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raah-e yaqiiN nikli-jaikrishn chaudhry habiib
Jan 27, 2025Tap to summarizeFor word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://urdushahkar.org/wp-content/uploads/2025/01/jchh-raah-e-yaqiiN-nikli-audio.mp3 Recitation اُردو देवनागरी Roman Notes راہِ یقیں نکلی ۔ جے کرشن چودھری حبیبؔ ۱ تمہاری آرزو تم سے کہیں بڑھ کر حسیں نکلی کہ دنیا کی ہر اک شے سے یہی دل کے قریں نکلی ۲ میں سمجھا یاد بھی ترکِ تعلق پر تو آئے گی مگر جب دل ٹٹولا ہے وہیں یہ جاگزیں نکلی ۳ ابھی کچھ اور بھی کھیلو مرے چاہت بھرے دل سے ابھی بھی زخم کم کم ہیں ابھی حسرت نہیں نکلی ۴ سرِ محفل کیا رسوا مجھے تیری محبت نے جھکی جو نام پر تیرے وہ میری ہی جبیں نکلی ۵ نگاہوں نے تجھے ڈھونڈا تجھے دل سے پکارا ہے نظر آئی نہ جو صورت وہ صورت دل نشیں نکلی ۶ ہے دو ہی دن کی عمرِ گل مگر زندہ دلی دیکھو تبسُّم لب پہ رقصاں ہے فضا ہرگز نہیں نکلی ۷ جہاں پر سرحدیں دیر و حرم کی ختم ہوتی ہیں وہیں پر نورِ ایماں ہے وہیں راہِ یقیں نکلی ۸ ہماری زندگی دریا کی موجِ مضطرب سی ہے کہیں ابھری کہیں مچلی کہیں ڈوبی کہیں نکلی ۹ اٹھا کرتی ہیں موجوں کی طرح ہی حسرتیں دل میں نئی کتنی ابھر آئیں جو اک حسرت کہیں نکلی ۱۰ شبِ فرقت حبیبؔ اپنا نہ کوئی کام کا نکلا نہ آنسو با اثر نکلے نہ آہِ آتشیں نکلی राह-ए यक़ीं निकली – जय क्रिष्ण चौधरी हबीब १ तुम्हारी आर्ज़ू तुम से कहीं बढ़ कर हसीं निकली के दुनिया की हर एक शय से यही दिल के क़रीं निकली २ मैं समझा याद भी तर्क-ए ता’अल्लुक़ पर तो आएगी मगर जब दिल टटोला है वहीं ये जागुज़ीँ निकली ३ अभी कुछ और भी खेलो मेरे चाहत भरे दिल से अभी भी ज़ख़्म कम कम हैं अभी हसरत नहीं निकली ४ सर-ए महफ़िल किया रुस्वा मुझे तेरी मोहब्बत ने झुकी जो नाम पर तेरे वो मेरी ही जबीं निकली ५ निगाहों ने तुझे ढूँडा तुझे दिल से पुकारा है नज़र आई न जो सूरत वो सूरत दिल-नशीं निकली ६ है दो ही दिन की उम्र-ए गुल मगर ज़िंदा-दिली देखो तबस्सुम लब पे रक़्साँ है फ़ज़ा हरगिज़ नहीं निकली ७ जहाँ पर सरहदें दैर-ओ-हरम की ख़त्म होती हैं वहीं पर नूर-ए ईमाँ है वहीं राह-ए यक़ीं निकली ८ हमारी ज़िंदगी दरिया की मौज-ए मुज़्तरिब सी है कहीं उभरी कहीं मचली कहीं डूबी कहीं निकली ९ उठा करती हैं मौजों की तरह ही हसरतें दिल में नई कितनी उभर आईं जो एक हसरत कहीं निकली १० शब-ए फ़ुर्क़त हबीब अपना न कोई काम का निकला न आँसू बा-असर निकले न आह-ए आतिशीं निकली Click here for background and on any passage for word meanings and explanatory discussion. jaikrishn 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. 1 tumhaari aarzu1 tum se kahiN baRh kar hasiiN2 nikli keh duniya ki har ek shai3 se yahi dil ke qariiN4 nikli 1.desire 2.beautiful 3.thing 4.near Desire for you turned out to be even more beautiful than you yourself because among everything else in the world, it turned out to be closest to my heart. You yourself may be far from me, but what I hold nearest my heart is desire for you. Hence it turns out to be even more beautiful than you. This may be another variation of the theme that the journey is more enjoyable than the destination. 2 maiN samjha yaad bhi tark1-e ta’alluq2 par to aa’egi magar jab dil TaTola3 hai vahiiN ye jaaguziiN4 nikli 1.giving up, breaking off 2.relationship 3.searched 4.place selecting Translating this into English is a bit awkward because ‘memories will come’ is not an elegant phrase in the language. Yet, in order for it to make sense in urdu this phrase has to be used. With apologies and your indulgence … I had thought that upon breaking of relations memories will come to my heart/mind, but when I searched my heart I found that they had made a place/home for themselves in it i.e., memories did not have to come from anywhere outside. They were esconsed in my heart forever. 3 abhi kuchh aur bhi khelo mere chaahat bhare dil se abhi bhi zaKhm1 kam kam haiiN abhi hasrat2 nahiiN nikli 1.wounds 2.longing, desires Play some more with my love filled heart. There still is room for more wounds, my intense longing is not yet fulfilled. Playing some more with the heart means hurting it some more. Also, following lovers’ convention the poet has a longing to be hurt even more at the hands of the beloved, because that is considered a badge of honour. 4 sar-e-mahfil1 kiya rusva2 mujhe teri mohabbat ne jhuki jo naam par tere vo meri hi jabiiN3 nikli 1.front of the gathering, openly 2.embarrass, insult 3.forehead There is a gathering of admirers/lovers around the beloved. Perhaps there is a sense of competition among the lovers to show their devotion to her. But the only forehead that touches the ground in prostration before the beloved is that of the poet. I am not sure why this is a cause of embarrassment to him, but it seems to be. He feels insulted in front of everyone. But perhaps the picture is slightly different. He is the only one with whom the beloved is displeased and orders him to ask for forgiveness. Putting his head to the ground may be sign of asking for such forgiveness. If he is the only one selected/targeted to do that, then surely it can be a cause of embarrassment. 5 nigaahoN1 ne tujhe DhuNDa tujhe dil se pukaara hai nazar2 aa’ii na jo surat vo surat dil-nashiiN3 nikli 1.eyes 2.seen, visible 3.residing in the heart I searched for you with my eyes, I called you from the depths of my heart. It turned out that the image that I could not see was resident in my heart. This is clearly addressed to the divine spirit. 6 hai do hi din ki umr1-e gul2 magar zinda-dili3 dekho tabassum4 lab5 pe raqsaaN6 hai faza7 hargiz8 nahiiN nikli 1.life-span 2.rose 3.courage, defiance 4.smile 5.lips 6.dancing 7.air, atmosphere … but used here to mean fragrance which spreads through the air 8.under no circumstance The life-span of the rose is but two days long but look at its defiance – a smile dancing on its lips and under no circumstance is it drained of fragrance. The word ‘nikli’ is used here to mean drained out, finished. 7 jahaaN1 par sarhadeN2 dair...
