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javaaN maa’loom hoti hai-shissh chandr saxena taalib dehlavi
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2025/10/shchstd-javaaN-maaloom-hoti-hai-audio.mp3
Recitation
جواں معلوم ہوتی ہے ۔ شیش چندر سکسینہ طالبؔ دہلوی
۱
شباب آگیں شرابِ ارغواں معلوم ہوتی ہے
یہ شام میکدا کتنی جواں معلوم ہوتی ہے
۲
یہاں محسوس ہوتی ہے! یہاں معلوم ہوتی ہے!
خلِش خارِ محبت کی کہاں معلوم ہوتی ہے
۳
یہ کب محتاجِ تشریح و بیاں معلوم ہوتی ہے
محبت آپ اپنی ترجماں معلوم ہوتی ہے
۴
رواں معلوم ہوتی ہے، دواں معلوم ہوتی ہے
محبت موجِ بحرِ بے کراں معلوم ہوتی ہے
۵
رہینِ مِنّتِ حسنِ بتاں معلوم ہوتی ہے
زمینِ کوئے جاناں آسماں معلوم ہوتی ہے
۶
نہاں معلوم ہوتی ہے، عیاں معلوم ہوتی ہے
محبت بھی خدائے دو جہاں معلوم ہوتی ہے
۷
محبّت اِبتدا اپنی محبت اِنتہا اپنی
محبت حاصلِ کون و مکاں معلوم ہوتی ہے
۸
نہیں کوئی بھی دِل ایسا بنائے جس میں گھر اپنا
محبت اِن دنوں بے خانماں معلوم ہوتی ہے
۹
محبت کو کبھی پابندِ این و آں نہیں پایا
محبت بے نیازِ این و آں معلوم ہوتی ہے
۱۰
سنا فرہاد کا قِصّہ، سنا مجنوں کا افسانہ
کہا تو یہ کہا، سب داستاں معلوم ہوتی ہے
۱۱
نہ فرق آیا ازل سے زینتِ گلزارِ ہستی میں
بہار اُس کی بہار جاوِداں معلوم ہوتی ہے
۱۲
ابھی چشمِ قبول اِس کی طرف مائل نہیں شاید
ابھی ہر سعی، سعیِ رائگاں معلوم ہوتی ہے
۱۳
یہ خوش فہمی ہے اپنی یا نگاہِ ناز کا جادو
‘نہیں’ بھی اب تو ظالم تیری ‘ہاں’ معلوم ہوتی ہے
۱۴
زباں طالبؔ کی ٹکسالی جو پائی سب نے فرمایا
یہ خاص الخاص دِلّی کی زباں معلوم ہوتی ہے
जवां मालूम होती है – शीश चंद्र सक्सेना तालिब़ देहलवी
१
शबाब-आगीं शराब-ए अरग़वाँ मालूम होती है
ये शाम-ए मैकदा कितनी जवां मालूम होती है
२
यहाँ महसूस होती है! यहाँ मालूम होती है!
ख़लिश ख़ार-ए मोहब्बत की कहाँ मालूम होती है
३
ये कब मोह्ताज-ए तश्रीह-ओ-बयां मालूम होती है
मोहब्बत आप अपनी तर्जुमाँ मालूम होती है
४
रवाँ मालूम होती है, दवाँ मालूम होती है
मोहब्बत मौज-ए बहर-ए बेकराँ मालूम होती है
५
रहीन-ए मिन्नत-ए हुस्न-ए बुताँ मालूम होती है
ज़मीन-ए कू-ए जानां आसमाँ मालूम होती है
६
नेहाँ मालूम होती है, अयाँ मालूम होती है
मोहब्बत भी ख़ुदा-ए दो जहाँ मालूम होती है
७
मोहब्बत इब्तेदा अपनी, मोहब्बत इन्तेहा अपनी
मोहब्बत हासिल-ए कौन-ओ-मकाँ मालूम होती है
८
नहीं कोई भी दिल ऐसा बनाए जिस में घर अपना
मोहब्बत इन दिनों बे-ख़ानुमाँ मालूम होती है
९
मोहब्बत को कभी पाबंद-ए ईन-ओ-आँ नहीं पाया
मोहब्बत बेनियाज़-ए ईन-ओ-आँ मालूम होती है
१०
सुना फ़रहाद का क़िस्सा, सुना मजनूँ का अफ़्साना
कहा तो ये कहा, सब दास्ताँ मालूम होती है
११
न फ़र्क़ आया अज़ल से ज़ीनत-ए गुलज़ार-ए हस्ती में
बहार उस की बहार-ए जावेदाँ मालूम होती है
१२
अभी चश्म-ए क़बूल इस की तरफ़ मा’एल नहीं शा’एद
अभी हर सई, सई-ए रा’एगाँ मालूम होती है
१३
ये ख़ुश-फ़हमी है अपनी या निगाह-ए नाज़ का जादू
‘नहीं’ भी अब तो ज़ालिम तेरी ‘हाँ’ मालूम होती है
१४
ज़बाँ तालिब़ की टकसाली जो पाई सब ने फ़रमाया
ये ख़ास-उल-ख़ास दिल्ली की ज़बाँ मालूम होती है
Click here for background and on any passage for word meanings and explanatory discussion. taalib dehlavi-shiish chandr saxena (1910-1975), born and raised in ambaala. High school, 1925. After some interruption, BA (1935) from Hindu College, dehli. Started composing in 1927; shaagird of munshi maharaaj barq dehlavi. He may have been independently wealthy. He writes about frequent mushaa’era held at his house. He collected and compiled the works of munshi maharaj barq dehlavi, ramprakash sahir hoshiarpuri and chandrbhan kaifi dehlavi, which might otherwise have been lost. In addition, he compiled a collection called ‘hamaare husain’, elegies composed by non-muslim shu’ara as tributes to husain and karbala. This Ghazal is linked to other ham-radeef Ghazaliyaat on the Refrain Index page.
