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meri taqdiir ka-mohammed saadiq raaz chaandpuri
For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2025/06/rchms-meri-taqdiir-ka-audio.mp3
Recitation
مری تقدیر کا ۔ محمد صادق رازؔ چاند پوری
۱
حدّ اِمکاں تک تو بے شک کام ہے تدبیر کا
اُس سے آگے جو مُقدّر ہو مِری تقدیر کا
۲
الاماں یہ جوش اے آہِ رسا بس رحم کر
معترف ہوں روزِ اوّل سے تِری تاثیر کا
۳
اللہ اللہ یہ خودی یہ خود سری یہ خود روی
کامیابِ آرزو قائل نہیں تقدیر کا
۴
کون ہے یہ سر بہ سجدہ آستانِ غیر پر
غالباً کوئی مسافر منزلِ تدبیر کا
۵
مرحبا یہ جوشِ جانبازی خدارا صبر کر
آ رہا ہے وقت قصرِ عشق کی تعمیر کا
۶
بندۂ تسلیم ہوں، جائے ادب ہے کیا کہوں
جائزہ لیتے ہیں اب وہ دفترِ تقسیر کا
۷
رازؔ یہ دشت و جبل اور میں اب کیا کہوں
اِک کرشمہ ہے نگاہِ شاہدِ تقدیر کا
मेरी तक़्दीर का – मोहम्मद सादेक़ राज़ चांदपूरी
१
हद्द-ए इम्कां तक तो बेशक काम है तद्बीर का
उस से आगे जो मुक़द्दर हो मिरी तक़्दीर का
२
अल-अमां ये जोश अए आह-ए रसा बस रहम कर
मो’तरिफ़ हूं रोज़-ए अव्वल से तेरी ता’सीर का
३
अल्लाह अल्लाह ये ख़ुदी, ये ख़ुद-सरी, ये ख़ुद-रवी
कामयाब-ए आर्ज़ू क़ा’एल नहीं तक़्दीर का
४
कौन है ये सर-ब-सज्दा आस्तान-ए ग़ैर पर
ग़ालिबन कोई मुसाफ़िर मंज़िल-ए तद्बीर का
५
मरहबा! ये जोश-ए जानबाज़ी, ख़ुदारा सब्र कर
आ रहा है वक़्त क़स्र-ए इश्क़ की ता’मीर का
६
बंदा-ए तस्लीम हूँ, जा-ए अदब है क्या कहूं
जा’एज़ा लेते हैं अब वो दफ़्तर-ए तक़्सीर का
७
राज़ ये दश्त ओ जबल और मैं अब क्या कहूं
एक करिश्मा है निगाह-ए शाहिद-ए तक़्दीर का
Click here for background and on any passage for word meanings and explanatory discussion. mohammed saadiq raaz chaandpuri (1892-1969). Received traditional education in urdu and faarsi in local maktab/madrasa. Continued his education in English and urdu in muradabad high school. He started composing early, but took it up seriously only after he got steady employment in a clerical/administrative position with the government. He was shaagird of seemab akbarabadi. In addition to Ghazal, rubaaii and nazm he wrote critiques, biographies and short stories. This is linked to ‘shooKhi-e tahriir ka’-Ghalib naqsh-e qadam on the Theme Index page.
1
hadd1-e imkaaN2 tak to beshak3 kaam hai tadbiir4 ka
uss se aage5 jo muqaddar6 ho meri taqdiir7 ka 1.limit 2.possibility 3.doubtless 4.plan, effort 5.beyond, past 6.luck, fate 7.destiny
The poet draws a clear boundary: human effort (tadbiir) is effective only up to the limit of possibility (hadd-e imkaaN). Beyond that, destiny (taqdiir) takes over. This she’r balances free will and fate, suggesting that we can strive, but ultimate outcomes rest with destiny.
2
al-amaaN1 ye josh2 aye aah3-e rasaa4, bas rahm5 kar
mo’tarif6 huN roz7-e avval8 se teri taa’siir9 ka 1.may god protect 2.passion 3.sigh 4.far reaching 5.mercy 6.convinced 7.day 8.first 9.effect
The poet calls upon god to protect him. His own deep and far reaching sigh (aah-e rasaa) is causing a (perhaps destructive) effect taa’siir on him. He begs it for mercy saying that from the very first day he has been convinced of its effect, reflecting the inner turmoil that his unreciprocated love causes him.
