16.kindnesses 17.centre piece 18.forgiveness 19. balance, measure 20.benevolence 21.manifestation 22.beauty of action 23.house 24.basis 25.north and south poles 26.helper 27.prophethood
Rising sun of martyrdom, glowing moon of martyrs. Teacher of the way of living, of the meaning of existence. Basis of Dawn, apex of Humanity, wave of Sublimity. Pulpit of Grace, arch of forgivenesses, standard of Benevolence. Exemplar of right action, light of the house of Ali. Axis of the world, keeper of the message of Mohammed.
59
munkasir1, Khuddaar2, shabnam taba’a3, safdar4, burdbaar5
sabr paimaaN6, shaam gustar7, roz dar shab8, zinda daar9
taj kob10, auraNg11 soz12, aiwaaN13 shikan14, sultaN shikaar15
ausia16 ijlaal17, paiGhambar hasham18, yazdaN viqaar19
jama’a-e ibriiq o sindaaN20, saahib21-e saif22 o qalam
chatr23-e haq24, baala-e sartaaj25-e shaahaaN26 zer-e qadam27
1.humble 2.self-respecting 3.nature of dew (soft, pleasing) 4.breaker of lines of battle, brave 5.dignified 6.committed to steadfastness 7.spreading coolness of the evening 8.lighting up the dark night 9.life giving 10.destroy 11.throne 12.burn 13.halls 14.break 15.hunt down kings 16.inheritor (of mohammed’s legacy) 17.grandeur 18.dignity of paiGhamber 19.high status (like god’s) 20.brings together sword and arrow, arms 21.owner 22.sword 23.umbrella, protection 24.righteousness 25.apex of the crown 26.kings 27.under foot
Self effacing, self-respecting, kind, brave and noble. Steadfast, dispenser of comfort, lighting up darkness, life giving. Breaking crowns, burning thrones, smashing halls of power, hunting kings. Heir to mohammed’s legacy and dignity, godlike status. Ready for war, if necessary, but weilding a pen to make peace too. Protector of Truth, trampling the royal crown.
60
shama’-e irfaaN1, aaftaab-e rushd2, qindil3-e usool4
mash’al-e baab5-e nubuvvat6, ka’aba7-e husn-e qubool8
bostan9-e murtuza, firdaus10-e aaGhosh-e batool11
ziinat12-e auraNg13-e qudrat14, raakib15-e dosh16-e rasool17
ism-e aazam18 dar baGhal19, gul-haa-e irfaaN20 dar kulaah21
Khuld22 bar kaf23, aasmaaN bar dosh24, kursi25 bar nigaah26
1.mystics 2.wise leader 3.lamp 4.rules (righteous) 5.door 6.prophethood (of mohammed) 7. focus, center 8. acceptable, right 9.garden 10. paradise 11.parents of Husain 12.beauty 13. throne 14. god 15.rider 16.shoulder 17.Mohammed 18. great name 19.under arm 20.flowers (knowledge) of the mystics 21.under his cap 22. paradise 23.in the fist 24.on the shoulder 25. (of god) 26.in sight
The light of mystics, the sun of wisdom, the lamp of rectitude. The torch of the door of mohammed’s message, the focus of the beauty of Truth. The garden of murtuza, the paradise of the womb of batool. The beauty of the throne of god, the rider on the shoulders of mohammed. The name of god under his arm, the knowledge of mystics in his grip. Paradise in his hand, heavens on his shoulders, mindful of the seat of god.
The post mojid o mufakkir-054-060-sifaat-e husain-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-43-53-mufakkir-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
husain 54-68 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
جوشؔ ملیح آبادی۔موجد و مفکّر۔۴۳۔۵۳۔مفکّر
۴۳
کاہ کی رگ میں جو دوڑاتا ہے خونِ کہکشاں
کھولتا ہے خار کے دِل میں جو بابِ گلستاں
گونج اُٹھتی ہے رگِ گردن میں جس کی داستاں
نعرہ بنتا ہے اُسی کا نام زیرِ آسماں
شمع رکھتا ہے جو وقتِ پرفشاں کے تاق میں
تا قیامت گونجتا ہے گنبدِ آفاق میں
۴۴
سونپتا ہے جو قلندر کو کلاہِ قیصری
جو بناتا ہے زمیں کو آسماں کا مشتری
چاکری کے سر پہ جو رکھتا ہے تاجِ سروری
بندگی کو جو بخشتا ہے مزاجِ داوری
کھولتا ہے بابِ خودیابی جو یوں اِنسان پر
اِبنِ آدم جھومنے لگتا ہے اپنی شان پر
۴۵
جو عمل کے طاق میں رکھتا ہے شمع اعتدال
ڈالتا ہے خنجرِ برّاں پہ جو عکسِ ہلال
بخشتا ہے عارضِ احساس کو جو خد و خال
جس کے دم سے سانس لینا سیکھ جاتا ہے خیال
نور برساتا ہے جو یوں عالمِ ابصار پر
صبح ہو جاتی ہے طالع مطلعِ افکار پر
۴۶
شامِ بدنظمی کو جو دیتا ہے صبح انتظام
باغِ دل میں نصب کرتا ہے جو دانش کے خیام
ڈالتا ہے دشتِ فطرت میں جو طرح سقف و بام
بخشتا ہے جسمِ حکمت کو جو اعصابی قوام
فکر و فعل و قول پر رہتا ہے جو چھایا ہوا
جاگ اُٹھتا ہے جس سے قلب گہنایا ہوا
۴۷
لطف سے جو موڑتا ہے جادہ ہائے نفصیات
جو بدل دیتا ہے آب و رنگِ تصویرِ صفات
جس سے بن جاتا ہے تعمیری تصوّر ذی حیات
جس سے تنہائی میں روحِ زندگی کرتی ہے بات
محفلِ آفاق میں تابندہ رہتا ہے وہی
نفسِ عالمگیر بن کر زندہ رہتا ہے وہی
۴۸
جو سمجھتا ہے محلّ حکمِ تعجیل و درنگ
جو حکم ہوتا ہے مابینِ اُمورِ صُلح و جنگ
جس کو چھو کر پنکھڑی کا روپ بھر لیتا ہے رنگ
بخشتا ہے جو قوسِ فکر کو ترتیبِ رنگ
جھوم کر بادل کی صورت خیمۂ اخلاق پر
پھول برساتا ہے جو تاریخ کے اوراق پر
۴۹
مرحمت کرتا ہے سینوں کو دوبارہ جو بشر
وقتِ سارق سے متاعِ برُدۂ دِل چھین کر
نوعِ اِنساں کو عطا کرتا ہے جو بارِ دگر
آدمی کے دیدۂ باطن کی مسروقہ نظر
اور برامد کر کے جیبِ دُزد سے ایقان کو
بخشتا ہے جاگتا اِنسان جو اِنسان کو
۵۰
ڈھالتا ہے جو نئے سانچوں میں آئینِ جہاں
جو عطا کرتا ہے فکرِ تازہ کو چشم و زباں
جو عمل کے کالبُد میں نفخ کرتا ہے رواں
بخشتا ہے جو تخیل کے بدن کو اُستخواں
دِن بنا کر خود پرستی کی اندھیری رات کو
جو سکھاتا ہے خرِامِ ناز احساسات کو
۵۱
بخشتا ہے جو سخن سے قلبِ اِنساں کو دمک
جس کے لعلِ نغز گو سینوں میں بنتے ہیں دھنک
سیکڑوں ذی ہوش اِنسانوں کو وقتِ مرگ تک
ہر نفس آتی ہے اپنی سانس سے جس کی مہک
اِنشراحِ صدر کی مہندی لگا کر پاؤں میں
بیٹھتی ہے زندگی جس کی نظر کی چھاوٗں میں
۵۲
ولولوں کی سطح کو دیتا ہے جو آبِ گہر
جس کے روشن سائے میں پروان چڑھتی ہے نظر
جس کے لہجے میں گندھے ہوتے ہیں سو شمس و قمر
جس کے لفظوں کے اُفق پر جگمگاتی ہے سحر
نام رہتا ہے اُسی کا خاطرِ ممنون میں
جس کے فقرے دوڑتے ہیں آدمی کے خون میں
۵۳
بخشتا ہے معتدل فکر و عمل کو جو وقار
آندھیوں کو جو بناتا ہے نسیمِ لالہ زار
جس کے ابرِ نطق سے پاتی ہے سیرت برگ و بار
معنوی آبائے اِنسانی میں ہوتا ہے شمار
بارشیں قرنوں کی اُس کا قصر ڈھا سکتی نہیں
آندھیاں اُس کے چراغوں کو بجھا سکتی نہیں
जोश मलीहाबादी-मोजिद ओ मुफ़क्किर-४३-५३-मुफ़क्किर
४३
काह की रग में जो दौढाता है ख़ून-ए कहकशां
खोलता है ख़ार के दिल में जो बाब-ए गुल्सितां
गूँज उठती है रग-ए गर्दन में जिस की दास्ताँ
ना’रा बनता है उसी का नाम ज़ेर-ए आसमां
शम’अ रख्ता है जो वक़्त-ए पर-फ़शां के ताक़ में
ता क़यामत गूंजता है गुंबद-ए आफ़ाक़ में
४४
सौंपता है जो क़लन्दर को कुलाह-ए क़ैसरी
जो बनाता है ज़मीं को आस्मां का मुश्तरी
चाकरी के सर पे जो रखता है ताज-ए सरवरी
बंदगी को जो बख़शता है मिज़ाज-ए दावरी
खोलता है बाब-ए ख़ुदयाबी जो यूँ इन्सान पर
इब्न-ए आदम झूमने लगता है अपनी शान पर
४५
जो अमल के ताक़ में रख्ता है शम’अ-ए ए’तेदाल
डालता है ख़ंजर-ए बुर्रां पे जो अक्स-ए हिलाल
बख़्शता है आ’रेज़-ए एहसास को जो ख़द ओ ख़ाल
जिस के दम से सांस लेना सीख जाता है ख़याल
नूर बरसाता है जो यूँ आ’लम-ए अब्सार पर
सुबह हो जाती है ताला’अ मतला’अ-ए अफ़्कार पर
४६
शाम-ए बद्नज़्मी को जो देता है सुबह-ए इंतेज़ाम
बाग़-ए दिल में नस्ब करता है जो दानिश के ख़याम
डालता है दश्त-ए फ़ित्रत में जो तरह सक़्फ़ ओ बाम
बख़्शता है जिस्म-ए हिकमत को जो अ’साबी क़वाम
फ़िक्र ओ फ़’अल ओ क़ौल पर रहता है जो छाया हुआ
जाग उठता है जिस से क़ल्ब गहनाया हुआ
४७
लुत्फ़ से जो मोढता है जादा-हा-ए नफ़्सियात
जो बदल देता है आब ओ रंग-ए तस्वीर-ए सिफ़ात
जिस से बन जाता है ता’अमीरी तसव्वुर ज़ी-हयात
जिस से तन्हाई में रूह-ए ज़िन्दगी करती है बात
महफ़िल-ए आफ़ाक़ में ताबिंदा रहता है वही
नफ़्स-ए आलम-गीर बन कर ज़िन्दा रहता है वही
४८
जो समझता है महल्ल-ए हकम ता’अजील ओ दरंग
जो हकम होता है माबैन-ए उमूर-ए सुलह ओ जंग
जिस को छू कर पंखढी का रूप भर लेता है रंग
बख़्शता है जो नुक़ूश-ए फ़िक्र को तर्तिब-ए रंग
झूम कर बादल की सूरत ख़ैमा-ए अख़्लाक़ पर
फूल बरसाता है जो तारीख़ के औराक़ पर
४९
मरहमत करता है सीनों को दोबारा जो बशर
वक़्त-ए सारक़ से मता’अ-ए बुर्दा-ए दिल छीन कर
नौ-ए इन्सां को अता करता है जो बार-ए दिगर
आदमी के दीदा-ए बातिन की मस्रूक़ा नज़र
और बरामद कर के जेब-ए दुज़्द से ईक़ान को
बख़्शता है जागता इंसान जो इंसान को
५०
ढालता है जो नऐ सांचों में आईन-ए जहाँ
जो अता करता है फ़िक्र-ए ताज़ा को चश्म ओ ज़बाँ
जो अमल के काल्बुद में नफ़ख़ करता है रवाँ
बख़्शता है जो तख़य्युल के बदन को उस्तख़्वाँ
दिन बना कर ख़ुद परस्ती की अँधेरी रात को
जो सिखाता है ख़राम-ए नाज़ एहसासात को
५१
बख़्शता है जो सुख़न से क़ल्ब-ए इन्सां को दमक
जिस के ल’अल ओ नुग़ज़ गो सीनों में बनते हैं धनक
सैकढों ज़ी-होश इंसानों को वक़्त-ए मर्ग तक
हर नफ़स आती है अपनी साँस से जिस की महक
इन्शेराह-ए सदर की मेहँदी लगा कर पाऊँ में
बैठती है ज़िन्दगी जिस की नज़र की छाऊँ में
५२
वल्वलों की सतह को देता है जो आब-ए गुहर
जिसके रौशन साए में परवान चढ़ती है नज़र
जिसके लहजे में गुंधे होते हैं सौ शम्स ओ क़मर
जिसके लफ़्ज़ों के उफ़क़ पर जगमगाती है सहर
नाम रहता है उसी का ख़ातेर-ए ममनून में
जिसके फ़िक़्रे दौढते हैं आदमी के ख़ून में
५३
बख़्शता है मो’अतदिल फ़िक्र ओ अमल को जो वक़ार
आन्धिओं को जो बनाता है नसीम-ए लाला ज़ार
जिस के अब्र-ए नुत्क़ से पाती है सीरत बर्ग ओ बार
मा’अनवी आबा-ए इंसानी में होता है शुमार
बारिशें क़र्नों की इसका क़स्र ढा सकती नहीं
आंधियां इसके चिराग़ों को बुझा सकती नहीं
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
43
kaah ki rag1 meN jo dauRaata hai Khoon-e kahkashaaN2
kholta hai Khaar3 ke dil meN jo baab4-e gulsitaaN5goonj uThti hai rag-e gardan meN jis ki dastaaN6na’ara7 banta hai isi ka naam zer8-e aasmaaN
sham’a rakhta hai jo vaqt-e par-fashaaN9 ke taaq10 meN
ta qayamat11 goonjta hai gunbad12-e aafaq13 meN 1.vein of a sapling i.e., the vein of life 2.blood of constellations i.e., the spirit of the universe 3.thorn 4.door 5.garden 6.story 7.cry, slogan 8.under 9.flying time 10.alcove 11.doomsday 12.dome 13.skies
He who makes the spirit of the universe flow through the vein of life. He who opens the heart of sharp thorns to the garden of love. He whose story reverberates through the jugular vein i.e., through the essence of life. Only his name becomes a rallying cry for humanity. He who places the lamp of spirituality in the alcove of time. His name reverberates under the dome of the sky until doomsday.
44
sauNpta1 hai jo qalandar2 ko kulaah-e qaisari3
jo banaata hai zamiN ko aasmaaN ka mushtari4chaakri ke sar pe jo rakhta hai taaj-e sarvari5bandagi6 ko jo baKhashta7 hai mizaaj-e daavari8kholta hai baab9-e Khudyaabi10 jo yuN insaan par
ibn-e aadam11 jhoomne lagta hai apni shaan par 1.to entrust, to give 2.beggar 3.Caesar’s cap (metaphor for high status) 4.buyer 5.leader/lord 6.slavery 7.grants 8.style of kingship 9. door 10.understanding one’s inner self 11.son of Adam i.e., man
He who entrusts the cap of Caesar to the beggar i.e., monarchy/power to the destitue/powerless. He who makes the lowly earth the buyer the high-placed sky. He who places the crown of royalty on the head of the servant. He who treats the slave like a king. He who opens the door to an understanding of one’s inner self. He makes man sway with ecstasy at his own grandeur.
45
jo amal1 ke taaq2 meN rakhta hai sham’a-e e’tedaal3
Daalta hai Khanjar-e burraaN4 pe jo aks-e hilaal5baKhshta hai a’ariz-e ehsaas6 ko jo Khad o Khaal7jis ke dam se saaNs lena seekh jaata hai Khayaal
noor barsaata hai jo yuN aa’lam-e absaar8 par
subah ho jaati hai tala’a9 matla’-e afkaar10 par 1.action 2.alcove 3.light of evenhandedness, justice 4.sharp dagger 5.image of the new moon-the dagger is changed into an object of peace and joy 6.face of feeling/love 7.cheek and beauty spot, face/beauty and features 8.world that we can see (as opposed to spiritual) 9.emerge 10.horizon of thought/reason
He who places the lamp of justice in the alcove of action and turns the dagger into an object of peace and joy (symbolized by the new moon). He grants beauty to the face of love whose life’s work blows a fresh breath into Thought/Reason. He brightens up this sentient world bringing dawn to the horizon of reason.
46
shaam-e badnazmi1 ko jo deta hai subah-e intezaam2
baaGh-e dil meN nasb3 karta hai jo daanish4 ke Khayaam5Daalta hai dasht6-e fitrat7 meN jo tarah saqf o baam8baKhshta hai jism-e hikmat9 ko jo aa’sabi qawaam10fikr11 o fa’al12 o qaul13 par rahta hai jo chhaaya hua
jaag uThta hai jis se qalb14 gahnaaya15 hua 1.confusion 2. organization 3.establish 4. wisdom 5.tent/place 6.wilderness 7.nature; 8. foundations of a roof and shelter 9.knowledge 10. muscular strength 11.thought 12.action 13.word, principle 14. heart, soul 15.eclipsed
He who turns the night of confusion to the dawn of clarity. He who plants/erects tents of wisdom in the garden of the soul. He who makes foundations for a shelter in the wilderness of nature. He who gives great strength to the body of wisdom. He who is consistent in thought, word and action. It is because of him that the eclipsed soul awakens to life.
47
lutf1 se jo moRta hai jaada2-ha-e nafsiyaat3
jo badal deta hai aab o rang4-e tasviir-e sifaat5jis se ban jaata hai ta’amiri-tasavvur6 zi-hayaat7jis se tanhaai8 meN rooh-e zindagi9 karti hai baat
mahfil-e aafaq10 meN taabinda11 rahta hai vahi
nafs-e aalamgir12 ban kar zinda rahta hai vahi 1.pleasure 2.path 3.spirit, soul 4.shine and color 5.natural capabilities 6.concept of progress 7.with life 8.alone 9.the spirit of existence 10.assembly of horizons i.e., sky 11.brilliant 12.spirit of the conqueror of the world
He who turns us to the spiritual path with ease. He who gives luster to the picture of the capabilities of man. He who gives life to the concept of peace and progress. He who can converse on equal terms with the very spirit of existence. He alone shines brilliantly in the skies. He alone lives on like the conqueror of the spiritual world.
48
jo samajhta hai mahall-e hakm1-e ta’ajiil2 o daraNg3
jo hakam4 hota hai mabain5-e umoor6-e sulh7 o jaNg
jis ko chhoo kar paNkhaRi ka roop bhar leta hai raNg
baKhshta8 hai jo nuqoosh-e fikr9 ko tartiib-e raNg10jhoom kar baadal ki surat Khaima11-e aKhlaaq12 par
phool barsaata hai jo taariiKh13 ke auraaq14 par 1.wisdom 2.prompt 3.delay 4.wise, understanding 5.between 6.principles 7.peace 8.grants 9.manifestations of thinking 10.patterns of colour, understanding 11. place 12.ethics, empathy 13.history 14.pages
He who can act wisely between prompt decision and compromise. He who is an expert at balancing the principles of war and peace. His colours have the delicacy of a rose petal. He who is able to paint Reason in full colour for all to see. He who protects the house of Empathy like a blessed cloud, his story scatters rose petals on the pages of history.
49
marhamat1 karta hai seenauN ko dobaara2 jo bashar3
vaqt-e saaraq4 se mata’a-e burda5-e dil chheen kar
nau-e insaaN6 ko a’ta karta7 hai jo baar-e digar8aadmi ke deeda-e baatin9 ki masrooqa10 nazar
aur baraamad kar ke jeb-e duzd11 se eeqaan12 ko
baKshta13 hai jaagta insaan jo insaan ko 1.to bestow 2.again 3.human 4.time the thief 5.stolen wealth 6.humankind 7.to grant 8.once again 9.spiritual eye 10.stolen, lost 11.pocket of the thief 12.certainty, faith 13.grants, bestows
He who grants once again to the hearts of men the treasure of faith which Time has stolen from them and bestows once again to humanity the spiritual eye of man which was stolen. And retrieving faith from the pocket of the thief restores the human spirit to humanity.
50
Dhaalta hai jo naye saaNchoN meN aaiin1-e jahaaN
jo a’ta2 karta hai fikr-e taaza3 ko chashm4 o zabaaN
jo amal5 ke kaalbud6 meN nafaKh7 karta hai ravaaN
baKhshta8 hai jo taKhayyul9 ke badan ko ustaKhwaaN10din bana kar Khud parasti11 ki andheri raat ko
jo sikhaata hai Khiraam-e naaz12 ehsasaat13 ko 1.traditions 2.bestow 3.new thinking 4.eye 5.action 6.body 7.breath 8.to grant 9.thought 10. skeleton 11.self-indulgence 12.graceful gait 13.emotions, feelings
He who casts the traditions/rules of (righteous) living into a new mould. He who grants the ability to see and discuss New Thought. He who blows a fresh breath of life into the body of action. And gives the body of thought a structure (skeleton). He changes the dark night of self-indulgence into a new dawn and teaches a new graceful gait to Love (of humanity).
51
baKhshta1 hai jo suKhan2 se qalb3-e insaaN ko damak4 jis ke l’al5 o naGhz6 go7 seenoN meN bante haiN dhanak8
saikRoN zi-hosh9 insanoN ko vaqt-e marg tak10 har nafas11 aati hai apni saNs se jis ki mahak12
insheraah13-e sadr14 ki mehndi laga kar paauN meN
baiThti hai zindagi jis ki nazar ki chhaauN meN 1.bestows 2.word, speech 3.heart, soul 4.brilliance 5.ruby 6.high value 7.as if 8.rainbow 9.aware, alive 10.until death 11.every moment 12. fragrance 13.open 14.chest, heart
He whose words grant brilliance to the soul. His words, pure and precious like rubies give beauty like a colourful rainbow to the soul. Thousands of men, right up to the moment of their death feel his fragrance in every breath. He who opens the heart of people to a new message such that they spend their lives in the shadow of his Thought. For the fifth misra, Islamic tradition says that god sent jibreel to open mohammed’s chest, cleanse his heart and pour knowledge and wisdom into it. josh inserts a new twist … and makes use of another common saying, ‘paaoN meN mehndi lagaana’ … a person with henna on his feet does not go anwhere, stays put. Opening of the chest involves bleeding, and this blood is applied to the feet as ‘mehndi’ thus causing mufakkir’s followers to stay put in his shadow. Using metaphors, Islamic lore josh combines to say that the mufakkir pours knowledge/wisdom/faith into the hearts of his followers and they stay close to him.
52
valvaloN1 ki satah2 ko deta hai jo aab-e guhar3
jiske raushan saa’e4 meN parvaan chaRhti5 hai nazar6
jiske lahje7 meN gundhe hote hain sau shams o qamar8jiske lafzoN ke ufaq9 par jagmagaati hai sahr10naam rahta hai usi ka Khaatir11-e mamnoon12 meN
jiske fiqre13 dauRte haiN aadmi ke Khoon meN 1.passions 2.surface, face 3.the brilliance of pearls 4.protection (literally, shadow) 5.to come to fruition, climax 6.sight, ability to see (right from wrong) 7.accent, words 8.suns and moons 9.horizon 10.dawn, hope 11.heart 12.grateful 13.sayings
He who gives the brilliance of pearls to the face of passion (for righteousness), under whose protection/teaching the discerning eye (between right and wrong) reaches its climax, in whose words is woven the brilliance of a hundred suns and moons, on the horizon of whose words there is the brightness of dawn – it is his name that resides in the hearts of the grateful. It is his words that flow through the veins of humanity.
53
baKhshta1 hai mu’atadil2 fikr o amal3 ko jo vaqaar4aandhiyoN ko jo banaata hai nasiim-e laala zaar5jis ke abr-e nutq6 se paati hai siirat7 barg o baar8ma’anavi10 aaba-e insaani11 meN hota hai shumaar12barisheN qarnoN13 ki iska qasr Dha14 sakti nahiN
aandhiyaaN iske chiraaGhauN ko bujha sakti nahiN 1.bestows 2.balanced, ordinary 3.thought and action 4.respect 5.breeze of the flower garden 6.blessed rain of words 7.good natur, character 8.trees and vegetation, garden 10.real, genuine 11.ancestors of humanity 12.count 13.for millennia 14.destroy the house
He who bestows respect to balanced thought and action; he who changes storms of injustice to a fragrant garden breeze; whose blessed rain of words nurture human character like a garden; he who can be counted as the real progenitor of humanity – millenia of rains of distortion cannot destroy his House of Truth; storms cannot blow away the lamps he has lit.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
43
kaah ki rag1 meN jo dauRaata hai Khoon-e kahkashaaN2kholta hai Khaar3 ke dil meN jo baab4-e gulsitaaN5goonj uThti hai rag-e gardan meN jis ki dastaaN6na’ara7 banta hai isi ka naam zer8-e aasmaaN
sham’a rakhta hai jo vaqt-e par-fashaaN9 ke taaq10 meN
ta qayamat11 goonjta hai gunbad12-e aafaq13 meN
1.vein of a sapling i.e., the vein of life 2.blood of constellations i.e., the spirit of the universe 3.thorn 4.door 5.garden 6.story 7.cry, slogan 8.under 9.flying time 10.alcove 11.doomsday 12.dome 13.skies
He who makes the spirit of the universe flow through the vein of life. He who opens the heart of sharp thorns to the garden of love. He whose story reverberates through the jugular vein i.e., through the essence of life. Only his name becomes a rallying cry for humanity. He who places the lamp of spirituality in the alcove of time. His name reverberates under the dome of the sky until doomsday.
44
sauNpta1 hai jo qalandar2 ko kulaah-e qaisari3jo banaata hai zamiN ko aasmaaN ka mushtari4chaakri ke sar pe jo rakhta hai taaj-e sarvari5bandagi6 ko jo baKhashta7 hai mizaaj-e daavari8kholta hai baab9-e Khudyaabi10 jo yuN insaan par
ibn-e aadam11 jhoomne lagta hai apni shaan par
1.to entrust, to give 2.beggar 3.Caesar’s cap (metaphor for high status) 4.buyer 5.leader/lord 6.slavery 7.grants 8.style of kingship 9. door 10.understanding one’s inner self 11.son of Adam i.e., man
He who entrusts the cap of Caesar to the beggar i.e., monarchy/power to the destitue/powerless. He who makes the lowly earth the buyer the high-placed sky. He who places the crown of royalty on the head of the servant. He who treats the slave like a king. He who opens the door to an understanding of one’s inner self. He makes man sway with ecstasy at his own grandeur.
45
jo amal1 ke taaq2 meN rakhta hai sham’a-e e’tedaal3Daalta hai Khanjar-e burraaN4 pe jo aks-e hilaal5baKhshta hai a’ariz-e ehsaas6 ko jo Khad o Khaal7jis ke dam se saaNs lena seekh jaata hai Khayaal
noor barsaata hai jo yuN aa’lam-e absaar8 par
subah ho jaati hai tala’a9 matla’-e afkaar10 par
1.action 2.alcove 3.light of evenhandedness, justice 4.sharp dagger 5.image of the new moon-the dagger is changed into an object of peace and joy 6.face of feeling/love 7.cheek and beauty spot, face/beauty and features 8.world that we can see (as opposed to spiritual) 9.emerge 10.horizon of thought/reason
He who places the lamp of justice in the alcove of action and turns the dagger into an object of peace and joy (symbolized by the new moon). He grants beauty to the face of love whose life’s work blows a fresh breath into Thought/Reason. He brightens up this sentient world bringing dawn to the horizon of reason.
46
shaam-e badnazmi1 ko jo deta hai subah-e intezaam2baaGh-e dil meN nasb3 karta hai jo daanish4 ke Khayaam5Daalta hai dasht6-e fitrat7 meN jo tarah saqf o baam8baKhshta hai jism-e hikmat9 ko jo aa’sabi qawaam10fikr11 o fa’al12 o qaul13 par rahta hai jo chhaaya hua
jaag uThta hai jis se qalb14 gahnaaya15 hua
1.confusion 2. organization 3.establish 4. wisdom 5.tent/place 6.wilderness 7.nature; 8. foundations of a roof and shelter 9.knowledge 10. muscular strength 11.thought 12.action 13.word, principle 14. heart, soul 15.eclipsed
He who turns the night of confusion to the dawn of clarity. He who plants/erects tents of wisdom in the garden of the soul. He who makes foundations for a shelter in the wilderness of nature. He who gives great strength to the body of wisdom. He who is consistent in thought, word and action. It is because of him that the eclipsed soul awakens to life.
47
lutf1 se jo moRta hai jaada2-ha-e nafsiyaat3jo badal deta hai aab o rang4-e tasviir-e sifaat5jis se ban jaata hai ta’amiri-tasavvur6 zi-hayaat7jis se tanhaai8 meN rooh-e zindagi9 karti hai baat
mahfil-e aafaq10 meN taabinda11 rahta hai vahi
nafs-e aalamgir12 ban kar zinda rahta hai vahi
1.pleasure 2.path 3.spirit, soul 4.shine and color 5.natural capabilities 6.concept of progress 7.with life 8.alone 9.the spirit of existence 10.assembly of horizons i.e., sky 11.brilliant 12.spirit of the conqueror of the world
He who turns us to the spiritual path with ease. He who gives luster to the picture of the capabilities of man. He who gives life to the concept of peace and progress. He who can converse on equal terms with the very spirit of existence. He alone shines brilliantly in the skies. He alone lives on like the conqueror of the spiritual world.
48
jo samajhta hai mahall-e hakm1-e ta’ajiil2 o daraNg3jo hakam4 hota hai mabain5-e umoor6-e sulh7 o jaNg
jis ko chhoo kar paNkhaRi ka roop bhar leta hai raNg
baKhshta8 hai jo nuqoosh-e fikr9 ko tartiib-e raNg10jhoom kar baadal ki surat Khaima11-e aKhlaaq12 par
phool barsaata hai jo taariiKh13 ke auraaq14 par
1.wisdom 2.prompt 3.delay 4.wise, understanding 5.between 6.principles 7.peace 8.grants 9.manifestations of thinking 10.patterns of colour, understanding 11. place 12.ethics, empathy 13.history 14.pages
He who can act wisely between prompt decision and compromise. He who is an expert at balancing the principles of war and peace. His colours have the delicacy of a rose petal. He who is able to paint Reason in full colour for all to see. He who protects the house of Empathy like a blessed cloud, his story scatters rose petals on the pages of history.
49marhamat1 karta hai seenauN ko dobaara2 jo bashar3vaqt-e saaraq4 se mata’a-e burda5-e dil chheen kar
nau-e insaaN6 ko a’ta karta7 hai jo baar-e digar8aadmi ke deeda-e baatin9 ki masrooqa10 nazar
aur baraamad kar ke jeb-e duzd11 se eeqaan12 ko
baKshta13 hai jaagta insaan jo insaan ko
1.to bestow 2.again 3.human 4.time the thief 5.stolen wealth 6.humankind 7.to grant 8.once again 9.spiritual eye 10.stolen, lost 11.pocket of the thief 12.certainty, faith 13.grants, bestows
He who grants once again to the hearts of men the treasure of faith which Time has stolen from them and bestows once again to humanity the spiritual eye of man which was stolen. And retrieving faith from the pocket of the thief restores the human spirit to humanity.
50
Dhaalta hai jo naye saaNchoN meN aaiin1-e jahaaN
jo a’ta2 karta hai fikr-e taaza3 ko chashm4 o zabaaN
jo amal5 ke kaalbud6 meN nafaKh7 karta hai ravaaN
baKhshta8 hai jo taKhayyul9 ke badan ko ustaKhwaaN10din bana kar Khud parasti11 ki andheri raat ko
jo sikhaata hai Khiraam-e naaz12 ehsasaat13 ko
1.traditions 2.bestow 3.new thinking 4.eye 5.action 6.body 7.breath 8.to grant 9.thought 10. skeleton 11.self-indulgence 12.graceful gait 13.emotions, feelings
He who casts the traditions/rules of (righteous) living into a new mould. He who grants the ability to see and discuss New Thought. He who blows a fresh breath of life into the body of action. And gives the body of thought a structure (skeleton). He changes the dark night of self-indulgence into a new dawn and teaches a new graceful gait to Love (of humanity).
51
baKhshta1 hai jo suKhan2 se qalb3-e insaaN ko damak4
jis ke l’al5 o naGhz6 go7 seenoN meN bante haiN dhanak8
saikRoN zi-hosh9 insanoN ko vaqt-e marg tak10 har nafas11 aati hai apni saNs se jis ki mahak12
insheraah13-e sadr14 ki mehndi laga kar paauN meN
baiThti hai zindagi jis ki nazar ki chhaauN meN
1.bestows 2.word, speech 3.heart, soul 4.brilliance 5.ruby 6.high value 7.as if 8.rainbow 9.aware, alive 10.until death 11.every moment 12. fragrance 13.open 14.chest, heart
He whose words grant brilliance to the soul. His words, pure and precious like rubies give beauty like a colourful rainbow to the soul. Thousands of men, right up to the moment of their death feel his fragrance in every breath. He who opens the heart of people to a new message such that they spend their lives in the shadow of his Thought. For the fifth misra, Islamic tradition says that god sent jibreel to open mohammed’s chest, cleanse his heart and pour knowledge and wisdom into it. josh inserts a new twist … and makes use of another common saying, ‘paaoN meN mehndi lagaana’ … a person with henna on his feet does not go anwhere, stays put. Opening of the chest involves bleeding, and this blood is applied to the feet as ‘mehndi’ thus causing mufakkir’s followers to stay put in his shadow. Using metaphors, Islamic lore josh combines to say that the mufakkir pours knowledge/wisdom/faith into the hearts of his followers and they stay close to him.
52
valvaloN1 ki satah2 ko deta hai jo aab-e guhar3jiske raushan saa’e4 meN parvaan chaRhti5 hai nazar6
jiske lahje7 meN gundhe hote hain sau shams o qamar8jiske lafzoN ke ufaq9 par jagmagaati hai sahr10naam rahta hai usi ka Khaatir11-e mamnoon12 meN
jiske fiqre13 dauRte haiN aadmi ke Khoon meN
1.passions 2.surface, face 3.the brilliance of pearls 4.protection (literally, shadow) 5.to come to fruition, climax 6.sight, ability to see (right from wrong) 7.accent, words 8.suns and moons 9.horizon 10.dawn, hope 11.heart 12.grateful 13.sayings
He who gives the brilliance of pearls to the face of passion (for righteousness), under whose protection/teaching the discerning eye (between right and wrong) reaches its climax, in whose words is woven the brilliance of a hundred suns and moons, on the horizon of whose words there is the brightness of dawn – it is his name that resides in the hearts of the grateful. It is his words that flow through the veins of humanity.
53
baKhshta1 hai mu’atadil2 fikr o amal3 ko jo vaqaar4aandhiyoN ko jo banaata hai nasiim-e laala zaar5jis ke abr-e nutq6 se paati hai siirat7 barg o baar8ma’anavi10 aaba-e insaani11 meN hota hai shumaar12barisheN qarnoN13 ki iska qasr Dha14 sakti nahiN
aandhiyaaN iske chiraaGhauN ko bujha sakti nahiN
1.bestows 2.balanced, ordinary 3.thought and action 4.respect 5.breeze of the flower garden 6.blessed rain of words 7.good natur, character 8.trees and vegetation, garden 10.real, genuine 11.ancestors of humanity 12.count 13.for millennia 14.destroy the house
He who bestows respect to balanced thought and action; he who changes storms of injustice to a fragrant garden breeze; whose blessed rain of words nurture human character like a garden; he who can be counted as the real progenitor of humanity – millenia of rains of distortion cannot destroy his House of Truth; storms cannot blow away the lamps he has lit.
The post mojid o mufakkir-043-053-mufakkir-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-30-42-ehsaan-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
husain 54-68 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
جوشؔ ملیح آبادی ۔ موجد و مفکّر۔۳۰۔۴۲۔احسان
٣٠
شکریہ کیونکر ادا ہو اہلِ ایجادات کا
ایک دریا بہہ رہا ہے طُرفہ مصنوعات کا
جگمگا اُٹھا ہے دن کی طرح مکھڑا رات کا
جسمِ آہن میں دواں ہے خون احساسات کا
یوں اُنھوں نے جزوِ خاک اپنا پسینہ کر دیا
دھات کے آلات کو دانا و بینا کر دیا
٣١
جو دُھرا ایجاد کرنے میں ہوا تھا کامیاب
عظمتیں غلطاں ہیں اُسک ے گِرد بے حد و حساب
پر فشاں پہیئے کی ہر گردش بہ فیضِ اِضطراب
جیب میں ڈالے ہوے ہے سو طوافوں کا سواب
وقت اِسکے زیر و بم سے حلقہِ جولاں میں ہے
سو سلیمانوں کی ضو اِس خاتمِ رقصاں میں ہے
٣٢
صاحبانِ علم و فن ہیں محسنانِ زندگی
ورنہ اب تک ٹھوکروں کی زد پہ ہوتا آدمی
اِن کے ذوقِ جستجو پر جھلکیاں ہیں غیب کی
یہ وہ ماتھے ہیں نہیں اُٹھتے جو سجدوں سے کبھی
اِن میں سے ہر فرد اویسِ قرنی و حلاج ہے
سر کا زانو تک پہنچ جانا یہاں معراج ہے
٣٣
اِن کے آگے موسموں کی سختیاں ہیں شرمسار
کھیلتے رہتے ہیں یہ وحشی عناصر کا شکار
ہاں اُنھیں کی کارسازی سے بصد عزّ و وقار
ہم ہیں آب و خاک کے مولا ہوا کے شہریار
رعب ہے اپنا مسلّط کشورِ اضداد پر
کاٹھیاں رکھی ہوئی ہیں پشتِ برق و بار پر
٣٤
اِن کے حسبِ آرزو مظروف بن جاتا ہے ظرف
قطرہ بنتا ہے عجوبہ ذرّہ بنتا ہے شِگرف
آگ بن جاتا ہے پانی برق بن جاتی ہے برف
اِنکے دم سے دوڑتا ہے رشِتہ آہن پہ حرف
جب یہ اُڑتے ہیں دواں جلووں کا دامن تھامنے
کانپتے ہیں ثابت و سیار اِن کے سامنے
٣٥
اِن میں کوئی خود نوازی کے لئے کوشاں نہیں
صرف اک خدمت کی دُھن ہے دوسرا ارماں نہیں
مانگ کھائیں کچھ عبادت سے یہ وہ اِنساں نہیں
یہ خدا یا آدمی سے اجر کے خواہاں نہیں
حسن کے خلّاق آب و رنگ کے بانی ہیں یہ
شہریارِ کشورِ اِجلالِ اِنسانی ہیں یہ
٣٦
دِل کو لیکن سخت اِستعجاب ہے اے ہم نشیں
اتنے احسانات کے باوصف یہ روشن جبیں
بن نہ پائے زیرِ سقفِ آسماں صدرِ زمیں
اور تو اور آدمی کے حافظے تک میں نہیں
نام اِن کا دہر کے آفاق بینوں میں نہیں
یہ سفینوں میں تو ہیں موجود سینوں میں نہیں
٣٧
یہ بظاہر ہے بڑی احساں فراموشی کی بات
حافظوں سے محو ہو جائیں دبیرانِ حیات
کون سلجھائے مگر خم ہائے زلفِ نفسیات
صرف اُسے اِنساں سمجھتا ہے امیرِ کائنات
موڑ کر ذہنِ بشر کو گلستانوں کی طرف
جو اُڑاتا ہے زمیں کو آسمانوں کی طرف
٣٨
بے شک ایجادات و مصنوعات کی رخشندگی
خاک پر برسا چکی ہے بے نہایت روشنی
روشنی بھی وہ کہ جس کے وجد میں ہے زندگی
معنوی خدمت کی لیکن بات ہے کچھ اور ہی
گھر کو جو چمکائے وہ شمع شبستاں اور ہے
سر کو جو رخشندہ کردے وہ چراغاں اور ہے
٣٩
آسمانِ زندگی پر دہنِ تاباں کا ہلال
مصر کے بازار میں جس طرح یوسف کا جمال
عقل اگر گل ہو تو شمعِ کشتہ ہے ماضی و حال
لاش ہے اِنساں اگر چلتی نہیں نبضِ خیال
دارو و درماں سے مرُدوں کا جِلانا اور ہے
زندہ اِنسانوں کو قبروں سے اُٹھانا اور ہے
٤٠
دامنِ ہستی کا پھولوں میں بسانا اور ہے
ایک اک کانٹے کے دل میں ڈوب جانا اور ہے
نخلِ تن کا سرو بالا قد بنانا اور ہے
قامتِ دین و تخیل کا بڑھانا اور ہے
بعُدہائے بحر و بر کے پر کترنا اور ہے
اِرتقائی فاصلوں کا قطع کرنا اور ہے
٤١
گنبدِ افلاک پر اُڑنا اُڑانا اور ہے
زندگی کا کنمنا کر مسکرانا اور ہے
ثابت و سیّار کو قبضہ میں لانا اور ہے
آدمی میں آدمی کا چونک جانا اور ہے
گیتی و گردوں کی پنہائی پہ چھانا اور ہے
اِس گھنے جنگل میں خود اپنے کو پانا اور ہے
٤٢
طبع اِنسانی کو دے سکتا نہیں جو روشنی
نوعِ اِنسانی کا آقا وہ نہیں بنتا کبھی
آدمی کو جو غذا دیتا نہیں اِخلاص کی
اُمتوں کا مقتدا بنتا نہیں وہ آدمی
قبلہ گاہ اُس شخص کو اِنساں بنا سکتا نہیں
جو بشر کے ذہن کو آگے بڑھا سکتا نہیں
जोश मलीहाबादी-मोजिद ओ मुफ़क्किर-३०-४२-एहसान
३०
शुक्रिया क्यूँकर अदा हो अहल-ए ईजादात का
एक दर्या बह रहा है तुर्फ़ा मस्नू’आत का
जगमगा उठा है दिन की तरह मुखढा रात का
जिस्म-ए आहन में दवां है ख़ून एहसासात का
यूँ उन्हों ने जुज़्व-ए ख़ाक अपना पसीना कर दिया
धात के आलात को दाना ओ बीना कर दिया
३१
जो धुरा ईजाद करने में हुआ था कामयाब
अज़्मतें ग़ल्तां हैं उसके गिर्द बे-हद ओ हिसाब
पर फ़शां पहिये की हर गर्दिश बा फ़ैज़-ए इज़्तेराब
जेब में डाले हुए है सौ तवाफ़ों का सवाब
वक़्त इसके ज़ेर ओ बम से हल्क़ा-ए जौलां में है
सौ सुलैमानों की ज़ौ इस ख़ातिम-ए रक़्सां में है
३२
साहिबान-ए इल्म ओ फ़न हैं मोह्सिनान-ए ज़िन्दगी
वरना अब तक ठोकरों की ज़द पे होता आदमी
इन के ज़ौक़-ए जुस्तजू पर झलकियाँ हैं ग़ैब की
ये वो माथे हैं नहीं उठते जो सिज्दों से कभी
इन में से हर फ़र्द उवैस-ए क़रनी ओ हल्लाज है
सर का ज़ानू तक पहुँच जाना यहाँ मेराज है
३३
इनके आगे मोसमों की सख़्तीयाँ हैं शर्मसार
खेलते रहते हैं ये वहशी अनासिर का शिकार
हाँ उन्हीं की कारसाज़ी से बसद इज़्ज़ ओ वक़ार
हम हैं आब ओ ख़ाक के मौला, हवा के शहरियार
रो’अब है अपना मुसल्लत किश्वर-ए अज़्दाद पर
काठियां रखी हुई हैं पुश्त-ए बर्क़ ओ बार पर
३४
इनके हिस्ब-ए आरज़ू मज़्रूफ़ बन जाता है ज़र्फ़
क़तरा बनता है अजूबा, ज़र्रा बनता है शिगर्फ़
आग बन जाता है पानी, बर्क़ बन जाती है बर्फ़
इनके दम से दौढता है रिश्ता-ए आहन में हर्फ़
जब ये उढते हैं दवां जलवों का दामन थामने
कांपते हैं साबित ओ सय्यार इनके सामने
३५
इन में कोई ख़ुद नवाज़ी के लिए कोशां नहीं
सिर्फ़ एक ख़िद्मत की धुन है दूसरा अर्मां नहीं
मांग खाएं कुछ इबादत से ये वो इन्सां नहीं
ये ख़ुदा या आदमी से अज्र के ख़्वाहाँ नहीं
हुस्न के ख़ल्लाक़ आब ओ रंग के बानी हैं ये
शहरियार-ए किश्वर-ए इज्लाल-ए इंसानी हैं ये
३६
दिल को लैकिन सख़्त इस्ते’जाब है अए हम नशीं
इतने एहसानात के बा-वस्फ़ ये रौशन जबीं
बन न पाए ज़ेर-ए सक़्फ़-ए आसमां सद्र-ए ज़मीं
और तो और आदमी के हाफ़ेज़े तक में नहीं
नाम इन का दहर के आफ़ाक़ बीनों में नहीं
ये सफ़ीनों में तो हैं मौजूद सीनों में नहीं
३७
ये बज़ाहर है बढी एहसां-फ़रामोशी कि बात
हाफ़ेज़ों से महव हो जाएँ दबीरान-ए हयात
कौन सुलझाए मगर ख़म हा-ए ज़ुल्फ़-ए नफ़्सियात
सिर्फ़ उसे इन्सां समझता है अमीर-ए काएनात
मोढ कर ज़हन-ए बशर को गुल्सितानों की तरफ़
जो उढाता है ज़मीं को आस्मानों की तरफ़
३८
बेशक ईजादात ओ मस्नू’आत की रख़्शंदगि
ख़ाक पर बरसा चुकी है बे नेहायत रौशनी
रौशनी भी वो के जिस के वज्द में है ज़िन्दगी
मा’अनवी ख़िदमत कि लैकिन बात है कुछ और ही
घर को जो चमकाए वो शम’अ-ए शबिस्तान और है
सर को जो रख़्शंदा कर दे वो चिराग़ां और है
३९
आस्मान-ए ज़िन्दगी पर दहन-ए ताबां का हिलाल
मिस्र के बाज़ार में जिस तरह यूसुफ़ का जमाल
अक़्ल अगर गुल हो तो शम’अ-ए कुश्ता है माज़ी ओ हाल
लाश है इन्सां अगर चलती नहीं नब्ज़-ए ख़्याल
दारू ओ दरमाँ से मुर्दों का जिलाना और है
ज़िन्दा इंसानों को क़ब्रों से उठाना और है
४०
दामन-ए हस्ती का फूलों में बसाना और है
एक एक कांटे के दिल में डूब जाना और है
नख़्ल-ए तन का सर्व बाला क़द बनाना और है
क़ामत-ए दीन ओ तख़य्युल का बढ़ाना और है
बो’अद हा-ए बहर ओ बर के पर कतरना और है
इर्तेक़ाई फ़ासलों का क़ता’अ करना और है
४१
गुंबद-ए अफ़्लाक पर उढना उढाना और है
ज़िन्दगी का कुनमुना कर मुस्कुराना और है
साबित ओ सय्यार को क़ब्ज़े में लाना और है
आदमी में आदमी का चौंक जाना और है
गेती ओ गर्दूं की पहनाई पे छाना और है
इस घने जंगल में ख़ुद अपने को पाना और है
४२
तब’अ इंसानी को दे सकता नहीं जो रौशनी
नौ-ए इंसानी का आक़ा वो नहीं बनता कभी
आदमी को जो ग़िज़ा देता नहीं एख़्लास की
उम्मतों का मुक़्तदा बनता नहीं वो आदमी
क़िब्ला-गह उस शख़्स को इन्सां बना सकता नहीं
जो बशर के ज़हन को आगे बढ़ा सकता नहीं
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
30
shukriya1 kyuNkar2 ada ho ahl-e eejadaat3 ka
ek darya bah raha hai turfa4 masnuaat5 ka
jagmaga uTha hai din ki tarah mukhRa raat ka
jism-e aahan6 meN davaN7 hai Khoon ehsasaat8 ka
yuN unhoN ne juzv-e Khaak9 apna pasiina kar diya
dhaat10 ke aalat11 ko dana12 o beena13 kar diya 1.thanks 2.how 3.inventors 4.fascinating, new 5.products/creativity 6.metal 7.running 8.feelings, sensation 9.part of the dust – to make one’s sweat a part of the dust is to work hard 10.metal 11.instruments, machines 12.knowing 13.seeing
How can we thank these inventors who have caused a constant river of creativity to flow. They have made the face of the night shine like day. They have made metallic machines sense and feel. They have worked so hard and sweated to make inanimate machines know and see.
31
jo dhura1 eejaad2 karne meN hua tha kaamyaab3
azmateN4 GhaltaaN5 haiN uske gird6 be hadd o hisaab7par fashaaN pahiye8 ki har gardish9 ba faiz10-e izteraab11jeb meN Daale hue hai sau tavaafauN12 ka savaab13vaqt iske zer o bam14 se halqa15-e jaulaaN16 meN hai
sau suleimanoN ki zau17 is Khaatim18-e raqsaaN19 meN hai 1.axis of rotation, wheel 2.discover 3.successful 4.greatness 5.bowed down 6.around 7.without limit or count 8.flying (rotating) wheel 9.revolution 10.benevolence 11.restlessness 12.circumambulation (of the Kaaba) 13.reward 14.ripples 15.circle 16.frenzy 17.brilliance 18.the seal of David/Solomon’s ring 19.dancing
He who succeeded in inventing the wheel and rotation, Greatness prostrates herself towards him. With every rotation of the wheel, by the benevolence of its restlessness, he has been able to put in his pocket the virtue of a hundred circumambulations. Time itself is caught up in a circle of joyous frenzy because of him. He possesses a brightness greater than the seal of Solomon.
32
sahibaan1-e ilm o fun2 haiN mohsinaan3-e zindagi
varna ab tak ThokaroN ki zad4 pe hota aadmi
in ke zauq5-e justuju6 par jhalkiyaaN7 haiN Ghaib8 ki
yeh voh maathe9 haiN nahiN uThte jo sijdoN10 se kabhi
in meN se har fard11 uwais-e qarani o hallaaj12 hai
sar ka zaanu tak pahuNch13 jaana yahaaN me’raaj14 hai 1.owner, lord 2.knowledge and talent 3.benefactor 4.hurt by 5.desire 6.search 7.reflections 8.unseen, godliness 9.foreheads 10.bowing down in prayer 11.individual 12. rebel philosophers who were put to death 13.head cut off and fell in the lap 14.climax, honor
These owners of knowledge and talent are benefactors of humanity. But for them man would still be stumbling around. Their passion for knowledge has reflections of godliness. These are people who never raise their heads from ‘sijda’ (devotion to work)/ Every one of them is like Uwais-e Qarani and Hallaj. Being beheaded is an ultimate honor for them. uwais-e qarani and mansoor hallaj (sufi philosophers) were considered to have committed ‘kufr’, refused to recant, and were put to death. Likewise, inventors/scientists are even prepared to be beheaded but will not give up the search for truth. (‘sar ka zanu tak pahunchna’ is an expression used to imply head getting cut off and falling into the lap).
33
inke aage mosamoN ki saKhtiyaaN1 haiN sharmsaar2
khelte rahte haiN ye vahshi3 anaasir4 ka shikaar
haN unhiN ki kaarsaazi5 se basad6 izz-o-vaqaar7hum haiN aab-o-Khaak8 ke maula9, hava ke shahriyaar10ro’ab11 hai apna musallat12 kishvar13-e-azdaad14 par
kaaThiyaN15 rakhi hui haiN pusht16-e-barq-o-bar17 par 1.hardships 2.ashamed 3.wild, untamed 4.elements 5.workmanship 6.with a hundred 7.respect and dignity 8.water and clay, nature, elements 9.lord 10.king 11.influence 12.overpowering 13.domain 14.opposites, struggle (for survival) 15.bodies 16.back 17.lightning and rain, forces of nature
Before them the power of (inclement) seasons is shamefaced. They constantly hunt down untamed elements. Because of their work, with great pomp and glory, we are the lords of Water and Earth and the kings of Air. Our influence reigns over the elements in the struggle for existence. The forces of nature are now forced to carry us on their backs.
34
inke hisb1-e aarzu2 mazroof3 ban jata hai zarf4
qatra banta hai ajooba5, zarra banta hai shigarf6aag ban jata hai pani, barq7 ban jati hai barf
inke dam se dauRta hai rishta-e aahan8 meN harf9jab ye uRte haiN davaaN7 jalvauN8 ka daaman9 thamne
kaaNpte haiN saabit-o-sayyaar10 inke saamne 1.on the side of, in agreement with 2.wish 3.fulfilled, satisfied 4.capability 5.wonder, wondrous 6.surprisingly beautiful 7.thunder 8.string/thread of steel 9.words 7.flowing, running 8.beauties 9.apron 10.stars and planets
Bowing to their wishes all capabilities of nature are fully realized. Even a drop becomes wondrous, and dust becomes beautiful. They can get fire from water and make ice from lightning. Because of their power words fly through metal wires. When they fly to catch hold of the apron of celestial beauties, stars and planets tremble in anticipation
35
in meN koi Khud nawaazi1 ke liye koshaaN2 nahiN
sirf ek Khidmat3 ki dhun hai doosra armaaN4 nahiN
maaNg khaaeN kuchh ibaadat5 se ye vo insaaN nahiN
ye Khuda ya aadmi se ajr6 ke KhwaahaaN7 nahiN
husn8 ke Khallaaq9 aab-o-rang10 ke baani11 haiN ye
shahryar12-e kishvar13-e ijlaal14-e insaani haiN ye 1.recognition, reward 2.trying for 3.service 4.desire 5.service, effort 6.compensation 7.desirous 8.beauty 9.creator 10.grandeur, pomp 11.source, author 12.lord 13.domain 14.majesty
None among them seeks egotistical recognition. Only the desire for service, nothing else drives them. These are not the people who ask for anything for their service. They desire no recompense from either god or man. They are the creators of beauty and authors of grandeur. They are the lords of the realm of human majesty.
36
dil ko laikin saKht1 iste’jaab2 hai aye ham-nashiN3
itne ehsaanaat4 ke ba-vasf5 ye raushan-jabiN6ban na paaye zer7-e saqf8-e aasmaN sadr9-e zamiN
aur to aur aadmi ke haafeze10 tak meN nahiN
naam in ka dahr11 ke aafaaq-binoN12 meN nahiN
ye safiinoN13 meN to haiN maujood14 siinoN15 meN nahiN 1.strong, much 2.amazement 3.contempararies, friends 4.beneficence, kindnesses 5.in spite of 6.bright faced 7.under 8.roof 9.leader 10.memory 11.world 12.horizon seeing, farsighted 13.boats 14.present 15.bosom, heart
I am full of amazememt, O my contemporaries, that in spite of all their beneficence, these brilliant ones have not been recognized as lords of the earth. And not just that, they are not even in the forefront of memory. They are not counted among the far seeing. They may be with us (in our minds) but are not in our hearts. ‘Far seeing’ needs further qualification – ‘aafaq biiN=looking beyond the horizon – presumably josh means looking beyond this world into the next – ‘spirituality’. He is not accusing scientists of being shortsighted, only of being focused on the ‘here’ not the ‘hereafter’.
37
ye bazaahir1 hai baRi ehsaaN-faraamoshi2 ki baat
haafezoN3 se mahv4 ho jaaeN dabiraan5-e hayaat6kaun suljhaae7 magar Kham-ha8-e zulf-e nafsiyaat9sirf use insaaN samajhta hai amir-e kaa’enaat10moR kar zahn-e-bashar11 ko gulsitaanoN12 ki taraf13jo uRaata hai zamiN ko aasmaanoN ki taraf 1.in appearance 2.ingratitude.forgetting favours 3.memories 4.forgotten 5.writers, authors 6.life, fate 7.solve 8.tangles, curls 9.hair/tresses of the soul 10.lord of the universe 11.human mind 12.gardens 13.towards
On the surface this appears to be an act of ingratitude that the authors of the secrets of life disappear from memory. But the one who can resolve the tangles of the soul man considers only him to be the leader of all Creation. Only he who turns the mind towards garden of spirituality and gets the earth to fly towards the skies.
38
beshak1 eejadat2 o masnu’aat3 ki raKhshandagi4
Khaak5 par barsa chuki hai be-nehaayat6 raushni
raushni bhi vo keh jis ke vajd7 meN hai zindagi
ma’anavi8 Khidmat9 ki laikin baat hai kuchh aur hi
ghar ko jo chamkaaye vo sham’a-shabistaaN10 aur hai
sar ko jo raKhshanda4 kar de vo chiraGhaaN aur hai 1.without doubt 2.inventions 3.products 4.brilliance 5.dust, earth 6.without limit 7.trance 8.meaningful, real 9.service 10.night lamp
Without a doubt, the brilliance of inventions and products has rained unlimited light on the earth. And such light that life has been enchanted, as if in a trance. But real/spiritual service is something else. The light that lights up the home is one thing, but that which brightens the soul is something else.
39
aasmaan-e zindagi par dahn-e-tabaaN1 ka hilaal2
misr3 ke baazaar meN jis tarah yusuf ka jamaal4aql agar gul5 ho to sham’a-e-kushta6 hai maazi-o-haal7laash8 hai insaaN agar chalti nahiN nabz-e Khayaal9daar-o-darmaaN10 se murdoN ka jilaana11 aur hai
zinda insaanoN ko qabroN se uThaana aur hai 1.shining face 2.rising moon 3.Egypt 4.face, beauty (yusuf-Joseph is legendary for his good looks – everyone looked at him when he walked into the bazaar of Egypt) 5.extinguished, shut 6.extinguished lamp 7.past and present 8.corpse 9.pulse of thought 10.pills and potions 11.bring back to life
He (the mufakkir/thinker/philosopher) shines like a brilliant moon in the sky of life like the face of yusuf in the bazaar of Egypt. If the spirit is not lit then life is like an extinguished lamp. Man is like a walking corpse if the pulse of thought is not throbbing. It is one thing to cure ailments with pills and potions. It is quite another to raise men out of their mindlessness.
40
daaman-e hasti1 ka phuloN meN basaana aur hai
aek ek kaaNTe ke dil meN Doob jana aur hai
naKhl2-e tan3 ka sarv4 bala-qad5 banaana aur hai
qaamat6-e deen7 o taKhayyul8 ka baRhaana aur hai
bo’ad-ha9-e bahr o bar10 ke par katarna11 aur hai
irteqaaii12 faasloN13 ka qata’a14 karna aur hai 1.apron of life 2.tree 3.body 4.cypress (symbol of tall and slender beauty) 5.tall stature 6.stature 7.faith 8.thought, reason 9.distances, expanse 10.earth and sky 11.clip wings, control, tame 12.progress (spiritual) 13.distances 14.cut, reduce, overcome
It is one thing to fill the apron of life with pleasant flowers. It is another to make a home in hard-hearted thorns. It is one thing to make the material body tall and beautiful. It is another to increase the stature of the spirit and thought
It is one thing to tame and clip the wings of the earth and sky. It is another to overcome the distance to the heights of spirituality.
41
gunbad1-e aflaak2 par uRna uRaana aur hai
zindagi ka kunmuna3 kar muskurana aur hai
saabit-o-sayyaar4 ko qabze5 meN laana aur hai
aadmi meN aadmi ka chauNk6 jaana aur hai
geti o garduN7 ki pahnaai8 pe chhaana aur hai
is ghane jangal meN Khud apne ko paana aur hai 1.dome 2.skies 3.infant gurgling 4.stars and planets 5.possession, control 6.startle, become aware, get to know 7.earth and sky 8.expanse
It is one thing to fly around in this dome of the sky. It is another to awaken the spirit of childlike man. It is one thing to conquer stars and planets. It is another to awaken humanity in man. It is one thing to dominate the expanse of the earth and sky. It is another to find your true self in this thick forest.
42
tab’a1 insaani ko de sakta nahiN jo raushni
nau-e-insaani2 ka aaqa3 vo nahiN banta kabhi
aadmi ko jo Ghiza4 deta nahiN iKhlaas5 ki
ummatoN6 ka muqtada7 banta nahiN vo aadmi
qibla-gah8 us shaKhs9 ko insaaN bana sakta nahiN
jo bashar10 ke zahn ko aage baRha sakta nahiN 1.nature, spirit 2.humanity 3.leader 4.nourishment 5.love of the other 6.communities 7.leader 8.place of worship, respected 9.person 10.man
He who cannot give light to (awaken) the human spirit, cannot become a leader of humanity. He who cannot nourish love of the other in human beings, cannot become a leader of communities. He cannot be given the place of leadership, who cannot strengthen the human spirit.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
30
shukriya1 kyuNkar2 ada ho ahl-e eejadaat3 ka
ek darya bah raha hai turfa4 masnuaat5 ka
jagmaga uTha hai din ki tarah mukhRa raat ka
jism-e aahan6 meN davaN7 hai Khoon ehsasaat8 ka
yuN unhoN ne juzv-e Khaak9 apna pasiina kar diya
dhaat10 ke aalat11 ko dana12 o beena13 kar diya
1.thanks 2.how 3.inventors 4.fascinating, new 5.products/creativity 6.metal 7.running 8.feelings, sensation 9.part of the dust – to make one’s sweat a part of the dust is to work hard 10.metal 11.instruments, machines 12.knowing 13.seeing
How can we thank these inventors who have caused a constant river of creativity to flow. They have made the face of the night shine like day. They have made metallic machines sense and feel. They have worked so hard and sweated to make inanimate machines know and see.
31
jo dhura1 eejaad2 karne meN hua tha kaamyaab3azmateN4 GhaltaaN5 haiN uske gird6 be hadd o hisaab7par fashaaN pahiye8 ki har gardish9 ba faiz10-e izteraab11jeb meN Daale hue hai sau tavaafauN12 ka savaab13vaqt iske zer o bam14 se halqa15-e jaulaaN16 meN hai
sau suleimanoN ki zau17 is Khaatim18-e raqsaaN19 meN hai
1.axis of rotation, wheel 2.discover 3.successful 4.greatness 5.bowed down 6.around 7.without limit or count 8.flying (rotating) wheel 9.revolution 10.benevolence 11.restlessness 12.circumambulation (of the Kaaba) 13.reward 14.ripples 15.circle 16.frenzy 17.brilliance 18.the seal of David/Solomon’s ring 19.dancing
He who succeeded in inventing the wheel and rotation, Greatness prostrates herself towards him. With every rotation of the wheel, by the benevolence of its restlessness, he has been able to put in his pocket the virtue of a hundred circumambulations. Time itself is caught up in a circle of joyous frenzy because of him. He possesses a brightness greater than the seal of Solomon.
32
sahibaan1-e ilm o fun2 haiN mohsinaan3-e zindagi
varna ab tak ThokaroN ki zad4 pe hota aadmi
in ke zauq5-e justuju6 par jhalkiyaaN7 haiN Ghaib8 ki
yeh voh maathe9 haiN nahiN uThte jo sijdoN10 se kabhi
in meN se har fard11 uwais-e qarani o hallaaj12 hai
sar ka zaanu tak pahuNch13 jaana yahaaN me’raaj14 hai
1.owner, lord 2.knowledge and talent 3.benefactor 4.hurt by 5.desire 6.search 7.reflections 8.unseen, godliness 9.foreheads 10.bowing down in prayer 11.individual 12. rebel philosophers who were put to death 13.head cut off and fell in the lap 14.climax, honor
These owners of knowledge and talent are benefactors of humanity. But for them man would still be stumbling around. Their passion for knowledge has reflections of godliness. These are people who never raise their heads from ‘sijda’ (devotion to work)/ Every one of them is like Uwais-e Qarani and Hallaj. Being beheaded is an ultimate honor for them. uwais-e qarani and mansoor hallaj (sufi philosophers) were considered to have committed ‘kufr’, refused to recant, and were put to death. Likewise, inventors/scientists are even prepared to be beheaded but will not give up the search for truth. (‘sar ka zanu tak pahunchna’ is an expression used to imply head getting cut off and falling into the lap).
33
inke aage mosamoN ki saKhtiyaaN1 haiN sharmsaar2khelte rahte haiN ye vahshi3 anaasir4 ka shikaar
haN unhiN ki kaarsaazi5 se basad6 izz-o-vaqaar7hum haiN aab-o-Khaak8 ke maula9, hava ke shahriyaar10ro’ab11 hai apna musallat12 kishvar13-e-azdaad14 par
kaaThiyaN15 rakhi hui haiN pusht16-e-barq-o-bar17 par
1.hardships 2.ashamed 3.wild, untamed 4.elements 5.workmanship 6.with a hundred 7.respect and dignity 8.water and clay, nature, elements 9.lord 10.king 11.influence 12.overpowering 13.domain 14.opposites, struggle (for survival) 15.bodies 16.back 17.lightning and rain, forces of nature
Before them the power of (inclement) seasons is shamefaced. They constantly hunt down untamed elements. Because of their work, with great pomp and glory, we are the lords of Water and Earth and the kings of Air. Our influence reigns over the elements in the struggle for existence. The forces of nature are now forced to carry us on their backs.
34
inke hisb1-e aarzu2 mazroof3 ban jata hai zarf4qatra banta hai ajooba5, zarra banta hai shigarf6aag ban jata hai pani, barq7 ban jati hai barf
inke dam se dauRta hai rishta-e aahan8 meN harf9jab ye uRte haiN davaaN7 jalvauN8 ka daaman9 thamne
kaaNpte haiN saabit-o-sayyaar10 inke saamne
1.on the side of, in agreement with 2.wish 3.fulfilled, satisfied 4.capability 5.wonder, wondrous 6.surprisingly beautiful 7.thunder 8.string/thread of steel 9.words 7.flowing, running 8.beauties 9.apron 10.stars and planets
Bowing to their wishes all capabilities of nature are fully realized. Even a drop becomes wondrous, and dust becomes beautiful. They can get fire from water and make ice from lightning. Because of their power words fly through metal wires. When they fly to catch hold of the apron of celestial beauties, stars and planets tremble in anticipation
35
in meN koi Khud nawaazi1 ke liye koshaaN2 nahiN
sirf ek Khidmat3 ki dhun hai doosra armaaN4 nahiN
maaNg khaaeN kuchh ibaadat5 se ye vo insaaN nahiN
ye Khuda ya aadmi se ajr6 ke KhwaahaaN7 nahiN
husn8 ke Khallaaq9 aab-o-rang10 ke baani11 haiN ye
shahryar12-e kishvar13-e ijlaal14-e insaani haiN ye
1.recognition, reward 2.trying for 3.service 4.desire 5.service, effort 6.compensation 7.desirous 8.beauty 9.creator 10.grandeur, pomp 11.source, author 12.lord 13.domain 14.majesty
None among them seeks egotistical recognition. Only the desire for service, nothing else drives them. These are not the people who ask for anything for their service. They desire no recompense from either god or man. They are the creators of beauty and authors of grandeur. They are the lords of the realm of human majesty.
36
dil ko laikin saKht1 iste’jaab2 hai aye ham-nashiN3itne ehsaanaat4 ke ba-vasf5 ye raushan-jabiN6ban na paaye zer7-e saqf8-e aasmaN sadr9-e zamiN
aur to aur aadmi ke haafeze10 tak meN nahiN
naam in ka dahr11 ke aafaaq-binoN12 meN nahiN
ye safiinoN13 meN to haiN maujood14 siinoN15 meN nahiN
1.strong, much 2.amazement 3.contempararies, friends 4.beneficence, kindnesses 5.in spite of 6.bright faced 7.under 8.roof 9.leader 10.memory 11.world 12.horizon seeing, farsighted 13.boats 14.present 15.bosom, heart
I am full of amazememt, O my contemporaries, that in spite of all their beneficence, these brilliant ones have not been recognized as lords of the earth. And not just that, they are not even in the forefront of memory. They are not counted among the far seeing. They may be with us (in our minds) but are not in our hearts. ‘Far seeing’ needs further qualification – ‘aafaq biiN=looking beyond the horizon – presumably josh means looking beyond this world into the next – ‘spirituality’. He is not accusing scientists of being shortsighted, only of being focused on the ‘here’ not the ‘hereafter’.
37
ye bazaahir1 hai baRi ehsaaN-faraamoshi2 ki baat
haafezoN3 se mahv4 ho jaaeN dabiraan5-e hayaat6kaun suljhaae7 magar Kham-ha8-e zulf-e nafsiyaat9sirf use insaaN samajhta hai amir-e kaa’enaat10moR kar zahn-e-bashar11 ko gulsitaanoN12 ki taraf13jo uRaata hai zamiN ko aasmaanoN ki taraf
1.in appearance 2.ingratitude.forgetting favours 3.memories 4.forgotten 5.writers, authors 6.life, fate 7.solve 8.tangles, curls 9.hair/tresses of the soul 10.lord of the universe 11.human mind 12.gardens 13.towards
On the surface this appears to be an act of ingratitude that the authors of the secrets of life disappear from memory. But the one who can resolve the tangles of the soul man considers only him to be the leader of all Creation. Only he who turns the mind towards garden of spirituality and gets the earth to fly towards the skies.
38
beshak1 eejadat2 o masnu’aat3 ki raKhshandagi4Khaak5 par barsa chuki hai be-nehaayat6 raushni
raushni bhi vo keh jis ke vajd7 meN hai zindagi
ma’anavi8 Khidmat9 ki laikin baat hai kuchh aur hi
ghar ko jo chamkaaye vo sham’a-shabistaaN10 aur hai
sar ko jo raKhshanda4 kar de vo chiraGhaaN aur hai
1.without doubt 2.inventions 3.products 4.brilliance 5.dust, earth 6.without limit 7.trance 8.meaningful, real 9.service 10.night lamp
Without a doubt, the brilliance of inventions and products has rained unlimited light on the earth. And such light that life has been enchanted, as if in a trance. But real/spiritual service is something else. The light that lights up the home is one thing, but that which brightens the soul is something else.
39
aasmaan-e zindagi par dahn-e-tabaaN1 ka hilaal2misr3 ke baazaar meN jis tarah yusuf ka jamaal4aql agar gul5 ho to sham’a-e-kushta6 hai maazi-o-haal7laash8 hai insaaN agar chalti nahiN nabz-e Khayaal9daar-o-darmaaN10 se murdoN ka jilaana11 aur hai
zinda insaanoN ko qabroN se uThaana aur hai
1.shining face 2.rising moon 3.Egypt 4.face, beauty (yusuf-Joseph is legendary for his good looks – everyone looked at him when he walked into the bazaar of Egypt) 5.extinguished, shut 6.extinguished lamp 7.past and present 8.corpse 9.pulse of thought 10.pills and potions 11.bring back to life
He (the mufakkir/thinker/philosopher) shines like a brilliant moon in the sky of life like the face of yusuf in the bazaar of Egypt. If the spirit is not lit then life is like an extinguished lamp. Man is like a walking corpse if the pulse of thought is not throbbing. It is one thing to cure ailments with pills and potions. It is quite another to raise men out of their mindlessness.
40
daaman-e hasti1 ka phuloN meN basaana aur hai
aek ek kaaNTe ke dil meN Doob jana aur hai
naKhl2-e tan3 ka sarv4 bala-qad5 banaana aur hai
qaamat6-e deen7 o taKhayyul8 ka baRhaana aur hai
bo’ad-ha9-e bahr o bar10 ke par katarna11 aur hai
irteqaaii12 faasloN13 ka qata’a14 karna aur hai
1.apron of life 2.tree 3.body 4.cypress (symbol of tall and slender beauty) 5.tall stature 6.stature 7.faith 8.thought, reason 9.distances, expanse 10.earth and sky 11.clip wings, control, tame 12.progress (spiritual) 13.distances 14.cut, reduce, overcome
It is one thing to fill the apron of life with pleasant flowers. It is another to make a home in hard-hearted thorns. It is one thing to make the material body tall and beautiful. It is another to increase the stature of the spirit and thought
It is one thing to tame and clip the wings of the earth and sky. It is another to overcome the distance to the heights of spirituality.
41
gunbad1-e aflaak2 par uRna uRaana aur hai
zindagi ka kunmuna3 kar muskurana aur hai
saabit-o-sayyaar4 ko qabze5 meN laana aur hai
aadmi meN aadmi ka chauNk6 jaana aur hai
geti o garduN7 ki pahnaai8 pe chhaana aur hai
is ghane jangal meN Khud apne ko paana aur hai
1.dome 2.skies 3.infant gurgling 4.stars and planets 5.possession, control 6.startle, become aware, get to know 7.earth and sky 8.expanse
It is one thing to fly around in this dome of the sky. It is another to awaken the spirit of childlike man. It is one thing to conquer stars and planets. It is another to awaken humanity in man. It is one thing to dominate the expanse of the earth and sky. It is another to find your true self in this thick forest.
42
tab’a1 insaani ko de sakta nahiN jo raushni
nau-e-insaani2 ka aaqa3 vo nahiN banta kabhi
aadmi ko jo Ghiza4 deta nahiN iKhlaas5 ki
ummatoN6 ka muqtada7 banta nahiN vo aadmi
qibla-gah8 us shaKhs9 ko insaaN bana sakta nahiN
jo bashar10 ke zahn ko aage baRha sakta nahiN
1.nature, spirit 2.humanity 3.leader 4.nourishment 5.love of the other 6.communities 7.leader 8.place of worship, respected 9.person 10.man
He who cannot give light to (awaken) the human spirit, cannot become a leader of humanity. He who cannot nourish love of the other in human beings, cannot become a leader of communities. He cannot be given the place of leadership, who cannot strengthen the human spirit.
The post mojid o mufakkir-030-042-ehsaan-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-019-029-shaaestagi-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
husain 54-68 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
موجد و مفکر – شائستگی ۔۱۹۔۲۹۔جوشؔ ملیح آبادی
١۹
اِس زمیں کی سمت موڑی یوں کدالوں نے عناں
ارض کے طبقات کو آنے لگیں انگڑائیاں
پردۂ ظلمات سے جھانکے رُموزِ این و آں
ہڈیوں نے اپنے ڈھانچوں کی سُنائی داستاں
تنگ غاروں میں ہوا چلنے لگی پو پھٹ گئی
خفتگانِ خاک کے سر سے دُلائی ہٹ گئی
۲۰
تنگ غاروں میں سلاطینِ کہن پیدا ہوئے
پا بہ گِل ریشوں سے ماضی کے چمن پیدا ہوئے
بت کدوں نے آنکھ کھولی برہمن پیدا ہوے
خاک کی خوشبو اُڑی گل پیرہن پیدا ہوے
مردہ پروانوں نے آہِ سرد بھر کر بات کی
کشتہ شمعوں نے سنائی داستانیں رات کی
۲۱
چھیڑ کر ذرّوں کے بربط گنگنایا خاکداں
آ گئی جمبش میں خواب آگیں چٹانوں کی زباں
بول اُٹھیں سنگِ خارا کی مرتب دھاریاں
گونج اُٹھی مردہ قرنوں کی پرانی داستاں
نصب ہر ذرّے میں پھولوں کا ڈیرا ہو گیا
شامِ ذیرِ ارض کے گھر میں سویرا ہو گیا
٢۲
وہ جو اوجھل ہو چکے تھے سامنے آنے لگے
گل رخانِ دورِ پیش بال بکھرانے لگے
جو مغنیّ مل چکے تھے خاک میں گانے لگے
خستہ ماہ و سال اِک اِک پور چٹخانے لگے
چادرِ ذوقِ تجسُّس میں رفو کرنے لگے
دور ہائے سنگ و آہن گفتگو کرنے لگے
٢۳
دیدۂ بیدار کی مانند کانیں کھل گئیں
جاگ اُٹھے بازار ماضی کی دکانیں کھل گئیں
عصر ہائے مہر برلب کی زبانیں کھل گئیں
گردنِ تاریخِ جاں کی ریسمانیں کھل گئیں
بڑھ گئے کچھ اور پردے آگہی کے ساز میں
سِن بتایا خاک نے اپنا تھکی آواز میں
٢۴
سینۂ آہن سے اُٹھی موجِ شمشیر و قلم
خاک میں جاگے نقوشِ دیر و ایوانِ حرم
ولولوں میں جھن جھنایا زمزموں کا زیر و بم
کروٹیں لینے لگے پتھر میں بے ترشے سنم
قلبِ زر میں بستہ کنگن چٹکیاں لینے لگے
موتیوں کو ریشمی ڈورے صدا دینے لگے
٢۵
تار پر مضراب تھرّائی فضا پر راگنی
چھائی عشووں کی گھٹا چھٹکی ادا کی چاندنی
ناز کی پھوٹی کرن انداز کی چٹکی کلی
دلرُبائی نے ملیں آنکھیں دلوں سے لو اُٹھی
جنبشِ مژگاں جنوں کی کشتیاں کھینے لگی
چبھ گئے نشتر رگِ ہستی لہو دینے لگی
٢۶
نرگسِ بیمار کو طرزِ تکلم آ گیا
وہ تکلم جس سے ہونٹوں پر تبسم آ گیا
وہ تبسم جو لئے موجِ ترنم آ گیا
وہ ترنم جس سے دنیا میں تلاطم آ گیا
وہ تلاطم خون میں جس سے روانی آ گئی
وہ روانی باڑھ پر جس سے جوانی آ گئی
٢۷
ناز سے مژگانِ ہستی کو جھپکنا آ گیا
آرزو کو وقت کے سینے میں پکنا آ گیا
زندگی کو لوریاں دینا تھپکنا آ گیا
ولولوں پر رس کی بوندوں کو ٹپکنا آ گیا
روزِ باران و شبِ مہ کا مزا چکھنے لگیں
فرشِ مخمل پر تمنائیں قدم رکھنے لگیں
٢۸
بن گیا گلفام ہر اک پارۂ فولاد و سنگ
ذوقِ رنگینی سے اُبھرے نقش ہائے رنگ رنگ
جھوم اُٹھے ارمان بہکی آرزو لہکی ترنگ
موتئیے کی طرح مہکا مہوشوں کا انگ انگ
بند ٹوٹے غرفہ ہائے سیم و زر کھلنے لگے
ہر طرف گویا سنم خانوں کے در کھلنے لگے
٢۹
دامنِ فولاد تشریفِ کتاں بننے لگا
زہر کا افسردہ آبِ جاوداں بننے لگا
شیشہ یوں پگھلا حریر و پرنیاں بننے لگا
سنگ یوں ترشا کہ رُخسارِ بتاں بننے لگا
بوندیاں کھنکیں، نقاب اُلٹی عِذارِ حور سے
بنتِ چنگ و رنگ جھانکی غُرفۂ انگور سے
मोजिद ओ मुफ़क्किर-१९-२९-शाएस्तगी-जोश मलीहाबादी
१९
इस ज़मीं की सम्त मोढी यूँ कुदालों ने अनां
अर्ज़ के तब्क़ात को आने लगीं अंगढाईयाँ
पर्दा-ए ज़ुल्मात से झांके रुमूज़-ए ईन ओ आं
हड्डीओं ने अपने ढांचे की सुनाई दास्ताँ
तंग ग़ारौं में हवा चलने लगी पौ फट गई
ख़ुफ़्तगान-ए ख़ाक के सर से दुलाई हट गई
२०
तंग ग़ारौं में सलातीन-ए कुहन पैदा हुए
पा-ब-गिल रेशों से माज़ी के चमन पैदा हुए
बुत कदों ने आँख खोली बरहमन पैदा हुए
ख़ाक की ख़ुशबू उढी गुल पैरहन पैदा हुए
मुर्दा परवानों ने आह-ए सर्द भर कर बात की
कुश्ता शम’ओं ने सुनाई दास्तानें रात की
२१
छेढ कर ज़र्रों के बरबत गुनगुनाया ख़ाकदाँ
आ गई जुम्बिश में ख़्वाब आगीं चटानों की ज़बाँ
बोल उठीं संग-ए ख़ारा की मुरत्तिब धारियां
गूँज उठी मुर्दा क़र्नों की पुरानी दास्ताँ
नस्ब हर ज़र्रे में फूलों का डेरा हो गया
शाम-ए ज़ेर-ए अर्ज़ के घर में सवेरा हो गया
२२
वो जो ओझल हो चुके थे सामने आने लगे
गुल-रुख़ान-ए दौर-ए पेश बाल बिखराने लगे
जो मुग़न्नी मिल चुके थे ख़ाक में गाने लगे
ख़स्ता माह ओ साल एक एक पूर चटख़ाने लगे
चादर-ए ज़ौक-ए तजस्सुस में रफ़ू करने लगे
दौर-हा-ए संग ओ आहन गुफ़्तगू करने लगे
२३
दीदा-ए बेदार की मानिंद कानें खुल गईं
जाग उठे बाज़ार माज़ी की दुकानें खुल गईं
अस्र-हा-ए मोहर बर-लब की ज़बानें खुल गईं
गर्दन-ए तारीख़-ए जां की रेस्मानें खुल गईं
बढ़ गए कुछ और परदे आगही के साज़ में
सिन बताया ख़ाक ने अपना थकी आवाज़ में
२४
सीना-ए आहन से उठी मौज-ए शमशीर ओ क़लम
ख़ाक में जागे नुक़ूश-ए दैर ओ ऐवान-ए हरम
वल्वलों में झनझनाया ज़म्ज़मों का ज़ेर ओ बम
करवटें लेने लगे पत्थर में बे-तर्शे सनम
क़ल्ब-ए ज़र में बस्ता कंगन चुटकियाँ लेने लगे
मोतियों को रेशमी डोरे सदा देने लगे
२५
तार पर मिज़्राब थर्राई फ़िज़ा पर रागिनी
छाई इश्वों की घटा छिटकी अदा की चांदनी
नाज़ की फूटी किरन अंदाज़ की चिटकी कलि
दिल-रुबाई ने मलीं आँखें दिलों से लौ उठी
जुम्बिश-ए मिज़्श्गां जुनूं की किश्तियाँ खेने लगा
चुभ गए नश्तर रग-ए हस्ती लहू देने लगा
२६
नर्गिस-ए बीमार को तर्ज़-ए तक्कलुम आ गया
वो तक्कलुम जिस से होंटों पर तबस्सुम आ गया
वो तबस्सुम जो लिए मौज-ए तरन्नुम आ गया
वो तरन्नुम जिस से दुनिया में तलातुम आ गया
वो तलातुम ख़ून में जिस से रवानी आ गई
वो रवानी बाढ़ पर जिस से जवानी आ गई
२७
नाज़ से मिज़्श्गान-ए हस्ती को झपकना आ गया
आर्ज़ू को वक़्त के सीने में पकना आ गया
ज़िन्दगी को लोरियां देना थपकना आ गया
वल्वलों पर रस की बूंदों को टपकना आ गया
रोज़-ए बारान ओ शब-ए माह का मज़ा चखने लगीं
फ़र्श-ए मख़मल पर तमन्नाएं क़दम रखने लगीं
२८
बन गया गुल्फ़ाम हर एक पारा-ए फ़ौलाद ओ संग
ज़ौक-ए रंगीनी से उभरे नक़्श-हा-ए रंग रंग
झूम उठे अरमान बहकी आर्ज़ू लहकी तरंग
मोतिये की तरह महका मह्वशों का अंग अंग
बंद टूटे ग़ुर्फ़ा-हा-ए सीम ओ ज़र खुलने लगे
हर तरफ़ गोया सनम ख़ानों के दर खुलने लगे
२९
दामन-ए फ़ौलाद तश्रीफ़-ए कतां बन’ने लगा
ज़हर का अफ़्सुर्दा आब-ए जावेदां बन’ने लगा
शीशा यूँ पिघला हरीर ओ पर्नियां बन’ने लगा
संग यूँ तरशा के रुख़्सार-ए बुतां बन’ने लगा
बून्दियाँ खनकीं, नक़ाब उलटी इज़ार-ए हूर से
बिन्त-ए चंग ओ रंग झांकी ग़ुर्फ़ा-ए अंगूर से
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
19
is zamiN ki samt1 moRi yuN kudaaloN2 ne anaaN3arz4 ke tabqaat5 ko aane lagiiN angRaiyaaN
parda-e zulmat6 se jhaanke rumooz7-e een o aaN8haDDiyoN ne apne Dhaanche ki sunaai dastaaN
tang GhaaroN meN hava chalne lagi pau phaT gayi
Khuftagan-e Khaak9 ke sar se dulaai10 haT gayi 1.towards 2.pick axe 3.reins 4.earth 5.layers 6.darkness 7.secrets 8.this and that 9.those sleeping in the dust 10.shawl
Unearthing of cultural artifacts and refinement of knowledge and culture begins. The pickaxe turned its reins towards the earth/ground. The layers of soil stretched as if waking up from a deep sleep. From the veil of darkness, all secrets began to peep out. Dug up bones told stories of their skeletons. A fresh breeze blew through deep caves and lit them up like dawn. The veil was removed from those who were sleeping in the dust i.e., we began to learn about our ancestors.
20
taNg1 GhaaroN2 meN salaatin3-e kuhan4 paida hue
pa ba gil5 reshauN6 se maazi7 ke chaman paida hue
but kadauN8 ne aankh kholi barhaman paida hue
Khaak ki Khushboo uRi gul pairahan9 paida hue
murda parvaanoN10 ne aah-e sard11 bhar kar bat ki
kushta12 sham’aoN13 ne sunaai dastaaneN raat ki 1.narrow, tight 2.cave 3.kings 4.ancient 5.feet planted in soil (dug deep in the soil) 6.shreds 7.past 8.house of idols (temples) 9.dressed in flowers 10.moth 11.sad (cold) sigh 12.extinguished 13.lamp
Kings of ancient times were unearthed from dark/narrow caves. Shreds dug up from clay told the story of past gardens. Idols in temples opened their eyes to tell us Brahminic tales. Blowing dust told the story of flowery loved ones. dead, loved ones are metaphorically described as clothed in flowers or as flower bodied. Example, see naasiKh’s she’r below.
ho gaye dafn hazaroN hi gulandam is meN
is liye Khaak se hote haiN gulistaaN paida
A thousand flower bodied ones are buried here
That is why gardens grow out of dust
Even dead, unearthed moths sigh and tell the story of their love. Extinguished lamps tell stories of nights of revelry. The lighting of a lamp is a metaphor for night life. In mushaa’era (poetry reading) a lit lamp is placed in front of the shaa’er (poet) invited to recite his composition. josh uses this metaphor to describe celebrations during ancient civilizations … extinguished lamps told stories of festivities of the night past. “shama-parvana” … the lamp and the moth are universally used metaphors for lover and beloved. And the lover always sighs and is sad because he is away from the beloved.
21
chheR kar zarroN1 ke barbat2 gungunaya KhaakdaaN3
aa gayi jumbish4 meN Khwaab aagiN5 chaTaanoN ki zabaaN
bol uTThiN sang-e Khara6 ki murattib7 dhaariyaaN
goonj uTThi murda qarnoN8 ki purani daastaaN9nasb10 har zarre meN phooloN ka Dera ho gaya
shaam11-e zer-e arz12 ke ghar meN savera13 ho gaya 1.pebbles 2.stringed musical instrument 3.container of dust(earth) 4.movement 5.sleepy 6.pointed rocks 7.organized 8.millennium 9.fable 10.established 11.evening/darkness 12.under the earth 13.dawn/light
The earth made a barbat out of pebbles and began to hum for joy. Sleepy mountains opened their mouths, to tell their story. Even layers of rocks and pointed peaks had their own story to tell. The echoes of the fables of millennia began to be heard clearly. Flowers bloomed on every particle of dust and lit the dark underground world to brightness.
22
vo jo aujhal1 ho chuke the saamne aane lage
gul ruKhaan2-e daur-e pesh3 baal bikhraane lage
jo muGhanni4 mil chuke the Khaak meN gaane5 lage
Khasta6 maah o saal7 ek ek puur chaTKhaane8 lage
chaadar-e zauq9-e tajassus10 meN rafu11 karne lage
daur-ha12-e saNg o aahan13 guftagu14 karne lage 1.disappear 2.flower faced(beautiful) 3.times past 4. singers 5.dead and buried 6.broken, tired 7.month and year 8.crack fingers (express helplessness/amazement) 9.taste, desire 10.curiosity, search 11.repair 12.times, ages 13.stone and iron 14.conversation
Those who had disappeared (lost in history), began to make an appearance. The beautiful ones of past ages began to spread their tresses. Even the singers/musicians, long buried in the dust, began to sing. The tired past was helpless as it was (unwillingly) dragged back to the present. The tears in the sheet of the desire of curiosity were repaired. Stone age and iron age began to tell/reveal their tales.
23
deeda-e bedaar1 ki maanind2 kaaneN3 khul gayiiN
jaag uThe baazaar maazi4 ki dukaaneN khul gayiiN
asr-haa5-e mohr-bar-lab6 ki zabaaneN khul gayiiN
gardan-e taariiKh-e jaaN7 ki resmaaneN8 khul gayiiN
baRh gaye kuchh aur parde9 aagahi10 ke saaz11 meN
sin12 bataaya Khaak ne apna thaki avaaz meN 1.awakened eye 2.like, similar to 3.mines/caves 4.past 5.ages, periods 6.sealed lips 7.history of life 8.binds, strings 9.sheets of music 10.knowledge 11.music 12.age
Caves opened their eyes as if waking up from deep slumber. Closed shops of the past became an open bazar. Past ages, lips long sealed, suddenly found tongue as if fetters in neck of history were shattered. Sheets of music of knowledge flourished. Even lowly dust began to speak softly to reveal its age.
24
siina-e aahan1 se uThi mauj-e shamshir2 o qalam3
Khaak meN jaage nuqoosh4-e dair5 o aivan6-e haram7valvaloN8 meN jhanjhanaya zamzamoN9 ka zer o bam10karvaTeN lene lage pathar meN be-tarshe11 sanam12qalb13-e zar14 meN basta15 kangan16 chuTkiyaN lene lage
motiyoN ko reshmi dore sada17 dene lage 1.steel 2.sword 3.pen 4.markings, images 5.temple 6.halls 7.mosque 8.passion 9. music 10.ripples 11.not (yet) carved 12.idols 13.heart 14.gold 15.tied up, hidden 16.bracelet 17.cal
From the heart of steel, emerged waves of sword and pen. Hidden images of ancient temples and mosques were revealed. The music of man’s passion rang out like the ripples of a brook. Even rocks, not yet carved told the story of hidden idols waiting to be carved. Hidden gold bracelets yet to be shaped, tinkled to tell their story. Silk thread gave a call to pearls to be strung into necklaces.
25
taar par mizraab1 thharraai fiza par raagini2
chhaai ishvoN3 ki ghaTa chiTki ada4 ki chandni
naaz ki phooTi kiran andaz ki chiTki kali
dil rubaaii5 ne maliN aankheN diloN se lau6 uThi
jumbish7-e mizhgaaN8 junooN9 ki kishtiyaaN khene laga
chubh gaye nashtar10 rag-e-hasti11 lahu dene laga 1.pluck worn on the finger to play strings of the sitar 2.melody 3.coquettish glances 4.coquetry, teasing playfulness 5.fellow feeling, love 6.flame 7.trembling 8.eye lashes 9. ardent passion 10.dagger 11.the artery of life
The mizrab/plectrum plucked strings and melody hovered in the breeze. Playful glances like soothing clouds spread like moonlight. Coquetry burst forth like a ray of light and playfulness bloomed. Love woke up, rubbing its eyes, hearts were set on fire. Fluttering eyelashes launched fleets of passion on the river of love. Eyelash daggers pierced the jugular and blood flowed freely.
26
nargis1-e beemar2 ko tarz3-e takkalum4 aa gaya
vo takkalum jis se honToN par tabassum5 aa gaya
vo tabassum jo liye mauj-e tarannum6 aa gaya
vo tarannum jis se duniya meN talaatum7 aa gaya
vo talaatum Khoon meN jis se ravaani8 aa gayi
vo ravaani baaRh9 par jis se javaani aa gayi 1.eye 2.sick (with love), lover 3.way of, how to 4.speak, express 5.smile 6.song 7.upheaval 8.flow 9.(literally) vegetation, life
Here is the chain reaction of romantic expression. The eye of the lover learnt to express emotions (without words). That expression which brought smiles to the lips of the beloved. The smile that created waves of music that caused tumult and upheaval. Tumult that got the very lifeblood flowing. The flow of blood that gave meaning (youth) to life.
27
naaz se mizhgaan1-e hasti2 ko jhapakna aa gaya
aarzu3 ko vaqt ke seene meN pakna aa gaya
zindagi ko loriyaaN dena thapakna aa gaya
valvaloN4 par ras ki boondoN5 ko Tapakna aa gaya
roz-e baaraan6 o shab-e mah7 ka maza chakhne lagiN
farsh8-e maKhmal9 par tamannaeN10 qadam rakhne lagiN 1.eyelashes 2.life 3.desire 4.passion 5.drop of juice, tear drops 6.rainy day (considered romantic) 7.moonlit night 8.floor 9.velvet 10.desire
Emotions and modes of expression matured. Life acquired the art of playfulness – “palak jhapakna”. She learnt to nurture romantic desires in her bosom over long periods of time. Life learnt lullabies patting herself to sleep, bearing hardship. As passion welled up, it learnt to flow as tear drops. Life learnt to enjoy days of romance, nights of moonlight. Velvet floors spread out for her desires to step on.
28
ban gaya gulfaam1 har ek paraa2-e faulaad3 o saNg4
zauq5-e rangini6 se ubhre naqsh7-ha-e raNg raNg8jhoom uThe armaan9, bahki aarzu, lahki taraNg
motiye10 ki tarah mahka mahvashoN11 ka aNg aNg
band12 TooTe Ghurfa-ha13-e seem o zar14 khulne lage
har taraf goya15 sanam KhanauN16 ke dar17 khulne lage 1.flower bodied 2.part 3.steel 4.stone 5.taste, desire 6.colorfulness 7.image, drawing; naqsh ha=plural of naqsh 8.colorful 9.longing/desire 10.jasmine flower 11.wine drinker 12.binds 13. sacks 14.silver and gold 15.as if 16.houses of idols( beauties, pleasure) 17.doors
Hard and cruel stone and steel changed to soft and pleasant petals. Man created colorful images out of a passion for beauty. Longing rose to dance and burst into song as if drunk with desire. Even the body of the revelers was fragrant like jasmine. Man broke ties bondage and new windows to wealth and well-being opened up. It was as if all around houses of pleasure opened their doors.
29
daaman1-e faulad2 tashrif3-e kataaN4 ban-ne laga
zahr5 ka afsurda6 aab-e javedaaN7 ban-ne laga
shisha8 yuN pighla harir o parniyaaN9 ban-ne laga
saNg10 yuN tarsha11 ke ruKhsar12-e butaaN13 ban-ne laga
boondiyaN14 khankiN15, naqaab16 ulTi izaar17-e hoor se
bint18-e chaNg o raNg19 jhaaNki Ghurfa20-e aNgur21 se 1.apron 2.steel 3.seat 4.silk 5.poison 6.extinguishing 7.eternal 8.glass 9. silk thread; 10.stone 11.carved 12.cheeks 13.idols, beauties 14.ear pearl 15.tinkled 16.vail 17.cheek 18.daughter of 19.merriment 20.window 21.grape
The apron of steel became the seat of soft silk. Life extinguishing poison was turned into life’s elixir. Glass melted and was drawn into silken thread. Stone was carved such as to make beautiful faces. Pearls tinkled as beauties took their naqab off to reveal themselves. The daughter of merriment peeped out from the windows of grape (wine).
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
19
is zamiN ki samt1 moRi yuN kudaaloN2 ne anaaN3arz4 ke tabqaat5 ko aane lagiiN angRaiyaaN
parda-e zulmat6 se jhaanke rumooz7-e een o aaN8haDDiyoN ne apne Dhaanche ki sunaai dastaaN
tang GhaaroN meN hava chalne lagi pau phaT gayi
Khuftagan-e Khaak9 ke sar se dulaai10 haT gayi
1.towards 2.pick axe 3.reins 4.earth 5.layers 6.darkness 7.secrets 8.this and that 9.those sleeping in the dust 10.shawl
Unearthing of cultural artifacts and refinement of knowledge and culture begins. The pickaxe turned its reins towards the earth/ground. The layers of soil stretched as if waking up from a deep sleep. From the veil of darkness, all secrets began to peep out. Dug up bones told stories of their skeletons. A fresh breeze blew through deep caves and lit them up like dawn. The veil was removed from those who were sleeping in the dust i.e., we began to learn about our ancestors.
20
taNg1 GhaaroN2 meN salaatin3-e kuhan4 paida hue
pa ba gil5 reshauN6 se maazi7 ke chaman paida hue
but kadauN8 ne aankh kholi barhaman paida hue
Khaak ki Khushboo uRi gul pairahan9 paida hue
murda parvaanoN10 ne aah-e sard11 bhar kar bat ki
kushta12 sham’aoN13 ne sunaai dastaaneN raat ki
1.narrow, tight 2.cave 3.kings 4.ancient 5.feet planted in soil (dug deep in the soil) 6.shreds 7.past 8.house of idols (temples) 9.dressed in flowers 10.moth 11.sad (cold) sigh 12.extinguished 13.lamp
Kings of ancient times were unearthed from dark/narrow caves. Shreds dug up from clay told the story of past gardens. Idols in temples opened their eyes to tell us Brahminic tales. Blowing dust told the story of flowery loved ones. dead, loved ones are metaphorically described as clothed in flowers or as flower bodied. Example, see naasiKh’s she’r below.
ho gaye dafn hazaroN hi gulandam is meN
is liye Khaak se hote haiN gulistaaN paida
A thousand flower bodied ones are buried here
That is why gardens grow out of dust
Even dead, unearthed moths sigh and tell the story of their love. Extinguished lamps tell stories of nights of revelry. The lighting of a lamp is a metaphor for night life. In mushaa’era (poetry reading) a lit lamp is placed in front of the shaa’er (poet) invited to recite his composition. josh uses this metaphor to describe celebrations during ancient civilizations … extinguished lamps told stories of festivities of the night past. “shama-parvana” … the lamp and the moth are universally used metaphors for lover and beloved. And the lover always sighs and is sad because he is away from the beloved.
21
chheR kar zarroN1 ke barbat2 gungunaya KhaakdaaN3aa gayi jumbish4 meN Khwaab aagiN5 chaTaanoN ki zabaaN
bol uTThiN sang-e Khara6 ki murattib7 dhaariyaaN
goonj uTThi murda qarnoN8 ki purani daastaaN9nasb10 har zarre meN phooloN ka Dera ho gaya
shaam11-e zer-e arz12 ke ghar meN savera13 ho gaya
1.pebbles 2.stringed musical instrument 3.container of dust(earth) 4.movement 5.sleepy 6.pointed rocks 7.organized 8.millennium 9.fable 10.established 11.evening/darkness 12.under the earth 13.dawn/light
The earth made a barbat out of pebbles and began to hum for joy. Sleepy mountains opened their mouths, to tell their story. Even layers of rocks and pointed peaks had their own story to tell. The echoes of the fables of millennia began to be heard clearly. Flowers bloomed on every particle of dust and lit the dark underground world to brightness.
22
vo jo aujhal1 ho chuke the saamne aane lage
gul ruKhaan2-e daur-e pesh3 baal bikhraane lage
jo muGhanni4 mil chuke the Khaak meN gaane5 lage
Khasta6 maah o saal7 ek ek puur chaTKhaane8 lage
chaadar-e zauq9-e tajassus10 meN rafu11 karne lage
daur-ha12-e saNg o aahan13 guftagu14 karne lage
1.disappear 2.flower faced(beautiful) 3.times past 4. singers 5.dead and buried 6.broken, tired 7.month and year 8.crack fingers (express helplessness/amazement) 9.taste, desire 10.curiosity, search 11.repair 12.times, ages 13.stone and iron 14.conversation
Those who had disappeared (lost in history), began to make an appearance. The beautiful ones of past ages began to spread their tresses. Even the singers/musicians, long buried in the dust, began to sing. The tired past was helpless as it was (unwillingly) dragged back to the present. The tears in the sheet of the desire of curiosity were repaired. Stone age and iron age began to tell/reveal their tales.
23
deeda-e bedaar1 ki maanind2 kaaneN3 khul gayiiN
jaag uThe baazaar maazi4 ki dukaaneN khul gayiiN
asr-haa5-e mohr-bar-lab6 ki zabaaneN khul gayiiN
gardan-e taariiKh-e jaaN7 ki resmaaneN8 khul gayiiN
baRh gaye kuchh aur parde9 aagahi10 ke saaz11 meN
sin12 bataaya Khaak ne apna thaki avaaz meN
1.awakened eye 2.like, similar to 3.mines/caves 4.past 5.ages, periods 6.sealed lips 7.history of life 8.binds, strings 9.sheets of music 10.knowledge 11.music 12.age
Caves opened their eyes as if waking up from deep slumber. Closed shops of the past became an open bazar. Past ages, lips long sealed, suddenly found tongue as if fetters in neck of history were shattered. Sheets of music of knowledge flourished. Even lowly dust began to speak softly to reveal its age.
24
siina-e aahan1 se uThi mauj-e shamshir2 o qalam3Khaak meN jaage nuqoosh4-e dair5 o aivan6-e haram7valvaloN8 meN jhanjhanaya zamzamoN9 ka zer o bam10karvaTeN lene lage pathar meN be-tarshe11 sanam12qalb13-e zar14 meN basta15 kangan16 chuTkiyaN lene lage
motiyoN ko reshmi dore sada17 dene lage
1.steel 2.sword 3.pen 4.markings, images 5.temple 6.halls 7.mosque 8.passion 9. music 10.ripples 11.not (yet) carved 12.idols 13.heart 14.gold 15.tied up, hidden 16.bracelet 17.call
From the heart of steel, emerged waves of sword and pen. Hidden images of ancient temples and mosques were revealed. The music of man’s passion rang out like the ripples of a brook. Even rocks, not yet carved told the story of hidden idols waiting to be carved. Hidden gold bracelets yet to be shaped, tinkled to tell their story. Silk thread gave a call to pearls to be strung into necklaces.
25
taar par mizraab1 thharraai fiza par raagini2chhaai ishvoN3 ki ghaTa chiTki ada4 ki chandni
naaz ki phooTi kiran andaz ki chiTki kali
dil rubaaii5 ne maliN aankheN diloN se lau6 uThi
jumbish7-e mizhgaaN8 junooN9 ki kishtiyaaN khene laga
chubh gaye nashtar10 rag-e-hasti11 lahu dene laga
1.pluck worn on the finger to play strings of the sitar 2.melody 3.coquettish glances 4.coquetry, teasing playfulness 5.fellow feeling, love 6.flame 7.trembling 8.eye lashes 9. ardent passion 10.dagger 11.the artery of life
The mizrab/plectrum plucked strings and melody hovered in the breeze. Playful glances like soothing clouds spread like moonlight. Coquetry burst forth like a ray of light and playfulness bloomed. Love woke up, rubbing its eyes, hearts were set on fire. Fluttering eyelashes launched fleets of passion on the river of love. Eyelash daggers pierced the jugular and blood flowed freely.
26
nargis1-e beemar2 ko tarz3-e takkalum4 aa gaya
vo takkalum jis se honToN par tabassum5 aa gaya
vo tabassum jo liye mauj-e tarannum6 aa gaya
vo tarannum jis se duniya meN talaatum7 aa gaya
vo talaatum Khoon meN jis se ravaani8 aa gayi
vo ravaani baaRh9 par jis se javaani aa gayi
1.eye 2.sick (with love), lover 3.way of, how to 4.speak, express 5.smile 6.song 7.upheaval 8.flow 9.(literally) vegetation, life
Here is the chain reaction of romantic expression. The eye of the lover learnt to express emotions (without words). That expression which brought smiles to the lips of the beloved. The smile that created waves of music that caused tumult and upheaval. Tumult that got the very lifeblood flowing. The flow of blood that gave meaning (youth) to life.
27
naaz se mizhgaan1-e hasti2 ko jhapakna aa gaya
aarzu3 ko vaqt ke seene meN pakna aa gaya
zindagi ko loriyaaN dena thapakna aa gaya
valvaloN4 par ras ki boondoN5 ko Tapakna aa gaya
roz-e baaraan6 o shab-e mah7 ka maza chakhne lagiN
farsh8-e maKhmal9 par tamannaeN10 qadam rakhne lagiN
1.eyelashes 2.life 3.desire 4.passion 5.drop of juice, tear drops 6.rainy day (considered romantic) 7.moonlit night 8.floor 9.velvet 10.desire
Emotions and modes of expression matured. Life acquired the art of playfulness – “palak jhapakna”. She learnt to nurture romantic desires in her bosom over long periods of time. Life learnt lullabies patting herself to sleep, bearing hardship. As passion welled up, it learnt to flow as tear drops. Life learnt to enjoy days of romance, nights of moonlight. Velvet floors spread out for her desires to step on.
28
ban gaya gulfaam1 har ek paraa2-e faulaad3 o saNg4zauq5-e rangini6 se ubhre naqsh7-ha-e raNg raNg8jhoom uThe armaan9, bahki aarzu, lahki taraNg
motiye10 ki tarah mahka mahvashoN11 ka aNg aNg
band12 TooTe Ghurfa-ha13-e seem o zar14 khulne lage
har taraf goya15 sanam KhanauN16 ke dar17 khulne lage
1.flower bodied 2.part 3.steel 4.stone 5.taste, desire 6.colorfulness 7.image, drawing; naqsh ha=plural of naqsh 8.colorful 9.longing/desire 10.jasmine flower 11.wine drinker 12.binds 13. sacks 14.silver and gold 15.as if 16.houses of idols( beauties, pleasure) 17.doors
Hard and cruel stone and steel changed to soft and pleasant petals. Man created colorful images out of a passion for beauty. Longing rose to dance and burst into song as if drunk with desire. Even the body of the revelers was fragrant like jasmine. Man broke ties bondage and new windows to wealth and well-being opened up. It was as if all around houses of pleasure opened their doors.
29
daaman1-e faulad2 tashrif3-e kataaN4 ban-ne laga
zahr5 ka afsurda6 aab-e javedaaN7 ban-ne laga
shisha8 yuN pighla harir o parniyaaN9 ban-ne laga
saNg10 yuN tarsha11 ke ruKhsar12-e butaaN13 ban-ne laga
boondiyaN14 khankiN15, naqaab16 ulTi izaar17-e hoor se
bint18-e chaNg o raNg19 jhaaNki Ghurfa20-e aNgur21 se
1.apron 2.steel 3.seat 4.silk 5.poison 6.extinguishing 7.eternal 8.glass 9. silk thread; 10.stone 11.carved 12.cheeks 13.idols, beauties 14.ear pearl 15.tinkled 16.vail 17.cheek 18.daughter of 19.merriment 20.window 21.grape
The apron of steel became the seat of soft silk. Life extinguishing poison was turned into life’s elixir. Glass melted and was drawn into silken thread. Stone was carved such as to make beautiful faces. Pearls tinkled as beauties took their naqab off to reveal themselves. The daughter of merriment peeped out from the windows of grape (wine).
The post mojid o mufakkir-019-029-shaa’estagi-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-mojid-o-mufakkir-011-018-iijaadaat-audio.mp3
Recitation
- Overview
- اُردو
- देवनागरी
- Roman
- Notes
mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”. The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition. I invite you to that journey …
tamaddun 1-10 In 10 stanzas josh describes how sophistication and culture developed among human beings. Please remind yourselves that there is no anthropological rigour in this. The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.
iijadaat 11-18 In stanzas 11-18 josh describes the inventions of technology. It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines. The metaphors and the language are incomparably beautiful. I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.
shaa’estagi 19-29 In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.
ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them. He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.
mufakkir 43-53 Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.
husain 54-68 Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.
Khoon 69-74 These stanzas are an unadulterated, highly emotional praise of husain. The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like. Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.
karbala 75-84 josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.
tarGheeb 85-90 This comes close to incitement and calls upon the audience to resist injustice.
Khiraaj 91-107 Unadulterated tribute to husain. It is beautiful and powerful composition with rich metaphors. Enjoyable even when read with a completely secular viewpoint.
almadad 108-116 A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice. His call on husain for water is a most dramatic and ironic climax to this marsia.
موجد و مفکر – ایجادات ۔۱۱۔۱۸۔جوشؔ ملیح آبادی
۱۱
ساعتوں کو کوک بھرتے ہی روانی مل گئی
ہر دقیقے کو منظم پرفشانی مل گئی
گنگ لحظوں کو گجر کی نغمہ خوانی مل گئی
عمر کے دھارے کو لوہے کی کمانی مل گئی
سوئیوں کی رو میں لمحوں کو چٹکنا آ گیا
وقت کو آغوشِ آہن میں چہکنا آ گیا
۱۲
ناز سے جزوِ مکاں بن کر زماں گانے لگا
طائروں کا ذکر کیا خود آشیاں گانے لگا
زمزمے چھیڑے زمیں نے آسماں گانے لگا
چمنیوں میں کارخانوں کا دھواں گانے لگا
حوصلے نوعِ بشر کے ناز فرمانے لگے
ہات باندھے آب و آتش کے خواس آنے لگے
١٣
دیدہ و رُخسار اور گوش و زباں کے درمیاں
فاصلوں کی چُھٹ گئیں نبضیں بہ ایں بُعدِ مکاں
ایک دریائے ہم آغوشی ہوا گویا رواں
آ گیا کھنچ کر بالآخر ایک مرکز پہ جہاں
اور یوں آواز محوِ قطعِ منزل ہو گئی
عکس کو بھی قوتِ پرواز حاصل ہو گئی
١٤
آتشیں پوشاک پہنی عالمِ ایجاد نے
موم کی گردن میں باہیں ڈال دیں فولاد نے
برف لپکی سرد کاندھے پر شرارے لادنے
ٹوپیاں بدلی بصد اِخلاص برق و باد نے
دوڑتے آئے یکایک باہمی اِمداد کو
یوں اِکائی نے پکارا منتشر اعداد کو
١٥
شعلگی کے نقطہ ہائے شور تک اولے گئے
سطح بینائی پہ تاروں کے گہر رولے گئے
سائے تک ناپے گئے اور عکس تک تولے گئے
انجم و ذرّات کے بندِ قبا کھو لے گئے
عرش تک فرشِ زمیں کی ہمتِ عالی گئی
شعلہ و شبنم میں بل دیکر گرہ ڈالی گئی
١٦
ذوق نکھرا کہکشانی بام و در بننے لگے
سنگریزے آئینے، قطرے گہر بننے لگے
برق پارے مرغ ہائے نامہ بر بننے لگے
آہنی اعصاب ڈھل کر بال و پر بننے لگے
زندگی روحِ ثریا کی طرف جانے لگی
قلبِ انجم کے دھڑکنے کی صدا آنے لگی
۱۷
پھر درخشاں فکر کی یوں خاک پر برسی شراب
ظلمتوں کی کوکھ سے پیدا ہوے سو ماہ تاب
پھر اُڑایا عِلم نے وہ کوکبِ اجرام یاب
جسکی رو میں اُٹھ رہی ہے ماہِ تاباں کی نقاب
شور برپا ہے کہ میرِ آگہی آنے کو ہے
آسماں پر غلغلے ہیں آدمی آنے کو ہے
۱۸
جیبِ قدرت صید میں بھر کر قوائے کائنات
اہلِ غرق و برق نے دم کر دیا روئے حیات
ایک اک قطرے کے عقدے سے نچوڑے سو نکات
ایک اک ذرّے کے حلقے سے اُبھارے سو جہات
ایک اک گوشے سے پہناور جہاں پیدا کئے
کائی کے پلّو سے لاکھوں گُلسِتاں پیدا کئے
मोजिद ओ मुफ़क्किर-११-१८-ईजादात-जोश मलीहाबादी
११
सा’अतों को कूक भरते ही रवानी मिल गई
हर दक़ीक़े को मुनज़्ज़िम पर फ़शानी मिल गई
गुंग लह्ज़ों को गजर की नग़्मा-ख़्वानी मिल गई
उम्र के धारे को लोहे की कमानी मिल गई
सूईओं की रौ में लम्हों को चिटकना आ गया
वक़्त को आग़ोश-ए आहन में चहकना आ गया
१२
नाज़ से जुज़्व-ए मकां बन कर ज़मां गाने लगा
ता’एरों का ज़िक्र क्या ख़ुद आशियाँ गाने लगा
ज़मज़मे छेढे ज़मीं ने आसमां गाने लगा
चिम्नियों में कारख़ानों का धुआं गाने लगा
हौसले नौ-ए बशर के नाज़ फ़रमाने लगे
हाथ बांधे आब ओ आतिश के ख़वास आने लगे
१३
दीदा ओ रुख़्सार और गोश ओ ज़बां के दरमियाँ
फ़ासलों की छुट गईं नब्ज़ें बा ईं बोद-ए मकां
एक दर्या-ए हम आग़ोशी हुआ गोया रवां
आ गया खिंच कर बिलआख़िर एक मरकज़ पर जहाँ
और यूँ आवाज़ महव-ए क़त’अ-ए मंज़िल हो गई
अक्स को भी क़ुव्वत-ए परवाज़ हासिल हो गई
१४
आतिशीं पोशाक पहनी आलम-ए ईजाद ने
मोम की गर्दन में बाहें डाल दीं फ़ौलाद ने
बर्फ़ लपकी सर्द कांधे पर शरारे लादने
टोपियाँ बदलीं बसद एख़्लास बर्क़ ओ बाद ने
दौढते आए एकाएक बाहमी इम्दाद को
यूँ एकाई ने पुकारा मुन्तशिर आदाद को
१५
शोलगी के नुक़्ता-हा-ए शोर तक ओले गए
सतह बीनाई पे तारों के गोहर रोले गए
साए तक नापे गए और अक्स तक तोले गए
अंजुम ओ ज़र्रात के बंद-ए क़बा खोले गए
अर्श तक फ़र्श-ए ज़मीं की हिम्मत-ए आली गई
शोला ओ शबनम में बल देकर गिरह डाली गई
१६
ज़ौक़ निखरा कह्कशानी बाम ओ दर बन’ने लगे
संग्रेज़े आईने, क़तरे गुहर बन’ने लगे
बर्क़ पारे मुर्ग़-हा-ए नामा-बर बन’ने लगे
आहनी आसाब ढल कर बाल ओ पर बन’ने लगे
ज़िन्दगी रूह-ए सुरय्या की तरफ़ जाने लगी
क़ल्ब-ए अंजुम के धढकने की सदा आने लगी
१७
फिर दरख़्शां फ़िक्र की यूँ ख़ाक पर बरसी शराब
ज़ुल्मतों की कोख से पैदा हुए सौ महताब
फिर उढाया इल्म ने वो कौकब-ए अज्राम याब
जिसकी रौ में उठ रही है माह-ए ताबां की नक़ाब
शोर बरपा है के मीर-ए आगाही आने को है
आसमां पर ग़ुलग़ुले हैं आदमी आने को है
१८
जेब क़ुद्रत सेद में भर कर क़वा-ए काएनात
अहल-ए ग़र्क़ ओ बर्क़ ने दम कर दिया रू-ए हयात
एक एक क़तरे के उक़्दे से निचोड़े सौ नुकात
एक एक ज़र्रे के हल्क़े से उभारे सौ जेहात
एक एक गोशे से पहनावर जहाँ पैदा हुए
काई के पल्लू से लाखों गुल्सितां पैदा हुए
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
11
saa’atoN1 ko kook bharte2 hi ravaani mil gayi
har daqiiqe3 ko munazzim4 par fashaani5 mil gayi
gung6 lahzoN7 ko gajar8 ki naGhma Khwaani9 mil gayi
umr ke dhaare ko lohe ki kamaani10 mil gayi
suyioN ki11 rau meN lamhoN12 ko chiTakna13 aa gaya
vaqt ko aGhosh-e aahan14 meN chahakna15 aa gaya 1.time, moment 2.wind a spring 3.moment 4.organized 5.to fly 6. silent, dumb 7.moment 8.chime 9.singing 10. steel spring 11.movement of needles (pointers) 12.second 13.bloom 14.metallic lap 15.twitter
Describing the invention of time-keeping. Time acquired the ability to flow as the spring (of the clock) was wound up. Every moment began to fly/flow in an organized way. Dumb/silent moments acquired the song of chimes. The flow of life acquired a bow of steel. Steel bow is used as a stand-in for the clock spring and as a metaphor for a strong back which is an expression of human strength. And so in this delicate and subtle way the flow of life is described as acquiring great strength. With the movement of pointers, moments learnt to blossom. Time learnt to twitter in the lap of iron. “chiTakna” is the gentle sound when the bud blooms. The movement of the needles is the blooming (chiTakna) of minutes with its “tick tock”, hence the twittering of time in the lap or iron.
12
naaz1 se juzv2-e makaaN3 ban kar zamaaN4 gaane laga
taa’eroN5 ka zikr kya Khud aashiyaaN6 gaane laga
zamzame7 chheRe zamiN ne, aasmaaN gaane laga
chimniyoN meN kaarKhaanoN ka dhuaN8 gaane laga
hausle9 nau-e bashar10 ke naaz farmaane lage
hath bandhe aab o aatish11 ke Khawaas12 aane lage 1.style (coquettish) 2.component 3.space 4.time 5.birds 6.nests 7.music 8.smoke 9.courage, daring 10.human species, humanity 11.water and fire 12.specialties, special qualities
Describing industrialization and the control of the elements – fire, water, air. Time joined with Space and burst into joyous song. Not only birds but also their nests began to sing with joy. The earth played music and the sky burst into song. The very smoke of factories sang as it rose through chimneys. Humanity expressed its daring in great style. Water/Fire came hands folded, their powers at the disposal of man.
Sahir wrote in a poem celebrating the launch of the Sputnik.
vo junuN jo aab o aatish ko asiir kar chuka thha
vo Khalaa ki vusa’atoN se bhi Khiraaj le raha hai
The passion that had enslaved Fire and Water
Now demands homage from the vastness of space
13
deeda1 o ruKhsaar2 aur gosh3 o zabaaN4 ke darmiyaaN5faasloN6 ki chhuT gayiiN nabzeN7 ba eeN8 bod9-e makaaN10ek darya11-e ham aaGhoshi12 hua goya ravaaN13aa gaya khiNch kar bil-aaKhir14 ek markaz15 par jahaaN16aur yuN aavaaz mahv17-e qat’e manzil18 ho ga’ii
aks19 ko bhi quvvat-e parvaaz20 haasil21 ho ga’ii 1.eye, sight 2.face, image 3. ear, hearing 4.tongue, speech 5.between 6.distances 7.to lose nerve 8.with this 9.separation 10.place, space 11.river 12.togetherness 13.flow 14.at last 15.center, focus 16.world 17.obsessed, engrossed 18.cut (the distance to) the goal 19.image; 20.power to fly 21.obtain
josh composed this marsia in 1956 and this stanza is applicable to both TV and cinema. Between eye and image and between ear and tongue/sound; distance lost its nerve for fear, because in spite of separation, a river of togetherness began to flow and gather everything. At last the world shrank and came to a focus, because sound was obsessed with cutting the distance to its goal (radio and telephone) and image achieved the power of flight (television).
14
aatishiiN1 poshaak2 pahni aalam-e eejad3 ne
mom4 ki gardan meN baaheN5 Daal diiN faulaad6 ne
barf lapki7 sard8 kaandhe par shaarare9 laadne
topiyaaN10 badliiN11 basad12 eKhlaas13 barq14 o baad15 ne
dauRte aa’e ekaa’ek16 baahami17 imdaad18 ko
yuN ekaai19 ne pukaara muntashir20 aa’daad21 ko 1.fiery 2.dress 3.world of ingenuity 4.wax 5.arms 6.steel 7.leapt 8.cold 9. sparks, flames 10.cap 11.exchanged – topiyaaN badalna is an act courtesy 12.with a hundred 13.courtesies 14.lightning 15.clear breeze (opposite of cloud and thunder) 16.suddenly 17.mutual 18.help 19.unity 20.scattered 21.numbers/parts
Ingenuity donned a fiery dress. Soft wax and hard steel embraced each other to serve humanity. Ice leapt up to carry fire on its frozen shoulders. Lightning and Breeze exchanged caps with a hundred courtesies (like players exchange shirts after a friendly game as a sign of sportsmanship). They all came running to help each other because unity of purpose brought all scattered elements together (to serve human needs).
15
sholagi1 ke nuqta haa-e shor2 tak ole3 gaye
satah binaii4 pe taaroN ke gohar5 role6 gaye
saaye tak naape gaye aur aks7 tak tole8 gaye
anjum9 o zarraat10 ke band-e qaba11 khole gaye
arsh12 tak farsh13-e zamiiN ki himmat-e aali14 gayi
shola15 o shabnam16 meN bal17 dekar girah18 Daali gayi 1.act of creating flames 2.tip of the flame, points of smoke 3.hail, ice 4.limits of sight 5.pearls 6.to select or search 7.image 8.to weigh 9.stars 10.particle 11.ties of the robe 12.sky 13.floor 14.high, great 15.flame 16.dew 17.twist 18.knot
Icy hailstones traveled through flames all the way to the tip. The search for stars reached the limits of sight. Even shadows were measured and images were weighed. Taking the measure of shadows and images is to measure that which cannot be directly apprehended. The robes of stars, even of tiny particles of dust were undone. To understand the inner workings of elements and stars is described as a sensuous ‘disrobing’ of stars and elements. The daring courage of the lowly earth reached to the sky. Flame and dew were woven and intertwined into knots. Thus opposites are made to work together.
16
zauq1 nikhra2 kahkashaani3 baam o dar4 ban’ne lage
saNgreze5 aaiine, qatre6 guhar7 ban’ne lage
barq paare8 murGh-ha-e naama-bar9 ban’ne lage
aahani10 aasab11 Dhal12 kar baal o par13 ban’ne lage
zindagi rooh-e surayya14 ki taraf jaane lagi
qalb-e anjum15 ke dhaRakne ki sada aane lag 1.taste 2.became refined 3.constellations 4.roof and door, home 5.pebbles 6.drops 7.pearl 8.particles of lightning 9.messenger pigeons 10.metallic 11.nerves and muscles 12.cast 13.feathers and wings 14.spirit of constellations 15.heart of stars
Tastes got refined (increased desires) making stations/homes beyond the stars. Pebbles were ground into mirrors and droplets into pearls. Bits of electricity were fashioned into messenger pigeons (telegraph). Metallic nerves/muscles got cast into feathers and wings (airplane). Life began to fly towards the constellations and the heartbeat of stars began to be heard. The first misra reminds me of Ghalib …
manzar ek balandi par aur ham bana lete
arsh se udhar hota kash ke makaN apna
We could have created a vision at even greater heights
O that our station had been on the other side of heavens.
17
phir daraKhshaaN1 fikr2 ki yuN Khaak par barsi sharaab
zulmatoN3 ki kokh4 se paida hue sau mahtaab5phir uRaaya ilm ne vo kaukab-e-ajraam-yaab6jiski rau meN uTh rahi hai maah-e taabaN7 ki naqaab
shor barpa hai ke mir8-e aagahi9 aane ko hai
aasmaN par GhulGhule10 haiN aadmi aane ko ha 1.bright 2.reason 3.darkness, ignorance 4.womb 5.full moon 6. star that discovers celestial bodies 7.full moon 8.leader, lord 9.knowledge 10.chatter, talk of the town
josh composed this marsia in 1956 celebrating the emergence of knowledge then modified it to celebrate launch of Sputnik in 1957. Brightness of Knowledge shone on earth like blessed rain of wine and from the womb of ignorance were born hundreds of bright moons. Knowledge launched forth a star – discoverer of celestial bodies which removed the veil from the face of many bright moons. The chatter in heaven speaks of arrival of the lord of knowledge. They are preparing a tumultuous welcome for the arrival of man.
18
jeb-e qudrat1 saed2 meN bhar kar qava3-e kaaenaat4ahl5-e Gharq o barq6 ne dam kar7 diya roo-e hayaat8ek ek qatre9 ke aqde10 se nichoRe sau nukaat11ek ek zarre12 ke halqe13 se ubhare sau jehaat14ek ek goshe15 se pahnavar16 jahaaN paida hue
kaai17 ke pallu18 se laakhoN gulsitaaN paida hu 1.nature 2.prey 3.strengths 4.universe 5.owners 6.below and above 7.to give life to 8.face of life 9.drop 10.knot, puzzle 11.points 12.particle 13.circle, sphere 14.sides, facets 15.corner 16.vast 17.moss 18.skirt
Filling their pockets with the powers of vanquished Nature, masters of land and water gave new vigour to the face of life. They squeezed hundreds of fine points out of each drop, and looked at hundreds of facets of each particle. In every corner they discovered vast worlds and thousands of gardens in the most ordinary spread of moss.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
11
saa’atoN1 ko kook bharte2 hi ravaani mil gayi
har daqiiqe3 ko munazzim4 par fashaani5 mil gayi
gung6 lahzoN7 ko gajar8 ki naGhma Khwaani9 mil gayi
umr ke dhaare ko lohe ki kamaani10 mil gayi
suyioN ki11 rau meN lamhoN12 ko chiTakna13 aa gaya
vaqt ko aGhosh-e aahan14 meN chahakna15 aa gaya
1.time, moment 2.wind a spring 3.moment 4.organized 5.to fly 6. silent, dumb 7.moment 8.chime 9.singing 10. steel spring 11.movement of needles (pointers) 12.second 13.bloom 14.metallic lap 15.twitter
Describing the invention of time-keeping. Time acquired the ability to flow as the spring (of the clock) was wound up. Every moment began to fly/flow in an organized way. Dumb/silent moments acquired the song of chimes. The flow of life acquired a bow of steel. Steel bow is used as a stand-in for the clock spring and as a metaphor for a strong back which is an expression of human strength. And so in this delicate and subtle way the flow of life is described as acquiring great strength. With the movement of pointers, moments learnt to blossom. Time learnt to twitter in the lap of iron. “chiTakna” is the gentle sound when the bud blooms. The movement of the needles is the blooming (chiTakna) of minutes with its “tick tock”, hence the twittering of time in the lap or iron.
12
naaz1 se juzv2-e makaaN3 ban kar zamaaN4 gaane laga
taa’eroN5 ka zikr kya Khud aashiyaaN6 gaane laga
zamzame7 chheRe zamiN ne, aasmaaN gaane laga
chimniyoN meN kaarKhaanoN ka dhuaN8 gaane laga
hausle9 nau-e bashar10 ke naaz farmaane lage
hath bandhe aab o aatish11 ke Khawaas12 aane lage
1.style (coquettish) 2.component 3.space 4.time 5.birds 6.nests 7.music 8.smoke 9.courage, daring 10.human species, humanity 11.water and fire 12.specialties, special qualities
Describing industrialization and the control of the elements – fire, water, air. Time joined with Space and burst into joyous song. Not only birds but also their nests began to sing with joy. The earth played music and the sky burst into song. The very smoke of factories sang as it rose through chimneys. Humanity expressed its daring in great style. Water/Fire came hands folded, their powers at the disposal of man.
Sahir wrote in a poem celebrating the launch of the Sputnik.
vo junuN jo aab o aatish ko asiir kar chuka thha
vo Khalaa ki vusa’atoN se bhi Khiraaj le raha hai
The passion that had enslaved Fire and Water
Now demands homage from the vastness of space
13
deeda1 o ruKhsaar2 aur gosh3 o zabaaN4 ke darmiyaaN5faasloN6 ki chhuT gayiiN nabzeN7 ba eeN8 bod9-e makaaN10ek darya11-e ham aaGhoshi12 hua goya ravaaN13aa gaya khiNch kar bil-aaKhir14 ek markaz15 par jahaaN16aur yuN aavaaz mahv17-e qat’e manzil18 ho ga’ii
aks19 ko bhi quvvat-e parvaaz20 haasil21 ho ga’ii
1.eye, sight 2.face, image 3. ear, hearing 4.tongue, speech 5.between 6.distances 7.to lose nerve 8.with this 9.separation 10.place, space 11.river 12.togetherness 13.flow 14.at last 15.center, focus 16.world 17.obsessed, engrossed 18.cut (the distance to) the goal 19.image; 20.power to fly 21.obtain
josh composed this marsia in 1956 and this stanza is applicable to both TV and cinema. Between eye and image and between ear and tongue/sound; distance lost its nerve for fear, because in spite of separation, a river of togetherness began to flow and gather everything. At last the world shrank and came to a focus, because sound was obsessed with cutting the distance to its goal (radio and telephone) and image achieved the power of flight (television).
14
aatishiiN1 poshaak2 pahni aalam-e eejad3 ne
mom4 ki gardan meN baaheN5 Daal diiN faulaad6 ne
barf lapki7 sard8 kaandhe par shaarare9 laadne
topiyaaN10 badliiN11 basad12 eKhlaas13 barq14 o baad15 ne
dauRte aa’e ekaa’ek16 baahami17 imdaad18 ko
yuN ekaai19 ne pukaara muntashir20 aa’daad21 ko
1.fiery 2.dress 3.world of ingenuity 4.wax 5.arms 6.steel 7.leapt 8.cold 9. sparks, flames 10.cap 11.exchanged – topiyaaN badalna is an act courtesy 12.with a hundred 13.courtesies 14.lightning 15.clear breeze (opposite of cloud and thunder) 16.suddenly 17.mutual 18.help 19.unity 20.scattered 21.numbers/parts
Ingenuity donned a fiery dress. Soft wax and hard steel embraced each other to serve humanity. Ice leapt up to carry fire on its frozen shoulders. Lightning and Breeze exchanged caps with a hundred courtesies (like players exchange shirts after a friendly game as a sign of sportsmanship). They all came running to help each other because unity of purpose brought all scattered elements together (to serve human needs).
15
sholagi1 ke nuqta haa-e shor2 tak ole3 gaye
satah binaii4 pe taaroN ke gohar5 role6 gaye
saaye tak naape gaye aur aks7 tak tole8 gaye
anjum9 o zarraat10 ke band-e qaba11 khole gaye
arsh12 tak farsh13-e zamiiN ki himmat-e aali14 gayi
shola15 o shabnam16 meN bal17 dekar girah18 Daali gayi
1.act of creating flames 2.tip of the flame, points of smoke 3.hail, ice 4.limits of sight 5.pearls 6.to select or search 7.image 8.to weigh 9.stars 10.particle 11.ties of the robe 12.sky 13.floor 14.high, great 15.flame 16.dew 17.twist 18.knot
Icy hailstones traveled through flames all the way to the tip. The search for stars reached the limits of sight. Even shadows were measured and images were weighed. Taking the measure of shadows and images is to measure that which cannot be directly apprehended. The robes of stars, even of tiny particles of dust were undone. To understand the inner workings of elements and stars is described as a sensuous ‘disrobing’ of stars and elements. The daring courage of the lowly earth reached to the sky. Flame and dew were woven and intertwined into knots. Thus opposites are made to work together.
16
zauq1 nikhra2 kahkashaani3 baam o dar4 ban’ne lage
saNgreze5 aaiine, qatre6 guhar7 ban’ne lage
barq paare8 murGh-ha-e naama-bar9 ban’ne lage
aahani10 aasab11 Dhal12 kar baal o par13 ban’ne lage
zindagi rooh-e surayya14 ki taraf jaane lagi
qalb-e anjum15 ke dhaRakne ki sada aane lagi
1.taste 2.became refined 3.constellations 4.roof and door, home 5.pebbles 6.drops 7.pearl 8.particles of lightning 9.messenger pigeons 10.metallic 11.nerves and muscles 12.cast 13.feathers and wings 14.spirit of constellations 15.heart of stars
Tastes got refined (increased desires) making stations/homes beyond the stars. Pebbles were ground into mirrors and droplets into pearls. Bits of electricity were fashioned into messenger pigeons (telegraph). Metallic nerves/muscles got cast into feathers and wings (airplane). Life began to fly towards the constellations and the heartbeat of stars began to be heard. The first misra reminds me of Ghalib …
manzar ek balandi par aur ham bana lete
arsh se udhar hota kash ke makaN apna
We could have created a vision at even greater heights
O that our station had been on the other side of heavens.
17
phir daraKhshaaN1 fikr2 ki yuN Khaak par barsi sharaab
zulmatoN3 ki kokh4 se paida hue sau mahtaab5phir uRaaya ilm ne vo kaukab-e-ajraam-yaab6jiski rau meN uTh rahi hai maah-e taabaN7 ki naqaab
shor barpa hai ke mir8-e aagahi9 aane ko hai
aasmaN par GhulGhule10 haiN aadmi aane ko hai
1.bright 2.reason 3.darkness, ignorance 4.womb 5.full moon 6. star that discovers celestial bodies 7.full moon 8.leader, lord 9.knowledge 10.chatter, talk of the town
josh composed this marsia in 1956 celebrating the emergence of knowledge then modified it to celebrate launch of Sputnik in 1957. Brightness of Knowledge shone on earth like blessed rain of wine and from the womb of ignorance were born hundreds of bright moons. Knowledge launched forth a star – discoverer of celestial bodies which removed the veil from the face of many bright moons. The chatter in heaven speaks of arrival of the lord of knowledge. They are preparing a tumultuous welcome for the arrival of man.
18
jeb-e qudrat1 saed2 meN bhar kar qava3-e kaaenaat4ahl5-e Gharq o barq6 ne dam kar7 diya roo-e hayaat8ek ek qatre9 ke aqde10 se nichoRe sau nukaat11ek ek zarre12 ke halqe13 se ubhare sau jehaat14ek ek goshe15 se pahnavar16 jahaaN paida hue
kaai17 ke pallu18 se laakhoN gulsitaaN paida hue
1.nature 2.prey 3.strengths 4.universe 5.owners 6.below and above 7.to give life to 8.face of life 9.drop 10.knot, puzzle 11.points 12.particle 13.circle, sphere 14.sides, facets 15.corner 16.vast 17.moss 18.skirt
Filling their pockets with the powers of vanquished Nature, masters of land and water gave new vigour to the face of life. They squeezed hundreds of fine points out of each drop, and looked at hundreds of facets of each particle. In every corner they discovered vast worlds and thousands of gardens in the most ordinary spread of moss.
The post mojid o mufakkir-011-018-iijaadaat-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-diida-e-moosa-liye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
دیدۂ موسٰی لیے ہوئے ۔ جوشؔ ملیح آبادی
۱
اُٹھ بربت و صراحی و مینا لیے ہوئے
رنگِ طلوعِ صبح ہے صہبا لیے ہوئے
۲
ہر خار و خس ہے آئینہ دارِ عروسِ گُل
ہر برگِ گل ہے عارضِ سلمٰی لیے ہوئے
۳
غنچے ہیں رنگِ نرگسِ خوباں سے بہرہ یاب
جھونکے ہیں بوئے کاکُلِ زیبا لیے ہوئے
۴
شبنم کا رس، نسیم کی خُنکی، کلی کا رنگ
آئے ہیں طائرانِ دل آرا لیے ہوئے
۵
کہتے ہیں جس کو رُوئے صنم کی ملاحتیں
وہ شئے ہے اپنی چھاؤں میں صحرا لیے ہوئے
۶
رسوائیوں کا خوف ہے کیفِ شبینہ کو
انگڑائیوں کا جوش ہے دریا لیے ہوئے
۷
پھولوں کے دل ہیں شرحِ محبت سے چاک چاک
کلیوں کے لب ہیں حرفِ تمنّا لیے ہوئے
۸
شبنم ہے برگِ تازہ پہ شبنم میں سرخیاں
آ بوستاں میں دیدۂ موسٰی لیے ہوئے
۹
اے چشمِ جوشؔ مژدہ، کہ لیلائے رنگ و بو
چٹکی میں ہے نقاب کا گوشا لیے ہوئے
दीदा-ए मूसा लिए हुए – जोश मलीहाबादी
१
उठ बर्बत ओ सुराही ओ मीना लिए हुए
रंग-ए तुलू-ए सुब्ह है सहबा लिए हुए
२
हर ख़र ओ ख़स है आईना-दार-ए उरूस-ए गुल
हर बर्ग-ए गुल है आरेज़-ए सलमा लिए हुए
३
ग़ुंचे हैं रंग-ए नर्गिस-ए ख़ूबाँ से बहरा-याब
झौंके हैं बू-ए काकुल-ए ज़ेबा लिए हुए
४
शबनम का रस, नसीम की ख़ुनकी, कली का रंग
आए हैं ता’एरान-ए दिल-आरा लिए हुए
५
कहते हैं जिस को रू-ए सनम की मलाहतें
वो शैय है अपनी छाँव में सहरा लिए हुए
६
रुस्वाइयों का ख़ौफ़ है कैफ़-ए शबीना को
अंगढाइयौं का जोश है दर्या लिए हुए
७
फूलों के दिल हैं शरह-ए मोहब्बत से चाक चाक
कलियों के लब हैं हर्फ़-ए तमन्ना लिए हुए
८
शबनम है बर्ग-ए ताज़ा पे, शबनम में सुर्ख़ियाँ
आ बोसताँ में दीदा-ए मूसा लिए हुए
९
अए चश्म-ए जोश मुज़्श्दा, के लैला-ए रंग ओ बू
चुटकी में है नक़ाब का गोशा लिए हुए
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’. This nazm juxtaposes the vitality of life with the beauty of dawn.
1
uTh barbat1 o suraahi2 o miina3 liye hue
raNg4-e tulu5-e sub’h hai sahba6 liye hue 1.lute, musical instrument 2.flask 3.cup of wine 4.colour, style 5.emergence, rise 6.wine
Rise, carrying with you the lute, flask and a goblet because the colour of the rising of dawn is like that of red wine. At the most basic level this is a description of the beauty of dawn with its red hues at the horizon and an invitation to the reader to rise and celebrate this beauty. There are multiple layers of analogies … barbat, suraahi and miina can be a celebration of the vitality and energy of life. sub’h is personified as the saaqi, a beautiful damsel. The style of rising of the saaqi is that of flowing red wine where style, colour, redness, intoxication and merriment are layered in the imagery. It is an invitation to celebrate life.
2
har Khaar1 o Khas2 hai aaina-daar3-e uruus4-e gul5
har barg-e-gul6 hai ariz7-e salma8 liye hue 1.thorn 2.dried grass, twigs 3.mirror bearer, reflection 4.bride 5.rose 6.rose-petal 7.face, cheeks 8.beloved
‘Khaar o Khas’ symbolize discarded material considered to be of little value. But even such material holds up a mirror reflecting the beauty of the most valuable feature of the garden … the rose. Thus, all things of the garden (the world) reflect the beauty of life and its one-ness. Thus, every ‘Khaar o Khas’ reflects the epitome of the beauty of the garden and every rose petal reflects the beauty of the countenance of the beloved. Who the beloved might be, is left to us, but given the context of the Ghazal, the beloved could well be life itself.
3
Ghunche1 haiN raNg2-e nargis3-e KhuubaaN4 se bahra-yaab5
jhoNke6 haiN buu-e kaakul7-e zeba8 liye hue 1.unopened buds 2.colour, style, shape 3.narcissus flower often used as symbolic of a beautiful eye 4.beauties, beloved 5.benefitted, blessed 6.gusts 7.fore-locks, hair 8.adorned, beautiful
Unopened buds symbolize budding life, or budding youth. These benefit from the style of the ‘nargis-e KhuubaaN’ – the ideal of a beautiful eye. Gentle gusts of breeze carry with them the fragrance of the adorned locks of the beloved. In poetic tradition, fragrant breeze of the morning wakes up sleeping buds and makes them bloom into flowers. This is symbolic of life flowering into its full glory.
4
shabnam1 ka ras2, nasiim3 ki Khunki4, kali ka raNg
aa’e haiN taa’eraan5-e dil-aara6 liye hue 1.dew drops 2.juice 3.fragrant breeze 4.coolness 5.birds 6.heart’s adornment, beloved
I interpret the beloved’s birds to be messengers and they have brought with them the cool comfort of fragrant breeze, the sweetness of dew and the style of buds. Who is the beloved – life itself or the emerging dawn with a message of the vigour of life.
5
kahte haiN jis ko ruu1-e sanam2 ki malaahateN3
voh shai4 hai apni chhaauN5 meN sahra6 liye hue 1.face 2.beloved 3.charms, salty/attractive 4.thing 5.shadow 6.desert, barrenness
That thing which is called the charm/beauty of the face of the beloved, carries with it (like the inevitable shadow) a barren desert. This is probably a message that beauty/glory/life itself is a fleeting time necessarity followed by death and by new life.
6
rusvaaiyoN1 ka Khauf2 hai kaif3-e shabina4 ko
aNgRaaiyoN5 ka josh6 hai dariya7 liye hue 1.embarrassment, humiliation, shame 2.fear 3.pleasure 4.night wine 5.yawning and stretching when waking up 6.fervour, passion 7.river
The word ‘josh’ carries over both to aNgRaaii and to dariya. This could well be life waking up, yawning and stretching at dawn. The fervour with which life wakes up carries a river/flood of passion with it. This causes a fear of being shamed because of the pleasure of intoxication of the night. The imagery is that of vitality and action upon waking up at dawn.
7
phooloN ke dil haiN shar’h1-e mohabbat se chaak-chaak2
kaliyoN3 ke lab4 haiN harf5-e tamanna6 liye hue 1.opening, explanation 2.torn apart 3.buds 4.lips 5.words 6.desire, longing, love
‘phooloN ke dil chaak-chaak hona’ represents the blooming of flowers. Their hearts are opened up. This is an explanation/expression of their love. Unopened buds too carry words of longing/love on their lips i.e., they too will soon express their love and their hearts too will be opened/torn apart. Thus, the continuation of life-cycle is an expression of (universal) love.
8
shabnam1 hai barg2-e taaza3 pe, shabnam1 meN surKhiyaaN4
aa bostaaN5 meN diida6-e muusa7 liye hue 1.dew drops 2.leaf 3.fresh 4.redness 5.garden 6.eyes 7.Moses
This is an invitation to the reader to come to the garden (the world) with the eye of Moses/muusa. It is believed that muusa went up mount tuur asking to see god or some manifestation/proof of the existence of god. josh implies that there is such proof in the garden. What is this proof … the beauty of dew drops on fresh leaves reflecting the red light of the horizon at dawn. Says josh elsewhere ….
ham aise ahl-e nazar ko suboot-e haq ke liye
agar rasool na hotay to sub’h kaafi thii
9
aye chashm1-e josh2 muzshda3, keh laila4-e raNg-o-buu5
chuTki6 meN hai naqaab7 ka gosha8 liye hue 1.eye 2.pen-name of the poet 3.felicitations, good news 4.of laila-majnuN legend, beloved 5.colour and fragrance, senses 6.pinch 7.veil 8.corner
Life is like laila the beloved. This is a life of colour and fragrance i.e., senses for appreciating the beauty of life. It is dawn, day is about to break out, the vitality of life is about to begin … this beginning is described as the laila of life, holding the corner of her veil in a pinch between her fingers about to lift her veil. The lifting of the veil of night and emergence of the brilliance of the sun is nicely juxtaposed with unveiling of the vitality of life. This unveiling brings felicitations/greetings to the eye of the poet.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. His collection of nazm/Ghazal and rubaaii can be accessed both under the poet’s name and from the Theme Index, ‘jalva-e sahr’. This nazm juxtaposes the vitality of life with the beauty of dawn.
1
uTh barbat1 o suraahi2 o miina3 liye hue
raNg4-e tulu5-e sub’h hai sahba6 liye hue
1.lute, musical instrument 2.flask 3.cup of wine 4.colour, style 5.emergence, rise 6.wine
Rise, carrying with you the lute, flask and a goblet because the colour of the rising of dawn is like that of red wine. At the most basic level this is a description of the beauty of dawn with its red hues at the horizon and an invitation to the reader to rise and celebrate this beauty. There are multiple layers of analogies … barbat, suraahi and miina can be a celebration of the vitality and energy of life. sub’h is personified as the saaqi, a beautiful damsel. The style of rising of the saaqi is that of flowing red wine where style, colour, redness, intoxication and merriment are layered in the imagery. It is an invitation to celebrate life.
2
har Khaar1 o Khas2 hai aaina-daar3-e uruus4-e gul5
har barg-e-gul6 hai ariz7-e salma8 liye hue
1.thorn 2.dried grass, twigs 3.mirror bearer, reflection 4.bride 5.rose 6.rose-petal 7.face, cheeks 8.beloved
‘Khaar o Khas’ symbolize discarded material considered to be of little value. But even such material holds up a mirror reflecting the beauty of the most valuable feature of the garden … the rose. Thus, all things of the garden (the world) reflect the beauty of life and its one-ness. Thus, every ‘Khaar o Khas’ reflects the epitome of the beauty of the garden and every rose petal reflects the beauty of the countenance of the beloved. Who the beloved might be, is left to us, but given the context of the Ghazal, the beloved could well be life itself.
3
Ghunche1 haiN raNg2-e nargis3-e KhuubaaN4 se bahra-yaab5
jhoNke6 haiN buu-e kaakul7-e zeba8 liye hue
1.unopened buds 2.colour, style, shape 3.narcissus flower often used as symbolic of a beautiful eye 4.beauties, beloved 5.benefitted, blessed 6.gusts 7.fore-locks, hair 8.adorned, beautiful
Unopened buds symbolize budding life, or budding youth. These benefit from the style of the ‘nargis-e KhuubaaN’ – the ideal of a beautiful eye. Gentle gusts of breeze carry with them the fragrance of the adorned locks of the beloved. In poetic tradition, fragrant breeze of the morning wakes up sleeping buds and makes them bloom into flowers. This is symbolic of life flowering into its full glory.
4
shabnam1 ka ras2, nasiim3 ki Khunki4, kali ka raNg
aa’e haiN taa’eraan5-e dil-aara6 liye hue
1.dew drops 2.juice 3.fragrant breeze 4.coolness 5.birds 6.heart’s adornment, beloved
I interpret the beloved’s birds to be messengers and they have brought with them the cool comfort of fragrant breeze, the sweetness of dew and the style of buds. Who is the beloved – life itself or the emerging dawn with a message of the vigour of life.
5
kahte haiN jis ko ruu1-e sanam2 ki malaahateN3
voh shai4 hai apni chhaauN5 meN sahra6 liye hue
1.face 2.beloved 3.charms, salty/attractive 4.thing 5.shadow 6.desert, barrenness
That thing which is called the charm/beauty of the face of the beloved, carries with it (like the inevitable shadow) a barren desert. This is probably a message that beauty/glory/life itself is a fleeting time necessarity followed by death and by new life.
6
rusvaaiyoN1 ka Khauf2 hai kaif3-e shabina4 ko
aNgRaaiyoN5 ka josh6 hai dariya7 liye hue
1.embarrassment, humiliation, shame 2.fear 3.pleasure 4.night wine 5.yawning and stretching when waking up 6.fervour, passion 7.river
The word ‘josh’ carries over both to aNgRaaii and to dariya. This could well be life waking up, yawning and stretching at dawn. The fervour with which life wakes up carries a river/flood of passion with it. This causes a fear of being shamed because of the pleasure of intoxication of the night. The imagery is that of vitality and action upon waking up at dawn.
7
phooloN ke dil haiN shar’h1-e mohabbat se chaak-chaak2
kaliyoN3 ke lab4 haiN harf5-e tamanna6 liye hue
1.opening, explanation 2.torn apart 3.buds 4.lips 5.words 6.desire, longing, love
‘phooloN ke dil chaak-chaak hona’ represents the blooming of flowers. Their hearts are opened up. This is an explanation/expression of their love. Unopened buds too carry words of longing/love on their lips i.e., they too will soon express their love and their hearts too will be opened/torn apart. Thus, the continuation of life-cycle is an expression of (universal) love.
8
shabnam1 hai barg2-e taaza3 pe, shabnam1 meN surKhiyaaN4
aa bostaaN5 meN diida6-e muusa7 liye hue
1.dew drops 2.leaf 3.fresh 4.redness 5.garden 6.eyes 7.Moses
This is an invitation to the reader to come to the garden (the world) with the eye of Moses/muusa. It is believed that muusa went up mount tuur asking to see god or some manifestation/proof of the existence of god. josh implies that there is such proof in the garden. What is this proof … the beauty of dew drops on fresh leaves reflecting the red light of the horizon at dawn. Says josh elsewhere ….
ham aise ahl-e nazar ko suboot-e haq ke liye
agar rasool na hotay to sub’h kaafi thii
9
aye chashm1-e josh2 muzshda3, keh laila4-e raNg-o-buu5
chuTki6 meN hai naqaab7 ka gosha8 liye hue
1.eye 2.pen-name of the poet 3.felicitations, good news 4.of laila-majnuN legend, beloved 5.colour and fragrance, senses 6.pinch 7.veil 8.corner
Life is like laila the beloved. This is a life of colour and fragrance i.e., senses for appreciating the beauty of life. It is dawn, day is about to break out, the vitality of life is about to begin … this beginning is described as the laila of life, holding the corner of her veil in a pinch between her fingers about to lift her veil. The lifting of the veil of night and emergence of the brilliance of the sun is nicely juxtaposed with unveiling of the vitality of life. This unveiling brings felicitations/greetings to the eye of the poet.
The post diida-e moosa liye hue-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-ishteraaki-rind-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اِشتراکی رِند ۔ جوشؔ ملیح آبادی
۱
اُٹھ کہ اُٹھتی نہیں اب سینۂ ایّام سے آگ
دِل آفاق پہ برسا اُفقِ جام سے آگ
۲
دامنِ تر کو بنا حاملِ برق و آتش
کہ نکلتی نہیں اب جامۂ احرام سے آگ
۳
نہ رہا کوثر و تسنیم کے چھینٹوں میں اثر
اب دِل و جاں میں لگا بادۂ گُل فام سے آگ
۴
آج اُسے کُفر کے جھونکوں سے فروزاں کر دے
کل لگائی تھی کلیجوں میں جو اِسلام سے آگ
۵
کام کے اب نہ رہے قہر و غضب کے اخگر
اب زمانے میں لگا بخشش و اِنعام سے آگ
۶
اب تو گفتار میں خود آ کہ ہے بجھنے کے قریب
تو نے بھڑکائی تھی جو نامۂ و پیغام سے آگ
۷
وقت آیا ہے کہ بے پردہ ہو اے برقِ جمال
اب دہکتی نہیں سینوں میں تیرے نام سے آگ
۸
برق رفتار جوانوں کو دِکھا راہِ شرار
کہ بھڑکتی نہیں پیرانِ سبک گام سے آگ
۹
خندۂ خواجۂ خوش وقت سے نکلے گا نہ کام
اب لگا اشکِ غمِ بندۂ ناکام سے آگ
۱۰
حکم دے شرّ خوش آغاز کو ضوباری کا
کہ نکلتی نہیں اب خیرِ بد انجام سے آگ
۱۱
خلوتِ خاص کے شعلے تو بہت دیکھے ہیں
آج برسا اُفقِ جلوہ گہہ عام سے آگ
۱۲
دور ہے وادیِ ایمن ہو کہ طورِ سینا
اب یہ موقع ہے کہ برسا دے ہر اِک بام سے آگ
۱۳
جوشؔ کیا صبح کو ہو دیکھئے نظمِ عالم
آج روشن ہے میرے دِل میں سرِ شام سے آگ
इश्तेराकी रिन्द – मोश मलीहाबादी
१
उठ के उठती नहीं अब सीना-ए अय्याम से आग
दिल-ए आफ़ाक़ से बरसा उफ़क़-ए जाम से आग
२
दामन-ए तर को बना हामिल-ए बर्क़ ओ आतिश
के निकलती नहीं अब जामा-ए अहराम से आग
३
न रहा कौसर ओ तस्नीम कि छींटौं में असर
अब दिल ओ जां में लगा बादा-ए गुल्फ़ाम से आग
४
आज उसे कुफ़्र के झोंकों से फ़रोज़ाँ कर दे
कल लगाई थी कालेजों में जो इस्लाम से आग
५
काम के अब न रहे क़हर ओ ग़ज़ब के अख़्गर
अब ज़माने में लगा बख़्शिश ओ इन’आम से आग
६
अब तो गुफ़्तार में ख़ुद आ के है बुझने के क़रीब
तू ने भड़काई थी जो नामा ओ पैग़ाम से आग
७
वक़्त आया है के बे-परदा हो अए बर्क़-ए जमाल
अब दहकती नहीं सीनों में तेरे नाम से आग
८
बर्क़ रफ़्तार जवानों को दिखा राह-ए शरार
के भड़कती नहीं पीरान-ए सुबुक गाम से आग
९
ख़न्दा-ए ख़्वाजा-ए ख़ुश-वक़्त से निकले गा न काम
अब लगा अश्क-ए ग़म-ए बन्दा-ए नाकाम से आग
१०
हुक्म दे शर्र-ए ख़ुश-आग़ाज़ को ज़ौ-बारी का
के निकलती नहीं अब खै़र-ए बद-अंजाम से आग
११
ख़िल्वत-ए ख़ास के शोले तो बहुत देखे हैं
आज बर्सा उफ़क़-ए जल्वा-गह-ए आम से आग
१२
दूर है वादी-ए ऐमन हो के तूर-ए सीना
अब ये मौक़ा है के बर्सा दे हर एक बाम से आग
१३
जोश क्या सुबह को हो देखिये नज़्म-ए आलम
आज रौशन है मेरे दिल में सर-ए शाम से आग
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. The title of this nazm (but following the structure of a Ghazal – hence a musalsil Ghazal) can be roughly translated as wine loving socialist. But ‘rind-wine lover’ is a loaded metaphor. It symbolizes wine drinking as a rebellion against orthodoxy, against the power structure and received wisdom. The wine can be wine of universal knowledge, love of justice and/or love of knowledge.
1
uTh keh uThti nahiN ab seena-e ayyaam1 se aag
dil-e aafaaq2 peh barsa ufaq3-e jaam4 se aag 1.days, times, present period 2.skies 3.horizon 4.cup, goblet (of wine)
This is addressed to himself and/or to his comrades asking them to rise and do something. There is no flame rising from the bosom of the times i.e., people seem not to be rising up in protest. The curvature of the horizon is like the rim of a wine cup. It also is red (at sunrise) like the colour of wine. Sunrise also symbolizes the coming socialist revolution. Rise up and pour this red wine into the heart of the skies i.e., bring about a socialist uprising. Fire here could be of red colour and also intensity of passion.
2
daaman1-e tar2 ko bana haamil3-e barq4 o aatish5
keh nikalti nahiN ab jaama-e-ahraam6 se aag 1.hem of the garment 2.wet 3.carry, bear 4.lightning 5.fire 6.cloth wrapped during hajj
The hem of the garment is wet with tears (of sorrow due to deprivation). Change that sorrow into revolutionary energy by making the wet hem bear lightning and fire symbolizing the energy for change. Because the garment of hajj pilgrimage no longer inspires the kind of energy/change that it used to during early times.
3
na raha kausar1 o tasneem1 ke chheeNTauN2 meN asar3
ab dil o jaaN meN laga baada-e-gulfaam4 se aag 1.names of two rivers in heaven 2.sprinkled drops 3.effect 4.rose-coloured/red wine
In orthodox convention sprinkling with ‘holy’ water of the rivers of heaven would provide deliverance. That does not have the same effect any more. Set the heart and soul on fire with red wine. He is using red wine to symbolize socialism.
4
aaj use kufr1 ke jhoNkauN2 se farozaaN3 kar de
kal lagaaii thhi kalejauN4 meN jo islaam se aag 1.non-belief, rebellion 2.gusts of wind 3.brighten, burning 4.liver (seat of courage)
This may have been written during the anti-colonial movement. josh is conflating rebellion against the British with the socialist movement and specifically addressing the muslim community to rise up. Early islaamic tradition had set livers of fire i.e., inspired courageous action. That flame has died down. He is calling upon his comrades to blow ‘gusts of winds of resistance – kufr ke jhoNke’ to bring that fire to life.
5
kaam ke ab na rahe qahar1 o Ghazab2 ke aKhgar3
ab zamaane4 meN laga baKhshish5 o in’aam6 se aag 1.curse, divine wrath 2.anger, fury 3.embers, fires 4.world 5.grants, gifts 6.rewards
Fear of burning embers of hell, divine wrath and fury is not going to work. Set the world on fire with thoughts of expectations and rewards (of change).
6
ab to guftaar1 meN Khud2 aa, keh hai bujhne ke qareeb3
tu ne bhaRkaaii4 thi jo naama5 o paiGhaam6 se aag 1.conversation 2.yourself, in person 3.near, almost 4.set aflame 5.letter, book 6.message
This is probably addressed to god. At one time you had set minds/hearts on fire with your message and book. Those flames are almost extinguished. It is time for you come yourself and talk to the world.
7
vaqt1 aaya hai keh be-parda2 ho aye barq3-e jamaal4
ab dahakti5 nahiN seenauN meN tere naam se aag 1.time 2.unveiled, appear 3.lightning 4.beauty, grace, glory 5.glow, burn
The time has come that you appear, O divine glory because the fire that used to burn in bosoms inspired by your name, does not glow any more.
8
barq1 raftaar2 javaanauN ko dikha raah3-e sharaar4
keh bhaRakti5 nahiN peeraan6-e subuk-gaam7 se aag 1.lightning 2.speed 3.path 4.spark, fire 5.burst into flames 6.elders, old 7.light/slow step
Show the fleet footed youth the path of passion because the slow elders can no longer make rising flames.
9
Khanda1-e Khwaaja2-e Khush-vaqt3 se nikle ga na kaam
ab laga ashk4-e Gham-e banda-e-naakaam5 se aag 1.smile 2.leader 3.good times 4.tears 5.unsuccessful/frustrated devotee/servant
By ‘Khwaaja-e Khush-vaqt’ is meant a leader who may be OK when times are good but who cannot deal with adversities/challenges. The smile of such a leader will not work any more. Use the tears of sorrow (anger) of the frustrated commoner to set a fire.
10
hukm1 de sharr2-e Khush-aaGhaaz3 ko zau-baari4 ka
keh nikalti nahiN ab Khair5-e bad-anjaam6 se aag 1.command 2.here-short for sharaarat, mischief, rebellion, revolution 3.good beginning 4.raining light 5.well-being 6.bad result
The powers that be, have made promises of well-being, but they have not been fulfilled. There is no sign of fire/rebellion against it. Command the revolution/change of good beginnings to rain light on the state of affairs.
11
Khalvat1-e Khaas2 ke sho’le3 to bahut dekhe haiN
aaj barsa4 ufaq5-e jalva-gah6-e ‘aam7 se aag 1.seclusion, sanctuary 2.special 3.flames 4.rain down 5.horizon 6.place of manifestation 7.general, public, ordinary
We have seen many flames coming from the sanctuary of special interests. Today, make fire rain down from the horizon of the place of public gathering i.e., raise the anger of protest among common people.
12
duur hai vaadi1-e ayman2 ho keh tuur3-e siina4
ab ye mauqa5 hai keh barsa6 de har ek baam7 se aag 1.valley 2.sanctuary, safety, heaven 3.mount tuur 4.Sinai 5.occasion 6.rain down 7.rooftop
Mount tuur in Sinai is where Moses is supposed to have gone asking to see god. He saw a divine flash of lightning which is sometimes interpreted as enlightenment. vaadi-e ayman is used here to mean heaven. Thus both of these divine promises are far away and uncertain. This is the time to make fire rain down from every rooftop.
13
josh1 kya sub’h ko ho dekhiye nazm2-e aalam3
aaj raushan4 hai mere dil meN sar5-e shaam se aag 1.pen-name of the poet 2.administration, power-structure 3.world 4.lit up, shining 5.beginning
The poet has been restless from the beginning of the evening. He feels that some change is going to happen. O josh, let us see what the new order of the world is going to be in the morning. The morning is progressive urdu poetry symbolises the day of social justice.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. The title of this nazm (but following the structure of a Ghazal – hence a musalsil Ghazal) can be roughly translated as wine loving socialist. But ‘rind-wine lover’ is a loaded metaphor. It symbolizes wine drinking as a rebellion against orthodoxy, against the power structure and received wisdom. The wine can be wine of universal knowledge, love of justice and/or love of knowledge.
1
uTh keh uThti nahiN ab seena-e ayyaam1 se aag
dil-e aafaaq2 peh barsa ufaq3-e jaam4 se aag
1.days, times, present period 2.skies 3.horizon 4.cup, goblet (of wine)
This is addressed to himself and/or to his comrades asking them to rise and do something. There is no flame rising from the bosom of the times i.e., people seem not to be rising up in protest. The curvature of the horizon is like the rim of a wine cup. It also is red (at sunrise) like the colour of wine. Sunrise also symbolizes the coming socialist revolution. Rise up and pour this red wine into the heart of the skies i.e., bring about a socialist uprising. Fire here could be of red colour and also intensity of passion.
2
daaman1-e tar2 ko bana haamil3-e barq4 o aatish5keh nikalti nahiN ab jaama-e-ahraam6 se aag
1.hem of the garment 2.wet 3.carry, bear 4.lightning 5.fire 6.cloth wrapped during hajj
The hem of the garment is wet with tears (of sorrow due to deprivation). Change that sorrow into revolutionary energy by making the wet hem bear lightning and fire symbolizing the energy for change. Because the garment of hajj pilgrimage no longer inspires the kind of energy/change that it used to during early times.
3
na raha kausar1 o tasneem1 ke chheeNTauN2 meN asar3ab dil o jaaN meN laga baada-e-gulfaam4 se aag
1.names of two rivers in heaven 2.sprinkled drops 3.effect 4.rose-coloured/red wine
In orthodox convention sprinkling with ‘holy’ water of the rivers of heaven would provide deliverance. That does not have the same effect any more. Set the heart and soul on fire with red wine. He is using red wine to symbolize socialism.
4
aaj use kufr1 ke jhoNkauN2 se farozaaN3 kar de
kal lagaaii thhi kalejauN4 meN jo islaam se aag
1.non-belief, rebellion 2.gusts of wind 3.brighten, burning 4.liver (seat of courage)
This may have been written during the anti-colonial movement. josh is conflating rebellion against the British with the socialist movement and specifically addressing the muslim community to rise up. Early islaamic tradition had set livers of fire i.e., inspired courageous action. That flame has died down. He is calling upon his comrades to blow ‘gusts of winds of resistance – kufr ke jhoNke’ to bring that fire to life.
5
kaam ke ab na rahe qahar1 o Ghazab2 ke aKhgar3ab zamaane4 meN laga baKhshish5 o in’aam6 se aag
1.curse, divine wrath 2.anger, fury 3.embers, fires 4.world 5.grants, gifts 6.rewards
Fear of burning embers of hell, divine wrath and fury is not going to work. Set the world on fire with thoughts of expectations and rewards (of change).
6
ab to guftaar1 meN Khud2 aa, keh hai bujhne ke qareeb3tu ne bhaRkaaii4 thi jo naama5 o paiGhaam6 se aag
1.conversation 2.yourself, in person 3.near, almost 4.set aflame 5.letter, book 6.message
This is probably addressed to god. At one time you had set minds/hearts on fire with your message and book. Those flames are almost extinguished. It is time for you come yourself and talk to the world.
7
vaqt1 aaya hai keh be-parda2 ho aye barq3-e jamaal4ab dahakti5 nahiN seenauN meN tere naam se aag
1.time 2.unveiled, appear 3.lightning 4.beauty, grace, glory 5.glow, burn
The time has come that you appear, O divine glory because the fire that used to burn in bosoms inspired by your name, does not glow any more.
8
barq1 raftaar2 javaanauN ko dikha raah3-e sharaar4keh bhaRakti5 nahiN peeraan6-e subuk-gaam7 se aag
1.lightning 2.speed 3.path 4.spark, fire 5.burst into flames 6.elders, old 7.light/slow step
Show the fleet footed youth the path of passion because the slow elders can no longer make rising flames.
9
Khanda1-e Khwaaja2-e Khush-vaqt3 se nikle ga na kaam
ab laga ashk4-e Gham-e banda-e-naakaam5 se aag
1.smile 2.leader 3.good times 4.tears 5.unsuccessful/frustrated devotee/servant
By ‘Khwaaja-e Khush-vaqt’ is meant a leader who may be OK when times are good but who cannot deal with adversities/challenges. The smile of such a leader will not work any more. Use the tears of sorrow (anger) of the frustrated commoner to set a fire.
10
hukm1 de sharr2-e Khush-aaGhaaz3 ko zau-baari4 ka
keh nikalti nahiN ab Khair5-e bad-anjaam6 se aag
1.command 2.here-short for sharaarat, mischief, rebellion, revolution 3.good beginning 4.raining light 5.well-being 6.bad result
The powers that be, have made promises of well-being, but they have not been fulfilled. There is no sign of fire/rebellion against it. Command the revolution/change of good beginnings to rain light on the state of affairs.
11
Khalvat1-e Khaas2 ke sho’le3 to bahut dekhe haiN
aaj barsa4 ufaq5-e jalva-gah6-e ‘aam7 se aag
1.seclusion, sanctuary 2.special 3.flames 4.rain down 5.horizon 6.place of manifestation 7.general, public, ordinary
We have seen many flames coming from the sanctuary of special interests. Today, make fire rain down from the horizon of the place of public gathering i.e., raise the anger of protest among common people.
12
duur hai vaadi1-e ayman2 ho keh tuur3-e siina4ab ye mauqa5 hai keh barsa6 de har ek baam7 se aag
1.valley 2.sanctuary, safety, heaven 3.mount tuur 4.Sinai 5.occasion 6.rain down 7.rooftop
Mount tuur in Sinai is where Moses is supposed to have gone asking to see god. He saw a divine flash of lightning which is sometimes interpreted as enlightenment. vaadi-e ayman is used here to mean heaven. Thus both of these divine promises are far away and uncertain. This is the time to make fire rain down from every rooftop.
13
josh1 kya sub’h ko ho dekhiye nazm2-e aalam3aaj raushan4 hai mere dil meN sar5-e shaam se aag
1.pen-name of the poet 2.administration, power-structure 3.world 4.lit up, shining 5.beginning
The poet has been restless from the beginning of the evening. He feels that some change is going to happen. O josh, let us see what the new order of the world is going to be in the morning. The morning is progressive urdu poetry symbolises the day of social justice.
The post ishteraaki rind-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/07/joshm-subh-peshkash-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
پیش کش ۔ صبح ۔ جوشؔ ملیح آبادی
۱
اے صبح اے عروسِ دلآویز عشوہ کام
رنگیں مزاج و زہرا جبین و فلک مقام
شیریں لب و شگفتہ و گلرنگ لالہ فام
لے اپنے کم ترین پرستار کا سلام
قربان تیرے خندۂ گوہر سرشت کے
دل میں کھلے ہوئے ہیں دریچے بہشت کے
۲
تو نے سرِ خیال کو زانو عطا کیا
دھووے جو دل سے غم کو وہ آنسو عطا کیا
دی فکر اور فکر پہ قابو عطا کیا
پہلو کو دل زبان کو جادو عطا کیا
تو نے خموشیوں کو ترانہ بنا دیا
ہر جنبشِ نظر کو فسانہ بنا دیا
۳
سینے میں ولولوں کا تلاطم تجھی سے ہے
خاموشیوں میں شانِ تکلّم تجھی سے ہے
موجِ نفس میں سوزِ ترنّم تجھی سے ہے
تخیٔل کے لبوں پہ تبسم تجھی سے ہے
کیا بات تیرے زمزمۂ بے عدیل کی
کانوں میں آ رہی ہے صدا جبرئیل کی
۴
ہر چند دل شِکن ہے زمانہ کی داروگیر
پھر بھی بحکمِ ذوق و بہ اندیشۂ ضمیر
شاعر تری جناب میں اے حُسنِ بے نظیر
حاضر ہوا ہے لے کے پھر اک تحفۂ حقیر
فیضِ نگاہِ ناز سے کانٹے کو پھول کر
اے تاجدارِ حُسن اسے بھی قبول کر
सुबह – पेश कश – जोश मलीहाबादी
१
अए सुबह अए उरूस-ए दिलआवेज़ इश्वा काम
रंगीं मिज़ाज ओ ज़ोहरा जबीन ओ फ़लक मक़ाम
शीरीं लब ओ शगुफ़्ता ओ गुलरंग लाला फ़ाम
ले अपने कम-तरीन परस्तार का सलाम
क़ुर्बान तेरे ख़दा-ए गौहर-सरिश्त के
दिल में खिले हुए हैं दरीचे बेहिश्त के
२
तू ने सर-ए ख़याल को ज़ानू अता किया
धोवए जो दिल से ग़म को वो आंसू अता किया
दी फ़िक्र, और फ़िक्र पे क़ाबू अता किया
पहलू को दिल, ज़बान को जादू अता किया
तू ने ख़मोशियों को तराना बना दिया
हर जुंबिश-ए नज़र को फ़साना बना दिया
३
सीने में वलवलौं का तलातुम तुझी से है
ख़ामोशियौं में शान-ए तकल्लुम तुझी से है
मौज-ए नफ़स में सोज़-ए तरन्नुम तुझी से है
तख़’ईल के लबौं पे तबस्सुम तुझी से है
क्या बात तेरे ज़मज़मा-ए बे अदील की
कानौं में आ रही है सदा जिब्रा’ईल की
४
हर चंद दिल शिकन है ज़माने की दार ओ गीर
फिर भी ब-हुक्म-ए ज़ौक ओ ब-अंदेशा-ए ज़मीर
शा’एर तेरी जनाब में अए हुस्न-ए बे-नज़ीर
हाज़ेर हुआ है ले के फिर एक तोहफ़ा-ए हक़ीर
फ़ैज़-ए निगाह-ए नाज़ से कांटे को फूल कर
अए ताजदार-ए हुस्न इसे भी क़ुबूल कर
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He is well known for his fiery nazm. He also wrote many romantic as well as cerebral nazm and Ghazal. His marsia are a celebration of dignified death rather than bowing to injustice even at the cost of life. He also wrote numerous rubaaii. He was known to take early morning walks and admired the beauty of dawn. There is a substantial collection of his verse gathered under jalva-e sahr on the Theme Index page. This musaddas too is linked to it.
1
aye sub’h, aye uruus1-e dil-aavez2 ishwa-kaam3
raNgiiN mizaaj4 o zohra-jabiin5 o falak-maqaam6
shiiriiN7 lab8 o shagufta9 o gulraNg10 laala-faam11
le apne kam-tareen12 parastaar13 ka salaam
qurbaan14 tere Khanda15-e gauhar-sarisht16 ke
dil meN khule hue haiN dariiche17 behisht18 ke 1.bride 2.heart ravishing, beautiful 3.showing grace, graceful 4.mood, nature 5.shining forehead like Venus 6.high like the sky, high status 7.sweet 8.lips 9.blooming, cheerful 10.rose coloured 11.tulip/red coloured 12.lowliest 13.devotee 14.sacrificial offering, tribute 15.smile 16.nature of pearls, pearly 17.windows 18.heaven
This is purely a description of beauty using exquisite adjactives but the imagery of redness of dawn, brightness over the horizon, freshness of air is nicely woven in. O dawn, O heart ravishing and graceful bride; colourful nature, shining face/forehead, of a high status above us; sweet lips, cheerful like a smile, spreading cheer like colourful redness; accept the salaam of your lowliest devotee. I offer my tribute to your pearly smile. Your sight opens up windows to heaven.
2
tu ne sar-e Khayaal1 ko zaanu2 ata3 kiya
dho’e4 jo dil se Gham ko voh aaNsu5 ata kiya
dii fikr6, aur fikr pe qaabu7 ata kiya
pahlu8 ko dil, zabaan ko jaadu ata kiya
tu ne KhamoshiyoN ko taraana bana diya
har jumbish9-e nazar10 ko fasaana11 bana diya 1.thought, imagination 2.lap 3.grant, bestow 4.wash 5.tears 6.thinking, reasoning 7.control, discretion 8.side, bosom 9.movement, flutter 10.eyes 11.story, legend
You have granted the poet’s imagination the support and love of your lap; tears that wash away sorrow. You have granted the ability to think/reason and discretion to shape the expression of thought. You have placed a heart in my bosom and granted enchantment to my tongue. You have changed silence into anthems and the flutter of eyelashes into legends.
3
seene meN valvaloN1 ka talaatum2 tujhi se hai
KhaamoshiyoN meN shaan3-e takallum4 tujhi se hai
mauj5-e nafas6 meN soz7-e tarannum8 tujhi se hai
taKh’eel9 ke laboN10 pe tabassum11 tujhi se hai
kya baat tere zamzama12-e be-adeel13 ki
kaanoN meN aa rahi hai sada14 jibra’eel15 ki 1.fervour, ardour 2.storm, flow 3.grandeur 4.speech 5.wave 6.breath 7.fire, passion 8.melody, song 9.thought, imagination 10.lips 11.smile 12.divine music (gurgling of the spring of zamzam is a symbol of divine music) 13.unequaled 14.sound 15.archangel Gabriel
The storm of fervour/passion in my bosom/heart is because of you. It is because of you that even my silence has the grandeur of speech. Every breath becomes a passionate song. There is a smile on the lips of imagination because of you. How can I describe your unequalled music. It is as if the sound of archangel Gabriel is playing in my ears i.e., it is divine inspiration that makes me write. Said Ghalib …
aate haiN Ghaib se ye mazaamiiN Khayaal meN
Ghalib sariir-e Khaama navaa-e sarosh hai
4
harchand1 dil shikan2 hai zamaane3 ki daar-o-giir4
phir bhi ba-hukm5-e zauq6 o ba-andesha7-e zamiir8
shaa’er teri janaab9 meN aye husn10-e be-naziir11
haazir12 hua hai le ke phir ek tohfa13-e haqiir14
faiz15-e nigaah16-e naaz17 se kaaNTe ko phool kar
aye tajdaar-e husn10 ise bhi qubool18 kar 1.even though 2.torn 3.times, world 4.conflict 5.by order of 6.taste, desire 7.apprehension, fear, anxiety 8.conscience, heart 9.in service of 10.beauty 11.without example 12.presence 13.gift 14.insignificant, contemptible 15.benevolence 16.eyes 17.graceful style 18.accept
Even though my heart is torn because of the conflicts of the world, still, by the order of desire and by apprehension in my heart, this poet comes to serve you who are of unexampled beauty. He has come in your presence bearing an insignificant gift (his nazm is his gift/offering to the dawn). Change this thorn (rough prickly nazm) into a flower (smooth, fragrant verse) by the benevolence of your sight. O crowned/king of beauty, accept this too.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He is well known for his fiery nazm. He also wrote many romantic as well as cerebral nazm and Ghazal. His marsia are a celebration of dignified death rather than bowing to injustice even at the cost of life. He also wrote numerous rubaaii. He was known to take early morning walks and admired the beauty of dawn. There is a substantial collection of his verse gathered under jalva-e sahr on the Theme Index page. This musaddas too is linked to it.
1
aye sub’h, aye uruus1-e dil-aavez2 ishwa-kaam3
raNgiiN mizaaj4 o zohra-jabiin5 o falak-maqaam6
shiiriiN7 lab8 o shagufta9 o gulraNg10 laala-faam11
le apne kam-tareen12 parastaar13 ka salaam
qurbaan14 tere Khanda15-e gauhar-sarisht16 ke
dil meN khule hue haiN dariiche17 behisht18 ke
1.bride 2.heart ravishing, beautiful 3.showing grace, graceful 4.mood, nature 5.shining forehead like Venus 6.high like the sky, high status 7.sweet 8.lips 9.blooming, cheerful 10.rose coloured 11.tulip/red coloured 12.lowliest 13.devotee 14.sacrificial offering, tribute 15.smile 16.nature of pearls, pearly 17.windows 18.heaven
This is purely a description of beauty using exquisite adjactives but the imagery of redness of dawn, brightness over the horizon, freshness of air is nicely woven in. O dawn, O heart ravishing and graceful bride; colourful nature, shining face/forehead, of a high status above us; sweet lips, cheerful like a smile, spreading cheer like colourful redness; accept the salaam of your lowliest devotee. I offer my tribute to your pearly smile. Your sight opens up windows to heaven.
2
tu ne sar-e Khayaal1 ko zaanu2 ata3 kiya
dho’e4 jo dil se Gham ko voh aaNsu5 ata kiya
dii fikr6, aur fikr pe qaabu7 ata kiya
pahlu8 ko dil, zabaan ko jaadu ata kiya
tu ne KhamoshiyoN ko taraana bana diya
har jumbish9-e nazar10 ko fasaana11 bana diya
1.thought, imagination 2.lap 3.grant, bestow 4.wash 5.tears 6.thinking, reasoning 7.control, discretion 8.side, bosom 9.movement, flutter 10.eyes 11.story, legend
You have granted the poet’s imagination the support and love of your lap; tears that wash away sorrow. You have granted the ability to think/reason and discretion to shape the expression of thought. You have placed a heart in my bosom and granted enchantment to my tongue. You have changed silence into anthems and the flutter of eyelashes into legends.
3
seene meN valvaloN1 ka talaatum2 tujhi se hai
KhaamoshiyoN meN shaan3-e takallum4 tujhi se hai
mauj5-e nafas6 meN soz7-e tarannum8 tujhi se hai
taKh’eel9 ke laboN10 pe tabassum11 tujhi se hai
kya baat tere zamzama12-e be-adeel13 ki
kaanoN meN aa rahi hai sada14 jibra’eel15 ki
1.fervour, ardour 2.storm, flow 3.grandeur 4.speech 5.wave 6.breath 7.fire, passion 8.melody, song 9.thought, imagination 10.lips 11.smile 12.divine music (gurgling of the spring of zamzam is a symbol of divine music) 13.unequaled 14.sound 15.archangel Gabriel
The storm of fervour/passion in my bosom/heart is because of you. It is because of you that even my silence has the grandeur of speech. Every breath becomes a passionate song. There is a smile on the lips of imagination because of you. How can I describe your unequalled music. It is as if the sound of archangel Gabriel is playing in my ears i.e., it is divine inspiration that makes me write. Said Ghalib …
aate haiN Ghaib se ye mazaamiiN Khayaal meN
Ghalib sariir-e Khaama navaa-e sarosh hai
4
harchand1 dil shikan2 hai zamaane3 ki daar-o-giir4
phir bhi ba-hukm5-e zauq6 o ba-andesha7-e zamiir8
shaa’er teri janaab9 meN aye husn10-e be-naziir11
haazir12 hua hai le ke phir ek tohfa13-e haqiir14
faiz15-e nigaah16-e naaz17 se kaaNTe ko phool kar
aye tajdaar-e husn10 ise bhi qubool18 kar
1.even though 2.torn 3.times, world 4.conflict 5.by order of 6.taste, desire 7.apprehension, fear, anxiety 8.conscience, heart 9.in service of 10.beauty 11.without example 12.presence 13.gift 14.insignificant, contemptible 15.benevolence 16.eyes 17.graceful style 18.accept
Even though my heart is torn because of the conflicts of the world, still, by the order of desire and by apprehension in my heart, this poet comes to serve you who are of unexampled beauty. He has come in your presence bearing an insignificant gift (his nazm is his gift/offering to the dawn). Change this thorn (rough prickly nazm) into a flower (smooth, fragrant verse) by the benevolence of your sight. O crowned/king of beauty, accept this too.
The post peshkash-sub’h-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/mtbmd-ruKh-e-yaar-dekh-kar-complete-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
رُخِ یار دیکھ کر ۔ مرزا تقی بیگ مائلؔ دہلوی
۱
آیا بھی برقِ طور کو سَو بار دیکھ کر
لایا نہ پھر بھی تاب رُخِ یار دیکھ کر
۲
میرے بھی ہوش اُڑ گئے اُس جلوہ گاہ میں
روح الامیں کو نقش بہ دیوار دیکھ کر
۳
بلبل بھی ایک گل کی خریدار بن گئی
گلشن میں حسنِ یار کا بازار دیکھ کر
۴
لے لے کے نقدِ جاں تیرے کوچے میں آئے تو
آنکھیں کھلیں خدا کو خریدار دیکھ کر
۵
یہ تو کہاں ہیں عارض و گیسو ترے کہاں
لڑتے ہیں کس کو کافر و دیندار دیکھ کر
۶
جانا کہ خاک و آب میں ہے جلوہ گر وہی
مانا خدا کو صورتِ دلدار دیکھ کر
۷
ہم سجدہ کرتے کرتے کئی بار رک گئے
کعبہ میں بتکدہ کے سے آثار دیکھ کر
۸
پردوں سے رنگ رنگ کے آنے لگا نظر
بیتاب اپنے طالبِ دیدار دیکھ کر
۹
معلوم اب ہوئی ہے بلندیِ قصرِ دل
عرشِ بریں پہ سایۂ دیوار دیکھ کر
۱۰
شوریدگانِ خاص کا دیکھو تو اُس کے شوق
خوش ہو رہے ہیں کعبہ کے کہسار دیکھ کر
۱۱
دنیا میں کیا رکھا ہے جو مُڑ جائے آفتاب
دیکھے اِدھر تو کیا ترے رخسار دیکھ کر
۱۲
دردِ فراقِ بتکدہ اک بار مِٹ گیا
کعبہ میں ہر طرف ترے انوار دیکھ کر
۱۳
دل ہی ملا ہے اُن کو نہ اُن کو نظر ملی
خوش ہوں گے پھر تو کیا تجھے اغیار دیکھ کر
۱۴
خاصانِ حق کے منھ سے جو نکلے وہ کیوں نہ ہو
کہتے ہیں بات واقفِ اسرار دیکھ کر
۱۵
عشاق کی نماز کا کوئی نہیں ہے وقت
کرتے ہیں سجدہ یہ تو رُخِ یار دیکھ کر
۱۶
مانندِ غنچہ رہتے نہ خاموش فکر میں
اُس کے دہن کو واقفِ اسرار دیکھ کر
۱۷
پٹکے سے کہہ رہے ہیں کہ اللہ رے نصیب
اُن کی کمر کا واقفِ اسرار دیکھ کر
۱۸
سمجھا کہ کوئے یار میں ملتے ہیں مرتبے
قاصد کو اپنے محرمِ اسرار دیکھ کر
۱۹
کیا چیز مل گئی کہ گدایانِ کوئے یار
دونوں جہاں سے کر گئے اِنکار دیکھ کر
۲۰
نصبت ہے مجھ کو کعبہ سے گو سنگِ راہ ہوں
چلتے نہیں ہو مائلِ دیندار دیکھ کر
रुख़-ए यार देख कर – मिर्ज़ा तक़ी बेग मा’एल देहलवी
१
आया भी बर्क़-ए तूर को सौ बार देख कर
लाया न फिर भी ताब रुख़-ए यार देख कर
२
मेरे भी होश उढ गये उस जल्वा गाह में
रूह-उल-अमीं को नक़्श ब दीवार देख कर
३
बुल्बुल भी एक गुल कि ख़रीदार बन गई
गुल्शन में हुस्न-ए यार का बाज़ार देख कर
४
ले ले के नक़्द-ए जां तेरे कूचे में आये तो
आंखें खुलीं ख़ुदा को ख़रीदार देख कर
५
ये तो कहां हैं आरेज़ ओ गेसू तेरे कहां
लढते हैं किस को काफ़र ओ दींदार देख कर
६
जाना के ख़ाक ओ आब में है जल्वा-गर वही
माना ख़ुदा को सूरत-ए दिल्दार देख कर
७
हम सज्दा करते करते कई बार रुक गये
का’बे में बुतकदे के से आसार देख कर
८
पर्दौं से रंग रंग के आने लगा नज़र
बेताब अपने तालिब-ए दीदार देख कर
९
मा’लूम अब हुई है बलन्दी-ए क़स्र-ए दिल
अर्श-ए बरीं पे साया-ए दीवार देख कर
१०
शोरीदगान-ए ख़ास का देखो तो उस के शौक़
ख़ुश हो रहे हैं का’बे के कोहसार देख कर
११
दुनिया में क्या रखा है जो मुढ जाये आफ़्ताब
देखे इधर तो क्या तेरे रुख़्सार देख कर
१२
दर्द-ए फ़िराक़-ए बुतकदा एक बार मिट गया
का’बे में हर तरफ़ तेरे अन्वार देख कर
१३
दिल ही मिला है उन को न उन को नज़र मिली
ख़ुश होंगे फिर तो क्या तुझे अग़्यार देख कर
१४
ख़ासान-ए हक़ के मुंह से जो निक्ले वो क्यूं न हो
कहते हैं बात वाक़फ़-ए अस्रार देख कर
१५
उश्शाक़ कि नमाज़ का कोई नहीं है वक़्त
करते हैं सज्दा ये तो रुख़-ए यार देख कर
१६
मानिन्द-ए ग़ुंचा रहते न ख़ामोश फ़िक्र में
उस के दहन को वाक़फ़-ए अस्रार देख कर
१७
पटके से कह रहे हैं के अल्लाह रे नसीब
उन की कमर का वाक़फ़-ए अस्रार देख कर
१८
समझा के कू-ए यार में मिलते हैं मरतबे
क़ासिद को अपने महरम-ए अस्रार देख कर
१९
क्या चीज़ मिल गई के गदायान-ए कू-ए यार
दोनों जहां से कर गये इन्कार देख कर
२०
निस्बत है मुझ को का’बे से गो संग-ए राह हूं
चलते नहीं हो मा’एल-ए दींदार देख कर
Click here for background and on any passage for word meanings and explanatory discussion. mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This is one of several Ghazal composed with the qaafiya/radeef of ‘zarf-e qadah-Khwaar dekh kar’ and is linked to Ghalib naqsh-e qadam.
1
aaya bhi barq1-e tuur2 ko sau baar dekh kar
laaya na phir bhi taab3 ruKh4-e yaar5 dekh kar 1.lightning 2.mount tuur 3.ability to bear 4.face 5.beloved, god
This is the story of moosa who went up mount tuur asking to see god. There was a manifestation in the form of a lightning strike but moosa fainted because he could not bear the sight. The poet/lover claims that he has been up mount tuur a hundred times and seen the brilliance of the lightning flash, but still, he does not have the strength to bear the sight of the beloved’s face.
2
mere bhi hosh1 uR gaye us jalva-gaah2 meN
rooh-ul-amiiN3 ko naqsh-ba-diivaar4 dekh kar 1.senses, awareness 2.place of manifestation 3.another name of jibra’iil/Gabriel 4.etching on the wall
‘hosh uR jaana’ is an expression meaning ‘losing senses, stunned with amazement’. ‘naqsh-ba-diivaar’ is an expression meaning to be stunned and become quiet and still like an etching on the wall. ‘jalva-gaah’ – place of manifestation is where you get to see the beloved. The poet/lover got access to the jalva-gaah and was stunned in amazement upon seeing even jibra’iil still like an etching on the wall. The implication is that jibra’iil, a messenger of god, is in the presence of god’s glory often. Even he is stunned at the beauty of the beloved.
3
bulbul bhi ek gul1 ki Khariidaar2 ban gaii
gulshan3 meN husn4-e yaar5 ka baazaar dekh kar 1.rose 2.buyer, desirous of, lover 3.garden 4.beauty 5.friend, beloved
In urdu poetic tradition gul and bulbul are lovers. It is springtime in the garden and there is a bazaar/display/offering of the beauty of the beloved. Seeing this, a bulbul too, fell in love with a rose.
4
le le ke naqd1-e jaaN2 tere kooche3 meN aaye to
aaNkheN khuliiN Khuda ko Khariidaar4 dekh kar 1.value, essence 2.life 3.street 4.buyer, admirer
Lovers come to the street of the beloved offering their lives. When they came, their eyes opened wide (in amazement or in revelation of truth) when they saw that god himself was one of the admirers of her beauty. In urdu poetic tradition the creator is often described as enamoured with the beauty of his own creation.
5
ye to kahaaN haiN aariz1 o gesu2 tere kahaaN
laRte haiN kis ko kaafir3 o diiNdaar4 dekh kar 1.face, beauty 2.hair 3.non-believers 4.believers
The ‘aariz o gesu’ – face and hair of the beloved are a very significant aspect of the beloved’s beauty. Thus, “they” are nowhere i.e., “they” don’t count for much compared to your beauty. Who are the “they”. They are the believers and non-believers. They don’t count for anything because they are fighting over trivia and don’t see/understand your real beauty.
6
jaana1 keh Khaak2 o aab3 meN hai jalva-gar4 vahi
maana5 Khuda ko soorat-e dildaar6 dekh kar 1.came to know/understand, realize 2.clay, dust 3.water 4.manifesting, appearing 5.convince of 6.beloved
I realized that it is he who is manifest in clay and water. Of course, the story is that humans were made of clay and water. Thus, the divine is manifest in humans too. The other possibility is that “Khaak o aab – clay and water” refers to the idol made of clay and water, the idol being the beloved. I became convinced of the existence/goodness of god upon seeing the face/beauty of the beloved.
7
ham sajda1 karte karte kaii baar ruk gaye
kaa’be meN butkade2 ke se aasaar3 dekh kar 1.ritual devotional prostration 2.idol house, temple 3.signs, indications
The poet/devotee is at the k’aaba ready to offer prayers with ritual prostration. But he sees signs/clues of ‘but-kada’ – idol house i.e., he feels the presence of idols. The idol is also a manifestation of the divine. So, he hesitates in offering ritual prostration. Said sa’eed shahiidi …
k’aabe ka ehteraam bhi meri nazar meN hai
sar kis taraf jhukaauN tujhe dekhne ke b’aad
8
pardoN1 se raNg raNg ke aane laga nazar2betaab3 apne taalib4-e diidaar5 dekh kar 1.veils 2.visible 3.restless 4.demanding, seeking 5.sight, manifestation
The beloved is behind veils(just like god). But there is a throng of restless seekers asking to see the beloved/god. So, the beloved appears as colourful veils. This is sufiyaana imagery of the appearance/sighting of the divine in any number of veils of the world of “raNg of buu” – colour and fragrance i.e., the material world.
9
m’aaloom ab hui hai balandi1-e qasr2-e dil
arsh-e-bariiN3 pe saaya-e-diivaar4 dekh kar 1.height, greatness 2.palace, house 3.seventh heaven, god’s abode 4.shadow/protection of the wall (of the house of the heart)
The poet/devotee focuses on the abode of the divine and even there he sees the familiarity of the house of his heart i.e., god is in the heart. That is when he realizes the greatness of the ‘house of the heart’.
10
shoriidagaan1-e Khaas2 ka dekho to us ke shauq3
Khush ho rahe haiN kaa’be ke kohsaar4 dekh kar 1.mad passionate lovers 2.special 3.desire, passion 4.hills, rocks
Look at the intensity of passion of her very special mad passionate lovers. They are wandering the desert looking for the beloved (a la majnuN of laila-majnuN legend). They come upon a range of hills and are happy anticipating that the k’aaba (house of god/beloved) is just beyond (the k’aaba is surrounded by hills that are considered a major geographic marker).
11
duniya meN kya rakha hai jo muR jaaye aaftaab1dekhe idhar to kya tere ruKhsaar2 dekh kar 1.sun 2.cheeks
What is there in this world that can make the sun turn back i.e., not sink into the horizon at night but turn back again towards the world. It has seen the beloved’s cheeks and is scared of the comparison. So, how can it turn back.
12
dard1-e firaaq2-e but-kada3 ek baar miT4 gaya
kaa’be meN har taraf5 tere anvaar6 dekh kar 1.pain 2.separation 3.idol house 4.erased 5.in every direction 6.rays of light, brilliance
The pain of separation from the idol house instantly disappeared upon seeing the brilliance of the beloved everywhere in the k’aaba.
13
dil hi mila hai un ko na un ko nazar1 mili
Khush hoNge phir to kya tujhe aGhyaar2 dekh kar 1.sight, eyes 2.others, rivals
They (rivals) have not been bestowed a loving/feeling heart and they don’t have a discriminating sight. How can they be happy upon seeing you i.e., they are merely lustful compared to me who has a real heart and a real appreciation for beauty.
14
Khaasaan1-e haq2 ke muNh se jo nikle vo kyuN na ho
kahte haiN baat vaaqif3-e asraar4 dekh kar 1.special people, experts 2.truth 3.knowledgable, familiar 4.secrets, mysteries
Sufi mystics know the secrets/mysteries of gnostic knowledge. They are ‘vaaqif-e asraar’. Whatever they say, they say after looking/searching carefully. Hence why should they not be considered credible.
15
ushshaaq1 ki namaaz2 ka koii nahiN vaqt
karte haiN sajda3 ye to ruKh4-e yaar5 dekh kar 1.lovers 2.prayer 3.ritual devotional prostration 4.face 5.friend, beloved, god
True lovers are not bound by the rituals of time in offering namaaz/prayers. They bow down in obeisance when they see the face of the beloved/god. Said Ghalib …
maqsood-e maa ze dair o haram juz habiib niist
har jaa kuneem sajda bad’an aastaaN rasad
urdu translation (shahed)
sajda hai bas habiib ka ho dayr ya haram
jaata us aastaaN pe hai, chaahe karo jahaaN
16
maanind1-e Ghuncha2 rahte na Khaamosh fikr3 meN
us ke dahan4 ko vaaqif5-e asraar6 dekh kar 1.like, similar to 2.unopened flower bud 3.deep thought 4.mouth 5.knowedgable of, familiar with 6.secrets, mysteries
I am not sure I understand this clearly. I am writing a literal translation, hoping that someone among the readers might be able to offer a better explanation. In classical urdu poetry the standards of beauty include a thin/disappearing waist and a narrow/vanishing mouth (much different from modern day concepts). The “vaaqif-e asraar” would not have remained silent, upon seeing the beauty of her mouth, lost deep in thought, like an unopened flower bud …. it seems like this is a half a thought … they would not have remained silent, IF they had … we have to fill in the blanks and I have not been able to do so.
17
paTke1 se kah rahe haiN keh allaah re nasiib2
un ki kamar ka vaaqif-e-asraar3 dekh kar 1.waist band 2.fortune 3.familiar with mysteries
In urdu poetic tradition the beloved has a very thin waist and at the height of beauty, no waist at all. Thus, her waist-band is familiar with this secret and she coquettishly declares that it has such good fortune. On a lighter note, reflecting the rivalry between lukhnau and hyderabad …
suna hai keh lukhnow meN ullu ke paTThe, rag-e gul se bulbul ke par baandhte haiN
suna hai keh unke kamar hi nahiN hai, na jaane vo naaRa kidhar baandhte haiN
18
samjha1 keh koo2-e yaar3 meN milte haiN martabe4
qaasid5 ko apne mahram6-e asraar7 dekh kar 1.understood, realized 2.lane 3.friend, beloved 4.status, high office 5.messenger 6.intimate/familiar with 7.secrets
The poet/lover has been sending messages to the beloved via a messenger. Over time, the messenger has been learning all her secrets. He realizes that such high status (as familiarity with secrets) is granted in the lane of the beloved. Perhaps he is being jealous of his own messenger.
19
kya chiiz mil gayii keh gadayaan1-e koo2-e yaar3donoN jahaaN se kar gaye inkaar4 dekh kar 1.beggars 2.street of 3.friend, beloved 4.refuse, turn away
The lovers who throng the street of the beloved are like beggars, begging for a sight of her. I wonder what it is that the beggars of the street of the beloved have found that they turn away from both worlds – the here and the hereafter. They are content with the street of the beloved.
20
nisbat1 hai mujh ko kaa’be se go2 saNg-e-raah3 huN
chalte nahiN ho maa’el4 diiNdaar5 dekh kar 1.relationship, association 2.even though 3.rock blocking the path 4.pen-name of the poet 5.honest
My association, my goal is with the k’aaba (the beloved’s abode), even though I am rock in the path towards it. O maa’el, why don’t you walk just like the honest folk you see walking the path.
mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This is one of several Ghazal composed with the qaafiya/radeef of ‘zarf-e qadah-Khwaar dekh kar’ and is linked to Ghalib naqsh-e qadam.
1
aaya bhi barq1-e tuur2 ko sau baar dekh kar
laaya na phir bhi taab3 ruKh4-e yaar5 dekh kar
1.lightning 2.mount tuur 3.ability to bear 4.face 5.beloved, god
This is the story of moosa who went up mount tuur asking to see god. There was a manifestation in the form of a lightning strike but moosa fainted because he could not bear the sight. The poet/lover claims that he has been up mount tuur a hundred times and seen the brilliance of the lightning flash, but still, he does not have the strength to bear the sight of the beloved’s face.
2
mere bhi hosh1 uR gaye us jalva-gaah2 meN
rooh-ul-amiiN3 ko naqsh-ba-diivaar4 dekh kar
1.senses, awareness 2.place of manifestation 3.another name of jibra’iil/Gabriel 4.etching on the wall
‘hosh uR jaana’ is an expression meaning ‘losing senses, stunned with amazement’. ‘naqsh-ba-diivaar’ is an expression meaning to be stunned and become quiet and still like an etching on the wall. ‘jalva-gaah’ – place of manifestation is where you get to see the beloved. The poet/lover got access to the jalva-gaah and was stunned in amazement upon seeing even jibra’iil still like an etching on the wall. The implication is that jibra’iil, a messenger of god, is in the presence of god’s glory often. Even he is stunned at the beauty of the beloved.
3
bulbul bhi ek gul1 ki Khariidaar2 ban gaii
gulshan3 meN husn4-e yaar5 ka baazaar dekh kar
1.rose 2.buyer, desirous of, lover 3.garden 4.beauty 5.friend, beloved
In urdu poetic tradition gul and bulbul are lovers. It is springtime in the garden and there is a bazaar/display/offering of the beauty of the beloved. Seeing this, a bulbul too, fell in love with a rose.
4
le le ke naqd1-e jaaN2 tere kooche3 meN aaye to
aaNkheN khuliiN Khuda ko Khariidaar4 dekh kar
1.value, essence 2.life 3.street 4.buyer, admirer
Lovers come to the street of the beloved offering their lives. When they came, their eyes opened wide (in amazement or in revelation of truth) when they saw that god himself was one of the admirers of her beauty. In urdu poetic tradition the creator is often described as enamoured with the beauty of his own creation.
5
ye to kahaaN haiN aariz1 o gesu2 tere kahaaN
laRte haiN kis ko kaafir3 o diiNdaar4 dekh kar
1.face, beauty 2.hair 3.non-believers 4.believers
The ‘aariz o gesu’ – face and hair of the beloved are a very significant aspect of the beloved’s beauty. Thus, “they” are nowhere i.e., “they” don’t count for much compared to your beauty. Who are the “they”. They are the believers and non-believers. They don’t count for anything because they are fighting over trivia and don’t see/understand your real beauty.
6
jaana1 keh Khaak2 o aab3 meN hai jalva-gar4 vahi
maana5 Khuda ko soorat-e dildaar6 dekh kar
1.came to know/understand, realize 2.clay, dust 3.water 4.manifesting, appearing 5.convince of 6.beloved
I realized that it is he who is manifest in clay and water. Of course, the story is that humans were made of clay and water. Thus, the divine is manifest in humans too. The other possibility is that “Khaak o aab – clay and water” refers to the idol made of clay and water, the idol being the beloved. I became convinced of the existence/goodness of god upon seeing the face/beauty of the beloved.
7
ham sajda1 karte karte kaii baar ruk gaye
kaa’be meN butkade2 ke se aasaar3 dekh kar
1.ritual devotional prostration 2.idol house, temple 3.signs, indications
The poet/devotee is at the k’aaba ready to offer prayers with ritual prostration. But he sees signs/clues of ‘but-kada’ – idol house i.e., he feels the presence of idols. The idol is also a manifestation of the divine. So, he hesitates in offering ritual prostration. Said sa’eed shahiidi …
k’aabe ka ehteraam bhi meri nazar meN hai
sar kis taraf jhukaauN tujhe dekhne ke b’aad
8
pardoN1 se raNg raNg ke aane laga nazar2betaab3 apne taalib4-e diidaar5 dekh kar
1.veils 2.visible 3.restless 4.demanding, seeking 5.sight, manifestation
The beloved is behind veils(just like god). But there is a throng of restless seekers asking to see the beloved/god. So, the beloved appears as colourful veils. This is sufiyaana imagery of the appearance/sighting of the divine in any number of veils of the world of “raNg of buu” – colour and fragrance i.e., the material world.
9
m’aaloom ab hui hai balandi1-e qasr2-e dil
arsh-e-bariiN3 pe saaya-e-diivaar4 dekh kar
1.height, greatness 2.palace, house 3.seventh heaven, god’s abode 4.shadow/protection of the wall (of the house of the heart)
The poet/devotee focuses on the abode of the divine and even there he sees the familiarity of the house of his heart i.e., god is in the heart. That is when he realizes the greatness of the ‘house of the heart’.
10
shoriidagaan1-e Khaas2 ka dekho to us ke shauq3
Khush ho rahe haiN kaa’be ke kohsaar4 dekh kar
1.mad passionate lovers 2.special 3.desire, passion 4.hills, rocks
Look at the intensity of passion of her very special mad passionate lovers. They are wandering the desert looking for the beloved (a la majnuN of laila-majnuN legend). They come upon a range of hills and are happy anticipating that the k’aaba (house of god/beloved) is just beyond (the k’aaba is surrounded by hills that are considered a major geographic marker).
11
duniya meN kya rakha hai jo muR jaaye aaftaab1dekhe idhar to kya tere ruKhsaar2 dekh kar
1.sun 2.cheeks
What is there in this world that can make the sun turn back i.e., not sink into the horizon at night but turn back again towards the world. It has seen the beloved’s cheeks and is scared of the comparison. So, how can it turn back.
12
dard1-e firaaq2-e but-kada3 ek baar miT4 gaya
kaa’be meN har taraf5 tere anvaar6 dekh kar
1.pain 2.separation 3.idol house 4.erased 5.in every direction 6.rays of light, brilliance
The pain of separation from the idol house instantly disappeared upon seeing the brilliance of the beloved everywhere in the k’aaba.
13
dil hi mila hai un ko na un ko nazar1 mili
Khush hoNge phir to kya tujhe aGhyaar2 dekh kar
1.sight, eyes 2.others, rivals
They (rivals) have not been bestowed a loving/feeling heart and they don’t have a discriminating sight. How can they be happy upon seeing you i.e., they are merely lustful compared to me who has a real heart and a real appreciation for beauty.
14
Khaasaan1-e haq2 ke muNh se jo nikle vo kyuN na ho
kahte haiN baat vaaqif3-e asraar4 dekh kar
1.special people, experts 2.truth 3.knowledgable, familiar 4.secrets, mysteries
Sufi mystics know the secrets/mysteries of gnostic knowledge. They are ‘vaaqif-e asraar’. Whatever they say, they say after looking/searching carefully. Hence why should they not be considered credible.
15
ushshaaq1 ki namaaz2 ka koii nahiN vaqt
karte haiN sajda3 ye to ruKh4-e yaar5 dekh kar
1.lovers 2.prayer 3.ritual devotional prostration 4.face 5.friend, beloved, god
True lovers are not bound by the rituals of time in offering namaaz/prayers. They bow down in obeisance when they see the face of the beloved/god. Said Ghalib …
maqsood-e maa ze dair o haram juz habiib niist
har jaa kuneem sajda bad’an aastaaN rasad
urdu translation (shahed)
sajda hai bas habiib ka ho dayr ya haram
jaata us aastaaN pe hai, chaahe karo jahaaN
16
maanind1-e Ghuncha2 rahte na Khaamosh fikr3 meN
us ke dahan4 ko vaaqif5-e asraar6 dekh kar
1.like, similar to 2.unopened flower bud 3.deep thought 4.mouth 5.knowedgable of, familiar with 6.secrets, mysteries
I am not sure I understand this clearly. I am writing a literal translation, hoping that someone among the readers might be able to offer a better explanation. In classical urdu poetry the standards of beauty include a thin/disappearing waist and a narrow/vanishing mouth (much different from modern day concepts). The “vaaqif-e asraar” would not have remained silent, upon seeing the beauty of her mouth, lost deep in thought, like an unopened flower bud …. it seems like this is a half a thought … they would not have remained silent, IF they had … we have to fill in the blanks and I have not been able to do so.
17
paTke1 se kah rahe haiN keh allaah re nasiib2
un ki kamar ka vaaqif-e-asraar3 dekh kar
1.waist band 2.fortune 3.familiar with mysteries
In urdu poetic tradition the beloved has a very thin waist and at the height of beauty, no waist at all. Thus, her waist-band is familiar with this secret and she coquettishly declares that it has such good fortune. On a lighter note, reflecting the rivalry between lukhnau and hyderabad …
suna hai keh lukhnow meN ullu ke paTThe, rag-e gul se bulbul ke par baandhte haiN
suna hai keh unke kamar hi nahiN hai, na jaane vo naaRa kidhar baandhte haiN
18
samjha1 keh koo2-e yaar3 meN milte haiN martabe4
qaasid5 ko apne mahram6-e asraar7 dekh kar
1.understood, realized 2.lane 3.friend, beloved 4.status, high office 5.messenger 6.intimate/familiar with 7.secrets
The poet/lover has been sending messages to the beloved via a messenger. Over time, the messenger has been learning all her secrets. He realizes that such high status (as familiarity with secrets) is granted in the lane of the beloved. Perhaps he is being jealous of his own messenger.
19
kya chiiz mil gayii keh gadayaan1-e koo2-e yaar3donoN jahaaN se kar gaye inkaar4 dekh kar
1.beggars 2.street of 3.friend, beloved 4.refuse, turn away
The lovers who throng the street of the beloved are like beggars, begging for a sight of her. I wonder what it is that the beggars of the street of the beloved have found that they turn away from both worlds – the here and the hereafter. They are content with the street of the beloved.
20
nisbat1 hai mujh ko kaa’be se go2 saNg-e-raah3 huN
chalte nahiN ho maa’el4 diiNdaar5 dekh kar
1.relationship, association 2.even though 3.rock blocking the path 4.pen-name of the poet 5.honest
My association, my goal is with the k’aaba (the beloved’s abode), even though I am rock in the path towards it. O maa’el, why don’t you walk just like the honest folk you see walking the path.
The post ruKh-e yaar dekh kar (Complete)-mirza taqi beg maa’el dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/mtbmd-ruKh-e-yaar-dekh-kar-selected-audio.mp3
Recitation
- اُدو
- देवनागरी
- English
- Notes
رُخِ یار دیکھ کر ۔ مرزا تقی بیگ مائلؔ دہلوی
۱
آیا بھی برقِ طور کو سَو بار دیکھ کر
لایا نہ پھر بھی تاب رُخِ یار دیکھ کر
۴
لے لے کے نقدِ جاں تیرے کوچے میں آئے تو
آنکھیں کھلیں خدا کو خریدار دیکھ کر
۵
یہ تو کہاں ہیں عارض و گیسو ترے کہاں
لڑتے ہیں کس کو کافر و دیندار دیکھ کر
۶
جانا کہ خاک و آب میں ہے جلوہ گر وہی
مانا خدا کو صورتِ دلدار دیکھ کر
۷
ہم سجدہ کرتے کرتے کئی بار رک گئے
کعبہ میں بتکدہ کے سے آثار دیکھ کر
۱۲
دردِ فراقِ بتکدہ اک بار مِٹ گیا
کعبہ میں ہر طرف ترے انوار دیکھ کر
۱۵
عشاق کی نماز کا کوئی نہیں ہے وقت
کرتے ہیں سجدہ یہ تو رُخِ یار دیکھ کر
۱۷
پٹکے سے کہہ رہے ہیں کہ اللہ رے نصیب
اُن کی کمر کا واقفِ اسرار دیکھ کر
۲۰
نصبت ہے مجھ کو کعبہ سے گو سنگِ راہ ہوں
چلتے نہیں ہو مائلِ دیندار دیکھ کر
रुख़-ए यार देख कर – मिर्ज़ा तक़ी बेग मा’एल देहलवी
१
आया भी बर्क़-ए तूर को सौ बार देख कर
लाया न फिर भी ताब रुख़-ए यार देख कर
४
ले ले के नक़्द-ए जां तेरे कूचे में आये तो
आंखें खुलीं ख़ुदा को ख़रीदार देख कर
५
ये तो कहां हैं आरेज़ ओ गेसू तेरे कहां
लढते हैं किस को काफ़र ओ दींदार देख कर
६
जाना के ख़ाक ओ आब में है जल्वा-गर वही
माना ख़ुदा को सूरत-ए दिल्दार देख कर
७
हम सज्दा करते करते कई बार रुक गये
का’बे में बुतकदे के से आसार देख कर
१२
दर्द-ए फ़िराक़-ए बुतकदा एक बार मिट गया
का’बे में हर तरफ़ तेरे अन्वार देख कर
१५
उश्शाक़ कि नमाज़ का कोई नहीं है वक़्त
करते हैं सज्दा ये तो रुख़-ए यार देख कर
१७
पटके से कह रहे हैं के अल्लाह रे नसीब
उन की कमर का वाक़फ़-ए अस्रार देख कर
२०
निस्बत है मुझ को का’बे से गो संग-ए राह हूं
चलते नहीं हो मा’एल-ए दींदार देख कर
Click here for background and on any passage for word meanings and explanatory discussion. mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This is one of several Ghazal composed with the qaafiya/radeef of ‘zarf-e qadah-Khwaar dekh kar’ and is linked to Ghalib naqsh-e qadam.
1
aaya bhi barq1-e tuur2 ko sau baar dekh kar
laaya na phir bhi taab3 ruKh4-e yaar5 dekh kar 1.lightning 2.mount tuur 3.ability to bear 4.face 5.beloved, god
This is the story of moosa who went up mount tuur asking to see god. There was a manifestation in the form of a lightning strike but moosa fainted because he could not bear the sight. The poet/lover claims that he has been up mount tuur a hundred times and seen the brilliance of the lightning flash, but still, he does not have the strength to bear the sight of the beloved’s face.
4
le le ke naqd1-e jaaN2 tere kooche3 meN aaye to
aaNkheN khuliiN Khuda ko Khariidaar4 dekh kar 1.value, essence 2.life 3.street 4.buyer, admirer
Lovers come to the street of the beloved offering their lives. When they came, their eyes opened wide (in amazement or in revelation of truth) when they saw that god himself was one of the admirers of her beauty. In urdu poetic tradition the creator is often described as enamoured with the beauty of his own creation.
5
ye to kahaaN haiN aariz1 o gesu2 tere kahaaN
laRte haiN kis ko kaafir3 o diiNdaar4 dekh kar 1.face, beauty 2.hair 3.non-believers 4.believers
The ‘aariz o gesu’ – face and hair of the beloved are a very significant aspect of the beloved’s beauty. Thus, “they” are nowhere i.e., “they” don’t count for much compared to your beauty. Who are the “they”. They are the believers and non-believers. They don’t count for anything because they are fighting over trivia and don’t see/understand your real beauty.
6
jaana1 keh Khaak2 o aab3 meN hai jalva-gar4 vahi
maana5 Khuda ko soorat-e dildaar6 dekh kar 1.came to know/understand, realize 2.clay, dust 3.water 4.manifesting, appearing 5.convince of 6.beloved
I realized that it is he who is manifest in clay and water. Of course, the story is that humans were made of clay and water. Thus, the divine is manifest in humans too. The other possibility is that “Khaak o aab – clay and water” refers to the idol made of clay and water, the idol being the beloved. I became convinced of the existence/goodness of god upon seeing the face/beauty of the beloved.
7
ham sajda1 karte karte kaii baar ruk gaye
kaa’be meN butkade2 ke se aasaar3 dekh kar 1.ritual devotional prostration 2.idol house, temple 3.signs, indications
The poet/devotee is at the k’aaba ready to offer prayers with ritual prostration. But he sees signs/clues of ‘but-kada’ – idol house i.e., he feels the presence of idols. The idol is also a manifestation of the divine. So, he hesitates in offering ritual prostration. Said sa’eed shahiidi …
k’aabe ka ehteraam bhi meri nazar meN hai
sar kis taraf jhukaauN tujhe dekhne ke b’aad
12
dard1-e firaaq2-e but-kada3 ek baar miT4 gaya
kaa’be meN har taraf5 tere anvaar6 dekh kar 1.pain 2.separation 3.idol house 4.erased 5.in every direction 6.rays of light, brilliance
The pain of separation from the idol house instantly disappeared upon seeing the brilliance of the beloved everywhere in the k’aaba.
15
ushshaaq1 ki namaaz2 ka koii nahiN vaqt
karte haiN sajda3 ye to ruKh4-e yaar5 dekh kar 1.lovers 2.prayer 3.ritual devotional prostration 4.face 5.friend, beloved, god
True lovers are not bound by the rituals of time in offering namaaz/prayers. They bow down in obeisance when they see the face of the beloved/god. Said Ghalib …
maqsood-e maa ze dair o haram juz habiib niist
har jaa kuneem sajda bad’an aastaaN rasad
urdu translation (shahed)
sajda hai bas habiib ka ho dayr ya haram
jaata us aastaaN pe hai, chaahe karo jahaaN
17
paTke1 se kah rahe haiN keh allaah re nasiib2
un ki kamar ka vaaqif-e-asraar3 dekh kar 1.waist band 2.fortune 3.familiar with mysteries
In urdu poetic tradition the beloved has a very thin waist and at the height of beauty, no waist at all. Thus, her waist-band is familiar with this secret and she coquettishly declares that it has such good fortune. On a lighter note, reflecting the rivalry between lukhnau and hyderabad …
suna hai keh lukhnow meN ullu ke paTThe, rag-e gul se bulbul ke par baandhte haiN
suna hai keh unke kamar hi nahiN hai, na jaane vo naaRa kidhar baandhte haiN
20
nisbat1 hai mujh ko kaa’be se go2 saNg-e-raah3 huN
chalte nahiN ho maa’el4 diiNdaar5 dekh kar 1.relationship, association 2.even though 3.rock blocking the path 4.pen-name of the poet 5.honest
My association, my goal is with the k’aaba (the beloved’s abode), even though I am rock in the path towards it. O maa’el, why don’t you walk just like the honest folk you see walking the path.
mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This is one of several Ghazal composed with the qaafiya/radeef of ‘zarf-e qadah-Khwaar dekh kar’ and is linked to Ghalib naqsh-e qadam.
1
aaya bhi barq1-e tuur2 ko sau baar dekh kar
laaya na phir bhi taab3 ruKh4-e yaar5 dekh kar
1.lightning 2.mount tuur 3.ability to bear 4.face 5.beloved, god
This is the story of moosa who went up mount tuur asking to see god. There was a manifestation in the form of a lightning strike but moosa fainted because he could not bear the sight. The poet/lover claims that he has been up mount tuur a hundred times and seen the brilliance of the lightning flash, but still, he does not have the strength to bear the sight of the beloved’s face.
4
le le ke naqd1-e jaaN2 tere kooche3 meN aaye to
aaNkheN khuliiN Khuda ko Khariidaar4 dekh kar
1.value, essence 2.life 3.street 4.buyer, admirer
Lovers come to the street of the beloved offering their lives. When they came, their eyes opened wide (in amazement or in revelation of truth) when they saw that god himself was one of the admirers of her beauty. In urdu poetic tradition the creator is often described as enamoured with the beauty of his own creation.
5
ye to kahaaN haiN aariz1 o gesu2 tere kahaaN
laRte haiN kis ko kaafir3 o diiNdaar4 dekh kar
1.face, beauty 2.hair 3.non-believers 4.believers
The ‘aariz o gesu’ – face and hair of the beloved are a very significant aspect of the beloved’s beauty. Thus, “they” are nowhere i.e., “they” don’t count for much compared to your beauty. Who are the “they”. They are the believers and non-believers. They don’t count for anything because they are fighting over trivia and don’t see/understand your real beauty.
6
jaana1 keh Khaak2 o aab3 meN hai jalva-gar4 vahi
maana5 Khuda ko soorat-e dildaar6 dekh kar
1.came to know/understand, realize 2.clay, dust 3.water 4.manifesting, appearing 5.convince of 6.beloved
I realized that it is he who is manifest in clay and water. Of course, the story is that humans were made of clay and water. Thus, the divine is manifest in humans too. The other possibility is that “Khaak o aab – clay and water” refers to the idol made of clay and water, the idol being the beloved. I became convinced of the existence/goodness of god upon seeing the face/beauty of the beloved.
7
ham sajda1 karte karte kaii baar ruk gaye
kaa’be meN butkade2 ke se aasaar3 dekh kar
1.ritual devotional prostration 2.idol house, temple 3.signs, indications
The poet/devotee is at the k’aaba ready to offer prayers with ritual prostration. But he sees signs/clues of ‘but-kada’ – idol house i.e., he feels the presence of idols. The idol is also a manifestation of the divine. So, he hesitates in offering ritual prostration. Said sa’eed shahiidi …
k’aabe ka ehteraam bhi meri nazar meN hai
sar kis taraf jhukaauN tujhe dekhne ke b’aad
12
dard1-e firaaq2-e but-kada3 ek baar miT4 gaya
kaa’be meN har taraf5 tere anvaar6 dekh kar
1.pain 2.separation 3.idol house 4.erased 5.in every direction 6.rays of light, brilliance
The pain of separation from the idol house instantly disappeared upon seeing the brilliance of the beloved everywhere in the k’aaba.
15
ushshaaq1 ki namaaz2 ka koii nahiN vaqt
karte haiN sajda3 ye to ruKh4-e yaar5 dekh kar
1.lovers 2.prayer 3.ritual devotional prostration 4.face 5.friend, beloved, god
True lovers are not bound by the rituals of time in offering namaaz/prayers. They bow down in obeisance when they see the face of the beloved/god. Said Ghalib …
maqsood-e maa ze dair o haram juz habiib niist
har jaa kuneem sajda bad’an aastaaN rasad
urdu translation (shahed)
sajda hai bas habiib ka ho dayr ya haram
jaata us aastaaN pe hai, chaahe karo jahaaN
17
paTke1 se kah rahe haiN keh allaah re nasiib2
un ki kamar ka vaaqif-e-asraar3 dekh kar
1.waist band 2.fortune 3.familiar with mysteries
In urdu poetic tradition the beloved has a very thin waist and at the height of beauty, no waist at all. Thus, her waist-band is familiar with this secret and she coquettishly declares that it has such good fortune. On a lighter note, reflecting the rivalry between lukhnau and hyderabad …
suna hai keh lukhnow meN ullu ke paTThe, rag-e gul se bulbul ke par baandhte haiN
suna hai keh unke kamar hi nahiN hai, na jaane vo naaRa kidhar baandhte haiN
20
nisbat1 hai mujh ko kaa’be se go2 saNg-e-raah3 huN
chalte nahiN ho maa’el4 diiNdaar5 dekh kar
1.relationship, association 2.even though 3.rock blocking the path 4.pen-name of the poet 5.honest
My association, my goal is with the k’aaba (the beloved’s abode), even though I am rock in the path towards it. O maa’el, why don’t you walk just like the honest folk you see walking the path.
The post ruKh-e yaar dekh kar (Selected)-mirza taqi beg maa’el dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/shmljb-naqsh-o-nigaar-dekh-kar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
نقش و نگار دیکھ کر ۔ شیام موہن لال جگرؔ بریلوی
۱
دل پر رہا نہ اختیار، حسنِ نگار دیکھ کر
ہوش بجا نہ رہ سکے، جوشِ بہار دیکھ کر
۲
دل بھی وہ دل نہیں ہے اب، جس کو میں زخم کہہ سکوں
ٹیس اُٹھی ہے پھر کہاں، نشترِ یار دیکھ کر
۳
میری سرشت میں ہی ہیں، رنج پسندیاں بھری
بڑھتا ہے خود بخود قدم، دشت میں خار دیکھ کر
۴
اُف رے تجلّیِ جمال، اُف رے نظر فروزیاں
دیکھ سکیں نہ کچھ بھی ہم، جلوۂ یار دیکھ کر
۵
قِصّۂ عہدِ رفتہ پھر، تازہ ہوا ہے اے جگرؔ
ٹوٹے ہوئے کھنڈر میں آج نقش و نگار دیکھ کر
नक़्श-ओ-निगार देख कर – श्याम मोहन लाल जिगर बरेलवी
१
दिल पर रहा न एख़्तियार, हुस्न-ए निगार देख कर
होश बजा न रह सका, जोश-ए बहार देख कर
२
दिल भी वो दिल नहीं है अब, जिस को मैं ज़ख़्म कह सकूं
टीस उठी है फिर कहाँ, नश्तर-ए यार देख कर
३
मेरी सरिश्त में ही हैं, रंज-पसंदियां भरी
बढ़ता है ख़ुद-ब-ख़ुद क़दम, दश्त में ख़ार देख कर
४
उफ़ रे तजल्ली-ए जमाल, उफ़ रे नज़र फ़रोज़ियां
देख सकें न कुछ भी हम, जलवा-ए यार देख कर
५
क़िस्सा-ए अहद-ए रफ़्ता फिर, ताज़ा हुआ है अए जिगर
टूटे हुए खंडर में आज, नक़्श-ओ-निगार देख कर
Click here for background and on any passage for word meanings and explanatory discussion. shyaam mohan laal jigar barelavi (1890-1976) Ghazal, nazm, rubaaii, masnavi and critical treatises as well as linguistics. In addition to poetic collections, he has writes about issues of literary style in sehat-e zabaan, autobiography in hadees-e Khudi. His father, rai kanhaiya laal, was poet and a shaagird of Ghulam hasnain qadr who himself was a disciple of Ghalib. He learnt urdu and faarsi from a local ustaad, then high school and BA in philosophy and faarsi. Started out teaching in a school, went into government administration and progressed to become deputy collector. Early retirement, pension and teaching jobs followed but remained in straitened circumstances.
1
dil par raha na eKhtiyaar1, husn2-e nigaar3 dekh kar
hosh4 bajaa5 na rah sakay, josh6-e bahaar7 dekh kar 1.control, possession 2.beauty 3.beauty, beloved 4.senses, judgement 5.in place, appropriate 6.abundance, exuberance, passion 7.spring, blooms
I lost control of my heart, upon seeing the beauty of the beloved. My senses did not remain in place, upon seeing the abundance of blooms/exuberance of spring. Of course, ‘josh-e bahaar’ itself can be metaphorically the beauty/glory of the beloved.
2
dil bhi voh dil nahiN hai ab, jis ko maiN zaKhm1 kah2 sakuN
Tees3 uThi hai phir kahaaN, nashtar4-e yaar5 dekh kar 1.wound 2.call by that name, say 3.shooting pain 4.knife 5.beloved
Here ‘nashtar-e yaar’ is the glance or the eyelashes of the beloved. Having been stung by her glance or cut by her eyelashes, he feels a sharp pain. He wonders where this pain could be. After all, he no longer has a heart (he gave to the beloved a long time ago); he can no longer ascribe this pain to the heart.
3
meri sarisht1 meN hi haiN, ranj-pasandiyaaN2 bhari
baRhta hai Khud-ba-Khud3 qadam4, dasht5 meN Khaar6 dekh kar 1.nature, character, temperament 2.pain-loving 3.by itself 4.step 5.wilderness 6.thorns
The classical picture of a mad/passionate love is that he rips his clothes and wanders the desert like majnuN. The soles of his feet have boils but he does not seek to avoid even acacia thorns. Thus, it is my nature to be pain loving. I step forward when I see thorns in the desert.
4
uff1 re tajalli2-e jamaal3, uff re nazar4 faroziyaaN5
dekh sakeN na kuchh bhi ham, jalva6-e yaar7 dekh kar 1.oh, ah 2.brilliance 3.glory, beauty 4.eyes 5.dazzling, blinding 6.face, image 7.beloved
Oh! the brilliance of her beauty, oh! the blinding of my eyes. I could not see anything, after looking at the face of the beloved.
5
qissa1-e ahd2-e rafta3 phir, taaza4 hua hai aye jigar5
TooTe huay khanDar6 meN aaj, naqsh-o-nigaar7 dekh kar 1.story, memories 2.times, age, period 3.past 4.fresh 5.pen-name of the poet 6.ruins 7.decorations, etchings and paintings
O jigar, when I see the paintings and etchings among ruins, I am reminded of the times gone by. This could of course be a literal description of what he sees, but it could also mean the ruins of his heart and among the ruins, some sweet and pleasing images which bring back memories of happy times.
shyaam mohan laal jigar barelavi (1890-1976) Ghazal, nazm, rubaaii, masnavi and critical treatises as well as linguistics. In addition to poetic collections, he has writes about issues of literary style in sehat-e zabaan, autobiography in hadees-e Khudi. His father, rai kanhaiya laal, was poet and a shaagird of Ghulam hasnain qadr who himself was a disciple of Ghalib. He learnt urdu and faarsi from a local ustaad, then high school and BA in philosophy and faarsi. Started out teaching in a school, went into government administration and progressed to become deputy collector. Early retirement, pension and teaching jobs followed but remained in straitened circumstances.
1
dil par raha na eKhtiyaar1, husn2-e nigaar3 dekh kar
hosh4 bajaa5 na rah sakay, josh6-e bahaar7 dekh kar
1.control, possession 2.beauty 3.beauty, beloved 4.senses, judgement 5.in place, appropriate 6.abundance, exuberance, passion 7.spring, blooms
I lost control of my heart, upon seeing the beauty of the beloved. My senses did not remain in place, upon seeing the abundance of blooms/exuberance of spring. Of course, ‘josh-e bahaar’ itself can be metaphorically the beauty/glory of the beloved.
2
dil bhi voh dil nahiN hai ab, jis ko maiN zaKhm1 kah2 sakuN
Tees3 uThi hai phir kahaaN, nashtar4-e yaar5 dekh kar
1.wound 2.call by that name, say 3.shooting pain 4.knife 5.beloved
Here ‘nashtar-e yaar’ is the glance or the eyelashes of the beloved. Having been stung by her glance or cut by her eyelashes, he feels a sharp pain. He wonders where this pain could be. After all, he no longer has a heart (he gave to the beloved a long time ago); he can no longer ascribe this pain to the heart.
3
meri sarisht1 meN hi haiN, ranj-pasandiyaaN2 bhari
baRhta hai Khud-ba-Khud3 qadam4, dasht5 meN Khaar6 dekh kar
1.nature, character, temperament 2.pain-loving 3.by itself 4.step 5.wilderness 6.thorns
The classical picture of a mad/passionate love is that he rips his clothes and wanders the desert like majnuN. The soles of his feet have boils but he does not seek to avoid even acacia thorns. Thus, it is my nature to be pain loving. I step forward when I see thorns in the desert.
4
uff1 re tajalli2-e jamaal3, uff re nazar4 faroziyaaN5
dekh sakeN na kuchh bhi ham, jalva6-e yaar7 dekh kar
1.oh, ah 2.brilliance 3.glory, beauty 4.eyes 5.dazzling, blinding 6.face, image 7.beloved
Oh! the brilliance of her beauty, oh! the blinding of my eyes. I could not see anything, after looking at the face of the beloved.
5
qissa1-e ahd2-e rafta3 phir, taaza4 hua hai aye jigar5
TooTe huay khanDar6 meN aaj, naqsh-o-nigaar7 dekh kar
1.story, memories 2.times, age, period 3.past 4.fresh 5.pen-name of the poet 6.ruins 7.decorations, etchings and paintings
O jigar, when I see the paintings and etchings among ruins, I am reminded of the times gone by. This could of course be a literal description of what he sees, but it could also mean the ruins of his heart and among the ruins, some sweet and pleasing images which bring back memories of happy times.
The post naqsh o nigaar dekh kar-shyaam mohan lal jigar barelavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/shsnd-maah-e-kaamil-dekh-kar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ماہِ کامل دیکھ کر ۔ شیر سنگھ نازؔ دہلوی
۱
دل دیا ہے ہم نے بھی وہ ماہِ کامل دیکھ کر
زرد ہو جاتی ہے جس کو شمعِ محفل دیکھ کر
۲
تیرے عارض پہ یہ نقطہ بھی ہے کتنا اِنتخاب
ہو گیا روشن ترے رخسار کا تِل دیکھ کر
۳
قتل کرنا بے گناہوں کا کوئی آساں نہیں
خشک قاتل کا لہو ہے خونِ بسمل دیکھ کر
۴
بَلّیوں فرطِ مسرّت سے اُچھل جاتا ہے دل
بحرِ غم میں دُور سے دامانِ ساحل دیکھ کر
۵
آئینہ نے کر دیا یکتائی کا دعویٰ غلط
نقشِ حیرت بن گئے اپنا مقابل دیکھ کر
۶
دیکھ تو لیں، دل میں تیرے گھر بھی کر سکتے ہیں ہم
دل تو ہم دیں گے تجھے، لیکن ترا دل دیکھ کر
۷
دیکھئے راہِ عدم میں اور پیش آتا ہے کیا
ہوش پرّاں ہو رہے ہیں پہلی منزل دیکھ کر
۸
آرزوئے حور کیا ہو ناز دل دے کر اُنھیں
شمع پر کیا آنکھ ڈالیں، ماہِ کامل دیکھ کر
माह-ए कामिल देख कर – शेर सिंघ नाज़ देहलवी
१
दिल दिया है हम ने भी वो माह-ए कामिल देख कर
ज़र्द हो जाती है जिस को शम’अ-ए महफ़िल देख कर
२
तेरे आरेज़ पे ये नुक़्ता भी है कितना इंतेख़ाब
हो गया रौशन तेरे रुख़्सार का तिल देख कर
३
क़त्ल करना बे-गुनाहौं का कोई आसां नहीं
ख़ुश्क क़ातिल का लहू है ख़ून-ए बिस्मिल देख कर
४
बल्लियौं फ़र्त-ए मसर्रत से उछल जाता है दिल
बहर-ए ग़म में दूर से दामान-ए साहल देख कर
५
आईने ने कर दिया यक्ताई का दा’वा ग़लत
नक़्श-ए हैरत बन गये अपना मुक़ाबिल देख कर
६
देख तो लें, दिल में तेरे घर भी कर सकते हैं हम
दिल तो हम देंगे तुझे, लैकिन तेरा दिल देख कर
७
देखिये राह-ए अदम में और पेश आता है क्या
होश पर्रां हो रहे हैं पहली मंज़िल देख कर
८
आर्ज़ू-ए हूर क्या हो नाज़ दिल दे कर उन्हें
शम’अ पर क्या आंख डालें, माह-ए कामिल देख कर
Click here for background and on any passage for word meanings and explanatory discussion. lala sher singh jain naaz dehlavi (1897-1962) was an observant, orthodox jain who learnt urdu after an early education in English. In addition to Ghazal in chaste urdu, he wrote several odes to jain religious figures, surely for an audience of urdu speaking jains. This Ghazal is composed in the style of Ghalib’s “zarf-e qadah-Khwaar dekh kar”, even though the qaafiya is quite different. naaz dehlavi has composed several Ghazal in the style of Ghalib, so this is linked along with several others to the appropriate icon under Theme Index, Ghalib naqsh-e qadam even though the qaafiya is different.
1
dil diya hai hum ne bhi vo maah1-e kaamil2 dekh kar
zard3 ho jaati hai jis ko sham’a4-e mahfil5 dekh kar 1.moon 2.complete, perfect, full 3.pale 4.lamp, candle 5.gathering
The “sham’a-e mahfil” is the centre of attention. In a gathering of shu’ara it is placed before the shaa’er whose turn it is to recite. But even such an honoured entity goes pale before the ‘maah-e kaamil’. Of course, the beloved is the full moon – or as beautiful as the full moon. Thus, I have given my heart to such a ‘maah-e kaamil’ that even the ‘sham’a-e mahfil’ goes pale before her. This is no ordinary ‘maah-e kaamil’.
2
tere aariz1 pe ye nuqta2 bhi hai kitna inteKhaab3ho gaya raushan4 tere ruKhsaar5 ka til6 dekh kar 1.appearance, face 2.point, spot 3.selection 4.bright, shining 5.cheek, face 6.mole
It appears from the context of the she’r that the beloved has a natural mole on her cheek (this is a highly regarded sign of beauty). In addition to the mole, she has applied a beauty spot somewhere on the face. This beauty spot is such a stunning selection that it shines (reflects the light) of the original, thus doubling her beauty.
3
qatl1 karna be-gunaahoN2 ka koii aasaaN nahiiN
Khushk3 qaatil4 ka lahu5 hai Khoon-e bismil6 dekh kar 1.slaughter 2.innocent, blameless 3.dry 4.killer, slaughterer 5.blood 6.sacrificial offering
In urdu poetic tradition the beloved is the slaughter and the poet/lover the sacrificial offering. In usual poetic tradition she does this left and right without a second thought. But here, there is a slight twist of convention offered. It is not all that easy to slaughter innocents. Her blood dries up, congeals, stops flowing, she is stunned upon seeing the blood of the sacrificial offering. This could be because of pity or regret, maybe even fear of divine retribution. We are left to guess.
4
balliyoN1 fart2-e masarrat3 se uchhal jaata hai dil
bahr4-e Gham5 meN duur se daamaan6-e saahil7 dekh kar 1.balliyoN uchhalna is an expression meaning elated 2.plenty 3.happiness 4.ocean 5.sorrow 6.hem of the apron, edge, shoreline 7.shore
The poet/lover is drowning in an ocean of sorrow. From afar he spots what appears to be the shoreline (some hope). Of course, under these conditions his heart jumps up/throbs excitedly in an excess of happiness. Beyond this word meaning, I don’t see much in this.
5
aaine1 ne kar diya yaktaaii2 ka daa’va3 Ghalat4
naqsh5-e hairat6 ban gaye apna muqaabil7 dekh kar 1.mirror 2.uniqueness, unequalled 3.claim 4.wrong 5.engraving, picture 6.amazement 7.equal
The beloved claims to be unique in her unsurpassed beauty. But then she looks into the mirror and it proves her claim wrong. She becomes a picture of amazement upon seeing someone else equal to her in beauty.
6
dekh to leN, dil meN tere ghar bhi kar sakte haiN hum
dil to hum deNge tujhe, laikin tera dil dekh kar Let me try it out and see if I can make a home in your heart. I will give my heart to you, that much is certain, but only after seeing your heart. He either wants to see if she is so hard hearted that he cannot possible make a home in her heart or if she has already too many people there and there is no room left. But then raising all these possibilities either negates the claim that he will certainly give her his heart or makes a claim that he is confident that he will be able to change the situation in his favour.
7
dekhiye raah1-e adam2 meN aur pesh3 aata hai kya
hosh4 parraaN5 ho rahe haiN pahli6 manzil7 dekh kar 1.pathway 2.oblivion, annihilation, next world 3.confronted 4.awareness, courage 5.acquire wings 6.first 7.stage
Let us see what else we confront on the way towards the next world. All courage flies away when confronted by just the first stage of this journey. Said mir taqi mir …
raah-e duur-e ishq meN rotaa hai kya
aage aage dekhiye hotaa hai kya
8
aarzu1-e hoor2 kya ho naaz3 dil de ke unheN
sham’a4 par kya aaNkh DaaleN5, maah-e-kaamil6 dekh kar 1.desire, longing 2.companion angels awarded in heaven 3.pen-name of the poet 4.candle 5.aaNkh Daalna is an expression meaning to be attracted to, to select 6.full moon
How can I long of hoor, O naaz, after giving my heart to her. How can anyone think of even casting an eye at the candle after seeing the full moon.
lala sher singh jain naaz dehlavi (1897-1962) was an observant, orthodox jain who learnt urdu after an early education in English. In addition to Ghazal in chaste urdu, he wrote several odes to jain religious figures, surely for an audience of urdu speaking jains. This Ghazal is composed in the style of Ghalib’s “zarf-e qadah-Khwaar dekh kar”, even though the qaafiya is quite different. naaz dehlavi has composed several Ghazal in the style of Ghalib, so this is linked along with several others to the appropriate icon under Theme Index, Ghalib naqsh-e qadam even though the qaafiya is different.
1
dil diya hai hum ne bhi vo maah1-e kaamil2 dekh kar
zard3 ho jaati hai jis ko sham’a4-e mahfil5 dekh kar
1.moon 2.complete, perfect, full 3.pale 4.lamp, candle 5.gathering
The “sham’a-e mahfil” is the centre of attention. In a gathering of shu’ara it is placed before the shaa’er whose turn it is to recite. But even such an honoured entity goes pale before the ‘maah-e kaamil’. Of course, the beloved is the full moon – or as beautiful as the full moon. Thus, I have given my heart to such a ‘maah-e kaamil’ that even the ‘sham’a-e mahfil’ goes pale before her. This is no ordinary ‘maah-e kaamil’.
2
tere aariz1 pe ye nuqta2 bhi hai kitna inteKhaab3ho gaya raushan4 tere ruKhsaar5 ka til6 dekh kar
1.appearance, face 2.point, spot 3.selection 4.bright, shining 5.cheek, face 6.mole
It appears from the context of the she’r that the beloved has a natural mole on her cheek (this is a highly regarded sign of beauty). In addition to the mole, she has applied a beauty spot somewhere on the face. This beauty spot is such a stunning selection that it shines (reflects the light) of the original, thus doubling her beauty.
3
qatl1 karna be-gunaahoN2 ka koii aasaaN nahiiN
Khushk3 qaatil4 ka lahu5 hai Khoon-e bismil6 dekh kar
1.slaughter 2.innocent, blameless 3.dry 4.killer, slaughterer 5.blood 6.sacrificial offering
In urdu poetic tradition the beloved is the slaughter and the poet/lover the sacrificial offering. In usual poetic tradition she does this left and right without a second thought. But here, there is a slight twist of convention offered. It is not all that easy to slaughter innocents. Her blood dries up, congeals, stops flowing, she is stunned upon seeing the blood of the sacrificial offering. This could be because of pity or regret, maybe even fear of divine retribution. We are left to guess.
4
balliyoN1 fart2-e masarrat3 se uchhal jaata hai dil
bahr4-e Gham5 meN duur se daamaan6-e saahil7 dekh kar
1.balliyoN uchhalna is an expression meaning elated 2.plenty 3.happiness 4.ocean 5.sorrow 6.hem of the apron, edge, shoreline 7.shore
The poet/lover is drowning in an ocean of sorrow. From afar he spots what appears to be the shoreline (some hope). Of course, under these conditions his heart jumps up/throbs excitedly in an excess of happiness. Beyond this word meaning, I don’t see much in this.
5
aaine1 ne kar diya yaktaaii2 ka daa’va3 Ghalat4
naqsh5-e hairat6 ban gaye apna muqaabil7 dekh kar
1.mirror 2.uniqueness, unequalled 3.claim 4.wrong 5.engraving, picture 6.amazement 7.equal
The beloved claims to be unique in her unsurpassed beauty. But then she looks into the mirror and it proves her claim wrong. She becomes a picture of amazement upon seeing someone else equal to her in beauty.
6
dekh to leN, dil meN tere ghar bhi kar sakte haiN hum
dil to hum deNge tujhe, laikin tera dil dekh kar
Let me try it out and see if I can make a home in your heart. I will give my heart to you, that much is certain, but only after seeing your heart. He either wants to see if she is so hard hearted that he cannot possible make a home in her heart or if she has already too many people there and there is no room left. But then raising all these possibilities either negates the claim that he will certainly give her his heart or makes a claim that he is confident that he will be able to change the situation in his favour.
7
dekhiye raah1-e adam2 meN aur pesh3 aata hai kya
hosh4 parraaN5 ho rahe haiN pahli6 manzil7 dekh kar
1.pathway 2.oblivion, annihilation, next world 3.confronted 4.awareness, courage 5.acquire wings 6.first 7.stage
Let us see what else we confront on the way towards the next world. All courage flies away when confronted by just the first stage of this journey. Said mir taqi mir …
raah-e duur-e ishq meN rotaa hai kya
aage aage dekhiye hotaa hai kya
8
aarzu1-e hoor2 kya ho naaz3 dil de ke unheN
sham’a4 par kya aaNkh DaaleN5, maah-e-kaamil6 dekh kar
1.desire, longing 2.companion angels awarded in heaven 3.pen-name of the poet 4.candle 5.aaNkh Daalna is an expression meaning to be attracted to, to select 6.full moon
How can I long of hoor, O naaz, after giving my heart to her. How can anyone think of even casting an eye at the candle after seeing the full moon.
The post maah-e kaamil dekh kar-sher siNgh naaz dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
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muntaKhab Ghazal
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mukammal Ghazal
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طور پہ دیدار دیکھ کر ۔ مرزا تقی بیگ مائلؔ دہلوی
۱
لیتا چلوں نہ بزم میں تلوار دیکھ کر
آئے گا جوش صورتِ اغیار دیکھ کر
۳
ایسا ہے مجھ کو مصحفِ رُخسارِ یار حِفظ
پڑھ جاؤں ایک سانس میں سَو بار دیکھ کر
۴
سر میں بھرا ہوا ہے جو سودا بہار کا
دیوانے خوش ہیں باغ کی دیوار دیکھ کر
۵
کہنے لگا یہ اُس کا کرم غمزدہ نہ ہو
کم مرتبہ کا مجھ کو گنہگار دیکھ کر
۶
بازارِ حُسنِ یار میں یوسف کو لائے جب
دیکھا نہ پھر کسی نے بھی اِک بار دیکھ کر
۱۰
رکھ دوں متاعِ درد جو بازارِ عشق میں
لے جائیں ہاتھوں ہاتھ خریدار دیکھ کر
۱۱
جس حال میں قفس میں گزرتی ہے شکر کر
بلبل نہ خوش ہو خواب میں گلزار دیکھ کر
۱۲
اک وہ کہ پھر رہے ہیں ترے ساتھ باغ میں
اک ہم کہ مر گئے تری رفتار دیکھ کر
۱۵
کہتا ہے نامہ بر مجھے پیغام دیجئے
آیا ہوں اُن کی غیر سے تکرار دیکھ کر
۲۰
ہرچند خاکسار ہوں رکھا نہ پر قدم
سایہ کو کُوئے یار کے بیزار دیکھ کر
۲۱
ہشیار اہلِ بزم وہ آتے ہیں بے نقاب
نکلے نہ منھ سے آہ خبردار دیکھ کر
۲۳
بتخانہ راہ میں جو پڑے دیکھتا چلوں
تسکیں ہوئی نہ طور پہ دیدار دیکھ کر
۲۵
میخانے میں جنابِ مسیحا اُتر پڑے
مائلؔ سے بادہ خوار کو بیمار دیکھ کر
طور پہ دیدار دیکھ کر ۔ مرزا تقی بیگ مائلؔ دہلوی
۱
لیتا چلوں نہ بزم میں تلوار دیکھ کر
آئے گا جوش صورتِ اغیار دیکھ کر
۲
آنکھیں مَلی ہیں مجھ کو سزاوار دیکھ کر
جیتا رہا جو تابِ رُخِ یار دیکھ کر
۳
ایسا ہے مجھ کو مصحفِ رُخسارِ یار حِفظ
پڑھ جاؤں ایک سانس میں سَو بار دیکھ کر
۴
سر میں بھرا ہوا ہے جو سودا بہار کا
دیوانے خوش ہیں باغ کی دیوار دیکھ کر
۵
کہنے لگا یہ اُس کا کرم غمزدہ نہ ہو
کم مرتبہ کا مجھ کو گنہگار دیکھ کر
۶
بازارِ حُسنِ یار میں یوسف کو لائے جب
دیکھا نہ پھر کسی نے بھی اِک بار دیکھ کر
۷
اُس روز سے جنوں میں پٹکتا ہوں اپنا سر
کہتے ہیں الاماں در و دیوار دیکھ کر
۸
دشمن ہے آسمان فرشتے ہیں بے گناہ
لینا خبر تو آہِ شرر بار دیکھ کر
۹
شیریں سی سنگ دل کے بھی آنسو نکل پڑے
آلودہ خوں سے دامنِ کہسار دیکھ کر
۱۰
رکھ دوں متاعِ درد جو بازارِ عشق میں
لے جائیں ہاتھوں ہاتھ خریدار دیکھ کر
۱۱
جس حال میں قفس میں گزرتی ہے شکر کر
بلبل نہ خوش ہو خواب میں گلزار دیکھ کر
۱۲
اک وہ کہ پھر رہے ہیں ترے ساتھ باغ میں
اک ہم کہ مر گئے تری رفتار دیکھ کر
۱۳
میری سی عاشقی میں نہ بگڑے کسی کی بات
وہ ہنس رہے ہیں دیدۂ خونبار دیکھ کر
۱۴
خورشید کانپتا ہے نکلنے کے نام سے
ایسا ڈرا ہے میری شبِ تار دیکھ کر
۱۵
کہتا ہے نامہ بر مجھے پیغام دیجئے
آیا ہوں اُن کی غیر سے تکرار دیکھ کر
۱۶
مہمان دل میں تیر کسی کا ہوا تو تھا
آتا ہے یاد زخم کو خونبار دیکھ کر
۱۷
بے درد سنگ دل مجھے کہتے ہیں اہلِ درد
پھندے میں واعظوں کے گرفتار دیکھ کر
۱۸
کیسا رہا ہے مجھ کو تعجب تمام رات
سب اہلِ خانقاہ کو بیدار دیکھ کر
۱۹
اپنی ہر ایک بات ہے دیوانہ پن کے ساتھ
کعبہ بھی ہم گئے رہِ پُر خار دیکھ کر
۲۰
ہرچند خاکسار ہوں رکھا نہ پر قدم
سایہ کو کُوئے یار کے بیزار دیکھ کر
۲۱
ہشیار اہلِ بزم وہ آتے ہیں بے نقاب
نکلے نہ منھ سے آہ خبردار دیکھ کر
۲۲
یہ ہی جنابِ خضر میرے ساتھ ہی تو تھے
جی چھوڑ بیٹھے منزلِ دشوار دیکھ کر
۲۳
بتخانہ راہ میں جو پڑے دیکھتا چلوں
تسکیں ہوئی نہ طور پہ دیدار دیکھ کر
۲۴
اِترا رہا ہے حشر جو تعریف کر گئے
دوچار اُن کے کشتۂ رفتار دیکھ کر
۲۵
میخانے میں جنابِ مسیحا اُتر پڑے
مائلؔ سے بادہ خوار کو بیمار دیکھ کر
तूर पे दीदार देख कर – मिर्ज़ा तक़ी बेग मा’एल देहलवी
१
लेता चलूं न बज़्म में तलवार देख कर
आयेगा जोश सूरत-ए अग़्यार देख कर
३
ऐसा है मुझ को मुस्हिफ़-ए रुख़्सार-ए यार हिफ़्ज़
पढ़ जाऊं एक सांस में सौ बार देख कर
४
सर में भरा हुआ है जो सौदा बहार का
दीवाने ख़ुश हैं बाग़ कि दीवार देख कर
१०
रख दूं मता’-ए दर्द जो बाज़ार-ए इश्क़ में
ले जाएं हाथों-हाथ ख़रीदार देख कर
११
जिस हाल में क़फ़स में गुज़रती है शुक्र कर
बुलबुल न ख़ुश हो ख़्वाब में गुल्ज़ार देख कर
१२
एक वो के फिर रहे हैं तेरे साथ बाग़ में
एक हम के मर गये तेरी रफ़्तार देख कर
१५
कहता है नामा-बर मुझे पैग़ाम दीजिये
आया हुं उन कि ग़ैर से तक्रार देख कर
२०
हरचंद ख़ाक्सार हुं रक्खा न पर क़दम
साये को कू-ए यार के बेज़ार देख कर
२३
बुत-ख़ाना राह में जो पढे देखता चलूं
तस्कीं हुई न तूर पे दीदार देख कर
२५
मैख़ाने में जनाब-ए मसीहा उतर पढे
मा’एल से बादा-ख़्वार को बीमार देख कर
तूर पे दीदार देख कर – मिर्ज़ा तक़ी बेग मा’एल देहलवी
१
लेता चलूं न बज़्म में तलवार देख कर
आयेगा जोश सूरत-ए अग़्यार देख कर
२
आंखें मली हैं मुझ को सज़ावार देख कर
जीता रहा जो ताब-ए रुख़-ए यार देख कर
३
ऐसा है मुझ को मुस्हिफ़-ए रुख़्सार-ए यार हिफ़्ज़
पढ़ जाऊं एक सांस में सौ बार देख कर
४
सर में भरा हुआ है जो सौदा बहार का
दीवाने ख़ुश हैं बाग़ कि दीवार देख कर
५
कहने लगा ये उस का करम ग़मज़दा न हो
कम मर्तबे का मुझ को गुनहगार देख कर
६
बाज़ार-ए हुस्न-ए यार में यूसुफ़ को लाए जब
देखा न फिर किसी ने भी एक बार देख कर
७
उस रोज़ से जुनूं में पटकता हुं अपना सर
कहते हैं अल-अमां दर ओ दीवार देख कर
८
दुश्मन है आस्मान फ़रिश्ते हैं बेगुनाह
लेना ख़बर तो आह-ए शरर-बार देख कर
९
शीरीं सि संगदिल के भी आंसू निकल पढे
आलूदा ख़ूं से दामन-ए कोहसार देख कर
१०
रख दूं मता’-ए दर्द जो बाज़ार-ए इश्क़ में
ले जाएं हाथों-हाथ ख़रीदार देख कर
११
जिस हाल में क़फ़स में गुज़रती है शुक्र कर
बुलबुल न ख़ुश हो ख़्वाब में गुल्ज़ार देख कर
१२
एक वो के फिर रहे हैं तेरे साथ बाग़ में
एक हम के मर गये तेरी रफ़्तार देख कर
१३
मेरी सि आशेक़ि में न बिग्ढे किसी की बात
वो हंस रहे हैं दीदा-ए ख़ूं-बार देख कर
१४
ख़ुर्शीद कांपता है निकलने के नाम से
ऐसा डरा है मेरी शब-ए तार देख कर
१५
कहता है नामा-बर मुझे पैग़ाम दीजिये
आया हुं उन कि ग़ैर से तक्रार देख कर
१६
मेहमान दिल में तीर किसी का हुआ तो है
आता है याद ज़ख़्म को ख़ूं-बार देख कर
१७
बेदर्द संगदिल मुझे कहते हैं अहल-ए दर्द
फंदे में वा’एज़ौं के गिरफ़्तार देख कर
१८
कैसा रहा है मुझ को ता’अज्जुब तमाम रात
सब अहल-ए ख़ानख़ाह को बेदार देख कर
१९
अपनी हर एक बात है दीवाना-पन के साथ
का’बे को हम गये रह-ए पुर-ख़्वार देख कर
२०
हरचंद ख़ाक्सार हुं रक्खा न पर क़दम
साये को कू-ए यार के बेज़ार देख कर
२१
होश्यार अहल-ए बज़्म वो आते हैं बे-नक़ाब
निकले न मुंह से आह, ख़बर-दार देख कर
२२
ये हि जनाब-ए ख़ज़्र मेरे साथ हि तो थे
जी छोढ बैठे मंज़िल-ए दुश्वार देख कर
२३
बुत-ख़ाना राह में जो पढे देखता चलूं
तस्कीं हुई न तूर पे दीदार देख कर
२४
इत्रा रहा है हश्र जो ता’रीफ़ कर गये
दो-चार उन के कुश्ता-ए रफ़्तार देख कर
२५
मैख़ाने में जनाब-ए मसीहा उतर पढे
मा’एल से बादा-ख़्वार को बीमार देख कर
Click here for background and on any passage for word meanings and explanatory discussion. mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This is one of five long Ghazal that maa’el himself has composed with the qaafiya/radeef of ‘zarf-e qadah-Khwaar dekh kar’ and is linked to ‘Ghalib naqsh-e qadam’ along with many others of other shu’ara.
1
leta chaluN na bazm1 meN talvaar dekh kar
aayega josh2 soorat-e aGhyaar3 dekh kar 1.gathering 2.passion, anger 3.others, rivals
I should be careful and not take a sword with me to the beloved’s gathering. It is likely that my anger/passion will be aroused upon seeing rivals there and I might end up killing them.
3
aisa hai mujh ko mus’haf1-e ruKhsaar2-e yaar3 hifz4paRh jaauN ek saaNs meN sau baar, dekh kar 1.book, expression 2.face, cheeks 3.beloved 4.memorized
The poet/lover has memorized the book of the beauty of the beloved such that he can read it out in one breath a hundred times, after taking only one look at it.
4
sar meN bhara hua hai jo sauda1 bahaar2 ka
diivaane Khush haiN baaGh ki diivaar dekh kar 1.trade, value, desire 2.spring
Spring brings out desires and feelings of love. All lovers’ heads are full of such desires. When this happens what do lovers do? They go stark raving mad and bang their heads against the wall. Therefore they are happy to see the wall of the garden!
10
rakh duuN mataa’1-e dard2 jo bazaar-e ishq meN
le jaa’eN haathoN haath Khariidaar dekh kar 1.possessions, valuable goods 2.pain/love
Love always results in pain and this pain is to be treasured. The poet/lover also considers this to be of very high value and boasts that it is so valuable that if I were to offer it for sale in the bazaar of love, they would be picked up by buyers in no time at all (and pass from hand to hand).
11
jis haal1 meN qafas2 meN guzarti3 hai shukr4 kar
bulbul na Khush ho Khwaab meN gulzaar5 dekh kar 1.condition 2.cage 3.(time/life) passes 4.be thankful 5.garden
The bulbul has been snared by the birdcatcher and put in a cage. There is no hope/expectation of its release. So the poet advises the bulbul (his own alter-ego) to make peace with its condition and be thankful however his life is passing in the cage. There is no point in dreaming about the garden and driving up your hopes.
12
ek vo keh phir1 rahe haiN tere saath baaGh meN
ek ham keh mar gaye teri raftaar2 dekh kar 1.walking, going around 2.gait, style
The beloved is supposed to have an enchanting gait/style. Those who get to see it are stunned or die of admiration. This is a point of pride for the poet/lover in spite of the fact that he is dead. There are those who walk around with you in the garden and then there is/was me who died when he saw your graceful gait. The implication is that those that walk with you are not ‘true’ lovers. They are merely lustful people. Only I was the true lover (and he is writing about it after he is dead).
15
kahta hai naama-bar1 mujhe paiGhaam2 diijiye
aaya huN un ki Ghair3 se takraar4 dekh kar 1.messenger 2.message 3.other, rival 4.argument
Usually the messenger is a reliable sort, sympathetic to the poet/lover. He has just returned from the beloved’s house (perhaps after having delivered a message) and urges the poet to send another message right away because as he was coming back he saw a big argument going on between the beloved and the rival. Hence, chances are that she is mad at the rival and will receive the poet’s message with sympathetic consideration.
20
harchand1 Khaaksaar2 huN rakkha na par qadam
saaye ko kuu3-e yaar4 ke bezaar5 dekh kar 1.even though 2.lowly, humble 3.street, lane 4.beloved 5.tired, disinterested, disgusted
Even though I am humble, I did not step in the street of the beloved when I saw that the shadows in the street were unwelcoming. Said Ghalib …
bandagi meN bhi vo aazaada o KhudbiiN haiN keh hum
ulTe phir aaye dar-e k’aaba agar vaa na hua
23
but-Khaana1 raah2 meN jo paRe dekhta chaluN
taskiiN3 hui na tuur4 pe diidaar5 dekh kar 1.house of idols, temple 2.path 3.satisfaction, contentment 4.mount tuur 5.sight, vision
The poet/seeker has been up mount tuur. He has seen the same brilliance that moosa saw. But that did not satisfy him. On the way back he hopes that there is a ‘house of idols’ that he might visit and get another/different satisfying vision. The ‘house of idols’ could be the house of the beloved or a temple. In either case, this is a bold and unusual statement about an idol being a more satisfying vision.
25
maiKhaane1 meN janaab2-e masiiha3 utar paRe
maa’el4 se baada-Khwaar5 ko biimaar6 dekh kar 1.tavern 2.honourable 3.healer, Jesus 4.pen-name of the poet 5.wine-lover/drinker 6.sick
Jesus is supposed to heal with his breath. But as a prophet he is expected to stay away from taverns (at least in islamic versions of stories). But even the honourable Jesus descended into the tavern when he saw that a wine-lover like maa’el was sick i.e., I am valued and taken care of in spite of my transgressions and drinking.
Click here for background and on any passage for word meanings and explanatory discussion. mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This is one of five long Ghazal that maa’el himself has composed with the qaafiya/radeef of ‘zarf-e qadah-Khwaar dekh kar’ and is linked to ‘Ghalib naqsh-e qadam’ along with many others of other shu’ara.
1
leta chaluN na bazm1 meN talvaar dekh kar
aayega josh2 soorat-e aGhyaar3 dekh kar 1.gathering 2.passion, anger 3.others, rivals
I should be careful and not take a sword with me to the beloved’s gathering. It is likely that my anger/passion will be aroused upon seeing rivals there and I might end up killing them.
2
aaNkheN maliiN1 haiN mujhko sazavaar2 dekh kar
jiita3 raha jo taab4-e ruKh5-e yaar6 dekh kar 1.rubbing eyes 2.deserving of punishment 3.remained alive 4.brilliance 5.face 6.beloved
‘aaNkh malna’ is an expression used to mean so amazed that they rub their eyes to make sure that they are seeing properly. The poet/lover was at the gathering of the beloved. He got a look at the brilliance of the beloved’s face and remained alive. The beloved was amazed and rubbed her eyes when she saw that he had committed a transgression (looked at her) and remained alive (therefore was deserving of punishment).
3
aisa hai mujh ko mus’haf1-e ruKhsaar2-e yaar3 hifz4paRh jaauN ek saaNs meN sau baar, dekh kar 1.book, expression 2.face, cheeks 3.beloved 4.memorized
The poet/lover has memorized the book of the beauty of the beloved such that he can read it out in one breath a hundred times, after taking only one look at it.
4
sar meN bhara hua hai jo sauda1 bahaar2 ka
diivaane Khush haiN baaGh ki diivaar dekh kar 1.trade, value, desire 2.spring
Spring brings out desires and feelings of love. All lovers’ heads are full of such desires. When this happens what do lovers do? They go stark raving mad and bang their heads against the wall. Therefore they are happy to see the wall of the garden!
5
kahne laga ye us ka karam1 Ghamzada2 na ho
kam martabe3 ka mujh ko gunahgaar4 dekh kar 1.mercy, kindness 2.sorrowful 3.low status 4.sinner
The poet/lover considers himself a sinner of low status … a small time sinner. He is afraid that his case will be lost among the millions of other small time sinners and he will be dispatched to hell along with them. god’s mercy observes this fear and sorrow and says to him, ‘do not be sorrowful’. The implication is that he will be granted divine mercy.
6
bazaar-e husn1-e yaar2 meN yusuf3 ko laa’e jab
dekha na phir kisi ne bhi ek baar dekh kar 1.beauty 2.beloved 3.Joseph
Joseph/yusuf was thrown down a deep well by his jealous brothers. A later caravan retrieved him and he was sold as a slave in the ‘misr ka bazaar’. Joseph is reputed to have been an extremely handsome man and is used as a metaphor for the apex of beauty. Thus, when he was put up for sale, potential buyers saw him once and then stopped looking any further.
7
us roz1 se junooN2 meN paTakta3 huN apna sar
kahte haiN al-amaaN4 dar-o-diivaar5 dekh kar 1.day 2.passion, madness 3.bang 4.mercy, protection 5.doors and walls i.e., buildings/homes
From that day forward i.e., from the day that he first saw the beloved, the poet/lover has gone passionately mad and bangs his head so much so that even homes around him beg for mercy.
8
dushman1 hai aasmaan2 farishte3 haiN be-gunaah4lena Khabar5 tu aah6-e sharar-baar7 dekh kar 1.enemy, cruel 2.sky, fate 3.angels 4.blameless, innocent 5.inquire after, be careful 6.sigh 7.spark raining, fiery
Fate/sky is the real enemy causing the poet/lover problems. He sighs in sorrow but his passions are so fiery that his breath is like that of a fire-breathing dragon and can burn everything in its path. He is addressing his own breath … be careful, the sky/fate may be the enemy but the angels are blameless. They should not get singed by his fiery sighs.
9
shiriiN1 si saNgdil2 ke bhi aaNsu nikal paRe
aaluuda3 KhuuN se daaman4-e kohsaar5 dekh kar 1.of shiriiN-farhaad legend 2.hard-hearted 3.stained 4.apron, valley 5.hills
farhaad was a mason, fell in love with shiriin who was already married. Her husband just to get rid of him set him an impossible task of carving a tunnel through the mountain and cause milk to flow through it. farhaad’s passion was such that he almost succeeded but Khusrow (shiriin’s husband) caused a false rumour to spread and reach farhaad that shiriin had died. farhaad killed himself. “Khuun-alooda daaman-e kohsaar” is a reference to farhaad’s blood flowing in the valley. In the first misra shiriin is depicted as a hard-hearted woman (not in love with farhaad) but this is not the most popular version (there are many versions). But even a hard-hearted woman like shiriin broke out into tears when she saw the blood stained valledy where farhaad had killed himself.
10
rakh duuN mataa’1-e dard2 jo bazaar-e ishq meN
le jaa’eN haathoN haath Khariidaar dekh kar 1.possessions, valuable goods 2.pain/love
Love always results in pain and this pain is to be treasured. The poet/lover also considers this to be of very high value and boasts that it is so valuable that if I were to offer it for sale in the bazaar of love, they would be picked up by buyers in no time at all (and pass from hand to hand).
11
jis haal1 meN qafas2 meN guzarti3 hai shukr4 kar
bulbul na Khush ho Khwaab meN gulzaar5 dekh kar 1.condition 2.cage 3.(time/life) passes 4.be thankful 5.garden
The bulbul has been snared by the birdcatcher and put in a cage. There is no hope/expectation of its release. So the poet advises the bulbul (his own alter-ego) to make peace with its condition and be thankful however his life is passing in the cage. There is no point in dreaming about the garden and driving up your hopes.
12
ek vo keh phir1 rahe haiN tere saath baaGh meN
ek ham keh mar gaye teri raftaar2 dekh kar 1.walking, going around 2.gait, style
The beloved is supposed to have an enchanting gait/style. Those who get to see it are stunned or die of admiration. This is a point of pride for the poet/lover in spite of the fact that he is dead. There are those who walk around with you in the garden and then there is/was me who died when he saw your graceful gait. The implication is that those that walk with you are not ‘true’ lovers. They are merely lustful people. Only I was the true lover (and he is writing about it after he is dead).
13
meri si1 aashiqi meN na bigRe2 kisi ki baat
vo haNs rahe haiN diida3-e KhooN-baar4 dekh kar 1.short for jaisi-like 2.go awry 3.eyes 4.blood raining, crying tears of blood
May it be that no one’s love go awry like mine has. The beloved laughs when she sees me crying tears of blood i.e., she thinks it is funny or made up.
14
Khurshiid1 kaaNpta2 hai nikalne3 ke naam se
aisa Dara4 hai meri shab5-e taar6 dekh kar 1.sun 2.trembles 3.emerging, rising 4.fearful 5.night of 6.darkness
There are two implications here. The dark nights of separation never end. The sun does not rise out of fear. His dark nights are so fearsome that the sun is so frightened that it is afraid to emerge. In either case, the poet/lover is condemned to never ending nights of separation.
15
kahta hai naama-bar1 mujhe paiGhaam2 diijiye
aaya huN un ki Ghair3 se takraar4 dekh kar 1.messenger 2.message 3.other, rival 4.argument
Usually the messenger is a reliable sort, sympathetic to the poet/lover. He has just returned from the beloved’s house (perhaps after having delivered a message) and urges the poet to send another message right away because as he was coming back he saw a big argument going on between the beloved and the rival. Hence, chances are that she is mad at the rival and will receive the poet’s message with sympathetic consideration.
16
mehmaan1 dil meN tiir2 kisi ka hua to hai
aaya hai yaad zaKhm3 ko KhooN-baar4 dekh kar 1.guest 2.arrow 3.wound 4.raining/flowing blood
The beloved’s arrow got lodged in the poet/lover heart. How can he forget it. Every time he sees his blood oozing wound he remembers that piercing glance.
17
be-dard1 saNgdil2 mujhe kahte haiN ahl-e-dard3phande4 meN vaa’ezoN5 ke giraftaar6 dekh kar 1.unfeeling, cruel 2.hard hearted 3.people of pain/love, lovers 4.noose, grip 5.preachers 6.caught, imprisoned
The poet/lover has fallen into a circle of preachers – caught up in their web. Ever since then, his friends ‘ahl-e dard’ call him heartless and stone-hearted.
18
kaisa raha hai mujh ko ta’ajjub1 tamaam2 raat
sab ahl3-e Khaanqaah4 ko bedaar5 dekh kar 1.amazement 2.all, complete 3.people/residents of 4.retreat/monastery of the mystics/sufis 5.awake
The poet/lover has spent the night in a Khaanqaah and is amazed to see that the residents were awake all night long. Of course, the poet/lover is used to staying up all night long during nights of separation pining away for the company of the beloved. He cannot put the story together and does not see the mystics/sufis as staying awake contemplating the divine. He thinks that they too are lovers like him and is amazed.
19
apni har ek baat hai diivaana-pan1 ke saath
k’aabe ko ham gaye rah2-e pur-Khaar3 dekh kar 1.madness 2.pathway 3.full of thorns
The poet/lover’s passion is strong and inclined towards madness. He loves and values pain. Thus, even for his pilgrimage to the k’aaba he picks the most difficult path … one that is full of thorns.
20
harchand1 Khaaksaar2 huN rakkha na par qadam
saaye ko kuu3-e yaar4 ke bezaar5 dekh kar 1.even though 2.lowly, humble 3.street, lane 4.beloved 5.tired, disinterested, disgusted
Even though I am humble, I did not step in the street of the beloved when I saw that the shadows in the street were unwelcoming. Said Ghalib …
bandagi meN bhi vo aazaada o KhudbiiN haiN keh hum
ulTe phir aaye dar-e k’aaba agar vaa na hua
21
hoshiyaar1 ahl-e-bazm2 vo aate haiN be-naqaab3nikle na muNh se aah4, Khabardaar5, dekh kar 1.be mindful/careful 2.people of the gathering 3.unveiled 4.sigh 5.be warned
Be careful O people of this gathering, the beloved approaches, unveiled. Let not even a sigh escape your lips, be warned, be careful. Alternatively, it can be “nikle na muNh se aah Khabardaar, dekh kar” i.e., let not even a sigh escape your lips upon seeing her, I am warning you!
22
ye hi janaab1-e Khizr2 mere saath hi to the
jii3 chhoR baiThe manzil4-e dushvaar5 dekh kar 1.respected 2.legendary old man, guide to travelers 3.life, heart 4.destination 5.difficult
Khizr is a legendary old man of Biblical and qur’aanic stories. He has sipped the nectar of immortality, lives forever, travels a lot, knows all the ways and is the guide/guardian angel of all travelers/seekers. The poet/lover expects him to be his guide on the path of love. He is being sarcastic … yes this was the very Khizr, the honourable Khizr, who was with me. But when he saw the difficult path/destination (of love) he lost his heart and gave up.
23
but-Khaana1 raah2 meN jo paRe dekhta chaluN
taskiiN3 hui na tuur4 pe diidaar5 dekh kar 1.house of idols, temple 2.path 3.satisfaction, contentment 4.mount tuur 5.sight, vision
The poet/seeker has been up mount tuur. He has seen the same brilliance that moosa saw. But that did not satisfy him. On the way back he hopes that there is a ‘house of idols’ that he might visit and get another/different satisfying vision. The ‘house of idols’ could be the house of the beloved or a temple. In either case, this is a bold and unusual statement about an idol being a more satisfying vision.
24
itra1 raha hai, hashr2 jo t’aariif3 kar gaye
do-chaar un ke kushta4-e raftaar5 dekh kar 1.preening, showing off 2.tumult, doomsday 3.praise 4.killed by, victims of 5.gait, style
The beloved is supposed to have a graceful and enchanting style/gait. Those who see it are so stunned by its beauty that they can forget to breathe and die. Thus, it is doomsday and few such victims have been raised from the dead. They tell the story of how they died. They praise her gait/style. The beloved hearing this, is preening herself and showing off.
25
maiKhaane1 meN janaab2-e masiiha3 utar paRe
maa’el4 se baada-Khwaar5 ko biimaar6 dekh kar 1.tavern 2.honourable 3.healer, Jesus 4.pen-name of the poet 5.wine-lover/drinker 6.sick
Jesus is supposed to heal with his breath. But as a prophet he is expected to stay away from taverns (at least in islamic versions of stories). But even the honourable Jesus descended into the tavern when he saw that a wine-lover like maa’el was sick i.e., I am valued and taken care of in spite of my transgressions and drinking.
mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This is one of five long Ghazal that maa’el himself has composed with the qaafiya/radeef of ‘zarf-e qadah-Khwaar dekh kar’ and is linked to ‘Ghalib naqsh-e qadam’ along with many others of other shu’ara.
1
leta chaluN na bazm1 meN talvaar dekh kar
aayega josh2 soorat-e aGhyaar3 dekh kar
1.gathering 2.passion, anger 3.others, rivals
I should be careful and not take a sword with me to the beloved’s gathering. It is likely that my anger/passion will be aroused upon seeing rivals there and I might end up killing them.
2
aaNkheN maliiN1 haiN mujhko sazavaar2 dekh kar
jiita3 raha jo taab4-e ruKh5-e yaar6 dekh kar
1.rubbing eyes 2.deserving of punishment 3.remained alive 4.brilliance 5.face 6.beloved
‘aaNkh malna’ is an expression used to mean so amazed that they rub their eyes to make sure that they are seeing properly. The poet/lover was at the gathering of the beloved. He got a look at the brilliance of the beloved’s face and remained alive. The beloved was amazed and rubbed her eyes when she saw that he had committed a transgression (looked at her) and remained alive (therefore was deserving of punishment).
3
aisa hai mujh ko mus’haf1-e ruKhsaar2-e yaar3 hifz4paRh jaauN ek saaNs meN sau baar, dekh kar
1.book, expression 2.face, cheeks 3.beloved 4.memorized
The poet/lover has memorized the book of the beauty of the beloved such that he can read it out in one breath a hundred times, after taking only one look at it.
4
sar meN bhara hua hai jo sauda1 bahaar2 ka
diivaane Khush haiN baaGh ki diivaar dekh kar
1.trade, value, desire 2.spring
Spring brings out desires and feelings of love. All lovers’ heads are full of such desires. When this happens what do lovers do? They go stark raving mad and bang their heads against the wall. Therefore they are happy to see the wall of the garden!
5
kahne laga ye us ka karam1 Ghamzada2 na ho
kam martabe3 ka mujh ko gunahgaar4 dekh kar
1.mercy, kindness 2.sorrowful 3.low status 4.sinner
The poet/lover considers himself a sinner of low status … a small time sinner. He is afraid that his case will be lost among the millions of other small time sinners and he will be dispatched to hell along with them. god’s mercy observes this fear and sorrow and says to him, ‘do not be sorrowful’. The implication is that he will be granted divine mercy.
6
bazaar-e husn1-e yaar2 meN yusuf3 ko laa’e jab
dekha na phir kisi ne bhi ek baar dekh kar
1.beauty 2.beloved 3.Joseph
Joseph/yusuf was thrown down a deep well by his jealous brothers. A later caravan retrieved him and he was sold as a slave in the ‘misr ka bazaar’. Joseph is reputed to have been an extremely handsome man and is used as a metaphor for the apex of beauty. Thus, when he was put up for sale, potential buyers saw him once and then stopped looking any further.
7
us roz1 se junooN2 meN paTakta3 huN apna sar
kahte haiN al-amaaN4 dar-o-diivaar5 dekh kar
1.day 2.passion, madness 3.bang 4.mercy, protection 5.doors and walls i.e., buildings/homes
From that day forward i.e., from the day that he first saw the beloved, the poet/lover has gone passionately mad and bangs his head so much so that even homes around him beg for mercy.
8
dushman1 hai aasmaan2 farishte3 haiN be-gunaah4lena Khabar5 tu aah6-e sharar-baar7 dekh kar
1.enemy, cruel 2.sky, fate 3.angels 4.blameless, innocent 5.inquire after, be careful 6.sigh 7.spark raining, fiery
Fate/sky is the real enemy causing the poet/lover problems. He sighs in sorrow but his passions are so fiery that his breath is like that of a fire-breathing dragon and can burn everything in its path. He is addressing his own breath … be careful, the sky/fate may be the enemy but the angels are blameless. They should not get singed by his fiery sighs.
9
shiriiN1 si saNgdil2 ke bhi aaNsu nikal paRe
aaluuda3 KhuuN se daaman4-e kohsaar5 dekh kar
1.of shiriiN-farhaad legend 2.hard-hearted 3.stained 4.apron, valley 5.hills
farhaad was a mason, fell in love with shiriin who was already married. Her husband just to get rid of him set him an impossible task of carving a tunnel through the mountain and cause milk to flow through it. farhaad’s passion was such that he almost succeeded but Khusrow (shiriin’s husband) caused a false rumour to spread and reach farhaad that shiriin had died. farhaad killed himself. “Khuun-alooda daaman-e kohsaar” is a reference to farhaad’s blood flowing in the valley. In the first misra shiriin is depicted as a hard-hearted woman (not in love with farhaad) but this is not the most popular version (there are many versions). But even a hard-hearted woman like shiriin broke out into tears when she saw the blood stained valledy where farhaad had killed himself.
10
rakh duuN mataa’1-e dard2 jo bazaar-e ishq meN
le jaa’eN haathoN haath Khariidaar dekh kar
1.possessions, valuable goods 2.pain/love
Love always results in pain and this pain is to be treasured. The poet/lover also considers this to be of very high value and boasts that it is so valuable that if I were to offer it for sale in the bazaar of love, they would be picked up by buyers in no time at all (and pass from hand to hand).
11
jis haal1 meN qafas2 meN guzarti3 hai shukr4 kar
bulbul na Khush ho Khwaab meN gulzaar5 dekh kar
1.condition 2.cage 3.(time/life) passes 4.be thankful 5.garden
The bulbul has been snared by the birdcatcher and put in a cage. There is no hope/expectation of its release. So the poet advises the bulbul (his own alter-ego) to make peace with its condition and be thankful however his life is passing in the cage. There is no point in dreaming about the garden and driving up your hopes.
12
ek vo keh phir1 rahe haiN tere saath baaGh meN
ek ham keh mar gaye teri raftaar2 dekh kar
1.walking, going around 2.gait, style
The beloved is supposed to have an enchanting gait/style. Those who get to see it are stunned or die of admiration. This is a point of pride for the poet/lover in spite of the fact that he is dead. There are those who walk around with you in the garden and then there is/was me who died when he saw your graceful gait. The implication is that those that walk with you are not ‘true’ lovers. They are merely lustful people. Only I was the true lover (and he is writing about it after he is dead).
13
meri si1 aashiqi meN na bigRe2 kisi ki baat
vo haNs rahe haiN diida3-e KhooN-baar4 dekh kar
1.short for jaisi-like 2.go awry 3.eyes 4.blood raining, crying tears of blood
May it be that no one’s love go awry like mine has. The beloved laughs when she sees me crying tears of blood i.e., she thinks it is funny or made up.
14
Khurshiid1 kaaNpta2 hai nikalne3 ke naam se
aisa Dara4 hai meri shab5-e taar6 dekh kar
1.sun 2.trembles 3.emerging, rising 4.fearful 5.night of 6.darkness
There are two implications here. The dark nights of separation never end. The sun does not rise out of fear. His dark nights are so fearsome that the sun is so frightened that it is afraid to emerge. In either case, the poet/lover is condemned to never ending nights of separation.
15
kahta hai naama-bar1 mujhe paiGhaam2 diijiye
aaya huN un ki Ghair3 se takraar4 dekh kar
1.messenger 2.message 3.other, rival 4.argument
Usually the messenger is a reliable sort, sympathetic to the poet/lover. He has just returned from the beloved’s house (perhaps after having delivered a message) and urges the poet to send another message right away because as he was coming back he saw a big argument going on between the beloved and the rival. Hence, chances are that she is mad at the rival and will receive the poet’s message with sympathetic consideration.
16
mehmaan1 dil meN tiir2 kisi ka hua to hai
aaya hai yaad zaKhm3 ko KhooN-baar4 dekh kar
1.guest 2.arrow 3.wound 4.raining/flowing blood
The beloved’s arrow got lodged in the poet/lover heart. How can he forget it. Every time he sees his blood oozing wound he remembers that piercing glance.
17
be-dard1 saNgdil2 mujhe kahte haiN ahl-e-dard3phande4 meN vaa’ezoN5 ke giraftaar6 dekh kar
1.unfeeling, cruel 2.hard hearted 3.people of pain/love, lovers 4.noose, grip 5.preachers 6.caught, imprisoned
The poet/lover has fallen into a circle of preachers – caught up in their web. Ever since then, his friends ‘ahl-e dard’ call him heartless and stone-hearted.
18
kaisa raha hai mujh ko ta’ajjub1 tamaam2 raat
sab ahl3-e Khaanqaah4 ko bedaar5 dekh kar
1.amazement 2.all, complete 3.people/residents of 4.retreat/monastery of the mystics/sufis 5.awake
The poet/lover has spent the night in a Khaanqaah and is amazed to see that the residents were awake all night long. Of course, the poet/lover is used to staying up all night long during nights of separation pining away for the company of the beloved. He cannot put the story together and does not see the mystics/sufis as staying awake contemplating the divine. He thinks that they too are lovers like him and is amazed.
19
apni har ek baat hai diivaana-pan1 ke saath
k’aabe ko ham gaye rah2-e pur-Khaar3 dekh kar
1.madness 2.pathway 3.full of thorns
The poet/lover’s passion is strong and inclined towards madness. He loves and values pain. Thus, even for his pilgrimage to the k’aaba he picks the most difficult path … one that is full of thorns.
20
harchand1 Khaaksaar2 huN rakkha na par qadam
saaye ko kuu3-e yaar4 ke bezaar5 dekh kar
1.even though 2.lowly, humble 3.street, lane 4.beloved 5.tired, disinterested, disgusted
Even though I am humble, I did not step in the street of the beloved when I saw that the shadows in the street were unwelcoming. Said Ghalib …
bandagi meN bhi vo aazaada o KhudbiiN haiN keh hum
ulTe phir aaye dar-e k’aaba agar vaa na hua
21
hoshiyaar1 ahl-e-bazm2 vo aate haiN be-naqaab3nikle na muNh se aah4, Khabardaar5, dekh kar
1.be mindful/careful 2.people of the gathering 3.unveiled 4.sigh 5.be warned
Be careful O people of this gathering, the beloved approaches, unveiled. Let not even a sigh escape your lips, be warned, be careful. Alternatively, it can be “nikle na muNh se aah Khabardaar, dekh kar” i.e., let not even a sigh escape your lips upon seeing her, I am warning you!
22
ye hi janaab1-e Khizr2 mere saath hi to the
jii3 chhoR baiThe manzil4-e dushvaar5 dekh kar
1.respected 2.legendary old man, guide to travelers 3.life, heart 4.destination 5.difficult
Khizr is a legendary old man of Biblical and qur’aanic stories. He has sipped the nectar of immortality, lives forever, travels a lot, knows all the ways and is the guide/guardian angel of all travelers/seekers. The poet/lover expects him to be his guide on the path of love. He is being sarcastic … yes this was the very Khizr, the honourable Khizr, who was with me. But when he saw the difficult path/destination (of love) he lost his heart and gave up.
23
but-Khaana1 raah2 meN jo paRe dekhta chaluN
taskiiN3 hui na tuur4 pe diidaar5 dekh kar
1.house of idols, temple 2.path 3.satisfaction, contentment 4.mount tuur 5.sight, vision
The poet/seeker has been up mount tuur. He has seen the same brilliance that moosa saw. But that did not satisfy him. On the way back he hopes that there is a ‘house of idols’ that he might visit and get another/different satisfying vision. The ‘house of idols’ could be the house of the beloved or a temple. In either case, this is a bold and unusual statement about an idol being a more satisfying vision.
24
itra1 raha hai, hashr2 jo t’aariif3 kar gaye
do-chaar un ke kushta4-e raftaar5 dekh kar
1.preening, showing off 2.tumult, doomsday 3.praise 4.killed by, victims of 5.gait, style
The beloved is supposed to have a graceful and enchanting style/gait. Those who see it are so stunned by its beauty that they can forget to breathe and die. Thus, it is doomsday and few such victims have been raised from the dead. They tell the story of how they died. They praise her gait/style. The beloved hearing this, is preening herself and showing off.
25
maiKhaane1 meN janaab2-e masiiha3 utar paRe
maa’el4 se baada-Khwaar5 ko biimaar6 dekh kar
1.tavern 2.honourable 3.healer, Jesus 4.pen-name of the poet 5.wine-lover/drinker 6.sick
Jesus is supposed to heal with his breath. But as a prophet he is expected to stay away from taverns (at least in islamic versions of stories). But even the honourable Jesus descended into the tavern when he saw that a wine-lover like maa’el was sick i.e., I am valued and taken care of in spite of my transgressions and drinking.
The post tuur pe diidaar dekh kar-mirza taqi beg maa’el dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/pasd-nok-e-nashtar-dekh-kar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
نوکِ نشتر دیکھ کر ۔ پنڈت امرناتھ ساحرؔ دہلوی
۱
تجھ کو اے نورِ تجلّی جلوہ پیکر دیکھ کر
دل ہے مستِ جلوہ اندر اور باہر دیکھ کر
۲
ناز پر ہے اوج میں اپنا مقدّر دیکھ کر
دل کا آئینہ تری صورت دکھا کر دیکھ کر
۳
دل کو حیرانی ہے آئینہ میں جوہر دیکھ کر
جان کو اطمینان ہے جلوہ دکھا کر دیکھ کر
۴
ہے مرا قلبِ مُصفّا جلوہ گاہِ نورِ ذات
عکسِ حُسنِ صورت و معنی دکھا کر دیکھ کر
۵
ہے فروغِ جاں سے حسن و عشق کا راز و نیاز
شرکِ غیرت گم ہوا جلوہ دکھا کر دیکھ کر
۶
حُسن پر ہے ناز تم کو ہم کو دل پر ناز ہے
مول ہوتا ہے ہر اک شے کا دکھا کر دیکھ کر
۷
اپنی اپنی وضع کے پابند ہیں مستور و مست
اپنے اپنے پاؤں پھیلانے میں چادر دیکھ کر
۸
بڑھ گیا جوشِ جنوں میں اس قدر ذوقِ خلش
خوں رگوں میں دوڑتا ہے نوکِ نشتر دیکھ کر
۹
ذاتِ باری ہے علیم و غیب دان و عیب پوش
شانِ رحمت دیکھ اپنا دامن تر دیکھ کر
۱۰
ہیں صفاتی سات پردے جلوہ گاہِ نورِ ذات
عقل حیراں ہے طلسمِ ہفت پیکر دیکھ کر
۱۱
واہمہ اور حافظہ متخیلہ اور امتیاز
حیرتی ہیں گنبدِ عرفاں کو بے در دیکھ کر
۱۲
اشک اور اشکِ ندامت نامہ سر تا سر سیاہ
شانِ رحمت فرض تو اپنا ادا کر دیکھ کر
۱۳
سایۂ رحمت پناہِ عاشقانِ ذات ہے
اِلتہابِ آفتابِ روزِ محشر دیکھ کر
۱۴
بیوفائی عمر کی ہوتی ہے ساحرؔ دل پہ نقش
جلوۂ نیرنگیِ ہستی کو دم بھر دیکھ کر
नोक-ए नश्तर देख कर – पंडित अमरनाथ साहर देहलवी
१
तुझ को अए नूर-ए तजल्ली जल्वा पैकर देख कर
दिल है मस्त-ए जल्वा अंदर और बाहर देख कर
२
नाज़ पर है औज में अपना मुक़द्दर देख कर
दिल का आईना तेरी सूरत दिखा कर, देख कर
३
दिल को हैरानी है आईने में जौहर देख कर
जान को इत्मिनान है जल्वा दिखा कर देख कर
४
है मेरा क़ल्ब-ए मुसफ़्फ़ा जल्वा-गाह-ए नूर-ए ज़ात
अक्स-ए हुस्न-ए सूरत ओ मु’आनि दिखा कर देख कर
५
है फ़रोग़-ए जां से हुस्न ओ इश्क़ का राज़ ओ नियाज़
शिर्क-ए ग़ैरत गुम हुआ जल्वा दिखा कर देख कर
६
हुस्न पर है नाज़ तुम को हम को दिल पर नाज़ है
मोल होता है हर एक शय का दिखा कर देख कर
७
अपनी अपनी वज़’अ के पाबंद हैं मस्तूर ओ मस्त
अपने अपने पाऊं फैलाने में चादर देख कर
८
बढ़ गया जोश-ए जुनूं में इस क़दर ज़ौक़-ए ख़लिश
ख़ूं रगौं में दौढता है नोक-ए नश्तर देख कर
९
ज़ात-ए बारी है अलीम ओ ग़ैब-दान ओ ऐब-पोश
शान-ए रहमत देख अपना दामन-ए तर देख कर
१०
हैं सिफ़ाती सात पर्दे जल्वा-गाह-ए नूर-ए ज़ात
अक़्ल हैरां है तिलस्म-ए हफ़्त-पैकर देख कर
११
वाहमा और हाफ़ज़ा, मुतख़य्युला और इम्तियाज़
हैरती हैं गुंबद-ए इरफ़ां को बे-दर देख कर
१२
अश्क और अश्क-ए नदामत नामा सर-ता-सर सियाह
शान-ए रहमत, फ़र्ज़ तू अपना अदा कर देख कर
१३
साया-ए रहमत पनाह-ए आशक़ान-ए ज़ात है
इल्तहाब-ए आफ़्ताब-ए रोज़-ए महशर देख कर
१४
बे-वफ़ाई उम्र की होती है साहर दिल पे नक़्श
जल्वा-ए नैरंगी-ए हस्ती को दम-भर देख कर
Click here for background and on any passage for word meanings and explanatory discussion. panDit amarnath sahir dehlavi (1863-1962) was deeply affected by the cultural degeneration following the 1857 war. He turned to themes of mysticism in his poetry. He was a scholar of sanskrit, arabi and faarsi. This is one of a series of Ghazal, by many different shu’ara, styled after Ghalib’s, ‘dete haiN baada zarf-e qadah Khwaar dekh kar’ and is linked to ‘Ghalib naqsh-e qadam’ as well as to ‘Ghalib-kashmiri panDit’. Note that there is a slight difference in the qaafiya – ‘ar’ vs ‘aar’. This Ghazal is deeply mystical.
1
tujh ko aye noor1-e tajalli2 jalva3 paikar4 dekh kar
dil hai mast5-e jalva3 andar aur baahir dekh kar 1.light 2.brilliance 3.manifestation 4.image, form 5.intoxicated
The divine spirit is ‘noor-e tajalli’. It has manifested itself as a form – the form of the heart of the poet/devotee. The devotee goes into an intoxicating trance by looking at this manifestation both inside and outside his heart i.e., everything around him is a manifestation of the divine.
2
naaz1 par hai auj2 meN apna muqaddar3 dekh kar
dil ka aaiina teri suurat dikha kar dekh kar 1.pride, coquetry, self-regarding 2.climax 3.fate
The heart of the poet/devotee is delighted/proud in regarding the climax of its own fate. Because the mirror of his heart shows him the divine spirit and reflects his own divine spirit when he looks into it.
3
dil ko hairaani1 hai aaine meN jauhar2 dekh kar
jaan3 ko itiminaan4 hai jalva5 dikha kar dekh har 1.amazement 2.quality, capacity 3.soul 4.satisfaction, tranquility 5.manifestation
This appears to be a continuation of thought from the previous she’r, in which the heart is proud of its good fortune at being able to reflect as well as perceive the manifestation of the divine. Here the heart is amazed at seeing this capacity in its own mirror (reflection as well as the capacity to reflect). But the soul is tranquil as it can reflect and see the divine.
4
hai mera qalb1-e musaffa2 jalva-gaah3-e noor4-e zaat5
aks6-e husn7-e soorat o mu’aani8 dikha kar dekh kar 1.heart 2.clean, pure 3.place of manifestation 4.light 5.divine being 6.reflection 7.beauty 8.meaning, essence
The poet/mystic’s heart is pure and clean. It is the place where the divine spirit is manifested because it has seen the reflection of the beauty of appearance and the essential qualities of the divine.
5
hai foroGh1-e jaaN2 se husn3 o ishq4 ka raaz-o-niyaaz5shirk6-e Ghairat7 gum8 hua jalva9 dikha kar dekh kar 1.brilliance, burning, passion 2.soul 3.beauty, divine beloved 4.lover, devotee 5.intimate conversation 6.inclusion, addition 7.bashfulness, aloofness 8.lost, disappear 9.manifestation
The passion of the soul was such that it resulted in an intimate conversation between the devotee and the divine beloved. There was even a manifestation of the divine and as the devotee saw it and could reflect it all signs of aloofness between the devotee and divine disappeared.
6
husn1 par hai naaz2 tum ko hum ko dil3 par naaz2 hai
mol4 hota hai har ek shai5 ka dikha kar dekh kar 1.beauty 2.pride 3.heart, love 4.valuation 5.thing, substance
The divine is proud of its beauty/glory. The lover/devotee is proud of their devotion. The valuation of everything happens only after seeing it. I am not sure if he is setting up a competition between the divine and the devotee or simply insisting that he has a right to see the divine.
7
apni apni vaz’a1 ke paaband2 haiN mastoor3 o mast4
apne apne paauN phailaane meN chaadar dekh kar 1.position, nature, character 2.bound by 3.veiled, concealed 4.intoxicated (with love/devotion)
Both the veiled divine and the intoxicated devotee are bound by their respective nature. ‘chaadar dekh ke paauN phailaana’ is an expression that means ‘doing something in proportion to capability’ – like zarf-e qadah-Khwaar dekh kar.
8
baRh gaya josh1-e junuuN2 meN is qadar3 zauq4-e Khalish5KhuN ragoN6 meN dauRta7 hai nok8-e nashtar9 dekh kar 1.enthusiasm, intensity 2.passion 3.so much 4.taste, desire 5.pain 6.veins 7.runs 8.point 9.knife
urdu poetic tradition has it that the beloved comes at the poet/lover with her knife drawn. He likes that and his heart throbs more and blood gushes through his veins because the desire for pain increases with his passion.
9
zaat1-e baari2 hai aliim3 o Ghaib-daan4 o aib-posh5
shaan6-e rahmat7 dekh apna daaman8-e tar9 dekh kar 1.being, person 2.god 3.all knowing 4.grantor of anonymity 5.veiler of shortcomings 6.grandeur 7.kindness, god 8.hem of the robe 9.wet (with tears of repentence)
The divine being who is all knowing grants you anonymity and veils your transgressions if you repent sincerely. Look at the tears of repentence collected in the hem of your apron and consider that grandeur of divine kindness.
10
haiN sifaati1 saat parde jalva-gaah2-e noor3-e zaat4
aql5 hairaaN6 hai tilasm7-e haft-paikar8 dekh kar 1.attributes, facets of nature 2.place of manifestation 3.brilliance 4.divine being 5.mind 6.amazed 7.echantment 8.seven beauties, seven images
It is commonly believed that there are seven veils/curtains between us and the divine. The shaa’er calls these seven curtains, one for each attribute. Thus, behind these attributes is the manifestation of the brilliance of the divine being. The mind remains amazed at the seven images. It is not clear whether the seven images are behind the curtains of the seven attributes or the seven images themselves form the seven curtains. Incidentally, there is a faarsi romantic epic by nizaami ganjvi. I don’t think that there is any relationship of this she’r with the epic.
11
vaahema1 aur haafeza2, mutaKhayyula3 aur imtiaaz4hairati5 haiN guNbad6-e irfaaN7 ko be-dar8 dekh kar 1.scepticism 2.memory 3.imagintation, creativity 4.discriminating choice (between good and bad) 5.puzzled 6.dome, sky 7.mystic knowledged, gnosticism 8.doorless
The domain of mysticism/gnosticism is open to all. There is no door, no restrition. This leaves scepticism, memory, creativity and refined thinking all puzzled. Thus, the poet/mystic implies that there is no great knowledge of books, memorization etc. necessary to achieve a state of mystic/gnostic knowledge. Said kabiir …
pothi paRhi paRhi jag mua, panDit bhayaa na koye
Dhaaii aakhar prem ka, paRhe so panDit hoye
12
ashk1 aur ashk-e nadaamat2, naama3 sar-ta-sar4 siyaah5
shaan6-e rahmat7, farz8 tu apna adaa9 kar dekh kar 1.tears 2.repentence 3.ledger (of good and bad deeds) 4.top to bottom 5.dark 6.grandeur, glory 7.divine kindness 8.duty 9.pay, fulfill
On the one side is a ledger of the poet/devotee’s good and bad deeds. It is all dark, because they are mostly bad deeds. On the other side are his tears of repentence. He is calling upon the glory of divine kindness to do its duty by comparing the two. Here is a faarsi she’r of hafiz …
aabru mi ravad aye abr-e siyah posh be-baar
keh ba-diivaan-e amal naama siyaah aamadah iim
My dignity is gone, O dark cloud, rain down to wash it away
For the dark ledger of my actions is being presented
13
ashk1 aur ashk-e nadaamat2, naama3 sar-ta-sar4 siyaah5
shaan6-e rahmat7, farz8 tu apna adaa9 kar dekh kar 1.tears 2.repentence 3.ledger (of good and bad deeds) 4.top to bottom 5.dark 6.grandeur, glory 7.divine kindness 8.duty 9.pay, fulfill
On the one side is a ledger of the poet/devotee’s good and bad deeds. It is all dark, because they are mostly bad deeds. On the other side are his tears of repentence. He is calling upon the glory of divine kindness to do its duty by comparing the two. Here is a faarsi she’r of hafiz …
aabru mi ravad aye abr-e siyah posh be-baar
keh ba-diivaan-e amal naama siyaah aamadah iim
My dignity is going, O dark cloud, rain down to wash away
That dark ledger of my actions that is being presented
14
be-vafaaii1 umr2 ki hoti hai saahir3 dil pe naqsh4
jalva5-e nairaNgi6-e hasti7 ko dam-bhar8 dekh kar 1.unfaithfulness, impermanence 2.life 3.pen-name of the poet 4.engraved, etched 5.manifestation 6.enchantment, magic 7.existence, being, divine being 8.momentarily
The impermanence of life gets etched on the heart, O saahir, if you get even a fleeting glance of the manifestation of the magic of the divine being.
panDit amarnath sahir dehlavi (1863-1962) was deeply affected by the cultural degeneration following the 1857 war. He turned to themes of mysticism in his poetry. He was a scholar of sanskrit, arabi and faarsi. This is one of a series of Ghazal, by many different shu’ara, styled after Ghalib’s, ‘dete haiN baada zarf-e qadah Khwaar dekh kar’ and is linked to ‘Ghalib naqsh-e qadam’ as well as to ‘Ghalib-kashmiri panDit’. Note that there is a slight difference in the qaafiya – ‘ar’ vs ‘aar’. This Ghazal is deeply mystical.
1
tujh ko aye noor1-e tajalli2 jalva3 paikar4 dekh kar
dil hai mast5-e jalva3 andar aur baahir dekh kar
1.light 2.brilliance 3.manifestation 4.image, form 5.intoxicated
The divine spirit is ‘noor-e tajalli’. It has manifested itself as a form – the form of the heart of the poet/devotee. The devotee goes into an intoxicating trance by looking at this manifestation both inside and outside his heart i.e., everything around him is a manifestation of the divine.
2
naaz1 par hai auj2 meN apna muqaddar3 dekh kar
dil ka aaiina teri suurat dikha kar dekh kar
1.pride, coquetry, self-regarding 2.climax 3.fate
The heart of the poet/devotee is delighted/proud in regarding the climax of its own fate. Because the mirror of his heart shows him the divine spirit and reflects his own divine spirit when he looks into it.
3
dil ko hairaani1 hai aaine meN jauhar2 dekh kar
jaan3 ko itiminaan4 hai jalva5 dikha kar dekh har
1.amazement 2.quality, capacity 3.soul 4.satisfaction, tranquility 5.manifestation
This appears to be a continuation of thought from the previous she’r, in which the heart is proud of its good fortune at being able to reflect as well as perceive the manifestation of the divine. Here the heart is amazed at seeing this capacity in its own mirror (reflection as well as the capacity to reflect). But the soul is tranquil as it can reflect and see the divine.
4
hai mera qalb1-e musaffa2 jalva-gaah3-e noor4-e zaat5
aks6-e husn7-e soorat o mu’aani8 dikha kar dekh kar
1.heart 2.clean, pure 3.place of manifestation 4.light 5.divine being 6.reflection 7.beauty 8.meaning, essence
The poet/mystic’s heart is pure and clean. It is the place where the divine spirit is manifested because it has seen the reflection of the beauty of appearance and the essential qualities of the divine.
5
hai foroGh1-e jaaN2 se husn3 o ishq4 ka raaz-o-niyaaz5shirk6-e Ghairat7 gum8 hua jalva9 dikha kar dekh kar
1.brilliance, burning, passion 2.soul 3.beauty, divine beloved 4.lover, devotee 5.intimate conversation 6.inclusion, addition 7.bashfulness, aloofness 8.lost, disappear 9.manifestation
The passion of the soul was such that it resulted in an intimate conversation between the devotee and the divine beloved. There was even a manifestation of the divine and as the devotee saw it and could reflect it all signs of aloofness between the devotee and divine disappeared.
6
husn1 par hai naaz2 tum ko hum ko dil3 par naaz2 hai
mol4 hota hai har ek shai5 ka dikha kar dekh kar
1.beauty 2.pride 3.heart, love 4.valuation 5.thing, substance
The divine is proud of its beauty/glory. The lover/devotee is proud of their devotion. The valuation of everything happens only after seeing it. I am not sure if he is setting up a competition between the divine and the devotee or simply insisting that he has a right to see the divine.
7
apni apni vaz’a1 ke paaband2 haiN mastoor3 o mast4
apne apne paauN phailaane meN chaadar dekh kar
1.position, nature, character 2.bound by 3.veiled, concealed 4.intoxicated (with love/devotion)
Both the veiled divine and the intoxicated devotee are bound by their respective nature. ‘chaadar dekh ke paauN phailaana’ is an expression that means ‘doing something in proportion to capability’ – like zarf-e qadah-Khwaar dekh kar.
8
baRh gaya josh1-e junuuN2 meN is qadar3 zauq4-e Khalish5KhuN ragoN6 meN dauRta7 hai nok8-e nashtar9 dekh kar
1.enthusiasm, intensity 2.passion 3.so much 4.taste, desire 5.pain 6.veins 7.runs 8.point 9.knife
urdu poetic tradition has it that the beloved comes at the poet/lover with her knife drawn. He likes that and his heart throbs more and blood gushes through his veins because the desire for pain increases with his passion.
9
zaat1-e baari2 hai aliim3 o Ghaib-daan4 o aib-posh5
shaan6-e rahmat7 dekh apna daaman8-e tar9 dekh kar
1.being, person 2.god 3.all knowing 4.grantor of anonymity 5.veiler of shortcomings 6.grandeur 7.kindness, god 8.hem of the robe 9.wet (with tears of repentence)
The divine being who is all knowing grants you anonymity and veils your transgressions if you repent sincerely. Look at the tears of repentence collected in the hem of your apron and consider that grandeur of divine kindness.
10
haiN sifaati1 saat parde jalva-gaah2-e noor3-e zaat4
aql5 hairaaN6 hai tilasm7-e haft-paikar8 dekh kar
1.attributes, facets of nature 2.place of manifestation 3.brilliance 4.divine being 5.mind 6.amazed 7.echantment 8.seven beauties, seven images
It is commonly believed that there are seven veils/curtains between us and the divine. The shaa’er calls these seven curtains, one for each attribute. Thus, behind these attributes is the manifestation of the brilliance of the divine being. The mind remains amazed at the seven images. It is not clear whether the seven images are behind the curtains of the seven attributes or the seven images themselves form the seven curtains. Incidentally, there is a faarsi romantic epic by nizaami ganjvi. I don’t think that there is any relationship of this she’r with the epic.
11
vaahema1 aur haafeza2, mutaKhayyula3 aur imtiaaz4hairati5 haiN guNbad6-e irfaaN7 ko be-dar8 dekh kar
1.scepticism 2.memory 3.imagintation, creativity 4.discriminating choice (between good and bad) 5.puzzled 6.dome, sky 7.mystic knowledged, gnosticism 8.doorless
The domain of mysticism/gnosticism is open to all. There is no door, no restrition. This leaves scepticism, memory, creativity and refined thinking all puzzled. Thus, the poet/mystic implies that there is no great knowledge of books, memorization etc. necessary to achieve a state of mystic/gnostic knowledge. Said kabiir …
pothi paRhi paRhi jag mua, panDit bhayaa na koye
Dhaaii aakhar prem ka, paRhe so panDit hoye
12
ashk1 aur ashk-e nadaamat2, naama3 sar-ta-sar4 siyaah5
shaan6-e rahmat7, farz8 tu apna adaa9 kar dekh kar
1.tears 2.repentence 3.ledger (of good and bad deeds) 4.top to bottom 5.dark 6.grandeur, glory 7.divine kindness 8.duty 9.pay, fulfill
On the one side is a ledger of the poet/devotee’s good and bad deeds. It is all dark, because they are mostly bad deeds. On the other side are his tears of repentence. He is calling upon the glory of divine kindness to do its duty by comparing the two. Here is a faarsi she’r of hafiz …
aabru mi ravad aye abr-e siyah posh be-baar
keh ba-diivaan-e amal naama siyaah aamadah iim
My dignity is going, O dark cloud, rain down to wash away
That dark ledger of my actions that is being presented
14
be-vafaaii1 umr2 ki hoti hai saahir3 dil pe naqsh4
jalva5-e nairaNgi6-e hasti7 ko dam-bhar8 dekh kar
1.unfaithfulness, impermanence 2.life 3.pen-name of the poet 4.engraved, etched 5.manifestation 6.enchantment, magic 7.existence, being, divine being 8.momentarily
The impermanence of life gets etched on the heart, O saahir, if you get even a fleeting glance of the manifestation of the magic of the divine being.
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For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/mtbmd-josh-e-qadah-Khwaar-dekh-kar-complete-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جوشِ قدح خوار دیکھ کر ۔ مرزا تقی بیگ مائلؔ دہلوی
۱
ہر موجِ مے کو مطلعِ انوار دیکھ کر
پیتا ہوں ایک جام کو سو بار دیکھ کر
۲
پیرِ مغاں نے پھینک دی دستار دیکھ کر
ساغر کو شیخ رہ گئے ناچار دیکھ کر
۳
دی میکشوں نے شیخ کو تعظیم سرو قد
بھیگی ہوئی خزاب میں دستار دیکھ کر
۴
قاتل جو مستِ ناز ہے مقتل میں شور ہے
ڈوبی ہوئی شراب میں تلوار دیکھ کر
۵
کرنے لگے تمام نمازی دعائے خیر
واعظ کو میکدہ کا طرفدار دیکھ کر
۶
یارب برا ہو توبہ کا فصلِ بہار میں
رو رو دیا ہوں خانۂ خمّار دیکھ کر
۷
کیا جانے کیا ہے دل میں بٹھایا کہ جیتے ہیں
پیرِ مغاں کی شکل کو میخوار دیکھ کر
۸
رندانِ بادہ خوار کو تسکین دے بھی دے
ساقی نگاہِ مست سے اِک بار دیکھ کر
۹
پیتے ہی جام شیخ تو حیرت میں رہ گیا
ہر بادہ کش کو واقفِ اسرار دیکھ کر
۱۰
پیرِ مغاں نے شیخ کا کیا کیا کیا خیال
مسجد میں رات بھر اُسے بیکار دیکھ کر
۱۱
مستانہ بن گئے در و دیوارِ میکدہ
ہر بادہ کش کے جام کو سرشار دیکھ کر
۱۲
شیشے کے ٹوٹنے کا تو صدمہ ہو دل پہ شیخ
میں اور خوش ہوں میکدہ مسمار دیکھ کر
۱۳
کی ایسی اِک نگاہ کہ دم بھر میں کچھ نہ تھا
پیرِ مغاں نے جوشِ قدح خوار دیکھ کر
۱۴
واعظ کے ہوش اُڑ گئے دیوارِ خلد سے
میخانے کی ملی ہوئی دیوار دیکھ کر
۱۵
بسمل بھی مست ہو گئے، قاتل کے ہاتھ میں
موجِ شرابِ ناب سی تلوار دیکھ کر
۱۶
اے توبہ توڑتا نہ تجھے رشک آ گیا
پیرِ مغاں کے ساتھ میں میخوار دیکھ کر
۱۷
آئی اجل رسیدہ یہ کہتا ہے دور سے
توبہ کو میری خانۂ خمّار دیکھ کر
۱۸
اِس ڈر سے اِس میں روحِ انالحق سرا نہ ہو
پیتا نہیں ہوں جام کو سرشار دیکھ کر
۱۹
پیرِ مغاں نے جام عنایت کیا مجھے
توبہ کا روزِ عید گنہگار دیکھ کر
۲۰
ٹکرا کے کر دیا سر توبہ کو چور چور
میخانے کی بہار میں دیوار دیکھ کر
۲۱
پیرِ مغاں کا شیخ کو ہونا پڑا مرید
پینا شرابِ ناب کا دشوار دیکھ کر
۲۲
مجھ کو یہ غم کہ خانۂ توبہ نہ گر پڑے
خوش ہو رہے ہیں ابر کو میخوار دیکھ کر
۲۳
مائلؔ مرے سخن کی یہ غالبؔ نے داد دی
دیتے ہیں بادہ ظرفِ قدح خوار دیکھ کر
जोश-ए क़दह-ख़्वार देख कर – मिर्ज़ा तक़ी बेग मा’एल देहलवी
१
हर मौज-ए मै को मत्ला-ए अन्वार देख कर
पीता हुं एक जाम को सौ बार देख कर
२
पीर-ए मुग़ां ने फैंक दि दस्तार देख कर
साग़र को शैख़ रह गए नाचार देख कर
३
दी मैकशौं ने शैख़ को ता’ज़ीम सर्व-क़द
भीगी हुई ख़िज़ाब में दस्तार देख कर
४
क़ातिल जो मस्त-ए नाज़ है, मक़्तल में शोर है
डूबी हुई शराब में तल्वार देख कर
५
करने लगे तमाम नमाज़ी दुआ-ए ख़ैर
वा’एज़ को मैकदे का तरफ़दार देख कर
६
यारब बुरा हो तौबा का फ़स्ल-ए बहार में
रो रो दिया हुं ख़ाना-ए ख़म्मार देख कर
७
क्या जाने क्या है दिल में बिठाया के जीते हैं
पीर-ए मुग़ां कि शक्ल को मैख़्वार देख कर
८
रिंदान-ए बादा-ख़्वार को तस्कीन दे भी दे
साक़ी निगाह-ए मस्त से एक बार देख कर
९
पीते हि जाम शैख़ तो हैरत में रह गया
हर बादा-कश को वाक़फ़-ए अस्रार देख कर
१०
पीर-ए मुग़ां ने शैख़ का क्या क्या किया ख़याल
मस्जिद में रात भर उसे बेकार देख कर
११
मस्ताना बन गये दर ओ दीवार-ए मैकदा
हर बादा-कश के जाम को सरशार देख कर
१२
शीशे के टूटने का तो सद्मा हो दिल पे शैख़
मैं और ख़ुश हूं मैकदा मिस्मार देख कर
१३
की ऐसी एक निगाह के दम भर में कुछ न था
पीर-ए मुग़ां ने जोश-ए क़दह-ख़्वार देख कर
१४
वा’एज़ के होश उढ गये दीवार-ए ख़ुल्द से
मैख़ाने की मिली हुई दीवार देख कर
१५
बिस्मिल भी मस्त हो गये क़ातिल के हाथ में
मौज-ए शराब-ए नाब सि तल्वार देख कर
१६
अए तौबा, तोढता न तुझे, रश्क आ गया
पीर-ए मुग़ां के साथ में मैख़्वार देख कर
१७
आई अजल रसीदा ये कहता है दूर से
तौबा को मेरी ख़ाना-ए ख़म्मार देख कर
१८
इस डर से इस में रूह-ए अन-अल-हक़ सरा न हो
पीता नहीं हुं जाम को सरशार देख कर
१९
पीर-ए मुग़ां ने जाम इनायत किया मुझे
तौबा का रोज़-ए ईद गुनहगार देख कर
२०
टक्रा के कर दिया सर-ए तौबा को चूर चूर
मैख़ाने कि बहार में दीवार देख कर
२१
पीर-ए मुग़ां का शैख़ को होना पढा मुरीद
पीना शराब-ए नाब का दुश्वार देख कर
२२
मुझ को ये ग़म के ख़ाना-ए तौबा न गिर पढे
ख़ुश हो रहे हैं अब्र को मैख़्वार देख कर
२३
मा’एल मेरे सुख़न की ये ग़ालिब ने दाद दी
देते हैं बादा ज़र्फ़-ए क़दह-ख़्वार देख कर
Click here for background and on any passage for word meanings and explanatory discussion. mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This is one of five long Ghazal that maa’el himself has composed with the qaafiya/radeef of ‘zarf-e qadah-Khwaar dekh kar’ and is linked to ‘Ghalib naqsh-e qadam’ along with many others of other shu’ara.
1
har mauj1-e mai2 ko matla3-e anvaar4 dekh kar
piita huN ek jaam5 no sau baar dekh kar 1.wave 2.wine 3.emergence, rising (sunrise) 4.rays of light 5.cup (of wine)
The ripples in the goblet of wine are like waves. These waves create sparkling light, like the rays of the sun at dawn. This sight is so beautiful that the poet/wine lover drinks only after regarding each cup of wine a hundred times.
2
piir-e-muGhaaN1 ne phaiNk di dastaar2 dekh kar
saaGhar3 ko shaiKh4 rah gaye naachaar5 dekh kar 1.chief wine-maker 2.ceremonial cap 3.cup of wine 4.preacher 5.helpless
The shaiKh is notorious about preaching against wine-drinking but he secretly enjoys drinking wine. He has come to the tavern on the sly to drink. But when the chief wine maker saw his cap (part of his ordained attire – a symbol of authority) he threw away the wine in the cup fearing a reprimand. The poor shaiKh could only watch the wine cup helplessly.
3
dii maikashoN1 ne shaiKh2 ko taa’ziim3 sarv-qad4
bhiigi hui Khizaab5 meN dastaar6 dekh kar 1.wine lovers, patrons of the tavern 2.preacher 3.respect, honour 4.standing tall like a cypress 5.hair colour 6.ceremonial cap, turban
The shaiKh is at the tavern (where he is not supposed to be). He is sweating, perhaps in apprehension. Of course, the shaiKh is grey-haired but uses hair colour in order to look younger. But the sweating teases out the Khizaab and it shows up on his turban. Of course, the patrons of the tavern see all this, but they want to encourage him. So they give him a standing ovation for being courageous enough to come to the tavern.
4
qaatil1 jo mast2-e naaz3 hai, maqtal4 meN shor hai
Doobi hui sharaab meN talvaar dekh kar 1.killer, beloved 2.intoxicated 3.self-regarding, coquetry 4.field of slaughter
The classical image of the beloved is that she is obsessed with her own beauty, out and about displaying her coquetry. Her admirers and aspirants to her love are gathered in her lane and she is out with drawn sword to slaughter them. Of course, the sword is dripping in blood as if it has been dipped in red wine. All of this causes a commotion in the field of slaughter – but the commotion is not about the fear of being killed but about ‘sword dipped in wine’.
5
karne lage tamaam1 namaazi2 dua-e-Khair3vaa’ez4 ko maikade5 ka tarafdaar6 dekh kar 1.all, total 2.prayer gathering, congregation 3.pray for safety/survival/well being 4.preacher 5.tavern 6.partisan, protector
There is some undefined dispute regarding the tavern. It turns out that the preacher is sympathetic to the cause of the tavern (perhaps because he is a patron on the sly). The congregation is surprised. It is not clear whether they are happy to see the preacher support the tavern or fearful of the wrath of god that he is doing so. Both interpretations are possible. If they are happy, they offer prayers for the continued well being of the preacher. If they are fearful, they pray for their own survival and forgiveness against the possible wrath of god.
6
yaarab1 bura ho tauba2 ka fasl3-e bahaar4 meN
ro ro diya huN Khaana5-e Khammaar6 dekh kar 1.O lord 2.repentence, forswear 3.season 4.spring 5.house of 6.wine seller, tavern keeper
The poet/wine lover (in a moment of weakness) has repented and sworn off wine. Now it is spring and he regrets having sworn off wine. He comes upon the house of the wine seller and weeps copiously.
7
kya jaane kya hai dil meN biThaaya keh jiite haiN
piir-e-muGhaaN1 ki shakl2 ko maiKhwaar3 dekh kar 1.chief wine-maker, tavern keeper, saaqi, beloved 2.face 3.wine-lovers
Who knows what the saaqi has put into their minds. All wine lovers live because the see the face of the saaqi i.e., they are totally dedicated to her, live only for a glimpse of her.
8
rindaan1-e baada-Khwaar2 ko taskiin3 de bhi de
saaqi nigaah4-e mast5 se ek baar dekh kar 1.revelers 2.wine-drinking 3.comfort, satisfaction 4.glance 5.intoxicated, intoxicating
O saaqi, give some comfort to these wine-drinking revelers by looking at them at least once with your intoxicating glance.
9
piite hi jaam1 shaiKh2 to hairat3 meN rah gaya
har baada-kash4 ko vaaqaf5-e asraar6 dekh kar 1.cup of wine 2.preacher 3.amazement 4.wine-drinker 5.knowing of 6.secrets, mysteries
As soon as the shaiKh took a drink of the cup of wine, he was struck with amazement that every wine-drinker was aware of the secret. What was this secret/mystery and why did it dawn on the preacher when he took a drink? The mystery could be the pleasure of wine-drinking. The amazement could be that everyone knew, and he had been missing out. Alternatively, the mystery could be his own secret wine-drinking. As soon as he took a sip, he realized that everyone else knew about it (that it was never a secret) and was amazed at how they could have known.
10
piir-e-muGhaaN1 ne shaiKh2 ka kya kya kiya Khayaal3
masjid meN raat bhar use bekaar dekh kar 1.chief wine-maker, saaqi 2.preacher 3.consideration, courtesies
O, what courtesies did the saaqi not offer (out of pity) the preacher, when she saw him with nothing to do all night long in the masjid. On the one hand the preacher is portrayed as the hard disciplinarian and on the other the saaqi is courteous, considerate and loving. There is another dig at the masjid with the contrast that there is revelry and merriment in the tavern all night long and only idleness and boredom in the masjid.
11
mastaana1 ban gaye dar-o-diivaar2-e maikada3har baada-kash4 ke jaam5 ko sarshaar6 dekh kar 1.intoxicated 2.doors and walls, building 3.tavern 4.wine-drinker 5.cup 6.satiated, filled
Every client of the tavern is being taken care of and served well. All their cups are full (refilled thoughtfully by the saaqi). Seeing this the very building of the tavern feels intoxicating.
12
shiishe1 ke TooTne ka to sadma2 ho dil pe shaiKh3
maiN aur Khush huN maikada4 mismaar5 dekh kar 1.bottle, flask 2.shock, sorrow 3.preacher 4.tavern 5.ruined, destroyed
It appears that in this she’r the shaiKh has reverted to his conventional role. He has come to the tavern as a disciplinarian/enforcer and has broken bottles/glasses of wine. How can I not go into a shock of sorrow at this O, shaiKh. It isn’t that I am happy to see the maikada destroyed.
13
kii aisi ek nigaah1 ke dam-bhar2 meN kuchh na tha
piir-e-muGhaaN3 ne josh4-e qadah-Khwaar5 dekh kar 1.glance 2.one moment 3.chief wine-maker, saaqi 4.noise, disturbance 5.wine drinkers
The saaqi is responsible for the decorum in the tavern. When the wine-drinkers got a little rowdy and noisy, she cast such a glance at them that in just one moment there was none of the noise left – everything went quiet.
14
vaa’ez1 ke hosh2 uR gaye diivaar-e Khuld3 se
maiKhaane4 ki mili hui diivaar dekh kar 1.preacher 2.senses, composure 3.heaven 4.tavern
The preacher lost his senses/composure when he saw that heaven shared a wall with the tavern! That which he had thought was evil turns to be joined at the hip with heaven.
15
bismil1 bhi mast2 ho gaye qaatil3 ke haath meN
mauj4-e sharaab-e-naab5 si talvaar dekh kar 1.sacrificial offering, lovers 2.intoxicated, satiated 3.killer, beloved 4.wave 5.pure/strong wine
This plays on the image of the beloved (or saaqi) as a killer with drawn sword out to kill her lovers/admirers who also happen to be wine lovers. When they see the sword, which is curved like the wave/ripple of wine, they feel satiated and intoxicated.
16
aye tauba1, toRta na tujhe, rashk2 aa gaya
piir-e-muGhaaN3 ke saath meN maiKhwaar4 dekh kar 1.penitence, foreswearing 2.envy 3.chief wine-maker, saaqi 4.wine lovers
The poet/wine-lover has repented and sworn off wine. But he has broken his promise and explains it, directly addressing pentinence personified. O Penitence, I would have broken my promise, except that I became envious when I saw other wine-lovers with the saaqi.
17
aaii ajal1 rasiida2 ye kahta hai duur se
tauba3 ko meri Khaana4-e Khammaar5 dekh kar 1.death 2.complete and ready 3.repentence 4.house of 5.wine-seller
It seems that the “house of the wine-seller” is the subject and the principal in this she’r and is speaking directly. It has spotted the poet/wine-lover from afar but knows that he has become penitent and sworn off wine and says, ‘here comes someone who appears ready for death’.
18
is Dar se is meN rooh1-e an-al-haq2 saraa3 na ho
piita nahiN huN jaam4 to sarshaar5 dekh kar 1.spirit 2.‘I am the Truth – aham brahmasmi’ 3.singer as in ‘Ghazal-saraa’ 4.cup 5.full, satiated
This has reference to the story of mansuur al-hallaaj, a sufi scholar/philosopher, who declared ‘I am the Truth’ declaring is one-ness with the divine. He was declared a heretic and sentenced to death, offered a pardon, if he recanted. He refused and chose to die. This is used as a symbol of rebellion against absolute authority and orthodoxy. When he sees a cup brimming full with wine, he thinks that it is satiated, completely satisfied and at peace, like mansuur was, and about to sing out ‘an-al-haq’. Therefore, he does not drink it up. Leaves it in peace. Alternatively, he does not drink it, because he is afraid that it might sing out and the poet would end up losing his head over it. He seems to admit that he does not have the courage to do so.
19
piir-e-muGhaaN1 ne jaam2 inaayet3 kiya mujhe
tauba4 ka roz5-e eid gunahgaar6 dekh kar 1.chief wine-maker, saaqi 2.cup 3.grant, bestow 4.penitence 5.day of 6.sinner
The poet/wine-lover has repented and sworn off wine. But on the day of eid he gives in to temptation and decides to break his promise of penitence. Thus he is ‘tauba ka gunahgaar’ – a transgressor against penitence. When the saaqi sees him thus on the day of eid, he gladly bestows upon him a cup of wine.
20
Takra1 ke kar diya sar-e tauba2 ko choor choor
maiKhaane3 ki bahaar4 meN diivaar dekh kar 1.striking, hitting 2.penitence 3.tavern 4.spring
The poet/wine-lover has repented and sworn off wine. But then it is spring and he sees the wall of the tavern. He strikes the head of penitence against the wall and shatters it to pieces i.e., he breaks his promise to stay away from wine.
21
piir-e-muGhaaN1 ka shaiKh2 ko hona paRa muriid3
piina sharaab-e-naab4 ka dushvaar5 dekh kar 1.chief wine-maker, saaqi 2.preacher 3.follower, devotee 4.pure/strong wine 5.difficult
Normally, the shaiKh and the saaqi are on opposite sides. It is very difficult for the shaiKh to change sides but then to become a follower/devotee of the saaqi will be even more difficult. But he had to do it because drinking pure/strong wine proved very difficult and he had to get lessons from the saaqi.
22
mujh ko ye Gham1 keh Khaana-e-tauba2 na gir paRe
Khush ho rahe haiN, abr ko maiKhwaar3 dekh kar 1.pain – used here to mean fear 2.house of penitence 3.wine-lovers
Many wine-lovers have repented and sworn off drinking. But it is spring and spring rain clouds gather overhead. In poetic convention, this is a time for celebration, singing dancing and drinking. The poet/wine-lover looks at fellow wine-lovers around him (who have all sworn off drinking) and sees that they are elated at seeing spring clouds. This is an indication that they are ready to break their vow. He is afraid that the ‘house of penitence’ is about to collapse.
23
maa’el1 mere suKhan2 ki ye Ghalib ne daad3 dii
dete haiN baada4 zarf5-e qadah-Khwaar6 dekh kar 1.pen-name of the poet 2.verse, shaa’eri 3.praise, valuation 4.wine 5.capacity 6.wine-drinker
The poet is imagining that Ghalib is praising him for his verse. Said Ghalib …
girni thi hum pe barq-e tajalli na tuur par
dete haiN baada zarf-e qadah-Khwaar dekh kar
Wine is given/served after assessing the capacity of the wine-drinker. Mount tuur did not have the capacity to bear the lightning strike that was served to it and burnt down. But here it seems that Ghalib says that god has given maa’el the ability to compose verse after assessing his capacity and finding him fully capable.
mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This is one of five long Ghazal that maa’el himself has composed with the qaafiya/radeef of ‘zarf-e qadah-Khwaar dekh kar’ and is linked to ‘Ghalib naqsh-e qadam’ along with many others of other shu’ara.
1
har mauj1-e mai2 ko matla3-e anvaar4 dekh kar
piita huN ek jaam5 ko sau baar dekh kar
1.wave 2.wine 3.emergence, rising (sunrise) 4.rays of light 5.cup (of wine)
The ripples in the goblet of wine are like waves. These waves create sparkling light, like the rays of the sun at dawn. This sight is so beautiful that the poet/wine lover drinks only after regarding each cup of wine a hundred times.
2
piir-e-muGhaaN1 ne phaiNk di dastaar2 dekh kar
saaGhar3 ko shaiKh4 rah gaye naachaar5 dekh kar
1.chief wine-maker 2.ceremonial cap 3.cup of wine 4.preacher 5.helpless
The shaiKh is notorious about preaching against wine-drinking but he secretly enjoys drinking wine. He has come to the tavern on the sly to drink. But when the chief wine maker saw his cap (part of his ordained attire – a symbol of authority) he threw away the wine in the cup fearing a reprimand. The poor shaiKh could only watch the wine cup helplessly.
