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KhizaaN maa’loom hoti hai-krishn gopal maGhmoom
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2025/10/kgm-KhizaaN-maaloom-hoti-hai-audio.mp3
Recitation
خزاں معلوم ہوتی ہے ۔ کرشن گوپال مغمومؔ
۱
نہ جانے کیوں تمنّا پھر جواں معلوم ہوتی ہے
دلِ بے تاب کی ہمداستاں معلوم ہوتی ہے
۲
مری طرزِ فغاں کس نے عطا کر دی ہے کوئل کو
فغاں کمبخت کی میری فغاں معلوم ہوتی ہے
۳
ہٹاؤں بیچ سے کس کو کروں رخنا گری کس کی
نظر ہی تو حِجابِ درمیاں معلوم ہوتی ہے
۴
تصوُّر میں جھپکتی ہیں ابھی تک وہ حسیں پلکیں
کھٹک سی اک کھٹک نزدیکِ جاں معلوم ہوتی ہے
۵
تبسُّم ریز افشاں ہے کسی مہوش کے ماتھے کی
ادائے نازنیں یہ کہکشاں معلوم ہوتی ہے
۶
صبا کے دوش پر ہے قافلہ پھولوں کی خوشبو کا
وہ زلفِ عطر آگیں گُل فشاں معلوم ہوتی ہے
۷
مرے اشکوں کی لالہ کاریاں رشکِ بہاراں ہیں
مرے اشکوں میں روح گُلسِتاں معلوم ہوتی ہے
۸
مآلِ کار پر مغمومؔ! رہتی ہے نظر اپنی
بہار آتی تو ہے لیکن خزاں معلوم ہوتی ہے
ख़िज़ाँ मालूम होती है – कृष्ण गोपाल मग़्मूम
१
न जाने क्यूं तमन्ना फिर जवाँ मालूम होती है
दिल-ए बे-ताब की हमदास्ताँ मालूम होती है
२
मेरी तर्ज़-ए फ़ुग़ाँ किस ने अता कर दी है कोयल को
फ़ुग़ाँ कमबख़्त की मेरी फ़ुग़ाँ मालूम होती है
३
हटाऊँ बीच-से किस को करूँ रख़्ना-गरी किस की
नज़र ही तो हिजाब-ए दर्मियाँ मालूम होती है
४
तसव्वुर में झपकती हैं अभी तक वो हसीं पलकेँ
खटक सी एक खटक नज़्दीक-ए जां मालूम होती है
५
तबस्सुम-रेज़ अफ़्शाँ है किसी महवश के माथे की
अदा-ए नाज़नीं ये कहकशाँ मालूम होती है
६
सबा के दोश पर है क़ाफ़ेला फूलों की ख़ुश्बू का
वो ज़ुल्फ-ए अत्र-आगीं गुल-फ़शाँ मालूम होती है
७
मेरे अश्कौं की लाला-कारियाँ रश्क-ए बहाराँ हैं
मेरे अश्कौं में रूह-ए गुल्सिताँ मालूम होती है
८
मा’आल-ए कार, पर मग़्मूम! रहती है नज़र अपनी
बहार आती तो है लेकिन ख़िज़ाँ मालूम होती है
Click here for background and on any passage for word meanings and explanatory discussion. krishn gopal baava maGhmum (1916-xxxx), aTak district (now in pakistan). His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er. Ill-treatment by his stepmother drove him to seclusion and reading. All the books at home including religious texts were in urdu. He read up all of them and learnt to write too. Interest in shaa’eri started from childhood. In college he was class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom. Continued education incluing Public Service Commission exam. Worked for the government of panjab and later haryana, retiring in 1974. At least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page.
1
na jaane kyuN tamannaa1 phir javaaN2 maa’loom hoti hai
dil-e be-taab3 ki hamdaastaaN4 maa’loom hoti hai 1.desire, longing 2.youthful, resurgent 3.restless 4.same story
The poet is puzzled by the sudden resurgence of longing, a desire that had seemingly quieted down now stirs again with youthful intensity. His restless heart is telling the same story as his longing. The poet leaves us with the puzzlement he feels, he does not give any clue as to why it might be. We will have to invent our own.
2
meri tarz1-e foGhaaN2 kis ne ataa3 kar di hai ko’el4 ko
foGhaaN kambaKht5 ki meri foGhaaN maa’loom hoti hai 1.style, way 2.wailing, lament 3.granted 4.nightingale 5.unfortunate
The lament of the poet has become so distinct and personal that even the melodious cries of the koel (cuckoo) seem to mimic his sorrow. He suspects, perhaps half-playfully and half-tragically, that the bird has been granted his style of mourning by someone; her song echoes his sighs.
