UrduShahkar

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

https://urdushahkar.org/wp-content/uploads/2025/10/kgm-mahak-chhoR-jaauNga-audio.mp3

Recitation

مہک  چھوڑ  جاؤں  گا  ۔  کرشن  گوپال  مغمومؔ

۱

ہر  دل  میں  پیار  کی  ہی  کسک  چھوڑ  جاؤں  گا

اے  خارِ  عشق،  تیری  کھٹک  چھوڑ  جاؤں  گا

۲

باغِ  جہاں  کا  اِک  گُلِ  خوشرنگ  میں  بھی  ہوں

مرجھانے  پر  بھی  اپنی  مہک  چھوڑ  جاؤں  گا

۳

ہرگز  فنا  نصیب  نہیں  پیار  کی  تپک

ہر  دل  میں  اپنے  دل  کی  تپک  چھوڑ  جاؤں  گا

۴

ٹوٹے  گا  سازِ  شعر  میرا  ایک  دن  مگر

ساری  فضا  میں  ایک  گمک  چھوڑ  جاؤں  گا

۵

میرے  چراغِ  فکر  سے  محفل  ہے  پُر  ضیا

بُجھنے  پہ  کچھ  نہ  کچھ  تو  چمک  چھوڑ  جاؤں  گا

۶

میں  اپنے  بعد  اپنے  ہی  شعروں  کی  شکل  میں

نایاب  گوہروں  کی  دمک  چھوڑ  جاؤں  گا

۷

ہر  اِک  مہم  میں  جان  کی  بازی  لگا  کے  میں

ہر  نوجوان  دل  میں  للک  چھوڑ  جاؤں  گا

۸

ہر  لہجے  کو  میں  دوں  گا  کلی  کی  چٹک  کا  لوچ

ہر  لے  میں  شاخِ  گُل  کی  لچک  چھوڑ  جاؤں  گا

۹

کتنے  ہی  ہم  نوا  ہیں  تو  کتنے  ہی  ہم  خیال

میں  اپنے  پیچھے  اپنی  جھلک  چھوڑ  جاؤں  گا

۱۰

ہوگا  نہ  سرد  روح  کا  شعلہ  کسی  طرح

مِٹ  کر  بھی  میں  تپک  سی  تپک  چھوڑ  جاؤں  گا

۱۱

مغمومؔ،  میری  نبض  ہو  ساکِت  تو  غم  نہیں

نبضِ  حیات  میں  تو  دھمک  چھوڑ  جاؤں  گا

महक छोढ जाऊंगा – क्रिष्ण गोपाल मग़्मूम

१

हर दिल में प्यार की हि कसक छोढ जाऊंगा

अए ख़ार-ए इश्क़, तेरी खटक छोढ जाऊंगा

२

बाग़-ए जहां का एक गुल-ए ख़ुशरंग मैं भी हूं

मुर्झाने पर भी अपनी महक छोढ जाऊंगा

३

हर्गिज़ फ़ना नसीब नहीं प्यार की तपक

हर दिल में अपने दिल की तपक छोढ जाऊंगा

४

टूटेगा साज़-ए शे’र मेरा एक दिन मगर

सारी फ़ज़ा में एक गमक छोढ जाऊंगा

५

मेरे चराग़-ए फ़िक्र से महफ़िल है पुर-ज़िया

बुझने पे कुछ न कुछ तो चमक छोढ जाऊंगा

६

मैं अपने बाद अपने हि शे’रौं की शक्ल में

नायाब गौहरौं कि दमक छोढ जाऊंगा

७

हर एक मोहिम में जान की बाज़ी लगा के मैं

हर नौजवान दिल में ललक छोढ जाऊंगा

८

हर लहजे को मैं दूंगा कली की चिटक का लोच

हर लय में शाख़-ए गुल की लचक छोढ जाऊंगा

९

कितने ही हमनवा हैं तो कितने हि हम ख़याल

मैं अपने पीछे अपनी झलक छोढ जाऊंगा

१०

होगा न सर्द रूह का शो’ला किसी तरह

मिट कर भी मैं तपक सी तपक छोढ जाऊंगा

११

मग़्मूम, मेरी नब्ज़ हो साकित तो ग़म नहीं

नब्ज़-ए हयात में तो धमक छोढ जाऊंगा

Click here for background and on any passage for word meanings and explanatory discussion. krishn gopal baada maGhmum (1916-xxxx), aTak district (now in pakistan). His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er. Ill-treatment by his stepmother drove him to seclusion and reading. All the books at home including religious texts were in urdu. He read up all of them and learnt to write too. Interest in shaa’eri started from childhood. In college he was class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom. Continued education incluing Public Service Commission exam. Worked for the government of panjab and later haryana, retiring in 1974. At least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm.

krishn gopal baada maGhmum (1916-xxxx), aTak district (now in pakistan).  His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er.  Ill-treatment by his stepmother drove him to seclusion and reading.  All the books at home including religious texts were in urdu.  He read up all of them and learnt to write too.  Interest in shaa’eri started from childhood.  In college he was class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom.  Continued education incluing Public Service Commission exam.  Worked for the government of panjab and later haryana, retiring in 1974.  At least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm.

1.ache 2.thorn 3.prick, sting

The shaa’er wants to leave behind the pain of love as his legacy.  I will leave behind only the ache of love in every heart; O thorn of love, I will leave only your sting behind.

1.world 2.rose 3.beautiful colour 4.wilted 5.fragrance

Even as a flower that may wither, the poet believes he will leave his fragrance behind.  He may not last, but his essence (his impact, perhaps poetry) will.

1.under any circumstance, certainly 2.fated for mortality 3.throbbing pain

Certainly, the throbbing pain/yearning of love is not fated to die i.e., it is eternal.  I will leave behind the throbbing of my heart in every heart.

1.musical instrument 2.surroundings, atmosphere 3.short for ‘gamak-chand’-a poetic meter

Surely the musical instrument of my verse will one day break and go silent, but I will leave behind the reverberations of the melody of my ash’aar. 

1.lamp 2.thought, reason, imagination 3.gathering 4.used here to mean full of light

His thoughts light up gatherings charaaGh-e fikr is the lamp of thought. Even when extinguished, it will leave behind a glow-suggesting that his ideas will endure even after he is gone.

1.shape, form 2.rare 3.pearls, gems 4.brilliance

After me, in the shape of my ash’aar I will leave behind rare precious gems that shine.

1.endeavour, undertaking 2.wager 3.youthful 4.zeal, enthusiasm

By putting my life on the line in every endeavour, I will leave behind the spirit of zeal in every youthful heart.

1.accent, tone 2.clicking 3.sweetness 4.tune 5.branch 6.rose 7.suppleness

In urdu poetic imagery when a bud blooms and its petals unfurl, they make a very gentle sound called a chaTak.  The shaa’er wants to bestow the sweetness of that chaTak on every accent/word.  To every tune he wants to give the suppleness of a rose branch.

1.same voice 2.same thoughts 3.glimpse

There are many poets who think like me and many who speak in the same voice/words.  But as I depart, I will leave behind me, a glimpse of my own unique image.

1.cold 2.soul 3.flame 4.erase 5.throbbing pain, emotional imprint

Even after death, the flame of my soul won’t go cold. I will leave behind a throbbing pain, a subtle pain of love – a persistent emotional imprint.

1.pen-name 2.pulse 3.still, silent 4.sorrow, regret 5.life 6.resonant beat

There is no sorrow/regret even if my pulse goes still because I will leave behind a resonant beat in the pulse of life.

The post mahak chhoR jaauNga-krishn gopal maGhmum 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/2025/10/gplm-mansab-e-mansoor-har-kisi-ke-liye-audio.mp3

Recitation

منصبِ  منصور  ہر  کسی  کے  لیے  ۔  گوپال  مِتّل

۱

ہر  ایک  بات  بجا  ہے  تری  مگر  ناصح

وفا  کو  کون  کرے  ترک  زندگی  کے  لیے

۲

شراب  اپنے  لہو  سے  کشید  کرتے  ہیں

جواز  چاہیے  کیا  اور  میکشی  کے  لیے

۳

پڑے  ہیں  راہِ  تمنّا  میں  گرد  کی  مانند

بہ  زعمِ  خویش  جو  اُٹّھے  تھے  رہبری  کے  لیے

۴

اجارہ  دار  تھے  جو  مشعلِ  ہدایت  کے

اب  اپنے  گھر  میں  ترستے  ہیں  روشنی  کے  لیے

۵

کب  اتنا  سہل  ہے  تاراجِ  گلستاں  گلچیں

ہم  اپنا  خون  بہا  دیں  گے  ہر  کلی  کے  لیے

۶

بقدرِ  ظرف  ہے  جرمِ  وفا  کی  بھی  تعزیر

نہیں  ہے  منصبِ  منصور  ہر  کسی  کے  لیے

मन्सब-ए मंसूर हर किसी के लिए – गोपाल मित्तल

१

२

३

४

५

६

Click here for background and on any passage for word meanings and explanatory discussion. gopal mittal (1901-1993), maaler koTla, punjab. College in lahore. Later, lived in dehli as a poet, writer and editor of literary magazine. His usual style is to write intellectual, agnostic and irreverant Ghazal/nazm.

gopal mittal (1901-1993), maaler koTla, punjab.  College in lahore.  Later, lived in dehli as a poet, writer and editor of literary magazine.  His usual style is to write intellectual, agnostic and irreverant Ghazal/nazm.