1
shabaab-aagiiN1 sharaab-e arGhavaaN2 maa’loom hoti hai,
ye shaam-e maikada3 kitni javaaN4 maa’loom hoti hai. 1.brimming with youth/vigour 2.red 3.tavern 4.youthful
The evening in the tavern (maikada) is likened to red/crimson (arGhavaaN) and charged with youth (shabaab-aagiiN) – using visual and sensory metaphor to describe the joyous evening. It is probably about the specific evening of the mushaa’era where the poet was invited to read his Ghazal.
2
yahaaN mahsoos1 hoti hai! yahaaN maa’loom hoti hai!
Khalish2 Khaar3-e mohabbat ki kahaaN maa’loom hoti hai 1.felt, sensed 2.sting, prick, pinch 3.thorn
A thorn of love leaves a sting (Khalish), but that pain can be felt only here and nowhere else. The ‘here’ could refer to the tavern/gathering/mushaa’era where the poet is reading his Ghazal. It can be felt only here and nowhere else because other discerning people – poets and audience are present to feel it.
3
ye kab mohtaaj1-e tashreeh2-o-bayaaN3 maa’loom hoti hai,
mohabbat aap apni tarjumaaN4 maa’loom hoti hai 1.dependent, in need of 2.explanation 3.expression 4.interpreter
Love doesn’t need explanation (tashreeh) or expression (bayaaN); it is its own interpreter (tarjumaaN). Love can be felt, speaks for itself, does not need to be put in words, does not need an explanation.
4
ravaaN1 maa’loom hoti hai, davaaN2 maa’loom hoti hai,
mohabbat mauj3-e bahr4-e bekaraaN5 maa’loom hoti hai 1.flowing 2.moving, dynamic, energetic 3.wave 4.ocean 5.boundless, vast
Love is dynamic/full of energy (davaaN) and appears to be flowing (ravaaN). Its energy/dynamism is like a wave in a boundless ocean (mauj-e bahr-e bekaraaN).
5
rahiin1-e minnat2-e husn3-e butaaN4 maa’loom hoti hai,
zamiin-e kuu5-e jaanaaN6 aasmaaN7 maa’loom hoti hai 1.mortgaged to, indebted to 2.pleading, begging 3.beauty 4.idols, beloved 5.street 6.beloved 7.sky, heaven
The beloved’s street (kuu-e jaanaaN) seems heavenly (aasmaaN), though it’s just earthly ground. This is so because the beloved walks there and the land seems to be indebted to the beauty of the beloved; it pleads/begs (perhaps reflecting that the beloved treads on it).
6
nihaaN1 maa’loom hoti hai, ayaaN2 maa’loom hoti hai,
mohabbat bhi Khuda-e do-jahaaN3 maa’loom hoti hai 1.hidden, unseen 2.apparent, seen 3.two worlds
Love seems both hidden (nihaaN) and apparent (ayaaN); it rules both worlds (do jahaaN), as if it has divine characteristics. Love is elevated to divine status, bridging the unseen and seen.
7
mohabbat ibtedaa1 apni, mohabbat intehaa2 apni,
mohabbat haasil3-e kaun-o-makaaN4 maa’loom hoti hai 1.beginning 2.end 3.net result, essence 4.space and time, universe
Love is its own beginning (ibteda) and end (inteha) – perhaps the poet means that it is the basis of existence and will endure until the end of all existence. It is the essence (haasil) of all cosmos (kaun-o-makaaN), suggesting that love is cosmic, eternal, and self-sufficient.
8
nahiiN koi bhi dil aisa banaa’e jis meN ghar apna
mohabbat in-dinoN1 be-KhaanumaaN2 maa’loom hoti hai 1.these days, nowadays 2.homeless
This Ghazal is dated May 1949, with the trauma of partition and rioting still fresh in minds. There is no heart in which it can make a home. Nowadays, love seems homeless (be-KhaanumaaN).
9
mohabbat ko kabhi paaband1-e iin-o-aaN2 nahiiN paaya
mohabbat be-niaaz3-e iin-o-aaN2 maa’loom hoti hai 1.bound by 2.that and that, trivialities, rituals 3.indifferent, free of
Love is never bound by hypocricy or trivial rituals (iin-o-aaN); it is independent of conditions and constraints.
10
suna farhaad1 ka qissa2, suna majnooN3 ka afsaana4
kahaa to ye kahaa, sab daastaaN5 maa’loom hoti hai 1.of shiiriiN-farhaad legend 2.story 3.of laila majnuN fame 4.legend 5.fictional story
The poet relates the tale of farhaad and majnooN to the beloved perhaps in the hope that hearing the stories of these ideal lovers, his own love might be re-inforced in her mind. She hears all this and all she has to say is, ‘it all now feels like a fairytale (daastaaN) – fairy tale. The poet/narrator does not get any credit.