3
haTaauN biich se kis ko, karuN raKhna-gari1 kis ki
nazar2 hii to hijaab3-e darmiyaaN4 maa’loom hoti hai 1.tearing, making a gap 2.sight 3.veil 4.between
What can I remove from the middle, what can I make a rent/fissure/hole in when sight itself seems to be the veil between us. This is a standard trope in urdu poetry. Beloved’s beauty or divine glory is so intense that the sight of the lover/devotee cannot penetrate it. Thus, the inadequacy of sight itself becomes a veil. What is the use of thinking of removing or making a hole is something that is in between. Alternatively … there is a frequent thought that the divine is in everything; all you need is the ability to see. It is the lack of this ability that is the veil between him and divine.
4
tasavvur1 meN jhapakti2 haiN abhi tak voh hasiiN3 palkeN4
khaTak5 si ek khaTak nazdiik6-e jaaN7 maa’loom hoti hai 1.imagination 2.fluttering 3.beautiful 4.eyelashes 5.prick, anxiety
In his imagination, the beloved’s eyelashes still flutter, creating a lasting, vivid impression. Yet this sweet memory does not soothe, it pricks; perhaps alluding the shape of the eyelashes like a line of sharp thorns. The fluttering lashes are a lingering fear/anxiety near the soul/life/heart.
5
tabassum-rez1 afshaaN2 hai kisi mahvash3 ke maathe4 ki
adaa5-e naazniiN6 ye kahkashaaN7 maa’loom hoti hai 1.smile spreading, joy spreading 2.glitter 3.moon-faced 4.forehead 5.style, gesture 6.delicate and beautiful woman, beloved 7.constellation, milky way, stars
The beloved is described as moon-faced. She has applied glitter to her forehead. This glitter is compared constellations/stars. Her beauty is spreading joy and even the galaxy reflects/looks like her gesture/style/beauty.
6
sabaa1 ke dosh2 par hai qaafila3 phuuloN ki Khushbuu4 kaa
voh zulf5-e itr-aagiiN6 gul-fishaaN7 maa’loom hoti hai 1.breeze 2.back 3.caravan 4.fragrance 5.hair 6.full of perfume 7.rose scattering
The gentle breeze carries on its back the caravan of the fragrance of flowers. The poet/lover suspects that this is really her hair spread out, full of fragrance, scattering roses – this gives the impression of the fragrance of flowers.
7
mer’e ashkoN1 ki laala-kaariyaN2 rashk3-e bahaaraaN4 haiN
mer’e ashkoN meN ruuh5-e gulsitaaN6 maa’loom hoti hai 1.tears 2.growing tulips, making tulip designs 3.envy 4.spring 5.spirit, soul 6.garden
The poet/lover cries tears of blood. They fall on his shirt and create red designs like tulip beds. This laala-kaarii becomes the envy of spring itself; the garden’s very soul (ruuh-e gulsitaaN) has been distilled into his weeping because his it creates red tulips.
8
ma’aal1-e kaar2 par maGhmum3! rahti hai nazar4 apni
bahaar5 aati to hai lekin KhizaaN6 maa’loom hoti hai 1.result 2.effort 3.pen-name 4.sight, gaze 5.spring 6.autumn
O maGhmum, I keep an eye on the result of my effort: though spring seems to arrive, it carries the tone, the weight, the feel of autumn i.e., in spite of his best effort he is unable to achieve the reinvigorating joy of spring. The poet does not tell us why this is happening and I am not sure if there is a deeper meaning to it. There’s a disillusionment here; perhaps a loss so deep that even joy appears dressed in decay. The message of this she’r is its quiet despair, not the absence of renewal, but its futility.
krishn gopal baava maGhmum (1916-xxxx), aTak district (now in pakistan). His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er. Ill-treatment by his stepmother drove him to seclusion and reading. All the books at home including religious texts were in urdu. He read up all of them and learnt to write too. Interest in shaa’eri started from childhood. In college he was class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom. Continued education incluing Public Service Commission exam. Worked for the government of panjab and later haryana, retiring in 1974. At least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page.