3
dii maikashoN1 ne shaiKh2 ko taa’ziim3 sarv-qad4
bhiigi hui Khizaab5 meN dastaar6 dekh kar
1.wine lovers, patrons of the tavern 2.preacher 3.respect, honour 4.standing tall like a cypress 5.hair colour 6.ceremonial cap, turban
The shaiKh is at the tavern (where he is not supposed to be). He is sweating, perhaps in apprehension. Of course, the shaiKh is grey-haired but uses hair colour in order to look younger. But the sweating teases out the Khizaab and it shows up on his turban. Of course, the patrons of the tavern see all this, but they want to encourage him. So they give him a standing ovation for being courageous enough to come to the tavern.
4
qaatil1 jo mast2-e naaz3 hai, maqtal4 meN shor hai
Doobi hui sharaab meN talvaar dekh kar
1.killer, beloved 2.intoxicated 3.self-regarding, coquetry 4.field of slaughter
The classical image of the beloved is that she is obsessed with her own beauty, out and about displaying her coquetry. Her admirers and aspirants to her love are gathered in her lane and she is out with drawn sword to slaughter them. Of course, the sword is dripping in blood as if it has been dipped in red wine. All of this causes a commotion in the field of slaughter – but the commotion is not about the fear of being killed but about ‘sword dipped in wine’.
5
karne lage tamaam1 namaazi2 dua-e-Khair3vaa’ez4 ko maikade5 ka tarafdaar6 dekh kar
1.all, total 2.prayer gathering, congregation 3.pray for safety/survival/well being 4.preacher 5.tavern 6.partisan, protector
There is some undefined dispute regarding the tavern. It turns out that the preacher is sympathetic to the cause of the tavern (perhaps because he is a patron on the sly). The congregation is surprised. It is not clear whether they are happy to see the preacher support the tavern or fearful of the wrath of god that he is doing so. Both interpretations are possible. If they are happy, they offer prayers for the continued well being of the preacher. If they are fearful, they pray for their own survival and forgiveness against the possible wrath of god.
6
yaarab1 bura ho tauba2 ka fasl3-e bahaar4 meN
ro ro diya huN Khaana5-e Khammaar6 dekh kar
1.O lord 2.repentence, forswear 3.season 4.spring 5.house of 6.wine seller, tavern keeper
The poet/wine lover (in a moment of weakness) has repented and sworn off wine. Now it is spring and he regrets having sworn off wine. He comes upon the house of the wine seller and weeps copiously.
7
kya jaane kya hai dil meN biThaaya keh jiite haiN
piir-e-muGhaaN1 ki shakl2 ko maiKhwaar3 dekh kar
1.chief wine-maker, tavern keeper, saaqi, beloved 2.face 3.wine-lovers
Who knows what the saaqi has put into their minds. All wine lovers live because the see the face of the saaqi i.e., they are totally dedicated to her, live only for a glimpse of her.
8
rindaan1-e baada-Khwaar2 ko taskiin3 de bhi de
saaqi nigaah4-e mast5 se ek baar dekh kar
1.revelers 2.wine-drinking 3.comfort, satisfaction 4.glance 5.intoxicated, intoxicating
O saaqi, give some comfort to these wine-drinking revelers by looking at them at least once with your intoxicating glance.
9
piite hi jaam1 shaiKh2 to hairat3 meN rah gaya
har baada-kash4 ko vaaqaf5-e asraar6 dekh kar
1.cup of wine 2.preacher 3.amazement 4.wine-drinker 5.knowing of 6.secrets, mysteries
As soon as the shaiKh took a drink of the cup of wine, he was struck with amazement that every wine-drinker was aware of the secret. What was this secret/mystery and why did it dawn on the preacher when he took a drink? The mystery could be the pleasure of wine-drinking. The amazement could be that everyone knew, and he had been missing out. Alternatively, the mystery could be his own secret wine-drinking. As soon as he took a sip, he realized that everyone else knew about it (that it was never a secret) and was amazed at how they could have known.
10
piir-e-muGhaaN1 ne shaiKh2 ka kya kya kiya Khayaal3
masjid meN raat bhar use bekaar dekh kar
1.chief wine-maker, saaqi 2.preacher 3.consideration, courtesies
O, what courtesies did the saaqi not offer (out of pity) the preacher, when she saw him with nothing to do all night long in the masjid. On the one hand the preacher is portrayed as the hard disciplinarian and on the other the saaqi is courteous, considerate and loving. There is another dig at the masjid with the contrast that there is revelry and merriment in the tavern all night long and only idleness and boredom in the masjid.
11
mastaana1 ban gaye dar-o-diivaar2-e maikada3har baada-kash4 ke jaam5 ko sarshaar6 dekh kar
1.intoxicated 2.doors and walls, building 3.tavern 4.wine-drinker 5.cup 6.satiated, filled
Every client of the tavern is being taken care of and served well. All their cups are full (refilled thoughtfully by the saaqi). Seeing this the very building of the tavern feels intoxicating.
12
shiishe1 ke TooTne ka to sadma2 ho dil pe shaiKh3
maiN aur Khush huN maikada4 mismaar5 dekh kar
1.bottle, flask 2.shock, sorrow 3.preacher 4.tavern 5.ruined, destroyed
It appears that in this she’r the shaiKh has reverted to his conventional role. He has come to the tavern as a disciplinarian/enforcer and has broken bottles/glasses of wine. How can I not go into a shock of sorrow at this O, shaiKh. It isn’t that I am happy to see the maikada destroyed.
13
kii aisi ek nigaah1 ke dam-bhar2 meN kuchh na tha
piir-e-muGhaaN3 ne josh4-e qadah-Khwaar5 dekh kar
1.glance 2.one moment 3.chief wine-maker, saaqi 4.noise, disturbance 5.wine drinkers
The saaqi is responsible for the decorum in the tavern. When the wine-drinkers got a little rowdy and noisy, she cast such a glance at them that in just one moment there was none of the noise left – everything went quiet.
14
vaa’ez1 ke hosh2 uR gaye diivaar-e Khuld3 se
maiKhaane4 ki mili hui diivaar dekh kar
1.preacher 2.senses, composure 3.heaven 4.tavern
The preacher lost his senses/composure when he saw that heaven shared a wall with the tavern! That which he had thought was evil turns to be joined at the hip with heaven.
15
bismil1 bhi mast2 ho gaye qaatil3 ke haath meN
mauj4-e sharaab-e-naab5 si talvaar dekh kar
1.sacrificial offering, lovers 2.intoxicated, satiated 3.killer, beloved 4.wave 5.pure/strong wine
This plays on the image of the beloved (or saaqi) as a killer with drawn sword out to kill her lovers/admirers who also happen to be wine lovers. When they see the sword, which is curved like the wave/ripple of wine, they feel satiated and intoxicated.
16
aye tauba1, toRta na tujhe, rashk2 aa gaya
piir-e-muGhaaN3 ke saath meN maiKhwaar4 dekh kar
1.penitence, foreswearing 2.envy 3.chief wine-maker, saaqi 4.wine lovers
The poet/wine-lover has repented and sworn off wine. But he has broken his promise and explains it, directly addressing pentinence personified. O Penitence, I would have broken my promise, except that I became envious when I saw other wine-lovers with the saaqi.
17
aaii ajal1 rasiida2 ye kahta hai duur se
tauba3 ko meri Khaana4-e Khammaar5 dekh kar
1.death 2.complete and ready 3.repentence 4.house of 5.wine-seller
It seems that the “house of the wine-seller” is the subject and the principal in this she’r and is speaking directly. It has spotted the poet/wine-lover from afar but knows that he has become penitent and sworn off wine and says, ‘here comes someone who appears ready for death’.
18
is Dar se is meN rooh1-e an-al-haq2 saraa3 na ho
piita nahiN huN jaam4 ko sarshaar5 dekh kar
1.spirit 2.‘I am the Truth – aham brahmasmi’ 3.singer as in ‘Ghazal-saraa’ 4.cup 5.full, satiated
This has reference to the story of mansuur al-hallaaj, a sufi scholar/philosopher, who declared ‘I am the Truth’ declaring is one-ness with the divine. He was declared a heretic and sentenced to death, offered a pardon, if he recanted. He refused and chose to die. This is used as a symbol of rebellion against absolute authority and orthodoxy. When he sees a cup brimming full of wine, he thinks that it is satiated, completely satisfied and at peace, like mansuur was, and about to sing out ‘an-al-haq’. Therefore, he does not drink it up. Leaves it in peace. Alternatively, he does not drink it, because he is afraid that it might sing out and the poet would end up losing his head over it. He seems to admit that he does not have the courage to do so.
19
piir-e-muGhaaN1 ne jaam2 inaayet3 kiya mujhe
tauba4 ka roz5-e eid gunahgaar6 dekh kar
1.chief wine-maker, saaqi 2.cup 3.grant, bestow 4.penitence 5.day of 6.sinner
The poet/wine-lover has repented and sworn off wine. But on the day of eid he gives in to temptation and decides to break his promise of penitence. Thus he is ‘tauba ka gunahgaar’ – a transgressor against penitence. When the saaqi sees him thus on the day of eid, he gladly bestows upon him a cup of wine.
20
Takra1 ke kar diya sar-e tauba2 ko choor choor
maiKhaane3 ki bahaar4 meN diivaar dekh kar
1.striking, hitting 2.penitence 3.tavern 4.spring
The poet/wine-lover has repented and sworn off wine. But then it is spring and he sees the wall of the tavern. He strikes the head of penitence against the wall and shatters it to pieces i.e., he breaks his promise to stay away from wine.
21
piir-e-muGhaaN1 ka shaiKh2 ko hona paRa muriid3
piina sharaab-e-naab4 ka dushvaar5 dekh kar
1.chief wine-maker, saaqi 2.preacher 3.follower, devotee 4.pure/strong wine 5.difficult
Normally, the shaiKh and the saaqi are on opposite sides. It is very difficult for the shaiKh to change sides but then to become a follower/devotee of the saaqi will be even more difficult. But he had to do it because drinking pure/strong wine proved very difficult and he had to get lessons from the saaqi.
22
mujh ko ye Gham1 keh Khaana-e-tauba2 na gir paRe
Khush ho rahe haiN, abr ko maiKhwaar3 dekh kar
1.pain – used here to mean fear 2.house of penitence 3.wine-lovers
Many wine-lovers have repented and sworn off drinking. But it is spring and spring rain clouds gather overhead. In poetic convention, this is a time for celebration, singing dancing and drinking. The poet/wine-lover looks at fellow wine-lovers around him (who have all sworn off drinking) and sees that they are elated at seeing spring clouds. This is an indication that they are ready to break their vow. He is afraid that the ‘house of penitence’ is about to collapse.
23
maa’el1 mere suKhan2 ki ye Ghalib ne daad3 dii
dete haiN baada4 zarf5-e qadah-Khwaar6 dekh kar
1.pen-name of the poet 2.verse, shaa’eri 3.praise, valuation 4.wine 5.capacity 6.wine-drinker
The poet is imagining that Ghalib is praising him for his verse. Said Ghalib …
girni thi hum pe barq-e tajalli na tuur par
dete haiN baada zarf-e qadah-Khwaar dekh kar
Wine is given/served after assessing the capacity of the wine-drinker. Mount tuur did not have the capacity to bear the lightning strike that was served to it and burnt down. But here it seems that Ghalib says that god has given maa’el the ability to compose verse after assessing his capacity and finding him fully capable.
The post josh-e qadah-Khwaar dekh kar-mirza taqi beg maa’el dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/vaKh-jo-abhi-paida-na-hua-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جو ابھی پیدا نہ ہوا ۔ وحید اخترؔ
۱
دل وہ شعلہ ہے جو بُجھ بُجھ کے بھی ٹھنڈا نہ ہوا
مُنجمد آگ کا بہتا ہوا دریا نہ ہوا
۲
حسرت و خواب و تمنّا کا وہ ہنگامہ رہا
مدّتیں گزریں کہ خود اپنے سے ملنا نہ ہوا
۳
آرزو اب کسی چہرے کو نہ پہچانے گی
رُو برُو ایک زمانے سے وہ چہرہ نہ ہوا
۴
جنّتِ بے خبراں میں جو رہا شاد رہا
جو رہا ہوش میں آخر کو وہ دیوانہ ہوا
۵
عمر بھر کے لیے بنباس ملا ہے ہم کو
سرد اک پَل کو بھی احساس کا صحرا نہ ہوا
۶
کیا تمنائیں ہیں، کیا لوگ جو آسودہ ہیں
خواب میں بھی ہمیں دیدارِ تمنّا نہ ہوا
۷
نارسائی بھی ہے سرمایۂ جاں تشنہ لہو
کیوں کریں رنج کہ جو سوچا جو چاہا نہ ہوا
۸
عہدِ حاضر کے سرابوں سے گزر کر ڈھونڈیں
ایک ایسا بھی جہاں جو ابھی پیدا نہ ہوا
۹
دشتِ امکاں کے اندھیروں میں جلائے تو چراغ
نہ سہی میں جو خرابِ غمِ عقبیٰ نہ ہوا
۱۰
جس پہ چمکا نہیں تیرے کفِ پا کا سورج
آج تک نیند سے بیدار وہ جادا نہ ہوا
۱۱
یہی لمحہ ہے ازل اور یہی لمحہ ہے ابد
دوش و فردا نہیں کچھ حال گر اپنا نہ ہوا
जो अभी पैदा न हुआ – वहीद अख़्तर
१
दिल वो शो’ला है जो बुझ बुझ के भी ठंडा न हुआ
मुंजमिद आग का बहता हुआ दर्या न हुआ
२
हसरत ओ ख़्वाब ओ तमन्ना का वो हंगामा रहा
मुद्दतें गुज़रीं के ख़ुद अपने से मिलना न हुआ
३
आर्ज़ू अब किसी चेहरे को न पहचानेगी
रू-ब-रू एक ज़माने से वो चेहरा न हुआ
४
जन्नत-ए बे-ख़बरां में जो रहा शाद रहा
जो रहा होश में आख़िर को वो दीवाना हुआ
५
उम्र भर के लिए बनबास मिला है हम को
सर्द एक पल को भी एहसास का सहरा न हुआ
६
क्या तमन्नाएं हैं क्या लोग जो आसूदा हैं
ख़्वाब में भी हमें दीदार-ए तमन्ना न हुआ
७
ना-रसाई भी है सरमाया-ए जाँ तिश्ना लहू
क्यूं करें रंज के जो सोचा जो चाहा न हुआ
८
अहद-ए हाज़िर के सराबों से गुज़र कर ढूंडें
एक ऐसा भी जहाँ जो अभी पैदा न हुआ
९
दश्त-ए इम्काँ के अंधेरों में जलाए तो चराग़
न सही मैं जो ख़राब-ए ग़म-ए उक़्बा न हुआ
१०
जिस पे चमका नहीं तेरे कफ़-ए पा का सूरज
आज तक नींद से बेदार वो जादा न हुआ
११
यही लम्हा है अज़ल और यही लम्हा है अबद
दौश ओ फ़र्दा नहीं कुछ हाल गर अपना न हुआ
Click here for background and on any passage for word meanings and explanatory discussion. vaheed aKhter (1935-1996), hyderabad, poet, writer and critic. He did his PhD in philosophy from osmania university and later taught at aligaRh. His compositions are very thoughtful and thought provoking and reflect his scholarship of philosophy. His ‘free verse’ nazm are extremely musical. This Ghazal in the zamin of Ghalib’s ‘dard minnat-kash-e davaa na hua’ is linked to Ghalib naqsh-e qadam.
1
dil vo sho’la1 hai jo bujh bujh ke bhi ThanDa na hua
munjamid2 aag ka bahta hua dariya na hua 1.flame 2.congealed, solidified, stop
The heart was such a flame that even after being put out, it did not cool down. It was such a flowing river of fire, that it did not stop. The poet is talking about the intensity of emotions in his heart. Even if a temporary crisis … like a flame … is put out, the base intensity is not reduced. What is this emotion about? Is it purely about love, or is it the passion of creativity? The poet leaves it to us.
2
hasrat1 o Khwaab2 o tamanna3 ka voh haNgaama4 raha
muddateN5 guzriiN keh Khud apne se milna na hua 1.longing 2.dreams 3.desires 4.tumult, chaos 5.ages, long time
The poet reflects on how he has been caught up in a chaotic tumult of longings, desires and dreams. He has been so caught up with these that ages have passed since he has had a chance to ‘meet himself’ i.e., done any introspection of his inner desires and objectives.
3
aarzu1 ab kisi chehre2 ko na pahchaanegi3
ruu-ba-ruu4 ek zamaane5 se vo chehra2 na hua 1.desire, longing 2.face 3.recognize 4.face to face 5.for ages, for a long time
The ‘chehra’ symbolizes something that the poet wants to realize/see. Perhaps it is the face of the realisation of his own desires, including even his own face i.e., his desire to know himself. It has been such a long time since that ‘chehra’ has come face to face, that it not likely to recognize it anymore. Thus, his desire/feelings have been numbed by long years of frustration.
4
jannat1-e be-KhabraaN2 meN jo raha shaad3 raha
jo raha hosh4 meN aaKhir5 ko voh divaana hua 1.heaven 2.unaware, used in the sense of insensitive, superficial, uncaring 3.happy 4.aware, in full senses, sensitive 5.at last, finally
The poet implies that those who do not think deeply, do not introspect they are happy; they are in the heaven of the insensitive/superficial crowd. But they who were aware/thinking/introspecting finally went mad. Perhaps there is a tongue-in-cheek wistfulness that says, if only I had not been so sensitive, I might have led a happy life.
5
umr-bhar1 ke liye banbaas2 mila hai ham ko
sard3 ek pal4 ko bhi ehsaas5 ka sahra6 na hua 1.life-long 2.exiled to the forest 3.cold, quiet 4.moment 5.feelings 6.wilderness
The wilderness of feelings ‘ehsaas ka sahra’ symbolizes the tumult of desires that the poet has been talking about in the previous ash’aar. ‘banbaas’ – exile to the forest symbolizes banishment from the comforts of life. ‘sard’ implies that the heat of passion/frenzy that accompanied the tumult of desires did not cool off. Thus, all my life, I was banished from the comforts of life. The frenzy of desires (thirst for knowledge) did not cool off, not even for a moment.
6
kya tamannaaeN1 haiN kya log jo aasuda2 haiN
Khwaab meN bhi hameN diidaar3-e tamanna1 na hua 1.desires 2.comfortable, satisfied, contented 3.sight, seeing
What kind of desires do they have, what kind of people are these that are contended. For me, I did not see my desires fulfilled, even in my dreams. Clearly, the poet is not talking about material desires but the constant tumult of search for knowledge. He sees others ‘satisfied’ because they are not ‘aware, sensitive, thirsty’ and marvels at them.
7
naa-rasaa’ii1 bhi hai sarmaaya2-e jaaN3 tishna4 lahu5
kyuN kareN ranj6 keh jo socha jo chaaha na hua 1.unreachability, unachievability 2.wealth, treasure 3.soul, mind 4.thirsty 5.blood 6.sorrow, grief
It appears that the poet may be addressing his ‘tishna lahu’ – unfulfilled desire. He says, unreachability (of goals/desires) is the treasure of the mind, O unfulfilled desire. Why should I grieve that that which I thought/wished, that which I wanted did not come to pass. There are many such beautiful ash’aar suggesting the pleasure of the search is better than achievement of the goal. Said jaikrishn chaudhry habiib …
vo bhi kya maze ki thi zindagi, jo safar safar meN guzar gaii
nahiN manziloN meN vo dil-kashi, mujhe phir safar ki talaash hai
8
ahd-e-haazir1 ke saraaboN2 se guzar3 kar DhoonDeN4
ek aisa bhi jahaaN5 jo abhi paida6 na hua 1.present times 2.mirages 3.pass beyond 4.search 5.world 6.born, created
Here ‘saraab-mirage’ symbolizes something that is not real – that is superficial. Going beyond the superficial images of the present times let us search for a (vision of) world that has not yet been created. Here ‘vision of a future world’ is implied and contrasted with the mirage of the present times. Said Ghalib …
huN garmi-e nishaat-e tasavvur se naGhma-sanjmaiN andaleeb-e gulshan-e naa-aafrida huN
9
dasht1-e imkaaN2 ke andheroN meN jalaa’e to charaaGh
na sahi maiN jo Kharaab3-e Gham-e uqba4 na hua 1.wilderness 2.possibilities 3.ruined, destroyed 4.hereafter
At least I have lit a lamp in the darkness of the wilderness of possibilities. It doesn’t matter that I have not been destroyed by the sorrow/pain/worry of the hereafter. The wildernss of possibilities is the vision of a future world that has yet been created or described. Hence, it is dark; and the poet has lit a lamp in it. The second misra implies that he is glad that he did not get caught up in the conventional ‘worry of the hereafter’. Said faiz ahmed faiz …
hai dasht ab bhi dasht magar Khun e paa se faiz
sairaab chand Khaar-e-muGhailaaN hue to haiN
10
jis peh chamka1 nahiN tere kaf2-e paa3 ka sooraj
aaj tak neend se bedaar4 vo jaada5 na hua 1.shone, shed light 2.fistful (of dust) 3.feet 4.awake 5.path
The key word here is ‘tere-your’ and the poet has left it completely undefined. It could be himself, it could be the interlocuter to whom he is speaking. The path on which the sun of the dust of your feet did not shed light never wakes up from sleep i.e., if you don’t venture out on a path, on an unknown path, exploring and making a way, then it will remain dark and asleep.
11
yahi lamha1 hai azal2 aur yahi lamha1 hai abad3
dosh4 o farda5 nahiN kuchh haal6 gar7 apna na hua 1.moment 2.beginning 3.end-eternity 4.present 5.future 6.present 7.if
This is the moment that is both the beginning and the end. If you don’t own the present, cease the moment, then there is no past and no future. In essence, he is saying, do something with the present; don’t dwell on past glory nor put store on eternal bliss in the future.
vaheed aKhter (1935-1996), hyderabad, poet, writer and critic. He did his PhD in philosophy from osmania university and later taught at aligaRh. His compositions are very thoughtful and thought provoking and reflect his scholarship of philosophy. His ‘free verse’ nazm are extremely musical. This Ghazal in the zamin of Ghalib’s ‘dard minnat-kash-e davaa na hua’ is linked to Ghalib naqsh-e qadam.
1
dil vo sho’la1 hai jo bujh bujh ke bhi ThanDa na hua
munjamid2 aag ka bahta hua dariya na hua
1.flame 2.congealed, solidified, stop
The heart was such a flame that even after being put out, it did not cool down. It was such a flowing river of fire, that it did not stop. The poet is talking about the intensity of emotions in his heart. Even if a temporary crisis … like a flame … is put out, the base intensity is not reduced. What is this emotion about? Is it purely about love, or is it the passion of creativity? The poet leaves it to us.
2
hasrat1 o Khwaab2 o tamanna3 ka voh haNgaama4 raha
muddateN5 guzriiN keh Khud apne se milna na hua
1.longing 2.dreams 3.desires 4.tumult, chaos 5.ages, long time
The poet reflects on how he has been caught up in a chaotic tumult of longings, desires and dreams. He has been so caught up with these that ages have passed since he has had a chance to ‘meet himself’ i.e., done any introspection of his inner desires and objectives.
3
aarzu1 ab kisi chehre2 ko na pahchaanegi3
ruu-ba-ruu4 ek zamaane5 se vo chehra2 na hua
1.desire, longing 2.face 3.recognize 4.face to face 5.for ages, for a long time
The ‘chehra’ symbolizes something that the poet wants to realize/see. Perhaps it is the face of the realisation of his own desires, including even his own face i.e., his desire to know himself. It has been such a long time since that ‘chehra’ has come face to face, that it not likely to recognize it anymore. Thus, his desire/feelings have been numbed by long years of frustration.
4
jannat1-e be-KhabraaN2 meN jo raha shaad3 raha
jo raha hosh4 meN aaKhir5 ko voh divaana hua
1.heaven 2.unaware, used in the sense of insensitive, superficial, uncaring 3.happy 4.aware, in full senses, sensitive 5.at last, finally
The poet implies that those who do not think deeply, do not introspect they are happy; they are in the heaven of the insensitive/superficial crowd. But they who were aware/thinking/introspecting finally went mad. Perhaps there is a tongue-in-cheek wistfulness that says, if only I had not been so sensitive, I might have led a happy life.
5
umr-bhar1 ke liye banbaas2 mila hai ham ko
sard3 ek pal4 ko bhi ehsaas5 ka sahra6 na hua
1.life-long 2.exiled to the forest 3.cold, quiet 4.moment 5.feelings 6.wilderness
The wilderness of feelings ‘ehsaas ka sahra’ symbolizes the tumult of desires that the poet has been talking about in the previous ash’aar. ‘banbaas’ – exile to the forest symbolizes banishment from the comforts of life. ‘sard’ implies that the heat of passion/frenzy that accompanied the tumult of desires (thirst for knowledge) did not cool off. Thus, all my life, I was banished from the comforts of life. The frenzy of desires did not cool off, not even for a moment.
6
kya tamannaaeN1 haiN kya log jo aasuda2 haiN
Khwaab meN bhi hameN diidaar3-e tamanna1 na hua
1.desires 2.comfortable, satisfied, contented 3.sight, seeing
What kind of desires do they have, what kind of people are these that are contended. For me, I did not see my desires fulfilled, even in my dreams. Clearly, the poet is not talking about material desires but the constant tumult of search for knowledge. He sees others ‘satisfied’ because they are not ‘aware, sensitive, thirsty’ and marvels at them.
7
naa-rasaa’ii1 bhi hai sarmaaya2-e jaaN3 tishna4 lahu5
kyuN kareN ranj6 keh jo socha jo chaaha na hua
1.unreachability, unachievability 2.wealth, treasure 3.soul, mind 4.thirsty 5.blood 6.sorrow, grief
It appears that the poet may be addressing his ‘tishna lahu’ – unfulfilled desire. He says, unreachability (of goals/desires) is the treasure of the mind, O unfulfilled desire. Why should I grieve that that which I thought/wished, that which I wanted did not come to pass. There are many such beautiful ash’aar suggesting the pleasure of the search is better than achievement of the goal. Said jaikrishn chaudhry habiib …
vo bhi kya maze ki thi zindagi, jo safar safar meN guzar gaii
nahiN manziloN meN vo dil-kashi, mujhe phir safar ki talaash hai
8
ahd-e-haazir1 ke saraaboN2 se guzar3 kar DhoonDeN4
ek aisa bhi jahaaN5 jo abhi paida6 na hua
1.present times 2.mirages 3.pass beyond 4.search 5.world 6.born, created
Here ‘saraab-mirage’ symbolizes something that is not real – that is superficial. Going beyond the superficial images of the present times let us search for a (vision of) world that has not yet been created. Here ‘vision of a future world’ is implied and contrasted with the mirage of the present times. Said Ghalib …
huN garmi-e nishaat-e tasavvur se naGhma-sanjmaiN andaleeb-e gulshan-e naa-aafrida huN
9
dasht1-e imkaaN2 ke andheroN meN jalaa’e to charaaGh
na sahi maiN jo Kharaab3-e Gham-e uqba4 na hua
1.wilderness 2.possibilities 3.ruined, destroyed 4.hereafter
At least I have lit a lamp in the darkness of the wilderness of possibilities. It doesn’t matter that I have not been destroyed by the sorrow/pain/worry of the hereafter. The wildernss of possibilities is the vision of a future world that has yet been created or described. Hence, it is dark; and the poet has lit a lamp in it. The second misra implies that he is glad that he did not get caught up in the conventional ‘worry of the hereafter’. Said faiz ahmed faiz …
hai dasht ab bhi dasht magar Khun e paa se faiz
sairaab chand Khaar-e-muGhailaaN hue to haiN
10
jis peh chamka1 nahiN tere kaf2-e paa3 ka sooraj
aaj tak neend se bedaar4 vo jaada5 na hua
1.shone, shed light 2.fistful (of dust) 3.feet 4.awake 5.path
The key word here is ‘tere-your’ and the poet has left it completely undefined. It could be himself, it could be the interlocuter to whom he is speaking. The path on which the sun of the dust of your feet did not shed light never wakes up from sleep i.e., if you don’t venture out on a path, on an unknown path, exploring and making a way, then it will remain dark and asleep.
11
yahi lamha1 hai azal2 aur yahi lamha1 hai abad3
dosh4 o farda5 nahiN kuchh haal6 gar7 apna na hua
1.moment 2.beginning 3.end-eternity 4.present 5.future 6.present 7.if
This is the moment that is both the beginning and the end. If you don’t own the present, cease the moment, then there is no past and no future. In essence, he is saying, do something with the present; don’t dwell on past glory nor put store on eternal bliss in the future.
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For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/joshm-jehaad-e-ilm-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جہادِ علم ۔ شبیر حسن خاں جوشؔ ملیح آبادی
۱
رکاب تھام کے چل روحِ عالمِ ایجاد
چلا ہے علم سوئے دشتِ جہل بحرِ جہاد
۲
دیارِ لات و ہبل میں پکار کر کہہ دو
کہ ہو رہا ہے بشر بندگی سے اب آزاد
۳
تمام ذوقِ سرُور و طہوُر و حوُر و قصوُر
فغاں، کہ قصرِ عبادت ہے سخت کج بُنیاد
۴
وہ اِک نگاہِ تجسُّس ہے سوئے ذات و صِفات
سمجھ رہے ہیں جسے مفتیانِ دیں، اِلحاد
۵
لبِ شعور کا ہے صرف اِک تبسُّمِ طنز
وجودِ ربّ و رؤف و جلیل و برّ و جواد
۶
مسافرانِ رہِ جستجوئے عمرِ ابد
طلب کریں گے نہ خِضر و مسیح سے اِمداد
۷
زہے نصیب کہ اب ہیں رہینِ بادِ سموم
چراغِ تختِ کیانی و شمعِ تاجِ قبار
۸
تجھے خبر بھی ہے ایوانِ دولتِ پرویز
کہ اب ہے تیشہ بکف خونِ دامنِ فرہاد
۹
فضائے عزم پہ غلطیدہ ہے لوائے حُسین
لرز رہا ہے دلِ وارثانِ ابنِ زیاد
۱۰
اِس آدمی کو خدارا جواں تو ہونے دو
مسیحِ وقت بنے گا یہ طفلکِ جلّاد
۱۱
ڈَھلوُں گا اب نہ سِنان و تبر کے سانچے میں
درِ بشر پہ قسم کھا رہا ہے یہ فولاد
۱۲
جب اوجِ دل پہ کُھلے گا لوائے حُبّ عمیم
کسی لغت میں نہ پائے گا بار حرفِ عناد
۱۳
وہ سامنے ہے درِ قصرِ عقدہ ہائے دقیق
قدم بڑھائے ہوئے صاحبانِ بست و کُشاد
۱۴
بحکمِ فکر بنے گی حریمِ امن و اماں
بہ ربّ کعبہ یہ عبرت سرائے کون و فساد
۱۵
خدا گواہ کہ بے سرفہ ہیں حقوقِ الہ
مگر برائے نگہداری حقوقِ عباد
۱۶
ہزار شکر کہ ہے رہنمائے آبِ حیات
مری یہ خاکِ مسیحا مزاج و خِضر نہاد
۱۷
کلاہِ گوشۂ ہفت آسماں ہے چشم براہ
اٹھ اے زمینِ گہر منظر و عقیق سواد
۱۸
خدا گواہ کہ نوعِ بشر کی جَودت ہے
نسیمِ نسل و گہر طینت و بلوور نژاد
۱۹
غرض ہے علم سے اے جوشؔ بُت ملے کہ خدا
اٹھا بھی پردۂ اَسرار ہرچہ بادا باد
जेहाद-ए इल्म – शब्बीर हसन ख़ां जोश मलीहआबादी
१
रकाब थाम के चल रूह-ए आलम-ए ईजाद
चला है इल्म सु-ए दश्त-ए जहल बहर-ए जेहाद
२
दयार-ए लात ओ हबल में पुकार कर कह दो
के हो रहा है बशर बंदगी से अब आज़ाद
३
तमाम ज़ौक़-ए सुरूर ओ तहूर ओ हूर ओ क़सूर
फ़ुगाँ, के क़स्र-ए इबादत है सख़्त कज-बुनियाद
४
वो एक निगाह-ए तजस्सुस है सू-ए ज़ात ओ सिफ़ात
समझ रहे हैं जिसे मुफ़्तियान दीं, इल्हाद
५
लब-ए शऊर का है सिर्फ़ एक तबस्सुम-ए तंज़
वुजूद-ए रब्ब ओ रऊफ़ ओ जलील ओ बर्र ओ जवाद
६
मुसाफ़िरान-ए रह ए जुस्तुजू-ए उम्र-ए अबद
तलब करेंगे न क़िज़्र ओ मसीह से इम्दाद
७
ज़हे नसीब के अब हैं रहीन-ए बाद-ए सुमूम
चराग़-ए तख़्त-ए कयानी ओ शम्अ-ए ताज-ए क़बाद
८
तुझे ख़बर भी है ऐवान-ए दौलत-ए परवेज़
के अब है तीर ब-कफ़ ख़ून-ए दामन-ए फ़रहाद
९
फ़़िज़ा-ए अज़्म पे ग़लतीदह है लवा-ए हुसैन
लर्ज़ रहा है दिल-ए वारिसान-ए इब्न-ए ज़ियाद
१०
इस आदमी को ख़ुदारा जवां तो होने दो
मसीह ए वक़्त बनेगा ये तिफ़्लक-ए जल्लाद
११
ढलूंगा अब न सिनान ओ तबर के सांचे में
दर-ए बशर पे क़सम खा रहा है ये फ़ौलाद
१२
जब औज-ए दिल पे खुलेगा लवा-ए हुब्ब-ए अमीम
किसी लुग़त में न पाएगा बार हर्फ़-ए इनाद
१३
वो सामने है दर-ए क़स्र-ए उक़्दा-हा-ए दुक़ीक़
क़दम बढ़ाए हुए साहिबान-ए बस्त-ओ-कुशाद
१४
ब-हुकम-ए फ़िक्र बनेगी हरीम-ए अम्न ओ अमां
ब-रब्ब-ए काबा ये इब्रत-सरा-ए कौन-ओ-फ़साद
१५
ख़ुदा गवाह के बे सर्फ़ा हैं हुक़ूक़-ए इलाह
मगर बरा-ए निगहदारी हुक़ूक़-ए इबाद
१६
हज़ार शुक्र के है रहनुमा-ए आब-ए हयात
मरी ये ख़ाक-ए मसीहा-मिज़ाज ओ ख़िज़्र नहाद
१७
कुलाह-ए गोशा-ए हफ़्त-आस्मां है चश्म ब-राह
उठ अए ज़मीन-ए गोहर मंज़र ओ अक़ीक़ सवाद
१८
ख़ुदा गवाह के नौ-ए बशर की जौदत है
नसीम-ए नस्ल ओ गोहर तीनत ओ बिलोर नज़्शाद
१९
ग़रज़ है इल्म से अए जोश बुत मिले के ख़ुदा
उठा भी पर्दा-ए अस्रार हरचे बादा-बाद
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. This is a particularly hard hitting and daring nazm with reason/rationality striking blows against orthodoxy.
1
rakaab1 thaam2 ke chal rooh3-e aalam4-e iijaad5
chala hai ilm6 su7-e dasht8-e jahl9 bahr10-e jehaad11 1.stirrup 2.holding 3.spirit 4.world of 5.invention, creativity 6.knowledge, wisdom 7.towards 8.wilderness 9.ignorance 10.with the intention of 11.conflict, war
To hold the stirrup for a rider is to be in service to him. Here, ‘ilm’ (rationality, knowledge) is the rider and the spirit of the world of creativity is holding the stirrup. The rider, ‘ilm’, is setting out to make war on the wilderness of ignorance.
2
dayaar1-e laat-o-habal2 meN pukaar kar kah do
keh ho raha hai bashar3 bandagi4 se ab aazaad 1.domain 2.pre-islamic godesses 3.human 4.servitude, supplication
‘laat-o-habal’ are being used here as symbolic of ignorance and superstition. Declare loudly in the domain of ignorance and superstition that humans have set out to free themselves from servitude of and supplication to blind belief and superstition.
3
tamaam1 zauq2-e suruur3 o tahoor4 o hoor5 o qasoor6
fuGhaaN7, keh qasr8-e ibaadat9 hai saKht10 kaj-buniyaad11 1.all, total 2.taste, desire 3.pleasure 4.ritual cleansing, purifying 5.nymph 6.mansion 7.wail, alas 8.palace 9.ritual worship 10.hard, excessive 11.crooked foundation
All the desire for rewards in heaven … pleasure, rituals, nymphs and mansions … these form a crooked foundation of the palace of worship. Said Ghalib …
taa’at meN taa rahe na mai o aNgabiiN ki laag
dozaKh meN Daal do koii le kar behisht ko
4
voh ek nigaah1-e tajassus2 hai suu3-e zaat4 o sifaat5
samajh rahe haiN jise muftiyaan6-e diiN7, ilhaad8 1.look, sight 2.search 3.towards 4.being, person (of god) 5.attributes 6.religious scholar/jurist 7.faith 8.atheism
It is but a searching look towards the divine being and its attributes that the scholars of faith have labelled as ‘atheism’. The implication is that these ‘scholars’ are scared of even any questioning.
5
lab1-e sha’oor2 ka hai sirf3 ek tabassum4-e tanz5
vujood6-e rabb7 o ra’uuf8 o jaleel9 o barr10 o javaad11 1.lips 2.knowledge, wisdom 3.only 4.smile 5.sarcasm, criticism 6.existence 7.lord 8.merciful 9.glorious, powerful 10.just, beneficient 11.eternal, everlasting
The claim of existence of god and all the names and attributes of god are nothing but a sarcastic smile on the lips of knowledge.
6
musaaferaan1-e rah2-e justuju3-e umr-e-abad4
talab5 kareNge na Khizr6 o masiih7 se imdaad8 1.travelers 2.path 3.search 4.eternal life 5.demand, ask for 6.guide 7.healer 8.help
Khizr is a character mentioned in all Abrahamic texts. He looked for and found the spring of the nectar of life and lives forever. ‘masiih’ also is supposed to have brought the dead back to life. Seeking help from them to achieve eternal life may be considered a conventional way of getting it. But those who travel on the path searching for eternal life refuse to take such conventional help. The implication is that they will seek eternal life through their work rather than through supplication.
7
zah-e-nasiib1 keh ab haiN rahiin2-e baad3-e sumoom4
charaaGh-e taKht5-e kayaani6 o sham’a-e taaj-e qubaad7 1.as luck would have it, it is good luck that 2.mortgaged to, obliged to 3.breeze 4.deadly 5.seat, throne 6.of kayaan-ancient Persian king 7.ancient Persian king
The lamp of the throne of kayaan and the candle of the crown of qubaad are symbolic of royal pomp and glory. It is a matter of good fortune that they have been blown out by deadly desert winds.
8
tujhe Khabar1 bhi hai aivaan2-e daulat3-e parvez4
keh ab hai tiisha5 ba-kaf6 Khoon-e daaman7-e farhaad8 1.awareness 2.palace 3.wealth, treasure 4.Persian king 5.pickaxe 6.in hand 7.hem of the garment 8.of shirin-farhaad legend
This has reference to the legend of shirin-farhaad. ‘farhaad’ was a sculptor hired to work in the palace of Khusro parvez, the king. He fell in love with shirin, the king’s wife and pestered the king to divorce shirin so he could marry her. The king set him an impossible task of carving a canal through the mountain and make a river of milk flow to the palace. farhaad set about digging a canal with his pick-axe and was about to succeed. The king panicked and caused a rumour to spread that shirin had died. Upon hearing this, farhaad killed himself with the pickaxe. The palace containing the treasure of parvez is used as a symbol of capitalist exploitation and the blood of farhaad as the blood of workers. Thus, do you even know, O capitalists, that the blood of the worker has risen up with pickaxe in hand.
9
fiza1-e azm2 pe Ghaltiida3 hai lavaa4-e husain
laraz5 raha hai dil-e vaarisaan6-e ibn-e-ziyaad7 1.air, wind 2.resolve, determination 3.spread over 4.banner 5.tremble 6.progeny 7.commander of the forces of yaziid
This has reference to the battle of karbala, in which husain takes a resolute and principled stand even in the face of certain death. yaziid’s forces under ibn-e ziyaad kill his small band of supporters. the banner of husain is a symbol of resolve and resistance against tyranny and yaziid and ibn-e ziyaad are symbolic of tyranny. Thus, the banner of resolve and resistance waves in the air and the hearts of the progeny of tyrants are trembling in fear.
10
is aadmi ko Khudaara1 javaaN to hone do
masiih2-e vaqt banega ye tiflak3-e jallaad4 1.by god 2.healer 3.infant 4.executioner, killer
By ‘tiflak-e jallaad’ josh means that in the infancy of the evolution of humanity, humans were cruel to each other, but with the development of culture, civilization, learning and knowledge, things will change. As humanity matures/comes of age it will become the healer of the times.
11
DhaluNga1 ab na sinaan2 o tabar3 ke saanche4 meN
dar5-e bashar6 pe qasam7 kha raha hai ye faulaad8 1.cast 2.spear 3.battle-axe, hatchette 4.mould 5.door, domain 6.humanity 7.swear, promise 8.iron, steel
Iron and steel swear/declare at the door of humanity that they will never again be cast into the mould or spears and hatchetts. Thus, with the rise of knowledge, the poet hopes for the end of war.
12
jab auj1-e dil pe khulega lavaa2-e hubb3-e ameem4
kisi luGhat5 meN na paayega baar6 harf7-e inaad8 1.heights 2.banner 3.love 4.universal 5.dictionary 6.burden 7.word 8.conflict
When the banner of universal love is raised at the heights of the heart, then the word of conflict will not burden any dictionary.
13
voh saamne hai dar1-e qasr2-e uqda-haa3-e daqiiq4
qadam5 baRhaaye hue saahibaan6-e bast-o-kushaad7 1.door 2.palace 3.knots, mysteries 4.fine, subtle 5.step 6.owners, lords 7.opening and closing, governance, administration
In front of us is the door of the palace of subtle, knotty mysteries. The owners of rule making are stepping forward to unravel these knots.
14
ba-hukm1-e fikr2 banegi hareem3-e amn-o-amaaN4
bah rabb5-e kaa’ba ye ibrat-saraa6-e kaun-o-fasaad7 1.by the order of 2.rationality 3.sanctuary 4.peace and prosperity 5.lord 6.place of learning 7.building and destroying, continuous development
By the order of rationality, by the lord of kaa’ba, this domain of learning and development will turn into a sanctuary of peace and prosperity.
15
Khuda gavaah1 keh be-sarfa2 hai huqooq3-e ilaah4
magar5 baraa6-e nigahdaari7-e huqooq3-e ibaad8 1.witness 2.useless 3.rights 4.god 5.but 6.for, with the intent of 7.keeping an eye on 8.plural of ‘abd used here to mean humanity
god is my witness that divine rights/dictats are useless except for safekeeping of the rights of humanity. Thus he says that divine dictats should be designed/used for moral/ethical needs rather than rewards in heaven.
16
hazaar shukr1 keh hai rahnuma2-e aab-e-hayaat3
meri yeh Khaak4-e masiihaa-mizaaj5 o Khizr-nehaad6 1.thanks 2.guide 3.nectar of immortality, amrit 4.dust, clay 5.healing nature 6.guiding/teaching disposition/habit
Khizr is a character mentioned in all Abrahamic texts. He has travelled all over the world and knows all the byways and seaways. He is considered the guide and patron saint of all travellers/seekers. Because josh write ‘meri Khaak’ I am inclined to interpret this to mean ‘my writings/verse’ with him referring to his own verse as ‘Khaak’ in feigned humility. Thus, a thousand thanks that it is a guide towards nectar of life – my verse that heals and teaches. I also think that by ‘eternal life’ is used in the same sense as ‘umr-e abad’ in she’r 6, where he does not mean eternal biological life but long reputational life.
17
kulaah1-e gosha2-e haft3-aasmaaN hai chashm-ba-raah4
uTh aye zamiin-e gohar-manzar5 o aqiiq-savaad6 1.cap 2.corner 3.seven 4.eyes on the path, eagerly waiting 5.pearl-like 6.dark ruby
Here zamiin/earth symbolizes earthly/humble status. But it is potentially very valuable like pearls and rubies. Rise O humble earth, you have great value like rare jewels. Rise, the seventh heaven is eagerly waiting for you respectfully cap in hand. This is a call to humanity to rise to divine status which it deserves.
18
Khuda gavaah1 keh nau-e-bashar2 ki jaudat3 hai
naseem4-e nasl5 o gohar-teenat6 o bilor-nazshaad7 1.witness 2.human species, humanity 3.intelligence, excellence 4.fragrant breeze 5.species, humanity 6.nature/character of pearls, sparkling 7.crystal/clear pedigree, unblemished
josh is playing up the value of human intelligence/rationality as opposed to blind belief. god is my witness that it is human intelligence that blows like a fresh breeze, sparkles like pearls and is unblemished like crystal. A fresh breeze is symbolic of new thinking, sparkling is symbolic of brilliant intuition and unblemished crystal represents clear thinking.
19
Gharaz1 hai ilm2 se aye josh3 but4 mile ke Khuda5
uTha bhi parda-e asraar6 harche-baada-baad7 1.objective, purpose 2.knowledge 3.pen-name of the poet 4.idol 5.disembodied spirit 6.mysteries 7.whatever happens happens
Because of the context of the nazm, I interpret ‘ilm’/knowledge to mean knowledge of the universal spirit of human-ness. O josh, the purpose is the realization of the knowledge of universality/one-ness of humanity, whethere you get there through an idol or through a spiritual being. Lift the veil from this mystery and let whatever happens, happen.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. This is a particularly hard hitting and daring nazm with reason/rationality striking blows against orthodoxy.
1
rakaab1 thaam2 ke chal rooh3-e aalam4-e iijaad5
chala hai ilm6 su7-e dasht8-e jahl9 bahr10-e jehaad11
1.stirrup 2.holding 3.spirit 4.world of 5.invention, creativity 6.knowledge, wisdom 7.towards 8.wilderness 9.ignorance 10.with the intention of 11.conflict, war
To hold the stirrup for a rider is to be in service to him. Here, ‘ilm’ (rationality, knowledge) is the rider and the spirit of the world of creativity is holding the stirrup. The rider, ‘ilm’, is setting out to make war on the wilderness of ignorance.
2
dayaar1-e laat-o-habal2 meN pukaar kar kah do
keh ho raha hai bashar3 bandagi4 se ab aazaad
1.domain 2.pre-islamic godesses 3.human 4.servitude, supplication
‘laat-o-habal’ are being used here as symbolic of ignorance and superstition. Declare loudly in the domain of ignorance and superstition that humans have set out to free themselves from servitude of and supplication to blind belief and superstition.
3
tamaam1 zauq2-e suruur3 o tahoor4 o hoor5 o qasoor6
fuGhaaN7, keh qasr8-e ibaadat9 hai saKht10 kaj-buniyaad11
1.all, total 2.taste, desire 3.pleasure 4.ritual cleansing, purifying 5.nymph 6.mansion 7.wail, alas 8.palace 9.ritual worship 10.hard, excessive 11.crooked foundation
All the desire for rewards in heaven … pleasure, rituals, nymphs and mansions … these form a crooked foundation of the palace of worship. Said Ghalib …
taa’at meN taa rahe na mai o aNgabiiN ki laag
dozaKh meN Daal do koii le kar behisht ko
4
voh ek nigaah1-e tajassus2 hai suu3-e zaat4 o sifaat5
samajh rahe haiN jise muftiyaan6-e diiN7, ilhaad8
1.look, sight 2.search 3.towards 4.being, person (of god) 5.attributes 6.religious scholar/jurist 7.faith 8.atheism
It is but a searching look towards the divine being and its attributes that the scholars of faith have labelled as ‘atheism’. The implication is that these ‘scholars’ are scared of even any questioning.
5
lab1-e sha’oor2 ka hai sirf3 ek tabassum4-e tanz5
vujood6-e rabb7 o ra’uuf8 o jaleel9 o barr10 o javaad11
1.lips 2.knowledge, wisdom 3.only 4.smile 5.sarcasm, criticism 6.existence 7.lord 8.merciful 9.glorious, powerful 10.just, beneficient 11.eternal, everlasting
The claim of existence of god and all the names and attributes of god are nothing but a sarcastic smile on the lips of knowledge.
6
musaaferaan1-e rah2-e justuju3-e umr-e-abad4
talab5 kareNge na Khizr6 o masiih7 se imdaad8
1.travelers 2.path 3.search 4.eternal life 5.demand, ask for 6.guide 7.healer 8.help
Khizr is a character mentioned in all Abrahamic texts. He looked for and found the spring of the nectar of life and lives forever. ‘masiih’ also is supposed to have brought the dead back to life. Seeking help from them to achieve eternal life may be considered a conventional way of getting it. But those who travel on the path searching for eternal life refuse to take such conventional help. The implication is that they will seek eternal life through their work rather than through supplication.
7
zah-e-nasiib1 keh ab haiN rahiin2-e baad3-e sumoom4
charaaGh-e taKht5-e kayaani6 o sham’a-e taaj-e qubaad7
1.as luck would have it, it is good luck that 2.mortgaged to, obliged to 3.breeze 4.deadly 5.seat, throne 6.of kayaan-ancient Persian king 7.ancient Persian king
The lamp of the throne of kayaan and the candle of the crown of qubaad are symbolic of royal pomp and glory. It is a matter of good fortune that they have been blown out by deadly desert winds.
8
tujhe Khabar1 bhi hai aivaan2-e daulat3-e parvez4
keh ab hai tiisha5 ba-kaf6 Khoon-e daaman7-e farhaad8
1.awareness 2.palace 3.wealth, treasure 4.Persian king 5.pickaxe 6.in hand 7.hem of the garment 8.of shirin-farhaad legend
This has reference to the legend of shirin-farhaad. ‘farhaad’ was a sculptor hired to work in the palace of Khusro parvez, the king. He fell in love with shirin, the king’s wife and pestered the king to divorce shirin so he could marry her. The king set him an impossible task of carving a canal through the mountain and make a river of milk flow to the palace. farhaad set about digging a canal with his pick-axe and was about to succeed. The king panicked and caused a rumour to spread that shirin had died. Upon hearing this, farhaad killed himself with the pickaxe. The palace containing the treasure of parvez is used as a symbol of capitalist exploitation and the blood of farhaad as the blood of workers. Thus, do you even know, O capitalists, that the blood of the worker has risen up with pickaxe in hand.
9
fiza1-e azm2 pe Ghaltiida3 hai lavaa4-e husain
laraz5 raha hai dil-e vaarisaan6-e ibn-e-ziyaad7
1.air, wind 2.resolve, determination 3.spread over 4.banner 5.tremble 6.progeny 7.commander of the forces of yaziid
This has reference to the battle of karbala, in which husain takes a resolute and principled stand even in the face of certain death. yaziid’s forces under ibn-e ziyaad kill his small band of supporters. the banner of husain is a symbol of resolve and resistance against tyranny and yaziid and ibn-e ziyaad are symbolic of tyranny. Thus, the banner of resolve and resistance waves in the air and the hearts of the progeny of tyrants are trembling in fear.
10
is aadmi ko Khudaara1 javaaN to hone do
masiih2-e vaqt banega ye tiflak3-e jallaad4
1.by god 2.healer 3.infant 4.executioner, killer
By ‘tiflak-e jallaad’ josh means that in the infancy of the evolution of humanity, humans were cruel to each other, but with the development of culture, civilization, learning and knowledge, things will change. As humanity matures/comes of age it will become the healer of the times.
11
DhaluNga1 ab na sinaan2 o tabar3 ke saanche4 meN
dar5-e bashar6 pe qasam7 kha raha hai ye faulaad8
1.cast 2.spear 3.battle-axe, hatchette 4.mould 5.door, domain 6.humanity 7.swear, promise 8.iron, steel
Iron and steel swear/declare at the door of humanity that they will never again be cast into the mould or spears and hatchetts. Thus, with the rise of knowledge, the poet hopes for the end of war.
12
jab auj1-e dil pe khulega lavaa2-e hubb3-e ameem4
kisi luGhat5 meN na paayega baar6 harf7-e inaad8
1.heights 2.banner 3.love 4.universal 5.dictionary 6.burden 7.word 8.conflict
When the banner of universal love is raised at the heights of the heart, then the word of conflict will not burden any dictionary.
13
voh saamne hai dar1-e qasr2-e uqda-haa3-e daqiiq4
qadam5 baRhaaye hue saahibaan6-e bast-o-kushaad7
1.door 2.palace 3.knots, mysteries 4.fine, subtle 5.step 6.owners, lords 7.opening and closing, governance, administration
In front of us is the door of the palace of subtle, knotty mysteries. The owners of rule making are stepping forward to unravel these knots.
14
ba-hukm1-e fikr2 banegi hareem3-e amn-o-amaaN4
bah rabb5-e kaa’ba ye ibrat-saraa6-e kaun-o-fasaad7
1.by the order of 2.rationality 3.sanctuary 4.peace and prosperity 5.lord 6.place of learning 7.building and destroying, continuous development
By the order of rationality, by the lord of kaa’ba, this domain of learning and development will turn into a sanctuary of peace and prosperity.
15
Khuda gavaah1 keh be-sarfa2 hai huqooq3-e ilaah4
magar5 baraa6-e nigahdaari7-e huqooq3-e ibaad8
1.witness 2.useless 3.rights 4.god 5.but 6.for, with the intent of 7.keeping an eye on 8.plural of ‘abd used here to mean humanity
god is my witness that divine rights/dictats are useless except for safekeeping of the rights of humanity. Thus he says that divine dictats should be designed/used for moral/ethical needs rather than rewards in heaven.
16
hazaar shukr1 keh hai rahnuma2-e aab-e-hayaat3
meri yeh Khaak4-e masiihaa-mizaaj5 o Khizr-nehaad6
1.thanks 2.guide 3.nectar of immortality, amrit 4.dust, clay 5.healing nature 6.guiding/teaching disposition/habit
Khizr is a character mentioned in all Abrahamic texts. He has travelled all over the world and knows all the byways and seaways. He is considered the guide and patron saint of all travellers/seekers. Because josh write ‘meri Khaak’ I am inclined to interpret this to mean ‘my writings/verse’ with him referring to his own verse as ‘Khaak’ in feigned humility. Thus, a thousand thanks that it is a guide towards nectar of life – my verse that heals and teaches. I also think that by ‘eternal life’ is used in the same sense as ‘umr-e abad’ in she’r 6, where he does not mean eternal biological life but long reputational life.
17
kulaah1-e gosha2-e haft3-aasmaaN hai chashm-ba-raah4
uTh aye zamiin-e gohar-manzar5 o aqiiq-savaad6
1.cap 2.corner 3.seven 4.eyes on the path, eagerly waiting 5.pearl-like 6.dark ruby
Here zamiin/earth symbolizes earthly/humble status. But it is potentially very valuable like pearls and rubies. Rise O humble earth, you have great value like rare jewels. Rise, the seventh heaven is eagerly waiting for you respectfully cap in hand. This is a call to humanity to rise to divine status which it deserves.
18
Khuda gavaah1 keh nau-e-bashar2 ki jaudat3 hai
naseem4-e nasl5 o gohar-teenat6 o bilor-nazshaad7
1.witness 2.human species, humanity 3.intelligence, excellence 4.fragrant breeze 5.species, humanity 6.nature/character of pearls, sparkling 7.crystal/clear pedigree, unblemished
josh is playing up the value of human intelligence/rationality as opposed to blind belief. god is my witness that it is human intelligence that blows like a fresh breeze, sparkles like pearls and is unblemished like crystal. A fresh breeze is symbolic of new thinking, sparkling is symbolic of brilliant intuition and unblemished crystal represents clear thinking.
19
Gharaz1 hai ilm2 se aye josh3 but4 mile ke Khuda5
uTha bhi parda-e asraar6 harche-baada-baad7
1.objective, purpose 2.knowledge 3.pen-name of the poet 4.idol 5.disembodied spirit 6.mysteries 7.whatever happens happens
Because of the context of the nazm, I interpret ‘ilm’/knowledge to mean knowledge of the universal spirit of human-ness. O josh, the purpose is the realization of the knowledge of universality/one-ness of humanity, whethere you get there through an idol or through a spiritual being. Lift the veil from this mystery and let whatever happens, happen.
The post jehaad-e ilm-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/shk-zor-kitna-baazu-e-qaatil-meN-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
زور کتنا بازوئے قاتل میں ہے ۔ مومن حسین شعلہؔ کراروی
۱
رنجِ دنیا فکرِ عقبیٰ جانے کیا کیا دل میں ہے
زندگی دو دن کی اپنی سیکڑوں مشکل میں ہے
۲
راہِ الفت میں بہت کچھ خاک بھی چھانی مگر
میری جانب سے غبار اب تک کسی کے دل میں ہے
۳
وہ جفا پیشہ جفا جو ہے جفا اس کی سرشت
جس کو کہتے ہیں وفا وہ میرے آب و گل میں ہے
۴
تہہ نشیں ہو کر ملی موجِ حوادث سے نجات
کشتئ عمر رواں اب دامن ساحل میں ہے
۵
سخت جانی سے مری پالا اگر پڑتا اسے
دیکھتا پھر زور کتنا بازوئے قاتل میں ہے
۶
اپنی اپنی گا رہے ہیں دونوں شیخ و برہمن
دیر و کعبہ میں کہاں ہے جو حریمِ دل میں ہے
۷
مرحلے ہر روز انساں کو نئے آتے ہیں پیش
آج اس منزل میں ہے کل دوسری منزل میں ہے
۸
کچھ تو پاسِ حسن کچھ ان کی نظر کا سامنا
وہ زباں پر لا نہیں سکتا جو میرے دل میں ہے
۹
جانتا ہوں گو مآل حضرتِ آدم مگر
کوئے جاناں کی تمنا پھر بھی میرے دل میں ہے
۱۰
دیکھیے آئینۂ پیری میں پھر بچپن کا حال
عہدِ ماضی کی جھلک کچھ عہدِ مستقبل میں ہے
۱۱
سوچ کر فریاد کا انجام میں خاموش ہوں
ورنہ اب بھی قوتِ فریاد میرے دل میں ہے
۱۲
ہے شکستِ بے ستوں معیارِ استعدادِ عشق
کوہ کن کا نام فردِ جوہرِ قابل میں ہے
۱۳
عشقِ مجنوں نے کچھ اونچا کر دیا معیار حسن
ورنہ لیلیٰ کی حقیقت پردۂ محمل میں ہے
۱۴
کوئی ہے ساغر بکف کوئی صراحی در بغل
تشنہ کام اب تک مگر شعلہؔ تری محفل میں ہے
ज़ोर कितना बाज़ू-ए क़ातिल में है – मोमिन हुसैन शो’ला करारवी
१
रंज-ए दुनिया फ़िक्र-ए उक़्बा जाने क्या क्या दिल में है
ज़िंदगी दो दिन की अपनी सैकढौं मुश्किल में है
२
राह-ए उल्फ़त में बहुत कुछ ख़ाक भी छानी मगर
मेरी जानिब से ग़ुबार अब तक किसी के दिल में है
३
वो जफ़ा-पेशा जफ़ा-जू है जफ़ा उस की सरिश्त
जिस को कहते हैं वफ़ा वो मेरे आब-ओ-गिल में है
४
तह-नशीं हो कर मिली मौज-ए हवादिस से नजात
कश्ती-ए उम्र-ए रवाँ अब दामन-ए साहिल में है
५
सख़्त-जानी से मेरी पाला अगर पढता उसे
देखता फिर ज़ोर कितना बाज़ू-ए क़ातिल में है
६
अपनी अपनी गा रहे हैं दोनों शैख़-ओ-बरहमन
दैर-ओ-का’बा में कहाँ है जो हरीम-ए दिल में है
७
मरहले हर रोज़ इंसाँ को नए आते हैं पेश
आज इस मंज़िल में है कल दूसरी मंज़िल में है
८
कुछ तो पास-ए हुस्न कुछ उन की नज़र का सामना
वो ज़बाँ पर ला नहीं सकता जो मेरे दिल में है
९
जानता हूँ गो म’आल-ए हज़्रत-ए आदम मगर
कू-ए जानाँ की तमन्ना फिर भी मेरे दिल में है
१०
देखिए आईना-ए पीरी में फिर बचपन का हाल
अहद-ए माज़ी की झलक कुछ अहद-ए मुस्तक़बिल में है
११
सोच कर फ़रियाद का अंजाम मैं ख़ामोश हूँ
वर्ना अब भी क़ुव्वत-ए फ़रियाद मेरे दिल में है
१२
है शिकस्त-ए बे-सुतूँ मे’आर-ए इस्तेदाद-ए इश्क़
कोहकन का नाम फ़र्द-ए जौहर-ए क़ाबिल में है
१३
इश्क़-ए मजनूँ ने कुछ ऊँचा कर दिया मेयार-ए हुस्न
वर्ना लैला की हक़ीक़त पर्दा-ए महमिल में है
१४
कोई है साग़र-ब-कफ़ कोई सुराही-दर-बग़ल
तिश्ना-काम अब तक मगर शो’ला तेरी महफ़िल में है
Click here for background and on any passage for word meanings and explanatory discussion. momin husain sho’la kararavi (1901-xxxx), kausambi, India. I don’t know much more about the poet. I would appreciate any input. This Ghazal along with several others in the same zamin is linked to Ghalib naqsh-e qadam.
1
ranj1-e duniya fikr2-e uqba3 jaane4 kya kya dil meN hai
zindagi do din ki apni saikRoN mushkil5 meN hai 1.sorrows 2.worries 3.next life, afterlife 4.who knows 5.difficulties
Sorrows/problems of this life, worry about afterlife, who knows what else the heart bears. In this short life of two days, our lives are in millions of difficulties.
2
raah1-e ulfat2 meN bahut kuchh Khaak bhi chhaani3 magar
meri jaanib4 se Ghubaar5 ab tak kisi ke dil meN hai 1.path 2.love 3.Khaak chhaan’na-to sift through dust is an expression meaning wander in search 4.towards 5.fog, suspicion, ill will
I have sifted the dust/wandered searching the path of love. In spite of this, there is that special someone who bears suspicion towards me i.e., the beloved does not think that I am a true/sincere lover.
3
vo jafa-pesha1 jafa-juu2 hai jafa us ki sarisht3
jis ko kahte haiN vafa4 vo mere aab-o-gil5 meN hai 1.practicing torture 2.searching (for new ways of) torture 3.nature, character 4.fidelity 5.water and clay (the constituents out of which humans are supposed to have been made), inborn nature
The beloved inflicts torture, searches for new ways to hurt, cruelty is in her nature, but that which is called fidelity is in my flesh and blood.
4
tah-nashiN1 ho kar mili mauj2-e havaadis3 se nijaat4
kashti-e umr5-e ravaaN6 ab daaman-e-saahil7 meN hai 1.under layers i.e., buried 2.wave, onslaught 3.accidents, misfortunes 4.deliverance 5.life-span 6.flowing, passing 7.hem of the shore, shoreline
Only after being buried under do we get deliverance from misfortunes. It is only then that the boat of life reaches the other shore. Said Ghalib …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paae kyuN
5
saKht-jaani1 se meri paala2 agar3 paRta usey
dekhta phir zor4 kitna baazu5-e qaatil6 meN hai 1.diehard, tough 2.paala paRna is an expression meaning have to deal with, come across 3.if 4.power 5.arm 6.killer, beloved
The ‘usey’ in the first misra is probably referring to the rival. If the rival had been a diehard like me, had he stayed the course (had be been a sincere lover), then he would have known the power of the arm of the beloved (the beloved slaughters true lovers).
6
apni apni gaa1 rahe haiN donoN shaiKh-o-barhaman
dair2-o-k’aaba3 meN kahaaN hai jo hariim4-e dil meN hai 1.singing 2.temple 3.mosque 4.sanctuary
The shaiKh and the brahman are singing their own tune. How can you find in the temple or mosque that which is in the sanctuary of heart i.e., god lives in the heart.
7
marhale1 har roz2 insaaN ko naye aate haiN pesh3
aaj is manzil4 meN hai kal doosri manzil meN hai 1.obstacles 2.every day 3.confront 4.stage on the path towards the destination
Humans are faced with new obstacles every day. Today at this stage of live, tomorrow at the next.
8
kuchh to paas1-e husn2 kuchh un ki nazar3 ka saamna4
vo zabaaN par la nahiN sakta jo mere dil meN hai 1.consideration, regard 2.beauty, beloved 3.glance 4.come face to face
The poet/lover out of regard for the beloved, and out of fear of facing her cannot say what is in his heart.
9
jaanta huN go1 maa’l2-e hazrat-e-aadam3 magar4
kuu5-e jaanaaN6 ki tamanna7 phir bhi mere dil meN hai 1.even though 2.result 3.an expression meaning ‘man’ 4.but 5.street 6.beloved 7.desire
In poetic convention lovers gather in the street of the beloved and either rot to death or are slaughtered by the beloved. The poet/lover knows full well the result of doing this, but he still desires to be in the street of the beloved.
10
dekhiye aaiina-e piiri1 meN phir bachpan ka haal2
ahd3-e maazi4 ki jhalak5 kuchh ahd3-e mustaqbil6 meN hai 1.old age 2.condition 3.period, times 4.past 5.glimpse 6.future
In the reflection of old age, you can see the condition of youth. There is a glimpse of past times in the image of the future.
11
soch1 kar fariyaad2 ka anjaam3 maiN Khaamosh huN
varna4 ab bhi quvvat5-e fariyaad2 mere dil meN hai 1.thinking about 2.appeal, plead 3.result 4.otherwise 5.power
Thinking about/knowing what the result of my appeal is going to be, I remain quiet. Otherwise, I still have the power in my heart to make a strong appeal.
12
hai shikast1-e be-sutuuN2 me’aar3-e istedaad4-e ishq
kohkan5 ka naam fard6-e jauhar7-e qaabil8 meN hai 1.breaking 2.name of the mountain through which farhaad cut a channel 3.standard 4.expanse, boundaries 5.another name of farhaad 6.list, register 7.brilliance, skills 8.experts
This has reference to the story of shirin-farhaad. farhaad was set the task of cutting a channel through the mountain be-sutuun as a condition of winning shirin’s hand. He immediately set about doing this with his pickaxe, even though it was considered to be an impossible task. That is the limit to which love can go to achieve fulfilment. Thus, the carving of be-sutuun sets the standards of the limits of the power of love. farhaad’s name has been entered in the list of skilled experts.
13
ishq-e majnuN ne kuchh ooNcha kar diya meyaar1-e husn2
varna3 laila ki haqiiqat4 parda-e mahmil5 meN hai 1.standard 2.beauty 3.otherwise 4.truth, reality 5.palanquin/carriage atop a camel
It was the mad/passionate love of majnuN that raised the standard of beauty otherwise the truth of the beauty of laila would have remained hidden behind the veil of the mahmil.
14
koi hai saaGhar-ba-kaf1 koi suraahi-dar-baGhal2
tishna-kaam3 ab tak magar4 sho’la5 teri mahfil6 meN hai 1.cup/goblet in hand 2.flask/flagon under the arm 3.thirsty 4.but 5.pen-name of the poet 6.gathering
Some carry cups of wine in their hands, some tuck a flagon under their arm, but sho’la remains thirsty in your gathering. This could be addressed to the saaqi or to god.
momin husain sho’la kararavi (1901-xxxx), kausambi, India. I don’t know much more about the poet. I would appreciate any input. This Ghazal along with several others in the same zamin is linked to Ghalib naqsh-e qadam.
1
ranj1-e duniya fikr2-e uqba3 jaane4 kya kya dil meN hai
zindagi do din ki apni saikRoN mushkil5 meN hai
1.sorrows 2.worries 3.next life, afterlife 4.who knows 5.difficulties
Sorrows/problems of this life, worry about afterlife, who knows what else the heart bears. In this short life of two days, our lives are in millions of difficulties.
2
raah1-e ulfat2 meN bahut kuchh Khaak bhi chhaani3 magar
meri jaanib4 se Ghubaar5 ab tak kisi ke dil meN hai
1.path 2.love 3.Khaak chhaan’na-to sift through dust is an expression meaning wander in search 4.towards 5.fog, suspicion, ill will
I have sifted the dust/wandered searching the path of love. In spite of this, there is that special someone who bears suspicion towards me i.e., the beloved does not think that I am a true/sincere lover.
3
vo jafa-pesha1 jafa-juu2 hai jafa us ki sarisht3
jis ko kahte haiN vafa4 vo mere aab-o-gil5 meN hai
1.practicing torture 2.searching (for new ways of) torture 3.nature, character 4.fidelity 5.water and clay (the constituents out of which humans are supposed to have been made), inborn nature
The beloved inflicts torture, searches for new ways to hurt, cruelty is in her nature, but that which is called fidelity is in my flesh and blood.
4
tah-nashiN1 ho kar mili mauj2-e havaadis3 se nijaat4
kashti-e umr5-e ravaaN6 ab daaman-e-saahil7 meN hai
1.under layers i.e., buried 2.wave, onslaught 3.accidents, misfortunes 4.deliverance 5.life-span 6.flowing, passing 7.hem of the shore, shoreline
Only after being buried under do we get deliverance from misfortunes. It is only then that the boat of life reaches the other shore. Said Ghalib …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paae kyuN
5
saKht-jaani1 se meri paala2 agar3 paRta usey
dekhta phir zor4 kitna baazu5-e qaatil6 meN hai
1.diehard, tough 2.paala paRna is an expression meaning have to deal with, come across 3.if 4.power 5.arm 6.killer, beloved
The ‘usey’ in the first misra is probably referring to the rival. If the rival had been a diehard like me, had he stayed the course (had be been a sincere lover), then he would have known the power of the arm of the beloved (the beloved slaughters true lovers).
6
apni apni gaa1 rahe haiN donoN shaiKh-o-barhaman
dair2-o-k’aaba3 meN kahaaN hai jo hariim4-e dil meN hai
1.singing 2.temple 3.mosque 4.sanctuary
The shaiKh and the brahman are singing their own tune. How can you find in the temple or mosque that which is in the sanctuary of heart i.e., god lives in the heart.
7
marhale1 har roz2 insaaN ko naye aate haiN pesh3
aaj is manzil4 meN hai kal doosri manzil meN hai
1.obstacles 2.every day 3.confront 4.stage on the path towards the destination
Humans are faced with new obstacles every day. Today at this stage of live, tomorrow at the next.
8
kuchh to paas1-e husn2 kuchh un ki nazar3 ka saamna4
vo zabaaN par la nahiN sakta jo mere dil meN hai
1.consideration, regard 2.beauty, beloved 3.glance 4.come face to face
The poet/lover out of regard for the beloved, and out of fear of facing her cannot say what is in his heart.
9
jaanta huN go1 maa’l2-e hazrat-e-aadam3 magar4
kuu5-e jaanaaN6 ki tamanna7 phir bhi mere dil meN hai
1.even though 2.result 3.an expression meaning ‘man’ 4.but 5.street 6.beloved 7.desire
In poetic convention lovers gather in the street of the beloved and either rot to death or are slaughtered by the beloved. The poet/lover knows full well the result of doing this, but he still desires to be in the street of the beloved.
10
dekhiye aaiina-e piiri1 meN phir bachpan ka haal2
ahd3-e maazi4 ki jhalak5 kuchh ahd3-e mustaqbil6 meN hai
1.old age 2.condition 3.period, times 4.past 5.glimpse 6.future
In the reflection of old age, you can see the condition of youth. There is a glimpse of past times in the image of the future.
11
soch1 kar fariyaad2 ka anjaam3 maiN Khaamosh huN
varna4 ab bhi quvvat5-e fariyaad2 mere dil meN hai
1.thinking about 2.appeal, plead 3.result 4.otherwise 5.power
Thinking about/knowing what the result of my appeal is going to be, I remain quiet. Otherwise, I still have the power in my heart to make a strong appeal.
12
hai shikast1-e be-sutuuN2 me’aar3-e istedaad4-e ishq
kohkan5 ka naam fard6-e jauhar7-e qaabil8 meN hai
1.breaking 2.name of the mountain through which farhaad cut a channel 3.standard 4.expanse, boundaries 5.another name of farhaad 6.list, register 7.brilliance, skills 8.experts
This has reference to the story of shirin-farhaad. farhaad was set the task of cutting a channel through the mountain be-sutuun as a condition of winning shirin’s hand. He immediately set about doing this with his pickaxe, even though it was considered to be an impossible task. That is the limit to which love can go to achieve fulfilment. Thus, the carving of be-sutuun sets the standards of the limits of the power of love. farhaad’s name has been entered in the list of skilled experts.
13
ishq-e majnuN ne kuchh ooNcha kar diya meyaar1-e husn2
varna3 laila ki haqiiqat4 parda-e mahmil5 meN hai
1.standard 2.beauty 3.otherwise 4.truth, reality 5.palanquin/carriage atop a camel
It was the mad/passionate love of majnuN that raised the standard of beauty otherwise the truth of the beauty of laila would have remained hidden behind the veil of the mahmil.
14
koi hai saaGhar-ba-kaf1 koi suraahi-dar-baGhal2
tishna-kaam3 ab tak magar4 sho’la5 teri mahfil6 meN hai
1.cup/goblet in hand 2.flask/flagon under the arm 3.thirsty 4.but 5.pen-name of the poet 6.gathering
Some carry cups of wine in their hands, some tuck a flagon under their arm, but sho’la remains thirsty in your gathering. This could be addressed to the saaqi or to god.
The post zor kitna bazuu-e qaatil meN hai-sho’la karaaravi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/sshmhbaa-zor-kitna-baazu-e-qaatil-meN-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
زور کتنا بازوئے قاتل میں ہے ۔ محمد حسن بسملؔ عظیم آبادی
۱
سرفروشی کی تمنا اب ہمارے دل میں ہے
دیکھنا ہے زور کتنا بازوئے قاتل میں ہے
۲
اے شہیدِ ملک و مِلّت میں ترے اوپر نثار
لے تری ہمت کا چرچا غیر کی محفل میں ہے
۳
وائے قسمت پاؤں کی اے ضعف کچھ چلتی نہیں
کارواں اپنا ابھی تک پہلی ہی منزل میں ہے
۴
رہروِ راہِ محبت رہ نہ جانا راہ میں
لذّتِ صحرا نوردی دُورئ منزل میں ہے
۵
شوق سے راہِ محبت کی مصیبت جھیل لے
اک خوشی کا راز پنہاں جادۂ منزل میں ہے
۶
آج پھر مقتل میں قاتل کہہ رہا ہے بار بار
آئیں وہ شوقِ شہادت جن کے جن کے دل میں ہے
۷
مرنے والو آؤ اب گردن کٹاؤ شوق سے
یہ غنیمت وقت ہے خنجر کفِ قاتل میں ہے
۸
مانع اظہار تم کو ہے حیا، ہم کو ادب
کچھ تمہارے دل کے اندر کچھ ہمارے دل میں ہے
۹
مے کدہ سنسان خم الٹے پڑے ہیں جام چُور
سر نِگوں بیٹھا ہے ساقی جو تری محفل میں ہے
۱۰
وقت آنے دے دکھا دیں گے تجھے اے آسماں
ہم ابھی سے کیوں بتائیں کیا ہمارے دل میں ہے
۱۱
اب نہ اگلے ولولے ہیں اور نہ وہ ارماں کی بھیڑ
صرف مٹ جانے کی اک حسرت دلِ بسملؔ میں ہے
ज़ोर कितना बाज़ू-ए क़ातिल में है – मोहम्मद हसन बिस्मिल अज़ीमाबादी
१
सरफ़रोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू-ए क़ातिल में है
२
अए शहीद-ए मुल्क-ओ-मिल्लत मैं तेरे ऊपर निसार
ले तेरी हिम्मत का चर्चा ग़ैर की महफ़िल में है
३
वाए क़िस्मत पाँव की अए ज़ोफ़ कुछ चलती नहीं
कारवाँ अपना अभी तक पहली ही मंज़िल में है
४
रहरव-ए राह-ए मोहब्बत रह न जाना राह में
लज़्ज़त-ए सहरा-नवर्दी दूरी-ए मंज़िल में है
५
शौक़ से राह-ए मोहब्बत की मुसीबत झेल ले
एक ख़ुशी का राज़ पिन्हाँ जादा-ए मंज़िल में है
६
आज फिर मक़्तल में क़ातिल कह रहा है बार बार
आएँ वो शौक़-ए शहादत जिन के जिन के दिल में है
७
मरने वालो आओ अब गर्दन कटाओ शौक़ से
ये ग़नीमत वक़्त है ख़ंजर कफ़-ए क़ातिल में है
८
मान’अ-ए इज़्हार तुम को है हया, हम को अदब
कुछ तुम्हारे दिल के अंदर कुछ हमारे दिल में है
९
मय-कदा सुनसान ख़ुम उल्टे पढे हैं जाम चूर
सर-निगूँ बैठा है साक़ी जो तेरी महफ़िल में है
१०
वक़्त आने दे दिखा देंगे तुझे अए आसमाँ
हम अभी से क्यूँ बताएँ क्या हमारे दिल में है
११
अब न अगले वलवले हैं और न वो अरमाँ की भीड़
सिर्फ़ मिट जाने की इक हसरत दिल-ए ‘बिस्मिल’ में है
Click here for background and on any passage for word meanings and explanatory discussion. syed shah mohammed hasan bismil aziimabadi (1901-1978), paTna. This Ghazal was for a long time wrongly attributed to ramprasad bismil. This mistake was corrected much later, when bismil aziimabadi’s papers were collected and his work published posthumously. This was written as a statement of resistance against British colonial rule, but with careful ambiguity.
1
sarfaroshi1 ki tamanna2 ab hamaare dil meN hai
dekhna hai zor kitna baazu3-e qaatil4 meN hai 1.offering head, prepared to die, defiant 2.desire 3.arm 4.killer
We are prepared to die and offer our head. We shall see how much power the killer has in their arm.
2
aye shahiid1-e mulk-o-millat2 maiN tere oopar nisaar3
le teri himmat4 ka charcha5 Ghair6 ki mahfil7 meN hai 1.martyr 2.homeland and community 3.pay homage 4.courage 5.conversation, talk 6.other, foreigner 7.gathering
O martyr for the homeland and community, I offer homage to you. Now even in the gatherings of foreigners, the conversation is about your courage.
3
vaa’ey1 qismat paauN ki aye zo’f2 kuchh chalti3 nahiN
kaarvaaN apna abhi tak pahli hi manzil4 meN hai 1.alas 2.weakness 3.‘kuchh nahiN chalti’ is an expression meaning-nothing is effective 4.stage of the journey towards the destination
The caravan (of freedom) is stuck in the first stage of the journey towards its destination. Alas, the weakness of our legs/feet is such that out walk is not effective.
4
rahrav1-e raah2-e mohabbat rah3 na jaana raah2 meN
lazzat4-e sahra-navardi5 duuri6-e manzil7 meN hai 1.traveler 2.path 3.remain stuck 4.pleasure 5.wandering the desert, walking the difficult path 6.distance 7.destination
O traveler on the path of love, do not remain stuck on the way. The pleasure of walking the difficult path is in the long distance to the destination.
5
shauq1 se raah2-e mohabbat ki musiibat3 jhel4 le
ek Khushi ka raaz5 pinhaaN6 jaada7-e manzil8 meN hai 1.eagerly, happily 2.path 3.difficulties 4.bear, accept 5.secret 6.hidden 7.path 8.destination
Accept the difficulties of the path of love, happily. The secret of happiness is hidden in the path towards the destination.
6
aaj phir maqtal1 meN qaatil2 kah raha hai baar-baar3
aa’eN vo shauq4-e shahaadat5 jin ke jin ke dil meN hai 1.field of slaughter 2.killer 3.again and again 4.wish, desire 5.martyrdom
Today too, the killer shouts again and again, from the field of slaughter, ‘let whoever wishes martyrdom, come forward’.
7
marne vaalo aao ab gardan kaTaao shauq1 se
ye Ghanimat2 vaqt hai Khanjar3 kaf4-e qaatil5 meN hai 1.happily 2.opportune 3.knife 4.palm, hand 5.killer
O those willing to die, come forward happily, get your throat slit. This is an opportune time, the killer has a knife in their hand.
8
maan’a1-e izhaar2 tum ko hai haya3, ham ko adab4
kuchh tumhaare dil ke andar kuchh hamaare dil meN hai 1.prohibiting 2.expression, speech 3.shame 4.courtesy, respect
Shame prevents you from speaking, courtesy stops us. But you certainly something in your heart (that you are hiding) and we have something we cannot say.
9
mai-kada1 sunsaan2 Khum3 ulTe paRe haiN jaam4 chuur5
sar-niguN6 baiTha hai saaqi jo teri mahfil7 meN hai 1.tavern 2.desolate, deserted 3.barrells, flasks 4.cups 5.shattered 6.head bowed 7.gathering
The tavern is deserted, barrels of wine turned over and goblets shattered. Everyone in your gathering O saaqi sits heart-broken with head bowed.
10
vaqt aane de dikha deNge tujhe aye aasmaaN1
ham abhi se kyuN bataa’eN2 kya hamaare dil meN hai 1.sky-used to mean the powerful/tyrannical 2.speak, reveal
Let the time come and we will show you O tyrant. Why should we reveal just now what is in our hearts.
11
ab na agle1 valvale2 haiN aur na vo armaaN3 ki bhiiR4
sirf5 miT6 jaane ki ek hasrat7 dil-e bismil8 meN hai 1.past 2.fervour, passion 3.desire 4.crowd 5.only 6.erase 7.longing 8.pen-name of the poet, sacrificial animal
O bismil, neither do I have the old fervour nor that host of desires. Only the longing to erase (sacrifice) myself remains in my heart.
syed shah mohammed hasan bismil aziimabadi (1901-1978), paTna. This Ghazal was for a long time wrongly attributed to ramprasad bismil. This mistake was corrected much later, when bismil aziimabadi’s papers were collected and his work published posthumously. This was written as a statement of resistance against British colonial rule, but with careful ambiguity.
1
sarfaroshi1 ki tamanna2 ab hamaare dil meN hai
dekhna hai zor kitna baazu3-e qaatil4 meN hai
1.offering head, prepared to die, defiant 2.desire 3.arm 4.killer
We are prepared to die and offer our head. We shall see how much power the killer has in their arm.
2
aye shahiid1-e mulk-o-millat2 maiN tere oopar nisaar3
le teri himmat4 ka charcha5 Ghair6 ki mahfil7 meN hai
1.martyr 2.homeland and community 3.pay homage 4.courage 5.conversation, talk 6.other, foreigner 7.gathering
O martyr for the homeland and community, I offer homage to you. Now even in the gatherings of foreigners, the conversation is about your courage.
3
vaa’ey1 qismat paauN ki aye zo’f2 kuchh chalti3 nahiN
kaarvaaN apna abhi tak pahli hi manzil4 meN hai
1.alas 2.weakness 3.‘kuchh nahiN chalti’ is an expression meaning-nothing is effective 4.stage of the journey towards the destination
The caravan (of freedom) is stuck in the first stage of the journey towards its destination. Alas, the weakness of our legs/feet is such that out walk is not effective.
4
rahrav1-e raah2-e mohabbat rah3 na jaana raah2 meN
lazzat4-e sahra-navardi5 duuri6-e manzil7 meN hai
1.traveler 2.path 3.remain stuck 4.pleasure 5.wandering the desert, walking the difficult path 6.distance 7.destination
O traveler on the path of love, do not remain stuck on the way. The pleasure of walking the difficult path is in the long distance to the destination.
5
shauq1 se raah2-e mohabbat ki musiibat3 jhel4 le
ek Khushi ka raaz5 pinhaaN6 jaada7-e manzil8 meN hai
1.eagerly, happily 2.path 3.difficulties 4.bear, accept 5.secret 6.hidden 7.path 8.destination
Accept the difficulties of the path of love, happily. The secret of happiness is hidden in the path towards the destination.
6
aaj phir maqtal1 meN qaatil2 kah raha hai baar-baar3
aa’eN vo shauq4-e shahaadat5 jin ke jin ke dil meN hai
1.field of slaughter 2.killer 3.again and again 4.wish, desire 5.martyrdom
Today too, the killer shouts again and again, from the field of slaughter, ‘let whoever wishes martyrdom, come forward’.
7
marne vaalo aao ab gardan kaTaao shauq1 se
ye Ghanimat2 vaqt hai Khanjar3 kaf4-e qaatil5 meN hai
1.happily 2.opportune 3.knife 4.palm, hand 5.killer
O those willing to die, come forward happily, get your throat slit. This is an opportune time, the killer has a knife in their hand.
8
maan’a1-e izhaar2 tum ko hai haya3, ham ko adab4
kuchh tumhaare dil ke andar kuchh hamaare dil meN hai
1.prohibiting 2.expression, speech 3.shame 4.courtesy, respect
Shame prevents you from speaking, courtesy stops us. But you certainly something in your heart (that you are hiding) and we have something we cannot say.
9
mai-kada1 sunsaan2 Khum3 ulTe paRe haiN jaam4 chuur5
sar-niguN6 baiTha hai saaqi jo teri mahfil7 meN hai
1.tavern 2.desolate, deserted 3.barrells, flasks 4.cups 5.shattered 6.head bowed 7.gathering
The tavern is deserted, barrels of wine turned over and goblets shattered. Everyone in your gathering O saaqi sits heart-broken with head bowed.
10
vaqt aane de dikha deNge tujhe aye aasmaaN1
ham abhi se kyuN bataa’eN2 kya hamaare dil meN hai
1.sky-used to mean the powerful/tyrannical 2.speak, reveal
Let the time come and we will show you O tyrant. Why should we reveal just now what is in our hearts.
11
ab na agle1 valvale2 haiN aur na vo armaaN3 ki bhiiR4
sirf5 miT6 jaane ki ek hasrat7 dil-e bismil8 meN hai
1.past 2.fervour, passion 3.desire 4.crowd 5.only 6.erase 7.longing 8.pen-name of the poet, sacrificial animal
O bismil, neither do I have the old fervour nor that host of desires. Only the longing to erase (sacrifice) myself remains in my heart.
The post zor kitna baazu-e qaatil meN hai-bismil aziimabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/mrshd-jazba-e-kaamil-meN-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جذبۂ کامِل میں ہے ۔ مُنشی رگھو ناتھ سنگھ ہاجرؔ دہلوی
۱
لوگ کہتے ہیں کہ لیلیٰ پردۂ محمل میں ہے
قیس کہتا ہے غلط ہے، وہ تو میرے دل میں ہے
۲
مجھ کو دعویٰ تھا کہ تیرا عشق میرے دل میں ہے
دیکھتا ہوں اب ترا چرچا ہر اک محفل میں ہے
۳
اِک نظر دشمن کی جانِب اک ہماری سمت ہے
کچھ نہیں معلوم کیا اُس بے وفا کے دل میں ہے
۴
اور بھی اک ہاتھ اے قاتل خدا کے واسطے
جان تھوڑی سی ابھی باقی تنِ بسمل میں ہے
۵
آپ پورا کر نہیں سکتے مجھے معلوم ہے
پوچھ کر کیا کیجیے گا جو تمنّا دل میں ہے
۶
راہِ اُلفت میں چلا جاتا ہوں میں دیوانہ وار
کچھ نہیں معلوم کتنا فاصلہ منزل میں ہے
۷
ایک وہ دن تھے کہ جب تھا آرزوؤں کا ہجوم
اب یہ حالت ہے کہ حسرت کی بھی حسرت دل میں ہے
۸
پارسا بھی رِند بن جاتے ہیں آ کر اِس جگہ
کچھ عجب تاثیر میخانے کے آب و گِل میں ہے
۹
المدد اے ناخدائے بحرِ اُلفت المدد
فاصلہ دو ہاتھ کا اب کشتی و ساحل میں ہے
۱۰
فیصلہ ہو جائے کس کی دوستی منظور ہے
میں بھی ہوں موجود دشمن بھی تری محفل میں ہے
۱۱
آپ اگر انجان بن جائیں تو اِس کا کیا علاج
آپ کو معلوم ہے جو کچھ ہمارے دل میں ہے
۱۲
عشق بھی دشوار ترکِ عشق بھی دشوار تر
یہ دلِ ناعاقبت اندیش اب مشکل میں ہے
۱۳
منحصر ہے مرگ پر بیمارِ اُلفت کی شفا
چارہ گر تو کیوں عبث سعیِ لاحاصل میں ہے
۱۴
وہ یہاں از خود چلے آئیں گے ہاجرؔ دیکھنا
کچھ اگر تاثیر اپنے جذبۂ کامِل میں ہے
जज़्बा-ए कामिल में है – मुंशी रघुनाथ सिंह हाजर देहलवी
१
लोग कहते हैं के लैला पर्दा-ए महमिल में है
क़ैस कहता है ग़लत है, वो तो मेरे दिल में है
२
मुझ को दा’वा था के तेरा इश्क़ मेरे दिल में है
देखता हूँ अब तेरा चर्चा हर एक महफ़िल में है
३
एक नज़र दुश्मन की जानिब एक हमारी सम्त है
कुछ नहीं मालूम क्या उस बे-वफ़ा के दिल में है
४
और भी एक हाथ अए क़ातिल ख़ुदा के वास्ते
जान थोड़ी सी अभी बाक़ी तन-ए बिस्मिल में है
५
आप पूरा कर नहीं सकते मुझे मालूम है
पूछ कर क्या कीजिएगा जो तमन्ना दिल में है
६
राह-ए उल्फ़त में चला जाता हूँ मैं दीवाना-वार
कुछ नहीं मा’लूम कितना फ़ास्ला मंज़िल में है
७
एक वो दिन थे के जब था आर्ज़ूओं का हुजूम
अब ये हालत है के हस्रत की भी हस्रत दिल में है
८
पारसा भी रिंद बन जाते हैं आ कर इस जगह
कुछ अजब तासीर मै-ख़ाने के आब-ओ-गिल में है
९
अलमदद अए नाख़ुदा-ए बहर-ए उल्फ़त अलमदद
फ़ास्ला दो हाथ का अब कश्ती ओ साहिल में है
१०
फ़ैस्ला हो जाए किस की दोस्ती मंज़ूर है
मैं भी हूँ मौजूद दुश्मन भी तेरी महफ़िल में है
११
आप अगर अनजान बन जाएँ तो इस का क्या इलाज
आप को मा’लूम है जो कुछ हमारे दिल में है
१२
इश्क़ भी दुश्वार तरक-ए इश्क़ भी दुश्वार-तर
ये दिल-ए ना-आक़बत-अंदेश अब मुश्किल में है
१३
मुनहसिर है मर्ग पर बीमार-ए उल्फ़त की शिफ़ा
चारागर तो क्यूं अबस सई-ए लाहासिल में है
१४
वो यहाँ अज़-ख़ुद चले आएँगे हाजर देखना
कुछ अगर तासीर अपने जज़्बा-ए कामिल में है
Click here for background and on any passage for word meanings and explanatory discussion. munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal in the zamin of ‘yeh bhi mere dil meN hai’ is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme Index page.
1
log kahte haiN keh laila parda1-e mahmil2 meN hai
qais3 kahta hai Ghalat4 hai, voh to mere dil meN hai 1.veil 2.camel carriage, palanquin 3.majnuN 4.wrong
People say that laila is behind the curtain in the camel carriage but majnuN says that this is wrong; she is in his heart.
2
mujh ko daa’va1 tha keh tera ishq mere dil meN hai
dekhta huN ab tera charcha2 har ek mahfil3 meN hai 1.claim 2.talk, fame 3.gathering
I used to claim that your love was in my heart (and that nobody knew about it). Now I see that your fame has spread to every gathering. Said qamar jalaalavi …
kabhi kaha na kisi se tere fasaane ko
na jaane kaise Khabar ho gayee zamaane ko
3
ek nazar1 dushman2 ki jaanib3 ek hamaari samt4 hai
kuchh nahiN maa’loom kya us be-vafa5 ke dil meN hai 1.glance 2.rival 3.direction 4.towards 5.faithless
One glance in the direction of the rival and another towards me; no one knows what’s in the heart of that faithless one.
4
aur bhi ek haath1 aye qaatil2 Khuda ke vaaste3
jaan thoRi si abhi baaqi4 tan5-e bismil6 meN hai 1.used here to mean blow, cut 2.killer 3.for god’s sake 4.remaining 5.body 6.sacrificial animal
In poetic convention the ‘qaatil’ is the beloved and the ‘bismil’ is the poet/lover. The sincere lover considers it a matter of great fortune to be slaughtered at the hands of the beloved. Here she is slaughtering him but is not quite finished. He begs her … one more blow/cut for god’s sake, there is still some life left in the body of the lover.
5
aap poora1 kar nahiN sakte mujhe maa’loom hai
poochh kar kya kijiyega jo tamanna2 dil meN hai 1.to complete i.e., to fulfil 2.desire
You cannot fulfil it, I know. What is the use of asking what is my heart’s desire.
6
raah1-e ulfat2 meN chala jaata huN maiN divaana-var3
kuchh nahiN maa’loom kitna faasla4 manzil5 meN hai 1.path 2.love 3.like a madman 4.distance 5.destination
I keep going along the path of love like a madman. I have no idea how far the destination is.
7
ek voh din the keh jab tha aarzuoN1 ka hujoom2
ab yeh haalat3 hai keh hasrat4 ki bhi hasrat5 dil meN hai 1.desires 2.crowd, onslaught 3.condition 4.longing 5.deprivation, listlessness
The poet has used the two meanings of ‘hasrat’ rather skillfully. There was a day when there used to be an onslaught of many desires in the heart. Now my condition is such (so totally hopeless) that I feel deprived of even longing.
8
paarsa1 bhi rind2 ban jaate haiN aa kar is jagah3
kuchh ajab4 taasiir5 maiKhaane6 ke aab-o-gil7 meN hai 1.abstinent 2.wine drinkers 3.place 4.strange, fascinating 5.effect 6.tavern 7.water and clay, constituents, basic nature, genes
Even the abstinent get transformed into wine drinkers when they come to this place. There is a fascinating effect in the nature of the tavern.
9
almadad1 aye naaKhuda2-e bahr3-e ulfat4 almadad
faasla5 do haath6 ka ab kashti o sahil7 meN hai 1.help 2.boatman 3.sea 4.love 5.distance 6.two strokes of the oar 7.shore
The poet/lover is in a boat on the sea of love. The sea is stormy and trying to row ashore. There is a short distance (a few more strokes of the oar) to the shore but he needs help and calls out to the boatman for help.
10
faisla1 ho jaa’e kis ki dosti manzoor2 hai
maiN bhi huN maujood3 dushman4 bhi teri mahfil5 meN hai 1.judgement, decision 2.accepted 3.present 4.rival 5.gathering, presence
The beloved traditionally keeps all her admirers/lovers hanging, playing one against the other. But now the poet/lover and his rival are both present before the beloved and he pushes for a decision … which one do you choose, let it be decided today!
11
aap agar anjaan1 ban jaa’eN to is ka kya ilaaj2
aap ko maa’loom hai jo kuchh hamaare dil meN hai 1.feigned ignorance, pretending to not know 2.cure, remedy
What remedy do I have if you pretend to not know. You know full well what is in my heart.
12
ishq bhi dushvaar1 tark2-e ishq bhi dushvaar-tar3
yeh dil-e naa4-aaqibat5-andesh6 ab mushkil7 meN hai 1.difficult 2.giving up 3.more difficult 4.negative, non 5.end, conclusion 6.anticipating 7.difficulty
Being in love is difficult, giving it up is even more difficult. The heart unable to anticipate the conclusion of the journey of love, is in diffulty.
13
munhasir1 hai marg2 par biimaar3-e ulfat4 ki shifa5
chaaragar6 tuu kyuN abas7 sa’ii8-e lahaasil9 meN hai 1.dependent 2.death 3.sick, love-sick 4.love 5.cure 6.healer 7.useless 8.effort 9.without yield, fruitless
The cure of the love-sick lover depends on death. O healer why do you persist in this fruitless effort of trying to cure him. Said Ghalib …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paae kyuN
14
voh yahaaN az-Khud1 chale aa’eN ge haajir2 dekhna
kuchh agar3 taasiir4 apne jazba5-e kaamil6 meN hai 1.of their own volition 2.pen-name of the poet 3.if 4.effect 5.emotion, sentiment 6.complete, perfect, sincere
O haajir, if there is any effect in the sincerity of my love, the beloved will come here on her own volition, just wait and see. The implication is that his love is sincere, but it will have an effect only if there is any justice in the world.
munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal in the zamin of ‘yeh bhi mere dil meN hai’ is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme Index page.
1
log kahte haiN keh laila parda1-e mahmil2 meN hai
qais3 kahta hai Ghalat4 hai, voh to mere dil meN hai
1.veil 2.camel carriage, palanquin 3.majnuN 4.wrong
People say that laila is behind the curtain in the camel carriage but majnuN says that this is wrong; she is in his heart.
2
mujh ko daa’va1 tha keh tera ishq mere dil meN hai
dekhta huN ab tera charcha2 har ek mahfil3 meN hai
1.claim 2.talk, fame 3.gathering
I used to claim that your love was in my heart (and that nobody knew about it). Now I see that your fame has spread to every gathering. Said qamar jalaalavi …
kabhi kaha na kisi se tere fasaane ko
na jaane kaise Khabar ho gayee zamaane ko
3
ek nazar1 dushman2 ki jaanib3 ek hamaari samt4 hai
kuchh nahiN maa’loom kya us be-vafa5 ke dil meN hai
1.glance 2.rival 3.direction 4.towards 5.faithless
One glance in the direction of the rival and another towards me; no one knows what’s in the heart of that faithless one.
4
aur bhi ek haath1 aye qaatil2 Khuda ke vaaste3
jaan thoRi si abhi baaqi4 tan5-e bismil6 meN hai
1.used here to mean blow, cut 2.killer 3.for god’s sake 4.remaining 5.body 6.sacrificial animal
In poetic convention the ‘qaatil’ is the beloved and the ‘bismil’ is the poet/lover. The sincere lover considers it a matter of great fortune to be slaughtered at the hands of the beloved. Here she is slaughtering him but is not quite finished. He begs her … one more blow/cut for god’s sake, there is still some life left in the body of the lover.
5
aap poora1 kar nahiN sakte mujhe maa’loom hai
poochh kar kya kijiyega jo tamanna2 dil meN hai
1.to complete i.e., to fulfil 2.desire
You cannot fulfil it, I know. What is the use of asking what is my heart’s desire.
6
raah1-e ulfat2 meN chala jaata huN maiN divaana-var3
kuchh nahiN maa’loom kitna faasla4 manzil5 meN hai
1.path 2.love 3.like a madman 4.distance 5.destination
I keep going along the path of love like a madman. I have no idea how far the destination is.
7
ek voh din the keh jab tha aarzuoN1 ka hujoom2
ab yeh haalat3 hai keh hasrat4 ki bhi hasrat5 dil meN hai
1.desires 2.crowd, onslaught 3.condition 4.longing 5.deprivation, listlessness
The poet has used the two meanings of ‘hasrat’ rather skillfully. There was a day when there used to be an onslaught of many desires in the heart. Now my condition is such (so totally hopeless) that I feel deprived of even longing.
8
paarsa1 bhi rind2 ban jaate haiN aa kar is jagah3
kuchh ajab4 taasiir5 maiKhaane6 ke aab-o-gil7 meN hai
1.abstinent 2.wine drinkers 3.place 4.strange, fascinating 5.effect 6.tavern 7.water and clay, constituents, basic nature, genes
Even the abstinent get transformed into wine drinkers when they come to this place. There is a fascinating effect in the nature of the tavern.
9
almadad1 aye naaKhuda2-e bahr3-e ulfat4 almadad
faasla5 do haath6 ka ab kashti o sahil7 meN hai
1.help 2.boatman 3.sea 4.love 5.distance 6.two strokes of the oar 7.shore
The poet/lover is in a boat on the sea of love. The sea is stormy and trying to row ashore. There is a short distance (a few more strokes of the oar) to the shore but he needs help and calls out to the boatman for help.
10
faisla1 ho jaa’e kis ki dosti manzoor2 hai
maiN bhi huN maujood3 dushman4 bhi teri mahfil5 meN hai
1.judgement, decision 2.accepted 3.present 4.rival 5.gathering, presence
The beloved traditionally keeps all her admirers/lovers hanging, playing one against the other. But now the poet/lover and his rival are both present before the beloved and he pushes for a decision … which one do you choose, let it be decided today!
11
aap agar anjaan1 ban jaa’eN to is ka kya ilaaj2
aap ko maa’loom hai jo kuchh hamaare dil meN hai
1.feigned ignorance, pretending to not know 2.cure, remedy
What remedy do I have if you pretend to not know. You know full well what is in my heart.
12
ishq bhi dushvaar1 tark2-e ishq bhi dushvaar-tar3
yeh dil-e naa4-aaqibat5-andesh6 ab mushkil7 meN hai
1.difficult 2.giving up 3.more difficult 4.negative, non 5.end, conclusion 6.anticipating 7.difficulty
Being in love is difficult, giving it up is even more difficult. The heart unable to anticipate the conclusion of the journey of love, is in diffulty.
13
munhasir1 hai marg2 par biimaar3-e ulfat4 ki shifa5
chaaragar6 tuu kyuN abas7 sa’ii8-e lahaasil9 meN hai
1.dependent 2.death 3.sick, love-sick 4.love 5.cure 6.healer 7.useless 8.effort 9.without yield, fruitless
The cure of the love-sick lover depends on death. O healer why do you persist in this fruitless effort of trying to cure him. Said Ghalib …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paae kyuN
14
voh yahaaN az-Khud1 chale aa’eN ge haajir2 dekhna
kuchh agar3 taasiir4 apne jazba5-e kaamil6 meN hai
1.of their own volition 2.pen-name of the poet 3.if 4.effect 5.emotion, sentiment 6.complete, perfect, sincere
O haajir, if there is any effect in the sincerity of my love, the beloved will come here on her own volition, just wait and see. The implication is that his love is sincere, but it will have an effect only if there is any justice in the world.
The post jazba-e kaamil meN hai-munshi raghunath siNgh haajir dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/oaKh-jazba-e-kaamil-meN-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جذبۂ کامل میں ہے ۔ میر عثمانؔ علی خاں
۱
تم وہاں ہو اور یہاں صورت تمہاری دل میں ہے
دیکھو کیا تاثیر میرے جذبۂ کامل میں ہے
۲
آ کے او قاتل تڑپنے کا تماشا دیکھ لے
جان تھوڑی سی ابھی باقی ترے بسمل میں ہے
۳
اپنے آئینے پہ تم کو ناز بیجا کچھ نہیں
پر صفائی وہ کہاں جو عاشقوں کے دل میں ہے
۴
ہے یہ کافی خونِ ناحق کی صداقت کے لئے
جا بجا دھبّہ لہو کا دامنِ قاتل میں ہے
۵
وصلِ جاناں کی ہوس دل سے نہ نکلی آج تک
کاش بر آئے تمنّا یہ جو اپنے دل میں ہے
۶
پھر ہوائے دشت لیتی ہے جگر میں چٹکیاں
جوشِ وحشت رنگ کچھ لائے ہوئے پھر دل میں ہے
۷
کثرتِ عصیاں سے اے عثماںؔ نہیں کچھ غم مجھے
شافعِ روزِ قیامت کا بھروسہ دل میں ہے
जज़्बा-ए कामिल में है – मीर उस्मान अली ख़ां
१
तुम वहां हो और यहां सूरत तुमहारी दिल में है
देखो क्या तासीर मेरे जज़्बा-ए कामिल में है
२
आके ओ क़ातिल तढपने का तमाशा देख ले
जान थोढी सी अभी बाक़ी तेरे बिस्मिल में है
३
अपने आईने पे तुम को नाज़ बेजा कुछ नहीं
पर सफ़ाई वो कहां जो आशेक़ौं के दिल में है
४
ये है काफ़ी ख़ून-ए नाहक़ की सदाक़त के लिये
जा-ब-जा धब्बा लहू का दामन-ए क़ातिल में है
५
वस्ल-ए जानां की हवस दिल से न निकली आज तक
काश बर आए तमन्ना ये जो अपने दिल में है
६
फिर हवा-ए दश्त लेती है जिगर में चुटकियां
जोश-ए वहशत रंग कुछ लाए हुए फिर दिल में है
७
कस्रत-ए इस्यां से अए उस्मां नहीं कुछ ग़म मुझे
शाफ़’ए राज़-ए क़यामत का भरोसा दिल में है
Click here for background and on any passage for word meanings and explanatory discussion. osman ali KhaaN (1886-1967), the erstwhile ruler of hyderabad was a prolific poet of considerable literary capability. His diivaan was collected and published posthumously in eight fair sized volumes. This is one of several Ghazal that he composed in the zamin of Ghalib. This one, in the zamin of “maiN ne ye jaana keh goya ye bhi mere dil meN hai” is linked to the appropriate sub-category under ‘Ghalib naqsh-e qadam’.
1
tum vahaaN ho aur yahaaN soorat tumhaari dil meN hai
dekho kya taasiir1 mere jazba2-e kaamil3 meN hai 1.effect 2.emotion 3.complete, perfect
The beloved is somewhere far away but her image is engraved in the poet/lover’s heart. He claims that this is the effect of his perfect/ideal emotion of love.
2
aa ke O qaatil1 taRapne2 ka tamaasha3 dekh le
jaan thoRi si abhi baaqi4 tere bismil5 meN hai 1.killer, beloved 2.writhing in pain 3.spectacle 4.remaining 5.prey, victim
The beloved is portrayed as a killer and the poet/lover as the victim/prey. She kill him by slashing his throat and walks away. The poet, in the dying throes, is still able to call out … come here O killer/beloved and see the spectacle of writhing in pain. Your victim still has a little life left in him.
3
apne aaiine pe tum ko naaz1 beja2 kuchh nahiN
par3 safaaii4 vo kahaaN jo aashiqoN ke dil meN hai 1.pride 2.justifiable 3.but 4.clarity, purity
You, O beloved, are justifiably proud of your mirror (for it truly reflects your image) but, where can you find the clarity that is in the lovers’ heart.
4
ye hai kaafi1 Khoon-e naahaq2 ki sadaaqat3 ke liye
jaa-ba-jaa4 dhabba5 lahu6 ka daaman7-e qaatil8 meN hai 1.enough 2.unjustified 3.proof 4.many places, here and there 5.spots, stains 6.blood 7.hem of the robe 8.killer, beloved
It is enough to prove the unjustified killing of the lover. There are stains of blood on the hem of the robe of the killer/beloved.
5
vasl1-e jaanaaN2 ki havas3 dil se na nikli aaj tak
kaash4 bar-aaye5 tamanna6 ye jo apne dil meN hai 1.union 2.beloved 3.intense desire 4.I wish 5.bear fruit 6.desire
The intense yearning for union with the beloved is still not fulfilled. I wish that this desire in my heart would bear fruit.
6
phir havaa-e dasht1 leti hai jigar2 meN chuTkiyaaN3
josh4-e vahshat5 raNg6 kuchh laaye hue phir dil meN hai 1.wilderness, desert 2.liver/heart 3.pinching, tickling 4.passion 5.madness 6.raNg laana is an expression meaning ‘emerging with style’
Once again the desert winds tickle my heart and the passion for madness rises in style. This is a reference to the passion of majnuN of laila-majnuN fame. He wandered through the desert, clothes torn, mad with love, looking for laila. It is this same style and desire to follow it that is rising in the poet/lover’s heart.
7
kasrat1-e isyaaN2 se aye usmaaN3 nahiN kuchh Gham mujhe
shaaf’e4 roz-e-qayaamat5 ka bharosa6 dil meN hai 1.numerous 2.sins 3.pen-name of the poet 4.saviour 5.doomsday, day of judgement 6.trust, belief
O usmaan, I am not concered about my numerous sins. I trust that the saviour of the day of judgement will intercede on my behalf. The ‘saviour’ is mohammed, the prophet of islam.
osman ali KhaaN (1886-1967), the erstwhile ruler of hyderabad was a prolific poet of considerable literary capability. His diivaan was collected and published posthumously in eight fair sized volumes. This is one of several Ghazal that he composed in the zamin of Ghalib. This one, in the zamin of “maiN ne ye jaana keh goya ye bhi mere dil meN hai” is linked to the appropriate sub-category under ‘Ghalib naqsh-e qadam’.
1
tum vahaaN ho aur yahaaN soorat tumhaari dil meN hai
dekho kya taasiir1 mere jazba2-e kaamil3 meN hai
1.effect 2.emotion 3.complete, perfect
The beloved is somewhere far away but her image is engraved in the poet/lover’s heart. He claims that this is the effect of his perfect/ideal emotion of love.
2
aa ke O qaatil1 taRapne2 ka tamaasha3 dekh le
jaan thoRi si abhi baaqi4 tere bismil5 meN hai
1.killer, beloved 2.writhing in pain 3.spectacle 4.remaining 5.prey, victim
The beloved is portrayed as a killer and the poet/lover as the victim/prey. She kill him by slashing his throat and walks away. The poet, in the dying throes, is still able to call out … come here O killer/beloved and see the spectacle of writhing in pain. Your victim still has a little life left in him.
3
apne aaiine pe tum ko naaz1 beja2 kuchh nahiN
par3 safaaii4 vo kahaaN jo aashiqoN ke dil meN hai
1.pride 2.justifiable 3.but 4.clarity, purity
You, O beloved, are justifiably proud of your mirror (for it truly reflects your image) but, where can you find the clarity that is in the lovers’ heart.
4
ye hai kaafi1 Khoon-e naahaq2 ki sadaaqat3 ke liye
jaa-ba-jaa4 dhabba5 lahu6 ka daaman7-e qaatil8 meN hai
1.enough 2.unjustified 3.proof 4.many places, here and there 5.spots, stains 6.blood 7.hem of the robe 8.killer, beloved
It is enough to prove the unjustified killing of the lover. There are stains of blood on the hem of the robe of the killer/beloved.
5
vasl1-e jaanaaN2 ki havas3 dil se na nikli aaj tak
kaash4 bar-aaye5 tamanna6 ye jo apne dil meN hai
1.union 2.beloved 3.intense desire 4.I wish 5.bear fruit 6.desire
The intense yearning for union with the beloved is still not fulfilled. I wish that this desire in my heart would bear fruit.
6
phir havaa-e dasht1 leti hai jigar2 meN chuTkiyaaN3
josh4-e vahshat5 raNg6 kuchh laaye hue phir dil meN hai
1.wilderness, desert 2.liver/heart 3.pinching, tickling 4.passion 5.madness 6.raNg laana is an expression meaning ‘emerging with style’
Once again the desert winds tickle my heart and the passion for madness rises in style. This is a reference to the passion of majnuN of laila-majnuN fame. He wandered through the desert, clothes torn, mad with love, looking for laila. It is this same style and desire to follow it that is rising in the poet/lover’s heart.
7
kasrat1-e isyaaN2 se aye usmaaN3 nahiN kuchh Gham mujhe
shaaf’e4 roz-e-qayaamat5 ka bharosa6 dil meN hai
1.numerous 2.sins 3.pen-name of the poet 4.saviour 5.doomsday, day of judgement 6.trust, belief
O usmaan, I am not concered about my numerous sins. I trust that the saviour of the day of judgement will intercede on my behalf. The ‘saviour’ is mohammed, the prophet of islam.
The post jazba-e kaamil meN hai-mir osman ali KhaaN appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/sraas-jo-tumhaare-dil-meN-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جو تمہارے دل میں ہے ۔ سادھو رام آرزوؔ سہارنپوری
۱
کائناتِ ہر دو عالم عشق کی منزل میں ہے
تم ہو جب اُجڑے ہوئے دل میں تو سب کچھ دل میں ہے
۲
کامیابیِ تمنّا سعیِٔ لا حاصل میں ہے
لطف منزل میں کہاں جو حسرتِ منزل میں ہے
۳
کُھل گیا آخر فریبِ انتہائے عاشقی
پاؤں جس منزل میں رکھا تھا اُسی منزل میں ہے
۴
کیوں عبث گھبرا رہے ہو حرفِ عرضِ شوق سے
میری حسرت بھی وہی ہے جو تمہارے دل میں ہے
۵
شوق کے جذبات کی تکمیل شاید ہو چلی
عشق جس منزل میں تھا اب حسن اس منزل میں ہے
۶
خاک برسر دست بر دل عرش و کرسی در نظر
اُس کی محفل ہی الگ ہے جو تری محفل میں ہے
۷
آرزوؔ ہر شعر میرا کیوں نہ ہو تفسیرِ دوست
میری ہر پرواز حسنِ قدس کی منزل میں ہے
जो तुम्हारे दिल में है – साधु राम आर्ज़ू सहारनपूरी
१
काएनात-ए हर दो आलम इश्क़ की मंज़िल में है
तुम हो जब उज्ढे हुए दिल में तो सब कुछ दिल में है
२
कामियाबी-ए तमन्ना स’ई-ए ला-हासिल में है
लुत्फ़ मंज़िल में कहां जो हस्रत-ए मंज़िल में है
३
खुल गया आख़िर फ़रेब-ए इंतेहा-ए आशिक़ी
पाँव जिस मंज़िल में रक्खा था वो उसी मंज़िल में है
४
क्यूं अबस घब्रा रहे हो हर्फ़-ए अर्ज़-ए शौक़ से
मेरी हस्रत भी वही है जो तुम्हारे दिल में है
५
शौक़ के जज़्बात की तक्मील शा’एद हो चली
इश्क़ जिस मंज़िल में था अब हुस्न उस मंज़िल में है
६
ख़ाक बर-सर, दस्त बर-दिल, अर्श ओ कुर्सी दर-नज़र
उसकी महफ़िल ही अलग है जो तेरी महफ़िल में है
७
आर्ज़ू हर शे’र मेरा क्यों न हो तफ़्सीर-ए दोस्त
मेरी हर परवाज़ हुस्न-ए क़ुद्स की मंज़िल में है
Click here for background and on any passage for word meanings and explanatory discussion. saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata. This Ghazal is linked to ‘ye bhi mere dil meN hai’, Ghalib naqsh-e qadam, on the Theme Index page.
1
kaa’enaat1-e har do-aalam2 ishq ki manzil3 meN hai
tum ho jab ujRe4 huay dil meN to sub kuchh dil meN hai 1.universe 2.both worlds i.e., here and hereafter 3.goal, destination 4.desolate, sad
If you want to achieve the here and hereafter, then your goal should be love. The ‘tum’ in the second misra is addressed to god. If you come into my desolate heart then I have both worlds in my heart. Thus, it is love of god that is the goal.
2
kaamiyaabi1-e tamanna2 saa’ii3-e laa-haasil4 meN hai
lutf5 manzil6 meN kahaaN jo hasrat7-e manzil6 meN hai 1.success 2.desire 3.effort 4.without benefit 5.pleasure 6.goal 7.longing, yearning
The success of desire/goal lies in making the best effort without worrying about benefits. The pleasure of being at the goal does not compare with the pleasure of yearning for it. Said jaikrishn chaudhry habiib …
vo bhi kya mazay ki thi zindagi jo safar safar meN guzar gaii
nahiN manziloN meN vo dilkashi, mujhe phir safar ki talaash hai
3
khul gaya aaKhir1 fareb2-e intehaa3-e aashiqi
paaNv jis manzil4 meN rakkha tha usi manzil meN hai 1.at last 2.illusion, deception 3.end result 4.stage towards the goal, path
In conventional love the beloved keeps the suitor/lover dangling in suspense, promising success, but never reaches the destination. Thus, at last the deception of the goal of love was revealed. Where I first stepped on the path of love, I am still there.
4
kyuN abas1 ghabra2 rahay ho harf3-e arz4-e shauq5 se
meri hasrat6 bhi vahi hai jo tumhaare dil meN hai 1.needless 2.worried 3.word 4.express, present, submit 5.desire 6.longing, yearning
The poet/lover is getting ready to express/present his desire/love to the beloved. She perceives what is going on and looks worried. The poet reassures her … you are needlessly worried about my expression of desire. My yearning is the same as what is in your heart.
5
shauq1 ke jazbaat2 ki takmiil3 shaa’ed4 ho chali
ishq5 jis manzil meN tha ab husn6 uss manzil meN hai 1.desire 2.feelings 3.completion, fulfilment 4.perhaps 5.love-lover 6.beauty-beloved
Usually, the stage of love the lover is in is usually one of restlessness and yearning. It seems that the beloved is now in the same stage. Perhaps the feelings of love are near completion/fulfilment.
6
Khaak1 bar-sar2, dast3 bar-dil4, arsh5 o kursi6 dar-nazar7
uss ki mahfil8 hi alag9 hai jo teri mahfil meN hai 1.dust 2.on the head 3.hand 4.over the heart 5.seventh heaven 6.throne 7.in sight 8.gathering 9.different
One who is headed towards the gathering around god is different from those who are headed to other gatherings. The one who is headed towards god has given up all worldly attachments … dust over his head, hand over his heart and only the divine throne in his eyes as his single focus.
7
aarzu1 har she’r mera kyuN na ho tafsiir2-e dost3
meri har parvaaz4 husn5-e quds6 ki manzil7 meN hai 1.pen-name of the poet 2.explanation, commentary 3.friend, god 4.flight (of words) 5.beauty 6.sacred, pure, divine 7.goal
O aarzu, why should not every verse of mine not be a commentary on god. After all, every flight of imagination/words that I take is towards the goal of the beauty of the divine.
saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata. This Ghazal is linked to ‘ye bhi mere dil meN hai’, Ghalib naqsh-e qadam, on the Theme Index page.
1
kaa’enaat1-e har do-aalam2 ishq ki manzil3 meN hai
tum ho jab ujRe4 huay dil meN to sub kuchh dil meN hai
1.universe 2.both worlds i.e., here and hereafter 3.goal, destination 4.desolate, sad
If you want to achieve the here and hereafter, then your goal should be love. The ‘tum’ in the second misra is addressed to god. If you come into my desolate heart then I have both worlds in my heart. Thus, it is love of god that is the goal.
2
kaamiyaabi1-e tamanna2 saa’ii3-e laa-haasil4 meN hai
lutf5 manzil6 meN kahaaN jo hasrat7-e manzil6 meN hai
1.success 2.desire 3.effort 4.without benefit 5.pleasure 6.goal 7.longing, yearning
The success of desire/goal lies in making the best effort without worrying about benefits. The pleasure of being at the goal does not compare with the pleasure of yearning for it. Said jaikrishn chaudhry habiib …
vo bhi kya mazay ki thi zindagi jo safar safar meN guzar gaii
nahiN manziloN meN vo dilkashi, mujhe phir safar ki talaash hai
3
khul gaya aaKhir1 fareb2-e intehaa3-e aashiqi
paaNv jis manzil4 meN rakkha tha usi manzil meN hai
1.at last 2.illusion, deception 3.end result 4.stage towards the goal, path
In conventional love the beloved keeps the suitor/lover dangling in suspense, promising success, but never reaches the destination. Thus, at last the deception of the goal of love was revealed. Where I first stepped on the path of love, I am still there.
4
kyuN abas1 ghabra2 rahay ho harf3-e arz4-e shauq5 se
meri hasrat6 bhi vahi hai jo tumhaare dil meN hai
1.needless 2.worried 3.word 4.express, present, submit 5.desire 6.longing, yearning
The poet/lover is getting ready to express/present his desire/love to the beloved. She perceives what is going on and looks worried. The poet reassures her … you are needlessly worried about my expression of desire. My yearning is the same as what is in your heart.
5
shauq1 ke jazbaat2 ki takmiil3 shaa’ed4 ho chali
ishq5 jis manzil meN tha ab husn6 uss manzil meN hai
1.desire 2.feelings 3.completion, fulfilment 4.perhaps 5.love-lover 6.beauty-beloved
Usually, the stage of love the lover is in is usually one of restlessness and yearning. It seems that the beloved is now in the same stage. Perhaps the feelings of love are near completion/fulfilment.
6
Khaak1 bar-sar2, dast3 bar-dil4, arsh5 o kursi6 dar-nazar7
uss ki mahfil8 hi alag9 hai jo teri mahfil meN hai
1.dust 2.on the head 3.hand 4.over the heart 5.seventh heaven 6.throne 7.in sight 8.gathering 9.different
One who is headed towards the gathering around god is different from those who are headed to other gatherings. The one who is headed towards god has given up all worldly attachments … dust over his head, hand over his heart and only the divine throne in his eyes as his single focus.
7
aarzu1 har she’r mera kyuN na ho tafsiir2-e dost3
meri har parvaaz4 husn5-e quds6 ki manzil7 meN hai
1.pen-name of the poet 2.explanation, commentary 3.friend, god 4.flight (of words) 5.beauty 6.sacred, pure, divine 7.goal
O aarzu, why should not every verse of mine not be a commentary on god. After all, every flight of imagination/words that I take is towards the goal of the beauty of the divine.
The post jo tumhaare dil meN hai-saadhu raam aarzu sahaaranpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/bhzd-aap-ki-mahfil-meN-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آپ کی محفل میں ہے ۔ بہزادؔ لکھنوی
۱
بھیڑ ارمانوں کی، مجمع حسرتوں کا، دل میں ہے
غمزدہ کا قافلہ اُجڑی ہوئی منزل میں ہے
۲
جب میرے جذبِ نظر میں کوئی قوّت ہی نہیں
پھر یہ آخر کش مکش کیوں پردۂ محمل میں ہے
۳
جمع ہے لختِ دل سم خوردہ مژگاں پر مری
دیکھ لو منظر بلا کا سبزۂ ساحل میں ہے
۴
اُف رے سوز غم کہ لو دینے لگے ذرّاتِ دل
میرے ہی دم سے چراغاں کوچۂ قاتل میں ہے
۵
جب تلک بہزادؔ کے سینے میں دل ہے دل میں عشق
روکنے والا اسے کون آپ کی محفل میں ہے
आप की महफ़िल में है-बहज़ाद लखनवी
१
भीढ अर्मानों की, मज्मा हस्रतों का दिल में है
ग़म-ज़दा का क़ाफ़ेला उजढी हुई मंज़िल में है
२
जब मेरे जज़्ब-ए नज़र मैं कोई क़ुव्वत ही नहीं
फिर ये आख़र कशमकश क्यूं पर्दा-ए महमिल में है
३
जम’अ है लख़्त-ए दिल सम-ख़ुर्दा मिज़्श्गां पर मेरी
देख लो मंजर बला का सब्ज़ा-ए साहिल में है
४
उफ़ रे सोज़-ए ग़म के लौ देने लगे ज़र्रात-ए दिल
मेरे ही दम से चौराग़ां कूचा-ए क़ातिल में है
५
जब तलक बहजाद के सीने में दिल है दिल में इश्क़
रोकने वाला उसे कौन आपकी महफ़िल में है
Click here for background and on any passage for word meanings and explanatory discussion. sardar ahmad KhaaN bahzaad lakhnavi (1900-1974) wrote sufiyaana and aashiqaana Ghazal as well folk songs and lyrics. He was a devout, observant muslim and wrote geet/bhajan to ram and krishn as well. This Ghazal composed in the style of Ghalib’s ‘ye bhi mere dil meN hai’ is linked to Ghalib naqsh-e qadam.
1
bheeR1 armaanoN2 ki, majma3 hasratoN4 ka, dil meN hai
Ghamzada5 ka qaafila6 ujRi7 hui manzil8 meN hai 1.crowd 2.desires 3.crowd 4.longings 5.grief stricken 6.travel party 7.ruined 8.destination, stage in the journey towards the destination, heart
There is a crowd of desires and longings in the heart of the poet/lover. This crowd of desires and longings is the caravan of the grief-stricken lover. It is now stationed in the desolate/ruined heart of the poet.
2
jab1 mere jazb2-e nazar3 meN koii quvvat4 hi nahiN
phir ye aaKhir5 kashmakash6 kyuN parda-e mahmil7 meN hai 1.when, if 2.short for jazba, emotion 3.sight, glance 4.power 5.used here to mean ‘why then’ 6.struggle 7.palanquin
If there is no power in the emotion of my glance, why then is there this struggle/movement in the curtain of the palanquin i.e., the beloved must feel some attraction that is why she is moving the curtain to try to catch a glimpse of the lover.
3
jam’a1 haiN laKht2-e dil sam-Khurda3 mizshgaaN4 par meri
dekh lo manzar5 balaa6 ka sabza7-e saahil8 meN hai 1.gathered 2.pieces 3.poisoned 4.eyelashes 5.scene 6.curse 7.greenery 8.shore
The eye is like a ocean brimming with water. The eyelids are the shoreline and the eyelashes are the greenery growing on the shore. ‘laKht-e dil’ pieces of the heart are like tears of blood. These are gathered on the eyelashes because the sorrowful heart sheds tears of blood.
4
uff1 re soz2-e Gham keh lau3 dene lage zarraat4-e dil
mere hi dam5 se charaaGhaaN6 koocha7-e qaatil8 meN hai 1.Oh 2.fire, passion 3.‘lau dena’ is to inflame even more, increase the flame 4.particles, grains 5.breath, life, power 6.lights, illumination 7.street 8.killer, beloved
The beloved’s street is lit up because of me. This is because the fiery passion of sorrow sets the grains/pieces of heart (tears of blood) aflame.
5
jab talak1 bahzaad2 ke seene meN dil hai, dil meN ishq
rokne vaala use kaun aap ki mahfil3 meN hai 1.as long as 2.pen-name of the poet 3.gathering
As long as there is a heart in the bosom of bahzaad and love in his heart, who in your gathering can stop him!
sardar ahmad KhaaN bahzaad lakhnavi (1900-1974) wrote sufiyaana and aashiqaana Ghazal as well folk songs and lyrics. He was a devout, observant muslim and wrote geet/bhajan to ram and krishn as well. This Ghazal composed in the style of Ghalib’s ‘ye bhi mere dil meN hai’ is linked to Ghalib naqsh-e qadam.
1
bheeR1 armaanoN2 ki, majma3 hasratoN4 ka, dil meN hai
Ghamzada5 ka qaafila6 ujRi7 hui manzil8 meN hai
1.crowd 2.desires 3.crowd 4.longings 5.grief stricken 6.travel party 7.ruined 8.destination, stage in the journey towards the destination, heart
There is a crowd of desires and longings in the heart of the poet/lover. This crowd of desires and longings is the caravan of the grief-stricken lover. It is now stationed in the desolate/ruined heart of the poet.
2
jab1 mere jazb2-e nazar3 meN koii quvvat4 hi nahiN
phir ye aaKhir5 kashmakash6 kyuN parda-e mahmil7 meN hai
1.when, if 2.short for jazba, emotion 3.sight, glance 4.power 5.used here to mean ‘why then’ 6.struggle 7.palanquin
If there is no power in the emotion of my glance, why then is there this struggle/movement in the curtain of the palanquin i.e., the beloved must feel some attraction that is why she is moving the curtain to try to catch a glimpse of the lover.
3
jam’a1 haiN laKht2-e dil sam-Khurda3 mizshgaaN4 par meri
dekh lo manzar5 balaa6 ka sabza7-e saahil8 meN hai
1.gathered 2.pieces 3.poisoned 4.eyelashes 5.scene 6.curse 7.greenery 8.shore
The eye is like a ocean brimming with water. The eyelids are the shoreline and the eyelashes are the greenery growing on the shore. ‘laKht-e dil’ pieces of the heart are like tears of blood. These are gathered on the eyelashes because the sorrowful heart sheds tears of blood.
4
uff1 re soz2-e Gham keh lau3 dene lage zarraat4-e dil
mere hi dam5 se charaaGhaaN6 koocha7-e qaatil8 meN hai
1.Oh 2.fire, passion 3.‘lau dena’ is to inflame even more, increase the flame 4.particles, grains 5.breath, life, power 6.lights, illumination 7.street 8.killer, beloved
The beloved’s street is lit up because of me. This is because the fiery passion of sorrow sets the grains/pieces of heart (tears of blood) aflame.
5
jab talak1 bahzaad2 ke seene meN dil hai, dil meN ishq
rokne vaala use kaun aap ki mahfil3 meN hai
1.as long as 2.pen-name of the poet 3.gathering
As long as there is a heart in the bosom of bahzaad and love in his heart, who in your gathering can stop him!
The post aap ki mahfil meN hai – bahzaad lakhnavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/rbmkh-har-qadam-manzil-meN-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ہر قدم منزل میں ہے ۔ مایا کھنّا راجےؔ بریلوی
۱
ایک ایسا عزمِ راسخ اب ہمارے دل میں ہے
گردشِ ایّام بھی خود اِن دنوں مشکل میں ہے
۲
اپنی اُلفت پر بہت کچھ تبصرے ہوتے رہے
آزمائش میری خاموشی کی ہر محفل میں ہے
۳
رہرو منزل نہ سمجھا آج تک یہ فلسفہ
کاروانِ زندگی کا ہر قدم منزل میں ہے
۴
اس خوشی کا ہو برا مجبور کتنا کر دیا
سوچ کر ہی رہ گئے ہم کیسی خواہش دل میں ہے
۵
تیری میری کہنے والے سوچ لینا ایک بار
جھوٹ کُھلنے پر تری عزّت کسی محفل میں ہے
۶
سائباں تو ہے نہیں کوئی بھی راہِ عشق میں
سوچ کر رہ رہ کے یہ اہلِ خِرد مشکل میں ہے
۷
ہم سے راجےؔ دشمنوں کا بھی برا ہوتا نہیں
دوستی کا پاس اتنا تو ہمارے دل میں ہے
हर क़दम मंज़िल में है – माया खन्ना राजे बरेलवी
१
एक ऐसा अज़्म-ए रासेख़ अब हमारे दिल में है
गर्दिश-ए अय्याम भी ख़ुद इन दिनों मुश्किल में है
२
अपनी उल्फ़त पर बहुत कुछ तब्सेरे होते रहे
आज़्मा’एश मेरी ख़ामोशी की हर महफ़िल में है
३
रहरव-ए मंज़िल न समझा आज तक ये फ़ल्सफ़ा
कारवान-ए ज़िंदगी का हर क़दम मंज़िल में है
४
इस ख़ुशी का हो बुरा मज्बूर कितना कर दिया
सोच कर ही रह गए हम कैसी ख़्वाहिश दिल में है
५
तेरी मेरी कहने वाले सोच लेना एक बार
झूट खुलने पर तेरी इज़्ज़त किसी महफ़िल में है
६
साएबाँ तो है नहीं कोई भी राह-ए इश्क़ में
सोच कर रह रह के ये अहल-ए ख़िरद मुश्किल में है
७
हम से राजे दुश्मनों का भी बुरा होता नहीं
दोस्ती का पास इतना तो हमारे दिल में है
Click here for background and on any passage for word meanings and explanatory discussion. raaje barelavi-maaya khanna (1942-xxxx) lukhnau. Educated and practiced as a physician. Early childhood in pune, where she started composing in maraThi and panjabi (her native language). A childhood friend introduced her to urdu and she fell in love with the language. She married into a well to do family in bareli and her husband was also very supportive of her literary activities. There are at least 4 collections to her credit. This Ghazal is linked to ‘yeh bhi mere dil meN hai’ under Ghalib naqsh-e qadam on the Theme Index page.
1
ek aisa azm1-e raasiKh2 ab hamaare dil meN hai
gardish-e-ayyaam3 bhi Khud in dinoN mushkil meN hai 1.resolve, decision 2.firm, unshakable 3.difficulties of daily life, vicissitudes of time
It is conventionally thought that there is something out there – fate – that makes life difficult for us. But it turns out that the poet has a firm resolve to do something and has been on that path regardless of difficulties. This has put ‘gardish-e ayyaam’ in a difficult position, because it cannot discourage/dissuade the poet.
2
apni ulfat1 par bahut kuchh tabseray2 hotay rahe
aazmaa’esh3 meri Khaamoshi ki har mahfil4 meN hai 1.love 2.comments 3.test, trial 4.gathering
People have been talking about, making comments about the poet’s love. It is implied that the comments are untrue and/or unpleasant. In her dignity, the poet wants to maintain silence and not engage with this badmouthing. So, in every gathering where these comments are made, her silence is tested.
3
rahrav1-e manzil2 na samjha aaj tak ye falsafa3
kaarvaan-e zindagi ka har qadam4 manzil2 meN hai 1.traveller 2.destination, goal 3.philosophy 4.step
To this day, the traveller along the path of life has not understood this philosophy, that the path itself is the destination, every step in the path is a destination. Thus, moving along the path is the goal. Said ramprakash saahir hoshiarpuri …
aarzu-e kaamraani saii-e laa-haasil meN hai
duur hoN manzil se phir bhi har qadam manzil meN hai
4
is Khushi ka ho bura majboor1 kitna kar diya
soch kar hi rah gaye ham kaisi Khwaahish2 dil meN hai 1.compelled, constrained, helpless 2.wish, desire
The poet has a desire/wish to be happy, or a desire the fulfilment of which will make them happy. But her desire has not been fulfilled and she is compelled to recognize the futility of having such a desire. She thinks, why have such a desire in the heart.
5
teri-meri1 kahne vaale soch lena ek baar2
jhuuT khulne3 par teri izzat4 kisi mahfil5 meN hai 1.an expression meaning gossip/rumours/lies 2.once 3.revealed 4.respect 5.society
You who engage is false gossip mongering, stop and think just once, when your lies are exposed/revealed, will there be any respect for you in any society.
6
saa’ebaaN1 to hai nahiN koi bhi raah2-e ishq meN
soch kar rah-rah3 ke yeh ahl4-e Khirad5 mushkil6 meN hai 1.covering, shelter 2.path 3.every minute, often 4.people of 5.knowledge, awareness 6.difficulty
Usually ‘ahl-e Khirad’ implies people who are into mechanistic thinking rather than ‘spiritual’ thinking. Also, ‘raah-e ishq’ is considered a very difficult path, in which there is no shelter. Thus, people of mechanistic thinking know of this and and do not take this path because of its difficulties. Said mohammed iqbal …
be-Khatar kood paRa aatish-e namrood meN ishq
aql hai mahv-e tamaasha-e lab-e baam abhi
7
ham se raaje1 dushmanoN ka bhi bura hota nahiN
dosti ka paas2 itna to hamaare dil meN hai 1.pen-name of the poet 2.consideration, respect
O raaje, I cannot bring myself to think ill even of the enemy/rival. At least this much respect for friendship, I have in my heart. Perhaps the implication is that she considers even enemies to be like friends and deserving of the considerations of friendship.
raaje barelavi-maaya khanna (1942-xxxx) lukhnau. Educated and practiced as a physician. Early childhood in pune, where she started composing in maraThi and panjabi (her native language). A childhood friend introduced her to urdu and she fell in love with the language. She married into a well to do family in bareli and her husband was also very supportive of her literary activities. There are at least 4 collections to her credit. This Ghazal is linked to ‘yeh bhi mere dil meN hai’ under Ghalib naqsh-e qadam on the Theme Index page.
1
ek aisa azm1-e raasiKh2 ab hamaare dil meN hai
gardish-e-ayyaam3 bhi Khud in dinoN mushkil meN hai
1.resolve, decision 2.firm, unshakable 3.difficulties of daily life, vicissitudes of time
It is conventionally thought that there is something out there – fate – that makes life difficult for us. But it turns out that the poet has a firm resolve to do something and has been on that path regardless of difficulties. This has put ‘gardish-e ayyaam’ in a difficult position, because it cannot discourage/dissuade the poet.
2
apni ulfat1 par bahut kuchh tabseray2 hotay rahe
aazmaa’esh3 meri Khaamoshi ki har mahfil4 meN hai
1.love 2.comments 3.test, trial 4.gathering
People have been talking about, making comments about the poet’s love. It is implied that the comments are untrue and/or unpleasant. In her dignity, the poet wants to maintain silence and not engage with this badmouthing. So, in every gathering where these comments are made, her silence is tested.
3
rahrav1-e manzil2 na samjha aaj tak ye falsafa3
kaarvaan-e zindagi ka har qadam4 manzil2 meN hai
1.traveller 2.destination, goal 3.philosophy 4.step
To this day, the traveller along the path of life has not understood this philosophy, that the path itself is the destination, every step in the path is a destination. Thus, moving along the path is the goal. Said ramprakash saahir hoshiarpuri …
aarzu-e kaamraani saii-e laa-haasil meN hai
duur hoN manzil se phir bhi har qadam manzil meN hai
4
is Khushi ka ho bura majboor1 kitna kar diya
soch kar hi rah gaye ham kaisi Khwaahish2 dil meN hai
1.compelled, constrained, helpless 2.wish, desire
The poet has a desire/wish to be happy, or a desire the fulfilment of which will make them happy. But her desire has not been fulfilled and she is compelled to recognize the futility of having such a desire. She thinks, why have such a desire in the heart.
5
teri-meri1 kahne vaale soch lena ek baar2
jhuuT khulne3 par teri izzat4 kisi mahfil5 meN hai
1.an expression meaning gossip/rumours/lies 2.once 3.revealed 4.respect 5.society
You who engage is false gossip mongering, stop and think just once, when your lies are exposed/revealed, will there be any respect for you in any society.
6
saa’ebaaN1 to hai nahiN koi bhi raah2-e ishq meN
soch kar rah-rah3 ke yeh ahl4-e Khirad5 mushkil6 meN hai
1.covering, shelter 2.path 3.every minute, often 4.people of 5.knowledge, awareness 6.difficulty
Usually ‘ahl-e Khirad’ implies people who are into mechanistic thinking rather than ‘spiritual’ thinking. Also, ‘raah-e ishq’ is considered a very difficult path, in which there is no shelter. Thus, people of mechanistic thinking know of this and and do not take this path because of its difficulties. Said mohammed iqbal …
be-Khatar kood paRa aatish-e namrood meN ishq
aql hai mahv-e tamaasha-e lab-e baam abhi
7
ham se raaje1 dushmanoN ka bhi bura hota nahiN
dosti ka paas2 itna to hamaare dil meN hai
1.pen-name of the poet 2.consideration, respect
O raaje, I cannot bring myself to think ill even of the enemy/rival. At least this much respect for friendship, I have in my heart. Perhaps the implication is that she considers even enemies to be like friends and deserving of the considerations of friendship.
The post har qadam manzil meN hai-maya khanna raaje barelavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/rpsh-har-qadam-manzil-meN-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ہر قدم منزل میں ہے ۔ رام پرکاش ساحرؔ ہوشیارپوری
۱
آرزوئے کامرانی سعیِ لاحاصل میں ہے
دور ہوں منزل سے پھر بھی ہر قدم منزل میں ہے
۲
مطمئن چہرہ، چہکتے ہونٹ، رخشندہ جبیں
کون سمجھے غم کی وہ شِدّت جو میرے دل میں ہے
۳
دیکھنے کو آج اِنساں ہے سرافرازِ جہاں
سوچئے تو آج کا اِنساں بڑی مشکل میں ہے
۴
قہقہے، نغمے، بہاریں، شوخیاں، رعنائیاں
زندگی کا ہر تصوّر آپ کی محفل میں ہے
۵
بچ کے طوفانوں سے کشتی غرقِ ساحل ہو گئی
عافیت ہی عافیت اب دامنِ ساحل میں ہے
۶
آرزو کی موت، پھر اک آرزو، پھر اُس کی موت
یہ قیامت زندگی بھر ہر بشر کے دل میں ہے
हर क़दम मंज़िल में है – रामप्रकाश साहेर होश्यारपूरी
१
आर्ज़ू-ए कामरानी सई-ए ला-हासिल में है
दूर हों मंज़िल से फिर भी हर क़दम मंज़िल में है
२
मुत्म’इन चेहरा, चहकते होंट, रख़्शंदा जबीं
कौन समझे ग़म की वो शिद्दत जो मेरे दिल में है
३
देखने को आज इन्सां है सरअफ़्राज़-ए जहां
सोचिये तो आज का इन्सां बढी मुश्किल में है
४
क़हक़हे, नग़्मे, बहारें, शूख़ियां, रा’नाईयां
ज़िन्दगी का हर तसव्वुर आप की महफ़िल में है
५
बच के तूफ़ानौं से कश्ती ग़र्क़-ए साहिल हो गई
आफ़िय्यत हि आफ़िय्यत अब दामन-ए साहिल में है
६
आर्ज़ू की मौत, फिर एक आर्ज़ू, फिर उस कि मौत
ये क़यामत ज़िन्दगी भर हर बशर के दिल में है
Click here for background and on any passage for word meanings and explanatory discussion. ram prakash saahir hoshiarpuri (1913-1972), did his MA in faarsi from lahore and joined the family business. He was the shaagird of labhuram josh malsiani and specialized in composing in a short bahr/meter. This Ghazal, in the zamin of Ghalib’s ‘ye bhi meray dil meN hai’, is linked to Ghalib naqsh-e qadam.
1
aarzu1-e kaamraani2 saii3-e laa-haasil4 meN hai
duur hoN manzil5 se phir bhi har qadam6 manzil5 meN hai 1.desire 2.victory, success 3.effort 4.unmindful of benefit 5.destination, goal 6.step
The (fulfillment of the) desire for success lies in an effort that is unmindful of results; that focuses on the right thing to do, without worrying about benefits. Even if we are far away from the destination, the effort remains steadfast with every step in the right direction.
2
mutma’in1 chehra, chahakte2 hoNT, raKhshanda3 jabiiN4
kaun samjhe Gham ki vo shiddat5 jo meray dil meN hai 1.contented, at peace 2.chirruping, cheerful 3.shining 4.forehead, brow 5.intensity
Peaceful looks, smiling lips and shining brow; how can anyone understand the intensity of pain that is in my heart.
3
dekhne ko aaj insaaN hai sarafraaz1-e jahaaN2
sochiye to aaj ka insaaN baRi mushkil meN hai 1.exalted, respected 2.world
‘dekhne ko’ is used to mean looking at something at the surface i.e. superficially. Thus, superficially it appears that humans have eminence in this world but if you think about it, humans have many problems/difficulties.
4
qahqahe1, naGhme2, bahaareN3, shooKhiyaaN4, raa’naaiyaaN5
zindagi ka har tasavvur6 aap ki mahfil7 meN hai 1.laughter, merriment 2.song 3.spring, celebration 4.playfulness 5.beauty, grace 6.concept 7.gathering, company
Merriment, song, celebration, playfulness and grace; every concept of life is present in your company.
5
bach ke toofaanoN se kashti Gharq1-e saahil2 ho gaii
aafiyyat3 hi aafiyyat ab daaman4-e saahil meN hai 1.drowned 2.shore 3.safety, well being 4.hem of the robe, used here to mean protection
The literal meaning is simple enough … the boat (of life) has gone through storms and survived, but as it arrived at the shore, it sank. Presumably the poet himself was able to reach the shore, because he says that now he has complete safety in the protection of the shore. Beyond this literal meaning, I cannot figure out what he wants to say. I would appreciate any help anyone can provide.
6
aarzu1 ki maut2, phir ek aarzu, phir us ki maut
ye qayaamat3 zindagi bhar har bashar4 ke dil meN hai 1.desire, wish 2.death 3.tumult, commotion 4.human
Desire followed by the death of the desire, giving rise to another desire followed by its death (meaning disappointment). This is the commotion in the hearts of every human all life long. Said Ghalib …
hazaaroN KhwaahisheN aisii kih har Khwaahish pah dam nikle
bahut nikle mire armaan lekin phir bhii kam nikle
ram prakash saahir hoshiarpuri (1913-1972), did his MA in faarsi from lahore and joined the family business. He was the shaagird of labhuram josh malsiani and specialized in composing in a short bahr/meter. This Ghazal, in the zamin of Ghalib’s ‘ye bhi meray dil meN hai’, is linked to Ghalib naqsh-e qadam.
1
aarzu1-e kaamraani2 saii3-e laa-haasil4 meN hai
duur hoN manzil5 se phir bhi har qadam6 manzil5 meN hai
1.desire 2.victory, success 3.effort 4.unmindful of benefit 5.destination, goal 6.step
The (fulfillment of the) desire for success lies in an effort that is unmindful of results; that focuses on the right thing to do, without worrying about benefits. Even if we are far away from the destination, the effort remains steadfast with every step in the right direction.
2
mutma’in1 chehra, chahakte2 hoNT, raKhshanda3 jabiiN4
kaun samjhe Gham ki vo shiddat5 jo meray dil meN hai
1.contented, at peace 2.chirruping, cheerful 3.shining 4.forehead, brow 5.intensity
Peaceful looks, smiling lips and shining brow; how can anyone understand the intensity of pain that is in my heart.
3
dekhne ko aaj insaaN hai sarafraaz1-e jahaaN2
sochiye to aaj ka insaaN baRi mushkil meN hai
1.exalted, respected 2.world
‘dekhne ko’ is used to mean looking at something at the surface i.e. superficially. Thus, superficially it appears that humans have eminence in this world but if you think about it, humans have many problems/difficulties.
4
qahqahe1, naGhme2, bahaareN3, shooKhiyaaN4, raa’naaiyaaN5
zindagi ka har tasavvur6 aap ki mahfil7 meN hai
1.laughter, merriment 2.song 3.spring, celebration 4.playfulness 5.beauty, grace 6.concept 7.gathering, company
Merriment, song, celebration, playfulness and grace; every concept of life is present in your company.
5
bach ke toofaanoN se kashti Gharq1-e saahil2 ho gaii
aafiyyat3 hi aafiyyat ab daaman4-e saahil meN hai
1.drowned 2.shore 3.safety, well being 4.hem of the robe, used here to mean protection
The literal meaning is simple enough … the boat (of life) has gone through storms and survived, but as it arrived at the shore, it sank. Presumably the poet himself was able to reach the shore, because he says that now he has complete safety in the protection of the shore. Beyond this literal meaning, I cannot figure out what he wants to say. I would appreciate any help anyone can provide.
6
aarzu1 ki maut2, phir ek aarzu, phir us ki maut
ye qayaamat3 zindagi bhar har bashar4 ke dil meN hai
1.desire, wish 2.death 3.tumult, commotion 4.human
Desire followed by the death of the desire, giving rise to another desire followed by its death (meaning disappointment). This is the commotion in the hearts of every human all life long. Said Ghalib …
hazaaroN KhwaahisheN aisii kih har Khwaahish pah dam nikle
bahut nikle mire armaan lekin phir bhii kam nikle
The post har qadam manzil meN hai-ramprakash sahir hoshiarpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/joshm-faraavaani-jo-apne-dil-meN-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
فراوانی جو اپنے دل میں ہے ۔ جوشؔ ملیح آبادی
۱
کیا کہیں وہ رازِ پنہانی جو اپنے دل میں ہے
آہ اِس خنجر کی عریانی جو اپنے دل میں ہے
۲
کس کو سمجھائیں کہ ہے ماخذ چراغ طور کا
یہ ہجومِ شعلہ سامانی جو اپنے دل میں ہے
۳
ڈالتی ہے روئے حِکمت پر حقارت کی نگاہ
رازِ عالم پر یہ حیرانی جو اپنے دل میں ہے
۴
شہپرِ جبریل کو پرواز کا دیتی ہے درس
یہ تصوّر کی پر افشانی جو اپنے دل میں ہے
۵
کون مانے گا کہ ہے افشُردۂ مژگانِ تر
یہ مسرّت کی فراوانی جو اپنے دل میں ہے
फ़रावानी जो अपने दिल में है – जोश मलीहआबादी
१
क्या कहें वो राज़-ए पिन्हानी जो अपने दिल में है
आह इस ख़ंजर की उर्यानी जो अपने दिल में है
२
किस को समझाएं के है माख़ज़ चराग़-ए तूर का
ये हुजूम-ए शोला-सामानी जो अपने दिल में है
३
डालती है रु-ए हिकमत पर हिक़ारत की निगाह
राज़-ए आलम पर ये हैरानी जो अपने दिल में है
४
शहपर-ए जिब्रील को परवाज़ का देती है दर्स
ये तसव्वुर की पर-अफ़्शानी जो अपने दिल में है
५
कौन मानेगा के है अफ़्शुर्दा-ए मिज़्श्गान-ए तर
ये मसर्रत की फ़रावानी जो अपने दिल में है
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. I have taken the liberty to link this to Ghalib naqsh-e qadam, ‘ye bhi mere dil meN hai’, even though the theme is entirely different.
1
kya kaheN voh raaz1-e pinhaani2 jo apne dil meN hai
aah is Khanjar ki uryaani3 jo apne dil meN hai 1.secret 2.hidden 3.naked, bare
For the dagger/Khanjar to be naked/bare means it is out of its sheath and is being used to cut. The poet carries a hidden secret in his heart. It hurts like a drawn dagger. How can I describe this hidden secret, he says. Presumably it is this that drives him to compose. His pain is expressed in verse.
2
kis ko samjhaa’eN keh hai maaKhaz1 charaaGh2-e tuur3 ka
ye hujoom4-e sho’la-saamaani5 jo apne dil meN hai 1.source, root, origin 2.lamp 3.mount tuur 4.crowding, onslaught 5.flaring flame
This refers to the story of moosa/Moses going on top of mount tuur and asking to see god. He was told – you cannot see the divine. He insisted and there was a flash of lightning. The poet calls this flash ‘charaaGh-e tuur’. If you connect the first misra with the previous she’r, then he implies that the pain in his heart is the source of ‘charaaGh-e tuur’ – divine light. Thus, how can I explain to anyone that the onslaught of flaring flames (passion, pain) in my heart is the source of divine light.
3
Daalti hai ruu1-e hikmat2 par hiqaarat3 ki nigaah4
raaz5-e aalam6 par yeh hairaani7 jo apne dil meN hai 1.face 2.cleverness, ingenuity, worldly knowledge 3.contempt 4.secret, mystery 6.world, cosmos 7.amazement
The poet, not being worldly wise, unable to explain the whys and hows of the universe, is simply amazed at its mysteries. He admires and is in awe of the mystery of the cosmos. This amazement looks contemptuously at the manifestation of ingenuity and worldly knowledge.
4
shahpar1-e jibriil2 ko parvaaz3 ka deti hai dars4
yeh tasavvur5 ki par-afshaani6 jo apne dil meN hai 1.main feather of the wing 2.archangel Gabriel 3.flying 4.lessons 5.imagination 6.flapping of wings
The flight of imagination in the poet’s heart gives flying lessons to the wings of archangel Gabriel. It must be remembered that archangel Gabriel flew between the god and his messengers conveying gods instructions which they then pronounced to their followers. Is the poet comparing his verse to the message of god. Recall that Ghalib said …
aate haiN Ghaib se yeh mazaamiiN Khayaal meN
Ghalib sariir-e Khaama navaa-e sarosh hai
5
kaun maanega1 keh hai afshurda2-e mizshgaan3-e tar4
yeh masarrat5 ki faraavaani6 jo apne dil meN hai 1.accept, agree 2.juice 3.eyelashes 4.moist, wet 5.joy, elation 6.abundance
The poet has an abundance of joy/happiness in his heart. How can he convince anyone that the source of this is his sorrow/tears. The juice of his moist eyelashes are his tears of sorrow. His joy is expressed as his verse the source of which is the pain/burning flame/passion in his heart.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. I have taken the liberty to link this to Ghalib naqsh-e qadam, ‘ye bhi mere dil meN hai’, even though the theme is entirely different.
1
kya kaheN voh raaz1-e pinhaani2 jo apne dil meN hai
aah is Khanjar ki uryaani3 jo apne dil meN hai
1.secret 2.hidden 3.naked, bare
For the dagger/Khanjar to be naked/bare means it is out of its sheath and is being used to cut. The poet carries a hidden secret in his heart. It hurts like a drawn dagger. How can I describe this hidden secret, he says. Presumably it is this that drives him to compose. His pain is expressed in verse.
2
kis ko samjhaa’eN keh hai maaKhaz1 charaaGh2-e tuur3 ka
ye hujoom4-e sho’la-saamaani5 jo apne dil meN hai
1.source, root, origin 2.lamp 3.mount tuur 4.crowding, onslaught 5.flaring flame
This refers to the story of moosa/Moses going on top of mount tuur and asking to see god. He was told – you cannot see the divine. He insisted and there was a flash of lightning. The poet calls this flash ‘charaaGh-e tuur’. If you connect the first misra with the previous she’r, then he implies that the pain in his heart is the source of ‘charaaGh-e tuur’ – divine light. Thus, how can I explain to anyone that the onslaught of flaring flames (passion, pain) in my heart is the source of divine light.
3
Daalti hai ruu1-e hikmat2 par hiqaarat3 ki nigaah4
raaz5-e aalam6 par yeh hairaani7 jo apne dil meN hai
1.face 2.cleverness, ingenuity, worldly knowledge 3.contempt 4.secret, mystery 6.world, cosmos 7.amazement
The poet, not being worldly wise, unable to explain the whys and hows of the universe, is simply amazed at its mysteries. He admires and is in awe of the mystery of the cosmos. This amazement looks contemptuously at the manifestation of ingenuity and worldly knowledge.
4
shahpar1-e jibriil2 ko parvaaz3 ka deti hai dars4
yeh tasavvur5 ki par-afshaani6 jo apne dil meN hai
1.main feather of the wing 2.archangel Gabriel 3.flying 4.lessons 5.imagination 6.flapping of wings
The flight of imagination in the poet’s heart gives flying lessons to the wings of archangel Gabriel. It must be remembered that archangel Gabriel flew between the god and his messengers conveying gods instructions which they then pronounced to their followers. Is the poet comparing his verse to the message of god. Recall that Ghalib said …
aate haiN Ghaib se yeh mazaamiiN Khayaal meN
Ghalib sariir-e Khaama navaa-e sarosh hai
5
kaun maanega1 keh hai afshurda2-e mizshgaan3-e tar4
yeh masarrat5 ki faraavaani6 jo apne dil meN hai
1.accept, agree 2.juice 3.eyelashes 4.moist, wet 5.joy, elation 6.abundance
The poet has an abundance of joy/happiness in his heart. How can he convince anyone that the source of this is his sorrow/tears. The juice of his moist eyelashes are his tears of sorrow. His joy is expressed as his verse the source of which is the pain/burning flame/passion in his heart.
The post faraavaani jo apne dil meN hai-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2024/06/jm-soo-e-sanam-Khaana-chaleN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
سوئے صنم خانہ چلیں ۔ جوشؔ ملیح آبادی
۱
آؤ کعبے سے اُٹھیں سوئے صنم خانہ چلیں
تابعِ فقر کئیے صَولَتِ شاہانہ چلیں
۲
کانپ اُٹھے بارگہہ سِرّ عفاف ملکوت
یوں معاصی کا لنڈھاتے ہوئے پیمانہ چلیں
۳
آؤ اے زمزمہ سنجانِ سرا پردۂ گل
بہ ہوائے نفسِ تازۂ جانانہ چلیں
۴
گریۂ نیم شب و آہ سحرگاہی کو
چنگ و بربط پہ نچاتے ہوئے ترکانہ چلیں
۵
تا نہ محسوس ہو واماندگئ راہ دراز
زلف خوباں کا سناتے ہوئے افسانہ چلیں
۶
پھینک کر سُبّحہ و سجّادہ و دستار و کلاہ
بہ رباب و دف و طنبورہ و پیمانہ چلیں
۷
نغمہ و ساغر و طاؤس و غزل کے ہم راہ
سوئے خُم خانہ پئے سجدۂ رِندانہ چلیں
۸
خُشک ذروں پہ مچل جائے شمیم و تسنیم
ثبت کرتے ہوئے یوں لغزش مستانہ چلیں
۹
دامن جوشؔ میں پھر بھر کے متاع کونین
خِدمت پیرِ مغاں میں پئے نذرانہ چلیں
सू-ए सनम-ख़ाना चलें – जोश मलीहाबादि
१
आओ काबे से उठें सू-ए सनम-ख़ाना चलें
ताबा-ए फ़क़्र किए सौलत-ए शाहाना चलें
२
काँप उठे बारगह-ए सिर्र-ए अफ़ाफ़-ए मलकूत
यूँ म’आसी का लुंढाते हुए पैमाना चलें
३
आओ अए ज़मज़मा-संजान-ए सरा पर्दा-ए गुल
ब-हवा-ए नफ़स-ए ताज़ा-ए जानाना चलें
४
गिर्या-ए नीम-शब ओ आह-ए सहर-गाही को
चंग ओ बरबत पे नचाते हुए तुरकाना चलें
५
ता न महसूस हो वामांदगी-ए राह-ए दराज़
ज़ुल्फ़-ए ख़ूबाँ का सुनाते हुए अफ़्साना चलें
६
फेंक कर सुब्बह ओ सज्जादा ओ दस्तार ओ कुलाह
ब रबाब ओ दफ़ ओ तम्बूरा ओ पैमाना चलें
७
नग़्मा ओ साग़र ओ ताऊस ओ ग़ज़ल के हमराह
सू-ए ख़ुम-ख़ाना पय-ए सज्दा-ए रिन्दाना चलें
८
ख़ुश्क ज़र्रों पे मचल जाए शमीम ओ तस्नीम
सब्त करते हुए यूँ लग़्ज़िश-ए मस्ताना चलें
९
दामन-ए जोश में फिर भर के मता-ए कौनैन
ख़िदमत-ए पीर-ए मुग़ाँ में पय-ए नज़राना चलें
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. This Ghazal has a strong sufiyaana flavour to it. Also see raushan hai bazm-e sho’la ruKhaaN dekhte chaleN, maKhdoom mohiuddin. There is an accompanying Ghazal, ‘daa’vat-e saqar’ in which many ash’aar have been changed and a few new ones added. There is enough difference to post both.
1
aao k’aabe se uTheN soo1-e sanam-Khaana2 chaleN
taaba3-e faqr4 kiye saulat5-e shaahana chaleN 1.towards 2.house of idols 3.obey, follow 4.poverty, mystic 5.pomp
k’aaba is a symbol of orthodoxy. sanam Khaana is sometimes used to mean temple, but here it is used to mean the tavern, a liberal/secular space, a space of universal love, where everyone is welcome. The poet/revolutionary is calling upon everyone to leave orthodoxy and come towards universal love, following the sufi mystic, yet coming in royal pomp/style/confidence.
2
kaaNp uThe baargah1-e sirr2-e afaaf3-e malakut4
yuN m’aasi5 ka lunDhaate6 hue paimaana7 chaleN 1.palace 2.secret, mysterious 3.piety 4.angels 5.transgression, rebellion 6.pouring 7.cup (of wine)
Let us go liberally pouring the cup of transgression/rebellion so that the palace of pretenders of piety tremble in fear.
3
aao aye zamzama1-sanjaan2-e sara-parda3-e gul4
ba-havaa5-e nafas6-e taaza7-e janaana8 chaleN 1.music 2.expert 3.tent, shelter 4.rose 5.with the wind 6.breath 7.fresh 8.beloved
‘zamzam’ is a spring in the vicinity of the kaaba. Water is supposed to be gurgling out of the ground. This sound is often used as an analogy for music. Thus, zamazama-sanjaan are experts in music. ‘sara-parda-e gul’, protective cover over the rose perhaps implies a lover/protector of the rose. This could be the bulbul (in poetic tradition the gul o bulbul are lovers). The bulbul is also an expert music maker. This music is like the fresh breath of the beloved. Thus with this music and fresh breath let us go to the idol-house.
4
girya1-e niim-shab2 o aah3-e sahar-gaahi4 ko
chaNg-o-barbat5 pe nachaate hue turkaana6 chaleN 1.wailing, weeping 2.mid-night 3.sigh 4.early morning just before dawn 5.lute and harp 6.like Turks, Turkish
‘turkaana’ is used to mean mischievous beauty of slanted/Mongol/Turkic eyes, coquettish, enticing. Also, poets are supposed to be up all night – very sorrowful late into the night and sighing well into the early morning hours before dawn. That is when they compose their best verse. Thus, the poet/revolutionary calls on fellow poets to go for/towards midnight-weeping and dawn-sighing (write their best verse), playing the lute and harp, dancing enticingly.
5
ta1 na mahsoos2 ho vaamaandagi3-e raah-e daraaz4
zulf5-e KhoobaaN6 ka sunaate hue afsaana7 chaleN 1.so that 2.feel 3.tiredness 4.long 5.hair, locks 6.beauties, beloved 7.tale, story
So that we don’t feel the tiredness of the long journey, let us relate stories of the locks of the beloved along the way.
6
pheNk kar subbah1 o sajjada2 o dastaar3 o kulaah4
ba rabaab5 o daf6 o tambura o paimaana7 chaleN 1.tasbeeh, rosary beads 2.prayer mat 3.crown 4.cap 5.sarod/sitar 6.cymbals 7.cup/goblet (of wine)
Throwing away the rosary and the prayer mat, the crown and the cap, let us play music and drink wine as we go.
7
naGhma o saaGhar o taa’oos1 o Ghazal ke hamraah2
soo3-e Khum-Khaana4 pai5-e sajda6-e rindaana7 chaleN 1.peacock, symbol of colour and dance 2.along with 3.towards 4.tavern 5.with the intention of 6.prayerful obeisance 7.reveler, wine drinker
Along with song, wine, dance, verse let us go towards the tavern to offer deferential respects to the culture of wine-drinking/liberalism.
8
Khushk1 zarroN2 pe machal3 jaaye shamim4 o tasnim5
sabt6 karte hue yuN laGhzish7-e mastaana8 chaleN 1.dry 2.dust 3.restless 4.fragrance 5.river in heaven 6.stamping 7.staggering 8.trance-like
The poet/sufi calls for a trance-like dance of staggering, stamping feet on the ground and raising dust. The dust particles reflect light and shine so that even shamim and tasnim become restless with envy. shamim and tasnim are used here as an allegory for heaven/piety/orthodoxy.
9
daaman-e josh meN phir bhar ke mataa1-e kaunain2
Khidmat3-e piir4-e muGhaaN5 meN pai6-e nazraana7 chaleN 1.wealth, treasure 2.two worlds, material and spiritual 3.service 4.chief 5.wine makers 6.with the intention of 7.offering, tribute
Collecting material and spiritual wealth in the robe of josh, the poet/sufi, let us go in the service of the chief wine-maker to make an offering to him/her.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. This Ghazal has a strong sufiyaana flavour to it. Also see raushan hai bazm-e sho’la ruKhaaN dekhte chaleN, maKhdoom mohiuddin. There is an accompanying Ghazal, ‘daa’vat-e saqar’ in which many ash’aar have been changed and a few new ones added. There is enough difference to post both.
1
aao k’aabe se uTheN soo1-e sanam-Khaana2 chaleN
taaba3-e faqr4 kiye saulat5-e shaahana chaleN
1.towards 2.house of idols 3.obey, follow 4.poverty, mystic 5.pomp
k’aaba is a symbol of orthodoxy. sanam Khaana is sometimes used to mean temple, but here it is used to mean the tavern, a liberal/secular space, a space of universal love, where everyone is welcome. The poet/revolutionary is calling upon everyone to leave orthodoxy and come towards universal love, following the sufi mystic, yet coming in royal pomp/style/confidence.
2
kaaNp uThe baargah1-e sirr2-e afaaf3-e malakut4
yuN m’aasi5 ka lunDhaate6 hue paimaana7 chaleN
1.palace 2.secret, mysterious 3.piety 4.angels 5.transgression, rebellion 6.pouring 7.cup (of wine)
Let us go liberally pouring the cup of transgression/rebellion so that the palace of pretenders of piety tremble in fear.
3
aao aye zamzama1-sanjaan2-e sara-parda3-e gul4
ba-havaa5-e nafas6-e taaza7-e janaana8 chaleN
1.music 2.expert 3.tent, shelter 4.rose 5.with the wind 6.breath 7.fresh 8.beloved
‘zamzam’ is a spring in the vicinity of the kaaba. Water is supposed to be gurgling out of the ground. This sound is often used as an analogy for music. Thus, zamazama-sanjaan are experts in music. ‘sara-parda-e gul’, protective cover over the rose perhaps implies a lover/protector of the rose. This could be the bulbul (in poetic tradition the gul o bulbul are lovers). The bulbul is also an expert music maker. This music is like the fresh breath of the beloved. Thus with this music and fresh breath let us go to the idol-house.
4
girya1-e niim-shab2 o aah3-e sahar-gaahi4 ko
chaNg-o-barbat5 pe nachaate hue turkaana6 chaleN
1.wailing, weeping 2.mid-night 3.sigh 4.early morning just before dawn 5.lute and harp 6.like Turks, Turkish
‘turkaana’ is used to mean mischievous beauty of slanted/Mongol/Turkic eyes, coquettish, enticing. Also, poets are supposed to be up all night – very sorrowful late into the night and sighing well into the early morning hours before dawn. That is when they compose their best verse. Thus, the poet/revolutionary calls on fellow poets to go for/towards midnight-weeping and dawn-sighing (write their best verse), playing the lute and harp, dancing enticingly.
5
ta1 na mahsoos2 ho vaamaandagi3-e raah-e daraaz4
zulf5-e KhoobaaN6 ka sunaate hue afsaana7 chaleN
1.so that 2.feel 3.tiredness 4.long 5.hair, locks 6.beauties, beloved 7.tale, story
So that we don’t feel the tiredness of the long journey, let us relate stories of the locks of the beloved along the way.
6
pheNk kar subbah1 o sajjada2 o dastaar3 o kulaah4
ba rabaab5 o daf6 o tambura o paimaana7 chaleN
1.tasbeeh, rosary beads 2.prayer mat 3.crown 4.cap 5.sarod/sitar 6.cymbals 7.cup/goblet (of wine)
Throwing away the rosary and the prayer mat, the crown and the cap, let us play music and drink wine as we go.
7
naGhma o saaGhar o taa’oos1 o Ghazal ke hamraah2
soo3-e Khum-Khaana4 pai5-e sajda6-e rindaana7 chaleN
1.peacock, symbol of colour and dance 2.along with 3.towards 4.tavern 5.with the intention of 6.prayerful obeisance 7.reveler, wine drinker
Along with song, wine, dance, verse let us go towards the tavern to offer deferential respects to the culture of wine-drinking/liberalism.
8
Khushk1 zarroN2 pe machal3 jaaye shamim4 o tasnim5
sabt6 karte hue yuN laGhzish7-e mastaana8 chaleN
1.dry 2.dust 3.restless 4.fragrance 5.river in heaven 6.stamping 7.staggering 8.trance-like
The poet/sufi calls for a trance-like dance of staggering, stamping feet on the ground and raising dust. The dust particles reflect light and shine so that even shamim and tasnim become restless with envy. shamim and tasnim are used here as an allegory for heaven/piety/orthodoxy.
9
daaman-e josh meN phir bhar ke mataa1-e kaunain2
Khidmat3-e piir4-e muGhaaN5 meN pai6-e nazraana7 chaleN
1.wealth, treasure 2.two worlds, material and spiritual 3.service 4.chief 5.wine makers 6.with the intention of 7.offering, tribute
Collecting material and spiritual wealth in the robe of josh, the poet/sufi, let us go in the service of the chief wine-maker to make an offering to him/her.
The post soo-e sanam-Khaana chaleN-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2024/06/jm-daavat-e-saqar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
دعوتِ سقر ۔ جوشؔ ملیح آبادی
۱
آؤ کعبے سے اُٹھیں سوئے صنم خانہ چلیں
بہ خُمِ خسرو و پیمانۂ شاہانہ چلیں
۲
درخورِ کیف نہیں حور و مگس کی دنیا
ساتھ بلقیس کو لیں اور سلیمانہ چلیں
۳
کانپ اُٹھے حرم و سِرّ عفافِ توحید
یوں پئے سجدہ سنگِ درِ بتخانہ چلیں
۴
آہِ شب گیر و مناجاتِ سحر گاہی کو
نعرۂ ہُو پہ نچاتے سُوئے صنم خانہ چلیں
۵
مشعلِ حسن کے اطراف میں سنّاٹا ہے
آؤ سپنوں میں لئیے آتشِ پروانہ چلیں
۶
آؤ اے زمزمہ سنجانِ سراپردۂ گُل
بہ ہوائے نفسِ تازۂ جانانہ چلیں
۷
بُت اگر راہ میں مل جائیں جھکیں بہرِ سلام
اور خدا راستہ روکے تو حریفانہ چلیں
۸
تا نہ محسوس ہو واماندگیِٔ راہِ دراز
زلفِ پُر پیچ کا چھیڑے ہوئے افسانہ چلیں
۹
پھینک کر سُبّحہ و سجّادہ و دستار و کلاہ
بہ رباب و دف و طنبورہ و پیمانہ چلیں
۱۰
بادہ و ساغر و طاؤس و غزل کے ہمراہ
ذرّے ذرّے پہ لٹاتے ہوئے میخانہ چلیں
۱۱
خاک قدموں سے اُڑے سر پہ دھنک بن جائے
یوں سوئے گل کدۂ عشوۂ جانانہ چلیں
۱۲
فرشِ صحرا پہ مچل جائے جوانی کی ترنگ
ثبت کرتے ہوئے یوں لغزشِ مستانہ چلیں
۱۳
رخصت اے بندہ خرامی کہ وہ دور آ پہنچا
جس پہ جھکتے تھے اب اُس خاک پہ یزدانہ چلیں
۱۴
آؤ پھر جوشؔ کے ہمراہ دو عالم کو لئے
خدمتِ پیرِ مغاں میں پئے نذرانہ چلیں
दा’वत-ए सक़र – जोश मलीहाबादी
१
आओ काबे से उठें सू-ए सनम-ख़ाना चलें
बा ख़ुम-ए ख़ुस्रव ओ पैमाना-ए शाहाना चलें
२
दरख़ुर-ए कैफ़ नहीं हूर ओ मगस की दुनिया
साथ बिल्क़ीस को लें और सुलैमानां चलें
३
कांप उठे हरम ओ सिर्र-ए अफ़ाफ़-ए तौहीद
युं पय-ए सज्दा-ए संग-ए दर-ए बुत-ख़ाना चलें
४
आह-ए शब-गीर ओ मुनाजात-ए सहर-गाही को
नारा-ए हू पे नचाते सू-ए सनम-ख़ाना चलें
५
मश’अल-ए हुस्न के अत्राफ़ में सन्नाटा है
आओ सपनौं में लिए आतिश-ए परवाना चलें
६
आओ अए ज़मज़मा-संजान-ए सरा-परदा-ए गुल
बा-हवा-ए नफ़स-ए ताज़ा-ए जानानां चलें
७
बुत अगर राह में मिल जाएं झुकें बहर-ए सलाम
और ख़ुदा रास्ता रोके तो हरीफ़ाना चलें
८
ता ना महसूस हो वामांदगी-ए राह-ए दराज़
ज़ुल्फ़-ए पुर-पेच का छेढे हुए अफ़्साना चलें
९
फैंक कर सुब्बह ओ सज्जादा ओ दस्तार ओ कुलाह
बा-रबाब ओ दफ़ ओ तांबूरा ओ पैमाना चलें
१०
बादा ओ साग़र ओ ताऊस ओ ग़ज़ल के हमराह
ज़र्रे ज़र्रे पे लुटाते हुए मैख़ाना चलें
११
ख़ाक क़द्मों से उढे सर पे धनक बन जाए
युं सू-ए गुल-कदा-ए इश्वा-ए जानानां चलें
१२
फ़र्श-ए सहरा पे मचल जाए जवानी की तरंग
सब्त करते हुए युं लग़्ज़िश-ए मस्ताना चलें
१३
रुख़्सत अए बंदा-ख़रामी के वो दौर आ पहुंचा
जिस पे झुकते थे अब उस ख़ाक पे यज़्दाना चलें
१४
आओ फिर जोश के हमराह दो आलम को लिए
ख़िद्मत-ए पीर-ए मुग़ां में पय-ए नज़्राना चलें
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. This is an ‘invitation to the fire of hell’ … the poet is so irreverent that he fully expects to be condemned to hell, even seems to welcome it. There are two versions of this nazm/Ghazal. The other entitled ‘soo-e sanam Khaana chaleN’ is probably an earlier version. This is modified here and there and a few ash’aar are added. There is enough difference that both versions are posted.
1
aao kaabe se uTheN suu1-e sanam-Khaana2 chaleN
ba Khum3-e Khusrav4 o paimaana5-e shaahaana6 chaleN 1.towards 2.house of idols, temple 3.barrell, flask (of wine) 4.amir Khusro 5.measure, cup 6.royal
Come, let us get up from the kaaba and go towards the house of idols (temple). Let us fill the royal cup with wine from the flask of Khusro and go. The wine of Khusro represents a strong dose of the sufi tradition and inclusiveness.
2
darKhur1-e kaif2 nahiN hoor-o-magas3 ki duniya
saathh bilqiis4 ko leN aur sulaimaanaN5 chaleN 1.deserving of 2.joy, pleasure, ecstacy 3.fly, bee 4.Queen of Sheba 5.in the style of sulaimaan/Solomon
‘hoor o magas ki duniya’ is probably heaven because of the hoor and (I am stretching) ‘magas’ – honey bee can imply rivers of honey flowing in heaven. Thus, heaven is not deserving of his expectations of pleasure. He wants to do something else. He wants to win the heart of the beloved and go triumphantly like Solomon won the heart of the Queen of Sheba and carried her away.
3
kaaNp1 uThe haram2 o sirr-e-afaaf3-e tauheed4
yuN pai5-e sajda6-e saNg7-e dar8-e but-Khaana9 chaleN 1.tremble (with fear) 2.sanctuary 3.mystery of the sanctity of 4.one god, exclusive of others 5.with the intention of 6.prostrating 7.stone, threshold 8.door 9.house of idols, temple
Let the kaaba/sanctuary tremble in fear of losing the mystery of the sanctity of the concept of one god. In such a style let us go with the intent of bowing at the threshold of the house of idols.
4
aah1-e shab-giir2 o munajaat3-e sahr-gaahi4 ko
n’aara5-e huu6 pe nachaate soo7-e sanam-Khaana8 chaleN 1.sigh, lament 2.dawn 3.prayer, hymn 4.dawn 5.call, cry, shout 6.allaah-huu, god 7.towards 8.house of idols
The lament and prayer of dawn are particularly orthodox practices, asking for forgiveness and blessings. The poet seems not to care much for their exclusivity. He wants to make them dance on cries of ‘allah-huu’ and go towards the house of idols. sanam-Khaana can also be the tavern of the saaqi. It is symbolic liberal, free thinking space where the poet wants to turn.
5
mash’al1-e husn2 ke atraaf3 meN sannaaTa4 hai
aao sapnoN5 meN liye aatish6-e parvaana7 chaleN 1.torch 2.beauty, beloved 3.surrounding, circle 4.silence 5.dreams 6.fire, passion 7.moth
The moth circles its beloved (fire) and sacrifices its life in an attempt to achieve union. But there is silence around the torch of the beauty of the beloved. The poet calls upon his friends to dream of the passion of the moth and go circumambulate around the beloved.
6
aao aye zamzama1-sanjaan2-e sara-parda3-e gul4
ba-havaa5-e nafas6-e taaza7-e janaana8 chaleN 1.music 2.expert 3.tent, shelter 4.rose 5.with the wind 6.breath 7.fresh 8.beloved
‘zamzam’ is a spring in the vicinity of the kaaba. Water is supposed to be gurgling out of the ground. This sound is often used as an analogy for music. Thus, zamazama-sanjaan are experts in music. ‘sara-parda-e gul’, protective cover over the rose perhaps implies a lover/protector of the rose. This could be the bulbul (in poetic tradition gul o bulbul are lovers). The bulbul is also an expert music maker. This music is like the fresh breath of the beloved. Thus with this music and fresh breath let us go to the idol-house.
7
but1 agar2 raah3 meN mil jaayeN jhukeN bahr4-e salaam
aur Khuda raasta roke to hareefaana5 chaleN 1.idols, beloved 2.if 3.way, path 4.with the intent of 5.rival, rebel, resist
If we encounter idols on the way, we bow in greeting, but if god were to block our way, then we walk on in the style of a rebel. This is an act of rebellion NOT against god, but against blocking the way. He does not recognize exclusivity but accepts/welcomes diversity … all the essence is the same.
8
taa1 na mahsoos2 ho vaamaandagi3-e raah4-e daraaz5
zulf6-e pur-pech7 ka chheRe8 hue afsaana9 chaleN 1.so that 2.feel 3.tiredness, fatigue 4.path 5.long 6.hair 7.curls 8.narrate 9.story
So that we don’t feel the fatigue of the long journey let us narrate stories of the curly hair of the beloved along the way. Said maKhdoom …
chashm-o-ruKhsaar ke azkaar ko jaari rakkho
pyaar ke naame ko doharaao keh kuchh raat kaTe
9
phaiNk kar subbah1 o sajjaada2 o dastaar3 o kulaah4
ba-rabaab5 o daf6 o tanboora7 o paimaana8 chaleN 1.tasbeeh, rosary 2.prayer mat 3.crown 4.cap 5.with a lute 6.cymbals 7.drone 8.cup, goblet (of wine)
Setting aside the rosary, prayer mat, crown and cap, let us pick up the lute and cymbals along with a goblet of wine and be on our way.
10
baada1 o saGhar2 o taauus3 o Ghazal ke hamrah4
zarre-zarre5 pe luTaate hue maiKhaana6 chaleN 1.wine 2.goblet 3.peacock 4.along with 5.every grain of sand 6.tavern
Let us go in celebration along with wine and goblet and colourful dance. Let us go spilling/sprinkling wine on every grain of sand along the way.
11
Khaak1 qadmoN2 se uRe sar pe dhanak3 ban jaaye
yuN su4-e gul-kada5-e ishva6-e jaanana7 chaleN 1.dust 2.steps 3.rainbow 4.towards 5.flower house 6.coquetry 7.beloved
Let the dust rise from our feet and cast rainbow colours over our heads. Let us go in such style towards the rose-decked chamber of coquetry of the beloved.
12
farsh1-e sahra2 pe machal jaaye javaani ki taraNg
sabt3 karte hue yuN laGhzish4-e mastaana5 chaleN 1.floor 2.desert 3.stamp, inscribe, engrave 4.stagger 5.drunken
Walk with such drunken stagger over the floor of the desert that the impression of the music of your youthful feet gets stamped into the sand (for others to follow).
13
ruKhsat1 aye banda-Kharaami2 keh vo daur3 aa pahuNcha
jis pe jhukte the ab us Khaak4 pe yazdaana5 chaleN 1.depart, begone 2.slavish gait 3.time 4.dust 5.lordly
Begone O slavish gait, for the time has come, for us to walk with lordly style on the dust on which we used to bow down.
14
aao phir josh1 ke hamrah2 do-aalam3 ko liye
Khidmat4-e piir-e-muGhaaN5 meN pai6-e nazraana7 chaleN 1.pen-name of the poet 2.along with 3.two worlds – here and hereafter 4.service 5.chief wine-maker 6.with the intention of 7.offering
Come again, along with josh, taking the here and hereafter with you in the service of the chief wine-maker with the intent of making a devotional offering to him … the chief wine-maker is symbolic of the chief liberal thinker, the tavern being a welcoming and open place for all.
josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. This is an ‘invitation to the fire of hell’ … the poet is so irreverent that he fully expects to be condemned to hell, even seems to welcome it. There are two versions of this nazm/Ghazal. The other entitled ‘soo-e sanam Khaana chaleN’ is probably an earlier version. This is modified here and there and a few ash’aar are added. There is enough difference that both versions are posted.
1
aao kaabe se uTheN suu1-e sanam-Khaana2 chaleN
ba Khum3-e Khusrav4 o paimaana5-e shaahaana6 chaleN
1.towards 2.house of idols, temple 3.barrell, flask (of wine) 4.amir Khusro 5.measure, cup 6.royal
Come, let us get up from the kaaba and go towards the house of idols (temple). Let us fill the royal cup with wine from the flask of Khusro and go. The wine of Khusro represents a strong dose of the sufi tradition and inclusiveness.
2
darKhur1-e kaif2 nahiN hoor-o-magas3 ki duniya
saathh bilqiis4 ko leN aur sulaimaanaN5 chaleN
1.deserving of 2.joy, pleasure, ecstacy 3.fly, bee 4.Queen of Sheba 5.in the style of sulaimaan/Solomon
‘hoor o magas ki duniya’ is probably heaven because of the hoor and (I am stretching) ‘magas’ – honey bee can imply rivers of honey flowing in heaven. Thus, heaven is not deserving of his expectations of pleasure. He wants to do something else. He wants to win the heart of the beloved and go triumphantly like Solomon won the heart of the Queen of Sheba and carried her away.
3
kaaNp1 uThe haram2 o sirr-e-afaaf3-e tauheed4
yuN pai5-e sajda6-e saNg7-e dar8-e but-Khaana9 chaleN
1.tremble (with fear) 2.sanctuary 3.mystery of the sanctity of 4.one god, exclusive of others 5.with the intention of 6.prostrating 7.stone, threshold 8.door 9.house of idols, temple
Let the kaaba/sanctuary tremble in fear of losing the mystery of the sanctity of the concept of one god. In such a style let us go with the intent of bowing at the threshold of the house of idols.
4
aah1-e shab-giir2 o munajaat3-e sahr-gaahi4 ko
n’aara5-e huu6 pe nachaate soo7-e sanam-Khaana8 chaleN
1.sigh, lament 2.dawn 3.prayer, hymn 4.dawn 5.call, cry, shout 6.allaah-huu, god 7.towards 8.house of idols
The lament and prayer of dawn are particularly orthodox practices, asking for forgiveness and blessings. The poet seems not to care much for their exclusivity. He wants to make them dance on cries of ‘allah-huu’ and go towards the house of idols. sanam-Khaana can also be the tavern of the saaqi. It is symbolic liberal, free thinking space where the poet wants to turn.
5
mash’al1-e husn2 ke atraaf3 meN sannaaTa4 hai
aao sapnoN5 meN liye aatish6-e parvaana7 chaleN
1.torch 2.beauty, beloved 3.surrounding, circle 4.silence 5.dreams 6.fire, passion 7.moth
The moth circles its beloved (fire) and sacrifices its life in an attempt to achieve union. But there is silence around the torch of the beauty of the beloved. The poet calls upon his friends to dream of the passion of the moth and go circumambulate around the beloved.
6
aao aye zamzama1-sanjaan2-e sara-parda3-e gul4
ba-havaa5-e nafas6-e taaza7-e janaana8 chaleN
1.music 2.expert 3.tent, shelter 4.rose 5.with the wind 6.breath 7.fresh 8.beloved
‘zamzam’ is a spring in the vicinity of the kaaba. Water is supposed to be gurgling out of the ground. This sound is often used as an analogy for music. Thus, zamazama-sanjaan are experts in music. ‘sara-parda-e gul’, protective cover over the rose perhaps implies a lover/protector of the rose. This could be the bulbul (in poetic tradition gul o bulbul are lovers). The bulbul is also an expert music maker. This music is like the fresh breath of the beloved. Thus with this music and fresh breath let us go to the idol-house.
7
but1 agar2 raah3 meN mil jaayeN jhukeN bahr4-e salaam
aur Khuda raasta roke to hareefaana5 chaleN
1.idols, beloved 2.if 3.way, path 4.with the intent of 5.rival, rebel, resist
If we encounter idols on the way, we bow in greeting, but if god were to block our way, then we walk on in the style of a rebel. This is an act of rebellion NOT against god, but against blocking the way. He does not recognize exclusivity but accepts/welcomes diversity … all the essence is the same.
8
taa1 na mahsoos2 ho vaamaandagi3-e raah4-e daraaz5
zulf6-e pur-pech7 ka chheRe8 hue afsaana9 chaleN
1.so that 2.feel 3.tiredness, fatigue 4.path 5.long 6.hair 7.curls 8.narrate 9.story
So that we don’t feel the fatigue of the long journey let us narrate stories of the curly hair of the beloved along the way. Said maKhdoom …
chashm-o-ruKhsaar ke azkaar ko jaari rakkho
pyaar ke naame ko doharaao keh kuchh raat kaTe
9
phaiNk kar subbah1 o sajjaada2 o dastaar3 o kulaah4
ba-rabaab5 o daf6 o tanboora7 o paimaana8 chaleN
1.tasbeeh, rosary 2.prayer mat 3.crown 4.cap 5.with a lute 6.cymbals 7.drone 8.cup, goblet (of wine)
Setting aside the rosary, prayer mat, crown and cap, let us pick up the lute and cymbals along with a goblet of wine and be on our way.
10
baada1 o saGhar2 o taauus3 o Ghazal ke hamrah4
zarre-zarre5 pe luTaate hue maiKhaana6 chaleN
1.wine 2.goblet 3.peacock 4.along with 5.every grain of sand 6.tavern
Let us go in celebration along with wine and goblet and colourful dance. Let us go spilling/sprinkling wine on every grain of sand along the way.
11
Khaak1 qadmoN2 se uRe sar pe dhanak3 ban jaaye
yuN su4-e gul-kada5-e ishva6-e jaanana7 chaleN
1.dust 2.steps 3.rainbow 4.towards 5.flower house 6.coquetry 7.beloved
Let the dust rise from our feet and cast rainbow colours over our heads. Let us go in such style towards the rose-decked chamber of coquetry of the beloved.
12
farsh1-e sahra2 pe machal jaaye javaani ki taraNg
sabt3 karte hue yuN laGhzish4-e mastaana5 chaleN
1.floor 2.desert 3.stamp, inscribe, engrave 4.stagger 5.drunken
Walk with such drunken stagger over the floor of the desert that the impression of the music of your youthful feet gets stamped into the sand (for others to follow).
13
ruKhsat1 aye banda-Kharaami2 keh vo daur3 aa pahuNcha
jis pe jhukte the ab us Khaak4 pe yazdaana5 chaleN
1.depart, begone 2.slavish gait 3.time 4.dust 5.lordly
Begone O slavish gait, for the time has come, for us to walk with lordly style on the dust on which we used to bow down.
14
aao phir josh1 ke hamrah2 do-aalam3 ko liye
Khidmat4-e piir-e-muGhaaN5 meN pai6-e nazraana7 chaleN
1.pen-name of the poet 2.along with 3.two worlds – here and hereafter 4.service 5.chief wine-maker 6.with the intention of 7.offering
Come again, along with josh, taking the here and hereafter with you in the service of the chief wine-maker with the intent of making a devotional offering to him … the chief wine-maker is symbolic of the chief liberal thinker, the tavern being a welcoming and open place for all.
The post d’aavat-e saqar-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/sraas-mera-mazhab-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
میرا مذہب ۔ سادھو رام آرزوؔ سہارنپوری
۱
محبت سے بِنائے فطرتِ آدم سمجھتا ہوں
محبت پر مدارِ ہستیِ عالم سمجھتا ہوں
۲
محبت ہی کا نظّارہ ہے بستی ہو کہ ویرانہ
محبت ہی کا پرتو ہے حرم ہو یا صنم خانہ
۳
محبت کفر بھی، ایمان بھی، کثرت بھی، وحدت بھی
محبت مقصد تخلیق بھی، عینِ عبادت بھی
۴
میں شاعر ہوں، مجھے ہر عنصرِ ہستی سے اُلفت ہے
میری دنیا میں کینہ ہے، عداوت ہے، نہ نفرت ہے
۵
محبت ہے ازل ہی سے مجھے انوارِ یزداں سے
مری فطرت کو نسبت ہی نہیں کچھ کفر و ایماں سے
۶
مرا ظاہر حقیقت میں وہی ہے جو مرا باطن
مری نظروں میں یکساں ہے، کوئی کافر ہو یا مومن
۷
ازل سے تا ابد جو کچھ بھی ہے وہ سب محبت ہے
مری فطرت محبت ہے مرا مذہب محبت ہے
मेरा मज़हब – साधु राम आर्ज़ू सहारनपुरी
१
मोहब्बत से बिना-ए फित्रत-ए आदम समझता हूँ
मोहब्बत पर मदार-ए हस्ती-ए आलम समझता हूँ
२
मोहब्बत ही का नज़्ज़ारा है बस्ती हो के वीराना
मोहब्बत ही का परतव है हरम हो या सनम ख़ाना
३
मोहब्बत कुफ़्र भी, ईमान भी, क़सरत भी, वहदत भी
मोहब्बत मक़्सद तख़लीक़ भी, ऐन-ए इबादत भी
४
मैं शा’एर हूँ, मुझे हर उन्सुर-ए हस्ती से उल्फ़त है
मेरी दुनिया में कीना है, अदावत है, न नफ़्रत है
५
मोहब्बत है अज़ल ही से मुझे अनवार-ए यज़दां से
मेरी फ़ितरत को निस्बत ही नहीं कुछ कुफ़्र ओ ईमां से
६
मेरा ज़ाहिर हक़ीक़त में वही है जो मेरा बातिन
मेरी नज़रौं में यकसां है, कोई काफ़िर हो या मोमिन
७
अज़ल से ता अबद जो कुछ भी है वो सब मोहब्बत है
मेरी फितरत मोहब्बत है मेरा मज़हब मोहब्बत हैTop of Form
Click here for background and on any passage for word meanings and explanatory discussion. saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.
1
mohabbat se binaa1-e fitrat-e-aadam2 samajhta huN
mohabbat par madaar3-e hasti4-e aalam5 samajhta huN 1.foundation 2.human nature 3.basis 4.existence 5.world
I perceive human nature as built on love I see the existence of the world as based on (universal) love.
2
mohabbat hi ka nazzaara1 hai basti2 ho keh veeraana3
mohabbat hi ka partav4 hai haram5 ho ya sanam-Khaana6 1.scene 2.settlement 3.wilderness 4.reflection 5.mosque 6.house of idols, temple
Love is the spectacle whether it’s a settlement or a wilderness. Love is the essence whether it’s a mosque/sanctuary or an idol-house/temple.
3
mohabbat kufr1 bhi, imaan2 bhi, kasrat3 bhi, vahdat4 bhi
mohabbat maqsad5-e takhleeq6 bhi, ain7-e ibaadat8 bhi 1.other belief 2.islamic belief 3.many 4.one-ness 5.purpose 6.creation 7.essence 8.worship
Love is other-belief, own-faith, multiplicity, and unity. Love is the purpose of creation, it is the essence of worship.
4
maiN shaa’er huN, mujhe har unsur1-e hasti2 se ulfat3 hai
meri duniya meN keena4 hai, adaavat5 hai, na nafrat6 hai 1.component, element 2.creation 3.love 4.
I am a poet, I feel affinity with every element of existence. In my world, there is neither envy, nor ravalry, nor hatred.
5
mohabbat hai azal1 se hii mujhe anvaar2-e yazdaaN3 se
meri fitrat4 ko nisbat5 hi nahiN kuch kufr6 o imaaN7 se 1.eternal beginning 2.rays of light 3.divine 4.nature 5.assocation 6.other belief 7.own belief
Love has been my illumination since eternity. My nature is related neither to other-belief nor to own-faith.
6
mera zaahir1 haqiiqat2 meN vahi hai jo mera baatin3
meri nazroN4 meN yaksaaN5 hai, koi kaafir6 ho ya momin7 1.appearance, outside 2.reality 3.inside, hidden nature 4.eyes 5.equal 6.non-believer 7.believer
What is apparent on the outside, in reality is the same as my inner self. In my eyes, all are equality, whether of my own religion, or a different faith.
7
azal1 se taa2 abad3 jo kuchh bhi hai voh sab mohabbat hai
meri fitrat4 mohabbat hai mera mazhab5 mohabbat hai 1.beginning of time 2.until 3.end of time 4.nature 5.faith
From the beginning of eternity to its end, whatever exists is all love. My nature is love, my faith is love.
saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.
1
mohabbat se binaa1-e fitrat-e-aadam2 samajhta huN
mohabbat par madaar3-e hasti4-e aalam5 samajhta huN
1.foundation 2.human nature 3.basis 4.existence 5.world
I perceive human nature as built on love I see the existence of the world as based on (universal) love.
2
mohabbat hi ka nazzaara1 hai basti2 ho keh veeraana3
mohabbat hi ka partav4 hai haram5 ho ya sanam-Khaana6
1.scene 2.settlement 3.wilderness 4.reflection 5.mosque 6.house of idols, temple
Love is the spectacle whether it’s a settlement or a wilderness. Love is the essence whether it’s a mosque/sanctuary or an idol-house/temple.
3
mohabbat kufr1 bhi, imaan2 bhi, kasrat3 bhi, vahdat4 bhi
mohabbat maqsad5-e takhleeq6 bhi, ain7-e ibaadat8 bhi
1.other belief 2.islamic belief 3.many 4.one-ness 5.purpose 6.creation 7.essence 8.worship
Love is other-belief, own-faith, multiplicity, and unity. Love is the purpose of creation, it is the essence of worship.
4
maiN shaa’er huN, mujhe har unsur1-e hasti2 se ulfat3 hai
meri duniya meN keena4 hai, adaavat5 hai, na nafrat6 hai
1.component, element 2.creation 3.love 4.
I am a poet, I feel affinity with every element of existence. In my world, there is neither envy, nor ravalry, nor hatred.
5
mohabbat hai azal1 se hii mujhe anvaar2-e yazdaaN3 se
meri fitrat4 ko nisbat5 hi nahiN kuch kufr6 o imaaN7 se
1.eternal beginning 2.rays of light 3.divine 4.nature 5.assocation 6.other belief 7.own belief
Love has been my illumination since eternity. My nature is related neither to other-belief nor to own-faith.
6
mera zaahir1 haqiiqat2 meN vahi hai jo mera baatin3
meri nazroN4 meN yaksaaN5 hai, koi kaafir6 ho ya momin7
1.appearance, outside 2.reality 3.inside, hidden nature 4.eyes 5.equal 6.non-believer 7.believer
What is apparent on the outside, in reality is the same as my inner self. In my eyes, all are equality, whether of my own religion, or a different faith.
7
azal1 se taa2 abad3 jo kuchh bhi hai voh sab mohabbat hai
meri fitrat4 mohabbat hai mera mazhab5 mohabbat hai
1.beginning of time 2.until 3.end of time 4.nature 5.faith
From the beginning of eternity to its end, whatever exists is all love. My nature is love, my faith is love.
The post mera mazhab-saadhu raam aarzu sahaaranpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/06/pmkn-har-ek-mera-maiKhaana-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ہر اک مرا میخانہ ۔ پنڈت مہاراج کرشن ندیمؔ
۱
ہے عشق کی نظروں میں بے شک وہی فرزانہ
دنیائے محبت میں کہلائے جو دیوانہ
۲
ہوں رِندِ خراباتی مشرب مرا رندانہ
بتخانہ ہو یا کعبہ ہر اک مرا مے خانہ
۳
وہ ایک ہی مالک ہے اِن دونوں مکانوں کا
کعبہ بھی اُسی کا ہے جس کا ہے صنم خانہ
۴
کچھ لطف اُٹھا زاہد رِندی کا مزا بھی چکھ
اک ہاتھ میں ہو سُبّحہ اک ہاتھ میں پیمانہ
۵
دونوں کی کشِش سے میں ساکِت ہوں جہاں پر ہوں
رخ ہے طرفِ کعبہ دِل جانبِ بتخانہ
۶
عشّاق، مناسب ہے لو چل کے سبق اُس سے
تم سے کہیں بہتر ہے دل سوختہ پروانہ
۷
پایا ہے لقب اچھا واللہ مبارک ہو
کہتے ہیں ندیمؔ اب تو سب آپ کو دیوانہ
हर एक मेरा मयख़ाना – पंडित महाराज कृष्ण नदीम
१
है इश्क़ की नज़्रौं में बेशक वही फ़र्ज़ाना
दुनिया-ए मोहब्बत में कहलाए जो दीवाना
२
हूँ रिंद-ए ख़राबाती मश्रब मेरा रिंदाना
बुत-ख़ाना हो या का’बा हर एक मेरा मैख़ाना
३
वो एक ही मालिक है इन दोनों मकानों का
का’बा भी उसी का है जिस का है सनम-ख़ाना
४
कुछ लुत्फ़ उठा ज़ाहेद रिंदी का मज़ा भी चख
एक हाथ में हो सुब्बह एक हाथ में पैमाना
५
दोनों की कशिश से मैं साकित हूँ जहां पर हूँ
रुख़ है तरफ़-ए का’बा दिल जानिब-ए बुतख़ाना
६
उश्शाक़, मुनासिब है लो चल के सबक़ उस से
तुम से कहीं बेहतर है दिल-सोख़्ता पर्वाना
७
पाया है लक़ब अच्छा वल्लाह मुबारक हो
कहते हैं नदीम अब तो सब आप को दीवाना
Click here for background and on any passage for word meanings and explanatory discussion. panDit maharaj krishn (~1880-~1950) followed the family tradition established by his grandfather and father into composing in urdu. Initially, he used ‘maftoon’ as his taKhallus and then switched to ‘nadiim’. There is precious little by way of biographical notes but in the book that I have access to, there is reference to his rubaaii published in magazines from 1908-1912 and a note on the first volume of his diivaan about to be published. safi lakhnavi (1862-1950) is listed as his ustaad.
1
hai ishq ki nazroN1 meN beshak2 vahi farzaana3
duniya-e mohabbat meN kahlaa’e jo diivaana 1.eyes 2.without a doubt 3.wise
There is no doubt that in the eyes of love, only they are considered wise, who in the world of love are known as fools. This is talking about sufiyaana/universal love. In this field, there is no calculation of gain or loss. It has to be unquestioning love for its own sake. Blind love … which may be considered foolish. Only those who have such love can be considered wise.
2
huN rind1-e Kharaabaati2 mashrab3 mera rindaana4
butKhaana5 ho ya kaa’ba har ek mera maiKhaana6 1.wine lover, one who drinks to excess 2.tavern patron 3.way, path, faith 4.that of a wine lover 5.idol house, temple 6.tavern
The tavern is considered to be a liberal, open space, welcoming all equally. The wine in this she’r could easily be the wine of love … universal love in the sufi spirit. Thus, I am a patron of the tavern (universally welcoming place) and my faith is that of a lover of the wine of universal love. Be it the mosque or the temple they are both like a maiKhaana (tavern) to me.
3
voh ek hi maalik hai in donoN makaanoN1 ka
kaa’ba bhi usi ka hai jis ka hai sanam-Khaana2 1.houses 2.idol house, temple
It is the same owner of both houses. The kaa’ba belongs to him as does the temple.
4
kuchh lutf1 uTha zaahid2 rindi3 ka maza bhi chakh4
ek haath meN ho subb’h5 ek haath meN paimaana6 1.pleasure 2.observant, teetotaler, preacher 3.wine-drinking 4.get a taste 5.prayer beads, rosary 6.cup of wine
O zaahid, experience some pleasure at least. Try a taste of wine, holding your tasbiih (prayer beads) in one hand and a cup of wine in the other.
5
donoN ki kashish1 se maiN saakit2 huN jahaaN3 par huN
ruKh4 hai taraf5-e kaa’ba dil jaanib6-e butKhaana7 1.attraction, pull 2.stationary, still 3.where 4.face 5.towards 6.towards 7.idol-house, temple
I stand still due to the pull of both. I stand still/undecided face towards the kaa’ba and the heart in the temple. Said Ghalib …
iimaaN mujhe roke hai jo khaiNche hai mujhe kufr
ka’bah mere piichhe hai kaliisaa mere aage
6
ushshaaq1, munaasib2 hai lo chal ke sabaq3 us se
tum se kahiN behtar4 hai dil-soKhta5 parvaana6 1.lovers 2.appropriate 3.lessons 4.better 5.burning heart, passionate 6.moth
The moth is considered to love the candle flame and it keeps circling it even at the risk of getting burnt to death. It is help as the ideal lover. Thus, the poet calls upon all lovers to get lessons from the moth, passionately in love with the candle flame, because it is much better than them.
7
paaya1 hai laqab2 achchha vallaah3 mubaarak4 ho
kahte haiN nadiim5 ab to sab aap ko diivaana6 1.acquired 2.title 3.by god 4.felicitations, congratulations 5.pen-name of the poet 6.mad
Congratulations O nadiim, by god you have acquited a new title/reputation. Now everyone calls you stark raving mad.
panDit maharaj krishn (~1880-~1950) followed the family tradition established by his grandfather and father into composing in urdu. Initially, he used ‘maftoon’ as his taKhallus and then switched to ‘nadiim’. There is precious little by way of biographical notes but in the book that I have access to, there is reference to his rubaaii published in magazines from 1908-1912 and a note on the first volume of his diivaan about to be published. safi lakhnavi (1862-1950) is listed as his ustaad.
1
hai ishq ki nazroN1 meN beshak2 vahi farzaana3
duniya-e mohabbat meN kahlaa’e jo diivaana
1.eyes 2.without a doubt 3.wise
There is no doubt that in the eyes of love, only they are considered wise, who in the world of love are known as fools. This is talking about sufiyaana/universal love. In this field, there is no calculation of gain or loss. It has to be unquestioning love for its own sake. Blind love … which may be considered foolish. Only those who have such love can be considered wise.
2
huN rind1-e Kharaabaati2 mashrab3 mera rindaana4
butKhaana5 ho ya kaa’ba har ek mera maiKhaana6
1.wine lover, one who drinks to excess 2.tavern patron 3.way, path, faith 4.that of a wine lover 5.idol house, temple 6.tavern
The tavern is considered to be a liberal, open space, welcoming all equally. The wine in this she’r could easily be the wine of love … universal love in the sufi spirit. Thus, I am a patron of the tavern (universally welcoming place) and my faith is that of a lover of the wine of universal love. Be it the mosque or the temple they are both like a maiKhaana (tavern) to me.
3
voh ek hi maalik hai in donoN makaanoN1 ka
kaa’ba bhi usi ka hai jis ka hai sanam-Khaana2
1.houses 2.idol house, temple
It is the same owner of both houses. The kaa’ba belongs to him as does the temple.
4
kuchh lutf1 uTha zaahid2 rindi3 ka maza bhi chakh4
ek haath meN ho subb’h5 ek haath meN paimaana6
1.pleasure 2.observant, teetotaler, preacher 3.wine-drinking 4.get a taste 5.prayer beads, rosary 6.cup of wine
O zaahid, experience some pleasure at least. Try a taste of wine, holding your tasbiih (prayer beads) in one hand and a cup of wine in the other.
5
donoN ki kashish1 se maiN saakit2 huN jahaaN3 par huN
ruKh4 hai taraf5-e kaa’ba dil jaanib6-e butKhaana7
1.attraction, pull 2.stationary, still 3.where 4.face 5.towards 6.towards 7.idol-house, temple
I stand still due to the pull of both. I stand still/undecided face towards the kaa’ba and the heart in the temple. Said Ghalib …
iimaaN mujhe roke hai jo khaiNche hai mujhe kufr
ka’bah mere piichhe hai kaliisaa mere aage
6
ushshaaq1, munaasib2 hai lo chal ke sabaq3 us se
tum se kahiN behtar4 hai dil-soKhta5 parvaana6
1.lovers 2.appropriate 3.lessons 4.better 5.burning heart, passionate 6.moth
The moth is considered to love the candle flame and it keeps circling it even at the risk of getting burnt to death. It is help as the ideal lover. Thus, the poet calls upon all lovers to get lessons from the moth, passionately in love with the candle flame, because it is much better than them.
7
paaya1 hai laqab2 achchha vallaah3 mubaarak4 ho
kahte haiN nadiim5 ab to sab aap ko diivaana6
1.acquired 2.title 3.by god 4.felicitations, congratulations 5.pen-name of the poet 6.mad
Congratulations O nadiim, by god you have acquited a new title/reputation. Now everyone calls you stark raving mad.
The post har ek mera maiKhaana-panDit maharaj krishn nadiim appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/rafal-agar-hai-laazim-keh-maiN-maruN-to-audio.mp3
mahmood piracha tarjuma
https://urdushahkar.org/wp-content/uploads/2024/05/rafal-If-I-must-die-audio.mp3
raf’at al’ariir English
- اُردو
- देवनागरी
- Roman
- Notes
- raf’at al’ariir
اگر ہے لازم کہ میں مروں تو
غزّہ کے شہید شاعر رفعت العرعیر کی انگریزی نطم کا اُردو ترجمہ
محمود پراچہ
۱
اگر ہے لازم کہ میں مروں تو
تمہیں ہے جینا
۲
مری کہانی سنا سکو تم
مری سب اشیا فروخت کر کے
ذرا سا کپڑا ذرا سا دھاگا
خرید پاؤ
(سفید ہو ساتھ لمبی دُم ہو)
۳
کہ جب بھی غَزّہ میں کوئی بچّہ
فلک سے نظریں ملائے اپنی
جب اپنے بابا کا منتظر ہو
جو آگ میں یوں چلا گیا تھا
۴
(وداع بھی جو نہ کہہ سکا تھا
نہ تن کو اپنے نہ اپنے من کو)
۵
پتنگ میری وہ اُڑتی دیکھے
پتنگ جو تم نے ہو بنائی
۶
اور ایک پل کے لیے یہ سوچے
ہے اک فرشتہ جو کر رہا ہے
محبتوں کو بحال پھر سے
۷
اگر مری موت اب اٹل ہے
تو یہ امیدوں کو پھر جگاۓ
یہ اک کہانی کا روپ پاۓ
अगर है लाज़िम के मैं मरूं तो
ग़ज़्ज़ा के शहीद शा’एर रफ़’अत अल’अरीर की अंग्रेज़ी नज़्म का उर्दू तर्जुमा
महमूद पिराचा
१
अगर है लाज़िम के मैं मरूं तो
तुम्हें है जीना
मेरी कहानी सुना सको तुम
२
मेरी सब अशिया फ़रोख़्त कर के
ज़रा सा कपड़ा ज़रा सा धागा
ख़रीद पाओ
(सफ़ेद हो साथ लम्बी दुम हो)
३
के जब भी ग़ज़्ज़ा में कोई बच्चा
फ़लक से नज़रें मिलाए अपनी
जब अपने बाबा का मुंतज़िर हो
जो आग में यूं चला गया था
४
(विदा भी जो न कह सका था
न तन को अपने न अपने मन को)
५
पतंग मेरी वो उढती देखे
पतंग जो तुम ने हो बनाई
६
और एक पल के लिए ये सोचे
है एक फ़रिश्ता जो कर रहा है
मुहब्बतों को बहाल फिर से
७
अगर मेरी मौत अब अटल है
तो ये उम्मीदों को फिर जगाए
ये एक कहानी का रूप पाए
Click here for background and on any passage for word meanings and explanatory discussion. agar hai laazim keh maiN maruN to
Ghazzah ke shahiid shaa’er raf’at al’areer ki aNgrezi nazm ka urdu tarjuma mahmood piracha
raf’at al’areer (1979-2023) poet, activist, writer. Professor, English literature and creative writing, Islamic University, Ghazzah. Killed in a targetted bombing attack by Israel.
mahmood piracha lives in Toronto, Canada. He has a deep appreciation for Urdu poetry and enjoys reading the works of ghalib, mir, faiz, noon miim rashid, ibn-e-insha, ahmed faraz, and other poets. He has a keen interest in Urdu meter as well. mahmood has made valuable contributions to interpretations of several posts on urdushahkar.
1
agar hai laazim keh maiN maruN to
tumheN hai jiina If I must die,
you must live
2
meri kahaani suna sako tum
meri sab ashya faroKht kar ke
zara sa kapRa zara sa dhaaga
Khariid paa’o
(safed ho saath lambi dum ho to tell my story
to sell my things
to buy a piece of cloth
and some strings,
(make it white with a long tail)
3
keh jab bhi Ghazzah meN koi bachcha
falak se nazreN milaa’e apni
jab apne baaba ka muntazir ho
jo aag meN yuN chala gaya tha so that a child, somewhere in Gaza
while looking heaven in the eye
awaiting his dad who left in a blaze—
4
(vida’ bhi jo na kah saka tha
nah tan ko apne nah apne man ko) and bid no one farewell
not even to his flesh
not even to himself—
5
pataNg meri vo uRti dekhe
pataNg jo tum ne ho banaai sees the kite, my kite you made, flying up above
6
aur ek pal ke liye yeh soche
hai ek farishta jo kar raha hai
mohabbatoN ko bahaal phir se and thinks for a moment an angel is there
bringing back love
7
agar meri maut ab aTal hai
to yeh umiidoN ko phir jagaa’e
yeh ek kahaani ka roop paa’e If I must die
let it bring hope
let it be a tale
agar hai laazim keh maiN maruN to
Ghazzah ke shahiid shaa’er raf’at al’areer ki aNgrezi nazm ka urdu tarjuma mahmood piracha
raf’at al’areer (1979-2023) poet, activist, writer. Professor, English literature and creative writing, Islamic University, Ghazzah. Killed in a targetted bombing attack by Israel.
mahmood piracha lives in Toronto, Canada. He has a deep appreciation for Urdu poetry and enjoys reading the works of ghalib, mir, faiz, noon miim rashid, ibn-e-insha, ahmed faraz, and other poets. He has a keen interest in Urdu meter as well. mahmood has made valuable contributions to interpretations of several posts on urdushahkar.
1
agar hai laazim keh maiN maruN to
tumheN hai jiina
If I must die,
you must live
2
meri kahaani suna sako tum
meri sab ashya faroKht kar ke
zara sa kapRa zara sa dhaaga
Khariid paa’o
(safed ho saath lambi dum ho)
to tell my story
to sell my things
to buy a piece of cloth
and some strings,
(make it white with a long tail)
3
keh jab bhi Ghazzah meN koi bachcha
falak se nazreN milaa’e apni
jab apne baaba ka muntazir ho
jo aag meN yuN chala gaya tha
so that a child, somewhere in Gaza
while looking heaven in the eye
awaiting his dad who left in a blaze—
4
(vida’ bhi jo na kah saka tha
nah tan ko apne nah apne man ko)
and bid no one farewell
not even to his flesh
not even to himself—
5
pataNg meri vo uRti dekhe
pataNg jo tum ne ho banaai
sees the kite, my kite you made, flying up above
6
aur ek pal ke liye yeh soche
hai ek farishta jo kar raha hai
mohabbatoN ko bahaal phir se
and thinks for a moment an angel is there
bringing back love
7
agar meri maut ab aTal hai
to yeh umiidoN ko phir jagaa’e
yeh ek kahaani ka roop paa’e
If I must die
let it bring hope
let it be a tale
If I must die
raf’at al’ariir
(1979-2023) poet, activist, writer. Professor, English literature and creative writing, Islamic University, Ghazzah. Killed in a targetted bombing attack by Israel.
If I must die,
you must live
to tell my story
to sell my things
to buy a piece of cloth
and some strings,
(make it white with a long tail)
so that a child, somewhere in Gaza
while looking heaven in the eye
awaiting his dad who left in a blaze—
and bid no one farewell
not even to his flesh
not even to himself—
sees the kite, my kite you made, flying up above
and thinks for a moment an angel is there
bringing back love
If I must die
let it bring hope
let it be a tale
The post If I must die-raf’at al’ariir-mahmood piracha appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/kgm-maatam-e-nehru-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ماتمِ نہرو ۔ کرشن گوپال مغمومؔ
۱
دوستو! یہ نہ کہنا خدا کے لئے، اپنے محبوب نیتا کو موت آ گئی
اِک کرن آج سمٹی اِس انداز سے، چاند سورج کے جلوؤں کو شرما گئی
۲
ساری دھرتی پہ کہرام سا مچ گیا، آج اِک قہر سا قہر نازل ہوا
زلزلہ آگیا، آسماں پھٹ پڑا، یا زمیں اِک ستارے سے ٹکرا گئی
۳
مرحلے پُر خطر پھر بھی گرمِ سفر، ہر قدم تیز تر مسکراتی نظر
اپنی منزل کا رنگیں تصوّر لئے اِک مسافر کو رستے میں نیند آ گئی
۴
باغباں اُٹھ گیا لیکن اُس کا لہو، خاک میں مل گیا بن کے جوشِ نمو
آنکھ اُٹھا کر تو دیکھو چمن دوستو، ہر طرف رنگ پرور بہار آ گئی
۵
ایک جادو تھا یا اُس کی آواز تھی، حاصلِ سوز تھی، حاملِ ساز تھی
اُس کی آواز جب بھی پڑی کان میں، ہم تغافل پسندوں کو چونکا گئی
۶
امن کا جنگ بازوں کو قائل کیا، عافیت کی طرف اُن کو مائل کیا
اُس کی تعلیم ہی کا نتیجہ ہے یہ، آج دُنیا کہاں سے کہاں آ گئی
۷
جب تعصُّب سے تاریک تھی کُل فضا، اُس کی شمع محبّت کی دلکش ضیا
جھلملاتی ہوئی، جگمگاتی ہوئی، سُو بہ سُو چادرِ نور پھیلا گئی
۸
حلقۂ غم کی وسعت تو دیکھو ذرا، ساری دُنیا بنی آج ماتم سرا
ایک دیر و حرم ہی نہیں رو رہے، آج چشمِ کلیسا بھی پتھرا گئی
۹
سامنے اُس کا ایثار و کردار ہے، قوم بیدار ہے، راہ ہموار ہے
ہم نے اپنائی ہے اُس کی سچّی لگن، چند گام اور منزل قریب آ گئی
۱۰
جسم اُس کا بنا جزوِ خاکِ وطن، روح اُس کی بنی جذبۂ کوہکن
آج کا ہند نہرو کی تصویر ہے، کون کہتا ہے نہرُو کو موت آ گئی
मातम-ए नहरू – क्रिष्ण गोपाल मग़्मूम
१
दोस्तो! ये न कहना ख़ुदा के लिये, अपने महबूब नेता को मौत आ गई
एक किरन आज सिम्टी इस अंदाज़ से, चांद सूरज के जल्वौं को शरमा गई
२
सारी धर्ती पे कोहराम सा मच गया, आज एक क़हर सा क़हर नाज़िल हुआ
ज़ल्ज़ला आ गया, आस्मां फट पढा, या ज़मीं एक सितारे से टक्रा गई
३
मरहले पुर-ख़तर, फिर भी गर्म-ए सफ़र, हर क़दम तेज़-तर, मुस्कुराती नज़र
अपनी मंज़िल का रंगीं तसव्वुर लिये, एक मुसाफ़र को रस्ते में नींद आ गई
४
बाग़्बां उठ तया लैकिन उस का लहू, ख़ाक में मिल गया बन के जोश-ए नुमू
आंख उठा कर तो देखो चमन दोस्तो, हर तरफ़ रंग परवर बहार आ गई
५
एक जादू था या उस की आवाज़ थी, हासिल-ए सोज़ थी, हामिल-ए साज़ थी
उस की आवाज़ जब भी पढी कान में, हम तग़ाफ़ुल पसंदौं को चौंका गई
६
अम्न का जंग-बाज़ौं को क़ा’एल किया, आफ़िय्यत की तरफ़ उन को मा’एल किया
उस की तालीम हि का नतीजा है ये, आज दुनिया कहां से कहां आ गई
७
जब ता’अस्सुब से तारीक थी कुल फ़ज़ा, उस की शम’अ-ए मोहब्बत की दिल्कश ज़िया
झिल्मिलाती हुई, जगमगाती हुई, सू-ब-शू चादर-ए नूर फैला गई
८
हल्क़ा-ए ग़म कि सूरत तो देखो ज़रा, सारी दुनिया बनी आज मातम सरा
एक दैर ओ हरम हि नहीं रो रहे, आज चश्म-ए कलिसा भी पथ्रा गई
९
सामने उस का ईसार ओ किर्दार है, क़ौम बेदार है, राह हमवार है
हम ने अपनाई है उस की सच्ची लगन, चंद गाम और मंज़िल क़रीब आ गई
१०
जिस्म उस का बना जुज़्व-ए ख़ाक-ए वतन, रूह उस की बनी जज़्बा-ए कोहकन
आज का हिन्द नहरू की तस्वीर है, कौन कहता है नहरू को मौत आ गई
Click here for background and on any passage for word meanings and explanatory discussion. krishn gopal baada maGhmum (1916-xxxx), aTak district (now in pakistan). His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er. Ill-treatment by his stepmother drove him to seclusion and reading. All the books at home including religious texts were in urdu. He read up all of them and learnt to write too. Interest in shaa’eri started from childhood. In college he was class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom. Continued education incluing Public Service Commission exam. Worked for the government of panjab and later haryana, retiring in 1974. At least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm. This is one of several nazm composed as a tribute to nehru, some during his lifetime, others upon his passing.
1
dosto! ye na kahna Khuda ke liye, apne mahboob1 neta2 ko maut aa gaii
ek kiran3 aaj simTi4 is andaaz5 se, chaand sooraj ke jalvoN6 ko sharma6 gaii 1.beloved 2.leader 3.ray of light 4.contract, shrink 5.style, manner, method 5.appearance, manifestation 7.shamed, put to shame
Friends, do not say that our favourite leader is dead. It is just that this ray of light has shrunk/set in such an elegant manner that it puts even the sun and moon to shame.
2
saari dharti pe kohraam sa much gaya, aaj ek qahar sa qahr naazil hua
zalzala aa gaya, aasmaaN phaT paRa, ya zamiN ek sitaare se Takra gaii 1.land, country 2.lamentation 3.calamity 4.descended 5.earthquake
Lamentation spread throughout the land as if a calamity had descended, as if the earth shook and the sky burst and tore or the earth collided with a star.
3
marhale1 pur-Khatar2, phir bhi garm3-e safar4, har qadam5 tez-tar6, muskuraati nazar
apni manzil7 ka raNgiiN tasavvur8 liye, ek musaafir9 ko raste meN niind aa gaii 1.obstacles 2.full of danger 3.busy, enthusiastic 4.journey 5.step 6.faster 7.destination 8.imagination, vision 9.seeker
The obstacles in his way were full of danger/pitfalls, but he was steadfast on his journey, with each step faster than the one before and a smile on his lips. He was headed to his destination carrying the colourful/beautiful vision of his goal in his mind. But sleep descended on the seeker mid-way throught the journey.
4
baaGhbaaN1 uTh gaya laikin us ka lahu2, Khaak3 meN mil gaya ban ke josh4-e numuu5
aaNkh uTha kar to dekho chaman dosto, har taraf6 raNg-parvar7 bahaar8 aa gaii 1.gardener 2.blood 3.dust, soil 4.passion 5.emergence, renewal 6.direction 7.colour nurturing, colourful 8.spring
The gardener may be gone, but his blood mingled with the soil and became a passion of renewal. Raise your eyes and look at the garden, my friends. In every direction a colourful spring appears.
5
ek jaadu1 tha ya us ki aavaaz thi, haasil2-e soz3 thi, haamil4-e saaz5 thi
us ki aavaaz jab bhi paRi kaan meN, hum taGhaaful-pasandoN6 ko chauNka7 gaii 1.enchantment 2.result, yield 3.sorrow, pain 4.containing, pregnant 5.music 6.leisure loving 7.alerted, awakened
Was it enchantment or was it his call, the result of long years of pain, pregnant with the music of hope. Whenever we heard that call, it awakened us, called us leisure lovers to action.
6
amn ka juNg-baazoN ko qaa’el kiya, aafiyyat ki taraf un ko maa’el kiya
us ki taaliim hi ka nateeja hai ye, aaj duniya kahaaN se kahaaN ho gaii 1.peace 2.war-mongers 3.convinced 4.survival, well-being 5.towards 6.agree 7.teaching 8.result
He convinced war-mongers to make peace, got them to agree peaceful existence. It is the result of his teaching that the world has reached this stage of peaceful co-existence.
7
jab ta’assub1 se tariik2 thi kul3 faza4, us ki sham’a5-e mohabbat ki dilkash6 ziya7
jhilmilaati hui, jagmagaati hui, suu-ba-suu8 chaadar-e noor9 phaila gaii 1.communalism 2.dark 3.all 4.atmosphere, surroundings 5.lamp 6.pleasant 7.light 8.all directions 9.light
When the darkness of communalism spread all around us, his pleasant light of love, shining and twinkling, spread a sheet of light in every direction.
8
halqa1-e Gham ki soorat to dekho zara, saari duniya bani aaj maatam-sara2
ek dair3 o haram4 hi nahiN ro rahe, aaj chashm5-e kaliisa6 bhi pathhra7 gaii 1.circle 2.place of mourning 3.temple 4.mosque 5.eyes 6.church 7.turned to stone
Just look at the circle of mourners. The whole world is mourning. It is not just the mosque and temple that are crying, the eyes of the church too have turned to stone.
9
saamne us ka eesaar1 o kirdaar2 hai, qaum3 bedaar4 hai, raah5 hamvaar6 hai
hum ne apnaaii7 hai us ki sachchi lagan8, chand9 gaam10 aur manzil11 qariib12 aa gaii 1.offering, giving, generosity 2.character 3.community 4.awakened 5.path 6.even, free of obstacles 7.adopted, owned 8.desire, yearning 9.a few 10.steps 11.destination 12.near
We see before us his generosity and character. Because of his work the community is awakened and the path ahead has been cleared. If we adopt his real yearning, then a few more steps the destination will be at hand.
10
jism us ka bana juzv-e Khaak-e vatan, rooh us ki bani jazba-e kohkan
aaj ka hind nehru ki tasviir hai, kaun kahta hai nehru ko maut aa gaii 1.body 2.part of 3.soil 4.homeland 5.spirit 6.emotion, passion 7.stone mason, farhaad of shiriN-farhaad legend
‘farhaad-kohkan’ is legendary for his single-minded passion of achieving his goal, cutting a channel throught he mountain to win the hand of shirin. His body has become a part of the soil of the homeland. His spirit reflects the passion of farhaad. Today’s India is a reflection of nehru. Who says nehru is dead (what naïve optimism!!!!!).
krishn gopal baada maGhmum (1916-xxxx), aTak district (now in pakistan). His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er. Ill-treatment by his stepmother drove him to seclusion and reading. All the books at home including religious texts were in urdu. He read up all of them and learnt to write too. Interest in shaa’eri started from childhood. In college he was class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom. Continued education incluing Public Service Commission exam. Worked for the government of panjab and later haryana, retiring in 1974. At least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm. This is one of several nazm composed as a tribute to nehru, some during his lifetime, others upon his passing.
1
dosto! ye na kahna Khuda ke liye, apne mahboob1 neta2 ko maut aa gaii
ek kiran3 aaj simTi4 is andaaz5 se, chaand sooraj ke jalvoN6 ko sharma6 gaii
1.beloved 2.leader 3.ray of light 4.contract, shrink 5.style, manner, method 5.appearance, manifestation 7.shamed, put to shame
Friends, do not say that our favourite leader is dead. It is just that this ray of light has shrunk/set in such an elegant manner that it puts even the sun and moon to shame.
2
saari dharti pe kohraam sa much gaya, aaj ek qahar sa qahr naazil hua
zalzala aa gaya, aasmaaN phaT paRa, ya zamiN ek sitaare se Takra gaii
1.land, country 2.lamentation 3.calamity 4.descended 5.earthquake
Lamentation spread throughout the land as if a calamity had descended, as if the earth shook and the sky burst and tore or the earth collided with a star.
3
marhale1 pur-Khatar2, phir bhi garm3-e safar4, har qadam5 tez-tar6, muskuraati nazar
apni manzil7 ka raNgiiN tasavvur8 liye, ek musaafir9 ko raste meN niind aa gaii
1.obstacles 2.full of danger 3.busy, enthusiastic 4.journey 5.step 6.faster 7.destination 8.imagination, vision 9.seeker
The obstacles in his way were full of danger/pitfalls, but he was steadfast on his journey, with each step faster than the one before and a smile on his lips. He was headed to his destination carrying the colourful/beautiful vision of his goal in his mind. But sleep descended on the seeker mid-way throught the journey.
4
baaGhbaaN1 uTh gaya laikin us ka lahu2, Khaak3 meN mil gaya ban ke josh4-e numuu5
aaNkh uTha kar to dekho chaman dosto, har taraf6 raNg-parvar7 bahaar8 aa gaii
1.gardener 2.blood 3.dust, soil 4.passion 5.emergence, renewal 6.direction 7.colour nurturing, colourful 8.spring
The gardener may be gone, but his blood mingled with the soil and became a passion of renewal. Raise your eyes and look at the garden, my friends. In every direction a colourful spring appears.
5
ek jaadu1 tha ya us ki aavaaz thi, haasil2-e soz3 thi, haamil4-e saaz5 thi
us ki aavaaz jab bhi paRi kaan meN, hum taGhaaful-pasandoN6 ko chauNka7 gaii
1.enchantment 2.result, yield 3.sorrow, pain 4.containing, pregnant 5.music 6.leisure loving 7.alerted, awakened
Was it enchantment or was it his call, the result of long years of pain, pregnant with the music of hope. Whenever we heard that call, it awakened us, called us leisure lovers to action.
6
amn ka juNg-baazoN ko qaa’el kiya, aafiyyat ki taraf un ko maa’el kiya
us ki taaliim hi ka nateeja hai ye, aaj duniya kahaaN se kahaaN ho gaii
1.peace 2.war-mongers 3.convinced 4.survival, well-being 5.towards 6.agree 7.teaching 8.result
He convinced war-mongers to make peace, got them to agree peaceful existence. It is the result of his teaching that the world has reached this stage of peaceful co-existence.
7
jab ta’assub1 se tariik2 thi kul3 faza4, us ki sham’a5-e mohabbat ki dilkash6 ziya7
jhilmilaati hui, jagmagaati hui, suu-ba-suu8 chaadar-e noor9 phaila gaii
1.communalism 2.dark 3.all 4.atmosphere, surroundings 5.lamp 6.pleasant 7.light 8.all directions 9.light
When the darkness of communalism spread all around us, his pleasant light of love, shining and twinkling, spread a sheet of light in every direction.
8
halqa1-e Gham ki soorat to dekho zara, saari duniya bani aaj maatam-sara2
ek dair3 o haram4 hi nahiN ro rahe, aaj chashm5-e kaliisa6 bhi pathhra7 gaii
1.circle 2.place of mourning 3.temple 4.mosque 5.eyes 6.church 7.turned to stone
Just look at the circle of mourners. The whole world is mourning. It is not just the mosque and temple that are crying, the eyes of the church too have turned to stone.
9
saamne us ka eesaar1 o kirdaar2 hai, qaum3 bedaar4 hai, raah5 hamvaar6 hai
hum ne apnaaii7 hai us ki sachchi lagan8, chand9 gaam10 aur manzil11 qariib12 aa gaii
1.offering, giving, generosity 2.character 3.community 4.awakened 5.path 6.even, free of obstacles 7.adopted, owned 8.desire, yearning 9.a few 10.steps 11.destination 12.near
We see before us his generosity and character. Because of his work the community is awakened and the path ahead has been cleared. If we adopt his real yearning, then a few more steps the destination will be at hand.
10
jism us ka bana juzv-e Khaak-e vatan, rooh us ki bani jazba-e kohkan
aaj ka hind nehru ki tasviir hai, kaun kahta hai nehru ko maut aa gaii
1.body 2.part of 3.soil 4.homeland 5.spirit 6.emotion, passion 7.stone mason, farhaad of shiriN-farhaad legend
‘farhaad-kohkan’ is legendary for his single-minded passion of achieving his goal, cutting a channel throught he mountain to win the hand of shirin. His body has become a part of the soil of the homeland. His spirit reflects the passion of farhaad. Today’s India is a reflection of nehru. Who says nehru is dead (what naïve optimism!!!!!).
The post maatam-e nehru – krishn gopal maGhmoom appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/tst-aah-nehru-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آہ نہرو ۔ طاہرہ سعید طاہرہؔ
۱
آج کیوں اِس قدر اندھیرا ہے
دل کو کیوں رنج و غم نے گھیرا ہے
شام بے نور، گل ہیں پژمردہ
بزم سے کس نے منہ کو پھیرا ہے
۲
ہند کا آفتاب ڈوب گیا
قوم کا ماہتاب ڈوب گیا
موت کے دائمی سمندر میں
گوہرِ لاجواب ڈوب گیا
۳
امنِ عالم کا پیشوا نہ رہا
نئے بھارت کا رہنما نہ رہا
رات اندھیری ہے سامنے طوفاں
کشتی باقی ہے ناخدا نہ رہا
۴
غم سے سوزِ حیات باقی ہے
بس یہی کائنات باقی ہے
ساتھیو صبح کی دعا مانگو
بجھ گئی شمع رات باقی ہے
आह नेहरू – ताहरा स’ईद ताहरा
१
आज क्यूं इस क़दर अंधेरा है
दिल को क्यूं रंज ओ ग़म ने घेरा है
शाम बे-नूर, गुल हैं पज़्श्मुर्दा
बज़्म से किस ने मुंह को फेरा है
२
हिंद का आफ़्ताब डूब गया
क़ौम का माहताब डूब गया
मौत के दा’एमी समंदर में
गौहर-ए लाजवाब डूब गया
३
अम्न-ए आलम का पेश्वा न रहा
नये भारत का रहनुमा न रहा
रात अंधेरी है सामने तूफ़ां
कश्ती बाक़ी है नाख़ुदा न रहा
४
ग़म से सोज़-ए हयात बाक़ी है
बस यही का’एनात बाक़ी है
साथियो सुबह की दुआ मांगो
बुझ गई शम’अ रात बाक़ी है
Click here for background and on any passage for word meanings and explanatory discussion. baano tahira sayeed tahira (1922-1991+??), hyderabad. Born in agra, raised in lucknow and some in tehran, but finally settled in hyderabad. Poet, translator, fiction writer. Earned a D.Litt, perhaps in urdu. Scholar of faarsi and arabi. There are at least six collections of nazm and Ghazal. She appears to have been very progressive and India loving poet.
1
aaj kyuN is qadar1 andhera hai
dil ko kyuN ranj-o-Gham2 ne ghera hai
shaam be-noor3, gul4 haiN pazshmurda5
bazm6 se kis ne muNh ko phera7 hai 1.so much 2.pain and sorrow 3.without light, dark 4.rose, flowers 5.wilted 6.gathering 7.turned away
Why is there such darkness today. Why is the heart overwhelmed by pain and sorrow. The night is dark and flowers are wilted. Who has turned away from this gathering.
2
hind ka aafataab1 Doob gaya
qaum2 ka maahtaab3 Doob gaya
maut ke daa’emi4 samundar meN
gauhar5-e laajaavaab6 Doob gaya 1.sun 2.homeland 3.moon 4.eternal, endless 5.jewel 6.unequalled
The sun of hindostan has set. The moon of the homeland is gone. Into the endless ocean of death, the unequalled jewel of hindostand has sunk.
3
amn1-e aalam2 ka peshva3 na raha
naye bhaarat ka rahnuma4 na raha
raat andheri hai saamne toofaaN5
kashti baaqi6 hai naaKhuda7 na raha 1.peace 2.world 3.leader, first in line 4.guide 5.storm 6.remaining 7.boatman
The leader of world peace is no more. The guide of bhaarat is gone. The night is dark and there are storm ahead. The boat remains, but the boatman is no more.
4
Gham se soz1-e hayaat2 baaqi3 hai
bas yahi kaa’enaat4 baaqi hai
saathiyo subah ki dua maaNgo
bujh gaii sham’a5 raat baaqi hai 1.fire, pain 2.life 3.remaining 4.universe, world 5.lamp
Because of sorrow the fire/pain of life remains. This is the only world we have left. Comrades, pray of the light of dawn. The lamp has been put out and it is still dark.
baano tahira sayeed tahira (1922-1991+??), hyderabad. Born in agra, raised in lucknow and some in tehran, but finally settled in hyderabad. Poet, translator, fiction writer. Earned a D.Litt, perhaps in urdu. Scholar of faarsi and arabi. There are at least six collections of nazm and Ghazal. She appears to have been very progressive and India loving poet.
1
aaj kyuN is qadar1 andhera hai
dil ko kyuN ranj-o-Gham2 ne ghera hai
shaam be-noor3, gul4 haiN pazshmurda5
bazm6 se kis ne muNh ko phera7 hai
1.so much 2.pain and sorrow 3.without light, dark 4.rose, flowers 5.wilted 6.gathering 7.turned away
Why is there such darkness today. Why is the heart overwhelmed by pain and sorrow. The night is dark and flowers are wilted. Who has turned away from this gathering.
2
hind ka aafataab1 Doob gaya
qaum2 ka maahtaab3 Doob gaya
maut ke daa’emi4 samundar meN
gauhar5-e laajaavaab6 Doob gaya
1.sun 2.homeland 3.moon 4.eternal, endless 5.jewel 6.unequalled
The sun of hindostan has set. The moon of the homeland is gone. Into the endless ocean of death, the unequalled jewel of hindostand has sunk.
3
amn1-e aalam2 ka peshva3 na raha
naye bhaarat ka rahnuma4 na raha
raat andheri hai saamne toofaaN5
kashti baaqi6 hai naaKhuda7 na raha
1.peace 2.world 3.leader, first in line 4.guide 5.storm 6.remaining 7.boatman
The leader of world peace is no more. The guide of bhaarat is gone. The night is dark and there are storm ahead. The boat remains, but the boatman is no more.
4
Gham se soz1-e hayaat2 baaqi3 hai
bas yahi kaa’enaat4 baaqi hai
saathiyo subah ki dua maaNgo
bujh gaii sham’a5 raat baaqi hai
1.fire, pain 2.life 3.remaining 4.universe, world 5.lamp
Because of sorrow the fire/pain of life remains. This is the only world we have left. Comrades, pray of the light of dawn. The lamp has been put out and it is still dark.
The post aah nehru – tahira sa’eed tahira appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/ussh-panDit-nehru-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
پنڈت نہرو ۔ اُدئے سنگھ شائقؔ
۱
قوم کی دشواریاں آسان کرنے کے لئے
کھیل جانا جان پر تیرے لئے مشکل نہ تھا
۲
تیرا شوقِ والہانا بے نیازِ مدعا
تیرا ذوقِ جستجو مِنّت کشِ منزل نہ تھا
۳
وہ سکوں ناآشنا موجوں کا جوشِ اضطراب
آہ، وہ دریا ترا جس کا کوئی ساحل نہ تھا
۴
زِندگی دار و رسن پر رقص میں تیرے حضور
زندگی کو موت کا اندیشۂ باطل نہ تھا
۵
کُودنا بحرِ حوادث میں تھی تیری آرزو
تجھ کو شوقِ لطفِ ہم آغوشیِ ساحل نہ تھا
۶
تیری کِشتِ آرزو پر سو بلاؤں کا نزول
برقِ خرمن کے سوا تیرا کوئی حاصل نہ تھا
۷
عمر بھر جلتا رہا سوزِ وطن کی آگ میں
شعلۂ جوّالہ تھا پہلو میں تیرے دل نہ تھا
۸
تیرے تابع وقت تھا اور دہر میں تیرے لئے
روک لینا گردشِ ایّام کا مشکل نہ تھا
۹
تُو وطن کے واسطے تھا اور وطن تیرے لئے
تیرے اُس کے درمیاں پردہ کوئی حائل نہ تھا
۱۰
پھر شرف ملنے کا حاصل ہو تو یہ پوچھیں تجھے
تُو نے کیوں چھوڑا وطن کیا یہ ترے قابل نہ تھا
पंडित नेहरू – उदय सिंघ शा’एक़
१
क़ौम की दुश्वारियां आसान करने के लिये
खेल जाना जान पर तेरे लिये मुश्किल न था
२
तेरा शौक़-ए वालहाना बे-नियाज़-ए मुद्द’आ
तेरा जौक़-ए जुस्तजू मिन्नत-कश-ए मंज़िल न था
३
वो सुकूं ना-आश्ना मौजौं का जोश-ए इज़्तराब
आह, वो दर्या तेरा जिस का कोई साहिल न था
४
ज़िन्दगी दार ओ रसन पर रक़्स में तेरे हुज़ूर
ज़िन्दगी को मौत का अंदेशा-ए बातिल न था
५
कूदना बहर-ए हवादिस में थी तेरी आर्ज़ू
तुझ को शौक़-ए लुत्फ़-ए हम-आग़ोशि-ए साहिल न था
६
तेरी किश्त-ए आर्ज़ू पर सौ बलाऔं का नुज़ूल
बर्क़-ए ख़िरमन के सिवा तेरा कोई हासिल न था
७
उम्र भर जलता रहा सोज़-ए वतन कि आग में
शो’ला-ए जव्वाला था पहलू में तेरे दिल न था
८
तेरे ताब’ए वक़्त था और दहर में तेरे लिये
रोक लेना गर्दिश-ए अय्याम का मुश्किल न था
९
तू वतन के वास्ते था और वतन तेरे लिये
तेरे उस के दर्मियां पर्दा कोई हाएल न था
१०
फिर शरफ़ मिलने का हासिल हो तो ये पूछें तुझे
तू ने क्यूं छोढा वतन, क्या ये तेरे क़ाबिल न था
Click here for background and on any passage for word meanings and explanatory discussion. udai siNgh shaa’eq (1897-1987), faridkoT, India. He retired as a General in the Indian army and then went on to serve in the legal profession as a solicitor in the panjab government. Retired from there to his ancestral home in faridkoT. This nazm, a tribute to nehru is linked to that icon on the Theme page.
1
qaum1 ki dushvaariyaaN2 aasaan karne ke liye
khel jaana3 jaan par tere liye mushkil4 na tha 1.nation 2.difficulties 3.wager life, put life on the line 4.difficult
To overcome the difficulties of the nation, it was not difficult for you to put your life on the line.
2
tera shauq1-e vaalehaana2 be-niyaaz3-e mudd’uaa4
tera zauq5-e justaju6 minnat-kash7-e manzil8 na tha 1.desire, love 2.mad, passionate, intense 3.unmindful, indifferent 4.personal desire 5.taste, desire 6.effort 7.obliged to 8.destination
Your intense desire was unmindful of any personal gain. Your taste for effort/trying was not obliged to reaching a destination i.e., you kept trying even if it was not obvious that the destination was within reach.
3
vo sukooN1 na-aashna2 maujoN ka josh3-e izteraab4
aah, vo darya5 tera jis ka koii saahil6 na tha 1.tranquility, rest 2.unfamiliar 3.passion 4.restlessness, movement 5.ocean 6.shore
O those waves, passionate for constant movement, unfamiliar with rest. Oh, that ocean of yours that did not know a shore.
4
zindagi daar-o-rasan1 par raqs2 meN tere huzoor3
zindagi ko maut ka andesha4-e baatil5 na tha 1.hanging platform and rope, gallows 2.dance 3.in the presence of, before 4.fear 5.hidden, unknown
Before you (for you), life danced on the gallows. Life (you) were not fearful of the unknown.
5
koodna bahr1-e havaadis2 meN thi teri aarzuu3
tujh ko shauq4-e lutf-e ham-aaGhoshi5-e saahil6 na tha 1.sea 2.mishaps, problems 3.desire 4.wish 5.embrace 6.shore
Your desire was to jump into the sea of problems. You did not wish to embrace the (safety of the) shore.
6
teri kisht1-e aarzu2 par sau balaaoN3 ka nuzool4
barq5-e Khirman6 ke siva7 tera koii haasil8 na tha 1.tillage, field, farm 2.desires 3.calamities 4.descent, coming down 5.lightning 6.harvest 7.except for 8.yield, benefit
In your field of desires, a hundred calamities descended. Except for the lightning strike on the harvest, there was no benefit of your effort.
7
umr-bhar1 jalta raha soz2-e vatan3 ki aag meN
sho’la4-e javvaala5 tha pahlu6 meN tere dil na tha 1.life-long 2.fire, passion 3.homeland 4.flame 5.moving, rising, dancing 6.bosom
All your life you burned in passionate love for the homeland. You had a rising flame in your bosom, not a heart.
8
tere taab’e1 vaqt tha aur dahr2 meN tere liye
rok lena gardish-e-ayyaam3 ka mushkil4 na tha 1.obedient, subordinate 2.world 3.vicissitude of time, changing for fortune 4.difficult
Time was at your command and in the world, it was not difficult for you to change the course of events.
9
tuu vatan1 ke vaaste tha aur vatan tere liye
tere us ke darmiyaaN2 parda3 koii haa’el4 na tha 1.homeland 2.between 3.curtain 4.obstruction
You were for the homeland and the homeland was for you. Between you and the homeland no curtain was hung i.e., you did not keep any secrets from the people and you knew the country intimately.
10
phir sharaf1 milne ka haasil2 ho to yeh poochheN tujhe
tu ne kyuN chhoRa vatan3, kya yeh tere qaabil4 na tha 1.honour, opportunity 2.available, 3.homeland 4.suitable
If we get the opportunity to meet you again, we will ask why did you leave the homeland (why did you die). Was it not good enough for you. This is a lament about his death.
udai siNgh shaa’eq (1897-1987), faridkoT, India. He retired as a General in the Indian army and then went on to serve in the legal profession as a solicitor in the panjab government. Retired from there to his ancestral home in faridkoT. This nazm, a tribute to nehru is linked to that icon on the Theme page.
1
qaum1 ki dushvaariyaaN2 aasaan karne ke liye
khel jaana3 jaan par tere liye mushkil4 na tha
1.nation 2.difficulties 3.wager life, put life on the line 4.difficult
To overcome the difficulties of the nation, it was not difficult for you to put your life on the line.
2
tera shauq1-e vaalehaana2 be-niyaaz3-e mudd’uaa4tera zauq5-e justaju6 minnat-kash7-e manzil8 na tha
1.desire, love 2.mad, passionate, intense 3.unmindful, indifferent 4.personal desire 5.taste, desire 6.effort 7.obliged to 8.destination
Your intense desire was unmindful of any personal gain. Your taste for effort/trying was not obliged to reaching a destination i.e., you kept trying even if it was not obvious that the destination was within reach.
3
vo sukooN1 na-aashna2 maujoN ka josh3-e izteraab4
aah, vo darya5 tera jis ka koii saahil6 na tha
1.tranquility, rest 2.unfamiliar 3.passion 4.restlessness, movement 5.ocean 6.shore
O those waves, passionate for constant movement, unfamiliar with rest. Oh, that ocean of yours that did not know a shore.
4
zindagi daar-o-rasan1 par raqs2 meN tere huzoor3
zindagi ko maut ka andesha4-e baatil5 na tha
1.hanging platform and rope, gallows 2.dance 3.in the presence of, before 4.fear 5.hidden, unknown
Before you (for you), life danced on the gallows. Life (you) were not fearful of the unknown.
5
koodna bahr1-e havaadis2 meN thi teri aarzuu3tujh ko shauq4-e lutf-e ham-aaGhoshi5-e saahil6 na tha
1.sea 2.mishaps, problems 3.desire 4.wish 5.embrace 6.shore
Your desire was to jump into the sea of problems. You did not wish to embrace the (safety of the) shore.
6
teri kisht1-e aarzu2 par sau balaaoN3 ka nuzool4
barq5-e Khirman6 ke siva7 tera koii haasil8 na tha
1.tillage, field, farm 2.desires 3.calamities 4.descent, coming down 5.lightning 6.harvest 7.except for 8.yield, benefit
In your field of desires, a hundred calamities descended. Except for the lightning strike on the harvest, there was no benefit of your effort.
7
umr-bhar1 jalta raha soz2-e vatan3 ki aag meN
sho’la4-e javvaala5 tha pahlu6 meN tere dil na tha
1.life-long 2.fire, passion 3.homeland 4.flame 5.moving, rising, dancing 6.bosom
All your life you burned in passionate love for the homeland. You had a rising flame in your bosom, not a heart.
8
tere taab’e1 vaqt tha aur dahr2 meN tere liye
rok lena gardish-e-ayyaam3 ka mushkil4 na tha
1.obedient, subordinate 2.world 3.vicissitude of time, changing for fortune 4.difficult
Time was at your command and in the world, it was not difficult for you to change the course of events.
9
tuu vatan1 ke vaaste tha aur vatan tere liye
tere us ke darmiyaaN2 parda3 koii haa’el4 na tha
1.homeland 2.between 3.curtain 4.obstruction
You were for the homeland and the homeland was for you. Between you and the homeland no curtain was hung i.e., you did not keep any secrets from the people and you knew the country intimately.
10
phir sharaf1 milne ka haasil2 ho to yeh poochheN tujhe
tu ne kyuN chhoRa vatan3, kya yeh tere qaabil4 na tha
1.honour, opportunity 2.available, 3.homeland 4.suitable
If we get the opportunity to meet you again, we will ask why did you leave the homeland (why did you die). Was it not good enough for you. This is a lament about his death.
The post panDit nehru-udai siNgh shaa’eq appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/farhaad-isay-uThaa-lo-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اسے اُٹھا لو ۔ احمد فرہادؔ
۱
یہ اپنی مرضی سے سوچتا ہے اسے اُٹھا لو
اُٹھانے والوں سے کچھ جدا ہے اسے اُٹھا لو
۲
وہ بے ادب اب اس سے پہلے جن کو اُٹھا لیا تھا
یہ ان کے بارے میں پوچھتا ہے اسے اُٹھا لو
۳
اسے بتایا بھی تھا کہ کیا بولنا ہے کیا نہیں
مگر یہ مرضی سے بولتا ہے اسے اُٹھا لو
۴
جنہیں اُٹھانے پہ ہم نے بخشے مقام و خِلعت
یہ ان سیانوں پہ ہنس رہا ہے اسے اُٹھا لو
۵
یہ پوچھتا ہے کہ امنِ عامہ کا مسئلہ کیوں
یہ امنِ عامہ کا مسئلہ ہے اسے اُٹھا لو
۶
اسے کہا تھا جو ہم دکھائیں بس اتنا دیکھو
مگر یہ مرضی سے دیکھتا ہے اسے اُٹھا لو
۷
سوال کرتا ہے یہ دیوانہ ہماری حد پر
یہ اپنی حد سے گزر گیا ہے اسے اُٹھا لو
इसे उठा लो – अहमद फ़रहाद
१
ये अपनी मर्ज़ी से सोचता है इसे उठा लो
उठाने वालों से कुछ जुदा है इसे उठा लो
२
वो बे-अदब अब इस से पहले जिन को उठा लिया था
ये उन के बारे में पूछता है इसे उठा लो
३
इसे बताया भी था के क्या बोलना है क्या नहीं
मगर ये मर्ज़ी से बोलता है इसे उठा लो
४
जिन्हें उठाने पे हम ने बख़्शे मक़ाम ओ ख़िल’अत
ये उन सियानों पे हंस रहा है इसे उठा लो
५
ये पूछता है क् अम्न-ए आम’अ का मस’अला क्यूं
ये अम्न-ए आम’अ का मस’अला है इसे उठा लो
६
इसे कहा था जो हम दिखाएं बस उतना देखो
मगर ये मर्ज़ी से देखता है इसे उठा लो
७
सवाल करता है ये दिवाना हमारी हद पर
ये अपनी हद से गुज़र गया है इसे उठा लो
Click here for background and on any passage for word meanings and explanatory discussion. ahmad farhaad (1986-living) pakistani kashmiri poet, journalist, activist.
1
yeh apni marzi1 se sochta hai ise uThaa2 lo
uThaane vaaloN se kuchh juda3 hai ise uThaa lo 1.will, choice 2.pick him up, imprison him, take him away 3.different
He thinks of his own volition, pick him up and put him away. He is different from those who are in power, who orchestrate the ‘picking up’, put him away.
2
voh be-adab1 ab iss se pahle jin ko uThaa liya tha
ye un ke bare meN poochhta hai ise uThaa lo 1.disrespectful, daring
He is disrespectful, he now asks about those who were picked up in the past, take him away.
3
ise bataaya1 bhi tha keh kya bolna hai kya nahiN
magar2 ye marzi3 se bolta hai ise uThaa lo 1.instructed 2.but 3.will, volition, choice
He was instructed on what can be said and what cannot. But he speaks what is on his mind, put him away.
4
jinheN uThaane peh ham ne baKhshi1 maqaam2 o Khil’at3
yeh un siyaanoN4 pe haNs raha hai ise uThaa lo 1.granted 2.place, office 3.robe of honour 4.clever, shrewd, wise
We granted those who had done the work of ‘picking up’, high office and robes of honour. He laughs/sneers at these clever men, put him away.
5
yeh poochhta hai keh amn1-e aam’a2 ka mas’ala3 kyuN
yeh amn-e aam’a ka mas’ala hai ise uThaa lo 1.peace, well-being 2.general, public 3.problem
He asks why there is a problem with public well-being. This is a public problem, pick him up and put him away.
6
ise kaha tha jo ham dikhaa’eN bas1 utna dekho
magar2 ye marzi3 se dekhta hai ise uThaa lo 1.only 2.but 3.will, choice
He was told to see only that which is shown to him, but he sees what he wants, pick him up and put him away.
7
savaal1 karta hai yeh divaana hamaari hadd2 par
ye apni hadd se guzar3 gaya hai ise uThaa lo 1.question 2.limits 3.gone beyond
This fool questions the limits of our power. He has gone beyond limits set for him, pick him up and put him away.
ahmad farhaad (1986-living) pakistani kashmiri poet, journalist, activist.
1
yeh apni marzi1 se sochta hai ise uThaa2 lo
uThaane vaaloN se kuchh juda3 hai ise uThaa lo
1.will, choice 2.pick him up, imprison him, take him away 3.different
He thinks of his own volition, pick him up and put him away. He is different from those who are in power, who orchestrate the ‘picking up’, put him away.
2
voh be-adab1 ab iss se pahle jin ko uThaa liya tha
ye un ke bare meN poochhta hai ise uThaa lo
1.disrespectful, daring
He is disrespectful, he now asks about those who were picked up in the past, take him away.
3
ise bataaya1 bhi tha keh kya bolna hai kya nahiN
magar2 ye marzi3 se bolta hai ise uThaa lo
1.instructed 2.but 3.will, volition, choice
He was instructed on what can be said and what cannot. But he speaks what is on his mind, put him away.
4
jinheN uThaane peh ham ne baKhshi1 maqaam2 o Khil’at3yeh un siyaanoN4 pe haNs raha hai ise uThaa lo
1.granted 2.place, office 3.robe of honour 4.clever, shrewd, wise
We granted those who had done the work of ‘picking up’, high office and robes of honour. He laughs/sneers at these clever men, put him away.
5
yeh poochhta hai keh amn1-e aam’a2 ka mas’ala3 kyuN
yeh amn-e aam’a ka mas’ala hai ise uThaa lo
1.peace, well-being 2.general, public 3.problem
He asks why there is a problem with public well-being. This is a public problem, pick him up and put him away.
6
ise kaha tha jo ham dikhaa’eN bas1 utna dekho
magar2 ye marzi3 se dekhta hai ise uThaa lo
1.only 2.but 3.will, choice
He was told to see only that which is shown to him, but he sees what he wants, pick him up and put him away.
7
savaal1 karta hai yeh divaana hamaari hadd2 par
ye apni hadd se guzar3 gaya hai ise uThaa lo
1.question 2.limits 3.gone beyond
This fool questions the limits of our power. He has gone beyond limits set for him, pick him up and put him away.
The post isay uThaa lo-ahmad farhaad appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/farhaad-mujhe-maar-diijiye-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مجھے مار دیجئے ۔ احمد فرہادؔ
۱
کافر ہوں سر پھرا ہوں مجھے مار دیجئے
میں سوچنے لگا ہوں مجھے مار دیجئے
۲
ہے احترامِ حضرتِ انسان میرا دین
بے دین ہو گیا ہوں مجھے مار دیجئے
۳
میں پوچھنے لگا ہوں سبب اپنے قتل کا
میں حد سے بڑھ گیا ہوں مجھے مار دیجئے
۴
کرتا ہوں اہلِ جبہ و دستار سے سوال
گستاخ ہو گیا ہوں مجھے مار دیجئے
۵
خوشبو سے میرا ربط ہے جگنو سے میرا کام
کتنا بھٹک گیا ہوں مجھے مار دیجئے
۶
معلوم ہے مجھے کہ بڑا جرم ہے یہ کام
میں خواب دیکھتا ہوں مجھے مار دیجئے
۷
زاہد یہ زہد و تقویٰ و پرہیز کی روش
میں خوب جانتا ہوں مجھے مار دیجئے
۸
بے دین ہوں مگر ہیں زمانے میں جتنے دین
میں سب کو مانتا ہوں مجھے مار دیجئے
۹
پھر اس کے بعد شہر میں ناچے گا ہُو کا شور
میں آخری صدا ہوں مجھے مار دیجئے
۱۰
میں ٹھیک سوچتا ہوں کوئی حد میرے لیے
میں صاف دیکھتا ہوں مجھے مار دیجئے
۱۱
یہ ظلم ہے کہ ظلم کو کہتا ہوں صاف ظلم
کیا ظلم کر رہا ہوں مجھے مار دیجئے
۱۲
زندہ رہا تو کرتا رہوں گا ہمیشہ پیار
میں صاف کہہ رہا ہوں مجھے مار دیجئے
۱۳
جو زخم بانٹتے ہیں اُنہیں زیست پہ ہے حق
میں پھول بانٹتا ہوں مجھے مار دیجئے
۱۴
بارود کا نہیں مرا مسلک درود ہے
میں خیر مانگتا ہوں مجھے مار دیجئے
मुझे मार दीजिए – अहमद फ़रहाद
१
काफ़ेर हूँ सर-फिरा हूँ मुझे मार दीजिए
मैं सोचने लगा हूँ मुझे मार दीजिए
२
है एहतेराम-ए हज़रत-ए इंसान मेरा दीन
बे-दीन हो गया हूँ मुझे मार दीजिए
३
मैं पूछने लगा हूँ सबब अपने क़त्ल का
मैं हद से बढ़ गया हूँ मुझे मार दीजिए
४
करता हूँ अहल-ए जुब्बा-ओ-दस्तार से सवाल
गुस्ताख़ हो गया हूँ मुझे मार दीजिए
५
ख़ुशबू से मेरा रब्त है जुगनू से मेरा काम
कितना भटक गया हूँ मुझे मार दीजिए
६
मा’लूम है मुझे के बढा जुर्म है ये काम
मैं ख़्वाब देखता हूँ मुझे मार दीजिए
७
ज़ाहेद ये ज़ोहद-ओ-तक़्वा-ओ-परहेज़ की रविश
मैं ख़ूब जानता हूँ मुझे मार दीजिए
८
बे-दीन हूँ मगर हैं ज़माने में जितने दीन
मैं सब को मानता हूँ मुझे मार दीजिए
९
फिर उस के बा’द शहर में नाचेगा हू का शोर
मैं आख़िरी सदा हूँ मुझे मार दीजिए
१०
मैं ठीक सोचता हूँ कोई हद मेरे लिए
मैं साफ़ देखता हूँ मुझे मार दीजिए
११
ये ज़ुल्म है के ज़ुल्म को कहता हूँ साफ़ ज़ुल्म
क्या ज़ुल्म कर रहा हूँ मुझे मार दीजिए
१२
ज़िंदा रहा तो करता रहूँगा हमेशा प्यार
मैं साफ़ कह रहा हूँ मुझे मार दीजिए
१३
जो ज़ख़्म बाँटते हैं उन्हें ज़ीस्त पे है हक़
मैं फूल बाँटता हूँ मुझे मार दीजिए
१४
बारूद का नहीं मेरा मस्लक दरूद है
मैं ख़ैर माँगता हूँ मुझे मार दीजिए
Click here for background and on any passage for word meanings and explanatory discussion. ahmad farhaad (1986-living) pakistani kashmiri poet, journalist, activist.
1
kaafir1 huN sar-phira2 huN mujhe maar diijiye
maiN sochne laga huN mujhe maar diijiye 1.sinner, transgressor 2.mad
I am a sinner, I am mad, kill me. I have started to think, use my brain, kill me.
2
hai ehteraam1-e hazrat2-e insaan mera diin3
be-diin ho gaya huN mujhe maar diijiye 1.respect 2.honorific like ‘sir’ 3.faith
My faith is respect for all human beings. I have lost my faith/religion, kill me.
3
maiN poochhne laga huN sabab1 apne qatl2 ka
maiN hadd3 se baRh gaya huN mujhe maar diijiye 1.cause, reason 2.killing 3.limits
I have begun to ask why I am being killed. I have crossed all limits, kill me.
4
karta huN ahl1-e jubba2-o-dastaar3 se savaal
gustaaKh4 ho gaya huN mujhe maar diijiye 1.people of 2.robe 3.turban 4.insolent, disrespectful
I have begun to ask questions of people of robe and turban (religious leaders). I have become insolent and disrespectful, kill me.
5
Khushbu se mera rabt1 hai jugnu se mera kaam
kitna bhaTak2 gaya huN mujhe maar diijiye 1.connection, relationship 2.gone astray
I relate to fragrance, I am concerned about the firefly. Look how much I have gone astray, kill me.
6
m’aaloom hai mujhe keh baRa jurm1 hai ye kaam
maiN Khwaab2 dekhta huN mujhe maar diijiye 1.crime 2.dream, vision
I know that this is a serious crime, I have begun to dream of a future, kill me.
7
zaahid1 yeh zohd2-o-taqva3-o-parhez4 ki ravish5
maiN Khuub6 jaanta huN mujhe maar diijiye 1.preacher, pious 2.piety 3.fear of god 4.abstinence 5.path 6.very well
O preacher, I know very well (the reality of) this path of piety, fear and abstinence, kill me.
8
be-diin1 huN magar2 haiN zamaane3 meN jitne diin
maiN sab ko maanta huN mujhe maar diijiye 1.faithless, non-believer 2.but 3.world
I am a non-believer, but I respect all the faiths of this world, kill me.
9
phir us ke b’aad shahr meN naachega huu1 ka shor2
maiN aaKhiri3 sada4 huN mujhe maar diijiye 1.desolation, complete silence 2.tumult 3.last 4.voice
After this, the tumult of silence will dance in the homeland. I am the last voice of protest, kill me.
10
maiN Thiik sochta huN koi hadd1 mere liye
maiN saaf2 dekhta huN mujhe maar diijiye 1.limit 2.clearly
I have begun to think correctly, set some limits for me. I have begun to see reality, kill me.
11
yeh zulm1 hai keh zulm2 ko kahta huN saaf3 zulm
kya zulm1 kar raha huN mujhe maar diijiye 1.used sarcastically in the sense of injustice 2.oppression
How unjust (inconvenient for you) that I call out oppression plainly and openly as oppression. See how unjust I am, kill me.
12
zinda raha to karta rahuuNga hamesha pyaar
maiN saaf kah raha huN mujhe maar diijiye If I remain alive, I will always talk of universal love. I tell you plainly, kill me.
13
jo zaKhm1 baaNTte haiN unheN ziist2 pe hai haq3
maiN phuul baaNTta huN mujhe maar diijiye 1.wound 2.life 3.right
Only they who wound others have the right to live. I give out flowers (not wounds). Kill me.
14
baarood1 ka nahiN mera maslak2 daruud3 hai
maiN Khair4 maaNgta huN mujhe maar diijiye 1.gunpowder 2.path 3.prayer, blessing 4.well-being
My way is not of gunpowder but of prayer and blessing. I seek well-being, kill me.
ahmad farhaad (1986-living) pakistani kashmiri poet, journalist, activist.
1
kaafir1 huN sar-phira2 huN mujhe maar diijiye
maiN sochne laga huN mujhe maar diijiye
1.sinner, transgressor 2.mad
I am a sinner, I am mad, kill me. I have started to think, use my brain, kill me.
2
hai ehteraam1-e hazrat2-e insaan mera diin3
be-diin ho gaya huN mujhe maar diijiye
1.respect 2.honorific like ‘sir’ 3.faith
My faith is respect for all human beings. I have lost my faith/religion, kill me.
3
maiN poochhne laga huN sabab1 apne qatl2 ka
maiN hadd3 se baRh gaya huN mujhe maar diijiye
1.cause, reason 2.killing 3.limits
I have begun to ask why I am being killed. I have crossed all limits, kill me.
4
karta huN ahl1-e jubba2-o-dastaar3 se savaal
gustaaKh4 ho gaya huN mujhe maar diijiye
1.people of 2.robe 3.turban 4.insolent, disrespectful
I have begun to ask questions of people of robe and turban (religious leaders). I have become insolent and disrespectful, kill me.
5
Khushbu se mera rabt1 hai jugnu se mera kaam
kitna bhaTak2 gaya huN mujhe maar diijiye
1.connection, relationship 2.gone astray
I relate to fragrance, I am concerned about the firefly. Look how much I have gone astray, kill me.
6
m’aaloom hai mujhe keh baRa jurm1 hai ye kaam
maiN Khwaab2 dekhta huN mujhe maar diijiye
1.crime 2.dream, vision
I know that this is a serious crime, I have begun to dream of a future, kill me.
7
zaahid1 yeh zohd2-o-taqva3-o-parhez4 ki ravish5
maiN Khuub6 jaanta huN mujhe maar diijiye
1.preacher, pious 2.piety 3.fear of god 4.abstinence 5.path 6.very well
O preacher, I know very well (the reality of) this path of piety, fear and abstinence, kill me.
8
be-diin1 huN magar2 haiN zamaane3 meN jitne diin
maiN sab ko maanta huN mujhe maar diijiye
1.faithless, non-believer 2.but 3.world
I am a non-believer, but I respect all the faiths of this world, kill me.
9
phir us ke b’aad shahr meN naachega huu1 ka shor2
maiN aaKhiri3 sada4 huN mujhe maar diijiye
1.desolation, complete silence 2.tumult 3.last 4.voice
After this, the tumult of silence will dance in the homeland. I am the last voice of protest, kill me.
10
maiN Thiik sochta huN koi hadd1 mere liye
maiN saaf2 dekhta huN mujhe maar diijiye
1.limit 2.clearly
I have begun to think correctly, set some limits for me. I have begun to see reality, kill me.
11
yeh zulm1 hai keh zulm2 ko kahta huN saaf3 zulm
kya zulm1 kar raha huN mujhe maar diijiye
1.used sarcastically in the sense of injustice 2.oppression
How unjust (inconvenient for you) that I call out oppression plainly and openly as oppression. See how unjust I am, kill me.
12
zinda raha to karta rahuuNga hamesha pyaar
maiN saaf kah raha huN mujhe maar diijiye
If I remain alive, I will always talk of universal love. I tell you plainly, kill me.
13
jo zaKhm1 baaNTte haiN unheN ziist2 pe hai haq3
maiN phuul baaNTta huN mujhe maar diijiye
1.wound 2.life 3.right
Only they who wound others have the right to live. I give out flowers (not wounds). Kill me.
14
baarood1 ka nahiN mera maslak2 daruud3 hai
maiN Khair4 maaNgta huN mujhe maar diijiye
1.gunpowder 2.path 3.prayer, blessing 4.well-being
My way is not of gunpowder but of prayer and blessing. I seek well-being, kill me.
The post mujhe maar diijiye-ahmad farhaad appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/farhaad-koii-na-bolay-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کوئی نہ بولے ۔ احمد فرہادؔ
۱
کہا گیا ہے سنا گیا ہے کوئی نہ بولے
زباں درازوں کو مشورہ ہے کوئی نہ بولے
۲
ہر ایک لب پر سوال کرتی خموشیاں ہیں
بس ایک ڈر ہے جو بولتا ہے کوئی نہ بولے
۳
عجیب گونگی ہوا چلی ہے کہ شہر بھر میں
جسے بھی ملتا ہوں کہہ رہا ہے کوئی نہ بولے
۴
بنامِ مذہب، بنامِ حُرمت، بنامِ حکمت
یہی بھلا ہے یہی بجا ہے کوئی نہ بولے
۵
اب ایسے عالم میں بات کرنا ہے جیسے مرنا
تو سیدھا سادہ سا مشورہ ہے کوئی نہ بولے
۶
کھلا ہوا ہے کہیں پہ دروازہ گفتگو کا
اور اس کے اوپر لکھا ہوا ہے کوئی نہ بولے
۷
خموشیوں کی زباں میں کہتے چلو جو قصہ
تمہیں پتہ ہے مجھے پتہ ہے کوئی نہ بولے
۸
کٹی زبانوں سے پوچھتے ہیں وہ عدل پرور
تمہی بتاؤ کسے کہا ہے کوئی نہ بولے
۹
یہ چپ ہمارے نصاب کا لازمی سبق ہے
ازل سے ہم نے یہی پڑھا ہے کوئی نہ بولے
۱۰
عجیب لُکنت پسند حاکم سے واسطہ ہے
جو چاہتا ہے جو سوچتا ہے کوئی نہ بولے
कोई न बोले – अहमद फ़रहाद
१
कहा गया है सुना गया है कोई न बोले
ज़बां-दराज़ों को मश्वरा है कोई न बोले
२
हर एक लब पर सवाल करती ख़मोशियाँ हैं
बस एक डर है जो बोलता है कोई न बोले
३
अजीब गूंगी हवा चली है के शहर भर में
जिसे भी मिलता हूँ कह रहा है कोई न बोले
४
बनाम-ए मज़्हब, बनाम-ए हुर्मत, बनाम-ए हिक्मत
यही भला है यही बजा है कोई न बोले
५
अब ऐसे आलम में बात करना है जैसे मरना
तो सीधा सादा सा मश्वरा है कोई न बोले
६
खुला हुआ है कहीं पे दरवाज़ा गुफ़्तगू का
और उस के ऊपर लिखा हुआ है कोई न बोले
७
ख़मोशियों की ज़बां में कहते चलो जो क़िस्सा
तुम्हें पता है मुझे पता है कोई न बोले
८
कटी ज़बानों से पूछते हैं वो अद्ल-परवर
तुम्ही बताओ किसे कहा है कोई न बोले
९
ये चुप हमारे निसाब का लाज़मी सबक़ है
अज़ल से हम ने यही पढ़ा है कोई न बोले
१०
अजीब लुक्नत-पसंद हाकिम से वास्ता है
जो चाहता है जो सोचता है कोई न बोले
Click here for background and on any passage for word meanings and explanatory discussion. ahmad farhaad (1986-living) pakistani kashmiri poet, journalist, activist.
1
kaha gaya hai suna gaya hai koi na bolay
zabaaN-daraazoN1 ko mashvara2 hai koi na bolay 1.long-tongued i.e., those who speak openly 2.advice, caution
It has been heard, it has been said, that no one should speak out. Those who speak openly are advised/cautioned that no one should speak.
2
har ek lab1 par savaal2 karti KhamoshiyaaN3 haiN
bas ek Dar4 hai jo bolta hai koi na bolay 1.lips, mouth 2.question 3.silence 4.fear
On every lip, questions linger in silence. It is only fear that declares that no one should speak.
3
ajeeb1 gooNgi2 hava chali hai keh shahr bhar meN
jise bhi milta huN kah3 raha hai koi na bolay 1.strange 2.mute 3.says
A strange, mute wind blows through town that whoever I meet says that no one should speak out.
4
ba-naam1-e mazhab2, ba-naam-e hurmat3, ba-naam-e hikmat4
yahi bhala hai yahi baja5 hai koi na bolay 1.in the name of 2.religion 3.sanctity, honour 4.wisdom 5.appropriate
In the name of religion, in the name of honour, in the name of wisdom, only this is well, only this is appropriate that on one shall speak out.
5
ab aise aalam1 meN baat karna hai jaise marna
to seedha-saada2 sa mashvara3 hai koi na bolay 1.condition 2.plain and straightforward 3.advice
Under these conditions, speaking out is like dying. So there is one plain and straightforward advice, no one should speak out.
6
khula hua hai kahiiN peh darvaaza guftagu1 ka
aur us ke oopar likha hua hai koi na bolay 1.conversation
Somewhere there is a door of conversation that is open and on top of the door is written, ‘no one should speak out’.
7
KhamoshiyoN1 ki zabaaN2 meN kahte chalo jo qissa3
tumheN pata4 hai mujhe pata hai koi na bolay 1.silence 2.language 3.story 4.knowledge, awareness
The story that keeps getting told in the language of silence, you know and I know that no one should speak.
8
kaTi zabaanoN se poochhte haiN voh adl-parvar1
tumhi bataao kisay kaha hai koi na bolay 1.justice nurturing, justice dispensing
Those who dispense justice ask those whose tongues have been cut off – pray tell me who has been told not to speak out.
9
ye chup1 hamaare nisaab2 ka laazimi3 sabaq4 hai
azal5 se hum ne yahi paRha hai koi na bolay 1.silence 2.used here to mean inheritence 3.inevitable 4.lesson 5.beginning of time
This silence is the inevitable lesson of our inheritance. From the beginning of time we have read (we have been told) that no one should speak out.
10
ajeeb1 luknat-pasand2 haakim3 se vaasta4 hai
jo chahta hai jo sochta hai koi na bolay 1.strange 2.one who likes hesitant speech 3.ruler 4.connection, relationship
We have to deal with a strange ruler who likes hesitant/halting speech, who wants and who thinks that on one should speak out.
ahmad farhaad (1986-living) pakistani kashmiri poet, journalist, activist.
1
kaha gaya hai suna gaya hai koi na bolay
zabaaN-daraazoN1 ko mashvara2 hai koi na bolay
1.long-tongued i.e., those who speak openly 2.advice, caution
It has been heard, it has been said, that no one should speak out. Those who speak openly are advised/cautioned that no one should speak.
2
har ek lab1 par savaal2 karti KhamoshiyaaN3 haiN
bas ek Dar4 hai jo bolta hai koi na bolay
1.lips, mouth 2.question 3.silence 4.fear
On every lip, questions linger in silence. It is only fear that declares that no one should speak.
3
ajeeb1 gooNgi2 hava chali hai keh shahr bhar meN
jise bhi milta huN kah3 raha hai koi na bolay
1.strange 2.mute 3.says
A strange, mute wind blows through town that whoever I meet says that no one should speak out.
4
ba-naam1-e mazhab2, ba-naam-e hurmat3, ba-naam-e hikmat4yahi bhala hai yahi baja5 hai koi na bolay
1.in the name of 2.religion 3.sanctity, honour 4.wisdom 5.appropriate
In the name of religion, in the name of honour, in the name of wisdom, only this is well, only this is appropriate that on one shall speak out.
5
ab aise aalam1 meN baat karna hai jaise marna
to seedha-saada2 sa mashvara3 hai koi na bolay
1.condition 2.plain and straightforward 3.advice
Under these conditions, speaking out is like dying. So there is one plain and straightforward advice, no one should speak out.
6
khula hua hai kahiiN peh darvaaza guftagu1 ka
aur us ke oopar likha hua hai koi na bolay
1.conversation
Somewhere there is a door of conversation that is open and on top of the door is written, ‘no one should speak out’.
7
KhamoshiyoN1 ki zabaaN2 meN kahte chalo jo qissa3tumheN pata4 hai mujhe pata hai koi na bolay
1.silence 2.language 3.story 4.knowledge, awareness
The story that keeps getting told in the language of silence, you know and I know that no one should speak.
8
kaTi zabaanoN se poochhte haiN voh adl-parvar1tumhi bataao kisay kaha hai koi na bolay
1.justice nurturing, justice dispensing
Those who dispense justice ask those whose tongues have been cut off – pray tell me who has been told not to speak out.
9
ye chup1 hamaare nisaab2 ka laazimi3 sabaq4 hai
azal5 se hum ne yahi paRha hai koi na bolay
1.silence 2.used here to mean inheritence 3.inevitable 4.lesson 5.beginning of time
This silence is the inevitable lesson of our inheritance. From the beginning of time we have read (we have been told) that no one should speak out.
10
ajeeb1 luknat-pasand2 haakim3 se vaasta4 hai
jo chahta hai jo sochta hai koi na bolay
1.strange 2.one who likes hesitant speech 3.ruler 4.connection, relationship
We have to deal with a strange ruler who likes hesitant/halting speech, who wants and who thinks that on one should speak out.
The post koii na bolay-ahmad farhaad appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/rok-jurat-e-kalaam-kareN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جرأتِ کلام کریں ۔ اوم کرشن راحتؔ
۱
چلو شراب پئیں کوئی نیک کام کریں
لو آؤ فخر سے جینے کا اہتمام کریں
۲
تمہاری زُلف کو لاؤ بکھیر دیں رخ پر
طلوعِ صبح میں تحلیلِ رنگِ شام کریں
۳
کبھی تو جام میں گھولیں شفق کی سرخی کو
کبھی تو موسمِ رنگیں کا احترام کریں
۴
اُٹھاؤ آنکھ تو ہم جاکسار کچھ بولیں
نظر ملاؤ تو ہم جرأتِ کلام کریں
۵
کہیں کچھ اور اُداسی نہ دل پہ چھا جائے
غروبِ شام سے پہلے طلوعِ جام کریں
۶
پرانے یار عیادت کو آئے ہیں راحتؔ
کتاب رہن رکھیں مئے کا انتظام کریں
जुर’अत-ए कलाम करें – ओम क्रिष्ण राहत
१
चलो शराब पियें कोई नेक काम करें
लो आओ फ़ख़्र से जीने का एहतेमाम करें
३
तुम्हारी ज़ुल्फ़ को लाओ बिखेर दें रुख़ पर
तुलू-ए सुब’ह में तहलील-ए रंग-ए शाम करें
३
कभी तो जाम में घोलें शफ़क़ की सुर्ख़ी को
कभी तो मौसम-ए रंगीं का एहतेराम करें
४
उठाओ आंख तो हम ख़ाक्सार कुछ बोलें
नज़र मिलाओ तो हम जुर’अत-ए कलाम करें
५
कहीं कुछ और उदासी न दिल पे छा जाए
ग़ुरूब-ए शाम से पहले तुलू-ए जाम करें
६
पुराने यार अयादत को आए हैं राहत
किताब रहन रखें मय का इंतेज़ाम करें
Click here for background and on any passage for word meanings and explanatory discussion. om krishn raahat (1925-xxxx) jalandhar and fareedabad. Learnt urdu in school and college. Retired from government service in 1984. His father was a close friend of aKhtar shiiraani which inspired him to compose verse. In an introduction to his book, he declares himself irreligious, non-believing and left-leaning. He has several collections of Ghazal and nazm to his credit, along with short stories.
1
chalo sharaab piyeN koi nek1 kaam kareN
lo aao faKhr2 se jeenay3 ka ehtemaam4 kareN 1.virtuous 2.pride, dignity 3.living 4.arrangements
Come, let us drink wine; let us do some virtuous deed. Come, let us make arrangements to live life with dignity. The implication is defiance against orthodoxy.
2
tumhaari zulf1 ko laao bikhaer2 deN ruKh3 par
tuluu4-e sub’h meN tahleel5 raNg-e shaam kareN 1.hair 2.spread 3.face 4.rise, sunrise 5.dissolve
The beloved’s face is bright like the rising sun. Her hair are dark like the night. The poet/lover wants to spread her hair over her face dissolving the darkness of the night into the brilliance of the rising sun.
3
kabhi to jaam1 meN gholeN shafaq2 ki surKhi3 ko
kabhi to mosam-e raNgiiN ka ehteraam4 kareN 1.cup of wine 2.horizon, twilight 3.redness 4.respect
The poet wants to respect/dignify the ‘colourful season’ i.e., spring. Spring is a time of celebration and rejuvenation, of love and joy. He wants to dissolve the redness of the twilight into his wine cup i.e., as a part of the celebration of spring he wants red wine.
4
uThaao aaNkh to hum Khaaksaar1 kuchh boleN
nazar2 milaao to ham jur’at3-e kalaam4 kareN 1.dust-dweller, humble, lowly 2.eyes 3.daring, courage 4.conversation
Raise your eyes and look at me so that his humble/lowly lover may dare to speak to you. ‘kalaam’ can also imply recite poetry. Perhaps he has a love poem ready.
5
kahiN kuchh aur udaasi1 nah dil pay chhaa jaa’e
Ghuroob2-e shaam se pahlay tuluu3-e jaam4 kareN 1.sorrow 2.set, sunset 3.rising 4.cup, goblet of wine
Fearing that even more sorrow may overwhelm us, let us raise the cup of wine before the sun sets.
6
puraanay yaar1 ayaadat2 ko aaye haiN raahat3
kitaab rahan4 rakheN mai5 ka intezaam6 kareN 1.friends 2.visiting the sick, ask about well being 3.pen-name of the poet 4.mortgage 5.wine 6.arrangements
The poet is on his sick bed, perhaps even on his death bed. Old friends have come to ask about his well being. He wants to mortgage his book (book of verse, diivaan) to make arrangements for wine. I wouldn’t be surprised if the hidden implication by ‘kitaab’ is the qur’aan. Consider what mir taqi mir says …
ham rahn-e baadah jaama-e ahraam kar chuke
masti ki dayr meN qasam aqsaam kar chuke
om krishn raahat (1925-xxxx) jalandhar and fareedabad. Learnt urdu in school and college. Retired from government service in 1984. His father was a close friend of aKhtar shiiraani which inspired him to compose verse. In an introduction to his book, he declares himself irreligious, non-believing and left-leaning. He has several collections of Ghazal and nazm to his credit, along with short stories.
1
chalo sharaab piyeN koi nek1 kaam kareN
lo aao faKhr2 se jeenay3 ka ehtemaam4 kareN
1.virtuous 2.pride, dignity 3.living 4.arrangements
Come, let us drink wine; let us do some virtuous deed. Come, let us make arrangements to live life with dignity. The implication is defiance against orthodoxy.
2
tumhaari zulf1 ko laao bikhaer2 deN ruKh3 par
tuluu4-e sub’h meN tahleel5 raNg-e shaam kareN
1.hair 2.spread 3.face 4.rise, sunrise 5.dissolve
The beloved’s face is bright like the rising sun. Her hair are dark like the night. The poet/lover wants to spread her hair over her face dissolving the darkness of the night into the brilliance of the rising sun.
3
kabhi to jaam1 meN gholeN shafaq2 ki surKhi3 ko
kabhi to mosam-e raNgiiN ka ehteraam4 kareN
1.cup of wine 2.horizon, twilight 3.redness 4.respect
The poet wants to respect/dignify the ‘colourful season’ i.e., spring. Spring is a time of celebration and rejuvenation, of love and joy. He wants to dissolve the redness of the twilight into his wine cup i.e., as a part of the celebration of spring he wants red wine.
4
uThaao aaNkh to hum Khaaksaar1 kuchh boleN
nazar2 milaao to ham jur’at3-e kalaam4 kareN
1.dust-dweller, humble, lowly 2.eyes 3.daring, courage 4.conversation
Raise your eyes and look at me so that his humble/lowly lover may dare to speak to you. ‘kalaam’ can also imply recite poetry. Perhaps he has a love poem ready.
5
kahiN kuchh aur udaasi1 nah dil pay chhaa jaa’e
Ghuroob2-e shaam se pahlay tuluu3-e jaam4 kareN
1.sorrow 2.set, sunset 3.rising 4.cup, goblet of wine
Fearing that even more sorrow may overwhelm us, let us raise the cup of wine before the sun sets.
6
puraanay yaar1 ayaadat2 ko aaye haiN raahat3
kitaab rahan4 rakheN mai5 ka intezaam6 kareN
1.friends 2.visiting the sick, ask about well being 3.pen-name of the poet 4.mortgage 5.wine 6.arrangements
The poet is on his sick bed, perhaps even on his death bed. Old friends have come to ask about his well being. He wants to mortgage his book (book of verse, diivaan) to make arrangements for wine. I wouldn’t be surprised if the hidden implication by ‘kitaab’ is the qur’aan. Consider what mir taqi mir says …
ham rahn-e baadah jaama-e ahraam kar chuke
masti ki dayr meN qasam aqsaam kar chuke
The post jur’at-e kalaam kareN-om krishn raahat appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/rok-jhuka-sar-uTha-liya-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جُھکا سر اُٹھا لیا ۔ اوم کرشن راحتؔ
۱
گھبرا کے غم سے ہم نے جو ساغر اُٹھا لیا
دنیا نے آسمان کو سر پر اُٹھا لیا
۲
یوں تو ازل سے حسن سراپا غرور ہے
ہم عاشقوں نے اور بھی سر پر اُٹھا لیا
۳
کہتا ہے کون قیس کا ثانی نہیں کوئی
دیکھا مجھے تو طفل نے پتھر اُٹھا لیا
۴
آدم کی سرکشی سے نہ یزداں نِپٹ سکا
بے بس ہوا تو فتنۂ محشر اُٹھا لیا
۵
کر لیتا زندگی سے یقیناً میں دو دو ہاتھ
اُس کی مدد پہ موت نے خنجر اُٹھا لیا
۶
پہنچی ہے ٹھیس جب بھی دلِ پر غرور کو
سجدے سے میں نے اپنا جُھکا سر اُٹھا لیا
۷
روز ازل ودیعتِ یزداں خوشی بھی تھی
راحتؔ نے غم کو ہاتھ بڑھا کر اُٹھا لیا
झुका सर उठा लिया – ओम कृष्ण राहत
१
घबरा के ग़म से हमने जो साग़र उठा लिया
दुनिया ने आसमान को सर पर उठा लिया
२
यूँ तो अज़ल से हुस्न सरापा ग़ुरूर है
हम आशिक़ों ने और भी सर पर उठा लिया
३
कहता है कौन क़ैस का सानी नहीं कोई
देखा मुझे तो तिफ़्ल ने पत्थर उठा लिया
४
आदम की सरकशी से न यज़्दां निपट सका
बेबस हुआ तो फ़ितना-ए महशर उठा लिया
५
कर लेता ज़िंदगी से यक़ीनन मैं दो दो हाथ
उस की मदद पे मौत ने ख़ंजर उठा लिया
६
पहुँची है ठेस जब भी दिल-ए पुर-ग़ुरूर को
सजदे से मैंने अपना झुका सर उठा लिया
७
रोज़-ए अज़ल वदी’अत-ए यज़्दां ख़ुशी भी थी
राहत ने ग़म को हाथ बढ़ा कर उठा लिया
Click here for background and on any passage for word meanings and explanatory discussion. om krishn raahat (1925-xxxx) jalandhar and fareedabad. Learnt urdu in school and college. Retired from government service in 1984. His father was a close friend of aKhtar shiiraani which inspired him to compose verse. In an introduction to his book, he declares himself irreligious, non-believing and left-leaning. He has several collections of Ghazal and nazm to his credit, along with short stories.
1
ghabra1 ke Gham se hum ne jo saaGhar2 uTha liya
duniya ne aasmaan ko sar par3 uTha liya 1.fearful, apprehensive 2.cup of wine 3.sar par uThaana – to make a fuss, raise cain
Apprehensive of sorrow, we picked up a cup of wine and the world raised cain. This is a complaint about social strictures against drinking wine/alcohol.
2
yuN to azal1 se husn2 saraapa3 Ghuroor4 hai
hum aashiqoN ne aur bhi sar par5 uTha liya 1.beginning of time, eternity 2.beauty, beloved 3.head to toe, personification 4.pride, conceit 5.sar par uThaana used here as sar par biThaana, to give even more attention
Here ‘aashiq’ is perhaps used to imply shaa’er – poets. Beauty/beloved has been conceited about her beauty from the beginning of time. But we (poets) have given it even more attention. Perhaps this is a reflection of the call of the Progressive Writers’ Association to move away from writing romantic themes towards social justice themes.
3
kahta hai kaun qais1 ka saani2 nahiN koi
dekha mujhe to tifl3 ne patthar uTha liya 1.another name of majnuN, the mad lover 2.duplicate, successor 3.young boy
The classic picture of a lover is that he goes about town with his clothes torn behaving like a mad man. Street urchins gather and throw rocks at him. Thus, who says that there has not been another lover like majnuN. When the young boy saw me, he picked up a rock. The implication is that he was going to be subjected to rock throwing because he (the poet) looked/behaved like majnuN and was his successor.
4
aadam1 ki sarkashi2 se na yazdaaN3 nipaT4 saka
bebas5 hua to fitna6-e mahshar7 uTha liya 1.Adam (as in Adam and Eve) 2.rebellion 3.god 4.deal with 5.helpless 6.cause tumult 7.gathering on the day of judgement
The story is that Adam and Eve lived in heaven and were told not to eat the forbidden fruit. Adam disobeyed/rebelled, ate it and was expelled to earth. Because of that first sin there is this whole story of the day of judgement and reward and punishment. Thus, god could not deal with Adam’s rebelliousness, so he caused this tumult and gathering of the day of judgement. An admiration for defiance is implied.
5
kar leta zindagi se yaqeenan1 maiN do-do-haath2
us ki madad3 peh maut ne Khanjar uTha liya 1.certainly 2.an expression meaning pick a fight, struggle 3.help
I would certainly have confronted Life with all my might and won, except that Death came to its help with knife drawn at me.
6
pahuNchi1 hai Thes2 jab bhi dil-e pur-Ghuroor3 ko
sajde4 se maiN ne apna jhuka5 sar uTha liya 1.reached, materialized, happened 2.pain, grief, insult 3.proud, self-respecting 4.ritual prostration 5.bowed
The implication is that something happened to insult the self-respecting poet. This insult was caused by god (or the powerful) before whom he was bowed down in obeisance/defernce. But when the poet felt this insult, his self-respect made him get up from his deference; it made him rebel. Reminds me of Ghalib …
bandagi meN bhi voh aazaada o Khud-biiN haiN keh ham
ulTe phir aaye dar-e k’aaba agar vaa na hua
7
roz-e azal1 vadii’at2-e yazdaaN3 Khushi bhi thi
raahat4 ne Gham ko haath baRha kar uTha liya 1.day of creation (beginning of time) 2.gifts, blessings 3.god 4.pen-name of the poet
On the day of creation, happiness was also on offer as a gift of god, but raahat stretched his hand and picked up sorrow. The implication is that pain/sorrow is more desirable than happiness.
om krishn raahat (1925-xxxx) jalandhar and fareedabad. Learnt urdu in school and college. Retired from government service in 1984. His father was a close friend of aKhtar shiiraani which inspired him to compose verse. In an introduction to his book, he declares himself irreligious, non-believing and left-leaning. He has several collections of Ghazal and nazm to his credit, along with short stories.
1
ghabra1 ke Gham se hum ne jo saaGhar2 uTha liya
duniya ne aasmaan ko sar par3 uTha liya
1.fearful, apprehensive 2.cup of wine 3.sar par uThaana – to make a fuss, raise cain
Apprehensive of sorrow, we picked up a cup of wine and the world raised cain. This is a complaint about social strictures against drinking wine/alcohol.
2
yuN to azal1 se husn2 saraapa3 Ghuroor4 hai
hum aashiqoN ne aur bhi sar par5 uTha liya
1.beginning of time, eternity 2.beauty, beloved 3.head to toe, personification 4.pride, conceit 5.sar par uThaana used here as sar par biThaana, to give even more attention
Here ‘aashiq’ is perhaps used to imply shaa’er – poets. Beauty/beloved has been conceited about her beauty from the beginning of time. But we (poets) have given it even more attention. Perhaps this is a reflection of the call of the Progressive Writers’ Association to move away from writing romantic themes towards social justice themes.
3
kahta hai kaun qais1 ka saani2 nahiN koi
dekha mujhe to tifl3 ne patthar uTha liya
1.another name of majnuN, the mad lover 2.duplicate, successor 3.young boy
The classic picture of a lover is that he goes about town with his clothes torn behaving like a mad man. Street urchins gather and throw rocks at him. Thus, who says that there has not been another lover like majnuN. When the young boy saw me, he picked up a rock. The implication is that he was going to be subjected to rock throwing because he (the poet) looked/behaved like majnuN and was his successor.
4
aadam1 ki sarkashi2 se na yazdaaN3 nipaT4 saka
bebas5 hua to fitna6-e mahshar7 uTha liya
1.Adam (as in Adam and Eve) 2.rebellion 3.god 4.deal with 5.helpless 6.cause tumult 7.gathering on the day of judgement
The story is that Adam and Eve lived in heaven and were told not to eat the forbidden fruit. Adam disobeyed/rebelled, ate it and was expelled to earth. Because of that first sin there is this whole story of the day of judgement and reward and punishment. Thus, god could not deal with Adam’s rebelliousness, so he caused this tumult and gathering of the day of judgement. An admiration for defiance is implied.
5
kar leta zindagi se yaqeenan1 maiN do-do-haath2
us ki madad3 peh maut ne Khanjar uTha liya
1.certainly 2.an expression meaning pick a fight, struggle 3.help
I would certainly have confronted Life with all my might and won, except that Death came to its help with knife drawn at me.
6
pahuNchi1 hai Thes2 jab bhi dil-e pur-Ghuroor3 ko
sajde4 se maiN ne apna jhuka5 sar uTha liya
1.reached, materialized, happened 2.pain, grief, insult 3.proud, self-respecting 4.ritual prostration 5.bowed
The implication is that something happened to insult the self-respecting poet. This insult was caused by god (or the powerful) before whom he was bowed down in obeisance/defernce. But when the poet felt this insult, his self-respect made him get up from his deference; it made him rebel. Reminds me of Ghalib …
bandagi meN bhi voh aazaada o Khud-biiN haiN keh ham
ulTe phir aaye dar-e k’aaba agar vaa na hua
7
roz-e azal1 vadii’at2-e yazdaaN3 Khushi bhi thi
raahat4 ne Gham ko haath baRha kar uTha liya
1.day of creation (beginning of time) 2.gifts, blessings 3.god 4.pen-name of the poet
On the day of creation, happiness was also on offer as a gift of god, but raahat stretched his hand and picked up sorrow. The implication is that pain/sorrow is more desirable than happiness.
The post jhuka sar uTha liya-om krishn raahat appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/shpvjf-pyaar-ki-yeh-zabaan-hai-pyaare-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
پیار کی یہ زبان ہے پیارے ۔ شِو پرشاد وششٹ جاویدؔ فتح پوری
۱
عاشقی بے زبان ہے پیارے
صبر کا امتحان ہے پیارے
۲
سارا عالم ہے گوش بر آواز
کون سی داستان ہے پیارے
۳
دیکھ دنیا کے ماہ پاروں کو
یہ زمیں آسمان ہے پیارے
۴
ساری دنیا سراب کا عالم
کس طرف تیرا دھیان ہے پیارے
۵
وقت نامہرباں نہ ہووے گا
تو اگر مہربان ہے پیارے
۶
لوگ اُردو بھی اِس کو کہتے ہیں
پیار کی یہ زبان ہے پیارے
۷
میری غزلوں کا یہ سفینہ بھی
جوہری کی دکان ہے پیارے
۸
جگمگاتا ہوا یہ دل کا داغ
دوستی کا نشان ہے پیارے
۹
بچ کے جائے کہاں ترا جاویدؔ
ہر طرف آسمان ہے پیارے
प्यार की ये ज़बान है प्यारे – शिव प्रशाद वशिष्ठ जावेद फ़तहपूरी
१
आशेक़ी बे-ज़बान है प्यारे
सब्र का इम्तेहान है प्यारे
२
सारा आलम है गोश बर आवाज़
कौन सी दास्तान है प्यारे
३
देख दुनिया के माह-पारौं को
ये ज़मीं आसमान है प्यारे
४
सारी दुनिया सराब का आलम
किस तरफ़ तेरा ध्यान है प्यारे
५
वक़्त नामहरबां न होवे गा
तू अगर महरबान है प्यारे
६
लोग उर्दू भी इस को कहते हैं
प्यार की ये ज़बान है प्यारे
७
मेरी ग़ज़लों का ये सफ़ीना भी
जौहरी की दुकान है प्यारे
८
जगमगाता हुआ ये दिल का दाग़
दोस्ती का निशान है प्यारे
९
बच के जाए कहाँ तेरा जावेद
हर तरफ़ आसमान है प्यारे
Click here for background and on any passage for word meanings and explanatory discussion. jaaved fatehpuri, shiv prasad vashishT (1920-1994). Started out as lecturer in dehli college while still an MA student. PhD on mulla vaj’hi, working for a while in hyderabad. Studied under maulvi abdul haq for some time. Later shaagird of shamiim kirmaani. There are several collections of his historical and literary works as well as his nazm and Ghazal. Faculty, urdu department, zakir husain college.
1
aashiqii be-zabaan1 hai pyaare
sabr2 kaa imtehaan3 hai pyaare 1.used here to mean-silent, quiet 2.patience 3.test
In the conventions of love, the lover is supposed to be quiet and not openly reveal is love for the beloved so as not to malign her reputation. The beloved is supposed to ignore the lover (even if she secretly loves him) and torture him just short of death. Thus, the endeavour of love is quiet and it tests the patience of the lover.
2
saaraa aalam1 hai gosh-bar-aavaaz2
kaun sii daastaan3 hai pyaare 1.world 2.ears tuned to the sound/voice 3.story
The whole world is attentive, it has its ears tuned to the voice of the storyteller. What is the story my friend. We are left to decide what. It could well be the story of love.
3
dekh duniya ke maah-paaroN1 ko
ye zamiiN aasmaan hai pyaare 1.literally pieces of the moon – beauties, beloved
The poet is playfully drawing attention to the beloved on this earth rather than future promises of hoor/angels in heaven. Look at the beauties here, this earth is like the sky/heaven, my friend.
4
saarii duniya saraab1 ka aalam2
kis taraf3 tera dhyaan4 hai pyaare 1.mirage 2.condition 3.direction 4.attention, attraction
This is probably a sufiyaana statement. This material world and its attractions are like a mirage, they are not the real thing. Why is your attention in that direction. The implication is that this is an invitation to turn towards the spiritual.
5
vaqt naamehrbaaN1 nah hovay gaa
tu agar2 mehrbaan3 hai pyaare 1.unkind 2.if 3.kind
Time (i.e., life) will not be unkind to you, if you are kind to others, my friend.
6
log urdu bhi is ko kahte haiN
pyaar ki ye zabaan hai pyaare People also call it urdu. It is a language of love, my dear friend.
7
merii GhazloN ka yeh safiinaa1 bhii
jauharii2 ki dukaan hai pyaare 1.boat, fleet 2.jeweller
This fleet of boats that are my Ghazal are also a jeweller’s store, my friend.
8
jagmagaata hua ye dil ka daaGh1
dosti ka nishaan2 hai pyaare
1.wound, scar 2.sign, symbol
This shining wound of my heart is a symbol of friendship/love my friend. This could well be the pain he feels at the suffering of fellow human beings.
9
bach ke jaaye kahaaN tera jaaved1
har taraf2 aasmaan hai pyaare 1.pen-name of the poet 2.direction
There is no escape from the judgement of god. How can jaaved escape – get away. The sky is all around my friend. The sky all around could be a symbol of divine justice.
jaaved fatehpuri, shiv prasad vashishT (1920-1994). Started out as lecturer in dehli college while still an MA student. PhD on mulla vaj’hi, working for a while in hyderabad. Studied under maulvi abdul haq for some time. Later shaagird of shamiim kirmaani. There are several collections of his historical and literary works as well as his nazm and Ghazal. Faculty, urdu department, zakir husain college.
1
aashiqii be-zabaan1 hai pyaare
sabr2 kaa imtehaan3 hai pyaare
1.used here to mean-silent, quiet 2.patience 3.test
In the conventions of love, the lover is supposed to be quiet and not openly reveal is love for the beloved so as not to malign her reputation. The beloved is supposed to ignore the lover (even if she secretly loves him) and torture him just short of death. Thus, the endeavour of love is quiet and it tests the patience of the lover.
2
saaraa aalam1 hai gosh-bar-aavaaz2
kaun sii daastaan3 hai pyaare
1.world 2.ears tuned to the sound/voice 3.story
The whole world is attentive, it has its ears tuned to the voice of the storyteller. What is the story my friend. We are left to decide what. It could well be the story of love.
3
dekh duniya ke maah-paaroN1 ko
ye zamiiN aasmaan hai pyaare
1.literally pieces of the moon – beauties, beloved
The poet is playfully drawing attention to the beloved on this earth rather than future promises of hoor/angels in heaven. Look at the beauties here, this earth is like the sky/heaven, my friend.
4
saarii duniya saraab1 ka aalam2
kis taraf3 tera dhyaan4 hai pyaare
1.mirage 2.condition 3.direction 4.attention, attraction
This is probably a sufiyaana statement. This material world and its attractions are like a mirage, they are not the real thing. Why is your attention in that direction. The implication is that this is an invitation to turn towards the spiritual.
5
vaqt naamehrbaaN1 nah hovay gaa
tu agar2 mehrbaan3 hai pyaare
1.unkind 2.if 3.kind
Time (i.e., life) will not be unkind to you, if you are kind to others, my friend.
6
log urdu bhi is ko kahte haiN
pyaar ki ye zabaan hai pyaare
People also call it urdu. It is a language of love, my dear friend.
7
merii GhazloN ka yeh safiinaa1 bhii
jauharii2 ki dukaan hai pyaare
1.boat, fleet 2.jeweller
This fleet of boats that are my Ghazal are also a jeweller’s store, my friend.
8
jagmagaata hua ye dil ka daaGh1
dosti ka nishaan2 hai pyaare
1.wound, scar 2.sign, symbol
This shining wound of my heart is a symbol of friendship/love my friend. This could well be the pain he feels at the suffering of fellow human beings.
9
bach ke jaaye kahaaN tera jaaved1
har taraf2 aasmaan hai pyaare
1.pen-name of the poet 2.direction
There is no escape from the judgement of god. How can jaaved escape – get away. The sky is all around my friend. The sky all around could be a symbol of divine justice.
The post pyaar ki yeh zabaan hai pyaare-shiv prashaad vashishT jaaved fatehpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/plrjm-mujh-ko-gunahgaar-dekh-kar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مجھ کو گنہگار دیکھ کر ۔ پنڈت لبھورام جوشؔ ملسیانی
۱
حیرت زدہ ہے خلق یہ اَصرار دیکھ کر
رحمت جھکی ہے مجھ کو گنہگار دیکھ کر
۲
دامن کے چاک ہوتے ہی ابھرے ہیں دل کے داغ
چونکے ہیں یہ بھی صبح کے آثار دیکھ کر
۳
تیغِ قضا کے آگے بھی آخر میں جھک گیا
گردن کمندِ غم میں گرفتار دیکھ کر
۴
میدانِ ہست و بود میں ہر ذرّے کی نگاہ
خِجلت زدہ ہے مجھ کو گنہگار دیکھ کر
۵
دنیائے عشق صیدِ زُبُوں ہو کے رہ گئی
دستِ نگاہِ ناز میں تلوار دیکھ کر
۶
رِندوں نے جھوم جھوم کے میرے قدم لیے
محفل میں بے پیے مجھے سرشار دیکھ کر
۷
اُڑ کر تو ناؤ پار پہنچنی محال ہے
جی ڈوبتا ہے کیوں تیرا منجدھار دیکھ کر
۸
اُٹھتا نہیں حجابِ نظر اے حریمِ ناز
دیوار بن گیا ہوں یہ دیوار دیکھ کر
۹
منزل طویل راہِ طلب مُشکلوں سے پُر
دل بیٹھتا ہے عمر کی رفتار دیکھ کر
۱۰
اے جوشؔ اُن کے جَور کا شکوہ نہیں رہا
سارے جہاں کو در پئے آزار دیکھ کر
मुझको गुनहगार देख कर – पंडित लभुराम जोश मल्सियानी
१
हैरत-ज़दा है ख़ल्क़ ये अस्रार देख कर
रहमत झुकी है मुझको गुनहगार देख कर
२
दामन के चाक होते ही उभरे हैं दिल के दाग़
चौंके हैं ये भी सब’ह का आसार देख कर
३
तेग़-ए क़ज़ा के आगे भी आख़ेर में झुक गया
गर्दन कमंद-ए ग़म में गिरफ़्तार देख कर
४
मैदान-ए हस्त-ओ-बूद में हर ज़र्रे की निगाह
ख़िज्लत-ज़दा है मुझको गुनहगार देख कर
५
दुनिया-ए इश्क़ सैद-ए ज़ुबूं हो के रह गई
दस्त-ए निगाह-ए नाज़ में तलवार देख कर
६
रिंदौं ने झूम झूम के मेरे क़दम लिए
महफ़िल में बे-पिये मुझे सरशार देख कर
७
उढ कर तो नाऊ पार पहूंचना महाल है
जी डूबता है क्यूं तेरा मंजधार देख कर
८
उठता नहीं हिजाब-ए नज़र अए हरीम-ए नाज़
दीवार बन गया हुं ये दीवार देख कर
९
मंज़िल तवील, राह-ए तलब मुश्किलों से पुर
दिल बैठता है उम्र की रफ़्तार देख कर
१०
अए जोश उन के जौर का शिक्वा नहीं रहा
सारे जहां को दर-पय-ए आज़ार देख कर
Click here for background and on any passage for word meanings and explanatory discussion. panDit labhuram josh malsiani (1884-1976) from malsian in the now pakistani side of punjab, migrated to India a little before partition/independence. He has written with great feeling about communal harmony and about the loss of his homeland – pakistan. His son, baalmukund arsh malsiani was also a well recognized poet. This Ghazal is linked to ‘zarf-e qadah-Khwaar dekh kar’ under Ghalib naqsh-e qadam on the Theme Index.
1
hairat-zada1 hai Khalq2 yeh asraar3 dekh kar
rahmat4 jhuki hai mujh ko gunahgaar5 dekh kar 1.struck by amazement 2.creation, humanity 3.mysteries 4.kindness, forgiveness 5.sinner
It is implied that while the poet has been a sinner, he is repenting and has begged forgiveness. It is the day of judgement, and all humanity is witness to what is going on. When the poet is presented, divine forgiveness descends on him. The whole world is amazed at the mystery.
2
daaman1 ke chaak2 hotay hi ubhray3 haiN dil ke daaGh4
chauNkay5 haiN yeh bhi sub’h6 ke aasaar7 dekh kar 1.hem of the garment 2.tear, rip 3.emerged, prominent 4.wounds 5.startled 6.dawn 7.signs
The poet/lover is distressed and in his passionate madness he rips his robe from the collar down to the hem. The ripping of the collar all the way down exposes his bosom to light. It is as if his bosom is experiencing dawn. The wounds of his heart, controlled and dormant, suddenly are startled and emerge, clearly visible.
3
teGh1-e qaza2 ke aagay3 bhi aaKhir4 meN jhuk gaya
gardan kamand5-e Gham meN giraftaar6 dekh kar 1.sword 2.fate 3.before, in front of 4.at last, finally 5.noose 6.caught, confined
This is about helplessness in the face of fate. The poet’s neck is caught in a noose. Seeming this, he succumbs, gives up his struggle and finally bows down before the sword of fate.
4
maidaan1-e hast-o-buud2 meN har zarre3 ki nigaah4
Khijlat-zada5 hai mujh ko gunahgaar6 dekh kar 1.field 2.all that is and was, all creation, existence 3.particle 4.eyes 5.stricken by shame, ashamed 6.sinner
In the field of creation i.e., in this material world, every particle looks at you and sees you and your actions, and is ashamed at my transgressions.
5
duniya-e ishq sayd1-e zubuuN2 ho ke rah gaii
dast3-e nigaah-e-naaz4 meN talvaar dekh kar 1.target, prey 2.weak, helpless 3.hand 4.glance of coquetry
The beloved looks at the lover with her coquettish glance. It is as if this glance is carrying a sword to slay him. The lover is totally helpless and falls prey to the sword of her glance.
6
rindoN1 ne jhoom jhoom ke meray qadam liye2
mahfil3 meN be-piye mujhe sarshaar4 dekh kar 1.wine drinkers 2.qadam lena-to touch feet as a mark of respect 3.gathering 4.satiated
This is a gathering of wine-drinkers and the saaqi is serving wine. Everyone drinks and gets satiated/intoxicated with wine. The poet/wine-lover does not drink but is still satiated because he drinks from the eyes of the saaqi/beloved. This ability marks him as worthy of respect, hence they all touch his feet in great joy.
7
uR kar to naau1 paar pahuNchna mahaal2 hai
jii Doobta hai kyuN tera manjdhaar3 dekh kar 1.boat 2.difficult 3.whirlpool
The poet/seeker is ready to launch his boat to cross the river. That is the path towards his goal. But he sees a whirlpool i.e., difficulties in his path and his heart sinks in fear. Why this fear, he asks, this is a part of the deal of taking the path towards the goal. It is difficult for the boat to fly across.
8
uThta nahiN hijaab1-e nazar2 aye hariim-e-naaz3
diivaar ban gaya huN yeh diivaar dekh kar 1.veil 2.glance 3.sanctuary of coquetry, beloved
The poet/lover approaches the sanctuary/home of the beloved. There is a wall and he sees it but he cannot lift his eyes. It is as if there is a veil over his glance. He himself has become an obstacle/wall in his own path.
9
manzil1 taviil2, raah3-e talab4 mushkiloN se pur5
dil baiThta6 hai umr7 ki raftaar8 dekh kar 1.destination 2.long, far away 3.path 4.desire 5.filled 6.sits/sinks 7.life 8.speed
The destination is far away and the path towards it is full of difficulties. The heart sinks seeing the speed of life. Said sahir ludhianavi …
go ham se bhaagti rahi yeh tez-gaam umr
KhwaaboN ke aasre peh kaTi hai tamaam umr
10
aye josh1 un ke jaur2 ka shikva3 nahiN raha
saaray jahaaN4 ko dar-pae5-e aazaar6 dekh kar 1.pen-name of the poet 2.cruelty, tyranny 3.complaint 4.world 5.bent upon 6.tormenting
The poetic convention is that the beloved tortures the lover. But this poet/loverr stops complaining about the beloved’s cruely upon seeing the whole world bent upon tormenting him.
panDit labhuram josh malsiani (1884-1976) from malsian in the now pakistani side of punjab, migrated to India a little before partition/independence. He has written with great feeling about communal harmony and about the loss of his homeland – pakistan. His son, baalmukund arsh malsiani was also a well recognized poet. This Ghazal is linked to ‘zarf-e qadah-Khwaar dekh kar’ under Ghalib naqsh-e qadam on the Theme Index.
1
hairat-zada1 hai Khalq2 yeh asraar3 dekh kar
rahmat4 jhuki hai mujh ko gunahgaar5 dekh kar
1.struck by amazement 2.creation, humanity 3.mysteries 4.kindness, forgiveness 5.sinner
It is implied that while the poet has been a sinner, he is repenting and has begged forgiveness. It is the day of judgement, and all humanity is witness to what is going on. When the poet is presented, divine forgiveness descends on him. The whole world is amazed at the mystery.
2
daaman1 ke chaak2 hotay hi ubhray3 haiN dil ke daaGh4chauNkay5 haiN yeh bhi sub’h6 ke aasaar7 dekh kar
1.hem of the garment 2.tear, rip 3.emerged, prominent 4.wounds 5.startled 6.dawn 7.signs
The poet/lover is distressed and in his passionate madness he rips his robe from the collar down to the hem. The ripping of the collar all the way down exposes his bosom to light. It is as if his bosom is experiencing dawn. The wounds of his heart, controlled and dormant, suddenly are startled and emerge, clearly visible.
3
teGh1-e qaza2 ke aagay3 bhi aaKhir4 meN jhuk gaya
gardan kamand5-e Gham meN giraftaar6 dekh kar
1.sword 2.fate 3.before, in front of 4.at last, finally 5.noose 6.caught, confined
This is about helplessness in the face of fate. The poet’s neck is caught in a noose. Seeming this, he succumbs, gives up his struggle and finally bows down before the sword of fate.
4
maidaan1-e hast-o-buud2 meN har zarre3 ki nigaah4
Khijlat-zada5 hai mujh ko gunahgaar6 dekh kar
1.field 2.all that is and was, all creation, existence 3.particle 4.eyes 5.stricken by shame, ashamed 6.sinner
In the field of creation i.e., in this material world, every particle looks at you and sees you and your actions, and is ashamed at my transgressions.
5
duniya-e ishq sayd1-e zubuuN2 ho ke rah gaii
dast3-e nigaah-e-naaz4 meN talvaar dekh kar
1.target, prey 2.weak, helpless 3.hand 4.glance of coquetry
The beloved looks at the lover with her coquettish glance. It is as if this glance is carrying a sword to slay him. The lover is totally helpless and falls prey to the sword of her glance.
6
rindoN1 ne jhoom jhoom ke meray qadam liye2
mahfil3 meN be-piye mujhe sarshaar4 dekh kar
1.wine drinkers 2.qadam lena-to touch feet as a mark of respect 3.gathering 4.satiated
This is a gathering of wine-drinkers and the saaqi is serving wine. Everyone drinks and gets satiated/intoxicated with wine. The poet/wine-lover does not drink but is still satiated because he drinks from the eyes of the saaqi/beloved. This ability marks him as worthy of respect, hence they all touch his feet in great joy.
7
uR kar to naau1 paar pahuNchna mahaal2 hai
jii Doobta hai kyuN tera manjdhaar3 dekh kar
1.boat 2.difficult 3.whirlpool
The poet/seeker is ready to launch his boat to cross the river. That is the path towards his goal. But he sees a whirlpool i.e., difficulties in his path and his heart sinks in fear. Why this fear, he asks, this is a part of the deal of taking the path towards the goal. It is difficult for the boat to fly across.
8
uThta nahiN hijaab1-e nazar2 aye hariim-e-naaz3
diivaar ban gaya huN yeh diivaar dekh kar
1.veil 2.glance 3.sanctuary of coquetry, beloved
The poet/lover approaches the sanctuary/home of the beloved. There is a wall and he sees it but he cannot lift his eyes. It is as if there is a veil over his glance. He himself has become an obstacle/wall in his own path.
9
manzil1 taviil2, raah3-e talab4 mushkiloN se pur5
dil baiThta6 hai umr7 ki raftaar8 dekh kar
1.destination 2.long, far away 3.path 4.desire 5.filled 6.sits/sinks 7.life 8.speed
The destination is far away and the path towards it is full of difficulties. The heart sinks seeing the speed of life. Said sahir ludhianavi …
go ham se bhaagti rahi yeh tez-gaam umr
KhwaaboN ke aasre peh kaTi hai tamaam umr
10
aye josh1 un ke jaur2 ka shikva3 nahiN raha
saaray jahaaN4 ko dar-pae5-e aazaar6 dekh kar
1.pen-name of the poet 2.cruelty, tyranny 3.complaint 4.world 5.bent upon 6.tormenting
The poetic convention is that the beloved tortures the lover. But this poet/loverr stops complaining about the beloved’s cruely upon seeing the whole world bent upon tormenting him.
The post mujh ko gunahgaar dekh kar-panDit labhuram josh malsiani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/rdss-garmi-e-bazaar-dekh-kar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
گرمیِ بازار دیکھ کر ۔ رگھوبیر داس ساحرؔ سیالکوٹی
۱
دل بجھ گیا نگاہِ خریدار دیکھ کر
یعنی ہوس کی گرمیِ بازار دیکھ کر
۲
دیکھا نگاہِ قہر سے داور نے روز حشر
پھر ہنس پڑا وہ شکلِ گنہ گار دیکھ کر
۳
نازک سے ہاتھ نرم کلائی ذرا سا دل
ہنستا ہوں ان کے ہاتھوں میں تلوار دیکھ کر
۴
گردش پہ ہو گیا تھا بہت آسماں کو ناز
چکر میں آ گیا تری رفتار دیکھ کر
۵
روکی گئی نہ کاتبِ تقدیر سے ہنسی
تیری زباں پہ وصل کا اقرار دیکھ کر
۶
پیدا ہوئی ہے ترکِ محبت کی آرزو
ہر بوالہوس کو اُس کا خریدار دیکھ کر
۷
ہر روز زندگی نئی ملتی ہے عشق میں
مرتا ہوں ورنہ میں اُنہیں ہر بار دیکھ کر
۸
ساحرؔ بلند و پست سے تھی شاق رہروی
دل منفعل ہے راہ کو ہموار دیکھ کر
गर्मी-ए बाज़ार देख कर – रघुवीर दास साहेर सियालकोटी
१
दिल बुझ गया निगाह-ए ख़रीदार देख कर
या’नी हवस की गर्मी-ए बाज़ार देख कर
२
देखा निगाह-ए क़हर से दावर ने रोज़-ए हश्र
फिर हंस पढा वो शक्ल-ए गुनहगार देख कर
३
नाज़ुक से हाथ नर्म कलाई ज़रा सा दिल
हंसता हुं उन के हाथों में तलवार देख कर
४
गर्दिश पे हो गया था बहुत आसमाँ को नाज़
चक्कर में आ गया तेरी रफ़्तार देख कर
५
रोकी गई न कातिब-ए तक़्दीर से हँसी
तेरी ज़बाँ पे वस्ल का एक़्रार देख कर
६
पैदा हुई है तर्क-ए मोहब्बत की आर्ज़ू
हर बुल-हवस को उस का ख़रीदार देख कर
७
हर रोज़ ज़िंदगी नई मिलती है इश्क़ में
मरता हूँ वर्ना मैं उन्हें हर बार देख कर
८
साहेर बुलंद-ओ-पस्त से थी शाक़ रह-रवी
दिल मुन्फ़इल है राह को हमवार देख कर
Click here for background and on any passage for word meanings and explanatory discussion. raghubir das sahir sialkoTi (1906-1984). BA sanaatan dharm college lahore. Worked for milaap daily in lahore after graduation. During partition mayhem he lost all his work. Went to jalandhar, an urdu literary hub at the time. Attended mushaa’era regularly and probably worked for magazines. When he went to hoshiarpur for a mushaa’era to hoshiarpur, he ran into his college class mate – amarchand qais who happened to have saved some of sahir’s Ghazal. Sahir became shaagird of josh malsiani. His collection was published in 1959. This Ghazal is linked to Ghalib naqsh-e qadam.
1
dil bujh1 gaya nigaah2-e Kharidaar3 dekh kar
y’aani havas4 ki garmi5-e baazaar dekh kar 1.extinguished, put out, saddened 2.eyes 3.buyer, desiring 4.lust, greed 5.activity
The poet is the only sincere lover, Platonic, willing to lay down his life and absolutely devoid of lust. There is a long list of other admirers/lovers, but they are all driven by lust. He is in the gathering around the beloved and sees lust in the eyes of all the others who desire her, and his heart is put out/saddened.
2
dekha nigaah1-e qahr2 se daavar3 ne roz-e-hashr4
phir haNs paRa vo shakl5-e gunahgaar6 dekh kar 1.eye, glance 2.anger 3.lord 4.day of judgment 5.face, looks 6.sinner
It is the day of judgment and the poet is presented before god with an accouting of his good and bad deeds. The lord looks at him with angry eyes and seeing a repentant sinner, looking frightened, breaks into a smile.
3
naazuk1 se haath narm2 kalaaii3 zara sa dil
haNsta huN un ke haathoN meN talvaar dekh kar 1.delicate, frail 2.soft 3.wrist
The conventional image is of a beloved who is fierce, carries a sword and cuts lovers heads off left and right. Here the poet presents a very different picture. Her hands are weak, her wrist is soft, and she has a heart that connot bear to see pain. He laughs upon seeing a sword in her hand – how can she be capable of killing!
4
gardish1 pe ho gaya tha bahut aasmaaN ko naaz2
chakkar3 meN aa gaya teri raftaar4 dekh kar 1.rotation 2.proud 3.turning round and round, dizzy, puzzled 4.gait
The beauty of this she’r lies is the multiple implications of the word ‘chakkar’. Conventionally, the sky turns-rotates. ‘chakkar’ is another word for the same motion but it also means feeling dizzy and getting tricked or puzzled. The beloved is famous for her gentle gait. Thus, the sky was proud of its gentle motion but when it saw the beloved’s gait it felt dizzy, tricked that someone else had a more gentle gait than the sky, went round and round (which it was doing anyway, but this is word play).
5
roki gaii na kaatib1-e taqdir se haNsi
teri zabaaN pe vasl2 ka eqraar3 dekh kar 1.writer 2.union 3.agreement, commitment, promise
The beloved is famous for making promises and breaking them – especially the promise of union/meeting. When the writer of fate was writing down her fate (must have been writing all the details including her promise to meet the poet/lover) he could not help but break out laughing.
6
paida1 hui hai tark2-e mohabbat ki aarzu3
har bul-havas4 ko us ka Kharidaar5 dekh kar 1.born, formed 2.giving up, quitting 3.desire 4.lustful 5.desiring, wanting
This is similar to the opening she’r of this Ghazal. Everyone around is a bul-havas – a lustful man and is desirous of the beloved. When he sees this, the wish to quit love forms in his heart … this could be because he is disgusted by this non-ideal behaviour or because he sees them more successful than he is.
7
har roz zindagi naii milti hai ishq meN
marta huN varna1 maiN unheN har baar2 dekh kar 1.otherwise 2.every time
Every time he sees the beloved, he dies. He should have been long dead, but he lives only because in love, you get a new life every day. Beyond this word meaning I am at a loss.
8
saahir1 buland-o-past2 se thi shaaq3 rah-ravi4
dil munfa’il5 hai raah6 ko hamvaar7 dekh kar 1.pen-name of the poet 2.high and low 3.difficult, grievous 4.traversing the path 5.regretful, ashamed 6.path 7.smooth, even
The poet likes a challenge, likes to be put to trial. O saahir, traversing the path was difficult/challenging when it had ups and downs. I feel ashamed seeing this easy, smooth path.
raghubir das sahir sialkoTi (1906-1984). BA sanaatan dharm college lahore. Worked for milaap daily in lahore after graduation. During partition mayhem he lost all his work. Went to jalandhar, an urdu literary hub at the time. Attended mushaa’era regularly and probably worked for magazines. When he went to hoshiarpur for a mushaa’era to hoshiarpur, he ran into his college class mate – amarchand qais who happened to have saved some of sahir’s Ghazal. Sahir became shaagird of josh malsiani. His collection was published in 1959. This Ghazal is linked to Ghalib naqsh-e qadam.
1
dil bujh1 gaya nigaah2-e Kharidaar3 dekh kar
y’aani havas4 ki garmi5-e baazaar dekh kar
1.extinguished, put out, saddened 2.eyes 3.buyer, desiring 4.lust, greed 5.activity
The poet is the only sincere lover, Platonic, willing to lay down his life and absolutely devoid of lust. There is a long list of other admirers/lovers, but they are all driven by lust. He is in the gathering around the beloved and sees lust in the eyes of all the others who desire her, and his heart is put out/saddened.
2
dekha nigaah1-e qahr2 se daavar3 ne roz-e-hashr4
phir haNs paRa vo shakl5-e gunahgaar6 dekh kar
1.eye, glance 2.anger 3.lord 4.day of judgment 5.face, looks 6.sinner
It is the day of judgment and the poet is presented before god with an accouting of his good and bad deeds. The lord looks at him with angry eyes and seeing a repentant sinner, looking frightened, breaks into a smile.
3
naazuk1 se haath narm2 kalaaii3 zara sa dil
haNsta huN un ke haathoN meN talvaar dekh kar
1.delicate, frail 2.soft 3.wrist
The conventional image is of a beloved who is fierce, carries a sword and cuts lovers heads off left and right. Here the poet presents a very different picture. Her hands are weak, her wrist is soft, and she has a heart that connot bear to see pain. He laughs upon seeing a sword in her hand – how can she be capable of killing!
4
gardish1 pe ho gaya tha bahut aasmaaN ko naaz2
chakkar3 meN aa gaya teri raftaar4 dekh kar
1.rotation 2.proud 3.turning round and round, dizzy, puzzled 4.gait
The beauty of this she’r lies is the multiple implications of the word ‘chakkar’. Conventionally, the sky turns-rotates. ‘chakkar’ is another word for the same motion but it also means feeling dizzy and getting tricked or puzzled. The beloved is famous for her gentle gait. Thus, the sky was proud of its gentle motion but when it saw the beloved’s gait it felt dizzy, tricked that someone else had a more gentle gait than the sky, went round and round (which it was doing anyway, but this is word play).
5
roki gaii na kaatib1-e taqdir se haNsi
teri zabaaN pe vasl2 ka eqraar3 dekh kar
1.writer 2.union 3.agreement, commitment, promise
The beloved is famous for making promises and breaking them – especially the promise of union/meeting. When the writer of fate was writing down her fate (must have been writing all the details including her promise to meet the poet/lover) he could not help but break out laughing.
6
paida1 hui hai tark2-e mohabbat ki aarzu3
har bul-havas4 ko us ka Kharidaar5 dekh kar
1.born, formed 2.giving up, quitting 3.desire 4.lustful 5.desiring, wanting
This is similar to the opening she’r of this Ghazal. Everyone around is a bul-havas – a lustful man and is desirous of the beloved. When he sees this, the wish to quit love forms in his heart … this could be because he is disgusted by this non-ideal behaviour or because he sees them more successful than he is.
7
har roz zindagi naii milti hai ishq meN
marta huN varna1 maiN unheN har baar2 dekh kar
1.otherwise 2.every time
Every time he sees the beloved, he dies. He should have been long dead, but he lives only because in love, you get a new life every day. Beyond this word meaning I am at a loss.
8
saahir1 buland-o-past2 se thi shaaq3 rah-ravi4
dil munfa’il5 hai raah6 ko hamvaar7 dekh kar
1.pen-name of the poet 2.high and low 3.difficult, grievous 4.traversing the path 5.regretful, ashamed 6.path 7.smooth, even
The poet likes a challenge, likes to be put to trial. O saahir, traversing the path was difficult/challenging when it had ups and downs. I feel ashamed seeing this easy, smooth path.
The post garmi-e baazaar dekh kar-raghubir das sahir sialkoTi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/tchm-ruu-ba-ruu-kya-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
روبرو کیا ہے ۔ تلوک چند محرومؔ
۱
نظر اُٹھا دلِ ناداں یہ جُستجُو کیا ہے
اُسی کا جلوہ تو ہے اور روبرو کیا ہے
۲
کسی کی ایک نظر نے بتا دیا مجھ کو
سُرُورِ بادۂ بے ساغر و سبو کیا ہے
۳
قفس عذاب سہی بلبلِ اسیر مگر
ذرا یہ سوچ کہ وہ دامِ رنگ و بو کیا ہے
۴
گدا نہیں ہیں کہ دستِ سوال پھیلائیں
کبھی نہ آپ نے پوچھا کہ آرزو کیا ہے
۵
نہ میرے اشک میں شامل نہ اُن کے دامن پر
میں کیا بتاؤں اُنہیں خونِ آرزو کیا ہے
۶
سخن ہو سمع خراشی تو خامشی بہتر
اثر کرے نہ جو دل پر وہ گفتگو کیا ہے
रू-ब-रू क्या है – तिलोक चन्द महरूम
१
नज़र उठा दिल-ए-नादाँ ये जुस्तुजू क्या है
उसी का जल्वा तो है और रू-ब-रू क्या है
२
किसी की एक नज़र ने बता दिया मुझ को
सुरूर-ए-बादा-ए-बे-साग़र-ओ-सुबू क्या है
३
क़फ़स अज़ाब सही बुलबुल-ए-असीर मगर
ज़रा ये सोच के वो दाम-ए-रंग-ओ-बू क्या है
४
गदा नहीं हैं कि दस्त-ए-सवाल फैलाएँ
कभी न आप ने पूछा कि आरज़ू क्या है
५
न मेरे अश्क में शामिल न उन के दामन पर
मैं क्या बताऊँ उन्हें ख़ून-ए-आरज़ू क्या है
६
सुख़न हो समअ’-ख़राशी तो ख़ामुशी बेहतर
असर करे न जो दिल पर वो गुफ़्तगू क्या है
Click here for background and on any passage for word meanings and explanatory discussion. tilok chand mahroom (1887-1955) and his son jagan nath azad (1918-2004), both poets of high caliber moved/fled from lahore to dehli post-partition. Yet both retained great love for their homeland. This is a sufiyaana/aashiqana Ghazal in the style of Ghalib’s ‘tumhiiN kaho keh andaaz-e guftagu kya hai’ and is linked to Ghalib naqsh-e qadam.