11
na farq1 aaya azal2 se ziinat3-e gulzaar4-e hasti5 meN
bahaar6 us ki bahaar-e jaavedaaN7 maa’loom hoti hai 1.difference, change 2.beginning of time 3.adornment, beauty 4.garden 5.existence 6.spring 7.eternal
The poet could be talking about the beauty of the garden of existence ziinat-e gulzaar-e hasti – there has been no change in it from the beginning of time; it is as if it exists in a sate of ‘forever-spring’. This could be a tribute to the handiwork of god who made such a perfect universe. Alternatively, and perhaps more likely – the beloved is the ziinat of the gulzaar-e hasti; there has been no change in the beauty of the beloved since the beginning of time. Her beauty is like a forever-spring.
12
abhi chashm1-e qubool2 is ki taraf3 maa’el4 nahiiN shaa’ed5
abhi har6 sa’ii7, sa’ii-e raa’egaaN8 maa’loom hoti hai 1.eye, gaze, glance 2.acceptance 3.in the direction of, towards 4.inclined, favourable 5.perhaps 6.every 7.effort 8.futile
The gaze of acceptance (chashm-e qubool) isn’t turning this way yet – whose gaze and towards what? Perhaps the beloved’s gaze and towards the efforts/entreaties of the poet/lover; so every effort still feels futile (raa’egaaN).
13
ye Khush-fahmi1 hai apni ya nigaah2-e naaz3 ka jaaduu
‘nahiiN’ bhi ab to zaalim4 teri ‘haaN’ maa’loom hoti hai 1.self-deception, wishful thinking 2.glance 3.coquetry, playfulness 4.tyrant, beloved
Is this my wishful thinking or the magic of your teasing gaze? Even your ‘no’ now feels like a ‘yes’. A classic lover’s delusion, spun with irony and charm. On the one side the beloved is playful and teasing without committing to love and on the other the lover is delusional.
14
zabaaN1 taalib2 ki Taksaali3 jo paa’ii sab ne farmaaya4
ye Khaas-ul-Khaas5 dilli ki zabaaN maa’loom hoti hai 1.language 2.pen-name 3.minted, not counterfeit, authentic 4.said 5.very special
In classical urdu literary circles the rivalry between centres of urdu is legendary, particularly between dehli and lakhnau. This is probably a playful expression of that rivalry by a poet who was born and raised in dehli. When they heard the words of taalib everyone said, this sounds very special and genuine language of dehli.
taalib dehlavi-shiish chandr saxena (1910-1975), born and raised in ambaala. High school, 1925. After some interruption, BA (1935) from Hindu College, dehli. Started composing in 1927; shaagird of munshi maharaaj barq dehlavi. He may have been independently wealthy. He writes about frequent mushaa’era held at his house. He collected and compiled the works of munshi maharaj barq dehlavi, ramprakash sahir hoshiarpuri and chandrbhan kaifi dehlavi, which might otherwise have been lost. In addition, he compiled a collection called ‘hamaare husain’, elegies composed by non-muslim shu’ara as tributes to husain and karbala. This Ghazal is linked to other ham-radeef Ghazaliyaat on the Refrain Index page.
1
shabaab-aagiiN1 sharaab-e arGhavaaN2 maa’loom hoti hai,
ye shaam-e maikada3 kitni javaaN4 maa’loom hoti hai.
1.brimming with youth/vigour 2.red 3.tavern 4.youthful
The evening in the tavern (maikada) is likened to red/crimson (arGhavaaN) and charged with youth (shabaab-aagiiN) – using visual and sensory metaphor to describe the joyous evening. It is probably about the specific evening of the mushaa’era where the poet was invited to read his Ghazal.
2
yahaaN mahsoos1 hoti hai! yahaaN maa’loom hoti hai!
Khalish2 Khaar3-e mohabbat ki kahaaN maa’loom hoti hai
1.felt, sensed 2.sting, prick, pinch 3.thorn
A thorn of love leaves a sting (Khalish), but that pain can be felt only here and nowhere else. The ‘here’ could refer to the tavern/gathering/mushaa’era where the poet is reading his Ghazal. It can be felt only here and nowhere else because other discerning people – poets and audience are present to feel it.
3
ye kab mohtaaj1-e tashreeh2-o-bayaaN3 maa’loom hoti hai,
mohabbat aap apni tarjumaaN4 maa’loom hoti hai
1.dependent, in need of 2.explanation 3.expression 4.interpreter
Love doesn’t need explanation (tashreeh) or expression (bayaaN); it is its own interpreter (tarjumaaN). Love can be felt, speaks for itself, does not need to be put in words, does not need an explanation.
4
ravaaN1 maa’loom hoti hai, davaaN2 maa’loom hoti hai,
mohabbat mauj3-e bahr4-e bekaraaN5 maa’loom hoti hai
1.flowing 2.moving, dynamic, energetic 3.wave 4.ocean 5.boundless, vast
Love is dynamic/full of energy (davaaN) and appears to be flowing (ravaaN). Its energy/dynamism is like a wave in a boundless ocean (mauj-e bahr-e bekaraaN).