1
na jaane kyuN tamannaa1 phir javaaN2 maa’loom hoti hai
dil-e be-taab3 ki hamdaastaaN4 maa’loom hoti hai
1.desire, longing 2.youthful, resurgent 3.restless 4.same story
The poet is puzzled by the sudden resurgence of longing, a desire that had seemingly quieted down now stirs again with youthful intensity. His restless heart is telling the same story as his longing. The poet leaves us with the puzzlement he feels, he does not give any clue as to why it might be. We will have to invent our own.
2
meri tarz1-e foGhaaN2 kis ne ataa3 kar di hai ko’el4 ko
foGhaaN kambaKht5 ki meri foGhaaN maa’loom hoti hai
1.style, way 2.wailing, lament 3.granted 4.nightingale 5.unfortunate
The lament of the poet has become so distinct and personal that even the melodious cries of the koel (cuckoo) seem to mimic his sorrow. He suspects, perhaps half-playfully and half-tragically, that the bird has been granted his style of mourning by someone; her song echoes his sighs.
3
haTaauN biich se kis ko, karuN raKhna-gari1 kis ki
nazar2 hii to hijaab3-e darmiyaaN4 maa’loom hoti hai
1.tearing, making a gap 2.sight 3.veil 4.between
What can I remove from the middle, what can I make a rent/fissure/hole in when sight itself seems to be the veil between us. This is a standard trope in urdu poetry. Beloved’s beauty or divine glory is so intense that the sight of the lover/devotee cannot penetrate it. Thus, the inadequacy of sight itself becomes a veil. What is the use of thinking of removing or making a hole is something that is in between. Alternatively … there is a frequent thought that the divine is in everything; all you need is the ability to see. It is the lack of this ability that is the veil between him and divine.
4
tasavvur1 meN jhapakti2 haiN abhi tak voh hasiiN3 palkeN4
khaTak5 si ek khaTak nazdiik6-e jaaN7 maa’loom hoti hai
1.imagination 2.fluttering 3.beautiful 4.eyelashes 5.prick, anxiety
In his imagination, the beloved’s eyelashes still flutter, creating a lasting, vivid impression. Yet this sweet memory does not soothe, it pricks; perhaps alluding the shape of the eyelashes like a line of sharp thorns. The fluttering lashes are a lingering fear/anxiety near the soul/life/heart.
5
tabassum-rez1 afshaaN2 hai kisi mahvash3 ke maathe4 ki
adaa5-e naazniiN6 ye kahkashaaN7 maa’loom hoti hai
1.smile spreading, joy spreading 2.glitter 3.moon-faced 4.forehead 5.style, gesture 6.delicate and beautiful woman, beloved 7.constellation, milky way, stars
The beloved is described as moon-faced. She has applied glitter to her forehead. This glitter is compared constellations/stars. Her beauty is spreading joy and even the galaxy reflects/looks like her gesture/style/beauty.
6
sabaa1 ke dosh2 par hai qaafila3 phuuloN ki Khushbuu4 kaa
voh zulf5-e itr-aagiiN6 gul-fishaaN7 maa’loom hoti hai
1.breeze 2.back 3.caravan 4.fragrance 5.hair 6.full of perfume 7.rose scattering
The gentle breeze carries on its back the caravan of the fragrance of flowers. The poet/lover suspects that this is really her hair spread out, full of fragrance, scattering roses – this gives the impression of the fragrance of flowers.
7
mer’e ashkoN1 ki laala-kaariyaN2 rashk3-e bahaaraaN4 haiN
mer’e ashkoN meN ruuh5-e gulsitaaN6 maa’loom hoti hai
1.tears 2.growing tulips, making tulip designs 3.envy 4.spring 5.spirit, soul 6.garden
The poet/lover cries tears of blood. They fall on his shirt and create red designs like tulip beds. This laala-kaarii becomes the envy of spring itself; the garden’s very soul (ruuh-e gulsitaaN) has been distilled into his weeping because his it creates red tulips.
8
ma’aal1-e kaar2 par maGhmum3! rahti hai nazar4 apni
bahaar5 aati to hai lekin KhizaaN6 maa’loom hoti hai
1.result 2.effort 3.pen-name 4.sight, gaze 5.spring 6.autumn
O maGhmum, I keep an eye on the result of my effort: though spring seems to arrive, it carries the tone, the weight, the feel of autumn i.e., in spite of his best effort he is unable to achieve the reinvigorating joy of spring. The poet does not tell us why this is happening and I am not sure if there is a deeper meaning to it. There’s a disillusionment here; perhaps a loss so deep that even joy appears dressed in decay. The message of this she’r is its quiet despair, not the absence of renewal, but its futility.
