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mera qalam nikle-ananth iyer faani
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2025/08/fai-mera-qalam-nikle-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2025/08/fai-mera-qalam-nikle-ananth.mp3
ananth iyer faani
میرا قلم نکلے ۔ اننت ایّر فانیؔ
۱
جگر ہے اس لیے ہی یہ غزل کہنے کو ہم نکلے
زمیں غالب کی ہے، صاحب، کہو کیسے نہ دم نکلے
۲
فرواںی تھی اس درجہ، فقط اشعار کم نکلے
لطیفوں کے بھی راستے سے میرے رنج و الم نکلے
۳
محبت بیچ میں جتنی بھی بھٹکے، غیر ممکن ہے
جڑے واپس وہ لے سے جس پہ وہ تالِی نہ سم نکلے
۴
گھڑا پاپوں کا میرا بھر چکا ہوگا بہت پہلے
کرم ہے دیوتاؤں میں سے شفقت والے یم نکلے
۵
کہا جاتا ہے جس کو تیغ سے بھی اور طاقتور
کسے معلوم کل کو وہ قلم میرا قلم نکلے
۶
میں تیری بات سن تو لوں مگر واعظ بتا پہلے
کہ میخانے کی جانب کس لیے تیرے قدم نکلے
۷
پرانی عادتیں ہیں، جاتے جاتے جائیں گی فانیؔ
میں کہنا ‘ختم’ ہی چاہوں تو بھی لب سے ‘کھتم’ نکلے
मेरा क़लम निकले – सनंत अय्यर फ़ानी
१
जिगर है इस लिए ही ये ग़ज़ल कहने को हम निकले
ज़मीं ग़ालिब की है, साहिब, कहो कैसे न दम निकले
२
फ़रावानी थी इस दर्जा, फ़क़त अश’आर कम निकले
लतीफ़ों के भी रस्ते से मेरे रंज-ओ-अलम निकले
३
मुहब्बत बीच में जितनी भी भटके, ग़ैर-मुमकिन है
जुड़े वापस वो लय से जिसपे वो ताली न सम निकले
४
घड़ा पापों का मेरा भर चुका होगा बहुत पहले
करम है देवताओं में से शफ़्क़त वाले यम निकले
५
कहा जाता है जिसको तेग़ से भी और ताक़तवर
किसे मालूम कल को वो क़लम मेरा क़लम निकले
६
मैं तेरी बात सुन तो लूँ मगर वा’एज़ बता पहले
के मैख़ाने की जानिब किस लिये तेरे क़दम निकले
७
पुरानी आदतें हैं, जाते जाते जाएँगी फ़ानी
मैं कहना ‘ख़त्म’ ही चाहूँ तो भी लब से खतम निकले
Click here for background and on any passage for word meanings and explanatory discussion. ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating. He started composing around 2022, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside. He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’. This Ghazal is linked to Ghalib naqsh-e qadam.
1
jigar1 hai iss liye hii yeh Ghazal kahne ko ham nikle
zamiiN2 Ghalib ki hai, sahib, kaho kaise na dam3 nikle 1.liver-symbolic of courage/daring 2.the term that refers to the triad of qaafiya (rhyme), radeef (refrain) and bahr (meter/rhythm) of a Gazal; 3.dam nikle is a phrase-feel afraid
It is a demonstration of courage that the poet is attempting this Ghazal as after all this is in the zamiin of none other than Ghalib himself- how would one not feel afraid?
2
faraavaani4 thi is darja5, faqat6 ash’aar7 kam nikle
lateefoN8 ke bhi raste se mere ranj-o-alam9 nikle 4.abundance 5.extent, so much 6.only 7.plural of she’r 8.jokes 9.grief and sorrow
There was such an abundance of sorrow and grief that verses (ash’aar) alone weren’t sufficient for relief; even the route of humour (jokes) was necessary. A second reading could be that it is not relief from sorrow and grief that the poet seeks but a way to express them. He does it through his ash’aar but sometimes, this is not enough. He has to express grief through humour/jokes.