5
rahiin1-e minnat2-e husn3-e butaaN4 maa’loom hoti hai,
zamiin-e kuu5-e jaanaaN6 aasmaaN7 maa’loom hoti hai
1.mortgaged to, indebted to 2.pleading, begging 3.beauty 4.idols, beloved 5.street 6.beloved 7.sky, heaven
The beloved’s street (kuu-e jaanaaN) seems heavenly (aasmaaN), though it’s just earthly ground. This is so because the beloved walks there and the land seems to be indebted to the beauty of the beloved; it pleads/begs (perhaps reflecting that the beloved treads on it).
6
nihaaN1 maa’loom hoti hai, ayaaN2 maa’loom hoti hai,
mohabbat bhi Khuda-e do-jahaaN3 maa’loom hoti hai
1.hidden, unseen 2.apparent, seen 3.two worlds
Love seems both hidden (nihaaN) and apparent (ayaaN); it rules both worlds (do jahaaN), as if it has divine characteristics. Love is elevated to divine status, bridging the unseen and seen.
7
mohabbat ibtedaa1 apni, mohabbat intehaa2 apni,
mohabbat haasil3-e kaun-o-makaaN4 maa’loom hoti hai
1.beginning 2.end 3.net result, essence 4.space and time, universe
Love is its own beginning (ibteda) and end (inteha) – perhaps the poet means that it is the basis of existence and will endure until the end of all existence. It is the essence (haasil) of all cosmos (kaun-o-makaaN), suggesting that love is cosmic, eternal, and self-sufficient.
8
nahiiN koi bhi dil aisa banaa’e jis meN ghar apna
mohabbat in-dinoN1 be-KhaanumaaN2 maa’loom hoti hai
1.these days, nowadays 2.homeless
This Ghazal is dated May 1949, with the trauma of partition and rioting still fresh in minds. There is no heart in which it can make a home. Nowadays, love seems homeless (be-KhaanumaaN).
9
mohabbat ko kabhi paaband1-e iin-o-aaN2 nahiiN paaya
mohabbat be-niaaz3-e iin-o-aaN2 maa’loom hoti hai
1.bound by 2.that and that, trivialities, rituals 3.indifferent, free of
Love is never bound by hypocricy or trivial rituals (iin-o-aaN); it is independent of conditions and constraints.
10
suna farhaad1 ka qissa2, suna majnooN3 ka afsaana4
kahaa to ye kahaa, sab daastaaN5 maa’loom hoti hai
1.of shiiriiN-farhaad legend 2.story 3.of laila majnuN fame 4.legend 5.fictional story
The poet relates the tale of farhaad and majnooN to the beloved perhaps in the hope that hearing the stories of these ideal lovers, his own love might be re-inforced in her mind. She hears all this and all she has to say is, ‘it all now feels like a fairytale (daastaaN) – fairy tale. The poet/narrator does not get any credit.
11
na farq1 aaya azal2 se ziinat3-e gulzaar4-e hasti5 meN
bahaar6 us ki bahaar-e jaavedaaN7 maa’loom hoti hai
1.difference, change 2.beginning of time 3.adornment, beauty 4.garden 5.existence 6.spring 7.eternal
The poet could be talking about the beauty of the garden of existence ziinat-e gulzaar-e hasti – there has been no change in it from the beginning of time; it is as if it exists in a sate of ‘forever-spring’. This could be a tribute to the handiwork of god who made such a perfect universe. Alternatively, and perhaps more likely – the beloved is the ziinat of the gulzaar-e hasti; there has been no change in the beauty of the beloved since the beginning of time. Her beauty is like a forever-spring.
12
abhi chashm1-e qubool2 is ki taraf3 maa’el4 nahiiN shaa’ed5
abhi har6 sa’ii7, sa’ii-e raa’egaaN8 maa’loom hoti hai
1.eye, gaze, glance 2.acceptance 3.in the direction of, towards 4.inclined, favourable 5.perhaps 6.every 7.effort 8.futile
The gaze of acceptance (chashm-e qubool) isn’t turning this way yet – whose gaze and towards what? Perhaps the beloved’s gaze and towards the efforts/entreaties of the poet/lover; so every effort still feels futile (raa’egaaN).
13
ye Khush-fahmi1 hai apni ya nigaah2-e naaz3 ka jaaduu
‘nahiiN’ bhi ab to zaalim4 teri ‘haaN’ maa’loom hoti hai
1.self-deception, wishful thinking 2.glance 3.coquetry, playfulness 4.tyrant, beloved
Is this my wishful thinking or the magic of your teasing gaze? Even your ‘no’ now feels like a ‘yes’. A classic lover’s delusion, spun with irony and charm. On the one side the beloved is playful and teasing without committing to love and on the other the lover is delusional.
14
zabaaN1 taalib2 ki Taksaali3 jo paa’ii sab ne farmaaya4
ye Khaas-ul-Khaas5 dilli ki zabaaN maa’loom hoti hai
1.language 2.pen-name 3.minted, not counterfeit, authentic 4.said 5.very special
In classical urdu literary circles the rivalry between centres of urdu is legendary, particularly between dehli and lakhnau. This is probably a playful expression of that rivalry by a poet who was born and raised in dehli. When they heard the words of taalib everyone said, this sounds very special and genuine language of dehli.