Transcribe →ishq ke jazbaat ke baad-jaikrishn chaudhry habiib
Jan 27, 2025Tap to summarizeFor word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://urdushahkar.org/wp-content/uploads/2025/01/jkchh-ishq-ke-jazbaat-ke-baad-audio.mp3 Recitation اُردو देवनागरी Roman Notes عشق کے جذبات کے بعد ۔ جے کرشن جودھری حبیبؔ ۱ یوں تصوّر میں کِھلے گل ہیں تیری بات کے بعد جیسے گلشن میں نِکھر جائے فضا رات کے بعد ۲ بے قراری نہ گئی اور نہ مِٹی دل کی خلِش نہ ملاقات سے پہلے نہ ملاقات کے بعد ۳ غمِ دنیا بھی نہیں خواہشِ عقبیٰ بھی نہیں کیا رہا دل میں مرے عشق کے جذبات کے بعد ۴ شام رنگیں ہے سحر میں ہے نہ وہ کیف و سرور تیری صحبت میں وہ گزرے ہوئے لمحات کے بعد ۵ رہروِ شوق ہی کیا جو سرِ منزل نہ لٹا بازیٔ عشق میں آتا ہے مزا مات کے بعد ۶ رو بہ رو تیرے کوئی بات بنائے نہ بنے کس طرح بات بنے میری تری بات کے بعد ۷ مے میں مستی ہے نہ مے خواروں میں وہ جوش و خروش مے کدہ سونا ہوا رندِ خرابات کے بعد ۸ بادۂ حسن سے سرشار رہے روز حبیبؔ کیف ہر کیف ہے ہر رات میں ہر رات کے بعد इश्क़ के जज़्बात के बाद – जय क्रिष्ण चोधरी हबीब १ यूँ तसव्वुर में खिले गुल हैं तेरी बात के बाद जैसे गुलशन में निखर जाए फ़ज़ा रात के बाद २ बे-क़रारी न गई और न मिटी दिल की ख़लिश न मुलाक़ात से पहले न मुलाक़ात के बाद ३ ग़म-ए दुनिया भी नहीं ख़्वाहिश-ए उक़्बा भी नहीं क्या रहा दिल में मेरे इश्क़ के जज़्बात के बाद ४ शाम रंगीं है सहर में है न वो कैफ़-ओ-सुरूर तेरी सोहबत में वो गुज़रे हुए लम्हात के बाद ५ रह-रव-ए शौक़ ही क्या जो सर-ए मंज़िल न लुटा बाज़ी-ए इश्क़ में आता है मज़ा मात के बाद ६ रू-ब-रू तेरे कोई बात बनाए न बने किस तरह बात बने मेरी तेरी बात के बाद ७ मय में मस्ती है न मय-ख़ारों में वो जोश-ओ-ख़रोश मय-कदा सूना हुआ रिंद-ए ख़राबात के बाद ८ बादा-ए हुस्न से सरशार रहे रोज़ हबीब कैफ़ हर कैफ़ है हर रात में हर रात के बाद Click here for background and on any passage for word meanings and explanatory discussion. jaikrishn chaudhry habiib (1904-xxxx), born in Dera ismail KhaaN, in pakistan. Later, 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 yuN tasavvur1 meN khile gul haiN teri baat ke baad jaise gulshan2 meN nikhar3 jaa’e faza4 raat ke baad 1.imagination 2.garden 3.refresh, re-invigorate 4.air, atmosphere At first reading this is a tribute to the beloved. There was conversation about the beloved and her beauty. In the poet/lover’s imagination roses bloomed after this conversation like the atmosphere of the gardren is refreshed at dawn (after the night has passed). At another level, we can ask who the beloved is. If it is social justice/independence then after conversation among comrades the imagination blossomed with how the new dawn is going to be like after the night of oppression. 2 be-qaraari1 na ga’i aur na miTi dil ki Khalish2 na mulaaqaat3 se pahle na mulaaqaat ke baad 1.restlessness 2.pricking, burning 3.meeting This is probably a meeting with the beloved which left the poet/lover restless and left the same pricking in his heart because the meeting did not result in ‘vasl’-union. 3 Gham-e duniya bhi nahiN Khwaahish1-e uqba2 bhi nahiN kya raha dil meN mere ishq ke jazbaat3 ke baad 1.wish, desire 2.end of life, next world, judgement 3.feelings, sentiments, emotions After having experienced the feelings of love in his heart, the poet everything else quite bland; neither does he care for the sorrows/difficulties of this world nor the prospects of reward and punishment in the next world. All he can think about is the feeling of love. This could well be a vedantic/sufiaana expression of the primacy of universal love. 4 shaam raNgiN hai sahar1 meN hai na vo kaif2-o-suroor3 teri sohbat4 meN vo guzre5 hue lamhaat6 ke baad 1.dawn 2.happiness, contentment 3.joy, exhilaration 4.company 5.passed, spent 6.moments In the first misra the word ‘na’ (negative) applies to both shaam ki raNgiini and sahar ka kaif o suroor. Thus, neither is the evening colourful, nor is the dawn joyous, after having spent a few moments in your company. Here, the ‘your’ is the beloved. It is possible to stretch the interpretation of this she’r by considering the beloved to be symbolic of something else. 5 rah-rav1-e shauq2 hi kya jo sar-e-manzil3 na luTa baazi4-e ishq meN aata hai maza5 maat6 ke baad 1.traveler, seeker 2.desire, love 3.used here to mean on the way to the destination 4.wager, move as in a board game 5.pleasure 6.defeat, loss In the game of love, you have to wager everything that you have and even get robbed on the way to your destination. Only after such loss can you experience any pleasure. Those who have not wagered and not suffered a loss are not true seekers on the path of love. 6 ruu-ba-ruu1 tere koi baat banaa’e2 na bane3 kis tarah4 baat bane3 meri teri baat5 ke baad 1.face to face 2.baat banaana can mean (a) getting your desire fulfilled or (b) make up a story 3.to achieve its goal 4.how 5.words, conversation There is a delightful word play in this she’r similar to Ghalib’s. It uses words and phrases in witty ways. In front of you, however much anyone tries to get their story across, they cannot succeed. How can anyone achieve their goal after you have said your say. And then you can try other variations of ‘baat banaana’ and enjoy the meaning. Said Ghalib … nukta-chiiN hai Gham-e dil us ko sunaae na bane kya bane baat jahaaN baat banaae na bane 7 mai1 meN masti2 hai na mai-KhwaaroN3 meN vo josh-o-Kharosh4 mai-kada5 suuna6 hua rind7-e Kharaabaat8 ke baad 1.wine 2.intoxication, pleasure 3.wine drinkers 4.passion and enthusiasm 5.tavern 6.deserted, desolate 7.wine-lovers 8.tavern There is no pleasure in wine nor is there enthusiasm and pass...
Transcribe →vo kaaNToN meN pali hai-jaikrishn chaudhry habiib
Jan 25, 2025Tap to summarizeFor word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://urdushahkar.org/wp-content/uploads/2025/01/jchh-vo-kaaNToN-meN-pali-hai-audio.mp3 Recitation اُردو देवनागरी Roman Notes وہ کانٹوں میں پلی ہے ۔ جے کرشن چودھری حبیبؔ ۱ گلشن میں ترے حسن کی جب بات چلی ہے ٹھہری ہے نظر گل پہ نہ غنچے پہ رکی ہے ۲ رکھتی ہے جگر گرچہ وہ نازک سی کلی ہے طوفانوں سے کھیلی ہے وہ کانٹوں میں پلی ہے ۳ جو لب پہ نہ آ پائی وہ آنکھوں نے کہی ہے آنکھیں بھی نہ کہہ پائیں جو وہ دل نے سنی ہے ۴ آ کر ترے در پر مجھے احساس ہوا یہ بھٹکی ہوئی کشتی مری ساحل سے لگی ہے ۵ کتنے ہی چمن اجڑے ہوئے خاک نشیمن کیا وقت کی آنکھوں میں کبھی آئی نمی ہے ۶ اک بوند کو ترسا کوئی ہے پی کے کوئی مست میخانے کا ساقی ابھی انداز وہی ہے ۷ دیکھا ہے حبیبؔ اس نے جو اک بار کرم سے ہر شے مجھے اب پیار سے ہی دیکھ رہی ہے वो काँटों में पली है – जय क्रिष्ण चौधरी हबीब १ गुलशन में तेरे हुस्न की जब बात चली है ठहरी है नज़र गुल पे न ग़ुंचे पे रुकी है २ रखती है जिगर गरचे वो नाज़ुक सी कली है तूफ़ानों से खेली है वो काँटों में पली है ३ जो लब पे न आ पाई वो आँखों ने कही है आँखें भी न कह पाईं जो वो दिल ने सुनी है ४ आ कर तेरे दर पर मुझे एहसास हुआ ये भटकी हुई कश्ती मेरी साहिल से लगी है ५ कितने ही चमन उजढे, हुए ख़ाक नशेमन क्या वक़्त की आँखों में कभी आई नमी है ६ एक बूँद को तरसा कोई है पी के कोई मस्त मयख़ाने का साक़ी अभी अंदाज़ वही है ७ देखा है हबीब उस ने जो एक बार करम से हर शय मुझे अब प्यार से ही देख रही 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. 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 gulshan1 meN tere husn2 ki jab baat chali hai Thahri hai nazar3 gul4 pe na Ghunche5 pe ruki hai 1.garden 2.beauty 3.eyes 4.rose 5.bud Ever since there has been a talk about your beauty, no one has even glanced at the rose or the bud i.e., their beauty is nothing compared to yours, and everyone is eager to see you. 2 rakhti hai jigar1 garche2 vo naazuk3 si kali4 hai toofaanoN se kheli hai vo kaaNToN meN pali hai 1.liver-considered to be a seat of courage, fortitude 2.even though 3.delicate 4.bud Even though it is a small/delicate bud, it has great courage and fortitude. After all it has faced down storms and has been raised among thorns. 3 jo lab1 pe na aa paaii vo aaNkhoN ne kahi hai aaNkheN bhi na kah paaiiN jo vo dil ne suni hai 1.lips That which could not be said with the lips/tongue, the eyes have conveyed. That which even eyes could not say, that heart has heard. ‘that heart’ is the beloved’s heart. There is a direct connection between the poet/lover’s heart and hers. 4 aa kar tere dar1 par mujhe ehsaas2 hua ye bhaTki3 hui kashti meri saahil4 se lagi hai 1.door 2.feeling 3.lost, wandering 4.shore, refuge Coming to your door, I get the feeling that my aimlessly wandering boat has at last found a shore/refuge. This could well have been addressed to the divine spirit. 5 kitne hi chaman ujRe1, hue Khaak2 nasheman3 kya vaqt4 ki aaNkhoN meN kabhi aaii nami5 hai 1.destroyed 2.ashes 3.nests 4.times 5.moist In poetic convention calamities are visited upon the world by the ‘times’ – fate or the powerful system. ‘nasheman/nest’ is the home/refuge of the poet/nightingale. Thus, how many gardens have been destroyed, how many nests burnt to ashes (by lightning), but have you ever seen tears in the eyes of fate i.e., fate is cruel. 6 ek buuNd1 ko tarsa2 koi, hai pii ke koi mast3 maiKhaane4 ka saaqi abhi andaaz5 vahi hai 1.drop 2.thirsting, yearning 3.intoxicated 4.tavern 5.system of working Someone thirsts even for one drop while someone else drinks to excess. O saaqi, the tavern still works the same way as before. This could well be a reflection of continued poverty even after independence which was supposed to usher in prosperity. 7 dekha hai habib1 us ne jo ek baar karam2 se har shai3 mujhe ab pyaar se hi dekh rahi hai 1.pen-name of the poet 2.kindness 3.thing The luck of the poet/lover has changed. The beloved has looked at him with kindness. Even though this was only once, but ever since, everyone looks at him with love. This could simply reflect the change in outlook of the poet/lover himself. 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 gulshan1 meN tere husn2 ki jab baat chali hai Thahri hai nazar3 gul4 pe na Ghunche5 pe ruki hai 1.garden 2.beauty 3.eyes 4.rose 5.bud Ever since there has been a talk about your beauty, no one has even glanced at the rose or the bud i.e., their beauty is nothing compared to yours, and everyone is eager to see you. 2 rakhti hai jigar1 garche2</sup...