1
nazar1 uThaa dil-e-naadaN2 ye justaju3 kya hai
usi ka jalva4 to hai aur ruu-ba-ruu5 kya hai 1.sight, eyes 2.simple/innocent heart 3.search 4.manifestation, face 5.face to face, in front
The poet/devotee/lover is addressing himself through his simpleton heart, which has lowered its eyes out of humility. But of course, he has been searching for the beloved/god all this time. Raise your eyes, O simpleton, and see for yourself, why keep looking/searching elsewhere. Right in front of you is the manifestation/face of the beloved/god.
2
kisi ki ek nazar1 ne bataa diya mujh ko
suroor2-e baada3-e be-saaGhar-o-subu4 kya hai 1.glance 2.pleasure, intoxication 3.wine 4.without flask or cup
A glance of the beloved is enough to make the poet/lover intoxicated. This poet/lover too has learnt from her glance what the meaning of pleasure without wine of flask and cup is.
3
qafas1 azaab2 sahi bulbul-e-asiir3 magar
zaraa ye soch keh vo daam4-e raNg-o-bu5 kya hai 1.cage 2.curse 3.imprisoned/caged bulbul 4.noose, net, trap 5.fragrance and colour – material comfort, worldly possessions
The caged bulbul feels that the cage is a curse. True enough. But the poet/sufi suggests that this material life with worldly attractions is no different. It is a trap of fragrance and colour. The unstated part is that it is better to think of the spiritual rather than the material.
4
gadaa1 nahiN haiN keh dast-e-savaal2 phailaa’eN3
kabhi na aap ne puchha keh aarzu4 kya hai 1.beggar 2.begging/asking hand 3.spread 4.desire
The poet/lover is proud of his dignity and will not spread his hand out for alms, will not tell the beloved what his feelings are. She has never asked him. So, he suffers in silence. Said Ghalib …
bandagi meN bhi vo aazaadah-o-Khud-biiN haiN ke hum
ulTe phir aaye dar-e-k’aaba agar vaa na hua
5
na mere ashk1 meN shaamil2 na un ke daaman3 par
maiN kya bataauN unheN Khuun-e-aarzu4 kya hai 1.tears 2.mixed, included 3.hem of the robe 4.blood of my desires
How can I explain to her what bleeding desire is. Neither is that blood mixed in my tears nor does it stain the hem of her robe i.e., I bleed silently inside.
6
suKhan1 ho sama’-Kharaashi2 to Khaamushi3 behtar4
asar5 kare na jo dil par vo guftugu6 kya hai 1.words 2.only to be heard i.e., only to make a noise 3.silence 4.better 5.effect 6.conversation
If words are spoken only to make a noise, then silence is better. Of what use is that conversation which does not affect the heart.
tilok chand mahroom (1887-1955) and his son jagan nath azad (1918-2004), both poets of high caliber moved/fled from lahore to dehli post-partition. Yet both retained great love for their homeland. This is a sufiyaana/aashiqana Ghazal in the style of Ghalib’s ‘tumhiiN kaho keh andaaz-e guftagu kya hai’ and is linked to Ghalib naqsh-e qadam.
1
nazar1 uThaa dil-e-naadaN2 ye justaju3 kya hai
usi ka jalva4 to hai aur ruu-ba-ruu5 kya hai
1.sight, eyes 2.simple/innocent heart 3.search 4.manifestation, face 5.face to face, in front
The poet/devotee/lover is addressing himself through his simpleton heart, which has lowered its eyes out of humility. But of course, he has been searching for the beloved/god all this time. Raise your eyes, O simpleton, and see for yourself, why keep looking/searching elsewhere. Right in front of you is the manifestation/face of the beloved/god.
2
kisi ki ek nazar1 ne bataa diya mujh ko
suroor2-e baada3-e be-saaGhar-o-subu4 kya hai
1.glance 2.pleasure, intoxication 3.wine 4.without flask or cup
A glance of the beloved is enough to make the poet/lover intoxicated. This poet/lover too has learnt from her glance what the meaning of pleasure without wine of flask and cup is.
3
qafas1 azaab2 sahi bulbul-e-asiir3 magar
zaraa ye soch keh vo daam4-e raNg-o-bu5 kya hai
1.cage 2.curse 3.imprisoned/caged bulbul 4.noose, net, trap 5.fragrance and colour – material comfort, worldly possessions
The caged bulbul feels that the cage is a curse. True enough. But the poet/sufi suggests that this material life with worldly attractions is no different. It is a trap of fragrance and colour. The unstated part is that it is better to think of the spiritual rather than the material.
4
gadaa1 nahiN haiN keh dast-e-savaal2 phailaa’eN3
kabhi na aap ne puchha keh aarzu4 kya hai
1.beggar 2.begging/asking hand 3.spread 4.desire
The poet/lover is proud of his dignity and will not spread his hand out for alms, will not tell the beloved what his feelings are. She has never asked him. So, he suffers in silence. Said Ghalib …
bandagi meN bhi vo aazaadah-o-Khud-biiN haiN ke hum
ulTe phir aaye dar-e-k’aaba agar vaa na hua
5
na mere ashk1 meN shaamil2 na un ke daaman3 par
maiN kya bataauN unheN Khuun-e-aarzu4 kya hai
1.tears 2.mixed, included 3.hem of the robe 4.blood of my desires
How can I explain to her what bleeding desire is. Neither is that blood mixed in my tears nor does it stain the hem of her robe i.e., I bleed silently inside.
6
suKhan1 ho sama’-Kharaashi2 to Khaamushi3 behtar4
asar5 kare na jo dil par vo guftugu6 kya hai
1.words 2.only to be heard i.e., only to make a noise 3.silence 4.better 5.effect 6.conversation
If words are spoken only to make a noise, then silence is better. Of what use is that conversation which does not affect the heart.
The post ruu-ba-ruu kya hai-tilok chand mahroom appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/shpvjf-fikr-o-nazar-ki-raanaaii-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
فکر و نظر کی رعنائی ۔ شِو پرشاد وشِشٹ جاویدؔ فتح پوری
۱
یہ خار زارِ مسلسل یہ آبلہ پائی
بلا کا حوصلہ رکھتے ہیں تیرے سودائی
۲
تیرے خیال نے دی شمع انجمن ورنہ
حیاتِ عشق تھی اک بے چراغ تنہائی
۳
یہ ایک رقص رہا تشنگی کا تا بہ سحر
تڑپ کے موج اُٹھی اور پیاس لہرائی
۴
بھڑک اُٹھا ہے دلِ زیست میں شرار کوئی
سبُو بدست جو رقصاں ہیں تیرے سودائی
۵
مِلا کہاں میری آنکھوں کو ذوقِ نظارہ
نظر ہے حسنِ نظر کی ابھی تماشائی
۶
کہیں تو آبلے پھوٹیں گے رنگ بکھرے گا
کہیں تو پھول کھلائے گی آبلہ پائی
۷
جنوں کا جذبۂ کامل تو کام آ بھی چکا
ابھی سنور ہی رہی ہے خِرد کی خود رائی
۸
تیرے خیال سے فرصت کہاں محبت کو
میرے لیے تو ہر اک انجمن ہے تنہائی
۹
کسی کے حسنِ تصوّر کا لطف ہے جاویدؔ
ملی ہے مجھ کو جو فکر و نظر کی رعنائی
फ़िक्र ओ नज़र की रा’नाई – शिव प्रशाद वशिष्ठ जावेद फ़तहपूरी
१
ये ख़ार ज़ार-ए मुसलसल, ये आबला पाई
बला का हौसला रखते हैं तेरे सौदाई
२
तेरे ख़्याल ने दी शमा’-ए अंजुमन वरना
हयात-ए इश्क़ थी एक बे चराग़ तन्हाई
३
ये एक रक़्स रहा तिश्नगी का ता ब सहर
तड़प के मौज उठी और प्यास लहराई
४
भड़क उठा है दिल-ए ज़ीस्त में शरार कोई
सबू ब-दस्त जो रक़्सां हैं तेरे सौदाई
५
मिला कहाँ मेरी आंखों को ज़ौक़-ए नज़्ज़ारा
नज़र है हुस्न-ए नज़र की अभी तमाशाई
६
कहीं तो आबले फूटेंगे रंग बिखरेगा
कहीं तो फूल खिलाएगी आबला पाई
७
जुनूं का जज़्बा-ए कामिल तो काम आ भी चुका
अभी संवर ही रही है ख़िरद की ख़ुद-राई
८
तेरे ख़्याल से फ़ुर्सत कहाँ मोहब्बत को
मेरे लिए तो हर एक अंजुमन है तन्हाई
९
किसी के हुस्न-ए तसव्वुर का लुत्फ़ है जावेद
मिली है मुझ को जो फ़िक्र ओ नज़र की रा’नाई
Click here for background and on any passage for word meanings and explanatory discussion. jaaved fatehpuri, shiv prasad vashishT (1920-1994). Started out as lecturer in dehli college while still an MA student. PhD on mulla vaj’hi, working for a while in hyderabad. Studied under maulvi abdul haq for some time. Later shaagird of shamiim kirmaani. There are several collections of his historical and literary works as well as his nazm and Ghazal. Faculty, urdu department, zakir husain college.
1
ye Khaar-zaar1-e musalsal2, ye aabla-paa’ii3
balaa4 ka hausla5 rakhte haiN tere saudaa’ii6 1.field of thorns 2.continuous 3.feet blistering 4.immense 5.courage 6.seekers
There are saudaa’ii-seekers who are seeking something or someone. The poet has used a non-contextual pronoun ‘tere saudaa’ii’ without making explicit who or what ‘tere’ refers to. This could be a romantic beloved or a socialist/just society that the saudaa’ii seek. But they must have immense courage because they have undertaken this feet blistering voyage through a continuous of field of thorns.
2
tere Khayaal1 ne dii sham’a2-e anjuman3 varna4
hayaat5-e ishq thi ek be-charaaGh6 tanhaa’ii7 1.thought, vision 2.candle, lamp 3.gathering, society 4.otherwise 5.life 6.without a lamp, dark 7.loneliness, isolated individual
It is thoughts/vision of you that have given our gathering a light, otherwise the life of love/desire was dark isolation. Whose thought? Whose vision? Social justice fits a lot better than a conventional beloved because this vision has brought people together instead of letting them be isolated individuals in the dark. There might also be a sufiyaana interpretation if the ‘tere Khayaal’ is taken to mean thoughts of the divine.
3
yeh ek raqs1 raha tishnagi2 ka taa3 ba sahar4
taRap ke mauj uThi aur pyaas lahra’ii 1.dance 2.thirst 3.until 4.dawn
It is night – the darkness of injustice or ignorance or separation from the beloved. Throughout the night, until dawn, a dance of thirst is underway. What kind of dance … a dance in which restless waves rise and thirst sways. Thus a conventional romantic or sufiyaana or political interpretation is possible.
4
bhaRak1 uTha hai dil-e ziist2 meN sharaar3 koi
subuu4 ba-dast5 jo raqsaaN6 haiN tere saudaa’ii7 1.burst into flame 2.life 3.spark, fire 4.wine 5.in hand 6.dancing 7.seekers
In the inner being of life, a spark has burst into flame and your seekers are dancing with wine cups in hand, in joyous anticipation of your arrival.
5
mila kahaaN meri aaNkhoN ko zauq1-e nazzara2
nazar3 hai husn4-e nazar ki abhi tamaashaa’ii5 1.taste 2.sight, vision 3.eyes, ability to see 4.finesse, skill, ability 5.spectator
This seems to have a more sufiyaana angle to it. The the poet/seeker has not yet acquired the ability to see the unseen/spiritual. He is still only a spectator. His eyes have not yet acquired ‘zauq-e nazzaara’ – the taste to see/discern.
6
kahiN to aable1 phooTeNge raNg bikhrega
kahiN to phool khilaa’egi aabla-paa’ii1 1.blisters 2.feet blistering
The seeker has been walking this feet-blistering thorny path. The imagery used here is used often … blisters burst, wounds and the colour of blood look like blooming roses. Thus, sometime these blisters will burst, bleed and colour of blood will spread causing flowers to bloom. Said faiz ahmed faiz …
hai dasht ab bhi dasht magar Khoon-e paa se faiz
sairaab chand Khaar-e-muGhailaaN hue to haiN
7
junooN1 ka jazbah2-e kaamil3 to kaam aa bhi chuka
abhi saNvar4 hi rahi hai Khirad5 ki Khud-raa’ii6 1.madness, intensity 2.sentiment, passion 3.complete, perfect 4.adorning 5.intelligence, knowledge 6.Khud-aaraa’ii – self adornment, shortened as Khud-raa’ii for meter
The intensity of passion has completed the task while intelligence is still busy adorning itself. This is similar to what iqbal said …
be-Khatar kood paRa aatish-e namrood meN ishq
aql hai mav-e tamaasha-e lab-e baam abhi
8
tere Khayaal1 se fursat2 kahaaN mohabbat ko
mere liye to har ek anjuman3 hai tanhaa’ii4 1.thought 2.liesure 3.gathering 4.solitude
Am I ever without thoughts of love for you. I am so absorbed in thoughts of your love that every gathering is like solitude for me … I am always lost in thought of you. It is up to us to decide who the ‘you’ is.
9
kisi ke husn1-e tasavvur2 ka lutf3 hai jaaved4
mili hai mujh ko jo fikr-o-nazar5 ki ra’naaii6 1.beauty, grace 2.imagination 3.courtesy, kindness 4.pen-name of the poet 5.thought and discerning sight 6.grace, elegance
O javed, it is the kindness of the thought of someone that I have been granted the grace/elegance of refined thought and discerning sight i.e., because he thinks of that special someone, he has the ability to write fine poetry. Who is that someone. The poet leaves that to us to decide.
jaaved fatehpuri, shiv prasad vashishT (1920-1994). Started out as lecturer in dehli college while still an MA student. PhD on mulla vaj’hi, working for a while in hyderabad. Studied under maulvi abdul haq for some time. Later shaagird of shamiim kirmaani. There are several collections of his historical and literary works as well as his nazm and Ghazal. Faculty, urdu department, zakir husain college.
1
ye Khaar-zaar1-e musalsal2, ye aabla-paa’ii3
balaa4 ka hausla5 rakhte haiN tere saudaa’ii6
1.field of thorns 2.continuous 3.feet blistering 4.immense 5.courage 6.seekers
There are saudaa’ii-seekers who are seeking something or someone. The poet has used a non-contextual pronoun ‘tere saudaa’ii’ without making explicit who or what ‘tere’ refers to. This could be a romantic beloved or a socialist/just society that the saudaa’ii seek. But they must have immense courage because they have undertaken this feet blistering voyage through a continuous of field of thorns.
2
tere Khayaal1 ne dii sham’a2-e anjuman3 varna4
hayaat5-e ishq thi ek be-charaaGh6 tanhaa’ii7
1.thought, vision 2.candle, lamp 3.gathering, society 4.otherwise 5.life 6.without a lamp, dark 7.loneliness, isolated individual
It is thoughts/vision of you that have given our gathering a light, otherwise the life of love/desire was dark isolation. Whose thought? Whose vision? Social justice fits a lot better than a conventional beloved because this vision has brought people together instead of letting them be isolated individuals in the dark. There might also be a sufiyaana interpretation if the ‘tere Khayaal’ is taken to mean thoughts of the divine.
3
yeh ek raqs1 raha tishnagi2 ka taa3 ba sahar4
taRap ke mauj uThi aur pyaas lahra’ii
1.dance 2.thirst 3.until 4.dawn
It is night – the darkness of injustice or ignorance or separation from the beloved. Throughout the night, until dawn, a dance of thirst is underway. What kind of dance … a dance in which restless waves rise and thirst sways. Thus a conventional romantic or sufiyaana or political interpretation is possible.
4
bhaRak1 uTha hai dil-e ziist2 meN sharaar3 koi
subuu4 ba-dast5 jo raqsaaN6 haiN tere saudaa’ii7
1.burst into flame 2.life 3.spark, fire 4.wine 5.in hand 6.dancing 7.seekers
In the inner being of life, a spark has burst into flame and your seekers are dancing with wine cups in hand, in joyous anticipation of your arrival.
5
mila kahaaN meri aaNkhoN ko zauq1-e nazzara2
nazar3 hai husn4-e nazar ki abhi tamaashaa’ii5
1.taste 2.sight, vision 3.eyes, ability to see 4.finesse, skill, ability 5.spectator
This seems to have a more sufiyaana angle to it. The the poet/seeker has not yet acquired the ability to see the unseen/spiritual. He is still only a spectator. His eyes have not yet acquired ‘zauq-e nazzaara’ – the taste to see/discern.
6
kahiN to aable1 phooTeNge raNg bikhrega
kahiN to phool khilaa’egi aabla-paa’ii1
1.blisters 2.feet blistering
The seeker has been walking this feet-blistering thorny path. The imagery used here is used often … blisters burst, wounds and the colour of blood look like blooming roses. Thus, sometime these blisters will burst, bleed and colour of blood will spread causing flowers to bloom. Said faiz ahmed faiz …
hai dasht ab bhi dasht magar Khoon-e paa se faiz
sairaab chand Khaar-e-muGhailaaN hue to haiN
7
junooN1 ka jazbah2-e kaamil3 to kaam aa bhi chuka
abhi saNvar4 hi rahi hai Khirad5 ki Khud-raa’ii6
1.madness, intensity 2.sentiment, passion 3.complete, perfect 4.adorning 5.intelligence, knowledge 6.Khud-aaraa’ii – self adornment, shortened as Khud-raa’ii for meter
The intensity of passion has completed the task while intelligence is still busy adorning itself. This is similar to what iqbal said …
be-Khatar kood paRa aatish-e namrood meN ishq
aql hai mav-e tamaasha-e lab-e baam abhi
8
tere Khayaal1 se fursat2 kahaaN mohabbat ko
mere liye to har ek anjuman3 hai tanhaa’ii4
1.thought 2.liesure 3.gathering 4.solitude
Am I ever without thoughts of love for you. I am so absorbed in thoughts of your love that every gathering is like solitude for me … I am always lost in thought of you. It is up to us to decide who the ‘you’ is.
9
kisi ke husn1-e tasavvur2 ka lutf3 hai jaaved4
mili hai mujh ko jo fikr-o-nazar5 ki ra’naaii6
1.beauty, grace 2.imagination 3.courtesy, kindness 4.pen-name of the poet 5.thought and discerning sight 6.grace, elegance
O javed, it is the kindness of the thought of someone that I have been granted the grace/elegance of refined thought and discerning sight i.e., because he thinks of that special someone, he has the ability to write fine poetry. Who is that someone. The poet leaves that to us to decide.
The post fikr o nazar ki r’aanaaii-shiv prashaad vashishT jaaved fatehpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/sahaal-yaar-ko-mehmaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
یار کو مہماں کیے ہوئے ۔ سید انور حسین آرزوؔ لکھنوی
۱
بیٹھا ہوں اپنے قتل کا ساماں کیے ہوئے
یعنی خیالِ ناوکِ مژگاں کیے ہوئے
۲
بے موت میں مروں تمہیں آتی نہیں حیا
کیا چپ کھڑے ہو تیغ کو عریاں کیے ہوئے
۳
تکتا ہوں سوئے پردۂ در بن کے اجنبی
شوقِ نظارہ آنکھوں میں پنہاں کیے ہوئے
۴
جانا پئے عیادتِ بیمارِ نا اُمید
اور بال کھولے حال پریشاں کیے ہوئے
۵
وحشت ہم اپنی بعدِ فنا چھوڑ جائیں گے
اب تم پھرو گے چاک گریباں کیے ہوئے
۶
یوں پھر رہے ہیں جیسے کوئی بات ہی نہیں
آلودہ میرے خون سے داماں کیے ہوئے
۷
جوشِ جنوں میں وہ ترے وحشی کا چیخنا
بند اپنے ہاتھ سے درِ زنداں کیے ہوئے
۸
قابو کا اپنے جان کے ہوں شاد آرزوؔ
دل میں خیال یار کو مہماں کیے ہوئے
यार को मेहमां किए हुए – सय्यद अनवर हुसैन आर्ज़ू लखनवी
१
बैठा हूँ अपने क़त्ल का सामाँ किए हुए
यानी ख़याल-ए नावक-ए मिज़्श्गां किए हुए
२
बे-मौत में मरूँ तुम्हें आती नहीं हया
क्या चुप खड़े हो तेग़ को उर्याँ किए हुए
३
तकता हूँ सू-ए परदा-ए दर बन के अजनबी
शौक़-ए नज़ारा आंखों में पिन्हाँ किए हुए
४
जाना प’-ए अयादत-ए बीमार-ए ना-उमीद
और बाल खोले हाल परेशाँ किए हुए
५
वहशत हम अपनी बाद-ए फ़ना छोड़ जाएँगे
अब तुम फिरोगे चाक गरेबाँ किए हुए
६
यूँ फिर रहे हैं जैसे कोई बात ही नहीं
आलूदा मेरे ख़ून से दामाँ किए हुए
७
जोश-ए जुनूं में वो तेरे वहशी का चीख़ना
बंद अपने हाथ से दर-ए ज़िन्दाँ किए हुए
८
क़ाबू का अपने जान के हूँ शाद आर्ज़ू
दिल में ख़याल-ए यार को मेहमां किए हुए
Click here for background and on any passage for word meanings and explanatory discussion. aarzu lakhnavi-syed anvar husain (1874-1951). He was born into a well to do family and was educated at home learning faarsi and urdu. Started composing early. There are several collections of Ghazal and nazm, marsia and masnavi. His inheritance did not last very long and he struggled to make a living. Probably was supported by some of his 140 shaagird and for a while with employment at the raampur court, editing maganzines. He wrote some plays that became very popular and theatre companies employed him to write plays in connection with which he traveled to kalkata, bambaii and lahore. He also wrote dialogue and lyrics for the budding film industry. He was invited to a ‘hind-paak mushaaera’ in Jan 1951 to karaachi where he died in April 1951. This Ghazal is linked to Ghalib naqsh-e qadam.
1
baiTha huN apne qatl1 ka samaaN2 kiye hue
yaani Khayaal-e naavak3-e mizshgaaN4 kiye hue 1.killing 2.means, arrangements 3.arrow 4.eyebrows
In urdu poetic tradition, the beloved’s eyebrows are considered to be bows and her glance an arrow. The poet/lover is sitting deep in thought of the beloved and is visualizing her eyebrows and sidelong glances i.e., he is making arrangements for his own death, the arrow will penetrate his heart and kill him.
2
be-maut1 maiN marooN tumheN aati nahiN haya2
kya chup3 khaRe ho teGh4 ko uriyaaN5 kiye hue 1.without death 2.bashful as opposed to brazen 3.quiet, silent 4.sword 5.naked
In urdu poetic tradition, the lover longs to be killed at the hands of the beloved. She draws her sword to slaughter her lovers/admirers. Here the beloved is just standing quietly with her sword drawn out, not doing anything. You stand there brazen, are you not ashamed while here I am dying in anticipation without death. The implications is hurry up and slaughter me so that I may achieve my lifelong wish.
3
takta1 huN suu2-e parde-e dar3 ban ke ajnabi4
shauq5-e nazaara6 aaNkhoN meN pinhaaN7 kiye hue 1.stare 2.towards 3.door 4.stranger 5.desire, eagerness 6.sight, appearance 7.hidden
The poet/lover stands in front of the door of the beloved, staring at the curtain, hoping that she would lift the curtain and appear. He is pretending to be stranger, acting nonchalant; hiding his eagerness for her appearance – not allowing it to show in his eyes, so that doorman does not shoo him out of the street.
4
jaana1 pa’e2 e’yaadat3-e biimaar-e na-umeed4
aur baal khole haal pareshaaN kiye hue 1.going 2.for the sake of 3.visiting to ask about well-being 4.hopeless
The poet/lover is sick of sadness and lack of reciprocity of his love. He is on his death bed. As is customary, the beloved comes to visit and ask about him. But she come with her hair undone and spread out, with her condition distraught and worried. The whole statement is one of either puzzlement or sarcasm – the former because her appearance might give the sick lover so much hope that he might immediately recover and the latter because he might die upon seeing her so distraught.
5
vahshat1 hum apni baad2-e fana3 chhoR jaa’eNge
ab tum phiro ge chaak4 garebaaN5 kiye hue 1.distress, extreme sorrow 2.after 3.annihilation, death 4.torn, ripped 5.shirt front
In poetic tradition the distraught lover goes about like a madman with his shirt front ripped own to the hem, a la majnuN. This she’r is probably addressed to his rivals or successors (the beloved remains forever young). He says, upon my death, I will leave behind my distress. You can then take it up and go around with your shirt ripped. Thus, the tradition goes on.
6
yuN phir rahe haiN jaise koi baat hi nahiN
aalooda1 mere Khoon se daamaaN2 kiye hue 1.stained 2.hem of the garment
This is addressed to the beloved. She is going around as if there is nothing wrong. In fact, she has just slaughtered the poet/lover (but he can still write about it) and the hem of her garment is soaked in his blood, but she is going around calmly.
7
josh1-e junooN2 meN voh tere vahshi3 ka cheeKhna
band apne haath se dar4-e zindaaN5 kiye hue 1.welling up, boiling over 2.passionate madness 3.madman 4.door 5.prison
The poet describes himself as ‘tera vahshi-your mad lover’. He has been going around, distraught, out of his mind. People have caught him, chained him and put him in prison. But somehow, the chains are off and the door is open but the mad lover is so distraught that he himself shuts the door and screams wildly.
8
qaabu1 ka apne jaan2 ke huN shaad3 aarzu4
dil meN Khayaal5-e yaar6 ko mehmaaN7 kiye hue 1.control, possession 2.knowing, thinking 3.happy 4.pen-name of the poet 5.thought, imagination 6.friend, beloved 7.guest, resident
O shaad, you are happy because you think that your heart is in your control. Thinking this you have invited thoughts of the beloved to reside in your heart. There is an irony in this … because the heart is not in his control; the beloved has it.
aarzu lakhnavi-syed anvar husain (1874-1951). He was born into a well to do family and was educated at home learning faarsi and urdu. Started composing early. There are several collections of Ghazal and nazm, marsia and masnavi. His inheritance did not last very long and he struggled to make a living. Probably was supported by some of his 140 shaagird and for a while with employment at the raampur court, editing maganzines. He wrote some plays that became very popular and theatre companies employed him to write plays in connection with which he traveled to kalkata, bambaii and lahore. He also wrote dialogue and lyrics for the budding film industry. He was invited to a ‘hind-paak mushaaera’ in Jan 1951 to karaachi where he died in April 1951. This Ghazal is linked to Ghalib naqsh-e qadam.
1
baiTha huN apne qatl1 ka samaaN2 kiye hue
yaani Khayaal-e naavak3-e mizshgaaN4 kiye hue
1.killing 2.means, arrangements 3.arrow 4.eyebrows
In urdu poetic tradition, the beloved’s eyebrows are considered to be bows and her glance an arrow. The poet/lover is sitting deep in thought of the beloved and is visualizing her eyebrows and sidelong glances i.e., he is making arrangements for his own death, the arrow will penetrate his heart and kill him.
2
be-maut1 maiN marooN tumheN aati nahiN haya2
kya chup3 khaRe ho teGh4 ko uriyaaN5 kiye hue
1.without death 2.bashful as opposed to brazen 3.quiet, silent 4.sword 5.naked
In urdu poetic tradition, the lover longs to be killed at the hands of the beloved. She draws her sword to slaughter her lovers/admirers. Here the beloved is just standing quietly with her sword drawn out, not doing anything. You stand there brazen, are you not ashamed while here I am dying in anticipation without death. The implications is hurry up and slaughter me so that I may achieve my lifelong wish.
3
takta1 huN suu2-e parde-e dar3 ban ke ajnabi4shauq5-e nazaara6 aaNkhoN meN pinhaaN7 kiye hue
1.stare 2.towards 3.door 4.stranger 5.desire, eagerness 6.sight, appearance 7.hidden
The poet/lover stands in front of the door of the beloved, staring at the curtain, hoping that she would lift the curtain and appear. He is pretending to be stranger, acting nonchalant; hiding his eagerness for her appearance – not allowing it to show in his eyes, so that doorman does not shoo him out of the street.
4
jaana1 pa’e2 e’yaadat3-e biimaar-e na-umeed4aur baal khole haal pareshaaN kiye hue
1.going 2.for the sake of 3.visiting to ask about well-being 4.hopeless
The poet/lover is sick of sadness and lack of reciprocity of his love. He is on his death bed. As is customary, the beloved comes to visit and ask about him. But she come with her hair undone and spread out, with her condition distraught and worried. The whole statement is one of either puzzlement or sarcasm – the former because her appearance might give the sick lover so much hope that he might immediately recover and the latter because he might die upon seeing her so distraught.
5
vahshat1 hum apni baad2-e fana3 chhoR jaa’eNge
ab tum phiro ge chaak4 garebaaN5 kiye hue
1.distress, extreme sorrow 2.after 3.annihilation, death 4.torn, ripped 5.shirt front
In poetic tradition the distraught lover goes about like a madman with his shirt front ripped own to the hem, a la majnuN. This she’r is probably addressed to his rivals or successors (the beloved remains forever young). He says, upon my death, I will leave behind my distress. You can then take it up and go around with your shirt ripped. Thus, the tradition goes on.
6
yuN phir rahe haiN jaise koi baat hi nahiN
aalooda1 mere Khoon se daamaaN2 kiye hue
1.stained 2.hem of the garment
This is addressed to the beloved. She is going around as if there is nothing wrong. In fact, she has just slaughtered the poet/lover (but he can still write about it) and the hem of her garment is soaked in his blood, but she is going around calmly.
7
josh1-e junooN2 meN voh tere vahshi3 ka cheeKhna
band apne haath se dar4-e zindaaN5 kiye hue
1.welling up, boiling over 2.passionate madness 3.madman 4.door 5.prison
The poet describes himself as ‘tera vahshi-your mad lover’. He has been going around, distraught, out of his mind. People have caught him, chained him and put him in prison. But somehow, the chains are off and the door is open but the mad lover is so distraught that he himself shuts the door and screams wildly.
8
qaabu1 ka apne jaan2 ke huN shaad3 aarzu4dil meN Khayaal5-e yaar6 ko mehmaaN7 kiye hue
1.control, possession 2.knowing, thinking 3.happy 4.pen-name of the poet 5.thought, imagination 6.friend, beloved 7.guest, resident
O shaad, you are happy because you think that your heart is in your control. Thinking this you have invited thoughts of the beloved to reside in your heart. There is an irony in this … because the heart is not in his control; the beloved has it.
The post yaar ko mehmaaN kiye hue-aarzu lakhnavi-anvar husain appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/smba-KhamoshiyoN-ko-Ghazal-KhwaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
خموشیوں کو غزل خواں کئے ہوئے ۔ سیمابؔ اکبر آبادی
۱
بیٹھا ہوں چاک جیب و گریباں کئے ہوئے
ہنگامۂ بہار کا ساماں کئے ہوئے
۲
ہوں اپنے بس میں عالمِ اِمکاں کئے ہوئے
اپنی خودی کو اپنا نگہباں کئے ہوئے
۳
اے دوست اب تو آ، کہ زمانے گزر گئے
جلوؤں سے انجمن میں چراغاں کئے ہوئے
۴
ہستی ہے اک جنونِ تباہی کی منتظر
صحرا کی وسعتوں کو گریباں کئے ہوئے
۵
خوش ہوں کہ آ رہا ہے نیا دورِ اِنقلاب
ذرّوں کو غیرتِ مہِ تاباں کئے ہوئے
۶
موجوں کو سیل بننے کا دیتا ہوا سبق
قطروں کو فرطِ جوش سے طوفاں کئے ہوئے
۷
صیاد پھر ہے اہلِ چمن کی تلاش میں
دشنہ حجابِ دام میں پنہاں کئے ہوئے
۸
سازِ بہار ہے نئے عنوان و رنگ سے
اپنی خموشیوں کو غزل خواں کئے ہوئے
۹
گلچیں کھڑے ہوئے روشوں پر ہیں صف بصف
اندیشہ ہائے تنگیِ داماں کئے ہوئے
۱۰
ہے فطرتِ چمن بہ ہر انداز مطمئن
نظمِ جدید صبح بہاراں کئے ہوئے
۱۱
احساس لازمی تھا کہ صدیاں گزر گئیں
شیرازۂ حیات پریشاں کئے ہوئے
۱۲
اب کوہ و دشت و باغ و دمن آئیں گے نظر
رنگ اور بو کو دولتِ داماں کئے ہوئے
۱۳
اب آشیاں میں آئیں گے سب اہلِ آشیاں
سامانِ جشنِ غارتِ زنداں کئے ہوئے
۱۴
رنگ و نوا و امن و سکون و شگفت کا
گلزار اور بہار سے پیماں کئے ہوئے
۱۵
القصہ انقلاب کے پردے میں ہے خدا
عزمِ نشاط مندیِ اِنساں کئے ہوئے
۱۶
سیمابؔ عہدِ گُل کی ہے تجدید، اور میں
بیٹھا ہوں چاک جیب و گریباں کئے ہوئے
ख़मोशियौं को ग़ज़ल-ख़्वां किये हुए – सीमाब अक्बराबादी
१
बैठा हुं चाक जेब ओ गरेबां किये हुए
हंगामा-ए बहार का सामां किये हुए
२
हुं अपने बस में आलम-ए इम्कां किये हुए
अपनी ख़ुदी को अपना निगहबां किये हुए
३
अए दोस्त अब तो आ के ज़माने गुज़र गए
जल्वौं से अंजुमन में चराग़ां किये हुए
४
हस्ती है एक जुनून-ए तबाही कि मुंतज़र
सहरा कि वुस’अतौं को गरेबां किये हुए
५
ख़ुश हुं के आ रहा है नया दौर-ए इन्क़ेलाब
ज़र्रौं को ग़ैरत-ए मह-ए ताबां किये हुए
६
मौजौं का सैल बन’ने का देता हुआ सबक़
क़तरौं को फ़र्त-ए जोश से तूफ़ां किये हुए
७
सय्याद फिर है अहल-ए चमन की तलाश में
दश्ना हिजाब-ए दाम में पिन्हां किये हुए
८
साज़-ए बहार है नए उन्वान ओ रंग से
अपनी ख़मोशियौं को ग़ज़ल-ख़्वां किये हुए
९
बुलचीं खढे हुए रविशैं पर हैं सफ़-ब-सफ़
अंदेशा-हा-ए तंगी-ए दामां किये हुए
१०
है फ़ितरत-ए चमन ब-हर अंदाज़ मुतम’इन
नज़्म-ए जदीद सुब्ह बहारां किये हुए
११
एहसास लाज़िमी था के सदियां गुज़र गईं
शीराज़ा-ए हयात परेशां किये हुए
१२
अब कोह ओ दश्त ओ बाग़ ए दमन आएंगे नज़र
रंग और बू को दौलत-ए दामां किये हुए
१३
अब आशियां में आएंगे सब अहल-ए आशियां
सामान-ए जश्न-ए ग़ारत-ए ज़िन्दां किये हुए
१४
रंग ओ नवा ओ अमन ओ सुकून ओ शगुफ़्त का
गुलज़ार और बहार से पैमां किये हुए
१५
अल-क़िस्सा इन्क़लाब के पर्दे में है ख़ुदा
अज़्म-ए निशात-मंदी-ए इन्सां किये हुए
१६
सीमाब अहल-ए गुल की है तज्दीद, और मैं
बैठा हुं चाक जेब ओ गरेबां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’. This Ghazal is linked to ‘mehmaaN kiye hue’ in ‘Ghalib naqsh-e qadam’. This Ghazal is highly political.
1
baiTha huN chaak1 jeb-o-garebaaN2 kiye hue
haNgaama3-e bahaar4 ka samaaN5 kiye hue 1.rip apart 2.shirt front and collar 3.time 4.spring 5.arrangements, means
Spring is a time of renewal of love. In poetic convention lovers get particularly distressed during spring because the beloved does not reciprocate their love. It is the time of spring and the poet has made all the arrangements. He is waiting with his shirt front and collar ripped apart like majnuN, the ideal lover. This Ghazal is loaded with political interpretations which become much more clear in subsequent ash’aar. In the light of what is coming, the political angle of this she’r is that the arrival of spring is independence and the the lover (participant in the freedom movement) has gone mad with the intensity of his emotions.
2
huN apne bas1 meN aalam2-e imkaaN3 kiye hue
apni Khudi4 ko apna nigahbaaN5 kiye hue 1.control 2.world 3.possibilities 4.self-respect, self-reliance 5.guardian, steward
The poet proudly declares that he has made his self-reliance his steward/guardian. He does not rely on anyone else. By doing this, he has brought a whole new world of possibilities within his control/domain. Thus, people are preparing to govern themselves and throw the colonial power out.
3
aye dost1 ab to aa, keh zamaaNe2 guzar3 gaye
jalvoN4 se anjuman5 meN charaaghaaN6 kiye hue 1.friend, beloved 2.ages 3.passed, gone by 4.appearance, presence 5.gathering 6.lighting, brilliance
There was a time when the gathering would light up just by the presence of the beloved. It has been ages since she has come. He appeals to her to come now so that he may be able to light up gatherings again, just with her appearance. Here the ‘dost’ could be independence.
4
hasti1 hai ek junoon2-e tabaahi3 ki muntazir4
sahra5 ki vus’atoN6 ko garebaaN7 kiye hue 1.existence, life 2.passion, madness 3.destruction 4.waiting, anticipating 5.desert 6.expanse 7.shirt front, collar
Here ‘tabaahi-destruction’ could mean the destruction of the old order and ‘sahra ki vus’at’ is the expanse/vastness of the desert, with the desert not implying a barren place but an expansive place of possibilities/vision. Thus, life is an intense passion, waiting for the destruction of the old order. The vastness of the desert is now life’s garment.
5
Khush huN keh aa raha hai naya daur1-e inqilaab2
zarroN3 ko Ghairat4-e mah5-e taabaaN6 kiye hue 1.age, times, period 2.change, revolution 3.grains of dust 4.envy 5.moon 6.bright
The poet is happy that an age of change/revolution is coming. What kind of change … that kind of change that will make grains of dust so bright that they will become the envy of the full moon i.e., deprived people will regain their dignity. This could well be a political statement about the independence movement.
6
maujoN1 ko sayl2 bann’e ka deta hua sabaq3
qatroN4 ko fart5-e josh6 se toofaaN7 kiye hue 1.waves 2.flood 3.lessons 4.drops 5.abundance, plenty 6.enthusiasm, passion 7.storm
This appears to be a continuation the previous she’r. The time of change/revolution is coming, giving waves/ripples lessons in how to become a flood giving drops and abundance of passion/enthusiasm so they become a storm.
7
sayyaad1 phir hai ahl-e-chaman2 ki talaash3 meN
dashna4 hijaab5-e daam6 meN pinhaaN7 kiye hue 1.hunter, bird-catcher 2.residents of the garden 3.search 4.knife 5.veil 6.web 7.hide
The ‘sayyaad’ is the quintessential figure of cruelty in urdu poetry. He catches birds in a web and puts them in a cage separating lovers from beloveds … rose and bulbul. Sometimes the ‘sayyaad’ is the flower picker. Here is he is on the lookout for residents of the garden i.e., birds with his dagger hidden behind the curtain of his web. It appears that he will trap birds in his web and slit their throat with his dagger. This could well be a veiled description of the colonizer and people struggling for independence.
8
saaz1-e bahaar2 hai naye unvaan3 o raNg4 se
apni KhamoshiyoN ko Ghazal-KhwaaN5 kiye hue 1.musical instrument 2.spring 3.theme 4.style 5.Ghazal singing/reciting
The musical instrument of spring is bird song. It has a new theme and a new style. Its silence has become a Ghazal reciter. I am not sure what this signifies, other than seeing that there a few other ash’aar with a political theme, this might be one too and the speaking in ‘silence’ could be about censorship during the independence movement. It might help to remember that the poet was an active participant. Thus, poets are writing reciting their Ghazal in veiled terms, which this Ghazal illustrates.
9
gulchhiiN1 khaRe hue ravishoN2 par haiN saf-ba-saf3
andesha4-haa5-e taNgi6-e daamaaN7 kiye hue 1.flower picker 2.pathway 3.line by line 4.trepidation, fear 5.pluralization of andesha 6.narrowness, limited capacity 7.hem of the garment
The flower picker comes to the garden to pick off roses and collects them in the hem of their garment. There are many flower pickers, lined up along all garden paths. They are all fearful that the capacity of the hem of their garment is not enough to contain all the flowers they are going to pick. Once, again I turn to a political angle in interpreting this. Flower pickers are the police. People are being arrested and put in jail and jails don’t have enough capacity to hold all of them.
10
hai fitrat1-e chaman2 ba-har3 andaaz4 mutma’in5
nazm6-e jadeed7 sub’h bahaaraaN kiye hue 1.nature, disposition, mood 2.garden 3.in every 4.way, style 5.satisfied, happy 6.order, administration, governance 7.new
The disposition/mood of the garden/homeland is satisfied in every way that the new order coming in will bring the dawn of spring.
11
ehsaas1 laazimi2 tha keh sadiyaaN3 guzar4 gaiiN
shiraaza5-e hayaat6 pareshaaN7 kiye hue 1.sentiment, emotion 2.inevitable 3.centuries 4.passed, gone by 4.binding, thread holding things together 6.life 7.scattered, disorganized
The feeling of being – mutma’in/satisfied is carried over from the previous she’r. Thus, it was inevitable that the feeling of satisfaction/happiness would come with the dawn of spring because it has been a long time that life has been disorganized (without a focus/goal under colonial rule).
12
ab koh1 o dasht2 o baaGh3 o daman4 aa’eNge nazar5
raNg aur buu ko daulat6-e daamaaN7 kiye hue 1.hills 2.jungles, wilderness 3.gardens 4.valleys 5.appear, seen 6.wealth, possession 7.hem of the garment
Hills, jungles, gardens and valleys are all features of the homeland. To hold something in the hem of the garment is to possess it. Thus homeland will be seen owning ‘raNg o buu’ – the pleasant aspects of life.
13
ab aashiyaaN1 meN aa’eNge sub ahl2-e aashiyaaN
saamaan3-e jashn4-e Ghaarat5-e zindaaN6 kiye hue 1.nest, home 2.people of 3.means, abilities, arrangements 4.celebration 5.destruction 6.prison
Now the people of the homeland, will return home, making arrangements for the destruction of the prison.
14
raNg o navaa1 o amn2 o sukoon3 o shaguft4 ka
gulzaar5 aur bahaar6 se paimaaN7 kiye hue 1.sound 2.peace 3.tranquility 4.bloom, blossom, happiness 5.garden 6.spring 7.agreement, promise
Here ‘gulzaar-garden’ is the homeland and ‘navaa-sound’ is bird-song, cheer. Thus, there is an agreement between the garden and spring that there will be colour (of flowers), sound (singing of birds), peace, tranquility and blossoming/happiness coming.
15
alqissah1 inqilaab2 ke parde3 meN hai Khuda
azm4-e nishaat-mandi5-e insaaN kiye hue 1.to make a long story short, in summary 2.revolution, change 3.veil 4.resolve 5.happiness, pleasure
In short, hidden/veiled behind the revolution is god promising happiness for all.
16
seemaab1 ahd-e-gul2 ki hai tajdeed3, aur maiN
baiTha huN chaak4 jeb-o-garebaaN5 kiye hue 1.pen-name of the poet 2.time of blossoms, spring 3.renewal 4.ripped, torn 5.shirt front and collar
Here ‘chaak garebaaN’ is used to portray the intensity of passion of love. O seemab, it is time of the renewal of spring and I am waiting with intense passion.
syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’. This Ghazal is linked to ‘mehmaaN kiye hue’ in ‘Ghalib naqsh-e qadam’. This Ghazal is highly political.
1
baiTha huN chaak1 jeb-o-garebaaN2 kiye hue
haNgaama3-e bahaar4 ka samaaN5 kiye hue
1.rip apart 2.shirt front and collar 3.time 4.spring 5.arrangements, means
Spring is a time of renewal of love. In poetic convention lovers get particularly distressed during spring because the beloved does not reciprocate their love. It is the time of spring and the poet has made all the arrangements. He is waiting with his shirt front and collar ripped apart like majnuN, the ideal lover. This Ghazal is loaded with political interpretations which become much more clear in subsequent ash’aar. In the light of what is coming, the political angle of this she’r is that the arrival of spring is independence and the the lover (participant in the freedom movement) has gone mad with the intensity of his emotions.
2
huN apne bas1 meN aalam2-e imkaaN3 kiye hue
apni Khudi4 ko apna nigahbaaN5 kiye hue
1.control 2.world 3.possibilities 4.self-respect, self-reliance 5.guardian, steward
The poet proudly declares that he has made his self-reliance his steward/guardian. He does not rely on anyone else. By doing this, he has brought a whole new world of possibilities within his control/domain. Thus, people are preparing to govern themselves and throw the colonial power out.
3
aye dost1 ab to aa, keh zamaaNe2 guzar3 gaye
jalvoN4 se anjuman5 meN charaaghaaN6 kiye hue
1.friend, beloved 2.ages 3.passed, gone by 4.appearance, presence 5.gathering 6.lighting, brilliance
There was a time when the gathering would light up just by the presence of the beloved. It has been ages since she has come. He appeals to her to come now so that he may be able to light up gatherings again, just with her appearance. Here the ‘dost’ could be independence.
4
hasti1 hai ek junoon2-e tabaahi3 ki muntazir4
sahra5 ki vus’atoN6 ko garebaaN7 kiye hue
1.existence, life 2.passion, madness 3.destruction 4.waiting, anticipating 5.desert 6.expanse 7.shirt front, collar
Here ‘tabaahi-destruction’ could mean the destruction of the old order and ‘sahra ki vus’at’ is the expanse/vastness of the desert, with the desert not implying a barren place but an expansive place of possibilities/vision. Thus, life is an intense passion, waiting for the destruction of the old order. The vastness of the desert is now life’s garment.
5
Khush huN keh aa raha hai naya daur1-e inqilaab2
zarroN3 ko Ghairat4-e mah5-e taabaaN6 kiye hue
1.age, times, period 2.change, revolution 3.grains of dust 4.envy 5.moon 6.bright
The poet is happy that an age of change/revolution is coming. What kind of change … that kind of change that will make grains of dust so bright that they will become the envy of the full moon i.e., deprived people will regain their dignity. This could well be a political statement about the independence movement.
6
maujoN1 ko sayl2 bann’e ka deta hua sabaq3
qatroN4 ko fart5-e josh6 se toofaaN7 kiye hue
1.waves 2.flood 3.lessons 4.drops 5.abundance, plenty 6.enthusiasm, passion 7.storm
This appears to be a continuation the previous she’r. The time of change/revolution is coming, giving waves/ripples lessons in how to become a flood giving drops and abundance of passion/enthusiasm so they become a storm.
7
sayyaad1 phir hai ahl-e-chaman2 ki talaash3 meN
dashna4 hijaab5-e daam6 meN pinhaaN7 kiye hue
1.hunter, bird-catcher 2.residents of the garden 3.search 4.knife 5.veil 6.web 7.hide
The ‘sayyaad’ is the quintessential figure of cruelty in urdu poetry. He catches birds in a web and puts them in a cage separating lovers from beloveds … rose and bulbul. Sometimes the ‘sayyaad’ is the flower picker. Here is he is on the lookout for residents of the garden i.e., birds with his dagger hidden behind the curtain of his web. It appears that he will trap birds in his web and slit their throat with his dagger. This could well be a veiled description of the colonizer and people struggling for independence.
8
saaz1-e bahaar2 hai naye unvaan3 o raNg4 se
apni KhamoshiyoN ko Ghazal-KhwaaN5 kiye hue
1.musical instrument 2.spring 3.theme 4.style 5.Ghazal singing/reciting
The musical instrument of spring is bird song. It has a new theme and a new style. Its silence has become a Ghazal reciter. I am not sure what this signifies, other than seeing that there a few other ash’aar with a political theme, this might be one too and the speaking in ‘silence’ could be about censorship during the independence movement. It might help to remember that the poet was an active participant. Thus, poets are writing reciting their Ghazal in veiled terms, which this Ghazal illustrates.
9
gulchhiiN1 khaRe hue ravishoN2 par haiN saf-ba-saf3
andesha4-haa5-e taNgi6-e daamaaN7 kiye hue
1.flower picker 2.pathway 3.line by line 4.trepidation, fear 5.pluralization of andesha 6.narrowness, limited capacity 7.hem of the garment
The flower picker comes to the garden to pick off roses and collects them in the hem of their garment. There are many flower pickers, lined up along all garden paths. They are all fearful that the capacity of the hem of their garment is not enough to contain all the flowers they are going to pick. Once, again I turn to a political angle in interpreting this. Flower pickers are the police. People are being arrested and put in jail and jails don’t have enough capacity to hold all of them.
10
hai fitrat1-e chaman2 ba-har3 andaaz4 mutma’in5
nazm6-e jadeed7 sub’h bahaaraaN kiye hue
1.nature, disposition, mood 2.garden 3.in every 4.way, style 5.satisfied, happy 6.order, administration, governance 7.new
The disposition/mood of the garden/homeland is satisfied in every way that the new order coming in will bring the dawn of spring.
11
ehsaas1 laazimi2 tha keh sadiyaaN3 guzar4 gaiiN
shiraaza5-e hayaat6 pareshaaN7 kiye hue
1.sentiment, emotion 2.inevitable 3.centuries 4.passed, gone by 4.binding, thread holding things together 6.life 7.scattered, disorganized
The feeling of being – mutma’in/satisfied is carried over from the previous she’r. Thus, it was inevitable that the feeling of satisfaction/happiness would come with the dawn of spring because it has been a long time that life has been disorganized (without a focus/goal under colonial rule).
12
ab koh1 o dasht2 o baaGh3 o daman4 aa’eNge nazar5
raNg aur buu ko daulat6-e daamaaN7 kiye hue
1.hills 2.jungles, wilderness 3.gardens 4.valleys 5.appear, seen 6.wealth, possession 7.hem of the garment
Hills, jungles, gardens and valleys are all features of the homeland. To hold something in the hem of the garment is to possess it. Thus homeland will be seen owning ‘raNg o buu’ – the pleasant aspects of life.
13
ab aashiyaaN1 meN aa’eNge sub ahl2-e aashiyaaN
saamaan3-e jashn4-e Ghaarat5-e zindaaN6 kiye hue
1.nest, home 2.people of 3.means, abilities, arrangements 4.celebration 5.destruction 6.prison
Now the people of the homeland, will return home, making arrangements for the destruction of the prison.
14
raNg o navaa1 o amn2 o sukoon3 o shaguft4 ka
gulzaar5 aur bahaar6 se paimaaN7 kiye hue
1.sound 2.peace 3.tranquility 4.bloom, blossom, happiness 5.garden 6.spring 7.agreement, promise
Here ‘gulzaar-garden’ is the homeland and ‘navaa-sound’ is bird-song, cheer. Thus, there is an agreement between the garden and spring that there will be colour (of flowers), sound (singing of birds), peace, tranquility and blossoming/happiness coming.
15
alqissah1 inqilaab2 ke parde3 meN hai Khuda
azm4-e nishaat-mandi5-e insaaN kiye hue
1.to make a long story short, in summary 2.revolution, change 3.veil 4.resolve 5.happiness, pleasure
In short, hidden/veiled behind the revolution is god promising happiness for all.
16
seemaab1 ahd-e-gul2 ki hai tajdeed3, aur maiN
baiTha huN chaak4 jeb-o-garebaaN5 kiye hue
1.pen-name of the poet 2.time of blossoms, spring 3.renewal 4.ripped, torn 5.shirt front and collar
Here ‘chaak garebaaN’ is used to portray the intensity of passion of love. O seemab, it is time of the renewal of spring and I am waiting with intense passion.
The post KhamoshiyoN ko Ghazal KhwaaN kiye hue-seemab akbarabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/shhKhjm-baal-pareshaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
بال پریشاں کیے ہوئے ۔ جوشؔ ملیح آبادی
۱
اِفشائے رازِ عشق کا ساماں کیے ہوئے
پھر آ گئے وہ بال پریشاں کیے ہوئے
۲
پھر قشقہ بر جبیں کوئی نکلا ہے دیر سے
آہنگِ آزمائشِ ایماں کیے ہوئے
۳
پھر بڑھ رہا ہے میری طرف مُطربِ جنوں
صحرا کو اپنے ساتھ غزل خواں کیے ہوئے
۴
پھر مست چل رہی ہے ہوا کوہ و دشت میں
ہر شے کو اپنی رَو میں گلستاں کیے ہوئے
۵
خنجر بکف بڑھا ہے میری سمت پھر جمال
کہنی تک اپنے ہاتھوں کو عریاں کیے ہوئے
۶
پھر آے ہیں وہ سامنے اُلٹے ہوئے نقاب
سو طور اِک نگاہ میں پنہاں کیے ہوئے
۷
پھر اُس نے آ کے کفر کا اِقرار لے لیا
مدت ہوئی تھی دل کو مسلماں کیے ہوئے
۸
پھر آئے ہیں وہ جوشؔ سوئے مجرمانِ عشق
شعلے کی طرح تیغ کو عریاں کیے ہوئے
बाल परेशां किये हुए – जोश मलीहाबादी
१
इफ़्शा-ए राज़-ए इश्क़ का सामां किये हुए
फिर आ गए वो बाल परेशां किये हुए
२
फिर क़श्क़ा बर-जबीं कोई निकला है दैर से
आहंग-ए आज़मा’एश-ए ईमां किये हुए
३
फिर बढ़ रहा है मेरी तरफ़ मुतरिब-ए जुनूं
सहरा को अपने साथ ग़ज़ल-ख़्वां किये हुए
४
फिर मस्त चल रही है हवा कोह ओ दश्त में
हर शय को अपनी रौ में गुलिस्तां किये हुए
५
ख़ंजर ब-कफ़ बढ़ा है मेरी सम्मत फिर जमाल
कोहनी तक अपने हाथों को उर्यां किये हुए
६
फिर आए हैं वो सामने उलटे हुए नुक़ाब
सो तूर एक निगाह में पिनहां किये हुए
७
फिर उस ने आ के कुफ़्र का एक़्रार ले लिया
मुद्दत हुई थी दिल को मुसलमां किये हुए
८
फिर आए हैं वो जोश सु-ए मुज्रिमान-ए इश्क़
शोले की तरह तेग़ को उर्यां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This Ghazal, in the style of Ghalib’s ‘muddat hui hai yaar ko mehmaaN kiye hue’ is linked to Ghalib naqsh-e qadam.
1
ifsha1-e raaz2-e ishq ka saamaaN3 kiye hue
phir aa gaye voh baal pareshaaN4 kiye hue 1.reveal 2.secret 3.arrangements, means 4.spread out
The beloved has appeard before the lover with her hair not covered, not tied and spread over her shoulders. This is a temptation for him to declare his love, revealing the secret that he has been hiding all this time.
2
phir qashqa1 bar-jabiiN2 koi nikla hai dair3 se
aahaNg4-e aazmaaish5-e iimaaN6 kiye hue 1.Tiika, bindi, mark on the forehead 2.on the forehead 3.temple 4.musical note, it also means determination, resolve 5.test 6.faith
Apparently, the beloved is hindu and the poet professes (islamic) faith. She has emerged from the temple, bindi on her forehead, determined to put to test the faith of the lover. This has very intersting double meaning … simply it could be that he declares his love for her and adopts her faith or that she is a but/idol and he falls in love performing but-parasti, idol worship.
3
phir baRh raha hai meri taraf1 mutrib2-e junooN3
sahra4 ko apne saath Ghazal-KhwaaN5 kiye hue 1.direction, towards 2.singer 3.passion 4.desert 5.Ghazal singer
There is a hint of a majnuN like figure of intense passion. Except this figure is a singer. I am not sure if this, he means the beloved herself. But the singer of passionate songs is approaching him, together with the desert, which also has burst out singing Ghazal. I am not sure what this all adds up to except that the lover feels a surge of passion and is getting ready to go out in the desert singing songs of love like a madman.
4
phir mast1 chal rahi hai hava koh2 o dasht3 meN
har shai4 ko apni rau5 meN gulistaaN6 kiye hue 1.intoxicating 2.hills 3.used here to mean valleys 4.everything 5.flow, movement 6.garden
I think that this is also just a description of the joy that the lover feels. It is as if intoxicating winds are blowing from the hills and valleys, turning everything along their way to a fragrant garden.
5
Khanjar1 ba-kaf2 baRa hai meri samt3 phir jamaal4
kohni5 tak apne haathoN ko uriyaaN6 kiye hue 1.knife 2.in hand 3.towards, direction 4.beauty, beloved 5.elbow 6.bare, uncovered
The picture is that the beloved has rolled up her sleeves to slaughter him and not get her sleeves wet with blood. Rolling up sleeves is also an expression to mean getting ready. Thus, the beloved is moving towards him, knife in hand, sleeves rolled up, ready to slit his throat.
6
phir aaye haiN vo saamne ulTe1 hue naqaab2
sau tuur3 ek nigaah4 meN pinhaaN5 kiye hue 1.turned back 2.veil 3.mount tuur 4.glance, eye 5.hidden
It is believed that Moses/moosa went up mount tuur asking to see god. He finally saw a blinding flash. The poet considers the dazzling beauty of the beloved to be a blinding flash of light. Thus, the beloved has arrived with her veil turned back, revealing her dazzling beauty, which is bright like a hundred tuur. Her eyes carry this hidden light.
7
phir us ne aa ke kufr1 ka eqraar2 le liya
muddat3 hui thi dil ko musalmaaN kiye hue 1.non-faith 2.admission (of guilt) 3.long time
The poet had convinced his heart for a long time to remain within the faith i.e., not do ‘but-parasti’-idol worship. But now that the beloved (idol) has approached him, he has to plead guilty to worshipping her, thus losing his faith and becoming kaafir.
8
phir aaye haiN vo josh1 su2-e mujrimaan3-e ishq
sho’le4 ki tarah5 teGh6 ko uriyaaN7 kiye hue 1.pen-name of the poet 2.towards 3.transgressors, sinners 4.flame 5.like, similar to 6.sword 7.naked, bare
It is customary for the beloved to slay her lovers/admirers. Once again, O josh, the beloved is coming towards the sinners of love with a bare sword, flashing like a flame.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This Ghazal, in the style of Ghalib’s ‘muddat hui hai yaar ko mehmaaN kiye hue’ is linked to Ghalib naqsh-e qadam.
1
ifsha1-e raaz2-e ishq ka saamaaN3 kiye hue
phir aa gaye voh baal pareshaaN4 kiye hue
1.reveal 2.secret 3.arrangements, means 4.spread out
The beloved has appeard before the lover with her hair not covered, not tied and spread over her shoulders. This is a temptation for him to declare his love, revealing the secret that he has been hiding all this time.
2
phir qashqa1 bar-jabiiN2 koi nikla hai dair3 se
aahaNg4-e aazmaaish5-e iimaaN6 kiye hue
1.Tiika, bindi, mark on the forehead 2.on the forehead 3.temple 4.musical note, it also means determination, resolve 5.test 6.faith
Apparently, the beloved is hindu and the poet professes (islamic) faith. She has emerged from the temple, bindi on her forehead, determined to put to test the faith of the lover. This has very intersting double meaning … simply it could be that he declares his love for her and adopts her faith or that she is a but/idol and he falls in love performing but-parasti, idol worship.
3
phir baRh raha hai meri taraf1 mutrib2-e junooN3sahra4 ko apne saath Ghazal-KhwaaN5 kiye hue
1.direction, towards 2.singer 3.passion 4.desert 5.Ghazal singer
There is a hint of a majnuN like figure of intense passion. Except this figure is a singer. I am not sure if this, he means the beloved herself. But the singer of passionate songs is approaching him, together with the desert, which also has burst out singing Ghazal. I am not sure what this all adds up to except that the lover feels a surge of passion and is getting ready to go out in the desert singing songs of love like a madman.
4
phir mast1 chal rahi hai hava koh2 o dasht3 meN
har shai4 ko apni rau5 meN gulistaaN6 kiye hue
1.intoxicating 2.hills 3.used here to mean valleys 4.everything 5.flow, movement 6.garden
I think that this is also just a description of the joy that the lover feels. It is as if intoxicating winds are blowing from the hills and valleys, turning everything along their way to a fragrant garden.
5
Khanjar1 ba-kaf2 baRa hai meri samt3 phir jamaal4kohni5 tak apne haathoN ko uriyaaN6 kiye hue
1.knife 2.in hand 3.towards, direction 4.beauty, beloved 5.elbow 6.bare, uncovered
The picture is that the beloved has rolled up her sleeves to slaughter him and not get her sleeves wet with blood. Rolling up sleeves is also an expression to mean getting ready. Thus, the beloved is moving towards him, knife in hand, sleeves rolled up, ready to slit his throat.
6
phir aaye haiN vo saamne ulTe1 hue naqaab2sau tuur3 ek nigaah4 meN pinhaaN5 kiye hue
1.turned back 2.veil 3.mount tuur 4.glance, eye 5.hidden
It is believed that Moses/moosa went up mount tuur asking to see god. He finally saw a blinding flash. The poet considers the dazzling beauty of the beloved to be a blinding flash of light. Thus, the beloved has arrived with her veil turned back, revealing her dazzling beauty, which is bright like a hundred tuur. Her eyes carry this hidden light.
7
phir us ne aa ke kufr1 ka eqraar2 le liya
muddat3 hui thi dil ko musalmaaN kiye hue
1.non-faith 2.admission (of guilt) 3.long time
The poet had convinced his heart for a long time to remain within the faith i.e., not do ‘but-parasti’-idol worship. But now that the beloved (idol) has approached him, he has to plead guilty to worshipping her, thus losing his faith and becoming kaafir.
8
phir aaye haiN vo josh1 su2-e mujrimaan3-e ishq
sho’le4 ki tarah5 teGh6 ko uriyaaN7 kiye hue
1.pen-name of the poet 2.towards 3.transgressors, sinners 4.flame 5.like, similar to 6.sword 7.naked, bare
It is customary for the beloved to slay her lovers/admirers. Once again, O josh, the beloved is coming towards the sinners of love with a bare sword, flashing like a flame.
The post baal pareshaaN kiye hue-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/shmljb-zabt-ka-paimaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ضبط کا پیماں کیے ہوئے ۔ شیام موہن لال جگرؔ بریلوی
۱
کیفیتِ سرور فراواں کیے ہوئے
چھایا ہے دل پہ کون بہاراں کیے ہوئے
۲
راہِ فنا میں زیست کا ساماں کیے ہوئے
بیٹھا ہوں غم سے ضبط کا پیماں کیے ہوئے
۳
ہوتا ہے چاک چاک گریباں تو کیا کریں
کیوں آئے کوئی زلف پریشاں کیے ہوئے
۴
پھر جان و دل کو ہے نگہِ ناز کی تلاش
مدت ہوئی ہے برق کو احساں کیے ہوئے
۵
آتا ہے کس کی چینِ جبیں کا خیال پھر
شیرازۂ حیات پریشاں کیے ہوئے
۶
کرنا ہے چارہ سازی وحشت کا امتحاں
پھرتا ہوں تار تار گریباں کیے ہوئے
۷
آرائشِ جمال میں مصروف ہے کوئی
پھرتا ہے کوئی چاک گریباں کیے ہوئے
۸
محشر میں دیدنی ہیں غمِ دل کی برکتیں
جیسے ہو کوئی سایۂ داماں کیے ہوئے
۹
دل خون کر دیا جگرؔ آدابِ عشق نے
مُدّت ہوئی تصورِ جاناں کیے ہوئے
ज़ब्त का पैमां किए हुए – श्याम मोहन लाल जिगर बरेलवी
१
कैफ़िय्यत-ए सुरूर फ़रावां किए हुए
छाया है दिल पे कौन बहारां किए हुए
२
राह-ए फ़ना में ज़ीस्त का सामां किए हुए
बैठा हूँ ग़म से ज़ब्त का पैमां किए हुए
३
होता है चाक चाक गरेबाँ तो क्या करें
क्यूँ आए कोई ज़ुल्फ़ परेशां किए हुए
४
फिर जान ओ दिल को है निगह-ए नाज़ की तलाश
मुद्दत हुई है बर्क़ को एहसां किए हुए
५
आता है किस की चीन-ए जबीं का ख़्याल फिर
शीराज़ा-ए हयात परेशां किए हुए
६
करना है चारा साज़ी-ए वहशत का इम्तेहां
फिरता हूँ तार तार गरेबाँ किए हुए
७
आराएश-ए जमाल में मसरूफ़ है कोई
फिरता है कोई चाक गरेबाँ किए हुए
८
महशर में दीदनी हैं ग़म-ए दिल की बरकतें
जैसे हो कोई साया-ए दामां किए हुए
९
दिल ख़ून कर दिया जिगर आदाब-ए इश्क़ ने
मुद्दत हुई तस्व्वुर-ए जाना किए हुए
Click here for background and on any passage for word meanings and explanatory discussion. shyaam mohan lal jigar barelavi (1890-1976). He had a long line of urdu and faarsi scholars on both sides of his family. He learnt urdu and faarsi from this grandfather at home and later matriculation in 1911 and BA in 1916 (urdu, faarsi and philosophy). He also followed the family tradition as an educator in schools but soon changed to government administration, progressing to become a Collector, but resigned to participate in the freedom movement, later working as a professor in a junior college. He has several collections of Ghazal and rubaaii to his credit. This Ghazal is linked to Ghalib naqsh-e qadam on the ‘Theme’ page.
1
kaifiyyat1-e suroor2 faraavaaN3 kiye hue
chhaaya hai dil pe kaun bahaaraaN4 kiye hue 1.condition 2.joy, happiness 3.plenty, overflowing 4.spring
The poet/lover is engulfed in thoughts of the beloved which have created a spring like, cheerful atmosphere all around and over him, bringing about a condition of overwhelming joy. He asks rhetorically, who is it that has done this.
2
raah1-e fana2 meN zeest3 ka saamaaN4 kiye hue
baiTha huN Gham se zabt5 ka paimaaN6 kiye hue 1.path 2.non-existence, merger with the great spirit 3.life 4.arrangements 5.self-control 6.promise, commitment
In poetic tradition, the lover bears his pain stoically and hides his sorrow. He has made a commitment to self-control that he will do so. Having done this he is walking along the path to his eventual goal … merger with the divine spirit. These are the arrangements that enable him to go along the path of life.
3
hota hai chaak-chaak1 garebaaN2 to kya kareN
kyuN aaye koi zulf3 pareshaaN4 kiye hue 1.torn to shreds 2.shirt front 3.hair 4.spread out
In poetic tradition the lover because of his intense love and pain goes into a frenzy and tears his shirt front/collar into shreds ala majnuN. In this case, this condition is triggered by the beloved appearing before him with her hair loosened and spread out.
4
phir jaan o dil ko hai nigah1-e naaz2 ki talash3
muddat4 hui hai barq5 ko ehsaaN6 kiye hue 1.glance 2.coquettish 3.search, seeking 4.long time 5.lightning 6.benevolence, kindness
The coquettish glance of the beloved, her ‘nigah-e naaz’ is characterized in the second misra as ‘barq/lightning’. It has been a long time since the poet has received any kindness from this ‘barq’. Hence his life and soul is once again in search of the beloved’s coquettish glance – nigah-e naaz.
5
aata hai kis ki chiin1-e jabiiN2 ka Khayaal3 phir
shiiraaza4-e hayaat5 pareshaaN6 kiye hue 1.wrinkle, frown 2.forhead, brow 3.thought, memory 4.arrangement, logical integration, bringing together 5.life 6.scattered, spread
When the poet sees the ‘arrangement of life’ get disordered/scattered he remembers the frown on the brow of the beloved. Is it because the frown/annoyance of the beloved causes life to go topsy-turvy or is it because the frown causes the normal smoothness of the beloved’s brow to look scattered/disordered. Perhaps both.
6
karna hai chaara-saazi1-e vahshat2 ka imtehaaN3
phirta huN taar-taar4 garebaaN5 kiye hue 1.power of healing 2.frenzy 3.test 4.shredded to threads 5.shirt front
In poetic tradition the lover shreds his shirt front to threads because of the frenzy of love. His frenzy is being tested for its healing abilities. It is clear that ‘vahshat’ is doing the healing and it is being tested. The question is how is healing defined; what is does a healed lover look like. Will he sew up his shirt front and become like everyone else? Unlikely. More likely he will head out into the wilderness looking for his beloved.
7
aaraa’esh1-e jamaal2 meN masroof3 hai koi
phirta hai koi chaak4 garebaaN5 kiye hue 1.adornment 2.beauty, elegance 3.busy 4.tear, rip 5.shirt front
The first misra applies to the beloved and the second to the poet/lover. The beloved is busy adorning herself and the lover is wandering distraught, ripping his shirt front in frenzy.
8
mahshar1 meN diidni2 haiN Gham-e dil ki barkateN3
jaise ho koi saaya4-e daamaaN5 kiye hue 1.day of judgement 2.worth seeing 3.blessings, rewards 4.shadow, cover, protection 5.hem of the garment
It is judgement day and the poet/lover having suffered the pain of love throughout his life is finally getting recompense and proudly proclaims that these blessings are worth seeing. It is as if someone is as if someone is protecting him in the shadow/cover of the hem of their garment. That someone has to be the beloved. This picture is quite different from the usual picture where the beloved is distressed that the lover will begin to complain of her atrocities and she will receive severe punishment.
9
dil Khoon1 kar diya jigar2 aadaab3-e ishq ne
muddat4 hui tasavvur5-e jaanaaN6 kiye hue 1.dil Khoon kar dena – an expression meaning cause a lot of pain/distress 2.pen-name of the poet 3.conventions, rituals 4.long time 5.imagine 6.beloved
When the poet/lover is distraught he consoles himself imagining the beloved. But the conventions of love have forbidden him from doing this and it has been a long time since he has done it. This has caused his heart to bleed and he blames the conventions of love.
shyaam mohan lal jigar barelavi (1890-1976). He had a long line of urdu and faarsi scholars on both sides of his family. He learnt urdu and faarsi from this grandfather at home and later matriculation in 1911 and BA in 1916 (urdu, faarsi and philosophy). He also followed the family tradition as an educator in schools but soon changed to government administration, progressing to become a Collector, but resigned to participate in the freedom movement, later working as a professor in a junior college. He has several collections of Ghazal and rubaaii to his credit. This Ghazal is linked to Ghalib naqsh-e qadam on the ‘Theme’ page.
1
kaifiyyat1-e suroor2 faraavaaN3 kiye hue
chhaaya hai dil pe kaun bahaaraaN4 kiye hue
1.condition 2.joy, happiness 3.plenty, overflowing 4.spring
The poet/lover is engulfed in thoughts of the beloved which have created a spring like, cheerful atmosphere all around and over him, bringing about a condition of overwhelming joy. He asks rhetorically, who is it that has done this.
2
raah1-e fana2 meN zeest3 ka saamaaN4 kiye hue
baiTha huN Gham se zabt5 ka paimaaN6 kiye hue
1.path 2.non-existence, merger with the great spirit 3.life 4.arrangements 5.self-control 6.promise, commitment
In poetic tradition, the lover bears his pain stoically and hides his sorrow. He has made a commitment to self-control that he will do so. Having done this he is walking along the path to his eventual goal … merger with the divine spirit. These are the arrangements that enable him to go along the path of life.
3
hota hai chaak-chaak1 garebaaN2 to kya kareN
kyuN aaye koi zulf3 pareshaaN4 kiye hue
1.torn to shreds 2.shirt front 3.hair 4.spread out
In poetic tradition the lover because of his intense love and pain goes into a frenzy and tears his shirt front/collar into shreds ala majnuN. In this case, this condition is triggered by the beloved appearing before him with her hair loosened and spread out.
4
phir jaan o dil ko hai nigah1-e naaz2 ki talash3
muddat4 hui hai barq5 ko ehsaaN6 kiye hue
1.glance 2.coquettish 3.search, seeking 4.long time 5.lightning 6.benevolence, kindness
The coquettish glance of the beloved, her ‘nigah-e naaz’ is characterized in the second misra as ‘barq/lightning’. It has been a long time since the poet has received any kindness from this ‘barq’. Hence his life and soul is once again in search of the beloved’s coquettish glance – nigah-e naaz.
5
aata hai kis ki chiin1-e jabiiN2 ka Khayaal3 phir
shiiraaza4-e hayaat5 pareshaaN6 kiye hue
1.wrinkle, frown 2.forhead, brow 3.thought, memory 4.arrangement, logical integration, bringing together 5.life 6.scattered, spread
When the poet sees the ‘arrangement of life’ get disordered/scattered he remembers the frown on the brow of the beloved. Is it because the frown/annoyance of the beloved causes life to go topsy-turvy or is it because the frown causes the normal smoothness of the beloved’s brow to look scattered/disordered. Perhaps both.
6
karna hai chaara-saazi1-e vahshat2 ka imtehaaN3
phirta huN taar-taar4 garebaaN5 kiye hue
1.power of healing 2.frenzy 3.test 4.shredded to threads 5.shirt front
In poetic tradition the lover shreds his shirt front to threads because of the frenzy of love. His frenzy is being tested for its healing abilities. It is clear that ‘vahshat’ is doing the healing and it is being tested. The question is how is healing defined; what is does a healed lover look like. Will he sew up his shirt front and become like everyone else? Unlikely. More likely he will head out into the wilderness looking for his beloved.
7
aaraa’esh1-e jamaal2 meN masroof3 hai koi
phirta hai koi chaak4 garebaaN5 kiye hue
1.adornment 2.beauty, elegance 3.busy 4.tear, rip 5.shirt front
The first misra applies to the beloved and the second to the poet/lover. The beloved is busy adorning herself and the lover is wandering distraught, ripping his shirt front in frenzy.
8
mahshar1 meN diidni2 haiN Gham-e dil ki barkateN3
jaise ho koi saaya4-e daamaaN5 kiye hue
1.day of judgement 2.worth seeing 3.blessings, rewards 4.shadow, cover, protection 5.hem of the garment
It is judgement day and the poet/lover having suffered the pain of love throughout his life is finally getting recompense and proudly proclaims that these blessings are worth seeing. It is as if someone is as if someone is protecting him in the shadow/cover of the hem of their garment. That someone has to be the beloved. This picture is quite different from the usual picture where the beloved is distressed that the lover will begin to complain of her atrocities and she will receive severe punishment.
9
dil Khoon1 kar diya jigar2 aadaab3-e ishq ne
muddat4 hui tasavvur5-e jaanaaN6 kiye hue
1.dil Khoon kar dena – an expression meaning cause a lot of pain/distress 2.pen-name of the poet 3.conventions, rituals 4.long time 5.imagine 6.beloved
When the poet/lover is distraught he consoles himself imagining the beloved. But the conventions of love have forbidden him from doing this and it has been a long time since he has done it. This has caused his heart to bleed and he blames the conventions of love.
The post zabt ka saamaaN kiye hue-shyaam mohan lal jigar barelavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/moaKh-zaKhm-ka-darmaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
زخم کا درماں کیے ہوئے ۔ میر عثمان علی خاں عثمانؔ
۱
بیٹھے ہیں ہم بھی عشق کا ساماں کیے ہوئے
نذرِ نگاہِ ناز، دل و جاں کیے ہوئے
۲
گل منتظر ہیں آمدِ فصلِ بہار کے
صحنِ چمن میں چاک گریباں کیے ہوئے
۳
کیا تک رہا ہے یار کی صورت کو بار بار
آئینہ اپنی چشم کو حیراں کیے ہوئے
۴
پرہیز و زہد و طاعت و تقویٰ کو زاہدا
حسن بتاں پہ ہم بھی ہیں قرباں کیے ہوئے
۵
بہلا رہا ہوں دل کو شبِ انتظار میں
محوِ خیالِ صورتِ جاناں کیے ہوئے
۶
ٹپکے کہیں نہ چشم سے بن بن کے اشکِ خوں
کب تک رہوں میں عشق کو پنہاں کیے ہوئے
۷
نرگس ہے صرفِ گریہ تو سُنبُل ہے اک طرف
ماتم میں میرے زلف پریشاں کیے ہوئے
۸
کیا عہد ہو شکست کہ اک عمر ہو گئی
پیمانۂ شراب سے پیماں کیے ہوئے
۹
عثماں ابھار دے نہ کہیں فصلِ گل مجھے
مدت ہوئی ہے زخم کا درماں کیے ہوئے
ज़ख्म का दरमां किए हुए – मीर उस्मान अली ख़ां उस्मान
१
बैठे हैं हम भी इश्क़ का सामां किए हुए
नज़र-ए निगाह-ए नाज़, दिल ओ जां किए हुए
२
गुल मुंतज़िर हैं आमद-ए फ़स्ल-ए बहार के
सहन-ए चमन में चाक गरीबां किए हुए
३
क्या तक रहा है यार की सूरत को बार बार
आईना अपनी चश्म को हैरां किए हुए
४
परहेज़ ओ ज़ोहद ओ ता’अत ओ तक़्वा को ज़ाहिदा
हुस्न बुतां पे हम भी हैं क़र्बां किए हुए
५
बहला रहा हूँ दिल को शब-ए इंतज़ार में
महव-ए ख़याल-ए सूरत-ए जानां किए हुए
६
टपके कहीं न चश्म से बन बन के अश्क-ए ख़ूं
कब तक रहूँ मैं इश्क़ को पिन्हां किए हुए
७
नर्गिस है सर्फ़-ए गिरिया तो सुंबुल है एक तरफ़
मातम में मेरे ज़ुल्फ़ परेशां किए हुए
८
क्या अहद हो शिकस्त के एक उम्र हो गई
पैमाना-ए शराब से पैमां किए हुए
९
उस्मां उभार दे न कहीं फ़स्ल-ए गुल मुझे
मुद्दत हुई है ज़ख़्म का दर्मां किए हुए
Click here for background and on any passage for word meanings and explanatory discussion. osman ali KhaaN (1886-1967), the erstwhile ruler of hyderabad was a prolific poet of considerable literary capability. His diivaan was collected and published posthumously in eight fair sized volumes. This is one of several Ghazal that he composed in the style of Ghalib. This one in the style of “muddat hui hai yaar ko mehmaaN kiye hue” is linked to the appropriate sub-category under ‘Ghalib naqsh-e qadam’.
1
baiThe haiN hum bhi ishq ka saamaaN1 kiye hue
nazr2-e nigaah-e-naaz3, dil o jaaN kiye hue 1.means, arrangements 2.devotional offering 3.coquettish glance
The poet/lover has made arrangements i.e., readied himself for the ordeal of love having made a devotional offering of his life and soul to the coquettish glance of the beloved.
2
gul1 muntazir2 haiN aamad3-e fasl-e-bahaar4 ke
sahn5-e chaman6 meN chaak7 garebaaN8 kiye hue 1.rose 2.waiting 3.arrival 4.season of blooms i.e., spring 5.yard, field 6.garden 7.tear, rip apart 8.shirt front, collar
Spring is the season of love. It is when the distraught lover follows his role model – majnuN. In poetic convention the mad passionate lover rips his shirt front in frenzy like majnuN. The flower blossoming, unfurling its petals is like a bud tearing its shirt front. Thus, in the field of the garden, having ripped open its shirt front, the rose is waiting in anticipation of the arrival of spring, when perhaps it will get to see his beloved.
3
kya tak1 raha hai yaar2 ki soorat ko baar-baar3
aaina apni chashm4 ko hairaaN5 kiye hue 1.stare 2.beloved 3.again and again, incessantly 4.eye 5.amazed
In poetic convention the beloved looks at herself in the mirror and is either amazed at her own beauty or jealous to find that there is someone else as beautiful as her. In this she’r it is the mirror that is constantly staring at her with amazement in its eyes.
4
parhez1 o zoh’d2 o ta’aat3 o taqvaa4 ko zaahida5
husn6-e butaaN7 pe hum bhi haiN qurbaaN8 kiye hue 1.abstinence 2.piety 3.prayer 4.steadfast observance of rituals 5.modification of zaahid for rhyme – preacher 6.beauty 7.idols, beloved 8.make a sacrificial offering
O preacher, I too have sacrificed my piety, abstinence, prayer and observance of rituals to the beauty of idols. The way this is phrased, with ‘bhi’, it implies that either many other people have done the same or perhaps even the preacher himself.
5
bahlaa1 raha huN dil ko shab2-e intezaar3 meN
mahv4-e Khayaal5-e soorat6-e jaanaaN7 kiye hue 1.console 2.night 3.waiting 4.engrossed 5.thought 6.face, beauty 7.beloved
The poet/lover consoles himself during the long night of separation engrossed in thoughts of the beauty of the beloved.
6
Tapke1 kahiiN na chashm2 se ban ban ke ashk3-e KhooN
kab tak rahooN maiN ishq ko pinhaaN4 kiye hue 1.drip 2.eyes 3.tears 4.hidden
The convention of love requires that the lover remain stoic, hiding the pain of his love. He holds back his tears and is fearful that they will drip from his eyes in the form of blood. How long can I keep my love hidden.
7
nargis1 hai sarf2-e giriyaa3 to suNbul4 hai ek taraf5
maatam6 meN mere zulf7 pareshaaN8 kiye hue 1.narcissus 2.spend 3.weeping 4.long fragrant grass 5.direction, side 6.mourning 7.hair 8.spread, scattered
Drooping eyes are a sign of mourning. The narcissus/nargis is likened to the eye because its shape and the black centre. It also droops down as it grows on the banks of streams. Unkempt, untied hair are a sign of distress and sorrow. Thus, the nargis is drooping in sorrow on one side and the suNbul has its hair scattered on the other. Both are mourning. Why? Because they are mourning for the poet/lover whose love is not fulfilled.
8
kya ahad1 ho shikast2 keh ek umr3 ho ga’ii
paimaana4-e sharaab se paimaaN5 kiye hue 1.promise 2.break 3.lifetime 4.measure, cup 5.agreement, commitment
How can my promise be broken. It has been a lifetime since I made a commitment to the cup of wine. Was that a commitment to abstain or was it a commitment to drink more!
9
osmaaN1 ubhaar2 de na kahiiN fasl-e-gul3 mujhe
muddat4 hui hai zaKhm5 ka daramaaN6 kiye hue 1.pen-name of the poet 2.lift up 3.season of flowers i.e., spring 4.long time 5.wound 6.cure, heal Top of Form
Spring is a time when flames of love flare up. The poet is fearful that spring might lift his hopes up and he might get wounded again. It has been a long time since he has had any healing for his wound and this spring might increase his pain again.
osman ali KhaaN (1886-1967), the erstwhile ruler of hyderabad was a prolific poet of considerable literary capability. His diivaan was collected and published posthumously in eight fair sized volumes. This is one of several Ghazal that he composed in the style of Ghalib. This one in the style of “muddat hui hai yaar ko mehmaaN kiye hue” is linked to the appropriate sub-category under ‘Ghalib naqsh-e qadam’.
1
baiThe haiN hum bhi ishq ka saamaaN1 kiye hue
nazr2-e nigaah-e-naaz3, dil o jaaN kiye hue
1.means, arrangements 2.devotional offering 3.coquettish glance
The poet/lover has made arrangements i.e., readied himself for the ordeal of love having made a devotional offering of his life and soul to the coquettish glance of the beloved.
2
gul1 muntazir2 haiN aamad3-e fasl-e-bahaar4 ke
sahn5-e chaman6 meN chaak7 garebaaN8 kiye hue
1.rose 2.waiting 3.arrival 4.season of blooms i.e., spring 5.yard, field 6.garden 7.tear, rip apart 8.shirt front, collar
Spring is the season of love. It is when the distraught lover follows his role model – majnuN. In poetic convention the mad passionate lover rips his shirt front in frenzy like majnuN. The flower blossoming, unfurling its petals is like a bud tearing its shirt front. Thus, in the field of the garden, having ripped open its shirt front, the rose is waiting in anticipation of the arrival of spring, when perhaps it will get to see his beloved.
3
kya tak1 raha hai yaar2 ki soorat ko baar-baar3
aaina apni chashm4 ko hairaaN5 kiye hue
1.stare 2.beloved 3.again and again, incessantly 4.eye 5.amazed
In poetic convention the beloved looks at herself in the mirror and is either amazed at her own beauty or jealous to find that there is someone else as beautiful as her. In this she’r it is the mirror that is constantly staring at her with amazement in its eyes.
4
parhez1 o zoh’d2 o ta’aat3 o taqvaa4 ko zaahida5
husn6-e butaaN7 pe hum bhi haiN qurbaaN8 kiye hue
1.abstinence 2.piety 3.prayer 4.steadfast observance of rituals 5.modification of zaahid for rhyme – preacher 6.beauty 7.idols, beloved 8.make a sacrificial offering
O preacher, I too have sacrificed my piety, abstinence, prayer and observance of rituals to the beauty of idols. The way this is phrased, with ‘bhi’, it implies that either many other people have done the same or perhaps even the preacher himself.
5
bahlaa1 raha huN dil ko shab2-e intezaar3 meN
mahv4-e Khayaal5-e soorat6-e jaanaaN7 kiye hue
1.console 2.night 3.waiting 4.engrossed 5.thought 6.face, beauty 7.beloved
The poet/lover consoles himself during the long night of separation engrossed in thoughts of the beauty of the beloved.
6
Tapke1 kahiiN na chashm2 se ban ban ke ashk3-e KhooN
kab tak rahooN maiN ishq ko pinhaaN4 kiye hue
1.drip 2.eyes 3.tears 4.hidden
The convention of love requires that the lover remain stoic, hiding the pain of his love. He holds back his tears and is fearful that they will drip from his eyes in the form of blood. How long can I keep my love hidden.
7
nargis1 hai sarf2-e giriyaa3 to suNbul4 hai ek taraf5
maatam6 meN mere zulf7 pareshaaN8 kiye hue
1.narcissus 2.spend 3.weeping 4.long fragrant grass 5.direction, side 6.mourning 7.hair 8.spread, scattered
Drooping eyes are a sign of mourning. The narcissus/nargis is likened to the eye because its shape and the black centre. It also droops down as it grows on the banks of streams. Unkempt, untied hair are a sign of distress and sorrow. Thus, the nargis is drooping in sorrow on one side and the suNbul has its hair scattered on the other. Both are mourning. Why? Because they are mourning for the poet/lover whose love is not fulfilled.
8
kya ahad1 ho shikast2 keh ek umr3 ho ga’ii
paimaana4-e sharaab se paimaaN5 kiye hue
1.promise 2.break 3.lifetime 4.measure, cup 5.agreement, commitment
How can my promise be broken. It has been a lifetime since I made a commitment to the cup of wine. Was that a commitment to abstain or was it a commitment to drink more!
9
osmaaN1 ubhaar2 de na kahiiN fasl-e-gul3 mujhe
muddat4 hui hai zaKhm5 ka daramaaN6 kiye hue
1.pen-name of the poet 2.lift up 3.season of flowers i.e., spring 4.long time 5.wound 6.cure, heal
Top of Form
Spring is a time when flames of love flare up. The poet is fearful that spring might lift his hopes up and he might get wounded again. It has been a long time since he has had any healing for his wound and this spring might increase his pain again.
The post zaKhm ka darmaaN kiye huay-mir osman ali KhaaN appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/sraas-kufr-ko-iimaaN-kiye-huay-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کفر کو ایماں کیے ہوئے ۔ سادھو رام آرزوؔ سہارنپوری
۱
مدت ہوئی ہے یار کو مہماں کیے ہوئے
آرائشِ حریمِ رگِ جاں کیے ہوئے
۲
پھر مائلِ جنونِ عدم ہے مذاقِ عشق
ہستی کو خاکِ کوچۂ جاناں کیے ہوئے
۳
پھر بڑھ چلا ہے حدّ تعین سے جذبِ عشق
فطرت کے ہر مقام کو عریاں کیے ہوئے
۴
پھر دیدۂ خیال ہے محوِ نشاطِ دید
صد جنّتِ نگاہ کا ساماں کیے ہوئے
۵
پھر رقص میں ہیں آئینۂ دل کی حیرتیں
نظارۂ جمال کو حیراں کیے ہوئے
۶
پھر ہے زبانِ عشق پہ تفسیرِ موجِ زلف
ایماں کو کفر، کفر کو ایماں کیے ہوئے
۷
پھر لے چلا ہے ساحلِ تحقیق پر کوئی
کشتی کو نذرِ موجۂ طوفاں کیے ہوئے
۸
پھر مائلِ حقیقتِ پرواز ہے جنوں
صحرائے صد خیال کو زنداں کیے ہوئے
۹
پھر صحنِ باغ میں ہے وہ جانِ بہارِ ناز
ہر بوئے گل کو میکدۂ جاں کیے ہوئے
कुफ़्र को ईमां किये हुए – साधु राम आर्ज़ू सहारनपूरी
१
मुद्दत हुई है यार को मेहमां किये हुए
आरा’एश-ए हरीम-ए रग-ए जां किये हुए
२
फिर मा’एल-ए जुनून-ए अदम है मज़ाक़-ए इश्क़
हस्ती को ख़ाक-ए कूचा-ए जानां किये हुए
३
फिर बढ़ चला है हद-ए त’अय्युन से जज़्ब-ए इश्क़
फ़ितरत के हर मक़ाम को उर्यां किये हुए
४
फिर दीदा-ए ख़याल है महव-ए निशात-ए दीद
सद-जन्नत-ए निगाह का सामां किये हुए
५
फिर रक़्स में हैं आइना-ए दिल की हैरतें
नज़्ज़ारा-ए जमाल को हैरां किये हुए
६
फिर है ज़बान-ए इश्क़ पे तफ़्सीर-ए मौज-ए ज़ुल्फ़
ईमां को कुफ़्र, कुफ़्र को ईमां किये हुए
७
फिर ले चला है साहिल-ए तहक़ीक़ पर कोई
किश्ती को नज़्र-ए मौजा-ए तूफ़ां किये हुए
८
फिर मा’एल-ए हक़ीक़त-ए परवाज़ है जुनूं
सहरा-ए सद-ख़याल को ज़िंदां किये हुए
९
फिर सहन-ए-बाग़ में है वो जान-ए बहार-ए नाज़
हर बू-ए गुल को मयकदा-ए जां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata. This Ghazal is linked to Ghalib naqsh-e qadam. Also noteworthy is that Ghalib starts the first misra of 7 out of 17 ash’aar with the word ‘phir’ and aarzu saharanpuri starts 8 of 9 the same way.
1
muddat1 hui hai yaar2 ko mehmaaN3 kiye hue
aaraa’esh4-e hariim5-e rag-e-jaaN6 kiye hue 1.long time 2.friend, beloved 3.guest 4.adornment 5.house, sanctuary 6.jugular vein
Here ‘rag-e-jaaN’ – jugular vein represents life itself and the ‘hariim-e rag-e-jaaN’ is the heart. Thus, it has been a long time since I have hosted/entertained the beloved and adorned the heart to receive her (or adorned the heart with her presence).
2
phir maa’el1-e junoon2-e adam3 hai mazaaq4-e ishq
hasti5 ko Khaak6-e koocha7-e jaanaaN8 kiye hue 1.inclined towards, attracted to 2.passion, madness 3.non-existence 4.taste, desire 5.existence, life 6.dust 7.street 8.beloved
My desire of love is once again inclined towards the madness of non-existence. It has transformed my life to be the dust of the street of the beloved. This could either mean that the poet/lover lies in the street of the beloved all day and all night long, or that he is dead and buried there and disintegrated into dust.
3
phir baRh chala hai hadd1-e ta’ayyun2 se jazb3-e ishq
fitrat4 ke har maqaam5 ko uriyaaN6 kiye hue 1.limit 2.allotted, sanctioned 3.sentiments, emotions 4.nature 5.stage 6.naked, exposed
Once again, the emotions of love have stepped beyond sanctioned limits, exposing every stage of natural feelings i.e., it has crossed all stages considered natural. The lover is now stark raving mad.
4
phir diida1-e Khayaal2 hai mahv3-e nishaat4-e diid5
sad-jannat6-e nigaah7 ka saamaaN8 kiye hue 1.eye 2.thought, imagination 3.engrossed, fascinated 4.pleasure 5.sighting, looking at 6.hundred heavens 7.eyes, glance 8.arrangement
Once again the eye of imagination is fascinated/engrossed in the thought of looking at the beloved. It has done this by making arrangements of a scene of a hundred heavens.
5
phir raqs1 meN haiN aaiina2-e dil ki hairateN3
nazzaara4-e jamaal5 ko hairaaN6 kiye hue 1.dance 2.reflection 3.amazement 4.scene 5.beauty, glory 6.amazed, perplexed
The heart reflects the glory of god and has once again gone into dance of ecstacy/amazement, looking at the scene of the glory of god in amazement.
6
phir hai zabaan1-e ishq peh tafsiir2-e mauj3-e zulf4
iimaaN5 ko kufr6, kufr ko iimaaN kiye hue 1.tongue 2.explanation, commentary 3.waves 4.hair 5.faith 6.non-faith, other faith
Normally, a person of faith would praise god and nothing else. But here once again on the tongue of the poet/lover is the explanation/commentary about the waves of the beloved’s hair. Because he is praising something other than god, his faith is becoming non-faith, but he is making love of the beloved (non-faith) his new faith.
7
phir le chala hai saahil1-e tahqiiq2 par koii
kishti ko nazr3-e mauja4-e toofaaN5 kiye hue 1.shore 2.inquiry, search, question 3.sacrificial offering, abandon 4.wave 5.storm
Here ‘tahqiiq’ is the ocean, which is stormy and tumultous and the ‘saahil’ is the shore which is faith and is calm and peaceful. Thus he has abandoned the boat of his journey to the storms and sought refuge on the shore (in faith).
8
phir maa’el1-e haqiiqat2-e parvaaz3 hai junooN4
sahraa5-e sad-Khayaal6 ko zindaaN7 kiye hue 1.inclined towards 2.reality 3.flight 4.passion, madness 5.desert 6.hundred thoughts 7.prison, confinement
What is a desert of a hundred thoughts and what does it mean to make it a prison. Perhaps the hundred thoughts do not give the poet/thinker any satisfaction, any answers to his burning questions. So they are unproductive like the desert, barren thoughts. His passion/madness feels confined in this desert of thoughts and is once again inclined to take flight looking for ‘reality’ not in thought, but in love/mysticism.
9
phir sahn1-e baaGh meN hai voh jaan2-e bahaar3-e naaz4
har buu-e-gul5 ko maikada6-e jaaN2 kiye hue 1.open field 2.life 3.spring 4.coquetry 5.frangrance of the rose 6.tavern
The ‘jaan-e bahaar-e naaz’ – the life of the spring of coquetry, is the beloved. She is out in the fields of the garden making every fragrance of the rose the life of the tavern i.e., making it intoxicating.
saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata. This Ghazal is linked to Ghalib naqsh-e qadam. Also noteworthy is that Ghalib starts the first misra of 7 out of 17 ash’aar with the word ‘phir’ and aarzu saharanpuri starts 8 of 9 the same way.
1
muddat1 hui hai yaar2 ko mehmaaN3 kiye hue
aaraa’esh4-e hariim5-e rag-e-jaaN6 kiye hue
1.long time 2.friend, beloved 3.guest 4.adornment 5.house, sanctuary 6.jugular vein
Here ‘rag-e-jaaN’ – jugular vein represents life itself and the ‘hariim-e rag-e-jaaN’ is the heart. Thus, it has been a long time since I have hosted/entertained the beloved and adorned the heart to receive her (or adorned the heart with her presence).
2
phir maa’el1-e junoon2-e adam3 hai mazaaq4-e ishq
hasti5 ko Khaak6-e koocha7-e jaanaaN8 kiye hue
1.inclined towards, attracted to 2.passion, madness 3.non-existence 4.taste, desire 5.existence, life 6.dust 7.street 8.beloved
My desire of love is once again inclined towards the madness of non-existence. It has transformed my life to be the dust of the street of the beloved. This could either mean that the poet/lover lies in the street of the beloved all day and all night long, or that he is dead and buried there and disintegrated into dust.
3
phir baRh chala hai hadd1-e ta’ayyun2 se jazb3-e ishq
fitrat4 ke har maqaam5 ko uriyaaN6 kiye hue
1.limit 2.allotted, sanctioned 3.sentiments, emotions 4.nature 5.stage 6.naked, exposed
Once again, the emotions of love have stepped beyond sanctioned limits, exposing every stage of natural feelings i.e., it has crossed all stages considered natural. The lover is now stark raving mad.
4
phir diida1-e Khayaal2 hai mahv3-e nishaat4-e diid5
sad-jannat6-e nigaah7 ka saamaaN8 kiye hue
1.eye 2.thought, imagination 3.engrossed, fascinated 4.pleasure 5.sighting, looking at 6.hundred heavens 7.eyes, glance 8.arrangement
Once again the eye of imagination is fascinated/engrossed in the thought of looking at the beloved. It has done this by making arrangements of a scene of a hundred heavens.
5
phir raqs1 meN haiN aaiina2-e dil ki hairateN3
nazzaara4-e jamaal5 ko hairaaN6 kiye hue
1.dance 2.reflection 3.amazement 4.scene 5.beauty, glory 6.amazed, perplexed
The heart reflects the glory of god and has once again gone into dance of ecstacy/amazement, looking at the scene of the glory of god in amazement.
6
phir hai zabaan1-e ishq peh tafsiir2-e mauj3-e zulf4
iimaaN5 ko kufr6, kufr ko iimaaN kiye hue
1.tongue 2.explanation, commentary 3.waves 4.hair 5.faith 6.non-faith, other faith
Normally, a person of faith would praise god and nothing else. But here once again on the tongue of the poet/lover is the explanation/commentary about the waves of the beloved’s hair. Because he is praising something other than god, his faith is becoming non-faith, but he is making love of the beloved (non-faith) his new faith.
7
phir le chala hai saahil1-e tahqiiq2 par koii
kishti ko nazr3-e mauja4-e toofaaN5 kiye hue
1.shore 2.inquiry, search, question 3.sacrificial offering, abandon 4.wave 5.storm
Here ‘tahqiiq’ is the ocean, which is stormy and tumultous and the ‘saahil’ is the shore which is faith and is calm and peaceful. Thus he has abandoned the boat of his journey to the storms and sought refuge on the shore (in faith).
8
phir maa’el1-e haqiiqat2-e parvaaz3 hai junooN4
sahraa5-e sad-Khayaal6 ko zindaaN7 kiye hue
1.inclined towards 2.reality 3.flight 4.passion, madness 5.desert 6.hundred thoughts 7.prison, confinement
What is a desert of a hundred thoughts and what does it mean to make it a prison. Perhaps the hundred thoughts do not give the poet/thinker any satisfaction, any answers to his burning questions. So they are unproductive like the desert, barren thoughts. His passion/madness feels confined in this desert of thoughts and is once again inclined to take flight looking for ‘reality’ not in thought, but in love/mysticism.
9
phir sahn1-e baaGh meN hai voh jaan2-e bahaar3-e naaz4
har buu-e-gul5 ko maikada6-e jaaN2 kiye hue
1.open field 2.life 3.spring 4.coquetry 5.frangrance of the rose 6.tavern
The ‘jaan-e bahaar-e naaz’ – the life of the spring of coquetry, is the beloved. She is out in the fields of the garden making every fragrance of the rose the life of the tavern i.e., making it intoxicating.
The post kufr ko iimaaN kiye hue-saadhu raam aarzu sahaaranpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/05/af-dil-ko-garebaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
دل کو گریباں کئے ہوئے ۔ احمد فرازؔ
۱
پھرتے ہیں اب بھی دل کو گریباں کئے ہوئے
جن وحشیوں پہ ہیں ترے احساں کئے ہوئے
۲
تجدیدِ عشق کیا ہو کہ برسوں گزر گئے
تجھ سے کوئی سخن بھی مری جاں کئے ہوئے
۳
اب تجھ سے کیا گلہ ہو کہ اک عمر ہو گئی
ہم کو بھی قصدِ کوچۂ جاناں کئے ہوئے
۴
دل سے ہوئی ہے پھر ترے بارے میں گفتگو
تر آنسوؤں سے دیدہ و داماں کئے ہوئے
۵
جی مانتا نہیں ہے کہ ہم بھی بھلا چکیں
تیری طرح سے وعدہ و پیماں کئے ہوئے
۶
کچھ ضد میں ناصحوں کی تجھے چاہتے رہے
کچھ پاسداریِ دلِ ناداں کئے ہوئے
۷
ہم وہ کہ تجھ کو شعر میں تصویر کر دیا
صورت گرانِ شہر کو حیراں کئے ہوئے
۸
بازار سرد تھا نہ خریدار کم نظر
ہم خود تھے اپنے آپ کو ارزاں کئے ہوئے
۹
اے عشق ہم سے اور بھی ہوں گے زمانے میں
اچھے بھلے گھروں کو بیاباں کئے ہوئے
۱۰
کچھ ہم سے نامراد کہ پھرتے ہیں کو بکو
دل کو کسی فقیر کا داماں کئے ہوئے
۱۱
وعدہ کیا تھا اس نے کسی شام کا کبھی
ہم آج تک ہیں گھر میں چراغاں کئے ہوئے
۱۲
اب اس کے جور سے بھی گئے ہم کہ جب سے ہیں
اپنے کئے پہ اس کو پشیماں کئے ہوئے
۱۳
یہ رتجگے قبول کہ آرام سے تو ہیں
رکھتے تھے ورنہ خواب، پریشاں کئے ہوئے
۱۴
ہم وہ اسیر ہیں کہ زمانے گزر گئے
بند اپنے آپ پر درِ زنداں کئے ہوئے
۱۵
ترکِ وفا کے بعد ہوس اختیار کی
اس کاروبار میں بھی ہیں نقصاں کئے ہوئے
۱۶
جانِ فرازؔ مرگِ تمنا کے باوجود
بھولے نہیں ہمیں ترے احساں کئے ہوئے
दिल को गरेबाँ किए हुए – अहमद फ़राज़
१
फिरते हैं अब भी दिल को गरेबाँ किए हुए
जिन वहशियों पे हैं तेरे एहसां किए हुए
२
तज्दीद-ए इश्क़ क्या हो के बरसों गुज़र गए
तुझ से कोई सुख़न भी मेरी जां किए हुए
३
अब तुझ से क्या गिला हो के एक उम्र हो गई
हम को भी क़स्द-ए कूचा-ए जानां किए हुए
४
दिल से हुई है फिर तेरे बारे में गुफ़्तगू
तर आंसुओं से दीद ओ दामां किए हुए
५
जी मानता नहीं है के हम भी भुला चुकें
तेरी तरह से वादा ओ पैमां किए हुए
६
कुछ ज़िद में नासेहों की तुझे चाहते रहे
कुछ पास्दारी-ए दिल-ए नादां किए हुए
७
हम वो के तुझ को शे’र में तस्वीर कर दिया
सूरतगरान-ए शहर को हैरां किए हुए
८
बाज़ार सर्द था ना ख़रीदार कम नज़र
हम ख़ुद थे अपने आप को अर्ज़ां किए हुए
९
अए इश्क़ हम से और भी होंगे ज़माने में
अच्छे भले घरों को बियाबां किए हुए
१०
कुछ हम से ना-मुराद के फिरते हैं कू-ब-कू
दिल को किसी फ़क़ीर का दामां किए हुए
११
वादा किया था उस ने किसी शाम का कभी
हम आज तक हैं घर को चिराग़ां किए हुए
१२
अब उस के जौर से भी गए हम के जब से हैं
अपने किए पे उस को पशेमां किए हुए
१३
ये रतजगे क़ुबूल के आराम से तो हैं
रखते थे वरना ख़्वाब परेशां किए हुए
१४
हम वो असीर हैं के ज़माने गुज़र गए
बंद अपने आप पर दर-ए ज़िन्दां किए हुए
१५
तर्क-ए वफ़ा के बाद हवस एख़्तियार की
इस कारोबार में भी हैं नुक़्सां किए हुए
१६
जान-ए फ़राज़ मर्ग-ए तमन्ना के बावजूद
भूले नहीं हमें तेरे एहसां किए हुए
Click here for background and on any passage for word meanings and explanatory discussion. ahmad faraaz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes. This Ghazal is modeled after Ghalib’s “muddat hui hai yaar ko mehmaaN kiye hue” and is linked to a series of such Ghazal under ‘Ghalib naqsh-e qadam’.
1
phirte haiN ab bhi dil ko garebaaN1 kiye hue
jin vahshiyon2 pe haiN tere ehsaaN3 kiye hue 1.collar 2.mad, passionate, wild 3.kindness, favours
Those mad passionate lovers (mad like majnuN) to whom you (the beloved) have shown any kindness (a long time ago) still wander with their hearts torn like their torn collars.
2
tajdeed1-e ishq kya ho keh barsoN2 guzar3 gaye
tujh se koi sukhan4 bhi meri jaaN5 kiye hue 1.renovation, re-affirm 2.years 3.passed, gone by 4.words, conversation 5.dear, beloved
How can there be any re-affirmation of love, my dear, so many years have gone by since I have had a chance to exchange any words with you.
3
ab tujh se kya gila1 ho keh ek umr2 ho gaii
ham ko bhi qasd3-e koocha4-e janaaN5 kiye hue 1.complaint 2.lifetime 3.resolve, plan 4.street 5.beloved
How can I complain about you, it has been a lifetimes since I last attempted to go to the street of the beloved.
4
dil se hui hai phir tere baare1 meN guftagoo2tar3 aansuoN4 se deeda5 o daman6 kiye hue 1.about 2.conversation 3.wet, soaked 4.tears 5.eyes 6.hem of the robe
The poet/lover has had a conversation with his heart about the beloved. This has caused him to cry profusely soaking his eyes and them of his robe (with which he wipes his eyes).
5
jii1 maanta nahiN hai keh ham bhi bhula2 chukeN
teri tarah3 se vaa’da4 o paimaaN5 kiye hue 1.heart, soul 2.forget, ignore 3.like, similar to 4.promises 5.commitments
The beloved makes promises and commitments and ignores them. This has happened to the poet/lover many times, but still, he cannot bring his heart around to forget his own promises and commitments like she has.
6
kuchh zidd1 meN naasehoN2 ki tujhe chaahte rahe
kuchh paas-daari3-e dil-e naadaaN4 kiye hue 1.obstinacy, opposition 2.critics, moralizers, preachers 3.being mindful, respecting 4.simpleton
I kept loving you sometimes in opposition to the injunctions of the preacher and other times out of consideration for my innocent heart.
7
hum vo keh tujh ko she’r meN tasviir kar diya
soorat-garaan1-e shahr2 ko hairaaN3 kiye hue 1.makers of images, artists 2.town 3.amazement
I have cast your image in verse. The image is so beautiful that it leaves the artists of the town amazed.
8
baazar sard1 tha na Khariidar2 kam-nazar3hum Khud4 the apne aap ko arzaaN5 kiye hue 1.cold, quiet 2.buyers 3.short-sighted, unappreciative 4.myself 5.cheap
It was not as if the market was not brisk i.e., not as if there was no demand. Neither were buyers unappreciative. But we ourselves had made ourselves cheap i.e., we laid ourselves at the feet of the one buyer who did not care – the beloved ignoring the others who appreciated us.
9
aye ishq1 hum se2 aur bhi hoNge zamaane3 meN
achche bhale gharoN ko biyabaaN4 kiye hue 1.love 2.like, similar to 3.times, world 4.wilderness, ruins
O Love, there must be many others like us who have ruined a perfectly good home.
10
kuch hum se na-muraad1 keh phirte haiN koo-ba-koo2dil ko kisi faqeer3 ka damaaN4 kiye hue 1.unfortunate 2.street by street 3.beggar 4.hem/cloth (used to collect alms)
There are a few others, unfortunate like us, wandering from street to street with their hearts like a begging bowl.
11
va’ada1 kiya tha us ne kisi shaam ka kabhi
hum aaj tak haiN ghar meN chiraGhaaN2 kiye hue 1.promise 2.lighting, lit up
A long time ago the beloved had promised that she would come some evening. Ever since, even to this day, we have kept our home lit up in anticipation.
12
ab uske jaur1 se bhi gaye hum keh jab se haiN
apne kiye pe usko pashemaaN2 kiye hue 1.cruelty 2.embarrass
It is standard practice for the beloved to be cruel to the poet/lover and for him to be happy about it for it shows that she is paying some attention to him. But he has done something to embarrass her. Ever since, she has not shown even this cruelty towards him, leave aside any favours.
13
ye ratjage1 qubool2 keh aaraam3 se to haiN
rakhte the varna4 Khwaab pareshaaN5 kiye hue 1.sleepless nights 2.acceptable, agreeable 3.comfort 4.otherwise 5.nightmare
Sleepless nights (because of the pain of separation) are acceptable because the poet/lover is at least in some comfort. Otherwise, whenever he slept of dozed off, he had had nightmares (because of jealousy or fear).
14
hum vo aseer1 haiN keh zamaane2 guzar3 gaye
band apne aap par dar4-e zindaaN5 kiye hue 1.imprisoned, caged 2.ages 3.passed 4.doors 5.prison, cage
I am the kind of captive who ages ago, closed the doors of prison on himself i.e., willingly submitted to the endeavour of love.
15
tark1-e vafa2 ke baad havas3 ekhtiyaar4 ki
is kaarobaar5 meN bhi haiN nuqsaaN6 kiye hue 1.abandonment 2.faith, fidelity 3.lust 4.adopt 5.affairs 6.loss
The poet/lover is so inept in the affairs of life that whatever he does, he loses or does harm to himself. He tried being faithful to the beloved. Did not get anywhere and abandoning his selfless/pure love, he adopted the attitude of lust. Of course even this is a great loss because he has given up a noble thing and adopted something that is looked down upon. Thus, he continues to be a loser all around.
16
jaan1-e faraaz2 marg3-e tamanna4 ke bavajood5bhoole nahiN hamiiN6 tere ehsaaN7 kiye hue 1.dear, beloved 2.pen-name of the poet 3.death 4.yearning, hope 5.in spite of 6.we ourselves 7.kindnesses, favours
O beloved of faraaz, in spite of the death of all hope, it is we who have not forgotten the favours you showed us a long time ago.
ahmad faraaz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes. This Ghazal is modeled after Ghalib’s “muddat hui hai yaar ko mehmaaN kiye hue” and is linked to a series of such Ghazal under ‘Ghalib naqsh-e qadam’.
1
phirte haiN ab bhi dil ko garebaaN1 kiye hue
jin vahshiyon2 pe haiN tere ehsaaN3 kiye hue
1.collar 2.mad, passionate, wild 3.kindness, favours
Those mad passionate lovers (mad like majnuN) to whom you (the beloved) have shown any kindness (a long time ago) still wander with their hearts torn like their torn collars.
2
tajdeed1-e ishq kya ho keh barsoN2 guzar3 gaye
tujh se koi sukhan4 bhi meri jaaN5 kiye hue
1.renovation, re-affirm 2.years 3.passed, gone by 4.words, conversation 5.dear, beloved
How can there be any re-affirmation of love, my dear, so many years have gone by since I have had a chance to exchange any words with you.
3
ab tujh se kya gila1 ho keh ek umr2 ho gaii
ham ko bhi qasd3-e koocha4-e janaaN5 kiye hue
1.complaint 2.lifetime 3.resolve, plan 4.street 5.beloved
How can I complain about you, it has been a lifetimes since I last attempted to go to the street of the beloved.
4
dil se hui hai phir tere baare1 meN guftagoo2tar3 aansuoN4 se deeda5 o daman6 kiye hue
1.about 2.conversation 3.wet, soaked 4.tears 5.eyes 6.hem of the robe
The poet/lover has had a conversation with his heart about the beloved. This has caused him to cry profusely soaking his eyes and them of his robe (with which he wipes his eyes).
5
jii1 maanta nahiN hai keh ham bhi bhula2 chukeN
teri tarah3 se vaa’da4 o paimaaN5 kiye hue
1.heart, soul 2.forget, ignore 3.like, similar to 4.promises 5.commitments
The beloved makes promises and commitments and ignores them. This has happened to the poet/lover many times, but still, he cannot bring his heart around to forget his own promises and commitments like she has.
6
kuchh zidd1 meN naasehoN2 ki tujhe chaahte rahe
kuchh paas-daari3-e dil-e naadaaN4 kiye hue
1.obstinacy, opposition 2.critics, moralizers, preachers 3.being mindful, respecting 4.simpleton
I kept loving you sometimes in opposition to the injunctions of the preacher and other times out of consideration for my innocent heart.
7
hum vo keh tujh ko she’r meN tasviir kar diya
soorat-garaan1-e shahr2 ko hairaaN3 kiye hue
1.makers of images, artists 2.town 3.amazement
I have cast your image in verse. The image is so beautiful that it leaves the artists of the town amazed.
8
baazar sard1 tha na Khariidar2 kam-nazar3hum Khud4 the apne aap ko arzaaN5 kiye hue
1.cold, quiet 2.buyers 3.short-sighted, unappreciative 4.myself 5.cheap
It was not as if the market was not brisk i.e., not as if there was no demand. Neither were buyers unappreciative. But we ourselves had made ourselves cheap i.e., we laid ourselves at the feet of the one buyer who did not care – the beloved ignoring the others who appreciated us.
9
aye ishq1 hum se2 aur bhi hoNge zamaane3 meN
achche bhale gharoN ko biyabaaN4 kiye hue
1.love 2.like, similar to 3.times, world 4.wilderness, ruins
O Love, there must be many others like us who have ruined a perfectly good home.
10
kuch hum se na-muraad1 keh phirte haiN koo-ba-koo2dil ko kisi faqeer3 ka damaaN4 kiye hue
1.unfortunate 2.street by street 3.beggar 4.hem/cloth (used to collect alms)
There are a few others, unfortunate like us, wandering from street to street with their hearts like a begging bowl.
11
va’ada1 kiya tha us ne kisi shaam ka kabhi
hum aaj tak haiN ghar meN chiraGhaaN2 kiye hue
1.promise 2.lighting, lit up
A long time ago the beloved had promised that she would come some evening. Ever since, even to this day, we have kept our home lit up in anticipation.
12
ab uske jaur1 se bhi gaye hum keh jab se haiN
apne kiye pe usko pashemaaN2 kiye hue
1.cruelty 2.embarrass
It is standard practice for the beloved to be cruel to the poet/lover and for him to be happy about it for it shows that she is paying some attention to him. But he has done something to embarrass her. Ever since, she has not shown even this cruelty towards him, leave aside any favours.
13
ye ratjage1 qubool2 keh aaraam3 se to haiN
rakhte the varna4 Khwaab pareshaaN5 kiye hue
1.sleepless nights 2.acceptable, agreeable 3.comfort 4.otherwise 5.nightmare
Sleepless nights (because of the pain of separation) are acceptable because the poet/lover is at least in some comfort. Otherwise, whenever he slept of dozed off, he had had nightmares (because of jealousy or fear).
14
hum vo aseer1 haiN keh zamaane2 guzar3 gaye
band apne aap par dar4-e zindaaN5 kiye hue
1.imprisoned, caged 2.ages 3.passed 4.doors 5.prison, cage
I am the kind of captive who ages ago, closed the doors of prison on himself i.e., willingly submitted to the endeavour of love.
15
tark1-e vafa2 ke baad havas3 ekhtiyaar4 ki
is kaarobaar5 meN bhi haiN nuqsaaN6 kiye hue
1.abandonment 2.faith, fidelity 3.lust 4.adopt 5.affairs 6.loss
The poet/lover is so inept in the affairs of life that whatever he does, he loses or does harm to himself. He tried being faithful to the beloved. Did not get anywhere and abandoning his selfless/pure love, he adopted the attitude of lust. Of course even this is a great loss because he has given up a noble thing and adopted something that is looked down upon. Thus, he continues to be a loser all around.
16
jaan1-e faraaz2 marg3-e tamanna4 ke bavajood5bhoole nahiN hamiiN6 tere ehsaaN7 kiye hue
1.dear, beloved 2.pen-name of the poet 3.death 4.yearning, hope 5.in spite of 6.we ourselves 7.kindnesses, favours
O beloved of faraaz, in spite of the death of all hope, it is we who have not forgotten the favours you showed us a long time ago.
The post dil ko garebaaN kiye hue – ahmad faraaz appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/04/spsba-hindu-ka-musalmaaN-hona-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ہندو کا مسلماں ہونا ۔ سُکھ دیو پرشاد سنہا بسملؔ الہ آبادی
۱
دل میں تیرِ نگہِ ناز کا مہماں ہونا
کوئی مشکل نہیں اب اس کو رگِ جاں ہونا
۲
ہر گھڑی شیفتۂ کاکلِ جاناں ہونا
کھیل ہے میرے لیے داخلِ زنداں ہونا
۳
لوگ سمجھیں نہ کہیں اِس کا یہی قاتل ہے
تم میری لاش پہ کچھ سوچ کے گریاں ہونا
۴
دشت پیما کے لیے عرصۂ آفاق ہے تنگ
ذرّے ذرّے کو مناسب تھا بیاباں ہونا
۵
میں اسے شرم کہوں یا اسے شوخی سمجھوں
کبھی چھپنا کبھی پردے میں نمایاں ہونا
۶
کہہ گیا جامۂ ہستی کے اُڑیں گے پرزے
تیری چلتی ہوئی شمشیر کا عریاں ہونا
۷
کر چکا چاک تو کیا بخیہ گری سے حاصل
اب گریبان کو مشکل ہے گریباں ہونا
۸
آئینہ دیکھنے کو شوق سے دیکھو لیکن
اپنی صورت نہ کہیں دیکھ کے حیراں ہونا
۹
موسمِ گُل کا تصوّر بھی، نشیمن کی بھی فکر
وہ قفس ہی میں مرا محوِ گُلِستاں ہونا
۱۰
ہر گھڑی یادِ بتاں رہتی ہے دل میں بِسملؔ
کوئی آساں نہیں ہندو کا مسلماں ہونا
हिंदू का मुसलमां होना – सुखदेव प्रशाद सिन्हा बिस्मिल अलाहाबादी
१
दिल में तीर-ए निगह-ए नाज़ का मेहमां होना
कोई मुश्किल नहीं अब इस को रग-ए जां होना है
२
हर घढी शेफ़ता-ए काकुल-ए जानां होना
खेल है मेरे लिए दाख़ेल-ए ज़िन्दां होना
३
लोग समझें न कहीं इस का यही क़ातिल है
तुम मेरी लाश पे कुछ सोच के गिरियां होना
४
दश्त-पैमा के लिए अर्सा-ए आफ़ाक़ है तंग
ज़र्रे-ज़र्रे को मुनासिब था बियाबां होना
५
मैं इसे शर्म कहूं या इसे शूख़ी समझूं
कभी छुपना कभी पर्दे में नुमायाँ होना
६
कह गया जामा-ए हस्ती के उढेंगे पुर्ज़े
तेरी चलती हुई शमशीर का उर्यां होना
७
कर चुका चाक तो क्या बख़्या-गरी से हासिल
अब गरेबान को मुश्किल है गरेबाँ होना
८
आईना देखने को शौक़ से देखो लैकिन
अपनी सूरत ना कहीं देख के हैरां होना
९
मौसम-ए गुल का तसव्वुर भी, नशेमन कि भी फ़िक्र
वो क़फ़स ही में मेरा महव-ए गुलिस्ताँ होना
१०
हर घढी याद-ए बुतां रहती है दिल में बिस्मिल
कोई आसान नहीं, हिंदू का मुसलमां होना
Click here for background and on any passage for word meanings and explanatory discussion. sukhdev prashad sinha bismil allahabadi (1899-1976), learnt faarsi, arabi and urdu at a maktab until the age of 14. Sent to kayasth school for English, hindi. Illness interrupted schooling for 3 years. Restarted with great interest in shaa’eri, becoming shaagird of nooh naarvi. Worked for the Supplies department during the first world war years and then for the municipal corporation of allahabad. Participated in mushaa’era and published collections of poetry in both urdu and devnagiri scripts. This Ghazal is linked to ‘mayassar nahiN insaaN hona’ on Ghalib naqsh-e qadam.
1
dil meN tiir1-e nigah2-e naaz3 ka mehmaaN4 hona
koii mushkil5 nahiN ab is ko rag-e-jaaN6 hona 1.arrow 2.glance 3.coquetry 4.guest, welcome 5.difficult 6.vein of life, jugular vein
The beloved casts furtive/coquettish glances at the lover. These pierce his heart like arrows. Of course, they are not exactly unwelcome … these arrows are honoured guests. Thus, it is not very difficult for them to become the basis of the poet/lover’s life – like his jugular vein.
2
har ghaRi1 shefta2-e kaakul3-e jaanaaN4 hona
khel hai meray liye daaKhil5-e zindaaN6 hona 1.moment 2.mad/passionate 3.curls 4.beloved 5.enter 6.prison
Every moment the poet/lover thinks madly/passionately about the curly forelocks of the beloved. Curly forelocks are also like fetters on his feet and shackles around his wrists. Thus is not very difficult, in fact it is child’s play, for him to consider himself imprisoned.
3
loag samjheN na kahiiN iss ka yahii qaatil1 hai
tum meri laash2 peh kuchh soch ke giriyaaN3 hona 1.killer 2.corpse 3.weeping, wailing
The implication is that the beloved has killed the poet/lover by her indifference, but he still loves her passionately and doesn’t want people to think that she has killed him. Thus, he pleads with her, when you come for a funereal visit, think and weep properly at the funeral, otherwise people might think that you are my killer.
4
dasht-paimaa1 ke liye arsa2-e aafaaq3 hai taNg4
zarre-zarre5 ko munaasib6 tha biyaabaaN7 hona 1.taking a measure of the desert 2.region, expanse 3.horizon 4.narrow 5.every grain of sand 6.suitable, appropriate 7.wilderness
The lover, like majnuN, in his mad/passionate love, wanders the desert as if taking the measure of the expanse of the desert. He does it so passionately that even the range out to the horizon is too narrow for him. Thus, it was quite appropriate that for him every grain of sand was like a wilderness – increasing the expanse of the desert.
5
maiN isay sharm1 kahuN ya isay shooKhi2 samjhuN
kabhi chhupna kabhi parday meN numaayaaN3 hona 1.shyness, coyness 2.teasing, playful, coquettish 3.appear, be seen, visible
The beloved plays games with the lover to keep him captivated. What should I think of this – are you shy/coy or are you teasing/coquettish. Sometimes you hide behind the curtain and sometimes you make an appearance.
6
kah1 gaya jaama2-e hasti3 ke uReN gay purzay4
teri chalti hui shamshiir5 ka uryaaN6 hona 1.spoke, said 2.garment 3.life 4.shreds 5.sword 6.naked, drawn out of the scabbard
The conventional picture is that the beloved is out with sword drawn, to kill her lovers. The expression ‘jaama-e hasti ke purzay uRna’ – the garment life torn into shreds means that there is a ‘mass killing’ of lovers. Thus, your coming out with a naked sword tells me that the garment of life will be torn to shreds.
7
kar chuka chaak1 to kya baKhya-gari2 se haasil3
ab garebaan4 ko mushkil5 hai garebaaN4 hona 1.tear, rip 2.sewing 3.benefit 4.collar 5.difficult
The lover rips his collar in mad passionate love. Having done that, what is the use of sewing it back up. It is very difficult for the torn collar to be mended/sewn back into an appropriate collar.
8
aaina dekhnay ko shauq se dekho laikin
apni soorat na kahiiN dekh ke hairaaN1 hona 1.puzzled
It is a common trope in poetic tradition that the beloved looks at herself in the mirror and is either puzzled or gets jealous of her own beauty. The poet says, by all means, look into the mirror if you want to, but mind and don’t get puzzled looking at your own reflection.
9
mosam-e-gul1 ka tasavvur2 bhi, nasheman3 ki bhi fikr4
voh qafas5 hi meN mera mahv6-e gulistaaN7 hona 1.flowering season, spring 2.imagination, thinking 3.nest, home 4.worry 5.cage 6.absorbed in, obsessed with 7.garden
In poetic tradition the poet is often portrayed as a bird – either singing love songs to his beloved the rose or pining for his nest/home and garden. He is often trapped by the bird-catcher and caged. Such is the case here and he spends all his time absorbed in thoughts of spring, of the safety of his nest and of the freedom of the garden.
10
har ghaRi1 yaad-e butaaN2 rahti hai dil meN bismil3
koii aasaaN4 nahiiN hindu ka musalmaaN hona 1.moment 2.idols, beloved, hindu gods 3.pen-name of the poet 4.easy
This is a beautiful play on the double meaning of the word ‘but’ – meaning idol/beloved or idol/deity. It is also a beautiful play on momin’s she’r quoted here. Imagine that the devout hindu is always thinking of the idol/deity like the the poet/lover is always thinking of the idol/beloved. In this case, the poet happens to be hindu. If he is doing this, it is not easy for him to be considered a muslim (who is supposed to shun idol worship). Said momin KhaaN momin …
umr saari to kaTi ishq-e butaaN meN momin
aaKhri vaqt meN kya Khaak musalmaaN hoNge
sukhdev prashad sinha bismil allahabadi (1899-1976), learnt faarsi, arabi and urdu at a maktab until the age of 14. Sent to kayasth school for English, hindi. Illness interrupted schooling for 3 years. Restarted with great interest in shaa’eri, becoming shaagird of nooh naarvi. Worked for the Supplies department during the first world war years and then for the municipal corporation of allahabad. Participated in mushaa’era and published collections of poetry in both urdu and devnagiri scripts. This Ghazal is linked to ‘mayassar nahiN insaaN hona’ on Ghalib naqsh-e qadam.
1
dil meN tiir1-e nigah2-e naaz3 ka mehmaaN4 hona
koii mushkil5 nahiN ab is ko rag-e-jaaN6 hona
1.arrow 2.glance 3.coquetry 4.guest, welcome 5.difficult 6.vein of life, jugular vein
The beloved casts furtive/coquettish glances at the lover. These pierce his heart like arrows. Of course, they are not exactly unwelcome … these arrows are honoured guests. Thus, it is not very difficult for them to become the basis of the poet/lover’s life – like his jugular vein.
2
har ghaRi1 shefta2-e kaakul3-e jaanaaN4 hona
khel hai meray liye daaKhil5-e zindaaN6 hona
1.moment 2.mad/passionate 3.curls 4.beloved 5.enter 6.prison
Every moment the poet/lover thinks madly/passionately about the curly forelocks of the beloved. Curly forelocks are also like fetters on his feet and shackles around his wrists. Thus is not very difficult, in fact it is child’s play, for him to consider himself imprisoned.
3
loag samjheN na kahiiN iss ka yahii qaatil1 hai
tum meri laash2 peh kuchh soch ke giriyaaN3 hona
1.killer 2.corpse 3.weeping, wailing
The implication is that the beloved has killed the poet/lover by her indifference, but he still loves her passionately and doesn’t want people to think that she has killed him. Thus, he pleads with her, when you come for a funereal visit, think and weep properly at the funeral, otherwise people might think that you are my killer.
4
dasht-paimaa1 ke liye arsa2-e aafaaq3 hai taNg4
zarre-zarre5 ko munaasib6 tha biyaabaaN7 hona
1.taking a measure of the desert 2.region, expanse 3.horizon 4.narrow 5.every grain of sand 6.suitable, appropriate 7.wilderness
The lover, like majnuN, in his mad/passionate love, wanders the desert as if taking the measure of the expanse of the desert. He does it so passionately that even the range out to the horizon is too narrow for him. Thus, it was quite appropriate that for him every grain of sand was like a wilderness – increasing the expanse of the desert.
5
maiN isay sharm1 kahuN ya isay shooKhi2 samjhuN
kabhi chhupna kabhi parday meN numaayaaN3 hona
1.shyness, coyness 2.teasing, playful, coquettish 3.appear, be seen, visible
The beloved plays games with the lover to keep him captivated. What should I think of this – are you shy/coy or are you teasing/coquettish. Sometimes you hide behind the curtain and sometimes you make an appearance.
6
kah1 gaya jaama2-e hasti3 ke uReN gay purzay4
teri chalti hui shamshiir5 ka uryaaN6 hona
1.spoke, said 2.garment 3.life 4.shreds 5.sword 6.naked, drawn out of the scabbard
The conventional picture is that the beloved is out with sword drawn, to kill her lovers. The expression ‘jaama-e hasti ke purzay uRna’ – the garment life torn into shreds means that there is a ‘mass killing’ of lovers. Thus, your coming out with a naked sword tells me that the garment of life will be torn to shreds.
7
kar chuka chaak1 to kya baKhya-gari2 se haasil3
ab garebaan4 ko mushkil5 hai garebaaN4 hona
1.tear, rip 2.sewing 3.benefit 4.collar 5.difficult
The lover rips his collar in mad passionate love. Having done that, what is the use of sewing it back up. It is very difficult for the torn collar to be mended/sewn back into an appropriate collar.
8
aaina dekhnay ko shauq se dekho laikin
apni soorat na kahiiN dekh ke hairaaN1 hona
1.puzzled
It is a common trope in poetic tradition that the beloved looks at herself in the mirror and is either puzzled or gets jealous of her own beauty. The poet says, by all means, look into the mirror if you want to, but mind and don’t get puzzled looking at your own reflection.
9
mosam-e-gul1 ka tasavvur2 bhi, nasheman3 ki bhi fikr4
voh qafas5 hi meN mera mahv6-e gulistaaN7 hona
1.flowering season, spring 2.imagination, thinking 3.nest, home 4.worry 5.cage 6.absorbed in, obsessed with 7.garden
In poetic tradition the poet is often portrayed as a bird – either singing love songs to his beloved the rose or pining for his nest/home and garden. He is often trapped by the bird-catcher and caged. Such is the case here and he spends all his time absorbed in thoughts of spring, of the safety of his nest and of the freedom of the garden.
10
har ghaRi1 yaad-e butaaN2 rahti hai dil meN bismil3
koii aasaaN4 nahiiN hindu ka musalmaaN hona
1.moment 2.idols, beloved, hindu gods 3.pen-name of the poet 4.easy
This is a beautiful play on the double meaning of the word ‘but’ – meaning idol/beloved or idol/deity. It is also a beautiful play on momin’s she’r quoted here. Imagine that the devout hindu is always thinking of the idol/deity like the the poet/lover is always thinking of the idol/beloved. In this case, the poet happens to be hindu. If he is doing this, it is not easy for him to be considered a muslim (who is supposed to shun idol worship). Said momin KhaaN momin …
umr saari to kaTi ishq-e butaaN meN momin
aaKhri vaqt meN kya Khaak musalmaaN hoNge
The post hindu ka musalmaaN hona-sukhdev prashad bismil allahabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/04/spba-shaan-e-gunahgaar-dekh-kar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شانِ گنہگار دیکھ کر ۔ سکھ دیو پرشاد بسملؔ الہ آبادی
۱
وقتِ اخیر موت کے آثار دیکھ کر
احباب رو دیے رخِ بیمار دیکھ کر
۲
دہراتے ہیں وہ سب سے فسانہ کلیم کا
دنیا کو اپنا طالبِ دیدار دیکھ کر
۳
اک مشتِ پر کے حق میں اسے کتنی لاگ تھی
سیاد خوش ہے مجھ کو گرفتار دیکھ کر
۴
دنیا کے بے قصور قیامت میں بار بار
پچھتا رہے ہیں شانِ گنہگار دیکھ کر
۵
احباب دل کو تھام کے بالیں سے اُٹھ گئے
بیٹھا گیا نہ صورتِ بیمار دیکھ کر
۶
زندانِ ذوق و شوق میں اُن کا اسیرِ عشق
چپ چاپ ہو گیا در و دیوار دیکھ کر
۷
بسملؔ بھی قتل گاہ میں دم بھر نہ رک سکے
چلتی ہوئی کسی کی وہ تلوار دیکھ کر
शान-ए गुनहगार देख कर – सुख देव प्रशाद बिस्मिल अलहाबादी
१
वक़्त-ए अख़ीर मौत के आसार देख कर
अहबाब रो दिये रुख़-ए बीमार देख कर
२
दहराते हैं वो सब से फ़साना कलीम का
दुनिया को अपना तालिब-ए दीदार देख कर
३
एक मुश्त-ए पर के हक़ में उसे कितनी लाग थी
सय्याद ख़ुश है मुझ को गिरफ़्तार देख कर
४
दुनिया के बे-क़ुसूर क़यामत में बार बार
पछता रहे हैं शान-ए गुनहगार देख कर
५
अहबाब दिल को थाम के बालीं से उठ गए
बैठा गया न सूरत-ए बीमार देख कर
६
ज़िन्दान-ए ज़ौक़ ओ शौक़ में उन का असीर-ए इश्क़
चुप चाप हो गया दर ओ दीवार देख कर
७
बिस्मिल भी क़त्लगाह में दम भर न रुक सके
चलती हुई किसी की वो तलवार देख कर
Click here for background and on any passage for word meanings and explanatory discussion. sukhdev prashad sinha bismil allahabadi (1899-1976), learnt faarsi, arabi and urdu at a maktab until the age of 14. Sent to kayasth school for English, hindi. Illness interrupted schooling for 3 years. Restarted with great interest in shaa’eri, becoming shaagird of nooh naarvi. Worked for the Supplies department during the first world war years and then for the municipal corporation of allahabad. Participated in mushaa’era and published collections of poetry in both urdu and devnagiri scripts. This Ghazal is linked to ‘dete haiN baada zarf-e qadah-Khwaar dekh kar’, ‘Ghalib naqsh-e qadam’ on the Theme Index page.
1
vaqt-e-aKhiir1 maut2 ke aasar3 dekh kar
ahbaab4 ro diye ruKh5-e biimaar6 dekh kar 1.last few minutes 2.death 3.signs, indication 4.friends 5.face 6.sick, love-sick
It is common to refer to the lover as ‘biimaar’ because he is suffering in love. In this case he is on his death bed and his friends around him cannot bear signs of imminent death on his love-sick face and break into weeping.
2
dohraate1 haiN voh sab se fasaana2 kaleem3 ka
duniya ko apna taalib4-e deedaar5 dekh kar 1.repeat 2.story, legend 3.another name of moosa, Moses 4.seeker 5.sight
The beloved is veiled and her admirers constantly seek a sight of her. Seeing this, she repeats the story of Moses. The story is that Moses went on mount tuur asking to see god. He heard a divine voice saying that he would not be able to bear the sight, but he insists. There is a flash of lightning as a divine manifestation and Moses faints, unable to bear even that. The beloved reminds her admirers that that is what is going to happen to them.
3
ek musht1-e par2 ke haq3 meN usay kitni laag4 thi
sayyaad5 Khush hai mujh ko giraftaar6 dekh kar 1.fistful 2.feathers 3.for the sake of 4.demand, desire 5.bird-catcher, hunter 6.captured
In urdu poetic tradition the poet is often depicted as a bird. The bird-catcher is often after him and fellow birds, spreading a net to catch them. Here either the bird itself is described as a ‘fistful of feathers’ or the birdcatcher has managed to pluck feathers off the bird as he puts it in a cage. In either case the birdcatcher has been eager for this fistful of feathers and appears happy to see the bird captured. Such is the fate of the poet. Often, birdcatcher also implies the beloved.
4
duniya ke be-qusoor1 qayaamat2 meN baar baar
pachhtaa3 rahe haiN shaan4-e gunahgaar5 dekh kar 1.innocents 2.doomsday, day of judgement 3.regret 4.dignity 5.sinner
There is a lot that is implied and unspoken in this she’r. The poet has transgressed all his life but repented. The divine has accepted his repentance and he is treated with great dignity. This is a repeated theme among many shua’ra. mohammed iqbal …
motii samajh ke shaan-e kariimii ne chun liye
qatre jo the meray araq-e infe’aal ke
or vaseem Khairaabaadi …
qatre gire jo kuchh araq-e infe’aal ke
dariya bahaa diye karam-e zul-jalaal ke
Thus, seeing the dignity with which this sinner has been treated all the non-sinners regret that they did not make use of the opportunity to enjoy transgressions.
5
ahbaab1 dil ko thaam ke baaliiN2 se uTh gaye
baiTha gaya na soorat-e bimaar3 dekh kar 1.friends 2.head side of the bed (usually death bed) or tomb 3.sick (in love)
The lover is sick in love because the beloved has been indifferent. He is on his death bed and friends sitting at his bedside are so sorrowful upon seeing his face that they cannot bear to sit any longer and get up to leave, holding their hearts.
6
zindaan1-e zauq2 o shauq3 meN un ka aseer4-e ishq
chup chaap ho gaya dar-o-diivaar5 dekh kar 1.prison 2.taste 3.desire 4.captive 5.doors and walls
Here ‘dar-o-diivaar’-doors and walls imply confinement, a prison cell. The captive of love is the poet/lover. He is confined by his own taste and desire i.e., he cannot help but love and desire the beloved. Thus, he is metaphorically in a prison of his own making. Seeing this, he realizes that there is no escape and resigns himself to it.
7
bismil1 bhi qatl-gaah2 meN dam-bhar3 na ruk sake
chalti hui kisi ki voh talvaar dekh kar 1.pen-name of the poet, sacrificial animal 2.slaughter-house 3.for a moment
In urdu poetic tradition the beloved is sometimes portrayed as weilding a sharp sword to slaughter her admirers/lovers. Here, bismil, the pen-name of the poet, also means a sacrificial animal whose throat has just been slit. Immediately after this, for a few mintues the slaughtered animal is able to run amok before collapsing. Normally, lovers desire to be killed at the hands of the beloved and cheerfully approach her sword weilding. But here, it appears that they are all running away and could not tarry even for a minute, including the poet himself. But this is an ironic twist, given the meaning of his pen-name.
sukhdev prashad sinha bismil allahabadi (1899-1976), learnt faarsi, arabi and urdu at a maktab until the age of 14. Sent to kayasth school for English, hindi. Illness interrupted schooling for 3 years. Restarted with great interest in shaa’eri, becoming shaagird of nooh naarvi. Worked for the Supplies department during the first world war years and then for the municipal corporation of allahabad. Participated in mushaa’era and published collections of poetry in both urdu and devnagiri scripts. This Ghazal is linked to ‘dete haiN baada zarf-e qadah-Khwaar dekh kar’, ‘Ghalib naqsh-e qadam’ on the Theme Index page.
1
vaqt-e-aKhiir1 maut2 ke aasar3 dekh kar
ahbaab4 ro diye ruKh5-e biimaar6 dekh kar
1.last few minutes 2.death 3.signs, indication 4.friends 5.face 6.sick, love-sick
It is common to refer to the lover as ‘biimaar’ because he is suffering in love. In this case he is on his death bed and his friends around him cannot bear signs of imminent death on his love-sick face and break into weeping.
2
dohraate1 haiN voh sab se fasaana2 kaleem3 ka
duniya ko apna taalib4-e deedaar5 dekh kar
1.repeat 2.story, legend 3.another name of moosa, Moses 4.seeker 5.sight
The beloved is veiled and her admirers constantly seek a sight of her. Seeing this, she repeats the story of Moses. The story is that Moses went on mount tuur asking to see god. He heard a divine voice saying that he would not be able to bear the sight, but he insists. There is a flash of lightning as a divine manifestation and Moses faints, unable to bear even that. The beloved reminds her admirers that that is what is going to happen to them.
3
ek musht1-e par2 ke haq3 meN usay kitni laag4 thi
sayyaad5 Khush hai mujh ko giraftaar6 dekh kar
1.fistful 2.feathers 3.for the sake of 4.demand, desire 5.bird-catcher, hunter 6.captured
In urdu poetic tradition the poet is often depicted as a bird. The bird-catcher is often after him and fellow birds, spreading a net to catch them. Here either the bird itself is described as a ‘fistful of feathers’ or the birdcatcher has managed to pluck feathers off the bird as he puts it in a cage. In either case the birdcatcher has been eager for this fistful of feathers and appears happy to see the bird captured. Such is the fate of the poet. Often, birdcatcher also implies the beloved.
4
duniya ke be-qusoor1 qayaamat2 meN baar baar
pachhtaa3 rahe haiN shaan4-e gunahgaar5 dekh kar
1.innocents 2.doomsday, day of judgement 3.regret 4.dignity 5.sinner
There is a lot that is implied and unspoken in this she’r. The poet has transgressed all his life but repented. The divine has accepted his repentance and he is treated with great dignity. This is a repeated theme among many shua’ra. mohammed iqbal …
motii samajh ke shaan-e kariimii ne chun liye
qatre jo the meray araq-e infe’aal ke
or vaseem Khairaabaadi …
qatre gire jo kuchh araq-e infe’aal ke
dariya bahaa diye karam-e zul-jalaal ke
Thus, seeing the dignity with which this sinner has been treated all the non-sinners regret that they did not make use of the opportunity to enjoy transgressions.
5
ahbaab1 dil ko thaam ke baaliiN2 se uTh gaye
baiTha gaya na soorat-e bimaar3 dekh kar
1.friends 2.head side of the bed (usually death bed) or tomb 3.sick (in love)
The lover is sick in love because the beloved has been indifferent. He is on his death bed and friends sitting at his bedside are so sorrowful upon seeing his face that they cannot bear to sit any longer and get up to leave, holding their hearts.
6
zindaan1-e zauq2 o shauq3 meN un ka aseer4-e ishq
chup chaap ho gaya dar-o-diivaar5 dekh kar
1.prison 2.taste 3.desire 4.captive 5.doors and walls
Here ‘dar-o-diivaar’-doors and walls imply confinement, a prison cell. The captive of love is the poet/lover. He is confined by his own taste and desire i.e., he cannot help but love and desire the beloved. Thus, he is metaphorically in a prison of his own making. Seeing this, he realizes that there is no escape and resigns himself to it.
7
bismil1 bhi qatl-gaah2 meN dam-bhar3 na ruk sake
chalti hui kisi ki voh talvaar dekh kar
1.pen-name of the poet, sacrificial animal 2.slaughter-house 3.for a moment
In urdu poetic tradition the beloved is sometimes portrayed as weilding a sharp sword to slaughter her admirers/lovers. Here, bismil, the pen-name of the poet, also means a sacrificial animal whose throat has just been slit. Immediately after this, for a few mintues the slaughtered animal is able to run amok before collapsing. Normally, lovers desire to be killed at the hands of the beloved and cheerfully approach her sword weilding. But here, it appears that they are all running away and could not tarry even for a minute, including the poet himself. But this is an ironic twist, given the meaning of his pen-name.
The post shaan-e gunahgaar dekh kar-sukhdev prashad bismil allahabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/04/ragm-ezaaz-e-kaj-kulaahi-de-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اعزازِ کج کلاہی دے ۔ رام اوتار گپتا مضطرؔ
۱
ہزار تو مجھے الزامِ کم نگاہی دے
میری نظر کو مگر ظرفِ سربراہی دے
۲
کھڑا ہوں رُو بہ رُو اُس کے میں تائبِ عصیاں
اے میرے اشکِ ندامت میری گواہی دے
۳
اب اور زہرِ شبِ غم پیا نہیں جاتا
چراغِ صبح کی لَو ہوں مجھے بجھا ہی دے
۴
کہاں تک آہ رگِ جاں میں کروٹیں بدلے
چھری کو حلق پہ جنبش میرے الٰہی دے
۵
چہار سمت نظارے ہیں بے لباسی کے
میرے خدا مجھے توفیقِ بے گناہی دے
۶
نہ ظلم و جبر سے مرعوب ہو جھکے نہ کہیں
جو سر دیا ہے تو اعزازِ کج کلاہی دے
एज़ाज़-ए कज कुलाही दे – राम अवतार गुप्ता मुज़्तर
१
हज़ार तू मुझे इल्ज़ाम-ए कम निगाही दे
मेरी नज़र को मगर ज़र्फ़-ए सरबराही दे
२
खढा हुं रू-ब-रू उस के मैं ता’एब-ए इस्यां
अए मेरे अश्क-ए निदामत मेरी गवाही दे
३
अब और ज़हर-ए शब-ए ग़म पिया नहीं जाता
चराग़-ए सुबह की लौ हुं, मुझे बझा ही दे
४
कहां तक आह रग-ए जां में करवटें बदले
छुरी को हल्क़ पे जुंबिश मेरे इलाही दे
५
चहार सम्त नज़ारे हैं बे लिबासी के
मेरे ख़ुदा मुझे तौफ़ीक़-ए बे-गुनाही दे
६
न ज़ुल्म ओ जब्र से मर’ऊब हो झुके न कहीं
जो सर दिया है तो एज़ाज़-ए कज कुलाही दे
Click here for background and on any passage for word meanings and explanatory discussion. raam avtaar gupta muztar sundailvi (1936-xxxx) was a well recognized poet in both urdu and hindi. He was exposed to the Progressive Writers’ Association but explicitly chose to be apolitical. His compositions are classical romantic in their themes. His work is published in two collections – seepiyoN ka samandar and safeer-e aaKhir-e shab. This Ghazal is linked to other ham-radeef Ghazal ‘naGhma-saraaii de’ on the Refrain page.
1
hazaar tu mujhe ilzaam1-e kam-nigaahi2 de
meri nazar3 ko magar4 zarf5-e sarbaraahi6 de 1.accusation, blame 2.shortsightedness 3.eyes, sight 4.but 5.capacity, capability 6.guiding, leading
The ‘tu’ to whom this she’r is addressed is probably god. So, god is blaming him for shortsightedness which implies inability to provide guidance to others. In the second misra he prays/asks – even though you blame me for shortsightdness, grant my vision the capability to lead/guide. Thus, it seems he is accepting his limitation of sight and is praying for the capacity to see far and lead.
2
khaRa huN ru-ba-ru1 us ke maiN taa’eb2-e isyaaN3
aye mere ashk4-e nadaamat5 meri gavaahi6 de 1.face to face 2.remorseful, penitent 3.sins 4.tears 5.regret, remorse 6.witness
The poet is presented before god on the day of judgment and stands face to face, repentent of his sins. He asks his tears to bear witness of his penitence so god may forgive him.
3
ab aur zahr1-e shab2-e Gham piya nahiN jaata
charaaGh3-e sub’h ki lau4 huN, mujhe bujha5 hi de 1.poison 2.night of 3.lamp 4.flame 5.extinguished
charaaGh-e sub’h – is a lamp that has been buring all night long into the wee hours of the morning. It is often used to describe a person towards the end of his life. Also, in the first misra, life itself is described as shab-e Gham – night of sorrow. Thus, I cannot keep drinking the poison of the sorrow of life. I am at the last stage of my life, go ahead and let me die … extinguish this lamp.
4
kahaaN tak aah1 rag-e-jaaN2 meN karvaTeN badle3
chhuri ko halq4 pe jumbish5 mere ilaahi6 de 1.sigh 2.vein of life, jugular vein 3.turning sides restlessly 4.throat 5.move across 6.god
This is the same thought as the previous she’r. The poet has borne the sorrow of life for a long time. His sorrow/sigh has been throbbing restlessly in his jugular vein i.e., every moment of his life. He beseeches god to let the knife move across his throat and cut off the jugular vein.
5
chahaar samt1 nazaare2 haiN be-libaasi3 ke
mere Khuda mujhe taufiiq4-e be-gunaahi5 de 1.directions 2.scenes 3.nakedness 4.ability, divine grace 5.righteousness
Nakedness – be-libaasi is used here to imply shameful immorality. Whichever way he turns he sees transgressions and wrongful behavious. He prays, my god give me the ability to be righteous/virtuous.
6
na zulm1 o jabr2 se mar’oob3 ho jhuke na kahiiN
jo sar diya hai to e’zaaz4-e kaj-kulaahi5 de 1.torture, injustice 2.oppression 3.fearful of 4.honour 5.literally slanted cap – sign of defiance, rebellion
So that it may not bow down, in fear of injustice and oppression, if you have given me a head, then also grant me the honour/courage to be defiant.
raam avtaar gupta muztar sundailvi (1936-xxxx) was a well recognized poet in both urdu and hindi. He was exposed to the Progressive Writers’ Association but explicitly chose to be apolitical. His compositions are classical romantic in their themes. His work is published in two collections – seepiyoN ka samandar and safeer-e aaKhir-e shab. This Ghazal is linked to other ham-radeef Ghazal ‘naGhma-saraaii de’ on the Refrain page.
1
hazaar tu mujhe ilzaam1-e kam-nigaahi2 de
meri nazar3 ko magar4 zarf5-e sarbaraahi6 de
1.accusation, blame 2.shortsightedness 3.eyes, sight 4.but 5.capacity, capability 6.guiding, leading
The ‘tu’ to whom this she’r is addressed is probably god. So, god is blaming him for shortsightedness which implies inability to provide guidance to others. In the second misra he prays/asks – even though you blame me for shortsightdness, grant my vision the capability to lead/guide. Thus, it seems he is accepting his limitation of sight and is praying for the capacity to see far and lead.
2
khaRa huN ru-ba-ru1 us ke maiN taa’eb2-e isyaaN3
aye mere ashk4-e nadaamat5 meri gavaahi6 de
1.face to face 2.remorseful, penitent 3.sins 4.tears 5.regret, remorse 6.witness
The poet is presented before god on the day of judgment and stands face to face, repentent of his sins. He asks his tears to bear witness of his penitence so god may forgive him.
3
ab aur zahr1-e shab2-e Gham piya nahiN jaata
charaaGh3-e sub’h ki lau4 huN, mujhe bujha5 hi de
1.poison 2.night of 3.lamp 4.flame 5.extinguished
charaaGh-e sub’h – is a lamp that has been buring all night long into the wee hours of the morning. It is often used to describe a person towards the end of his life. Also, in the first misra, life itself is described as shab-e Gham – night of sorrow. Thus, I cannot keep drinking the poison of the sorrow of life. I am at the last stage of my life, go ahead and let me die … extinguish this lamp.
4
kahaaN tak aah1 rag-e-jaaN2 meN karvaTeN badle3
chhuri ko halq4 pe jumbish5 mere ilaahi6 de
1.sigh 2.vein of life, jugular vein 3.turning sides restlessly 4.throat 5.move across 6.god
This is the same thought as the previous she’r. The poet has borne the sorrow of life for a long time. His sorrow/sigh has been throbbing restlessly in his jugular vein i.e., every moment of his life. He beseeches god to let the knife move across his throat and cut off the jugular vein.
5
chahaar samt1 nazaare2 haiN be-libaasi3 ke
mere Khuda mujhe taufiiq4-e be-gunaahi5 de
1.directions 2.scenes 3.nakedness 4.ability, divine grace 5.righteousness
Nakedness – be-libaasi is used here to imply shameful immorality. Whichever way he turns he sees transgressions and wrongful behavious. He prays, my god give me the ability to be righteous/virtuous.
6
na zulm1 o jabr2 se mar’oob3 ho jhuke na kahiiN
jo sar diya hai to e’zaaz4-e kaj-kulaahi5 de
1.torture, injustice 2.oppression 3.fearful of 4.honour 5.literally slanted cap – sign of defiance, rebellion
So that it may not bow down, in fear of injustice and oppression, if you have given me a head, then also grant me the honour/courage to be defiant.
The post e’zaaz-e kaj kulaahi de-raam avtar gupta muztar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/04/jnaa-mirza-Ghalib-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مرزا غالب ۔ جگن ناتھ آزادؔ
۱
شعر و ادب کی دنیا کیا تھی، اک جذبات کی دنیا تھی
فکر و نظر کے رنگ سے خالی محسوسات کی دنیا تھی
۲
تو نے اِس خاکے میں آ کر ذوقِ خِرد کا رنگ بھرا
حسنِ ازل کے سانچے میں انوارِ ابد کا رنگ بھرا
۳
شعر کی سرحد دل سے بڑھ کر فکر و نظر تک پھیل گئی
چاند کی ضو، تاروں کی تجلّی، نورِ سحر تک پھیل گئی
۴
شعر تو کیا، ہر لفظ ہے تیرا روحِ تغزُّل، جانِ سخن
ہر اسلوبِ فکر ہے تیری قِندیلِ ایوان سخن
۵
تو نے ایسے رستے کھولے شعر و سخن کی دنیا میں
آپ بہاریں کھنچ آئیں اس سرو و سمن کی دنیا میں
۶
کہتے ہیں، اشعار ترے یوں فنِ تفریح کا نام نہیں
فن تخیل کی رفعت ہے فن ذکرِ شیشہ و جام نہیں
۷
کہنہ رستوں کو اپنائے فن کی اس میں شان نہیں
رجعت کا ملبوس ہو تن پر فن کی یہ پہچان نہیں
۸
تو نے بتایا فن جِدّت ہے فکر و نظر کا اوج ہے فن
طوفانوں کی موج میں جو رقصندہ ہے وہ موج ہے فن
۹
جن پہ چلے فنکار پرانے تو نے وہ رستے چھوڑ دیے
شعر میں جتنے بھی تقلید کے بت تھے تو نے توڑ دئے
۱۰
تو وہ اہلِ نظر تھا جس کو دینِ بزرگاں بھا نہ سکا
خِضر، وہ رہبر اک دنیا کا، تیری منزل پا نہ سکا
۱۱
تیری نازک بات میں بھی فنکار، کوئی اِبہام نہیں
اس تخریب کے بھونڈے دور میں تیرا فن ناکام نہیں
۱۲
کم ہے جتنا شعر کی شوخی تیرے فن پر ناز کرے
کہہ دے کوئی بادِ سحر سے تیرے چمن پر ناز کرے
۱۳
وہ تیرا اسلوبِ بیاں وہ فکر کی گرمی کیا کہئے
غرقِ فلسفہ وہ تیری گفتار کی نرمی کیا کہئے
۱۴
تیرا فن پیغام بقا ہے، موت کا یہ پیغام نہیں
فکر و عمل کا جام ہے تیرا، خوابِ فنا کا جام نہیں
मिर्ज़ा ग़ालिब – जगन्नाथ आज़ाद
१
शे’र ओ अदब की दुनिया क्या थी, एक जज़्बात की दुनिया थी
फ़िक्र ओ नज़र के रंग से ख़ाली, महसूसात की दुनिया थी
२
तू ने इस ख़ाके में आ कर, ज़ौक-ए ख़िरद का रंग भरा
हुस्न-ए अज़ल के साँचे में, अनवार-ए अबद का रंग भरा
३
शे’र कि सरहद दिल से बढ कर फ़िक्र ओ नज़र तक फैल गई
चाँद की ज़ौ, तारौं की तजल्ली, नूर-ए सहर तक फैल गई
४
शे’र तो क्या, हर लफ़्ज़ है तेरा, रूह-ए तग़ज़्ज़ुल, जान-ए सुख़न
हर उस्लूब-ए फ़िक्र है तेरी क़िंदील-ए ऐवान-ए सुख़न
५
तूने ऐसे रस्ते खोले, शे’र ओ सुख़न की दुनिया में है
आप बहारें खिंच आईं इस सर्व ओ समन की दुनिया में
६
कहते हैं, अश’आर तेरे यूं फ़न तफ़्रीह का नाम नहीं
फ़न तख़य्युल की रफ़’अत है, फ़न ज़िक्र-ए शीशा ओ जाम नहीं
७
कोहना रस्तों को अपना’ए फ़न की इस में शान नहीं
रज’अत का मल्बूस हो तन पर, फ़न की ये पहचान नहीं
८
तू ने बताया फ़न जिद्दत है, फ़िक्र ओ नज़र का औज है फ़न
तूफ़ानों की मौज में जो रक़्संदा है वो मौज है फ़न
९
जिन पे चले फ़नकार पुराने, तू ने वो रास्ते छोढ दिए
शे’र में जितने भी तक़्लीद के बुत थे, तू ने तोढ दिये
१०
तू वो अहल-ए नज़र था जिस को दीन-ए बुज़ुर्गां भा न सका
ख़िज़्र, वो रहबर एक दुनिया का, तेरी मंज़िल पा न सका
११
तेरी नाज़ुक बात में भी फ़नकार, कोई इब्हाम नहीं
इस तख़्रीब के भोंडे दौर में तेरा फ़न नाकाम नहीं
१२
कम है जितना शे’र की शूख़ी तेरे फ़न पर नाज़ करे
कह दे कोई बाद-स सहर से, तेरे चमन पर नाज़ करे
१३
वो तेरा उस्लूब-ए बयां वो फ़िक्र की गर्मी क्या कहिये
ग़र्क़-ए फ़लसफ़ा वो तेरी गुफ़्तार की नर्मी क्या कहेगी
१४
तेरा फ़न पैग़ाम-ए बक़ा है, मौत का ये पैग़ाम नहीं
फ़िक्र ओ अमल का जाम है तेरा, ख़्वाब-ए फ़ना का जाम नहीं
Click here for background and on any passage for word meanings and explanatory discussion. jagan nath azad (1918-2004), born in miyaaNvaali (now in pakistan) was the son of another great poet, tilok chand mahroom. He has written with much passion about hindu-muslim and India-pakistan accord. He also composed tributes and several Ghazal in the style of Ghalib. He lived in lahore for a few months after partition before migrating to India. This nazm, a tribute to Ghalib, is linked to Ghalib Khiraaj on the Theme Index page.
1
she’r o adab1 ki duniya kya thi, ek jazbaat2 ki duniya thi
fikr3 o nazar4 ke raNg5 se Khaali, mahsoosaat6 ki duniya thi 1.literature 2.emotions 3.thought, reason 4.viewpoint, farsightedness 5.character 6.feelings
(Before you) what was the world of verse and literature except a world of emotions. Devoid of thought and fasightedness, it was just a world of feelings.
2
tuu ne iss Khaake1 meN aa kar, zauq2-e Khirad3 ka raNg bhara
husn4-e azal5 ke saaNche6 meN, anvaar7-e abad8 ka raNg bhara 1.sketch, outline 2.taste 3.wisdom, reason 4.beauty 5.eternity, beginning 6.mould 7.rays of light 8.eternity, end
In this rough sketch, you filled the colours of reason and wisdom. In the beauty that has existed from the eternal beginning, you filled the colours of eternal rays of light that will exist forever i.e., you made us see the light of eternal truth.
3
she’r ki sarhad1 dil se baRh kar fikr2 o nazar3 tak phail4 ga’ii
chaand ki zau5, taaroN ki tajalli6, noor7-e sahar8 tak phail4 ga’ii 1.boundary 2.thought 3.vision, farsightedness 4.spread 5.brilliance 6.lustre 7.light 8.dawn
Thought and vision spread beyond the boundaries of the heart/feelings. The brilliance of the moon and luster of the stars spread to the light of dawn i.e., you lit up the dark night of ignorance to the light of dawn/knowledge.
4
she’r to kya, har lafz1 hai tera, rooh2-e taGhazzul3, jaan4-e suKhan5
har usloob6-e fikr7 hai teri qindeel8-e aivaan9-e suKhan5 1.word 2.spirit, soul 3.character of Ghazal 4.life, soul 5.versification 6.manner, style, arrangement 7.thought 8.lamp, torch 9.hallway
Why talk of the verse, every word of yours is steeped in the spirit of taGhazzul, it is the soul of versification. Every arrangement/line of your thought is a guiding light in the hallways of versification.
5
tuu ne aise raste1 kholay, she’r o suKhan2 ki duniya meN
aap3 bahaareN4 khiNch5 aaiiN iss sarv-o-saman6 ki duniya meN 1.pathways 2.verse 3.short for apnay-aap, by themselves, spontaneously 4.spring-symbolic of growth, fertility, beauty, love 5.pulled, attracted 6.cypress and jasmine-symbolic of grace and fragrance
You opened up such pathways in the world of poetry that love and beauty were attracted spontaneously to this world of grace and fragrance.
6
kahte haiN ash’aar1 teray yuN fan2 tafreeh3 ka naam nahiN
fan2 taKhayyul4 ki raf’at5 hai fan zikr6-e shiisha-o-jaam7 nahiN 1.couplets, poetry 2.skill, art 3.shallow pleasure 4.thought 5.heights, peak 6.description, narration 7.bottle and cup (of wine)
They say that your poetry is not merely the skill of pleasure; that skill is the peak of thinking not merely a narration of wine and drinking.
7
kohna1 rastoN2 ko apnaa’e3 fan4 ki iss meN shaan5 nahiiN
raj’at6 ka malboos7 ho tan8 par, fan4 ki yeh pahchaan9 nahiiN 1.ancient 2.pathways 3.to make your own, to adopt/follow 4.art, skill 5.dignity 6.retrogress, return 7.garments 8.body 9.identity, recognition
The dignity of skill/art does not lie in adopting/following acient ways. Skill is not identified/recognized by wearing a garment of retrogression.
8
tu ne bataaya1 fan2 jiddat3 hai, fikr4 o nazar5 ka auj6 hai fan
toofaanoN ki mauj7 meN jo raqsanda8 hai voh mauj hai fan2 1.showed 2.skill, art 3.innovation, creativity 4.thought 5.vision 6.peak 7.wave 8.dancing
You showed that skill lies in innovation, that the peak of skill is achieved through thought and vision; that skill is that which can dance on the waves of storm.
9
jin peh chalay fankaar1 puraane, tu ne vo rastay2 chhoR diye
she’r meN jitne bhi taqliid3 ke but4 thay, tuu ne toR diye 1.artist, poet 2.pathways 3.imitation, conformity 4.idols
The breaking of idols is symbolic of rejecting old traditions. You left/rejected the pathways on which earlier poets had walked; you broke all idols of conformity in the field of poetry.
10
tu voh ahl-e-nazar1 tha jis ko diin2-e buzurgaaN3 bhaa4 na saka
Khizr5, voh rahbar6 ek duniya ka, teri manzil7 paa na saka 1.person of vision, visionary 2.traditions 3.elders 4.suit, agreeable 5.legendary old man 6.guide 7.destination, status
Khizr is a Biblical/qur’aanic figure who discovered the nectar of life and drank it. He is immortal. He also travels a lot and knows all the pathways of the world. He is the patron saint/guide of all travelers/seekers. Thus, you were a visionary to whom the tradition of the elders were not agreeable. Even a guide like Khizr could not find his way to/guide us to the destination that you reached.
11
teri naazuk1 baat meN bhi fankaar2, koii ib’haam3 nahiiN
is taKhriib4 ke bhonDay5 daur6 meN tera fan7 nakaam8 nahiiN 1.tender, delicate, fine 2.artist, poet 3.confusion 4.awkward, ugly 6.period, times 7.skill, art 8.unsuccessful, useless
Even in your most fragile words O great artist, there is no confusion of meaning. In these times of ugly destructiveness, your verse has not lost its utility/vitality.
12
kam hai jitna she’r ki shooKhi1 teray fan2 par naaz3 karay
kah de koii baad4-e sahr5 se, teray chaman par naaz3 karay 1.playfulness, mischief 2.skill, art 3.pride 4.breeze 5.dawn
However much the playfulness/mischief of poetry is proud of skill/art, it is not enough. Someone tell the morning breeze that it can feel proud of your garden.
13
voh tera usloob1-e bayaaN2 voh fikr3 ki garmi4 kya kahiye
Gharq5-e falsafa6 voh teri guftaar7 ki narmi8 kya kahiye 1.manner, style, arrangement 2.speaking, reciting 3.thought 4.warmth, passion, effecct 5.drowned, drenched 6.philosophy 7.speech, words 8.softness, subtlety
The style and manner of your composition; the immense effect of your thought; your words, drenched in philosophy; and the subtlety of your words.
14
tera fun1 paiGhaam2-e baqaa3 hai, maut4 ka yeh paiGhaam nahiiN
fikr5 o amal6 ka jaam7 hai tera, Khwaab8-e fana9 ka jaam nahiiN 1.skill, art 2.message 3.eternal, immortality 4.death 5.thought 6.action 7.cup 8.dream 9.annihilation, erasure, non-existence
Your art/creation is a message for all time, it is not a message that can die. It serves thought and action in its cup; it is not a cup of non-existence.
jagan nath azad (1918-2004), born in miyaaNvaali (now in pakistan) was the son of another great poet, tilok chand mahroom. He has written with much passion about hindu-muslim and India-pakistan accord. He also composed tributes and several Ghazal in the style of Ghalib. He lived in lahore for a few months after partition before migrating to India. This nazm, a tribute to Ghalib, is linked to Ghalib Khiraaj on the Theme Index page.
1
she’r o adab1 ki duniya kya thi, ek jazbaat2 ki duniya thi
fikr3 o nazar4 ke raNg5 se Khaali, mahsoosaat6 ki duniya thi
1.literature 2.emotions 3.thought, reason 4.viewpoint, farsightedness 5.character 6.feelings
(Before you) what was the world of verse and literature except a world of emotions. Devoid of thought and fasightedness, it was just a world of feelings.
2
tuu ne iss Khaake1 meN aa kar, zauq2-e Khirad3 ka raNg bhara
husn4-e azal5 ke saaNche6 meN, anvaar7-e abad8 ka raNg bhara
1.sketch, outline 2.taste 3.wisdom, reason 4.beauty 5.eternity, beginning 6.mould 7.rays of light 8.eternity, end
In this rough sketch, you filled the colours of reason and wisdom. In the beauty that has existed from the eternal beginning, you filled the colours of eternal rays of light that will exist forever i.e., you made us see the light of eternal truth.
3
she’r ki sarhad1 dil se baRh kar fikr2 o nazar3 tak phail4 ga’ii
chaand ki zau5, taaroN ki tajalli6, noor7-e sahar8 tak phail4 ga’ii
1.boundary 2.thought 3.vision, farsightedness 4.spread 5.brilliance 6.lustre 7.light 8.dawn
Thought and vision spread beyond the boundaries of the heart/feelings. The brilliance of the moon and luster of the stars spread to the light of dawn i.e., you lit up the dark night of ignorance to the light of dawn/knowledge.
4
she’r to kya, har lafz1 hai tera, rooh2-e taGhazzul3, jaan4-e suKhan5
har usloob6-e fikr7 hai teri qindeel8-e aivaan9-e suKhan5
1.word 2.spirit, soul 3.character of Ghazal 4.life, soul 5.versification 6.manner, style, arrangement 7.thought 8.lamp, torch 9.hallway
Why talk of the verse, every word of yours is steeped in the spirit of taGhazzul, it is the soul of versification. Every arrangement/line of your thought is a guiding light in the hallways of versification.
5
tuu ne aise raste1 kholay, she’r o suKhan2 ki duniya meN
aap3 bahaareN4 khiNch5 aaiiN iss sarv-o-saman6 ki duniya meN
1.pathways 2.verse 3.short for apnay-aap, by themselves, spontaneously 4.spring-symbolic of growth, fertility, beauty, love 5.pulled, attracted 6.cypress and jasmine-symbolic of grace and fragrance
You opened up such pathways in the world of poetry that love and beauty were attracted spontaneously to this world of grace and fragrance.
6
kahte haiN ash’aar1 teray yuN fan2 tafreeh3 ka naam nahiN
fan2 taKhayyul4 ki raf’at5 hai fan zikr6-e shiisha-o-jaam7 nahiN
1.couplets, poetry 2.skill, art 3.shallow pleasure 4.thought 5.heights, peak 6.description, narration 7.bottle and cup (of wine)
They say that your poetry is not merely the skill of pleasure; that skill is the peak of thinking not merely a narration of wine and drinking.
7
kohna1 rastoN2 ko apnaa’e3 fan4 ki iss meN shaan5 nahiiN
raj’at6 ka malboos7 ho tan8 par, fan4 ki yeh pahchaan9 nahiiN
1.ancient 2.pathways 3.to make your own, to adopt/follow 4.art, skill 5.dignity 6.retrogress, return 7.garments 8.body 9.identity, recognition
The dignity of skill/art does not lie in adopting/following acient ways. Skill is not identified/recognized by wearing a garment of retrogression.
8
tu ne bataaya1 fan2 jiddat3 hai, fikr4 o nazar5 ka auj6 hai fan
toofaanoN ki mauj7 meN jo raqsanda8 hai voh mauj hai fan2
1.showed 2.skill, art 3.innovation, creativity 4.thought 5.vision 6.peak 7.wave 8.dancing
You showed that skill lies in innovation, that the peak of skill is achieved through thought and vision; that skill is that which can dance on the waves of storm.
9
jin peh chalay fankaar1 puraane, tu ne vo rastay2 chhoR diye
she’r meN jitne bhi taqliid3 ke but4 thay, tuu ne toR diye
1.artist, poet 2.pathways 3.imitation, conformity 4.idols
The breaking of idols is symbolic of rejecting old traditions. You left/rejected the pathways on which earlier poets had walked; you broke all idols of conformity in the field of poetry.
10
tu voh ahl-e-nazar1 tha jis ko diin2-e buzurgaaN3 bhaa4 na saka
Khizr5, voh rahbar6 ek duniya ka, teri manzil7 paa na saka
1.person of vision, visionary 2.traditions 3.elders 4.suit, agreeable 5.legendary old man 6.guide 7.destination, status
Khizr is a Biblical/qur’aanic figure who discovered the nectar of life and drank it. He is immortal. He also travels a lot and knows all the pathways of the world. He is the patron saint/guide of all travelers/seekers. Thus, you were a visionary to whom the tradition of the elders were not agreeable. Even a guide like Khizr could not find his way to/guide us to the destination that you reached.
11
teri naazuk1 baat meN bhi fankaar2, koii ib’haam3 nahiiN
is taKhriib4 ke bhonDay5 daur6 meN tera fan7 nakaam8 nahiiN
1.tender, delicate, fine 2.artist, poet 3.confusion 4.awkward, ugly 6.period, times 7.skill, art 8.unsuccessful, useless
Even in your most fragile words O great artist, there is no confusion of meaning. In these times of ugly destructiveness, your verse has not lost its utility/vitality.
12
kam hai jitna she’r ki shooKhi1 teray fan2 par naaz3 karay
kah de koii baad4-e sahr5 se, teray chaman par naaz3 karay
1.playfulness, mischief 2.skill, art 3.pride 4.breeze 5.dawn
However much the playfulness/mischief of poetry is proud of skill/art, it is not enough. Someone tell the morning breeze that it can feel proud of your garden.
13
voh tera usloob1-e bayaaN2 voh fikr3 ki garmi4 kya kahiye
Gharq5-e falsafa6 voh teri guftaar7 ki narmi8 kya kahiye
1.manner, style, arrangement 2.speaking, reciting 3.thought 4.warmth, passion, effecct 5.drowned, drenched 6.philosophy 7.speech, words 8.softness, subtlety
The style and manner of your composition; the immense effect of your thought; your words, drenched in philosophy; and the subtlety of your words.
14
tera fun1 paiGhaam2-e baqaa3 hai, maut4 ka yeh paiGhaam nahiiN
fikr5 o amal6 ka jaam7 hai tera, Khwaab8-e fana9 ka jaam nahiiN
1.skill, art 2.message 3.eternal, immortality 4.death 5.thought 6.action 7.cup 8.dream 9.annihilation, erasure, non-existence
Your art/creation is a message for all time, it is not a message that can die. It serves thought and action in its cup; it is not a cup of non-existence.
The post mirza Ghalib-jagan nath aazaad appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2024/04/mi-raat-aur-shaaer-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
رات اور شاعر ۔ محمّد اِقبال
رات
۱
کيوں ميری چاندنی میں پھرتا ہے تو پریشاں
خاموش صورتِ گُل ، مانندِ بُو پریشاں
۲
تاروں کے موتیوں کا شاید ہے جوہری تو
مچھلی ہے کوئی میرے دریائے نور کی تو
۳
یا تو مری جبیں کا تارا گرا ہوا ہے
رفعت کو چھوڑ کر جو بستی میں جا بسا ہے
۴
خاموش ہو گیا ہے تارِ ربابِ ہستی
ہے میرے آئنے میں تصویرِ خوابِ ہستی
۵
دریا کی تہ میں چشمِ گرادب سو گئی ہے
ساحل سے لگ کے موج بے تاب سو گئی ہے
۶
بستی زمیں کی کیسی ہنگامہ آفریں ہے
یوں سو گئی ہے جیسے آباد ہی نہیں ہے
۷
شاعر کا دل ہے لیکن ناآشنا سکوں سے
آزاد رہ گیا تُو کیونکر مرے فسوں سے؟
شاعر
۱
میں ترے چاند کی کھیتی میں گہر بوتا ہوں
چھپ کے انسانوں سے مانندِ سحر روتا ہوں
۲
دن کی شورش میں نکلتے ہوئے گھبراتے ہیں
عزلتِ شب میں مرے اشک ٹپک جاتے ہیں
۳
مجھ میں فریاد جو پنہاں ہے ، سناؤں کس کو
تپشِ شوق کا نظارہ دکھاؤں کس کو
۴
برقِ ایمن مرے سینے پہ پڑی روتی ہے
دیکھنے والی ہے جو آنکھ، کہاں سوتی ہے
۵
صفتِ شمعِ لحد مردہ ہے محفل میری
آہ، اے رات، بڑی دور ہے منزل میری
۶
عہد حاضر کی ہوا راس نہیں ہے اُس کو
اپنے نقصان کا احساس نہیں ہے اُس کو
۷
ضبطِ پیغامِ محبت سے جو گھبراتا ہوں
تیرے تابندہ ستاروں کو سنا جاتا ہوں
रात और शाएर – महम्मद एक़्बाल
रात
१
क्यूं मेरी चांदनी में फिरता है तू परेशां
ख़ामोश सूरत-ए गुल, मानिन्द-ए बू परेशां
२
तारौं के मोतियौं का शाएद है जौहरी तू
मछली है कोई मेरे दरिया-ए नूर कि तू
३
या तो मेरी जबीं का तारा गिरा हुआ है
रफ़’अत को छोढ कर जो, बस्ती में जा बसा है
४
ख़ामोश हो गया है तार-ए रबाब-ए हस्ती
है मेरे आईने में तस्वीर-ए ख़्वाब-ए हस्ती
५
दरिया कि तह में चश्म-ए गिर्दाब सो गई है
साहल से लग के मौज-ए बेताब सो गई है
६
बस्ती ज़मीं कि कैसी हंगामा-आफ़्रीं है
यूं सो गई है जैसे आबाद हि नहीं है
७
शाएर का दिल है लैकिन ना-आश्ना सुकूं से
आज़ाद रह गया तू क्यूंकर मेरे फ़ुसूं
शाएर
१
मै तेरे चांद कि खेती में गुहर बोता हूं
छुप के इन्सानौं से मानिंद-ए सहर रोता हूं
२
दिन की शोरिश में निकलते हुए घब्राते हैं
उज़्लत-ए शब में मेरे अश्क टपक जाते हैं
३
मुझ में फ़रियाद जो पिन्हां है, सुनाऊं किस को
तपिश-ए शौक़ का नज़्ज़ारा दिखाऊं किस को
४
बर्क़-ए ऐमन मेरे सीने पे पढी रोती है
देखने वाली है जो आंख, कहां सोती है
५
सिफ़त-ए शम’अ-ए लहद मुर्दा है महफ़िल मेरी
आह अए रात बढी दूर है मंज़िल मेरी
६
अहद-ए हाज़र कि हवा रास नहीं है उस को
अपने नुक़्सान का एहसास नहीं है उस को
७
ज़ब्त-ए पैग़ाम-ए मोहब्बत से जो घब्राता हूं
तेरे ताबिन्दा सितारौं को सुना जाता हूं
Click here for background and on any passage for word meanings and explanatory discussion. mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts. This poem is a conversation between night/darkness/ignorance and shaa’er.
raat aur shaa’er – mohammed iqbal
raat
1
kyuN meri chaandni meN phirta hai tu pareshaaN1Khaamosh surat-e-gul2, maanind-e-buu3 pareshaaN4 1.worried, concerned 2.like a rose 3.like fragrance 4.scattered, spread
Night/darkness/ignorance speaking to the shaa’er … why do you roam in my moonlight, looking worried. You stay silent like a rose, quietly spreading fragrance.
2
taaroN ke motiyoN ka shaa’ed hai jauhari tu
machhli hai koii mere dariya-e noor1 ki tu 1.light
Perhaps you are jeweller stringing pearls from stars. Perhaps you are a fish from the world of light (swimming in my dark seas) i.e., in the dark world of night/ignorance the shaa’er is a fish from the shining sea of knowledge.
3
ya tu meri jabiN1 ka taara gira hua hai
raf’at2 ko chhoR kar jo, basti meN jaa basa hai 1.forehead, brow 2.heights
Perhaps you are a star fallen from my brow, leaving these heights, gone to live among the populace.
4
Khaamosh ho gaya hai taar1-e rabaab2-e hasti3
hai mere aaiine4 meN tasvir-e Khwaab-e-hasti5 1.string 2.sitar, sarod 3.life 4.mirror, conscience, awareness 5.dream/vision of life
The strings of the sitar of life (on earth) have fallen quiet, but in my heart I hold an image of the ‘vision of life’ (life as it should be).
5
dariya1 ki tah2 meN chashm-e-girdaab3 so gayii hai
saahil4 se lag ke mauj5-e be-taab6 so gayii hai 1.ocean 2.layer, depth 3.eye of the whirlpool 4.shoreline 5.wave 6.restless
The eye of the whirlpool i.e. the centre of activity is asleep/lost in the depths of the ocean. Life is no longer striving/trying/active. Even the restless wave had gone to sleep next to the shoreline.
6
basti zamiN ki kaisi haNgaama1 aafriN2 hai
yuN so gayii hai jaise aabaad3 hi nahiN hai 1.tumult, activity 2.welcoming 3.populated, flourishing
How can I consider the settlement on the earth to be welcoming of tumult/change/progress. It is as if it is not flourishing, not even populated.
7
shaa’er ka dil hai laikin, na-aashna1 sukuN2 se
aazaad3 rah gaya tu kyuNkar mere fusuN4 se 1.unfamiliar with, unaware 2.tranquility, peace 3.free, escape 4.deception
But the poet’s heart remains unfamiliar with tranquility i.e. they are always restless. How did they escape from the grip of my deception. The illusion of the night is give people a sense of tranquility in their sleep. But the poet is awake.
raat aur shaa’er – mohammed iqbal
shaa’er
1
maiN tere chaand ki kheti meN gohar1 bota huN
chhup ke insaanoN se maanind2-e sahr3 rota huN 1.pearls 2.like, similar to 3.dawn
I sow seeds of pearls in the field of your moonlight. Secretly hidden from humanity, I shed tears like the dawn. He is addressing night/darkness/ignorance. Sowing seeds of pearls in the field is like planting thoughts. Quietly shedding tears like the dawn might be feeling sad and trying to get the light of knowledge to end the darkness of ignorance. Dew drops of the dawn are neatly juxtaposed with tears.
2
din ki shorish1 meN nikalte hue ghabraate2 haiN
uzlat3-e shab4 meN mere ashk5 Tapak6 jaate haiN 1.tumult, commotion 2.scared 3.seclusion, solitude 4.night 5.tears 6.drop
My tears are fearful of the commotion of the day but during the seclusion of the night, the drop freely from my eyes.
3
mujh meN faryaad1 jo pinhaaN2 hai sunaauN kis ko
tapish3-e shauq4 ka nazzaara5 dikhaauN kis ko 1.lament, appeal for justice 2.hidden 3.fire 4.desire, love 5.scene, vision
With whom can I share the lament that is hidden inside me. Who can I show the vision of the fire of love that I see.
4
barq-e-aiman1 mere seene pe paRi roti hai
dekhne vaali hai jo aaNkh, kahaaN soti hai 1.lightning flash of the valley of aiman i.e., mount tuur
This has reference to the story of moosa/Moses who went up mount tuur and asked to see god. There was a flash of lightning that moosa could not bear and fainted. That is used here to mean divine light. Thus, the poet carries divine light in his bosom, crying to break out. But where is the eye that can see this divine light i.e., the poet bemoans that nobody pays any attention to what he has to say.
5
sifat1-e sham’a2-e lahd3 murda4 hai mahfil5 meri
aah! aye raat baRi duur hai manzil6 meri 1.of the properpties of 2.candle 3.grave 4.dead 5.gathering, audience 6.destination
A candle is lit at a grave and the mourners/friends/family leave. There is no one left to see the light of that candle. The shaa’er considers himself to have the same effect. His audience too is dead/absent. O night, my destination is still far away.
6
ahd1-e haazir2 ki hava raas3 nahiN hai us ko
apne nuqsaan ka ehsaas nahiN hai us ko 1.age, times 2.present 3.compatible, lucky
He is probably still talking about the candle that is lit at the head of the grave. The conditions/atmosphere of the present times is not agreeable to it. It (the candle) is not aware of its loss. The candle is a metaphorical representation of the poet himself.
7
zabt1-e paiGhaam2-e mohabbat se jo ghabraata3 huN
tere taabinda4 sitaaroN ko suna jaata huN 1.control, hold back 2.message 3.fearful 4.shining
The poet is addressing the night. He has been controlling/holding back his message of universal love and this makes him fearful/anxious. He has to let his feelings out, so he comes out in the night and speaks of his message to the shining stars of the night.
mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts. This poem is a conversation between night/darkness/ignorance and shaa’er.
raat aur shaa’er – mohammed iqbal
raat
1
kyuN meri chaandni meN phirta hai tu pareshaaN1Khaamosh surat-e-gul2, maanind-e-buu3 pareshaaN4
1.worried, concerned 2.like a rose 3.like fragrance 4.scattered, spread
Night/darkness/ignorance speaking to the shaa’er … why do you roam in my moonlight, looking worried. You stay silent like a rose, quietly spreading fragrance.
2
taaroN ke motiyoN ka shaa’ed hai jauhari tu
machhli hai koii mere dariya-e noor1 ki tu
1.light
Perhaps you are jeweller stringing pearls from stars. Perhaps you are a fish from the world of light (swimming in my dark seas) i.e., in the dark world of night/ignorance the shaa’er is a fish from the shining sea of knowledge.
3
ya tu meri jabiN1 ka taara gira hua hai
raf’at2 ko chhoR kar jo, basti meN jaa basa hai
1.forehead, brow 2.heights
Perhaps you are a star fallen from my brow, leaving these heights, gone to live among the populace.
4
Khaamosh ho gaya hai taar1-e rabaab2-e hasti3
hai mere aaiine4 meN tasvir-e Khwaab-e-hasti5
1.string 2.sitar, sarod 3.life 4.mirror, conscience, awareness 5.dream/vision of life
The strings of the sitar of life (on earth) have fallen quiet, but in my heart I hold an image of the ‘vision of life’ (life as it should be).
5
dariya1 ki tah2 meN chashm-e-girdaab3 so gayii hai
saahil4 se lag ke mauj5-e be-taab6 so gayii hai
1.ocean 2.layer, depth 3.eye of the whirlpool 4.shoreline 5.wave 6.restless
The eye of the whirlpool i.e. the centre of activity is asleep/lost in the depths of the ocean. Life is no longer striving/trying/active. Even the restless wave had gone to sleep next to the shoreline.
6
basti zamiN ki kaisi haNgaama1 aafriN2 hai
yuN so gayii hai jaise aabaad3 hi nahiN hai
1.tumult, activity 2.welcoming 3.populated, flourishing
How can I consider the settlement on the earth to be welcoming of tumult/change/progress. It is as if it is not flourishing, not even populated.
7
shaa’er ka dil hai laikin, na-aashna1 sukuN2 se
aazaad3 rah gaya tu kyuNkar mere fusuN4 se
1.unfamiliar with, unaware 2.tranquility, peace 3.free, escape 4.deception, illusion
But the poet’s heart remains unfamiliar with tranquility i.e. they are always restless. How did they escape from the grip of my deception/illusion. The illusion of the night is give people a sense of tranquility in their sleep. But the poet is awake.
shaa’er
1
maiN tere chaand ki kheti meN gohar1 bota huN
chhup ke insaanoN se maanind2-e sahr3 rota huN
1.pearls 2.like, similar to 3.dawn
I sow seeds of pearls in the field of your moonlight. Secretly hidden from humanity, I shed tears like the dawn. He is addressing night/darkness/ignorance. Sowing seeds of pearls in the field is like planting thoughts. Quietly shedding tears like the dawn might be feeling sad and trying to get the light of knowledge to end the darkness of ignorance. Dew drops of the dawn are neatly juxtaposed with tears.
2
din ki shorish1 meN nikalte hue ghabraate2 haiN
uzlat3-e shab4 meN mere ashk5 Tapak6 jaate haiN
1.tumult, commotion 2.scared 3.seclusion, solitude 4.night 5.tears 6.drop
My tears are fearful of the commotion of the day but during the seclusion of the night, the drop freely from my eyes.
3
mujh meN faryaad1 jo pinhaaN2 hai sunaauN kis ko
tapish3-e shauq4 ka nazzaara5 dikhaauN kis ko
1.lament, appeal for justice 2.hidden 3.fire 4.desire, love 5.scene, vision
With whom can I share the lament that is hidden inside me. Who can I show the vision of the fire of love that I see.
4
barq-e-aiman1 mere seene pe paRi roti hai
dekhne vaali hai jo aaNkh, kahaaN soti hai
1.lightning flash of the valley of aiman i.e., mount tuur
This has reference to the story of moosa/Moses who went up mount tuur and asked to see god. There was a flash of lightning that moosa could not bear and fainted. That is used here to mean divine light. Thus, the poet carries divine light in his bosom, crying to break out. But where is the eye that can see this divine light i.e., the poet bemoans that nobody pays any attention to what he has to say.
5
sifat1-e sham’a2-e lahd3 murda4 hai mahfil5 meri
aah! aye raat baRi duur hai manzil6 meri
1.of the properpties of 2.candle 3.grave 4.dead 5.gathering, audience 6.destination
A candle is lit at a grave and the mourners/friends/family leave. There is no one left to see the light of that candle. The shaa’er considers himself to have the same effect. His audience too is dead/absent. O night, my destination is still far away.
6
ahd1-e haazir2 ki hava raas3 nahiN hai us ko
apne nuqsaan ka ehsaas nahiN hai us ko
1.age, times 2.present 3.compatible, lucky
He is probably still talking about the candle that is lit at the head of the grave. The conditions/atmosphere of the present times is not agreeable to it. It (the candle) is not aware of its loss. The candle is a metaphorical representation of the poet himself.
7
zabt1-e paiGhaam2-e mohabbat se jo ghabraata3 huN
tere taabinda4 sitaaroN ko suna jaata huN
1.control, hold back 2.message 3.fearful 4.shining
The poet is addressing the night. He has been controlling/holding back his message of universal love and this makes him fearful/anxious. He has to let his feelings out, so he comes out in the night and speaks of his message to the shining stars of the night.
The post raat aur shaa’er-mohammed iqbal appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/04/shhKhjm-sher-goii-ki-raat-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شعر گوئی کی رات ۔ جوشؔ ملیح آبادی
۱
رات کے تاریک لمحے جب کہ ہوتے ہیں خموش
بادِ خواب آور سے جل اُٹھتی ہے یاں قِندیلِ ہوش
۲
کھولتی ہے اپنے شہپر جب سہیلی موت کی
دوڑ جاتا ہے مری نبضوں میں خونِ زندگی
۳
کاروانِ کشمکش ہوتا ہے جب مصروفِ خواب
ہنس کے میرے دل کی بیداری اُلٹتی ہے نقاب
۴
کوئی پُر اَسرار قوت کوئی روحِ محتشم
شعر کہنے کو میرے ہاتھوں میں دیتی ہے قلم
۵
دل فریبی سے کسی کے گنگنانے کی صدا
ذہن میں میرے پہنتی ہے لباس الفاظ کا
۶
دفعتہً چھڑتے ہیں پھر ارض و سما کے زمزمے
ایک کرن سی دائرے میں گھیر لیتی ہے مجھے
۷
دل میں ہوتا ہے میرے نادر خیالوں کا ہجوم
مسکرا کر دیکھنے لگتے ہیں گردوں سے نجوم
۸
بہرِ پابوسی فرشتوں کو صدا دیتا ہوں میں
آسماں کو اپنے قدموں پر جھکا دیتا ہوں میں
۹
لکھ رہا ہوں کیا نہیں ہوتی مجھے اس کی خبر
انگلیوں پر ایک جلالی شان آتی ہے نظر
۱۰
یوں قلم کرتا ہے جنبش ہاتھ میں بے اختیار
ایک طرب آمیز دہشت دل کے چھو لیتی ہے تار
۱۱
یوں فضا میں نقش اُبھر آتے ہیں تھرّاتے ہوئے
جس طرح ساحر کے لفظ افسوں کو دہراتے ہوئے
۱۲
کس قدر اَسرار سے معمور ہیں جلوے ترے
اے تحیّر خیز عارض لیلیِ تخیٔل کے
۱۳
شب کو تیری قربتِ وجدان پرور کا یقیں
کھولتا ہے دل میں قفلِ آسماں بابِ زمیں
۱۴
تو پری ہو یا فرشتہ روح ہو یا واہمہ
آ کسی دن میرے آگے شکل انسانی میں آ
۱۵
تاکہ میں وہ شہد بار الفاظ وہ شیریں فضا
پنکھڑی سے وہ تبسّم وہ صدائیں دلکشا
۱۶
روح پرور وہ صلے وہ مرحبا کے زمزمے
جو بطورِ داد پائے ہیں میرے اشعار نے
۱۷
سر عقیدت سے جھکا کر اے نِہُفتہ غمگسار
ڈال دوں گردن میں تیری گوندھ کر اُن سب کا ہار
शे’र गोई की रात – जोश मलीह आबादी
१
रात के तारीक लम्हे जब के होते हैं ख़मोश
बाद-ए ख़्वाब-आवर से जल उठती है याँ क़िंदील-ए होश
२
खोलती है अपने शहपर जब सहेली मौत की
दौढ जाता है मेरी नब्ज़ों में ख़ून-ए ज़िंदगी
३
कारवान-ए कश्मकश होता है जब मसरूफ़-ए ख़्वाब
हंस के मेरे दिल की बेदारी उलटती है नक़ाब
४
कोई पुर-अस्रार क़ुव्वत, कोई रूह-ए मुह्तशम
शे’र कहने को मेरे हाथों में देती है क़लम
५
दिल फ़रेबी से किसी के गुनगुनाने की सदा
ज़हन में मेरे पहनती है लिबास अल्फ़ाज़ का
६
दफ़’अतन छिढते हैं फिर अर्ज़ ओ समा के ज़मज़मे
एक किरन सी दाएरे में घेर लेती है मुझे
७
दिल में होता है मेरे नादिर ख़यालों का हुजूम
मुस्कुरा कर देखने लगते हैं गर्दूं से नुजूम
८
बहर-ए पाबोसी फ़रिश्तों को सदा देता हूँ मैं
आसमाँ को अपने क़दमों पर झुका देता हूँ मैं
९
लिख रहा हूँ क्या नहीं होती मुझे उस की ख़बर
अंगुलियों पर एक जलाली शान आती है नज़र
१०
यूं क़लम करता है जुम्बिश हाथ में बे एख़्तियार
एक तरब-आमेज़ दहशत दिल के छू लेती है तार
११
यूं फ़िज़ा में नक़्श उभर आते हैं थर्राते हुए
जिस तरह साहर के लफ़्ज़ अफ़्सूं को दोहराते हुए
१२
किस क़दर अस्रार से म’आमूर हैं जलवे तेरे
अए तहय्युर-ख़ेज़ आरज़ लैलि-ए तख़’ईल के
१३
शब को तेरी क़ुर्बत-ए वज्दान परवर का यक़ीं
खोलता है दिल में क़ुफ़्ल-ए आस्मां बाब-ए ज़मीं
१४
तू परी हो या फ़रिश्ता, रूह हो या वाहमा
आ किसी दिन मेरे आगे शक्ल-ए इन्सानी में आ
१५
ता के मैं वो शहद-बार अल्फ़ाज़ वो शीरीं फ़िज़ा
पंखड़ी से वो तबस्सुम वो सदाएं दिलकशा
१६
रूह परवर वो सिले वो मरहबा के ज़म्ज़मे
जो बतौर-ए दाद पाए हैं मेरे अश’आर ने
१७
सर अक़ीदत से झुका कर अए निहुफ़्ता ग़मगुसार
डाल दूं गर्दन में तेरी गूंध कर उन सब का हार
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Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This nazm, describing how he receives inspiration to compose during the night is somewhat like iqbal’s ‘raat aur shaa’er’.
1
raat ke taareek1 lamhe2 jab keh hote haiN Khamosh
baad3-e Khwaab-aawar4 se jal uThti hai yaaN qindiil5-e hosh6 1.dark 2.moments, time 3.breeze 4.sleep inducing 5.lamp 6.awareness, wakefulness
When, in the dark moments of the night, everything is quiet and sleep inducing breeze blows, the lamp of awareness lights up i.e., everyone is asleep and the poet is awake.
2
kholti hai apne shahpar1 jab saheli2 maut3 ki
dauR jaata hai meri nabzoN4 meN Khoon-e zindagi 1.wings, strongest feather in the wings 2.companion, friend 3.death 4.veins
The poet describes sleep as ‘maut ki saheli’ – the companion of death. For him, sleeping is akin to death. When sleep takes everyone under its wing, life-blood starts flowing through his veins.
3
kaaravaan-e kashmakash1 hota hai jab masroof2-e Khwaab3
haNs ke mere dil ki bedaari4 ulaTti hai naqaab5 1.struggle 2.busy 3.sleep 4.wakefulness 5.veil
The world around him is a caravan of struggle (of daily life). When they are all busy sleeping, the wakefulness of his inner self, lifts its veil i.e., his inner self wakes up.
4
koi pur-asraar1 quvvat2, koi rooh3-e mohtasham4
she’r kahne ko mere haathon meN deti hai qalam5 1.mysterious 2.power 3.spirit 4.glorious, grand 5.pen
Some mysterious power, some glorious spirit, places a pen in my hand to write verse.
5
dil farebi1 se kisi ke gungunaane2 ki sada3
zahn4 meN mere pahanti hai libaas5 alfaaz6 ka 1.deception, illusion 2.humming 3.sound 4.mind 5.garments 6.words
The illusion of my heart hears the sound of someone humming and this sound puts on the garment of words. Said Ghalib …
Ghalib sariir-e Khaama navaa-e sarosh hai (O Ghalib, the scraping of the pen on paper is the sound of an angel).
6
daf’atan1 chhiRte2 haiN phir arz-o-sama3 ke zamzame4
ek kiran5 sii daa’ere6 meN gher leti hai mujhe 1.suddenly 2.break out into song 3.earth and sky 4.songs, music 5.ray of light
Suddenly I begin to hear the music of the earth and sky. A ray of light surrounds me in a circle.
7
dil meN hota hai mere naadir1 KhayaaloN ka hujoom2
muskura kar dekhne lagte haiN gardooN3 se nujoom4 1.unusual, rare 2.crowd 3.sky 4.stars
Strange thoughts begin to crowd my mind. Stars smile down from the sky.
8
bahr1-e paa-bosi2 farishtoN3 ko sadaa4 deta huN maiN
aasmaaN ko apne qadmoN5 par jhuka deta huN maiN 1.with the intention of 2.kissing feet 3.angels 4.call 5.feet
I give a call to angels to come and kiss my feet. I make the sky bow at my feet.
9
likh raha huN kya, nahiN hoti mujhe us ki Khabar1
uNgliyoN par ek jalaali2 shaan3 aati hai nazar4 1.awareness, knowledge 2.eminent, grand 3.dignity 4.visible
I am not aware of what I am writing. An eminent dignity appears on my fingers.
10
yuN qalam1 karta hai jumbish2 haath meN be-eKhtiyaar3
ek tarab-aamez4 dahshat5 dil ke choo leti hai taar 1.pen 2.movement 3.uncontrolled, spontaneous 4.music creating 5.fear, trepidation
The pen moves spontaneously. A music creating trepidation plucks my heart-strings.
11
yuN fiza1 meN naqsh2 ubhar3 aate haiN tharraate4 hue
jis tarah5 saahir6 ke lafz7 afsooN8 ko dohraate9 hue 1.atmosphere, air, surroundings 2.images 3.emerge 4.trembling 5.like, similar to 6.magician 8.magic spell 9.repeat
Trembling images emerge around me as if a magician is chanting his magic spell.
12
kis qadr1 asraar2 se ma’amoor3 haiN jalve4 tere
aye tahayyur-Khez5 aariz6 laili-e-taKh’eel7 ke 1.how much 2.mysteries 3.full 4.images, pictures 5.amazement increasing 6.face 7.laila (beauty) of imagination
Here the poet is majnuN the lover and imagination/creativity is his beloved/laila. The images of her amazement increasing face that appear to him are full of mysteries.
13
shab1 ko teri qurbat2-e vajdaan-parvar3 ka yaqiiN4
kholta hai dil meN qufl5-e aasmaaN baab6-e zamiiN 1.night 2.nearness, company 3.trance nurturing/inducing 4.certainty 5.lock 6.doors
The company of his laila of imagination/creativity induces a trance-like condition which gives him certainty/confidence. This unlocks the mysteries of the sky and opens the door to the beauty of the earth.
14
tu pari1 ho ya farishta2, rooh3 ho ya vaahima4
aa kisi din mere aage5 shakl6-e insaani7 meN aa 1.fairy 2.angel 3.spirit 4.illusion 5.before, in front of 6.form, shape 7.human
You may be a fair, an angel, a spirit or perhaps an illusion, but some day come before me in human form.
15
taa-keh1 maiN voh shahd-baar2 alfaaz3 voh shiriiN4 fiza5
paNkhaRi6 se voh tabassum7 voh sadaayeN8 dilkasha9 1.so that 2.honey laden 3.words 4.sweet 5.surroundings 6.flower petal 7.smile 8.sounds 9.pleasant
Come before me in human form so that (I may share with you) those honey-laden words, those sweet surroundings, those smiles like a rose petal and those pleasing sounds.
16
rooh-parvar1 voh silay2 voh marhaba3 ke zamzame4
jo ba-taur5-e daad6 paaye haiN mere ash’aar7 ne 1.soul nurturing 2.rewards 3.felicitations 4.musical sounds 5.by way of 6.praise, appreciation 7.couplets
(So that I may share) those soul stirring rewards, thos musical sounds of felicitation which by way of praise are given to my couplets.
17
sar aqeedat1 se jhuka kar aye nihufta2 Ghamgusaar3
Daal duN gardan meN teri goondh4 kar un sab ka haar5 1.veneration, devotion 2.hidden 3.sharing pain, friend 4.weave 5.garland
Come before me, my hidden friend, in human form, so that weaving all the rewards and felicitations that my couplets receive, into a garland and that I may, with bowed head, put it around your neck with veneration and devotion.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This nazm, describing how he receives inspiration to compose during the night is somewhat like iqbal’s ‘raat aur shaa’er’.
1
raat ke taareek1 lamhe2 jab keh hote haiN Khamosh
baad3-e Khwaab-aawar4 se jal uThti hai yaaN qindiil5-e hosh6
1.dark 2.moments, time 3.breeze 4.sleep inducing 5.lamp 6.awareness, wakefulness
When, in the dark moments of the night, everything is quiet and sleep inducing breeze blows, the lamp of awareness lights up i.e., everyone is asleep and the poet is awake.
2
kholti hai apne shahpar1 jab saheli2 maut3 ki
dauR jaata hai meri nabzoN4 meN Khoon-e zindagi
1.wings, strongest feather in the wings 2.companion, friend 3.death 4.veins
The poet describes sleep as ‘maut ki saheli’ – the companion of death. For him, sleeping is akin to death. When sleep takes everyone under its wing, life-blood starts flowing through his veins.
3
kaaravaan-e kashmakash1 hota hai jab masroof2-e Khwaab3
haNs ke mere dil ki bedaari4 ulaTti hai naqaab5
1.struggle 2.busy 3.sleep 4.wakefulness 5.veil
The world around him is a caravan of struggle (of daily life). When they are all busy sleeping, the wakefulness of his inner self, lifts its veil i.e., his inner self wakes up.
4
koi pur-asraar1 quvvat2, koi rooh3-e mohtasham4
she’r kahne ko mere haathon meN deti hai qalam5
1.mysterious 2.power 3.spirit 4.glorious, grand 5.pen
Some mysterious power, some glorious spirit, places a pen in my hand to write verse.
5
dil farebi1 se kisi ke gungunaane2 ki sada3
zahn4 meN mere pahanti hai libaas5 alfaaz6 ka
1.deception, illusion 2.humming 3.sound 4.mind 5.garments 6.words
The illusion of my heart hears the sound of someone humming and this sound puts on the garment of words. Said Ghalib …
Ghalib sariir-e Khaama navaa-e sarosh hai (O Ghalib, the scraping of the pen on paper is the sound of an angel).
6
daf’atan1 chhiRte2 haiN phir arz-o-sama3 ke zamzame4
ek kiran5 sii daa’ere6 meN gher leti hai mujhe
1.suddenly 2.break out into song 3.earth and sky 4.songs, music 5.ray of light
Suddenly I begin to hear the music of the earth and sky. A ray of light surrounds me in a circle.
7
dil meN hota hai mere naadir1 KhayaaloN ka hujoom2
muskura kar dekhne lagte haiN gardooN3 se nujoom4
1.unusual, rare 2.crowd 3.sky 4.stars
Strange thoughts begin to crowd my mind. Stars smile down from the sky.
8
bahr1-e paa-bosi2 farishtoN3 ko sadaa4 deta huN maiN
aasmaaN ko apne qadmoN5 par jhuka deta huN maiN
1.with the intention of 2.kissing feet 3.angels 4.call 5.feet
I give a call to angels to come and kiss my feet. I make the sky bow at my feet.
9
likh raha huN kya, nahiN hoti mujhe us ki Khabar1
uNgliyoN par ek jalaali2 shaan3 aati hai nazar4
1.awareness, knowledge 2.eminent, grand 3.dignity 4.visible
I am not aware of what I am writing. An eminent dignity appears on my fingers.
10
yuN qalam1 karta hai jumbish2 haath meN be-eKhtiyaar3
ek tarab-aamez4 dahshat5 dil ke choo leti hai taar
1.pen 2.movement 3.uncontrolled, spontaneous 4.music creating 5.fear, trepidation
The pen moves spontaneously. A music creating trepidation plucks my heart-strings.
11
yuN fiza1 meN naqsh2 ubhar3 aate haiN tharraate4 hue
jis tarah5 saahir6 ke lafz7 afsooN8 ko dohraate9 hue
1.atmosphere, air, surroundings 2.images 3.emerge 4.trembling 5.like, similar to 6.magician 8.magic spell 9.repeat
Trembling images emerge around me as if a magician is chanting his magic spell.
12
kis qadr1 asraar2 se ma’amoor3 haiN jalve4 tere
aye tahayyur-Khez5 aariz6 laili-e-taKh’eel7 ke
1.how much 2.mysteries 3.full 4.images, pictures 5.amazement increasing 6.face 7.laila (beauty) of imagination
Here the poet is majnuN the lover and imagination/creativity is his beloved/laila. The images of her amazement increasing face that appear to him are full of mysteries.
13
shab1 ko teri qurbat2-e vajdaan-parvar3 ka yaqiiN4
kholta hai dil meN qufl5-e aasmaaN baab6-e zamiiN
1.night 2.nearness, company 3.trance nurturing/inducing 4.certainty 5.lock 6.doors
The company of his laila of imagination/creativity induces a trance-like condition which gives him certainty/confidence. This unlocks the mysteries of the sky and opens the door to the beauty of the earth.
14
tu pari1 ho ya farishta2, rooh3 ho ya vaahima4
aa kisi din mere aage5 shakl6-e insaani7 meN aa
1.fairy 2.angel 3.spirit 4.illusion 5.before, in front of 6.form, shape 7.human
You may be a fair, an angel, a spirit or perhaps an illusion, but some day come before me in human form.
15
taa-keh1 maiN voh shahd-baar2 alfaaz3 voh shiriiN4 fiza5
paNkhaRi6 se voh tabassum7 voh sadaayeN8 dilkasha9
1.so that 2.honey laden 3.words 4.sweet 5.surroundings 6.flower petal 7.smile 8.sounds 9.pleasant
Come before me in human form so that (I may share with you) those honey-laden words, those sweet surroundings, those smiles like a rose petal and those pleasing sounds.
16
rooh-parvar1 voh silay2 voh marhaba3 ke zamzame4
jo ba-taur5-e daad6 paaye haiN mere ash’aar7 ne
1.soul nurturing 2.rewards 3.felicitations 4.musical sounds 5.by way of 6.praise, appreciation 7.couplets
(So that I may share) those soul stirring rewards, thos musical sounds of felicitation which by way of praise are given to my couplets.
17
sar aqeedat1 se jhuka kar aye nihufta2 Ghamgusaar3
Daal duN gardan meN teri goondh4 kar un sab ka haar5
1.veneration, devotion 2.hidden 3.sharing pain, friend 4.weave 5.garland
Come before me, my hidden friend, in human form, so that weaving all the rewards and felicitations that my couplets receive, into a garland and that I may, with bowed head, put it around your neck with veneration and devotion.
The post she’r goii ki raat-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/04/miqbaal-nau-e-insaaN-ki-mohabbat-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
نوعِ انساں کی محبت ۔ محمد اقبال
۱
نوعِ اِنساں کی محبت میں ہے مذہب کا کمال
اِمتیازِ کاسۂ شیخ و برہمن میں نہیں
۲
خاک اگر ناپاک بھی چھونے سے ہو جائے تو کیا
پاک ہے جو چیز وہ آب و گلِ تن میں نہیں
۳
ہند والے بھی کبھی رکھتے تھے جانِ درد مند
وائے حرماں اب وہ طائر اِس نشیمن میں نہیں
۴
یاد ہے تجھ کو کہ تو گُل در گریباں تھا کبھی
آج خاشاکِ چمن بھی تیرے دامن میں نہیں
۵
وہ کرامت شیشۂ دل جس سے ہو جائے دراز
آج کل کے ساقیانِ سامری فن میں نہیں
۶
رونقِ میخانہ باقی گردشِ صہبا سے ہے
گردشِ صہبا وصالِ ساغر و مینا سے ہے
नौ-ए इन्सां कि मोहब्बत – मोहम्मद इक़्बाल
१
नौ-ए इन्सां कि मोहब्बत में है मज़्हब का कमाल
इम्तियाज़-ए कासा-ए शैख़ ओ बरहमन में नहीं
२
ख़ाक अगर नापाक भी छूने से हो जाए तो क्या
पाक है जो चीज़ वो आब ओ गिल-ए तन में नहीं
३
हिन्द वाले भी कभी रखते थे जान-ए दर्द-मन्द
वाए हिर्मां अब वो ताएर इस नशेमन में नहीं
४
याद है तुझ को के तू गुल-दर-गरेबां था कभी
आज ख़ाशाक-ए चमन भी तेरे दामन में नहीं
५
वो करामत, शीशा-ए दिल जिस से हो जाए दराज़
आज कल के साक़ियान-ए सामेरी फ़न में नहीं
६
रौनक़-ए मै-ख़ाना बाक़ी गर्दिश-ए सहबा से है
गर्दिश-ए सहबा विसाल-ए साग़र ओ मीना से है
Click here for background and on any passage for word meanings and explanatory discussion. mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts. This nazm was published in a magazine in 1905 but iqbal chose not to include it in his collections ‘baaNg-e dara’ or others. It belongs to a phase when iqbal had not yet started into his pan-Islamism but had moved on from his intensely nationalistic phase of ‘naya shivala’ and ‘qaumi taraana’ to an inclusive communal harmony of the universal sufi kind. Thus, instead of extolling nationalism he talks about universal love of all humankind.
1
nau-e-insaaN1 ki mohabbat meN hai mazhab ka kamaal2imtiaaz3-e kaasa4-e shaiKh o brahman meN nahiN 1.human species, humankind 2.completion, perfection, epitome, climax 3.differentiation 4.begging bowl, cup
The high point of religion is in (the adoption of) universal love, not in the discrimination between the begging bowls of the shaiKh and the brahman.
2
Khaak1 agar naapaak2 bhi chhoone se ho jaaye to kya
paak3 hai jo cheez vo aab-o-gil4-e tan5 meN nahiN 1.dust, clay 2.impure, unclean, defiled 3.pure, clean 4.water and clay 5.body
Conventional thinking (Islamic) says that human beings were created out of clay and water. The second misra says that the thing which makes humans pure/exalted is not in the body of clay and water. Presumably he means the soul which may reside in the body but is not a part of the body. Thus, if the body is made impure because of being in or because of being touched by something in the material world, it does not matter, because the soul remains pure. It is just possible that he is talking about untouchability. He wrote about it in his ‘naya shivaala’ also.
3
hind vaale bhi kabhi rakhte the jaan1-e dard-mand2
vaa’e3 hirmaaN4 ab to taa’er5 is nasheman6 meN nahiN 1.life, heart 2.pain-feeling, loving 3.alas 4.dejection, deprivation 5.bird 6.nest
There was a time when people of India had loving hearts. Alas, the deprivation, now that bird has flown this coop.
4
yaad hai tujh ko keh tu gul-dar-garebaaN1 thaa kabhi
aaj Khaashaak2-e chaman bhi tere daaman3 meN nahiN 1.rose worn as a collar, rose garland 2.straw, dirt 3.apron, cloak
Do you remember that once you wore a rose garland around your neck. Today even dry straw of the garden is not available to you. He may be talking about communal strife and/or caste discrimination.
5
vo karaamat1, sheesha2-e dil jis se ho jaaye daraaz3
aaj kal ke saaqiyaan4-e saameri-fun5 meN nahiN 1.great power, miracle 2.mirror/conscience 3.open 4.wine server 5.miracle worker
‘saamer’ was an ancient Egyptian magician who persuaded the Israelis to worship the golden calf and is supposed to have performed miracles/magic tricks. ‘saaqi’-wine server is symbolic of the universal love/liberal space of the tavern. There was a time when the saaqi of old could serve up the wine of love and open up hearts and minds to universal/sufi love. Today’s miracle workers (leadership) do not seem to have those powers.
6
raunaq1-e maiKhaana2 baaqi gardish3-e sahba4 se hai
gardish-e sahba visaal5-e saaGhar6 o meena7 se hai 1.glory, beauty 2.tavern, inclusive/liberal space 3.circulation, sharing 4.wine 5.union 6.cup 7.flask
The glory of the tavern lies in circulating/sharing wine (of love) and wine can circulate only with the union of the cup and flask – union of various communities.
mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts. This nazm was published in a magazine in 1905 but iqbal chose not to include it in his collections ‘baaNg-e dara’ or others. It belongs to a phase when iqbal had not yet started into his pan-Islamism but had moved on from his intensely nationalistic phase of ‘naya shivala’ and ‘qaumi taraana’ to an inclusive communal harmony of the universal sufi kind. Thus, instead of extolling nationalism he talks about universal love of all humankind.
1
nau-e-insaaN1 ki mohabbat meN hai mazhab ka kamaal2imtiaaz3-e kaasa4-e shaiKh o brahman meN nahiN
1.human species, humankind 2.completion, perfection, epitome, climax 3.differentiation 4.begging bowl, cup
The high point of religion is in (the adoption of) universal love, not in the discrimination between the begging bowls of the shaiKh and the brahman.
2
Khaak1 agar naapaak2 bhi chhoone se ho jaaye to kya
paak3 hai jo cheez vo aab-o-gil4-e tan5 meN nahiN
1.dust, clay 2.impure, unclean, defiled 3.pure, clean 4.water and clay 5.body
Conventional thinking (Islamic) says that human beings were created out of clay and water. The second misra says that the thing which makes humans pure/exalted is not in the body of clay and water. Presumably he means the soul which may reside in the body but is not a part of the body. Thus, if the body is made impure because of being in or because of being touched by something in the material world, it does not matter, because the soul remains pure. It is just possible that he is talking about untouchability. He wrote about it in his ‘naya shivaala’ also.
3
hind vaale bhi kabhi rakhte the jaan1-e dard-mand2vaa’e3 hirmaaN4 ab to taa’er5 is nasheman6 meN nahiN
1.life, heart 2.pain-feeling, loving 3.alas 4.dejection, deprivation 5.bird 6.nest
There was a time when people of India had loving hearts. Alas, the deprivation, now that bird has flown this coop.
4
yaad hai tujh ko keh tu gul-dar-garebaaN1 thaa kabhi
aaj Khaashaak2-e chaman bhi tere daaman3 meN nahiN
1.rose worn as a collar, rose garland 2.straw, dirt 3.apron, cloak
Do you remember that once you wore a rose garland around your neck. Today even dry straw of the garden is not available to you. He may be talking about communal strife and/or caste discrimination.
5
vo karaamat1, sheesha2-e dil jis se ho jaaye daraaz3aaj kal ke saaqiyaan4-e saameri-fun5 meN nahiN
1.great power, miracle 2.mirror/conscience 3.open 4.wine server 5.miracle worker
‘saamer’ was an ancient Egyptian magician who persuaded the Israelis to worship the golden calf and is supposed to have performed miracles/magic tricks. ‘saaqi’-wine server is symbolic of the universal love/liberal space of the tavern. There was a time when the saaqi of old could serve up the wine of love and open up hearts and minds to universal/sufi love. Today’s miracle workers (leadership) do not seem to have those powers.
6
raunaq1-e maiKhaana2 baaqi gardish3-e sahba4 se hai
gardish-e sahba visaal5-e saaGhar6 o meena7 se hai
1.glory, beauty 2.tavern, inclusive/liberal space 3.circulation, sharing 4.wine 5.union 6.cup 7.flask
The glory of the tavern lies in circulating/sharing wine (of love) and wine can circulate only with the union of the cup and flask – union of various communities.
The post nau-e insaaN ki mohabbat-mohammed iqbal appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2024/04/mi-hilaal-e-eid-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ہلالِ عید ۔ محمّد اِقبال
۱
غُرّۂ شوّال! اے نورِ نگاہِ روزہ دار
آ! کہ تھے تیرے لئے مُسلم سراپا اِنتظار
۲
تیری پیشانی پہ تحریرِ پیامِ عید ہے
شام تیری کیا ہے صبح عیش کی تمہید ہے
۳
سرگزشتِ ملّتِ بیضا کا تو آئینہ ہے
اے مہِ نو! ہم کو تجھ سے اُلفتِ دیرینہ ہے
۴
جِس علم کے سائے میں تیغ آزما ہوتے تھے ہم
دشمنوں کے خون سے رنگیں قبا ہوتے تھے ہم
۵
تیری قسمت میں ہم آغوشی اُسی رایت کی ہے
حُسنِ روز افزوں سے تیری آبرو مِلّت کی ہے
۶
آشنا پرور ہے قوم اپنی، وفا آئیں ترا
ہے محبّت خیز یہ پیراہنِ سیمیں ترا
۷
اوجِ گردوں سے ذرا دنیا کی بستی دیکھ لے
اپنی رفعت سے ہمارے گھر کی پستی دیکھ لے
۸
قافلے دیکھ اور اُن کی برق رفتاری بھی دیکھ
رہروِ درماندہ سے منزل کی بیزاری بھی دیکھ
۹
دیکھ کر تجھ کو اُفق پر ہم لٹاتے تھے گہر
اے تہی ساغر! ہماری آج ناداری بھی دیکھ
۱۰
فرقہ آرائی کی زنجیروں میں ہیں مسلم اسیر
اپنی آزادی بھی دیکھ اُن کی گرفتاری بھی دیکھ
۱۱
دیکھ مسجد میں شکستِ رشتۂ تسبیحِ شیخ
بت کدے میں برہمن کی پختہ زُنّاری بھی دیکھ
۱۲
ہاں تملّق پیشگی دیکھ آبرو والوں کی تو
اور جو بے آبرو تھے اُن کی خودداری بھی دیکھ
۱۳
جس کو ہم نے آشنا لطفِ تکلّم سے کیا
اُس حریفِ بے زباں کی گرم گفتاری بھی دیکھ
۱۴
سازِ عشرت کی صدا مغرب کے ایوانوں میں سن
اور ایراں میں ذرا ماتم کی تیاری بھی دیکھ
۱۵
چاک کر دی تُرکِ ناداں نے خِلافت کی قبا
سادگی مسلم کی دیکھ اوروں کی عیّاری بھی دیکھ
۱۶
صورتِ آئینہ سب کچھ دیکھ اور خاموش رہ
شورشِ اِمروز میں محوِ سرودِ دوش رہ
हिलाल-ए ईद – मोहम्मद इक़बाल
१
गुर्रह-ए शव्वाल! अए नूर-ए निगाह-ए रोज़ादार
आ! कि थे तेरे लिए मुस्लिम सरापा इंतेज़ार
२
तेरी पेशानी पे तहरीर-ए पयाम-ए ईद है
शाम तेरी क्या है, सुबह ऐश की तम्हीद है
३
सर-गुज़िश्त-ए मिल्लत-ए बैज़ा का तू आईना है
अए मह-ए नौ! हमको तुझ से उल्फ़त-ए देरीना है
४
जिस अलम के साए में तेग़-आज़्मा होते थे हम
दुश्मनों के ख़ून से रंगीं क़बा होते थे हम
५
तेरी क़िस्मत में हम आग़ोशी उसी रायत की है
हुस्न-ए रोज़-अफ़्ज़ूं से तेरी आबरू मिल्लत की है
६
आश्ना परवर है क़ौम अपनी, वफ़ा आईं तेरा
है मोहब्बत ख़ेज़ ये पैराहन-ए सीमीं तेरा
७
औज-ए गर्दूं से ज़रा दुनिया की बस्ती देख ले
अपनी रफ़’अत से हमारे घर की पस्ती देख ले
८
क़ाफ़िले देख और उन की बर्क़-रफ़्तारी भी देख
रहरव-ए दरमान्दा से मंज़िल की बेज़ारी भी देख
९
देख कर तुझ को उफ़क़ पर हम लुटाते थे गोहर
अए तेही साग़र! हमारी आज नादारी भी देख
१०
फ़िर्क़ा-आराई की ज़ंजीरों में हैं मुस्लिम असीर
अपनी आज़ादी भी देख, उन की गिरफ़्तारी भी देख
११
देख मस्जिद में शिकस्त-ए रिश्ता-ए तस्बीह-ए शैख़
बुत कदे में बरहमन की पुख़्ता ज़ुन्नारी भी देख
१२
हां तमल्लुक़-पेशगी देख आब्रू वालों की तू
और जो बे-आब्रू थे उन की ख़ुद्दारी भी देख
१३
जिस को हम ने आश्ना लुत्फ़-ए तकल्लुम से किया
उस हरीफ़-ए बे-ज़बाँ की गर्म गुफ़्तारी भी देख
१४
साज़-ए इश्रत की सदा मग़्रिब के ऐवानों में सुन
और ईरां में ज़रा मातम की तैयारी भी देख
१५
चाक कर दी तुर्क-ए नादाँ ने ख़िलाफ़त की क़बा
सादगी मुस्लिम की देख औरों की अय्यारी भी देख
१६
सूरत-ए आईना सब कुछ देख और ख़ामोश रह
शोरिश-ए इमरोज़ में महव-ए सुरूद-ए दोश रह
Click here for background and on any passage for word meanings and explanatory discussion. mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts. This is a celebration of eid-ul-fitr sprinkled with some not so admirable thoughts.
1
Ghurra1-e shavvaal2! aye noor3-e nigaah4-e roza-daar5
aa! keh the tere liye muslim saraapa6 intezaar7 1.first day of the month, new moon 2.the month after ramazaan 3.light 4.eyes 5.roza observer 6.head to toe, embodiment 7.anticipation
The crescent moon of the month of shavvaal is the herald of eid-ul-fitr. Thus, O crescent moon of shavvaal, O light of the eyes of roza-daar. Appear, because the muslim is the embodiment of anticipation for you. For panDit anand mohan gulzar dehlavi and mohindar siNgh bedi sahr (see their posts on this site), the appears of ‘hilaal-e eid’ is a source of universal joy – for muslims as well as non-muslims. iqbal seems to take a more narrow view.
2
teri peshaani1 pe tahriir2-e payaam3-e eid hai
shaam teri kya hai, subah aish4 ki tamheed5 hai 1.forehead, brow 2.writing 3.message 4.luxury, joy 5.preface, introduction
Written on your brow is the message of eid celebration. What is your evening if not the announcement of the morning of joy.
3
sarguzisht1-e millat2-e baiza3 ka tu aaina hai
aye mah4-e nau5! humko tujh se ulfat6-e deriina7 hai 1.story, narrative 2.community 3.white, pure 4.moon 5.new 6.love 7.long-standing
You are the reflection of the story of the community of the pure (muslims). O new moon, we have a long-standing loving relationship with you.
4
jis alam1 ke saaye meN teGh-aazmaa2 hote the hum
dushmanoN3 ke Khoon se raNgiiN qaba4 hote the hum 1.flag, banner 2.trying/using the sword 3.enemies 4.robe, garments
The crescent moon is often a part of the flag of Islamic communities. This has reference to the early wars of the nascent muslim community which fought under the banner of islam. Here iqbal seems to be boasting about spilling blood of the enemy (in my view – a rather unseemly boast, when others celebrate the sighting of the crescent moon as an occasion for different communities to come together to embrace). iqbal in his early days of inclusiveness had written taraana-e hindi and later another version called taraana-e milli. One she’r from this is noteworthy …
teGhauN ke saaye meN hum, pal kar javaaN hue haiN
Khanjar hilaal ka hai, qaumi nishaaN hamaara
… thus, for iqbal, the new moon symbolically becomes a dagger.
5
teri qismat meN hum-aaGhoshi1 usi raayat2 ki hai
husn3-e roz-afzuuN4 se teri aabru5 millat6 ki hai 1.embrace 2.banner, flag 3.beauty 4.increasing every day, ever increasing 5.respect, dignity 6.community (muslims)
It is your fate (O crescent moon) to be embraced by that flag (under which muslim communities fought). Thus, iqbal chooses to tie the image of the crescent moon with that of the sword/scimitar and associate it with colouring robes with the enemy’s blood, rather than view it as a symbol of peace and unity that other poets emphasize. Because of your ever increasing beauty, the dignity of the muslim community is enhanced.
6
aashna-parvar1 hai qaum2 apni, vafa3 aaiiN4 tera
hai mohabbat-Khez5 ye pairaahan6-e siimiiN7 tera 1.friend nurturing, friendly 2.community 3.faith, fidelity 4.principle, tradition 5.love increasing, love creating 6.garment 7.silvery
Moonlight is like a silvery garment of the new moon and it nurtures loving natures. Our community is love-nurturing and your (O crescent moon) tradition is to keep faith. Thus, both reinforce each other.
7
auj1-e garduuN2 se zara duniya ki basti dekh le
apni raf’at3 se hamaare ghar ki pasti4 dekh le 1.height 2.skies 3.elevation 4.depths
From the heights of the sky, look at the people of the world. From your elevated station, look at how low we have sunk.
8
qaafile1 dekh aur un ki barq-raftaari2 bhi dekh
rahrav3-e darmaandah4 se manzil5 ki bezaari6 bhi dekh 1.caravans 2.lightning speed, rapid progress 3.traveller 4.tired 5.destination, goal 6.boredom, disinterest
Look at the caravans of the world (O crescent moon) and see their rapid progress. Look at the tired (muslim) traveler, and observe their disinterest in their goal.
9
dekh kar tujh ko ufaq1 par hum luTaate2 the gohar3
aye tahee-saaGhar4! hamaari aaj naadaari5 bhi dekh 1.horizon 2.give away, distribute 3.pearls 4.empty cup 5.poverty
The shape of a cresent moon might be considered to be a cup. iqbal calls it tahee-saaGhar – empty cup. There was a time when we, upon spotting the crescent moon used to give away pearls as gifts/alms. Look at us and our poverty today. iqbal is singing of the (imaginary) glories of the past and yet later in this nazm accuses others of being stuck in the same mode.
10
firqah-aaraai1 ki zanjiiroN2 meN haiN muslim asiir3
apni azaadi bhi dekh, un ki giraftaari4 bhi dekh 1.organized into sects, sectarianism 2.chains 3.captive 4.captivity
Look at the muslim who has become a captive of sectarianism (this appears to me about sectarianism WITHIN the muslim community, not sectarianism in the universal community). Look at how free/universal you (O crescent moon) you are and look at how narrowly bound they (muslims) are.
11
dekh masjid meN shikast1-e rishta2-e tasbeeh3-e shaiKh
but-kade4 meN barhaman ki poKhta-zunnaari5 bhi dekh 1.breaking 2.connection 3.rosary, prayer beads 4.idol-house, temple 5.strong janev
A zunnaar is the ceremonial thread called janev worn by brahmans. iqbal implies that hindus/brahmans are strong and united in their faith and the thread of the muslim preacher’s prayer beads is cut. The comparison appears to me to strike an uncalled for note of jealousy.
12
haaN tumalluq-peshagi1 dekh aabru2 vaaloN ki tuu
aur jo be-aabru the un ki Khud-daari3 bhi dekh 1.professional flattery 2.dignity 3.self-respect
I am not sure which ‘other community’ iqbal is talking about … the western or the hindu civilization. In either case, rather loftily he says that they used to be ‘be-aabru’ i.e., undignified and now they are confident and self-respecting. Equally loftily, he asserts that muslims were ‘aabru vaale’ i.e., dignified and now they have become professional flatterers. I think that by this he means that they are boot-licking, flattering the British.
13
jis ko hum ne aashna1 lutf-e-takallum2 se kiya
us hareef3-e be-zabaaN4 ki garm-guftaari5 bhi dekh 1.familiar 2.refined speech 3.rival, enemy 4.unable to speak 5.power of speech
I think that this refers to the Renaissance in Europe after the dark age. It is generally believed that Europeans had forgotten the early scripts of Greeks and Romans and they learnt about them from arab translations and arab scholarship. Thus, it was ‘we’ (muslims) who taught them refined speech and now look at the power of speech of the enemy. Here ‘speech’ is used in the wider sense of knowledge.
14
saaz1-e ishrat2 ki sadaa3 maGhrib4 ke aivaanoN5 meN sunn
aur iraaN meN zara maatam6 ki tayyaari7 bhi dekh 1.music, harp 2.pleasure, joy 3.sound 4.west 5.halls 6.mourning 7.preparation
Listen to the sound of harp of pleasure in the halls of the west and also the preparations for mourning in iraan. Here iraan is used to symbolize muslim culture and ‘mourning’ is used to symbolize the tragedy of decline.
15
chaak1 kar di turk2-e naadaaN3 ne Khilaafat4 ki qaba5
saadagi6 muslim ki dekh auroN ki ayyaari7 bhi dekh 1.tear, rip 2.Turk of Turkey 3.simpleton 4.the Islamic Caliphate (Khilaafat) 5.robe 6.simplicity, innocence 7.cunning, craftiness
iqbal was very active in the Khilaafat movement in India. But then they had the rug pulled from under their feet when mustafa kamaal ataturk abolished the Khilaafat and banished the Khaliif. The simpleton Turk tore the robe of Khilaafat. Look at the innocence of the muslim and look at the cunning trickery of the other (western powers).
16
soorat1-e aaina sab kuch dekh aur Khaamosh rah
shorish2-e imroz3 meN mahv4-e surood5-e dosh6 rah 1.like, similar to 2.noise, confusion 3.today 4.engrossed 5.song, melody, lyre 6.past
He is still addressing the crescent moon and accusing it of being engrossed in the songs of past glory (when he himself has been doing that and has done often). Like the mirror, witness all that is going on and remain silent. Even in the confusion/noise of the day, remain engrossed in odes of past glory (which is exactly what iqbal was doing in earlier ash’aar).
mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts. This is a celebration of eid-ul-fitr sprinkled with some not so admirable thoughts.
1
Ghurra1-e shavvaal2! aye noor3-e nigaah4-e roza-daar5
aa! keh the tere liye muslim saraapa6 intezaar7
1.first day of the month, new moon 2.the month after ramazaan 3.light 4.eyes 5.roza observer 6.head to toe, embodiment 7.anticipation
The crescent moon of the month of shavvaal is the herald of eid-ul-fitr. Thus, O crescent moon of shavvaal, O light of the eyes of roza-daar. Appear, because the muslim is the embodiment of anticipation for you. For panDit anand mohan gulzar dehlavi and mohindar siNgh bedi sahr (see their posts on this site), the appears of ‘hilaal-e eid’ is a source of universal joy – for muslims as well as non-muslims. iqbal seems to take a more narrow view.
2
teri peshaani1 pe tahriir2-e payaam3-e eid hai
shaam teri kya hai, subah aish4 ki tamheed5 hai
1.forehead, brow 2.writing 3.message 4.luxury, joy 5.preface, introduction
Written on your brow is the message of eid celebration. What is your evening if not the announcement of the morning of joy.
3
sarguzisht1-e millat2-e baiza3 ka tu aaina hai
aye mah4-e nau5! humko tujh se ulfat6-e deriina7 hai
1.story, narrative 2.community 3.white, pure 4.moon 5.new 6.love 7.long-standing
You are the reflection of the story of the community of the pure (muslims). O new moon, we have a long-standing loving relationship with you.
4
jis alam1 ke saaye meN teGh-aazmaa2 hote the hum
dushmanoN3 ke Khoon se raNgiiN qaba4 hote the hum
1.flag, banner 2.trying/using the sword 3.enemies 4.robe, garments
The crescent moon is often a part of the flag of Islamic communities. This has reference to the early wars of the nascent muslim community which fought under the banner of islam. Here iqbal seems to be boasting about spilling blood of the enemy (in my view – a rather unseemly boast, when others celebrate the sighting of the crescent moon as an occasion for different communities to come together to embrace). iqbal in his early days of inclusiveness had written taraana-e hindi and later another version called taraana-e milli. One she’r from this is noteworthy …
teGhauN ke saaye meN hum, pal kar javaaN hue haiN
Khanjar hilaal ka hai, qaumi nishaaN hamaara
… thus, for iqbal, the new moon symbolically becomes a dagger.
5
teri qismat meN hum-aaGhoshi1 usi raayat2 ki hai
husn3-e roz-afzuuN4 se teri aabru5 millat6 ki hai
1.embrace 2.banner, flag 3.beauty 4.increasing every day, ever increasing 5.respect, dignity 6.community (muslims)
It is your fate (O crescent moon) to be embraced by that flag (under which muslim communities fought). Thus, iqbal chooses to tie the image of the crescent moon with that of the sword/scimitar and associate it with colouring robes with the enemy’s blood, rather than view it as a symbol of peace and unity that other poets emphasize. Because of your ever-increasing beauty, the dignity of the muslim community is enhanced.
6
aashna-parvar1 hai qaum2 apni, vafa3 aaiiN4 tera
hai mohabbat-Khez5 ye pairaahan6-e siimiiN7 tera
1.friend nurturing, friendly 2.community 3.faith, fidelity 4.principle, tradition 5.love increasing, love creating 6.garment 7.silvery
Moonlight is like a silvery garment of the new moon and it nurtures loving natures. Our community is love-nurturing and your (O crescent moon) tradition is to keep faith. Thus, both reinforce each other.
7
auj1-e garduuN2 se zara duniya ki basti dekh le
apni raf’at3 se hamaare ghar ki pasti4 dekh le
1.height 2.skies 3.elevation 4.depths
From the heights of the sky, look at the people of the world. From your elevated station, look at how low we have sunk.
8
qaafile1 dekh aur un ki barq-raftaari2 bhi dekh
rahrav3-e darmaandah4 se manzil5 ki bezaari6 bhi dekh
1.caravans 2.lightning speed, rapid progress 3.traveller 4.tired 5.destination, goal 6.boredom, disinterest
Look at the caravans of the world (O crescent moon) and see their rapid progress. Look at the tired (muslim) traveler, and observe their disinterest in their goal.
9
dekh kar tujh ko ufaq1 par hum luTaate2 the gohar3
aye tahee-saaGhar4! hamaari aaj naadaari5 bhi dekh
1.horizon 2.give away, distribute 3.pearls 4.empty cup 5.poverty
The shape of a cresent moon might be considered to be a cup. iqbal calls it tahee-saaGhar – empty cup. There was a time when we, upon spotting the crescent moon used to give away pearls as gifts/alms. Look at us and our poverty today. iqbal is singing of the (imaginary) glories of the past and yet later in this nazm accuses others of being stuck in the same mode.
10
firqah-aaraai1 ki zanjiiroN2 meN haiN muslim asiir3
apni azaadi bhi dekh, un ki giraftaari4 bhi dekh
1.organized into sects, sectarianism 2.chains 3.captive 4.captivity
Look at the muslim who has become a captive of sectarianism (this appears to me about sectarianism WITHIN the muslim community, not sectarianism in the universal community). Look at how free/universal you (O crescent moon) you are and look at how narrowly bound they (muslims) are.
11
dekh masjid meN shikast1-e rishta2-e tasbeeh3-e shaiKh
but-kade4 meN barhaman ki poKhta-zunnaari5 bhi dekh
1.breaking 2.connection 3.rosary, prayer beads 4.idol-house, temple 5.strong janev
A zunnaar is the ceremonial thread called janev worn by brahmans. iqbal implies that hindus/brahmans are strong and united in their faith and the thread of the muslim preacher’s prayer beads is cut. The comparison appears to me to strike an uncalled for note of jealousy.
12
haaN tumalluq-peshagi1 dekh aabru2 vaaloN ki tuu
aur jo be-aabru the un ki Khud-daari3 bhi dekh
1.professional flattery 2.dignity 3.self-respect
I am not sure which ‘other community’ iqbal is talking about … the western or the hindu civilization. In either case, rather loftily he says that they used to be ‘be-aabru’ i.e., undignified and now they are confident and self-respecting. Equally loftily, he asserts that muslims were ‘aabru vaale’ i.e., dignified and now they have become professional flatterers. I think that by this he means that they are boot-licking, flattering the British.
13
jis ko hum ne aashna1 lutf-e-takallum2 se kiya
us hareef3-e be-zabaaN4 ki garm-guftaari5 bhi dekh
1.familiar 2.refined speech 3.rival, enemy 4.unable to speak 5.power of speech
I think that this refers to the Renaissance in Europe after the dark age. It is generally believed that Europeans had forgotten the early scripts of Greeks and Romans and they learnt about them from arab translations and arab scholarship. Thus, it was ‘we’ (muslims) who taught them refined speech and now look at the power of speech of the enemy. Here ‘speech’ is used in the wider sense of knowledge.
14
saaz1-e ishrat2 ki sadaa3 maGhrib4 ke aivaanoN5 meN sunn
aur iraaN meN zara maatam6 ki tayyaari7 bhi dekh
1.music, harp 2.pleasure, joy 3.sound 4.west 5.halls 6.mourning 7.preparation
Listen to the sound of harp of pleasure in the halls of the west and also the preparations for mourning in iraan. Here iraan is used to symbolize muslim culture and ‘mourning’ is used to symbolize the tragedy of decline.
15
chaak1 kar di turk2-e naadaaN3 ne Khilaafat4 ki qaba5
saadagi6 muslim ki dekh auroN ki ayyaari7 bhi dekh
1.tear, rip 2.Turk of Turkey 3.simpleton 4.the Islamic Caliphate (Khilaafat) 5.robe 6.simplicity, innocence 7.cunning, craftiness
iqbal was very active in the Khilaafat movement in India. But then they had the rug pulled from under their feet when mustafa kamaal ataturk abolished the Khilaafat and banished the Khaliif. The simpleton Turk tore the robe of Khilaafat. Look at the innocence of the muslim and look at the cunning trickery of the other (western powers).
16
soorat1-e aaina sab kuch dekh aur Khaamosh rah
shorish2-e imroz3 meN mahv4-e surood5-e dosh6 rah
1.like, similar to 2.noise, confusion 3.today 4.engrossed 5.song, melody, lyre 6.past
He is still addressing the crescent moon and accusing it of being engrossed in the songs of past glory (when he himself has been doing that and has done often). Like the mirror, witness all that is going on and remain silent. Even in the confusion/noise of the day, remain engrossed in odes of past glory (which is exactly what iqbal was doing in earlier ash’aar).
The post hilaal-e eid-mohammed iqbal appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/04/mej-hilaal-e-eid-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ہلالِ عید ۔ معین احسن جذبیؔ
۱
اے ہلالِ عید اے چھوٹے سے ٹکڑے نور کے
اے حیا پرور تبسّم آسمانی حور کے
۲
تو نگارِ مہر کی بھٹکی ہوئی تنویر ہے
یا نگاہِ شوق کی سمٹی ہوئی تصویر ہے
۳
تو کوئی شمعِ سحر ہے جس کی لو بے اختیار
چومتی ہے خاک پروانوں کی جھک کر بار بار
۴
اہلِ عشرت کی نظر میں آنکھ کا تارا ہے تو
آہ لیکن دل جلے کہتے ہیں انگارا ہے تو
۵
تیری موجوں میں خراماں چشمۂ حیواں بھی ہے
تیری موجوں میں ہلاکت آفریں طوفاں بھی ہے
۶
تیری نظروں میں سرورِ بادۂ احمر بھی ہے
تیری نظروں میں جراحت آفریں نشتر بھی ہے
۷
اِک طرف کرتا ہے تو ہنس ہنس کے لوگوں سے کلام
اِک طرف تو کھینچتا ہے اپنی تیغ خوش خرام
۸
اِک طرف تو عیش کا احساس کر دیتا ہے تیز
اِک طرف تو نشۂ افلاس کر دیتا ہے تیز
۹
تیری زر پاشی ہے کب ہم غم کے ماروں کے لیے
آہ تو نکلا ہے اِن سرمایہ داروں کے لیے
हिलाल-ए ईद – मोइन अहसन जज़्बी
१
अए हिलाल-ए ईद अए छोटे से टुकड़े नूर के
अए हया परवर तबस्सुम आसमानी हूर के
२
तू निगार-ए मेहर की भटकी हुई तनवीर है
या निगाह-ए शौक की सिम्टी हुई तस्वीर है
३
तू कोई शमा-ए सहर है जिस की लौ बे-इख़्तियार
चूमती है ख़ाक परवानों की झुक कर बार बार
४
अहल-ए इशरत की नज़र में आंख का तारा है तू
आह लेकिन दिल जले कहते हैं अंगारा है तू
५
तेरी मौजों में ख़रामां चश्मा-ए हयवां भी है
तेरी मौजों में हलाकत आफ़्रीं तूफ़ान भी है
६
तेरी नज़रों में सरूर-ए बादा-ए अहमर भी है
तेरी नज़रों में जराहत आफ़्रीं नश्तर भी है
७
एक तरफ़ करता है तू हंस हंस के लोगों से कलाम
एक तरफ़ तू खींचता है अपनी तेग़-ए ख़ुश ख़राम
८
एक तरफ़ तू ऐश का एहसास कर देता है तेज़
एक तरफ़ तू नशा-ए इफ़्लास कर देता है तेज़
९
तेरी ज़र पाशी है कब हम ग़म के मारों के लिए
आह तू निकला है इन सरमाया दारों के लिए
Click here for background and on any passage for word meanings and explanatory discussion. moin ehsan jazbi (1912-2005) born in aazamgaRh and educated, taught and lived in aligaRh. Member of the Progressive Writers’ Association. He worked as an assistant editor of ‘aajkal’ of which josh malihabadi was also the chief editor. I am not sure if they overlapped but he was close to majaz, faani, sardar jafri and sibt-e hasan. He did his MA from aligaRh and later joined the faculty teaching there until his retirement. He also completed his PhD while teaching and published several collections of poetry. This is a rather poignant view of the hilaal-e eid.
1
aye hilaal1-e eid aye chhoTe se tukRe noor2 ke
aye haya-parvar3 tabassum4 aasmaani hoor5 ke 1.crescent moon 2.light 3.modesty nurturing 4.smile 5.heavenly angel
The poet addresses the crescent moon of eid, symbolizing and announcing the beginning of festivities, as a narrow ray of light. He compares its appearance to the modest smile of heavenly maidens, implying a sense of beauty and purity associated with the moon.
2
tu nigaar1-e mahr2 ki bhaTki3 hui tanveer4 hai
ya nigaah5-e shauq6 ki simTi7 hui tasveer hai 1.adornment, painting 2.sun 3.lost 4.light, brilliance 5.sight, gaze 6.desire, love 7.gathered
The sun adorns itself with light. A ray of such light that adorns the sun got lost and found its way to the crescent moon. Thus, the crescent is a lost ray of light adorning the sun, or, is it the congealed image of ‘nigaah-e shauq’. ‘nigaah-e shauq’ is the gaze of desire. Who is gazing whom? The poet leaves the field wide open … is it god gazing lovingly at humanity?
3
tu koi sham’a-e sahr1 hai jis ki lau2 be-eKhtiyaar3
choomti hai Khaak4 parvaanoN5 ki jhuk kar baar baar 1.dawn 2.flame 3.uncontrolled flaring 4.ashes 5.moths
Here is the picture/image that the she’r sketches. The candle at dawn is on its last legs and the flame flares as it is extinguished. There may be thin flares shooting every now and then appearing uncontrolled. All night long moths have been circling the candle flame and have been burnt to death, their ashes all around. Thus, the dying flame is uncontrollably trying to kiss the ashes of the burnt moths. What does this symbolize? ‘parvaane’ could the the community which loves the crescent moon because it heralds the beginning of eid festivities. And the crescent moon sends its rays down to kiss/bless them. It is possible that ‘ashes’ symbolize the helplessness of the deprived humans.
4
ahl-e-ishrat1 ki nazar2 meN aaNkh ka taara3 hai tu
aah laikin dil jale kahte haiN aNgaara hai tu 1.people of pleasure/luxury 2.eyes 3.apple of the eyes
People who are comfortable/well off are delighted to see the crescent moon for it heralds the beginning of celebration. But those who are deprived, have been burnt by unfulfilled desires, think of it as a painful (hot glowing ember) reminder of their deprivation because they don’t have the means to celebrate.
5
teri maujoN meN KharaamaaN1 chashma-e-haivaaN2 bhi hai
teri maujoN meN halaakat-aafriiN3 toofaaN4 bhi hai 1.graceful walk/gait 2.spring/source of life 3.creating destruction, ruinous 4.storm
The poet presents the same two ways of looking at the crescent moon. Those who are well-off see it as the gentle gait of renewal – the gentle flow of the river of life. Those who are deprived can see it as a destructive storm making them even more acutely aware of their deprivation.
6
teri nazroN meN suroor1-e baadah2-e ahmar3 bhi hai
teri nazroN meN jaraahat-aafriiN4 nashtar5 bhi hai 1.pleasure 2.wine 3.red 4.creating wounds, hurting 5.knife, dagger
Yet another set of contrasting perceptions of the crescent moon. It can be as pleasure giving as red wine or as pain inflicting as a dagger, depending on whether you are well-off or deprived.
7
ek taraf1 karta hai tu haNs haNs ke logoN se kalaam2
ek taraf tu kheeNchta hai apni teGh3-e Khush-Kharaam4 1.side, direction 2.conversation 3.sword 4.elegant moves (used sarcastically)
One side (with the rich and well provided) you converse happily and on the other side you pull out your sharp sword.
8
ek taraf1 tu aish2 ka ehsaas3 kar deta hai tez4
ek taraf tu nasha5-e iflaas6 kar deta hai tez 1.side 2.luxury, pleasure 3.feeling, sensation 4.intense 5.intoxication, dullness of sensitivity 6.poverty, deprivation
On the one side (for the well endowed) you increase the feelings of pleasure/luxury. On the other side you lull the sensitivity to deprivation (perhaps by providing a temporary, fleeting sense of celebration).
9
teri zar-paashi1 hai kab hum Gham ke maaroN ke liye
aah tu nikla hai in sarmaaya-daaroN2 ke liye
1.spreading/sprinkling gold 2.wealthy, capitalists
When is your generosity (spreading of golden light) ever for the sorrow stricken. Alas, you emerge only of the wealthy.
moin ehsan jazbi (1912-2005) born in aazamgaRh and educated, taught and lived in aligaRh. Member of the Progressive Writers’ Association. He worked as an assistant editor of ‘aajkal’ of which josh malihabadi was also the chief editor. I am not sure if they overlapped but he was close to majaz, faani, sardar jafri and sibt-e hasan. He did his MA from aligaRh and later joined the faculty teaching there until his retirement. He also completed his PhD while teaching and published several collections of poetry. This is a rather poignant view of the hilaal-e eid.
1
aye hilaal1-e eid aye chhoTe se tukRe noor2 ke
aye haya-parvar3 tabassum4 aasmaani hoor5 ke
1.crescent moon 2.light 3.modesty nurturing 4.smile 5.heavenly angel
The poet addresses the crescent moon of eid, symbolizing and announcing the beginning of festivities, as a narrow ray of light. He compares its appearance to the modest smile of heavenly maidens, implying a sense of beauty and purity associated with the moon.
2
tu nigaar1-e mahr2 ki bhaTki3 hui tanveer4 hai
ya nigaah5-e shauq6 ki simTi7 hui tasveer hai
1.adornment, painting 2.sun 3.lost 4.light, brilliance 5.sight, gaze 6.desire, love 7.gathered
The sun adorns itself with light. A ray of such light that adorns the sun got lost and found its way to the crescent moon. Thus, the crescent is a lost ray of light adorning the sun, or, is it the congealed image of ‘nigaah-e shauq’. ‘nigaah-e shauq’ is the gaze of desire. Who is gazing whom? The poet leaves the field wide open … is it god gazing lovingly at humanity?
3
tu koi sham’a-e sahr1 hai jis ki lau2 be-eKhtiyaar3
choomti hai Khaak4 parvaanoN5 ki jhuk kar baar baar
1.dawn 2.flame 3.uncontrolled flaring 4.ashes 5.moths
Here is the picture/image that the she’r sketches. The candle at dawn is on its last legs and the flame flares as it is extinguished. There may be thin flares shooting every now and then appearing uncontrolled. All night long moths have been circling the candle flame and have been burnt to death, their ashes all around. Thus, the dying flame is uncontrollably trying to kiss the ashes of the burnt moths. What does this symbolize? ‘parvaane’ could the the community which loves the crescent moon because it heralds the beginning of eid festivities. And the crescent moon sends its rays down to kiss/bless them. It is possible that ‘ashes’ symbolize the helplessness of the deprived humans.
4
ahl-e-ishrat1 ki nazar2 meN aaNkh ka taara3 hai tu
aah laikin dil jale kahte haiN aNgaara hai tu
1.people of pleasure/luxury 2.eyes 3.apple of the eyes
People who are comfortable/well off are delighted to see the crescent moon for it heralds the beginning of celebration. But those who are deprived, have been burnt by unfulfilled desires, think of it as a painful (hot glowing ember) reminder of their deprivation because they don’t have the means to celebrate.
5
teri maujoN meN KharaamaaN1 chashma-e-haivaaN2 bhi hai
teri maujoN meN halaakat-aafriiN3 toofaaN4 bhi hai
1.graceful walk/gait 2.spring/source of life 3.creating destruction, ruinous 4.storm
The poet presents the same two ways of looking at the crescent moon. Those who are well-off see it as the gentle gait of renewal – the gentle flow of the river of life. Those who are deprived can see it as a destructive storm making them even more acutely aware of their deprivation.
6
teri nazroN meN suroor1-e baadah2-e ahmar3 bhi hai
teri nazroN meN jaraahat-aafriiN4 nashtar5 bhi hai
1.pleasure 2.wine 3.red 4.creating wounds, hurting 5.knife, dagger
Yet another set of contrasting perceptions of the crescent moon. It can be as pleasure giving as red wine or as pain inflicting as a dagger, depending on whether you are well-off or deprived.
7
ek taraf1 karta hai tu haNs haNs ke logoN se kalaam2
ek taraf tu kheeNchta hai apni teGh3-e Khush-Kharaam4
1.side, direction 2.conversation 3.sword 4.elegant moves (used sarcastically)
One side (with the rich and well provided) you converse happily and on the other side you pull out your sharp sword.
8
ek taraf1 tu aish2 ka ehsaas3 kar deta hai tez4
ek taraf tu nasha5-e iflaas6 kar deta hai tez
1.side 2.luxury, pleasure 3.feeling, sensation 4.intense 5.intoxication, dullness of sensitivity 6.poverty, deprivation
On the one side (for the well endowed) you increase the feelings of pleasure/luxury. On the other side you lull the sensitivity to deprivation (perhaps by providing a temporary, fleeting sense of celebration).
9
teri zar-paashi1 hai kab hum Gham ke maaroN ke liye
aah tu nikla hai in sarmaaya-daaroN2 ke liye
Top of Form
1.spreading/sprinkling gold 2.wealthy, capitalists
When is your generosity (spreading of golden light) ever for the sorrow stricken. Alas, you emerge only of the wealthy.
The post hilaal-e eid-moin ehsan jazbi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/04/bdshrp-mansoor-ki-baateN-kareN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
منصور کی باتیں کریں ۔ بام دیو شرما رشیؔ پٹیالوی
۱
قیس کی باتیں کریں منصور کی باتیں کریں
ہم کوئی موسیٰ نہیں جو طُور کی باتیں کریں
۲
اضطرابِ شوق میں اب دل ٹھہرتا ہی نہیں
دل کہیں ٹھہرے تو ہم دستور کی باتیں کریں
۳
کون سمجھے دل کی باتیں کس کو اتنا ہوش ہے
کیا کسی سے جذبۂ مستور کی باتیں کریں
۴
یہ بھی سحرِ عشق کا ادنیٰ سا ہے حسنِ کمال
خاک کے پتلے بھی رنگ و نور کی باتیں کریں
۵
یہ سکوتِ شب، مہ و انجم کی یہ سرگوشیاں
جی میں ہے اس عارضِ پُرنُور کی باتیں کریں
۶
نعرۂ منصور کو سمجھیں تو ہم سمجھیں اُنہیں
کہنے سننے کو تو سب منصور کی باتیں کریں
۷
دُور ہے حدّ نظر سے جلوۂ حسنِ تمام
دُور کے جلووں کو دیکھیں دُور کی باتیں کریں
۸
ہم شکستہ پا کہاں، اُن کا درِ عالی کہاں
عقل کی باتیں کریں، دستور کی باتیں کریں
۹
جن کی آنکھوں میں سمایا ہو رشیؔ اُن کا جمال
بھول کر بھی کیوں وہ خلد و حور کی باتیں کریں
मन्सूर की बातें करें – बाम देव शर्मा रिशी पटियालवी
१
क़ैस की बातें करें मन्सूर की बातें करें
हम कोई मूसा नहीं जो तूर की बातें करें
२
इज़्तेराब-ए शौक़ में अब दिल ठहरता ही नहीं
दिल कहीं ठहरे तो हम दस्तूर की बातें करें
३
कौन समझे दिल की बातें, किस को इतना होश है
क्या किसी से जज़्बा-ए मस्तूर की बातें करें
४
ये भी सहर-ए इश्क़ का अदना सा है हुस्न-ए कमाल
ख़ाक के पुतले भी रंग ओ नूर की बातें करें
५
ये सुकूत-ए शब, मह ओ अंजुम की ये सरगोशियाँ
जी में है इस आरेज़-ए पुरनूर की बातें करें
६
नारा-ए मन्सूर को समझें तो हम समझें उन्हें
कहने सुनने को तो सब मन्सूर की बातें करें
७
दूर है हद्द-ए नज़र से जल्वा-ए हुस्न-ए तमाम
दूर के जल्वौं को देखें दूर की बातें करें
८
हम शिकस्ता पा कहाँ, उन का दर-ए आ’ली कहाँ
अक़्ल की बातें करें, दस्तूर की बातें करें
९
जिन की आँखों में समाया हो रिशी उन का जमाल
भूल कर भी क्यूं वो ख़ुल्द ओ हूर की बातें करें
Click here for background and on any passage for word meanings and explanatory discussion. baam dev sharma rishi paTialavi (1917-1999) originally from hoshiarpur in punjab. He was a disciple of nasim noormahli, who in turn was a disciple of daaGh dehlavi. He has written exquite Ghazal in chaste urdu and many progressive nazm in chaste urdu as well as in spoken hindi/urdu/hindustani. He was part of group of friends who organized joint celebration of one another’s religious festivities to promote communal harmony. This Ghazal is linked to others with the radeef ‘ki baat kareN’ on the Refrain Index page.
1
qais1 ki baateN kareN mansoor2 ki baateN kareN
ham ko’i moosa3 nahiN jo tuur4 ki baateN kareN 1.name of majnuN of laila-majnuN legend 2.mansoor-al-hallaaj, sufi scholar, rebel 3.Moses 4.mount tuur in sinaaii
Let us talk of the stories of qais and mansoor. qais is a legendary lover known for his passionate love for laila, while mansoor is renowned sufi scholar who rebelled against orthodoxy and was put to death. qais is symbolic of mad/passionate love and mansoor for his principled stand refusing to recant his teaching in the face of a death sentence. The poet holds up these two loves against the orthodox teaching of moosa/Moses brought down as the ten commandments from mount tuur – we are not moosa to talk about divinity, let us talk about the passion and courage of qais and mansoor.
2
izteraab1-e shauq2 meN ab dil Thahrta hi nahiN
dil kahiN Thahre to ham dastoor3 ki baateN kareN 1.restlessness 2.desire, love 3.traditions
The heart is always restless in the pursuit of its intense love. It has no time to stop. If it were ever to stop and rest, then we may discuss norms and traditions. Until then, the intensity of love pre-empts all other discussion.
3
kaun samjhe dil ki baateN kis ko itna hosh1 hai
kya kisi se jazbah2-e mastoor3 ki baateN kareN 1.awareness, understanding 2.emotions 3.hidden, inner
Who can truly understand the feelings of the heart and who possesses the sensitivity to comprehend its hidden emotions. How can we talk about these emotions if we don’t understand them.
4
yeh bhi sahr1-e ‘ishq ka adna2 sa hai husn3-e kamaal4
Khaak ke putle5 bhi raNg o noor ki baateN kareN 1.magic, enchantment 2.ordinary 3.beauty 4.excellence, perfection 5.clay idol i.e., human being
The subject peforming the magic in this she’r is ‘ishq’. An ordinary magical trick of the beauty of the excellence of ishq is that even human beings talk of ‘raNg o noor’ i.e., they can conceive of raNg – colour/beauty/syles and noor – brilliance. It is ishq that gives them this ability.
5
yeh sukoot1-e shab2, mah3 o anjum4 ki yeh sargoshiyaaN5
jii6 meN hai is ‘aariz7-e pur-noor8 ki baateN kareN 1.silence, peace and quiet 2.night 3.moon 4.stores 5.whispers 6.heart 7.face, image 8.full of light, bright
The poet reflects on the quiet of the night and the whispers of the moon and stars. This is a moment conducive to contemplation of that ‘bright face’. This could be the bright face of the beloved or of the divine.
6
naarah1-e mansoor2 ko samjheN3 to ham samjheN unheN
kahne sun’ne ko to sab mansoor ki baateN kareN 1.cry, call 2.mansoor-al-hallaaj 3.understand
The cry of mansoor (for which he was charged and put to death) was ‘an-al-haq’ meaning ‘I am the Truth’ i.e., declaring his one-ness with the divine. Thus, if we understood the meaning of his cry then we will understand ‘them’. It is not entirely clear but I think that the ‘unheN-them’ of the first misra and the ‘sab-everyone’ of the second misra refer to the same group – everyone around the poet. They all talk about mansoor without really understanding the meaning of his cry/call.
7
duur hai hadd1-e nazar2 se jalvah3-e husn4-e tamaam5
duur ke jalvoN ko dekheN duur ki baateN kareN 1.limit, boundary 2.sight 3.manifestation 4.beauty 5.complete, perfect
The manifestation of ‘perfect beauty’ i.e., divine beauty, is far … far beyond the limits of sight. Thus, we cannot see it. But still, let us see/contemplate these far away manifestations and let us talk about them.
8
ham shikastah-paa1 kahaaN, un ka dar2-e ‘aali3 kahaaN
aql4 ki baateN kareN, dastoor5 ki baateN kareN 1.broken legs, broken/defeated 2.door 3.hight, exalted 4.mind 5.traditions
We have limited capabilities. It is as if our legs are broken. Where are we – broken and defeated – compared to that exalted door. Never the less, let us engage in intellectual discourse and talk about traditions. It is not clear whether he is questioning/rejecting traditions or asking us to adopt them. I think the former.
9
jin ki aaNkhoN meN samaaya1 hai rishi2, un ka jamaal3
bhool kar bhi kyuN voh Khuld4 o hoor5 ki baateN kareN 1.contained, filled 2.pen-name of the poet 3.beauty, glory 4.heaven 5.angelic virgin
O rishi, those whose eyes are filled with the beauty of the beloved. Why would then even in a forgetful moment contemplate heaven or angels. They are quite happy to contemplate the beauty of the beloved.
baam dev sharma rishi paTialavi (1917-1999) originally from hoshiarpur in punjab. He was a disciple of nasim noormahli, who in turn was a disciple of daaGh dehlavi. He has written exquite Ghazal in chaste urdu and many progressive nazm in chaste urdu as well as in spoken hindi/urdu/hindustani. He was part of group of friends who organized joint celebration of one another’s religious festivities to promote communal harmony. This Ghazal is linked to others with the radeef ‘ki baat kareN’ on the Refrain Index page.
1
qais1 ki baateN kareN mansoor2 ki baateN kareN
ham ko’i moosa3 nahiN jo tuur4 ki baateN kareN
1.name of majnuN of laila-majnuN legend 2.mansoor-al-hallaaj, sufi scholar, rebel 3.Moses 4.mount tuur in sinaaii
Let us talk of the stories of qais and mansoor. qais is a legendary lover known for his passionate love for laila, while mansoor is renowned sufi scholar who rebelled against orthodoxy and was put to death. qais is symbolic of mad/passionate love and mansoor for his principled stand refusing to recant his teaching in the face of a death sentence. The poet holds up these two loves against the orthodox teaching of moosa/Moses brought down as the ten commandments from mount tuur – we are not moosa to talk about divinity, let us talk about the passion and courage of qais and mansoor.
2
izteraab1-e shauq2 meN ab dil Thahrta hi nahiN
dil kahiN Thahre to ham dastoor3 ki baateN kareN
1.restlessness 2.desire, love 3.traditions
The heart is always restless in the pursuit of its intense love. It has no time to stop. If it were ever to stop and rest, then we may discuss norms and traditions. Until then, the intensity of love pre-empts all other discussion.
3
kaun samjhe dil ki baateN kis ko itna hosh1 hai
kya kisi se jazbah2-e mastoor3 ki baateN kareN
1.awareness, understanding 2.emotions 3.hidden, inner
Who can truly understand the feelings of the heart and who possesses the sensitivity to comprehend its hidden emotions. How can we talk about these emotions if we don’t understand them.
4
yeh bhi sahr1-e ‘ishq ka adna2 sa hai husn3-e kamaal4
Khaak ke putle5 bhi raNg o noor ki baateN kareN
1.magic, enchantment 2.ordinary 3.beauty 4.excellence, perfection 5.clay idol i.e., human being
The subject peforming the magic in this she’r is ‘ishq’. An ordinary magical trick of the beauty of the excellence of ishq is that even human beings talk of ‘raNg o noor’ i.e., they can conceive of raNg – colour/beauty/syles and noor – brilliance. It is ishq that gives them this ability.
5
yeh sukoot1-e shab2, mah3 o anjum4 ki yeh sargoshiyaaN5
jii6 meN hai is ‘aariz7-e pur-noor8 ki baateN kareN
1.silence, peace and quiet 2.night 3.moon 4.stores 5.whispers 6.heart 7.face, image 8.full of light, bright
The poet reflects on the quiet of the night and the whispers of the moon and stars. This is a moment conducive to contemplation of that ‘bright face’. This could be the bright face of the beloved or of the divine.
6
naarah1-e mansoor2 ko samjheN3 to ham samjheN unheN
kahne sun’ne ko to sab mansoor ki baateN kareN
1.cry, call 2.mansoor-al-hallaaj 3.understand
The cry of mansoor (for which he was charged and put to death) was ‘an-al-haq’ meaning ‘I am the Truth’ i.e., declaring his one-ness with the divine. Thus, if we understood the meaning of his cry then we will understand ‘them’. It is not entirely clear but I think that the ‘unheN-them’ of the first misra and the ‘sab-everyone’ of the second misra refer to the same group – everyone around the poet. They all talk about mansoor without really understanding the meaning of his cry/call.
7
duur hai hadd1-e nazar2 se jalvah3-e husn4-e tamaam5
duur ke jalvoN ko dekheN duur ki baateN kareN
1.limit, boundary 2.sight 3.manifestation 4.beauty 5.complete, perfect
The manifestation of ‘perfect beauty’ i.e., divine beauty, is far … far beyond the limits of sight. Thus, we cannot see it. But still, let us see/contemplate these far away manifestations and let us talk about them.
8
ham shikastah-paa1 kahaaN, un ka dar2-e ‘aali3 kahaaN
aql4 ki baateN kareN, dastoor5 ki baateN kareN
1.broken legs, broken/defeated 2.door 3.hight, exalted 4.mind 5.traditions
We have limited capabilities. It is as if our legs are broken. Where are we – broken and defeated – compared to that exalted door. Never the less, let us engage in intellectual discourse and talk about traditions. It is not clear whether he is questioning/rejecting traditions or asking us to adopt them. I think the former.
9
jin ki aaNkhoN meN samaaya1 hai rishi2, un ka jamaal3
bhool kar bhi kyuN voh Khuld4 o hoor5 ki baateN kareN
1.contained, filled 2.pen-name of the poet 3.beauty, glory 4.heaven 5.angelic virgin
O rishi, those whose eyes are filled with the beauty of the beloved. Why would then even in a forgetful moment contemplate heaven or angels. They are quite happy to contemplate the beauty of the beloved.
The post mansoor ki baateN kareN-baam dev sharma rishi paTialavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/03/saahsa-shaaer-ka-mazhab-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شاعر کا مذہب ۔ سید عاشق حسین سیمابؔ اکبرآبادی
۱
مجھے کانٹوں سے دِلبستگی، پھولوں سے اُلفت ہے
عقیدت میں میرے کُل کائنات اِک بزمِ فطرت ہے
۲
نہیں محدود رسم و راہ تک ذہنِ رسا میرا
ہو گرد آلود کیوں اِن لعنتوں سے آئینہ میرا
۳
کلیسا میں بھی مجھ کو موقعِ تکمیلِ مستی ہے
مجھے محرابِ کعبہ میں بھی اِذنِ بُت پرستی ہے
۴
حدودِ میکشی ہیں خلوتیں پرہیز گاروں کی
پھرا کرتا ہوں سرخوش انجمن میں چاند تاروں کی
۵
سمجھتا ہوں کہ ہر اِنساں کے دِل کا آئینہ میں ہوں
نہیں نفرت کسی سے وہ نگاہِ آشنا میں ہوں
۶
خیالوں میں مرے وسعت بقدرِ ذوقِ بیحد ہے
یہ ساری بزمِ عالم وقتِ سجدہ میرا معبَد ہے
۷
قیودِ سبّحہ و زُنّار سے بھی ماورا ہوں میں
تعیّن کی حدیں ٹھکرا کے آگے بڑھ گیا ہوں میں
۸
مجھے مطلب نہیں دیر و حرم کی تنگ راہی سے
براہِ راست ہے اِک واسطہ عرشِ اِلٰہی سے
۹
خدا کا نام لے کر توڑتی ہیں میری تکبیریں
یہ کس نے ڈال دیں ہیں پاؤں میں اِنساں کی زنجیریں
۱۰
کرو اعلان، ہے فطرت ہی اک مذہب ہر اِنساں کا
مری مِلّت میں جھگڑا ہی نہیں کفر اور ایماں کا
۱۱
پھر اِس اعلان میں گنجائشِ چون و چراں کب ہے
کہ جو فطرت کا مذہب ہے وہی شاعر کا مذہب ہے
शा’एर का मज़्हब – सय्यद आशेक़ हुसैन सीमाब अकबराबादी
१
मुझे कांटौं से दिलबस्तगी, फूलौं से उल्फ़त है
अक़ीदत में मेरे कुल का’एनात एक बज़्म-ए फ़ित्रत है
२
नहीं महदूद रस्म ओ राह तक ज़हन-ए रसा मेरा
हो गर्द आलूद क्यूं इन ला’नतौं से आइना मेरा
३
कलीसा में भी मुझ को मौक़ा-ए तक्मील-ए मस्ती है
मुझे मेहराब-ए काबा में भी इज़्न-ए बुत-परस्ती है
४
हुदूद-ए मैकशी हैं ख़ल्वतें परहेज़-गारौं कि
फिरा करता हूं सरख़ुश अंजुमन में चांद तारौं कि
५
समझता हूं के हर इन्सां के दिल का आइना मैं हूं
नहीं नफ़्रत किसी से वो निगाह-ए आश्ना मैं हूं
६
ख़यालौं में मेरे वुस’अत ब-क़द्र-ए ज़ौक़-ए बे-हद्द है
ये सारी बज़्म-ए आलम वक़्त-ए सिज्दा मेरा म’आबद है
७
क़ुयूद-ए सुब्बह ओ ज़ुन्नार से भी मावरा हूं मैं
त’अय्युन कि हदें ठुकरा के आगे बढ़ गया हूं मैं
८
मुझे मत्लब नहीं दैर ओ हरम कि तंग राही से
ब-राह-ए रास्त है एक वास्ता अर्श-ए इलाही से
९
ख़ुदा का नाम ले कर तोढती हैं मेरी तक्बीरें
ये किस ने डाल दीं हैं पाऊं में इन्सां कि ज़ंजीरें
१०
करो ए’लान है फ़ित्रत ही एक मज़्हब हर इन्सां का
मेरी मिल्लत में झगढा ही नहीं कुफ़्र और ईमां का
११
फिर इस ए’लान में गुन्जाएश-ए चून ओ चरां कब है
के जो फ़ित्रत का मज़्हब है, वही शा’एर का मज़्हब है
Click here for background and on any passage for word meanings and explanatory discussion. syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’.
1
mujhe kaaNTauN se dilbastagi1, phoolauN se ulfat2 hai
aqeedat3 meN mere, kul4 kaa’enaat5 ek bazm-e-fitrat6 hai 1.association/relationship of heart 2.love 3.faith, belief 4.total, all 5.creation, universe 6.gathering of nature
I have an amorous relationship with thorns, I love flowers. I believe that the whole universe is a harmonious arrangement of nature.
2
nahiN mahdood1 rasm-o-raah2 tak zahn3-e rasaa4 mera
ho gard-aalood5 kyuN in la’anatauN6 se aa’ina7 mera 1.limited 2.rituals and traditions 3.mind 4.far reaching 5.dust covered 6.curses 7.mirror/heart/conscience
My far reaching mind is not confined by rituals and traditions. Why should my clear conscience be sullied by such curses.
3
kaleesa1 meN bhi mujh ko mauqa2-e takmeel3-e masti4 hai
mujhe mehraab5-e kaaba meN bhi izn6-e but-parasti7 hai 1.church 2.opportunity, chance 3.completion 4.intoxication (with love), sufi trance, union with god 5.central arch 6.permission 7.idol worship
I have the opportunity to achieve union with god in a church and I have permission to perform idol worship in the central arch of a mosque/kaaba.
4
hudood1-e maikashi2 haiN KhalvateN3 parhez-gaarauN4 ki
phira karta huN sarKhush5 anjuman6 meN chaand taarauN ki 1.limits 2.wine drinking 3.private domains, privacy 4.those who observe dietary restriction/no alcohol 5.elated 6.gathering
‘maikashi’ – wine drinking is used both literally and as a metaphor for liberal thinking. This stops at the door of those who prefer to keep to their belief-practices in their privacy. The poet/sufi is respectful of such limits. He goes around with much joy and elation in public gatherings.
5
samajhta huN keh har insaaN ke dil ka aa’ina1 maiN huN
nahiN nafrat2 kisi se vo nigaah-e-aashna3 maiN huN 1.mirror reflection 2.hatred 3.discerning eye
In the sufi tradition every other human being is reflected in him (all seek union with god). He is the discerning eye that carries no hatred for anyone.
6
KhayaalauN meN mere vus’at1 ba-qadr2-e zauq3-e be-hadd4 hai
ye saari bazm-e-aalam5 vaqt-e sijda6 mera m’aabad7 hai 1.expanse 2.in proportion to, by the same measure as 3.taste, desire, love 4.limitless 5.gathering of the universe 6.prostration, kneeling in prayer 7.object of worship (usually god)
My thoughts are as expansive as my love is unlimited. When I bow/kneel in prayer, the whole universe is the object of my worship.
7
quyood1-e subbah2 o zunnar3 se bhi maavara4 huN maiN
t’ayyun5 ki hadeN6 Thukra ke aage baRh gaya huN maiN 1.rules, traditions 2.tasbeeh, rosary, Islamic 3.Hindu ceremonial thread 4.beyond 5.pre-determined 6.limits
I am well beyond the rules and rituals of religion (Islamic or Hindu). I break through pre-set limits of tradition and go far beyond.
8
mujhe matlab1 nahiN dair2 o haram3 ki taNg-raahi4 se
ba-raah-e-raast5 hi ek vaasta6 arsh-e-ilaahi7 se 1.concern 2.temple 3.mosque 4.narrow/restricted path 5.by direct pathway 6.relationship 7.god’s heaven
I am not concerned with the restrictive path of temple and mosque. I have a direct pathway to a relationship with god in his heaven.
9
mujhe matlab1 nahiN dair2 o haram3 ki taNg-raahi4 se
ba-raah-e-raast5 hi ek vaasta6 arsh-e-ilaahi7 se 1.concern 2.temple 3.mosque 4.narrow/restricted path 5.by direct pathway 6.relationship 7.god’s heaven
I am not concerned with the restrictive path of temple and mosque. I have a direct pathway to a relationship with god in his heaven.
10
karo e’laan1, hai fitrat2 hi ek mazhab, har insaaN ka
meri millat3 meN jhagRa hi nahiN kufr4 aur eemaaN5 ka 1.proclamation 2.nature 3.community, culture 4.non-faith, other faith 5.belief, faith
Make a proclamation that natural order itself is the religion of man. In this (my) faith/culture there is no conflict beween faith and non-faith (other faith).
11
phir is e’laan1 meN gunjaa’esh2-e choon-o-charaaN3 kab hai
ke jo fitrat4 ka mazhab hai, vahi shaa’er ka mazhab hai .proclamation 2.room, place 3.trivial disputation 4.nature
In this proclamation, there is no room for dispute because whatever the faith of nature is, is the faith of the poet.
syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’.
1
mujhe kaaNTauN se dilbastagi1, phoolauN se ulfat2 hai
aqeedat3 meN mere, kul4 kaa’enaat5 ek bazm-e-fitrat6 hai
1.association/relationship of heart 2.love 3.faith, belief 4.total, all 5.creation, universe 6.gathering of nature
I have an amorous relationship with thorns, I love flowers. I believe that the whole universe is a harmonious arrangement of nature.
2
nahiN mahdood1 rasm-o-raah2 tak zahn3-e rasaa4 mera
ho gard-aalood5 kyuN in la’anatauN6 se aa’ina7 mera
1.limited 2.rituals and traditions 3.mind 4.far reaching 5.dust covered 6.curses 7.mirror/heart/conscience
My far reaching mind is not confined by rituals and traditions. Why should my clear conscience be sullied by such curses.
3
kaleesa1 meN bhi mujh ko mauqa2-e takmeel3-e masti4 hai
mujhe mehraab5-e kaaba meN bhi izn6-e but-parasti7 hai
1.church 2.opportunity, chance 3.completion 4.intoxication (with love), sufi trance, union with god 5.central arch 6.permission 7.idol worship
I have the opportunity to achieve union with god in a church and I have permission to perform idol worship in the central arch of a mosque/kaaba.
4
hudood1-e maikashi2 haiN KhalvateN3 parhez-gaarauN4 ki
phira karta huN sarKhush5 anjuman6 meN chaand taarauN ki
1.limits 2.wine drinking 3.private domains, privacy 4.those who observe dietary restriction/no alcohol 5.elated 6.gathering
‘maikashi’ – wine drinking is used both literally and as a metaphor for liberal thinking. This stops at the door of those who prefer to keep to their belief-practices in their privacy. The poet/sufi is respectful of such limits. He goes around with much joy and elation in public gatherings.
5
samajhta huN keh har insaaN ke dil ka aa’ina1 maiN huN
nahiN nafrat2 kisi se vo nigaah-e-aashna3 maiN huN
1.mirror reflection 2.hatred 3.discerning eye
In the sufi tradition every other human being is reflected in him (all seek union with god). He is the discerning eye that carries no hatred for anyone.
6
KhayaalauN meN mere vus’at1 ba-qadr2-e zauq3-e be-hadd4 hai
ye saari bazm-e-aalam5 vaqt-e sijda6 mera m’aabad7 hai
1.expanse 2.in proportion to, by the same measure as 3.taste, desire, love 4.limitless 5.gathering of the universe 6.prostration, kneeling in prayer 7.object of worship (usually god)
My thoughts are as expansive as my love is unlimited. When I bow/kneel in prayer, the whole universe is the object of my worship.
7
quyood1-e subbah2 o zunnar3 se bhi maavara4 huN maiN
t’ayyun5 ki hadeN6 Thukra ke aage baRh gaya huN maiN
1.rules, traditions 2.tasbeeh, rosary, Islamic 3.Hindu ceremonial thread 4.beyond 5.pre-determined 6.limits
I am well beyond the rules and rituals of religion (Islamic or Hindu). I break through pre-set limits of tradition and go far beyond.
8
mujhe matlab1 nahiN dair2 o haram3 ki taNg-raahi4 se
ba-raah-e-raast5 hi ek vaasta6 arsh-e-ilaahi7 se
1.concern 2.temple 3.mosque 4.narrow/restricted path 5.by direct pathway 6.relationship 7.god’s heaven
I am not concerned with the restrictive path of temple and mosque. I have a direct pathway to a relationship with god in his heaven.
9
Khuda ka naam le kar toRti haiN meri takbeereN1ye kis ne Daal deeN haiN paauN meN insaaN ki zanjeereN
1.the cry of ‘allaahu akbar’
In the name of god/praising god, I break the chains that have been placed around the feet of human beings, freeing them from narrow traditions.
10
karo e’laan1, hai fitrat2 hi ek mazhab, har insaaN ka
meri millat3 meN jhagRa hi nahiN kufr4 aur eemaaN5 ka
1.proclamation 2.nature 3.community, culture 4.non-faith, other faith 5.belief, faith
Make a proclamation that natural order itself is the religion of man. In this (my) faith/culture there is no conflict beween faith and non-faith (other faith).
11
phir is e’laan1 meN gunjaa’esh2-e choon-o-charaaN3 kab hai
ke jo fitrat4 ka mazhab hai, vahi shaa’er ka mazhab hai
1.proclamation 2.room, place 3.trivial disputation 4.nature
In this proclamation, there is no room for dispute because whatever the faith of nature is, is the faith of the poet.
The post shaa’er ka mazhab-seemaab akbarabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2024/03/chpbn-shaaer-ka-mazhab-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شاعر کا مذہب ۔ پنڈت برج نرائن چکبستؔ
۱
کہتے ہیں جسے ابر وہ میخانہ ہے میرا
جو پھول کِھلا باغ میں پیمانہ ہے میرا
۲
کیفیّتِ گلشن ہے میرے نشّہ کا عالم
کوئل کی صدا نعرۂ مستانہ ہے میرا
۳
پیتا ہوں وہ مئے نشہ اُترتا نہیں جس کا
خالی نہیں ہوتا ہے وہ پیمانہ ہے میرا
۴
دریا مرا آئینہ ہے لہریں مرے گیسو
اور موجِ نسیمِ سحری شانہ ہے میرا
۵
ہر ذرّۂ خاکی ہے مرا مونس و ہمدم
دنیا جسے کہتے ہیں وہ کاشانہ ہے میرا
۶
جس جا ہو خوشی، ہے وہ مجھے منزل راحت
جس گھر میں ہو ماتم وہ عزا خانہ ہے میرا
۷
جس گوشۂ دنیا میں پرستش ہو وفا کی
کعبہ ہے وہی اور وہی بت خانہ ہے میرا
۸
میں دوست بھی اپنا ہوں عدو بھی ہوں میں اپنا
اپنا ہے کوئی اور نہ بیگانہ ہے میرا
۹
عاشق بھی ہوں معشوق بھی یہ طرفہ مزہ ہے
دیوانہ ہوں میں جس کا وہ دیوانہ ہے میرا
۱۰
خاموشی میں یاں رہتا ہے تقریر کا عالم
میرے لبِ خاموش پہ افسانہ ہے میرا
۱۱
کہتے ہیں خودی کس کو خدا نام ہے کس کا
دنیا میں فقط جلوۂ جانانہ ہے میرا
۱۲
ملتا نہیں ہر ایک کو وہ نور ہے مجھ میں
جو صاحبِ بینش ہے وہ پروانہ ہے میرا
۱۳
شاعر کا سخن کم نہیں مجذوب کی بڑ سے
ہر ایک نہ سمجھے گا وہ افسانہ ہے میرا
शा’एर का मज़्हब – पंडित ब्रिज नरायन चकबस्त
१
कहते हैं जिसे अब्र वो मै-ख़ाना है मेरा
जो फूल खिला बाग़ में पैमाना है मेरा
२
कैफ़िय्यत-ए गुलशन है मेरे नश्शे का आलम
को’एल की सदा नारा-ए मस्ताना है मेरा
३
पीता हूं वो मै नशा उतरता नहीं जिसका
ख़ाली नहीं होता है वो पैमाना है मेरा
४
दरिया मेरा आईना है लहरें मेरे गेसु
और मौज-ए नसीम-ए सहरी शाना है मेरा
५
हर ज़र्रा-ए ख़ाकी है मेरा मोनिस ओ हमदम
दुनिया जिसे कहते है वो काशाना है मेरा
६
जिस जा हो ख़ुशी, है वो मुझे मंजिल-ए राहत
जिस घर में हो मातम वो अज़ा-ख़ाना है मेरा
७
जिस गोशा-ए दुनिया में परस्तिश हो वफ़ा की
काबा है वही और वही बुत-ख़ाना है मेरा
८
मैं दोस्त भी अपना हूं और उदू भी हूं मैं अपना
अपना है कोई और न बेगाना है मेरा
९
आशिक़ भी हूं माशूक़ भी ये तुर्फ़ा मज़ा है
दीवाना हूं मैं जिसका वो दीवाना है मेरा
१०
ख़ामोशी में यां रहता है तक़्रीर का आलम
मेरे लब-ए ख़ामोश पे अफ़्साना है मेरा
११
कहते हैं ख़ुदी किस को, ख़ुदा नाम है किस का
दुनिया में फ़क़त जल्वा-ए जानाना है मेरा
१२
मिलता नहीं हर एक को वो नूर है मुझ में
जो साहब-ए बीनिश है वो परवाना है मेरा
१३
शा’एर का सुख़न कम नहीं मज्ज़ूब की बढ से
हर एक नहीं समझेगा वो अफ़्साना है मेरा
Click here for background and on any passage for word meanings and explanatory discussion. brij narain chakbast (1882-1926) was born in faizabad into a kashmiri brahmin family who moved to lakhnau soon after his birth. He received his early education from a maulvi, learning urdu, arabi and faarsi. Later, he got a law degree and then practised law in lakhnau. Unfortunately, he died very young of a stroke he suffered while traveling by train to argue a case in bareily. His book was published posthumously. The description of natural beauty and the shaa’er’s relationship to it, has strong echoes of his description of the beauty of kashmir.
1
kahtay haiN jisay abr1 voh mai-Khaanah2 hai mera
jo phool khila3 baaGh meN paimaana4 hai mera 1.cloud 2.tavern 3.blossomed 4.cup
A cloud gives rain. Rainwater collects in flowers that blossom in the shape of a cup. Thus, this collected rainwater is wine, the cloud is a tavern and the flower is cup for the poet. He drinks his fill of natural beauty.
2
kaifiyyat1-e gulshan2 hai meray nashshay3 ka aalam4
ko’el ki sadaa5 naara6-e mastaana7 hai mera 1.mood 2.garden 3.intoxication 4.condition 5.sound 6.call, declaration 7.intoxicating
The mood of the garden shapes the condition of my intoxication. The sound of the ko’el/nightingale is my intoxicating clarion call.
3
piita huN voh mai1 nasha2 utarta3 nahiN jis ka
Khaali nahiN hota hai voh paimaana4 hai mera 1.wine 2.intoxication 3.nasha utarna means effect of wine waning, sobriety 4.cup
The wine he drinks always keeps him heady i.e., he drinks the wine of love and it always keeps him one with humanity. The cup he drinks out of is a ‘bottomless’ cup – there is always more to drink.
4
darya1 mera aaiina hai lahreN2 meray gesu3
aur mauj4-e naseem5-e sahri6 shaana7 hai mera 1.river 2.waves, ripples 3.hair 4.gust 5.fragrant breeze 6.dawn 7.comb (in faarsi)
The river is my mirror, and my hair are like its ripples. The gust of fragrant morning breeze combs my hair.
5
har zarra1-e Khaaki2 hai mera monis3 o hamdam4
duniya jisay kahtay haiN voh kaashaana5 hai mera 1.particle, grain 2.clay, dust 3.sympathizer 4.friend 5.home
Every grain of dust is my friend and sympathizer. That which is called the world is my home i.e., the whole wide earth is his homeland, he does not recognize any narrow boundaries.
6
jis jaa1 ho Khushi, hai voh mujhe manzil2-e raahat3
jis ghar meN ho maatam4 voh azaa-Khaanah5 hai mera 1.place 2.destination, goal 3.comfort, peace, tranquility 4.mourning 5.house of sorrow
Wherever there is joy, is my goal of peace i.e., I like to see joy everywhere. In whichever house there is mourning, is my house of sorrow i.e., I share the sadness of whoever feels it.
7
jis gosha1-e duniya meN parastish2 ho vafa3 ki
k’aaba hai vahi aur vahi but-Khaanah4 hai mera 1.corner 2.worship 3.truthfulness 4.house of idols, temple
In whichever corner of the world truth is worshipped, is my own k’aaba, my own temple i.e., truth is the focus of my prayer/devotion.
8
maiN dost bhi apna huN adu1 bhi huN maiN apna
apna hai koi aur nah begaana2 hai mera 1.enemy 2.other, stranger
I am my friend and my own enemy. There is no one else who is mine nor do I consider anyone else to be the other i.e., I identify every other human as me and my own.
9
aashiq1 bhi huN m’aashooq2 bhi yeh turfah3 maza4 hai
deevana huN maiN jis ka voh deevana hai mera 1.lover 2.beloved 3.amazing 4.pleasure
It is an amazing pleasure that I am both the lover and the beloved that he loves me and I love him. This could either be interpreted as universal love or divine/mystic love for and of the creator.
10
Khamoshi meN yaaN rahta hai taqriir1 ka aalam2
meray lab3-e Khaamosh peh afsaana4 hai mera 1.speech 2.world, condition 3.lips 4.story
‘yaaN’-here, implies ‘my domain of speech/poetry’. In my domain of speech, I express my thoughts in silence. The story that I have to tell is on my lips of silence – the poet does not need to speak in words.
11
kahtay haiN Khudi1 kis ko Khuda naam hai kis ka
duniya meN faqat2 jalva3-e jaanana4 hai mera 1.self-respect, self-identity 2.only, except 3.manifestation, glory 4.beloved, divine
What is it that is called my being/identity, what is god? All I know is that this world is nothing except a reflection of the glory of the (divine) beloved.
12
milta nahiN har aek ko voh noor1 hai mujh meN
jo saahib2-e biinish3 hai voh parvaanah4 hai mera 1.light, brilliance 2.owner 3.(discerning) sight 4.moth, lover
The poet presents himself as a lamp of extraordinary brilliance – perhaps of divine brilliance. He has been granted a kind of brilliance that not everyone is given. Those who have a discerning eye are like a moth that circles a lamp … they circle me.
13
shaa’er ka suKhan1 kam nahiN majzoob-ki-baR2 se
har aek nah samjhega voh afsaana3 hai mera 1.words, poetry 2.see notes 3.story, message
‘majzoob’ is someone who is absorbed/obsessed. It has connotations of obsession with love of the beloved and/or of humanity or the divine. ‘majzoob ki baR’ is the raving and rantings of an obsessed person. Contextually, they can either be meaningless or so deeply meaningful as to appear senseless to the casual listener. Thus, the words of a poet are no less than the rant of an obsessed person. Not everyone will understand the story/message in my verse.
brij narain chakbast (1882-1926) was born in faizabad into a kashmiri brahmin family who moved to lakhnau soon after his birth. He received his early education from a maulvi, learning urdu, arabi and faarsi. Later, he got a law degree and then practised law in lakhnau. Unfortunately, he died very young of a stroke he suffered while traveling by train to argue a case in bareily. His book was published posthumously. The description of natural beauty and the shaa’er’s relationship to it, has strong echoes of his description of the beauty of kashmir.
1
kahtay haiN jisay abr1 voh mai-Khaanah2 hai mera
jo phool khila3 baaGh meN paimaana4 hai mera
1.cloud 2.tavern 3.blossomed 4.cup
A cloud gives rain. Rainwater collects in flowers that blossom in the shape of a cup. Thus, this collected rainwater is wine, the cloud is a tavern and the flower is cup for the poet. He drinks his fill of natural beauty.
2
kaifiyyat1-e gulshan2 hai meray nashshay3 ka aalam4
ko’el ki sadaa5 naara6-e mastaana7 hai mera
1.mood 2.garden 3.intoxication 4.condition 5.sound 6.call, declaration 7.intoxicating
The mood of the garden shapes the condition of my intoxication. The sound of the ko’el/nightingale is my intoxicating clarion call.
3
piita huN voh mai1 nasha2 utarta3 nahiN jis ka
Khaali nahiN hota hai voh paimaana4 hai mera
1.wine 2.intoxication 3.nasha utarna means effect of wine waning, sobriety 4.cup
The wine he drinks always keeps him heady i.e., he drinks the wine of love and it always keeps him one with humanity. The cup he drinks out of is a ‘bottomless’ cup – there is always more to drink.
4
darya1 mera aaiina hai lahreN2 meray gesu3
aur mauj4-e naseem5-e sahri6 shaana7 hai mera
1.river 2.waves, ripples 3.hair 4.gust 5.fragrant breeze 6.dawn 7.comb (in faarsi)
The river is my mirror, and my hair are like its ripples. The gust of fragrant morning breeze combs my hair.
5
har zarra1-e Khaaki2 hai mera monis3 o hamdam4
duniya jisay kahtay haiN voh kaashaana5 hai mera
1.particle, grain 2.clay, dust 3.sympathizer 4.friend 5.home
Every grain of dust is my friend and sympathizer. That which is called the world is my home i.e., the whole wide earth is his homeland, he does not recognize any narrow boundaries.
6
jis jaa1 ho Khushi, hai voh mujhe manzil2-e raahat3
jis ghar meN ho maatam4 voh azaa-Khaanah5 hai mera
1.place 2.destination, goal 3.comfort, peace, tranquility 4.mourning 5.house of sorrow
Wherever there is joy, is my goal of peace i.e., I like to see joy everywhere. In whichever house there is mourning, is my house of sorrow i.e., I share the sadness of whoever feels it.
7
jis gosha1-e duniya meN parastish2 ho vafa3 ki
k’aaba hai vahi aur vahi but-Khaanah4 hai mera
1.corner 2.worship 3.truthfulness 4.house of idols, temple
In whichever corner of the world truth is worshipped, is my own k’aaba, my own temple i.e., truth is the focus of my prayer/devotion.
8
maiN dost bhi apna huN adu1 bhi huN maiN apna
apna hai koi aur nah begaana2 hai mera
1.enemy 2.other, stranger
I am my friend and my own enemy. There is no one else who is mine nor do I consider anyone else to be the other i.e., I identify every other human as me and my own.
9
aashiq1 bhi huN m’aashooq2 bhi yeh turfah3 maza4 hai
deevana huN maiN jis ka voh deevana hai mera
1.lover 2.beloved 3.amazing 4.pleasure
It is an amazing pleasure that I am both the lover and the beloved that he loves me and I love him. This could either be interpreted as universal love or divine/mystic love for and of the creator.
10
Khamoshi meN yaaN rahta hai taqriir1 ka aalam2
meray lab3-e Khaamosh peh afsaana4 hai mera
1.speech 2.world, condition 3.lips 4.story
‘yaaN’-here, implies ‘my domain of speech/poetry’. In my domain of speech, I express my thoughts in silence. The story that I have to tell is on my lips of silence – the poet does not need to speak in words.
11
kahtay haiN Khudi1 kis ko Khuda naam hai kis ka
duniya meN faqat2 jalva3-e jaanana4 hai mera
1.self-respect, self-identity 2.only, except 3.manifestation, glory 4.beloved, divine
What is it that is called my being/identity, what is god? All I know is that this world is nothing except a reflection of the glory of the (divine) beloved.
12
milta nahiN har aek ko voh noor1 hai mujh meN
jo saahib2-e biinish3 hai voh parvaanah4 hai mera
1.light, brilliance 2.owner 3.(discerning) sight 4.moth, lover
The poet presents himself as a lamp of extraordinary brilliance – perhaps of divine brilliance. He has been granted a kind of brilliance that not everyone is given. Those who have a discerning eye are like a moth that circles a lamp … they circle me.
13
shaa’er ka suKhan1 kam nahiN majzoob-ki-baR2 se
har aek nah samjhega voh afsaana3 hai mera
1.words, poetry 2.see notes 3.story, message
‘majzoob’ is someone who is absorbed/obsessed. It has connotations of obsession with love of the beloved and/or of humanity or the divine. ‘majzoob ki baR’ is the raving and rantings of an obsessed person. Contextually, they can either be meaningless or so deeply meaningful as to appear senseless to the casual listener. Thus, the words of a poet are no less than the rant of an obsessed person. Not everyone will understand the story/message in my verse.
The post shaa’er ka mazhab-panDit brij narain chakbast appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/jss-jaaNdaada-e-baaGh-e-jinaaN-kyuN-ho-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جاندادۂ باغِ جناں کیوں ہو ۔ جگدیش سہائے سکسینہ
۱
دلِ غمگیں طلبگارِ قضائے ناگہاں کیوں ہو
جسے غم مل گیا وہ زندگی سے سرگراں کیوں ہو
۲
تغافل اور جفا کے بعد سرحد ہے محبّت کی
دلِ شیدا ترے ظلم و ستم سے بدگماں کیوں ہو
۳
مرے شکرِ جفا پر مسکرائے اور فرمایا
ستم جب مہربانی ہے تو کوئی مہرباں کیوں ہو
۴
مجھے حیرت ہے گلزارِ جناں کی دلفریبی پر
خزاں جس کو نہیں وہ گلستاں پھر گلستاں کیوں ہو
۵
ملا پھولوں کو رنگِ آتشیں جلتے نشیمن سے
چمن ہو معترف اس کا تو رنجِ آشیاں کیوں ہو
۶
گلوں سے سیکھ لے اخفائے رازِ عاشقی کوئی
خلش کانٹوں کی جو دل میں ہے چہرے سے عیاں کیوں ہو
۷
گلہ کرتا ہوں قسمت کا تو یہ اعمال کہتے ہیں
تو ہی جب ہو عدو اپنا تو دشمن آسماں کیوں ہو
۸
جسے دنیا میں سیرِ گلشنِ کشمیر ہو حاصل
وہ زاہد کی طرح جاندادۂ باغِ جناں کیوں ہو
जांदादा-ए बग़-ए जिनां क्यूं हो – जगदीश सहाए सक्सेना
१
दिल-ए ग़मगीं तलबगार-ए क़ज़ा-ए नागहां क्यूं हो
जिसे ग़म मिल गया वो ज़िंदगी से सरगिरां क्यूं हो
२
तग़ाफ़ुल और जफ़ा के बाद सरहद है मोहब्बत की
दिल-ए शैदा तेरे ज़ुल्म ओ सितम से बदगुमां क्यूं हो
३
मेरे शुक्र-ए जफ़ा पर मुस्कुराए और फ़रमाया
सितम जब मेहरबानी है तो कोई मेहरबां क्यूं हो
४
मुझे हैरत है गुल्ज़ार-ए जिनां कि दिल-फ़रेबी पर
ख़िज़ां जिस को नहीं वो गुल्सितां फिर गुल्सितां क्यूं हो
५
मिला फूलौं को रंग-ए आतिशीं जलते नशेमन से
चमन हो मो’तरफ़ इस का तो रंज-ए आशियां क्यूं हो
६
गुलौं से सीख ले इख़्फ़ा-ए राज़-ए आशेक़ी कोई
ख़लिश कांटौं से जो दिल में है चेहरे पर अयां क्यूं हो
७
गिला करता हुं क़िस्मत का तो ये आ’माल कहते हैं
तु ही जब हो उदू अपना तो दुश्मन आस्मां क्यूं हो
८
जिसे दुनिया में सैर-ए गुल्शन-ए कश्मीर हो हासिल
वो ज़ाहिद की तरह जांदादा-ए बाग़-ए जिनां क्यूं हो
Click here for background and on any passage for word meanings and explanatory discussion. jagdish sahay saxena shahjahaaNpuri (xxxx-xxxx). I do not know any more than his name. His collection was published in 1974 with the preface written by baalmukund arsh malsiani. From this it appears that he was active in the mushaa’era circuit at the time of publication. He is listed as vakil in shahjahaaNpur. The collection contains several Ghazal in the zamin of Ghalib which are being prepared for posting and linking to ‘Ghalib naqsh-e qadam’.
1
dil-e GhamgiiN1 talabgaar2-e qaza3-e naagahaaN4 kyuN ho
jise Gham mil gaya vo zindagi se sargiraaN5 kyuN ho 1.sorrowful 2.desirous, demanding 3.death 4.sudden, unexpected, untimely 5.unhappy
In poetic convention Gham/sorrow is valued highly – more than pleasure. The lover is always sorrowful and satisfied with his sorrow. Thus, why would the sorrowful heart be desirous of an untimely death. If it has achieved the state of sorrow, why would it be unhappy with life.
2
taGhaaful1 aur jafa2 ke baad sarhad3 hai mohabbat ki
dil-e shaida4 tere zulm5 o sitam6 se bad-gumaaN7 kyuN ho 1.indifference 2.tyranny 3.boundary 4.admiring 5.cruelty 6.oppression 7.distrustful, disbeliever
In poetic convention the tyranny that the beloved visits on the lover is highly valued. Here the poet goes a step further and declares that the domain of love is beyond the boundaries of indifference and tyranny i.e., love is the reward for those who can survive the test of tyranny. Hence, why should the admiring heart be suspicious of the beloved’s cruelty and oppression.
3
mere shukr1-e jafa2 par muskuraa’e aur farmaaya3
sitam4 jab mehrbaani5 ho to koii mehrbaaN kyuN ho 1.thanks 2.cruelty, injustice 3.declared, announced 4.oppression 5.kindness
This has a delightful circular argument. The poet/lover following conventions of love and poetry is thankful for the beloved’s cruelty. She smiles and declares, if oppression is considered kindness, then why should one be kind i.e., she should stop being cruel to the lover … but then, the will become the ultimate cruelty.
4
mujhe hairat1 hai gulzaar2-e jinaaN3 ki dil-farebi4 par
KhizaaN5 jis ko nahiN vo gulsitaaN6 phir gulsitaaN kyuN ho 1.surprise, puzzle 2.garden 3.heaven 4.deceiving the heart 5.dry/arid/autumn 7.garden
The poet considers the dry/fall season to be a significant characteristic of a garden. But the garden in heaven is in ‘forever spring’ mode. Then, how can it be a garden. I am puzzled about the deception of the garden of heaven, he says. There are plenty of other shu’ara talking about the monotony of heaven. Ghalib himself says …
kyuN na firdaus meN dozaKh ko mila leN yaarabsair ke vaaste thoRi si fiza aur sahi
5
mila phooloN ko raNg-e aatishiiN1 jalte nasheman2 se
chaman ho mo’taraf3 is ka to ranj4-e aashiyaaN5 kyuN ho 1.flaming, red 2.nest 3.admit, accept 4.sorrow 5.nest
In poetic convention the poet is a bird who builds a nest which gets struck by lightning and burns. The colour of the flame is reflected in the colour of roses in the garden. Even the garden admits that this is so. Why then should there be sorrow over the burning of the nest.
6
guloN1 se siikh2 le iKhfa3-e raaz4-e aashiqi koii
Khalish5 kaaNToN se jo dil meN hai chehre6 par ayaaN7 kyuN ho 1.roses 2.learn 3.hiding 4.secret 5.burning, pricking 6.face 7.appear, visible
The blooming rose always appears to be happy and smiling. Even though it has thorns pricking it, it does not show its pain. The lover should learn to hide the pain of love from the rose.
7
gila1 karta huN qismat ka to ye aa’maal2 kahte haiN
tu hi jab ho udoo3 apna to dushman aasmaaN4 kyuN ho 1.complain 2.actions 3.enemy 4.sky, fate
When I complain about fate, my actions remind me that I am my own worst enemy. Why then, does the sky/fate need to be your enemy.
8
jise duniya meN sair-e gulshan1-e kashmiir ho haasil2
vo zaahid3 ki tarah jaaNdaada4-e baaGh-e jinaaN5 kyuN ho 1.garden 2.available, accessible 3.preacher 4.willing to give up life 5.heaven
If someone has the garden of kashmir available to them in this world, to take walks and enjoy, why would they, like the preacher, be willing to give up this life for the garden of heaven i.e., the garden of kashmir is more beautiful than heaven.
jagdish sahay saxena shahjahaaNpuri (xxxx-xxxx). I do not know any more than his name. His collection was published in 1974 with the preface written by baalmukund arsh malsiani. From this it appears that he was active in the mushaa’era circuit at the time of publication. He is listed as vakil in shahjahaaNpur. The collection contains several Ghazal in the zamin of Ghalib which are being prepared for posting and linking to ‘Ghalib naqsh-e qadam’.
1
dil-e GhamgiiN1 talabgaar2-e qaza3-e naagahaaN4 kyuN ho
jise Gham mil gaya vo zindagi se sargiraaN5 kyuN ho
1.sorrowful 2.desirous, demanding 3.death 4.sudden, unexpected, untimely 5.unhappy
In poetic convention Gham/sorrow is valued highly – more than pleasure. The lover is always sorrowful and satisfied with his sorrow. Thus, why would the sorrowful heart be desirous of an untimely death. If it has achieved the state of sorrow, why would it be unhappy with life.
2
taGhaaful1 aur jafa2 ke baad sarhad3 hai mohabbat ki
dil-e shaida4 tere zulm5 o sitam6 se bad-gumaaN7 kyuN ho
1.indifference 2.tyranny 3.boundary 4.admiring 5.cruelty 6.oppression 7.distrustful, disbeliever
In poetic convention the tyranny that the beloved visits on the lover is highly valued. Here the poet goes a step further and declares that the domain of love is beyond the boundaries of indifference and tyranny i.e., love is the reward for those who can survive the test of tyranny. Hence, why should the admiring heart be suspicious of the beloved’s cruelty and oppression.
3
mere shukr1-e jafa2 par muskuraa’e aur farmaaya3
sitam4 jab mehrbaani5 ho to koii mehrbaaN kyuN ho
1.thanks 2.cruelty, injustice 3.declared, announced 4.oppression 5.kindness
This has a delightful circular argument. The poet/lover following conventions of love and poetry is thankful for the beloved’s cruelty. She smiles and declares, if oppression is considered kindness, then why should one be kind i.e., she should stop being cruel to the lover … but then, the will become the ultimate cruelty.
4
mujhe hairat1 hai gulzaar2-e jinaaN3 ki dil-farebi4 par
KhizaaN5 jis ko nahiN vo gulsitaaN6 phir gulsitaaN kyuN ho
1.surprise, puzzle 2.garden 3.heaven 4.deceiving the heart 5.dry/arid/autumn 7.garden
The poet considers the dry/fall season to be a significant characteristic of a garden. But the garden in heaven is in ‘forever spring’ mode. Then, how can it be a garden. I am puzzled about the deception of the garden of heaven, he says. There are plenty of other shu’ara talking about the monotony of heaven. Ghalib himself says …
kyuN na firdaus meN dozaKh ko mila leN yaarabsair ke vaaste thoRi si fiza aur sahi
5
mila phooloN ko raNg-e aatishiiN1 jalte nasheman2 se
chaman ho mo’taraf3 is ka to ranj4-e aashiyaaN5 kyuN ho
1.flaming, red 2.nest 3.admit, accept 4.sorrow 5.nest
In poetic convention the poet is a bird who builds a nest which gets struck by lightning and burns. The colour of the flame is reflected in the colour of roses in the garden. Even the garden admits that this is so. Why then should there be sorrow over the burning of the nest.
6
guloN1 se siikh2 le iKhfa3-e raaz4-e aashiqi koii
Khalish5 kaaNToN se jo dil meN hai chehre6 par ayaaN7 kyuN ho
1.roses 2.learn 3.hiding 4.secret 5.burning, pricking 6.face 7.appear, visible
The blooming rose always appears to be happy and smiling. Even though it has thorns pricking it, it does not show its pain. The lover should learn to hide the pain of love from the rose.
7
gila1 karta huN qismat ka to ye aa’maal2 kahte haiN
tu hi jab ho udoo3 apna to dushman aasmaaN4 kyuN ho
1.complain 2.actions 3.enemy 4.sky, fate
When I complain about fate, my actions remind me that I am my own worst enemy. Why then, does the sky/fate need to be your enemy.
8
jise duniya meN sair-e gulshan1-e kashmiir ho haasil2
vo zaahid3 ki tarah jaaNdaada4-e baaGh-e jinaaN5 kyuN ho
1.garden 2.available, accessible 3.preacher 4.willing to give up life 5.heaven
If someone has the garden of kashmir available to them in this world, to take walks and enjoy, why would they, like the preacher, be willing to give up this life for the garden of heaven i.e., the garden of kashmir is more beautiful than heaven.
The post jaaNdaada-e baaGh-e jinaaN kyuN ho-jagdish sahay saxena appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/mchn-zamaane-pe-ayaaN-kyuN-ho-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
زمانے پر عیاں کیوں ہو ۔ مہندر چندر نقشؔ
۱
تری اِس بے قراری کا اُسے اے دل گماں کیوں ہو
کوئی ناآشنائے غم کسی کا رازداں کیوں ہو
۲
قیامت ہے قیامت! یوں ترا مل کر بچھڑ جانا
مگر یہ درد اب سارے زمانے پر عیاں کیوں ہو
۳
دلاسے دیں گے وہ جاں نواز و پُر سکوں نظریں
تو پھر بیتاب دل میں آرزوؤں کا جہاں کیوں ہو
۴
تغافل جس کا شیوہ ہو، تجاہل جس کی عادت ہو
وہ ہم پر ملتفت کیوں ہو، وہ ہم پر مہرباں کیوں ہو
۵
کسی کی خامشی دل کی حقیقت کھول دیتی ہے
زباں ہے ہر نظر آخر محبّت بے زباں کیوں ہو
۶
میں آخر کیا کروں تنہائیاں ہیں میری قسمت میں
مری خلوت پسندی اہلِ محفل پر گراں کیوں ہو
۷
جسے اے نقشؔ سن کر آنکھ میں آنسو نہ بھر آئیں
وہ افسانہ کسی مجبورِ غم کی داستاں کیوں ہو
ज़माने पर अयां क्यूं हो – महेश चंद्र नक़्श
१
तेरी इस बेक़रारी का उसे अए दिल गुमां क्यूं हो
कोई ना-आश्ना-ए ग़म किसी का राज़दां क्यूं हो
२
क़यामत है क़यामत! यूं तेरा मिल कर बिछढ जाना
मगर ये दर्द अब सारे ज़माने पर अयां क्यूं हो
३
दिलासे देंगे वो जां-नवाज़ ओ पुर-सुकूं नज़्रें
तो फिर बेताब दिल में आर्ज़ूऔं का जहां क्यूं हो
४
तग़ाफ़ुल जिस का शेवा हो, तजाहुल जिस कि आदत हो
वो हम पर मुल्तफ़ित क्यूं हो, वो हम पर मेहरबां क्यूं हो
५
किसी की ख़ामुशी दिल की हक़ीक़त खोल देती है
ज़बां है हर नज़र, आख़ेर मोहब्बत बेज़बां क्यूं हो
६
मैं आख़ेर क्या करूं तन्हाईयां हैं मेरी क़िस्मत में
मेरी ख़ल्वत-पसंदी अहल-ए महफ़िल पर गरां क्यूं हो
७
जिसे अए नक़्श सुन कर आंख में आंसू न भर आएं
वो अफ़्साना किसी मजबूर-ए ग़म की दास्तां क्यूं हो
Click here for background and on any passage for word meanings and explanatory discussion. mahesh chandr naqsh (1928-1980) meeraTh and dehli. He worked as a sub-inspector in the dehli transport corporation. There are at least four collections of Ghazal and qitaat to his credit. But there are no bio sketches in any of his publications, however there is a reference to an interview on a dehli TV station in which he was asked when he got time to compose. After a moment of thought he replied, I do it constantly – on or off the job. There is no indication of how he became interested in urdu. This Ghazal, in the same radeef-qaafiya as Ghalib’s ‘muNh meN zabaaN kyuN ho’, is linked to Ghalib naqsh-e qadam.
1
teri is beqaraari1 ki use aye dil gumaaN2 kyuN ho
koii naa-aashna3-e Gham kisi ka raazdaaN4 kyuN ho 1.restlessness, pain 2.suspicion 3.unfamiliar, inexperienced 4.confidante
The ‘use’ in the first misra and ‘koii’ in the second misra, both refer to the beloved. Why should the beloved suspect that you are suffering in restlessness/pain. How can one who has never known/experienced sorrow become your confidante/sympathizer.
2
qayaamat1 hai qayaamat! yuN tera mil kar bichhaR2 jaana
magar ye dard ab saare zamaane3 par ayaaN4 kyuN ho 1.calamity 2.separated, parted 3.world 4.revealed, visible
The beloved’s meeting the poet/lover and then getting separated (or separating herself) is indeed a calamity. But why should this pain be revealed to the world i.e., the poet should suffer this pain stoically without revealing it to anyone.
3
dilaase1 deNge vo jaaN-navaaz2 o pur-sukooN3 nazreN4
to phir betaab5 dil meN aarzuoN6 ka jahaaN7 kyuN ho 1.consolation 2.life giving 3.full of tranquility 4.eyes, glances 5.restless, eager 6.desires 7.world
This is talking about the beloved’s eyes/glances. Her glances are life giving and tranquility granting. Why then, is my restless heart still a world of desires. The implication is that the beloved’s glances may be all they are said to be, but they still cause restless desire.
4
taGhaaful1 jis ka sheva2 ho, tajaahul3 jis ki aadat4 ho
vo ham par multafit5 kyuN ho, vo ham par mehrbaaN6 kyuN ho 1.inattention, indifference 2.nature 3.ignoring, forgetting 4.habit 5.grant favours 6.kind
This is talking about the beloved’s nature and habits. Why should the one whose nature it is to be indifferent, whose habit it is to ignore suddenly show favours and become kind.
5
kisi ki Khaamoshi1 dil ki haqiiqat2 khol deti hai
zabaaN hai har nazar3, aaKhir mohabbat be-zabaaN4 kyuN ho 1.silence 2.truth-used here to mean real (hidden) secret 3.glance 4.speechless
It is poetic convention that the lover loves and suffers in silence. But his silence can reveal his inner reality. Every glance is a tongue. If this is so, then why would love be speechless.
6
maiN aaKhir kya karuN tanhaaiiyaaN1 haiN meri qismat meN
meri Khalvat-pasandi2 ahl-e-mahfil3 par giraaN4 kyuN ho 1.being alone 2.privacy prefering 3.people of the gathering 4.burden, bothersome
All the lovers throng in the gathering – the mahfil, but the poet/lover keeps away. What can I do, being alone is my fate. Why should my privacy preference bother others.
7
jise aye naqsh1 sun kar aaNkh meN aaNsu na bhar aayeN
vo afsaana2 kisi majboor3-e Gham ki daastaaN4 kyuN ho 1.pen-name of the poet 2.story 3.oppressed 4.story
Someone is relating the story of the oppressed lover. It is sure to bring tears to the eyes … eyes overflowing with tears. Why should it be thus. Why can’t such stories not be cheerful.
mahesh chandr naqsh (1928-1980) meeraTh and dehli. He worked as a sub-inspector in the dehli transport corporation. There are at least four collections of Ghazal and qitaat to his credit. But there are no bio sketches in any of his publications, however there is a reference to an interview on a dehli TV station in which he was asked when he got time to compose. After a moment of thought he replied, I do it constantly – on or off the job. There is no indication of how he became interested in urdu. This Ghazal, in the same radeef-qaafiya as Ghalib’s ‘muNh meN zabaaN kyuN ho’, is linked to Ghalib naqsh-e qadam.
1
teri is beqaraari1 ki use aye dil gumaaN2 kyuN ho
koii naa-aashna3-e Gham kisi ka raazdaaN4 kyuN ho
1.restlessness, pain 2.suspicion 3.unfamiliar, inexperienced 4.confidante
The ‘use’ in the first misra and ‘koii’ in the second misra, both refer to the beloved. Why should the beloved suspect that you are suffering in restlessness/pain. How can one who has never known/experienced sorrow become your confidante/sympathizer.
2
qayaamat1 hai qayaamat! yuN tera mil kar bichhaR2 jaana
magar ye dard ab saare zamaane3 par ayaaN4 kyuN ho
1.calamity 2.separated, parted 3.world 4.revealed, visible
The beloved’s meeting the poet/lover and then getting separated (or separating herself) is indeed a calamity. But why should this pain be revealed to the world i.e., the poet should suffer this pain stoically without revealing it to anyone.
3
dilaase1 deNge vo jaaN-navaaz2 o pur-sukooN3 nazreN4
to phir betaab5 dil meN aarzuoN6 ka jahaaN7 kyuN ho
1.consolation 2.life giving 3.full of tranquility 4.eyes, glances 5.restless, eager 6.desires 7.world
This is talking about the beloved’s eyes/glances. Her glances are life giving and tranquility granting. Why then, is my restless heart still a world of desires. The implication is that the beloved’s glances may be all they are said to be, but they still cause restless desire.
4
taGhaaful1 jis ka sheva2 ho, tajaahul3 jis ki aadat4 ho
vo ham par multafit5 kyuN ho, vo ham par mehrbaaN6 kyuN ho
1.inattention, indifference 2.nature 3.ignoring, forgetting 4.habit 5.grant favours 6.kind
This is talking about the beloved’s nature and habits. Why should the one whose nature it is to be indifferent, whose habit it is to ignore suddenly show favours and become kind.
5
kisi ki Khaamoshi1 dil ki haqiiqat2 khol deti hai
zabaaN hai har nazar3, aaKhir mohabbat be-zabaaN4 kyuN ho
1.silence 2.truth-used here to mean real (hidden) secret 3.glance 4.speechless
It is poetic convention that the lover loves and suffers in silence. But his silence can reveal his inner reality. Every glance is a tongue. If this is so, then why would love be speechless.
6
maiN aaKhir kya karuN tanhaaiiyaaN1 haiN meri qismat meN
meri Khalvat-pasandi2 ahl-e-mahfil3 par giraaN4 kyuN ho
1.being alone 2.privacy prefering 3.people of the gathering 4.burden, bothersome
All the lovers throng in the gathering – the mahfil, but the poet/lover keeps away. What can I do, being alone is my fate. Why should my privacy preference bother others.
7
jise aye naqsh1 sun kar aaNkh meN aaNsu na bhar aayeN
vo afsaana2 kisi majboor3-e Gham ki daastaaN4 kyuN ho
1.pen-name of the poet 2.story 3.oppressed 4.story
Someone is relating the story of the oppressed lover. It is sure to bring tears to the eyes … eyes overflowing with tears. Why should it be thus. Why can’t such stories not be cheerful.
The post zamaane par ayaaN kyuN ho-mahesh chandr naqsh appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/plshd-rahmat-e-piir-e-muChaaN-kyuN-ho-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
رحمتِ پیرِ مغاں کیوں ہو ۔ پریم لال شفاؔ دہلوی
۱
تمہارا ہو کے مجھ کو اپنی ہستی کا گماں کیوں ہو
دوئی کو دُور کر دو، اب یہ پردہ درمیاں کیوں ہو
۲
ضرورت اب نہیں محدود اپنی ذات تک میری
چمن کی خیر مانگوں، مجھ کو فکرِ آشیاں کیوں ہو
۳
تمہیں شائد تعلق ترک کرنا بھی نہیں آتا
غرض مجھ سے نہیں تو دل پہ میرے حکمراں کیوں ہو
۴
تمہیں محبوب ہو، تم ہی محب میرے فسانے میں
کہ تم عنواں ہو جس کے اُس میں ذکرِ دیگراں کیوں ہو
۵
ترے قدموں پہ صدقے زندگی کر دی تو پھر مجھ کو
فنا کا شوق یا شوقِ حیاتِ جاوداں کیوں ہو
۶
مجھے تو ناز ہے تُو واقفِ اَسرارِ پنہاں ہے
مری حاجت کا پھر دستِ دعا ہی ترجماں کیوں ہو
۷
درِ میخانہ وا ہے، جس کا جتنا ظرف ہو پی لے
کمی بیشی کی ضامن رحمتِ پیرِ مغاں کیوں ہو
۸
تمہاری نذر کے قابل نہ یہ دل ہے، نہ یہ سر ہے
کہ جو فانی ہو، وہ میری محبّت کا نشاں کیوں ہو
۹
شفاؔ ہم کو خیالِ دوست سے فرصت نہیں ملتی
ہماری بزم میں ذکرِ فلاں، ابنِ فلاں کیوں ہو
रहमत-ए पीर-ए मुग़ां क्यूं हो – प्रेम लाल शिफ़ा देहलवी
१
तुम्हारा हो के मुझ को अपनी हस्ती का गुमां क्यूं हो
दोई को दूर कर दो, अब ये पर्दा दरमियं क्यूं हो
२
ज़रूरत अब नहीं महदूद अपनी ज़ात तक मेरी
चमन की ख़ैर मांगूं, मुझ को फ़िक्र-ए आशियां क्यूं हो
३
तुम्हें शा’एद ता’अल्लुक़ तर्क करना भी नहीं आता
ग़रज़ मुझ से नहीं तो दिल पे मेरे हुक्मरां क्यूं हो
४
तुम्हीं महबूब हो, तुम हि मोहिब मेरे फ़साने में
के तुम उन्वां हो जिस के उस में ज़िक्र-ए दीगरां क्यूं हो
५
तेरे क़द्मौं पे सद्क़े ज़िंदगी कर दी तो फिर मुझ को
फ़ना का शौक़ या शौक़-ए हयात-ए जावेदां क्यूं हो
६
मुझे तो नाज़ है तू वाक़ेफ़-ए अस्रार-ए पिन्हां है
मेरी हाजेत का फिर दस्त-ए दुआ ही तर्जुमां क्यूं हो
७
दर-ए मैख़ाना वा है, जिस का जितना ज़रफ़ हो पी ले
कमी बेशी कि ज़ामिन रहमत-ए पीर-ए मुग़ां क्यूं हो
८
तुम्हारी नज़्र के क़ाबिल न ये दिल है, न ये सर है
के जो फ़ानी हो वो मेरी मोहब्बत का निशां क्यूं हो
९
शिफ़ा हम को ख़याल-ए दोस्त से फ़ुर्सत नहीं मिलती
हमारी बज़्म में ज़िक्र-ए फ़ुलां, इब्न-ए फ़ुलां क्यूं हो
Click here for background and on any passage for word meanings and explanatory discussion. prem lal shifa dehlavi (1914-xxxx) najafgaRh (near dehli). Completed his medical degree 1934 and started practice. Learnt Russian and French taking degrees in 1954. Seven languages urdu, hindi, sanskrit, English, Russian, French and some German. He did urdu translations of classical Russian poems. Interested in urdu shaa’eri from childhood, memorizing ash’aar of many masters. Started composing and became shaagird of fazl-e ilaahi maKhmoor dehlavi. First publication was translation of Russian poems. His own collection of urdu was published in 1959. This Ghazal has sufiyaana undertones and uses the same radeef/qaafiya as Ghalib’s ‘muNh meN zabaaN kyuN ho’. It is linked to Ghalib naqsh-e qadam.
1
tumhaara ho ke mujh ko apni hasti1 ka gumaaN2 kyuN ho
duii3 ko duur kar do, ab ye parda4 darmiyaaN5 kyuN ho 1.being, existence 2.doubt, uncertainty 3.duality 4.veil, curtain 5.between
This appears to be addressed to the divine. Once I give myself up to you, why should I be uncertain about my own being. Remove all signs of duality. Why should there be a curtain between you and me.
2
zaroorat1 ab nahiN mahdood2 apni zaat3 tak meri
chaman ki Khair4 maaNguN, mujh ko fikr5-e aashiyaaN6 kyuN ho 1.need 2.limited 3.person 4.well-being 5.worry 6.nest
This also appears to be addressed to god. Following convention, the poet is a bird and has built a nest in the garden. He says, my needs are not limited to my personal being. I ask for the well-being of the whole garden; why should I be worried just about my nest.
3
tumheN shaa’ed1 ta’alluq2 tark3 karna bhi nahiN aata
Gharaz4 mujh se nahiN to dil pe mere hukmraaN5 kyuN ho 1.perhaps 2.relationship 3.quit, break 4.concern, relationship 5.command, control
This appears to be addressed to the earthly beloved. Perhaps you don’t know how to break relationships. If you have no concern about me, then why are you in control of my heart.
4
tumhiN mahboob1 ho, tum hi mohib2 mere fasaane3 meN
keh tum unvaaN4 ho jis ke us meN zikr5-e diigaraaN6 kyuN ho 1.beloved 2.lover 3.story 4.title 5.mention, narrative 6.others
This could apply both to the earthly and the divine beloved. You alone are the beloved and you are the lover in my story. When you are the title/theme, then why should there be any narrative of any others.
5
tere qadmoN1 pe sadqe2 zindagi kar di to phir mujh ko
fana3 ka shauq4 ya shauq-e hayaat5-e jaavedaaN6 kyuN ho 1.steps 2.sacrificial offering 3.non-existence, merger with the divine 4.desire 5.life 6.eternal
When I have sacrificed my life at your feet, then why should I have any desire left of either non-existence or of eternal existence i.e., I have become one with you.
6
mujhe to naaz1 hai tu vaaqif2-e asraar3-e pinhaaN4 hai
meri haajit5 ka phir dast6-e dua hi tarjumaaN7 kyuN ho 1.pride 2.aware 3.secrets 4.hidden 5.needs 6.hand 7.explanation, expression
I am proud that you are aware of all hidden secrets. Then why should a hand raised in prayer be necessary to explain my prayer/appeal. Said Ghalib …
bandagi meN bhi vo aazaada o Khud-biiN haiN keh ham
ulTe phir aaye dar-e kaaba agar vaa na hua
7
dar1-e maiKhaana2 vaa3 hai jis ka jitna zarf4 ho pii le
kami-beshi5 ki zaamin6 rahmat7-e piir-e-muGhaaN8 kyuN ho 1.door 2.tavern 3.open 4.capacity 5.less or more 6.keeper, decision maker 7.kindness 8.chief wine-maker, head of the tavern
The door of the tavern is wide open and welcoming for anyone to drink as much as their capacity. Why then should the kindness of the head of the tavern be the decision maker of how much anyone gets.
8
tumhaari nazr1 ke qaabil2 na ye dil hai, na ye sar hai
keh jo faani3 ho vo meri mohabbat ka nishaaN4 kyuN ho 1.devotional offering 2.capable 3.mortal 4.emblem
Neither my heart nor my head is capable/deserving of being a devotional offering to you. Why should something that is mortal be an emblem of my (eternal) love for you.
9
shifa1 ham ko Khayaal-e dost2 se fursat3 nahiN milti
hamaari bazm4 meN fikr5-e fulaaN6, ibn7-e fulaaN6 kyuN ho 1.pen-name of the poet 2.friend, beloved, god 3.leisure, time 4.gathering 5.worry 6.so and so, anyone 7.son of
O shifa, I am so engrossed thinking about the beloved/divine that I don’t have time for anything else. Why should my gathering be concerned about anyone else.
prem lal shifa dehlavi (1914-xxxx) najafgaRh (near dehli). Completed his medical degree 1934 and started practice. Learnt Russian and French taking degrees in 1954. Seven languages urdu, hindi, sanskrit, English, Russian, French and some German. He did urdu translations of classical Russian poems. Interested in urdu shaa’eri from childhood, memorizing ash’aar of many masters. Started composing and became shaagird of fazl-e ilaahi maKhmoor dehlavi. First publication was translation of Russian poems. His own collection of urdu was published in 1959. This Ghazal has sufiyaana undertones and uses the same radeef/qaafiya as Ghalib’s ‘muNh meN zabaaN kyuN ho’. It is linked to Ghalib naqsh-e qadam.
1
tumhaara ho ke mujh ko apni hasti1 ka gumaaN2 kyuN ho
duii3 ko duur kar do, ab ye parda4 darmiyaaN5 kyuN ho
1.being, existence 2.doubt, uncertainty 3.duality 4.veil, curtain 5.between
This appears to be addressed to the divine. Once I give myself up to you, why should I be uncertain about my own being. Remove all signs of duality. Why should there be a curtain between you and me.
2
zaroorat1 ab nahiN mahdood2 apni zaat3 tak meri
chaman ki Khair4 maaNguN, mujh ko fikr5-e aashiyaaN6 kyuN ho
1.need 2.limited 3.person 4.well-being 5.worry 6.nest
This also appears to be addressed to god. Following convention, the poet is a bird and has built a nest in the garden. He says, my needs are not limited to my personal being. I ask for the well-being of the whole garden; why should I be worried just about my nest.
3
tumheN shaa’ed1 ta’alluq2 tark3 karna bhi nahiN aata
Gharaz4 mujh se nahiN to dil pe mere hukmraaN5 kyuN ho
1.perhaps 2.relationship 3.quit, break 4.concern, relationship 5.command, control
This appears to be addressed to the earthly beloved. Perhaps you don’t know how to break relationships. If you have no concern about me, then why are you in control of my heart.