The post javaaN maa’loom hoti hai-shissh chandr saxena taalib dehlavi appeared first on UrduShahkar.
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By For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2025/10/shchstd-javaaN-maaloom-hoti-hai-audio.mp3
Recitation
جواں معلوم ہوتی ہے ۔ شیش چندر سکسینہ طالبؔ دہلوی
۱
شباب آگیں شرابِ ارغواں معلوم ہوتی ہے
یہ شام میکدا کتنی جواں معلوم ہوتی ہے
۲
یہاں محسوس ہوتی ہے! یہاں معلوم ہوتی ہے!
خلِش خارِ محبت کی کہاں معلوم ہوتی ہے
۳
یہ کب محتاجِ تشریح و بیاں معلوم ہوتی ہے
محبت آپ اپنی ترجماں معلوم ہوتی ہے
۴
رواں معلوم ہوتی ہے، دواں معلوم ہوتی ہے
محبت موجِ بحرِ بے کراں معلوم ہوتی ہے
۵
رہینِ مِنّتِ حسنِ بتاں معلوم ہوتی ہے
زمینِ کوئے جاناں آسماں معلوم ہوتی ہے
۶
نہاں معلوم ہوتی ہے، عیاں معلوم ہوتی ہے
محبت بھی خدائے دو جہاں معلوم ہوتی ہے
۷
محبّت اِبتدا اپنی محبت اِنتہا اپنی
محبت حاصلِ کون و مکاں معلوم ہوتی ہے
۸
نہیں کوئی بھی دِل ایسا بنائے جس میں گھر اپنا
محبت اِن دنوں بے خانماں معلوم ہوتی ہے
۹
محبت کو کبھی پابندِ این و آں نہیں پایا
محبت بے نیازِ این و آں معلوم ہوتی ہے
۱۰
سنا فرہاد کا قِصّہ، سنا مجنوں کا افسانہ
کہا تو یہ کہا، سب داستاں معلوم ہوتی ہے
۱۱
نہ فرق آیا ازل سے زینتِ گلزارِ ہستی میں
بہار اُس کی بہار جاوِداں معلوم ہوتی ہے
۱۲
ابھی چشمِ قبول اِس کی طرف مائل نہیں شاید
ابھی ہر سعی، سعیِ رائگاں معلوم ہوتی ہے
۱۳
یہ خوش فہمی ہے اپنی یا نگاہِ ناز کا جادو
‘نہیں’ بھی اب تو ظالم تیری ‘ہاں’ معلوم ہوتی ہے
۱۴
زباں طالبؔ کی ٹکسالی جو پائی سب نے فرمایا
یہ خاص الخاص دِلّی کی زباں معلوم ہوتی ہے
जवां मालूम होती है – शीश चंद्र सक्सेना तालिब़ देहलवी
१
शबाब-आगीं शराब-ए अरग़वाँ मालूम होती है
ये शाम-ए मैकदा कितनी जवां मालूम होती है
२
यहाँ महसूस होती है! यहाँ मालूम होती है!
ख़लिश ख़ार-ए मोहब्बत की कहाँ मालूम होती है
३
ये कब मोह्ताज-ए तश्रीह-ओ-बयां मालूम होती है
मोहब्बत आप अपनी तर्जुमाँ मालूम होती है
४
रवाँ मालूम होती है, दवाँ मालूम होती है
मोहब्बत मौज-ए बहर-ए बेकराँ मालूम होती है
५
रहीन-ए मिन्नत-ए हुस्न-ए बुताँ मालूम होती है
ज़मीन-ए कू-ए जानां आसमाँ मालूम होती है
६
नेहाँ मालूम होती है, अयाँ मालूम होती है
मोहब्बत भी ख़ुदा-ए दो जहाँ मालूम होती है
७
मोहब्बत इब्तेदा अपनी, मोहब्बत इन्तेहा अपनी
मोहब्बत हासिल-ए कौन-ओ-मकाँ मालूम होती है
८
नहीं कोई भी दिल ऐसा बनाए जिस में घर अपना
मोहब्बत इन दिनों बे-ख़ानुमाँ मालूम होती है
९
मोहब्बत को कभी पाबंद-ए ईन-ओ-आँ नहीं पाया
मोहब्बत बेनियाज़-ए ईन-ओ-आँ मालूम होती है
१०
सुना फ़रहाद का क़िस्सा, सुना मजनूँ का अफ़्साना
कहा तो ये कहा, सब दास्ताँ मालूम होती है
११
न फ़र्क़ आया अज़ल से ज़ीनत-ए गुलज़ार-ए हस्ती में
बहार उस की बहार-ए जावेदाँ मालूम होती है
१२
अभी चश्म-ए क़बूल इस की तरफ़ मा’एल नहीं शा’एद
अभी हर सई, सई-ए रा’एगाँ मालूम होती है
१३
ये ख़ुश-फ़हमी है अपनी या निगाह-ए नाज़ का जादू
‘नहीं’ भी अब तो ज़ालिम तेरी ‘हाँ’ मालूम होती है
१४
ज़बाँ तालिब़ की टकसाली जो पाई सब ने फ़रमाया
ये ख़ास-उल-ख़ास दिल्ली की ज़बाँ मालूम होती है
Click here for background and on any passage for word meanings and explanatory discussion. taalib dehlavi-shiish chandr saxena (1910-1975), born and raised in ambaala. High school, 1925. After some interruption, BA (1935) from Hindu College, dehli. Started composing in 1927; shaagird of munshi maharaaj barq dehlavi. He may have been independently wealthy. He writes about frequent mushaa’era held at his house. He collected and compiled the works of munshi maharaj barq dehlavi, ramprakash sahir hoshiarpuri and chandrbhan kaifi dehlavi, which might otherwise have been lost. In addition, he compiled a collection called ‘hamaare husain’, elegies composed by non-muslim shu’ara as tributes to husain and karbala. This Ghazal is linked to other ham-radeef Ghazaliyaat on the Refrain Index page.