3
allah allah ye Khudi1, ye Khud-sari2, ye Khud-ravi3
kaamyaab4-e aarzu5 qaa’el6 nahiN taqdiir7 ka 1.self-hood, ego 2.willfulness, strong opinion 3.self-direction 4.successful 5.yearning 6.accepting, convinced 7.fate
There are some who have been successful in achieving their desires – kaamyaab-e aarzu. They seem to be egotistic, willful, opinionated and going their own way. They don’t seem to concede that fate had any part in their success. This may be a reflection on human arrogance.
4
kaun hai ye sar-ba-sajda1 aastaan2-e Ghair3 par
Ghaaliban4 koi musaafir5 manzil6-e tadbiir7 ka 1.head bowed in prostration 2.threshold, door 3.other 4.perhaps 5.traveler, seeker 7.plan, action, effort
Here Ghair – the ‘other’ could be someone or some force other than god or fate. The poet observes someone bowing in submission at the door of the ‘other’. He wonders who it could be. He suspects this person is a traveler on the path of mere planning, human effort (tadbiir), not one guided by fate or spiritual truth, suggesting that ego should be forsaken and trust placed in god or fate.
5
marhaba1! ye josh2-e jaaNbaazi3, Khudaaraa4 sabr5 kar
aa raha hai vaqt qasr6-e ishq ki taa’miir7 ka 1.felicitations, congratulations 2.passion 3.putting life on the line, offering sacrifice of life 4.for god’s sake 5.patience 6.palace 7.building, constructing
The poet praises/congratulates the passionate spirit of sacrifice (josh-e jaaNbaazi) but urges patience, as the time to build the palace of love (qasr-e ishq) is approaching. It suggests that after hardship, there comes a moment of constructive beauty. Passion must mature into patience.
6
banda1-e tasleem2 huN, jaa3-e adab4 hai, kya kahuN
jaa’eza5 lete haiN ab voh daftar6-e taqsiir7 ka 1.servant, slave 2.acceptance 3.place, occasion 4.respect, reverence 5.examine, review 6.book, record, account 7.faults, sins
In the second misra the word voh probably refers to the beloved. Alternatively, it could also be angels who report to god on the day of judgment. In either case, the record of his sins is being examined/evaluated and as a submissive servant (banda-e tasleem), the poet stands in humility and awe at a loss for words. He refrains from speaking out of reverence because this is the place/occasion of respect (jaa-e adab), as ‘they’, perhaps divine forces, or the beloved, are reviewing the record of his faults (daftar-e taqsiir).
7
raaz1 ye dasht2 o jabal3 aur maiN, ab kya kahuN
ek karishma4 hai nigaah5-e shaahid6-e taqdiir7 ka 1.pen-name 2.wilderness 3.mountains 4.miracle, mystery 5.eyes, glance 6.witness, one who can vouch for, attestor
The poet raaz is confronted with hurdles in his journey – hurdles of wilderness and mountains (dasht o jabal) – symbols of hardship or spiritual trial. Here the ‘aur maiN’ is an expression his own inadequacy when faced with these obstacles. He attributes this to the miracle/mystery of the gaze of the attestor of fate shaahid-e taqdiir, suggesting that whatever is happening is a miracle or mystery under divine watch. He doesn’t attempt to explain – he simply acknowledges the unseen hand of destiny.
mohammed saadiq raaz chaandpuri (1892-1969). Received traditional education in urdu and faarsi in local maktab/madrasa. Continued his education in English and urdu in muradabad high school. He started composing early, but took it up seriously only after he got steady employment in a clerical/administrative position with the government. He was shaagird of seemab akbarabadi. In addition to Ghazal, rubaaii and nazm he wrote critiques, biographies and short stories. This is linked to ‘shooKhi-e tahriir ka’-Ghalib naqsh-e qadam on the Theme Index page.
