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aavaaz ke maqtal meN-chandrbhan Khayaal
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2025/08/chbhKh-aavaaz-ke-maqtal-meN-audio.mp3
Recitation
آواز کے مقتل میں ۔ چندر بھان خیالؔ
۱
پھر لَوٹ کے آیا ہوں تنہائی کے جنگل میں
اِک شہرِ تصوُّر ہے اِحساس کے ہر پل میں
۲
تو مِصر کی ملکہ ہے، میں یوسفِ کنعاں ہوں
افسوس مگر گُم ہیں تفریق کے دلدل میں
۳
انسان کی دنیا میں انساں ہے پریشاں کیوں
مچھلی تو نہیں ہوتی بے چین کبھی جل میں
۴
ہر فِکر کے چہرے پر سَو زخم ہیں ماضی کے
اِک لفظ نہیں زندہ آواز کے مقتل میں
۵
چُٹکی میں مسلتے ہیں تِنکے بھی پہاڑوں کو
جب خون سِمٹتا ہے مظلوم کے آنچل میں
۶
پھر چھوڑ دیا تنہا دنیا نے خیالؔ ہم کو
پھر ذہن پریشاں ہے جذبات کی ہلچل میں
आवाज़ के मक्तल में – चंद्रभान ख़याल
१
फिर लौट के आया हूँ तन्हाई के जंगल में
एक शहर-ए तसव्वुर है एहसास के हर पल में
२
तू मिस्र की मलिका है, मैं यूसुफ़ कन’आँ हूँ
अफ़्सोस मगर गुम हैं तफ़्रीक़ के दलदल में
३
इन्सान की दुनिया में इन्साँ है परेशां क्यूं
मछली तो नहीं होती बेचैन कभी जल में
४
हर फ़िक्र के चेहरे पर सौ ज़ख़्म हैं माज़ी के
एक लफ़्ज़ नहीं ज़िन्दा आवाज़ के मक़्तल में
५
चुटकी में मसलते हैं तिनके भी पहाढौं को
जब ख़ून सिमटता है मज़्लूम के आँचल में
६
फिर छोढ दिया तन्हा दुनिया ने ख़याल हम को
फिर ज़हन परेशां है जज़्बात की हलचल में
Click here for background and on any passage for word meanings and explanatory discussion. chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh. Graduated from saagar university. His rural school did not have provisions to teach urdu. He was fascinated with urdu poetry and in his village a philanthropist got a library built and stocked. Visiting the newly opened library, he memorized a lot of Ghazal and nazm from books in devanagiri. He also started composing nazm. Could not find anyone in the village to teach him urdu, not even the imaam at the local masjid. Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years. He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird. Participated in mushaa’era, published a collection and got started on a journalism career. Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli.
1
phir lauT1 ke aaya huN tanhaa’ii2 ke jangal meN
ek shah’r3-e tasavvur4 hai ehsaas5 ke har pal6 meN 1.returned 2.solitude 3.city, domain 4.imagination 5.feeling, emotion 6.moment
The poet returns to the metaphorical ‘forest of solitude’ – a state of deep inner isolation. Here ‘forest’ could symbolize and lush, green place of growth and/or directionless place where you wander with danger lurking at every turn. Yet, within each moment of emotional awareness, is a domain of imagination, of creativity in which the poet can compose verse and pour his feelings into it.
2
tuu misr1 ki malika2 hai, maiN yusuf3-e kan’aaN4 huN
afsos5 magar gum6 haiN tafriiq7 ke daldal8 meN 1.Egypt 2.queen 3.Joseph known for his legendary beauty 4.the tribe of yusuf 5.tragedy, regret 6.lost 7.division, separation 8.swamp, quagmire
Here the poet refers to the beloved as ‘misr ki maleka‘ – this could mean Cleopatra as the epitome of feminine beauty (it could also mean zulaiKha, but either symbolism works) and he refers the lover as ‘yusuf‘ – the epitome of male beauty. Thus the lover and the beloved consider each other to be the epitome of beauty and are madly in love but what a tragedy that they are lost in the quagmire of separation/division. This could due to class disctinction, communal or caste barriers – or other societal oppression.