Transcribe →baar-baar guzr’e haiN-jaikrishn chaudhry habiib
Jan 25, 2025Tap to summarizeFor word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://urdushahkar.org/wp-content/uploads/2025/01/jchh-baar-baar-guzre-haiN-audio.mp3 Recitation اُردو देवनागरी Roman Notes بار بار گزرے ہیں ۔ جے کرشن چودھری حبیبؔ ۱ ہمیں پہ رنج و الم گو ہزار گزرے ہیں جہاں سے گزرے ہیں ہم نغمہ بار گزرے ہیں ۲ حریمِ ناز سے ہم ہوشیار گزرے ہیں مگر وہ دل سے تو بے اختیار گزرے ہیں ۳ زباں زباں پہ ہیں مہر و وفا کے افسانے جہاں جہاں سے ترے جاں نثار گزرے ہیں ۴ نظر نظر نے ہے چوما دلوں نے چاہا ہے جو رہ گزر سے تری دل فگار گزرے ہیں ۵ خیال و فکر کی وہ رفعتوں کو چھو کے گئے تری نظر سے جو یہ خاکسار گزرے ہیں ۶ مہک مہک سی گئی بوئے پیرہن سے فضا کہ آج ادھر سے وہ جانِ بہار گزرے ہیں ۷ یہ خونِ دل ہے جو آنکھوں کی راہ بہہ نکلا کہا یہ کس نے کہ ہم اشک بار گزرے ہیں ۸ رلائے کیوں نہ ہمیں اب قفس میں یاد اُن کی وہ رات دن جو سرِ شاخسار گزرے ہیں ۹ حبیبؔ میری نگاہوں سے ہو وہ لاکھ نہاں وہ میرے دل سے مگر بار بار گزرے ہیں बार बार गुज़रे हैं – जय क्रिष्ण चौधरी हबीब १ हमीं पे रंज-ओ-अलम गो हज़ार गुज़रे हैं जहाँ से गुज़रे हैं हम नग़्मा-बार गुज़रे हैं २ हरीम-ए नाज़ से हम होशियार गुज़रे हैं मगर वो दिल से तो बे-एख़्तियार गुज़रे हैं ३ ज़बाँ ज़बाँ पे है मेहर-ओ-वफ़ा के अफ़्साने जहाँ जहाँ से तेरे जाँ-निसार गुज़रे हैं ४ नज़र नज़र ने है चूमा दिलों ने चाहा है जो रहगुज़र से तेरी दिल-फ़िगार गुज़रे हैं ५ ख़याल-ओ-फ़िक्र की वो रफ़अ’तों को छू के गए तेरी नज़र से जो ये ख़ाकसार गुज़रे हैं ६ महक महक सी गई बू-ए पैरहन से फ़ज़ा के आज इधर से वो जान-ए बहार गुज़रे हैं ७ ये ख़ून-ए दिल है जो आँखों की राह बह निकला कहा ये किस ने के हम अश्क-बार गुज़रे हैं ८ रुलाए क्यूं न हमें अब क़फ़स में याद उन की वो रात दिन जो सर-ए शाख़-सार गुज़रे हैं ९ हबीब मेरी निगाहों से हो वो लाख नेहाँ वो मेरे दिल से मगर बार बार गुज़रे हैं 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 is remarkably similar in sentiments to faiz ahmed faiz’s use of the beloved as symbol of social justice and/or the anti-colonial struggle. The protagonists in this Ghazal can be read to be freedom fighters, those struggling for social justice and/or poets. 1 hamiiN pe raNj-o-alam1 go2 hazaar guzre haiN jahaaN3 se guzre haiN ham naGhma-baar4 guzre haiN 1.sorrows and tragedies 2.even though 3.wherever 4.raining songs, singing joyfully Even though many tragedies and sorrows have been visited upon us, wherever we have passed, we have spread the joy of songs/poetry. The ‘we’ here could be poets/revolutionaries/lovers. 2 hariim1-e naaz2 se ham hoshiyaar3 guzre haiN magar4 vo dil se to be-eKhtiyaar5 guzre haiN 1.sanctuary, chambers 2.coquetry 3.aware, careful, cautious, in control of senses 4.but 5.without any will/intention/control. The subject (shown in the second misra) in this she’r ‘vo’ can be the beloved, the homeland or social justice. The poet/revolutionary/lover has passed through the chambers of the beloved very carefully/cautiously. Even so she entered his heart without his intention i.e., he pull is so powerful that he go attracted even though he did not intend to, and was very cautious. This could be the pull of the love of the homeland or love of justice. 3 zabaaN zabaaN pe hai mehr1-o-vafa2 ke afsaane3 jahaaN jahaaN se tere jaaN-nisaar4 guzre haiN 1.kindness 2.fidelity 3.stories 4.those willing to die for, lovers Wherever your lovers have passed, on every tongue have been stories of love and fidelity i.e., lovers of the homeland are famous for their steadfast resolve. 4 nazar nazar1 ne hai chooma2 diloN ne chaaha hai jo rahguzar3 se teri dil-figaar4 guzre haiN 1.every eye 2.kissed 3.path 4.broken hearted Whenever broken-hearted lovers have passed along your path, every eye has kissed them, every heart has loved. The poet had worked closely with Khaan abdul Ghaffaar KhaaN and the Khudaaii Khidmatgaar. I wonder if this is a reflection of his experience with that. 5 Khayaal-o-fikr1 ki vo raf’atoN2 ko chhoo ke gaye teri nazar3 se jo ye Khaaksaar4 guzre haiN 1.thought and reason 2.heights 3.sight 4.dust-dwellers i.e., the poet and comrades Those of us who had a vision of you (social justice) touched the heights of thought and reason. 6 mahak mahak1 si gayi buu-e pairahan2 se faza3 keh aaj idhar se vo jaan-e-bahaar4 guzre haiN 1.fragrant 2.clothes 3.air, atmosphere 4.soul/life of spring The movement for social justice is characterized as ‘jaan-e-bahaar’. Because she has passed through here today, the air is redolent with the fragrance of her clothes. 7 ye Khoon-e dil hai jo aaNkhoN ki raah1 bah nikla kaha ye kis ne keh ham ashk-baar2 guzre haiN 1.path, way 2.raining/flowing tears The poet and his comrades have such intense passion that they cry tears of blood. Thus, it is our heart’s blood that flows down by way of the eyes. Who says that we cry ordinary tears. 8 rulaa’e kyuN na hameN ab qafas1 meN yaad un ki vo raat din jo sar2-e shaaKh-saar3 guzre haiN 1.cage 2.top 3.green branch It is conventional to consider the poet to be a free bird who sings in the garden. But now it has been caught and caged. He used to spend his days and nights on green branches bearing flowers. Why should memories of those nights not cause him to cry in the cage. 9 <span onclick="addClass(this)" class="tooltip-...
