UrduShahkar

https://urdushahkar.org/wp-content/uploads/2026/10/shpvjf-jis-ka-dil-figaar-nahiN-Audio.mp3

Recitation

جِس  کا  دل  فِگار  نہیں  ۔  شِو  پرشاد  وشِشٹ  جاویدؔ  فتح  پوری

۱

نظامِ  جبر  پہ  ہرچند  اِختیار  نہیں

مگر  جنونِ  عمل  جبر  کا  شکار  نہیں

۲

سُبُو  اُٹھاؤ  اندھیروں  سے  جام  ٹکراؤ

بلا  سے  وقت  کا  ماحول  سازگار  نہیں

۳

خِرد  سے  کیسے  کریں  سازباز  اہلِ  جنوں

فریب  خوردہ  تمہارے  فریب  کار  نہیں

۴

کِھلے  ہیں  پھول  مگر  نم  ہے  آنکھ  پھولوں  کی

بہار  بھی  تو  بہ  اندازۂ  بہار  نہیں

۵

کلی  ہے،  پھول  ہے،  شبنم  ہے،  روپ  ہے،  رس  ہے

کسی  کے  حسن  کا  پرتو  ہے  یہ  بہار  نہیں

۶

جمودِ  ظلمتِ  شب  کیا،  نمودِ  نورِ  سحر

میری  نگاہ  میں  غمہائے  روزگار  نہیں

۷

تلاشِ  راہ  گزر  میں  خِرد  ہے  سرگرداں

جنوں  کے  سامنے  منزل  ہے  رہ  گزار  نہیں

۸

وہ  میرے  درد  کو  جاویدؔ  کس  طرح  سمجھے

جگر  فگار  نہیں  جس  کا  دل  فگار  نہیں

जिस का दिल फ़िगार नहीं – शिव प्रसाद वशिष्ठ जावेद फ़तेहपुरी

१

निज़ाम-ए जब्र पे हरचंद एख़्तियार नहीं

मगर जुनून-ए अमल जब्र का शिकार नहीं

२

सुबू उठाओ अंधेरों से जाम टकराओ

बला से वक़्त का माहौल साज़गार नहीं

३

ख़िरद से कैसे करें साज़बाज़ अहल-ए जुनूँ

फ़रेब-ख़ुर्दा तुम्हारे फ़रेब-कार नहीं

४

खिले हैं फूल मगर नम है आँख फूलों की

बहार भी तो ब-अंदाज़ा-ए बहार नहीं

५

कली है, फूल है, शबनम है, रूप है, रस है

किसी के हुस्न का पर्तौ है ये बहार नहीं

६

जुमूद-ए ज़ुल्मत-ए शब क्या, नुमूद-ए नूर-ए सहर

मेरी निगाह में ग़म’हा-ए रोज़गार नहीं

७

तलाश-ए राह-गुज़र में ख़िरद है सरगर्दाँ

जुनूँ के सामने मंज़िल है रह-गुज़ार नहीं

८

वो मेरे दर्द को जावेद किस तरह समझे

जिगर फ़िगार नहीं जिस का दिल फ़िगार नहीं

is ka dil figar nahiN – shiv prasad vashishT javed fatehpuri

jaaved fatehpuri, shiv prasad vashishT (1920-1994).  Started out as lecturer in dehli college while still an MA student.  PhD on mulla vaj’hi, working for a while in hyderabad.  Studied under maulvi abdul haq for some time.  Later shaagird of shamiim kirmaani.  There are several collections of his historical and literary works as well as his nazm and Ghazal.  Faculty, urdu department, zakir husain college.

1.oppressive political order 2.even though 3.control, influence 4.passion to act 5.target, prey

The poet acknowledges a grim reality: an individual or a collective resistance movement may not immediately possess the power to control/dismantle a powerful, oppressive political or social order (nizam-e-jabr).  However, the inner drive, the unwavering spirit of action (junun-e amal), remains entirely untamable. Tyranny can control physical spaces and restrict liberties, but it cannot conquer or subjugate the autonomous will to act and resist. It draws a clear boundary between external systemic constraints and internal spiritual/revolutionary freedom.

1.flask 2.cup (of wine) 3.clink (wine glasses), raise a glass to 4.who cares 5.conditions, atmosphere 6.suitable, favourable

Darkness andhera is injustice and oppression.  It is all around.  Instead of being cowed down by it, raise a glass to it … used here as an act of defiance rather than as an act of friendship.  Who cares if the conditions of the times are not favourable.  This is a defiant confrontation of the oppressive power.

1.calculated reason, self-serving intellect 2.compromise, agreement 3.people of passion 4.deceived 5.deceiving

This is a classic conflict between calculating, cautious wisdom and uncompromising madness/passion.  How can junuun compromise with Khirad.  The tumhaare in the second misra is a reference back to Khirad.  They (ahl-e-junuuN) have been deceived by Khirad before.  They are not going to adopt the same character, they will not become fareb-kaar deceivers in turn.

1.moist, tearful 2.in the style/nature of

Dew drops on petals are like tears.  Thus, flowers are blooming, but their eyes are moist/tearful.  Even spring is not like what spring should be.  This is an observation that even if on the surface things look like spring, you have to look closely to see the sadness that pervades the flowers (people of the garden-homeland).

1.nectar, sweetness 2.beauty 3.image

In the second misra the word partau is used more in the sense of a false image, an illusion rather than as a reflection.  The first misra is a lyrical enumeration of beautiful elements … buds, flowers, dew, form and sweetness.  All these are present, but this is a false image, it is not real spring.

1.stillness, stasis, stationary 2.darkness 3.night 4.emergence 5.light 6.dawn 7.eyes 8.sorrow 9.daily life

What difference does it make if the darkness of the night lingers in its place or if the light of dawn emerges; it does not make any difference; don’t I have the sorrows of daily life in front of my eyes!

1.search 2.path 3.worldly wisdom, calculated reason, expedience 4.wandering, lost 5.passion 6.destination

Expedient wisdom is wandering/lost searching for a path.  Passion sees the destination/goal right in front of it, does not look for a path.  Said mohammed iqbal …

1.pen-name 2.liver – seat of courage 3.torn, cut

In urdu poetic tradition jigar is used as a seat of courage and dil as a seat of love but very often they are used interchangeably.  Thus, O jaaved, how can they understand my pain who have not themselves experienced a torn heart i.e., who have not themselves experienced pain.

The post jis ka dil figaar nahiN-shiv prashaad vashishT jaaved fatehpuri appeared first on UrduShahkar.

https://urdushahkar.org/wp-content/uploads/2026/10/shpvjf-daastaan-e-daar-o-rasan-audio.mp3

Recitation

داستانِ  دار  و  رسن  ۔  شِو  پرشاد  وشِشٹ  جاویدؔ  فتح  پوری

۱

جنوں  سے  زندہ  ہے  قربانیِ  جدید  و  کہن

ہمیں  ہیں  سُرخیِ  ہر  داستانِ  دار  و  رسن

۲

وہ  لالہ  زارِ  محبّت،  وہ  نو  بہارِ  حیات

رکے  تو  سرو  و  سمن،  چل  پڑے  تو  گنگ  و  جمن

۳

جنوں  کا  ظرف  کہ  پا  کر  بھی  کھو  دیا  تجھ  کو

خِرد  تو  چُھو  نہ  سکی  آج  تک  ترا  دامن

۴

سحر  کا  نُور  سمجھتے  تھے  جس  کو  اہلِ  نظر

اُسی  کو  وقت  نے  ٹھہرایا  روشنی  کا  کفن

۵

کسی  کی  یاد  میں  جاویدؔ  شعر  کہتے  ہیں

کسی  کی  یاد  سے  روشن  ہے  شمعِ  بزمِ  سخن

جاویدؔ فتح پوری، شِو پرشاد وشِشٹ (۱۹۲۰۔۱۹۹۴)۔  ایم۔اے کی تعلیم کے دوران ہی دہلی کالج میں اُردو کے لکچرر کی حیثیت سے کام کرتے تھے۔  کچھ دن حیدرآباد میں مُلاّ وجہی پر تحقیق کی، مقالہ لکّھا اور پی۔ایچ۔ڈی حاصل کی۔ مولوی عبدالحق کے ساتھ بھی کام کیا۔ شمیم کرمانی کے شاگرد رہے۔ جاویدؔ وششٹ کی تصانیف میں نظم اور غزل کے مجموؤں کے علاوہ دکھنی تاریخی کتابیں، دکھنی اُردو کا لغت اور ادبی تاریخ بھی شامل ہے۔ ذاکر حسین کالج کے شعبۂ اُردو میں کام کرتے تھے۔

۱

جنوں  سے  زندہ  ہے  قربانیِ  جدید  و  کہن

ہمیں  ہیں  سُرخیِ  ہر  داستانِ  دار  و  رسن

۱۔عشق  یا  دیوانگی،  ۲۔نئی  اور  پرانی  ۳۔لال  رنگ،  چمک  یا  شہ  سرخی  (ہیڈ  لائن)  ۴۔کہانی،  قِصّہ  ۵۔پھانسی  کا  تختہ  اور  رسی

یہ  مطلع  (پہلا  شعر)  عقل  اور  جنون  کی  جنگ  کو  دکھاتا  ہے۔  شاعر  کا  کہنا  ہے  کہ  پرانے  زمانے  سے  لے  کر  آج  تک،  قربانی  کا  جذبہ  صرف  سچے  عشق  اور  دیوانگی  کی  وجہ  سے  ہی  زندہ  ہے،  سوچ  سمجھ  کر  فیصلے  کرنے  والی  عقل  سے  نہیں۔  پھانسی  کا  پھندا  اور  رسی  سچی  محبت  یا  کسی  نظریے  کے  لیے  جان  قربان  کرنے  کی  سب  سے  بڑی  نشانیاں  ہیں۔  شاعر  خود  کو  ان  دردناک  کہانیوں  کی  ‘سرخی’  (یعنی  اخبار  کی  headline)  کہتا  ہے۔  اس  کا  مطلب  یہ  ہے  کہ  دیوانے  عاشق،  دانشور  اور  شاعر  ہی  تاریخ  کو  اپنے  خون  سے  لکھتے  ہیں،  اور  اگر  دنیا  سے  یہ  دیوانگی  ختم  ہو  جائے  تو  انسانی  تاریخ  بالکل  پھیکی  اور  بے  رنگ  ہو  جائے  گی۔

۲

وہ  لالہ  زارِ۱  محبّت،  وہ  نو  بہارِ  حیات۲

رکے  تو  سرو۳  و  سمن۴،  چل  پڑے  تو  گنگ  و  جمن۵

۱۔لالہ  کے  پھول  کا  باغ،  ۲۔زندگی  کی  نئی  بہار  ۳۔ایک  خوبصورت  لمبا  درخت  ۴۔چمیلی  کا  پھول  ۵۔گنگا  اور  جمنا  ندیاں