4
tumhiN mahboob1 ho, tum hi mohib2 mere fasaane3 meN
keh tum unvaaN4 ho jis ke us meN zikr5-e diigaraaN6 kyuN ho
1.beloved 2.lover 3.story 4.title 5.mention, narrative 6.others
This could apply both to the earthly and the divine beloved. You alone are the beloved and you are the lover in my story. When you are the title/theme, then why should there be any narrative of any others.
5
tere qadmoN1 pe sadqe2 zindagi kar di to phir mujh ko
fana3 ka shauq4 ya shauq-e hayaat5-e jaavedaaN6 kyuN ho
1.steps 2.sacrificial offering 3.non-existence, merger with the divine 4.desire 5.life 6.eternal
When I have sacrificed my life at your feet, then why should I have any desire left of either non-existence or of eternal existence i.e., I have become one with you.
6
mujhe to naaz1 hai tu vaaqif2-e asraar3-e pinhaaN4 hai
meri haajit5 ka phir dast6-e dua hi tarjumaaN7 kyuN ho
1.pride 2.aware 3.secrets 4.hidden 5.needs 6.hand 7.explanation, expression
I am proud that you are aware of all hidden secrets. Then why should a hand raised in prayer be necessary to explain my prayer/appeal. Said Ghalib …
bandagi meN bhi vo aazaada o Khud-biiN haiN keh ham
ulTe phir aaye dar-e kaaba agar vaa na hua
7
dar1-e maiKhaana2 vaa3 hai jis ka jitna zarf4 ho pii le
kami-beshi5 ki zaamin6 rahmat7-e piir-e-muGhaaN8 kyuN ho
1.door 2.tavern 3.open 4.capacity 5.less or more 6.keeper, decision maker 7.kindness 8.chief wine-maker, head of the tavern
The door of the tavern is wide open and welcoming for anyone to drink as much as their capacity. Why then should the kindness of the head of the tavern be the decision maker of how much anyone gets.
8
tumhaari nazr1 ke qaabil2 na ye dil hai, na ye sar hai
keh jo faani3 ho vo meri mohabbat ka nishaaN4 kyuN ho
1.devotional offering 2.capable 3.mortal 4.emblem
Neither my heart nor my head is capable/deserving of being a devotional offering to you. Why should something that is mortal be an emblem of my (eternal) love for you.
9
shifa1 ham ko Khayaal-e dost2 se fursat3 nahiN milti
hamaari bazm4 meN fikr5-e fulaaN6, ibn7-e fulaaN6 kyuN ho
1.pen-name of the poet 2.friend, beloved, god 3.leisure, time 4.gathering 5.worry 6.so and so, anyone 7.son of
O shifa, I am so engrossed thinking about the beloved/divine that I don’t have time for anything else. Why should my gathering be concerned about anyone else.
The post rahmat-e piir-e muGhaaN kyuN ho-prem lal shifa appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/pjmrsh-butoN-ka-aastaaN-kyuN-ho-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
بُتوں کا آستاں کیوں ہو ۔ پنڈت جگموہن رائینا شوقؔ
۱
لبِ فریاد وا کیوں ہو سرِ شور و فغاں کیوں ہو
زمیں پر حشر قبل از وقت زیرِ آسماں کیوں ہو
۲
کسی پر ہمنفس اظہارِ سوزِ جاں ستاں کیوں ہو
صدائے دردِ دل نکلے تو ہمرنگِ فغاں کیوں ہو
۳
اسی پر جب نیازِ بندگی کا حصر ٹھرا ہے
نہ میرے سجدۂ سر کو بُتوں کا آستاں کیوں ہو
۴
بنے گا کون خِضرِ راہ پھر صحرا نوردوں میں
ہمارا پائے وحشت زیرِ زنجیرِ گراں کیوں ہو
۵
تجھے معلوم ہو جائے جو حدّ جَورِ بے پایاں
زمیں سے تا فلک یہ شورِ الاماں کیوں ہو
۶
چھپی باتوں سے سوزِ عشق کی ہے دردِ دل واقف
پھر اس محرم کے ہوتے دشمنِ جاں رازداں کیوں ہو
बुतों का आस्तां क्यों हो – पंडित जगमोहन राएना शौक़
१
लब-ए फ़र्याद वा क्यूं हो, सर-ए शोर-ओ-फ़ुगाँ क्यूं हो
ज़मीं पर हश्र क़ब्ल-अज़-वक़्त ज़ेर-ए आसमाँ क्यूं हो
२
किसी पर हम-नफ़स इज़्हार-ए सोज़-ए जाँ सितां क्यूं हो
सदा-ए दर्द-ए दिल निकले तो हमरंग-ए फ़ुग़ां क्यूं हो
३
इसी पर जब नियाज़-ए बन्दगी का हसर ठहरा है
न मेरे सज्दा-ए सर को बुतों का आस्तां क्यूं हो
४
बनेगा कौन ख़िज़्र-ए राह फिर सहरा-नवरदों में
हमारा पा-ए वहशत ज़ेर-ए ज़ंजीरे गिरां क्यूं हो
५
तुझे मालूम हो जाए जो हद्द-ए जौर-ए बे पायां
ज़मीं से ता फ़लक ये शोर-ए अल-अमां क्यूं हो
६
छुपी बातों से सोज़-ए इश्क़ की है दर्द-ए दिल वाक़िफ़
फिर इस महरम के होते दुशमन-ए जाँ राज़्दां क्यूं हो
Click here for background and on any passage for word meanings and explanatory discussion. panDit jagmohan raina shauq (1863-1946?). He served as deputy collector in a district including agra. His ustaad was amir minaaii. He retired in 1920 and lived in allahabad. This Ghazal is one of two Ghazal, both of raina shauq, modeled after Ghalib’s ‘to phir muNh meN zabaaN kyuN ho’. Both Ghazal are linked to Ghalib naqsh-e qadam.
1
lab1-e faryaad2 vaa3 kyuN ho, sar4-e shor-o-fuGaaN5 kyuN ho
zamiiN par hashr6 qabl-az-vaqt7 zer-e-aasmaaN8 kyuN ho 1.lips 2.appeal, protest 3.open 4.head, source 5.crying and wailing 6.doomsday, judgment day, tumult 7.before its time 8.under the sky
Why should one have to open their mouth to appeal and protest, why should the mouth be the source of crying and wailing. Why should there be doomsday like tumult on earth, before its time, under this sky. The implication is that such things should not happen, but they do only because the beloved is so cruel.
2
kisi par ham-nafas1 izhaar2-e soz3-e jaaN-sitaaN4 kyuN ho
sadaa5-e dard6-e dil nikle to hamraNg7-e fuGhaaN8 kyuN ho 1.friend 2.revealing, showing 3.fire, pain, sorrow 4.life-sapping 5.sound, cry 6.pain 7.same character 8.sorrowful wailing
O my friend, why should one have to reveal their life sapping sorrow i.e., in spite of every effort to keep it hidden, it becomes so strong that it gets revealed. Why should this be? Why should every cry that emanates from the heart be like sorrowful wailing. The implication is that this is because of excessive cruelty of the beloved.
3
isi par jab niyaaz1-e bandagi2 ka hasar3 Thahra4 hai
na mere sajda5-e sar ko butoN6 ka aastaaN7 kyuN ho 1.offering 2.devotion 3.count 4.depends on 5.prostration 6.idols, beloved 7.threshold
When devotional offering depends on/is counted by the number of prostrations that you perform, then why should I not have access to the threshold of the beloved i.e., why should the door-keeper drive me away.
4
banega kaun Khizr-e-raah1 phir sahra-navardoN2 meN
hamaara paa3-e vahshat4 zer-e-zanjiir5-e garaaN6 kyuN ho 1.guide along the path 2.desert wanderers 3.step, leg 4.madness, passion 5.under the chain 6.heavy
Khizr is a legendary figure who has eternal life. He travels a lot and knows all the ways and byways. He is the patron saint of travelers and their guide. Lovers wander the desert (sahra-navard) just like majnuN in search of his laila. Who will now be the guide of these desert-wanderers. Why should my own ‘mad leg’ i.e., desert-wandering mad passion, be under the burden of heavy chains. I cannot be the guide, who will step forward now.
5
tujhe ma’aloom1 ho jaaye jo hadd2-e jaur3-e be-paayaaN4zamiiN se taa5 falak6 ye shor7-e al-amaaN8 kyuN ho 1.know, learn 2.limits of 3.cruelty, oppression 4.unlimited 5.until 6.skies 7.cry 8.peace, protection, god help me
If you (the beloved) learn the limits of your hitherto unlimited cruely to your lovers, then why would there be the cry of ‘god protect me’ going from the earth to the sky?
6
chhupi baatoN se soz1-e ishq ki hai dard-e dil vaaqif2phir is mahram3 ke hote dushman-e-jaaN4 razdaaaN5 kyuN ho 1.fire, passion, pain sorrow 2.familiar, knowledgeable 3.intimate, close friend 4.enemy of life, blood-thirsty 5.secret-sharer, confidant
The pain of the heart is familiar with the hidden affairs of the passion of love. Thus, ‘pain of the heart’ is his intimate friend – confidant. Now that he has this ‘mahram’ – intimate friend, why does he need another confidant – a raazdaaN because the raazdaaN might turn out to be a raqeeb – a dushman-e jaaN as in Ghalib’s …
zikr us parivash ka aur phir bayaaN apna
ban gaya raqeeb aaKhir thaa jo raazdaaN apna
panDit jagmohan raina shauq (1863-1946?). He served as deputy collector in a district including agra. His ustaad was amir minaaii. He retired in 1920 and lived in allahabad. This Ghazal is one of two Ghazal, both of raina shauq, modeled after Ghalib’s ‘to phir muNh meN zabaaN kyuN ho’. Both Ghazal are linked to Ghalib naqsh-e qadam.
1
lab1-e faryaad2 vaa3 kyuN ho, sar4-e shor-o-fuGaaN5 kyuN ho
zamiiN par hashr6 qabl-az-vaqt7 zer-e-aasmaaN8 kyuN ho
1.lips 2.appeal, protest 3.open 4.head, source 5.crying and wailing 6.doomsday, judgment day, tumult 7.before its time 8.under the sky
Why should one have to open their mouth to appeal and protest, why should the mouth be the source of crying and wailing. Why should there be doomsday like tumult on earth, before its time, under this sky. The implication is that such things should not happen, but they do only because the beloved is so cruel.
2
kisi par ham-nafas1 izhaar2-e soz3-e jaaN-sitaaN4 kyuN ho
sadaa5-e dard6-e dil nikle to hamraNg7-e fuGhaaN8 kyuN ho
1.friend 2.revealing, showing 3.fire, pain, sorrow 4.life-sapping 5.sound, cry 6.pain 7.same character 8.sorrowful wailing
O my friend, why should one have to reveal their life sapping sorrow i.e., in spite of every effort to keep it hidden, it becomes so strong that it gets revealed. Why should this be? Why should every cry that emanates from the heart be like sorrowful wailing. The implication is that this is because of excessive cruelty of the beloved.
3
isi par jab niyaaz1-e bandagi2 ka hasar3 Thahra4 hai
na mere sajda5-e sar ko butoN6 ka aastaaN7 kyuN ho
1.offering 2.devotion 3.count 4.depends on 5.prostration 6.idols, beloved 7.threshold
When devotional offering depends on/is counted by the number of prostrations that you perform, then why should I not have access to the threshold of the beloved i.e., why should the door-keeper drive me away.
4
banega kaun Khizr-e-raah1 phir sahra-navardoN2 meN
hamaara paa3-e vahshat4 zer-e-zanjiir5-e garaaN6 kyuN ho
1.guide along the path 2.desert wanderers 3.step, leg 4.madness, passion 5.under the chain 6.heavy
Khizr is a legendary figure who has eternal life. He travels a lot and knows all the ways and byways. He is the patron saint of travelers and their guide. Lovers wander the desert (sahra-navard) just like majnuN in search of his laila. Who will now be the guide of these desert-wanderers. Why should my own ‘mad leg’ i.e., desert-wandering mad passion, be under the burden of heavy chains. I cannot be the guide, who will step forward now.
5
tujhe ma’aloom1 ho jaaye jo hadd2-e jaur3-e be-paayaaN4zamiiN se taa5 falak6 ye shor7-e al-amaaN8 kyuN ho
1.know, learn 2.limits of 3.cruelty, oppression 4.unlimited 5.until 6.skies 7.cry 8.peace, protection, god help me
If you (the beloved) learn the limits of your hitherto unlimited cruely to your lovers, then why would there be the cry of ‘god protect me’ going from the earth to the sky?
6
chhupi baatoN se soz1-e ishq ki hai dard-e dil vaaqif2phir is mahram3 ke hote dushman-e-jaaN4 razdaaaN5 kyuN ho
1.fire, passion, pain sorrow 2.familiar, knowledgeable 3.intimate, close friend 4.enemy of life, blood-thirsty 5.secret-sharer, confidant
The pain of the heart is familiar with the hidden affairs of the passion of love. Thus, ‘pain of the heart’ is his intimate friend – confidant. Now that he has this ‘mahram’ – intimate friend, why does he need another confidant – a raazdaaN because the raazdaaN might turn out to be a raqeeb – a dushman-e jaaN as in Ghalib’s …
zikr us parivash ka aur phir bayaaN apna
ban gaya raqeeb aaKhir thaa jo raazdaaN apna
The post butoN ka aastaaN kyuN ho-panDit jagmohan raina shauq appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/sgsm-halqa-har-ek-zanjiir-ka-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
حلقہ ہر اِک زنجیر کا ۔ سردار گینڈا سنگھ مشرقیؔ
۱
کھینچ سینے سے کماں ابرو نہ پیکاں تیر کا
اس میں دل لپٹا ہوا ہے عاشقِ دلگیر کا
۲
کیوں زیادہ ہو نہ زنداں میں پریشانی میری
حلقۂ کاکُل ہے ہر حلقہ میری زنجیر کا
۳
ہے شریفوں پر رذیلوں کو شرف دیتا فلک
پھر گیا ہے آج کل شاید دماغ اس پیر کا
۴
ہے کشودِ کار جن کا منحصر تقدیر پر
کب اٹھاتے ہیں وہ احساں ناخنِ تدبیر کا
۵
اے مہوّس کیوں ہے تجھ کو اس قدر اس کی تلاش
خاکساری کے سوا نسخہ نہیں اکسیر کا
۶
ٹکڑے ٹکڑے پھاڑ کر آگے رقیبوں کے کیے
اس نے کیا خاکہ اُڑایا ہے میری تصویر کا
۷
جوئے خوں ہم نے بنائی دل کی تیغِ عشق سے
کاٹنا مشکل نہ تھا فرہاد، جوئے شیر کا
۸
یاد زنداں میں مجھے آتی ہے جب زلفِ سیاہ
سانپ آتا ہے نظر حلقہ ہر اِک زنجیر کا
۹
آج ہی میں نے نہیں کی صحبتِ پیرِ مغاں
شیخ میں ہوں ایک مُدّت سے مرید اُس پیر کا
۱۰
سیر کو صحنِ چمن میں جب گیا وہ رشکِ گل
عندلیبوں میں تھا عالم بُلبُلِ تصویر کا
۱۱
بوسہ دے دو خواب میں بوسہ لیا تھا رات کو
یہ نہیں وہ خواب جو محتاج ہے تعبیر کا
۱۲
سینکڑوں ہوتے ہیں بسمل اِک اشارہ ہو اگر
تیرے ابرو میں اثر ہے کیا دمِ شمشیر کا
۱۳
تیرے عاشق چھوڑ کر مقتل کو جائیں کس طرح
حلقۂ گردن ہے حلقہ جوہرِ شمشیر کا
۱۴
سنتے ہیں دل آج اُس کا صبح سے ہے مضطرب
یہ اثر بے شک ہے میرے نالۂ شبگیر کا
۱۵
مشرقیؔ ہر دم نہ کیوں نکلے جگر سے آہِ سرد
دل میں اپنے ہے تصوّر اک بتِ کشمیر کا
हल्क़ा हर एक ज़ंजीर का – सरदार गेंडा सिंघ मश्रिक़ी
१
खींच सीने से कमां अब्रू न पैकां तीर का
इस में दिल लप्टा हुआ है आशेक़-ए दिलगीर का
२
क्यूं ज़्यादा हो न ज़िंदा में परेशानी मेरी
हल्क़ा-ए काकुल है हर हल्क़ा मेरी ज़ंजीर का
३
है शरीफ़ौं पर रज़ीलौं को शरफ़ देता फ़लक
फिर गया है आज कल शा’एद दिमाग़ उस पीर का
४
है कशूद-ए कार जिन का मुनहसिर तक़्दीर पर
कब उठाते हैं वो एहसां नाख़ुन-ए तदबीर का
५
अए मुहव्विस क्यूं है तुझ को इस क़दर उस की तलाश
ख़ाकसारी के सिवा नुस्ख़ा नहीं एक्सीर का
६
टुक्ढे टुक्ढे फाढ कर आगे रक़ीबौं के किये
उस ने क्या ख़ाका उढाया है मेरी तस्वीर का
७
जू-ए ख़ूं हम ने बनाई दिल कि तेग़-ए इश्क़ से
काटना मुश्किल न था फ़रहाद, जू-ए शीर का
८
याद ज़िंदां में मुझे आती है जब ज़ुल्फ़-ए सियाह
सांप आता है नज़र हल्क़ा हर एक ज़ंजीर का
९
आज हि मै ने नहीं सोहबत-ए पीर-ए मुग़ां
शैख़ मैं हुं एक मुद्दत से मुरीद उस पीर का
१०
सैर को सहन-ए चमन में जब गया वो रश्क-ए गुल
अंदलीबौं में था आलम बुल्बुल-ए तस्वीर का
११
बोसा दे दो ख़्वाब में बोसा लिया था रात को
ये नहीं वो ख़्वाब जो मोहताज है ता’बीर का
१२
सैंकढौं होते हैं बिस्मिल एक इशारा हो अगर
तेरे अब्रू में असर है क्या दम-ए शमशीर का
१३
तेरे आशेक़ छोढ कर मक़्तल को जाएं किस तरह
हल्क़ा-ए गरदन है हल्क़ा जौहर-ए शमशीर का
१४
सुनते हैं दिल आज उस का सुबह से है मुज़्तरिब
ये असर बे शक है मेरे नाला-ए शबगीर का
१५
मश्रिक़ी हर दम न क्यूं निकले जिगर से आह-ए सर्द
दिल में अपने है तसव्वुर एक बुत-ए कशमीर का
Click here for background and on any passage for word meanings and explanatory discussion. sardar genDa singh mashriqi (1857-1909), born in roopaR, panjab. Studied English and faarsi through middle school but could not go further in formal schooling because of family financial conditions. Worked for magazines, then the government in clerical and accountancy jobs and continued to learn urdu on his own, writing magazine articles and nazm, many of them nationalist. He joined the Indian National Congress in its inaugural meeting in 1885. In 1903, daaGh dehlavi accepted him as a shaagird. In spite of their very short association, he acknowledges daaGh as his ustaad. mashriqi’s diivaan was compiled and published by his grandson in 1989. There are also book length translations of sikh religious books in faarsi in poetic format as well as a book length collection of odes to sikh religious figures. This Ghazal is linked to Ghalib naqsh-e qadam.
1
kheeNch seene se kamaaN-abru1 na paikaaN2 tiir ka
us meN dil lapTa hua hai aashiq3-e dilgiir4 ka 1.eyebrow arched like a bow 2.tip of the arrow 3.lover 4.heart-broken, sorrowful
The words ‘kamaaN-abru’ while literally referring to the arched eyebrow are probably used to mean the beloved herself. In poetic convention she is known to shoot arrows at her lovers and the arrow tips penetrate the heart. If she pulls the arrow out for re-use, then the lover is afraid that his heart which is tangled with the arrow tip will be ripped even further. Thus, O kamaaN-abru (beloved) do not pull the arrow out. The heart of the sorrowful lover is enmeshed in the arrow-tip.
2
kyuN ziyaada ho na zindaaN1 meN pareshaani meri
halqa2-e kaakul3 hai har halqa4 meri zanjiir ka 1.prison 2.circle, ring 3.curly forelocks 4.link of the chain
Why should my distress not increase in bondage. Every link of the chain that binds me is a ring of the forelocks of the beloved’s hair.
3
hai shariifoN1 par raziiloN2 ko sharaf3 deta falak4
phir5 gaya hai aaj kal shaa’ed6 dimaaGh us piir7 ka 1.honourable, exalted 2.low, vile, bad 3.preference 4.sky, fate 5.turned around 6.perhaps 7.elder, senior, old man
In urdu poetic tradition the sky is referred to as ‘piir’ – old, venerated and is also considered to be the dispenser of fate. It appears that these days fate is giving preference (showing favours) to the low and vile compared to the noble and honourable. Perhaps the old man has gone mad. This appears to be purely an exercise in ‘qaafiya-bandi’.
4
hai kushood-e-kaar1 jin ka munhasir2 taqdiir3 par
kab uThaate haiN vo ehsaaN4 naaKhun-e-tadbiir5 ka 1.an expression meaning success of effort 2.dependent 3.fate 4.obligation 5.an expression meaning hard work of plan of action (literally using fingernails to complete a task)
When the success of their effort depends on fate, why would anyone take on the obligation of the plan of hard work.
5
aye mahavvis1 kyuN tujh ko is qadar2 us ki talaash
Khaaksaari3 ke siva4 nusKha5 nahiN eksiir6 ka 1.alchemist, greedy 2.so much 3.humility 4.except for 5.formula 6.elixir, remedy
O alchemist, why do you spend so much effort looking for it – except for humility/acceptance (of fate) there is no formula for an effective remedy.
6
tukRe tukRe phaaR kar aage raqiiboN1 ke kiye
us ne kya Khaaka2 uRaaya hai meri tasviir ka 1.rivals 2.sketch, picture, summary
The beloved has a picture of the poet/lover. She tears it up into pieces in front of his rivals. This amounts a summary of what she thinks of him. Ordinarily the phrase is ‘Khaaka khaiNchna’. ‘Khaaka uRaana’ gives it the additional feature of ‘mazaaq uRaana’ – make fun of.
7
juu1-e KhooN ham ne banaaii dil ki, teGh2-e ishq se
kaaTna mushkil na tha farhaad3, juu1-e shiir4 ka 1.river 2.sword 3.of shiriN-farhaad legend 4.milk
This has reference to the story of shiriN-farhaad, in which farhaad was set an impossible task of digging a channel through a mountain and making a river of milk flow through it. In his passion, he set about doing this, but ended up killing himself because of a false rumour that shirin was dead. Here, the poet considers farhaad to have been unsuccessful in completing his task. He compares himself favourably with farhaad and says, look I made a river of blood flow from my heart with the sword of love. It should not have been so difficult for you to dig a channel of milk.
8
yaad zindaaN1 meN mujhe aati hai jab zulf2-e siyaah3
saaNp aata hai nazar4 halqa5 har ek zanjiir ka 1.prison 2.hair 3.dark 4.appear, look like 5.ring, link of the chain
The mad passionate lover has been chained and put in prison like majnuN. There he remembers the long dark hair of the beloved. Every link of the chain appears to him like a snake – chaining him just like the beloved’s hair captured him.
9
yaad zindaaN1 meN mujhe aati hai jab zulf2-e siyaah3
saaNp aata hai nazar4 halqa5 har ek zanjiir ka 1.prison 2.hair 3.dark 4.appear, look like 5.ring, link of the chain
The mad passionate lover has been chained and put in prison like majnuN. There he remembers the long dark hair of the beloved. Every link of the chain appears to him like a snake – chaining him just like the beloved’s hair captured him.
10
sae’r1 ko sahn2-e chaman meN jab gaya vo rashk3-e gul4
andaleeboN5 meN tha aalam6 bulbul7-e tasviir ka 1.stroll 2.yard, field 3.envy 4.rose 5.nightingale 6.condition 7.nightingale
The beloved is so beautiful that she is the ‘envy of the rose’. She comes out for a stroll in the garden. The nightingale usually sings loves songs to the rose. But seeing the beloved they are so stunned that their condition is reduced to a silent picture.
11
bosa1 de do Khwaab2 meN bosa liya tha raat ko
ye nahiN vo Khwaab jo mohtaaj3 hai taa’biir4 ka 1.kiss 2.dream 3.deprived of 4.fulfilment
The poet/lover demands of the beloved – give me a kiss, I got a kiss from you in my dream last night and this is not a dream that is deprived of fulfilment.
12
saiNkRoN hotay haiN bismil1 ek ishaara2 ho agar3
tere abru4 meN asar5 hai kya dam6-e shamshiir7 ka 1.sacrificed, slaughtered 2.hint, indication 3.if 4.eyebrow 5.effect 6.sharp edge 7.sword
Thousands will be happy to be slaughtered if there is even the slightest hint from you. Your eyebrows have the effect of the sharp edge of a sword.
13
tere aashiq1 chhoR kar maqtal2 ko jaa’eNge kahaaN
halqa3-e gardan hai halqa jauhar4-e shamshiir5 ka 1.lovers 2.slaughterhouse 3.circle, ring 4.sharp edge, shine, sparkle 5.curved sword
Here the sword is curved like the arched eyebrow of the beloved. It also shines/sparkles with beauty (or perhaps anger) like a jewel. This has become like a ring around the necks of lovers. They are captivated. How can they leave the slaughterhouse and go anywhere even though they know full well that they will be slaughtered.
14
sunte haiN dil aaj us ka sub’h se hai muztarib1
ye asar2 be-shak3 hai mere naala4-e shabgiir5 ka 1.restless 2.effect 3.without a doubt 4.wailing 5.night conquering, lasting all night long
I hear that she has been restless all day since morning. Surely, this is the effect of my all night wailing.
15
mashriqi1 har dam2 na kyuN nikle jigar3 se aah4-e sard5
dil meN apne hai tasavvur6 ek but7-e kashmiir ka 1.pen-name of the poet 2.breath, moment 3.liver/heart 4.sigh 5.cold 6.imagination 7.idol
Apparently, during the time of the poet too, kashmiri women had a reputation of their beauty. Thus, O mashriqi, why should every breath emanating from my heart not be a cold long-drawn sigh. After all, the image that I carry in my heart is that of the idol of kashmir.
sardar genDa singh mashriqi (1857-1909), born in roopaR, panjab. Studied English and faarsi through middle school but could not go further in formal schooling because of family financial conditions. Worked for magazines, then the government in clerical and accountancy jobs and continued to learn urdu on his own, writing magazine articles and nazm, many of them nationalist. He joined the Indian National Congress in its inaugural meeting in 1885. In 1903, daaGh dehlavi accepted him as a shaagird. In spite of their very short association, he acknowledges daaGh as his ustaad. mashriqi’s diivaan was compiled and published by his grandson in 1989. There are also book length translations of sikh religious books in faarsi in poetic format as well as a book length collection of odes to sikh religious figures. This Ghazal is linked to Ghalib naqsh-e qadam.
1
kheeNch seene se kamaaN-abru1 na paikaaN2 tiir ka
us meN dil lapTa hua hai aashiq3-e dilgiir4 ka
1.eyebrow arched like a bow 2.tip of the arrow 3.lover 4.heart-broken, sorrowful
The words ‘kamaaN-abru’ while literally referring to the arched eyebrow are probably used to mean the beloved herself. In poetic convention she is known to shoot arrows at her lovers and the arrow tips penetrate the heart. If she pulls the arrow out for re-use, then the lover is afraid that his heart which is tangled with the arrow tip will be ripped even further. Thus, O kamaaN-abru (beloved) do not pull the arrow out. The heart of the sorrowful lover is enmeshed in the arrow-tip.
2
kyuN ziyaada ho na zindaaN1 meN pareshaani meri
halqa2-e kaakul3 hai har halqa4 meri zanjiir ka
1.prison 2.circle, ring 3.curly forelocks 4.link of the chain
Why should my distress not increase in bondage. Every link of the chain that binds me is a ring of the forelocks of the beloved’s hair.
3
hai shariifoN1 par raziiloN2 ko sharaf3 deta falak4
phir5 gaya hai aaj kal shaa’ed6 dimaaGh us piir7 ka
1.honourable, exalted 2.low, vile, bad 3.preference 4.sky, fate 5.turned around 6.perhaps 7.elder, senior, old man
In urdu poetic tradition the sky is referred to as ‘piir’ – old, venerated and is also considered to be the dispenser of fate. It appears that these days fate is giving preference (showing favours) to the low and vile compared to the noble and honourable. Perhaps the old man has gone mad. This appears to be purely an exercise in ‘qaafiya-bandi’.
4
hai kushood-e-kaar1 jin ka munhasir2 taqdiir3 par
kab uThaate haiN vo ehsaaN4 naaKhun-e-tadbiir5 ka
1.an expression meaning success of effort 2.dependent 3.fate 4.obligation 5.an expression meaning hard work of plan of action (literally using fingernails to complete a task)
When the success of their effort depends on fate, why would anyone take on the obligation of the plan of hard work.
5
aye mahavvis1 kyuN tujh ko is qadar2 us ki talaash
Khaaksaari3 ke siva4 nusKha5 nahiN eksiir6 ka
1.alchemist, greedy 2.so much 3.humility 4.except for 5.formula 6.elixir, remedy
O alchemist, why do you spend so much effort looking for it – except for humility/acceptance (of fate) there is no formula for an effective remedy.
6
tukRe tukRe phaaR kar aage raqiiboN1 ke kiye
us ne kya Khaaka2 uRaaya hai meri tasviir ka
1.rivals 2.sketch, picture, summary
The beloved has a picture of the poet/lover. She tears it up into pieces in front of his rivals. This amounts a summary of what she thinks of him. Ordinarily the phrase is ‘Khaaka khaiNchna’. ‘Khaaka uRaana’ gives it the additional feature of ‘mazaaq uRaana’ – make fun of.
7
juu1-e KhooN ham ne banaaii dil ki, teGh2-e ishq se
kaaTna mushkil na tha farhaad3, juu1-e shiir4 ka
1.river 2.sword 3.of shiriN-farhaad legend 4.milk
This has reference to the story of shiriN-farhaad, in which farhaad was set an impossible task of digging a channel through a mountain and making a river of milk flow through it. In his passion, he set about doing this, but ended up killing himself because of a false rumour that shirin was dead. Here, the poet considers farhaad to have been unsuccessful in completing his task. He compares himself favourably with farhaad and says, look I made a river of blood flow from my heart with the sword of love. It should not have been so difficult for you to dig a channel of milk.
8
yaad zindaaN1 meN mujhe aati hai jab zulf2-e siyaah3
saaNp aata hai nazar4 halqa5 har ek zanjiir ka
1.prison 2.hair 3.dark 4.appear, look like 5.ring, link of the chain
The mad passionate lover has been chained and put in prison like majnuN. There he remembers the long dark hair of the beloved. Every link of the chain appears to him like a snake – chaining him just like the beloved’s hair captured him.
9
aaj hi maiN ne nahiN kii sohbat1-e piir-e-muGhaaN2
shaiKh maiN huN aek muddat3 se muriid4 us piir5 ka
1.company 2.chief winemaker 3.long time 4.follower, devotee, disciple 5.elder, senior
The shaiKh admonishes the poet/wine drinker for keeping company with the chief winemaker. He offers an ‘explanation’ … it is not just today that I have befriended the piir-e muGhaaN; I have been his devotee for a long time. The witty implication is – where have you been for all this time. Why admonish me today.
10
sae’r1 ko sahn2-e chaman meN jab gaya vo rashk3-e gul4
andaleeboN5 meN tha aalam6 bulbul7-e tasviir ka
1.stroll 2.yard, field 3.envy 4.rose 5.nightingale 6.condition 7.nightingale
The beloved is so beautiful that she is the ‘envy of the rose’. She comes out for a stroll in the garden. The nightingale usually sings loves songs to the rose. But seeing the beloved they are so stunned that their condition is reduced to a silent picture.
11
bosa1 de do Khwaab2 meN bosa liya tha raat ko
ye nahiN vo Khwaab jo mohtaaj3 hai taa’biir4 ka
1.kiss 2.dream 3.deprived of 4.fulfilment
The poet/lover demands of the beloved – give me a kiss, I got a kiss from you in my dream last night and this is not a dream that is deprived of fulfilment.
12
saiNkRoN hotay haiN bismil1 ek ishaara2 ho agar3
tere abru4 meN asar5 hai kya dam6-e shamshiir7 ka
1.sacrificed, slaughtered 2.hint, indication 3.if 4.eyebrow 5.effect 6.sharp edge 7.sword
Thousands will be happy to be slaughtered if there is even the slightest hint from you. Your eyebrows have the effect of the sharp edge of a sword.
13
tere aashiq1 chhoR kar maqtal2 ko jaa’eNge kahaaN
halqa3-e gardan hai halqa jauhar4-e shamshiir5 ka
1.lovers 2.slaughterhouse 3.circle, ring 4.sharp edge, shine, sparkle 5.curved sword
Here the sword is curved like the arched eyebrow of the beloved. It also shines/sparkles with beauty (or perhaps anger) like a jewel. This has become like a ring around the necks of lovers. They are captivated. How can they leave the slaughterhouse and go anywhere even though they know full well that they will be slaughtered.
14
sunte haiN dil aaj us ka sub’h se hai muztarib1
ye asar2 be-shak3 hai mere naala4-e shabgiir5 ka
1.restless 2.effect 3.without a doubt 4.wailing 5.night conquering, lasting all night long
I hear that she has been restless all day since morning. Surely, this is the effect of my all night wailing.
15
mashriqi1 har dam2 na kyuN nikle jigar3 se aah4-e sard5
dil meN apne hai tasavvur6 ek but7-e kashmiir ka
1.pen-name of the poet 2.breath, moment 3.liver/heart 4.sigh 5.cold 6.imagination 7.idol
Apparently, during the time of the poet too, kashmiri women had a reputation of their beauty. Thus, O mashriqi, why should every breath emanating from my heart not be a cold long-drawn sigh. After all, the image that I carry in my heart is that of the idol of kashmir.
The post halqa har ek zanjiir ka-sardar genDa siNgh mashriqi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/mnrnl-aalam-hai-ek-tasviir-ka-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
عالم ہے اک تصویر کا ۔ منشی نوبت رائے نظرؔ لکھنوی
۱
ذکرِ اُلفت پر نتیجہ یہ ہوا تقریر کا
میں بھی چپ ہوں، وہ بھی چپ، عالم ہے اک تصویر کا
۲
آتے آتے رک گیا ہے دم جو مجھ دلگیر کا
آہ بھر کر منتظر ہوں، آہ کی تاثیر کا
۳
وحشیوں کو قید سے چھوٹے ہوے مدّت ہوئی
گونجتا ہے شور اب تک کان میں زنجیر کا
۴
میری تربت پر نہ رو اس طرح او وعدہ خلاف
شوق ٹھنڈا ہو نہ میری خاکِ دامن گیر کا
۵
زلفِ لیلائے شبِ غم ہوتی جاتی ہے دراز
اور اے دل کیا اثر ہو نالۂ شب گیر کا
۶
توڑ کر پہلو جو نکلا ہے خدنگِ ناز یوں
دل نہیں اک دوسرا پیکاں ہے گویا تیر کا
۷
روتے روتے حجر میں یاں ہو گئیں آنکھیں سفید
آپ کے نزدیک اک قصہ ہے جوئے شیر کا
۸
صاف باطن ہیں ہمارا رازِ اُلفت کیا چھپے
دل میں عالم ہے یہاں آئینۂ تصویر کا
۹
صبح تک دیکھیں دلِ مہجور کا کیا حال ہو
قصد ہے پھر آج مشقِ نالۂ شب گیر کا
۱۰
شمع ہے بزمِ جہاں میں کیا ادب آموزِ عشق
لب پہ شکوہ تک نہیں بے رحمیِ دلگیر کا
۱۱
موت سے کیا ساز کر رکھا ہے اس نے اے نظرؔ
مدتیں گزریں سبب کھلتا نہیں تاخیر کا
आलम है एक तस्वीर का – मुंशी नौबत राए नज़र देहलवी
१
ज़िक्र-ए उल्फ़त पर नतीजा ये हुआ तक़्रीर का
मैं भी चुप हुं, वो भी चुप, आलम है एक तस्वीर का
२
आते आते रुक गया है दम जो मुझ दिल्गीर का
आह भर कर मुंतज़िर हुं आह की तासीर का
३
वहशियौं को क़ैद से छूटे हुए मुद्दत हुई
गूंजता है शोर अब तक कान में ज़ंजीर का
४
मेरी तुर्बत पर न रो इस तरह ओ वादा-ख़िलाफ़
शौक़ ठंडा हो न मेरी ख़ाक-ए दामन-गीर का
५
ज़ुल्फ़-ए लैला-ए शब-ए ग़म होती जाती है दराज़
और अए दिल क्या असर हो नाला-ए शबगीर का
६
तोढ कर पहलू जो निक्ला है ख़दंग-ए नाज़ युं
दिल नहीं एक दूसरा पैकां है गोया तीर का
७
रोते रोते हिज्र में यां हो गईं आंखें सफ़ेद
आप के नज़्दीक एक क़िस्सा है जू-ए शीर का
८
साफ़ बातिन हैं हमारा राज़-ए उल्फ़त क्या छुपे
दिल में आलम है यहां आईना-ए तस्वीर का
९
सुबह तक देखें दिल-ए महजूर का क्या हाल हो
क़स्द है फिर आज मश्क़-ए नाला-ए शबगगीर का
१०
शम’अ है बज़्म-ए जहां में क्या अदब-आमोज़-ए इश्क़
लब पे शिक्वा तक नहीं बे-रहमी-ए दिल्गीर का
११
मौत से क्या साज़ कर रक्खा है उस ने अए नज़र
मुद्दतें गुज़्रीं सबब खुलता नही ताख़ीर का
Click here for background and on any passage for word meanings and explanatory discussion. munshi naubat rai nazar lakhnavi (1864-1923), lukhnow. Well recognized poet with a published diivaan and the editor of several literary magazines including adeeb. He has several Ghazal modeled after Ghalib. This is one of two Ghazal that he composed in the style of ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’. Both are linked to Ghalib naqsh-e qadam.
1
zikr1-e ulfat2 par nateeja3 ye hua taqriir4 ka
maiN bhi chup huN, vo bhi chup, aalam5 hai ek tasviir ka 1.mention, narration 2.love 3.result 4.conversation 5.condition
The poet/lover narrates his love to the beloved. The result of this conversation is that both fall silent, their condition like that of a picture-still and silent. Why? The poet/lover because he is fearfully waiting for her response and the beloved probably because she is offended.
2
aate aate ruk gaya hai dam1 jo mujh dilgiir2 ka
aah3 bhar kar muntazir4 huN aah3 ki taasiir5 ka 1.breath 2.heart-broken 3.sigh 4.waiting 5.effect
The poet/lover is heart-broken and sighs in sorrow. He suddenly stops breathing after a deep sigh. Why? Because he is anxiously waiting for his sigh to have an effect i.e., perhaps the beloved will have pity and show some love.
3
vahshiyoN1 ko qaid2 se chhooTe hue muddat3 hui
goonjta4 hai shor5 ab tak kaan meN zanjiir6 ka 1.wild, passionate, mad 2.prison 3.long time 4.echoes 5.noise, sound 6.chains
Mad/passionate lovers gone berserk, were chained and imprisoned. It has been a long time since their release, but the clanking sound of chains still echoes in their ears.
4
meri turbat1 par na ro is tarah2 o vaada-Khilaaf3
shauq4 ThanDa ho na meri Khaak5-e daaman-giir6 ka 1.grave 2.in this way 3.promise breaker 4.enthusiasm, passion 5.dust 6.holding on to the hem of the robe, pleading, begging
The beloved always breaks her promise. The poet/lover has died of the disappointment of broken promises, has been buried and turned into ashes (but he can still compose verse). The beloved visits his grave and his dust clings to the robe of the beloved as she weeps. He protests – do not weep like this O breaker of promises, lest the passion of my dust cool off (perhaps it can get washed away by her tears).
5
zulf1-e laila2-e shab3-e Gham4 hoti jaati hai daraaz5
aur aye dil kya asar6 ho naala7-e shabgiir8 ka 1.hair 2.night, dark 3.night 4.sorrow 5.long 6.effect 7.wailing 8.all night long, night conquering
The dark hair of the night of sorrow keeps getting longer – i.e., the night of separation never seems to end. O my stricken heart, what else can be the result of wailing all night long.
6
toR kar pahlu1 jo nikla hai KhadaNg2-e naaz3 yuN
dil nahiN ek doosra paikaaN4 hai goya5 tiir ka 1.side of the bosom 2.arrow 3.coquetry, coquettish glance 4.tip of the arrow 5.as if
The beloved shoots coquettish glances like arrows at the heart of the poet/lover. The arrow tears through the side of the bosom carrying the heart with it as if it is a new arrow-tip.
7
rote rote hijr1 meN yaaN ho gaiiN aaNkheN safed2
aap ke nazdiik3 ek qissa4 hai juu5-e shiir6 ka 1.separation, away from home, exile 2.white – an expression meaning crying so much that the iris gets washed off and sight is lost 3.near, view, thought 4.story, legend 5.river 6.milk
This has reference to the story of shirin-farhaad in which farhaad is set the impossible task of carving a channel through a mountain and making a river of milk flow through it. The poet/lover in the sorrow of separation has been crying his eyes out so much so that the iris is washed off and he is blind. All this while the beloved is waiting with the expectation that he will make a river of milk flow like farhaad almost succeeded in doing. Thus, it is a matter of my life, and it is mere fun and games for you. Said kalb-e ahmed maani jaa’esi …
kya Ghazab hai kohkan ko hasrat-e shiriiN rahi
aur shiiriiN ko raha armaan juu-e shiir ka
8
saaf baatin1 hai hamaara raaz2-e ulfat3 kya chhupe
dil meN aalam4 hai yahaaN aaiina-e tasviir ka 1.innermost feelings/thoughts 2.secret 3.love 4.condition
The feelings of my heart are clear/open for everyone to see; how can the secret of my love remain hidden. The condition of my heart is like a mirror reflecting the image of the beloved.
9
subah tak dekheN dil-e mahjoor1 ka kya haal2 ho
qasd3 hai phir aaj mashq4-e naala-e-shabgiir5 ka 1.exiled, rejected 2.condition 3.resolve, determined 4.practice, undertake 5.wailing that conquers the night i.e., lasts longer than the night
The poet/lover has resolved to wail and cry all night long. Let us see what the condition of my forlorn heart will be by the morning, he wonders.
10
sham’a1 hai bazm-e-jahaaN2 meN kya adab-aamoz3-e ishq
lab4 pe shikva5 tak nahiN be-rahmi6-e dilgiir7 ka 1.candle 2.gatherings of the world 3.lesson in polite traditions 4.lips, mouth 5.complaint 6.unkindness, cruelty 7.heart conqueror, beloved
Normally the candle is portrayed as the beloved and the moth as the suffering lover, sacrificing its life. But here it appears that the candle is the beloved, burning with love of an undefined lover. Its tongue i.e., the flame burns silently without speaking any word of the cruelty of the beloved. That is a lesson in the polite traditions of love.
11
maut1 se kya saaz2 kar rakkha hai us ne aye nazar3
muddateN4 guzriiN sabab5 khulta nahiN taaKhiir6 ka 1.death 2.secret agreement, conspiracy 3.pen-name of the poet 4.long time, ages 5.reason, basis 6.delay
The poet has been forlorn and waiting for death for a long time. He does not understand the reason for this delay and speculates that the beloved must have come to a secret agreement with death. She wants the poet to live because she wants to continue to torture him.
munshi naubat rai nazar lakhnavi (1864-1923), lukhnow. Well recognized poet with a published diivaan and the editor of several literary magazines including adeeb. He has several Ghazal modeled after Ghalib. This is one of two Ghazal that he composed in the style of ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’. Both are linked to Ghalib naqsh-e qadam.
1
zikr1-e ulfat2 par nateeja3 ye hua taqriir4 ka
maiN bhi chup huN, vo bhi chup, aalam5 hai ek tasviir ka
1.mention, narration 2.love 3.result 4.conversation 5.condition
The poet/lover narrates his love to the beloved. The result of this conversation is that both fall silent, their condition like that of a picture-still and silent. Why? The poet/lover because he is fearfully waiting for her response and the beloved probably because she is offended.
2
aate aate ruk gaya hai dam1 jo mujh dilgiir2 ka
aah3 bhar kar muntazir4 huN aah3 ki taasiir5 ka
1.breath 2.heart-broken 3.sigh 4.waiting 5.effect
The poet/lover is heart-broken and sighs in sorrow. He suddenly stops breathing after a deep sigh. Why? Because he is anxiously waiting for his sigh to have an effect i.e., perhaps the beloved will have pity and show some love.
3
vahshiyoN1 ko qaid2 se chhooTe hue muddat3 hui
goonjta4 hai shor5 ab tak kaan meN zanjiir6 ka
1.wild, passionate, mad 2.prison 3.long time 4.echoes 5.noise, sound 6.chains
Mad/passionate lovers gone berserk, were chained and imprisoned. It has been a long time since their release, but the clanking sound of chains still echoes in their ears.
4
meri turbat1 par na ro is tarah2 o vaada-Khilaaf3
shauq4 ThanDa ho na meri Khaak5-e daaman-giir6 ka
1.grave 2.in this way 3.promise breaker 4.enthusiasm, passion 5.dust 6.holding on to the hem of the robe, pleading, begging
The beloved always breaks her promise. The poet/lover has died of the disappointment of broken promises, has been buried and turned into ashes (but he can still compose verse). The beloved visits his grave and his dust clings to the robe of the beloved as she weeps. He protests – do not weep like this O breaker of promises, lest the passion of my dust cool off (perhaps it can get washed away by her tears).
5
zulf1-e laila2-e shab3-e Gham4 hoti jaati hai daraaz5
aur aye dil kya asar6 ho naala7-e shabgiir8 ka
1.hair 2.night, dark 3.night 4.sorrow 5.long 6.effect 7.wailing 8.all night long, night conquering
The dark hair of the night of sorrow keeps getting longer – i.e., the night of separation never seems to end. O my stricken heart, what else can be the result of wailing all night long.
6
toR kar pahlu1 jo nikla hai KhadaNg2-e naaz3 yuN
dil nahiN ek doosra paikaaN4 hai goya5 tiir ka
1.side of the bosom 2.arrow 3.coquetry, coquettish glance 4.tip of the arrow 5.as if
The beloved shoots coquettish glances like arrows at the heart of the poet/lover. The arrow tears through the side of the bosom carrying the heart with it as if it is a new arrow-tip.
7
rote rote hijr1 meN yaaN ho gaiiN aaNkheN safed2
aap ke nazdiik3 ek qissa4 hai juu5-e shiir6 ka
1.separation, away from home, exile 2.white – an expression meaning crying so much that the iris gets washed off and sight is lost 3.near, view, thought 4.story, legend 5.river 6.milk
This has reference to the story of shirin-farhaad in which farhaad is set the impossible task of carving a channel through a mountain and making a river of milk flow through it. The poet/lover in the sorrow of separation has been crying his eyes out so much so that the iris is washed off and he is blind. All this while the beloved is waiting with the expectation that he will make a river of milk flow like farhaad almost succeeded in doing. Thus, it is a matter of my life, and it is mere fun and games for you. Said kalb-e ahmed maani jaa’esi …
kya Ghazab hai kohkan ko hasrat-e shiriiN rahi
aur shiiriiN ko raha armaan juu-e shiir ka
8
saaf baatin1 hai hamaara raaz2-e ulfat3 kya chhupe
dil meN aalam4 hai yahaaN aaiina-e tasviir ka
1.innermost feelings/thoughts 2.secret 3.love 4.condition
The feelings of my heart are clear/open for everyone to see; how can the secret of my love remain hidden. The condition of my heart is like a mirror reflecting the image of the beloved.
9
subah tak dekheN dil-e mahjoor1 ka kya haal2 ho
qasd3 hai phir aaj mashq4-e naala-e-shabgiir5 ka
1.exiled, rejected 2.condition 3.resolve, determined 4.practice, undertake 5.wailing that conquers the night i.e., lasts longer than the night
The poet/lover has resolved to wail and cry all night long. Let us see what the condition of my forlorn heart will be by the morning, he wonders.
10
sham’a1 hai bazm-e-jahaaN2 meN kya adab-aamoz3-e ishq
lab4 pe shikva5 tak nahiN be-rahmi6-e dilgiir7 ka
1.candle 2.gatherings of the world 3.lesson in polite traditions 4.lips, mouth 5.complaint 6.unkindness, cruelty 7.heart conqueror, beloved
Normally the candle is portrayed as the beloved and the moth as the suffering lover, sacrificing its life. But here it appears that the candle is the beloved, burning with love of an undefined lover. Its tongue i.e., the flame burns silently without speaking any word of the cruelty of the beloved. That is a lesson in the polite traditions of love.
11
maut1 se kya saaz2 kar rakkha hai us ne aye nazar3
muddateN4 guzriiN sabab5 khulta nahiN taaKhiir6 ka
1.death 2.secret agreement, conspiracy 3.pen-name of the poet 4.long time, ages 5.reason, basis 6.delay
The poet has been forlorn and waiting for death for a long time. He does not understand the reason for this delay and speculates that the beloved must have come to a secret agreement with death. She wants the poet to live because she wants to continue to torture him.
The post aalam hai ek tasviir ka-munshi naubat rai nazar lakhnavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/rkm-taGhaaful-ka-gumaaN-kyuN-ho-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تغافل کا گماں کیوں ہو ۔ رام کرشن مضطرؔ
۱
زمانہ اہلِ غم کا ہم مِزاج و ہم زباں کیوں ہو
ہماری داستاں سارے جہاں کی داستاں کیوں ہو
۲
خیالِ بیش و کم، اندیشۂ سُود و زیاں کیوں ہو
محبّت مبتلائے رنج و فکرِ این و آں کیوں ہو
۳
شعورِ زیست بخشا ہے جسے دورِ حوادث نے
وہ اِنساں بے نیازِ اِنقلاباتِ جہاں کیوں ہو
۴
ہمارے خونِ دل کی سرخیاں ہیں اس کی تابش میں
نشانِ کارواں معدومِ گردِ کارواں کیوں ہو
۵
جسے ہم نے ہزاروں مشکلیں حل کر کے سمجھا ہے
وہ رازِ زِندگی اپنی نگاہوں سے نہاں کیوں ہو
۶
اگر رنگِ تلطف ہو تمہاری شوخ نظروں میں
تو پھر ہم کو توجہ پر تغافل کا گماں کیوں ہو
۷
یہ اُن کا نام لے کر بوالہوس کیوں آہ کرتا ہے
نہیں جب آگ ہی دل میں تو ہونٹوں پر دُھواں کیوں ہو
۸
جو حسن و عشق کے اسرار میرے دل میں رہتے ہیں
بیاں اُن کا بہ اندازِ حدیثِ دیگراں کیوں ہو
۹
مری آنکھوں میں آ جاؤ مرے دل میں سما جاؤ
محبّت ہے اگر مجھ سے تو پھر دامن کشاں کیوں ہو
۱۰
کہا مانے اگر میرا دلِ دیوانہ اے مضطرؔ
قتیلِ مہ وشاں کیوں ہو ہلاکِ گُل رخاں کیوں ہو
तग़ाफ़ुल का गुमां क्यूं हो – राम क्रिष्ण मुज़्तर
१
ज़माना अहल-ए ग़म का हम-मिज़ाज ओ हम-ज़बां क्यूं हो
हमारी दास्तां सारे जहां की दास्तां क्यूं हो
२
ख़याल-ए बेश ओ कम, अंदेशा-ए सूद ओ ज़ियां क्यूं हो
मोहब्बत मुब्तला-ए रंज ओ फ़िक्र-ए ईन-ओ-आं क्यूं हो
३
श’ऊर-ए ज़ीस्त बख़्शा है जिसे दौर-ए हवादिस ने
वो इंसां बे-निथाज़-ए इन्क़ेलाबात-ए जहां क्यूं हो
४
हमारे ख़ून-ए दिल की सुर्ख़ियां हैं इस की ताबिश में
निशान-ए कारवां मा’दूम-ए गर्द-ए कारवां क्यूं हो
५
जिसे हम ने हज़ारौं मुश्किलें हल कर के समझा है
वो राज़-ए ज़िंदगी अपनी निगाहौं से नेहां क्यूं हो
६
अगर रंग-ए तलत्तुफ़ हो तुम्हारी शूख़ नज़्रौं में
तो फिर हम को तवज्जोह पर तग़ाफ़ुल का गुमां क्यूं हो
७
ये उन का नाम ले कर बुल-हवस क्यूं आह करता है
नहीं जब आग हि दिल में तो होंटौं पर धुआं क्यूं हो
८
जो हुस्न ओ इश्क़ के अस्रार मेरे दिल में रहते हैं
बयां उन का ब-अंदाज़-ए हदीस-ए दीगरां क्यूं हो
९
मेरी आंखौं में आ जाओ मेरे दिल में समा जाओ
मोब्बत है अगर मुझ से तो फिर दामन-कशां क्यूं हो
१०
कहा माने अगर मेरा दिल-ए दीवाना अए मुज़्तर
क़तील-ए मह-वशां क्यूं हो हलाक-ए गुल-रुख़ां क्यूं हो
Click here for background and on any passage for word meanings and explanatory discussion. ram krishn muztar (1927-1984) buland shahr. He was adopted by a childless uncle and aunt, but they died while he was still very young. He did not have much interest in being a landlord and lost inherited lands to squatters but did his undergraduate in faarsi (with honours) from punjab university with further education from the Iranian Cultural House in dehli, in the late 1950s. Worked for milaap, dehli, an urdu daily newspaper/magazine. This Ghazal is linked to ‘Ghalib naqsh-e qadam’ under ‘zabaaN kyuN ho’.
1
zamaana1 ahl-e-Gham2 ka ham-mizaaj3 o ham-zabaaN4 kyuN ho
hamaari daastaaN5 saare jahaaN6 ki daastaaN kyuN ho 1.present times 2.sorrowful people, lovers 3.sharing feelings 4.speaking the same language, sympathize 5.story 6.world
Why should we expect the present order to share the feelings of disappionted lovers. Why should it sympathize with them. Why should their story become the story of the world.
2
Khayaal1-e besh-o-kam2, andesha3-e sood-o-ziyaaN4 kyuN ho
mohabbat mubtala5-e ranj6 o fikr7-e iin-o-aaN8 kyuN ho 1.thought of 2.more and less 3.apprehension 4.profit and loss 5.caught up in 6.sorrow 7.worried about 8.this and that, mundane
Why should love entertain thoughts of more and less; be apprehensive of profit and loss; get caught up in sorrow and worry about the mundane i.e., love is beyond material considerations and into lofty spiritual thought.
3
shu’oor1-e zeest2 baKhsha3 hai jise daur4-e havaadis5 ne
vo insaaN be-niyaaz6-e inqelaabaat7-e jahaaN8 kyuN ho 1.wisdom, knowledge 2.life 3.granted 4.age, period, times 5.occurances, misfortunes 6.unmindful 7.changes, reversals 8.world
Why would the person who has been granted wisdom/knowledge of life by the misfortunes of the times be unmindful of the changes/reversals in the ways of the world.
4
hamaare Khoon-e dil ki surKhiyaaN1 haiN is ki taabish2 meN
nishaan3-e kaarvaaN4 maa’doom5-e gard6-e kaarvaaN kyuN ho 1.redness 2.brilliance, splendour 3.clue, indication 4.caravan, traveling party 5.disappear, hidden, non-existent 6.dust
A caravan can be observed by the clue of rising dust. The poet/seeker has had a hand in setting the course of the caravan. The redness of the blood of his heart is mingled in the shining dust that rises from the caravan. Why then should it disappear from his sight i.e., why should the caravan leave him behind.
5
jise ham ne hazaaroN mushkileN hal1 kar ke samjha hai
vo raaz2-e zindagi apni nigaahoN3 se nehaaN4 kyuN ho 1.solve, overcome 2.secret, mystery 3.sight, eyes 4.hidden
Why should the mystery of life which we have understood after solving many problems, still remain hidden from our eyes. This could be a reference to our inability to see/comprehend divinity.
6
agar raNg1-e talattuf2 ho tumhaari shooKh3 nazroN4 meN
to phir ham ko tavajjoh5 par taGhaaful6 ka gumaaN7 kyuN ho 1.character, nature 2.kindness, favours 3.playful, mischievous 4.glances 5.attention 6.indifference 7.suspicion
If your (beloved’s) playful glances had any hint of showing favourable feelings, then why would the lover suspect her attention to be a form of indifference.
7
ye un ka naam le kar bul-havas1 kyuN aah2 karta hai
nahiN jab aag3 hi dil meN to hoNToN4 par dhuaaN5 kyuN ho 1.lecher, lustful 2.sigh 3.fire 4.lips 5.smoke
In poetic tradition the lover/poet is driven by pure love and the rival by mere lust. He does not have the fire of love in his heart. A sigh is a sign of this fire escaping from the lips. Why should the lustful rival take your name and sigh. When there is no fire in his heart, why should smoke come out of his lips.
8
jo husn1 o ishq2 ke asraar3 meray dil meN rahte haiN
baayaaN4 un ka ba-andaaz5-e hadiis6-e diigaraaN7 kyuN ho 1.beauty, beloved 2.love, poet/lover 3.secrets, mysteries 4.narration, description 5.in the style of 6.story 7.others, rivals
The mysteries/secrets of beauty and love that are in the heart of the poet/narrator are unique; that no one else knows. Why then should the narration of this story be in the same style as that of other stories.
9
meri aaNkhoN meN aa jaao mere dil meN samaa jaao
mohabbat hai agar mujh se to phir daaman-kashaaN1 kyuN ho 1.pulling back the hem of the garment, pulling back, aloof
The poet appeals to the beloved – come into my eyes, fill my heart. If you have love for me, why should you pull back.
10
kaha maane1 agar2 mera dil-e diivaana aye muztar3
qateel4-e mah-vashaaN5 kyuN ho, halaak6-e gul-ruKhaaN7 kyuN ho 1.listen to what is said, heed 2.if 3.pen-name of the poet 4.killed by 5.moon-like 6.killed by 7.rose-faced
If my foolish heart were to heed what I have to say, why would it fall for moon-like beauties or get killed by the rose-faced beloved.
ram krishn muztar (1927-1984) buland shahr. He was adopted by a childless uncle and aunt, but they died while he was still very young. He did not have much interest in being a landlord and lost inherited lands to squatters but did his undergraduate in faarsi (with honours) from punjab university with further education from the Iranian Cultural House in dehli, in the late 1950s. Worked for milaap, dehli, an urdu daily newspaper/magazine. This Ghazal is linked to ‘Ghalib naqsh-e qadam’ under ‘zabaaN kyuN ho’.
1
zamaana1 ahl-e-Gham2 ka ham-mizaaj3 o ham-zabaaN4 kyuN ho
hamaari daastaaN5 saare jahaaN6 ki daastaaN kyuN ho
1.present times 2.sorrowful people, lovers 3.sharing feelings 4.speaking the same language, sympathize 5.story 6.world
Why should we expect the present order to share the feelings of disappionted lovers. Why should it sympathize with them. Why should their story become the story of the world.
2
Khayaal1-e besh-o-kam2, andesha3-e sood-o-ziyaaN4 kyuN ho
mohabbat mubtala5-e ranj6 o fikr7-e iin-o-aaN8 kyuN ho
1.thought of 2.more and less 3.apprehension 4.profit and loss 5.caught up in 6.sorrow 7.worried about 8.this and that, mundane
Why should love entertain thoughts of more and less; be apprehensive of profit and loss; get caught up in sorrow and worry about the mundane i.e., love is beyond material considerations and into lofty spiritual thought.
3
shu’oor1-e zeest2 baKhsha3 hai jise daur4-e havaadis5 ne
vo insaaN be-niyaaz6-e inqelaabaat7-e jahaaN8 kyuN ho
1.wisdom, knowledge 2.life 3.granted 4.age, period, times 5.occurances, misfortunes 6.unmindful 7.changes, reversals 8.world
Why would the person who has been granted wisdom/knowledge of life by the misfortunes of the times be unmindful of the changes/reversals in the ways of the world.
4
hamaare Khoon-e dil ki surKhiyaaN1 haiN is ki taabish2 meN
nishaan3-e kaarvaaN4 maa’doom5-e gard6-e kaarvaaN kyuN ho
1.redness 2.brilliance, splendour 3.clue, indication 4.caravan, traveling party 5.disappear, hidden, non-existent 6.dust
A caravan can be observed by the clue of rising dust. The poet/seeker has had a hand in setting the course of the caravan. The redness of the blood of his heart is mingled in the shining dust that rises from the caravan. Why then should it disappear from his sight i.e., why should the caravan leave him behind.
5
jise ham ne hazaaroN mushkileN hal1 kar ke samjha hai
vo raaz2-e zindagi apni nigaahoN3 se nehaaN4 kyuN ho
1.solve, overcome 2.secret, mystery 3.sight, eyes 4.hidden
Why should the mystery of life which we have understood after solving many problems, still remain hidden from our eyes. This could be a reference to our inability to see/comprehend divinity.
6
agar raNg1-e talattuf2 ho tumhaari shooKh3 nazroN4 meN
to phir ham ko tavajjoh5 par taGhaaful6 ka gumaaN7 kyuN ho
1.character, nature 2.kindness, favours 3.playful, mischievous 4.glances 5.attention 6.indifference 7.suspicion
If your (beloved’s) playful glances had any hint of showing favourable feelings, then why would the lover suspect her attention to be a form of indifference.
7
ye un ka naam le kar bul-havas1 kyuN aah2 karta hai
nahiN jab aag3 hi dil meN to hoNToN4 par dhuaaN5 kyuN ho
1.lecher, lustful 2.sigh 3.fire 4.lips 5.smoke
In poetic tradition the lover/poet is driven by pure love and the rival by mere lust. He does not have the fire of love in his heart. A sigh is a sign of this fire escaping from the lips. Why should the lustful rival take your name and sigh. When there is no fire in his heart, why should smoke come out of his lips.
8
jo husn1 o ishq2 ke asraar3 meray dil meN rahte haiN
baayaaN4 un ka ba-andaaz5-e hadiis6-e diigaraaN7 kyuN ho
1.beauty, beloved 2.love, poet/lover 3.secrets, mysteries 4.narration, description 5.in the style of 6.story 7.others, rivals
The mysteries/secrets of beauty and love that are in the heart of the poet/narrator are unique; that no one else knows. Why then should the narration of this story be in the same style as that of other stories.
9
meri aaNkhoN meN aa jaao mere dil meN samaa jaao
mohabbat hai agar mujh se to phir daaman-kashaaN1 kyuN ho
1.pulling back the hem of the garment, pulling back, aloof
The poet appeals to the beloved – come into my eyes, fill my heart. If you have love for me, why should you pull back.
10
kaha maane1 agar2 mera dil-e diivaana aye muztar3
qateel4-e mah-vashaaN5 kyuN ho, halaak6-e gul-ruKhaaN7 kyuN ho
1.listen to what is said, heed 2.if 3.pen-name of the poet 4.killed by 5.moon-like 6.killed by 7.rose-faced
If my foolish heart were to heed what I have to say, why would it fall for moon-like beauties or get killed by the rose-faced beloved.
The post taGhaaful ka gumaaN kyuN ho-ram krishn muztar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/rdss-zikr-e-aashiyaaN-kyuN-ho-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ذکرِ آشیاں کیوں ہو ۔ رگھوبیر داس ساحرؔ سیالکوٹی
۱
یہ تجھ سے کون کہتا ہے ترے منہ میں زباں کیوں ہو
ہمارے عشق کا چرچا مگر اے رازداں کیوں ہو
۲
یہ شکوہ ہم نہیں کرتے کہ جور اے مہرباں کیوں ہو
بلا سے کچھ بھی ہو لیکن محبّت رائیگاں کیوں ہو
۳
ملے کیوں فتنہ جُوئی کو فضیلت خاکساری پر
زمیں ہو پاؤن کے نیجے تو سر پر آسماں کیوں ہو
۴
یہ بزمِ غیر ہے اے دل تجھے کچھ ضبط لازم ہے
جفائے دوست کا شکوہ جو ہو بھی تو یہاں کیوں ہو
۵
ستانے کے طریقے اور اے صیّاد لاکھوں ہیں
ارے ظالم قفس میں ہم سے ذکرِ آشیاں کیوں ہو
۶
چڑھا رکّھا ہے اُس کو سب کے سر پر اے خدا تُو نے
جہاں میں ورنہ ہم بندوں پہ جورِ آسماں کیوں ہو
۷
توجّہ اُس پہ ہے مجھ سے زیادہ برقِ سوزاں کی
خدا محفوظ رکّھے مجھ کو فکرِ آشیاں کیوں ہو
۸
نہاں اِک راز تو دل میں ہے ساحرؔ ایک مُدّت سے
اگر یہ رازِ اُلفت ہو تو پھر اب تک نہاں کیوں ہو
ज़िक्र-ए आशियां क्यूं हो – रघुवीर दास साहेर सियालकोटी
१
ये तुझ से कौन कहता है तेरे मुंह में ज़बां क्यूं हो
हमारे इश्क़ का चरचा मगर अए राज़दां क्यूं हो
२
ये शिक्वा हम नहीं करते के जौर अए मेहरबां क्यूं हो
बला से कुछ भी हो लैकिन मोहब्बत राएगां क्यूं हो
३
मिले क्यूं फ़ितना-जूई को फ़ज़ीलत ख़ाक्सारी पर
ज़मीं हो पाऊं के नीचे तो सर पर आसमां क्यूं हो
४
ये बज़्म-ए ग़ैर है अए दिल तुझे कुछ ज़ब्त लाज़िम है
जफ़ा-ए दोस्त का शिक्वा जो हो भी तो यहां क्यूं हो
५
सताने के तरीक़े और अए सय्याद लाखौं हैं
अरे ज़ालिम क़फ़स में हम से ज़िक्र-ए आशियां क्यूं हो
६
चढ़ा रक्खा है उस को सब के सर पर अए ख़ुदा तू ने
जहां में वरना हम बंदौं पे जौर-ए आस्मां क्यूं हो
७
तवज्जोह उस पे है मुझ से ज़्यादा बर्क़-ए सोज़ां की
ख़ुदा महफ़ूज़ रक्खे मुझ को फ़िक्र-ए आशियां क्यूं हो
८
नेहां एक राज़ तो दिल में है साहिर एक मुद्दत से
अगर ये राज़-ए उल्फ़त हो तो फिर अब तक नेहां क्यूं हो
Click here for background and on any passage for word meanings and explanatory discussion. raghubir das sahir sialkoTi (1906-1984). BA sanaatan dharm college lahore. Worked for milaap daily in lahore after graduation. During partition mayhem he lost all his work. Went to jalandhar, an urdu literary hub at the time. Attended mushaa’era regularly and probably worked for magazines. When he went to hoshiarpur for a mushaa’era, he ran into his college class mate – amarchand qais who happened to have saved some of sahir’s Ghazal. sahir became shaagird of josh malsiani. His collection was published in 1959. This Ghazal is linked to Ghalib naqsh-e qadam.
1
ye tujh se kaun kahta hai tere muNh meN zabaaN kyuN ho
hamaare ishq ka charcha1 magar aye raazdaaN2 kyuN ho 1.spreading stories 2.confidant
The poet/lover has a trusted confidant with whom he shares stories of his love. Perhaps he even uses him as a messenger. But he finds out that stories about his love are spreading. He thinks that the source of these rumours is the confidant and is annoyed … who says that you should not speak at all (should not have a tongue in your mouth), but why should stories of my love spread.
2
ye shikva1 ham nahiN karte keh jaur2 aye mehrbaaN3 kyuN ho
bala4 se kuchh bhi ho laikin mohabbat raa’egaaN5 kyuN ho 1.complaint 2.cruelty, oppression 3.kind-used sarcastically to mean the exact opposite, beloved 4.calamity 5.wasted
O kind beloved, I do not complain that you are cruel to me. But you totally neglect me; are indifferent to me. Whatever calamity might happen, I am willing to take it … but why should my love to go waste (cruelty is preferable to indifference).
3
milay kyuN fitna-juuii1 ko fazeelat2 Khaaksaari3 par
zamiiN ho paauN ke neeche to sar par aasmaaN kyuN ho 1.mischief searching/making 2.preference, superiority 3.humility
The earth is under our feet i.e., the earth is humble. The sky (traditionally fate) creates all kinds of problems for us i.e., it is fitna-juu, mischief maker. Why then should the sky be superior to the earth. The poet just raises the question, does not answer it.
4
ye bazm1-e Ghair2 hai aye dil tujhe kuchh zabt3 laazim4 hai
jafaa5-e dost6 ka shikva7 jo ho kuchh bhi to yahaaN kyuN ho 1.gathering 2.other, rival 3.fortitude, forbearance 4.essential 5.cruelty 6.friend, beloved 7.complaint
O heart, this is a gathering of rivals, it is essential that exercise forbearance (quietly bear whatever happens to you). Even if you have to complain about the cruelty of the beloved, why should you do it here.
5
sataane1 ke tariiqe2 aur aye sayyaad3 laakhoN haiN
arey zaalim4 qafas5 meN ham se zikr6-e aashiyaaN7 kyuN ho 1.bothering, harming 2.methods 3.hunter, bird-catcher 4.oppressor, tyrrant 5.cage 6.mention, narration 7.nest
In poetic tradition the poet is a bird in love with the garden and building a nest in it. The villain is the bird-catcher who traps him in a net and puts him in a cage. He has done all that and to rub it in is talking to him about the garden and his nest. The poet/bird protests – there are a thousand other ways of torturing me O tyrant, why should you talk about my nest and make me even more miserable.
6
chaRha rakkha hai us ko sab ke sar par aye Khuda tuu ne
jahaaN1 meN varna2 ham bandoN3 pe jaur4-e aasmaaN kyuN ho 1.world 2.otherwise 3.servants, devotees 4.cruelty, tyranny
In a mushaa’era setting the first misra and even ¾ of the way through the second misra the audience does not know what he is talking about. ‘sar pe chaRha rakhna’ means giving someone all liberties to do whatever pleases them even if it bothers others. Thus, the poet is complaining that god has given liberties to someone. The audience is inclined to guess that he is talking about the beloved. Otherwise why should there be this tyranny over devotees in this world. You still don’t know who the tyrant is. The poet takes his his time and repeats the first 1-3/4 misra and finally reveals that it is ‘jaur-e aasmaaN’. Of course, the word play is that the sky is also literally over our heads.
7
tavajjoh1 us pe hai mujh se ziyaada2 barq3-e sozaaN4 ki
Khuda mahfooz5 rakkhe mujh ko fikr6-e aashiyaaN7 kyuN ho 1.attention 2.more 3.lightning 4.hot, burning 5.safe, protected 6.worry 7.nest
The lightning is paying more attention to the nest than to the poet/bird. But we don’t know what kind of attention this is. Is it protective or destructive. In the second misra you can take a break after ‘rakkhe’ or after ‘mujh ko’. In the first reading – the lightning is paying attention to not destroy the nest, but is not paying as much attention to me. Why should I worry about the nest, may god protect me-I am the real target. In the second reading – lightning is paying the wrong kind of attention to the nest, targeting it. May god protect my nest, why should I have to worry about it-why does god not help me.
8
nehaaN1 ek raaz2 to dil meN hai saahir3 ek muddat4 se
agar ye raaz2-e ulfat5 hai to phir ab tak nehaaN1 kyuN ho 1.hidden 2.secret 3.pen-name of the poet 4.long time 5.love
O saahir, this secret has been hidden in my heart for a long time. If it is the secret of love, why should it remain hidden still. Beyond this literal translation, I cannot make out what the poet might be saying. Any ideas/suggestions would help.
raghubir das sahir sialkoTi (1906-1984). BA sanaatan dharm college lahore. Worked for milaap daily in lahore after graduation. During partition mayhem he lost all his work. Went to jalandhar, an urdu literary hub at the time. Attended mushaa’era regularly and probably worked for magazines. When he went to hoshiarpur for a mushaa’era, he ran into his college class mate – amarchand qais who happened to have saved some of sahir’s Ghazal. sahir became shaagird of josh malsiani. His collection was published in 1959. This Ghazal is linked to Ghalib naqsh-e qadam.
1
ye tujh se kaun kahta hai tere muNh meN zabaaN kyuN ho
hamaare ishq ka charcha1 magar aye raazdaaN2 kyuN ho
1.spreading stories 2.confidant
The poet/lover has a trusted confidant with whom he shares stories of his love. Perhaps he even uses him as a messenger. But he finds out that stories about his love are spreading. He thinks that the source of these rumours is the confidant and is annoyed … who says that you should not speak at all (should not have a tongue in your mouth), but why should stories of my love spread.
2
ye shikva1 ham nahiN karte keh jaur2 aye mehrbaaN3 kyuN ho
bala4 se kuchh bhi ho laikin mohabbat raa’egaaN5 kyuN ho
1.complaint 2.cruelty, oppression 3.kind-used sarcastically to mean the exact opposite, beloved 4.calamity 5.wasted
O kind beloved, I do not complain that you are cruel to me. But you totally neglect me; are indifferent to me. Whatever calamity might happen, I am willing to take it … but why should my love to go waste (cruelty is preferable to indifference).
3
milay kyuN fitna-juuii1 ko fazeelat2 Khaaksaari3 par
zamiiN ho paauN ke neeche to sar par aasmaaN kyuN ho
1.mischief searching/making 2.preference, superiority 3.humility
The earth is under our feet i.e., the earth is humble. The sky (traditionally fate) creates all kinds of problems for us i.e., it is fitna-juu, mischief maker. Why then should the sky be superior to the earth. The poet just raises the question, does not answer it.
4
ye bazm1-e Ghair2 hai aye dil tujhe kuchh zabt3 laazim4 hai
jafaa5-e dost6 ka shikva7 jo ho kuchh bhi to yahaaN kyuN ho
1.gathering 2.other, rival 3.fortitude, forbearance 4.essential 5.cruelty 6.friend, beloved 7.complaint
O heart, this is a gathering of rivals, it is essential that exercise forbearance (quietly bear whatever happens to you). Even if you have to complain about the cruelty of the beloved, why should you do it here.
5
sataane1 ke tariiqe2 aur aye sayyaad3 laakhoN haiN
arey zaalim4 qafas5 meN ham se zikr6-e aashiyaaN7 kyuN ho
1.bothering, harming 2.methods 3.hunter, bird-catcher 4.oppressor, tyrrant 5.cage 6.mention, narration 7.nest
In poetic tradition the poet is a bird in love with the garden and building a nest in it. The villain is the bird-catcher who traps him in a net and puts him in a cage. He has done all that and to rub it in is talking to him about the garden and his nest. The poet/bird protests – there are a thousand other ways of torturing me O tyrant, why should you talk about my nest and make me even more miserable.
6
chaRha rakkha hai us ko sab ke sar par aye Khuda tuu ne
jahaaN1 meN varna2 ham bandoN3 pe jaur4-e aasmaaN kyuN ho
1.world 2.otherwise 3.servants, devotees 4.cruelty, tyranny
In a mushaa’era setting the first misra and even ¾ of the way through the second misra the audience does not know what he is talking about. ‘sar pe chaRha rakhna’ means giving someone all liberties to do whatever pleases them even if it bothers others. Thus, the poet is complaining that god has given liberties to someone. The audience is inclined to guess that he is talking about the beloved. Otherwise why should there be this tyranny over devotees in this world. You still don’t know who the tyrant is. The poet takes his his time and repeats the first 1-3/4 misra and finally reveals that it is ‘jaur-e aasmaaN’. Of course, the word play is that the sky is also literally over our heads.
7
tavajjoh1 us pe hai mujh se ziyaada2 barq3-e sozaaN4 ki
Khuda mahfooz5 rakkhe mujh ko fikr6-e aashiyaaN7 kyuN ho
1.attention 2.more 3.lightning 4.hot, burning 5.safe, protected 6.worry 7.nest
The lightning is paying more attention to the nest than to the poet/bird. But we don’t know what kind of attention this is. Is it protective or destructive. In the second misra you can take a break after ‘rakkhe’ or after ‘mujh ko’. In the first reading – the lightning is paying attention to not destroy the nest, but is not paying as much attention to me. Why should I worry about the nest, may god protect me-I am the real target. In the second reading – lightning is paying the wrong kind of attention to the nest, targeting it. May god protect my nest, why should I have to worry about it-why does god not help me.
8
nehaaN1 ek raaz2 to dil meN hai saahir3 ek muddat4 se
agar ye raaz2-e ulfat5 hai to phir ab tak nehaaN1 kyuN ho
1.hidden 2.secret 3.pen-name of the poet 4.long time 5.love
O saahir, this secret has been hidden in my heart for a long time. If it is the secret of love, why should it remain hidden still. Beyond this literal translation, I cannot make out what the poet might be saying. Any ideas/suggestions would help.
The post zikr-e aashiyaaN kyuN ho-raghubir das sahir sialkoTi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/mchn-raNgiin-shabnam-hoti-jaati-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
رنگین شبنم ہوتی جاتی ہے ۔ مہیش چندر نقشؔ
۱
محبّت جس قدر وابستۂ غم ہوتی جاتی ہے
طبیعت آشنائے دردِ عالم ہوتی جاتی ہے
۲
ستارہ بار میری آنکھ پُر نم ہوتی جاتی ہے
شبِ ہجراں کی گویا روشنی کم ہوتی جاتی ہے
۳
چمن والو ذرا سوچو چمن کا حال کیا ہوگا
نگاہِ باغباں پھولوں سے برہم ہوتی جاتی ہے
۴
نہ جانے کیا دکھائے گی ابھی یہ گردشِ دوراں
چمن میں ہر کلی تصویرِ ماتم ہوتی جاتی ہے
۵
نقوشِ عہدِ رفتہ جب اُبھرتے ہیں خیالوں میں
ترے غم کی کہانی اور مبہم ہوتی جاتی ہے
۶
تری اِن مست آنکھوں کو زمانہ کچھ نہیں کہتا
ہماری میکشی رسوائے عالم ہوتی جاتی ہے
۷
شبِ مہتاب ہے اے نقشؔ لیکن صحنِ گلشن میں
گلوں کے خون سے رنگین شبنم ہوتی جاتی ہے
रंगीन शबनम होती जाती है – महेश चंद्र नक़्श
१
मोहब्बत जिस क़दर वाबस्ता-ए ग़म होती जाती है
तबीय्यत आश्ना-ए दर्द-ए आलम होती जाती है
२
सितारा-बार मेरी आंख पुर-नम होती जाती है
शब-ए हिज्रां कि गोया रौशनी कम होती जाती है
३
चमन वालो ज़रा सोचो चमन का हाल क्या होगा
निगाह-ए बाग़बां फूलौं से बरहम होती जाती है
४
न जाने क्या दिखाएगी अभी ये गरदिश-ए दौरां
चमन में हर कली तस्वीर-ए मातम होती जाती है
५
नुक़ूश-ए अहद-ए रफ़्ता जब उभरते हैं ख़यालौं में
तेरे ग़म की कहानी और मुब्हम होती जाती है
६
तेरी इन मस्त आंखौं को ज़माना कुछ नहीं कहता
हमारी मय-कशी रुस्वा-ए आलम होती जाती है
७
शब-ए महताब है अए नक़्श लैकिन सहन-ए गुलशन में
गुलौं के ख़ून से रंगीन शबनम होती जाती है
Click here for background and on any passage for word meanings and explanatory discussion. mahesh chandr naqsh (1928-1980) meeraTh and dehli. He worked as a sub-inspector in the dehli transport corporation. There are at least four collections of Ghazal and qitaat to his credit. But there are no bio sketches in any of his publications, however there is a reference to an interview on a dehli TV station in which he was asked when he got time to compose. After a moment of thought he replied, I do it constantly – on or off the job. There is no indication of how he became interested in urdu. This Ghazal is linked to other ham-radeef Ghazal on the Refrain page.
1
mohabbat jis qadar1 vaabasta2-e Gham hoti jaati hai
tabi’yyat3 aashna4-e dard-e aalam5 hoti jaati hai 1.as much 2.associated with, related to 3.mood, disposition 4.familiar 5.world
As pain gets more associated with love, so does my disposition become more familiar with the pain of the world. This could mean (a) the whole world feels the same pain and I am becoming familiar with this awareness (b) the poet feels that the pain of the whole world has descended upon him.
2
sitaara-baar1 meri aaNkh pur-nam2 hoti jaati hai
shab3-e hijraaN4 ki goya5 raushni6 kam hoti jaati hai 1.shedding stars 2.moist, teary 3.night of 4.spearation 5.as if 6.brightness
The poet/lover’s moist eyes are shedding tears profusely. It is as if they are shedding stars. But the interesting juxtaposition is the stars in the night sky get fewer. This reduces the brightness of the night of separation. It gets darker as he weeps more.
3
chaman vaalo zara socho chaman ka haal1 kya hoga
nigaah2-e baaGhbaaN3 phooloN se barham4 hoti jaati hai 1.condition 2.eyes 3.gardener 4.wandering, astray
O people, just think, what the condition of the garden will be. The eyes of the gardener wander away from the flowers. This could be a political statement … the eyes of the leadership are not on the best interests of the people of the homeland.
4
na jaane kya dikhaaegi abhi ye gardish-e-dauraaN1
chaman meN har kali tasviir-e maatam2 hoti jaati hai 1.vicissitudes of the times, trials and tribulations of the day 2.mourning
We don’t know what else the trials and tribulations of the times will bring forth. Every unblossomed bud in the garden is a picture of mourning. This could also be a political statement about the unhappiness of the people.
5
nuqoosh1-e ahd-e-rafta2 jab ubharte3 haiN KhayaaloN4 meN
tere Gham ki kahaani aur mub’ham5 hoti jaati hai 1.marks, sketches 2.days gone by 3.emerge 4.thoughts, imagination 5.vague, ambiguous
When the sketches of days gone by emerge in my thoughts, then the story of the pain of love for you becomes ever more ambiguous. Could this be addressed to the beloved … when old thoughts emerge and he can see how insincere she has been then his own resolve becomes shaky.
6
teri in mast aaNkhoN ko zamaana kuchh nahiN kahta
hamaari maikashi1 rusvaa2-e aalam3 hoti jaati hai 1.wine drinking 2.embarrassment 3.world
Nobody blames your intoxicating eyes of anything, but my wine drinking has become a source of embarrassment in this world.
7
shab1-e mahtaab2 hai aye naqsh3 laikin sahn4-e gulshan5 meN
guloN6 ke Khoon se raNgiin shabnam7 hoti jaati hai 1.night of 2.full moon 3.pen-name of the poet 4.yard, area 5.garden 6.roses 7.dew
The night of the full moon – shab-e mahtaab – is supposed to be a night of good cheer. But O naqsh, not everything is well in the area of the garden. Roses are bleeding and dew drops are becoming red with the colour of blood. This could also be a political statement implying that people are being bled to create a show of colour.
mahesh chandr naqsh (1928-1980) meeraTh and dehli. He worked as a sub-inspector in the dehli transport corporation. There are at least four collections of Ghazal and qitaat to his credit. But there are no bio sketches in any of his publications, however there is a reference to an interview on a dehli TV station in which he was asked when he got time to compose. After a moment of thought he replied, I do it constantly – on or off the job. There is no indication of how he became interested in urdu. This Ghazal is linked to other ham-radeef Ghazal on the Refrain page.
1
mohabbat jis qadar1 vaabasta2-e Gham hoti jaati hai
tabi’yyat3 aashna4-e dard-e aalam5 hoti jaati hai
1.as much 2.associated with, related to 3.mood, disposition 4.familiar 5.world
As pain gets more associated with love, so does my disposition become more familiar with the pain of the world. This could mean (a) the whole world feels the same pain and I am becoming familiar with this awareness (b) the poet feels that the pain of the whole world has descended upon him.
2
sitaara-baar1 meri aaNkh pur-nam2 hoti jaati hai
shab3-e hijraaN4 ki goya5 raushni6 kam hoti jaati hai
1.shedding stars 2.moist, teary 3.night of 4.spearation 5.as if 6.brightness
The poet/lover’s moist eyes are shedding tears profusely. It is as if they are shedding stars. But the interesting juxtaposition is the stars in the night sky get fewer. This reduces the brightness of the night of separation. It gets darker as he weeps more.
3
chaman vaalo zara socho chaman ka haal1 kya hoga
nigaah2-e baaGhbaaN3 phooloN se barham4 hoti jaati hai
1.condition 2.eyes 3.gardener 4.wandering, astray
O people, just think, what the condition of the garden will be. The eyes of the gardener wander away from the flowers. This could be a political statement … the eyes of the leadership are not on the best interests of the people of the homeland.
4
na jaane kya dikhaaegi abhi ye gardish-e-dauraaN1
chaman meN har kali tasviir-e maatam2 hoti jaati hai
1.vicissitudes of the times, trials and tribulations of the day 2.mourning
We don’t know what else the trials and tribulations of the times will bring forth. Every unblossomed bud in the garden is a picture of mourning. This could also be a political statement about the unhappiness of the people.
5
nuqoosh1-e ahd-e-rafta2 jab ubharte3 haiN KhayaaloN4 meN
tere Gham ki kahaani aur mub’ham5 hoti jaati hai
1.marks, sketches 2.days gone by 3.emerge 4.thoughts, imagination 5.vague, ambiguous
When the sketches of days gone by emerge in my thoughts, then the story of the pain of love for you becomes ever more ambiguous. Could this be addressed to the beloved … when old thoughts emerge and he can see how insincere she has been then his own resolve becomes shaky.
6
teri in mast aaNkhoN ko zamaana kuchh nahiN kahta
hamaari maikashi1 rusvaa2-e aalam3 hoti jaati hai
1.wine drinking 2.embarrassment 3.world
Nobody blames your intoxicating eyes of anything, but my wine drinking has become a source of embarrassment in this world.
7
shab1-e mahtaab2 hai aye naqsh3 laikin sahn4-e gulshan5 meN
guloN6 ke Khoon se raNgiin shabnam7 hoti jaati hai
1.night of 2.full moon 3.pen-name of the poet 4.yard, area 5.garden 6.roses 7.dew
The night of the full moon – shab-e mahtaab – is supposed to be a night of good cheer. But O naqsh, not everything is well in the area of the garden. Roses are bleeding and dew drops are becoming red with the colour of blood. This could also be a political statement implying that people are being bled to create a show of colour.
The post raNgiin shabnam hoti jaati hai-mahesh chandr naqsh appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/ddaabh-chalo-saba-ki-tarah-audio.mp3
The post chalo sabaa ki tarah-devi dayal aatish bhavlapuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/ppn-ravaaN-ho-to-Ghazal-hoti-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
رواں ہو تو غزل ہوتی ہے ۔ پرکاش ناتھ پرویزؔ
۱
دل میں اِک درد نہاں ہو تو غزل ہوتی ہے
سَیلِ جذبات رواں ہو تو غزل ہوتی ہے
۲
غم کا احساس جواں ہو تو غزل ہوتی ہے
عشق مائل بہ فغان ہو تو غزل ہوتی ہے
۳
اُن پہ جب اپنا گماں ہو تو نکھرتا ہے شعور
خُود پہ جب اُن کا گُماں ہو تو غزل ہوتی ہے
۴
میرے دل میں جو نہاں ہے وہ غمِ بے پایاں
تیری آنکھوں سے عیاں ہو تو غزل ہوتی ہے
۵
شبِ فرقت میں سُلگتے ہوئے اشکوں کے طفیل
زندگی شعلہ بجاں ہو تو غزل ہوتی ہے
۶
اپنے ماحول کی بڑھتی ہوئی تلخی جس وقت
دلِ ہستی پہ گِراں ہو تو غزل ہوتی ہے
۷
خالقِ شعر ہے در اصل محبّت پرویزؔ
اس میں جب دل کا زیاں ہو تو غزل ہوتی ہے
रवां हो तो ग़ज़ल होती है – प्रकाश नाथ परवेज़
१
दिल में एक दर्द नेहां हो तो ग़ज़ल होती है
सैल-ए जज़बात रवां हो तो ग़ज़ल होती है
२
ग़म का एहसास जवां हो तो ग़ज़ल होती है
इश्क़ मा’एल ब फ़ुग़ां हो तो ग़ज़ल होती है
३
उन पे जब अपना गुमां हो तो निखरता है श’ऊर
ख़ुद पे जब उन का गुमां हो तो ग़ज़ल होती है
४
मेरे दिल में जो नेहां है वो ग़म-ए बे-पायां
तेरी आंखौं से अयां हो तो ग़ज़ल होती है
५
शब-ए फ़ुर्क़त में सुलगते हुए अश्कौं के तुफ़ैल
ज़िंदगी शो’ला ब-जां हो तो ग़ज़ल होती है
६
अपने माहौल कि बढ़ती हुई तल्ख़ी जिस वक़्त
दिल-ए हस्ती पे गिरां हो तो ग़ज़ल होती है
७
ख़ालेक़-ए शे’र है दर-अस्ल मोहब्बत परवेज़
इस में जब दिल का ज़ियां हो तो ग़ज़ल होती
Click here for background and on any passage for word meanings and explanatory discussion. prakash nath parvez (1930-????), amritsar district. BA (1953) and MA (1960) in urdu from punjab university. He also learnt faarsi as a part of his BA curriculum. He started composing verse at an early age with first publication in a magazine in 1956. He worked for the central government in the accountant general’s office. There are at least four collections of doha, nazm and Ghazal. This Ghazal is linked to other ham-radeef on the Refrain page.
1
dil meN ek dard nehaaN1 ho to Ghazal hoti hai
sa’el2-e jazbaat3 ravaaN4 ho to Ghazal hoti hai 1.hidden 2.flood 3.emotions 4.flow
When there is pain hidden in the heart, then a Ghazal is said/recited. When a flood of emotions flows from this hidden pain, then a Ghazal is said/recited.
2
Gham ka ehsaas1 javaaN2 ho to Ghazal hoti hai
ishq maa’el3 ba-fuGhaaN4 ho to Ghazal hoti hai 1.feelings 2.vigorous, strong 3.inclined towards 4.wailing, moaning
When the feelings of sorrow are strong, then a Ghazal is said/recited. When love (poet/lover) is so sad that he is inclined towards wailing, then a Ghazal is said/recited.
3
un pe jab apna gumaaN1 ho to nikharta2 hai shu’oor3
Khud4 pe jab un ka gumaaN1 ho to Ghazal hoti hai 1.doubt, suspicion, uncertainty 2.fresh, clean 3.wisdom, knowledge, maturing 4.self
It is possible that ‘nikharta hai shu’oor’ is used in the sense of emerging wisdom and self-awareness, coming of age of the beloved. I think that ‘Khud’ in the second misra refers to the poet himself and ‘un’ is both misra, and ‘apna’ in the first misra are all about the beloved. When the beloved begins to be uncertain about herself her shu’oor-self-awareness, budding of her beauty, is refreshed. When she begins to have doubts about the sincerity of the poet/lover, then a Ghazal is said/recited – the poet’s pain makes him recite a Ghazal, as he states in the first two ash’aar.
4
mere dil meN jo nehaaN1 hai vo Gham-e be-payaaN2
teri aaNkhoN se ayaaN3 ho to Ghazal hoti hai 1.hidden 2.without boundaries, unlimited 3.manifest, appear
The limitless pain that is hidden in my heart … if it appears in your eyes, then a Ghazal is said/recited.
5
shab1-e furqat2 meN sulagte3 hue ashkoN4 ke tufail5
zindagi sho’la-ba-jaaN6 ho to Ghazal hoti hai 1.night of 2.separation 3.burning, hot 4.tears 5.because of 6.life on fire
If, on the night of separation (from the beloved) my hot flowing tears, set my life on fire, then a Ghazal is said/recited.
6
apne maahaul1 ki baRhti hui talKhi2 jis vaqt3
dil-e hasti4 pe giraaN5 ho to Ghazal hoti hai 1.surroundings 2.bitterness 3.time 4.being, existence 5.heavy, unbearable
When the increasing bitterness around you becomes unbearable, then a Ghazal is said/recited.
7
Khaaliq1-e she’r hai dar-asl2 mohabbat parvez3
is meN jab dil ka ziyaaN4 ho to Ghazal hoti hai 1.creator 2.in reality 3.pen-name of the poet 4.loss
O parvez, in reality, the creator/writer of verse is love. If in doing so, you lose your heart, then a Ghazal is said/recited.
prakash nath parvez (1930-????), amritsar district. BA (1953) and MA (1960) in urdu from punjab university. He also learnt faarsi as a part of his BA curriculum. He started composing verse at an early age with first publication in a magazine in 1956. He worked for the central government in the accountant general’s office. There are at least four collections of doha, nazm and Ghazal. This Ghazal is linked to other ham-radeef on the Refrain page.
1
dil meN ek dard nehaaN1 ho to Ghazal hoti hai
sa’el2-e jazbaat3 ravaaN4 ho to Ghazal hoti hai
1.hidden 2.flood 3.emotions 4.flow
When there is pain hidden in the heart, then a Ghazal is said/recited. When a flood of emotions flows from this hidden pain, then a Ghazal is said/recited.
2
Gham ka ehsaas1 javaaN2 ho to Ghazal hoti hai
ishq maa’el3 ba-fuGhaaN4 ho to Ghazal hoti hai
1.feelings 2.vigorous, strong 3.inclined towards 4.wailing, moaning
When the feelings of sorrow are strong, then a Ghazal is said/recited. When love (poet/lover) is so sad that he is inclined towards wailing, then a Ghazal is said/recited.
3
un pe jab apna gumaaN1 ho to nikharta2 hai shu’oor3
Khud4 pe jab un ka gumaaN1 ho to Ghazal hoti hai
1.doubt, suspicion, uncertainty 2.fresh, clean 3.wisdom, knowledge, maturing 4.self
It is possible that ‘nikharta hai shu’oor’ is used in the sense of emerging wisdom and self-awareness, coming of age of the beloved. I think that ‘Khud’ in the second misra refers to the poet himself and ‘un’ is both misra, and ‘apna’ in the first misra are all about the beloved. When the beloved begins to be uncertain about herself her shu’oor-self-awareness, budding of her beauty, is refreshed. When she begins to have doubts about the sincerity of the poet/lover, then a Ghazal is said/recited – the poet’s pain makes him recite a Ghazal, as he states in the first two ash’aar.
4
mere dil meN jo nehaaN1 hai vo Gham-e be-payaaN2
teri aaNkhoN se ayaaN3 ho to Ghazal hoti hai
1.hidden 2.without boundaries, unlimited 3.manifest, appear
The limitless pain that is hidden in my heart … if it appears in your eyes, then a Ghazal is said/recited.
5
shab1-e furqat2 meN sulagte3 hue ashkoN4 ke tufail5
zindagi sho’la-ba-jaaN6 ho to Ghazal hoti hai
1.night of 2.separation 3.burning, hot 4.tears 5.because of 6.life on fire
If, on the night of separation (from the beloved) my hot flowing tears, set my life on fire, then a Ghazal is said/recited.
6
apne maahaul1 ki baRhti hui talKhi2 jis vaqt3
dil-e hasti4 pe giraaN5 ho to Ghazal hoti hai
1.surroundings 2.bitterness 3.time 4.being, existence 5.heavy, unbearable
When the increasing bitterness around you becomes unbearable, then a Ghazal is said/recited.
7
Khaaliq1-e she’r hai dar-asl2 mohabbat parvez3
is meN jab dil ka ziyaaN4 ho to Ghazal hoti hai
1.creator 2.in reality 3.pen-name of the poet 4.loss
O parvez, in reality, the creator/writer of verse is love. If in doing so, you lose your heart, then a Ghazal is said/recited.
The post ravaaN ho to Ghazal hoti hai-parvez-prakash nath appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/nvn-jazba-e-dil-ka-tarjuma-hai-Ghazal-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جذبۂ دل کا ترجمہ ہے غزل ۔ نلنی وبھا نازلیؔ
۱
حرف حرف ایک آئینہ ہے غزل
جذبۂ دل کا ترجمہ ہے غزل
۲
جس کو بُنتے ہیں ریشمی احساس
خوبصورت سی وہ رِدا ہے غزل
۳
جستجو بھی ہے اور منزل بھی
ایک دلچسپ راستا ہے غزل
۴
ہے یہ نغمہ بھی اور نوحہ بھی
اور کبھی ایک تہلکہ ہے غزل
۵
دُھل تو جاتا ہے اس سے دل کا غبار
غم کے ناسور کی دوا ہے غزل
۶
ٹیس بن کر جو دل میں اُٹّھے کبھی
زخمی دل کی وہی نوا ہے غزل
۷
دورِ حاضر کا سچّا البم ہے
وقت کی گویا ہم نوا ہے غزل
۸
نکہتِ گُل ہے کیفِ صہبا ہے
نور ہے سرخیِ حنا ہے غزل
۹
جس کی منزل خلا سے بھی آگے
وہ نوائے فلک رسا ہے غزل
۱۰
دل سے تفریق جو مٹاتی ہے
دردِ نفرت کی وہ دوا ہے غزل
۱۱
اِس میں ہے امن و دوستی کی پکار
ہند اور پاک کی صدا ہے غزل
۱۲
ہجر میں جو کسی کے تھمتے نہیں
ایسے اشکوں کا سلسلہ ہے غزل
۱۳
حمد ہے یہ کبھی، کبھی ہے سلام
منقبت تو کبھی دعا ہے غزل
۱۴
سیکھنے کی لگن کا حاصل ہے
درسِ اُستاد کی عطا ہے غزل
۱۵
نازلیؔ اِس پہ ہے ادب کا وقار
رفعتِ فن کا آئینہ ہے غزل
जज़बा-ए दिल का तर्जुमा है ग़ज़ल – नलिनी बिभा नाज़ली
१
हर्फ़ हर्फ़ एक आइना है ग़ज़ल
जज़बा-ए दिल का तर्जुमा है ग़ज़ल
२
जिस को बुनते हैं रेशमी एहसास
ख़ूबसूरत सि वो रिदा है ग़ज़ल
३
जुस्तुजू भी है और मंज़िल भी
एक दिलचस्प रास्ता है ग़ज़ल
४
है ये नग़्मा भी और नौहा भी
और कभी एक तहलका है ग़ज़ल
५
धुल तो जाता है इस से दिल का ग़ुबार
ग़म के नासूर की दवा है ग़ज़ल
६
टीस बन कर जो दिल में उट्ठे कभी
ज़ख़्मी दिल की वही नवा है ग़ज़ल
७
दौर-ए हाज़र का सच्चा अल्बम है
वक़्त की गोया हम-नवा है ग़ज़ल
८
निक’हत-ए गुल है कैफ़-ए सहबा है
नूर है सुर्ख़ी-ए हिना है ग़ज़ल
९
जिस कि मंज़िल ख़ला से भी आगे
वो नवा-ए फ़लक-रसा है ग़ज़ल
१०
दिल से तफ़्रीक़ जो मिटाती है
दर्द-ए नफ़्रत कि वो दवा है ग़ज़ल
११
इस में है अम्न ओ दोस्ती कि पुकार
हिंद और पाक कि सदा है ग़ज़ल
१२
हिज्र में जो किसी के थमते नहीं
ऐसे अश्कौं का सिल्सिला है ग़ज़ल
१३
हम्द है ये कभी, कभी है सलाम
मनक़बत तो कभी दुआ है ग़ज़ल
१४
सीखने की लगन का हासिल है
दर्स-ए उस्ताद की अता है ग़ज़ल
१५
नाज़ली इस पे है अदब का वेक़ार
रफ़’अत-ए फ़न का आइना है ग़ज़ल
Click here for background and on any passage for word meanings and explanatory discussion. nalini vibha naazli, (1954-xxxx), hamirpur, panjab. MPhil (music) dehli university. PhD (music) himaachal university. Faculty, Government Post-Graduate College, hamirpur. Several collections of urdu and hindi nazm and Ghazal. She received numerous awards including one from aivaan-e Ghalib for service to urdu.
1
harf-harf1 ek aaina2 hai Ghazal
jazba3-e dil ka tarjuma4 hai Ghazal 1.every word 2.mirror, reflection 3.sentiments, feelings 4.translation
Every word of Ghazal is a reflection of feelings, translating them into speech.
2
jis ko bunte1 haiN reshmi2 ehsaas3Khoobsoorat si vo rida4 hai Ghazal 1.weave 2.silken, soft 3.feelings 4.shawl
Ghazal is like a beautiful shawl which is woven by silken soft feelings.
3
justuju1 bhi hai aur manzil2 bhi
ek dilchasp3 raasta hai Ghazal 1.search, effort 2.destination 3.interesting, fascinating
It is both the search/effort and the destination; Ghazal is a fascinating path.
4
hai ye naGhma1 bhi aur nauha2 bhi
aur kabhi ek tahlka3 hai Ghazal 1.song 2.dirge, mourning song 3.pandemonium, chaos
It is both a song of celebration and of mourning. Sometimes Ghazal is a cause of disturbance (perhaps a call for change/revolution).
5
dhul1 to jaata hai is se dil ka Ghubaar2Gham ke naasoor3 ki dava hai Ghazal 1.washed 2.dust, fog 3.wound, tumour
The fog of sorrow gets washed away. Ghazal is a cure of the wounds of sorrow.
6
Tiis1 ban kar jo dil meN uTTha kabhi
zaKhmi2 dil ki vahi navaa3 hai Ghazal 1.piercing pain 2.wounded 3.voice, sound, call
Sometimes it rises like a piercing pain in the heart; Ghazal is the voice of a wounded heart.
7
daur-e-haazir1 ka sachcha2 album hai
vaqt ki goya3 ham-navaa4 hai Ghazal 1.present times 2.true 3.as if 4.same voice (as the times)
It paints a true picture of the current times as if Ghazal speaks in the same voice as the times – the voice of the voiceless.
8
nik’hat1-e gul2 hai kaif3-e sahba4 hai
noor5 hai surKhi6-e hina7 hai Ghazal 1.fragrance 2.rose 3.pleasure 4.wine 5.light, brilliance 6.redness 7.henna
The fragrance of the rose, the pleasure of wine, brilliance of day; Ghazal is the redness of henna.
9
jis ki manzil1 Khalaa2 se bhi aage
vo navaa3-e falak-rasaa4 hai Ghazal 1.destination 2.space 3.voice, sound 4.reaching heavens
With its destination beyond the far reaches of space, Ghazal is a voice that reaches heavens.
10
dil se tafriiq1 jo miTaati2 hai
dard-e nafrat3 ki vo dava hai Ghazal 1.differentiation, discrimination 2.erase 3.hatred
It erases differences from the heart; Ghazal is a cure for the affliction of hatred.
11
is meN hai amn1 o dosti ki pukaar
hind aur paak ki sadaa2 hai Ghazal 1.peace 2.voice, call
It has the sound of peace and friendship; Ghazal is the voice of the people of hindostan and pakistan.
12
hijr1 meN jo kisi ke thamte2 nahiN
aise ashkoN3 ka silsila4 hai Ghazal 1.separation (from the beloved or from home) 2.stop 3.tears 4.continuation, chain
Ghazal is a stream of tears of sorrow that are unstoppable in separation (from the beloved or from home).
13
hamd1 hai ye, kabhi hai salaam2
manqabat3 to kabhi dua hai Ghazal 1.praise (usually of god) 2.poem (usually about husain, karbala) 3.eulogy (usually about ali)
Sometimes it is an ode to god, sometimes a salutation to husain and his followers in karbala; sometimes it is a eulogy for ali and at other times Ghazal is a prayer.
14
siikhne1 ki lagan2 ka haasil3 hai
dars4-e ustaad5 ki ata6 hai Ghazal 1.learning 2.enthusiasm, devotion 3.profit, net result 4.lesson 5.teacher 6.grant, gift
Ghazal is the net result of devotion to learning. It is a gift of the lessons of the teacher.
15
naazli1 is pe hai adab2 ka veqaar3
raf’at4-e fun5 ki aaina6 hai Ghazal 1.pen-name of the poet 2.literature 3.dignity 4.eminence, height 5.skill, talent 6.mirror, reflection
O naazli, Ghazal is the dignity of literature reflecting the height of talent.
nalini vibha naazli, (1954-xxxx), hamirpur, panjab. MPhil (music) dehli university. PhD (music) himaachal university. Faculty, Government Post-Graduate College, hamirpur. Several collections of urdu and hindi nazm and Ghazal. She received numerous awards including one from aivaan-e Ghalib for service to urdu.
1
harf-harf1 ek aaina2 hai Ghazal
jazba3-e dil ka tarjuma4 hai Ghazal
1.every word 2.mirror, reflection 3.sentiments, feelings 4.translation
Every word of Ghazal is a reflection of feelings, translating them into speech.
2
jis ko bunte1 haiN reshmi2 ehsaas3Khoobsoorat si vo rida4 hai Ghazal
1.weave 2.silken, soft 3.feelings 4.shawl
Ghazal is like a beautiful shawl which is woven by silken soft feelings.
3
justuju1 bhi hai aur manzil2 bhi
ek dilchasp3 raasta hai Ghazal
1.search, effort 2.destination 3.interesting, fascinating
It is both the search/effort and the destination; Ghazal is a fascinating path.
4
hai ye naGhma1 bhi aur nauha2 bhi
aur kabhi ek tahlka3 hai Ghazal
1.song 2.dirge, mourning song 3.pandemonium, chaos
It is both a song of celebration and of mourning. Sometimes Ghazal is a cause of disturbance (perhaps a call for change/revolution).
5
dhul1 to jaata hai is se dil ka Ghubaar2Gham ke naasoor3 ki dava hai Ghazal
1.washed 2.dust, fog 3.wound, tumour
The fog of sorrow gets washed away. Ghazal is a cure of the wounds of sorrow.
6
Tiis1 ban kar jo dil meN uTTha kabhi
zaKhmi2 dil ki vahi navaa3 hai Ghazal
1.piercing pain 2.wounded 3.voice, sound, call
Sometimes it rises like a piercing pain in the heart; Ghazal is the voice of a wounded heart.
7
daur-e-haazir1 ka sachcha2 album hai
vaqt ki goya3 ham-navaa4 hai Ghazal
1.present times 2.true 3.as if 4.same voice (as the times)
It paints a true picture of the current times as if Ghazal speaks in the same voice as the times – the voice of the voiceless.
8
nik’hat1-e gul2 hai kaif3-e sahba4 hai
noor5 hai surKhi6-e hina7 hai Ghazal
1.fragrance 2.rose 3.pleasure 4.wine 5.light, brilliance 6.redness 7.henna
The fragrance of the rose, the pleasure of wine, brilliance of day; Ghazal is the redness of henna.
9
jis ki manzil1 Khalaa2 se bhi aage
vo navaa3-e falak-rasaa4 hai Ghazal
1.destination 2.space 3.voice, sound 4.reaching heavens
With its destination beyond the far reaches of space, Ghazal is a voice that reaches heavens.
10
dil se tafriiq1 jo miTaati2 hai
dard-e nafrat3 ki vo dava hai Ghazal
1.differentiation, discrimination 2.erase 3.hatred
It erases differences from the heart; Ghazal is a cure for the affliction of hatred.
11
is meN hai amn1 o dosti ki pukaar
hind aur paak ki sadaa2 hai Ghazal
1.peace 2.voice, call
It has the sound of peace and friendship; Ghazal is the voice of the people of hindostan and pakistan.
12
hijr1 meN jo kisi ke thamte2 nahiN
aise ashkoN3 ka silsila4 hai Ghazal
1.separation (from the beloved or from home) 2.stop 3.tears 4.continuation, chain
Ghazal is a stream of tears of sorrow that are unstoppable in separation (from the beloved or from home).
13
hamd1 hai ye, kabhi hai salaam2
manqabat3 to kabhi dua hai Ghazal
1.praise (usually of god) 2.poem (usually about husain, karbala) 3.eulogy (usually about ali)
Sometimes it is an ode to god, sometimes a salutation to husain and his followers in karbala; sometimes it is a eulogy for ali and at other times Ghazal is a prayer.
14
siikhne1 ki lagan2 ka haasil3 hai
dars4-e ustaad5 ki ata6 hai Ghazal
1.learning 2.enthusiasm, devotion 3.profit, net result 4.lesson 5.teacher 6.grant, gift
Ghazal is the net result of devotion to learning. It is a gift of the lessons of the teacher.
15
naazli1 is pe hai adab2 ka veqaar3
raf’at4-e fun5 ki aaina6 hai Ghazal
1.pen-name of the poet 2.literature 3.dignity 4.eminence, height 5.skill, talent 6.mirror, reflection
O naazli, Ghazal is the dignity of literature reflecting the height of talent.
The post jazba-e dil ka tarjuma hai Ghazal-naazli-nalini vibha appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/chbhKh-urdu-aur-ham-audio.mp3
The post urdu aur ham-Khayaal-chandrabhan appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/09/shgkb-urdu-zabaaN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اُردو زبان ۔ گوپال کرشن بتّا شفقؔ
۱
شفقؔ سینچا ہے جس کو خونِ دل سے
مجھے محبوب وہ اُردو زبان ہے
۲
زبانیں اور بھی لاکھوں ہیں لیکن
کہاں پہنچی کوئی اُردو زبان تک
۳
جس کو اپنوں نے بگاڑا ہے شفقؔ
صورتِ اُردو زباں ہے زندگی
۴
اے شفقؔ اُردو کشی کے دور میں
میر و غالب کی زباں محفوظ رکھ
۵
وہ کچھ کہیں شفقؔ یہ حقیقت ہے آج بھی
بزمِ ادب میں سکّۂ اردو زباں چلے
۶
لیلائے غزل جو کو سلیقے سے سجا دے
الفاظ کی رنگیں وہ قبا ڈھونڈ رہا ہوں
۷
آپسی جھگڑے تو خود مٹ جائیں گے
وسعتِ اُردو زباں ہونے تو دو
۸
شک جن کو اپنی ایکتا پہ ہو کہیں شفقؔ
سِکّے رواں دلوں پہ کیوں اُردو زباں کے ہیں
۹
ہر طرف بڑھتی ہوئی اِن مشکلوں کی بھیڑ میں
سب سے مشکل یہ شفقؔ اُردو زباں مشکل میں ہے
उर्दू ज़बान – गोपाल क्रिष्ण बत्ता शफ़क़
१
शफ़क़ सींचा है जिस को ख़ून-ए दिल से
मुझे महबूब वो उर्दू ज़बां है
२
ज़बानें और भी लाखौं हैं लैकिन
कहां पहुंची कोई उर्दू ज़बां तक
३
जिस को अपनौं ने बिगाढा है शफ़क़
सूरत-ए उर्दू ज़बां है ज़िंदगी
४
अए शफ़क़ उर्दू-कशी के दौर में
मीर ओ ग़ालिब की ज़बां महफ़ूज़ रख
५
वो कुछ कहें शफ़क़ ये हक़ीक़त है आज भी
बज़्म-ए अदब में सिक्का-ए उर्दू ज़बां चले
६
लैला-ए ग़ज़ल को जो सलीक़े से सजा दे
अल्फ़ाज़ कि रंगीं वो क़बा ढूंड रहा हुं
७
अपसी झगढे तो ख़ुद मिट जाएंगे
वुस’अत-ए उर्दू ज़बां होने तो दो
८
शक जिन को अपनी एकता पे हो कहें शफ़क़
सिक्के रवां दिलौं पे क्यूं उर्दू ज़बां के हैं
९
हर तरफ़ बढ़ती हुई इन मुशकिलौं की भीढ में
सब से मुशकिल ये शफ़क़, उर्दू ज़बां मुशकिल में है
Click here for background and on any passage for word meanings and explanatory discussion. shafaq-gopal krishn batta (1933-xxxx), paTiala. MA urdu in addition to a medical degree. He practiced as a physician. Organized Indo-pak mushaa’era annually in ambala. Formed a society of poets who met regularly. Published three collections of his own poetry, one in devnagiri script. This is a collection of ash’aar picked from various Ghazal, in which he extols or moans the dangers to urdu language. It is linked to other similar Ghazal/nazm/collections linked to ‘urdu’ on the Theme page.
1
shafaq1 seeNcha2 hai jis ko Khoon-e dil se
mujhe mahboob3 vo urdu zabaaN4 hai 1.pen-name of the poet 2.irrigate, cultivate 3.beloved, favourite 4.language
That which has been cultivated/nurtured with the blood of the heart, my most favourite is the urdu language.
2
zabaaneN1 aur bhi laakhoN haiN laikin
kahaaN pahuNchi koii urdu zabaaN tak 1.languages
There are thousands of other languages, but, which one has reached the heights of urdu language.
3
jis ko apnoN ne bigaaRa1 hai shafaq2
soorat3-e urdu zabaaN4 hai zindagi5 1.spoilt, corrupted-perhaps used to mean devalued 2.pen-name of the poet 3.like, similar to 4.language 5.life
O shafaq, our own people have devalued life, just like they have devalued urdu language.
4
aye shafaq1 urdu-kashi2 ke daur3 meN
mir o Ghalib ki zabaaN4 mahfooz5 rakh 1.pen-name of the poet 2.killing urdu 3.times, regime 4.language 5.protect
O shafaq, in these times when urdu is being killed, keep the language of mir and Ghalib safe.
5
vo kuchh kaheN shafaq1 ye haqiiqat2 hai aaj bhi
bazm3-e adab4 meN sikka5-e urdu zabaaN chale 1.pen-name of the poet 2.truth, reality 3.society 4.literature 5.sikka chalna – is an expression used to mean – currency, validity
Whatever they may say, O shafaq, this is true – in the circle of refined literature, urdu language is predominant.
6
laila1-e Ghazal ko jo saleeqe2 se saja3 de
alfaaz4 ki raNgiiN vo qaba5 DhoonD raha huN 1.of laila majnuN legend, beloved 2.refinement 3.adorn 4.words 5.robe, garment
I am looking for colourful words that will adorn the beloved Ghazal in garments of refined taste.
7
aapasi1 jhagRe to Khud miT2 jaa’eNge
vus’at3-e urdu zabaaN hone to do 1.mutual 2.erase 3.vastness, spread
Mutual disagreements will disappear by themselves. Just let urdu language grow. This is another way of expressing the widely held belief that urdu played/plays a major role in national/communal harmony/integration.
8
shak1 jin ko apni ekta2 pe ho kaheN shafaq
sikke3 ravaaN4 diloN pe kyuN urdu zabaaN ke haiN 1.doubt 2.one-ness 3.coin, currency 4.circulating
O shafaq, let those who doubt our one-ness explain – why the coin/currency of urdu language circulates in the hearts of (all) people.
9
har taraf1 baRhti hui in mushkiloN2 ki bhiiR3 meN
sub se mushkil ye shafaq, urdu zabaaN mushkil meN hai 1.every direction 2.difficulties, problems 3.crowd
There is a crowd of difficulties all around. In this onslaught, the most important difficulty, O shafaq, is that urdu language faces a problem.
shafaq-gopal krishn batta (1933-xxxx), paTiala. MA urdu in addition to a medical degree. He practiced as a physician. Organized Indo-pak mushaa’era annually in ambala. Formed a society of poets who met regularly. Published three collections of his own poetry, one in devnagiri script. This is a collection of ash’aar picked from various Ghazal, in which he extols or moans the dangers to urdu language. It is linked to other similar Ghazal/nazm/collections linked to ‘urdu’ on the Theme page.
1
shafaq1 seeNcha2 hai jis ko Khoon-e dil se
mujhe mahboob3 vo urdu zabaaN4 hai
1.pen-name of the poet 2.irrigate, cultivate 3.beloved, favourite 4.language
That which has been cultivated/nurtured with the blood of the heart, my most favourite is the urdu language.
2
zabaaneN1 aur bhi laakhoN haiN laikin
kahaaN pahuNchi koii urdu zabaaN tak
1.languages
There are thousands of other languages, but, which one has reached the heights of urdu language.
3
jis ko apnoN ne bigaaRa1 hai shafaq2
soorat3-e urdu zabaaN4 hai zindagi5
1.spoilt, corrupted-perhaps used to mean devalued 2.pen-name of the poet 3.like, similar to 4.language 5.life
O shafaq, our own people have devalued life, just like they have devalued urdu language.
4
aye shafaq1 urdu-kashi2 ke daur3 meN
mir o Ghalib ki zabaaN4 mahfooz5 rakh
1.pen-name of the poet 2.killing urdu 3.times, regime 4.language 5.protect
O shafaq, in these times when urdu is being killed, keep the language of mir and Ghalib safe.
5
vo kuchh kaheN shafaq1 ye haqiiqat2 hai aaj bhi
bazm3-e adab4 meN sikka5-e urdu zabaaN chale
1.pen-name of the poet 2.truth, reality 3.society 4.literature 5.sikka chalna – is an expression used to mean – currency, validity
Whatever they may say, O shafaq, this is true – in the circle of refined literature, urdu language is predominant.
6
laila1-e Ghazal ko jo saleeqe2 se saja3 de
alfaaz4 ki raNgiiN vo qaba5 DhoonD raha huN
1.of laila majnuN legend, beloved 2.refinement 3.adorn 4.words 5.robe, garment
I am looking for colourful words that will adorn the beloved Ghazal in garments of refined taste.
7
aapasi1 jhagRe to Khud miT2 jaa’eNge
vus’at3-e urdu zabaaN hone to do
1.mutual 2.erase 3.vastness, spread
Mutual disagreements will disappear by themselves. Just let urdu language grow. This is another way of expressing the widely held belief that urdu played/plays a major role in national/communal harmony/integration.
8
shak1 jin ko apni ekta2 pe ho kaheN shafaq
sikke3 ravaaN4 diloN pe kyuN urdu zabaaN ke haiN
1.doubt 2.one-ness 3.coin, currency 4.circulating
O shafaq, let those who doubt our one-ness explain – why the coin/currency of urdu language circulates in the hearts of (all) people.
9
har taraf1 baRhti hui in mushkiloN2 ki bhiiR3 meN
sub se mushkil ye shafaq, urdu zabaaN mushkil meN hai
1.every direction 2.difficulties, problems 3.crowd
There is a crowd of difficulties all around. In this onslaught, the most important difficulty, O shafaq, is that urdu language faces a problem.
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Recitation
- اُردو
- देवनागरी
- Roman
- Notes
- Lyda&theSwan-Yeats
بے نسب ورثے کا بوجھ ۔ پروین شاکر
و۔ب۔ییٹس کی نظم لیڈا اینڈ د سوان
۱
گہرے پانی کی چادر پہ لیٹی ہوئی جل پری
اپنے آئینۂ تن کی عریانیوں کے تکلّم سے نا آشنا
موجۂ زلفِ آبِ رواں سے لپٹ کر
ہواؤں کی سرگوشیاں سنتے رہنے میں مشغول تھی
۲
ناگہاں
نیلگوں آسمانوں میں اُڑتے ہوئے دیوتا نے
زمیں پر جو دیکھا
تو پرواز ہی بھول بیٹھا
نظر جیسے شل ہو گئی
اُڑنا چاہا، مگر
۳
خواہشِ بے اماں نے بدن میں قیامت مچا دی
مگر وصل کیسے ہو ممکن
کہ وہ دیوتا، آسمانوں کا بیٹا ہوا
جل پری کا تعلق زمیں سے
۴
سو خواہش کی عفریت نے
آسماں اور زمیں کے کہیں درمیاں سرزمینوں کی مخلوق کا روپ دھارا
بہت کھولتی خواہشوں کے تلاطم سے سرشار نیچے اُترنے لگا
۵
جل پری
اِس قدر دودھیا خوشنما ہنس کو
اپنی جانب لپکتے ہوئے دیکھ کر مسکرائی
مگر اُس کی یہ مسکراہٹ ہنسی بننے سے قبل ہی چیخ میں ڈھل گئی
۶
اُس کا اِنکار بے سود
وحشت، سراسیمگی، اجنبی پھڑپھڑاہٹ میں گم ہو گئی
آہ و زاری کے باوصف
مضبوط پر اس کا سارا بدن ڈھک چکے تھے
اُجلی گردن میں وحشت زدہ چونچ اُتری چلی جا رہی تھی
۷
اُس کے آنسو
سمندر میں شبنم کی مانند حل ہو گئے
سسکیاں
تند موجوں کی آواز میں بے صدا ہو گئیں
۸
ہنس اپنے لہو کی دہکتی ہوئی وحشتیں
نیم بے ہوش خوشبو کے رس سے بجھاتا رہا
اور پھر اپنے پیاسے بدن کی مساموں پہ
بھیگی ہوئی لذّتوں کی تھکن اوڑھ کر اُڑ گیا
۹
جل پری
گہرے نیلے سمندر کی بیٹی
اپنی مفتوح و نا منتظر کوکھ میں
آسماں اور زمیں کے کہیں درمیاں رہنے والوں کا
بے شجرہ و بے نسب ورثے کا بوجھ تھامے ہوئے
آج تک رو رہی ہے
बे-नसब विर्से का बोझ – परवीन शाकेर
व-ब-यीट्स की नज़्म लीडा एंड द स्वॉन
१
गहरे पानी की चादर पे लेटी हुई जल परी
अपने आईना-ए तन कि उरयानियौं के तकल्लुम से ना-आश्ना
मौजा-ए ज़ुल्फ़-ए आब-ए रवां से लपट कर
हवाऔं कि सरगोशियां सुनते रहने में मश्ग़ूल थी
२
नागहां
नीलगूं आसमानौं में उढते हुए देवता ने
ज़मीं पर जो देखा
तो परवाज़ ही भूल बैठा
नज़र जैसे शल हो गई
उढना चाहा, मगर
३
ख़्वाहश-ए बे-अमां ने बदन में क़यामत मचा दी
मगर वस्ल कैसे हो मुमकिन
के वो देवता, आसमानौं का बेटा हुआ
जल परी का ता’अलुक़ ज़मीं से
४
सो ख़्वाहश कि इफ़्रीत ने
आसमां और ज़मीं के कहीं दर्मियां सरज़मीनौं कि मख़्लूक़ का रूप धारा
बहुत खौलती ख़्वाहशौं के तलातुम से सरशार नीचे उतरने लगा
५
जल परी
इस क़दर दूधिया ख़ुशनुमा हन्स को
अपनी जानिब लपकते हुए देख कर मुस्कुराई
मगर उस की ये मुस्कुराहट हंसी बनने से क़ब्ल हि चीख़ में ढल गई
६
उस का इन्कार बे-सूद
वहशत, सरासीमगी, अजनबी फढफढाहट में गुम हो गई
आह ओ ज़ारी के बावस्फ़
मज़्बूत पर उस का सारा बदन ढक चुके थे
उजली गरदन में वहशत-ज़दा चोंच उतरी चली जा रही थी
७
उस के आंसू
समंदर में शबनम कि मानिंद हल हो गये
सिस्कियां
तुंद मौजौं कि आवाज़ में बे-सदा हो गईं
८
हन्स अपने लहू की दहकती हुई वहशतें
नीम-बेहोश ख़ुशबू के रस से बुझाता रहा
और फिर अपने प्यासे बदन की मसामौं पे
भीगी हुई लज़्ज़तौं कि थकन ओढ़ कर उढ गया
९
जल परी
गहरे नीले समंदर कि बेटी
अपनी मफ़्तूह और नामुंतज़र कोख में
आस्मां और ज़मीं के कहीं दर्मियां रहने वोलौं का
बे-शज्रा ओ बे-नसब विर्से का बोझ थामे हुए
आज तक रो रही है
Click here for background and on any passage for word meanings and explanatory discussion. parveen shakir (1952-1994), English literature and linguistics, correspondent, educator, Pakistan Civil Service officer. Prolific writer bringing new thought and new forthright, feminist style to urdu shaa’eri. An explicit expression of love by women was taboo until courageous poets like parveen shakir pioneered it. parveen shakir’s first degree was in English literature and she has re-composed a number of poems all linked to ‘English-urdu recompositions’ on the Theme page.
1
gahre paani ki chaadar1 pe leTi hui jal-pari2
apne aaiina-e tan ki uryaaniyoN3 ke takallum4 se na-aashna5
mauja6-e zulf7-e aab-e-ravaaN8 se lapaT kar
havaaoN ki sargoshiyaaN9 sunte rahne meN mashGhool10 thi 1.sheet, surface 2.mermaid, nymph 3.nakedness 4.conversation, communication 5.unaware 6.wave 7.hair 8.flowing water 9.whispers 10.busy, absorbed in
In versions of Greek mythology, Leda is the wife of Tyndareus and is extremely beautiful. In parveen shakir’s rendering she is portrayed as a nymph lying in the shallow waters of the shore next to the deep sea. She is unaware of the message that her nakedness broadcasts and is absorbed in listening to the wispering wind. The imagery is that of a completely innocent scene, with no indication of what is to come.
2
naagahaaN1niilguuN2 aasmaanoN meN uRte hue devta3 ne
zamiN par jo dekha
to parvaaz4 hi bhool baiTha
nazar5 jaise shal6 ho gaii
uRna chaaha, magar 1.suddenly 2.blue coloured 3.god 4.flight 5.sight 6.frozen
In versions of Greek mythology, Zues is struck by the beauty of Leda and seduces her by taking the form of a swan. The god flying in the blue sky, suddenly looking at the earth is Zues. His sight is frozen at what he sees; it is as if he forgets how to fly; he wants to fly … but …
3
Khwaahish1-e be-amaaN2 ne badan meN qayaamat3 macha4 di
magar vasl5 kaise ho mumkin6keh vo devta, aasmaanoN ka beTa hua
jal-pari ka ta’alluq7 zamiN se 1.desire 2.unrelenting 3.tumult 4.created, caused 5.union 6.possible 7.connection
… created a tumultous storm in his body because of his unrelenting desire (because of what he saw on earth). But how could union be possible? He, a god, the son of the skies and the mermaid a creature of the earth!
4
so Khwaahish1 ki ifreet2 ne
aasmaaN aur zamiiN ke kahiiN darmiyaanoN3 ki maKhlooq4 ka roop5 dhaara6
bahut khaulti7 KhwaahishoN1 ke talaatum8 se sarshaar9 niiche utarne laga 1.desire 2.demon 3.middle 4.creature 5.shape, form 6.adopted, took 7.boiling 8.storm 9.overflowing
The demon of desire took on the form of a creature of a region between the sky and the earth and overflowing with boiling desire began to descend to earth.
5
jal-pari
is qadar1 doodhiya2, Khushnuma3 hans4 ko
apni jaanib5 lapakte hue dekh kar muskuraaii
magar us ki ye muskuraahaT haNsi ban-ne se qabl6 hi chiiKh7 meN Dhal8 gaii 1.so much 2.milky white 3.beautiful 4.swan 5.towards 6.before 7.scream 8.cast
The mermaid, seeing such a beautiful, snow-white swan leap towards her, smiled but before her smile could break out into a merry laugh it got cast into a scream. parveen shakir begins with perhaps a scene of seduction in the first couple of misra, but the scene quickly changes to one of a violent rape.
6
us ka inkaar1 be-sood2vahshat3, saraasiimagi4, ajnabi5 phaRphaRaahaT6 meN gum ho gaii
aah-o-zaari7 ke baavasf8mazboot9 par us ka saara badan Dhak chuke the
ujli gardan meN vahshat-zada10 choNch utri chali jaa rahi thi 1.refusal 2.useless 3.fear, terror 4.surprised, stunned 5.strange, unfamiliar 6.flapping 7.wailing and crying 8.inspite of 9.strong 10.terror causing
Her refusal useless; her stunned terror lost in the flapping of wings. Inspite of her wailing and crying, her body engulfed in strong wings; the fearful beak descending into her neck … such a delicate description of a violent rape.
7
us ke aaNsu
samandar meN shabnam1 ki maanind2 hal3 ho gaye
siskiyaaN4
tund5 maujoN6 ki aavaaz meN be-sada7 ho gaiiN 1.dew drops 2.like, similar to 3.dissolve 4.sobbing 5.strong 6.waves 7.soundless
Her tears dissolve in the ocean like dew drops. Her sobs drowned in the strong waves of the sea.
8
hans1 apne lahu2 ki dahakti3 hui vahshateN4
niim-be-hosh5 Khushbu ke ras se bujhaata raha
aur phir apne pyaase badan ki masaamoN6 pe
bhiigi hui lazzatoN7 ki thakan8 oRh kar uR gaya 1.swan 2.blood 3.fiery, glowing 4.madness, passion 5.half fainted, stunned 6.sweat pores 7.pleasures 8.fatigue
The swan slaked the fire of his glowing passion with the juice of that stunned fragrance and then with the pores on his body dripping with pleasure, wearing the cloak of his fatigue, flew away.
9
jal-pari
gahre niile samandar ki beTi
apni maftooh1 aur na-muntazar2 kokh3 meN
aasmaaN aur zamiiN ke kahiiN darmiyaaN4 rahne vaaloN ka
be-shajra5 o be-nasab6 virse7 ka bojh thaame8 hue
aaj tak ro rahi hai 1.defeated, conquered 2.not waiting, not expecting 3.womb 4.middle 5.without a (family) tree 6.ancestry 7.inheritance, legacy 8.holding
And the mermaid, the daughter of the deep blue sea, not expecting that her womb would be violated, left holding the burden of a legacy with no family tree nor ancestry, given to her by creatures of the region between the sky and the earth, is weeping to this day.
parveen shakir (1952-1994), English literature and linguistics, correspondent, educator, Pakistan Civil Service officer. Prolific writer bringing new thought and new forthright, feminist style to urdu shaa’eri. An explicit expression of love by women was taboo until courageous poets like parveen shakir pioneered it. parveen shakir’s first degree was in English literature and she has re-composed a number of poems all linked to ‘English-urdu recompositions’ on the Theme page.
1
gahre paani ki chaadar1 pe leTi hui jal-pari2
apne aaiina-e tan ki uryaaniyoN3 ke takallum4 se na-aashna5
mauja6-e zulf7-e aab-e-ravaaN8 se lapaT kar
havaaoN ki sargoshiyaaN9 sunte rahne meN mashGhool10 thi
1.sheet, surface 2.mermaid, nymph 3.nakedness 4.conversation, communication 5.unaware 6.wave 7.hair 8.flowing water 9.whispers 10.busy, absorbed in
In versions of Greek mythology, Leda is the wife of Tyndareus and is extremely beautiful. In parveen shakir’s rendering she is portrayed as a nymph lying in the shallow waters of the shore next to the deep sea. She is unaware of the message that her nakedness broadcasts and is absorbed in listening to the wispering wind. The imagery is that of a completely innocent scene, with no indication of what is to come.
2
naagahaaN1niilguuN2 aasmaanoN meN uRte hue devta3 ne
zamiN par jo dekha
to parvaaz4 hi bhool baiTha
nazar5 jaise shal6 ho gaii
uRna chaaha, magar
1.suddenly 2.blue coloured 3.god 4.flight 5.sight 6.frozen
In versions of Greek mythology, Zues is struck by the beauty of Leda and seduces her by taking the form of a swan. The god flying in the blue sky, suddenly looking at the earth is Zues. His sight is frozen at what he sees; it is as if he forgets how to fly; he wants to fly … but …
3
Khwaahish1-e be-amaaN2 ne badan meN qayaamat3 macha4 di
magar vasl5 kaise ho mumkin6keh vo devta, aasmaanoN ka beTa hua
jal-pari ka ta’alluq7 zamiN se
1.desire 2.unrelenting 3.tumult 4.created, caused 5.union 6.possible 7.connection
… created a tumultous storm in his body because of his unrelenting desire (because of what he saw on earth). But how could union be possible? He, a god, the son of the skies and the mermaid a creature of the earth!
4
so Khwaahish1 ki ifreet2 ne
aasmaaN aur zamiiN ke kahiiN darmiyaanoN3 ki maKhlooq4 ka roop5 dhaara6
bahut khaulti7 KhwaahishoN1 ke talaatum8 se sarshaar9 niiche utarne laga
1.desire 2.demon 3.middle 4.creature 5.shape, form 6.adopted, took 7.boiling 8.storm 9.overflowing
The demon of desire took on the form of a creature of a region between the sky and the earth and overflowing with boiling desire began to descend to earth.
5
jal-pari
is qadar1 doodhiya2, Khushnuma3 hans4 ko
apni jaanib5 lapakte hue dekh kar muskuraaii
magar us ki ye muskuraahaT haNsi ban-ne se qabl6 hi chiiKh7 meN Dhal8 gaii
1.so much 2.milky white 3.beautiful 4.swan 5.towards 6.before 7.scream 8.cast
The mermaid, seeing such a beautiful, snow-white swan leap towards her, smiled but before her smile could break out into a merry laugh it got cast into a scream. parveen shakir begins with perhaps a scene of seduction in the first couple of misra, but the scene quickly changes to one of a violent rape.
6
us ka inkaar1 be-sood2vahshat3, saraasiimagi4, ajnabi5 phaRphaRaahaT6 meN gum ho gaii
aah-o-zaari7 ke baavasf8mazboot9 par us ka saara badan Dhak chuke the
ujli gardan meN vahshat-zada10 choNch utri chali jaa rahi thi
1.refusal 2.useless 3.fear, terror 4.surprised, stunned 5.strange, unfamiliar 6.flapping 7.wailing and crying 8.inspite of 9.strong 10.terror causing
Her refusal useless; her stunned terror lost in the flapping of wings. Inspite of her wailing and crying, her body engulfed in strong wings; the fearful beak descending into her neck … such a delicate description of a violent rape.
7
us ke aaNsu
samandar meN shabnam1 ki maanind2 hal3 ho gaye
siskiyaaN4
tund5 maujoN6 ki aavaaz meN be-sada7 ho gaiiN
1.dew drops 2.like, similar to 3.dissolve 4.sobbing 5.strong 6.waves 7.soundless
Her tears dissolve in the ocean like dew drops. Her sobs drowned in the strong waves of the sea.
8
hans1 apne lahu2 ki dahakti3 hui vahshateN4
niim-be-hosh5 Khushbu ke ras se bujhaata raha
aur phir apne pyaase badan ki masaamoN6 pe
bhiigi hui lazzatoN7 ki thakan8 oRh kar uR gaya
1.swan 2.blood 3.fiery, glowing 4.madness, passion 5.half fainted, stunned 6.sweat pores 7.pleasures 8.fatigue
The swan slaked the fire of his glowing passion with the juice of that stunned fragrance and then with the pores on his body dripping with pleasure, wearing the cloak of his fatigue, flew away.
9
jal-pari
gahre niile samandar ki beTi
apni maftooh1 aur na-muntazar2 kokh3 meN
aasmaaN aur zamiiN ke kahiiN darmiyaaN4 rahne vaaloN ka
be-shajra5 o be-nasab6 virse7 ka bojh thaame8 hue
aaj tak ro rahi hai
1.defeated, conquered 2.not waiting, not expecting 3.womb 4.middle 5.without a (family) tree 6.ancestry 7.inheritance, legacy 8.holding
And the mermaid, the daughter of the deep blue sea, not expecting that her womb would be violated, left holding the burden of a legacy with no family tree nor ancestry, given to her by creatures of the region between the sky and the earth, is weeping to this day.
Leda and the SwanWilliam Butler Yeats
A sudden blow: the great wings beating still
Above the staggering girl, her thighs caressed
By the dark webs, her nape caught in his bill,
He holds her helpless breast upon his breast.
How can those terrified vague fingers push
The feathered glory from her loosening thighs?
And how can body, laid in that white rush,
But feel the strange heart beating where it lies?
A shudder in the loins engenders there
The broken wall, the burning roof and tower
And Agamemnon dead.
Being so caught up,
So mastered by the brute blood of the air,
Did she put on his knowledge with his power
Before the indifferent beak could let her drop?
The post be-nasab virse ka bojh-parveen shakir appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2023/05/sds-nehru-faKhr-e-ayyaam-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
نہرو ۔ فخرِ ایّام ۔ شِو دیال سحاب
۱
اَے جواہر ہے تُو زمانے میں
امنِ آفاق کا علمبردار
اے نگہ دارِ حُرمتِ عالم
اے محبت کے کارواں سالار
۲
فخرِ ایّام، نازشِ دوراں
صادق القول، غازیِ کِردار
تیری طرزِ نظر پہ ختم نظر
تیرے حُسنِ عمل پہ حُسن نثار
۳
فیض ہے یہ تیرے تدبّر کا
ہم بھی زندوں میں ہو رہے ہیں شمار
صِدقِ دل سے یہ ہے دعا میری
اہلِ عالم کی بھی یہی ہے پُکار
۴
تو سلامت رہے ہزار برس
ہر برس کے ہوں دِن پچاس ہزار
नहरू – फ़क़्र-ए अय्याम – शिब दयाल सहाब
१
अए जवाहर है तू ज़माने में
अम्न-ए आफ़ाक़ का अलमबर्दार
अए निगहदार-ए हुरमत-ए आलम
अए मोहब्बत के कारवां सालार
२
फ़ख़्र-ए अय्याम नाज़िश-ए दौरां
सादेक़-उल-क़ौल, ग़ाज़ी-ए किर्दार
तेरी तर्ज़-ए नज़र पे ख़त्म नज़र
तेरे हुस्न-ए अमल पे हुस्न निसार
३
फ़ैज़ है ये तेरे तदब्बुर का
हम भी ज़िन्दौं में हो रहे हैं शुमार
सिद्क़-ए दिल से है ये दुआ मेरी
अहल-ए आलम का भी यही है पुकार
४
तू सलामत रहे हज़ार बरस
हर बरस के हों दान पचास हज़ार
Click here for background and on any passage for word meanings and explanatory discussion. shiv dayal sahaab – I cannot date him exactly, but “ishrat-e Gham”, his first divan, was published in 1971. He was a shaagird of panDit mela ram vafa (1895-1980). Introductions/testimonials written in this book recall sahaab’s 25 years of service to urdu, which places him as a young poet in the mid 1940s and another poet estimates his age at 45 in a 1951 mushaa’era. Thus, I date him (1905-xxxx). He was editor of ‘milaap’ in chandigaRh. As his own introduction, he writes that he did not receive ‘shaa’eri’ as his ‘viraasat’ but was happy that it became a ‘viraasat’ that he is leaving for his progeny. His son, ashok narula, published his own divan even before his father. He has written many hindu/sikh religious/devotional nazm in urdu as well as patriotic ones. This is a tribute to nehru, probably written on his birthday.
1
aye javaahir hai tu zamaane meN
amn-e-aafaaq1 ka alambardaar2
aye nigah-daar3-e hurmat-e-aalam4
aye mohabbat ke kaarvaaN-saalaar5 1.peace under the skies, world peace 2.standard bearer 3.watchman, protector 4.dignity of the world, human dignity 5.leader
O, javaahir in these times you are the standard bearer of world peace, protector of human dignity, the leader of the caravan of love.
2
faKhr-e-ayyaam1, naazish-e-dauraaN2
saadiq-ul-qaul3, Ghaazi-e-kirdaar4
teri tarz-e-nazar5 pe Khatm nazar
tere husn-e-amal6 pe husn nisaar7 1.pride of the times 2.dignity of the ages 3.truthful in speech, credible 4.victorious in character 5.way of looking, point of view 6.beauty/excellence of action 7.sacrifice
(You are) the pride of the times, the dignity of ages. People put their faith in you, your character is strong. Your point of view is so powerful that it is the climax of thought. Your actions so excellent that Excellence offers itself as a sacrifice.
3
faiz1 hai ye tere tadabbur2 ka
hum bhi zindoN meN ho rahe haiN shumaar3
sidq-e-dil4 se ye hai dua meri
ahl-e-aalam5 ki bhi yahi hai pukaar 1.benevolence 2.prudence, deliberation, statesmanship 3.count 4.sincerity of heart 5.people of the world
It is the benevolence of your statesmanship that we (India/third world) are counted among the living (dignity). It is my sincere prayer, and the whole world also cries that …
4
tu salaamat rahe hazaar baras1
har baras ke hoN din pachaas hazaar 1.years
… may you live for a thousand years and may each year be fifty thousand days long (this she’r borrowed from Ghalib).
shiv dayal sahaab – I cannot date him exactly, but “ishrat-e Gham”, his first divan, was published in 1971. He was a shaagird of panDit mela ram vafa (1895-1980). Introductions/testimonials written in this book recall sahaab’s 25 years of service to urdu, which places him as a young poet in the mid 1940s and another poet estimates his age at 45 in a 1951 mushaa’era. Thus, I date him (1905-xxxx). He was editor of ‘milaap’ in chandigaRh. As his own introduction, he writes that he did not receive ‘shaa’eri’ as his ‘viraasat’ but was happy that it became a ‘viraasat’ that he is leaving for his progeny. His son, ashok narula, published his own divan even before his father. He has written many hindu/sikh religious/devotional nazm in urdu as well as patriotic ones. This is a tribute to nehru, probably written on his birthday.
1
aye javaahir hai tu zamaane meN
amn-e-aafaaq1 ka alambardaar2
aye nigah-daar3-e hurmat-e-aalam4
aye mohabbat ke kaarvaaN-saalaar5
1.peace under the skies, world peace 2.standard bearer 3.watchman, protector 4.dignity of the world, human dignity 5.leader
O, javaahir in these times you are the standard bearer of world peace, protector of human dignity, the leader of the caravan of love.
2
faKhr-e-ayyaam1, naazish-e-dauraaN2
saadiq-ul-qaul3, Ghaazi-e-kirdaar4
teri tarz-e-nazar5 pe Khatm nazar
tere husn-e-amal6 pe husn nisaar7
1.pride of the times 2.dignity of the ages 3.truthful in speech, credible 4.victorious in character 5.way of looking, point of view 6.beauty/excellence of action 7.sacrifice
(You are) the pride of the times, the dignity of ages. People put their faith in you, your character is strong. Your point of view is so powerful that it is the climax of thought. Your actions so excellent that Excellence offers itself as a sacrifice.
3
faiz1 hai ye tere tadabbur2 ka
hum bhi zindoN meN ho rahe haiN shumaar3
sidq-e-dil4 se ye hai dua meri
ahl-e-aalam5 ki bhi yahi hai pukaar
1.benevolence 2.prudence, deliberation, statesmanship 3.count 4.sincerity of heart 5.people of the world
It is the benevolence of your statesmanship that we (India/third world) are counted among the living (dignity). It is my sincere prayer, and the whole world also cries that …
4
tu salaamat rahe hazaar baras1
har baras ke hoN din pachaas hazaar
1.years
… may you live for a thousand years and may each year be fifty thousand days long (this she’r borrowed from Ghalib).
The post nehru-faKhr-e ayyaam-shiv dayal sahaab appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/jsrshr-soz-e-alam-nehru-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
سوزِ الم ۔ جیمنی سرشار
۱
تو جا رہا ہے کس پہ ہمیں چھوڑ کر یہاں
بیٹھا ہے کون واقفِ دردِ جگر یہاں
۲
ویران کر کے جائے بالآخر، اسی لئے
تو نے بنا لیا تھا ہر اک دل میں گھر یہاں
۳
شاید شفا نسیب میں بیمار کے نہیں
بیٹھا نہ جم کے آہ کوئی چارہ گر یہاں
۴
اپنی طرف سے چھوڑی نہیں تو نے کچھ کسر
قسمت سے سب علاج ہوئے بے اثر یہاں
۵
رکھے اُمید کیا دلِ حسرت نصیب آہ
مایوس جب کہ ہو گئے تجھ سے طبیب آہ
۶
بارش یہاں جب بھی غم و آلام کی رہی
ہم غم زدوں کو آس ترے نام کی رہی
۷
اُن بیکسوں کے غم میں رہا تو بھی بے قرار
جن پر نگاہ گردشِ ایّام کی رہی
۸
تو نے سپر کا کام جو مظلوم کو دیا
ظالم کی تیغِ کیں نہ کسی کام کی رہی
۹
یکساں سلوک ہندو و مسلم سے تھا ترا
کوئی تمیز کفر نہ اسلام کی رہی
۱۰
ایواں میں تجھ سے لڑتے تھے جو بات بات پر
نالاں کناں ہیں وہ بھی اب تیری وفات پر
सोज़-ए अलम – जैमिनी सरशार
१
तू जा रहा है किस पे हमें छोढ कर यहां
बैठा है कौन वाक़फ़-ए दर्द-ए जिगर यहां
२
वीरान कर के जाए बिलआख़र इसी लिये
तू ने बना लिया था हर एक दिल में घर यहां
३
शा’एद शिफ़ा नसीब में बीमार के नहीं
बैठा न जम के आह कोई चारागर यहां
४
अपनी तरफ़ से छोढी नहीं तू ने कुछ कसर
क़िस्मत से सब इलाज हुए बे-असर यहां
५
रक्खे उमीद क्या दिल-ए हसरत-नसीब आह
मायूस जब के हो गए तुझ से तबीब आह
६
बारिश यहां जब-भी ग़म ओ आलाम की रही
हम ग़म-ज़दौं को आस तेरे नाम की हुई
७
उन बेकसौं के ग़म में रहा तू भी बे-क़रार
जिन पर निगाह गरदिश-ए अय्याम की रही
८
तू ने सिपर का काम जो मज़्लूम को दिया
ज़ालिम की तेग़-ए कीं न किसी काम की रही
९
यक्सां सुलूक हिन्दु ओ मुस्लिम से था तेरा
कोई तमीज़ कुफ़्र न इस्लाम में रही
१०
ऐवां में तुझ से लढते थे जो बात बात पर
नालां कुनां हैं वो भी अब तेरी वफ़ात पर
Click here for background and on any passage for word meanings and explanatory discussion. jaimini sarshaar (1905-1984). Born and raised in rural muzaffar gaRh. He worked as editor of various magazines, but it is not clear if he had any college education, job or lands. He migrated to sonipat, punjab in the middle 1940s. shaagird of tilok chand mahroom. Started composing in 1920, his urge to compose triggered by the jaaliaaNvala baaGh massacre. He wrote patriotic and national nazm with a strong dose of communal harmony. His Ghazal and nazm were published in local magazines, and eventually took the shape of four collections.
1
tuu jaa raha hai kis pe hameN chhoR kar yahaaN
baiTha hai kaun vaaqif1-e dard-e-jigar2 yahaaN 1.knowledgable, familiar with 2.pain of the liver, pain of living
‘kisi pe chhoR ke jaana’ is an expression meaning leaving something or someone in the responsibility of. Thus, in whose responsibility are you leaving us i.e., who will take care of us now. Who is here who is familiar with the struggle of life.
2
viiraan1 kar ke jaa’e bil’aaKhir2, isi liye
tuu ne bana liya tha har ek dil meN ghar yahaaN 1.desolate 2.at last, finally
Because you had to had to finally abandon this place, you made a home in every heart here. This is a loving complaint saying that you are leaving desolate hearts behind.
3
shaa’ed1 shifa2 nasiib3 meN biimaar ke nahiN
baiTha na jam4 ke aah koii chaaragar5 yahaaN 1.perhaps 2.cure 3.fate 4.firmly, finally 5.healer
The ‘biimaar’ here are the people of India. Perhaps a cure for the ills was not in the fate of the people that is why no healer remained here for long.
4
apni taraf1 se chhoRi nahiN tu ne kuchh kasar2
qismat se sab ilaaj3 hue be-asar4 yahaaN 1.direction, side 2.inadequacy 3.cure 4.ineffective
On your side, you did not spare any effort, did not leave any stone unturned (did not make an inadequate effort). It is our effort that all cure was ineffective.
5
rakkhe umiid1 kya dil-e hasrat-nasiib2 aah
mayoos3 jab keh ho gaye tujh se tabiib4 aah 1.hope 2.fated to have (unfulfilled) yearning 3.disappointed 4.doctor, healer
How can they keep hoping, those whose hearts are fated to have their yearning not fulfilled; when they face disappointment even with a healer like you.
6
baarish yahaaN jab-bhi Gham1 o aalaam2 ki rahi
ham Gham-zadoN3 ko aas4 tere naam ki hui 1.sadness 2.calamities 3.sorrow-stricken 4.asha, hope
Whenever sadness and calamities have rained on us, the sorrow-stricken ones have held on to hope in your name.
7
un be-kasoN1 ke Gham meN raha tuu bhi be-qaraar2
jin par nigaah3 gardish-e-ayyaam4 ki rahi 1.powerless 2.restless 3.eyes, target 4.vicissitudes of time, life events
You too were restless in the sorrow of the helpless who were (in the eyes of) the target of the vicissitudes of time.
8
tuu ne sipar1 ka kaam jo mazloom2 ko diya
zaalim3 ki teGh4-e kiiN5 na kisi kaam ki rahi 1.shield 2.oppressed 3.oppressor 4.sword 5.spiteful
You who handed the oppressed a shield to defend themselves, made the oppressors’ spiteful sword ineffective.
9
yaksaaN1 sulook2 hindu o muslim se tha tera
koii tamiiz3 kufr4 na islaam meN rahi 1.uniform, same 2.behaviour, treatment 3.differentiation 4.non-belief
Your treatment of hindus and muslims was alike. There was no differentiation/discrimination between non-believers and believers.
10
aivaaN1 meN tujh se laRte the jo baat baat par
naalaaN-kunaaN2 haiN vo bhi ab teri vafaat3 par 1.halls (of parliament) 2.weeping, wailing 3.death, passing
Those who opposed you on every issue in parliament are also weeping now at your passing.
jaimini sarshaar (1905-1984). Born and raised in rural muzaffar gaRh. He worked as editor of various magazines, but it is not clear if he had any college education, job or lands. He migrated to sonipat, punjab in the middle 1940s. shaagird of tilok chand mahroom. Started composing in 1920, his urge to compose triggered by the jaaliaaNvala baaGh massacre. He wrote patriotic and national nazm with a strong dose of communal harmony. His Ghazal and nazm were published in local magazines, and eventually took the shape of four collections.
1
tuu jaa raha hai kis pe hameN chhoR kar yahaaN
baiTha hai kaun vaaqif1-e dard-e-jigar2 yahaaN
1.knowledgable, familiar with 2.pain of the liver, pain of living
‘kisi pe chhoR ke jaana’ is an expression meaning leaving something or someone in the responsibility of. Thus, in whose responsibility are you leaving us i.e., who will take care of us now. Who is here who is familiar with the struggle of life.
2
viiraan1 kar ke jaa’e bil’aaKhir2, isi liye
tuu ne bana liya tha har ek dil meN ghar yahaaN
1.desolate 2.at last, finally
Because you had to had to finally abandon this place, you made a home in every heart here. This is a loving complaint saying that you are leaving desolate hearts behind.
3
shaa’ed1 shifa2 nasiib3 meN biimaar ke nahiN
baiTha na jam4 ke aah koii chaaragar5 yahaaN
1.perhaps 2.cure 3.fate 4.firmly, finally 5.healer
The ‘biimaar’ here are the people of India. Perhaps a cure for the ills was not in the fate of the people that is why no healer remained here for long.
4
apni taraf1 se chhoRi nahiN tu ne kuchh kasar2
qismat se sab ilaaj3 hue be-asar4 yahaaN
1.direction, side 2.inadequacy 3.cure 4.ineffective
On your side, you did not spare any effort, did not leave any stone unturned (did not make an inadequate effort). It is our effort that all cure was ineffective.
5
rakkhe umiid1 kya dil-e hasrat-nasiib2 aah
mayoos3 jab keh ho gaye tujh se tabiib4 aah
1.hope 2.fated to have (unfulfilled) yearning 3.disappointed 4.doctor, healer
How can they keep hoping, those whose hearts are fated to have their yearning not fulfilled; when they face disappointment even with a healer like you.
6
baarish yahaaN jab-bhi Gham1 o aalaam2 ki rahi
ham Gham-zadoN3 ko aas4 tere naam ki hui
1.sadness 2.calamities 3.sorrow-stricken 4.asha, hope
Whenever sadness and calamities have rained on us, the sorrow-stricken ones have held on to hope in your name.
7
un be-kasoN1 ke Gham meN raha tuu bhi be-qaraar2
jin par nigaah3 gardish-e-ayyaam4 ki rahi
1.powerless 2.restless 3.eyes, target 4.vicissitudes of time, life events
You too were restless in the sorrow of the helpless who were (in the eyes of) the target of the vicissitudes of time.
8
tuu ne sipar1 ka kaam jo mazloom2 ko diya
zaalim3 ki teGh4-e kiiN5 na kisi kaam ki rahi
1.shield 2.oppressed 3.oppressor 4.sword 5.spiteful
You who handed the oppressed a shield to defend themselves, made the oppressors’ spiteful sword ineffective.
9
yaksaaN1 sulook2 hindu o muslim se tha tera
koii tamiiz3 kufr4 na islaam meN rahi
1.uniform, same 2.behaviour, treatment 3.differentiation 4.non-belief
Your treatment of hindus and muslims was alike. There was no differentiation/discrimination between non-believers and believers.
10
aivaaN1 meN tujh se laRte the jo baat baat par
naalaaN-kunaaN2 haiN vo bhi ab teri vafaat3 par
1.halls (of parliament) 2.weeping, wailing 3.death, passing
Those who opposed you on every issue in parliament are also weeping now at your passing.
The post soz-e alam-nehru-jaimini sarshaar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/jna-nehru-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
نہرو ۔ جاں نثار اختر
۱
ہوائیں اپنے آنچل میں یہ کس کی خاک لے آئیں
کسی ماں کی طرح دھرتی ہے اپنی گود پھیلائے
۲
سلام اُس کی لگن، اُس کی محبّت، اُس کی خدمت کو
کہ جو ایسے جئیے، ایسے مرے، ایسے مٹ جائے
۳
سلام اُس کی تمنّا کو، سلام اُس کی وصیت کو
کہ جس دھرتی سے پیدا تھا اُسی دھرتی کے کام آئے
۴
مقدس ہے وہ دھرتی جس نے گوتم کے قدم چومے
امر ہے وہ فضا جس میں کبت نانک کے لہرائے
۵
مبارک وہ زمیں چشتی نے جس پر نور برسایا
جہاں گاندھی نے آزادی کے پھر سے پھول مہکائے
۶
مگر اے ہند، اُس کی رفعتوں کا کیا ٹھکانا ہے
جو تیرے ان گنت صدیوں کی عظمت کو بڑھا جائے
۷
سلام اُس کی تمنّا کو سلام اُس کی وصیت کو
کہ جس دھرتی سے پیدا تھا اُسی دھرتی کے کام آئے
नहरू-जां निसार अख़्तर
१
हवाएं अपने आंचल में ये किस की ख़ाक ले आईं
किसी मां कि तरह धर्ती है अपनी गोद फैलाए
२
सलाम उस की लगन, सलाम उस कि मोहब्बत, उस कि ख़िदमत को
के जो ऐसे जिये, ऐसे मरे, ऐसे मिट जाए
३
सलाम उस कि तमन्ना को, सलाम उस कि वसिय्यत को
के जिस धर्ती से पैदा था उसी धर्ती के काम आए
४
मुक़द्दस है वो धर्ती जिस ने गौतम के क़दम चूमे
अमर है वो फ़ज़ा जिस में कबत नानक के लहराए
५
मुबारक वो ज़मीं चिश्ती ने जिस पर नूर बरसाया
जहां गांधी ने आज़ादी के फिर से फूल महकाए
६
मगर अए हिन्द, उस की रफ़’अतौं का क्या ठिकाना है
जो तेरे अनगिनत सदियौं कि अज़्मत को बढ़ा जाए
७
सलाम उस कि तमन्ना को, सलाम उस कि वसिय्यत को
के जिस धर्ती से पैदा था उसी धर्ती के काम आए
Click here for background and on any passage for word meanings and explanatory discussion. syed jaaN nisaar husain razvi, aKhtar (1914-1976) romantic, progressive and revolutionary. Worked in academics and in cinema. Both his father (muztar Khairabadi) and his son (javed aKhtar) are noted poets. This is one of a series of nazm paying tribute to javaahar lal nehru, some by people who were imprisoned by his government. It is linked to the Theme page.
1
havaa’eN apne aaNchal meN ye kis ki Khaak le aaiiN
kisi maaN ki tarah dharti1 hai apni goad2 phailaa’e3 1.earth, land, homeland 2.lap 3.spread, opened
This has reference to nehru’s will in which he asked that his some of his ashes be immersed in rivers and the rest be scattered over the land scattering them from an airplane. Thus, whose ashes are these that the winds bring in the hem of their robe. The earth opens its lap to receive them like a mother.
2
salaam1 us ki lagan2, salaam us ki mohabbat, us ki Khidmat3 ko
keh jo aise jiye, aise mare, aise miT jaa’e 1.salutations 2.dedication 3.service
Salutations to his dedication, love and service (to the country), the one who lived is this style, died this way and mingled into dust like this.
3
salaam us ki tamanna1 ko, salaam us ki vasiyyat2 ko
keh jis dharti se paida tha, usi dharti ke kaam aa’e 1.desire (for the betterment of the homeland) 2.will, bequest
Salutations to his intense desire for the betterment of the homeland, salutations to his last will and testament that the land he emerged from should receive his ashes in its service.
4
muqaddas1 hai vo dharti2 jis ne gautam ke qadam3 choome4
amar5 hai vo faza6 jis meN kabat7 naanak ke lahraa’e 1.holy, venerated 2.land 3.feet 4.kiss 5.eternal, everlasting 6.air 7.hymns, songs
The land that kissed the feet of gautam buddh is holy. The air which reverberated with the songs of nanak is everlasting.
5
mubaarak1 vo zamiiN chishti2 ne jis par noor3 barsaaya
jahaaN gandhi ne aazaadi ke phir se phool mahkaa’e4 1.lucky 2.moinuddin chishti-sufi scholar 3.light 4.fragrance
Lucky is the land where moinuddin chishti spread the light (of universal love); where gandhi spread the fragrance of freedom.
6
magar aye hind, us ki raf’atoN1 ka kya Thikaana2 hai
jo tere anginat3 sadiyoN4 ki azmat5 ko baRha jaa’e 1.heights 2.stopping place, limit 3.countless 4.centuries 5.greatness, grandeur
But O hindustan, where is the limit of the heights/greatness of the one who increased the grandeur of your countless centuries (of history).
7
salaam us ki tamanna1 ko, salaam us ki vasiyyat2 ko
keh jis dharti se paida tha, usi dharti ke kaam aa’e 1.desire (for the betterment of the homeland) 2.will, bequest
Salutations to his intense desire for the betterment of the homeland, salutations to his last will and testament that the land he emerged from should receive his ashes in its service.
syed jaaN nisaar husain razvi, aKhtar (1914-1976) romantic, progressive and revolutionary. Worked in academics and in cinema. Both his father (muztar Khairabadi) and his son (javed aKhtar) are noted poets. This is one of a series of nazm paying tribute to javaahar lal nehru, some by people who were imprisoned by his government. It is linked to the Theme page.
1
havaa’eN apne aaNchal meN ye kis ki Khaak le aaiiN
kisi maaN ki tarah dharti1 hai apni goad2 phailaa’e3
1.earth, land, homeland 2.lap 3.spread, opened
This has reference to nehru’s will in which he asked that his some of his ashes be immersed in rivers and the rest be scattered over the land scattering them from an airplane. Thus, whose ashes are these that the winds bring in the hem of their robe. The earth opens its lap to receive them like a mother.
2
salaam1 us ki lagan2, salaam us ki mohabbat, us ki Khidmat3 ko
keh jo aise jiye, aise mare, aise miT jaa’e
1.salutations 2.dedication 3.service
Salutations to his dedication, love and service (to the country), the one who lived is this style, died this way and mingled into dust like this.
3
salaam us ki tamanna1 ko, salaam us ki vasiyyat2 ko
keh jis dharti se paida tha, usi dharti ke kaam aa’e
1.desire (for the betterment of the homeland) 2.will, bequest
Salutations to his intense desire for the betterment of the homeland, salutations to his last will and testament that the land he emerged from should receive his ashes in its service.
4
muqaddas1 hai vo dharti2 jis ne gautam ke qadam3 choome4
amar5 hai vo faza6 jis meN kabat7 naanak ke lahraa’e
1.holy, venerated 2.land 3.feet 4.kiss 5.eternal, everlasting 6.air 7.hymns, songs
The land that kissed the feet of gautam buddh is holy. The air which reverberated with the songs of nanak is everlasting.
5
mubaarak1 vo zamiiN chishti2 ne jis par noor3 barsaaya
jahaaN gandhi ne aazaadi ke phir se phool mahkaa’e4
1.lucky 2.moinuddin chishti-sufi scholar 3.light 4.fragrance
Lucky is the land where moinuddin chishti spread the light (of universal love); where gandhi spread the fragrance of freedom.
6
magar aye hind, us ki raf’atoN1 ka kya Thikaana2 hai
jo tere anginat3 sadiyoN4 ki azmat5 ko baRha jaa’e
1.heights 2.stopping place, limit 3.countless 4.centuries 5.greatness, grandeur
But O hindustan, where is the limit of the heights/greatness of the one who increased the grandeur of your countless centuries (of history).
7
salaam us ki tamanna1 ko, salaam us ki vasiyyat2 ko
keh jis dharti se paida tha, usi dharti ke kaam aa’e
1.desire (for the betterment of the homeland) 2.will, bequest
Salutations to his intense desire for the betterment of the homeland, salutations to his last will and testament that the land he emerged from should receive his ashes in its service.
The post nehru-jaaN nisaar aKhtar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/psb-kaisi-laachaari-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کیسی لاچاری ہے ۔ پریت پال سنگھ بیتابؔ
۱
ظاہر میں بھی کیا کیا پردہ داری ہے
دنیا داری پرکاری عیاری ہے
۲
پاؤں تلے خود داری اور سفر آگے
رک نہیں سکتے ہم کیسی لاچاری ہے
۳
ایک مسلسل دوڑ میں شامل ہم بھی ہیں
شوق نہیں یہ اک ذہنی بیماری ہے
۴
بادِ مخالف پورے زور سے بہتی جائے
اس جانب سے بھی پوری تیاری ہے
۵
ماضی میں تم جیت گئے مجھ سے بیتابؔ
مستقبل کی جنگ ابھی تک جاری ہے
कैसी लाचारी है – प्रीत पाल सिंघ बेताब
१
ज़ाहर में भी क्या क्या पर्दा-दारी है
दुनिया-दारी पुरकारी अय्यारी है
२
पाँव तले ख़ुद-दारी और सफ़र आगे
रुक नहीं सकते हम कैसी लाचारी है
३
एक मुसलसल दौड़ में शामिल हम भी हैं
शौक़ नहीं ये एक ज़हनी बीमारी है
४
बाद-ए मुख़ालिफ़ पूरे ज़ोर से बहती जाए
इस जानिब से भी पूरी तय्यारी है
५
माज़ी में तुम जीत गए मुझ से बेताब
मुस्तक़्बिल की जंग अभी तक जारी है
Click here for background and on any passage for word meanings and explanatory discussion. priitpal singh betaab (1949-xxxx) pooNch, kashmir. MA, LLB. kashmir (state) administrative service, achieving very high level positions and retiring as Director, Food and Supplies. He started composing verse in 1970, published 9 collections of verse and received numerous awards even as he continued his ‘day time job’. This Ghazal is composed in the zamin of Ghalib’s ‘kucch to hai jis ki parda-daari hai’.
1
zaahir1 meN bhi kyaa kyaa parda-daari2 hai
duniyaa-daari3 purkaari4 ayyaari5 hai 1.apparent, surface show 2.hiding behind veil 3.wheeling dealing, materialist 4.cleverness, skill 5.deceit, cunning
There is a lot that hidden behind appearances. In the wheeling and dealing of the world there is a skill of cunning (hiding the real purpose, or real nature).
2
paauN tale Khud-daari1 aur safar2 aage
ruk nahiN sakte ham kaisi laachaari3 hai 1.self-respect, dignity 2.journey 3.helplessness
There is a long journey (of life) ahead. In order to make any progress the traveler ends up compromising their self-respect, it gets trampled underfoot. They have to go forward. They cannot stop, such is their helplessness.
3
ek musalsal1 dauR2 meN shaamil3 ham bhi haiN
shauq4 nahiN ye ek zahni5 bimaari hai 1.continuous 2.run, rat-race 3.included, participating 4.desire, love 5.psychological
There is a recognition that we are all caught up in a rat-race, much as we hate it, we are a part of it, a participant in it. There is a psychological problem in not being able to walk away.
4
baad1-e muKhaalif2 puure zor3 se bahti jaaye
is jaanib4 se bhi puuri tayyaari5 hai 1.wind, storm 2.opposed 3.strength 4.direction 5.preparation
There is a storng wind blowing against the path that the poet has to take (in his journey of life). Let it blow as hard as it wants. I am fully prepared on this side.
5
maazi1 meN tum jiit gaye mujh se betaab2
mustaqbil3 ki jaNg abhi tak jaari4 hai 1.past 2.pen-name of the poet 3.future 4.ongoing
I think that poet is talking about the struggle with himself … between duniya-daar betaab and the genuine betaab. He concedes that so far the duniya-daar betaab has won, but the future struggle is still ongoing. It remains to be seen who wins.
priitpal singh betaab (1949-xxxx) pooNch, kashmir. MA, LLB. kashmir (state) administrative service, achieving very high level positions and retiring as Director, Food and Supplies. He started composing verse in 1970, published 9 collections of verse and received numerous awards even as he continued his ‘day time job’. This Ghazal is composed in the zamin of Ghalib’s ‘kucch to hai jis ki parda-daari hai’.
1
zaahir1 meN bhi kyaa kyaa parda-daari2 hai
duniyaa-daari3 purkaari4 ayyaari5 hai
1.apparent, surface show 2.hiding behind veil 3.wheeling dealing, materialist 4.cleverness, skill 5.deceit, cunning
There is a lot that hidden behind appearances. In the wheeling and dealing of the world there is a skill of cunning (hiding the real purpose, or real nature).
2
paauN tale Khud-daari1 aur safar2 aage
ruk nahiN sakte ham kaisi laachaari3 hai
1.self-respect, dignity 2.journey 3.helplessness
There is a long journey (of life) ahead. In order to make any progress the traveler ends up compromising their self-respect, it gets trampled underfoot. They have to go forward. They cannot stop, such is their helplessness.
3
ek musalsal1 dauR2 meN shaamil3 ham bhi haiN
shauq4 nahiN ye ek zahni5 bimaari hai
1.continuous 2.run, rat-race 3.included, participating 4.desire, love 5.psychological
There is a recognition that we are all caught up in a rat-race, much as we hate it, we are a part of it, a participant in it. There is a psychological problem in not being able to walk away.
4
baad1-e muKhaalif2 puure zor3 se bahti jaaye
is jaanib4 se bhi puuri tayyaari5 hai
1.wind, storm 2.opposed 3.strength 4.direction 5.preparation
There is a storng wind blowing against the path that the poet has to take (in his journey of life). Let it blow as hard as it wants. I am fully prepared on this side.
5
maazi1 meN tum jiit gaye mujh se betaab2
mustaqbil3 ki jaNg abhi tak jaari4 hai
1.past 2.pen-name of the poet 3.future 4.ongoing
I think that poet is talking about the struggle with himself … between duniya-daar betaab and the genuine betaab. He concedes that so far the duniya-daar betaab has won, but the future struggle is still ongoing. It remains to be seen who wins.
The post kaisi laachaari hai-priitpal siNgh betaab appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/oaKh-baKht-ki-bedaari-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
بخت کی بیداری ہے ۔ عثمان علی خاں عثمانؔ
۱
تیرِ مژگاں کا ترے زخم بہت کاری ہے
ہر دوا سے یہ مرا دردِ جگر عاری ہے
۲
مہر و اُلفت کی توقع ہو بتوں سے کیا خاک
کام اِن سخت دلوں کا تو دل آزاری ہے
۳
کس لئے آنکھ ملانے سے ہے پرہیز تجھے
کیا تری نرگسِ بیمار کو بیماری ہے
۴
ہو گئے خشک مرے اشک جو بہتے بہتے
خون اب دیدۂ گریاں سے مرے جاری ہے
۵
دل چرانے کے لئے ہے یہ تغافل ہم سے
یہ بھی تیرے نگہ مست کی ہشیاری ہے
۶
اِس کی لذّت نہیں رکھتی ہے کہیں کا سچ ہے
کیا بری چیز بشر کے لئے مے خواری ہے
۷
عیش و عشرت کی ہے جو دھوم دکن میں عثمانؔ
سب یہ کہتے ہیں ترے بخت کی بیداری ہے
बख़्त कि बेदारी है-उस्मान अली ख़ां उस्मान
१
तीर-ए मिज़्श्गां का तेरे ज़ख़्म बहुत कारी है
हर दवा से ये मेरा दर्द-ए जिगर ‘आरी है
२
महर ओ उल्फ़त कि तवक़्क़’ओ हो बुतां से क्या ख़ाक
काम इन सख़्त दिलौं का तो दिल आज़ारी है
३
किस लिये आंख मिलाने से है परहेज़ तुझे
क्या तेरी नर्गिस-ए बीमार को बीमारी है
४
हो गए ख़ुश्क मेरे अश्क जो बहते बहते
ख़ून अब दीदा-ए गिरियां से मेरे जारी है
५
दिल चुराने के लिये है ये तग़ाफ़ुल हम से
ये भी तेरे निगह-ए मस्त कि हुश्यारी है
६
इस कि लज़्ज़त नहीं रखती है कहीं का सच है
क्या बुरी चीज़ बशर के लिये मै-ख़्वारी है
७
ऐश ओ ईश्रत कि है जो धूम दक्कन में उस्मान
सब ये कहते है तेरे बख़्त कि बेदारी है
Click here for background and on any passage for word meanings and explanatory discussion. osman ali KhaaN (1886-1967), the erstwhile ruler of hyderabad was a prolific poet of considerable literary capability. His diivaan was collected and published posthumously in eight fair sized volumes. This is one of several Ghazal that he composed in the style of Ghalib. This one in the style of ‘kuchh to hai jis ki parda daari hai’ is linked to the appropriate sub-category under ‘Ghalib naqsh-e qadam’.
1
tiir-e mizshgaaN1 ka tere zaKhm2 bahut kaari3 hai
har davaa se yeh mera dard-e jigar ‘aari4 hai 1.eyelashes 2.wound 3.deep, penetrating 4.ineffective, useless
The beloved’s eyelashes are often described as daggers, sometimes as arrows. In this she’r the wound caused by her eyelashes is deep and penetrating, slashing the lover’s liver (the seat of fortitude). The lover has tried many remedies; they all appear to be useless in curing his pain.
2
mahr1 o ulfat2 ki tavaqq’o3 ho butoN4 se kya Khaak5
kaam in saKht6 diloN ka to dil-aazaari7 hai 1.favours 2.love 3.expectation 4.idols, beloved 5.an expression meaning useless like dust 6.hard 7.breaking hearts
It is uselss to expect favours and love from the beloved. The work/expertise of these hard-hearted ones is to break hearts.
3
kis liye aaNkh milaane se hai parhez1 tujhe
kya teri nargis-e-biimaar2 ko biimaari3 hai 1.abstinence 2.languid eyes 3.sickness, affliction
There is a witty juxtaposition of ‘nargis-e biimaar’ and ‘biimaari’. Drooping/languid eyes can be considered a mark of beauty. It is juxtaposed with an affliction. The beloved does not look at the lover directly. Are you afflicted with drooping eyes, he asks … which of course does not make the necessary impact in translation.
4
ho gaye Khushk1 mere ashk2 jo bahte bahte
Khoon ab diida3-e giriyaaN4 se mere jaari5 hai 1.dried 2.tears 3.eyes 4.weeping 5.emanating, flowing
I have to remind myself to bite my tongue when I recall that in real life, he was reputed to have had 100 concubines. He is grieving (because the beloved neglects him) so much that his tears have dried up and now he is crying tears of blood.
5
dil churaane ke liye hai yeh taGhaaful1 ham se
yeh bhi tere nigah2-e mast3 ki hoshiyaari4 hai 1.(feigned) indifference 2.glance 3.intoxicating 4.cleverness, trickery
The beloved pretends to be indifferent to the lover. This too is a trickery of her intoxicating eyes in order win the lover’s heart.
6
is ki lazzat1 nahiN rakhti hai kahiiN ka2 such hai
kya buri cheez bashar3 ke liye mai-Khwaari4 hai 1.pleasure, taste 2.kahiiN ka nahiN rakhna is an expression meaning – destroy to nothingness 3.human 4.wine drinking
Its pleasure leaves them in the dust; what a harmful thing for humans is wine drinking.
7
aish1 o ishrat2 ki hai jo dhoom dakkan meN usmaan3
sub yeh kahte haiN tere baKht4 ki bedaari5 hai 1.luxury 2.pleasure, joy, happiness 3.pen-name of the poet 4.luck 5.awakening
All this talk/fame of the happiness and riches of the dakkan, O usmaan; they say that it is all because of your good luck.
osman ali KhaaN (1886-1967), the erstwhile ruler of hyderabad was a prolific poet of considerable literary capability. His diivaan was collected and published posthumously in eight fair sized volumes. This is one of several Ghazal that he composed in the style of Ghalib. This one in the style of ‘kuchh to hai jis ki parda daari hai’ is linked to the appropriate sub-category under ‘Ghalib naqsh-e qadam’.
1
tiir-e mizshgaaN1 ka tere zaKhm2 bahut kaari3 hai
har davaa se yeh mera dard-e jigar ‘aari4 hai
1.eyelashes 2.wound 3.deep, penetrating 4.ineffective, useless
The beloved’s eyelashes are often described as daggers, sometimes as arrows. In this she’r the wound caused by her eyelashes is deep and penetrating, slashing the lover’s liver (the seat of fortitude). The lover has tried many remedies; they all appear to be useless in curing his pain.
2
mahr1 o ulfat2 ki tavaqq’o3 ho butoN4 se kya Khaak5
kaam in saKht6 diloN ka to dil-aazaari7 hai
1.favours 2.love 3.expectation 4.idols, beloved 5.an expression meaning useless like dust 6.hard 7.breaking hearts
It is uselss to expect favours and love from the beloved. The work/expertise of these hard-hearted ones is to break hearts.
3
kis liye aaNkh milaane se hai parhez1 tujhe
kya teri nargis-e-biimaar2 ko biimaari3 hai
1.abstinence 2.languid eyes 3.sickness, affliction
There is a witty juxtaposition of ‘nargis-e biimaar’ and ‘biimaari’. Drooping/languid eyes can be considered a mark of beauty. It is juxtaposed with an affliction. The beloved does not look at the lover directly. Are you afflicted with drooping eyes, he asks … which of course does not make the necessary impact in translation.
4
ho gaye Khushk1 mere ashk2 jo bahte bahte
Khoon ab diida3-e giriyaaN4 se mere jaari5 hai
1.dried 2.tears 3.eyes 4.weeping 5.emanating, flowing
I have to remind myself to bite my tongue when I recall that in real life, he was reputed to have had 100 concubines. He is grieving (because the beloved neglects him) so much that his tears have dried up and now he is crying tears of blood.
5
dil churaane ke liye hai yeh taGhaaful1 ham se
yeh bhi tere nigah2-e mast3 ki hoshiyaari4 hai
1.(feigned) indifference 2.glance 3.intoxicating 4.cleverness, trickery
The beloved pretends to be indifferent to the lover. This too is a trickery of her intoxicating eyes in order to win the heart of the lover.
6
is ki lazzat1 nahiN rakhti hai kahiiN ka2 such hai
kya buri cheez bashar3 ke liye mai-Khwaari4 hai
1.pleasure, taste 2.kahiiN ka nahiN rakhna is an expression meaning – destroy to nothingness 3.human 4.wine drinking
Its pleasure leaves them in the dust; what a harmful thing for humans is wine drinking.
7
aish1 o ishrat2 ki hai jo dhoom dakkan meN usmaan3
sub yeh kahte haiN tere baKht4 ki bedaari5 hai
1.luxury 2.pleasure, joy, happiness 3.pen-name of the poet 4.luck 5.awakening
All this talk/fame of the happiness and riches of the dakkan, O usmaan; they say that it is all because of your good luck.
The post baKht ki bedaari hai-osman ali KhaaN appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/maashr-tasviir-to-hamaari-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تصویر تو ہماری ہے ۔ مرزا عظیم احمد شبنمؔ رومانی
۱
تمام عمر کی آوارگی پہ بھاری ہے
وہ ایک شب جو تری یاد میں گزاری ہے
۲
اُس انجمن میں سنائے ہیں میں نے پیار کے گیت
جس انجمن میں عبادت بھی کاروباری ہے
۳
نگاہِ شوق نے مجھ کو یہ راز سمجھایا
حیا بھی دل کی نزاکت پہ ضربِ کاری ہے
۴
مجھے یہ زعم کہ میں حسن کا مُصوّر ہوں
اُنہیں یہ ناز کہ تصویر تو ہماری ہے
۵
یہ کس نے چھیڑ دیا رخصتِ بہار کا گیت
ابھی تو رقصِ نسیمِ بہار جاری ہے
۶
خفا نہ ہو تو دکھا دیں ہم آئنہ تم کو
ہمیں قبول کہ ساری خطا ہماری ہے
۷
جہاں پناہِ محبت جناب شبنمؔ ہیں
زبانِ شعر میں فرمانِ شوق جاری ہے
तस्वीर तो हमारी है – मिर्ज़ा अज़ीम अहमद शबनम रूमानी
१
तमाम उम्र की आवारगी पे भारी है
वो एक शब जो तिरी याद में गुज़ारी है
२
उस अंजुमन में सुनाए हैं मैं ने प्यार के गीत
जिस अंजुमन में इबादत भी कारोबारी है
३
निगाह-ए शौक़ ने मुझ को ये राज़ समझाया
हया भी दिल की नज़ाकत पे ज़र्ब-ए कारी है
४
मुझे ये ज़ोम कि मैं हुस्न का मुसव्विर हूँ
उन्हें ये नाज़ कि तस्वीर तो हमारी है
५
ये किस ने छेढ दिया रुख़्सत-ए बहार का गीत
अभी तो रक़्स-ए नसीम-ए बहार जारी है
६
ख़फ़ा न हो तो दिखा दें हम आइना तुम को
हमें क़ुबूल के सारी ख़ता हमारी है
७
जहाँ-पनाह-ए मोहब्बत जनाब शबनम हैं
ज़बान-ए शेर में फ़रमान-ए शौक़ जारी है
Click here for background and on any passage for word meanings and explanatory discussion. mirza aziim ahmed shabnam rumaani (1928-2009), shahjahaNpur, UP. He migrated to karachi after graduation (B.Com) from bareilly college in 1948. He was a regular contributor to magazines and has a several collections of nazm and Ghazal to his credit. I don’t know what kind of ‘day job’ he had. This Ghazal in the zamin of Ghalib’s, ‘kuchh to hai jis ki parda daari hai’ is linked to Ghalib naqsh-e qadam.
1
tamaam1 umr2 ki aavargi3 pe bhaari4 hai
vo ek shab5 jo teri yaad meN guzaari6 hai 1.all, total 2.life-span 3.wandering, lost 4.heavier 5.night 6.spent
The poet/lover has spent a very painful night missing/remembering the beloved. He says that one night was more difficult than a lifetime of aimless wandering.
2
us anjuman1 meN sunaa’e haiN maiN ne pyaar ke giit
jis anjuman meN ibaadat2 bhi kaarobaari3 hai 1.society, gathering 2.devotion, prayer 3.trade
For devotion/prayer to be a trade is hypocrisy. Such a gathering would be a gathering of hypocrites. Even in such a gathering the poet has remained true to his own feelings and he has recited songs of love.
3
nigaah1-e shauq2 ne mujh ko ye raaz3 samjhaaya
haya4 bhi dil ki nazaakat5 pe zarb6-e kaari7 hai 1.glance 2.desire, love 3.secret 4.coyness, shyness 5.delicacy 6.blow 7.fatal
It is the beloved who has coyly/slyly cast a loving, sidelong glance at the poet/lover and it has taught/explained to him the secret of life/love. It has taught him that even a sly/coy glance can be a fatal blow for a sensitive heart.
4
mujhe ye zo’m1 keh maiN husn2 ka musavvir3 huuN
unheN ye naaz4 keh tasviir to hamaari hai 1.pride 2.beauty 3.artist, painter 4.pride
I assert my pride that I sketch/paint great beauty. She is proud that it is her picture that I paint. Is it beautiful because he paints it, or is it beautiful of it is her picture.
5
ye kis ne chheR1 diya ruKhsat2-e bahaar3 ka giit
abhi to raqs4-e nasiim5-e bahaar3 jaari6 hai 1.started, broken out into 2.farewell, departure 3.winter 4.dance 5.fragrant breeze 6.underway, ongoing
Who is it that has broken out into the song of farewell to spring. The dance of the fragrant morning breeze is still underway i.e., it is too early for spring to depart.
6
Khafa1 na ho to dikha deN ham aaina tum ko
hameN qubool2 keh saari Khata3 hamaari hai 1.annoyed 2.agreed 3.fault
There is a nice play on words. At one level ‘aaina dikhaana’ is showing the beloved her reflection so she can see her own beauty. At another level, ‘aaine meN soorat dekhna’ is to ‘look at oneself in the mirror’ and realize how many faults you have. Thus, if you agree not to get annoyed, I can show you your reflection in the mirror. I agree that all fault is mine. The second misra appears to be a pre-emptive defensive statement.
7
jahaaN-panaah1-e mohabbat janaab shabnam2 haiN
zabaan3-e sh’er meN farmaan4-e shauq5 jaari6 hai 1.emporer 2.pen-name of the poet 3.language 4.edict 5.desire, love 6.promulgate
This appears to be addressed to the beloved, addressing her as janaab. O janaab, shabnam is the emporer of the domain of love. In the language of verse, he issues the edict of desire/love.
mirza aziim ahmed shabnam rumaani (1928-2009), shahjahaNpur, UP. He migrated to karachi after graduation (B.Com) from bareilly college in 1948. He was a regular contributor to magazines and has a several collections of nazm and Ghazal to his credit. I don’t know what kind of ‘day job’ he had. This Ghazal in the zamin of Ghalib’s, ‘kuchh to hai jis ki parda daari hai’ is linked to Ghalib naqsh-e qadam.
1
tamaam1 umr2 ki aavargi3 pe bhaari4 hai
vo ek shab5 jo teri yaad meN guzaari6 hai
1.all, total 2.life-span 3.wandering, lost 4.heavier 5.night 6.spent
The poet/lover has spent a very painful night missing/remembering the beloved. He says that one night was more difficult than a lifetime of aimless wandering.
2
us anjuman1 meN sunaa’e haiN maiN ne pyaar ke giit
jis anjuman meN ibaadat2 bhi kaarobaari3 hai
1.society, gathering 2.devotion, prayer 3.trade
For devotion/prayer to be a trade is hypocrisy. Such a gathering would be a gathering of hypocrites. Even in such a gathering the poet has remained true to his own feelings and he has recited songs of love.
3
nigaah1-e shauq2 ne mujh ko ye raaz3 samjhaaya
haya4 bhi dil ki nazaakat5 pe zarb6-e kaari7 hai
1.glance 2.desire, love 3.secret 4.coyness, shyness 5.delicacy 6.blow 7.fatal
It is the beloved who has coyly/slyly cast a loving, sidelong glance at the poet/lover and it has taught/explained to him the secret of life/love. It has taught him that even a sly/coy glance can be a fatal blow for a sensitive heart.
4
mujhe ye zo’m1 keh maiN husn2 ka musavvir3 huuN
unheN ye naaz4 keh tasviir to hamaari hai
1.pride 2.beauty 3.artist, painter 4.pride
I assert my pride that I sketch/paint great beauty. She is proud that it is her picture that I paint. Is it beautiful because he paints it, or is it beautiful of it is her picture.
5
ye kis ne chheR1 diya ruKhsat2-e bahaar3 ka giit
abhi to raqs4-e nasiim5-e bahaar3 jaari6 hai
1.started, broken out into 2.farewell, departure 3.winter 4.dance 5.fragrant breeze 6.underway, ongoing
Who is it that has broken out into the song of farewell to spring. The dance of the fragrant morning breeze is still underway i.e., it is too early for spring to depart.
6
Khafa1 na ho to dikha deN ham aaina tum ko
hameN qubool2 keh saari Khata3 hamaari hai
1.annoyed 2.agreed 3.fault
There is a nice play on words. At one level ‘aaina dikhaana’ is showing the beloved her reflection so she can see her own beauty. At another level, ‘aaine meN soorat dekhna’ is to ‘look at oneself in the mirror’ and realize how many faults you have. Thus, if you agree not to get annoyed, I can show you your reflection in the mirror. I agree that all fault is mine. The second misra appears to be a pre-emptive defensive statement.
7
jahaaN-panaah1-e mohabbat janaab shabnam2 haiN
zabaan3-e sh’er meN farmaan4-e shauq5 jaari6 hai
1.emporer 2.pen-name of the poet 3.language 4.edict 5.desire, love 6.promulgate
This appears to be addressed to the beloved, addressing her as janaab. O janaab, shabnam is the emporer of the domain of love. In the language of verse, he issues the edict of desire/love.
The post tasviir to hamaari hai-mirza aziim ahmed shabnam appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/aliz-jin-ki-kamaaii-jaari-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جن کی کمائی جاری ہے ۔ علی زریون
۱
جنابِ شیخ کی ہرزہ سرائی جاری ہے
ادھر سے ظلم ادھر سے دہائی جاری ہے
۲
بچھڑ گیا ہوں مگر یاد کرتا رہتا ہوں
کتاب چھوڑ چکا ہوں پڑھائی جاری ہے
۳
ترے علاوہ کہیں اور بھی ملوث ہوں
تری وفا سے مری بے وفائی جاری ہے
۴
وہ کیوں کہیں گے کہ دونوں میں امن ہو جائے
ہماری جنگ سے جن کی کمائی جاری ہے
۵
عجیب خبطِ مسیحائی ہے کہ حیرت ہے
مریض مر بھی چکا ہے دوائی جاری ہے
जिन की कमाई जारी है – अली ज़र्यून
१
जनाब-ए शैख़ की हर्ज़ा-सराई जारी है
उधर से ज़ुल्म इधर से दुहाई जारी है
२
बिछढ गया हूँ मगर याद करता रहता हूँ
किताब छोड़ चुका हूँ पढ़ाई जारी है
३
तेरे अलावा कहीं और भी मुलव्विस हूँ
तिरी वफ़ा से मिरी बेवफ़ाई जारी है
४
वो क्यूँ कहेंगे कि दोनों में अम्न हो जाए
हमारी जंग से जिन की कमाई जारी है
५
अजीब ख़ब्त-ए मसीहाई है के हैरत है
मरीज़ मर भी चुका है दवाई जारी है
Click here for background and on any passage for word meanings and explanatory discussion. ali zaryoun (1983-living), faisalabad, pakistan. I don’t know much more about him. This Ghazal in the zamin of Ghalib’s ‘kuchh to hai jis ki parda-daari hai’ is linked to Ghalib naqsh-e qadam.
1
janaab1-e shaiKh ki harza-saraaii2 jaari3 hai
udhar se zulm4 idhar se duhaaii5 jaari hai 1.honorific title like ‘sir’ 2.nonsense spreading 3.ongoing 4.oppression 5.prayer
Nonsense spreading talk of the preacher continues. On the one hand he invokes cruelty and fear (fire and brimstone) and on the other offers prayer (absolution).
2
bichhaR1 gaya huN magar yaad karta rahta huN
kitaab chhoR chuka huN paRhaaii2 jaari hai 1.separated 2.study, analysis
The literal word meaning is simple enough. But I think that he is very carefully taking a did at the ‘received book’ and strict orthodoxy. I have been separated but I still remember it. I have discarded the ‘book’ but continue to study/analyze it i.e., rational thinking is preferable over blind reverence.
3
teray alaava1 kahiN aur bhi mulavvis2 huN
teri vafa3 se meri bevafaaii4 jaari hai 1.in addition to 2.involved with 3.belief, faithfulness 4.infidelity, scepticism, doubt
I am involved with someone else in addition to you. I continue to be unfaithful to belief in you. Who is the ‘teray’ and who else is he turning to, he carefully avoids stating. We are left to guess. ‘teray’ can be conventional god, blind nationalism or the wealthy and powerful.
4
vo kyuN kaheNge keh donoN meN amn1 ho jaa’e
hamaari jaNg se jin ki kamaaii2 jaari hai 1.peace 2.earnings
Why would they say that there should be peace between the two, they who earn a living through our war. I would like to think that he is talking about India and pakistan and of the military class that wants to maintain a state of conflict. The same can also apply to the big powers and the military industrial complex.
5
ajiib1 Khabt2-e masihaaii3 hai keh hairat4 hai
mariiz5 mar bhi chuka hai davaaii jaari hai 1.strange 2.obsession 3.healing 4.amazement 5.sick patient
This is a strange obsession with the profession of healing. It is surprising that even the patient is dead, the treatment continues. He could be taking a dig at any one of public policies that amounts to catering to the status quo/vested interests.
ali zaryoun (1983-living), faisalabad, pakistan. I don’t know much more about him. This Ghazal in the zamin of Ghalib’s ‘kuchh to hai jis ki parda-daari hai’ is linked to Ghalib naqsh-e qadam.
1
janaab1-e shaiKh ki harza-saraaii2 jaari3 hai
udhar se zulm4 idhar se duhaaii5 jaari hai
1.honorific title like ‘sir’ 2.nonsense spreading 3.ongoing 4.oppression 5.prayer
Nonsense spreading talk of the preacher continues. On the one hand he invokes cruelty and fear (fire and brimstone) and on the other offers prayer (absolution).
2
bichhaR1 gaya huN magar yaad karta rahta huN
kitaab chhoR chuka huN paRhaaii2 jaari hai
1.separated 2.study, analysis
The literal word meaning is simple enough. But I think that he is very carefully taking a did at the ‘received book’ and strict orthodoxy. I have been separated but I still remember it. I have discarded the ‘book’ but continue to study/analyze it i.e., rational thinking is preferable over blind reverence.
3
teray alaava1 kahiN aur bhi mulavvis2 huN
teri vafa3 se meri bevafaaii4 jaari hai
1.in addition to 2.involved with 3.belief, faithfulness 4.infidelity, scepticism, doubt
I am involved with someone else in addition to you. I continue to be unfaithful to belief in you. Who is the ‘teray’ and who else is he turning to, he carefully avoids stating. We are left to guess. ‘teray’ can be conventional god, blind nationalism or the wealthy and powerful.
4
vo kyuN kaheNge keh donoN meN amn1 ho jaa’e
hamaari jaNg se jin ki kamaaii2 jaari hai
1.peace 2.earnings
Why would they say that there should be peace between the two, they who earn a living through our war. I would like to think that he is talking about India and pakistan and of the military class that wants to maintain a state of conflict. The same can also apply to the big powers and the military industrial complex.
5
ajiib1 Khabt2-e masihaaii3 hai keh hairat4 hai
mariiz5 mar bhi chuka hai davaaii jaari hai
1.strange 2.obsession 3.healing 4.amazement 5.sick patient
This is a strange obsession with the profession of healing. It is surprising that even the patient is dead, the treatment continues. He could be taking a dig at any one of public policies that amounts to catering to the status quo/vested interests.
The post jin ki kamaaii jaari hai-ali zaryoun appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/mrshd-tarz-e-parda-daari-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
طرزِ پردہ داری ہے ۔ مُنشی رگھوناتھ سنگھ ہاجرؔ دہلوی
۱
کس قدر غم میں بے قراری ہے
رات دن شغلِ آہ و زاری ہے
۲
اُس کے پیچھے ہی خلق ساری ہے
جس نے دنیا پہ لات ماری ہے
۳
دل تو نظروں نے کر دیا بِسمل
اب ہمارے جگر کی باری ہے
۴
آنکھ مِلتے ہی اُس ستمگر نے
ایک برچھی سی دل پہ ماری ہے
۵
دل تو ہارا ہی تھا محبت میں
جان بھی اب وفا میں ہاری ہے
۶
پھر چلو مل کے سوئے مے خانہ
میکشو، موسمِ بہاری ہے
۷
اُن کو آنے میں کیوں تآمّل ہے
اب مرا وقتِ دم شماری ہے
۸
آنکھوں آنکھوں میں ہوتی ہیں باتیں
سلسلہ گفتگو کا جاری ہے
۹
دیکھتے ہی نظر چرا لینا
یہ بھی اک طرزِ پردہ داری ہے
۱۰
ناز ہے اُن کو بے وفائی پر
مجھ کو دعوائے جاں نثاری ہے
۱۱
کہتے ہیں باز آ محبت سے
گر تجھے اپنی جان پیاری ہے
۱۲
حالِ دل اُن سے کہہ نہیں سکتے
اس قدر رعبِ حسن طاری ہے
۱۳
صدمۂ ہجر اُٹھ نہیں سکتا
یہ دلِ نا تواں پہ بھاری ہے
۱۴
اُن کا چھپ کر رقیب سے ملنا
باعثِ رنج و بیقراری ہے
۱۵
وقفِ آہ و فغاں ہے دل میرا
آنکھ مصروفِ اشکباری ہے
۱۶
آسماں پر دماغ ہے سب کا
اب کسے قدرِ خاک ساری ہے
۱۷
نام باقی ہے صِرف اُلفت کا
کِس میں اب بُوئے غم گساری ہے
۱۸
کون پابندِ رسمِ اُلفت ہے
قول کی کس کو پاس داری ہے
۱۹
جس کو دیکھو غرض کا بندہ ہے
اپنے مطلب کی دوست داری ہے
۲۰
زر ہی بنیاد ہے محبّت کی
اس پہ دار و مدارِ یاری ہے
۲۱
اہلِ زر کی ہے قدر دنیا میں
بے زری ہی کا نام خواری ہے
۲۲
حال پوچھو نہ کچھ حسینوں کا
ان کی فطرت جفا شعاری ہے
۲۳
خونِ حسرت مدام کرتے ہیں
ہاتھ میں ظلم کی کٹاری ہے
۲۴
تیغِ ابرو سے ذبح کرتے ہیں
رات دن قتلِ عام جاری ہے
۲۵
جَور عشاق پر روا رکھنا
ان کے نزدیک وضع داری ہے
۲۶
کہتے ہیں غیر سے میلں گے ہم
اس میں کیا ہیکڑی تمہاری ہے
۲۷
سچ اگر پوچھئے تو دنیا میں
دل لگانا گناہ گاری ہے
۲۸
ان کو اغیار سے نہیں فرصت
ہم کو ملنے کی بیقراری ہے
۲۹
دل ہے قبضے میں اک ستمگر کے
جان مشکل میں اب ہماری ہے
۳۰
یہ وہ مے خانہ ہے جہاں ہاجرؔ
بے خودی عین ہوشیاری ہے
तर्ज़-ए परदा-दारी है – मुंशी रघुनाथ सिंघ हाजेर देहलवी
१
किस क़दर ग़म में बे-क़रारी है
रात दिन शग़्ल-ए आह ओ ज़ारी है
२
उस के पीछे हि ख़ल्क़ सारी है
जिस ने दुनिया पे लात मारी है
३
दिल तो नज़्रौं ने कर दिया बिस्मिल
अब हमारे जिगर कि बारी है
४
आंख मिलते हि उस सितमगर ने
एक बरछी सि दिल पे मारी है
५
दिल तो हारा हि था मोहब्बत में
जान भी अब वफ़ा में हारी है
६
फिर चलो मिल के सू-ए मय-ख़ाना
मय-कशो मोसम-ए बहारी है
७
उन को आने में क्यूं ता’अम्मुल है
अब मेरा वक़्त-ए दम-शुमारी है
८
आंखौं आंखौं में होती हैं बातें
सिल्सिला गुफ़्तगू का जारी है
९
देखते हि नज़र चुरा लेना
ये भि एक तर्ज़-ए परदा-दारी है
१०
नाज़ है उन को बे-वफ़ाई पर
मुझ को दा’वा-ए जां निसारी है
११
कहते हैं बाज़ आ मोहब्बत से
गर तुझे अपनी जान प्यारी है
१२
हाल-ए दिल उन से कह नहीं सकते
इस क़दर रो’ब-ए हुस्न तारी है
१३
सदमा-ए हिज्र उठ नहीं सकता
ये दिल-ए नातवां पे भारी है
१४
उन का छुप कर रक़ीब से मिलना
बा’इस-ए रंज ओ बे-क़रारी है
१५
वक़्फ़-ए आह ओ फ़ुग़ां है दिल मेरा
आंख मसरूफ़-ए अश्कबारी है
१६
आस्मां पर दिमाग़ है सब का
अब किसे क़द्र-ए ख़ाक-सारी है
१७
नाम बाक़ी है सिर्फ़ उल्फ़त का
किस में अब बू-ए ग़म-गुसारी है
१८
कौन पाबंद-ए रस्म-ए उल्फ़त है
क़ौल की किस को पासदारी है
१९
जिस को देखो ग़रज़ का बंदा है
अपने मतलब कि दोस्त-दारी है
२०
ज़र हि बुन्याद है मोहब्बत की
उस पे दार-ओ-मदार-ए यारी है
२१
अहल-ए ज़र की है क़द्र दुनिया में
बे-ज़री हि का नाम ख़्वारी है
२२
हाल पूछो न कुछ हसीनौं का
उन की फ़ितरत जफ़ा-शे’आरी है
२३
ख़ून-ए हसरत मुदाम करते हैं
हाथ में ज़ुल्म की कटारी है
२४
तेग़-ए अब्रू से ज़िब’ह करते हैं
रात दिन क़त्ल-ए आम जारी है
२५
जौर उश्शाक़ पर रवा रखना
उन के नज़्दीक वज़’अ-दारी है
२६
कहते हैं ग़ैर से मिलेंगे हम
इस में क्या हैकढी तुम्हारी है
२७
सच अगर पूछिये तो दुनिया में
दिल लगाना गुनाह-गारी है
२८
उन को अग़्यार से नहीं फ़ुरसत
हम को मिलने कि बे-क़रारी है
२९
दिल है क़ब्ज़े में एक सितमगर के
जान मुश्किल में अब हमारी है
३०
ये वो मय-ख़ाना है जहां हाजेर
बे-ख़ुदी ऐन होश्यारी है
Click here for background and on any passage for word meanings and explanatory discussion. munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘kuchh to hai jis ki parda-daari hai’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
kis qadar1 Gham meN be-qaraari2 hai
raat din shaGhl3-e aah4 o zaari5 hai 1.how much 2.restlessness 3.busy in 4.sigh 5.weeping
The poet/lover is in great pain/sorrow (because the beloved ignores him) and is very restless. He is preoccupied day and night with sighing and wailing.
2
us ke peechhe hi Khalq1 saari hai
jis ne duniya pe laat maari hai 1.creation
The whole creation runs after her/him/it who has rejected the world. The key is to know/guess who the her/him/it is. It could be the beloved, who has rejected the whole world of suitors and they are still running after her. But could it also be a sufi who has rejected the material world and concentrates of the spirituality of love, and the whole world of devotees run after such a ‘saint’.
3
dil to nazroN1 ne kar diya bismil2
ab hamaare jigar3 ki baari hai 1.eyes, glances 2.sacrificial slaughter 3.liver
In urdu poetic tradition both the heart and liver are targets of the beloved’s arrows – her glances. Thus, the beloved has already managed to slaughter the heart with her glances. It is the liver’s turn next. The heart is the seat of emotions, and the liver is the seat of fortitude which helps the lover bear his sorrow stoically. But with the liver also sacrificed he will turn into a madman like majnuN.
4
aaNkh milte hi us sitamgar1 ne
ek barchhi2 si dil pe maari hai 1.tormentor, beloved 2.dagger
As soon as the eyes met, the beloved/tormentor plunged a dagger into the lover’s heart.
5
dil to haara1 hi tha mohabbat meN
jaan2 bhi ab vafa3 meN haari hai 1.lost 2.life 3.fidelity, steadfast in love
The lover had already lost his heart in the game of love. Now he is dedicating his life to the promise of being faithful to the beloved.
6
phir1 chalo mil ke soo2-e maiKhaana3mai-kasho4 mosam5-e bahaari6 hai 1.again 2.towards 3.tavern 4.wine-lovers 5.season 6.spring
In the poetic as well as cultural traditions, spring is a time of renewal, joy and celebration. It is also a time of indulging in and enjoying drinking wine. Thus, the poet calls fellow wine-lovers to make their way towards the tavern for spring is here.
7
un ko aane meN kyuN ta’ammul1 hai
ab mera vaqt-e dam-shumaari2 hai 1.deliberation, hesitation 2.counting breaths
It is customary/obligatory for the beloved to visit the lover on his death bed. In this case, the poet/lover is counting his last few breaths and the beloved has not yet shown up. What is she thinking about, what is the hesitation-he moans.
8
aaNkhoN aaNkhoN meN hoti haiN baateN
silsila1 guftagu2 ka jaari3 hai 1.thread, continuation 2.conversation 3.ongoing, underway
The lover and the beloved look into each other’s eyes to converse. Said josh malihabadi …
tamaam mahfil ke ruu ba ruu go, uThaa’iN nazreN, milaa’iN aaNkheN
samajh saka ek bhi na laikin, savaal mera, javaab tera
9
dekhte hi nazar chura lena1ye bhi ek tarz2-e parda-daari3 hai 1.nazar churaana is an expression meaning look away 2.style, way 3.observing parda/veil
As soon as their eyes meet, the beloved coyly looks away. This also is a style of observing parda/veil, says the poet.
10
naaz1 hai un ko be-vafaaii2 par
mujh ko d’aava3-e jaaN-nisaari4 hai 1.pride 2.not keeping commitments 3.claim 4.offering life
‘jaaN-nisaari’ literally means sacrifice one’s life for something. In this case, the poet/lover means staying true to his love even more than to his life. Thus, it is his claim that this is what he does and the beloved is proud of being fickle.
11
kahte haiN baaz-aa1 mohabbat se
gar2 tujhe apni jaan pyaari hai 1.refrain from 2.if
Who the ‘kahte haiN’ are is not explicit. It could be the world in general, or it could be the beloved herself. Thus, they say (or she says) refrain from falling in love if you value your life i.e., you are sure to lose your life if you fall in love.
12
haal1-e dil un se kah nahiN sakte
is qadar2 ro’b3-e husn4 taari5 hai 1.condition 2.so much 3.fear, awe 4.beauty 5.overcome by, overwhelmed by
The poet/lover cannot relate the condition of his heart to the beloved. Everytime he gets a chance, he is so overwhelmed and awed by her beauty that he cannot speak.
13
sadma1-e hijr2 uTh nahiN sakta
ye dil-e naatavaaN3 pe bhaari hai 1.shock, tragedy 2.separation 3.weak, fragile
I cannot bear the shock of separation (from the beloved). It is too hard for my fragile heart.
14
un ka chhup1 kar raqiib2 se milna
baa’is3-e ranj4 o be-qaraari5 hai 1.in hiding, secretly 2.rival 3.basis, foundation 4.sorrow 5.restlessness
The beloved has been meeting the rival secretly. This is the basis of the poet/lover’s sorrow and restlessness.
15
vaqf1-e aah2 o fuGhaaN3 hai dil mera
aaNkh masroof4-e ashk-baari5 hai 1.dedicated to, reserved for 2.sighing 3.wailing 4.busy in 5.shedding tears
My heart is reserved for sighing and wailing and my eyes are busy shedding tears.
16
aasmaaN par dimaaGh1 hai sub ka
ab kise qadr2-e Khaaksaari3 hai 1.head in the clouds, proud 2.respect 3.humility
Everyone has their head in the clouds i.e., they think a lot of themselves. Who, these days, has any respect for humility.
17
naam baaqi1 hai sirf2 ulfat3 ka
kis meN ab buu4-e Gham-gusaari5 hai 1.remains 2.only 3.love 4.fragrance 5.bearing pain/sorrow
Love remains only in name. No one has even a trace of the willingness to stoically bear the pain of love. ‘buu bhi nahiN rahna’ is an expression meaning there is not even a faint fragrance left i.e., no trace is left.
18
kaun paaband1-e rasm2-e ulfat3 hai
qaul4 ki kis ko paasdaari5 hai 1.bound by, committed to 2.tradition 3.love 4.word, promise 5.respect, consideration
Who (in these times) is bound by the traditions of love. Who respects their own word anymore.
19
jis ko dekho Gharaz1 ka banda2 hai
apne matlab3 ki dost-daari4 hai 1.concern, interest 2.slave 3.meaning, hidden agenda 4.friendship
Whoever you meet is a slave of their own (selfish) interests. They make friends because of their own hidden agenda.
20
zar1 hi buniyaad2 hai mohabbat ki
us pe daar-o-madaar3-e yaari4 hai 1.wealth 2.foundation, basis 3.dependence 4.friendship, love
Wealth alone is the basis of love. Love/friendship depends on it.
21
ahl1-e zar2 ki hai qadr3 duniya meN
be-zari4 hi ka naam Khwaari5 hai 1.people of 2.wealth 3.respect 4.poverty 5.contempt, rejection
The world respects the wealthy. Poverty is also known as being rejected/hated.
22
haal1 poochho na kuchh hasiinoN2 ka
un ki fitrat3 jafa-she’aari4 hai 1.condition, character 2.beauties 3.nature 4.tormenting
Don’t ask about the character of beauties. Tormenting lovers is part of their nature.
23
Khoon1-e hasrat2 mudaam3 karte haiN
haath meN zulm4 ki kaTaari5 hai 1.(spilling) blood, killing 2.longing 3.always 4.cruelty, oppression 5.dagger
He continues to talk about the ‘character of the beloved’. They always kill/choke off the longing that the lover has for them. They always carry a dagger in their hand.
24
teGh1-e abru2 se zib’h3 karte haiN
raat din qatl-e-‘aam4 jaari5 hai 1.sword 2.eyebrow 3.slaughter 4.mass murder 5.underway, ongoing
They slaughter with the sword of their eyebrows (the eyebrow because of its shape is often called a dagger or a sword). Day and night their killing goes on.
25
jaur1 ushshaaq2 par rava3 rakhna
un ke nazdiik4 vaza’-daari5 hai 1.cruelty, oppression 2.lovers 3.legitimate, accepted 4.expression meaning-for them, they think 5.refined behaviour/culture
They think that legitimizing/justifying cruelty on lovers is refined culture.
26
kahte haiN Ghair1 se mileNge ham
is meN kya haikRi2 tumhaari hai 1.rival 2.to threaten, to assert rights
They say that they will continue to meet the rival and ask what right do you have to stop me.
27
such1 agar2 poochhiye to duniya meN
dil lagaana gunaah-gaari3 hai 1.truth 2.if 3.committing sin
If you were to ask me the truth i.e., if you ask me to speak frankly, falling in love in this world is a sin.
28
un ko aGhyaar1 se nahiN fursat2
ham ko milne ki be-qaraari3 hai 1.rivals 2.liesure, free time 3.restlessness
They can’t take any time away from (meeting) the rival and I am restless to meet her.
29
dil hai qabze1 meN ek sitamgar2 ke
jaan mushkil meN ab hamaari hai 1.control, possession 2.torturer
My heart is in the control of a torturer. Life is now in difficulty.
30
ye vo maiKhaana1 hai jahaaN haajer2be-Khudi3 ain4 hoshiyaari5 hai 1.tavern 2.pen-name of the poet 3.trance, intoxication 4.essence 5.wisdom, knowledge, awareness
The ‘ye maiKhaana/tavern’ in the first misra could be the domain of love or it could be life itself. O haajer, this is a tavern where intoxication is the essence of understanding. This can be in the sufiyaana spirit of iqbal’s …
be-Khatar kood paRa aatish-e namrood meN ishq
aql hai mahv-e tamaasha-e lab-e baam abhi
munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘kuchh to hai jis ki parda-daari hai’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
kis qadar1 Gham meN be-qaraari2 hai
raat din shaGhl3-e aah4 o zaari5 hai
1.how much 2.restlessness 3.busy in 4.sigh 5.weeping
The poet/lover is in great pain/sorrow (because the beloved ignores him) and is very restless. He is preoccupied day and night with sighing and wailing.
2
us ke peechhe hi Khalq1 saari hai
jis ne duniya pe laat maari hai
1.creation
The whole creation runs after her/him/it who has rejected the world. The key is to know/guess who the her/him/it is. It could be the beloved, who has rejected the whole world of suitors and they are still running after her. But could it also be a sufi who has rejected the material world and concentrates of the spirituality of love, and the whole world of devotees run after such a ‘saint’.
3
dil to nazroN1 ne kar diya bismil2
ab hamaare jigar3 ki baari hai
1.eyes, glances 2.sacrificial slaughter 3.liver
In urdu poetic tradition both the heart and liver are targets of the beloved’s arrows – her glances. Thus, the beloved has already managed to slaughter the heart with her glances. It is the liver’s turn next. The heart is the seat of emotions, and the liver is the seat of fortitude which helps the lover bear his sorrow stoically. But with the liver also sacrificed he will turn into a madman like majnuN.
4
aaNkh milte hi us sitamgar1 ne
ek barchhi2 si dil pe maari hai
1.tormentor, beloved 2.dagger
As soon as the eyes met, the beloved/tormentor plunged a dagger into the lover’s heart.
5
dil to haara1 hi tha mohabbat meN
jaan2 bhi ab vafa3 meN haari hai
1.lost 2.life 3.fidelity, steadfast in love
The lover had already lost his heart in the game of love. Now he is dedicating his life to the promise of being faithful to the beloved.
6
phir1 chalo mil ke soo2-e maiKhaana3mai-kasho4 mosam5-e bahaari6 hai
1.again 2.towards 3.tavern 4.wine-lovers 5.season 6.spring
In the poetic as well as cultural traditions, spring is a time of renewal, joy and celebration. It is also a time of indulging in and enjoying drinking wine. Thus, the poet calls fellow wine-lovers to make their way towards the tavern for spring is here.
7
un ko aane meN kyuN ta’ammul1 hai
ab mera vaqt-e dam-shumaari2 hai
1.deliberation, hesitation 2.counting breaths
It is customary/obligatory for the beloved to visit the lover on his death bed. In this case, the poet/lover is counting his last few breaths and the beloved has not yet shown up. What is she thinking about, what is the hesitation-he moans.
8
aaNkhoN aaNkhoN meN hoti haiN baateN
silsila1 guftagu2 ka jaari3 hai
1.thread, continuation 2.conversation 3.ongoing, underway
The lover and the beloved look into each other’s eyes to converse. Said josh malihabadi …
tamaam mahfil ke ruu ba ruu go, uThaa’iN nazreN, milaa’iN aaNkheN
samajh saka ek bhi na laikin, savaal mera, javaab tera
9
dekhte hi nazar chura lena1ye bhi ek tarz2-e parda-daari3 hai
1.nazar churaana is an expression meaning look away 2.style, way 3.observing parda/veil
As soon as their eyes meet, the beloved coyly looks away. This also is a style of observing parda/veil, says the poet.
10
naaz1 hai un ko be-vafaaii2 par
mujh ko d’aava3-e jaaN-nisaari4 hai
1.pride 2.not keeping commitments 3.claim 4.offering life
‘jaaN-nisaari’ literally means sacrifice one’s life for something. In this case, the poet/lover means staying true to his love even more than to his life. Thus, it is his claim that this is what he does and the beloved is proud of being fickle.
11
kahte haiN baaz-aa1 mohabbat se
gar2 tujhe apni jaan pyaari hai
1.refrain from 2.if
Who the ‘kahte haiN’ are is not explicit. It could be the world in general, or it could be the beloved herself. Thus, they say (or she says) refrain from falling in love if you value your life i.e., you are sure to lose your life if you fall in love.
12
haal1-e dil un se kah nahiN sakte
is qadar2 ro’b3-e husn4 taari5 hai
1.condition 2.so much 3.fear, awe 4.beauty 5.overcome by, overwhelmed by
The poet/lover cannot relate the condition of his heart to the beloved. Everytime he gets a chance, he is so overwhelmed and awed by her beauty that he cannot speak.
13
sadma1-e hijr2 uTh nahiN sakta
ye dil-e naatavaaN3 pe bhaari hai
1.shock, tragedy 2.separation 3.weak, fragile
I cannot bear the shock of separation (from the beloved). It is too hard for my fragile heart.
14
un ka chhup1 kar raqiib2 se milna
baa’is3-e ranj4 o be-qaraari5 hai
1.in hiding, secretly 2.rival 3.basis, foundation 4.sorrow 5.restlessness
The beloved has been meeting the rival secretly. This is the basis of the poet/lover’s sorrow and restlessness.
15
vaqf1-e aah2 o fuGhaaN3 hai dil mera
aaNkh masroof4-e ashk-baari5 hai
1.dedicated to, reserved for 2.sighing 3.wailing 4.busy in 5.shedding tears
My heart is reserved for sighing and wailing and my eyes are busy shedding tears.
16
aasmaaN par dimaaGh1 hai sub ka
ab kise qadr2-e Khaaksaari3 hai
1.head in the clouds, proud 2.respect 3.humility
Everyone has their head in the clouds i.e., they think a lot of themselves. Who, these days, has any respect for humility.
17
naam baaqi1 hai sirf2 ulfat3 ka
kis meN ab buu4-e Gham-gusaari5 hai
1.remains 2.only 3.love 4.fragrance 5.bearing pain/sorrow
Love remains only in name. No one has even a trace of the willingness to stoically bear the pain of love. ‘buu bhi nahiN rahna’ is an expression meaning there is not even a faint fragrance left i.e., no trace is left.
18
kaun paaband1-e rasm2-e ulfat3 hai
qaul4 ki kis ko paasdaari5 hai
1.bound by, committed to 2.tradition 3.love 4.word, promise 5.respect, consideration
Who (in these times) is bound by the traditions of love. Who respects their own word anymore.
19
jis ko dekho Gharaz1 ka banda2 hai
apne matlab3 ki dost-daari4 hai
1.concern, interest 2.slave 3.meaning, hidden agenda 4.friendship
Whoever you meet is a slave of their own (selfish) interests. They make friends because of their own hidden agenda.
20
zar1 hi buniyaad2 hai mohabbat ki
us pe daar-o-madaar3-e yaari4 hai
1.wealth 2.foundation, basis 3.dependence 4.friendship, love
Wealth alone is the basis of love. Love/friendship depends on it.
21
ahl1-e zar2 ki hai qadr3 duniya meN
be-zari4 hi ka naam Khwaari5 hai
1.people of 2.wealth 3.respect 4.poverty 5.contempt, rejection
The world respects the wealthy. Poverty is also known as being rejected/hated.
22
haal1 poochho na kuchh hasiinoN2 ka
un ki fitrat3 jafa-she’aari4 hai
1.condition, character 2.beauties 3.nature 4.tormenting
Don’t ask about the character of beauties. Tormenting lovers is part of their nature.
23
Khoon1-e hasrat2 mudaam3 karte haiN
haath meN zulm4 ki kaTaari5 hai
1.(spilling) blood, killing 2.longing 3.always 4.cruelty, oppression 5.dagger
He continues to talk about the ‘character of the beloved’. They always kill/choke off the longing that the lover has for them. They always carry a dagger in their hand.
24
teGh1-e abru2 se zib’h3 karte haiN
raat din qatl-e-‘aam4 jaari5 hai
1.sword 2.eyebrow 3.slaughter 4.mass murder 5.underway, ongoing
They slaughter with the sword of their eyebrows (the eyebrow because of its shape is often called a dagger or a sword). Day and night their killing goes on.
25
jaur1 ushshaaq2 par rava3 rakhna
un ke nazdiik4 vaza’-daari5 hai
1.cruelty, oppression 2.lovers 3.legitimate, accepted 4.expression meaning-for them, they think 5.refined behaviour/culture
They think that legitimizing/justifying cruelty on lovers is refined culture.
26
kahte haiN Ghair1 se mileNge ham
is meN kya haikRi2 tumhaari hai
1.rival 2.to threaten, to assert rights
They say that they will continue to meet the rival and ask what right do you have to stop me.
27
such1 agar2 poochhiye to duniya meN
dil lagaana gunaah-gaari3 hai
1.truth 2.if 3.committing sin
If you were to ask me the truth i.e., if you ask me to speak frankly, falling in love in this world is a sin.
28
un ko aGhyaar1 se nahiN fursat2
ham ko milne ki be-qaraari3 hai
1.rivals 2.liesure, free time 3.restlessness
They can’t take any time away from (meeting) the rival and I am restless to meet her.
29
dil hai qabze1 meN ek sitamgar2 ke
jaan mushkil meN ab hamaari hai
1.control, possession 2.torturer
My heart is in the control of a torturer. Life is now in difficulty.
30
ye vo maiKhaana1 hai jahaaN haajer2be-Khudi3 ain4 hoshiyaari5 hai
1.tavern 2.pen-name of the poet 3.trance, intoxication 4.essence 5.wisdom, knowledge, awareness
The ‘ye maiKhaana/tavern’ in the first misra could be the domain of love or it could be life itself. O haajer, this is a tavern where intoxication is the essence of understanding. This can be in the sufiyaana spirit of iqbal’s …
be-Khatar kood paRa aatish-e namrood meN ishq
aql hai mahv-e tamaasha-e lab-e baam abhi
The post tarz-e parda-daari hai-raghunath siNgh haajir appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/mash-sub-ki-hissadaari-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
سب کی حصہ داری ہے ۔ محمد اظہر شمس
۱
تجلّیوں سے اندھیروں کی جنگ جاری ہے
اجالے سرخ رو ہوں یہ سب کی ذمّہ داری ہے
۲
جہاں پہ کل تھا گلستاں وہ آج مقتل ہے
فلک خموش ہے پھر دیکھیں کس کی باری ہے
۳
سرِ نیاز جھکانا محبتیں دینا
یہ بزدلی نہیں دراصل خاکساری ہے
۴
رہِ جمود سے نفرت، اڑان کی خواہش
حقیقتاً یہ ضرورت ہے سمجھ داری ہے
۵
یہ گلستاں ہے ہماری ریاضتوں کا ثمر
سنوارنے میں اسے سب کی حصّہ داری ہے
सब की हिस्से-दारी है – मोहम्मद अज़हर शम्स
१
तजल्लियों से अँधेरों की जंग जारी है
उजाले सुर्ख़-रू हों ये सब की ज़िम्मेदारी है
२
जहाँ पे कल था गुलिस्ताँ वो आज मक़्तल है
फ़लक ख़मोश है फिर देखें किस की बारी है
३
सर-ए नियाज़ झुकाना मोहब्बतें देना
ये बुज़-दिली नहीं दर-अस्ल ख़ाकसारी है
४
रह-ए जुमूद से नफ़रत उढान की ख़्वाहिश
हक़ीक़तन ये ज़रूरत है समझ दारी है
५
ये गुलिस्ताँ है हमारी रियाज़तों का समर
इसे सँवारने में सब की हिस्से-दारी है
Click here for background and on any passage for word meanings and explanatory discussion. mohammed azhar shams (xxxx-living) TanDa UP. His early schooling was in the local area with intermediate degree in bareli, 1981. He did his BTech computer science from aligaRh, followed by MBA and then Indian Civil Service. At the time of publication of his collection (2015) he was working in Government Railways. There is considerable political consciousness in this Ghazal and is also reflected in the title of his collection ‘dar haqeeqat’-in Truth. This Ghazal is in the zamin of Ghalib’s ‘kuchh to hai jis ki parda-daari hai’ and is linked to Ghalib naqsh-e qadam.
1
tajalliyoN1 se andheroN2 ki jaNg jaari3 hai
ujaale4 surKh-ru5 hoN ye sub ki zimmedaari6 hai 1.brilliance 2.darkness 3.underway, ongoing 4.light 5.glowing face, victorious 6.responsibility
Brightness/brilliance depicts justice; darkness stands for injustice and oppression. The conflict between the two is underway and it is the responsibility of everyone that justice should triumph. Implied is that it is not just the reponsibility of the oppressed to fight injustice. Said sahir ludhianavi …
zaalim ko jo na roke vo shaamil hai zulm meN
qaatil ko jo na Toke vo qaatil ke saath hai
2
jahaaN1 pe kal tha gulistaaN2 vo aaj maqtal3 hai
falak4 Khamosh5 hai phir dekheN kis ki baari6 hai 1.where 2.garden 3.slaughterhouse 4.sky, fate, god 5.silent 6.turn
Where there was a garden yesterday, there is a slaughterhouse today. The sky/god/justice is silent, waiting to see whose turn it is next. This could well be about communal riots.
3
sar-e niyaaz1 jhukaana mohabbateN dena
ye buz-dili2 nahiN dar-asl3 Khaaksaari4 hai 1.devotional offering 2.cowardice 3.in reality 4.humility
When someone offers devotion and love, do not mistake it for cowardice. In reality, it is that they are being considerate and humble.
4
rah1-e jumud2 se nafrat3, uRaan4 ki Khwaahish5
haqiqatan6 ye zarurat7 hai samajh-daari8 hai 1.path 2.stasis, stand-still 3.hatred 4.flight 5.wish 6.in reality 7.need 8.good sense
Hatred of the path of stillness (no progress, changelessness), the desire to fly to new horizons (the desire for change), in reality this is a need, it makes good sense.
5
ye gulistaaN1 hai hamaari riyaazatoN2 ka samar3
saNvaarne4 meN ise sab ki hisse-daari5 hai 1.garden 2.practice, hard work 3.fruit 4.beautification 5.participation, credit
This garden (homeland) is the fruit of everyone’s (all communities) hard work. Everyone has participated in its beautification.
mohammed azhar shams (xxxx-living) TanDa UP. His early schooling was in the local area with intermediate degree in bareli, 1981. He did his BTech computer science from aligaRh, followed by MBA and then Indian Civil Service. At the time of publication of his collection (2015) he was working in Government Railways. There is considerable political consciousness in this Ghazal and is also reflected in the title of his collection ‘dar haqeeqat’-in Truth. This Ghazal is in the zamin of Ghalib’s ‘kuchh to hai jis ki parda-daari hai’ and is linked to Ghalib naqsh-e qadam.
1
tajalliyoN1 se andheroN2 ki jaNg jaari3 hai
ujaale4 surKh-ru5 hoN ye sub ki zimmedaari6 hai
1.brilliance 2.darkness 3.underway, ongoing 4.light 5.glowing face, victorious 6.responsibility
Brightness/brilliance depicts justice; darkness stands for injustice and oppression. The conflict between the two is underway and it is the responsibility of everyone that justice should triumph. Implied is that it is not just the reponsibility of the oppressed to fight injustice. Said sahir ludhianavi …
zaalim ko jo na roke vo shaamil hai zulm meN
qaatil ko jo na Toke vo qaatil ke saath hai
2
jahaaN1 pe kal tha gulistaaN2 vo aaj maqtal3 hai
falak4 Khamosh5 hai phir dekheN kis ki baari6 hai
1.where 2.garden 3.slaughterhouse 4.sky, fate, god 5.silent 6.turn
Where there was a garden yesterday, there is a slaughterhouse today. The sky/god/justice is silent, waiting to see whose turn it is next. This could well be about communal riots.
3
sar-e niyaaz1 jhukaana mohabbateN dena
ye buz-dili2 nahiN dar-asl3 Khaaksaari4 hai
1.devotional offering 2.cowardice 3.in reality 4.humility
When someone offers devotion and love, do not mistake it for cowardice. In reality, it is that they are being considerate and humble.
4
rah1-e jumud2 se nafrat3, uRaan4 ki Khwaahish5
haqiqatan6 ye zarurat7 hai samajh-daari8 hai
1.path 2.stasis, stand-still 3.hatred 4.flight 5.wish 6.in reality 7.need 8.good sense
Hatred of the path of stillness (no progress, changelessness), the desire to fly to new horizons (the desire for change), in reality this is a need, it makes good sense.
5
ye gulistaaN1 hai hamaari riyaazatoN2 ka samar3
saNvaarne4 meN ise sab ki hisse-daari5 hai
1.garden 2.practice, hard work 3.fruit 4.beautification 5.participation, credit
This garden (homeland) is the fruit of everyone’s (all communities) hard work. Everyone has participated in its beautification.
The post sub ki hissa-daari hai-mohammed azhar shams appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/ragm-tujhe-jeetne-ko-haari-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تجھے جیتنے کو ہاری ہے ۔ رام اوتار گپتا مظترؔ
۱
رہِ قرار عجب راہِ بے قراری ہے
رُکے ہوئے ہیں مسافر سفر بھی جاری ہے
۲
فرشتہ موت کا بستی میں پھر سے آیا ہے
مرے کریم بتا آج کس کی باری ہے
۳
یہ زخم زخم بدن تار تار پیراہن
ترے الم میں زمانہ کی نقش کاری ہے
۴
بساطِ غم پہ مرا چین لوٹنے والے
یہ بازی میں نے تجھے جیتنے کو ہاری ہے
۵
سحر شناس رہے کون کس کا دم ٹوٹے
شبِ فراق چراغوں پہ آج بھاری ہے
۶
ہٹائے لب، میری نم آنکھیں چوم کر اُس نے
دیارِ عشق کی جھیلوں کا آب کھاری ہے
तुझे जीतने को हारी है-राम अवतार गुप्ता मुज़्तर
१
रह-ए क़रार अजब राह-ए बे-क़रारी है
रुके हुए हैं मुसाफ़र सफ़र भी जारी है
२
फ़रिश्ता मौत का बस्ती में फिर से आया है
मेरे करीम बता आज किस कि बारी है
३
ये ज़ख़्म ज़ख़्म बदन, तार तार पैराहन
तेरे अलम में ज़माने की नक़्श-कारी है
४
बिसात-ए ग़म पे मेरा चैन लूटने वाले
ये बाज़ी मैं ने तुझे जीतने को हारी है
५
सहर शिनास रहे कौन किस का दम टूटे
शब-ए फ़िराक़ चराग़ौं पे आज भारी है
६
हटाए लब, मेरी नम आंखें चूम कर उस ने
दयार-ए इश्क़ कि झीलौं का आब खारी है
Click here for background and on any passage for word meanings and explanatory discussion. raam avtaar gupta muztar sundailvi (1936-xxxx) was a well recognized poet in both urdu and hindi. He was exposed to the Progressive Writers’ Association but explicitly chose to be apolitical. His compositions are classical romantic in their themes. His work is published in two collections – seepiyoN ka samandar and safeer-e aaKhir-e shab. This Ghazal is the same radeef-qaafiya as Ghalib’s ‘kucch to hai jis ki parda-daari hai’.
1
rah1-e qaraar2 ajab3 raah4-e be-qaraari5 hai
ruke hue haiN musaafir6 safar7 bhi jaari8 hai 1.path 2.peace, tranquility, well-being, happiness 3.strange 4.path 5.restlessness 6.travelers 7.journey 8.underway, going on
I am not sure what to make of this she’r except for the literal meaning. I would appreciate any help. The path to happiness is a strange path of restlessness. Travelers are stopped and yet the journey goes on. Possibly … those who seek happiness are actually on a path of restlessness. The journey goes on, but they don’t make any progress. Does this mean ‘happiness is not achievable in this life’. I am not sure.
2
farishta1 maut2 ka basti3 meN phir se aaya hai
mere kariim4 bata aaj kis ki baari5 hai 1.angel 2.death 3.neighbourhood 4.benevolent one, god 5.turn, chance
The angel of death once again prowls the neighbourhood. On my god, tell me whose turn is it today. Probably just a reflection on the unpredictability of life or possibly a more energetic interpretation saying make the most of what you have because you don’t know if it is your turn next.
3
ye zaKhm-zaKhm1 badan2, taar-taar3 pairaahan4
tere alam5 meN zamaane6 ki naqsh-kaari7 hai 1.many wounds, wounded 2.body 3.shredded to threads 4.clothing, robe 5.sorrow 6.times, the world 7.sketching, mischief making
Presumably the poet is addressing himself. It is his body that is wounded and his clothes that are torn to shreds. His appearance is sorrowful, he is sad and he thinks that in creating this sketch, the world has been unkind to him.
4
bisaat1-e Gham2 pe mera chain3 looTne vaale
ye baazi4 maiN ne tujhe jeetne ko haari hai 1.chessboard 2.sorrow 3.comfort 4.roll of the dice, chess move
Life is sorrowful and is like a chessboard. There are two players in this particular game … the poet/lover and the beloved. The beloved has robbed him of his happiness/comfort. But he has intentionally lost his move, in order win the overall game … her love.
5
sahar1 shinaas2 rahe kaun kis ka dam3 TooTe4
shab5-e firaaq6 charaaGhoN7 pe aaj bhaari8 hai 1.dawn 2.aware of, knowing 3.breath 4.break, interrupted, stop 5.night 6.separation 7.lamps 8.heavy, difficult
‘dam TooTna’ is an expression meaning ‘taken the last breath’. There are several lamps burning through the night of separation. It is a very difficult night for them. Not only is it a night of separation, but also as soon as they become aware of dawn, they have to be put out. There appears to be a question, which one will be the first to be put out. That perhaps makes the night of separation even more difficult. Usually, the lamp is used to represent the beloved and moths are lovers. Here there are no moths and lamps are about breath their last.
6
haTaaye lab1 meri nam2 aaNkhen choom3 kar us ne
dayaar4-e ishq meN jhiiloN5 ka aab khaari6 hai 1.lips 2.moist 3.kiss 4.domain, region 5.lake 6.salty
The poet/lovers eyes are brimming with tears, like a lake. The beloved kisses his moist eyes and moves away. Perhaps she has tasted the salt in the tears. Lakes in the domain of love are salty! Is there a hidden meaning to this imagery?
raam avtaar gupta muztar sundailvi (1936-xxxx) was a well recognized poet in both urdu and hindi. He was exposed to the Progressive Writers’ Association but explicitly chose to be apolitical. His compositions are classical romantic in their themes. His work is published in two collections – seepiyoN ka samandar and safeer-e aaKhir-e shab. This Ghazal is the same radeef-qaafiya as Ghalib’s ‘kucch to hai jis ki parda-daari hai’.
1
rah1-e qaraar2 ajab3 raah4-e be-qaraari5 hai
ruke hue haiN musaafir6 safar7 bhi jaari8 hai
1.path 2.peace, tranquility, well-being, happiness 3.strange 4.path 5.restlessness 6.travelers 7.journey 8.underway, going on
I am not sure what to make of this she’r except for the literal meaning. I would appreciate any help. The path to happiness is a strange path of restlessness. Travelers are stopped and yet the journey goes on. Possibly … those who seek happiness are actually on a path of restlessness. The journey goes on, but they don’t make any progress. Does this mean ‘happiness is not achievable in this life’. I am not sure.
2
farishta1 maut2 ka basti3 meN phir se aaya hai
mere kariim4 bata aaj kis ki baari5 hai
1.angel 2.death 3.neighbourhood 4.benevolent one, god 5.turn, chance
The angel of death once again prowls the neighbourhood. On my god, tell me whose turn is it today. Probably just a reflection on the unpredictability of life or possibly a more energetic interpretation saying make the most of what you have because you don’t know if it is your turn next.
3
ye zaKhm-zaKhm1 badan2, taar-taar3 pairaahan4
tere alam5 meN zamaane6 ki naqsh-kaari7 hai
1.many wounds, wounded 2.body 3.shredded to threads 4.clothing, robe 5.sorrow 6.times, the world 7.sketching, mischief making
Presumably the poet is addressing himself. It is his body that is wounded and his clothes that are torn to shreds. His appearance is sorrowful, he is sad and he thinks that in creating this sketch, the world has been unkind to him.
4
bisaat1-e Gham2 pe mera chain3 looTne vaale
ye baazi4 maiN ne tujhe jeetne ko haari hai
1.chessboard 2.sorrow 3.comfort 4.roll of the dice, chess move
Life is sorrowful and is like a chessboard. There are two players in this particular game … the poet/lover and the beloved. The beloved has robbed him of his happiness/comfort. But he has intentionally lost his move, in order win the overall game … her love.
5
sahar1 shinaas2 rahe kaun kis ka dam3 TooTe4
shab5-e firaaq6 charaaGhoN7 pe aaj bhaari8 hai
1.dawn 2.aware of, knowing 3.breath 4.break, interrupted, stop 5.night 6.separation 7.lamps 8.heavy, difficult
‘dam TooTna’ is an expression meaning ‘taken the last breath’. There are several lamps burning through the night of separation. It is a very difficult night for them. Not only is it a night of separation, but also as soon as they become aware of dawn, they have to be put out. There appears to be a question, which one will be the first to be put out. That perhaps makes the night of separation even more difficult. Usually, the lamp is used to represent the beloved and moths are lovers. Here there are no moths and lamps are about breath their last.
6
haTaaye lab1 meri nam2 aaNkhen choom3 kar us ne
dayaar4-e ishq meN jhiiloN5 ka aab khaari6 hai
1.lips 2.moist 3.kiss 4.domain, region 5.lake 6.salty
The poet/lovers eyes are brimming with tears, like a lake. The beloved kisses his moist eyes and moves away. Perhaps she has tasted the salt in the tears. Lakes in the domain of love are salty! Is there a hidden meaning to this imagery?
The post tujhe jiitne ko haari hai-raam avtaar gupta muztar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/rpsh-apna-vujood-bhaari-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اپنا وجود بھاری ہے ۔ رام پرکاش ساحرؔ ہوشیارپوری
۱
دَورِ چرخِ کبود جاری ہے
جسم و جاں پر جمود طاری ہے
۲
گویا انساں نہیں ہیولیٰ ہوں
میری رگ رگ میں دود ساری ہے
۳
موت ہم سایے میں ہوئی تو کیا
بزمِ رقص و سرور جاری ہے
۴
دوستوں سے وہ کیا کریں گے سلوک
جن پر اپنا وجود بھاری ہے
۵
ہے تصوّر میں اک رخِ روشن
اور لب پر درود جاری ہے
۶
عمر بھر کُھل سکی نہ دل کی گرہ
خوب شغلِ کشود کاری ہے
۷
بھر نہ پائے گا زخمِ دل ساحرؔ
ضربِ حرفِ حسود کاری ہے
अपना वजूद भारी है – राम प्रकाश साहेर होश्यारपूरी
१
दौर-ए चर्ख़-ए कबूद जारी है
जिस्म-ओ-जाँ पर जुमूद तारी है
२
गोया इंसाँ नहीं हयूला हूँ
मेरी रग रग में दूद सारी है
३
मौत हम-साए में हुई तो क्या
बज़्म-ए रक़्स-ओ-सुरूर जारी है
४
दोस्तों से वो क्या करेंगे सुलूक
जिन पर अपना वजूद भारी है
५
है तसव्वुर में एक रुख़-ए रौशन
और लब पर दरूद जारी है
६
उम्र भर खुल सकी न दिल की गिरह
ख़ूब शग़्ल-ए कुशूद-कारी है
७
भर न पाएगा ज़ख़्म-ए दिल साहेर
ज़र्ब-ए हर्फ़-ए हुसूद कारी है
Click here for background and on any passage for word meanings and explanatory discussion. ram prakash saahir hoshiarpuri (1913-1972), did his MA in faarsi from lahore and joined the family business. He was the shaagird of labhuram josh malsiani and specialized in composing in a short bahr/meter. This Ghazal is in the zamin of Ghalib’s ‘kuchh to hai jis ki parda-daari hai’ and can be considered a tribute to the master. It is linked to Ghalib naqsh-e qadam.
1
daur1-e charKh2-e kabood3 jaari4 hai
jism-o-jaaN5 par jumood6 taari7 hai 1.times, control, regime 2.wheel, sky 3.blue 4.underway, prevailing 5.body and soul 6.stasis, stagnant 7.overpowering, controlling
The sky (blue or not) is symbolic of fate that controls human lives. Thus, this is the age/reign of fate. There is a stasis that has power over bodies and souls. This may be a sarcastic reflection on the cultural tendency of blaming everything on fate and not making an effort to change things.
2
goya1 insaaN nahiN hayoola2 huN
meri rag-rag3 meN duud4 saari5 hai 1.as if 2.apparition, ghost 3.every vein 4.smoke 5.flowing
I cannot figure out what he is saying beyond a literal translation. Thus, it is as if I am not human but an apparition. Smoke flows through every vein of mine. Is it because he is on fire with passion? I am not sure.
3
maut1 ham-saa’e2 meN hui to kya
bazm3-e raqs4-e suroor5 jaari6 hai 1.death 2.neighbourhood 3.gathering, party 4.dance 5.joy, celebration 6.underway
This appears to be a reflection on loss of cultural norms. There was a time when there was a death in the neighbourhood then all festive activities would be postponed in consideration of the loss. But it seems that now … what if there is a death in the neighbourhood, the party of joyful dance goes on.
4
dostoN se vo kya kareNge sulook1
jin par apna vajood2 bhaari3 hai 1.behaviour, kindness, culture 2.existence, life 3.heavy, difficult
How can they whose very existence is difficult, carry on culturally refined behaviour with friends. Said moin ehsan jazbi …
jab jeb meN paise bajte haiN, jab payT meN roTi hoti hai
us vaqt ye zarra heera hai, us vaqt ye shabnam moti hai
5
hai tasavvur1 meN ek ruKh2-e raushan3
aur lab par darood4 jaari5 hai 1.thoughts, imagination 2.face 3.shining 4.praise 5.ongoing
I carry the shining face of the beloved in my mind and keep chanting praises of her. It is just possible that the ‘beloved’ could be god.
6
umr bhar khul saki na dil ki girah1
Khuub2 shaGhl3-e kushood-kaari4 hai 1.knot 2.good, plenty, much 3.occupation, hobby 4.opening, untying
Here ‘Khuub’ meaning, ‘good, or done well’ is probably used in sarcasm. All life long. the knot of the heart could not be unraveled i.e., the mystery of love could not be explained. What kind of an expert effort of untying knots is this.
7
bhar1 na paa’ega zaKhm2-e dil saahir3
zarb4-e harf5-e husood6 kaari7 hai 1.zaKhm bharna is an expression meaning wound getting healed 2.wound 3.pen-name of the poet 4.blow, cut 5.word 6.envy, jealousy 7.fatal, deep
O saahir, this wound will not heal. The wounds of envy are deep and fatal.
ram prakash saahir hoshiarpuri (1913-1972), did his MA in faarsi from lahore and joined the family business. He was the shaagird of labhuram josh malsiani and specialized in composing in a short bahr/meter. This Ghazal is in the zamin of Ghalib’s ‘kuchh to hai jis ki parda-daari hai’ and can be considered a tribute to the master. It is linked to Ghalib naqsh-e qadam.
1
daur1-e charKh2-e kabood3 jaari4 hai
jism-o-jaaN5 par jumood6 taari7 hai
1.times, control, regime 2.wheel, sky 3.blue 4.underway, prevailing 5.body and soul 6.stasis, stagnant 7.overpowering, controlling
The sky (blue or not) is symbolic of fate that controls human lives. Thus, this is the age/reign of fate. There is a stasis that has power over bodies and souls. This may be a sarcastic reflection on the cultural tendency of blaming everything on fate and not making an effort to change things.
2
goya1 insaaN nahiN hayoola2 huN
meri rag-rag3 meN duud4 saari5 hai
1.as if 2.apparition, ghost 3.every vein 4.smoke 5.flowing
I cannot figure out what he is saying beyond a literal translation. Thus, it is as if I am not human but an apparition. Smoke flows through every vein of mine. Is it because he is on fire with passion? I am not sure.
3
maut1 ham-saa’e2 meN hui to kya
bazm3-e raqs4-e suroor5 jaari6 hai
1.death 2.neighbourhood 3.gathering, party 4.dance 5.joy, celebration 6.underway
This appears to be a reflection on loss of cultural norms. There was a time when there was a death in the neighbourhood then all festive activities would be postponed in consideration of the loss. But it seems that now … what if there is a death in the neighbourhood, the party of joyful dance goes on.
4
dostoN se vo kya kareNge sulook1
jin par apna vajood2 bhaari3 hai
1.behaviour, kindness, culture 2.existence, life 3.heavy, difficult
How can they whose very existence is difficult, carry on culturally refined behaviour with friends. Said moin ehsan jazbi …
jab jeb meN paise bajte haiN, jab payT meN roTi hoti hai
us vaqt ye zarra heera hai, us vaqt ye shabnam moti hai
5
hai tasavvur1 meN ek ruKh2-e raushan3
aur lab par darood4 jaari5 hai
1.thoughts, imagination 2.face 3.shining 4.praise 5.ongoing
I carry the shining face of the beloved in my mind and keep chanting praises of her. It is just possible that the ‘beloved’ could be god.
6
umr bhar khul saki na dil ki girah1
Khuub2 shaGhl3-e kushood-kaari4 hai
1.knot 2.good, plenty, much 3.occupation, hobby 4.opening, untying
Here ‘Khuub’ meaning, ‘good, or done well’ is probably used in sarcasm. All life long. the knot of the heart could not be unraveled i.e., the mystery of love could not be explained. What kind of an expert effort of untying knots is this.
7
bhar1 na paa’ega zaKhm2-e dil saahir3
zarb4-e harf5-e husood6 kaari7 hai
1.zaKhm bharna is an expression meaning wound getting healed 2.wound 3.pen-name of the poet 4.blow, cut 5.word 6.envy, jealousy 7.fatal, deep
O saahir, this wound will not heal. The wounds of envy are deep and fatal.
The post apna vujood bhaari hai-ramprakash sahir hoshiarpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/mst-chalne-ki-tayyaari-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
چلنے کی تیاری ہے ۔ من موہن شکلا تلخؔ
۱
ایک لمحہ جو کٹے دوسرا پھر بھاری ہے
ہوئی اک عمر کہ اپنی تگ و دو جاری ہے
۲
کہہ کے یہ مجھ سے کہ اس شہر میں ہو تم کب سے
اینٹ سر پر کسی نے جیسے کہ دے ماری ہے
۳
اور لے آئے ہو تم باتیں یہ دنیا بھر کی
اپنی باتوں سے یہاں پہلے ہی بے زاری ہے
۴
کوئی جس بات سے خوش ہے تو خفا دوسرا ہے
کچھ بھی کہنے میں کسی سے یہی دشواری ہے
۵
ساتھ لے لیں یہ ذرا خود کو تو بس چلتے ہیں
اور رہنے کے نہیں چلنے کی تیاری ہے
۶
داد جب مد مقابل کے سخن کی دی آج
دوست کہتے ہیں کہ مطلب کی طرف داری ہے
۷
خود کو یا دوسروں کو تلخؔ پریشاں نہ کرو
کچھ نہیں تم کو فقط جینے کی بیماری ہے
चलने की तय्यारी है – मन मोहन शुक्ला तल्ख़
१
एक लम्हा जो कटे दूसरा फिर भारी है
हुई एक उम्र के अपनी तग-ओ-दौ जारी है
२
कह के ये मुझ से के इस शहर में हो तुम कब से
ईंट सर पर किसी ने जैसे के दे मारी है
३
और ले आए हो तुम बातें ये दुनिया भर की
अपनी बातौं से यहाँ पहले ही बे-ज़ारी है
४
कोई जिस बात से ख़ुश है तो ख़फ़ा दूसरा है
कुछ भी कहने में किसी से यही दुश्वारी है
५
साथ ले लें ये ज़रा ख़ुद को तो बस चलते हैं
और रहने के नहीं चलने की तय्यारी है
६
दाद जब मद्द-ए-मुक़ाबल के सुख़न की दी आज
दोस्त कहते हैं के मत्लब की तरफ़-दारी है
७
ख़ुद को या दूसरों को तल्ख़ परेशाँ न करो
कुछ नहीं तुम को फ़क़त जीने की बीमारी है
Click here for background and on any passage for word meanings and explanatory discussion. manmohan shukla talKh (1931-2001), naagpur, maharashtra. There are at least six books of his collections of verse. He started composing in 1950 with his first collection published in 1958. The final collection was published with a loving foreword (translated from English by a friend) by his widow, who says that he tried to get her interested in learning urdu all their married life. But there is no word in any of the collections about how he came to urdu or about a day job he might have had. My guess is that he was an academic.
1
ek lamha1 jo kaTe doosraa phir bhaari2 hai
hui ek umr keh apni tag-o-dau3 jaari4 hai 1.moment 2.heavy, difficult 3.struggle 4.ongoing, continuing
This is a rather common, fashionable refrain in the sub-continental culture, which considers this life’s journey to be inconsequential. What matters is life after death. In the journey of life, as one moment passes, the next one becomes more difficult. Through all my life I have had this struggle and it still goes on.
2
kah1 ke ye mujh se keh is shahr meN ho tum kab se
iiNT sar par kisi ne jaise keh de maari hai 1.saying, asking
It is apparently the beloved who is asking – how long have you lived in this town. The question implies that she does not know him well, or pretends that she does not know him. Naturally the poet/lover is offended and hurt. He feels like someone has hit him in the head with a brick.
3
aur le aaye ho tum baateN ye duniyaa bhar ki
apni baatoN se yahaaN pahle hi be-zaari1 hai 1.boredom
Apparently the poet/lover is having a conversation with the beloved. He wants to talk about his love for her and she keeps bringing up all tangential subjects. He protests, you seem already bored with what I have to say, and you seem to want to break in with all other subjects.
4
koi jis baat se Khush hai to Khafaa1 doosraa hai
kuchh bhi kahne meN kisi se yahi dushvaari2 hai 1.offended 2.difficulty
If someone is happy with a statement, someone else seems to be offended by it. That is the difficulty in saying something to anyone. Apparently the poet is careful about not offending anybody.
5
saath le leN ye zaraa Khud1 ko to bas chalte haiN
aur rahne ke nahiN chalne ki tayyaari2 hai 1.self 2.preparation
This is another popular and fashionable statement common to the sub-continental culture. Let me get myself together and I will be ready to go. I am not going to stay long, I am preparing to depart. The “departure” here is death.
6
daad1 jab madd-e-muqaabil2 ke suKhan3 ki di aaj
dost kahte haiN keh matlab4 ki taraf-daari5 hai 1.praise 2.rival 3.verse, poetry 4.hidden purpose, hidden agenda 5.taking sides, partiality
The poet has praised the verse of the rival. His friends accuse him of insincerity. They say that partiality (that I display) must have a hidden agenda i.e. they think that the rival’s verse was not all that good.
7
Khud1 ko yaa doosroN ko talKh2 pareshaaN3 na karo
kuchh nahiN tum ko faqat4 jiine ki bimaari hai 1.self 2.pen-name of the poet 3.bother 4.only, merely
This is yet another common statement. This life is a sickness and the cure is death. Thus, O, talKh, stop bothering yourself and others now. Your only malady is keeping on living i.e. it is time for you to die.
manmohan shukla talKh (1931-2001), naagpur, maharashtra. There are at least six books of his collections of verse. He started composing in 1950 with his first collection published in 1958. The final collection was published with a loving foreword (translated from English by a friend) by his widow, who says that he tried to get her interested in learning urdu all their married life. But there is no word in any of the collections about how he came to urdu or about a day job he might have had. My guess is that he was an academic.
1
ek lamha1 jo kaTe doosraa phir bhaari2 hai
hui ek umr keh apni tag-o-dau3 jaari4 hai
1.moment 2.heavy, difficult 3.struggle 4.ongoing, continuing
This is a rather common, fashionable refrain in the sub-continental culture, which considers this life’s journey to be inconsequential. What matters is life after death. In the journey of life, as one moment passes, the next one becomes more difficult. Through all my life I have had this struggle and it still goes on.
2
kah1 ke ye mujh se keh is shahr meN ho tum kab se
iiNT sar par kisi ne jaise keh de maari hai
1.saying, asking
It is apparently the beloved who is asking – how long have you lived in this town. The question implies that she does not know him well, or pretends that she does not know him. Naturally the poet/lover is offended and hurt. He feels like someone has hit him in the head with a brick.
3
aur le aaye ho tum baateN ye duniyaa bhar ki
apni baatoN se yahaaN pahle hi be-zaari1 hai
1.boredom
Apparently the poet/lover is having a conversation with the beloved. He wants to talk about his love for her and she keeps bringing up all tangential subjects. He protests, you seem already bored with what I have to say, and you seem to want to break in with all other subjects.
4
koi jis baat se Khush hai to Khafaa1 doosraa hai
kuchh bhi kahne meN kisi se yahi dushvaari2 hai
1.offended 2.difficulty
If someone is happy with a statement, someone else seems to be offended by it. That is the difficulty in saying something to anyone. Apparently the poet is careful about not offending anybody.
5
saath le leN ye zaraa Khud1 ko to bas chalte haiN
aur rahne ke nahiN chalne ki tayyaari2 hai
1.self 2.preparation
This is another popular and fashionable statement common to the sub-continental culture. Let me get myself together and I will be ready to go. I am not going to stay long, I am preparing to depart. The “departure” here is death.
6
daad1 jab madd-e-muqaabil2 ke suKhan3 ki di aaj
dost kahte haiN keh matlab4 ki taraf-daari5 hai
1.praise 2.rival 3.verse, poetry 4.hidden purpose, hidden agenda 5.taking sides, partiality
The poet has praised the verse of the rival. His friends accuse him of insincerity. They say that partiality (that I display) must have a hidden agenda i.e. they think that the rival’s verse was not all that good.
7
Khud1 ko yaa doosroN ko talKh2 pareshaaN3 na karo
kuchh nahiN tum ko faqat4 jiine ki bimaari hai
1.self 2.pen-name of the poet 3.bother 4.only, merely
This is yet another common statement. This life is a sickness and the cure is death. Thus, O, talKh, stop bothering yourself and others now. Your only malady is keeping on living i.e. it is time for you to die.
The post chalne ki tayyaari hai-manmohan shukla talKh appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/bhhr-tarz-e-suKhan-ki-yaadgaari-hai-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
طرز سخن کی یادگاری ہے ۔ بھارتِندُو ہرِشچندر رساؔ
۱
عجب جوبن ہے گُل پر آمدِ فصلِ بہاری ہے
شِتاب آ ساقیا گُل رُو کہ تیری یادگاری ہے
۲
رِہا کرتا ہے صیادِ ستم گر موسمِ گل میں
اسیرانِ قفس لو تم سے اب رخصت ہماری ہے
۳
کسی پہلو نہیں آرام آتا تیرے عاشق کو
دلِ مضطر تڑپتا ہے نہایت بے قراری ہے
۴
صفائی دیکھتے ہی دل پھڑک جاتا ہے بِسمل کا
ارے جلّاد تیرے تیغ کی کیا آب داری ہے
۵
دلا اب تو فراقِ یار میں یہ حال ہے اپنا
کہ سر زانو پہ ہے اور خونِ دل آنکھوں سے جاری ہے
۶
الٰہی خیر کیجو کچھ ابھی سے دل دھڑکتا ہے
سنا ہے منزل اوّل کی پہلی رات بھاری ہے
۷
رساؔ محوِ فصاحت دوست کیا دشمن بھی ہیں سارے
زمانے میں ترے طرزِ سخن کی یادگاری ہے
तर्ज़-ए सुख़न की यादगारी है – भारतेंदू हरिश्चंद्र रसा
१
अजब जौबन है गुल पर आमद-ए फ़स्ल-ए बहारी है
शिताब आ साक़िया गुल-रू के तेरी यादगारी है
२
रेहा करता है सय्याद-ए सितमगर मौसम-ए गुल में
असीरान-ए क़फ़स लो तुम से अब रुख़्सत हमारी है
३
किसी पहलू नहीं आराम आता तेरे आशिक़ को
दिल-ए मुज़्तर तढपता है नेहायत बे-क़रारी है
४
सफ़ाई देखते ही दिल फढक जाता है बिस्मिल का
अरे जल्लाद तेरे तेग़ की क्या आब-दारी है
५
दिला अब तो फ़िराक़-ए यार में ये हाल है अपना
के सर ज़ानू पे है और ख़ून-ए दिल आँखौं से जारी है
६
इलाही ख़ैर कीजो कुछ अभी से दिल धढकता है
सुना है मंज़िल-ए अव्वल की पहली रात भारी है
७
रसा महव-ए फ़साहत दोस्त क्या दुश्मन भी हैं सारे
ज़माने में तेरे तर्ज़-ए सुख़न की यादगारी है
Click here for background and on any passage for word meanings and explanatory discussion. bharatendu harishchandra (1850-1885) was a prolific writer, poet, journalist and political activist. He was a scholar of urdu, farsi and sanskrit using ‘rasa’ as his taKhallus for classical urdu and ‘harichand’ for emerging hindi compositions. He even wrote articles on hindu law in urdu. But later he participated in and contributed greatly to the ‘hindi-urdu divide’. His personal life too was given to drinking and debauchery leading to an early death. This Ghazal, in the zamin of Ghalib’s ‘kuchh to hai jis ki parda-daari hai’ is linked to Ghalib naqsh-e qadam.
1
ajab1 jauban2 hai gul par aamad3-e fasl4-e bahaari5 hai
shitaab6 aa saaqiya gul-ruu7 keh teri yaadgaari8 hai 1.amazing 2.youth, adolescence, breasts 3.arrival 4.season 5.spring 6.rapidly, urgently 7.flower faced 8.remembrance
The rose appears amazingly youthful/fresh; it is the arrival of spring. O rose-cheeked saaqiya, come quickly, for we remember and miss you.
2
reha1 karta hai sayyaad2-e sitamgar3 mausam4-e gul5 meN
asiraan6-e qafas7 lo tum se ab ruKhsat8 hamaari hai 1.release 2.bird-catcher, hunter 3.cruel 4.season 5.rose (blooming) 6.captives 7.cage 8.departure, farewell
In urdu poetic tradition, the poet is often portrayed as a bird, often caught by the bird-catcher/hunter, and put away in a cage. Often, its wings are clipped, and feathers pulled, rendering it unable to fly. Although, this she’r does not explicitly say so, it appears to be the case this time. The hunter is setting the captive bird free in spring. Normally this should be a cause for joy. But there appears to be a tinge of sorrow in announcing that the hunter is releasing him. This could be because he has lost his ability to fly or perhaps, because he might miss his fellow captives of the cage.
3
kisi pahlu1 nahiN aaraam aata tere aashiq ko
dil-e muztar2 taRapta hai nihaayat3 be-qaraari4 hai 1.side, turn of the body 2.sorrowful, impatient 3.extreme 4.restlessness, impatience
The poet/lover is turning from side to side, but comfort eludes him. His sorrowful heart is extremely agitated, restless and impatient.
4
safaai1 dekhte hi dil phaRak2 jaata hai bismil3 ka
arey jallaad4 tere teGh5 ki kya aab-daari6 hai 1.cleanliness (of the cut) 2.flutter (with eagerness) 3.sacrificial animal 4.slaughterer, killer 5.sword 6.sharpness, bright/shining edge
In urdu poetic tradition the beloved is a ‘jallaad’ and kills/slaughters her lovers (the sacrificial animals). In turn, the lovers are eager to be killed at the hands of the beloved. The cleaner the stroke, the more sure will he be of dying and the quicker will be his end. Thus, the bismil perks up upon seeing her clean stroke and praises the jallaad’s sword because of its sharp, shining edge.
5
dila1 ab to firaaq2-e yaar3 meN ye haal4 hai apna
keh sar zaanu5 pe hai aur Khoon-e dil aaNkhoN se jaari6 hai 1.O heart 2.separation 3.friend, beloved 4.condition 5.knee 6.flowing
‘sar zaanu pe rakhna’ is an expression that means sitting dejected with head placed on the knee. Thus, in separation from the beloved the poet/lover is in a state of dejection sitting with his head on his knee and tears of blood flowing from his eyes.
6
ilaahi1 Khair2 kiijo kuchh abhi se dil dhaRakta3 hai
suna hai manzil4-e avval5 ki pahli raat bhaari6 hai 1.my god 2.take care of me 3.palpitating, trembling in fear 4.stage towards the destination 5.first 6.heavy, difficult
The grave is the first stage in the journey towards heaven/spiritual world. There is a long period of being ‘in limbo’ between death and the day of judgement. It is also commonly believed that the first night in the grave is particularly frightening (editorial comment – I do not know of anyone who has come back to testify of this). Thus, O my god, take care of me, my heart beats in fear; I have heard that the first night in the first stage of my next life is going to be very difficult.
7
rasa1 mahv2-e fasaahat3 dost kya dushman bhi haiN saare
zamaane4 meN terey tarz5-e suKhan6 ki yaadgaari7 hai 1.pen-name of the poet 2.engrossed, obsessed 3.eloquence 4.people, the world 5.style 6.versification 7.remembrance-used here to mean admiration
O rasa, not just friends but even rivals are engrossed in your eloquence. There is admiration of your verse in the whole world. Said Ghalib …
haiN aur bhi duniya meN suKhanvar bahut achchhe
kahte haiN keh Ghalib ka hai andaaz-e bayaaN aur
bharatendu harishchandra (1850-1885) was a prolific writer, poet, journalist and political activist. He was a scholar of urdu, farsi and sanskrit using ‘rasa’ as his taKhallus for classical urdu and ‘harichand’ for emerging hindi compositions. He even wrote articles on hindu law in urdu. But later he participated in and contributed greatly to the ‘hindi-urdu divide’. His personal life too was given to drinking and debauchery leading to an early death. This Ghazal, in the zamin of Ghalib’s ‘kuchh to hai jis ki parda-daari hai’ is linked to Ghalib naqsh-e qadam.
1
ajab1 jauban2 hai gul par aamad3-e fasl4-e bahaari5 hai
shitaab6 aa saaqiya gul-ruu7 ki teri yaadgaari8 hai
1.amazing 2.youth, adolescence, breasts 3.arrival 4.season 5.spring 6.rapidly, urgently 7.flower faced 8.remembrance
The rose appears amazingly youthful/fresh; it is the arrival of spring. O saaqiya, come quickly, for we remember and miss your rosy cheeks.
2
reha1 karta hai sayyaad2-e sitamgar3 mausam4-e gul5 meN
asiraan6-e qafas7 lo tum se ab ruKhsat8 hamaari hai
1.release 2.bird-catcher, hunter 3.cruel 4.season 5.rose (blooming) 6.captives 7.cage 8.departure, farewell
In urdu poetic tradition, the poet is often portrayed as a bird, often caught by the bird-catcher/hunter, and put away in a cage. Often, its wings are clipped, and feathers pulled, rendering it unable to fly. Although, this she’r does not explicitly say so, it appears to be the case this time. The hunter is setting the captive bird free in spring. Normally this should be a cause for joy. But there appears to be a tinge of sorrow in announcing that the hunter is releasing him. This could be because he has lost his ability to fly or perhaps, because he might miss his fellow captives of the cage.
3
kisi pahlu1 nahiN aaraam aata tere aashiq ko
dil-e muztar2 taRapta hai nihaayat3 be-qaraari4 hai
1.side, turn of the body 2.sorrowful, impatient 3.extreme 4.restlessness, impatience
The poet/lover is turning from side to side, but comfort eludes him. His sorrowful heart is extremely agitated, restless and impatient.
4
safaai1 dekhte hi dil phaRak2 jaata hai bismil3 ka
arey jallaad4 tere teGh5 ki kya aab-daari6 hai
1.cleanliness (of the cut) 2.flutter (with eagerness) 3.sacrificial animal 4.slaughterer, killer 5.sword 6.sharpness, bright/shining edge
In urdu poetic tradition the beloved is a ‘jallaad’ and kills/slaughters her lovers (the sacrificial animals). In turn, the lovers are eager to be killed at the hands of the beloved. The cleaner the stroke, the more sure will he be of dying and the quicker will be his end. Thus, the bismil perks up upon seeing her clean stroke and praises the jallaad’s sword because of its sharp, shining edge.
5
dila1 ab to firaaq2-e yaar3 meN ye haal4 hai apna
keh sar zaanu5 pe hai aur Khoon-e dil aaNkhoN se jaari6 hai
1.O heart 2.separation 3.friend, beloved 4.condition 5.knee 6.flowing
‘sar zaanu pe rakhna’ is an expression that means sitting dejected with head placed on the knee. Thus, in separation from the beloved the poet/lover is in a state of dejection sitting with his head on his knee and tears of blood flowing from his eyes.
6
ilaahi1 Khair2 kiijo kuchh abhi se dil dhaRakta3 hai
suna hai manzil4-e avval5 ki pahli raat bhaari6 hai
1.my god 2.take care of me 3.palpitating, trembling in fear 4.stage towards the destination 5.first 6.heavy, difficult
The grave is the first stage in the journey towards heaven/spiritual world. There is a long period of being ‘in limbo’ between death and the day of judgement. It is also commonly believed that the first night in the grave is particularly frightening (editorial comment – I do not know of anyone who has come back to testify of this). Thus, O my god, take care of me, my heart beats in fear; I have heard that the first night in the first stage of my next life is going to be very difficult.
7
rasa1 mahv2-e fasaahat3 dost kya dushman bhi haiN saare
zamaane4 meN terey tarz5-e suKhan6 ki yaadgaari7 hai
1.pen-name of the poet 2.engrossed, obsessed 3.eloquence 4.people, the world 5.style 6.versification 7.remembrance-used here to mean admiration
O rasa, not just friends but even rivals are engrossed in your eloquence. There is admiration of your verse in the whole world. Said Ghalib …
haiN aur bhi duniya meN suKhanvar bahut achchhe
kahte haiN keh Ghalib ka hai andaaz-e bayaaN aur
The post tarz-e suKhan ki yaadgaari hai-bharatendu harishchandra rasa appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/05/sms-taariiKh-mazdoor-ki-zabaani-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
- Bertold Brecht
تاریخ مزدور کی زبانی ۔ سید محمّد شاہدؔ
برٹولٹ برخت کی نظم کا آزاد ترجمہ
۱
کس کی تخلیق ہیں یہ سات درِ شہرِ تھِبائی
تاریخ میں ہے درج بہت شہرتِ شاہی
اِن سخت چٹانوں کو کیا شاہوں نے اُٹھایا
کیا اپنے ہی تیشوں سے تھا یہ شہر بنایا
۲
برباد ہوا شہر جو بابِل کا کئی بار
وہ کون تھے معمار کیا اس کو ہر اک بار
۳
لیما کا وہ زرّین شہر جو تھا چمکتا
رہتے تھے کہاں محل جنہوں نے تھا بنایا
۴
صبح سے شام تلک چین کی دیوار بنا کر
تیشہ زن رات ڈھلے سوئے کہاں چین سے جا کر
۵
وہ روم کے شاہانہ سطون اور کمانیں
کس کی ہیں یہ تخلیق ذرا یہ بھی سُنائیں
۶
افسانوں میں بیضان کی دولت کا ہے چرچا
کیا ہر کوئی واں محلے دو محلے میں تھا رہتا
۷
جب مصر کا بھی شہرِ اِرم ڈوب رہا تھا
کہتے ہیں غلاموں کو پکارا کئے اُمرا
تھا کون سِوا اُن کے جو جان بچاتا
۸
سکندر نے ظفر ہند کی فوجوں پہ جو پائی
کیا وہ تھا اکیلا جو کرامت یہ دکھائی
۹
قیسر نے بھی الغول پہ جب فتح تھی پائی
کیا فوج میں تھے کوئی نہ حمّال و باورچی
۱۰
ورق در ورق ہیں جو ہار کے یا جیت کے قصّے
شاہوں کے فقط نام ہیں ہارے ہوں کہ جیتے
کیا اِن میں کوئی اور نہیں کٹ کے مرے تھے
کیوں اُن کے لئے شاہوں کے آنسو نہ بہے تھے
۱۱
یا جشن منایا تھا جو ہر سال فتح کا
تھا رقص بھی فانوس بھی اور ساز تھا بجتا
صرفہ جو کیا خون پسینہ تھا وہ کس کا
۱۲
ہیں اتنے رقومات دکھاؤں تو دکھا بھی نہ سکوں
ہیں اتنے سوالات کہ سوچوں تو سمجھ بھی نہ سکوں
तारीख़, मज़्दूर कि ज़बानी
बरटोल्ट ब्रेख़्ट की नज़म का आज़ाद तर्जुमा
१
किस की तख़्लीक़ हैं ये सात दर-ए शहर-ए थिबाई
तारीख़ में है दर्ज बहुत शोहरत-ए शाही
इन सख़्त चटानौं को क्या शाहौं ने उठाया
क्या अपने हि तीशौं से था ये शहर बनाया
२
बरबाद हुआ शहर जो बाबिल का कई बार
वो कौन थे मे’मार किया इस को हर एक बार
३
लीमा का वो ज़र्रीन शहर जो था चमकता
रहते थे कहां महल जिन्हों ने था बनाया
४
सुबह से शाम तलक चीन की दीवार बना कर
तीशा-ज़न रात ढले सोए कहां चैन से जा कर
५
वो रोम के शाहाना सुतून और कमानें
किस की हैं ये तख़्लीख़ ज़रा ये भी सुनाएं
६
अफ़्सानौं में बैज़ान कि दौलत का है चर्चा
क्या हर काई वां महले दो महले में था रहता
७
जब मिस्र का भी शहर-ए इरम डूब रहा था
कहते हैं ग़ुलामौं को पुकारा किये उमरा
था कौन सिवा उन के जो जान बचाता
८
सिकंदर ने ज़फ़र हिन्द कि फ़ौजौं पे जो पाई
क्या वो था अकेला जो करामत ये दिखाई
९
क़ैसर ने भी अलग़ौल पे जब फ़तह थि पाई
क्या फ़ौज में थे कोई न हम्माल ओ बावर्ची
१०
वरक़ वरक़ हैं जो हार के या जीत के क़िस्से
शाहौं के फ़क़त नाम हैं हारे हों के जीते
क्या इन में कोई और नहीं कट के मरे थे
क्यूं उन के लिये शाहौं के आंसू न बहे थे
११
या जश्न मनाया था जो हर साल फ़तह का
था रक़्स भी फ़ानूस भी और साज़ था बजता
सर्फ़ा जो किया ख़ून पसीना था वो किस का
१२
हैं इतने रुक़ूमात दिखाऊं तो दिखा भी न सकूं
हैं इतने सवालात के सोचूं तो समझ भी न सकूं
Click here for background and on any passage for word meanings and explanatory discussion. syed mohammed shahed (1944-living) came to urdu late in life, but early to skepticism, inquiry and unbelief. Irreverent and rebellious, he enjoys retirement and continuous learning. Bertolt Brecht (1898-1956), German theatre practitioner, playwright and poet. Marxist. He left Germany just before the beginning of the war and eventually landed up in the US where he was investigated by the UnAmerican Activities Committee. His poems were translated into English by Constantine and Kuhn. This is a re-composition based on an English translation.
1
kis ki taKhliiq1 haiN ye saat dar2-e shahr-e thibaaii3taariiKh4 meN hai darj5 bahut shohrat6-e shaahi7
in saKht8 chaTaanoN ko kya shaahoN ne uThaaya
kya apne hi teeshoN9 se tha ye shahr banaaya 1.creation 2.doors, gates 3.Thebes 4.history 5.recorded, written 6.fame 7.royal 8.hard, heavy 9.pickaxe, chisel
Whose creation are these seven gates of Thebes. History records the fame of kings. Were kings who cut and lifted these heavy rocks. Did they create this city with their chisel and axe.
2
barbaad1 hua shahr jo baabil2 ka kaii baar
vo kaun the, me’maar3 kiya is ko har ek baar 1.destroyed 2.Babylon 3.build
The city of Babylon that was destroyed many times, who were they who reconstructed it every time.
3
liima1 ka vo zarriin2 shahr jo tha chamakta
rahte thay kahaaN mahl jinhoN ne tha banaaya 1.Lima city 2.golden
The golden city of Lima that glittered; where did they live, who built the palaces.
4
sub’h se shaam talak chiin1 ki diivaar bana kar
tiisha-zan2 raat-Dhale3 so’ey4 kahaaN cha’en5 se jaa kar 1.China 2.stone masons 3.nightfall 4.sleep 5.comfort
From till night those who toiled to build the Chinese wall; where did they go at nightfall to get some comfort in sleep.
5
vo rom1 ke shaahaana2 sutoon3 aur kamaaneN4
kis ki haiN ye taKhliiq5 zara ye bhi sunaa’eN 1.Rome 2.majestic 3.columns, pillars 4.arches 5.creation
The majestic columns and arches of Rome; do tell me whose creation are they.
6
afsaanoN1 meN baizaan2 ki daulat3 ka hai charcha4
kya har koii vaaN mahle-do-mahle5 meN tha rahta 1.legends 2.Byzantium 3.riches 4.fame 5.palaces
The legendary riches of Byzantium everyone talks about; did everyone there live in palaces.
7
jab misr1 ka bhi shahr-e-iram2 Doob3 raha tha
kahte haiN GhulaamoN ko pukaara kiye umara4tha kaun siva5 un ki jo jaan bachaata 1.Egypt 2.City of Atlantis 3.drowning, sinking 4.rich people 5.except for
When on the coast of Egypt, the city of Atlantis was sinking, it is said that the rich called out to their slaves. Who was there except the slaves to save them.
8
sikandar1 ne zafar2 hind3 ki faujoN pe jo paaii
kya vo tha akela4 jo karaamat5 ye dikhaaii 1.Alexander 2.victory 3.India 4.alone 5.miracle
Alexander, who triumphed over armies in India, was he single-handed to perform this miracle.
9
qaisar1 ne bhi alGhaul2 pe jab fatah3 thi paaii
kya fauj meN thay koii na hammaal4 o bavarchi5 1.Caesar 2.the Gauls 3.victory 4.workers 5.cooks
When Caesar was victorious over the Gauls, did his forces not have any workers or cooks.
10
varaq-varaq1 haiN jo haar ke ya jiit ke qisse2
shaahoN ke faqat3 naam haiN haare hoN keh jiite
kya in meN koii aur nahiN kaT ke mare thay
kyuN un ke liye shaahoN ke aaNsu4 na bahe thay 1.page after page 2.stories 3.only 4.tears
Page after page, stories of war, whether lost or won are full of only names of kings. Was there not anyone who was wounded and killed. Why then did the monarchs not weep over them.
11
ya jashn1 manaaya tha jo har saal fatah2 ka
tha raqs3 bhi, faanoos4 bhi, aur saaz5 tha bajta
sarfa6 jo kiya Khoon pasiina tha vo kis ka 1.celebrations 2.victory 3.dance 4.chandelier 5.music 6.expenditure, wastage
And celebrations of victory year after year with dance and music and chandeliers shining. The expenditure, the waste, whose blood and sweat was it.
12
haiN itne ruqoomaat1 dikhaauN to dikha bhi na sakuuN
haiN itne savaalaat2 keh sochooN3 to samajh4 bhi na sakuN 1.writings 2.questions 3.think 4.understand
There is so much written that I couldn’t show it to you even if I tried. There are so many questions that I will not be able to understand even if I thought.
syed mohammed shahed (1944-living) came to urdu late in life, but early to skepticism, inquiry and unbelief. Irreverent and rebellious, he enjoys retirement and continuous learning. Bertolt Brecht (1898-1956), German theatre practitioner, playwright and poet. Marxist. He left Germany just before the beginning of the war and eventually landed up in the US where he was investigated by the UnAmerican Activities Committee. His poems were translated into English by Constantine and Kuhn. This is a re-composition based on an English translation.
1
kis ki taKhliiq1 haiN ye saat dar2-e shahr-e thibaaii3taariiKh4 meN hai darj5 bahut shohrat6-e shaahi7
in saKht8 chaTaanoN ko kya shaahoN ne uThaaya
kya apne hi teeshoN9 se tha ye shahr banaaya
1.creation 2.doors, gates 3.Thebes 4.history 5.recorded, written 6.fame 7.royal 8.hard, heavy 9.pickaxe, chisel
Whose creation are these seven gates of Thebes. History records the fame of kings. Were kings who cut and lifted these heavy rocks. Did they create this city with their chisel and axe.
2
barbaad1 hua shahr jo baabil2 ka kaii baar
vo kaun the, me’maar3 kiya is ko har ek baar
1.destroyed 2.Babylon 3.build
The city of Babylon that was destroyed many times, who were they who reconstructed it every time.
3
liima1 ka vo zarriin2 shahr jo tha chamakta
rahte thay kahaaN mahl jinhoN ne tha banaaya
1.Lima city 2.golden
The golden city of Lima that glittered; where did they live, who built the palaces.
4
sub’h se shaam talak chiin1 ki diivaar bana kar
tiisha-zan2 raat-Dhale3 so’ey4 kahaaN cha’en5 se jaa kar
1.China 2.stone masons 3.nightfall 4.sleep 5.comfort
From till night those who toiled to build the Chinese wall; where did they go at nightfall to get some comfort in sleep.
5
vo rom1 ke shaahaana2 sutoon3 aur kamaaneN4
kis ki haiN ye taKhliiq5 zara ye bhi sunaa’eN
1.Rome 2.majestic 3.columns, pillars 4.arches 5.creation
The majestic columns and arches of Rome; do tell me whose creation are they.
6
afsaanoN1 meN baizaan2 ki daulat3 ka hai charcha4
kya har koii vaaN mahle-do-mahle5 meN tha rahta
1.legends 2.Byzantium 3.riches 4.fame 5.palaces
The legendary riches of Byzantium everyone talks about; did everyone there live in palaces.
7
jab misr1 ka bhi shahr-e-iram2 Doob3 raha tha
kahte haiN GhulaamoN ko pukaara kiye umara4tha kaun siva5 un ki jo jaan bachaata
1.Egypt 2.City of Atlantis 3.drowning, sinking 4.rich people 5.except for
When on the coast of Egypt, the city of Atlantis was sinking, it is said that the rich called out to their slaves. Who was there except the slaves to save them.
8
sikandar1 ne zafar2 hind3 ki faujoN pe jo paaii
kya vo tha akela4 jo karaamat5 ye dikhaaii
1.Alexander 2.victory 3.India 4.alone 5.miracle
Alexander, who triumphed over armies in India, was he single-handed to perform this miracle.
9
qaisar1 ne bhi alGhaul2 pe jab fatah3 thi paaii
kya fauj meN thay koii na hammaal4 o bavarchi5
1.Caesar 2.the Gauls 3.victory 4.workers 5.cooks
When Caesar was victorious over the Gauls, did his forces not have any workers or cooks.
10
varaq-varaq1 haiN jo haar ke ya jiit ke qisse2
shaahoN ke faqat3 naam haiN haare hoN keh jiite
kya in meN koii aur nahiN kaT ke mare thay
kyuN un ke liye shaahoN ke aaNsu4 na bahe thay
1.page after page 2.stories 3.only 4.tears
Page after page, stories of war, whether lost or won are full of only names of kings. Was there not anyone who was wounded and killed. Why then did the monarchs not weep over them.
11
ya jashn1 manaaya tha jo har saal fatah2 ka
tha raqs3 bhi, faanoos4 bhi, aur saaz5 tha bajta
sarfa6 jo kiya Khoon pasiina tha vo kis ka
1.celebrations 2.victory 3.dance 4.chandelier 5.music 6.expenditure, wastage
And celebrations of victory year after year with dance and music and chandeliers shining. The expenditure, the waste, whose blood and sweat was it.
12
haiN itne ruqoomaat1 dikhaauN to dikha bhi na sakuuN
haiN itne savaalaat2 keh sochooN3 to samajh4 bhi na sakuN
1.writings 2.questions 3.think 4.understand
There is so much written that I couldn’t show it to you even if I tried. There are so many questions that I will not be able to understand even if I thought.
A Worker Reads History – Bertolt Brecht
Who built the seven gates of Thebes?
The books are filled with names of kings.
Was it the kings who hauled the craggy blocks of stone?
And Babylon, so many times destroyed.
Who built the city up each time? In which of Lima’s houses,
That city glittering with gold, lived those who built it?
In the evening when the Chinese wall was finished
Where did the masons go? Imperial Rome
Is full of arcs of triumph. Who reared them up? Over whom
Did the Caesars triumph? Byzantium lives in song.
Were all her dwellings palaces? And even in Atlantis of the legend
The night the seas rushed in,
The drowning men still bellowed for their slaves.
Young Alexander conquered India.
He alone?
Caesar beat the Gauls.
Was there not even a cook in his army?
Phillip of Spain wept as his fleet
was sunk and destroyed. Were there no other tears?
Frederick the Great triumphed in the Seven Years War.
Who triumphed with him?
Each page a victory
At whose expense the victory ball?
Every ten years a great man,
Who paid the piper?
So many particulars.
So many questions.
The post taariiKh mazdoor ki zabaani-Bertolt Brecht-shahed appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
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جس کی پردہ داری ہے ۔ مرزا غالبؔ
۱
پھر کچھ اک دل کو بے قراری ہے
سینہ جویائے زخمِ کاری ہے
۲
پھر جگر کھودنے لگا ناخن
آمدِ فصلِ لالہ کاری ہے
۳
قبلۂ مقصدِ نگاہِ نیاز
پھر وہی پردۂ عماری ہے
۴
چشم دلالِ جنسِ رسوائی
دل خریدارِ ذوقِ خواری ہے
۵
وہی صد رنگ نالہ فرسائی
وہی صد گونہ اشک باری ہے
۶
دل ہوائے خرامِ ناز سے پھر
محشرستانِ بیقراری ہے
۷
جلوہ پھر عرضِ ناز کرتا ہے
روزِ بازارِ جاں سپاری ہے
۸
پھر اُسی بے وفا پہ مرتے ہیں
پھر وہی زندگی ہماری ہے
۹
پھر کھلا ہے درِ عدالتِ ناز
گرم بازارِ فوجداری ہے
۱۰
ہو رہا ہے جہان میں اندھیر
زلف کی پھر سرشتہ داری ہے
۱۱
پھر دیا پارۂ جگر نے سوال
ایک فریاد و آہ و زاری ہے
۱۲
پھر ہوئے ہیں گواہ عشق طلب
اشک باری کا حکم جاری ہے
۱۳
دل و مژگاں کا جو مقدمہ تھا
آج پھر اُس کی روبکاری ہے
۱۴
بے خودی بے سبب نہیں غالبؔ
کچھ تو ہے جس کی پردہ داری ہے
जिस की पर्दा-दारी है – मिर्ज़ा ग़ालिब
१
फिर कुछ एक दिल को बे-क़रारी है
सीना जूया-ए ज़ख़्म-ए कारी है
२
फिर जिगर खोदने लगा नाख़ुन
आमद-ए फ़स्ल-ए लाला-कारी है
३
क़िब्ला-ए मक़्सद-ए निगाह-ए नियाज़
फिर वही पर्दा-ए अमारी है
४
चश्म दल्लाल-ए जिंस-ए रुस्वाई
दिल ख़रीदार-ए ज़ौक़-ए ख़्वारी है
५
वही सद-रंग नाला-फ़र्साई
वही सद-गूना अश्क-बारी है
६
दिल हवा-ए ख़िराम-ए नाज़ से फिर
महशरिस्तान-ए बेक़रारी है
७
जल्वा फिर अर्ज़-ए नाज़ करता है
रोज़-ए बाज़ार-ए जाँ-सिपारी है
८
फिर उसी बेवफ़ा पे मरते हैं
फिर वही ज़िंदगी हमारी है
९
फिर खुला है दर-ए अदालत-ए नाज़
गर्म बाज़ार-ए फ़ौजदारी है
१०
हो रहा है जहान में अंधेर
ज़ुल्फ़ की फिर सिरिश्ता-दारी है
११
फिर दिया पारा-ए जिगर ने सवाल
एक फ़र्याद ओ आह ओ ज़ारी है
१२
फिर हुए हैं गवाह-ए इश्क़ तलब
अश्क-बारी का हुक्म जारी है
१३
दिल ओ मिज़्श्गां का जो मुक़्दमा था
आज फिर उस की रू-बकारी है
१४
बे-ख़ुदी बे-सबब नहीं ग़ालिब
कुछ तो है जिस की पर्दा-दारी है
Click here for background and on any passage for word meanings and explanatory discussion. mirza asadullah KhaaN Ghalib (1797-1869). I dare not write any introduction. On more than one occasion Ghalib has warned his readers that he needs no introduction or even address. I humbly comply. Also see the many Ghazal composed in this bahr/zamin by well known and not so well known poets over the years. kalidas gupta raza dates this Ghazal to 1816, when Ghalib was 19 years old! Also of note is that during this time he predominantly used the taKhallus asad.
1
phir kuchh ek dil ko be-qaraari1 hai
siina juuyaa2-e zaKhm-e-kaari3 hai 1.restlessness 2.seeking, searching 3.fatal blow, wound that will be kaargar/effective
The poet/lover is once again strangely restless. It must be because his bosom seeks that fatal blow from the beloved that will achieve the result.
2
phir jigar1 khodne lagaa naaKhun
aamad2-e fasl3-e laala-kaari4 hai 1.liver, heart 2.arrival 3.season 4.tulip-making
In urdu poetic tradition ‘jigar’ is the seat of life/determination/strength. Shooting it with an arrow would be straightforward and would kill quickly. But digging the fingernail into it will be a slow and painful. Thus, the poet is undergoing excruciating and prolonged pain. It is the arrival of the season of making tulips. The coming of spring and growing of tulips increases passions and the beloved might be digging with her nails. Or, ‘laala-kaari’ may be that art of composing verse and that is painful for the poet.
3
qibla1-e maqsad2-e nigaah3-e niyaaz4
phir vahi parda-e amaari5 hai 1.focus, direction 2.purpose, goal 3.gaze, sight 4.offering, homage 5.seat and canopy for riding on a camel
The imagery is of the beloved, laila, riding in an amaari on a camel, behind a curtain. The poet/lover, majnuN has been wandering the desert looking for laila. The focus of his gaze is the curtain of the amaari because that is all he gets to see IF he comes across the camel in his wanderings.
4
chashm1 dallaal2-e jins3-e rusvaaii4
dil Kharidaar-e zauq5-e Khwaari6 hai 1.eye, glance 2.broker, seller 3.commodity, goods 4.disrepute 5.taste, desire 6.disgrace, denigration, blame
The eye is the seller and the heart is the buyer. What the eye has to sell is a commodity of disgrace, and that which the heart wants/desires to buy is disgrace/blame. Most interpretations that I have seen suggest that the commodity for sale is tears because that is what the eyes have to offer. These tears announce to the world the condition of the lover, which invites blame. Therefore, unrequited love in the heart, which wants to buy this commodity, must have a desire for blame. I think that there is another possibility. The commodity that the eye has to offer can be a bold glance – looking/gazing at the beloved. This also invites blame for its boldness.
5
vahi sad-raNg1 naala-farsaaii2
vahi sad-guuna3 ashk-baari4 hai 1.hundred colours/styles 2.tear-shedding 3.hundred times, hunderd fold 4.raining tears
The life of the poet/lover is going to waste without having any effect. His style of shedding tears in a hundred different colours/ways and hundred fold increase in the intensity of crying all has been to no avail.
6
dil havaa1-e Khiraam2-e naaz3 se phir
mahsharistaan4-e be-qaraari5 hai 1.breeze, atmosphere, desire 2.gait, style of leisurely walking 3.coquetry 4.place of congregating for the final day of judgement (punishment) 5.restlessness
It is implied that ‘judgement’ for the poet/lover is not reward but punishment/torture. In spite of this the heart again has a craving to see her coquettish gait/walk. It is like walking into this place where torture will be meted out, and it seems like the place will be crowded – all the other admirers/lovers will be there too.
7
jalva1 phir arz2-e naaz3 kartaa hai
roz-e baazaar-e jaaN-sipaari4 hai 1.face, beauty, beloved 2.speaking, displaying 3.coquetry 4.offering of life
Again, the beloved is displaying her coquetry. It is the day when the market opens, and is busy with her many admirers/lovers offering their lives.
8
phir usi bevafaa1 pe marte haiN
phir vahi zindagi hamaari hai 1.unfaithful
Again I/we die for (favours of) the beloved. It is the same old story of our life.
9
phir khulaa hai dar1-e adaalat2-e naaz3
garm4 baazaar-e faujdaari5 hai 1.door 2.justice, court 3.coquetry, beloved 4.hot, busy 5.criminal court
The doors of the courthouse of coquetry are open again. The activity of criminal justice is fully underway. This could be that the beloved herself is holding court and her many admirers/lovers are being tried for the crimes they committed. What kinds of crimes … surely they did not neglect her or go to another beloved! They might have not been discrete enough in expressing their love for her. On the other hand, this could be court where coquetry/the beloved is under trial for having killed so many of her admirers.
10
ho rahaa hai jahaan meN andher
zulf1 ki phir sarishta-daari2 hai 1.hair, curls 2.record keeping, lining up cases and evidence, writing down judgements
There is an interesting double meaning – “andher” can be darkness as well as injustice. The dark, curly hair of the beloved are in a position to influence the outcome. Spreading dark hair is poetically imagined as spreading of darkness. But it also means that in the court of law there is no chance for the apellant (admirer/lover) to make any headway, because it is the beloved who is in-charge.
11
phir diyaa paara1-e jigar2 ne savaal3
ek fariyaad4 o aah5 o zaari6 hai 1.piece, fragment 2.liver, heart 3.question, demand for justice 4.appeal 5.sigh 6.crying
The liver/heart has been fragmented – either broken because of unrequited love or perhaps even pierced and cut by the glance of the beloved. One of the fragments has raised a demand for justice. But then “savaal uThaana” can also mean raise a cry of pain, asking for kindness. The first meaning carries over from the imagery of the criminal court. But the second meaning becomes more appropriate when we realize that appeals, sigh and crying is going on.
12
phir hue haiN gavaah1-e ishq2 talab3
ashk-baari4 kaa hukm5 jaari6 hai 1.witness 2.love, admirer, lover 3.demand, summon 4.shedding tears 5.orders 6.issued, continuing.
The beloved is holding court. The lover/admirer is under trial. Witnesses have been summoned – probably to testify against the accused. Orders of the court have been issued or maybe this is a continuation of existing orders – that the lover keep crying.
13
dil o mizshgaaN1 kaa jo muqdama2 thaa
aaj phir us ki ruu-bakaari3 hai 1.eye-lashes 2.court case 3.face forward for action, brought to hearing
This is a dispute between the heart (of the poet/lover) and the eyelashes (of the beloved). Traditionally, eyelashes are like daggers and they pierce the heart, which has resulted in a court case and it being brought forward today – again. The “again” gives the story away. The case has been heard before and the judgement was not in favour of the victim. It is likely to go against the heart again.
14
be-Khudi1 be-sabab2 nahiN Ghaalib
kuchh to hai jis ki parda-daari3 hai 1.ignoring, indifference, trance, ecstacy 2.without reason 3.veiling, hiding behind a veil/cover
Who is “be-Khud”. If it is the beloved, then there is a reason for her indifference O, Ghalib. She must be hiding something i.e. her inclinations towards the rival. It the admirer/lover is “be-Khud”, then he is in a trance of ecstacy. There must be a reason for it. In such a case, there is a strong likelihood that the beloved is mystical divinity. The hidden reason for the ecstacy of the lover is the magnificance of this divine beloved.
mirza asadullah KhaaN Ghalib (1797-1869). I dare not write any introduction. On more than one occasion Ghalib has warned his readers that he needs no introduction or even address. I humbly comply. Also see the many Ghazal composed in this bahr/zamin by well known and not so well known poets over the years. kalidas gupta raza dates this Ghazal to 1816, when Ghalib was 19 years old! Also of note is that during this time he predominantly used the taKhallus asad.
1
phir kuchh ek dil ko be-qaraari1 hai
siina juuyaa2-e zaKhm-e-kaari3 hai
1.restlessness 2.seeking, searching 3.fatal blow, wound that will be kaargar/effective
The poet/lover is once again strangely restless. It must be because his bosom seeks that fatal blow from the beloved that will achieve the result.
2
phir jigar1 khodne lagaa naaKhun
aamad2-e fasl3-e laala-kaari4 hai
1.liver, heart 2.arrival 3.season 4.tulip-making
In urdu poetic tradition ‘jigar’ is the seat of life/determination/strength. Shooting it with an arrow would be straightforward and would kill quickly. But digging the fingernail into it will be a slow and painful. Thus, the poet is undergoing excruciating and prolonged pain. It is the arrival of the season of making tulips. The coming of spring and growing of tulips increases passions and the beloved might be digging with her nails. Or, ‘laala-kaari’ may be that art of composing verse and that is painful for the poet.
3
qibla1-e maqsad2-e nigaah3-e niyaaz4
phir vahi parda-e amaari5 hai
1.focus, direction 2.purpose, goal 3.gaze, sight 4.offering, homage 5.seat and canopy for riding on a camel
The imagery is of the beloved, laila, riding in an amaari on a camel, behind a curtain. The poet/lover, majnuN has been wandering the desert looking for laila. The focus of his gaze is the curtain of the amaari because that is all he gets to see IF he comes across the camel in his wanderings.
4
chashm1 dallaal2-e jins3-e rusvaaii4
dil Kharidaar-e zauq5-e Khwaari6 hai
1.eye, glance 2.broker, seller 3.commodity, goods 4.disrepute 5.taste, desire 6.disgrace, denigration, blame
The eye is the seller and the heart is the buyer. What the eye has to sell is a commodity of disgrace, and that which the heart wants/desires to buy is disgrace/blame. Most interpretations that I have seen suggest that the commodity for sale is tears because that is what the eyes have to offer. These tears announce to the world the condition of the lover, which invites blame. Therefore, unrequited love in the heart, which wants to buy this commodity, must have a desire for blame. I think that there is another possibility. The commodity that the eye has to offer can be a bold glance – looking/gazing at the beloved. This also invites blame for its boldness.
5
vahi sad-raNg1 naala-farsaaii2
vahi sad-guuna3 ashk-baari4 hai
1.hundred colours/styles 2.tear-shedding 3.hundred times, hunderd fold 4.raining tears
The life of the poet/lover is going to waste without having any effect. His style of shedding tears in a hundred different colours/ways and hundred fold increase in the intensity of crying all has been to no avail.
6
dil havaa1-e Khiraam2-e naaz3 se phir
mahsharistaan4-e be-qaraari5 hai
1.breeze, atmosphere, desire 2.gait, style of leisurely walking 3.coquetry 4.place of congregating for the final day of judgement (punishment) 5.restlessness
It is implied that ‘judgement’ for the poet/lover is not reward but punishment/torture. In spite of this the heart again has a craving to see her coquettish gait/walk. It is like walking into this place where torture will be meted out, and it seems like the place will be crowded – all the other admirers/lovers will be there too.
7
jalva1 phir arz2-e naaz3 kartaa hai
roz-e baazaar-e jaaN-sipaari4 hai
1.face, beauty, beloved 2.speaking, displaying 3.coquetry 4.offering of life
Again, the beloved is displaying her coquetry. It is the day when the market opens, and is busy with her many admirers/lovers offering their lives.
8
phir usi bevafaa1 pe marte haiN
phir vahi zindagi hamaari hai
1.unfaithful
Again I/we die for (favours of) the beloved. It is the same old story of our life.
9
phir khulaa hai dar1-e adaalat2-e naaz3
garm4 baazaar-e faujdaari5 hai
1.door 2.justice, court 3.coquetry, beloved 4.hot, busy 5.criminal court
The doors of the courthouse of coquetry are open again. The activity of criminal justice is fully underway. This could be that the beloved herself is holding court and her many admirers/lovers are being tried for the crimes they committed. What kinds of crimes … surely they did not neglect her or go to another beloved! They might have not been discrete enough in expressing their love for her. On the other hand, this could be court where coquetry/the beloved is under trial for having killed so many of her admirers.
10
ho rahaa hai jahaan meN andher
zulf1 ki phir sarishta-daari2 hai
1.hair, curls 2.record keeping, lining up cases and evidence, writing down judgements
There is an interesting double meaning – “andher” can be darkness as well as injustice. The dark, curly hair of the beloved are in a position to influence the outcome. Spreading dark hair is poetically imagined as spreading of darkness. But it also means that in the court of law there is no chance for the apellant (admirer/lover) to make any headway, because it is the beloved who is in-charge.
11
phir diyaa paara1-e jigar2 ne savaal3
ek fariyaad4 o aah5 o zaari6 hai
1.piece, fragment 2.liver, heart 3.question, demand for justice 4.appeal 5.sigh 6.crying
The liver/heart has been fragmented – either broken because of unrequited love or perhaps even pierced and cut by the glance of the beloved. One of the fragments has raised a demand for justice. But then “savaal uThaana” can also mean raise a cry of pain, asking for kindness. The first meaning carries over from the imagery of the criminal court. But the second meaning becomes more appropriate when we realize that appeals, sigh and crying is going on.
12
phir hue haiN gavaah1-e ishq2 talab3
ashk-baari4 kaa hukm5 jaari6 hai
1.witness 2.love, admirer, lover 3.demand, summon 4.shedding tears 5.orders 6.issued, continuing.
The beloved is holding court. The lover/admirer is under trial. Witnesses have been summoned – probably to testify against the accused. Orders of the court have been issued or maybe this is a continuation of existing orders – that the lover keep crying.
13
dil o mizshgaaN1 kaa jo muqdama2 thaa
aaj phir us ki ruu-bakaari3 hai
1.eye-lashes 2.court case 3.face forward for action, brought to hearing
This is a dispute between the heart (of the poet/lover) and the eyelashes (of the beloved). Traditionally, eyelashes are like daggers and they pierce the heart, which has resulted in a court case and it being brought forward today – again. The “again” gives the story away. The case has been heard before and the judgement was not in favour of the victim. It is likely to go against the heart again.
14
be-Khudi1 be-sabab2 nahiN Ghaalib
kuchh to hai jis ki parda-daari3 hai
1.ignoring, indifference, trance, ecstacy 2.without reason 3.veiling, hiding behind a veil/cover
Who is “be-Khud”. If it is the beloved, then there is a reason for her indifference O, Ghalib. She must be hiding something i.e. her inclinations towards the rival. It the admirer/lover is “be-Khud”, then he is in a trance of ecstacy. There must be a reason for it. In such a case, there is a strong likelihood that the beloved is mystical divinity. The hidden reason for the ecstacy of the lover is the magnificance of this divine beloved.
The post jis ki parda daari hai-mirza Ghalib appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/04/joshm-aye-man-kaahe-tu-ghabraae-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اے من کاہے تو گھبرائے ۔ جوشؔ ملیح آبادی
۱
وہ پھوٹ رہی ہے پو پیارے
وہ کانپ رہی ہے لو پیارے
دیکھ تو جل تھل سب مسکائے
اے من کاہے تو گھبرائے
۲
انگڑائی لے کر لہرا کر
وہ بھور پری نے مُسکا کر
اپنے جھمکے لے جھمکائے
اے من کاہے تو گھبرائے
۳
پھیلی سنہری دھوپ ندی پر
مچلا رنگ اور روپ ندی پر
بھاگے رین کے بھاگے سائے
اے من کاہے تو گھبرائے
۴
گھبرا کر بن میں بولا مور
تن دہکا من سے اُٹّھا شور
جوں ساون ندیا لہرائے
اے من کاہے تو گھبرائے
۵
دیکھ تو سر پر تاشے بجتے
گاتے گھرتے گھوم گرجتے
کارے کارے بادر چھائے
اے من کاہے تو گھبرائے
۶
آئی وہ گاتی بادِ بہاری
ہلتی ہیں بیلیں ڈاری ڈاری
جَس پاپی جُوڑا کُھل کُھل جائے
اے من کاہے تو گھبرائے
۷
کشٹ بچن مت بول ری پیاری
گھونگھٹ کے پٹ کھول ری پیاری
آئے وہ تیرے ساجن آئے
کاہے تو گھبرائے
اے من کاہے تو گھبرائے
अए मन काहे तू घबराए – जोश मलीहाबादी
१
वो फूट रही है पौ प्यारे
वो कांप रही है लौ प्यारे
देख तो जल-थल सब मुस्काए
अए मन काहे तू घबराए
२
अंगढाई ले कर लहरा कर
वो भोर परी ने मुस्का कर
अपने झमके ले झमकाए
अए मन काहे तू घबराए
३
फैली सुनहरी घूप नदी पर
मचला रंग और रूप नदी पर
भागे रैन के भागे साए
अए मन काहे तू घबराए
४
घबरा कर बन में बोला मोर
तन दहका मन से उट्ठा शोर
जूं सावन नदिया लहराए
अए मन काहे तू घबराए
५
देख तो सर पर ताशे बजते
गाते घिरते घूम गरजते
कारे कारे बादर छाए
अए मन काहे तू घबराए
६
आइ वो गाती बाद-ए बहारी
हलती हैं बेलें डारी डारी
जस पापी जूढा खुल खुल जाए
अए मन काहे तू घबराए
७
कष्ट बचन मत बोल रि प्यारी
घूंघट के पट खोल रि प्यारी
आए वो तेरे साजन आए
काहे तू घबराए
अए मन काहे तू घबराए
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This is a nazm/song/geet and is an excellent illustration of the wide range of language and genre of poetry that josh has composed.
1
vo phooT rahi hai pau1 pyaare
vo kaaNp2 rahi hai lau3 pyaare
dekh to jal-thal4 sub muskaaye
aye man kaahe tu ghabraa’e 1.dawn, twilight 2.shivering, shimmering 3.flame 4.land and water
Look dear, the twilight/dawn breaks, with light like a shimmering flame. Look, land and water comes to life, smiling. Why then, dear heart, are you apprehensive.
2
aNgRaaii le kar lahra kar
vo bhor-pari1 ne muska kar
apne jhamke2 le jhamkaa’e
aye man kaahe tu ghabraa’e 1.dawn-fairy 2.dangling pendants
The dawn-fairy yawns and stretches and sways; her dangling pendants shimmer. Why then, dear heart, are you apprehensive.
3
phaili sunahri1 dhoop nadi par
machla raNg aur roop nadi par
bhaage rayn2 ke bhaage saa’e
aye man kaahe tu ghabraa’e 1.golden 2.night
Golden sunlight spreads on the river; colours and shapes emerge restlessly. The shadows of the night are on the run. Why then, dear heart, are you apprehensive.
4
ghabra kar ban1 meN bola mor
tan dahka2 man se uTTha shor
juuN3 saavan4 nadiya lahraa’e
aye man kaahe tu ghabraa’e 1.jungle 2.catch fire 3.like, as if 4.rainy season
The startled peacock call in the jungle. Its body, shimmering as if on fire, its fearful heart crying out; swaying like a river in rain. Why then, dear heart, are you apprehensive.
5
dekh to sar par taashe1 bajte
gaate ghirte ghoom garajte
kaare2 kaare baadar3 chhaa’e
aye man kaahe tu ghabraa’e 1.drums 2.dark 3.clouds
See, drums roll overhead; singing, circling, thundering; dark clouds spread overhead (bringing cheer of rains to come). Why then, dear heart, are you apprehensive.
6
aai vo gaati baad1-e bahaari2
hilti haiN beleN Daari Daari
jas3 paapi juuRa khul khul jaa’e
aye man kaahe tu ghabraa’e 1.breeze 2.spring 3.jaise – like, similar to
The spring breeze blows, singing a song. Every bough sways gently in the breeze like hair undone, blowing in the wind. Why then, dear heart, are you apprehensive.
7
kashT1 bachan2 mat bol ri pyaari
ghooNghaT ke paT khol ri pyaari
aaye vo tere saajan3 aaye
kaahe tu ghabraa’e
aye man kaahe tu ghabraa’e 1.harsh, bitter, sorrowful 2.words 3.lover
Spring brings rain, renewal and love. The village damsel is expecting her lover to come with the coming of spring. Thus, do not speak sorrowful words. Do not cover your head. Your lover is nearby. Why then are your apprehensive.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This is a nazm/song/geet and is an excellent illustration of the wide range of language and genre of poetry that josh has composed.
1
vo phooT rahi hai pau1 pyaare
vo kaaNp2 rahi hai lau3 pyaare
dekh to jal-thal4 sub muskaaye
aye man kaahe tu ghabraa’e
1.dawn, twilight 2.shivering, shimmering 3.flame 4.land and water
Look dear, the twilight/dawn breaks, with light like a shimmering flame. Look, land and water comes to life, smiling. Why then, dear heart, are you apprehensive.
2
aNgRaaii le kar lahra kar
vo bhor-pari1 ne muska kar
apne jhamke2 le jhamkaa’e
aye man kaahe tu ghabraa’e
1.dawn-fairy 2.dangling pendants
The dawn-fairy yawns and stretches and sways; her dangling pendants shimmer. Why then, dear heart, are you apprehensive.
3
phaili sunahri1 dhoop nadi par
machla raNg aur roop nadi par
bhaage rayn2 ke bhaage saa’e
aye man kaahe tu ghabraa’e
1.golden 2.night
Golden sunlight spreads on the river; colours and shapes emerge restlessly. The shadows of the night are on the run. Why then, dear heart, are you apprehensive.
4
ghabra kar ban1 meN bola mor
tan dahka2 man se uTTha shor
juuN3 saavan4 nadiya lahraa’e
aye man kaahe tu ghabraa’e
1.jungle 2.catch fire 3.like, as if 4.rainy season
The startled peacock call in the jungle. Its body, shimmering as if on fire, its fearful heart crying out; swaying like a river in rain. Why then, dear heart, are you apprehensive.
5
dekh to sar par taashe1 bajte
gaate ghirte ghoom garajte
kaare2 kaare baadar3 chhaa’e
aye man kaahe tu ghabraa’e
1.drums 2.dark 3.clouds
See, drums roll overhead; singing, circling, thundering; dark clouds spread overhead (bringing cheer of rains to come). Why then, dear heart, are you apprehensive.
6
aai vo gaati baad1-e bahaari2
hilti haiN beleN Daari Daari
jas3 paapi juuRa khul khul jaa’e
aye man kaahe tu ghabraa’e
1.breeze 2.spring 3.jaise – like, similar to
The spring breeze blows, singing a song. Every bough sways gently in the breeze like hair undone, blowing in the wind. Why then, dear heart, are you apprehensive.
7
kashT1 bachan2 mat bol ri pyaari
ghooNghaT ke paT khol ri pyaari
aaye vo tere saajan3 aaye
kaahe tu ghabraa’e
aye man kaahe tu ghabraa’e
1.harsh, bitter, sorrowful 2.words 3.lover
Spring brings rain, renewal and love. The village damsel is expecting her lover to come with the coming of spring. Thus, do not speak sorrowful words. Do not cover your head. Your lover is nearby. Why then are your apprehensive.
The post aye man kaahe tu ghabraa’e-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/04/joshm-qibla-e-Khaasaan-e-bahaar-Audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
قبلۂ خاصانِ بہار ۔ جوشؔ ملیح آبادی
۱
اے بہ رخ مصحفِ گلزار و چراغِ حرمِ غنچگی و آیۂ گل باری و قرآنِ بہار
اے بہ قد موجِ رواں برقِ تپاں سروِ سہی شاخِ گلِ تازہ و الہام خرامانِ بہار
۲
پئے گل گشت ذرا اس قدِ بالائے فلک تاب و چمن ساز کو دے اذنِ خرام
کہ ترے ہجر میں بے کیف ہے بے روح ہے بے تاب ہے بے خواب ہے لیلائے خیابانِ بہار
۳
بزم کی بزم ہے پژمردہ و افسردہ و دل بستہ و خاموش و ملول و غم ناک
کھول دے کاکل ژولیدہ و شب رنگ و جہاں صید و گہر بیز کہ ہے چشمۂ حیوانِ بہار
۴
آ بھی جنبش میں کہ ہیں گوش بر آواز ادیبان و حریفان و گل و لالہ و سرو
اے لب لعل فسوں بار و دل آویز شکر ریز کہ ہے تجھ پہ فدا لرزشِ دامانِ بہار
۵
بربط و عود و شراب و دف و افسانہ و افسون و شبِ ماہ و رباب و ساغر
آ کہ مشتاق ہیں اے جانِ چمن زہرہ جبیں ہوش ربا ماہ لقا شمع شبستانِ بہار
۶
دہر ہے خفتہ و آشفتہ و آزردہ و غم دیدہ و ناشاد و زبوں حال و تباہ
ہاں اٹھا نرگس مخمور و گہر تاب و جنوں خیز کہ ہے محبسِ مے خانہ و زندانِ بہار
۷
آج ہے حافظِ شیرازیؔ و خیامؔ و نظیریؔ و فغانیؔ و ظہوریؔ کا جواب
یہ ترا جوشؔ کہ ہے مست و خراباتی و سر حلقۂ رندانِ جہاں قبلۂ خاصانِ بہار
क़िबला-ए ख़ासान-ए बहार – जोश मलीहअबादी
१
अए ब-रुख़ मुसहफ़-ए गुलज़ार ओ चराग़-ए हरम-ए ग़ुन्चगी ओ आया-ए गुल-बारी ओ क़ुर’आन-ए बहार
अए ब-क़द मौज-ए रवाँ बर्क़-ए तपाँ सर्व-ए सही शाख़-ए गुल-ए ताज़ा ओ इल्हाम-ए ख़िरामान-ए बहार
२
प’ए गुल-गश्त ज़रा उस क़द-ए बाला-ए फ़लक-ताब ओ चमन-साज़ को दे इज़्न-ए ख़िराम
के तेरे हिज्र में बे-कैफ़ है बे-रूह है बे-ताब है बे-ख़्वाब है लैला-ए ख़याबान-ए बहार
३
बज़्म की बज़्म है पज़्शमुर्दा ओ अफ़्सुर्दा ओ दिल-बस्ता ओ ख़ामोश ओ मलूल ओ ग़मनाक
खोल दे काकुल-ए ज़्शोलीदा ओ शब-रंग ओ जहाँ-सैद ओ गुहर-बेज़ के है चश्मा-ए हैवान-ए बहार
४
आ भी जुम्बिश में के हैं गोश-बर-आवाज़ अदीबान ओ हरीफ़ान ओ गुल ओ लाला ओ सर्व
अए लब-ए लाल-ए फ़ुसूँ-बार ओ दिल-आवेज़ शकर-रेज़ के है तुझ पे फ़िदा लर्ज़िश-ए दामान-ए बहार
५
बरबत ओ ऊद ओ शराब ओ दफ़ ओ अफ़्साना ओ अफ़्सून ओ शब-ए माह ओ रबाब ओ साग़र
आ कि मुश्ताक़ हैं अए जान-ए चमन ज़ोहरा-जबीं होश-रुबा माह-लक़ा शम-ए शबिस्तान-ए बहार
६
दहर है ख़ुफ़्ता ओ आशुफ़्ता ओ आज़ुर्दा ओ ग़म-दीदा ओ नाशाद ओ ज़बूँ-हाल ओ तबाह
हाँ उठा नर्गिस-ए मख़मूर ओ गुहर-ताब ओ जुनूँ-ख़ेज़ के है महबस-ए मय-ख़ाना ओ ज़िंदान-ए बहार
७
आज है हाफ़िज़-ए शीराज़ी ओ ख़य्याम ओ नज़ीरी ओ फ़ुग़ानी ओ ज़ुहूरी का जवाब
ये तेरा जोश के है मस्त ओ ख़राबाती ओ सर-हल्क़ा-ए रिंदान-ए जहाँ क़िब्ला-ए ख़ासान-ए बहार
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This Ghazal/nazm is an excellent illustration of his total command over language. In this nazm he addresses the beloved, describing her beauty in exotic imagery and language, asking her to come and witness something. Witness what? That is revealed as the climax in the final she’r
1
aye ba-ruKh1 mus’haf2-e gulzaar3 o charaaGh-e haram4-e Ghunchagi5 o aaya6-e gul-baari7 o qur’aan-e bahaar8
aye ba-qad9 mauj10-e ravaaN11 barq12-e tapaaN13 sarv-e-sahi14 shaaKh-e gul15-e taaza16 o ilhaam17-e Khiraamaan18-e bahaar 1.by face/looks 2.book, page 3.garden 4.sanctuary 5.budding, blossoming 6.sign, verse 7.rose-showering 8.spring 9.by stature 10.wave 11.flowing 12.lightning 13.hot, burning 14.slender tall cypress 15.rose 16.fresh 17.premonition, revelation 17.graceful walk
The first misra speaks of the beloved’s beautiful face by comparing it to a page out of the folio of a blooming garden, to the lamp of the sanctuary where buds bloom, to a (verse in the qur’aan of spring) sign of raining rose petals. The second misra compares her stature to an undulating wave, a blinding light like a flash of lightning, a slender tall swaying cypress, a bough of fresh roses and the message of the graceful arrival of spring.
2
pa’e1 gul-gasht2 zara us qad3-e baala4-e falak-taab5 o chaman-saaz6 ko de izn7-e Khiraam8
keh teray hijr9 meN be-kaif10 hai, be-rooh11 hai, be-taab12 hai, be-Khwaab13 hai, laila14-e Khayabaan15-e bahaar 1.with the intent of 2.garden walk among flowers 3.stature 4.tall 5.brilliance of the sky 6.garden creating 7.permission 8.graceful walk/saunter 9.separation 10.joyless 11.dispirited 12.restless 13.sleepless 14.damsel 15.garden walks
The subject in the second misra is the ‘damsel of the walkways of the garden’. This damsel is depondent, joyless, dispirited, restless and sleepless because of separation from the poet/lover’s beloved. So he begs her (to give permission to her tall stature) to come out with the intent of a liesurely walk among the flowers, displaying her skylike brilliance and (garden creating) making flowers bloom.
3
bazm1 ki bazm hai pazshmurda2 o afsurda3 o dil-basta4 o Khaamosh o malool5 o Ghamnaak6
khol de kaakul7-e zsholida8 o shab-raNg9 o jahaaN-sa’ed10 o guhar-bez11 keh hai chashma-e-haivaan12-e bahaar 1.gathering, assembly 2.wilted, crestfallen 3.sorrowful 4.broken hearted 5.dejected 6.melancholy 7.forelocks 8.curly, tangled 9.dark as night 10.world conquering 11.pearl scattering 12.spring/source/river of the water of life
The whole gathering is sorrowful and crestfallen, heart-broken, silent, dejected and melancholy. Spread out your world conquering, pearl scattering, dark, curly hair for that is the source of the water of life for spring.
4
aa bhi jumbish1 meN keh haiN gosh-bar-aavaaz2 adibaan3 o harifaan4 o gul5 o laala6 o sarv7
aye lab8-e laal-e fusooN-baar9 o dil-aavez10 shakar-rez11 keh hai tujh pe fida12 larzish13-e daamaan14-e bahaar 1.movement, action 2.ears trained to sound/voice 3.wise people, writers 4.rivals 5.rose 6.tulip 7.cypress 8.lips 9.magic/enchantment causing 10.heart pleasing, captivating 11.sweetness spreading, sweet-spoken 12.devoted 13.undulating 14.hem of the robe
Come out in action for all the wise people and even the fools, as well as the rose, tulip and cypress have their ears tuned to hear you. O you with enchanting lips, captivating and sweet speech, the undulating hem of spring offers its devotion to you.
5
barbat1 o ood2 o sharaab o daf3 o afsaana4 o afsoon5 o shab-e-maah6 o rabaab7 o saaGhar8
aa keh mushtaaq9 haiN aye jaan-e chaman zohra-jabiiN10 hosh-ruba11 maah-laqa12 sham’13-e shabistaan14-e bahaar 1.lute 2.stringed instrument, ukelele 3.tambourine, cymbals 4.fable 5.magic 6.full moon night 7.sitar 8.cup, goblet 9.desirous 10.bright browed 11.senses stealing, stunning 12.moon faced 13.candle 14.bedchamber
You are like the pleasure of music, the pleasure and enchantment of nightime fables, moonlight, and wine. Come O life of the garden, bright-browed, moon-faced, stunning beauty. You are the gentle light of the bedchamber of spring.
6
dahr1 hai Khufta2 o aashufta3 o aazurda4 o Gham-dida5 o naashaad6 o zabooN-haal7 o tabaah8
haaN uTha nargis9-e maKhmoor10 o guhar-taab11 o junooN-Khez12 keh hai mahbas13-e mai-Khaana14 o zindaan15-e bahaar 1.world 2.asleep, unaware 3.confused, perplexed 4.heart-broken, gloomy 5.teary eyes 6.unhappy 7.weakened 8.destroyed 9.eyes 10.intoxicating 11.pearly bright 12.passion raising 13.suffocating 14.tavern 15.confining
The world is unaware, perplexed, gloomy, teary eyed, unhappy, weakened and destroyed. Come, look at us with your intoxicating eyes and passion raising pearly brilliance, because the tavern has become suffocating and the spring confining.
7
aaj hai haafiz-e-shiraazi1 o Khayyaam2 o naziri2 o fuGhaani2 o zuhoori2 ka javaab3
ye tera josh4 keh hai mast o Kharaabaati5 o sar-halqa6-e rindaan7-e jahaaN8 qibla9-e Khaasaan10-e bahaar 1.haafiz of shiraaz, a faarsi poet 2.other notable faarsi poets 3.answer, equal 4.pen-name of the poet 5.drunk 6.centre of the circle 7.wine-lovers 8.world 9.focus 10.special, selected
Come (O beloved) for today your josh is the equal of haafiz, Khayyaam, naziri, fuGhanni and zuhoori. He is the centre of the circle of wine-lovers (free thinkers) of the world, the focus of the selected of spring.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This Ghazal/nazm is an excellent illustration of his total command over language. In this nazm he addresses the beloved, describing her beauty in exotic imagery and language, asking her to come and witness something. Witness what? That is revealed as the climax in the final she’r
1
aye ba-ruKh1 mus’haf2-e gulzaar3 o charaaGh-e haram4-e Ghunchagi5 o aaya6-e gul-baari7 o qur’aan-e bahaar8
aye ba-qad9 mauj10-e ravaaN11 barq12-e tapaaN13 sarv-e-sahi14 shaaKh-e gul15-e taaza16 o ilhaam17-e Khiraamaan18-e bahaar
1.by face/looks 2.book, page 3.garden 4.sanctuary 5.budding, blossoming 6.sign, verse 7.rose-showering 8.spring 9.by stature 10.wave 11.flowing 12.lightning 13.hot, burning 14.slender tall cypress 15.rose 16.fresh 17.premonition, revelation 17.graceful walk
The first misra speaks of the beloved’s beautiful face by comparing it to a page out of the folio of a blooming garden, to the lamp of the sanctuary where buds bloom, to a (verse in the qur’aan of spring) sign of raining rose petals. The second misra compares her stature to an undulating wave, a blinding light like a flash of lightning, a slender tall swaying cypress, a bough of fresh roses and the message of the graceful arrival of spring.
2
pa’e1 gul-gasht2 zara us qad3-e baala4-e falak-taab5 o chaman-saaz6 ko de izn7-e Khiraam8
keh teray hijr9 meN be-kaif10 hai, be-rooh11 hai, be-taab12 hai, be-Khwaab13 hai, laila14-e Khayabaan15-e bahaar
1.with the intent of 2.garden walk among flowers 3.stature 4.tall 5.brilliance of the sky 6.garden creating 7.permission 8.graceful walk/saunter 9.separation 10.joyless 11.dispirited 12.restless 13.sleepless 14.damsel 15.garden walks
The subject in the second misra is the ‘damsel of the walkways of the garden’. This damsel is depondent, joyless, dispirited, restless and sleepless because of separation from the poet/lover’s beloved. So he begs her (to give permission to her tall stature) to come out with the intent of a liesurely walk among the flowers, displaying her skylike brilliance and (garden creating) making flowers bloom.
3
bazm1 ki bazm hai pazshmurda2 o afsurda3 o dil-basta4 o Khaamosh o malool5 o Ghamnaak6
khol de kaakul7-e zsholida8 o shab-raNg9 o jahaaN-sa’ed10 o guhar-bez11 keh hai chashma-e-haivaan12-e bahaar
1.gathering, assembly 2.wilted, crestfallen 3.sorrowful 4.broken hearted 5.dejected 6.melancholy 7.forelocks 8.curly, tangled 9.dark as night 10.world conquering 11.pearl scattering 12.spring/source/river of the water of life
The whole gathering is sorrowful and crestfallen, heart-broken, silent, dejected and melancholy. Spread out your world conquering, pearl scattering, dark, curly hair for that is the source of the water of life for spring.
4
aa bhi jumbish1 meN keh haiN gosh-bar-aavaaz2 adibaan3 o harifaan4 o gul5 o laala6 o sarv7
aye lab8-e laal-e fusooN-baar9 o dil-aavez10 shakar-rez11 keh hai tujh pe fida12 larzish13-e daamaan14-e bahaar
1.movement, action 2.ears trained to sound/voice 3.wise people, writers 4.rivals 5.rose 6.tulip 7.cypress 8.lips 9.magic/enchantment causing 10.heart pleasing, captivating 11.sweetness spreading, sweet-spoken 12.devoted 13.undulating 14.hem of the robe
Come out in action for all the wise people and even the fools, as well as the rose, tulip and cypress have their ears tuned to hear you. O you with enchanting lips, captivating and sweet speech, the undulating hem of spring offers its devotion to you.
5
barbat1 o ood2 o sharaab o daf3 o afsaana4 o afsoon5 o shab-e-maah6 o rabaab7 o saaGhar8
aa keh mushtaaq9 haiN aye jaan-e chaman zohra-jabiiN10 hosh-ruba11 maah-laqa12 sham’13-e shabistaan14-e bahaar
1.lute 2.stringed instrument, ukelele 3.tambourine, cymbals 4.fable 5.magic 6.full moon night 7.sitar 8.cup, goblet 9.desirous 10.bright browed 11.senses stealing, stunning 12.moon faced 13.candle 14.bedchamber
You are like the pleasure of music, the pleasure and enchantment of nightime fables, moonlight, and wine. Come O life of the garden, bright-browed, moon-faced, stunning beauty. You are the gentle light of the bedchamber of spring.
6
dahr1 hai Khufta2 o aashufta3 o aazurda4 o Gham-dida5 o naashaad6 o zabooN-haal7 o tabaah8
haaN uTha nargis9-e maKhmoor10 o guhar-taab11 o junooN-Khez12 keh hai mahbas13-e mai-Khaana14 o zindaan15-e bahaar
1.world 2.asleep, unaware 3.confused, perplexed 4.heart-broken, gloomy 5.teary eyes 6.unhappy 7.weakened 8.destroyed 9.eyes 10.intoxicating 11.pearly bright 12.passion raising 13.suffocating 14.tavern 15.confining
The world is unaware, perplexed, gloomy, teary eyed, unhappy, weakened and destroyed. Come, look at us with your intoxicating eyes and passion raising pearly brilliance, because the tavern has become suffocating and the spring confining.
7
aaj hai haafiz-e-shiraazi1 o Khayyaam2 o naziri2 o fuGhaani2 o zuhoori2 ka javaab3
ye tera josh4 keh hai mast o Kharaabaati5 o sar-halqa6-e rindaan7-e jahaaN8 qibla9-e Khaasaan10-e bahaar
1.haafiz of shiraaz, a faarsi poet 2.other notable faarsi poets 3.answer, equal 4.pen-name of the poet 5.drunk 6.centre of the circle 7.wine-lovers 8.world 9.focus 10.special, selected
Come (O beloved) for today your josh is the equal of haafiz, Khayyaam, naziri, fuGhanni and zuhoori. He is the centre of the circle of wine-lovers (free thinkers) of the world, the focus of the selected of spring.
The post qibla-e Khaasaan-e bahaar-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/04/joshm-faroGh-e-insaani-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
فروغِ انسانی ۔ جوش ملیح آبادی
۱
ہر اِک دقیقۂ جویندگیِ اہلِ شعور
لئے ہوئے ہے زمامِ دو صد سنین و شہور
۲
ہر ایک چاک ہے اک بابِ کارگاہِ رفو
ہر ایک رشک ہے اک طاقِ شاہدِ کافور
۳
نوائے حرب میں ہے بادِ صلح و رقصِ بہار
نوائے کرب میں ہے سازِ کیف و لحنِ سرور
۴
درونِ جوہرِ خنجر ہے سیلِ آبِ حیات
بطانِ زہرِ ہلاہل ہے بادۂ انگور
۵
عذاب میں ہے رواں موجۂ نشاطِ کثیر
سراب میں ہے دواں دجلۂ شرابِ طہور
۶
حجابِ جنگ میں ہے جلوۂ عروسِ اماں
نقابِ سنگ میں ہے چہرۂ بُتانِ بلور
۷
چراغِ فکر کا دودِ رواں سوئے افلاک
نگاہِ اہلِ نظر میں ہے چوبِ خیمۂ نور
۸
بساطِ خاک پہ دھومیں ہیں شادیانوں کی
کہ آ رہا ہے جوانی پر آدمی کا شعور
۹
خفا نہ ہو کہ ہے عصرِ جدید گرمِ خروش
کہ مردہ ہے وہ جوانی جو پھونکتی نہیں صور
۱۰
غریو و شورِ جدال و قتال و جوش و خروش
ازل سے دَورِ عبوری کا ہے یہی دستور
۱۱
ندیم کھینچ نہ ظلماتِ بے پناہ پر آہ
کہ ہے طلوع سے آبستنی شبِ دیجور
۱۲
اُتر رہی ہے بتدریج باغِ رضواں سے
عذارِ خاک پہ شیرینیِ تبسّمِ حور
۱۳
ہزار شکر کہ اب مڑ رہا ہے جانبِ گور
وہ جہلِ کور کہ ہے قلبِ دہر کا ناسور
۱۴
زہے کرامتِ ضربِ شدیدِ فکرِ جدید
فضا دفینہ اُگلنے پہ ہو گئی مجبور
۱۵
میں آج دیکھ رہا ہوں کہ مہر و ماہ و نجوم
کھڑے ہوئے ہیں کمر بستہ آدمی کے حضور
۱۶
قوائے ارض و سماوات کو طبق میں لئے
بشر کی سمت خراماں ہے داوری کا غرور
۱۷
پیمبرانِ زمیں آسماں پہ جائیں گے
ابھی نہیں نہ سہی، آئے گا وہ دَور ضرور
۱۸
بہت قریب ہے وہ دن کہ دید کی خاطر
درِ کلیم کو خود کھٹکھٹائے لیلٰیِ طور
۱۹
عجب نہیں کہ بنے ایک روز نغمۂ قُم
میری صدائے سلام علیکم اہلِ قبور
۲۰
عجب نہیں کہ اُٹھا لے ربابِ کُن اک روز
یہ عبدِ بے سر و ساماں و بندۂ مجبور
۲۱
عجب نہیں کہ سرِ بزمِ وحدتِ آفاق
زبانِ حق پہ ہو اب نعرۂ اناالمنصور
۲۲
کوئی پکار کے جوشؔ آسماں سے یہ کہہ دے
کہ اب زمیں کو تیری بندگی نہیں منظور
फ़रोग़-ए इंसानी – जोश मलीहाबादी
१
हर एक दक़ीक़ा-ए जूइन्दगी-ए अहल-ए श’ऊर
लिये हुए है ज़माम-ए दो सद सिनैन ओ शुहूर
२
हर एक चाक है एक बाब-ए कारगाह-ए रफ़ू
हर एक रश्क है एक ताक़-ए शाहेद-ए काफ़ूर
३
नवा-ए हरब में है बाद-ए सुलह ओ रक़्स-ए बहार
नवा-ए कर्ब में है साज़-ए कैफ़ ओ लहन-ए सुरूर
४
दरून-ए जौहर-ए ख़ंजर है सैल-ए आब-ए हयात
बतान-ए ज़हर-ए हलाहल है बादा-ए अंगूर
५
अज़ाब में है रवां मौजा-ए निशात-ए कसीर
सराब में है दवां दजला-ए शराब-ए तहूर
६
हिजाब-ए जंग में है जलवा-ए उरूस-ए अमां
नक़ाब-ए संग में है चेहरा-ए बुतान-ए बिलूर
७
चराग़-ए फ़िक्र का दूद-ए रवां सु-ए अफ़्लाक
निगाह-ए अहल-ए नज़र में है चोब-ए ख़ैमा-ए नूर
८
बिसात-ए ख़ाक पे धूमें हैं शादियानौं कि
के आ रहा है जवानी पर आदमी का श’ऊर
९
ख़फ़ा न हो के है अस्र-ए जदीद गरम-ए ख़रोश
के मुरदा है वो जवानी जो फूंकती नहीं सूर
१०
ग़र्यु ओ शोर-ए जदाल ओ क़ताल ओ जोश ओ ख़रोश
अज़ल से दौर-ए उबूरी का है यही दस्तूर
११
नदीम खैंच न ज़ुल्मात-ए बे-पनाह पे आह
के है तुल’ऊ से आबस्तनी शब-ए देजूर
१२
उतर रही है ब-तद्रीज बाग़-ए रिज़्वां से
अज़ार-ए ख़ाक पे शीरीनि-ए तबस्सुम-ए हूर
१३
हज़ार शुक्र के अब मुढ रहा है जानिब-ए गोर
वो जहल-ए कूर के है क़ल्ब-ए दहर का नासूर
१४
ज़हे करामत-ए ज़र्ब-ए शदीद-ए फ़िक्र-ए जदीद
फ़ज़ा दफ़ीना उगलने पे हो गई मजबूर
१५
मैं आज देख रहा हुं के महर ओ माह ओ नुजूम
खढे हुए हैं कमर-बस्ता आदमी के हुज़ूर
१६
क़ुवा-ए अर्ज़ ओ समावात को तबक़ में लिये
बशर कि सम्त ख़रामां है दावरी का ग़ुरूर
१७
पयमबरान-ए ज़मीं आस्मां पे जाएंगे
अभी नहीं न सही, आएगा वो दौर ज़रूर
१८
बहुत क़रीब है वो दिन के दीद की ख़ातर
दर-ए कलीम को ख़ुद खटखटाए लैलि-ए तूर
१९
अजब नहीं के बने एक रोज़ नग़्मा-ए क़ुम
मेरी सदा-ए सलाम अलैकुम अहल-ए क़ुबूर
२०
अजब नहीं के उठा ले रबाब-ए कुन एक रोज़
ये अब्द-ए बे-सर ओ सामां ओ बंदा-ए मज्बूर
२१
अजब नहीं के सर-ए बज़्म-ए वहदत-ए आफ़ाक़
ज़बान-ए हक़ पे हो अब नारा-ए अन-अल-मन्सूर
२२
कोई पुकार के जोश आस्मां से ये कह दे
के अब ज़मीं को तेरी बन्दगी नहीं मंज़ूर
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This is a particularly daring nazm in which he challenges not only orthodoxy, but divinity itself.