Transcribe →koocha-e yaar dekh kar-jaafar ali KhaaN asar lakhnavi
Jan 24, 2025Tap to summarizeFor word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://urdushahkar.org/wp-content/uploads/2025/01/mjaKhal-koocha-e-yaar-dekh-kar-audio.mp3 Recitation اُردو देवनागरी Roman Notes کوچۂ یار دیکھ کر ۔ مرزا جعفر علی خان اثرؔ لکھنوی ۱ عقل ہے دنگ اے کریم، تیرا شِعار دیکھ کر بخش دیے میرے گنہ، اُن کا شُمار دیکھ کر ۲ ساقی و بزمِ مے نہیں، مُطرِب و چنگ و نئے نہیں روؤں نہ زار زار کیوں ابرِ بہار دیکھ کر ۳ مرنے کے بعد بھی ذرا چین نہ قبر میں ملا اُس نے مجھے جگا دیا سُوئے مزار دیکھ کر ۴ چاک ہوئی قبائے گُل، بادِ سحر کی چھیڑ سے مست ہر ایک نخل ہے، جوشِ بہار دیکھ کر ۵ بیم نہیں رجا نہیں رشک نہیں فغاں نہیں پِھر گیا دل بہشت سے، کوچۂ یار دیکھ کر ۶ شورشِ دل نے اے اثرؔ، کیا کہوں کیا مزہ دیا اُس نے نمک چھڑک دیا سینہ فِگار دیکھ کر कूचा-ए-यार देख कर – मिर्ज़ा जाफ़र अली ख़ाँ असर लखनवी १ अक़्ल है दंग अए करीम, तेरा शे’आर देख कर बख़्श दिये मेरे गुनह, उन का शुमार देख कर २ साक़ी ओ बज़्म-ए-मय नहीं, मुतरिब ओ चंग ओ नए नहीं रोऊँ न ज़ार-ज़ार क्यूँ, अब्र-ए बहार देख कर ३ मरने के बाद भी ज़रा चैन न क़ब्र में मिला उस ने मुझे जगा दिया सू-ए मज़ार देख कर ४ चाक हुई क़बा-ए गुल, बाद-ए सहर की छेढ से मस्त हर एक नख़्ल है, जोश-ए बहार देख कर ५ बीम नहीं रजा नहीं रश्क नहीं फ़ुग़ाँ नहीं फिर गया दिल बेहिश्त से, कूचा-ए यार देख कर ६ शोरिश-ए दिल ने अए असर, क्या कहूँ क्या मज़ा दिया उस ने नमक छिढक दिया सीना फ़िगार देख कर 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 Ghalib naqsh-e qadam. 1 aql1 hai daNg2 aye kariim3, tera she’aar4 dekh kar baKhsh5 diye mere gun’h6, unn ka shumaar7 dekh kar 1.intellect, mind 2.stunned 3.merciful 4.way, method, habit 5.forgave 6.sins 7.count O merciful one, my mind is stunned seeing your benevolent ways. You forgave my countless sins upon observing their sheer number. The poet marvels at divine mercy, which forgives even when sins seem overwhelming. The verse juxtaposes the vastness of human error with the infinite capacity for divine forgiveness. But iqbal got forgiveness because of the tears/pearls of repentence that he shed … motii samajh ke shaan-e-kariimi ne chun liye qatre jo the’ mere araq-e infe’aal ke As opposed to this, Ghalib remains defiant … aata hai daaGh-e hasrat-e dil ka shumaar yaad mujh se mere’ gun’h ka hisaab aye Khuda na maaNg 2 saaqi o bazm1-e ma’e2 nahiiN, mutrib3 o chaNg4 o na’e5 nahiiN ro’uuN na zaar-zaar6 kyuN, abr-e-bahaar7 dekh kar 1.gathering 2.wine 3.minstrel, singer 4.harp 5.flute 6.profusely, bitterly 7.spring cloud There is no cupbearer or celebratory gathering of wine, no minstrel or music with harp or flute, why should I not weep bitterly upon seeing the spring clouds? Spring clouds are the harbinger of the season of merriment and of lovers getting together. But this sign does not bring joy to the poet/lover because the beloved does not reciprocate his feelings. 3 marne ke baad bhi zara chain1 na qabr2 meN mila uss ne mujhe jagaa3 diya suu4-e mazaar5 dekh kar 1.comfort, peace 2.grave 3.woke up 4.towards 5.tomb Even after death, I found no peace in the grave; the beloved cast one glance towards my tomb and woke me up. Even in death, he reacts to the beloved’s coquetry. 4 chaak1 hui qabaa2-e gul3, baad4-e sah’r5 ki chheR6 se mast7 har ek naKhl8 hai, josh-e-bahaar9 dekh kar 1.torn 2.garment 3.rose 4.breeze 5.dawn 6.teasing 7.intoxicated 8.tree 9.exuberance of spring The garment of the rose was torn by the teasing breeze of dawn; every tree is intoxicated, witnessing the exuberance of spring. It is thought that the morning breeze blows in, teases the sleeping buds and they blossom into flowers. This blossoming or opening up of the garments is described as getting ‘chaak’/torn. Trees sway in the breeze as if staggering in intoxication. This couplet celebrates the transformative energy of spring, where nature appears alive and expressive. 5 biim1 nahiiN rajaa2 nahiiN rashk3 nahiiN fuGhaaN4 nahiiN phir5 gaya dil behisht6 se, koocha7-e-yaar8 dekh kar 1.fear 2.hope 3.envy 4.lament 5.turn away 6.paradise 7.lane 8.beloved There is no fear, hope, envy, or lament; my heart turned away from paradise after seeing the beloved’s lane. The poet elevates the beloved’s presence above the allure of paradise, emphasizing the power of love and attachment. The beloved’s lane becomes a spiritual and emotional refuge surpassing all other pleasures. Said mir taqi mir … kis ka kaa’ba, kaisa qibla, kaun haram, hai kya ahraam kooche ke us ke baashindoN ne sab ko yahiiN se salaam kiya 6 shorish1-e dil ne aye asar2, kya kahuuN kya mazaa3 diya uss ne namak chhiRak4 diya siina figaar5 dekh kar 1.turmoil 2.pen-name 3.sprinkle, sprinkling salt on the wound is to make the pain even more intense 5.cut open O asar, the turmoil of my heart gave me such pleasure when seeing my breast cup open, the beloved sprinkled salt on my wounded. When the beloved tortures the poet/lover, he considers it a gift and treasures it. It is her indifference that he cannot stand. 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 Ghalib naqsh-e qadam. 1 aql1 hai daNg2 aye kariim3, tera she’aar4 dekh kar baKhsh5 diye mere gun’h6, unn ka shumaar7 dekh kar 1.intell...