اس  شعر  میں  ‘لالہ  زارِ  محبت’  اور  ‘نو  بہارِ  حیات’  کہہ  کر  محبوب  کی  تعریف  کی  گئی  ہے۔  یہاں  محبوب  کوئی  انسان  بھی  ہو  سکتا  ہے  اور  معاشرتی  انصاف  جیسا  کوئی  خوبصورت  نظریہ  بھی۔  محبوب  کی  چال  ایسی  ہے  جیسے  گنگا  اور  جمنا  کی  لہریں  چل  رہی  ہوں،  اور  جب  وہ  رکتا  ہے  تو  اس  کا  قد  سرو  کے  درخت  جیسا  سیدھا  اور  خوبصورت  لگتا  ہے  اور  اس  کی  شخصیت  چمیلی  کے  پھول  جیسی  پاکیزہ  اور  خوشبودار  محسوس  ہوتی  ہے۔

۳

جنوں  کا  ظرف۱  کہ  پا  کر  بھی  کھو  دیا  تجھ  کو

خِرد۲  تو  چُھو  نہ  سکی  آج  تک  ترا  دامن

۱۔دیوانگی  کا  حوصلہ  یا  گہرائی  ۲۔عقل  یا  سوچ  سمجھ  ۳۔آنچل،  پلّو،  کِنارہ،  قمیض  کا  نچلا  حصہ

دوسرے  مصرعے  میں  ‘ترا  دامن’  سے  مراد  محبوب  (چاہے  وہ  حقیقی  ہو،  خدا  ہو  یا  کوئی  بڑا  مقصد)  کا  دامن  ہے۔  یہ  صرف  جنون  یعنی  سچے  عشق  کا  ہی  حوصلہ  ہے  جو  محبوب  کو  پا  کر  بھی  کھو  دینے  کی  ہِمّت  رکھتا  ہے۔  دوسری  طرف  عقل  ہے،  جو  ہمیشہ  ڈرتی  ہے،  نفع  نقصان  کا  حساب  لگاتی  ہے  اور  ہر  چیز  کو  ناپ  تول  کر  دیکھتی  ہے۔  عقل  آج  تک  اتنی  کمزور  رہی  ہے  کہ  وہ  محبوب  کے  دامن  کو  چھو  بھی  نہیں  سکی۔  یہ  شعر  مآدی  عقل  کے  مقابلے  میں  دل  کے  سچے  جذبے  اور  روحانیت  کی  تعریف  کرتا  ہے،  جیسے  اقبال  نے  کہا  تھا:

بے  خطر  کود  پڑا  آتشِ  نمرود  میں  عشق

عقل  ہے  محوِ  تماشائے  لبِ  بام  ابھی

۴

سحر  کا  نُور۱  سمجھتے  تھے  جس  کو  اہلِ  نظر۲

اُسی  کو  وقت  نے  ٹھہرایا  روشنی  کا  کفن

۱۔صبح  کی  روشنی،  ۲۔گہری  نظر  رکھنے  والے  یا  دانا  لوگ  ۳۔امید  یا  انصاف  کا  دفن/کفن

یہ  ایک  بہت  گہرا  اور  سیاسی  رنگ  لیے  ہوئے  شعر  ہے  جو  مایوسی  کو  ظاہر  کرتا  ہے۔  ‘سحر  کا  نور’  ایک  پرانی  علامت  ہے  جو  کسی  نئی  شروعات،  انقلاب  یا  آزادی  کے  لیے  استعمال  ہوتی  ہے۔  دانا  لوگوں  اور  دانشوروں  نے  کسی  خاص  نظریے  یا  وقت  کی  تبدیلی  کو  بڑی  امید  سے  دیکھا  تھا  اور  اسے  ایک  روشن  مستقبل  کی  صبح  سمجھا  تھا۔  لیکن  وقت  نے  ایک  کڑوا  سچ  سامنے  لا  کھڑا  کیا؛  وہی  روشنی  اصل  میں  ‘روشنی  کا  کفن’  ثابت  ہوئی۔  اس  کا  مطلب  یہ  ہے  کہ  جسے  لوگ  آزادی  سمجھ  رہے  تھے،  وہ  اصل  میں  ایک  چمکدار  دھوکا  تھا  جس  نے  اُن  تمام  اُمیدوں  اور  آزادیوں  کا  گلا  گھونٹ  دیا  جن  کا  اس  نے  وعدہ  کیا  تھا۔

۵

کسی  کی  یاد  میں  جاویدؔ۱  شعر  کہتے  ہیں

کسی  کی  یاد  سے  روشن  ہے  شمعِ  بزمِ  سخن۲

۱۔شاعر  کا  تخلُّص،  ۲۔شاعری  کی  محفل  کا  چراغ

شاعری  کی  محفل  جم  چکی  ہے  اور  اس  کی  شمع  روشن  ہے،  جس  کا  مطلب  ہے  کہ  مشاعرہ  چل  رہا  ہے  اور  ہر  شاعر  اپنی  باری  پر  غزل  پڑھ  رہا  ہے۔  لیکن  یہ  محفل  اس  لیے  روشن  ہے  کہ  شاعر  اپنے  دل  میں  کسی  خاص  کی  یادیں  سمیٹے  ہوئے  ہیں۔  خود  جاویدؔ  بھی  کسی  کی  یاد  میں  ہی  شعر  لکھتے  اور  پڑھتے  ہیں۔  یہ  ‘کوئی  خاص’  کوئی  دنیاوی  محبوب  بھی  ہو  سکتا  ہے،  خدا  بھی  یا  کوئی  بڑا  مقصد  بھی۔  شعر  یہ  بتاتا  ہے  کہ  دنیا  میں  ہر  قسم  کا  فن،  شاعری  اور  خوبصورتی  اصل  میں  اسی  کھوئے  ہوئے  پیار  کی  یاد  اور  تڑپ  کے  دم  سے  زندہ  ہے۔

दास्तान-ए दार ओ रसन – शिव प्रशाद वशिष्ठ जावेद फ़तेहपुरी

१

जुनूँ से ज़िंदा है क़ुर्बानी-ए जदीद ओ कोहन

हमीं हैं सुर्ख़ी-ए हर दास्तान-ए दार ओ रसन

२

वो लालाज़ार-ए मोहब्बत, वो नौ बहार-ए हयात

रुके तो सर्व ओ समन, चल पड़े तो गंग ओ जमन

३

जुनूँ का ज़र्फ़ के पा कर भी खो दिया तुझ को

ख़िरद तो छू न सकी आज तक तेरा दामन

४

सहर का नूर समझते थे जिस को अहल-ए नज़र

उसी को वक़्त ने ठहराया रोशनी का कफ़न

५

किसी की याद में जावेद शे’र कहते हैं

किसी की याद से रौशन है शम’-ए बज़्म-ए सुख़न

शिव प्रशाद वशिष्ट जावेद फ़तहपूरी (१९२०-१९९४)।  एम-ए कि पढ़ाई के साथ साथ देहली कॉलेज में उर्दू के लेक्चरर का काम करते रहे। कुछ साल हैदराबाद में मुल्ला वज’ही की ज़िंदगी और काम पर तहक़ीक़ की, थीसिस लिखी और पी-एच-डी हासिल की। मौलवी अब्दुल हक़ के साथ काम किया और शमीम किर्मानी के शागिर्द रहे। जावेद वशिष्ट की किताबौं में नज़्म और ग़ज़ल के अलावा दक्खनी इतिहास, दक्खनी उर्दू का शब्दकोश और साहित्यिक इतिहास भी शामिल है। ये ज़ाकेर हुसैन कॉलेज, देहली का उर्दू विभाग में काम करते थे।

१

जुनूँ से ज़िंदा है क़ुर्बानी-ए जदीद ओ कोहन

हमीं हैं सुर्ख़ी-ए हर दास्तान-ए दार ओ रसन

१-दीवानगी या सच्चा इश्क़ २-नई और पुरानी क़ुर्बानी ३-लाल रंग, चमक या सुर्ख़ियां (हेडलाइन) ४-फांसी के फंदे और रस्सी की कहानी

ये पहला शे’र अक़्ल (दिमाग़) और जुनूँ (दिल की दीवानगी) की लड़ाई को दिखाता है। शा’एर का कहना है के पुराने ज़माने से ले कर आज तक, क़ुर्बानी का जज़्बा सिर्फ़ सच्चे इश्क़ और दीवानगी की वजह से ही ज़िंदा है, सोच-समझकर फ़ैसले करने वाली अक़्ल से नहीं। फांसी का फंदा और रस्सी किसी बड़े मक़्सद या सच्ची मोहब्बत के लिये जान देने की सब से बड़ी निशानियाँ हैं। शा’एर ख़ुद को इन दर्दभरी कहानियों की ‘सुर्ख़ी’ (यानी ख़ून या चमक या headline) कहता है। इस का मतलब ये है के दीवाने आशिक़, विचारक और शा’एर ही अपने ख़ून से इतिहास लिखते हैं, और अगर दुनिया से ये दीवानगी ख़त्म हो जाए, तो इंसानी इतिहास बिल्कुल फीका और बेनूर हो जाएगा।

२

वो लालाज़ार-ए मोहब्बत१, वो नौ बहार-ए हयात२

रुके तो सर्व३ ओ समन४, चल पड़े तो गंग-ओ-जमन५

१-मोहब्बत के फूलौं का बाग़ २-ज़िंदगी की नई बहार ३-एक सीधा और लंबा पेड़ ४-चमेली का फूल ५-गंगा और जमुना

इस शे’र में ‘लालाज़ार-ए मोहब्बत’ और ‘नौ बहार-ए हयात’ कह कर महबूब की तारीफ़ की गई है। यहाँ महबूब कोई इंसान भी हो सकता है और समाज के इंसाफ़ जैसा कोई ख़ूबसूरत नज़रिया भी। महबूब की चाल ऐसी है जैसे गंगा और जमुना की लहरें बह रही हों, और जब वो रुकता है तो उस का क़द सर्व के पेड़ जैसा सीधा और सुंदर लगता है और उसकी शख़्सियत चमेली के फूल जैसी पवित्र और ख़ुशबूदार महसूस होती है।

३

जुनूँ का ज़र्फ़१ के पा कर भी खो दिया तुझ को

ख़िरद२ तो छू न सकी आज तक तेरा दामन३

१-दीवानगी का हौसला या गहराई २-अक़्ल या समझदारी ३-पल्लू, आंचल, कुर्ते का निचला हिस्सा

दूसरे मिसरे (लाइन) में ‘तेरा दामन’ से मतलब महबूब (चाहे वो कोई इंसान हो, ईश्वर हो या कोई बड़ा मक़्सद) का दामन है। ये सिर्फ़ जुनूँ यानी सच्चे इश्क़ का ही हौसला है जो महबूब को पाकर भी खो देने की हिम्मत रखता है। दूसरी तरफ़ अक़्ल है, जो हमेशा डरती है, नफ़े-नुकसान का हिसाब लगाती है और हर चीज़ को नापती-तोलती है। अक्ल आज तक इतनी कमज़ोर रही है के वो महबूब के दामन को छू भी नहीं सकी। ये शे’र दुनियावी अक़्ल के मुक़ाबले दिल के सच्चे जज़्बे को बड़ा बताता है, जैसे एक़्बाल ने कहा था:

बे-ख़तर कूद पड़ा आतिश-ए नम्रूद में इश्क़

अक़्ल है महव-ए तमाशा-ए लब-ए बाम अभी

४

सहर का नूर१ समझते थे जिस को अहल-ए-नज़र२

उसी को वक़्त ने ठहराया रोशनी का कफ़न

१-सुबह की रोशनी २-गहरी नज़र रखने वाले, समझदार लोग ३-उम्मीद या आज़ादी का दफ़्न

ये एक बहुत गहरा और राजनैतिक रंग लिये हुए शे’र है जो मायूसी (उम्मीद टूटने) को दिखाता है। ‘सहर का नूर’ एक पुरानी निशानी है जो किसी नई शुरुआत, क्रांति या आज़ादी के लिये इस्तेमाल होती है। समझदार लोगों और विचारकों ने किसी ख़ास सोच या बदलाव को बड़ी उम्मीद से देखा था और उसे एक रोशन भविष्य की सुबह समझा था। लेकिन वक़्त ने एक कड़वा सच सामने ला खड़ा किया; वही रोशनी असल में ‘रोशनी का कफ़न’ साबित हुई। इस का मतलब ये है के जिसे लोग आज़ादी समझ रहे थे, वो असल में एक चमकीला जाल था जिस ने उन तमाम उम्मीदों और आज़ादियों का गला घोंट दिया जिनका उसने वादा किया था।

५

किसी की याद में जावेद शे’र कहते हैं

किसी की याद से रौशन है शम’-ए बज़्म-ए सुख़न

१-शा’एर का उपनाम (तख़ल्लुस) २-शा’एरी की महफ़िल का दीया

शा’एरी की महफ़िल जम चुकी है और उस का दीया जल रहा है, जिस का मतलब है के मुशा’एरा चल रहा है और हर शा’एर अपनी बारी पर ग़ज़ल पढ़ रहा है। लेकिन ये महफ़िल इस लिये रोशन है के शा’एर अपने दिल में किसी ख़ास की यादें छुपाए हुए हैं। खुँद जावेद भी किसी की याद में ही शे’र लिखते और पढ़ते हैं। ये ‘कोई ख़ास’ कोई दुनियावी महबूब भी हो सकता है, ईश्वर भी या कोई बड़ा मक़्सद भी। शे’र ये बताता है के दुनिया में हर तरह की कला, शा’एरी और ख़ूबसूरती असल में इसी खोए हुए प्यार की याद और तड़प के दम पर ज़िंदा है।

daastaan-e daar o rasan – shiv prashad vashishT jaaved fatehpuri

jaaved fatehpuri, shiv prasad vashishT (1920-1994).  Started out as lecturer in dehli college while still an MA student.  PhD on mulla vaj’hi, working for a while in hyderabad.  Studied under maulvi abdul haq for some time.  Later shaagird of shamiim kirmaani.  There are several collections of his historical and literary works as well as his nazm and Ghazal.  Faculty, urdu department, zakir husain college.

1.madness of passion 2.self-sacrifice 3.modern, present day 4.ancient 5.redness, headlines 6.story, legend 7.gallows and noose

This opening couplet conflict between junuuN (passionate madness or ecstasy) and Khirad (cold, calculating intellect). The poet argues that sacrifice – from ancient times (kohan) to the present (jadiid) – retains its vital spark through absolute devotion/self-sacrifice, not rational deliberation. The daar o rasan (gallows and rope) serve as ultimate symbols of martyrdom for a cause, whether that cause is divine love or ideological truth. By claiming to be the surKhi (the redness, brilliance, headlines, or literally blood) of these tragic tales, the poet positions the passionate lovers, thinkers, poets and writers as the literal life-force that writes history, suggesting that without the “madness” of self-sacrifice, human history would lose its color and vitality.

laala-zaar-e mohabbat (the tulip-bed of love) and nau-bahaar-e hayaat (the spring of life) are descriptors/qualities of the beloved, where the beloved can be romantic or an ideal such as social justice.  The beloved’s gait is like the rhythmic waves/ripples of the gaNga and yamuna and when she pauses her stature is like the tall and supple beauty of the sarv (cypress) and the purity and fragrance of saman (jasmine).

1.madness of passion 2.capacity, depth 3.intelligence, reason 4.touch 5.hem of the garment

tera in the second misra is the beloved where the beloved can be romantic, divine or an ideal.  It is junuuN – passionate madness, that has the capacity to reach the beloved (and lose her).  But  , Khirad (intellect/reason), which is cautious, seeks to measure, calculate benefits, and categorize everything, is deemed entirely inadequate; it has not been able to come close to touching the hem (daaman) of the beloved’s garment. It is a praise of spiritual intuition/love over material logic.  Said mohammed iqbal …

1.dawn 2.light 3.people of 4.discerning sight 5.light 6.burial shroud

This is a deeply philosophical and politically resonant she’r dealing with disillusionment. sah’r ka noor (the light of dawn) is a classic metaphor for a new beginning, revolution, independence, or ultimate truth. The ahl-e nazar (the perceptive ones, intellectuals, or visionaries) looked toward a certain ideology or historical shift with immense hope, believing it to be the dawn of a bright future. However, time (vaqt) revealed a cruel irony: that very “light” turned out to be raushni ka kafan (burial shroud of light/justice/hope/love). This stunning oxymoron implies that what looked like liberation was actually a glittering trap – a blinding reality that suffocated and buried the truths or freedoms it initially promised.

1.pen-name 2.lit, lighted 3.candle, lamp 4.gathering, assembly 5.poetry

The candle sham’a of the gathering of poets bazm-e suKhan is lit, which signifies that poetry recitation is underway.  Each poet/lover taking a turn at reciting his Ghazal as the sham’a is passed around.  But the sham’a is lit because poets/lovers remember, celebrate the memory or perhaps conceptualize that special someone.  Even jaaved recites she’r recalling her.  The ‘special someone’ can be the romantic beloved, divine or an ideal.  It suggests that all art, poetry, and beauty in the world are fundamentally sustained by the bittersweet ache of remembering what has been lost or what is yearned for.

The post daastaan-e daar o rasan-shiv prashaad vashishT jaaved fatehpuri appeared first on UrduShahkar.

https://urdushahkar.org/wp-content/uploads/2026/10/aif-aur-kuchh-bhi-nahiiN-Audio.mp3

Recitation

https://urdushahkar.org/wp-content/uploads/2026/10/aif-aur-kuchh-bhi-nahiiN-ananth.mp3

ananth iyer faani

اور  کچھ  بھی  نہیں  ۔  اننت  ایّر  فانیؔ

۱

من  میں  ہلچل  ہے  اور  کچھ  بھی  نہیں

۶

और कुछ भी नहीं – अनंत अय्यर फ़ानी

१

मन में हलचल है और कुछ भी नहीं

सब्र का फल है और कुछ भी नहीं

२

इस में जो फँस गया तो समझा मैं

जिस्म दलदल है और कुछ भी नहीं

३

कोई अमृत नहीं है शिव के लिये

बस हलाहल है और कुछ भी नहीं

४

कोई रहबर नहीं बताता ये

मंज़िल एक छल है और कुछ भी नहीं

५

ख़ुदकुशी मस’अला है जिस का सिर्फ़

ज़िंदगी हल है और कुछ भी नहीं

६

जिस को परलय बता गये थे कबीर

वो यही पल है और कुछ भी नहीं

aur kuchh bhi nahiN – ananth iyer faani

ananth iyer faani (1989-living) dehli, beNgaluru.  BSc, Applied Physics followed by MBA and currently pursuing his PhD.  He managed partnerships (before enrolling in a PhD program) 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’.  Selected as finalist for the All India Talent Hunt by andaaz-e bayaaN aur.

1.restlessness, inner turmoil 2.the fruit (result) of patience/perseverence

This verse reflects on the internal stir one feels after prolonged endurance. What builds up under patience doesn’t always blossom into peace; sometimes, it just brews quiet disquiet.

3.body 4.quicksand, swamp

A comment on entrapment in physical desires or bodily identity. The poet realizes, through experience, how the body can become a trap — the more one resists or clings, the deeper one sinks.

5.divine nectar of immortality 6.deadly poison (from the churning of the cosmic ocean)

A reflection on sacrifice and spiritual burden: shiva, the deity who drank poison to save the world, becomes a metaphor for those who carry others’ pain. They receive no reward, only hardship.

7.guide 8.destination 9.illusion, deceit

No guide ever tells you this: The idea of a destination is merely a deception. The couplet touches on the disillusionment that often follows pursuit. We are taught to chase goals, but few warn that what we seek may not truly exist — or may not satisfy once reached.

10.suicide 11.issue, problem 12.solution

For the one who contemplates suicide, life itself is the answer — nothing else. This couplet shifts the perspective. While suicide may seem like a solution to the sufferer, the poet quietly suggests the opposite — that living through pain is, in itself, a response to it.

13.apocalypse, dissolution, end of the world (“pal mein parlay hoyegi”) 14.moment

The apocalypse isn’t a distant event; it’s here and now, in each moment of awakening or collapse. The reference to kiabir deepens the spiritual tone — suggesting that transformation lies in the present, not the future.

The post aur kuchh bhi nahiN-ananth iyer faani appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2026/10/aif-voh-Khuda-ho-jaaega-Audio.mp3

Recitation

وہ  خدا  ہو  جائے  گا    –  اننت  ایّر  فانیؔ

۱

کل  یہاں  ایسا  اندھیرا  دیکھنا،  ہو  جائے  گا

ایک  ماچِس  جو  جلا  دے،  وہ  خدا  ہو  جائے  گا

۲

اِک  نہ  اِک  دن  وصل  طے  ہے،  پھر  یہ  کیسی  دشمنی

اِک  نہ  اِک  دن  ہر  دیا  ہی  تو  ہوا  ہو  جائے  گا

۳

بولنے  کو  آنکھ  اور  آواز،  دونوں  چاہیے

دیکھنا  ہوتا  ہے  کیا  کہنے  سے  کیا  ہو  جائے  گا

۴

یہ  تسلّی  لے  کے  ہم  راہِ  محبت  پر  چلے

کم  سے  کم  دل  ٹوٹنے  کا  تجربہ  ہو  جائے  گا

۵

جو  بھی  کچھ  کہنا  ہے  صاحب،  آپ  ہی  کہہ  دیجیے

ہم  کہیں  گے  کچھ  تو  ہنگامہ  کھڑا  ہو  جائے  گا

۶

ہے  اننتؔ  ایک  اور  جس  کا  کیا  پتہ  کب  انت  ہو

اور  دوجی  اور  فانیؔ  جو  فنا  ہو  جائے  گا

वो ख़ुदा हो जाएगा – अनन्त अय्यर फ़ानी

१

कल यहाँ ऐसा अँधेरा, देखना, हो जाएगा

एक माचिस जो जला दे, वो ख़ुदा हो जाएगा

२

एक न एक दिन वस्ल तय है, फिर ये कैसी दुश्मनी

एक न एक दिन हर दिया ही तो हवा हो जाएगा

३

बोलने को आँख और आवाज़, दोनों चाहिए

देखना होता है क्या कहने से क्या हो जाएगा

४

ये तसल्ली ले के हम राह-ए मोहब्बत पर चले

कम से कम दिल टूटने का तज्रुबा हो जाएगा

५

जो भी कुछ कहना है साहब, आप ही कह दीजिए

हम कहेंगे कुछ तो हंगामा खड़ा हो जाएगा

६

है अनंत एक ओर जिसका क्या पता कब अंत हो

और दूजी ओर फ़ानी जो फ़ना हो जाएगा

voh Khuda ho jaa’ega – ananth iyer faani

ananth iyer faani (1989-living) dehli, beNgaluru.  BSc, Applied Physics followed by MBA and currently pursuing his PhD.  He managed partnerships (before enrolling in a PhD program) 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’.  Selected as finalist for the All India Talent Hunt by andaaz-e bayaaN aur.