The post KhizaaN maa’loom hoti hai-krishn gopal maGhmoom 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/kgm-KhizaaN-maaloom-hoti-hai-audio.mp3
Recitation
خزاں معلوم ہوتی ہے ۔ کرشن گوپال مغمومؔ
۱
نہ جانے کیوں تمنّا پھر جواں معلوم ہوتی ہے
دلِ بے تاب کی ہمداستاں معلوم ہوتی ہے
۲
مری طرزِ فغاں کس نے عطا کر دی ہے کوئل کو
فغاں کمبخت کی میری فغاں معلوم ہوتی ہے
۳
ہٹاؤں بیچ سے کس کو کروں رخنا گری کس کی
نظر ہی تو حِجابِ درمیاں معلوم ہوتی ہے
۴
تصوُّر میں جھپکتی ہیں ابھی تک وہ حسیں پلکیں
کھٹک سی اک کھٹک نزدیکِ جاں معلوم ہوتی ہے
۵
تبسُّم ریز افشاں ہے کسی مہوش کے ماتھے کی
ادائے نازنیں یہ کہکشاں معلوم ہوتی ہے
۶
صبا کے دوش پر ہے قافلہ پھولوں کی خوشبو کا
وہ زلفِ عطر آگیں گُل فشاں معلوم ہوتی ہے
۷
مرے اشکوں کی لالہ کاریاں رشکِ بہاراں ہیں
مرے اشکوں میں روح گُلسِتاں معلوم ہوتی ہے
۸
مآلِ کار پر مغمومؔ! رہتی ہے نظر اپنی
بہار آتی تو ہے لیکن خزاں معلوم ہوتی ہے
ख़िज़ाँ मालूम होती है – कृष्ण गोपाल मग़्मूम
१
न जाने क्यूं तमन्ना फिर जवाँ मालूम होती है
दिल-ए बे-ताब की हमदास्ताँ मालूम होती है
२
मेरी तर्ज़-ए फ़ुग़ाँ किस ने अता कर दी है कोयल को
फ़ुग़ाँ कमबख़्त की मेरी फ़ुग़ाँ मालूम होती है
३
हटाऊँ बीच-से किस को करूँ रख़्ना-गरी किस की
नज़र ही तो हिजाब-ए दर्मियाँ मालूम होती है
४
तसव्वुर में झपकती हैं अभी तक वो हसीं पलकेँ
खटक सी एक खटक नज़्दीक-ए जां मालूम होती है
५
तबस्सुम-रेज़ अफ़्शाँ है किसी महवश के माथे की
अदा-ए नाज़नीं ये कहकशाँ मालूम होती है
६
सबा के दोश पर है क़ाफ़ेला फूलों की ख़ुश्बू का
वो ज़ुल्फ-ए अत्र-आगीं गुल-फ़शाँ मालूम होती है
७
मेरे अश्कौं की लाला-कारियाँ रश्क-ए बहाराँ हैं
मेरे अश्कौं में रूह-ए गुल्सिताँ मालूम होती है
८
मा’आल-ए कार, पर मग़्मूम! रहती है नज़र अपनी
बहार आती तो है लेकिन ख़िज़ाँ मालूम होती है
Click here for background and on any passage for word meanings and explanatory discussion. krishn gopal baava maGhmum (1916-xxxx), aTak district (now in pakistan). His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er. Ill-treatment by his stepmother drove him to seclusion and reading. All the books at home including religious texts were in urdu. He read up all of them and learnt to write too. Interest in shaa’eri started from childhood. In college he was class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom. Continued education incluing Public Service Commission exam. Worked for the government of panjab and later haryana, retiring in 1974. At least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page.
1
na jaane kyuN tamannaa1 phir javaaN2 maa’loom hoti hai
dil-e be-taab3 ki hamdaastaaN4 maa’loom hoti hai 1.desire, longing 2.youthful, resurgent 3.restless 4.same story
The poet is puzzled by the sudden resurgence of longing, a desire that had seemingly quieted down now stirs again with youthful intensity. His restless heart is telling the same story as his longing. The poet leaves us with the puzzlement he feels, he does not give any clue as to why it might be. We will have to invent our own.
2
meri tarz1-e foGhaaN2 kis ne ataa3 kar di hai ko’el4 ko
foGhaaN kambaKht5 ki meri foGhaaN maa’loom hoti hai 1.style, way 2.wailing, lament 3.granted 4.nightingale 5.unfortunate
The lament of the poet has become so distinct and personal that even the melodious cries of the koel (cuckoo) seem to mimic his sorrow. He suspects, perhaps half-playfully and half-tragically, that the bird has been granted his style of mourning by someone; her song echoes his sighs.