3
insaan1 ki duniya meN insaaN hai pareshaaN2 kyuN
machhli to nahiiN hoti bechain3 kabhi jal4 meN 1.human 2.troubled, distressed 3.restless 4.water
This she’r questions the existential disquiet of human life. Just as a fish is naturally at peace in water, so should humans be in the world they’ve built. But unlike the fish, humans seem inherently restless, pointing to societal oppression or perhaps spiritual or moral disconnection.
4
har fikr1 ke chehre2 par sau zaKhm3 haiN maazi4 ke
ek lafz5 nahiiN zinda aavaaz6 ke maqtal7 meN 1.thought 2.face 3.wounds 4.past 5.word 6.voice 7.killing field, slaughterhouse
Every thought bears scars from the past – these wounds could be from suppression of speech, memories, traumas, regrets. In the ‘killing field’ of voice, even a single word cannot survive – perhaps due to censorship, suppression, emotional paralysis, silent suffering. Indifference of society can also be the ‘killing field’ of voice.
5
chuTki1 meN masalte2 hain tinke3 bhi pahaaRoN4 ko
jab Khoon simaT’ta5 hai mazloom6 ke aaNchal7 meN 1.a pinch, between fingers 2.to crush 3.straw, the powerless/oppressed 4.mountains, powerful/oppressor 5.gathers 6.oppressed 7.head covering, hem of the garment
The oppressed gain enormous moral strength in the face of injustice. Even the weakest ‘straws’ can crush mountains between their fingers, when the blood of the oppressed pools in their ‘aaNchal’. Also see, saahir ludhianavi- Khoon phir Khoon hai, maKhdoom mohiuddin – lumumba and ali sardar jafri – lahu pukaarta hai.
6
phir chhoR1 diya tanha2 duniya ne Khayaal3 hum ko
phir zahan4 pareshaaN5 hai jazbaat6 ki halchal7 meN 1.abandoned 2.alone 3.pen-name 4.mind 5.disturbed, agitated 6.emotions 7.unrest, confusion, activity, turbulence
Either the world has left Khayaal the poet alone to his own thoughts, or it has ignored his words/writings. In either case, in his solitude, his mind is once more agitated by a storm of emotions. The cyclical nature of isolation and inner turmoil underscores the poet’s personal and perhaps creative struggle.
chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh. Graduated from saagar university. His rural school did not have provisions to teach urdu. He was fascinated with urdu poetry and in his village a philanthropist got a library built and stocked. Visiting the newly opened library, he memorized a lot of Ghazal and nazm from books in devanagiri. He also started composing nazm. Could not find anyone in the village to teach him urdu, not even the imaam at the local masjid. Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years. He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird. Participated in mushaa’era, published a collection and got started on a journalism career. Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli.
1
phir lauT1 ke aaya huN tanhaa’ii2 ke jangal meN
ek shah’r3-e tasavvur4 hai ehsaas5 ke har pal6 meN
1.returned 2.solitude 3.city, domain 4.imagination 5.feeling, emotion 6.moment
The poet returns to the metaphorical ‘forest of solitude’ – a state of deep inner isolation. Here ‘forest’ could symbolize and lush, green place of growth and/or directionless place where you wander with danger lurking at every turn. Yet, within each moment of emotional awareness, is a domain of imagination, of creativity in which the poet can compose verse and pour his feelings into it.
2
tuu misr1 ki malika2 hai, maiN yusuf3-e kan’aaN4 huN
afsos5 magar gum6 haiN tafriiq7 ke daldal8 meN
1.Egypt 2.queen 3.Joseph known for his legendary beauty 4.the tribe of yusuf 5.tragedy, regret 6.lost 7.division, separation 8.swamp, quagmire
Here the poet refers to the beloved as ‘misr ki maleka‘ – this could mean Cleopatra as the epitome of feminine beauty (it could also mean zulaiKha, but either symbolism works) and he refers the lover as ‘yusuf‘ – the epitome of male beauty. Thus the lover and the beloved consider each other to be the epitome of beauty and are madly in love but what a tragedy that they are lost in the quagmire of separation/division. This could due to class disctinction, communal or caste barriers – or other societal oppression.
3
insaan1 ki duniya meN insaaN hai pareshaaN2 kyuN
machhli to nahiiN hoti bechain3 kabhi jal4 meN
1.human 2.troubled, distressed 3.restless 4.water
This she’r questions the existential disquiet of human life. Just as a fish is naturally at peace in water, so should humans be in the world they’ve built. But unlike the fish, humans seem inherently restless, pointing to societal oppression or perhaps spiritual or moral disconnection.