1.appropriate, acceptable 2.but 3.advisor, preacher, censor 4.promise, commitment, fidelity 5.give up, quit, turn away from

This is a bold declaration that the poet/rebel is willing to lay down his life to keep his word/promise/commitment.  O advisor, everything you say (about the value of life and about preseving it) is acceptable, but who can turn away from their commitment just to save one’s life i.e., personal integrity is placed above mere survival.

1.blood 2.brew, distill 3.justification 4.drinking wine

Here ‘wine’ is symbolic of the wine of universal love and ‘maikashi’ is done at the liberal accepting space provided by the tavern.  The maikada (tavern) and maikashi (drinking) symbolize an unconventional, inclusive space, often celebrated in urdu poetry as a place of acceptance and liberation; unlike rigid religious or societal spaces, the tavern represents freedom, where human divisions dissolve, and love is celebrated. It is this space where the poet’s love, distilled with his own essence, finds expression.  The poet/rebel distills this wine of love with his own blood, suggesting that this love or spiritual elixir is not something merely enjoyed but something personally, even sacrificially, crafted.  What more justification is needed for drinking wine.

1.lay fallen 2.path 3.desire 4.dust 5.like, similar to 6.with self-declared confidence/arrogance 7.leadership, showing the way

There were those who rose to be leaders with self-declared confidence akin to arrogance.  But they seem to have met their just ends.  They lie on the path of desire/aspiration like dust.

1.monopolist, custodian 2.torch 3.teaching, showing 4.thirst, long

This is similar in theme to the previous she’r where leaders with self-declared confidence lie like dust on the path of progress.  They also thought that they had monopoly over guidance/instruction; that they were custodians of the torch of knowledge.  Now they thirst for light in their own houses.  I am not sure if he is talking about a specific group of leaders who, in his eyes, are discredited.  I do not know the historical context of this she’r.

1.easy 2.destruction, desolation 3.garden 4.flower-picker

In urdu poetic tradition the ‘flower-picker’ is the tyrant (just like the birdcatcher) who picks roses and separates lovers (gul o bulbul … the rose and nightingale).  O flower-picker, is the desolation of the garden ever that easy.  We are prepared to shed every drop of our blood for each bud (that you intend to pick).  This is probably about politicians to try to sow discord between communities i.e., try to separate lovers.  This could be in the light of partition and/or inciting communal riots in India.

1.in proportion to 2.capacity, capability 3.crime 4.fidelity 5.punishment 6.rank, status 7.mansuur-al-hallaaj

mansuur-al-hallaaj (858-922) was a sufi mystic who travelled extensively including India.  Upon his return to baGhdaad he declared and explicated ‘an-al-haqq – I am the Truth’ considered to be equivalent to ‘aham brahmasmi’.  He was sentenced to die but given a chance to recant.  He refused and chose to be executed.  He is considered a high symbol of courage and fidelity of being true to his convictions.  In the first she’r the poet has already declared his willingness to die for his convictions.  Punishment for the crime of fidelity is meted out in proportion to the capacity to bear/tolerate the punishment.  Not everyone reaches the high rank of mansuur.  Only the courageous like mansuur choose to die.  I am not sure if this is an expression of the poet’s humility saying that he himself does not have that courage or once again a re-affirmation of his willingness to die.

The post mansab-e mansoor har kisi ke liye-gopal mittal 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/2025/10/sshHr-saj-ke-aashiyaaN-apna-audio.mp3

Recitation

سج  کے  آشیاں  اپنا  ۔  سید  شفاعت  ہینسن  ریحانیؔ

۱

جب  چمن  ہی  اپنا  ہے،  اور  نہ  باغباں  اپنا

کیا  کریں  گے  پھولوں  سے،  سج  کے  آشیاں  اپنا

۲

کوئی  بھی  نہیں  واقف،  راہ  و  رسمِ  منزل  سے

دشت  دشت  پھرتا  ہے،  کب  سے  کارواں  اپنا

۳

حالِ  دل  سنائیں  گے،  ہم  بھی  اُن  کی  محفل  میں

مل  گیا  جو  قسمت  سے،  کوئی  ہمزباں  اپنا

۴

خاک  ہو  کے  پہنچیں  گے،  ہم  کسی  کے  دامن  تک

گو  نہیں  پہنچتا  ہے،  دستِ  ناتواں  اپنا

۵

خوف  ہے  نہ  چھن  جائے،  یہ  بھی  اِس  زمانے  میں

زندگی  کا  حاصل  ہے،  دردِ  جاوداں  اپنا

۶

ہم  خدا  کے  نائب  ہیں،  کیا  نہیں  خبر  تم  کو

ہے  زمیں  کنیز  اپنی،  خادم  آسماں  اپنا

۷

گُل  بدوش  آئے  گی،  پھر  بہار  ریحانیؔ

گو  خزاں  بداماں  ہے،  آج  گلستاں  اپنا

सज के आशियां अपना – सय्यद शफ़ा’अत हैन्सन रेहानी

१

जब चमन हि अपना है, और न बाग़्बां अपना

क्या करेंगे फूलौं से, सज के आशियां अपना

२

कोई भी नहीं वाक़फ़, राह ओ रस्म-ए मंज़िल से

दश्त दश्त फिरता है, कब से कारवां अपना

३

हाल-ए दिल सुनाएंगे, हम भी उन की महफ़िल में

मिल गया जो क़िस्मत से, कोई हम-ज़बां अपना

४

ख़ाक हो के पहुंचेंगे, हम किसी के दामन तक

गो नहीं पहुंचता है, दस्त-ए नातवां अपना

५

ख़ौफ़ है न छिन जाए, ये भी इस ज़माने में

ज़िंदगी का हासिल है, दर्द-ए जावदां अपना

६

हम ख़ुदा के नाएब हैं, क्या नहीं ख़बर तुम को

है ज़मीं कनीज़ अपनी, ख़ादिम आस्मां अपना

७

गुल-बदोश आएगी, फिर बहार रेहानी

गो ख़िज़ां बदामां है, आज गुल्सितां अपना

Click here for background and on any passage for word meanings and explanatory discussion. syed shafaa’at Hanson rehani (1912-????), born in lukhnau. Educated in urdu and faarsi in raampur and later in punjab university. Started composing at an early age both in urdu and in faarsi with mirza jafar ali KhaaN asar lakhnavi (urdu) and farruKh shiiraazi (faarsi) as his mentors. He is a Christian urdu poet who has written conventional Ghazal as well as Christian devotional nazm. He has four collections to his credit and also compiled a booklet on devotional nazm for observing Good Friday and celebrating Easter. He served as pastor at the Methodist Church in hyderabad. This Ghazal is a poignant expression of alienation and injustice. It has the same radeef and qaafiya as Ghalib’s ‘tha jo raazdaaN apna’ and is linked to ‘Ghalib naqsh-e qadam’. The Ghazal is dated 1958. I am not sure if it reflects a specific development or just the general trend.

syed shafaa’at Hanson rehani (1912-????), born in lukhnau.  Educated in urdu and faarsi in raampur and later in punjab university.  Started composing at an early age both in urdu and in faarsi with mirza jafar ali KhaaN asar lakhnavi (urdu) and farruKh shiiraazi (faarsi) as his mentors.  He is a Christian urdu poet who has written conventional Ghazal as well as Christian devotional nazm.  He has four collections to his credit and also compiled a booklet on devotional nazm for observing Good Friday and celebrating Easter.  He served as pastor at the Methodist Church in hyderabad.  This Ghazal is a poignant expression of alienation and injustice.  It has the same radeef and qaafiya as Ghalib’s ‘tha jo raazdaaN apna’ and is linked to ‘Ghalib naqsh-e qadam’.  The Ghazal is dated 1958.  I am not sure if it reflects a specific development or just the general trend.

1.gardener 2.nest

When neither are we welcome in the garden, nor is the gardener sympathetic to us, what is the use of embellishing the nest with flowers.  This is probably an expression of a feeling of alienation in the homeland, of being marginalized.

