For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.

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Recitation

نہ  روِش  قلندرانہ  ۔  پنڈت  جیمنی  سرشارؔ

۱

نہ  وہ  دل  نہ  وہ  نگاہیں،  نہ  وہ  غم  نہ  وہ  زمانہ

میری  آرزو  کا  حاصل،  نہ  قفص  نہ  آشیانہ

۲

مری  زندگی  کے  مالک،  مری  زندگی  یہی  ہے

نہ  وقار  کج  کلاہی،  نہ  روِش  قلندرانہ

۳

مری  بے  نیازیوں  کا،  یہ  صِلہ  ملا  ہے  مجھ  کو

مرے  ساتھ  بے  کسی  ہے،  ترے  ساتھ  ہے  زمانہ

۴

تری  عظمتوں  کے  دم  سے،  مری  آبرو  ہے  یا  رب

یہ  جلال  کی  وراثت،  یہ  وقار  کا  خزانہ

۵

تو  جہاں  میں  لامکاں  ہے،  تو  مرا  مکاں  کہاں  ہے

نہ  ترا  کوئی  ٹھکانہ،  نہ  مرا  کوئی  ٹھکانہ

۶

کوئی  بات  ہو  تو  سمجھوں،  مجھے  راس  آ  گیا  ہے

مرا  جرم  ہوشمندی،  مرا  عزمِ  فاتحانہ

۷

اِسی  کشمکش  کے  صدقے،  مرا  وقت  کٹ  رہا  ہے

کبھی  زندگی  کی  سازش  کبھی  موت  کا  بہانہ

۸

رہِ  منزلِ  وفا  میں،  مجھے  لوٹ  لے  تو  کیا  ہو

وہ  ادائے  دلبرانہ،  وہ  جمالِ  کافرانہ

۹

مجھے  تیری  آرزو  تھی  تجھے  میری  جستجو  تھی

میں  غرور  میں  یگانہ،  تُو  شعور  میں  یگانا

۱۰

نہ  سفر  کا  کوئی  حاصل  نہ  سکوں  کی  کوئی  منزل

مرے  اشہبِ  جنوں  پر،  یہ  خِرد  کا  تازیانہ

۱۱

مجھے  بُت  پرست  کہہ  کر،  نہ  اڑا  مذاق  میرا

یہ  جمالِ  دلبرانہ  یہ  تراشِ  آذرانہ

۱۲

یہ  کمال  آگہی  کا،  یہ  مآل  آگہی  کا

دلِ  ناصبور  میرا،  غم  و  درد  کا  خزانہ

न रविश क़लंदराना – पंडित जैमिनी सरशार

१

न वो दिल न वो निगाहें न वो ग़म न वो ज़माना

मेरी आर्ज़ू का हासिल न क़फ़स न आशियाना

२

मेरी ज़िंदगी के मालिक, मेरी ज़िंदगी यही है

न वक़ार-ए कज कुलाही, न रविश क़लंदराना

३

मेरी बेनियाज़ियौं का, ये सिला मिला है मुझ को

मेरे साथ बेकसी है, तेरे साथ है ज़माना

४

तेरी अज़मतौं के दम से, मेरी आब्रू है या रब

ये जलाल की विरासत, ये वक़ार का ख़ज़ाना

५

तू जहां में लामकां है, तो मेरा मकां कहां है

न तेरा कोई ठिकाना, न मेरा कोई ठिकाना

६

कोई बात हो तो समझूं, मुझे रास आ गया है

मेरा जुर्म-ए होशमंदी, मेरा अज़्म-ए फ़ातहाना

७

इसी कशमकश के सदक़े, मेरा वक़्त कट रहा है

कभी ज़िंदगी की साज़िश कभी मौत का बहाना

८

रह-ए मंज़िल-ए वफ़ा में, मुझे लूट ले तो क्या हो

वो अदा-ए दिलबराना, वो जमाल-ए काफ़राना

९

मुझे तेरी आर्ज़ू थी, तुझे मेरी जुस्तजू थी

मैं ग़ुरूर में यगाना, तू शऊर में यगाना

१०

न सफ़र का कोई हासिल न सुकूं की कोई मंज़िल

मेरे अशहब-ए जुनूं पर, ये ख़िरद का ताज़ियाना

११

मुझे बुत परस्त कह कर, न उढा मज़ाक़ मेरा

ये जमाल-ए दिलबराना ये तराश-ए आज़राना

१२

यह कमाल आगही का, यह म’आल आगही का

दिल-ए नासुबूर मेरा, ग़म ओ दर्द का ख़ज़ाना

Click here for background and on any passage for word meanings and explanatory discussion. jaimini sarshaar (1905-1984). Born and raised in rural muzaffar gaRh. He worked as editor of various magazines, but it is not clear if he had any college education, job or lands. He migrated to sonipat, punjab in the middle 1940s. shaagird of tilok chand mahroom. Started composing in 1920, his urge to compose triggered by the jaaliaaNvala baaGh massacre. He wrote patriotic and national nazm with a strong dose of communal harmony. His Ghazal and nazm were published in local magazines, and eventually took the shape of four collections.

jaimini sarshaar (1905-1984).  Born and raised in rural muzaffar gaRh.  He worked as editor of various magazines, but it is not clear if he had any college education, job or lands.  He migrated to sonipat, punjab in the middle 1940s.  shaagird of tilok chand mahroom.  Started composing in 1920, his urge to compose triggered by the jaaliaaNvala baaGh massacre.  He wrote patriotic and national nazm with a strong dose of communal harmony.  His Ghazal and nazm were published in local magazines, and eventually took the shape of four collections.