1
shabaab-aagiiN1 sharaab-e arGhavaaN2 maa’loom hoti hai,
ye shaam-e maikada3 kitni javaaN4 maa’loom hoti hai. 1.brimming with youth/vigour 2.red 3.tavern 4.youthful
The evening in the tavern (maikada) is likened to red/crimson (arGhavaaN) and charged with youth (shabaab-aagiiN) – using visual and sensory metaphor to describe the joyous evening. It is probably about the specific evening of the mushaa’era where the poet was invited to read his Ghazal.
2
yahaaN mahsoos1 hoti hai! yahaaN maa’loom hoti hai!
Khalish2 Khaar3-e mohabbat ki kahaaN maa’loom hoti hai 1.felt, sensed 2.sting, prick, pinch 3.thorn
A thorn of love leaves a sting (Khalish), but that pain can be felt only here and nowhere else. The ‘here’ could refer to the tavern/gathering/mushaa’era where the poet is reading his Ghazal. It can be felt only here and nowhere else because other discerning people – poets and audience are present to feel it.
3
ye kab mohtaaj1-e tashreeh2-o-bayaaN3 maa’loom hoti hai,
mohabbat aap apni tarjumaaN4 maa’loom hoti hai 1.dependent, in need of 2.explanation 3.expression 4.interpreter
Love doesn’t need explanation (tashreeh) or expression (bayaaN); it is its own interpreter (tarjumaaN). Love can be felt, speaks for itself, does not need to be put in words, does not need an explanation.
4
ravaaN1 maa’loom hoti hai, davaaN2 maa’loom hoti hai,
mohabbat mauj3-e bahr4-e bekaraaN5 maa’loom hoti hai 1.flowing 2.moving, dynamic, energetic 3.wave 4.ocean 5.boundless, vast
Love is dynamic/full of energy (davaaN) and appears to be flowing (ravaaN). Its energy/dynamism is like a wave in a boundless ocean (mauj-e bahr-e bekaraaN).
5
rahiin1-e minnat2-e husn3-e butaaN4 maa’loom hoti hai,
zamiin-e kuu5-e jaanaaN6 aasmaaN7 maa’loom hoti hai 1.mortgaged to, indebted to 2.pleading, begging 3.beauty 4.idols, beloved 5.street 6.beloved 7.sky, heaven
The beloved’s street (kuu-e jaanaaN) seems heavenly (aasmaaN), though it’s just earthly ground. This is so because the beloved walks there and the land seems to be indebted to the beauty of the beloved; it pleads/begs (perhaps reflecting that the beloved treads on it).
6
nihaaN1 maa’loom hoti hai, ayaaN2 maa’loom hoti hai,
mohabbat bhi Khuda-e do-jahaaN3 maa’loom hoti hai 1.hidden, unseen 2.apparent, seen 3.two worlds
Love seems both hidden (nihaaN) and apparent (ayaaN); it rules both worlds (do jahaaN), as if it has divine characteristics. Love is elevated to divine status, bridging the unseen and seen.
7
mohabbat ibtedaa1 apni, mohabbat intehaa2 apni,
mohabbat haasil3-e kaun-o-makaaN4 maa’loom hoti hai 1.beginning 2.end 3.net result, essence 4.space and time, universe
Love is its own beginning (ibteda) and end (inteha) – perhaps the poet means that it is the basis of existence and will endure until the end of all existence. It is the essence (haasil) of all cosmos (kaun-o-makaaN), suggesting that love is cosmic, eternal, and self-sufficient.
8
nahiiN koi bhi dil aisa banaa’e jis meN ghar apna
mohabbat in-dinoN1 be-KhaanumaaN2 maa’loom hoti hai 1.these days, nowadays 2.homeless
This Ghazal is dated May 1949, with the trauma of partition and rioting still fresh in minds. There is no heart in which it can make a home. Nowadays, love seems homeless (be-KhaanumaaN).
9
mohabbat ko kabhi paaband1-e iin-o-aaN2 nahiiN paaya
mohabbat be-niaaz3-e iin-o-aaN2 maa’loom hoti hai 1.bound by 2.that and that, trivialities, rituals 3.indifferent, free of
Love is never bound by hypocricy or trivial rituals (iin-o-aaN); it is independent of conditions and constraints.
10
suna farhaad1 ka qissa2, suna majnooN3 ka afsaana4
kahaa to ye kahaa, sab daastaaN5 maa’loom hoti hai 1.of shiiriiN-farhaad legend 2.story 3.of laila majnuN fame 4.legend 5.fictional story
The poet relates the tale of farhaad and majnooN to the beloved perhaps in the hope that hearing the stories of these ideal lovers, his own love might be re-inforced in her mind. She hears all this and all she has to say is, ‘it all now feels like a fairytale (daastaaN) – fairy tale. The poet/narrator does not get any credit.