1
har ek daqiiqa1-e juuindagi2-e ahl-e-sha’oor3
liye hue hai zamaam4-e do-sad5 sinain6 o shuhoor7 1.small, minute 2.searching, seeking 3.people of wisdom/intellect 4.reins 5.two hundred 6.years 7.months
‘do-sad sinain o shuhoor’ – ‘two hundred years and months’ is used to mean ‘passage of time’. Thus, even the most insignificant search of intelligent people holds the reins of time.
2
har ek chaak1 hai ek baab2-e kaargaah3-e rafu4
har ek rashk5 hai ek taaq6-e shaahed7-e kaafoor8 1.tear, wound 2.theme, chapter 3.workshop 4.sewing, tailoring 5.envy, jealousy 6.alcove, cupboard 7.beauty 8.‘kaafoor ho jaana’ is an expression meaning-to flee
Every tear is chapter in the workshop of repair i.e., whenever there is a tear/gap in understanding, human endeavour tries to fill it. ‘shaahed-e kaafoor’ is the beauty/beloved who is missing. The lover/seeker is envious and this envy is the cupboard prepared and made ready to install the idol when it is retrieved. Thus, envy is a motivating factor in creating beauty/truth.
3
navaa1-e harb2 meN hai baad3-e sul’h4 o raqs5-e bahaar6
navaa1-e karb7 meN hai saaz8-e kaif9 o lahn10-e suroor11 1.sound, call 2.war 3.breeze 4.peace, reconciliation 5.dance 6.spring, celebration, joy 7.pain 8.music 9.contentment, pleasure 10.melody 11.happiness
The sound of war carries with it the breeze of reconciliation and the dance of joy. The cry of pain carries the music of contentment and melody of happiness i.e., humans make progress in the face of obstacles.
4
daroon1-e jauhar2-e Khanjar hai sa’yl3-e aab-e-hayaat4
bataan5-e zahr-e halaahal6 hai baada7-e aNgoor8 1.inside 2.sharp edge 3.flood 4.nectar of immortality 5.goose-necked bottle/flask 6.lethal 7.wine 8.grape
Contained in the sharp edge of the dagger is a flood of the nectar of immortality. The bottle of lethal poison also contains the wine of grapes – the theme of progress in the face of obstacles continues.
5
azaab1 meN hai ravaaN2 mauja3-e nishaat4-e kasiir5
saraab6 meN hai davaaN7 dajla8-e sharaab-e-tahoor9 1.torment, pain 2.flowing 3.wave 4.pleasure, joy 5.ample, plent5y 6.mirage 7.flowing 8.river 9.holy/blessed wine
An abundance of waves of joy are contained in the ocean of pain. Rivers of wine flow in the distant mirage.
6
hijaab1-e jaNg meN hai jalva2-e uroos3-e amaaN4
naqaab5-e saNg6 meN hai chehra7-e butaan-e-biloor8 1.hidden, disguised 2.manifestation, beauty 3.bride 4.peace 5.veil 6.stone, rock 7.face 8.idols of crystal
Hidden in the face of war is the manifestation of the bride of peace. Veiled in unpolished rock is the image of crystalline idols.
7
charaaGh-e fikr1 ka duud2-e ravaaN3 su4-e aflaak5
nigaah6-e ahl-e-nazar7 meN hai chob8-e Khaima9-e noor10 1.thought, reason 2.smoke 3.flowing, rising 4.towards 5.skies 6.sight, eyes 7.people of discerning eye 8.pole 9.tent 10.light, knowledge
For people of discerning sight, the smoke rising towards the sky from the lamp of reason is the main pole that holds up the tent of knowledge.
8
bisaat1-e Khaak2 pe dhoomeN3 haiN shaadiyaanoN4 ki
keh aa raha hai javaani par aadmi ka sha’oor5 1.domain 2.clay, dust 3.bustle, pomp 4.celebrations 5.wisdom
‘bisaat-e Khaak’-domain of dust is the earth. Thus, there is pomp of celebrations on earth that the wisdom of humans is coming of age, turning into a youth.
9
Khafa1 na ho keh hai asr2-e jadiid3 garm4-e Kharosh5
keh murda6 hai vo javaani jo phooNkti7 nahiN soor8 1.annoyed 2.times, age 3.modern 4.busy, engaged in 5.tumult, clamour 6.dead 7.blow 8.horn, trumpet
‘soor phooNkna’ probably refers to the day of judgement when an angel is supposed to blow a trumpet to rouse everyone from their sleep of death and be presented for judgement. Thus, do not be annoyed if the modern age is busy in tumultous blowing of the trumpet to wake you up from your stupor. The youth does not wake you up is like being dead.
10
Gharyu1 o shor-e jadaal2 o qataal3 o josh4 o Kharosh5
azal6 se daur7-e uboori8 ka hai yahi dastoor9 1.thunder, shout 2.war, conflict 3.battle 4.passion 5.tumult 6.eternity, beginning 7.times, age 8.conquest, overcoming 9.tradition
He is continuing to explain why one should not be annoyed at the modern age … because … the sounds of conflict, the tumultous passion of battle, have forever been the tradition of the conquest. The winner celebrates and modern thought/reason is winning over traditional/classical thinking.
11
nadiim1 khaiNch na zulmaat2-e be-panaah3 pe aah4
keh hai tul’oo5 se aabastani6 shab-e-dejoor7 1.friend 2.darkness 3.unforgiving 4.sigh 5.dawn 6.tied, covered 7.dark night
O friend, there is no need to draw a deep sigh because of the unforgiving darkness. With the coming dawn, the dark night will be put away.
12
utar rahi hai ba-tadreej1 baaGh-e-rizvaaN2 se
azaar3-e Khaak4 pe shiiriini5-e tabassum6-e hoor 1.step by step 2.garden of heaven 3.cheek, face 4.clay, dust, earth 5.sweetness 6.smile
A sweet, angelic smile is descending step by step from heaven to earth.
13
hazaar shukr1 keh ab muR raha hai jaanib2-e gor3
vo jahl4-e koor5 keh hai qalb6-e dahr7 ka nasoor8 1.thanks 2.towards 3.grave 4.ignorance 5.blind 6.heart 7.world 8.tumour
I offer thanks a thousand times that blind ignorance that is a cancer in the heart of the world, has turned towards its death/grave.
14
zahe1 karaamat2-e zarb3-e shadiid4-e fikr5-e jadiid6
faza7 dafeena8 ugalne pe ho gaii majboor9 1.bravo, great 2.miracle, marvel 3.blow 4.strong 5.reason 6.modern 7.atmosphere, ambience, customary/traditional conduct 8.buried treasure 9.forced
Bravo, the marvel of the strong blow of modern reasoning, customary ways have been forced to give up their treasure i.e., they have been forced to give up their monopoly over knowledge/virtue.
15
maiN aaj dekh raha huN keh mahr1 o maah2 o nujoom3
khaRe hue haiN kamar-basta4 aadmi ke huzoor5 1.sun 2.moon 3.stars 4.loins girded, ready 5.in the service of
I see that today the sun, moon and stars stand ready in the service of humans.
16
quvaa1-e arz2 o samaavaat3 ko tabaq4 meN liye
bashar5 ki samt6 KharaamaaN7 hai daavari8 ka Ghuroor9 1.powers, capabilities 2.earth 3.skies 4.platter 5.human 6.directions 7.walking 8.lordship 9.pride
The pride of lordship, bearing a serving platter of the powers of the earth and sky, is walking towards humanity.
17
payambaraan1-e zamiN aasmaaN pe jaa’eNge
abhi nahiN na sahi, aayega vo daur2 zaroor3 1.messengers 2.times, age, period 3.definitely
This appears to be a reversal of the arrival of messengers of god on earth. Thus, messengers of the earth will travel to the skies. Perhaps not right now, but that time will definitely come.
18
bahut qariib1 hai vo din keh diid2 ki Khaatir3
dar4-e kaleem5 pe Khud khaTkhaTaae laili6-e tuur7 1.near 2.sight, glimpse 3.for the sake of 4.door 5.another name of moosa/Moses 6.damsel 7.mount tuur
This has reference to the legend that moosa/Moses went up mount tuur asking to see god. After much insistence he saw a manifestation in the form of lightning and fainted. As in the previous she’r, josh is reversing roles. The ‘lightning of tuur’ – divine glory is depicted as the laili-e tuur – the damsel of tuur. Instead of Moses going up asking to see the ‘damsel of tuur’, the day is near when she (divine power) will come knocking at the door of Moses asking for a glimpse of him. Here Moses is used as a representation of all humanity. Thus, humanity will prevail over divinity.
19
ajab1 nahiN keh bane ek roz naGhma2-e qum3
meri sadaa4-e salaam alaikum ahl5-e quboor6 1.unusual, surprising 2.song 3.arise, stand up 4.call 5.people of 6.graves
He is saying that humans may learn to raise the dead back to life. Thus, it is not surprising that my call of greeting will be a song to make the dead rise and come out of their graves.
20
ajab1 nahiN ke uTha le rabaab2-e kun3 ek roz
ye abd4-e be-sar-o-saamaan5 o banda6-e majboor7 1.surprising 2.sitar, music 3.to be 4.devotee 5.without any means/power 6.servant, creature 7.bound, constrained, powerless
It is said that god uttered the word ‘kun’ i.e., ‘be’ and everything was. This is described as the primordial act of creation. Once again, josh appropriates this role for humanity. It is not surprising that one day this poor devotee, this powerless creature may pick up the music of creation i.e., create life.
21
ajab1 nahiN keh sar2-e bazm3-e vahdat4-e aafaaq5
zabaan-e haq6 pe ho ab naara7-e an-al-mansoor8 1.surprising 2.at the head of, openly 3.gathering 4.one-ness 5.skies, cosmos 6.god 7.call, cry, declaration 8.I am mansoor
This has reference to the story of mansoor-al-hallaaj, a sufi scholar who declared ‘an-al-haq’-‘aham brahmasmi’, which can be interpreted to mean I am one with god. He was declared a heretic and was put to death. Once again, there is a role reversal … it will not be surprising if openly, in front of all creation, god himself would declare ‘an-al-mansoor’-‘I am mansoor’.
22
koii pukaar ke josh1 aasmaaN se ye kah de
keh ab zamiiN ko teri bandagi2 nahiN manzoor3 1.pen-name of the poet 2.servitude 3.acceptable
O josh, can somone please shout at the sky and tell it that the earth/humanity no longer accepts the servitude of the skies/heavens.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This is a particularly daring nazm in which he challenges not only orthodoxy, but divinity itself.
1
har ek daqiiqa1-e juuindagi2-e ahl-e-sha’oor3
liye hue hai zamaam4-e do-sad5 sinain6 o shuhoor7
1.small, minute 2.searching, seeking 3.people of wisdom/intellect 4.reins 5.two hundred 6.years 7.months
‘do-sad sinain o shuhoor’ – ‘two hundred years and months’ is used to mean ‘passage of time’. Thus, even the most insignificant search of intelligent people holds the reins of time.
2
har ek chaak1 hai ek baab2-e kaargaah3-e rafu4
har ek rashk5 hai ek taaq6-e shaahed7-e kaafoor8
1.tear, wound 2.theme, chapter 3.workshop 4.sewing, tailoring 5.envy, jealousy 6.alcove, cupboard 7.beauty 8.‘kaafoor ho jaana’ is an expression meaning-to flee
Every tear is chapter in the workshop of repair i.e., whenever there is a tear/gap in understanding, human endeavour tries to fill it. ‘shaahed-e kaafoor’ is the beauty/beloved who is missing. The lover/seeker is envious and this envy is the cupboard prepared and made ready to install the idol when it is retrieved. Thus, envy is a motivating factor in creating beauty/truth.
3
navaa1-e harb2 meN hai baad3-e sul’h4 o raqs5-e bahaar6
navaa1-e karb7 meN hai saaz8-e kaif9 o lahn10-e suroor11
1.sound, call 2.war 3.breeze 4.peace, reconciliation 5.dance 6.spring, celebration, joy 7.pain 8.music 9.contentment, pleasure 10.melody 11.happiness
The sound of war carries with it the breeze of reconciliation and the dance of joy. The cry of pain carries the music of contentment and melody of happiness i.e., humans make progress in the face of obstacles.
4
daroon1-e jauhar2-e Khanjar hai sa’yl3-e aab-e-hayaat4
bataan5-e zahr-e halaahal6 hai baada7-e aNgoor8
1.inside 2.sharp edge 3.flood 4.nectar of immortality 5.goose-necked bottle/flask 6.lethal 7.wine 8.grape
Contained in the sharp edge of the dagger is a flood of the nectar of immortality. The bottle of lethal poison also contains the wine of grapes – the theme of progress in the face of obstacles continues.
5
azaab1 meN hai ravaaN2 mauja3-e nishaat4-e kasiir5
saraab6 meN hai davaaN7 dajla8-e sharaab-e-tahoor9
1.torment, pain 2.flowing 3.wave 4.pleasure, joy 5.ample, plent5y 6.mirage 7.flowing 8.river 9.holy/blessed wine
An abundance of waves of joy are contained in the ocean of pain. Rivers of wine flow in the distant mirage.
6
hijaab1-e jaNg meN hai jalva2-e uroos3-e amaaN4
naqaab5-e saNg6 meN hai chehra7-e butaan-e-biloor8
1.hidden, disguised 2.manifestation, beauty 3.bride 4.peace 5.veil 6.stone, rock 7.face 8.idols of crystal
Hidden in the face of war is the manifestation of the bride of peace. Veiled in unpolished rock is the image of crystalline idols.
7
charaaGh-e fikr1 ka duud2-e ravaaN3 su4-e aflaak5
nigaah6-e ahl-e-nazar7 meN hai chob8-e Khaima9-e noor10
1.thought, reason 2.smoke 3.flowing, rising 4.towards 5.skies 6.sight, eyes 7.people of discerning eye 8.pole 9.tent 10.light, knowledge
For people of discerning sight, the smoke rising towards the sky from the lamp of reason is the main pole that holds up the tent of knowledge.
8
bisaat1-e Khaak2 pe dhoomeN3 haiN shaadiyaanoN4 ki
keh aa raha hai javaani par aadmi ka sha’oor5
1.domain 2.clay, dust 3.bustle, pomp 4.celebrations 5.wisdom
‘bisaat-e Khaak’-domain of dust is the earth. Thus, there is pomp of celebrations on earth that the wisdom of humans is coming of age, turning into a youth.
9
Khafa1 na ho keh hai asr2-e jadiid3 garm4-e Kharosh5keh murda6 hai vo javaani jo phooNkti7 nahiN soor8
1.annoyed 2.times, age 3.modern 4.busy, engaged in 5.tumult, clamour 6.dead 7.blow 8.horn, trumpet
‘soor phooNkna’ probably refers to the day of judgement when an angel is supposed to blow a trumpet to rouse everyone from their sleep of death and be presented for judgement. Thus, do not be annoyed if the modern age is busy in tumultous blowing of the trumpet to wake you up from your stupor. The youth does not wake you up is like being dead.
10
Gharyu1 o shor-e jadaal2 o qataal3 o josh4 o Kharosh5
azal6 se daur7-e uboori8 ka hai yahi dastoor9
1.thunder, shout 2.war, conflict 3.battle 4.passion 5.tumult 6.eternity, beginning 7.times, age 8.conquest, overcoming 9.tradition
He is continuing to explain why one should not be annoyed at the modern age … because … the sounds of conflict, the tumultous passion of battle, have forever been the tradition of the conquest. The winner celebrates and modern thought/reason is winning over traditional/classical thinking.
11
nadiim1 khaiNch na zulmaat2-e be-panaah3 pe aah4
keh hai tul’oo5 se aabastani6 shab-e-dejoor7
1.friend 2.darkness 3.unforgiving 4.sigh 5.dawn 6.tied, covered 7.dark night
O friend, there is no need to draw a deep sigh because of the unforgiving darkness. With the coming dawn, the dark night will be put away.
12
utar rahi hai ba-tadreej1 baaGh-e-rizvaaN2 se
azaar3-e Khaak4 pe shiiriini5-e tabassum6-e hoor
1.step by step 2.garden of heaven 3.cheek, face 4.clay, dust, earth 5.sweetness 6.smile
A sweet, angelic smile is descending step by step from heaven to earth.
13
hazaar shukr1 keh ab muR raha hai jaanib2-e gor3
vo jahl4-e koor5 keh hai qalb6-e dahr7 ka nasoor8
1.thanks 2.towards 3.grave 4.ignorance 5.blind 6.heart 7.world 8.tumour
I offer thanks a thousand times that blind ignorance that is a cancer in the heart of the world, has turned towards its death/grave.
14
zahe1 karaamat2-e zarb3-e shadiid4-e fikr5-e jadiid6
faza7 dafeena8 ugalne pe ho gaii majboor9
1.bravo, great 2.miracle, marvel 3.blow 4.strong 5.reason 6.modern 7.atmosphere, ambience, customary/traditional conduct 8.buried treasure 9.forced
Bravo, the marvel of the strong blow of modern reasoning, customary ways have been forced to give up their treasure i.e., they have been forced to give up their monopoly over knowledge/virtue.
15
maiN aaj dekh raha huN keh mahr1 o maah2 o nujoom3
khaRe hue haiN kamar-basta4 aadmi ke huzoor5
1.sun 2.moon 3.stars 4.loins girded, ready 5.in the service of
I see that today the sun, moon and stars stand ready in the service of humans.
16
quvaa1-e arz2 o samaavaat3 ko tabaq4 meN liye
bashar5 ki samt6 KharaamaaN7 hai daavari8 ka Ghuroor9
1.powers, capabilities 2.earth 3.skies 4.platter 5.human 6.directions 7.walking 8.lordship 9.pride
The pride of lordship, bearing a serving platter of the powers of the earth and sky, is walking towards humanity.
17
payambaraan1-e zamiN aasmaaN pe jaa’eNge
abhi nahiN na sahi, aayega vo daur2 zaroor3
1.messengers 2.times, age, period 3.definitely
This appears to be a reversal of the arrival of messengers of god on earth. Thus, messengers of the earth will travel to the skies. Perhaps not right now, but that time will definitely come.
18
bahut qariib1 hai vo din keh diid2 ki Khaatir3
dar4-e kaleem5 pe Khud khaTkhaTaae laili6-e tuur7
1.near 2.sight, glimpse 3.for the sake of 4.door 5.another name of moosa/Moses 6.damsel 7.mount tuur
This has reference to the legend that moosa/Moses went up mount tuur asking to see god. After much insistence he saw a manifestation in the form of lightning and fainted. As in the previous she’r, josh is reversing roles. The ‘lightning of tuur’ – divine glory is depicted as the laili-e tuur – the damsel of tuur. Instead of Moses going up asking to see the ‘damsel of tuur’, the day is near when she (divine power) will come knocking at the door of Moses asking for a glimpse of him. Here Moses is used as a representation of all humanity. Thus, humanity will prevail over divinity.
19
ajab1 nahiN keh bane ek roz naGhma2-e qum3
meri sadaa4-e salaam alaikum ahl5-e quboor6
1.unusual, surprising 2.song 3.arise, stand up 4.call 5.people of 6.graves
He is saying that humans may learn to raise the dead back to life. Thus, it is not surprising that my call of greeting will be a song to make the dead rise and come out of their graves.
20
ajab1 nahiN ke uTha le rabaab2-e kun3 ek roz
ye abd4-e be-sar-o-saamaan5 o banda6-e majboor7
1.surprising 2.sitar, music 3.to be 4.devotee 5.without any means/power 6.servant, creature 7.bound, constrained, powerless
It is said that god uttered the word ‘kun’ i.e., ‘be’ and everything was. This is described as the primordial act of creation. Once again, josh appropriates this role for humanity. It is not surprising that one day this poor devotee, this powerless creature may pick up the music of creation i.e., create life.
21
ajab1 nahiN keh sar2-e bazm3-e vahdat4-e aafaaq5
zabaan-e haq6 pe ho ab naara7-e an-al-mansoor8
1.surprising 2.at the head of, openly 3.gathering 4.one-ness 5.skies, cosmos 6.god 7.call, cry, declaration 8.I am mansoor
This has reference to the story of mansoor-al-hallaaj, a sufi scholar who declared ‘an-al-haq’-‘aham brahmasmi’, which can be interpreted to mean I am one with god. He was declared a heretic and was put to death. Once again, there is a role reversal … it will not be surprising if openly, in front of all creation, god himself would declare ‘an-al-mansoor’-‘I am mansoor’.
22
koii pukaar ke josh1 aasmaaN se ye kah de
keh ab zamiiN ko teri bandagi2 nahiN manzoor3
1.pen-name of the poet 2.servitude 3.acceptable
O josh, can somone please shout at the sky and tell it that the earth/humanity no longer accepts the servitude of the skies/heavens.
The post faroGh-e insaani-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/04/af-zabaani-aur-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
زبانی اور ہے ۔ احمد فرازؔ
۱
ہم سنائیں تو کہانی اور ہے
یار لوگوں کی زبانی اور ہے
۲
چارہ گر روتے ہیں تازہ زخم کو
دل کی بیماری پرانی اور ہے
۳
جو کہا ہم نے وہ مضموں اور تھا
ترجماں کی ترجمانی اور ہے
۴
ہے بساطِ دل لہو کی ایک بوند
چشمِ پُر خوں کی روانی اور ہے
۵
نامہ بر کو کچھ بھی ہم پیغام دیں
داستاں اس نے سنانی اور ہے
۶
آبِ زمزم دوست لائے ہیں عبث
ہم جو پیتے ہیں وہ پانی اور ہے
۷
سب قیامت قامتوں کو دیکھ لو
کیا مرے جاناں کا ثانی اور ہے
۸
اہلِ دل کی انجمن میں آ کبھی
ان کی دنیا یار جانی اور ہے
۹
شاعری کرتی ہے اک دنیا فرازؔ
پر تری سادہ بیانی اور ہے
ज़बानी और है
१
हम सुनाएं तो कहानी और है
यार लोगों की ज़बानी और है
२
चारागर रोते हैं ताज़ा ज़ख़्म को
दिल कि बीमारी पुरानी और है
३
जो कहा हमने वो मज़्मूं और था
तर्जुमां की तर्जुमानी और है
४
है बिसात-ए दिल लहू कि एक बूँद
चश्म-ए पुर-ख़ूं कि रवानी और है
५
नामा-बर को कुछ भी हम पैग़ाम दें
दास्ताँ उसने सुनानी और है
६
आब-ए ज़मज़म दोस्त लाए हैं अबस
हम जो पीते हैं वो पानी और है
७
सब क़यामत क़ामतों को देख लो
क्या मेरे जानां का सानी और है
८
अहल-ए दिल की अंजुमन में आ कभी
उन की दुन्या दुनिया यार जानी और है
९
शा’एरी करती है एक दुनिया फ़राज़
पर तेरी सादा-बयानी और है
Click here for background and on any passage for word meanings and explanatory discussion. ahmad faraz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes. This Ghazal is modeled after Ghalib’s ‘koi din gar zindagaani aur hai’. This is from a later period in faraz’s life when he turned his attention more towards Ghazal and composed several in the zamiin of Ghalib. This Ghazal is linked to Ghalib naqsh-e qadam.
1
hum sunaaeN to kahaani aur hai
yaar1 logoN ki zabaani2 aur hai 1.friends 2.from their tongue/mouth
If I related it, the story will be something else but out of friends’ mouth, it will be entirely something else. The first ‘something else’ is an admiring phrase of story telling ability and/or of the veracity of the story. The second ‘something else’ is critical to mean ‘distortion of truth’ or ‘devoid of elegance’.
2
chaaragar1 rote haiN taaza2 zaKhm3 ko
dil ki beemari puraani aur hai 1.healers 2.fresh 3.wound
Healers mourn (attend to) fresh wounds but the old ailment of heart (love) is something else.
3
jo kaha hum ne vo mazmooN1 aur tha
tarjumaaN2 ki tarjumaani3 aur hai 1.theme 2.interpretor 3.interpretation
The theme that I composed was different, the interpretation done by the interpretor is something else.
4
hai bisaat1-e dil lahoo2 ki ek booNd3chashm4-e pur-KhooN5 ki ravaani6 aur hai 1.spread, extent, domain 2.blood 3.drop 4.eye 5.blood 6.flow
The domain of the heart extends to a single drop of blood. The flow from the eye, brimming with blood, is something else. The lover cries tears of blood. That flow is incomparable. Conventionally, the imagery of the heart is that of a congealed drop of blood – hence the extent of its domain is but a drop.
5
naama-bar1 ko kuchh bhi hum paiGhaam2 deN
daastaaN3 us ne sunaani aur hai 1.message carrier, messenger 2.message 3.story
It is convention that sends messages to the beloved through a naama-bar. This is perhaps because the doorman is instructed to shoo away the lover and/or because the messenger has a special relationship with doorman. But the trouble seems to be that the messenger is unreliable. Thus, whatever message we might instruct the messenger to deliver, he is going to tell his own version of the story.
6
aab-e-zamzam1 dost laaye haiN abas2hum jo peete haiN vo paani aur hai 1.water of the well of zamzam near k’aaba 2.uselessly
It is a ritualistic practice that the person who goes on a pilgrimage to the k’aaba brings back water from the nearby well of zamzam. This water is considered to have healing effects. But it appears that it is totally useless for the poet/lover. The water that he prefers to drink is ‘something else’, implying that he likes to drink wine.
7
sub qayaamat1-qaamatoN2 ko dekh lo
kya mere jaanaN3 ka saani4 aur hai 1.tumult, calamity 2.stature 3.beloved 4.example, second, equal, like
The beloved is supposed to have a tall, slender, graceful stature that causes tumult/calamity when people get to see it. Says the poet/lover – go ahead and look at all tumult raising statures. Is there any among them who can equal my beloved.
8
ahl-e-dil1 ki anjuman2 meN aa kabhi
un ki dunya yaar-jaani3 aur hai 1.people of the heart, lovers 2.gathering 3.beloved friend
O my beloved sometimes come the gathering of admirers/lovers. You will find that there world is something else.
9
shaa’eri karti hai ek duniya faraaz1par teri saada-bayaani2 aur hai 1.pen-name of the poet 2.simple, straightforward speech
O faraaz, there are many in this world who write verse, but your straight description is something else. Said Ghalib …
haiN aur bhi duniya meN suKhanvar bahut achchhe
kahte haiN keh Ghalib ka hai andaaz-e bayaaN aur
ahmad faraz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes. This Ghazal is modeled after Ghalib’s ‘koi din gar zindagaani aur hai’. This is from a later period in faraz’s life when he turned his attention more towards Ghazal and composed several in the zamiin of Ghalib. This Ghazal is linked to Ghalib naqsh-e qadam.
1
hum sunaaeN to kahaani aur hai
yaar1 logoN ki zabaani2 aur hai
1.friends 2.from their tongue/mouth
If I related it, the story will be something else but out of friends’ mouth, it will be entirely something else. The first ‘something else’ is an admiring phrase of story telling ability and/or of the veracity of the story. The second ‘something else’ is critical to mean ‘distortion of truth’ or ‘devoid of elegance’.
2
chaaragar1 rote haiN taaza2 zaKhm3 ko
dil ki beemari puraani aur hai
1.healers 2.fresh 3.wound
Healers mourn (attend to) fresh wounds but the old ailment of heart (love) is something else.
3
jo kaha hum ne vo mazmooN1 aur tha
tarjumaaN2 ki tarjumaani3 aur hai
1.theme 2.interpretor 3.interpretation
The theme that I composed was different, the interpretation done by the interpretor is something else.
4
hai bisaat1-e dil lahoo2 ki ek booNd3chashm4-e pur-KhooN5 ki ravaani6 aur hai
1.spread, extent, domain 2.blood 3.drop 4.eye 5.blood 6.flow
The domain of the heart extends to a single drop of blood. The flow from the eye, brimming with blood, is something else. The lover cries tears of blood. That flow is incomparable. Conventionally, the imagery of the heart is that of a congealed drop of blood – hence the extent of its domain is but a drop.
5
naama-bar1 ko kuchh bhi hum paiGhaam2 deN
daastaaN3 us ne sunaani aur hai
1.message carrier, messenger 2.message 3.story
It is convention that sends messages to the beloved through a naama-bar. This is perhaps because the doorman is instructed to shoo away the lover and/or because the messenger has a special relationship with doorman. But the trouble seems to be that the messenger is unreliable. Thus, whatever message we might instruct the messenger to deliver, he is going to tell his own version of the story.
6
aab-e-zamzam1 dost laaye haiN abas2hum jo peete haiN vo paani aur hai
1.water of the well of zamzam near k’aaba 2.uselessly
It is a ritualistic practice that the person who goes on a pilgrimage to the k’aaba brings back water from the nearby well of zamzam. This water is considered to have healing effects. But it appears that it is totally useless for the poet/lover. The water that he prefers to drink is ‘something else’, implying that he likes to drink wine.
7
sub qayaamat1-qaamatoN2 ko dekh lo
kya mere jaanaN3 ka saani4 aur hai
1.tumult, calamity 2.stature 3.beloved 4.example, second, equal, like
The beloved is supposed to have a tall, slender, graceful stature that causes tumult/calamity when people get to see it. Says the poet/lover – go ahead and look at all tumult raising statures. Is there any among them who can equal my beloved.
8
ahl-e-dil1 ki anjuman2 meN aa kabhi
un ki dunya yaar-jaani3 aur hai
1.people of the heart, lovers 2.gathering 3.beloved friend
O my beloved sometimes come the gathering of admirers/lovers. You will find that there world is something else.
9
shaa’eri karti hai ek duniya faraaz1par teri saada-bayaani2 aur hai
1.pen-name of the poet 2.simple, straightforward speech
O faraaz, there are many in this world who write verse, but your straight description is something else. Said Ghalib …
haiN aur bhi duniya meN suKhanvar bahut achchhe
kahte haiN keh Ghalib ka hai andaaz-e bayaaN aur
The post zabaani aur hai-ahmad faraz appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/04/mtm-kaargah-e-shiisha-gari-ka-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2023/04/mtm-kaargah-e-shiisha-gari-ka-zamarrud-bano.mp3
zamarrud baano
- اُردو
- देवनागरी
- Roman
- Notes
کارگہ شیشہ گری کا ۔ میر تقی میرؔ
۱
جس سر کو غرور آج ہے یاں تاجوری کا
کل اُس پہ یہیں شور ہے پھر نوحہ گری کا
۲
شرمندہ ترے رُخ سے ہے رخُسار پری کا
چلتا نہیں کچھ آگے ترے کبکِ دری کا
۳
آفاق کی منزل سے گیا کون سلامت
اسباب لٹا راہ میں یاں ہر سفری کا
۴
زنداں میں بھی شورش نہ گئی اپنے جنوں کی
اب سنگ مداوا ہے اس آشفتہ سری کا
۵
ہر زخمِ جگر داورِ محشر سے ہمارا
انصاف طلب ہے تری بیداد گری کا
۶
اپنی تو جہاں آنکھ لڑی پھر وہیں دیکھو
آئینے کو لپکا ہے پریشاں نظری کا
۷
صد موسم گل ہم کو تہ بال ہی گزرے
مقدور نہ دیکھا کبھو بے بال و پری کا
۸
اس رنگ سے جھمکے ہے پلک پر کہ کہے تو
ٹکڑا ہے مرا اشک عقیقِ جگری کا
۹
کل سیر کیا ہم نے سمندر کو بھی جا کر
تھا دست نگر پنجۂ مژگاں کی تری کا
۱۰
لے سانس بھی آہستہ کہ نازک ہے بہت کام
آفاق کی اس کارگہ شیشہ گری کا
۱۱
ٹک میرِؔ جگر سوختہ کی جلد خبر لے
کیا یار بھروسا ہے چراغ سحری کا
कारगह-ए शीशागरी का – मीर तक़ी मीर
१
जिस सर को ग़ुरूर आज है याँ ताज-वरी का
कल उस पे यहीं शोर है फिर नौहागरी का
२
शर्मिंदा तेरे रुख़ से है रुख़्सार परी का
चलता नहीं कुछ आगे तेरे कब्क-ए दरी का
३
आफ़ाक़ की मंज़िल से गया कौन सलामत
अस्बाब लुटा राह में याँ हर सफ़री का
४
ज़िंदाँ में भी शोरिश न गई अपने जुनूँ की
अब संग मुदावा है इस आशुफ़्ता-सरी का
५
हर ज़ख़्म-ए जिगर दावर-ए महशर से हमारा
इंसाफ़-तलब है तेरी बेदाद-गरी का
६
अपनी तो जहाँ आँख लढी फिर वहीं देखो
आईने को लपका है परेशाँ-नज़री का
७
सद मौसम-ए गुल हम को तह-ए बाल ही गुज़रे
मक़्दूर न देखा कभू बे-बाल-ओ-परी का
८
इस रंग से झमके है पलक पर के कहे तू
टुकढा है मेरा अश्क अक़ीक़-ए जिगरी का
९
कल सैर किया हम ने समुंदर को भी जा कर
था दस्त-ए निगर पंजा-ए मिज़्श्गां की तरी का
१०
ले साँस भी आहेस्ता के नाज़ुक है बहुत काम
आफ़ाक़ की इस कारगह-ए शीशागरी का
११
टुक मीर-ए जिगर-सोख़्ता की जल्द ख़बर ले
क्या यार भरोसा है चराग़-ए सहरी का
Click here for background and on any passage for word meanings and explanatory discussion. mir taqi mir (1722-1810) pioneer of urdu language and Ghazal. Considered a poet of angst and sorrow. He speaks profound thoughts in simple language.
1
jis sar ko Ghuroor1 aaj hai yaaN taaj-vari2 ka
kal us pe yahiiN shor3 hai phir nauhagari4 ka 1.pride, conceit, hubris 2.wearing crown 3.loud noise, crying 4.mourning, lamentation
The head, which today is proud that it wears a crown, upon it tomorrow there will be loud mourning and lamentation i.e., you will not be not be able take your material wealth with you to the next world and/or possession of material wealth does not count for much on the day of judgement.
2
sharminda1 tere ruKh2 se hai ruKhsaar3 pari ka
chaltaa nahiN kuchh aage4 tere kabk-e-dari5 ka 1.shamed, embarrassed 2.looks, cheeks 3.cheeks, face 4.compared to 5.mountain partridge
A mountain partridge is considered to have a very graceful gait which is often compared to the gait of the beloved. Thus, the beauty of an angel/fairy is shame-faced before your face. The gait of mountain partridge cannot stand up to the grace of your gait.
3
aafaaq1 ki manzil2 se gayaa kaun salaamat3
asbaab4 luTa5 raah6 meN yaaN har safari7 ka 1.horizons 2.a stage in the journey 3.alive 4.means, possessions 5.looted 6.path 7.traveler
By ‘aafaaq ki manzil’ is meant the stage of the journey of life under the skies i.e., in this material world. Thus, who has left this material world, still alive and whole. The possessions of every traveler were looted on the way (either during their life or at the end of life – when they cannot take anything with them).
4
zindaaN1 meN bhi shorish2 na gaii apne junooN3 ki
ab saNg4 mudaava5 hai is aashufta-sari6 ka 1.prison 2.confusion, madness 3.passion 4.rock 5.cure 6.confused head, mad
The passionate lover has been causing disturbance on the street and has been caught and put in prison. But his mad passion has not left him even there. Now the only cure for his is rock(s) i.e., he goes about as mad passionate majnuN and people throw rocks at him. Either he dies of those injuries and is ‘cured’ or enjoys the added pain.
5
har zaKhm1-e jigar2 daavar3-e mahshar4 se hamaaraa
insaaf-talab5 hai teri bedaad-gari6 ka 1.wound 2.liver – the beloved’s arrows are aimed at the liver 3.lord 4.judgement day 5.justice demanding 6.cruelty
The beloved has heaped cruelty on the poet/lover all his life. He has many wounds in his liver/heart (perhaps from the sidelong glances that shoot like arrows and pierce the liver/heart). Every wound in my heart will demand justice from the lord of the day of judgement.
6
apni to jahaaN aaNkh laRi1 phir vahiN dekho
aaiine ko lapka2 hai pareshaaN-nazari3 ka 1.eyes met, saw each other 2.addiction, bad habit 3.wandering eye
The mirror has a habit of reflecting anything that looks at it. Thus, the poet/lover declares to the beloved, my sight is fixed where our eyes first met, and it carries your image and nothing else. Don’t look at the mirror with its wandering eye (because it reflects anything and everything). Look into my eyes and you will see yourself.
7
sad1 mausam-e-gul2 ham ko tah-e-baal3 hi guzre
maqdoor4 na dekhaa kabhu be-baal-o-pari5 ka 1.hundred 2.season of the rose, spring 3.under the wing, flying 4.capability, available means, fortune 5.being without wings and feathers, unable to fly or not flying
Poets often portray themselves as a bird – one who is singing sad tunes because of separation from the beloved or in a cage away from its nest. The imagery in this she’r is different. I have spent a hundred springs flying hither and thither in search of the beloved. I have never had a chance to ‘be without wings and feathers’ i.e., to sit down and rest.
8
is raNg1 se jhamke2 hai palak3 par keh kahe tu
TukRaa hai mera ashk4 aqiiq-e-jigari5 ka 1.style 2.sparkle 3.eyelashes 4.tear 5.ruby of the liver
In poetic tradition liver is where blood is made. The poet is distress cries tears of blood. They considered to be pieces of the liver. Thus, the tear drop sparkles on the eyelashes in such style that you might think that it is a piece of my ruby-like liver.
9
kal sair1 kiya ham ne samundar ko bhi jaa kar
thaa dast-e-nigar2 panja-e-mizshgaaN3 ki tari4 ka 1.sight-seeing 2.looking at its (empty) hand, begging 3.eyelashes 4.wetness
Poet/lovers cry in distress all the time. So much that they cause floods. Thus, when he went sightseeing to the sea, it begged him for the tears dripping from his eyelashes i.e., the water from his tears was more than that of the sea.
10
le saaNs bhi aahista1 keh naazuk2 hai bahut kaam
aafaaq3 ki is kaargah4-e shiishagari5 ka 1.gently 2.delicate 3.horizons, skies, heavens 4.workshop 5.glassblowing
The imagery is from a glassblower’s workshop. The artist pulls molten glass into a tube and blows gently into it to create delicates shapes. Thus, breathe gently for the task in the workshop of glassblower is very delicate. Except the shaa’er is talking about the glassblowing workshop of ‘aafaaq’ – the heavens. Thus, the cosmos is very delicately balanced. Intepretations run the range (a) breathe gently as you admire the workings of the cosmos (b) speak softly for the the art of reciting Ghazal is very delicate and (c) a visual interpretation in a dance performace at the Met in NY – gentle, graceful with studied, slow movements and towards the end, in the background this she’r sung, the dance advertized as ‘tread softly on earth, beware of global warming’.
11
Tuk1 mir2-e jigar-soKhta3 ki jald4 Khabar5 le
kya yaar6 bharosa7 hai charaaGh-e-sahari8 ka 1.for a moment, spare a minute 2.pen-name of the poet 3.burnt heart, heart-broken 4.quickly, soon 5.enquire after, ask about 6.friend, beloved 7.dependability 8.candle at early dawn/late-night
The candle has been burning all night long and it is almost dawn … hence ‘charaaGh-e sahari’, about to burn out. This is addressed to the beloved – spare a moment and ask about the heart-broken mir. What dependability is there in a late-night candle. It can burn out any minute.
mir taqi mir (1722-1810) pioneer of urdu language and Ghazal. Considered a poet of angst and sorrow. He speaks profound thoughts in simple language.
1
jis sar ko Ghuroor1 aaj hai yaaN taaj-vari2 ka
kal us pe yahiiN shor3 hai phir nauhagari4 ka
1.pride, conceit, hubris 2.wearing crown 3.loud noise, crying 4.mourning, lamentation
The head, which today is proud that it wears a crown, upon it tomorrow there will be loud mourning and lamentation i.e., you will not be not be able take your material wealth with you to the next world and/or possession of material wealth does not count for much on the day of judgement.
2
sharminda1 tere ruKh2 se hai ruKhsaar3 pari ka
chaltaa nahiN kuchh aage4 tere kabk-e-dari5 ka
1.shamed, embarrassed 2.looks, cheeks 3.cheeks, face 4.compared to 5.mountain partridge
A mountain partridge is considered to have a very graceful gait which is often compared to the gait of the beloved. Thus, the beauty of an angel/fairy is shame-faced before your face. The gait of mountain partridge cannot stand up to the grace of your gait.
3
aafaaq1 ki manzil2 se gayaa kaun salaamat3
asbaab4 luTa5 raah6 meN yaaN har safari7 ka
1.horizons 2.a stage in the journey 3.alive 4.means, possessions 5.looted 6.path 7.traveler
By ‘aafaaq ki manzil’ is meant the stage of the journey of life under the skies i.e., in this material world. Thus, who has left this material world, still alive and whole. The possessions of every traveler were looted on the way (either during their life or at the end of life – when they cannot take anything with them).
4
zindaaN1 meN bhi shorish2 na gaii apne junooN3 ki
ab saNg4 mudaava5 hai is aashufta-sari6 ka
1.prison 2.confusion, madness 3.passion 4.rock 5.cure 6.confused head, mad
The passionate lover has been causing disturbance on the street and has been caught and put in prison. But his mad passion has not left him even there. Now the only cure for his is rock(s) i.e., he goes about as mad passionate majnuN and people throw rocks at him. Either he dies of those injuries and is ‘cured’ or enjoys the added pain.
5
har zaKhm1-e jigar2 daavar3-e mahshar4 se hamaaraa
insaaf-talab5 hai teri bedaad-gari6 ka
1.wound 2.liver – the beloved’s arrows are aimed at the liver 3.lord 4.judgement day 5.justice demanding 6.cruelty
The beloved has heaped cruelty on the poet/lover all his life. He has many wounds in his liver/heart (perhaps from the sidelong glances that shoot like arrows and pierce the liver/heart). Every wound in my heart will demand justice from the lord of the day of judgement.
6
apni to jahaaN aaNkh laRi1 phir vahiN dekho
aaiine ko lapka2 hai pareshaaN-nazari3 ka
1.eyes met, saw each other 2.addiction, bad habit 3.wandering eye
The mirror has a habit of reflecting anything that looks at it. Thus, the poet/lover declares to the beloved, my sight is fixed where our eyes first met, and it carries your image and nothing else. Don’t look at the mirror with its wandering eye (because it reflects anything and everything). Look into my eyes and you will see yourself.
7
sad1 mausam-e-gul2 ham ko tah-e-baal3 hi guzre
maqdoor4 na dekhaa kabhu be-baal-o-pari5 ka
1.hundred 2.season of the rose, spring 3.under the wing, flying 4.capability, available means, fortune 5.being without wings and feathers, unable to fly or not flying
Poets often portray themselves as a bird – one who is singing sad tunes because of separation from the beloved or in a cage away from its nest. The imagery in this she’r is different. I have spent a hundred springs flying hither and thither in search of the beloved. I have never had a chance to ‘be without wings and feathers’ i.e., to sit down and rest.
8
is raNg1 se jhamke2 hai palak3 par keh kahe tu
TukRaa hai mera ashk4 aqiiq-e-jigari5 ka
1.style 2.sparkle 3.eyelashes 4.tear 5.ruby of the liver
In poetic tradition liver is where blood is made. The poet is distress cries tears of blood. They considered to be pieces of the liver. Thus, the tear drop sparkles on the eyelashes in such style that you might think that it is a piece of my ruby-like liver.
9
kal sair1 kiya ham ne samundar ko bhi jaa kar
thaa dast-e-nigar2 panja-e-mizshgaaN3 ki tari4 ka
1.sight-seeing 2.looking at its (empty) hand, begging 3.eyelashes 4.wetness
Poet/lovers cry in distress all the time. So much that they cause floods. Thus, when he went sightseeing to the sea, it begged him for the tears dripping from his eyelashes i.e., the water from his tears was more than that of the sea.
10
le saaNs bhi aahista1 keh naazuk2 hai bahut kaam
aafaaq3 ki is kaargah4-e shiishagari5 ka
1.gently 2.delicate 3.horizons, skies, heavens 4.workshop 5.glassblowing
The imagery is from a glassblower’s workshop. The artist pulls molten glass into a tube and blows gently into it to create delicates shapes. Thus, breathe gently for the task in the workshop of glassblower is very delicate. Except the shaa’er is talking about the glassblowing workshop of ‘aafaaq’ – the heavens. Thus, the cosmos is very delicately balanced. Intepretations run the range (a) breathe gently as you admire the workings of the cosmos (b) speak softly for the the art of reciting Ghazal is very delicate and (c) a visual interpretation in a dance performace at the Met in NY – gentle, graceful with studied, slow movements and towards the end, in the background this she’r sung, the dance advertized as ‘tread softly on earth, beware of global warming’.
11
Tuk1 mir2-e jigar-soKhta3 ki jald4 Khabar5 le
kya yaar6 bharosa7 hai charaaGh-e-sahari8 ka
1.for a moment, spare a minute 2.pen-name of the poet 3.burnt heart, heart-broken 4.quickly, soon 5.enquire after, ask about 6.friend, beloved 7.dependability 8.candle at early dawn/late-night
The candle has been burning all night long and it is almost dawn … hence ‘charaaGh-e sahari’, about to burn out. This is addressed to the beloved – spare a moment and ask about the heart-broken mir. What dependability is there in a late-night candle. It can burn out any minute.
The post kaargah-e shiisha-gari ka-mir taqi mir appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2023/04/msbs-firqa-parasti-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
فرقہ پرستی ۔ مہندر سنگھ بیدی سحرؔ
۱
فضاؤں سے برستا ہے ہر اِک سُو نغمۂ شادی
مُبارک آپ کو ہم کو ہو سب کو جشنِ آزادی
مگر مجھ کو بھی کہنا ہے یہاں کچھ بن کے فریادی
یہ آزادی نہ بن جائے ہماری وجۂ بربادی
ابھی ہشیار رہنا ہے ہمیں اِن چیرہ دستوں سے
بچانا ہے ابھی اِس دیس کو فرقہ پرستوں سے
۲
یہ اپنی فطرتِ شر سے بہت مجبور ہوتے ہیں
لگا کر آگ نفرت کی یہ خود کافور ہوتے ہیں
لڑا کر خلق کو آپس میں یہ مسرور ہوتے ہیں
مگر جب لوگ مرتے ہیں یہ کوسوں دور ہوتے ہیں
کوئی اُکسائے مرنے مارنے پر اور مرے کوئی
ستم کی بات ہے یارو، کرے کوئی بھرے کوئی
۳
کوئی جو مائلِ فریاد ہو، اُن کی بلا سے، ہو
کوئی جو خانما برباد ہو، اُن کی بلا سے، ہو
کوئی جو کُشتہ جلّاد ہو، اُن کی بلا سے، ہو
اگر تازہ سِتم ایجاد ہو، اُن کی بلا سے، ہو
اگر مرتے ہیں مر جائیں ہزاروں لوگ بلوے سے
انہیں ہے کام مانڈے سے انہیں ہے کام حلوے سے
۴
گریز ان سے کرو یہ دشمنِ جاں دشمنِ دِل ہیں
ہٹا دو راہ سے ان کو یہ سَدّ راہِ منزل ہیں
انھیں پہچان لو یہ دیش کے اعدا میں شامل ہیں
لٹیرے ہیں، یہ ڈاکو ہیں، یہ رہزن ہیں، یہ قاتل ہیں
بزرگوں کا نہ پاس ان کو نہ کچھ اولاد کی خاطر
یہ قتلِ عام کروا دیں گے ‘زندہ باد’ کی خاطر
۵
ہمیں کچھ غم نہیں ہے روز و شب کی فاقہ مستی کا
نہ ہو اپنی بلا سے کچھ مداوا تنگ دستی کا
مِٹانا ہے مگر نام و نشاں فرقہ پرستی کا
نشاں تک بھی نہ پاؤگے وگرنہ اپنی ہستی کا
ہمیں فرقہ پرستی کو مِٹا دینے کی عجلت ہے
یہ عِلّت ہے، یہ ذِلّت ہے، یہ لعنت ہے، یہ نفرت ہے
۶
بڑا رُتبہ دیا ہے خیر سے قرآں نے اُلفت کو
رکھا ہے گرنتھ نے، گیتا نے بھی افضل محبّت کو
رہی اِنجیل، اُس نے بھی سراہا ہے اُخوّت کو
ہوا دیتے ہیں یہ قسمت کے ہیٹے پھر بھی نفرت کو
نہ رہبر ہے نہ منزل ان کی یہ ایسے مسافر ہیں
کسی مذہب میں ہوں یہ لوگ ہر مذہب میں کافر ہیں
۷
اُٹھیں مردِ مجاہد بن کے پیشانی پہ بل ڈالیں
اُٹھیں اپنا مقدّر اپنے ہاتھوں سے بدل ڈالیں
اُٹھیں فرقہ پرستوں کے ارادوں میں خلل ڈالیں
یہ خونی اژدہے ہیں آؤ ان کا سر کچل ڈالیں
سبھی قوموں کو رہنا ہے یہاں یہ دیش ہے سب کا
کوئی لڑنے نہ پائے نام لے کر دین و مذہب کا
۸
اہنسا کا یہیں پر درس فرمایہ ہے گاندھی نے
بہائی پریم کی گنگا یہیں نانک کی ہستی نے
مدھُر نغمے سُنائے ہیں یہیں موہن کی مُرلی نے
یہیں روحانیت کا نُور برسایا ہے چِشتی نے
محبّت اور رواداری کو مِل کر عام کرنا ہے
اِسی دھرتی پہ جینا ہے اِسی دھرتی پہ مرنا ہے
۹
زمیں پاؤں تلے اپنے ہو سر پر آسماں اپنا
بڑھے ہنستا ہنساتا سُوئے منزل کارواں اپنا
رہے قائم ہمیشہ شاخِ گُل پر آشیاں اپنا
یہ گُل اپنے یہ خار اپنے، یہ سارا گلستاں اپنا
مئے حُبّ وطن سے ہر بشر سرشار ہو جائے
مِلیں گر کوثر و گنگا تو بیڑا پار ہو جائے
फ़िर्क़ा परस्ती – मोहिन्दर सिंघ बेदी सहर
१
फ़िज़ाओं से बरस्ता है हर एक सू नग़्मा-ए शादी
मुबारक आप को, हम को हो सब को जश्न-ए आज़ादी
मगर मुझ को भी कहना हा यहां कुछ बन के फ़र्यादी
ये आज़ादी न बन जाए हमारी वजह बर्बादी
अभि होश्यार रहना है हमें इन चीरा-दस्तों से
बचाना है अभी इस देस को फ़िर्क़ा परस्तों से
२
ये अपनी फ़ित्रत-ए शर से बहुत मज्बूर होते हैं
लगा कर आग नफ़्रत कि ये ख़ुद काफ़ूर होते हैं
लड़ा कर ख़ल्क़ को आपस में ये मस्रूर होते हैं
मगर जब लोग मरते हैं ये कोसों दूर होते हैं
कोई उक्साए मरने मारने पर और मरे कोई
सितम कि बात है यारो करे कोई भरे कोई
३
कोई जो मा’एल-ए फ़र्याद हो, उन कि बला से, हो
कोई जो ख़ानुमा-बर्बाद हो, उन कि बला से, हो
कोई जो कुश्ता-ए जल्लाद हो, उन कि बला से, हो
अगर ताज़ा सितम ईजाद हो, उन कि बला से, हो
अगर मरते हैं मर जाएँ हज़ारों लोग बल्वे से
उन्हें है काम मांडे से उन्हें है काम हल्वे से
४
गुरेज़ इन से करो ये दुश्मन-ए जां, दुशम-ए दिल हैं
हटा दो राह से इन को ये सद्द-ए राह-ए मंज़िल हैं
इन्हें पहचान लो ये देश के आ’दा में शामिल हैं
लुटेरे हैं, ये डाकू हैं, ये रहज़न हैं, ये क़ातिल हैं
बुज़ुर्गों का न पास इन को न कुछ औलाद कि ख़ातीर
ये क़त्ल-ए आम करवा देंगे ‘ज़िन्दा-बाद’ कि ख़ातीर
५
हमें कुछ ग़म नहीं है रोज़ ओ शब कि फ़ाक़ा-मस्ती का
न हो अपनी बला से कुछ मदावा तंग-दस्ती का
मिटाना है मगर नाम ओ निशां फ़िर्क़ा परस्ती का
निशां भी तक न पाओगे वगरना अपनी हस्ती का
हमें फ़िर्क़ा परस्ती को मिटा देने कि उज्लत है
ये इल्लत है, ये ज़िल्लत है, ये ला’नत है, ये नफ़्रत है
६
बड़ा रुतबा दिया है ख़ैर से क़ुर’आं ने उल्फ़त को
रखा है ग्रन्थ ने, गीता ने भी, अफ़्ज़ल मोहब्बत को
रही इंजील, उस ने भी सराहा है उख़व्वत को
हवा देते हैं ये क़िस्मत के हेटे फिर भी नफ़्रत को
न रहबर है, न मंज़िल इन कि, ये ऐसे मुसाफ़िर हैं
किसी मज़्हब में हों, ये लोग हर मज़्हब में काफ़िर हैं
७
उठें मर्द-ए मुजाहिद बन के, पेशानी पे बल डालें
उठें अपना मुक़द्दर अपने हाथौं से बदल डालें
उठें फ़िर्क़ा-परस्तों के इरादों में ख़लल डालें
ये ख़ूनी अज़्श्दहे हैं आऔ इन के सर कुचल डालें
सभी क़ौमों को रहना है यहां ये देश है अपना
कोई लड़ने न पाए नाम ले कर दीन ओ मज़्हब का
८
अहिंसा का यहीं पर दर्स फ़रमाया है गांधी ने
बहाई परें कि गंगा यहीं नानक कि हस्ती ने
मधुर नग़्मे सुनाये हैं यहीं मोहन कि मुरली ने
यहीं रूहानियत का नूर बरसाया है चिश्ती ने
मोहब्बत और रवादारी को मिल कर आम करना है
इसी धरती पे जीना है, इसी धरती पे मरना है
९
ज़मीं पाऊं तले अपनी हो, सर पर आस्मां अपना
बढ़े हँसता हंसाता सू-ए मंज़िल कारवाँ अपना
रहे क़ाएम हमेशा शाख़-ए गुल पर आशियाँ अपना
ये गुल अपने, ये ख़ार अपने, ये सारा गुल्सितां अपना
मै-ए हुब्ब-ए वतन से हर बशर सरशार हो जाए
मिलें गर कौसर ओ गंगा तो बेड़ा पार हो जाए
Click here for background and on any passage for word meanings and explanatory discussion. kuNwar mohindar singh bedi sahr (1909-1992) had to migrate to the Indian side after partition. In his writings he has reached across religious lines, writing odes to islamic as well hindu figures and writing forcefully about communal harmony as well as peace between India and pakistan, visiting pakistan numerous times and participating in mushaa’era and other literary events.
1
fizaauN1 se barasta2 hai har ek soo3 naGhma-e-shaadi4mubaarak aap ko, hum ko, sub ko, jashn-e-aazadi5magar mujh ko bhi kahna hai yahaaN kuchh ban ke faryaadi6ye aazadi na ban jaaye hamaari vajah7 barbaadi8abhi hoshiyaar9 rahna hai hameN in cheera-dastauN10 se
bachaana hai abhi is des ko firqa-parastauN11 se 1.atmosphere, ambience 2.raining 3.direction 4.festive music 5.celebration of independence 6.petitioner 7.reason, cause 8.destruction 9.careful 10.hands that tear apart 11.communalists
In all directions, I hear festive music. Good wishes to all of us on this celebration of independence. But I have to say something as an appeal/petition, that this not become a cause of our own destruction. We have to be careful of those who want to tear us apart. We have to save this country from communalists.
2
ye apni fitrat1-e shar2 se bahut majboor3 hote haiN
laga kar aag nafrat4 ki ye Khud kaafoor-hote5 haiN
laRa kar Khalq6 ko aapas meN ye masroor7 hote haiN
magar jab log marte haiN ye kosauN duur hote haiN
koii uksaaye8 marne maarne par aur mare koii
sitam9 ki baat hai yaaro kare koii bhare koii 1.nature 2.evil 3.bound by 4.hatred 5.kaafoor hona is a saying used to mean disappear, abscond 6.creation, people 7.happy, gleeful 8.incite 9.injustice
They (communalists) are bound by their own evil nature. They start a fire of hatred and abscond. They are gleeful at getting people to fight each other, but when others get killed, they are safe, far away. Someone incites on murder and mayhem and someone else dies. It is not justice, my friends that one makes mischief and someone else pays for it.
3
koii jo maa’el1-e faryaad2 ho, un ki balaa3 se, ho
koii jo Khaanuma-barbaad4 ho, un ki balaa se ho
koii jo kushta5-e jallaad6 ho, un ki balaa se, ho
agar7 taaza8 sitam9 eejaad10 ho, un ki balaa se, ho
agar marte haiN mar jaayeN hazaarauN log balve11 se
unheN hai kaam maanDe12 se, unheN hai kaan halve se 1.inclined to, ready to 2.appeal 3.an expression used to mean, “they don’t care” 4.destroyed home 5.hurt by 6.oppressor 7.if 8.new 9.cruelties 10.invented 11.riots 12.bread
If someone begs for mercy, they don’t care. If someone’s home is destroyed, they don’t care. If someone is hurt by oppression, they don’t care. If new cruelties are invented, they don’t care. If thousands of people get killed in riots, so be it. They only care about their own bread and sweets.
4
gurez1 in se karo ye dushman-e jaaN, dushman-e dil haiN
haTa do raah2 se in ko ye sadd3-e raah-e manzil4 haiN
inheN pahchaan lo ye desh ke aa’da5 meN shaamil6 haiN
luTere haiN, ye Daaku haiN, ye rahzan7 haiN, ye qaatil8 haiN
buzurgauN9 ka na paas10 in ko na kuchh aulad11 ki Khaatir12ye qatl-e-aam13 karva deN ge ‘zindabaad’14 ki Khaatir 1.stay away 2.path 3.obstruction 4.destination 5.enemies 6.included 7.highwaymen 8.killers 9.elders 10.consideration 11.children 12.care of, for the sake of 13.mass murder 14.used here to mean sloganeering
Stay away from them (communalists). they are enemies of heart and soul. Remove them from the path, they are obstruction in the way of our destination. Beware of them, they are listed among the enemies of the country. They are looters, robbers and murderers. They have no consideration for the old, nor concern for the young. They will cause mass murder for the sake of sloganeering.
5
hameN kuchh Gham1 nahiN hai roz-o-shab2 ki faaqa-masti3 ka
na ho apni balaa4 se kuchh madaava5 taNg-dasti6 ka
miTaana hai magar naam o nishaaN firqa-parasti ka
nishaaN bhi tak na paaoge vagarna7 apni hasti8 ka
hameN firqa-parasti ko miTa dene ki ujlat9 hai
ye illat10 hai, ye zillat11 hai, ye laa’nat12 hai, ye nafrat13 hai 1.sorrow, worry 2.day and night 3.starvation 4.used to mean, ‘we don’t care’ 5.cure 6.limited means, poverty 7.otherwise 8.existence, survival 9.urgency 10.disease 11.disgrace 12.curse 13.hatred
We are not worried about our daily meal. We do not care if there is no cure of our poverty. But we have to erase the very root of communalism. Otherwise our very survival is at stake. It is urgent that we get rid of communalism. It is a disease, a disgrace, a curse and hateful.
6
baRa rutba1 diya hai Khair2 se qur’aaN ne ulfat3 ko
rakha hai granth4 ne, geeta ne bhi, afzal5 mohabbat ko
rahi injeel6, us ne bhi saraaha7 hai uKhavvat8 ko
havaa9 dete haiN ye qismat ke heTe10 phir bhi nafrat ko
na rahbar11 hai, na manzil12 in ki, ye aise musaafir13 haiN
kisi mazhab meN hoN, ye log har mazhab meN kaafir14 haiN 1.status 2.blessing 3.love 4.book (of sikhism) 5.superior 6.Bible 7.praised 8.brotherhood 9.fan (as in fanning flames) 10.left behind by fate, ill-fated 11.guide, leader 12.goal 13.travelers (on the path of life) 14.used here to mean sinners, transgressors
It is a blessing the qur’aan has given high status to love. The sikh and hindu sacred books too consider love to be superior. The Bible too, praises brotherhood. Even so these ill-fated communalists fan the flames of hatred. There is no obvious guide, no goal, they merely live. They are transgressors in every faith.
7
uTheN mard1-e mujaahid2 ban ke, peshaani pe bal3 DaaleN
uTheN apna muqaddar4 apne haathauN se badal DaaleN
uTheN firqa-parastauN ke iraadauN5 meN Khalal6 DaaleN
ye Khooni azshdahe7 haiN aao in ke sar kuchal DaaleN
sabhi qaumauN ko rahna hai yahaaN ye desh hai apna
koii laRne na paaye naam le kar deen o mazhab ka 1.used in the sense of ‘brave’ 2.fighter, one who strives 3.wrinkled brow showing anger/displeasure 4.fate 5.purpose, scheme 6.obstruction, stop 7.dragons
Let us rise, striving bravely, showing our displeasure and take our fate in our own hands. Let us stop the schemes of these communalists. They are blood-thirsty dragons, let us smash their heads. All communities have to live here, this is our homeland. Let no one fight in the name of faith and religion.
8
ahimsa1 ka yahiN par dars2 farmaaya3 hai gandhi ne
bahaaii4 prem ki gaNga yahiN nanak ki hasti5 ne
madhur6 naGhme7 sunaaye haiN yahiN mohan8 ki murli9 ne
yahiN roohaaniyat10 ka noor11 barsaaya12 hai chishti13 ne
mohabbat aur ravaadaari14 ko mil kar aam15 karna hai
isi dharti16 pe jeena hai, isi dharti pe marna hai 1.non-violence 2.lesson 3.spoke 4.flow 5.person 6.sweet 7.songs 8.another name of krishn 9.flute 10.spirituality 11.light 12.rained 13.sufi scholar moinuddin chishti (1142–1236) 14.tolerance 15.common 16.earth, land
This is where gandhi gave the lesson of non-violence, where nanak made rivers of love flow and krishn played songs of love on his flute. It is here that chishti shone the light of spirituality. Together we have to spread the message of love and tolerance. This is the land on which we have to live and to die.
9
zamiN paa’ooN tale1 apni ho, sar par aasmaaN apna
baRhe haNsta haNsaata soo2-e manzil3 kaarvaaN apna
rahe qaa’em4 hamesha shaaKh-e gul par aashiyaaN5 apna
ye gul apne, ye Khaar6 apne, ye saara gulsitaaN apna
mai7-e hubb8-e vatan9 se har bashar10 sarshaar11 ho jaaye
mileN gar kausar12 o gaNga to beRa paar ho jaaye 1.underneath 2.direction 3.destination, goal 4.permanent 5.nest 6.thorns 7.wine 8.love 9.homeland 10.human 11.satiated, fulfilled 12.river in heaven
May the land underneath our feet be ours (free), and the sky overhead too. May our caravan proceed towards its goal, laughing and spreading cheer. May our nest (home) always be protected on our branch (homeland). May these flowers, thorns and gardens all belong to us (freedom). May everyone in the homeland be satiated with the wine of love of homeland. If kauser (representative of muslims) and gaNga (representative of hindus) mingle, then our fortune is made.
kuNwar mohindar singh bedi sahr (1909-1992) had to migrate to the Indian side after partition. In his writings he has reached across religious lines, writing odes to islamic as well hindu figures and writing forcefully about communal harmony as well as peace between India and pakistan, visiting pakistan numerous times and participating in mushaa’era and other literary events.
1
fizaauN1 se barasta2 hai har ek soo3 naGhma-e-shaadi4mubaarak aap ko, hum ko, sub ko, jashn-e-aazadi5magar mujh ko bhi kahna hai yahaaN kuchh ban ke faryaadi6ye aazadi na ban jaaye hamaari vajah7 barbaadi8abhi hoshiyaar9 rahna hai hameN in cheera-dastauN10 se
bachaana hai abhi is des ko firqa-parastauN11 se
1.atmosphere, ambience 2.raining 3.direction 4.festive music 5.celebration of independence 6.petitioner 7.reason, cause 8.destruction 9.careful 10.hands that tear apart 11.communalists
In all directions, I hear festive music. Good wishes to all of us on this celebration of independence. But I have to say something as an appeal/petition, that this not become a cause of our own destruction. We have to be careful of those who want to tear us apart. We have to save this country from communalists.
2
ye apni fitrat1-e shar2 se bahut majboor3 hote haiN
laga kar aag nafrat4 ki ye Khud kaafoor-hote5 haiN
laRa kar Khalq6 ko aapas meN ye masroor7 hote haiN
magar jab log marte haiN ye kosauN duur hote haiN
koii uksaaye8 marne maarne par aur mare koii
sitam9 ki baat hai yaaro kare koii bhare koii
1.nature 2.evil 3.bound by 4.hatred 5.kaafoor hona is a saying used to mean disappear, abscond 6.creation, people 7.happy, gleeful 8.incite 9.injustice
They (communalists) are bound by their own evil nature. They start a fire of hatred and abscond. They are gleeful at getting people to fight each other, but when others get killed, they are safe, far away. Someone incites on murder and mayhem and someone else dies. It is not justice, my friends that one makes mischief and someone else pays for it.
3
koii jo maa’el1-e faryaad2 ho, un ki balaa3 se, ho
koii jo Khaanuma-barbaad4 ho, un ki balaa se ho
koii jo kushta5-e jallaad6 ho, un ki balaa se, ho
agar7 taaza8 sitam9 eejaad10 ho, un ki balaa se, ho
agar marte haiN mar jaayeN hazaarauN log balve11 se
unheN hai kaam maanDe12 se, unheN hai kaan halve se
1.inclined to, ready to 2.appeal 3.an expression used to mean, “they don’t care” 4.destroyed home 5.hurt by 6.oppressor 7.if 8.new 9.cruelties 10.invented 11.riots 12.bread
If someone begs for mercy, they don’t care. If someone’s home is destroyed, they don’t care. If someone is hurt by oppression, they don’t care. If new cruelties are invented, they don’t care. If thousands of people get killed in riots, so be it. They only care about their own bread and sweets.
4
gurez1 in se karo ye dushman-e jaaN, dushman-e dil haiN
haTa do raah2 se in ko ye sadd3-e raah-e manzil4 haiN
inheN pahchaan lo ye desh ke aa’da5 meN shaamil6 haiN
luTere haiN, ye Daaku haiN, ye rahzan7 haiN, ye qaatil8 haiN
buzurgauN9 ka na paas10 in ko na kuchh aulad11 ki Khaatir12ye qatl-e-aam13 karva deN ge ‘zindabaad’14 ki Khaatir
1.stay away 2.path 3.obstruction 4.destination 5.enemies 6.included 7.highwaymen 8.killers 9.elders 10.consideration 11.children 12.care of, for the sake of 13.mass murder 14.used here to mean sloganeering
Stay away from them (communalists). they are enemies of heart and soul. Remove them from the path, they are obstruction in the way of our destination. Beware of them, they are listed among the enemies of the country. They are looters, robbers and murderers. They have no consideration for the old, nor concern for the young. They will cause mass murder for the sake of sloganeering.
5
hameN kuchh Gham1 nahiN hai roz-o-shab2 ki faaqa-masti3 ka
na ho apni balaa4 se kuchh madaava5 taNg-dasti6 ka
miTaana hai magar naam o nishaaN firqa-parasti ka
nishaaN bhi tak na paaoge vagarna7 apni hasti8 ka
hameN firqa-parasti ko miTa dene ki ujlat9 hai
ye illat10 hai, ye zillat11 hai, ye laa’nat12 hai, ye nafrat13 hai
1.sorrow, worry 2.day and night 3.starvation 4.used to mean, ‘we don’t care’ 5.cure 6.limited means, poverty 7.otherwise 8.existence, survival 9.urgency 10.disease 11.disgrace 12.curse 13.hatred
We are not worried about our daily meal. We do not care if there is no cure of our poverty. But we have to erase the very root of communalism. Otherwise our very survival is at stake. It is urgent that we get rid of communalism. It is a disease, a disgrace, a curse and hateful.
6
baRa rutba1 diya hai Khair2 se qur’aaN ne ulfat3 ko
rakha hai granth4 ne, geeta ne bhi, afzal5 mohabbat ko
rahi injeel6, us ne bhi saraaha7 hai uKhavvat8 ko
havaa9 dete haiN ye qismat ke heTe10 phir bhi nafrat ko
na rahbar11 hai, na manzil12 in ki, ye aise musaafir13 haiN
kisi mazhab meN hoN, ye log har mazhab meN kaafir14 haiN
1.status 2.blessing 3.love 4.book (of sikhism) 5.superior 6.Bible 7.praised 8.brotherhood 9.fan (as in fanning flames) 10.left behind by fate, ill-fated 11.guide, leader 12.goal 13.travelers (on the path of life) 14.used here to mean sinners, transgressors
It is a blessing the qur’aan has given high status to love. The sikh and hindu sacred books too consider love to be superior. The Bible too, praises brotherhood. Even so these ill-fated communalists fan the flames of hatred. There is no obvious guide, no goal, they merely live. They are transgressors in every faith.
7
uTheN mard1-e mujaahid2 ban ke, peshaani pe bal3 DaaleN
uTheN apna muqaddar4 apne haathauN se badal DaaleN
uTheN firqa-parastauN ke iraadauN5 meN Khalal6 DaaleN
ye Khooni azshdahe7 haiN aao in ke sar kuchal DaaleN
sabhi qaumauN ko rahna hai yahaaN ye desh hai apna
koii laRne na paaye naam le kar deen o mazhab ka
1.used in the sense of ‘brave’ 2.fighter, one who strives 3.wrinkled brow showing anger/displeasure 4.fate 5.purpose, scheme 6.obstruction, stop 7.dragons
Let us rise, striving bravely, showing our displeasure and take our fate in our own hands. Let us stop the schemes of these communalists. They are blood-thirsty dragons, let us smash their heads. All communities have to live here, this is our homeland. Let no one fight in the name of faith and religion.
7
ahimsa1 ka yahiN par dars2 farmaaya3 hai gandhi ne
bahaaii4 prem ki gaNga yahiN nanak ki hasti5 ne
madhur6 naGhme7 sunaaye haiN yahiN mohan8 ki murli9 ne
yahiN roohaaniyat10 ka noor11 barsaaya12 hai chishti13 ne
mohabbat aur ravaadaari14 ko mil kar aam15 karna hai
isi dharti16 pe jeena hai, isi dharti pe marna hai
1.non-violence 2.lesson 3.spoke 4.flow 5.person 6.sweet 7.songs 8.another name of krishn 9.flute 10.spirituality 11.light 12.rained 13.sufi scholar moinuddin chishti (1142–1236) 14.tolerance 15.common 16.earth, land
This is where gandhi gave the lesson of non-violence, where nanak made rivers of love flow and krishn played songs of love on his flute. It is here that chishti shone the light of spirituality. Together we have to spread the message of love and tolerance. This is the land on which we have to live and to die.
9
zamiN paa’ooN tale1 apni ho, sar par aasmaaN apna
baRhe haNsta haNsaata soo2-e manzil3 kaarvaaN apna
rahe qaa’em4 hamesha shaaKh-e gul par aashiyaaN5 apna
ye gul apne, ye Khaar6 apne, ye saara gulsitaaN apna
mai7-e hubb8-e vatan9 se har bashar10 sarshaar11 ho jaaye
mileN gar kausar12 o gaNga to beRa paar ho jaaye
1.underneath 2.direction 3.destination, goal 4.permanent 5.nest 6.thorns 7.wine 8.love 9.homeland 10.human 11.satiated, fulfilled 12.river in heaven
May the land underneath our feet be ours (free), and the sky overhead too. May our caravan proceed towards its goal, laughing and spreading cheer. May our nest (home) always be protected on our branch (homeland). May these flowers, thorns and gardens all belong to us (freedom). May everyone in the homeland be satiated with the wine of love of homeland. If kauser (representative of muslims) and gaNga (representative of hindus) mingle, then our fortune is made.
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For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
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Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شبِ تار رہے گی کب تک – جوشؔ ملیح آبادی
۱
فقہ کی گرمیِ بازار رہے گی کب تک
دستِ مجذوب میں تلوار رہے گی کب تک
۲
سازِ تحقیق سے نکلے گی نہ تا کئے آواز
تارِ تقلید میں جھنکار رہے گی کب تک
۳
زہن کے پاؤں کی زنجیر کٹے گی کس روز
سر پہ گرتی ہوئی دیوار رہے گی کب تک
۴
مُردہ اقوال کے سیلے ہوئے تہ خانوں میں
زندگی نقش بہ دیوار رہے گی کب تک
۵
قصرِ افکار پہ اسلاف کے گھن کی آواز
ذہنِ اخلاف کی معمار رہے گی کب تک
۶
جس کے گاہک مہ و خورشید ہیں آخر وہ نگاہ
سنگ ریزوں کی خریدار رہیگی کب تک
۷
جنسِ کاسِد کو گھنی چھاؤں میں رکھنے والو
دھوپ میں دولتِ بیدار رہیگی کب تک
۸
نور کو خضر کا منصب نہ ملے گا تاچند
تیرگی قافلہ سالار رہے گی کب تک
۹
آخر اِس معرکۂ نفس کُشی کی رو میں
قوم کی قوم خور آزار رہے گی کب تک
۱۰
دامِ باطل سے جو اِنساں کو چھڑا سکتی ہے
پا بہ زنجیر وہ گفتار رہے گی کب تک
۱۱
بول ائے خسروِ اِنصاف کہ گل بانگِ شعور
مستحقِ رسن و دار رہے گی کب تک
۱۲
پیشِ زُہاد جنوں یشہ و شمشیر بکف
سر نگوں جراؑتِ اِنکار رہے گی کب تک
۱۳
ائے امیرِ اُفق و داورِ صبح تاباں
یہ گھٹا ٹوپ شبِ تار رہے گی کب تک
۱۴
آخر اِس آدمِ سر خفتہ کی پیشانی پر
شکنِ سبّحہ و زُنّار رہے گی کب تک
۱۵
اے میرے ولولۂ وحدتِ نوعِ اِنساں
مُلک و مِلّت پہ یہ تکرار رہے گی کب تک
۱۶
لے، یہ سر رشتہ کونین ہے، ائے ذوقِ جدل
آخر آپس میں یہ پیکار رہے گی کب تک
शब-ए तार रहेगी कब तक – जोश मलीहाबादी
१
फ़िक़ की गर्मी-ए बाज़ार रहे गी कब तक
दस्त-ए मज्ज़ूब में तल्वार रहे गी कब तक
२
साज़-ए तहक़ीक़ से निकले गी ना ता कै आवाज़
तार-ए ताक़लीद में झंकार रहे गी कब तक
३
ज़हन के पाऊँ में ज़ंजीर रहे गी कब तक
सर पे गिरती हुई दीवार रहे गी कब तक
४
मुर्दा अक़्वाल के सीले हुए तहख़ानों में
ज़िन्दगी नक़्श ब दीवार रहे गी कब तक
५
क़स्र-ए अफ़्कार पर अस्लाफ़ के घन की आवाज़
ज़हन-ए अख़्लाफ़ की मे’मार करे गी कब तक
६
जिस के गाहक मह ओ ख़ुर्शीद हैं आख़िर वो निगाह
संग रेज़ों की ख़रीदार रहे गी कब तक
७
जिन्स-ए कासिद को घनी छाओं में रखने वालो
धूप में दौलत-ए बेदार रहे गी कब तक
८
नूर को ख़िज़्र का मनसब ना मिलेगा ता चंद
तीरगी क़ाफ़ेला सालार रहे गी कब तक
९
आख़ेर इस मा’रेका-ए नफ़्स कुशी की रौ में
क़ौम की क़ौम ख़ुर-आज़ार रहेगी कब तक
१०
दाम-ए बातिल से जो इंसां को छुढा सकती है
पा ब ज़ंजीर वो गुफ़्तार रहेगी कब तक
११
बोल अए ख़ुस्रव-ए इंसाफ़ के गुल बांग-ए श’ऊर
मुस्तहक़-ए रसन ओ दार रहेगी कब तक
१२
पेश-ए ज़ुहाद-ए जुनूं पेशा ओ शमशीर बकफ़
सर निगूँ जुर’अत-ए इंकार रहेगी कब तक
१३
अए अमीर-ए उफ़क़ ओ दावर-ए सुबह ताबाँ
ये घटाटोप शब-ए तार रहेगी कब तक
१४
आख़िर इस आदम-ए सर ख़ुफ़्ता की पेशानी पर
शिकन-ए सुब्बह ओ ज़ुन्नार रहेगी कब तक
१५
अए मेरे वलवला-ए वहदत-ए नौ-ए इन्सां
मुल्क ओ मिल्लत पे ये तक्रार रहेगी कब तक
१६
ले, ये सर-रिश्ता-ए कौनैन है, अए ज़ौक़-ए जदल
आख़िर आपस में ये पैकार रहेगी कब तक
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy.
1
fiq’h1 ki garmi-e bazaar2 rahe gi kab tak
dast-e majzuub3 meN talwaar rahe gi kab tak 1.religious law, Islamic fatwa 2.brisk trade, demand, acceptance 3.hand of the madman
How long will we accept/deal in these bizarre diktats, how long will foolish men be allowed to hold a sword over our heads.
2
saaz-e tahqiiq4 se nikle gi na ta ka’e5 aavaaz
taar-e taqliid6 meN jhankaar rahe gi kab tak 4.lute of inquiry 5.how long 6.string (musical) of blind followership
How long will the joyous music of enquiry be silenced, how long will the benumbing chorus of blind faith continue to resonate?
3
zahn1 ke paauN meN zanjiir rahe gi kab tak
sar pe girti hui diivaar rahe gi kab tak 1.mind, reason
When will Reason break out of its fetters? How long do we have to suffer the threat of walls crashing on our heads?
4
murda aqvaal2 ke seele hue3 tah KhaanoN4 meN
zindagi naqsh ba diivaar5 rahe gi kab tak 2.dead/obsolete sayings/pronouncements (fatwa) 3.rotten 4.basements (dark rooms), dungeons 5.etching on the wall, spectator
In the rotting dungeons of outdated belief, how long will Life remain passive/frozen, like a painting on the wall?
5
qasr-e afkaar1 par aslaaf2 ke ghan3 ki aavaaz
zahn-e aKhlaaf4 ki me’maar5 kare gi kab ta 1.palace/castle of reason 2.ancestors 3.hammer, blow 4.mind/reason of the progeny 5.architect
How long will the sledgehammer of ancestors descend upon their progeny to box in their minds/reason?
6
jis ke gaahak mah o Khurshiid6 haiN aaKhir7 vo nigaah8sang-rezauN9 ki Kharidaar rahe gi kab ta 6.moon and sun 7.for how long 8.vision 9.pebbles
The vision that even the heavens seek to own, how long will it be condemned to picking pebbles on the earth?
7
jins-e kaasid1 ko ghani chhaaoN2 meN rakhne vaalo
dhoop3 meN daulat-e bedaar4 rahe gi kab ta 1.fake ingredients 2.dense shadow (protective) 3.sunlight, fierce exposure 4.wealth of wakefulness/awareness (knowledge, reason)
How long will deceptions (fake ingredients) remain protected. How long will Reason suffer torment in the heat of the sun?
8
noor5 ko Khizr6 ka mansab7 na milega taa chand8teeragi9 qaafila saalaar10 rahe gi kab ta 5.light 6.legendary old man who knows everything and is a guide 7.responsibility, office 8.until when 9.darkness 10.caravan leader
How long will sanity be denied the right to guide. How long will blind allegiance continue to lead?
11
bol aye Khusrav-e insaaf1 ke gul baang2-e sha’uur3mustahaq4-e rasan o daar5 rahegi kab ta 1.lord of justice 2.song, trumpet, declaration 3.wisdom 4.deserving
5.noose and gallows
Tell me O Lord of Justice, how long will the right to think be viewed as deserving of the hangman’s noose?
12
pesh-e zuhaad6-e junuuN pesha7 o shamshir bakaf8sar niguuN9 jura’at-e inkaar10 rahegi kab ta 6.before the sanctimonious, religious 7.professional madmen 8.sword in hand 9.heads bowed 10.courage of denial/refusal
How long will the courage of denial remain meekly bowed before the madness-purveying, sword weilding preacher?
13
aye ameer-e ufaq1 o daavar-e subah taabaaN2ye ghaTaTop3 shab-e taar4 rahegi kab ta 1.lord of the horizons, skies 2.lord of the bright dawn 3.dense darkness 4.dark night
O lord of the skies, king of the brightness of dawn (josh is referring to human capabilities – human beings) how long with this dense dark night prevail?
14
aaKhir is aadam5-e sar Khufta6 ki peshaani7 par
shikan8-e subbah9 o zunnaar10 rahegi kab ta 5.Adam, man, human 6.hidden head, unused mind 7.forehead, brow 8.wrinkle 9.Islamic prayer beads, tasbih 10.Hindu holy thread, janev
How long will the brow of this somnolent/sleeping man remain wrinkled by the press of religion and faith?
15
aye mere valvala1-e vahdat2-e nau-e insaaN3mulk4 o millat5 pe ye takraar6 rahegi kab ta 1.enthusiasm, passion 2.one-ness, equality 3.human species 4.country 5.community 6.dispute
O, my passion for the one-ness of humanity, I ask, how long will my homeland’s perpetual internecine dispute last?
16
le, ye sar-rishta7-e kaunain8 hai, aye zauq-e jadal9aaKhir aapas meN ye paikaar10 rahegi kab ta 7.main connection, best path 8.two worlds, here and hereafter, salvation 9.taste/desire for war 10.conflict
The “ye-this” in the first misra is the poet’s “passion for the one-ness of humanity”. O, you conflict lovers, take/accept “this”, this is the best path to salvation. How long will this mutual animosity last
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy.
1
fiq’h1 ki garmi-e bazaar2 rahe gi kab tak
dast-e majzuub3 meN talwaar rahe gi kab tak
1.religious law, Islamic fatwa 2.brisk trade, demand, acceptance 3.hand of the madman
How long will we accept/deal in these bizarre diktats, how long will foolish men be allowed to hold a sword over our heads.
2
saaz-e tahqiiq4 se nikle gi na ta ka’e5 aavaaz
taar-e taqliid6 meN jhankaar rahe gi kab tak
4.lute of inquiry 5.how long 6.string (musical) of blind followership
How long will the joyous music of enquiry be silenced, how long will the benumbing chorus of blind faith continue to resonate?
3
zahn1 ke paauN meN zanjiir rahe gi kab tak
sar pe girti hui diivaar rahe gi kab tak
1.mind, reason
When will Reason break out of its fetters? How long do we have to suffer the threat of walls crashing on our heads?
4
murda aqvaal2 ke seele hue3 tah KhaanoN4 meN
zindagi naqsh ba diivaar5 rahe gi kab tak
2.dead/obsolete sayings/pronouncements (fatwa) 3.rotten 4.basements (dark rooms), dungeons 5.etching on the wall, spectator
In the rotting dungeons of outdated belief, how long will Life remain passive/frozen, like a painting on the wall?
5
qasr-e afkaar1 par aslaaf2 ke ghan3 ki aavaaz
zahn-e aKhlaaf4 ki me’maar5 kare gi kab tak
1.palace/castle of reason 2.ancestors 3.hammer, blow 4.mind/reason of the progeny 5.architect
How long will the sledgehammer of ancestors descend upon their progeny to box in their minds/reason?
6
jis ke gaahak mah o Khurshiid6 haiN aaKhir7 vo nigaah8sang-rezauN9 ki Kharidaar rahe gi kab tak
6.moon and sun 7.for how long 8.vision 9.pebbles
The vision that even the heavens seek to own, how long will it be condemned to picking pebbles on the earth?
7
jins-e kaasid1 ko ghani chhaaoN2 meN rakhne vaalo
dhoop3 meN daulat-e bedaar4 rahe gi kab tak
1.fake ingredients 2.dense shadow (protective) 3.sunlight, fierce exposure 4.wealth of wakefulness/awareness (knowledge, reason)
How long will deceptions (fake ingredients) remain protected. How long will Reason suffer torment in the heat of the sun?
8
noor5 ko Khizr6 ka mansab7 na milega taa chand8teeragi9 qaafila saalaar10 rahe gi kab tak
5.light 6.legendary old man who knows everything and is a guide 7.responsibility, office 8.until when 9.darkness 10.caravan leader
How long will sanity be denied the right to guide. How long will blind allegiance continue to lead?
9
aaKhir is ma’arika1-e nafs kushi2 ki rau3 meN
qaum4 ki qaum Khur5 aazaar6 rahegi kab tak
1.battle 2.soul/life killing, life sapping 3.flow 4.community 5.short for Khurshid – sun, light, knowledge 6.sick for, denied access to
In the flow/movement of this soul sapping war, how long will humankind be denied the light of Reason?
10
daam-e baatil7 se jo insaaN ko chhuRa sakti hai
pa ba zanjir8 vo guftaar9 rahegi kab tak
7.web/trap of falsehood 8.leg in chains 9.discussion
That which can liberate man from the trap of superstition, how long will that discourse remain enchained?
11
bol aye Khusrav-e insaaf1 ke gul baang2-e sha’uur3mustahaq4-e rasan o daar5 rahegi kab tak
1.lord of justice 2.song, trumpet, declaration 3.wisdom 4.deserving
5.noose and gallows
Tell me O Lord of Justice, how long will the right to think be viewed as deserving of the hangman’s noose?
12
pesh-e zuhaad6-e junuuN pesha7 o shamshir bakaf8sar niguuN9 jura’at-e inkaar10 rahegi kab tak
6.before the sanctimonious, religious 7.professional madmen 8.sword in hand 9.heads bowed 10.courage of denial/refusal
How long will the courage of denial remain meekly bowed before the madness-purveying, sword weilding preacher?
13
aye ameer-e ufaq1 o daavar-e subah taabaaN2ye ghaTaTop3 shab-e taar4 rahegi kab tak
1.lord of the horizons, skies 2.lord of the bright dawn 3.dense darkness 4.dark night
O lord of the skies, king of the brightness of dawn (josh is referring to human capabilities – human beings) how long with this dense dark night prevail?
14
aaKhir is aadam5-e sar Khufta6 ki peshaani7 par
shikan8-e subbah9 o zunnaar10 rahegi kab tak
5.Adam, man, human 6.hidden head, unused mind 7.forehead, brow 8.wrinkle 9.Islamic prayer beads, tasbih 10.Hindu holy thread, janev
How long will the brow of this somnolent/sleeping man remain wrinkled by the press of religion and faith?
15
aye mere valvala1-e vahdat2-e nau-e insaaN3mulk4 o millat5 pe ye takraar6 rahegi kab tak
1.enthusiasm, passion 2.one-ness, equality 3.human species 4.country 5.community 6.dispute
O, my passion for the one-ness of humanity, I ask, how long will my homeland’s perpetual internecine dispute last?
16
le, ye sar-rishta7-e kaunain8 hai, aye zauq-e jadal9aaKhir aapas meN ye paikaar10 rahegi kab tak
7.main connection, best path 8.two worlds, here and hereafter, salvation 9.taste/desire for war 10.conflict
The “ye-this” in the first misra is the poet’s “passion for the one-ness of humanity”. O, you conflict lovers, take/accept “this”, this is the best path to salvation. How long will this mutual animosity last?
The post shab-e taar rahegi kab tak-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2023/04/jm-baar-baar-kareN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
بار بار کریں ۔ جوشؔ ملیح آبادی
۱
اُٹھو کہ مقدمِ رنگینیٔ بہار کریں
تمام ارض و سما کو ترانہ بار کریں
۲
دمک رہا ہے سروں پر ستارۂ سحری
اُٹھو کہ نعرۂ ہُو سے کشودِ کار کریں
۳
خود اپنی موجِ نفس سے کھِلائیں غنچہ و گُل
خرامِ بادِ صبا کا نہ اِنتظار کریں
۴
اُٹھو کہ کھول کے موبافِ گیسوئے جاناں
تمام روئے زمیں کو بنفشہ زار کریں
۵
سپر کی طرح اُٹھا کر صُراحیٔ مۓ ناب
چلو مقابلۂ تیغِ روزگار کریں
۶
عطا ہوئی ہے جو سرکارِ فن کے ایواں سے
اُس آبرو کو مہ و مہر پر سوار کریں
۷
کیا تھا خُلد میں آدم نے جو گُناہِ جمیل
اعادہ اُس کا کریں اور بار بار کریں
۸
اُٹھو کہ طنطنۂ کیقُباد و خُسرو کو
گدائے کوئے خرابات پر نِثار کریں
۹
جھکا وہ ابرِ بہاراں، چلی وہ بادِ شُمال
اُٹھو کہ جیب و گریباں کو تار تار کریں
۱۰
جبیں کو بخش کر انوارِ وجہِ ذُوالاکرام
خِضر کی شمع فروزاں کو شرمسار کریں
۱۱
اُٹھو کہ نوِعِ بشر کے فروغ کی خاطر
قضا سے گرمِ جدل ہوں، قدر پہ وار کریں
۱۲
محلّ مرگ میں تبلیغِ زندگی فرمائیں
مقامِ جبر میں اعلانِ اِختیار کریں
۱۳
جبینِ کاتبِ تقدیر پر شِکن پڑ جائے
جو عزمِ توبہ و طاعت، گُناہ گار کریں
۱۴
اُلوہیت ہو خروشاں جو ہم غرور دکھائیں
پیمبری ہو غزل خواں جو اِنکسار کریں
۱۵
اُٹھو کہ غلغلۂ چنگ و عود کی رو میں
طوافِ گُل کدۂِ جوشِؔ بادہ خوار کریں
बार बार करें – जोश मलीहाबादी
१
उठो के मक़्दम-ए रंगीनि-ए बहार करें
तमाम अर्ज़ ओ समा को तराना-बार करें
२
दमक रहा है सरों पर सितारा-ए सहरी
उठो के नारा-ए हू से कशूद-ए कार करें
३
ख़ुद अपनी मौज-ए नफ़स से खिलायें ग़ुंचा ओ गुल
ख़िराम-ए बाद-ए सबा का ना इंतेज़ार करें
४
उठो के खोल के मोबाफ़-ए गेसू-ए जानां
तमाम रू-ए ज़मीं को बनफ़्शा-ज़ार करें
५
सिपर कि तरह उठा कर सुराही-ए मै-ए नाब
चलो मुक़ाबला-ए तेग़-ए रोज़गार करें
६
अता हुई है जो सरकार-ए फ़न के ऐवां से
उस आब्रू को मह ओ महर पर सवार करें
७
किया था ख़ुल्द में आदम ने जो गुनाह-ए जमील
अ’आदा उस का करें और बार बार करें
८
उठो के तनतना-ए कैक़ोबाद ओ ख़ुस्रो को
गदा-ए कू-ए ख़राबात पर निसार करें
९
झुका वो अब्र-ए बहारां, चली वो बाद-ए शुमाल
उठो के जेब ओ गरेबां को तार तार करें
१०
जबीं को बख़्श कर अन्वार-ए वजह-ए ज़ु-अल-अक्राम
ख़िज़र की शमा-ए फ़रोज़ां को शर्मसार करें
११
उठो के नौ-ए बशर के फ़रोग़ की ख़ातिर
क़ज़ा से गर्म-ए जदल हों, क़दर पे वार करें
१२
महल्ल-ए मर्ग में तब्लीग़-ए ज़िंदगी फ़रमाएं
मक़ाम-ए जब्र में एलान-ए एख़्तियार करें
१३
जबीन-ए कातिब-ए तक़दीर पर शिकन पड़ जाए
जो आज़्म-ए तौबा ओ ता’अत, गुनाह-गार करें
१४
उलूहिय्यत हो ख़रोशां जो हम ग़रूर दिखाएं
पै’अम्बरी हो ग़ज़ल-ख़्वां जो इन्केसार करें
१५
उठो के ग़ुल्ग़ुला-ए चंग ओ ऊद की रौ में
तवाफ़-ए गुल कदा-ए जोश-ए बादा-खर करें
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) with a command of urdu, farsi and arabi and wide-ranging vocabulary has written romance, beauty, nature and resistance poetry in many formats – Ghazal, nazm, rubaaii and marsia. Here he is calling for change, sometimes asking the readers/audience to rise up for it, at other times addressing fellow poets.
1
uTho keh maqdam1-e raNgiini-e bahaar kareN
tamaam arz-o-sama2 ko taraana-baar3 kareN 1.welcome 2.earth and sky 3.singing
Rise and welcome the coming spring (re-birth, change, revolution). Let the whole earth and sky (world) break out into (rain down) joyous song.
2
damak1 raha hai saroN par sitaara-e sahri2
uTho ke naara-e huu3 se kushood4-e kaar kareN 1.shining 2.dawn 3.chants (as in allaah-huu) 4.open, spread
Dawn is symbolic of change, the arrival of social justice. The dawn star shining is the herald of dawn/revolution. Rise and start/spread the work of the revolution with chants.
3
Khud apni mauj1-e nafas2 se khilaayeN3 Ghuncha4 o gul
Khiraam5-e baad6-e saba7 ka na intezaar kareN 1.wave 2.breath 3.bloom 4.buds 5.gait, saunter 6.breeze 7.morning
The convention is that the morning breeze blows in and wakes up sleeping buds and makes them bloom into flowers. The poet does not want to wait for the breeze but calls upon the audience to make flowers bloom with their own breath – make their own change rather than wait for revolution.
4
uTho ke khol ke moobaaf1-e gesu2-e jaanaaN
tamaam roo3-e zamiN ko banfasha-zaar4 kareN 1.ribbon 2.hair 3.face 4.garden of violets
The hair of the beloved is tied up in a ribbon. Untie the ribbon and let her hair fly loose (a symbol of freedom and resitance). This will make the face of the earth bloom into a garden of banafsha.
5
sipar1 ki tarah uTha kar suraahi2-e mai-e-naab3
chalo muqaabala4-e teGh-e-rozgaar5 kareN 1.shield 2.flask 3.strong wine 4.confrontation 5.sword of daily struggle
Wine and flask are symbols of unorthodoxy and resistance. The struggle for daily living is symbolized as a sword. Let us face this sword with a shield formed out of the flask (unorthodox thinking).
6
ataa1 hui hai jo sarkaar-e fun2 ke aivaaN3 se
us aabru4 ko mah5 o mahr6 par savaar kareN 1.granted 2.skill, talent 3.halls/palaces 4.dignity 5.moon 6.sun
Poets have been granted great dignity from the halls/palaces of talent. Let us use this talent to spread the light of knowledge making its light rival that of the sun and moon.
7
kiya tha Khuld1 meN aadam ne jo gunaah-e jameel2
e’aada3 us ka kareN aur baar baar kareN 1.paradise 2.beautiful 3.repeat
The story of genesis is that aadam was tempted into disobeying god in heaven and was therefore banished to earth. The poet considers such transgression to be beautiful. He calls upon this to be repeated again and again. Thus, the earth and its pleasures are much better than bland heaven. Disobeying arbitrary orders is much better.
8
uTho ke tantana1-e kaiqobaad2 o Khusru2 ko
gadaa3-e koo4-e Kharabaat5 par nisaar6 kareN 1.pomp 2.ancient persian kings used here symbols of royalty 3.beggar 4.street 5.tavern 6.sacrificial offering
The tavern is a symbol of liberal, open space that welcomes all. The beggar of the street of the tavern is so lowly that even he does not have the wherewithal to enter the tavern. Let us make the pomp and glory of royalty a sacrificial offering for this medicant.
9
jhuka vo abr-e bahaaraaN, chali vo baad1-e shumal2
uTho ke jeb3 o garebaaN4 ko taar taar kareN 1.breeze 2.north 3.collar (in faarsi) 4.collar
The north wind is the harbinger of spring rains. Shredding the collar into threads is symbolic of intensity of passion. The spring clouds have descended, the north wind is blowing. It is spring, a time of love, a time to show intensity of passion by shredding the collar to threads.
10
jabiN1 ko baKhsh2 kar anvaar3-e vajh4-e zu-al-ikraam5
Khizar6 ki shama-e farozaaN7 ko sharmsaar kareN 1.forehead, brow 2.grant 3.rays of light 4.face (in arabi) 5.possessor of benevolence, god 6.legendary old man 7.bright
Khizar/Khizr is a legendary old man who knows a lot and travels. He knows all routes and is considered a patron saint of travelers. The picture is that he uses a bright light to show the way. The poet wants fellow poets to grant their own brows the brilliance of face of god. With this brilliance they can guide travelers in life, and put the bright lamp of Khizr to shame.
11
uTho ke nau-e-bashar1 ke faroGh2 ki Khaatir3
qaza4 se garm-e jadal5 hoN, qadar6 pe vaar7 kareN 1.humanity 2.progress 3.for the sake of 4.fate 5.conflict, quarrel 6.honour, power 7.strike a blow
Rise for the sake of progress of humanity and attack fate and strike a blow at the power of orthodoxy and its commandments.
12
mahall1-e marg2 meN tabliiGh3-e zindagi farmaaeN
maqaam-e jabr4 meN e’laan-e eKhtiyaar5 kareN 1.domain 2.death 3.preach 4.oppression 5.free will
Let us preach the way of life in the domain of Death. Wherever there is oppression, let us declare freedom.
13
jabeen1-e kaatib2-e taqdiir3 par shikan4 paR jaaye
jo azm5-e tauba6 o taa’at7, gunaah-gaar kareN 1.forehead, brow 2.scribe 3.fate 4.wrinkles 5.determination 6.repentence 7.obedience, adherance (to instructions)
The brow of the scribe of fate would be wrinkled (in surprise) if all of us (sinners) decide to repent and from here on adhere to instructions. The implication is that to save the brow from getting wrinkled it is better to transgress and disobey.
14
uloohiyyat1 ho KharoshaaN2 jo hum Ghuroor3 dikhaaeN
pai’ambari4 ho Ghazal-KhwaaN jo inkesaar5 kareN 1.divinity 2.shout 3.pride, self-confidence, self-reliance, Khudi 4.prophet-hood 5.humility
Let us show pride/self-reliance so that divinity would cry out. Let us show humility so that prophet-hood might sing with joy.
15
uTho ke GhulGhula1-e chaNg2 o ‘ood3 ki rau4 meN
tavaaf5-e gul-kada6-e josh-e baada-Khwaar7 kareN 1.sound, gurgling, music 2.harp 3.fiddle 4.flow 5.circumabulate, show respect 6.garden 7.wine drinker
The garden of josh, the wine drinker, is of course the garden of his verse. So, he says that everyone along with the music of the harp and the fiddle, should dance around the verse of josh, showing respect.
josh malihabadi (1898-1982) with a command of urdu, farsi and arabi and wide-ranging vocabulary has written romance, beauty, nature and resistance poetry in many formats – Ghazal, nazm, rubaaii and marsia. Here he is calling for change, sometimes asking the readers/audience to rise up for it, at other times addressing fellow poets.
1
uTho keh maqdam1-e raNgiini-e bahaar kareN
tamaam arz-o-sama2 ko taraana-baar3 kareN
1.welcome 2.earth and sky 3.singing
Rise and welcome the coming spring (re-birth, change, revolution). Let the whole earth and sky (world) break out into (rain down) joyous song.
2
damak1 raha hai saroN par sitaara-e sahri2
uTho ke naara-e huu3 se kushood4-e kaar kareN
1.shining 2.dawn 3.chants (as in allaah-huu) 4.open, spread
Dawn is symbolic of change, the arrival of social justice. The dawn star shining is the herald of dawn/revolution. Rise and start/spread the work of the revolution with chants.
3
Khud apni mauj1-e nafas2 se khilaayeN3 Ghuncha4 o gul
Khiraam5-e baad6-e saba7 ka na intezaar kareN
1.wave 2.breath 3.bloom 4.buds 5.gait, saunter 6.breeze 7.morning
The convention is that the morning breeze blows in and wakes up sleeping buds and makes them bloom into flowers. The poet does not want to wait for the breeze but calls upon the audience to make flowers bloom with their own breath – make their own change rather than wait for revolution.
4
uTho ke khol ke moobaaf1-e gesu2-e jaanaaN
tamaam roo3-e zamiN ko banfasha-zaar4 kareN
1.ribbon 2.hair 3.face 4.garden of violets
The hair of the beloved is tied up in a ribbon. Untie the ribbon and let her hair fly loose (a symbol of freedom and resitance). This will make the face of the earth bloom into a garden of banafsha.
5
sipar1 ki tarah uTha kar suraahi2-e mai-e-naab3
chalo muqaabala4-e teGh-e-rozgaar5 kareN
1.shield 2.flask 3.strong wine 4.confrontation 5.sword of daily struggle
Wine and flask are symbols of unorthodoxy and resistance. The struggle for daily living is symbolized as a sword. Let us face this sword with a shield formed out of the flask (unorthodox thinking).
6
ataa1 hui hai jo sarkaar-e fun2 ke aivaaN3 se
us aabru4 ko mah5 o mahr6 par savaar kareN
1.granted 2.skill, talent 3.halls/palaces 4.dignity 5.moon 6.sun
Poets have been granted great dignity from the halls/palaces of talent. Let us use this talent to spread the light of knowledge making its light rival that of the sun and moon.
7
kiya tha Khuld1 meN aadam ne jo gunaah-e jameel2
e’aada3 us ka kareN aur baar baar kareN
1.paradise 2.beautiful 3.repeat
The story of genesis is that aadam was tempted into disobeying god in heaven and was therefore banished to earth. The poet considers such transgression to be beautiful. He calls upon this to be repeated again and again. Thus, the earth and its pleasures are much better than bland heaven. Disobeying arbitrary orders is much better.
8
uTho ke tantana1-e kaiqobaad2 o Khusru2 ko
gadaa3-e koo4-e Kharabaat5 par nisaar6 kareN
1.pomp 2.ancient persian kings used here symbols of royalty 3.beggar 4.street 5.tavern 6.sacrificial offering
The tavern is a symbol of liberal, open space that welcomes all. The beggar of the street of the tavern is so lowly that even he does not have the wherewithal to enter the tavern. Let us make the pomp and glory of royalty a sacrificial offering for this medicant.
9
jhuka vo abr-e bahaaraaN, chali vo baad1-e shumal2
uTho ke jeb3 o garebaaN4 ko taar taar kareN
1.breeze 2.north 3.collar (in faarsi) 4.collar
The north wind is the harbinger of spring rains. Shredding the collar into threads is symbolic of intensity of passion. The spring clouds have descended, the north wind is blowing. It is spring, a time of love, a time to show intensity of passion by shredding the collar to threads.
10
jabiN1 ko baKhsh2 kar anvaar3-e vajh4-e zu-al-ikraam5
Khizar6 ki shama-e farozaaN7 ko sharmsaar kareN
1.forehead, brow 2.grant 3.rays of light 4.face (in arabi) 5.possessor of benevolence, god 6.legendary old man 7.bright
Khizar/Khizr is a legendary old man who knows a lot and travels. He knows all routes and is considered a patron saint of travelers. The picture is that he uses a bright light to show the way. The poet wants fellow poets to grant their own brows the brilliance of face of god. With this brilliance they can guide travelers in life, and put the bright lamp of Khizr to shame.
11
uTho ke nau-e-bashar1 ke faroGh2 ki Khaatir3
qaza4 se garm-e jadal5 hoN, qadar6 pe vaar7 kareN
1.humanity 2.progress 3.for the sake of 4.fate 5.conflict, quarrel 6.honour, power 7.strike a blow
Rise for the sake of progress of humanity and attack fate and strike a blow at the power of orthodoxy and its commandments.
12
mahall1-e marg2 meN tabliiGh3-e zindagi farmaaeN
maqaam-e jabr4 meN e’laan-e eKhtiyaar5 kareN
1.domain 2.death 3.preach 4.oppression 5.free will
Let us preach the way of life in the domain of Death. Wherever there is oppression, let us declare freedom.
13
jabeen1-e kaatib2-e taqdiir3 par shikan4 paR jaaye
jo azm5-e tauba6 o taa’at7, gunaah-gaar kareN
1.forehead, brow 2.scribe 3.fate 4.wrinkles 5.determination 6.repentence 7.obedience, adherance (to instructions)
The brow of the scribe of fate would be wrinkled (in surprise) if all of us (sinners) decide to repent and from here on adhere to instructions. The implication is that to save the brow from getting wrinkled it is better to transgress and disobey.
14
uloohiyyat1 ho KharoshaaN2 jo hum Ghuroor3 dikhaaeN
pai’ambari4 ho Ghazal-KhwaaN jo inkesaar5 kareN
1.divinity 2.shout 3.pride, self-confidence, self-reliance, Khudi 4.prophet-hood 5.humility
Let us show pride/self-reliance so that divinity would cry out. Let us show humility so that prophet-hood might sing with joy.
15
uTho ke GhulGhula1-e chaNg2 o ‘ood3 ki rau4 meN
tavaaf5-e gul-kada6-e josh-e baada-Khwaar7 kareN
1.sound, gurgling, music 2.harp 3.fiddle 4.flow 5.circumabulate, show respect 6.garden 7.wine drinker
The garden of josh, the wine drinker, is of course the garden of his verse. So, he says that everyone along with the music of the harp and the fiddle, should dance around the verse of josh, showing respect.
The post baar baar kareN-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/04/aas-saamna-na-hua-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
سامنا نہ ہوا ۔ آلِ احمد سرورؔ
۱
کب اُن کا جلوۂ رنگیں نقاب سا نہ ہوا
ہزار بار گئے اور سامنا نہ ہوا
۲
ترے بغیر وہ راتیں بھی کاٹ دیں ہم نے
کہ جن میں تیرا تصوّر بھی رہنما نہ ہوا
۳
جہاں بھی پھیل گئی ہے تمہارے حسن کی بات
ہمارے عشق کا چرچہ ہوا ہوا نہ ہوا
۴
مرے صنم میں وہی شانِ بے نیازی ہے
اگر چہ کہنے کو وہ بت ہوا، خدا نہ ہوا
۵
پہنائیں گردشِ دوراں نے لاکھ زنجیریں
تری نظر کے اسیروں کا دل برا نہ ہوا
۶
لطافت اُس کی کہاں بارِ غم اُٹھا پائی
مری خلش سے وہ اچھا ہے آشنا نہ ہوا
۷
کہاں کے خضرِ طریقت، کہاں کے رہبرِ قوم
گر اپنا جذبۂ صادق ہی رہ نما نہ ہوا
۸
نہ پاسِ اہلِ وفا ہے نہ دوست داری ہے
وہ زندہ دل ہوں کہ جینے سے میں خفا نہ ہوا
۹
کوئی سُنے نہ سُنے ہم کہیں گے اپنی بات
زمانہ ساز کبھی رندِ باصفا نہ ہوا
۱۰
ہزار شیوۂ بُت اور ایک قلبِ حُسن شناس
سرورؔ ہم سے پرستش کا حق ادا نہ ہوا
सामना न हुआ – आल-ए अहमद सुरूर
१
कब उन का जल्वा-ए रंगीं नक़ाब सा न हुआ
हज़ार बार गए और सामना न हुआ
२
तेरे बग़ैर वो रातें भि काट दीं हम ने
के जिन में तेरा तसव्वुर भी रहनुमा न हुआ
३
जहां भी फैल गई है तुम्हारे हुस्न कि बात
हमारे इश्क़ का चर्चा हुआ हुआ न हुआ
४
मेरे सनम में वही शान-ए बे-नियाज़ी है
अगरचे कहने को वो बुत हुआ, ख़ुदा न हुआ
५
पहनाईं गर्दिश-ए दौरां ने लाख ज़ंजीरें
तेरी नज़र के असीरौं का दिल बुरा न हुआ
६
लताफ़त उस कि कहां बार-ए ग़म उठा पाई
मेरी ख़लिश से वो अच्छा है आश्ना न हुआ
७
कहां के क़िज़्र-ए तरीक़त कहां के रहबर-ए क़ौम
गर अपना जज़्बा-ए सादेक़ हि रहनुमा न हुआ
८
न पास-ए अहल-ए वफ़ा है न दोस्त-दारी है
वो ज़िन्दा-दिल हुं के जीने से मैं ख़फ़ा न हुआ
९
काई सुने न सुने हम कहेंगे अपनी बात
ज़माना-साज़ कभी रिन्द-ए बा-सफ़ा न हुआ
१०
हज़ार शेवा-ए बुत और एक क़ल्ब-ए हुस्न-शिनास
सुरूर हम से परस्तिश का हक़ अदा न हुआ
Click here for background and on any passage for word meanings and explanatory discussion. aal-e ahmad suroor (1911-2002) academic, critic, writer, editor and poet. MA in English and urdu literature. He taught at aligaRh and lakhnau universities, serving as head of the department of urdu at aligaRh. He was associated with, if not an active member of the Progressive Writers’ Association. His poetic compositions tend to be thoughtful and philosophical. This Ghazal (composed in late 1952) has the same radeef qaafiya as Ghalib’s ‘aaj Ghalib Ghazal saraa na hua’ and is linked to Ghalib naqsh-e qadam on the Theme page.
1
kab un ka jalva-e-raNgiiN1 naqaab-sa2 na hua
hazaar baar gaye aur saamna na hua 1.colourful visage/face 2.like a veil
When was her colourful/beautiful face not like a veil i.e., it always is. I went a thousand times but never did I get to see her.
2
tere baGhair1 vo raateN bhi kaaT2 diiN ham ne
ke jin meN tera tasavvur3 bhi rahnuma4 na hua 1.without 2.spent 3.imagination 4.guide, showing the way
Normally the poet/lover spends the nights of separation in company of the thoughts of the beloved. They guide/shepherd him through the dark night. But now for some reason even his imagination has failed him. Thus, without you I have also spent those nights when your thoughts did not help me get through.
3
jahaaN bhi phail1 gaii hai tumhaare husn2 ki baat
hamaare ishq ka charcha3 hua, hua na hua 1.spread 2.beauty 3.conversation, talk about
Wherever the stories of your beauty have spread, there conversation about my love may happen or it may not i.e., no one cares about it. Said qateel shifaaii …
jab bhii aata hai mera naam tere naam ke saath
jaane kyuN log mere naam se jal jaate haiN
and fitrat ansari …
zikr aata hai mera ahl-e-mohabbat meN agar
mere ahbaab mere naam se jal jaate haiN
4
mere sanam1 meN vahii shaan2-e be-niyaazi3 hai
agarche4 kahne ko vo but5 hua, Khuda na hua 1.beloved 2.glory, dignity 3.independence, aloofness 4.even though 5.idol
My beloved has the same dignified aloofness (as the divine), even though in a manner of speaking she is an idol, not god.
5
pahnaaiiN1 gardish-e-dauraaN2 ne laakh zanjiireN
teri nazar3 ke asiiroN4 ki dil bura na hua 1.put on me, made me wear 2.vicissitudes of time 3.sight 4.captive
The vicissitudes of time put a thousand chains on them but those captivated by your sight never felt bitter i.e., they did not care about all the other bounds/burdens of life, they were focussed on your thought.
6
lataafat1 us ki kahaaN baar2-e Gham uThaa paaii
meri Khalish3 se vo achchha hai aashna4 na hua 1.delicacy, refined nature 2.burden 3.burning, pain, irritation 4.familiar, aware
How could her delicacy have borne the burden of my sorrow. It is good that she did not become aware of my pain.
7
kahaaN ke Khizr1-e tariiqat2, kahaaN ke rahbar3-e qaum4
gar5 apna jazba6-e saadiq7 hi rahnuma8 na hua 1.legendary guide 2.ways, traditions 3.guide, leader 4.community, nation 5.if 6.emotions, feelings 7.sincere, true 8.guide
Khizr is a legendary Biblical/qur’aanic figure who know all the ways of the world and is a guide to those who are lost. Thus, what can Khizr do, what can leaders of the nation do, if your own true feelings fail to guide you.
8
na paas1-e ahl-e-vafa2 hai na dost-daari3 hai
vo zinda-dil4 huN ke jiine se maiN Khafa5 na hua 1.consideration, respect 2.people of faith/truthfulness 3.helping friends 4.brave, courageous 5.annoyed, disppointed, disillusioned
There is no respect for truthful people (like me) nor is there anyone who will ready to lend a helping/friendly hand, but I am that courageouos one who never was never disillusioned with life.
9
koi sune na sune ham kaheNge apni baat
zamaana-saaz1 kabhi rind2-e baa-safa3 na hua 1.unpincipled, hypocrite 2.wine lover-used to mean liberal/open-minded 3.truthful
Whether anyone listens/agrees or not, I will speak what I think. A hypocrite never can be truthful.
10
hazaar sheva1-e but2 aur ek qalb3-e husn-shinaas4
suroor5 ham se parastish6 ka haq7 ada8 na hua 1.ways, habits, whims 2.idol, beloved 3.heart 4.knoledgable about (the ways of) beauty 5.pen-name of the poet 6.devotion, worship 7.rights, demands 8.pay, fulfil
A thousand whims/coquetries of the beloved and just this one heart that knows the ways of the beautiful. O suroor, I could not fulfil the demands of complete devotion.
aal-e ahmad suroor (1911-2002) academic, critic, writer, editor and poet. MA in English and urdu literature. He taught at aligaRh and lakhnau universities, serving as head of the department of urdu at aligaRh. He was associated with, if not an active member of the Progressive Writers’ Association. His poetic compositions tend to be thoughtful and philosophical. This Ghazal (composed in late 1952) has the same radeef qaafiya as Ghalib’s ‘aaj Ghalib Ghazal saraa na hua’ and is linked to Ghalib naqsh-e qadam on the Theme page.
1
kab un ka jalva-e-raNgiiN1 naqaab-sa2 na hua
hazaar baar gaye aur saamna na hua
1.colourful visage/face 2.like a veil
When was her colourful/beautiful face not like a veil i.e., it always is. I went a thousand times but never did I get to see her.
2
tere baGhair1 vo raateN bhi kaaT2 diiN ham ne
ke jin meN tera tasavvur3 bhi rahnuma4 na hua
1.without 2.spent 3.imagination 4.guide, showing the way
Normally the poet/lover spends the nights of separation in company of the thoughts of the beloved. They guide/shepherd him through the dark night. But now for some reason even his imagination has failed him. Thus, without you I have also spent those nights when your thoughts did not help me get through.
3
jahaaN bhi phail1 gaii hai tumhaare husn2 ki baat
hamaare ishq ka charcha3 hua, hua na hua
1.spread 2.beauty 3.conversation, talk about
Wherever the stories of your beauty have spread, there conversation about my love may happen or it may not i.e., no one cares about it. Said qateel shifaaii …
jab bhii aata hai mera naam tere naam ke saath
jaane kyuN log mere naam se jal jaate haiN
and fitrat ansari …
zikr aata hai mera ahl-e-mohabbat meN agar
mere ahbaab mere naam se jal jaate haiN
4
mere sanam1 meN vahii shaan2-e be-niyaazi3 hai
agarche4 kahne ko vo but5 hua, Khuda na hua
1.beloved 2.glory, dignity 3.independence, aloofness 4.even though 5.idol
My beloved has the same dignified aloofness (as the divine), even though in a manner of speaking she is an idol, not god.
5
pahnaaiiN1 gardish-e-dauraaN2 ne laakh zanjiireN
teri nazar3 ke asiiroN4 ki dil bura na hua
1.put on me, made me wear 2.vicissitudes of time 3.sight 4.captive
The vicissitudes of time put a thousand chains on them but those captivated by your sight never felt bitter i.e., they did not care about all the other bounds/burdens of life, they were focussed on your thought.
6
lataafat1 us ki kahaaN baar2-e Gham uThaa paaii
meri Khalish3 se vo achchha hai aashna4 na hua
1.delicacy, refined nature 2.burden 3.burning, pain, irritation 4.familiar, aware
How could her delicacy have borne the burden of my sorrow. It is good that she did not become aware of my pain.
7
kahaaN ke Khizr1-e tariiqat2, kahaaN ke rahbar3-e qaum4
gar5 apna jazba6-e saadiq7 hi rahnuma8 na hua
1.legendary guide 2.ways, traditions 3.guide, leader 4.community, nation 5.if 6.emotions, feelings 7.sincere, true 8.guide
Khizr is a legendary Biblical/qur’aanic figure who know all the ways of the world and is a guide to those who are lost. Thus, what can Khizr do, what can leaders of the nation do, if your own true feelings fail to guide you.
8
na paas1-e ahl-e-vafa2 hai na dost-daari3 hai
vo zinda-dil4 huN ke jiine se maiN Khafa5 na hua
1.consideration, respect 2.people of faith/truthfulness 3.helping friends 4.brave, courageous 5.annoyed, disppointed, disillusioned
There is no respect for truthful people (like me) nor is there anyone who will ready to lend a helping/friendly hand, but I am that courageouos one who never was never disillusioned with life.
9
koi sune na sune ham kaheNge apni baat
zamaana-saaz1 kabhi rind2-e baa-safa3 na hua
1.unpincipled, hypocrite 2.wine lover-used to mean liberal/open-minded 3.truthful
Whether anyone listens/agrees or not, I will speak what I think. A hypocrite never can be truthful.
10
hazaar sheva1-e but2 aur ek qalb3-e husn-shinaas4
suroor5 ham se parastish6 ka haq7 ada8 na hua
1.ways, habits, whims 2.idol, beloved 3.heart 4.knoledgable about (the ways of) beauty 5.pen-name of the poet 6.devotion, worship 7.rights, demands 8.pay, fulfil
A thousand whims/coquetries of the beloved and just this one heart that knows the ways of the beautiful. O suroor, I could not fulfil the demands of complete devotion.
The post saamna na hua-aal-e ahmed suroor appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/04/sshhr-bulbul-Ghazal-saraa-na-hua-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
بلبل غزل سرا نہ ہوا ۔ سید شفاعت ہینسن ریحانیؔ
۱
حشر کس دن یہاں بپا نہ ہوا
اُن کا دعدہ مگر وفا نہ ہوا
۲
زُلف اُن کی رسا ہوئی تو کیا
دستِ کوتاہ جب رسا نہ ہوا
۳
آنکھ ملتے ہی چپ لگی ایسی
کہ بیاں دل کا ماجرا نہ ہوا
۴
ہے یہ کیسی بہار اے صیّاد
کوئی بلبل غزل سرا نہ ہوا
۵
موت کے بعد کیا بھلا ہوگا
زندگی میں اگر بھلا نہ ہوا
۶
آدمی پھینک کر فلک پہ کمند
آدمی ہی رہا خدا نہ ہوا
۷
وہ بھی ساحل سے آ لگا اک دن
جس سفینے کا ناخدا نہ ہوا
۸
دستِ ساقی میں جام تھا لیکن
بڑھ کے لینے کا حوصلہ نہ ہوا
۹
یادِ گل تو ہے دل میں ریحانیؔ
میں ہوا گلستاں میں یا نہ ہوا
बुल्बुल ग़ज़ल-सरा न हुआ – सय्यद शफ़ा’अत हैन्सन रेहानी
१
हश्र किस दिन यहां बपा न हुअ
उन का वा’दा मगर वफ़ा न हुआ
२
ज़ुल्फ़ उन की रसा हुई तो क्या
दस्त-ए कोताह जब रसा न हुआ
३
आंख मिलते हि चुप लगी ऐसी
के बयां दिल का माजरा न हुआ
४
ये है कैसी बहार अए सय्याद
कोई बुल्बुल ग़ज़ल-सरा न हुआ
५
मौत के बाद क्या भला होगा
ज़िंदगी में अगर भला न हुआ
६
आदमी फैंक कर फ़लक पे कमन्द
आदमी हि रहा ख़ुदा न हुआ
७
वो भी साहेल से आ लगा एक दिन
जिस सफ़ीने का नाख़ुदा न हुआ
८
दस्त-ए साक़ी में जाम था लैकिन
बढ़ के लेने का हौसला न हुआ
९
याद-ए गुल तो है दिल में रेहानी
मैं हुआ गुल्सितां में या न हुआ
Click here for background and on any passage for word meanings and explanatory discussion. syed shafaa’at Hanson rehani (1912-????), born in lukhnau. Educated in urdu and faarsi in raampur and later in punjab university. Started composing at an early age both in urdu and in faarsi with mirza jafar ali KhaaN asar lakhnavi (urdu) and farruKh shiiraazi (faarsi) as his mentors. He is a Christian urdu poet who has written conventional Ghazal as well as Christian devotional nazm. He has four collections to his credit and also compiled a booklet on devotional nazm for observing Good Friday and celebrating Easter. He served as pastor at the Methodist Church in hyderabad. This Ghazal in the same radeef as Ghalib’s ‘dard minnat-kash-e davaa na hua’ is linked along with several others to that icon under ‘Ghalib naqsh-e qadam’ on the Theme page.
1
hashr1 kis din yahaaN bapa2 na hua
un ka vaa’da3 magar4 vafa5 na hua 1.doomsday, tumult 2.happen, occur, arranged 3.promise 4.but 5.fulfilled, promise kept
In urdu poetic tradition the beloved promises to meet the poet/lover but never keeps her promise. The multitude of her spurned lovers get together in a tumultous uproar every day. Even with this doomsday-like tumult, she has never kept her promise.
2
zulf1 un ki rasaa2 hui to kya
dast3-e kotaah4 jab rasaa2 na hua 1.hair 2.able to reach, within reach 3.hand 4.slow, weak
What if the beloved’s hair is within reach. My weak hands could not be raised to touch it.
3
aaNkh milte hi chup lagi aisi
keh bayaaN1 dil ka maajra2 na hua 1.describe, relate 2.condition, state, circumstance
The poet/lover has been eagerly looking for an opportunity to relate the condition of his heart. But as soon as their eyes met, he was struck dumb and could not relate his story.
4
ye hai kaisi bahaar1 aye sayyaad2
koii bulbul Ghazal-saraa3 na hua 1.spring 2.bird-catcher, hunter 3.Ghazal singing
In urdu poetic tradition the flower-picker and the bird-catcher are villains. The separate lovers the ‘gul’ and the ‘bulbul’. It appears that the bird-catcher has been particularly cruel this spring. There are no bulbul singing songs of love in the garden.
5
maut1 ke b’aad kya bhala2 hoga
zindagi meN agar bhala na hua 1.death 2.good
What good can come after death if no good deeds were done during life.
6
aadmi phaiNk kar falak1 pe kamand2aadmi hi raha, Khuda na hua 1.sky 2.noose, rope
In his arrogance man thought that he could overpower the sky/heavens and become greater than god. He did throw a noose to catch it, but remained a weak human, did not become god.
7
vo bhi saahil1 se aa laga ek din
jis safiine2 ka naaKhuda3 na hua 1.shore 2.boat 3.oarsman, navigator
The shore is deliverance. The boat is on its journey of life. Each boat has a direct connection to god and can reach the safety of the shore eventually, even if it does not have a ‘naaKhuda’. The implied play on words is that it may not have a ‘naaKhuda’ but it will have a ‘Khuda’. Thus, if you put your faith in ‘Khuda’ you can reach the shore even without a ‘naaKhuda’.
8
dast1-e saaqi meN jaam2 tha laikin
baRh ke lene ka hausla3 na hua 1.hand 2.cup (of wine) 3.courage, resolve
It is the ‘hand of god’ that is offering a cup of the divine wine of love. But only those who have the resolve to reach and take it will be able to benefit from it.
9
yaad-e gul to hai dil meN rehaani1
maiN hua gulsitaaN2 meN yaa na hua 1.pen-name of the poet 2.garden
Memories of the rose will remain, O rehaani, whether you survive in the garden or not. Reminds me of Ghalib’s …
Ghalib-e Khasta ke baGhair, kaun se kaam band haiN
roi’ye zaar zaar kyuN, kiijiye haa’e haa’e kyuN
syed shafaa’at Hanson rehani (1912-????), born in lukhnau. Educated in urdu and faarsi in raampur and later in punjab university. Started composing at an early age both in urdu and in faarsi with mirza jafar ali KhaaN asar lakhnavi (urdu) and farruKh shiiraazi (faarsi) as his mentors. He is a Christian urdu poet who has written conventional Ghazal as well as Christian devotional nazm. He has four collections to his credit and also compiled a booklet on devotional nazm for observing Good Friday and celebrating Easter. He served as pastor at the Methodist Church in hyderabad. This Ghazal in the same radeef as Ghalib’s ‘dard minnat-kash-e davaa na hua’ is linked along with several others to that icon under ‘Ghalib naqsh-e qadam’ on the Theme page.
1
hashr1 kis din yahaaN bapa2 na hua
un ka vaa’da3 magar4 vafa5 na hua
1.doomsday, tumult 2.happen, occur, arranged 3.promise 4.but 5.fulfilled, promise kept
In urdu poetic tradition the beloved promises to meet the poet/lover but never keeps her promise. The multitude of her spurned lovers get together in a tumultous uproar every day. Even with this doomsday-like tumult, she has never kept her promise.
2
zulf1 un ki rasaa2 hui to kya
dast3-e kotaah4 jab rasaa2 na hua
1.hair 2.able to reach, within reach 3.hand 4.slow, weak
What if the beloved’s hair is within reach. My weak hands could not be raised to touch it.
3
aaNkh milte hi chup lagi aisi
keh bayaaN1 dil ka maajra2 na hua
1.describe, relate 2.condition, state, circumstance
The poet/lover has been eagerly looking for an opportunity to relate the condition of his heart. But as soon as their eyes met, he was struck dumb and could not relate his story.
4
ye hai kaisi bahaar1 aye sayyaad2
koii bulbul Ghazal-saraa3 na hua
1.spring 2.bird-catcher, hunter 3.Ghazal singing
In urdu poetic tradition the flower-picker and the bird-catcher are villains. The separate lovers the ‘gul’ and the ‘bulbul’. It appears that the bird-catcher has been particularly cruel this spring. There are no bulbul singing songs of love in the garden.
5
maut1 ke b’aad kya bhala2 hoga
zindagi meN agar bhala na hua
1.death 2.good
What good can come after death if no good deeds were done during life.
6
aadmi phaiNk kar falak1 pe kamand2aadmi hi raha, Khuda na hua
1.sky 2.noose, rope
In his arrogance man thought that he could overpower the sky/heavens and become greater than god. He did throw a noose to catch it, but remained a weak human, did not become god.
7
vo bhi saahil1 se aa laga ek din
jis safiine2 ka naaKhuda3 na hua
1.shore 2.boat 3.oarsman, navigator
The shore is deliverance. The boat is on its journey of life. Each boat has a direct connection to god and can reach the safety of the shore eventually, even if it does not have a ‘naaKhuda’. The implied play on words is that it may not have a ‘naaKhuda’ but it will have a ‘Khuda’. Thus, if you put your faith in ‘Khuda’ you can reach the shore even without a ‘naaKhuda’.
8
dast1-e saaqi meN jaam2 tha laikin
baRh ke lene ka hausla3 na hua
1.hand 2.cup (of wine) 3.courage, resolve
It is the ‘hand of god’ that is offering a cup of the divine wine of love. But only those who have the resolve to reach and take it will be able to benefit from it.
9
yaad-e gul to hai dil meN rehaani1
maiN hua gulsitaaN2 meN yaa na hua
1.pen-name of the poet 2.garden
Memories of the rose will remain, O rehaani, whether you survive in the garden or not. Reminds me of Ghalib’s …
Ghalib-e Khasta ke baGhair, kaun se kaam band haiN
roi’ye zaar zaar kyuN, kiijiye haa’e haa’e kyuN
The post bulbul Ghazal saraa na hua-syed shifaa’at Hanson rehaani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2023/04/panm-chehre-pe-noor-tha-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
چہرے پہ نور تھا ۔ پنڈت آنند نرائن مُلّا
۱
دُنیا ہے یہ، کِسی کا نہ اِس میں قُصور تھا
دو دوستوں کا مِل کے بچھڑنا ضُرور تھا
۲
اُس کے کرم پہ شک تجھے زاہد ضُرور تھا
ورنہ ترا قُصور نہ کرنا، قُصور تھا
۳
تم دور جب تلک تھے تو نغمہ بھی تھا فغاں
تم پاس آ گئے تو الم بھی سُرور تھا
۴
اُس اِک نظر کے بزم میں قصّے بنے ہزار
اُتنا سمجھ سکا جسے جتنا شعور تھا
۵
اِک درس تھی کِسی کی یہ فنکاریِ نگاہ
کوئی نہ زد میں تھا نہ کوئی زد سے دور تھا
۶
بس دیکھنے ہی میں تھیں کِسی کی نگاہیں تلخ
شیریں سا اِک پیام بھی بین السطور تھا
۷
پیتے تو ہم نے شیخ کو دیکھا نہیں، مگر
نکلا جو مے کدے سے تو چہرے پہ نور تھا
۸
مُلّا کا مسجدوں میں تو ہم نے سُنا نہ نام
ذِکر اُس کا مے کدوں میں مگر دور دور تھا
चेहरे पे नूर था – पंडित आनँद नरायन मुल्ला
१
दुनिया है ये, किसी का ना इस में क़ुसूर था
दो दोस्तौँ का मिल के बिछढना ज़ुरूर था
२
उस के करम पे शक तुझे ज़ाहेद ज़ुरूर था
वरना तेरा क़ुसूर ना करना, क़ुसूर था
३
तुम दूर जब तलक थे तो नग़्मा भी था फ़ुग़ाँ
तुम पास आ गये तो अलम भी सुरूर था
४
इस एक नज़र के बज़्म में क़िस्से बने हज़ार
उतना समझ सका जिसे जितना शा’ऊर था
५
एक दर्स थी किसी की ये फ़न्कारी-ए निगाह
कोई ना ज़द में था ना कोई ज़द से दूर था
६
बस देखने ही में थीँ किसी की निगाहेँ तल्ख़
शिरीँ सा एक पयाम भी बैन-उल-सुतूर था
७
पीते तो हम ने शैख़ को देखा नहिँ, मगर
निक्ला जो मै-कदे से तो चेहरे पे नूर था
८
मुल्ला का मस्जिदोँ में तो हम ने सुना ना नाम
ज़िक्र उस का मै-कदौँ में मगर दूर दूर था
Click here for background and on any passage for word meanings and explanatory discussion. panDit anand narain mulla (1901-1997), a kashmiri panDit from lukhnow, a high court judge, member of lok sabha and then of the rajya sabha was a liberal thinker reaching across communal lines with a strong love of urdu. In this Ghazal he has delightful combinations of opposites.
1
duniya hai yeh, kisi ka na is meN qusoor1 tha
do dostoN ka mil ke bichhaRna2 zuroor3 tha 1.fault, blame 2.separate 3.necessary, pre-ordained
It looks like friends (or lovers) have either broken up or have been separated by circumstances. Nobody is to blame for this. After all, this is the kind of world we live in. This Ghazal is dated 1949. Could it be a reflection of partition and communal riots.
2
us ke karam1 pe shak2 tujhe zaahid3 zuroor tha
varna tera qusoor4 na karna, qusoor tha 1.kindness, forgiveness 2.doubt, lack of trust 3.observant, pious 4.error, transgression
A beautiful conundrum … O, zaahid, surely you must not have trusted god’s forgiveness. Otherwise, your not transgressing is itself a transgression.
Said muzaffar Khairabaadi …
mere gunah ziyaada haiN ya teri rahmateNkariim tu hi bataa de hisaab kar ke mujhe
Said amiir miinaaii …
bandaa navaaziyoN pe Khudaa-e karim thaa
kartaa na maiN gunah to gunaah-e aziim thaa
3
tum duur jab talak the to naGhma1 bhi tha fuGhaaN2
tum paas aa gaye to alam3 bhi suroor4 tha 1.(joyful) song 2.sorrowful wailing 3.sadness 4.happiness
When you were far away even joyful singing sounded like sorrowful wailing. But when you are near even sadness turns to happiness. This once again, is a nice juxtaposition of opposites.
4
us ek nazar1 ke bazm2 meN qisse bane hazaar
utna samajh saka jise jitna sha’oor3 tha 1.glance 2.assembly, gathering 3.wisdom, knowledge
A single glance of the beloved created a thousand stories in the gathering. Each one understood/intepreted it (the glance) according to their own intellect. This could be a reflection on the interpretation of the idea of god. Each one perceives it in their own way.
5
ek dars1 thi kisi ki ye fankaari2-e nigaah3
koi na zad4 meN tha na koi zad se duur tha 1.lesson 2.skill 3.glance 4.range, target
The glance of the beloved is so skillful/playful that you can draw a lesson from it. Her sidelong glance may not be directed at anyone in particular, but everyone is the target – juxtaposition of opposites.
6
bas dekhne hi meN thiiN kisi ki nigaaheN talKh1
shiiriN2 sa ek payaam3 bhi bain-ul-sutoor4 tha 1.bitter, angry 2.sweet 3.message 4.between the lines
It was just a show, her glance was not really angry. Her sweet message was hidden between the lines. The lines could be furrows of an angry brow – anger/annoyance and love juxtaposed.
7
peete to hum ne shaiKh ko dekha nahiN, magar1
nikla jo mai-kade2 se to chehre3 pe noor4 tha 1.but 2.tavern 3.face 4.glow, brilliance
It is true, we did not actually see the shaiKh drink (wine), but as he left the tavern there was an enchanting glow on his face. Said Ghalib …
kahaaN mai-Khaane ka darvaaza Ghalib aur kahaaN vaae’z
par itnaa jaante haiN kal vo jaataa tha keh ham nikle
8
mulla1 ka masjidoN meN to hum ne suna na naam
zِikr2 us ka mai-kadoN meN magar duur duur tha 1.pen-name of the poet but also a religious scholar 2.mention
This is a beautiful play on the meaning of the poet’s pen-name. We never heard of ‘mulla’ in mosques but he was well known in taverns (the tavern is symbolic of secular, liberal space).
panDit anand narain mulla (1901-1997), a kashmiri panDit from lukhnow, a high court judge, member of lok sabha and then of the rajya sabha was a liberal thinker reaching across communal lines with a strong love of urdu. In this Ghazal he has delightful combinations of opposites.
1
duniya hai yeh, kisi ka na is meN qusoor1 tha
do dostoN ka mil ke bichhaRna2 zuroor3 tha
1.fault, blame 2.separate 3.necessary, pre-ordained
It looks like friends (or lovers) have either broken up or have been separated by circumstances. Nobody is to blame for this. After all, this is the kind of world we live in. This Ghazal is dated 1949. Could it be a reflection of partition and communal riots.
2
us ke karam1 pe shak2 tujhe zaahid3 zuroor tha
varna tera qusoor4 na karna, qusoor tha
1.kindness, forgiveness 2.doubt, lack of trust 3.observant, pious 4.error, transgression
A beautiful conundrum … O, zaahid, surely you must not have trusted god’s forgiveness. Otherwise, your not transgressing is itself a transgression.
Said muzaffar Khairabaadi …
mere gunah ziyaada haiN ya teri rahmateNkariim tu hi bataa de hisaab kar ke mujhe
Said amiir miinaaii …
bandaa navaaziyoN pe Khudaa-e karim thaa
kartaa na maiN gunah to gunaah-e aziim thaa
3
tum duur jab talak the to naGhma1 bhi tha fuGhaaN2
tum paas aa gaye to alam3 bhi suroor4 tha
1.(joyful) song 2.sorrowful wailing 3.sadness 4.happiness
When you were far away even joyful singing sounded like sorrowful wailing. But when you are near even sadness turns to happiness. This once again, is a nice juxtaposition of opposites.
4
us ek nazar1 ke bazm2 meN qisse bane hazaar
utna samajh saka jise jitna sha’oor3 tha
1.glance 2.assembly, gathering 3.wisdom, knowledge
A single glance of the beloved created a thousand stories in the gathering. Each one understood/intepreted it (the glance) according to their own intellect. This could be a reflection on the interpretation of the idea of god. Each one perceives it in their own way.
5
ek dars1 thi kisi ki ye fankaari2-e nigaah3
koi na zad4 meN tha na koi zad se duur tha
1.lesson 2.skill 3.glance 4.range, target
The glance of the beloved is so skillful/playful that you can draw a lesson from it. Her sidelong glance may not be directed at anyone in particular, but everyone is the target – juxtaposition of opposites.
6
bas dekhne hi meN thiiN kisi ki nigaaheN talKh1
shiiriN2 sa ek payaam3 bhi bain-ul-sutoor4 tha
1.bitter, angry 2.sweet 3.message 4.between the lines
It was just a show, her glance was not really angry. Her sweet message was hidden between the lines. The lines could be furrows of an angry brow – anger/annoyance and love juxtaposed.
7
peete to hum ne shaiKh ko dekha nahiN, magar1
nikla jo mai-kade2 se to chehre3 pe noor4 tha
1.but 2.tavern 3.face 4.glow, brilliance
It is true, we did not actually see the shaiKh drink (wine), but as he left the tavern there was an enchanting glow on his face. Said Ghalib …
kahaaN mai-Khaane ka darvaaza Ghalib aur kahaaN vaae’z
par itnaa jaante haiN kal vo jaataa tha keh ham nikle
8
mulla1 ka masjidoN meN to hum ne suna na naam
zِikr2 us ka mai-kadoN meN magar duur duur tha
1.pen-name of the poet but also a religious scholar 2.mention
This is a beautiful play on the meaning of the poet’s pen-name. We never heard of ‘mulla’ in mosques but he was well known in taverns (the tavern is symbolic of secular, liberal space).
The post chehre pe noor tha-panDit anand narain mulla appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/04/joshm-sajdoN-ke-nishaaN-mere-baad-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
سجدوں کے نشاں میرے بعد ۔ جوشؔ ملیح آبادی
۱
نہ وہ الفاظ کے نغمے، نہ وہ معنی کا سُروُر
گنگ ہے مُطربِ اندازِ بیاں میرے بعد
۲
تیر دل پر وہ لگائے کہ لچکتی ہی نہیں
ابروئے شعر کی گُل ریز کماں میرے بعد
۳
پھر اُلُوہیتِ اِنساں کا تصوّر ہے خجل
پھر جبینوں پہ ہیں سجدوں کے نشاں میرے بعد
۴
بے جھجک ہو کے اُٹھایا ہے پھر اوراد نے سر
کھل کے گُونجی ہے پھر آوازِ اذاں میرے بعد
۵
پھر حقائق سے ہیں مصروفِ تمسخُر اوہام
پھر یقیں پر متبسّم ہے گماں میرے بعد
۶
زندہ افکار کا پرتو نہ رہا ذہنوں پر
مردہ ہے انجمنِ دیدہ وراں میرے بعد
۷
زرد ہے چہرۂ گُلرنگِ نگارِ دانش
تیرہ ہے محفلِ صاحب نظراں میرے بعد
۸
وائے تقدیر کہ پھر عقل و جنوں کے مابین
کوئی باقی نہ رہا ربطِ نہاں میرے بعد
۹
اپنے الفاظ کی میّت کو سرِ دوش اُٹھائے
محوِ فریاد ہے سلمائے زباں میرے بعد
۱۰
کروٹیں شام سے تا صبح بدلتے ہیں نجوم
یوں دھڑکتا ہے دلِ زہرہ وشاں میرے بعد
۱۱
نہ رہا کوئی ادا سنجِ حسینانِ جہاں
سر بہ زانو ہیں حسینانِ جہاں میرے بعد
۱۲
آخری مشتریِ جنسِ جوانی نہ رہا
بند ہے غرفۂ خوبانِ جہاں میرے بعد
۱۳
پڑ گئے قفل اداؤں کے صنم خانوں میں
سر نگوں ہے عَلمِ نازِ بتاں میرے بعد
۱۴
ہو گیا قحطِ خریداریِ مے کے باعِث
چشمِ عالم میں سُبُک رطلِ گراں میرے بعد
۱۵
چاندنی تک ہے خرابات میں دھندلی دھندلی
یوں سیہ پوش ہیں رِندانِ جہاں میرے بعد
۱۶
اب کسے قدر کھنکتے ہوئے پیمانوں کی
بند ہے کارگۂ شیشہ گراں میرے بعد
۱۷
آخری شمعِ خرابات ہوئی ہے خاموش
اُٹھ رہا ہے دلِ ساقی سے دھواں میرے بعد
۱۸
اہلِ ماتم کا خرابات سے نکلا ہے جلوس
زیرِ سرکردگیِ پیرِ مغاں میرے بعد
۱۹
اک اُداسی ہے مہکتے ہوئے بستانوں میں
اک اندھیرا ہے سرِ آبِ رواں میرے بعد
۲۰
کس کو بخشے عَلمِ ہمّتِ گردوں شکنی
چشمِ گیتی ہے بہرسو نگراں میرے بعد
۲۱
حیف اے خسرویِ کاکل و کونین و کتاب
کس کو سونپیں گے تیرا طبل و نشاں میرے بعد
۲۲
حیف یہ صاعقہ و صرصر و سیلاب و سموم
کس کے آغوش میں پائیں گے اماں میرے بعد
۲۳
سر بہ زانو ہیں اِماماں، خرابات اے جوشؔ
کون ہو قبلۂ رِندانِ جہاں میرے بعد
सज्दौं के निशां मेरे बाद – जोश मलीहाबादी
१
न वो अल्फ़ाज़ के नग़्मे, न वो म’आनी का सुरूर
गुंग है मुत्रिब-ए अंदाज़-ए बयां मेरे बाद
२
तीर दिल पर वो लगाए के लचकती हि नहीं
अब्रू-ए शे’र कि गुल-रेज़ कमां मेरे बाद
३
फिर उलूहिय्यत-ए इन्सां का तसव्वुर है ख़जिल
फिर जबीनौं पे हैं सज्दौं के निशां मेरे बाद
४
बे-झिजक हो के उठाया है फिर औराद ने सर
खुल के गूंजी है फिर आवाज़-ए अज़’आं मेरे बाद
५
फिर हक़ा’एक़ से हैं मस्रूफ़-ए तमस्ख़ुर औहाम
फिर यक़ीं पर मुतबस्सिम है गुमां मेरे बाद
६
ज़िन्दा अफ़्कार का पर्तौ न रहा ज़हनौं पर
मुर्दा है अंजुमन-ए दीदा-वरां मेरे बाद
७
ज़र्द है चेहरा-ए गुलरंग-ए निगार-ए दानिश
तीरा है महफ़िल-ए साहब-नज़रां मेरे बाद
८
वा’ए तक़्दीर के फिर अक़्ल ओ जुनूं के माबैन
कोई बाक़ी न रहा रब्त-ए नेहां मेरे बाद
९
अपने अल्फ़ाज़ कि मय्यत को सर-ए दोश उठाए
महव-ए फ़र्याद है सल्मा-ए ज़बां मेरे बाद
१०
करवटें शाम से ता सुब्ह बदलते हैं नुजूम
यूं धढकता है दिल-ए ज़ोहरा-वशां मेरे बाद
११
न रहा कोई अदा-संज-ए हसीनान-ए जहां
सर-ब-ज़ानू हैं हसीनान-ए जहां मेरे बाद
१२
आख़री मुश्तरी-ए जिन्स-ए जवानी न रहा
बन्द है ग़ुर्फ़ा-ए ख़ूबान-ए जहां मेरे बाद
१३
पढ गये क़ुफ़्ल अदाऔं के सनम-ख़ानौं में
सर-निगूं है अलम-ए नाज़-ए बुतां मेरे बाद
१४
हो गया क़हत-ए ख़रीदारी-ए मैय के बा’इस
चश्म-ए आलम में सुबुक रत्ल-ए गिरां मेरे बाद
१५
चांदनी तक है ख़राबात में धुंदली धुंदली
यूं सियह-पोश हैं रिन्दान-ए जहां मेरे बाद
१६
अब किसे क़द्र खनकते हुए पैमानौं की
बंद है कार-गह-ए शीशा-गरां मेरे बाद
१७
आख़री शम’अ-ए ख़राबात हुई है ख़ामोश
उठ रहा है दिल-ए साक़ी से धुआं मेरे बाद
१८
अहल-ए मातम का ख़राबात से निकला है जुलूस
ज़ेर-ए सरकर्दगी-ए पीर-ए मुग़ां मेरे बाद
१९
एक उदासी है महकते हुए बुस्तानैं में
एक अंघेरा है सर-ए आब-ए रवां मेरे बाद
२०
किस को बख़्शे अलम-ए हिम्मत-ए गर्दूं शिकनी
चश्म-ए गेती है ब-हर-सू निगरां मेरे बाद
२१
हैफ़ अए ख़ुस्रवी-ए काकुल ओ कौनैन ओ किताब
किस को सौंपेंगे तेरा तब्ल ओ निशां मेरे बाद
२२
हैफ़ ये सा’एक़ा ओ सरसर ओ सैलाब ओ सुमूम
किस के आग़ोश में पाएंगे अमां मेरे बाद
२३
सर-ब-ज़ानू हैं इमामान-ए ख़राबात अए जोश
कौन हो क़िब्ला-ए रिन्दान-ए जहां मेरे बाद
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This Ghazal/nazm is in the style of Ghalib’s ‘lab-saaqi meN salaa mere baad’ and is linked to Ghalib naqsh-e qadam along with others like it.
1
na vo alfaaz1 ke naGhme2, na vo mu’aani3 ka suroor4
guNg5 hai mutrib6-e andaaz7-e bayaaN8 mere baad 1.words 2.song, harmony 3.meaning 4.exhilaration 5.dumb, silent 6.singer, musician 7.style of 8.speaking, recitation
Neither is there musical harmony in words, nor exhilarating depths of meaning. The singer and musician have been silenced after my style of Ghazal recitation is gone, after me (my death).
2
tiir dil par vo lagaaye keh lachakti1 hi nahiN
abru2-e she’r ki gul-rez3 kamaaN4 mere baad 1.sway (like the beloved’s waist), to bend 2.eyebrow 3.rose scattering 4.bow, arch
The word ‘lachakna’ is normally used for the gentle bending or swaying of (say) a supple branch, or the beloved’s waist. Here it is used to portray the arching of the eye-brow. A she’r/verse is visualized as the beloved. It scatters rose-petals like roses on a supple branch of a rose-bush would, by arching in the breeze. But after the poet is gone, it does not do that anymore, because its heart has been shot through by so many arrows. Who has shot arrows at the heart of the she’r? Incapable poets/shu’ara, who are the only ones left after him.
3
phir uloohiyyat1-e insaaN ki tasavvur2 hai Khajil3
phir jabiinoN4 pe haiN sajdon5 ke nishaaN6 mere baad 1.divinity 2.concept 3.ashamed, embarrassed 4.foreheads 5.ritual prostration 6.marks
josh wrote much about the concept of a universal divine spirit and about each human being a part of it, thus divine. This would be the concept of universal divinity with each person standing proud/tall as a part of universal divinity. Opposed to this the conventional practice of prostrating before a divine power distinct from its creation. Such repeated prostration (sajda) leaves a mark on the forehead and is considered a sign of devotion to god. Thus, the concept of divinity of humans is embarrassed and everyone once again is offering ritual prayers after the poet is dead. Said Ghalib …
thi nigah meri nihaaN-Khaanah-e dil ki naqqaab
be-Khatar jiite haiN arbaab-e riyaa mere b’aad
4
be-jhijak1 ho ke uThaaya hai phir auraad2 ne sar
khul ke goonji3 hai phir aavaaz-e az’aaN4 mere baad 1.without hesitations 2.ritual chanting 3.echoes 4.ritual call to prayer
Without any hesitation ritual chanting raised its head. Once again the sound of the az’aan echoed openly after me.
5
phir haqaa’eq1 se haiN masroof2-e tamasKhur3 auhaam4
phir yaqiiN5 par mutabassim6 hai gumaaN7 mere baad 1.truths, facts 2.busy 3.making fun of 4.superstitions 5.certainty, knowledge 6.smiling 7.speculation, doubt, conjecture, supposition
Once again, superstitions are busy making fun of knowledge. Conjecture (of faith) smiles at certainty of knowledge after me.
6
zinda afkaar1 ka partau2 na raha zahnoN3 par
murda4 hai anjuman5-e diida-varaaN6 mere baad 1.thinking, reasoning 2.reflection 3.minds 4.dead 5.association 6.discerning sight
Minds do not reflect the energy of living, throbbing reason. The association of discerning thinkers is dead, after me.
7
zard1 hai chehra2-e gulraNg3-e nigaar4-e daanish5
tiira6 hai mahfil7-e saahab-nazaraaN8 mere baad 1.pale 2.face 3.rose coloured 4.beauty, embellishments 5.wisdom 6.dark 7.gathering, society 8.owners of discerning sight
Faces of the wise have gone pale. The gathering of people of discerning sight has gone dark.
8
vaa’e1 taqdiir2 keh phir aql3 o junooN4 ke maabain5
koii baaqi6 na raha rabt7-e nehaaN8 mere baad 1.alas 2.fate 3.mind 4.passion 5.between 6.remained 7.relationship 8.hidden
Alas, such fate that between the mind and passion, there did not remain any hidden/subtle relationship after me i.e., when the poet was alive he wrote subtly about the relationship between the two, giving them each their place. Now that balance is gone.
9
apne alfaaz1 ki mayyat2 ko sar-e-dosh3 uThaaye
mahv4-e faryaad5 hai salma6-e zabaaN7 mere baad 1.words 2.corpse, funeral bier 3.on the shoulders 4.engrossed in 5.mourning 6.embroidery, embellishment 7.language
Bearing the funeral bier of its words on its own shoulders, the embellishment/beauty of language is engrossed in mourning, after me.
10
karvaTeN1 shaam se taa2 sub’h badalte3 haiN nujoom4
yuN dhaRakta5 hai dil-e zohra-vashaaN6 mere baad 1.sides 2.until 3.changing (sides) restlessly 4.stars 5.heart-beat in fear 6.Venus faced
karvaTeN badalna is to change sides restlessly, dil dhaRakna is trembling in fear and the beloved, beauties are imagined as zohra-vash, Venus-faced, Venus being symbolic of beauty. After the poet’s death, the heart of the beloved beats in fear, because there is not one who can compose verse worth their beauty. Observing this, stars restlessly change sides all night long.
11
na rahaa koii adaa-sanj1-e hasiinaan-e-jahaaN2sar-ba-zaanu3 haiN hasiinaan-e jahaaN mere baad 1.judge/appreciater of the fine points of coquettish style 2.beauties of the world beloved 3.head resting on the knee, downcast, despondent
There is on one left who can judge/appreciate the coquettish style of the beloved. The beloveds of the world have been despondent after me.
12
aaKhri mushtari1-e jins2-e javaani na raha
band3 hai Ghurfa4-e Khoobaan-e-jahaaN5 mere baad 1.buyer 2.commodity, ingredients 3.closed 4.window 5.beloveds of the world
The last buyer of the ingredients of youth is gone. The windows of the beloveds of the world have closed shut after me i.e., they given up on looking out furtively for an admirer.
13
paR gaye qufl1 adaa’oN2 ke sanam-KhaanoN3 meN
sar-niguuN4 hai alam5-e naaz6-e butaaN7 mere baad 1.locks 2.coquettish style 3.idol houses, temples 4.bowed head 5.banner 6.coquetry 7.idols, beloved
The temples of coquettish style are locked up. The banner of the coquetry of the beloved is drooping after me.
14
ho gaya qaht1-e Khariidaari-e mai2 ke baa’is3
chashm4-e aalam5 meN subuk6 ratl7-e giraaN8 mere baad 1.drought, scarcity 2.wine 3.on the basis of 4.eyes 5.world 6.light, worthless 7.barrell 8.heavy, valuable
Because of the scarcity of buyers of wine, highly valued barrells became worthless, after me. Said Ghalib … faarsi …
taa ze diivaanam keh sarmast-e suKhan Khwaahad shudan
iin mai az qahat-e Khariidaari kohan Khwaahad shudan
urdu re-composition … shahed …
gar koii hota na ho mast-e mai-e she’r o suKhan mere baad
baa’is-e qaht-e Khariidaari na ho jaaye kohan mere baad
If no one gets inebriated on the wine of verse after me
Because of the scarcity of buyers this wine may become stale after me
15
chaandni tak1 hai Kharaabaat2 meN dhundli dhundli
yuN siyah-posh3 haiN rindaan4-e jahaaN mere baad 1.used here to mean ‘even’ 2.taverns 3.wearing black, mourning 4.wine lovers
Even moonlight is pale/hazy in taverns these days. Such have wine-donned the colour of mourning after me.
16
ab kise qadr1 khanakte2 hue paimaanoN3 ki
band hai kaar-gah4-e shiisha-garaaN5 mere baad 1.value, respect 2.tinkling 3.wine glasses 4.workshop 5.glass blowers, glass workers
Who values/respects tinkling wine-cups these days. The workshop of glass blowers has been shut down after me.
17
aaKhri1 sham’a2-e Kharaabaat3 hui hai Khaamosh4
uTh raha hai dil-e saaqi se dhuaaN mere baad 1.last 2.lamp, candle 3.tavern 4.extinguished
The last candle of the tavern has been put out. Smoke rises from the bosom of the saaqi after me. Said Ghalib …
sham’a bujhti hai to us meN se dhuaaN uThtaa hai
sho’la-e ishq siyah-posh hua mere b’aad
18
ahl-e-maatam1 ka Kharaabaat2 se nikla hai juloos3zer4-e sarkardagi5-e piir-e-muGhaaN6 mere baad 1.mourners 2.taverns 3.procession 4.under 5.leadership 6.chief wine-maker
A procession of mourners set off from taverns, under the leadership of chief-makers after me.
19
ek udaasi1 hai mahakte2 hue bustaanoN3 meN
ek andhera hai sar-e-aab-e-ravaaN4 mere baad 1.sadness 2.fragrant 3.gardens 4.an expression meaning along the banks of flowing waters/rivers
josh had a long-standing habit of taking walks at the crack of dawn along the banks of rivers and in parks. He claimed that he got his inspiration to compose during this time. Thus, a sadness has descended on fragrant gardens and there is darkness along banks of rivers after me. The darkness along the banks of rivers could mean that he is no longer walking along them, or that there is no one to receive inspiration after him.
20
kis ko baKhshe1 alam2-e himmat3-e garduuN-shikani4
chashm5-e geti6 hai ba-har-soo7 nigaraaN8 mere baad 1.grant 2.flag, standard 3.courage 4.break/attack the sky/heavens, orthodoxy 5.eyes 6.world 7.in every direction 8.watching, searching, looking
Who can I grant the flag of courage to attack orthodoxy. The eyes of the world search in vain in every direction, after me. Said Ghalib…
kaun hotaa hai hariif-e mai-e mard-afgan-e ’ishq
hai mukarrar lab-e saaqi meN salaa mere baad
21
haif1 aye Khusravi2-e kaakul3 o kaunain4 o kitaab5
kis ko sauNpeN6 tera tabl7 o nishaaN8 mere baad 1.alas, woe to 2.lordship, dominion 3.hair/beloved 4.here and hereafter 5.book (of verse) 6.hand over, entrust 7.drum 8.emblem of authority
Woe to dominion over affairs of the beloved’s hair, of the here and hereafter and the art of composing. Who can they grant your drum and authority after me.
22
haif ye saa’eqa1 o sarsar2 o sailaab3 o sumoom4kis ke aaGhosh5 meN paayeNge amaaN6 mere baad 1.lightning flash 2.stormy winds 3.floods 4.poisonous air 5.lap 6.protection
josh uses lightning, storms and floods as symbols of resistance of downtrodden people directed against the powerful at the right time. He may be using ‘sumoom’ as a symbol of vitriolic words/verse (probably his own) also similarly directed. He is the one who has sheltered/nurtured them in his lap. Who will do this after him.
23
sar-ba-zaanu1 haiN imaamaan2-e Kharaabaat3 aye josh4
kaun ho qibla5-e rindaan6-e jahaaN7 mere baad 1.head on the knee, despondent 2.leaders 3.tavern 4.pen-name of the poet 5.focus of devotion 6.wine lovers 7.world
The leaders of taverns are utterly despondent, O josh. Who will be the focus of devotion of the wine-lovers of this world after me.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This Ghazal/nazm is in the style of Ghalib’s ‘lab-saaqi meN salaa mere baad’ and is linked to Ghalib naqsh-e qadam along with others like it.
1
na vo alfaaz1 ke naGhme2, na vo mu’aani3 ka suroor4
guNg5 hai mutrib6-e andaaz7-e bayaaN8 mere baad
1.words 2.song, harmony 3.meaning 4.exhilaration 5.dumb, silent 6.singer, musician 7.style of 8.speaking, recitation
Neither is there musical harmony in words, nor exhilarating depths of meaning. The singer and musician have been silenced after my style of Ghazal recitation is gone, after me (my death).
2
tiir dil par vo lagaaye keh lachakti1 hi nahiN
abru2-e she’r ki gul-rez3 kamaaN4 mere baad
1.sway (like the beloved’s waist), to bend 2.eyebrow 3.rose scattering 4.bow, arch
The word ‘lachakna’ is normally used for the gentle bending or swaying of (say) a supple branch, or the beloved’s waist. Here it is used to portray the arching of the eye-brow. A she’r/verse is visualized as the beloved. It scatters rose-petals like roses on a supple branch of a rose-bush would, by arching in the breeze. But after the poet is gone, it does not do that anymore, because its heart has been shot through by so many arrows. Who has shot arrows at the heart of the she’r? Incapable poets/shu’ara, who are the only ones left after him.
3
phir uloohiyyat1-e insaaN ki tasavvur2 hai Khajil3
phir jabiinoN4 pe haiN sajdon5 ke nishaaN6 mere baad
1.divinity 2.concept 3.ashamed, embarrassed 4.foreheads 5.ritual prostration 6.marks
josh wrote much about the concept of a universal divine spirit and about each human being a part of it, thus divine. This would be the concept of universal divinity with each person standing proud/tall as a part of universal divinity. Opposed to this the conventional practice of prostrating before a divine power distinct from its creation. Such repeated prostration (sajda) leaves a mark on the forehead and is considered a sign of devotion to god. Thus, the concept of divinity of humans is embarrassed and everyone once again is offering ritual prayers after the poet is dead. Said Ghalib …
thi nigah meri nihaaN-Khaanah-e dil ki naqqaab
be-Khatar jiite haiN arbaab-e riyaa mere b’aad
4
be-jhijak1 ho ke uThaaya hai phir auraad2 ne sar
khul ke goonji3 hai phir aavaaz-e az’aaN4 mere baad
1.without hesitations 2.ritual chanting 3.echoes 4.ritual call to prayer
Without any hesitation ritual chanting raised its head. Once again the sound of the az’aan echoed openly after me.
5
phir haqaa’eq1 se haiN masroof2-e tamasKhur3 auhaam4
phir yaqiiN5 par mutabassim6 hai gumaaN7 mere baad
1.truths, facts 2.busy 3.making fun of 4.superstitions 5.certainty, knowledge 6.smiling 7.speculation, doubt, conjecture, supposition
Once again, superstitions are busy making fun of knowledge. Conjecture (of faith) smiles at certainty of knowledge after me.
6
zinda afkaar1 ka partau2 na raha zahnoN3 par
murda4 hai anjuman5-e diida-varaaN6 mere baad
1.thinking, reasoning 2.reflection 3.minds 4.dead 5.association 6.discerning sight
Minds do not reflect the energy of living, throbbing reason. The association of discerning thinkers is dead, after me.
7
zard1 hai chehra2-e gulraNg3-e nigaar4-e daanish5
tiira6 hai mahfil7-e saahab-nazaraaN8 mere baad
1.pale 2.face 3.rose coloured 4.beauty, embellishments 5.wisdom 6.dark 7.gathering, society 8.owners of discerning sight
Faces of the wise have gone pale. The gathering of people of discerning sight has gone dark.
8
vaa’e1 taqdiir2 keh phir aql3 o junooN4 ke maabain5
koii baaqi6 na raha rabt7-e nehaaN8 mere baad
1.alas 2.fate 3.mind 4.passion 5.between 6.remained 7.relationship 8.hidden
Alas, such fate that between the mind and passion, there did not remain any hidden/subtle relationship after me i.e., when the poet was alive he wrote subtly about the relationship between the two, giving them each their place. Now that balance is gone.
9
apne alfaaz1 ki mayyat2 ko sar-e-dosh3 uThaaye
mahv4-e faryaad5 hai salma6-e zabaaN7 mere baad
1.words 2.corpse, funeral bier 3.on the shoulders 4.engrossed in 5.mourning 6.embroidery, embellishment 7.language
Bearing the funeral bier of its words on its own shoulders, the embellishment/beauty of language is engrossed in mourning, after me.
10
karvaTeN1 shaam se taa2 sub’h badalte3 haiN nujoom4
yuN dhaRakta5 hai dil-e zohra-vashaaN6 mere baad
1.sides 2.until 3.changing (sides) restlessly 4.stars 5.heart-beat in fear 6.Venus faced
karvaTeN badalna is to change sides restlessly, dil dhaRakna is trembling in fear and the beloved, beauties are imagined as zohra-vash, Venus-faced, Venus being symbolic of beauty. After the poet’s death, the heart of the beloved beats in fear, because there is not one who can compose verse worth their beauty. Observing this, stars restlessly change sides all night long.
11
na rahaa koii adaa-sanj1-e hasiinaan-e-jahaaN2sar-ba-zaanu3 haiN hasiinaan-e jahaaN mere baad
1.judge/appreciater of the fine points of coquettish style 2.beauties of the world beloved 3.head resting on the knee, downcast, despondent
There is on one left who can judge/appreciate the coquettish style of the beloved. The beloveds of the world have been despondent after me.
12
aaKhri mushtari1-e jins2-e javaani na raha
band3 hai Ghurfa4-e Khoobaan-e-jahaaN5 mere baad
1.buyer 2.commodity, ingredients 3.closed 4.window 5.beloveds of the world
The last buyer of the ingredients of youth is gone. The windows of the beloveds of the world have closed shut after me i.e., they given up on looking out furtively for an admirer.
13
paR gaye qufl1 adaa’oN2 ke sanam-KhaanoN3 meN
sar-niguuN4 hai alam5-e naaz6-e butaaN7 mere baad
1.locks 2.coquettish style 3.idol houses, temples 4.bowed head 5.banner 6.coquetry 7.idols, beloved
The temples of coquettish style are locked up. The banner of the coquetry of the beloved is drooping after me.
14
ho gaya qaht1-e Khariidaari-e mai2 ke baa’is3
chashm4-e aalam5 meN subuk6 ratl7-e giraaN8 mere baad
1.drought, scarcity 2.wine 3.on the basis of 4.eyes 5.world 6.light, worthless 7.barrell 8.heavy, valuable
Because of the scarcity of buyers of wine, highly valued barrells became worthless, after me. Said Ghalib … faarsi …
taa ze diivaanam keh sarmast-e suKhan Khwaahad shudan
iin mai az qahat-e Khariidaari kohan Khwaahad shudan
urdu re-composition … shahed …
gar koii hota na ho mast-e mai-e she’r o suKhan mere baad
baa’is-e qaht-e Khariidaari na ho jaaye kohan mere baad
If no one gets inebriated on the wine of verse after me
Because of the scarcity of buyers this wine may become stale after me
15
chaandni tak1 hai Kharaabaat2 meN dhundli dhundli
yuN siyah-posh3 haiN rindaan4-e jahaaN mere baad
1.used here to mean ‘even’ 2.taverns 3.wearing black, mourning 4.wine lovers
Even moonlight is pale/hazy in taverns these days. Such have wine-donned the colour of mourning after me.
16
ab kise qadr1 khanakte2 hue paimaanoN3 ki
band hai kaar-gah4-e shiisha-garaaN5 mere baad
1.value, respect 2.tinkling 3.wine glasses 4.workshop 5.glass blowers, glass workers
Who values/respects tinkling wine-cups these days. The workshop of glass blowers has been shut down after me.
17
aaKhri1 sham’a2-e Kharaabaat3 hui hai Khaamosh4
uTh raha hai dil-e saaqi se dhuaaN mere baad
1.last 2.lamp, candle 3.tavern 4.extinguished
The last candle of the tavern has been put out. Smoke rises from the bosom of the saaqi after me. Said Ghalib …
sham’a bujhti hai to us meN se dhuaaN uThtaa hai
sho’la-e ishq siyah-posh hua mere b’aad
18
ahl-e-maatam1 ka Kharaabaat2 se nikla hai juloos3zer4-e sarkardagi5-e piir-e-muGhaaN6 mere baad
1.mourners 2.taverns 3.procession 4.under 5.leadership 6.chief wine-maker
A procession of mourners set off from taverns, under the leadership of chief-makers after me.
19
ek udaasi1 hai mahakte2 hue bustaanoN3 meN
ek andhera hai sar-e-aab-e-ravaaN4 mere baad
1.sadness 2.fragrant 3.gardens 4.an expression meaning along the banks of flowing waters/rivers
josh had a long-standing habit of taking walks at the crack of dawn along the banks of rivers and in parks. He claimed that he got his inspiration to compose during this time. Thus, a sadness has descended on fragrant gardens and there is darkness along banks of rivers after me. The darkness along the banks of rivers could mean that he is no longer walking along them, or that there is no one to receive inspiration after him.
20
kis ko baKhshe1 alam2-e himmat3-e garduuN-shikani4
chashm5-e geti6 hai ba-har-soo7 nigaraaN8 mere baad
1.grant 2.flag, standard 3.courage 4.break/attack the sky/heavens, orthodoxy 5.eyes 6.world 7.in every direction 8.watching, searching, looking
Who can I grant the flag of courage to attack orthodoxy. The eyes of the world search in vain in every direction, after me. Said Ghalib…
kaun hotaa hai hariif-e mai-e mard-afgan-e ’ishq
hai mukarrar lab-e saaqi meN salaa mere baad
21
haif1 aye Khusravi2-e kaakul3 o kaunain4 o kitaab5
kis ko sauNpeN6 tera tabl7 o nishaaN8 mere baad
1.alas, woe to 2.lordship, dominion 3.hair/beloved 4.here and hereafter 5.book (of verse) 6.hand over, entrust 7.drum 8.emblem of authority
Woe to dominion over affairs of the beloved’s hair, of the here and hereafter and the art of composing. Who can they grant your drum and authority after me.
22
haif ye saa’eqa1 o sarsar2 o sailaab3 o sumoom4kis ke aaGhosh5 meN paayeNge amaaN6 mere baad
1.lightning flash 2.stormy winds 3.floods 4.poisonous air 5.lap 6.protection
josh uses lightning, storms and floods as symbols of resistance of downtrodden people directed against the powerful at the right time. He may be using ‘sumoom’ as a symbol of vitriolic words/verse (probably his own) also similarly directed. He is the one who has sheltered/nurtured them in his lap. Who will do this after him.
23
sar-ba-zaanu1 haiN imaamaan2-e Kharaabaat3 aye josh4
kaun ho qibla5-e rindaan6-e jahaaN7 mere baad
1.head on the knee, despondent 2.leaders 3.tavern 4.pen-name of the poet 5.focus of devotion 6.wine lovers 7.world
The leaders of taverns are utterly despondent, O josh. Who will be the focus of devotion of the wine-lovers of this world after me.
The post sajdoN ke nishaaN mere baad-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/04/nksh-mere-ashaar-dekh-kar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مرے اشعار دیکھ کر ۔ نریش کمار شادؔ
۱
چل تو پڑے ہو راہ کو ہموار دیکھ کر
لیکن یہ راہِ شوق ہے سرکار دیکھ کر
۲
رسوائیوں پہ بھی مجھے کرنا پڑا ہے فخر
یارانِ نیک نام کے اطوار دیکھ کر
۳
دنیا بڑے خلوص سے مجھ پر ہے خندہ زن
مجھ کو خلوصِ دل کا طلب گار دیکھ کر
۴
جیسے مری نگاہ نے دیکھا نہ ہو کبھی
محسوس یہ ہوا تجھے ہر بار دیکھ کر
۵
یوں تو غمِ حیات بڑا بد دماغ تھا
خوش ہو گیا مگر مجھے سرشار دیکھ کر
۶
اے عظمتِ بشر، میں ترا رازدار ہوں
پہچان لے مجھے مرے اشعار دیکھ کر
۷
جس میں ذرا بھی اُنس تھا میخوار بن گیا
دنیائے سردمہر کو خوں خوار دیکھ کر
۸
شرمِ وفا نے مجھ کو کیا تجھ سے بے نیاز
ہر بوالہوس کو تیرا پرستار دیکھ کر
۹
اے شادؔ مجھ کو غم سے محبّت سی ہو گئی
اک پیکرِ جمیل کو غم خوار دیکھ کر
मेरे अश’आर देख कर – नरेश कुमार शाद
१
चल तो पढे हो राह को हमवार देख कर
लैकिन ये राह-ए शौक़ है सरकार देख कर
२
रुस्वाईयौं पे भी मुझे करना पढा है फ़ख़्र
यारान-ए नेक-नाम के अतवार देख कर
३
दुनिया बढे ख़ुलूस से मुझ पर है ख़न्दा-ज़न
मुझ को ख़ुलूस-ए दिल का तलबगार देख कर
४
जैसे मेरी निगाह ने देखा न हो कभी
महसूस ये हुआ तुझे हर बार देख कर
५
यूं तो ग़म-ए हयात बढा बद-दिमाग़ था
ख़ुश हो गया मगर मुझे सरशार देख कर
६
अए अज़्मत-ए बशर, मैं तेरा राज़दार हुं
पहचान ले मुझे मेरे अश’आर देख कर
७
जिस में ज़रा भी उन्स था मयख़्वार बन गया
दुनिया-ए सर्द-महर को ख़ूंख़्वार देख कर
८
शर्म-ए वफ़ा ने मुझ को किया तुझ से बे-नियाज़
हर बुल-हवस को तेरा परस्तार देख कर
९
अए शाद मुझ को ग़म से मोहब्बत सि हो गई
एक पैकर-ए जमील को ग़म-ख़्वार देख कर
Click here for background and on any passage for word meanings and explanatory discussion. naresh kumar shaad (1927-1969) prolific poet, writer, translater. Member Progressive Writers’ Association. Socialist/Communist. Educated and worked in rawalpindi and lahore before partition and then moved to India. This Ghazal is modeled beautifully after Ghalib’s ‘zarf-e qadah-Khwaar dekh kar’, is linked to ‘Ghalib naqsh-e qadam’.
1
chal to paRe ho raah1 ko hamvaar2 dekh kar
laikin ye raah1-e shauq3 hai sarkaar4 dekh kar 1.pathway 2.smooth, even 3.desire, love 4.honorific title, lord
Who is the ‘sarkaar’ to whom this is addressed – it could easily be the beloved or even the poet himself. You have started out on this (long and arduous) journey upon seeing the path to be even and smooth. But this is the path of love, O lord, be careful (of what is yet to come). Said mir taqi mir …
raah-e duur-e ishq meN rotaa hai kya
aage aage dekhiye hotaa hai kya
2
rusvaaiiyoN1 pe bhi mujhe karna paRa hai faKhr2
yaaraan3-e nek-naam4 ke atvaar5 dekh kar 1.regrets (of past mistakes) 2.pride 3.friends 4.good reputation 5.ways of behaviour, actions
The behaviour of highly reputable friends has been so bad that I can feel proud even of my past bad behaviour i.e., my bad behaviour is better than their good behaviour.
3
duniya baRe Khuloos1 se mujh par hai Khanda-zan2
mujh ko Khuloos1-e dil ka talab-gaar3 dekh kar 1.sincerity, thoughtful 2.smiling, sneering, laughing at 3.demanding
‘Khuloos’ in the first misra is used in sarcasm. The world laughs at me ‘in sincerity’, when it finds that I demand/expect sincerity from people i.e., the world recognizes my naivette and laughs at it.
4
jaise meri nigaah1 ne dekha na ho kabhi
mahsoos2 ye hua tujhe har baar dekh kar 1.eyes, vision 2.feel
It is as if my eyes had never seen you before, every time I look at you, I feel as if I am seeing you for the first time.
5
yuN to Gham-e-hayaat1 baRa bad-dimaaGh2 tha
Khush ho gaya magar mujhe sarshaar3 dekh kar 1.sorrows/difficulties of life 2.conceited, selfish 3.fulfilled, satiated
Here ‘the difficulties of livelihood’ are personified as very cruel and self-centered. But for some reason this personified problematic life is happy to see the poet satiated. This is probably about being ‘satiated with wine’ and there is an implication that the ‘life’ is happy to see him killing himself with excessive drinking.
6
aye azmat1-e bashar2, maiN tera raaz-daar3 huN
pahchaan4 le mujhe mere ash’aar5 dekh kar 1.greatness 2.human 3.confidant 4.recognize 5.verse
O spirit of human greatness, I am your confidant i.e., I am familiar with you. Recognize me from the message in my verse.
7
jis meN zara bhi uns1 tha maiKhwaar2 ban gaya
duniya-e sard-mahr3 ko KhooN-Khwaar4 dekh kar 1.love, sensitivity 2.intoxicated 3.cold-hearted 4.blood-thirsty
Whoever had any sensitivity/love became intoxicated (drowning their sorrows in drink) when they realized that this stone hearted world was blood-thirsty.
8
sharm1-e vafa2 ne mujh ko kiya tujh se be-niyaaz3
har bul-havas4 ko tera parastaar5 dekh kar 1.shame 2.fidelity, true to promise 3.uninterested 4.lecher 5.devotee
Fidelity (being true/faithful to the beloved) is personified here and it is ashamed of what is happening in the world. All admirers of the beloved are insincere; their devotion is superficial and lecherous. Because of the shame that ‘Fidelity’ feels, the poet (who is sincere) has lost interest in the beloved (in the whole tradition).
9
aye shaad1 mujh ko Gham2 se mohabbat si ho gayii
ek paikar3-e jameel4 ko Gham-Khwaar5 dekh kar 1.pen-name of the poet 2.sorrow, pain 3.image, reflection, embodiment 4.glory 5.sorrowful
The ‘paikar-e jameel – embodiment of glory’ is the beloved. The beloved is sorrowful, so the poet/lover, shaad, has become fond of sorrow.
naresh kumar shaad (1927-1969) prolific poet, writer, translater. Member Progressive Writers’ Association. Socialist/Communist. Educated and worked in rawalpindi and lahore before partition and then moved to India. This Ghazal is modeled beautifully after Ghalib’s ‘zarf-e qadah-Khwaar dekh kar’, is linked to ‘Ghalib naqsh-e qadam’.
1
chal to paRe ho raah1 ko hamvaar2 dekh kar
laikin ye raah1-e shauq3 hai sarkaar4 dekh kar
1.pathway 2.smooth, even 3.desire, love 4.honorific title, lord
Who is the ‘sarkaar’ to whom this is addressed – it could easily be the beloved or even the poet himself. You have started out on this (long and arduous) journey upon seeing the path to be even and smooth. But this is the path of love, O lord, be careful (of what is yet to come). Said mir taqi mir …
raah-e duur-e ishq meN rotaa hai kya
aage aage dekhiye hotaa hai kya
2
rusvaaiiyoN1 pe bhi mujhe karna paRa hai faKhr2
yaaraan3-e nek-naam4 ke atvaar5 dekh kar
1.regrets (of past mistakes) 2.pride 3.friends 4.good reputation 5.ways of behaviour, actions
The behaviour of highly reputable friends has been so bad that I can feel proud even of my past bad behaviour i.e., my bad behaviour is better than their good behaviour.
3
duniya baRe Khuloos1 se mujh par hai Khanda-zan2
mujh ko Khuloos1-e dil ka talab-gaar3 dekh kar
1.sincerity, thoughtful 2.smiling, sneering, laughing at 3.demanding
‘Khuloos’ in the first misra is used in sarcasm. The world laughs at me ‘in sincerity’, when it finds that I demand/expect sincerity from people i.e., the world recognizes my naivette and laughs at it.
4
jaise meri nigaah1 ne dekha na ho kabhi
mahsoos2 ye hua tujhe har baar dekh kar
1.eyes, vision 2.feel
It is as if my eyes had never seen you before, every time I look at you, I feel as if I am seeing you for the first time.
5
yuN to Gham-e-hayaat1 baRa bad-dimaaGh2 tha
Khush ho gaya magar mujhe sarshaar3 dekh kar
1.sorrows/difficulties of life 2.conceited, selfish 3.fulfilled, satiated
Here ‘the difficulties of livelihood’ are personified as very cruel and self-centered. But for some reason this personified problematic life is happy to see the poet satiated. This is probably about being ‘satiated with wine’ and there is an implication that the ‘life’ is happy to see him killing himself with excessive drinking.
6
aye azmat1-e bashar2, maiN tera raaz-daar3 huN
pahchaan4 le mujhe mere ash’aar5 dekh kar
1.greatness 2.human 3.confidant 4.recognize 5.verse
O spirit of human greatness, I am your confidant i.e., I am familiar with you. Recognize me from the message in my verse.
7
jis meN zara bhi uns1 tha maiKhwaar2 ban gaya
duniya-e sard-mahr3 ko KhooN-Khwaar4 dekh kar
1.love, sensitivity 2.intoxicated 3.cold-hearted 4.blood-thirsty
Whoever had any sensitivity/love became intoxicated (drowning their sorrows in drink) when they realized that this stone hearted world was blood-thirsty.
8
sharm1-e vafa2 ne mujh ko kiya tujh se be-niyaaz3
har bul-havas4 ko tera parastaar5 dekh kar
1.shame 2.fidelity, true to promise 3.uninterested 4.lecher 5.devotee
Fidelity (being true/faithful to the beloved) is personified here and it is ashamed of what is happening in the world. All admirers of the beloved are insincere; their devotion is superficial and lecherous. Because of the shame that ‘Fidelity’ feels, the poet (who is sincere) has lost interest in the beloved (in the whole tradition).
9
aye shaad1 mujh ko Gham2 se mohabbat si ho gayii
ek paikar3-e jameel4 ko Gham-Khwaar5 dekh kar
1.pen-name of the poet 2.sorrow, pain 3.image, reflection, embodiment 4.glory 5.sorrowful
The ‘paikar-e jameel – embodiment of glory’ is the beloved. The beloved is sorrowful, so the poet/lover, shaad, has become fond of sorrow.
The post mere ash’aar dekh kar-naresh kumar shaad appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/04/mej-raaz-ko-afsha-kareNge-hum-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
راز کو افشا کریں گے ہم ۔ معین اِحسن جذبیؔ
۱
اپنی نگاہِ شوق کو رُسوا کریں گے ہم
ہر دل کو بے قرارِ تمنّا کریں گے ہم
۲
ہاں آپ کو اُٹھانا پڑے گی نگاہِ لطف
کیا مُفت اپنے راز کو افشا کریں گے ہم
۳
خلوت کدے میں دل کے بٹھا دیں گے حسن کو
اور اپنے جلوے انجمن آرا کریں گے ہم
۴
اے حسن ہم کو ہجر کی راتوں کا خوف کیا
تیرا خیال جاگے گا سویا کریں گے ہم
۵
یہ دل سے کہہ کے آہوں کے جھونکے نکل گئے
ان کو تھپک تھپک کے سلایا کریں گے ہم
राज़ को अफ़्शा करेंगे हम – मोईन एहसन जज़्बी
१
अपनी निगाह-ए शौक़ को रुस्वा करेंगे हम
हर दिल को बे-क़रार-ए तमन्ना करेंगे हम
२
हाँ आप को उठाना पढेगी निगाह-ए लुत्फ़
क्या मुफ़्त अपने राज़ को अफ़्शा करेंगे हम
३
ख़ल्वत-कदे में दिल के बिठा देंगे हुस्न को
और अपने जल्वे अंजुमन-आरा करेंगे हम
४
अए हुस्न हम को हिज्र की रातों का ख़ौफ़ क्या
तेरा ख़याल जागेगा सोया करेंगे हम
५
ये दिल से कह के आहों के झोंके निकल गए
उन को थपक थपक के सुलाया करेंगे हम
Click here for background and on any passage for word meanings and explanatory discussion. moin ehsan jazbi (1912-2005) born in aazamgaRh and educated, taught and lived in aligaRh. Member of the Progressive Writers’ Association. He worked as an assistant editor of ‘aajkal’ of which josh malihabadi was also the chief editor. I am not sure if they overlapped but he was close to majaz, faani, sardar jafri and sibt-e hasan. He did his MA from aligaRh and later joined the faculty teaching there until his retirement. He also completed his PhD while teaching and published several collections of poetry.
1
apni nigaah1-e shauq2 ko rusvaa3 kareNge hum
har dil ko be-qaraar4-e tamanaa5 kareNge hum 1.glance, eyes 2.desire 3.embarrass 4.restless 5.longing
The ‘hum’ here is shaa’er log as a group – perhaps even referring to the Progressive Writers’ Association. We will make every heart restless with desire. Desire for what? and how? Desire for social justice and by composing revolutionary verse. This may end up embarrassing their own ‘nigaah-e shauq’. This could be because they have given up writing about romantic themes and turning to social themes, or it could be because they fear that their call will not be answered, but they are prepared to take that risk.
2
haaN aap ko uThaanaa paRegi nigaah1-e lutf2
kya muft3 apne raaz4 ko afshaa5 kareNge hum 1.glance, sight 2.kindness, favours 3.used here to mean uselessly 4.secret 5.reveal
The beloved avoids looking at the poet/lover but he insists that she is going to have to look up and look at him with a glance of favour. He is not prepared to reveal his story of love uselessly. Thus, the beloved could well be the socialist revolution. It will have to grant the movement some favours. They don’t want to reveal their secret to no effect.
3
Khalvat-kade1 meN dil ke biThaa deNge husn2 ko
aur apne jalve3 anjuman-aaraa4 kareNge hum 1.chamber of seclusion 2.beauty 3.images 4.embellishment of the gathering
We will keep Beauty esconced in the inner chambers of our hearts. We will then make images of her that we hold, the centre of attraction of gatherings. ‘Beauty’, could be the beloved but much more likely ‘social justice’.
4
aye husn1 hum ko hijr2 ki raatoN ka Khauf3 kya
tera Khayaal4 jaagega soya kareNge hum 1.beauty, beloved 2.separation 3.fear 4.thoughts
O beloved, why fear separation from you. We will keep your thoughts alive even as we sleep. The beloved here is social justice and he is expressing confidence that it will come about sooner or later. Such naïve optimism is common among progressive poets.
5
ye dil se kah ke aahoN1 ke jhoNke2 nikal gaye
un ko thapak thapak3 ke sulaayaa kareNge hum 1.sighs 2.waves, gusts 3.pat on the back
I am having difficulty interpreting this. Waves of sighs were restrained in the heart. But it got too much and they said ‘this’ to the heart and left i.e., the poet/rebel began to sigh openly. What is it that they said to the heart – we will pat ‘them’ gently on the back and get them to sleep. Who is the ‘them’ that needs to be comforted to sleep. Is it the beloved, the oppressed masses. It is not at all clear to me.
moin ehsan jazbi (1912-2005) born in aazamgaRh and educated, taught and lived in aligaRh. Member of the Progressive Writers’ Association. He worked as an assistant editor of ‘aajkal’ of which josh malihabadi was also the chief editor. I am not sure if they overlapped but he was close to majaz, faani, sardar jafri and sibt-e hasan. He did his MA from aligaRh and later joined the faculty teaching there until his retirement. He also completed his PhD while teaching and published several collections of poetry.
1
apni nigaah1-e shauq2 ko rusvaa3 kareNge hum
har dil ko be-qaraar4-e tamanaa5 kareNge hum
1.glance, eyes 2.desire 3.embarrass 4.restless 5.longing
The ‘hum’ here is shaa’er log as a group – perhaps even referring to the Progressive Writers’ Association. We will make every heart restless with desire. Desire for what? and how? Desire for social justice and by composing revolutionary verse. This may end up embarrassing their own ‘nigaah-e shauq’. This could be because they have given up writing about romantic themes and turning to social themes, or it could be because they fear that their call will not be answered, but they are prepared to take that risk.
2
haaN aap ko uThaanaa paRegi nigaah1-e lutf2
kya muft3 apne raaz4 ko afshaa5 kareNge hum
1.glance, sight 2.kindness, favours 3.used here to mean uselessly 4.secret 5.reveal
The beloved avoids looking at the poet/lover but he insists that she is going to have to look up and look at him with a glance of favour. He is not prepared to reveal his story of love uselessly. Thus, the beloved could well be the socialist revolution. It will have to grant the movement some favours. They don’t want to reveal their secret to no effect.
3
Khalvat-kade1 meN dil ke biThaa deNge husn2 ko
aur apne jalve3 anjuman-aaraa4 kareNge hum
1.chamber of seclusion 2.beauty 3.images 4.embellishment of the gathering
We will keep Beauty esconced in the inner chambers of our hearts. We will then make images of her that we hold, the centre of attraction of gatherings. ‘Beauty’, could be the beloved but much more likely ‘social justice’.
4
aye husn1 hum ko hijr2 ki raatoN ka Khauf3 kya
tera Khayaal4 jaagega soya kareNge hum
1.beauty, beloved 2.separation 3.fear 4.thoughts
O beloved, why fear separation from you. We will keep your thoughts alive even as we sleep. The beloved here is social justice and he is expressing confidence that it will come about sooner or later. Such naïve optimism is common among progressive poets.
5
ye dil se kah ke aahoN1 ke jhoNke2 nikal gaye
un ko thapak thapak3 ke sulaayaa kareNge hum
1.sighs 2.waves, gusts 3.pat on the back
I am having difficulty interpreting this. Waves of sighs were restrained in the heart. But it got too much and they said ‘this’ to the heart and left i.e., the poet/rebel began to sigh openly. What is it that they said to the heart – we will pat ‘them’ gently on the back and get them to sleep. Who is the ‘them’ that needs to be comforted to sleep. Is it the beloved, the oppressed masses. It is not at all clear to me.
The post raaz ko afsha kareNge ham-moin ehsan jazbi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/mej-toofaaN-ka-nazaara-karte-haiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
طوفاں کا نظارا کرتے ہیں – معین احسن جذبیؔ
۱
ہم دہر کے اِس ویرانے میں جو کچھ بھی نظارا کرتے ہیں
اشکوں کی زباں میں کہتے ہیں، آہوں میں اِشارہ کرتے ہیں
۲
کیا تجھ کو پتہ، کیا تجھ کو خبر، دِن رات خیالوں میں اپنے
اے کاکلِ گیتی ہم تجھ کو، جس طرح سنوارا کرتے ہیں
۳
اے موجِ بلا، اُنکو بھی ذرا، دو چار تھپیڑے ہلکے سے
کچھ لوگ ابھی تک ساحل سے طوفاں کا نظارا کرتے ہیں
۴
کیا جانئے کب یہ پاپ کٹے، کیا جانئے وہ دِن کب آئے
جس دِن کے لئے ہم اے جذبیؔ، کیا کچھ نہ گوارا کرتے ہیں
तूफ़ां का नज़ारा करते हैं – मोईन एहसन जज़्बी
१
हम दहर के इस वीरने में जो कुछ भी नज़ारा करते हैं
अश्कौं की ज़बां में कहते हैं, आहौं से इशारा करते हैं
२
क्या तुझ को पता, क्या तुझ को ख़बर, दिन रात ख़यालों में अपने
अए काकुल-ए गेती हम तुझ को जिस तरह संवारा करते हैं
३
अए मौज-ए बला उनको भी ज़रा, दो चार थपेढे हल्के से
कुछ लोग अभी तक साहिल से तूफ़ां का नज़ारा करते हैं
४
क्या जानिए कब ये पाप कटे, क्या जानिए वो दिन कब आए
जिस दिन के लिए हम अए जज़्बी, क्या कुच्छ न गवारा करते हैं
Click here for background and on any passage for word meanings and explanatory discussion. moin ehsan jazbi (1912-2005) born in aazamgaRh and educated, taught and lived in aligaRh. Member of the Progressive Writers’ Association. He worked as an assistant editor of ‘aajkal’ of which josh malihabadi was also the chief editor. I am not sure if they overlapped but he was close to majaz, faani, sardar jafri and sibt-e hasan. He did his MA from aligaRh and later joined the faculty teaching there until his retirement. He also completed his PhD while teaching and published several collections of poetry.
1
hum dahr1 ke is veeraane2 meN jo kuchh bhi nazaara3 karte haiN
ashkauN4 ki zabaaN5 meN kahte haiN, aahauN6 se ishaara7 karte haiN 1.material world 2.wilderness 3.to see 4.tears 5.language 6.sighs 7.point out
Whatever we (poets, the keepers of the soul of society) see in the wilderness of this world (wild, unjust world) we narrate in the language of tears, we point to with our sorrowful sighs.
2
kya tujh ko pata, kya tujh ko Khabar1, din raat KhyaalauN meN apne
aye kaakul2-e geti3 hum tujh ko jis tarah saNvaara karte haiN 1.awareness, knowledge 2.curls, tresses 3.world
The world is complicated. The complication is reflected in the curly, tangled tresses of the damsel-personified World. You don’t know, you are not aware, how day and night we spend in thought, straightening and combing your curls, so as to give them a beautiful expression (explaining the mysteries of the world in our verse).
3
aye mauj-e-balaa1 unko bhi zara, do chaar thapeRe2 halke se
kuchh log abhi tak sahil3 se toofaN4 ka nazaara5 karte haiN 1.wave of calamity 2.slaps, blows 3.shoreline 4.storm 5.sightseeing
There are armchair socialists who are comfortable on the shore and look at the storm from a distance. O calamitous waves, a few gentle slaps to them too, so they may learn what it is like to be in the storm.
4
kya jaaniye kab ye paap kaTe, kya jaaniye vo din kab aae
jis din ke liye hum aye jazbi1, kya kuchh na gavaara2 karte haiN 1.pen-name of the poet 2.bear, tolerate
Who knows when this period of suffering will end, who know when that day will come for which we bear all this sorrow. The day for which the poet/revolutionary is waiting could be the day of justice/revolution.
moin ehsan jazbi (1912-2005) born in aazamgaRh and educated, taught and lived in aligaRh. Member of the Progressive Writers’ Association. He worked as an assistant editor of ‘aajkal’ of which josh malihabadi was also the chief editor. I am not sure if they overlapped but he was close to majaz, faani, sardar jafri and sibt-e hasan. He did his MA from aligaRh and later joined the faculty teaching there until his retirement. He also completed his PhD while teaching and published several collections of poetry.
1
hum dahr1 ke is veeraane2 meN jo kuchh bhi nazaara3 karte haiN
ashkauN4 ki zabaaN5 meN kahte haiN, aahauN6 se ishaara7 karte haiN
1.material world 2.wilderness 3.to see 4.tears 5.language 6.sighs 7.point out
Whatever we (poets, the keepers of the soul of society) see in the wilderness of this world (wild, unjust world) we narrate in the language of tears, we point to with our sorrowful sighs.
2
kya tujh ko pata, kya tujh ko Khabar1, din raat KhyaalauN meN apne
aye kaakul2-e geti3 hum tujh ko jis tarah saNvaara karte haiN
1.awareness, knowledge 2.curls, tresses 3.world
The world is complicated. The complication is reflected in the curly, tangled tresses of the damsel-personified World. You don’t know, you are not aware, how day and night we spend in thought, straightening and combing your curls, so as to give them a beautiful expression (explaining the mysteries of the world in our verse).
3
aye mauj-e-balaa1 unko bhi zara, do chaar thapeRe2 halke se
kuchh log abhi tak sahil3 se toofaN4 ka nazaara5 karte haiN
1.wave of calamity 2.slaps, blows 3.shoreline 4.storm 5.sightseeing
There are armchair socialists who are comfortable on the shore and look at the storm from a distance. O calamitous waves, a few gentle slaps to them too, so they may learn what it is like to be in the storm.
4
kya jaaniye kab ye paap kaTe, kya jaaniye vo din kab aae
jis din ke liye hum aye jazbi1, kya kuchh na gavaara2 karte haiN
1.pen-name of the poet 2.bear, tolerate
Who knows when this period of suffering will end, who know when that day will come for which we bear all this sorrow. The day for which the poet/revolutionary is waiting could be the day of justice/revolution.
The post toofaaN ka nazaara karte haiN-moin ehsan jazbi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/mej-mera-soz-e-shaaeraana-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مرا سوزِ شاعرانہ – معین احسن جذبیؔ
۱
ملے مجھ کو غم سے فرصت تو سناؤں وہ فسانہ
کہ ٹپک پڑے نظر سے مئے عشرتِ شبانہ
۲
یہی زندگی مصیبت یہی زندگی مسرّت
یہی زندگی حقیقت یہی زندگی فسانہ
۳
کبھی درد کی تمنّا کبھی کوششِ مداوا
کبھی بجلیوں کی خواہش کبھی فکرِ آشیانہ
۴
مرے قہقہوں کی زد پر کبھی گردشیں جہاں کی
مرے آنسووں کی رو میں کبھی تلخیِ زمانہ
۵
مری رفعتوں سے لرزاں کبھی مہر و ماہ و انجم
مری پستیوں سے خائف کبھی اوجِ خسروانہ
۶
کبھی میں ہوں تجھ سے نالاں کبھی مجھ سے تو پریشاں
کبھی میں ترا ہدف ہوں کبھی تو مرا نشانہ
۷
جسے پا سکا نہ زاہد جسے چھو سکا نہ صوفی
وہی تار چھیڑتا ہے مرا سوزِ شاعرانہ
मेरा सोज़-ए शा’एराना – मोईन एहसन जज़्बी
१
मिले मुझ को ग़म से फ़ुर्सत, तो सुनाऊं वो फ़साना
के टपक पढे नज़र से मै-ए इश्रत-ए शबाना
२
यही ज़िंदगी मुसीबत, यही ज़िंदगी मसर्रत
यही ज़िंदगी हक़ीक़त, यही ज़िंदगी फ़साना
३
कभी दर्द की तमन्ना, कभी कोशिश-ए मदावा
कभी बिज्लियौं की ख़्वाहिश, कभी फ़िक्र-ए आशियाना
४
मेरे क़ह्क़हौं की ज़द पर, कभी गर्दिशें जहां की
मेरे आंसुओं की रौ में कभी तल्ख़ी-ए ज़माना
५
मेरी रफ़’अतौं से लरज़ाँ, कभी महर ओ माह ओ अंजुम
मेरी पस्तियौं से ख़ाएफ़ कभी औज-ए ख़ुस्रवाना
६
कभी मैं हुं तुझ से नालां, कभी मुझ से तू परेशां
कभी मैं तेरा हदफ़ हुं, कभी तू मेरा निशाना
७
जिसे पा सका ना ज़ाहिद, जिसे छू सका ना सूफ़ी
वही तार छेड़ता है मेरा सोज़-ए शा’एराना
Click here for background and on any passage for word meanings and explanatory discussion. moin ehsan jazbi (1912-2005) born in aazamgaRh and educated, taught and lived in aligaRh. Member of the Progressive Writers’ Association. He worked as an assistant editor of ‘aajkal’ of which josh malihabadi was also the chief editor. I am not sure if they overlapped but he was close to majaz, faani, sardar jafri and sibt-e hasan. He did his MA from aligaRh and later joined the faculty teaching there until his retirement. He also completed his PhD while teaching and published several collections of poetry. In this Ghazal jazbi describes in beautiful ways the ups and down, joys and sorrows, triumphs and frustrations, recognition and neglect and the contradictions of Life. This Ghazal is linked to the icon ‘zindagi kya hai’ on the Theme page.
1
mile mujh ko Gham se fursat1, to sunaauN vo fasaana2ke Tapak paRe nazar se mai3-e ishrat3-e shabaana3 1.liesure, time 2.story 3.wine of the pleasures of the night
If only I could get some relief from sorrow I would tell such a tale that “the scales will drop from eyes” i.e., that which you thought was valuable will appear to you as if of no value compared to what I am showing i.e., the tale that I could relate would be so much better than the wine of the pleasures of the night.
2
yahi zindagi museebat, yahi zindagi masarrat1yahi zindagi haqeeqat2, yahi zindagi fasaana3 1.pleasure 2.truth, reality 3.fable, illusion
It is the same Life which is sometimes a pain, at others a pleasure, sometimes hard reality at others a pleasant illusion.
3
kabhi dard ki tamanna1, kabhi koshish-e madaava2
kabhi bijliyauN ki Khwaahish, kabhi fikr3-e aashiyaana4 1.desire 2.cure 3.worry 4.nest
In urdu poetic tradition the nest is struck by lightning and burnt up. There is always a worry that lightning is in search of the poet/lover’s ‘nest’. The contradictions of life continue – sometimes the desire for pain, at other times the search for a cure, sometimes wishing to face lightning (courage), at other times worried about the nest.
4
mere qahqahauN1 ki zad2 par, kabhi gardisheN3 jahaaN ki
mere aaNsuauN ki rau4 meN kabhi talKhi-e zamaana5 1.laughter 2.bounds, regime 3.movements, happenings, calamities 4.flow
5.hardness/cruelty of the times
Sometimes I am able to laugh away the calamities that befall me, at other times the cruelty of the world flows through my tears.
5
meri raf’atauN1 se larzaaN2, kabhi mahr3 o maah4 o anjum5
meri pastiyauN6 se Khaa’ef7 kabhi auj-e Khusravaana8 1.heights, achievements, glory 2.tremble 3.sun 4.moon 5.stars 6.low points 7.fearful 8.peak (glory) of Khusro
Khusro, a legendary Persian king is often used as a metaphor for absolute power, pomp and show and hubris. At times, even the sun, moon and stars are envious of the heights of glory that I achieve. At other times even the peak of Glory looks upon my lowly state and feels fearful for itself (that it may one day fall as low as I).
6
kabhi maiN huN tujh se nalaaN, kabhi mujh se tu pareshaaN
kabhi maiN tera hadaf2 huN, kabhi tu mera nishaana3 1.sorrowful 2.target 3.aim
The ‘tu’ (you) in this she’r could be anybody – the whole society/world or the beloved. Sometimes you are annoyed with me, at other times I am bothered by you, sometimes I am your target at others I take aim at you.
7
jise paa saka na zaahid1, jise chhoo saka na sufi
vahi taar2 chheRta hai mera soz3-e shaa’erana 1.chaste and religious, preacher 2.string (musical) 3.sorrow
My verse creates such mournful music the heights of which neither the orthodox preacher nor the liberal sufi/mystic could reach.
moin ehsan jazbi (1912-2005) born in aazamgaRh and educated, taught and lived in aligaRh. Member of the Progressive Writers’ Association. He worked as an assistant editor of ‘aajkal’ of which josh malihabadi was also the chief editor. I am not sure if they overlapped but he was close to majaz, faani, sardar jafri and sibt-e hasan. He did his MA from aligaRh and later joined the faculty teaching there until his retirement. He also completed his PhD while teaching and published several collections of poetry. In this Ghazal jazbi describes in beautiful ways the ups and down, joys and sorrows, triumphs and frustrations, recognition and neglect and the contradictions of Life. This Ghazal is linked to the icon ‘zindagi kya hai’ on the Theme page.
1
mile mujh ko Gham se fursat1, to sunaauN vo fasaana2ke Tapak paRe nazar se mai3-e ishrat3-e shabaana3
1.liesure, time 2.story 3.wine of the pleasures of the night
If only I could get some relief from sorrow I would tell such a tale that “the scales will drop from eyes” i.e., that which you thought was valuable will appear to you as if of no value compared to what I am showing i.e., the tale that I could relate would be so much better than the wine of the pleasures of the night.
2
yahi zindagi museebat, yahi zindagi masarrat1yahi zindagi haqeeqat2, yahi zindagi fasaana3
1.pleasure 2.truth, reality 3.fable, illusion
It is the same Life which is sometimes a pain, at others a pleasure, sometimes hard reality at others a pleasant illusion.
3
kabhi dard ki tamanna1, kabhi koshish-e madaava2
kabhi bijliyauN ki Khwaahish, kabhi fikr3-e aashiyaana4
1.desire 2.cure 3.worry 4.nest
In urdu poetic tradition the nest is struck by lightning and burnt up. There is always a worry that lightning is in search of the poet/lover’s ‘nest’. The contradictions of life continue – sometimes the desire for pain, at other times the search for a cure, sometimes wishing to face lightning (courage), at other times worried about the nest.
4
mere qahqahauN1 ki zad2 par, kabhi gardisheN3 jahaaN ki
mere aaNsuauN ki rau4 meN kabhi talKhi-e zamaana5
1.laughter 2.bounds, regime 3.movements, happenings, calamities 4.flow
5.hardness/cruelty of the times
Sometimes I am able to laugh away the calamities that befall me, at other times the cruelty of the world flows through my tears.
5
meri raf’atauN1 se larzaaN2, kabhi mahr3 o maah4 o anjum5
meri pastiyauN6 se Khaa’ef7 kabhi auj-e Khusravaana8
1.heights, achievements, glory 2.tremble 3.sun 4.moon 5.stars 6.low points 7.fearful 8.peak (glory) of Khusro
Khusro, a legendary Persian king is often used as a metaphor for absolute power, pomp and show and hubris. At times, even the sun, moon and stars are envious of the heights of glory that I achieve. At other times even the peak of Glory looks upon my lowly state and feels fearful for itself (that it may one day fall as low as I).
6
kabhi maiN huN tujh se nalaaN, kabhi mujh se tu pareshaaN
kabhi maiN tera hadaf2 huN, kabhi tu mera nishaana3
1.sorrowful 2.target 3.aim
The “tu” (you) in this she’r could be anybody – the whole society/world or the beloved. Sometimes you are annoyed with me, at other times I am bothered by you, sometimes I am your target at others I take aim at you.
7
jise paa saka na zaahid1, jise chhoo saka na sufi
vahi taar2 chheRta hai mera soz3-e shaa’erana
1.chaste and religious, preacher 2.string (musical) 3.sorrow
My verse creates such mournful music the heights of which neither the orthodox preacher nor the liberal sufi/mystic could reach.
The post mera soz-e shaa’eraana-moin ehsan jazbi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/bshz-sharar-hi-yak-qalam-nikle-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شرر ہی یک قلم نکلے ۔ بہادر شاہ ظفرؔ
۱
وہ سو سو اٹھکھٹوں سے گھر سے باہر دو قدم نکلے
بلا سے اُس کی گر اس میں کسی مضطر کا دم نکلے
۲
کہاں آنسو کے قطرے خونِ دل سے ہیں بہم نکلے
یہ دل میں جمع تھے مدت سے کچھ پیکانِ غم نکلے
۳
مرے مضمونِ سوزِ دل سے خط سب جل گیا میرا
قلم سے حرف جو نکلے شرر ہی یک قلم نکلے
۴
نکال اے چارہ گر تو شوق سے لیکن سرِ پیکاں
ادھر نکلے جگر سے تیر ادھر قالب سے دم نکلے
۵
تصور سے لب لعلیں کے تیرے ہم اگر رو دیں
تو جو لخت جگر آنکھوں سے نکلے اک رقم نکلے
۶
نہیں ڈرتے اگر ہوں لاکھ زنداں یار زنداں سے
جنون اب تو مثالِ نالۂ زنجیر ہم نکلے
۷
جگر پر داغ لب پر دودِ دل اور اشک دامن میں
تری محفل سے ہم مانند شمعِ صبح دم نکلے
۸
کجی جن کی طبیعت میں ہے کب ہوتی وہ سیدھی ہے
کہو شاخ گل تصویر سے کس طرح خم نکلے
۹
شمار اک شب کیا ہم نے جو اپنے دل کے داغوں سے
تو انجم چرخِ ہشتم کے بہت سے ان سے کم نکلے
۱۰
خدا کے واسطے زاہد اٹھا پردہ نہ کعبہ کا
کہیں ایسا نہ ہو یاں بھی وہی کافر صنم نکلے
۱۱
تمنّا ہے یہ دل میں جب تلک ہے دم میں دم اپنے
ظفرؔ منہ سے ہمارے نام اس کا دم بہ دم نکلے
शरर ही यक-क़लम निकले – बहादुर शाह ज़फ़र
१
वो सौ सौ अठखटों से घर से बाहर दो क़दम निकले
बला से उस की गर उस में किसी मुज़्तर का दम निकले
२
कहाँ आँसू के क़तरे ख़ून-ए दिल से हैं बहम निकले
ये दिल में जम’अ थे मुद्दत से कुछ पैकान-ए ग़म निकले
३
मेरे मज़्मून-ए सोज़-ए दिल से ख़त सब जल गया मेरा
क़लम से हर्फ़ जो निकले शरर ही यक-क़लम निकले
४
निकाल अए चारागर तू शौक़ से लेकिन सर-ए पैकाँ
उधर निकले जिगर से तीर इधर क़ालिब से दम निकले
५
तसव्वुर से लब-ए लालीं के तेरे हम अगर रो दें
तो जो लख़्त-ए जिगर आँखों से निकले एक रक़म निकले
६
नहीं डरते अगर हों लाख ज़िंदाँ यार ज़िंदाँ से
जुनून अब तो मिसाल-ए नाला-ए ज़ंजीर हम निकले
७
जिगर पर दाग़, लब पर दूद-ए दिल, और अश्क दामन में
तेरी महफ़िल से हम मानिंद-ए शम्अ सुब्ह-दम निकले
८
कजी जिन की तबीयत में है कब होती वो सीधी है
कहो शाख़-ए गुल-ए तस्वीर से किस तरह ख़म निकले
९
शुमार एक शब किया हम ने जो अपने दिल के दाग़ों से
तो अंजुम चर्ख़-ए हश्तुम के बहुत से उन से कम निकले
१०
ख़ुदा के वास्ते ज़ाहेद उठा पर्दा न काबे का
कहीं ऐसा न हो याँ भी वही काफ़ेर-सनम निकले
११
तमन्ना है ये दिल में जब तलक है दम में दम अपने
ज़फ़र मुँह से हमारे नाम उस का दम-ब-दम निकले
Click here for background and on any passage for word meanings and explanatory discussion. bahaadur shaah zafar (1775-1862) became titular/nominal emperor of India in 1837. He was a scholar of faarsi and arabi and started composing at an early age. zauq and after zauq’s death in 1854, Ghalib became his ustaad. zafar used to hold frequent mushaa’era in the Red Fort. This Ghazal, in the same zamin as Ghalib’s “hazaaroN KhwaahisheN aisi keh har Khwaahish pe dam nikle”, is dated by kalidas gupta raza, 1853. I have no way to date zafar’s Ghazal, but there appears to be much overlap in phrases and thoughts. I assume that zafar wrote his Ghazal inspired by Ghalib’s Ghazal and I link it to both ‘Ghalib naqsh-e qadam’ and ‘Ghalib peshrau ham asr’. she’r 10 below is often wrongly attributed to Ghalib. I have not seen it attributed to zafar anywhere, but I found it in this Ghazal in volume 4 of his kulliyaat.
1
vo sau sau aTkhaToN1 se ghar se baahar do qadam2 nikle
bala se3 us ki gar4 us meN kisi muztar5 ka dam6 nikle 1.embellishments, adornments 2.steps 3.‘bala se’ – is an expression meaning – no harm to her or she does not care 4.if 5.grief stricken 6.breath, life
The ‘vo’ is the beloved and ‘muztar’ is the poet/lover. The beloved has stepped out of the house for a few steps adorned in her best. She does not care if some grief stricken lover loses his life (struck by her beauty).
2
kahaaN aaNsu ke qatre1 Khoon-e dil se haiN baham2 nikle
ye dil meN jam’a3 the muddat4 se kuchh paikaan5-e Gham6 nikle 1.drops 2.together, at the same time 3.collected 4.long time, ages 5.arrow tips 6.sorrow
The beloved shoots arrows (casts sidelong glances) at the poet/lover. The tips of the arrow penetrate the heart and remain there even as the arrow is pulled out. Did I ever cry when the arrow was pulled … (the lover is always stoic). But some (not all) emerged later (after a lot had accumulated) as tips of arrows of sorrow transformed into tears of blood.
3
mere mazmun1-e soz2-e dil se Khat3 sab jal gaya mera
qalam4 se harf5 jo nikle sharar6 hi yak-qalam7 nikle 1.theme 2.fire, passion 3.letter 4.pen 5.words 6.sparks 7.suddenly, all together
The theme of the letter was so fiery with passion, that the letter burnt up. Whatever words emerged from the pen were like sparks and they all came out suddenly.
4
nikaal aye chaaragar1 tu shauq2 se lekin sar3-e paikaaN4
udhar nikle jigar5 se tiir idhar qaalib6 se dam7 nikle 1.healer 2.with pleasure 3.tip 4.arrow 5.liver/heart 6.body 7.breath, life
O healer, pull out of the tip of the arrow from my heart, with pleasure. But know that as soon as the arrow is pulled out, life will depart from the body.
5
tasavvur1 se lab2-e laaliN3 ke tere ham agar4 ro deN
to jo laKht-e-jigar5 aaNkhoN se nikle ek raqam6 nikle 1.thought, imagination, memory 2.lips 3.ruby-like 4.if 5.fragments/bits of the liver 6.all together, all at once
In poetic convention, jigar/liver is considered to be the source of blood. Thus, these tear drops are really fragments of the liver. The distressed lover holds his tears but if he were to cry thinking of her ruby red lips, then his tears of blood will be fragments of liver that drop from the eyes emerging all together at once (flood of tears).
6
nahiN Darte agar hoN laakh zindaaN-yaar1 zindaaN se
junun2 ab to misaal3-e naala4-e zanjir ham nikle 1.lovers of the prison 2.passion 3.like, in the example of 4.wailing
‘zindaaN-yaar’ are mad passionate lovers who are thought to be crazy and have been put into prison. But they are not afraid of it, and might even be considered lovers of prison. ‘laakh nahiN Darte’ is an expression that roughly means – not matter how much you try (torture them), they are not afraid. The way in which they get out of the prison is like the wailing sound of the chains that bind them i.e., only the sound gets out.
7
jigar1 par daaGh2, lab3 par duud4-e dil, aur ashk5 daaman6 meN
teri mahfil7 se ham maanind8-e sham’a-e-sub’h-dam9 nikle 1.liver/heart 2.wound 3.lips, mouth 4.smoke 5.tears 6.hem of the robe 7.gathering 8.like, similar to 9.late-night candle about to be burnt out in the small hours of dawn
The late-night candle about to be burnt out or extinguished is also symbolic of the end of life. Thus, the poet/lover emerged from the beloved’s gathering with a wounded liver, burning heart, with smoke from the fire in the heart being breathed out of the mouth and tears gathered in the hem of the robe. I emerged from (or, was thrown out of) your gathering like a fluttering late-night candle. Said Ghalib …
nikalna Khuld se aadam ka sunte aaye haiN laikin
baRe be-aabru ho kar tere kooche se ham nikle
8
kaji1 jin ki tabiyat2 meN hai kab hoti vo siidhi hai
kaho shaaKh3-e gul4-e tasviir se kis tarah Kham5 nikle 1.crookedness 2.nature 3.branch 4.rose 5.curve
How can the crookedness of someone’s nature be straightened. Can the curve of the rose-bough in a picture ever be removed?
9
shumaar1 ek shab2 kiya ham ne jo apne dil ke daaGhoN3 se
to anjum4 charKh5-e hashtum6 ke bahut se un se kam nikle 1.count, compare 2.night 3.wounds 4.stars 5.sky 6.seventh
One night, when I compared the count of the wounds of my heart, then I found that the count of the stars up to the seventh heaven is less than that.
10
Khuda ke vaaste1 zaahid2 uTha parda na kaabe ka
kahiN aisa na ho yaaN bhi vahi kaafir-sanam3 nikle 1.for the sake of 2.preacher 3.sin-inducing idol i.e., beloved
There is some controversy associated with this she’r. Some publications of Ghalib’s diivaan have included this she’r in his Ghazal. Scholars rejected it as not authentic Ghalib but did not know who the poet might have been. I discovered it in zafar’s diivaan. The beloved is like an idol and the poet/lover worships her akin to idol worship. Thus, for god’s sake, do not lift the curtain over the kaaba, O preacher.
11
tamanna1 hai ye dil meN jab talak hai dam-meN-dam2 apne
zafar3 muNh se hamaare naam us ka dam-ba-dam4 nikle 1.intense desire 2.breath left in life/body 3.pen-name of the poet 4.moment by moment, constantly
O zafar, it is my intense desire that as long as there is breath left in my body, I have his/her name on my lips at every moment. Whose name? Beloved or god!
bahaadur shaah zafar (1775-1862) became titular/nominal emperor of India in 1837. He was a scholar of faarsi and arabi and started composing at an early age. zauq and after zauq’s death in 1854, Ghalib became his ustaad. zafar used to hold frequent mushaa’era in the Red Fort. This Ghazal, in the same zamin as Ghalib’s “hazaaroN KhwaahisheN aisi keh har Khwaahish pe dam nikle”, is dated by kalidas gupta raza, 1853. I have no way to date zafar’s Ghazal, but there appears to be much overlap in phrases and thoughts. I assume that zafar wrote his Ghazal inspired by Ghalib’s Ghazal and I link it to both ‘Ghalib naqsh-e qadam’ and ‘Ghalib peshrau ham asr’. she’r 10 below is often wrongly attributed to Ghalib. I have not seen it attributed to zafar anywhere, but I found it in this Ghazal in volume 4 of his kulliyaat.
1
vo sau sau aTkhaToN1 se ghar se baahar do qadam2 nikle
bala se3 us ki gar4 us meN kisi muztar5 ka dam6 nikle
1.embellishments, adornments 2.steps 3.‘bala se’ – is an expression meaning – no harm to her or she does not care 4.if 5.grief stricken 6.breath, life
The ‘vo’ is the beloved and ‘muztar’ is the poet/lover. The beloved has stepped out of the house for a few steps adorned in her best. She does not care if some grief stricken lover loses his life (struck by her beauty).
2
kahaaN aaNsu ke qatre1 Khoon-e dil se haiN baham2 nikle
ye dil meN jam’a3 the muddat4 se kuchh paikaan5-e Gham6 nikle
1.drops 2.together, at the same time 3.collected 4.long time, ages 5.arrow tips 6.sorrow
The beloved shoots arrows (casts sidelong glances) at the poet/lover. The tips of the arrow penetrate the heart and remain there even as the arrow is pulled out. Did I ever cry when the arrow was pulled … (the lover is always stoic). But some (not all) emerged later (after a lot had accumulated) as tips of arrows of sorrow transformed into tears of blood.
3
mere mazmun1-e soz2-e dil se Khat3 sab jal gaya mera
qalam4 se harf5 jo nikle sharar6 hi yak-qalam7 nikle
1.theme 2.fire, passion 3.letter 4.pen 5.words 6.sparks 7.suddenly, all together
The theme of the letter was so fiery with passion, that the letter burnt up. Whatever words emerged from the pen were like sparks and they all came out suddenly.
4
nikaal aye chaaragar1 tu shauq2 se lekin sar3-e paikaaN4
udhar nikle jigar5 se tiir idhar qaalib6 se dam7 nikle
1.healer 2.with pleasure 3.tip 4.arrow 5.liver/heart 6.body 7.breath, life
O healer, pull out of the tip of the arrow from my heart, with pleasure. But know that as soon as the arrow is pulled out, life will depart from the body.
5
tasavvur1 se lab2-e laaliN3 ke tere ham agar4 ro deN
to jo laKht-e-jigar5 aaNkhoN se nikle ek raqam6 nikle
1.thought, imagination, memory 2.lips 3.ruby-like 4.if 5.fragments/bits of the liver 6.all together, all at once
In poetic convention, jigar/liver is considered to be the source of blood. Thus, these tear drops are really fragments of the liver. The distressed lover holds his tears but if he were to cry thinking of her ruby red lips, then his tears of blood will be fragments of liver that drop from the eyes emerging all together at once (flood of tears).
6
nahiN Darte agar hoN laakh zindaaN-yaar1 zindaaN se
junun2 ab to misaal3-e naala4-e zanjir ham nikle
1.lovers of the prison 2.passion 3.like, in the example of 4.wailing
‘zindaaN-yaar’ are mad passionate lovers who are thought to be crazy and have been put into prison. But they are not afraid of it, and might even be considered lovers of prison. ‘laakh nahiN Darte’ is an expression that roughly means – not matter how much you try (torture them), they are not afraid. The way in which they get out of the prison is like the wailing sound of the chains that bind them i.e., only the sound gets out.
7
jigar1 par daaGh2, lab3 par duud4-e dil, aur ashk5 daaman6 meN
teri mahfil7 se ham maanind8-e sham’a-e-sub’h-dam9 nikle
1.liver/heart 2.wound 3.lips, mouth 4.smoke 5.tears 6.hem of the robe 7.gathering 8.like, similar to 9.late-night candle about to be burnt out in the small hours of dawn
The late-night candle about to be burnt out or extinguished is also symbolic of the end of life. Thus, the poet/lover emerged from the beloved’s gathering with a wounded liver, burning heart, with smoke from the fire in the heart being breathed out of the mouth and tears gathered in the hem of the robe. I emerged from (or, was thrown out of) your gathering like a fluttering late-night candle. Said Ghalib …
nikalna Khuld se aadam ka sunte aaye haiN laikin
baRe be-aabru ho kar tere kooche se ham nikle
8
kaji1 jin ki tabiyat2 meN kab hoti hai vo siidhi hai
kaho shaaKh3-e gul4-e tasviir se kis tarah Kham5 nikle
1.crookedness 2.nature 3.branch 4.rose 5.curve
How can the crookedness of someone’s nature be straightened. Can the curve of the rose-bough in a picture ever be removed?
9
shumaar1 ek shab2 kiya ham ne jo apne dil ke daaGhoN3 se
to anjum4 charKh5-e hashtum6 ke bahut se un se kam nikle
1.count, compare 2.night 3.wounds 4.stars 5.sky 6.seventh
One night, when I compared the count of the wounds of my heart, then I found that the count of the stars up to the seventh heaven is less than that.
10
Khuda ke vaaste1 zaahid2 uTha parda na kaabe ka
kahiN aisa na ho yaaN bhi vahi kaafir-sanam3 nikle
1.for the sake of 2.preacher 3.sin-inducing idol i.e., beloved
There is some controversy associated with this she’r. Some publications of Ghalib’s diivaan have included this she’r in his Ghazal. Scholars rejected it as not authentic Ghalib but did not know who the poet might have been. I discovered it in zafar’s diivaan. The beloved is like an idol and the poet/lover worships her akin to idol worship. Thus, for god’s sake, do not lift the curtain over the kaaba, O preacher.
11
tamanna1 hai ye dil meN jab talak hai dam-meN-dam2 apne
zafar3 muNh se hamaare naam us ka dam-ba-dam4 nikle
1.intense desire 2.breath left in life/body 3.pen-name of the poet 4.moment by moment, constantly
O zafar, it is my intense desire that as long as there is breath left in my body, I have his/her name on my lips at every moment. Whose name? Beloved or god!
The post sharar hi yak-qalam nikle-bahadur shah zafar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/joshm-arbaab-e-aql-ki-daavat-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اربابِ عقل کی دعوت ۔ جوشؔ ملیح آبادی
۱
اے خلوتیِ حجلۂ اسرار و معانی
تسبیح سے تحقیق کے دربار میں آ جا
۲
اے پردہ نشینِ حرمِ عصمت و ایماں
اک روز تو رندانِ گنہ گار میں آ جا
۳
ممکن ہو تو وجدان کی محفل سے نکل کر
اے شاہدِ جاں حلقۂ افکار میں آ جا
۴
اک عمر سے حیران و پریشاں ہیں خریدار
اے جنسِ گراں عقل کے بازار میں آجا
۵
قرنوں سے ہیں اربابِ نظر گوش بر آواز
اے رازِ نہاں معرضِ گفتار میں آ جا
अरबाब-ए अक़्ल की दावत- जोश मलीह आबादी
१
अए ख़ल्वती-ए हुजला-ए अस्रार ओ मु’आनी
तस्बीह से तहक़ीक़ के दरबार में आ जा
२
अए पर्दा-नशीन-ए हरम-ए इस्मत ओ ईमां
एक रोज़ तो रिन्दान-ए गुनह-गार में आ जा
३
मुम्किन हो तो वज्दान कि महफ़िल से निकल कर
अए शाहेद-ए जां हल्क़ा-ए अफ़्कार में आ जा
४
एक उम्र से हैरान ओ परेशां हैं ख़रीदार
अए जिन्स-ए गिरां अक़्ल के बाज़ार में आ जा
५
क़रनौं से हैं अर्बाब-ए नज़र गोश बर आवाज़
अए राज़-ए नेहां म’आरेज़-ए गुफ़्तार में आ जा
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This nazm in the style of a Ghazal is an invitation to reason away from blind belief.
1
aye Khalvati1-e hujla2-e asraar3 o mu’aani4
tasbiih5 se tahqiiq6 ke darbaar7 meN aa ja 1.secluded 2.chamber 3.mysteries 4.meaning, intrinsic quality 5.prayer beads 6.inquiry, reason 7.domain, court
You who are secluded in the chamber of mysteries and inner meanings, leave your prayer beads and come out in the court of reason.
2
aye parda-nashiin1-e haram2-e ismat3 o iimaaN4ek roz to rindaan5-e ganahgaar6 meN aa ja 1.observing parda, veiled 2.sanctuary 3.chastity, abstinence 4.faith 5.wine-drinkers, revelers 6.sinful
You, hiding behind a veil of abstinence and faith, at least one day, come to the gathering of sinful wine-lovers and revelers.
3
mumkin1 ho to vajdaan2 ki mahfil3 se nikal kar
aye shaahed-e-jaaN4 halqa5-e afkaar6 meN aa ja 1.possible 2.trance 3.gathering 4.witness of life 5.circle 6.thought, reason
You, who have witnessed life (from afar), come out of the gathering of unthinking fascination/trance and come into the circle of Reason.
4
ek umr1 se hairaan2 o pareshaaN3 hai Khariidaar4aye jins5-e giraaN6 aql7 ke baazaar meN aa ja 1.life 2.puzzled 3.worried 4.buyer, seeker 5.commodity 6.valuable 7.mind
For ages now buyers have been puzzled and confused. O valuable commodity, come into the bazaar of the mind. Here, buyers are the public who have been stuck in unthinking trance. ‘jins-e giraaN’ is ‘tahqiiq’ – searching, questioning.
5
qarnoN1 se haiN arbaab2-e nazar3 gosh4 bar-aavaaz5
aye raaz6-e nehaaN7 m’aarez8-e guftaar9 meN aa ja 1.millenia 2.lords, owners 3.sight 4.ears 5.tuned to sound/voice 6.secret, mystery 7.hidden 8.field of 9.conversation, speech
For millenia now, people of discriminating sight have their ears tuned to your voice. O hidden mystery, come out into the field of speech and reveal yourself.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. This nazm in the style of a Ghazal is an invitation to reason away from blind belief.
1
aye Khalvati1-e hujla2-e asraar3 o mu’aani4
tasbiih5 se tahqiiq6 ke darbaar7 meN aa ja
1.secluded 2.chamber 3.mysteries 4.meaning, intrinsic quality 5.prayer beads 6.inquiry, reason 7.domain, court
You who are secluded in the chamber of mysteries and inner meanings, leave your prayer beads and come out in the court of reason.
2
aye parda-nashiin1-e haram2-e ismat3 o iimaaN4ek roz to rindaan5-e ganahgaar6 meN aa ja
1.observing parda, veiled 2.sanctuary 3.chastity, abstinence 4.faith 5.wine-drinkers, revelers 6.sinful
You, hiding behind a veil of abstinence and faith, at least one day, come to the gathering of sinful wine-lovers and revelers.
3
mumkin1 ho to vajdaan2 ki mahfil3 se nikal kar
aye shaahed-e-jaaN4 halqa5-e afkaar6 meN aa ja
1.possible 2.trance 3.gathering 4.witness of life 5.circle 6.thought, reason
You, who have witnessed life (from afar), come out of the gathering of unthinking fascination/trance and come into the circle of Reason.
4
ek umr1 se hairaan2 o pareshaaN3 hai Khariidaar4aye jins5-e giraaN6 aql7 ke baazaar meN aa ja
1.life 2.puzzled 3.worried 4.buyer, seeker 5.commodity 6.valuable 7.mind
For ages now buyers have been puzzled and confused. O valuable commodity, come into the bazaar of the mind. Here, buyers are the public who have been stuck in unthinking trance. ‘jins-e giraaN’ is ‘tahqiiq’ – searching, questioning.
5
qarnoN1 se haiN arbaab2-e nazar3 gosh4 bar-aavaaz5
aye raaz6-e nehaaN7 m’aarez8-e guftaar9 meN aa ja
1.millenia 2.lords, owners 3.sight 4.ears 5.tuned to sound/voice 6.secret, mystery 7.hidden 8.field of 9.conversation, speech
For millenia now, people of discriminating sight have their ears tuned to your voice. O hidden mystery, come out into the field of speech and reveal yourself.
The post arbaab-e aql ki daavat-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2023/03/jm-sijda-nau-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
سجدۂ نو ۔ جوشؔ ملیح آبادی
۱
نا آشنائے سجدۂ نو ہے بشر ہنوز
پہنچا نہیں ہے زانوئے حکمت پہ سر ہنوز
۲
ہر گیسوئے خیال میں ہیں رہزنی کے خم
اُلجھی ہوئی ہے زلفِ مذاقِ خضر ہنوز
۳
دیوانگی کے دشت میں چرتی ہے زندگی
فرزانگی کی راہ میں اُڑتے ہیں سر ہنوز
۴
حیف، اک شنیدہ لشکرِ نادیدہ کے حضور
پھینکے ہوئے ہے دانشِ آدم سپر ہنوز
۵
راتوں کی یورشوں سے اُفق ہے سیاہ پوش
سکتے میں ہے جلوسِ طلوعِ سحر ہنوز
۶
بازارِ سیم و زر میں وہ غُل ہے کہ الاماں
گاہک کی منتظر ہے متاعِ ہنر ہنوز
۷
اُبھری نہیں ہے جودتِ گردوں شناس ابھی
بینا نہیں ہے دیدۂ گیتی نِگر ہنوز
۸
قدریں ہیں دائمی کہ اضافی کسے خبر
اُلجھا ہوا ہے مسلۂ خیر و شر ہنوز
۹
جو آدمی ہے میرِ سماوات و شاہِ ارض
وہ آدمی ہے بندۂ تاج و کمر ہنوز
۱۰
اِس جادۂ درازِ سنین و شہور پر
اِنسان کا سفر ہے بہت مختصر ہنوز
۱۱
بے مُزد بھر رہے ہیں جو ذہنوں کی جھولیاں
وہ خاتمانِ شہر ہیں دریوزہ گر ہنوز
۱۲
اقوال کی زمیں پہ کھڑی ہیں عمارتیں
افکار کا اِحاطہ ہے بے سقف و در ہنوز
۱۳
ہوتا ہے ضبط سرحد و ساحل پہ مالِ عقل
ممنوع ہے درآمدِ فکر و نظر ہنوز
۱۴
بخشے گا بندگی سے جو اِنسان کو نجات
وہ صرف مایہ دار ہے نا معتبر ہنوز
۱۵
بیٹھے ہوے ہیں جہل کے پہرے علوم پر
لب بستہ ہے نبوّتِ ذہنِ بشر ہنوز
सजदा-ए नौ – जोश मलीहाबादी
१
ना-आशना-ए सजदा-ए नौ है बशर हनूज़
पहुंचा नहीं है ज़ानू-ए हिकमत पे सर हनूज़
२
हर गेसु-ए ख़याल में है रहज़नी के ख़म
उलझी हुई है ज़ुल्फ़-ए मज़ाक़-ए ख़िज़र हनूज़
३
दीवानगी के दश्त में चरती है ज़िन्दगी
फ़र्ज़ानगी कि राह में उढते हैं सर हनूज़
४
हैफ़, एक शुनीदा लश्कर-ए नादीदा के हुज़ूर
फैंके हुए है दानिश-ए आदम सिपर हनूज़
५
रातौं की यूरिशौं से उफ़क़ है सियाह-पोश
सकते में है जुलूस-ए तुलू-ए सहर हनूज़
६
बाज़ार-ए सीम ओ ज़र में वो ग़ुल है के अल-अमां
गाहक कि मुंतज़िर है मता-ए हुनर हनूज़
७
उभरी नहीं है जूदत-ए गर्दूं-शनास अभी
बीना नहीं है दीदा-ए गेती-निगर हनूज़
८
क़दरें हैं दा’एमी के इज़ाफ़ी किसे ख़बर
उल्झा हुआ है मस’अला-ए ख़ैर ओ शर हनूज़
९
जो आदमी है मीर-ए समावात ओ शाह-ए आर्ज़
वो आदमी है बन्दा-ए ताज ओ कमर हनूज़
१०
इस जादा-ए दराज़-ए सिनैन ओ शहूर पर
इन्सान का सफ़र है बहुत मुख़्तसर हनूज़
११
बे-मुज़्द भर रहे हैं जो ज़हनौं कि झोलियां
वो ख़ातमान-ए शहर हैं दरयूज़ा-गर हनूज़
१२
अक़्वाल की ज़मीं पे खढी हैं इमारतें
अफ़्कार का एहाता है बे-सक़्फ़ ओ दर हनूज़
१३
होता है ज़ब्त सरहद ओ साहिल पे माल-ए अक़्ल
ममनू है दर-आमद-ए फ़िक्र ओ नज़र हनूज़
१४
बख़्शेगा बन्दगी से जो इन्सान को नजात
वो सर्फ़-ए माया-दार है ना-मोतबर हनूज़
१५
बैठे हुए हैं जहल के पहरे उलूम पर
लब-बस्ता है नुबुव्वत-ए ज़हन-ए बशर हनूज़
Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. Here he laments that the human mind is still slave to unthinking traditions/beliefs.
1
na-aashna1-e sajda2-e nau3 hai bashar4 hanooz5
pahuNcha nahiN hai zaanu6-e hikmat7 pe sar hanooz 1.unaware, ignorant 2.bowing down, prostration 3.new 4.human 5.still, even now 6.lap, knee 7.wisdom, knowledge
The old kind of sajda is prostration to blind belief. The new kind is to Knowledge and Reason. ‘zaanu par sar rakhna’ is an expression meaning to be deep in thought. Thus, humans are still not familiar with the new kind of sajda.
2
har gesu1-e Khayaal2 meN hai rahzani3 ke Kham4
uljhi5 hui hai zulf6-e mazaaq7-e Khizar8 hanooz 1.strand of hair 2.thought, reason 3.robbery 4.curled 5.tangled 6.hair 7.taste, refined taste 8.legendary old man
Khizar is a Biblical and qur’aanic figure. He is supposed to be immortal, very well read, knowledegeable about everything. Thus, ‘mazaaq-e Khizar’ is his taste for reading/knowledge. Every strand of the hair of Reason is curled up (withdrawn) because of attack by highwaymen. The hair of the taste for knowledge are all tangled up i.e., people still have not learnt to reason and question.
3
diivaanagi ke dasht1 meN charti2 hai zindagi
farzaanagi3 ki raah meN uRte4 haiN sar hanooz 1.wilderness 2.graze 3.wisdom 4.sar uRna is an expression meaning head flying off the body i.e., chopped off
Life grazes in the wilderness of madness/ignorance. Heads are still chopped off along the path of reason/wisdom.
4
haif1, ek shuniida2 lashkar3-e naa-diida4 ke huzoor5phaiNke hue hai daanish6-e aadam7 sipar8 hanooz 1.alas 2.heard 3.army, force 4.not seen, no evidence 5.in front of, before 6.wisdom 7.human beings 8.shield
Alas, before a force that we only have heard about but have never seen, human beings have thrown down the shield wisdom. Consider sudarshan faakir …
saamne hai jo use log bura kahte haiN
jisko dekha hi nahiN usko Khuda kahte haiN
5
raatoN ki yurishoN1 se ufaq2 hai siyaah-posh3
sakte4 meN hai juloos5-e tuloo6-e sahar7 hanooz 1.attack, onslaught 2.horizon 3.dark robed 4.stunned, stupefied 5.parade, march 6.emergence 7.dawn
‘sahar’-dawn can signify the light of knowledge and/or social justice. Here it is probably used to signify knowledge. Thus, the horizon is cloaked in darkness because of the onslaught of night/darkness/oppression. The march of the emergence of knowledge is still stunned.
6
baazaar-e siim1 o zar2 meN vo Ghul3 hai keh al-amaaN4gaahak ki muntazar5 hai mataa6-e hunar7 hanooz 1.silver 2.gold 3.noise, activity, bustle 4.may god protect us, refuge 5.waiting 6.treasure 7.skill, talent
The bazaar of gold and silver is so active that I seek refuge from it. On the other hand, the treasure house of talent is still waiting for customers.
7
ubhri1 nahiN hai joodat2-e garduuN-shanaas3 abhi
biina4 nahiN hai diida5-e geti-nigar6 hanooz 1.emerge, rise 2.intelligence, fast learning 3.one who understands/is familiar with the heavens 4.able to see 5.eye 6.world protecting
The intelligence of those who understand skies/heavens/divinity has not yet risen up. The eye that guards this world is still unable to see (through the fog of ignorance).
8
qadreN1 haiN daa’emi2 keh izaafi3 kise Khabar4
uljha5 hua hai mas’ala6-e Khair7 o shar8 hanooz 1.ordained by god, commandments 2.eternal 3.incremental, changing 4.knows 5.tangled, complicated 6.puzzle 7.good 8.evil
Are divine commandments eternal or do they change with time, who knows. The puzzle of good and evil is still complex.
9
jo aadmi hai miir1-e samaavaat2 o shaah3-e arz4vo aadmi hai banda5-e taaj-o-kamar6 hanooz 1.lord 2.skies 3.king 4.earth 5.slave 6.crown and (ceremonial) belt
Humans who are the lords of skies and kings of the earth are still slaves to the crown and sceptre.
10
is jaada1-e daraaz2-e sinain3 o shahoor4 par
insaan ka safar5 hai bahut muKhtasir6 hanooz 1.path 2.long 3.years 4.months 5.journey 6.brief
The journey of humans on this long path of time is still very brief.
11
be-muzd1 bhar rahe haiN jo zahnoN2 ki jholiyaaN3vo Khaatemaan-e-shahr4 haiN daryooza-gar5 hanooz 1.without compensation/wages 2.minds 3.sacks 4.caretakers of regime 5.bearing a begging bowl
‘zahnoN ki jholiyaaN bharna’ probably is being used to mean ‘filling minds with propaganda’. And it appears that the propaganda that they are filling has no compensatory value. The leaders of the homeland still carry begging bowls (looking for ideas).
12
aqvaal1 ki zamiiN pe khaRi haiN imaarateN2
afkaar3 ka ehaata4 hai be-saqf5 o dar6 hanooz 1.sayings, pronouncements, edicts 2.buildings 3.thought, reason 4.area 5.without roof 6.doors
Large buildings stand on the land of edicts but the area of reason is still without roof or doors.
13
hota hai zabt1 sarhad2 o saahil3 pe maal-e aql4
mamnoo5 hai dar-aamad6-e fikr7 o nazar8 hanooz 1.confiscated 2.boundary 3.shoreline 4.mind 5.forbidden 6.entry 7.reason 8.discerning eye
Good of the mind are confiscated at the boundary and the shore. Entry of thought and reason and of the discerning eye is forbidden.
14
baKhshega1 bandagi2 se jo insaan ko najaat3
vo sarf4-e maaya-daar5 hai na-motabar6 hanooz 1.grant 2.slavery 3.deliverance 4.treasury, budget 5.value bearing 6.unreliable
The high value treasury (of thought) that can grant humans deliverance from slavery (of the mind) is still undependable.
15
baiThe hue haiN jahl1 ke pahre2 uloom3 par
lab-basta4 hai nubuvvat5-e zahn6-e bashar7 hanooz 1.ignorance 2.watchmen 3.knowledge 4.sealed lips 5.divine message, prophet, messenger 6.mind 7.human
Knowledge is confined by the prison guards of Ignorance. The lips of the messenger of the human mind (does he mean himself) are still sealed.
josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. Here he laments that the human mind is still slave to unthinking traditions/beliefs.
1
na-aashna1-e sajda2-e nau3 hai bashar4 hanooz5
pahuNcha nahiN hai zaanu6-e hikmat7 pe sar hanooz
1.unaware, ignorant 2.bowing down, prostration 3.new 4.human 5.still, even now 6.lap, knee 7.wisdom, knowledge
The old kind of sajda is prostration to blind belief. The new kind is to Knowledge and Reason. ‘zaanu par sar rakhna’ is an expression meaning to be deep in thought. Thus, humans are still not familiar with the new kind of sajda.
2
har gesu1-e Khayaal2 meN hai rahzani3 ke Kham4
uljhi5 hui hai zulf6-e mazaaq7-e Khizar8 hanooz
1.strand of hair 2.thought, reason 3.robbery 4.curled 5.tangled 6.hair 7.taste, refined taste 8.legendary old man
Khizar is a Biblical and qur’aanic figure. He is supposed to be immortal, very well read, knowledegeable about everything. Thus, ‘mazaaq-e Khizar’ is his taste for reading/knowledge. Every strand of the hair of Reason is curled up (withdrawn) because of attack by highwaymen. The hair of the taste for knowledge are all tangled up i.e., people still have not learnt to reason and question.
3
diivaanagi ke dasht1 meN charti2 hai zindagi
farzaanagi3 ki raah meN uRte4 haiN sar hanooz
1.wilderness 2.graze 3.wisdom 4.sar uRna is an expression meaning head flying off the body i.e., chopped off
Life grazes in the wilderness of madness/ignorance. Heads are still chopped off along the path of reason/wisdom.
4
haif1, ek shuniida2 lashkar3-e naa-diida4 ke huzoor5phaiNke hue hai daanish6-e aadam7 sipar8 hanooz
1.alas 2.heard 3.army, force 4.not seen, no evidence 5.in front of, before 6.wisdom 7.human beings 8.shield
Alas, before a force that we only have heard about but have never seen, human beings have thrown down the shield wisdom. Consider sudarshan faakir …
saamne hai jo use log bura kahte haiN
jisko dekha hi nahiN usko Khuda kahte haiN
5
raatoN ki yurishoN1 se ufaq2 hai siyaah-posh3
sakte4 meN hai juloos5-e tuloo6-e sahar7 hanooz
1.attack, onslaught 2.horizon 3.dark robed 4.stunned, stupefied 5.parade, march 6.emergence 7.dawn
‘sahar’-dawn can signify the light of knowledge and/or social justice. Here it is probably used to signify knowledge. Thus, the horizon is cloaked in darkness because of the onslaught of night/darkness/oppression. The march of the emergence of knowledge is still stunned.
6
baazaar-e siim1 o zar2 meN vo Ghul3 hai keh al-amaaN4gaahak ki muntazar5 hai mataa6-e hunar7 hanooz
1.silver 2.gold 3.noise, activity, bustle 4.may god protect us, refuge 5.waiting 6.treasure 7.skill, talent
The bazaar of gold and silver is so active that I seek refuge from it. On the other hand, the treasure house of talent is still waiting for customers.
7
ubhri1 nahiN hai joodat2-e garduuN-shanaas3 abhi
biina4 nahiN hai diida5-e geti-nigar6 hanooz
1.emerge, rise 2.intelligence, fast learning 3.one who understands/is familiar with the heavens 4.able to see 5.eye 6.world protecting
The intelligence of those who understand skies/heavens/divinity has not yet risen up. The eye that guards this world is still unable to see (through the fog of ignorance).
8
qadreN1 haiN daa’emi2 keh izaafi3 kise Khabar4
uljha5 hua hai mas’ala6-e Khair7 o shar8 hanooz
1.ordained by god, commandments 2.eternal 3.incremental, changing 4.knows 5.tangled, complicated 6.puzzle 7.good 8.evil
Are divine commandments eternal or do they change with time, who knows. The puzzle of good and evil is still complex.
9
jo aadmi hai miir1-e samaavaat2 o shaah3-e arz4vo aadmi hai banda5-e taaj-o-kamar6 hanooz
1.lord 2.skies 3.king 4.earth 5.slave 6.crown and (ceremonial) belt
Humans who are the lords of skies and kings of the earth are still slaves to the crown and sceptre.
10
is jaada1-e daraaz2-e sinain3 o shahoor4 par
insaan ka safar5 hai bahut muKhtasir6 hanooz
1.path 2.long 3.years 4.months 5.journey 6.brief
The journey of humans on this long path of time is still very brief.
11
be-muzd1 bhar rahe haiN jo zahnoN2 ki jholiyaaN3vo Khaatemaan-e-shahr4 haiN daryooza-gar5 hanooz
1.without compensation/wages 2.minds 3.sacks 4.caretakers of regime 5.bearing a begging bowl
‘zahnoN ki jholiyaaN bharna’ probably is being used to mean ‘filling minds with propaganda’. And it appears that the propaganda that they are filling has no compensatory value. The leaders of the homeland still carry begging bowls (looking for ideas).
12
aqvaal1 ki zamiiN pe khaRi haiN imaarateN2
afkaar3 ka ehaata4 hai be-saqf5 o dar6 hanooz
1.sayings, pronouncements, edicts 2.buildings 3.thought, reason 4.area 5.without roof 6.doors
Large buildings stand on the land of edicts but the area of reason is still without roof or doors.
13
hota hai zabt1 sarhad2 o saahil3 pe maal-e aql4
mamnoo5 hai dar-aamad6-e fikr7 o nazar8 hanooz
1.confiscated 2.boundary 3.shoreline 4.mind 5.forbidden 6.entry 7.reason 8.discerning eye
Good of the mind are confiscated at the boundary and the shore. Entry of thought and reason and of the discerning eye is forbidden.
14
baKhshega1 bandagi2 se jo insaan ko najaat3
vo sarf4-e maaya-daar5 hai na-motabar6 hanooz
1.grant 2.slavery 3.deliverance 4.treasury, budget 5.value bearing 6.unreliable
The high value treasury (of thought) that can grant humans deliverance from slavery (of the mind) is still undependable.
15
baiThe hue haiN jahl1 ke pahre2 uloom3 par
lab-basta4 hai nubuvvat5-e zahn6-e bashar7 hanooz
1.ignorance 2.watchmen 3.knowledge 4.sealed lips 5.divine message, prophet, messenger 6.mind 7.human
Knowledge is confined by the prison guards of Ignorance. The lips of the messenger of the human mind (does he mean himself) are still sealed.
The post sijda-e nau-josh malihabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/rmn-parvaaz-hai-meri-Ghazal-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
پرواز ہے میرے غزل ۔ روپا مہتا نغمہؔ
۱
زندگی کا ساز ہے میری غزل
درد کی آواز ہے میری غزل
۲
یہ کبھی قاتل کبھی بسمل لگے
خوب تیر انداز ہے میری غزل
۳
میں نے دنیا سے چھپایا رازِ غم
دل کی تو ہمراز ہے میری غزل
۴
اُٹھ کے دل سے آسماں تک جائے گی
وقت کی آواز ہے میری غزل
۵
لے اُڑی مجھ کو خدا جانے کہاں
روح کی پرواز ہے میری غزل
۶
درد کا رشتہ ہمارے درمیاں
نغمہؔ ہوں میں ساز ہے میری غزل
परवाज़ है मेरी ग़ज़ल – रूपा मेहता नग़्मा
१
ज़िन्दगी का साज़ है मेरी ग़ज़ल
दर्द की आवाज़ है मेरी ग़ज़ल
२
ये कभी क़ातिल कभी बिस्मिल लगे
ख़ूब तीर-अंदाज़ है मेरी ग़ज़ल
३
मैं ने दुनिया से छुपाया राज़-ए ग़म
दिल कि तो हमराज़ है मेरी ग़ज़ल
४
उठ के दिल से आस्मां तक जाएगी
वक़्त की आवाज़ है मेरी ग़ज़ल
५
ले उढी मुझ को ख़ुदा जाने कहां
रूह कि परवाज़ है मेरी ग़ज़ल
६
दर्द का रिश्ता हमारे दर्मियां
नग़्मा हुं मैं साज़ है मेरी ग़ज़ल
Click here for background and on any passage for word meanings and explanatory discussion. roopa mehta naGhma (xxxx-living), saurashTra, mumbai. I don’t know much about the poet other than the little that ali sardar jafri wrote in a preface to her collection. I would dearly love to learn how she came to urdu. A good portion of her Ghazal are about broken love but told from a woman’s point of view and in female gendered language. They force me to reflect on the incessant depiction of the (female) beloved as the oppressor. This Ghazal, although not with the same radeef/refrain as ‘Ghazal hoti hai’ is linked to that collection because of its thematic relationship.
1
zindagi ka saaz1 hai meri Ghazal
dard2 ki aavaaz hai meri Ghazal 1.musical instrument, music 2.pain
My Ghazal is the music of life. My Ghazal is a cry of pain.
2
ye kabhi qaatil1 kabhi bismil2 lage
Khoob tiir-andaaz3 hai meri Ghazal 1.killer, hunter 2.prey, hunted 3.marksman
Sometimes my Ghazal seems like the hunter and at other times like the hunted. A great marksman (of sharp aim) is my Ghazal i.e., it can related its story from both points of view.
3
maiN ne duniya se chhupaaya raaz1-e Gham2
dil ki to hamraaz3 hai meri Ghazal 1.secret 2.pain, sorrow 3.confidant
I hide the secret of my pain from the world (it is hidden in the heart). But the Ghazal is a confidant of my heart. It knows what is going on and it reflects that pain/sorrow.
4
uTh ke dil se aasmaaN tak jaayegi
vaqt ki aavaaz hai meri Ghazal Rising from the heart, it reaches the skies. The cry of the times is my Ghazal.
5
le uRi mujh ko Khuda jaane kahaaN
rooh1 ki parvaaz2 hai meri Ghazal 1.soul 2.flight
God knows where to takes me. Flight of the soul is my Ghazal.
6
dard ka rishta1 hamaare darmiyaaN2
naGhma3 huN maiN saaz4 hai meri Ghazal 1.pain 2.between 3.pen-name of the poet, song 4.musical instrument, music
The relationship between us is that shared pain. O naGhma, I am the song and music/harmony is my Ghazal.
roopa mehta naGhma (xxxx-living), saurashTra, mumbai. I don’t know much about the poet other than the little that ali sardar jafri wrote in a preface to her collection. I would dearly love to learn how she came to urdu. A good portion of her Ghazal are about broken love but told from a woman’s point of view and in female gendered language. They force me to reflect on the incessant depiction of the (female) beloved as the oppressor. This Ghazal, although not with the same radeef/refrain as ‘Ghazal hoti hai’ is linked to that collection because of its thematic relationship.
1
zindagi ka saaz1 hai meri Ghazal
dard2 ki aavaaz hai meri Ghazal
1.musical instrument, music 2.pain
My Ghazal is the music of life. My Ghazal is a cry of pain.
2
ye kabhi qaatil1 kabhi bismil2 lage
Khoob tiir-andaaz3 hai meri Ghazal
1.killer, hunter 2.prey, hunted 3.marksman
Sometimes my Ghazal seems like the hunter and at other times like the hunted. A great marksman (of sharp aim) is my Ghazal i.e., it can related its story from both points of view.
3
maiN ne duniya se chhupaaya raaz1-e Gham2
dil ki to hamraaz3 hai meri Ghazal
1.secret 2.pain, sorrow 3.confidant
I hide the secret of my pain from the world (it is hidden in the heart). But the Ghazal is a confidant of my heart. It knows what is going on and it reflects that pain/sorrow.
4
uTh ke dil se aasmaaN tak jaayegi
vaqt ki aavaaz hai meri Ghazal
Rising from the heart, it reaches the skies. The cry of the times is my Ghazal.
5
le uRi mujh ko Khuda jaane kahaaN
rooh1 ki parvaaz2 hai meri Ghazal
1.soul 2.flight
God knows where to takes me. Flight of the soul is my Ghazal.
6
dard ka rishta1 hamaare darmiyaaN2
naGhma3 huN maiN saaz4 hai meri Ghazal
1.pain 2.between 3.pen-name of the poet, song 4.musical instrument, music
The relationship between us is that shared pain. O naGhma, I am the song and music/harmony is my Ghazal.
The post parvaaz hai meri Ghazal-roopa mehta naGhma appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/rmn-mere-Khat-ke-javaab-meN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مرے خط کے جواب میں ۔ روپا مہتا نغمہؔ
۱
رہ لو خیال میں کبھی آ جاؤ خواب میں
مجھ سے ملو بھی تم تو ملو سو حجاب میں
۲
یہ معجزہ دکھائے محبت کبھی ہمیں
آ جائیں سامنے مرے خط کے جواب میں
۳
دل کے کہے پہ چلنے کا اِنعام یہ ملا
دریا سے بچ کے ڈوب گئے ہم سراب میں
۴
خوشیاں کبھی نصیب میں اتنی لکھی نہ تھیں
شائد خدا سے بھول ہوئی ہے حساب میں
۵
نغمہؔ مری غزل ہے مہکتا ہوا چمن
خوشبو کہاں سے آئے گی ایسی گلاب میں
मेरे ख़त के जवाब में – रूपा महता नग़्मा
१
रह लो ख़याल में कभी आ जाओ ख़्वाब में
मुझ से मिलो भी तुम तो मिलो सौ हिजाब में
२
ये मो’जेज़ा दिखाए मोहब्बत कभी हमें
आ जाएं सामने मेरे ख़त के जवाब में
३
दिल के कहे पे चलने का इन’आम ये मिला
दर्या से बच के डूब गये हम सराब में
४
ख़ुशियां कभी नसीब में इतनी लिखी न थीं
शा’एद ख़ुदा से भूल हुई है हिसाब में
५
नग़्मा मेरी ग़ज़ल है महकता हुआ चमन
ख़ुशबू कहां से आएगी ऐसी गुलाब में
Click here for background and on any passage for word meanings and explanatory discussion. roopa mehta naGhma (xxxx-living), saurashTra, mumbai. I don’t know much about the poet other than the little that ali sardar jafri wrote in a preface to her collection. I would dearly love to learn how she came to urdu. A good portion of her Ghazal are about broken love but told from a woman’s point of view and in female gendered language. They force me to reflect on the incessant depiction of the (female) beloved as the oppressor. This Ghazal in the zamin of Ghalib’s ‘saaqi ne kuchh mila na diya ho sharaab meN’ is linked to Ghalib naqsh-e qadam.
1
rah lo Khayaal meN kabhi aa jaao Khwaab meN
mujh se milo bhi tum to milo sau hijaab1 meN 1.veil, curtain
Sometimes you dwell in my thoughts and at others you appear in my dreams. Whenever you meet with me, you are behind a hundred veils.
2
ye mo’jeza1 dikhaa’e mohabbat kabhi hameN
aa jaa’eN saamne mere Khat ke javaab meN 1.miracle
May love show me this miracle some time. May he come himself in answer to my letters. There are many delightful ash’aar in the Ghazal linked to Ghalib naqsh-e qadam. Here are two examples. There are many more …
raghubiir saran divaakar raahi …
Ghusse meN, barhami meN, Ghazab meN, itaab meN
Khud aa gaye haiN vo, mere Khat ke javaab meN
darshan dayaal parvaaz …
itna to ho hi sakta tha Khat ke javaab meN
ek baar bhej deta Khuda un ko Khwaab meN
3
dil ke kahe pe chalne ka in’aam1 ye mila
darya se bach ke Doob gaye ham saraab2 meN 1.reward 2.mirage
The affairs of the heart invariable lead to disaster. Thus, this was the reward for following the heart. I escaped the sea but drowned in the mirage.
4
KhushiyaaN kabhi nasiib1 meN itni likhi na thiiN
shaa’ed2 Khuda se bhool3 hui hai hisaab4 meN 1.fate 2.perhaps 3.mistake 4.reckoning, counting
So much joy was never seen written in my fate. Perhaps god miscounted.
5
naGhma1 meri Ghazal hai mahakta2 hua chaman
Khushbu kahaaN se aa’egi aisi gulaab meN 1.pen-name of the poet 2.fragrant
O naGhma, my Ghazal is like a redolent garden. How can one rose have such fragrance.
roopa mehta naGhma (xxxx-living), saurashTra, mumbai. I don’t know much about the poet other than the little that ali sardar jafri wrote in a preface to her collection. I would dearly love to learn how she came to urdu. A good portion of her Ghazal are about broken love but told from a woman’s point of view and in female gendered language. They force me to reflect on the incessant depiction of the (female) beloved as the oppressor. This Ghazal in the zamin of Ghalib’s ‘saaqi ne kuchh mila na diya ho sharaab meN’ is linked to Ghalib naqsh-e qadam.
1
rah lo Khayaal meN kabhi aa jaao Khwaab meN
mujh se milo bhi tum to milo sau hijaab1 meN
1.veil, curtain
Sometimes you dwell in my thoughts and at others you appear in my dreams. Whenever you meet with me, you are behind a hundred veils.
2
ye mo’jeza1 dikhaa’e mohabbat kabhi hameN
aa jaa’eN saamne mere Khat ke javaab meN
1.miracle
May love show me this miracle some time. May he come himself in answer to my letters. There are many delightful ash’aar in the Ghazal linked to Ghalib naqsh-e qadam. Here are two examples. There are many more …
raghubiir saran divaakar raahi …
Ghusse meN, barhami meN, Ghazab meN, itaab meN
Khud aa gaye haiN vo, mere Khat ke javaab meN
darshan dayaal parvaaz …
itna to ho hi sakta tha Khat ke javaab meN
ek baar bhej deta Khuda un ko Khwaab meN
3
dil ke kahe pe chalne ka in’aam1 ye mila
darya se bach ke Doob gaye ham saraab2 meN
1.reward 2.mirage
The affairs of the heart invariable lead to disaster. Thus, this was the reward for following the heart. I escaped the sea but drowned in the mirage.
4
KhushiyaaN kabhi nasiib1 meN itni likhi na thiiN
shaa’ed2 Khuda se bhool3 hui hai hisaab4 meN
1.fate 2.perhaps 3.mistake 4.reckoning, counting
So much joy was never seen written in my fate. Perhaps god miscounted.
5
naGhma1 meri Ghazal hai mahakta2 hua chaman
Khushbu kahaaN se aa’egi aisi gulaab meN
1.pen-name of the poet 2.fragrant
O naGhma, my Ghazal is like a redolent garden. How can one rose have such fragrance.
The post mere Khat ke javaab meN-roopa mehta naGhma appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/rmn-mera-bayaan-baaqi-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
میرا بیان باقی ہے ۔ روپا مہتا نغمہؔ
۱
میرے دل میں تری یادوں کا دھواں باقی ہے
درد دینے کے لئے زخمِ نہاں باقی ہے
۲
میری ہستی کے سبھی نقش مٹانے والے
تیرے دل میں مرے قدموں کا نشاں باقی ہے
۳
دیکھنا اُن کی گواہی پہ یقیں مت کرنا
اے جہاں سن لے ابھی میرا بیاں باقی ہے
۴
اِن بہاروں سے لگی آگ مرے گلشن میں
آگے کیا حال ہو جانے کہ خزاں باقی ہے
۵
نغمہؔ چاہوں تو اُٹھا دوں میں ہزاروں طوفاں
آسمانوں سے کہو میری فغاں باقی ہے
मेरा बयां बाक़ी है – रूपा मेहता नग़्मा
१
मेरे दिल में तेरी यादौं का धुआं बाक़ी है
दर्द देने के लिये ज़ख़्म-ए नेहां बाक़ी है
२
मेरी हस्ती के सभी नक़्श मिटाने वाले
तेरे दिल में मेरे क़द्मौं का निशां बाक़ी है
३
देखना उन कि गवाही पे यक़ीं मत करना
अए जहां सुन ले अभी मेरा बयां बाक़ी है
४
इन बहारौं से लगी आग मेरे गुल्शन में
आगे क्या हाल हो जाने के ख़िज़ां बाक़ी है
५
नग़्मा चाहूं तो उठा दूं मै हज़ारौं तूफ़ां
अस्मानौं से कहो मेरी फ़ुग़ां बाक़ी है
Click here for background and on any passage for word meanings and explanatory discussion. roopa mehta naGhma (xxxx-living), saurashTra, mumbai. I don’t know much about the poet other than the little that ali sardar jafri wrote in a preface to her collection. I would dearly love to learn how she came to urdu. A good portion of her Ghazal are about broken love but told from a woman’s point of view and in female gendered language. They force me to reflect on the incessant depiction of the (female) beloved as the oppressor. This Ghazal is linked to ‘aurat’ on the Theme page.
1
mere dil meN teri yaadoN ka dhuaaN1 baaqi2 hai
dard dene ke liye zaKhm3-e nehaaN4 baaqi hai 1.smoke, fog, fuzzy 2.remains 3.wound 4.hidden
I still carry foggy memories of you in my heart. The hidden wound in my heart is enough to cause pain.
2
meri hasti1 ke sabhi naqsh2 miTaane vaale
tere dil meN mere qadmoN3 ka nishaaN4 baaqi hai 1.existence, life 2.images, clues 3.feet, steps 4.marks, prints
The lover has jilted the poet and erased all traces of her life from his own. But she reminds me that she used to be in his heart and still there are her footprints there.
3
dekhna un ki gavaahi1 pe yaqiiN2 mat karna
aye jahaaN3 sun le abhi mera bayaaN4 baaqi hai 1.testimony, narrative 2.believe 3.world 4.narration, story
Be careful, do not believe his story yet, O world, listen, my side of the narrative is yet to be told. I am reminded of any number of the thousands of ash’aar like this one from Ghalib …
is saadagi pe kaun na mar jaaye aye Khuda
laRte haiN aur haath meN talvaar bhi nahiiN
Someone has to tell the other side of the story.
4
in bahaaroN1 se lagi aag mere gulshan2 meN
aage3 kya haal4 ho jaane5, keh KhizaaN6 baaqi hai 1.spring 2.garden 3.future 4.condition 5.who knows 6.dry season, fall
Spring is normally a season for joy, merriment and love. But the lover has jilted her and spring brings the fire of pain to her garden. Who knows what the future will bring, the dry season (a time of wilted flowers and falling, dry leaves) is yet to come.
5
naGhma1 chaahuuN to uTha duuN maiN hazaaroN toofaaN2aasmaanoN3 se kaho meri fuGhaaN4 baaqi hai 1.pen-name of the poet 2.storms 3.skies, fate, gods 4.wailing, cry of pain/protest
O naGhma, if I wanted I could raise a thousand storms. Let the sky know, my cry of pain/protest is yet to be heard.
roopa mehta naGhma (xxxx-living), saurashTra, mumbai. I don’t know much about the poet other than the little that ali sardar jafri wrote in a preface to her collection. I would dearly love to learn how she came to urdu. A good portion of her Ghazal are about broken love but told from a woman’s point of view and in female gendered language. They force me to reflect on the incessant depiction of the (female) beloved as the oppressor. This Ghazal is linked to ‘aurat’ on the Theme page.
1
mere dil meN teri yaadoN ka dhuaaN1 baaqi2 hai
dard dene ke liye zaKhm3-e nehaaN4 baaqi hai
1.smoke, fog, fuzzy 2.remains 3.wound 4.hidden
I still carry foggy memories of you in my heart. The hidden wound in my heart is enough to cause pain.
2
meri hasti1 ke sabhi naqsh2 miTaane vaale
tere dil meN mere qadmoN3 ka nishaaN4 baaqi hai
1.existence, life 2.images, clues 3.feet, steps 4.marks, prints
The lover has jilted the poet and erased all traces of her life from his own. But she reminds me that she used to be in his heart and still there are her footprints there.
3
dekhna un ki gavaahi1 pe yaqiiN2 mat karna
aye jahaaN3 sun le abhi mera bayaaN4 baaqi hai
1.testimony, narrative 2.believe 3.world 4.narration, story
Be careful, do not believe his story yet, O world, listen, my side of the narrative is yet to be told. I am reminded of any number of the thousands of ash’aar like this one from Ghalib …
is saadagi pe kaun na mar jaaye aye Khuda
laRte haiN aur haath meN talvaar bhi nahiiN
Someone has to tell the other side of the story.
4
in bahaaroN1 se lagi aag mere gulshan2 meN
aage3 kya haal4 ho jaane5, keh KhizaaN6 baaqi hai
1.spring 2.garden 3.future 4.condition 5.who knows 6.dry season, fall
Spring is normally a season for joy, merriment and love. But the lover has jilted her and spring brings the fire of pain to her garden. Who knows what the future will bring, the dry season (a time of wilted flowers and falling, dry leaves) is yet to come.
5
naGhma1 chaahuuN to uTha duuN maiN hazaaroN toofaaN2aasmaanoN3 se kaho meri fuGhaaN4 baaqi hai
1.pen-name of the poet 2.storms 3.skies, fate, gods 4.wailing, cry of pain/protest
O naGhma, if I wanted I could raise a thousand storms. Let the sky know, my cry of pain/protest is yet to be heard.
The post mera bayaan baaqi hai-roopa mehta naGhma appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/mlsh-charche-haiN-musalmaanoN-meN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
چرچے ہیں مسلمانوں میں ۔منوہر لال شاربؔ
۱
فرق دامانوں میں باقی نہ گریبانوں میں
اب کے اِس طرح بہار آئی گلستانوں میں
۲
جس کو ڈھونڈا کیا صحراوں میں ویرانوں میں
وہ ملا درد کے مارے ہوئے انسانوں میں
۳
صحنِ گلشن سے جو رہ رہ کے دھواں اُٹھتا ہے
کوئی صیّاد بھی شامل ہے نگہبانوں میں
۴
ہائے نیرنگیِ رفتارِ زمانہ مت پوچھ
کتنے اپنے بھی نظر آئے ہیں بیگانوں میں
۵
آگہی عشق کی تکمیلِ طلب ہے شائد
اک تآمّل سا ابھی ہے ترے دیوانوں میں
۶
زمزم و کوثر و تسنیم کے چشمہ پھوٹے
دی اذاں جھوم کے رِندوں نے جو میخانوں میں
۷
کافروں میں ہے تیرے دین کی شہرت شاربؔ
اور ترے کفر کے چرچے ہیں مسلمانوں میں
चर्चे हैं मुसलमानौं में – मनोहर लाल शारिब
१
फ़र्क़ दामानौं में बाक़ी न गरेबानौं में
अब के इस तरह बहार आई गुलिस्तानौं में
२
जिस को ड़ूंडा किया सहराओं में वीरानौं में
वो मिला दर्द के मारे हुए इन्सानौं में
३
सहन-ए गुल्शन से जो रह रह के धुआं उठता है
कोई सय्याद भी शामिल है निगहबानौं में
४
हाए नैरंगी-ए रफ़्तार-ए ज़माना मत पूछ
कितने अपने भी नज़र आए हैं बेगानौं में
५
आगही इश्क़ कि तक्मील-ए तलब है शाएद
एक ता’अम्मुल सा अभी है तेरे दीवानौं में
६
ज़म ज़म ओ कौसर ओ तस्नीम के चश्मे फूटे
दी अज़ां झूम के रिंदौं ने जो मैख़ानौं में
७
काफ़िरौं में है तेरे दीन की शोहरत शारिब
और तेरे कुफ़्र के चर्चे हैं मुसलमानौं में
Click here for background and on any passage for word meanings and explanatory discussion. manohar lal shaarib (1920-1962) learnt urdu, farsi and arabi at home. After matriculation he worked for the agriculture department in hyderabad. He was very much a part of the progressive circle of shu’ara. ash’aar in this Ghazal reflect that and his commitment to communal harmony.
1
farq1 daamaanoN2 meN baaqi3 na garebaanoN4 meN
ab ke is tarah5 bahaar aaii gulistaanoN6 meN 1.difference, distinction 2.hem, border 3.remaining 4.collar 5.like, similar to 6.spring 7.gardens
The arrival of spring is a signal for mad passionate lovers to tear their shirt collars. They have torn their collars all the way down to the hem, leaving no difference between the two, such is the intensity of their passion. That is the way spring has arrived this year in the gardens.
2
jis ko DhooNDa kiya sahraaoN1 meN viiraanoN2 meN
vo mila dard3 ke maare hue insaanoN meN 1.desert 2.wilderness
The conventional picture of a lover looking for the beloved or the seeker seeking god, is often depicted as that of an obsessed man traversing the desert or wilderness. Here the poet has been looking for god through the length and breadth of the desert and wilderness. He did not find god there but found him/her among the calamity stricken people. Thus, god lives among the deprived.
3
sahn1-e gulshan2 se jo rah-rah3 ke dhuaaN uThta hai
koii sayyaad4 bhi shaamil5 hai nigahbaanoN6 meN 1.yard 2.garden 3.time and again, on and off 4.bird-catcher 5.included 6.guardians
Generally speaking ‘sayyaad’ is the bird-catcher that catches and cages the bulbul. And the shaa’er himself is depicted as the bulbul. Here the bird-catcher is portrayed as an all-out villain setting fires. There are supposed to be guardians of the society (especially of the powerless). But the villain has sneaked in among them. That is why we see fires on and off in the open yard of the garden. This is a sarcastic reflection on political leaders who cause havoc in the lives of the very people they are supposed to protect.
4
haaye nairaNgi1-e raftaar2-e zamaana3 mat poochh
kitne apne bhi nazar4 aaye haiN begaanoN5 meN 1.illusion, mysteries, magic 2.speed, movement, behaviour, actions 3.times 4.sighted, seen 5.others, strangers
‘raftaar’ is also used to mean ‘ways of working’. Society has changed. Old values are no longer sacrosanct. ‘apna’ and ‘begaana’ are used in the sense of friend/comrade and ‘other/rival/enemy’. Do not ask about the mysteries of how the world works. Oh, how many ‘friends’ have we spotted among the throng of enemies.
5
aagahi1 ishq ki takmiil2-e talab3 hai shaa’ed4ek ta’ammul5 sa abhi hai tere diivaanoN meN 1.knowledge, awareness 2.completion, fulfilment 3.demand, desire 4.perhaps 5.delay, hesitation
Poets/lovers are not great advocates of ‘awareness/knowledge’. They would much rather deal with ‘feelings of the heart’. Also, their desire for union with the beloved is never fulfilled and they are always dealing with their feelings. They value these feelings to the point of considering them superior to union/vasl. Thus he speculates that perhaps awareness (being in control of one’s senses) can come only after fulfilment of their desire for union with the beloved. Since this is not necessarily the most desirable option, there is a hesitation among the mad/passionate lovers.
6
zamzam1 o kausar2 o tasniim2 ke chashme3 phooTe
dii azaaN4 jhoom ke rindoN5 ne jo maiKhaanoN6 meN 1.well near the kaaba 2.legendary rivers in heaven 3.springs, rivulets 4.islamic call for prayer 5.wine-lovers 6.taverns
The waters of zamzam, kausar and tasniim are supposed to be holy/blessed/curative. Normally, azaan is called out from a minaret of a mosque. But in an act of inclusiveness, all-acceptance the patrons of the tavern call out the azaan. Heaven was so pleased with this act that springs of blessed water burst out all over the place.
7
kaafiroN1 meN hai tere diin2 ki shohrat3 shaarib4aur tere kufr5 ke charche6 haiN musalmaanoN meN 1.non-believers, non-islamic 2.faith 3.fame 4.pen-name of the poet 5.non-belief, transgressions against faith 6.conversation, spreading news
O shaarib your (islamic) faith is famous among non-believers in islam and among muslims there is conversation about your non-islamic transgressions. Said another shaa’er (unknown) …
zaahid-e taNg-nazar ne mujhe kaafir jaana
aur kaafir ye samajhta hai musalmaaN huN maiN
manohar lal shaarib (1920-1962) learnt urdu, farsi and arabi at home. After matriculation he worked for the agriculture department in hyderabad. He was very much a part of the progressive circle of shu’ara. ash’aar in this Ghazal reflect that and his commitment to communal harmony.
1
farq1 daamaanoN2 meN baaqi3 na garebaanoN4 meN
ab ke is tarah5 bahaar aaii gulistaanoN6 meN
1.difference, distinction 2.hem, border 3.remaining 4.collar 5.like, similar to 6.spring 7.gardens
The arrival of spring is a signal for mad passionate lovers to tear their shirt collars. They have torn their collars all the way down to the hem, leaving no difference between the two, such is the intensity of their passion. That is the way spring has arrived this year in the gardens.
2
jis ko DhooNDa kiya sahraaoN1 meN viiraanoN2 meN
vo mila dard3 ke maare hue insaanoN meN
1.desert 2.wilderness
The conventional picture of a lover looking for the beloved or the seeker seeking god, is often depicted as that of an obsessed man traversing the desert or wilderness. Here the poet has been looking for god through the length and breadth of the desert and wilderness. He did not find god there but found him/her among the calamity stricken people. Thus, god lives among the deprived.
3
sahn1-e gulshan2 se jo rah-rah3 ke dhuaaN uThta hai
koii sayyaad4 bhi shaamil5 hai nigahbaanoN6 meN
1.yard 2.garden 3.time and again, on and off 4.bird-catcher 5.included 6.guardians
Generally speaking ‘sayyaad’ is the bird-catcher that catches and cages the bulbul. And the shaa’er himself is depicted as the bulbul. Here the bird-catcher is portrayed as an all-out villain setting fires. There are supposed to be guardians of the society (especially of the powerless). But the villain has sneaked in among them. That is why we see fires on and off in the open yard of the garden. This is a sarcastic reflection on political leaders who cause havoc in the lives of the very people they are supposed to protect.
4
haaye nairaNgi1-e raftaar2-e zamaana3 mat poochh
kitne apne bhi nazar4 aaye haiN begaanoN5 meN
1.illusion, mysteries, magic 2.speed, movement, behaviour, actions 3.times 4.sighted, seen 5.others, strangers
‘raftaar’ is also used to mean ‘ways of working’. Society has changed. Old values are no longer sacrosanct. ‘apna’ and ‘begaana’ are used in the sense of friend/comrade and ‘other/rival/enemy’. Do not ask about the mysteries of how the world works. Oh, how many ‘friends’ have we spotted among the throng of enemies.
5
aagahi1 ishq ki takmiil2-e talab3 hai shaa’ed4ek ta’ammul5 sa abhi hai tere diivaanoN meN
1.knowledge, awareness 2.completion, fulfilment 3.demand, desire 4.perhaps 5.delay, hesitation
Poets/lovers are not great advocates of ‘awareness/knowledge’. They would much rather deal with ‘feelings of the heart’. Also, their desire for union with the beloved is never fulfilled and they are always dealing with their feelings. They value these feelings to the point of considering them superior to union/vasl. Thus he speculates that perhaps awareness (being in control of one’s senses) can come only after fulfilment of their desire for union with the beloved. Since this is not necessarily the most desirable option, there is a hesitation among the mad/passionate lovers.
6
zamzam1 o kausar2 o tasniim2 ke chashme3 phooTe
dii azaaN4 jhoom ke rindoN5 ne jo maiKhaanoN6 meN
1.well near the kaaba 2.legendary rivers in heaven 3.springs, rivulets 4.islamic call for prayer 5.wine-lovers 6.taverns
The waters of zamzam, kausar and tasniim are supposed to be holy/blessed/curative. Normally, azaan is called out from a minaret of a mosque. But in an act of inclusiveness, all-acceptance the patrons of the tavern call out the azaan. Heaven was so pleased with this act that springs of blessed water burst out all over the place.
7
kaafiroN1 meN hai tere diin2 ki shohrat3 shaarib4aur tere kufr5 ke charche6 haiN musalmaanoN meN
1.non-believers, non-islamic 2.faith 3.fame 4.pen-name of the poet 5.non-belief, transgressions against faith 6.conversation, spreading news
O shaarib your (islamic) faith is famous among non-believers in islam and among muslims there is conversation about your non-islamic transgressions. Said another shaa’er (unknown) …
zaahid-e taNg-nazar ne mujhe kaafir jaana
aur kaafir ye samajhta hai musalmaaN huN maiN
The post charche haiN musalmaanoN meN-manohar lal shaarib appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/rchr-koii-moosa-nahiN-raha-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کوئی موسیٰ نہیں رہا ۔ رنگا چاری رنگاؔ
۱
ہیں طور سیکڑوں کوئی موسیٰ نہیں رہا
جلوے وہی ہیں دیکھنے والا نہیں رہا
۲
مُرجھا گئی وہ شاخ کہ جس پر تھا آشیاں
اب میرے سر پہ پھولوں کا سایہ نہیں رہا
۳
آئے نہ آج تک وہ، قیامت بھی آ چکی
اب اِنتظارِ وعدۂ فردا نہیں رہا
۴
جب تک تھے دل میں آپ تو رونق ہی اور تھی
اب دل وہی ہے دل کا وہ نقشا نہیں رہا
۵
جس سے ہوئی تھی ذوقِ محبّت کی ابتدا
رنگاؔ وہ دل میں جوشِ تمنّا نہیں رہا
कोई मूसा नहीं रहा – रंगा चारी रंगा
१
हैं तूर सैक्ढौं कोई मूसा नहीं रहा
जल्वे वही हैं देखने वाला नहीं रहा
२
मुर्झा गई वो शाख़ के जिस पर थी आशियां
अब मेरे सर पे फूलौं का साया नहीं रहा
३
आए न आज तक वो क़यामत भी आ चुकी
अब इंतज़ार-ए वादा-ए फ़र्दा नहीं रहा
४
जब तक थे दिल में आप तो रौनक़ हि और थी
अब दिल वही है दिल का वो नक़्शा नहीं रहा
५
जिस से हुई थी ज़ौक़-ए मोहब्बत की इब्तेदा
रंगा वो दिल में जोश-ए तमन्ना नहीं रहा
Click here for background and on any passage for word meanings and explanatory discussion. raNga chari raNga allahabadi (1931-????) worked as a head clerk, at the Govt Junior Basic Training College, jhaanNsi – a middle level job at best. But he was caught in the love of urdu and I found his diivan to be particularly erudite and was delighted to discover him. He learnt faarsi and urdu at home from his grandfather, munshi nand kishor who clerked for panDit motilal nehru. He names shu’ara sukhdev parshad bismil, and rajeshwar parshad soz as friends of his father with regular recitation sessions at their home. His brother put Ghazal to music and sang them. In 1956 he helped organize a major mushaa’era. zahoor nashtar salonavi, who saw this, encouraged him to compose and ended up being his ustaad. He published his diivaan, navaa-e dair o haram, in 1985.
1
haiN tuur1 saikRoN koii moosa2 nahiN raha
jalve3 vahi haiN dekhne vaala nahiN raha 1.mount tuur 2.Moses 3.manifestations, images
This has reference to the story of moosa/Moses who reportedly went up mount tuur asking to see god. After much insistence he saw a manifestation in the form of a lightning flash. Here the poet suggests that there are thousands of mount tuur but there is no determined seeker like moosa. Manifestations of the divine are everywhere but there is no one who can see.
2
murjha1 gaii vo shaaKh2 keh jis par tha aashiyaaN3ab mere sar pe phooloN ka saaya nahiN raha 1.wilted 2.branch 3.nest
The branch on which I had my nest is now wilted. I no longer have the shade/protection of flowers over my head.
3
aaye na aaj tak vo, qayaamat1 bhi aa gaii
ab intezaar2-e vaada3-e farda4 nahiN raha 1.doomsday, end of the world 2.waiting, anticipation 3.promise 4.future
The beloved is notorious for making promises but never keeping them. She has promised to come, the poet/lover has been waiting and now it is doomsday. He no longer anticipates the fulfillment of the promise of a future meeting. This could be either that he is relieved that he no longer has that uncertainty, or that he is even more agitated because he has lost the one hope that was the basis of his life.
4
jab tak the dil meN aap to raunaq1 hi aur thi
ab dil vahi hai, dil ka vo naqsha2 nahiN raha 1.brilliance, joy 2.map, layout
As long as the beloved was in the poet/lover’s heart, the joy in his heart was something else. Now the heart is the same, but the layout/condition of the heart has completely changed. The implication is that she is no longer in his heart. Why? We are left to guess. She may have rejected him, but he would still nurture her memory in his heart. So this appears a little unconventional to me.
5
jis se hui thi zauq1-e mohabbat ki ibteda2
raNga3 vo dil meN josh4-e tamanna5 nahiN raha 1.taste, desire 2.beginning 3.pen-name of the poet 4.passion 5.longing
Following from the previous she’r this partially explains why his heart is so desolate now and why the beloved is no longer in his heart. It is because he no longer has the same desire with which he started. O raNga, I don’t have the same intensity of passion anymore. But this begs the question why? We are left to guess again.
raNga chari raNga allahabadi (1931-????) worked as a head clerk, at the Govt Junior Basic Training College, jhaanNsi – a middle level job at best. But he was caught in the love of urdu and I found his diivan to be particularly erudite and was delighted to discover him. He learnt faarsi and urdu at home from his grandfather, munshi nand kishor who clerked for panDit motilal nehru. He names shu’ara sukhdev parshad bismil, and rajeshwar parshad soz as friends of his father with regular recitation sessions at their home. His brother put Ghazal to music and sang them. In 1956 he helped organize a major mushaa’era. zahoor nashtar salonavi, who saw this, encouraged him to compose and ended up being his ustaad. He published his diivaan, navaa-e dair o haram, in 1985.
1
haiN tuur1 saikRoN koii moosa2 nahiN raha
jalve3 vahi haiN dekhne vaala nahiN raha
1.mount tuur 2.Moses 3.manifestations, images
This has reference to the story of moosa/Moses who reportedly went up mount tuur asking to see god. After much insistence he saw a manifestation in the form of a lightning flash. Here the poet suggests that there are thousands of mount tuur but there is no determined seeker like moosa. Manifestations of the divine are everywhere but there is no one who can see.
2
murjha1 gaii vo shaaKh2 keh jis par tha aashiyaaN3ab mere sar pe phooloN ka saaya nahiN raha
1.wilted 2.branch 3.nest
The branch on which I had my nest is now wilted. I no longer have the shade/protection of flowers over my head.
3
aaye na aaj tak vo, qayaamat1 bhi aa gaii
ab intezaar2-e vaada3-e farda4 nahiN raha
1.doomsday, end of the world 2.waiting, anticipation 3.promise 4.future
The beloved is notorious for making promises but never keeping them. She has promised to come, the poet/lover has been waiting and now it is doomsday. He no longer anticipates the fulfillment of the promise of a future meeting. This could be either that he is relieved that he no longer has that uncertainty, or that he is even more agitated because he has lost the one hope that was the basis of his life.
4
jab tak the dil meN aap to raunaq1 hi aur thi
ab dil vahi hai, dil ka vo naqsha2 nahiN raha
1.brilliance, joy 2.map, layout
As long as the beloved was in the poet/lover’s heart, the joy in his heart was something else. Now the heart is the same, but the layout/condition of the heart has completely changed. The implication is that she is no longer in his heart. Why? We are left to guess. She may have rejected him, but he would still nurture her memory in his heart. So this appears a little unconventional to me.
5
jis se hui thi zauq1-e mohabbat ki ibteda2
raNga3 vo dil meN josh4-e tamanna5 nahiN raha
1.taste, desire 2.beginning 3.pen-name of the poet 4.passion 5.longing
Following from the previous she’r this partially explains why his heart is so desolate now and why the beloved is no longer in his heart. It is because he no longer has the same desire with which he started. O raNga, I don’t have the same intensity of passion anymore. But this begs the question why? We are left to guess again.
The post koii moosa nahiN raha-raNga chari raNga appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/mlsh-manzil-kahaaN-nahiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
منزل کہاں نہیں ۔ منوہر لال شاربؔ
۱
انکار فصلِ گُل سے تو اے باغباں نہیں
جو ہے میری نظر میں یہ وہ گُلستاں نہیں
۲
وہ گرمیِ حیات وہ عزمِ جواں نہیں
منزل کی ہو تلاش تو منزل کہاں نہیں
۳
کچھ سوچ کر ہی ہم تو ہیں خاموش بزم میں
اور وہ سمجھ رہے ہیں کہ منہ میں زباں نہیں
۴
آؤ یہ روز روز کا دھڑکا مِٹا بھی دیں
یا آج برق ہی نہیں یا آشیاں نہیں
۵
تعمیرِ آب و گِل میں ہے منشا کوئی ضرور
یہ زندگی تو حادثۂ ناگہاں نہیں
۶
سر تا قدم ہوں تیری قسم دل بنا ہوا
اب کیا بتاؤں درد کہاں ہے کہاں نہیں
۷
اب مسکرا رہے ہیں کچھ اِس احتیاط سے
جیسے کہ مجھ سے واقعی وہ بد گماں نہیں
۸
ہے اک ہمارے دم ہی سے ہنگامۂ حیات
جب ہم نہیں زمین نہیں آسماں نہیں
۹
شاربؔ ہر اک مقام سے گزرے ہیں ہم مگر
کوئی مقام جُز درِ پیرِ مغاں نہیں
मंज़िल कहां नहीं – मनोहर लाल शारिब
१
इन्कार फ़स्ल-ए गुल से तो अए बाग़्बां नहीं
जो है मेरी नज़र में ये वो गुल्सितां नहीं
२
वो गर्मी-ए हयात, वो अज़्म-ए जवां नहीं
मंज़िल की हो तलाश तो मंज़िल कहां नहीं
३
कुछ सोच कर हि हम तो हैं ख़ामोश बज़्म में
और वो समझ रहे हैं के मुंह में ज़बां नहीं
४
आओ ये रोज़ रोज़ का धढका मिटा भि दें
या आज बर्क़ ही नहीं या आशियां नहीं
५
तामीर-ए आब ओ गिल में है मन्शा काई ज़रूर
ये ज़िन्दगी तो हादेसा-ए नागहां नहीं
६
सर ता क़दम हुं तेरी क़सम दिल बना हुआ
अब क्या बताऊं दर्द कहां है कहां नहीं
७
अब मुस्कुरा रहे हैं कुछ इस एहतियात से
जैसे के मुझ से वाक़’ई वो बदगुमां नहीं
८
है एक हमारे दम हि से हंगामा-ए हयात
जब हम नहीं ज़मीन नहीं, आस्मां नहीं
९
शारिब हर एक मक़ाम से गुज़्रे हैं हम मगर
कोई मक़ाम जुज़ दर-ए पीर-ए मुग़ां नहीं
Click here for background and on any passage for word meanings and explanatory discussion. manohar lal shaarib (1920-1962) learnt urdu, farsi and arabi at home. After matriculation he worked for the agriculture department in hyderabad. He was very much a part of the progressive circle of shu’ara.
1
inkaar1 fasl-e-gul2 se to aye baaGhbaaN3 nahiN
jo hai meri nazar4 meN ye vo gulsitaaN5 nahiN 1.refusal 2.season of flowering, spring 3.gardener 4.sight, imagination 5.garden
O gardener, it is not that we refuse to accept spring. It is just that this is not the garden that I had in mind. This reminds me of faiz ahmed faiz …
ye daaGh daaGh ujaala ye shab-gazeda sahar
vo intezaar tha jis ka ye vo sahar to nahiN
2
vo garmi1-e hayaat2, vo azm3-e javaaN4 nahiN
manzil5 ki ho talaash6 to manzil kahaaN nahiN 1.warmth, passion 2.life 3.determination 4.youthful, vigorous 5.destination 6.search
There is no longer that passion for life, that youthful determination otherwise if you are really looking for your destination, where can you not find it. Reminds me of bahzaad lakhnavi …
aye jazba-e dil gar maiN chaahuN, har chiiz muqaabil aa jaaye
manzil ke liye do gaam chaluN aur saamne manzil aa jaaye
3
kuchh soch kar hi hum to haiN Khaamosh1 bazm2 meN
aur vo samajh3 rahe haiN keh muNh meN zabaaN nahiN 1.silent 2.gathering 3.thinks
The poet/lover is in the gathering of the beloved’s admirers. They all speak, but he remains silent, because he is the true lover and knows the conventions of love which prevent him from saying anything that maligns the beloved’s name. But she interprets his silence to mean that he does ‘not have tongue’ i.e., he cannot speak.
4
aao ye roz roz ka dhaRka1 miTa bhi deN
yaa aaj barq2 hii nahiN ya aashiyaaN3 nahiN 1.fearful anticipation 2.lightning 3.nest
In poetic convention the poet is a bird and makes a nest in the garden. The sky/fate is unkind and frequently lightning striks and burns up his nest. He is tired of this. He is determined to settle this daily fear. Today he will wage such a battle that either lightning will be overcome or there will be no nest i.e. a do or die situation.
5
taamiir1-e aab-o-gil2 meN hai mansha3 koii zaruur4ye zindagi to haadesa5-e naagahaaN6 nahiN 1.making, building 2.water and clay 3.purpose 4.for sure 5.accident 6.surprising
There is one belief that humans were made of clay and water. There surely is a purpose in the making of humans. This life cannot be a spurious accident.
6
sar taa1 qadam2 huN teri qasam dil bana hua
ab kya bataauN dard kahaaN hai kahaaN nahiN 1.to, till 2.feet
I swear by you, I am all heart from head to toe. The heart is always in in pain, pining for love. How can I tell you where it hurts and where it does not.
7
ab muskura rahe haiN kuchh is ehtiyaat1 se
jaise keh mujh se vaaq’ii2 vo badgumaaN3 nahiN 1.care, caution 2.in truth 3.annoyed
She smiles with such care as if to show that she is truly not annoyed with the poet/lover. What brought this about is wide open for us to imagine.
8
hai ek hamaare dum1 hi se haNgaama2-e hayaat3jab hum nahiN zamiin nahiN, aasmaaN nahiN 1.breath, life, strength, based upon 2.commotion 3.life
This commotion of life is based upon us. If we were to not exist, then there would be no earth or sky. Who is the ‘us’ – humans, lovers. Perhaps ‘earth and sky’ signify all creation and the creator. Thus god’s existence depends on us. Does he mean, ‘we created god’.
9
shaarib1 har ek maqaam2 se guzre3 haiN hum magar4koii maqaam juz5 dar6-e piir-e-muGhaaN7 nahiN 1.pen-name of the poet 2.stage, place, destination 3.passed through 4.but 5.except for 6.door, abode 7.chief wine-maker, saaqi
‘dar-e piir-e muGhaaN’ – the abode of the chief wine maker or saaqi is the tavern. The poet has passed through many stages, places, has had many destinations. But for him there is no destination other than the tavern. Recall that the tavern stands for a liberal, accepting place.
manohar lal shaarib (1920-1962) learnt urdu, farsi and arabi at home. After matriculation he worked for the agriculture department in hyderabad. He was very much a part of the progressive circle of shu’ara.
1
inkaar1 fasl-e-gul2 se to aye baaGhbaaN3 nahiN
jo hai meri nazar4 meN ye vo gulsitaaN5 nahiN
1.refusal 2.season of flowering, spring 3.gardener 4.sight, imagination 5.garden
O gardener, it is not that we refuse to accept spring. It is just that this is not the garden that I had in mind. This reminds me of faiz ahmed faiz …
ye daaGh daaGh ujaala ye shab-gazeda sahar
vo intezaar tha jis ka ye vo sahar to nahiN
2
vo garmi1-e hayaat2, vo azm3-e javaaN4 nahiN
manzil5 ki ho talaash6 to manzil kahaaN nahiN
1.warmth, passion 2.life 3.determination 4.youthful, vigorous 5.destination 6.search
There is no longer that passion for life, that youthful determination otherwise if you are really looking for your destination, where can you not find it. Reminds me of bahzaad lakhnavi …
aye jazba-e dil gar maiN chaahuN, har chiiz muqaabil aa jaaye
manzil ke liye do gaam chaluN aur saamne manzil aa jaaye
3
kuchh soch kar hi hum to haiN Khaamosh1 bazm2 meN
aur vo samajh3 rahe haiN keh muNh meN zabaaN nahiN
1.silent 2.gathering 3.thinks
The poet/lover is in the gathering of the beloved’s admirers. They all speak, but he remains silent, because he is the true lover and knows the conventions of love which prevent him from saying anything that maligns the beloved’s name. But she interprets his silence to mean that he does ‘not have tongue’ i.e., he cannot speak.
4
aao ye roz roz ka dhaRka1 miTa bhi deN
yaa aaj barq2 hii nahiN ya aashiyaaN3 nahiN
1.fearful anticipation 2.lightning 3.nest
In poetic convention the poet is a bird and makes a nest in the garden. The sky/fate is unkind and frequently lightning striks and burns up his nest. He is tired of this. He is determined to settle this daily fear. Today he will wage such a battle that either lightning will be overcome or there will be no nest i.e. a do or die situation.
5
taamiir1-e aab-o-gil2 meN hai mansha3 koii zaruur4ye zindagi to haadesa5-e naagahaaN6 nahiN
1.making, building 2.water and clay 3.purpose 4.for sure 5.accident 6.surprising
There is one belief that humans were made of clay and water. There surely is a purpose in the making of humans. This life cannot be a spurious accident.
6
sar taa1 qadam2 huN teri qasam dil bana hua
ab kya bataauN dard kahaaN hai kahaaN nahiN
1.to, till 2.feet
I swear by you, I am all heart from head to toe. The heart is always in in pain, pining for love. How can I tell you where it hurts and where it does not.
7
ab muskura rahe haiN kuchh is ehtiyaat1 se
jaise keh mujh se vaaq’ii2 vo badgumaaN3 nahiN
1.care, caution 2.in truth 3.annoyed
She smiles with such care as if to show that she is truly not annoyed with the poet/lover. What brought this about is wide open for us to imagine.
8
hai ek hamaare dum1 hi se haNgaama2-e hayaat3jab hum nahiN zamiin nahiN, aasmaaN nahiN
1.breath, life, strength, based upon 2.commotion 3.life
This commotion of life is based upon us. If we were to not exist, then there would be no earth or sky. Who is the ‘us’ – humans, lovers. Perhaps ‘earth and sky’ signify all creation and the creator. Thus god’s existence depends on us. Does he mean, ‘we created god’.
9
shaarib1 har ek maqaam2 se guzre3 haiN hum magar4koii maqaam juz5 dar6-e piir-e-muGhaaN7 nahiN
1.pen-name of the poet 2.stage, place, destination 3.passed through 4.but 5.except for 6.door, abode 7.chief wine-maker, saaqi
‘dar-e piir-e muGhaaN’ – the abode of the chief wine maker or saaqi is the tavern. The poet has passed through many stages, places, has had many destinations. But for him there is no destination other than the tavern. Recall that the tavern stands for a liberal, accepting place.
The post manzil kahaaN nahiN-manohar lal shaarib appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/mlb-usi-aastaaN-ki-talaash-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اُسی آستاں کی تلاش ہے ۔ منوہر لال بہارؔ
۱
جہاں میں نے چھوڑے تھے نقشِ پا، مجھے اُس نشاں کی تلاش ہے
مرا عزم جس کا تھا رہنما، اُسی کارواں کی تلاش ہے
۲
نہ مجھے یہاں کی ہے آرزو، نہ مجھے وہاں کی تلاش ہے
مجھے کائنات کی جستجو، مجھے لامکاں کی تلاش ہے
۳
نہ قفس کی مجھ کو ہے آرزو، نہ تو آشیاں کی تلاش ہے
ہیں وہ بجلیاں مرے رو بہ رو، مجھے گلستاں کی تلاش ہے
۴
جو نگاہ و قلب کو دے اماں، جو خلوص و غم کی ہو پاسباں
جو بنے عوام کی ترجماں، مجھے اُس زباں کی تلاش ہے
۵
نہ تو دیر اُس کے ہے درمیاں، نہ تو ہے حرم کا گزر وہاں
مجھے لے چلے مرا دل جہاں، اُسی آستاں کی تلاش ہے
۶
جہاں مہر و مہ کی ہو انجمن، جہاں کہکشاں کا ہو بانکپن
جو سجا دے ارض کا پیرہن، اُسی آسماں کی تلاش ہے
۷
ملے سوز و ساز کا دل جہاں، جھکے حسن و عشق کا سر وہاں
ہو نیاز و ناز کی حد جہاں، اُسی داستاں کی تلاش ہے
۸
جہاں گُل بہارؔ ہوں شادماں، جہاں اندلیب ہوں نغمہ خواں
جو سجا دے پھولوں سے گلستاں، اُسی باغباں کی تلاش ہے
उसी आस्तां कि तलाश है – मनोहर लाल बहार
१
जहां मैं ने छोढे थे नक़्श-ए पा, मुझे उस नशां कि तलाश है
मेरा अज़्म जिस का था रहनुमा, उसी कारवां कि तलाश है
२
न मुझे यहां कि है आर्ज़ू, न मुझे वहां कि तलाश है
मुझे का’एनात कि जुस्तजू, मुझे लामकां कि तलाश है
३
न क़फ़स कि मुझ को है आर्ज़ू, न तो आशियां कि तलाश है
हैं वो बिजलियां मेरे रू ब रू, मुझे गुल्सितां कि तलाश है
४
जो निगाह ओ क़ल्ब को दे अमां, जो ख़ुलूस ओ ग़म कि हो पासबां
जो बने अवाम कि तर्जुमां, मुझे उस ज़बां कि तलाश है
५
न तो दैर उस के है दरमियां, न तो है हरम का गुज़र वहां
मुझे ले चले मेरा दिल जहां, उसी आस्तां कि तलाश है
६
जहां महर ओ मह कि हो अंजुमन, जहां कहकशां का हो बांकपन
जो सजा दे अर्ज़ का पैरहन, उसी आसमां कि तलाश है
७
मिले सोज़ ओ साज़ का दिल जहां, झुके हुस्न ओ इश्क़ का सर वहां
हो नियाज़ ओ नाज़ कि हद जहां, उसी दास्तां कि तलाश है
८
जहां गुल बहार हों शादमां, जहां अन्दलीब हों नग़्मा-ख़्वां
जो सजा दे फूलौं से गुल्सितां, उसी बाग़बां कि तलाश है
Click here for background and on any passage for word meanings and explanatory discussion. manohar lal bahaar (1912-????), whose father, rai shahed lal taught him urdu and farsi at home was invited to mushaa’era in hyderabad regularly. His collection ‘bahaaristan’ was published in 1977. There are at least 4 additional collections of his poetry. He retired as a high-level official in the Department of Agriculture, Andhra Pradesh. This Ghazal with the same refrain ‘ki talaash hai’, is linked to others like it, on the ‘radeef-refrain’ page.
1
jahaaN maiN ne chhoRe the naqsh-e-paa1, mujhe us nashaaN2 ki talaash3 hai
mera azm4 jis ka tha rahnuma5, usi kaarvaaN ki talaash hai 1.footprints 2.sign, mark 3.search 4.determination, resolve 5.guide
There was a party of seekers to which the poet belonged. His firm resolve to search for the goal was their guide. He has lost that path. He is looking for signs and footprints that will take him back to the seekers’ path.
2
na mujhe yahaaN ki hai aarzu1, na mujhe vahaaN ki talaash hai
mujhe kaa’enaat2 ki justaju3, mujhe laamakaaN4 ki talaash hai 1.desire 2.universe 3.search 4.not bound by space, free, vast
‘yahaaN-vahaaN’ – ‘here and there’ are used in the sense of ‘this and that’ – ordinary things. Thus he does not desire, nor does he seek trivialities. He seeks to understand the mystery of the universe. He searches for ‘laamakaan’ – one the attributes of the divine spirit.
3
na qafas1 ki mujh ko hai aarzu2, na to aashiyaaN3 ki talaash hai
haiN vo bijliaaN4 mere ruu-ba-ruu5, mujhe gulsitaaN6 ki talaash hai 1.cage 2.desire 3.nest 4.lightning 5.face to face 6.garden
In urdu poetic tradition the poet is often portrayed as a bird. Sometimes the bird is caught by the birdcatcher and put in a cage and pines for his nest and the freedom of the garden. Also, in poetic tradtion, lightning strikes the garden and burns it up, the poet/bird’s nest along with it. Thus, the poet/bird desires not to worry about either the cage or the nest. Those are strictly personal needs. He sees lightning flash before his eyes and is worried about the garden. He seeks the garden to face down lightning strikes.
4
jo nigaah1 o qalb2 ko de amaaN3, jo Khuloos4 o Gham ki ho paasbaaN5
jo bane avaam6 ki tarjumaaN7, mujhe us zabaaN8 ki talaash hai 1.eyes, sight 2.heart, feelings 3.protection, refuge 4.love, fellow feeling 5.protector, guardian 6.public 7.intepreter, speak for 8.language, words, verse
The focus is on his ability to write/recite/compose verse that speaks for the people. Thus, I seek words that speak for the people, that give comfort to sight and feelings, that are guardians of ‘Khuloos and Gham’ – fellow feeling and taking ownership of the pain of others.
5
na to dair1 us ke hai darmiyaaN2, na to hai haram3 ka guzar4 vahaaN
mujhe le chale mera dil jahaaN, usi aastaaN5 ki talaash hai 1.temple 2.middle, obstruction 3.mosque 4.used here to mean – whatever it says is considered legitimate, passes for truth 5.threshold
The poet wants to follow his heart to the threshold of love. The path towards that goal is such that no temple can come in the way nor what the mosque pronounces becomes the law. He seeks universal love.
6
jahaaN mahr1 o mah2 ki ho anjuman3, jahaaN kahkashaaN4 ka ho baaNkpan5
jo saja6 de arz7 ka pairahan8, usi aasmaaN ki talaash hai 1.sun 2.moon 3.gathering, assembly 4.constellations 5.youth, vigour 6.arrange, adorn, embellish 7.earth 8.dress, robes
The poet seeks a sky that adorns the robes of the earth, where there is an assembly to the sun and moon and stars display their vigour. This could be beautiful imagery or it could mean a sky/fate that is not cruel to earthlings.
7
milay soz1 o saaz2 ka dil jahaaN, jhuke husn3 o ishq ka sar vahaaN
ho niyaaz4 o naaz5 ki had6 jahaaN, usi daastaaN7 ki talaash hai 1.fire, pain, sorrow 2.music, joy 3.beauty, beloved 4.devotional offering 5.coquetry, playful teasing 6.limits 7.story
The poet wants to write story in verse. It is to be story of pain and joy, the beloved and the lover, his devotion and her teasing. He wants his verse to reach the limits of excellence in all these aspects of the story.
8
jahaaN gul1 bahaar2 hoN shaadmaaN3, jahaaN andaleeb4 hoN naGhma-KhwaaN5
jo saja6 de phooloN se gulsitaaN7, usi baaGhbaaN8 ki talaash hai 1.rose 2.bloom, pen-name of the poet 3.happy 4.nightingale 5.singing 6.adorn 7.garden 8.gardener
The poet seeks a gardener who will adorn the garden with flowers, where roses happily bloom and nightingales sing songs of love. Note that the poet uses his taKhallus to great effect with double meaning.
manohar lal bahaar (1912-????), whose father, rai shahed lal taught him urdu and farsi at home was invited to mushaa’era in hyderabad regularly. His collection ‘bahaaristan’ was published in 1977. There are at least 4 additional collections of his poetry. He retired as a high-level official in the Department of Agriculture, Andhra Pradesh. This Ghazal with the same refrain ‘ki talaash hai’, is linked to others like it, on the ‘radeef-refrain’ page.
1
jahaaN maiN ne chhoRe the naqsh-e-paa1, mujhe us nashaaN2 ki talaash3 hai
mera azm4 jis ka tha rahnuma5, usi kaarvaaN ki talaash hai
1.footprints 2.sign, mark 3.search 4.determination, resolve 5.guide
There was a party of seekers to which the poet belonged. His firm resolve to search for the goal was their guide. He has lost that path. He is looking for signs and footprints that will take him back to the seekers’ path.
2
na mujhe yahaaN ki hai aarzu1, na mujhe vahaaN ki talaash hai
mujhe kaa’enaat2 ki justaju3, mujhe laamakaaN4 ki talaash hai
1.desire 2.universe 3.search 4.not bound by space, free, vast
‘yahaaN-vahaaN’ – ‘here and there’ are used in the sense of ‘this and that’ – ordinary things. Thus he does not desire, nor does he seek trivialities. He seeks to understand the mystery of the universe. He searches for ‘laamakaan’ – one the attributes of the divine spirit.
3
na qafas1 ki mujh ko hai aarzu2, na to aashiyaaN3 ki talaash hai
haiN vo bijliaaN4 mere ruu-ba-ruu5, mujhe gulsitaaN6 ki talaash hai
1.cage 2.desire 3.nest 4.lightning 5.face to face 6.garden
In urdu poetic tradition the poet is often portrayed as a bird. Sometimes the bird is caught by the birdcatcher and put in a cage and pines for his nest and the freedom of the garden. Also, in poetic tradtion, lightning strikes the garden and burns it up, the poet/bird’s nest along with it. Thus, the poet/bird desires not to worry about either the cage or the nest. Those are strictly personal needs. He sees lightning flash before his eyes and is worried about the garden. He seeks the garden to face down lightning strikes.
4
jo nigaah1 o qalb2 ko de amaaN3, jo Khuloos4 o Gham ki ho paasbaaN5
jo bane avaam6 ki tarjumaaN7, mujhe us zabaaN8 ki talaash hai
1.eyes, sight 2.heart, feelings 3.protection, refuge 4.love, fellow feeling 5.protector, guardian 6.public 7.intepreter, speak for 8.language, words, verse
The focus is on his ability to write/recite/compose verse that speaks for the people. Thus, I seek words that speak for the people, that give comfort to sight and feelings, that are guardians of ‘Khuloos and Gham’ – fellow feeling and taking ownership of the pain of others.
5
na to dair1 us ke hai darmiyaaN2, na to hai haram3 ka guzar4 vahaaN
mujhe le chale mera dil jahaaN, usi aastaaN5 ki talaash hai
1.temple 2.middle, obstruction 3.mosque 4.used here to mean – whatever it says is considered legitimate, passes for truth 5.threshold
The poet wants to follow his heart to the threshold of love. The path towards that goal is such that no temple can come in the way nor what the mosque pronounces becomes the law. He seeks universal love.
6
jahaaN mahr1 o mah2 ki ho anjuman3, jahaaN kahkashaaN4 ka ho baaNkpan5
jo saja6 de arz7 ka pairahan8, usi aasmaaN ki talaash hai
1.sun 2.moon 3.gathering, assembly 4.constellations 5.youth, vigour 6.arrange, adorn, embellish 7.earth 8.dress, robes
The poet seeks a sky that adorns the robes of the earth, where there is an assembly to the sun and moon and stars display their vigour. This could be beautiful imagery or it could mean a sky/fate that is not cruel to earthlings.
7
milay soz1 o saaz2 ka dil jahaaN, jhuke husn3 o ishq ka sar vahaaN
ho niyaaz4 o naaz5 ki had6 jahaaN, usi daastaaN7 ki talaash hai
1.fire, pain, sorrow 2.music, joy 3.beauty, beloved 4.devotional offering 5.coquetry, playful teasing 6.limits 7.story
The poet wants to write story in verse. It is to be story of pain and joy, the beloved and the lover, his devotion and her teasing. He wants his verse to reach the limits of excellence in all these aspects of the story.
8
jahaaN gul1 bahaar2 hoN shaadmaaN3, jahaaN andaleeb4 hoN naGhma-KhwaaN5
jo saja6 de phooloN se gulsitaaN7, usi baaGhbaaN8 ki talaash hai
1.rose 2.bloom, pen-name of the poet 3.happy 4.nightingale 5.singing 6.adorn 7.garden 8.gardener
The poet seeks a gardener who will adorn the garden with flowers, where roses happily bloom and nightingales sing songs of love. Note that the poet uses his taKhallus to great effect with double meaning.
The post usi aastaaN ki talaash hai-manohar lal bahaar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/aa-shart-e-vasl-e-laila-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شرطِ وصلِ لیلیٰ ۔ اکبرؔ الہ آبادی
۱
خدا حافظ مسلمانوں کا اکبرؔ
مجھے تو ان کی خوشحالی سے ہے یاس
۲
یہ عاشق شاہد مقصود کے ہیں
نہ جائیں گے ولیکن سعی کے پاس
۳
سناؤں تم کو اک فرضی لطیفہ
کیا ہے جس کو میں نے زیبِ قرطاس
۴
کہا مجنوں سے یہ لیلیٰ کی ماں نے
کہ بیٹا تو اگر کر لے ایم اے پاس
۵
تو فوراً بیاہ دوں لیلیٰ کو تجھ سے
بلا دِقّت میں بن جاؤں تری ساس
۶
کہا مجنوں نے یہ اچھی سنائی
کجا عاشق کجا کالج کی بکواس
۷
کجا یہ فطرتی جوشِ طبیعت
کجا ٹھونسی ہوئی چیزوں کا احساس
۸
بڑی بی آپ کو کیا ہو گیا ہے
ہرن پہ لادی جاتی ہے کہیں گھاس
۹
یہ اچھی قدر دانی آپ نے کی
مجھے سمجھا ہے کوئی ہرچرن داس
۱۰
دل اپنا خون کرنے کو ہوں موجود
نہیں منظور مغز سر کا آماس
۱۱
یہی ٹھہری جو شرط وصل لیلیٰ
تو استعفیٰ مرا با حسرت و یاس
शर्त-ए वस्ल-ए लैला – अकबर इलाह’आबादी
१
ख़ुदा-हाफ़ेज़ मुसलामानों का अकबर
मुझे तो उन की ख़ुश-हाली से है यास
२
ये आशेक़ शाहेद-ए मक़्सूद के हैं
न जाएँगे व-लेकिन सई के पास
३
सुनाऊँ तुम को एक फ़र्ज़ी लतीफ़ा
किया है जिस को मैं ने ज़ेब-ए क़िर्तास
४
कहा मजनूँ से ये लैला की माँ ने
के बेटा तू अगर कर ले एम-ए पास
५
तो फ़ौरन बियाह दूँ लैला को तुझ से
बिला-दिक़्क़त मैं बन जाऊँ तेरी सास
६
कहा मजनूँ ने ये अच्छी सुनाई
कुजा आशेक़ कुजा कॉलेज की बक्वास
७
कुजा ये फ़ितरती जोश-ए तबी’अत
कुजा ठूँसी हुई चीज़ों का एहसास
८
बढी बी आप को क्या हो गया है
हिरन पे लादी जाती है कहीं घास
९
ये अच्छी क़द्र-दानी आप ने की
मुझे समझा है कोई हरचरण-दास
१०
दिल अपना ख़ून करने को हूँ मौजूद
नहीं मंज़ूर मग़्ज़-ए सर का आमास
११
यही ठहरी जो शर्त-ए वस्ल-ए लैला
तो इस्तिफ़ा मेरा बा-हसरत-ओ-यास
Click here for background and on any passage for word meanings and explanatory discussion. akbar allahabadi (1846-1921) was a judge and a witty, humorous person which shows up in his humorous and sarcastic compositions. But his Ghazal are equal if not better in quality. Here he is being sarcastic about the reluctance of the muslim community of the time to work hard to acquire an education and get a job. Editorial comment – looking down on ‘western education’ is still in fashion in some sections, though not in the Indian muslim community.
1
Khuda-haafiz1 musalmaanoN ka akbar2
mujhe to un ki Khush-haali3 se hai yaas4 1.god save 2.pen-name of the poet 3.well being 4.hopelessness
My god save muslims O akbar. I do not have high hopes for their well-being. Why not? He illustrates that with a fable.
2
ye aashiq shaahid1-e maqsud2 ke haiN
na jaaeNge va-lekin3 saii4 ke paas 1.beauty, beloved 2.desired 3.but 4.effort, hard work
They are lovers of the beautfiul beloved but they will not go anywhere near hard work.
3
sunaauN tum ko ek farzi1 latiifa2
kiya hai jis ko maiN ne zeb3-e qirtaas4 1.made up, fictional 2.funny story 3.adornment 4.blank page
Let me tell you a fictional funny story that I have written and adorned a blank page.
4
kahaa majnuN se ye laila ki maaN ne
ki beTa tu agar kar le em.ae1 paas 1.M.A. degree
This uses the legend of laila-majnuN in which the distraught lover majnuN wanders the desert in search of laila. laila’s mother says to majnuN – son, if you successfully complete your M.A. degree …
5
to fauran1 biyaah2 duuN lailaa ko tujh se
bilaa-diqqat3 maiN ban jaauN teri saas4 1.immediately 2.wed 3.without any difficulty 4.mother-in-law
… then I would immediately wed laila to you and without any hesitation become your mother-in-law.
6
kahaa majnuN ne ye achchhi sunaai
kujaa1 aashiq kujaa college ki bakvaas2 1.where (used in the sense of incompatibility) 2.nonsense
majnuN replied … you tell a likely story. How can a lover’s sensibilities be compatible with the nonsense of college.
7
kujaa1 ye fitrati2 josh3-e tabi’at4
kujaa ThuNsi5 hui chiizoN ka ehsaas6 1.where 2.natural, inborn 3.passion 4.character, nature 5.stuffed 6.feelings
How can the inborn passion of a lover’s nature survive the feeling of stuffed knowledge/sentiments.
8
baRi-bi1 aap ko kya ho gaya hai
hiran2 pe laadi3 jaati hai kahiN ghaas 1.old woman 2.deer 3.loaded
Old woman, what has come over you. Is hay ever loaded on the back of a deer.
9
ye achchhi qadr-daani1 aap ne ki
mujhe samjhaa hai koi harcharan-daas2 1.appreciation 2.derogatory reference to those to get schooling for low level clerical jobs
This is fine appreciation that you offer. Do you think I will become a lowly clerk.
10
dil apna Khuun karne ko huN maujud1
nahiN manzur2 maGhz-e-sar3 ka aamaas4 1.present, ready 2.acceptable 3.internals of the head, brain 4.swelling (used here to mean headache)
I am ready to bleed from my heart but this headache is not acceptable to me.
11
yahi Thahri jo shart1-e vasl2-e lailaa
to istefa3 mera baa-hasrat-o-yaas4 If this is the condition of union with laila, then here is my resignation along with all the desires and longing.
akbar allahabadi (1846-1921) was a judge and a witty, humorous person which shows up in his humorous and sarcastic compositions. But his Ghazal are equal if not better in quality. Here he is being sarcastic about the reluctance of the muslim community of the time to work hard to acquire an education and get a job. Editorial comment – looking down on ‘western education’ is still in fashion in some sections, though not in the Indian muslim community.
1
Khuda-haafiz1 musalmaanoN ka akbar2
mujhe to un ki Khush-haali3 se hai yaas4
1.god save 2.pen-name of the poet 3.well being 4.hopelessness
My god save muslims O akbar. I do not have high hopes for their well-being. Why not? He illustrates that with a fable.
2
ye aashiq shaahid1-e maqsud2 ke haiN
na jaaeNge va-lekin3 saii4 ke paas
1.beauty, beloved 2.desired 3.but 4.effort, hard work
They are lovers of the beautfiul beloved but they will not go anywhere near hard work.
3
sunaauN tum ko ek farzi1 latiifa2
kiya hai jis ko maiN ne zeb3-e qirtaas4
1.made up, fictional 2.funny story 3.adornment 4.blank page
Let me tell you a fictional funny story that I have written and adorned a blank page.
4
kahaa majnuN se ye laila ki maaN ne
ki beTa tu agar kar le em.ae1 paas
1.M.A. degree
This uses the legend of laila-majnuN in which the distraught lover majnuN wanders the desert in search of laila. laila’s mother says to majnuN – son, if you successfully complete your M.A. degree …
5
to fauran1 biyaah2 duuN lailaa ko tujh se
bilaa-diqqat3 maiN ban jaauN teri saas4
1.immediately 2.wed 3.without any difficulty 4.mother-in-law
… then I would immediately wed laila to you and without any hesitation become your mother-in-law.
6
kahaa majnuN ne ye achchhi sunaai
kujaa1 aashiq kujaa college ki bakvaas2
1.where (used in the sense of incompatibility) 2.nonsense
majnuN replied … you tell a likely story. How can a lover’s sensibilities be compatible with the nonsense of college.
7
kujaa1 ye fitrati2 josh3-e tabi’at4
kujaa ThuNsi5 hui chiizoN ka ehsaas6
1.where 2.natural, inborn 3.passion 4.character, nature 5.stuffed 6.feelings
How can the inborn passion of a lover’s nature survive the feeling of stuffed knowledge/sentiments.
8
baRi-bi1 aap ko kya ho gaya hai
hiran2 pe laadi3 jaati hai kahiN ghaas
1.old woman 2.deer 3.loaded
Old woman, what has come over you. Is hay ever loaded on the back of a deer.
9
ye achchhi qadr-daani1 aap ne ki
mujhe samjhaa hai koi harcharan-daas2
1.appreciation 2.derogatory reference to those to get schooling for low level clerical jobs
This is fine appreciation that you offer. Do you think I will become a lowly clerk.
10
dil apna Khuun karne ko huN maujud1
nahiN manzur2 maGhz-e-sar3 ka aamaas4
1.present, ready 2.acceptable 3.internals of the head, brain 4.swelling (used here to mean headache)
I am ready to bleed from my heart but this headache is not acceptable to me.
11
yahi Thahri jo shart1-e vasl2-e lailaa
to istefa3 mera baa-hasrat-o-yaas4
If this is the condition of union with laila, then here is my resignation along with all the desires and longing.
The post shart-e vasl-e laila-akbar allahabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2023/03/aa-falsafi-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
فلسفی ۔ اکبرؔ الٰہ آبادی
۱
فلسفی کو بحث کے اندر خدا ملتا نہیں
ڈور کو سُلجھا رہا ہے اور سِرا ملتا نہیں
۲
معرفت خالق کی عالم میں بہت دشوار ہے
شہرِ تن میں جب کہ خود اپنا پتا ملتا نہیں
۳
غافلوں کے لطف کو کافی ہے دنیاوی خوشی
عاقلوں کو بے غمِ عقبیٰ مزا ملتا نہیں
۴
کشتئ دل کی الٰہی بحرِ ہستی میں ہو خیر
ناخدا ملتے ہیں لیکن با خدا ملتا نہیں
۵
غافلوں کو کیا سناؤں داستانِ عشقِ یار
سُننے والے ملتے ہیں درد آشنا ملتا نہیں
۶
زندگانی کا مزا ملتا تھا جن کی بزم میں
ان کی قبروں کا بھی اب مجھ کو پتا ملتا نہیں
۷
صرف ظاہر ہو گیا سرمایۂ زیب و صفا
کیا تعجب ہے جو باطِن با صفا ملتا نہیں
۸
پختہ طبعوں پر حوادِث کا نہیں ہوتا اثر
کوہساروں میں نشانِ نقشِ پا ملتا نہیں
۹
شیخ صاحب برہمن سے لاکھ برتیں دوستی
بے بھجن گائے تو مندر سے ٹکا ملتا نہیں
۱۰
جس پہ دل آیا ہے وہ شیریں ادا ملتا نہیں
زندگی ہے تلخ جینے کا مزا ملتا نہیں
۱۱
لوگ کہتے ہیں کہ بد نامی سے بچنا چاہئے
کہہ دو بے اس کے جوانی کا مزا ملتا نہیں
۱۲
اہلِ ظاہر جس قدر چاہیں کریں بحث و جدال
میں یہ سمجھا ہوں خودی میں تو خدا ملتا نہیں
۱۳
چل بسے وہ دن کہ یاروں سے بھری تھی انجمن
ہائے افسوس آج صورت آشنا ملتا نہیں
۱۴
منزلِ عشق و توکُّل منزلِ اعزاز ہے
شاہ سب بستے ہیں یاں کوئی گدا ملتا نہیں
۱۵
بار تکلیفوں کا مجھ پر بارِ احساں سے ہے سہل
شُکر کی جا ہے اگر حاجت روا ملتا نہیں
۱۶
چاندنی راتیں بہار اپنی دکھاتی ہیں تو کیا
بے ترے مجھ کو تو لطف اے مہ لقا ملتا نہیں
۱۷
معنیٔ دل کا کرے اظہار اکبرؔ کِس طرح
لفظِ موزوُں بہرِ کشفِ مدعا ملتا نہیں
फ़ल्सफ़ी – अक्बर इलाहाबादी
१
फ़ल्सफ़ी को बहस के अंदर ख़ुदा मिलता नहीं
डोर को सुलझा रहा है और सिरा मिलता नहीं
२
मअरिफ़त ख़ालिक़ की आलम में बहुत दुश्वार है
शहर-ए तन में जब के ख़ुद अपना पता मिलता नहीं
३
ग़ाफ़िलों के लुत्फ़ को काफ़ी है दुनियावी ख़ुशी
आक़िलों को बे-ग़म-ए उक़्बा मज़ा मिलता नहीं
४
कश्ती-ए दिल की इलाही बहर-ए हस्ती में हो ख़ैर
नाख़ुदा मिलते हैं लेकिन बा-ख़ुदा मिलता नहीं
५
ग़ाफ़िलों को क्या सुनाऊँ दास्तान-ए इश्क़-ए यार
सुनने वाले मिलते हैं दर्द-आश्ना मिलता नहीं
६
ज़िंदगानी का मज़ा मिलता था जिन की बज़्म में
उन की क़ब्रों का भी अब मुझ को पता मिलता नहीं
७
सिर्फ़ ज़ाहिर हो गया सरमाया-ए ज़ेब-ओ-सफ़ा
क्या तअज्जुब है जो बातिन बा-सफ़ा मिलता नहीं
८
पुख़्ता तबओं पर हवादिस का नहीं होता असर
कोहसारों में निशान-ए नक़्श-ए पा मिलता नहीं
९
शैख़-साहब बरहमन से लाख बरतें दोस्ती
बे-भजन गाए तो मंदिर से टिका मिलता नहीं
१०
जिस पे दिल आया है वो शीरीं-अदा मिलता नहीं
ज़िंदगी है तल्ख़ जीने का मज़ा मिलता नहीं
११
लोग कहते हैं के बद-नामी से बचना चाहिए
कह दो बे उस के जवानी का मज़ा मिलता नहीं
१२
अहल-ए ज़ाहिर जिस क़दर चाहें करें बहस-ओ-जिदाल
मैं ये समझा हूँ ख़ुदी में तो ख़ुदा मिलता नहीं
१३
चल बसे वो दिन के यारों से भरी थी अंजुमन
हाए अफ़्सोस आज सूरत-आश्ना मिलता नहीं
१४
मंज़िल-ए इशक़-ओ-तवक्कुल मंज़िल-ए एज़ाज़ है
शाह सब बस्ते हैं याँ कोई गदा मिलता नहीं
१५
बार तक्लीफ़ौं का मुझ पर बार-ए एहसाँ से है सहल
शुक्र की जा है अगर हाजत-रवा मिलता नहीं
१६
चाँदनी रातें बहार अपनी दिखाती हैं तो क्या
बे तेरे मुझ को तो लुत्फ़ अए मह-लक़ा मिलता नहीं
१७
मानी-ए दिल का करे इज़्हार अकबर किस तरह
लफ़्ज़-ए मौज़ूँ बहर-ए कश्फ़-ए मुद्दआ मिलता नहीं
Click here for background and on any passage for word meanings and explanatory discussion. akbar ilahabadi (1846-1921) is more popularly known for his satirical and humorous compositions. But he has written many serious, sufiyaana and thought-provoking Ghazal. Here he expresses discomfort with uncertainty and calls for jumping into faith and belief. Said mohammed iqbal …
be-Khatar kood paRa aatish-e namrood meN ishq
aql hai mahv-e tamaasha-e lab-e baam abhi
To contrast this with a recognition that we may never get an answer and the search itself is the goal/aim please see shahed-shuru’aat, ‘tashkeek’ and ‘talaash-e haq’.
1
falsafi ko bahs1 ke andar Khuda milta nahiN
Dor2 ko suljha3 raha hai aur sira4 milta nahiN 1.argument, logic 2.string 3.untangle 4.head, beginning
The philosopher cannot find god in logic. He is trying to untangle the string but cannot find the beginning (it is an endless argument, going round and round, without beginning or end).