1.aware 2.ways and traditions 3.destination 4.wilderness to wilderness

No one knows the ways and traditions of (the journey towards the) destination.  For a long time now, this group of seekers has been wandering from wilderness to wilderness.

1.condition 2.gathering, presence 3.speaking the same language, supportive of my words

We too will relay the condition of our heart in her gathering, if by luck, I find someone sympathetic who can support my words.  The ‘her’ could be the beloved or the political leadership.  The poet (and the people he represents) feel that there is no one supportive of their plea.

1.dust 2.hem of the skirt/robe 3.even though 4.hand 5.weak

Here also ‘kisi’ can be the beloved or the political leadership.  Reaching to catch the hem of the skirt/robe is to plead for attention.  But his hand is too weak i.e., he has no access.  The only way he can reach the hem of the skirt is to die, be buried in the beloved’s lane, get converted to dust and reach the hem of the skirt.  This is a classical picture of a spurned lover but the simile can be applied to political leadership.

1.fear 2.snatched away 3.times 4.end result, yield, benefit 5.permanent/constant sorrow

In classical poetic tradition pain of sorrow is treasured.  That is the only thing that the poet has left.  But times have changed so much that even that may be snatched away from him.  That is what he is afraid of.

1.deputy, representative 2.knowledge 3.female slave 4.servant

This probably refers to the observation that human beings have claimed rights over all other creatures by declaring themselves to be representative of god on earth.  But this could well be a sarcastic comment about the rulers claiming such powers over the rest.  They go on to claim that the earth and sky were made for their use and are subservient to them.

1.flower bearing 2.spring 3.pen-name of the poet 4.even though 5.autumn, dry season 6.in the lap of 7.garden

The poet ends on an optimistic note.  O rehaani, spring will arrive bearing flowers, even though today our garden is in the lap of autumn.

The post saj ke aashiyaaN apna-syed shifaa’at hanson rehaani 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/2025/10/dsd-mera-raasta-koii-aur-hai-audio.mp3

Recitation

میرا  راستہ  کوئی  اور  ہے  ۔  درشن  سنگھ  درشنؔ

۱

تجھے  کیا  خبر  مرے  ہم  سفر  مرا  مرحلہ  کوئی  اور  ہے

مجھے  منزلوں  سے  گریز  ہے  میرا  راستہ  کوئی  اور  ہے

۲

میری  چاہتوں  کو  نہ  پوچھئے  جو  ملا  طلب  سے  سوا  ملا

مری  داستاں  ہی  عجیب  ہے  مرا  مسئلہ  کوئی  اور  ہے

۳

یہ  ہوس  کے  بندے  ہیں  ناصحا  نہ  سمجھ  سکے  مرا  مدعا

مجھے  پیار  ہے  کسی  اور  سے  مرا  دلربا  کوئی  اور  ہے

۴

مرا  ذوقِ  سجدہ  ہے  ظاہری  کہ  ہے  کشمکش  مری  زندگی

یہ  گمان  دل  میں  رہا  سدا  مرا  مدعا  کوئی  اور  ہے

۵

وہ  رحیم  ہے  وہ  کریم  ہے  وہ  نہیں  کہ  ظلم  کرے  سدا

ہے  یقیں  زمانے  کو  دیکھ  کر  کہ  یہاں  خدا  کوئی  اور  ہے

۶

میں  چلا  کہاں  سے  خبر  نہیں  کہ  سفر  میں  ہے  مری  زندگی

مری  ابتدا  کہیں  اور  ہے  مری  انتہا  کوئی  اور  ہے

۷

مرا  نام  درشنؔ  خستہ  تن  مرے  دل  میں  کوئی  ہے  ضو  فگن

میں  ہوں  گم  کسی  کی  تلاش  میں  مجھے  ڈھونڈھتا  کوئی  اور  ہے

मेरा रास्ता कोई और है – दरशन सिंघ दरशन

१

तुझे क्या ख़बर मेरे हम-सफ़र मेरा मरहला कोई और है

मुझे मंज़िलों से गुरेज़ है मेरा रास्ता कोई और है

२

मेरी चाहतों को न पूछिए जो मिला तलब से सिवा मिला

मेरी दास्ताँ ही अजीब है मेरा मसअला कोई और है

३

ये हवस के बंदे हैं नासेहा न समझ सके मेरा मुद्दआ

मुझे प्यार है किसी और से मेरा दिल-रुबा कोई और है

४

मेरा ज़ौक़-ए सज्दा है ज़ाहेरी के है कश्मकश मेरी ज़िंदगी

ये गुमान दिल में रहा सदा मेरा मुद्दआ कोई और है

५

वो रहीम है वो करीम है वो नहीं कि ज़ुल्म करे सदा

है यक़ीं ज़माने को देख कर के यहाँ ख़ुदा कोई और है

६

मैं चला कहाँ से ख़बर नहीं के सफ़र में है मेरी ज़िंदगी

मेरी इब्तेदा कहीं और है मेरी इन्तेहा कोई और है

७

मेरा नाम दर्शन-ए ख़स्ता-तन मेरे दिल में कोई है ज़ौ-फ़गन

मैं हूँ गुम किसी की तलाश में मुझे ढूँढता कोई और है

Click here for background and on any passage for word meanings and explanatory discussion. darshan singh duggal darshan (1921-1989) orthodox and observant sikh, grew up in lahore with a promising academic record headed for the sciences or engineering. But when his father took him to the priest/sant for blessings, the priest advised him to take faarsi, and English literature. He started composing verse in urdu in 1937. In spite of (or perhaps because of) his sikh upbringing he is accepting of all faiths and has written with much feeling about diverse religious personalities. It is a recognition of the role urdu has played in the history of the sub-continent and hindus, muslims, sikhs and Christians wrote odes to their respective religious figures in that language. The family migrated to India where he retired as deputy secretary of finance for the government of India. He took over from his father as president of the World Fellowship of Religions. He has composed odes to religious figures across the board. This Ghazal is one of a series with the radeef ‘koi aur hai’ and are linked to the appropriate icon on the Refrain page.

darshan singh duggal darshan (1921-1989) orthodox and observant sikh, grew up in lahore with a promising academic record headed for the sciences or engineering.  But when his father took him to the priest/sant for blessings, the priest advised him to take faarsi, and English literature.  He started composing verse in urdu in 1937.  In spite of (or perhaps because of) his sikh upbringing he is accepting of all faiths and has written with much feeling about diverse religious personalities.  It is a recognition of the role urdu has played in the history of the sub-continent and hindus, muslims, sikhs and Christians wrote odes to their respective religious figures in that language.  The family migrated to India where he retired as deputy secretary of finance for the government of India.  He took over from his father as president of the World Fellowship of Religions.  He has composed odes to religious figures across the board.  This Ghazal is one of a series with the radeef ‘koi aur hai’ and are linked to the appropriate icon on the Refrain page.

1.awareness, knowledge 2.fellow seeker, friend 3.difficulty, obstacle 4.destination 5.running away, shun

O my friend, you do not know, my issues are different (from the usual).  I shun destinations, my path is different (from the beaten path).  The implication is that he likes the journey more than the destination.

1.likes, desires 2.demand, asking 3.beyond, more than 4.story 5.strange 6.problem

Do not ask me about what I like/want.  I have received more than I asked for.  My story is strange/unusual, my problem is different.  The implication is that he is focussed on ‘Gham-e dauraaN’ – the needs of humanity not on himself or perhaps, on spirituality and not materialism.

1.greed, lust 2.servants, devotees 3.preacher 4.goal 5.beloved

They are devotees of greed O preacher, they do not understand my goal.  I love something else; my beloved is someone else.  The implication is that his goal is not material wealth or carnal pleasure, but something else i.e., spiritual.

1.desire for obeisance/worship 2.superficial 3.struggle 4.doubt 5.always 6.goal

I always have doubts that my desire for worship may be superficial.  I struggle with it, always doubting/suspecting myself whether I am sincere in my devotion to the divine.

1.kind 2.generous 3.cruelty 4.always 5.certainty 6.world

He/she/it is kind.  He is generous.  He is not the one to be always vengeful.  Looking at the world, it appears certain that the god here is someone else i.e., someone other than my concept of a kind and generous god i.e. people worship a false god – materialism.

1.awareness, knowledge 2.journey 3.beginning 4.end, destination

I do not know from where I started.  My life is a journey (or in the middle of a journey).  My beginning is somewhere else my end is something else (different from that of the havas-parast – the greedy and lecherous).