11
na farq1 aaya azal2 se ziinat3-e gulzaar4-e hasti5 meN
bahaar6 us ki bahaar-e jaavedaaN7 maa’loom hoti hai 1.difference, change 2.beginning of time 3.adornment, beauty 4.garden 5.existence 6.spring 7.eternal
The poet could be talking about the beauty of the garden of existence ziinat-e gulzaar-e hasti – there has been no change in it from the beginning of time; it is as if it exists in a sate of ‘forever-spring’. This could be a tribute to the handiwork of god who made such a perfect universe. Alternatively, and perhaps more likely – the beloved is the ziinat of the gulzaar-e hasti; there has been no change in the beauty of the beloved since the beginning of time. Her beauty is like a forever-spring.
12
abhi chashm1-e qubool2 is ki taraf3 maa’el4 nahiiN shaa’ed5
abhi har6 sa’ii7, sa’ii-e raa’egaaN8 maa’loom hoti hai 1.eye, gaze, glance 2.acceptance 3.in the direction of, towards 4.inclined, favourable 5.perhaps 6.every 7.effort 8.futile
The gaze of acceptance (chashm-e qubool) isn’t turning this way yet – whose gaze and towards what? Perhaps the beloved’s gaze and towards the efforts/entreaties of the poet/lover; so every effort still feels futile (raa’egaaN).
13
ye Khush-fahmi1 hai apni ya nigaah2-e naaz3 ka jaaduu
‘nahiiN’ bhi ab to zaalim4 teri ‘haaN’ maa’loom hoti hai 1.self-deception, wishful thinking 2.glance 3.coquetry, playfulness 4.tyrant, beloved
Is this my wishful thinking or the magic of your teasing gaze? Even your ‘no’ now feels like a ‘yes’. A classic lover’s delusion, spun with irony and charm. On the one side the beloved is playful and teasing without committing to love and on the other the lover is delusional.
14
zabaaN1 taalib2 ki Taksaali3 jo paa’ii sab ne farmaaya4
ye Khaas-ul-Khaas5 dilli ki zabaaN maa’loom hoti hai 1.language 2.pen-name 3.minted, not counterfeit, authentic 4.said 5.very special
In classical urdu literary circles the rivalry between centres of urdu is legendary, particularly between dehli and lakhnau. This is probably a playful expression of that rivalry by a poet who was born and raised in dehli. When they heard the words of taalib everyone said, this sounds very special and genuine language of dehli.
taalib dehlavi-shiish chandr saxena (1910-1975), born and raised in ambaala. High school, 1925. After some interruption, BA (1935) from Hindu College, dehli. Started composing in 1927; shaagird of munshi maharaaj barq dehlavi. He may have been independently wealthy. He writes about frequent mushaa’era held at his house. He collected and compiled the works of munshi maharaj barq dehlavi, ramprakash sahir hoshiarpuri and chandrbhan kaifi dehlavi, which might otherwise have been lost. In addition, he compiled a collection called ‘hamaare husain’, elegies composed by non-muslim shu’ara as tributes to husain and karbala. This Ghazal is linked to other ham-radeef Ghazaliyaat on the Refrain Index page.
1
shabaab-aagiiN1 sharaab-e arGhavaaN2 maa’loom hoti hai,
ye shaam-e maikada3 kitni javaaN4 maa’loom hoti hai.
1.brimming with youth/vigour 2.red 3.tavern 4.youthful
The evening in the tavern (maikada) is likened to red/crimson (arGhavaaN) and charged with youth (shabaab-aagiiN) – using visual and sensory metaphor to describe the joyous evening. It is probably about the specific evening of the mushaa’era where the poet was invited to read his Ghazal.
2
yahaaN mahsoos1 hoti hai! yahaaN maa’loom hoti hai!
Khalish2 Khaar3-e mohabbat ki kahaaN maa’loom hoti hai
1.felt, sensed 2.sting, prick, pinch 3.thorn
A thorn of love leaves a sting (Khalish), but that pain can be felt only here and nowhere else. The ‘here’ could refer to the tavern/gathering/mushaa’era where the poet is reading his Ghazal. It can be felt only here and nowhere else because other discerning people – poets and audience are present to feel it.
3
ye kab mohtaaj1-e tashreeh2-o-bayaaN3 maa’loom hoti hai,
mohabbat aap apni tarjumaaN4 maa’loom hoti hai
1.dependent, in need of 2.explanation 3.expression 4.interpreter
Love doesn’t need explanation (tashreeh) or expression (bayaaN); it is its own interpreter (tarjumaaN). Love can be felt, speaks for itself, does not need to be put in words, does not need an explanation.
4
ravaaN1 maa’loom hoti hai, davaaN2 maa’loom hoti hai,
mohabbat mauj3-e bahr4-e bekaraaN5 maa’loom hoti hai
1.flowing 2.moving, dynamic, energetic 3.wave 4.ocean 5.boundless, vast
Love is dynamic/full of energy (davaaN) and appears to be flowing (ravaaN). Its energy/dynamism is like a wave in a boundless ocean (mauj-e bahr-e bekaraaN).