3
muhabbat biich meN jitni bhi bhaTke, Ghair-mumkin10 hai
juRe vaapas voh la’e11 se jiss pe voh taali na sam12 nikle 10.not possible 11.rhythm 12.the starting point of a musical beat cycle
When a classical musician (singer or instrumentalist) explores a raaga, they will often seem to wander off the rhythm cycle that the percussionist will be following. The singer or instrumentalist will render notes and phrases that bring out the nuances of the raaga, while not necessarily sticking to the rhythmic nature of the original composition from which their exploration branched out. However, their exploratory detour over, they must return to the rhythm cycle of the original composition (‘bandish’ or ‘naGhma’) and it is at the ‘sam’ beat that they do. Likewise, however much love or passion appears to meander off, it is not possible for it to stray off rhythm. The act of loving can never lead one astray. It will only leave one enriched.
4
ghaRaa paapoN ka mera bhar chuka hoga bahut pahle
karam13 hai devtaaoN meN se shafqat14 vaale yam15 nikle 13.mercy 14.clemency, love 15.the hindu demigod of death
The poet would have surely reached (and exceeded) his permissible quota of sins/misdeeds long ago. The belief is that in such an eventuality, kaarmic balance (something that yama, the demigod of death, keeps track of) would be restored by delivering death. However, the poet is still alive (and reciting this she’r). Hence, the poet has clearly been shown clemency by yama, otherwise he would have taken his life.
5
kaha jaata hai jiss ko teGh16 se bhi aur taaqatvar17
kise ma’luum kal ko voh qalam18 mera qalam nikle 16.sword 17.mighty/strong 18.pen
That which they call ‘mightier than the sword’ – may just turn out to be my pen, who knows!
6
maiN teri baat sun to luuN magar, vaa’ez19, bataa pahle
keh maiKhaane20 ki jaanib21 kis liye tere qadam22 nikle 19.preacher 20.tavern 21.in the direction of 22.steps
O preacher, I would listen to what you have to say, but you must first explain why you (who shun and forbid me to go to the tavern) were headed toward the tavern yourself. A reference to the maqtaa of Ghalib’s Ghazal (and a reflection on the bypocricy of orthodoxy) …
kahaaN maiKhaane ka darvaazaa Ghalib, aur kahaaN vaa’ez
par itnaa jaante haiN kal voh jaata tha keh ham nile
7
puraani aadateN23 haiN, jaate jaate jaa’eNgi, faani24
maiN kahna ‘Khatm’ hi chahooN to bhi lab se ‘khatam’ nikle 23.habits 24.the poet’s pen name
Old habits die hard, O faani. While I want to say “Khatm” (the correct way to pronounce the word, which means “finished”- fitting for the last she’r of the Ghazal), I end up saying “khatam,” a very common mispronunciation, especially in the Indian subcontinent.
ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating. He started composing around 2022, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside. He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’. This Ghazal is linked to Ghalib naqsh-e qadam.
1
jigar1 hai iss liye hii yeh Ghazal kahne ko ham nikle
zamiiN2 Ghalib ki hai, sahib, kaho kaise na dam3 nikle
1.liver-symbolic of courage/daring 2.the term that refers to the triad of qaafiya (rhyme), radeef (refrain) and bahr (meter/rhythm) of a Gazal; 3.dam nikle is a phrase-feel afraid
It is a demonstration of courage that the poet is attempting this Ghazal as after all this is in the zamiin of none other than Ghalib himself- how would one not feel afraid?
2
faraavaani4 thi is darja5 , faqat6 ash’aar7 kam nikle
lateefoN8 ke bhi raste se mere ranj-o-alam9 nikle
4.abundance 5.extent, so much 6.only 7.plural of she’r 8.jokes 9.grief and sorrow
There was such an abundance of sorrow and grief that verses (ash’aar) alone weren’t sufficient for relief; even the route of humour (jokes) was necessary. A second reading could be that it is not relief from sorrow and grief that the poet seeks but a way to express them. He does it through his ash’aar but sometimes, this is not enough. He has to express grief through humour/jokes.
3
muhabbat biich meN jitni bhi bhaTke, Ghair-mumkin10 hai
juRe vaapas voh la’e11 se jiss pe voh taali na sam12 nikle
10.not possible 11.rhythm 12.the starting point of a musical beat cycle
When a classical musician (singer or instrumentalist) explores a raaga, they will often seem to wander off the rhythm cycle that the percussionist will be following. The singer or instrumentalist will render notes and phrases that bring out the nuances of the raaga, while not necessarily sticking to the rhythmic nature of the original composition from which their exploration branched out. However, their exploratory detour over, they must return to the rhythm cycle of the original composition (‘bandish’ or ‘naGhma’) and it is at the ‘sam’ beat that they do. Likewise, however much love or passion appears to meander off, it is not possible for it to stray off rhythm. The act of loving can never lead one astray. It will only leave one enriched.