1.name and pen-name of the poet 2.broken body, distressed 3.shining forth, casting light 4.lost, engrossed 5.search

I am the broked hearted darshan.  There is a light in my heart that shines and shows the way.  I am engrossed in the search with the help of this light, but something else (possibly temptation) is seeking to trap me.

The post mera raasta koii aur hai – darshan siNgh darshan 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/2025/10/rajeshr-chheRta-koii-aur-hai-audio.mp3

Recitation

چھیڑتا  کوئی  اور  ہے  ۔  راجیش  ریڈّی

۱

ترے  میرے  دین  کا  مسٔلہ،  نہیں  مسٔلہ  کوئی  اور  ہے

نہ  ترا  خدا  کوئی  اور  ہے،  نہ  مرا  خدا  کوئی  اور  ہے

۲

میں  جہاں  ہوں  صرف  وہیں  نہیں،  میں  جہاں  نہیں  ہوں  وہاں  بھی  ہوں

مجھے  یوں  نہ  مجھ  میں  تلاش  کر،  کہ  مرا  پتہ  کوئی  اور  ہے

۳

مرے  فیصلے  سے  خفا  ہے  جو،  مرے  حوصلوں  سے  ڈرا  ہے  جو

مرے  ساتھ  ہی  مری  شخصیت،  میں  چھپا  ہوا  کوئی  اور  ہے

۴

وہ  بھی  وقت  تھا  کہ  جب  آسماں،  پہ  دھویں  کا  نام  و  نشاں  نہ  تھا

مگر  اب  کے  آگ  ہے  کچھ  الگ،  مگر  اب  ہوا  کوئی  اور  ہے

۵

تجھے  خود  سے  کوئی  گلہ  نہیں،  مجھے  خود  میں  میں  ہی  ملا  نہیں

ترا  آئینہ  کوئی  اور  ہے،  مرا  آئینہ  کوئی  اور  ہے

۶

جس  اُفق  پہ  میں  تھا  کِرن  کِرن،  ہوں  اُسی  اُفق  پہ  دھواں  دھواں

مری  ابتدا  کوئی  اور  تھی،  مری  اِنتہا  کوئی  اور  ہے

۷

مرے  فکر  و  فن  کا  غرور  وہ،  مرے  ہر  سخن  کا  سرور  وہ

مرا  ذہن  ایسا  رباب  ہے،  جسے  چھیڑتا  کوئی  اور  ہے

छेढता कोई और है – राजेश रेड्डी

१

तेरे मेरे दीन का मस’अला, नहीं मस’अला कोई और है

न तेरा ख़ुदा कोई और है, म मेरा ख़ुदा कोई और है

२

मैं जहां हुं सिर्फ़ वहीं नहीं, मैं जहां नहीं हुं वहां भी हुं

मुझे यूं न मुझ में तलाश कर, के मेरा पता कोई और है

३

मेरे फ़ैसले से ख़फ़ा है जो, मेरे हौस्ले से डरा है जो

मेरे साथ हि मेरी शख़्सिय्यत, में छुपा हुआ कोई और है

४

वो भी वक़्त था के जब आस्मां, पे धुएं का नाम ओ निशां न था

मगर अब के आग है कुछ अलग, मगर अब हवा कोई और है

५

तुझे ख़ुद से कोई गिला नहीं, मुझे मुझ में कोई मिला नहीं

मेरा आइना कोई और है, तेरा आइना कोई और है

६

जिस उफ़क़ पे मैं था किरन किरन, हुं उसी उफ़क़ पे धुआं धुआं

मेरी इब्तेदा कोई और थी, मेरी इन्तेहा कोई और है

७

मेरे फ़िक्र ओ फ़न का ग़रूर वो, मेरे हर सुख़न का सुरूर वो

मेरा ज़हन ऐसा रबाब है, जिसे छेढता कोई और है

Click here for background and on any passage for word meanings and explanatory discussion. rajesh reDDii (1952-living), was born in nagpur and lives in mumbai. All I could get from a radio interview recording is that he fell in love with urdu and particularly Ghazal during his college days. He worked for All India Radio and retired from there. He has published three collections of his verse. This Ghazal is linked to other Ghazaliyaat of the same radeef on the radeef/refrain index page.

rajesh reDDii (1952-living), was born in nagpur and lives in mumbai.  All I could get from a radio interview recording is that he fell in love with urdu and particularly Ghazal during his college days.  He worked for All India Radio and retired from there.  He has published three collections of his verse. This Ghazal is linked to other Ghazaliyaat of the same radeef on the radeef/refrain index page.

1.faith 2.puzzle, problem

This probably refers to prevailing communal animosity.  He implies that differences are not because of faith but because of something else.  Thus, the differences between your faith and mine are not the issue, the real problem is something else.  Your god is no different from mine.

1.only 2.search

This she’r appears to be a paraphrase of what god might say.  Where I am, is not the only place where I can be found.  Sometimes, I am where I am not.  Don’t search for me just in my present form, for I have other addresses/locations/forms.  Don’t pigeon-hole me into a single stereotype.  I am not a god of the muslims or hindus exclusively.

1.decision, determination 2.unhappy 3.courage, resolve 4.personality, identity

The one who is unhappy about my decision.  The one who is scared of my resolve.  He is hidden within me, along with my personality/ego.  Thus, he acknowledges the existence of multiple personalities within himself, sometimes in conflict with each other.

1.smoke, fog, confusion 2.slightest trace 3.but

There was a time when there was no trace of smoke on the sky, but this time, the fires have a different character, this time the air blows differently.  This could well be interpreted in the political sense about communal confict.  We have had such conflicts in the past but the ‘sky was always clear’ – we always knew what is right and what is wrong.  But this time, it is different.  Communal fires are intentional/planned.  The air blows from a different direction i.e., the intentions of the powerful are different.  This could also be a reflection of the development of his own thought from certainty to scepticism.

1.self 2.complaint 3.mirror as in looking at oneself in the mirror

You have no complaint against yourself i.e., you are satisfied, sure of yourself, righteous in your thinking.  I looked into myself and did not find anyone i.e., I examined myself but not find any fault there.  The mirror you look into is different from mine.  Said kabiir …

1.horizon 2.rays of light 3.smoky, foggy 4.beginning 5.ending

On the horizon that I once was a ray of light, on that same horizon I am now a hazy fog i.e., I was of clear thinking, speaking clearly but now I am confused.  My beginning was different, but I have ended up in a different place.  This could well be a philosophical statement of the development of thought from certainty to scepticism.  It can also be interpreted to mean something entirely different.  In a very different spirit, mir taqi mir …

1.thought and capabilities/talent 2.pride 3.word, verse 4.exhilaration, joy 5.mind 6.stringed musical instrument 7.pulling strings

He declares that his mind is the pride and joy of his talent.  But his own mind is like a ‘rabaab/sitaar’ that someone else pulls the strings of.  Is he saying that his verse is inspired by god … like Ghalib …

The post chheRta koii aur hai – rajesh reDDi 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/2025/10/jmlr-qadr-daaN-mera-audio.mp3