1
hadd1-e imkaaN2 tak to beshak3 kaam hai tadbiir4 ka
uss se aage5 jo muqaddar6 ho meri taqdiir7 ka
1.limit 2.possibility 3.doubtless 4.plan, effort 5.beyond, past 6.luck, fate 7.destiny
The poet draws a clear boundary: human effort (tadbiir) is effective only up to the limit of possibility (hadd-e imkaaN). Beyond that, destiny (taqdiir) takes over. This she’r balances free will and fate, suggesting that we can strive, but ultimate outcomes rest with destiny.
2
al-amaaN1 ye josh2 aye aah3-e rasaa4, bas rahm5 kar
mo’tarif6 huN roz7-e avval8 se teri taa’siir9 ka
1.may god protect 2.passion 3.sigh 4.far reaching 5.mercy 6.convinced 7.day 8.first 9.effect
The poet calls upon god to protect him. His own deep and far reaching sigh (aah-e rasaa) is causing a (perhaps destructive) effect taa’siir on him. He begs it for mercy saying that from the very first day he has been convinced of its effect, reflecting the inner turmoil that his unreciprocated love causes him.
3
allah allah ye Khudi1, ye Khud-sari2, ye Khud-ravi3
kaamyaab4-e aarzu5 qaa’el6 nahiN taqdiir7 ka
1.self-hood, ego 2.willfulness, strong opinion 3.self-direction 4.successful 5.yearning 6.accepting, convinced 7.fate
There are some who have been successful in achieving their desires – kaamyaab-e aarzu. They seem to be egotistic, willful, opinionated and going their own way. They don’t seem to concede that fate had any part in their success. This may be a reflection on human arrogance.
4
kaun hai ye sar-ba-sajda1 aastaan2-e Ghair3 par
Ghaaliban4 koi musaafir5 manzil6-e tadbiir7 ka
1.head bowed in prostration 2.threshold, door 3.other 4.perhaps 5.traveler, seeker 7.plan, action, effort
Here Ghair – the ‘other’ could be someone or some force other than god or fate. The poet observes someone bowing in submission at the door of the ‘other’. He wonders who it could be. He suspects this person is a traveler on the path of mere planning, human effort (tadbiir), not one guided by fate or spiritual truth, suggesting that ego should be forsaken and trust placed in god or fate.
5
marhaba1! ye josh2-e jaaNbaazi3, Khudaaraa4 sabr5 kar
aa raha hai vaqt qasr6-e ishq ki taa’miir7 ka
1.felicitations, congratulations 2.passion 3.putting life on the line, offering sacrifice of life 4.for god’s sake 5.patience 6.palace 7.building, constructing
The poet praises/congratulates the passionate spirit of sacrifice (josh-e jaaNbaazi) but urges patience, as the time to build the palace of love (qasr-e ishq) is approaching. It suggests that after hardship, there comes a moment of constructive beauty. Passion must mature into patience.
6
banda1-e tasleem2 huN, jaa3-e adab4 hai, kya kahuN
jaa’eza5 lete haiN ab voh daftar6-e taqsiir7 ka
1.servant, slave 2.acceptance 3.place, occasion 4.respect, reverence 5.examine, review 6.book, record, account 7.faults, sins
In the second misra the word voh probably refers to the beloved. Alternatively, it could also be angels who report to god on the day of judgment. In either case, the record of his sins is being examined/evaluated and as a submissive servant (banda-e tasleem), the poet stands in humility and awe at a loss for words. He refrains from speaking out of reverence because this is the place/occasion of respect (jaa-e adab), as ‘they’, perhaps divine forces, or the beloved, are reviewing the record of his faults (daftar-e taqsiir).
7
raaz1 ye dasht2 o jabal3 aur maiN, ab kya kahuN
ek karishma4 hai nigaah5-e shaahid6-e taqdiir7 ka
1.pen-name 2.wilderness 3.mountains 4.miracle, mystery 5.eyes, glance 6.witness, one who can vouch for, attestor
The poet raaz is confronted with hurdles in his journey – hurdles of wilderness and mountains (dasht o jabal) – symbols of hardship or spiritual trial. Here the ‘aur maiN’ is an expression his own inadequacy when faced with these obstacles. He attributes this to the miracle/mystery of the gaze of the attestor of fate shaahid-e taqdiir, suggesting that whatever is happening is a miracle or mystery under divine watch. He doesn’t attempt to explain – he simply acknowledges the unseen hand of destiny.