Transcribe →parda-e asraar dekh kar-jaafar ali KhaaN asar lakhnavi
Jan 24, 2025Tap to summarizeFor word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://urdushahkar.org/wp-content/uploads/2025/01/mjaKhal-parda-e-asraar-dekh-kar-audio.mp3 Recitation اُردو देवनागरी Roman Notes پردۂ اَسرار دیکھ کر ۔ مرزا جعفر علی خاں اثرؔ لکھنوی ۱ مجھ کو ہلاکِ جلوۂ سرشار دیکھ کر اوجھل ہوا وہ آنکھ سے اک بار دیکھ کر ۲ تھا مژدۂ بہار پیامِ شکستِ رنگ دل خون ہو گیا گل و گلزار دیکھ کر ۳ اکثر مآلِ دید سے بیگانہ ہو گئے نقش و نگارِ پردۂ اَسرار دیکھ کر ۴ بے اختیار اہلِ وطن یاد آ گئے باہم سلوکِ آبلہ و خار دیکھ کر ۵ کہتا ہے رشک یہ بھی کسی کے ہیں منتظر ذروں پہ نقشِ دیدۂ بیدار دیکھ کر ۶ پھولوں کا بس نہیں کہ قدم بڑھ کے چوم لیں اک نو بہارِ ناز کی رفتار دیکھ کر ۷ کوچے کا اُس کے ہے یہ پتہ جانِ بے قرار آتی ہے نیند سایۂ دیوار دیکھ کر ۸ کیا کیا تھا ناز حسن پہ ماہِ تمام کو مر مر گیا وہ پھول سے رخسار دیکھ کر ۹ توبہ اِسی کا نام ہے کیوں میرزا اثرؔ مَلتے ہو ہاتھ خانۂ خمّار دیکھ کر परदा-ए असरार देख कर – मिर्ज़ा जाफ़र अली ख़ां असर लखनवी १ मुझ को हलाक-ए जल्वा सरशार देख कर औझल हुआ वो आँख से एक बार देख कर २ था मुज़्शौदा-ए बहार पयाम-ए शिकस्त-ए रंग दिल ख़ून हो गया गुल ओ गुल्ज़ार देख कर ३ अक्सर म’आल-ए दीद से बेगाना हो गए नक़्श ओ निगार-ए पर्दा-ए अस्रार देख कर ४ बे-एख़्तियार अहल-ए वतन याद आ गए बाहम सुलूक-ए आबला ओ ख़ार देख कर ५ कहता है रश्क ये भी किसी के हैं मुन्तज़िर ज़र्रों पे नक़्श-ए दीदा-ए बेदार देख कर ६ फूलों का बस नहीं के क़दम बढ़ के चूम लें एक नौ-बहार-ए नाज़ की रफ़्तार देख कर ७ कूचे का उस के है ये पता जान-ए बेक़रार आती है नींद साया-ए दीवार देख कर ८ क्या क्या था नाज़ हुस्न पे माह-ए तमाम को मर मर गया वो फूल से रुख़्सार देख कर ९ तौबा इसी का नाम है क्यों मीर्ज़ा असर मलते हो हाथ ख़ाना-ए ख़म्मार देख कर 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 Ghalib naqsh-e qadam. 1 mujh ko halaak1-e jalva2 sarshaar3 dekh kar aujhal4 hua voh aaNkh se ek baar dekh kar 1.killed, conquered 2.radiance, splendor 3.intoxicating, overwhelming 4.disappeared When the beloved saw me killed/overcome by the overwhelming radiance of her beauty, she disappeared from my sight after revealing herself just once. This is a classical lament of how the beloved captivates and once having done so, ignores the lover. 2 thaa muzshda1-e bahaar2 payaam3-e shikast4-e raNg dil Khoon ho gaya gul o gulzaar5 dekh kar 1.glad tidings 2.spring 3.message 4.breaking 5.garden The good tidings of the arrival of spring also brought a message of the ‘breaking of colour’; my heart bled seeing the garden and its flowers. The phrase ‘breaking of colour’ is a very awkward literal translation and needs some explanation. It is used here to mean the breaking of the heart and the colour of blood flowing out of it. The arrival of spring is normally good news. It is a season of celebration and meeting of lovers. But seeing the roses and the garden in full bloom the heart of the poet/lover is cut open and he bleeds – the colour of blood flowing out. This is because the beloved does not reciprocate his love and the arrival of spring accentuates his despondency. 3 aksar1 maal2-e diid3 se begaana4 ho ga’e naqsh5 o nigaar6-e parda7-e asraar8 dekh kar 1.often, many 2.consequence, result 3.sight 4.unaware, forgetful, detached 5.image, mark 6.decorations, embellishment 7.veil, screen 8.mystery Often, many of us become forgetful of the outcome of what we see; when look at the intricate designs on the veil/screen of mystery. Here, mystery is the divine spirit and the veil/screen is the material world; ‘naqsh-o-nigaar’ is the attraction/temptation of the material world. When we see this we are forgetful of the consequences … the consequences are that we do not see the divine spirit behind the veil and we may have to pay the price in the afterlife. 4 be-eKhtiyaar1 ahl-e-vatan2 yaad aa ga’e baaham3 sulook4-e aabla5 o Khaar6 dekh kar 1.uncontrollably 2.people of the homeland 3.mutual 4.treatment, interaction 5.blisters 6.thorns Uncontrollably, I remembered my people back home; seeing how blisters and thorns treat each other together. When the mad passionate lover wanders the desert looking for his beloved his feet get blisters. Thorns in the desert poke through the blisters, relieve his pain and in the process get ‘water’. Thus, looking at this mutual treatment the poet/lover/majnuN wandering the desert, thinks of the people of his homeland. This is the positive spin of ‘mutual treatment’. The other side could be that this mutual treatment is painful because thorns pierce blisters and make the wound bleed more and hurt more. Perhaps, the ‘people back home’ threw rocks at the madman when he wandered the streets. 5 kahtaa hai rashk1 yeh bhi kisi ke haiN muntazir2 zarroN3 pe naqsh4-e diida5-e bedaar6 dekh kar 1.envy 2.awaiting 3.particles, specks 4.impression, image 5.eyes 6.awake, alert Envy says these specks must also be waiting for someone; when I see the image ever-watchful eyes on every grain of sand. The mad passionate lover is wandering the desert. Of course, he is madly jealous of everyone and everything around. All there is around him is sand. His jealousy makes him perceive grains of sands as eyes, which are waiting for a glimpse of the beloved. Ghalib too, shows inordinate jealousy in … chhoRa na rashk ne ke tere’ dar ka naam luN har ek se poochhta huN keh jaauN kidhar ko maiN 6 phooloN ka bas1 nahiiN keh qadam2 baRh ke choom leN ek nau-bahaar3-e naaz4 ki raftaar5 dekh kar 1.control 2.step 3.new spring, newly blossomed 4.elegance, grace 5.movement, gait The flowers cannot control themselves and wish to step forward and kiss her feet; witnessing the elegant movement of the new spring/fresh blossom of grace. ‘nau-bahaar-e naaz’ is the beloved. ‘nau-bahaar’ might imply early adolescence. Flowers in the garden watch her graceful gait and cannot help themselves but want to kiss her feet. </...
Transcribe →naqsha aap ki tahriir ka-jaafar ali KhaaN asar lakhnavi
Jan 23, 2025Tap to summarizeFor word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://urdushahkar.org/wp-content/uploads/2025/01/mjaKhal-naqsha-aap-ki-tahriir-ka-audio.mp3 Recitation اُردو देवनागरी Roman Notes نقشہ آپ کی تحریر کا ۔ مرزا جعفر علی خاں اثرؔ لکھنوی ۱ شوق میں سُنّ ہو گیا تھا دل تیرے نخچیر کا ورنہ سینہ تان کر یوں زخم کھاتا تیر کا ۲ خط کو رکھ کر سامنے جو شکر کے سجدے کیے کھنچ گیا ماتھے پہ نقشہ آپ کی تحریر کا ۳ رخصتِ گفتار ہے اور طاقتِ دیدار ہے آپ سے بڑھ کر ہوں شیدا آپ کی تصویر کا ۴ منقلب جو قبر ہے جو کاسۂ سر چور ہے کارنامہ ہے جفا و جورِ چرخِ پیر کا ۵ دل سراپہ آرزو تھا اب سراسر درد ہے وہ عمل تدبیر کا تھا یہ لکھا تقدیر کا ۶ حسرتِ دیدار اسیری میں بھی اتنی ہے اثرؔ چشمِ حیرت زا ہے ہر حلقہ میری زنجیر کا नक्शा आप की तहरीर का । मिर्ज़ा जाफर अली ख़ाँ असरؔ लखनवी १ शौक़ में सन्न हो गया था दिल तेरे नख्चीर का वर्ना सीना तान कर यूँ ज़ख़्म खाता तीर का २ ख़त को रख कर सामने जो शुकर के सज्दे किए खिंच गया माथे पे नक्शा आप की तहरीर का ३ रुख़्सत-ए गुफ़्तार है और ताक़त-ए दीदार है आप से बढ़ कर हूँ शैदा आप की तस्वीर का ४ मुनक़लिब जो क़ब्र है जो कासा-ए सर चोर है कारनामा है जफ़ा व جور-ए चरख़-ए पीर का ५ दिल सरापा आरज़ू था अब सरासर दर्द है वो अमल तदबीर का था ये लिखा तक़दीर का ६ हसरत-ए दीदार असीरी में भी इतनी है असरؔ चश्म-ए हैरतज़ा है हर हलक़ा मेरी ज़ंजीर का 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, modeled after Ghalib’s ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’, is linked to Ghalib naqsh-e qadam. 1 shauq¹ meN sann² ho gaya tha dil tere naKhchiir3 ka varna4 siinah taan kar yuN zaKhm5 khaata tiir ka 1.passion, desire 2.stunned, dazed 3.prey 4.otherwise 5.wound I am your prey in the hunt and my heart was stunned with passion, otherwise, would it have taken the arrow’s wound on his broad chest. The naKhciir/prey is the poet/lover himself. Normally, the prey tries to escape the shots of the hunter but he was stunned and, in a trance, unable to figure out that he was targeted. Otherwise, would I have taken your arrow directly on my chest. This is a bit unusual. Usually, in poetic convention the prey is proud to take the arrow on his chest. 2 Khat¹ ko rakh kar saamne jo shukr² ke sajde³ kiye khiNch⁴ gaya maathe’⁵ pe naqsha⁶ aap ki tahriir⁷ ka 1.letter 2.gratitude 3.prostration, bowing 4.drawn, etched 5.forehead 6.imprint, design 7.writing Placing your letter before me, I bowed in gratitude so much that your words imprinted/etched themselves onto my forehead. People who pray, bow down in prostration, regularly sometimes get a permanent haematoma stain on their forehead. The poet reverently worships the beloved’s letter, giving it equivalence to ritual namaaz. 