2
maa’refat1 Khaaliq2 keh aalam3 meN bahut dushwaar4 hai
shahr-e-tan5 meN jab ke Khud apna pata milta nahiN 1.knowledge, sufiyaana awareness 2.creator 3.world 4.difficult 5.domain of the body, material world
Spiritual/sufiyaana awareness of the creator is very difficult when one is limited to the material world, one cannot even find oneself i.e. it takes a different plane/level of thinking beyond the material to know god.
3
GhaafelauN1 ke lutf2 ko kaafi3 hai duniyavi4 Khushi
aaqilauN5 ko be-Gham6-e uqba7 maza8 milta nahiN 1.unthinking, uncaring 2.pleasure 3.enough 4.worldly 5.thoughtful 6.without worry/concern of 7.deliverance, final judgment 8.pleasure
Worldly pleasure is enough for the thoughtless/shortsighted. Thinking/thoughtful do not derive pleasure without consideration of the final judgment. Editorial comment – I think that is grossly unfair to think of the non-believer as thoughtless. The non-believer can be very thoughtful, struggling but unwilling to accept blind belief.
4
kashti-e dil ki ilaahi bahr1-e hasti2 meN ho Khair3
naaKhuda4 milte haiN laikin ba-Khuda5 milta nahiN 1.ocean 2.existence, life 3.safe 4.helmsman 5.with god
akbar ilahabadi uses a witty construction of words here. ‘naaKhuda’ normally means ‘helmsman, oarsman’ who propels and guides a boat. In contrasting it with ba-Khuda, he implies it to mean ‘godless’. Thus, may the boat of the heart be safe in the ocean of life. There are many (godless) helmsmen, but there is no godly guide.
5
GhaafilauN1 ko kya sunaauN daastaan2-e ishq3-e yaar4
sun-ne vaale milte haiN dard-aashna5 milta nahiN 1.thoughtless 2.story of 3.love/devotion 4.beloved, god 5.understanding/feeling the pain that I feel
How can I relate to the thoughtless my story of devotion to god. There are plenty who will listen but none that understands my pain. To this, I can easily add a rejoinder …
GhaafilauN ko kya sunaauN apna dard-e justaju
sun-ne vaale milte haiN dard-aashna milta nahiN
6
zindagaani ka maza milta tha jin ki bazm1 meN
un ki qabrauN ka bhi ab mujh ko pata milta nahiN 1.company
The poet remembers his elders in whose company he experienced the pleasure of life/living. But now he cannot even find their graves. He leaves us to guess why this might be so. Has he become thoughtless/Ghaafil. Is he too busy.
7
sirf zaahir1 ho gaya sarmaya2-e zeb3 o safa4
kya ta’ajjub5 hai jo baatin6 ba-safa7 milta nahiN 1.apparent, that which can be seen, worldly 2.wealth, treasure 3.elegance 4.purity 5.strange, surprise 6.hidden, inner, spiritual 7.pure, virtuous
It seems like most people have begun to consider elegance and purity only in purely materialistic, worldly ‘zaahiri’ terms. Why should we be surprised then when we cannot find spiritually pure/virtuous people.
8
puKhta1 taba’oN2 par havaadis3 ka nahiN hota asar4
kohsaaroN5 meN nishaan6-e naqsh-e-pa7 milta nahiN 1.mature 2.nature, character 3.accidents, disasters 4.effect 5.hills 6.mark, indication 7.footprint
Those of a mature character are not affected by disasters. ‘kohsaar’ – hills are likened to mature/hardened characters and pounding feet are likened to disasters and footprints are the effect of those disasters. On a mud path, you can find foot prints. But on hard rocks of hills, you do not see footprints. They bear the pounding of feet very well.
9
shaiKh-sahib barhaman se lakh barteN1 dosti
be-bhajan2 gaa’e to mandir se Tika3 milta nahiN 1.spend, practise 2.hymn, devotional song 3.vermillion mark on the forehead
The shaiKh might befriend the brahmin priest all he wants, but to get anointed with a ‘Tika’ he will have to go to the temple and sing ‘bhajan’. The implication is that you have to do what is required to get the reward/result that you desire. No shortcuts.
10
jis pe dil aaya hai vo shiriN-ada1 milta nahiN
zindagi hai talKh2 jiine ka maza3 milta nahiN 1.sweet style, beloved 2.bitter, hard 3.pleasure
The poet/lover has lost his heart to the beloved of sweet style, but can no longer find her. Life is bitter and he no longer enjoys it.
11
log kahte haiN keh bad-naami1 se bachna2 chaahiye
keh do bay3 us ke javaani ka maza4 milta nahiN 1.bad name, disrepute 2.escape, stay away from 3.without 4.pleasure
They say that you have to save your reputation, stay away from things that bring you disrepute. But then you can’t enjoy youth without getting into those things!
12
ahl-e zaahir1 jis qadar2 chaaheN kareN bahs3-o-jidaal4
maiN ye samjha huN Khudi5 meN to Khuda milta nahiN 1.people of ‘the apparent’ i.e. people who believe in what can be seen, materialist 2.however much 3.argument, debate 4.conflict, dispute 5.ego, self centered
The word ‘materialist’ is used here in the classical sense … of matter, with cause and effect relationship. The poet implies that a materialist (dialectical materialist) is necessarily self-centered. I am not sure. However much the materialists may argue and dispute, the poet thinks that god cannot be found with a self-centered view.
13
chal-basey1 vo din keh yaaroN2 se bhari thi anjuman3
haaye4 afsos5 aaj surat-aashna6 milta nahiN 1.gone past 2.friends, like minded people 3.gathering 4.alas 5.sorrow 6.familiar face
The poet laments the passage of earlier ‘good’ days, when gatherings were full of like-minded people. But these days you cannot even see a familiar face.
14
manzil1-e-ishq2-o-tavakkul3 manzil-e-ezaaz4 hai
shaah5 sab baste6 haiN yaaN koi gada7 milta nahiN 1.destination, goal 2.love (sufiyaana) 3.trust (in god), belief 4.honour 5.king, lord 6.dwell, live 7.mendicant
The goal of love and trust/belief (in god) is the only honourable destination. But all around dwell kings/lords (people who believe in material acquisition), there are no mendicants (sufi seekers who give up material attachments/desires).
15
baar1 taklifoN2 ka mujh par baar-e ehsaaN3 se hai sahl4
shukr ki jaa5 hai agar6 haajat-rava7 milta nahiN 1.burden 2.difficulties 3.obligation 4.easy 5.place, occasion 7.helper, who fulfills needs
The poet/sufi/mendicant finds it easier to bear the burden of difficulties than the burden of obligations. It is an occasion to be thankful that he does not encounter any helper, otherwise he would be under an obligation.
16
chaandni raateN bahaar1 apni dikhaati haiN to kya
be2 tere mujh ko to lutf3 aye mah-laqa4 milta nahiN 1.spring, beauty 2.without 3.pleasure 4.moon-faced
Moonlit nights may display their beauty all they want but without the moon-faced beloved, the poet/lover cannot enjoy them.
17
m’aani1-e dil ka kare izhaar2 akbar kis tarah
lafz3-e mauzuN4 bahr5-e kashf6-e mudd’aa7 milta nahiN 1.meaning, purpose 2.express 3.word 4.appropriate, suitable 5.for 6.reveal, discover 7.desire
How can akbar (the poet) express the real meaning/intent of his heart. He cannot find words suitable/fit enough to reveal his desire.
akbar ilahabadi (1846-1921) is more popularly known for his satirical and humorous compositions. But he has written many serious, sufiyaana and throught provoking Ghazal. Here he expresses discomfort with uncertainty and calls for jumping into faith and belief. Said mohammed iqbal …
be-Khatar kood paRa aatish-e namrood meN ishq
aql hai mahv-e tamaasha-e lab-e baam abhi
To contrast this with a recognition that we may never get an answer and the search itself is the goal/aim please see shahed-shuru’aat, ‘tashkeek’ and ‘talaash-e haq’.
1
falsafi ko bahs1 ke andar Khuda milta nahiN
Dor2 ko suljha3 raha hai aur sira4 milta nahiN
1.argument, logic 2.string 3.untangle 4.head, beginning
The philosopher cannot find god in logic. He is trying to untangle the string but cannot find the beginning (it is an endless argument, going round and round, without beginning or end).
2
maa’refat1 Khaaliq2 ki aalam3 meN bahut dushwaar4 hai
shahr-e-tan5 meN jab ke Khud apna pata milta nahiN
1.knowledge, sufiyaana awareness 2.creator 3.world 4.difficult 5.domain of the body, material world
Spiritual/sufiyaana awareness of the creator is very difficult when one is limited to the material world, one cannot even find oneself i.e. it takes a different plane/level of thinking beyond the material to know god.
3
GhaafelauN1 ke lutf2 ko kaafi3 hai duniyavi4 Khushi
aaqilauN5 ko be-Gham6-e uqba7 maza8 milta nahiN
1.unthinking, uncaring 2.pleasure 3.enough 4.worldly 5.thoughtful 6.without worry/concern of 7.deliverance, final judgment 8.pleasure
Worldly pleasure is enough for the thoughtless/shortsighted. Thinking/thoughtful do not derive pleasure without consideration of the final judgment. Editorial comment – I think that is grossly unfair to think of the non-believer as thoughtless. The non-believer can be very thoughtful, struggling but unwilling to accept blind belief.
4
kashti-e dil ki ilaahi bahr1-e hasti2 meN ho Khair3
naaKhuda4 milte haiN laikin ba-Khuda5 milta nahiN
1.ocean 2.existence, life 3.safe 4.helmsman 5.with god
akbar ilahabadi uses a witty construction of words here. ‘naaKhuda’ normally means ‘helmsman, oarsman’ who propels and guides a boat. In contrasting it with ba-Khuda, he implies it to mean ‘godless’. Thus, may the boat of the heart be safe in the ocean of life. There are many (godless) helmsmen, but there is no god-fearing guide.
5
GhaafilauN1 ko kya sunaauN daastaan2-e ishq3-e yaar4
sun-ne vaale milte haiN dard-aashna5 milta nahiN
1.thoughtless 2.story of 3.love/devotion 4.beloved, god 5.understanding/feeling the pain that I feel
How can I relate to the thoughtless my story of devotion to god. There are plenty who will listen but none that understands my pain. To this, I can easily add a rejoinder …
GhaafilauN ko kya sunaauN apna dard-e justaju
sun-ne vaale milte haiN dard-aashna milta nahiN
6
zindagaani ka maza milta tha jin ki bazm1 meN
un ki qabrauN ka bhi ab mujh ko pata milta nahiN
1.company
The poet remembers his elders in whose company he experienced the pleasure of life/living. But now he cannot even find their graves. He leaves us to guess why this might be so. Has he become thoughtless/Ghaafil. Is he too busy.
7
sirf zaahir1 ho gaya sarmaya2-e zeb3 o safa4
kya ta’ajjub5 hai jo baatin6 ba-safa7 milta nahiN
1.apparent, that which can be seen, worldly 2.wealth, treasure 3.elegance 4.purity 5.strange, surprise 6.hidden, inner, spiritual 7.pure, virtuous
It seems like most people have begun to consider elegance and purity only in purely materialistic, worldly ‘zaahiri’ terms. Why should we be surprised then when we cannot find spiritually pure/virtuous people.
8
puKhta1 taba’oN2 par havaadis3 ka nahiN hota asar4
kohsaaroN5 meN nishaan6-e naqsh-e-pa7 milta nahiN
1.mature 2.nature, character 3.accidents, disasters 4.effect 5.hills 6.mark, indication 7.footprint
Those of a mature character are not affected by disasters (difficulties). ‘kohsaar’ – hills are likened to mature/hardened characters and pounding feet are likened to disasters and footprints are the effect of those disasters. On a mud path, you can find foot prints. But on hard rocks of hills, you do not see footprints. They bear the pounding of feet very well.
9
shaiKh-sahib barhaman se lakh barteN1 dosti
be-bhajan2 gaa’e to mandir se Tika3 milta nahiN
1.spend, practise 2.hymn, devotional song 3.vermillion mark on the forehead
The shaiKh might befriend the brahmin priest all he wants, but to get anointed with a ‘Tika’ he will have to go to the temple and sing ‘bhajan’. The implication is that you have to do what is required to get the reward/result that you desire. No shortcuts.
10
jis pe dil aaya hai vo shiriN-ada1 milta nahiN
zindagi hai talKh2 jiine ka maza3 milta nahiN
1.sweet style, beloved 2.bitter, hard 3.pleasure
The poet/lover has lost his heart to the beloved of sweet style, but can no longer find her. Life is bitter and he no longer enjoys it.
11
log kahte haiN keh bad-naami1 se bachna2 chaahiye
keh do bay3 us ke javaani ka maza4 milta nahiN
1.bad name, disrepute 2.escape, stay away from 3.without 4.pleasure
They say that you have to save your reputation, stay away from things that bring you disrepute. But then you can’t enjoy youth without getting into those things!
12
ahl-e zaahir1 jis qadar2 chaaheN kareN bahs3-o-jidaal4
maiN ye samjha huN Khudi5 meN to Khuda milta nahiN
1.people of ‘the apparent’ i.e. people who believe in what can be seen, materialist 2.however much 3.argument, debate 4.conflict, dispute 5.ego, self centered
The word ‘materialist’ is used here in the classical sense … of matter, with cause and effect relationship. The poet implies that a materialist (dialectical materialist) is necessarily self-centered. I am not sure. However much the materialists may argue and dispute, the poet thinks that god cannot be found with a self-centered view.
13
chal-basey1 vo din ke yaaroN2 se bhari thi anjuman3
haaye4 afsos5 aaj surat-aashna6 milta nahiN
1.gone past 2.friends, like minded people 3.gathering 4.alas 5.sorrow 6.familiar face
The poet laments the passage of earlier ‘good’ days, when gatherings were full of like-minded people. But these days you cannot even see a familiar face.
14
manzil1-e-ishq2-o-tavakkul3 manzil-e-ezaaz4 hai
shaah5 sab baste6 haiN yaaN koi gada7 milta nahiN
1.destination, goal 2.love (sufiyaana) 3.trust (in god), belief 4.honour 5.king, lord 6.dwell, live 7.mendicant
The goal of love and trust/belief (in god) is the only honourable destination. But all around dwell kings/lords (people who believe in material acquisition), there are no mendicants (sufi seekers who give up material attachments/desires).
15
baar1 taklifoN2 ka mujh par baar-e ehsaaN3 se hai sahl4
shukr ki jaa5 hai agar6 haajat-rava7 milta nahiN
1.burden 2.difficulties 3.obligation 4.easy 5.place, occasion 7.helper, who fulfills needs
The poet/sufi/mendicant finds it easier to bear the burden of difficulties than the burden of obligations. It is an occasion to be thankful that he does not encounter any helper, otherwise he would be under an obligation.
16
chaandni raateN bahaar1 apni dikhaati haiN to kya
be2 tere mujh ko to lutf3 aye mah-laqa4 milta nahiN
1.spring, beauty 2.without 3.pleasure 4.moon-faced
Moonlit nights may display their beauty all they want but without the moon-faced beloved, the poet/lover cannot enjoy them.
17
m’aani1-e dil ka kare izhaar2 akbar kis tarah
lafz3-e mauzuN4 bahr5-e kashf6-e mudd’aa7 milta nahiN
1.meaning, purpose 2.express 3.word 4.appropriate, suitable 5.for 6.reveal, discover 7.desire
How can akbar (the poet) express the real meaning/intent of his heart. He cannot find words suitable/fit enough to reveal his desire.
The post falsafi-akbar allahabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/03/pljm-be-naqaab-kiye-jaa-raha-huN-maiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
بے نقاب کئے جا رہا ہوں میں ۔ لبھورام جوشؔ ملسیانی
۱
گو مر رہا ہوں پھر بھی جئے جا رہا ہوں میں
وعدے پہ اعتبار کئے جا رہا ہوں میں
۲
خالی ہر ایک جام کئے جا رہا ہوں میں
جی بھر گیا ہے، پھر بھی پئے جا رہا ہوں میں
۳
یہ جانتا ہوں سعیِ رفوکار گر نہیں
پھر بھی جگر کا چاک سئے جا رہا ہوں میں
۴
کیونکر کہوں کہ بانیِ بیداد کون ہے
تقدیر ہی کا نام لئے جا رہا ہوں میں
۵
یہ ظرفِ میکشی کوئی دیکھے کہ بزم میں
غصّہ بھی محتسب کا پئے جا رہا ہوں میں
۶
مطلب خدا سے مجھ کو نہ بت سے کوئی غرض
اپنی ہی جستجو کے لئے جا رہا ہوں میں
۷
مقبول ہوں نہ ہوں یہ مقدّر کی بات ہے
سجدے کسی کے در پہ کئے جا رہا ہوں میں
۸
جس موت پر ہو زندگیِ خضر بھی نثار
ارمان میں اُسی کے جئے جا رہا ہوں میں
۹
دستِ جنوں ہے اور ہیں پردے مجاز کے
دنیا کو بے نقاب کئے جا رہا ہوں میں
۱۰
اے جوشؔ ضبطِ آہِ جہاں سوز ہے محال
سچ تو یہ ہے کمال کئے جا رہا ہوں میں
बे-नक़ाब किये जा रहा हुं मैं – पंडित लभुराम जोश मल्सियानी
१
गो मर रहा हुं फिर भी जिये जा रहा हुं मैं
वादे पे एतेबार किये जा रहा हुं मैं
२
ख़ाली हर एक जाम किये जा रहा हुं मैं
जी भर गया है, फिर भी पिये जा रहा हुं मैं
३
ये जानता हुं स’ई-ए रफ़ुकार गर नहीं
फिर भी जिगर का चाक सिये जा रहा हुं मैं
४
क्यूंकर कहूं के बानी-ए बेदाद कौन है
तक़्दीर हि का नाम लिये जा रहा हुं मैं
५
ये ज़र्फ़-ए मयकशी कोई देखे के बज़्म में
ग़ुस्सा भी मोहतसिब का पिये जा रहा हुं मैं
६
मतलब ख़ुदा से मुझ को न बुत से कोई ग़रज़
अपनी हि जुस्तजू के लिये जा रहा हुं मैं
७
मक़्बूल हों न हों ये मुक़द्दर कि बात है
सजदे किसी के दर पे किये जा रहा हुं मैं
८
जिस मौत पर हो ज़िन्दगी-ए ख़िज़्र भी निसार
अरमान में उसी के जिये जा रहा हुं मैं
९
दस्त-ए जुनूं है और हैं परदे मजाज़ के
दुनिया को बे-नक़ाब किये जा रहा हुं मैं
१०
अए जोश ज़ब्त-ए आह-ए जहां-सोज़ है महाल
सच तो ये है कमाल किये जा रहा हुं मैं
Click here for background and on any passage for word meanings and explanatory discussion. panDit labhuram josh malsiani (1884-1976) from malsian in the now pakistani side of punjab, migrated to India a little before partition/independence. He has written with great feeling about communal harmony and about the loss of his homeland – pakistan. His son, baalmukund arsh malsiani was also a well recognized poet.
1
go1 mar raha huN phir bhi jiye jaa raha huN maiN
vaade2 pe e’tebaar3 kiye jaa raha huN maiN 1.even though 2.promise 3.trust
The beloved is notorious for making promises and not keeping them. The poet/lover is dying of sorrow because of broken promises, but he hangs on to life because he trusts the next promise will be kept. As opposed to this, says Ghalib …
tere vaade pe jiyeN hum, tu ye jaan jhooT jaana
keh Khushi se mar na jaate agar e’tebaar hota
2
Khaali har ek jaam1 kiye jaa raha huN maiN
jii bhar gaya hai, phir bhi piye jaa raha huN maiN 1.cup of wine, goblet
I keep emptying goblet after goblet. Even though I feel satiated, still I keep on drinking. Does he mean that he is drinking to drown his sorrows not just to enjoy wine.
3
ye jaanta huN sa’ii1-e rafukaar2 gar3 nahiN
phir bhi jigar4 ke chaak5 siye6 jaa raha huN maiN 1.effort, skill 2.tailor, needle worker 3.even though 4.liver, seat of fortitude 5.tears 6.stitch
I know that I don’t have the skill of an expert needle worker, but even so I keep stitching the tears in my fortitude (in order to continue to bear the torture visited on me by fate/beloved).
4
kyuNkar kahuN keh baani1-e bedaad2 kaun hai
taqdiir3 hi ka naam kiye jaa raha huN maiN 1.basis, cause 2.oppression, cruelty, torture 3.fate
The beloved is the cause of all the torture that the poet/lover suffers. But convention calls for him not to name her. Thus, how can I say who the cause of cruelty is. I keep blaming fate. Said shaiKh ibrahim zauq …
ham nahiN vo jo kareN Khuun ka daa’va tujh par
balkeh poochhega Khuda bhi to mukar jaa’eNge
5
ye zarf1-e maikashi2 koii dekhe keh bazm3 meN
Ghussa bhi mohtasib4 ka piye jaa raha huN maiN 1.capacity 2.wine drinking 3.gathering 4.censor, preacher, pontificator
The beauty of the she’r is the use of wine drinking juxtaposed with the expression ‘anger drinking’ which is used to mean tolerating. Look at my capacity to hold my drink in the gathering. Along with drinking wine, I tolerate the pontification of the preacher.
6
matlab1 Khuda se mujh ko na but2 se koii Gharaz3apni hi justaju4 ke liye jaa raha huN maiN 1.need 2.idol 3.concern 4.search, seeking
I have no need for god nor am I concerned with idols. I launch on my journey searching for myself.
7
maqbool1 hoN na hoN ye muqaddar2 ki baat hai
sajde3 kisi ke dar pe kiye jaa raha huN maiN 1.accept 2.fate 3.devotional prostration
Whether they are accepted or not, is a matter of fate. I keep offering my devotion at the door of the beloved. This reinforces the concept of doing what you must, without an expectation of rewards. Said Ghalib …
taa’at meN taa rahe na mai o aNgabiiN ki laag
dozaKh meN Daal do koii le kar behisht ko
8
jis maut par ho zindagi-e Khizr1 bhi nisaar2
armaan3 meN usi ke jiye jaa raha huN maiN 1.legendary old man 2.sacrificial offering 3.longing, desire
Khizr is a legendary old man who has discovered the nectar of life, taken a drink and is immortal. His long life is considered highly desirable. But the poet longs for/desires a grand and honourable death for which even eternal life (life of Khizr) can be sacrificed.
9
dast1-e junooN2 hai aur haiN parde3 majaaz4 ke
duniya ko be-naqaab5 kiye jaa raha huN maiN 1.hand 2.madness, passion 3.veils, curtains 4.illusion, magic 5.unveil
Reality/spirituality is hidden behind many veils of illusion. But the poet has a passion to reveal the truth. Thus, his hand keeps unveiling the mysteries of this material/spiritual world.
10
aye josh1 zabt2-e aah3-e jahaaN-soz4 hai mahaal5
such6 to ye hai kamaal7 kiye jaa raha huN maiN 1.pen-name of the poet 2.control, bear 3.sigh 4.world burning 5.difficult 6.truth 7.miracle, great accomplishment
The poet/lover is burning with passion. His sorrow makes him sigh as if he is breathing fire that can set the world alight. Controlling this sigh is very difficult but he still manages to do it. In truth, he is working a miracle.
panDit labhuram josh malsiani (1884-1976) from malsian in the now pakistani side of punjab, migrated to India a little before partition/independence. He has written with great feeling about communal harmony and about the loss of his homeland – pakistan. His son, baalmukund arsh malsiani was also a well recognized poet.
1
go1 mar raha huN phir bhi jiye jaa raha huN maiN
vaade2 pe e’tebaar3 kiye jaa raha huN maiN
1.even though 2.promise 3.trust
The beloved is notorious for making promises and not keeping them. The poet/lover is dying of sorrow because of broken promises, but he hangs on to life because he trusts the next promise will be kept. As opposed to this, says Ghalib …
tere vaade pe jiyeN hum, tu ye jaan jhooT jaana
keh Khushi se mar na jaate agar e’tebaar hota
2
Khaali har ek jaam1 kiye jaa raha huN maiN
jii bhar gaya hai, phir bhi piye jaa raha huN maiN
1.cup of wine, goblet
I keep emptying goblet after goblet. Even though I feel satiated, still I keep on drinking. Does he mean that he is drinking to drown his sorrows not just to enjoy wine.
3
ye jaanta huN sa’ii1-e rafukaar2 gar3 nahiN
phir bhi jigar4 ke chaak5 siye6 jaa raha huN maiN
1.effort, skill 2.tailor, needle worker 3.even though 4.liver, seat of fortitude 5.tears 6.stitch
I know that I don’t have the skill of an expert needle worker, but even so I keep stitching the tears in my fortitude (in order to continue to bear the torture visited on me by fate/beloved).
4
kyuNkar kahuN keh baani1-e bedaad2 kaun hai
taqdiir3 hi ka naam kiye jaa raha huN maiN
1.basis, cause 2.oppression, cruelty, torture 3.fate
The beloved is the cause of all the torture that the poet/lover suffers. But convention calls for him not to name her. Thus, how can I say who the cause of cruelty is. I keep blaming fate. Said shaiKh ibrahim zauq …
ham nahiN vo jo kareN Khuun ka daa’va tujh par
balkeh poochhega Khuda bhi to mukar jaa’eNge
5
ye zarf1-e maikashi2 koii dekhe keh bazm3 meN
Ghussa bhi mohtasib4 ka piye jaa raha huN maiN
1.capacity 2.wine drinking 3.gathering 4.censor, preacher, pontificator
The beauty of the she’r is the use of wine drinking juxtaposed with the expression ‘anger drinking’ which is used to mean tolerating. Look at my capacity to hold my drink in the gathering. Along with drinking wine, I tolerate the pontification of the preacher.
6
matlab1 Khuda se mujh ko na but2 se koii Gharaz3apni hi justaju4 ke liye jaa raha huN maiN
1.need 2.idol 3.concern 4.search, seeking
I have no need for god nor am I concerned with idols. I launch on my journey searching for myself.
7
maqbool1 hoN na hoN ye muqaddar2 ki baat hai
sajde3 kisi ke dar pe kiye jaa raha huN maiN
1.accept 2.fate 3.devotional prostration
Whether they are accepted or not, is a matter of fate. I keep offering my devotion at the door of the beloved. This reinforces the concept of doing what you must, without an expectation of rewards. Said Ghalib …
taa’at meN taa rahe na mai o aNgabiiN ki laag
dozaKh meN Daal do koii le kar behisht ko
8
jis maut par ho zindagi-e Khizr1 bhi nisaar2
armaan3 meN usi ke jiye jaa raha huN maiN
1.legendary old man 2.sacrificial offering 3.longing, desire
Khizr is a legendary old man who has discovered the nectar of life, taken a drink and is immortal. His long life is considered highly desirable. But the poet longs for/desires a grand and honourable death for which even eternal life (life of Khizr) can be sacrificed.
9
dast1-e junooN2 hai aur haiN parde3 majaaz4 ke
duniya ko be-naqaab5 kiye jaa raha huN maiN
1.hand 2.madness, passion 3.veils, curtains 4.illusion, magic 5.unveil
Reality/spirituality is hidden behind many veils of illusion. But the poet has a passion to reveal the truth. Thus, his hand keeps unveiling the mysteries of this material/spiritual world.
10
aye josh1 zabt2-e aah3-e jahaaN-soz4 hai mahaal5
such6 to ye hai kamaal7 kiye jaa raha huN maiN
1.pen-name of the poet 2.control, bear 3.sigh 4.world burning 5.difficult 6.truth 7.miracle, great accomplishment
The poet/lover is burning with passion. His sorrow makes him sigh as if he is breathing fire that can set the world alight. Controlling this sigh is very difficult but he still manages to do it. In truth, he is working a miracle.
The post be-naqaab kiye jaa raha huN maiN-labhuram josh malsiani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/02/vaKht-zabaan-ki-maut-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
زبان کی موت ۔ وحید اختر
۱
ہزاروں اصوات نوحہ خواں ہیں کہ اک زباں پر ہے نزع طاری
حروف و الفاظ سر بہ زانو
خموش ہے اِک جہانِ معنی
کہ اُس کے باسی
تلاشِ گندم میں اپنے شہروں کی فاقہ کش عافیت کو تج کر
نئے جہانوں کے اجنبی راستوں پہ آنکھوں میں پیاس لے کر
بھٹک رہے ہیں
۲
نیان کی روشنی میں لِکّھی نئی زبانیں چمک رہی ہیں
جلا وطن لفظ اور معانی کو شور کرتی وسیع سڑکیں نگل رہی ہیں
۳
خموش ہے اِک جہانِ معنی
کہ اُس کے باسی
نئی زبانوں کے شور و غل سے وطن میں بھی اجنبی ہوئے ہیں
وہ اپنے شہرِ زباں میں بھی بے زباں ہوے ہیں
جو بات کرتے تھے، اب وہ شہر و دیار و در ہیں ساکت
جو محرمِ مدعا تھے وہ دشت و کوہ و صحرا سدا کے گونگے بنے ہوئے ہیں
جو حرف کی آگ سے پگھلتے تھے وہ شجر اور حجر ہیں ساکت
۴
پرانی آبادیوں کے رستے شکستہ کھنڈروں میں کھو گئے ہیں
وہ محل و ایوان و طاق و گنبد جہاں سے اصوات کا سمندر اُبل رہا تھا
اُجڑ چکے ہیں
۵
وہ شاہراہیں وہ تنگ گلیاں وہ سیڑھیاں چوکھٹیں دریچے
حرم سرائیں، غلام گردش، وسیع دالان، ہنستے آنگن
گھروں کے کونے لبوں کے گوشے
جو لفظ کو دے رہے تھے معنی
جو صوت کو دے رہے تھے نغمہ
خموش ویرانوں کے مرقد میں اپنی دنیا کو دفن کر کے
سکوت کی چشمِ حسرت آگیں سے اپنی میّت پہ رو رہے ہیں
۶
ہزاروں اصوات نوحہ خواں ہیں کہ اُن کا پُرساں نہیں ہے کوئی
ہزاروں الفاظ کھوکھلے ہیں کہ اُن کے معنی تلاشِ نانِ جویں میں
اپنا لباس بدلے بھٹک رہے ہیں
۷
زبان سے ہے شکم کا رشتہ
ہیں لفظ کشکولِ نان و گندم
نئی زبانوں کے لفظ جہدِ معاش میں بے زبان لفظوں کو روندتے ہیں
نئی زبانوں کی سلطنت میں کسے پڑی ہے
جو اپنے لفظوں کو چھوڑ کر دوسروں کے لفظوں کو دے معانی
کسے پڑی ہے جو فاقہ کش اور برہنہ معنی کو لفظ کے پیرہن سے ڈھانپے
ہمارے الفاظ مر رہے ہیں، ہم اپنی سانسوں کو گِن رہے ہیں
۸
ہمارے بعد آنے والی نسلیں
ہمارے الفاظ اور معانی کی قبر کو دیکھ کر
اک نئی زباں کے انوکھے لفظوں میں
یہ کہیں گے
کہ آج سے چند سال پہلے یہ لفظ و معنی بھی بولتے تھے
صلیبِ جمہوریت پہ لفظوں کو موت آئی
کہیں کتابوں کے مقبروں میں ابھی تلک بے صدا معانی
سِسک رہے ہیں
ज़बान कि मौत – वहीद अख़्तर
१
हज़ारौं अस्वात नौहा-ख़्वां हैं, के एक ज़बां पर है नज़’अ तारी
हुरूफ़ ओ अल्फ़ाज़ सर-ब-ज़ानू
ख़मोश है एक जहान-ए मुआनी
के उस के बासी
तलाश-ए गन्दुम में अपने शहरौं कि फ़ाक़ा-कश आफ़ियत को तज कर
नये जहानौं के अज्नबी रास्तौं पे आंखौं कि प्यास ले कर
भटक रहे हैं
२
नियॉन की रौशनी में लिक्खी नई ज़बानें चमक रही हैं
जिला-वतन लफ़्ज़ और मुआनी को शोर करती वस’ई सढकें निगल रही हैं
३
ख़मोश है एक जहान-ए मु’आनी
के उस के बासी
नई ज़बानौं के शोर ओ ग़ुल से वतन में भी अजनबी हुए हैं
वो अपने शहर-ए ज़बां में भी बेज़बां हुए हैं
जो बात करते थे, अब वो शहर ओ दयार ओ दर हैं साकित
जो महरम-ए मूद्दो’आ थे वो दश्त ओ कोह ओ सहरा सदा के गूंगे बने हुए हैं
जो हर्फ़ की आग से पिघलते थे वो शजर और हजर हैं साकित
४
पुरानी आबादियौं के रस्ते शिकस्ता ख़ड्रौं में खो गए हैं
वो महल ओ ऐवान ओ ताक़ ओ गुम्बद जहां से अस्वात का समंदर उबल रहा था
उजढ चुके हैं
५
वो शाहराहें वो तंग गलियां वो सीढ़ियां चोखटें दरीचे
हरम सराएं, ग़ुलाम गर्दिश, वस’ई दालान, हंसते आंगन
घरौं के कोने लबौं के गोशे
जो लफ़्ज़ को दे रहे थे मुआनी
जो सौत को दे रहे थे नग़्मा
ख़मोश वीरानौं में अपनी दुनिया को दफ़्न कर के
सुकूत की चश्म-ए हस्रत-आगीं से अपनी मय्यत पे रो रहे हैं
६
हज़ारौं अस्वात नौहा-ख़्वां हैं, के उन का पुर्सां नहीं है कोई
हज़ारौं अल्फ़ाज़ खोख्ले हैं, के उन के मुआनी तलाश-ए नान-ए जुईं में
अपना लिबास बदले भटक रहे हैं
७
ज़बान से है शिकम का रिश्ता
हैं लफ़्ज़ कश्कोल-ए नान ओ गंदुम
नई ज़बानौं के लफ़्ज़ जहद-ए म’आश में बेज़बान लफ़्ज़ौं को रौंदते हैं
नई ज़बानौं कि सल्तनत में किसे पढी है
जो अपने लफ़्ज़ौं को छोढ कर दूसरौं के लफ़्ज़ौं को दे मुआनी
किसे पढी जो फ़ाक़ा-कश और बरहना मुआनी को पैरहन से ड़ांपे
हमारे अल्फ़ाज़ मर रहे हैं, हम अपनी सांसौं को गिन रहे हैं
८
हमारे बाद आने वाली नस्लें
हमारे अल्फ़ाज़ और मुआनी कि क़ब्र को देख कर
एक नई ज़बां के अनोखे लफ़्ज़ौं में ये कहेंगे
के आज से चंद साल पहले, ये लफ़्ज़ ओ मुआनी भी बोलते थे
सलीब-ए जम्हूरियत पे लफ़्ज़ौं को मौत आई
कहीं किताबौं के मक़्बरौं में अभी तलक बेसदा मुआनी
सिसक रहे हैं
Click here for background and on any passage for word meanings and explanatory discussion. vaheed aKhter (1935-1996), hyderabad, poet, writer and critic. He did his PhD in philosophy from osmania university and later taught at aligaRh. His compositions are very thoughtful and thought provoking. His ‘free verse’ nazm are extremely musical. Several examples of it are posted on this site. This nazm is about the death of urdu, although urdu is not mentioned by name. It is linked to other nazm and Ghazal of the same theme to the icon on the Theme page.
1
hazaaroN asvaat1 nauha-KhwaaN2 haiN, keh ek zabaaN par hai naz’a3 taari4
huroof5 o alfaaz6 sar-ba-zaanu7
Khamosh hai ek jahaan-e-mu’aani8
keh us ke baasi9
talaash-e-gandum10 meN apne shahroN ki faaqa-kash11 aafiyyat12 ko taj13 kar
naye jahaanoN14 ke ajnabi15 raastoN pe aaNkhoN ki pyaas le kar
bhaTak rahe haiN 1.sounds 2.singing dirges, mournful singing 3.last breath, impending death 4.overcome 5.alphabet 6.words 7.head on knee, dejected 8.world of meaning 9.inhabitants, residents 10.in search of wheat/bread 11.starvation inducing 12.welfare, security 13.quitting, giving up 14.worlds 15.unfamiliar
Thousands of sounds sing mournful dirges, that a language is overcome by impeding death. Words and letters are dejected. The world of meaning is silent; its people having left in search of a livelihood, renouncing the life starvation inducing familiarity; wander through unfamiliar streets of distant lands, their thirsty eyes taking in the new surroundings.
2
neon ki raushni1 meN likkhi naii zabaaneN chamak rahi haiN
jila-vatan2 lafz3 aur muaani4 ko shor5 karti vas’ee6 saRkeN nigal7 rahi haiN 1.lights 2.exiled 3.words 4.meanings 5.noise 6.expansive, wide 7.swallow
In the sparkle of neon lights, new languages shine. The loud noise (distractions) of expansive roads (and cities) swallow the exiled words and meanings of their native tongues.
3
Khamosh hai ek jahaan-e-mu’aani1
keh us ke baasi2
naii zabaanoN ke shor-o-Ghul3 se vatan4 meN bhi ajnabi5 hue haiN
vo apne shahr-e zabaaN meN bhi be-zabaaN hue haiN
jo baat karte the, ab vo shahr o dayaar6 o dar7 haiN saakit8
jo mahram-e-muddua9 the vo dasht10 o koh11 o sahra12 sadaa13 ke gooNge14 bane hue haiN
jo harf15 ki aag meN pighalte16 the vo shajar17 aur hajar18 haiN saakit 1.world of meaning 2.inhabitants 3.noise and tumult 4.homeland 5.strangers 6.homes 7.door 8.still, silent 9.familiar with intentions/desires 10.wilderness 11.hills 12.desert 13.always 14.mute, silent 15.word 16.melt 17.trees 18.rocks
The world of meaning is silent; its residents, in the tumultous noise of new languages have become strangers in their homeland. The communities, the homes, the doors that used to talk have fallen silent. The wilderness, hills, desert that were familiar with you have become mute. The trees and hurdles that used to melt away before fiery words now stand still in the way i.e., words have lost their fire.
4
puraani aabaadiyoN1 ke raste, shikasta2 khanDroN3 meN kho gaye haiN
vo mahl o aivaan4 o taaq5 o gunbad6 jahaaN se asvaat7 ka samandar ubal8 raha tha
ujaR9 chuke haiN 1.settlements 2.broken 3.ruins 4.halls 5.archways 6.domes 7.sounds 8.boil 9.ruined
The byways and streets of ancient settlements are lost in ruinous destruction. The palaces, the halls, the archways and domes from where an ocean of sounds would boil, are now ruined.
5
vo shaahraaheN1 vo taNg2 galiyaaN vo siiRhiyaaN3 chaukhaTeN4 dariiche5
haram-saraa’eN6, Ghulaam-gardish7, vas’ii8 daalaan9, haNste aaNgan
gharoN ke kone, laboN10 ke goshe11
jo lafz12 ko de rahe the muaani13
jo saut14 ko de rahe the naGhma15
Khamosh viiraanoN16 meN apni duniya ko dafn17 kar ke
sukoot18 ki chashm19-e hasrat-aagiiN20 se apni mayyat21 pe ro rahe haiN 1.highways 2.narrow 3.stairs 4.threshold 5.windows 6.women’s quarters 7.verandahs surrounding the house (used in early times for slave/guards to march periodically) 8.vast 9.halls 10.lips 11.corners 12.word 13.meaning 14.sound 15.song, harmony 16.desolation 17.bury 18.silence, stillness 19.eye 20.full of longing 21.corpse, funeral
Those highways, narrow streets, the steep stairs, doors and windows; the women’s quarters and guardian verandahs; nooks and crannies of the house, the corners of mouth, that used to give meaning to words, harmony to sound, having buried their world in desolate stillness; with silent longing looks weep at their own funeral.
6
hazaaroN asvaat1 nauha-KhwaaN2 haiN, keh un ka pursaaN3 nahiN hai koii
hazaaroN alfaaz4 khokhle5 haiN, keh un ke muaani6 talaash7-e naan-e-juiiN8 meN
apne libaas9 badle, bhaTak10 rahe haiN 1.sounds, voices 2.dirge singing, lamenting 3.asking for, caring 4.words 5.hollow 6.meaning 7.search 8.jawar bread, sustenance 9.clothing 10.wandering
Thousands of sounds lament that there is no one who cares; thousands of words sound hollow; their meaning gone in search of sustenance; in new clothing, wandering in distant streets.
7
zabaan se hai shikam1 ka rishta2
haiN lafz3 kashkol4-e naan5 o gandum6
naii zabaanoN ke lafz3 jahd7-e m’aash8 meN be-zabaan lafzoN ko raundte9 haiN
naii zabaanoN ki saltanat10 meN kise paRi hai
jo apne lafzoN ko chhoR kar doosroN ke lafzoN ko de muaani
kise paRi hai jo faaqa-kash11 aur barhana12 muaani ko pairahan13 se DhaaNpe
hamaare alfaaz14 mar rahe haiN, ham apni saaNsoN ko gin rahe haiN 1.stomach 2.relationship 3.words 4.begging bowl 5.bread 6.wheat 7.struggle 8.livelihood 9.trample 10.domain, regime 11.starving 12.naked 13.clothing 14.words
Language depends on the stomach; words go begging bowl in hand asking for sustenance. In the struggle for livelihood, words of new languages trample upon helpless, unspoken words. Who in the regime of new languages cares enough to go beyond their own words and give meaning to others. Whoever cares to step forward and feed and clothe starving and naked words. Our words are dying, we are counting our last breaths.
8
hamaare baad aane vaali nasleN1
hamaare alfaaz2 aur muaani3 ki qabr4 ko dekh kar
ek naii zabaaN ke anokhe5 lafzoN6 meN ye kaheNge
keh aaj se chand7 saal pahle, ye lafz6 o muaani3 bhi bolte the
saleeb-e-jamhooriyat8 pe lafzoN6 ko maut9 aaii
kahiN kitaaboN ke maqbaroN10 meN abhi talak be-sadaa11 muaani3
sisak12 rahe haiN 1.generations 2.words 3.meanings 4.graves 5.unfamiliar 6.words 7.a few 8.cross of freedom – symbolic cross of western cultures 9.death 10.tombs 11.voiceless, helpless 12.sobbing
Generations after us, visiting the tombs of our words and meanings, in unfamiliar accents of a new language, will say – a few years ago, these words and meanings used to speak; bearing the cross of western cultures, they came to their death. Somewhere in the tombs of books, to this day, these helpless meanings are still sobbing.
vaheed aKhter (1935-1996), hyderabad, poet, writer and critic. He did his PhD in philosophy from osmania university and later taught at aligaRh. His compositions are very thoughtful and thought provoking. His ‘free verse’ nazm are extremely musical. Several examples of it are posted on this site. This nazm is about the death of urdu, although urdu is not mentioned by name. It is linked to other nazm and Ghazal of the same theme to the icon on the Theme page.
1
hazaaroN asvaat1 nauha-KhwaaN2 haiN, keh ek zabaaN par hai naz’a3 taari4
huroof5 o alfaaz6 sar-ba-zaanu7
Khamosh hai ek jahaan-e-mu’aani8
keh us ke baasi9
talaash-e-gandum10 meN apne shahroN ki faaqa-kash11 aafiyyat12 ko taj13 kar
naye jahaanoN14 ke ajnabi15 raastoN pe aaNkhoN ki pyaas le kar
bhaTak rahe haiN
1.sounds 2.singing dirges, mournful singing 3.last breath, impending death 4.overcome 5.alphabet 6.words 7.head on knee, dejected 8.world of meaning 9.inhabitants, residents 10.in search of wheat/bread 11.starvation inducing 12.welfare, security 13.quitting, giving up 14.worlds 15.unfamiliar
Thousands of sounds sing mournful dirges, that a language is overcome by impeding death. Words and letters are dejected. The world of meaning is silent; its people having left in search of a livelihood, renouncing the life starvation inducing familiarity; wander through unfamiliar streets of distant lands, their thirsty eyes taking in the new surroundings.
2
neon ki raushni1 meN likkhi naii zabaaneN chamak rahi haiN
jila-vatan2 lafz3 aur muaani4 ko shor5 karti vas’ee6 saRkeN nigal7 rahi haiN
1.lights 2.exiled 3.words 4.meanings 5.noise 6.expansive, wide 7.swallow
In the sparkle of neon lights, new languages shine. The loud noise (distractions) of expansive roads (and cities) swallow the exiled words and meanings of their native tongues.
3
Khamosh hai ek jahaan-e-mu’aani1
keh us ke baasi2
naii zabaanoN ke shor-o-Ghul3 se vatan4 meN bhi ajnabi5 hue haiN
vo apne shahr-e zabaaN meN bhi be-zabaaN hue haiN
jo baat karte the, ab vo shahr o dayaar6 o dar7 haiN saakit8
jo mahram-e-muddua9 the vo dasht10 o koh11 o sahra12 sadaa13 ke gooNge14 bane hue haiN
jo harf15 ki aag meN pighalte16 the vo shajar17 aur hajar18 haiN saakit
1.world of meaning 2.inhabitants 3.noise and tumult 4.homeland 5.strangers 6.homes 7.door 8.still, silent 9.familiar with intentions/desires 10.wilderness 11.hills 12.desert 13.always 14.mute, silent 15.word 16.melt 17.trees 18.rocks
The world of meaning is silent; its residents, in the tumultous noise of new languages have become strangers in their homeland. The communities, the homes, the doors that used to talk have fallen silent. The wilderness, hills, desert that were familiar with you have become mute. The trees and hurdles that used to melt away before fiery words now stand still in the way i.e., words have lost their fire.
4
puraani aabaadiyoN1 ke raste, shikasta2 khanDroN3 meN kho gaye haiN
vo mahl o aivaan4 o taaq5 o gunbad6 jahaaN se asvaat7 ka samandar ubal8 raha tha
ujaR9 chuke haiN
1.settlements 2.broken 3.ruins 4.halls 5.archways 6.domes 7.sounds 8.boil 9.ruined
The byways and streets of ancient settlements are lost in ruinous destruction. The palaces, the halls, the archways and domes from where an ocean of sounds would boil, are now ruined.
5
vo shaahraaheN1 vo taNg2 galiyaaN vo siiRhiyaaN3 chaukhaTeN4 dariiche5
haram-saraa’eN6, Ghulaam-gardish7, vas’ii8 daalaan9, haNste aaNgan
gharoN ke kone, laboN10 ke goshe11
jo lafz12 ko de rahe the muaani13
jo saut14 ko de rahe the naGhma15
Khamosh viiraanoN16 meN apni duniya ko dafn17 kar ke
sukoot18 ki chashm19-e hasrat-aagiiN20 se apni mayyat21 pe ro rahe haiN
1.highways 2.narrow 3.stairs 4.threshold 5.windows 6.women’s quarters 7.verandahs surrounding the house (used in early times for slave/guards to march periodically) 8.vast 9.halls 10.lips 11.corners 12.word 13.meaning 14.sound 15.song, harmony 16.desolation 17.bury 18.silence, stillness 19.eye 20.full of longing 21.corpse, funeral
Those highways, narrow streets, the steep stairs, doors and windows; the women’s quarters and guardian verandahs; nooks and crannies of the house, the corners of mouth, that used to give meaning to words, harmony to sound, having buried their world in desolate stillness; with silent longing looks weep at their own funeral.
6
hazaaroN asvaat1 nauha-KhwaaN2 haiN, keh un ka pursaaN3 nahiN hai koii
hazaaroN alfaaz4 khokhle5 haiN, keh un ke muaani6 talaash7-e naan-e-juiiN8 meN
apne libaas9 badle, bhaTak10 rahe haiN
1.sounds, voices 2.dirge singing, lamenting 3.asking for, caring 4.words 5.hollow 6.meaning 7.search 8.jawar bread, sustenance 9.clothing 10.wandering
Thousands of sounds lament that there is no one who cares; thousands of words sound hollow; their meaning gone in search of sustenance; in new clothing, wandering in distant streets.
7
zabaan se hai shikam1 ka rishta2
haiN lafz3 kashkol4-e naan5 o gandum6
naii zabaanoN ke lafz3 jahd7-e m’aash8 meN be-zabaan lafzoN ko raundte9 haiN
naii zabaanoN ki saltanat10 meN kise paRi hai
jo apne lafzoN ko chhoR kar doosroN ke lafzoN ko de muaani
kise paRi hai jo faaqa-kash11 aur barhana12 muaani ko pairahan13 se DhaaNpe
hamaare alfaaz14 mar rahe haiN, ham apni saaNsoN ko gin rahe haiN
1.stomach 2.relationship 3.words 4.begging bowl 5.bread 6.wheat 7.struggle 8.livelihood 9.trample 10.domain, regime 11.starving 12.naked 13.clothing 14.words
Language depends on the stomach; words go begging bowl in hand asking for sustenance. In the struggle for livelihood, words of new languages trample upon helpless, unspoken words. Who in the regime of new languages cares enough to go beyond their own words and give meaning to others. Whoever cares to step forward and feed and clothe starving and naked words. Our words are dying, we are counting our last breaths.
8
hamaare baad aane vaali nasleN1
hamaare alfaaz2 aur muaani3 ki qabr4 ko dekh kar
ek naii zabaaN ke anokhe5 lafzoN6 meN ye kaheNge
keh aaj se chand7 saal pahle, ye lafz6 o muaani3 bhi bolte the
saleeb-e-jamhooriyat8 pe lafzoN6 ko maut9 aaii
kahiN kitaaboN ke maqbaroN10 meN abhi talak be-sadaa11 muaani3
sisak12 rahe haiN
1.generations 2.words 3.meanings 4.graves 5.unfamiliar 6.words 7.a few 8.cross of freedom – symbolic cross of western cultures 9.death 10.tombs 11.voiceless, helpless 12.sobbing
Generations after us, visiting the tombs of our words and meanings, in unfamiliar accents of a new language, will say – a few years ago, these words and meanings used to speak; bearing the cross of western cultures, they came to their death. Somewhere in the tombs of books, to this day, these helpless meanings are still sobbing.
The post zabaan ki maut-vaheed aKhtar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2023/02/gplm-fasaadaat-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
فسادات ۔ گوپال مِتّل
سارے ہنگامۂ بیداد میں اپنا حصّہ
ایک احساسِ ندامت کے سوا کچھ بھی نہیں
میرے دامن پہ نہیں خون کا دھبّہ لیکن
اپنی ہی ذات پہ قاتل کا گماں ہوتا ہے
फ़सादात – गोपाल मित्तल
सारे हंगामा-ए बेदाद में अपना हिस्सा
एक एहसास-ए नदामत के सिवा कुछ भी नहीं
मेरे दामन पे नहीं ख़ून का धब्बा लैकिन
अपनी ही ज़ात पे क़ातिल का गुमां होता है
Click here for background and on any passage for word meanings and explanatory discussion. gopal mittal (1901-1993) migrated from lahore to dehli is 1948. He has written eloquently about communal harmony, univeral love and Reason. In this short ‘qita’, he calls for more explicit condemnation of communal riots, not just sitting quietly and feeling sorry for victims.
saare haNgaama1-e bedaad2 meN apna hissa3ek ehsaas4-e nadaamat5 ke siva6 kuchh bhi nahiN
mere daaman7 pe nahiN Khoon ka dhabba laikin
apni hi zaat8 pe qaatil9 ka gumaaN10 hota hai 1.tumult, disturbance 2.cruelty 3.part, participation 4.feeling 5.regret 6.except for 7.apron, cloak 8.person 9.killer 10.suspicion
In all the disturbances, killings and cruelty, our participation is nothing but a vague feeling of regret. I agree that there is no stain of blood on my cloak, but I have a suspicion/guilt as if I am the killer.
gopal mittal (1901-1993) migrated from lahore to dehli is 1948. He has written eloquently about communal harmony, univeral love and Reason. In this short ‘qita’, he calls for more explicit condemnation of communal riots, not just sitting quietly and feeling sorry for victims.
saare haNgaama1-e bedaad2 meN apna hissa3ek ehsaas4-e nadaamat5 ke siva6 kuchh bhi nahiN
mere daaman7 pe nahiN Khoon ka dhabba laikin
apni hi zaat8 pe qaatil9 ka gumaaN10 hota hai
1.tumult, disturbance 2.cruelty 3.part, participation 4.feeling 5.regret 6.except for 7.apron, cloak 8.person 9.killer 10.suspicion
In all the disturbances, killings and cruelty, our participation is nothing but a vague feeling of regret. I agree that there is no stain of blood on my cloak, but I have a suspicion/guilt as if I am the killer.
Key Search Words:
The post fasaadaat=gopal mittal appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2023/02/maKhGh-suKhanvari-faarsi-audio.mp3
faarsi
https://urdushahkar.org/wp-content/uploads/2023/02/maKhGh-suKhanvari-faarsi-urdu-audio.mp3
urdu tarjuma
- اُردو
- देवनागरी
- Roman
- Notes
سخنوری فارسی ۔ مرزا غالبؔ
منتخب اشعار
اُردو ترجمہ شاہدؔ
۱
ما نبودیم بد یں مرتبہ راضی غالب
شعر خود خواہشِ آن کرد کہ گردو فنِ ما
اردو ترجمہ شاہد
میں نے کب خواہش اس بات کی کی تھی غالب
شعر نے خود ہی یہ چاہا کہ بنے فن میرا
۲
تو ائے کہ محوِ سخن گسترانِ پیشینی
مباش منکرِ غالب کے در زمانۂ تست
اردو ترجمہ شاہد
گذرے سخنورؤں کا تو شیدا جو بنا ہے
نہ ہو مُنکرِ غالب جو ہم عصر ہے وہ تیرا
۳
شعرِ غالب نبود وہی و نہ گو یم ولے
تو و یزداں نتواں گفت کہ الہامے ہست
اردو ترجمہ شاہد
شعرِ غالب نہ وہی ہو میں سمجھتا ہوں مگر
لللہ بتا دے نہیں لگتا ہے یہ اِلہام تجھے
۴
غالبؔ نبود شیوۂ من قافیہ بندی
ظلمی است کہ بر کلک و ورق می کنم امشب
اُردو ترجمہ شاہد
غالبؔ ترا شیوہ نہیں بس قافیہ بندی
کرتا ہوں ظلم لوح و قلم پر جو رقم آج کی رات
۵
ہم سوادِ صفحہ، مُشکِ سودہ خواہد بیختن
ہم دواتم نافِ آہوئے خُتن خواہد شُدن
اُردو ترجمہ شاہد
دوات نافِ آہو، سیاہی، تحلیلِ مُشک
خوب مہکے گی تحریر کی یہ مُشکِ خُتن میرے بعد
सुख़नवरी-फ़ारसी – मिर्ज़ा ग़ालेब
मुन्तख़ब अश’आर
उर्दू तर्जुमा-शाहेद
१
मा-न-बूदीम बदइं मरतबा राज़ी ग़ालेब
शेर ख़ुद ख़्वाहश-ए आन-कर्द के गरदओफ़न-ए मा
(उर्दू शाहेद)
मैं ने कब ख़्वाहश इस बात कि की थी ग़ालेब
शेर ने ख़ुद हि ये चाहा के बने फ़न मेरा
२
तु अए के महव-ए सुख़न गुस्तरान-ए पेशीनी
मबाश मुन्किर-ए ग़ालेब के दर ज़माना-ए तुस्त
(उर्दू शाहेद)
गुज़्रे सुख़नवरौं का तू शैदा जो बना है
न हो मुन्किर-ए ग़ालेब जो हम-असर है तेरा
३
शेर-ए ग़ालेब न बुवद वही ओ न गूयम वले
तू ओ यज़्दां नतवां गुफ़्त के इल्हामी हस्त
(उर्दू शाहेद)
शेर-ए ग़ालेब न वही हो मैं समझता हुं मगर
लिल्लाह बता दे नहीं लगता है ये इल्हाम तुझे
४
ग़ालेब न-बुवद शेवा-ए मन क़ाफ़िया-बन्दी
ज़ुल्मीस्त के बर किल्क ओ क़लम मी कुनम इमशब
(उर्दू शाहेद)
ग़ालेब तेरा शेवा नहीं बस क़ाफ़िया-बन्दी
करता हुं ज़ुल्म लौह ओ क़लम पर जो रक़म आज की रात
५
हम-सवाद-ए सफ़ह मुश्क-ए सौदा ख़्वाहद-बेख़्तन
हम-दवातम नाफ़-ए आहू-ए ख़ुतन ख़बाहद-शुदन
(उर्दू शाहेद)
दवात नाफ़-ए आहू, सीयाही, तहलील-ए मुश्क
ख़ूब महकेगी, तहरीर कि ये मुश्क-ए ख़ुतन मेरे बाद
Click here for background and on any passage for word meanings and explanatory discussion. asadullah KhaaN Ghalib (1797-1869), pre-eminent urdu poet – mysticism, romance, human nature, wit, irreverence, secular and philosophical underpinnings. This is a part of series on “suKhanvar o suKhanvari” on the theme of what various shu’ara say about themselves, their verse, their mission and their place in history. Many other selections are nazm. For Ghalib I had to collect ash’aar from different Ghazal.
1
maiN ne kab Khwaahish is baat ki kii thi Ghalib
she’r ne Khud hi ye chaaha ke bane fun1 mera 1.talent, skill
Ghalib’s original Farsi she’r is given above for reference. When did I (I never did) wish for this, O Ghalib. It is she’r itself that desired to become my talent. Ghalib implies that his versification is divinely inspired!
2
guzre1 suKhanvaroN2 ka tu shaida3 jo bana hai
na ho munkir4-e Ghalib jo hum-asr5 hai tera 1.past, gone, dead 2.poets 3.admirer 4.denier 5.same period/times
The original farsi she’r is given for reference in the Urdu tab. Ghalib complains of his comtemporaries – you, who are captivated by the compositions of past writers, do not be in denial of the greatness of Ghalib just because he is of the present times.
3
she’r-e Ghalib na vahi1 ho maiN samajhta huN magar
lillaah2 bata de nahiN lagta hai ye ilhaam3 tujhe 1.message from god 2.by god 3.divinely inspired intuition
The original farsi she’r is given for reference in the Urdu tab. Ghalib’s verse is not divine revelation/message, this I understand. But by god, tell me if it does not appear to you to be a great mystical inspiration.
4
Ghalib tera sheva1 nahiN bas qaafiya-bandi2
karta huN zulm3 lauh4 o qalam5 par jo raqam6 aaj ki raat 1.nature, character 2.forced rhyming, word-smithing 3.torture 4.pad of paper 5.pen 6.write
O Ghalib, it is not your nature to engage in word-smithing. It is torture that I commit on paper and pen as I write.
5
davaat1, naaf2-e aahu3, siyaahi4, tahliil5-e mushk6
Khoob mahkegi7, tahriir8 ki ye mushk6-e Khutan9 mere baad 1.ink-pot 2.belly-button 3.deer 4.ink 5.solution, dissolved 6.musk 7.fragrant 8.writing 9.hilly region in the Caucusus legendary for the fragrance of musk
My inkpot is the musk deer’s belly-button and my ink made of dissolved musk. My writing will spread fragrance after me.
asadullah KhaaN Ghalib (1797-1869), pre-eminent urdu poet – mysticism, romance, human nature, wit, irreverence, secular and philosophical underpinnings. This is a part of series on “suKhanvar o suKhanvari” on the theme of what various shu’ara say about themselves, their verse, their mission and their place in history. This is a collection of Ghalib’s faarshi ash’aar on this theme. They have been translated into urdu and also linked to the faarsi-urdu icon on the Theme page.
1
maiN ne kab Khwaahish is baat ki kii thi Ghalib
she’r ne Khud hi ye chaaha ke bane fun1 mera
1.talent, skill
Ghalib’s original Farsi she’r is given above for reference. When did I (I never did) wish for this, O Ghalib. It is she’r itself that desired to become my talent. Ghalib implies that his versification is divinely inspired!
2
guzre1 suKhanvaroN2 ka tu shaida3 jo bana hai
na ho munkir4-e Ghalib jo hum-asr5 hai tera
1.past, gone, dead 2.poets 3.admirer 4.denier 5.same period
The original farsi she’r is given for reference the Urdu tab. Ghalib complains of his comtemporaries – you, who are captivated by the compositions of past writers, be warned/careful that you are in denial of the greatness of Ghalib just because he is of the present times.
3
she’r-e Ghalib na vahi1 ho maiN samajhta huN magar
lillaah2 bata de nahiN lagta hai ye ilhaam3 tujhe
1.message from god 2.by god 3.divinely inspired intuition
The original farsi she’r is given for reference the Urdu tab. Ghalib’s verse is not divine revelation/message, this I understand. But by god tell me if it does not appear to you to be a great mystical inspiration.
4
Ghalib tera sheva1 nahiN bas qaafiya-bandi2
karta huN zulm3 lauh4 o qalam5 par jo raqam6 aaj ki raat
1.nature, character 2.forced rhyming, word-smithing 3.torture 4.pad of paper 5.pen 6.write
O Ghalib, it is not your nature to engage in word-smithing. It is torture that I commit on paper and pen as I write.
5
davaat1, naaf2-e aahu3, siyaahi4, tahliil5-e mushk6
Khoob mahkegi7, tahriir8 ki ye mushk6-e Khutan9 mere baad
1.ink-pot 2.belly-button 3.deer 4.ink 5.solution, dissolved 6.musk 7.fragrant 8.writing 9.hilly region in the Caucusus legendary for the fragrance of musk
My inkpot is the musk deer’s belly-button and my ink made of dissolved musk. My writing will spread fragrance after me.
The post suKhanvari-faarsi-Ghalib appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/02/bmdk-shakl-e-sanam-dekhte-haiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
شکلِ صنم دیکھتے ہیں ۔ پنڈت برج موہن کیفیؔ دہلوی
۱
بھرا اس سے دیر و حرم دیکھتے ہیں
ہر آئینہ شکلِ صنم دیکھتے ہیں
۲
ان آنکھوں سے کب دیکھ سکتا ہے کوئی
جو آئینۂ دل میں ہم دیکھتے ہیں
۳
یہاں دیکھنے کی جو ہے بات اس کو
بہت دیکھنے والے کم دیکھتے ہیں
۴
یہ کیا دیکھنا ہے جو تم دیکھتے ہو
وہی دیکھنا ہے جو ہم دیکھتے ہیں
۵
ترازو ہے تیرِ نظر جن کے دل میں
بہت دیکھتے ہیں نہ کم دیکھتے ہیں
۶
بری ہیں جو بندھن سے بیم و رجا کے
وہ ہستی میں سیرِ عدم دیکھتے ہیں
۷
کُھلا جن پہ ہے رازِ عالم انہیں کو
جنوں سے یہاں مُتّہم دیکھتے ہیں
۸
تاحد کی ہے اس میں ریشہ دوانی
جو اضداد کو ہم بہم دیکھتے ہیں
۹
ستم جانے کیا دل پہ عاشق کے ٹوٹے
وہ دیکھو بہ چشمِ کرم دیکھتے ہیں
۱۰
جو خوش ہو دل اپنا تو کس طرح کیفیؔ
زمانے کو صیدِ الم دیکھتے ہیں
शक्ल-ए सनम देखते हैं – पंडित ब्रिज मोहन कैफ़ी देहलवी
१
भरा इस से दैर ओ हरम देखते हैं
हर आईना शक्ल-ए सनम देखते हैं
२
इन आंखों से कब देख सकता है कोई
जो आईना-ए दिल से हम देखते हैं
३
यहां देखने की जो है बात उस को
बहुत देखने वाले कम देखते हैं
४
यह क्या देखना है जो तुम देखते हो
वही देखना है जो हम देखते हैं
५
तराज़ू है तीर-ए नज़र जिनके दिल में
बहुत देखते हैं ना कम देखते हैं
६
बरी हैं जो बंधन से बीम ओ रजा के
वो हस्ती में सैर-ए अदम देखते हैं
७
खुला जिन पे है राज़-ए आलम उन्हीं को
जुनूं से यहां मुत्तहम देखते हैं
८
ताहुद की है इस में रेशा दवानी
जो अज़्दाद को हम बहम देखते हैं
९
सितम जाने क्या दिल पे आशेक़ के टूटे
वो देखो ब-चश्म-ए करम देखते हैं
१०
जो ख़ुश हो दिल अपना तो किस तरह कैफ़ी
ज़माने को सैद-ए अलम देखते हैं
Click here for background and on any passage for word meanings and explanatory discussion. panDit brij mohan dattatreya kaifi (1866-1955) was recognized as a scholar of arabi, faarsi, sanskrit and urdu. He was a great lover of urdu and wrote a short history of the evolution of the language. He wrote with much poignancy about communal harmony that existed before the souring of relationships. He tends to be sufiyaana in his writings, as he is in this Ghazal, modeled after Ghalib’s ‘jahaaN tera naqsh-e qadam dekhte haiN’, linked to Ghalib naqsh-e qadam.
1
bhara is se da’er1 o haram2 dekhte haiN
har aaina shakl3-e sanam4 dekhte haiN 1.temple 2.mosque 3.image, reflection 4.beloved, divine
The world is full of temples and mosques. But I see everything in the universe reflecting the image of the divine.
2
in aaNkhoN se kab dekh sakta hai koi
jo aaiina-e dil meN hum dekhte haiN How can anyone see with these eyes, that which we can see in the reflections of our inner heart i.e., we the divine is reflected in our hearts.
3
yahaaN dekhnay ki jo hai baat us ko
bohat dekhnay vaalay kam dekhte haiN All this discussion about seeing him (god) here is not of much use. Those who look for him too much, cannot see him i.e., there is no need for deep philosophical discussions. We can see him with the inner eye.
4
yeh kya dekhna hai jo tum dekhte ho
vohi dekhna hai jo hum dekhte haiN What kind of thing is it that you see. Only that is real seeing which we see. The ‘you’ and ‘we’ here used to mean the rationalist who demands to ‘see’ vs the believer who relies on his/her faith.
5
taraazu1 hai tiir-e nazar2 jin ke dil meN
bohat dekhte haiN nah kam dekhte haiN 1.balance 2.eyes, sight
Those who use the inner eye as a balance (to judge right and wrong) do not spend their time engaging in complex discussions.
6
bari1 haiN jo bandhan2 se beem3 o raja4 ke
voh hasti5 meN sa’er6-e adam7 dekhte haiN 1.absolved, free of 2.binding, limitations 3.fear (of needs) 4.satiated, plenty 5.existence, life 6.sightseeing, pleasure 7.non-existence, union with the divine
Those who are free of the limitations of needs or of plenty see/experience the pleasure of one-ness with the divine in this life.
7
khula1 jin pe hai raaz2-e aalam3 unhiiN ko
junooN4 se yahaaN muttaham5 dekhte haiN 1.revealed 2.secret, mystery 3.world 4.passion, madness 5.blamed, accused of
Those upon whom the mysteries of the world revealed are the ones that we see accused of madness (passionate love of the divine).
8
taahud1 ki hai is meN resha-davaani2
jo azdaad3 ko hum baham4 dekhte haiN 1.one-ness, unity (of the creator and created) 2.conspiratorial mischief 3.opposites 4.at the same time, side by side
It is the conspiratorial mischief against the concept of one-ness that we see opposites/incompatibilities side by side i.e., there is no duality – advaita.
9
sitam1 jaane kya dil pay aashiq ke TooTay
vo dekho ba-chashm2-e karam3 dekhte haiN 1.calamity 2.with the eye 3.kindness, love
Who knows what calamity will break upon the lover, the beloved is looking at him with a kind/loving eyes.
10
jo Khush ho dil apna to kis tar’ha1 kaifi2
zamaane3 ko sa’ed4-e alam5 dekhte haiN 1.how, which way 2.pen-name of the poet 3.world 4.victim, prey 5.sorrow
How can my heart be happy, O kaifi, when I see the world a prey of sorrow.
panDit brij mohan dattatreya kaifi (1866-1955) was recognized as a scholar of arabi, faarsi, sanskrit and urdu. He was a great lover of urdu and wrote a short history of the evolution of the language. He wrote with much poignancy about communal harmony that existed before the souring of relationships. He tends to be sufiyaana in his writings, as he is in this Ghazal, modeled after Ghalib’s ‘jahaaN tera naqsh-e qadam dekhte haiN’, linked to Ghalib naqsh-e qadam.
1
bhara is se da’er1 o haram2 dekhte haiN
har aaina shakl3-e sanam4 dekhte haiN
1.temple 2.mosque 3.image, reflection 4.beloved, divine
The world is full of temples and mosques. But I see everything in the universe reflecting the image of the divine.
2
in aaNkhoN se kab dekh sakta hai koi
jo aaiina-e dil meN hum dekhte haiN
How can anyone see with these eyes, that which we can see in the reflections of our inner heart i.e., we the divine is reflected in our hearts.
3
yahaaN dekhnay ki jo hai baat us ko
bohat dekhnay vaalay kam dekhte haiN
All this discussion about seeing him (god) here is not of much use. Those who look for him too much, cannot see him i.e., there is no need for deep philosophical discussions. We can see him with the inner eye.
4
yeh kya dekhna hai jo tum dekhte ho
vohi dekhna hai jo hum dekhte haiN
What kind of thing is it that you see. Only that is real seeing which we see. The ‘you’ and ‘we’ here used to mean the rationalist who demands to ‘see’ vs the believer who relies on his/her faith.
5
taraazu1 hai tiir-e nazar2 jin ke dil meN
bohat dekhte haiN nah kam dekhte haiN
1.balance 2.eyes, sight
Those who use the inner eye as a balance (to judge right and wrong) do not spend their time engaging in complex discussions.
6
bari1 haiN jo bandhan2 se beem3 o raja4 ke
voh hasti5 meN sa’er6-e adam7 dekhte haiN
1.absolved, free of 2.binding, limitations 3.fear (of needs) 4.satiated, plenty 5.existence, life 6.sightseeing, pleasure 7.non-existence, union with the divine
Those who are free of the limitations of needs or of plenty see/experience the pleasure of one-ness with the divine in this life.
7
khula1 jin pe hai raaz2-e aalam3 unhiiN ko
junooN4 se yahaaN muttaham5 dekhte haiN
1.revealed 2.secret, mystery 3.world 4.passion, madness 5.blamed, accused of
Those upon whom the mysteries of the world revealed are the ones that we see accused of madness (passionate love of the divine).
8
taahud1 ki hai is meN resha-davaani2
jo azdaad3 ko hum baham4 dekhte haiN
1.one-ness, unity (of the creator and created) 2.conspiratorial mischief 3.opposites 4.at the same time, side by side
It is the conspiratorial mischief against the concept of one-ness that we see opposites/incompatibilities side by side i.e., there is no duality – advaita.
9
sitam1 jaane kya dil pay aashiq ke TooTay
vo dekho ba-chashm2-e karam3 dekhte haiN
1.calamity 2.with the eye 3.kindness, love
Who knows what calamity will break upon the lover, the beloved is looking at him with a kind/loving eyes.
10
jo Khush ho dil apna to kis tar’ha1 kaifi2
zamaane3 ko sa’ed4-e alam5 dekhte haiN
1.how, which way 2.pen-name of the poet 3.world 4.victim, prey 5.sorrow
How can my heart be happy, O kaifi, when I see the world a prey of sorrow.
The post shakl-e sanam dekhte haiN-brij mohan kaifi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/02/mtbmd-tamaasha-e-dair-o-haram-dekhte-haiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تماشائے دیر و حرم دیکھتے ہیں ۔ مرزا تقی بیگ مائلؔ دہلوی
۱
دل اُس بت کو دے کر یہ ہم دیکھتے ہیں
کہ ہر لحظہ آنکھوں میں دم دیکھتے ہیں
۲
فلک کیا یہ ہو ہو کے خم دیکھتے ہیں
مگر تیرے نقشِ قدم دیکھتے ہیں
۳
رہے کیوں نہ شیخ و برہمن میں جھگڑا
تماشائے دیر و حرم دیکھتے ہیں
۴
یہاں میکدہ ہے وہاں حوضِ کوثر
یہ اس کے کرم پر کرم دیکھتے ہیں
۵
کرم کا ہی بس ایک رونا نہیں ہے
ستم بھی تو اب اُس کے کم دیکھتے ہیں
۶
کہاں میکدے سے چلیں بیٹھے بیٹھے
تماشائے ابرِ کرم دیکھتے ہیں
۷
اِسی گھر میں گویا ہمیشہ رہیں گے
مرے دل کو یوں درد و غم دیکھتے ہیں
۸
ستم ہے کہ دشمن کو آنکھوں سے اپنی
تری کھاتے جھوٹی قسم دیکھتے ہیں
۹
بگڑ کر وہ کہتے ہیں رسوا نہ کرنا
کبھی چھپ چھپا کر جو ہم دیکھتے ہیں
۱۰
ہمیں یاد آتا ہے میخانہ اپنا
جہاں کفر و دیں کو بہم دیکھتے ہیں
۱۱
یہ مانا کہ ہے رندِ میخوار مائلؔ
پر اتنا بھی دنیا میں کم دیکھتے ہیں
तमाशा-ए दैर ओ हरम देखते हैं – मिर्ज़ा तक़ी बेग मा’एल देहलवी
१
दिल उस बुत को दे कर ये हम देखते हैं
के हर लहज़ा आंखौं में दम देखते हैं
२
फ़लक क्या ये हो हो के ख़म देखते हैं
मगर तेरे नक़्श-ए क़दम देखते हैं
३
रहे क्यूं न शैख़ ओ बरहमन में झग्ढा
तमाशा-ए दैर ओ हरम देखते हैं
४
यहां मयकदा है वहां हौज़-ए कौसर
ये इस के करम पर करम देखते हैं
५
करम का हि बस एक रोना नहीं है
सितम भी तो अब उस के कम देखते हैं
६
कहां मयकदे से चलें बैठे बैठे
तमाशा-ए अब्र-ए करम देखते हैं
७
इसी घर में गोया हमेशा रहेंगे
मेरे दिल को यूं दर्द ओ ग़म देखते हैं
८
सितम है के दुश्मन को आंखौं से अपनी
तेरी खाते झूटी क़सम देखते हैं
९
बिगढ कर वो कहते हैं रुस्वा न करना
कभी छुप छुपा कर जो हम देखते हैं
१०
हमें याद आता है मयख़ाना अपना
जहां कुफ़्र ओ दीं को बहम देखते हैं
११
ये माना के है रिन्द-ए मयख़्वार मा’एल
पर इतना भी दुनिया में कम देखते हैं
Click here for background and on any passage for word meanings and explanatory discussion. mohammed taqi beg maa’el dehlavi (1850-1931). He moved to jaipur, rajasthan, in 1879 looking for patronage and found employment with the local rajah along with a number of cohorts. The extensive collection of his work was posthumously published in three volumes by the rajasthan urdu academy. The biographical note in this collection mentions that he met with Ghalib several times but there is no record that he received any formal instruction/correction of his verse. There may be a bit of confusion because there were two maa’el dehlavi contemporaneously. This Ghazal composed in the zamin of Ghalib’s ‘jahaaN tera naqsh-e qadam dekhte haiN’ is linked to Ghalib naqsh-e qadam.
1
dil us but ko de kar ye ham dekhte haiN
keh har lahza1 aaNkhoN meN dam2 dekhte haiN 1.moment 2.aaNkhoN meN dam rahna – on the last breath
Having given my heart to the beloved, I feel like I am on my last breath every moment.
2
falak1 kya ye ho ho ke Kham2 dekhte haiN
magar3 tere naqsh-e-qadam4 dekhte haiN 1.skies 2.bend over 3.but, except for 4.footprints
The skies bow down, bend over to see nothing except your footprints. Who is the ‘your’. It cannot be god by any stretch of my imagination. The beloved has been elevated and exalted position here. The sky bends down to see her footprints.
3
rahe kyuN na shaiKh o barhaman meN jhagRa
tamaasha1-e dair2 o haram3 dekhte haiN 1.spectacle 2.temple 3.mosque
There is a conflict between the shaiKh and the brahman. Do we not see the spectacle of the (workings of the) mosque and temple i.e., it is this that is reflected in the conflict between them.
4
yahaaN maikada1 hai vahaaN hauz2-e kausar3
ye is ke karam4 par karam dekhte haiN 1.tavern 2.pool, fountain 3.legendary river in heaven 4.kindness, blessing
god’s blessings/gifts to us are … the tavern here and the fountain of kauser there. They are blessings piled on top of each other. The implication is that rivers in heaven are also flowing with wine. Thus, both the tavern and heaven serve the same purpose.
5
karam1 ka hi bas ek rona nahiN hai
sitam2 bhi to ab us ke kam dekhte haiN 1.kindness 2.cruelty
It is not just that the poet/lover is crying/complaining about the lack of the beloved’s kindness. She has even stopped being cruel to him i.e., she is completely ignoring him.
6
kahaaN maikade1 se chaleN baiThe-baiThe2
tamaasha3-e abr4-e karam5 dekhte haiN 1.tavern 2.an expression meaning-for no good reason 3.spectacle 4.cloud 5.kindness, benevolence
Convention is that spring rains are an occasion for celebration including drinking of wine. Thus, why should we leave the tavern for no reason. Let us wait and see what the cloud of benevolence brings.
7
isi ghar meN goya1 hamesha raheNge
mere dil ko yuN dard2 o Gham3 dekhte haiN 1.as if 2.pain 3.sorrow
Pain and sorrow have made a home in the poet/lover’s heart and they are now eyeing it as if it is going to be their home forever i.e., he is always going to be in pain and sorrow because the beloved is not responding to him.
8
sitam1 hai keh dushman2 ko aaNkhoN se apni
teri khaate jhooTi qasam3 dekhte haiN 1.cruelty 2.enemy, rival 3.swear in the name of
To swear in the name of someone you love is to declare that you will do something at the cost of their lives i.e., if you don’t do it, then they will get hurt. The rival is not a sincere fellow. He is not above making false promises swearing in the name of the beloved. And it is so cruel that the poet/lover (who is sincere) has to see this happen before his eyes.
9
bigaR1 kar vo kahte haiN rusva2 na karna
kabhi chhup chhupa kar jo ham dekhte haiN 1.annoyed 2.embarrass
The poet/lover has been secretly spying on the beloved. Perpaps she has been meeting the rival and he sees them together. Of course, it would be embarrassing to the beloved if this word gets out. She is annoyed and tells him that he should not embarrass her.
10
hameN yaad aata hai maiKhaana1 apna
jahaaN kufr2 o diiN3 ko baham4 dekhte haiN 1.tavern 2.non-believer 3.believer 4.together
The tavern is a liberal and welcoming place regardless of faith. Thus, when the poet sees believers and non-believers together, he is reminded of the tavern.
11
ye maana1 keh hai rind2-e maiKhwaar3 maa’el4
par itna bhi duniya meN kam dekhte haiN 1.agree 2.wine-lovers 3.wine-drinkers 4.pen-name of the poet, also means inclinded towards
It is agreed that maa’el is a wine-lover and drinks wine. But even this, we do not see much of, in this world. I am not sure that I understand what this means. What is it that we don’t see much of and how does it related to maa’el being a wine-lover. An alternative reading might be, it is agreed that the wine-lover, wine-drinker is inclined towards xxxxx. But we don’t see much of xxxxx in the world. This leaves the question of what xxxxx is. I am not sure.
mohammed taqi beg maa’el dehlavi (1850-1931). He moved to jaipur, rajasthan, in 1879 looking for patronage and found employment with the local rajah along with a number of cohorts. The extensive collection of his work was posthumously published in three volumes by the rajasthan urdu academy. The biographical note in this collection mentions that he met with Ghalib several times but there is no record that he received any formal instruction/correction of his verse. There may be a bit of confusion because there were two maa’el dehlavi contemporaneously. This Ghazal composed in the zamin of Ghalib’s ‘jahaaN tera naqsh-e qadam dekhte haiN’ is linked to Ghalib naqsh-e qadam.
1
dil us but ko de kar ye ham dekhte haiN
keh har lahza1 aaNkhoN meN dam2 dekhte haiN
1.moment 2.aaNkhoN meN dam rahna – on the last breath
Having given my heart to the beloved, I feel like I am on my last breath every moment.
2
falak1 kya ye ho ho ke Kham2 dekhte haiN
magar3 tere naqsh-e-qadam4 dekhte haiN
1.skies 2.bend over 3.but, except for 4.footprints
The skies bow down, bend over to see nothing except your footprints. Who is the ‘your’. It cannot be god by any stretch of my imagination. The beloved has been elevated and exalted position here. The sky bends down to see her footprints.
3
rahe kyuN na shaiKh o barhaman meN jhagRa
tamaasha1-e dair2 o haram3 dekhte haiN
1.spectacle 2.temple 3.mosque
There is a conflict between the shaiKh and the brahman. Do we not see the spectacle of the (workings of the) mosque and temple i.e., it is this that is reflected in the conflict between them.
4
yahaaN maikada1 hai vahaaN hauz2-e kausar3
ye is ke karam4 par karam dekhte haiN
1.tavern 2.pool, fountain 3.legendary river in heaven 4.kindness, blessing
god’s blessings/gifts to us are … the tavern here and the fountain of kauser there. They are blessings piled on top of each other. The implication is that rivers in heaven are also flowing with wine. Thus, both the tavern and heaven serve the same purpose.
5
karam1 ka hi bas ek rona nahiN hai
sitam2 bhi to ab us ke kam dekhte haiN
1.kindness 2.cruelty
It is not just that the poet/lover is crying/complaining about the lack of the beloved’s kindness. She has even stopped being cruel to him i.e., she is completely ignoring him.
6
kahaaN maikade1 se chaleN baiThe-baiThe2
tamaasha3-e abr4-e karam5 dekhte haiN
1.tavern 2.an expression meaning-for no good reason 3.spectacle 4.cloud 5.kindness, benevolence
Convention is that spring rains are an occasion for celebration including drinking of wine. Thus, why should we leave the tavern for no reason. Let us wait and see what the cloud of benevolence brings.
7
isi ghar meN goya1 hamesha raheNge
mere dil ko yuN dard2 o Gham3 dekhte haiN
1.as if 2.pain 3.sorrow
Pain and sorrow have made a home in the poet/lover’s heart and they are now eyeing it as if it is going to be their home forever i.e., he is always going to be in pain and sorrow because the beloved is not responding to him.
8
sitam1 hai keh dushman2 ko aaNkhoN se apni
teri khaate jhooTi qasam3 dekhte haiN
1.cruelty 2.enemy, rival 3.swear in the name of
To swear in the name of someone you love is to declare that you will do something at the cost of their lives i.e., if you don’t do it, then they will get hurt. The rival is not a sincere fellow. He is not above making false promises swearing in the name of the beloved. And it is so cruel that the poet/lover (who is sincere) has to see this happen before his eyes.
9
bigaR1 kar vo kahte haiN rusva2 na karna
kabhi chhup chhupa kar jo ham dekhte haiN
1.annoyed 2.embarrass
The poet/lover has been secretly spying on the beloved. Perpaps she has been meeting the rival and he sees them together. Of course, it would be embarrassing to the beloved if this word gets out. She is annoyed and tells him that he should not embarrass her.
10
hameN yaad aata hai maiKhaana1 apna
jahaaN kufr2 o diiN3 ko baham4 dekhte haiN
1.tavern 2.non-believer 3.believer 4.together
The tavern is a liberal and welcoming place regardless of faith. Thus, when the poet sees believers and non-believers together, he is reminded of the tavern.
11
ye maana1 keh hai rind2-e maiKhwaar3 maa’el4
par itna bhi duniya meN kam dekhte haiN
1.agree 2.wine-lovers 3.wine-drinkers 4.pen-name of the poet, also means inclinded towards
It is agreed that maa’el is a wine-lover and drinks wine. But even this, we do not see much of, in this world. I am not sure that I understand what this means. What is it that we don’t see much of and how does it related to maa’el being a wine-lover. An alternative reading might be, it is agreed that the wine-lover, wine-drinker is inclined towards xxxxx. But we don’t see much of xxxxx in the world. This leaves the question of what xxxxx is. I am not sure.
The post tamaasha-e dair o haram dekhte haiN-mirza taqi beg maa’el dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/02/vash-Khudaaii-ko-ham-dekhte-haiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
خدائی کو ہم دیکھتے ہیں ۔ واجد علی شاہ اخترؔ
۱
دکھاتے ہیں جو یہ صنم دیکھتے ہیں
خدا کی خدائی کو ہم دیکھتے ہیں
۲
یہ حیوان ہے دستِ طالع پہ بھاری
نئے جانور کا قدم دیکھتے ہیں
۳
زن و خویش و فرزند و دولت سے چھوٹے
نہ دیکھے کوئی جو کہ ہم دیکھتے ہیں
۴
شہنشاہ ہم ہیں دلوں پر ہیں حاکم
گدا تم کو اے ذی حشم دیکھتے ہیں
۵
فقط ہاتھ کالے نہیں بلکہ منعم
دلوں پر بھی داغ ورم دیکھتے ہیں
۶
کہاں تک اترتی ہے سینے پہ میرے
تری تیغِ ابرو کا دم دیکھتے ہیں
۷
بھگاتی ہے مار سیہ گو کہ ہم کو
تری زلف مشکیں کا سم دیکھتے ہیں
۸
زمیں پر بھی دیتا نہیں چین ہم کو
فلک تجھ سے جور و ستم دیکھتے ہیں
۹
دُرِ اشک سے میرا بھرتی ہے دامن
سخی تجھ کو اے چشمِ نم دیکھتے ہیں
۱۰
نہ رنج اور نہ شادی توسط ہے ہم کو
کہ عیش و الم بھی بہم دیکھتے ہیں
۱۱
کسی ماہ نے اس کو دھوکا دیا ہے
ہم اخترؔ کو کیوں پُر الم دیکھتے ہیں
ख़ुदाई को हम देखते हैं – वाजेद अली शाह अख़्तर
१
दिखाते हैं जो ये सनम देखते हैं
ख़ुदा की ख़ुदाई को हम देखते हैं
२
ये हैवान है दस्त-ए ताले’ए पे भारी
नये जानवर का क़दम देखते हैं
३
ज़न-ओ-ख़्वेश-ओ-फ़र्ज़ंद-ओ-दौलत से छूटे
न देखे कोई जो के हम देखते हैं
४
शहंशाह हम हैं दिलों पर हैं हाकिम
गदा तुम को अए ज़ी-हशम देखते हैं
५
फ़क़त हाथ काले नहीं बल्के मुन’इम
दिलों पर भी दाग़-ए वरम देखते हैं
६
कहाँ तक उतरती है सीने पे मेरे
तेरी तेग़-ए अबरू का दम देखते हैं
७
भगाती है मार-ए सियह गो के हम को
तेरी ज़ुल्फ़-ए मुश्कीं का सम देखते हैं
८
ज़मीं पर भी देता नहीं चैन हम को
फ़लक तुझ से जौर-ओ-सितम देखते हैं
९
दुर-ए अश्क से मेरा भरती है दामन
सख़ी तुझ को अए चश्म-ए नम देखते हैं
१०
न रंज और न शादी तवस्सुत है हम को
के ऐश-ओ-अलम भी बहम देखते हैं
११
किसी माह ने उस को धोका दिया है
हम अख़्तर को क्यूँ पुर-अलम देखते हैं
Click here for background and on any passage for word meanings and explanatory discussion. vaajid ali shaah aKhtar (1823-1887) ruler of avadh under British Protectorate. The East India Company, through intrigue, managed to take the region over directly and exiled him to kolkata. Poet, playwrite, dancer and a great patron of the arts. This Ghazal in the style of Ghalib’s ‘jahaaN tera naqsh-e qadam dekhte haiN’ is linked to Ghalib naqsh-e qadam on the Theme page.
1
dikhaate haiN jo ye sanam1 dekhte haiN
Khuda ki Khudaai2 ko ham dekhte haiN 1.idols, beloved 2.handiwork, miracle
We see whatever these idols (beauties) decide to show us. What we see is god’s handiwork. Said mir anis …
paRheN durood na kyuN dekh kar hasinoN ko
Khayaal-e san’at-e saan’e hai paak-biinoN ko
Why should we not sing praises upon seeing beauties
Those of virtuous sight think of the skill of the craftsman
2
ye haivaan1 hai dast2-e taal’e3 pe bhaari4
naye jaanvar ka qadam5 dekhte haiN 1.animal, being of non-human qualities, ferocious, wild 2.hand 3. rising, also fate/destiny 4.heavy, more powerful 5.step, advent
I am not sure, but is he talking about the British East India Company as the ferocious, wild being that is more powerful than the hand of fate. We see the advent of a new kind of animal.
3
zan1-o-Khwesh2-o-farzand3-o-daulat4 se chhooTe
na dekhe koi jo keh ham dekhte haiN 1.women (of the household) 2.kinsmen, own 3.son 4.possessions
I was separated from my household, family, son and kinsmen. May no one ever see/experience what I have been through.
4
shahanshaah ham haiN diloN par haiN haakim1
gada2 tum ko aye zi-hasham3 dekhte haiN 1.ruler 2.beggar, pauper 3.person of means/wealth
I am the emperor because I rule over hearts. I consider you, a person of wealth and means, to be but a pauper (because you don’t rule over hearts).
5
faqat1 haath kaale nahiN balkeh2 mun’im3
diloN par bhi daaGh4-e varam5 dekhte haiN 1.only 2.even, also 3.wealthy 4.wound 5.swelling
Not only do the wealthy have their hands blackened (due to ill-gotten wealth) but they also have their hearts stained (because of guilt).
6
kahaaN tak utarti hai siine pe mere
teri teGh1-e abru2 ka dam3 dekhte haiN 1.sword 2.eyebrow 3.power
The beloved’s eyebrow is presented as a curved sword – a teGh. Let us see how far into my bosom it penetrates. Let us see the power of the curved sword of you eyebrow.
7
bhagaati hai maar1-e siyah2 go3 keh ham ko
teri zulf4-e mushkiN5 ka sam6 dekhte haiN 1.snake 2.black 3.even though 4.hair 5.musk scented 6.poison
The beloved’s hair are presented as black snakes. Even though fear of these black snakes drives me away, I will stay and taste of the poison of these musk scented curls.
8
zamiN par bhi deta nahiN chain1 ham ko
falak2 tujh se jaur3-o-sitam4 dekhte haiN 1.peace, leave alone 2.sky, fate 3.cruelty 4.oppression
You don’t leave us in peace, O sky/fate. All we see from you is cruelty and oppression.
9
dur1-e ashk2 se mera bharti hai daaman3
saKhi4 tujh ko aye chashm5-e nam6 dekhte haiN 1.pearl 2.tears 3.apron 4.generous 5.eye 6.moist, tearful
It fills my apron with pearly tears. O tearful eye, I consider you to be generous.
10
na raNj1 aur na shaadi2 tavassut3 hai ham ko
keh aish4-o-alam5 bhi baham6 dekhte haiN 1.mourning 2.joy, celebration 3.mediation, relationship 4.luxury 5.sorrow 6.side by side, equal, same
I have no relationship either to mourning or celebration. I look upon luxury and sorrow as the same thing.
11
kisi maah1 ne us ko dhoka2 diya hai
ham aKhtar3 ko kyuN pur-alam4 dekhte haiN 1.moon, used here to mean beauty/beloved 2.deception 3.pen-name of the poet 4.sorrowful
Some beautiful damsel must have deceived him. Otherwise, why would we see aKhtar so sorrowful.
vaajid ali shaah aKhtar (1823-1887) ruler of avadh under British Protectorate. The East India Company, through intrigue, managed to take the region over directly and exiled him to kolkata. Poet, playwrite, dancer and a great patron of the arts. This Ghazal in the style of Ghalib’s ‘jahaaN tera naqsh-e qadam dekhte haiN’ is linked to Ghalib naqsh-e qadam on the Theme page.
1
dikhaate haiN jo ye sanam1 dekhte haiN
Khuda ki Khudaai2 ko ham dekhte haiN
1.idols, beloved 2.handiwork, miracle
We see whatever these idols (beauties) decide to show us. What we see is god’s handiwork. Said mir anis …
paRheN durood na kyuN dekh kar hasinoN ko
Khayaal-e san’at-e saan’e hai paak-biinoN ko
Why should we not sing praises upon seeing beauties
Those of virtuous sight think of the skill of the craftsman
2
ye haivaan1 hai dast2-e taal’e3 pe bhaari4
naye jaanvar ka qadam5 dekhte haiN
1.animal, being of non-human qualities, ferocious, wild 2.hand 3.rising, also fate/destiny 4.heavy, more powerful 5.step, advent
I am not sure, but is he talking about the British East India Company as the ferocious, wild being that is more powerful than the hand of fate. We see the advent of a new kind of animal.
3
zan1-o-Khwesh2-o-farzand3-o-daulat4 se chhooTe
na dekhe koi jo keh ham dekhte haiN
1.women (of the household) 2.kinsmen, own 3.son 4.possessions
I was separated from my household, family, son and kinsmen. May no one ever see/experience what I have been through.
4
shahanshaah ham haiN diloN par haiN haakim1
gada2 tum ko aye zi-hasham3 dekhte haiN
1.ruler 2.beggar, pauper 3.person of means/wealth
I am the emperor because I rule over hearts. I consider you, a person of wealth and means, to be but a pauper (because you don’t rule over hearts).
5
faqat1 haath kaale nahiN balkeh2 mun’im3
diloN par bhi daaGh4-e varam5 dekhte haiN
1.only 2.even, also 3.wealthy 4.wound 5.swelling
Not only do the wealthy have their hands blackened (due to ill-gotten wealth) but they also have their hearts stained (because of guilt).
6
kahaaN tak utarti hai siine pe mere
teri teGh1-e abru2 ka dam3 dekhte haiN
1.sword 2.eyebrow 3.power
The beloved’s eyebrow is presented as a curved sword – a teGh. Let us see how far into my bosom it penetrates. Let us see the power of the curved sword of you eyebrow.
7
bhagaati hai maar1-e siyah2 go3 keh ham ko
teri zulf4-e mushkiN5 ka sam6 dekhte haiN
1.snake 2.black 3.even though 4.hair 5.musk scented 6.poison
The beloved’s hair are presented as black snakes. Even though fear of these black snakes drives me away, I will stay and taste of the poison of these musk scented curls.
8
zamiN par bhi deta nahiN chain1 ham ko
falak2 tujh se jaur3-o-sitam4 dekhte haiN
1.peace, leave alone 2.sky, fate 3.cruelty 4.oppression
You don’t leave us in peace, O sky/fate. All we see from you is cruelty and oppression.
9
dur1-e ashk2 se mera bharti hai daaman3
saKhi4 tujh ko aye chashm5-e nam6 dekhte haiN
1.pearl 2.tears 3.apron 4.generous 5.eye 6.moist, tearful
It fills my apron with pearly tears. O tearful eye, I consider you to be generous.
10
na raNj1 aur na shaadi2 tavassut3 hai ham ko
keh aish4-o-alam5 bhi baham6 dekhte haiN
1.mourning 2.joy, celebration 3.mediation, relationship 4.luxury 5.sorrow 6.side by side, equal, same
I have no relationship either to mourning or celebration. I look upon luxury and sorrow as the same thing.
11
kisi maah1 ne us ko dhoka2 diya hai
ham aKhtar3 ko kyuN pur-alam4 dekhte haiN
1.moon, used here to mean beauty/beloved 2.deception 3.pen-name of the poet 4.sorrowful
Some beautiful damsel must have deceived him. Otherwise, why would we see aKhtar so sorrowful.
The post Khudaaii ko ham dekhte haiN-vaajid ali shaah aKhtar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/02/mrshd-mahv-e-Gham-dekhte-haiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
محوِ غم دیکھتے ہیں ۔ منشی رگھوناتھ سنگھ ہاجرؔ دہلوی
۱
تجھے مسکراتے جو ہم دیکھتے ہیں
ہرے رخمِ دل اے صنم دیکھتے ہیں
۲
جہاح تیرے ابرو کا خم دیکھتے ہیں
وہیں سر کو اپنے قلم دیکھتے ہیں
۳
عدو پر نگاہِ کرم دیکھتے ہیں
غضب دیکھتے ہیں ستم دیکھتے ہیں
۴
کہیں کیا جو اُلفت میں ہم دیکھتے ہیں
وفاؤں کے بدلے ستم دیکھتے ہیں
۵
محبت میں لاکھوں الم دیکھتے ہیں
ستم پر ستم دم بہ دم دیکھتے ہیں
۶
کبھی محوِ جلوہ ہیں ہم بتکدے میں
کبھی جا کے سیرِ حرم دیکھتے ہیں
۷
کہیں اور بھی ہے عدو کا ٹھکانا
اُسے تیری محفل میں کم دیکھتے ہیں
۸
وہیں چھین لیتے ہیں اُلفت جتا کر
مری جیب میں جب رقم دیکھتے ہیں
۹
نگاہوں میں کیا کیا حسیں بس رہے ہیں
تصوّر میں سیرِ اِرم دیکھتے ہیں
۱۰
دمِ رقص لاکھوں کو پامال کر کے
وہ حیرت سے اپنے قدم دیکھتے ہیں
۱۱
اُسی کو نشانہ بناتے ہیں اپنا
ٹڑپنے کا وہ جس میں دم دیکھتے ہیں
۱۲
غرض کیا کسی کی سخاوت سے ہم کو
فقط تیرا دستِ کرم دیکھتے ہیں
۱۳
کبھی آئینے پر نگاہیں ہیں اُن کی
کبھی زلف کا پیچ و خم دیکھتے ہیں
۱۴
ضعیفی مرے کان میں کہہ رہی ہے
تری راہ اہلِ عدم دیکھتے ہیں
۱۵
کِسی کو کِسی سے محبت نہیں ہے
زمانے کی حالت کو ہم دیکھتے ہیں
۱۶
اسی میں پھنسا ہے کہیں دل ہمارا
ترے دامِ گیسو کو ہم دیکھتے ہیں
۱۷
کبھی پڑھتے ہیں وہ خطِ شوق میرا
کبھی میری طرزِ رقم دیکھتے ہیں
۱۸
سوا جامِ جم سے ہے آئینۂ دل
کہ دونوں جہاں اس میں ہم دیکھتے ہیں
۱۹
ہر اک گھر اب اک بت کدہ بن گیا ہے
ہر اک دل میں ہم اک صنم دیکھتے ہیں
۲۰
کہو کچھ تو منھ سے سبب کیا ہے ہاجرؔ
تمہیں ہر گھڑی محوِ غم دیکھتے ہیں
महव-ए ग़म देखते हैं – मुंशी रघुनाथ सिंघ हाजेर देहलवी
१
तुझे मुस्कुराते जो हम देखते हैं
हरे ज़ख़्म-ए दिल अए सनम देखते हैं
२
जहां तेरे अब्रू का ख़म देखते हैं
वहीं सर को अपने क़लम देखते हैं
३
अदू पर निगाह-ए करम देखते हैं
ग़ज़ब देखते हैं सितम देखते हैं
४
कहें क्या जो उल्फ़त में हम देखते हैं
वफ़ाऔं के बदले सितम देखते हैं
५
मोहब्बत में लाखौं अलम देखते हैं
सितम पर सितम दम ब दम देखते हैं
६
कभी महव-ए जल्वा हैं हम बुत-कदे में
कभी जा के सैर-ए हरम देखते हैं
७
कहीं और भी है अदू का ठिकाना
उसे तेरी महफ़िल में कम देखते हैं
८
वहीं छीन लेते हैं उल्फ़त जता कर
मेरी जेब में जब रक़म देखते हैं
९
निगाहौं में क्या क्या हसीं बस रहे हैं
तसव्वुर में सैर-ए इरम देखते हैं
१०
दम-ए रक़्स लाखौं को पामाल कर के
वो हैरत से अपने क़म देखते हैं
११
उसी को निशाना बनाते हैं अपना
तढपने का वो जिस में दम देखते हैं
१२
ग़रज़ क्या किसी की सख़ावत से हम को
फ़क़त तेरा दस्त-ए करम देखते हैं
१३
कभी आइने पर निगाहें हैं उन की
कभी ज़ुल्फ़ का पेच ओ ख़म देखते हैं
१४
ज़’ईफ़ी मेरे कान में कह रही है
तेरी राह अहल-ए अदम देखते हैं
१५
किसी को किसी से मोहब्बत नहीं है
ज़माने कि हालत को हम देखते हैं
१६
इसी में फंसा है कहीं दिल हमारा
तेरे दाम-ए गेसू को हम देखते हैं
१७
कभी पढ़ते हैं वो ख़त-ए शौक़ मेरा
कभी मेरी तर्ज़-ए रक़म देखते हैं
१८
सिवा जाम-ए जम से है आईना-ए दिल
के दोनों जहां इस में हम देखते हैं
१९
हर एक घर अब एक बुत-कदा बन गया है
हर एक दिल में हम एक सनम देखते हैं
२०
कहो कुछ तो मुंह से सबब क्या है हाजेर
तुम्हें हर घढी महव-ए ग़म देखते हैं
Click here for background and on any passage for word meanings and explanatory discussion. munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘jahaaN tera naqsh-e qadam dekhte haiN’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
tujhe muskuraate jo ham dekhtay haiN
hare1 zaKhm2-e dil aye sanam3 dekhtay haiN 1.green, fresh 2.wound 3.idol, beloved
Whenever the poet/lover sees the beloved smiling the wounds of his heart get fresh again – they start to bleed. This could be because she is smiling before the rival, or that she is smiling thinking of something other than the poet/lover.
2
jahaaN tere abruu1 ka Kham2 dekhtay haiN
vahiiN sar ko apne qalam3 dekhtay haiN 1.eyebrows 2.curl, arch 3.cut off
An arched eyebrow is an indication of anger. Thus, whenever the poet/lover sees the beloved’s eyebrow arched, he is sure that she is mad at him and is going to chop his head off.
3
adu1 par nigaah2-e karam3 dekhtay haiN
Ghazab4 dekhtay haiN sitam5 dekhtay haiN 1.enemy, rival 2.glance 3.kindness 4.curse 5.cruelty, oppression
Whenever the poet/lover sees her looking at the rival with kindness he sees a curse and cruelty for himself.
4
kaheN kya jo ulfat1 meN ham dekhtay haiN
vafaaoN2 ke badlay3 sitam4 dekhtay haiN 1.love 2.fidelity, steadfast love 3.in exchange 4.cruelty, oppression
What can I say, what I see in love. All I see is cruelty in return of fidelity.
5
mohabbat meN laakhoN alam1 dekhtay haiN
sitam2 par sitam dam-ba-dam3 dekhtay haiN 1.sorrow 2.injustice 3.minute by minute
I see/experience a thousand sorrows in love. Injustice upon injustice every minute is what I see.
6
kabhi mahv1-e jalva2 haiN ham but-kaday3 meN
kabhi jaa ke sair4-e haram5 dekhtay haiN 1.busy, engrossed 2.beauty, glory 3.idol-house, temple 4.sightseeing 5.mosque
Sometimes I am absorbed in the beauty/glory of the idols in the temple. At other times I go to enjoy myself with the sights of the mosque.
7
kahiiN aur bhi hai adu1 ka Thikaana2
use teri mahfil3 meN kam dekhtay haiN 1.enemy, rival 2.place to visit/rest 3.gathering
The poet/lover observes that the rival is coming to the beloved’s gathering less often than before. He says (probably to try to get the beloved to throw him out) that the rival must have some other place that he visits.
8
vahiiN chhiin1 lete haiN ulfat2 jata3 kar
meri jeb meN jab raqam4 dekhtay haiN 1.snatch, grab 2.love 3.assert, claim 4.money
Whenever she sees money in my pocket, she snatches asserting her love.
9
nigaahoN1 meN kya kya hasiiN2 bas rahay haiN
tasavvur3 meN sair4-e iram5 dekhtay haiN 1.eyes 2.beauties 3.imagination 4.sights 5.heaven
The poet seems to be influenced by the tales of hoor/angels in heaven. Thus, in his mind’s eye he sees a lot of beauties and imagines that these are sights of heaven.
10
dam1-e raqs2 laakhoN ko paamaal3 kar kay
vo hairat4 say apne qadam5 dekhtay haiN 1.moment, time 2.dance 3.trample 4.amazement, surprise 5.feet
Lovers lay down on the ground in the path of the beloved. She is dancing and in her vigorous dance, she tramples on them. The imagery is like godess kaali’s dance. The lovers are all injured and there is blood on the beloved’s feet. She looks at her feet in amazement, wondering where the blood has come from.
11
usi ko nishaana1 banaatay haiN apna
taRapne2 ka vo jis may dam3 dekhtay haiN 1.target 2.writhe in pain 3.power, strength
Some lovers may not have the strength to bear the atrocities of the beloved. They would run away or die. So, she is choosy on who she targets. She targets only those who can bear her cruelty enough to not run away but writhe in pain before her, because she enjoys the sight.
12
Gharaz1 kya kisi ki saKhaavat2 say ham ko
faqat3 tera dast4-e karam5 dekhtay haiN 1.need 2.generosity 3.only 4.hand 5.kindness
What need do I have of anybody’s generosity. The only thing I look for is god’s hand of kindness.
13
kabhi aaiine par nigaaheN1 haiN un ki
kabhi zulf2 ka pech-o-Kham3 dekhtay haiN 1.eyes, sight 2.hair 3.twists and turns, curls
Sometimes her eyes are fixed on the mirror (looking at her own beauty). At other times she is looking at her curly hair.
14
za’iifi1 mere kaan meN kah rahi hai
teri raah2 ahl3-e adam4 dekhtay haiN 1.old age 2.raah dekhna – wait for, look at the pathway for someone’s arrival 3.people of 4.non-existence, other world
Old age whispers in my ears that people of the other world are waiting for me.
15
kisi ko kisi say mohabbat nahiN hai
zamaane ki haalat1 ko ham dekhtay haiN 1.condition
Nobody has any regard/love for anyone. I see the condition of the world.
16
isi meN phaNsa hai kahiN dil hamaara
tere daam1-e gesu2 ko ham dekhtay haiN 1.net, web, trap 2.hair
The imagery is that the poet is like a bird and the beloved has her hair woven into a trap to catch the bird or in this case the heart of the bird. Thus, my heart is caught somewhere in there. I look/search into the web of your hair.
17
kabhi paRhtay haiN vo Khat1-e shauq2 mera
kabhi meri tarz3-e raqam4 dekhtay haiN 1.letter 2.desire, love 3.style 4.writing
Sometimes she reads my letter of love (actually reads the content). At other times she is content with looking at the style of writing and does not bother with the contents.
18
siva1 jaam-e-jam2 se hai aaiina dil ka
keh donoN jahaaN3 is meN ham dekhtay haiN 1.beyond, better than 2.cup of jamshed 3.worlds
jamshed was an ancient Persian emperor. Legend has it that he had an enchanted cup into which he could look and tell the future. The poet claims that his own heart is better than cup of jamshed because by looking into the mirror of his heart he can tell not only the future of what is going to happen in this world but also in the next.
19
har ek ghar ab ek but-kada1 ban gaya hai
har ek dil meN ham ek sanam2 dekhtay haiN 1.idol house, temple 2.idol, beloved
Every house/heart has become a temple now. I see an idol/image of a beloved in every heart.
20
kaho kuchh to muNh se sabab1 kya hai haajir2
tumheN har ghaRi3 mahv4-e Gham dekhtay haiN 1.basis, reason 2.pen-name of the poet 3.moment 4.absorbed in
O haajir, do say what the reason is. Why do we see you absorbed in sorrow all the time.
munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘jahaaN tera naqsh-e qadam dekhte haiN’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
tujhe muskuraate jo ham dekhtay haiN
hare1 zaKhm2-e dil aye sanam3 dekhtay haiN
1.green, fresh 2.wound 3.idol, beloved
Whenever the poet/lover sees the beloved smiling the wounds of his heart get fresh again – they start to bleed. This could be because she is smiling before the rival, or that she is smiling thinking of something other than the poet/lover.
2
jahaaN tere abruu1 ka Kham2 dekhtay haiN
vahiiN sar ko apne qalam3 dekhtay haiN
1.eyebrows 2.curl, arch 3.cut off
An arched eyebrow is an indication of anger. Thus, whenever the poet/lover sees the beloved’s eyebrow arched, he is sure that she is mad at him and is going to chop his head off.
3
adu1 par nigaah2-e karam3 dekhtay haiN
Ghazab4 dekhtay haiN sitam5 dekhtay haiN
1.enemy, rival 2.glance 3.kindness 4.curse 5.cruelty, oppression
Whenever the poet/lover sees her looking at the rival with kindness he sees a curse and cruelty for himself.
4
kaheN kya jo ulfat1 meN ham dekhtay haiN
vafaaoN2 ke badlay3 sitam4 dekhtay haiN
1.love 2.fidelity, steadfast love 3.in exchange 4.cruelty, oppression
What can I say, what I see in love. All I see is cruelty in return of fidelity.
5
mohabbat meN laakhoN alam1 dekhtay haiN
sitam2 par sitam dam-ba-dam3 dekhtay haiN
1.sorrow 2.injustice 3.minute by minute
I see/experience a thousand sorrows in love. Injustice upon injustice every minute is what I see.
6
kabhi mahv1-e jalva2 haiN ham but-kaday3 meN
kabhi jaa ke sair4-e haram5 dekhtay haiN
1.busy, engrossed 2.beauty, glory 3.idol-house, temple 4.sightseeing 5.mosque
Sometimes I am absorbed in the beauty/glory of the idols in the temple. At other times I go to enjoy myself with the sights of the mosque.
7
kahiiN aur bhi hai adu1 ka Thikaana2
use teri mahfil3 meN kam dekhtay haiN
1.enemy, rival 2.place to visit/rest 3.gathering
The poet/lover observes that the rival is coming to the beloved’s gathering less often than before. He says (probably to try to get the beloved to throw him out) that the rival must have some other place that he visits.
8
vahiiN chhiin1 lete haiN ulfat2 jata3 kar
meri jeb meN jab raqam4 dekhtay haiN
1.snatch, grab 2.love 3.assert, claim 4.money
Whenever she sees money in my pocket, she snatches asserting her love.
9
nigaahoN1 meN kya kya hasiiN2 bas rahay haiN
tasavvur3 meN sair4-e iram5 dekhtay haiN
1.eyes 2.beauties 3.imagination 4.sights 5.heaven
The poet seems to be influenced by the tales of hoor/angels in heaven. Thus, in his mind’s eye he sees a lot of beauties and imagines that these are sights of heaven.
10
dam1-e raqs2 laakhoN ko paamaal3 kar kay
vo hairat4 say apne qadam5 dekhtay haiN
1.moment, time 2.dance 3.trample 4.amazement, surprise 5.feet
Lovers lay down on the ground in the path of the beloved. She is dancing and in her vigorous dance, she tramples on them. The imagery is like godess kaali’s dance. The lovers are all injured and there is blood on the beloved’s feet. She looks at her feet in amazement, wondering where the blood has come from.
11
usi ko nishaana1 banaatay haiN apna
taRapne2 ka vo jis may dam3 dekhtay haiN
1.target 2.writhe in pain 3.power, strength
Some lovers may not have the strength to bear the atrocities of the beloved. They would run away or die. So, she is choosy on who she targets. She targets only those who can bear her cruelty enough to not run away but writhe in pain before her, because she enjoys the sight.
12
Gharaz1 kya kisi ki saKhaavat2 say ham ko
faqat3 tera dast4-e karam5 dekhtay haiN
1.need 2.generosity 3.only 4.hand 5.kindness
What need do I have of anybody’s generosity. The only thing I look for is god’s hand of kindness.
13
kabhi aaiine par nigaaheN1 haiN un ki
kabhi zulf2 ka pech-o-Kham3 dekhtay haiN
1.eyes, sight 2.hair 3.twists and turns, curls
Sometimes her eyes are fixed on the mirror (looking at her own beauty). At other times she is looking at her curly hair.
14
za’iifi1 mere kaan meN kah rahi hai
teri raah2 ahl3-e adam4 dekhtay haiN
1.old age 2.raah dekhna – wait for, look at the pathway for someone’s arrival 3.people of 4.non-existence, other world
Old age whispers in my ears that people of the other world are waiting for me.
15
kisi ko kisi say mohabbat nahiN hai
zamaane ki haalat1 ko ham dekhtay haiN
1.condition
Nobody has any regard/love for anyone. I see the condition of the world.
16
isi meN phaNsa hai kahiN dil hamaara
tere daam1-e gesu2 ko ham dekhtay haiN
1.net, web, trap 2.hair
The imagery is that the poet is like a bird and the beloved has her hair woven into a trap to catch the bird or in this case the heart of the bird. Thus, my heart is caught somewhere in there. I look/search into the web of your hair.
17
kabhi paRhtay haiN vo Khat1-e shauq2 mera
kabhi meri tarz3-e raqam4 dekhtay haiN
1.letter 2.desire, love 3.style 4.writing
Sometimes she reads my letter of love (actually reads the content). At other times she is content with looking at the style of writing and does not bother with the contents.
18
siva1 jaam-e-jam2 se hai aaiina dil ka
keh donoN jahaaN3 is meN ham dekhtay haiN
1.beyond, better than 2.cup of jamshed 3.worlds
jamshed was an ancient Persian emperor. Legend has it that he had an enchanted cup into which he could look and tell the future. The poet claims that his own heart is better than cup of jamshed because by looking into the mirror of his heart he can tell not only the future of what is going to happen in this world but also in the next.
19
har ek ghar ab ek but-kada1 ban gaya hai
har ek dil meN ham ek sanam2 dekhtay haiN
1.idol house, temple 2.idol, beloved
Every house/heart has become a temple now. I see an idol/image of a beloved in every heart.
20
kaho kuchh to muNh se sabab1 kya hai haajir2
tumheN har ghaRi3 mahv4-e Gham dekhtay haiN
1.basis, reason 2.pen-name of the poet 3.moment 4.absorbed in
O haajir, do say what the reason is. Why do we see you absorbed in sorrow all the time.
The post mahv-e Gham dekhte haiN-raghunath siNgh haajir appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/01/ahnt-gunahgaar-ko-hum-dekhte-haiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
گنہ گار کو ہم دیکھتے ہیں ۔ علی حیدر نظمؔ طباطبائی
۱
خمِ گیسو میں دلِ زار کو ہم دیکھتے ہیں
کس شکنجہ میں گنہ گار کو ہم دیکھتے ہیں
۲
دم نکلنے پہ بھی آنکھیں جو کھلی ہیں اپنی
بے مُروّت ترے اقرار کو ہم دیکھتے ہیں
۳
بے پئے سیر جو کرتے ہیں اُنہیں لطف ہے خاک
ساقیا سبزہ و گلزار کو ہم دیکھتے ہیں
۴
گھر، بغیر اُس کے جو سُنسان نظر آتا ہے
کس نظر سے در و دار کو ہم دیکھتے ہیں
۵
ہائے کیا ہو گیا موقوف فلک کا پھرنا
ایک مدّت سے شب تار کو ہم دیکھتے ہیں
۶
اپنے قابو میں جو آ جائے دلِ زار اپنا
پھر تری گرمیِ بازار کو ہم دیکھتے ہیں
۷
صبح تو سر کے پٹکنے سے نہ ہوگی لیکن
آج گرتے ہوئے دیوار کو ہم دیکھتے ہیں
۸
نظمؔ اب ترکِ محبّت کا زمانہ ہے قریب
اور جانب نگہ یار کو ہم دیکھتے ہیں
गुनहगार को हम देखते हैं – अली हैदर नज़्म तबातबाई
१
ख़म-ए गेसू में दिल-ए ज़ार को हम देखते हैं
किस शिकंजे में गुनहगार को हम देखते हैं
२
दम निकलने पे भी आंखें जो खुली हैं अपनी
बे-मुरव्वत तेरे एक़्रार को हम देखते हैं
३
बे पिये सैर जो करते हैं उन्हें लुत्फ़ है ख़ाक
साक़िया सब्ज़ा ओ गुल्ज़ार को हम देखते हैं
४
घर बग़ैर उस के जो सुनसान नज़र आता है
किस नज़र से दर ओ दीवार को हम देखते हैं
५
हाए क्या हो गया मौक़ूफ़ फ़लक का फिरना
एक मुद्दत से शब-ए तार को हम देखते हैं
६
अपने क़ाबू में जो आ जाए दिल-ए ज़ार अपना
फिर तेरी गरमी-ए बाज़ार को हम देखते हैं
७
सुबह तो सर के पटकने से न होगी लैकिन
आज गिरते हुए दीवार को हम देखते हैं
८
नज़्म अब तर्क-ए मोहब्बत का ज़माना है क़रीब
और जानिब निगह-ए यार को हम देखते हैं
Click here for background and on any passage for word meanings and explanatory discussion. syed ali haidar nazm tabaatabaai (1854-1933), scholar, critic, translator and poet. In 1883 he moved to hyderabad, Professor, Nizam College and Department of Translation, Osmania University with josh malihabadi. Wrote an explanatory discussion of Ghalib’s diivaan and published his own diivaan. This Ghazal in the zamin of Ghalib is linked to Ghalib naqsh-e qadam.
1
Kham1-e gesu2 meN dil-e zaar3 ko ham dekhte haiN
kis shikanje4 meN gunahgaar5 ko ham dekhte haiN 1.curls 2.hair 3.sorrowful 4.vice, grip, trap 5.sinner – used here sympathetically towards the heart
The poet/lover’s heart is a gunahgaar because it has committed the ‘sin’ of falling in love with the beloved. Thus, we see the sorrowful heart tangled in the curly hair of the beloved. Oh, what a grip we see the poor sinner in.
2
dam1 nikalne pe bhi aaNkheN jo khuli haiN apni
be-muravvat2 tere eqraar3 ko ham dekhte haiN 1.breath, life 2.kindness, consideration 3.agreement, commitment
In the poetic world anything is possible. The poet is dead, his eyes are open and not only is he able to observe things around him, he is also able to write about them! He sees everything around him and says that even in death he has found the beloved’s commitment to him to be unfulfilled. We are left to fill in the blanks on what that agreement was. Was it that she had promised to come and did not even come to his funeral? Or worse, did she bring the rival to the funeral.
3
be piye sair jo karte haiN unheN lutf1 hai Khaak2
saaqia sabza3 o gulzaar4 ko ham dekhte haiN 1.pleasure 2.nothing, very little 3.greenery 4.garden
Those who go out for a saunter without a drink of wine (the wine of mystic knowledge), get scant pleasure from their sightseeing. O saaqi, it is only people like me who have drunk the wine of mystic knowledge that can enjoy the garden and the greenery.
4
ghar baGhair1 us ke jo sunsaan2 nazar3 aata hai
kis nazar4 se dar5 o diivaar ko ham dekhte haiN 1.without 2.quiet, lonely, desolate 3.appears, seems 4.eyes 5.door
Without her the house looks so desolate. The poet/lover stares at the walls and looks at the door with longing (hoping that she would walk through).
5
haaye kya ho gaya mauqoof1 falak2 ka phirna3
ek muddat4 se shab5-e taar6 ko ham dekhte haiN 1.suspended, stopped 2.sky 3.turning, rotating 4.long time, ages 5.night 6.dark
Sadly, has the rotation of the sky been suspended. For ages now, all I see is a long dark night. Here the darkness of the night represents sorrow.
6
apne qaabu1 meN jo aa jaaye dil-e zaar2 apna
phir teri garmi3-e baazaar ko ham dekhte haiN 1.control, possession 2.sorrowful 3.activity
Here ‘garmi-e bazaar’ means activity in the trade. The ‘trade’ of the beloved is collecting hearts of lovers. The poet/lover has lost his and wishes to get it back. In an unusual expression of bitterness/anger he declares – then I will see what happens to your hobby of collecting hearts.
7
subah to sar ke paTakne1 se na hogi laikin
aaj girte hue diivaar ko ham dekhte haiN 1.banging
The poet/lover has been banging his head against the wall all through his long night of sorrow. He recognizes that banging the head against the wall is not going to bring about dawn i.e., it is not going to achieve union with the beloved. But he sees the wall cracking and crumbling down.
8
nazm1 ab tark2-e mohabbat ka zamaana hai qariib3
aur jaanib4 nigah5-e yaar6 ko ham dekhte haiN 1.pen-name of the poet 2.giving up 3.near 4.direction 5.glance 6.friend, beloved
O nazm, it is time that you gave up playing the game of love. Look, the beloved’s glance is pointed in another direction. This could mean ‘you are getting too old to play these games’.
syed ali haidar nazm tabaatabaai (1854-1933), scholar, critic, translator and poet. In 1883 he moved to hyderabad, Professor, Nizam College and Department of Translation, Osmania University with josh malihabadi. Wrote an explanatory discussion of Ghalib’s diivaan and published his own diivaan. This Ghazal in the zamin of Ghalib is linked to Ghalib naqsh-e qadam.
1
Kham1-e gesu2 meN dil-e zaar3 ko ham dekhte haiN
kis shikanje4 meN gunahgaar5 ko ham dekhte haiN
1.curls 2.hair 3.sorrowful 4.vice, grip, trap 5.sinner – used here sympathetically towards the heart
The poet/lover’s heart is a gunahgaar because it has committed the ‘sin’ of falling in love with the beloved. Thus, we see the sorrowful heart tangled in the curly hair of the beloved. Oh, what a grip we see the poor sinner in.
2
dam1 nikalne pe bhi aaNkheN jo khuli haiN apni
be-muravvat2 tere eqraar3 ko ham dekhte haiN
1.breath, life 2.kindness, consideration 3.agreement, commitment
In the poetic world anything is possible. The poet is dead, his eyes are open and not only is he able to observe things around him, he is also able to write about them! He sees everything around him and says that even in death he has found the beloved’s commitment to him to be unfulfilled. We are left to fill in the blanks on what that agreement was. Was it that she had promised to come and did not even come to his funeral? Or worse, did she bring the rival to the funeral.
3
be piye sair jo karte haiN unheN lutf1 hai Khaak2
saaqia sabza3 o gulzaar4 ko ham dekhte haiN
1.pleasure 2.nothing, very little 3.greenery 4.garden
Those who go out for a saunter without a drink of wine (the wine of mystic knowledge), get scant pleasure from their sightseeing. O saaqi, it is only people like me who have drunk the wine of mystic knowledge that can enjoy the garden and the greenery.
4
ghar baGhair1 us ke jo sunsaan2 nazar3 aata hai
kis nazar4 se dar5 o diivaar ko ham dekhte haiN
1.without 2.quiet, lonely, desolate 3.appears, seems 4.eyes 5.door
Without her the house looks so desolate. The poet/lover stares at the walls and looks at the door with longing (hoping that she would walk through).
5
haaye kya ho gaya mauqoof1 falak2 ka phirna3
ek muddat4 se shab5-e taar6 ko ham dekhte haiN
1.suspended, stopped 2.sky 3.turning, rotating 4.long time, ages 5.night 6.dark
Sadly, has the rotation of the sky been suspended. For ages now, all I see is a long dark night. Here the darkness of the night represents sorrow.
6
apne qaabu1 meN jo aa jaaye dil-e zaar2 apna
phir teri garmi3-e baazaar ko ham dekhte haiN
1.control, possession 2.sorrowful 3.activity
Here ‘garmi-e bazaar’ means activity in the trade. The ‘trade’ of the beloved is collecting hearts of lovers. The poet/lover has lost his and wishes to get it back. In an unusual expression of bitterness/anger he declares – then I will see what happens to your hobby of collecting hearts.
7
subah to sar ke paTakne1 se na hogi laikin
aaj girte hue diivaar ko ham dekhte haiN
1.banging
The poet/lover has been banging his head against the wall all through his long night of sorrow. He recognizes that banging the head against the wall is not going to bring about dawn i.e., it is not going to achieve union with the beloved. But he sees the wall cracking and crumbling down.
8
nazm1 ab tark2-e mohabbat ka zamaana hai qariib3
aur jaanib4 nigah5-e yaar6 ko ham dekhte haiN
1.pen-name of the poet 2.giving up 3.near 4.direction 5.glance 6.friend, beloved
O nazm, it is time that you gave up playing the game of love. Look, the beloved’s glance is pointed in another direction. This could mean ‘you are getting too old to play these games’.
The post gunahgaar ko ham dekhte haiN-ali haidar nazm tabaatabaaii appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/01/sgsm-hamesha-qadam-dekhte-haiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ہمیشہ قدم دیکھتے ہیں ۔ سردار گینڈا سنگھ مشرقیؔ
۱
خطا کو کب اہلِ کرم دیکھتے ہیں
ہُنر مند عیبوں کو کم دیکھتے ہیں
۲
ہمیں تھے کہ جو آ گئے اُن کے دم میں
کسے آج دیتے ہیں دم دیکھتے ہیں
۳
رقیبوں کی مانند گستاخ کب ہیں
تیرے ہم ہمیشہ قدم دیکھتے ہیں
۴
جو ہیں لے گئے ساتھ دنیا کی حسرت
وہ کیا سیرِ ملکِ عدم دیکھتے ہیں
۵
جو اہلِ ہنر ہیں ہنر دیکھتے ہیں
نہ دولت نہ جاہ و حشم دیکھتے ہیں
۶
کھنچی آج تیغِ دو دم دیکھتے ہیں
ہے سر کس کا ہوتا قلم دیکھتے ہیں
۷
تماشائے ہر دو جہاں پی کے ساغر
اگر دیکھتے ہیں تو ہم دیکھتے ہیں
हमेशा क़दम देखते हैं – सरदार गेंडा सिंध मश्रिक़ी
१
ख़ता को कब अहल-ए करम देखते हैं
हुनर-मन्द ऐबौं को कम देखते हैं
२
हमीं थे के जो आ गए उन के दम में
किसे आज देते हैं दम देखते हैं
३
रक़ीबौं कि मानिन्द गुस्ताख़ कब हैं
तेरे हम हमेशा क़दम देखते हैं
४
जो हैं ले गए साथ दुनिया की हसरत
वो क्या सैर-ए मुल्क-ए अदम देखते हैं
५
जो अहल-ए हुनर हैं हुनर देखते हैं
न दौलत न जाह ओ हशम देखते हैं
६
खिंची आज तेग़-ए दो-दम देखते हैं
है सर किस का होता क़लम देखते हैं
७
तमाशा-ए हर दो जहां पी के साग़र
अगर देखते हैं तो हम देखते हैं
Click here for background and on any passage for word meanings and explanatory discussion. sardar genDa singh mashriqi (1857-1909), born in roopaR, panjab. Studied English and faarsi through middle school but could not go further in formal schooling because of family financial conditions. Worked for magazines, then the government in clerical and accountancy jobs and continued to learn urdu on his own, writing magazine articles and nazm, many of them nationalist. He joined the Indian National Congress in its inaugural meeting in 1885. In 1903, daaGh dehlavi accepted him as a shaagird. In spite of their very short association, he acknowledges daaGh as his ustaad. mashriqi’s diivaan was compiled and published by his grandson in 1989. There are also book length translations of sikh religious books in faarsi in poetic format as well as a book length collection of odes to sikh religious figures. This is one of several Ghazal that he composed in the refrain of Ghalib and is linked to ‘Ghalib naqsh-e qadam’.
1
Khata1 ko kab ahl-e-karam2 dekhte haiN
hunar-mand3 aiboN4 ko kam dekhte haiN 1.mistakes 2.people of kindness, kind people 3.talented, skilled 4.shortcomings
Kind people do not look for mistakes (of others). Skilled people do not scan the shortcomings (of others).
2
hamiiN the keh jo aa gaye un ke dam1 meN
kise aaj dete haiN dam2 dekhte haiN 1.power 2.dam dena is an expression meaning – to deceive, to sacrifice
It is interesting how he uses ‘dam’ in two different ways in the two misra. It was I who got caught in her power/spell. Let us see who else she is able to deceive today.
3
raqiiboN1 ki maanind2 gustaaKh3 kab haiN
tere ham hamesha qadam4 dekhte haiN 1.rivals 2.like, similar to 3.rude, disrespectful 4.feet
I am not disrespectful like the rivals. I don’t look directly at you, like they do. I only look at your feet.
4
jo haiN le gaye saath duniya ki hasrat1
vo kya sair2-e mulk3-e adam4 dekhte haiN 1.longing 2.sightseeing 3.homeland, domain 4.non-existence, non-material, spiritual
The conventional value system is that you leave behind all attachments to the material world when you go to the next world. Thus, those that carry with them longing for the material world, how can they enjoy the sights of the spiritual world.
5
jo ahl1-e hunar2 haiN hunar dekhte haiN
na daulat3 na jaah4 o hasham5 dekhte haiN 1.people of 2.skill 3.wealth 4.rank, status 5.retinue of servants, grandeur
People of skill look for skill (in others). They don’t look for wealth, rank or status, or grandeur.
6
khiNchi1 aaj teGh2-e do-dam3 dekhte haiN
hai sar kis ka hota qalam4 dekhte haiN 1.pulled, drawn 2.sword 3.double pointed 4.cut
A double pointed sword (teGh-e do-dam) is different from the English phrase two-edged sword. The latter can cut both ways the user and the victim, but the former is double jeopardy for the victim (none for the user). Thus, the beloved has pulled her two-pointed sword. Let us see whose head gets cut off today.
7
tamaasha1-e har do jahaaN2 pii ke saaGhar3
agar4 dekhte haiN to ham dekhte haiN 1.spectacle 2.worlds 3.cup (of wine) 4.if
The poet is boasting about his ability to drink wine. If there is anyone who can see spectacles of the here and hereafter (both worlds), it is I, after a cup of two of wine.
sardar genDa singh mashriqi (1857-1909), born in roopaR, panjab. Studied English and faarsi through middle school but could not go further in formal schooling because of family financial conditions. Worked for magazines, then the government in clerical and accountancy jobs and continued to learn urdu on his own, writing magazine articles and nazm, many of them nationalist. He joined the Indian National Congress in its inaugural meeting in 1885. In 1903, daaGh dehlavi accepted him as a shaagird. In spite of their very short association, he acknowledges daaGh as his ustaad. mashriqi’s diivaan was compiled and published by his grandson in 1989. There are also book length translations of sikh religious books in faarsi in poetic format as well as a book length collection of odes to sikh religious figures. This is one of several Ghazal that he composed in the refrain of Ghalib and is linked to ‘Ghalib naqsh-e qadam’.
1
Khata1 ko kab ahl-e-karam2 dekhte haiN
hunar-mand3 aiboN4 ko kam dekhte haiN
1.mistakes 2.people of kindness, kind people 3.talented, skilled 4.shortcomings
Kind people do not look for mistakes (of others). Skilled people do not scan the shortcomings (of others).
2
hamiiN the keh jo aa gaye un ke dam1 meN
kise aaj dete haiN dam2 dekhte haiN
1.power 2.dam dena is an expression meaning – to deceive, to sacrifice
It is interesting how he uses ‘dam’ in two different ways in the two misra. It was I who got caught in her power/spell. Let us see who else she is able to deceive today.
3
raqiiboN1 ki maanind2 gustaaKh3 kab haiN
tere ham hamesha qadam4 dekhte haiN
1.rivals 2.like, similar to 3.rude, disrespectful 4.feet
I am not disrespectful like the rivals. I don’t look directly at you, like they do. I only look at your feet.
4
jo haiN le gaye saath duniya ki hasrat1
vo kya sair2-e mulk3-e adam4 dekhte haiN
1.longing 2.sightseeing 3.homeland, domain 4.non-existence, non-material, spiritual
The conventional value system is that you leave behind all attachments to the material world when you go to the next world. Thus, those that carry with them longing for the material world, how can they enjoy the sights of the spiritual world.
5
jo ahl1-e hunar2 haiN hunar dekhte haiN
na daulat3 na jaah4 o hasham5 dekhte haiN
1.people of 2.skill 3.wealth 4.rank, status 5.retinue of servants, grandeur
People of skill look for skill (in others). They don’t look for wealth, rank or status, or grandeur.
6
khiNchi1 aaj teGh2-e do-dam3 dekhte haiN
hai sar kis ka hota qalam4 dekhte haiN
1.pulled, drawn 2.sword 3.double pointed 4.cut
A double pointed sword (teGh-e do-dam) is different from the English phrase two-edged sword. The latter can cut both ways the user and the victim, but the former is double jeopardy for the victim (none for the user). Thus, the beloved has pulled her two-pointed sword. Let us see whose head gets cut off today.
7
tamaasha1-e har do jahaaN2 pii ke saaGhar3
agar4 dekhte haiN to ham dekhte haiN
1.spectacle 2.worlds 3.cup (of wine) 4.if
The poet is boasting about his ability to drink wine. If there is anyone who can see spectacles of the here and hereafter (both worlds), it is I, after a cup of two of wine.
The post hamesha qadam dekhte haiN-sardar genDa siNgh mashriqi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/01/jgr-maut-ka-sar-qalam-dekhte-haiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
موت کا سر قلم دیکھتے ہیں ۔ جگرؔ مرادآبادی
۱
محبّت میں کیا یہ ستم دیکھتے ہیں
بہت فرصتِ شوق ہم دیکھتے ہیں
۲
غم و درد و رنجِ الم دیکھتے ہیں
محبّت دکھائی ہے، ہم دیکھتے ہیں
۳
وہاں اپنی ہستی کو ہم دیکھتے ہیں
جہاں موت کا سر قلم دیکتھے ہیں
۴
کہاں تیرے جلوے کہاں اپنی نظریں
غنیمت ہے جو کوئی دم دیکھتے ہیں
۵
وہ کیا دیکھ سکتے ہیں اپنی ادائیں
ہمیں دیکھتے ہیں جو ہم دیکھتے ہیں
۶
ہماری نظر سے بھی سمجھو تو جانیں
بہت بے نیازانہ ہم دیکھتے ہیں
۷
تجھے بھی کسی دن سمجھنا ہے ظالم
ابھی اور اے چشمِ نم دیکھتے ہیں
۸
نگاہِ محبّت دکھاتی ہے سب کچھ
نہ تم دیکھتے ہو، نہ ہم دیکھتے ہیں
۹
غنیمت تھا حرمانِ امید افزا
سو یہ حال بھی اب تو کم دیکھتے ہیں
۱۰
نہ جانے محبّت ہے کیا چیز لیکن
بڑی ہی محبّت سے ہم دیکھتے ہیں
मौत का सर क़लम देखते हैं – जिगर मुरादाबादी
१
मोहब्बत में क्या ये सितम देखते हैं
बहुत फ़ुरसत-ए शौक़ हम देखते हैं
२
ग़म ओ दर्द ओ रंज-ए अलम देखते हैं
मोहब्बत दिखाती है, हम देखते हैं
३
वहां अपनी हस्ती को हम देखते हैं
जहां मौत का सर क़लम देखते हैं
४
कहां तेरे जल्वे, कहां अपनी नज़्रें
ग़नीमत है जो काई दम देखते हैं
५
वो क्या देख सकते हैं अपनी अदाएं
हमीं देखते हैं जो हम देखते हैं
६
हमारी नज़र से भी समझो तो जानें
बहुत बे-नियाज़ाना हम देखते हैं
७
तुझे भी किसी दिन समझना है ज़ालिम
अभी और अए चश्म-ए नम देखते हैं
८
निगाह-ए मोहब्बत दिखाती है सब कुछ
न तुम देखते हो न हम देखते हैं
९
ग़नीमत था हिर्मान-ए उम्मीद अफ़्ज़ा
सो ये हाल भी अब तो कम देखते हैं
१०
न जाने मोहब्बत है क्या चीज़ लैकिन
बढी हि मोहब्बत से हम देखते हैं
Click here for background and on any passage for word meanings and explanatory discussion. jigar muradabadi (1890-1961) was a profilic poet of sufiyaana, romantic and musical Ghazal. Many of his compositions have been put to music and sung by great singers. This is one of his several Ghazal styled after Ghalib and is linked to Ghalib naqsh-e qadam.
1
mohabbat meN kya ye sitam1 dekhte haiN
bahut fursat2-e shauq3 ham dekhte haiN 1.cruelty, injustice 2.freedom, leisure 3.wish, desire
What kind of cruelty is this, that I suffer in love. I see that I have been freed from the obligations of my desire i.e., the beloved has thrown me out.
2
Gham o dard o ranj-e-alam1 dekhte haiN
mohabbat dikhaati hai ham dekhte haiN 1.mourning of loss
Sorrow, pain and mourning of loss is what I experience. Loves shows/does this and I suffer through it.
3
vahaaN apni hasti1 ko ham dekhte haiN
jahaaN maut2 ka sar3 qalam4 dekhte haiN 1.existence, life 2.death 3.head 4.cut off
In the second misra, maut is presented in a personified form and its head is cut off. I interpret it to mean that the poet is no longer afraid of death. Thus, the meaning of the first misra becomes clearer … we see/experience (meaningful) life only at a stage where we are no longer afraid of death.
4
kahaaN tere jalve1, kahaaN apni nazreN2
Ghaniimat3 hai jo koii dam4 dekhte haiN 1.image, beauty, glory 2.eyes, sight 3.enough 4.moment, fleeting
This could apply both to the conventional beloved and to the divine beloved. How great is your beauty/glory and how inadequate our sight. It is enough that we get a fleeting glance.
5
vo kya dekh sakte haiN apni adaa’eN1
hamiiN dekhte haiN jo ham dekhte haiN 1.style, coquetry
In the first misra ‘vo’ probably refers to the beloved. How can the beloved see her own coquetry! It is only we who see what we see.
6
hamaari nazar1 se bhi samjho to jaaneN
bahut be-niyaazaana2 ham dekhte haiN 1.eyes 2.uninterested
If you (O beloved) were to look at me with the same (adoring) eyes with which I look at you, then I will understand. But what I see is that you look at me with total disinterest.
7
tujhe bhi kisi din samajhna hai zaalim1
abhi aur aye chashm2-e nam3 dekhte haiN 1.cruel, beloved 2.eyes 3.moist, tearful
The poet is addressing his own tearful eyes. The beloved has been cruel to him, has rejected his advances and he is crying. You too, will understand some day, O cruel one, what I am going through, he says. Let us wait for a few more days O tearful eye and see what happens.
8
nigaah1-e mohabbat dikhaati hai sub kuchh
na tum dekhte ho na ham dekhte haiN 1.glance, eyes
Whatever we see, it is because of the loving glance. Without it, neither you nor I will be able to see anything.
9
Ghaniimat1 tha hirmaan2-e ummiid-afza3
so ye haal4 bhi ab to kam dekhte haiN 1.at least that much 2.hopelessness, deprivation 3.hope increasing 4.condition
I used to have at least this much that in complete depression/derivation I could hang on to some hope. But even this condition I see less and less now.
10
na jaane mohabbat hai kya chiiz laikin
baRi hii mohabbat se ham dekhte haiN I do not know what love is, but still, it is with great love that I look at her.
jigar muradabadi (1890-1961) was a profilic poet of sufiyaana, romantic and musical Ghazal. Many of his compositions have been put to music and sung by great singers. This is one of his several Ghazal styled after Ghalib and is linked to Ghalib naqsh-e qadam.
1
mohabbat meN kya ye sitam1 dekhte haiN
bahut fursat2-e shauq3 ham dekhte haiN
1.cruelty, injustice 2.freedom, leisure 3.wish, desire
What kind of cruelty is this, that I suffer in love. I see that I have been freed from the obligations of my desire i.e., the beloved has thrown me out.
2
Gham o dard o ranj-e-alam1 dekhte haiN
mohabbat dikhaati hai ham dekhte haiN
1.mourning of loss
Sorrow, pain and mourning of loss is what I experience. Loves shows/does this and I suffer through it.
3
vahaaN apni hasti1 ko ham dekhte haiN
jahaaN maut2 ka sar3 qalam4 dekhte haiN
1.existence, life 2.death 3.head 4.cut off
In the second misra, maut is presented in a personified form and its head is cut off. I interpret it to mean that the poet is no longer afraid of death. Thus, the meaning of the first misra becomes clearer … we see/experience (meaningful) life only at a stage where we are no longer afraid of death.
4
kahaaN tere jalve1, kahaaN apni nazreN2
Ghaniimat3 hai jo koii dam4 dekhte haiN
1.image, beauty, glory 2.eyes, sight 3.enough 4.moment, fleeting
This could apply both to the conventional beloved and to the divine beloved. How great is your beauty/glory and how inadequate our sight. It is enough that we get a fleeting glance.
5
vo kya dekh sakte haiN apni adaa’eN1
hamiiN dekhte haiN jo ham dekhte haiN
1.style, coquetry
In the first misra ‘vo’ probably refers to the beloved. How can the beloved see her own coquetry! It is only we who see what we see.
6
hamaari nazar1 se bhi samjho to jaaneN
bahut be-niyaazaana2 ham dekhte haiN
1.eyes 2.uninterested
If you (O beloved) were to look at me with the same (adoring) eyes with which I look at you, then I will understand. But what I see is that you look at me with total disinterest.
7
tujhe bhi kisi din samajhna hai zaalim1
abhi aur aye chashm2-e nam3 dekhte haiN
1.cruel, beloved 2.eyes 3.moist, tearful
The poet is addressing his own tearful eyes. The beloved has been cruel to him, has rejected his advances and he is crying. You too, will understand some day, O cruel one, what I am going through, he says. Let us wait for a few more days O tearful eye and see what happens.
8
nigaah1-e mohabbat dikhaati hai sub kuchh
na tum dekhte ho na ham dekhte haiN
1.glance, eyes
Whatever we see, it is because of the loving glance. Without it, neither you nor I will be able to see anything.
9
Ghaniimat1 tha hirmaan2-e ummiid-afza3
so ye haal4 bhi ab to kam dekhte haiN
1.at least that much 2.hopelessness, deprivation 3.hope increasing 4.condition
I used to have at least this much that in complete depression/derivation I could hang on to some hope. But even this condition I see less and less now.
10
na jaane mohabbat hai kya chiiz laikin
baRi hii mohabbat se ham dekhte haiN
I do not know what love is, but still, it is with great love that I look at her.
The post maut ka sar qalam dekhte haiN-jigar muradabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2023/01/jpr-vaaez-e-mohtaram-dekhte-haiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
واعظِ محترم دیکھتے ہیں ۔ جمنا پرشاد راہیؔ
۱
بہ تاثیرِ مے کیفِ غم دیکھتے ہیں
جو راحت فزا رنج کم دیکھتے ہیں
۲
ستاروں سے آگے جو ہم دیکھتے ہیں
تمنّا کا نقشِ قدم دیکتھے ہیں
۳
لبِ سنگ سے آئینہ بولتا ہے
جو ہم مُڑ کے سوئے صنم دیکتھے ہیں
۴
سرِ دشتِ جاں اشک آثار ہے شب
پھر آنکھوں کا دامن جو نم دیکھتے ہیں
۵
دریدہ لباسوں مین زرتاب سِکّے
ہیں ٹکسال باہر جو ہم دیکھتے ہیں
۶
اُدھر چارہ سازی اِدھر زہرِ قاتل
تماشائے تریاق و سم دیکھتے ہیں
۷
عروجِ فقیری میسر ہو جن کو
وہ کب کوئی دستِ کرم دیکھتے ہیں
۸
پہنچتے نہیں جو مضامیں کی تہہ تک
وہ کیا نقشِ نوکِ قلم دیکھتے ہیں
۹
جو ہم دیکھتے ہیں وہ تم دیکھتے ہو
کدھر واعظِ محترم دیکھتے ہیں
वा’एज़-ए मोहतरम देखते हैं – जमना प्रशाद राही
१
ब-तासीर-ए मय कैफ़-ए ग़म देखते हैं
जो राहत फ़ज़ा रंज कम देखते हैं
२
सितारौं से आगे जो हम देखते हैं
तमन्ना का नक़्श-ए क़दम देखते हैं
३
लब-ए संग से आइना बोलता है
जो हम मुढ के सू-ए सनम देखते हैं
४
सर-ए दश्त-ए जां अश्क आसार है शब
फिर आंखौं का दामन जो नम देखते हैं
५
दरीदा लिबासौं में ज़रताब सिक्के
हैं टक्साल बाहर जो हम देखते हैं
६
उधर चारा-साज़ी इधर ज़हर-ए क़ातिल
तमाशा-ए तर्याक़ ओ सम देखते हैं
७
उरूज-ए फ़क़ीरी मयस्सर हो जिन को
वो कब कोई दस्त-ए करम देखते हैं
८
पहुंचते नहीं जो मज़ामीं कि तह तक
वो क्या नक़्श-ए नोक-ए क़लम देखते हैं
९
जो हम देखते हैं वो तुम देखते हो
किधर वा’एज़-ए मोहतरम देखते हैं
Click here for background and on any passage for word meanings and explanatory discussion. jamna prashaad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi. He has a whole collection in the style of Ghalib called ‘baazgasht-e Ghalib’. This Ghazal in the style of Ghalib’s ‘jahaaN tera naqsh-e qadam dekhte haiN’ is linked to ‘Ghalib naqsh-e qadam’.
1
ba-taasiir1-e mai2 kaif3-e Gham dekhte haiN
jo raahat-faza4 raNj5 kam dekhte haiN 1.with the effect of 2.wine 3.exhilaration 4.comfort enhancing 5.sorrow, pain
In urdu poetic tradition even ‘ranj-sorrow’ gives comfort. It is valued more than ordinary pleasure. Thus, those who do not see the comfort enhancing abilities of ‘ranj’ seek exhilaration through the effects of wine.
2
sitaaroN se aage jo ham dekhte haiN
tamanna1 ka naqsh-e-qadam2 dekhte haiN 1.desire 2.foot-print
We look beyond the stars because we are looking for the next step of desire. This reminds me of two ash’aar. Ghalib …
hai kahaaN tamanna ka doosra qadam yaarab
ham ne dasht-e imkaaN ko ek naqsh-e paa paaya
and iqbal …
sitaaroN se aage jahaaN aur bhi haiN
abhi ishq ke imtehaaN aur bhi haiN
3
lab1-e saNg2 se aaina bolta hai
jo ham muR ke soo3-e sanam4 dekhte haiN 1.lips, mouth 2.stone, rock 3.towards 4.beloved, idol
I think that here the poet means to say that idol worship and worship of a formless god are the same thing and that both are a reflection of the one-ness of the creator and the universe. Thus, when we turn around and look towards the stone idol, the lips of stone speak to us and show us an aaina i.e., a reflection of ourselves.
4
sar1-e dasht2-e jaaN3 ashk-aasaar4 hai shab5
phir aaNkhoN ka daaman6 jo nam7 dekhte haiN 1.head, beginning 2.wilderness, desert 3.life 4.indications/signs of tears 5.night 6.apron – the apron of the eyes is eyelashes 7.moist
Life is like a night of the dasht/wilderness. Even at the start of life there are signs of tears which is why we see that eyelashes are wet. Said Ghalib …
yuN hii gar rotaa rahaa Ghaalib to aye ahl-e jahaaN
dekhnaa in bastiyoN ko tum keh viiraaN ho gaiiN
5
dariida1 libaasoN2 meN zar-taab3 sikke4
haiN Taksaal5 baahir jo ham dekhte haiN 1.torn, tattered 2.clothes 3.golden shine 4.coins 5.mint
The poet sees coins shining like gold outside the mint. These are dressed in tatters. This can mean that really capable people who have qualities of god are not respected/valued and they are dressed in tatters. Alternatively, if the gold shine is not genuine … the people outside the mint are putting on colours of gold to show off, but they are really dressed in tatters.
6
udhar chaara-saazi1 idhar zahr2-e qaatil3
tamaasha4-e teriyaaq5 o sum6 dekhte haiN 1.healing 2.poison 3.killer, beloved 4.spectacle, mischievous actions 5.anitdote, medication 6.poison
The beloved favours the rival. Healing on that side and poison here. I see the mischief with healing antidotes on that side and poison on this. This could be a more general complaint about not being valued by society.
7
urooj1-e faqiiri2 mayassar3 ho jin ko
vo kab koii dast4-e karam5 dekhte haiN 1.climax 2.sainthood, mendicancy 3.available 4.hand 5.benevolence
Those who have achieved the climax of sainthood – given up on all worldly desires, do not look for the hand of benevolence.
8
pahuNchte nahiN jo mazaamiiN1 ki tah2 tak
vo kya naqsh3-e nok4-e qalam5 dekhte haiN 1.themes 2.depth 3.sketch, image 4.point 5.pen
Those who do not reach the depths of the theme (of my poetry), do they simply look at the image drawn by the point of the pen!
9
jo ham dekhte haiN vo tum dekhte ho
kidhar vaa’ez1-e mohtaram2 dekhte haiN 1.preacher 2.respected
We see the same thing that you see. What does the respected preacher see. Implied in this is that we see what is commonsense. What kind of a fool is the preacher who cannot see it.
jamna prashaad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi. He has a whole collection in the style of Ghalib called ‘baazgasht-e Ghalib’. This Ghazal in the style of Ghalib’s ‘jahaaN tera naqsh-e qadam dekhte haiN’ is linked to ‘Ghalib naqsh-e qadam’.
1
ba-taasiir1-e mai2 kaif3-e Gham dekhte haiN
jo raahat-faza4 raNj5 kam dekhte haiN
1.with the effect of 2.wine 3.exhilaration 4.comfort enhancing 5.sorrow, pain
In urdu poetic tradition even ‘ranj-sorrow’ gives comfort. It is valued more than ordinary pleasure. Thus, those who do not see the comfort enhancing abilities of ‘ranj’ seek exhilaration through the effects of wine.
2
sitaaroN se aage jo ham dekhte haiN
tamanna1 ka naqsh-e-qadam2 dekhte haiN
1.desire 2.foot-print
We look beyond the stars because we are looking for the next step of desire. This reminds me of two ash’aar. Ghalib …
hai kahaaN tamanna ka doosra qadam yaarab
ham ne dasht-e imkaaN ko ek naqsh-e paa paaya
and iqbal …
sitaaroN se aage jahaaN aur bhi haiN
abhi ishq ke imtehaaN aur bhi haiN
3
lab1-e saNg2 se aaina bolta hai
jo ham muR ke soo3-e sanam4 dekhte haiN
1.lips, mouth 2.stone, rock 3.towards 4.beloved, idol
I think that here the poet means to say that idol worship and worship of a formless god are the same thing and that both are a reflection of the one-ness of the creator and the universe. Thus, when we turn around and look towards the stone idol, the lips of stone speak to us and show us an aaina i.e., a reflection of ourselves.
4
sar1-e dasht2-e jaaN3 ashk-aasaar4 hai shab5
phir aaNkhoN ka daaman6 jo nam7 dekhte haiN
1.head, beginning 2.wilderness, desert 3.life 4.indications/signs of tears 5.night 6.apron – the apron of the eyes is eyelashes 7.moist
Life is like a night of the dasht/wilderness. Even at the start of life there are signs of tears which is why we see that eyelashes are wet. Said Ghalib …
yuN hii gar rotaa rahaa Ghaalib to aye ahl-e jahaaN
dekhnaa in bastiyoN ko tum keh viiraaN ho gaiiN
5
dariida1 libaasoN2 meN zar-taab3 sikke4
haiN Taksaal5 baahir jo ham dekhte haiN
1.torn, tattered 2.clothes 3.golden shine 4.coins 5.mint
The poet sees coins shining like gold outside the mint. These are dressed in tatters. This can mean that really capable people who have qualities of god are not respected/valued and they are dressed in tatters. Alternatively, if the gold shine is not genuine … the people outside the mint are putting on colours of gold to show off, but they are really dressed in tatters.
6
udhar chaara-saazi1 idhar zahr2-e qaatil3
tamaasha4-e teriyaaq5 o sum6 dekhte haiN
1.healing 2.poison 3.killer, beloved 4.spectacle, mischievous actions 5.anitdote, medication 6.poison
The beloved favours the rival. Healing on that side and poison here. I see the mischief with healing antidotes on that side and poison on this. This could be a more general complaint about not being valued by society.
7
urooj1-e faqiiri2 mayassar3 ho jin ko
vo kab koii dast4-e karam5 dekhte haiN
1.climax 2.sainthood, mendicancy 3.available 4.hand 5.benevolence
Those who have achieved the climax of sainthood – given up on all worldly desires, do not look for the hand of benevolence.
8
pahuNchte nahiN jo mazaamiiN1 ki tah2 tak
vo kya naqsh3-e nok4-e qalam5 dekhte haiN
1.themes 2.depth 3.sketch, image 4.point 5.pen
Those who do not reach the depths of the theme (of my poetry), do they simply look at the image drawn by the point of the pen!
9
jo ham dekhte haiN vo tum dekhte ho
kidhar vaa’ez1-e mohtaram2 dekhte haiN
1.preacher 2.respected
We see the same thing that you see. What does the respected preacher see. Implied in this is that we see what is commonsense. What kind of a fool is the preacher who cannot see it.
The post vaa’ez-e mohtaram dekhte haiN-jamna parshaad raahi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/gplm-gandhi-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
گاندھی ۔ گوپال مِتّل
۱
ایسی کچھ زندگیاں ہیں جنہیں ملتا ہے ثبات
یہ جہاں یوں تو جہانِ گزراں ہوتا ہے
۲
جو ستارہ بھی چمکتا ہے سرِ عرشِ خیال
چند لمحوں کے لئے نور فشاں ہوتا ہے
۳
حسن آشوبِ جہاں ہے مگر اس کے باوصف
کچھ ہی مُدّت کے لئے آفتِ جاں ہوتا ہے
۴
میں نہیں محرمِ اسرارِ مشیت لیکن
بسا اوقات مرے دل کو گماں ہوتا ہے
۵
تُو نے از خود ہی اُسے چھین لیا تھا بڑھ کر
ملک الموت پہ جو لمحہ گراں ہوتا ہے
۶
’آنچہ خوباں ہمہ دارند تو تنہا داری‘
آج اِس مصرعے کا مفہوم عیاں ہوتا ہے
۷
آسماں حیرتیِ عظمتِ انساں بن کر
اوج سے جانبِ پستی نگراں ہوتا ہے
۸
سوچتا ہے کہ میں اب منبع الہام نہیں
چشمۂ فیض تو دھرتی سے رواں ہوتا ہے
۹
کیا ٹھکانے سے لگی ہے تری کشتیِ حیات
تجھ کو معلوم تھا جو مصرفِ جاں ہوتا ہے
गांधी – गोपाल मित्तल
१
ऐसी कुछ ज़िन्दगियां हैं जिन्हें मिलता है सबात
ये जहां युं तो जहान-ए गुज़रां होता है
२
जो सितारा भी चमकता है सर-ए अर्श-ए ख़याल
चंद लम्हौं के लिये नूर फ़शां होता है
३
हुस्न आशोब-ए जहां है मगर इस के बा-वस्फ़
कुछ हि मुद्दत के लिये आफ़त-ए जां होता है
४
मैं नहीं महरम-ए अस्रार-ए मशिय्यत लैकिन
बसा-औक़ात मेरे दिल को गुमां होता है
५
तू ने अज़-ख़ुद हि उसे छीन लिया था बढ़ कर
मलक-उल-मौत पे जो लम्हा गिरां होता है
६
“आं-चे ख़ुबां हमा दारंद तु तन्हा दारी”
आज इस मिस्रे का मफ़हूम अयां होता है
७
आसमां हैरती-ए अज़्मत-ए इन्सां बन कर
औज से जानिब-ए पस्ती निगरां होता है
८
सोचता है के मैं अब मन्ब’अ-ए इल्हाम नहीं
चश्मा-ए फ़ैज़ तो घरती से रवां होता है
९
क्या ठिकाने से लगी है तेरी किश्ती-ए हयात
तुझ को मा’लूम था जो मसरफ़-ए जां होता है
Click here for background and on any passage for word meanings and explanatory discussion. gopal mittal (1901-1993), maalerkoTla, punjab. College in lahore. Later, lived in dehli as a poet, writer and editor of literary magazine. His usual style is to write intellectual, agnostic and irreverant Ghazal/nazm. This is a beautiful tribute to gandhi and is linked to that icon on the Theme page.
1
aisi kuchh zindagiyaaN haiN jinheN milta hai sabaat1
ye jahaaN2 yuN to jahaan-e guzaraaN3 hota hai 1.permanence, immortality 2.world 3.passing, fleeting
There are a few lives that achieve immortality. Otherwise, this is a world of fleeting existence. It is only people like gandhi who achieve immortality.
2
jo sitaara bhi chamakta hai sar-e arsh1-e Khayaal2
chand3 lamhoN4 ke liye noor-fashaaN5 hota hai 1.sky, heaven 2.thought, imagination 3.a few 4.moments 5.light spreading
Any star that shines in the sky, spreads light but for a few moments, but it is ‘non-showy/substantive’ lives like gandhi that achieve immortality.
3
husn aashob1-e jahaaN2 hai magar3 is ke ba-vasf4
kuchh hi muddat5 ke liye aafat6-e jaaN hota hai 1.calamity, conquering, destroying 2.world 3.but 4.inspite of 5.time, period
Beauty conquers the world, but in spite of its conquest its effect is shortlived. Once again, the emphasis turns back towards the immortality of gandhian thought. Its conquest of the world is long lasting (or so gopal mittal thought, until proven wrong by the current conditions).
4
maiN nahiN mahram1-e asraar2-e mashiyyat3 laikin
basaa-auqaat4 mere dil ko gumaaN5 hota hai 1.familiar, intimate 2.secrets, meanings 3.god’s will 4.sometimes 5.suspicion
I am not familiar with the secrets of nature (of the divine) but sometimes I have a suspiction that …
5
tuu ne az-Khud1 hi usay chhiin liya tha baRh kar
malak-ul-maut2 pe jo lamha3 giraaN4 hota hai 1.by yourself 2.angel of death 3.moment 4.heavy, difficult
… you yourselves stepped forward and seized that moment that was hard even for the angel of death i.e., gandhi was willing to lay down his life at the critical moment.
6
‘‘aaN-che1 KhoobaaN2 hama-daarand3 tu tanha4 daari5’’
aaj is misre6 ka mafhoom7 ayaaN8 hota hai 1.everything that 2.good people 3.all (goodness) have/posses 4.alone, by yourself 5.have, possess 6.one line of a she’r 7.meaning 8.revealed, apparent
The first misra is a quote of a faarsi she’r of amir Khusro …
sheva o shakl o shamaa’el o harkaat o sakanaat
aaN-che KhoobaaN hama-daarand tu tanha daari
All the goodness that all good people possess, you (gandhi) possessed by yourself i.e., all goodness was collected in you. Today, the meaning of this line is revealed.
7
aasmaaN hairati1-e azmat2-e insaaN ban kar
auj3 se jaanib4-e pasti5 nigaraaN6 hota hai 1.amazed 2.greatness 3.heights 4.towards 5.lowlands, earth 6.to see, set sight towards
The sky, amazed at the greatness of humans, from its heights, looks at the earth (because of the greatness of gandhi).
8
sochta hai keh maiN ab manb’a1-e ilhaam2 nahiN
chashma3-e faiz4 to dharti se ravaaN5 hota hai 1.fountainhead, source 2.revelations (of wisdom/goodness) 3.spring, source 4.benevolence/goodness 5.flows
The sky in its amazement thinks that it is no longer the only source of goodness. The spring of benevolence/goodness now flows from the earth.
9
kya Thikaane1 se lagi hai teri kishti-e hayaat2
tujh ko m’aloom3 tha jo masraf4-e jaaN hota hai 1.place, goal 2.life 3.knowledge 4.use
The boat of your life has found such a wonderful resting place (achieving its goal). You knew the real meaning of the use of life (in service of humanity).
gopal mittal (1901-1993), maalerkoTla, punjab. College in lahore. Later, lived in dehli as a poet, writer and editor of literary magazine. His usual style is to write intellectual, agnostic and irreverant Ghazal/nazm. This is a beautiful tribute to gandhi and is linked to that icon on the Theme page.
1
aisi kuchh zindagiyaaN haiN jinheN milta hai sabaat1
ye jahaaN2 yuN to jahaan-e guzaraaN3 hota hai
1.permanence, immortality 2.world 3.passing, fleeting
There are a few lives that achieve immortality. Otherwise, this is a world of fleeting existence. It is only people like gandhi who achieve immortality.
2
jo sitaara bhi chamakta hai sar-e arsh1-e Khayaal2
chand3 lamhoN4 ke liye noor-fashaaN5 hota hai
1.sky, heaven 2.thought, imagination 3.a few 4.moments 5.light spreading
Any star that shines in the sky, spreads light but for a few moments, but it is ‘non-showy/substantive’ lives like gandhi that achieve immortality.
3
husn aashob1-e jahaaN2 hai magar3 is ke ba-vasf4
kuchh hi muddat5 ke liye aafat6-e jaaN hota hai
1.calamity, conquering, destroying 2.world 3.but 4.inspite of 5.time, period
Beauty conquers the world, but in spite of its conquest its effect is shortlived. Once again, the emphasis turns back towards the immortality of gandhian thought. Its conquest of the world is long lasting (or so gopal mittal thought, until proven wrong by the current conditions).
4
maiN nahiN mahram1-e asraar2-e mashiyyat3 laikin
basaa-auqaat4 mere dil ko gumaaN5 hota hai
1.familiar, intimate 2.secrets, meanings 3.god’s will 4.sometimes 5.suspicion
I am not familiar with the secrets of nature (of the divine) but sometimes I have a suspiction that …
5
tuu ne az-Khud1 hi usay chhiin liya tha baRh kar
malak-ul-maut2 pe jo lamha3 giraaN4 hota hai
1.by yourself 2.angel of death 3.moment 4.heavy, difficult
… you yourselves stepped forward and seized that moment that was hard even for the angel of death i.e., gandhi was willing to lay down his life at the critical moment.
6
‘‘aaN-che1 KhoobaaN2 hama-daarand3 tu tanha4 daari5’’
aaj is misre6 ka mafhoom7 ayaaN8 hota hai
1.everything that 2.good people 3.all (goodness) have/posses 4.alone, by yourself 5.have, possess 6.one line of a she’r 7.meaning 8.revealed, apparent
The first misra is a quote of a faarsi she’r of amir Khusro …
sheva o shakl o shamaa’el o harkaat o sakanaat
aaN-che KhoobaaN hama-daarand tu tanha daari
All the goodness that all good people possess, you (gandhi) possessed by yourself i.e., all goodness was collected in you. Today, the meaning of this line is revealed.
7
aasmaaN hairati1-e azmat2-e insaaN ban kar
auj3 se jaanib4-e pasti5 nigaraaN6 hota hai
1.amazed 2.greatness 3.heights 4.towards 5.lowlands, earth 6.to see, set sight towards
The sky, amazed at the greatness of humans, from its heights, looks at the earth (because of the greatness of gandhi).
8
sochta hai keh maiN ab manb’a1-e ilhaam2 nahiN
chashma3-e faiz4 to dharti se ravaaN5 hota hai
1.fountainhead, source 2.revelations (of wisdom/goodness) 3.spring, source 4.benevolence/goodness 5.flows
The sky in its amazement thinks that it is no longer the only source of goodness. The spring of benevolence/goodness now flows from the earth.
9
kya Thikaane1 se lagi hai teri kishti-e hayaat2
tujh ko m’aloom3 tha jo masraf4-e jaaN hota hai
1.place, goal 2.life 3.knowledge 4.use
The boat of your life has found such a wonderful resting place (achieving its goal). You knew the real meaning of the use of life (in service of humanity).
The post gandhi-gopal mittal appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/mpch-yug-purush-gandhi-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
یُگ پُرُش۔گاندھی۔مہندر پرتاپ چاندؔ
۱
ضیا فروش ہوئی تیری شمع مہر و وفا
چراغِ جور و تشدّد بڑھا دیا تو نے
۲
ترے پیام میں تھا کیا حیات بخش اثر
جمُود خُوردہ دلوں کو جِلا دیا تُو نے
۳
وطن میں اہلِ تعصُب کی دال گَل نہ سکی
وہ سکّہ صِدق و صفا کا چلا دیا تُو نے
۴
مُخالفوں کے لئے بھی دعائے رحمت کی
کوئی یہ دیکھے تو کیا لے کے کیا دیا تُو نے
۵
گلے سے تو نے لگایا ہر ایک دشمن کو
عمل سے پیار کا جادو جگا دیا تو نے
۶
ترے قلم سے گہر تو زباں سے پھول جھڑے
ایک ایک لفظ نگینہ بنا دیا تو نے
۷
حسد سے، کینے سے، نفرت سے، تجھ کو نفرت تھی
غرض یہ، امن سے، اُلفت سے، تجھ کو اُلفت تھی
۸
زمانہ آج ترا احترام کرتا ہے
جھکا کے سر تجھے ہر دل سلام کرتا ہے
युग पुरुष-गांधी-महेंद्र प्रताप चांद
१
ज़्या-फ़रोश हुई तेरी शम’अ-ए महर ओ वफ़ा
चराग़-ए जौर ओ तशद्दुद बढा दिया तू ने
२
तेरे पयाम में था क्या हयात बख़्श असर
जुमूद-ख़ुर्दा दिलौं को जिला दिया तू ने
३
वतन में अहल-ए त’अस्सुब की दाल गल न सकी
वो सिक्का सिद्क़ ओ सफ़ा का चला दिया तू ने
४
मुख़ालफ़ौं के लिये भी दुआ-ए रहमत की
कोई ये देखे तो क्या ले के क्या दिया तू ने
५
गले से तू ने लगाया हर एक दुश्मन को
अमल से प्यार का जादू जगा दिया तू ने
६
तेरे क़लम से गोहर तो ज़बां से फूल झढे
एक एक लफ़्ज़ नगीना बना दिया तू ने
७
हसद से, कीने से, नफ़्रत से, तुझ को नफ़्रत थी
ग़रज़ ये, अम्न से, उल्फ़त से, तुझ को उल्फ़त थी
८
ज़माना आज तेरा एहतेराम करता है
झुका के सर तुझे हर दिल सलाम करता है
Click here for background and on any passage for word meanings and explanatory discussion. mahendra pratap chaand (1935-????) karoR lal eesan, punjab. MA in urdu and another MA in Library Science. Migrated to ambaala, India. Assistant Librarian, Kurkshetra University. haryana urdu akademi award. He retained a great love for his birth land and went back for a visit writing his travelogue in urdu which was translated in English ‘A Bond of Love – My Passage to Pakistan’. This tribute to gandhi is linked to that icon on the Theme page.
1
zia-farosh1 hui teri sham’a2-e mahr3 o vafa4
charaaGh5-e jaur6 o tashaddud7 baRha8 diya tuu ne 1.light providing 2.candle 3.kindness, love 4.faith, fidelity, truth 5.lamp 6.cruelty 7.oppression 8.dismissed
I am a little uncomfortable with the use of ‘charaaGh-e jaur’ because usually ‘charaaGh’ is associated with good things. Also, baRha diya can literally mean increase but I am interpreting it to mean move away/dismiss. Thus, your candle of love and truth provided light and dismissed the lamp of cruelty/injustice and oppression.
2
tere payaam1 meN tha kya hayaat-baKhsh2 asar3
jumood-Khurda4 diloN ko jila5 diya tuu ne 1.message 2.life-giving 3.effect 4.frozen 5.brilliance
Your life-giving message had such an effect that it woke up forzen hearts and polished them to grant brilliance.
3
vatan1 meN ahl2-e ta’assub3 ki daal gal4 na saki
vo sikka5 sidq6 o safa7 ka chala diya tuu ne 1.homeland 2.people of 3.bigotry 4.daal galna is an expression meaning- to get their way 5.coin, currency 6.truth 7.purity
Bigoted way could not get their way in the homeland. Such was the currency of truth and purity that you caused to prevail.
4
muKhaalifoN1 ke liye bhi dua-e rahmat2 ki
koi ye dekhe to kya le ke kya diya tuu ne 1.opponents 2.forgiveness
You even prayed for the forgiveness of the opponents. See what you took from this world and what you gave back.
5
galay1 se tu ne lagaaya har ek dushman2 ko
amal3 se pyaar ka jaadu jaga diya tuu ne 1.galay se lagaana is to embrace 2.enemy 3.actions
You even embraced the enemy. With your actions you worked the magic of love.
6
tere qalam1 se gohar2 to zabaaN se phool jhaRe
ek ek lafz nagiina3 bana diya tuu ne 1.pen 2.pearls 3.jewel
Pearls dropped from your pen and flowers from your tongue. You turned every word into a precious jewel.
7
hasad1 se, kiine2 se, nafrat3 se, tujh ko nafrat thi
Gharaz4 ye, amn5 se, ulfat6 se, tujh ko ulfat thi 1.jealousy 2.enmity 3.hatred 4.in summary 5.peace 6.love
You hated jealousy, enmity and hatred. In summary, you loved peace and love.
8
zamaana1 aaj tera ehteraam2 karta hai
jhuka ke sar tujhe har dil salaam karta hai 1.times, world 2.respect
The world respects you today, bowing its head to offer salutations.
mahendra pratap chaand (1935-????) karoR lal eesan, punjab. MA in urdu and another MA in Library Science. Migrated to ambaala, India. Assistant Librarian, Kurkshetra University. haryana urdu akademi award. He retained a great love for his birth land and went back for a visit writing his travelogue in urdu which was translated in English ‘A Bond of Love – My Passage to Pakistan’. This tribute to gandhi is linked to that icon on the Theme page.
1
zia-farosh1 hui teri sham’a2-e mahr3 o vafa4
charaaGh5-e jaur6 o tashaddud7 baRha8 diya tuu ne
1.light providing 2.candle 3.kindness, love 4.faith, fidelity, truth 5.lamp 6.cruelty 7.oppression 8.dismissed
I am a little uncomfortable with the use of ‘charaaGh-e jaur’ because usually ‘charaaGh’ is associated with good things. Also, baRha diya can literally mean increase but I am interpreting it to mean move away/dismiss. Thus, your candle of love and truth provided light and dismissed the lamp of cruelty/injustice and oppression.
2
tere payaam1 meN tha kya hayaat-baKhsh2 asar3
jumood-Khurda4 diloN ko jila5 diya tuu ne
1.message 2.life-giving 3.effect 4.frozen 5.brilliance
Your life-giving message had such an effect that it woke up forzen hearts and polished them to grant brilliance.
3
vatan1 meN ahl2-e ta’assub3 ki daal gal4 na saki
vo sikka5 sidq6 o safa7 ka chala diya tuu ne
1.homeland 2.people of 3.bigotry 4.daal galna is an expression meaning- to get their way 5.coin, currency 6.truth 7.purity
Bigoted way could not get their way in the homeland. Such was the currency of truth and purity that you caused to prevail.
4
muKhaalifoN1 ke liye bhi dua-e rahmat2 ki
koi ye dekhe to kya le ke kya diya tuu ne
1.opponents 2.forgiveness
You even prayed for the forgiveness of the opponents. See what you took from this world and what you gave back.
5
galay1 se tu ne lagaaya har ek dushman2 ko
amal3 se pyaar ka jaadu jaga diya tuu ne
1.galay se lagaana is to embrace 2.enemy 3.actions
You even embraced the enemy. With your actions you worked the magic of love.
6
tere qalam1 se gohar2 to zabaaN se phool jhaRe
ek ek lafz nagiina3 bana diya tuu ne
1.pen 2.pearls 3.jewel
Pearls dropped from your pen and flowers from your tongue. You turned every word into a precious jewel.
7
hasad1 se, kiine2 se, nafrat3 se, tujh ko nafrat thi
Gharaz4 ye, amn5 se, ulfat6 se, tujh ko ulfat thi
1.jealousy 2.enmity 3.hatred 4.in summary 5.peace 6.love
You hated jealousy, enmity and hatred. In summary, you loved peace and love.
8
zamaana1 aaj tera ehteraam2 karta hai
jhuka ke sar tujhe har dil salaam karta hai
1.times, world 2.respect
The world respects you today, bowing its head to offer salutations.
The post yug purush gandhi-mahendra pratap chaand appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/lrjm-mahatma-gandhi-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مہاتما گاندھی ۔ لبھو رام جوشؔ ملسیانی
۱
رہنما اس دیس میں آنے کو آئے سیکڑوں
اپنے میٹھے بول دنیا کو سُنائے سیکڑوں
۲
روحِ اِنساں ہی پہ لیکن بحث فرماتے رہے
زندگی بھر ایک اِسی نکتے کو سمجھاتے رہے
۳
سامنے اُن کے تھا آزادی کا پہلو ایک ہی
راحتِ تسکینِ دل کی تھی ترازو ایک ہی
۴
شیخ بھی ہم کو یہی اَسرار سمجھاتا رہا
گیت مندر میں برہمن بھی یہی گاتا رہا
۵
روح کو آزاد کرنا ہی رہا پیشِ نظر
جسم پر چھریاں چلیں اس کا نہ تھا دل پر اثر
۶
تھی اہنسا بھی فقط راہِ حقیقت کے لئے
آج تک برتا نہ تھا اُس کو سیاست کے لئے
۷
وہ فقط گاندھی تھا یہ اعجاز جس نے کر دیا
روح کے ہر نقش میں رنگِ سیاست بھر دیا
۸
روح کی تنہارَوی بھی اس نے یکسر چھوڑ دی
جسم کی بھی اُس نے زنجیرِ غلامی توڑ دی
महातमा गांधी – लभु राम जोश मल्सियानी
१
रहनुमा इस देस में आने को आए सैंक्ड़ों
अपने मीठे बोल दुनिया को सुनाए सैंक्ड़ों
२
रूह-ए इंसां पर हि लैकिन बहस फ़र्माते रहे
ज़िंदगी भर एक इसी नुक्ते को समझाते रहे
३
सामने उनके था आज़ादी का पहलू एक ही
राहत-ए तस्कीन-ए दिल की थी तराज़ू एक ही
४
शैख़ भी हम को यही अस्रार समझाता रहा
गीत मंदिर में बरहमन भी यही गाता रहा
५
रूह को आज़ाद करना ही रहा पेश-ए नज़र
जिस्म पर छुरियां चलीं उस का न था दिल पर असर
६
थी अहिंसा भी फ़क़त राह-ए हक़ीक़त के लिये
आज तक बर्ता न था उस को सियासत के लिये
७
वो फ़क़त गांधी था ये एजाज़ जिस ने कर दिया
रूह के हर नक़्श में रंग-ए सियासत भर दिया
८
रूह की तन्हा-रवी भी उस ने यक्सर छोढ दी
जिस्म की भी उस ने ज़ंजीर-ए ग़ुलामी तोढ दी
Click here for background and on any passage for word meanings and explanatory discussion. panDit labhuram josh malsiani (1884-1976) from malsian in the now pakistani side of punjab, migrated to India a little before partition/independence. He has written with great feeling about communal harmony and about the loss of his homeland – pakistan. His son, baalmukund arsh malsiani was also a well recognized poet. This tribute to gandhi is linked to the icon on the Theme page.
1
rahnuma1 is des meN aane ko aaye saiNkRoN
apne meeThe bol duniya ko sunaaye saiNkRoN 1.guide, leader
It is right say that thousands of leaders/guides came to this land and spoke sweet words.
2
rooh1-e insaaN par hi laikin bahas2 farmaate3 rahe
zindagi bhar ek isi nukte4 ko samjhaate rahe 1.soul 2.discourse 3.offer 4.point of view
But the only discourse they offered was about the human soul. This is the only point they tried to explain all life long.
3
saamne unke tha aazaadi1 ka pahlu2 ek hi
raahat3-e taskiiin4-e dil ki thi taraazu5 ek hi 1.freedom 2.point of view, angle 3.comfort 4.tranquility 5.balance, measure
For them the only point of view of freedom was this (freedom of the soul). This was their only measure of comfort and tranquility of the heart.
4
shaiKh bhi ham ko yahi asraar1 samjhaata raha
geet mandir meN barhaman bhi yahi gaata raha 1.mysteries
The muslim preacher too explained only these mysteries. The brahman also sang these hymns in the temple.
5
rooh1 ko aazaad2 karna hi raha pesh3-e nazar4
jism5 par chhuriyaaN chaliiN us ka na tha dil par asar6 1.soul 2.free 3.in front of, before 4.eyes, sight 5.body 6.effect
The only concern before them was the freedom of the soul. The body wounded and cut up with knives was of no concern to them.
6
thi ahimsa1 bhi faqat2 raah3-e haqiiqat4 ke liye
aaj tak barta5 na tha us ko siyaasat6 ke liye 1.non-violence, penance 2.only 3.path 4.truth 5.used 6.politics, public policy
Even penance was used only in the path (search for) of truth. To this day no one had used it for public policy. I interpret this to mean bringing ethics and morality to politics.
7
vo faqat1 gandhi tha ye e’jaaz2 jis ne kar diya
rooh3 ke har naqsh4 meN raNg-e siyaasat5 bhar diya 1.only 2.miracle 3.soul 4.sign, marker 5.politics
It was gandhi’s miracle exclusively that he brought every angle of the soul to colour all aspects of politics i.e., it was gandhi who made ethics the basis of public policy.
8
rooh1 ki tanha-ravi2 bhi us ne yaksar3 chhoR di
jism4 ki bhi us ne zanjiir-e Ghulaami toR di 1.soul 2.lonely path, walking alone 3.completely 4.body
He completely gave up/rejected the isolation of the domain of the soul (from politics) and broke the chain of slavery.
panDit labhuram josh malsiani (1884-1976) from malsian in the now pakistani side of punjab, migrated to India a little before partition/independence. He has written with great feeling about communal harmony and about the loss of his homeland – pakistan. His son, baalmukund arsh malsiani was also a well recognized poet. This tribute to gandhi is linked to the icon on the Theme page.
1
rahnuma1 is des meN aane ko aaye saiNkRoN
apne meeThe bol duniya ko sunaaye saiNkRoN
1.guide, leader
It is right say that thousands of leaders/guides came to this land and spoke sweet words.
2
rooh1-e insaaN par hi laikin bahas2 farmaate3 rahe
zindagi bhar ek isi nukte4 ko samjhaate rahe
1.soul 2.discourse 3.offer 4.point of view
But the only discourse they offered was about the human soul. This is the only point they tried to explain all life long.
3
saamne unke tha aazaadi1 ka pahlu2 ek hi
raahat3-e taskiiin4-e dil ki thi taraazu5 ek hi
1.freedom 2.point of view, angle 3.comfort 4.tranquility 5.balance, measure
For them the only point of view of freedom was this (freedom of the soul). This was their only measure of comfort and tranquility of the heart.
4
shaiKh bhi ham ko yahi asraar1 samjhaata raha
geet mandir meN barhaman bhi yahi gaata raha
1.mysteries
The muslim preacher too explained only these mysteries. The brahman also sang these hymns in the temple.
5
rooh1 ko aazaad2 karna hi raha pesh3-e nazar4
jism5 par chhuriyaaN chaliiN us ka na tha dil par asar6
1.soul 2.free 3.in front of, before 4.eyes, sight 5.body 6.effect
The only concern before them was the freedom of the soul. The body wounded and cut up with knives was of no concern to them.
6
thi ahimsa1 bhi faqat2 raah3-e haqiiqat4 ke liye
aaj tak barta5 na tha us ko siyaasat6 ke liye
1.non-violence, penance 2.only 3.path 4.truth 5.used 6.politics, public policy
Even penance was used only in the path (search for) of truth. To this day no one had used it for public policy. I interpret this to mean bringing ethics and morality to politics.
7
vo faqat1 gandhi tha ye e’jaaz2 jis ne kar diya
rooh3 ke har naqsh4 meN raNg-e siyaasat5 bhar diya
1.only 2.miracle 3.soul 4.sign, marker 5.politics
It was gandhi’s miracle exclusively that he brought every angle of the soul to colour all aspects of politics i.e., it was gandhi who made ethics the basis of public policy.
8
rooh1 ki tanha-ravi2 bhi us ne yaksar3 chhoR di
jism4 ki bhi us ne zanjiir-e Ghulaami toR di
1.soul 2.lonely path, walking alone 3.completely 4.body
He completely gave up/rejected the isolation of the domain of the soul (from politics) and broke the chain of slavery.
The post mahatma gandhi-labhuram josh malsiani appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/jchh-sahl-tar-nahiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
سہل تر نہیں ۔ جئے کرشن جودھری حبیبؔ
۱
مستِ شرابِ ناز پر شکوے کا کچھ اثر نہیں
میری خبر ہو کیا انہیں اپنی جنہیں خبر نہیں
۲
گردش روزگار سے خوف مجھے ہوا ہی کب
سیلِ الم سے بہہ سکے پہلو میں وہ جگر نہیں
۳
گود میں حادثات کے پل کے ہی میں جواں ہوا
وہ نہیں زندگی قبول جس میں کوئی خطر نہیں
۴
منزلِ عشق میں مجھے آئے تو سخت مرحلے
بڑھنا نہیں ہے سہل اگر رکنا بھی سہل تر نہیں
۵
میں ہوں یہاں بھی بیقرار تھا میں وہاں بھی بیقرار
دل کی دوا ادھر نہ تھی دل کی دوا ادھر نہیں
۶
گِھر کے گھٹا اُٹھی ابھی چَھٹ بھی گئی ابھی حبیبؔ
میری شبِ فراق کی دہر میں کیا سحر نہیں
सहल-तर नहीं – जय क्रिष्ण चौघरी हबीब
१
मस्त-ए शराब-ए नाज़ पर शिक्वे का कुछ असर नहीं
मेरी ख़बर हो क्या उन्हें अपनी जिन्हें ख़बर नहीं
२
गर्दिश-ए रोज़गार से ख़ौफ़ मुझे हुआ ही कब
सैल-ए अलम से बह सके पहलू में वो जिगर नहीं
३
गोद में हादसात के पल के ही मैं जवाँ हुआ
वो नहीं ज़िंदगी क़ुबूल जिस में कोई ख़तर नहीं
४
मंज़िल-ए इश्क़ में मुझे आए तो सख़्त मरहले
बढ़ना नहीं है सहल अगर रुकना भी सहल-तर नहीं
५
मैं हूँ यहाँ भी बे-क़रार था मैं वहाँ भी बे-क़रार
दिल की दवा उधर न थी दिल की दवा इधर नहीं
६
घिर के घटा उठी अभी छट भी गई अभी हबीब
मेरी शब-ए फ़िराक़ की दहर में क्या सहर नहीं
Click here for background and on any passage for word meanings and explanatory discussion. jaikishan chaudhry habiib (1904-xxxx), born in Dera ismail KhaaN, in pakistan. Lived in jabalpur. He was a scholar of sanskrit, English, faarsi and urdu, and was an active participant in the independence struggle, most notably with Khaan abdul Ghaffaar KhaaN. MA from aligaRh and later LLB, law practice 1929. He migrated to India after partition in 1947. IAS – Collector and later Education Secretary. Early retirement in 1960, but recalled later to serve three more years in jabalpur and retired there. In 1969 he served on Ghalib shataabdhi naagarik samiti which organized four ‘tarahi’ mushaa’era over that year and published a book. He composed several Ghazal in the style of Ghalib. Compared to many other shu’ara, he started composing rather late in life, 1947, affected by having to leave home and the death of his mother. He composed until 1972.
1
mast1-e sharaab-e naaz2 par shikve3 ka kuchh asar4 nahiN
meri Khabar5 ho kya unheN apni jinheN Khabar nahiN 1.intoxicated 2.coquetry 3.complaint 4.effect 5.awareness, concern
The beloved is intoxicated with her own beauty/coquetry and is totally oblivious of what she is putting the poet/lover through. He might complain, but he says she is so absorbed in herself that his complaint will have no effect. How can she be concerned about me, when she is not even aware of herself.
2
gardish-e-rozgaar1 se Khauf2 mujhe hua hi kab
sail3-e alam4 se bah sake pahlu5 meN vo jigar6 nahiN 1.problems of daily life, vicissitudes of time 2.fear 3.flood 4.sorrows 5.side, bosom 6.liver-seat of courage, brave heart
When did I fear the problems of life. The brave heart in my bosom is not one that would drown in a flood of sorrow.
3
god1 meN haadsaat2 ke pal3 ke hi maiN javaaN4 hua
vo nahiN zindagi qubuul5 jis meN koi Khatar6 nahiN 1.lap 2.calamities, misfortunes 3.nurtured 4.youth 5.acceptable 6.danger
I attained youth being raised in the lap of misfortune. I do not accept a life in which there is no danger/difficulty.
4
manzil1-e ishq meN mujhe aaye to saKht2 marhale3
baRhna nahiN hai sahl4 agar5 rukna bhi sahl-tar6 nahiN 1.destination, goal 2.hard 3.difficulties, obstacles 4.easy 5.if 6.easier
On the path to my desired destination, I faced many tough obstacles. If going forward was not easy, stopping/giving up was not easier either.
5
maiN huN yahaaN bhi be-qaraar1 tha maiN vahaaN bhi be-qaraar
dil ki dava udhar na thi dil ki dava idhar nahiN 1.restless, dissatisfied
This is probably a political statement from a poet who was politically very active during his youth. Also, the ‘yahaaN’ and ‘vahaaN’ are most probably about pakistan (where he grew up) and India (where he migrated after 1947). In neither place has social justice been done. I was not happy there, I am restless here also. A similar experience of loss of home lead qamar jalalavi to say …
yahaaN taNgi-e qafas hai, vahaaN fikr-e aashiyaanana yahaaN mera Thikaana, na vahaaN mera Thikaana
6
ghir1 ke ghaTa2 uThi abhi chhaT3 bhi gaii abhi habib4
meri shab5-e firaaq6 ki dahr7 meN kya sahar8 nahiN 1.swirling 2.dark clouds 3.dispersed 4.pen-name of the poet 5.night 5.separation, deprivation 7.world 8.dawn
This she’r also has political implications. ‘ghaTa-rain clouds’ are symbolic of spring; ‘shab-e firaaq’ is symbolic of deprivation and injustice; ‘sahar’ is the dawn of social justice. Thus, spring has come and gone. Is there not dawn for my night of darkness!
jaikishan chaudhry habiib (1904-xxxx), born in Dera ismail KhaaN, in pakistan. Lived in jabalpur. He was a scholar of sanskrit, English, faarsi and urdu, and was an active participant in the independence struggle, most notably with Khaan abdul Ghaffaar KhaaN. MA from aligaRh and later LLB, law practice 1929. He migrated to India after partition in 1947. IAS – Collector and later Education Secretary. Early retirement in 1960, but recalled later to serve three more years in jabalpur and retired there. In 1969 he served on Ghalib shataabdhi naagarik samiti which organized four ‘tarahi’ mushaa’era over that year and published a book. He composed several Ghazal in the style of Ghalib. Compared to many other shu’ara, he started composing rather late in life, 1947, affected by having to leave home and the death of his mother. He composed until 1972.
1
mast1-e sharaab-e naaz2 par shikve3 ka kuchh asar4 nahiN
meri Khabar5 ho kya unheN apni jinheN Khabar nahiN
1.intoxicated 2.coquetry 3.complaint 4.effect 5.awareness, concern
The beloved is intoxicated with her own beauty/coquetry and is totally oblivious of what she is putting the poet/lover through. He might complain, but he says she is so absorbed in herself that his complaint will have no effect. How can she be concerned about me, when she is not even aware of herself.
2
gardish-e-rozgaar1 se Khauf2 mujhe hua hi kab
sail3-e alam4 se bah sake pahlu5 meN vo jigar6 nahiN
1.problems of daily life, vicissitudes of time 2.fear 3.flood 4.sorrows 5.side, bosom 6.liver-seat of courage, brave heart
When did I fear the problems of life. The brave heart in my bosom is not one that would drown in a flood of sorrow.
3
god1 meN haadsaat2 ke pal3 ke hi maiN javaaN4 hua
vo nahiN zindagi qubuul5 jis meN koi Khatar6 nahiN
1.lap 2.calamities, misfortunes 3.nurtured 4.youth 5.acceptable 6.danger
I attained youth being raised in the lap of misfortune. I do not accept a life in which there is no danger/difficulty.
4
manzil1-e ishq meN mujhe aaye to saKht2 marhale3
baRhna nahiN hai sahl4 agar5 rukna bhi sahl-tar6 nahiN
1.destination, goal 2.hard 3.difficulties, obstacles 4.easy 5.if 6.easier
On the path to my desired destination, I faced many tough obstacles. If going forward was not easy, stopping/giving up was not easier either.
5
maiN huN yahaaN bhi be-qaraar1 tha maiN vahaaN bhi be-qaraar
dil ki dava udhar na thi dil ki dava idhar nahiN
1.restless, dissatisfied
This is probably a political statement from a poet who was politically very active during his youth. Also, the ‘yahaaN’ and ‘vahaaN’ are most probably about pakistan (where he grew up) and India (where he migrated after 1947). In neither place has social justice been done. I was not happy there, I am restless here also. A similar experience of loss of home lead qamar jalalavi to say …
yahaaN taNgi-e qafas hai, vahaaN fikr-e aashiyaanana yahaaN mera Thikaana, na vahaaN mera Thikaana
6
ghir1 ke ghaTa2 uThi abhi chhaT3 bhi gaii abhi habib4
meri shab5-e firaaq6 ki dahr7 meN kya sahar8 nahiN
1.swirling 2.dark clouds 3.dispersed 4.pen-name of the poet 5.night 5.separation, deprivation 7.world 8.dawn
This she’r also has political implications. ‘ghaTa-rain clouds’ are symbolic of spring; ‘shab-e firaaq’ is symbolic of deprivation and injustice; ‘sahar’ is the dawn of social justice. Thus, spring has come and gone. Is there not dawn for my night of darkness!
The post sahl-tar nahiN-jaikrishn chaudhry habiib appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/jkchh-kuchh-paa-bhi-gaye-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کچھ پا بھی گئے ۔ جئے کرشن چودھری حبیبؔ
۱
اُلفت کے فسانے ماضی کے، کچھ بھولے کچھ یاد آ بھی گئے
غم کے بادل دل پہ مرے، کچھ چھٹ بھی گئے کچھ چھا بھی گئے
۲
جب عشق کی وادی میں ہم تم، لے کر ہاتھوں میں ہاتھ چلے
گو خار بھی الجھے دامن میں، کچھ لمحے گل برسا بھی گئے
۳
جب رازِ محبت مجھ سے سنا، کچھ وہ بھی پسیجے دم بھر کو
چپ رہتے ہوئے کچھ کہہ بھی گئے، اور کہتے ہوئے کترا بھی گئے
۴
بازی میں محبت کی اکثر، کچھ مرحلے ایسے آئے ہیں
جب جیت کے بھی ہم ہار گئے، اور ہار کے ہم کچھ پا بھی گئے
۵
وہ آئے اور کچھ حال نہ پوچھا، دل کا درد بھی کچھ نہ سنا
یوں دیکھ کہ ان کو دل کے کنول، کچھ کھل بھی گئے مرجھا بھی گئے
۶
اُلجھی سی ہیں عشق کی راہیں، جوکھم سی کچھ عشق کی منزل
ان راہوں میں کچھ کھو بھی گئے، اور منزل کو کچھ پا بھی گئے
۷
گو لاکھ جتن ہم نے بھی کئے، پر قلب کی تسکیں ہو نہ سکی
ارمانوں سے دل خالی نہ ہوا، کچھ گُھٹ بھی گئے کچھ پا بھی گئے
۸
کیا جانے ہم کیا کہہ بیٹھے، وہ کہہ نہ سکے جو کہنا تھا
ہم پیار کے تانے بانے کو، سلجھا بھی گئے الجھا بھی گئے
۹
یہ حسن کی مستی ان کی حبیبؔ، یہ کیا ہی انوکھی مستی ہے
کچھ خود بھی ہوئے بے خود اس سے، کچھ بے خود ہم کو بنا بھی گئے
कुछ पा भी गए – जयक्रिष्ण चौघरी हबीब
१
उल्फ़त के फ़साने माज़ी के कुछ भूले कुछ याद आ भी गए
ग़म के बादल दिल पे मेरे कुछ छट भी गए कुछ छा भी गए
२
जब इश्क़ की वादी में हम तुम ले कर हाथों में हाथ चले
गो ख़ार भी उलझे दामन में कुछ लम्हे गुल बरसा भी गए
३
जब राज़-ए मोहब्बत मुझ से सुना कुछ वो भी पसीजे दम भर को
चुप रहते हुए कुछ कह भी गए और कहते हुए कतरा भी गए
४
बाज़ी में मोहब्बत की अक्सर कुछ मरहले ऐसे आए हैं
जब जीत के भी हम हार गए और हार के हम कुछ पा भी गए
५
वो आए और कुछ हाल न पूछा दिल का दर्द भी कुछ न सुना
यूँ देख के उन को दिल के कँवल कुछ खिल भी गए मुरझा भी गए
६
उलझी सी हैं इश्क़ की राहें जोखम सी कुछ इश्क़ की मंज़िल
इन राहों में कुछ खो भी गए और मंज़िल को कुछ पा भी गए
७
गो लाख जतन हम ने भी किए पर क़ल्ब की तस्कीं हो न सकी
अरमानों से दिल ख़ाली न हुआ कुछ घुट भी गए कुछ पा भी गए
८
क्या जाने हम क्या कह बैठे वो कह न सके जो कहना था
हम प्यार के ताने-बाने को सुलझा भी गए उलझा भी गए
९
ये हुस्न की मस्ती उन की हबीब ये क्या ही अनोखी मस्ती है
कुछ ख़ुद भी हुए बे-ख़ुद उस से कुछ बे-ख़ुद हम को बना भी गए
Click here for background and on any passage for word meanings and explanatory discussion. jaikishan chaudhry habiib (1904-xxxx), born in Dera ismail KhaaN, in pakistan. Lived in jabalpur. He was a scholar of sanskrit, English, faarsi and urdu, and was an active participant in the independence struggle, most notably with Khaan abdul Ghaffaar KhaaN. MA from aligaRh and later LLB, law practice 1929. He migrated to India after partition in 1947. IAS – Collector and later Education Secretary. Early retirement in 1960, but recalled later to serve three more years in jabalpur and retired there. In 1969 he served on Ghalib shataabdhi naagarik samiti which organized four ‘tarahi’ mushaa’era over that year and published a book. He composed several Ghazal in the style of Ghalib. This one from his collection ‘naGhma-e zindagi’.
1
ulfat1 ke fasaane2 maazi3 ke kuchh bhoole kuchh yaad aa bhi gaye
Gham ke baadal dil pe mere kuchh chhaT4 bhi gaye kuchh chhaa bhi gaye 1.love 2.stories, memories 3.past 4.sort (discarded, dispersed)
Old memories of love, some forgotten, others emerging, clouds of sorrow, some disperse, others overwhelm.
2
jab ishq ki vaadi1 meN ham tum le kar haathoN meN haath chale
go2 Khaar3 bhi uljhe4 daaman5 meN kuchh lamhe6 gul7 barsaa bhi gaye 1.valley 2.even though 3.thorns 4.entangled 5.hem of the robe 6.moments 7.rose
When in the valley of love, we set out on our journey, hand in hand, even though the path was thorny, some moments though showered rose-petals on us.
3
jab raaz1-e mohabbat mujh se suna kuchh vo bhi pasiije2 dam bhar ko
chup rahte hue kuchh kah bhi gaye aur kahte hue katraa3 bhi gaye 1.secret 2.softened 3.avoid, pass by
When I revealed my secret love for her, she softened for a moment and with her silence spoke volumes, and in speaking, avoided the subject.
4
baazi1 meN mohabbat ki aksar2 kuchh marhale3 aise aaye haiN
jab jiit ke bhi ham haar gaye aur haar ke ham kuchh paa bhi gaye 1.play, move (as in chess) 2.often 3.stages, occasions
In the game of love, there are occasions when, by winning we lose and by losing we gain something.
5
vo aaye aur kuchh haal1 na poochha dil ka dard bhi kuchh na sunaa
yuN dekh ke un ko dil ke kaNval kuchh khil2 bhi gaye murjhaa3 bhi gaye 1.condition 2.blossomed 3.wilted
She came but never asked about my condition, not did she stop to listen to the sorrow of my heart. Seeing her, my heart blossomed and also wilted.
6
uljhi1 si haiN ishq ki raaheN2 jokham3 si kuchh ishq ki manzil4
in raahoN meN kuchh kho bhi gaye aur manzil ko kuchh4 paa bhi gaye 1.tangled, twisted 2.pathways 3.dangerous, hazardous 4.a little, sometimes
The path of love is not straight and the destination, hazardous. On these pathways, some get lost, and some achieve their goal.
7
go1 laakh jatan2 ham ne bhi kiye par qalb3 ki taskiiN4 ho na saki
armaanoN5 se dil Khaali na hua kuchh ghuT6 bhi gaye kuchh paa bhi gaye
1.even though 2.effort, try 3.heart 4.consolation 5.desires Even though I tried hard, the heart could not be consoled, desires remained in the heart, some suffocated, some fulfilled.
8
kya jaane ham kya kah baiThe vo kah na sake jo kahnaa tha
ham pyaar ke taane-baane1 ko suljhaa2 bhi gaye uljhaa3 bhi gaye 1.cross-threads in cloth weaving 2.solve, straightened 3.tangled
Who knows what I ended up saying, I could not say what I wanted to. The fabric of love, I sometimes wove straight, and got it tangled sometimes.
9
ye husn1 ki masti2 un ki habib3 ye kya hi anokhi4 masti hai
kuchh Khud bhi hue be-Khud5 us se kuchh be-Khud ham ko banaa bhi gaye 1.beauty 2.intoxication 3.pen-name of the poet 4.unusual, extraordinary 5.intoxicated
The intoxication of her beauty, O habib, is a singular intoxication, she gets a little intoxicated with it herself and makes me lose my mind too.
jaikishan chaudhry habiib (1904-xxxx), born in Dera ismail KhaaN, in pakistan. Lived in jabalpur. He was a scholar of sanskrit, English, faarsi and urdu, and was an active participant in the independence struggle, most notably with Khaan abdul Ghaffaar KhaaN. MA from aligaRh and later LLB, law practice 1929. He migrated to India after partition in 1947. IAS – Collector and later Education Secretary. Early retirement in 1960, but recalled later to serve three more years in jabalpur and retired there. In 1969 he served on Ghalib shataabdhi naagarik samiti which organized four ‘tarahi’ mushaa’era over that year and published a book. He composed several Ghazal in the style of Ghalib. This one from his collection ‘naGhma-e zindagi’.
1
ulfat1 ke fasaane2 maazi3 ke kuchh bhoole kuchh yaad aa bhi gaye
Gham ke baadal dil pe mere kuchh chhaT4 bhi gaye kuchh chhaa bhi gaye
1.love 2.stories, memories 3.past 4.sort (discarded, dispersed)
Old memories of love, some forgotten, others emerging, clouds of sorrow, some disperse, others overwhelm.
2
jab ishq ki vaadi1 meN ham tum le kar haathoN meN haath chale
go2 Khaar3 bhi uljhe4 daaman5 meN kuchh lamhe6 gul7 barsaa bhi gaye
1.valley 2.even though 3.thorns 4.entangled 5.hem of the robe 6.moments 7.rose
When in the valley of love, we set out on our journey, hand in hand, even though the path was thorny, some moments though showered rose-petals on us.
3
jab raaz1-e mohabbat mujh se suna kuchh vo bhi pasiije2 dam bhar ko
chup rahte hue kuchh kah bhi gaye aur kahte hue katraa3 bhi gaye
1.secret 2.softened 3.avoid, pass by
When I revealed my secret love for her, she softened for a moment and with her silence spoke volumes, and in speaking, avoided the subject.
4
baazi1 meN mohabbat ki aksar2 kuchh marhale3 aise aaye haiN
jab jiit ke bhi ham haar gaye aur haar ke ham kuchh paa bhi gaye
1.play, move (as in chess) 2.often 3.stages, occasions
In the game of love, there are occasions when, by winning we lose and by losing we gain something.
5
vo aaye aur kuchh haal1 na poochha dil ka dard bhi kuchh na sunaa
yuN dekh ke un ko dil ke kaNval kuchh khil2 bhi gaye murjhaa3 bhi gaye
1.condition 2.blossomed 3.wilted
She came but never asked about my condition, not did she stop to listen to the sorrow of my heart. Seeing her, my heart blossomed and also wilted.
6
uljhi1 si haiN ishq ki raaheN2 jokham3 si kuchh ishq ki manzil4
in raahoN meN kuchh kho bhi gaye aur manzil ko kuchh4 paa bhi gaye
1.tangled, twisted 2.pathways 3.dangerous, hazardous 4.a little, sometimes
The path of love is not straight and the destination, hazardous. On these pathways, some get lost, and some achieve their goal.
7
go1 laakh jatan2 ham ne bhi kiye par qalb3 ki taskiiN4 ho na saki
armaanoN5 se dil Khaali na hua kuchh ghuT6 bhi gaye kuchh paa bhi gaye
1.even though 2.effort, try 3.heart 4.consolation 5.desires
Even though I tried hard, the heart could not be consoled, desires remained in the heart, some suffocated, some fulfilled.
8
kya jaane ham kya kah baiThe vo kah na sake jo kahnaa tha
ham pyaar ke taane-baane1 ko suljhaa2 bhi gaye uljhaa3 bhi gaye
1.cross-threads in cloth weaving 2.solve, straightened 3.tangled
Who knows what I ended up saying, I could not say what I wanted to. The fabric of love, I sometimes wove straight, and got it tangled sometimes.
9
ye husn1 ki masti2 un ki habib3 ye kya hi anokhi4 masti hai
kuchh Khud bhi hue be-Khud5 us se kuchh be-Khud ham ko banaa bhi gaye
1.beauty 2.intoxication 3.pen-name of the poet 4.unusual, extraordinary 5.intoxicated
The intoxication of her beauty, O habib, is a singular intoxication, she gets a little intoxicated with it herself and makes me lose my mind too.
The post kuchh paa bhi gaye-jaikrishn chaudhry habiib appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/jkchh-mujhe-phir-safar-ki-talaash-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مجھے پھر سفر کی تلاش ہے ۔ جئے کرشن چودھری حبیبؔ
۱
وہ جو بے نیازِ جہاں کرے، مجھے اُس نظر کی تلاش ہے
جو تجھے بنا دے غم آشنا مجھے اُس اثر کی تلاش ہے
۲
نہ رہے جہاں پہ پہنچ کے پھر، کسی در پہ جانے کی آرزو
جہاں عشق کی بھی ہے آبرو، مجھے ایسے در کی تلاش ہے
۳
جہاں بکھری پیار کی داستاں، جہاں ذرّہ ذرّہ ہے آستاں
وہ مری زمیں مرا آسماں، اُسی رہ گزر کی تلاش ہے
۴
ہیں تجھی سے حسن کی شوخیاں، ہیں تجھی سے عشق کی گرمیاں
دلِ زندہ تیری تلاش ہی، مری عمر بھر کی تلاش ہے
۵
وہ بھی کیا مزے کی تھی زندگی، جو سفر سفر میں گزر گئی
نہیں منزلوں میں وہ دل کشی، مجھے پھر سفر کی تلاش ہے
۶
جہاں رقص میں ہو کِرن کِرن، جہاں غنچے چٹکیں چمن چمن
نظر آئے جس میں وہ سیم تن، مجھے اُس سحر کی تلاش ہے
۷
یہ تبسم ان کا تھا لٹ گیا، سرِ راہ دل کا یہ قافلہ
وہ جو بے خبر سا چلا گیا، اُسی بے خبر کی تلاش ہے
۸
جہاں درد و داغ کی جستجو، جہاں نت نئی نئی آرزو
کہ جسے تلاش سکوں نہیں، مجھے اس جگر کی تلاش ہے
मुझे फिर सफ़र की तलाश है – जय क्रिष्ण चौधरी हबीब
१
वो जो बे-नियाज़-ए जहाँ करे, मुझे उस नज़र की तलाश है
जो तुझे बना दे ग़म-आश्ना, मुझे उस असर की तलाश है
२
न रहे जहाँ पे पहुँच के फिर, किसी दर पे जाने की आर्ज़ू
जहाँ इश्क़ की भी है आब्रू, मुझे ऐसे दर की तलाश है
३
जहाँ बिखरी प्यार की दास्ताँ, जहाँ ज़र्रा ज़र्रा है आस्ताँ
वो मेरी ज़मीं मेरा आसमाँ, उसी रहगुज़र की तलाश है
४
हैं तुझी से हुस्न की शूख़ियाँ, हैं तुझी से इश्क़ की गर्मियाँ
दिल-ए ज़िंदा तेरी तलाश ही, मेरी उम्र भर की तलाश है
५
वो भी क्या मज़े की थी ज़िंदगी, जो सफ़र सफ़र में गुज़र गई
नहीं मंज़िलों में वो दिल-कशी, मुझे फिर सफ़र की तलाश है
६
जहाँ रक़्स में हो किरन किरन, जहाँ ग़ुंचे चटकें चमन चमन
नज़र आए जिस में वो सीम-तन, मुझे उस सहर की तलाश है
७
ये तबस्सुम उन का था लुट गया, सर-ए राह दिल का ये क़ाफ़ेला
वो जो बे-ख़बर सा चला गया, उसी बे-ख़बर की तलाश है
८
जहाँ दर्द-ओ-दाग़ की जुस्तुजू, जहाँ नित नई नई आरज़ू
के जिसे तलाश-ए सुकूँ नहीं, मुझे उस जिगर की तलाश है
Click here for background and on any passage for word meanings and explanatory discussion. jaikishan chaudhry habiib (1904-xxxx), born in Dera ismail KhaaN, in pakistan. Lived in jabalpur. He was a scholar of sanskrit, English, faarsi and urdu, and was an active participant in the independence struggle, most notably with Khaan abdul Ghaffaar KhaaN. MA from aligaRh and later LLB, law practice 1929. He migrated to India after partition in 1947. IAS – Collector and later Education Secretary. Early retirement in 1960, but recalled later to serve three more years in jabalpur and retired there. In 1969 he served on Ghalib shataabdhi naagarik samiti which organized four ‘tarahi’ mushaa’era over that year and published a book. He composed several Ghazal in the style of Ghalib. This Ghazal with the radeef-refrain ‘ki talaash hai’ is linked to other ham-radeef Ghazal on the Refrain page.
1
vo jo be-niyaaz1-e jahaaN2 kare, mujhe us nazar3 ki talaash4 hai
jo tujhe bana de Gham-aashna5, mujhe us asar6 ki talaash4 hai 1.unmindful, oblivious to 2.world, materialism, reward 3.eye 4.search, seek 5.familiar with/sensitive to sorrow/pain (of others) 6.effect, feelings
That which is unmindful of material gain/rewards, I seek that selective vision. That which can make you (me) sensitive to the pain of others, I seek those feelings.
2
na rahe jahaaN1 pe pahuNch2 ke phir, kisi dar3 pe jaane ki aarzu4
jahaaN1 ishq ki bhi hai aabru5, mujhe aise dar3 ki talaash hai 1.where 2.reach, arrive 3.door 4.desire 5.dignity
Conventionally, ‘going to a door’ implies going to a place where you ask for favours/benevolence, such as a door associated with divinity. In this case the poet/seeker is looking for a door where he finds once, he has no desire to go to another i.e., he finds what he is looking for. And what it that he is looking for? He seeks suche a door where there is dignity of universal love (not narrow orthodoxy).
3
jahaaN bikhri pyaar ki daastaaN1, jahaaN zarra-zarra2 hai aastaaN3
vo meri zamiN mera aasmaaN, usi rahguzar4 ki talaash hai 1.story 2.every particle/grain of sand 3.threshold (to bow in homage/reverence) 4.path
Where the story of love is scattered/spread all around. Where every grain of sand is a holy place to offer reverence. Such is my land. Such is my sky. That is the path which I seek.
4
haiN tujhi se husn1 ki shooKhiyaaN2, haiN tujhi se ishq ki garmiyaaN3
dil-e-zinda4 teri talaash hi, meri umr bhar ki talaash hai 1.beauty, beloved 2.playfulness 3.warmth 4.living/throbbing/feeling/dynamic heart
The ‘tujhi’ is the first misra is the feeling/loving heart. Thus, all the playfulness of the beloved, all the warmth of love of the lover, are because of a loving heart i.e., if there is no loving heart, then there is nothing. O loving heart, you are the object of life-long search.
5
vo bhi kya maze1 ki thi zindagi, jo safar2 safar meN guzar3 gaii
nahiN manziloN4 meN vo dil-kashi5, mujhe phir safar ki talaash hai 1.tasteful, enjoyable 2.journey, struggle 3.passed 4.destinations 5.attraction, pleasure
What an enjoyabel life it was, that passed in journeying/searching/struggling. There is no such pleasure in destinations. I seek to journey/struggle again. No rest for me.
6
jahaaN raqs1 meN ho kiran-kiran2, jahaaN Ghunche3 chaTkeN4 chaman-chaman5
nazar6 aa’e jis meN vo siim-tan7, mujhe us sahar8 ki talaash hai 1.dance 2.every ray of light 3.unopened buds 4.gentle clicking sound while blooming and unfolding petals 5.every garden or all over the garden 6.visible, manifest 7.silver bodied, fair 8.dawn
Here ‘silver bodied’ or fair might be thought of as the beloved … but then in progressive urdu poetry the beloved is social justice and especially associated with dawn. Thus, where every ray of light dances (with the joy of anticipation), where unopened buds bloom all over the garden, where the fair beloved (social justice) can be seen, I seek that dawn.
7
ye tabassum1 un ka tha luT2 gaya, sar-e-raah3 dil ka ye qaafila4
vo jo be-Khabar5 sa chala gaya, usi be-Khabar ki talaash hai 1.smile 2.plundered, captured 3.along the journey/path 4.travel party, caravan 5.unaware
In the first misra, the ‘un’ refers to her i.e., the beloved. In urdu progressive poetry tradition, the beloved is social justice. Such was her brilliant smile, that the hearts of the party of seekers were immediately captivated. But then the beloved disappeared as if unaware of her seekers. I seek that unaware beloved (social justice).
8
jahaaN dard1-o-daaGh2 ki justuju3, jahaaN nit-naii-naii4 aarzu5
keh jise talaash-e sukooN6 nahiN, mujhe us jigar7 ki talaash hai 1.pain 2.wound 3.search, seek 4.fresh/new every moment 5.desire, yearning 6.comfort, rest 7.liver – the seat of courage/daring
That which seeks pain and hurt to confront and overcome rather than avoid, that which has a desire for fresh/new ideas every moment, that which does not want comfort and rest, I seek a courageous heart like that.
jaikishan chaudhry habiib (1904-xxxx), born in Dera ismail KhaaN, in pakistan. Lived in jabalpur. He was a scholar of sanskrit, English, faarsi and urdu, and was an active participant in the independence struggle, most notably with Khaan abdul Ghaffaar KhaaN. MA from aligaRh and later LLB, law practice 1929. He migrated to India after partition in 1947. IAS – Collector and later Education Secretary. Early retirement in 1960, but recalled later to serve three more years in jabalpur and retired there. In 1969 he served on Ghalib shataabdhi naagarik samiti which organized four ‘tarahi’ mushaa’era over that year and published a book. He composed several Ghazal in the style of Ghalib. This Ghazal with the radeef-refrain ‘ki talaash hai’ is linked to other ham-radeef Ghazal on the Refrain page.
1
vo jo be-niyaaz1-e jahaaN2 kare, mujhe us nazar3 ki talaash4 hai
jo tujhe bana de Gham-aashna5, mujhe us asar6 ki talaash4 hai
1.unmindful, oblivious to 2.world, materialism, reward 3.eye 4.search, seek 5.familiar with/sensitive to sorrow/pain (of others) 6.effect, feelings
That which is unmindful of material gain/rewards, I seek that selective vision. That which can make you (me) sensitive to the pain of others, I seek those feelings.
2
na rahe jahaaN1 pe pahuNch2 ke phir, kisi dar3 pe jaane ki aarzu4
jahaaN1 ishq ki bhi hai aabru5, mujhe aise dar3 ki talaash hai
1.where 2.reach, arrive 3.door 4.desire 5.dignity
Conventionally, ‘going to a door’ implies going to a place where you ask for favours/benevolence, such as a door associated with divinity. In this case the poet/seeker is looking for a door where he finds once, he has no desire to go to another i.e., he finds what he is looking for. And what it that he is looking for? He seeks suche a door where there is dignity of universal love (not narrow orthodoxy).
3
jahaaN bikhri pyaar ki daastaaN1, jahaaN zarra-zarra2 hai aastaaN3
vo meri zamiN mera aasmaaN, usi rahguzar4 ki talaash hai
1.story 2.every particle/grain of sand 3.threshold (to bow in homage/reverence) 4.path
Where the story of love is scattered/spread all around. Where every grain of sand is a holy place to offer reverence. Such is my land. Such is my sky. That is the path which I seek.
4
haiN tujhi se husn1 ki shooKhiyaaN2, haiN tujhi se ishq ki garmiyaaN3
dil-e-zinda4 teri talaash hi, meri umr bhar ki talaash hai
1.beauty, beloved 2.playfulness 3.warmth 4.living/throbbing/feeling/dynamic heart
The ‘tujhi’ is the first misra is the feeling/loving heart. Thus, all the playfulness of the beloved, all the warmth of love of the lover, are because of a loving heart i.e., if there is no loving heart, then there is nothing. O loving heart, you are the object of life-long search.
5
vo bhi kya maze1 ki thi zindagi, jo safar2 safar meN guzar3 gaii
nahiN manziloN4 meN vo dil-kashi5, mujhe phir safar ki talaash hai
1.tasteful, enjoyable 2.journey, struggle 3.passed 4.destinations 5.attraction, pleasure
What an enjoyabel life it was, that passed in journeying/searching/struggling. There is no such pleasure in destinations. I seek to journey/struggle again. No rest for me.
6
jahaaN raqs1 meN ho kiran-kiran2, jahaaN Ghunche3 chaTkeN4 chaman-chaman5
nazar6 aa’e jis meN vo siim-tan7, mujhe us sahar8 ki talaash hai
1.dance 2.every ray of light 3.unopened buds 4.gentle clicking sound while blooming and unfolding petals 5.every garden or all over the garden 6.visible, manifest 7.silver bodied, fair 8.dawn
Here ‘silver bodied’ or fair might be thought of as the beloved … but then in progressive urdu poetry the beloved is social justice and especially associated with dawn. Thus, where every ray of light dances (with the joy of anticipation), where unopened buds bloom all over the garden, where the fair beloved (social justice) can be seen, I seek that dawn.
7
ye tabassum1 un ka tha luT2 gaya, sar-e-raah3 dil ka ye qaafila4
vo jo be-Khabar5 sa chala gaya, usi be-Khabar ki talaash hai
1.smile 2.plundered, captured 3.along the journey/path 4.travel party, caravan 5.unaware
In the first misra, the ‘un’ refers to her i.e., the beloved. In urdu progressive poetry tradition, the beloved is social justice. Such was her brilliant smile, that the hearts of the party of seekers were immediately captivated. But then the beloved disappeared as if unaware of her seekers. I seek that unaware beloved (social justice).
8
jahaaN dard1-o-daaGh2 ki justuju3, jahaaN nit-naii-naii4 aarzu5
keh jise talaash-e sukooN6 nahiN, mujhe us jigar7 ki talaash hai
1.pain 2.wound 3.search, seek 4.fresh/new every moment 5.desire, yearning 6.comfort, rest 7.liver – the seat of courage/daring
That which seeks pain and hurt to confront and overcome rather than avoid, that which has a desire for fresh/new ideas every moment, that which does not want comfort and rest, I seek a courageous heart like that.
The post mujhe phir safar ki talaash hai – jaikrishn chaudhry habiib appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/zhdsh-fidaa-e-koocha-e-jaanaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
فدائے کوچۂ جاناں کئے ہوئے ۔ ضمیر حسن دلؔ شاہجہاں پوری
۱
نکلے ہیں گھر سے گھر کو بیاباں کئے ہوئے
آشفتہ حال چاک گریباں کئے ہوئے
۲
عریاں ہے تیغ قاتلِ نخوت پسند کی
آتا ہے کوئی کارِ نمایاں کئے ہوئے
۳
کیوں اے شمیمِ گیسوئے مشکیں کدھر ہے تو
ہے یہ خیال دلؔ کو پریشاں کئے ہوئے
۴
اب دیر کیا ہے آمدِ فصلِ بہار میں
دن ہو گئے ہیں چاک گریباں کئے ہوئے
۵
کب تک رہیں گے دیکھئے مجروحِ تیغِ ناز
زخمِ جگر کو وقفِ نمکداں کئے ہوئے
۶
قیدِ حیات و کنجِ لحد ایک حال ہے
زنداں میں ہیں تحیۂ زنداں کئے ہوئے
۷
ادنیٰ سی ہے یہ بات کہ باغِ نعیم کو
ہم ہیں فدائے کوچۂ جاناں کئے ہوئے
۸
اے دلؔ ستم ہے اُن کا تجاہل سے پوچھنا
کیوں ہو تم اپنا حال پریشاں کئے ہوئے
फ़िदा-ए कूचा-ए जानां किये हुए – ज़मीर हसन दिल शाहजहांपूरी
१
निकले हैं घर से घर को बियाबां किये हुए
आशुफ़्ता-हाल चाक गरेबां किये हुए
२
उर्यां है तेग़ क़ातिल-ए नक़्वत पसन्द की
आता है कोई कार-ए नुमायां किये हुए
३
क्यूं अए शमीम-ए गेसु-ए मुश्कीं किघर है तू
है ये ख़याल दिल को परेशां किये हुए
४
अब देर क्या है आमद-ए फ़स्ल-ए बहार में
दिन हो गए हैं चाक गरेबां किये हुए
५
कब तक रहेंगे देखिये मज्रूह-ए तेग़-ए नाज़
ज़ख़्म-ए जिगर को वक़्फ़-ए नमक-दां किये हुए
६
क़ैद-ए हयात ओ कुंज-ए लहद एक हाल है
ज़िन्दां में हैं तहय्या-ए ज़िन्दां किये हुए
७
अद्ना सि है ये बात के बाग़-ए न’ईम को
हम हैं फ़िदा-ए कूचा-ए जानां किये हुए
८
अए दिल सितम है उन का तजाहुल से पूछना
क्यूं हो तुम अपना हाल परेशां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. zamiir hasan dil shahjahaaNpuri (1875-1959), was taught faarsi and arabi at home by a private tutor and he also learnt the family profession of ‘hakiim’ – traditional medicine. He set up a practice and also did other business (landowner and contractor) as a source of income. He started composing at the age of 15 and later became a disciple of amiir miinaaii. In addition to his collections of poetry he authored a novel and a translation of an English novel. This Ghazal in the style of Ghalib’s ‘muddat hui hai yaar ko mehmaaN kiye hue’ is linked to ‘Ghalib naqsh-e qadam’.
1
nikle haiN ghar se ghar ko biyaabaaN1 kiye hue
aashufta-haal2 chaak3 garebaaN4 kiye hue 1.desolation, wilderness 2.distressed/mad condition 3.tear 4.shirt front, collar
Lovers in a distressed/mad condition have left their homes leaving desolation behind. They are out searching for their beloved in the tradition of majnuN searching for laila.
2
uryaaN1 hai teGh2 qaatil3-e naKhvat-pasand4 ki
aata hai koii kaar-e numaayaaN5 kiye hue 1.naked, bare 2.sword 3.killer 4.pomp-favouring, conceited 5.displaying
Here the ‘naKhvat-pasand qaatil’ is the beloved. She is coming with a bare sword in hand openly displaying what she has done i.e., that she has killed her lover (a rather traditional trope in urdu poetry).
3
kyuN aye shameem1-e gesu2-e mushkiiN3 kidhar hai tuu
hai ye Khayaal dil4 ko pareshaaN5 kiye hue 1.breeze 2.hair 3.musk fragrance 4.heart, pen-name of the poet 5.puzzled, worried
The poet uses the word ‘dil’ in a double meaning … heart as well as himself (through his taKhallus). Where are you, O breeze, fragrant like musk-scented hair of the beloved. It is this thought that puzzles the heart (or the poet).
4
ab der kya hai aamad1-e fasl2-e bahaar3 meN
din ho gaye haiN chaak4 garebaaN5 kiye hue 1.arrival 2.season 3.spring 4.tear, rip 5.shirt front, collar
The lover gets restless with the first signs of spring, spring being the season of celebration and love. In his restlessness he rips his collar going about like a madman searching for his beloved. Thus, he says, it has been many days since I have ripped my collar. What is the delay now in the arrival of spring.
5
kab tak raheNge dekhiye majrooh1-e teGh2-e naaz3
zaKhm4-e jigar5 ko vaqf6-e namak-daaN7 kiye hue 1.wounded 2.sword 3.coquetry 4.wound 5.liver/heart 6.dedicated 7.saltshaker
Pouring salt on the wound is to increase the pain/torture. Thus, let us see how long we remain wounded by the sword of coquetry, dedicating the wound of our heart to the saltshaker i.e., stepping forward to receive even more pain.
6
qaid1-e hayaat2 o kunj3-e lahad4 ek haal5 hai
zindaaN6 meN haiN tahayya7-e zindaaN6 kiye hue 1.confinement 2.life 3.corner 4.grave 5.condition 6.prison 7.note the spelling in urdu – based on that spelling – salutation, either welcome or goodbye
Imprisonment (of the soul) in the living body, or confinement in the corner of a grave are both one and the same condition. It is as if we are in a prison (of life) and offering salutations to one prison to go to another prison (of the grave). Said Ghalib …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paa’e kyuN
7
adna1 si hai ye baat keh baaGh-e na’eem2 ko
ham haiN fidaa3-e koocha4-e jaanaaN5 kiye hue 1.ordinary 2.blessed 3.willing to sacrifice for 4.lane 5.beloved
It is an ordinary/routine matter that I am willing to sacrifice the blessed garden (Garden of Eden, heaven) for the street of the beloved.
8
aye dil1 sitam2 hai un ka tajaahul3 se poochhna
kyuN ho tum apna haal4 pareshaaN5 kiye hue 1.heart, also the pen-name of the poet 2.torture, cruelty 3.indifference, apathy 4.condition 5.dissheveled, unkempt
The beloved asks the poet/lover in feigned ignorance or indifference why has destroyed his condition so much (as if she does not know that unrequited love has caused it). He considers this an extreme form of cruelty.
zamiir hasan dil shahjahaaNpuri (1875-1959), was taught faarsi and arabi at home by a private tutor and he also learnt the family profession of ‘hakiim’ – traditional medicine. He set up a practice and also did other business (landowner and contractor) as a source of income. He started composing at the age of 15 and later became a disciple of amiir miinaaii. In addition to his collections of poetry he authored a novel and a translation of an English novel. This Ghazal in the style of Ghalib’s ‘muddat hui hai yaar ko mehmaaN kiye hue’ is linked to ‘Ghalib naqsh-e qadam’.
1
nikle haiN ghar se ghar ko biyaabaaN1 kiye hue
aashufta-haal2 chaak3 garebaaN4 kiye hue
1.desolation, wilderness 2.distressed/mad condition 3.tear 4.shirt front, collar
Lovers in a distressed/mad condition have left their homes leaving desolation behind. They are out searching for their beloved in the tradition of majnuN searching for laila.
2
uryaaN1 hai teGh2 qaatil3-e naKhvat-pasand4 ki
aata hai koii kaar-e numaayaaN5 kiye hue
1.naked, bare 2.sword 3.killer 4.pomp-favouring, conceited 5.displaying
Here the ‘naKhvat-pasand qaatil’ is the beloved. She is coming with a bare sword in hand openly displaying what she has done i.e., that she has killed her lover (a rather traditional trope in urdu poetry).
3
kyuN aye shameem1-e gesu2-e mushkiiN3 kidhar hai tuu
hai ye Khayaal dil4 ko pareshaaN5 kiye hue
1.breeze 2.hair 3.musk fragrance 4.heart, pen-name of the poet 5.puzzled, worried
The poet uses the word ‘dil’ in a double meaning … heart as well as himself (through his taKhallus). Where are you, O breeze, fragrant like musk-scented hair of the beloved. It is this thought that puzzles the heart (or the poet).
4
ab der kya hai aamad1-e fasl2-e bahaar3 meN
din ho gaye haiN chaak4 garebaaN5 kiye hue
1.arrival 2.season 3.spring 4.tear, rip 5.shirt front, collar
The lover gets restless with the first signs of spring, spring being the season of celebration and love. In his restlessness he rips his collar going about like a madman searching for his beloved. Thus, he says, it has been many days since I have ripped my collar. What is the delay now in the arrival of spring.
5
kab tak raheNge dekhiye majrooh1-e teGh2-e naaz3
zaKhm4-e jigar5 ko vaqf6-e namak-daaN7 kiye hue
1.wounded 2.sword 3.coquetry 4.wound 5.liver/heart 6.dedicated 7.saltshaker
Pouring salt on the wound is to increase the pain/torture. Thus, let us see how long we remain wounded by the sword of coquetry, dedicating the wound of our heart to the saltshaker i.e., stepping forward to receive even more pain.
6
qaid1-e hayaat2 o kunj3-e lahad4 ek haal5 hai
zindaaN6 meN haiN tahayya7-e zindaaN6 kiye hue
1.confinement 2.life 3.corner 4.grave 5.condition 6.prison 7.note the spelling in urdu – based on that spelling – salutation, either welcome or goodbye
Imprisonment (of the soul) in the living body, or confinement in the corner of a grave are both one and the same condition. It is as if we are in a prison (of life) and offering salutations to one prison to go to another prison (of the grave). Said Ghalib …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paa’e kyuN
7
adna1 si hai ye baat keh baaGh-e na’eem2 ko
ham haiN fidaa3-e koocha4-e jaanaaN5 kiye hue
1.ordinary 2.blessed 3.willing to sacrifice for 4.lane 5.beloved
It is an ordinary/routine matter that I am willing to sacrifice the blessed garden (Garden of Eden, heaven) for the street of the beloved.
8
aye dil1 sitam2 hai un ka tajaahul3 se poochhna
kyuN ho tum apna haal4 pareshaaN5 kiye hue
1.heart, also the pen-name of the poet 2.torture, cruelty 3.indifference, apathy 4.condition 5.dissheveled, unkempt
The beloved asks the poet/lover in feigned ignorance or indifference why has destroyed his condition so much (as if she does not know that unrequited love has caused it). He considers this an extreme form of cruelty.
The post fidaa-e koocha-e jaanaaN kiye hue-zamiir hasan dil shahjahaaNpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/mrshd-jalva-e-jaanaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جلوۂ جاناں کئے ہوئے ۔ منشی رگھوناتھ سنگھ ہاجرؔ دہلوی
۱
مدّت ہوئی ہے عشق کا ارماں کئے ہوئے
دل کو نثارِ جلوۂ جاناں کئے ہوئے
۲
اب ہجر میں رلاتے ہیں خوں وصل کے مزے
یاد آتے ہیں کسی کے وہ احساں کئے ہوئے
۳
رنگینیِ خیال کا عالم تو دیکھنا
جاتا ہے کوئی وصل کا پیماں کئے ہوئے
۴
غمخوار تھام لیں مجھے احباب روک لیں
جاتا ہوں قصدِ کوچۂ جاناں کئے ہوئے
۵
پھر چاہتا ہوں زُلف کا مضمون باندھنا
شیرازۂ خیال پریشاں کئے ہوئے
۶
پھر دل میں لیں جنونِ محبت نے چٹکیاں
عرصہ ہوا ہے سیرِ بیاباں کئے ہوئے
۷
پھر لے چلا ہوں تحفۂ داغِ جگر وہاں
سامانِ صد بہارِ گلستاں کئے ہوئے
۸
پھر شوقِ عاشقی ہے کہ مُدّت گزر گئی
نذرِ غمِ فراق دل و جاں کئے ہوئے
۹
پھر منتظر ہوں جلوۂ رخسارِ یار کا
آنکھیں مثالِ آئینہ حیراں کئے ہوئے
۱۰
پھر آشنائے بحرِ محبّت ہوا ہے دل
طوفاں کی نذر کشتیِ ارماں کئے ہوئے
۱۱
پھر ضبطِ عشق کی مرے منھ پر لگی ہے مہر
بیٹھا ہوں دل میں درد کو پنہاں کئے ہوئے
۱۲
کرتا ہوں لعل و گوہر مضموں کی پھر تلاش
قصدِ ستائشِ لب و دنداں کئے ہوئے
۱۳
ہاں اے ہوائے شوق زمانہ گزر گیا
دل میں شرارِ غم کو فراواں کئے ہوئے
۱۴
اے سوزِ غم بھڑک کہ مرے داغہائے دل
بیٹھے ہیں اہتمامِ چراغاں کئے ہوئے
۱۵
ہاجرؔ مثالِ قیس بھٹکتا ہے ہجر میں
وحشت سے چاک جیب و گریباں کئے ہوئے
जल्वा-ए जानां किये हुए – मुंशी रघुनाथ सिंघ हाजिर देहलवी
१
मुद्दत हुई है इश्क़ का अर्मां किये हुए
दिल को निसार-ए जल्वा-ए जानां किये हुए
२
अब हिज्र में रुलाते हैं ख़ूं वस्ल के मज़े
याद आते हैं किसी के वो एहसां किये हुए
३
रंगीनी-ए ख़याल का आलम तो देखना
जाता है कोई वस्ल का पैमां किये हुए
४
ग़मख़्वार थाम लें मुझे अहबाब रोक लें
जाता हुं क़स्द-ए कूचा-ए जानां किये हुए
५
फिर चाहता हुं ज़ुल्फ़ का मज़्मून बांधना
शीराज़ा-ए ख़याल परेशां किये हुए
६
फिर दिल में लीं जुनून-ए मोहब्बत ने चुट्कियां
अरसा हुआ है सैर-ए बियाबां किये हुए
७
फिर ले चला हुं तोहफ़ा-ए दाग़-ए जिगर वहां
सामान-ए सद-बहार-ए गुलिस्तां किये हुए
८
फिर शौक़-ए आशेक़ी है के मुद्दत गुज़र गई
नज़्र-ए ग़म-ए फ़िराक़ दिल ओ जां किये हुए
९
फिर मुंतज़िर हुं जल्वा-ए रुख़्सार-ए यार का
आंखें मिसाल-ए आइना हैरां किये हुए
१०
फिर आश्ना-ए बहर-ए मोहब्बत हुआ है दिल
तूफ़ां कि नज़्र किश्ती-ए अर्मां किये हुए
११
फिर ज़ब्त-ए इश्क़ की मेरे मुंह पर लगी है मोहर
बैठा हुं दिल में दर्द को पिन्हां किये हुए
१२
करता हुं लाल ओ गौहर-ए मज़्मून कि फिर तलाश
क़स्द-ए सता’एश-ए लब ओ दन्दां किये हुए
१३
हां अए हवा-ए शौक़ ज़माना गुज़र गया
दिल में शरार-ए ग़म को फ़रावां किये हुए
१४
अए सोजं-ए ग़म भढक के मेरे दाग़-हा-ए दिल
बैठे हैं एहतेमाम-ए चराग़ां किये हुए
१५
हाजेर मिसाल-ए क़ैस भटकता है हिज्र में
वहशत से चाक जेब ओ गरेबां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘muddat hui hai yaar ko mehmaaN kiye hue’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
muddat1 hui hai ishq ka armaaN2 kiye hue
dil ko nisaar3-e jalva4-e jaanaaN5 kiye hue 1.long time, ages 2.desire 3.sacrificial offering 3.beauty, glory, image 5.beloved
For a long time now I have been yearning for love, having sacrificed my heart to the beauty of the beloved.
2
ab hijr1 meN rulaate2 haiN KhooN vasl3 ke mazay4
yaad aate haiN kisi ke vo ehsaaN5 kiye hue 1.separation 2.Khoon rulaana is an expression meaning causing great pain, making someone cry tears of blood 3.union 4.pleasures 5.favours
The poet/lover is separated from the beloved – thrown out of her company. He remembers the many favours she had bestowed on him during the days when he was united with her. All those memories make him cry tears of blood during separation.
3
raNgiini1-e Khayaal2 ka aalam3 to dekhna
jaata hai koi vasl4 ka paimaaN5 kiye hue 1.style, confidence 2.thought, plans 3.condition 4.union 5.resolve, determination
Look at the confidence of the lover. He is going (to the street of the beloved) determined to achieve union with her.
4
GhamKhwaar1 thaam2 leN mujhe ahbaab3 rok leN
jaata huN qasd4-e koocha5-e jaanaaN6 kiye hue 1.sympathizer 2.hold 3.friends 4.resolve, intent 5.street 6.beloved
Conventionally, the lover getting to the street of the beloved means that he will languish there until dead, or that he will get killed at the hands of the beloved. Thus, he moans that his sympathizers should hold him back and his friends should stop him as he he resolves to go to the street of the beloved.
5
phir chaahta huN zulf1 ka mazmoon-baandhna2
shiiraaza3-e Khayaal pareshaaN4 kiye hue 1.hair 2.mazmoon baandhna is an expression meaning to write about a theme 3.book-binding also used to mean arrangement, sequence 4.scattered
Once again, I desire to write (compose verse) about (the beauty of) the beloved’s hair, but in a state of scattered/confused thought. The juxtaposition of arrangement of hair or of curls/tangles of hair and tangled thoughts is very interesting.
6
phir dil meN liiN junoon1-e mohabbat ne chuTkiyaaN2
arsa3 hua hai sair4-e biyaabaaN5 kiye hue 1.madness 2.pinch 3.long time 4.sight-seeing 5.wilderness
In poetic convention, when madness takes hold of the heart of the lover, he goes off into the wilderness like majnuN. This is what is happening to the poet/lover after a long time. Once again, the madness of love pinches my heart. It has been a long time since I have gone sightseeing in the wilderness.
7
phir le chala huN tohfa1-e daaGh2-e jigar3 vahaaN
saamaan4-e sad-bahaar5-e gulistaaN6 kiye hue 1.gift, offering 2.scar, wound 3.liver/heart 4.provisions, arrangements 5.hundred springs 6.garden
Once again, I go, bearing the gift of wounds of my heart, making arrangements for a hundred springs. Conventionally, wounds of the heart are considered to be red roses. Thus the gift of the wounds of the heart are like roses of spring.
8
phir shauq1-e aashiqi hai keh muddat2 guzar3 gaii
nazr4-e Gham5-e firaaq6 dil-o-jaaN7 kiye hue 1.desire, wish 2.long time, ages 3.passed 4.devotional offering 5.sorrow, pain 6.separation 7.heart and soul
Once again, the desire to fall in love rises strong in the heart of the lover because it has been ages since he has offered his heart and soul as a tribute to the pain and sorrow of separation. It is noteworthy that the pain of separation is elevated to a position of being offered tributes/devotion.
9
phir muntazar1 huN jalva2-e ruKhsaar3-e yaar4 ka
aaNkheN misaal5-e aaiina hairaaN6 kiye hue 1.waiting 2.image, beauty 3.cheeks, face 4.beloved 5.example of, like 6.amazed
Conventionally, the beloved looks into the mirror and the mirror is amazed at her beauty. Thus, once again I wait to see the beauty of the cheeks of the beloved with my eyes amazed like a mirror.
10
phir aashna1-e bahr2-e mohabbat hua hai dil
toofaaN3 ki nazr4 kishti-e armaaN5 kiye hue 1.familiar, intimate 2.ocean 3.storm 4.offering 5.desire
Once again, the heart is intimately familiar with the ocean of love, having offered the boat of desire in the care of storms i.e., the ocean of love is always stormy.
11
phir zabt1-e ishq ki mere muNh par lagi hai mohr2
baiTha huN dil meN dard ko pinhaaN3 kiye hue 1.bear stoically 2.seal, stamp 3.hidden
In poetic convention the lover is supposed to bear the sorrow of unrequited love without any display for fear of maligning the reputation of the beloved. Thus, once again, the patient bearing of the pain of love has sealed my lips. I sit hiding the pain of love in my heart.
12
karta huN laal1 o gauhar2-e mazmoon3 ki talaash4
qasd5-e sataa’esh6-e lab7 o dandaaN8 kiye hue 1.ruby 2.pearls 3.theme 4.search 5.resolve 6.praise 7.lips 8.teeth
Once again, the poet is in search of a theme (for his verse) of rubies and pearls having resolved to compose in praise of lips and teeth. The juxtaposition of red rubies and lips and of pearls and shining teeth is very enjoyable.
13
haaN aye havaa1-e shauq2 zamaana3 guzar4 gaya
dil meN sharaar5-e Gham ko faraavaaN6 kiye hue 1.breeze, also means lust/desire 2.love 3.ages 4.passed 5.sparks, fire 6.plenty, excess
O desire for love, for a long time now I have been fanning the flames of love in my heart.
14
aye soz1-e Gham bhaRak2 keh mere daaGh-haa3-e dil
baiThe haiN ehtemaam4-e charaaGhaaN5 kiye hue 1.pain, fire 2.blaze, flash 3.wounds 4.arrangements 5.celebratory illumination
The wounds of the heart of the lover are imagined here as flames (because of the red colour, the heat of love, and the fire of pain). Thus, O fire of my heart, flash into a full flame. The wounds of my heart have made full arrangements of celebratory lighting i.e., my wounds are ready to burst forth.
15
haajir1 misaal2-e qais3 bhaTakta4 hai hijr5 meN
vahshat6 se chaak7 jeb8 o garebaaN9 kiye hue 1.pen-name of the poet 2.in the example of 3.majnuN 4.wanders 5.exile, separation 6.madness 7.tear, rip 8.collar 9.shirt front
Like majnuN, haajir too, wanders lost in exile/separation, tearing is collar and shirt in the madness of passion.
munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘muddat hui hai yaar ko mehmaaN kiye hue’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
muddat1 hui hai ishq ka armaaN2 kiye hue
dil ko nisaar3-e jalva4-e jaanaaN5 kiye hue
1.long time, ages 2.desire 3.sacrificial offering 3.beauty, glory, image 5.beloved
For a long time now I have been yearning for love, having sacrificed my heart to the beauty of the beloved.
2
ab hijr1 meN rulaate2 haiN KhooN vasl3 ke mazay4
yaad aate haiN kisi ke vo ehsaaN5 kiye hue
1.separation 2.Khoon rulaana is an expression meaning causing great pain, making someone cry tears of blood 3.union 4.pleasures 5.favours
The poet/lover is separated from the beloved – thrown out of her company. He remembers the many favours she had bestowed on him during the days when he was united with her. All those memories make him cry tears of blood during separation.
3
raNgiini1-e Khayaal2 ka aalam3 to dekhna
jaata hai koi vasl4 ka paimaaN5 kiye hue
1.style, confidence 2.thought, plans 3.condition 4.union 5.resolve, determination
Look at the confidence of the lover. He is going (to the street of the beloved) determined to achieve union with her.
4
GhamKhwaar1 thaam2 leN mujhe ahbaab3 rok leN
jaata huN qasd4-e koocha5-e jaanaaN6 kiye hue
1.sympathizer 2.hold 3.friends 4.resolve, intent 5.street 6.beloved
Conventionally, the lover getting to the street of the beloved means that he will languish there until dead, or that he will get killed at the hands of the beloved. Thus, he moans that his sympathizers should hold him back and his friends should stop him as he he resolves to go to the street of the beloved.
5
phir chaahta huN zulf1 ka mazmoon-baandhna2
shiiraaza3-e Khayaal pareshaaN4 kiye hue
1.hair 2.mazmoon baandhna is an expression meaning to write about a theme 3.book-binding also used to mean arrangement, sequence 4.scattered
Once again, I desire to write (compose verse) about (the beauty of) the beloved’s hair, but in a state of scattered/confused thought. The juxtaposition of arrangement of hair or of curls/tangles of hair and tangled thoughts is very interesting.
6
phir dil meN liiN junoon1-e mohabbat ne chuTkiyaaN2
arsa3 hua hai sair4-e biyaabaaN5 kiye hue
1.madness 2.pinch 3.long time 4.sight-seeing 5.wilderness
In poetic convention, when madness takes hold of the heart of the lover, he goes off into the wilderness like majnuN. This is what is happening to the poet/lover after a long time. Once again, the madness of love pinches my heart. It has been a long time since I have gone sightseeing in the wilderness.
7
phir le chala huN tohfa1-e daaGh2-e jigar3 vahaaN
saamaan4-e sad-bahaar5-e gulistaaN6 kiye hue
1.gift, offering 2.scar, wound 3.liver/heart 4.provisions, arrangements 5.hundred springs 6.garden
Once again, I go, bearing the gift of wounds of my heart, making arrangements for a hundred springs. Conventionally, wounds of the heart are considered to be red roses. Thus the gift of the wounds of the heart are like roses of spring.
8
phir shauq1-e aashiqi hai keh muddat2 guzar3 gaii
nazr4-e Gham5-e firaaq6 dil-o-jaaN7 kiye hue
1.desire, wish 2.long time, ages 3.passed 4.devotional offering 5.sorrow, pain 6.separation 7.heart and soul
Once again, the desire to fall in love rises strong in the heart of the lover because it has been ages since he has offered his heart and soul as a tribute to the pain and sorrow of separation. It is noteworthy that the pain of separation is elevated to a position of being offered tributes/devotion.
9
phir muntazar1 huN jalva2-e ruKhsaar3-e yaar4 ka
aaNkheN misaal5-e aaiina hairaaN6 kiye hue
1.waiting 2.image, beauty 3.cheeks, face 4.beloved 5.example of, like 6.amazed
Conventionally, the beloved looks into the mirror and the mirror is amazed at her beauty. Thus, once again I wait to see the beauty of the cheeks of the beloved with my eyes amazed like a mirror.
10
phir aashna1-e bahr2-e mohabbat hua hai dil
toofaaN3 ki nazr4 kishti-e armaaN5 kiye hue
1.familiar, intimate 2.ocean 3.storm 4.offering 5.desire
Once again, the heart is intimately familiar with the ocean of love, having offered the boat of desire in the care of storms i.e., the ocean of love is always stormy.
11
phir zabt1-e ishq ki mere muNh par lagi hai mohr2
baiTha huN dil meN dard ko pinhaaN3 kiye hue
1.bear stoically 2.seal, stamp 3.hidden
In poetic convention the lover is supposed to bear the sorrow of unrequited love without any display for fear of maligning the reputation of the beloved. Thus, once again, the patient bearing of the pain of love has sealed my lips. I sit hiding the pain of love in my heart.
12
karta huN laal1 o gauhar2-e mazmoon3 ki talaash4
qasd5-e sataa’esh6-e lab7 o dandaaN8 kiye hue
1.ruby 2.pearls 3.theme 4.search 5.resolve 6.praise 7.lips 8.teeth
Once again, the poet is in search of a theme (for his verse) of rubies and pearls having resolved to compose in praise of lips and teeth. The juxtaposition of red rubies and lips and of pearls and shining teeth is very enjoyable.
13
haaN aye havaa1-e shauq2 zamaana3 guzar4 gaya
dil meN sharaar5-e Gham ko faraavaaN6 kiye hue
1.breeze, also means lust/desire 2.love 3.ages 4.passed 5.sparks, fire 6.plenty, excess
O desire for love, for a long time now I have been fanning the flames of love in my heart.
14
aye soz1-e Gham bhaRak2 keh mere daaGh-haa3-e dil
baiThe haiN ehtemaam4-e charaaGhaaN5 kiye hue
1.pain, fire 2.blaze, flash 3.wounds 4.arrangements 5.celebratory illumination
The wounds of the heart of the lover are imagined here as flames (because of the red colour, the heat of love, and the fire of pain). Thus, O fire of my heart, flash into a full flame. The wounds of my heart have made full arrangements of celebratory lighting i.e., my wounds are ready to burst forth.
15
haajir1 misaal2-e qais3 bhaTakta4 hai hijr5 meN
vahshat6 se chaak7 jeb8 o garebaaN9 kiye hue
1.pen-name of the poet 2.in the example of 3.majnuN 4.wanders 5.exile, separation 6.madness 7.tear, rip 8.collar 9.shirt front
Like majnuN, haajir too, wanders lost in exile/separation, tearing is collar and shirt in the madness of passion.
The post jalva-e jaanaaN kiye hue-raghunath siNgh haajir appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/mrshd-rashk-e-rauza-e-rizvaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
رشکِ روضۂ رضواں کئے ہوئے ۔ منشی رگھوناتھ سنگھ ہاجرؔ دہلوی
۱
پیشِ نگاہ جلوۂ جاناں کئے ہوئے
دل کو ہوں مثلِ آئینہ حیراں کئے ہوئے
۲
سنتے ہیں وہ بیان مرا حشر میں کھڑے
سر کو خمیدہ صورتِ مژگاں کئے ہوئے
۳
اقرارِ وصل کر کے نہ آیا وہ بے وفا
عشرت کے یوں ہی رہ گئے ساماں کئے ہوئے
۴
کیا خاک مجھ کو حسرتِ لطفِ وصال ہو
دل کو ہوں خوگرِ غمِ ہجراں کئے ہوئے
۵
جاتا ہے باغِ خلد کو تیرا شہیدِ ناز
داغوں سے دل کو رشکِ گلستاں کئے ہوئے
۶
آنکھوں کو گر ہے حسرتِ نظارۂ جمال
دل بھی ہے وصلِ یار کا ارماں کئے ہوئے
۷
تیری نگاہِ لطف کی تعریف کیا کروں
ذرّے کو ہے جو مہرِ درخشاں کئے ہوئے
۸
آنے دو قتل کرنے کو آتے ہیں وہ اگر
بیٹھے ہیں ہم بھی موت کا ساماں کئے ہوئے
۹
حاصل تبھی سے ہے مجھے لذّت وصال کی
جیسے کسی کو دل میں ہوں مہماں کئے ہوئے
۱۰
گو ابتدائے عشق کو مُدّت ہوئی مگر
اب تک ہیں یاد ہم کو وہ پیماں کئے ہوئے
۱۱
پھر مائلِ نظارۂ حسنِ بتاں ہوں میں
جلووں سے دل کو رشکِ پرستاں کئے ہوئے
۱۲
پھر امتحانِ تاب نظر کر رہا ہوں میں
خود کو مقابلِ رُخِ جاناں کئے ہوئے
۱۳
پھر کر رہا ہوں دعویٔ پابندیِ وفا
دل کو اسیرِ کاکلِ پیچاں کئے ہوئے
۱۴
کرتا ہوں ایک مصرعِ موزوں کی پھر تلاش
عزمِ ثنائے قامتِ جاناں کئے ہوئے
۱۵
پھر حسرتِ فغاں ہے کہ مدّت گزر گئی
اُن سے شکائتِ غمِ ہجراں کئے ہوئے
۱۶
پھر باعِثِ تباہیِ صبر و سکوں ہے عشق
بیتابیِ فراق کا ساماں کئے ہوئے
۱۷
پھر دل کو درسِ عشق و وفا دے رہا ہوں میں
محوِ کتابِ عارضِ جاناں کئے ہوئے
۱۸
کرتا ہوں پھر نمائشِ داغِ غمِ فراق
سینے کو رشکِ روضۂ رضواں کئے ہوئے
۱۹
پھر سے نمازِ شوق ادا کر رہا ہوں میں
رُخ سوئے قبلۂ درِ جاناں کئے ہوئے
۲۰
جاتا ہے آج ہاجرِؔ خستہ جہان سے
مہمان گاہِ عشق کو ویراں کئے ہوئے
रश्क-ए रौज़ा-ए रिज़्वां किये हुए – मुंशी रघुनाथ सिंघ हाजेर देहलवी
१
पेश-ए निगाह जल्वा-ए जानां किये हुए
दिल को हुं मिस्ल-ए आइना हैरां किये हुए
२
सुनते हैं वो बयान मेरा हश्र में खढे
सर को ख़मीदा सूरत-ए मिज़्शगां किये हुए
३
एक़्रार-ए वस्ल कर के न आया वो बेवफ़ा
इश्रत के यूं हि रह गए सामां किये हुए
४
क्या ख़ाक मुझ को हस्रत-ए लुत्फ़-ए विसाल हो
दिल को हुं ख़ूगर-ए ग़म-ए हिज्रां किये हुए
५
जाता है बाग़-ए ख़ुल्द को तेरा शहीद-ए नाज़
दाग़ौं से दिल को रश्क-ए गुलिस्तां किये हुए
६
आंखौं को गर है हस्रत-ए नज़्ज़ारा-ए जमाल
दिल भी है वस्ल-ए यार का अरमां किये हुए
७
तेरी निगाह-ए लुत्फ़ की तारीफ़ क्या करूं
ज़र्रे को है जो महर-ए दरख़्शां किये हुए
८
अने दो क़त्ल करने को आते हैं वो अगर
बैठे हैं हम भी मौत का सामां किये हुए
९
हासिल तभी से है मुझे लज़्ज़त विसाल की
जैसे किसी को दिल में हुं मेहमां किये हुए
१०
गो इब्तदा-ए इश्क़ को मुद्दत हुई मगर
अब तक हैं याद हम को वो पैमां किये हुए
११
फिर मा’एल-ए नज़ारा-ए हुस्न-ए बुतां हुं मैं
जल्वौं से दिल को रश्क-ए परिस्तां किये हुए
१२
फिर इम्तेहान-ए ताब-ए नज़र कर रहा हुं मैं
ख़ुद को मुक़ाबिल-ए रुख़-ए जानां किये हुए
१३
फिर कर रहा हुं दावा-ए पाबंदी-ए वफ़ा
दिल को असीर-ए काकुल-ए पेचां किये हुए
१४
करता हुं एक मिस्रा-ए मौज़ूं कि फिर तलाश
अज़्म-ए सना-ए क़ामत-ए जानां किये हुए
१५
फिर हस्रत-ए फ़ुग़ां है के मुद्दत गुज़र गई
उन से शिका’एत-ए ग़म-ए हिज्रां किये हुए
१६
फिर बा’इस-ए तबाही-ए सब्र ओ सुकूं है इश्क़
बेताबी-ए फ़िराक़ का सामां किये हुए
१७
फिर दिल को दर्स-ए इश्क़ ओ वफ़ा दे रहा हुं मैं
महव-ए किताब-ए आरेज़-ए जानां किये हुए
१८
करता हुं फिर नुमा’एश-ए दाग़-ए ग़म-ए फ़िराक़
सीने को रश्क-ए रौज़ा-ए रिज़्वां किये हुए
१९
फिर से नमाज़-ए शैक़ अदा कर रहा हुं मैं
रुख़ सू-ए क़िब्ला-ए दर-ए जानां किये हुए
२०
जाता है आज हाजेर-ए ख़स्ता जहान से
मेहमान-गाह-ए इश्क़ को वीरां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘muddat hui hai yaar ko mehmaaN kiye hue’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
pesh1-e nigaah2 jalva3-e jaanaaN4 kiye hue
dil ko huN misl5-e aaiina hairaaN6 kiye hue 1.before, in front of 2.eyes 3.beauty, glory 4.beloved 5.like, example of 6.amazed
Traditionally, the mirror is amazed at the beauty of the beloved when she looks in it at her own reflection. Similar to that the eyes of the poet/lover are amazed when he has the glory of the beloved before him.
2
sunte haiN vo bayaan1 mera hashr2 meN khaRe
sar ko Khamiida3 soorat4-e mizshgaaN5 kiye hue 1.narrative 2.day of judgement 3.bowed down 4.in the image of, similar to 5.eyelashes
Tradition is that on the day of judgement everyone will be called upon to give an account of their good and bad deeds and claims that they can make about what was done right or wrong by them. This would be a time of great embarrassment to the beloved. The poet/lover is narrating all that happened to him and the beloved stands ashamed with head bowed like drooping eyelashes. As opposed to this scenario, shaiKh ibrahim zauq claims that he would deny any cruelties inflicted upon him by the beloved …
ham nahiN vo jo kareN Khuun ka daa’va tujh par
balkeh poochhega Khuda bhi to mukar jaa’eNge
3
eqraar1-e vasl2 kar ke na aaya vo bevafa3
ishrat4 ke yuNhi rah gaye saamaaN5 kiye hue 1.agreement 2.union, meeting 3.unfaithful 4.comfort, entertainment 5.means, arrangements
Traditionally, the beloved makes promises to meet but never keeps her promise. Thus, having agreed to meet that unfaithful one did not come. All the arrangements that I had made to entertain her remained as they were.
4
kya Khaak1 mujh ko hasrat2-e lutf3-e visaal4 ho
dil ko huN Khuugar5-e Gham6-e hijraaN7 kiye hue 1.dust – used here as expression meaning useless, of no value 2.longing 3.pleasure 4.union 5.habituated 6.sorrow 7.separation
It is useless for me to long for the pleasure of union (with the beloved). I have trained my heart to be habituated to the sorrow of separation.
5
jaata hai baaGh-e Khuld1 ko tera shaheed2-e naaz3
daaGhoN4 se dil ko rashk5-e gulistaaN6 kiye hue 1.heaven 2.martyred 3.coquetry 4.wounds 5.envy 6.garden
The poet/lover has been martyred by the coquetry of the beloved. He is on his way to the garden of Eden in heaven. That is supposed to be the most beautiful garden every created. But the poet claims that the wounds of his heart (which are often described as blooming flowers) make a garden that is even more beautiful and has become the envy of the garden of Eden. See number 18 below for a similar thought.
6
aaNkhoN ko gar1 hai hasrat2-e nazzaara3-e jamaal4
dil bhi hai vasl5-e yaar6 ka armaaN7 kiye hue 1.if 2.longing 3.sight, scene 4.glory 5.union 6.friend, beloved 7.desire
If my eyes long for a sight of the glory of the beauty of the beloved, the heart also desires union with the the beloved. Here this could easily be the divine beloved.
7
teri nigaah1-e lutf2 ki taareef3 kya karuN
zarre4 ko hai jo mahr5-e daraKhshaaN6 kiye hue 1.glance 2.favours 3.praise 4.particle, grain of sand 5.sun 6.brilliant
How can I praise your glance granting favours. Its brilliance makes even the grain of sand reflect light like the brilliant sun.
8
aane do qatl1 karne ko aate haiN vo agar2
baiThe haiN ham bhi maut3 ka saamaaN4 kiye hue 1.killing 2.if 3.death 4.arrangements
In poetic tradition, the beloved comes angrily drawing her sword to kill the poet/lover. If she is coming to kill me, let her do so. I too have made all arrangements to die i.e., I am ready too.
9
haasil1 tabhi2 se hai mujhe lazzat3 visaal4 ki
jaise kisi ko dil meN huN mehmaaN5 kiye hue 1.available 2.from then 3.pleasure 4.union 5.guest
The pleasure of union has been available to me ever since I made that special someone a guest in my heart.
10
go1 ibtedaa2-e ishq ko muddat3 hui magar4
ab tak haiN yaad ham ko vo paimaaN5 kiye hue 1.even though 2.beginning, starting 3.long time, ages 4.but 5.plans, promises
Even though it has been ages since the story of love started, I still remember all the promises that we made.
11
phir maa’el1-e nazaara2-e husn3-e butaaN4 huN maiN
jalvoN5 se dil ko rashk6-e paristaaN7 kiye hue 1.inclined towards, desirous of 2.seeing 3.beauty 4.idols 5.images 6.envy 7.fairyland
The poet/lover-appreciator of beauty is inclined once again to look for beautiful idols. Those beautiful images get engraved in his heart making it the envy of fairyland.
12
phir imtehaan1-e taab2-e nazar3 kar raha huN maiN
Khud ko muqaabil4-e ruKh5-e jaanaaN6 kiye hue 1.test 2.ability to bear 3.sight, eyes 4.face to face 5.face 6.beloved
In poetic convention the beloved is so beautiful that the poet/lover is unable to bear the sight of her beauty. But he is once again ready to test the ability of his eyes by coming face to face with the beloved.
13
phir kar raha huN daava1-e paabandi2 vafa
dil ko asiir3-e kaakul4-e pechaaN5 kiye hue 1.claim 2.binding commitment 3.prisoner, captive 4.forelocks, hair 5.curly
The poet/lover’s heart once again, becomes captive of the curly hair of the beloved. In doing so, he is claiming/declaring that he is bound/committed to her.
14
karta huN misra1-e mauzooN2 ki phir talaash3
azm4-e sanaa5-e qaamat6-e jaanaaN7 kiye hue 1.one line of a she’r 2.suitable 3.search 4.resolve 5.praise, ode 6.stature 7.beloved
The poet/lover has resolved to compose an ode in praise of the stature of the beloved. So, he is once again searching for a suitable line of a verse. He cannot find the right words to describe her beauty.
15
phir hasrat1-e fuGhaaN3 hai keh muddat3 guzar4 gaii
un se shikaa’et5-e Gham6-e hijraaN7 kiye hue 1.desire, longing 2.wailing 3.long time, ages 4.passed 5.complaint 6.sorrow, pain 7.separation
It has been ages since the poet/lover has complained to the beloved about the pain of separation from her. So, the desire to wail and cry rises once again in his heart.
16
phir baa’is1-e tabaahi2-e sabr3 o sukooN4 hai ishq
betaabi5-e firaaq6 ka saamaaN7 kiye hue 1.basis, reason 2.destruction 3.patience 4.peace and quiet 5.restlessness 6.separation 7.arrangements, provisions
The poet/lover’s intense love and restlessness of separation have gathered all the provisions for the destruction of patience, peace and tranquility.
17
phir dil ko dars1-e ishq o vafa2 de raha huN maiN
mahv3-e kitaab-e aariz4-e jaanaaN5 kiye hue 1.lesson 2.fidelity 3.engaged/busy/obsessed 4.face 5.beloved
The imagery of the face of the beloved as a book to be read and its juxtaposition with a lesson being taught is very nice. Thus, I am once again teaching the heart the lesson of love and fidelity by being obsessed with reading the face of the beloved.
18
karta huN phir numaa’esh1-e daaGh2-e Gham3-e firaaq4
siine ko rashk5-e rauza-e rizvaaN6 kiye hue 1.display 2.wounds, scars 3.sorrow 4.separation 5.envy 6.rauza has two meanings – mausoleum and garden, rauza-e rizvaaN is the garden of the gatekeeper of heaven, i.e., the Garden of Eden
The poet/lover carries many scars of separation on his bosom. The scars/wounds are red due to bleeding and are considered to be beautiful as red roses. Thus, he is displaying his wounds making his bosom the envy of the Garden of Eden. See no 5 above for a similar thought.
19
phir se namaaz-e-shauq1 ada2 kar raha huN maiN
ruKh3 soo4-e qibla5-e dar6-e jaanaaN7 kiye hue 1.ritual prayer to desire/love 2.pay, perform 3.face 4.towards 5.direction of k’aaba 6.door 7.beloved
Conventionally the ritual namaaz to god is performed in the direction of the k’aaaba. Here the poet/lover is performing namaaz to his love/beloved. So, instead of facing the k’aaba he faces the door of the beloved.
20
jaata hai aaj haajir1-e Khasta2 jahaan3 se
mehmaan-gaah4-e ishq ko viiraaN5 kiye hue 1.pen-name of the poet 2.broken, wounded 3.world 4.guest house 5.desolate
The broken-hearted poet/lover, haajir, is dying, leaving this world. The world is considered the guest-house of love/lovers. But with him leaving there is no real lover left in the world. Thus, he is leaving the guest-house desolate.
munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘muddat hui hai yaar ko mehmaaN kiye hue’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
pesh1-e nigaah2 jalva3-e jaanaaN4 kiye hue
dil ko huN misl5-e aaiina hairaaN6 kiye hue
1.before, in front of 2.eyes 3.beauty, glory 4.beloved 5.like, example of 6.amazed
Traditionally, the mirror is amazed at the beauty of the beloved when she looks in it at her own reflection. Similar to that the eyes of the poet/lover are amazed when he has the glory of the beloved before him.
2
sunte haiN vo bayaan1 mera hashr2 meN khaRe
sar ko Khamiida3 soorat4-e mizshgaaN5 kiye hue
1.narrative 2.day of judgement 3.bowed down 4.in the image of, similar to 5.eyelashes
Tradition is that on the day of judgement everyone will be called upon to give an account of their good and bad deeds and claims that they can make about what was done right or wrong by them. This would be a time of great embarrassment to the beloved. The poet/lover is narrating all that happened to him and the beloved stands ashamed with head bowed like drooping eyelashes. As opposed to this scenario, shaiKh ibrahim zauq claims that he would deny any cruelties inflicted upon him by the beloved …
ham nahiN vo jo kareN Khuun ka daa’va tujh par
balkeh poochhega Khuda bhi to mukar jaa’eNge
3
eqraar1-e vasl2 kar ke na aaya vo bevafa3
ishrat4 ke yuNhi rah gaye saamaaN5 kiye hue
1.agreement 2.union, meeting 3.unfaithful 4.comfort, entertainment 5.means, arrangements
Traditionally, the beloved makes promises to meet but never keeps her promise. Thus, having agreed to meet that unfaithful one did not come. All the arrangements that I had made to entertain her remained as they were.
4
kya Khaak1 mujh ko hasrat2-e lutf3-e visaal4 ho
dil ko huN Khuugar5-e Gham6-e hijraaN7 kiye hue
1.dust – used here as expression meaning useless, of no value 2.longing 3.pleasure 4.union 5.habituated 6.sorrow 7.separation
It is useless for me to long for the pleasure of union (with the beloved). I have trained my heart to be habituated to the sorrow of separation.
5
jaata hai baaGh-e Khuld1 ko tera shaheed2-e naaz3
daaGhoN4 se dil ko rashk5-e gulistaaN6 kiye hue
1.heaven 2.martyred 3.coquetry 4.wounds 5.envy 6.garden
The poet/lover has been martyred by the coquetry of the beloved. He is on his way to the garden of Eden in heaven. That is supposed to be the most beautiful garden every created. But the poet claims that the wounds of his heart (which are often described as blooming flowers) make a garden that is even more beautiful and has become the envy of the garden of Eden. See number 18 below for a similar thought.
6
aaNkhoN ko gar1 hai hasrat2-e nazzaara3-e jamaal4
dil bhi hai vasl5-e yaar6 ka armaaN7 kiye hue
1.if 2.longing 3.sight, scene 4.glory 5.union 6.friend, beloved 7.desire
If my eyes long for a sight of the glory of the beauty of the beloved, the heart also desires union with the the beloved. Here this could easily be the divine beloved.
7
teri nigaah1-e lutf2 ki taareef3 kya karuN
zarre4 ko hai jo mahr5-e daraKhshaaN6 kiye hue
1.glance 2.favours 3.praise 4.particle, grain of sand 5.sun 6.brilliant
How can I praise your glance granting favours. Its brilliance makes even the grain of sand reflect light like the brilliant sun.
8
aane do qatl1 karne ko aate haiN vo agar2
baiThe haiN ham bhi maut3 ka saamaaN4 kiye hue
1.killing 2.if 3.death 4.arrangements
In poetic tradition, the beloved comes angrily drawing her sword to kill the poet/lover. If she is coming to kill me, let her do so. I too have made all arrangements to die i.e., I am ready too.
9
haasil1 tabhi2 se hai mujhe lazzat3 visaal4 ki
jaise kisi ko dil meN huN mehmaaN5 kiye hue
1.available 2.from then 3.pleasure 4.union 5.guest
The pleasure of union has been available to me ever since I made that special someone a guest in my heart.
10
go1 ibtedaa2-e ishq ko muddat3 hui magar4
ab tak haiN yaad ham ko vo paimaaN5 kiye hue
1.even though 2.beginning, starting 3.long time, ages 4.but 5.plans, promises
Even though it has been ages since the story of love started, I still remember all the promises that we made.
11
phir maa’el1-e nazaara2-e husn3-e butaaN4 huN maiN
jalvoN5 se dil ko rashk6-e paristaaN7 kiye hue
1.inclined towards, desirous of 2.seeing 3.beauty 4.idols 5.images 6.envy 7.fairyland
The poet/lover-appreciator of beauty is inclined once again to look for beautiful idols. Those beautiful images get engraved in his heart making it the envy of fairyland.
12
phir imtehaan1-e taab2-e nazar3 kar raha huN maiN
Khud ko muqaabil4-e ruKh5-e jaanaaN6 kiye hue
1.test 2.ability to bear 3.sight, eyes 4.face to face 5.face 6.beloved
In poetic convention the beloved is so beautiful that the poet/lover is unable to bear the sight of her beauty. But he is once again ready to test the ability of his eyes by coming face to face with the beloved.
13
phir kar raha huN daava1-e paabandi2 vafa
dil ko asiir3-e kaakul4-e pechaaN5 kiye hue
1.claim 2.binding commitment 3.prisoner, captive 4.forelocks, hair 5.curly
The poet/lover’s heart once again, becomes captive of the curly hair of the beloved. In doing so, he is claiming/declaring that he is bound/committed to her.
14
karta huN misra1-e mauzooN2 ki phir talaash3
azm4-e sanaa5-e qaamat6-e jaanaaN7 kiye hue
1.one line of a she’r 2.suitable 3.search 4.resolve 5.praise, ode 6.stature 7.beloved
The poet/lover has resolved to compose an ode in praise of the stature of the beloved. So, he is once again searching for a suitable line of a verse. He cannot find the right words to describe her beauty.
15
phir hasrat1-e fuGhaaN3 hai keh muddat3 guzar4 gaii
un se shikaa’et5-e Gham6-e hijraaN7 kiye hue
1.desire, longing 2.wailing 3.long time, ages 4.passed 5.complaint 6.sorrow, pain 7.separation
It has been ages since the poet/lover has complained to the beloved about the pain of separation from her. So, the desire to wail and cry rises once again in his heart.
16
phir baa’is1-e tabaahi2-e sabr3 o sukooN4 hai ishq
betaabi5-e firaaq6 ka saamaaN7 kiye hue
1.basis, reason 2.destruction 3.patience 4.peace and quiet 5.restlessness 6.separation 7.arrangements, provisions
The poet/lover’s intense love and restlessness of separation have gathered all the provisions for the destruction of patience, peace and tranquility.
17
phir dil ko dars1-e ishq o vafa2 de raha huN maiN
mahv3-e kitaab-e aariz4-e jaanaaN5 kiye hue
1.lesson 2.fidelity 3.engaged/busy/obsessed 4.face 5.beloved
The imagery of the face of the beloved as a book to be read and its juxtaposition with a lesson being taught is very nice. Thus, I am once again teaching the heart the lesson of love and fidelity by being obsessed with reading the face of the beloved.
18
karta huN phir numaa’esh1-e daaGh2-e Gham3-e firaaq4
siine ko rashk5-e rauza-e rizvaaN6 kiye hue
1.display 2.wounds, scars 3.sorrow 4.separation 5.envy 6.rauza has two meanings – mausoleum and garden, rauza-e rizvaaN is the garden of the gatekeeper of heaven, i.e., the Garden of Eden
The poet/lover carries many scars of separation on his bosom. The scars/wounds are red due to bleeding and are considered to be beautiful as red roses. Thus, he is displaying his wounds making his bosom the envy of the Garden of Eden. See no 5 above for a similar thought.
19
phir se namaaz-e-shauq1 ada2 kar raha huN maiN
ruKh3 soo4-e qibla5-e dar6-e jaanaaN7 kiye hue
1.ritual prayer to desire/love 2.pay, perform 3.face 4.towards 5.direction of k’aaba 6.door 7.beloved
Conventionally the ritual namaaz to god is performed in the direction of the k’aaaba. Here the poet/lover is performing namaaz to his love/beloved. So, instead of facing the k’aaba he faces the door of the beloved.
20
jaata hai aaj haajir1-e Khasta2 jahaan3 se
mehmaan-gaah4-e ishq ko viiraaN5 kiye hue
1.pen-name of the poet 2.broken, wounded 3.world 4.guest house 5.desolate
The broken-hearted poet/lover, haajir, is dying, leaving this world. The world is considered the guest-house of love/lovers. But with him leaving there is no real lover left in the world. Thus, he is leaving the guest-house desolate.
The post rashk-e rauza-e rizvaaN kiye hue-raghunath siNgh haajir appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/jpr-kufr-ko-iimaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کفر کو ایماں کئے ہوئے ۔ جمنا پرشاد راہیؔ
۱
پتّھر کو رشکِ آئینہ ساماں کئے ہوئے
سجدہ روا ہوں کفر کو ایماں کئے ہوئے
۲
ہر شمعِ خانہ دُود فراواں کئے ہوئے
حسرت بہ جاں ہوں دید کا ارماں کئے ہوئے
۳
بے آگہیِ سر تھا مجھے کارِ بے خودی
دل مطمئن ہے عقل کو میزاں کئے ہوئے
۴
وہ چارہ سازِ سوزِ جراحت تو ہیں مگر
نشتر زباں کو دل کو نمک داں کئے ہوئے
۵
معتوبِ اِعتبار ہوں مصروفِ انتظار
منظر کی خاک غازۂ مژگاں کئے ہوئے
۶
تیرہ شبی قبائے سیہ تن بچا کے رکھ
ہر شمع شعلہ رو ہے چراغاں کئے ہوئے
۷
محتاط ہو بیاں میں زباں لب کشیدہ ہے
یعنی ہو خود کو خود کا نگہبان کئے ہوئے
۸
آزادِ قید و بند ہے زعمِ جنوں میں قیس
زنجیرِ پا کو تارِ گریباں کئے ہوئے
۹
پڑھتا ہوں چہرہ چہرہ اُبھرتی عبادتیں
ہوں طفلِ پیر، گھر کو دبستاں کئے ہوئے
कुफ़्र को ईमां किये हुए – जमुना प्रसाद रहा
१
पत्थर को रश्क-ए आईना-सामां किये हुए
सजदा रवा हुं कुफ़्र को ईमां किये हुए
२
हर शम’अ-ए ख़ाना दूद फ़रावां किये हुए
हस्रत ब-जां हुं दीद का अर्मां किये हुए
३
बे-आगही-ए सर था मुझे कार-ए बेख़ुदी
दिल मुत्म’इन है अक़्ल को मीज़ां किये हुए
४
वो चारा-साज़-ए सोज़-ए जराहत तो हैं मगर
नश्तर ज़बां को दिल को नमक-दां किये हुए
५
मातूब-ए ए’तेबार हुं मस्रूफ़-ए इंतज़ार
मंज़र की ख़ाक ग़ाज़ा-ए मिज़्श्गां किये हुए
६
तीरा-शबी क़बा-ए सियह-तन बचा के रख
हर शम’अ शोला-रू है चराग़ां किये हुए
७
मोहतात हो बयां में ज़बां लब कशीदा है
या’नी हो ख़ुद को ख़ुद का निगहबां किये हुए
८
आज़ाद-ए क़ैद ओ बन्द है ज़ो’म-ए जुनूं में क़ैस
ज़ंजीर-ए पा को तार-ए गरेबां किये हुए
९
पढ़ता हुं चेहरा चेहरा उभरती इबादतें
हूं तिफ़्ल-ए पीर, घर को दबिस्तां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. jamna prashaad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi. He has a whole collection in the style of Ghalib called ‘baazgasht-e Ghalib’. This Ghazal in the style of Ghalib’s ‘yaar ko mehmaaN kiye hue’ is linked to ‘Ghalib naqsh-e qadam’.
1
patthar ko rashk1-e aaiina-saamaaN2 kiye hue
sajda-ravaa3 huN kufr4 ko iimaaN5 kiye hue 1.envy 2.means of making a mirror 3.offering permitted prostration 4.non-faith 5.faith
A stone/rock is rough. It is not an object of veneration. The mirror on the other hand is polished, smooth and is much sought after … much more than a rock. Here kufr (non-faith) and imaan (faith) are parallels of stone and mirror. But the first misra tells us that stone is used as a means of making polishing mirrors (in the middle ages mirrors were made of metal sheets polished fine with a stone until they were smooth enough to reflect). Thus, his kufr has become an enabler of imaan – stone is a means of making a mirror. So, he thinks it is permitted to prostrate before a rock/idol. This may simply suggest that sincerity of devotion is more important than whether you ritualistically prostrate yourselves before an idol or before a spirit.
2
har sham’a1-e Khaana2 dood-faraavaaN3 kiye hue
hasrat4 ba-jaaN5 huN diid6 ka armaaN7 kiye hue 1.lamp, candle 2.house 3.excess/plentiful smoke 4.longing 5.in the soul/heart 6.sighting, glimpse 7.desire
Every candle in the house is shrouded in an excess of smoke (which it may itself be creaating) i.e., truth/knowledge/light is hidden in a fog of superstitions/rituals. The poet/seeker is ‘hasrat be-jaaN’ – carrying longing in his heart such that he becomes an embodiment of longing/seeking and has an intense desire of a glimpse of truth/knowledge.
3
be-aagahi1-e sar2 tha mujhe kaar3-e be-Khudi4
dil mutma’in5 hai aql6 ko miizaaN7 kiye hue 1.lack of awareness/knowledge 2.head, mind 3.work of 4.trance, unaware/foggy mind 5.satisfied 6.intellect 7.balance, judge
In traditional/conventional poetry faith is valued over mind/reason. I am happy to see this poet value reasoning higher than faith. Thus, lack of awareness of the mind is the work of trance/fog for me. My heart is satisfied with making the intellect a judge of facts.
4
vo chaara-saaz1-e soz2-e jaraahat3 to haiN magar
nashtar4 zabaaN ko dil ko namak-daaN5 kiye hue 1.healer 2.pain 3.wound 4.knife 5.saltshaker
The saltshaker here is used in the sense of pouring salt on the wound, making it even more painful. In the first misra ‘vo’ refers to the beloved. She is the healer of the burning/pain of the wound of the heart but using her tongue like a knife and my heart as a saltshaker. Said Ghalib …
phir pursish-e jaraahat-e dil ko chalaa hai ishq
saamaan-e sad-hazaar namak-daaN kiye hue
5
maa’toob1-e e’tebaar2 huN masroof3-e intezaar4
manzar5 ki Khaak6 Ghaaza7-e mizshgaaN8 kiye hue 1.annoying, rebuked 2.trust, credibility 3.busy 4.waiting 5.scene 6.dust 7.collyrium, eye lotion 8.eyelashes
I am rebuked by credibility because I am busy waiting (for the beloved, who will never come) taking the dust around to use as collyrium of the eyelashes. Collyrium is also considered to be good for vision. Thus, the poet/lover is sharpening his sight, which is added reason for being rebuked by credibility.
6
tiira-shabi1 qabaa2-e siyah-tan3 bacha ke rakh
har sham’a4 sho’la-ruu5 hai charaaGhaaN6 kiye hue 1.darkness of night 2.robe 3.black bodied 4.candle 5.fire-faced 6.lighting up, illumination
The poet appears to be warning/threatening the darkness of night … be careful about your black robe, every lamp here has a face that is on fire lighting everything around. This could possibly mean that the darkness of night is ignorance or injustice and every lamp is a shaa’er/poet with the light of knowledge and the fire of anger (at injustice). The dark robe of the night of ignorance/injustice can catch fire and burn up.
7
mohtaat1 ho bayaaN2 meN, zabaaN lab-kashiida3 hai
yaa’ni ho Khud ko Khud ka nigahbaaN4 kiye hue 1.careful 2.speech 3.aggrieved by the lips 4.caretaker, guardian, watchman
Be careful in your speech for the tongue has aggrieved/caused sorrow to the lips (by careless speech), meaning you have to be your own watchman, watching your words.
8
aazaad1-e qaid2 o band3 hai zo’m4-e junooN5 meN qais6
zanjiir7-e paa8 ko taar9-e garebaaN10 kiye hue 1.free 2.imprisonment 3.confinement 4.pride, confidence 5.passion 6.majnuN of laila majnuN legend 7.chain 8.feet 9.thread 10.collar
The lover goes about with shirt front/collar torn in a display of intense passion. A torn collar is a matter of pride for the lover. Thus, even though the mad lover majnuN has been put in prison with chains on his feet, he is a free spirit because of his confidence in his own passion. He displays his chains with pride like threads of a shredded collar.
9
paRhta1 huN chehra-chehra2 ubharti3 ibaadateN4
huN tifl5-e piir6, ghar7 ko dabistaaN8 kiye hue 1.read 2.every face 3.emerging, rising, superficial 4.worship, devotion 5.infant, child 6.old, senior, mature 7.home, heart 9.school
There are several liberties to be taken in interpreting this. I interpret ‘tifl-e piir’ to mean a mature person with childlike curiosity. The poet is such a person. He reads/learns with his heart, and is able to see in every face a superficial/ritualistic devotion/worship as opposed to sincere and spiritual understanding.
jamna prashaad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi. He has a whole collection in the style of Ghalib called ‘baazgasht-e Ghalib’. This Ghazal in the style of Ghalib’s ‘yaar ko mehmaaN kiye hue’ is linked to ‘Ghalib naqsh-e qadam’.
1
patthar ko rashk1-e aaiina-saamaaN2 kiye hue
sajda-ravaa3 huN kufr4 ko iimaaN5 kiye hue
1.envy 2.means of making a mirror 3.offering permitted prostration 4.non-faith 5.faith
A stone/rock is rough. It is not an object of veneration. The mirror on the other hand is polished, smooth and is much sought after … much more than a rock. Here kufr (non-faith) and imaan (faith) are parallels of stone and mirror. But the first misra tells us that stone is used as a means of making polishing mirrors (in the middle ages mirrors were made of metal sheets polished fine with a stone until they were smooth enough to reflect). Thus, his kufr has become an enabler of imaan – stone is a means of making a mirror. So, he thinks it is permitted to prostrate before a rock/idol. This may simply suggest that sincerity of devotion is more important than whether you ritualistically prostrate yourselves before an idol or before a spirit.
2
har sham’a1-e Khaana2 dood-faraavaaN3 kiye hue
hasrat4 ba-jaaN5 huN diid6 ka armaaN7 kiye hue
1.lamp, candle 2.house 3.excess/plentiful smoke 4.longing 5.in the soul/heart 6.sighting, glimpse 7.desire
Every candle in the house is shrouded in an excess of smoke (which it may itself be creaating) i.e., truth/knowledge/light is hidden in a fog of superstitions/rituals. The poet/seeker is ‘hasrat be-jaaN’ – carrying longing in his heart such that he becomes an embodiment of longing/seeking and has an intense desire of a glimpse of truth/knowledge.
3
be-aagahi1-e sar2 tha mujhe kaar3-e be-Khudi4
dil mutma’in5 hai aql6 ko miizaaN7 kiye hue
1.lack of awareness/knowledge 2.head, mind 3.work of 4.trance, unaware/foggy mind 5.satisfied 6.intellect 7.balance, judge
In traditional/conventional poetry faith is valued over mind/reason. I am happy to see this poet value reasoning higher than faith. Thus, lack of awareness of the mind is the work of trance/fog for me. My heart is satisfied with making the intellect a judge of facts.
4
vo chaara-saaz1-e soz2-e jaraahat3 to haiN magar
nashtar4 zabaaN ko dil ko namak-daaN5 kiye hue
1.healer 2.pain 3.wound 4.knife 5.saltshaker
The saltshaker here is used in the sense of pouring salt on the wound, making it even more painful. In the first misra ‘vo’ refers to the beloved. She is the healer of the burning/pain of the wound of the heart but using her tongue like a knife and my heart as a saltshaker. Said Ghalib …
phir pursish-e jaraahat-e dil ko chalaa hai ishq
saamaan-e sad-hazaar namak-daaN kiye hue
5
maa’toob1-e e’tebaar2 huN masroof3-e intezaar4
manzar5 ki Khaak6 Ghaaza7-e mizshgaaN8 kiye hue
1.annoying, rebuked 2.trust, credibility 3.busy 4.waiting 5.scene 6.dust 7.collyrium, eye lotion 8.eyelashes
I am rebuked by credibility because I am busy waiting (for the beloved, who will never come) taking the dust around to use as collyrium of the eyelashes. Collyrium is also considered to be good for vision. Thus, the poet/lover is sharpening his sight, which is added reason for being rebuked by credibility.
6
tiira-shabi1 qabaa2-e siyah-tan3 bacha ke rakh
har sham’a4 sho’la-ruu5 hai charaaGhaaN6 kiye hue
1.darkness of night 2.robe 3.black bodied 4.candle 5.fire-faced 6.lighting up, illumination
The poet appears to be warning/threatening the darkness of night … be careful about your black robe, every lamp here has a face that is on fire lighting everything around. This could possibly mean that the darkness of night is ignorance or injustice and every lamp is a shaa’er/poet with the light of knowledge and the fire of anger (at injustice). The dark robe of the night of ignorance/injustice can catch fire and burn up.
7
mohtaat1 ho bayaaN2 meN, zabaaN lab-kashiida3 hai
yaa’ni ho Khud ko Khud ka nigahbaaN4 kiye hue
1.careful 2.speech 3.aggrieved by the lips 4.caretaker, guardian, watchman
Be careful in your speech for the tongue has aggrieved/caused sorrow to the lips (by careless speech), meaning you have to be your own watchman, watching your words.
8
aazaad1-e qaid2 o band3 hai zo’m4-e junooN5 meN qais6
zanjiir7-e paa8 ko taar9-e garebaaN10 kiye hue
1.free 2.imprisonment 3.confinement 4.pride, confidence 5.passion 6.majnuN of laila majnuN legend 7.chain 8.feet 9.thread 10.collar
The lover goes about with shirt front/collar torn in a display of intense passion. A torn collar is a matter of pride for the lover. Thus, even though the mad lover majnuN has been put in prison with chains on his feet, he is a free spirit because of his confidence in his own passion. He displays his chains with pride like threads of a shredded collar.
9
paRhta1 huN chehra-chehra2 ubharti3 ibaadateN4
huN tifl5-e piir6, ghar7 ko dabistaaN8 kiye hue
1.read 2.every face 3.emerging, rising, superficial 4.worship, devotion 5.infant, child 6.old, senior, mature 7.home, heart 9.school
There are several liberties to be taken in interpreting this. I interpret ‘tifl-e piir’ to mean a mature person with childlike curiosity. The poet is such a person. He reads/learns with his heart, and is able to see in every face a superficial/ritualistic devotion/worship as opposed to sincere and spiritual understanding.
The post kufr ko iimaaN kiye hue-jamna parshaad raahi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/jgr-kufr-ko-iimaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کفر کو ایماں کئے ہوئے ۔ جگرؔ مراد آبادی
۱
آئے ہیں پھر وہ عزمِ دل و جاں کئے ہوئے
پلکوں کی اوٹ، حشر کا ساماں کئے ہوئے
۲
پھر اُٹھ رہی ہے عارضِ پُر نور سے نقاب
نظّارہ و نظر کو پریشاں کئے ہوئے
۳
پھر شام و صبحِ زُلف و رخِ یار ہیں بہم
ایماں کو کفر، کفر کو ایماں کئے ہوئے
۴
پھر حسنِ منفعل متبسّم ہے زیرِ لب
یک قطرہ اشک زینتِ مژگاں کئے ہوئے
कुफ़्र को ईमां किये हुए – जिगर मुरादाबादी
१
आए हैं फिर वो अज़्म-ए दिल ओ जां किये हुए
पल्कौं कि ओट, हश्र का सामां किये हुए
२
फिर उठ रही है आरेज़-ए पुर-नूर से नक़ाब
नज़्ज़ारा ओ नज़र को परेशां किये हुए
३
फिर शाम ओ सुबह-ए ज़ुल्फ़ ओ रुख़-ए यार हैं बहम
ईमां को कुफ़्र, कुफ़्र को ईमां किये हुए
४
फिर हुस्न-ए मुन्फ़’इल मुतबस्सम है ज़ेर-ए लब
यक क़तरा अश्क ज़ीनत-ए मिज़्शगां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. jigar muradabadi (1890-1961) was a profilic poet of sufiyaana, romantic and musical Ghazal. Many of his compositions have been put to music and sung by great singers. This is one of his several Ghazal styled after Ghalib and is linked to Ghalib naqsh-e qadam.
1
aaye haiN phir vo azm1-e dil o jaaN kiye hue
palkoN2 ki oaT3, hashr4 ka saamaaN5 kiye hue 1.determination, resolve 2.eyelashes 3.screen 4.tumult 5.means, methods
The beloved has resolved once again to conquer hearts and souls, using the screen of her eyelashes as a means of creating great tumult i.e., her sidelong glances create havoc.
2
phir uTh rahi hai aariz1-e pur-noor2 se naqaab3
nazzaara4 o nazar5 ko pareshaaN6 kiye hue 1.face 2.full of brilliance 3.veil 4.scene 5.eyes 6.amazed
Once again, the veil is being lifted off the beloved’s brilliant face, making the scene and the eyes that look at it amazing and amazed.
3
phir shaam1 o sub’h2-e zulf3 o ruKh4-e yaar5 haiN baham6
iimaaN7 ko kufr8, kufr8 ko iimaaN7 kiye hue 1.evening, night, dark 2.dawn, brilliant, fair 3.(dark) hair 4.(fair) face 5.friend, beloved 6.together, side by side 7.faith 8.non-faith
Once again darkness and light are side by side as reflected in the dark night and brilliant dawn or the beloved’s dark hair and her bright face. Her looks corrupt faith i.e., the lover worships the beloved instead of worshipping god and considers this non-faith to be his faith i.e., worshipping the beloved has become his faith.
4
phir husn1-e munf’ail2 mutabassam3 hai zer4-e lab5
yak qatra6 ashk7 ziinat8-e mizshgaaN9 kiye hue 1.beauty, beloved 2.regret, remorse, penitence 3.smiling 4.under, beneath 5.lips 6.drop 7.tear 8.embellishment, adornment 9.eyelashes
The beloved is smiling under her lips (at the torture she has inflicted on the poet/lover) while putting on the looks of remorse by letting one tear-drop adorn her eyelashes.
jigar muradabadi (1890-1961) was a profilic poet of sufiyaana, romantic and musical Ghazal. Many of his compositions have been put to music and sung by great singers. This is one of his several Ghazal styled after Ghalib and is linked to Ghalib naqsh-e qadam.
1
aaye haiN phir vo azm1-e dil o jaaN kiye hue
palkoN2 ki oaT3, hashr4 ka saamaaN5 kiye hue
1.determination, resolve 2.eyelashes 3.screen 4.tumult 5.means, methods
The beloved has resolved once again to conquer hearts and souls, using the screen of her eyelashes as a means of creating great tumult i.e., her sidelong glances create havoc.
2
phir uTh rahi hai aariz1-e pur-noor2 se naqaab3
nazzaara4 o nazar5 ko pareshaaN6 kiye hue
1.face 2.full of brilliance 3.veil 4.scene 5.eyes 6.amazed
Once again, the veil is being lifted off the beloved’s brilliant face, making the scene and the eyes that look at it amazing and amazed.
3
phir shaam1 o sub’h2-e zulf3 o ruKh4-e yaar5 haiN baham6
iimaaN7 ko kufr8, kufr8 ko iimaaN7 kiye hue
1.evening, night, dark 2.dawn, brilliant, fair 3.(dark) hair 4.(fair) face 5.friend, beloved 6.together, side by side 7.faith 8.non-faith
Once again darkness and light are side by side as reflected in the dark night and brilliant dawn or the beloved’s dark hair and her bright face. Her looks corrupt faith i.e., the lover worships the beloved instead of worshipping god and considers this non-faith to be his faith i.e., worshipping the beloved has become his faith.
4
phir husn1-e munf’ail2 mutabassam3 hai zer4-e lab5
yak qatra6 ashk7 ziinat8-e mizshgaaN9 kiye hue
1.beauty, beloved 2.regret, remorse, penitence 3.smiling 4.under, beneath 5.lips 6.drop 7.tear 8.embellishment, adornment 9.eyelashes
The beloved is smiling under her lips (at the torture she has inflicted on the poet/lover) while putting on the looks of remorse by letting one tear-drop adorn her eyelashes.
The post kufr ko iimaaN kiye hue-jigar muradabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/jgr-barham-nizaam-e-aalam-e-imkaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
برہم نظامِ عالمِ اِمکاں کئے ہوئے ۔ جگرؔ مراد آبادی
۱
پھر دل ہے قصدِ کوچۂ جاناں کئے ہوئے
رگ رگ میں نیشِ عشق کو پنہاں کئے ہوئے
۲
پھر عزلتِ خیال سے گھبرا رہا ہے دل
ہر وسعتِ خیال کو زنداں کئے ہوئے
۳
پھر چشمِ شوق دیر سے لبریزِ شکوہ ہے
قطروں کو موج موج کو طوفاں کئے ہوئے
۴
پھر جانِ بے قرار ہے آمادۂ فغاں
سو حشر اک سکوت میں پنہاں کئے ہوئے
۵
پھر کیفِ بے خودی میں بڑھا جا رہا ہوں میں
سب کچھ نثارِ شوقِ فراواں کئے ہوئے
۶
پھر سوئے خلدِ حسن کھنچا جا رہا ہے دل
ہر جنّتِ نظارہ کو ویراں کئے ہوئے
۷
پھر بڑھ چلا ہے جوشِ طلب راہِ دوست میں
سو فتح ہر شکست پہ قرباں کئے ہوئے
۸
پھر بڑھ چلیں جنونِ تمنّا کی شورشیں
برہم نظامِ عالمِ اِمکاں کئے ہوئے
۹
پھر ہے نگاہِ شوق کو دیدار کی ہوس
مُدّت ہوئی ہے جرأتِ عصیاں کئے ہوئے
۱۰
پھر لے چلی ہے وحشتِ دل شہرِ حسن میں
جنسِ گرانِ عشق کو ارزاں کئے ہوئے
۱۱
پھر جی یہ چاہتا ہے کہ بیٹھے رہیں جگرؔ
اُن کی نظر سے بھی اُنہیں پنہاں کئے ہوئے
बरहम निज़ाम-ए आलम-ए इम्कां किए हुए – जिगर मुरादाबादी
१
फिर दिल है क़स्द-ए कूचा-ए जानां किए हुए
रग रग में नेश-ए इश्क़ को पिन्हां किए हुए
२
फिर उज़्लत-ए ख़याल से घबरा रहा है दिल
हर वुस’अत-ए ख़याल को ज़िन्दां किए हुए
३
फिर चश्मा शौक़ देर से लबरेज़-ए शिक्वा है
क़तरौं को मौज मौज को तूफ़ां किए हुए
४
फिर जान-ए बेक़रार है आमादा-ए फ़ोग़ां
सौ हश्र एक सुकूत में पिन्हां किए हुए
५
फिर कैफ़-ए बे-ख़ुदी में बड़ा जा रहा हूं मैं
सब कुछ निसार-ए शौक़-ए फ़रावां किए हुए
६
फिर सू-ए ख़ुल्द-ए हुस्न खिंचा जा रहा है दिल
हर जन्नत-ए नज़ारा को वीरां किए हुए
७
फिर बढ़ चला है जोश-ए तलब राह-ए दोस्त में
सौ फ़तह हर शिकस्त पे क़ुर्बां किए हुए
८
फिर बढ़ चलीं जुनून-ए तमन्ना की शोरिशें
बरहम निज़ाम-ए आलम-ए इम्कां किए हुए
९
फिर है निगाह-ए शौक़ को दीदार की हवस
मुद्दत हुई है जुर’अत-ए इस्यां किए हुए
१०
फिर ले चली है वहशत-ए दिल शहर-ए हुस्न में
जिन्स-ए गिरान-ए इश्क़ को अर्ज़ां किए हुए
११
फिर जी ये चाहता है के बैठे रहें जिगर
उनकी नज़र से भी उन्हें पिन्हां किए हुए
Click here for background and on any passage for word meanings and explanatory discussion. jigar muradabadi (1890-1961) was a profilic poet of sufiyaana, romantic and musical Ghazal. Many of his compositions have been put to music and sung by great singers. This is one of his several Ghazal styled after Ghalib and is linked to Ghalib naqsh-e qadam.
1
phir dil hai qasd1-e koocha2-e jaanaaN3 kiye hue
rug4 rug meN nesh5-e ishq ko pinhaaN6 kiye hue 1.determination, decision 2.street 3.beloved 4.vein, fibre 5.knife 6.hidden
Once again, the heart is determined to go to the street of the beloved. This implies that it had done it before and the consequences were not very pleasant. But the heart cannot give up and is determined to try again. Of course, the passion of love cuts every fibre of the poet/lover’s body like a knife. He hides these daggers as he proceeds towards the street of the beloved i.e., he controls/stoically bears his pain/sorrow.
2
phir uzlat1-e Khayaal2 se ghabra raha hai dil
har vus’at3-e Khayaal ko zindaaN4 kiye hue 1.seclusion, isolation 2.thought, imagination 3.expanse, vastness 4.prison
I have to take what might be liberties in interpreting this. ‘uzlat-e Khayaal’ is isolation of that one thought … thought of the beloved and ‘vus’at-e Khayaal ko zindaaN karna’ can mean shut out/imprison all the other vast range of thoughts – concentrating on the thought of the beloved. This could well be the divine beloved.
3
phir chashm1-e shauq2 der se labrez3-e shikva4 hai
qatroN5 ko mauj6, mauj ko toofaaN7 kiye hue 1.eyes 2.desire, love 3.brimming, overflowing 4.complaint 5.drops 6.wave 7.storm, flood
The eyes of the poet/lover are ‘chashm-e shauq’ and they are brimming with tears (because of the sorrow of unfulfilled desire). He weeps so much that his tear drops become waves and waves become a flood. Said Ghalib …
Ghaalib hameN na chheR, ke phir josh-e ashk se
baiThe haiN ham tahayya-e toofaaN kiye hue
4
phir jaan1-e beqaraar2 hai aamaada3-e fuGhaaN4sau hashr5 ek sukoot6 meN pinhaaN7 kiye hue 1.life, heart 2.restless 3.inclined towards, ready for 4.wailing 5.tumult, commotion, frenzy 6.silence, tranquility 7.hiding, hidden
The restless heart is once again ready to start wailing with a hundred frenzies hidden behind its tranquil appearance i.e., the heart has been patient for a long time and is about to break into an outburst.
5
phir kaif1-e beKhudi2 meN baRha jaa raha huN maiN
sab kuchh nisaar3-e shauq4-e faraavaaN5 kiye hue 1.pleasure, ecstacy 2.trance 3.sacrifice 4.desire, love 5.abundant, plenty, overflowing
The poet/lover proceeds, unhindered by fear of consequences, because of the ecstacy of trance, sacrificing everything to his overflowing passion. Where is he proceeding … probably to the lane of the beloved to present his case.
6
phir suu1-e Khuld2-e husn3 khiNcha4 jaa raha huN maiN
har jannat5-e nazaara6 ko viiraaN7 kiye hue 1.towards 2.heaven 3.beauty, beloved 4.pulled, attracted 5.heaven 6.sight, scenery 7.desolate, abandoned
There are many heavenly scenes all around. But the poet/lover abandons them and gets pulled towards the one which he considers to heavenly beauty – perhaps the lane of the beloved, more beautiful than heaven itself.
7
phir baRh chala hai josh1-e talab2 raah3-e dost4 meN
sau fatah5 har shikast6 pe qurbaaN7 kiye hue 1.fervour, exuberance 2.desire, passion 3.path 4.friend, beloved 5.victories 6.defeat 7.sacrifice
The poet/lover is on the path seeking the beloved. The fervour of his passion keeps increasing sacrificing a hundred victories for this one failure i.e., the poet/lover knows that he will not be successful in achieving union with the beloved and he has available to him a hundred other successes. But he turns away from these and proceeds on the path to the beloved even though he may not succeed. Here the ‘beloved’ could represent god or even the poet’s passion for poetry and ‘successes’ could represent worldly distractions or other temptations.
8
phir baRh chaliiN junoon1-e tamanna2 ki shorisheN3
barham4 nizaam5-e aalam6-e imkaaN7 kiye hue 1.passion 2.longing, desire 3.agitation, tumult 4.disordered, confused 5.order 6.world 7.possibilities
Once again, the poet/lover’s agitation for his passionate longing (for the beloved) is on the increase, so much so that it has caused the order of the world of possibilities to go into a confused state i.e., he is trying to achieve the impossible by sacrificing that which is possible.
9
phir hai nigaah1-e shauq2 ko diidaar3 ki havas4
muddat5 hui hai jur’at6-e isyaaN7 kiye hue 1.eyes 2.desire 3.sighting 4.intense passion 5.long time, ages 6.daring 7.transgression
Setting eyes on the beloved is a transgression. It has been ages since the poet/lover has pulled up enough courage to commit this sin. With this long delay his eyes (nigaah-e shauq) have an intense passion to see her.
10
phir le chali hai vahshat1-e dil shahr2-e husn3 meN
jins4-e giraan5-e ishq ko arzaaN6 kiye hue 1.madness 2.city, domain 3.beauty, beloved 4.commodity 5.valuable 6.available, plenty
Once again, the madness/passion of the poet/lover’s heart takes him into the domain/street of the beloved making the valuable commodity of love freely available (to the beloved).
11
phir jii ye chaahta hai keh baiThe raheN jigar1
un ki nazar2 se bhi unheN pinhaaN3 kiye hue 1.pen-name of the poet 2.eyes 3.hidden
Once again, the heart desires, O jigar, to sit and wait (for the beloved) while making her totally invisible, hidden from all eyes including her own. He wants to do this out of envy, for fear of rivals. Out of similar excess of envy, Ghalib said …
chhoRaa na rashk ne ke tere ghar ka naam luN
har ek se poochhta huN ke jaauN kidhar ko maiN
jigar muradabadi (1890-1961) was a profilic poet of sufiyaana, romantic and musical Ghazal. Many of his compositions have been put to music and sung by great singers. This is one of his several Ghazal styled after Ghalib and is linked to Ghalib naqsh-e qadam.
1
phir dil hai qasd1-e koocha2-e jaanaaN3 kiye hue
rug4 rug meN nesh5-e ishq ko pinhaaN6 kiye hue
1.determination, decision 2.street 3.beloved 4.vein, fibre 5.knife 6.hidden
Once again, the heart is determined to go to the street of the beloved. This implies that it had done it before and the consequences were not very pleasant. But the heart cannot give up and is determined to try again. Of course, the passion of love cuts every fibre of the poet/lover’s body like a knife. He hides these daggers as he proceeds towards the street of the beloved i.e., he controls/stoically bears his pain/sorrow.
2
phir uzlat1-e Khayaal2 se ghabra raha hai dil
har vus’at3-e Khayaal ko zindaaN4 kiye hue
1.seclusion, isolation 2.thought, imagination 3.expanse, vastness 4.prison
I have to take what might be liberties in interpreting this. ‘uzlat-e Khayaal’ is isolation of that one thought … thought of the beloved and ‘vus’at-e Khayaal ko zindaaN karna’ can mean shut out/imprison all the other vast range of thoughts – concentrating on the thought of the beloved. This could well be the divine beloved.
3
phir chashm1-e shauq2 der se labrez3-e shikva4 hai
qatroN5 ko mauj6, mauj ko toofaaN7 kiye hue
1.eyes 2.desire, love 3.brimming, overflowing 4.complaint 5.drops 6.wave 7.storm, flood
The eyes of the poet/lover are ‘chashm-e shauq’ and they are brimming with tears (because of the sorrow of unfulfilled desire). He weeps so much that his tear drops become waves and waves become a flood. Said Ghalib …
Ghaalib hameN na chheR, ke phir josh-e ashk se
baiThe haiN ham tahayya-e toofaaN kiye hue
4
phir jaan1-e beqaraar2 hai aamaada3-e fuGhaaN4sau hashr5 ek sukoot6 meN pinhaaN7 kiye hue
1.life, heart 2.restless 3.inclined towards, ready for 4.wailing 5.tumult, commotion, frenzy 6.silence, tranquility 7.hiding, hidden
The restless heart is once again ready to start wailing with a hundred frenzies hidden behind its tranquil appearance i.e., the heart has been patient for a long time and is about to break into an outburst.
5
phir kaif1-e beKhudi2 meN baRha jaa raha huN maiN
sab kuchh nisaar3-e shauq4-e faraavaaN5 kiye hue
1.pleasure, ecstacy 2.trance 3.sacrifice 4.desire, love 5.abundant, plenty, overflowing
The poet/lover proceeds, unhindered by fear of consequences, because of the ecstacy of trance, sacrificing everything to his overflowing passion. Where is he proceeding … probably to the lane of the beloved to present his case.
6
phir suu1-e Khuld2-e husn3 khiNcha4 jaa raha huN maiN
har jannat5-e nazaara6 ko viiraaN7 kiye hue
1.towards 2.heaven 3.beauty, beloved 4.pulled, attracted 5.heaven 6.sight, scenery 7.desolate, abandoned
There are many heavenly scenes all around. But the poet/lover abandons them and gets pulled towards the one which he considers to heavenly beauty – perhaps the lane of the beloved, more beautiful than heaven itself.
7
phir baRh chala hai josh1-e talab2 raah3-e dost4 meN
sau fatah5 har shikast6 pe qurbaaN7 kiye hue
1.fervour, exuberance 2.desire, passion 3.path 4.friend, beloved 5.victories 6.defeat 7.sacrifice
The poet/lover is on the path seeking the beloved. The fervour of his passion keeps increasing sacrificing a hundred victories for this one failure i.e., the poet/lover knows that he will not be successful in achieving union with the beloved and he has available to him a hundred other successes. But he turns away from these and proceeds on the path to the beloved even though he may not succeed. Here the ‘beloved’ could represent god or even the poet’s passion for poetry and ‘successes’ could represent worldly distractions or other temptations.
8
phir baRh chaliiN junoon1-e tamanna2 ki shorisheN3
barham4 nizaam5-e aalam6-e imkaaN7 kiye hue
1.passion 2.longing, desire 3.agitation, tumult 4.disordered, confused 5.order 6.world 7.possibilities
Once again, the poet/lover’s agitation for his passionate longing (for the beloved) is on the increase, so much so that it has caused the order of the world of possibilities to go into a confused state i.e., he is trying to achieve the impossible by sacrificing that which is possible.
9
phir hai nigaah1-e shauq2 ko diidaar3 ki havas4
muddat5 hui hai jur’at6-e isyaaN7 kiye hue
1.eyes 2.desire 3.sighting 4.intense passion 5.long time, ages 6.daring 7.transgression
Setting eyes on the beloved is a transgression. It has been ages since the poet/lover has pulled up enough courage to commit this sin. With this long delay his eyes (nigaah-e shauq) have an intense passion to see her.
10
phir le chali hai vahshat1-e dil shahr2-e husn3 meN
jins4-e giraan5-e ishq ko arzaaN6 kiye hue
1.madness 2.city, domain 3.beauty, beloved 4.commodity 5.valuable 6.available, plenty
Once again, the madness/passion of the poet/lover’s heart takes him into the domain/street of the beloved making the valuable commodity of love freely available (to the beloved).
11
phir jii ye chaahta hai keh baiThe raheN jigar1
un ki nazar2 se bhi unheN pinhaaN3 kiye hue
1.pen-name of the poet 2.eyes 3.hidden
Once again, the heart desires, O jigar, to sit and wait (for the beloved) while making her totally invisible, hidden from all eyes including her own. He wants to do this out of envy, for fear of rivals. Out of similar excess of envy, Ghalib said …
chhoRaa na rashk ne ke tere ghar ka naam luN
har ek se poochhta huN ke jaauN kidhar ko maiN
The post barham nizaam-e aalam-e imkaaN kiye hue-jigar muradabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/smashma-kufr-e-ishq-ko-iimaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کفرِ عشق کو ایماں کئے ہوئے ۔ میکشؔ اکبرآبادی
۱
بیٹھے ہیں گیسوؤں کو پریشاں کئے ہوئے
میرے جنوں کو حسن کا عنواں کئے ہوئے
۲
جی چاہتا ہے کیجئے برہم مزاجِ حسن
مُدّت ہوئی ہے اُن کو نمایاں کئے ہوئے
۳
جرأت تو میری دیکھ کہ ہوں تیرے سامنے
ہستی سے اپنی تجھ کو نمایاں کئے ہوئے
۴
رکھتا ہوں سو معاملے تجھ سے بہ فیضِ دل
اپنی نظر سے بھی تجھے پنہاں کئے ہوئے
۵
ہے وہ نظر تواضعِ الفت سے مطمئن
مہماں کو نذرِ شوخیِ مژگاں کئے ہوئے
۶
یارب پھر ایک بار فقیروں پہ مرحمت
مُدّت ہوئی زیارتِ انساں کئے ہوئے
۷
گویا اُنہیں کی یاد میں ہے میکشِؔ خراب
خود اپنے کفرِ عشق کو ایماں کئے ہوئے
कुफ़्र-ए इश्क़ को इमां किये हुए – मयकश अक्बरआबादी
१
बैठे हैं गेसुऋं को परेशां किये हुए
मेरे जुनूं को हुस्न का उनवां किये हुए
२
जी चाहता है कीजिए बरहम मिज़ाज-ए हुस्न
मुद्दत हुई है उनको नुमायां किये हुए
३
जुर’अत तो मेरी देख के हूं तेरे सामने
हस्ती से अपनी तुझको नुमायां किये हुए
४
रखता हूं सौ मो’आमले तुझसे ब-फ़ैज़-ए दिल
अपनी नज़र से भी तुझे पिनहां किये हुए
५
है वो नज़र तवाज़ो-ए उल्फ़त से मुत्मा’इन
मेहमां को नज़्र-ए शूख़ि-ए मिज़्श्गां किये हुए
६
यारब फिर एक बार फ़क़ीरौं पे मरहमत
मुद्दत हुई ज़ियारत-ए इन्सां किये हुए
७
गोया उन्हीं की याद में है मयकश ख़राब-ए
ख़ुद अपने कुफ़्र-ए इश्क़ को ईमां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. syed mohammed ali shaah maikash akbarabadi (1902-1991). Born in agra in a family tracing its line to the sufi tradition. He learnt English and faarsi at home in traditional schooling and was awarded a degree/certificate in ‘nizaamat-admininstration’ from agra university in 1919. He has several collections of nazm and Ghazal as well as prose publications. This Ghazal is linked to Ghalib naqsh-e qadam.
1
baiThe haiN gesuoN1 ko pareshaaN2 kiye hue
mere junooN3 ko husn4 ka unvaaN5 kiye hue 1.hair 2.scattered, untied, uncovered 3.passion, madness 4.beauty 5.theme
Untied, uncovered, disheveled hair are all indications of sorrow/distress. The beloved is sitting in such a position and her beauty even in this appearance seems to be a fitting accompaniment to the madness and passion of the poet/lover. We can only speculate on why the beloved is distressed. Perhaps I am stretching the imagery beyond what is meant but it appears to me that the poet/lover has died because of the intensity of his passion and the beloved is mourning and her appearance matches the lover’s passion.
2
jii1 chaahta hai kiijiye barham2 mizaaj3-e husn4
muddat5 hui hai un ko numaayaaN6 kiye hue 1.heart, desire 2.angry, displeased 3.attitude, mood 4.beauty, beloved 5.long time, ages 6.prominent, visible, publicly seen
The poet/lover’s heart desires to tease the beloved and get her into an angry/irritated mood. He expects that in such a mood she will come out in the open to express her anger, perhaps even with sword drawn. It has been ages since he was able to get her to come out in the open.
3
jur’at1 to meri dekh keh huN tere saamne
hasti2 se apni tujh ko numaayaaN3 kiye hue 1.daring, courage 2.existence 3.manifest, seen, visible
This appears to be addressed to god. The poet/devotee believes that through his own existence/being he makes the qualities of god manifest. Thus, he declares – look at my courage; I stand before you making your being manifest through my own being. This implies that there would be nothing/no one to know/feel the presence of god without humans.
4
rakhta huN sau mu’aamele1 tujh se ba-faiz2-e dil
apni nazar3 se bhi tujhe pinhaaN4 kiye hue 1.dealings, connections 2.because of the generosity/capabilities of 3.sight, eyes 4.hidden
Even though god is hidden from the eyes of the poet/devotee, he is able to maintain a hundred connections/relationships with god through the abilities of his heart – ‘I imagine, therefore you are’!
5
hai vo nazar1 tavaaz’o2-e ulfat3 se mutma’in4mehmaaN5 ko nazr6-e shooKhi7-e mizshgaaN8 kiye hue 1.sight, eyes 2.hospitality, attention, fawning 3.love, lover 4.satisfied 5.guest 6.sacrificial offering 7.mischief 8.eyelashes
The imagery is that the poet/lover has been admitted to the presence of the beloved. Even though he is the guest he is merely a sacrificial offering to her sidelong glances – her eyelashes. He is so stricken with love that he fawns her and she appears to be satisfied with the attention she is getting.
6
yaarab1 phir ek baar faqiiroN2 pe marhamat3
muddat4 hui ziyaarat5-e insaaN kiye hue 1.O lord, god 2.beggar, mendicant, sufi 3.kindness, benevolence 4.long time, ages 5.seeing, witnessing
The poet/sufi considers himself a faqir – a mendicant who has given up the material for a life of spiritual contemplation. He protests that it has been ages since he has encountered a person with qualities of human-ness. Thus, he prays – show some kindness to the mendicant; send someone who has some human qualities about him.
7
goya1 unhiiN ki yaad meN hai maikash2-e Kharaab3
Khud apne kufr4-e ishq ko iimaaN5 kiye hue 1.as if 2.pen-name of the poet, also means wine lover 3.drunk, trance 4.transgression 5.faith, virtue
It is as if maikash is in a trance in memory of the beloved. He has transformed his transgression of love into a virtue of faith. This could apply both to the worldly as well as the divine beloved. In the latter case, it is praising the sufi/bhakti tradition.
syed mohammed ali shaah maikash akbarabadi (1902-1991). Born in agra in a family tracing its line to the sufi tradition. He learnt English and faarsi at home in traditional schooling and was awarded a degree/certificate in ‘nizaamat-admininstration’ from agra university in 1919. He has several collections of nazm and Ghazal as well as prose publications. This Ghazal is linked to Ghalib naqsh-e qadam.
1
baiThe haiN gesuoN1 ko pareshaaN2 kiye hue
mere junooN3 ko husn4 ka unvaaN5 kiye hue
1.hair 2.scattered, untied, uncovered 3.passion, madness 4.beauty 5.theme
Untied, uncovered, disheveled hair are all indications of sorrow/distress. The beloved is sitting in such a position and her beauty even in this appearance seems to be a fitting accompaniment to the madness and passion of the poet/lover. We can only speculate on why the beloved is distressed. Perhaps I am stretching the imagery beyond what is meant but it appears to me that the poet/lover has died because of the intensity of his passion and the beloved is mourning and her appearance matches the lover’s passion.
2
jii1 chaahta hai kiijiye barham2 mizaaj3-e husn4
muddat5 hui hai un ko numaayaaN6 kiye hue
1.heart, desire 2.angry, displeased 3.attitude, mood 4.beauty, beloved 5.long time, ages 6.prominent, visible, publicly seen
The poet/lover’s heart desires to tease the beloved and get her into an angry/irritated mood. He expects that in such a mood she will come out in the open to express her anger, perhaps even with sword drawn. It has been ages since he was able to get her to come out in the open.
3
jur’at1 to meri dekh keh huN tere saamne
hasti2 se apni tujh ko numaayaaN3 kiye hue
1.daring, courage 2.existence 3.manifest, seen, visible
This appears to be addressed to god. The poet/devotee believes that through his own existence/being he makes the qualities of god manifest. Thus, he declares – look at my courage; I stand before you making your being manifest through my own being. This implies that there would be nothing/no one to know/feel the presence of god without humans.
4
rakhta huN sau mu’aamele1 tujh se ba-faiz2-e dil
apni nazar3 se bhi tujhe pinhaaN4 kiye hue
1.dealings, connections 2.because of the generosity/capabilities of 3.sight, eyes 4.hidden
Even though god is hidden from the eyes of the poet/devotee, he is able to maintain a hundred connections/relationships with god through the abilities of his heart – ‘I imagine, therefore you are’!
5
hai vo nazar1 tavaaz’o2-e ulfat3 se mutma’in4mehmaaN5 ko nazr6-e shooKhi7-e mizshgaaN8 kiye hue
1.sight, eyes 2.hospitality, attention, fawning 3.love, lover 4.satisfied 5.guest 6.sacrificial offering 7.mischief 8.eyelashes
The imagery is that the poet/lover has been admitted to the presence of the beloved. Even though he is the guest he is merely a sacrificial offering to her sidelong glances – her eyelashes. He is so stricken with love that he fawns her and she appears to be satisfied with the attention she is getting.
6
yaarab1 phir ek baar faqiiroN2 pe marhamat3
muddat4 hui ziyaarat5-e insaaN kiye hue
1.O lord, god 2.beggar, mendicant, sufi 3.kindness, benevolence 4.long time, ages 5.seeing, witnessing
The poet/sufi considers himself a faqir – a mendicant who has given up the material for a life of spiritual contemplation. He protests that it has been ages since he has encountered a person with qualities of human-ness. Thus, he prays – show some kindness to the mendicant; send someone who has some human qualities about him.
7
goya1 unhiiN ki yaad meN hai maikash2-e Kharaab3
Khud apne kufr4-e ishq ko iimaaN5 kiye hue
1.as if 2.pen-name of the poet, also means wine lover 3.drunk, trance 4.transgression 5.faith, virtue
It is as if maikash is in a trance in memory of the beloved. He has transformed his transgression of love into a virtue of faith. This could apply both to the worldly as well as the divine beloved. In the latter case, it is praising the sufi/bhakti tradition.
The post kufr-e ishq ko iimaaN kiye hue-maikash akbarabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/hlfd-suKhandaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
سخن داں کئے ہوئے ۔ ہیرا لال فلکؔ دہلوی
۱
ممکن ہے بھول بیٹھے ہوں احساں کئے ہوئے
جائیں گے دِل کے داغ نمایاں کئے ہوئے
۲
بے شک نہ مل سکے کہیں دیوانگی کی داد
پھرتے رہیں گے چاک گریباں کئے ہوئے
۳
دیکھیں بچائے کیسے سفینے کو ناخدا
پھرتے رہیں گے چاک گریباں کئے ہوئے
۴
اے کاش دن وہ آئے کہ کھل کر منائیں عید
گھر کو سجائے یار کو مہماں کئے ہوئے
۵
دل نے کہا کہ بیٹھ یہیں پر کہاں چلا
اُٹّھے جو ہم تصوّرِ جاناں کئے ہوئے
۶
کل تک تو ہم تھے زُلفِ گرہ گیر کے اسیر
اب ہے خراب گردشِ دوراں کئے ہوئے
۷
خاکِ چمن کو جب بھی لہو ہم نے دے دیا
غنچے کِھلے بہار کا ساماں کئے ہوئے
۸
عاشق ہوں کھینچ لے گی مرے عشق کی کشش
آؤگے گیسوں کو پریشاں کئے ہوئے
۹
وسعت سخاوتوں میں تری اِس قدر تو ہو
آئیں ملالِ تنگیِ داماں کئے ہوئے
۱۰
گہری اگر ہے طلمتِ شامِ الم تو کیا
ہم بھی ہیں آنسووں سے چراغاں کئے ہوئے
۱۱
پھر جھوم کر سنا کوئی تازہ غزل فلکؔ
بیٹھے ہیں انتظار سخن داں کئے ہوئے
सोख़न-दां किये हुए – हीरा लाल फ़लक देहलवी
१
मुमकिन है भूल बैठे हों एहसां किये हुए
जाएंगे दिल के दाग़ नुमायां किये हुए
२
बेशक ना मिल सके कहीं दीवानगी की दाद
फिरते रहेंगे चाक गरेबां किये हुए
३
देखें बचाए कैसे सफ़ीने को नाख़ुदा
ज़ेर-ओ-ज़बर है शिद्दत-ए तूफ़ां किये हुए
४
अए काश दिन वो आए के खुलकर मनाएं ईद
घर को सजा के यार को मेहमां किये हुए
५
दिल ने कहा के बैठ यहीं पर कहां चला
उट्ठे जो हम तसव्वुर-ए जानां किये हुए
६
कल तक तो हम थे ज़ुल्फ़-ए गिरह-गीर के असीर
अब है ख़राब गर्दिश-ए दौरां किये हुए
७
ख़ाक-ए चमन को जब भी लहू हमने दे दिया
ग़ुंचे खिले बहार का सामां किये हुए
८
आशिक़ हूं खैंच लेगी मेरे इश्क़ की लगन
आओगे गेसुऔं को परेशां किये हुए
९
वुस’अत सख़ावतौं में तेरी इस क़दर तो हो
आएं मलाल-ए तंगी-ए दामां किये हुए
१०
गहरी अगर है ज़ुल्मत-ए शाम-ए अलम तो क्या
हम भी हैं आंसुओं से चराग़ां किये हुए
११
फिर झूम कर सुना कोई ताज़ा ग़ज़ल फ़लक
बैठे हैं इंतेज़ार सोख़न-दां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. heera lal falak dehlavi (1920?-1982+?). I can only make an educated guess about his birth and death. A collection of his Ghazal was published posthumously in 1982 by his shaagird. The book mentions beKhud dehlavi (1863-1955) as his ‘inspirational ustaad’ and dedicates it to him. He was a minor official in the dehli court system. In the book he describes his encounter with beKhud dehlavi when he (falak) was still a young man. The book says that he started composing in 1940. He has several Ghazal composed in the zamin of Ghalib, this is one of a series linked to the corresponding radeef in ‘Ghalib naqsh-e qadam’.
1
mumkin1 ho bhool baiThe hoN ehsaaN2 kiye hue
jaa’eNge dil ke daaGh3 numaayaaN4 kiye hue 1.possible 2.favours 3.wounds, scars 4.visible, prominent
In poetic convention the beloved inflicts pain on the lover, which he considers to be a favour, even though there are scars in his heart. He is away from the beloved and is imagining that she may have forgotten all the favours that she did to him. So he wants to go to her street prominently displaying all the scars in his heart to remind her of all the favours that she has done to him. It is also possible that he is using the word ‘favours’, sarcastically.
2
be-shak1 na mil sakay kahiN diivaanagi2 ki daad3phirte raheNge chaak4 garebaaN5 kiye hue 1.without a doubt 2.madness (of passion) 3.appreciation, praise 4.torn 5.shirt front, collar
In poetic convention, the mad, passionate lover goes around with a torn collar like majnuN. He has not doubt that he will not receive any appreciation for the madness of his passion. Never-the-less he is determined to roam/wander with his collar torn.
3
dekheN bachaaye kaise safiine1 ko naaKhuda2
zer-o-zabar3 hai shiddat4-e toofaaN5 kiye hue 1.boat 2.oarsman, boatman 3.topsy-turvy, upside down 4.intensity 5.storm
The intense storm is the storm of passion, and the boat is life itself. The boatman could be fate, god or even the beloved herself. The intensity of passion has turned life upside down and there is no hope of saving it. Let us see how the boatman can save the boat from drowning now.
4
aye kaash1 din vo aaye keh khul kar manaayeN eid2
ghar ko saja3 ke yaar4 ko mehmaaN5 kiye hue 1.wish, hope 2.celebration 3.embellish, decorate 4.friend, beloved 5.guest
O, I so wish I could have a festive celebration openly. The agreement of the beloved is implied … if the beloved were to agree, I would decorate/illuminate the house and have the beloved as a guest. Said Ghalib …
muddat hui hai yaar ko mehmaaN kiye hue
josh-e qadah se bazm charaaGhaaN kiye hue
5
dil ne kaha keh baiTh yahiiN par kahaaN chala
uTThe jo ham tasavvur1-e jaanaaN2 kiye hue 1.thought, imagination, mental picture 2.beloved
The poet/lover created a mental picture of the beloved and rose from his stupor in the hopes of going to see her. His heart cautioned him … sit down, where do you think you are going! The poet does not spell out why the heart cautioned him … is it because the heart knew that the beloved was not going to grant him any access and wanted to save him from disappointment.
6
kal tak to ham the zulf1-e girah-giir2 ke asiir3
ab hai Kharaab4 gardish-e-dauraaN5 kiye hue 1.hair 2.captivating/capturing knots/curls of hair 3.prisoner 4.destroyed 5.vicissitudes of time/life
Until yesterday, the poet/lover was a prisoner of the curls of the beloved’s hair. Now he is being trampled upon by the vicissitudes of time – the need to make a living.
7
Khaak1-e chaman ko jab bhi lahu2 ham ne de diya
Ghunche3 khile bahaar4 ka saamaaN5 kiye hue 1.dust, soil, earth 2.blood 3.flower buds 4.spring 5.provisions, arrangements
Whenever the soil of the garden needed irrigation, we (lovers or poets) provided our blood. Because of this rose buds bloomed making full arrangements for the arrival of spring.
8
aashiq huN khaiNch legi mere ishq ki lagan
aaoge gesuoN1 ko pareshaaN2 kiye hue 1.hair 2.spread out, untied
This requires a little imagination to create the picture and interpret. It is conventional for the beloved to visit the poet/lover’s funeral. Coming with hair uncovered and untied is a sign of extreme sorrow. In the picture here the poet/lover is dead and there is some question whether the beloved will visit. But the poet/lover is confident that he is a true lover, and the sincerity of his love will pull her. He declares, my love will pull you; you will come in great distress with your hair uncovered and spread out.
9
vus’at1 saKhaavatoN2 meN teri is qadar3 to ho
aayeN malaal4-e taNgi-e-daamaaN5 kiye hue 1.expanse, vastness 2.kindness, benevolence 3.so much 4.sorrow, regret 5.narrowness of the hem of the skirt – an expression used here to mean lack of capacity to hold
This appears to be addressed to god. There should at least be so much vastness of your benevolence that we should come back regretting that we don’t have enough capacity in the hem of the robe to hold all your gifts.
10
gahri1 agar2 hai zulmat3-e shaam-e alam4 to kya
ham bhi haiN aaNsuoN5 ko charaaGhaaN6 kiye hue 1.deep, intense 2.if 3.darkness 4.sorrow 5.tears 6.lit up, bright
What if the darkness of the night of sorrow is intense, we have lit up our tears as lamps.
11
phir jhoom kar suna koii taaza1 Ghazal falak2
baiThe haiN intezaar3 suKhandaaN4 kiye hue 1.fresh, new 2.pen-name of the poet 3.waiting, anticipation 4.appreciators/experts of versification
Once again, with great gusto, recite a newly composed Ghazal, O falak. Those who understand/appreciate verse are waiting for you.
heera lal falak dehlavi (1920?-1982+?). I can only make an educated guess about his birth and death. A collection of his Ghazal was published posthumously in 1982 by his shaagird. The book mentions beKhud dehlavi (1863-1955) as his ‘inspirational ustaad’ and dedicates it to him. He was a minor official in the dehli court system. In the book he describes his encounter with beKhud dehlavi when he (falak) was still a young man. The book says that he started composing in 1940. He has several Ghazal composed in the zamin of Ghalib, this is one of a series linked to the corresponding radeef in ‘Ghalib naqsh-e qadam’.
1
mumkin1 ho bhool baiThe hoN ehsaaN2 kiye hue
jaa’eNge dil ke daaGh3 numaayaaN4 kiye hue
1.possible 2.favours 3.wounds, scars 4.visible, prominent
In poetic convention the beloved inflicts pain on the lover, which he considers to be a favour, even though there are scars in his heart. He is away from the beloved and is imagining that she may have forgotten all the favours that she did to him. So he wants to go to her street prominently displaying all the scars in his heart to remind her of all the favours that she has done to him. It is also possible that he is using the word ‘favours’, sarcastically.