4
har fikr1 ke chehre2 par sau zaKhm3 haiN maazi4 ke
ek lafz5 nahiiN zinda aavaaz6 ke maqtal7 meN
1.thought 2.face 3.wounds 4.past 5.word 6.voice 7.killing field, slaughterhouse
Every thought bears scars from the past – these wounds could be from suppression of speech, memories, traumas, regrets. In the ‘killing field’ of voice, even a single word cannot survive – perhaps due to censorship, suppression, emotional paralysis, silent suffering. Indifference of society can also be the ‘killing field’ of voice.
5
chuTki1 meN masalte2 hain tinke3 bhi pahaaRoN4 ko
jab Khoon simaT’ta5 hai mazloom6 ke aaNchal7 meN
1.a pinch, between fingers 2.to crush 3.straw, the powerless/oppressed 4.mountains, powerful/oppressor 5.gathers 6.oppressed 7.head covering, hem of the garment
The oppressed gain enormous moral strength in the face of injustice. Even the weakest ‘straws’ can crush mountains between their fingers, when the blood of the oppressed pools in their ‘aaNchal’. Also see, saahir ludhianavi- Khoon phir Khoon hai, maKhdoom mohiuddin – lumumba and ali sardar jafri – lahu pukaarta hai.
6
phir chhoR1 diya tanha2 duniya ne Khayaal3 hum ko
phir zahan4 pareshaaN5 hai jazbaat6 ki halchal7 meN
1.abandoned 2.alone 3.pen-name 4.mind 5.disturbed, agitated 6.emotions 7.unrest, confusion, activity, turbulence
Either the world has left Khayaal the poet alone to his own thoughts, or it has ignored his words/writings. In either case, in his solitude, his mind is once more agitated by a storm of emotions. The cyclical nature of isolation and inner turmoil underscores the poet’s personal and perhaps creative struggle.
The post aavaaz ke maqtal meN-chandrbhan Khayaal appeared first on UrduShahkar.
View all episodes
By For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2025/08/chbhKh-aavaaz-ke-maqtal-meN-audio.mp3
Recitation
آواز کے مقتل میں ۔ چندر بھان خیالؔ
۱
پھر لَوٹ کے آیا ہوں تنہائی کے جنگل میں
اِک شہرِ تصوُّر ہے اِحساس کے ہر پل میں
۲
تو مِصر کی ملکہ ہے، میں یوسفِ کنعاں ہوں
افسوس مگر گُم ہیں تفریق کے دلدل میں
۳
انسان کی دنیا میں انساں ہے پریشاں کیوں
مچھلی تو نہیں ہوتی بے چین کبھی جل میں
۴
ہر فِکر کے چہرے پر سَو زخم ہیں ماضی کے
اِک لفظ نہیں زندہ آواز کے مقتل میں
۵
چُٹکی میں مسلتے ہیں تِنکے بھی پہاڑوں کو
جب خون سِمٹتا ہے مظلوم کے آنچل میں
۶
پھر چھوڑ دیا تنہا دنیا نے خیالؔ ہم کو
پھر ذہن پریشاں ہے جذبات کی ہلچل میں
आवाज़ के मक्तल में – चंद्रभान ख़याल
१
फिर लौट के आया हूँ तन्हाई के जंगल में
एक शहर-ए तसव्वुर है एहसास के हर पल में
२
तू मिस्र की मलिका है, मैं यूसुफ़ कन’आँ हूँ
अफ़्सोस मगर गुम हैं तफ़्रीक़ के दलदल में
३
इन्सान की दुनिया में इन्साँ है परेशां क्यूं
मछली तो नहीं होती बेचैन कभी जल में
४
हर फ़िक्र के चेहरे पर सौ ज़ख़्म हैं माज़ी के
एक लफ़्ज़ नहीं ज़िन्दा आवाज़ के मक़्तल में
५
चुटकी में मसलते हैं तिनके भी पहाढौं को
जब ख़ून सिमटता है मज़्लूम के आँचल में
६
फिर छोढ दिया तन्हा दुनिया ने ख़याल हम को
फिर ज़हन परेशां है जज़्बात की हलचल में
Click here for background and on any passage for word meanings and explanatory discussion. chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh. Graduated from saagar university. His rural school did not have provisions to teach urdu. He was fascinated with urdu poetry and in his village a philanthropist got a library built and stocked. Visiting the newly opened library, he memorized a lot of Ghazal and nazm from books in devanagiri. He also started composing nazm. Could not find anyone in the village to teach him urdu, not even the imaam at the local masjid. Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years. He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird. Participated in mushaa’era, published a collection and got started on a journalism career. Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli.