3 ruKhsat¹-e guftaar² hai aur taaqat³-e diidaar⁴ hai aap se baRh⁵ kar huN shaida⁶ aap ki tasviir⁷ ka 1.permission 2.speech 3.strength 4.sight, looking 5.more than 6.devoted, infatuated It gives me permission to speak, I have the strength/capacity to look at it, even more than of you, I am an admirer of your image. The poet highlights a paradox: his devotion to the beloved’s image overshadows direct interaction, suggesting the many ways that the beloved disallows him access to her. She does not allow him to speak and is much too dazzling for him to bear to look at her. 4 munqalib¹ jo qabr² hai jo kaasa³-e sar chuur4 hai kaarnama5 hai jafa6-o-jaur7-e charKh8-e piir9 ka 1.overturned, shattered 2.grave 3.bowl 4.broken, shattered 5.feat, accomplishment 6.cruelty 7.oppression 8.heavens, fate 9.old, ancient This grave that is dug up and turned upside down, and skull like a begging bowl that is shattered, this is the work of the ancient heavens’ cruelty and oppression. The poet is talking about his own grave and offering the upturned grave and shattered head as evidence of the cruelty of fate towards him. 5 dil saraapaa1 aarzu2 tha ab saraasar3 dard hai voh amal4 tadbiir5 ka tha yeh likha taqdiir6 ka 1.head to toe, completely, entirely 2.desire 3.end to end, entirely 4.action, deed 5.effort, strategy 6.destiny My heart, once the embodiment longing, is now consumed by pain; those actions were of planning, and this is destiny’s decree. The poet thinks that his act of aarzu was a matter of choice, and the pain that resulted from the unfulfilled aarzu/desire is the inevitability of fate. It is a bit unusual for the poet/lover to think that he had a choice in his desire. 6 hasrat¹-e diidaar² asiiri³ meN bhi itni hai asar4 chashm5-e hairat-zaa6 hai har halqa7 meri zanjiir8 ka 1.yearning, longing 2.sight, meeting 3.captivity, imprisonment 4.pen-name 5.eye 6.full of wonder, astonishing 7.circle, link 8.chain Even in captivity, the yearning for the sight of the beloved is so intense, O asar, that every link of my chain becomes an eye filled with astonishment. 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, modeled after Ghalib’s ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’, is linked to Ghalib naqsh-e qadam. 1 shauq¹ meN sann² ho gaya tha dil tere naKhchiir3 ka varna4 siinah taan kar yuN zaKhm5 khaata tiir ka 1.passion, desire 2.stunned, dazed 3.prey 4.otherwise 5.wound I am your prey in the hunt and my heart was stunned with passion, otherwise, would it have taken the arrow’s wound on his broad chest. The naKhciir/prey is the poet/lover himself. Normally, the prey tries to escape the shots of the hunter but he was stunned and, in a trance, unable to figure out that he was targeted. Ot...
Transcribe →be-rabti-e taqriir ka-jaafar ali KhaaN asar lakhnavi
Jan 23, 2025Tap to summarizeFor word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://urdushahkar.org/wp-content/uploads/2025/01/mjaKhal-be-rabti-e-taqriir-ka-audio.mp3 Recitation اُردو देवनागरी Roman Notes بے ربطیِ تقریر کا ۔ مرزا جعفر علی خاں اثرؔ لکھنوی ۱ نقش اُبھرا اِس قدر رعنا تری تصویر کا شغل ہے لغزش نگاری کاتبِ تقدیر کا ۲ کارفرما کیا کروں لِکّھا میری تقدیر کا اِک نہ اِک پہلو نکلتا ہی رہا تدبیر کا ۳ اِس سے بہتر تھا تغافل او کرم ناآشنا درد مندوں سے گِلا بے ربطیِ تقریر کا ۴ میں نے مانا پرتوِ حسنِ حقیقت ہے مجاز رنگ سے خالی ہے لیکن آئینہ تصویر کا ۵ جیسی بھی چاہے قسم لے لے جو کچھ سمجھا ہوں میں لذّتوں میں گم ہوا مطلب تری تقریر کا बे रब्ती-ए तक़्रीर का – मिर्ज़ा जाफ़र अली ख़ाँ असर लखनवी १ नक़्श उभरा इस क़दर रा’ना तेरी तस्वीर का शुग़्ल है लग़्ज़िश निगारी कातिब-ए तक़्दीर का २ कार-फ़रमा क्या करूँ लिक्खा मेरी तक़्दीर का एक न एक पहलू निकलता ही रहा तद्बीर का ३ इस से बेहतर था तग़ाफ़ुल ओ करम-ना-आश्ना दर्दमंदौं से गिला बे-रब्ती-ए तक़्रीर का ४ मैं ने माना परतव-ए हुस्न-ए हक़ीक़त है मजाज़ रंग से ख़ाली है लैकिन आईना तस्वीर का ५ जैसी भी चाहे क़सम ले ले जो कुछ समझा हूँ मैं लज़्ज़तौं में गुम हुआ मतलब तेरी तक़्रीर का 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, modeled after Ghalib’s ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’, is linked to Ghalib naqsh-e qadam. 1 naqsh¹ ubhra is qadar² r’aana³ teri tasviir ka shuGh’l⁴ hai laGhzish⁵-nigaari⁶ kaatib⁷-e taqdiir⁸ ka 1.image, form 2.extent, so much 3.charming, graceful 4.pasttime, occupation 5.error, slip 6.portrayal, sketching 7.scribe 8.destiny The image of the beloved that has emerged is so beautiful and graceful that it causes laGhzish/stumbling among her admirers/lovers as if it is written into their fate as a necessary corollary of the grace of her image. Thus, it seems that the pasttime of the ‘kaatib-e taqdiir’- writer/author of fate is to create sketches of stumbling/laGhzish. 2 kaar-farma¹ kya karuN likkha meri taqdiir² ka ek na ek pahlu³ nikalta⁴ hi raha tadbiir⁵ ka 1.one in charge, ruler 2.destiny 3.aspect, side 4.emerges 5.planning, strategy The poet is addressing god or whoever it is who has written his fate. He says, whatever I plan/strategize some new aspect of my strategy emerges. I think the implication is that this is an unexpected and difficult aspect of the strategy. Thus, the complaint that he does not seem to be able to do anything about what is written in his fate. 3 iss se behtar1 tha taGhaaful2 o karam-na-aashna³ dard-mandoN⁴ se gila⁵ be-rabti⁶-e taqriir⁷ ka 1.better 2.indifference, neglect 3.unfamiliar with kindness/grace, beloved 4.grief stricken 5.complaint 6.incoherence 7.speech, expression It would have been better to remain indifferent, O unkind one, than to complain about incoherence to those already in pain. The beloved is characterized as unfamiliar with kindness. In urdu poetic tradition, she is always cruel to her admirers. The poet/lover may have appealed to her and presented his love. She chastizes him that his words are incoherent. It would have been much better if she had simply taken her usual position – indifference. This accusation of incoherence is insult added to injury. 4 maiN ne maana partav¹-e husn²-e haqiiqat³ hai majaaz⁴ raNg⁵ se Khaali hai laikin aaina tasviir ka 1.reflection, shadow, image 2.beauty 3.reality, divine 4.illusion 5.color, life, qualities I accept that the reflection of true beauty is an illusion, yet the mirror of this portrait remains lifeless. ‘husn-e haqiiqat’ – beauty/glory of reality is the glory of the divine. This world/cosmos is but a reflection of that beauty. The poet/sufi agrees with that but qualifies it by saying that this illusion of reality is devoid of any colour/qualities of the divine. 5 jaisi bhi chaahe qasam¹ le le jo kuch samjha huN maiN lazzatoN² meN gum³ hua matlab⁴ teri taqriir⁵ ka 1.oath, vow 2.pleasures, joys 3.lost 4.meaning 5.speech, discourse Make me swear by anything you like, if I understood any of your words. The meaning was completely lost in the pleasure of listening to you. The poet/lover is so stricken with her charming way of talking that he cannot get past the pleasure of enjoying listening to the beloved. He is so immersed in this pleasure that he cannot to the meaning. 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, modeled after Ghalib’s ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’, is linked to Ghalib naqsh-e qadam. 1 naqsh¹ ubhra is qadar² r’aana³ teri tasviir ka shuGh’l⁴ hai laGhzish⁵-nigaari⁶ kaatib⁷-e taqdiir⁸ ka 1.image, form 2.extent, so much 3.charming, graceful 4.pasttime, occupation 5.error, slip 6.portrayal, sketching 7.scribe 8.destiny The image of the beloved that has emerged is so beautiful and graceful that it causes laGhzish/stumbling among her admirers/lovers as if it is written into their fate as a necessary corollary of the grace of her image. Thus, it seems that the pasttime of the ‘kaatib-e taqdiir’- writer/author of fate is to create sketches of stumbling/laGhzish. 2 kaar-farma¹ kya karuN likkha meri taqdiir² ka ek na ek pahlu³ nikalta⁴ hi raha tadbiir⁵ ka 1.one in charge, ruler 2.destiny 3.aspect, side 4.emerges 5.planning, strategy The poet is addressing god or whoever it is who has written his fate. He says, whatever I plan/strategize some new aspect of my strategy emerges. I think the implication is that this is an unexpected and difficult aspect of the strategy. Thus, the complaint that he does not seem to be able to do anything about what is written in his fate. 3 iss se behtar1 tha taGhaaful2 o karam-na-aashna³ dard-mandoN⁴ se gila⁵ be-rabti⁶-e taqriir⁷ ka 1.better 2.indifference, neglect 3.unfamiliar with kindness/grace, beloved 4.grief stricken 5.complaint 6.incoherence 7.speech, expression It would have been better to remain indifferent, O unkind one, than to complain about incoherence to those already in pain. The beloved i...