The future is headed toward darkness- hatred, ignorance, wickedness. Forces of darkness shall envelop the world to such an extent that lighting even a single match with its limited light (but promise of spreading light) shall become a godly act.  As the saying goes, ‘In a time of universal deceit, telling the truth is a revolutionary act’.

1.union 2.disappear in the wind, fade away

‘diya’ (lamp) and ‘havaa’ (wind/air) are positioned as rivals in urdu poetry, since the wind is often responsible for the extinguishing of the flame of a lamp. ‘havaa’ is, therefore, a symbol of forces that are antagonistic to the poet’s own condition (which are represented by ‘diya’ or ‘charaaGh’).  Here, the poet says that ultimately, it is the fate of every burning lamp to become a thing of the past (‘havaa ho jaana’ is an idiom that means turning into history).

It is insufficient to have just a voice. If one wants to use one’s voice (to say something), one must also evaluate the consequences of doing so. The wisdom to perform such an evaluation is represented by ‘aaNkh’ (eyes).

1.consolation, hope 2.path of love

Loving often leads to heartbreaks, and a heartbreak is an almost essential condition for survival. The poet says that he looks forward to his heart being broken, and uses that to convince himself to set out on the path of love.

1.tumult, protest 2.raised

The poet speaks from bitter experience in saying that it is better if he stays quiet, because were he to speak, it would result in unnecessary consequences – perhaps because the poet lacks diplomacy or the patience to sugarcoat what needs to be said.

1.name and pen-name of the poet, unending, immortal 2.direction 3.knowledge, awareness 4.end 5.other 6.pen-name of the poet, mortal 7.perish

On the one hand, this is an explanation of the poet’s own name, which contains a contradiction- ananth (never ending, that which doesn’t perish) ‘faani’ (that which shall perish).  On the other hand, it is also a statement that draws attention to the nature of things – the tangible, arguably perishable and temporal physical level of existence, underlying which is the essence of the thing itself, which is abstract and imperishable.

The post voh Khuda ho jaa’ega-ananth iyer faani appeared first on UrduShahkar.

https://urdushahkar.org/wp-content/uploads/2026/10/aif-baandha-hai-samaaN-aur-Audio.mp3

Recitation

https://urdushahkar.org/wp-content/uploads/2026/10/aif-baandha-hai-samaaN-aur-ananth.mp3

ananth faani

باندھا  ہے  سماں  اور  ۔  اننت  ایّر  فانیؔ

۱

مٹّی  جو  بکھر  جائے  گی،  تھوڑا  سا  دھواں  اور

۲

۳

۴

۵

۶

बाँधा है समाँ और – अनंत अय्यर फ़ानी

१

मिट्टी जो बिखर जायेगी, थोड़ा सा धुआँ- और?

हम जैसे चराग़ों का रहे क्या ही निशाँ और

२

मिसरे’ के लिये जाएँ ज़रा दूर मियाँ और

जीवन का कुंआँ और है ग़ज़लों का कुंआँ और

३

सब ‘अक़्ल के कहने हैं, ज़मीं ये है, फ़लक वो

आँखों में वगरना तो है तस्वीर-ए जहाँ और

४

एक जाँ है के होती है ज़’ईफ़ और हर एक दिन

एक जिस्म हुआ जाता है हर रोज़ जवाँ और

५

कैसा है ये किरदार अदा करने की जिस की

घटती है हर एक रोज़ मेरी ताब-ओ-तवाँ और

६

फ़ानी भी सुख़नवर बहुत अच्छे ही हैं लेकिन

ग़ालिब की ज़मीं ने यहाँ बाँधा है समाँ और

baandhaa hai samaaN aur – ananth iyer faani

ananth iyer ‘faani’ (1989-living) dehli, beNgaluru.  BSc, Applied Physical Sciences followed by MBA.  He manages partnerships in a fintech company and is also a writer and percussionist 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’.

1.lamps 2.mark, sign

Dust, that shall scatter, some smoke- and what else?

3.one line (of a couplet or a poem) 4.title to address somebody, mister, sir 5.life 6.well

This couplet cleverly separates real life from poetic creation. Writing a Ghazal is not merely about describing life; it requires a different source of depth and imagination.

7.intellect, reason, the brain 8.land, earth 9.sky 10.otherwise 11.image of the world

Reason tells us: “This is the earth, and that is the sky” —

— The she’r beautifully plays on optics and epistemology. Yes, rationally, we define our world in fixed binaries — earth below, sky above. But the literal image in the eye (formed on the retina) is inverted. So not only is perception philosophically subjective — it’s physiologically flipped. A wonderfully compact critique of relying on intellect alone, and an elegant way of showing how even “vision” deceives

12.soul, life 13.old, weak, feeble 14.body 15.youthful, young

A sharp contrast: the inner being (soul) deteriorates, while the external form (body) seems to thrive. This could reflect the performative demands of life — we may look fine, even flourish outwardly, while feeling emotionally or spiritually exhausted.

16.character (of a story or play) 17.enactment 18.energy, strength, patience, endurance

The poet reflects on life as a performance, a kirdaar (role).  There’s a melancholy resignation here: to exist in society, to fulfill expectations, or perhaps even to write poetry, seems to come at a personal cost.

19.pen-name (“taKhallus”) of the poet 20.poet 21.meter (bahr), rhyme (qaafiya) and refrain (radiif) unique to a Ghazal 22. atmosphere, condition, time (of merriment)

A respectful yet bold declaration. The poet (adopting the taKhallus faani), compliments himself in third person but then immediately nods toward the overpowering influence of Ghaalib — as if to say, even if I’ve written something good, it’s the spirit of Ghaalib’s meter/theme that’s really working its charm. “zamiiN” here may refer to both poetic meter and metaphoric ground — a place where Ghaalib’s craft casts a unique spell. This maqta ends the Ghazal on a note of homage mixed with aspiration, as if saying: even we who write know — there’s Ghaalib, and then there’s the rest of us.

The post baandha hai samaaN aur-ananth iyer faani appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2026/10/mnrnl-furqat-meN-dam-nikle-audio.mp3

Recitation

فُرقت  میں  دم  نکلے  ۔  مُنشی  نوبت  رائے  نظرؔ  لکھنوی

۱

تھکے  سب  کوششیں  کر  کے  کہ  دِل  سے  خارِ  غم  نکلے

بڑا  ہی  مرحلہ  طے  ہو  اگر  فرقت  میں  دم  نکلے

۲

کسی  کو  اب  نہیں  باقی  شکایت  تلخ  کامی  کی

محبت  میں  کچھ  ایسے  ہم  حریصِ  رنج  و  غم  نکلے

۳

حریمِ  دل  کی  رونق  ہے  خیالِ  یار  تک  زاہد

ہوا  سُنسان  کعبہ  جب  کہ  کعبے  سے  صنم  نکلے

۴

وہ  شادی  تھی  کہاں  قِسمت  میں  مثلِ  حضرتِ  یوسف

نکالا  ہم  کو  زِنداں  سے  تو  اِک  تصویرِ  غم  نکلے

۵

نہ  تھا  مقصد  کوئی  بھی  زندگی  بھر  اُس  پہ  مرنے  کا

مگر  منظور  یہ  تھا  فرقِ  ہستی  و  عدم  نکلے

۶

کسی  کی  جُستجُو  میں  ہم  سراپا  اشکِ  حسرت  تھے

پلٹ  کر  پھر  نہ  آئے  جس  گھڑی  گھر  سے  قدم  نکلے

۷

رہا  دربان  کو  کھٹکا  واہمہ  خلّاق  ہوتا  ہے

نکلنے  پر  بھی  مُدّت  تک  نہ  اُس  کوچے  سے  ہم  نکلے

۸

ہماری  ہمدمی  آساں  نہیں  خاموش  اے  ہمدم

یہ  دل  اشکوں  ہی  کا  تھا  جو  شریکِ  رنج  و  غم  نکلے

۹

ہجومِ  حسرتِ  دیدار  سے  ہے  نزع  کی  حالت

دکھا  دیں  آپ  صورت  یا  اِجازت  دیں  کہ  دم  نکلے

۱۰

بس  اب  ہونے  لگا  دل  خوگرِ  ایذائے  بے  تابی

بہت  ہی  درد  کی  شِدّت  پہ  آنسو  آج  کم  نکلے

۱۱

وفورِ  گریۂ  حسرت  سے  گویا  ابرِ  باراں  تھے

کہ  خاک  اُڑنے  لگی  گھر  میں  نظرؔ  جب  گھر  سے  ہم  نکلے

फ़ुर्क़त में दम निकले – मुंशी नौबत राए नज़र लखनवी

१

थके सब कोशिशें कर के, के दिल से ख़ार-ए ग़म निकले

बड़ा ही मरहला तय हो अगर फ़ुर्क़त में दम निकले

२

किसी को अब नहीं बाक़ी शिकायत तलख़ कामी की

मोहब्बत में कुछ ऐसे हम हरीस-ए रंज ओ ग़म निकले

३

हरीम-ए दिल की रौनक़ है ख़याल-ए यार तक ज़ाहेद

हुआ सुंसान का’बा जब के का’बे से सनम निकले

४

वो शादी थी कहाँ क़िस्मत में मिस्ल-ए हज़्रत-ए यूसुफ़

निकाला हम को ज़िंदां से तो एक तस्वीर-ए ग़म निकले

५

न था मक़्सद कोई भी ज़िंदगी भर उस पे मरने का

मगर मंज़ूर ये था फ़र्क़-ए हस्ती ओ अदम निकले

६

किसी की जुस्तुजू में हम सरापा अश्क-ए हसरत थे

पलट कर फिर न आए जिस घड़ी घर से क़दम निकले

७

रहा दरबान को ख़टका वाहमा ख़ल्लाक़ होता है

निकलने पर भी मुद्दत तक न उस कूचे से हम निकले

८

हमारी हमदमी आसां नहीं ख़ामोश अए हमदम

ये दिल अश्कों ही का था जो शरीक-ए रंज ओ ग़म निकले

९

हजूम-ए हस्रत-ए दीदार से है नज़्ज़’ह की हालत

दिखा दें आप सूरत या इजाज़त दें के दम निकले

१०

बस अब होने लगा दिल ख़ूगर-ए ईज़ा-ए बे-ताबी

बहुत ही दर्द की शिद्दत पे आंसू आज कम निकले

११

वुफ़ूर-ए गिर्या-ए हसरत से गोया अब्र-ए बारां थे

के ख़ाक उड़ने लगी घर में नज़र जब घर से हम निकले

Click here for background and on any passage for word meanings and explanatory discussion. munshi naubat rai nazar lakhnavi (1864-1923), lukhnow. Well recognized poet with a published diivaan and the editor of several literary magazines including adeeb. He has several Ghazal modeled after Ghalib, with this one after ‘hazaaroN KhwaahisheN aisi keh har Khwaahish peh dam nikle’, is linked to Ghalib naqsh-e qadam.

munshi naubat rai nazar lakhnavi (1864-1923), lukhnow.  Well recognized poet with a published diivaan and the editor of several literary magazines including adeeb.  He has several Ghazal modeled after Ghalib, with this one after ‘hazaaroN KhwaahisheN aisi keh har Khwaahish peh dam nikle’, is linked to Ghalib naqsh-e qadam.