4
ghaRaa paapoN ka mera bhar chuka hoga bahut pahle
karam13 hai devtaaoN meN se shafqat14 vaale yam15 nikle
13.mercy 14.clemency, love 15.the hindu demigod of death
The poet would have surely reached (and exceeded) his permissible quota of sins/misdeeds long ago. The belief is that in such an eventuality, kaarmic balance (something that yama, the demigod of death, keeps track of) would be restored by delivering death. However, the poet is still alive (and reciting this she’r). Hence, the poet has clearly been shown clemency by yama, otherwise he would have taken his life.
5
kaha jaata hai jiss ko teGh16 se bhi aur taaqatvar17
kise ma’luum kal ko voh qalam18 mera qalam nikle
16.sword 17.mighty/strong 18.pen
That which they call ‘mightier than the sword’ – may just turn out to be my pen, who knows!
6
maiN teri baat sun to luuN magar, vaa’ez19, bataa pahle
keh maiKhaane20 ki jaanib21 kis liye tere qadam22 nikle
19.preacher 20.tavern 21.in the direction of 22.steps
O preacher, I would listen to what you have to say, but you must first explain why you (who shun and forbid me to go to the tavern) were headed toward the tavern yourself. A reference to the maqtaa of Ghalib’s Ghazal (and a reflection on the bypocricy of orthodoxy) …
kahaaN maiKhaane ka darvaazaa Ghalib, aur kahaaN vaa’ez
par itnaa jaante haiN kal voh jaata tha keh ham nile
7
puraani aadateN23 haiN, jaate jaate jaa’eNgi, faani24
maiN kahna ‘Khatm’ hi chahooN to bhi lab se ‘khatam’ nikle
23.habits 24.the poet’s pen name
Old habits die hard, O faani. While I want to say “Khatm” (the correct way to pronounce the word, which means “finished”- fitting for the last she’r of the Ghazal), I end up saying “khatam,” a very common mispronunciation, especially in the Indian subcontinent.
The post mera qalam nikle-ananth iyer faani 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/2025/08/fai-mera-qalam-nikle-audio.mp3
Recitation
https://urdushahkar.org/wp-content/uploads/2025/08/fai-mera-qalam-nikle-ananth.mp3
ananth iyer faani
میرا قلم نکلے ۔ اننت ایّر فانیؔ
۱
جگر ہے اس لیے ہی یہ غزل کہنے کو ہم نکلے
زمیں غالب کی ہے، صاحب، کہو کیسے نہ دم نکلے
۲
فرواںی تھی اس درجہ، فقط اشعار کم نکلے
لطیفوں کے بھی راستے سے میرے رنج و الم نکلے
۳
محبت بیچ میں جتنی بھی بھٹکے، غیر ممکن ہے
جڑے واپس وہ لے سے جس پہ وہ تالِی نہ سم نکلے
۴
گھڑا پاپوں کا میرا بھر چکا ہوگا بہت پہلے
کرم ہے دیوتاؤں میں سے شفقت والے یم نکلے
۵
کہا جاتا ہے جس کو تیغ سے بھی اور طاقتور
کسے معلوم کل کو وہ قلم میرا قلم نکلے
۶
میں تیری بات سن تو لوں مگر واعظ بتا پہلے
کہ میخانے کی جانب کس لیے تیرے قدم نکلے
۷
پرانی عادتیں ہیں، جاتے جاتے جائیں گی فانیؔ
میں کہنا ‘ختم’ ہی چاہوں تو بھی لب سے ‘کھتم’ نکلے
मेरा क़लम निकले – सनंत अय्यर फ़ानी
१
जिगर है इस लिए ही ये ग़ज़ल कहने को हम निकले
ज़मीं ग़ालिब की है, साहिब, कहो कैसे न दम निकले
२
फ़रावानी थी इस दर्जा, फ़क़त अश’आर कम निकले
लतीफ़ों के भी रस्ते से मेरे रंज-ओ-अलम निकले
३
मुहब्बत बीच में जितनी भी भटके, ग़ैर-मुमकिन है
जुड़े वापस वो लय से जिसपे वो ताली न सम निकले
४
घड़ा पापों का मेरा भर चुका होगा बहुत पहले
करम है देवताओं में से शफ़्क़त वाले यम निकले
५
कहा जाता है जिसको तेग़ से भी और ताक़तवर
किसे मालूम कल को वो क़लम मेरा क़लम निकले
६
मैं तेरी बात सुन तो लूँ मगर वा’एज़ बता पहले
के मैख़ाने की जानिब किस लिये तेरे क़दम निकले
७
पुरानी आदतें हैं, जाते जाते जाएँगी फ़ानी
मैं कहना ‘ख़त्म’ ही चाहूँ तो भी लब से खतम निकले
Click here for background and on any passage for word meanings and explanatory discussion. ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating. He started composing around 2022, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside. He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’. This Ghazal is linked to Ghalib naqsh-e qadam.
