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

https://urdushahkar.org/wp-content/uploads/2025/09/pjs-nateeja-Khez-hai-saaqi-audio.mp3

Recitation

نتیجہ  خیز  ہے  ساقی  ۔  پنڈت  جیمنی  سرشارؔ

۱

زباں  گرچہ  میری  تیغ  و  سناں  سے  تیز  ہے  ساقی

خموشی  اس  سے  بھی  بڑھ  کر  نتیجہ  خیز  ہے  ساقی

۲

زمانے  کی  روِش  کو  دیکھتا  ہوں  کانپ  جاتا  ہوں

یہاں  کی  ہر  نظر  خونخوار  ہے  خوں  ریز  ہے  ساقی

۳

سُنا  ہے  قافلہ  اُترا  تھا  اِک  اس  میں  بہاروں  کا

ہَوا  صحنِ  چمن  کی  اب  بھی  عنبر  بیز  ہے  ساقی

۴

بہے  گا  خوں  جو  اِس  میں  رائیگاں  ہرگز  نہ  جائے  گا

کہ  مِٹّی  اِس  چمن  کی  آج  بھی  زرخیز  ہے  ساقی

۵

یہاں  جو  آدمی  آتا  ہے  پھر  واپس  نہیں  جاتا

فضائے  میکدہ  ایسی  نِشاط  انگیز  ہے  ساقی

۶

نہاں  ہیں  کتنے  رومی  کتنے  شمس  اِس  خاک  کے  اندر

ہر  اِک  خِطّہ  یہاں  ایران  ہے  تبریز  ہے  ساقی

۷

نہیں  اُٹھتا  کوئی  فرہاد  کیوں  فریاد  کرنے  کو

ادائے  حسنِ  شیریں  اب  بھی  فتنہ  خیز  ہے  ساقی

۸

عمل  کی  زندگی  ہی  آدمی  کے  کام  آتی  ہے

یہاں  کیا  گنجِ  قاروں  دولتِ  پرویز  ہے  ساقی

۹

تری  محفل  کے  یہ  اِنساں  فرشتے  ہیں  کہ  اِنساں  ہیں

شرابِ  عاشقی  سے  جِن  کا  دل  لبریز  ہے  ساقی

۱۰

لہو  اِنسان  کا  انسان  پیتا  ہے  زمانے  میں

کسے  اس  دور  میں  اِس  چیز  سے  پرہیز  ہے  ساقی

۱۱

کوئی  اِنساں  کہاں  اب  ہوش  سے  بیگانہ  ہوتا  ہے

یہاں  ہر  اک  حسیں  چہرا  حجاب  آمیز  ہے  ساقی

۱۲

یہ  کس  کا  جلوۂ  عریاں  ہے  سرشارؔ  اپنی  نظروں  میں

کہ  جس  کا  نور  برقِ  طور  سے  بھی  تیز  ہے  ساقی

नतिजा ख़ेज है साक़ी – पंडित जैमिनी सरशार

१

ज़बाँ गरचे मेरी तेग़-ओ-सिनाँ से तेज़ है साक़ी

ख़मोशी उस से भी बढ़ कर नतिजा खेज़ है साक़ी

२

ज़माने की रविश को देखता हूँ काँप जाता हूँ

यहाँ की हर नज़र ख़ूँख़्वार है ख़ूँरेज़ है साक़ी

३

सुना है क़ाफ़ला उतरा था एक इस में बहारों का

हवा सहन-ए चमन की अब भी अम्बर-बेज़ है साक़ी

४

बहेगा ख़ूँ जो इस में राएगाँ हर्गिज़ न जाएगा

के मिट्टी इस चमन की आज भी ज़र्ख़ेज़ है साक़ी

५

यहाँ जो आदमी आता है फिर वापस नहीं जाता

फ़ज़ा-ए मैकदा ऐसी नशात-अंगेज़ है साक़ी

६

नेहाँ हैं कितने रूमी कितने शम्स इस ख़ाक के अंदर

हर एक ख़ित्ता यहाँ ईरान है तबरेज़ है साक़ी

७

नहीं उठता कोई फ़रहाद क्यूं फ़र्याद करने को

अदा-ए हुस्न-ए शीरीं अब भी फ़ित्ना-ख़ेज़ है साक़ी

८

अमल की ज़िंदगी ही आदमी के काम आती है

यहाँ क्या गंज-ए क़ारूँ दौलत-ए परवेज़ है साक़ी

९

तेरी महफ़िल के ये इंसाँ फ़रिश्ते हैं के इंसाँ हैं

शराब-ए आशिक़ी से जिन का दिल लबरेज़ है साक़ी

१०

लहू इंसान का इंसान पीता है ज़माने में

किसे इस दौर में इस चीज़ से परहेज़ है साक़ी

११

कोई इंसाँ कहाँ अब होश से बेगाना होता है

यहाँ हर एक हसीं चेहरा हिजाब-आमेज़ है साक़ी

१२

ये किस का जल्वा-ए उर्यां है सरशार अपनी नज़रों में

के जिस का नूर बर्क़-ए तूर से भी तेज़ है साक़ी

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.although 2.sword and spear 3.sharp 4.result-producing, effective

The poet addresses the ‘saaqi‘ (cup-bearer, often a metaphor for a beloved or a spiritual guide) and says that although his tongue is sharper than any sword or spear, his silence is even more impactful and effective. This suggests that true power lies not in words, but in a quiet, profound state of being or thought.