1.efforts 2.thorn 3.problem, obstruction 4.solved, overcome 5.separation from the beloved

The poet made every effort to remove painful thorns from his heart.  There is an implication that he did not succeed.  The thorns are the pain of separation from the beloved.  He now wishes to die, making peace with his separation.  This would help him overcome a great obstacle.

1.remain 2.complaint 3.thirsty throat, thirst 4.glutton, greedy 5.pain and sorrow

The poet, in love, has shown such acceptance of pain and sorrow that he can be considered a ‘glutton for punishment’.  Seeing this example before them, no one now complains of thirst i.e., deprivation in love.

1.sanctuary, kaa’ba 2.glory, splendour 3.thought, memory, love 4.beloved, divine 5.preacher 6.desolate, quiet 7.idols, beloved

This has reference to the early islamic history of the removal of idols from the kaa’ba.  The poet implies that there is the same divine spirit behind idols as there is behind the concept of a formless god.  In addition, he draws a parallel between the kaa’ba and the heart – both are considered ‘house of god’.  Thus, the glory of the sanctuary of the heart is only as long as it is devoted to the divine.  If this devotion is gone, then the heart is no longer glorious, just like the kaa’ba became desolate when the idols were taken out.

1.celebration 2.fate 3.similar to, in the example of 4.an honorific-exalted 5.Joseph 6.prison 7.picture of

Joseph/yusuf was falsely accused of trying to seduce his master’s wife and imprisoned.  He was able to interpret Pharoah’s dream as foretelling seven year abundance followed by a seven year drought.  He was released from prison, to great celebration and appointment to high office.  The poet bemoans his own fate … that it was not similar to that of yusuf.  When he (the poet) was released from prison, he was the picture of sorrow/misery.  It could be that ‘release from prison’ is used here to mean release from the bondage of life.

1.objective, purpose 2.her i.e., the beloved 3.dying of devotion 4.intention 5.difference 6.existence, being 7.non-existence

The poet/lover spent all his life yearning for/dying for the beloved.  There was no purpose in it, except to realize the difference between being and non-being.  This is a sufiyaana thought … the beloved here is the divine.  Merger with the divine spirit after death is ‘real existence’.  Thus, the only purpose of devotion to the divine all life long is to realize ‘real existence’ as opposed to non-existence in the material world.

1.search, effort 2.head to toe 3.tears 4.longing 5.turning back 6.moment 7.step

Here again by ‘kisi’ is meant the divine.  In the search for (union with) the divine, we were the embodiment of tears of yearning.  We never turned back the moment we left home.  This could figuratively mean – once the spirit left this body for union with the divine beloved, it did not return.

1.doorkeeper 2.fear 3.suspicion 4.creator, inventor 5.long time 6.street

‘vaahima Khallaaq hota hai’ is an expression meaning ‘suspicion creates fear’.  The doorkeeper has been instructed to kick the poet/lover out of the street.  He has been out of the street for a long time but the doorkeeper is still fearful.  It is his suspicion that keeps still keeps him fearful.

1.sympathy, consolation 2.easy 3.companion, friend 4.tears 5.inclusive, sharing 6.pain and sorrow

It is not easy to console this disappointed lover.  Give up O friend.  My heart belongs to my tears, who have been the only ones sharing my pain and sorrow.  Beyond this literal interpretation, I don’t see much.

1.onslaught, rush 2.yearning 3.sight 4.agony of death 5.condition 6.permission 7.breath, life

The onslaught of yearning to see the beloved is so strong that the poet/lover is on his last breath.  It is customary for the beloved to visit the dying lover.  Only upon seeing her can he die.  He pleads, O beloved, either you let me see you or give me permission that I might let go of my breath/life.  Again, I don’t see much beyond this literal interpretation.

1.habituated, used to 2.pain, torture 3.eagerness, restlessness 4.intensity

The poet/lover has been eager and restless for a long time.  His heart is getting used to this torment of restlessness.  Even with the intensity of pain there were fewer tears.  Said Ghalib …

1.abundance, excess 2.crying 3.yearning 4.as if 5.cloud 6.raining 7.dust 8.pen-name of the poet

The poet/lover has been weeping/crying because of intense yearning (for union with the beloved).  His weeping was such that it was as if a cloud was raining down upon his house.  But once he left his house, dust began blow there.  Here again, I don’t see much beyond this literal interpretation except for this parallelism with Ghalib …

The post furqat meN dam nikle-munshi naubat rai nazar lakhnavi appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2026/10/joshm-aarzu-ki-baat-kareN-audio.mp3

Recitation

آرزو  کی  بات  کریں  ۔  جوش  ملیح  آبادی

۱

اب  آؤ  شام  ہوئی  رنگ  و  بُو  کی  بات  کریں

غروبِ  مہر  و  طلوعِ  سُبُو  کی  بات  کیریں

۲

بر  غمِ  تلخیِ  ایّام  و  سختیِ  دوراں

بُتانِ  شہد  لب  و  شیشہ  خُو  کی  بات  کریں

۳

ہم  اہلِ  فن  کو  جو  بخشا  ہے  میرِ  قدرت  نے

اُس  اعتبار  کی،  اُس  آبرو  کی  بات  کریں

۴

حریمِ  پیرِ  مغاں  میں  پئے  رُکوع  و  سجود

اب  آؤ،  آبِ  عنب  سے  وضو  کی  بات  کریں

۵

تمام  دن  کی  کثافت  کا  بار  ہے  دل  پر

کنارِ  آبِ  رواں  شست  و  شُو  کی  بات  کریں

۶

خروشِ  روز  ہُوا  ختم  اب  اُٹھو  یارو

کہ  دل  نوازیِ  گلبانگِ  ہُو  کی  بات  کریں

۷

چِھڑی  ہوئی  ہے  جو  مابینِ  انجم  و  ذرّات

بساطِ  بادہ  پر  اُس  گفتگو  کی  بات  کریں

۸

محلِ  شرم  ہے  صد  پارگیِ  رختِ  حیات

اب  آؤ  سوزنِ  مے  سے  رفو  کی  بات  کریں

۹

ازل  سے  ذہنِ  بشر  کو  تلاش  ہے  جس  کی

اب  اُس  خیال  نشیں  ماہ  رُو  کی  بات  کریں

۱۰

نگاہ  و  گوش  کے  حفظِ  حقوق  کی  خاطر

رُخِ  صبیح  و  بُتِ  خوش  گُلو  کی  بات  کریں

۱۱

جو  مضطرب  ہے  پئے  منصبِ  اُلوہیّت

اب  آؤ  جوشؔ  کی  اُس  آرزو  کی  بات  کریں

आर्ज़ू की बात करें – जोश मलीहाबादी

१

अब आओ शाम हुई रंग-ओ-बू की बात करें

ग़ुरूब-ए मेहर ओ तुलू-ए सुबू की बात करें

२

बर ग़म-ए तल्ख़ि-ए अय्याम-ओ-सख़्ती-ए दौराँ

बुतान-ए शहद-लब-ओ-शीशा-ख़ू की बात करें

३

हम अहल-ए फ़न को जो बख़्शा है मीर-ए क़ुद्रत ने

उस ए’तेबार की, उस आब्रू की बात करें

४

हरीम-ए पीर-ए मुग़ाँ में पए रुकू’ ओ सुजूद

अब आओ, आब-ए अ’नब से वुज़ू की बात करें

५

तमाम दिन की कसावत का बार है दिल पर

किनार-ए आब-ए रवाँ शुस्त-ओ-शू की बात करें

६

ख़रोश-ए रोज़ हुआ ख़त्म अब उठो यारो

के दिल-नवाज़ी-ए गुलबांग-ए हू की बात करें

७

छिड़ी हुई है जो माबैन-ए अंजुम-ओ-ज़र्रात

बिसात-ए बादा पर उस गुफ़्तुगू की बात करें

८

महल्ल-ए शर्म है सद-पारगी-ए रख़्त-ए हयात

अब आओ सोज़न-ए मय से रफ़ू की बात करें

९

अज़ल से ज़ेहन-ए बशर को तलाश है जिस की

अब उस ख़याल-नशीं माह-रू की बात करें

१०

निगाह ओ गोश के हिफ़्ज़-ए हुक़ूक़ की ख़ातिर

रुख़-ए सबीह ओ बुत-ए ख़ुश-गुलू की बात करें

११

जो मुज़्तरिब है पए मन्सब-ए उलूहीय्यत

अब आओ जोश की उस आर्ज़ू की बात करें

Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. This Ghazal is linked to other ham-radeef Ghazaliyaat under ‘ki baat kareN’ on the Refrain Index page.

josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution.  He is very secular and nationalistic in his writings and rebels against orthodoxy.  His range of language and vocabulary is simply amazing.  This Ghazal is linked to other ham-radeef Ghazaliyaat under ‘ki baat kareN’ on the Refrain Index page.

1.color and fragrance, beauty of the world/nature 2.setting 3.sun 4.rising 5.wine-flagon

Come now, the evening has arrived, let us talk about ‘color and fragrance’ – the beauty of the moment.  The sun is setting, let us talk about raising the wine-flagon.  The interpretation can range from wine of grape, mystical wine of the sufi seeker or the wine of love of the universalist thinker.

1.for the sorrow, to overcome the sorrow 2.bitterness 3.days 4.toughness, harshness 5.times, life 6.idols 7.honey/sweet 8.temperament/nature like glass (delicate, fragile)

The poet and his friends have been through bitter days and harsh times.  In order to overcome the sorrow of this bitterness/harshness he wants to talk about the sweet lips of the delicate natured beloved.

1.people of art/skill, artists, poets 2.bestowed, granted 3.lord 4.power, capability, nature 5.credibility, trust 6.prestige, , honour, reputation, dignity

The artist (the poet) has been granted a unique skill by the lord of capabilities (god).  Let us talk about the trust that has been placed in us, about the honour that we have been accorded.   The poet’s role in society entails some obligations/responsibilities.

1.sanctuary (here, the tavern) 2.elder/leader 3.wine-makers, tavern keeper 4.for the sake of 5.bowing and prostration (part namaaz rituals) 6.water, juice 7.grape 8.ritual ablution (washing) performed before namaaz

This is a powerfully metaphorical and often irreverent couplet characteristic of Ghazal. The tavern (hariim-e piir-e muGhaaN) becomes the new sanctuary (as opposed to the k’aaba). The poet suggests that for the act of bowing and prostration as a part of offering namaaz – prayer, they should talk about performing ablution (vuzuu) with wine (aab-e ‘anab).