Transcribe →daaGh farozaaN kiye hue-jaafar ali KhaaN asar lakhnavi
Jan 23, 2025Tap to summarizeFor word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://urdushahkar.org/wp-content/uploads/2025/01/mjaKhal-daaGh-farozaaN-kiye-huay-audio.mp3 Recitation اُردو देवनागरी Roman Notes داغ فروزاں کیے ہوئے ۔ مرزا جعفر علی خاں اثرؔ لکھنوی ۱ حشر اور اس کے بعد کا ساماں کیے ہوئے بیٹھا ہوں دل کے داغ فروزاں کیے ہوئے ۲ پھر دل ہے منتظر کسی یوسف جمال کا آنکھوں کو فرطِ شوق میں زنداں کیے ہوئے ۳ نظارہ ہے امیدِ تبسم میں گل بہ کف دل کو فدائے جنبش مژگاں کیے ہوئے ۴ پھر قتل گہ میں آئے ہیں کچھ مجرمانِ عشق سر کو بلند سینے کو عریاں کیے ہوئے ۵ ناخن بہ دل فراق میں رہتا ہوں روز و شب سینے کو چاک مثلِ گریباں کیے ہوئے ۶ تدبیر سوچتے رہے وہ التیام کی زخمِ جگر پہ سایۂ مژگاں کیے ہوئے ۷ خلوت میں دل کی آیا بصد غمزہ و ادا اک مستِ ناز پردۂ داماں کیے ہوئے ۸ کرتا ہوں شرح اپنے دلِ چاک چاک کی تارِ نفس کو تارِ گریباں کیے ہوئے ۹ صحرا نہیں ہے کوئی ہمارے مذاق کا بیٹھے ہیں اپنے گھر کو بیاباں کیے ہوئے ۱۰ جاتا ہوں نذر دینے اسے دل کی آیتیں آنکھوں کا نور زینتِ عنواں کیے ہوئے ۱۱ گرداب میں بلاؤں کے یا چشم خوں چکاں پنہاں ہر ایک قطرے میں طوفاں کیے ہوئے ۱۲ ساقی کا منتظر ہے ہر اک رند بادہ خوار شب کو طلوع مہر کا ساماں کیے ہوئے ۱۳ آلودگی جامع احرام دھو گئی پلٹے طوافِ کوچہ جاناں کیے ہوئے ۱۴ بکنے چلا ہے عشق کے بازار میں وہ شوخ عصمت کو اپنے حسن کا درباں کیے ہوئے ۱۵ پھر جوششِ نگاہ سے ابھرے ہیں داغِ عشق دامانِ دل کو رشکِ گلستاں کیے ہوئے ۱۶ پہنچے کا تیرے در پہ اثرؔ ایک دن ضرور آبادیِ خیال کو ویراں کیے ہوئے दाग़ फ़रोज़ाँ किये हुए – मिर्ज़ा जाफ़र अली ख़ां असर लखनवी १ हश्र और उस के बाद का सामां किये हुए बैठे हैं दिल के दाग़ फ़रोज़ाँ किये हुए २ फिर दिल है मुंतज़िर किसी यूसुफ़ जमाल का आंखौं को फ़र्त-ए शौक़ में ज़िंदां किये हुए ३ नज़्ज़ारा है उमीद-ए तबस्सुम में गुल ब-कफ़ दिल को फ़िदा-ए जुम्बिश-ए मिज़्श्गां किये हुए ४ फिर क़त्ल-गह में आए हैं कुछ मुज्रिमान-ए इश्क़ सर को बलंद सीने को उर्यां किये हुए ५ नाख़ुन ब-दिल फ़िराक़ में रहता हूँ रोज़ ओ शब सीने को चक मिस्ल-ए गरेबाँ किये हुए ६ तदबिर सोचते रहय वो इल्तियाम की ज़ख़्म-ए जिगर पे साया-ए मिज़्श्गां किये हुए ७ ख़लवत में दिल की आया ब-सद ग़म्ज़ा ओ अदा एक मस्त-ए नाज़ पर्दा-ए दामां किये हुए ८ करता हूं शर’ह अपना दिल-ए चाक-चाक की तार-ए नफ़स को तार-ए गरेबाँ किये हुए ९ सहरा नहीं है कोई हमारे मज़ाक़ का बैठे हैं अपने घर को बियाबां किये हुए १० जाता हुन नज़र डेने उसे दिल की आयतें आंखौं का नूर ज़ीनत-ए उन्वां किये हुए ११ गिर्दाब में बलाओं के या चश्म-ए ख़ूं-चकाँ पिन्हां हर एक क़तरे में तूफ़ां किये हुए १२ साक़ी का मुंतज़िर है हर एक रिंद-ए बादा-ख़्वार शब को तुलू-ए महर का सामां किये हुआ १३ आलूदगी-ए जामा-ए अहराम धो गई पलटे तवाफ़-ए कूचा-ए जानां किये हुए १४ बिकने चला है इश्क़ के बाज़ार में वो शूख़ इस्मत को अपने हुस्न का दर्बां किये हुआ १५ फिर जोशिश-ए निगाह से उभरे हैं दाग़-ए इश्क़ दामान-ए दिल को रश्क-ए गुलिस्ताँ किये हुए १६ पहुंचेगा तेर दर पे असर एक दिन ज़रूर आबादी-ए ख़याल को वीरां किये हुए 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 ‘muddat hui hai yaar ko mehmaaN kiye hue’, Ghalib naqsh-e qadam, Theme Index page. 1 hashr1 aur uss ke baad ka saamaaN2 kiye huay baiThay haiN dil ke daaGh3 farozaaN4 kiye huay 1.tumult, doomsday 2.arrangements 3.wounds 4.shine, brighten, set on fire The poet/lover is ready for the day of judgement. He has made all the arrangements. The scars/wounds of his heart are on fire, they are lit up so that when judgement is passed this evidence will be clearly seen and the beloved held to account. As opposed to this shaiKh ibrahim zauq says … ham nahiN vo jo kareN Khoon ka daa’va tujh par balkeh poochhega Khuda bhi to mukar jaa’eNge 2 phir dil hai muntazir1 kisi yusuf-jamaal2 ka aaNkhoN ko fart3-e shauq4 meN zindaaN5 kiye huay 1.waiting 2.beautiful like joseph 3.abundance, excess 4.desire 5.prison In the legends of Abrahamic faiths, yusuf/Joseph was supposed to have been very beautiful. Thus, the heart is once again waiting for that special someone of legendary beauty. There is such an excess of desire that the eyes have become like a prison. What does this mean? Does it mean that he intends to capture the image of his beloved in his eyes as soon as he is able to see her? I am not sure. 3 nazzaara1 hai umiid2-e tabassum3 meN gul4 ba-kaf5 dil ko fidaa6-e jumbish7-e mizshgaaN8 kiye huay 1.sight, eyes 2.hope 3.smile 4.rose 5.in hand 6.sacrificial offering 7.movement, fluttering 8.eyelashes My eyes wait with rose in hand hoping to see the beloved smile, sacrificing the heart to the fluttering of her eyelashes. 4 phir qatl-gah1 meN aa’e haiN kuchh mujrimaan2-e ishq sar ko baland3 siine ko uryaaN4 kiye huay 1.slaughterhouse 2.accused, criminals 3.high 4.naked, bare, exposed Once again, some who have been accused/convicted of the crime of love have been brought to the slaughterhouse. They hold their head up high and square their shoulders exposing their chest i.e., they show courage in the face of death. They are not remorseful or ashamed of their crime, in fact they are proud of it. 5 naaKhun1 ba-dil firaaq2 meN rahta huN roz-o-shab siine ko chaak3 misl4-e garebaaN5 kiye huay 1.fingernail 2.separation from the beloved 3.tear, rip apart 4.like, in the example of 5.shirt-front, collar In poetic convention the distressed lover tears his shirt-front and wanders like a madman looking for his beloved like the legendary majnuN. But the poet/lover goes a step further. He has ripped his bosom apart and digs into his heart with his fingernail, day and night, such is the intensity of pain of separation. 6 tadbiir1 sochte rahay voh iltiyaam2 ki zaKhm3-e jigar4 peh saaya-e mizshgaaN5 kiye huay <span class="tooltip-cla...