Recitation

قدرداں  میرا  ۔  جگت  موہن  لعل  رواںؔ

۱

گُلِ  ویرانہ  ہوں  کوئی  نہیں  ہے  قدرداں  میرا

تو  ہی  دیکھ  اے  مرے  خلّاق  حُسنِ  رائیگاں  میرا

۲

یہ  کہہ  کر  روح  نکلی  ہے  تنِ  عاشق  سے  فرقت  میں

مجھے  عُجلت  ہے  بڑھ  جائے  نہ  آگے  کارواں  میرا

۳

ہَوا  اُس  کو  اُڑا  لے  جائے  اب  یا  پھونک  دے  بجلی

حفاظت  کر  نہیں  سکتا  مری  جب  آشیاں  میرا

۴

زمیں  پر  بار  ہوں  اور  آسمان  سے  دور  اے  مالک

نہیں  معلوم  کچھ  آخر  ٹھکانا  ہے  کہاں  میرا

۵

مجھے  نغمے  کا  لُطف  آتا  ہے  راتوں  کی  خموشی  میں

دلِ  بشکستہ  ہے  اک  سازِ  آہنگِ  فغاں  میرا

۶

وہیں  سے  ابتدائے  کوچۂ  دلدار  کی  حد  ہے

قدم  خود  چلتے  چلتے  آ  کے  رک  جائے  جہاں  میرا

۷

ذرا  دور  اور  ہے  اے  کشتئ  عمر  رواں  ساحل

کہ  اس  بحرِ  جہاں  میں  ہر  نفس  ہے  بادباں  میرا

۸

ہوئی  جاتی  ہے  تنہائی  میں  لذّت  روح  کی  ضائع

لٹا  جاتا  ہے  ویرانے  میں  گنجِ  شائگاں  میرا

۹

عناصر  ہنستے  ہیں  دنیا  کی  وسعت  مسکراتی  ہے

کسی  سے  پوچھتے  ہیں  اہلِ  بینش  جب  نشاں  میرا

۱۰

مرے  بعد  اور  پھر  کوئی  نظر  مجھ  سا  نہیں  آتا

بہت  دن  تک  رکھیں  گے  سوگ  اہلِ  خانداں  میرا

۱۱

غنیمت  ہے  نفس  دو  چار  جو  باقی  ہیں  اب  ورنہ

کبھی  کا  لُٹ  چکا  سرمایۂ  سُود  و  زیاں  میرا

۱۲

ابھی  تک  فصلِ  گل  میں  اک  صدائے  درد  آتی  ہے

وہاں  کی  خاک  سے  پہلے  جہاں  تھا  آشیاں  میرا

۱۳

رواںؔ  سچ  ہے  محبت  کا  اثر  ضائع  نہیں  ہوتا

وہ  رو  دیتے  ہیں  اب  بھی  ذکر  آتا  ہے  جہاں  میرا

क़द्र-दाँ मेरा – जगत मोहन लाल रवां

१

गुल-ए वीराना हूँ कोई नहीं है क़द्र-दाँ मेरा

तू ही देख अए मेरे ख़ल्लाक़ हुस्न-ए राएगाँ मेरा

२

ये कह कर रूह निकली है तन-ए आशेक़ से फ़ुर्क़त में

मुझे उज्लत है बढ़ जाए न आगे कारवाँ मेरा

३

हवा उस को उढा ले जाए अब या फूँक दे बिजली

हिफ़ाज़त कर नहीं सकता मेरी जब आशियाँ मेरा

४

ज़मीं पर बार हूँ और आसमान से दूर अए मालिक

नहीं मालूम कुछ आख़िर ठिकाना है कहाँ मेरा

५

मुझे नग़्मे का लुत्फ़ आता है रातों की ख़मोशी में

दिल-ए बशिकस्ता है एक साज़-ए आहंग-ए फ़ुग़ाँ मेरा

६

वहीं से इब्तेदा-ए कूचा-ए दिलदार की हद है

क़दम ख़ुद चलते चलते आ के रुक जाए जहाँ मेरा

७

ज़रा दूर और है अए कश्ती-ए उम्र-ए रवाँ साहिल

के इस बहर-ए जहाँ में हर नफ़स है बादबाँ मेरा

८

हुई जाती है तन्हाई में लज़्ज़त रूह की ज़ा’ए

लुटा जाता है वीराने में गंज-ए शाएगाँ मेरा

९

अनासिर हँसते हैं दुनिया की वुस’अत मुस्कुराती है

किसी से पूछते हैं अहल-ए बीनिश जब निशाँ मेरा

१०

मेरे बाद और फिर कोई नज़र मुझ सा नहीं आता

बहुत दिन तक रखेंगे सोग अहल-ए ख़ान्दाँ मेरा

११

ग़नीमत है नफ़स दो चार जो बाक़ी हैं अब वर्ना

कभी का लुट चुका सर्माया-ए सूद-ओ-ज़ियाँ मेरा

१२

अभी तक फ़स्ल-ए गुल में एक सदा-ए दर्द आती है

वहाँ की ख़ाक से पहले जहाँ था आशियाँ मेरा

१३

रवां सच है मोहब्बत का असर ज़ा’ए नहीं होता

वो रो देते हैं अब भी ज़िक्र आता है जहाँ मेरा

Click here for background and on any passage for word meanings and explanatory discussion. jagat mohan lal ravaaN (1889-1934) learnt urdu, faarsi and arabi at a local maktab and went on to get an MA and and LLB. He practiced law and also left a reasonable collection of verse, given his short life span. He wrote a masnavi in praise of buddha. This Ghazal is in a similar zamin as Ghalib’s ‘ban gaya raqiib aaKhir thaa jo raazdaaN apna’ – just with meraa replacing apna.

jagat mohan lal ravaaN (1889-1934) learnt urdu, faarsi and arabi at a local maktab and went on to get an MA and and LLB.  He practiced law and also left a reasonable collection of verse, given his short life span.  He wrote a masnavi in praise of buddha.  This Ghazal is in a similar zamin as Ghalib’s ‘ban gaya raqiib aaKhir thaa jo raazdaaN apna’ – just with meraa replacing apna.

1.rose 2.wilderness 3. connoisseur, people who value 4.creator 5.skill, merit 6.wasted

I am a rose in the wilderness, there is no one to appreciate me.  You yourselves see, my creator, this wasted talent of mine.

1.soul 2.body 3.lover 4.separation 5.hurry 6.proceed, get further ahead

The lover is separated from the beloved and is dying of sorrow.  It is conventional for the beloved to visit him on his death bed.  But as usual, she is late and the soul does not want to wait.  As his soul leaves the body it declares that it is in a hurry because it is afraid that its caravaan would get further ahead and it would be left behind.  The soul had to undertake a journey, and a journey usually requires a caravan, which the soul does not want to miss.

1.wind 2.blow, burn, destroy 3.lightning 4.protection 5.nest

In urdu poetic tradition, the poet/protagonist is often portrayed a bird whose nest is always in danger of getting struck by lightning or blown away in a storm.  Here the poet/bird is frustrated that the nest is not able to protect it.  So, he expresses his anger … let the wind blow it away or lightning burn it up, I don’t care, says he.

1.burden 2.home, refuge

O lord, I am a burden on this earth and am far away from the sky.  I don’t know where I will find refuge.

1.song 2.pleasure 3.silence 4.broken 5.musical instrument, harp 6.melody 7.wailing

I get pleasure in singing during the silence of the night.  My broken heart is a harp of the melody of my wails.

1.beginning 2.street 3.beloved 4.boundary 5.step 6.itself 7.where

The poet/lover/seeker is on a journey, his destination, the beloved’s street.  His desire is so intense that even his feet know his goal.  When they get there, they will stop by themselves and he will know that that is the head/start of the beloved’s street.  Any number of refinements to the interpretation are possible.  This is not a physical journey, but an emotional one and it takes him into unknown territory, but the lover will know in his heart when he has reached his destination.  The beloved could be the romantic beloved, the divine beloved or even his literary creativity.

1.flowing/passing life 2.shore 3.ocean of the world, ocean of life 4.breath 5.sail of a boat

The poet’s life is like a boat sailing over the ocean of life.  It has just a little more distance to cover before it reaches the shore.  Every breath is like a wind blowing the sail of his boat a little further along.  The unstated feeling is a sense of peace and acceptance as the shore/end of life approaches.

1.solitude 2.pleasure 3.soul 4.wasted 5.wilderness 6.treasure 7.precious

It is customary/common for poets to feel or at least to claim that they feel that they are underappreciated.  Thus, ganj-e shaa’egaaN could be the rich treasure of his thought expressed in his verse.  It is this that gives pleasure to the soul but is going to waste in solitude, it is as if it is being plundered in the wilderness.

1.elements – air, water, fire, clay 2.expanse 3.smile 4.people of 5.insight, discernment 6.mark, impact

This can be interpreted either as a lament of underappreciation or a boast of excellence depending on the nature of the laugh and smile of the elements and the expanse of the world.  People of insight, of discerning tastes ask about the mark/impact of the poet.  The elements laugh and the expanse of creation smiles.  This could be a mocking laugh and derisive smile discounting the impact of the poet (lament of underappreciation) or it could be a knowing laughter and appreciative smile because the mark of the poet/his verse is synchronous with the beauty of creation (boast of high quality).

1.seen, recognized 2.short of jaisa-like, similar to 3.mourn 4.people of 5.family, tribe

Here the interpretation of KhaandaaN can be expansive, meaning the tribe of poets, people who understand/appreciate fine poetry.  Thus, the first misra declares – after me, there is no one that is obviously like me (implied is with poetic skills like mine).  Discerning people will mourn my loss for a long time.

1.at least this much, just enough 2.breath 3.a few 4.remain 5.otherwise 6.plundered 7.treasure 8.gains and losses

It may be a bit of a stretch but sarmaaya-e suud-o-ziyaaN should be interpreted as the treasure of gains and losses – successes and failures in composing verse that the poet is leaving behind.  It is good that he has a little more time to live (a few more breaths left) otherwise this treasure would have been plundered/lost/wasted.

1.season of flowers, spring 2.sound 3.pain 4.dust, ashes 5.where 6.nest, home

In urdu poetic tradition the poet is often portrayed as a bird whose nest is struck by lightning and burnt to ashes.  This happened to the poet’s nest sometime ago but even to this day – abhii tak – a sound of pain rises in the spring (a season of love, merriment and rejuvenation) from the ashes/dust of the place where once the nest was.