1.all 2.day 3.impurity, filth, moral defilement 4.burden 5.side, shore, bank 6.water 7.flowing (flowing water-river) 8.washing and cleansing

All day long, the poet and friends have been engaged in the affairs of the world.  This is considered a defiling act – the heart is tarnished.  It needs to be cleaned.  The river bank is usually associated with a place of merriment and wine-drinking.  The washing and cleansing can either be spiritual or artistic/aesthetic above and beyond materialist acts.

1.clamor, commotion 2.day 3.finished, ended 4.comforting the heart, delighting the soul 5.song, chant 6.chanting allaah-huu, spiritual ecstasy/frenzy

The clamor of the day is over; let us rise friends and talk about the comforting of the heart (spiritual delight) that comes from chanting allaah-huu.

1.started, initiated, ongoing 2.between 3.stars 4.particles, dust 5.mat/carpet, area 6.wine 7.conversation, dialogue

A conversation is going on between the stars and the dust i.e., between the sky and earth, between heaven and earth, between god and humans.  The implication is that god/nature is talking to us.  Let us listen to this conversation over a cup of wine as we sit down on the carpet where wine is served – a call to reflect on the mysteries of the universe, now that the tumult of the day is over.

1.occasion, cause 2.shame 3.hundred fragments 4.garments, covering 5.life 6.needle 7.wine 8.darning, mending, repairing a tear

The garment of life is shredded into a hundred fragments.  This is a cause of shame.  Let us get down to repair these tears with the ‘needle of wine’.  Drinking wine is a remedy for the trials and tribulations of the day.

1.eternity, beginning of time 2.mind/intellect 3.human 4.search, quest 5.seated/ingrained in thoughts/imagination 6.moon-faced, beloved

The search for ideal beauty, truth, or the divine has been the quest of the human mind since eternity (azal). The poet proposes that they discuss this ultimate object of desire—the moon-faced beloved who is seated in their deepest thoughts. This maah-ruu is the metaphorical representation of the highest ideal: be it god, pure beauty, or mystical love, which humanity has always sought.

1.eyes, sight 2.ears, hearing 3.preservation/protection 4.rights 5.for the sake of 6.face 7.bright, beautiful, radiant 8.idol, beloved 9.sweet/melodious throat/voice

The beloved has a radiant face and a melodious voice.  The poet feels that they have a right to see this radiance and hear this voice/words.  For the sake of preservation of these rights he wants to talk about this beauty and these words.

1.restless, impatient 2.for the sake of 3.status/office 4.godhood, divinity 5.pen-name, taKhallus 6.yearning, desire

It seems that josh has a yearning, an unfulfilled desire ‘for the office of divinity’.  I am not sure what this means.  Does it mean that josh wants to achieve divinity or divine qualities like creativity!  or does it mean that josh wants to reach, understand, comprehend divinity.  I will leave the reader to make that choice.  In any case josh wants that yearning to be discussed (over a glass of wine).

The post aarzu ki baat kareN-josh malihabadi appeared first on UrduShahkar.

https://urdushahkar.org/wp-content/uploads/2026/10/jchh-vahiiN-pe-chaukhaT-hai-aastaaN-ki-Audio.mp3

Recitation

چوکھٹ  ہے  آستاں  کی  ۔  جے  کرشن  چودھری  حبیبؔ

۱

تلاشِ  رہبر  نہ  خوفِ  منزل،  نہ  فکر  کوئی  ہے  جسم  و  جاں  کی

جنوں  سلامت  تو  کس  کو  پروا،  رہِ  وفا  کے  ہر  امتحاں  کی

۲

جو  تم  نے  دیکھا  ہے  مسکرا  کر،  قدم  زمانے  کے  رُک  گئے  ہیں

اس  اِک  نگاہِ  کرم  سے  پہلے،  کہاں  تھی  مجھ  پر  نظر  جہاں  کی

۳

بیان  گرچہ  تھا  دردِ  دل  کا،  مگر  تھا  کیف  و  اثر  سے  خالی

جو  نام  آیا  ہے  اس  میں  تیرا،  بڑھی  ہے  لذّت  بھی  داستاں  کی

۴

روِش  پہ  محوِ  خرام  ہو  کر،  جگائے  کیا  کیا  نہ  تم  نے  جادُو

کلی  میں  رنگت  گُلوں  میں  نکہت،  نہ  زینت  ایسی  تھی  گلستاں  کی

۵

جمالِ  جاناں  کی  جلوہ  گاہیں،  جہاں  بھی  جاؤں  وہاں  پہ  پاؤں

جھکاؤں  سر  کو  جہاں  بھی  اپنے،  وہیں  پہ  چوکھٹ  ہے  آستاں  کی

۶

کبھی  نہ  اِنساں  کے  دل  میں  جھانکا،  کبھی  نہ  کھودا  خزانۂ  دل

زمیں  کے  رخ  سے  ہٹائے  پردے،  تو  بات  کی  ہم  نے  آسماں  کی

۷

ضرور  آئیں  گی  پھر  بہاریں،  چمن  میں  پھر  رقص  و  رنگ  ہوگا

نہ  بادِ‌  صر‌صر  کے  ہوں  گے  جھونکے،  نہ  یورشیں  ہوں  گی  پھر  خزاں  کی

۸

یہ  جانتا  ہوں  کہ  اُس  کا  مُدّت،  سے  تِنکا  تِنکا  بکھر  رہا  ہے

نہ  جانے  پھر  کیوں  یہ  یاد  پیہم،  ہے  میرے  اُجڑے  سے  آشیاں  کی

۹

جو  آرزو  ہو  حبیبؔ  پختہ،  تو  قُرب  و  دُوری  کا  فرق  کیسا

مرے  تصوُّر  نے  ختم  کر  دی،  جو  دُوری  ہم  میں  تھی  درمیاں  کی

चौखट है आस्ताँ की – जय क्रिष्ण चौघरी हबीब

१

तलाश-ए रहबर न ख़ौफ़-ए मंज़िल, न फ़िक्र कोई है जिस्म-ओ-जाँ की

जुनूँ सलामत तो किस को पर्वा, रह-ए वफ़ा के हर इम्तेहाँ की

२

जो तुम ने देखा है मुस्कुरा कर, क़दम ज़माने के रुक गए हैं

उस एक निगाह-ए करम से पहले, कहाँ थी मुझ पर नज़र जहाँ की

३

बयान गरचे था दर्द-ए दिल का, मगर था कैफ़-ओ-असर से ख़ाली

जो नाम आया है उस में तेरा, बढ़ी है लज़्ज़त भी दास्ताँ की

४

रविश पे महव-ए ख़िराम हो कर, जगाए क्या क्या न तुम ने जादू

कली में रंगत गुलों में निक’हत, न ज़ीनत ऐसी थी गुल्सिताँ की

५

जमाल-ए जानाँ की जल्वा-गाहें, जहाँ भी जाऊँ वहाँ पे पाऊँ

झुकाऊँ सर को जहाँ भी अपने, वहीं पे चौखट है आस्ताँ की

६

कभी न इंसाँ के दिल में झाँका, कभी न खोदा ख़ज़ाना-ए दिल

ज़मीं के रुख़ से हटाए पर्दे, तो बात की हम ने आसमाँ की

७

ज़रूर आएँगी फिर बहारें, चमन में फिर रक़्स-ओ-रंग होगा

न बाद-ए सर-सर के होंगे झोंके, न यूरिशें होंगी फिर ख़िज़ाँ की

८

ये जानता हूँ के उस का मुद्दत, से तिनका-तिनका बिखर रहा है

न जाने फिर क्यूं ये याद पैहम, है मेरे उजड़े से आशियाँ की

९

जो आर्ज़ू हो हबीब पोख़्ता, तो क़ुर्ब-ओ-दूरी का फ़र्क़ कैसा

मेरे तसव्वुर ने ख़त्म कर दी जो दूरी हम में थी दर्मियाँ की

chaukhaT hai aastaaN ki – jaikrishn chaudhry habiib

jaikrishn chaudhry habiib (1904-xxxx), born in Dera ismail KhaaN, in pakistan.  Lived in jabalpur.  He was a scholar of sanskrit, English, faarsi and urdu, and was an active participant in the independence struggle, most notably with Khaan abdul Ghaffaar KhaaN.   MA from aligaRh and later LLB, law practice 1929.  He migrated to India after partition in 1947. IAS – Collector and later Education Secretary.  Early retirement in 1960, but recalled later to serve three more years in jabalpur and retired there.  In 1969 he served on Ghalib shataabdhi naagarik samiti which organized four ‘tarahi’ mushaa’era over that year and published a book.  He composed several Ghazal in the style of Ghalib.

1.search 2.guide 3.fear 4.destination 5.worry, concern 6.body and soul 7.madness, passion 8.intact, safe, well 9.care 10.path 11.fidelity, steadfastness 12.trial, test

Reaching the state of junuun madness of intense passion, where the need for justification falls away, is the highest form of desire.  The seeker is on a path of something (the poet does not explicitly say what) and has reached the state of junuun where he no longer needs a guide, is not looking for one.  He is no longer afraid of reaching his destination (there is intense pleasure in the search itself), nor does he care about body and soul (he is willing to risk his life).  As long as the junuun – passion is strong, he does not care about the trials he may face in the steadfast search of his goal.  What might this goal be?  The poet leaves it to us to imagine – truth, justice, wisdom?

1.feet, steps 2.world, society 3.glance 4.kindness, favour 5.gaze 6.world

Who is tum – you, who casts a glance of favour at the poet?  This is not explicit and left for us to choose.  When tum looked at the poet with a smile, the world/people/time stopped in its track (in amazement).  Before this glance of favour nigaah-e karam, did the world ever gaze upon me.  No, never!  One possibility that I like is that tum is the poet’s muse, the embodiment of his poetic ability – when it favours him, the world stops to notice, his poetry receives recognition.

1.narrative, speaking 2.even though 3.ecstasy, intoxication 4.effect 5.pleasure 6.story

Even though the narrative was of the pain/sorrow of the heart, it did not convey any exhilarating sense of intoxication, it was devoid of any effect of the audience.  But as soon as “your name” entered the narrative, the pleasure/flavour of the story increased.  Whose name is it?  In romance interpretation, it could be the beloved.  A more nuanced possibility is that the “your name” can be the theme of the narrative, the subject of the poetry – it could be the beloved, truth, justice … or anything.

1.path 2.engrossed in 3.graceful walk 4.fragrance 5.embellishment, beauty

As “you” walked gracefully down the garden pathway, what wonderful magic did you not awaken? Never before had the buds possessed such vibrant color, the flowers such rich fragrance, or the garden such magnificent beauty.  Who is “you”.  Obviously, a likely possibility is the beloved.  The gulsitaaN – garden, could be the homeland and the “you” walking down the garden path could be any idealistic concept.

1.beauty, glory 2.beloved 3.place of manifestation/appearance 4.threshold 5.abode

Wherever I go I see places of manifestation of the glory/beauty of the beloved.  Wherever I bow I head in reverence, there is the threshold of the beloved’s abode.  Who is the jaanaaN – the beloved, the divine, the poetic muse, or an ideal.  Take your pick.