1
jigar1 hai iss liye hii yeh Ghazal kahne ko ham nikle
zamiiN2 Ghalib ki hai, sahib, kaho kaise na dam3 nikle 1.liver-symbolic of courage/daring 2.the term that refers to the triad of qaafiya (rhyme), radeef (refrain) and bahr (meter/rhythm) of a Gazal; 3.dam nikle is a phrase-feel afraid
It is a demonstration of courage that the poet is attempting this Ghazal as after all this is in the zamiin of none other than Ghalib himself- how would one not feel afraid?
2
faraavaani4 thi is darja5, faqat6 ash’aar7 kam nikle
lateefoN8 ke bhi raste se mere ranj-o-alam9 nikle 4.abundance 5.extent, so much 6.only 7.plural of she’r 8.jokes 9.grief and sorrow
There was such an abundance of sorrow and grief that verses (ash’aar) alone weren’t sufficient for relief; even the route of humour (jokes) was necessary. A second reading could be that it is not relief from sorrow and grief that the poet seeks but a way to express them. He does it through his ash’aar but sometimes, this is not enough. He has to express grief through humour/jokes.
3
muhabbat biich meN jitni bhi bhaTke, Ghair-mumkin10 hai
juRe vaapas voh la’e11 se jiss pe voh taali na sam12 nikle 10.not possible 11.rhythm 12.the starting point of a musical beat cycle
When a classical musician (singer or instrumentalist) explores a raaga, they will often seem to wander off the rhythm cycle that the percussionist will be following. The singer or instrumentalist will render notes and phrases that bring out the nuances of the raaga, while not necessarily sticking to the rhythmic nature of the original composition from which their exploration branched out. However, their exploratory detour over, they must return to the rhythm cycle of the original composition (‘bandish’ or ‘naGhma’) and it is at the ‘sam’ beat that they do. Likewise, however much love or passion appears to meander off, it is not possible for it to stray off rhythm. The act of loving can never lead one astray. It will only leave one enriched.
4
ghaRaa paapoN ka mera bhar chuka hoga bahut pahle
karam13 hai devtaaoN meN se shafqat14 vaale yam15 nikle 13.mercy 14.clemency, love 15.the hindu demigod of death
The poet would have surely reached (and exceeded) his permissible quota of sins/misdeeds long ago. The belief is that in such an eventuality, kaarmic balance (something that yama, the demigod of death, keeps track of) would be restored by delivering death. However, the poet is still alive (and reciting this she’r). Hence, the poet has clearly been shown clemency by yama, otherwise he would have taken his life.
5
kaha jaata hai jiss ko teGh16 se bhi aur taaqatvar17
kise ma’luum kal ko voh qalam18 mera qalam nikle 16.sword 17.mighty/strong 18.pen
That which they call ‘mightier than the sword’ – may just turn out to be my pen, who knows!
6
maiN teri baat sun to luuN magar, vaa’ez19, bataa pahle
keh maiKhaane20 ki jaanib21 kis liye tere qadam22 nikle 19.preacher 20.tavern 21.in the direction of 22.steps
O preacher, I would listen to what you have to say, but you must first explain why you (who shun and forbid me to go to the tavern) were headed toward the tavern yourself. A reference to the maqtaa of Ghalib’s Ghazal (and a reflection on the bypocricy of orthodoxy) …
kahaaN maiKhaane ka darvaazaa Ghalib, aur kahaaN vaa’ez
par itnaa jaante haiN kal voh jaata tha keh ham nile
7
puraani aadateN23 haiN, jaate jaate jaa’eNgi, faani24
maiN kahna ‘Khatm’ hi chahooN to bhi lab se ‘khatam’ nikle 23.habits 24.the poet’s pen name
Old habits die hard, O faani. While I want to say “Khatm” (the correct way to pronounce the word, which means “finished”- fitting for the last she’r of the Ghazal), I end up saying “khatam,” a very common mispronunciation, especially in the Indian subcontinent.
ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating. He started composing around 2022, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside. He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’. This Ghazal is linked to Ghalib naqsh-e qadam.
1
jigar1 hai iss liye hii yeh Ghazal kahne ko ham nikle
zamiiN2 Ghalib ki hai, sahib, kaho kaise na dam3 nikle
1.liver-symbolic of courage/daring 2.the term that refers to the triad of qaafiya (rhyme), radeef (refrain) and bahr (meter/rhythm) of a Gazal; 3.dam nikle is a phrase-feel afraid
It is a demonstration of courage that the poet is attempting this Ghazal as after all this is in the zamiin of none other than Ghalib himself- how would one not feel afraid?
2
faraavaani4 thi is darja5 , faqat6 ash’aar7 kam nikle
lateefoN8 ke bhi raste se mere ranj-o-alam9 nikle
4.abundance 5.extent, so much 6.only 7.plural of she’r 8.jokes 9.grief and sorrow
There was such an abundance of sorrow and grief that verses (ash’aar) alone weren’t sufficient for relief; even the route of humour (jokes) was necessary. A second reading could be that it is not relief from sorrow and grief that the poet seeks but a way to express them. He does it through his ash’aar but sometimes, this is not enough. He has to express grief through humour/jokes.
3
muhabbat biich meN jitni bhi bhaTke, Ghair-mumkin10 hai
juRe vaapas voh la’e11 se jiss pe voh taali na sam12 nikle
10.not possible 11.rhythm 12.the starting point of a musical beat cycle
When a classical musician (singer or instrumentalist) explores a raaga, they will often seem to wander off the rhythm cycle that the percussionist will be following. The singer or instrumentalist will render notes and phrases that bring out the nuances of the raaga, while not necessarily sticking to the rhythmic nature of the original composition from which their exploration branched out. However, their exploratory detour over, they must return to the rhythm cycle of the original composition (‘bandish’ or ‘naGhma’) and it is at the ‘sam’ beat that they do. Likewise, however much love or passion appears to meander off, it is not possible for it to stray off rhythm. The act of loving can never lead one astray. It will only leave one enriched.
4
ghaRaa paapoN ka mera bhar chuka hoga bahut pahle
karam13 hai devtaaoN meN se shafqat14 vaale yam15 nikle
13.mercy 14.clemency, love 15.the hindu demigod of death
The poet would have surely reached (and exceeded) his permissible quota of sins/misdeeds long ago. The belief is that in such an eventuality, kaarmic balance (something that yama, the demigod of death, keeps track of) would be restored by delivering death. However, the poet is still alive (and reciting this she’r). Hence, the poet has clearly been shown clemency by yama, otherwise he would have taken his life.
5
kaha jaata hai jiss ko teGh16 se bhi aur taaqatvar17
kise ma’luum kal ko voh qalam18 mera qalam nikle
16.sword 17.mighty/strong 18.pen
That which they call ‘mightier than the sword’ – may just turn out to be my pen, who knows!
6
maiN teri baat sun to luuN magar, vaa’ez19, bataa pahle
keh maiKhaane20 ki jaanib21 kis liye tere qadam22 nikle
19.preacher 20.tavern 21.in the direction of 22.steps
O preacher, I would listen to what you have to say, but you must first explain why you (who shun and forbid me to go to the tavern) were headed toward the tavern yourself. A reference to the maqtaa of Ghalib’s Ghazal (and a reflection on the bypocricy of orthodoxy) …
kahaaN maiKhaane ka darvaazaa Ghalib, aur kahaaN vaa’ez
par itnaa jaante haiN kal voh jaata tha keh ham nile
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puraani aadateN23 haiN, jaate jaate jaa’eNgi, faani24
maiN kahna ‘Khatm’ hi chahooN to bhi lab se ‘khatam’ nikle
23.habits 24.the poet’s pen name
Old habits die hard, O faani. While I want to say “Khatm” (the correct way to pronounce the word, which means “finished”- fitting for the last she’r of the Ghazal), I end up saying “khatam,” a very common mispronunciation, especially in the Indian subcontinent.
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