3
haTaauN biich se kis ko, karuN raKhna-gari1 kis ki
nazar2 hii to hijaab3-e darmiyaaN4 maa’loom hoti hai 1.tearing, making a gap 2.sight 3.veil 4.between
What can I remove from the middle, what can I make a rent/fissure/hole in when sight itself seems to be the veil between us. This is a standard trope in urdu poetry. Beloved’s beauty or divine glory is so intense that the sight of the lover/devotee cannot penetrate it. Thus, the inadequacy of sight itself becomes a veil. What is the use of thinking of removing or making a hole is something that is in between. Alternatively … there is a frequent thought that the divine is in everything; all you need is the ability to see. It is the lack of this ability that is the veil between him and divine.
4
tasavvur1 meN jhapakti2 haiN abhi tak voh hasiiN3 palkeN4
khaTak5 si ek khaTak nazdiik6-e jaaN7 maa’loom hoti hai 1.imagination 2.fluttering 3.beautiful 4.eyelashes 5.prick, anxiety
In his imagination, the beloved’s eyelashes still flutter, creating a lasting, vivid impression. Yet this sweet memory does not soothe, it pricks; perhaps alluding the shape of the eyelashes like a line of sharp thorns. The fluttering lashes are a lingering fear/anxiety near the soul/life/heart.
5
tabassum-rez1 afshaaN2 hai kisi mahvash3 ke maathe4 ki
adaa5-e naazniiN6 ye kahkashaaN7 maa’loom hoti hai 1.smile spreading, joy spreading 2.glitter 3.moon-faced 4.forehead 5.style, gesture 6.delicate and beautiful woman, beloved 7.constellation, milky way, stars
The beloved is described as moon-faced. She has applied glitter to her forehead. This glitter is compared constellations/stars. Her beauty is spreading joy and even the galaxy reflects/looks like her gesture/style/beauty.
6
sabaa1 ke dosh2 par hai qaafila3 phuuloN ki Khushbuu4 kaa
voh zulf5-e itr-aagiiN6 gul-fishaaN7 maa’loom hoti hai 1.breeze 2.back 3.caravan 4.fragrance 5.hair 6.full of perfume 7.rose scattering
The gentle breeze carries on its back the caravan of the fragrance of flowers. The poet/lover suspects that this is really her hair spread out, full of fragrance, scattering roses – this gives the impression of the fragrance of flowers.
7
mer’e ashkoN1 ki laala-kaariyaN2 rashk3-e bahaaraaN4 haiN
mer’e ashkoN meN ruuh5-e gulsitaaN6 maa’loom hoti hai 1.tears 2.growing tulips, making tulip designs 3.envy 4.spring 5.spirit, soul 6.garden
The poet/lover cries tears of blood. They fall on his shirt and create red designs like tulip beds. This laala-kaarii becomes the envy of spring itself; the garden’s very soul (ruuh-e gulsitaaN) has been distilled into his weeping because his it creates red tulips.
8
ma’aal1-e kaar2 par maGhmum3! rahti hai nazar4 apni
bahaar5 aati to hai lekin KhizaaN6 maa’loom hoti hai 1.result 2.effort 3.pen-name 4.sight, gaze 5.spring 6.autumn
O maGhmum, I keep an eye on the result of my effort: though spring seems to arrive, it carries the tone, the weight, the feel of autumn i.e., in spite of his best effort he is unable to achieve the reinvigorating joy of spring. The poet does not tell us why this is happening and I am not sure if there is a deeper meaning to it. There’s a disillusionment here; perhaps a loss so deep that even joy appears dressed in decay. The message of this she’r is its quiet despair, not the absence of renewal, but its futility.
krishn gopal baava maGhmum (1916-xxxx), aTak district (now in pakistan). His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er. Ill-treatment by his stepmother drove him to seclusion and reading. All the books at home including religious texts were in urdu. He read up all of them and learnt to write too. Interest in shaa’eri started from childhood. In college he was class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom. Continued education incluing Public Service Commission exam. Worked for the government of panjab and later haryana, retiring in 1974. At least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page.