The post meri taqdiir ka-mohammed saadiq raaz chaandpuri appeared first on UrduShahkar.
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For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2025/06/rchms-meri-taqdiir-ka-audio.mp3
Recitation
مری تقدیر کا ۔ محمد صادق رازؔ چاند پوری
۱
حدّ اِمکاں تک تو بے شک کام ہے تدبیر کا
اُس سے آگے جو مُقدّر ہو مِری تقدیر کا
۲
الاماں یہ جوش اے آہِ رسا بس رحم کر
معترف ہوں روزِ اوّل سے تِری تاثیر کا
۳
اللہ اللہ یہ خودی یہ خود سری یہ خود روی
کامیابِ آرزو قائل نہیں تقدیر کا
۴
کون ہے یہ سر بہ سجدہ آستانِ غیر پر
غالباً کوئی مسافر منزلِ تدبیر کا
۵
مرحبا یہ جوشِ جانبازی خدارا صبر کر
آ رہا ہے وقت قصرِ عشق کی تعمیر کا
۶
بندۂ تسلیم ہوں، جائے ادب ہے کیا کہوں
جائزہ لیتے ہیں اب وہ دفترِ تقسیر کا
۷
رازؔ یہ دشت و جبل اور میں اب کیا کہوں
اِک کرشمہ ہے نگاہِ شاہدِ تقدیر کا
मेरी तक़्दीर का – मोहम्मद सादेक़ राज़ चांदपूरी
१
हद्द-ए इम्कां तक तो बेशक काम है तद्बीर का
उस से आगे जो मुक़द्दर हो मिरी तक़्दीर का
२
अल-अमां ये जोश अए आह-ए रसा बस रहम कर
मो’तरिफ़ हूं रोज़-ए अव्वल से तेरी ता’सीर का
३
अल्लाह अल्लाह ये ख़ुदी, ये ख़ुद-सरी, ये ख़ुद-रवी
कामयाब-ए आर्ज़ू क़ा’एल नहीं तक़्दीर का
४
कौन है ये सर-ब-सज्दा आस्तान-ए ग़ैर पर
ग़ालिबन कोई मुसाफ़िर मंज़िल-ए तद्बीर का
५
मरहबा! ये जोश-ए जानबाज़ी, ख़ुदारा सब्र कर
आ रहा है वक़्त क़स्र-ए इश्क़ की ता’मीर का
६
बंदा-ए तस्लीम हूँ, जा-ए अदब है क्या कहूं
जा’एज़ा लेते हैं अब वो दफ़्तर-ए तक़्सीर का
७
राज़ ये दश्त ओ जबल और मैं अब क्या कहूं
एक करिश्मा है निगाह-ए शाहिद-ए तक़्दीर का
Click here for background and on any passage for word meanings and explanatory discussion. mohammed saadiq raaz chaandpuri (1892-1969). Received traditional education in urdu and faarsi in local maktab/madrasa. Continued his education in English and urdu in muradabad high school. He started composing early, but took it up seriously only after he got steady employment in a clerical/administrative position with the government. He was shaagird of seemab akbarabadi. In addition to Ghazal, rubaaii and nazm he wrote critiques, biographies and short stories. This is linked to ‘shooKhi-e tahriir ka’-Ghalib naqsh-e qadam on the Theme Index page.
1
hadd1-e imkaaN2 tak to beshak3 kaam hai tadbiir4 ka
uss se aage5 jo muqaddar6 ho meri taqdiir7 ka 1.limit 2.possibility 3.doubtless 4.plan, effort 5.beyond, past 6.luck, fate 7.destiny
The poet draws a clear boundary: human effort (tadbiir) is effective only up to the limit of possibility (hadd-e imkaaN). Beyond that, destiny (taqdiir) takes over. This she’r balances free will and fate, suggesting that we can strive, but ultimate outcomes rest with destiny.
2
al-amaaN1 ye josh2 aye aah3-e rasaa4, bas rahm5 kar
mo’tarif6 huN roz7-e avval8 se teri taa’siir9 ka 1.may god protect 2.passion 3.sigh 4.far reaching 5.mercy 6.convinced 7.day 8.first 9.effect
The poet calls upon god to protect him. His own deep and far reaching sigh (aah-e rasaa) is causing a (perhaps destructive) effect taa’siir on him. He begs it for mercy saying that from the very first day he has been convinced of its effect, reflecting the inner turmoil that his unreciprocated love causes him.
