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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/2023/07/maKhGh-ye-bhi-mere-dil-meN-hai-audio.mp3 https://urdushahkar.org/wp-content/uploads/2023/07/maKhGh-ye-bhi-mere-dil-meN-hai-saigal-imitation.mp3 https://urdushahkar.org/wp-content/uploads/2023/07/maKhGh-ye-bhi-mere-dil-meN-hai-mehdi-hasan.mp3
The post ye bhi mere dil meN 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/maKhGh-jis-ki-parda-daari-hai-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2023/04/maKhGh-jis-ki-parda-daari-hai-abida-parveen.mp3
abida parveen
https://urdushahkar.org/wp-content/uploads/2023/04/maKhGh-jis-ki-parda-daari-hai-fauzia-arsh.mp3
fauzia arsh
- اُردو
- देवनागरी
- Roman
- Notes
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 “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://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/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.
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