1.face

This is a bitter observation on the human endeavour of enhancing knowledge.  We spent all our efforts of pulling the veil from the face of the earth or to talk of the skies/heavens but we never took the time to peep into the heart or dig through the treasures of the heart – a call to understand ourselves.

1.definitely 2.dance and celebration 3.wind 4.storm 5.gusts 6.attack, assault 7.autumn, dry barren season

This appears to be a plain but powerful declaration of optimism.  Spring (prosperity) will definitely come, there will be dance and celebration again in the garden (homeland); there will not by gusts of stormy winds (colonialism) nor assaults of dry spells (deprivation).

1.long time 2.each straw 3.scatter 4.repeatedly, constantly 5.nest

This is a heartbreaking expression of exile, forced migration, displacement and haunting memories of a lost home.  I know that for a long time, every straw woven into my nest has been scattering in the wind; but still, I don’t know why, memories of the destroyed nest return again and again.

1.desire, longing 2.pen-name 3.mature, strong 4.nearness and distance 5.difference 6.imagination, memories 7.between

This is another poignant expression of exile, forced separation from friends and familiar society.  Thus, O habiib, if desire is strong, what difference nearness or distance can make.  My imagination/memories have removed that distance between “us” – the “us” being the people of India and pakistan – or the exile/poet and his old friends.

The post chaukhaT hai aastaaN ki-jaikrishn chaudhry habiib appeared first on UrduShahkar.

https://urdushahkar.org/wp-content/uploads/2026/10/faf-intesaab-Audio.mp3

Recitation

https://urdushahkar.org/wp-content/uploads/2026/10/faf-intesab-nayyara-noor.-mp3.mp3

nayyaara noor

اِنتساب  ۔  فیض  احمد  فیضؔ

۱

آج  کے  نام

اور

آج  کے  غم  کے  نام

آج  کا  غم  کہ  ہے  زندگی  کے  بھرے  گلسِتاں  سے  خفا

زرد  پتوں  کا  بن

زرد  پتوں  کا  بن  جو  مرا  دیس  ہے

درد  کی  انجمن  جو  مرا  دیس  ہے

۲

کلرکوں  کی  افسردہ  جانوں  کے  نام

کرم  خوردہ  دلوں  اور  زبانوں  کے  نام

پوسٹ  مینوں  کے  نام

تانگے  والوں  کا  نام

ریل  بانوں  کے  نام

کارخانوں  کے  بھوکے  جیالوں  کے  نام

بادشاہِ  جہاں  والیِ  ماسوا،  نائب  اللہ  فی  الارض

۳

دہقاں  کے  نام

جس  کے  ڈھوروں  کو  ظالم  ہُنکا  لے  گئے

جس  کی  بیٹی  کو  ڈاکو  اُٹھا  لے  گئے

ہاتھ  بھر  کھیت  سے  ایک  انگشت  پٹوار  نے  کاٹ  لی  ہے

دوسری  مالیے  کے  بہانے  سے  سرکار  نے  کاٹ  لی  ہے

جس  کی  پگ  زور  والوں  کے  پاؤں  تلے

دھجیاں  ہو  گئی  ہے

۴

اُن  دکھی  ماؤں  کے  نام

رات  میں  جن  کے  بچے  بلکتے  ہیں  اور

نیند  کی  مار  کھائے  ہوئے  بازوؤں  میں  سنبھلتے  نہیں

دکھ  بتاتے  نہیں

مِنّتوں  زاریوں  سے  بہلتے  نہیں

۵

ان  حسیناؤں  کے  نام

جن  کی  آنکھوں  کے  گل

چلمنوں  اور  دریچوں  کی  بیلوں  پہ  بیکار  کِھل  کِھل  کے

مرجھا  گئے  ہیں

۶

اُن  بیاہتاؤں  کے  نام

جن  کے  بدن

بے  محبت  ریاکار  سیجوں  پہ  سج  سج  کے  اُکتا  گئے  ہیں

بیواؤں  کے  نام

۷

کٹڑیوں  اور  گلیوں  محلوں  کے  نام

جن  کی  ناپاک  خاشاک  سے  چاند  راتوں

کو  آ  آ  کے  کرتا  ہے  اکثر  وضو

جن  کے  سایوں  میں  کرتی  ہے  آہ  و  بکا

آنچلوں  کی  حنا

چوڑیوں  کی  کھنک

کاکلوں  کی  مہک

آرزومند  سینوں  کی  اپنے  پسینے  میں  جلنے  کی  بو

۸

پڑھنے  والوں  کے  نام

وہ  جو  اصحابِ  طبل  و  علم

کے  دروں  پر  کتاب  اور  قلم

کا  تقاضا  لیے  ہاتھ  پھیلائے

پہنچے  مگر  لوٹ  کر  گھر  نہ  آئے

۹

وہ  معصوم  جو  بھولے  پن  میں

وہاں  اپنے  ننھے  چراغوں  میں  لو  کی  لگن

لے  کے  پہنچے  جہاں

بٹ  رہے  تھے  گھٹا  ٹوپ  بے  انت  راتوں  کے  سائے

۱۰

اُن  اسیروں  کے  نام

جن  کے  سینوں  میں  فردا  کے  شب  تاب  گوہر

جیل  خانوں  کی  شوریدہ  راتوں  کی  صرصر  میں

جل  جل  کے  انجم  نما  ہوگئے  ہیں

۱۱

آنے  والے  دنوں  کے  سفیروں  کے  نام

وہ  جو  خوشبوئے  گل  کی  طرح

اپنے  پیغام  پر  خود  فِدا  ہوگئے  ہیں

इन्तेसाब – फ़ैज़ अहमद फ़ैज़

१

आज के नाम

और

आज के ग़म के नाम

आज का ग़म के है ज़िंदगी के भरे गुल्सिताँ से ख़फ़ा

ज़र्द पत्तों का बन

ज़र्द पत्तों का बन जो मेरा देस है

दर्द की अंजुमन जो मेरा देस है

२

क्लरकों की अफ़्सुर्दा जानों के नाम

किर्म-ख़ुर्दा दिलों और ज़बानों के नाम

पोस्ट-मैनों के नाम

ताँगे वालों का नाम

रेल-बानों के नाम

कार-ख़ानों के भूके जियालों के नाम

बादशाह-ए जहाँ वाली-ए मा-सिवा, ना’एब-उल्लाह फ़िल-अर्ज़

३

दहक़ाँ के नाम

जिस के ढोरों को ज़ालिम हँका ले गए

जिस की बेटी को डाकू उठा ले गए

हाथ भर खेत से एक अंगुश्त पटवार ने काट ली है

दूसरी मालिये के बहाने से सरकार ने काट ली है

जिस की पग ज़ोर वालों के पाँव-तले

धज्जियाँ हो गई है

४

उन दुखी माओं के नाम

रात में जिन के बच्चे बिलकते हैं और

नींद की मार खाए हुए बाज़ुओं में सँभलते नहीं

दुख बताते नहीं

मिन्नतों ज़ारियों से बहलते नहीं

५

उन हसीनाओं के नाम

जिन की आँखों के गुल

चिलमनों और दरीचों की बेलों पे बे-कार खिल खिल के

मुरझा गए हैं

६

उन बियाहताओं के नाम

जिन के बदन

बे मोहब्बत रिया-कार सेजों पे सज सज के उक्ता गए हैं

बेवाओं के नाम

७

कटड़ियों और गलियों मोहल्लों के नाम

जिन की नापाक ख़ाशाक से चाँद रातों

को आ आ के करता है अक्सर वज़ू

जिन के सायों में करती है आह-ओ-बुका

आँचलों की हिना

चूड़ियों की खनक

काकुलों की महक

आरज़ू-मंद सीनों की अपने पसीने में जुल्ने की बू

८

पढ़ने वालों के नाम

वो जो अस’हाब-ए तब्ल-ओ-अलम

के दरों पर किताब और क़लम

का तक़ाज़ा लिए हाथ फैलाए

पहूंचे मगर लौट कर घर न आए

९

वो मासूम जो भोले-पन में

वहाँ अपने नन्हे चराग़ों में लौ की लगन

ले के पहुँचे जहाँ

बट रहे थे घटा-टोप बे-अंत रातों के साए

१०

उन असीरों के नाम

जिन के सीनों में फ़र्दा के शब-ताब गौहर

जेल-ख़ानों की शोरीदा रातों की सरसर में

जल जल के अंजुम-नुमा हो गए हैं

११

आने वाले दिनों के सफ़ीरों के नाम

वो जो ख़ुश्बू-ए गुल की तरह

अपने पैग़ाम पर ख़ुद फ़िदा हो गए हैं

intesaab – faiz ahmed faiz

faiz ahmed faiz (1911-1984) sialkoT, lahore.  Church Mission School and later MA in English and arabi from Government College, lahore.  He started his career (1936) as a lecturer in English, MAO College, lahore where mohammed diin taasiir was the principal.  During his frequent visits to the taasiir household he met Alys George, sister-in-law to taasiir; they were married in 1941.  Alys, a member of the communist party, marxist, activist, journalist educator was an important support to faiz during his time in jail and throughout his career.  faiz – political activist, poet, member Progressive Writers’ Association, nominee for the Nobel Prize, Lenin Peace Prize awardee, journalist, jailed, exiled and hugely celebrated was/is very popular throught the sub-continent and beyond.  His work has been translated into many languages including Chinese.

1.sorrow, grief  2.garden  3.displeased with, estranged from  4.yellow, pale, jaundiced  5.forest  6.pain, suffering  7.gathering, assembly

Dedicated to today, and to the sorrow of today, the sorrow that is estranged from the full, flourishing garden of life. To this forest of yellow, withering leaves, this forest of dying leaves that is my homeland; to this gathering of pain and suffering that is my country.

1.dejected, dispirited 2.souls, lives 3.worm-eaten 4.horse-drawn carriages 5.railway workers 6.factories 7.hungry 8.spirited, brave-hearted people 9.king of the world 10.lord/ruler of all creation 11.god’s deputy or vicegerent on earth

Dedicated to the dispirited souls of clerks; to their worm-eaten hearts and tongues. To the postmen, the tanga drivers, the railway workers; to the hungry, spirited workers of the factories. To the king of the world, the lord of all creation, god’s vicegerent on earth. (Faiz gives the humblest of workers the grand titles normally associated with kings and divinely sanctioned rulers.)

12.peasant, farmer 13.cattle, livestock 14.oppressor, tyrant 15.drove away 16.bandit, outlaw 17.carried off, abducted 18.a mere hand’s breadth; a tiny amount 19.field, plot of farmland 20.finger 21.village land/revenue official 22.land revenue, tax 23.pretext, excuse 24.turban (also a symbol of honor and dignity) 25.the powerful, those with power 26.beneath the feet of 27.shreds, tatters

To the peasant whose cattle have been stolen by oppressors, whose daughter has been carried off by bandits; from whose tiny handful of land the village revenue official has cut away one finger, and the government, in the name of taxation, has cut away another. (The little field becomes, in Faiz’s image, a hand from which the authorities are cutting off fingers.) To the peasant whose turban (his honor and dignity) has been trampled to shreds beneath the feet of the powerful.