3
allah allah ye Khudi1, ye Khud-sari2, ye Khud-ravi3
kaamyaab4-e aarzu5 qaa’el6 nahiN taqdiir7 ka 1.self-hood, ego 2.willfulness, strong opinion 3.self-direction 4.successful 5.yearning 6.accepting, convinced 7.fate
There are some who have been successful in achieving their desires – kaamyaab-e aarzu. They seem to be egotistic, willful, opinionated and going their own way. They don’t seem to concede that fate had any part in their success. This may be a reflection on human arrogance.
4
kaun hai ye sar-ba-sajda1 aastaan2-e Ghair3 par
Ghaaliban4 koi musaafir5 manzil6-e tadbiir7 ka 1.head bowed in prostration 2.threshold, door 3.other 4.perhaps 5.traveler, seeker 7.plan, action, effort
Here Ghair – the ‘other’ could be someone or some force other than god or fate. The poet observes someone bowing in submission at the door of the ‘other’. He wonders who it could be. He suspects this person is a traveler on the path of mere planning, human effort (tadbiir), not one guided by fate or spiritual truth, suggesting that ego should be forsaken and trust placed in god or fate.
5
marhaba1! ye josh2-e jaaNbaazi3, Khudaaraa4 sabr5 kar
aa raha hai vaqt qasr6-e ishq ki taa’miir7 ka 1.felicitations, congratulations 2.passion 3.putting life on the line, offering sacrifice of life 4.for god’s sake 5.patience 6.palace 7.building, constructing
The poet praises/congratulates the passionate spirit of sacrifice (josh-e jaaNbaazi) but urges patience, as the time to build the palace of love (qasr-e ishq) is approaching. It suggests that after hardship, there comes a moment of constructive beauty. Passion must mature into patience.
6
banda1-e tasleem2 huN, jaa3-e adab4 hai, kya kahuN
jaa’eza5 lete haiN ab voh daftar6-e taqsiir7 ka 1.servant, slave 2.acceptance 3.place, occasion 4.respect, reverence 5.examine, review 6.book, record, account 7.faults, sins
In the second misra the word voh probably refers to the beloved. Alternatively, it could also be angels who report to god on the day of judgment. In either case, the record of his sins is being examined/evaluated and as a submissive servant (banda-e tasleem), the poet stands in humility and awe at a loss for words. He refrains from speaking out of reverence because this is the place/occasion of respect (jaa-e adab), as ‘they’, perhaps divine forces, or the beloved, are reviewing the record of his faults (daftar-e taqsiir).
7
raaz1 ye dasht2 o jabal3 aur maiN, ab kya kahuN
ek karishma4 hai nigaah5-e shaahid6-e taqdiir7 ka 1.pen-name 2.wilderness 3.mountains 4.miracle, mystery 5.eyes, glance 6.witness, one who can vouch for, attestor
The poet raaz is confronted with hurdles in his journey – hurdles of wilderness and mountains (dasht o jabal) – symbols of hardship or spiritual trial. Here the ‘aur maiN’ is an expression his own inadequacy when faced with these obstacles. He attributes this to the miracle/mystery of the gaze of the attestor of fate shaahid-e taqdiir, suggesting that whatever is happening is a miracle or mystery under divine watch. He doesn’t attempt to explain – he simply acknowledges the unseen hand of destiny.
mohammed saadiq raaz chaandpuri (1892-1969). Received traditional education in urdu and faarsi in local maktab/madrasa. Continued his education in English and urdu in muradabad high school. He started composing early, but took it up seriously only after he got steady employment in a clerical/administrative position with the government. He was shaagird of seemab akbarabadi. In addition to Ghazal, rubaaii and nazm he wrote critiques, biographies and short stories. This is linked to ‘shooKhi-e tahriir ka’-Ghalib naqsh-e qadam on the Theme Index page.