Transcribe →Khud-daari-e saahil meN hai-manohar lal bahaar
Jan 20, 2025Tap to summarizeFor word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”. https://urdushahkar.org/wp-content/uploads/2025/01/mlb-Khud-daari-e-saahil-meN-hai-Audio.mp3 Recitation اُردو देवनागरी Roman Notes خود داریِ ساحل میں ہے ۔ منوہر لال بہارؔ ۱ یاد بس اک بھولنے والے کی میرے دل میں ہے ہُو کا عالم ورنہ اس اُجڑی ہوئی منزل میں ہے ۲ ہم جو کرتے ہیں فرشتوں سے بھی یہ ممکن نہیں سر جھکا کعبہ کے اندر یاد اُن کی دل میں ہے ۳ خود اُبھرتے ہیں مری راہوں میں منزل کے نشاں یہ اثر اے خضر میرے جذبۂ کامل میں ہے ۴ دیکھنے والے فقط تصویرِ ظاہر پہ نہ جا زور طوفاں کا نہاں خودداریِ ساحل میں ہے ۵ ہو گئیں دونوں جہاں کی وسعتیں اس پر نثار درد کہتے ہیں جسے وہ چیز میرے دل میں ہے ۶ کھِنچ رہا ہے ہر قدم پر نقشہ امید و یاس کا کاروانِ زندگی کیا جانے کس منزل میں ہے ۷ لاکھوں پروانے کبھی کے خاک جل کر ہو گئے پوچھئے اب شمع کیوں جلتی ہوئی محفل میں ہے ۸ نیمجاں ہو کر رہا میں شامِ غربت میں بہارؔ اک قدم منزل کے باہر اک قدم منزل میں ہے ख़ुद-दारी-ए साहिल में है – मनोहर लाल बहार १ याद बस एक भूलने वाले कि मेरे दिल में है हू का आलम वरना इस उजढी हुई मंज़िल में है २ हम जो करते हैं फ़रिश्तौं से भी ये मुमकिन नहीं सर झुका काबे के अंदर याद उन की दिल में है ३ ख़ुद उभरते हैं मेरी राहौं में मंज़िल के निशां ये असर अए ख़िज़्र मेरे जज़्बा-ए कामिल में है ४ देखने वाले फ़क़त तस्वीर-ए ज़ाहेर पे न जा ज़ोर तूफ़ां का नेहां ख़ुद-दारि-ए साहिल में है ५ हो गईं दोनों जहां की वुस’अतें उस पर निसार दर्द कहते हैं जिसे वो चीज़ मेरे दिल में है ६ खिंच रहा है हर क़दम पर नक़्शा उमीद ओ यास का कारवान-ए ज़िंदगी क्या जाने किस मंज़िल में है ७ लाखों परवाने कभी के ख़ाक जल कर हो गये पूछिये अब शम’अ क्यूं जलती हुई महफ़िल में है ८ नीम-जां हो कर रहा मैं शाम-ए ग़ुर्बत में बहार एक क़दम मंज़िल के बाहर एक क़दम मंज़िल में 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 is linked to Ghalib naqsh-e qadam along with several others in the same zamin. 1 yaad bas ek bhoolne vaale ki mere dil meN hai huu1 ka aalam2 varna3 is ujRi hui manzil4 meN hai 1.desolation, stillness 2.condition, atmosphere 3.otherwise 4.stage towards the destination, path of love The poet/lover is on a journey towards his destination/love. It is hopeless and the path is desolate. The only thing that sustains him is the memory of the one who has forgotten him. 2 ham jo karte haiN farishtoN1 se bhi ye mumkin2 nahiN sar jhuka k’aabe ke andar yaad un ki dil meN hai 1.angels 2.possible That which we do is not possible even for angels to do. We bow our head at the k’aaba and carry her memories in our heart. The lover elevates the beloved to the same position as the divine. 3 Khud ubharte1 haiN meri raahoN meN manzil2 ke nishaaN3 ye asar4 aye Khizr5 mere jazba6-e kaamil7 meN hai 1.rise, emerge 2.destination 3.clues, directions 4.effect 5.legendary old man 6.emotions 7.complete, perfect The reference to Khizr is because he is supposed to know all the ways/paths of the world and he is the patron saint of all travelers. He is a guide. Thus, O Khizr, my emotions are so perfect/sincere that as I undertake my journey signs pointing towards my destination emerge by themselves. Said bahzad lakhnavi … aye jazba-e-dil gar maiN chaahuN har chiiz muqaabil aa jaaye manzil ke liye do gaam chaluN aur saamne manzil aa jaaye 4 dekhne vaale faqat1 tasviir2-e zaahir3 pe na jaa zor toofaaN ka nehaaN4 Khud-daari5-e saahil6 meN hai 1.only 2.picture, image 3.apparent, superficial 4.hidden 5.self-reliance 6.shoreline In poetic convention storms take place in the open sea/ocean. The shoreline is calm. The poet describes this calm as its ‘Khud-daari’. He says – O you who regard this scene, don’t look just at the superficial picture. In the calm of the shoreline is hidden the power of a storm. Perhaps he means this in the spirit of ‘still waters run deep’ – the calm shore carries the power of a storm. 5 ho gaiiN donoN jahaaN ki vus’ateN1 us par nisaar2 dard kahte haiN jise vo chiiz mere dil meN hai 1.expanse, range, realm 2.sacrificial offering In poetic tradition ‘dard’ is the most important feature of character. This can be a feeling of pain at the suffering of others. This is more valuable than any belief in god or observing of rituals. Because he has this feeling in his heart, the realms of the here and hereafter are both pay tribute to his heart. 6 khiNch1 raha hai har qadam2 par naqsha3 umiid4 o yaas5 ka kaarvaan-e zindagi kya jaane kis manzil6 meN hai 1.being drawn/written 2.step 3.sketch 4.hope 5.yearning 6.destination At every step a sketch of hope and yearning is being drawn and presented to the poet/seeker. He muses – I don’t know towards what destination the caravan of life is headed. This appears to be a hopeful development for the seeker. 7 laakhoN parvaane1 kabhi ke2 Khaak3 jal kar ho gaye poochhiye ab sham’a kyuN jalti hui mahfil4 meN hai 1.moths 2.an expression meaning-long ago 3.ashes 4.gathering In poetic tradition the moth is in love with the candle and sacrifices its life to get to the beloved (gets burnt). Thousands of moths have already been burnt to ashes. Ask why the lamp is still burning in the gathering. Other than this literal meaning, I am at a loss what the poet is trying to say. 8 niim-jaaN1 ho kar raha maiN shaam-e Ghurbat2 meN bahaar3 ek qadam4 manzil5 ke baahir6 ek qadam4 manzil5 meN hai 1.half-dead 2.exile 3.spring, pen-name of the poet 4.step 5.destination 6.outside The poet is in exile, away from home. He is missing home and is half-dead just because of that. His manzil/destination is death. He is halfway there … ek qadam andar ek qadam baahir. This is similar to a saying … ...
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