1.pen-name, taKhallus 2.true 3.effect 4.wasted 5.mention, narration 6.where, when

The poet is dead and gone (but he still observes what is going on and writes about it).  The vo in the second misra is the beloved.  She weeps whenever the poet/lover is mentioned.  That is enough for the dead poet to declare – O ravaaN, it is true, the effect of love does not go to waste.

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

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Recitation

لفظوں  میں  سمو  بھی  نہ  سکوں  ۔  شاذؔ  تمکنت

۱

کیا  قیامت  ہے  کہ  اک  شخص  کا  ہو  بھی  نہ  سکوں

زندگی  کون  سی  دولت  ہے  کہ  کھو  بھی  نہ  سکوں

۲

گھر  سے  نکلوں  تو  بھرے  شہر  کے  ہنگامے  ہیں

میں  وہ  مجبور،  تری  یاد  میں  رو  بھی  نہ  سکوں

۳

دن  کے  پہلو  سے  لگا  رہتا  ہے  اندیشۂ  شام

صبح  کے  خوف  سے  نیند  آئے  تو  سو  بھی  نہ  سکوں

۴

ختم  ہوتا  ہی  نہیں  سلسلۂ  موجِ  سراب

پار  اُتر  بھی  نہ  سکوں  ناؤ  ڈبو  بھی  نہ  سکوں

۵

شاذؔ  معلوم  ہوا  عجز  بیانی  کیا  ہے

دل  میں  وہ  آگ  ہے  لفظوں  میں  سمو  بھی  نہ  سکوں

लफ़्ज़ों में समो भी न सकूँ – शाज़ तम्कनत

१

क्या क़यामत है के इक शख़्स का हो भी न सकूँ

ज़िंदगी कौन सी दौलत है के खो भी न सकूँ

२

घर से निकलूँ तो भरे शहर के हंगामे हैं

मैं वो मज्बूर तेरी याद में रो भी न सकूँ

३

दिन के पहलू से लगा रहता है अंदेशा-ए शाम

सुब्ह के ख़ौफ़ से नींद आए तो सो भी न सकूँ

४

ख़त्म होता ही नहीं सिलसिला-ए मौज-ए सराब

पार उतर भी न सकूँ नाउ डुबो भी न सकूँ

५

शाज़ मालूम हुआ इज्ज़-बयानी क्या है

दिल में वो आग है लफ़्ज़ों में समो भी न सकूँ

Click here for background and on any passage for word meanings and explanatory discussion. syed maslahuddin shaaz tamkanat (1933-1985), hyderabad. PhD from osmania university for his thesis on the life and works of a prominent progressive poet maKhdoom mohiuddin. Later, he taught at the university. This Ghazal, with the same radeef/qaafiya as Ghalib’s ‘maiN gaya vaqt nahiN huN keh phir aa bhi na sakuN’, is linked to ‘Ghalib naqsh-e qadam’ and also to ‘hyderabad shuara’.

syed maslahuddin shaaz tamkanat (1933-1985), hyderabad.  PhD from osmania university for his thesis on the life and works of a prominent progressive poet maKhdoom mohiuddin.  Later, he taught at the university.  This Ghazal, with the same radeef/qaafiya as Ghalib’s ‘maiN gaya vaqt nahiN huN keh phir aa bhi na sakuN’, is linked to ‘Ghalib naqsh-e qadam’ and also to ‘hyderabadi shuara’.

1.calamity 2.one particular person or any person 3.wealth, treasure

‘kisi ka ho jaana’ can imply ‘jaan kho dena’ – lose one’s life in their longing.  ‘zindagi kaun si daulat hai’ – implies that it is not of such a high value, he is quite willing to give it up, to lose it.  Thus, what a calamity that I cannot belong to anyone (or to that someone special).  After all I don’t value life so much that I would hesitate in giving it up/away.  Why is he not able to do so, remains for us to guess.  Possibly because he is rejected or ignored by the beloved.

1.tumult, crowds 2.circumscribed, limited

The convention of love requires the lover to be stoic, he cannot weep in front of crowds, in public.  Thus, if I step outside the house into the teeming city, I am faced with crowds.  I am so circumscribed that I cannot even cry, vent my sorrow.

1.side, embrace, in company of 2.anticipation, anxiety 3.fear

There is anxiety of the night because night is a time of loneliness, missing the beloved.  Thus, always accompanying the day is the anxiety of the impending night.  During the night there is the fear of dawn and confirmation of a broken promise.  Thus, for the fear of dawn, even if I am sleepy I cannot sleep i.e., he is restless and anxious day and night.

1.finish, end 2.continuation, series 3.waves 4.mirage, illusion 5.boat

The series of waves of mirage (continuous illusions) never ends.  He keeps traversing the desert with mirage after mirage.  Neither can he row across nor can he sink his boat (drown himself).  He is totally helpless.

1.pen-name of the poet 2.humility of speech/composing poetry 3.words 4.contain

O shaaz, I have come to understand the meaning of humility of versification.  There is such a fire/passion in my heart that I cannot contain it in words.

The post lafzoN meN samo bhi na sakuuN-shaaz tamkanat appeared first on UrduShahkar.

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

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Recitation

صورتِ  اُردو  زباں  ہے  زندگی  ۔  کرشن  گوپال  شفقؔ

۱

داستاں  ہی  داستاں  ہے  زندگی

زندگی  میں  اب  کہاں  ہے  زندگی

۲

آپ  منزل  آپ  منزل  کا  جُنُوں

آپ  میرِ  کارواں  ہے  زندگی

۳

کھو  گئی  ہے  حادثوں  کی  بھیڑ  میں

اب  کہاں  ڈھونڈوں  کہاں  ہے  زندگی

۴

نامُرادِ  آرزُوئے  عشق  کو

ایک  بیوہ  کا  جہاں  ہے  زندگی

۵

راہِ  حق  میں  ہو  گئی  جو  بھی  نثار

زندگی  وہ  جاوداں  ہے  زندگی

۶

مل  گئی  خوشیوں  کی  ہر  منزل  مجھے

آج  مجھ  پہ  مہرباں  ہے  زندگی

۷

دیکھنے  والی  نگاہیں  ہی  نہیں

ورنہ  ہر  شے  میں  نہاں  ہے  زندگی

۸

کشتیِ  عمرِ  رواں  کی  خیر  ہو

ایک  بحرِ  بے  کراں  ہے  زندگی

۹

جس  کو  اپنوں  نے  بگاڑا  ہے  شفقؔ

صورتِ  اُردُو  زباں  ہے  زندگی

सूरत-ए उर्दू ज़बां है ज़िंदगी – कृष्ण गोपाल शफ़क़

१

२

३

४

५

६

७

८

९

Click here for background and on any passage for word meanings and explanatory discussion. shafaq-gopal krishn batta (1933-xxxx), paTiala. MA urdu in addition to a medical degree. He practiced as a physician. Organized Indo-pak mushaa’era annually in ambala. Formed a society of poets who met regularly. Published three collections of his own poetry, one in devnagiri script.

shafaq-gopal krishn batta (1933-xxxx), paTiala.  MA urdu in addition to a medical degree.  He practiced as a physician.  Organized Indo-pak mushaa’era annually in ambala.  Formed a society of poets who met regularly.  Published three collections of his own poetry, one in devnagiri script.

1.story, fable, fairy tale 2.only 3.where

Life has become nothing but a series of stories, fairy tales, possibly of past glory and future promises.  The poet questions the presence of any true life or vitality in today’s existence.

1.itself as in apn’e aap 2.destination 3.passion 4.leader 5.travel party, party of seekers

Life is self-driven: it is both the goal and the passion to reach that goal. It leads itself, like a caravan led by its own spirit, perhaps suggesting that autonomy and internal motivation is what life ought to be.  If it is not that, then it is fables and promises, as in the previous she’r.

1.has been lost 2.accidents, calamities, curses 3.crowd 4.where 5.search

In the chaos and crowd of incidents and tragedies, life has gotten lost i.e., life is an onslaught of calamities. The poet expresses despair, asking where and how to find (energetic, happy) life again amidst such confusion.

1.disappointed, unfulfilled 2.longing, unfulfilled desire 3.widow 4.world

Culturally the life of a widow has been (sadly, still is) considered devoid of meaning/purpose.  For someone whose love remains unfulfilled, life feels like the lonely and sorrowful world of a widow.

1.path 2.truth, justice 3.sacrificed itself 4.eternal, immortal

Those who sacrifice themselves in the path of truth achieve an immortal life, suggesting that real life lies in noble sacrifice and selflessness.