1
phir lauT1 ke aaya huN tanhaa’ii2 ke jangal meN
ek shah’r3-e tasavvur4 hai ehsaas5 ke har pal6 meN 1.returned 2.solitude 3.city, domain 4.imagination 5.feeling, emotion 6.moment
The poet returns to the metaphorical ‘forest of solitude’ – a state of deep inner isolation. Here ‘forest’ could symbolize and lush, green place of growth and/or directionless place where you wander with danger lurking at every turn. Yet, within each moment of emotional awareness, is a domain of imagination, of creativity in which the poet can compose verse and pour his feelings into it.
2
tuu misr1 ki malika2 hai, maiN yusuf3-e kan’aaN4 huN
afsos5 magar gum6 haiN tafriiq7 ke daldal8 meN 1.Egypt 2.queen 3.Joseph known for his legendary beauty 4.the tribe of yusuf 5.tragedy, regret 6.lost 7.division, separation 8.swamp, quagmire
Here the poet refers to the beloved as ‘misr ki maleka‘ – this could mean Cleopatra as the epitome of feminine beauty (it could also mean zulaiKha, but either symbolism works) and he refers the lover as ‘yusuf‘ – the epitome of male beauty. Thus the lover and the beloved consider each other to be the epitome of beauty and are madly in love but what a tragedy that they are lost in the quagmire of separation/division. This could due to class disctinction, communal or caste barriers – or other societal oppression.
3
insaan1 ki duniya meN insaaN hai pareshaaN2 kyuN
machhli to nahiiN hoti bechain3 kabhi jal4 meN 1.human 2.troubled, distressed 3.restless 4.water
This she’r questions the existential disquiet of human life. Just as a fish is naturally at peace in water, so should humans be in the world they’ve built. But unlike the fish, humans seem inherently restless, pointing to societal oppression or perhaps spiritual or moral disconnection.
4
har fikr1 ke chehre2 par sau zaKhm3 haiN maazi4 ke
ek lafz5 nahiiN zinda aavaaz6 ke maqtal7 meN 1.thought 2.face 3.wounds 4.past 5.word 6.voice 7.killing field, slaughterhouse
Every thought bears scars from the past – these wounds could be from suppression of speech, memories, traumas, regrets. In the ‘killing field’ of voice, even a single word cannot survive – perhaps due to censorship, suppression, emotional paralysis, silent suffering. Indifference of society can also be the ‘killing field’ of voice.
5
chuTki1 meN masalte2 hain tinke3 bhi pahaaRoN4 ko
jab Khoon simaT’ta5 hai mazloom6 ke aaNchal7 meN 1.a pinch, between fingers 2.to crush 3.straw, the powerless/oppressed 4.mountains, powerful/oppressor 5.gathers 6.oppressed 7.head covering, hem of the garment
The oppressed gain enormous moral strength in the face of injustice. Even the weakest ‘straws’ can crush mountains between their fingers, when the blood of the oppressed pools in their ‘aaNchal’. Also see, saahir ludhianavi- Khoon phir Khoon hai, maKhdoom mohiuddin – lumumba and ali sardar jafri – lahu pukaarta hai.
6
phir chhoR1 diya tanha2 duniya ne Khayaal3 hum ko
phir zahan4 pareshaaN5 hai jazbaat6 ki halchal7 meN 1.abandoned 2.alone 3.pen-name 4.mind 5.disturbed, agitated 6.emotions 7.unrest, confusion, activity, turbulence
Either the world has left Khayaal the poet alone to his own thoughts, or it has ignored his words/writings. In either case, in his solitude, his mind is once more agitated by a storm of emotions. The cyclical nature of isolation and inner turmoil underscores the poet’s personal and perhaps creative struggle.
chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh. Graduated from saagar university. His rural school did not have provisions to teach urdu. He was fascinated with urdu poetry and in his village a philanthropist got a library built and stocked. Visiting the newly opened library, he memorized a lot of Ghazal and nazm from books in devanagiri. He also started composing nazm. Could not find anyone in the village to teach him urdu, not even the imaam at the local masjid. Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years. He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird. Participated in mushaa’era, published a collection and got started on a journalism career. Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli.