1
na jaane kyuN tamannaa1 phir javaaN2 maa’loom hoti hai
dil-e be-taab3 ki hamdaastaaN4 maa’loom hoti hai
1.desire, longing 2.youthful, resurgent 3.restless 4.same story
The poet is puzzled by the sudden resurgence of longing, a desire that had seemingly quieted down now stirs again with youthful intensity. His restless heart is telling the same story as his longing. The poet leaves us with the puzzlement he feels, he does not give any clue as to why it might be. We will have to invent our own.
2
meri tarz1-e foGhaaN2 kis ne ataa3 kar di hai ko’el4 ko
foGhaaN kambaKht5 ki meri foGhaaN maa’loom hoti hai
1.style, way 2.wailing, lament 3.granted 4.nightingale 5.unfortunate
The lament of the poet has become so distinct and personal that even the melodious cries of the koel (cuckoo) seem to mimic his sorrow. He suspects, perhaps half-playfully and half-tragically, that the bird has been granted his style of mourning by someone; her song echoes his sighs.
3
haTaauN biich se kis ko, karuN raKhna-gari1 kis ki
nazar2 hii to hijaab3-e darmiyaaN4 maa’loom hoti hai
1.tearing, making a gap 2.sight 3.veil 4.between
What can I remove from the middle, what can I make a rent/fissure/hole in when sight itself seems to be the veil between us. This is a standard trope in urdu poetry. Beloved’s beauty or divine glory is so intense that the sight of the lover/devotee cannot penetrate it. Thus, the inadequacy of sight itself becomes a veil. What is the use of thinking of removing or making a hole is something that is in between. Alternatively … there is a frequent thought that the divine is in everything; all you need is the ability to see. It is the lack of this ability that is the veil between him and divine.
4
tasavvur1 meN jhapakti2 haiN abhi tak voh hasiiN3 palkeN4
khaTak5 si ek khaTak nazdiik6-e jaaN7 maa’loom hoti hai
1.imagination 2.fluttering 3.beautiful 4.eyelashes 5.prick, anxiety
In his imagination, the beloved’s eyelashes still flutter, creating a lasting, vivid impression. Yet this sweet memory does not soothe, it pricks; perhaps alluding the shape of the eyelashes like a line of sharp thorns. The fluttering lashes are a lingering fear/anxiety near the soul/life/heart.
5
tabassum-rez1 afshaaN2 hai kisi mahvash3 ke maathe4 ki
adaa5-e naazniiN6 ye kahkashaaN7 maa’loom hoti hai
1.smile spreading, joy spreading 2.glitter 3.moon-faced 4.forehead 5.style, gesture 6.delicate and beautiful woman, beloved 7.constellation, milky way, stars
The beloved is described as moon-faced. She has applied glitter to her forehead. This glitter is compared constellations/stars. Her beauty is spreading joy and even the galaxy reflects/looks like her gesture/style/beauty.
6
sabaa1 ke dosh2 par hai qaafila3 phuuloN ki Khushbuu4 kaa
voh zulf5-e itr-aagiiN6 gul-fishaaN7 maa’loom hoti hai
1.breeze 2.back 3.caravan 4.fragrance 5.hair 6.full of perfume 7.rose scattering
The gentle breeze carries on its back the caravan of the fragrance of flowers. The poet/lover suspects that this is really her hair spread out, full of fragrance, scattering roses – this gives the impression of the fragrance of flowers.
7
mer’e ashkoN1 ki laala-kaariyaN2 rashk3-e bahaaraaN4 haiN
mer’e ashkoN meN ruuh5-e gulsitaaN6 maa’loom hoti hai
1.tears 2.growing tulips, making tulip designs 3.envy 4.spring 5.spirit, soul 6.garden
The poet/lover cries tears of blood. They fall on his shirt and create red designs like tulip beds. This laala-kaarii becomes the envy of spring itself; the garden’s very soul (ruuh-e gulsitaaN) has been distilled into his weeping because his it creates red tulips.
8
ma’aal1-e kaar2 par maGhmum3! rahti hai nazar4 apni
bahaar5 aati to hai lekin KhizaaN6 maa’loom hoti hai
1.result 2.effort 3.pen-name 4.sight, gaze 5.spring 6.autumn
O maGhmum, I keep an eye on the result of my effort: though spring seems to arrive, it carries the tone, the weight, the feel of autumn i.e., in spite of his best effort he is unable to achieve the reinvigorating joy of spring. The poet does not tell us why this is happening and I am not sure if there is a deeper meaning to it. There’s a disillusionment here; perhaps a loss so deep that even joy appears dressed in decay. The message of this she’r is its quiet despair, not the absence of renewal, but its futility.
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