5
rahiin1-e minnat2-e husn3-e butaaN4 maa’loom hoti hai,
zamiin-e kuu5-e jaanaaN6 aasmaaN7 maa’loom hoti hai
1.mortgaged to, indebted to 2.pleading, begging 3.beauty 4.idols, beloved 5.street 6.beloved 7.sky, heaven
The beloved’s street (kuu-e jaanaaN) seems heavenly (aasmaaN), though it’s just earthly ground. This is so because the beloved walks there and the land seems to be indebted to the beauty of the beloved; it pleads/begs (perhaps reflecting that the beloved treads on it).
6
nihaaN1 maa’loom hoti hai, ayaaN2 maa’loom hoti hai,
mohabbat bhi Khuda-e do-jahaaN3 maa’loom hoti hai
1.hidden, unseen 2.apparent, seen 3.two worlds
Love seems both hidden (nihaaN) and apparent (ayaaN); it rules both worlds (do jahaaN), as if it has divine characteristics. Love is elevated to divine status, bridging the unseen and seen.
7
mohabbat ibtedaa1 apni, mohabbat intehaa2 apni,
mohabbat haasil3-e kaun-o-makaaN4 maa’loom hoti hai
1.beginning 2.end 3.net result, essence 4.space and time, universe
Love is its own beginning (ibteda) and end (inteha) – perhaps the poet means that it is the basis of existence and will endure until the end of all existence. It is the essence (haasil) of all cosmos (kaun-o-makaaN), suggesting that love is cosmic, eternal, and self-sufficient.
8
nahiiN koi bhi dil aisa banaa’e jis meN ghar apna
mohabbat in-dinoN1 be-KhaanumaaN2 maa’loom hoti hai
1.these days, nowadays 2.homeless
This Ghazal is dated May 1949, with the trauma of partition and rioting still fresh in minds. There is no heart in which it can make a home. Nowadays, love seems homeless (be-KhaanumaaN).
9
mohabbat ko kabhi paaband1-e iin-o-aaN2 nahiiN paaya
mohabbat be-niaaz3-e iin-o-aaN2 maa’loom hoti hai
1.bound by 2.that and that, trivialities, rituals 3.indifferent, free of
Love is never bound by hypocricy or trivial rituals (iin-o-aaN); it is independent of conditions and constraints.
10
suna farhaad1 ka qissa2, suna majnooN3 ka afsaana4
kahaa to ye kahaa, sab daastaaN5 maa’loom hoti hai
1.of shiiriiN-farhaad legend 2.story 3.of laila majnuN fame 4.legend 5.fictional story
The poet relates the tale of farhaad and majnooN to the beloved perhaps in the hope that hearing the stories of these ideal lovers, his own love might be re-inforced in her mind. She hears all this and all she has to say is, ‘it all now feels like a fairytale (daastaaN) – fairy tale. The poet/narrator does not get any credit.
11
na farq1 aaya azal2 se ziinat3-e gulzaar4-e hasti5 meN
bahaar6 us ki bahaar-e jaavedaaN7 maa’loom hoti hai
1.difference, change 2.beginning of time 3.adornment, beauty 4.garden 5.existence 6.spring 7.eternal
The poet could be talking about the beauty of the garden of existence ziinat-e gulzaar-e hasti – there has been no change in it from the beginning of time; it is as if it exists in a sate of ‘forever-spring’. This could be a tribute to the handiwork of god who made such a perfect universe. Alternatively, and perhaps more likely – the beloved is the ziinat of the gulzaar-e hasti; there has been no change in the beauty of the beloved since the beginning of time. Her beauty is like a forever-spring.
12
abhi chashm1-e qubool2 is ki taraf3 maa’el4 nahiiN shaa’ed5
abhi har6 sa’ii7, sa’ii-e raa’egaaN8 maa’loom hoti hai
1.eye, gaze, glance 2.acceptance 3.in the direction of, towards 4.inclined, favourable 5.perhaps 6.every 7.effort 8.futile
The gaze of acceptance (chashm-e qubool) isn’t turning this way yet – whose gaze and towards what? Perhaps the beloved’s gaze and towards the efforts/entreaties of the poet/lover; so every effort still feels futile (raa’egaaN).
13
ye Khush-fahmi1 hai apni ya nigaah2-e naaz3 ka jaaduu
‘nahiiN’ bhi ab to zaalim4 teri ‘haaN’ maa’loom hoti hai
1.self-deception, wishful thinking 2.glance 3.coquetry, playfulness 4.tyrant, beloved
Is this my wishful thinking or the magic of your teasing gaze? Even your ‘no’ now feels like a ‘yes’. A classic lover’s delusion, spun with irony and charm. On the one side the beloved is playful and teasing without committing to love and on the other the lover is delusional.
14
zabaaN1 taalib2 ki Taksaali3 jo paa’ii sab ne farmaaya4
ye Khaas-ul-Khaas5 dilli ki zabaaN maa’loom hoti hai
1.language 2.pen-name 3.minted, not counterfeit, authentic 4.said 5.very special
In classical urdu literary circles the rivalry between centres of urdu is legendary, particularly between dehli and lakhnau. This is probably a playful expression of that rivalry by a poet who was born and raised in dehli. When they heard the words of taalib everyone said, this sounds very special and genuine language of dehli.
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