1
hadd1-e imkaaN2 tak to beshak3 kaam hai tadbiir4 ka
uss se aage5 jo muqaddar6 ho meri taqdiir7 ka
1.limit 2.possibility 3.doubtless 4.plan, effort 5.beyond, past 6.luck, fate 7.destiny
The poet draws a clear boundary: human effort (tadbiir) is effective only up to the limit of possibility (hadd-e imkaaN). Beyond that, destiny (taqdiir) takes over. This she’r balances free will and fate, suggesting that we can strive, but ultimate outcomes rest with destiny.
2
al-amaaN1 ye josh2 aye aah3-e rasaa4, bas rahm5 kar
mo’tarif6 huN roz7-e avval8 se teri taa’siir9 ka
1.may god protect 2.passion 3.sigh 4.far reaching 5.mercy 6.convinced 7.day 8.first 9.effect
The poet calls upon god to protect him. His own deep and far reaching sigh (aah-e rasaa) is causing a (perhaps destructive) effect taa’siir on him. He begs it for mercy saying that from the very first day he has been convinced of its effect, reflecting the inner turmoil that his unreciprocated love causes him.
3
allah allah ye Khudi1, ye Khud-sari2, ye Khud-ravi3
kaamyaab4-e aarzu5 qaa’el6 nahiN taqdiir7 ka
1.self-hood, ego 2.willfulness, strong opinion 3.self-direction 4.successful 5.yearning 6.accepting, convinced 7.fate
There are some who have been successful in achieving their desires – kaamyaab-e aarzu. They seem to be egotistic, willful, opinionated and going their own way. They don’t seem to concede that fate had any part in their success. This may be a reflection on human arrogance.
4
kaun hai ye sar-ba-sajda1 aastaan2-e Ghair3 par
Ghaaliban4 koi musaafir5 manzil6-e tadbiir7 ka
1.head bowed in prostration 2.threshold, door 3.other 4.perhaps 5.traveler, seeker 7.plan, action, effort
Here Ghair – the ‘other’ could be someone or some force other than god or fate. The poet observes someone bowing in submission at the door of the ‘other’. He wonders who it could be. He suspects this person is a traveler on the path of mere planning, human effort (tadbiir), not one guided by fate or spiritual truth, suggesting that ego should be forsaken and trust placed in god or fate.
5
marhaba1! ye josh2-e jaaNbaazi3, Khudaaraa4 sabr5 kar
aa raha hai vaqt qasr6-e ishq ki taa’miir7 ka
1.felicitations, congratulations 2.passion 3.putting life on the line, offering sacrifice of life 4.for god’s sake 5.patience 6.palace 7.building, constructing
The poet praises/congratulates the passionate spirit of sacrifice (josh-e jaaNbaazi) but urges patience, as the time to build the palace of love (qasr-e ishq) is approaching. It suggests that after hardship, there comes a moment of constructive beauty. Passion must mature into patience.
6
banda1-e tasleem2 huN, jaa3-e adab4 hai, kya kahuN
jaa’eza5 lete haiN ab voh daftar6-e taqsiir7 ka
1.servant, slave 2.acceptance 3.place, occasion 4.respect, reverence 5.examine, review 6.book, record, account 7.faults, sins
In the second misra the word voh probably refers to the beloved. Alternatively, it could also be angels who report to god on the day of judgment. In either case, the record of his sins is being examined/evaluated and as a submissive servant (banda-e tasleem), the poet stands in humility and awe at a loss for words. He refrains from speaking out of reverence because this is the place/occasion of respect (jaa-e adab), as ‘they’, perhaps divine forces, or the beloved, are reviewing the record of his faults (daftar-e taqsiir).
7
raaz1 ye dasht2 o jabal3 aur maiN, ab kya kahuN
ek karishma4 hai nigaah5-e shaahid6-e taqdiir7 ka
1.pen-name 2.wilderness 3.mountains 4.miracle, mystery 5.eyes, glance 6.witness, one who can vouch for, attestor
The poet raaz is confronted with hurdles in his journey – hurdles of wilderness and mountains (dasht o jabal) – symbols of hardship or spiritual trial. Here the ‘aur maiN’ is an expression his own inadequacy when faced with these obstacles. He attributes this to the miracle/mystery of the gaze of the attestor of fate shaahid-e taqdiir, suggesting that whatever is happening is a miracle or mystery under divine watch. He doesn’t attempt to explain – he simply acknowledges the unseen hand of destiny.
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