1
phir lauT1 ke aaya huN tanhaa’ii2 ke jangal meN
ek shah’r3-e tasavvur4 hai ehsaas5 ke har pal6 meN
1.returned 2.solitude 3.city, domain 4.imagination 5.feeling, emotion 6.moment
The poet returns to the metaphorical ‘forest of solitude’ – a state of deep inner isolation. Here ‘forest’ could symbolize and lush, green place of growth and/or directionless place where you wander with danger lurking at every turn. Yet, within each moment of emotional awareness, is a domain of imagination, of creativity in which the poet can compose verse and pour his feelings into it.
2
tuu misr1 ki malika2 hai, maiN yusuf3-e kan’aaN4 huN
afsos5 magar gum6 haiN tafriiq7 ke daldal8 meN
1.Egypt 2.queen 3.Joseph known for his legendary beauty 4.the tribe of yusuf 5.tragedy, regret 6.lost 7.division, separation 8.swamp, quagmire
Here the poet refers to the beloved as ‘misr ki maleka‘ – this could mean Cleopatra as the epitome of feminine beauty (it could also mean zulaiKha, but either symbolism works) and he refers the lover as ‘yusuf‘ – the epitome of male beauty. Thus the lover and the beloved consider each other to be the epitome of beauty and are madly in love but what a tragedy that they are lost in the quagmire of separation/division. This could due to class disctinction, communal or caste barriers – or other societal oppression.
3
insaan1 ki duniya meN insaaN hai pareshaaN2 kyuN
machhli to nahiiN hoti bechain3 kabhi jal4 meN
1.human 2.troubled, distressed 3.restless 4.water
This she’r questions the existential disquiet of human life. Just as a fish is naturally at peace in water, so should humans be in the world they’ve built. But unlike the fish, humans seem inherently restless, pointing to societal oppression or perhaps spiritual or moral disconnection.
4
har fikr1 ke chehre2 par sau zaKhm3 haiN maazi4 ke
ek lafz5 nahiiN zinda aavaaz6 ke maqtal7 meN
1.thought 2.face 3.wounds 4.past 5.word 6.voice 7.killing field, slaughterhouse
Every thought bears scars from the past – these wounds could be from suppression of speech, memories, traumas, regrets. In the ‘killing field’ of voice, even a single word cannot survive – perhaps due to censorship, suppression, emotional paralysis, silent suffering. Indifference of society can also be the ‘killing field’ of voice.
5
chuTki1 meN masalte2 hain tinke3 bhi pahaaRoN4 ko
jab Khoon simaT’ta5 hai mazloom6 ke aaNchal7 meN
1.a pinch, between fingers 2.to crush 3.straw, the powerless/oppressed 4.mountains, powerful/oppressor 5.gathers 6.oppressed 7.head covering, hem of the garment
The oppressed gain enormous moral strength in the face of injustice. Even the weakest ‘straws’ can crush mountains between their fingers, when the blood of the oppressed pools in their ‘aaNchal’. Also see, saahir ludhianavi- Khoon phir Khoon hai, maKhdoom mohiuddin – lumumba and ali sardar jafri – lahu pukaarta hai.
6
phir chhoR1 diya tanha2 duniya ne Khayaal3 hum ko
phir zahan4 pareshaaN5 hai jazbaat6 ki halchal7 meN
1.abandoned 2.alone 3.pen-name 4.mind 5.disturbed, agitated 6.emotions 7.unrest, confusion, activity, turbulence
Either the world has left Khayaal the poet alone to his own thoughts, or it has ignored his words/writings. In either case, in his solitude, his mind is once more agitated by a storm of emotions. The cyclical nature of isolation and inner turmoil underscores the poet’s personal and perhaps creative struggle.
The post aavaaz ke maqtal meN-chandrbhan Khayaal appeared first on UrduShahkar.