2
be-shak1 na mil sakay kahiN diivaanagi2 ki daad3phirte raheNge chaak4 garebaaN5 kiye hue
1.without a doubt 2.madness (of passion) 3.appreciation, praise 4.torn 5.shirt front, collar
In poetic convention, the mad, passionate lover goes around with a torn collar like majnuN. He has not doubt that he will not receive any appreciation for the madness of his passion. Never-the-less he is determined to roam/wander with his collar torn.
3
dekheN bachaaye kaise safiine1 ko naaKhuda2
zer-o-zabar3 hai shiddat4-e toofaaN5 kiye hue
1.boat 2.oarsman, boatman 3.topsy-turvy, upside down 4.intensity 5.storm
The intense storm is the storm of passion, and the boat is life itself. The boatman could be fate, god or even the beloved herself. The intensity of passion has turned life upside down and there is no hope of saving it. Let us see how the boatman can save the boat from drowning now.
4
aye kaash1 din vo aaye keh khul kar manaayeN eid2
ghar ko saja3 ke yaar4 ko mehmaaN5 kiye hue
1.wish, hope 2.celebration 3.embellish, decorate 4.friend, beloved 5.guest
O, I so wish I could have a festive celebration openly. The agreement of the beloved is implied … if the beloved were to agree, I would decorate/illuminate the house and have the beloved as a guest. Said Ghalib …
muddat hui hai yaar ko mehmaaN kiye hue
josh-e qadah se bazm charaaGhaaN kiye hue
5
dil ne kaha keh baiTh yahiiN par kahaaN chala
uTThe jo ham tasavvur1-e jaanaaN2 kiye hue
1.thought, imagination, mental picture 2.beloved
The poet/lover created a mental picture of the beloved and rose from his stupor in the hopes of going to see her. His heart cautioned him … sit down, where do you think you are going! The poet does not spell out why the heart cautioned him … is it because the heart knew that the beloved was not going to grant him any access and wanted to save him from disappointment.
6
kal tak to ham the zulf1-e girah-giir2 ke asiir3
ab hai Kharaab4 gardish-e-dauraaN5 kiye hue
1.hair 2.captivating/capturing knots/curls of hair 3.prisoner 4.destroyed 5.vicissitudes of time/life
Until yesterday, the poet/lover was a prisoner of the curls of the beloved’s hair. Now he is being trampled upon by the vicissitudes of time – the need to make a living.
7
Khaak1-e chaman ko jab bhi lahu2 ham ne de diya
Ghunche3 khile bahaar4 ka saamaaN5 kiye hue
1.dust, soil, earth 2.blood 3.flower buds 4.spring 5.provisions, arrangements
Whenever the soil of the garden needed irrigation, we (lovers or poets) provided our blood. Because of this rose buds bloomed making full arrangements for the arrival of spring.
8
aashiq huN khaiNch legi mere ishq ki lagan
aaoge gesuoN1 ko pareshaaN2 kiye hue
1.hair 2.spread out, untied
This requires a little imagination to create the picture and interpret. It is conventional for the beloved to visit the poet/lover’s funeral. Coming with hair uncovered and untied is a sign of extreme sorrow. In the picture here the poet/lover is dead and there is some question whether the beloved will visit. But the poet/lover is confident that he is a true lover, and the sincerity of his love will pull her. He declares, my love will pull you; you will come in great distress with your hair uncovered and spread out.
9
vus’at1 saKhaavatoN2 meN teri is qadar3 to ho
aayeN malaal4-e taNgi-e-daamaaN5 kiye hue
1.expanse, vastness 2.kindness, benevolence 3.so much 4.sorrow, regret 5.narrowness of the hem of the skirt – an expression used here to mean lack of capacity to hold
This appears to be addressed to god. There should at least be so much vastness of your benevolence that we should come back regretting that we don’t have enough capacity in the hem of the robe to hold all your gifts.
10
gahri1 agar2 hai zulmat3-e shaam-e alam4 to kya
ham bhi haiN aaNsuoN5 ko charaaGhaaN6 kiye hue
1.deep, intense 2.if 3.darkness 4.sorrow 5.tears 6.lit up, bright
What if the darkness of the night of sorrow is intense, we have lit up our tears as lamps.
11
phir jhoom kar suna koii taaza1 Ghazal falak2
baiThe haiN intezaar3 suKhandaaN4 kiye hue
1.fresh, new 2.pen-name of the poet 3.waiting, anticipation 4.appreciators/experts of versification
Once again, with great gusto, recite a newly composed Ghazal, O falak. Those who understand/appreciate verse are waiting for you.
The post suKhandaaN kiye hue-heera lal falak dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/mdsh-chaak-garebaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
چاک گریباں کئے ہوئے ۔ مرلی دھر شادؔ
۱
آرائشِ جنوں کا ہوں ساماں کئے ہوئے
نکلا ہوں گھر سے چاک گریباں کئے ہوئے
۲
وہ ایک بار چشمِ عنایت سے دیکھ لیں
بیٹھا ہوں اپنا حال پریشاں کئے ہوئے
۳
صحرا تھا منتظر میری دعوت کے واسطے
ایک ایک نوکِ خار کو پیکاں کئے ہوئے
۴
لیں آبلوں میں خارِ مغیلاں نے چٹکیاں
نکلا تھا میں تصوُّرِ مژگاں کئے ہوئے
۵
دیکھا نہ ایک دل کو بھی دنیا میں مطمئن
ہم سے بہت ہیں اُن کے پریشاں کئے ہوئے
۶
تم آ بسو تو اُجڑے ہوئے شہر کو بساؤں
مُدّت ہوئی ہے دل کو بیاباں کئے ہوئے
۷
ٹیڑھی نظر، جبیں پہ ہے بل، تیغ ہاتھ میں
آئے ہیں میرے قتل کا ساماں کئے ہوئے
۸
وعدے کی شب خوشی کا سبب پوچھتے ہو کیا
یاد آرہے ہیں شادؔ کو احساں کئے ہوئے
चाक गरेबां किये हुए – मुरलीधर शाद
१
आरा’एश-ए जुनूं का हूं सामां किये हुए
निकला हूं घर से चाक गरेबां किये हुए
२
वो एक बार चश्म-ए इना’एत से देख लें
बैठा हूं अपना हाल परेशां किये हुए
३
सहरा था मुंतज़र मेरी दावत के वास्ते
एक एक नोक-ए ख़ार को पैकां किये हुए
४
लीं आब्लौं में ख़ार-ए मुग़ैलां ने चुटकियां
निकला था मैं तसव्वुर-ए मिज़्श्गां किये हुए
५
देखा ना एक दिल को भी दुनिया में मुतम’इन
हम से बहुत हैं उन के परेशां किये हुए
६
तुम आ बसो तो उज्ढे हुए शहर को बसाऊं
मुद्दत हुई है दिल को बियाबां किये हुए
७
टेढ़ी नज़र, जबीं पे है बल, तेग़ हाथ में
आए हैं मेरे क़त्ल का सामां किये हुए
८
वादे की शब ख़ुशी का सबब पूछते हो क्या
याद आ रहे हैं शाद को एहसां किये हुए
Click here for background and on any passage for word meanings and explanatory discussion. murli dhar shaad (~1910?-1950). His diivaan was published posthumously by his uncle, shaNkar lal shaNkar, who was himself a shaa’er and died soon afterwards (~1952). shaad’s father, founder of lyallpur mills and later DCM, established the ‘shaNkar-shaad Memorial Trust’ which organizes annual hind-pak mushaa’era (with political interruptions in 1965 and covid in 2020), aimed at promoting urdu and communal harmony. shaad also organized annual mushaa’era in lyallpur in the 1940s inviting shu’ara from all over India, for the employees of the textile mills. This Ghazal, in the zamin of Ghalib’s ‘yaar ko mehmaaN kiye hue’ is linked to Ghalib naqsh-e qadam.
1
aaraa’esh1-e junooN2 ka huN saamaaN3 kiye hue
nikla huN ghar se chaak4 garebaaN5 kiye hue 1.adornment 2.madness of passion 3.means, arrangements 4.torn 5.shirt front, collar
It is poetic convention that the lover goes around with intense madness of passion with his shirt front torn, ala majnuN of laila-majnuN legend. Thus, he claims that he has set out of his home with a rent collar, having made full arrangements for the adornment of his passion.
2
vo ek baar chashm1-e inaa’et2 se dekh leN
baiTha huN apna haal pareshaaN3 kiye hue 1.glance 2.kindness, benevolence 3.worried, disheveled
So that beloved cast at least a single glance of kindness at me, I sit (in her path) in a disheveled/worried state.
3
sahra1 tha muntazir2 meri d’aavat3 ke vaaste4
aek aek nok5-e Khaar6 ko paikaaN7 kiye hue 1.wilderness, desert 2.waiting, anticipation 3.invitation, reception 4.for the sake of 5.point, sharp end 6.thorn 7.tip of arrow
The picture is that of majnuN wandering the desert in his bare feet. Thorns prick his feed which bleed profusely adding to his look of passionate madness. The poet/lover too says that the the wilderness is waiting for his reception, readying sharp thorns as tips of arrows.
4
liiN aabloN1 meN Khaar2-e muGhailaaN3 ne chuTkiyaaN4nikla tha maiN tasavvur5-e mizshgaaN6 kiye hue 1.pustules, sores, boils 2.thorn 3.thorny acacia 4.pinch 5.imagination, mental picture 6.eyelashes
The poet/lover had stepped out with the image of eyelashes in his mind but it turned out that it was acacia thorns that were pricking the pustules in his bare feet. I wonder if he was imagining stepping on the beloved’s eyelashes!
5
dekha na aek dil ko bhi duniya meN mutma’in1
ham se2 bahut haiN un ke pareshaaN3 kiye hue 1.satisfied, content 2.short for ‘jaise’ – like, similar to 3.distraught, worried
I did not see even one heart that was contented. It seems like there are many others just like me who have been rendered distraught by the beloved.
6
tum aa baso1 to ujRe2 hue shahr3 ko basaauN4
muddat5 hui hai dil ko biyabaaN6 kiye hue 1.inhabit, make a home in 2.desolate, lonely 3.city, settlement, heart 4.make prosperous 5.long time, ages 6.abandoned, wilderness
If you come and make a home in my heart, then it will become prosperous again. It has been ages since it has been abandoned into desolation.
7
TeRhi nazar1, jabiiN2 pe hai bal3, teGh4 haath meN
aaye haiN mere qatl5 ka saamaaN6 kiye hue 1.glance 2.forehead 3.furrows 4.sword 5.slaughter 6.arrangements
In urdu poetic convention the beloved slaughters her admirers/lovers. She is coming, sword in hand, her brow furrowed and her glance askew (in anger), completing all arrangements for his slaughter.
8
v’aade1 ki shab2 Khushi ka sabab3 poochhte ho kya
yaad aa rahe haiN shaad4 ko ehsaaN5 kiye hue 1.promise (of union) 2.night 3.basis, reason 4.pen-name of the poet 5.kindnesses, favours
It is the night that the beloved has promised to come. The poet/lover appears to be joyous. This should be surprising, because it is well known that the beloved never keeps her promise. So, someone (perhaps a friend) asks him the reason for his joy. What can I say, I remember all the favours that the beloved has shown me in the past, he says.
murli dhar shaad (~1910?-1950). His diivaan was published posthumously by his uncle, shaNkar lal shaNkar, who was himself a shaa’er and died soon afterwards (~1952). shaad’s father, founder of lyallpur mills and later DCM, established the ‘shaNkar-shaad Memorial Trust’ which organizes annual hind-pak mushaa’era (with political interruptions in 1965 and covid in 2020), aimed at promoting urdu and communal harmony. shaad also organized annual mushaa’era in lyallpur in the 1940s inviting shu’ara from all over India, for the employees of the textile mills. This Ghazal, in the zamin of Ghalib’s ‘yaar ko mehmaaN kiye hue’ is linked to Ghalib naqsh-e qadam.
1
aaraa’esh1-e junooN2 ka huN saamaaN3 kiye hue
nikla huN ghar se chaak4 garebaaN5 kiye hue
1.adornment 2.madness of passion 3.means, arrangements 4.torn 5.shirt front, collar
It is poetic convention that the lover goes around with intense madness of passion with his shirt front torn, ala majnuN of laila-majnuN legend. Thus, he claims that he has set out of his home with a rent collar, having made full arrangements for the adornment of his passion.
2
vo ek baar chashm1-e inaa’et2 se dekh leN
baiTha huN apna haal pareshaaN3 kiye hue
1.glance 2.kindness, benevolence 3.worried, disheveled
So that beloved cast at least a single glance of kindness at me, I sit (in her path) in a disheveled/worried state.
3
sahra1 tha muntazir2 meri d’aavat3 ke vaaste4
aek aek nok5-e Khaar6 ko paikaaN7 kiye hue
1.wilderness, desert 2.waiting, anticipation 3.invitation, reception 4.for the sake of 5.point, sharp end 6.thorn 7.tip of arrow
The picture is that of majnuN wandering the desert in his bare feet. Thorns prick his feed which bleed profusely adding to his look of passionate madness. The poet/lover too says that the the wilderness is waiting for his reception, readying sharp thorns as tips of arrows.
4
liiN aabloN1 meN Khaar2-e muGhailaaN3 ne chuTkiyaaN4nikla tha maiN tasavvur5-e mizshgaaN6 kiye hue
1.pustules, sores, boils 2.thorn 3.thorny acacia 4.pinch 5.imagination, mental picture 6.eyelashes
The poet/lover had stepped out with the image of eyelashes in his mind but it turned out that it was acacia thorns that were pricking the pustules in his bare feet. I wonder if he was imagining stepping on the beloved’s eyelashes!
5
dekha na aek dil ko bhi duniya meN mutma’in1
ham se2 bahut haiN un ke pareshaaN3 kiye hue
1.satisfied, content 2.short for ‘jaise’ – like, similar to 3.distraught, worried
I did not see even one heart that was contented. It seems like there are many others just like me who have been rendered distraught by the beloved.
6
tum aa baso1 to ujRe2 hue shahr3 ko basaauN4
muddat5 hui hai dil ko biyabaaN6 kiye hue
1.inhabit, make a home in 2.desolate, lonely 3.city, settlement, heart 4.make prosperous 5.long time, ages 6.abandoned, wilderness
If you come and make a home in my heart, then it will become prosperous again. It has been ages since it has been abandoned into desolation.
7
TeRhi nazar1, jabiiN2 pe hai bal3, teGh4 haath meN
aaye haiN mere qatl5 ka saamaaN6 kiye hue
1.glance 2.forehead 3.furrows 4.sword 5.slaughter 6.arrangements
In urdu poetic convention the beloved slaughters her admirers/lovers. She is coming, sword in hand, her brow furrowed and her glance askew (in anger), completing all arrangements for his slaughter.
8
v’aade1 ki shab2 Khushi ka sabab3 poochhte ho kya
yaad aa rahe haiN shaad4 ko ehsaaN5 kiye hue
1.promise (of union) 2.night 3.basis, reason 4.pen-name of the poet 5.kindnesses, favours
It is the night that the beloved has promised to come. The poet/lover appears to be joyous. This should be surprising, because it is well known that the beloved never keeps her promise. So, someone (perhaps a friend) asks him the reason for his joy. What can I say, I remember all the favours that the beloved has shown me in the past, he says.
The post chaak garebaaN kiye hue-murli dhar shaad appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/sgsm-Ghair-ko-mehmaaN-kiye-hue-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
غیر کو مہماں کئے ہوئے ۔ سردار گینڈا سنگھ مشرقیؔ
۱
وہ آ رہے ہیں تیغ کو عریاں کئے ہوئے
سامانِ قتلِ عاشقِ نالاں کئے ہوئے
۲
ساقی کا انتظار ہے بیٹھے ہیں بادہ خوار
بزمِ نشاط و عیش کا ساماں کئے ہوئے
۳
دل ہے کہیں جگر کہیں جان ہے کہیں
وہ آ رہے ہیں زُلف پریشاں کئے ہوئے
۴
دل کی ہے آرزو یہی آکر کریں وہ سیر
بیٹھے ہیں ہم جگر کو چراغاں کئے ہوئے
۵
اب کیا جلیں گے اور جو پہلے ہی پڑے ہیں
دل کو، جگر کو، جان کو، بریاں کئے ہوئے
۶
اب اور سیر چل کے چمن میں کریں گے کیا
ہم آرہے ہیں سیرِ بیاباں کئے ہوئے
۷
اے شیخ اپنا جبّۂ اقدس سنبھالئے
مست آرہے ہیں چاک گریباں کئے ہوئے
۸
مجھ کو بُلا کے گھر پہ ہنسی سے وہ کہتے ہیں
مُدّت ہوئی ہے غیر کو مہماں کئے ہوئے
۹
ہم کس طرح بتائیں کہ کیا دل کا حال ہے
آتے ہیں سیرِ شہرِ خموشاں کئے ہوئے
۱۰
اب کس طرح ہمیں ہو تمنائے سیرِ باغ
مُدّت سے ہیں جگر چمنستاں کئے ہوئے
۱۱
سامان سارا عیش کا جب جمع ہو چکا
وہ آئے اپنی زلف پریشاں کئے ہوئے
۱۲
جائیں گے شالامار ضرور آج مشرقیؔ
مُدّت ہوئی ہے سیرِ چراغاں کئے ہوئے
ग़ैर को मेहमां किए हुए – सरदार गेंडा सिंघ मश्रिक़ी
१
वो आ रहा है तेग़ को उर्यां किए हुए
सामान-ए क़त्ल-ए आशिक़-ए नालां किए हुए
२
साक़ी का इंतेज़ार है, बैठे हैं, बादा-ख़्वार
बज़्म-ए निशात ओ ऐश का सामां किए हुए
३
दिल है कहीं, जिगर कहीं, जान है कहीं
वो आ रहे हैं ज़ुल्फ़ परेशां किए हुए
४
दिल की है आर्ज़ू यहीं आ कर करें वो सैर
बैठै हैं हम जिगर को चराग़ां किए हुए
५
अब क्या जलेंगे और जो पहले ही पढे हैं
दिल को, जिगर को, जान को, बर्यां किए हुए
६
अब और सैर चल के चमन में करेंगे क्या
हम आ रहे हैं सैर-ए बियाबां किए हुए
७
ऐ शेख़ अपना जुब्बा-ए अक़्दस संभालिये
मस्त आ रहे हैं चाक गैरेबां किए हुए
८
मुझ को बुला के घर पे हंसी से वो कहते हैं
मुद्दत हुई है ग़ैर को मेहमां किए हुए
९
हम किस तरह बताएं के क्या दिल का हाल है
आते हैं सैर-ए शहर-ए ख़मोशां किए हुए
१०
अब किस तरह हमें हो तमन्ना-ए सैर-ए बाग़
मुद्दत से हैं जिगर चमनिस्तां किए हुए
११
सामन सारा ऐश का जब जम’अ हो चूका
वो आए अपनी ज़ुल्फ़ परेशां किए हुए
१२
जाएंगे शालीमार ज़रूर आज मश्रिक़ी
मुद्दत हुई है सैर-ए चराग़ां किए हुए
Click here for background and on any passage for word meanings and explanatory discussion. sardar genDa singh mashriqi (1857-1909), born in roopaR, panjab. Studied English and faarsi through middle school but could not go further in formal schooling because of family financial conditions. Worked for magazines, then the government in clerical and accountancy jobs and continued to learn urdu on his own, writing magazine articles and nazm, many of them nationalist. He joined the Indian National Congress in its inaugural meeting in 1885. In 1903, daaGh dehlavi accepted him as a shaagird. In spite of their very short association, he acknowledges daaGh as his ustaad. mashriqi’s diivaan was compiled and published by his grandson in 1989. There are also book length translations of sikh religious books in faarsi in poetic format as well as a book length collection of odes to sikh religious figures. This is one of several Ghazal that he composed in the refrain of Ghalib and is linked to ‘Ghalib naqsh-e qadam’.
1
voh aa rahay haiN teGh1 ko uryaaN2 kiye hue
samaan-e qatl3-e aashiq-e naalaaN4 kiye hue 1.sword 2.naked 3.killing 4.wailing
The beloved is on her way with the naked sword pulled out of the scabbard and all arrangements made for the slaughter of the wailing lover.
2
saaqi ka intezaar1 hai baiThay haiN baadah-Khwaar2
bazm3-e nishaat4 o aish5 ka saamaaN kiye hue 1.waiting, anticipation 2.wine drinkers 3.gathering 4.joy 5.pleasure
Wine lovers are eagerly waiting for the arrival of the saaqi having made all arrangements of joy and pleasure in the tavern.
3
dil hai kahiN, jigar1 kahiN, jaan hai kahiN
vo aa rahay haiN zulf2 pareshaaN3 kiye hue 1.liver, seat of courage/composure 2.hair 3.spread, uncovered, dissheveled
It is not clear whose heart, composure, and life he is talking about, his own or the beloved’s. Thus, the heart here, composure there, and life/soul elsewhere she is arriving with her hair uncovered and dissheveled (sign of distress or perhaps anger).
4
dil ki hai arzoo1 yahi, aa kar kareN voh sae’r2
baiThay haiN hum jigar3 ko charaGhaaN4 kiye hue 1.desire, yearning 2.sightseeing 3.liver, seat of courage/fortitude 4.illumination
My heart yearns that she come and see the sight. I wait lighting up my liver. In urdu poetic tradition the liver is where blood is produced. To light up the liver means wounding it (whether intentionally or more likely in extreme sorrow) with wounds with red blood spots, symbolic of celebratory lighting. This is what he has on display and yearns for the beloved to see.
5
ab kya jaleNge aur jo pahlay hi paRe haiN
dil ko, jigar1 ko, jaan ko, bariyaaN2 kiye hue 1.liver, fortitude, courage 2.toasted, roasted
How much more will they burn who are already lying with their heart, liver/courage and life/soul burnt to toast (in sorrow or perhaps in jealousy if the beloved shown favours to the rival).
6
ab aur sae’r1 chal ke chaman meN kareNge kya
hum aa rahay haiN sa’er-e biyaabaaN2 kiye hue 1.sightseeing, wandering 2.wilderness
The poet/lover has been wandering the wilderness in distress. How can he saunter, take a pleasant walk through the garden all after the ordeal he has going through.
7
aye shaiKh apna jubbah1-e aqdas2 sambhaaliye
mast3 aa rahay haiN chaak4 gareybaaN5 kiye hue 1.robe, cloak 2.sacred 3.intoxicated 4.torn, rent assunder 5.collar, shirt front
O shaiKh, be careful of your sacred robe. Look at those distressed and intoxicated lovers on their way with torn collar and shirt fronts.
8
mujh ko bula ke ghar pay haNsi se voh kahte haiN
muddat1 hui hai Ghair2 ko mehmaaN3 kiye hue 1.long time 2.other, rival 3.guest
The beloved is showing favours towards the rival and considers the poet/lover to be the ‘other’. She has invited him to her home and in mocking jest says, it has been a long time since I have invited/hosted the other.
9
hum kis tar’h1 bataa’eN keh kya dil ka haal2 hai
aatay haiN sae’r3-e shahr-e-KhamoshaaN4 kiye hue 1.how 2.condition 3.used here to mean visiting 4.city of the silent, graveyard
It is not entirely clear, but he is probably talking about himself as having just visited tombs of friends or family (or perhaps the graves of the many rivals that the beloved has slaughtered). So, he appears to be in a somber mood. Thus, how can I describe what my feelings are, I am coming from having just visited the graveyard.
10
ab kis tar’h1 hameN ho tamanna2-e sae’r3-e baaGh
muddat4 se haiN jigar5 chamanistaaN6 kiye hue 1.how 2.desire, yearning 3.sightseeing 4.long time 5.liver/fortitude 6.garden
Conventionally the liver is the seat of fortitude. The poet/lover’s liver is wounded/cut i.e., his fortitude has been put to the ultimate test. This implies that blood oozing out of the cuts is like flowers in a garden – the liver has become a ‘chamanistaan’. Thus, how can I take a pleasant walk through the garden only to see my wouned liver/fortitude.
11
saamaan1 saara aish2 ka jab jam’a3 ho chuka
voh aaye apni zulf4 pareshaaN5 kiye hue 1.provisions 2.pleasure, luxury 3.gathered, collected 4.hair 5.uncovered, dissheveled
After the poet/lover has gathered all provisions for pleasure and joy, the beloved arrives with her hair uncovered and dissheveled. This is a sign that she is distressed or maybe angry, implying all arrangements have been rendered useless. It is not in his fate to enjoy the company of the beloved.
12
jaayeNge shalamar1 zaroor2 aaj mashriqi3muddat4 hui hai sae’r5 charaaGhaaN6 kiye hue 1.shalimar gardens 2.certainly 3.pen-name of the poet 4.long time 5.sightseeing 6.lighting
This is probably about shalimar gardens, kashmir built in 1619. He says, O mashriqi, I will surely visit shalimar gardens today. It has been a long time since I have seen the lighting of festive illumination in the gardens.
sardar genDa singh mashriqi (1857-1909), born in roopaR, panjab. Studied English and faarsi through middle school but could not go further in formal schooling because of family financial conditions. Worked for magazines, then the government in clerical and accountancy jobs and continued to learn urdu on his own, writing magazine articles and nazm, many of them nationalist. He joined the Indian National Congress in its inaugural meeting in 1885. In 1903, daaGh dehlavi accepted him as a shaagird. In spite of their very short association, he acknowledges daaGh as his ustaad. mashriqi’s diivaan was compiled and published by his grandson in 1989. There are also book length translations of sikh religious books in faarsi in poetic format as well as a book length collection of odes to sikh religious figures. This is one of several Ghazal that he composed in the refrain of Ghalib and is linked to ‘Ghalib naqsh-e qadam’.
1
voh aa rahay haiN teGh1 ko uryaaN2 kiye hue
samaan-e qatl3-e aashiq-e naalaaN4 kiye hue
1.sword 2.naked 3.killing 4.wailing
The beloved is on her way with the naked sword pulled out of the scabbard and all arrangements made for the slaughter of the wailing lover.
2
saaqi ka intezaar1 hai baiThay haiN baadah-Khwaar2
bazm3-e nishaat4 o aish5 ka saamaaN kiye hue
1.waiting, anticipation 2.wine drinkers 3.gathering 4.joy 5.pleasure
Wine lovers are eagerly waiting for the arrival of the saaqi having made all arrangements of joy and pleasure in the tavern.
3
dil hai kahiN, jigar1 kahiN, jaan hai kahiN
vo aa rahay haiN zulf2 pareshaaN3 kiye hue
1.liver, seat of courage/composure 2.hair 3.spread, uncovered, dissheveled
It is not clear whose heart, composure, and life he is talking about, his own or the beloved’s. Thus, the heart here, composure there, and life/soul elsewhere she is arriving with her hair uncovered and dissheveled (sign of distress or perhaps anger).
4
dil ki hai arzoo1 yahi, aa kar kareN voh sae’r2
baiThay haiN hum jigar3 ko charaGhaaN4 kiye hue
1.desire, yearning 2.sightseeing 3.liver, seat of courage/fortitude 4.illumination
My heart yearns that she come and see the sight. I wait lighting up my liver. In urdu poetic tradition the liver is where blood is produced. To light up the liver means wounding it (whether intentionally or more likely in extreme sorrow) with wounds with red blood spots, symbolic of celebratory lighting. This is what he has on display and yearns for the beloved to see.
5
ab kya jaleNge aur jo pahlay hi paRe haiN
dil ko, jigar1 ko, jaan ko, bariyaaN2 kiye hue
1.liver, fortitude, courage 2.toasted, roasted
How much more will they burn who are already lying with their heart, liver/courage and life/soul burnt to toast (in sorrow or perhaps in jealousy if the beloved shown favours to the rival).
6
ab aur sae’r1 chal ke chaman meN kareNge kya
hum aa rahay haiN sa’er-e biyaabaaN2 kiye hue
1.sightseeing, wandering 2.wilderness
The poet/lover has been wandering the wilderness in distress. How can he saunter, take a pleasant walk through the garden all after the ordeal he has going through.
7
aye shaiKh apna jubbah1-e aqdas2 sambhaaliye
mast3 aa rahay haiN chaak4 gareybaaN5 kiye hue
1.robe, cloak 2.sacred 3.intoxicated 4.torn, rent assunder 5.collar, shirt front
O shaiKh, be careful of your sacred robe. Look at those distressed and intoxicated lovers on their way with torn collar and shirt fronts.
8
mujh ko bula ke ghar pay haNsi se voh kahte haiN
muddat1 hui hai Ghair2 ko mehmaaN3 kiye hue
1.long time 2.other, rival 3.guest
The beloved is showing favours towards the rival and considers the poet/lover to be the ‘other’. She has invited him to her home and in mocking jest says, it has been a long time since I have invited/hosted the other.
9
hum kis tar’h1 bataa’eN keh kya dil ka haal2 hai
aatay haiN sae’r3-e shahr-e-KhamoshaaN4 kiye hue
1.how 2.condition 3.used here to mean visiting 4.city of the silent, graveyard
It is not entirely clear, but he is probably talking about himself as having just visited tombs of friends or family (or perhaps the graves of the many rivals that the beloved has slaughtered). So, he appears to be in a somber mood. Thus, how can I describe what my feelings are, I am coming from having just visited the graveyard.
10
ab kis tar’h1 hameN ho tamanna2-e sae’r3-e baaGh
muddat4 se haiN jigar5 chamanistaaN6 kiye hue
1.how 2.desire, yearning 3.sightseeing 4.long time 5.liver/fortitude 6.garden
Conventionally the liver is the seat of fortitude. The poet/lover’s liver is wounded/cut i.e., his fortitude has been put to the ultimate test. This implies that blood oozing out of the cuts is like flowers in a garden – the liver has become a ‘chamanistaan’. Thus, how can I take a pleasant walk through the garden only to see my wouned liver/fortitude.
11
saamaan1 saara aish2 ka jab jam’a3 ho chuka
voh aaye apni zulf4 pareshaaN5 kiye hue
1.provisions 2.pleasure, luxury 3.gathered, collected 4.hair 5.uncovered, dissheveled
After the poet/lover has gathered all provisions for pleasure and joy, the beloved arrives with her hair uncovered and dissheveled. This is a sign that she is distressed or maybe angry, implying all arrangements have been rendered useless. It is not in his fate to enjoy the company of the beloved.
12
jaayeNge shalamar1 zaroor2 aaj mashriqi3muddat4 hui hai sae’r5 charaaGhaaN6 kiye hue
1.shalimar gardens 2.certainly 3.pen-name of the poet 4.long time 5.sightseeing 6.lighting
This is probably about shalimar gardens, kashmir built in 1619. He says, O mashriqi, I will surely visit shalimar gardens today. It has been a long time since I have seen the lighting of festive illumination in the gardens.
The post Ghair ko mehmaaN kiye hue-sardar genDa siNgh mashriqi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/Ahnt-zamzama-e-fasl-e-bahaar-audio.mp3
Recitation
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/Thomas-Gray-Ode-on-the-Spring.mp3
Thomas Gray
- اُردو
- देवनागरी
- Roman
- Notes
- Thomas Gray
زمزمۂ فصلِ بہار ۔ علی حیدر نظمؔ طباطبائی
ٹامس گرے کی نظم ‘اوڈ آن د سپرنگ’ کا ترجمہ
۱
جدھر سے قافلہ گزرا ہو اِندر کی سواری کا
وہ نسریں پوش لشکر انجمِ صبح بہاری کا
سبب تھا لالہ و ریحاں کی جو اُمّیدواری کا
جگایا جس نے جادو فصلِ گل کی لالہ کاری کا
جہاں بلبل کلیجہ توڑ کر فریاد کرتے ہیں
جو قمری کوکتی ہو رقص سب شمشاد کرتے ہیں
۲
اُپج سے دل کی از خود ناچتے ہوں مور چلّا کر
وہ مطلع صاف ہو ٹھنڈی ہوا چلتی ہو اِٹھلا کر
نویدِ تازہ، گوشِ گل میں کہہ آتی ہو جا جا کر
نکل جاتی ہو کوسوں دم میں خوش بُو اپنی پھیلا کر
اندھیرا کُنجِ گلشن میں جہاں ہو شاخساروں سے
نکل سکتا نہ ہو سایہ درختوں کی قطاروں سے
۳
ہر اک دہقاں نے تھک کر ہاتھ کھینچا کام کرنے سے
مویشی لے رہے ہیں دم کہ جان آئے ٹھہرنے سے
نہیں باز آتی زنبورِ عسل سرگم کے بھرنے سے
نہیں تھمتی ہوا میں ڈوبنے سے اور اُبھرنے سے
پتنگوں نے بھی اِترا کر غضب کی شوخیاں کی ہیں
گلے میں کرتیاں رنگیں قبائیں دھوپ چھاں کی ہیں
۴
وہیں مجھ کو بھی مل جائے کوئی گوشہ جو عزلت کا
کوئی پتھر ہو تکیہ اور سبزہ فرش راحت کا
کنارہ نہر کا ہو وقت ہو جوشِ طبیعت کا
سبق اہلِ جہاں کے حال پر حاصل ہو عبرت کا
کہ ادنیٰ تو چڑھے جاتے ہیں اب عرشِ معلّیٰ پر
جو ہیں اعلیٰ جھکے پڑتے ہیں وہ تحصیلِ دُنیا پر
۵
نگاہِ چشمِ عبرت میں یہی ہے حال اِنساں کا
نکالے اُس نے پر پُرزے تو وہ ہے رینگ کر چلتا
یہ نکلے خاک سے ہیں خاک کی ہی سمت ہے جانا
جو دن ہے زیست کا وہ بال افشانی میں گزرے گا
اگر پہنچے نہ پیری تک تو پھر مرگِ جوانی ہے
نہ رقصِ شادمانی ہے نہ ذوقِ پر فشانی ہے
۶
ذرا سُننا اُنہیں میں سے کوئی ہنس کر یہ کہتا ہے
خبر اپنی تو لے ناصح کہ تو بھی اک پتنگا ہے
اکیلا آیا دنیا میں تو اور اب تک اکیلا ہے
نہ ہو جب شمع محفل میں تو کاشانہ اندھیرا ہے
کہیں ڈھونڈے سے اب پائے گا طاؤسِ جوانی کو
لبِ بام اب سمجھ لے آفتابِ زندگانی کو
ज़म्ज़मा-ए फ़स्ल-ए बहार – अली हैदर नज़्म तबातबाई
टॉमस ग्रे की नज़्म ‘ओड ऑन द स्प्रिंग’ का तर्जुमा
१
जिधर से क़ाफ़ेला गुज़्रा हो इन्दर की सवारी का
वो नस्रीं-पोश लश्कर अंजुम-ए सुबह-बहारी का
सबब था लाला ओ रेहां कि जो उम्मीद-वारी का
जगाया जिस ने जादू फ़स्ल-ए गुल की लाला-कारी का
जहां बुल्बुल कलेजा तोढ कर फ़र्याद करते हैं
जो क़ुम्री कूकती हो रक़्स सब शमशाद करते हैं
२
उपज से दिल कि अज़-ख़ुद नाचते हों मोर चिल्ला कर
वो मतला साफ़ हो ठंडी हवा चलती हो इठला कर
नवीद-ए ताज़ा, गोश-ए गुल में कह आती हो जा जा कर
निकल जाती हो कोसौं दम में ख़ुश्बू अपनी फैला कर
अंधेरा कुंज-ए गुल्शन में जहां हो शाख़्सारौं से
निकल सकता न हो साया दरख़्तौं की क़तारौं से
३
हर एक दहक़ां ने थक कर हाथ खींचा काम करने से
मवेशी ले रहे हैं दम के जान आए ठहरने से
नहीं बाज़ आती ज़ुंबूर-ए असल सरगम के भरने से
नहीं थमती हवा में डूबने से और उभरने से
पतंगौं ने भी इतरा कर ग़ज़ब की शूख़ियां की हैं
गले में कुर्तियां रंगीं क़बाएं धूप छां की हैं
४
वहीं मुझ को भि मिल जाए कोई गोशा जो उज़्लत का
कोई पत्थर हो तक्या और सब्ज़ा फ़र्श राहत का
किनारा नहर का हो वक़्त हो जोश-ए तबिय्यत का
सबक़ अहल-ए जहां के हाल पर हासिल हो इब्रत का
के अद्ना तो चले जाते हैं अब अर्श-ए मो’अल्ला पर
जो हैं आला झुके पढते हैं वो तहसील-ए दुनिया पर
५
निगाह-ए चश्म-ए इब्रत में यही है हाल इन्सां का
निकाले उस ने पर-पुर्ज़े तो वो है रेंग कर चलता
ये नकले ख़ाक से हैं ख़ाक की ही सम्त है जाना
जो दिन है ज़ीस्त का वो बाल-अफ़्शानी में गुज़्रेगा
अगर पहुंचे न पीरी तक तो फिर मर्ग-ए जवानी है
न रक़्स-ए शादमानी है न ज़ौक़-ए पर-फ़शानी है
६
ज़रा सुनना उन्हीं में से कोई हंस कर ये कहता है
ख़बर अपनी तो ले नासेह के तू भी एक पतंगा है
अकेला आया दुनिया में तु और अब तक अकेला है
न हो जब शम’अ महफ़िल में तो काशाना अंधेरा है
कहीं ढूंडे से अब पाएगा ता’ऊस-ए जवानी को
लब-ए बाम अब समझ ले अफ़्ताब-ए ज़िंदगानी को
Click here for background and on any passage for word meanings and explanatory discussion. syed ali haidar nazm tabaatabaai (1854-1933), scholar, critic, translator and poet. In 1883 he moved to hyderabad, Professor, Nizam College and Department of Translation, Osmania University with josh malihabadi. Wrote an explanatory discussion of Ghalib’s diivaan and published his own diivaan. This is a re-composed urdu version of Thomas Gray’s Ode on the Spring.
1
jidhar se qaafila1 guzra2 ho indar3 ki savaari4 ka
vo nasriiN-posh5 lashkar6 anjum7-e sub’h-bahaari8 ka
sabab9 tha lala10 o rehaaN11 ki jo ummiid-vaari12 ka
jagaaya jis ne jaadu fasl-e-gul13 ki laala-kaari14 ka
jahaaN bulbul kaleja15 toR kar faryaad15 karte haiN
jo qumri16 kookti17 ho raqs18 sab shamshaad19 karte haiN 1.travel party 2.passed 3.god of rain/thunder 4.ride, procession 5.wearing the robe of white rose 6.army 7.stars 8.dawn of spring 9.basis, reason 10.tulip 11.basil (fragrance) 12.expectation, hope 13.flowering season i.e., spring 14.embroidery, decoration 15.liver/heart 16.ring dove 17.cooing 18.dance, sway joyfully 19.tall slender/supple tree
indar/indra is the god of rain and his ‘qaafila’-travel party is interpreted to mean rain clouds. Thus, where the rain clouds pass, where the dawn of spring wearing the cloak of white roses like stars of the sky, becomes the reason for the hopeful expectations of the tulip and of fragrance. This awakens the magic of the decoration of spring. Where the nightingale breaks its heart, bursting into song. Where the turtle dove coos and supple trees sway in joyful dance.
2
upaj1 se dil ki az-Khud2 naachte hoN mor chilla kar
vo matla3 saaf ho ThanDi hava chalti ho iThla4 kar
naviid5-e taaza6, gosh7-e gul meN kah jaati ho jaa jaa kar
nikal jaati ho kosoN8 dam9 meN Khushbuu apni phaila kar
andhera kunj10-e gulshan11 meN jahaaN ho shaaKhsaaroN12 se
nikal sakta na ho saaya daraKhtoN13 ki qataaroN14 se 1.passion, ecstacy 2.by themselves, spontaneously 3.horizon 4.coquettish gait 5.good news, greetings 6.fresh, new 7.ears 8.miles 9.moment 10.grove, thicket 11.garden 12.branches 13.trees 14.line
Where peacocks spontaneously dance in ecstacy and screech joyfully. The skies are clear and a cool breeze blows in titillating style, whispering fresh tidings in the ears of the rose, and travels miles around spreading fragrance. Groves of trees with branches thick with leaves cast dark shadows.
3
har ek dahqaaN1 ne thak kar haath khiiNcha kaam karne se
maveshi2 le rahe haiN dam keh jaan aaye Thahrne se
nahiN baaz3 aati zumbuur4-e asal5 sargam6 ke bharne se
nahiN thamti7 havaa meN Doobne8 se aur ubharne9 se
pataNge10 ne bhi itra11 kar Ghazab12 ki shooKhiyaaN13 ki haiN
gale meN kurtiyaaN14, raNgiiN qabaa’eN15 dhoop chhaaN ki haiN 1.farmer 2.cattle 3.cease and desist 4.bee 5.honey 6.musical scales 7.stopping 8.dipping 9.rising 10.moth 11.teasing 12.conquering, overwhelming 13.teasing, mischief 14.shirts 15.cloak, robe
The tired farmer sets his work aside to rest. Cattle sit in repose, catching their breath. But the honey bee never ceases its droning, dipping and rising with the breeze. The winged insect too teasing with its mischievous play, wearing colourful robes of light and grey.
4
vahiiN mujh ko bhi mil jaa’e koi gosha1 jo uzlat2 ka
koii patthar ho takiya, aur sabza3 farsh4 raahat5 ka
kinaara6 nahr7 ka ho vaqt ho josh-e-tabiyat8 ka
sabaq9 ahl-e-jahaaN10 ke haal11 par haasil12 ho ibrat13 ka
keh adna14 to chale jaate haiN ab arsh-e-mo’alla15 par
jo haiN aala16 jhuke paRte haiN vo tahsiil17-e duniya par 1.corner 2.seclusion 3.greenery, grass 4.floor 5.comfort 6.bank 7.river 8.joyful disposition 9.learn 10.people of the world 11.condition 12.obtain 13.lesson 14.lowly (crawling), deprived 15.high heavens 16.high, mighty 17.acquisition, domain
Were I to find a secluded corner there, with a rock to sit on and a comfortable patch of grass to lie down, the bank of the river and a time of peace and joy, from there looking at the world, I would learn this lesson – that the low, crawling creatures take wing towards the high heavens and those who were high and mightly bown down towards the domain of the earth.
5
nigaah1-e chashm2-e ibrat3 meN yahi hai haal4 insaaN ka
nikaale us ne par-purze5 to vo hai reNg6 kar chalta
ye nikle Khaak se haiN Khaak ki hi samt7 hai jaana
jo din hai ziist ka vo baal-afshaani8 meN guzrega
agar pahuNche na piiri9 tak to phir marg-e-javaani10 hai
na raqs-e-shaadmaani11 hai na zauq-e-par-fashaani12 hai 1.sight, view 2.eye 3.moral lesson 4.condition 5.blossoming into youth 6.crawl 7.direction, towards 8.spreading feathers 9.old age 10.death in youth 11.dance of joy 12.desire to spread wings/fly
Such is also the condition of human beings in the view of the discerning eye, that if one blossoms into vigorous youth, the other crawls. Both alike have come from the earth and towards it they will return. The day (time) they have been granted will be spent spreading their feathers. But if they don’t survive until old age then there is no joyous dance no spreading of wings to fly.
6
zara sun’na unhiiN meN se koi haNs kar ye kahta hai
Khabar1 apni to le naaseh2 keh tuu bhi ek pataNga3 hai
akela aaya duniya meN tu aur ab tak akela hai
na ho jab sham’a4 mahfil5 meN to kaashaana6 andhera hai
kahiiN DhoonDe se ab paa’ega ta’oos7-e javaani ko
lab-e-baam8 ab samajh le aaftaab-e-zindagaani9 ko 1.inquire about, take stock 2.critic, moralist 3.moth 4.candle 5.gathering 6.dwelling, house 7.peacock, colourful 8.edge of the roof/horizon 9.sun of life
Just listen carefully – one of them (the crawling or flying creatures), laughing, says to me – take stock of yourself, O moralist, for, you too are but a moth. If you don’t find a partner/candle in the gathering/life, then your house too will be dark. How can you bring back your colourful youth. Consider that the sun of your life is at the edge of the horizon.
syed ali haidar nazm tabaatabaai (1854-1933), scholar, critic, translator and poet. In 1883 he moved to hyderabad, Professor, Nizam College and Department of Translation, Osmania University with josh malihabadi. Wrote an explanatory discussion of Ghalib’s diivaan and published his own diivaan. This is a re-composed urdu version of Thomas Gray’s Ode on the Spring.
1
jidhar se qaafila1 guzra2 ho indar3 ki savaari4 ka
vo nasriiN-posh5 lashkar6 anjum7-e sub’h-bahaari8 ka
sabab9 tha lala10 o rehaaN11 ki jo ummiid-vaari12 ka
jagaaya jis ne jaadu fasl-e-gul13 ki laala-kaari14 ka
jahaaN bulbul kaleja15 toR kar faryaad15 karte haiN
jo qumri16 kookti17 ho raqs18 sab shamshaad19 karte haiN
1.travel party 2.passed 3.god of rain/thunder 4.ride, procession 5.wearing the robe of white rose 6.army 7.stars 8.dawn of spring 9.basis, reason 10.tulip 11.basil (fragrance) 12.expectation, hope 13.flowering season i.e., spring 14.embroidery, decoration 15.liver/heart 16.ring dove 17.cooing 18.dance, sway joyfully 19.tall slender/supple tree
indar/indra is the god of rain and his ‘qaafila’-travel party is interpreted to mean rain clouds. Thus, where the rain clouds pass, where the dawn of spring wearing the cloak of white roses like stars of the sky, becomes the reason for the hopeful expectations of the tulip and of fragrance. This awakens the magic of the decoration of spring. Where the nightingale breaks its heart, bursting into song. Where the turtle dove coos and supple trees sway in joyful dance.
2
upaj1 se dil ki az-Khud2 naachte hoN mor chilla kar
vo matla3 saaf ho ThanDi hava chalti ho iThla4 kar
naviid5-e taaza6, gosh7-e gul meN kah jaati ho jaa jaa kar
nikal jaati ho kosoN8 dam9 meN Khushbuu apni phaila kar
andhera kunj10-e gulshan11 meN jahaaN ho shaaKhsaaroN12 se
nikal sakta na ho saaya daraKhtoN13 ki qataaroN14 se
1.passion, ecstacy 2.by themselves, spontaneously 3.horizon 4.coquettish gait 5.good news, greetings 6.fresh, new 7.ears 8.miles 9.moment 10.grove, thicket 11.garden 12.branches 13.trees 14.line
Where peacocks spontaneously dance in ecstacy and screech joyfully. The skies are clear and a cool breeze blows in titillating style, whispering fresh tidings in the ears of the rose, and travels miles around spreading fragrance. Groves of trees with branches thick with leaves cast dark shadows.
3
har ek dahqaaN1 ne thak kar haath khiiNcha kaam karne se
maveshi2 le rahe haiN dam keh jaan aaye Thahrne se
nahiN baaz3 aati zumbuur4-e asal5 sargam6 ke bharne se
nahiN thamti7 havaa meN Doobne8 se aur ubharne9 se
pataNge10 ne bhi itra11 kar Ghazab12 ki shooKhiyaaN13 ki haiN
gale meN kurtiyaaN14, raNgiiN qabaa’eN15 dhoop chhaaN ki haiN
1.farmer 2.cattle 3.cease and desist 4.bee 5.honey 6.musical scales 7.stopping 8.dipping 9.rising 10.moth 11.teasing 12.conquering, overwhelming 13.teasing, mischief 14.shirts 15.cloak, robe
The tired farmer sets his work aside to rest. Cattle sit in repose, catching their breath. But the honey bee never ceases its droning, dipping and rising with the breeze. The winged insect too teasing with its mischievous play, wearing colourful robes of light and grey.
4
vahiiN mujh ko bhi mil jaa’e koi gosha1 jo uzlat2 ka
koii patthar ho takiya, aur sabza3 farsh4 raahat5 ka
kinaara6 nahr7 ka ho vaqt ho josh-e-tabiyat8 ka
sabaq9 ahl-e-jahaaN10 ke haal11 par haasil12 ho ibrat13 ka
keh adna14 to chale jaate haiN ab arsh-e-mo’alla15 par
jo haiN aala16 jhuke paRte haiN vo tahsiil17-e duniya par
1.corner 2.seclusion 3.greenery, grass 4.floor 5.comfort 6.bank 7.river 8.joyful disposition 9.learn 10.people of the world 11.condition 12.obtain 13.lesson 14.lowly (crawling), deprived 15.high heavens 16.high, mighty 17.acquisition, domain
Were I to find a secluded corner there, with a rock to sit on and a comfortable patch of grass to lie down, the bank of the river and a time of peace and joy, from there looking at the world, I would learn this lesson – that the low, crawling creatures take wing towards the high heavens and those who were high and mightly bown down towards the domain of the earth.
5
nigaah1-e chashm2-e ibrat3 meN yahi hai haal4 insaaN ka
nikaale us ne par-purze5 to vo hai reNg6 kar chalta
ye nikle Khaak se haiN Khaak ki hi samt7 hai jaana
jo din hai ziist ka vo baal-afshaani8 meN guzrega
agar pahuNche na piiri9 tak to phir marg-e-javaani10 hai
na raqs-e-shaadmaani11 hai na zauq-e-par-fashaani12 hai
1.sight, view 2.eye 3.moral lesson 4.condition 5.blossoming into youth 6.crawl 7.direction, towards 8.spreading feathers 9.old age 10.death in youth 11.dance of joy 12.desire to spread wings/fly
Such is also the condition of human beings in the view of the discerning eye, that if one blossoms into vigorous youth, the other crawls. Both alike have come from the earth and towards it they will return. The day (time) they have been granted will be spent spreading their feathers. But if they don’t survive until old age then there is no joyous dance no spreading of wings to fly.
6
zara sun’na unhiiN meN se koi haNs kar ye kahta hai
Khabar1 apni to le naaseh2 keh tuu bhi ek pataNga3 hai
akela aaya duniya meN tu aur ab tak akela hai
na ho jab sham’a4 mahfil5 meN to kaashaana6 andhera hai
kahiiN DhoonDe se ab paa’ega ta’oos7-e javaani ko
lab-e-baam8 ab samajh le aaftaab-e-zindagaani9 ko
1.inquire about, take stock 2.critic, moralist 3.moth 4.candle 5.gathering 6.dwelling, house 7.peacock, colourful 8.edge of the roof/horizon 9.sun of life
Just listen carefully – one of them (the crawling or flying creatures), laughing, says to me – take stock of yourself, O moralist, for, you too are but a moth. If you don’t find a partner/candle in the gathering/life, then your house too will be dark. How can you bring back your colourful youth. Consider that the sun of your life is at the edge of the horizon.
Ode on the Spring – Thomas Gray
Lo! where the rosy-bosom’d Hours,
Fair Venus’ train appear,
Disclose the long-expecting flowers,
And wake the purple year!
The Attic warbler pours her throat,
Responsive to the cuckoo’s note,
The untaught harmony of spring:
While whisp’ring pleasure as they fly,
Cool zephyrs thro’ the clear blue sky
Their gather’d fragrance fling.
Where’er the oak’s thick branches stretch
A broader, browner shade;
Where’er the rude and moss-grown beech
O’er-canopies the glade,
Beside some water’s rushy brink
With me the Muse shall sit, and think
(At ease reclin’d in rustic state)
How vain the ardour of the crowd,
How low, how little are the proud,
How indigent the great!
Still is the toiling hand of Care:
The panting herds repose:
Yet hark, how thro’ the peopled air
The busy murmur glows!
The insect youth are on the wing,
Eager to taste the honied spring,
And float amid the liquid noon:
Some lightly o’er the current skim,
Some show their gaily-gilded trim
Quick-glancing to the sun.
To Contemplation’s sober eye
Such is the race of man:
And they that creep, and they that fly,
Shall end where they began.
Alike the busy and the gay
But flutter thro’ life’s little day,
In fortune’s varying colours drest:
Brush’d by the hand of rough Mischance,
Or chill’d by age, their airy dance
They leave, in dust to rest.
Methinks I hear in accents low
The sportive kind reply:
Poor moralist! and what art thou?
A solitary fly!
Thy joys no glitt’ring female meets,
No hive hast thou of hoarded sweets,
No painted plumage to display:
On hasty wings thy youth is flown;
Thy sun is set, thy spring is gone—
We frolic, while ’tis May.
The post zamzama-e fasl-e bahaar-tabaatabaaii-Gray appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/hh-be-vafaaii-Byron-audio.mp3
audio for hafeez hoshiarpuri
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/Byron-When-we-two-parted-audio.mp3
audio for Byron
- اُردو
- देवनागरी
- Roman
- Notes
- Byron
بے وفائی ۔ حفیظ ہوشیارپوری
۱
شکستہ دل
خموش، آنکھوں میں آنسو
ہوئے اس طرح سے برسوں کے لیے ہم
جدا
۲
کُملا گئے تھے
فرطِ غم سے
ترے گلہائے عارض
لمس جن کا
رواں کرتا تھا لہر افسردگی کی
رگ پئے میں
کھلی اب یہ حقیقت
غمِ انجام کا اِک آئینہ تھا
جُدائی کا وہ لمحہ
۳
سحر کا وقت تھا
میری جبیں پر
مگر
پژمردگی چھائی ہوئی تھی
نہ تھی شبنم
حسیں فطرت
ستمگر
تری اُس بے وفائی پر تھی گِریاں
مجھے احساس اب جس کا ہوا ہے
۴
تیرے وعدے کہاں ہیں
تیری شہرت
فقط افسانہ بن کر رہ گئی ہے
کسی سے نام سنتا ہوں جو تیرا
جھکا لیتا ہوں گردن
۵
پیامِ مرگ ہے یہ نام مجھ کو
میرا دل
خوفِ رسوائی سے لرزاں
تجھے چاہا تھا میں نے اس قدر
کیوں
۶
وہ تیرے نوگرفتارانِ اُلفت
جو کرتے ہیں ترا ذِکر آکے مجھ سے
اُنہیں معلوم ہو یہ راز
اے کاش
مجھے بھی تجھ سے تھی اِک دن محبت
جفاؤں کو تری کوسوں گا اکثر
زبانِ حال سے میں
۷
ملے تھے
ہم زمانے کی نظر سے
نہاں ہو کر
یہی حالت ہے اب بھی
تری بیداد کا کرتا ہوں ماتم
مگر
چپ چاپ تنہا
ہاں کیا خبر تھی
فریبِ حسن کی
۸
گر اتفاقاً
مری تقدیر میں ہو تجھ سے ملنا
پس از مُدّت جو تجھ کو دیکھ پاؤں
ملوں اس طرح سے اے بے وفا میں
خموش آنکھوں میں آنسو
बे-वफ़ाई – हफ़ीज़ होश्यारपूरी
१
शिकस्ता दिल
ख़मोश, आंखौं में आंसू
हुए इस तरह बरसौं के लिए हम
जुदा
२
कुमला गए थे
फ़र्त-ए ग़म से
तेरे गुल-हा-ए आरज़
लम्स जिनका
रवां करता था लहर अफ़्सुर्दगी की
रग ओ पै में
खुली अब ये हक़ीक़त
ग़म-ए अंजाम का एक आईना था
जुदाई का वो लम्हा
३
सहर का वक़्त था
मेरी जबीं पर
मगर
पज़्शमुर्दगी छाई हुई थी
न थी शबनम
हसीं फ़ितरत
सितमगर
तेरी उस बेवफ़ाई पर थी गिर्यां
मुझे एहसास अब जिस का हुआ है
४
तेरे वादे कहां हैं
तेरी शोहरत
फ़क़त अफ़्साना बनकर रह गई है
किसी से नाम सुनता हूं जो तेरा
झुका लेता हूं गर्दन
५
पयाम-ए मर्ग है ये नाम मुझको
मेरा दिल
ख़ौफ़-ए रुस्वाई से लर्ज़ां
तुझे चाहा था मैंने इस क़दर
क्यूं
६
वो तेरे नौ-गिरफ़्तारान-ए उल्फ़त
जो करते हैं तेरा ज़िक्र आके मुझ से
उन्हें मालूम हो यह राज़
अए काश
मुझे भी तुझ से थी एक दिन मोहब्बत
जफ़ाऔं को तेरी कोसूंगा अक्सर
ज़बान-ए हाल से मैं
७
मिले थे
हम ज़माने की नज़र से
नेहां होकर
यही हालत है अब भी
तेरी वेदाद का करता हूं मातम
मगर
चुपचाप तन्हा
क्या ख़बर थी
फ़रेब-ए हुस्न की
८
गर इत्तेफ़ाक़न
मेरी तक़्दीर में हो तुझ से मिलना
पस-अज़-मुद्दत जो तुझ को देख पाऊं
मिलूं इस तरह से अए बेवफ़ा मैं
ख़मोश, आंखौं में आंसू
Click here for background and on any passage for word meanings and explanatory discussion. hafeez hoshiarpuri (1912-1973). Worked as editor of several magazines and in the ministry of information in pakistan. Was also associated with the Progressive Writer’s Association. This is a trans-composition of Byron’s poem ‘When we two parted’, and is linked to English-urdu transcompositions on the Theme page.
1
shikasta1 dil
Khamosh, aaNkhoN meN aaNsu
hue is tarah barsoN ke liye hum
juda2 1.broken 2.separated, parted
Broken hearted. Silent. Eyes, brimming with tears. This is how we parted, forever.
2
kumla1 gaye the
fart2-e Gham3 se
tere gul-haa4-e aariz5
lams6 jin ka
ravaaN7 karta tha lahr8 afsurdagi9 ki
rag-o-pai10 meN.
khuli ab ye haqiiqat11,
Gham3-e anjaam12 ka ek aaiina13 tha
judaaii14 ka vo lamha15 1.wilted 2.excess 3.sorrow 4.roses 5.face, cheeks 6.touch 7.flow 8.waves 9.melancholy, dejected 10.every fibre 11.truth, reality 12.result 13.mirror, image, foretelling 14.separation, ending 15.moment
Your rosy cheeks, wilted with excess of sorrow. Their touch sent a wave of melancholy through every fibre of my body. Now, the real picture emerges that that moment of separation was a foretelling of the intense sorrow of the ending.
3
sahr1 ka vaqt tha
meri jabiiN2 par
magar
pazshmurdagi3 chhaaii hui thi
na thii shabnam4
hasiiN5 fitrat6sitamgar7teri us be-vafaaii8 par thi giryaaN9
mujhe ehsaas10 ab jis ka hua hai 1.dawn 2.brow 3.blight, dejection 4.dew 5.beautiful, kind 6.nature 7.oppressor 8.breaking promise, faithlessness 9.weeping 10.realization
It was early morning but, on my brow, hovered the shadow of dejection. It was not dew, O cruel one, but kind nature was shedding tears at your faithlessness, I have just now realized.
4
tere vaade1 kahaaN haiN
teri shohrat2faqat3 afsaana4 ban kar rah ga’ii hai
kisi se naam sunta huN jo tera
jhuka leta huN gardan 1.promises 2.fame, reputation 3.only 4.legend
What happened to your promises of fidelity. You fame is now only the stuff of legends. Whenever I hear someone mention your name, I bow my head in shame and look away.
5
payaam1-e marg2 hai ye naam mujhko
mera dil
Khauf3-e rusvaaii4 se larzaaN5tujhe chaaha tha maiN ne is qadar6kyuN 1.message 2.death 3.fear 4.shame 5.trembling 6.so much
Your name is a message of death to me. My heart trembles with fear of shame. I loved you so much! Why!
6
vo tere nau-giraftaaraan1-e ulfat2
jo karte haiN tera zikr3 aa ke mujh se
unheN maaloom4 ho ye raaz5aye kaash6mujhe bhi tujh se thi ek din mohabbat
jafaaoN7 ko teri kosooNga8 aksar9
zabaan-e haal10 se maiN 1.newly captivated 2.love 3.talk about 4.aware, know 5.secret 6.I wish 7.cruelties, tyranny 8.curse 9.often 10.condition
When those newly captivated in love of you, come and talk to me about it, then I dearly wish that they would know the secret that once, I too was in love with you. I often curse your tyranny with the language of my appearance (without uttering a word).
7
milay thay ham zamaane1 ki nazar2 se
nehaaN3 ho kar
yahi haalat4 hai ab bhi
teri bedaad5 ka karta huN maatam6magar7 chup-chaap
kya Khabar8 thi
fareb9-e husn10 ki 1.world 2.eyes 3.hidden 4.condition 5.cruelty 6.mourning 7.but 8.knowledge 9.deception 10.beauty
We met secretly, hidden from the eyes of the world. Even to this day my condition is that I mourn your cruel faithlessness, but silently. Who knew that beauty would deceive.
8
gar1 ittefaaqan2
meri taqdiir3 meN ho tujh se milna
pas-az-muddat4 jo tujh ko dekh paauN
miluuN is tarah5 se aye be-vafa6 maiN
Khamosh, aaNkhoN aaNsu 1.if 2.by chance 3.fate 4.after a long time 5.like, similar to 6.faithless
If it is in my fate to meet you by chance, even after a long time, even then, O faithless one, I will meet you like this – silent, eyes brimming with tears.
hafeez hoshiarpuri (1912-1973). Worked as editor of several magazines and in the ministry of information in pakistan. Was also associated with the Progressive Writer’s Association. This is a trans-composition of Byron’s poem ‘When we two parted’, and is linked to English-urdu transcompositions on the Theme page.
1
shikasta1 dil
Khamosh, aaNkhoN meN aaNsu
hue is tarah barsoN ke liye hum
juda2
1.broken 2.separated, parted
Broken hearted. Silent. Eyes, brimming with tears. This is how we parted, forever.
2
kumla1 gaye the
fart2-e Gham3 se
tere gul-haa4-e aariz5
lams6 jin ka
ravaaN7 karta tha lahr8 afsurdagi9 ki
rag-o-pai10 meN.
khuli ab ye haqiiqat11,
Gham3-e anjaam12 ka ek aaiina13 tha
judaaii14 ka vo lamha15
1.wilted 2.excess 3.sorrow 4.roses 5.face, cheeks 6.touch 7.flow 8.waves 9.melancholy, dejected 10.every fibre 11.truth, reality 12.result 13.mirror, image, foretelling 14.separation, ending 15.moment
Your rosy cheeks, wilted with excess of sorrow. Their touch sent a wave of melancholy through every fibre of my body. Now, the real picture emerges that that moment of separation was a foretelling of the intense sorrow of the ending.
3
sahr1 ka vaqt tha
meri jabiiN2 par
magar
pazshmurdagi3 chhaaii hui thi
na thii shabnam4
hasiiN5 fitrat6sitamgar7teri us be-vafaaii8 par thi giryaaN9
mujhe ehsaas10 ab jis ka hua hai
1.dawn 2.brow 3.blight, dejection 4.dew 5.beautiful, kind 6.nature 7.oppressor 8.breaking promise, faithlessness 9.weeping 10.realization
It was early morning but, on my brow, hovered the shadow of dejection. It was not dew, O cruel one, but kind nature was shedding tears at your faithlessness, I have just now realized.
4
tere vaade1 kahaaN haiN
teri shohrat2faqat3 afsaana4 ban kar rah ga’ii hai
kisi se naam sunta huN jo tera
jhuka leta huN gardan
1.promises 2.fame, reputation 3.only 4.legend
What happened to your promises of fidelity. You fame is now only the stuff of legends. Whenever I hear someone mention your name, I bow my head in shame and look away.
5
payaam1-e marg2 hai ye naam mujhko
mera dil
Khauf3-e rusvaaii4 se larzaaN5tujhe chaaha tha maiN ne is qadar6kyuN
1.message 2.death 3.fear 4.shame 5.trembling 6.so much
Your name is a message of death to me. My heart trembles with fear of shame. I loved you so much! Why!
6
vo tere nau-giraftaaraan1-e ulfat2
jo karte haiN tera zikr3 aa ke mujh se
unheN maaloom4 ho ye raaz5aye kaash6mujhe bhi tujh se thi ek din mohabbat
jafaaoN7 ko teri kosooNga8 aksar9
zabaan-e haal10 se maiN
1.newly captivated 2.love 3.talk about 4.aware, know 5.secret 6.I wish 7.cruelties, tyranny 8.curse 9.often 10.condition
When those newly captivated in love of you, come and talk to me about it, then I dearly wish that they would know the secret that once, I too was in love with you. I often curse your tyranny with the language of my appearance (without uttering a word).
7
milay thay ham zamaane1 ki nazar2 se
nehaaN3 ho kar
yahi haalat4 hai ab bhi
teri bedaad5 ka karta huN maatam6magar7 chup-chaap
kya Khabar8 thi
fareb9-e husn10 ki
1.world 2.eyes 3.hidden 4.condition 5.cruelty 6.mourning 7.but 8.knowledge 9.deception 10.beauty
We met secretly, hidden from the eyes of the world. Even to this day my condition is that I mourn your cruel faithlessness, but silently. Who knew that beauty would deceive.
8
gar1 ittefaaqan2
meri taqdiir3 meN ho tujh se milna
pas-az-muddat4 jo tujh ko dekh paauN
miluuN is tarah5 se aye be-vafa6 maiN
Khamosh, aaNkhoN aaNsu
1.if 2.by chance 3.fate 4.after a long time 5.like, similar to 6.faithless
If it is in my fate to meet you by chance, even after a long time, even then, O faithless one, I will meet you like this – silent, eyes brimming with tears.
When we two parted – George Gordon Byron
1
When we two parted
In silence and tears,
Half broken-hearted
To sever for years,
2
Pale grew thy cheek and cold,
Colder thy kiss;
Truly that hour foretold
Sorrow to this.
3
The dew of the morning
Sunk chill on my brow—
4
It felt like the warning
Of what I feel now.
Thy vows are all broken,
And light is thy fame;
I hear thy name spoken,
And share in its shame.
5
They name thee before me,
A knell to mine ear;
A shudder comes o’er me—
Why wert thou so dear?
6
They know not I knew thee,
Who knew thee too well—
Long, long shall I rue thee,
Too deeply to tell.
7
In secret we met—
In silence I grieve,
That thy heart could forget,
Thy spirit deceive.
8
If I should meet thee
After long years,
How should I greet thee?—
With silence and tears.
The post be-vafaaii-hafeez hoshiarpuri-Byron appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/mnrnl-ishq-aur-maut-audio.mp3
Recitation
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2016/11/ALT-Love-and-Death-audio.mp3
Tennyson
- اُردو
- देवनागरी
- Roman
- Notes
- Tennyson
عشق و موت ۔ مُنشی نوبت رائے نظرؔ لکھنوی
آلفرڈ لارڈ ٹِنّسن کی نظم کا ترجمہ
اک سہانی رات کو چھٹکی ہوئی تھی چاندنی
ماہِ کامل دے رہا تھا اپنی پوری روشنی
خلد کے صحنِ معطّر میں خراماں عشق تھا
دیکھتا تھا ہر طرف پڑتی تھیں نظریں جابجا
سامنے ہی صحن میں تھا اک درختِ پُر بہار
جس کے نیچے موت تنہا پھر رہی تھی بے قرار
اور یہ کہتی تھی پیہم ‘عشق’ سے کر کے خطاب
جا یہاں سے یاں ترا کیا کام او خانہ خراب
یہ جگہ ہے دو گھڑی میرے ٹہلنے کے لئیے
لطف اُٹھنے کے لئیے اور جی بہلنے کے لئیے
‘عشق’ نے پھیلائے پر اُڑنے کو اور پھر یہ کہا
اب تو ہے تیرا زمانہ جو کہے وہ ہے بجا
تیری ہستی اس طرح ہے جس طرح سے اک شجر
ڈالتا ہے دھوپ کے وقت اپنا سایہ خاک پر
بس یوں اِس غیر فانی روشنی میں عمر بھی
اک شجر ہے اور تُو ہے اِس کا سایہ واقعی
لیکن اِس سایے کو کب ممکن ہے دنیا میں بقا
جب شجر گرتا ہے ہو جاتا ہے سایہ بھی فنا
تو فنا ہو جائے گی، مجھ کو بقا ہے بے گماں
تا ابد ہر چیز پر یوں ہی رہوں گا حکم راں
इश्क़ ओ मौत – मुंशी नौबत राए नज़र लखनवी
एल्फ़्रेड लॉर्ड टेन्निसन की नज़्म का तर्जुमा
एक सुहानी रात को छिटकी हुई थी चांदनी
माह-ए कामिल दे रहा था अपनी पूरी रौशनी
ख़ुल्द के सहन-ए मु’अत्तर में ख़रामां इश्क़ था
देखता था हर तरफ़ पढती थीं नज़्रें जा-ब-जा
सामने हि सहन में था एक दरख़्त-ए पुर बहार
जिस के नीचे मौत तन्हा फिर रही थी बेक़रार
और ये कहती थी पैहम ‘इश्क़’ से कर के ख़िताब
जा यहां से यां तेरा क्या काम ओ ख़ाना-ख़राब
ये जगह है दो घढी मेरे टहलने के लिये
लुत्फ़ उठने के लिये और जी बहलने के लिये
‘इश्क़’ ने फैलाए पर उढने को और फिर ये कहा
अब तो है तेरा ज़माना जो कहे वो है बजा
तेरी हस्ती इस तरह से है जिस तरह से एक शजर
डालता है घूप के वक़्त अपना साया ख़ाक पर
बस युं इस ग़ैर फ़ानी रौश्नी में उम्र भी
एक शजर है और तू है इस का साया वाक़’ई
लैकिन इस साए को कब मुमकिन है दुनिया में बक़ा
जब शजर गिरता है हो जाता है साया भी फ़ना
तू फ़ना हो जाएगी, मुझ को बक़ा है बे-गुमां
ता अबद हर चीज़ पर यूं हि रहूंगा हुक्मरां
Click here for background and on any passage for word meanings and explanatory discussion. munshi naubat rai nazar lakhnavi (1864-1923), lukhnow. Well recognized poet with a published diivaan and the editor of several literary magazines including adeeb. He has several Ghazal modeled after Ghalib. This nazm is an urdu re-composition of Tennyson’s ‘Love and Death’ and is linked to ‘English-urdu re-compositions’ on the Theme page. It is interesting to see that mohammed iqbal also did an urdu re-composition of the same nazm. ek suhaani1 raat ko chhiTki2 hui thi chaandni
maah-e-kaamil3 de raha tha apni poori raushni4
Khuld5 ke sahn6-e mu’attar7 meN KhiraamaaN8 ishq tha
dekhta tha har taraf9, paRhti thiiN nazreN10 jaa-ba-jaa11
saamne hi sahn6 meN tha ek daraKht12-e pur-bahaar13
jis ke neeche maut tanha14 phir rahi thi beqaraar15
aur ye kahti thi paiham16 ishq se kar ke Khitaab17
jaa yahaaN se yaaN tera kya kaam o Khaana-Kharaab18
ye jagah hai do ghaRi19 mere Tahalne20 ke liye
lutf21 uThne ke liye aur jii bahalne22 ke liye 1.pleasant 2.sprinkled, strewed 3.full moon 4.brilliance 5.paradise 6.courtyard 7.fragrant 8.walking 9.direction 10.eyes, glance 11.here and there, everywhere 12.tree 13.in full bloom 14.alone 15.restless 16.repeatedly 17.addressing, talking to 18.home-wrecker, spoil-sport 19.moments 20.saunter, walk 21.pleasure 22.relax, enjoy
It was a pleasant night, moonlight sprinkled all round. The full moon shining its brilliance on everything. In a fragrant courtyard of paradise, Love was taking a walk, casting its glances everywhere, when he saw in front of him under a tree in full bloom, Death, all by itself, going around, agitated. Turning around, she said to Love again and again, begone, you have no rights here O spoil-sport. This is my place, to saunter, relax and enjoy and saunter for a few minutes.
‘ishq’ ne phailaa’e par uRne ko aur phir ye kaha
ab to hai tera zamaana1 jo kahe vo hai baja2
teri hasti3 is tarah4 se hai jis tarah se ek shajar5
Daalta hai dhoop ke vaqt saaya Khaak6 par
bas yuNhi is Ghair-faani7 raushni meN umr8 bhi
ek shajar5 aur tuu hai is ka saaya vaq’ii9
laikin is saaye ko kab mumkin10 hai duniya meN baqaa11jab shajar5 girta hai ho jaata hai saaya bhi fanaa12
tuu fanaa12 ho jaayegi, mujh ko baqaa11 hai be-gumaaN13
taa14 abad15 har chiiz par yuN hi rahuuNga hukmraan16 1.times, domain 2.correct, appropriate 3.existence 4.like, similar to 5.tree 6.ground 7.eternal 8.life 9.in truth 10.possible 11.permanence 12.destroyed, annihilated 13.undoubtedly 14.until 15.end of time 16.reign
Love, spread its wings to fly away and departing, said – these are your times and whatever you say is right, but your existence is like the shadow cast on the ground by this tree. Just like this, life too, under this eternal light is like a tree and you, in truth merely its shadow. When the tree falls, the shadow disappears. You too, will be destroyed, but I will survive, reigning over all until the end of time.
munshi naubat rai nazar lakhnavi (1864-1923), lukhnow. Well recognized poet with a published diivaan and the editor of several literary magazines including adeeb. He has several Ghazal modeled after Ghalib. This nazm is an urdu re-composition of Tennyson’s ‘Love and Death’ and is linked to ‘English-urdu re-compositions’ on the Theme page. It is interesting to see that mohammed iqbal also did an urdu re-composition of the same nazm.
ek suhaani1 raat ko chhiTki2 hui thi chaandni
maah-e-kaamil3 de raha tha apni poori raushni4
Khuld5 ke sahn6-e mu’attar7 meN KhiraamaaN8 ishq tha
dekhta tha har taraf9, paRhti thiiN nazreN10 jaa-ba-jaa11
saamne hi sahn6 meN tha ek daraKht12-e pur-bahaar13
jis ke neeche maut tanha14 phir rahi thi beqaraar15
aur ye kahti thi paiham16 ishq se kar ke Khitaab17
jaa yahaaN se yaaN tera kya kaam o Khaana-Kharaab18
ye jagah hai do ghaRi19 mere Tahalne20 ke liye
lutf21 uThne ke liye aur jii bahalne22 ke liye
1.pleasant 2.sprinkled, strewed 3.full moon 4.brilliance 5.paradise 6.courtyard 7.fragrant 8.walking 9.direction 10.eyes, glance 11.here and there, everywhere 12.tree 13.in full bloom 14.alone 15.restless 16.repeatedly 17.addressing, talking to 18.home-wrecker, spoil-sport 19.moments 20.saunter, walk 21.pleasure 22.relax, enjoy
It was a pleasant night, moonlight sprinkled all round. The full moon shining its brilliance on everything. In a fragrant courtyard of paradise, Love was taking a walk, casting its glances everywhere, when he saw in front of him under a tree in full bloom, Death, all by itself, going around, agitated. Turning around, she said to Love again and again, begone, you have no rights here O spoil-sport. This is my place, to saunter, relax and enjoy and saunter for a few minutes.
‘ishq’ ne phailaa’e par uRne ko aur phir ye kaha
ab to hai tera zamaana1 jo kahe vo hai baja2
teri hasti3 is tarah4 se hai jis tarah se ek shajar5
Daalta hai dhoop ke vaqt saaya Khaak6 par
bas yuNhi is Ghair-faani7 raushni meN umr8 bhi
ek shajar5 aur tuu hai is ka saaya vaq’ii9
laikin is saaye ko kab mumkin10 hai duniya meN baqaa11jab shajar5 girta hai ho jaata hai saaya bhi fanaa12
tuu fanaa12 ho jaayegi, mujh ko baqaa11 hai be-gumaaN13
taa14 abad15 har chiiz par yuN hi rahuuNga hukmraan16
1.times, domain 2.correct, appropriate 3.existence 4.like, similar to 5.tree 6.ground 7.eternal 8.life 9.in truth 10.possible 11.permanence 12.destroyed, annihilated 13.undoubtedly 14.until 15.end of time 16.reign
Love, spread its wings to fly away and departing, said – these are your times and whatever you say is right, but your existence is like the shadow cast on the ground by this tree. Just like this, life too, under this eternal light is like a tree and you, in truth merely its shadow. When the tree falls, the shadow disappears. You too, will be destroyed, but I will survive, reigning over all until the end of time.
Love and Death – Alfred Lord Tennyson
What time the mighty moon was gathering light
Love paced the thymy plots of Paradise,
And all about him roll’d his lustrous eyes;
When, turning round a cassia, full in view
Death, walking all alone beneath a yew,
And talking to himself, first met his sight:
“You must begone,” said Death, “these walks are mine”.
Love wept and spread his sheeny vans for flight;
Yet ere he parted said, “This hour is thine;
Thou art the shadow of life, and as the tree
Stands in the sun and shadows all beneath,
So in the light of great eternity
Life eminent creates the shade of death;
The shadow passeth when the tree shall fall,
But I shall reign for ever over all.
The post ishq aur maut-naubat rai nazar-Tennyson appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/pkh-us-Paar-pahuNchna-hai-mujhe-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
- Robert Frost
اُس پار پہنچنا ہے مجھے ۔ پورن کمار ہوشؔ
رابرٹ فراسٹ کی نظم کا ترجمہ
کہتے ہیں شب انداز گھنے دلکش بن
رُک جاؤ کوئی دم کہ اُتر جائے تھکن
کچھ عہد نباہنے ہیں مجھ کو بھی مگر
اور نیند کے آغوش سے پہلے پہلے
آفاق کے اُس پار پہنچنا ہے مجھے
उस पार पहुंचना है मुझे – पूरन कुमार होश
रॉबर्ट फ़्रॉस्ट की नज़म का तर्जुमा
कहते हैं शब-अंदाज़ घने दिलकश बन
रुक जाओ कोई दम के उतर जाए थकन
कुछ अहद निबाहने हैं मुझ को भि मगर
और नींद के आग़ोश से पहले पहले
आफ़ाक़ के उस पार पहुंचना है
Click here for background and on any passage for word meanings and explanatory discussion. pooran kumar hosh (1935-1972), grew up in punjab and migrated to India after independence/partition. His collection is published under the title ‘aavaazeN’. He also published a collection of essays as a tribute to naresh kumar shaad. This is translation of Robert Frost’s ‘And miles to go before I sleep’.
kahte haiN shab-andaaz1 ghane2 dilkash3 ban4ruk jaao koii dam5 keh utar jaaye thakan
kuchh ahd6 nibaahne7 haiN mujh ko bhi magar
aur niind ke aaGhosh8 se pahle pahle
aafaaq9 ke us paar pahuNchna hai mujhe 1.night-like, dark 2.dense 3.pleasant 4.woods 5.moments 6.promises 7.fulfil 8.lap 9.horizons
The dense, dark-like-night woods tell me
Stop here for a moment and shed your fatigue
But I have some promises to keep
And before I go into the lap of sleep
I have to get over there beyond the horizons.
pooran kumar hosh (1935-1972), grew up in punjab and migrated to India after independence/partition. His collection is published under the title ‘aavaazeN’. He also published a collection of essays as a tribute to naresh kumar shaad. This is translation of Robert Frost’s ‘And miles to go before I sleep’.
kahte haiN shab-andaaz1 ghane2 dilkash3 ban4ruk jaao koii dam5 keh utar jaaye thakan
kuchh ahd6 nibaahne7 haiN mujh ko bhi magar
aur niind ke aaGhosh8 se pahle pahle
aafaaq9 ke us paar pahuNchna hai mujhe
1.night-like, dark 2.dense 3.pleasant 4.woods 5.moments 6.promises 7.fulfil 8.lap 9.horizons
The dense, dar-like-night woods tell me
Stop here for a moment and shed your fatigue
But I have some promises to keep
And before I go into the lap of sleep
I have to get over there beyond the horizons.
Robert Frost
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep
The post us paar pahuNchna hai mujhe-pooran kumar hosh-Robert Frost appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/amgd-duur-duur-bahut-duur-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes-Robert Frost
بہت دُورمرحبا ۔ آنند موہن گلزار دہلوی ۔ رابرٹ فراسٹ
سنّاٹا جنگلوں میں ہے سایہ بھی ہے گھنا
لیکن مجھے بھی رکھنا ہے ہر وعدۂ وفا
سونے سے پہلے سینکڑوں میلوں کا ہے سفر
جانا ہے دُور دُور بہت دُور مرحبا!
बहुत दूर मरहबा – आनंद मोहन गुल्ज़ार देहलवी – रॉबर्ट फ़्रॉस्ट
सन्नाटा जंगलौं में है साया भी है घना
लैकिन मुझे भी रखना है हर वा’दा-ए वफ़ा
सोने से पहले सैंक्ढौं मीलौं का है सफ़र
जाना है दूर दूर बहुत दूर मरहबा!
Click here for background and on any passage for word meanings and explanatory discussion. anand mohan gulzar dehlavi (1926-2020), a kashmiri panDit, a scholar and lover of urdu and totally committed to communal harmony. Over his long and fruitful life has written with much love and admiration about many illustrious figures – political, religious and literary. This is a beautiful translation of one stanza of a slightly longer Robert Frost poem. It is linked to a collection of translations of English poems into urdu. Robert Frost (1974-1963), US poet with many poets set in the background of New England, where he lived. Poet Laureatte during John Kennedy’s presidency.
1
sannaaTa1 jaNgaloN meN hai saaya bhi hai ghana
laikin mujhe bhi rakhna hai har v’aada2-e vafa3
sone se pahle saiNkRoN miiloN ka hai safar4jaana hai duur duur bahut duur marhaba5! 1.silence 2.promises 3.faith, commitments 4.journey 5.good fortune
Robert Frost
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep
anand mohan gulzar dehlavi (1926-2020), a kashmiri panDit, a scholar and lover of urdu and totally committed to communal harmony. Over his long and fruitful life has written with much love and admiration about many illustrious figures – political, religious and literary. This is a beautiful translation of one stanza of a slightly longer Robert Frost poem. It is linked to a collection of translations of English poems into urdu. Robert Frost (1974-1963), US poet with many poets set in the background of New England, where he lived. Poet Laureatte during John Kennedy’s presidency.
sannaaTa1 jaNgaloN meN hai saaya bhi hai ghana
laikin mujhe bhi rakhna hai har v’aada2-e vafa3
sone se pahle saiNkRoN miiloN ka hai safar4jaana hai duur duur bahut duur marhaba5!
1.silence 2.promises 3.faith, commitments 4.journey 5.good fortune
Robert Frost
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep
The post bahut duur marhaba-panDit gulzar dehlavi-Robert Frost appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2023/01/dss-mosam-e-garma-ka-aaKhri-gulaab-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
- Thomas Moore
موسمِ گرما کا آخری گلاب ۔ دُرگا سہائے سرورؔ جہان آبادی
۱
یہ آخری گلاب کا ہے یادگار پھول
اور شاخ پر کھلا ہوا تنہا چمن میں ہے
بیکس غریب فرقتِ احباب میں ملول
دھندلا سے اِک چراغِ سحر انجمن میں ہے
۲
ہے کوئی ہمگسار نہ ہمدم کوئی قریں
بچپن کے آشنا ہیں نہ وہ خانداں کے پھول
رخصت ہوئے چمن سے رفیقانِ ہمنشیں
بکھرے پڑے ہیں خاک پہ اب گلستاں کے پھول
۳
ننھی سی کوئی آہ، کلی بھی نہیں قریب
ڈالے جو عکس پھول سے رخ کا غریب پر
کچھ دردِ دل کا حال کہے جس سے غم نصیب
جو اُس کی آہِ سرد کو سن کر ہو نوحہ گر
۴
کمھلانے دوں گا تجھ کو میں تنہا نہ خاک پر
ڈر ہے نہ کنج میں تیری مِٹّی خراب ہو
احباب سو رہے ہیں جہاں تیرے بے خبر
جا تو بھی اُن کے ساتھ ہم آغوشِ خواب ہو
۵
کب تک زباں پہ فرقتِ احباب کا گِلہ
اب تیری پتیاں میں بچھاتا ہوں خاک پر
ہیں محوِ خوابِ مرگ جہاں تیرے آشنا
تجھ کو بھی اُن کے ساتھ سلاتا ہوں خاک پر
۶
رختِ سفر اُٹھاوں گا میں بھی جہاں سے جلد
احباب مجھ سے جب مرے ہو جائیں گے جدا
چھوٹوں گا مر کے ہجر کے دردِ نہاں سے جلد
تنہا کوئی جہاں میں جیا بھی تو کیا جیا
۷
کیا کہئیے کوئی آہ، کرے عمر جاوداں
سِلکِ وفا میں جب نہ رہے دُرّ آبدار
یارانِ رفتہ کا ہے زیارت کدہ جہاں
میری بھی بیکسی کا بنے گا وہیں مزار
۸
جب اُٹھ گئے جہان سے یارانِ زندہ دل
جی کر غمِ فراق کے صدمے سہے گا کون
کڑیاں تری اُٹھانے کو اے دردِ جاں گُسِل
اِس غمکدے میں آہ، اکیلا رہے گا کون
मोसम-ए गरमा का आख़्री गुलाब – दुर्गा सहाए सुरूर जहानाबादी
१
ये आख़्री गुलाब का है यादगार फूल
और शाख़ पर खिला हुआ तन्हा चमन में है
बेकस ग़रीब फ़ुर्क़त-ए अहबाब में मलूल
धुन्दला सा एक चराग़-ए सहर अंजुमन में है
२
है कोई हमगुसार न हमदम कोई क़रीं
बचपन के आश्ना हैं न वो ख़ान्दां के फूल
रुख़्सत हुए चमन से रफ़ीक़ान-ए हमनशीं
बिखरे पढे हैं ख़ाक पे अब गुल्सितां के फूल
३
नन्ही सि कोई आह, कली भी नहीं क़रीब
डाले जो अक्स फूल सय रुख़ का ग़रीब पर
कुछ दर्द-ए दिल का होल कहे जिस से ग़म नसीब
जो उस कि आह-ए सर्द को सुन कर हो नौहा गर
४
कुम्हलाने दूंगा तुझ को मैं तन्हा न ख़ाक पर
डर है न कुंज में तेरी मिट्टी ख़राब हो
अहबाब सो रहे हैं जहां तेरे बे-ख़बर
जा तू भी उन के साथ हम-आग़ोश-ए ख़्वाब हो
५
कब तक ज़बां पे फ़ुर्क़त-ए अहबाब का गिला
अब तेरी पत्तियां मैं बिछाता हुं ख़ाक पर
हैं महव-ए ख़्वाब-ए मर्ग जहां तेरे आश्ना
तुझ को भि उन के साथ सुलाता हुं ख़ाक पर
६
रख़्त-ए सफ़र उठाऊंगा मैं भि जहां से जल्द
अहबाब मुझ से जब मेरे हो जाएंगे जुदा
छूटूंगा मर के हिज्र के दर्द-ए नेहां से जल्द
तन्हा कोई जहां में जिया भी हो क्या जिया
७
क्या कहिये कोई आह करे उम्र जावेदां
सिल्क-ए वफ़ा में जब न रहे दुर्र-ए आबदार
यारान-ए रफ़्ता का है ज़्यारत कदा जहां
मेरी भी बेकसी का बनेगा वहीं मज़ार
८
जब उठ गए जहान से यारान-ए ज़िन्दा-दिल
जी कर ग़म-ए फ़िराक़ के सद्मे सहेगा कौन
कढियां तेरी उठाने को अए दर्द-ए जां-गुसिल
इस ग़मकदे में आह अकेला रहेगा कौन
Click here for background and on any passage for word meanings and explanatory discussion. durga sahay suroor (1873-1910) died young, probably because of excessive drinking. Tellingly, his books are named Khum-kada-e suroor, paimaana-e suroor, and Khum-Khaana-e suroor. He wrote about hindu religious themes also and moved easily and rhythmically between chaste urdu/farsi and hindi/khaRi boli. This is an urdu recomposition of Thomas Moore’s poem. It is amazing how true it is to the original, yet so elegant in language. It is linked to ‘English-urdu recompositions’ on the Theme page.
1
ye aaKhri gulaab ka hai yaadgaar1 phool
aur shaaKh par khila hua tanha2 chaman meN hai
bekas3, Ghariib, furqat4-e ahbaab5 meN malool6
dhundla sa ek charaaGh-e-sahr7 anjuman8 meN hai 1.memorable 2.alone 3.helpless 4.separation 5.friends 6.sad, dejected 7.candle at dawn (about to be extinguished) 8.gathering
This is a memorable rose, blooming all by itself in the garden. Helpless and sad because of separation from friends. It is a like a faint candle of the late night about to be extinguished.
2
hai koi hamgusaar1 na hamdam2 koi qariiN3
bachpan ke aashna4 haiN na vo KhaandaaN ke phool
ruKhsat5 hue chaman se rafiiqaan6-e hamnashiiN7
bikhre8 paRe haiN Khaak9 pe ab gulsitaaN10 ke phool 1.sorrow sharing, sympathizer 2.friend 3.near 4.familiar 5.departed 6.friends 7.together 8.scattered 9.dust 10.garden
There is no sympathizer or friend nearby. Neither family nor people he had been familiar with since childhood. Friends who used to be together have departed from the garden. Flowers of the garden are now scattered in the dust.
3
nanhi si koi aah1, kali bhi nahiN qariib2
Daale jo aks3 phool se ruKh4 ka Ghariib par
kuch dard5-e dil ka haal6 kahe jis se Gham-nasiib7
jo us ki aah-e-sard8 ko sun kar ho nauha-gar9 1.alas 2.nearby 3.shadow, reflection 4.face 5.pain, sorrow 6.condition 7.fated for sorrow, ill-fated 8.cold/sad sigh 9.mourner, sympathizer
Alas, there is not even a little bud close by that can cast its shadow on the poor rose. No one to whom the ill-fated rose can relate the condition of his sorrowful heart, who might hear his long-drawn sad sigh and mourn with him.
4
kumhlaane1 duuNga tujh ko maiN tanha2 na Khaak3 par
Dar hai na kunj4 meN teri miTTi-Kharaab5 ho
ahbaab6 so rahe haiN jahaaN7 tere be-Khabar8
ja tuu bhi un ke saath ham-aaGhosh9-e Khwaab10 ho 1.world 2.alone 3.dust 4.corner 5.‘miTTi Kharaab hona’ means ‘legacy destroyed’, ‘origin=miTTi disreputed’ 6.friends 7.where 8.unconsious, asleep 9.embrace 10.sleep
(There is not even a little bud that would say) … I will not let you wilt alone in the dust. I am fearful that your legacy will be lost in a corner. Go where your friends are sleeping and embrace sleep yourself.
5
kab tak zabaaN pe furqat-e-ahbaab1 ka gila2
ab teri pattiyaaN maiN bichhaata huN Khaak3 par
haiN mahv4-e Khwaab-e-marg5 jahaaN6 tere aashna7
tujh ko bhi un ke saath sulaata huN Khaak3 par 1.separation from friends 2.complaint, mourning 3.dust 4.engrossed, preoccupied 5.sleep of death 6.where 7.friends
(Not even a small bud nearby who could cosole saying) … how long will the complaint of the loss of friends be on your tongue/lips. Now, I will lay your petals down on the dust, where your friends sleep the deep sleep of death. I will lay you too down in the same dust.
6
raKht-e-safar1 uThaauNga maiN bhi jahaaN2 se jald3
ahbaab4 mujh se jab mere ho jaa’eNge juda5
chhooTuNga6 mar ke hijr7 ke dard-e-nehaaN8 se jald3
tanha9 koi jahaaN2 me jiya bhi to kya jiya 1.provisions for the journey 2.world 3.soon 4.friends 5.separated 6.escape 7.separation 8.hidden sorrow 9.alone
(The same little bud continues) … I too will soon pack my possessions for the journey from this world, when my friends will be separated from me. In death, I will escape the hidden sorrow of parting. What kind of a life can one lead when they are alone in the world.
7
kya kahiye koi aah1 kare umr2 jaavedaaN3
silk-e-vafa4 meN jab na rahe durr-e-aabdaar5
yaaraan-e-rafta6 ka hai ziyaarat-kada7 jahaaN8
meri bhi bekasi9 ka banega vahiiN mazaar10 1.I wish 2.lifespan 3.eternal 4.thread of fidelity 5.shining pearl 6.old friends 7.place of offering tribute 8.where 9.helplessness 10.grave
(The same little bud continues) … how can one wish that life be eternal when there are no shining pearl left in the thread of fidelity. Where there is the place to make offerings to the memory of old friends, my helplessness too will find a grave there.
8
jab uTh gaye jahaan1 se yaaraan2-e zinda-dil3
jii4 kar Gham-e-firaaq5 ke sadme6 sahega7 kaun
kaRiyaaN8 teri uThaane ko aye dard9-e jaaN-gusil10
is Gham-kade11 meN aah12 akela13 rahega kaun 1.world 2.friends 3.of welcoming hearts 4.continue living 5.sorrow of separation 6.blow, misfortune 8.hardness i.e., oppression 9.pain 10.life-sapping 11.house of sorrow 12.alas 13.alone
When friends with loving hearts have left this world, who can keep living and bear the blows of the sorrow of separation. Who wants to be left alone in this house of sorrow to bear the burden of this life-sapping pain of separation.
durga sahay suroor (1873-1910) died young, probably because of excessive drinking. Tellingly, his books are named Khum-kada-e suroor, paimaana-e suroor, and Khum-Khaana-e suroor. He wrote about hindu religious themes also and moved easily and rhythmically between chaste urdu/farsi and hindi/khaRi boli. This is an urdu recomposition of Thomas Moore’s poem. It is amazing how true it is to the original, yet so elegant in language. It is linked to ‘English-urdu recompositions’ on the Theme page.
1
ye aaKhri gulaab ka hai yaadgaar1 phool
aur shaaKh par khila hua tanha2 chaman meN hai
bekas3, Ghariib, furqat4-e ahbaab5 meN malool6
dhundla sa ek charaaGh-e-sahr7 anjuman8 meN hai
1.memorable 2.alone 3.helpless 4.separation 5.friends 6.sad, dejected 7.candle at dawn (about to be extinguished) 8.gathering
This is a memorable rose, blooming all by itself in the garden. Helpless and sad because of separation from friends. It is a like a faint candle of the late night about to be extinguished.
2
hai koi hamgusaar1 na hamdam2 koi qariiN3
bachpan ke aashna4 haiN na vo KhaandaaN ke phool
ruKhsat5 hue chaman se rafiiqaan6-e hamnashiiN7
bikhre8 paRe haiN Khaak9 pe ab gulsitaaN10 ke phool
1.sorrow sharing, sympathizer 2.friend 3.near 4.familiar 5.departed 6.friends 7.together 8.scattered 9.dust 10.garden
There is no sympathizer or friend nearby. Neither family nor people he had been familiar with since childhood. Friends who used to be together have departed from the garden. Flowers of the garden are now scattered in the dust.
3
nanhi si koi aah1, kali bhi nahiN qariib2
Daale jo aks3 phool se ruKh4 ka Ghariib par
kuch dard5-e dil ka haal6 kahe jis se Gham-nasiib7
jo us ki aah-e-sard8 ko sun kar ho nauha-gar9
1.alas 2.nearby 3.shadow, reflection 4.face 5.pain, sorrow 6.condition 7.fated for sorrow, ill-fated 8.cold/sad sigh 9.mourner, sympathizer
Alas, there is not even a little bud close by that can cast its shadow on the poor rose. No one to whom the ill-fated rose can relate the condition of his sorrowful heart, who might hear his long-drawn sad sigh and mourn with him.
4
kumhlaane1 duuNga tujh ko maiN tanha2 na Khaak3 par
Dar hai na kunj4 meN teri miTTi-Kharaab5 ho
ahbaab6 so rahe haiN jahaaN7 tere be-Khabar8
ja tuu bhi un ke saath ham-aaGhosh9-e Khwaab10 ho
1.world 2.alone 3.dust 4.corner 5.‘miTTi Kharaab hona’ means ‘legacy destroyed’, ‘origin=miTTi disreputed’ 6.friends 7.where 8.unconsious, asleep 9.embrace 10.sleep
(There is not even a little bud that would say) … I will not let you wilt alone in the dust. I am fearful that your legacy will be lost in a corner. Go where your friends are sleeping and embrace sleep yourself.
5
kab tak zabaaN pe furqat-e-ahbaab1 ka gila2
ab teri pattiyaaN maiN bichhaata huN Khaak3 par
haiN mahv4-e Khwaab-e-marg5 jahaaN6 tere aashna7
tujh ko bhi un ke saath sulaata huN Khaak3 par
1.separation from friends 2.complaint, mourning 3.dust 4.engrossed, preoccupied 5.sleep of death 6.where 7.friends
(Not even a small bud nearby who could cosole saying) … how long will the complaint of the loss of friends be on your tongue/lips. Now, I will lay your petals down on the dust, where your friends sleep the deep sleep of death. I will lay you too down in the same dust.
6
raKht-e-safar1 uThaauNga maiN bhi jahaaN2 se jald3
ahbaab4 mujh se jab mere ho jaa’eNge juda5
chhooTuNga6 mar ke hijr7 ke dard-e-nehaaN8 se jald3
tanha9 koi jahaaN2 me jiya bhi to kya jiya
1.provisions for the journey 2.world 3.soon 4.friends 5.separated 6.escape 7.separation 8.hidden sorrow 9.alone
(The same little bud continues) … I too will soon pack my possessions for the journey from this world, when my friends will be separated from me. In death, I will escape the hidden sorrow of parting. What kind of a life can one lead when they are alone in the world.
7
kya kahiye koi aah1 kare umr2 jaavedaaN3
silk-e-vafa4 meN jab na rahe durr-e-aabdaar5
yaaraan-e-rafta6 ka hai ziyaarat-kada7 jahaaN8
meri bhi bekasi9 ka banega vahiiN mazaar10
1.I wish 2.lifespan 3.eternal 4.thread of fidelity 5.shining pearl 6.old friends 7.place of offering tribute 8.where 9.helplessness 10.grave
(The same little bud continues) … how can one wish that life be eternal when there are no shining pearl left in the thread of fidelity. Where there is the place to make offerings to the memory of old friends, my helplessness too will find a grave there. 8
jab uTh gaye jahaan1 se yaaraan2-e zinda-dil3
jii4 kar Gham-e-firaaq5 ke sadme6 sahega7 kaun
kaRiyaaN8 teri uThaane ko aye dard9-e jaaN-gusil10
is Gham-kade11 meN aah12 akela13 rahega kaun
1.world 2.friends 3.of welcoming hearts 4.continue living 5.sorrow of separation 6.blow, misfortune 8.hardness i.e., oppression 9.pain 10.life-sapping 11.house of sorrow 12.alas 13.alone
When friends with loving hearts have left this world, who can keep living and bear the blows of the sorrow of separation. Who wants to be left alone in this house of sorrow to bear the burden of this life-sapping pain of separation.
Thomas Moore (28 May 1779 – 25 February 1852) was an Irish writer, poet, and lyricist celebrated for his Irish Melodies.
‘Tis the last rose of summer,
Left blooming alone;
All her lovely companions
Are faded and gone;
No flower of her kindred,
No rose-bud is nigh,
To reflect back her blushes
Or give sigh for sigh!
I’ll not leave thee, thou lone one.
To pine on the stem;
Since the lovely are sleeping,
Go, sleep thou with them;
Thus kindly I scatter
Thy leaves o’er the bed,
Where thy mates of the garden
Lie scentless and dead.
So soon may I follow,
When friendships decay,
And from love’s shining circle
The gems drop away!
When true hearts lie withered,
And fond ones are flown,
Oh! who would inhabit
This bleak world alone?
The post mosam-e garma ka aaKhiri gulaab-durga sahay suroor appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/glzr-naya-saal-audio.mp3
Recitation
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/glzr-naya-saal-mustafa-KhaaN.mp3
mustafa KhaaN
- اُردو
- देवनागरी
- Roman
- Notes
نیا سال ۔ سمپورن سنگھ کالرا گلزارؔ
۱
آہستہ چل اے زندگی
ابھی کئی قرض چکانا باقی ہے
کچھ درد مٹانا باقی ہے
کچھ فرض نبھانا باقی ہے
۲
رفتار میں تیرے چلنے سے
کچھ روٹھ گئے کچھ چھوٹ گئے
روٹھوں کو منانا باقی ہے
روتوں کو ہنسانا باقی ہے
۳
کچھ حسرت ابھی ادھوری ہے
کچھ کام بھی اور ضروری ہے
خواہش جو گھٹ گئی دل میں
اُس کو دفنانا باقی ہے
۴
کچھ رشتے بن کر ٹوٹ گئے
کچھ جڑتے جڑتے چھوٹ گئے
اُن ٹوٹے چھوٹے رشتوں کے
زخموں کو مٹانا باقی ہے
۵
تو آگے چل، میں آتا ہوں
کیا چھوڑ تجھے جی پاؤں گا
ان سانسوں پر حق ہے جن کا
اُن کو سمجھانا باقی ہے
۶
آہستہ چل زندگی
ابھی کئی قرض چکانا باقی ہے
नया साल – सम्पूरन सिंघ काल्रा गुल्ज़ार
१
आहस्ता चल अए ज़िन्दगी
अभी कई क़र्ज़ चुकाना बाक़ी है
कुछ दर्द मिटाना बाक़ी है
कुछ फ़र्ज़ निभाना बाक़ी है
२
रफ़्तार में तेरे चलने से
कुछ रूठ गए कुछ छूट गए
रूठों को मनाना बाक़ी है
रोतों को हंसाना बाक़ी है
३
कुछ हसरत भी अधूरी है
कुछ काम भी और ज़रूरी है
ख़्वाहश जो घुट गई दिल में
उसको दफ़्नाना बाक़ी है
४
कुछ रिश्ते बन कर टूट गए
कुछ जुड़ते जुड़ते छूट गए
उन टूटे छूटे रिश्तों के
ज़ख्मों को मिटाना बाक़ी है
५
तू आगे चल मैं आता हूँ
क्या छोड़ तुझे जी पाऊंगा
इन साँसों पर हक़ है जिन का
उनको समझाना बाक़ी है
६
आहस्ता चल ज़िन्दगी
अभी कई क़र्ज़ चुकाना बाक़ी है
Click here for background and on any passage for word meanings and explanatory discussion. sampooran siNgh kalra gulzar (1936-living) poet, lyricist, film-make and writer. Lover of urdu. Best known for producing a TV serial on Ghalib. This is his reflection on life on the occasion of New Year.
1
aahista chal zindagi
abhi kaii qarz1 chukaana2 baaqi3 hai
kuchh dard miTaana4 baaqi hai
kuchh farz5 nibhaana6 baaqi hai 1.debts 2.repay 3.remain 4.erase 5.obligations, duties 6.fulfil
O life move/pass a little gently. There still remain a few debts to repay, a few hurts to cure and a few obligations to fulfil.
2
raftaar1 meN tere chalne se
kuchh rooTh gaye kuchh chhooT gaye
rooThoN ko manaana baaqi hai
rotoN ko haNsaana baaqi hai 1.speed, rapidly
With the speed at which you go, a few friends were left behind, a few offended. I have to make amends to those offended, cheer up those saddened.
3
kuchh hasrat1 abhi adhuuri2 hai
kuchh kaam bhi aur zaruuri3 hai
Khwaahish4 jo ghuT5 gayii dil meN
usko dafnaana6 baaqi hai 1.yearning 2.incomplete, unfulfilled 3.necessary, important 4.desire 5.choke 6.bury
Some yearnings still unfulfilled, important tasks still not done. The desire that died, choked inside, still to be buried.
4
kuchh rishte1 ban kar TooT gaye
kuchh juRte juRte chhooT gaye
un TooTe-chhooTe rishtoN ke
zaKhmoN2 ko miTaana3 baaqi hai 1.relationships, friendships 2.wounds 3.erase, wipe, clean, cure
Some friendships made and broken, some relations left half joined – the wounds of those broken and unfinished relations have to be wiped clean.
5
tu aage chal maiN aata huN
kya chhoR tujhe jii1 paauNga?
in saaNson par haq2 hai jinka
unko samjhaana3 baaqi hai 1.live 2.rights, claims 3.explain, reconcile
You, (O life) go ahead, I am coming. Be assured that I cannot live without you. But there are those who had claims over my life. I still need to explain, reconcile with them, before I follow you. Reminds me of similar reflections by moin ehsan jazbi …
apni soii hui qismat ko jagaa luN to chaluN
apne Gham Khaane meN ek dhoom macha luN to chaluN
aur ek jaam-e mai-e talKh chaRha luN to chaluN
abhi chalta huN zara Khud ko sambhaaluN to chaluN
6
aahista chal zindagi
abhi kai qarz chukaana baaqi hai Pass slowly, O life, there are still a few debts to repay. Reminds me of sahir ludhianavi’s …
go ham se bhaagti rahi ye tez-gaam umr
KhwaaboN ke aasre pe kaTi hai tamaam umr
sampooran siNgh kalra gulzar (1936-living) poet, lyricist, film-make and writer. Lover of urdu. Best known for producing a TV serial on Ghalib. This is his reflection on life on the occasion of New Year.
1
aahista chal zindagi
abhi kaii qarz1 chukaana2 baaqi3 hai
kuchh dard miTaana4 baaqi hai
kuchh farz5 nibhaana6 baaqi hai
1.debts 2.repay 3.remain 4.erase 5.obligations, duties 6.fulfil
O life move/pass a little gently. There still remain a few debts to repay, a few hurts to cure and a few obligations to fulfil.
2
raftaar1 meN tere chalne se
kuchh rooTh gaye kuchh chhooT gaye
rooThoN ko manaana baaqi hai
rotoN ko haNsaana baaqi hai
1.speed, rapidly
With the speed at which you go, a few friends were left behind, a few offended. I have to make amends to those offended, cheer up those saddened.
3
kuchh hasrat1 abhi adhuuri2 hai
kuchh kaam bhi aur zaruuri3 hai
Khwaahish4 jo ghuT5 gayii dil meN
usko dafnaana6 baaqi hai
1.yearning 2.incomplete, unfulfilled 3.necessary, important 4.desire 5.choke 6.bury
Some yearnings still unfulfilled, important tasks still not done. The desire that died, choked inside, still to be buried.
4
kuchh rishte1 ban kar TooT gaye
kuchh juRte juRte chhooT gaye
un TooTe-chhooTe rishtoN ke
zaKhmoN2 ko miTaana3 baaqi hai
1.relationships, friendships 2.wounds 3.erase, wipe, clean, cure
Some friendships made and broken, some relations left half joined – the wounds of those broken and unfinished relations have to be wiped clean.
5
tu aage chal maiN aata huN
kya chhoR tujhe jii1 paauNga?
in saaNson par haq2 hai jinka
unko samjhaana3 baaqi hai
1.live 2.rights, claims 3.explain, reconcile
You, (O life) go ahead, I am coming. Be assured that I cannot live without you. But there are those who had claims over my life. I still need to explain, reconcile with them, before I follow you. Reminds me of similar reflections by moin ehsan jazbi …
apni soii hui qismat ko jagaa luN to chaluN
apne Gham Khaane meN ek dhoom macha luN to chaluN
aur ek jaam-e mai-e talKh chaRha luN to chaluN
abhi chalta huN zara Khud ko sambhaaluN to chaluN
6
aahista chal zindagi
abhi kai qarz chukaana baaqi hai
Pass slowly, O life, there are still a few debts to repay. Reminds me of sahir ludhianavi’s …
go ham se bhaagti rahi ye tez-gaam umr
KhwaaboN ke aasre pe kaTi hai tamaam umr
The post naya saal-gulzaar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/aas-naye-saal-ki-aamad-par-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
نئے سال کی آمد پر ۔ آلِ احمد سرورؔ
۱
ذرّہ ذرّہ شیشۂ ساعت سے کم ہوتی ہے ریت
قطرہ قطرہ جذب ہوتا ہے بیاباں میں لہو
ریت کم ہو پھر بھی ہے اُس پر کرم خورشید کا
قطرہ کھو جائے مگر بجھتی تو ہے صحرا کی پیاس
الاماں سئیٔ مسلسل، آفریں وضعِ جنوں
ہر حقیقت سے سہانا اس کے خوابوں کا فسوں
۲
وقت کے دریا میں موجوں کا نہیں کوئی شمار
کوئی نغمہ، کوئی نالہ، کوئی طوفاں، کوئی آگ
سب فنا انجام لیکن کچھ بقا آموز بھی
سب سکوں کی جستجو میں کچھ مگر محشر بدوش
دیکھنا یہ ہے کہ ہے کِس موج سے دریا کی لاج
کس کی شورش سے نگوں سر ہوگیا ساحل کا آج
۳
کوئی شعلہ جب وفورِ شوق میں کرتا ہے رقص
اُس کا جوہر آزماتے ہیں خس و خاشاک بھی
آندھیاں آتی ہیں اکثر پرسشِ احوال کو
تیر بارش کے کیا کرتے ہیں اکثر چھیڑ چھاڑ
پھر بھی یہ شعلہ چراغِ محفلِ ہستی تو ہے
بے دلی کے کہر میں آئینۂ ہستی تو ہے
नये साल की आमद पर – आल-ए अहमद सुरूर
१
ज़र्रा ज़र्रा शीशा-ए सा’अत से कम होती है रेत
क़तरा क़तरा जज़्ब होता है बियाबां में लहू
रेत कम हो फिर है उस पर है करम ख़ुर्शीद का
क़तरा खो जाये मगर बुझती तो है सहरा की प्यास
अल’अमां सई-ए मुसलसल आफ़्रीं वज़’-ए जुनूं
हर हक़ीक़त से सुहाना इसके ख़्वाबों का फ़ुसूं
२
वक़्त के दर्या में मौजौं का नहीं कोई शुमार
कोई नग़्मा, कोई नाला, कोई तूफ़ां, कोई आग
शुभ फ़ना-अंजाम लेकिन कुछ बक़ा आमोज़ भी
सब सुकूं की जुस्तजू में कुछ मगर महशर ब-दोश
देखना ये है के है किस मौज से दर्या की लाज
किस की शोरिश से निगूं-सर हो गया साहिल का आज
३
कोई शो’ला जब वुफ़ूर-ए शौक़ में करता है रक़्स
उस का जौहर आज़्माते हैं ख़स ओ ख़ाशाक भी
आंधियां आती हैं अक्सर पुर्सिश-ए अहवाल को
तीर बारिश के किया करते हैं अक्सर छेढछाढ
फिर भी ये शो’ला चराग़-ए महफ़िल-ए हस्ती तो है
बे दिली के कोहर में आईना-ए हस्ती तो है
Click here for background and on any passage for word meanings and explanatory discussion. aal-e ahmad suroor (1911-2002) academic, critic, writer, editor and poet. MA in English and urdu literature. He taught at aligaRh and lakhnau universities, serving as head of the department of urdu at aligaRh. He was associated with, if not an active member of the Progressive Writers’ Association. His poetic compositions tend to be thoughtful and philosophical. Here, upon the occasion of the New Year he is taking stock of his own life and its impact.
1
zarra-zarra1 shiisha-e-saa’at2 se kam hoti hai ret3
qatra-qatra4 jazb5 hota hai biyabaaN6 meN lahu7
ret3 kam ho phir bhi hai us par karam8 Khurshiid9 ka
qatra kho jaaye magar bujhti to hai sahra10 ki pyaas
al-amaaN11 saii12-e musalsal13, aafriiN14 vaza’15-e junooN16
har haqiiqat17 se sohaana18, is ke KhwaaboN ka fusooN19 1.grain by grain 2.hourglass 3.sand 4.drop by drop 5.absorbed 6.wilderness 7.blood 8.benevolence 9.sun 10.desert 11.may god help 12.effort 13.constant 14.bravo 15.style 16.passion 17.truth, reality 18.pleasant 19.illusion
The sand in the hourglass drains away grain by grain. Drop by drop blood gets absorbed into the sands. Even if the grain of sand is a lowly thing, it has the blessing of the sun (it does not get dried up like a dew drop, it even shines in the reflected glory of the sun). Even if the drop (of blood) is lost, at least the thirst of the desert is quenched a little. May god help this constant effort, bravo this way of passion. The illusion of its vision is even more pleasant than reality. A beautiful reflection on life draining away but quenching the thirst of the desert and an admiration of constant struggle and passion. Reminds of sahir ludhianavi …
go ham se bhaagti rahi ye tez-gaam umr
KhwaaboN ke aasre pe kaTi hai tamaam umr
2
vaqt ke darya1 meN maujoN2 ka nahiN koii shumaar3
koii naGhma4, koii naala5, koii tuufaaN6, koi aag7
sub fanaa-anjaam8 laikin kuchh baqaa-aamoz9 bhi
sub sukooN10 ki justaju11 meN kuchh magar mahshar12 ba-dosh13
dekhna ye hai keh hai kis mauj se darya ki laaj14kis ki shorish15 se niguN-sar16 ho gaya saahil17 ka aaj 1.river 2.waves 3.count 4.song 5.wailing 6.storm 7.fire 8.resulting in non-existence 9.lessons of immortality 10.tranquility, comfort 11.seeking 12.tumult, change 13.bearing on shoulders 14.dignity 15.disruption, agitation 16.head bowed 17.shore
There is no counting the waves in the river of time. Every wave brings joyous song, sorrowful wail, storm, or fire – but all are fleeting/mortal. But there are some that give the lesson of immortality. All seek comfort, but some carry change on their shoulders. It remains to be seen which wave brings dignity to the river, which wave makes the shoreline bow its head today. In the river of time/life numerous waves – ideas, movements, people rise and crash on the shore to disappear. But there are some that make change and those carry the flood of change beyond the confinement of the shore.
3
koii sho’la1 jab vufoor2-e shauq3 meN karta hai raqs4
us ka jauhar5 aazmaate6 haiN Khas-o-Khaashaak7 bhi
aandhiyaaN aati haiN aksar7 pursish-e-ahvaal8 ko
tiir baarish ke kiya karte haiN aksar7 chheR-chhaaR
phir bhi ye sho’la1 charaaGh-e mahfil-e-hasti9 to hai
be-dili10 ke kohr11 meN aiina12-e hasti13 to hai 1.flame 2.excess, unlimited 3.desire, passion 4.dance 5.capabilities 6.put to test 7.straw and twigs 7.often 8.asking about well-being 9.assembly of existence, the world 10.disinterest, indifference 11.fog 12.reflection, image 13.life
Whenever a flame dances in overflowing passion, even straw and twigs test its capabilities, storms come to ask about it, rain falls like arrows to tease it. Flame dancing is a revolutionary wanting change or a poet raising uncomfortable questions. Even ‘riff-raff’ in the power structure question them and the more powerful try to blow the flame out or to quench it. In spite of that the flame remains the lamp that lights the world and in the fog of indifference, it becomes a mirror reflecting the true nature of the world.
aal-e ahmad suroor (1911-2002) academic, critic, writer, editor and poet. MA in English and urdu literature. He taught at aligaRh and lakhnau universities, serving as head of the department of urdu at aligaRh. He was associated with, if not an active member of the Progressive Writers’ Association. His poetic compositions tend to be thoughtful and philosophical. Here, upon the occasion of the New Year he is taking stock of his own life and its impact.
1
zarra-zarra1 shiisha-e-saa’at2 se kam hoti hai ret3
qatra-qatra4 jazb5 hota hai biyabaaN6 meN lahu7
ret3 kam ho phir bhi hai us par karam8 Khurshiid9 ka
qatra kho jaaye magar bujhti to hai sahra10 ki pyaas
al-amaaN11 saii12-e musalsal13, aafriiN14 vaza’15-e junooN16
har haqiiqat17 se sohaana18, is ke KhwaaboN ka fusooN19
1.grain by grain 2.hourglass 3.sand 4.drop by drop 5.absorbed 6.wilderness 7.blood 8.benevolence 9.sun 10.desert 11.may god help 12.effort 13.constant 14.bravo 15.style 16.passion 17.truth, reality 18.pleasant 19.illusion
The sand in the hourglass drains away grain by grain. Drop by drop blood gets absorbed into the sands. Even if the grain of sand is a lowly thing, it has the blessing of the sun (it does not get dried up like a dew drop, it even shines in the reflected glory of the sun). Even if the drop (of blood) is lost, at least the thirst of the desert is quenched a little. May god help this constant effort, bravo this way of passion. The illusion of its vision is even more pleasant than reality. A beautiful reflection on life draining away but quenching the thirst of the desert and an admiration of constant struggle and passion. Reminds of sahir ludhianavi …
go ham se bhaagti rahi ye tez-gaam umr
KhwaaboN ke aasre pe kaTi hai tamaam umr
2
vaqt ke darya1 meN maujoN2 ka nahiN koii shumaar3
koii naGhma4, koii naala5, koii tuufaaN6, koi aag7
sub fanaa-anjaam8 laikin kuchh baqaa-aamoz9 bhi
sub sukooN10 ki justaju11 meN kuchh magar mahshar12 ba-dosh13
dekhna ye hai keh hai kis mauj se darya ki laaj14kis ki shorish15 se niguN-sar16 ho gaya saahil17 ka aaj
1.river 2.waves 3.count 4.song 5.wailing 6.storm 7.fire 8.resulting in non-existence 9.lessons of immortality 10.tranquility, comfort 11.seeking 12.tumult, change 13.bearing on shoulders 14.dignity 15.disruption, agitation 16.head bowed 17.shore
There is no counting the waves in the river of time. Every wave brings joyous song, sorrowful wail, storm, or fire – but all are fleeting/mortal. But there are some that give the lesson of immortality. All seek comfort, but some carry change on their shoulders. It remains to be seen which wave brings dignity to the river, which wave makes the shoreline bow its head today. In the river of time/life numerous waves – ideas, movements, people rise and crash on the shore to disappear. But there are some that make change and those carry the flood of change beyond the confinement of the shore.
3
koii sho’la1 jab vufoor2-e shauq3 meN karta hai raqs4
us ka jauhar5 aazmaate6 haiN Khas-o-Khaashaak7 bhi
aandhiyaaN aati haiN aksar7 pursish-e-ahvaal8 ko
tiir baarish ke kiya karte haiN aksar7 chheR-chhaaR
phir bhi ye sho’la1 charaaGh-e mahfil-e-hasti9 to hai
be-dili10 ke kohr11 meN aiina12-e hasti13 to hai
1.flame 2.excess, unlimited 3.desire, passion 4.dance 5.capabilities 6.put to test 7.straw and twigs 7.often 8.asking about well-being 9.assembly of existence, the world 10.disinterest, indifference 11.fog 12.reflection, image 13.life
Whenever a flame dances in overflowing passion, even straw and twigs test its capabilities, storms come to ask about it, rain falls like arrows to tease it. Flame dancing is a revolutionary wanting change or a poet raising uncomfortable questions. Even ‘riff-raff’ in the power structure question them and the more powerful try to blow the flame out or to quench it. In spite of that the flame remains the lamp that lights the world and in the fog of indifference, it becomes a mirror reflecting the true nature of the world.
The post naye saal ki aamad par-aal-e ahmad suroor appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/smashma-vahiiN-par-hai-mazaar-apna-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
وہیں پر ہے مزار اپنا ۔ سید محمد علی شاہ میکشؔ اکبر آبادی
۱
شبِ فرقت کی تاریکی میں شامل ہے غبار اپنا
اسی صحرا میں کھویا عشق نے عہدِ بہار اپنا
۲
مِٹا گلشن تو اٹھ کر خاکِ گل سے ہم کہاں جاتے
جہاں گلشن تھا پہلے اب وہیں پر ہے مزار اپنا
۳
ترے جلوؤں میں گم ہوں یا تری فرقت میں مٹ جائیں
یہ ہم سمجھے ہوئے ہیں ہے فنا انجامِ کار اپنا
۴
ہجومِ یاس میں بیگانگی کا شکوہ کس سے ہو
نہ ہم اپنے، نہ دل اپنا، نہ جاں اپنی، نہ یار اپنا
۵
کہاں اب وہ سرورِ دورِ اول بزمِ ہستی میں
جسے کہتے ہیں دنیا ہے وہ اے میکشؔ خمار اپنا
वहीं पर है मज़ार अपना – सय्यद मोहम्मद अली शाह मयकश अक्बराबादी
१
शब-ए फ़ुर्क़त की तारीकी में शामिल है ग़ुबार अपना
इसी सहरा में खोया इश्क़ ने अहद-ए बहार अपना
२
मिटा गुल्शन तो उठ कर ख़ाक-ए गुल से हम कहाँ जाते
जहाँ गुल्शन था पहले अब वहीं पर है मज़ार अपना
३
तेरे जल्वौं में गुम हों या तेरी फ़ुर्क़त में मिट जाएँ
ये हम समझे हुए हैं है फ़ना अंजाम-ए कार अपना
४
हुजूम-ए यास में बेगानगी का शिक्वा किस से हो
न हम अपने, न दिल अपना, न जाँ अपनी, न यार अपना
५
कहाँ अब वो सुरूर-ए दौर-ए अव्वल बज़्म-ए हस्ती में
जिसे कहते हैं दुनिया है वो अए मयकश ख़ुमार अपना
Click here for background and on any passage for word meanings and explanatory discussion. syed mohammed ali shaah maikash akbarabadi (1902-1991). Born in agra in a family tracing its line to the sufi tradition. He learnt English and faarsi at home in traditional schooling and was awarded a degree/certificate in ‘nizaamat-admininstration’ from agra university in 1919. He has several collections of nazm and Ghazal as well as prose publications. This Ghazal is linked to Ghalib naqsh-e qadam.
1
shab1-e furqat2 ki taariiki3 meN shaamil4 hai Ghubaar5 apna
isi sahra6 meN khoya ishq ne ahd7-e bahaar8 apna 1.night 2.separation 3.darkness 4.included 5.dust 6.wilderness 7.age 8.spring, bloom
In the darkness of the night of separation is included my dust i.e., the poet/lover died of the grief of separation and was reduced to dust. The darkness of the night represents the darkness of his sorrow of separation. It is in this wilderness (of separation) that love lost its age of bloom.
2
miTa1 gulshan2 to uTh kar Khaak3-e gul4 se ham kahaaN jaate
jahaaN gulshan2 tha pahle ab vahiN par hai mazaar5 apna 1.erased, destroyed 2.garden 3.dust 4.rose 5.grave, tomb
When the garden was destroyed, reduced to dust, where could I have gone leaving the dust of the rose. Where there used to be a garden, that is where is my grave – final resting place.
3
tere jalvoN1 meN gum2 hoN ya teri furqat3 meN miT4 jaa’eN
ye ham samjhe hue haiN hai fana5 anjaam6-e kaar7 apna 1.glory, image 2.lost 3.separation 4.erased, killed 5.nothingness 6.result 7.life’s work
Whether we are lost in admiring your beauty/glory or are killed by the sorrow of separation from you, we fully understand that the end result of our life is nothingness.
4
hujoom1-e yaas2 meN begaanagi3 ka shikva4 kis se ho
na ham apne, na dil apna, na jaaN apni, na yaar5 apna 1.crowd, onslaught 2.sorrow of yearning 3.otherness, disregard, rejection 4.complaint 5.friend, beloved
Whose rejection can I complain about, facing this onslaught of sorrow. Neither I or the heart or my life belong to me nor have I gained the love of the beloved.
5
kahaaN ab vo suroor1-e daur-e-avval2 bazm-e-hasti3 meN
jise kahte haiN duniya hai vo aye maikash4 Khumaar5 apna 1.happiness, exhilaration 2.initial period 3.assembly of existence i.e., world 4.pen-name of the poet 5.intoxication, illusion
This is probably a reference to the sufiyaana concept that humans first existed as a part of the great spirit and came to this material world but still yearn for union with it. Thus, this material world is nothing but an illusion and the real world is the spiritual world. True happiness can be experienced only in that world.
syed mohammed ali shaah maikash akbarabadi (1902-1991). Born in agra in a family tracing its line to the sufi tradition. He learnt English and faarsi at home in traditional schooling and was awarded a degree/certificate in ‘nizaamat-admininstration’ from agra university in 1919. He has several collections of nazm and Ghazal as well as prose publications. This Ghazal is linked to Ghalib naqsh-e qadam.
1
shab1-e furqat2 ki taariiki3 meN shaamil4 hai Ghubaar5 apna
isi sahra6 meN khoya ishq ne ahd7-e bahaar8 apna
1.night 2.separation 3.darkness 4.included 5.dust 6.wilderness 7.age 8.spring, bloom
In the darkness of the night of separation is included my dust i.e., the poet/lover died of the grief of separation and was reduced to dust. The darkness of the night represents the darkness of his sorrow of separation. It is in this wilderness (of separation) that love lost its age of bloom.
2
miTa1 gulshan2 to uTh kar Khaak3-e gul4 se ham kahaaN jaate
jahaaN gulshan2 tha pahle ab vahiN par hai mazaar5 apna
1.erased, destroyed 2.garden 3.dust 4.rose 5.grave, tomb
When the garden was destroyed, reduced to dust, where could I have gone leaving the dust of the rose. Where there used to be a garden, that is where is my grave – final resting place.
3
tere jalvoN1 meN gum2 hoN ya teri furqat3 meN miT4 jaa’eN
ye ham samjhe hue haiN hai fana5 anjaam6-e kaar7 apna
1.glory, image 2.lost 3.separation 4.erased, killed 5.nothingness 6.result 7.life’s work
Whether we are lost in admiring your beauty/glory or are killed by the sorrow of separation from you, we fully understand that the end result of our life is nothingness.
4
hujoom1-e yaas2 meN begaanagi3 ka shikva4 kis se ho
na ham apne, na dil apna, na jaaN apni, na yaar5 apna
1.crowd, onslaught 2.sorrow of yearning 3.otherness, disregard, rejection 4.complaint 5.friend, beloved
Whose rejection can I complain about, facing this onslaught of sorrow. Neither I or the heart or my life belong to me nor have I gained the love of the beloved.
5
kahaaN ab vo suroor1-e daur-e-avval2 bazm-e-hasti3 meN
jise kahte haiN duniya hai vo aye maikash4 Khumaar5 apna
1.happiness, exhilaration 2.initial period 3.assembly of existence i.e., world 4.pen-name of the poet 5.intoxication, illusion
This is probably a reference to the sufiyaana concept that humans first existed as a part of the great spirit and came to this material world but still yearn for union with it. Thus, this material world is nothing but an illusion and the real world is the spiritual world. True happiness can be experienced only in that world.
The post vahiiN par hai mazaar apna-maikash akbarabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/qas-ye-etebaar-apna-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
یہ اعتبار اپنا ۔ قربان علی سالکؔ
۱
رہے گا دوشِ صبا پر ہی جسمِ زار اپنا
زمین پر نہ بنے گا کہیں مزار اپنا
۲
ضرور رحم ہے اُفتادگانِ خاک پہ بھی
سمندِ ناز ذرا روک شہ سوار اپنا
۳
اُٹھا کے مجھ کو سرِ بزم یہ ستم دیکھو
جتانے بیٹھے ہیں دشمن پہ افتخار اپنا
۴
یہ فخر کم ہے کہ تو بزم سے اٹھاے مجھے
کروں نہ تذکرہ کس طور بار بار اپنا
۵
پھنسا ہوں دام میں آوارگی سے تنگ آکر
ہوا ہوں آپ ہی صیّاد میں شکار اپنا
۶
ہم اور دیکھ سکیں تیرے پاس دشمن کو
خدا کرے تیرے گھر میں نہ ہو گزار اپنا
۷
زمین پر نظر آ جائے ایک اور زمیں
ذرا بھی دل سے نکل جائے گر غبار اپنا
۸
جفا تمہاری، وفا اپنی، پھر کمی کیا ہے
وہ اعتبار تمہارا، یہ اعتبار اپنا
۹
گلی میں اُس بتِ سفّاک کی چلے ہیں ولے
خدا کو کرتے ہیں سالکؔ نگاہ دار اپنا
ये ए’तेबार अपना – क़ुर्बान अली सालिक
१
रहेगा दोश-ए सबा पर ही जिस्म-ए ज़ार अपना
ज़मीन पर ना बनेगा कहीं मज़ार अपना
२
ज़रूर रहम है उफ़्तादगान-ए ख़ाक पे भी
समंद-ए नाज़ ज़रा रोक शह-सवार अपना
३
उठा के मुझको सर-ए बज़्म ये सितम देखो
जताने बैठे हैं दुश्मन पे इफ़्तेख़ार अपना
४
ये फ़ख़्र कम है के तू बज़्म से उठाए मुझे
करूं न तज़्करा किस तौर बार-बार अपना
५
फंसा हूं दाम में आवारगी से तंग आकर
हुआ हूं आप ही सय्याद मैं शिकार अपना
६
हम और देख सकें तेरे पास दुश्मन को
ख़ुदा करे तेरे घर में ना हो गुज़ार अपना
७
ज़मीन पर नज़र आ जाए एक और जमीं
ज़रा भी दिल से निकल जाए गर ग़ुबार अपना
८
जफ़ा तुम्हारी, वफ़ा अपनी, फिर कमी क्या है
वो ए’तेबार तुम्हारा, ये ए’तेबार अपना
९
गली में उस बुत-ए सफ़्फ़ाक की चले हैं वले
ख़ुदा को करते हैं सालिक निगाह-दार अपना
Click here for background and on any passage for word meanings and explanatory discussion. qurbaan ali saalik (1824-1880), born in hyderabad, brought up in dehli and moved back to hyderabad after a brief stay in alwaar following the 1857 war. Initially he was a shaagird of momin and used the taKhallus ‘qurbaan’. But after momin’s death, he became a shaagird of Ghalib and adopted the taKhallus ‘saalik’. panDit javaahar nath saaqi sought his advice and simultaneously of zakariah zaki and can be considered a shaagird of both. This Ghazal styled after Ghalib’s ‘mizshgaan-e aahu pusht-Khaar apna’, is linked to Ghalib naqsh-e qadam.
1
rahega dosh1-e sabaa2 par hi jism3-e zaar4 apna
zamiin par na banega kahiiN mazaar5 apna 1.back, shoulders 2.breeze 3.body 4.sorrowful, broken 5.tomb
My sorrowful body will forever be carried on the shoulders of the breeze. My tomb will never be built on land. Said Ghalib …
hue mar ke ham jo rusvaa, hue kyuN na Gharq-e darya
na kabhi janaaza uThta, na kahiiN mazaar hota
Here the dead poet’s body is being blown around by the breeze rather than drowned in water. The way I read it is … the poet considers that his body will be reduced to dust and that is the only permanent marker of his life. It will forever be blown by the wind.
2
zaruur1 rahm2 hai uftaadagaan3-e Khaak4 pe bhi
samand5-e naaz6 zara rok shah-savaar7 apna 1.necessary, required 2.kindness, pity 3.fallen 4.dust 5.horse, stallion 6.proud 7.honoured/respected rider
The beloved is out on her horse riding proudly. Her many lovers have fallen on the dust and she is about to ride over and trample them. The poet does not call upon her directly to have pity on them but addresses the horse … it is required that you be kind to even those who have fallen into the dust. O stallion (the embodiment of the beloved’s conceit), stop your honoured rider from trampling on them.
3
uTha ke mujh ko sar-e-bazm1 ye sitam2 dekho
jataane3 baiThe haiN dushman4 pe ifteKhaar5 apna 1.openly in the gathering 2.tyranny 3.assert 4.rival 5.honour
The beloved has ejected the poet/lover from her gathering, in front of everyone. And now, look at the tyranny on top of this, she displays her dignity/attentions towards the rival.
4
ye faKhr1 kam hai keh tu bazm2 se uThaaye mujhe
karuN na tazkira3 kis taur4 baar-baar5 apna 1.pride 2.gathering 3.talk about 4.in what way, how 5.again and again
The beloved has ejected the poet/lover from her gathering. This appears to be a source of pride for him – she at least considers him worth paying enough attention to have him expelled. It is such a source of pride that he cannot stop talking about it. Thus, he says … how can I not talk about it again and again.
5
phaNsa1 huN daam2 meN aavaaragi3 se taNg4 aa kar
hua huN aap hi sayyaad5 maiN shikaar6 apna 1.caught, tangled 2.net 3.aimless wandering 4.tired 5.hunter 6.hunted
The beloved is the hunter, and the poet/lover is the hunted prey. Before meeting/seeing the beloved, he used to wander aimlessly. He was tired of this wandering and anchored his love to the beloved. Thus, he says, O beloved/hunter, I myself have chosen to become the prey and have voluntarily got caught in your web.
6
ham aur dekh sakeN tere paas dushman1 ko
Khuda kare tere ghar meN na ho guzaar2 apna 1.enemy, rival 2.passing, sojourn
I, and be able to see the rival near you! May god that it never happen, that I should pass through your house. He seems to be sure that rival is lodged in her house.
7
zamiin par nazar aa jaaye aek aur zamiiN
zara bhi dil se nikal jaaye gar Ghubaar1 apna 1.ill-feeling, suspicion
Whose heart and whose ill-feeling? The poet’s own heart and the feelings he carries towards the rival or the rest of the world or the beloved’s heart and the ill-feelings and suspicions of unfaithfulness she carries towards him. In either case, the first misra can result from the clearing up of this Ghubaar – he will see a different scene on this earth altogether.
8
jafaa1 tumhaari, vafaa2 apni, phir kami3 kya hai
vo e’tebaar4 tumhaara, ye e’tebaar apna 1.tyranny 2.fidelity 3.shortage 4.trust
Your tyranny, my steadfast love/fidelity, what more do we want. You trust your tyranny and I trust my fidelity. Every need is met.
9
gali meN us but1-e saffaak2 ki chale haiN vale3
Khuda ko karte haiN saalik4 nigaah-daar5 apna 1.idol, beloved 2.cruel 3.so be it 4.pen-name of the poet 5.guardian
The poet/lover is getting ready to step into the lane of the beloved, whatever the consequence. He has placed his life in the hands of god.
qurbaan ali saalik (1824-1880), born in hyderabad, brought up in dehli and moved back to hyderabad after a brief stay in alwaar following the 1857 war. Initially he was a shaagird of momin and used the taKhallus ‘qurbaan’. But after momin’s death, he became a shaagird of Ghalib and adopted the taKhallus ‘saalik’. panDit javaahar nath saaqi sought his advice and simultaneously of zakariah zaki and can be considered a shaagird of both. This Ghazal styled after Ghalib’s ‘mizshgaan-e aahu pusht-Khaar apna’, is linked to Ghalib naqsh-e qadam.
1
rahega dosh1-e sabaa2 par hi jism3-e zaar4 apna
zamiin par na banega kahiiN mazaar5 apna
1.back, shoulders 2.breeze 3.body 4.sorrowful, broken 5.tomb
My sorrowful body will forever be carried on the shoulders of the breeze. My tomb will never be built on land. Said Ghalib …
hue mar ke ham jo rusvaa, hue kyuN na Gharq-e darya
na kabhi janaaza uThta, na kahiiN mazaar hota
Here the dead poet’s body is being blown around by the breeze rather than drowned in water. The way I read it is … the poet considers that his body will be reduced to dust and that is the only permanent marker of his life. It will forever be blown by the wind.
2
zaruur1 rahm2 hai uftaadagaan3-e Khaak4 pe bhi
samand5-e naaz6 zara rok shah-savaar7 apna
1.necessary, required 2.kindness, pity 3.fallen 4.dust 5.horse, stallion 6.proud 7.honoured/respected rider
The beloved is out on her horse riding proudly. Her many lovers have fallen on the dust and she is about to ride over and trample them. The poet does not call upon her directly to have pity on them but addresses the horse … it is required that you be kind to even those who have fallen into the dust. O stallion (the embodiment of the beloved’s conceit), stop your honoured rider from trampling on them.
3
uTha ke mujh ko sar-e-bazm1 ye sitam2 dekho
jataane3 baiThe haiN dushman4 pe ifteKhaar5 apna
1.openly in the gathering 2.tyranny 3.assert 4.rival 5.honour
The beloved has ejected the poet/lover from her gathering, in front of everyone. And now, look at the tyranny on top of this, she displays her dignity/attentions towards the rival.
4
ye faKhr1 kam hai keh tu bazm2 se uThaaye mujhe
karuN na tazkira3 kis taur4 baar-baar5 apna
1.pride 2.gathering 3.talk about 4.in what way, how 5.again and again
The beloved has ejected the poet/lover from her gathering. This appears to be a source of pride for him – she at least considers him worth paying enough attention to have him expelled. It is such a source of pride that he cannot stop talking about it. Thus, he says … how can I not talk about it again and again.
5
phaNsa1 huN daam2 meN aavaaragi3 se taNg4 aa kar
hua huN aap hi sayyaad5 maiN shikaar6 apna
1.caught, tangled 2.net 3.aimless wandering 4.tired 5.hunter 6.hunted
The beloved is the hunter, and the poet/lover is the hunted prey. Before meeting/seeing the beloved, he used to wander aimlessly. He was tired of this wandering and anchored his love to the beloved. Thus, he says, O beloved/hunter, I myself have chosen to become the prey and have voluntarily got caught in your web.
6
ham aur dekh sakeN tere paas dushman1 ko
Khuda kare tere ghar meN na ho guzaar2 apna
1.enemy, rival 2.passing, sojourn
I, and be able to see the rival near you! May god that it never happen, that I should pass through your house. He seems to be sure that rival is lodged in her house.
7
zamiin par nazar aa jaaye aek aur zamiiN
zara bhi dil se nikal jaaye gar Ghubaar1 apna
1.ill-feeling, suspicion
Whose heart and whose ill-feeling? The poet’s own heart and the feelings he carries towards the rival or the rest of the world or the beloved’s heart and the ill-feelings and suspicions of unfaithfulness she carries towards him. In either case, the first misra can result from the clearing up of this Ghubaar – he will see a different scene on this earth altogether.
8
jafaa1 tumhaari, vafaa2 apni, phir kami3 kya hai
vo e’tebaar4 tumhaara, ye e’tebaar apna
1.tyranny 2.fidelity 3.shortage 4.trust
Your tyranny, my steadfast love/fidelity, what more do we want. You trust your tyranny and I trust my fidelity. Every need is met.
9
gali meN us but1-e saffaak2 ki chale haiN vale3
Khuda ko karte haiN saalik4 nigaah-daar5 apna
1.idol, beloved 2.cruel 3.so be it 4.pen-name of the poet 5.guardian
The poet/lover is getting ready to step into the lane of the beloved, whatever the consequence. He has placed his life in the hands of god.
The post ye e’tebaar apna-qurbaan ali saalik appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/fanib-Khair-se-Ghubaar-apna-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
خیر سے غبار اپنا ۔شوکت علی خاں فانیؔ بدایونی
۱
بے خودی پہ تھا فانیؔ کچھ نہ اختیار اپنا
عمر بھر کیا ناحق ہم نے انتظار اپنا
۲
تابِ ضبطِ غم نے بھی دے دیا جواب آخر
ان کے دل سے اٹھتا ہے آج اعتبار اپنا
۳
عشق زندگی ٹھہرا لیکن اب یہ مشکل ہے
زندگی سے ہوتا ہے عہد اُستُوار اپنا
۴
شِکوَہ برملا کرتے، خیر یہ تو کیا کرتے
ہاں مگر جو بن پڑتا شِکوَہ ایک بار اپنا
۵
غم ہی جی کا دشمن تھا غم سے دور رہتے تھے
غم ہی رہ گیا آخر ایک غم گسار اپنا
۶
لے گیا چمن کو بھی موسمِ بہار آ کر
اب قفس کا گوشہ ہے حاصلِ بہار اپنا
۷
جھوٹ ہی سہی وعدہ کیوں یقیں نہ کر لیتے
بات دل فریب اُن کی دل امیدوار اپنا
۸
انقلاب عالم میں ورنہ دیر ہی کیا تھی
ان کے آستاں تک تھا خیر سے غبار اپنا
۹
دل ہے مضطرب فانیؔ آنکھ محوِ حیرت ہے
دل نے دے دیا شاید آنکھ کو قرار اپنا
ख़ैर से ग़ुबार अपना – शौकत अली ख़ां फ़ानी बदायूनी
१
बे-ख़ुदी पे था फ़ानी कुछ न एख़्तियार अपना
उम्र भर किया नाहक़ हम ने इंतेज़ार अपना
२
ताब-ए ज़ब्त-ए ग़म ने भी दे दिया जवाब आख़र
उन के दिल से उठता है आज ए’तेबार अपना
३
इश्क़ ज़िंदगी ठहरा लेकिन अब ये मुश्किल है
ज़िंदगी से होता है अहद उस्तुवार अपना
४
शिक्वा बरमला करते, ख़ैर ये तो क्या करते
हाँ मगर जो बन पड़ता शिक्वा एक बार अपना
५
ग़म ही जी का दुश्मन था ग़म से दूर रहते थे
ग़म ही रह गया आख़र एक ग़म-गुसार अपना
६
ले गया चमन को भी मौसम-ए बहार आ कर
अब क़फ़स का गोशा है हासिल-ए बहार अपना
७
झूट ही सही वादा क्यूँ यक़ीं न कर लेते
बात दिल-फ़रेब उन की दिल उमीद-वार अपना
८
इन्केलाब-ए आलम में वर्ना देर ही क्या थी
उन के आस्ताँ तक था ख़ैर से ग़ुबार अपना
९
दिल है मुज़्तरिब फ़ानी आँख महव-ए हैरत है
दिल ने दे दिया शा’एद आँख को क़रार अपना
Click here for background and on any passage for word meanings and explanatory discussion. mohammed shaukat ali KhaaN faani badayuni (1879-1941), BA 1901, law 1908. Stumbling law practice. Invited to hyderabad by maharaja kishan parshaad in 1932, working as the principal of a reputed school. Alcohol proved to be a bid problem. He died forlorn and destitute. Much of his work was lost. This is a Ghazal that he composed in the zamin of Ghalib, ‘mizshgaan-e aahu pusht-Khaar apna’ and is linked to Ghalib naqsh-e qadam, on the Theme page.
1
be-Khudi1 pe tha fani2 kuchh na eKhtiyaar3 apna
umr bhar kiya naahaq4 ham ne intezaar5 apna 1.without senses, in a trance, intoxicated 2.pen-name of the poet 3.self-control, will 4.unjustified, useless 5.waiting
O faani, I never had any control over myself in the matter of intoxication. I always fell for drinking and lost my senses. Given that I had no control, it was useless for me to ‘wait for myself’ all life long. Here ‘wait for myself’ means wait for me to come to my senses. Thus, he had been waiting for this (sobriety) all life long and it never happened.
2
taab1-e zabt2-e Gham ne bhi de diya javaab3 aaKhir4
un ke dil se uThta5 hai aaj e’tebaar6 apna 1.strength 2.forbearnce 3.‘javaab de dena’ is an expression meaning to give up 4.finally 5.‘dil se uThna’ is expression meaning ‘to stop doing something’ 6.trust
Poetic convention is that the lover should be stoic and bear his sorrow silently so as not to malign the reputation of the belove. But his sorrow was so intense and so sustained that his strength and forbearance finally gave up i.e., he began to openly express his sorrow. The result was that the beloved could no longer trust him to keep her secret.
3
ishq zindagi Thahra1 laikin ab ye mushkil2 hai
zindagi se hota hai ahd3 ustuvaar4 apna 1.used here to mean ‘it has been decided/settled’ 2.difficulty 3.promise 4.strong
It is given that the promise of/commitment to love for the beloved has to be strong. But now love itself has become life i.e., the basis of life. The poet/lover lives because he loves. But a strong commitment to love then implies a strong commitment to living. That appears to be a difficulty to the poet, who would rather die.
4
shikva1 barmala2 karte, Khair3 ye to kya karte
haaN magar jo ban paRta4 shikva1 ek baar apna 1.complaint 2.openly, publicly 3.used here the sense of ‘oh all right, I agree’ 4.ban paRna is an expression meaning succeed
I should/might have complained openly and loudly … on the second thoughts I agree, I could never have done that, but I might have complained to her (privately) if there was any chance that it would succeed even once.
5
Gham hi ji1 ka dushman2 tha Gham se duur rahte the
Gham hi rah gaya aaKhir3 ek Gham-gusaar4 apna 1.life 2.enemy 3.finally, in the end 4.sympathizer, friend
I thought sorrow was the anathema/hateful for life, so I stayed away from sorrow. Now in the end it turns out that the only sympathizer left is sorrow itself i.e., he has nothing else to turn to, except sorrow.
6
le gaya chaman ko bhi mausam1-e bahaar2 aa kar
ab qafas3 ka gosha4 hai haasil5-e bahaar2 apna 1.season 2.spring 3.cage 4.corner 5.benefit, end result
It is convention that poet is portrayed as a bird. The bird has been caught and put in a cage. He is particularly miserable in spring missing his nest and his friends. All he could get as a benefit of spring was a corner of his cage while spring has taken over the whole garden.
7
jhuuT hi sahi vaada1 kyuN yaqiN2 na kar lete
baat dil-fareb3 un ki dil umid-vaar4 apna 1.promise 2.believe, trust 3.heart deceiving/captivating 4.hopeful
It may have been a false promise, but how could I not have trusted her. Her words were captivating, and my heart was hopeful. Said Ghalib …
tere vaade pe jiye hum tu ye jaan jhuuT jana
keh Khushi se mar na jaate, agar e’tebaar hota
8
inqelaab1-e aalam2 meN varna3 der hi kya thi
un ke aastaaN4 tak tha Khair5 se Ghubaar6 apna 1.revolution, turning around 2.world 3.otherwise 4.threshold 5.safely, with well being 6.dust
The poet/lover is dead and turned to dust. The breeze blows his dust/ashes to her door. Of course, the poet is still able to see all this and write about it. Had the dust passed beyond her threshold, had she seen it, the the realization of this tragedy would have changed her mind. This would amount to a world-wide revolution without any delay. But all he could see was the dust getting safely to the threshold, nothing beyond. Recall that this is all that ever happened to him during his lifetime. All he could do, if that, was reach her threshold, not beyond.
9
dil hai muztarib1 fani2 aaNkh mahv3-e hairat4 hai
dil ne de diya shaa’ed5 aaNkh ko qaraar6 apna 1.restless, eager 2.pen-name of the poet 3.engrossed, obsessed 4.amazement 5.perhaps 6.peace and quiet
The eye, perceiving the beloved’s beauty is engrossed in amazement. It is stunned – so stunned that everything is quiet and peaceful for it. The heart on the other hand is restless. Perhaps the heart has given away its peace and quiet to the eye. Possibly, the scenario is that the heart was peaceful until the eye saw the beloved. When that happened, the heart gave up its peace and quiet to the eye (which was amazed and stunned). As a result of giving up its peace, the heart became restless.
mohammed shaukat ali KhaaN faani badayuni (1879-1941), BA 1901, law 1908. Stumbling law practice. Invited to hyderabad by maharaja kishan parshaad in 1932, working as the principal of a reputed school. Alcohol proved to be a bid problem. He died forlorn and destitute. Much of his work was lost. This is a Ghazal that he composed in the zamin of Ghalib, ‘mizshgaan-e aahu pusht-Khaar apna’ and is linked to Ghalib naqsh-e qadam, on the Theme page.
1
be-Khudi1 pe tha fani2 kuchh na eKhtiyaar3 apna
umr bhar kiya naahaq4 ham ne intezaar5 apna
1.without senses, in a trance, intoxicated 2.pen-name of the poet 3.self-control, will 4.unjustified, useless 5.waiting
O faani, I never had any control over myself in the matter of intoxication. I always fell for drinking and lost my senses. Given that I had no control, it was useless for me to ‘wait for myself’ all life long. Here ‘wait for myself’ means wait for me to come to my senses. Thus, he had been waiting for this (sobriety) all life long and it never happened.
2
taab1-e zabt2-e Gham ne bhi de diya javaab3 aaKhir4
un ke dil se uThta5 hai aaj e’tebaar6 apna
1.strength 2.forbearnce 3.‘javaab de dena’ is an expression meaning to give up 4.finally 5.‘dil se uThna’ is expression meaning ‘to stop doing something’ 6.trust
Poetic convention is that the lover should be stoic and bear his sorrow silently so as not to malign the reputation of the belove. But his sorrow was so intense and so sustained that his strength and forbearance finally gave up i.e., he began to openly express his sorrow. The result was that the beloved could no longer trust him to keep her secret.
3
ishq zindagi Thahra1 laikin ab ye mushkil2 hai
zindagi se hota hai ahd3 ustuvaar4 apna
1.used here to mean ‘it has been decided/settled’ 2.difficulty 3.promise 4.strong
It is given that the promise of/commitment to love for the beloved has to be strong. But now love itself has become life i.e., the basis of life. The poet/lover lives because he loves. But a strong commitment to love then implies a strong commitment to living. That appears to be a difficulty to the poet, who would rather die.
4
shikva1 barmala2 karte, Khair3 ye to kya karte
haaN magar jo ban paRta4 shikva1 ek baar apna
1.complaint 2.openly, publicly 3.used here the sense of ‘oh all right, I agree’ 4.ban paRna is an expression meaning succeed
I should/might have complained openly and loudly … on the second thoughts I agree, I could never have done that, but I might have complained to her (privately) if there was any chance that it would succeed even once.
5
Gham hi ji1 ka dushman2 tha Gham se duur rahte the
Gham hi rah gaya aaKhir3 ek Gham-gusaar4 apna
1.life 2.enemy 3.finally, in the end 4.sympathizer, friend
I thought sorrow was the anathema/hateful for life, so I stayed away from sorrow. Now in the end it turns out that the only sympathizer left is sorrow itself i.e., he has nothing else to turn to, except sorrow.
6
le gaya chaman ko bhi mausam1-e bahaar2 aa kar
ab qafas3 ka gosha4 hai haasil5-e bahaar2 apna
1.season 2.spring 3.cage 4.corner 5.benefit, end result
It is convention that poet is portrayed as a bird. The bird has been caught and put in a cage. He is particularly miserable in spring missing his nest and his friends. All he could get as a benefit of spring was a corner of his cage while spring has taken over the whole garden.
7
jhuuT hi sahi vaada1 kyuN yaqiN2 na kar lete
baat dil-fareb3 un ki dil umid-vaar4 apna
1.promise 2.believe, trust 3.heart deceiving/captivating 4.hopeful
It may have been a false promise, but how could I not have trusted her. Her words were captivating, and my heart was hopeful. Said Ghalib …
tere vaade pe jiye hum tu ye jaan jhuuT jana
keh Khushi se mar na jaate, agar e’tebaar hota
8
inqelaab1-e aalam2 meN varna3 der hi kya thi
un ke aastaaN4 tak tha Khair5 se Ghubaar6 apna
1.revolution, turning around 2.world 3.otherwise 4.threshold 5.safely, with well being 6.dust
The poet/lover is dead and turned to dust. The breeze blows his dust/ashes to her door. Of course, the poet is still able to see all this and write about it. Had the dust passed beyond her threshold, had she seen it, the the realization of this tragedy would have changed her mind. This would amount to a world-wide revolution without any delay. But all he could see was the dust getting safely to the threshold, nothing beyond. Recall that this is all that ever happened to him during his lifetime. All he could do, if that, was reach her threshold, not beyond.
9
dil hai muztarib1 fani2 aaNkh mahv3-e hairat4 hai
dil ne de diya shaa’ed5 aaNkh ko qaraar6 apna
1.restless, eager 2.pen-name of the poet 3.engrossed, obsessed 4.amazement 5.perhaps 6.peace and quiet
The eye, perceiving the beloved’s beauty is engrossed in amazement. It is stunned – so stunned that everything is quiet and peaceful for it. The heart on the other hand is restless. Perhaps the heart has given away its peace and quiet to the eye. Possibly, the scenario is that the heart was peaceful until the eye saw the beloved. When that happened, the heart gave up its peace and quiet to the eye (which was amazed and stunned). As a result of giving up its peace, the heart became restless.
The post Khair se Ghubaar apna-faani badayuni appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/jmsr-be-qaraari-meN-qaraar-apna-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
بے قراری میں قرار اپنا ۔ جِتِندر موہن سنہا رہبرؔ
۱
نہ بھولی شیوۂ برباد کُن بادِ بہار اپنا
گریباں ہو گیا پھر چاک دامن تار تار اپنا
۲
نظر آئے نئے انداز کچھ طفلوں کے گلشن میں
نیا اِک معجزہ دکھلا گئی فصلِ بہار اپنا
۳
تصوّر لالہ و گُل کا ہمیں بھاتا نہیں لیکن
رہا کرتا ہے دل وقفِ خیالِ رُوِ یار اپنا
۴
کسی کی پُرسِشِ پیہم نے یہ طوفاں اٹھایا ہے
تنِ ہر مُو ہوا ہے ایک چشمِ انتظار اپنا
۵
تمہارے وعدۂ فردا پہ کیا ہوتا یقیں لیکن
ضمیرِ مضطرب پر کچھ نہیں ہے اختیار اپنا
۶
اُصولِ اُستواری ہی مجھے منظور ہے ہمدم
اسی کا سنگِ در ہے بے قراری میں قرار اپنا
۷
گلستانِ وطن کو ہے فروغ اُس سے جو یہ سمجھے
کہ ہر اک برگ و گُل اپنا ہے ہر اک خس و خار اپنا
۸
وفا ہے راہ اپنی اور اُلفت رسم رہبر
کسی کے عاشقوں میں ہم بھی کرتے ہیں شمار اپنا
۹
کہاں توبہ کو دوں دل میں جگہ جب پارسائی نے
بنا رکھا ہے ہر گوشے میں اک دائم مزار اپنا
۱۰
بہت احساس ہے عصیاں کا رہبر گو مرے دل میں
کریمی پر بہت اُس کی سوا ہے اعتبار اپنا
बेक़रारी में क़रार अपना – जितेंद्र मोहन सिन्हा रहबर
१
न भूली शेवा-ए बरबाद-कुन बाद-ए बहार अपना
गरेबां हो गया फिर चाक दामन तार-तार अपना
२
नज़र आए नए अंदाज कुछ तिफ़्लौं के गुलशन में
नया एक मोजेज़ा दिखला गई फ़स्ल-ए बहार अपना
३
तसव्वर लाला ओ गुल का हमें भाता नहीं लैकिन
रहा करता है दिल वक़्फ़-ए ख़याल-ए रू-ए यार अपना
४
किसी की पुर्सिश-ए पैहम ने यह तूफ़ां उठाया है
तन-ए हर-मू हुआ है एक जश्म-ए इंतेज़ार अपना
५
तुम्हारे वादा-ए फ़र्दा का क्या होता यक़ीं लैकिन
ज़मीर-ए मुज़्तरिब पर कुछ नहीं है एख़्तियार अपना
६
उसूल-ए उस्तवारी ही मुझे मंज़ूर है हमदम
उसी का संग-ए दर है बेक़रारी में क़रार अपना
७
गुलिस्तोन-ए वतन को है फ़रोग़ उस से जो ये समझे
के हर एक बर्ग ओ गुल अपना है हर ख़स ओ ख़ार अपना
८
वफ़ा है राह अपनी उल्फ़त रस्म-ए रहबर
किसी के आशक़ौं में हम भी करते हैं शुमार अपना
९
कहां तौबा को दूं दिल में जगह जब पारसाई ने
बना रखा है हर गोशे में एक दा’एम मज़ार अपना
१०
बहुत एहसास है इस्यां का रहबर गो मेरे दिल में
करीमी पर बहुत उसकी सिवा है ए’तेबार अपना
Click here for background and on any passage for word meanings and explanatory discussion. jitendra mohan sinha rahbar (1911-1930), bijnaur, UP. Grew up in an orthodox arya samaaji family with emphasis on learning hindi and sanskrit, but his father himself knew urdu and corresponded with his family in urdu. Uncle was shaa’er. Learnt English at school and taught himself urdu and later blossomed into an urdu shaa’er. Jailed for participating in the freedom movement. Upon release, taught in a school in rural UP and later English literature in a college in lukhnow.
1
nah bhooli sheva1-e barbaad-kun2 baad3-e bahaar4 apna
gareybaaN5 ho gaya phir chaak6 daaman7 taar-taar8 apna 1.nature, character 2.destruction creating 3.breeze 4.spring 5.shirt front, collar 6.torn 7.hem of the robe 8.shreds, threads
It is customary for the lover to miss the beloved in spring and get distraught/mad with passion. He would then tear his shirt and robe and go about like majnuN. Such is the destructive nature of the spring breeze that his collar is now torn and robe shredded.
2
nazar1 aaye naye andaaz2 kuchh tiflauN3 ke gulshan4 meN
naya ek mo’jeza5 dikhla gayi fasl6-e bahaar7 apna 1.seen 2.style, coquetry 3.young (probably meaning the beloved at an adolescent stage) 4.garden 5.miracle 6.season 7.spring
The beloved, in budding youth, can be seen prancing in the garden in a new style. This too is a new miracle that spring shows us.
3
tasavvur1 laala2 o gul3 ka hameN bhaata4 nahiN laikin
raha karta hai dil vaqf5-e Khayaal6-e ruu7-e yaar8 apna 1.imagination 2.tulip 3.rose 4.pleases 5.dedicated to, reserved for 6.thoughts 7.face, countenance 8.friend, beloved
Imagining the beauty of the rose and tulip does not please me much because my thoughts are dedicated to thinking of the beauty of the countenance of the beloved.
4
kisi ki pursish1-e paiham2 ne yeh tufaaN uThaaya hai
tan3-e har-muu4 hua hai aek chashm5-e intezaar6 apna 1.asking about well-being 2.repeated 3.body 4.every follicle/hair of the body 5.eyes 6.waiting, anticipation
The imagery is that of the poet/lover on his death bed. The beloved has come a few times asking about him. Her frequent visits have raised a storm of passion. Every follicle of hair on his body is curled up (perhaps due to the heat of passion) as if it were an eye looking out for the beloved to come. Ghalib likens curled up hair to links of a chain …
muu-e aatish-diida hai har halqa yaaN zanjir ka
5
tumhaaray vaada1-e farda2 pe kya hota yaqiiN3 laikin
zamiir4-e muztarib5 par kuchh nahiN hai eKhtiyaar6 apna 1.promise 2.future 3.trust 4.inner heart 5.restless 6.control
The beloved is notorious about promising to come in the future but never keeping her promise. How can I trust your promise of a future get together, but I have no control over my restless heart i.e., it always falls for your promise in false hope.
6
usool1-e ustuvaari2 hi mujhe manzoor3 hai hamdam4
usi ka saNg-e-dar5 hai be-qaraari6 meN qaraar7 apna 1.principles 2.steadfast/strong (devotion/love) 3.acceptable 4.friend 5.stone threshold 6.restlessness 7.comfort
O my friend, I only subscribe to the principle of steadfast devotion/love. In restlessness and sorrow, it is his/her threshold that gives me comfort. Of course, this could apply to the beloved as well as to the divine.
7
gulsitaan1-e vatan2 ko hai faroGh3 us se jo yeh samjhay
ke har ek barg4 o gul5 apna hai har ek Khas6 o Khaar7 apna 1.garden 2.homeland 3.brilliance, respect, dignity 4.leaf, petal 5.rose 6.straw 7.thorn
The dignity of the homeland (which is like a garden) is because of those who think that every rose and petal as well as every bit of straw and sand belong here. This is a beautiful stand against bigotry.
8
vafa1 hai raah2 apni aur ulfat3 rasm4-e rahbar5
kisi ke aashiqoN6 meN hum bhi karte haiN shumaar7 apna 1.faith, fidelity 2.path 3.love 4.tradition 5.pen-name of the poet, guide, leader 6.lovers 7.counting
My path is that of fidelity and love is the tradition of rahbar. I count myself among the lovers of that special someone (the beloved).
9
kahaaN tauba1 ko duuN dil meN jagah jab paarsaaii2 ne
bana rakkha hai har goshay3 meN ek daa’em4 mazaar5 apna 1.penitence, appeal for forgiveness 2.chastity, virtue (used here to mean self-righteousness) 3.corner 4.permanent 5.tomb
Where can I find room for humble penitence in my heart when a sense of self-righteousness has buried itself permanently in every corner.
10
bahut ehsaas1 hai isyaaN2 ka rahbar3 go4 meray dil meN
kareemi5 par bahut us ki siva6 hai e’tebaar7 apna 1.sense, feeling 2.sin, transgression 3.pen-name of the poet 4.even though 5.benevolence, kindness 6.more, greater 7.trust
I have a strong feeling of my transgressions O rahbar, even though my trust in god’s kindness/forgiveness is greater.
jitendra mohan sinha rahbar (1911-1930), bijnaur, UP. Grew up in an orthodox arya samaaji family with emphasis on learning hindi and sanskrit, but his father himself knew urdu and corresponded with his family in urdu. Uncle was shaa’er. Learnt English at school and taught himself urdu and later blossomed into an urdu shaa’er. Jailed for participating in the freedom movement. Upon release, taught in a school in rural UP and later English literature in a college in lukhnow.
1
nah bhooli sheva1-e barbaad-kun2 baad3-e bahaar4 apna
gareybaaN5 ho gaya phir chaak6 daaman7 taar-taar8 apna
1.nature, character 2.destruction creating 3.breeze 4.spring 5.shirt front, collar 6.torn 7.hem of the robe 8.shreds, threads
It is customary for the lover to miss the beloved in spring and get distraught/mad with passion. He would then tear his shirt and robe and go about like majnuN. Such is the destructive nature of the spring breeze that his collar is now torn and robe shredded.
2
nazar1 aaye naye andaaz2 kuchh tiflauN3 ke gulshan4 meN
naya ek mo’jeza5 dikhla gayi fasl6-e bahaar7 apna
1.seen 2.style, coquetry 3.young (probably meaning the beloved at an adolescent stage) 4.garden 5.miracle 6.season 7.spring
The beloved, in budding youth, can be seen prancing in the garden in a new style. This too is a new miracle that spring shows us.
3
tasavvur1 laala2 o gul3 ka hameN bhaata4 nahiN laikin
raha karta hai dil vaqf5-e Khayaal6-e ruu7-e yaar8 apna
1.imagination 2.tulip 3.rose 4.pleases 5.dedicated to, reserved for 6.thoughts 7.face, countenance 8.friend, beloved
Imagining the beauty of the rose and tulip does not please me much because my thoughts are dedicated to thinking of the beauty of the countenance of the beloved.
4
kisi ki pursish1-e paiham2 ne yeh tufaaN uThaaya hai
tan3-e har-muu4 hua hai aek chashm5-e intezaar6 apna
1.asking about well-being 2.repeated 3.body 4.every follicle/hair of the body 5.eyes 6.waiting, anticipation
The imagery is that of the poet/lover on his death bed. The beloved has come a few times asking about him. Her frequent visits have raised a storm of passion. Every follicle of hair on his body is curled up (perhaps due to the heat of passion) as if it were an eye looking out for the beloved to come. Ghalib likens curled up hair to links of a chain …
muu-e aatish-diida hai har halqa yaaN zanjir ka
5
tumhaaray vaada1-e farda2 pe kya hota yaqiiN3 laikin
zamiir4-e muztarib5 par kuchh nahiN hai eKhtiyaar6 apna
1.promise 2.future 3.trust 4.inner heart 5.restless 6.control
The beloved is notorious about promising to come in the future but never keeping her promise. How can I trust your promise of a future get together, but I have no control over my restless heart i.e., it always falls for your promise in false hope.
6
usool1-e ustuvaari2 hi mujhe manzoor3 hai hamdam4
usi ka saNg-e-dar5 hai be-qaraari6 meN qaraar7 apna
1.principles 2.steadfast/strong (devotion/love) 3.acceptable 4.friend 5.stone threshold 6.restlessness 7.comfort
O my friend, I only subscribe to the principle of steadfast devotion/love. In restlessness and sorrow, it is his/her threshold that gives me comfort. Of course, this could apply to the beloved as well as to the divine.
7
gulsitaan1-e vatan2 ko hai faroGh3 us se jo yeh samjhay
ke har ek barg4 o gul5 apna hai har ek Khas6 o Khaar7 apna
1.garden 2.homeland 3.brilliance, respect, dignity 4.leaf, petal 5.rose 6.straw 7.thorn
The dignity of the homeland (which is like a garden) is because of those who think that every rose and petal as well as every bit of straw and sand belong here. This is a beautiful stand against bigotry.
8
vafa1 hai raah2 apni aur ulfat3 rasm4-e rahbar5
kisi ke aashiqoN6 meN hum bhi karte haiN shumaar7 apna
1.faith, fidelity 2.path 3.love 4.tradition 5.pen-name of the poet, guide, leader 6.lovers 7.counting
My path is that of fidelity and love is the tradition of rahbar. I count myself among the lovers of that special someone (the beloved).
9
kahaaN tauba1 ko duuN dil meN jagah jab paarsaaii2 ne
bana rakkha hai har goshay3 meN ek daa’em4 mazaar5 apna
1.penitence, appeal for forgiveness 2.chastity, virtue (used here to mean self-righteousness) 3.corner 4.permanent 5.tomb
Where can I find room for humble penitence in my heart when a sense of self-righteousness has buried itself permanently in every corner.
10
bahut ehsaas1 hai isyaaN2 ka rahbar3 go4 meray dil meN
kareemi5 par bahut us ki siva6 hai e’tebaar7 apna
1.sense, feeling 2.sin, transgression 3.pen-name of the poet 4.even though 5.benevolence, kindness 6.more, greater 7.trust
I have a strong feeling of my transgressions O rahbar, even though my trust in god’s kindness/forgiveness is greater.
The post be-qaraari meN qaraar apna-jitendra mohan sinha rahbar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/Ghayaaz-kiye-jaao-intezaar-apna-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کئے جاؤ انتظار اپنا ۔ غالب ایازؔ
۱
ہُوا کرے گا ہر اک لفظ مشک بار اپنا
ابھی سُکوں سے کئے جاؤ انتظار اپنا
۲
اُٹھا لیا ہے حلف گرچہ جاں نثاری کا
مجھے سنبھال کہ ہوتا ہوں بار بار اپنا
۳
اُداس آنکھ کو ہے انتظارِ فصلِ مراد
کبھی تو موسمِ جاں ہوگا سازگار اپنا
۴
تمہارے در سے اُٹھائے گئے ملال نہیں
وہاں تو چھوڑ کے آئے ہیں ہم غبار اپنا
۵
بہت بلند ہوئی جاتی ہے انا کی فصیل
سو ہم بھی تنگ کیے جاتے ہیں حصار اپنا
۶
سبھی چراغ کمر بستہ ہیں ہوا کے خلاف
بچاری لے کے کہاں جائے انتشار اپنا
किये जाओ इन्तेज़ार अपना – ग़ालिब अयाज़
१
हुआ करेगा हर एक लफ़्ज़ मुश्क-बार अपना
अभी सुकूं से किये जाओ इन्तेज़ार अपना
२
उठा लिया है हलफ़ गरचे जां-निसारी का
मुझे संभाल, के होता हूं बार-बार अपना
३
उदास आंख को है इन्तेज़ार-ए फ़स्ल-ए मुराद
कभी तो मौसम-ए जां होगा साज़-गार अपना
४
तुम्हारे दर से उठाए गए मलाल नहीं
वहां तो छोढ के आए हैं हम ग़ुबार अपना
५
बहुत बलन्द हुई जाती है अना की फ़सील
सो हम भी तंग किये जाते हैं हिसार अपना
६
सभी चराग़ कमर-बस्ता हैं हवा के ख़िलाफ़
बिचारी लेके कहां जाए इन्तेशार अपना
Click here for background and on any passage for word meanings and explanatory discussion. Ghalib ayaaz (1981-living), begusaraa’e, bihar. BA, English literature. The poet’s name is Ghalib and his taKhallus is ayaaz. I did figure out that he had a day job listed as an S.E.O. I have no idea what it is. This Ghazal with the same radeef and qaafiya as Ghalib’s ‘mizshgaan-e aahu pusht-Khaar apna’ is linked to Ghalib naqsh-e qadam.
1
hua karega har ek lafz1 mushk-baar2 apna
abhi sukooN3 se kiye jaao intezaar4 apna 1.word 2.fragrance of musk 3.peace, patience 4.wait
I think the poet is writing about how with time his verse will mature and every word will give out the fragrance of musk. He says to himself – be patient, waiting for yourselves to become mature in literary capabilities.
Ghalib in faarsi …
ham savaad-e saf’h, mushk-e sauda Khwaahad beKhtan
ham davaatam naaf-e aahu-e Khutan Khwaahad shudan
urdu translation by shahed
davaat naaf-e aahu, siyaahi tahliil-e mushk
Khoob mahkegi tahriir ki ye mushk-e Khutan mere baad
2
uTha liya hai halaf1 gar-che2 jaaN-nisaari3 ka
mujhe sambhaal4 keh hota huN baar-baar5 apna 1.promise, firm resolve 2.even though 3.sacrificing life 4.hold steady, support 5.repeatedly
Even though I have taken a firm resolve to sacrifice my life (for the beloved) I stumble again and again and become conscious/mindful of the self forgetting my resolve to sacrifice the self. He is then asking someone to hold him steady and support him. Who is he asking – the beloved or his guardian angel. He leaves it to us to figure out.
3
udaas1 aaNkh ko hai intezaar2-e fasl3-e muraad4
kabhi to mosam-e jaaN hoga saazgaar5 apna 1.sorrowful 2.waiting 3.season 4.desire 5.favourable
I wait sorrowfully for the season/time when my desire will be fulfilled. Sometime (I hope) the season of life will become favourable for me. What is the desire that he is waiting for fulfillment. He does not spell it out, but the underlying feeling is that he is waiting for union with the beloved.
4
tumhaare dar1 se uThaaye gaye malaal2 nahiN
vahaaN to chhoR ke aaye haiN ham Ghubaar3 apna 1.door 2.sorrow 3.dust, but idiomatically it also means anger, ill-feeling
The lover spends his time at the door of the beloved. But he has been made to leave. Even as he went, he left behind all his anger and ill-feeling in the street of the beloved. So he has not sorrow about being treated thus, does not carry grudges.
5
bahut baland1 hui jaati hai anaa2 ki faseel3
so ham bhi taNg4 kiye lete haiN hisaar5 apna 1.high 2.ego, arrogance 3.parapet, boundary wall 4.narrow 5.boundary, extent, spread
Whose ego is it around which the boundary wall is becoming higher? I assume, the beloved. She is being self-centred and shutting him out. The second misra appears to be his reaction to this – therefore, I too, am going to reduce the extent of something … what? Probably, of his willingness to tolerate the whims and fancies of the beloved. He appears willing to walk away.
6
sabhi charaaGh1 kamar-basta2 haiN hava ke Khilaaf3
bichaari le ke kahaaN jaaye inteshaar4 apna 1.lamp, candle 2.girding up the loin, determined, resolved 3.against 4.scatter, spread
In poetic convention the wind blows and puts out the candle. Here it seems that all candles have resolved to oppose the wind. In the second misra the poet appears to be expressing sympathy for the wind whose innate nature is to blow and scatter/spread. Where will the poor wind go now and what will she do with its nature of scattering.
Ghalib ayaaz (1981-living), begusaraa’e, bihar. BA, English literature. The poet’s name is Ghalib and his taKhallus is ayaaz. I did figure out that he had a day job listed as an S.E.O. I have no idea what it is. This Ghazal with the same radeef and qaafiya as Ghalib’s ‘mizshgaan-e aahu pusht-Khaar apna’ is linked to Ghalib naqsh-e qadam.
1
hua karega har ek lafz1 mushk-baar2 apna
abhi sukooN3 se kiye jaao intezaar4 apna
1.word 2.fragrance of musk 3.peace, patience 4.wait
I think the poet is writing about how with time his verse will mature and every word will give out the fragrance of musk. He says to himself – be patient, waiting for yourselves to become mature in literary capabilities.
Ghalib in faarsi …
ham savaad-e saf’h, mushk-e sauda Khwaahad beKhtan
ham davaatam naaf-e aahu-e Khutan Khwaahad shudan
urdu translation by shahed
davaat naaf-e aahu, siyaahi tahliil-e mushk
Khoob mahkegi tahriir ki ye mushk-e Khutan mere baad
2
uTha liya hai halaf1 gar-che2 jaaN-nisaari3 ka
mujhe sambhaal4 keh hota huN baar-baar5 apna
1.promise, firm resolve 2.even though 3.sacrificing life 4.hold steady, support 5.repeatedly
Even though I have taken a firm resolve to sacrifice my life (for the beloved) I stumble again and again and become conscious/mindful of the self forgetting my resolve to sacrifice the self. He is then asking someone to hold him steady and support him. Who is he asking – the beloved or his guardian angel. He leaves it to us to figure out. 3
udaas1 aaNkh ko hai intezaar2-e fasl3-e muraad4
kabhi to mosam-e jaaN hoga saazgaar5 apna
1.sorrowful 2.waiting 3.season 4.desire 5.favourable
I wait sorrowfully for the season/time when my desire will be fulfilled. Sometime (I hope) the season of life will become favourable for me. What is the desire that he is waiting for fulfillment. He does not spell it out, but the underlying feeling is that he is waiting for union with the beloved.
4
tumhaare dar1 se uThaaye gaye malaal2 nahiN
vahaaN to chhoR ke aaye haiN ham Ghubaar3 apna
1.door 2.sorrow 3.dust, but idiomatically it also means anger, ill-feeling
The lover spends his time at the door of the beloved. But he has been made to leave. Even as he went, he left behind all his anger and ill-feeling in the street of the beloved. So he has not sorrow about being treated thus, does not carry grudges.
5
bahut baland1 hui jaati hai anaa2 ki faseel3
so ham bhi taNg4 kiye lete haiN hisaar5 apna
1.high 2.ego, arrogance 3.parapet, boundary wall 4.narrow 5.boundary, extent, spread
Whose ego is it around which the boundary wall is becoming higher? I assume, the beloved. She is being self-centred and shutting him out. The second misra appears to be his reaction to this – therefore, I too, am going to reduce the extent of something … what? Probably, of his willingness to tolerate the whims and fancies of the beloved. He appears willing to walk away.
6
sabhi charaaGh1 kamar-basta2 haiN hava ke Khilaaf3
bichaari le ke kahaaN jaaye inteshaar4 apna
1.lamp, candle 2.girding up the loin, determined, resolved 3.against 4.scatter, spread
In poetic convention the wind blows and puts out the candle. Here it seems that all candles have resolved to oppose the wind. In the second misra the poet appears to be expressing sympathy for the wind whose innate nature is to blow and scatter/spread. Where will the poor wind go now and what will she do with its nature of scattering.
The post kiye jaao intezaar apna-Ghalib ayaaz appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/maht-kuchh-bhi-eKhtiyaar-apna-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کچھ بھی اختیار اپنا ۔ میر عبدالحی تاباںؔ
۱
کئی دن ہو گئے یارب نہیں دیکھا ہے یار اپنا
ہوا معلوم یوں شاید کیا کم ان نے پیار اپنا
۲
ہَوا بھی عشق کی لگنے نہ دیتا میں اسے ہرگز
اگر اس دل پہ ہوتا ہائے کچھ بھی اختیار اپنا
۳
یہ دونوں لازم و ملزوم ہیں گویا کہ آپس میں
نہ یار اپنا کبھو ہوتے سنانے روزگار اپنا
۴
ہُوا ہوں خاک اس کے غم میں تو بھی سینہ صافی سے
نہیں کھوتا ہے وہ آئینہ رو دل سے غبار اپنا
۵
یہ شعلہ سا تمہارا رنگ کچھ زور ہی جھمکتا ہے
جلا کیوں کر نہ دوں میں خِرمنِ صبر و قرار اپنا
۶
سرِ فِتراک تھا اس کو نہ تھا لیکن نصیبوں میں
تڑپتا چھوڑ کر جاتا رہا ظالم شکار اپنا
۷
تجھے لازم ہے ہونا مہرباں تاباںؔ پہ اے ظالم
کہ ہے بیتاب اپنا عاشق اپنا بے قرار اپنا
कुछ भी एख़्तियार अपना – वली मोहम्मद वली दक्खनी
१
कई दिन हो गए या-रब नहीं देखा है यार अपना
हुआ मालूम यूँ शायद किया कम उन ने प्यार अपना
२
हवा भी इश्क़ की लगने न देता मैं उसे हरगिज़
अगर इस दिल पे होता हाए कुछ भी एख़्तियार अपना
३
ये दोनो लाज़िम-ओ-मलज़ूम हैं गोया के आपस में
न यार अपना कभू होते सुनाने रोज़गार अपना
४
हुआ हूँ ख़ाक उस के ग़म में तो भी सीना-साफ़ी से
नहीं खोता है वो आईना-रू दिल से ग़ुबार अपना
५
ये शो’ला सा तुम्हारा रंग कुछ ज़ोर ही झमकता है
जला क्यूँकर न दूँ मैं ख़िर्मन-ए सब्र-ओ-क़रार अपना
६
सर-ए फ़ितराक था उस को न था लेकिन नसीबों में
तढपता छोढ कर जाता रहा ज़ालिम शिकार अपना
७
तुझे लाज़िम है होना मेहरबाँ ताबाँ प अए ज़ालिम
के है बेताब अपना आशिक़ अपना बे-क़रार अपना
Click here for background and on any passage for word meanings and explanatory discussion. mir abdul hai taabaaN (1715-1749) , shahjahaanabad. Died young (due to excessive drinking) but left a sizable body of urdu and some faarsi compositions. vali dakkhani’s visit to dehli in 1700 helped spur the move of Ghazal from faarsi to urdu among the literati. I don’t know much about him or his source of income but it is reported that he was a courtier of emperor shah aalam. Many contemporaneous poets have written about his good looks and called him yusuf-e saani – a second Joseph (who is reported to have been very handsome). This Ghazal of the same radeef-qaafiya as Ghalib’s ‘mizshgaan-e aahu push-Khaar apna’ is linked to Ghalib peshrau-hamqadam and also to Ghalib naqsh-e qadam primarily to mark the continuity of radeef-qaafiya over time.
1
ka’ii din ho gaye yarab1 nahiN dekha hai yaar2 apna
hua maaloom3 yuN shaa’ed4 kiya kam un ne pyaar apna 1.god 2.beloved 3.know, learn 4.perhaps
It has been quite a few days, O god, that I have not seen my beloved. I am learning that perhaps she loves me less now.
2
hava1 bhi ishq ki lagne na deta maiN use hargiz2
agar3 is dil pe hota haa’e kuchh bhi eKhtiyaar4 apna 1.‘hava lagne nahiN dena’ is an expression meaning ‘will not let something come anywhere near’ 2.under any circumstance 3.if 4.control, authority
Under no circumstances would I have allowed love to come anywhere near my heart, if I had had any control over it.
3
ye dono laazim1 o malzoom2 haiN goya3 keh aapas meN
na yaar4 apna kabhu hote sunaa, ne5 rozgaar6 apna 1.to mandate 2.that which has been mandated 3.as if 4.friend, beloved 5.daily life
The dono – both in the first misra are – yaar ka apna hona i.e., getting the beloved to agree and rozgaar apna hona i.e., making a good life/livelihood. They are both necessary and mandated but it seems as if they have come to a mutual agreement that neither one nor the other can be achieved.
4
hua huN Khaak1 us ke Gham meN to bhi sina-saafi2 se
nahiN khota3 hai vo aaiina-ruu4 dil se Ghubaar5 apna 1.dust, of no value 2.cleaning the breast/heart 3.lose, shed 4.mirror/shining faced, beloved 5.dust, ill feeling, not trusting
I have become like dust with sorrow because of (unrequited love of) her. The beloved harbours annoyance/suspicion towards him. Thus, even after grinding himself into the dust, even after doing ‘siina-saafi’ (coming clean with explanation about whatever the beloved is annoyed with, the aaiina-ruu beloved does not lose her ‘Ghubaar’ i.e., does not get rid of her ill feeling.
5
ye sho’la1 sa tumhaara raNg kuchh zor2 hi jhamakta3 hai
jala kyuNkar na duN maiN Khirman4-e sabr5 o qaraar6 apna 1.flame, shine 2.power, strength 3.sparkles 4.harvest, store, treasure 5.patience 6.peace of mind
Your complexion, like a flame, sparkles with great strength (perhaps she is angry). The poet has maintained a long period of ‘sabr o qaraar’, so he has a store of the harvest of it. This seems to suggest that he thinks that it is time for him to let this harvest burn … perhaps with the sho’la of her beauty. This appears to me to be a contemplation of something not normally allowed by convention. Quite what he proposes to do, is not clear.
6
sar-e fitraak1 tha us ko na tha laikin nasiboN2 meN
taRapta3 chhoR kar jaata raha zaalim4 shikaar5 apna 1.hunted prey 2.fate 3.writhing in pain 4.cruel, beloved 5.hunter’s kill
It was in her power, she could have cut the head of the hunted prey and carried it off with her. But that was not in my fate. The cruel beloved left the kill writhing in pain and went away.
7
text=” tujhe laazim1 hai hona mehrbaaN2 taabaaN3 pe aye zaalim4
keh hai betaab5 apna aashiq apna be-qaraar6 apna
mir abdul hai taabaaN (1715-1749) , shahjahaanabad. Died young (due to excessive drinking) but left a sizable body of urdu and some faarsi compositions. vali dakkhani’s visit to dehli in 1700 helped spur the move of Ghazal from faarsi to urdu among the literati. I don’t know much about him or his source of income but it is reported that he was a courtier of emperor shah aalam. Many contemporaneous poets have written about his good looks and called him yusuf-e saani – a second Joseph (who is reported to have been very handsome). This Ghazal of the same radeef-qaafiya as Ghalib’s ‘mizshgaan-e aahu push-Khaar apna’ is linked to Ghalib peshrau-hamqadam and also to Ghalib naqsh-e qadam primarily to mark the continuity of radeef-qaafiya over time.
1
ka’ii din ho gaye yarab1 nahiN dekha hai yaar2 apna
hua maaloom3 yuN shaa’ed4 kiya kam un ne pyaar apna
1.god 2.beloved 3.know, learn 4.perhaps
It has been quite a few days, O god, that I have not seen my beloved. I am learning that perhaps she loves me less now.
2
hava1 bhi ishq ki lagne na deta maiN use hargiz2
agar3 is dil pe hota haa’e kuchh bhi eKhtiyaar4 apna
1.‘hava lagne nahiN dena’ is an expression meaning ‘will not let something come anywhere near’ 2.under any circumstance 3.if 4.control, authority
Under no circumstances would I have allowed love to come anywhere near my heart, if I had had any control over it.
3
ye dono laazim1 o malzoom2 haiN goya3 keh aapas meN
na yaar4 apna kabhu hote sunaa, ne5 rozgaar6 apna
1.to mandate 2.that which has been mandated 3.as if 4.friend, beloved 5.daily life
The dono – both in the first misra are – yaar ka apna hona i.e., getting the beloved to agree and rozgaar apna hona i.e., making a good life/livelihood. They are both necessary and mandated but it seems as if they have come to a mutual agreement that neither one nor the other can be achieved.
4
hua huN Khaak1 us ke Gham meN to bhi sina-saafi2 se
nahiN khota3 hai vo aaiina-ruu4 dil se Ghubaar5 apna
1.dust, of no value 2.cleaning the breast/heart 3.lose, shed 4.mirror/shining faced, beloved 5.dust, ill feeling, not trusting
I have become like dust with sorrow because of (unrequited love of) her. The beloved harbours annoyance/suspicion towards him. Thus, even after grinding himself into the dust, even after doing ‘siina-saafi’ (coming clean with explanation about whatever the beloved is annoyed with, the aaiina-ruu beloved does not lose her ‘Ghubaar’ i.e., does not get rid of her ill feeling.
5
ye sho’la1 sa tumhaara raNg kuchh zor2 hi jhamakta3 hai
jala kyuNkar na duN maiN Khirman4-e sabr5 o qaraar6 apna
1.flame, shine 2.power, strength 3.sparkles 4.harvest, store, treasure 5.patience 6.peace of mind
Your complexion, like a flame, sparkles with great strength (perhaps she is angry). The poet has maintained a long period of ‘sabr o qaraar’, so he has a store of the harvest of it. This seems to suggest that he thinks that it is time for him to let this harvest burn … perhaps with the sho’la of her beauty. This appears to me to be a contemplation of something not normally allowed by convention. Quite what he proposes to do, is not clear.
6
sar-e fitraak1 tha us ko na tha laikin nasiboN2 meN
taRapta3 chhoR kar jaata raha zaalim4 shikaar5 apna
1.hunted prey 2.fate 3.writhing in pain 4.cruel, beloved 5.hunter’s kill
It was in her power, she could have cut the head of the hunted prey and carried it off with her. But that was not in my fate. The cruel beloved left the kill writhing in pain and went away.
7
tujhe laazim1 hai hona mehrbaaN2 taabaaN3 pe aye zaalim4
keh hai betaab5 apna aashiq apna be-qaraar6 apna
1.necessary, essential 2.kind 3.pen-name of the beloved 4.cruel one, beloved 5.eager 6.restless
It was necessary for you to be kind to taabaaN, O cruel beloved because after all he is yours – eager. loving and restless for you.
The post kuchh na eKhtiyaar apna-mir abdul hai taabaaN appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/ppsb-ahd-e-yaadgaar-apna-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
عہدِ یادگار اپنا ۔ پریتپال سنگھ بیتابؔ
۱
مِل نہ پائے گا ہرگز واپس اعتبار اپنا
اور یاد آئے گا عہدِ یادگار اپنا
۲
ساتھ لے گئی آندھی سارے سبز خوابوں کو
زرد رہ گیا پیچھے شہرِ شاخسار اپنا
۳
توڑ جب دیا ہم نے سارے چبھتے رشتوں کو
رکھ دیا ہے یہ باقی کس نے ایک خار اپنا
۴
لامکاں میں سوچا تھا اِک مکان اپنا ہو
بن گیا مگر زنداں ذات کا حصار اپنا
۵
یہ سفر ہی ایسا ہے کون واپس آیا ہے
کس لئے کرے کوئی آخر اِنتظار اپنا
۶
ہم نہ تھے کوئی مجنوں ہو گیا مگر بیتابؔ
بھیڑ سے نکلنے میں جامہ تار تار اپنا
अहद-ए यादगार अपना – प्रीतपाल सिंघ बेताब
१
मिल न पाएगा हरगिज़ वापस ए’तेबार अपना
और याद आएगा अहद-ए यादगार अपना
२
साथ ले गई आंधी सारे सब्ज़ ख़्वाबौं को
ज़र्द रह गया पीछे शहर-ए शाख़सार अपना
३
तोढ जब दिया हम ने चुभते सारे रिश्तौं को
रख दिया है ये बाक़ी किस ने एक ख़ार अपना
४
लामकां में सोचा था एक मकान अपना हो
बन गया मगर ज़िन्दां ज़ात का हिसार अपना
५
ये सफ़र हि ऐसा है कौन वापस आया है
किस लिये करे कोई आख़र इन्तेज़ार अपना
६
हम न थे कोई मज्नूं हो गया मगर बेताब
भीढ से निकलने में जामा तार तार अपना
Click here for background and on any passage for word meanings and explanatory discussion. priitpal singh betaab (1949-xxxx) pooNch, kashmir. MA, LLB. kashmir (state) administrative service, achieving a very high level position and retiring as Director, Food and Supplies. He started composing verse in 1970, published 9 collections of verse and received numerous awards even as he continued his ‘day time job’. He grew up in pooNchh and apparently missed it a lot. There is a strong element of exile from home in his compositions. This Ghazal is composed in the zamin of ‘mizshgaan-e aahu pushtKhaar apna’ and is linked to Ghalib naqsh-e qadam.
1
mil na paayega hargiz1 vaapas2 e’tebaar3 apna
aur yaad aayega ahd4-e yaadgaar5 apna 1.under any circumstance 2.get back, return 3.confidence, self-confidence 4.times, period 5.memorable
Under no circumstances will we be able to get back our youthful confidence (carefree attitude). We will remember again and again that memorable period of our lives. This is possibly about mutual trust various communities had in each other as the poet was growing up. Those days of mutual trust are gone.
2
saath le gaii aandhi saare sabz-KhwaaboN1 ko
zard2 rah gaya piichhe shahr-e-shaaKhsaar3 apna 1.literally green dreams meaning ‘castles in the air’ 2.pale, forlorn 3.dwellings/community in dense trees
A storm came in and blew away all our beautiful dreams for the future, leaving our community behind, wilted and forlorn. What kind of a storm was this … communal disharmony and bigotry!
3
toR jab diya hum ne chubhte1 saare rishtoN2 ko
rakh diya hai ye baaqi3 kis ne ek Khaar4 apna 1.pricking, irritating 2.relationships, associations 3.remaining 4.thorn
The poet thought that he had broken off all irritating relationships of the past. But someone has left one/some thorn remaining i.e., either the memory of those relationships still irritates or one or more of them is still not broken off.
4
lamakaaN1 meN socha tha, ek makaan2 apna ho
ban gaya magar3 zindaaN4 zaat5 ka hisaar6 apna 1.non-space, outer space 2.place 3.but 4.prison 5.community, caste, creed 6.boundary wall
The poet was an idealist. He wanted to stand in a place with total freedom all around – not restricted by ‘territory’ or conventions, but the restrictions of the community he was born into became a prison with boundary walls of caste all around him.
5
ye safar1 hi aisa hai kaun vaapas2 aaya hai
kis liye kare koii aaKhir3 intezaar4 apna 1.journey 2.return 3.finally, at all 4.waiting
The journey he is talking about could be the journey of life and journey of migration from rural to urban areas (he writes a lot about the loss of his rural home). Thus, such is this journey. Who has ever returned. Why then should anyone wait, anticipating their coming back.
6
ham na the koii majnuN1 ho gaya magar betaab2
bhiiR3 se nikalne meN jaama4 taar-taar5 apna 1.of laila-majnuN legend 2.pen-name of the poet, also means restless 3.crowd 4.clothes 5.shredded to threads
O betaab, you were never like majnuN but emerging from the crowd you appear to have become one with clothes torn to shreds. It is possible that by crowd he means the urban milieu and becoming majnuN there could mean missing laila. laila is the memory of his rural surroundings that he grew up in.
priitpal singh betaab (1949-xxxx) pooNch, kashmir. MA, LLB. kashmir (state) administrative service, achieving a very high level position and retiring as Director, Food and Supplies. He started composing verse in 1970, published 9 collections of verse and received numerous awards even as he continued his ‘day time job’. He grew up in pooNchh and apparently missed it a lot. There is a strong element of exile from home in his compositions. This Ghazal is composed in the zamin of ‘mizshgaan-e aahu pushtKhaar apna’ and is linked to Ghalib naqsh-e qadam.
1
mil na paayega hargiz1 vaapas2 e’tebaar3 apna
aur yaad aayega ahd4-e yaadgaar5 apna
1.under any circumstance 2.get back, return 3.confidence, self-confidence 4.times, period 5.memorable
Under no circumstances will we be able to get back our youthful confidence (carefree attitude). We will remember again and again that memorable period of our lives. This is possibly about mutual trust various communities had in each other as the poet was growing up. Those days of mutual trust are gone.
2
saath le gaii aandhi saare sabz-KhwaaboN1 ko
zard2 rah gaya piichhe shahr-e-shaaKhsaar3 apna
1.literally green dreams meaning ‘castles in the air’ 2.pale, forlorn 3.dwellings/community in dense trees
A storm came in and blew away all our beautiful dreams for the future, leaving our community behind, wilted and forlorn. What kind of a storm was this … communal disharmony and bigotry!
3
toR jab diya hum ne chubhte1 saare rishtoN2 ko
rakh diya hai ye baaqi3 kis ne ek Khaar4 apna
1.pricking, irritating 2.relationships, associations 3.remaining 4.thorn
The poet thought that he had broken off all irritating relationships of the past. But someone has left one/some thorn remaining i.e., either the memory of those relationships still irritates or one or more of them is still not broken off.
4
lamakaaN1 meN socha tha, ek makaan2 apna ho
ban gaya magar3 zindaaN4 zaat5 ka hisaar6 apna
1.non-space, outer space 2.place 3.but 4.prison 5.community, caste, creed 6.boundary wall
The poet was an idealist. He wanted to stand in a place with total freedom all around – not restricted by ‘territory’ or conventions, but the restrictions of the community he was born into became a prison with boundary walls of caste all around him.
5
ye safar1 hi aisa hai kaun vaapas2 aaya hai
kis liye kare koii aaKhir3 intezaar4 apna
1.journey 2.return 3.finally, at all 4.waiting
The journey he is talking about could be the journey of life and journey of migration from rural to urban areas (he writes a lot about the loss of his rural home). Thus, such is this journey. Who has ever returned. Why then should anyone wait, anticipating their coming back.
6
ham na the koii majnuN1 ho gaya magar betaab2
bhiiR3 se nikalne meN jaama4 taar-taar5 apna
1.of laila-majnuN legend 2.pen-name of the poet, also means restless 3.crowd 4.clothes 5.shredded to threads
O betaab, you were never like majnuN but emerging from the crowd you appear to have become one with clothes torn to shreds. It is possible that by crowd he means the urban milieu and becoming majnuN there could mean missing laila. laila is the memory of his rural surroundings that he grew up in.
The post ahd-e yaadgaar apna-priitpal siNgh betaab appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/jrpnsh-miTa-diya-hai-qaraar-apna-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مِٹا دیا ہے وقار اپنا ۔ جان رابرٹ پال نادرؔ شاہجہاں پوری
۱
پسِ فنا بھی تری گلی سے، نہ اُٹھے گا جسمِ زار اپنا
خدا نے چاہا تو دیکھ لینا، یہیں بنے گا مزار اپنا
۲
اگر ہے سچ اوجِ خاک ہی سے، بڑھے گا بے شک وقار اپنا
چڑھے گا عرشِ بریں کے اوپر، بگولہ بن کر غبار اپنا
۳
ہماری قسمت میں شکلِ گردوں، پسِ فنا بھی جو گردشیں تھیں
نہ ٹھہرا ریگِ رواں کی صورت، کسی جگہ پر غبار اپنا
۴
ہماری خوئے وفا تو دیکھو، کہ جان اپنی نثار کر دی
مگر وہ کافر عدوئے ایماں، ہوا نہ دم بھر کو یار اپنا
۵
تری نگاہیں وہ راہزن ہیں، کہ لے گئیں ہیں چرا کے دل اور
خیال و ہوش و حواس عقل و شکیب و صبر و قرار اپنا
۶
مئے محبّت نے تیری ساقی، کیا ہے بدمست و بیخود ایسا
اُتر کے کنجِ مزار میں بھی، نہ اُترے گا یہ خمار اپنا
۷
خدا کے فضل و کرم سے یوں تو، ہر ایک فن میں ہوں طاق نادرؔ
جہاں میں ہاں مفلسی نے بے شک، مِٹا دیا ہے وقار اپنا
मिटा दिया है वेक़ार अपना – जॉन रॉबर्ट पॉल नादर शाहजहांपूरी
१
पस-ए फ़ना भी तेरी गली से, न उठेगा जिस्म-ए ज़ार अपना
ख़ुदा ने चाहा तो देख लेना, यहीं बनेगा मज़ार अपना
२
अगर है सच औज-ए ख़ाक हि से, बढ़ेगा बेशक वेक़ार अपना
चढ़ेगा अर्श-ए बरीं के ऊपर, बगोला बन कर ग़ुबार अपना
३
हमारी क़िस्मत में शक्ल-ए गर्दूं, पस-ए फ़ना भी जो गर्दिशें थीं
न ठहरा रेग-ए रवां कि सूरत, किसी जगह पर ग़ुबार अपना
४
हमारी ख़ू-ए वफ़ा तो देखो, के जान अपनी निसार कर दी
मगर वो काफ़ेर अदू-ए ईमां, हुआ न दम भर को यार अपना
५
तेरी निगाहें वो राहज़न हैं, के ले गईं हैं चुरा के दिल और
ख़याल ओ होश ओ हवास अक़्ल ओ शकेब ओ सब्र ओ क़रार अपना
६
मय-ए मोहब्बत ने तेरी साक़ी, किया है बदमस्त ओ बेख़ुद ऐसा
उतर के कुंज-ए मज़ार में भी, न उतरेगा ये ख़ुमार अपना
७
ख़ुदा के फ़ज़्ल ओ करम से यूं तो, हर एक फ़न में हूं ताक़ नादर
जहां में हां मुफ़्लिसी ने बेशक, मिटा दिया है वेक़ार अपना
Click here for background and on any passage for word meanings and explanatory discussion. John Robert Paul nadir shahjahaaNpuri (1890-1963) was too poor to get his diivaan of about 400 Ghazal published during his lifetime. But his collections were preserved by the family and his grandson was finally able to get them published. His father moolchand Paul died very young and he and his siblings were brought up by their uncle, akbar James Paul. It is not clear whether he got any college education. He married Ethel Solomon and worked odd jobs to raise his family. This Ghazal has the same radeef and qaafiya as Ghalib’s ‘mizshgaan-e aahu pusht-Khaar apna’ and is linked to Ghalib naqsh-e qadam on the Theme page.
1
pas1-e fana2 bhi teri gali se, na uThega jism-e-zaar3 apna
Khuda ne chaaha to dekh lena, yahiiN banega mazaar4 apna 1.behind, after 2.annihilation, death 3.sorrowful body 4.grave, tomb
The poet/lover spends his lifetime in the street of the beloved hoping to catch a glimpse of her sometime. He claims that even after death his sorrowful body will not leave the street. Wait and see, if god wills my tomb will be built right here on your street. Ghalib on the other hand, out of jealousy, does not prefer to be buried in the beloved’s street …
apni gali meN mujh ko na kar dafn b’aad-e qatl
mere pate se Khalq ko kyuN tera ghar milay
2
agar1 hai such2 auj-e-Khaak3 hi se, baRhega be-shak4 veqaar5 apna
chaRhega arsh-e-bariiN6 ke oopar, bagola7 ban kar Ghubaar8 apna 1.if 2.truth, justice 3.heights of dust 4.without a doubt 5.dignity, respect 6.seventh heaven 7.whirlwind 8.dust
During his lifetime the poet/lover has not received any respect. Thus, if there is any truth/justice in this world, then without a doubt respect for me will increase with my rising dust. A whirlwind of my dust will rise and reach seventh heaven.
3
hamaari qismat meN shakl1-e garduN2, pas3-e fana4 bhi jo gardisheN5 thiiN
na Thahra reg-e-ravaaN6 ki soorat7, kisi jagah8 par Ghubaar9 apna 1.in the image of, similar to 2.the sky 3.behind, after 4.annihilation, death 5.rotation 6.sand dunes 7.similar to, like 8.place 9.dust
Restlessness is a part of the poet/lover’s fate. It will continue to be his fate even after death like the sky constantly revolves or like the sand dune, (his dust after death) will not stay in one place.
4
hamaari Khoo1-e vafa2 to dekho, keh jaan apni nisaar3 kar di
magar4 vo kaafir5 adu-e-iimaaN6, hua na dam-bhar7 ko yaar8 apna 1.nature, habit 2.faithfulness, fidelity 3.sacrificial offering 4.but 5.unfaithful, beloved 6.enemy of faith/fidelity 7.even for a minute 8.friend, beloved
Look at the nature of my faithfulness, I even sacrificed my life (for her). But that unfaithful enemy of fidelity did not agree to be my beloved even for a minute.
5
teri nigaaheN1 vo raahzan2 haiN, keh le gaiiN haiN chura ke dil aur
Khayaal3 o hosh4 o havaas5 aql6 o shakeb7 o sabr8 o qaraar9 apna 1.eyes, glances 2.robber 3.thoughts, imagination 4.awareness 5.senses 6.mind 7.forbearance 8.patience 9.peace, tranquility
Your glances are such robbers that they stole my heart and in addition my thoughts, awareness, senses, mind, forbearance, patience, and peace.
6
mai1-e mohabbat ne teri saaqi, kiya hai badmast2 o beKhud3 aisa
utar ke kunj4-e mazaar5 meN bhi, na utrega6 ye Khumaar7 apna 1.wine 2.stone drunk 3.in a trance 4.corner 5.grave, tomb 6.here it means ‘getting cured of’ 7.intoxication
O saaqi, your wine of love has made me so stone drunk and sent me into a trance that even upon descending into my grave, this intoxication of mine will not cured. Nice juxtaposition of utarna meaning descend and utarna meaning getting cured.
7
Khuda ke fazl1 o karam2 se yuN to, har ek fun3 meN huN taaq4 nadir5
jahaaN6 meN haaN muflisi7 ne be-shak8, miTa9 diya hai viqaar10 apna 1.benevolence 2.kindness 3.art, skill, talent 4.expert, unique 5.pen-name of the poet 6.world, life 7.penury, poverty 8.without a doubt 9.erased 10.dignity
O nadir, by the grace of god, even though I am an expert in every art, but there is no doubt that in this life penury penury has erased all my dignity.
John Robert Paul nadir shahjahaaNpuri (1890-1963) was too poor to get his diivaan of about 400 Ghazal published during his lifetime. But his collections were preserved by the family and his grandson was finally able to get them published. His father moolchand Paul died very young and he and his siblings were brought up by their uncle, akbar James Paul. It is not clear whether he got any college education. He married Ethel Solomon and worked odd jobs to raise his family. This Ghazal has the same radeef and qaafiya as Ghalib’s ‘mizshgaan-e aahu pusht-Khaar apna’ and is linked to Ghalib naqsh-e qadam on the Theme page.
1
pas1-e fana2 bhi teri gali se, na uThega jism-e-zaar3 apna
Khuda ne chaaha to dekh lena, yahiiN banega mazaar4 apna
1.behind, after 2.annihilation, death 3.sorrowful body 4.grave, tomb
The poet/lover spends his lifetime in the street of the beloved hoping to catch a glimpse of her sometime. He claims that even after death his sorrowful body will not leave the street. Wait and see, if god wills my tomb will be built right here on your street. Ghalib on the other hand, out of jealousy, does not prefer to be buried in the beloved’s street …
apni gali meN mujh ko na kar dafn b’aad-e qatl
mere pate se Khalq ko kyuN tera ghar milay
2
agar1 hai such2 auj-e-Khaak3 hi se, baRhega be-shak4 veqaar5 apna
chaRhega arsh-e-bariiN6 ke oopar, bagola7 ban kar Ghubaar8 apna
1.if 2.truth, justice 3.heights of dust 4.without a doubt 5.dignity, respect 6.seventh heaven 7.whirlwind 8.dust
During his lifetime the poet/lover has not received any respect. Thus, if there is any truth/justice in this world, then without a doubt respect for me will increase with my rising dust. A whirlwind of my dust will rise and reach seventh heaven.
3
hamaari qismat meN shakl1-e garduN2, pas3-e fana4 bhi jo gardisheN5 thiiN
na Thahra reg-e-ravaaN6 ki soorat7, kisi jagah8 par Ghubaar9 apna
1.in the image of, similar to 2.the sky 3.behind, after 4.annihilation, death 5.rotation 6.sand dunes 7.similar to, like 8.place 9.dust
Restlessness is a part of the poet/lover’s fate. It will continue to be his fate even after death like the sky constantly revolves or like the sand dune, (his dust after death) will not stay in one place.
4
hamaari Khoo1-e vafa2 to dekho, keh jaan apni nisaar3 kar di
magar4 vo kaafir5 adu-e-iimaaN6, hua na dam-bhar7 ko yaar8 apna
1.nature, habit 2.faithfulness, fidelity 3.sacrificial offering 4.but 5.unfaithful, beloved 6.enemy of faith/fidelity 7.even for a minute 8.friend, beloved
Look at the nature of my faithfulness, I even sacrificed my life (for her). But that unfaithful enemy of fidelity did not agree to be my beloved even for a minute.
5
teri nigaaheN1 vo raahzan2 haiN, keh le gaiiN haiN chura ke dil aur
Khayaal3 o hosh4 o havaas5 aql6 o shakeb7 o sabr8 o qaraar9 apna
1.eyes, glances 2.robber 3.thoughts, imagination 4.awareness 5.senses 6.mind 7.forbearance 8.patience 9.peace, tranquility
Your glances are such robbers that they stole my heart and in addition my thoughts, awareness, senses, mind, forbearance, patience, and peace.
6
mai1-e mohabbat ne teri saaqi, kiya hai badmast2 o beKhud3 aisa
utar ke kunj4-e mazaar5 meN bhi, na utrega6 ye Khumaar7 apna
1.wine 2.stone drunk 3.in a trance 4.corner 5.grave, tomb 6.here it means ‘getting cured of’ 7.intoxication
O saaqi, your wine of love has made me so stone drunk and sent me into a trance that even upon descending into my grave, this intoxication of mine will not cured. Nice juxtaposition of utarna meaning descend and utarna meaning getting cured.
7
Khuda ke fazl1 o karam2 se yuN to, har ek fun3 meN huN taaq4 nadir5
jahaaN6 meN haaN muflisi7 ne be-shak8, miTa9 diya hai viqaar10 apna
1.benevolence 2.kindness 3.art, skill, talent 4.expert, unique 5.pen-name of the poet 6.world, life 7.penury, poverty 8.without a doubt 9.erased 10.dignity
O nadir, by the grace of god, even though I am an expert in every art, but there is no doubt that in this life penury penury has erased all my dignity.
The post miTa diya hai qaraar apna-John RP nadir shahjahaaNpuri appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/maKhGh-mizshgaan-e-aahu-pusht-Khaar-apna-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
مژگانِ آہو پشت خار اپنا ۔ اسدؔ اللہ خاں غالبؔ
۱
نہ بھولا اضطرابِ دم شماری انتظار اپنا
کہ آخر شیشۂ ساعت کے کام آیا غبار اپنا
۲
ز بس آتش نے فصلِ رنگ میں رنگِ دگر پایا
چراغِ گل سے ڈھونڈھے ہے چمن میں شمع خار اپنا
۳
اسیرِ بے زباں ہوں کاش کے صیّادِ بے پروا
بہ دامِ جوہرِ آئینہ ہو جاوے شکار اپنا
۴
مگر ہو مانعِ دامن کشی ذوقِ خود آرائی
ہوا ہے نقش بندِ آئینہ سنگِ مزار اپنا
۵
دریغ! اے ناتوانی ورنہ ہم ضبط آشنایاں نے
طلسمِ رنگ میں باندھا تھا عہدِ اُستوار اپنا
۶
اگر آسودگی ہے مدّعاے رنجِ بیتابی
نیازِ گردشِ پیمانۂ مے روزگار اپنا
۷
اسدؔ ہم وہ جنوں جولاں گدائے بے سر و پا ہیں
کہ ہے سر پنجۂ مژگانِ آہو پشت خار اپنا
मिज़्श्गान-ए आहू पुश्त-ख़ार अपना – असद-उल्लाह ख़ां ग़ालिब
१
न भूला इज़तेराब-ए दम-शुमारी इंतिज़ार अपना
कि आख़िर शीशा-ए साअत के काम आया ग़ुबार अपना
२
ज़-बस आतिश ने फ़सल-ए रंग में रंग-ए दिगर पाया
चिराग़-ए गुल से ढूंढे है चमन में शमा ख़ार अपना
३
असीर-ए बे-ज़बाँ हूँ काश-के सैयाद-ए बे-परवा
ब दाम-ए जौहर-ए आईना हो जावे शिकार अपना
४
मगर हो मान’अ-ए दामन-कशी ज़ौक़-ए ख़ुद-आराई
हुआ है नक़्श बन्द-ए आईना संग-ए मज़ार अपना
५
दरेग़! अए नातवानी वरना हम ज़ब्त-आश्नायां ने
तिलस्म-ए रंग में बांधा था अहद-ए उस्तुवार अपना
६
अगर आसूदगी है मुद्द’आ-ए रंज-ए बेताबी
नियाज़-ए गरदिश-ए पयमाना-ए मय रोज़गार अपना
७
असद हम वो जुनूं-जौलां गदा-ए बे-सर‐ओ‐पा हैं
के है सर-पंजा-ए मिज़्श्गान-ए आहू पुश्त-ख़ार अपना
Click here for background and on any passage for word meanings and explanatory discussion. mirza asadullah KhaaN Ghalib (1797-1869). I dare not write any introduction. On more than one occasion Ghalib has warned his readers that he needs no introduction or even address. I humbly comply. kalidas gupta raza dates this Ghazal to 1816, a period when Ghalib composed Ghazal with farfetched analogies and tangled logic. In the final print diivaan Ghalib included only the maqta/last she’r but I have worked on the complete Ghazal. There are several others in the same radeef/qaafiya and are linked to Ghalib naqsh-e qadam one earlier Ghazal linked to Ghalib peshrau-hamqadam.
1
na bhuula izteraab1-e dam-shumaari2 intezaar3 apna
keh aaKhir shiishah-e-saa’at4 ke kaam aaya Ghubaar5 apna 1.restlessness, eagerness 2.counting minutes 3.waiting 4.glass of time i.e., hourglass 5.dust
During his lifetime the poet/lover waited restlessly for the beloved counting every minute. Even in death, his ‘waiting’ did not forget the art of counting minutes. His dust (corpse disintegrated and reduced to dust) was used in an hourglass i.e., he is still counting minutes waiting for the beloved.
2
ze-bas1 aatish ne fasl-e-raNg2 meN raNg3-e digar4 paaya
charaaGh-e-gul5 se DhuuNDhe hai chaman meN sham’a-Khaar6 apna 1.az-baskeh, because 2.season of colour i.e., the colourful season of spring 3.used here to mean character/nature 4.different 5.candle of the rose 6.thorn/wick of the candle
The rose (usually thought of as red) is often likened to a flame e.g., one of the collections of jigar muradabadi is called aatish-e gul. Thus, fire/flame has found a different character in springtime. What is that character – it has taken the form of a rose, like flame looking for its ‘thorn’ – the tip of its wick.
3
asiir1-e be-zabaaN2 huN kaash-keh3 sayyaad4-e be-parva5
ba-daam6-e jauhar7-e aaiina ho jaave shikaar8 apna 1.captive 2.voiceless, helpless 3.I wish/pray 4.hunter, birdcatcher 5.uncaring 6.by the net 7.polish 8.captive
Typical of Ghalib’s Ghazal of this period, the she’r has difficult to untangle imagery. The poet/lover is bird and the uncaring/cruel beloved (birdcatcher) has caught him in her net. He is helpless/voiceless and in this state likens himself to the polish lines of mirror. In Ghalib’s days mirrors were made by finely polishing a metal surface. Polish lines invariably showed up on the surface of the mirror. Ghalib not only likens himself to the voiceless polish lines but also considers them to be a net. The beloved, looking at herself in the mirror, will get so enamored with her own beauty that she cannot look away-she will become a captive in that net (recall that Ghalib likens himself to such a net). Thus the hunter would become a captive of the prey.
4
magar1 ho maan’a2-e daaman-kashi3 zauq4-e Khud-aaraaii5hua hai naqsh-band6-e aaiina saNg-e-mazaar7 apna 1.so that 2.forbidder 3.pulling away the hem of the robe, going away 4.taste for 5.self-adornment 6.image-maker 7.tombstone
The poet/lover is dead and buried. His tombstone makes an image of a mirror i.e., it ‘becomes’ like a mirror. It imitates a mirror so that when the beloved comes to visit, she will see a mirror and her taste for self-adornment is so strong that it will forbid her to (prevent her from) pulling away the hem of her robe, i.e., from going away.
5
dareGh1! aye naatavaani2 varna3 ham zabt-aashnayaaN4 ne
tilasm5-e raNg meN baandha tha ahd6-e ustuvaar7 apna 1.alas 2.weakness, fragility 3.otherwise 4.familiar with/experts in self-control 5.enchantment, magic 6.determination 7.strong
In poetic convention lovers exercise self-control and do not reveal their anguish for fear of maligning the reputation of the beloved. They tie up i.e., hold strongly their ‘zabt, self-control’ in a magical colour/style which does not betray their inner turmoil. But alas, their weakness has caused them to break out in sorrow and reveal their love.
6
agar1 aasoodagi2 hai mudd’uaa3-e ranj4-e betaabi5
niyaaz6-e gardish7-e paimaana8-e mai9 rozgaar10 apna 1.if 2.comfort, peace 3.goal, destination 4.sorrow 5.restlessness 6.devotional offering 7.circulation 8.cup 9.wine 10.daily survival
In a tavern the cup of wine keeps circulating from patron to patron. The goal of this circulation is to give everyone some comfort/pleasure. This circulation is like the restlessness that a lover feels. Thus, if the goal of restlessness is pleasure/fulfilment, then offer my own restlessness as a devotion to the circulation of the cup. Perhaps the implication is that he wants to drink away his sorrow.
7
asad1 ham vo junuuN-jaulaaN2 gadaa3-e be-sar-o-paa4 haiN
keh hai sar-panjah5-e mizshgaan6-e aahu7 pusht-Khaar8 apna 1.pen-name of the poet 2.running (fast) in madness of passion 3.beggar 4.be-sar-o-paa is an expression meaning without any means/belongings 5.tips of fingers/nails of the palm 6.eyelashes 7.deer 8.backscratcher
Imagine a lover running in the desert in mad passion looking for the beloved. He is running fast because of his madness, and he has no belongings (not even a backscratcher). He is running faster than a deer with the deer is close behind him so much so that his eyelashes work as his backscratcher. The focus of this imagery is the mad passion of the lover.
mirza asadullah KhaaN Ghalib (1797-1869). I dare not write any introduction. On more than one occasion Ghalib has warned his readers that he needs no introduction or even address. I humbly comply. kalidas gupta raza dates this Ghazal to 1816, a period when Ghalib composed Ghazal with farfetched analogies and tangled logic. In the final print diivaan Ghalib included only the maqta/last she’r but I have worked on the complete Ghazal. There are several others in the same radeef/qaafiya and are linked to Ghalib naqsh-e qadam one earlier Ghazal linked to Ghalib peshrau-hamqadam.
1
na bhuula izteraab1-e dam-shumaari2 intezaar3 apna
keh aaKhir shiishah-e-saa’at4 ke kaam aaya Ghubaar5 apna
1.restlessness, eagerness 2.counting minutes 3.waiting 4.glass of time i.e., hourglass 5.dust
During his lifetime the poet/lover waited restlessly for the beloved counting every minute. Even in death, his ‘waiting’ did not forget the art of counting minutes. His dust (corpse disintegrated and reduced to dust) was used in an hourglass i.e., he is still counting minutes waiting for the beloved.
2
ze-bas1 aatish ne fasl-e-raNg2 meN raNg3-e digar4 paaya
charaaGh-e-gul5 se DhuuNDhe hai chaman meN sham’a-Khaar6 apna
1.az-baskeh, because 2.season of colour i.e., the colourful season of spring 3.used here to mean character/nature 4.different 5.candle of the rose 6.thorn/wick of the candle
The rose (usually thought of as red) is often likened to a flame e.g., one of the collections of jigar muradabadi is called aatish-e gul. Thus, fire/flame has found a different character in springtime. What is that character – it has taken the form of a rose, like flame looking for its ‘thorn’ – the tip of its wick.
3
asiir1-e be-zabaaN2 huN kaash-keh3 sayyaad4-e be-parva5
ba-daam6-e jauhar7-e aaiina ho jaave shikaar8 apna
1.captive 2.voiceless, helpless 3.I wish/pray 4.hunter, birdcatcher 5.uncaring 6.by the net 7.polish 8.captive
Typical of Ghalib’s Ghazal of this period, the she’r has difficult to untangle imagery. The poet/lover is bird and the uncaring/cruel beloved (birdcatcher) has caught him in her net. He is helpless/voiceless and in this state likens himself to the polish lines of mirror. In Ghalib’s days mirrors were made by finely polishing a metal surface. Polish lines invariably showed up on the surface of the mirror. Ghalib not only likens himself to the voiceless polish lines but also considers them to be a net. The beloved, looking at herself in the mirror, will get so enamored with her own beauty that she cannot look away-she will become a captive in that net (recall that Ghalib likens himself to such a net). Thus the hunter would become a captive of the prey.
4
magar1 ho maan’a2-e daaman-kashi3 zauq4-e Khud-aaraaii5hua hai naqsh-band6-e aaiina saNg-e-mazaar7 apna
1.so that 2.forbidder 3.pulling away the hem of the robe, going away 4.taste for 5.self-adornment 6.image-maker 7.tombstone
The poet/lover is dead and buried. His tombstone makes an image of a mirror i.e., it ‘becomes’ like a mirror. It imitates a mirror so that when the beloved comes to visit, she will see a mirror and her taste for self-adornment is so strong that it will forbid her to (prevent her from) pulling away the hem of her robe, i.e., from going away.
5
dareGh1! aye naatavaani2 varna3 ham zabt-aashnayaaN4 ne
tilasm5-e raNg meN baandha tha ahd6-e ustuvaar7 apna
1.alas 2.weakness, fragility 3.otherwise 4.familiar with/experts in self-control 5.enchantment, magic 6.determination 7.strong
In poetic convention lovers exercise self-control and do not reveal their anguish for fear of maligning the reputation of the beloved. They tie up i.e., hold strongly their ‘zabt, self-control’ in a magical colour/style which does not betray their inner turmoil. But alas, their weakness has caused them to break out in sorrow and reveal their love.
6
agar1 aasoodagi2 hai mudd’uaa3-e ranj4-e betaabi5
niyaaz6-e gardish7-e paimaana8-e mai9 rozgaar10 apna
1.if 2.comfort, peace 3.goal, destination 4.sorrow 5.restlessness 6.devotional offering 7.circulation 8.cup 9.wine 10.daily survival
In a tavern the cup of wine keeps circulating from patron to patron. The goal of this circulation is to give everyone some comfort/pleasure. This circulation is like the restlessness that a lover feels. Thus, if the goal of restlessness is pleasure/fulfilment, then offer my own restlessness as a devotion to the circulation of the cup. Perhaps the implication is that he wants to drink away his sorrow.
7
asad1 ham vo junuuN-jaulaaN2 gadaa3-e be-sar-o-paa4 haiN
keh hai sar-panjah5-e mizshgaan6-e aahu7 pusht-Khaar8 apna
1.pen-name of the poet 2.running (fast) in madness of passion 3.beggar 4.be-sar-o-paa is an expression meaning without any means/belongings 5.tips of fingers/nails of the palm 6.eyelashes 7.deer 8.backscratcher
Imagine a lover running in the desert in mad passion looking for the beloved. He is running fast because of his madness, and he has no belongings (not even a backscratcher). He is running faster than a deer with the deer is close behind him so much so that his eyelashes work as his backscratcher. The focus of this imagery is the mad passion of the lover.
The post sar-panja-e mizshgaan-e aahu pusht-Khaar apna-mirza Ghalib appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/ddsh-aali-gohar-mile-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
عالی گہر ملے ۔ دوارکا داس شعلہؔ
۱
جس بدنسیب کو نہ سکوں عمر بھر ملے
اُس کی بلا سے اس کو اگر دادگر ملے
۲
آخر یہ عزمِ ترکِ ملاقات کیا ہوا
ملنا نہ چاہتے تھے ہم اُن سے مگر ملے
۳
کٹ جائے بیخودی ہی میں شاید شبِ طویل
تم ایسا زندگی میں اگر ہم سفر ملے
۴
کھوئے گئے بہ سلسلۂ شوق ہم کہاں
کچھ تو پتہ چلے ہمیں کچھ تو خبر ملے
۵
تسکیں کا ایک لمحہ میسّر نہ آ سکا
ملنے کو یوں تو آپ سے ہم عمر بھر ملے
۶
کچھ نامرادِ عشق تھے کچھ نامرادِ زیست
ہم کو تو نامراد ملے جس قدر ملے
۷
اُن کی سُنیں گے اپنی کہیں گے بہ فرطِ شوق
ہم کو بلا کشانِ محبت اگر ملے
۸
پتھر میں بھی کرے نہ اگر گھر تو بات کیا
ہاں ایک بار ان کی نظر سے نظر ملے
۹
شعلہؔ نے اس غزل کے لئے چاہی معذرت
کل خواب میں جو غالبِ عالی گہر ملے
आली गोहर मिले – द्वार्का दास शो’ला
१
जिस बदनसीब को ना सुकूं उम्र भर मिले
उसकी बला से उसको अगर दाद-गर मिले
२
आख़ेर ये अज़्म-ए तर्क-ए मुलाक़ात क्या हुआ
मिलना न चाहते थे हम उनसे मगर मिले
३
कट जाए बेख़ुदी ही में शायद शब-ए तवील
तुम ऐसा ज़िन्दगी में अगर हम-सफ़र मिले
४
खोए गए ब-सिलसिला-ए शौक़ हम कहां
कुछ तो पता चले हमें कुछ तो ख़बर मिले
५
तस्कीं का एक लम्हा मयस्सर न आ सका
मिलने को यूं तो आपसे हम उम्र भर मिले
६
कुछ ना-मुराद-ए इश्क़ थे कुछ नामुराद-ए ज़ीस्त
हमको तो नामुराद मिले जिस क़दर मिले
७
उनकी सुनेंगे अपनी कहेंगे ब-फ़र्त-ए शोक़
हमको बला-कशान-ए मोहब्बत अगर मिले
८
पत्थर में भी करें ना अगर घर तो बात क्या
हां एक बार उनकी नज़र से नज़र मिले
९
शो’ला ने इस ग़ज़ल के लिए चाही मा’ज़रत
कल ख़्वाब में जो ग़ालिब-ए आली गोहर मिले
Click here for background and on any passage for word meanings and explanatory discussion. dwarka das sho’la (1910-1983), lahore and later punjab and dehli. He started learning urdu because he liked ‘urdu-vaale’ around him. He inherited a pharmacy business and grew it enough to get a mention in Who’s Who, India Trade Directory, 1942. He received formal schooling only up to 8th grade because his father recruited him in the family business. While washing bottles/vials he kept humming ash’aar. Later, hafiz jalandhari became his ustaad. He says they clicked because hafiz jaalandhari was equally unschooled and talked in panjabi. This Ghazal composed in the zamin of Ghalib’s ‘agar naama-bar mile’ is linked to Ghalib naqsh-e qadam.
1
jis bad-naseeb1 ko na sukooN2 umr-bhar3 mile
us ki balaa4 se us ko agar5 daad-gar6 mile 1.unfortunate 2.tranquility, happiness 3.all life long 4.as an expression here it means – of what use is it 5.if 6.judge, justice
The implication is that the lover is unfortunate. All life long the beloved ignores him and he does not get any happiness out of his love. Of what use is it to him if he gets justice on the day of judgement (on the day of judgement is implied).
2
aaKhir ye azm1-e tark2-e mulaaqaat3 kya hua
milna na chaahte the hum un se magar4 mile 1.resolve, determination 2.renounce, quit 3.meeting 4.but
The poet/lover has been ignored and is now disillusioned. He has resolved never to try to meet the beloved. But his weakness (in love) is such that even if he does not want to meet her, he does.
3
kaT1 jaaye beKhudi2 hi meN shaa’ed3 shab4-e taveel5tum aisa6 zindagi meN agar7 ham-safar8 mile 1.pass, go by 2.dazed, intoxication 3.perhaps 4.night 5.long 6.like you 7.if 8.companion
In this she’r too he is expressing frustration with the beloved. Perhaps the long night (of suffering) too will pass in a dazed state of intoxication, if, in life I get a companion like you.
4
khoye1 gaye ba-silsila2-e shauq3 ham kahaaN
kuchh to pata4 chale hameN, kuchh to Khabar5 mile 1.lost 2.in connection with 3.desire, love 4.clues, indications 5.awareness
The poet/lover has spent his life completely lost because of his desire (for the beloved). He wishes that in this state he should have some clues, some awareness of what is going on with him/his life.
5
taskiiN1 ka ek lamha2 mayassar3 na aa saka
milne ko yuN to aap se ham umr-bhar4 mile 1.tranquility, peace 2.moment 3.available 4.all life long
The poet/lover did not get even one moment of peace even though, so to speak, he was able to meet/see the beloved many times throughout his life.
6
kuchh na-muraad1-e ishq the, kuchh na-muraad-e ziist2ham ko to na-muraad1 mile, jis qadar3 mile 1.disappointed, unfortunate 2.life 3.as many
The poet/lover feels that everyone in this world is disappointed in what they got. Some were unfortunate in love, others were disillusioned with life itself. However many people he met, he found only unfortunate ones among them.
7
unki suneNge apni kaheNge ba-fart1-e shauq2
ham ko balaa-kashaan3-e mohabbat agar4 mile 1.because of an excess of 2.desire, enthusiasm 3.calamity stricken 4.if
The poet/lover considers himself a victim of love. If he were to meet others who have been similarly stricken by the calamity of love he would with an excess of enthusiasm tell them his story and listen to theirs.
8
patthar meN bhi kare na agar ghar to baat kya
haaN ek baar un ki nazar1 se nazar mile 1.eyes
The poet/lover knows that the beloved is hard-hearted. She has a ‘patthar ka dil’. He has no hope that his glance will be able to penetrate that heart and make a home in it. Never-the-less he wishes that at least once his eyes be able to look directly into hers.
9
sho’la1 ne is Ghazal ke liye chaahi maa’zerat2
kal Khwaab meN jo Ghalib-e ‘aali-gohar3 mile 1.pen-name of the poet 2.pardon, forgiveness 3.high caliber, great brilliance
sho’la has begged forgiveness for this Ghazal (composed in the style of Ghalib), when he met the brilliant Ghalib in his dreams the previous night.
dwarka das sho’la (1910-1983), lahore and later punjab and dehli. He started learning urdu because he liked ‘urdu-vaale’ around him. He inherited a pharmacy business and grew it enough to get a mention in Who’s Who, India Trade Directory, 1942. He received formal schooling only up to 8th grade because his father recruited him in the family business. While washing bottles/vials he kept humming ash’aar. Later, hafiz jalandhari became his ustaad. He says they clicked because hafiz jaalandhari was equally unschooled and talked in panjabi. This Ghazal composed in the zamin of Ghalib’s ‘agar naama-bar mile’ is linked to Ghalib naqsh-e qadam.
1
jis bad-naseeb1 ko na sukooN2 umr-bhar3 mile
us ki balaa4 se us ko agar5 daad-gar6 mile
1.unfortunate 2.tranquility, happiness 3.all life long 4.as an expression here it means – of what use is it 5.if 6.judge, justice
The implication is that the lover is unfortunate. All life long the beloved ignores him and he does not get any happiness out of his love. Of what use is it to him if he gets justice on the day of judgement (on the day of judgement is implied).
2
aaKhir ye azm1-e tark2-e mulaaqaat3 kya hua
milna na chaahte the hum un se magar4 mile
1.resolve, determination 2.renounce, quit 3.meeting 4.but
The poet/lover has been ignored and is now disillusioned. He has resolved never to try to meet the beloved. But his weakness (in love) is such that even if he does not want to meet her, he does.
3
kaT1 jaaye beKhudi2 hi meN shaa’ed3 shab4-e taveel5tum aisa6 zindagi meN agar7 ham-safar8 mile
1.pass, go by 2.dazed, intoxication 3.perhaps 4.night 5.long 6.like you 7.if 8.companion
In this she’r too he is expressing frustration with the beloved. Perhaps the long night (of suffering) too will pass in a dazed state of intoxication, if, in life I get a companion like you.
4
khoye1 gaye ba-silsila2-e shauq3 ham kahaaN
kuchh to pata4 chale hameN, kuchh to Khabar5 mile
1.lost 2.in connection with 3.desire, love 4.clues, indications 5.awareness
The poet/lover has spent his life completely lost because of his desire (for the beloved). He wishes that in this state he should have some clues, some awareness of what is going on with him/his life.
5
taskiiN1 ka ek lamha2 mayassar3 na aa saka
milne ko yuN to aap se ham umr-bhar4 mile
1.tranquility, peace 2.moment 3.available 4.all life long
The poet/lover did not get even one moment of peace even though, so to speak, he was able to meet/see the beloved many times throughout his life.
6
kuchh na-muraad1-e ishq the, kuchh na-muraad-e ziist2ham ko to na-muraad1 mile, jis qadar3 mile
1.disappointed, unfortunate 2.life 3.as many
The poet/lover feels that everyone in this world is disappointed in what they got. Some were unfortunate in love, others were disillusioned with life itself. However many people he met, he found only unfortunate ones among them.
7
unki suneNge apni kaheNge ba-fart1-e shauq2
ham ko balaa-kashaan3-e mohabbat agar4 mile
1.because of an excess of 2.desire, enthusiasm 3.calamity stricken 4.if
The poet/lover considers himself a victim of love. If he were to meet others who have been similarly stricken by the calamity of love he would with an excess of enthusiasm tell them his story and listen to theirs.
8
patthar meN bhi kare na agar ghar to baat kya
haaN ek baar un ki nazar1 se nazar mile
1.eyes
The poet/lover knows that the beloved is hard-hearted. She has a ‘patthar ka dil’. He has no hope that his glance will be able to penetrate that heart and make a home in it. Never-the-less he wishes that at least once his eyes be able to look directly into hers.
9
sho’la1 ne is Ghazal ke liye chaahi maa’zerat2
kal Khwaab meN jo Ghalib-e ‘aali-gohar3 mile
1.pen-name of the poet 2.pardon, forgiveness 3.high caliber, great brilliance
sho’la has begged forgiveness for this Ghazal (composed in the style of Ghalib), when he met the brilliant Ghalib in his dreams the previous night.
The post aali gohar mile-dwarka das sho’la appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/aaloky-uTThega-dhuaaN-aur-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اُٹّھے گا دھواں اور ۔ آلوک یادَوَ
۱
لاؤں میں کہاں سے بھلا انداز بیاں اور
منصف کی زباں اور ہے اور میری زباں اور
۲
یہ درد سمجھتا نہیں آدابِ زمانہ
کوشش ہو چھپانے کی تو ہوتا ہے عیاں اور
۳
قسمت کا لکھا مان لے تھوڑے سے زیاں کو
جائے گا عدالت میں تو پائے گا زیاں اور
۴
تفصیل بیاں کرتا ہے کیوں اپنے عمل کی
اس طرح تو ہر شخص پہ گزرے گا گماں اور
۵
منزل پہ پہنچ کر نہ ہوا دل جو مرا خوش
پوچھی جو وجہ اس نے کہا اور اماں اور
۶
تم سے بھی کہاں مجھ کو سماعت کی توقع
مجھ میں بھی کہاں باقی ہے اب تاب فغاں اور
۷
یہ ظلم کے شعلے ہیں فقط خوں سے بجھیں گے
اشکوں سے بجھاؤ گے تو اُٹّھے گا دھواں اور
उट्ठेगा धुआँ और – आलोक यादव
१
लाऊँ मैं कहाँ से भला अंदाज़-ए बयाँ और
मुंसिफ़ की ज़बाँ और है और मेरी ज़बाँ और
२
ये दर्द समझता नहीं आदाब-ए ज़माना
कोशिश हो छुपाने की तो होता है अयाँ और
३
क़िस्मत का लिखा मान ले थोढे से ज़ियाँ को
जाएगा अदालत में तो पाएगा ज़ियाँ और
४
तफ़्सील बयाँ करता है क्यूं अपने अमल की
इस तरह तो हर शख़्स पे गुज़्रेगा गुमाँ और
५
मंज़िल पे पहुँच कर न हुआ दिल जो मेरा ख़ुश
पूछी जो वजह उस ने कहा और अमाँ और
६
तुम से भी कहाँ मुझ को समा’अत की तवक़्क़ो
मुझ में भी कहाँ बाक़ी है अब ताब-ए फ़ुग़ाँ और
७
ये ज़ुल्म के शो’ले हैं फ़क़त ख़ूँ से बुझेंगे
अश्कों से बुझाओगे तो उट्ठेगा धुआँ और
Click here for background and on any passage for word meanings and explanatory discussion. aalok yaadav (1967-living), faruKhabaad. BSc and MBA from lukhnow and allahabad universities. Government officer by profession. I don’t know much more. Fell in love with urdu poetry in boyhood and presumably taught himself urdu. Published his work in various magazines and newspapers and his collection in 2012.
1
laa’uN maiN kahaaN se bhala andaaz1-e bayaaN2 aur
munsif3 ki zabaaN4 aur hai aur meri zabaaN aur 1.style, manner 2.speech, speaking 3.judge 4.tongue, language, words
This she’r appears to be in a legal setting where the poet/protagonist seems to have failed to get his point across to the judge. How can I develop a different (more convincing) manner of speaking. It is as if I speak a different language and the judge speaks a different one. It is also possible to think that the ‘munsif/judge’ is the beloved deciding whether the poet/lover is sincere or not. He appears to have failed in making his case and the meaning of the she’r comes closer to Ghalib’s …
yaarab vo na samjhe haiN na samjheNge merii baat
de aur dil un ko jo na de mujh ko zabaaN aur
2
ye dard1 samajhta nahiN aadaab2-e zamaana3
koshish4 ho chhupaane ki to hota hai ayaaN5 aur 1.pain (of love) 2.ways of behaviour, etiquette, manners, traditions 3.society, world 4.attempt 5.apparent
The pain of love does not understand the traditions of etiquette. The traditions of love require that pain be hidden, that the lover bear it stoically. The more you try to hide it, the more it reveals itself. Said munshi raghunath sinGh haajir …
ye raaz-e mohabbat bhi ajab raaz hai haajir
jab us ko chhupaao to ye hota hai ayaaN aur
3
qismat ka likha maan le thoRe se ziyaaN1 ko
jaa’ega adaalat2 meN to paa’egaa ziyaaN1 aur 1.loss 2.court
Like the first she’r, this one too seems to have a legal setting. If you have a small loss, write it off as ‘written in your fate’. If you go to court, you will end up with even more loss.
4
tafsiil1 bayaaN2 karta hai kyuN apne amal3 ki
is tarah to har shaKhs4 pe guzrega5 gumaaN6 aur 1.details 2.describe, speak of 3.actions 4.person 5.happen, occur 6.suspicion
This one again appears to have at least a partial legal setting. Why do you describe the details of your actions. In this way, every person will get even more suspicious. The image is that of a person repeating himself, insisting on his version of events.
5
manzil1 pe pahuNch2 kar na hua dil jo mera Khush
puuchhi jo vaj’h3 us ne kaha aur amaaN4 aur 1.destination, goal 2.reach 3.reason 4.protection, refuge, colloquially – O friend
I am not sure in what sense the word ‘amaaN’ is used. If it is being used in the colloquial sense, the there is discernible meaning in the she’r (albeit, rather pedestrian). If it is used as protection/refuge, then it becomes difficult to interpret. Even after reaching/achieving the desired goal, the heart was not happy. When asked for the reason, it said, some more, O friend, some more. This probably means that the ‘desired goal’ is here is something material and that one is never satisfied and wants more of it.
6
tum se bhi kahaaN mujh ko samaa’at1 ki tavaqq’o2
mujh meN bhi kahaaN baaqi3 hai ab taab4-e fuGhaaN5 aur 1.hearing 2.expectation 3.remaining 4.strength, courage 5.wail, appeal
This appears to be addressed to the beloved. How can I have any expectation of getting you to listen. And I too, don’t have the strength to wail/plead any more. munshi raghunath siNgh haajir had a slightly different view …
sun’ne ko to sun lete vo afsaana-e furqat
afsos keh mujh ko hi na thi taab-e bayaaN aur
7
ye zulm1 ke sho’le2 haiN faqat3 KhuuN se bujheNge
ashkoN4 se bujhaaoge to uTThega dhuaaN aur 1.cruelty, oppression 2.flames 3.only 4.tears
The flames of oppression can only be put out by (tears of) blood. If you try to put them out with (ordinary) tears, then a lot more smoke will rise. It is entirely possible to interpret this to mean ‘spill blood of the oppressor (or sacrifice your own) to avenge oppression’, but I hesitate to make that interpretation and fall back to the spirit to Ghalib’s she’r …
ragoN meN dauRte phirne ke ham nahiiN qaail
jab aaNkh se hii nah Tapkaa to phir lahuu kya hai
aalok yaadav (1967-living), faruKhabaad. BSc and MBA from lukhnow and allahabad universities. Government officer by profession. I don’t know much more. Fell in love with urdu poetry in boyhood and presumably taught himself urdu. Published his work in various magazines and newspapers and his collection in 2012.
1
laa’uN maiN kahaaN se bhala andaaz1-e bayaaN2 aur
munsif3 ki zabaaN4 aur hai aur meri zabaaN aur
1.style, manner 2.speech, speaking 3.judge 4.tongue, language, words
This she’r appears to be in a legal setting where the poet/protagonist seems to have failed to get his point across to the judge. How can I develop a different (more convincing) manner of speaking. It is as if I speak a different language and the judge speaks a different one. It is also possible to think that the ‘munsif/judge’ is the beloved deciding whether the poet/lover is sincere or not. He appears to have failed in making his case and the meaning of the she’r comes closer to Ghalib’s …
yaarab vo na samjhe haiN na samjheNge merii baat
de aur dil un ko jo na de mujh ko zabaaN aur
2
ye dard1 samajhta nahiN aadaab2-e zamaana3
koshish4 ho chhupaane ki to hota hai ayaaN5 aur
1.pain (of love) 2.ways of behaviour, etiquette, manners, traditions 3.society, world 4.attempt 5.apparent
The pain of love does not understand the traditions of etiquette. The traditions of love require that pain be hidden, that the lover bear it stoically. The more you try to hide it, the more it reveals itself. Said munshi raghunath sinGh haajir …
ye raaz-e mohabbat bhi ajab raaz hai haajir
jab us ko chhupaao to ye hota hai ayaaN aur
3
qismat ka likha maan le thoRe se ziyaaN1 ko
jaa’ega adaalat2 meN to paa’egaa ziyaaN1 aur
1.loss 2.court
Like the first she’r, this one too seems to have a legal setting. If you have a small loss, write it off as ‘written in your fate’. If you go to court, you will end up with even more loss.
4
tafsiil1 bayaaN2 karta hai kyuN apne amal3 ki
is tarah to har shaKhs4 pe guzrega5 gumaaN6 aur
1.details 2.describe, speak of 3.actions 4.person 5.happen, occur 6.suspicion
This one again appears to have at least a partial legal setting. Why do you describe the details of your actions. In this way, every person will get even more suspicious. The image is that of a person repeating himself, insisting on his version of events.
5
manzil1 pe pahuNch2 kar na hua dil jo mera Khush
puuchhi jo vaj’h3 us ne kaha aur amaaN4 aur
1.destination, goal 2.reach 3.reason 4.protection, refuge, colloquially – O friend
I am not sure in what sense the word ‘amaaN’ is used. If it is being used in the colloquial sense, the there is discernible meaning in the she’r (albeit, rather pedestrian). If it is used as protection/refuge, then it becomes difficult to interpret. Even after reaching/achieving the desired goal, the heart was not happy. When asked for the reason, it said, some more, O friend, some more. This probably means that the ‘desired goal’ is here is something material and that one is never satisfied and wants more of it.
6
tum se bhi kahaaN mujh ko samaa’at1 ki tavaqq’o2
mujh meN bhi kahaaN baaqi3 hai ab taab4-e fuGhaaN5 aur
1.hearing 2.expectation 3.remaining 4.strength, courage 5.wail, appeal
This appears to be addressed to the beloved. How can I have any expectation of getting you to listen. And I too, don’t have the strength to wail/plead any more. munshi raghunath siNgh haajir had a slightly different view …
sun’ne ko to sun lete vo afsaana-e furqat
afsos keh mujh ko hi na thi taab-e bayaaN aur
7
ye zulm1 ke sho’le2 haiN faqat3 KhuuN se bujheNge
ashkoN4 se bujhaaoge to uTThega dhuaaN aur
1.cruelty, oppression 2.flames 3.only 4.tears
The flames of oppression can only be put out by (tears of) blood. If you try to put them out with (ordinary) tears, then a lot more smoke will rise. It is entirely possible to interpret this to mean ‘spill blood of the oppressor (or sacrifice your own) to avenge oppression’, but I hesitate to make that interpretation and fall back to the spirit to Ghalib’s she’r …
ragoN meN dauRte phirne ke ham nahiiN qaail
jab aaNkh se hii nah Tapkaa to phir lahuu kya hai
The post uTThega dhuaaN aur-aalok yaadav appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/sgsm-meri-vafa-mere-baad-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
میری وفا میرے بعد ۔ سردار گینڈا سنگھ مشرقیؔ
۱
کس پر اے یار کروگے یہ جفا میرے بعد
یاد آئے گی تمہیں میری وفا میرے بعد
۲
جیتے جی بند رہی دل کی کلی ہم کو کیا
گر گلستان میں چلی بادِ صبا میرے بعد
۳
رشک ہے اتنا مجھے اِس کا کہ دیکھیں کس کو
لذّتِ ہجر چکھاتا ہے خدا میرے بعد
۴
غُنچہ کہہ کر چمنستان میں یہ ہے مرجھایا
ہے قسم تجھ کو چلے گر تو صبا میرے بعد
۵
آرزو تھی کہ میرے سامنے کرتی اے قوم
مجھ کو کیا کام اگر تو نے کیا میرے بعد
۶
ایک میں ہوں کہ اٹھاتا ہوں اِنہیں جاں دے کر
کون اٹھائے گا تیرے ناز و ادا میرے بعد
۷
ہے یہ واجب کہ لباس اپنا بنائیں خوش
آئیں ماتم کو اگر اہلِ عزا میرے بعد
۸
حشر میں حرفِ شکایت نہ لبوں سے نکلے
دوستو حق میں میرے کرنا دعا میرے بعد
۹
بعد مرنے کے ہوا دُور میرا درد و الم
سچ تو یوں ہے کہ ہوئی مجھ کو شفا میرے بعد
मेरी वफ़ा मेरी बाद – सरदार गेंडा सिंह मश्रिक़ी
१
किस पर अए यार करोगे ये जफ़ा मेरे बाद
याद आएगी तुम्हें मेरी वफ़ा मेरे बाद
२
जीते जी बंद रही दिल की कली हमको क्या
गर गुलिस्तां में चली बाद-ए सबा मेरे बाद
३
रश्क है इतना मुझे इसका के देखें किस को
लज़्ज़त-ए हिज्र चखाता है ख़ुदा मेरे बाद
४
ग़ुंचा कह कर चमनिस्तां में यह मुरझाया
है क़सम तुझको चले गर तू सबा मेरे बाद
५
आरज़ू थी के मेरे सामने करती अए क़ौम
मुझको क्या काम अगर तूने किया मेरे बाद
६
एक मैं हूं के उठाता हूं इन्हें जां दे कर
कौन उठाएगा तेरे नाज़ ओ अदा मेरे बाद
७
है यह वाजिब के लिबास अपना बनाएं ख़ुश
आएं मातम को अगर अहल-ए अज़ा मेरे बाद
८
हश्र में हर्फ़-ए शिकायत ना लबौं से निकले
दोस्तो हक़ में मेरे करना दुआ मेरे बाद
९
बाद मरने के हुआ दूर मेरा दर्द ओ अलम
सच तो यूं है के हुई मुझको शिफ़ा मेरे बाद
Click here for background and on any passage for word meanings and explanatory discussion. sardar genDa singh mashriqi (1857-1909), born in roopaR, panjab. Studied English and faarsi through middle school but could not go further in formal schooling because of family financial conditions. Worked for magazines, then the government in clerical and accountancy jobs and continued to learn urdu on his own, writing magazine articles and nazm, many of them nationalist. He joined the Indian National Congress in its inaugural meeting in 1885. In 1903, daaGh dehlavi accepted him as a shaagird. In spite of their very short association, he acknowledges daaGh as his ustaad. mashriqi’s diivaan was compiled and published by his grandson in 1989. There are also book length translations of sikh religious books in faarsi in poetic format as well as a book length collection of odes to sikh religious figures. This is one of several Ghazal that he composed in the refrain of Ghalib and is linked to ‘Ghalib naqsh-e qadam’.
1
kis par aye yaar1 karogay yeh jafaa2 mere baad
yaad aayegi tumheN meri vafa3 mere baad 1.friend, beloved 2.cruelty 3.steadfast commitment, fidelity
In poetic convention the beloved is cruel to the poet/lover and the true/sincere lover cheerfully bears all her cruelty without complaining or giving up on his love. His rivals on the other hand, are there only for lust. They will not remain steadfast if subjected to the same cruelty. Thus, who will you have to be cruel to, after I am gone. You will remember my fidelity after my death even if you don’t appreciate it now, while I live.
2
jeetay-jee1 band rahi dil ki kali, hum ko kya
gar2 gulistaaN3 meN chali baad-e-saba4 mere baad 1.during lifetime 2.if 3.garden 4.morning breeze
It is poetic convention that rose buds are ‘asleep’ through the night. The gentle morning breeze blows in and wakes them up, causing them to bloom into flowers. By using ‘dil ki kali’ in the first misra the poet uses this imagery to talk about his love which remained unfulfilled like a bud that did not blossom. Thus, as long as I lived, the bud of love in my heart remained unblossomed/unfulfilled. What difference does it make to me if the morning breeze blows in after my death.
3
rashk1 hai itna mujhe is ka keh dekheN, kis ko
lazzat2-e hijr3 chakhata hai Khuda mere baad 1.envy 2.taste 3.separation (from the beloved)
The poet/lover never achieves union with the beloved. But he never-the-less enjoys the pleasure of separation. Such pain is valuable in itself but also because it establishes a connection with the beloved, whether fulfilled or not. The poet/lover values this connection (and the pain that goes with it) so much that he is jealous, thinking of who will receive this taste from god/fate after his own death. Said Ghalib …
chhoRaa na rashk ne ke tere ghar ka naam luN
har ek se poochhta huN ke jaauN kidhar ko maiN
and again …
apni gali meN mujh ko na kar dafn b’aad-e qatl
mere pate se Khalq ko kyuN tera ghar milay
4
Ghuncha1 kah kar chaminstaaN2 meN yeh hai murjhaaya3
hai qasam4 tujh ko chalay gar5 tu saba6 mere baad 1.unblossomed bud 2.garden 3.wilted 4.swearing/demanding under threat of a curse 5.if 6.morning breeze
This she’r goes back to the same theme as in the second she’r above. The poet’s love never blossomed because the beloved did not respond, just like the bud never blossomed because the morning breeze did not blow. The bud is wilting/drying up even before blossoming. It swears … curse on you O morning breeze, if you blow after I am gone i.e., because he did not get to blossom, no one else should get a chance to. This one, coming from osman ali KhaaN, a supposedly enlightened ruler is particularly loathsome …
mujh ko kya faa’eda gar koii raha mere b’aad
saari maKhlooq balaa se ho fanaa mere b’aad
5
arzoo1 thi keh mere saamnay karti aye qaum2
mujh ko kya kaam agar to ne kiya mere baad 1.desire 2.community
I am unable to figure out who the ‘qaum’ is and what he desires the qaum to have done. Whatever it is, he would have liked for the qaum for do it while he lived. What benefit do I get if you do it after I am gone.
6
aek maiN huN keh uThaata hun inheN jaaN1 dekar
kaun uThaayega teray naaz-o-ada2 mere baad 1.life, soul 2.coquettishness and style
It is me alone (not rivals) who can bear/accept the beloved’s coquettish style even at the expense of my life. Who will bear this after I am gone. Said panDit javaahar naath saqi…
marte marte bhi na nikla mere dil se ye Khayaal
kaun dekhega ye andaaz o adaa mere b’aad
There are several others just like it linked to ‘lab-e saaqi meN salaa mere baad’ in Ghalib naqsh-e qadam on the Theme page.
7
hai yeh vaajib1 keh libaas2 apna banaayeN Khush
aayeN maatam3 ko agar4 ahl-e-azaa5 mere baad 1.necessary, required 2.garments 3.mourning 4.mourners
The poet/lover probably considers his own passing to be celebratory, because it relieves him of the pain he has suffered throughout his life. Thus, he wants mourners, if they come to mourn his passing, to come dressed in cheerful clothes.
8
hashr1 meN harf2-e shikaa’et3 nah laboN4 se niklay
dosto haq5 meN mere karna dua mere baad 1.day of judgement 2.word 3.complaint 4.lips 5.used here to mean – for me
Everyone will be called to account for their actions on the day of judgement. At that time, the poet/lover who has borne much cruelty at the hands of the beloved will be called to testify. But he wants to make sure that not one word of complaint (about the beloved) escapes his lips. He asks his friend to pray on his behalf after he is gone. Said shaiKh ibrahim zauq …
ham nahiN vo jo kareN Khuun ka daa’va tujh par
balkeh poochhega Khuda bhi to mukar jaa’eNge
9
baad marnay ke hua duur mera dard-o-alam1
such2 to yuN hai keh hui mujh ko shifa3 mere baad 1.pain and sorrow 2.truth 3.cure, relief
Only after death did pain and sorrow leave me. The truth is that I was cured/relieved after death. Said Ghalib …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paae kyuN
sardar genDa singh mashriqi (1857-1909), born in roopaR, panjab. Studied English and faarsi through middle school but could not go further in formal schooling because of family financial conditions. Worked for magazines, then the government in clerical and accountancy jobs and continued to learn urdu on his own, writing magazine articles and nazm, many of them nationalist. He joined the Indian National Congress in its inaugural meeting in 1885. In 1903, daaGh dehlavi accepted him as a shaagird. In spite of their very short association, he acknowledges daaGh as his ustaad. mashriqi’s diivaan was compiled and published by his grandson in 1989. There are also book length translations of sikh religious books in faarsi in poetic format as well as a book length collection of odes to sikh religious figures. This is one of several Ghazal that he composed in the refrain of Ghalib and is linked to ‘Ghalib naqsh-e qadam’.
1
kis par aye yaar1 karogay yeh jafaa2 mere baad
yaad aayegi tumheN meri vafa3 mere baad
1.friend, beloved 2.cruelty 3.steadfast commitment, fidelity
In poetic convention the beloved is cruel to the poet/lover and the true/sincere lover cheerfully bears all her cruelty without complaining or giving up on his love. His rivals on the other hand, are there only for lust. They will not remain steadfast if subjected to the same cruelty. Thus, who will you have to be cruel to, after I am gone. You will remember my fidelity after my death even if you don’t appreciate it now, while I live.
2
jeetay-jee1 band rahi dil ki kali, hum ko kya
gar2 gulistaaN3 meN chali baad-e-saba4 mere baad
1.during lifetime 2.if 3.garden 4.morning breeze
It is poetic convention that rose buds are ‘asleep’ through the night. The gentle morning breeze blows in and wakes them up, causing them to bloom into flowers. By using ‘dil ki kali’ in the first misra the poet uses this imagery to talk about his love which remained unfulfilled like a bud that did not blossom. Thus, as long as I lived, the bud of love in my heart remained unblossomed/unfulfilled. What difference does it make to me if the morning breeze blows in after my death.
3
rashk1 hai itna mujhe is ka keh dekheN, kis ko
lazzat2-e hijr3 chakhata hai Khuda mere baad
1.envy 2.taste 3.separation (from the beloved)
The poet/lover never achieves union with the beloved. But he never-the-less enjoys the pleasure of separation. Such pain is valuable in itself but also because it establishes a connection with the beloved, whether fulfilled or not. The poet/lover values this connection (and the pain that goes with it) so much that he is jealous, thinking of who will receive this taste from god/fate after his own death. Said Ghalib …
chhoRaa na rashk ne ke tere ghar ka naam luN
har ek se poochhta huN ke jaauN kidhar ko maiN
and again …
apni gali meN mujh ko na kar dafn b’aad-e qatl
mere pate se Khalq ko kyuN tera ghar milay
4
Ghuncha1 kah kar chaminstaaN2 meN yeh hai murjhaaya3
hai qasam4 tujh ko chalay gar5 tu saba6 mere baad
1.unblossomed bud 2.garden 3.wilted 4.swearing/demanding under threat of a curse 5.if 6.morning breeze
This she’r goes back to the same theme as in the second she’r above. The poet’s love never blossomed because the beloved did not respond, just like the bud never blossomed because the morning breeze did not blow. The bud is wilting/drying up even before blossoming. It swears … curse on you O morning breeze, if you blow after I am gone i.e., because he did not get to blossom, no one else should get a chance to. This one, coming from osman ali KhaaN, a supposedly enlightened ruler is particularly loathsome …
mujh ko kya faa’eda gar koii raha mere b’aad
saari maKhlooq balaa se ho fanaa mere b’aad
5
arzoo1 thi keh mere saamnay karti aye qaum2
mujh ko kya kaam agar to ne kiya mere baad
1.desire 2.community
I am unable to figure out who the ‘qaum’ is and what he desires the qaum to have done. Whatever it is, he would have liked for the qaum for do it while he lived. What benefit do I get if you do it after I am gone.
6
aek maiN huN keh uThaata hun inheN jaaN1 dekar
kaun uThaayega teray naaz-o-ada2 mere baad
1.life, soul 2.coquettishness and style
It is me alone (not rivals) who can bear/accept the beloved’s coquettish style even at the expense of my life. Who will bear this after I am gone. Said panDit javaahar naath saqi…
marte marte bhi na nikla mere dil se ye Khayaal
kaun dekhega ye andaaz o adaa mere b’aad
There are several others just like it linked to ‘lab-e saaqi meN salaa mere baad’ in Ghalib naqsh-e qadam on the Theme page.
7
hai yeh vaajib1 keh libaas2 apna banaayeN Khush
aayeN maatam3 ko agar4 ahl-e-azaa5 mere baad
1.necessary, required 2.garments 3.mourning 4.mourners
The poet/lover probably considers his own passing to be celebratory, because it relieves him of the pain he has suffered throughout his life. Thus, he wants mourners, if they come to mourn his passing, to come dressed in cheerful clothes.
8
hashr1 meN harf2-e shikaa’et3 nah laboN4 se niklay
dosto haq5 meN mere karna dua mere baad
1.day of judgement 2.word 3.complaint 4.lips 5.used here to mean – for me
Everyone will be called to account for their actions on the day of judgement. At that time, the poet/lover who has borne much cruelty at the hands of the beloved will be called to testify. But he wants to make sure that not one word of complaint (about the beloved) escapes his lips. He asks his friend to pray on his behalf after he is gone. Said shaiKh ibrahim zauq …
ham nahiN vo jo kareN Khuun ka daa’va tujh par
balkeh poochhega Khuda bhi to mukar jaa’eNge
9
baad marnay ke hua duur mera dard-o-alam1
such2 to yuN hai keh hui mujh ko shifa3 mere baad
1.pain and sorrow 2.truth 3.cure, relief
Only after death did pain and sorrow leave me. The truth is that I was cured/relieved after death. Said Ghalib …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paae kyuN
The post meri vafa mere baad-sardar genDa siNgh mashriqi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/kgm-ek-saNg-e-giraaN-aur-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اک سنگِ گراں اور ۔ کرشن گوپال مغمومؔ
۱
میں ہوں تو چمن میں ہے ابھی رسمِ فغاں اور
صیّاد کو گُزرے گا مرا شور گراں اور
۲
عرفانِ سفر جب سے ہوا ہے مجھے حاصل
دیتا ہے مرا دل مجھے منزل کا نشاں اور
۳
موجودہ بہاروں سے جو برہم ہیں وہ سُن لیں
آئے گی بہار اور تو آئے گی خزاں اور
۴
ہیں لرزہ بر اندام مہ و انجم و خورشید
اے کاش میرا عزمِ تصادم ہو جواں اور
۵
یوں ہی ستمِ بادِ بہاراں کوئی کم تھا
گُل تو نے کھلائے ہیں یہ کیا بادِ خزاں اور
۶
کچھ فائدہ حاصل نہ ہوا ضبطِ فغاں سے
رکنے سے مچلتے ہیں میرے اشکِ رواں اور
۷
ہاں ہاں نظر انداز ہمیں شوق سے کر دے
اے حسن تجھے دیکھنے والے ہیں کہاں اور
۸
اِنسان نے دیوارِ روایات تو ڈھا دی
رستے میں تعصُّب کا ہے اک سنگِ گراں اور
۹
مغمومؔ تجھے خامیٔ مشرب نہیں زیبا
کر حوصلۂ پیرویِ پیرِ مغاں اور
एक संग-ए गिरां और – क्रिष्ण गोपाल मग़्मूम
१
मैं हुं तो चमन में है अभी रस्म-ए फ़ुग़ां और
सय्याद को गुज़्रेगा मेरा शोर गिरां और
२
इर्फ़ान-ए सफ़र जब से हुआ है मुझे हासिल
देता है मेरा दिल मुझे मंज़िल का निशां और
३
मौजूदा बहारौं से जो बरहम हैं वो सुन लें
आएगी बहार और तो आएगी ख़िज़ां और
४
हैं लर्ज़ा-बर-अंदाम मह ओ अंजुम ओ ख़ुर्शीद
अए काश मेरा अज़्म-ए तसादुम हो जवां और
५
यूं हि सितम-ए बाद-ए बहारां कोई कम था
गुल तू ने खिलाए हैं ये क्या बाद-ए ख़िज़ां और
६
कुछ फ़ाएदा हासिल न हुआ ज़ब्त-ए फ़ुग़ां से
रुकने से मचलते हैं मेरे अश्क-ए रवां और
७
हां हां नज़र-अंदाज़ हमें शौक़ से कर दे
अए हुस्न तुझे देखने वाले हैं कहां और
८
इन्सान ने दीवार-ए रिवायात तो ड़ा दी
रस्ते में ता’अस्सुब का है एक संग-ए गिरां और
९
मग़्मूम तुझे ख़ामि-ए मुश्रिब नहीं ज़ेबा
कर हौस्ला-ए पैरवी-ए पीर-ए मुग़ां और
Click here for background and on any passage for word meanings and explanatory discussion. krishn gopal baada maGhmum (1916-xxxx), aTak district (now in pakistan). His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er. Ill-treatment by his stepmother drove him to seclusion and reading. All the books at home including religious texts were in urdu. He read up all of them and learnt to write too. Interest in shaa’eri started from childhood. In college he was a class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom. Continued education including for the Public Service Commission exam. Worked for the government of panjab and later haryana, retiring in 1974. At least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm. This Ghazal, composed in the zamin of Ghalib’s, ‘kahte haiN keh Ghalib ka andaaz-e bayaaN aur’ and is linked to Ghalib naqsh-e qadam.
1
maiN huN to chaman meN hai abhi rasm1-e fuGhaaN2 aur
sayyaad3 ko guzrega4 mera shor giraaN5 aur 1.tradition 2.wailing, crying 3.bird-catcher, captor 4.happen to, experienced by 5.heavy, disagreeable
Traditionally, the poet is presented as a bird who has been captured and caged by the bird-catcher. He wails sorrowfully – singing of his home/nest. Thus, as long as I live, the tradition of wailing will be maintained. My loud crying will be disagreeable to my captor/birdcatcher for a while longer yet.
2
irfaan1-e safar2 jab se hua hai mujhe haasil3
deta hai mera dil mujhe manzil4 ka nishaaN5 aur 1.mystic knowledge 2.journey (of love and/or mysticism) 3.obtained, gained, achieved 4.destination 5.clue, direction
Ever since I have achieved some knowledge of the journey of mysticism/universal love, my heart points me towards my destination even more.
3
maujooda1 bahaaroN2 se jo barham3 haiN vo sun leN
aayegi bahaar2 aur to aayegi KhizaaN4 aur 1.present, current 2.springs 3.confused 4.autumn, dry season
This could be a reference to the sufi/mystical tradition/teaching of not being tempted by earthly things. Thus, those who are confused about present day attractions, beware that if there is spring now, then the dry season of falling leaves is sure to follow.
4
haiN larza-bar-andaam1 mah2 o anjum3 o Khurshiid4
aye kaash5 mera azm6-e tasaadum7 ho javaaN8 aur 1.bodies trembling in fear 2.moon 3.stars 4.sun 5.wish, intense desire 6.determination, resolve 7.confrontation, war 8.rejuvenated, youthful, strong
The sun, moon and stars i.e., all celestial bodies are trembling in fear (I cannot figure out why this might be). The poet has an intense desire that his determination to confront should become stronger. Confront whom? Why? Any help anyone can offer will be greatly appreciated. This Ghazal is not dated but the collection was published in 1989. I venture to guess that this may be about space flights and may be celebrating human achievement in reaching outer space.
5
yuN hi sitam1-e baad2-e bahaaraaN3 koi kam tha
gul tuu ne khilaaye4 haiN ye kya baad-e-saba5 aur 1.cruelty, tyranny 2.breeze 3.spring 4.gul khilaana is an expression meaning created mischief 5.morning breeze
Here ‘gul khilaana’ meaning ‘causing mischief’ is nicely juxtaposed with the literal meaning ‘making flowers bloom’. When spring arrives the poet/lover gets miserable because he misses the company of the beloved i.e., the spring breeze blows in misery. On top of it, if the morning breeze causes roses to bloom, it creates even more mischief.
6
kuchh faa’eda1 haasil2 na hua zabt3-e fuGhaaN4 se
rukne se machalte haiN mere ashk5-e ravaaN6 aur 1.benefit 2.available, get 3.control 4.wailing 5.tears 6.flowing
It is poetic convention for the lover to control his wailing in public so as not to malign the reputation of the beloved. Here he says that there is no benefit in controlling his wailing. When he does that his flowing tears get even more restless i.e., they flow even more. Thus, the public would find out the reason for his sorrow anyway.
7
haaN haaN nazar-andaaz1 hameN shauq2 se kar de
aye husn3 tujhe dekhne vaale haiN kahaaN aur 1.ignore 2.with pleasure 3.beauty, beloved
O beloved, go ahead and ignore me with pleasure, but remember, where else can you find someone who would look at you with love like I do.
8
insaan1 ne diivaar-e rivaayaat2 to Dhaa3 dii
raste meN ta’assub4 ka hai ek saNg5-e giraaN6 aur 1.humans 2.traditions, rules, laws 3.break, demolish 4.prejudice, bigotry 5.rock 6.large
This probably refers to the rules of colonialism. Thus, we have demolished the walls of colonialism that confined us. Now there is a large rock of bigotry still in the way.
9
maGhmuum1 tujhe Khaami2-e mashrab3 nahiN zeba4
kar hausla5-e pairavi6-e piir-e-muGhaaN7 aur 1.pen-name of the poet 2.immaturity, weakness 3.to drink but also means religion, disposition, temper 4.becoming, befitting 5.courage 6.advocacy 7.senior wine-maker
In urdu poetic tradition the maikada-tavern is symbolic of a liberal/open/welcoming space as opposed to the confines of dayr of haram – temple and mosque. ‘piir-e-muGhaaN’ serves the wine of love. Thus, O maGhmum, the immaturity of faith does not befit you. Gather up the courage for the advocacy of the piir-e-muGhaaN, the chief wine-maker.
krishn gopal baada maGhmum (1916-xxxx), aTak district (now in pakistan). His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er. Ill-treatment by his stepmother drove him to seclusion and reading. All the books at home including religious texts were in urdu. He read up all of them and learnt to write too. Interest in shaa’eri started from childhood. In college he was a class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom. Continued education including for the Public Service Commission exam. Worked for the government of panjab and later haryana, retiring in 1974. At least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm. This Ghazal, composed in the zamin of Ghalib’s, ‘kahte haiN keh Ghalib ka andaaz-e bayaaN aur’ and is linked to Ghalib naqsh-e qadam.
1
maiN huN to chaman meN hai abhi rasm1-e fuGhaaN2 aur
sayyaad3 ko guzrega4 mera shor giraaN5 aur
1.tradition 2.wailing, crying 3.bird-catcher, captor 4.happen to, experienced by 5.heavy, disagreeable
Traditionally, the poet is presented as a bird who has been captured and caged by the bird-catcher. He wails sorrowfully – singing of his home/nest. Thus, as long as I live, the tradition of wailing will be maintained. My loud crying will be disagreeable to my captor/birdcatcher for a while longer yet.
2
irfaan1-e safar2 jab se hua hai mujhe haasil3
deta hai mera dil mujhe manzil4 ka nishaaN5 aur
1.mystic knowledge 2.journey (of love and/or mysticism) 3.obtained, gained, achieved 4.destination 5.clue, direction
Ever since I have achieved some knowledge of the journey of mysticism/universal love, my heart points me towards my destination even more.
3
maujooda1 bahaaroN2 se jo barham3 haiN vo sun leN
aayegi bahaar2 aur to aayegi KhizaaN4 aur
1.present, current 2.springs 3.confused 4.autumn, dry season
This could be a reference to the sufi/mystical tradition/teaching of not being tempted by earthly things. Thus, those who are confused about present day attractions, beware that if there is spring now, then the dry season of falling leaves is sure to follow.
4
haiN larza-bar-andaam1 mah2 o anjum3 o Khurshiid4
aye kaash5 mera azm6-e tasaadum7 ho javaaN8 aur
1.bodies trembling in fear 2.moon 3.stars 4.sun 5.wish, intense desire 6.determination, resolve 7.confrontation, war 8.rejuvenated, youthful, strong
The sun, moon and stars i.e., all celestial bodies are trembling in fear (I cannot figure out why this might be). The poet has an intense desire that his determination to confront should become stronger. Confront whom? Why? Any help anyone can offer will be greatly appreciated. This Ghazal is not dated but the collection was published in 1989. I venture to guess that this may be about space flights and may be celebrating human achievement in reaching outer space.
5
yuN hi sitam1-e baad2-e bahaaraaN3 koi kam tha
gul tuu ne khilaaye4 haiN ye kya baad-e-saba5 aur
1.cruelty, tyranny 2.breeze 3.spring 4.gul khilaana is an expression meaning created mischief 5.morning breeze
Here ‘gul khilaana’ meaning ‘causing mischief’ is nicely juxtaposed with the literal meaning ‘making flowers bloom’. When spring arrives the poet/lover gets miserable because he misses the company of the beloved i.e., the spring breeze blows in misery. On top of it, if the morning breeze causes roses to bloom, it creates even more mischief.
6
kuchh faa’eda1 haasil2 na hua zabt3-e fuGhaaN4 se
rukne se machalte haiN mere ashk5-e ravaaN6 aur
1.benefit 2.available, get 3.control 4.wailing 5.tears 6.flowing
It is poetic convention for the lover to control his wailing in public so as not to malign the reputation of the beloved. Here he says that there is no benefit in controlling his wailing. When he does that his flowing tears get even more restless i.e., they flow even more. Thus, the public would find out the reason for his sorrow anyway.
7
haaN haaN nazar-andaaz1 hameN shauq2 se kar de
aye husn3 tujhe dekhne vaale haiN kahaaN aur
1.ignore 2.with pleasure 3.beauty, beloved
O beloved, go ahead and ignore me with pleasure, but remember, where else can you find someone who would look at you with love like I do.
8
insaan1 ne diivaar-e rivaayaat2 to Dhaa3 dii
raste meN ta’assub4 ka hai ek saNg5-e giraaN6 aur
1.humans 2.traditions, rules, laws 3.break, demolish 4.prejudice, bigotry 5.rock 6.large
This probably refers to the rules of colonialism. Thus, we have demolished the walls of colonialism that confined us. Now there is a large rock of bigotry still in the way.
9
maGhmuum1 tujhe Khaami2-e mashrab3 nahiN zeba4
kar hausla5-e pairavi6-e piir-e-muGhaaN7 aur
1.pen-name of the poet 2.immaturity, weakness 3.to drink but also means religion, disposition, temper 4.becoming, befitting 5.courage 6.advocacy 7.senior wine-maker
In urdu poetic tradition the maikada-tavern is symbolic of a liberal/open/welcoming space as opposed to the confines of dayr of haram – temple and mosque. ‘piir-e-muGhaaN’ serves the wine of love. Thus, O maGhmum, the immaturity of faith does not befit you. Gather up the courage for the advocacy of the piir-e-muGhaaN, the chief wine-maker.
The post ek saNg-e giraaN aur-krishn gopal maGhmum appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/jsrshr-duniya-ko-gumaaN-aur-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
دنیا کو گماں اور ۔ جیمنی سرشارؔ
۱
ہم اور ہیں، تم اور ہو، دل اور زباں اور
بدلے گا ابھی رنگِ جہاں جانِ جہاں اور
۲
اک جام مئے ناب کا اے پیرِ مغاں اور
شاید ہے مرے ہوش پہ دنیا کو گماں اور
۳
نکھرے گا ترا حسن ابھی اے جانِ جہاں اور
ہونے دے ذرا اپنی جوانی کو جواں اور
۴
اُلفت کا جہاں اور کدورت کا جہاں اور
ہر لفظ کے معنی ہیں یہاں اور وہاں اور
۵
قسمت میں انادل کی ہے فریاد و فغاں اور
ہونا ہے چمن کو ابھی تاراجِ خزاں اور
۶
جائیں گے نکل کر وہ مرے دل سے کہاں اور
بہتر نہیں دنیا میں کوئی اس سے مکاں اور
۷
دیکھو نہ بگڑ جائے کہیں شست نظر کی
کھینجو نہ مری جان یہ ابرو کی کماں اور
۸
محنت میں محبت میں بہت فرق ہے ہمدم
تعمیرِ جہاں اور ہے تسخیرِ جہاں اور
۹
جُز اشک فشانی کوئی چارا نہ رہا تھا
کرتے بھی تو کیا کرتے ہم اے دردِ نہاں اور
۱۰
مہر و مہ و انجم پہ ہی موقوف نہیں ہے
لاکھوں ہیں تری عظمت و سطوت کے نشاں اور
۱۱
دونوں سہی گلشن میں بہاروں کے ثنا خواں
پھولوں کی زباں اور ہے کانٹوں کی زباں اور
۱۲
تھا ایک نشیمن سو تجھے سونپ دیا ہے
کیا چاہتی ہے ہم سے اب اے برقِ تپاں اور
۱۳
کچھ کم نہیں یہ ناوکِ مژگاں بھی تمہارے
کیوں ہاتھ میں لو خنجر و شمشیر و سناں اور
۱۴
جائیں گے جہاں جائیں گے اک ساتھ مریں گے
کہنے کو جگر اور ہے دل اور ہے جاں اور
۱۵
مرغانِ چمن دیکھے ہیں سیّاد کے تیور
لو کر لو ابھی نالہ و فریاد و فغاں اور
۱۶
شکوہ تو بہت تھا تری بیداد کا لیکن
کچھ ہو نہ سکا ہم سے بجز آہ و فغاں اور
۱۷
سرشارؔ محبّت ہے بحرحال محبّت
خوبانِ جہاں اور ہیں حورانِ جِناں اور
दुनिया को गुमां और – जैमिनी सरशार
१
हम और हैं, तुम और हो, दिल और ज़बां और
बदलेगा अभी रंग-ए जहां, जान-ए जहां और
२
एक जाम मय-ए नाब का अए पीर-ए मुग़ां और
शा’एद है मेरे होश पे दुनिया को गुमां और
३
निखरेगा तेरा हुस्न अभी अए जान-ए जहां और
हाने दे ज़रा अपनी जवानी को जवां और
४
उल्फ़त का जहां और कदूरत का जहां और
हर लफ़्ज़ के मु’आनी हैं यहां और वहां और
५
क़िस्मत में अनादिल कि है फ़र्याद ओ फ़ुग़ां और
हाना है चमन को अभी ताराज-ए ख़िज़ां और
६
जाएंगे निकल कर वो मेरे दिल से कहां और
बेहतर नहीं दुनिया में कोई इस से मकां और
७
देखो न बिगढ जाए कहीं शुस्त नज़र की
खींचो न मेरी जान ये अब्रू की कमां और
८
मेहनत में मोहब्बत में बहुत फ़र्क़ है हमदम
ता’मीर-ए जहां और है, तस्ख़ीर-ए जहां और
९
जुज़ अश्क फ़शानी कोई चारा न रहा था
करते भी तो क्या करते हम अए दर्द-ए नेहां और
१०
महर ओ मह ओ अंजुम पे हि मौक़ूफ़ नहीं है
लोखौं हैं तेरी अज़्मत ओ सित्वत के निशां और
११
दोनों सही गुल्शन में बहारौं के सना-ख़्वां
फूलौं कि ज़बां और है कांटौं कि ज़बां और
१२
था एक नशेमन सो तुझे सौंप दिया है
क्या चाहती है हम से अब अए बर्क़-ए तपां और
१३
कुछ कम नहीं ये नावक-ए मिज़्श्गां भी तुम्हारा
क्यूं हाथ मे लो ख़ंजर ओ शमशीर ओ सिनां और
१४
जाएंगे जहां जाएंगे एक साथ मरेंगे
कहने को जिगर और है दिल और है जां और
१५
मुर्ग़ान-ए चमन देखे हैं सय्याद के तैवर
लो कर लो अभी नाला ओ फ़र्याद ओ फ़ुग़ां और
१६
शिक्वा तो बहुत था तेरी बेदाद का लैकिन
कुछ हो न सका हम से बजुज़ आह ओ फ़ुग़ां और
१७
सरशार मोहब्बत है ब-हर-हाल मोहब्बत
ख़ूबान-ए जहां और हैं हूरान-ए जिनां और
Click here for background and on any passage for word meanings and explanatory discussion. jaimini sarshaar (1905-1984). Born and raised in rural muzaffar gaRh. He worked as editor of various magazines, but it is not clear if he had any college education, job or lands. He migrated to sonipat, punjab in the middle 1940s. shaagird of tilok chand mahroom. Started composing in 1920, his urge to compose triggered by the jaaliaaNvala baaGh massacre. He wrote patriotic and national nazm with a strong dose of communal harmony. His Ghazal and nazm were published in local magazines, and eventually took the shape of four collections. This Ghazal in the style of Ghalib’s ‘kahte haiN ke Ghalib ka hai andaaz-e bayaaN aur’ is linked to Ghalib naqsh-e qadam.
1
ham aur haiN, tum aur ho, dil aur, zabaaN aur
badlega abhi raNg-e-jahaaN1, jaan-e-jahaaN2 aur 1.colour/nature/character of the world 2.life/beloved of the world
I am different from you just like the heart is different from the tongue – possibly meaning, my nature is like the heart (full of love for you) and your nature is like the tongue (making false promises). But just wait and see the nature of the world will change i.e., you are going to have to answer for your cruelty.
2
ek jaam1 mai2-e naab3 ka aye piir-e-muGhaaN4 aur
shaa’ed5 hai mere hosh6 pe duniya ko gumaaN7 aur 1.cup 2.wine 3.strong, pure 4.chief wine-maker, saaqi 5.perhaps 6.senses 7.disbelief, doubts
O saaqi, give me another cup of strong wine. Perhaps the world believes that I am still in my senses.
3
nikhrega1 tera husn2 abhi aye jaan-e-jahaaN3 aur
hone de zara apni javaani ko javaaN aur 1.become fresher, bloom 2.beauty 3.beloved of the world
O beloved of all, your beauty will bloom even fresher than it is, just let your youth develop a little more. This is probably addressed to the beloved at the pre-adolescent stage of youth.
4
ulfat1 ka jahaaN2 aur kadoorat3 ka jahaaN2 aur
har lafz4 ke mu’aani5 haiN yahaaN aur, vahaaN aur 1.love 2.world 3.hatred 4.word 5.meaning
By love and hatred he probably means his own love for the beloved and the indifference of the beloved towards him. They are in two different worlds. When he says something (expresses his love) he means it, but when she says something, she will not keep her word or is making excuses.
5
qismat meN anaadil1 ki hai faryaad2 o fuGhaaN3 aur
hona hai chaman ko abhi taaraaj4-e KhizaaN5 aur 1.plural for andaleeb, bulbul, nightingale 2.appeal, beg 3.wail 4.destruction 5.dry season, autumn
There is much more begging for mercy and wailing and crying in the fate of the bulbul. There is going to be much more destruction of the garden because of the dry season.
6
jaa’eNge nikal kar vo mere dil se kahaaN aur
behtar1 nahiN duniya meN koi is se makaaN2 aur 1.better 2.house, dwelling
Where will she go after leaving my heart. There is no other dwelling better than this anywhere in the world.
7
dekho na bigaR1 jaa’e kahiiN shust2 nazar3 ki
kheeNcho na meri jaan ye abru4 ki kamaaN5 aur 1.spoiled 2.cleanliness, straightness 3.eyes, sight 4.eyebrows 5.bow
In urdu poetic imagery the arch of the eyebrow is like a bow from which the beloved shoots arrows of her glance. Sometimes the eyelashes are arrows or daggers. The beloved is annoyed and arches her eyebrows to express her annoyance. Thus, don’t pull your bow even more for fear that the straightness of your sight may be spoiled.
8
mehnat1 meN mohabbat meN bahut farq2 hai hamdam3
taa’miir4-e jahaaN5 aur hai, tasKhiir6-e jahaaN5 aur 1.hard work, labour 2.difference 3.friend 4.building 5.building 6.conquering, destroying
Probably the significance of this she’r is that the difference between mehnat and mohabbat written in urdu script is the placement of a single dot. Hence, they look similar but there is a big difference between the two, my friend. Building the world is one thing and destroying it is another i.e., the world is built by ‘mehnat’ but destroyed by ‘mohabbat’.
9
juz1 ashk-fashaani2 koi chaara3 na raha tha
karte bhi to kya karte ham aye dard4-e nehaaN5 aur 1.except for 2.shedding tears, crying 3.remedy, recourse 4.pain 5.hidden, inner
Except for shedding tears there was no recourse. What else could I have done, O inner pain of love in my heart.
10
mahr1 o mah2 o anjum3 pe hi mauqoof4 nahiN hai
laakhoN haiN teri azmat5 o sitvat6 ke nishaaN aur 1.sun 2.moon 3.stars 4.limited to 5.greatness 6.glory
They are not limited to the sun, moon and stars. There are thousands of markers of your greatness and glory (O god).
11
donoN sahi gulshan1 meN bahaaroN2 ke sanaa-KhwaaN3
phooloN ki zabaaN aur hai kaaNToN ki zabaaN aur 1.garden 2.spring 3.singing praise
Even though both sing odes to the spring, the language of flowers is different from that of thorns – each express their feelings in their own way. The thorn protects the flower which displays its beauty and shares its fragrance. Both have their own way.
12
tha ek nasheman1 so tujhe sauNp2 diya hai
kya chaahti hai ham ab aye barq3-e tapaaN4 aur 1.nest 2.give away 3.lightning 4.burning hot
It is poetic convention that the poet is portrayed as a bird who builds a nest in the garden and lightning always strikes its nest and burns it up. All I had was one nest, and even that I gave away to you. What else do you want from me O flash of lightning.
13
kuchh kam nahiN ye naavak1-e mizshgaaN2 bhi tumhaara
kyuN haath meN lo Khanjar3 o shamshiir4 o sinaaN5 aur 1.arrows 2.eyelashes 3.dagger 4.sword 5.spear
In poetic tradition the beloved slaughters her lover. Also, the arched eyebrow is portrayed as a bow and eyelashes as arrows. Thus, the arrows of your eyelashes are no less lethal than daggers, swords, or spears. Why carry them when eyelashes are not any less effective.
14
jaa’eNge jahaaN jaa’eNge ek saath mareNge
kahne1 ko jigar2 aur hai dil3 aur hai jaaN4 aur 1.kahne ko is a phrase used to mean ‘so to speak’ 2.liver 3.heart 4.life, soul
Wherever they go they will go together and die together even though in a manner of speaking the liver, heart and soul are different from each other. They are together in the path of love, and they will meet their fate together.
15
murGhaan1-e chaman dekhe haiN sayyaad2 ke taivar3
lo kar lo abhi naala4 o faryaad5 o fuGhaaN6 aur 1.birds 2.bird-catcher 3.(sinister) attitudes/intentions 4.wailing 5.begging 6.mourning
The birds of the garden see the sinister intentions of the bird-catcher. It is now time to wail, beg and mourn some more.
16
shikva1 to bahut tha teri bedaad2 ka laikin
kuchh ho na saka ham se bajuz3 aah4 o fuGhaaN5 aur 1.complaint 2.cruelty, tyranny 3.except for 4.sigh 5.mourning
urdu poetic convention describes the beloved as cruel and tryannical towards her lover. Thus, even though I had to lot to complain about your tyranny, but I could not bring myself to do anything other than sighing and mourning.
17
sarshaar1 mohabbat hai ba-har-haal2 mohabbat
Khoobaan3-e jahaaN4 aur haiN hooraan5-e jinaaN6 aur 1.pen-name of the poet 2.under all conditions, after all 3.beauties 4.world 5.hoor, nymphs 6.heaven
O sarshaar, love is after all love. The hoor of heaven are good but the beauties of this world are something else (because of love).
jaimini sarshaar (1905-1984). Born and raised in rural muzaffar gaRh. He worked as editor of various magazines, but it is not clear if he had any college education, job or lands. He migrated to sonipat, punjab in the middle 1940s. shaagird of tilok chand mahroom. Started composing in 1920, his urge to compose triggered by the jaaliaaNvala baaGh massacre. He wrote patriotic and national nazm with a strong dose of communal harmony. His Ghazal and nazm were published in local magazines, and eventually took the shape of four collections. This Ghazal in the style of Ghalib’s ‘kahte haiN ke Ghalib ka hai andaaz-e bayaaN aur’ is linked to Ghalib naqsh-e qadam.
1
ham aur haiN, tum aur ho, dil aur, zabaaN aur
badlega abhi raNg-e-jahaaN1, jaan-e-jahaaN2 aur
1.colour/nature/character of the world 2.life/beloved of the world
I am different from you just like the heart is different from the tongue – possibly meaning, my nature is like the heart (full of love for you) and your nature is like the tongue (making false promises). But just wait and see the nature of the world will change i.e., you are going to have to answer for your cruelty.
2
ek jaam1 mai2-e naab3 ka aye piir-e-muGhaaN4 aur
shaa’ed5 hai mere hosh6 pe duniya ko gumaaN7 aur
1.cup 2.wine 3.strong, pure 4.chief wine-maker, saaqi 5.perhaps 6.senses 7.disbelief, doubts
O saaqi, give me another cup of strong wine. Perhaps the world believes that I am still in my senses.
3
nikhrega1 tera husn2 abhi aye jaan-e-jahaaN3 aur
hone de zara apni javaani ko javaaN aur
1.become fresher, bloom 2.beauty 3.beloved of the world
O beloved of all, your beauty will bloom even fresher than it is, just let your youth develop a little more. This is probably addressed to the beloved at the pre-adolescent stage of youth.
4
ulfat1 ka jahaaN2 aur kadoorat3 ka jahaaN2 aur
har lafz4 ke mu’aani5 haiN yahaaN aur, vahaaN aur
1.love 2.world 3.hatred 4.word 5.meaning
By love and hatred he probably means his own love for the beloved and the indifference of the beloved towards him. They are in two different worlds. When he says something (expresses his love) he means it, but when she says something, she will not keep her word or is making excuses.
5
qismat meN anaadil1 ki hai faryaad2 o fuGhaaN3 aur
hona hai chaman ko abhi taaraaj4-e KhizaaN5 aur
1.plural for andaleeb, bulbul, nightingale 2.appeal, beg 3.wail 4.destruction 5.dry season, autumn
There is much more begging for mercy and wailing and crying in the fate of the bulbul. There is going to be much more destruction of the garden because of the dry season.
6
jaa’eNge nikal kar vo mere dil se kahaaN aur
behtar1 nahiN duniya meN koi is se makaaN2 aur
1.better 2.house, dwelling
Where will she go after leaving my heart. There is no other dwelling better than this anywhere in the world.
7
dekho na bigaR1 jaa’e kahiiN shust2 nazar3 ki
kheeNcho na meri jaan ye abru4 ki kamaaN5 aur
1.spoiled 2.cleanliness, straightness 3.eyes, sight 4.eyebrows 5.bow
In urdu poetic imagery the arch of the eyebrow is like a bow from which the beloved shoots arrows of her glance. Sometimes the eyelashes are arrows or daggers. The beloved is annoyed and arches her eyebrows to express her annoyance. Thus, don’t pull your bow even more for fear that the straightness of your sight may be spoiled.
8
mehnat1 meN mohabbat meN bahut farq2 hai hamdam3
taa’miir4-e jahaaN5 aur hai, tasKhiir6-e jahaaN5 aur
1.hard work, labour 2.difference 3.friend 4.building 5.building 6.conquering, destroying
Probably the significance of this she’r is that the difference between mehnat and mohabbat written in urdu script is the placement of a single dot. Hence, they look similar but there is a big difference between the two, my friend. Building the world is one thing and destroying it is another i.e., the world is built by ‘mehnat’ but destroyed by ‘mohabbat’.
9
juz1 ashk-fashaani2 koi chaara3 na raha tha
karte bhi to kya karte ham aye dard4-e nehaaN5 aur
1.except for 2.shedding tears, crying 3.remedy, recourse 4.pain 5.hidden, inner
Except for shedding tears there was no recourse. What else could I have done, O inner pain of love in my heart.
10
mahr1 o mah2 o anjum3 pe hi mauqoof4 nahiN hai
laakhoN haiN teri azmat5 o sitvat6 ke nishaaN aur
1.sun 2.moon 3.stars 4.limited to 5.greatness 6.glory
They are not limited to the sun, moon and stars. There are thousands of markers of your greatness and glory (O god).
11
donoN sahi gulshan1 meN bahaaroN2 ke sanaa-KhwaaN3
phooloN ki zabaaN aur hai kaaNToN ki zabaaN aur
1.garden 2.spring 3.singing praise
Even though both sing odes to the spring, the language of flowers is different from that of thorns – each express their feelings in their own way. The thorn protects the flower which displays its beauty and shares its fragrance. Both have their own way.
12
tha ek nasheman1 so tujhe sauNp2 diya hai
kya chaahti hai ham ab aye barq3-e tapaaN4 aur
1.nest 2.give away 3.lightning 4.burning hot
It is poetic convention that the poet is portrayed as a bird who builds a nest in the garden and lightning always strikes its nest and burns it up. All I had was one nest, and even that I gave away to you. What else do you want from me O flash of lightning.
13
kuchh kam nahiN ye naavak1-e mizshgaaN2 bhi tumhaara
kyuN haath meN lo Khanjar3 o shamshiir4 o sinaaN5 aur
1.arrows 2.eyelashes 3.dagger 4.sword 5.spear
In poetic tradition the beloved slaughters her lover. Also, the arched eyebrow is portrayed as a bow and eyelashes as arrows. Thus, the arrows of your eyelashes are no less lethal than daggers, swords, or spears. Why carry them when eyelashes are not any less effective.
14
jaa’eNge jahaaN jaa’eNge ek saath mareNge
kahne1 ko jigar2 aur hai dil3 aur hai jaaN4 aur
1.kahne ko is a phrase used to mean ‘so to speak’ 2.liver 3.heart 4.life, soul
Wherever they go they will go together and die together even though in a manner of speaking the liver, heart and soul are different from each other. They are together in the path of love, and they will meet their fate together.
15
murGhaan1-e chaman dekhe haiN sayyaad2 ke taivar3
lo kar lo abhi naala4 o faryaad5 o fuGhaaN6 aur
1.birds 2.bird-catcher 3.(sinister) attitudes/intentions 4.wailing 5.begging 6.mourning
The birds of the garden see the sinister intentions of the bird-catcher. It is now time to wail, beg and mourn some more.
16
shikva1 to bahut tha teri bedaad2 ka laikin
kuchh ho na saka ham se bajuz3 aah4 o fuGhaaN5 aur
1.complaint 2.cruelty, tyranny 3.except for 4.sigh 5.mourning
urdu poetic convention describes the beloved as cruel and tryannical towards her lover. Thus, even though I had to lot to complain about your tyranny, but I could not bring myself to do anything other than sighing and mourning.
17
sarshaar1 mohabbat hai ba-har-haal2 mohabbat
Khoobaan3-e jahaaN4 aur haiN hooraan5-e jinaaN6 aur
1.pen-name of the poet 2.under all conditions, after all 3.beauties 4.world 5.hoor, nymphs 6.heaven
O sarshaar, love is after all love. The hoor of heaven are good but the beauties of this world are something else (because of love).
The post duniya ko gumaaN aur-jaimini sarshaar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/jmsr-be-sar-o-saamaaN-hona-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
بے سر و ساماں ہونا۔جتِندر موہن سِنہا رہبرؔ
۱
ہو گیا آپ کو منظور مہرباں ہونا
رنگ لایا یہ مرا بے سروساماں ہونا
۲
واہ، ہر مشکلِ مجبور کا آساں ہونا
آپ کا مرے دست بداماں ہونا
۳
خود بدولت کا مری سمت خراماں ہونا
پھر عطا دل کو مرے دعوتِ مژگاں ہونا
۴
پھر وہ دل کا مرے عشقِ مہ تاباں ہونا
نورِ صد رنگ ہر اک سمت نمایاں ہونا
۵
میزباں دل میں مرے آپ کا مہماں ہونا
گویا کُل بحر کا اِک قطرے میں پنہاں ہونا
۶
آدمی ہونا نہیں ہے نہ ہے انساں ہونا
فرض ہے حسن کی تفریح کا ساماں ہونا
۷
میں اور گستاخیِ عشق آپ سے توبہ توبہ
میری قسمت میں تو تھا بندۂ احساں ہونا
۸
اِتنا کہہ دینا کہ رہبرؔ بھی ہے فرقت کا شکار
اُن سے دوچار اگر بادِ بہاراں ہونا
बे-सर ओ सामां होना-जितेंद्र मोहन सिन्हा रहबर
१
हो गया आपको मंज़ूर मेहरबां होना
रंग लाया मेरा बे-सर ओ सामां होना
२
वाह हर मुश्किल-ए मज्बूर का आसां होना
आपका मेरे दस्त-ब-बदामां होना
३
ख़ुद बदौलत का मेरी सम्त ख़रामां होना
फिर अता दिल को मेरे दावत-ए मिज़्श्गां होना
४
फिर वह दिल का मेरे इश्क़-ए मह-ए ताबां होना
नूर-ए सद-रंग हर एक सम्त नुमायां होना
५
मेज़्बां दिल में मेरे आपका मेहमां हो ना
गोया कुल बहर का एक क़तरे में पिन्हां होना
६
आदमी होना नहीं है, ना है इंसां होना
फ़र्ज़ है हुस्न की तफ़्रीह का सामां होना
७
मैं और गुस्ताख़ि-ए इश्क़ आप से, तौबा तौबा
मेरी क़िस्मत में तो था बंदा-ए एहसां होना
८
इतना कह देना के रहबर भी है फ़ुर्क़त का शिकार
उनसे दो-चार अगर बाद-ए बहारां होना
Click here for background and on any passage for word meanings and explanatory discussion. jitendra mohan sinha rahbar (1911-1930), bijnaur, UP. Grew up in an orthodox arya samaaji family with emphasis on learning hindi and sanskrit, but his father himself knew urdu and corresponded with his family in urdu. Uncle was shaa’er. Learnt English at school and taught himself urdu and later blossomed into an urdu shaa’er. Jailed for participating in the freedom movement. Upon release, taught in a school in rural UP and later English literature in a college in lukhnow. This Ghazal composed in the zamin of Ghalib’s ‘aadmi ko bhi mai’assar nahiN insaaN hona’ is linked to Ghalib naqsh-e qadam.
1
ho gaya aapko manzoor1 mehrbaaN2 hona
raNg laaya3 ye mera be-sar-o-saamaaN4 hona 1.acceptable 2.kind, benevolent 3.raNg laana is an expression meaning-bear fruit, bring results 4.without any means, utterly helpless
The poet/lover in the intensity of his passion has neglected all other aspects of his life and has become utterly helpless. The beloved has pity on him and shows some kindness. He is delighted that his be-sar-o-saamaani – helplessness has borne fruit.
2
vaah, har mushkil1-e majboor2 ka aasaaN3 hona
aapka mere dast-ba-daamaaN4 hona 1.difficulty 2.oppressed, helpless 3.solved, easy 4.hand grasping the hem of the robe means able to access and appeal
Catching hold of the hem of the robe means gaining access to someone and being able to appeal/beg and put forward their case. But the second misra is not entirely clear. It can mean either that the poet/lover has gained access to the beloved or it can mean IF he gains access. Thus, bravo, every difficulty of this helpless one will be solved if he were able to grasp the hem of the beloved’s robe and appeal to her.
3
Khud-ba-daulat1 ka meri samt2 KharaamaaN3 hona
phir ata4 dil ko mere daavat5-e mizshgaaN6 hona 1.a term of respect, your ladyship, exalted 2.direction 3.gracefully walk 4.grant 5.invitation 6.eyelashes
The exalted beloved is walking gracefully towards the poet/lover of her own accord and granting him a kind look (with her eyes/eyelashes) extending an invitation to him!
4
phir vo dil ka mere ishq-e mah-e-taabaaN1 hona
noor2-e sad-raNg3 har ek samt4 numaayaaN5 hona 1.bright/full moon 2.brilliance 3.hundred colours, colourful, beautiful 4.directions 5.emerge, spread
I think that this she’r follows from the previous one … IF he were to gain access to the beloved then his heart would shine like the full moon because of his love and colourful brilliance would spread in all directions.
5
mezbaaN-dil1 meN mere aap ka mehmaaN2 hona
goya3 kul4 bahr5 ka ek qatre6 meN pinhaaN7 hona 1.heart that is a welcoming host 2.guest 3.as if 4.total, all 5.ocean 6.drop 7.hidden, contained
Your becoming a guest in my welcoming heart is as if the whole ocean is contained in a drop.
6
aadmi hona nahiN hai, na hai insaaN hona
farz1 hai husn2 ki tafreeh3 ka saamaaN4 hona 1.duty 2.beauty, beloved 3.entertainment 4.means
This is a play on Ghalib’s misra … aadmi ko bhi mai’assar nahiN insaaN hona, where ‘aadmi’ implies just basic biological existence and ‘insaaN’ requires a higher condition of humanity. Here the poet seems to say that it neither necessary to be one nor the other but it is the duty of the lover to be means of entertainment of the beloved.
7
maiN aur gustaaKhi1-e ishq aap se, tauba-tauba2meri qismat meN to tha banda3-e ehsaaN4 hona 1.disrespect, daring, insolence 2.I beg forgiveness 3.slave 4.benevolence
Me and dare to express love for you, may I be forgiven. My fate was only to be a slave of your benevolence i.e., hang around for any favours that you might choose to show.
8
itna kah dena keh rahbar1 bhi hai furqat2 ka shikaar3un se do-chaar4 agar5 baad6-e bahaaraaN7 hona 1.pen-name of the poet 2.separation 3.prey, victim 4.encounter, meet, come across 5.if 6.breeze 7.spring
O spring breeze, if you encounter the beloved, tell her this much, that rahbar too is suffering from being the victim of separation from you.
jitendra mohan sinha rahbar (1911-1930), bijnaur, UP. Grew up in an orthodox arya samaaji family with emphasis on learning hindi and sanskrit, but his father himself knew urdu and corresponded with his family in urdu. Uncle was shaa’er. Learnt English at school and taught himself urdu and later blossomed into an urdu shaa’er. Jailed for participating in the freedom movement. Upon release, taught in a school in rural UP and later English literature in a college in lukhnow. This Ghazal composed in the zamin of Ghalib’s ‘aadmi ko bhi mai’assar nahiN insaaN hona’ is linked to Ghalib naqsh-e qadam.
1
ho gaya aapko manzoor1 mehrbaaN2 hona
raNg laaya3 ye mera be-sar-o-saamaaN4 hona
1.acceptable 2.kind, benevolent 3.raNg laana is an expression meaning-bear fruit, bring results 4.without any means, utterly helpless
The poet/lover in the intensity of his passion has neglected all other aspects of his life and has become utterly helpless. The beloved has pity on him and shows some kindness. He is delighted that his be-sar-o-saamaani – helplessness has borne fruit.
2
vaah, har mushkil1-e majboor2 ka aasaaN3 hona
aapka mere dast-ba-daamaaN4 hona
1.difficulty 2.oppressed, helpless 3.solved, easy 4.hand grasping the hem of the robe means able to access and appeal
Catching hold of the hem of the robe means gaining access to someone and being able to appeal/beg and put forward their case. But the second misra is not entirely clear. It can mean either that the poet/lover has gained access to the beloved or it can mean IF he gains access. Thus, bravo, every difficulty of this helpless one will be solved if he were able to grasp the hem of the beloved’s robe and appeal to her.
3
Khud-ba-daulat1 ka meri samt2 KharaamaaN3 hona
phir ata4 dil ko mere daavat5-e mizshgaaN6 hona
1.a term of respect, your ladyship, exalted 2.direction 3.gracefully walk 4.grant 5.invitation 6.eyelashes
The exalted beloved is walking gracefully towards the poet/lover of her own accord and granting him a kind look (with her eyes/eyelashes) extending an invitation to him!
4
phir vo dil ka mere ishq-e mah-e-taabaaN1 hona
noor2-e sad-raNg3 har ek samt4 numaayaaN5 hona
1.bright/full moon 2.brilliance 3.hundred colours, colourful, beautiful 4.directions 5.emerge, spread
I think that this she’r follows from the previous one … IF he were to gain access to the beloved then his heart would shine like the full moon because of his love and colourful brilliance would spread in all directions.
5
mezbaaN-dil1 meN mere aap ka mehmaaN2 hona
goya3 kul4 bahr5 ka ek qatre6 meN pinhaaN7 hona
1.heart that is a welcoming host 2.guest 3.as if 4.total, all 5.ocean 6.drop 7.hidden, contained
Your becoming a guest in my welcoming heart is as if the whole ocean is contained in a drop.
6
aadmi hona nahiN hai, na hai insaaN hona
farz1 hai husn2 ki tafreeh3 ka saamaaN4 hona
1.duty 2.beauty, beloved 3.entertainment 4.means
This is a play on Ghalib’s misra … aadmi ko bhi mai’assar nahiN insaaN hona, where ‘aadmi’ implies just basic biological existence and ‘insaaN’ requires a higher condition of humanity. Here the poet seems to say that it neither necessary to be one nor the other but it is the duty of the lover to be means of entertainment of the beloved.
7
maiN aur gustaaKhi1-e ishq aap se, tauba-tauba2meri qismat meN to tha banda3-e ehsaaN4 hona
1.disrespect, daring, insolence 2.I beg forgiveness 3.slave 4.benevolence
Me and dare to express love for you, may I be forgiven. My fate was only to be a slave of your benevolence i.e., hang around for any favours that you might choose to show.
8
itna kah dena keh rahbar1 bhi hai furqat2 ka shikaar3un se do-chaar4 agar5 baad6-e bahaaraaN7 hona
1.pen-name of the poet 2.separation 3.prey, victim 4.encounter, meet, come across 5.if 6.breeze 7.spring
O spring breeze, if you encounter the beloved, tell her this much, that rahbar too is suffering from being the victim of separation from you.
The post be-sar-o-saamaaN hona – jitendra mohan sinha rahbar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/mrshd-duniya-ko-gumaaN-aur-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
دنیا کو گماں اور۔منشی رگھوناتھ سنگھ ہاجرؔ دہلوی
۱
وہ ناز و نزاکت کا دکھاتے ہیں سماں اور
کر تی ہے نکلنے میں تغافل مری جاں اور
۲
ملتے ہیں تغافل سے محبت کے نشاں اور
ہوتا ہے تیرے کھنچنے سے دنیا کو گماں اور
۳
کیا آپ کی باتوں کا زمانے کو بھروسہ
کہتی ہے ادا اور نظر اور زباں اور
۴
کرتا ہے جفاؤں سے تیری عشق ترقی
ہوتی ہے طبعیت غمِ فرقت سے جواں ہوں
۵
دل پہلے گنوایا تو کیا عشق کا سودا
اب اس پہ ستاتا ہے غمِ سود و زیاں اور
۶
کیا خاک پسند آئے مجھے دہر کی رنگت
اِک میرے تصوّر میں ہے تصویرِ جہاں اور
۷
ہم اِن کو چھڑاتے ہیں خمِ زلف سے جتنا
اتنا ہی الجھتے ہیں الٰہی دل و جاں اور
۸
وہ مائلِ بیداد تو مشتاقِ ستم ہم
ہیں ڈھنگ محبت کے یہاں اور وہاں اور
۹
درمان سے گھٹتا ہے کہیں دردِ محبت
ہوتا ہوں تیرے لطف سے مصروفِ فغاں اور
۱۰
بھولے سے نہ جانا کبھی بازارِ وفا میں
ہوتا ہے وہاں نفع کی حسرت میں زیاں اور
۱۱
چھپتی ہے چھپانے سے کبھی رغبت و نفرت
ہے پیار کی بات اور عداوت کی زباں اور
۱۲
اے وصل کی امید میرے دل سے نکل جا
تو دیکھ زمانے میں کہیں جا کے مکاں اور
۱۳
دل تو نگۂ ناز تیری لے ہی چکی ہے
باقی ہے ابھی عشق میں اندیشۂ جاں اور
۱۴
مرنا بھی اگر چاہیں تو ہم مر نہیں سکتے
قسمت میں اٹھانے ہیں ابھی نازِ بتاں اور
۱۵
سننے کو تو سن لیتے وہ افسانۂ فرقت
افسوس کہ مجھ کو ہی نہ تھی تابِ بیاں اور
۱۶
یہ رازِ محبت بھی عجب راز ہے ہاجرؔ
جب اس کو چھپاؤ تو یہ ہوتا ہے عیاں اور
दुनिया को गुमां और-मुंशी रघुनाथ सिंघ हाजेर देहलवी
१
वो नाज़ ओ नज़ाकत का दिखाते हैं समां और
करती है निकलने में तग़ाफ़ुल मेरी जां और
२
मिलते हैं तग़ाफ़ुल से मोहब्बत के निशां और
होता है तेरे खिंचने से दुनिया को गुमां और
३
क्या आपकी बातौं का ज़माने को भरोसा
कहती है अदा और नज़र और ज़बां और
४
करता है जफ़ाऔं से तेरी इश्क़ तरक़्क़ी
होती है तबीयत ग़म-ए फ़ुर्क़त से जवां और
५
दिल पहले गंवाया तो किया इश्क़ का सौदा
अब उस पे सताता है ग़म-ए सूद ओ ज़ियां और
६
क्या ख़ाक पसंद आए मुझे दहर की रंगत
एक मेरे तसव्वुर में है तस्वीर-ए जहां और
७
हम उनको छुढाते हैं ख़म-ए ज़ुल्फ़ से जितना
उतना ही उलझते हैं इलाही दिल ओ जां और
८
वो मा’एल-ए बेदाद तो मुश्ताक़-ए सितम हम
हैं ढंग मोहब्बत के यहां और वहां और
९
दरमान से घटता है कहीं दर्द-ए मोहब्बत
होता हूं तेरे लुत्फ़ से मस्रूफ़-ए फ़ोग़ां और
१०
भूले से ना जाना कभी बाज़ार-ए वफ़ा में
होता है वहां नफ़’अ की हस्रत में ज़ियां और
११
छुपती है छुपाने से कहीं रग़्बत ओ नफ़्रत
है प्यार की बात और अदावत की ज़बां और
१२
अए वस्ल की उम्मीद मेरे दिल से निकल जा
तू देख ज़माने में कहीं जा के मकां और
१३
दिल तो निगह-ए नाज़ तेरी ले ही चुकी है
बाक़ी है अभी इश्क़ में अंदेशा-ए जां और
१४
मरना भी अगर चाहे तो हम मर नहीं सकते
क़िस्मत में उठाने हैं अभी नाज़-ए बुतां और
१५
सुनने को तो सुन लेते वो अफ़्साना-ए फ़ुर्क़त
अफ़्सोस के मुझको ही न थी ताब-ए बयां और
१६
ये राज़-ए मोहब्बत भी अजब राज़ है हाजेर
जब उसको छुपाओ तो ये होता है अयां और
Click here for background and on any passage for word meanings and explanatory discussion. munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘andaaz-e bayaaN aur’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
vo naaz1 o nazaakat2 ka dikhaate haiN samaaN3 aur
karti hai nikalne meN taGhaaful4 meri jaaN aur 1.coquetry, style 2.delicacy, grace 3.scene 4.neglect, used here to mean delay
As the poet/lover lies on his deathbed, drawing his last breath, the beloved enters the room with such grace and style that the poet’s soul is held back, not yet ready to depart.
2
milte haiN taGhaaful1 se mohabbat ke nishaaN2 aur
hota hai tere khiNchne3 se duniya ko gumaaN4 aur 1.neglect, ignore 2.clues, signs 3.withdrawing, pulling back 4.suspicion
Although the beloved appears to neglect the poet/lover, he is convinced that this is just an act and that she truly loves him. He sees signs of love in her seemingly neglectful behavior. However, to the rest of the world, her absence may give rise to other suspicions, as they are unaware of the truth of the situation.
3
kya aap ki baatoN ka zamaane ko bharosa1kahti hai ada2 aur, nazar3 aur, zabaaN4 aur 1.trust 2.style 3.glance 4.tongue, words
How can the world trust your words. Your style/attitude says something, your glance says something else, and your words are different again. If we continue the same thought as in the previous she’r, the beloved denies being in love with poet but her attitude and glance say something else. In such an interpretation, it is difficult to see where the ‘zamaana’ comes in unless the poet includes himself in the ‘general mistrust’. It could also be a reference to the convention that the beloved always promises to meet sometime in the future, but her attitude shows that she is not going to keep her promise.
4
karta hai jafaaoN1 se teri, ishq taraqqi2
hoti hai tabiiyat3 Gham-e furqat4 se javaaN5 aur 1.cruelties 2.progress 3.condition, mood 4.separation 5.youthful, vigorous
In the tradition of poetry, the beloved is often portrayed as being cruel to the lover, and the lover sees this as a sign of love and even finds pleasure in it. One way the beloved may express cruelty is by staying away, and this separation can actually serve to reinvigorate the lover’s passion and give their love new energy.
5
dil pahle gaNvaaya1 to kiya ishq ka sauda2ab us pe sataata3 hai Gham-e sood4 o ziyaaN5 aur 1.lost, gave away 2.trade 3.bothers 4.profit 5.loss
Here ‘profit and loss’ are used to mean ‘earning a livelihood’. I gave away my heart, trading it for love. Now in addition to the pain of love, I have the toil of earning a livelihood.
6
kya Khaak1 pasand2 aaye mujhe dahr3 ki raNgat4
ek mere tasavvur5 meN hai tasviir-e jahaaN6 aur 1.dust, low value 2.like 3.world 4.colours, ways 5.imagination 6.world
Why would I like the lowly ways of this material world. I picture in my mind the image of a different (spiritual) world.
7
ham in ko chhuRaate haiN Kham1-e zulf2 se jitna
utna hi ulajhte3 haiN ilaahi4 dil o jaaN aur 1.curls 2.hair 3.tangled 4.my god
O god, as much as I try to free up my heart and soul from the curls of the beloved’s hair, they get tangled even more.
8
vo maa’el1-e bedaad2 to mushtaaq3-e sitam4 ham
haiN DhaNg5 mohabbat ke yahaaN aur vahaaN aur 1.inclined 2.cruelty, punishment 3.eager 4.oppression 5.styles, ways
If the beloved is inclined towards punishing me, then I am eager for her cruelty. The style of expressive love is different there (beloved’s) than here (mine).
9
darmaan1 se ghaTta2 haiN kahiN dard3-e mohabbat
hota hai tere lutf4 se masroof5-e fuGhaaN6 aur 1.treatment, remedy 2.reduces 3.pain 4.courtesy, favours 5.busy, engaged in 6.wailing
Does the pain of love ever reduce by use of a remedy! If the beloved offers any kindness or shows any favours, then it (the pain in the heart) engages in even more wailing (presumably asking for more).
10
bhoole1 se na jaana2 kabhi baazaar-e vafa3 meN
hota hai vahaaN naf’a4 ki hasrat5 meN ziyaaN6 aur 1.forgetfulness, unintentionally 2.go, visit 3.fidelity 4.benefit 5.yearning 6.loss
Never step into the bazaar of fidelity even unintentionally i.e., don’t ever promise to be faithful. If you do this expecting that it will be useful, you will end up losing i.e., the beloved will tie you down but will not reciprocate.
11
chhupti hai chhupaane se kahiiN raGhbat1 o nafrat2hai pyaar ki baat aur adaavat3 ki zabaaN4 aur 1.affection, love 2.hatred, anger 3.rivalry, anger 4.tongue, words, accents
Can affection or anger ever be hidden. The expression of love is different from the accents of anger i.e., the poet/lover speaks the language of love and the beloved replies in angry accents. Thus, each is revealing their feelings.
12
aye vasl1 ki ummiid2 mere dil se nikal jaa
tu dekh zamaane3 meN kahiiN jaa ke makaaN4 aur 1.union (with the beloved) 2.hope 3.world 4.dwelling, home
O hope for ever uniting with the beloved, leave my heart and find yourself another place in this wide world i.e., the poet/lover can never hope to achieve union with the beloved.
13
dil to nig’h1-e naaz2 teri le hi chuki hai
baaqi3 hai abhi ishq meN andesha4-e jaaN5 aur 1.glance 2.coquetry 3.remaining 4.danger, fear, vulnerability 5.life
The beloved’s coquettish glance has already stolen the poet/lover’s heart. All that remains is for her to take his life.
14
marna bhi agar chaaheN to ham mar nahiN sakte
qismat meN uThaane haiN abhi naaz1-e butaaN2 aur 1.teasing 2.idols, beauties
Even if I want to die I cannot. I still have to go through some more teasing by the beloved. It is written in my fate.
15
sun’ne ko to sun lete vo afsaana1-e furqat2
afsos3 keh mujh ko hi na thi taab4-e bayaaN5 aur 1.story 2.separation 3.alas 4.strength, courage 5.narration, telling
If the occasion required, she might have been able to hear my woeful tale of separation. Alas, it was I who did not have the courage to narrate the story.
16
ye raaz1-e mohabbat bhi ajab2 raaz1 hai haajir3
jab us ko chhupaao to ye hota hai ayaaN4 aur 1.secret, mystery 2.strange, fascinating 3.pen-name of the poet 4.visible, apparent
The mystery of love is a fascinating mystery, O haajir. The more you try to hide it, the more it becomes apparent.
munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘andaaz-e bayaaN aur’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
vo naaz1 o nazaakat2 ka dikhaate haiN samaaN3 aur
karti hai nikalne meN taGhaaful4 meri jaaN aur
1.coquetry, style 2.delicacy, grace 3.scene 4.neglect, used here to mean delay
As the poet/lover lies on his deathbed, drawing his last breath, the beloved enters the room with such grace and style that the poet’s soul is held back, not yet ready to depart.
2
milte haiN taGhaaful1 se mohabbat ke nishaaN2 aur
hota hai tere khiNchne3 se duniya ko gumaaN4 aur
1.neglect, ignore 2.clues, signs 3.withdrawing, pulling back 4.suspicion
Although the beloved appears to neglect the poet/lover, he is convinced that this is just an act and that she truly loves him. He sees signs of love in her seemingly neglectful behavior. However, to the rest of the world, her absence may give rise to other suspicions, as they are unaware of the truth of the situation.
3
kya aap ki baatoN ka zamaane ko bharosa1kahti hai ada2 aur, nazar3 aur, zabaaN4 aur
1.trust 2.style 3.glance 4.tongue, words
How can the world trust your words. Your style/attitude says something, your glance says something else, and your words are different again. If we continue the same thought as in the previous she’r, the beloved denies being in love with poet but her attitude and glance say something else. In such an interpretation, it is difficult to see where the ‘zamaana’ comes in unless the poet includes himself in the ‘general mistrust’. It could also be a reference to the convention that the beloved always promises to meet sometime in the future, but her attitude shows that she is not going to keep her promise.
4
karta hai jafaaoN1 se teri, ishq taraqqi2
hoti hai tabiiyat3 Gham-e furqat4 se javaaN5 aur
1.cruelties 2.progress 3.condition, mood 4.separation 5.youthful, vigorous
In the tradition of poetry, the beloved is often portrayed as being cruel to the lover, and the lover sees this as a sign of love and even finds pleasure in it. One way the beloved may express cruelty is by staying away, and this separation can actually serve to reinvigorate the lover’s passion and give their love new energy.
5
dil pahle gaNvaaya1 to kiya ishq ka sauda2ab us pe sataata3 hai Gham-e sood4 o ziyaaN5 aur
1.lost, gave away 2.trade 3.bothers 4.profit 5.loss
Here ‘profit and loss’ are used to mean ‘earning a livelihood’. I gave away my heart, trading it for love. Now in addition to the pain of love, I have the toil of earning a livelihood.
6
kya Khaak1 pasand2 aaye mujhe dahr3 ki raNgat4
ek mere tasavvur5 meN hai tasviir-e jahaaN6 aur
1.dust, low value 2.like 3.world 4.colours, ways 5.imagination 6.world
Why would I like the lowly ways of this material world. I picture in my mind the image of a different (spiritual) world.
7
ham in ko chhuRaate haiN Kham1-e zulf2 se jitna
utna hi ulajhte3 haiN ilaahi4 dil o jaaN aur
1.curls 2.hair 3.tangled 4.my god
O god, as much as I try to free up my heart and soul from the curls of the beloved’s hair, they get tangled even more.
8
vo maa’el1-e bedaad2 to mushtaaq3-e sitam4 ham
haiN DhaNg5 mohabbat ke yahaaN aur vahaaN aur
1.inclined 2.cruelty, punishment 3.eager 4.oppression 5.styles, ways
If the beloved is inclined towards punishing me, then I am eager for her cruelty. The style of expressive love is different there (beloved’s) than here (mine).
9
darmaan1 se ghaTta2 haiN kahiN dard3-e mohabbat
hota hai tere lutf4 se masroof5-e fuGhaaN6 aur
1.treatment, remedy 2.reduces 3.pain 4.courtesy, favours 5.busy, engaged in 6.wailing
Does the pain of love ever reduce by use of a remedy! If the beloved offers any kindness or shows any favours, then it (the pain in the heart) engages in even more wailing (presumably asking for more).
10
bhoole1 se na jaana2 kabhi baazaar-e vafa3 meN
hota hai vahaaN naf’a4 ki hasrat5 meN ziyaaN6 aur
1.forgetfulness, unintentionally 2.go, visit 3.fidelity 4.benefit 5.yearning 6.loss
Never step into the bazaar of fidelity even unintentionally i.e., don’t ever promise to be faithful. If you do this expecting that it will be useful, you will end up losing i.e., the beloved will tie you down but will not reciprocate.
11
chhupti hai chhupaane se kahiiN raGhbat1 o nafrat2hai pyaar ki baat aur adaavat3 ki zabaaN4 aur
1.affection, love 2.hatred, anger 3.rivalry, anger 4.tongue, words, accents
Can affection or anger ever be hidden. The expression of love is different from the accents of anger i.e., the poet/lover speaks the language of love and the beloved replies in angry accents. Thus, each is revealing their feelings.
12
aye vasl1 ki ummiid2 mere dil se nikal jaa
tu dekh zamaane3 meN kahiiN jaa ke makaaN4 aur
1.union (with the beloved) 2.hope 3.world 4.dwelling, home
O hope for ever uniting with the beloved, leave my heart and find yourself another place in this wide world i.e., the poet/lover can never hope to achieve union with the beloved.
13
dil to nig’h1-e naaz2 teri le hi chuki hai
baaqi3 hai abhi ishq meN andesha4-e jaaN5 aur
1.glance 2.coquetry 3.remaining 4.danger, fear, vulnerability 5.life
The beloved’s coquettish glance has already stolen the poet/lover’s heart. All that remains is for her to take his life.
14
marna bhi agar chaaheN to ham mar nahiN sakte
qismat meN uThaane haiN abhi naaz1-e butaaN2 aur
1.teasing 2.idols, beauties
Even if I want to die I cannot. I still have to go through some more teasing by the beloved. It is written in my fate.
15
sun’ne ko to sun lete vo afsaana1-e furqat2
afsos3 keh mujh ko hi na thi taab4-e bayaaN5 aur
1.story 2.separation 3.alas 4.strength, courage 5.narration, telling
If the occasion required, she might have been able to hear my woeful tale of separation. Alas, it was I who did not have the courage to narrate the story.
16
ye raaz1-e mohabbat bhi ajab2 raaz1 hai haajir3
jab us ko chhupaao to ye hota hai ayaaN4 aur
1.secret, mystery 2.strange, fascinating 3.pen-name of the poet 4.visible, apparent
The mystery of love is a fascinating mystery, O haajir. The more you try to hide it, the more it becomes apparent.
The post duniya ko gumaaN aur-raghunath siNgh haajir appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/maKhGh-ashaar-meN-muaani-na-sahi-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اشعار میں معنی نہ سہی ۔ مرزا اسداللہ خاں غالبؔ
۱
نہ ہوئی گر مرے مرنے سے تسلّی نہ سہی
امتحاں اور بھی باقی ہو تو یہ بھی نہ سہی
۲
خار خار المِ حسرتِ دیدار تو ہے
شوق گلچینِ گلستانِ تسلّی نہ سہی
۳
مے پرستاں خم مے منہ سے لگائے ہی بنے
ایک دن گر نہ ہوا بزم میں ساقی نہ سہی
۴
نفسِ قیس کہ ہے چشم و چراغِ صحرا
گر نہیں شمعِ سیہ خانۂ لیلی نہ سہی
۵
ایک ہنگامہ پہ موقوف ہے گھر کی رونق
نوحۂ غم ہی سہی نغمۂ شادی نہ سہی
۶
نہ ستائش کی تمنّا نہ صلے کی پروا
گر نہیں ہیں مرے اشعار میں معنی نہ سہی
۷
عشرتِ صحبتِ خوباں ہی غنیمت سمجھو
نہ ہوئی غالبؔ اگر عمرِ طبیعی نہ سہی
अश’आर में मा’नी न सही – मिर्ज़ा असद-उल-लाह ख़ां ग़ालिब
१
न हुई गर मेरे मरने से तसल्ली न सही
इम्तेहाँ और भी बाक़ी हो तो ये भी न सही
२
ख़ार-ख़ार-ए अलम-ए हस्रत-ए दीदार तो है
शौक़ गुल-चीन-ए गुलिस्तान-ए तसल्ली न सही
३
मय-परस्ताँ ख़ुम-ए मय मुँह से लगाए ही बने
एक दिन गर न हुआ बज़्म में साक़ी न सही
४
नफ़स-ए क़ैस के है चश्म-ओ-चराग़-ए सहरा
गर नहीं शम’अ-ए सियह-ख़ाना-ए लैली न सही
५
एक हंगामे पे मौक़ूफ़ है घर की रौनक़
नौहा-ए ग़म ही सही नग़्मा-ए शादी न सही
६
न सताएश की तमन्ना न सिले की पर्वा
गर नहीं हैं मेरे अश’आर में मु’आनी न सही
७
इश्रत-ए सोहबत-ए ख़ूबाँ ही ग़नीमत समझो
न हुई ग़ालिब अगर उम्र-ए तबी’ई न सही
Click here for background and on any passage for word meanings and explanatory discussion. mirza asadullah KhaaN Ghalib (1797-1869). I dare not write any introduction. On more than one occasion Ghalib has warned his readers that he needs no introduction or even address. I humbly comply. This Ghazal dated 1821 is from a period when Ghalib used to compose Ghazal with obscure meanings. It has a she’r (no. 6) that is considered a reapartee to aGha jaan aish dehlavi’s criticism.
1
na hui gar1 mere marne se tasalli2 na sahi
imtehaaN3 aur bhi baaqi4 ho to ye bhi na sahi 1.if 2.tranquility, peace, relief 3.trials 4.remaining
I see ways of interpreting this. (a) The poet/lover has gone through many trials and tribulations hoping to get relief after death. This appears not be the case. He is resigned to the situation. Not getting relief is yet another trial. Thus, if there are more trials remaining that I have to go through, then let this (lack of relief) be another one of those. (b) He has offered to die for her. But she is not satisfied with his death and wants to continue to torture him. Thus, if she is not satisfied with killing me and wants to subject me to more trials, then so be it. (c) The beloved has killed him but is still not satisfied. She is going find ways to torture him even after his death. Thus, if she is not satisfied with just killing me, so be it. If she is going to subject me to more torture, so be it.
2
Khaar-Khaar1-e alam2-e hasrat3-e diidaar4 to hai
shauq5 gul-chiin6-e gulistaan7-e tasalli8 na sahi 1.many thorns, pain 2.sorrow 3.longing 4.sight 5.desire 6.flower picker 7.garden 8.tranquility, delight, joy
‘tasalli’ is like flowers. ‘shauq’ is desire. Desire has not been able to pick flowers from the garden of joy i.e., the poet/lover’s wish has not been realized. What wish? He wanted to be able to see the beloved. So, all he is left with is the pain of the sorrow of the longing of a sight of the beloved. But he treasures that pain because it reminds him of her no matter if he has not been able to get the joy of actually seeing her.
3
mai-parastaaN1 Khum2-e mai3 muNh se lagaa’e hi bane4
ek din gar5 na hua bazm6 meN saaqi na sahi 1.wine worshippers 2.cask, barrel 3.wine 4.can work 5.if 6.gathering
Wine worshippers gather in the tavern and generally would be served wine in cups by the saaqi. But today for some unstated reason, the saaqi has not shown up. They are non-plussed, not knowing what to do. Ghalib suggests that the only way it will work is if they put their lips directly to the barrell. What if the saaqi is absent on one day.
4
nafas1-e qais2 keh hai chashm-o-charaaGh3-e sahra4
gar5 nahiN sham’a6-e siyah-Khaana7-e laili8 na sahi 1.breath 2.another name of majnuN 3.dearly loved, light of the eyes 4.desert 5.if 6.lamp, candle 7.dark tent 8.pronounce laili to comply with qaafiya requirements
qais/majnuN is a mad/passionate lover. His breath is fiery because of his passion. Thus, it is literally the ‘charaaGh-e sahra’ but it is also the beloved of the desert. Thus, he has at least that, what does it matter if he is unable to light up the tent of laila.
5
ek haNgaame1 pe mauqoof2 hai ghar ki raunaq3
nauha4-e Gham hi sahi naGhma5-e shaadi6 na sahi 1.clamour, noise, activity 2.dependent 3.brilliance, happy ambience 4.lamentation 5.song 6.celebration, joy
The ambience of a home depends on some activity of whatever kind. If it cannot be songs of celebration then let it be lamentation of sorrow.
6
na sataa’esh1 ki tamanna2 na sile3 ki parva4
gar5 nahiN haiN mere ash’aar meN mu’aani6 na sahi 1.praise 2.desire, longing 3.compensation, rewards 4.care 5.if 6.meaning
I do not long for praise, nor do I care for rewards. If there is no meaning in my verse, so be it. This is a polite way of saying, if you don’t understand my verse, it is your problem and is generally considered a response to hakim aGha jan aish’s ash’aar (see his Ghazal on this site) criticizing Ghalib for his difficult verse.