1.destination, stage along the journey (of life) 2.today 3.kind, benevolent

The poet feels that today life is kind and generous, having blessed them with all possible joys and accomplishments.  I am not sure if he is referring to something specific that happened on that day … perhaps he considers the opportunity to read his Ghazal before this audience to be a source of joy for him.

1.able to see, discern 2.gaze, eyes 3.otherwise 4.thing, object 5.hidden

Life exists everywhere, in every object and moment, but people lack the insightful/discerning eyes to truly see it.  This can mean that (a)there is life/energy/functionality/critical role in everything in this world and therefore it has to be respected or (b)there is life in all objects not just animals and  plants.

1.life 2.flowing, passing 3.may it be protected/preserved 4.ocean 5.boundless, vast

Life is compared to a tiny boat sailing in an endless ocean of time. The poet prays for its safety, acknowledging the vast and uncertain journey of life.

1.friends, our own 2.spoil, destroy 3.pen-name 4.like, similar to 5.language

Life resembles the urdu language, beautiful, delicate, and deep, but has been neglected and damaged by its own people. This is both a lament and a metaphor for linguistic/cultural erosion.

The post soorat-e urdu zabaaN hai zindagi-gopal krishn shafaq appeared first on UrduShahkar.

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

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Recitation

دشنۂ  پِنہاں  لئے  ہوئے  ۔  سادھو  رام  آرزوؔ  سہارنپوری

۱

کیف  و  صد  اِنبساط  کا  ساماں  لئے  ہوئے

خود  زندگی  ہے  میکدۂ  جاں  لئے  ہوئے

۲

حسنِ  تمامِ  عالمِ  اِمکاں  لئے  ہوئے

دل  ہے  کسی  کا  گوشۂ  داماں  لئے  ہوئے

۳

طے  کر  رہا  ہوں  عشق  کی  منزل  کشاں  کشاں

حسنِ  نزاکتِ  غمِ  جاناں  لئے  ہوئے

۴

اِس  عشقِ  سادہ  لوح  کو  اب  تک  نہیں  خبر

وہ  بھی  ہیں  اِک  لطیف  سا  ارماں  لئے  ہوئے

۵

ہر  منزل  و  مقام  سے  گزرے  ہیں  اہلِ  عشق

دامن  میں  حادثات  کے  طوفاں  لئے  ہوئے

۶

جو  حسن  سے  بلند  ہے  جو  عشق  سے  لطیف

ایسی  بھی  ایک  چیز  ہے  اِنساں  لئے  ہوئے

۷

معصوم  ہے  وہ  حسن  مگر  پھر  بھی  آرزوؔ

ایک  اِک  ادا  ہے  دشنۂ  پِنہاں  لئے  ہوئے

दश्ना-ए पिनहाँ लिये हुए – साधु राम आरज़ू सहरनपुरी

१

कैफ़ ओ सद इंबेसात का सामां लिये हुए

ख़ुद ज़िंदगी है मैकदा-ए जाँ लिये हुए

२

हुस्न-ए तमाम-ए आलम-ए इम्काँ लिये हुए

दिल है किसी का गोशा-ए दामाँ लिये हुए

३

तय कर रहा हूँ इश्क़ की मंज़िल कशाँ-कशाँ

हुस्न-ए नज़ाकत-ए ग़म-ए जानाँ लिये हुए

४

इस इश्क़-ए सादा-लौह को अब तक नहीं ख़बर

वो भी हैं एक लतीफ़-सा अर्माँ लिये हुए

५

हर मंज़िल-ओ-मक़ाम से गुज़रे हैं अहल-ए इश्क़

दामन में हादसात के तूफ़ाँ लिये हुए

६

जो हुस्न से बुलंद है जो इश्क़ से लतीफ़

ऐसी भी एक चीज़ है इंसाँ लिये हुए

७

मासूम है वो हुस्न मगर फिर भी आरज़ू

एक एक अदा है दश्ना-ए पिनहाँ लिये हुए

Click here for background and on any passage for word meanings and explanatory discussion. saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata. This is one of two Ghazal in the same zamiin, both linked to Ghalib naqsh-e qadam.

Here ishq is used to mean the lover, in this case the poet/lover, and vo is used to mean the beloved. He is so naïve and simple-minded that he is not even aware that the beloved too carries a subtle, refined desire in her heart i.e., she reciprocates his love in subtle ways. Is it a stretch to consider the beloved to be the divine.

saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata.  He was a shaagird of faani badayuni.  There are at least two collections of Ghazal and nazm.  There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.  This is one of two Ghazal in the same zamiin, both linked to Ghalib naqsh-e qadam.

1.state of joy, intoxication, ecstasy 2.a hundred delights 3.provisions 4.tavern 5.life, soul

This couplet suggests that life itself is a tavern, or a source of spiritual intoxication. It’s a journey filled with every possible kind of joy and happiness, as if life itself holds all the provisions for a hundred different delights.

1.complete/perfect beauty 2.world of 3.possibilities 4.corner 5.hem of the garment

Here ‘husn-e tamaam’ can either be perfect beauty attributed to the divine or an exaggerated description of the beloved.  gosha-e daamaaaN lena or pakaRnaa – implies holding the hem of someone’s garment as an appeal or protest, demanding justice.  Thus, the heart carries in itself an image of husn-e tamaam and a vision of a world of possibilities.  But these possibilities have not materialized for him and he has not realized the husn-e tamaam – has not been able to achieve union with it (as a sufi mystic would want to).  So, in protest it is holding the corner of the hem of their garment.

1.to travel, to cross, to cover a distance 2.destination 3.pulled and stretched, with difficulty 4.beauty 5.grace 6.sorrow 7.beloved

The poet describes the journey of love as difficult and challenging, something he is being dragged through. However, he is doing so while carrying the ‘delicate beauty of the pain of love for the beloved.’ This paradoxical statement suggests that even the pain and sorrow associated with love are beautiful and graceful, and it’s this delicate pain that propels the lover forward on their difficult journey.

1.simple-minded, naive 2.awareness, knowledge 3.delicate, subtle 4.desire, wish

Here ishq is used to mean the lover, in this case the poet/lover, and vo is used to mean the beloved.  He is so naïve and simple-minded that he is not even aware that the beloved too carries a subtle, refined desire in her heart i.e., she reciprocates his love in subtle ways.  Is it a stretch to consider the beloved to be the divine.

1.destination 2.stage/position along the journey 3.passed through 4.people of love, lovers 5.hem of the garment 6.calamities, misfortunes 7.storm, tempest

The journey of love is not easy.  In every stage of the destination that lovers pass through, they carry a storm of calamities with them (in their lap) i.e., there are trials to be faced at every stage of the journey.

1.beauty 2.elevated, superior 3.delicate, subtle 4.thing 5.human

Says the poet – the human being or the human condition carries something (mysterious) that is ‘higher than/superior to beauty’ and ‘more delicate/fragile than love.’  Quite what this mysterious quality is, the poet leaves for us to figure out.  It may be an intense desire to merge with the divine, the constant search … it is the reader’s choice.

1.innocent, guileless 2.beauty, beloved 3.pen-name, taKhallus, also desire, wish 4.gesture, style 5.dagger 6.hidden, concealed

The beloved is guileless.  She does not mean to cause any harm.  Yet every gesture, every mannerism is like a ‘hidden dagger’ that cuts the heart. In much the same way an aarzu might seem innocent and harmless but every one drags you into materialism like a subtle knife cutting your soul off the divine beloved.