1.world 2.way, custom 3.tremble 4.gaze, point of view 5.bloodthirsty 6.bloodshedding

The poet expresses his dismay and fear upon observing the ways of the world. He describes the gaze of every person as bloodthirsty and murderous, reflecting a sense of conflict, cruelty, and hostility prevalent in society.  It is not clear if he is referring specifically to the times of pre-partition communal conflict, but it is quite likely.

1.caravan, travel group 2.courtyard 3.spreading the fragrance of amber

What ‘caravan of spring’ is the poet talking about.  There is no clue in this she’r but given his later reference to ruumi and shams tabrezi I think that he is talking about poets and suufi mystics.  Because of the caravan of spring, the air of the garden (metaphorically, the spiritual or cultural heritage of the place) still carries a lingering fragrance.

1.wasted, in vain 2.under any condition 3.gold spreading, gold producing, fertile

The blood spilled here (a metaphor for sacrifice, struggle, or martyrdom) will not be in vain. The soil of this ‘garden’ is still fertile, suggesting that the sacrifices made will eventually bear fruit. This again has to be interpreted in the background of the freedom struggle and the massacre of jaliaaNvaala baaGh which got the poet started on the path of writing urdu poetry.

1.turn back, return 2.atmosphere, ambience 3.tavern, symbolic of a free thinking liberal space 4.joy-inducing, exhilarating

The poet describes the intoxicating and blissful atmosphere of the tavern (the maikada). He says that anyone who enters this place never wishes to leave. The joy and fulfillment found here are so profound that they make one forget the outside world. This can be interpreted both literally, as the experience of drinking, or spiritually, as the experience of true bliss or divine love.  The tavern may also have been used here to mean the homeland of hindustan which welcomed those who came and they settled down.  There is an implied tone of celebrating and inviting this arrival.

1.hidden, buried 2.jalaaluddin ruumi 3.shams tabrezi 4.dust, soil, clay 5.region 6.home of shams tabrezi where both shams and ruumi are buried

This is a powerful tribute to the spiritual and poetic heritage bequeathed by sufi scholars and poets to every region of hindustan.  The poet says that this soil hides many more figures as great as ruumi and shams. Every part of this land is as spiritually significant as iiraan and tabrez, which are revered for their deep mystical and literary traditions.

1.characters from shiiriiN-farhaad legend 2.lament, protest 3.coquetry 4.beauty 5.mischievous, trouble-making, causing strife

farhaad is often used as a symbol of devotion; pure self-less love.  There are many versions/variations of the legend in some of which shiiriin is portrayed as a manipulative and conniving beauty who first entraps Khusro to gain the throne of Persia and then entraps farhaad to make Khusro jealous.  The poet’s background suggests that he was deeply affected by the massacre of jaaliaaNvaala baaGh and the senselessness of the breakdown of communal harmony.  In this she’r he is using shiiriin as symbolic of one or both of these evils – they are fitna-Khez causing strife and there is no farhaad to raise a protest against this connivance.

1.action, effort 2.treasure 3.legendary king 4.wealth 5.legendary king

Both qaaruun and parvez are legendary semi-historic kings of Persia who are reputed to have accumulated immense wealth.  The poet states that a life of action/effort is the only way to acquire a well-deserved living.  There is no buried treasure here to be had without making an effort to do or create something.

1.gathering, assembly 2.human 3.angels 4.overflowing

The poet is struck by the nature of the people in the saaqi‘s assembly. This is a tavern and is symbolic of an open, liberal place where everyone is welcome and treated as an equal.  The wine dispensed at the tavern is often the wine of universal love.  Thus, the people gathered in the tavern are angels with their hearts overflowing with the wine of love.

1.blood 2.human 3.world 4.times, era 5.abstinence

This is a grim and stark observation about the conditions of the times/era – probably the pre-partition and post-partition communal violence and massacres.  In these times, ‘man drinks the blood of man,’ a metaphor for the cruelty being inflicted on each other.  Who, in these times, abstains from this act, implying that it has become a universal and accepted behavior.

1.awareness, rationality 2.unfamiliar, foreign 3.beautiful 4.veiled, mixed with veiling

The poet is inclined towards the sufi/mystic/ascetic tradition.  In that tradition a passion/frenzy for universal love is the desired state of mind; the desired path to the divine.  Awareness/rationality is considered too focussed on the materialist world, not the right path to the divine.  In the first misra the word ab is used to mean ‘these days-present times’ as opposed to earlier times when sufis/ascetics were revered.  Thus, everyone is focused on material knowledge, all faces display a deceptive beauty (not the divine beauty of truth).

1.appearance, manifestation 2.unveiled, visible 3.pen-name, taKhallus 4.eyes, sight 5.light, brilliance 6.lightning 7.mount tuur 8.stronger, brighter

This has reference to the Biblical/qur’aanic story of moosa/Moses who went up mount tuur asking to see some evidence of god.  He heard a voice warning him that he would not be able to bear the sight, but he insisted, saw a flash of lightning and fainted.  But here the poet sarshaar has an unveiled manifestation (of the divine) in his eyes whose light is brighter than that of the lightning of mount tuur.  He is asking the saaqi a rhetorical question … whose manifestation is it in my sight/before my eyes.  Perhaps he is looking at the saaqi and saying this implying that the saaqi in his tavern is the divine.

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