7
ishrat1-e sohbat2-e KhoobaaN3 hi Ghaniimat4 samjho
na hui Ghalib agar umr-e-taabi’i5 na sahi 1.pleasure 2.company 3.beauties, great 4.enough, used to mean consider this a blessing 5.expected life-span
Consider it a blessing that you got to spend time in the company of beauties. O Ghalib, what does it matter if you did not live for your expected life-span.
mirza asadullah KhaaN Ghalib (1797-1869). I dare not write any introduction. On more than one occasion Ghalib has warned his readers that he needs no introduction or even address. I humbly comply. This Ghazal dated 1821 is from a period when Ghalib used to compose Ghazal with obscure meanings. It has a she’r (no. 6) that is considered a reapartee to aGha jaan aish dehlavi’s criticism.
1
na hui gar1 mere marne se tasalli2 na sahi
imtehaaN3 aur bhi baaqi4 ho to ye bhi na sahi
1.if 2.tranquility, peace, relief 3.trials 4.remaining
I see ways of interpreting this. (a) The poet/lover has gone through many trials and tribulations hoping to get relief after death. This appears not be the case. He is resigned to the situation. Not getting relief is yet another trial. Thus, if there are more trials remaining that I have to go through, then let this (lack of relief) be another one of those. (b) He has offered to die for her. But she is not satisfied with his death and wants to continue to torture him. Thus, if she is not satisfied with killing me and wants to subject me to more trials, then so be it. (c) The beloved has killed him but is still not satisfied. She is going find ways to torture him even after his death. Thus, if she is not satisfied with just killing me, so be it. If she is going to subject me to more torture, so be it.
2
Khaar-Khaar1-e alam2-e hasrat3-e diidaar4 to hai
shauq5 gul-chiin6-e gulistaan7-e tasalli8 na sahi
1.many thorns, pain 2.sorrow 3.longing 4.sight 5.desire 6.flower picker 7.garden 8.tranquility, delight, joy
‘tasalli’ is like flowers. ‘shauq’ is desire. Desire has not been able to pick flowers from the garden of joy i.e., the poet/lover’s wish has not been realized. What wish? He wanted to be able to see the beloved. So, all he is left with is the pain of the sorrow of the longing of a sight of the beloved. But he treasures that pain because it reminds him of her no matter if he has not been able to get the joy of actually seeing her.
3
mai-parastaaN1 Khum2-e mai3 muNh se lagaa’e hi bane4
ek din gar5 na hua bazm6 meN saaqi na sahi
1.wine worshippers 2.cask, barrel 3.wine 4.can work 5.if 6.gathering
Wine worshippers gather in the tavern and generally would be served wine in cups by the saaqi. But today for some unstated reason, the saaqi has not shown up. They are non-plussed, not knowing what to do. Ghalib suggests that the only way it will work is if they put their lips directly to the barrell. What if the saaqi is absent on one day.
4
nafas1-e qais2 keh hai chashm-o-charaaGh3-e sahra4
gar5 nahiN sham’a6-e siyah-Khaana7-e laili8 na sahi
1.breath 2.another name of majnuN 3.dearly loved, light of the eyes 4.desert 5.if 6.lamp, candle 7.dark tent 8.pronounce laili to comply with qaafiya requirements
qais/majnuN is a mad/passionate lover. His breath is fiery because of his passion. Thus, it is literally the ‘charaaGh-e sahra’ but it is also the beloved of the desert. Thus, he has at least that, what does it matter if he is unable to light up the tent of laila.
5
ek haNgaame1 pe mauqoof2 hai ghar ki raunaq3
nauha4-e Gham hi sahi naGhma5-e shaadi6 na sahi
1.clamour, noise, activity 2.dependent 3.brilliance, happy ambience 4.lamentation 5.song 6.celebration, joy
The ambience of a home depends on some activity of whatever kind. If it cannot be songs of celebration then let it be lamentation of sorrow.
6
na sataa’esh1 ki tamanna2 na sile3 ki parva4
gar5 nahiN haiN mere ash’aar meN mu’aani6 na sahi
1.praise 2.desire, longing 3.compensation, rewards 4.care 5.if 6.meaning
I do not long for praise, nor do I care for rewards. If there is no meaning in my verse, so be it. This is a polite way of saying, if you don’t understand my verse, it is your problem and is generally considered a response to hakim aGha jan aish’s ash’aar (see his Ghazal on this site) criticizing Ghalib for his difficult verse.
7
ishrat1-e sohbat2-e KhoobaaN3 hi Ghaniimat4 samjho
na hui Ghalib agar umr-e-taabi’i5 na sahi
1.pleasure 2.company 3.beauties, great 4.enough, used to mean consider this a blessing 5.expected life-span
Consider it a blessing that you got to spend time in the company of beauties. O Ghalib, what does it matter if you did not live for your expected life-span.
The post ash’aar meN mu’aani na sahi-mirza Ghalib appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/ajad-tum-kaho-aur-doosra-samjhe-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تم کہو اور دوسرا سمجھے ۔ آغا جان عیشؔ دہلوی
۱
ہم اپنی آہ اور سینے کو کیوں جی کیا برا سمجھے
اُسے پرکالۂ آتش، اِسے آتش کدہ سمجھے
۲
ہمیں نا آشنا اور تم عدو کو آشنا سمجھے
ارے او ظالمو! بس صبر ہے، تم سے خدا سمجھے
۳
زبانِ میر سمجھے اور کلامِ میرزا سمجھے
مگر اُن کی زباں وہ آپ سمجھیں، یا خدا سمجھے
۴
اگر اپنا کہا تم آپ ہی سمجھے تو کیا سمجھے
مزا کہنے کا جب ہے تم کہو اور دوسرا سمجھے
۵
خدا حافظ ہے دے بیٹھے ہیں دل ہم اُس کو جو ظالم
نہ رسمِ دلبری جانے، نہ آئینِ وفا سمجھے
۶
ہوئے نیمِ نگہ میں ہم تو خوش اور لے اُڑے وہ دل
وہ سمجھے اپنا مطلب اور ہم اپنا مدّعا سمجھے
۷
کب ہے نیک اور کب ہے بد، اُس کے کیا معنی، اجی جس کو
برا سمجھے، برا سمجھے، بھلا سمجھے، بھلا سمجھے
۸
کیا موقوف لکھنا یک قلم اُس بت کو اِس ڈر سے
خدا جانے میں کیا لکھوں، وہ ظالم کیا کا کیا سمجھے
۹
غرض میری نصیحت سے ہے یہ ناصح کو میں سمجھا
کہ اِس تقریب سے وہ شوخ اُس کو پارسا سمجھے
۱۰
طریقِ عشق بازی میں سنا اے عیشؔ میں وہ ہوں
کہ جس کو کوہکن اُستاد و مجنوں پیشوا سمجھے
तुम कहो और दूसरा समझे – आग़ा जान ऐश देहलवी
१
हम अपनी आह और सीने को क्यूं जी क्या बुरा समझे
उसे परकाला-ए आतिश, इसे आतिश-कदा समझे
२
हमें ना-आश्ना और तुम अदू को आश्ना समझे
अरे ओ ज़ालिमो! बस सब्र है, तुम से ख़ुदा समझे
३
ज़बान-ए मीर समझे और कलाम-ए मीर्ज़ा समझे
मगर उन की ज़बां वो आप समझें या ख़ुदा समझे
४
अगर अपना कहा तुम आप हि समझे तो क्या समझे
मज़ा कहने का जब है तुम कहो और दूसरा समझे
५
ख़ुदा हाफ़ेज़ है दे बैठे हैं दिल हम उन को जो ज़ालिम
न रस्म-ए दिल्बरी जाने न आईन-ए वफ़ा समझे
६
हुए नीम-ए निगह में हम तो ख़ुश और ले उढे वो दिल
वो समझे अपना मतलब और हम अपना मुद्द’आ समझे
७
कब है नेक और कब है बद, उस के क्या मु’आनी, अजी जिस को
बुरा समझे बुरा समझे, भला समझे, भला समझे
८
किया मौक़ूफ़ लिखना यक-क़लम उस बुत को इस डर से
ख़ुदा जाने मैं क्या लिक्खूं, वो ज़ालिम क्या का क्या समझे
९
ग़रज़ मेरी नसीहत से है ये नासेह को मैं समझा
के इस तक़्रीब से वो शूख़ उस को पारसा समझे
१०
तरीक़-ए इशक़-बाज़ी में सुना अए ऐश मैं वो हुं
के जिस को कोहकन उस्ताद ओ मजनूं पेश्वा समझे
Click here for background and on any passage for word meanings and explanatory discussion. hakim aGha jaan aish dehlavi (1779-1874). There are many Ghazal in the same zamin as Ghalib, probably composed in the same mushaa’era. He was a third generation hakim by profession and was personal physician to one of bahadur shah zafar’s sons. He fled dehli in the aftermath of 1857 and years later crawled his way back a decent means of living based on his healing practice. A qita, part of this Ghazal, is critical of the difficult style of Ghalib – ‘aap samjhe ya Khuda samjhe’. But Ghalib had a sharp repartee – ‘gar nahiN haiN mere ash’aar meN mu’aani na sahi’, and they remained very good friends.
1
ham apni aah aur siine ko kyuN ji kya bura samjhe
use parkaala-e-aatish1, ise aatish-kada2 samjhe 1.spark of fire 2.furnace, fire-temple
It appears that ‘kyuN ji’ is used as a colloquial expression of irritation – why should I – expressed to the poet’s intelocutor. Why should I consider my sigh and my bosom to be bad. One is a spark of fire and the other a furnace i.e., his bosom/heart burns with the passion of love and his sighs carry sparks from that fire. It is also possible that ‘aatish-kada’ has implications of fire worship with the beloved as as the object of worship.
2
hameN na-aashna1 aur tum adu2 ko aashna3 samjhe
are o zaalimo4! bas sabr5 hai, tum se Khuda samjhe6 1.stranger 2.enemy, rival 3.intimate, close friend 4.torturers 5.patience i.e., wait for a while 6.an expression meaning – god will deal with you i.e. punish you.
You have thought of me as a stranger and favoured the rival declaring him to be your intimate friend. Just wait for a while and see how god will deal with you. What is interesting is in the second misra he addresses many oppressors. Does this imply that he has had several beloveds and they have all treated him like this. I don’t think so. More likely it is simply to say that all beloveds are like this.
3
zabaan-e miir1 samjhe aur kalaam2-e miirza3 samjhe
magar4 un5 ki zabaaN vo aap samjheN ya Khuda samjhe 1.mir taqi mir 2.verse, poetry 3.mirza raf’ii sauda 4.but 5.it is generally understood that by ‘un/his’ he means Ghalib
mir taqi mir and mirza sauda were both predecessors to aish and Ghalib. Also, Khuda samjhe is used in a completely different sense than in the previous she’r. Here it means ‘only god can know/understand). At this stage of his career Ghalib composed Ghazal that were difficult to understand. This and the next she’r are a direct criticism of Ghalib. Thus, we understand the words of mir taqi mir and writing of mirza sauda. But his words/language – either he can understand or god can. No one else. Ghalib composed a repartee … ‘gar nahiN haiN mere ash’aar meN mu’aani na sahi’.
4
agar1 apna kaha tum aap hi samjhe to kya samjhe2
maza3 kahne ka jab hai tum kaho aur doosra samjhe 1.if 2.a colloquial expression meaning ‘what’s the big deal’ 3.pleasure
If you are the only one who understands what you say, what is the big deal. The pleasure of reciting is when you recite and others understand.
5
Khuda haafez1 hai de baiThe haiN dil ham un ko jo zaalim2
na rasm3-e dilbari4 jaane na aa’iin5-e vafa6 samjhe 1.protect, save 2.cruel, oppressor, beloved 3.traditions, rituals 4.friendship, love 5.conventions, rules 6.fidelity, true to promise, faithful
May god protect me, I have given away my heart to an oppressor who does not know the traditions of love, nor does she recognize the rules of being faithful.
6
hue niim-e-nigah1 meN ham to Khush aur le uRe vo dil
vo samjhe apna matlab2 aur ham apna muddu’aa3 samjhe 1.half glance i.e., sidelong glance 2.interest, motive 3.desire
I was delighted with her sidelong glance and she snatched away my heart. She realized/achieved her interest and I understood this to be my desire.
7
kab hai nek1 aur kab hai bad2, us ke kya mu’aani3, aji4 jis ko
bura samjhe bura samjhe, bhala samjhe, bhala samjhe 1.good, virtuous 2.bad, transgression 3.kya mu’aani is a colloquial expression meaning what is the use of parsing its meaning 4.an informal way of addressing the interlocutor
This is probably addressed to a friend complaining about the arbitrary taste/judgement of the beloved. What is the use of parsing the meaning of what is good and what is bad. Whatever she thinks of as bad is bad, and whatever she thinks of as good is good.
8
kiya mauqoof1 likhnaa yak-qalam2 us but3 ko is Dar se
Khuda jaane maiN kya likkhuN, vo zaalim4 kya ka kya samjhe 1.suspended 2.suddenly 3.idol, beloved 4.oppressor, beloved
I have stopped writing to the beloved for fear that I don’t know what I will write and she might interpret ‘this to mean that’.
9
Gharaz1 meri nasiihat2 se hai ye naaseh3 ko maiN samjha
keh is taqreeb4 se vo shooKh5 us ko paarsa6 samjhe 1.intention, hidden agenda 2.advice, instruction 3.moralizer, preacher 4.undertaking 5.playful, beloved 6.chaste, virtuous
I understand the (hidden) intent of the preacher in advising me. He wants to make sure that through this undertaking the beloved understands him to be a holy/virtuous man.
10
tariiq1-e ishq-baazi2 meN suna aye aish3 maiN vo huN
keh jis ko kohkan4 ustaad o majnuN peshva5 samjhe x
1.ways, methods, practices 2.waging/undertaking love 3.pen-name of the poet 4.mountain breaker an epithet used for farhaad of the shirin-farhaad legend 5.leader
Both ‘farhaad’ and ‘majnuN’ are legendary loves held up as the epitome of devoted love. But the poet claims that even they consider him to be one better. Thus, I hear that because of the ways of my love, O aish, I am that whom farhaad considers to be a teacher and majnuN to be a leader.
hakim aGha jaan aish dehlavi (1779-1874). There are many Ghazal in the same zamin as Ghalib, probably composed in the same mushaa’era. He was a third generation hakim by profession and was personal physician to one of bahadur shah zafar’s sons. He fled dehli in the aftermath of 1857 and years later crawled his way back a decent means of living based on his healing practice. A qita, part of this Ghazal, is critical of the difficult style of Ghalib – ‘aap samjhe ya Khuda samjhe’. But Ghalib had a sharp repartee – ‘gar nahiN haiN mere ash’aar meN mu’aani na sahi’, and they remained very good friends.
1
ham apni aah aur siine ko kyuN ji kya bura samjhe
use parkaala-e-aatish1, ise aatish-kada2 samjhe
1.spark of fire 2.furnace, fire-temple
It appears that ‘kyuN ji’ is used as a colloquial expression of irritation – why should I – expressed to the poet’s intelocutor. Why should I consider my sigh and my bosom to be bad. One is a spark of fire and the other a furnace i.e., his bosom/heart burns with the passion of love and his sighs carry sparks from that fire. It is also possible that ‘aatish-kada’ has implications of fire worship with the beloved as as the object of worship.
2
hameN na-aashna1 aur tum adu2 ko aashna3 samjhe
are o zaalimo4! bas sabr5 hai, tum se Khuda samjhe6
1.stranger 2.enemy, rival 3.intimate, close friend 4.torturers 5.patience i.e., wait for a while 6.an expression meaning – god will deal with you i.e. punish you.
You have thought of me as a stranger and favoured the rival declaring him to be your intimate friend. Just wait for a while and see how god will deal with you. What is interesting is in the second misra he addresses many oppressors. Does this imply that he has had several beloveds and they have all treated him like this. I don’t think so. More likely it is simply to say that all beloveds are like this.
3
zabaan-e miir1 samjhe aur kalaam2-e miirza3 samjhe
magar4 un5 ki zabaaN vo aap samjheN ya Khuda samjhe
1.mir taqi mir 2.verse, poetry 3.mirza raf’ii sauda 4.but 5.it is generally understood that by ‘un/his’ he means Ghalib
mir taqi mir and mirza sauda were both predecessors to aish and Ghalib. Also, Khuda samjhe is used in a completely different sense than in the previous she’r. Here it means ‘only god can know/understand). At this stage of his career Ghalib composed Ghazal that were difficult to understand. This and the next she’r are a direct criticism of Ghalib. Thus, we understand the words of mir taqi mir and writing of mirza sauda. But his words/language – either he can understand or god can. No one else. Ghalib composed a repartee … ‘gar nahiN haiN mere ash’aar meN mu’aani na sahi’.
4
agar1 apna kaha tum aap hi samjhe to kya samjhe2
maza3 kahne ka jab hai tum kaho aur doosra samjhe
1.if 2.a colloquial expression meaning ‘what’s the big deal’ 3.pleasure
If you are the only one who understands what you say, what is the big deal. The pleasure of reciting is when you recite and others understand.
5
Khuda haafez1 hai de baiThe haiN dil ham un ko jo zaalim2
na rasm3-e dilbari4 jaane na aa’iin5-e vafa6 samjhe
1.protect, save 2.cruel, oppressor, beloved 3.traditions, rituals 4.friendship, love 5.conventions, rules 6.fidelity, true to promise, faithful
May god protect me, I have given away my heart to an oppressor who does not know the traditions of love, nor does she recognize the rules of being faithful.
6
hue niim-e-nigah1 meN ham to Khush aur le uRe vo dil
vo samjhe apna matlab2 aur ham apna muddu’aa3 samjhe
1.half glance i.e., sidelong glance 2.interest, motive 3.desire
I was delighted with her sidelong glance and she snatched away my heart. She realized/achieved her interest and I understood this to be my desire.
7
kab hai nek1 aur kab hai bad2, us ke kya mu’aani3, aji4 jis ko
bura samjhe bura samjhe, bhala samjhe, bhala samjhe
1.good, virtuous 2.bad, transgression 3.kya mu’aani is a colloquial expression meaning what is the use of parsing its meaning 4.an informal way of addressing the interlocutor
This is probably addressed to a friend complaining about the arbitrary taste/judgement of the beloved. What is the use of parsing the meaning of what is good and what is bad. Whatever she thinks of as bad is bad, and whatever she thinks of as good is good.
8
kiya mauqoof1 likhnaa yak-qalam2 us but3 ko is Dar se
Khuda jaane maiN kya likkhuN, vo zaalim4 kya ka kya samjhe
1.suspended 2.suddenly 3.idol, beloved 4.oppressor, beloved
I have stopped writing to the beloved for fear that I don’t know what I will write and she might interpret ‘this to mean that’.
9
Gharaz1 meri nasiihat2 se hai ye naaseh3 ko maiN samjha
keh is taqreeb4 se vo shooKh5 us ko paarsa6 samjhe
1.intention, hidden agenda 2.advice, instruction 3.moralizer, preacher 4.undertaking 5.playful, beloved 6.chaste, virtuous
I understand the (hidden) intent of the preacher in advising me. He wants to make sure that through this undertaking the beloved understands him to be a holy/virtuous man.
10
tariiq1-e ishq-baazi2 meN suna aye aish3 maiN vo huN
keh jis ko kohkan4 ustaad o majnuN peshva5 samjhe
1.ways, methods, practices 2.waging/undertaking love 3.pen-name of the poet 4.mountain breaker an epithet used for farhaad of the shirin-farhaad legend 5.leader
Both ‘farhaad’ and ‘majnuN’ are legendary loves held up as the epitome of devoted love. But the poet claims that even they consider him to be one better. Thus, I hear that because of the ways of my love, O aish, I am that whom farhaad considers to be a teacher and majnuN to be a leader.
The post tum kaho aur doosra samjhe-aGha jaan aish dehlavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/mi-sultaan-Tipu-ki-vasiyyat-audio.mp3
Recitation
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/mi-sultaan-Tipu-ki-vasiyat-sanam-marviraahat-faKh.mp3
sanam marvi&raahat f a KhaaN
- اُردو
- देवनागरी
- Roman
- Notes
سلطان ٹیپو کی وصیت – محمد اقبال
۱
تو رہ نوردِ شوق ہے منزل نہ کر قبول
لیلیٰ بھی ہم نشیں ہو تو محمل نہ کر قبول
۲
ائے جوئے آب بڑھ کے ہو دریائے تند و تیز
ساحل تجھے عطا ہو تو ساحل نہ کر قبول
۳
کھویا نہ جا صنم کدۂ کائنات میں
محفل گدُاز! گرمیِ محفل نہ کر قبول
۴
صبح ازل یہ مجھ سے کہا جبرئیل نے
جو عقل کا غلام ہو وہ دِل نہ کر قبول
۵
باطل دوئی پسند ہے، حق لا شریک ہے
شرکت میانۂ حق و باطل نہ کر قبول
सुल्तान टीपू की वसीयत – मुहम्मद एक़्बाल
१
तू रह ए नवर्द ए शौक़ है मंज़िल न कर क़ुबूल
लैला भी हम नशीं हो तो महमिल न कर क़ुबूल
२
अए जू ए आब बढ़ के हो दर्या ए तुंद ओ तेज़
साहिल तुझे अता हो तो साहिल न कर क़ुबूल
३
खोया न जा सनम कदा ए काएनात में
महफ़िल गुदाज़! गर्मी ए महफ़िल न कर क़ुबूल
४
सुबह अज़ल ये मुझ से कहा जिब्रईल ने
जो अक़्ल का ग़ुलाम हो वो दिल न कर क़ुबूल
५
बातिल दुई पसंद है, हक़ ला शरीक है
शिरकत मियाना ए हक़ ओ बातिल न कर क़ुबूल
Click here for background and on any passage for word meanings and explanatory discussion. mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts. Here he pays tribute to the courage and self-reliance of sultan Tipu, composed as his legacy for us.
1
tu rah1 navard-e-shauq2 hai manzil3 na kar qubool4laila5 bhi ham nashiN6 ho to mahmil7 na kar qubool 1.path 2.wandering (in search of) desire (goal) 3.destination 4.accept 5.as in laila-majnuN 6.seated next to 7.a “palanquin” atop a camel
You are a traveler on the path of desire, do not accept destination (this is a call for constant struggle). Even if laila is seated next to you do not accept a seat in the mahmil (laila and mahmil are used as metaphors for temptations/rest).
2
aye joo-e-aab8 baRh ke ho darya-e tund-o-tez9saahil10 tujhe ata11 ho to saahil na kar qubool 8.river of flowing water 9.fast and fast 10.shore 11.grant
O stream, gather strength and speed to become a mighty river. Do not even accept a shore, if it is offered to you. iqbal has often used ‘stream’ as a metaphor for struggling humans and limitless ocean as a metaphor for the divine.
3
khoya na ja sanam kada1 e kaayenat2 meN
mahfil gudaaz3! garmi-e-mahfil4 na kar qubool 1.house of idols, pleasures 2.creation 3.pleasureable/soft/luxurious gathering 4.festivities of the gathering
Don’t get lost in the house of pleasures that is this creation (the material world). However pleasurable these gatherings may be, do not accept their festive offerings.
4
subah azal5 ye mujh se kaha jibra’eel6 ne
jo aql ka Ghulam7 ho vo dil8 na kar qubool 1.dawn of the beginning (of creation) 6.Gabriel 7.slave to reason 8.literally heart, used here as a metaphor for spirituality/faith – see Iqbal’s “aql o dil”.
At the dawn of creation, Gabriel said to me, do not accept spirituality/faith that is slave to reason i.e. faith/belief is superior to reason. Editorial comment – once again iqbal puts reason down, in preference to (blind) faith!
5
baatil1 duii2 pasand hai, haq3 la-shareek4 hai
shirkat5 miyaana6 e haq o baatil na kar qubool 1.falsehood 2.duality, ambiguity 3.truth, righteousness 4.without admixture 5.mixing 6.between
Falsehood loves ambiguity, truth is absolute. Do not accept mixing between truth and falsehood. Editorial comment – “absolute truth”, at least, thinking that we know absolute truth, goes completely against the grain of skepticism … see my ‘tashkeek’.
mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts. Here he pays tribute to the courage and self-reliance of sultan Tipu, composed as his legacy for us.
1
tu rah1 navard-e-shauq2 hai manzil3 na kar qubool4laila5 bhi ham nashiN6 ho to mahmil7 na kar qubool
1.path 2.wandering (in search of) desire (goal) 3.destination 4.accept 5.as in laila-majnuN 6.seated next to 7.a palanquin atop a camel
You are a traveler on the path of desire, do not accept destination (this is a call for constant struggle). Even if laila is seated next to you do not accept a seat in the mahmil (laila and mahmil are used as metaphors for temptations/rest).
2
aye joo-e-aab8 baRh ke ho darya-e tund-o-tez9saahil10 tujhe ata11 ho to saahil na kar qubool
8.river of flowing water 9.fast and fast 10.shore 11.grant
O stream, gather strength and speed to become a mighty river. Do not even accept a shore, if it is offered to you. iqbal has often used ‘stream’ as a metaphor for struggling humans and limitless ocean as a metaphor for the divine.
3
khoya na ja sanam kada1 e kaa’enat2 meN
mahfil gudaaz3! garmi-e-mahfil4 na kar qubool
1.house of idols, pleasures 2.creation 3.pleasureable/soft/luxurious gathering 4.festivities of the gathering
Don’t get lost in the house of pleasures that is this creation (the material world). However pleasurable these gatherings may be, do not accept their festive offerings.
4
subah azal5 ye mujh se kaha jibra’eel6 ne
jo aql ka Ghulam7 ho vo dil8 na kar qubool
- dawn of the beginning (of creation) 6.Gabriel 7.slave to reason 8.literally heart, used here as a metaphor for spirituality/faith – see Iqbal’s “aql o dil”.
At the dawn of creation, Gabriel said to me, do not accept spirituality/faith that is slave to reason i.e. faith/belief is superior to reason. Editorial comment – once again iqbal puts reason down, in preference to (blind) faith!
5
baatil1 duii2 pasand hai, haq3 la-shareek4 hai
shirkat5 miyaana6 e haq o baatil na kar qubool
1.falsehood 2.duality, ambiguity 3.truth, righteousness 4.without admixture 5.mixing 6.between
Falsehood loves ambiguity, truth is absolute. Do not accept mixing between truth and falsehood. Editorial comment – “absolute truth”, at least, thinking that we know absolute truth, goes completely against the grain of skepticism … see my ‘tashkeek’.
The post sultaan Tipu ki vasi’at-mohammed iqbal appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/ahm-Tipu-ki-aavaaz-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ٹیپو کی آواز ۔ آلِ احمد سرورؔ
۱
گو رات کی جبیں سے سیاہی نہ دھل سکی
لیکن مرا چراغ برابر جلا کیا
۲
جس سے دلوں میں اب بھی حرارت کی ہے نمود
برسوں مری لحد سے وہ شعلہ اٹھا کیا
۳
پھیکا ہے جس کے سامنے عکسِ جمالِ یار
عزمِ جواں کو میں نے وہ غازہ عطا کیا
۴
میرے لہو کی بوند میں غلطاں تھیں بجلیاں
خاکِ دکن کو میں نے شرر آشنا کیا
۵
ساحل کی آنکھ میں مگر آئی نہ کچھ کمی
دریا میں لاکھ لاکھ تلاطم ہوا کیا
۶
خواب گراں سے غنچوں کی آنکھیں نہ کھل سکیں
گو شاخِ گل سے نغمہ برابر اٹھا کیا
۷
یہ بزم ایسی سوئی کہ جاگی نہ آج تک
فطرت کا کارواں ہے کہ آگے بڑھا کیا
۸
مارا ہوا ہوں گو خلشِ اِنتظار کا
مشتاق آج بھی ہوں پیامِ بہار کا
टीपू की आवाज़ – आल-ए अहमद सुरूर
१
गो रात की जबीं से सियाही न धुल सकी
लेकिन मेरा चराग़ बराबर जला किया
२
जिस से दिलों में अब भी हरारत की है नुमूद
बरसों मेरी लहद से वो शो’ला उठा किया
३
फीका है जिस के सामने अक्स-ए जमाल-ए यार
अज़्म-ए जवाँ को मैं ने वो ग़ाज़ा अता किया
४
मेरे लहू की बूँद में ग़लताँ थीं बिजलियाँ
ख़ाक-ए दकन को मैं ने शरर-आश्ना किया
५
साहिल की आँख में मगर आई न कुछ कमी
दर्या में लाख लाख तलातुम हुआ किया
६
ख़्वाब-ए गिराँ से ग़ुंचों की आँखें न खुल सकीं
गो शाख़-ए गुल से नग़्मा बराबर उठा किया
७
ये बज़्म ऐसी सोई के जागी न आज तक
फ़ितरत का कारवाँ है के आगे बढ़ा किया
८
मारा हुआ हूँ गो ख़लिश-ए इंतेज़ार का
मुश्ताक़ आज भी हूँ पयाम-ए बहार का
Click here for background and on any passage for word meanings and explanatory discussion. aal-e ahmad suroor (1911-2002) academic, critic, writer, editor and poet. MA in English and urdu literature. He taught at aligaRh and lakhnau universities, serving as head of the department of urdu at aligaRh. He was associated with, if not an active member of the Progressive Writers’ Association. His poetic compositions tend to be thoughtful and philosophical. Here he pays full-throated tribute to Tipu sultan.
1
go1 raat ki jabiN2 se siyaahi3 na dhul saki
laikin mera charaaGh4 baraabar jala kiya 1.even though 2.forehead, brow 3.darkness 4.lamp
Even though the darkness on the brow of the night has not been washed out, my lamp continues to burn and light up the dark night.
2
jis se diloN meN ab bhi haraarat1 ki hai numood2
barsoN3 meri lahad4 se vo sho’la5 uTha kiya 1.heat, passion 2.manifestation, appearance 3.years 4.grave, tomb 5.flame
For many years now the flame that rises from my grave has emerged as an expression of passion from young hearts.
3
phiika1 hai jis ke saamne aks2-e jamaal3-e yaar4
azm5-e javaaN6 ko maiN ne vo Ghaaza7 ata8 kiya 1.pale, dull 2.image 3.beauty, glory 4.beloved 5.resolve, determination 6.youthful, vigorous 7.rouge, face make-up, brilliance 8.grant
I have granted such a brilliance to the face of youthful determination that before this the beauty of the beloved goes pale.
4
mere lahu1 ki buuNd2 meN GhaltaaN3 thiiN bijliyaaN4
Khaak5-e dakan ko maiN ne sharar-aashna6 kiya 1.blood 2.drop 3.rolling in 4.lightning 5.soil, land 6.familiar with sparks (of energy)
Flashes of lightning rolled in every drop of my blood. I granted sparks of energy to the land of the dakkan.
5
saahil1 ki aaNkh2 meN magar aaii na kuchh kami
dariya3 meN laakh laakh talaatum4 hua kiya 1.shore 2.eyes, sight, vision 3.sea 4.disturbance, storm
Even though many storms rose from the sea, there was no reduction in the vision from the shores (I could see my goal through the storms).
6
Khwaab-e-giraaN1 se GhunchoN2 ki aaNkheN na khul sakiN
go3 shaaKh-e-gul4 se naGhma5 baraabar uTha kiya 1.heavy slumber, deep sleep 2.unopened flower buds 3.even though 4.flower laden bough 5.song
The unopened flower buds did not awake from their deep sleep even though songs rose from the flower laden bough constantly i.e., I called all of India to resist British rule but they did not wake up to reality.
7
ye bazm1 aisi soi keh jaagi na aaj tak
fitrat2 ka kaarvaaN3 hai keh aage baRha kiya 1.gathering, society, homeland 2.nature 3.caravan
The homeland slept such a sleep that it has not woken up to this day even though the caravan of nature (the world) has moved forward.
8
maara hua huN go1 Khalish2-e intezaar3 ka
mushtaaq4 aaj bhi huN payaam5-e bahaar6 ka 1.even though 2.pain, anxiety 3.waiting, anticipating 4.eager 5.message 6.spring
Even though I have been killed by the anxiety of waiting (for the end of colonialism), I am to this day eager for the message/news of the arrival of spring.
aal-e ahmad suroor (1911-2002) academic, critic, writer, editor and poet. MA in English and urdu literature. He taught at aligaRh and lakhnau universities, serving as head of the department of urdu at aligaRh. He was associated with, if not an active member of the Progressive Writers’ Association. His poetic compositions tend to be thoughtful and philosophical. Here he pays full-throated tribute to Tipu sultan.
1
go1 raat ki jabiN2 se siyaahi3 na dhul saki
laikin mera charaaGh4 baraabar jala kiya
1.even though 2.forehead, brow 3.darkness 4.lamp
Even though the darkness on the brow of the night has not been washed out, my lamp continues to burn and light up the dark night.
2
jis se diloN meN ab bhi haraarat1 ki hai numood2
barsoN3 meri lahad4 se vo sho’la5 uTha kiya
1.heat, passion 2.manifestation, appearance 3.years 4.grave, tomb 5.flame
For many years now the flame that rises from my grave has emerged as an expression of passion from young hearts.
3
phiika1 hai jis ke saamne aks2-e jamaal3-e yaar4
azm5-e javaaN6 ko maiN ne vo Ghaaza7 ata8 kiya
1.pale, dull 2.image 3.beauty, glory 4.beloved 5.resolve, determination 6.youthful, vigorous 7.rouge, face make-up, brilliance 8.grant
I have granted such a brilliance to the face of youthful determination that before this the beauty of the beloved goes pale.
4
mere lahu1 ki buuNd2 meN GhaltaaN3 thiiN bijliyaaN4
Khaak5-e dakan ko maiN ne sharar-aashna6 kiya
1.blood 2.drop 3.rolling in 4.lightning 5.soil, land 6.familiar with sparks (of energy)
Flashes of lightning rolled in every drop of my blood. I granted sparks of energy to the land of the dakkan.
5
saahil1 ki aaNkh2 meN magar aaii na kuchh kami
dariya3 meN laakh laakh talaatum4 hua kiya
1.shore 2.eyes, sight, vision 3.sea 4.disturbance, storm
Even though many storms rose from the sea, there was no reduction in the vision from the shores (I could see my goal through the storms).
6
Khwaab-e-giraaN1 se GhunchoN2 ki aaNkheN na khul sakiN
go3 shaaKh-e-gul4 se naGhma5 baraabar uTha kiya
1.heavy slumber, deep sleep 2.unopened flower buds 3.even though 4.flower laden bough 5.song
The unopened flower buds did not awake from their deep sleep even though songs rose from the flower laden bough constantly i.e., I called all of India to resist British rule but they did not wake up to reality.
7
ye bazm1 aisi soi keh jaagi na aaj tak
fitrat2 ka kaarvaaN3 hai keh aage baRha kiya
1.gathering, society, homeland 2.nature 3.caravan
The homeland slept such a sleep that it has not woken up to this day even though the caravan of nature (the world) has moved forward.
8
maara hua huN go1 Khalish2-e intezaar3 ka
mushtaaq4 aaj bhi huN payaam5-e bahaar6 ka
1.even though 2.pain, anxiety 3.waiting, anticipating 4.eager 5.message 6.spring
Even though I have been killed by the anxiety of waiting (for the end of colonialism), I am to this day eager for the message/news of the arrival of spring.
The post Tipu ki aavaaz-aal-e ahmad suroor appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/ahm-tajalli-ki-sahr-ho-kar-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تجلّی کی سحر ہو کر ۔ اسرار الحق مجازؔ
۱
یونہی بیٹھے رہو بس دردِ دل سے بے خبر ہو کر
بنو کیوں چارہ گر تم کیا کروگے چارہ گر ہو کر
۲
دکھا دے ایک دن اے حسنِ رنگیں جلوہ گر ہو کر
وہ نظارہ جو اِن آنکھوں میں رہ جائے نظر ہو کر
۳
دلِ سوز آشنا کے جلوے تھے جو منتشر ہو کر
فضائے دہر میں چمکا کئے برق و شرر ہو کر
۴
وہی جلوے جو اک دن دامن دل سے گریزاں تھے
نظر میں رہ گئے گل ہائے دامانِ نظر ہو کر
۵
فلک کی سمت کس حسرت سے تکتے ہیں معاذ اللہ
یہ نالے نارسا ہو کر یہ آہیں بے اثر ہو کر
۶
یہ کس کے حسن کے رنگین جلوے چھائے جاتے ہیں
شفق کی سرخیاں بن کر تجلّی کی سحر ہو کر
तजल्ली की सहर हो कर – अस्रार-उल-हक़ मजाज़
१
यूँही बैठे रहो बस दर्द-ए दिल से बे-ख़बर हो कर
बनो क्यूँ चारागर तुम क्या करोगे चारागर हो कर
२
दिखा दे एक दिन अए हुस्न-ए रंगीं जल्वा-गर हो कर
वो नज़्ज़ारा जो इन आँखों में रह जाए नज़र हो कर
३
दिल-ए सोज़-आश्ना के जल्वे थे जो मुंतशर हो कर
फ़ज़ा-ए दहर में चमका किए बर्क़ ओ शरर हो कर
४
वही जल्वे जो एक दिन दामन-ए दिल से गुरेज़ाँ थे
नज़र में रह गए गुल-हा-ए दामान-ए नज़र हो कर
५
फ़लक की सम्त किस हस्रत से तकते हैं म’आज़-अल्लाह
ये नाले ना-रसा हो कर ये आहें बे-असर हो कर
६
ये किस के हुस्न के रंगीन जल्वे छाए जाते हैं
शफ़क़ की सुर्ख़ियाँ बन कर तजल्ली की सहर हो कर
Click here for background and on any passage for word meanings and explanatory discussion. asrar-ul haq majaz (1911-1955) was progressive as well as romantic poet, a heartthrob. He received his BA from aligaRh after interruptions in earlier schooling. He developed close relationships with progressives and was a major force in the Progressive Writers’ Association. He lived in aligaRh, dehli and lucknow working for radio stations, editing magazines on and off but with no steady income. He met with a rather tragic end at the young age of 44. This Ghazal is a celebration of the arrival of the dawn of social justice.
1
yuNhi baiThe raho bas dard-e dil se be-Khabar1 ho kar
bano kyuN chaaragar2 tum kya karoge chaaragar2 ho kar 1.unaware, oblivious 2.healer
This is addressed in sarcasm and bitterness to the ruling class. Sit comfortably, oblivious to the pain (of the masses). Why would you become a healer (you are comfortable in your own lifestyle), what would you do by becoming a healer.
2
dikha de ek din aye husn1-e raNgiiN2 jalva-gar3 ho kar
vo nazzara4 jo in aaNkhoN meN rah jaa’e nazar5 ho kar 1.beauty 2.colourful 3.manifest 4.sight, scene 5.vision
Here ‘husn-e raNgiiN-colourful beauty’ is the beauty of the socialist order. The poet/progressive is calling upon this beauty to manifest itself one of these days. Show us the sight that will remain in our eyes like a vision/dream (of justice).
3
dil-e soz1-ashna2 ke jalve3 the jo muntashir4 ho kar
faza5-e dahr6 meN chamka kiye barq7 o sharar8 ho kar 1.fire, pain 2.familiar with 3.images, visions, dreams 4.scattered, distributed 5.atmosphere, ambience 6.world 7.lightning 8.spark
The heart (of the oppressed masses) had visions of justice. But these visions were scattered and isolated, shining now and then in this world like lightning flash here and a spark there.
4
vahi jalve1 jo ek din daaman2-e dil se gurezaaN3 the
nazar4 meN rah ga’e gul-haa5-e daamaan-e-nazar6 ho kar 1.images, visions 2.hem of the robe, possession, domain 3.running away 4.sight 5.roses 6.domain of visions/dreams
The same visions (hopes) that had escaped the domain of the heart, came back into sight like roses in the domain of vision (instead of being scattered here and there like momentary flashes and sparks) i.e., a coherent vision of the future developed.
5
falak1 ki samt2 kis hasrat3 se takte4 haiN m’aaz-allah5
ye naale6 na-rasa7 ho kar ye aahen8 be-asar9 ho kar 1.skies, heaven 2.towards 3.longing, hope 4.stare, gaze 5.god save us 6.wailing 7.unable to reach 8.sighs 9.ineffective
The oppressed masses (god help them) gaze towards the heavens, with wails and sighs that are ineffective and unable to reach there.
6
ye kis ke husn1 ke raNgiin2 jalve3 chhaa’e jaate haiN
shafaq4 ki surKkiyaaN5 ban kar tajalli6 ki sahar7 ho kar 1.beauty 2.colourful 3.images 4.horizon 5.redness 6.brilliance 7.dawn
In progressive urdu poetry, redness of the horizon and the dawn of brilliance are all metaphors for the coming of socialism. Whose images of colourful beauty are these that are spread all over us like the redness of the horizon and the dawn of brilliance.
asrar-ul haq majaz (1911-1955) was progressive as well as romantic poet, a heartthrob. He received his BA from aligaRh after interruptions in earlier schooling. He developed close relationships with progressives and was a major force in the Progressive Writers’ Association. He lived in aligaRh, dehli and lucknow working for radio stations, editing magazines on and off but with no steady income. He met with a rather tragic end at the young age of 44. This Ghazal is a celebration of the arrival of the dawn of social justice.
1
yuNhi baiThe raho bas dard-e dil se be-Khabar1 ho kar
bano kyuN chaaragar2 tum kya karoge chaaragar2 ho kar
1.unaware, oblivious 2.healer
This is addressed in sarcasm and bitterness to the ruling class. Sit comfortably, oblivious to the pain (of the masses). Why would you become a healer (you are comfortable in your own lifestyle), what would you do by becoming a healer.
2
dikha de ek din aye husn1-e raNgiiN2 jalva-gar3 ho kar
vo nazzara4 jo in aaNkhoN meN rah jaa’e nazar5 ho kar
1.beauty 2.colourful 3.manifest 4.sight, scene 5.vision
Here ‘husn-e raNgiiN-colourful beauty’ is the beauty of the socialist order. The poet/progressive is calling upon this beauty to manifest itself one of these days. Show us the sight that will remain in our eyes like a vision/dream (of justice).
3
dil-e soz1-ashna2 ke jalve3 the jo muntashir4 ho kar
faza5-e dahr6 meN chamka kiye barq7 o sharar8 ho kar
1.fire, pain 2.familiar with 3.images, visions, dreams 4.scattered, distributed 5.atmosphere, ambience 6.world 7.lightning 8.spark
The heart (of the oppressed masses) had visions of justice. But these visions were scattered and isolated, shining now and then in this world like lightning flash here and a spark there.
4
vahi jalve1 jo ek din daaman2-e dil se gurezaaN3 the
nazar4 meN rah ga’e gul-haa5-e daamaan-e-nazar6 ho kar
1.images, visions 2.hem of the robe, possession, domain 3.running away 4.sight 5.roses 6.domain of visions/dreams
The same visions (hopes) that had escaped the domain of the heart, came back into sight like roses in the domain of vision (instead of being scattered here and there like momentary flashes and sparks) i.e., a coherent vision of the future developed.
5
falak1 ki samt2 kis hasrat3 se takte4 haiN m’aaz-allah5
ye naale6 na-rasa7 ho kar ye aahen8 be-asar9 ho kar
1.skies, heaven 2.towards 3.longing, hope 4.stare, gaze 5.god save us 6.wailing 7.unable to reach 8.sighs 9.ineffective
The oppressed masses (god help them) gaze towards the heavens, with wails and sighs that are ineffective and unable to reach there.
6
ye kis ke husn1 ke raNgiin2 jalve3 chhaa’e jaate haiN
shafaq4 ki surKkiyaaN5 ban kar tajalli6 ki sahar7 ho kar
1.beauty 2.colourful 3.images 4.horizon 5.redness 6.brilliance 7.dawn
In progressive urdu poetry, redness of the horizon and the dawn of brilliance are all metaphors for the coming of socialism. Whose images of colourful beauty are these that are spread all over us like the redness of the horizon and the dawn of brilliance.
The post tajalli ki sahr ho kar-asraar-ul-haq majaz appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://p5add1.a2cdn1.secureserver.net/wp-content/uploads/2022/12/ahm-manzur-nahiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
منظور نہیں ۔ اسرار الحق مجازؔ
۱
وہ نقاب آپ سے اُٹھ جائے تو کچھ دور نہیں
ورنہ میری نگہ شوق بھی مجبور نہیں
۲
خاطرِ اہلِ نظر حسن کو منظور نہیں
اس میں کچھ تیری خطا دیدۂ مہجور نہیں
۳
لاکھ چھپتے ہو مگر چھپ کے بھی مستور نہیں
تم عجب چیز ہو نزدیک نہیں دور نہیں
۴
جرأتِ عرض پہ وہ کچھ نہیں کہتے لیکن
ہر ادا سے یہ ٹپکتا ہے کہ منظور نہیں
۵
دل دھڑک اُٹھتا ہے خود اپنی ہی ہر آہٹ پر
اب قدم منزلِ جاناں سے بہت دور نہیں
۶
ہائے وہ وقت کہ جب بے پیے مدہوشی تھی
ہائے یہ وقت کہ اب پی کے بھی مخمور نہیں
۷
حسن ہی حسن ہے جس سمت اُٹھاتا ہوں نظر
اب یہاں طور نہیں برقِ سرِ طور نہیں
۸
دیکھ سکتا ہوں جو آنکھوں سے وہ کافی ہے مجازؔ
اہلِ عرفاں کی نوازش مجھے منظور نہیں
मंज़ूर नहीं – अस्रार-उल-हक़ मजाज़
१
वो नक़ाब आप से उठ जाए तो कुछ दूर नहीं
वर्ना मेरी निगह-ए शौक़ भी मजबूर नहीं
२
ख़ातेर-ए अहल-ए नज़र हुस्न को मंज़ूर नहीं
इस में कुछ तेरी ख़ता दीदा-ए महजूर नहीं
३
लाख छुपते हो मगर छुप के भी मस्तूर नहीं
तुम अजब चीज़ हो नज़्दीक नहीं दूर नहीं
४
जुर’अत-ए अर्ज़ पे वो कुछ नहीं कहते लेकिन
हर अदा से ये टपकता है के मंज़ूर नहीं
५
दिल धड़क उठता है ख़ुद अपनी ही हर आहट पर
अब क़दम मंज़िल-ए जानाँ से बहुत दूर नहीं
६
हाए वो वक़्त के जब बे-पिए मद-होशी थी
हाए ये वक़्त के अब पी के भी मख़्मूर नहीं
७
हुस्न ही हुस्न है जिस सम्त उठाता हूँ नज़र
अब यहाँ तूर नहीं बर्क़-ए सर-ए तूर नहीं
८
देख सकता हूँ जो आँखों से वो काफ़ी है मजाज़
अहल-ए इरफ़ाँ की नवाज़िश मुझे मंज़ूर नहीं
Click here for background and on any passage for word meanings and explanatory discussion. asrar-ul haq majaz (1911-1955) was progressive as well as romantic poet, a heartthrob. He received his BA from aligaRh after interruptions in earlier schooling. He developed close relationships with progressives and was a major force in the Progressive Writers’ Association. He lived in aligaRh, dehli and lucknow working for radio stations, editing magazines on and off but with no steady income. He met with a rather tragic end at the young age of 44. This appears to be very much in the spirit of his other nazm ‘Khwaab-e sahr’ – dreams of the dawn of rationality. Some predominantly romantic ash’aar are also blended in.
1
vo naqaab1 aap se uTh jaa’e to kuchh duur nahiN
varna2 meri nigah3-e shauq4 bhi majbuur5 nahiN 1.veil 2.otherwise 3.eye, glance 4.love, desire 5.powerless
This is addressed to the beloved. It is not too far (within the realm of possibility) that you lift your veil and reveal yourself. Otherwise, my loving eye is not powerless i.e., it can seek a better response somewhere else. This appears to be an unusual warning to the beloved. I think a slightly better interpretation would be that ‘aap se’ implies ‘apne aap se’ – meaning by itself i.e., his gaze is so intense that it will penetrate the veil or the veil will lift itself. In all cases the second misra appears to be a warning. Is it a warning to the concept of the divine ‘I cannot see/comprehend’ you, I am ready to move on, or even, my gaze by lifting the mysterious veil is going to reveal that there is nothing behind that veil and we will move on.
2
Khaatir1-e ahl2-e nazar3 husn4 ko manzuur5 nahiN
is meN kuchh teri Khata6 dida7-e mahjuur8 nahiN 1.heart, soul 2.people of 3.(loving) gaze 4.beauty, beloved 5.acceptable 6.mistake, fault 7.eyes 8.wandering, roving
This also appears to be a warning to the beloved but addressed to console his own wandering eyes. The beloved does not accept your loving gaze. O wandering eye, it is not your fault that you are looking around. Once again, this could have been addressed to the divine beloved – I am looking towards atheism/rationality. Some predominantly romantic ash’aar are also blended in.
3
laakh chhupte ho magar chhup ke bhi mastuur1 nahiN
tum ajab2 chiiz ho nazdiik3 nahiN duur nahiN 1.hidden 2.strange, enchanting 3.near
You try to conceal yourself in a thousand ways, yet you are not hidden. You are an enchanting being, neither near nor far. This could be addressed to the playfully hiding/appearing beloved or the divine.
4
jur’at1-e arz2 pe vo kuchh nahiN kahte lekin3
har ada4 se ye Tapakta5 hai keh manzuur6 nahiN 1.courage, daring 2.presenting, appealing 3.but 4.style, gesture 5.dripping 6.acceptable
When I dare to present my cause (of love), she does not say anything but every gesture drips with the message of rejection.
5
dil dhaRak1 uThta hai Khud apni hi har aahaT2 par
ab qadam3 manzil4-e jaanaaN5 se bahut duur nahiN 1.beat, palpitation 2.sound, footfall 3.step 4.destination 5.beloved
It appears that the poet/lover is not too far away from his intended destination – to reach the beloved. How does he know this? He is startled, his heart begins to beat fast at the sound of his own footfall.
6
haa’e1 vo vaqt keh jab be-piye mad’hoshi2 thi
haa’e1 ye vaqt keh ab pi ke bhi maKhmuur3 nahiN 1.alas 2.intoxication 3.intoxicated
Alas, there was a time when I could get intoxicated even without drinking (wine). But alas, these are times when even with drinking, I don’t get drunk. Perhaps this refers to the time of his youth when just looking at the beloved was enough to make him intoxicated. But now he has to drink not just to get drunk but to ‘drown his sorrows’.
7
husn1 hi husn hai jis samt2 uThaata huN nazar3
ab yahaaN tuur4 nahiN barq5-e sar6-e tuur4 nahiN 1.beauty 2.direction 3.eyes, glance 4.mount tuur 5.lightning 6.top
Biblical and qur’aanic legends say that moosa/Moses went up mount tuur and insisted on seeing god even though a divine voice told him that he will not be able to see. Upon his insistence the divine manifested itself in the form a flash of lightning. moosa fainted and mount tuur was reduced to ashes. But now neither mount tuur nor a divine flash can be seen. Wherever the poet turns his gaze, all he can see is beauty. Does he imply that all he sees is the manifestation of the divine in all creation or does he say that all he is focused on is the beauty of the beloved. We are left to decide.
8
dekh sakta huN jo aaNkhoN se vo kaafi1 hai majaz2
ahl3-e irfaaN4 ki navaazish5 mujhe manzuur6 nahiN 1.enough 2.pen-name of the poet 3.people of 4.mystic knowledge 5.benevolence 6.acceptable
O majaz, whatever I can see/comprehend of the (material) world is enough for me. I am not ready to accept (fall for) the ‘benevolence’ of mystics. This implies that he is unwilling to accept the tall tales of spirituality. This goes along with his Khwaab-e sahr also posted on urdushahkar …
aadmi minnat kash-e arbaab-e irfaaN hi raha
dard-e insaani magar mahroom-e darmaaN hi raha
asrar-ul haq majaz (1911-1955) was progressive as well as romantic poet, a heartthrob. He received his BA from aligaRh after interruptions in earlier schooling. He developed close relationships with progressives and was a major force in the Progressive Writers’ Association. He lived in aligaRh, dehli and lucknow working for radio stations, editing magazines on and off but with no steady income. He met with a rather tragic end at the young age of 44. This appears to be very much in the spirit of his other nazm ‘Khwaab-e sahr’ – dreams of the dawn of rationality. Some predominantly romantic ash’aar are also blended in.
1
vo naqaab1 aap se uTh jaa’e to kuchh duur nahiN
varna2 meri nigah3-e shauq4 bhi majbuur5 nahiN
1.veil 2.otherwise 3.eye, glance 4.love, desire 5.powerless
This is addressed to the beloved. It is not too far (within the realm of possibility) that you lift your veil and reveal yourself. Otherwise, my loving eye is not powerless i.e., it can seek a better response somewhere else. This appears to be an unusual warning to the beloved. I think a slightly better interpretation would be that ‘aap se’ implies ‘apne aap se’ – meaning by itself i.e., his gaze is so intense that it will penetrate the veil or the veil will lift itself. In all cases the second misra appears to be a warning. Is it a warning to the concept of the divine ‘I cannot see/comprehend’ you, I am ready to move on, or even, my gaze by lifting the mysterious veil is going to reveal that there is nothing behind that veil and we will move on.
2
Khaatir1-e ahl2-e nazar3 husn4 ko manzuur5 nahiN
is meN kuchh teri Khata6 dida7-e mahjuur8 nahiN
1.heart, soul 2.people of 3.(loving) gaze 4.beauty, beloved 5.acceptable 6.mistake, fault 7.eyes 8.wandering, roving
This also appears to be a warning to the beloved but addressed to console his own wandering eyes. The beloved does not accept your loving gaze. O wandering eye, it is not your fault that you are looking around. Once again, this could have been addressed to the divine beloved – I am looking towards atheism/rationality.
3
laakh chhupte ho magar chhup ke bhi mastuur1 nahiN
tum ajab2 chiiz ho nazdiik3 nahiN duur nahiN
1.hidden 2.strange, enchanting 3.near
You try to conceal yourself in a thousand ways, yet you are not hidden. You are an enchanting being, neither near nor far. This could be addressed to the playfully hiding/appearing beloved or the divine.
4
jur’at1-e arz2 pe vo kuchh nahiN kahte lekin3
har ada4 se ye Tapakta5 hai keh manzuur6 nahiN
1.courage, daring 2.presenting, appealing 3.but 4.style, gesture 5.dripping 6.acceptable
When I dare to present my cause (of love), she does not say anything but every gesture drips with the message of rejection.
5
dil dhaRak1 uThta hai Khud apni hi har aahaT2 par
ab qadam3 manzil4-e jaanaaN5 se bahut duur nahiN
1.beat, palpitation 2.sound, footfall 3.step 4.destination 5.beloved
It appears that the poet/lover is not too far away from his intended destination – to reach the beloved. How does he know this? He is startled, his heart begins to beat fast at the sound of his own footfall.
6
haa’e1 vo vaqt keh jab be-piye mad’hoshi2 thi
haa’e1 ye vaqt keh ab pi ke bhi maKhmuur3 nahiN
1.alas 2.intoxication 3.intoxicated
Alas, there was a time when I could get intoxicated even without drinking (wine). But alas, these are times when even with drinking, I don’t get drunk. Perhaps this refers to the time of his youth when just looking at the beloved was enough to make him intoxicated. But now he has to drink not just to get drunk but to ‘drown his sorrows’.
7
husn1 hi husn hai jis samt2 uThaata huN nazar3
ab yahaaN tuur4 nahiN barq5-e sar6-e tuur4 nahiN
1.beauty 2.direction 3.eyes, glance 4.mount tuur 5.lightning 6.top
Biblical and qur’aanic legends say that moosa/Moses went up mount tuur and insisted on seeing god even though a divine voice told him that he will not be able to see. Upon his insistence the divine manifested itself in the form a flash of lightning. moosa fainted and mount tuur was reduced to ashes. But now neither mount tuur nor a divine flash can be seen. Wherever the poet turns his gaze, all he can see is beauty. Does he imply that all he sees is the manifestation of the divine in all creation or does he say that all he is focused on is the beauty of the beloved. We are left to decide.
8
dekh sakta huN jo aaNkhoN se vo kaafi1 hai majaz2
ahl3-e irfaaN4 ki navaazish5 mujhe manzuur6 nahiN
1.enough 2.pen-name of the poet 3.people of 4.mystic knowledge 5.benevolence 6.acceptable
O majaz, whatever I can see/comprehend of the (material) world is enough for me. I am not ready to accept (fall for) the ‘benevolence’ of mystics. This implies that he is unwilling to accept the tall tales of spirituality. This goes along with his Khwaab-e sahr also posted on urdushahkar …
aadmi minnat kash-e arbaab-e irfaaN hi raha
dard-e insaani magar mahroom-e darmaaN hi raha
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Recitation
- اُردو
- देवनागरी
- Roman
- Notes
آئے نہ سحر آج کی رات ۔ میر محمّد علی خاں میکشؔ حیدرآبادی
۱
میرے پہلو میں ہے وہ رشکِ قمر آج کی رات
دل کی دھڑکن ہے بہ اندازِ دگر آج کی رات
۲
آرزوئیں مری مِنّت کشِ اظہار نہیں
آہ خاموش ہے ہم رنگِ اثر آج کی رات
۳
سایۂ کاکُلِ برہم میں ہیں جلوے رُخ کے
بحرِ ظلمات میں ہے آبِ خِضر آج کی رات
۴
میرے ہر اشک میں ہے اُس کے تبسّم کی جھلک
قطرۂ آب میں ہے رقصِ شرر آج کی رات
۵
اُس کے قدموں کے نشاں اور مرے سجدوں کے نقوش
ذرّے ذرّے میں ہے رنگِ گُلِ تر آج کی رات
۶
اُس کی مستانہ نگاہوں سے برستی ہے شراب
دستِ مے نوش میں ہے ساغرِ زر آج کی رات
۷
میرے غم خانے میں اک ماہ جبیں آیا ہے
ظلمتِ شب میں بھی ہے شانِ سحر آج کی رات
۸
شبِ معراج کی سوگند تجھے ربّ جہاں
رات یوں ہی رہے، آئے نہ سحر آج کی رات
आए न सहर आज कि रात – मीर मोहम्मद अली ख़ां मैकश हैदराबादी
१
मेरे पहलू में है वो रश्क-ए क़मर आज कि रात
दिल की धढकन है ब-अंदाज़-ए दिगर आज कि रात
२
आर्ज़ुएं मेरी मिन्नत-कश-ए इज़्हार नहीं
आह ख़ामोश है हमरंग-ए असर आज कि रात
३
साया-ए काकुल-ए बरहम में हैं जल्वे रुख़ के
बहर-ए ज़ुल्मात में है आब-ए ख़िज़र आज कि रात
४
मेरे हर अश्क में है उस के तबस्सुम की झलक
क़तरा-ए आब में है रक़्स-ए शरर आज कि रात
५
उस के क़द्मौं के निशां और मेरे सज्दौं के नुक़ूश
ज़र्रे जर्रे में है रंग-ए गुल-ए तर आज कि रात
६
उस की मस्ताना निगाहौं से बरस्ती है शराब
दस्त-ए मै-नोश में है साग़र-ए ज़र आज कि रात
७
मेरे ग़म-ख़ाने में एक माह-जबीं आया है
ज़ुल्मत-ए शब में भी है शान-ए सहर आज कि रात
८
शब-ए मे’राज कि सौगंद तुझे रब्ब-ए जहां
रात यूं हि रहे, आए न सहर आज कि रात
Click here for background and on any passage for word meanings and explanatory discussion. mir mohammed ali KhaaN maikash (1918-1948), a member of the nizam shaahi clan of hyderabad (the title sahabzaada-princeling was a prefix to his name), nevertheless seems to have been a committed socialist. Dropped out of the university degree program after two years and worked as editor, columnist and perhaps as a party worker. This Ghazal was probably composed to observe his participation in an important mushaa’era and is linked with several other Ghazal to the icon ‘aaj ki raat’ on the ‘radeef-refrain’ page.
1
mere pahlu1 meN hai vo rashk2-e qamar3 aaj ki raat
dil ki dhaRkan4 hai ba-andaaz5-e digar6 aaj ki raat 1.side 2.envy 3.moon 4.throbbing 5.style 6.other, something else
The beloved is ‘rashk-e qamar – the envy of the moon’, because of her beauty. This must be a particularly celebratory night that it gives him so much pleasure that he feels like the beloved is by his side. His heart throbs in a very different style because of it.
2
aarzu’eN1 meri minnat-kash2-e izhaar3 nahiN
aah4 Khaamosh5 hai ham-raNg6-e asar7 aaj ki raat 1.desires, longings 2.obliged to 3.expression 4.sigh 5.silent 6.same nature as 7.effect
He does not need express his desires tonight, because they have been fulfilled. Thus, desires are not obliged to ‘expression’. His sigh is silent and the effect of his sigh is similarly quiet, because it has already had an effect, because the beloved is at his side.
3
saaya1-e kaakul2-e barham3 meN haiN jalve4 ruKh5 ke
bahr-e-zulmaat6 meN hai aab-e-Khizar7 aaj ki raat 1.shadow 2.curly forelocks 3.scattered, spread 4.manifestations, appearance 5.face 6.ocean of darkness 7.water of Khizr i.e. nectar of immortality
Khizr is a legendary figure featured in Biblical and qur’aanic stories. He found the ‘nectar of immortality’ and drank it. Here the poet is referring to the the nectar of immortality as ‘aab-e-Khizar’. The beloved’s dark hair/forelocks are scattered all over her face. Thus, he sees the glory of her face through ‘an ocean of darkness’. What’s more, he describes her face as the ‘nectar of immortality’, i.e., life-giving.
4
mere har ashk1 meN hai us ke tabassum2 ki jhalak3
qatra4-e aab5 meN hai raqs6-e sharar7 aaj ki raat 1.tear 2.smile 3.reflection 4.drop 5.water 6.dance 7.spark
Every tear in my eye reflects her smile. There is a dance of sparks in every tear drop. A beautiful imagery of reflected sparks in drops of water compared to the beloved’s smile.
5
us ke qadmoN1 ke nishaaN2 aur mere sajdoN3 ke nuqoosh4
zarre-zarre5 meN hai raNg6-e gul-e-tar7 aaj ki raat 1.feet 2.prints 3.prostration, bowing down to the ground 4.marks, sketches 5.every grain 6.colour, nature, character 7.fresh rose
Her footprints and marks of my prostration – every particle of dust carries the character of a fresh rose tonight. He draws a picture of himself prostrating at the beloved’s footprints and the combination makes every grain of sand fresh and fragrant like a rose.
6
us ki mastaana1 nigaahoN2 se barasti3 hai sharaab4
dast5-e mai-nosh6 meN hai saaGhar7-e zar8 aaj ki raat 1.intoxicating 2.eyes 3.rains 4.wine 5.hand 6.wine-drinker 7.cup 8.gold
The poet/lover is the wine-drinker/wine lover. The cup of wine in his hand contains ‘gold’ because wine rains down from the beloved’s intoxicating eyes.
7
mere Gham-Khaane1 meN ek maah-jabiiN2 aaya hai
zulmat-e-shab3 meN bhi hai shaan4-e sahar5 aaj ki raat 1.house of sorrow, grieving heart 2.brow/forehead bright like the moon, beloved 3.darkness of night 4.glory, beauty 5.dawn
The beloved (with her bright forehead) has arrived into his grieving heart. It is as if the darkness of night (the sorrow in his heart) contains the brilliance of dawn (the beauty of the beloved).
8
shab-e-me’raaj1 ki saugand2 tujhe rabb3-e jahaaN4
raat yuN hi rahe, aaye na sahar5 aaj ki raat 1.night of ascension 2.promise, swear 3.lord 4.world 5.dawn
It is islamic belief that mohammed ascended the seven skies to see god on “shab-e me’raaj – the night of ascension”. The poet compares the night to “shab-e me’raaj” because he has seen the beloved. Swearing to god by the blessing of that night, he wishes/prays that this night stay the way it is, that there be no end i.e., no dawn.
mir mohammed ali KhaaN maikash (1918-1948), a member of the nizam shaahi clan of hyderabad (the title sahabzaada-princeling was a prefix to his name), nevertheless seems to have been a committed socialist. Dropped out of the university degree program after two years and worked as editor, columnist and perhaps as a party worker. This Ghazal was probably composed to observe his participation in an important mushaa’era and is linked with several other Ghazal to the icon ‘aaj ki raat’ on the ‘radeef-refrain’ page.
1
mere pahlu1 meN hai vo rashk2-e qamar3 aaj ki raat
dil ki dhaRkan4 hai ba-andaaz5-e digar6 aaj ki raat
1.side 2.envy 3.moon 4.throbbing 5.style 6.other, something else
The beloved is ‘rashk-e qamar – the envy of the moon’, because of her beauty. This must be a particularly celebratory night that it gives him so much pleasure that he feels like the beloved is by his side. His heart throbs in a very different style because of it.
2
aarzu’eN1 meri minnat-kash2-e izhaar3 nahiN
aah4 Khaamosh5 hai ham-raNg6-e asar7 aaj ki raat
1.desires, longings 2.obliged to 3.expression 4.sigh 5.silent 6.same nature as 7.effect
He does not need express his desires tonight, because they have been fulfilled. Thus, desires are not obliged to ‘expression’. His sigh is silent and the effect of his sigh is similarly quiet, because it has already had an effect, because the beloved is at his side.
3
saaya1-e kaakul2-e barham3 meN haiN jalve4 ruKh5 ke
bahr-e-zulmaat6 meN hai aab-e-Khizar7 aaj ki raat
1.shadow 2.curly forelocks 3.scattered, spread 4.manifestations, appearance 5.face 6.ocean of darkness 7.water of Khizr i.e. nectar of immortality
Khizr is a legendary figure featured in Biblical and qur’aanic stories. He found the ‘nectar of immortality’ and drank it. Here the poet is referring to the the nectar of immortality as ‘aab-e-Khizar’. The beloved’s dark hair/forelocks are scattered all over her face. Thus, he sees the glory of her face through ‘an ocean of darkness’. What’s more, he describes her face as the ‘nectar of immortality’, i.e., life-giving.
4
mere har ashk1 meN hai us ke tabassum2 ki jhalak3
qatra4-e aab5 meN hai raqs6-e sharar7 aaj ki raat
1.tear 2.smile 3.reflection 4.drop 5.water 6.dance 7.spark
Every tear in my eye reflects her smile. There is a dance of sparks in every tear drop. A beautiful imagery of reflected sparks in drops of water compared to the beloved’s smile.
5
us ke qadmoN1 ke nishaaN2 aur mere sajdoN3 ke nuqoosh4
zarre-zarre5 meN hai raNg6-e gul-e-tar7 aaj ki raat
1.feet 2.prints 3.prostration, bowing down to the ground 4.marks, sketches 5.every grain 6.colour, nature, character 7.fresh rose
Her footprints and marks of my prostration – every particle of dust carries the character of a fresh rose tonight. He draws a picture of himself prostrating at the beloved’s footprints and the combination makes every grain of sand fresh and fragrant like a rose.
6
us ki mastaana1 nigaahoN2 se barasti3 hai sharaab4
dast5-e mai-nosh6 meN hai saaGhar7-e zar8 aaj ki raat
1.intoxicating 2.eyes 3.rains 4.wine 5.hand 6.wine-drinker 7.cup 8.gold
The poet/lover is the wine-drinker/wine lover. The cup of wine in his hand contains ‘gold’ because wine rains down from the beloved’s intoxicating eyes.
7
mere Gham-Khaane1 meN ek maah-jabiiN2 aaya hai
zulmat-e-shab3 meN bhi hai shaan4-e sahar5 aaj ki raat
1.house of sorrow, grieving heart 2.brow/forehead bright like the moon, beloved 3.darkness of night 4.glory, beauty 5.dawn
The beloved (with her bright forehead) has arrived into his grieving heart. It is as if the darkness of night (the sorrow in his heart) contains the brilliance of dawn (the beauty of the beloved).
8
shab-e-me’raaj1 ki saugand2 tujhe rabb3-e jahaaN4
raat yuN hi rahe, aaye na sahar5 aaj ki raat
1.night of ascension 2.promise, swear 3.lord 4.world 5.dawn
It is islamic belief that mohammed ascended the seven skies to see god on “shab-e me’raaj – the night of ascension”. The poet compares the night to “shab-e me’raaj” because he has seen the beloved. Swearing to god by the blessing of that night, he wishes/prays that this night stay the way it is, that there be no end i.e., no dawn.
The post aaye na sahar aaj ki raat-maikash hyderabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://secureservercdn.net/198.71.233.26/p5a.dd1.myftpupload.com/wp-content/uploads/2022/04/mmaKhmh-mohabbat-ka-Khwaab-dekha-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
محبّت کا خواب دیکھا ہے ۔ میر محمّد علی خاں میکشؔ حیدرآبادی
۱
جہاں سکون بھی ہنگامہ ساز ہوتا ہے
جہاں سُروُر میں سوز و گُداز ہوتا ہے
جہاں نیاز ہم آغوشِ ناز ہوتا ہے
وہیں کسی کی محبّت کا خواب دیکھا ہے
۲
جہاں نگاہ سے جادو جگائے جاتے ہیں
جہاں بہشت کے آثار پائے جاتے ہیں
جہاں چراغِ محبّت جلائے جاتے ہیں
وہیں کسی کی محبّت کا خواب دیکھا ہے
۳
جہاں کی زیست میں معراجِ نوجوانی ہے
جہاں کی زیست میں پوشیدہ زندگانی ہے
جہاں سکون بھی اقدامِ پرفشانی ہے
وہیں کسی کی محبّت کا خواب دیکھا ہے
۴
جہاں کے نور سے خورشید جگمگاتا ہے
جہاں کا رنگ ہر اِک گُلسِتاں پہ چھاتا ہے
جہاں کا حسن محبّت کے گیت گاتا ہے
وہیں کسی کی محبّت کا خواب دیکھا ہے
۵
جہاں تبسّمِ رنگیں میں پھول ہنستے ہیں
جہاں تکلّمِ شیریں میں راگ بستے ہیں
جہاں نگاہ سے انوارِ دل برستے ہیں
وہیں کسی کی محبّت کا خواب دیکھا ہے
۶
جہاں فلک کی ہے رفعت زمیں کی پستی میں
جہاں ہے زہد بھی مصروف مے پرستی میں
جہاں خدا کی عبادت ہے بُت پرستی میں
وہیں کسی کی محبّت کا خواب دیکھا ہے
۷
جہاں کی خاک پہ مہر اور ماہ رہتے ہیں
جہاں کی ارض پہ دریائے قدس بہتے ہیں
جسے زبانِ محبّت میں ‘طور’ کہتے ہیں
وہیں کسی کی محبّت کا خواب دیکھا ہے
मोहब्बत का ख़्वाब देखा है – मीर मोहम्मद अली ख़ां मैकश हैदराबादी
१
जहां सुकून भी हंगामा-साज़ होता है
जहां सुरूर में सोज़-ओ-गुदाज़ होता है
जहां नियाज़ हम-आग़ोश-ए नाज़ होता है
वहीं किसी कि मोहब्बत का ख़्वाब देखा है
२
जहां निगाह से जादू जगाए जाते हैं
जहां बेहिश्त के आसार पाए जाते हैं
जहां चराग़-ए मोहब्बत जलाए जाते हैं
वहीं किसी कि मोहब्बत का ख़्वाब देखा है
३
जहां कि ज़ीस्त में मे’राज-ए नौजवानी है
जहां कि ज़ीस्त में पोशीदा ज़िंदगानी है
जहां सुकून भी एक़्दाम-ए पर-फ़शानी है
वहीं किसी कि मोहब्बत का ख़्वाब देखा है
४
जहां के नूर से ख़ुर्शीद जगमगाता है
जहां का रंग हर एक गुल्सितां पे छाता है
जहां का हुस्न मोहब्बत के गीत गाता है
वहीं किसी कि मोहब्बत का ख़्वाब देखा है
५
जहां तबस्सुम-ए रंगीं में फूल हंस्ते हैं
जहां तकल्लुम-ए शीरीं में राग बस्ते हैं
जहां निगाह से अन्वार-ए दिल बरस्ते हैं
वहीं किसी कि मोहब्बत का ख़्वाब देखा है
६
जहां फ़लक कि है रफ़’अत ज़मीं कि पस्ती में
जहां है ज़ोहद भी है मस्रूफ़ मै-परस्ती में
जहां ख़ुदा कि इबादत है बुत-परस्ती में
वहीं किसी कि मोहब्बत का ख़्वाब देखा है
७
जहां कि ख़ाक पे महर और माह रहते हैं
जहां कि अर्ज़ पे दर्या-ए क़ुद्स बहते हैं
जिसे ज़बान-ए मोहब्बत में “तूर” कहते हैं
वहीं किसी कि मोहब्बत का ख़्वाब देखा है
Click here for background and on any passage for word meanings and explanatory discussion. mir mohammed ali KhaaN maikash (1918-1948), a member of the nizam shaahi clan of hyderabad (the title sahabzaada-princeling was a prefix to his name), nevertheless seems to have been a committed socialist. Dropped out of the university degree program after two years and worked as editor, columnist and perhaps as a party worker. maKhdoom was about 10 years his senior but it is highly likely that they were close associates, since both were active in mushaa’ra circles and in the Communist Party. This nazm bears the same title as maKhdoom’s nazm – tuur. Both are in the same spirit and tone.
1
jahaaN sukoon1 bhi haNgaama-saaz2 hota hai
jahaaN suroor3 meN soz-o-gudaaz4 hota hai
jahaaN niyaaz5 ham-aaGhosh6-e naaz7 hota hai
vahiiN kisi ki mohabbat ka Khwaab dekha hai 1.peace, tranquility 2.tumult, uproar, frenzy creating 3.happiness, joy 4.fire/pain and sorrow 5.offering (of love) – used for the lover 6.embracing 7.coquetry – used for the beloved
Where even tranquility creates a frenzy (of love); where joy blends with pain and sorrow; where lover and beloved and intertwined in graceful embrace, it is there that I first dreamt of love.
2
jahaaN nigaah1 se jaadoo jagaaye jaate haiN
jahaaN behisht2 ke aasaar3 paaye jaate haiN
jahaaN charaaGh4-e mohabbat jalaaye jaate haiN
vahiiN kisi ki mohabbat ka Khwaab dekha hai 1.glance 2.heaven 3.clue, hints 4.lamp
Where the beloved’s glance creates a magical enchantment; where there are hints of heaven all around; where lamps of love are lit, shining bright, it is there that I first dreamt of love.
3
jahaaN ki ziist1 meN me’raaj2-e naujavaani3 hai
jahaaN ki ziist4 meN poshiida5 zindagaani6 hai
jahaaN sukoon7 bhi eqdaam8-e par-fashaani9 hai
vahiiN kisi ki mohabbat ka Khwaab dekha hai 1.life 2.apex, height 3.youth 4.used here to mean existence 5.hidden 6.life/energy 7.peace, tranquility 8.determination, resolve 9.spreading wings
Where life is the climax of youth; where hidden in everyday existence is throbbing life; where tranquility creates a resolve to spread wings and fly, it is there that I first dreamt of love.
4
jahaaN ke noor1 se Khurshiid2 jagmagaata hai
jahaaN ka raNg har ek gulsitaaN3 pe chhaata hai
jahaaN ka husn4 mohabbat ke geet gaata hai
vahiiN kisi ki mohabbat ka Khwaab dekha hai 1.light, brilliance 2.sun 3.garden 4.beauty
Where there is such brilliance that the sun goes to get its light; where there is such colour that it spreads over all gardens; where beauty sings songs of love, it is there that I first dreamt of love.
5
jahaaN tabassum1-e raNgiiN meN phool haNste haiN
jahaaN takallum2-e shiiriiN3 meN raag baste4 haiN
jahaaN nigaah5 se anvaar6-e dil baraste haiN
vahiiN kisi ki mohabbat ka Khwaab dekha hai 1.smile 2.conversation, words 3.sweet 4.prosper, live 5.glance 6.rays of light
Where flowers bloom in colourful smile; where music rings out in sweet words; where sidelong glances of the beloved rain rays of the light of love, it is there that I first dreamt of love.
6
jahaaN falak1 ki hai raf’at2 zamiiN ki pasti3 meN
jahaaN zohad4 bhi hai masroof5 mai-parasti6 meN
jahaaN Khuda ki ibaadat7 hai but-parasti8 meN
vahiiN kisi ki mohabbat ka Khwaab dekha hai 1.sky 2.height, rising 3.depths, low 4.abstinence, rituals 5.busy 6.wine-worshipping 7.worship, obedience 8.idol/beloved-worshipping
Where the lowly earth rivals the sky in reaching heights; where even the abstemious are engrossed in worshipping wine; where prayers to god are offered as idol/beloved worship, it is there that I first dreamt of love.
7
jahaaN ki Khaak1 pe mahr2 aur maah3 rahte haiN
jahaaN ki arz4 pe darya5-e quds6 bahte haiN
jise zabaan7-e mohabbat meN “tuur8” kahte haiN
vahiiN kisi ki mohabbat ka Khwaab dekha hai 1.dust, soil, earth 2.sun 3.moon 4.land 5.rivers 6.heaven 7.language 8.mount tuur where moosa/Moses is supposed to have gone asking to see god – used as a symbol of achieving union with the divine
The land where the sun and move live; the land where rivers of milk and honey flow; the land where the language of love grants union with the divine, it is there that I first dreamt of love.
mir mohammed ali KhaaN maikash (1918-1948), a member of the nizam shaahi clan of hyderabad (the title sahabzaada-princeling was a prefix to his name), nevertheless seems to have been a committed socialist. Dropped out of the university degree program after two years and worked as editor, columnist and perhaps as a party worker. maKhdoom was about 10 years his senior but it is highly likely that they were close associates, since both were active in mushaa’ra circles and in the Communist Party. This nazm bears the same title as maKhdoom’s nazm – tuur. Both are in the same spirit and tone.
1
jahaaN sukoon1 bhi haNgaama-saaz2 hota hai
jahaaN suroor3 meN soz-o-gudaaz4 hota hai
jahaaN niyaaz5 ham-aaGhosh6-e naaz7 hota hai
vahiiN kisi ki mohabbat ka Khwaab dekha hai
1.peace, tranquility 2.tumult, uproar, frenzy creating 3.happiness, joy 4.fire/pain and sorrow 5.offering (of love) – used for the lover 6.embracing 7.coquetry – used for the beloved
Where even tranquility creates a frenzy (of love); where joy blends with pain and sorrow; where lover and beloved and intertwined in graceful embrace, it is there that I first dreamt of love.
2
jahaaN nigaah1 se jaadoo jagaaye jaate haiN
jahaaN behisht2 ke aasaar3 paaye jaate haiN
jahaaN charaaGh4-e mohabbat jalaaye jaate haiN
vahiiN kisi ki mohabbat ka Khwaab dekha hai
1.glance 2.heaven 3.clue, hints 4.lamp
Where the beloved’s glance creates a magical enchantment; where there are hints of heaven all around; where lamps of love are lit, shining bright, it is there that I first dreamt of love.
3
jahaaN ki ziist1 meN me’raaj2-e naujavaani3 hai
jahaaN ki ziist4 meN poshiida5 zindagaani6 hai
jahaaN sukoon7 bhi eqdaam8-e par-fashaani9 hai
vahiiN kisi ki mohabbat ka Khwaab dekha hai
1.life 2.apex, height 3.youth 4.used here to mean existence 5.hidden 6.life/energy 7.peace, tranquility 8.determination, resolve 9.spreading wings
Where life is the climax of youth; where hidden in everyday existence is throbbing life; where tranquility creates a resolve to spread wings and fly, it is there that I first dreamt of love.
4
jahaaN ke noor1 se Khurshiid2 jagmagaata hai
jahaaN ka raNg har ek gulsitaaN3 pe chhaata hai
jahaaN ka husn4 mohabbat ke geet gaata hai
vahiiN kisi ki mohabbat ka Khwaab dekha hai
1.light, brilliance 2.sun 3.garden 4.beauty
Where there is such brilliance that the sun goes to get its light; where there is such colour that it spreads over all gardens; where beauty sings songs of love, it is there that I first dreamt of love.
5
jahaaN tabassum1-e raNgiiN meN phool haNste haiN
jahaaN takallum2-e shiiriiN3 meN raag baste4 haiN
jahaaN nigaah5 se anvaar6-e dil baraste haiN
vahiiN kisi ki mohabbat ka Khwaab dekha hai
1.smile 2.conversation, words 3.sweet 4.prosper, live 5.glance 6.rays of light
Where flowers bloom in colourful smile; where music rings out in sweet words; where sidelong glances of the beloved rain rays of the light of love, it is there that I first dreamt of love.
6
jahaaN falak1 ki hai raf’at2 zamiiN ki pasti3 meN
jahaaN zohad4 bhi hai masroof5 mai-parasti6 meN
jahaaN Khuda ki ibaadat7 hai but-parasti8 meN
vahiiN kisi ki mohabbat ka Khwaab dekha hai
1.sky 2.height, rising 3.depths, low 4.abstinence, rituals 5.busy 6.wine-worshipping 7.worship, obedience 8.idol/beloved-worshipping
Where the lowly earth rivals the sky in reaching heights; where even the abstemious are engrossed in worshipping wine; where prayers to god are offered as idol/beloved worship, it is there that I first dreamt of love.
7
jahaaN ki Khaak1 pe mahr2 aur maah3 rahte haiN
jahaaN ki arz4 pe darya5-e quds6 bahte haiN
jise zabaan7-e mohabbat meN “tuur8” kahte haiN
vahiiN kisi ki mohabbat ka Khwaab dekha hai
1.dust, soil, earth 2.sun 3.moon 4.land 5.rivers 6.heaven 7.language 8.mount tuur where moosa/Moses is supposed to have gone asking to see god – used as a symbol of achieving union with the divine
The land where the sun and move live; the land where rivers of milk and honey flow; the land where the language of love grants union with the divine, it is there that I first dreamt of love.
The post mohabbat ka Khwaab dekha hai-maikash hyderabadi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://secureservercdn.net/198.71.233.26/p5a.dd1.myftpupload.com/wp-content/uploads/2022/04/aatt-charaaGh-gul-kar-de-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
چراغ گل کر دے ۔ عالمتاب تشنہؔ
۱
مرے سفینۂ جاں کو کھلا سمندر دے
تلاطموں کا دوشالا ہوا کی چادر دے
۲
اگر سُلگتا رہا ہوں میں آفتاب مثال
تو میرے طرّۂ دستار کو گُلِ تر دے
۳
صدف نے دیکھ لی گہرے سمندروں کی بساط
ہر ایک قطرۂ نیساں کو ظرفِ گوہر دے
۴
نہیں یہ عشق کی محرومیاں مزاج مرا
مری رگوں میں محبّت کی روشنی بھر دے
۵
اگر تجھے ہے شکستِ غنیمِ شب مقصود
مری کمان میں بھی روشنی کا لشکر دے
۶
مجھے بھی سیر کرا آج بزمِ اِمکاں کی
مری نظر کو بھی ہفت آسماں کا منظر دے
۷
قفس کو توڑ کے اُڑ جائے طائرِ افکار
مکاں کی قید اُٹھا مجھ کو لامکاں کر دے
۸
مرے شعور کو دے شہپرِ خیال کی باگ
جنونِ شوق کو یارب نویدِ محشر دے
۹
اگر نہ دور ہو یہ تیرگیِ شب تشنہؔ
تو پھر ہوا مرے دل کا چراغ گُل کر دے
चिराग़ गुल कर दे – आलमताब तिश्ना
१
मेरे सफ़ीना-ए जां को खुला समंदर दे
तलातुमौं का दोशाला हवा कि चादर दे
२
अगर सुलगता रहा हूं मैं आफ़्ताब-मिसाल
तो मेरे तुर्रा-ए दस्तार को गुल-ए तर दे
३
सदफ़ ने देख ली गहरे समंदरौं कि बिसात
हर एक क़तरा-ए नीसां को ज़र्फ़-ए गौहर दे
४
नहीं ये इश्क़ कि महरूमियां मिज़ाज मेरा
मेरी रगौं में मोहब्बत कि रौशनी भर दे
५
अगर तुझे है शिकस्त-ए ग़नीम-ए शब मक़्सूद
मेरी कमान में भी रौशनी का लश्कर दे
६
मुझे भी सैर करा आज बज़्म-ए इम्कां की
मेरी नज़र को भी हफ़्त-आस्मां का मंज़र दे
७
क़फ़स को तोढ के उढ जाए ता’एर-ए अफ़्कार
मकां का क़ैद उठा, मुझ को लामकां कर दे
८
मेरे श’ऊर को दे शहपर-ए ख़याल कि बाग
जुनुन-ए शौक़ को यारब नवीद-ए महशर दे
९
अगर न दूर हो ये तीरगी-ए शब तिश्ना
तो फिर हवा मेरे दिल का चराग़ गुल कर दे
Click here for background and on any passage for word meanings and explanatory discussion. aalamtaab tishna (1935-1991), born in meraTh, India, migrated to pakistan in 1959 and describes it as “banbaas” given to him by the “kaikaii of the times”. But his “banbaas” separated him from his “sita-kavita” and lasted for 12 years. He began composing and reciting again with his first collection published in 1978. This beautiful Ghazal has much similarity of thought and style with parveen shaakir’s “yaarab mere sukoot ko naGhma-saraaii de” and is linked to others like it under that icon on the “radeef-Refrain” page.
1
mere safiina1-e jaaN2 ko khula samandar3 de
talaatumoN4 ka doshaala5, hava ki chaadar de 1.boat 2.spirit, life 3.sea 4.storm, agitation, restlessness 5.warm blanket/shawl
In urdu poetry ‘safiina-boat’ is often used as a symbol of bold exploration of lands across the sea or as a refuge from storms. Here he is using it to mean bold exploration across open seas. He is willing to be covered with a blanket of storms or a sheet of winds. His ‘safiina-e jaaN’ the boat of his spirit is launching on an exploration of new ideas in the face of storms of criticism/opposition.
2
agar1 sulagta2 raha huN maiN aaftaab-misaal3to mere turra-e-dastaar4 ko gul-e-tar5 de 1.if 2.burning 3.like the sun 4.crown of the ceremonial cap 5.freshness of the rose
If I have been burning with passion constantly like the sun, then give a freshness/fragrance to the crown of my cap. This could be the passion of love, but more likely it is the passion of new ideas, passion for change. The ‘turra-e-dastaar’ could be his crowning achievement, quite possibly his verse.
3
sadaf1 ne dekh li gahre samandaroN ki bisaat2
har ek qatra3-e niisaaN4 ko zarf5-e gauhar6 de 1.oyster shell 2.spread, capacity 3.drop 4.spring rain 5.capability 6.pearl
In the urdu poetic tradition it is thought that not all but a few fortunate drops of spring rain reach the oyster shell and only these become pearls. All the others are wasted. This he attributes to the limited capacity of the ocean. He himself is the oyster converting raindrops to pearls. It could be that raindrops are rough ideas and pearls are his ash’aar, verse.
4
nahiN ye ishq ki mahroomiyaaN1 mizaaj2 mera
meri ragoN3 meN mohabbat ki raushni4 bhar de 1.deprivation 2.nature, character 3.vein 4.light
It is not in my nature to remain deprived of love. Fill my veins with the light of love.
5
agar1 tujhe hai shikast2-e Ghaniim-e-shab3 maqsood4meri kamaan5 meN bhi raushni6 ka lashkar7 de 1.if 2.defeating, breaking 3.the enemy that is darkness 4.purpose 5.command 6.light 7.army
If you want us to break through this darkness, then give me command over the army of light. Darkness could be that of ignorance or injustice.
6
mujhe bhi sair1 kara aaj bazm2-e imkaaN3 ki
meri nazar4 ko bhi haft-aasmaaN5 ka manzar6 de 1.tour, journey 2.gathering 3.possibilities 4.sight 5.seven skies 6.view, scene
Take me through the house of possibilities. Give me a view of the expanse of the seven skies.
7
qafas1 ko toR ke uR jaaye taa’er2-e afkaar3makaaN4 ki qaid5 uTha, mujh ko la-makaaN6 kar de 1.cage 2.bird 3.thought, reason 4.place 5.confinement, restriction 6.free of place
Let the bird of reason break through confinement of its cage. Remove the restriction of place, make me free in the wide open.
8
mere sha’oor1 ko de shahpar2-e Khayaal3 ki baag4junoon5-e shauq6 ko yaarab7 naviid8-e mahshar9 de 1.knowledge, wisdom 2.main flying wing 3.thought, reason, imagination 4.reins, control of direction 5.passion 6.love, desire 7.god, lord 8.good tidings 9.tumult, revolution, change
Give my wisdom the reins of the wing of thought/reason/imagination. O lord, give the passion of my desire the tidings of change.
9
agar1 na duur ho ye tiiragi2-e shab3 tishna4
to phir hava, mere dil ka charaaGh5 gul6 kar de 1.if 2.darkness 3.night 4.pen-name of the poet 5.lamp 6.extinguished
O tishna, if the darkness of this night is not banished then may the breeze blow out the lamp of my heart.
aalamtaab tishna (1935-1991), born in meraTh, India, migrated to pakistan in 1959 and describes it as “banbaas” given to him by the “kaikaii of the times”. But his “banbaas” separated him from his “sita-kavita” and lasted for 12 years. He began composing and reciting again with his first collection published in 1978. This beautiful Ghazal has much similarity of thought and style with parveen shaakir’s “yaarab mere sukoot ko naGhma-saraaii de” and is linked to others like it under that icon on the “radeef-Refrain” page.
1
mere safiina1-e jaaN2 ko khula samandar3 de
talaatumoN4 ka doshaala5, hava ki chaadar de
1.boat 2.spirit, life 3.sea 4.storm, agitation, restlessness 5.warm blanket/shawl
In urdu poetry ‘safiina-boat’ is often used as a symbol of bold exploration of lands across the sea or as a refuge from storms. Here he is using it to mean bold exploration across open seas. He is willing to be covered with a blanket of storms or a sheet of winds. His ‘safiina-e jaaN’ the boat of his spirit is launching on an exploration of new ideas in the face of storms of criticism/opposition.
2
agar1 sulagta2 raha huN maiN aaftaab-misaal3to mere turra-e-dastaar4 ko gul-e-tar5 de
1.if 2.burning 3.like the sun 4.crown of the ceremonial cap 5.freshness of the rose
If I have been burning with passion constantly like the sun, then give a freshness/fragrance to the crown of my cap. This could be the passion of love, but more likely it is the passion of new ideas, passion for change. The ‘turra-e-dastaar’ could be his crowning achievement, quite possibly his verse.
3
sadaf1 ne dekh li gahre samandaroN ki bisaat2
har ek qatra3-e niisaaN4 ko zarf5-e gauhar6 de
1.oyster shell 2.spread, capacity 3.drop 4.spring rain 5.capability 6.pearl
In the urdu poetic tradition it is thought that not all but a few fortunate drops of spring rain reach the oyster shell and only these become pearls. All the others are wasted. This he attributes to the limited capacity of the ocean. He himself is the oyster converting raindrops to pearls. It could be that raindrops are rough ideas and pearls are his ash’aar, verse.
4
nahiN ye ishq ki mahroomiyaaN1 mizaaj2 mera
meri ragoN3 meN mohabbat ki raushni4 bhar de
1.deprivation 2.nature, character 3.vein 4.light
It is not in my nature to remain deprived of love. Fill my veins with the light of love.
5
agar1 tujhe hai shikast2-e Ghaniim-e-shab3 maqsood4meri kamaan5 meN bhi raushni6 ka lashkar7 de
1.if 2.defeating, breaking 3.the enemy that is darkness 4.purpose 5.command 6.light 7.army
If you want us to break through this darkness, then give me command over the army of light. Darkness could be that of ignorance or injustice.
6
mujhe bhi sair1 kara aaj bazm2-e imkaaN3 ki
meri nazar4 ko bhi haft-aasmaaN5 ka manzar6 de
1.tour, journey 2.gathering 3.possibilities 4.sight 5.seven skies 6.view, scene
Take me through the house of possibilities. Give me a view of the expanse of the seven skies.
7
qafas1 ko toR ke uR jaaye taa’er2-e afkaar3makaaN4 ki qaid5 uTha, mujh ko la-makaaN6 kar de
1.cage 2.bird 3.thought, reason 4.place 5.confinement, restriction 6.free of place
Let the bird of reason break through confinement of its cage. Remove the restriction of place, make me free in the wide open.
8
mere sha’oor1 ko de shahpar2-e Khayaal3 ki baag4junoon5-e shauq6 ko yaarab7 naviid8-e mahshar9 de
1.knowledge, wisdom 2.main flying wing 3.thought, reason, imagination 4.reins, control of direction 5.passion 6.love, desire 7.god, lord 8.good tidings 9.tumult, revolution, change
Give my wisdom the reins of the wing of thought/reason/imagination. O lord, give the passion of my desire the tidings of change.
9
agar1 na duur ho ye tiiragi2-e shab3 tishna4
to phir hava, mere dil ka charaaGh5 gul6 kar de
1.if 2.darkness 3.night 4.pen-name of the poet 5.lamp 6.extinguished
O tishna, if the darkness of this night is not banished then may the breeze blow out the lamp of my heart.
The post charaaGh gul kar de-aalamtaab tishna appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://secureservercdn.net/198.71.233.26/p5a.dd1.myftpupload.com/wp-content/uploads/2022/03/att-husn-e-fikr-o-Khayaal-de-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
حُسنِ فِکر و خیال دے ۔ عالمتاب تشنہؔ
۱
مری دسترس میں ہے گر قلم مجھے حُسنِ فکر و خیال دے
مجھے شہر یار سخن بنا اور عنانِ شہرِ کمال دے
۲
مری شاخِ شعر رہے ہری دے مرے سخن کو صنوبری
مری جھیل میں بھی کنول کِھلا مری گدڑیوں کو بھی لعل دے
۳
تری بخشِشوں میں ہے سروری مرے عشق کو دے قلندری
جو اُٹھے تو دستِ دعا لگے مجھے ایسا دستِ سوال دے
۴
رگ جاں میں جمنے لگا لہو اُسے مُشک بننے کی آرزو
ہے اُداس دشتِ تتارِ دل اسے پھر شلنگِ غزال دے
۵
کوئی بات عقرب و شمس کی کوئی ذکرِ زہرہ و مشتری
تو بڑا ستارہ شناس ہے مجھے کوئی اچھی سی فال دے
۶
ہیں یہ جسم و جاں کی قیود کیا خد و خال کے یہ حدود کیا
میں ہوں عکسِ منظرِ ماورا مجھے آئنوں سے نکال دے
۷
میں وہی ہوں تشنۂؔ با وفا مرا آج بھی وہی مدعا
نہ فراق دے مجھے مستقل نہ مجھے ہمیشہ وصال دے
हुस्न-ए फ़िक्र-ओ-ख़याल दे – आलमताब तश्ना
१
मेरी दस्तरस में है गर क़लम मुझे हुस्न-ए फ़िक्र-ओ-ख़याल दे
मुझे शहरयार-ए सुख़न बना और एनान-ए शहर-ए कमाल दे
२
मेरी शाख़-ए शेर रहे हरी दे मेरे सुख़न को सनोबरी
मेरी झील में भी कँवल खिला मेरी गुदड़ियों को भी ला’ल दे
३
तेरी बख़्शिशों में है सरवरी मेरे इश्क़ को दे क़लंदरी
जो उठे तो दस्त-ए दुआ लगे मुझे ऐसा दस्त-ए सवाल दे
४
रग-ए जाँ में जमने लगा लहू उसे मुश्क बनने की आर्ज़ू
है उदास दश्त-ए ततार-ए दल उसे फिर शलंग-ए ग़ज़ाल दे
५
कोई बात अक़्रब-ओ-शम्स की कोई ज़िक्र-ए ज़ोहरा-ओ-मुशतरी
तू बड़ा सितारा-शनास है मुझे कोई अच्छी सी फ़ाल दे
६
हैं ये जिस्म-ओ-जाँ की क़ुयूद क्या ख़द-ओ-ख़ाल के ये हुदूद क्या
मैं हूँ अक्स-ए मंज़र-ए मावरा मुझे आइनों से निकाल दे
७
मैं वही हूँ ‘तिश्ना’-ए बा-वफ़ा मेरा आज भी वही मुद्द’आ
न फ़िराक़ दे मुझे मुस्तक़िल न मुझे हमेशा विसाल दे
Click here for background and on any passage for word meanings and explanatory discussion. aalamtaab tishna (1935-1991), born in meraTh, India, migrated to pakistan in 1959 and describes it as “banbaas” given to him by the “kaikaii of the times”. But his “banbaas” separated him from his “sita-kavita” and lasted for 12 years. He began composing and reciting again with his first collection published in 1978. This beautiful Ghazal has much similarity of thought and style with parveen shaakir’s “yaarab mere sukoot ko naGhma-saraaii de” and is linked to others like it under that icon on the “radeef-Refrain” page.
1
meri dastaras1 meN hai gar2 qalam mujhe husn3-e fikr4-o-Khayaal5 de
mujhe shahryar6-e suKhan7 bana aur enan8-e shahr-e kamaal9 de 1.within reach 2.if – used to mean as long as 3.beauty, expertise 4.reason 5.imagination, thought 6.sovereign 7.versification 8.reins 9.perfection, magic
As long as I can hold a pen, grant me the skill of reason and imagination. Grant me sovereignty over verse and give me the reins (controlling direction, setting the trend/direction of poetry) of the city/domain of magic/illusion.
2
meri shaaKh-e she’r rahe hari de mere suKhan1 ko sanobari2meri jhiil3 meN bhi kaNval khila meri gudRiyoN4 ko bhi laal5 de 1.verse, words 2.evergreen 3.lake 4.mendicant/beggar’s (patched) cloak 5.rubies, gems
Grant that the bough of my verse remain fresh, make my words forever green. Let lotus bloom in my lake, give me gems to collect in my beggarly cloak.
3
teri baKhshishoN1 meN hai sarvari2 mere ishq ko de qalandari3jo uThe to dast4-e dua lage mujhe aisa dast4-e savaal de 1.largesse, ability to grant 2.monarchy 3.mendicant, asceticism, mysticism 4.hands
You have within your power to bestow monarchy, but grant me mystical knowledge of a mendicant. Whenever I raise my hands to ask, let it be as if I raise them in prayer.
4
rag1-e jaaN meN jamne laga lahu2 use mushk3 ban’ne ki aarzu4hai udaas5 dasht6-e tataar7-e dil use phir shalaNg8-e Ghazaal9 de 1.vein, fibre 2.blood 3.musk, fragrance 4.desire 5.sorrow 6.wilderness 7.Tartary, Caucuses region in Turkey 8.stride, leap 9.gazelle, deer
The stride/leap of the gazelle of Tartary is considered very graceful and is used as a metaphor for grace. The blood in my jugular vein has congealed i.e. I have lost the throbbing restlessness of my life. My blood i.e. my life desires to be like musk and spread fragrance all around. My heart is sad and barren like the wilderness of Tartary. Grant it the grace of gazelle, so I may be moved to compose graceful verse.
5
koi baat aqrab1-o-shams2 ki koi zikr3-e zohra4-o-mushtari5tu baRaa sitaara-shanaas6 hai mujhe koi achchhi si faal7 de 1.crab 2.sun 3.story 4.Venus 5.Jupiter 6.knowledgeable of the stars, astronomer 7.prediction of fate, astrological prediction
I am not sure who this would be addressed to – probably not to god. aqrab, shams, zohra, mushtari … are all used here to mean cosmic bodies that are reputed to control our fate. You are an expert in reading stars (astrology), tell me what they say, give me some nice prediction of what will happen to me.
6
haiN ye jism1-o-jaaN2 ki quyuud3 kya Khad-o-Khaal4 ke ye huduud5 kya
maiN huN aks6-e manzar7-e maavara8 mujhe aa’inoN9 se nikaal de 1.body 2.soul 3.imprisonment 4.features (as in face) 5.limits, bounds 6.reflection 7.scene 8.beyond, unseen, unknown 9.mirrors
The poet considers himself a reflection of the scene beyond the stars, of the unknown. The rest of humanity is like mirrors – a reflection of creation. The poet does not like that his soul is a prisoner of his body, that his person is bound by his image/features. He wants to be freed of both, so that he may be able to reflect/write about the unknown.
7
1.pen-name of the poet, thirsty 2.faithful 3.desire, intent 4.separation 5.permanent 6.union
I am the same poet, tishna (thirsty for knowledge, love or skill of versification). My goal remains the same – neither do I want permanent separation (from the beloved) not do I want permanent union. But he still leaves his goal an enigma, not stating what he desires. ” effect=”1″] maiN vahi huN tishna1-e ba-vafaa2 mera aaj bhi vahi mudd’aa3
na firaaq4 de mujhe mustaqil5 na mujhe hamesha visaal6 de meaningsanddiscussion
aalamtaab tishna (1935-1991), born in meraTh, India, migrated to pakistan in 1959 and describes it as “banbaas” given to him by the “kaikaii of the times”. But his “banbaas” separated him from his “sita-kavita” and lasted for 12 years. He began composing and reciting again with his first collection published in 1978. This beautiful Ghazal has much similarity of thought and style with parveen shaakir’s “yaarab mere sukoot ko naGhma-saraaii de” and is linked to others like it under that icon on the “radeef-Refrain” page.
1
meri dastaras1 meN hai gar2 qalam mujhe husn3-e fikr4-o-Khayaal5 de
mujhe shahryar6-e suKhan7 bana aur enan8-e shahr-e kamaal9 de
1.within reach 2.if – used to mean as long as 3.beauty, expertise 4.reason 5.imagination, thought 6.sovereign 7.versification 8.reins 9.perfection, magic
As long as I can hold a pen, grant me the skill of reason and imagination. Grant me sovereignty over verse and give me the reins (controlling direction, setting the trend/direction of poetry) of the city/domain of magic/illusion.
2
meri shaaKh-e she’r rahe hari de mere suKhan1 ko sanobari2meri jhiil3 meN bhi kaNval khila meri gudRiyoN4 ko bhi laal5 de
1.verse, words 2.evergreen 3.lake 4.mendicant/beggar’s (patched) cloak 5.rubies, gems
Grant that the bough of my verse remain fresh, make my words forever green. Let lotus bloom in my lake, give me gems to collect in my beggarly cloak.
3
teri baKhshishoN1 meN hai sarvari2 mere ishq ko de qalandari3jo uThe to dast4-e dua lage mujhe aisa dast4-e savaal de
1.largesse, ability to grant 2.monarchy 3.mendicant, asceticism, mysticism 4.hands
You have within your power to bestow monarchy, but grant me mystical knowledge of a mendicant. Whenever I raise my hands to ask, let it be as if I raise them in prayer.
4
rag1-e jaaN meN jamne laga lahu2 use mushk3 ban’ne ki aarzu4hai udaas5 dasht6-e tataar7-e dil use phir shalaNg8-e Ghazaal9 de
1.vein, fibre 2.blood 3.musk, fragrance 4.desire 5.sorrow 6.wilderness 7.Tartary, Caucuses region in Turkey 8.stride, leap 9.gazelle, deer
The stride/leap of the gazelle of Tartary is considered very graceful and is used as a metaphor for grace. The blood in my jugular vein has congealed i.e. I have lost the throbbing restlessness of my life. My blood i.e. my life desires to be like musk and spread fragrance all around. My heart is sad and barren like the wilderness of Tartary. Grant it the grace of gazelle, so I may be moved to compose graceful verse.
5
koi baat aqrab1-o-shams2 ki koi zikr3-e zohra4-o-mushtari5tu baRaa sitaara-shanaas6 hai mujhe koi achchhi si faal7 de
1.crab 2.sun 3.story 4.Venus 5.Jupiter 6.knowledgeable of the stars, astronomer 7.prediction of fate, astrological prediction
I am not sure who this would be addressed to – probably not to god. aqrab, shams, zohra, mushtari … are all used here to mean cosmic bodies that are reputed to control our fate. You are an expert in reading stars (astrology), tell me what they say, give me some nice prediction of what will happen to me.
6
haiN ye jism1-o-jaaN2 ki quyuud3 kya Khad-o-Khaal4 ke ye huduud5 kya
maiN huN aks6-e manzar7-e maavara8 mujhe aa’inoN9 se nikaal de
1.body 2.soul 3.imprisonment 4.features (as in face) 5.limits, bounds 6.reflection 7.scene 8.beyond, unseen, unknown 9.mirrors
The poet considers himself a reflection of the scene beyond the stars, of the unknown. The rest of humanity is like mirrors – a reflection of creation. The poet does not like that his soul is a prisoner of his body, that his person is bound by his image/features. He wants to be freed of both, so that he may be able to reflect/write about the unknown.
7
maiN vahi huN tishna1-e ba-vafaa2 mera aaj bhi vahi mudd’aa3
na firaaq4 de mujhe mustaqil5 na mujhe hamesha visaal6 de
1.pen-name of the poet, thirsty 2.faithful 3.desire, intent 4.separation 5.permanent 6.union
I am the same poet, tishna (thirsty for knowledge, love or skill of versification). My goal remains the same – neither do I want permanent separation (from the beloved) not do I want permanent union. But he still leaves his goal an enigma, not stating what he desires.
The post husn-e fikr o Khayaal de-aalamtaab tishna appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://secureservercdn.net/198.71.233.26/p5a.dd1.myftpupload.com/wp-content/uploads/2022/03/pasd-ain-e-irfaaN-ho-gaiiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
عینِ عرفاں ہو گئیں ۔ پنڈت امرناتھ ساحرؔ دہلوی
۱
محوِ دیدارِ جمالِ روئے جاناں ہو گئیں
جلوۂ معنی سے آنکھیں عینِ عرفاں ہو گئیں
۲
تھا حریفِ حسنِ عالم سوز عشقِ خانہ سوز
چشمکیں آپس کی برقِ خِرمنِ جاں ہو گئیں
۳
دیکھ کر ایمن کا جلوہ ہو گئیں مشتاقِ دید
طور پر آنکھوں نے کیا دیکھا کہ حیراں ہو گئیں
۴
جل اُٹھیں دیکھی جو وہ شانِ تجلّی بے نقاب
ایسی پتھرائیں کہ آنکھیں طور ساماں ہو گئیں
۵
اضطرابِ دل سے جمعیت کی صورت بندیاں
انتخابِ نسخۂ خوابِ پریشاں ہو گئیں
۶
پردہ داری حُسن کی اور عشق کی پردہ دری
ذوقِ مستوری و مستی میں نمایاں ہو گئیں
۷
اُن کی دُزدیدہ نگاہیں بے سبب دل میں نہ تھیں
محرمِ رازِ محبّت ہائے پنہاں ہو گئیں
۸
لن ترانی کی صدا سے ہوش کی خودداریاں
زینتِ گلدستہ ہائے طاقِ نسیاں ہو گئیں
۹
دی نسیمِ کوئے جاناں نے نویدِ وصلِ یار
صبح نوروزی مری شبہائے ہجراں ہو گئیں
۱۰
ہے چمن زارِ حقیقت کا نظارہ شش جہت
آرزوہائے تماشا گُل بداماں ہو گئیں
۱۱
آتشِ نمرود گلزارِ خلیل اللہ ہے
مشکلیں اللہ کے پیاروں کی آساں ہو گئیں
۱۲
دیکھ کر ساحرؔ جمالِ یار عالم میں عیاں
آرزوئیں دید کی سو جاں سے قرباں ہو گئیں
ऐन-ए इर्फ़ां हो गईं – पंडित अमरनाथ साहर देहलवी
१
महव-ए दीदार-ए जमाल-ए रू-ए जानां हो गईं
जल्वा-ए मु’आनि से आंखें ऐन-ए इर्फ़ां हो गईं
२
था हरीफ़-ए हुस्न-ए आलम-सोज़, इश्क़-ए ख़ाना-सोज़
चश्मकें आपस कि बर्क़-ए ख़िर्मन-ए जां हो गईं
३
देख कर ऐमन का जल्वा हो गईं मुश्ताक़-ए दीद
तूर पर आंखौं ने क्या देखा के हैरां हो गईं
४
जल उठीं देखी जो वो शान-ए तजल्ली बेनक़ाब
ऐसी पथ्राईं के आंखें तूर-सामां हो गईं
५
इज़तराब-ए दिल से जमीय्यत कि सूरत-बंदियां
इंतख़ाब-ए नुस्ख़ा-ए ख़्वाब-ए परेशां हो गईं
६
परदा-दारी हुस्न की और इश्क़ की पर्दा-दरी
ज़ौक़-ए मस्तूरी ओ मस्ती में नुमायां हो गईं
७
उन की दुज़्दीदा निगाहें बेसबब दिल में न थीं
महरम-ए राज़-ए मोहब्बत-हा-ए पिन्हां हो गईं
८
लनतरानी की सदा से होश की ख़ुद-दारियां
ज़ीनत-ए गुल्दस्ता-हा-ए ताक़-ए निस्यां हो गईं
९
दी नसीम-ए कू-ए जानां ने नवीद-ए वस्ल-ए यार
सुब्ह-ए नौरोज़ी मेरी शब-हा-ए हिज्रां हो गईं
१०
है चमन-ज़ार-ए हक़ीक़त का नज़ारा शश-जहत
आर्ज़ू-हा-ए तमाशा गुल-बदामां हो गईं
११
आतिश-ए नम्रूद गुलज़ार-ए ख़लीलउल्लाह है
मुश्किलें अल्लाह के प्यारौं कि आसां हो गईं
१२
देख कर साहिर जमाल-ए यार आलम में अयां
आर्ज़ूएं दीद कि सौ जां से क़ुर्बां हो गईं
Click here for background and on any passage for word meanings and explanatory discussion. panDit amarnath sahir dehlavi (1863-1962) was deeply affected by the cultural degeneration following the 1857 war. He turned to themes of mysticism in his poetry. He was a scholar of sanskrit, arabi and faarsi. This is one of a series of Ghazal styled after Ghalib’s, ‘Khaak meN kya soorateN hoNgi keh pinhaaN ho gaiiN’ and is linked to ‘Ghalib naqsh-e qadam’ as well as to ‘Ghalib-kashmiri panDit’.
1
mahv1-e diidaar2-e jamaal3-e ruu4-e jaanaaN5 ho gaiiN
jalva6-e mu’aani7 se aaNkheN ain8-e irfaaN9 ho gaiiN 1.engrossed 2.sight, gazing upon 3.glory 4.face, form 5.(divine) beloved 6.beauty 7.(true) meaning 8.eyes 9.mysticism
When sight was engrossed in gazing upon the glory of the divine form, the beauty of its meaning became visible and the poet/sufi’s eyes became the eyes of a mystic i.e., he saw the divine through the eyes of a mystic.
2
thaa hariif1-e husn2-e aalam-soz3, ishq4-e Khaana-soz5
chashmakeN6 aapas7 ki barq8-e Khirman9-e jaaN10 ho gaiiN 1.equal to, matching 2.beauty 3.setting the world on fire 4.love 5.setting the heart on fire 6.winks, mischief 7.mutual 8.lightning 9.harvest 10.life
Beauty (divine or that of the earthly beloved) sets the world on fire. The heart (of the lover or of the devotee) has a fire that matches it. But the mischief and play between the two strikes the harvest of the soul like lightning.
3
dekh kar aiman1 ka jalva2 ho gaiiN mushtaaq3-e diid4
tuur5 par aaNkhoN ne kya dekha keh hairaaN6 ho gaiiN 1.valley to the side of mount tuur, used here to mean Garden of Eden, heaven 2.beauty 3.eager, desirous 4.seeing, sight 5.mountain on which Moses went asking to see god 6.amazed
It appears that the subject is the poet himself. He is depicting himself as having gone on top of mount tuur and seen the valley of aiman which looks like heaven. He becomes eager to get a glimpse (of the divine) and wonders (rhetorically) what his eyes must have seen that they were so amazed.
4
jal uThiiN dekhi jo vo shaan1-e tajalli2 be-naqaab3aisi pathraaiiN4 keh aaNkheN tuur-saamaaN5 ho gaiiN 1.grand, splendid 2.brilliance 3.unveiled 4.turned to stone 5.material/components for tuur
Here again, it is not clear but it appears the the subject is the poet/devotee himself and he is talking about his own eyes. His eyes saw the splendour of unveileed divine brilliance and turned to stone. In the case of Moses, lightning struck mount tuur and it was turned to ashes. Here the eyes of the poet, becoming stone, are the building block for the mountain.
5
izteraab1-e dil se jam’iiyyat2 ki suurat-bandiyaaN3inteKhaab4-e nusKha5-e Khwaab-e-pareshaaN6 ho gaiiN 1.restlessness 2.gathering, assembly 3.imagining forms/images take shape 4.selection 5.prescription, formula 6.nightmare
He became restless/anxious because he was imagining forms take shape and become crowds. This imagination became the formula of his nightmares – hence his restlessness. We are left to figure out what these forms are and why does this give him nightmares … are these forms of rivals gathering around the beloved or simply apparitions that frighten him. We have to fill in the blanks.
6
parda-daari1 husn2 ki aur ishq3 ki parda-dari4
zauq5-e mastoori6 o masti7 meN numaayaaN8 ho gaiiN 1.veiling, hiding 2.beauty, beloved, divine beloved 3.lover, devotee 4.lifting veil 5.taste, desire 6.concealment, withdrawal 7.intoxication 8.visible, prominent
The divine spirit is concealed from eyes and the devotee wants to lift the veil and see/experience the divine. This becomes evident in the struggle between the desire for concealment and the desire to get intoxicated with the wine of love/devotion.
7
un ki duzdiida1 nigaaheN2 be-sabab3 dil meN na thiiN
mahram4-e raaz5-e mohabbat-haa6-e pinhaaN7 ho gaiiN 1.stolen 2.glances 3.without reason/purpose 4.familiar with 5.secret 6.loves (plural) i.e., reasons for love 7.hidden
The poet/lover has many reasons to love the beloved and has those reasons and his love hidden secretly in his heart. But her sidelong long glances penetrate his heart and not for no reason. They go deep in the heart to discover and become familiar with all the secrets of his love.
8
lantaraani1 ki sada2 se hosh3 ki Khud-daariyaaN4ziinat5-e guldasta-haa6-e taaq7-e nisyaaN8 ho gaiiN 1.you will not be able to see me (see notes) 2.sound 3.awareness, senses 4.self-respect, self-reliance 5.embellishment, decoration 6.bouquets (plural) 7.cupboard, alcove 8.forgetfulness
This has reference to the qur’aanic/Biblical story of Moses going up mount tuur asking to see god. He heard a sound that said ‘you will not be able to see me’. He insisted on seeing some sign. There was a lightning flash and Moses fainted. Several poets have used this story to imply that Moses was weak and that they are better equipped to encounter the divine. Ghalib …
girni thi ham pe barq-e tajalli na tuur par
dete haiN baada zarf-e qadah-Khwaar dekh kar
Here the poet says that Moses’ self-reliance could not hold up to the sound of ‘lantaraani’. His self reliance was forgotten and became a decoration for the alcove of lost memories.
9
dii nasiim1-e kuu2-e jaanaaN3 ne naviid4-e vasl5-e yaar6sub’h-e naurozi7 meri shab-haa8-e hijraaN9 ho gaiiN 1.fragrant breeze 2.street 3.beloved 4.good news, tidings 5.union, meeting 6.friend, beloved 7.new year, festivities 8.nights (plural) 9.separation, exile
The fragrant breeze of the beloved’s street brought tidings that she was coming. His long nights of exile changed into the morning of festivities.
10
hai chaman-zaar1-e haqiiqat2 ka nazaara3 shah-jehat4
aarzu-haa5-e tamaasha6 gul-badaamaaN7 ho gaiiN 1.blossoming garden 2.reality, spirituality 3.scenes 4.six directions 5.yearnings 6.to see 7.heaping roses in the lap, rewarding generously
All around us are scenes of the reality of the divine spirit. The desire to see has been generously rewarded.
11
aatish1-e namrood2 gulzaar3-e Khaliilullah4 hai
mushkileN5 allaah ke pyaaroN ki aasaaN6 ho gaiiN 1.fire 2.Nimrod 3.rose garden 4.another name of ibrahim 5.difficulties 6.easy, solved
This uses a Biblical/qur’aanic story of ibrahim. ibrahim declared monotheism at a time when the king of the time, Nimrod, declared his own divinity. He built a roaring fire and challenged ibrahim to jump into the fire if he had faith that his god would save him. ibrahim did, and the fire miraculously changed into a garden. Thus, the poet says, the fire of Nimrod is the rose garden of ibrahim. The difficulties of those whom allah loves become easy. A more rational, scientific and rebellious view offered by shahed …
namrood ki jo aag meN kooda bila-Khatarnaadaan raakh ho gaya us iltehaab meN
… or …
mo’jizoN ki daastaaneN, mantaq jo ulTi kar gaiiN
hum ne ye samjha keh vaj’h-e tark-e iimaaN ho gaiiN
12
dekh kar saahir1 jamaal2-e yaar3 aalam4 meN ayaaN5aarzu’eN6 diid7 ki sau jaaN se qurbaaN8 ho gaiiN 1.pen-name of the poet 2.glory 3.friend, (divine) beloved 4.world 5.evident 6.yearning 7.sight, to be able to see 8.sacrificial/devotional offering
The poet/devotee had yearnings to see the divine. But when he saw the signs of glory of the divine evident in the world, his yearnings of wanting to see the divine became a sacrificial offering i.e., he no longer needed to directly see the divine, he could see it in all its manifestations in the world.
panDit amarnath sahir dehlavi (1863-1962) was deeply affected by the cultural degeneration following the 1857 war. He turned to themes of mysticism in his poetry. He was a scholar of sanskrit, arabi and faarsi. This is one of a series of Ghazal styled after Ghalib’s, ‘Khaak meN kya soorateN hoNgi keh pinhaaN ho gaiiN’ and is linked to ‘Ghalib naqsh-e qadam’ as well as to ‘Ghalib-kashmiri panDit’.
1
mahv1-e diidaar2-e jamaal3-e ruu4-e jaanaaN5 ho gaiiN
jalva6-e mu’aani7 se aaNkheN ain8-e irfaaN9 ho gaiiN
1.engrossed 2.sight, gazing upon 3.glory 4.face, form 5.(divine) beloved 6.beauty 7.(true) meaning 8.eyes 9.mysticism
When sight was engrossed in gazing upon the glory of the divine form, the beauty of its meaning became visible and the poet/sufi’s eyes became the eyes of a mystic i.e., he saw the divine through the eyes of a mystic.
2
thaa hariif1-e husn2-e aalam-soz3, ishq4-e Khaana-soz5
chashmakeN6 aapas7 ki barq8-e Khirman9-e jaaN10 ho gaiiN
1.equal to, matching 2.beauty 3.setting the world on fire 4.love 5.setting the heart on fire 6.winks, mischief 7.mutual 8.lightning 9.harvest 10.life
Beauty (divine or that of the earthly beloved) sets the world on fire. The heart (of the lover or of the devotee) has a fire that matches it. But the mischief and play between the two strikes the harvest of the soul like lightning.
3
dekh kar aiman1 ka jalva2 ho gaiiN mushtaaq3-e diid4
tuur5 par aaNkhoN ne kya dekha keh hairaaN6 ho gaiiN
1.valley to the side of mount tuur, used here to mean Garden of Eden, heaven 2.beauty 3.eager, desirous 4.seeing, sight 5.mountain on which Moses went asking to see god 6.amazed
It appears that the subject is the poet himself. He is depicting himself as having gone on top of mount tuur and seen the valley of aiman which looks like heaven. He becomes eager to get a glimpse (of the divine) and wonders (rhetorically) what his eyes must have seen that they were so amazed.
4
jal uThiiN dekhi jo vo shaan1-e tajalli2 be-naqaab3aisi pathraaiiN4 keh aaNkheN tuur-saamaaN5 ho gaiiN
1.grand, splendid 2.brilliance 3.unveiled 4.turned to stone 5.material/components for tuur
Here again, it is not clear but it appears the the subject is the poet/devotee himself and he is talking about his own eyes. His eyes saw the splendour of unveileed divine brilliance and turned to stone. In the case of Moses, lightning struck mount tuur and it was turned to ashes. Here the eyes of the poet, becoming stone, are the building block for the mountain.
5
izteraab1-e dil se jam’iiyyat2 ki suurat-bandiyaaN3inteKhaab4-e nusKha5-e Khwaab-e-pareshaaN6 ho gaiiN
1.restlessness 2.gathering, assembly 3.imagining forms/images take shape 4.selection 5.prescription, formula 6.nightmare
He became restless/anxious because he was imagining forms take shape and become crowds. This imagination became the formula of his nightmares – hence his restlessness. We are left to figure out what these forms are and why does this give him nightmares … are these forms of rivals gathering around the beloved or simply apparitions that frighten him. We have to fill in the blanks.
6
parda-daari1 husn2 ki aur ishq3 ki parda-dari4
zauq5-e mastoori6 o masti7 meN numaayaaN8 ho gaiiN
1.veiling, hiding 2.beauty, beloved, divine beloved 3.lover, devotee 4.lifting veil 5.taste, desire 6.concealment, withdrawal 7.intoxication 8.visible, prominent
The divine spirit is concealed from eyes and the devotee wants to lift the veil and see/experience the divine. This becomes evident in the struggle between the desire for concealment and the desire to get intoxicated with the wine of love/devotion.
7
un ki duzdiida1 nigaaheN2 be-sabab3 dil meN na thiiN
mahram4-e raaz5-e mohabbat-haa6-e pinhaaN7 ho gaiiN
1.stolen 2.glances 3.without reason/purpose 4.familiar with 5.secret 6.loves (plural) i.e., reasons for love 7.hidden
The poet/lover has many reasons to love the beloved and has those reasons and his love hidden secretly in his heart. But her sidelong long glances penetrate his heart and not for no reason. They go deep in the heart to discover and become familiar with all the secrets of his love.
8
lantaraani1 ki sada2 se hosh3 ki Khud-daariyaaN4ziinat5-e guldasta-haa6-e taaq7-e nisyaaN8 ho gaiiN
1.you will not be able to see me (see notes) 2.sound 3.awareness, senses 4.self-respect, self-reliance 5.embellishment, decoration 6.bouquets (plural) 7.cupboard, alcove 8.forgetfulness
This has reference to the qur’aanic/Biblical story of Moses going up mount tuur asking to see god. He heard a sound that said ‘you will not be able to see me’. He insisted on seeing some sign. There was a lightning flash and Moses fainted. Several poets have used this story to imply that Moses was weak and that they are better equipped to encounter the divine. Ghalib …
girni thi ham pe barq-e tajalli na tuur par
dete haiN baada zarf-e qadah-Khwaar dekh kar
Here the poet says that Moses’ self-reliance could not hold up to the sound of ‘lantaraani’. His self reliance was forgotten and became a decoration for the alcove of lost memories.
9
dii nasiim1-e kuu2-e jaanaaN3 ne naviid4-e vasl5-e yaar6sub’h-e naurozi7 meri shab-haa8-e hijraaN9 ho gaiiN
1.fragrant breeze 2.street 3.beloved 4.good news, tidings 5.union, meeting 6.friend, beloved 7.new year, festivities 8.nights (plural) 9.separation, exile
The fragrant breeze of the beloved’s street brought tidings that she was coming. His long nights of exile changed into the morning of festivities.
10
hai chaman-zaar1-e haqiiqat2 ka nazaara3 shah-jehat4
aarzu-haa5-e tamaasha6 gul-badaamaaN7 ho gaiiN
1.blossoming garden 2.reality, spirituality 3.scenes 4.six directions 5.yearnings 6.to see 7.heaping roses in the lap, rewarding generously
All around us are scenes of the reality of the divine spirit. The desire to see has been generously rewarded.
11
aatish1-e namrood2 gulzaar3-e Khaliilullah4 hai
mushkileN5 allaah ke pyaaroN ki aasaaN6 ho gaiiN
1.fire 2.Nimrod 3.rose garden 4.another name of ibrahim 5.difficulties 6.easy, solved
This uses a Biblical/qur’aanic story of ibrahim. ibrahim declared monotheism at a time when the king of the time, Nimrod, declared his own divinity. He built a roaring fire and challenged ibrahim to jump into the fire if he had faith that his god would save him. ibrahim did, and the fire miraculously changed into a garden. Thus, the poet says, the fire of Nimrod is the rose garden of ibrahim. The difficulties of those whom allah loves become easy. A more rational, scientific and rebellious view offered by shahed …
namrood ki jo aag meN kooda bila-Khatarnaadaan raakh ho gaya us iltehaab meN
… or …
mo’jizoN ki daastaaneN, mantaq jo ulTi kar gaiiN
hum ne ye samjha keh vaj’h-e tark-e iimaaN ho gaiiN
12
dekh kar saahir1 jamaal2-e yaar3 aalam4 meN ayaaN5aarzu’eN6 diid7 ki sau jaaN se qurbaaN8 ho gaiiN
1.pen-name of the poet 2.glory 3.friend, (divine) beloved 4.world 5.evident 6.yearning 7.sight, to be able to see 8.sacrificial/devotional offering
The poet/devotee had yearnings to see the divine. But when he saw the signs of glory of the divine evident in the world, his yearnings of wanting to see the divine became a sacrificial offering i.e., he no longer needed to directly see the divine, he could see it in all its manifestations in the world.
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For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
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Recitation
- اُردو
- देवनागरी
- Roman
- Notes
رہینِ ساغرِ صہبا کرے کوئی ۔ پنڈت جواہر ناتھ ساقیؔ
۱
جب تک شہید قلب نہ اپنا کرے کوئی
ممکن نہیں کہ رابطہ پیدا کرے کوئی
۲
مشتاقِ جلوہ محوِ نظر اُن کے ہو گئے
وہ دل کہاں کہ وقفِ تمنّا کرے کوئی
۳
اک محشرِ خیال بنا رنگِ انتظار
کیا انبساطِ وعدۂ فردا کرے کوئی
۴
اے فرشِ خاک منظرِ حیرت بلند ہے
پرواز تا بہ عرشِ معلّےٰ کرے کوئی
۵
رنگِ فسوں خیالیِ عشّاق دیکھنا
یہ آرزو ہے محوِ تماشا کرے کوئی
۶
ہم بھی دکھائیں جلوۂ رعنائیِ خیال
اُس شوخِ رم شعار کو پیدا کرے کوئی
۷
سردادۂ جنوں کا ہے منظر رمِ نگاہ
لوحِ خیال دامنِ صحرا کرے کوئی
۸
سالک نہیں ہے مفتِ نظر جلوۂ بُطوں
روشن ضمیرِ دیدۂ بینا کرے کوئی
۹
پیتے نہیں ہیں دام کی مے رِندِ ہوش مند
کیا کیف ہو جو آ کے تقاضا کرے کوئی
۱۰
عرضِ نیازِ ساقیِ مے خوار ہے یہی
ہم کو رہینِ ساغرِ صہبا کرے کوئی
रहीन-ए साग़र-ए सहबा करे कोई – पंडित जवाहर नाथ साक़ी
१
जब तक शहीद क़ल्ब न अपना करे कोई
मुम्किन नहीं के राब्ता पैदा करे कोई
२
मुश्ताक़-ए जल्वा महव-ए नज़र उन के हो गए
वो दिल कहां के वक़्फ़-ए तमन्ना करे कोई
३
एक महशर-ए ख़याल बना रंग-ए इंतेज़ार
क्या इन्बेसात-ए वा’दा-ए फ़र्दा करे कोई
४
अए फ़र्श-ए ख़ाक मंज़र-ए हैरत बलंद है
परवाज़ ता ब अर्श-ए मो’अल्ला करे कोई
५
रंग-ए फ़ुसूं ख़याली-ए उश्शाक़ देखना
ये आर्ज़ू है महव-ए तमाशा करे कोई
६
हम भी दिखाएं जल्वा-ए रा’नाई-ए ख़याल
उस शूख़ रम-शे’आर को पैदा करे कोई
७
सरदादा-ए जुनूं का है मंज़र रम-ए नीगाह
लौह-ए ख़याल दामन-ए सहरा करे कोई
८
सालिक नहीं है मुफ़्त-ए नज़र जल्वा-ए बुतूं
रौशन ज़मीर-ए दीदा-ए बीना करे कोई
९
पीते नहीं है दाम कि मय रिन्द-ए होश-मंद
क्या कैफ़ हो जो आ के तक़ाज़ा करे कोई
१०
अर्ज़-ए नियाज़-ए साक़ी-ए मय-ख़्वार है यही
हम को रहीन-ए साग़र-ए सहबा करे कोई
Click here for background and on any passage for word meanings and explanatory discussion. panDit javaahar nath saaqi (1864-1916) was born into a kashmiiri panDit family with a long history of serving the emperor starting with akbar. It also had an equally long list of urdu shu’ara. He himself lived under straitened conditions, like a jogi/sufi. He had the good fortune to receive advice/correction for his compositions from three of Ghalib’s shaagird – hargopal tufta, mohammed zakariah zaki, and qurbaan ali saalik. This Ghazal, in the style of Ghalib’s ‘ibn-e mariam hua kare koii’, is linked to Ghalib naqsh-e qadam, and also to Ghalib aur kashmiri panDit.
1
jab tak shahiid1 qalb2 na apna kare koii
mumkin3 nahiN keh raabta4 paida kare koii 1.sacrifice 2.heart 3.possible 4.relationship
It is not possible to develop a lasting relationship unless one offers their heart unconditionally as a sacrifice.
2
mushtaaq1-e jalva2 mahv3-e nazar4 un ke ho gaye
vo dil kahaaN keh vaqf5-e tamanna6 kare koii 1.eager for 2.manifestation, appearance 3.engrossed in 4.seeing 5.dedicated to 6.desire, longing
The devotees who were eager to see the manifestation of the divine got caught up instead in gazing at the beloved. Here “un ke ho gaye” is probably a reference to the ‘beloved’ and the beloved is supposed to mean ‘the material world’. Thus, they wanted to see/experience the spiritual but got caught up in the material. Who has the heart/tenacity of dedicate themselves to true desire (to see the spiritual).
3
ek mahshar1-e Khayaal2 bana raNg3-e intezaar4kya inbesaat5-e v’aada6-e farda7 kare koii 1.tumult 2.thought 3.style, nature 4.waiting, anticipation 5.joy, delight 6.promise 7.future
The beloved always promises to come in the ‘future’ but never keeps her promise. If the poet/lover were to believe her promise, then the nature of his anticipation/waiting for her will become like a tumultous thought/imagination. So he says, how can one be happy about such a hopeless promise of a future tryst. Said Ghalib …
tere v’aade par jiye hum tu ye jaan jhooT jaana
keh Khushi se mar na jaate agar e’tebaar hota
4
aye farsh-e-Khaak1 manzar2-e hairat3 baland4 hai
parvaaz5 taa6 ba arsh-e-mu’alla7 kare koii 1.floor of the soil i.e., earth 2.scene 3.amazement 4.height 5.flight 6.until, as far as 7.seventh heaven
O dwellers of the earth, the scene of amazement is up high if only one can fly to the seventh heaven and see. Said Ghalib …
manzar ek balandi par, aur ham bana sakte
arsh se udhar hota, kaash ke makaaN apna
5
raNg1-e fusuuN-Khayaali2-e ushshaaq3 dekhna
ye aarzu4 hai mahv5-e tamaasha6 kare koii 1.style, nature 2.enchanted thinking, unreal expections/thinking 3.lovers, devotees 4.desire 5.engrossed 6.display
This could be either a sarcasm or the exact opposite i.e., admiration of the daring nature of the unreal expectations of devotees/lovers. They are wishing that the beloved (divine beloved) would manifest itself and they will be engrossed in viewing/regarding it.
6
ham bhi dikhaa’eN jalva1-e r’aanaai2-e Khayaal3us shooKh4 rum-she’aar5 ko paida kare koii 1.image, beauty 2.grace, beauty 3.thought, imagination 4.playful, mischievous 5.graceful/playful gait by nature
The prancing of a deer or the graceful run of a herd – rum-e aahu – is an oft used imagery in urdu shaa’eri. Thus, “rum-she’aar” implies a graceful gait by nature, like that of a deer. Of course, the shaa’er shows the grace/beauty of his thought/imagination through his kalaam-composition. He seems to suggest that a beloved of a nature/style graceful enough to deserve the full beauty of imaginative composition does not exist. He can show the grace and beauty of his composition only if a deserving beauty is created for him to write in praise of.
7
sardaada-e-junooN1 ka hai manzar2 rum-e-nigaah3
lauh-e-Khayaal4 daaman-e-sahra5 kare koii 1.willing to give up head in a frenzy of passion 2.scene 3.fleeting glance 4.writing tablet of thought 5.floor/expanse of the desert
The imagery is of a frenzied lover who receives a fleeting glance from the beloved and is willing to give up his head. In his madness he uses the desert expanse as a writing tablet i.e., runs around the desert making footprints, like the frenzied majnuN.
8
saalik1 nahiN hai muft2-e nazar3 jalva4-e butooN5raushan6 zamiir7-e diida8-e biina9 kare koii 1.traveler, seeker (for truth) 2.free 3.sight 4.appearance, revelation 5.secret, mystery 6.enlighten, open 7.conscience, inner spirit 8.eye 9.discerning, seeing
O seeker, the revelation of mysteries (of the cosmos) does not come free of effort. One has to open up the inner spirit, the discerning eye.
9
piite nahiN haiN daam1 ki mai2 rind3-e hosh-mand4kya kaif5 ho jo aa ke taqaaza6 kare koii 1.price, cost 2.wine 3.wine lovers 4.aware, knowledgable 5.pleasure 6.demand
The aware and knowledgeable wine lovers do not drink wine for which they pay. They get great pleasure when someone comes to demand payment. Here by “someone” is meant the “saaqi”, synonymous sometimes with the beloved.
10
arz1-e niyaaz2-e saaqi3-e maiKhwaar4 hai yahi
ham ko rahiin5-e saaGhar6-e sahba7 kare koii 1.appeal, request, prayer 2.devotional, humble 3.pen-name of the poet 4.wine drinking 5.obliged to, indebted to 6.cup 7.wine
The prayer of saaqi, the wine drinking poet, is that someone make him indebted to (or for) a cup of wine i.e., he wants someone to give him a cup of wine ‘on loan’. Could this be a reference to Ghalib’s famous habit of borrowing money for wine. Does the poet aspire to be like Ghalib.
panDit javaahar nath saaqi (1864-1916) was born into a kashmiiri panDit family with a long history of serving the emperor starting with akbar. It also had an equally long list of urdu shu’ara. He himself lived under straitened conditions, like a jogi/sufi. He had the good fortune to receive advice/correction for his compositions from three of Ghalib’s shaagird – hargopal tufta, mohammed zakariah zaki, and qurbaan ali saalik. This Ghazal, in the style of Ghalib’s ‘ibn-e mariam hua kare koii’, is linked to Ghalib naqsh-e qadam, and also to Ghalib aur kashmiri panDit.
1
jab tak shahiid1 qalb2 na apna kare koii
mumkin3 nahiN keh raabta4 paida kare koii
1.sacrifice 2.heart 3.possible 4.relationship
It is not possible to develop a lasting relationship unless one offers their heart unconditionally as a sacrifice.
2
mushtaaq1-e jalva2 mahv3-e nazar4 un ke ho gaye
vo dil kahaaN keh vaqf5-e tamanna6 kare koii
1.eager for 2.manifestation, appearance 3.engrossed in 4.seeing 5.dedicated to 6.desire, longing
The devotees who were eager to see the manifestation of the divine got caught up instead in gazing at the beloved. Here “un ke ho gaye” is probably a reference to the ‘beloved’ and the beloved is supposed to mean ‘the material world’. Thus, they wanted to see/experience the spiritual but got caught up in the material. Who has the heart/tenacity of dedicate themselves to true desire (to see the spiritual).
3
ek mahshar1-e Khayaal2 bana raNg3-e intezaar4kya inbesaat5-e v’aada6-e farda7 kare koii
1.tumult 2.thought 3.style, nature 4.waiting, anticipation 5.joy, delight 6.promise 7.future
The beloved always promises to come in the ‘future’ but never keeps her promise. If the poet/lover were to believe her promise, then the nature of his anticipation/waiting for her will become like a tumultous thought/imagination. So he says, how can one be happy about such a hopeless promise of a future tryst. Said Ghalib …
tere v’aade par jiye hum tu ye jaan jhooT jaana
keh Khushi se mar na jaate agar e’tebaar hota
4
aye farsh-e-Khaak1 manzar2-e hairat3 baland4 hai
parvaaz5 taa6 ba arsh-e-mu’alla7 kare koii
1.floor of the soil i.e., earth 2.scene 3.amazement 4.height 5.flight 6.until, as far as 7.seventh heaven
O dwellers of the earth, the scene of amazement is up high if only one can fly to the seventh heaven and see. Said Ghalib …
manzar ek balandi par, aur ham bana sakte
arsh se udhar hota, kaash ke makaaN apna
5
raNg1-e fusuuN-Khayaali2-e ushshaaq3 dekhna
ye aarzu4 hai mahv5-e tamaasha6 kare koii
1.style, nature 2.enchanted thinking, unreal expections/thinking 3.lovers, devotees 4.desire 5.engrossed 6.display
This could be either a sarcasm or the exact opposite i.e., admiration of the daring nature of the unreal expectations of devotees/lovers. They are wishing that the beloved (divine beloved) would manifest itself and they will be engrossed in viewing/regarding it.
6
ham bhi dikhaa’eN jalva1-e r’aanaai2-e Khayaal3us shooKh4 rum-she’aar5 ko paida kare koii
1.image, beauty 2.grace, beauty 3.thought, imagination 4.playful, mischievous 5.graceful/playful gait by nature
The prancing of a deer or the graceful run of a herd – rum-e aahu – is an oft used imagery in urdu shaa’eri. Thus, “rum-she’aar” implies a graceful gait by nature, like that of a deer. Of course, the shaa’er shows the grace/beauty of his thought/imagination through his kalaam-composition. He seems to suggest that a beloved of a nature/style graceful enough to deserve the full beauty of imaginative composition does not exist. He can show the grace and beauty of his composition only if a deserving beauty is created for him to write in praise of.
7
sardaada-e-junooN1 ka hai manzar2 rum-e-nigaah3
lauh-e-Khayaal4 daaman-e-sahra5 kare koii
1.willing to give up head in a frenzy of passion 2.scene 3.fleeting glance 4.writing tablet of thought 5.floor/expanse of the desert
The imagery is of a frenzied lover who receives a fleeting glance from the beloved and is willing to give up his head. In his madness he uses the desert expanse as a writing tablet i.e., runs around the desert making footprints, like the frenzied majnuN.
8
saalik1 nahiN hai muft2-e nazar3 jalva4-e butooN5raushan6 zamiir7-e diida8-e biina9 kare koii
1.traveler, seeker (for truth) 2.free 3.sight 4.appearance, revelation 5.secret, mystery 6.enlighten, open 7.conscience, inner spirit 8.eye 9.discerning, seeing
O seeker, the revelation of mysteries (of the cosmos) does not come free of effort. One has to open up the inner spirit, the discerning eye.
9
piite nahiN haiN daam1 ki mai2 rind3-e hosh-mand4kya kaif5 ho jo aa ke taqaaza6 kare koii
1.price, cost 2.wine 3.wine lovers 4.aware, knowledgable 5.pleasure 6.demand
The aware and knowledgeable wine lovers do not drink wine for which they pay. They get great pleasure when someone comes to demand payment. Here by “someone” is meant the “saaqi”, synonymous sometimes with the beloved.
10
arz1-e niyaaz2-e saaqi3-e maiKhwaar4 hai yahi
ham ko rahiin5-e saaGhar6-e sahba7 kare koii
1.appeal, request, prayer 2.devotional, humble 3.pen-name of the poet 4.wine drinking 5.obliged to, indebted to 6.cup 7.wine
The prayer of saaqi, the wine drinking poet, is that someone make him indebted to (or for) a cup of wine i.e., he wants someone to give him a cup of wine ‘on loan’. Could this be a reference to Ghalib’s famous habit of borrowing money for wine. Does the poet aspire to be like Ghalib.
The post rahiin-e saaGhar-e sahba kare koii-panDit javaahar nath saaqi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://secureservercdn.net/198.71.233.26/p5a.dd1.myftpupload.com/wp-content/uploads/2022/03/asGh-zindagi-hai-jo-hai-izteraab-meN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
زندگی ہے جو ہے اضطراب میں ۔ اصغر حسین اصغرؔ گونڈوی
۱
موجوں کا عکس ہے خطِ جامِ شراب میں
یا خون اُچھل رہا ہے رگِ ماہتاب میں
۲
کیوں شکوہ سنجِ گردشِ لیل و نہار ہوں
اِک تازہ زندگی ہے ہر اِک اِنقلاب میں
۳
وہ موت کہ کہتے ہیں جس کو سکُون سب
وہ عین زندگی ہے جو ہے اِضطراب میں
۴
دوزخ بھی ایک جلوۂ فردوسِ حسن ہے
جو اس سے بے خبر ہے وہی ہے عذاب میں
۵
اُس دن بھی میری روح تھی محوِ نشاطِ دید
موسیٰ اُلجھ گئے تھے سوال و جواب میں
۶
میں اِضطرابِ شوق کہوں یا جمالِ دوست
اک برق ہے جو کوندھ رہی ہے نقاب میں
ज़िंदगी है जो है इज़्तेराब में – अस्ग़र हुसैन अस्ग़र गोंडवी
१
मौजों का अक्स है ख़त-ए जाम-ए शराब में
या ख़ून उछल रहा है रग-ए माहताब में
२
क्यूं शिक्वा संज-ए गर्दिश-ए लैल ओ नेहार हूं
एक ताज़ा ज़िंदगी है हर एक इन्क़लाब में
३
वो मौत, के कहते हैं जिस को सुकून सब
वो ऐन ज़िंदगी है जो है इज़्तेराब में
४
दोज़ख़ भी एक जल्वा-ए फ़िरदौस-ए हुस्न है
जो उस से बे-ख़बर है वही है अज़ाब में
५
उस दिन भी मेरी रूह थी महव-ए नशात-ए दीद
मूसा उलझ गए थे सवाल ओ जवाब में
६
मैं इज़्तेराब-ए शौक़ कहूँ या जमाल-ए दोस्त
एक बर्क़ है जो कौंध रही है नक़ाब में
Click here for background and on any passage for word meanings and explanatory discussion. asGhar husain asGhar gonDvi (1884-1936) from a family of limited means in gorakhpur, he learnt urdu, arabi, faarsi and English through personal effort. He has a philosophical sufiyaana bent. This is a particularly energetic Ghazal modeled after Ghalib’s “saaqi ne kuchh mila na diya ho sharaab meN”. Considering the poet’s life-span and historical and legacy events in Ghalib’s lifetime, I date this Ghazal to 1919 – marking fifty years after his death.
1
maujoN ka aks1 hai Khat2-e jaam3-e sharaab meN
yaa Khoon uchhal rahaa hai rag4-e maahtaab5 meN 1.image 2.line, rim 3.cup, goblet 4.vein 5.full moon
The poet creates an image of beauty and intense activity. The rim of goblet, brimming with wine, creates an image of waves. The “goblet” here is the earth itself and ocean waters are the wine. There are waves at the ‘rim’ i.e. shoreline. The moon and its attraction creates tides “uchhalta Khoon”. Thus, the earth and moon (all of creation) is throbbing with yearning for divine love.
2
kyuN shikva-sanj1-e gardish2-e lail-o-nehaar3 huN
ek taaza4 zindagi hai har ek inqelaab5 meN 1.expert complainer 2.daily struggle 3.day and night, life 4.fresh 5.revolution, change
Why should I constantly complain about life. It keeps moving and changing. There is a fresh life with every change/revolution.
3
vo maut, ke kahte haiN jis ko sukoon1 sab
vo ain2 zindagi hai jo hai izteraab3 meN 1.tranquility 2.centre, essence 3.restlessness, yearning
That which everyone calls tranquility/contentment is nothing but Death. That is the essence of life which lies in restlessness and yearning.
4
dozaKh bhi ek jalva1-e firdaus2-e husn3 hai
jo us se be-Khabar4 hai vahi hai azaab5 meN 1.manifestation, display 2.heaven 3.beauty 4.unaware 5.punishment
Even hell is a manifestation of the beauty/justice of heaven/god i.e. divine being. The one who is unaware/unaccepting of this is the one who will be punished i.e. if you accept the beauty/goodness of the justice of god, if you accept divine justice, if you are not in denial of reward and punishment, only then you are likely to be spared.
5
us din bhi meri rooh1 thi mahv2-e nishaat3-e diid4
moosa5 ulajh6 gaye the savaal o javaab meN 1.spirit 2.engrossed, absorbed in 3.pleasure 4.sighting 5.Moses 6.tangled up
This has reference to the story of Moses who is reported to have gone to the top of mount tuur and asked to see god. There was a conversation that ensued and Moses ended up seeing a flash of lightning and fainted. Even as Moses was tangled up in this back and forth, question and answer with god, the poet/sufi was tranquil – his spirit engrossed in the pleasure of seeing/experiencing (god), perhaps within himself.
6
maiN izteraab1-e shauq2 kahuN yaa jamaal3-e dost4
ek barq5 hai jo kauNdh6 rahi hai naqaab7 meN 1.restlessness 2.desire 3.glory 4.friend, beloved, divine beloved 5.lightning, brilliance 6.flashing 7.veil
At one level it is a romantic she’r describing the beauty of the earthly beloved. Whether I call it restlessness of deesire of the glory of the beloved – it is brilliance flashing/shining behind the veil. At another level it is divine beauty that is hidden from us, but has to be discovered and felt.
asGhar husain asGhar gonDvi (1884-1936) from a family of limited means in gorakhpur, he learnt urdu, arabi, faarsi and English through personal effort. He has a philosophical sufiyaana bent. This is a particularly energetic Ghazal modeled after Ghalib’s “saaqi ne kuchh mila na diya ho sharaab meN”. Considering the poet’s life-span and historical and legacy events in Ghalib’s lifetime, I date this Ghazal to 1919 – marking fifty years after his death.
1
maujoN ka aks1 hai Khat2-e jaam3-e sharaab meN
yaa Khoon uchhal rahaa hai rag4-e maahtaab5 meN
1.image 2.line, rim 3.cup, goblet 4.vein 5.full moon
The poet creates an image of beauty and intense activity. The rim of goblet, brimming with wine, creates an image of waves. The “goblet” here is the earth itself and ocean waters are the wine. There are waves at the ‘rim’ i.e. shoreline. The moon and its attraction creates tides “uchhalta Khoon”. Thus, the earth and moon (all of creation) is throbbing with yearning for divine love.
2
kyuN shikva-sanj1-e gardish2-e lail-o-nehaar3 huN
ek taaza4 zindagi hai har ek inqelaab5 meN
1.expert complainer 2.daily struggle 3.day and night, life 4.fresh 5.revolution, change
Why should I constantly complain about life. It keeps moving and changing. There is a fresh life with every change/revolution.
3
vo maut, ke kahte haiN jis ko sukoon1 sab
vo ain2 zindagi hai jo hai izteraab3 meN
1.tranquility 2.centre, essence 3.restlessness, yearning
That which everyone calls tranquility/contentment is nothing but Death. That is the essence of life which lies in restlessness and yearning.
4
dozaKh bhi ek jalva1-e firdaus2-e husn3 hai
jo us se be-Khabar4 hai vahi hai azaab5 meN
1.manifestation, display 2.heaven 3.beauty 4.unaware 5.punishment
Even hell is a manifestation of the beauty/justice of heaven/god i.e. divine being. The one who is unaware/unaccepting of this is the one who will be punished i.e. if you accept the beauty/goodness of the justice of god, if you accept divine justice, if you are not in denial of reward and punishment, only then you are likely to be spared.
5
us din bhi meri rooh1 thi mahv2-e nishaat3-e diid4
moosa5 ulajh6 gaye the savaal o javaab meN
1.spirit 2.engrossed, absorbed in 3.pleasure 4.sighting 5.Moses 6.tangled up
This has reference to the story of Moses who is reported to have gone to the top of mount tuur and asked to see god. There was a conversation that ensued and Moses ended up seeing a flash of lightning and fainted. Even as Moses was tangled up in this back and forth, question and answer with god, the poet/sufi was tranquil – his spirit engrossed in the pleasure of seeing/experiencing (god), perhaps within himself.
6
maiN izteraab1-e shauq2 kahuN yaa jamaal3-e dost4
ek barq5 hai jo kauNdh6 rahi hai naqaab7 meN
1.restlessness 2.desire 3.glory 4.friend, beloved, divine beloved 5.lightning, brilliance 6.flashing 7.veil
At one level it is a romantic she’r describing the beauty of the earthly beloved. Whether I call it restlessness of deesire of the glory of the beloved – it is brilliance flashing/shining behind the veil. At another level it is divine beauty that is hidden from us, but has to be discovered and felt.
The post zindagi jo hai izteraab-asGhar gonDvi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://secureservercdn.net/198.71.233.26/p5a.dd1.myftpupload.com/wp-content/uploads/2022/03/mi-ishq-ka-daava-kare-koii-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
عشق کا دعوا کرے کوئی ۔ محمّد اقبال
۱
ظاہر کی آنکھ سے نہ تماشا کرے کوئی
ہو دیکھنا تو دیدۂ دل وا کرے کوئی
۲
منصور کو ہوا لبِ گویا پیامِ موت
اب کیا کسی کے عشق کا دعوا کرے کوئی
۳
ہو دید کا جو شوق تو آنکھوں کو بند کر
ہے دیکھنا یہی کہ نہ دیکھا کرے کوئی
۴
میں اِنتہائے عشق ہوں، تو اِنتہائے حسن
دیکھے مجھے کہ تجھ کو تماشا کرے کوئی
۵
عذر آفرینِ جرمِ محبت ہے حسنِ دوست
محشر میں عذر تازہ نہ پیدا کرے کوئی
۶
چھپتی نہیں ہے یہ نگہ شوق ہم نشیں
پھر اور کس طرح اُنہیں دیکھا کرے کوئی
۷
اَڑ بیٹھے کیا سمجھ کے بھلا طور پر کلیم
طاقت ہو دید کی تو تقاضا کرے کوئی
۸
نظّارے کو یہ جنبشِ مژگاں بھی بار ہے
نرگس کی آنکھ سے تجھے دیکھا کرے کوئی
۹
کھل جائیں کیا مزے ہیں تمنّائے شوق میں
دو چار دن جو میری تمنّا کرے کوئی
इश्क़ का दावा करे कोई – मोहम्मद एक़्बाल
१
ज़ाहर की आंख से न तमाशा करे कोई
हो देखना तो दीदा-ए दिल वा करे कोई
२
मन्सूर को हुआ लब-ए गोया पयाम-ए मौत
अब क्या किसी के इश्क़ का दावा करे कोई
३
हो दीद का जो शौक़ तो आंखौं को बंद कर
है देखना यही के न देखा करे कोई
४
मैं इन्तहा-ए इश्क़ हुं, तू इन्तहा-ए हुस्न
देखे मुझे के तुझ को तमाशा करे कोई
५
उज़्र-आफ़्रीन-ए जुर्म-ए मोहब्बत है हुस्न-ए दोस्त
महशर में उज़्र ताज़ा न पैदा करे कोई
६
छुपती नहीं है ये निगह-ए शौक़ हम-नशीं
फिर और किस तरह उन्हें देखा करे कोई
७
अढ बैठे क्या समझ के भला तूर पर कलीम
ताक़त हो दीद की तो तक़ाज़ा करे कोई
८
नज़्ज़ारे को ये जुंबिश-ए मिज़्शगां भी बार है
नरगिस की आंख से तुझे देखा करे कोई
९
खुल जाए क्या मज़े हैं तमन्ना-ए शौक़ में
दो चार दिन जो मेरी तमन्ना करे कोई
Click here for background and on any passage for word meanings and explanatory discussion. mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts. iqbal has written many more nazm than Ghazal. This is in Ghazal format but the continuity of its theme makes it a nazm – let us call it a nazm/Ghazal modeled after Ghalib’s ‘ibn-e mariam hua kare koii’. It is linked to Ghalib naqsh-e qadam.
1
zaahir1 ki aaNkh se na tamaasha2 kare koii
ho dekhna to diida3-e dil vaa4 kare koii 1.apparent, material (as opposed to spritual) 2.see, observe 3.eye 4.open wide
If you want to see the truth/spirit behind the cosmos, then material/superficial observation is not enough. You need to open wide the heart’s eye i.e., the inner eye if you want to see. Personal note … this is circular logic and as a rationalist, it is difficult for me to stomach.
2
mansoor1 ko hua lab2-e goya3 payaam4-e maut5ab kya kisi ke ishq ka d’aava6 kare koii 1.mansoor-al-hallaaj (see note) 2.lips 3.speaking 4.message 5.death 6.claim, assertion
mansoor-al-hallaaj (858-922) was a sufi scholar who read, discussed and traveled extensively. Among other places he traveled to India and perhaps influenced by ‘aham brahmasmi (meaning – I am the Absolute)’, declared, ‘an-al-haq (meaning am the Truth). This was judged to be a heresy, and he was offered a chance to recant or face death. He refused to recant and was executed. Here iqbal seems to imply that mansoor’s declaration was an assertion of love of the divine – he was declaring his one-ness with the divine. But his ‘speaking lips’ brought the message of death i.e., he dared to speak and he was sentenced to death. In the face of this, how can anyone else have the courage to make an assertion of love.
3
ho diid1 ka jo shauq2 to aaNkhoN ko band kar
hai dekhna yahi, keh na dekha kare koii 1.sighting/seeing (the divine) 2.desire
If you desire to see/comprehend the divine then you need to close your eyes i.e., zaahir ki aaNkh – the eye that is meant for the material world. Seeing (the divine) means keeping the (superficial) eyes closed i.e., turn away from the material and see the spiritual with your inner eye. To the rationalist, this appears like shutting your eyes to the truth and believing in fables.
4
maiN intehaa1-e ishq2 huN, tu intehaa-e husn3dekhe mujhe keh tujh ko tamaasha4 kare koii 1.culmination 2.love, devotion 3.beauty 4.seeing, observing
The poet/devotee declares himself to be the epitome of devotion (to the spiritual) and the divine to be the epitome of beauty. But those who want to see/observe are confused – should they ‘see’ me or you. The implication is that the act of devotion is of just as much value as the beauty of the divine.
5
uzr1-aafriin2-e jurm3-e mohabbat hai husn4-e dost5
mahshar6 meN uzr1 taaza7 na paida kare koii 1.excuse, feigned explanation 2.creating, increasing 3.crime, transgression, excess 4.beauty 5.friend, beloved (divine) 6.judgement day 7.fresh, new
There is an interesting juxtaposition of the divine beloved and the romantic beloved. In conventional earthly love, the lover is so overwhelmed by the beauty of the beloved that he commits excesses (for which he has to be punished – perhaps on judgement day). The devotee is also overwhelmed by divine beauty and commits excesses (although this raises the question of whether such excess is punishable, is a crime). The devotee does not need a fresh/new excuse for his transgression on judgement day.
6
chhupti1 nahiN hai ye nigah2-e shauq3, ham-nashiiN4phir aur kis tarah5 unheN dekha kare koii 1.hide-used here to mean shut 2.eye 3.desire 4.companion, friend 5.way, method
O friend, the intensity of the desire to see (the divine) is so great that I cannot shut my eyes. What other way is there to see him.
7
aR1 baiThe kya samajh2 ke bhala tuur3 par kaliim4taaqat5 ho diid6 ki to taqaaza7 kare koii 1.insist 2.thinking 3.mount tuur 4.another name for moosa/Moses 5.strength 6.seeing 7.demand
The story is that moosa went up mount tuur and asked to see god so he might convince his followers. He heard a voice that said that he would not be able to see the divine. He insisted. There was a flash of lightning and moosa fainted. Thus, what did moosa think (of himself) that he could insist on mount tuur (to see god). One demands things only if they have the strength/capacity to see. Said Ghalib … girni thi ham pe barq-e tajalli na tuur par
dete haiN baada zarf-e qadah-Khwaar dekh kar
8
nazzaare1 ko ye jumbish2-e mizshgaaN3 bhi baar4 hai
nargis5 ki aaNkh se tujhe dekha kare koii 1.sight, to see 2.movement 3.eyelashes 4.burden 5.narcissus
The imagery of narcissus is that it grows by the banks of streams, blooms and droops looking at its own reflection in the water. This could have been used in two ways … (a) look at yourself to understand/look at the divine or (b) be humble and lower your eyes. Thus, in order to see, moving the eyelashes up is a burden. One should look with they eye of a narcissus i.e., look at one’s own reflection/inner self or look with humility.
9
khul1 jaaye kya maze2 haiN tamanna3-e shauq4 meN
do chaar din jo meri tamanna3 kare koii 1.open up, revealed, become evident 2.pleasures 3.desire, longing 4.love
The meaning of ‘meri tamanna’ here is probably not someone desiring me, but someone desiring like me. Thus, if anyone were to desire the divine with the same intensity that I do, even for a few days, then then the pain/pleasure of longing will be revealed to them.
mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts. iqbal has written many more nazm than Ghazal. This is in Ghazal format but the continuity of its theme makes it a nazm – let us call it a nazm/Ghazal modeled after Ghalib’s ‘ibn-e mariam hua kare koii’. It is linked to Ghalib naqsh-e qadam.
1
zaahir1 ki aaNkh se na tamaasha2 kare koii
ho dekhna to diida3-e dil vaa4 kare koii
1.apparent, material (as opposed to spritual) 2.see, observe 3.eye 4.open wide
If you want to see the truth/spirit behind the cosmos, then material/superficial observation is not enough. You need to open wide the heart’s eye i.e., the inner eye if you want to see. Personal note … this is circular logic and as a rationalist, it is difficult for me to stomach.
2
mansoor1 ko hua lab2-e goya3 payaam4-e maut5ab kya kisi ke ishq ka d’aava6 kare koii
1.mansoor-al-hallaaj (see note) 2.lips 3.speaking 4.message 5.death 6.claim, assertion
mansoor-al-hallaaj (858-922) was a sufi scholar who read, discussed and traveled extensively. Among other places he traveled to India and perhaps influenced by ‘aham brahmasmi (meaning – I am the Absolute)’, declared, ‘an-al-haq (meaning am the Truth). This was judged to be a heresy, and he was offered a chance to recant or face death. He refused to recant and was executed. Here iqbal seems to imply that mansoor’s declaration was an assertion of love of the divine – he was declaring his one-ness with the divine. But his ‘speaking lips’ brought the message of death i.e., he dared to speak and he was sentenced to death. In the face of this, how can anyone else have the courage to make an assertion of love.
3
ho diid1 ka jo shauq2 to aaNkhoN ko band kar
hai dekhna yahi, keh na dekha kare koii
1.sighting/seeing (the divine) 2.desire
If you desire to see/comprehend the divine then you need to close your eyes i.e., zaahir ki aaNkh – the eye that is meant for the material world. Seeing (the divine) means keeping the (superficial) eyes closed i.e., turn away from the material and see the spiritual with your inner eye. To the rationalist, this appears like shutting your eyes to the truth and believing in fables.
4
maiN intehaa1-e ishq2 huN, tu intehaa-e husn3dekhe mujhe keh tujh ko tamaasha4 kare koii
1.culmination 2.love, devotion 3.beauty 4.seeing, observing
The poet/devotee declares himself to be the epitome of devotion (to the spiritual) and the divine to be the epitome of beauty. But those who want to see/observe are confused – should they ‘see’ me or you. The implication is that the act of devotion is of just as much value as the beauty of the divine.
5
uzr1-aafriin2-e jurm3-e mohabbat hai husn4-e dost5
mahshar6 meN uzr1 taaza7 na paida kare koii
1.excuse, feigned explanation 2.creating, increasing 3.crime, transgression, excess 4.beauty 5.friend, beloved (divine) 6.judgement day 7.fresh, new
There is an interesting juxtaposition of the divine beloved and the romantic beloved. In conventional earthly love, the lover is so overwhelmed by the beauty of the beloved that he commits excesses (for which he has to be punished – perhaps on judgement day). The devotee is also overwhelmed by divine beauty and commits excesses (although this raises the question of whether such excess is punishable, is a crime). The devotee does not need a fresh/new excuse for his transgression on judgement day.
6
chhupti1 nahiN hai ye nigah2-e shauq3, ham-nashiiN4phir aur kis tarah5 unheN dekha kare koii
1.hide-used here to mean shut 2.eye 3.desire 4.companion, friend 5.way, method
O friend, the intensity of the desire to see (the divine) is so great that I cannot shut my eyes. What other way is there to see him.
7
aR1 baiThe kya samajh2 ke bhala tuur3 par kaliim4taaqat5 ho diid6 ki to taqaaza7 kare koii
1.insist 2.thinking 3.mount tuur 4.another name for moosa/Moses 5.strength 6.seeing 7.demand
The story is that moosa went up mount tuur and asked to see god so he might convince his followers. He heard a voice that said that he would not be able to see the divine. He insisted. There was a flash of lightning and moosa fainted. Thus, what did moosa think (of himself) that he could insist on mount tuur (to see god). One demands things only if they have the strength/capacity to see. Said Ghalib … girni thi ham pe barq-e tajalli na tuur par
dete haiN baada zarf-e qadah-Khwaar dekh kar
8
nazzaare1 ko ye jumbish2-e mizshgaaN3 bhi baar4 hai
nargis5 ki aaNkh se tujhe dekha kare koii
1.sight, to see 2.movement 3.eyelashes 4.burden 5.narcissus
The imagery of narcissus is that it grows by the banks of streams, blooms and droops looking at its own reflection in the water. This could have been used in two ways … (a) look at yourself to understand/look at the divine or (b) be humble and lower your eyes. Thus, in order to see, moving the eyelashes up is a burden. One should look with they eye of a narcissus i.e., look at one’s own reflection/inner self or look with humility.
9
khul1 jaaye kya maze2 haiN tamanna3-e shauq4 meN
do chaar din jo meri tamanna3 kare koii
1.open up, revealed, become evident 2.pleasures 3.desire, longing 4.love
The meaning of ‘meri tamanna’ here is probably not someone desiring me, but someone desiring like me. Thus, if anyone were to desire the divine with the same intensity that I do, even for a few days, then then the pain/pleasure of longing will be revealed to them.
The post ishq ka daava kare koii-mohammed iqbal appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/02/sl-teri-aavaaz-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
تیری آواز ۔ ساحرؔ لدھیانوی
۱
رات سُنسان تھی بوجھل تھیں فضا کی سانسیں
روح پر چھائے تھے بے نام غموں کے سائے
دل کو یہ ضِد تھی کہ تو آئے تسلّی دینے
میری کوشِش تھی کہ کمبخت کو نیند آ جائے
۲
دیر تک آنکھوں میں چُبھتی رہی تاروں کی چمک
دیر تک ذہن سلگتا رہا تنہائی میں
اپنے ٹھکرائے ہوئے دوست کی پُرسِش کے لئے
تو نہ آئی مگر اس رات کی پہنائی میں
۳
یوں اچانک تری آواز کہیں سے آئی
جیسے پربت کا جگر چیر کے جھرنا پھوٹے
یا زمینوں کی محبت میں تڑپ کر ناگاہ
آسمانوں سے کوئی شوخ ستارہ ٹوٹے
۴
شہد سا گھل گیا تلخابۂ تنہائی میں
رنگ سا پھیل گیا دل کے سیہ خانے میں
دیر تک یوں تری مستانہ صدائیں گونجیں
جس طرح پھول چِٹکنے لگیں ویرانے میں
۵
تو بہت دور کسی انجمنِ ناز میں تھی
پھر بھی محسوس کیا میں نے کہ تو آئی ہے
اور نغموں میں چھپا کر مرے کھوئے ہوئے خواب
میری روٹھی ہوئی نیندوں کو منا لائی ہے
۶
رات کی سطح پر اُبھرے ترے چہرے کے نُقُوش
وہی چپ چاپ سی آنکھیں وہی سادہ سی نظر
وہی ڈھلکا ہوا آنچل وہی رفتار کا خم
وہی رہ رہ کے لچکتا ہوا نازک پیکر
۷
تو مرے پاس نہ تھی پھر بھی سحر ہونے تک
تیرا ہر سانس مرے جسم کو چھو کر گزرا
قطرہ قطرہ ترے دیدار کی شبنم ٹپکی
لمحہ لمحہ تری خوشبُو سے معطر گزرا
۸
اب یہی ہے تجھے منظور تو اے جانِ قرار
میں تری راہ نہ دیکھوں گا سیہ راتوں میں
ڈھونڈھ لیں گی مری ترسی ہوئی نظریں تجھ کو
نغمہ و شعر کی امڈی ہوئی برساتوں میں
۹
اب ترا پیار ستائے گا تو میری ہستی
تری مستی بھری آواز میں ڈھل جائے گی
اور یہ روح جو تیرے لئے بے چین سی ہے
گیت بن کر ترے ہونٹوں پہ مچل جائے گی
۱۰
تیرے نغمات ترے حُسن کی ٹھنڈک لے کر
میرے تپتے ہوئے ماحول میں آ جائیں گے
چند گھڑیوں کے لئے ہوں کہ ہمیشہ کے لئے
مری جاگی ہوئی راتوں کو سُلا جائیں گے
तेरी आवाज़ – साहर लुधियानवी
१
रात सुनसान थी बोझल थीं फ़ज़ा की साँसें
रूह पर छाए थे बे-नाम ग़मों के साए
दिल को ये ज़िद थी कि तू आए तसल्ली देने
मेरी कोशिश थी कि कम्बख़्त को नींद आ जाए
२
देर तक आँखौं में चुभती रही तारौं की चमक
देर तक ज़हन सुलग्ता रहा तन्हाई में
अपने ठुकराए हुए दोस्त की पुर्सिश के लिए
तू न आई मगर उस रात की पहनाई में
३
यूँ अचानक तेरी आवाज़ कहीं से आई
जैसे पर्बत का जिगर चीर के झरना फूटे
या ज़मीनों की मोहब्बत में तड़प कर नागाह
आस्मानों से कोई शूख़ सितारा टूटे
४
शहद सा घुल गया तल्ख़ाबा-ए तन्हाई में
रंग सा फैल गया दिल के सियह-ख़ाने में
देर तक यूँ तेरी मस्ताना सदाएँ गूँजीं
जिस तरह फूल चटकने लगें वीराने में
५
तू बहुत दूर किसी अंजुमन-ए नाज़ में थी
फिर भी महसूस किया मैं ने के तू आई है
और नग़्मों में छुपा कर मेरे खोए हुए ख़्वाब
मेरी रूठी हुई नींदों को मना लाई है
६
रात की सतह पर उभरे तेरे चेहरे के नुक़ूश
वही चुप-चाप सी आँखें वही सादा सी नज़र
वही ढलका हुआ आँचल वही रफ़्तार का ख़म
वही रह रह के लचक्ता हुआ नाज़ुक पैकर
७
तू मेरे पास न थी फिर भी सहर होने तक
तेरा हर साँस मेरे जिस्म को छू कर गुज़्रा
क़त्रा क़त्रा तेरे दीदार की शब्नम टपकी
लम्हा लम्हा तेरी ख़ुश्बू से मोअत्तर गुज़्रा
८
अब यही है तुझे मंज़ूर तो अए जान-ए क़रार
मैं तेरी राह न देखूँगा सियह रातों में
ढूँढ लेंगी मेरी तर्सी हुई नज़रें तुझ को
नग़्मा ओ शेर की उम्डी हुई बरसातों में
९
अब तेरा प्यार सताएगा तो मेरी हस्ती
तेरी मस्ती भरी आवाज़ में ढल जाएगी
और ये रूह जो तेरे लिए बेचैन सी है
गीत बन कर तेरे होंटों पे मचल जाएगी
१०
तेरे नग़्मात तेरे हुस्न की ठंडक ले कर
मेरे तपते हुए माहौल में आ जाएँगे
चंद घड़ियों के लिए हों के हमेशा के लिए
मेरी जागी हुई रातों को सुला जाएँगे
Click here for background and on any passage for word meanings and explanatory discussion. sahir ludhianavi (1921-1980) progressive poet writing in chaste yet relatively easily understood urdu. He brought the quality of urdu nazm to movie songs and raised the standards to a high level. Supported labour movements. This appears to be a purely romantic nazm with no social undertones and reflects the unfulfilled love relationships in sahir’s life. There is a (totally unsubstantiated) claim that sahir composed this as a tribute to lata maNgeshkar’s voice, at a time when relations between the two were not bitter. I cannot quite believe this, but upon lata maNgeshkar’s passing, I am quite willing to say that this nazm does reflect sentiments of tribute to a beautiful voice.
1
raat sunsaan1 thi bojhal2 thiiN fazaa3 ki saaNseN4
ruuh5 par chhaaye the be-naam GhamoN ke saaye
dil ko ye zid6 thi ki tu aaye tasalli7 dene
meri koshish8 thi ki kambaKht9 ko niiNd aa jaaye 1.deserted, lonely 2.drooping, subdued 3.air, ambience 4.rhythm (as in breathing) 5.soul, spirit 6.insistence 7.consolation 8.effort 9.unfortunate
The night was lonely and the rhythm of time was slow and subdued. My spirit was overwhelmed by dark shadows of melancholy. The unfortunate heart was insisting that you come to console me and I was trying that it forget its sorrow and sleep.
2
der tak aankhoN meN chubhti rahi taaroN ki chamak
der tak zahn1 sulagtaa2 rahaa tanhaaii3 meN
apne Thukraaye4 hue dost5 ki pursish6 ke liye
to na aaii magar us raat ki pahnaaii7 meN 1.mind, memories 2.burning 3.loneliness 4.rejected 5.friend, admirer, lover 7.extent
For long, the twinkle of the stars pricked my eyes. For long memories burned my heart in my loneliness. But through the extent of the night, you did not come to ask after your rejected admirer.
3
yuuN achaanak1 teri aavaaz kahiiN se aaii
jaise parbat kaa jigar chiir ke jharnaa2 phuTe
yaa zaminoN ki mohabbat meN taRap kar naagaah3
aasmaanoN se koi shooKh4 sitaara TuuTe 1.suddenly, unexpectedly 2.spring, brook 3.unexpected, surprise 4.mischeivous
Suddenly from somewhere I heard your voice, like a gurgling brook bursting forth from a mountain, or like a playful star, impatient to meet its beloved earth, shoots down from the sky.
4
shahd1 saa ghul2 gayaa talKhaaba3-e tanhaaii4 meN
raNg saa phail gayaa dil ke siyah-Khaane5 meN
der tak yuuN teri mastaana6 sadaayeN7 gooNjiN
jis tarah phuul chaTakne8 lageN viraane9 meN 1.honey 2.dissolve 3.bitter drink 4.loneliness 5.dark house 6.intoxicating 7.sounds 8.gentle sound (poetic imagination) of unfolding petals as flowers bloom 9.desolate wilderness
It was as if someone poured honey into the bitter drink of loneliness. Bright colours spread through the darkness of my heart. For long your intoxicating sounds echoed like the clicking of flower petals blooming in desolate wilderness.
5
tu bahut duur kisi anjuman1-e naaz2 meN thi
phir bhi mahsus3 kiyaa maiN ne keh tu aaii hai
aur naGhmoN4 meN chhupaa kar mere khoye hue Khwaab
meri ruThi hui nindoN ko manaa laaii hai 1.gathering, party 2.admirers offering homage 3.felt 4.songs
You were far away, surrounded by admirers, but I felt as if you have come, cloaking my lost dreams in the guise of your songs. You have reconciled/brought back my unhappy slumber/comfort.
6
raat ki sat’h1 par ubhre2 tere chehre ke nuqoosh3
vahi chup-chaap si aaNhkeN vahi saada si nazar
vahi Dhalkaa huaa aaNchal vahi raftaar4 kaa Kham5
vahi rah rah ke lachaktaa huaa naazuk6 paikar7 1.surface 2.emerge 3.sketch, marks 4.speed, gait 5.curve, swing 6.delicate 7.form
On the black surface of the dark night, emerged a picture of your face. The same silent eyes, the same straight and simple glance, the drooping shawl and same swinging gait. The same hesitant, supple and delicate form.
7
tu mere paas na thi phir bhi sahar1 hone tak
teraa har saaNs mere jism ko chhu kar guzraa2
qatra qatra3 tere didaar4 ki shabnam5 Tapki
lamha lamha6 teri Khushbu se mo’attar7 guzraa2 1.dawn 2.passed 3.drop by drop 4.sight 5.dew 6.minute by minute 7.fragrant
You were not near me, but all through the night, until dawn, your every breath touched my body. Dew dripped, drop by drop, like glimpses of your sight. The minutes passed redolent with your fragrance.
8
ab yahi hai tujhe manzur1 to aye jaan-e-qaraar2
maiN teri raah3 na dekhuNga siyah4 raatoN meN
DhuNDh leNgi meri tarsi5 hui nazreN6 tujh ko
naGhma7 o she’r ki umDi hui barsaatoN meN 1.acceptable, wish 2.soul of my comfort/love 3.path – looking for you coming along the path 4.dark 5.thirsty 6.eyes
If this be your wish, O, soul of my love, then I will not look for you in these dark nights. My thirsty eyes will seek you in clouds raining song and verse.
9
ab tera pyaar sataayegaa to meri hasti1
teri masti2 bhari aavaaz meN Dhal3 jaayegi
aur ye ruuh4 jo tere liye bechain5 si hai
giit ban kar tere hoNToN pe machal jaayegi 1.being, existence 2.intoxication 3.moulded 4.spirit 5.restless, eager
Now, if love for you, makes me lonely, then my very existence will mould itself into your intoxicating sounds. My restless soul, eager for you, will seek comfort in the song that trembles on your lips.
10
tere naGhmaat1 tere husn2 ki ThanDak le kar
mere tapte3 hue maahaul4 meN aa jaayeNge
chand5 ghaRiyoN6 ke liye hoN keh hamesha7 ke liye
meri jaagi hui raatoN ko sulaa jaayeNge 1.songs 2.beauty 3.burning 4.surroundings 5.a few 6.moments 7.forever
Your songs will bring the cool comfort of your beauty and put out the fires that surround me. Perhaps for a few minuts, perhaps forever, they will bring some comfort to my sleepless nights.
sahir ludhianavi (1921-1980) progressive poet writing in chaste yet relatively easily understood urdu. He brought the quality of urdu nazm to movie songs and raised the standards to a high level. Supported labour movements. This appears to be a purely romantic nazm with no social undertones and reflects the unfulfilled love relationships in sahir’s life. There is a (totally unsubstantiated) claim that sahir composed this as a tribute to lata maNgeshkar’s voice, at a time when relations between the two were not bitter. I cannot quite believe this, but upon lata maNgeshkar’s passing, I am quite willing to say that this nazm does reflect sentiments of tribute to a beautiful voice.
1
raat sunsaan1 thi bojhal2 thiiN fazaa3 ki saaNseN4
ruuh5 par chhaaye the be-naam GhamoN ke saaye
dil ko ye zid6 thi ki tu aaye tasalli7 dene
meri koshish8 thi ki kambaKht9 ko niiNd aa jaaye
1.deserted, lonely 2.drooping, subdued 3.air, ambience 4.rhythm (as in breathing) 5.soul, spirit 6.insistence 7.consolation 8.effort 9.unfortunate
The night was lonely and the rhythm of time was slow and subdued. My spirit was overwhelmed by dark shadows of melancholy. The unfortunate heart was insisting that you come to console me and I was trying that it forget its sorrow and sleep.
2
der tak aankhoN meN chubhti rahi taaroN ki chamak
der tak zahn1 sulagtaa2 rahaa tanhaaii3 meN
apne Thukraaye4 hue dost5 ki pursish6 ke liye
to na aaii magar us raat ki pahnaaii7 meN
1.mind, memories 2.burning 3.loneliness 4.rejected 5.friend, admirer, lover 7.extent
For long, the twinkle of the stars pricked my eyes. For long memories burned my heart in my loneliness. But through the extent of the night, you did not come to ask after your rejected admirer.
3
yuuN achaanak1 teri aavaaz kahiiN se aaii
jaise parbat kaa jigar chiir ke jharnaa2 phuTe
yaa zaminoN ki mohabbat meN taRap kar naagaah3
aasmaanoN se koi shooKh4 sitaara TuuTe
1.suddenly, unexpectedly 2.spring, brook 3.unexpected, surprise 4.mischeivous
Suddenly from somewhere I heard your voice, like a gurgling brook bursting forth from a mountain, or like a playful star, impatient to meet its beloved earth, shoots down from the sky.
4
shahd1 saa ghul2 gayaa talKhaaba3-e tanhaaii4 meN
raNg saa phail gayaa dil ke siyah-Khaane5 meN
der tak yuuN teri mastaana6 sadaayeN7 gooNjiN
jis tarah phuul chaTakne8 lageN viraane9 meN
1.honey 2.dissolve 3.bitter drink 4.loneliness 5.dark house 6.intoxicating 7.sounds 8.gentle sound (poetic imagination) of unfolding petals as flowers bloom 9.desolate wilderness
It was as if someone poured honey into the bitter drink of loneliness. Bright colours spread through the darkness of my heart. For long your intoxicating sounds echoed like the clicking of flower petals blooming in desolate wilderness.
5
tu bahut duur kisi anjuman1-e naaz2 meN thi
phir bhi mahsus3 kiyaa maiN ne keh tu aaii hai
aur naGhmoN4 meN chhupaa kar mere khoye hue Khwaab
meri ruThi hui nindoN ko manaa laaii hai
1.gathering, party 2.admirers offering homage 3.felt 4.songs
You were far away, surrounded by admirers, but I felt as if you have come, cloaking my lost dreams in the guise of your songs. You have reconciled/brought back my unhappy slumber/comfort.
6
raat ki sat’h1 par ubhre2 tere chehre ke nuqoosh3
vahi chup-chaap si aaNhkeN vahi saada si nazar
vahi Dhalkaa huaa aaNchal vahi raftaar4 kaa Kham5
vahi rah rah ke lachaktaa huaa naazuk6 paikar7
1.surface 2.emerge 3.sketch, marks 4.speed, gait 5.curve, swing 6.delicate 7.form
On the black surface of the dark night, emerged a picture of your face. The same silent eyes, the same straight and simple glance, the drooping shawl and same swinging gait. The same hesitant, supple and delicate form.
7
tu mere paas na thi phir bhi sahar1 hone tak
teraa har saaNs mere jism ko chhu kar guzraa2
qatra qatra3 tere didaar4 ki shabnam5 Tapki
lamha lamha6 teri Khushbu se mo’attar7 guzraa2
1.dawn 2.passed 3.drop by drop 4.sight 5.dew 6.minute by minute 7.fragrant
You were not near me, but all through the night, until dawn, your every breath touched my body. Dew dripped, drop by drop, like glimpses of your sight. The minutes passed redolent with your fragrance.
8
ab yahi hai tujhe manzur1 to aye jaan-e-qaraar2
maiN teri raah3 na dekhuNga siyah4 raatoN meN
DhuNDh leNgi meri tarsi5 hui nazreN6 tujh ko
naGhma7 o she’r ki umDi hui barsaatoN meN
1.acceptable, wish 2.soul of my comfort/love 3.path – looking for you coming along the path 4.dark 5.thirsty 6.eyes
If this be your wish, O, soul of my love, then I will not look for you in these dark nights. My thirsty eyes will seek you in clouds raining song and verse.
9
ab tera pyaar sataayegaa to meri hasti1
teri masti2 bhari aavaaz meN Dhal3 jaayegi
aur ye ruuh4 jo tere liye bechain5 si hai
giit ban kar tere hoNToN pe machal jaayegi
1.being, existence 2.intoxication 3.moulded 4.spirit 5.restless, eager
Now, if love for you, makes me lonely, then my very existence will mould itself into your intoxicating sounds. My restless soul, eager for you, will seek comfort in the song that trembles on your lips.
10
tere naGhmaat1 tere husn2 ki ThanDak le kar
mere tapte3 hue maahaul4 meN aa jaayeNge
chand5 ghaRiyoN6 ke liye hoN keh hamesha7 ke liye
meri jaagi hui raatoN ko sulaa jaayeNge
1.songs 2.beauty 3.burning 4.surroundings 5.a few 6.moments 7.forever
Your songs will bring the cool comfort of your beauty and put out the fires that surround me. Perhaps for a few minuts, perhaps forever, they will bring some comfort to my sleepless nights.
The post teri aavaaz-sahir ludhianavi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/02/jpr-dast-e-tund-Khuu-kya-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
دستِ تُند خو کیا ہے ۔ جمنا پرشاد راہیؔ
۱
نشانِ حسرت و حرماں ہوں جستجو کیا ہے
کوئی اُمید نہیں ہے تو آرزو کیا ہے
۲
ہمارے عجز کا داماں رفو رفو کیا ہے
طریقِ جامہ دری دستِ تُند خو کیا ہے
۳
کِھلے ہیں جیب و گریباں کی دھجّیوں میں گلاب
برائے چاک ہمیں حاجتِ رفو کیا ہے
۴
اب آستیں سے پکارے کہ نوکِ خنجر سے
اثر گزار نہیں ہے تو پھر لہو کیا ہے
۵
یہ لوگ بھی کبھی دستار سر پہ رکھتے تھے
اُجڑ گئی ہے جو دِلّی تو آبرو کیا ہے
۶
ہمارے دم سے ترے آستاں کی ہے شہرت
اگر نہ تشنہ لبی ہو تو آب جو کیا ہے
۷
کسی فقیر سے ایسے کلام کرتے ہیں
امیرِ شہر ترا طرزِ گفتگو کیا ہے
۸
ہے تار تار یہ کس کج کلاہ کا دامن
یہ زار زار سی توقیر کُو بہ کُو کیا ہے
۹
ہم اپنے کرب کی لذّت دوبالا چاہتے ہیں
وگرنہ حسرتِ پیمانہ و سُبُو کیا ہے
۱۰
خجل نہ ہو بتِ کافر سے گالیاں کھا کر
لگا ہے داؤ پہ ایماں تو آبرو کیا ہے
۱۱
وہ لب خموش نگاہیں جھکائے بیٹھے ہیں
نہیں ہے عرضِ تمنّا تو آرزو کیا ہے
दस्त-ए तुन्द-ख़ू क्या है – जमना प्रसाद राही
१
निशान-ए हस्रत ओ हिर्मां हूं जुस्तजू क्या है
कोई उमीद नहीं है तो आर्ज़ू क्या है
२
हमारे इज्ज़ का दामां रफ़ू रफ़ू क्या है
तरीक़-ए जामा-दरी दस्त-ए तुन्द-ख़ू क्या है
३
खिले हैं जेब ओ गरेबां कि धज्जियौं में गुलाब
ब-रा-ए चाक हमें हाजत-ए रफ़ू क्या है
४
अब आस्तीं से पुकारे के नोक-ए ख़ंजर से
असर गुज़ार नहीं है तो फिर लहू क्या है
५
ये लोग भी कभी दस्तार सर पे रखते थे
उजढ गई है जो दिल्ली तो आब्रू क्या है
६
हमारे दम से तेरे आस्तां कि है शोहरत
अगर न तिश्ना-लबी हो तो आब-जू क्या है
७
किसी फ़क़ीर से ऐसे कलाम करते हैं
अमीर-ए शहर तेरा तर्ज़-ए गुफ़्तगू क्या है
८
है तार तार ये किस कज कुलाह का दामन
ये ज़ार ज़ार सी तौक़ीर कू-ब-कू क्या है
९
हम अपने कर्ब की लज़्ज़त दुबाला चाहते हैं
वगरना हस्रत-ए पैमाना ओ सुबू क्या है
१०
ख़जिल न हो बुत-ए काफ़िर से गालियां खा कर
लगा है दाऊ पे ईमां तो आब्रू क्या है
११
वो लब-ख़मोश निगाहें झुका के बैठे हैं
नहीं है उर्ज़-ए तमन्ना तो आर्ज़ू क्या है
Click here for background and on any passage for word meanings and explanatory discussion. jamna parshad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi, though not a shaagird of Ghalib, was deeply influenced by him. He has a 200+ page book of Ghazal composed in the style of Ghalib called, ‘baazgasht-e Ghalib’. This Ghazal is in the style of Ghalib’s “tumhi kaho keh ye andaaz-e guftagu kya hai” and is linked to an appropriate icon under ‘Ghalib naqsh-e qadam’.
1
nishaan1-e hasrat2 o hirmaaN3 huN justaju4 kya hai
koi ummiid5 nahiN hai to aarzu6 kya hai 1.picture, embodiment 2.grief 3.disappointment, hopelessness 4.search, seeking 5.hope 6.desire
The poet/lover/seeker has been searching for something and is deeply disappointed. He is the picture of grief and hopelessness. He poses the question, ‘if there is no hope, what is it that you want’. It almost sounds like he is implying, ‘you must have some lingering hope, otherwise you would have given it up or even killed yourself’. On top of it, he does not say what the original search was … looking for the beloved to reciprocate, looking for a connection with the divine, or something else.
2
hamaare ijz1 ka daamaaN2 rafu-rafu3 kya hai
tariiq4-e jaama-dari5 dast6-e tund-Khu7 kya hai 1.powerlessness, humility 2.hem of the robe 3.mend/darn many times 4.ways, habits 5.tearing clothes 6.hand 7.angry natured
The hem of the robe being torn is a sign of distress. The poet/lover is helpless and keeps mending the robe of his helplessness again and again. But the ways/habits of of the hand that tears are the result of its angry nature. The implication is that he keeps mending the tear and the angry hand keeps shredding the hem of his robe. Whose hand is it … the beloved, fate, of society in general. We are left to pick.
3
khile1 haiN jeb2 o garebaaN3 ki dhajjiyoN4 meN gulaab5ba-raa6-e chaak7 hameN haajit8-e rafu9 kya hai 1.blossomed 2.shirt front 3.collar 4.shreds 5.roses 6.for the purpose of 7.tear 8.need 9.mending
A torn shirt and collar is a standard sign of distress of a mad, passionate lover like majnuN. On top of that he beats his chest in madness creating bleeding wounds which are likened to red roses. Thus, the poet claims that there are roses among the shreds of his shirt front and collar. Why do I need to mend the tear in my collar, he asks. Blooming roses are a mark of distinction and he wants to keep things that way.
4
ab aastiiN1 se pukaare keh nok2-e Khanjar3 se
asar-guzaar4 nahiN hai to phir lahu5 kya hai 1.sleeve 2.point 3.dagger 4.effective 5.blood
Blood of the slain victim stains the sleeve of the killer and the point of the dagger. This serves as evidence. Says amir minaaii …
jo chup rahegi zabaan-e Khanjar, lahu pukaarega aastiN ka
or in the words of faiz ahmed faiz …
na dast-o-naaKhun-e qaatil, na aastiiN pe nishaaN
Here the poet/lover expects his blood to have an effect, perhaps make the beloved think kindly of him. Thus, of what use is it, if the blood cries out (bears witness) from the sleeve or from the point of the dagger. What kind of blood is it, that does not have an effect (on the beloved). Says Ghalib …
jab aaNkh hi se na Tapke to phir lahu kya hai
5
ye log bhi kabhi dastaar1 sar pe rakhte the
ujaR2 gaii hai jo dilli3 to aabru4 kya hai 1.aristocratic ceremonial headgear 2.destroyed, decayed 3.dehli 4.respect, dignity
I am not sure who he means by “ye log” – the old aristocracy of dehli? If so, why is heart bleeding for them at this point of history. Why is he hankering for feudal times. These people, at one time, used to wear a dastaar. Now that dehli is destroyed and decayed, they have lost their dignity. The best possible interpretation I can put on it is that he is reacting to the treatment of muslims and saying that just because they have lost their headgear, they should not be forced to lose their dignity.
6
hamaare dam1 se tere aastaaN2 ki hai shohrat3
agar na tishna-labi4 ho to aab-juu5 kya hai 1.power 2.threshold 3.fame, reputation 4.thirsty lips 5.river
The poet/lover claims credit for the whole class of lovers. It is their power of love that sustains the reputation of the beloved’s threshold, just like a river is in demand only because of thirsty lips. This could also apply to the concept of god. It is only because of humans are thirsty for some form of belief that there is respect for the ‘threshold of god’.
7
kisi faqiir1 se aise kalaam2 karte haiN
amiir3-e shahr4 tera tarz5-e guftagu6 kya hai 1.mendicant, wandering holy man 2.talk to, address 3.leader 4.town 5.way of 6.conversation
The poet is admonishing the powerful. Is this the way to talk to the deprived? O, leader, what kind of a way of conversation is this.
8
hai taar-taar1 ye kis kaj-kulaah2 ka daaman3
ye zaar-zaar4 si tauqiir5 kuu-ba-kuu6 kya hai 1.threads, shreds 2.slanted cap, rebel 3.hem of the robe 4.lamentation 5.reverence, praises 6.street by street
‘daaman taar taar karna – to shred the hem of the robe’ is a sign of extreme distress. ‘kaj kulaahi – wearing the cap at a slanted angle’ is sign of defiance. Thus, the lover is defiant, rebellious and at the same time distressed with his clothes torn to shreds, like majnuN. There appear to be many lovers like this in many streets, they sing praises of the beloved and at the same time lament her lack of attention to them. The poet observes all this and wonders what is going on.
9
ham apne karb1 ki lazzat2 dubaala3 chaahte haiN
vagarna4 hasrat5-e paimaana6 o suboo7 kya hai 1.grief, anguish 2.pleasure 3.double 4.otherwise 5.longing 6.cup 7.flask
Grief of love is considered a mark of honour and the distressed lover derives pleasure from it. He wants the pleasure to be doubled, otherwise why would he long for cup and flask (of wine) i.e., being intoxicated doubles the pleasure of grief.
10
Khajil1 na ho but-e-kaafir2 se gaaliyaaN kha kar
laga hai daau3 pe iimaaN4 to aabru5 kya hai 1.shamed, insulted 2.belief stealing idol/beloved 3.wager, gamble 4.faith 5.respect
While ‘but-e-kaafir’ can be interpreted literally to mean ‘the non-believing idol’ it is best to intepret it as ‘that beloved which makes you lose your faith’ i.e., you start worshipping the beloved rather than god. The beloved has been heaping abuses at the poet/lover. He says (to himself) do not be insulted by her abuse, after all you have wagered your faith, why worry about your respect/reputation.
11
vo lab-Khamosh1 nigaaheN2 jhuka3 ke baiThe haiN
nahiN hai arz4-e tamanna5 to aarzu6 kya hai 1.silent lips 2.eyes 3.lowered 4.petition, appeal 5.longing 6.desire, need
Who is the ‘vo’. It cannot really be the beloved, because it is very unlike the beloved to sit silently with lowered eyes. It has be the collection of lovers, all of whom are dejected and sitting silently (in her lane) with lowered eyes. They do not openly express their longing, but what is this (posture) if it is not their desire i.e., why do they need to speak.
jamna parshad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi, though not a shaagird of Ghalib, was deeply influenced by him. He has a 200+ page book of Ghazal composed in the style of Ghalib called, ‘baazgasht-e Ghalib’. This Ghazal is in the style of Ghalib’s “tumhi kaho keh ye andaaz-e guftagu kya hai” and is linked to an appropriate icon under ‘Ghalib naqsh-e qadam’.
1
nishaan1-e hasrat2 o hirmaaN3 huN justaju4 kya hai
koi ummiid5 nahiN hai to aarzu6 kya hai
1.picture, embodiment 2.grief 3.disappointment, hopelessness 4.search, seeking 5.hope 6.desire
The poet/lover/seeker has been searching for something and is deeply disappointed. He is the picture of grief and hopelessness. He poses the question, ‘if there is no hope, what is it that you want’. It almost sounds like he is implying, ‘you must have some lingering hope, otherwise you would have given it up or even killed yourself’. On top of it, he does not say what the original search was … looking for the beloved to reciprocate, looking for a connection with the divine, or something else.
2
hamaare ijz1 ka daamaaN2 rafu-rafu3 kya hai
tariiq4-e jaama-dari5 dast6-e tund-Khu7 kya hai
1.powerlessness, humility 2.hem of the robe 3.mend/darn many times 4.ways, habits 5.tearing clothes 6.hand 7.angry natured
The hem of the robe being torn is a sign of distress. The poet/lover is helpless and keeps mending the robe of his helplessness again and again. But the ways/habits of of the hand that tears are the result of its angry nature. The implication is that he keeps mending the tear and the angry hand keeps shredding the hem of his robe. Whose hand is it … the beloved, fate, of society in general. We are left to pick.
3
khile1 haiN jeb2 o garebaaN3 ki dhajjiyoN4 meN gulaab5ba-raa6-e chaak7 hameN haajit8-e rafu9 kya hai
1.blossomed 2.shirt front 3.collar 4.shreds 5.roses 6.for the purpose of 7.tear 8.need 9.mending
A torn shirt and collar is a standard sign of distress of a mad, passionate lover like majnuN. On top of that he beats his chest in madness creating bleeding wounds which are likened to red roses. Thus, the poet claims that there are roses among the shreds of his shirt front and collar. Why do I need to mend the tear in my collar, he asks. Blooming roses are a mark of distinction and he wants to keep things that way.
4
ab aastiiN1 se pukaare keh nok2-e Khanjar3 se
asar-guzaar4 nahiN hai to phir lahu5 kya hai
1.sleeve 2.point 3.dagger 4.effective 5.blood
Blood of the slain victim stains the sleeve of the killer and the point of the dagger. This serves as evidence. Says amir minaaii …
jo chup rahegi zabaan-e Khanjar, lahu pukaarega aastiN ka
or in the words of faiz ahmed faiz …
na dast-o-naaKhun-e qaatil, na aastiiN pe nishaaN
Here the poet/lover expects his blood to have an effect, perhaps make the beloved think kindly of him. Thus, of what use is it, if the blood cries out (bears witness) from the sleeve or from the point of the dagger. What kind of blood is it, that does not have an effect (on the beloved). Says Ghalib …
jab aaNkh hi se na Tapke to phir lahu kya hai
5
ye log bhi kabhi dastaar1 sar pe rakhte the
ujaR2 gaii hai jo dilli3 to aabru4 kya hai
1.aristocratic ceremonial headgear 2.destroyed, decayed 3.dehli 4.respect, dignity
I am not sure who he means by “ye log” – the old aristocracy of dehli? If so, why is heart bleeding for them at this point of history. Why is he hankering for feudal times. These people, at one time, used to wear a dastaar. Now that dehli is destroyed and decayed, they have lost their dignity. The best possible interpretation I can put on it is that he is reacting to the treatment of muslims and saying that just because they have lost their headgear, they should not be forced to lose their dignity.
6
hamaare dam1 se tere aastaaN2 ki hai shohrat3
agar na tishna-labi4 ho to aab-juu5 kya hai
1.power 2.threshold 3.fame, reputation 4.thirsty lips 5.river
The poet/lover claims credit for the whole class of lovers. It is their power of love that sustains the reputation of the beloved’s threshold, just like a river is in demand only because of thirsty lips. This could also apply to the concept of god. It is only because of humans are thirsty for some form of belief that there is respect for the ‘threshold of god’.
7
kisi faqiir1 se aise kalaam2 karte haiN
amiir3-e shahr4 tera tarz5-e guftagu6 kya hai
1.mendicant, wandering holy man 2.talk to, address 3.leader 4.town 5.way of 6.conversation
The poet is admonishing the powerful. Is this the way to talk to the deprived? O, leader, what kind of a way of conversation is this.
8
hai taar-taar1 ye kis kaj-kulaah2 ka daaman3
ye zaar-zaar4 si tauqiir5 kuu-ba-kuu6 kya hai
1.threads, shreds 2.slanted cap, rebel 3.hem of the robe 4.lamentation 5.reverence, praises 6.street by street
‘daaman taar taar karna – to shred the hem of the robe’ is a sign of extreme distress. ‘kaj kulaahi – wearing the cap at a slanted angle’ is sign of defiance. Thus, the lover is defiant, rebellious and at the same time distressed with his clothes torn to shreds, like majnuN. There appear to be many lovers like this in many streets, they sing praises of the beloved and at the same time lament her lack of attention to them. The poet observes all this and wonders what is going on.
9
ham apne karb1 ki lazzat2 dubaala3 chaahte haiN
vagarna4 hasrat5-e paimaana6 o suboo7 kya hai
1.grief, anguish 2.pleasure 3.double 4.otherwise 5.longing 6.cup 7.flask
Grief of love is considered a mark of honour and the distressed lover derives pleasure from it. He wants the pleasure to be doubled, otherwise why would he long for cup and flask (of wine) i.e., being intoxicated doubles the pleasure of grief.
10
Khajil1 na ho but-e-kaafir2 se gaaliyaaN kha kar
laga hai daau3 pe iimaaN4 to aabru5 kya hai
1.shamed, insulted 2.belief stealing idol/beloved 3.wager, gamble 4.faith 5.respect
While ‘but-e-kaafir’ can be interpreted literally to mean ‘the non-believing idol’ it is best to intepret it as ‘that beloved which makes you lose your faith’ i.e., you start worshipping the beloved rather than god. The beloved has been heaping abuses at the poet/lover. He says (to himself) do not be insulted by her abuse, after all you have wagered your faith, why worry about your respect/reputation.
11
vo lab-Khamosh1 nigaaheN2 jhuka3 ke baiThe haiN
nahiN hai arz4-e tamanna5 to aarzu6 kya hai
1.silent lips 2.eyes 3.lowered 4.petition, appeal 5.longing 6.desire, need
Who is the ‘vo’. It cannot really be the beloved, because it is very unlike the beloved to sit silently with lowered eyes. It has be the collection of lovers, all of whom are dejected and sitting silently (in her lane) with lowered eyes. They do not openly express their longing, but what is this (posture) if it is not their desire i.e., why do they need to speak.
The post dast-e tund-Khuu kya hai-jamna parshaad raahi appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/02/pmkn-kuu-ba-kuu-kya-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
کُو بہ کُو کیا ہے ۔ پنڈت مہارج کشن ندیمؔ
خمسہ بر غزلِ غالبؔ
۱
تمہاری باتوں کا طرز آہ شعلہ رُو کیا ہے
جہاں میں ذکر سُنو آج کُو بہ کُو کیا ہے
جو ناپسند ہو سب کو بھلا وہ خُو کیا ہے
ہر ایک بات پہ کہتے ہو تم کہ تو کیا ہے
تمہیں کہو کہ یہ اندازِ گفتگو کیا ہے
۲
حسین جس کا جہاں میں نہیں کوئی ہمتا
کوئی بتائے تو کس کو بتائے مثل اِس کا
کیا ہے کون و مکاں میں اسی نے حشر بپا
نہ شعلہ میں یہ کرشمہ نہ برق میں یہ ادا
کوئی بتاؤ کہ وہ شوخ تند خو کیا ہے
۳
کہے وہ شوق سے جو کچھ کہ جی میں ہو اُس کے
کیا کرے وہ خباثت سے پے بہ پے حملے
کروں گا ایک ہی فقرے میں میں لے دے
یہ رشک ہے کہ وہ ہوتا ہے ہم سخن تم سے
وگرنہ خوفِ بدآموزیِ عدو کیا ہے
۴
کسی کے عشق کی دل میں لگی ہوئی ہے لگن
کھلا ہے جسم پہ دھبّوں سے خوں کے ایک چمن
مگر میں لاتا نہیں ابروؤں پہ اپنی شکن
چپک رہا ہے لہو سے بدن پہ پیراہن
ہمارے جیب کو اب حاجتِ رفو کیا ہے
۵
کچھ ایسی ضعف سے اب گھٹ گئی ہے قوتِ دل
کہ ہو گئی ہے اسے اپنی زندگی مشکل
غضب تو یہ ہے کہ احساس ہو گیا زائل
رگوں میں دوڑتے پھرنے کے ہم نہیں قائل
جب آنکھ ہی سے نہ ٹپکا تو پھر لہو کیا ہے
۶
ہر ایک شخص کو ہے دل سے تو بہشت عزیز
تمہیں ہے کس لئے اے زاہدو بہشت عزیز
بِلا سبب نہیں اِنسان کو بہشت عزیز
وہ چیز جس کے لئے ہم کو ہو بہشت عزیز
سوائے بادۂ گلفامِ مشکبو کیا ہے
۷
جو پوچھو سچ تو بَلا نوشوں میں ہے اپنا شمار
ہمیشہ نشہ کے گھوڑے پہ ہوں میں رہتا سوار
جو پینے بیٹھا تو پھر لاوکا نہ ٹوٹے گا تار
پیوں شراب اگر خُم بھی دیکھ لوں دو چار
یہ شیشہ و قدح و کوزہ و سبو کیا ہے
۸
ہوئی ہے ضعف سے حالت کہ بیٹھا جاتا ہے جی
یہ کیفیت ہے کہ ہم کو نہیں خبر اپنی
رہے گی کیا کہیں اب اپنے جی ہی میں جی کی
رہی نہ طاقتِ گفتار اور اگر ہو بھی
تو کس امید پہ کہئے کہ آرزو کیا ہے
۹
حضورِ شاہِ ظفر مقتدر ہوا مرزا
جہاں تلک وہ کرے فخر ہے اُسے زیبا
ندیمؔ لوگوں میں اِس طرح کا سُنا چرچا
ہوا ہے شہ کا مصاحب پھرے ہے اتراتا
وگرنہ شہر میں غالب کی آبرو کیا ہے
कू ब कू क्या है – पंडित महाराज किशन नदीम
ख़म्सा बर ग़ज़्ल-ए ग़ालिब
१
तुम्हारी बातौं का तर्ज़ आह शो’ला-रू क्या है
जहां में ज़िक्र सुनो आज कू ब कू क्या है
जो नापसंद हो सब को भला वो ख़ू क्या है
हर एक बात पे कहते हो तुम के तू क्या है
तुम्हीं कहो के ये अंदाज़-ए गुफ़्तगू क्या है
२
हसीन जिस का जहां में नहीं कोई हम्ता
कोई बताए तो किस को बताए मिस्ल इस का
किया है कौन ओ मकां में इसी ने हश्र बपा
ना शो’ले में ये करिश्मा ना बर्क़ में ये अदा
कोई बताओ के वो शूख़ तुन्द-ख़ू क्या है
३
कहे वो शौक से जो कुछ के जी में हो उस के
किया करे वो ख़बासत से पै-ब-पै हमले
करूंगा एक हि फ़िक़्रे में मैं ले दे
ये रश्क है के वो होता है हम-सुख़न तुम से
वगरना ख़ौफ़-ए बद-आमोज़ी-ए अदू क्या है
४
किसी के इश्क़ कि दिल में लगी हुई है लगन
खिला है जिस्म पे धब्बौं से ख़ूं के एक चमन
मगर मैं लाता नहीं अब्रुऔं पे अपनी शिकन
चिपक रहा है लहू से बदन पे पैराहन
हमारे जेब को अब हाजत-ए रफ़ू कया है
५
कुछ ऐसी ज़ो’फ़ से अब घट गई है क़ुव्वत-ए दिल
के हो गई है इसे अपनी ज़िंदगी मुश्किल
ग़ज़ब तो ये है के एहसास हो गया ज़ा’एल
रगौं में दौढते फिरने के हम नहीं क़ा’एल
जब आंख हि से न टपका तो फिर लहू क्या है
६
हर एक शख़्स को है दिल से तो बेहिश्त अज़ीज़
तुम्हें है किस लिये अए ज़ाहेदो बेहिश्त अज़ीज़
बिला सबब नहीं इन्सान को बेहिश्त अज़ीज़
वो चीज़ जिस के लिये हम को है बेहिश्त अज़ीज़
सिवाए बादा-ए गुल्फ़ाम-ए मुश्क-बू क्या है
७
जो पूछो सच तो बला-नोशौं में है अपना शुमार
हमेशा नश’ए के घोढे पे रहता हुं मैं सवार
जो पीने बैठा तो फिर लावका न टूटेगा तार
पियूं शराब अगर ख़ुम भी देख लूं दो चार
ये शीशा ओ क़दह ओ कूज़ा ओ सुबू क्या है
८
हुई है ज़ो’फ़ से हालत के बैठा जाता है जी
ये कैफ़िय्यत है के हम को नहीं ख़बर अपनी
रहेगी क्या कहीं अब अपने जी हि में जी की
रही न ताक़त-ए गुफ़्तार और अगर हो भी
तो किस उमीद पे कहिये के आर्ज़ू क्या है
९
हुज़ूर-ए शाह-ए ज़फ़र मुक़्तदर हुआ मिर्ज़ा
जहां तलक वो करे फ़ख़्र है उसे ज़ेबा
नदीम लोगौं में इस तरह का सुना चर्चा
हुआ है शह का मुसाहब फिरे है इतराता
वगरना शहर में ग़ालिब कि आब्रू क्या है
Click here for background and on any passage for word meanings and explanatory discussion. panDit maharaj krishn (~1880-~1950) followed the family tradition established by his grandfather and father into composing in urdu. Initially, he used ‘maftoon’ as his taKhallus and then switched to ‘nadiim’. There is precious little by way of biographical notes but in the book I have access to there is reference to his rubaaii published in magazines from 1908-1912 and a note on the first volume of his diivaan about to be published. safi lakhnavi (1862-1950) is listed as his ustaad. This is a “Khamsa” – a five misra nazm specifically composed using ash’aar of a master’s Ghazal. This one after Ghalib’s ‘tumhiN kaho keh ye andaaz-e guftagu kya hai’ and is linked to it under Ghalib naqsh-e qadam.
1
tumhaari baatoN ka tarz1 aah2 sho’la-ruu3 kya hai
jahaaN4 meN zikr5 suno aaj kuu-ba-kuu6 kya hai
jo naapasand7 ho sab ko bhala vo Khuu8 kya hai
har ek baat pe kahte ho tum keh tuu kya hai
tumhiiN kaho keh ye andaaz9-e guftagu10 kya hai 1.ways, manner 2.alas 3.fire-faced, angry 4.world 5.topic of conversation 6.street by street, every street 7.disliked 8.nature, habits 9.style 10.conversation
O angry beloved, alas, what kind of style of conversation is this. Just listen to what everyone is talking about in the world. What kind of mannerism is this that is disliked by everyone. With every word you discount my value. You tell me, what kind of a style of conversation is this!
2
hasiin1 jis ka jahaaN2 meN nahiN koii hamta3
koii bataaye to kis ko bataaye misl4 is ka
kiya hai kaun-o makaaN5 meN isi ne hashr6 bapa7
na sho’le8 meN ye karishma9 na barq10 meN ye ada11koii bataao keh vo shooKh12 tund-Khuu13 kya hai 1.beautiful 2.world 3.equal 4.example 5.time and space, forever and everywhere 5.doomsday, tumult 7.promulgate, cause to happen 8.flame 9.miraculous quality 10.lightning 11.style, coquetry 12.mischief maker 13.angry nature
There is none in the world equal to her in beauty. How can anyone show an example of her beauty even if they tried. She has caused a tumult forever and everywhere. Neither does the flame her magical qualities nor does lightning her style. Can someone please tell me what this angry mischief maker is made of.
3
kahe vo shauq1 se jo kuchh keh jii meN ho us ke
kiya kare vo Khabaasat2 se pa’e-ba-pa’e3 hamle4
karuuNga ek hi fiqre5 meN maiN le-de6
ye rashk7 hai keh vo hota hai ham-suKhan8 tum se
vagarna9 Khauf10-e bad-aamozi11-e adu12 kya hai 1.with pleasure 2.ill nature, ill will 3.minute by minute 4.attack 5.sentence, phrase 6.give and take, settle account 7.envy 8.conversant together 9.otherwise 10.fear 11.bad/wrong teaching 12.rival
She can say whatever she wants to, to me, with pleasure. She can attach me every minute with ill will if she wants. I can settle all these questions with just one expression – I am envious that he is talks to you, otherwise what fear do I have that the rival tells you lies.
4
kisi ke ishq ki dil meN lagi hui hai lagan
khila hai jism1 pe dhabboN2 se KhuuN ke ek chaman
magar maiN laata nahiN abruoN3 pe apni shikan4chipak raha hai lahu5 se badan6 pe pairaahan7
hamaare jeb8 ko ab haajit9-e rafu10 kya hai 1.body 2.spots, stains 3.eyebrows 4.wrinkle, frown 5.blood 6.body 7.clothes 8.collar, shirt front 9.need 10.stitching, darning
Love of that special someone is deep in my heart. I bleed and blood stains on my clothes look like a garden of blossoming flowers. But I don’t bring a frown to my brow. My dress clings to the body because of blood. The torn cothes no longer need stitching.
5
kuchh aisi zo’f1 se ab ghaT2 gaii hai quvvat3-e dil
ke ho gaii hai ise apni zindagi mushkil4Ghazab5 to ye hai keh ehsaas6 ho gaya zaa’el7ragauN8 meN dauRte phirne ke ham nahiN qaa’el9
jab aaNkh hi se na Tapka10 to phir lahu11 kya hai 1.weakness 2.reduced 3.power, fortitude 4.difficult 5.calamity, curse 6.feeling 7.useless, wasted 8.veins 9.convinced, satisfied 10.drip, flow 11.blood
The fortitude of the heart has been reduced by weakness so much that it has become difficult for it to live. The calamity is that feelings have been numbed and rendered useless. It is not enough that it merely circulate through the veins. If it does not flow down the eyes, of what use is blood.
6
har ek shaKhs1 ko hai dil se to behisht2 aziiz3tumheN hai kis liye aye zaahido4 behisht aziiz
bila-sabab5 nahiN insaan6 ko behisht aziiz
vo cheez jis ke liye ham ko hai behisht aziiz
sivaa’e7 baada8-e gulfaam9-e mushk-buu10 kya hai 1.person 2.heaven 3.dear, beloved 4.pious, observant 5.without reason 6.human 7.except for 8.wine 9.flower bodied 10.musk fragrant
Every person holds heaven dear deep in their hearts. Why do you, O pious people, love heaven. There must be a reason why all humanity likes it. The thing for which we like heaven is nothing other than the flower bodied wine of musk fragrance.
7
jo poochho such to balaa-noshoN1 meN hai apna shumaar2hamesha nash’e3 ke ghoRe pe rahta huN maiN savaar4
jo piine baiTha to phir laavaka5 na TooTega taar6
piyuN sharaab agar Khum7 bhi dekh luN do chaar
ye shiisha8 o qadah9 o kooza10 o subuu11 kya hai 1.heavy drinkers 2.enumeration, counting 3.intoxication 4.mounted, riding 5.heart’s desire 6.string, continuity 7.barrells, large casks 8.bottle 9.glass of wine 10.cup 11.flask
If you ask the truth, I am counted among heavy drinkers, always mounted on the horse of intoxication. When I sit down to drink, the heart’s desire does not allow any breaks. When I drink, I need a few casks. These bottles, glasses, cups or flasks are not of much use.
8
hui hai zo’f1 se haalat2 keh baiTha3 jaata hai jii4ye kaifiyyat5 hai keh ham ko nahiN Khabar6 apnii
rahegi kya kahiN ab apne jii hi meN jii7rahi na taaqat8-e guftaar9 aur agar ho bhii
to kis umiid10 pe kahiye keh aarzu11 kya hai 1.weakness 2.condition 3.sink 4.heart 5.state, condition 6.awareness 7.jaan meN jaan i.e., security of life 8.strength, ability 9.conversation, speaking 10.hope 11.desire
My heart sinks because of my weakness. My condition is such that I am not aware of myself – have lost my senses. Then, how can my life be secure. I have no strength left to speak to her and even if I did, on what hope could I tell her what I desire.
9
huzuur1-e shaah-e zafar2 muqtadar3 hua mirza4jahaaN talak5 vo kare faKhr6 hai use zeba7nadiim8 logoN meN is tarah9 ka sunaa charcha10hua hai shah11 ka musaahib12 phire hai itraata13vagarna14 shahr15 meN Ghalib ki aabru16 kya hai 1.in the presence of 2.bahadur shah zafar 3.respected, office holder 4.mirza Ghalib 5.as much as 6.pride 7.suitable, deserving 8.pen-name of the poet 9.kind 10.talk, rumour 11.emporer 12.companion 13.preening 14.otherwise 15.town 16.respect
In the court of bahadur shah zafar, mirza Ghalib has attained a respected position. He deserves however much pride he shows. nadiim has heard this rumour going around among people – he has become the companion of the emporer and goes about preening himself, otherwise what respect does Ghalib command in the town.
panDit maharaj krishn (~1880-~1950) followed the family tradition established by his grandfather and father into composing in urdu. Initially, he used ‘maftoon’ as his taKhallus and then switched to ‘nadiim’. There is precious little by way of biographical notes but in the book I have access to there is reference to his rubaaii published in magazines from 1908-1912 and a note on the first volume of his diivaan about to be published. safi lakhnavi (1862-1950) is listed as his ustaad. This is a “Khamsa” – a five misra nazm specifically composed using ash’aar of a master’s Ghazal. This one after Ghalib’s ‘tumhiN kaho keh ye andaaz-e guftagu kya hai’ and is linked to it under Ghalib naqsh-e qadam.
1
tumhaari baatoN ka tarz1 aah2 sho’la-ruu3 kya hai
jahaaN4 meN zikr5 suno aaj kuu-ba-kuu6 kya hai
jo naapasand7 ho sab ko bhala vo Khuu8 kya hai
har ek baat pe kahte ho tum keh tuu kya hai
tumhiiN kaho keh ye andaaz9-e guftagu10 kya hai
1.ways, manner 2.alas 3.fire-faced, angry 4.world 5.topic of conversation 6.street by street, every street 7.disliked 8.nature, habits 9.style 10.conversation
O angry beloved, alas, what kind of style of conversation is this. Just listen to what everyone is talking about in the world. What kind of mannerism is this that is disliked by everyone. With every word you discount my value. You tell me, what kind of a style of conversation is this!
2
hasiin1 jis ka jahaaN2 meN nahiN koii hamta3
koii bataaye to kis ko bataaye misl4 is ka
kiya hai kaun-o makaaN5 meN isi ne hashr6 bapa7
na sho’le8 meN ye karishma9 na barq10 meN ye ada11koii bataao keh vo shooKh12 tund-Khuu13 kya hai
1.beautiful 2.world 3.equal 4.example 5.time and space, forever and everywhere 5.doomsday, tumult 7.promulgate, cause to happen 8.flame 9.miraculous quality 10.lightning 11.style, coquetry 12.mischief maker 13.angry nature
There is none in the world equal to her in beauty. How can anyone show an example of her beauty even if they tried. She has caused a tumult forever and everywhere. Neither does the flame her magical qualities nor does lightning her style. Can someone please tell me what this angry mischief maker is made of.
3
kahe vo shauq1 se jo kuchh keh jii meN ho us ke
kiya kare vo Khabaasat2 se pa’e-ba-pa’e3 hamle4
karuuNga ek hi fiqre5 meN maiN le-de6
ye rashk7 hai keh vo hota hai ham-suKhan8 tum se
vagarna9 Khauf10-e bad-aamozi11-e adu12 kya hai
1.with pleasure 2.ill nature, ill will 3.minute by minute 4.attack 5.sentence, phrase 6.give and take, settle account 7.envy 8.conversant together 9.otherwise 10.fear 11.bad/wrong teaching 12.rival
She can say whatever she wants to, to me, with pleasure. She can attach me every minute with ill will if she wants. I can settle all these questions with just one expression – I am envious that he is talks to you, otherwise what fear do I have that the rival tells you lies.
4
kisi ke ishq ki dil meN lagi hui hai lagan
khila hai jism1 pe dhabboN2 se KhuuN ke ek chaman
magar maiN laata nahiN abruoN3 pe apni shikan4chipak raha hai lahu5 se badan6 pe pairaahan7
hamaare jeb8 ko ab haajit9-e rafu10 kya hai
1.body 2.spots, stains 3.eyebrows 4.wrinkle, frown 5.blood 6.body 7.clothes 8.collar, shirt front 9.need 10.stitching, darning
Love of that special someone is deep in my heart. I bleed and blood stains on my clothes look like a garden of blossoming flowers. But I don’t bring a frown to my brow. My dress clings to the body because of blood. The torn cothes no longer need stitching.
5
kuchh aisi zo’f1 se ab ghaT2 gaii hai quvvat3-e dil
ke ho gaii hai ise apni zindagi mushkil4Ghazab5 to ye hai keh ehsaas6 ho gaya zaa’el7ragauN8 meN dauRte phirne ke ham nahiN qaa’el9
jab aaNkh hi se na Tapka10 to phir lahu11 kya hai
1.weakness 2.reduced 3.power, fortitude 4.difficult 5.calamity, curse 6.feeling 7.useless, wasted 8.veins 9.convinced, satisfied 10.drip, flow 11.blood
The fortitude of the heart has been reduced by weakness so much that it has become difficult for it to live. The calamity is that feelings have been numbed and rendered useless. It is not enough that it merely circulate through the veins. If it does not flow down the eyes, of what use is blood.
6
har ek shaKhs1 ko hai dil se to behisht2 aziiz3tumheN hai kis liye aye zaahido4 behisht aziiz
bila-sabab5 nahiN insaan6 ko behisht aziiz
vo cheez jis ke liye ham ko hai behisht aziiz
sivaa’e7 baada8-e gulfaam9-e mushk-buu10 kya hai
1.person 2.heaven 3.dear, beloved 4.pious, observant 5.without reason 6.human 7.except for 8.wine 9.flower bodied 10.musk fragrant
Every person holds heaven dear deep in their hearts. Why do you, O pious people, love heaven. There must be a reason why all humanity likes it. The thing for which we like heaven is nothing other than the flower bodied wine of musk fragrance.
7
jo poochho such to balaa-noshoN1 meN hai apna shumaar2hamesha nash’e3 ke ghoRe pe rahta huN maiN savaar4
jo piine baiTha to phir laavaka5 na TooTega taar6
piyuN sharaab agar Khum7 bhi dekh luN do chaar
ye shiisha8 o qadah9 o kooza10 o subuu11 kya hai
1.heavy drinkers 2.enumeration, counting 3.intoxication 4.mounted, riding 5.heart’s desire 6.string, continuity 7.barrells, large casks 8.bottle 9.glass of wine 10.cup 11.flask
If you ask the truth, I am counted among heavy drinkers, always mounted on the horse of intoxication. When I sit down to drink, the heart’s desire does not allow any breaks. When I drink, I need a few casks. These bottles, glasses, cups or flasks are not of much use.
8
hui hai zo’f1 se haalat2 keh baiTha3 jaata hai jii4ye kaifiyyat5 hai keh ham ko nahiN Khabar6 apnii
rahegi kya kahiN ab apne jii hi meN jii7rahi na taaqat8-e guftaar9 aur agar ho bhii
to kis umiid10 pe kahiye keh aarzu11 kya hai
1.weakness 2.condition 3.sink 4.heart 5.state, condition 6.awareness 7.jaan meN jaan i.e., security of life 8.strength, ability 9.conversation, speaking 10.hope 11.desire
My heart sinks because of my weakness. My condition is such that I am not aware of myself – have lost my senses. Then, how can my life be secure. I have no strength left to speak to her and even if I did, on what hope could I tell her what I desire.
9
huzuur1-e shaah-e zafar2 muqtadar3 hua mirza4jahaaN talak5 vo kare faKhr6 hai use zeba7nadiim8 logoN meN is tarah9 ka sunaa charcha10hua hai shah11 ka musaahib12 phire hai itraata13vagarna14 shahr15 meN Ghalib ki aabru16 kya hai
1.in the presence of 2.bahadur shah zafar 3.respected, office holder 4.mirza Ghalib 5.as much as 6.pride 7.suitable, deserving 8.pen-name of the poet 9.kind 10.talk, rumour 11.emporer 12.companion 13.preening 14.otherwise 15.town 16.respect
In the court of bahadur shah zafar, mirza Ghalib has attained a respected position. He deserves however much pride he shows. nadiim has heard this rumour going around among people – he has become the companion of the emporer and goes about preening himself, otherwise what respect does Ghalib command in the town.
The post kuu ba kuu kya hai-panDit maharaj krishn nadiim appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/01/bshz-saaGhar-o-suboo-kya-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
ساغر و سُبُو کیا ہے ۔ بہادر شاہ ظفرؔ
۱
چشم وہ کیا ہے اور گلو کیا ہے
گر نہیں ساغر و سُبُو کیا ہے
۲
اُلٹی سیدھی یہ گفتگو کیا ہے
تجھے منظور جنگ جو کیا ہے
۳
میں جو کہتا ہوں بے وفا ہے رقیب
وہ مجھے کہتے ہیں کہ تو کیا ہے
۴
اشک بہتے نہ رخ پہ ہوں جس کے
عشق میں اُس کی آبرو کیا ہے
۵
جھوٹے وعدے جو ہم سے کرتا ہے
تیری مرضی دروغ گو کیا ہے
۶
اُن کے نزدیک اے دلِ ناداں
میں ہوں کیا چیز اور تو کیا ہے
۷
سوزِ غم خاک کر کے چھوڑے گا
خشک اُس نے کیا لہو کیا ہے
۸
دل ہی میں اپنے ڈھونڈو تو اُس کو
دیر و کعبہ میں جستجو کیا ہے
۹
جو نہائے اُس آبِ خنجر سے
اُس کو پھر حاجتِ وضو کیا ہے
۱۰
ہیف اُس نے کبھی نہ یہ پوچھا
کہ ترے دل میں آرزو کیا ہے
۱۱
روشنی میں حقیقتِ خورشید
تیرے عارض کے رو بہ رو کیا ہے
۱۲
زلف جھک جھک کے کہہ رہی کافر
کان میں تیرے مُو بہ مُو کیا ہے
۱۳
مست آیا ہے کون اے ساقی
میکدہ میں یہ ہاؤ ہُو کیا ہے
۱۴
ہے فلک پر دماغ کیوں تیرا
ذہن میں تیرے ماہ رُو کیا ہے
۱۵
اگر وہ دوست اپنا بن جائے
اے ظفرؔ دیکھیں پھر عدو کیا ہے
साग़र ओ सुबू क्या है – बहादुर शाह ज़फ़र
१
चश्म वो क्या है और गुलू क्या है
गर नहीं साग़र ओ सुबू क्या है
२
उल्टी सीधी ये गुफ़्तगू क्या है
तुझे मंज़ूर जंग-जू क्या है
३
मैं जो कहता हुं बे-वफ़ा है रक़ीब
वो मुझे कहते हैं के तू क्या है
४
अश्क बहते न रुख़ पे हों जिस के
इश्क़ में उस की आब्रू क्या है
५
झूटे वादे जो हम से करता है
तेरी मर्ज़ी दरोग़-गू क्या है
६
उन के नज़्दीक अए दिल-ए नादां
मैं हुं क्या चीज़ और तू क्या है
७
सोज़-ए ग़म ख़ाक कर के छोढेगा
ख़ुश्क उस ने किया लहू क्या है
८
दिल हि में अपने ढूंडो तो उस को
दैर ओ काबा में जुस्तजू क्या है
९
जो नहाए उस आब-ए ख़ंजर से
उस को फिर हाजत-ए वुज़ू क्या है
१०
हैफ़ उस ने कभी न ये पूछा
के तेरे दिल में आर्ज़ू क्या है
११
रौशनी में हक़ीक़त-ए ख़ुर्शीद
तेरे आरज़ के रू ब रू क्या है
१२
जुल्फ़ झुक झुक के कह रही काफ़र
कान में तेरे मू ब मू क्या है
१३
मस्त आया है कौन अए साक़ी
मैकदे में ये हाओ हू क्या है
१४
है फ़लक पर दमाग़ क्यूं तेरा
ज़हन में तेरे माह-रू क्या है
१५
अगर वो दोस्त अपना बन जाए
अए ज़फ़र देखें फिर अदू क्या है
Click here for background and on any passage for word meanings and explanatory discussion. bahaadur shaah zafar (1775-1862) became titular/nominal emperor of India in 1837. He was a scholar of faarsi and arabi and started composing at an early age. zauq and after zauq’s death in 1854, Ghalib became his ustaad. zafar used to hold frequent mushaa’era in the Red Fort. This Ghazal, in the same style of Ghalib’s “tuhiiN kaho keh ye andaaz-e guftagu kya hai”, is dated by kalidas gupta raza, 1847. I have no way to date zafar’s Ghazal, but Ghalib mentions court patronage in the maqta (the last she’r) of his own Ghazal and there appears to be much overlap in phrases and thoughts. This Ghazal is linked to ‘Ghalib peshrau ham asr’.
1
chashm1 vo kya hai aur guluu2 kya hai
gar3 nahiN saaGhar4 o suboo5 kya hai 1.eye 2.neck 3.if 4.goblet, wine cup 5.flask
What else is the beloved’s intoxicating eye and her long slender neck if it is not like a goblet of wine and the neck of a flask.
2
ulTi-siidhi1 ye guftagu2 kya hai
tujhe manzuur3 juNg-juu4 kya hai 1.crooked, inconsistent, abusive 2.conversation 3.desire, purpose 4.war-like, angry, confrontational
Here the poet is referring to the beloved as ‘juNg-juu’ – angry and confrontational. What kind of abusive conversation is this. What is it that you desire, O angry beloved. Said Ghalib …
har ek baat pe kahte ho tum keh tuu kya hai
tumhiiN kaho keh ye andaaz-e guftagu kya hai
3
maiN jo kahta huN be-vafa1 hai raqiib2
vo mujhe kahte haiN keh tuu kya hai 1.unfaithful, cheat 2.rival
The poet/lover tries to persuade the beloved to give up her relationship with the rival with ‘standard’ argument – the rival is not faithful. She retorts – so what are you!
4
ashk1 bahte na ruKh2 pe hoN jis ke
ishq3 meN us ki aabru4 kya hai 1.tears 2.cheeks 3.love 4.respect, dignity
The standard convention in urdu poetry is that the pain of love is of high value. The lover who suffers such pain earns the respect of the world – hence, the reputation of majnuN and farhaad. Thus, if tears do not flow down the cheeks of the lover then how can he have any respect. Said Ghalib …
ragoN meN dauRte phirne ke ham nahiN qaa’el
jab aaNkh hi se Tapke to phir lahu kya hai
5
jhooTe-vaade1 jo ham se karta hai
teri marzi2 daroGh-go3 kya hai 1.false promises 2.intention 3.lier
The poet/lover characterizes the beloved in conventional terms – she makes false promises and is a lier. What is your intent, he asks.
6
un ke nazdiik1 aye dil-e naadaaN2
maiN huN kya cheez aur tuu kya hai 1.nazdiik literally means ‘near’ but idiomatically it means ‘in your eyes, in your view’ 2.simpleton
In her eyes, O simple heart, of what worth am I or what are you.
7
soz1-e Gham2 Khaak3 kar ke chhoRega
Khushk4 us ne kiya lahu5 kya hai 1.fire, pain 2.sorrow of love 3.dust, ashes 4.dry, congealed 5.blood
The pain of the sorrow of love will reduce me to ashes. It has already caused me to cry tears of blood so much that my veins have dried up – I have not more blood left.
8
dil hi meN apne DhoonDo to us ko
dair1 o kaabe meN justaju2 kya hai 1.temple 2.search
Look for him in your own heart. What is this search in the temple and mosque.
9
jo nahaa’e us aab1-e Khanjar2 se
us ko phir haajit3-e rafu4 kya hai 1.water of 2.dagger 3.need 4.sewing, darning, stitching
Here ‘aab-e Khanjar’ – the water of the dagger is blood. Either the lover is slain by the beloved or has sacrificed his life for some other passion. Thus, he who is bathed in blood (of sacrifice) from the wound of that dagger (of passion), why would he be in need of any stitching (of his wound).
10
haif1, us ne kabhi na ye poochha
keh tere dil meN aarzu2 kya hai 1.alas 2.desire
Alas, she never asked, ‘what is it that your heart desires’.
11
raushni1 meN haqiiqat2-e Khurshiid3
tere aariz4 ke ruu-ba-ruu5 kya hai 1.light, brilliance 2.truth, reality 3.sun 4.face 5.face to face, in front of
Here, ‘haqiiqat-truth/reality’ can mean essence/beauty. Also, ‘raushin meN’ can be intepreted in two ways … in the field/arena of light or when examined under light (the light of knowledge). One combination of these meanings gives … when examined under the light of knowledge, how can the beauty of the sun compare with the radiance of your face. And you can be the divine beloved.
12
zulf1 jhuk-jhuk2 ke kah rahi kaafir3kaan meN tere muu-ba-muu4 kya hai 1.hair 2.bowing down, leaning across, curling 3.infidel, beloved 4.follicle by follicle, every strand of hair
The beloved’s hair hand down and curl near her ear as if each strand of hair is speaking some mischievous thought to her. Here ‘kaafir’ is used for the beloved to mean that she is the one who tempts that poet/lover makes him transgress and violate his faith.
13
mast1 aaya hai kaun aye saaqi
maikade2 meN ye haa-o-huu3 kya hai 1.intoxicated 2.tavern 3.celebratory cries, bravo
Suddenly in the tavern the poet/patron hears people crying out/shouting in celebration and wonders – O saaqi, who is it that has arrived into the tavern in a state of intoxication/trance.
14
hai falak1 par damaaGh kyuN tera
zahn2 meN tere maah-ruu3 kya hai 1.sky 2.mind 3.moon faced
‘aasmaan par damaaGh hona’ is an expression that means ‘it has gone to your head – you think too highly of yourselves’. Apparently, the beloved thinks too highly of her beauty. What is it in your mind that drives such thoughts.
15
agar1 vo dost2 apna ban jaaye
aye zafar3 dekheN phir adu4 kya hai 1.if 2.friend 3.pen-name of the poet 4.enemy, rival
If she were to befriend me, show favours to me, O zafar, then we shall see what happens to the rival.
bahaadur shaah zafar (1775-1862) became titular/nominal emperor of India in 1837. He was a scholar of faarsi and arabi and started composing at an early age. zauq and after zauq’s death in 1854, Ghalib became his ustaad. zafar used to hold frequent mushaa’era in the Red Fort. This Ghazal, in the same style of Ghalib’s “tuhiiN kaho keh ye andaaz-e guftagu kya hai”, is dated by kalidas gupta raza, 1847. I have no way to date zafar’s Ghazal, but Ghalib mentions court patronage in the maqta (the last she’r) of his own Ghazal and there appears to be much overlap in phrases and thoughts. This Ghazal is linked to ‘Ghalib peshrau ham asr’.
1
chashm1 vo kya hai aur guluu2 kya hai
gar3 nahiN saaGhar4 o suboo5 kya hai
1.eye 2.neck 3.if 4.goblet, wine cup 5.flask
What else is the beloved’s intoxicating eye and her long slender neck if it is not like a goblet of wine and the neck of a flask.
2
ulTi-siidhi1 ye guftagu2 kya hai
tujhe manzuur3 juNg-juu4 kya hai
1.crooked, inconsistent, abusive 2.conversation 3.desire, purpose 4.war-like, angry, confrontational
Here the poet is referring to the beloved as ‘juNg-juu’ – angry and confrontational. What kind of abusive conversation is this. What is it that you desire, O angry beloved. Said Ghalib …
har ek baat pe kahte ho tum keh tuu kya hai
tumhiiN kaho keh ye andaaz-e guftagu kya hai
3
maiN jo kahta huN be-vafa1 hai raqiib2
vo mujhe kahte haiN keh tuu kya hai
1.unfaithful, cheat 2.rival
The poet/lover tries to persuade the beloved to give up her relationship with the rival with ‘standard’ argument – the rival is not faithful. She retorts – so what are you!
4
ashk1 bahte na ruKh2 pe hoN jis ke
ishq3 meN us ki aabru4 kya hai
1.tears 2.cheeks 3.love 4.respect, dignity
The standard convention in urdu poetry is that the pain of love is of high value. The lover who suffers such pain earns the respect of the world – hence, the reputation of majnuN and farhaad. Thus, if tears do not flow down the cheeks of the lover then how can he have any respect. Said Ghalib …
ragoN meN dauRte phirne ke ham nahiN qaa’el
jab aaNkh hi se Tapke to phir lahu kya hai
5
jhooTe-vaade1 jo ham se karta hai
teri marzi2 daroGh-go3 kya hai
1.false promises 2.intention 3.lier
The poet/lover characterizes the beloved in conventional terms – she makes false promises and is a lier. What is your intent, he asks.
6
un ke nazdiik1 aye dil-e naadaaN2
maiN huN kya cheez aur tuu kya hai
1.nazdiik literally means ‘near’ but idiomatically it means ‘in your eyes, in your view’ 2.simpleton
In her eyes, O simple heart, of what worth am I or what are you.
7
soz1-e Gham2 Khaak3 kar ke chhoRega
Khushk4 us ne kiya lahu5 kya hai
1.fire, pain 2.sorrow of love 3.dust, ashes 4.dry, congealed 5.blood
The pain of the sorrow of love will reduce me to ashes. It has already caused me to cry tears of blood so much that my veins have dried up – I have not more blood left.
8
dil hi meN apne DhoonDo to us ko
dair1 o kaabe meN justaju2 kya hai
1.temple 2.search
Look for him in your own heart. What is this search in the temple and mosque.
9
jo nahaa’e us aab1-e Khanjar2 se
us ko phir haajit3-e rafu4 kya hai
1.water of 2.dagger 3.need 4.sewing, darning, stitching
Here ‘aab-e Khanjar’ – the water of the dagger is blood. Either the lover is slain by the beloved or has sacrificed his life for some other passion. Thus, he who is bathed in blood (of sacrifice) from the wound of that dagger (of passion), why would he be in need of any stitching (of his wound).
10
haif1, us ne kabhi na ye poochha
keh tere dil meN aarzu2 kya hai
1.alas 2.desire
Alas, she never asked, ‘what is it that your heart desires’.
11
raushni1 meN haqiiqat2-e Khurshiid3
tere aariz4 ke ruu-ba-ruu5 kya hai
1.light, brilliance 2.truth, reality 3.sun 4.face 5.face to face, in front of
Here, ‘haqiiqat-truth/reality’ can mean essence/beauty. Also, ‘raushin meN’ can be intepreted in two ways … in the field/arena of light or when examined under light (the light of knowledge). One combination of these meanings gives … when examined under the light of knowledge, how can the beauty of the sun compare with the radiance of your face. And you can be the divine beloved.
12
zulf1 jhuk-jhuk2 ke kah rahi kaafir3kaan meN tere muu-ba-muu4 kya hai
1.hair 2.bowing down, leaning across, curling 3.infidel, beloved 4.follicle by follicle, every strand of hair
The beloved’s hair hand down and curl near her ear as if each strand of hair is speaking some mischievous thought to her. Here ‘kaafir’ is used for the beloved to mean that she is the one who tempts that poet/lover makes him transgress and violate his faith.
13
mast1 aaya hai kaun aye saaqi
maikade2 meN ye haa-o-huu3 kya hai
1.intoxicated 2.tavern 3.celebratory cries, bravo
Suddenly in the tavern the poet/patron hears people crying out/shouting in celebration and wonders – O saaqi, who is it that has arrived into the tavern in a state of intoxication/trance.
14
hai falak1 par damaaGh kyuN tera
zahn2 meN tere maah-ruu3 kya hai
1.sky 2.mind 3.moon faced
‘aasmaan par damaaGh hona’ is an expression that means ‘it has gone to your head – you think too highly of yourselves’. Apparently, the beloved thinks too highly of her beauty. What is it in your mind that drives such thoughts.
15
agar1 vo dost2 apna ban jaaye
aye zafar3 dekheN phir adu4 kya hai
1.if 2.friend 3.pen-name of the poet 4.enemy, rival
If she were to befriend me, show favours to me, O zafar, then we shall see what happens to the rival.
The post saaGhar o suboo kya hai-bahadur shah zafar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/01/nks-lutf-e-justaju-kya-hai-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
لطفِ جستجو کیا ہے ۔ نریش کمار شادؔ
۱
دل و نظر میں یہ پُر درد گفتگو کیا ہے
سکوتِ یاس کے پردے میں ہاؤ ہُو کیا ہے
۲
بہار اپنے مقدّر پہ خود ہے نوحہ کناں
لہو ہے لالہ و گل کا یہ رنگ و بو کیا ہے
۳
نگاہِ اہلِ محبّت کا فیض ہے ورنہ
تری نظر کو بھی کیا عِلم تھا کہ تُو کیا ہے
۴
جو بن پڑے تو بھٹک جا رہِ محبّت میں
سفر ہو سہل تو پھر لطفِ جستجو کیا ہے
۵
اگر نہ گریۂ شبنم کا رنگ شامل ہو
کلی کلی کے تبسّم کی آبرو کیا ہے
۶
نگاہ و دل میں اگر مستیِ شباب نہیں
یہ رقص و رنگ یہ پیمانہ و سبو کیا ہے
۷
تری قسم تجھے پا کر بھی میں تو شادؔ نہیں
خبر نہیں کہ مرے دل کی آرزو کیا ہے
लुत्फ़-ए जुस्तजू क्या है – नरेश कुमार शाद
१
दिल ओ नज़र में ये पुर-दर्द गुफ़्तगू क्या है
सुकूत-ए यास के पर्दे में हा’ओ-हू क्या है
२
बहार अपने मुक़द्दर पे ख़ुद है नौहा कुनां
लहू है लाला ओ गुल का ये रंग ओ बू क्या है
३
निगाह-ए अहल-ए मोहब्बत का फ़ैज़ है वरना
तेरी नज़र को भी क्या इल्म था के तू क्या है
४
जो बन पढे तो भटक जा रह-ए मोहब्बत में
सफ़र हो सहल तो फिर लुत्फ़-ए जुस्तजू क्या है
५
अगर न गिर्या-ए शबनम का रंग शामिल हो
कली कली के तबस्सुम की आब्रू क्या है
६
निगाह ओ दिल में अगर मस्ती-ए शबाब नहीं
ये रक़्स ओ रंग ये पैमाना ओ सुबू क्या है
७
तेरी क़सम तुझे पा कर भी मैं तो शाद नहीं
ख़बर नहीं के मेरे दिल की आर्ज़ू क्या है
Click here for background and on any passage for word meanings and explanatory discussion. naresh kumar shaad (1927-1969) prolific poet, writer, translater. Member Progressive Writers’ Association. Socialist/Communist. Educated and worked in rawalpindi and lahore before partition and then moved to India. Many of his composition are a reflection of what the PWA asked poets/writers to do … write less about the beloved and more about social justice. This Ghazal in the style of Ghalib’s ‘tumhiiN kaho ke ye andaaz-e guftagu kya hai’ is more in the classical tone.
1
dil o nazar1 meN ye pur-dard2 guftagu3 kya hai
sukoot4-e yaas5 ke parde6 meN haa’o-huu7 kya hai 1.eyes, vision 2.painful 3.conversation 4.silence, stillness 5.yearning 6.veil 7.loud noise/sound which may be either celebratory or sorrowful
What is the tumultous/sorrowful sound behind the veil of the silence of yearning. Is it the sound of a painful conversation between the heart and the eyes? Here are some possibilites – (a) the heart may be an intense desire (say) for social justice and eye may be seeing the reality of pain and suffering. So there is a painful conversation going on between the two (b) the eye/vision may represent a dream of social justice and the heart represents hope or maybe even hopelessness and that is the painful conversation (c) the heart may be love of the beloved and the eye sees that she is not interested or maybe even cavorting with the rival, hence the painful conversation.
2
bahaar1 apne muqaddar2 pe Khud hai nauha-kunaaN3
lahu4 hai lala5 o gul6 ka ye raNg o buu7 kya hai 1.spring 2.fate 3.wailing, crying 4.blood 5.tulip 6.rose 7.fragrance
The fate of spring is that it will end into a dry season and all growth will wilt away. So it is weeping tears of blood at its own sorry fate. The red colour and fragrance of the tulip and rose are nothing but a sign of that weeping.
3
nigaah1-e ahl2-e mohabbat ka faiz3 hai varna4
teri nazar ko bhi kya ilm5 tha keh tuu kya hai 1.sight, discerning/selective tast 2.people of 3.kindness 4.otherwise 5.knowledge
Even the poet himself did not have the fine taste to know what kind of a poet he was. It is the kindness of the tasteful encouragement of loving people that showed it to him, otherwise he would not have himself.
4
jo ban-paRe1 to bhaTak2 jaa rah3-e mohabbat meN
safar4 ho sahal5 to phir lutf6-e justajuu7 kya hai 1.become possible 2.wander, lose yourself 3.pathway 4.journey 5.easy 6.pleasure 7.trying, struggle
The ideal lover wanders the desert ala majnuN looking for his beloved. It is not possible for everyone to be able to do this. But, if it is possible, lose yourself, wander through the pathway of love. How can there by any pleasure of struggle, if the journey were easy.
5
agar1 na giriya2-e shabnam3 ka raNg4 shaamil5 ho
kali kali me tabassum6 ki aabru7 kya hai 1.if 2.weeping 3.dew 4.style, character 5.mingled, mixed 6.smile 7.respect, dignity
When the unopened bud blooms (smiles) early in the morning it has dew drops on it, which give it its real character. The dew drops are the tears/weeping of the night. It is the character of this weeping that is mixed with the smile of the bud that gives it dignity, otherwise it would have that kind of respect.
6
nigaah1 o dil meN agar2 masti3-e shabaab4 na ho
ye raqs5 o raNg ye paimaana6 o subuu7 kya hai 1.eyes, glances 2.if 3.intoxication 4.youth 5.dance 6.measure, cup 7.flask, decantor
The beloved’s sidelong glances and playfulness, the poet/lover’s heart/love – if they don’t have the intoxication of youth, how can there be this dance, colourful teasing, cup and flask of wine!
7
teri qasam1 tujhe paa2 kar bhi maiN to shaad3 nahiN
Khabar4 nahiN keh mere dil ki aarzu5 kya hai 1.swear by 2.obtain, achieve 3.pen-name of the poet, happy, content 4.awareness 5.yearning
It is not at all clear who or what the ‘teri’ is. Whatever it is the poet swears by it that even after achieving it he not satisfied. There is something nagging him, and he doesn’t know what his heart yearns for. Thus, we are left with two mysteries – what is it that the poet has achieved and what is it that he still yearns for. We can fill in the gaps with our favourite choices.
naresh kumar shaad (1927-1969) prolific poet, writer, translater. Member Progressive Writers’ Association. Socialist/Communist. Educated and worked in rawalpindi and lahore before partition and then moved to India. Many of his composition are a reflection of what the PWA asked poets/writers to do … write less about the beloved and more about social justice. This Ghazal in the style of Ghalib’s ‘tumhiiN kaho ke ye andaaz-e guftagu kya hai’ is more in the classical tone.
1
dil o nazar1 meN ye pur-dard2 guftagu3 kya hai
sukoot4-e yaas5 ke parde6 meN haa’o-huu7 kya hai
1.eyes, vision 2.painful 3.conversation 4.silence, stillness 5.yearning 6.veil 7.loud noise/sound which may be either celebratory or sorrowful
What is the tumultous/sorrowful sound behind the veil of the silence of yearning. Is it the sound of a painful conversation between the heart and the eyes. Here are some possibilites – (a) the heart may be an intense desire (say) for social justice and eye may be seeing the reality of pain and suffering. So there is a painful conversation going on between the two (b) the eye/vision may represent a dream of social justice and the heart represents hope or maybe even hopelessness and that is the painful conversation (c) the heart may be love of the beloved and the eye sees that she is not interested or maybe even cavorting with the rival, hence the painful conversation.
2
bahaar1 apne muqaddar2 pe Khud hai nauha-kunaaN3
lahu4 hai lala5 o gul6 ka ye raNg o buu7 kya hai
1.spring 2.fate 3.wailing, crying 4.blood 5.tulip 6.rose 7.fragrance
The fate of spring is that it will end into a dry season and all growth will wilt away. So it is weeping tears of blood at its own sorry fate. The red colour and fragrance of the tulip and rose are nothing but a sign of that weeping.
3
nigaah1-e ahl2-e mohabbat ka faiz3 hai varna4
teri nazar ko bhi kya ilm5 tha keh tuu kya hai
1.sight, discerning/selective tast 2.people of 3.kindness 4.otherwise 5.knowledge
Even the poet himself did not have the fine taste to know what kind of a poet he was. It is the kindness of the tasteful encouragement of loving people that showed it to him, otherwise he would not have himself.
4
jo ban-paRe1 to bhaTak2 jaa rah3-e mohabbat meN
safar4 ho sahal5 to phir lutf6-e justajuu7 kya hai
1.become possible 2.wander, lose yourself 3.pathway 4.journey 5.easy 6.pleasure 7.trying, struggle
The ideal lover wanders the desert ala majnuN looking for his beloved. It is not possible for everyone to be able to do this. But, if it is possible, lose yourself, wander through the pathway of love. How can there by any pleasure of struggle, if the journey were easy.
5
agar1 na giriya2-e shabnam3 ka raNg4 shaamil5 ho
kali kali me tabassum6 ki aabru7 kya hai
1.if 2.weeping 3.dew 4.style, character 5.mingled, mixed 6.smile 7.respect, dignity
When the unopened bud blooms (smiles) early in the morning it has dew drops on it, which give it its real character. The dew drops are the tears/weeping of the night. It is the character of this weeping that is mixed with the smile of the bud that gives it dignity, otherwise it would have that kind of respect.
6
nigaah1 o dil meN agar2 masti3-e shabaab4 na ho
ye raqs5 o raNg ye paimaana6 o subuu7 kya hai
1.eyes, glances 2.if 3.intoxication 4.youth 5.dance 6.measure, cup 7.flask, decantor
The beloved’s sidelong glances and playfulness, the poet/lover’s heart/love – if they don’t have the intoxication of youth, how can there be this dance, colourful teasing, cup and flask of wine!
7
teri qasam1 tujhe paa2 kar bhi maiN to shaad3 nahiN
Khabar4 nahiN keh mere dil ki aarzu5 kya hai
1.swear by 2.obtain, achieve 3.pen-name of the poet, happy, content 4.awareness 5.yearning
It is not at all clear who or what the ‘teri’ is. Whatever it is the poet swears by it that even after achieving it he not satisfied. There is something nagging him, and he doesn’t know what his heart yearns for. Thus, we are left with two mysteries – what is it that the poet has achieved and what is it that he still yearns for. We can fill in the gaps with our favourite choices.
The post lutf-e justaju kya hai-naresh kumar shaad appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/01/mntKhb-jannat-dozaKh-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
جنّت ۔ دوزخ ۔منتخب
مرزا غالبؔ
۱
ہم کو معلوم ہے جنّت کی حقیقت لیکن
دِل کے خوش رکھنے کو غالب یہ خیال اچھا ہے
۲
نیکی تمام تجھ سے ہے کیا خواہشِ جزا
اور اُسکی ضد بھی کام تیرا، انتقام کیا
۳
کیوں نہ فردوس میں دوزخ کو ملا لیں یارب
سیر کے واسطے تھوڑی سی فضا اور سہی
۴
وہ چیز جس کے لئے ہم کو ہو بہشت عزیز
سوائے بادۂ گلفامِ مشک بو کیا ہے
داغ دہلوی
۵
جِس میں لاکھوں برس کی حوریں ہوں
ایسی جنّت کا کیا کرے کوئی
ہری چند اختر
۶
سکونِ مستقل، دِل بے تمنّا، شیخ کی صحبت
یہ جنّت ہے تو اِس جنّت سے دوزخ کیا بُرا ہوگا
۷
ملے گی شیخ کو جنت ہمیں دوزخ عطا ہوگا
بس اتنی بات ہے جس بات پر محشر بپا ہوگا
لالہ مادھو رام جوہر
۸
اہل جنت مجھے لیتے ہیں نہ دوزخ والے
کس جگہ جا کے تمہارا یہ گنہ گار رہے
عارف شفیق
۹
دوزخ بھی کیا گمان ہے جنت بھی ہے فریب
ان وسوسوں میں میری عبادت بھی ہے فریب
شہزاد واثق
۱۰
واعظ تمہاری جنت و دوزخ کی خیر ہو
رندوں کی کائنات بڑی دور تک گئی
जन्नत-दोज़ख़ – मुंतख़ब
मिर्ज़ा ग़ालिब
१
हम को मालूम है जन्नत की हक़ीक़त लैकिन
दिल के ख़ुश रखने को ग़ालिब ये ख़्याल अच्छा है
२
नेकी तमाम तुझ से है, क्या ख़्वाहिश-ए जज़ा
और इसकी ज़िद भी काम तेरा, इन्तेक़ाम क्या
३
क्यूं न फ़िर्दौस में दोज़ख़ को मिला लें यारब
सैर के वास्ते थोड़ी सी फ़िज़ा और सही
४
वो चीज़ जिस के लिए हम को हो बेहिश्त अज़ीज़
सिवा-ए बादा-ए गुल्फ़ाम-ए मुश्क-बू क्या है
दाग़ देहलवी
५
जिस में लाखों बरस की हूरें हों
ऐसी जन्नत का क्या करे कोई
हरिचंद अख़्तर
६
सुकून-ए मुस्तक़िल, दिल बे-तमन्ना, शैख़ की सोहबत
ये जन्नत है तो इस जन्नत से दोज़ख़ क्या बुरा होगा
७
मिलेगी शैख़ को जन्नत हमें दोज़ख़ अता होगा
बस इतनी बात है जिस बात पर महशर बपा होगा
लाला माधव राम जौहर
८
अहल-ए-जन्नत मुझे लेते हैं न दोज़ख़ वाले
किस जगह जा के तुम्हारा ये गुनहगार रहे
आरेफ़ शफ़ीक़
९
दोज़ख़ भी क्या गुमान है जन्नत भी है फ़रेब
इन वस्वसों में मेरी इबादत भी है फ़रेब
शहज़ाद वासिक़
१०
वा’एज़ तुम्हारी जन्नत-ओ-दोज़ख़ की ख़ैर हो
रिंदों की काएनात बड़ी दूर तक गई
Click here for background and on any passage for word meanings and explanatory discussion. urdu has a long, well established tradition, starting right from its beginning of poking fun at orthodoxy, orthodox beliefs and practics, and even at divinity. This is a collection of ash’aar reflecting playful irreverence.
1
mirza Ghalib
hum ko ma’aloom hai jannat ki haqiqat1 laikin
dil ke Khush rakhne ko Ghalib ye Khyaal achha hai 1.reality
We know the reality of paradise (the unspoken meaning is that we know it is a fable) but it is a good thought to keep ourselved happy.
2
sunte haiN jo behisht1 ki ta’reef2 sub durust3laikin Khuda kare vo tera jalva-gaah4 ho 1.paradise 2.praise 3.correct, right 4.place of display, place where I can see (you)
All the praise that we hear about heaven is just fine, but I hope to god that it is a place where you can be seen. Who is this “you”. It could be god, but then there is nothing special about being able to see god in heaven. I think that “you” is the beloved. All the other attractions of heaven may be fine, but to the poet/lover/rebel the real attraction is the ability to see the beloved.
3
kyuN na firdaus1 meN dozaKh2 ko mila leN yaarab3sair4 ke vaaste5 thoRi si fiza6 aur7 sahi 1.heaven 2.hell 3.lord 4.sightseeing 5.for the sake of 6.atmosphere, ambience 7.used in the sense of something different
The poet/rebel is bored with the sameness of heaven (see harichand aKhter further below). There is nothing exciting going on here … all the excitement is in hell. Why not we combine the two so that we may be able to take a liesurely walk through it for a change of scene.
4
voh chiiz jis ke liye hum ko ho behisht1 aziz2sivaa3-e baada4-e gulfaam5-e mushk-buu6 kya hai 1.heaven 2.dear, desirable 3.except for 4.wine 5.rose bodied/coloured 6.fragrant like musk
This is tongue in cheek praise of stories of free availability of wine in heaven. Thus says Ghalib, the one thing for which we like heaven best is (what else but) the availability of rose coloured wine with fragrance of musk.
5
daaGh delhavi
jis meN laakhoN baras ki hooreN hoN
aisi jannat ka kya kare koi daaGh making fun of conventional stories of availability of hoories in heaven … they are of necessity millions of years old.
6
harichand aKhtar
sukuN-e-mustaqil1, dil be-tamanna2, shaiKh ki sohbat3ye jannat hai to is jannat se dozaKh kya bura hoga 1.constant/uninterrupted tranquility 2.without any desire 3.company
Everything is tranquil and all desires are fulfilled, nothing to yearn for, no excitement. It must be a boring and monotonous place. On top of that you have the company of the shaiKh – the preacher. If this is heaven, how can hell be any worse. Also see Ghalib above on the boredom in heaven.
7
milegi shaiKh ko jannat hameN dozaKh ata1 hoga
bas itni baat hai jis ke liye mahshar2 bapa3 hoga 1.grant 2.doomsday 3.happen, spread, get arranged (to happen)
The shaiKh will get heaven and we will be sent to hell. Just for this little thing you (o god) will arrange (this elaborate charade of) doomsday!
8
lala madhav ram jauhar
ahl-e-jannat1 mujhe lete haiN na dozaKH vaale
kis jagah jaa ke tumhaaraa ye gunahgaar2 rahe 1.people in heaven 2.sinner
This is addressed to god as a sort of humorous satire … neither the people in heaven nor those in hell are willing to admit me. Where shall your sinner go now.
9
arif shafiq
dozaKh bhi kya gumaan1 hai jannat bhii hai fareb2
in vasvasoN3 meN meri ibaadat4 bhi hai fareb 1.speculation, illusion 2.deception 3.superstitions 4.prayer, devotion
Hell is an illusion and heaven, a deception. Under these superstitions my prayers have also become mere rituals, trying to deceive god.
10
shahzaad vaasiq
vaa’ez1 tumhaari jannat-o-dozaKh ki Khair2 ho
rindoN3 ki kaa’enaat4 baRi duur tak gaii 1.preacher 2.may it be safe 3.wine lovers, rebels 4.world, domain
O preacher, may your heaven and hell be safe. The domain of the rebels/unorthodox has spread far and wide.
urdu has a long, well established tradition, starting right from its beginning of poking fun at orthodoxy, orthodox beliefs and practics, and even at divinity. This is a collection of ash’aar reflecting playful irreverence.
1
mirza Ghalib
hum ko ma’aloom hai jannat ki haqiqat1 laikin
dil ke Khush rakhne ko Ghalib ye Khyaal achha hai
1.reality
We know the reality of paradise (the unspoken meaning is that we know it is a fable) but it is a good thought to keep ourselved happy.
2
sunte haiN jo behisht1 ki ta’reef2 sub durust3laikin Khuda kare vo tera jalva-gaah4 ho
1.paradise 2.praise 3.correct, right 4.place of display, place where I can see (you)
All the praise that we hear about heaven is just fine, but I hope to god that it is a place where you can be seen. Who is this “you”. It could be god, but then there is nothing special about being able to see god in heaven. I think that “you” is the beloved. All the other attractions of heaven may be fine, but to the poet/lover/rebel the real attraction is the ability to see the beloved.
3
kyuN na firdaus1 meN dozaKh2 ko mila leN yaarab3sair4 ke vaaste5 thoRi si fiza6 aur7 sahi
1.heaven 2.hell 3.lord 4.sightseeing 5.for the sake of 6.atmosphere, ambience 7.used in the sense of something different
The poet/rebel is bored with the sameness of heaven (see harichand aKhter further below). There is nothing exciting going on here … all the excitement is in hell. Why not we combine the two so that we may be able to take a liesurely walk through it for a change of scene.
4
voh chiiz jis ke liye hum ko ho behisht1 aziz2sivaa3-e baada4-e gulfaam5-e mushk-buu6 kya hai
1.heaven 2.dear, desirable 3.except for 4.wine 5.rose bodied/coloured 6.fragrant like musk
This is tongue in cheek praise of stories of free availability of wine in heaven. Thus says Ghalib, the one thing for which we like heaven best is (what else but) the availability of rose coloured wine with fragrance of musk.
5
daaGh delhavi
jis meN laakhoN baras ki hooreN hoN
aisi jannat ka kya kare koi
daaGh making fun of conventional stories of availability of hoories in heaven … they are of necessity millions of years old.
6
harichand aKhtar
sukuN-e-mustaqil1, dil be-tamanna2, shaiKh ki sohbat3ye jannat hai to is jannat se dozaKh kya bura hoga
1.constant/uninterrupted tranquility 2.without any desire 3.company
Everything is tranquil and all desires are fulfilled, nothing to yearn for, no excitement. It must be a boring and monotonous place. On top of that you have the company of the shaiKh – the preacher. If this is heaven, how can hell be any worse. Also see Ghalib above on the boredom in heaven.
7
milegi shaiKh ko jannat hameN dozaKh ata1 hoga
bas itni baat hai jis ke liye mahshar2 bapa3 hoga
1.grant 2.doomsday 3.happen, spread, get arranged (to happen)
The shaiKh will get heaven and we will be sent to hell. Just for this little thing you (o god) will arrange (this elaborate charade of) doomsday!
8
lala madhav ram jauhar
ahl-e-jannat1 mujhe lete haiN na dozaKH vaale
kis jagah jaa ke tumhaaraa ye gunahgaar2 rahe
1.people in heaven 2.sinner
This is addressed to god as a sort of humorous satire … neither the people in heaven nor those in hell are willing to admit me. Where shall your sinner go now.
9
arif shafiq
dozaKh bhi kya gumaan1 hai jannat bhii hai fareb2
in vasvasoN3 meN meri ibaadat4 bhi hai fareb
1.speculation, illusion 2.deception 3.superstitions 4.prayer, devotion
Hell is an illusion and heaven, a deception. Under these superstitions my prayers have also become mere rituals, trying to deceive god.
10
shahzaad vaasiq
vaa’ez1 tumhaari jannat-o-dozaKh ki Khair2 ho
rindoN3 ki kaa’enaat4 baRi duur tak gaii
1.preacher 2.may it be safe 3.wine lovers, rebels 4.world, domain
O preacher, may your heaven and hell be safe. The domain of the rebels/unorthodox has spread far and wide.
The post jannat o dozaKh – muKhtalif shu’ara appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/01/mntKhb-gunaah-ka-hisaab-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
گناہ کا حساب ۔منتخب اشعار- مختلف شعرا
۱
چندر بھان کیفیؔ دہلوی
دُرِ اشکِ ندامت چُن لئے شانِ کریمی نے
میرے مولا نے رکھ لی آبرو پرہیز گاروں میں
۲
محمّد اقبال
موتی سمجھ کے شانِ کریمی نے چُن لئے
قطرے جو تھے مرے عرقِ اِنفعال کے
۳
جمنا پرشاد راہیؔ
کیا خطاؤں کو ابھی کچھ نیکیاں درکار ہیں
یا کرم فرمائیاں پاسنگِ میزاں ہو گئیں
۴
مُظفّر خیرآبادی
میرے گنہ زیادہ ہیں یا تیری رحمتیں
کریم تو ہی بتا دے حساب کر کے مجھے
۵
امیر مینائی
بندہ نوازیوں پہ خدائے کریم تھا
کرتا نہ میں گنہ تو گناہِ عظیم تھا
۶
پنڈت آنند نارائن مُلّاؔ
اُس کے کرم پہ شک تجھے زاہد ضرور تھا
ورنہ ترا قصور نہ کرنا قصور تھا
۷
نامعلوم
منکرِ رحمتِ خدا رہنا
کفر ہے اِتنا پارسا رہنا
۸
وسیم خیرآبادی
میرے گنہ جو چشم کرم میں سما گئے
آنکھیں جھکا کے رہ گئی میزاں حساب کی
۹
یگانہؔ چنگیزی
گناہ گن کے میں کیوں اپنے دل کو چھوٹا کروں
سنا ہے تیرے کرم کا کوئی حساب نہیں
۱۰
مرزا غالبؔ
آتا ہے داغِ حسرتِ دِل کا شمار یاد
مجھ سے میرے گنہ کا حساب ائے خدا نہ مانگ
۱۱
مرزا غالبؔ
ناکردہ گناہوں کی بھی حسرت کی ملے داد
یارب اگر اِن کردہ گناہوں کی سزا ہے
गुनाह का हिसाब – मुख़्तलिफ़ शो’अरा
१
चन्द्र भान कैफ़ी देहलवी
दुर-ए अश्क-ए नदामत चुन लिये शान-ए करीमी ने
मेरे मौला ने रख ली आब्रू परहेज़ गारौं में
२
मोहम्मद एक़्बाल
मोती समझ के शान-ए करीमी ने चुन लिये
क़तरे जो थे मेरे अरक़-ए इन्फ़े’आल के
३
जमना प्रशाद राही
क्या ख़ताऔं को अभी कुछ नेकियां दरकार हैं
या करम फ़र्माइयां पासंग-ए मीज़ां हो गईं
४
मुज़फ़्फ़र ख़ैराबादी
मेरे गुनह ज़ियादा है या तेरी रहमतें
करीम तू हि बता दे हिसाब कर के मुझे
५
अमीर मीनाई
बन्दा-नवाज़ियौं पे ख़ुदा-ए करीम था
करता न मैं गुनह तो गुनाह-ए अज़ीम था
६
पंडित आनंद नरायन मुल्ला
उसके करम पे शक तुझे ज़ाहिद ज़रूर था
वरना तेरा क़ुसूर न करना क़ुसूर था
७
ना-मालूम
मुनकिर-ए रहमत-ए ख़ुदा रहना
कुफ़्र है इतना पारसा रहना
८
वसीम ख़ैराबादी
मेरे गुनह जो चश्म-ए करम में समा गए
आँखें झुका के रह गई मीज़ाँ हिसाब की
९
यगाना चंगेज़ी
गुनाह गिन के मैं क्यूँ अपने दिल को छोटा करूँ
सुना है तेरे करम का कोई हिसाब नहीं
१०
मिर्ज़ा ग़ालिब
आता है दाग़-ए हसरत-ए दिल का शुमार याद
मुझ से मेरे गुनह का हिसाब अए ख़ुदा न मांग
११
मिर्ज़ा ग़ालिब
नाकरदा गुनाहों की भी हस्रत की मिले दाद
यारब अगर इन कर्दा गुनाहों की सज़ा है
Click here for background and on any passage for word meanings and explanatory discussion. This is a collection of ash’aar of various shu’ara on the theme of accounting of sins on the day of reckoning. It is a beautiful and irreverant poking of fun at the whole concept in some cases and an description of the beauty of benevolence in others.
1
chandr bhaan kaifi
dur1-e ashk2-e nadaamat3 chun liye shaan4-e karimi5 ne
mere maula6 ne rakh lii aabru7 parhez-gaaroN8 meN 1.pearls 2.tears 3.regret, begging forgiveness 4.grandeur, dignity 5.benvolence 6.lord 7.respect, reputation 8.abstainers, observers of rules
The grandeur of his benevolence, picked/selected my tears of regret as if they were pearls. My lord saved my dignity among all the abstainers i.e. god forgave him his sins because he begged forgiveness.
2
mohammed iqbal
moti samajh ke shaan1-e kariimi2 ne chun liye
qatre3 jo the mere araq4-e infe’aal5 ke 1.glory 2.benevolence of god 3.drops 4.juice 5.repentence
The poet/sinner is repentant and is shedding tears begging forgiveness. The sincerity of his repentance makes his tears valuable like pearls in the eyes of divine benevolence. Thus, in its glorious benevolence, divinity picks up the “drops of the juice of his repentance”, as if they were pearls.
3
jamna prasad raahi
kya KhataaoN1 ko abhi kuchh nekiyaaN2 darkaar3 haiN
yaa karam-farmaaiyaaN4 paasaNg5-e miizaaN6 ho gaiiN 1.sin 2.virtues, good deeds 3.required 4.kindness, benevolence, forgiveness 5.extra weight used to even out the two pans of a balance 6.balance
Imagine the day of judgement. The sins of the poet in one pan and his good deeds in the other. Will it balance out. Will he require a longer list of good deeds to get there or will god’s forgiveness add enough weight “paasaNg” to balance the beam!
4
muzaffar Khairabaadi
mere gunah ziyaada haiN ya teri rahmateN1kariim2 tu hi bataa de hisaab3 kar ke mujhe 1.kindness, benevolence 2.name/attribute of god – merciful, benevolent 3.reckoning/counting
Is my sin greater or your mercy/forgiveness. O, merciful one, you yourself reckon and tell me.
5
amir minaaii
bandaa1 navaaziyoN2 pe Khudaa-e karim3 thaa
kartaa na maiN gunah to gunaah-e aziim4 thaa 1.slave 2.indulging, being kind to 3.benevolent god 4.greatest sin
The benevolence of god was inclined towards kindness for his slave (the poet). He had to sin to give him an opportunity to show his mercy. If I had not sinned, that would have been the greatest sin of all.
6
panDit anand narain mulla
us ke karam1 pe shak2 tujhe zaahid3 zaroor4 tha
varna5 tera qusoor6 na karna qusoor tha 1.benevolence, forgiveness, kindness 2.doubt, lack of belief 3.preacher 4.definitely 5.used here in the sense of ‘that is why’ 6.trangression
Surely you doubted the kindness/forgiveness of god O zaahid. That is why not committing transgression is itself a sin.
7
na-maaloom
munkir1-e rahmat2-e Khuda rahna
kufr3 hai itna paarsa4 rahna 1.deny 2.mercy 3.sinful 4.pious
It is a sin to be so pious. That shows that you are in denial of god’s mercy.
8
vasiim Khairabadi
mere gunah jo chashm1-e karam2 meN samaa3 gaye
aaNkheN jhukaa ke rah gaii miizaaN4 hisaab5 kii 1.eyes, glance 2.benevolence 3.engulfed, covered 4.scales, balance 5.reckoning, weighing
When my sins were engulfed in the glane/view of the vast benevolence/forgiveness, the scale of reckoning could do nothing but lower its eyes in acceptance.
9
yagaana chaNgezi
gunaah gin ke maiN kyuN apne dil ko chhoTa1 karuN
suna hai tere karam2 ka koii hisaab3 nahiN 1.dil chhoTa karna is an expression meaning being disappointed, feeling deprived 2.mercy, benevolence 3.count, measure, limits
Why should I feel sorry/disappointed by counting my sins. I have heard that your mercy knows no bounds.
10
mirza Ghalib
aata hai daaGh1-e hasrat2-e dil ka shumaar3 yaad
mujh se mere gunah ka hisaab aye Khuda na maaNg 1.scar, wound 2.longing, desire 3.count
The poet/rebel has had many desires/longing to commit transgressions (because those are fun things to do), but for whatever reason he could not do them. That left many scars of unfulfilled desires in his heart. Thus, O, god, don’t ask me about a reckoning of my transgressions/sins, for, if you do, then I remember all the countless scars of transgressions that I wanted to commit but could not.
11
mirza Ghalib
naakarda1 gunaahauN ki bhi ki hasrat2 ki miley daad3yaarab4 agar in karda5 gunaahauN ki saza6 hai 1.not done/committed 2.desire/longing 3.credit 4.lord 5.done/committed 6.punishment
It is the day of judgement and credits/virtues and dis-credits/sins are being counted. The poet/rebel has a lot more transgressions that he wanted to commit but could not. He wants credit for those if there is punishment for the ones he committed. The thought between the lines is that because he wanted to do so many more than he actually did, he would come out ahead in the reckoning.
This is a collection of ash’aar of various shu’ara on the theme of accounting of sins on the day of reckoning. It is a beautiful and irreverant poking of fun at the whole concept in some cases and an description of the beauty of benevolence in others.
1
chandr bhaan kaifi
dur1-e ashk2-e nadaamat3 chun liye shaan4-e karimi5 ne
mere maula6 ne rakh lii aabru7 parhez-gaaroN8 meN
1.pearls 2.tears 3.regret, begging forgiveness 4.grandeur, dignity 5.benvolence 6.lord 7.respect, reputation 8.abstainers, observers of rules
The grandeur of his benevolence, picked/selected my tears of regret as if they were pearls. My lord saved my dignity among all the abstainers i.e. god forgave him his sins because he begged forgiveness.
2
mohammed iqbal
moti samajh ke shaan1-e kariimi2 ne chun liye
qatre3 jo the mere araq4-e infe’aal5 ke
1.glory 2.benevolence of god 3.drops 4.juice 5.repentence
The poet/sinner is repentant and is shedding tears begging forgiveness. The sincerity of his repentance makes his tears valuable like pearls in the eyes of divine benevolence. Thus, in its glorious benevolence, divinity picks up the “drops of the juice of his repentance”, as if they were pearls.
3
jamna prasad raahi
kya KhataaoN1 ko abhi kuchh nekiyaaN2 darkaar3 haiN
yaa karam-farmaaiyaaN4 paasaNg5-e miizaaN6 ho gaiiN
1.sin 2.virtues, good deeds 3.required 4.kindness, benevolence, forgiveness 5.extra weight used to even out the two pans of a balance 6.balance
Imagine the day of judgement. The sins of the poet in one pan and his good deeds in the other. Will it balance out. Will he require a longer list of good deeds to get there or will god’s forgiveness add enough weight “paasaNg” to balance the beam!
4
muzaffar Khairabaadi
mere gunah ziyaada haiN ya teri rahmateN1kariim2 tu hi bataa de hisaab3 kar ke mujhe
1.kindness, benevolence 2.name/attribute of god – merciful, benevolent 3.reckoning/counting
Is my sin greater or your mercy/forgiveness. O, merciful one, you yourself reckon and tell me.
5
amir minaaii
bandaa1 navaaziyoN2 pe Khudaa-e karim3 thaa
kartaa na maiN gunah to gunaah-e aziim4 thaa
1.slave 2.indulging, being kind to 3.benevolent god 4.greatest sin
The benevolence of god was inclined towards kindness for his slave (the poet). He had to sin to give him an opportunity to show his mercy. If I had not sinned, that would have been the greatest sin of all.
6
panDit anand narain mulla
us ke karam1 pe shak2 tujhe zaahid3 zaroor4 tha
varna5 tera qusoor6 na karna qusoor tha
1.benevolence, forgiveness, kindness 2.doubt, lack of belief 3.preacher 4.definitely 5.used here in the sense of ‘that is why’ 6.trangression
Surely you doubted the kindness/forgiveness of god O zaahid. That is why not committing transgression is itself a sin.
7
na-maaloom
munkir1-e rahmat2-e Khuda rahna
kufr3 hai itna paarsa4 rahna
1.deny 2.mercy 3.sinful 4.pious
It is a sin to be so pious. That shows that you are in denial of god’s mercy.
8
vasiim Khairabadi
mere gunah jo chashm1-e karam2 meN samaa3 gaye
aaNkheN jhukaa ke rah gaii miizaaN4 hisaab5 kii
1.eyes, glance 2.benevolence 3.engulfed, covered 4.scales, balance 5.reckoning, weighing
When my sins were engulfed in the glane/view of the vast benevolence/forgiveness, the scale of reckoning could do nothing but lower its eyes in acceptance.
9
yagaana chaNgezi
gunaah gin ke maiN kyuN apne dil ko chhoTa1 karuN
suna hai tere karam2 ka koii hisaab3 nahiN
1.dil chhoTa karna is an expression meaning being disappointed, feeling deprived 2.mercy, benevolence 3.count, measure, limits
Why should I feel sorry/disappointed by counting my sins. I have heard that your mercy knows no bounds.
10
mirza Ghalib
aata hai daaGh1-e hasrat2-e dil ka shumaar3 yaad
mujh se mere gunah ka hisaab aye Khuda na maaNg
1.scar, wound 2.longing, desire 3.count
The poet/rebel has had many desires/longing to commit transgressions (because those are fun things to do), but for whatever reason he could not do them. That left many scars of unfulfilled desires in his heart. Thus, O, god, don’t ask me about a reckoning of my transgressions/sins, for, if you do, then I remember all the countless scars of transgressions that I wanted to commit but could not.
11
mirza Ghalib
naakarda1 gunaahauN ki bhi ki hasrat2 ki miley daad3yaarab4 agar in karda5 gunaahauN ki saza6 hai
1.not done/committed 2.desire/longing 3.credit 4.lord 5.done/committed 6.punishment
It is the day of judgement and credits/virtues and dis-credits/sins are being counted. The poet/rebel has a lot more transgressions that he wanted to commit but could not. He wants credit for those if there is punishment for the ones he committed. The thought between the lines is that because he wanted to do so many more than he actually did, he would come out ahead in the reckoning.
The post gunaah ka hisaab-muntaKhab ash’aar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/01/af-mansur-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
منصوُر – اَحمَد فرازؔ
۱
وہ کیا خطا تھی؟
كہ جس کی پاداش میں ابھی تک
میں قرن ہا قرن سے شِکارِ عبودیت
طوق دَر گُلو … پا بہ گِل رہا ہوں
وہ جرم کیا تھا ؟
۲
كہ زندگی بھر تو میں
ترے آستاں پہ سجدوں کی نذر گزرانتا رہا ہوں
اور اِس کا ثمرہ ملے
تو بس کاسۂ گدائی – عذابِ عالم
تو کیا مری بے طلب ریاضت – مجاہدت کا یہی صلہ ہے
مجھے گلہ ہے
۳
خدائے تنّور و آبِ سادہ ، مجھے گلہ ہے
مجھے تری بندگی كے صدقے میں کیا ملا ہے
کہاں ہے وہ تیرا دستِ فیّاض
جس كے جوُد و سخا كے قصے
سنہرے حرفوں میں ہر صحیفے كے
حاشیے بن كے رہ گئے ہیں
۴
کہاں ہیں وہ تیری جنّتیں جن کی داستانیں
بڑے تکلّف سے عرش سے فرش پر اُتاریں
کہاں ہیں وہ تیرے شیر و شہد و شکر كے بے اِنتہا ذخیرے
كہ جن کی کاذب جھلک سے تو نے
گُرسنہ مخلوق کو ازل سے غلام رکھا
کہاں ہیں اُن واہمی کھلونوں كے
اونچے بازار کس طرف ہیں
۵
میں اِن رِوایات کی حقیقت سے با خبر ہوں
یہ سب وہ رنگین دام تھے جن كے بل پہ تو نے
زمیں پہ بغض و عناد و ظلم و فساد و حِرص و ہوس كے ایسے دھویں اُڑائے
كہ نسلِ آدم کروڑ فرقوں میں بٹ گئی ہے
یہ وَحْدَہٗ لاشریک دُنیا ہزار خِطّوں میں کٹ گئی ہے
۶
اگر چہ روزِ الست سے لے كے اب تلک
بےشمار صدیوں كے فاصلے ہیں
مگر یہ تاریخ کی کہن سال راہبہ، جو
ترے کلیساؤں ، بتکدوں ، حرم سراؤں كے مجرمانہ
رُموز سے آشنا رہی ہے
ہر اک خرابے کی خاک اڑانے كے بَعْد آئی
تو کہہ رہی ہے
۷
“سُنو نشیبوں كے باسیو!
یہ جہاں تمہارا ہے
یہ زمیں یہ فلک یہ خورشید و ماہ و انجم فقط تمہارے ہیں
دوسرا ماسوا تمہارے کوئی نہیں ہے
خدا و بندہ کی تلخ تفریق بے حقیقت ہے بے سبب ہے
اُلوہیت کا وجود تم میں سے ہی کسی خود فریب انساں کا واہمہ تھا
یہ واہما اِس قدر بڑھا پِھر
كہ رفتہ رفتہ تمام کونین کا خداوند بن گیا
۸
اور اِس خداوند
اِس تصوّر كے آسرے پر
تمہارے کچھ ہم نفس رفیقوں نے
تم کو محکوم و پا بہ زنجیر کر دیا ہے
یہی وہ پہلا گناہ پہلا فریب پہلا فسوں ہے جس نے
مزاجِ انساں کو غاصبانہ شعور بخشا”
۹
اگر یہ سچ ہے!
اگر یہ سچ ہے، خدائے تنّور و آبِ سادہ
تو یہ من و تو کی پست و بالا فصیل مسمار کیوں نہ کر دوں
كہ ان مراتب کی کشمکش سے ہی
آج میں اور میرے ہم جِنس
اِس طرح ایک دوسرے كے غنیم ہیں
۱۰
جس طرح زمستاں کی برف باری كے بَعد گُرگانِ گُرسنہ
بھوک کی شقاوت سے تنگ آ کر
اس اک لمحے كے منتظر ہیں
جب ان کا کوئی نحیف ساتھی
غنودگی کا شکار ہو
اور سب كے سب اس پہ ٹوٹ کر چیر پھاڑ ڈالیں
۱۱
كہ اِس شکم کی مہیب دوزخ سے بڑھ كے
کوئی نہیں جہنم
نہ اِس جہاں میں
نہ اُس جہاں میں
मंसूर – अहमद फ़राज़
१
वो क्या ख़ता थी?
के जिस की पादाश में अभी तक
मैं क़र्न हा क़र्न से शिकार-ए उबूदियत
तौक़ दर गुलू … पा बा गिल रहा हुं
वो जुर्म क्या था?
२
के ज़िंदगी भर तो मैं
तेरे आस्तां पे सिज्दों की नज़र गुज़रानता रहा हुं
और इस का सम्रा मिले
तो बस कासा-ए गदाई – अज़ाब-ए आलम
तो क्या मेरी बे तलब रियाज़त – मुजाहिदत का यही सिला है
मुझे गिला है
३
ख़ुदा-ए तन्नूर ओ आब-ए सादा, मुझे गिला है
मुझे तेरी बंदगी के सदक़े में क्या मिला है
कहां है वो तेरा दस्त-ए फ़य्याज़
जिस के जूद ओ सख़ा के क़िस्से
सुनहरे हरफ़ों में हर सहीफ़े के
हाशिए बन के रह गये हैं
४
कहां हैं वो तेरी जन्नतें जिन की दास्तानें
बड़े तकल्लुफ़ से अर्श से फ़र्श पर उतारें
कहां हैं वो तेरे शीर ओ शहद ओ शकर के बे-इंतेहा ज़ख़ीरे
के जिन की काज़िब झलक से तू ने
गुरस्ना मख़्लूक़ को अज़ल से ग़ुलाम रक्खा
कहां हैं उन वाहमी खिलोनौं के
ऊंचे बाज़ार किस तरफ़ हैं
५
मैं इन रिवायात की हक़ीक़त से बा-ख़बर हुं
ये सब वो रंगीन दाम थे जिन के बल पे तू ने
ज़मीं पे बोग़ज़ ओ अनाद ओ ज़ुल्म ओ फ़साद ओ हिर्स ओ हवस के ऐसे धुएं उड़ाए
के नस्ल-ए आदम करोड़ फ़िर्क़ों में बट गई है
ये वहदा-ए ला-शिर्क एक दुनिया हज़ार ख़ित्तों में कट गई है
६
अगरचे रोज़-ए अलस्त से ले के अब तलक
बे-शुमार सदियौं के फ़ासले हैं
मगर ये तारीख़ की कुहन साल राहिबा जो
तेरे कलीसाउं, बुत्कदौं , हरम्सराउं के मुजरिमाना
रुमूज़ से आशना रही है
हर एक ख़राबे की ख़ाक उड़ाने के बाद आई
तो कह रही है
७
“सुनो नशेबौं के बासियो!
ये जहां तुम्हारा है
ये ज़मीं ये फ़लक ये ख़ुर्शीद ओ माह ओ अंजुम फ़क़त तुम्हारे हैं
दूसरा मासिवा तुम्हारे कोइ नहीं है
ख़ुदा ओ बंदा की तल्ख़ तफ़्रीक़ बे-हक़ीक़त है बे-सबब है
उलूहियत का वुजूद तुम में से ही किसी ख़ुद फ़रेब इन्सां का वाहिमा था
ये वाहिमा इस क़दर बढ़ा फिर
के रफ़्ता रफ़्ता तमाम कौनैन का ख़ुदावन्द बन गया
८
और इस ख़ुदावन्द
इस तसव्वुर के आसरे पर
तुम्हारे कुछ हम-नफ़स रफ़ीक़ों ने
तुम को महकूम ओ पा-बा-ज़ंजीर कर दिया है
यही वो पहला गुनाह पहला फ़रेब पहला फ़ुसूँ है जिस ने
मिज़ाज-ए इन्सां को ग़ासिबाना शऊर बख़्शा”
९
अगर ये सच है!
अगर ये सच है, ख़ुदा-ए तन्नूर ओ आब-ए सादा
तो ये मन ओ तू की पस्त ओ बाला फ़सील मिस्मार क्यूं ना कर दूं
के इन मरातिब की कशमकश से ही
आज मैं और मेरे हम जिन्स
इस तरह एक दूसरे के ग़नीम हैं
१०
के जिस तरह ज़मिस्तां कि बर्फ़बारी के बाद गुरगान-ए गुरस्ना
भूक की शक़ावत से तंग आ कर
उस एक लम्हे के मुंतज़िर हैं
जब इन का कोइ नाहीफ़ साथी
ग़ुनूदगी का शिकार हो
और सब के सब उस पे टूट कर चीर फाड़ डालें
११
के इस शिकम की मोहीब दोज़ख़ से बढ़ के
कोइ नहीं जहन्नुम
न इस जहां में
न उस जहां में
Click here for background and on any passage for word meanings and explanatory discussion. ahmad faraz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes. The title of the nazm “mansuur” is taken from the name of mansuur al-hallaj (858-922) mystic sufi philosopher who was charged with heresy and sentenced to death. The poet implies that he too is committing heresy, questioning the concept of “original sin”. It is highly irreverent and borders on the declaration of atheism. It could also be an indictment of the ruling class rather than of the concept of divinity.
1
vo kya Khata1 thi?
keh jis ki paadaash2 meN abhi tak
maiN qarn-ha3 qarn se shikaar4-e uboodiyat5
tauq6 dar-guloo7, paa-ba-gil8 raha huN
vo jurm9 kya tha? 1.transgression, sin 2.retribution, retaliation 3.millenia and millenia 4.victim, prey 5.slavery, worship 6.shackles, chain 7.on/around neck 8.feet in clay i.e. immobilized, chained 9.crime
What was the sin in retribution of which I have spent millenium after millenium as a prey of slavish worship. It is as if I have shackles around my neck and fetters on my feet. What was that crime?
2
keh zindagi bhar to maiN
tere aastaaN1 pe sijdauN2 ki nazr3 guzraanta4 raha huN
aur is ka samra5 miley
to bas6 kaasa7-e gadaaii8 – azaab9-e aalam10to kya meri be-talab11 riyaazat12 – mujahidat13 ka yahi sila14 hai
mujhe gila15 hai 1.threshold, door 2.prostration 3.devotional offering 4.submitting, offering 5.fruit, harvest 6.only 7.bowl of 8.begging 9.torture 10.world 11.unselfish 12.penance 13.struggle 14.compensation 15.complaint, gripe
All my life I have made devotional offerings of prostration at your door and its harvest this – only a begging bowl and all the calamities of this world. So, is this the only compensation of my unselfish penance. I have a gripe. By “devotional offerings” the poet could well mean the offerings of his compositions.
3
Khuda-e tannoor1 o aab-e saada2, mujhe gila hai
mujhe teri bandagi3 ke sadqe4 meN kya mila hai
kahaaN hai vo tera dast5-e fayyaaz6jis ke jood7 o saKhaa8 ke qisse
sunehre harfauN9 meN har saheefe10 ke
haashiye11 ban ke rah gaye haiN 1.oven, fire 2.plain/pure water 3.worship 4.charity 5.hand of 6.benevolence 7.generosity 8.open-heartedness 9.golden letters 10.scripture 11.margins, footnotes
O god of fire and water, I have a gripe. What have I received as charity/grant from slavish worship. Where is your generous hand whose stories of plentiful giving are now mere footnotes written in golden letters in all scriptures.
4
kahaaN haiN vo teri jannateN jin ki daastaaneN1baRe takalluf2 se arsh3 se farsh4 par utaareN
kahaaN haiN vo tere shiir5 o shahd6 o shakar ke be-inteha7 zaKheere8keh jin ki kaazib9 jhalak se tu ne
gurasna10 maKhlooq11 ko azal12 se Ghulaam rakkha
kahaaN haiN un vaahami13 khilonauN ke
ooNche bazaar kis taraf haiN 1.fables 2.ceremony 3.sky, heaven 4.floor, earth 5.sweetness 6.honey 7.limitless 8.stock, treasure 9.false, illusionary 10.hungry 11.creation 12.eternity 13.superstitious, imaginery
Where are your heavens, whose fables, with great ceremony, descended from heavens to the earth. Where are your limitless treasures of sugar, sweets and honey, mere glimpses of the illusion of which, have enslaved the hungry multitude from the very beginning. Where are your imaginary toys, where are your plentiful bazaars.
5
maiN in rivaayaat1 ki haqeeqat2 se ba-Khabar3 huN
ye sub vo raNgeen daam4 the jin ke bal pe tu ne
zamiN pe boGhz5 o anaad6 o zulm7 o fasaad8 o hirs9 o havas10 ke aise dhueN uRaaye
keh nasl12-e aadam13 karoR firqauN14 meN buT15 gayee hai
ye vahda16-e la-shirk17 ek duniya hazaar KhittauN18 meN kaT gaii hai 1.traditions, stories 2.truth, reality 3.fully aware 4.trap, net 5.enmity 6.strife 7.oppression 8.conspiracy 9.greed 10.lust 12.progeny 13.Adam 14.sects, communities 15.divided 16.single unit, undivided 17.without admixture 18.regions
I am fully aware of the “reality” of these traditions. These are all colourful traps using which you have created enmity and strife, oppression and conspiracy, greed and lust on earth. The progeny of Adam is divided into a million sects. This unique and indivisible earth is cut up into a thousand regions.
6
agarche1 roz-e alast2 se le ke ab talak
be-shumaar3 sadiyauN4 ke faasle5 haiN
magar ye tareeKh6 ki kuhan-saal7 raahiba8 jo
tere kaleesaauN9, butkadauN10, haramsaraauN11 ke mujrimaana12rumooz13 se aashna14 rahi hai
har ek Kharaabe15 ki Khaak uRaane ke baad aayi
to kah rahi hai 1.even though 2.literally, “am I not”. It is written that at the time of creation of humanity god asked “am I not your lord” … thus it is used here to imply “the day of creation” 3.innumerable 4.centuries 5.distances 6.history 7.ancient, of many years 8.monk, ascetic 9.churches 10.temples 11.mosques 12.criminal 13.secrets 14.knowledgeable of 15.calamity, wreck
Even though there is a distance of many centuries between now and the day of creation, but this secretive monk, History, who knows all the criminal secrets of your churches, temples and mosques, visits us after every calamity and speaks to us thus …
7
suno nashebauN1 ke baasiyo!
ye jahaaN tumhaara hai
ye zamiN ye falak2 ye Khurshid3 o maah4 o anjum5 faqat6 tumhaare haiN
doosra maasiva7 tumhaare koii nahiN hai
Khuda o banda8 ki talKh9 tafreeq10 be-haqeeqat11 hai be-sabab12 hai
uloohiyat13 ka vujood14 tum meN se hi kisi Khud-fareb15 insaaN ka vaahima16 tha
ye vaahima is qadar17 baRha phir
keh rafta-rafta18 tamaam kaunain19 ka Khudavand20 ban gaya 1.lowlands, earth 2.sky 3.sun 4.moon 5.stars 6.only 7.except for 8.servant, creature 9.hard, hard and fast 10.differentiation 11.without reality 12.without basis 13.divinity, theism 14.existence 15.self-deceiving, deluded 16.illusion, superstition 17.so much 18.gradually 19.both worlds – here and hereafter 20.god
O denizens of this earth, the earth, the sky, the sun, the moon and the stars are yours and only yours. This hard and fast differentiation between god and his creation is without a basis in reality. The existence of god is an illusion/fabrication of some deluded person among you. This delusion gathered so much strength that gradually it became the god of the here and hereafter.
8
aur is Khudavand
is tasavvur1 ke aasre2 par
tumhaare kuchh hum-nafas3 rafeeqauN4 ne
tum ko mahkoom5 o pa-ba-zanjiir6 kar diya hai
yahi vo pahla gunaah pahla fareb7 pahla fusuN8 hai jis ne
mizaaj9-e insaaN ko Ghasibaana10 sha’oor11 baKhsha 1.concept 2.based on, depending on 3.same breath, same kind 4.friends 5.subservient 6.chains around feet – shackled and manacled 7.deception 8.illusion 9.temperament 10.of the usurper 11.consciousness, ability
And based on this concept of theism, some of your own kind, your friends have enslaved you, shackled and chained you. This (the concept of theism) is the original sin, the first illusion that gave the nature of man the ability to become a usurper. Recall that the nazm started with the question “what is my sin” … and this is the answer – your sin is believing in the illusion of god.
9
agar ye such hai!
agar ye such hai, Khuda-e tannoor1 o aab-e saada2to ye man-o-tu3 ki past4 o baala5 faseel6 mismaar7 kyuN na kar duN
keh in maraatib8 ki kashmakash9 se hi
aaj maiN aur mere hum-jins10is tarah ek doosre ke Ghaneem11 haiN 1.oven, fire 2.plain/pure water 3.me and you 4.low/vile/evil 5.high 6.boundary 7.demolish 8.ranks 9.struggle 10.my kindred 11.enemies
If this is true, if this is true, O god of fire and water, then why should I not demolish this tall evil boundary between you and me. (These passages are somewhat confusing. Removing the boundary between you and me is usually used as a sufi concept of union between god and man, lover and beloved. But ahmad faraz was no sufi and there is not much of a sufi trend in the poem. It is much more a declaration of rebellion). Because, in the struggle of the affairs (of this world) me and my kindred have become enemies of each other like …
10
keh jis tarah zamistaaN1 ki barfbaari ke baad gurgaan2-e gurasna3bhook ki shaqaavat4 se taNg aa kar
us ek lamhe5 ke muntazir6 haiN
jab in ka koii naheef7 saathi
Ghunoodagi8 ka shikaar9 ho
aur sub ke sub us pe TooT kar chiir phaaR DaaleN 1.winterland 2.wolves, hyenas 3.hungry, starving 4.misery 5.moment 6.waiting for 7.weak, feeble 8.drowsiness 9.victim of
… as if, after a snowfall in winterland, a starving pack of wolves, miserable with the pain of hunger, is waiting for that one moment when one of their own enfeebled by hunger, doses off, and the rest of them can attack him and tear him up.
11
keh is shikam1 ki moheeb2 dozaKh3 se baRh ke
koii nahiN jahannum4na is jahaaN meN
na us jahaaN meN 1.stomach, belly 2.menacing, overpowering 3.hell 4.hell
Because, worse than the menacing hell of this belly, there is no other hell. Neither in this world, nor in the next.
ahmad faraz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes. The title of the nazm “mansur” is taken from the name of mansur al-hallaj (858-922) mystic sufi philosopher who was charged with heresy and sentenced to death. The poet implies that he too is committing heresy, questioning the concept of “original sin”. It is highly irreverent and borders on the declaration of atheism. It could also be an indictment of the ruling class rather than of the concept of divinity.
1
vo kya Khata1 thi?
keh jis ki paadaash2 meN abhi tak
maiN qarn-ha3 qarn se shikaar4-e uboodiyat5
tauq6 dar-guloo7, paa-ba-gil8 raha huN
vo jurm9 kya tha?
1.transgression, sin 2.retribution, retaliation 3.millenia and millenia 4.victim, prey 5.slavery, worship 6.shackles, chain 7.on/around neck 8.feet in clay i.e. immobilized, chained 9.crime
What was the sin in retribution of which I have spent millenium after millenium as a prey of slavish worship. It is as if I have shackles around my neck and fetters on my feet. What was that crime?
2
keh zindagi bhar to maiN
tere aastaaN1 pe sijdauN2 ki nazr3 guzraanta4 raha huN
aur is ka samra5 miley
to bas6 kaasa7-e gadaaii8 – azaab9-e aalam10to kya meri be-talab11 riyaazat12 – mujahidat13 ka yahi sila14 hai
mujhe gila15 hai
1.threshold, door 2.prostration 3.devotional offering 4.submitting, offering 5.fruit, harvest 6.only 7.bowl of 8.begging 9.torture 10.world 11.unselfish 12.penance 13.struggle 14.compensation 15.complaint, gripe
All my life I have made devotional offerings of prostration at your door and its harvest this – only a begging bowl and all the calamities of this world. So, is this the only compensation of my unselfish penance. I have a gripe. By “devotional offerings” the poet could well mean the offerings of his compositions.
3
Khuda-e tannoor1 o aab-e saada2, mujhe gila hai
mujhe teri bandagi3 ke sadqe4 meN kya mila hai
kahaaN hai vo tera dast5-e fayyaaz6jis ke jood7 o saKhaa8 ke qisse
sunehre harfauN9 meN har saheefe10 ke
haashiye11 ban ke rah gaye haiN
1.oven, fire 2.plain/pure water 3.worship 4.charity 5.hand of 6.benevolence 7.generosity 8.open-heartedness 9.golden letters 10.scripture 11.margins, footnotes
O god of fire and water, I have a gripe. What have I received as charity/grant from slavish worship. Where is your generous hand whose stories of plentiful giving are now mere footnotes written in golden letters in all scriptures.
4
kahaaN haiN vo teri jannateN jin ki daastaaneN1baRe takalluf2 se arsh3 se farsh4 par utaareN
kahaaN haiN vo tere shiir5 o shahd6 o shakar ke be-inteha7 zaKheere8keh jin ki kaazib9 jhalak se tu ne
gurasna10 maKhlooq11 ko azal12 se Ghulaam rakkha
kahaaN haiN un vaahami13 khilonauN ke
ooNche bazaar kis taraf haiN
1.fables 2.ceremony 3.sky, heaven 4.floor, earth 5.sweetness 6.honey 7.limitless 8.stock, treasure 9.false, illusionary 10.hungry 11.creation 12.eternity 13.superstitious, imaginery
Where are your heavens, whose fables, with great ceremony, descended from heavens to the earth. Where are your limitless treasures of sugar, sweets and honey, mere glimpses of the illusion of which, have enslaved the hungry multitude from the very beginning. Where are your imaginary toys, where are your plentiful bazaars.
5
maiN in rivaayaat1 ki haqeeqat2 se ba-Khabar3 huN
ye sub vo raNgeen daam4 the jin ke bal pe tu ne
zamiN pe boGhz5 o anaad6 o zulm7 o fasaad8 o hirs9 o havas10 ke aise dhueN uRaaye
keh nasl12-e aadam13 karoR firqauN14 meN buT15 gayee hai
ye vahda16-e la-shirk17 ek duniya hazaar KhittauN18 meN kaT gaii hai
1.traditions, stories 2.truth, reality 3.fully aware 4.trap, net 5.enmity 6.strife 7.oppression 8.conspiracy 9.greed 10.lust 12.progeny 13.Adam 14.sects, communities 15.divided 16.single unit, undivided 17.without admixture 18.regions
I am fully aware of the “reality” of these traditions. These are all colourful traps using which you have created enmity and strife, oppression and conspiracy, greed and lust on earth. The progeny of Adam is divided into a million sects. This unique and indivisible earth is cut up into a thousand regions.
6
agarche1 roz-e alast2 se le ke ab talak
be-shumaar3 sadiyauN4 ke faasle5 haiN
magar ye tareeKh6 ki kuhan-saal7 raahiba8 jo
tere kaleesaauN9, butkadauN10, haramsaraauN11 ke mujrimaana12rumooz13 se aashna14 rahi hai
har ek Kharaabe15 ki Khaak uRaane ke baad aayi
to kah rahi hai
1.even though 2.literally, “am I not”. It is written that at the time of creation of humanity god asked “am I not your lord” … thus it is used here to imply “the day of creation” 3.innumerable 4.centuries 5.distances 6.history 7.ancient, of many years 8.monk, ascetic 9.churches 10.temples 11.mosques 12.criminal 13.secrets 14.knowledgeable of 15.calamity, wreck
Even though there is a distance of many centuries between now and the day of creation, but this secretive monk, History, who knows all the criminal secrets of your churches, temples and mosques, visits us after every calamity and speaks to us thus …
7
suno nashebauN1 ke baasiyo!
ye jahaaN tumhaara hai
ye zamiN ye falak2 ye Khurshid3 o maah4 o anjum5 faqat6 tumhaare haiN
doosra maasiva7 tumhaare koii nahiN hai
Khuda o banda8 ki talKh9 tafreeq10 be-haqeeqat11 hai be-sabab12 hai
uloohiyat13 ka vujood14 tum meN se hi kisi Khud-fareb15 insaaN ka vaahima16 tha
ye vaahima is qadar17 baRha phir
keh rafta-rafta18 tamaam kaunain19 ka Khudavand20 ban gaya
1.lowlands, earth 2.sky 3.sun 4.moon 5.stars 6.only 7.except for 8.servant, creature 9.hard, hard and fast 10.differentiation 11.without reality 12.without basis 13.divinity, theism 14.existence 15.self-deceiving, deluded 16.illusion, superstition 17.so much 18.gradually 19.both worlds – here and hereafter 20.god
O denizens of this earth, the earth, the sky, the sun, the moon and the stars are yours and only yours. This hard and fast differentiation between god and his creation is without a basis in reality. The existence of god is an illusion/fabrication of some deluded person among you. This delusion gathered so much strength that gradually it became the god of the here and hereafter.
8
aur is Khudavand
is tasavvur1 ke aasre2 par
tumhaare kuchh hum-nafas3 rafeeqauN4 ne
tum ko mahkoom5 o pa-ba-zanjiir6 kar diya hai
yahi vo pahla gunaah pahla fareb7 pahla fusuN8 hai jis ne
mizaaj9-e insaaN ko Ghasibaana10 sha’oor11 baKhsha
1.concept 2.based on, depending on 3.same breath, same kind 4.friends 5.subservient 6.chains around feet – shackled and manacled 7.deception 8.illusion 9.temperament 10.of the usurper 11.consciousness, ability
And based on this concept of theism, some of your own kind, your friends have enslaved you, shackled and chained you. This (the concept of theism) is the original sin, the first illusion that gave the nature of man the ability to become a usurper. Recall that the nazm started with the question “what is my sin” … and this is the answer – your sin is believing in the illusion of god.
9
agar ye such hai!
agar ye such hai, Khuda-e tannoor1 o aab-e saada2to ye man-o-tu3 ki past4 o baala5 faseel6 mismaar7 kyuN na kar duN
keh in maraatib8 ki kashmakash9 se hi
aaj maiN aur mere hum-jins10is tarah ek doosre ke Ghaneem11 haiN
1.oven, fire 2.plain/pure water 3.me and you 4.low/vile/evil 5.high 6.boundary 7.demolish 8.ranks 9.struggle 10.my kindred 11.enemies
If this is true, if this is true, O god of fire and water, then why should I not demolish this tall evil boundary between you and me. (These passages are somewhat confusing. Removing the boundary between you and me is usually used as a sufi concept of union between god and man, lover and beloved. But ahmad faraz was no sufi and there is not much of a sufi trend in the poem. It is much more a declaration of rebellion). Because, in the struggle of the affairs (of this world) me and my kindred have become enemies of each other like …
10
keh jis tarah zamistaaN1 ki barfbaari ke baad gurgaan2-e gurasna3bhook ki shaqaavat4 se taNg aa kar
us ek lamhe5 ke muntazir6 haiN
jab in ka koii naheef7 saathi
Ghunoodagi8 ka shikaar9 ho
aur sub ke sub us pe TooT kar chiir phaaR DaaleN
1.winterland 2.wolves, hyenas 3.hungry, starving 4.misery 5.moment 6.waiting for 7.weak, feeble 8.drowsiness 9.victim of
… as if, after a snowfall in winterland, a starving pack of wolves, miserable with the pain of hunger, is waiting for that one moment when one of their own enfeebled by hunger, doses off, and the rest of them can attack him and tear him up.
11
keh is shikam1 ki moheeb2 dozaKh3 se baRh ke
koii nahiN jahannum4na is jahaaN meN
na us jahaaN meN
1.stomach, belly 2.menacing, overpowering 3.hell 4.hell
Because, worse than the menacing hell of this belly, there is no other hell. Neither in this world, nor in the next.
The post mansuur-ahmad faraz appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/01/bshz-Ghamze-ke-qurbaaN-ho-gaiiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
غمزہ کے قرباں ہو گئیں ۔ بہادر شاہ ظفرؔ
۱
جس سے چار آنکھیں تری اے آفتِ جاں ہو گئیں
تیر سی اُس کے جگر کے پار مژگاں ہو گئیں
۲
ایک میری جان ہے کیا ایسی تو جانیں سیکڑوں
ناز کے صدقے ترے غمزہ کے قرباں ہو گئیں
۳
گر جو پیٹن بھی لکھیں دستِ حنائی سے ترے
ہم خطاوارؤں کو وہ پھولوں کی چھڑیاں ہو گئیں
۴
تیز تھی پہلے بھی تلواریں نگاہوں کی ترے
سنگِ سرمہ سے زیادہ اور برّاں ہو گئیں
۵
اُن کے رونے نے ڈبویا آشنائی میں مجھے
میری آنکھیں میرے حق میں قہرِ طوفاں ہو گئیں
۶
شہر سے شائد گیا دیوانہ صحرا کو نکل
شور لڑکوں کا نہیں، سُونی ہیں گلیاں ہو گئیں
۷
واہ اِس صورت کدہ میں دیکھتے ہی دیکھتے
صورتیں کیا کیا نظر سے اپنی پنہاں ہو گئیں
۸
روئے اس دستِ نگاریں کے تصوّر میں جو ہم
اشکِ خوں سے اپنی پلکیں شاخِ مرجاں ہو گئیں
۹
اے ظفرؔ دل کی پریشانی کا ہے میرے اثر
یہ جو اُس کافر کی زلفیں ہیں پریشاں ہو گئیں
ग़म्ज़े के क़ुर्बां हो गईं – बहादुर शाह ज़फ़र
१
जिस से चार आंखें तेरी अए आफ़त-ए जां हो गईं
तीर सी उस के जिगर के पार मिज़्श्गां हो गईं
२
एक मेरी जान है क्या, ऐसी तो जानें सैंक्ढौं
नाज़ के सद्क़े तेरे ग़म्ज़े के क़ुर्बां हो गईं
३
गर जो पीटन भी लिखें दस्त-ए हिनाई से तेरे
हम ख़तावारौं को वो फूलौं कि छढियां हो गईं
४
तेज़ थी पहले भी तल्वारें निगाहौं की तेरे
संग-ए सुर्मा से ज़ियादा और बुर्रां हो गईं
५
उन के रोने ने डुबोया आश्नाई में मुझे
मेरी आंखें मेरे हक़ में क़हर-ए तूफ़ां हो गईं
६
शहर से शा’एद गया दीवाना सहरा को निकल
शोर लढकौं का नहीं, सूनी हैं गलियां हो गईं
७
वाह इस सूरत कदे में देखते हि देखते
सूरतें क्या क्या नज़र से अपनी पिन्हां हो गईं
८
रोए इस दस्त-ए निगारीं के तसव्वुर में जो हम
अश्क-ए ख़ूं से अपनी पल्कें शाख़-ए मर्जां हो गईं
९
अए ज़फ़र दिल की परेशानी का है मेरे असर
ये जो उस काफ़िर की ज़ुल्फ़ें हैं परेशां हो गईं
Click here for background and on any passage for word meanings and explanatory discussion. bahaadur shaah zafar (1775-1862) became titular/nominal emperor of India in 1837. He was a scholar of faarsi and arabi and started composing at an early age. zauq and after zauq’s death in 1854, Ghalib became his ustaad. zafar used to hold frequent mushaa’era in the Red Fort. This Ghazal, in the same style of Ghalib’s “Khaak meN kya suurateN hoNgi keh pinhaaN ho gaiiN”, dated by kalidas gupta raza, 1852. I have no way to date zafar’s Ghazal and am not sure if there was any influence/connection. This Ghazal is linked to ‘Ghalib peshrau ham asr’.
1
jis se chaar aaNkehN1 teri aye aafat-e-jaaN2 ho gaiiN
tiir si3 us ke jigar4 ke paar mizshgaaN5 ho gaiiN 1.aaNkheN chaar hona, an expression that means catching a glimpse and looking at each other 2.pain of life, characterization of the beloved 3.like, similar to 4.liver/heart 5.eyelashes
The beloved’s eyelashes are like arrows and pierce the poet/lover’s heart through and through when their eyes meet.
2
ek meri jaan hai kya, aisi to jaaneN saiNkRoN
naaz1 ke sadqe2 tere, Ghamze3 ke qurbaaN4 ho gaiiN 1.coquetry, teasing 2.devotional offering 3.sidelong glance, wink 4.sacrificial offering
Why talk about my one life, there are millions of lives like mine which offered in devotion to the beloved’s coquetry and are sacrificed for one sidlong glance.
3
gar1 jo piiTaN2 bhi likheN dast3-e hinaaii4 se tere
ham KhataavaaroN5 ko vo phooloN ki chhaRiyaaN ho gaiiN 1.if 2.caning, blows 3.hand of 4.hennaed 5.sinners, transgressors
Even if they are sentenced to caning, but the orders are written out by the beloved’s hennaed hand, then for the transgressors, canes become like flower laden branches.
4
tez1 thii pahle bhi talvaareN nigaahoN2 ki tere
saNg3-e surma4 se ziyaada aur burraaN5 ho gaiiN 1.sharp 2.eyes, glances 3.stone 4.collyrium, eye shadow 5.sharp
Swords are sharpened on whetstone. The beloveds glances are already like sharp swords, but when collyrium/eye shadow is used to grind them, they become even more sharp.
5
un ke rone ne Duboyaa aashnaaii1 meN mujhe
meri aaNkheN mere haq2 meN qahr3-e toofaaN4 ho gaiiN 1.friendship, intimacy 2.rights, deserving of 3.calamity 4.storm
The “un” in the first misra refers to the eyes. The eyes of the poet/lover wept profusely and the flood of tears drowned him in intimacy (with sorrow). For him, his eyes became a calamitous storm
6
shahr1 se shaa’ed2 gaya diivaana sahra3 ko nikal4
shor5 laRkoN ka nahiN, suuni6 haiN galiyaaN ho gaiiN 1.town 2.perhaps 3.desert 4.nikal gaya is an expression meaning got away 5.noise 6.desolate, quiet
Street urchins, young boys would tease and stone majnuN, the mad/passionate lover, when he roamed the streets of the town. But it now seems like the poet cannot hear any such noise from the streets. The streets have fallen silent. Perhaps the mad/passionate lover has escaped from the town and gone away to the desert (just the mad majnuN had done in search of laila).
7
vaah is suurat-kade1 meN dekhte hi dekhte2
suurateN kya kya nazar3 se apni pinhaaN4 ho gaiiN 1.house of faces 2.in a short time 3.sight, eyes 4.hidden, disappeared
In just a short time, in this house of faces (the world), how many faces have disappeared from our eyes. Said Ghalib …
sab kahaaN kuchh laalah-o-gul meN numaayaaN ho gaiiN
Khaak meN kyaa suurateN hoNgii kih pinhaaN ho gaiiN
8
roye is dast-e-nigaariiN1 ke tasavvur2 meN jo ham
ashk3-e KhuuN se apni palkeN4 shaaKh-e-marjaaN5 ho gaiiN 1.embellished decorated hand 2.imagination, memory 3.tears 4.eyelids, eyelashes 5.coral branch
The poet/lover remembers the hennaed hand of the beloved and cries tears of blood. The blood congealing on his eyelids/eyelashes looks coral.
9
aye zafar1 dil ki pareshaani2 ka hai mere asar3
ye jo us kaafir4 ki zulfeN5 haiN pareshaaN6 ho gaiiN 1.pen-name of the poet 2.distress 3.effect 4.infidel, rebel, beloved 5.hair 6.untied, spread out
O zafar, it the effect of my distressed heart that the hair of that mischievous beloved are untied/unovered and spread out (conventionally untied and uncovered hair are a sign of distress).
bahaadur shaah zafar (1775-1862) became titular/nominal emperor of India in 1837. He was a scholar of faarsi and arabi and started composing at an early age. zauq and after zauq’s death in 1854, Ghalib became his ustaad. zafar used to hold frequent mushaa’era in the Red Fort. This Ghazal, in the same style of Ghalib’s “Khaak meN kya suurateN hoNgi keh pinhaaN ho gaiiN”, dated by kalidas gupta raza, 1852. I have no way to date zafar’s Ghazal and am not sure if there was any influence/connection. This Ghazal is linked to ‘Ghalib peshrau ham asr’.
1
jis se chaar aaNkehN1 teri aye aafat-e-jaaN2 ho gaiiN
tiir si3 us ke jigar4 ke paar mizshgaaN5 ho gaiiN
1.aaNkheN chaar hona, an expression that means catching a glimpse and looking at each other 2.pain of life, characterization of the beloved 3.like, similar to 4.liver/heart 5.eyelashes
The beloved’s eyelashes are like arrows and pierce the poet/lover’s heart through and through when their eyes meet.
2
ek meri jaan hai kya, aisi to jaaneN saiNkRoN
naaz1 ke sadqe2 tere, Ghamze3 ke qurbaaN4 ho gaiiN
1.coquetry, teasing 2.devotional offering 3.sidelong glance, wink 4.sacrificial offering
Why talk about my one life, there are millions of lives like mine which offered in devotion to the beloved’s coquetry and are sacrificed for one sidlong glance.
3
gar1 jo piiTaN2 bhi likheN dast3-e hinaaii4 se tere
ham KhataavaaroN5 ko vo phooloN ki chhaRiyaaN ho gaiiN
1.if 2.caning, blows 3.hand of 4.hennaed 5.sinners, transgressors
Even if they are sentenced to caning, but the orders are written out by the beloved’s hennaed hand, then for the transgressors, canes become like flower laden branches.
4
tez1 thii pahle bhi talvaareN nigaahoN2 ki tere
saNg3-e surma4 se ziyaada aur burraaN5 ho gaiiN
1.sharp 2.eyes, glances 3.stone 4.collyrium, eye shadow 5.sharp
Swords are sharpened on whetstone. The beloveds glances are already like sharp swords, but when collyrium/eye shadow is used to grind them, they become even more sharp.
5
un ke rone ne Duboyaa aashnaaii1 meN mujhe
meri aaNkheN mere haq2 meN qahr3-e toofaaN4 ho gaiiN
1.friendship, intimacy 2.rights, deserving of 3.calamity 4.storm
The “un” in the first misra refers to the eyes. The eyes of the poet/lover wept profusely and the flood of tears drowned him in intimacy (with sorrow). For him, his eyes became a calamitous storm
6
shahr1 se shaa’ed2 gaya diivaana sahra3 ko nikal4
shor5 laRkoN ka nahiN, suuni6 haiN galiyaaN ho gaiiN
1.town 2.perhaps 3.desert 4.nikal gaya is an expression meaning got away 5.noise 6.desolate, quiet
Street urchins, young boys would tease and stone majnuN, the mad/passionate lover, when he roamed the streets of the town. But it now seems like the poet cannot hear any such noise from the streets. The streets have fallen silent. Perhaps the mad/passionate lover has escaped from the town and gone away to the desert (just the mad majnuN had done in search of laila).
7
vaah is suurat-kade1 meN dekhte hi dekhte2
suurateN kya kya nazar3 se apni pinhaaN4 ho gaiiN
1.house of faces 2.in a short time 3.sight, eyes 4.hidden, disappeared
In just a short time, in this house of faces (the world), how many faces have disappeared from our eyes. Said Ghalib …
sab kahaaN kuchh laalah-o-gul meN numaayaaN ho gaiiN
Khaak meN kyaa suurateN hoNgii kih pinhaaN ho gaiiN
8
roye is dast-e-nigaariiN1 ke tasavvur2 meN jo ham
ashk3-e KhuuN se apni palkeN4 shaaKh-e-marjaaN5 ho gaiiN
1.embellished decorated hand 2.imagination, memory 3.tears 4.eyelids, eyelashes 5.coral branch
The poet/lover remembers the hennaed hand of the beloved and cries tears of blood. The blood congealing on his eyelids/eyelashes looks coral.
9
aye zafar1 dil ki pareshaani2 ka hai mere asar3
ye jo us kaafir4 ki zulfeN5 haiN pareshaaN6 ho gaiiN
1.pen-name of the poet 2.distress 3.effect 4.infidel, rebel, beloved 5.hair 6.untied, spread out
O zafar, it the effect of my distressed heart that the hair of that mischievous beloved are untied/unovered and spread out (conventionally untied and uncovered hair are a sign of distress).
The post Ghamze ke qurbaaN ho gaiiN-bahadur shah zafar appeared first on UrduShahkar.
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/01/oaKh-ashkoN-se-numaayaaN-ho-gaiiN-audio.mp3
Recitation
- اُردو
- देवनागरी
- Roman
- Notes
اشکوں سے نمایاں ہو گئیں ۔ میر عثمانؔ علی خاں
۱
میری آنکھیں دردِ پنہاں سے جو گریاں ہو گئیں
حسرتیں دل کی سب اشکوں سے نمایاں ہو گئیں
۲
بھول کر بھی اب نہیں آتی کسی کو اُن کی یاد
سب وہ اگلی صحبتیں خوابِ پریشاں ہو گئیں
۳
چرخِ کج رفتار کیا طبقہ دیا تو نے اُلٹ
تیری چالیں گردشِ چشمِ حسیناں ہو گئیں
۴
دم رہے تیرا سلامت خنجرِ قاتل، مدام
مشکلیں عاشق کی تیرے دم سے آساں ہو گئیں
۵
ذہن میں بھی اب نہیں آتی وہ اگلی محفلیں
سب پرانی شکلیں زیبِ طاقِ نسیاں ہو گئیں
۶
زاہد و واعظ بھی دُختِ رِز کا دم بھرنے لگے
نیّتیں اُن کی بھی اب رِندوں کا ایماں ہو گئیں
۷
اُن کے نظّارے سے اے عثماں یہی حاصل ہوا
آنکھ ملتے ہی نگاہیں اُن کی پیکاں ہو گئیں
अश्कौ से नुमायां हो गईं – मीर उस्मान अली ख़ां
१
मेरी आंखें दर्द-ए पिन्हां से जो गिर्यां हो गईं
हस्रतें दिल की सब अश्कौं से नुमायां हो गईं
२
भूल कर भी अब नहीं आती किसी को उन की याद
सब वो अग्ली सोहबतें ख़्वाब-ए परेशां हो गईं
३
चर्ख़-ए कज रफ़्तार क्या तब्क़ा दिया तू ने उलट
तेरी चालें गर्दिश-ए चश्म-ए हसीनां हो गईं
४
दम रहे तेरा सलामत ख़ंजर-ए क़ातिल, मुदाम
मुश्किलें आशेक़ की तेरे दम से आसां हो गईं
५
ज़हन में भी अब नहीं आती वो अग्ली महफ़िलें
सब पुरानी शक्लें ज़ेब-ए ताक़-ए निस्यां हो गईं
६
ज़ाहेद ओ वा’एज़ भी दुख़्त-ए रिज़ का दम भरने लगे
निय्यतें उन की भी अब रिन्दौं का ईमां हो गईं
७
उन के नज़्नारे से अए उस्मां यही हासिल हुआ
आंख मिलते ही निगाहें उन की पैकां हो गईं
Click here for background and on any passage for word meanings and explanatory discussion. osman ali KhaaN (1886-1967), the erstwhile ruler of hyderabad was a prolific poet of considerable literary capability. His diivaan was collected and published posthumously in eight fair sized volumes. This is one of several Ghazal that he composed in the style of Ghalib. This one in the style of “Khaak meN kya soorateN hoNgi keh pinhaaN ho gaiiN” is linked to the appropriate sub-category under ‘Ghalib naqsh-e qadam’. Also, I do not want to fail to remind the reader that a man reputed to have had a 100 concubines, suffers agony because of the beloved’s indifference and cruelty!
1
meri aaNkheN dard1-e pinhaaN2 se jo giryaaN3 ho gaiiN
hasrateN4 dil ki sab askhoN5 se numaayaaN6 ho gaiiN 1.pain 2.hidden 3.weeping 4.longing, yearning 5.tears 6.revealed, exposed
A true lover is supposed to hide his pain (of unrequited love) and not talk about it. Apparently, he can shed tears. Thus, when his eyes started weeping because of his hidden pain of love, then all his yearnings (for the beloved) were revealed in his tears.
2
bhool kar bhi ab nahiN aati kisi ko un ki yaad
sab vo agli1 sohbateN2 Khwaab-e-pareshaaN3 ho gaiiN 1.past 2.associations, relationships 3.nightmare
The poet remembers friends/family who have passed on. Nobody now remembers those past relationships. They have become like scattered dreams – he is probably using Khwaab-e pareshaaN to mean scattered/forgotten dreams rather than to mean nightmares, even though literally it means nightmares.
3
charKh1-e kaj-raftaar2 kya tabqa3 diya tuu ne ulaT3
teri chaaleN4 gardish5-e chashm6-e hasiinaaN7 ho gaiiN 1.sky, fate 2.crooked gait/walk 3.tabqa ulaT dena, is a phrase meaning topsy turvy 4.actions, mischief 5.movement, calamity, misfortune 6.eyes, glances 7.beauties
The poets says that fate is crooked – strange, inexplicable. It has turned his life upside down. Its mischief has turned the glances of beautiful women into calamities.
4
dam1 rahe tera salaamat2, Khanjar3-e qaatil4, mudaam5
mushkileN6 aashiq7 ki tere dam1 se aasaaN6 ho gaiiN 1.strength, power, sharpness 2.preserved, safe 3.dagger 4.killer, beloved 5.forever 6.mushkil aasaaN hona is a phrase used to mean – problems solved due to death 7.lover
The poet considers himself the wronged lover who has been killed by the beloved’s indifference which is like a sharp dagger. He (sarcastically) prays for the well being of the sharpness of her dagger, because it has solved all his problems i.e., killed him.
5
zahn1 meN bhi ab nahiN aati vo agli2 mahfileN3sab puraani shakleN4 zeb5-e taaq6-e nisyaaN7 ho gaiiN 1.mind, memory 2.past 3.gatherings 4.faces 5.adornment 6.niche, shelf 7.forgetfulness
Those past gatherings/associations do not even come to mind any more. All those old faces have become ornaments to the niche of forgetfulness.
6
zaahid1 o vaa’ez2 bhi duKht-e-riz3 ka dam-bharne4 lage
niyyateN5 un ki bhi ab rindoN6 ka iimaaN7 ho gaiiN 1.observant of religious strictures 2.preacher 3.daughter of grape, wine 4.profess love for, praise 5.(hidden) intent 6.wine lovers 7.faith
Even the orthodox observant and the preacher have now begun to speak well of wine. Their hidden intent is the same as the faith/belief of wine lovers.
7
un ke nazzaare1 se aye osmaaN2 yahi haasil3 hua
aaNkh milte hi nigaaheN4 un ki paikaaN5 ho gaiiN 1.sight, view, gaze 2.pen-name of the poet 3.obtain, result, get 4.glances 5.arrows
O, osmaan, the result of gazing at the beloved was that as soon our eyes met, her glances pierced me like arrows.
osman ali KhaaN (1886-1967), the erstwhile ruler of hyderabad was a prolific poet of considerable literary capability. His diivaan was collected and published posthumously in eight fair sized volumes. This is one of several Ghazal that he composed in the style of Ghalib. This one in the style of “Khaak meN kya soorateN hoNgi keh pinhaaN ho gaiiN” is linked to the appropriate sub-category under ‘Ghalib naqsh-e qadam’. Also, I do not want to fail to remind the reader that a man reputed to have had a 100 concubines, suffers agony because of the beloved’s indifference and cruelty!
1
meri aaNkheN dard1-e pinhaaN2 se jo giryaaN3 ho gaiiN
hasrateN4 dil ki sab askhoN5 se numaayaaN6 ho gaiiN
1.pain 2.hidden 3.weeping 4.longing, yearning 5.tears 6.revealed, exposed
A true lover is supposed to hide his pain (of unrequited love) and not talk about it. Apparently, he can shed tears. Thus, when his eyes started weeping because of his hidden pain of love, then all his yearnings (for the beloved) were revealed in his tears.
2
bhool kar bhi ab nahiN aati kisi ko un ki yaad
sab vo agli1 sohbateN2 Khwaab-e-pareshaaN3 ho gaiiN
1.past 2.associations, relationships 3.nightmare
The poet remembers friends/family who have passed on. Nobody now remembers those past relationships. They have become like scattered dreams – he is probably using Khwaab-e pareshaaN to mean scattered/forgotten dreams rather than to mean nightmares, even though literally it means nightmares.
3
charKh1-e kaj-raftaar2 kya tabqa3 diya tuu ne ulaT3
teri chaaleN4 gardish5-e chashm6-e hasiinaaN7 ho gaiiN
1.sky, fate 2.crooked gait/walk 3.tabqa ulaT dena, is a phrase meaning topsy turvy 4.actions, mischief 5.movement, calamity, misfortune 6.eyes, glances 7.beauties
The poets says that fate is crooked – strange, inexplicable. It has turned his life upside down. Its mischief has turned the glances of beautiful women into calamities.
4
dam1 rahe tera salaamat2, Khanjar3-e qaatil4, mudaam5
mushkileN6 aashiq7 ki tere dam1 se aasaaN6 ho gaiiN
1.strength, power, sharpness 2.preserved, safe 3.dagger 4.killer, beloved 5.forever 6.mushkil aasaaN hona is a phrase used to mean – problems solved due to death 7.lover
The poet considers himself the wronged lover who has been killed by the beloved’s indifference which is like a sharp dagger. He (sarcastically) prays for the well being of the sharpness of her dagger, because it has solved all his problems i.e., killed him.
5
zahn1 meN bhi ab nahiN aati vo agli2 mahfileN3sab puraani shakleN4 zeb5-e taaq6-e nisyaaN7 ho gaiiN
1.mind, memory 2.past 3.gatherings 4.faces 5.adornment 6.niche, shelf 7.forgetfulness
Those past gatherings/associations do not even come to mind any more. All those old faces have become ornaments to the niche of forgetfulness.
6
zaahid1 o vaa’ez2 bhi duKht-e-riz3 ka dam-bharne4 lage
niyyateN5 un ki bhi ab rindoN6 ka iimaaN7 ho gaiiN
1.observant of religious strictures 2.preacher 3.daughter of grape, wine 4.profess love for, praise 5.(hidden) intent 6.wine lovers 7.faith
Even the orthodox observant and the preacher have now begun to speak well of wine. Their hidden intent is the same as the faith/belief of wine lovers.
7
un ke nazzaare1 se aye osmaaN2 yahi haasil3 hua
aaNkh milte hi nigaaheN4 un ki paikaaN5 ho gaiiN
1.sight, view, gaze 2.pen-name of the poet 3.obtain, result, get 4.glances 5.arrows
O, osmaan, the result of gazing at the beloved was that as soon our eyes met, her glances pierced me like arrows.
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