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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/2025/09/shchstd-azm-o-yaqiiN-ki-baat-karo-audio.mp3

Recitation

عزم  و  یقیں  کی  بات  کرو  ۔  شیش  چند  سکسینہ  طالبؔ  دہلوی

۱

نہ  کفر  کی  نہ  کبھی  ہم  سے  دیں  کی  بات  کرو

کسی  کی  زُلف،  کسی  کی  جبیں  کی  بات  کرو

۲

فضول  کیوں  فلکِ  ہفتمیں  کی  بات  کرو

جہاں  پہنچ  ہو  تمہاری،  وہیں  کی  بات  کرو

۳

یہ  بار  بار  ہے  کیا  ذکر  زال  دنیا  کا

کسی  حسیں،  کسی  زہرہ  جبیں  کی  بات  کرو

۴

بسی  ہوئی  ہے  جو  خوابوں  میں  روزِ  اوّل  سے

اگر  کرو  تو  اُسی  نازنیں  کی  بات  کرو

۵

شعور  و  عقل  میں  یخ  بستگی  کا  عالم  ہے

نگاہِ  گرم،  رخِ  آتشیں  کی  بات  کرو

۶

جنوں  زدوں  کو  اب  اسبابِ  ہوش  ہے  لعنت

نہ  جیب  کی  نہ  کبھی  آستین  کی  بات  کرو

۷

ہزار  رنگ  ہے  جس  سے  حیات  کا  دامن

کرو  تو  حُسنِ  حیات  آفریں  کی  بات  کرو

۸

یہ  کیا  کہ  جب  بھی  مِلو  روئے  جاؤ  قسمت  کو

کبھی  تو  خیر  سے  عزم  و  یقیں  کی  بات  کرو

۹

جنابِ  شیخ،  بس  اِتنی  سی  عرض  ہے  اپنی

زمیں  پہ  رہ  کے  نہ  عرشِ  بریں  کی  بات  کرو

۱۰

وطن  میں  رہ  کے  وطن  کا  ہو  تذکرہ  پہلے

پھر  اختیار  ہے  چاہے  کہیں  کی  بات  کرو

۱۱

ازل  سے  گود  میں  جس  کے  پلے  ہو  اے  طالبؔ

زبانِ  شُکر  سے  اُس  سرزمیں  کی  بات  کرو

अज़्म ओ यक़ीं की बात करो – शीश चंद सक्सेना तालिब देहलवी

१

न कुफ़्र की न कभी हम से दीं की बात करो

किसी की ज़ुल्फ़, किसी की जबीं की बात करो

२

फ़ुज़ूल क्यूं फ़लक-ए हफ़्तमीं की बात करो

जहां पहुंच हो तुम्हारी, वहीं की बात करो

३

ये बार बार है क्या ज़िक्र-ए ज़ाल-दुनिया का

किसी हसीं, किसी ज़ुहरा-जबीं की बात करो

४

बसी हुई है जो ख़्वाबों में रोज़-ए अव्वल से

अगर करो तो उसी नाज़नीं की बात करो

५

शऊर-ओ-अक़्ल में यख़-बस्तगी का आलम है

निगाह-ए गर्म, रुख़-ए आतिशीं की बात करो

६

जुनूं-ज़दों को अब अस्बाब-ए होश है लानत

न जेब की न कभी आस्तीं की बात करो

७

हज़ार रंग है जिस से हयात का दामन

करो तो हुस्न-ए हयात-आफ़्रीं की बात करो

८

ये क्या के जब भी मिलो रोए जाओ क़िस्मत को

कभी तो ख़ैर से अज़्म-ओ-यक़ीं की बात करो

९

जनाब-ए शैख़, बस इतनी सी अर्ज़ है अपनी

ज़मीं पे रह के न अर्श-ए बरीं की बात करो

१०

वतन में रह के वतन का हो तज़्केरा पहले

फिर एख़्तियार है चाहे कहीं की बात करो

११

अज़ल से गोद में जिस के पले हो अए तालिब

ज़बान-ए शुक्र से उस सरज़मीं की बात करो

Click here for background and on any passage for word meanings and explanatory discussion. taalib dehlavi-shiish chandr saxena (1910-1975), born and raised in ambaala. High school, 1925. After some interruption, BA (1935) from Hindu College, dehli. Started composing in 1927; shaagird of munshi maharaaj barq dehlavi. He may have been independently wealthy. He writes about frequent mushaa’era held at his house. He collected and compiled the works of munshi maharaj barq dehlavi, ramprakash sahir hoshiarpuri and chandrbhan kaifi dehlavi, which might otherwise have been lost. In addition, he compiled a collection called ‘hamaare husain’, elegies composed by non-muslim shu’ara as tributes to husain and karbala.

taalib dehlavi-shiish chandr saxena (1910-1975), born and raised in ambaala.  High school, 1925.  After some interruption, BA (1935) from Hindu College, dehli.  Started composing in 1927; shaagird of munshi maharaaj barq dehlavi.  He may have been independently wealthy.  He writes about frequent mushaa’era held at his house.  He collected and compiled the works of munshi maharaj barq dehlavi, ramprakash sahir hoshiarpuri and chandrbhan kaifi dehlavi, which might otherwise have been lost.  In addition, he compiled a collection called ‘hamaare husain’, elegies composed by non-muslim shu’ara as tributes to husain and karbala.

1.non-belief, atheism 2.religion, faith 3.hair, curls 4.forehead

The poet expresses a desire to move beyond theological debates – kufr o diiN. Instead, he suggests a focus on the beauty of a beloved, her hair zulf and (bright) forehead jabiiN, as a more worthwhile topic of discussion.  The beloved can be symbolic for other things … in a religious/sufiyaana interpretation it would mean the universal divine spirit; in progressive interpretation (as in faiz or maKhdoom) it would mean the homeland or social justice.

1.useless, futile, unnecessary 2.seventh heaven 3.reach, access

Why waste time talking about things that are beyond your reach (seventh heaven – falak-e haftamiiN), that you cannot do anything about, that may not even be real.  Talk about something within your reach (jahaaN pahuNch hai), that you can control and do something about.

1.again and again, constantly 2.narrative, talk 3.old, deceitful woman 4.beauty 5.bright/shining forehead (bright as Venus)

In a poetic tradition carried over from faarsi the world is referred to as an old deceitful woman who lures you with her charms – materialist attractions.  Thus, the call to leave this aside and look to something beautiful.  But if I take it to be zaal-duniya (old/ancient world) meaning ancient/obsolete traditions, then, in the next misra hasiiN and zohra-jabiiN lend themselves nicely to be interpreted as a beautiful future – socially just and harmonious.  This is a stretch, but I like it better.

1.residing, making a home in 2.the very first day, since the beginning 3.delicate, graceful, charming

The poet has this image carried over from his dreams/aspirations – an image of delicacy, grace and charm.  If you have to talk about beauty, talk about this ideal rather than the romantic beloved.  This could be idealistic love, divine love or in a progressive turn it could be social justice.

1.knowledge 2.intellect 3.bound in a frozen state, frozen 4.condition, state 5.gaze, vision 6.warm, passionate 7.face 8.fiery, radiant

The poet reflects on the current state of thought around him … knowledge and intellect seem to be in a frozen state – stuck in the past.  To break out of this yaKh-bastagi he needs a warm/passionate gaze towards the future, looking at it with a bright/shining optimistic face/outlook.  But the second misra can be interpreted in exactly the opposite way.  He may be saying sha’oor o aql are in a state of yaKh-bastagi – it is better to leave them aside and move on to nigaah-e garm and ruKh-e aatishiiN i.e., this state of cold rationality can only be thawed by the warmth of passion; the message is to embrace emotion over cold logic.

1.afflicted with passion/madness 2.tools/means of sanity 3.curse 4.pocket, shirt front, collar 5.sleeve

The first misra is clear enough – for those afflicted with the madness of love, any tools of sanity are a curse.  They would rather remain in their state of frenzy, like majnuN.  I am not sure what the jeb and aastiiN symbolize.  One possibility … jeb is the shirt front/collar which the mad lover rips apart.  He does not want to be lectured about his torn collar.  But then what does aastiiN mean.  It could be a stand-in for dignified clothing which the mad/passionate lover does not have and does not want to be lectured about.  This is consistent with the second interpretation of she’r 5 above.

1.colors, forms 2.life 3.hem of the garment of life, valley of life – this world 4.beauty 5.life creating, life-giving

In a classical interpretation husn-e hayaat-aafriiN could be god or a divine creator.  The divine has created all the variety of life.  Let us talk about the beauty of this creator.  In a more modern interpretation hazaar raNg could be the diversity cultures, languages and ethnicities; hayaat ka daaman remains this world or the world that the poet lives in – the world of hindustan; and the husn-e hayaat-aafriiN could be the very diversity represented in the first misra.  Thus the poet is calling us to celebrate it.

1.with grace 2.resolve 3.confidence

This could be in the spirit of the Progressive Writer’s Movement and/or the freedom struggle.  What a pity that every time you complain/lament about fate.  At least sometimes step up and take control of destiny with resolve and confidence.

1.honourific – respected 2.preacher, religious scholar 3.request, plea 4.highest heaven

Addressing a religious scholar, the poet makes a humble request. He asks the scholar to be practical and grounded. The message is to focus on the matters of this world and not get lost in abstract, heavenly discussions – arsh-e bariiN.

1.homeland 2.mention, discussion 3.choice, authority, freedom

The poet wants to prioritize the discussion of the needs of the homeland before talking about anything else.  Once, you have done this, you are free to talk about wherever else you want.

1.eternity, beginning of time 2.lap, embrace 3.grown up, nurtured 4.pen-name, taKhallus 5.thanks, gratitude 6.land, country, homeland

The words address the poet himself, but really they address the audience – O taalib in the language/words of gratitude talk about the land in whose lap you were nurtured from the beginning.

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