1.sorrowful, afflicted 2.cry inconsolably, wail 3.overcome or beaten down by sleep 4.arms 5.settle down, become calm 6.sorrow, distress 7.entreaties, coaxing, pleading 8.tearful pleading, lamentation 9.become consoled, soothed

Dedicated to those heavy-hearted mothers whose children cry inconsolably through the night and cannot be calmed in arms heavy with sleep; children who cannot express what ails them and won’t be soothed by coaxing or tearful entreaties.

1.beautiful women, young beauties 2.flowers (here, the flowers of their eyes) 3.curtains, screens, latticed veils 4.small windows, casements 5.vines, creepers 6.uselessly, in vain 7.blooming again and again 8.have withered, faded

Dedicated to those beautiful young women whose flower-like eyes have bloomed in vain upon the vines of curtains and windows, only to wither away unseen. (The image is of young women confined behind curtains and windows: their beauty, youth, and longing flower there unseen and unused, until they fade; a vision of wasted youth)

1.married women 2.bodies 3.loveless 4.hypocritical, false, insincere 5.beds, marriage beds 6.adorning themselves again and again 7.have grown weary, tired 8.widows

Dedicated to those married women whose bodies have grown weary of adorning themselves upon loveless, hypocritical marriage beds. To the widows.

9.small enclosed clusters of adjoining houses or dwellings (kaTDi: the diminutive of kaTDa; in Punjabi, the enclosure formed by adjoining houses) 10.lanes, alleys 11.neighborhoods, quarters 12.impure, unclean 13.rubbish, refuse, sweepings 14.ritual ablution performed before prayer 15.shadows 16.wailing, lamentation 17.the loose ends of scarves or dupaTTas 18.henna; henna-red color 19.bangles 20.tinkling, ringing sound 21.curls, locks of hair, tresses 22.fragrance, scent 23.yearning, full of desire 24.bosom 25.sweat, perspiration 26.burning 27.smell, odor

To the little clusters of dwellings, the lanes and neighborhoods, with whose unclean rubbish the moon often performs its ritual ablutions, (the image is deliberately paradoxical: the moon, associated with purity and beauty, performs vazuu, ritual purification, with what the world regards as filthy and impure), in whose shadows the henna-red of women’s scarves, the tinkling of their bangles, the fragrance of their tresses, and the smell of yearning bodies burning in their own sweat all cry out in lamentation.

1.those who study, students 2.possessors, people who hold 3.drum 4.flag, standard, banner 5.doors, doorways 6.book 7.pen 8.demand, claim, rightful request 9.with hands outstretched

Dedicated to the students, those who went to stand with outstretched hands at the doors of those in power, demanding their due: the right to education and knowledge. They reached there, but never returned home.

1.innocent ones 2.innocence, naïveté, guilelessness 3.tiny, little 4.lamps 5.flame 6.devotion, passion, longing 7.arrived, reached 8.were being distributed 9.pitch-dark, utterly dark 10.endless, without end 11.shadows

Dedicated to those innocent ones who, in their naïveté, arrived carrying in their tiny lamps a devotion to the flame, a passion for light, at a place where the shadows of pitch-dark, endless nights were being handed out. (The contrast is between the small, fragile lamps and the immense darkness being imposed by those in power. The word baTna, “to be distributed,” makes the darkness feel almost organized and institutional, as though it were something being deliberately dispensed.)

1.prisoners, captives 2.breasts, hearts 3.tomorrow, the future 4.luminous, shining in the night 5.jewels, gems 6.prisons, jails 7.turbulent, wild, troubled 8.rustling or whistling wind, fierce and boisterous wind, gale, storm wind 9.burning again and again 10.star-like, resembling stars

Dedicated to those prisoners in whose hearts the luminous jewels of tomorrow, burning in the fierce winds of turbulent prison nights, have become like stars. (The image is of hope for the future surviving imprisonment and persecution: instead of being extinguished by the darkness and violence of prison, it burns more brightly until it becomes star-like.)

1.coming, yet to come 2.ambassadors, emissaries, messengers 3.fragrance 4.flower, rose 5.message 6.sacrificed, devoted, given up

Dedicated to the emissaries of the days to come, to those who, like the fragrance of a flower, have sacrificed themselves for their message. (The image suggests that, just as a flower gives off its fragrance and sends it outward into the world, these people give themselves completely to their cause. They may perish, but the message they carry continues to spread beyond them.)

(naatamaam)¹

The post intesaab-faiz ahmed faiz appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2026/10/jsrshr-haaath-meN-talvaar-bhi-nahiN-10-18-audio.mp3

Recitation

ہاتھ  میں  تلوار  بھی  نہیں۔۱۰۔۱۸  ۔  جیمنی  سرشارؔ

۱۰

جنسِ  وفا  کہ  دولتِ  کونین  تھی  ہمیں

دنیا  میں  کوئی  اِس  کا  طلب  گار  بھی  نہیں

۱۱

مُدّت  کے  بعد  آئے  تھے  اس  میکدے  میں  ہم

کیا  ایک  جامِ  بادۂ  گلنار  بھی  نہیں

۱۲

اُس  ناخدا  کے  ہاتھ  میں  کشتی  کو  سونپئے

جس  ناخدا  کے  ہاتھ  میں  پتوار  بھی  نہیں

۱۳

ہے  اور  بات  تابِ  نظارا  نہ  لا  سکیں

آنکھوں  کو  تیری  حسرتِ  دیدار  بھی  نہیں

۱۴

یہ  لطف  یہ  کرم  یہ  مسلسل  نوازشیں

ہم  غم  نصیب  جن  کے  سزاوار  بھی  نہیں

۱۵

کیونکر  کسی  کے  سامنے  نیچی  نظر  کروں

میں  بے  گنہ  نہیں  تو  گنہ  گار  بھی  نہیں

۱۶

مہر  و  وفا  کی  راہ  میں  مرتے  رہے  ہیں  لوگ

آساں  نہیں  یہ  کام  تو  دشوار  بھی  نہیں

۱۷

جس  کے  لئے  زمانے  میں  جینے  کی  چاہ  ہو

ایسا  کوئی  حبیب  بھی  غم  خوار  بھی  نہیں

۱۸

اب  تیری  بزمِ  ناز  میں  کوئی  نہ  آئے  گا

اوروں  کی  بات  اور  ہے  سرشارؔ  بھی  نہیں

हाथ में तलवार भी नहीं-१०-१८ – जैमिनी सरशार

१०

जिन्स-ए वफ़ा के दौलत-ए कौनैन थी हमें

दुनिया में इस का कोई तलबगार भी नहीं

११

मुद्दत के बाद आए थे मयकदे में हम

क्या एक जाम-ए बादा-ए गुलनार भी नहीं

१२

उस नाख़ुदा के हाथ में किश्ती को सौंपिये

जिस नाख़ुदा के हाथ में पतवार भी नहीं

१३

है और बात ताब-ए नज़ारा न लो सकें

आंखौं को तेरी हस्रत-ए दीदार भी नहीं

१४

ये लुत्फ़ ये करम ये मुसलसल नवाज़िशें

हम ग़म नसीब जिन के सज़ावार भी नहीं

१५

क्यूंकर किसी के सामने नीची नज़र करूं

मैं बेगुनह नहीं तो गुनाहगार भी नहीं

१६

महर ओ वफ़ा की राह में मरते रहे हैं लोग

आसां नहीं ये काम तो दुश्वार भी नहीं

१७

जिस के लिये ज़माने में जीने कि चाह हो

ऐसा कोई हबीब भी ग़म-ख़्वार भी नहीं

१८

अब तेरी बज़्म-ए नाज़ में कोई न आएगा

औरौं कि बात और है सरशार भी नहीं

haath meN talwaar bhii nahiiN-10-18 – jaimnii sarshaar

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.

10

1.ingredient, commodity 2.faithfulness, fidelity, promise keeping 3.wealth 4.both worlds 5.one who demands, seeker, buyer

This ingredient of truth/fidelity which meant the wealth of both worlds to me, today there is no buyer/seeker for this commodity.

1.long time 2.tavern 3.cup 4.wine 5.rose coloured

The tavern maikada is symbolic of a place where everyone is welcome, that is liberal and free-thinking.  Rose coloured wine baada-e-gulnaar is symbolic of the wine of univeral love.  The poet/seeker/free-thinker has arrived at the tavern after a long absence, but there is not even a single cup of the wine of love.

1.helmsman, captain 2.entrust 3.oar

There are two very different interpretation – sufiyaana and satirical.  In the sufiyaana interpretation, this amounts to complete surrender, full trust in the will of the naaKhuda perhaps symbolic of the divine power.  There is no oar, no intention of controlling the waves or the wind; just entrust your boat to the divine and go.  In the satirical intepretation perhaps the naaKhuda is the political leader who does not know where he is going, cannot control the direction of the boat/life; entrusting the boat to him is sheer foolishness.

1.endurance, ability, capacity 2.scene, sight 3.longing 4.sighting, looking at

It is a different matter that I do not have the capacity to bear your brilliant image/sight (just like muusa on koh-e tuur).  It is not as if there is no longing in my eyes to look at you.  In a narrow grammatical interpretation “it is not as if” is not a part of the second misra.  The bhi nahiiN is an emphatic negation and should be interpreted as an emotional response akin to the hypothetical scene where the beloved complains that that the lover does not even look at her and the lover responds defensively, saying … it is not as if I don’t have the desire to look at you, but my eyes cannot bear the brilliance of your beauty.  This sh’er can be interpreted as addressed to either the divine of the beloved.

1.grace, courtesy 2.kindness, mercy 3.gifts, favours 4.sorrow-fated 5.deserving of

In the most straightforward interpretation this seems to be addressed to the divine … we are fated to be sorrowful, we are sinful and we don’t deserve this, and yet we are given an abundance of grace, kindness and favours.  In a sarcastic interpretation of cruelty/indifference as navaazish this can apply to the beloved.

1.how, why 2.lowered gaze 3.sinless 4.sinful

This is a defiant declaration demanding acceptance of transgression as a part of nature and a refusal to be burdened by sin/guilt.  Why should I/how can I lower my eyes (in shame/guilt) before anyone.  I may not be completely free of sin but I am not a habitual sinner, either; accept me the way I am.  This could be addressed to the orthodoxy.

1.love and loyalty/fidelity 2.path 3.difficult, impossible

In urdu poetic tradition there is a mystique associated with the lover’s loyalty.  This is a bold declaration of demystifying the concept of self-sacrifice in the path of love and loyalty.  Lovers have been doing it for a long time; it may not exactly be a cake walk but it is not that difficult either.

1.beloved 2.sympathizer

The poet/lover seems to be bemoaning his own condition; he does not have a beloved or a sympathizer who will make it worthwhile to want to continue to live in this world.

1.gathering 2.coquetry 3.others 4.pen-name

It is customary to speak of the beloved as holding a gathering with admirers around her subject to her coquettish teasing while still remaining indifferent to their offer of love.  The poet/lover seems to be miffed at such behaviour and declares that now no one will come such a gathering; why speak of others (who are less sincere), even a sincere lover like sarshaar will shun it.

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