1.eyes 2.sorrow, pain 3.times, era 4.longing 5.net result, benefit 6.cage 7.nest

In urdu poetic tradition the poet/lover is often portrayed as a bird.  It is either free, with a nest of its own, or it has been captured and caged.  The birdcatcher could be the beloved herself.  The poet seems to be nostalgic for times gone by when things were better.  But now, there is neither the kind of heart that offers true love, nor eyes that appreciate such an offering.  There is no longer the ability to bear the pain of unrequited pain of love.  The result of his longing is neither the cage (being captured by the beloved) nor the freedom/pleasure of a nest/home.  This could be a lament/complaint directed towards god.

1.dignity 2.slanted cap, defiance 3.way, tradition 4.ascetic, humble

O lord of my life (perhaps addressed to god), my life has become this … neither the dignity of defiance nor the ways of humility.  The poet seems to be stuck in limbo.

1.uncaring, neglect 2.reward 3.helplessness 4.times, the world

This is probably addressed to the divine.  This is the reward/recompense that I have received for my neglect.  With me is helplessness, the rest of the world goes with you and your generosity.

1.greatness 2.power 3.respect 4.lord 5.grandeur, eminence 6.legacy 7.dignity 8.treasure

Lord, my honor and respect exist because of your greatness and power. This legacy of splendor and treasure of dignity are all due to you. The poet acknowledges that everything he has, his dignity, and his honor, are a gift from a higher power.

1.world, 2.spaceless, without a home – not confined to one place 3.home 4.place, shelter

The poet directly addresses god, who is considered lamakaaN (not bound by space, without a physical abode, who is everywhere) and asks: If you are without a place in this world, then I don’t have a home either.  I am just like you – neither you have a place, nor do I have a place, suggests a sense of shared values.  This is probably used to mean a shared sense of an infinite expanse – my verse too is not confined by time or space.

1.compatible, suitable 2.transgression, criminality 3.rationality, sense of awareness 4.conviction, resolve 3.victorious

The poet has suufi/ascetic inclinations and is trying to make sense of a contradictory situation in his life.  koii baat ho to can be interpreted to mean, ‘if there is any substance in it, then’.  Thus, if there is any substance/reality in it, then I would understand/accept.  But the contradiction is that I have found compatibility/suitability/comfort in my jurm-e hoshmandi and azm-e faatehaaana.  In the ascetic tradition hoshmandi would be rejected in favour of passion and frenzy and a resolved to prevail (powerful ego) would be rejected in favour of submission to the divine.  But the poetic/ascetic confesses to this contradiction.

1.struggle, internal conflict 2.sacrifice 3.passing 4.conspiracy, plot 5.death 6.pretext, excuse, pretense

Here kashmakash ke sadqe can be interpreted to mean thanks to this struggle, because of this struggle.  vaqt kaT raha hai can be interpreted to mean my time/life is being cut short i.e., it is being wasted.  What is this kashmakash struggle?  It could be the contradiction carried over from the previous she’r or the struggle describe in the next misra.  The conspiracy of life is the constant temptation of materialism and the pretense of the wish to die/merge with the great spirit is just that – a pretense; hence the struggle.

1.path 2.destination 3.fidelity, faith 4.style, coquetry 5.beloved-like, charming 6.beauty 7.faith robbing, distracting from fidelity to the beloved/divine

The poet’s struggle continues.  adaa-e dilbaraana charming coquetry, is the attractions of the material world and jamaal-e kaafiraana is the beauty of the material world that robs the poet/suufi/ascetic of his fidelity to the divine.  He is afraid that these might rob him on his path to seek the divine, merger with the divine.  His struggle is with the temptations of the material world.

1.longing 2.seeking, searching 3.pride, arrogance, ego 4.unique, matchless 5.wisdom, knowledge

Here meri – mine, refers to the poet himself and teri -yours, refers to the beloved but here the beloved is the divine spirit.  Also, justujuu does not imply an active search … going out and seeking but waiting patiently … the picture is that the divine is expecting/waiting for the seeker to arrive.  The poet/seeker is still struggling … caught up in his Ghuroor- ego while the divine in its unique wisdom waits for him.

1.journey 2.use, benefit 3.peace 4.destination 5.horses 6.madness 7.rationality 8.whip

The poet/seeker is on a journey towards merger with the divine.  The the suufi/ascetic tradition the way to this destination is through passion/love/frenzy.  The seeker is riding his ‘horse of madness’ on this journey but ‘Khirad‘ – rationality weilds and whip and distracts the horse, leading him in other directions i.e., his rationality is leading him to material temptations.  Hence there is no net result/benefit in this journey nor is there a stage in the journey where he can rest and contemplate.

1.idol-worshipper 2.mock, make fun of 3.beauty 4.charming 5.carving, sculpture 6.like that of aazar

aazar was the father of ibrahim/Abraham and carved idols, was an idol-worshipper and opposed his son’s preaching of monotheism and formless god.  aazar is reputed to have carved exquisite idols which everyone bought and worshipped.  The poet declares his helplessness faced with the charming beauty of the idols like those carved by aazar.  How can I not be a but-parast when faced with such beauty.  Don’t mock me, he says.  The implication could be that there is divinity in beauty and he, through his idol worship is aiming at the same goal as monotheists of a formless god.    

1.perfection, pinnacle 2.awareness, knowledge 3.end result, consequence 4.restless heart 5.sorrow and pain 6.treasure

The poet/seeker’s heart is restless and is a ‘treasure’ of pain and sorrow.  That is because he has not been able to get to his goal of merger with the divine.  This is the result of his aagahi – awareness/knowledge of the material world.  This carries the thought further that the path to the divine is not through knowledge but through passion.

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