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

https://urdushahkar.org/wp-content/uploads/2025/07/sksp-karbala-ke-niir-se-audio.mp3

Recitation

کربلا  کے  نیر  سے  ۔  سردار  کرنیل  سنگھ  پنچھیؔ

۱

دُور  کر  دی  سب  سیاہی  دین  کی  تصویر  سے

خونِ  اصغر  نے  ٹپک  کر  حُرملا  کے  تیر  سے

۲

دل  رہے  گا  دور  جب  تک  درد  کی  تاثیر  سے

لوگ  ناواقف  رہیں  گے  مقصدِ  شبیر  سے

۳

جھوٹ  کے  پردے  جلے  اور  سامنے  سچ  آ  گیا

ایک  لاوا  ایسا  پھوٹا  زینبی  تقریر  سے

۴

جھنجھنانے  لگ  گئی  ہے  ہر  قدم  کے  تال  پر

جانے  عابد  نے  کہا  کیا  پاؤں  کی  زنجیر  سے

۵

اس  میں  میری  آپ  سب  کی  بھی  خطا  ہے  دوستو

لوگ  واقف  ہی  نہیں  گر  مقصدِ  شبیر  سے

۶

گنگا  جل  یا  آبِ  کوثر  سے  مُقدّس  ہیں  یہ  اشک

اپنے  اپنے  پاپ  دھو  لو  کربلا  کے  نیر  سے

۷

اشک  سے  محروم  آنکھیں  لے  کے  تم  تو  چل  دیے

اپنا  حصہ  تو  نہ  بانٹو  درد  کی  جاگیر  سے

۸

کربلا  کی  اِک  زیارت  میری  قسمت  میں  بھی  ہو

اور  پنچھیؔ  کچھ  نہ  چاہوں  کاتبِ  تقدیر  سے

करबला के नीर से – सरदार करनैल सिंघ पंछी

१

२

३

४

५

६

७

८

Click here for background and on any passage for word meanings and explanatory discussion. sardar karnail siNgh panchhi (1932-xxxx) gujranvala (now in pakistan). He composed extensively in panjaabi, hindi and urdu and wrote a few songs for movies. He inherited the talent/passion for poetry from his father who learnt it at grandfather’s knee. At school he learnt panjabi, urdu and later faarsi. They had to move to India (rajasthan) in 1947 where he composed in hindi and panjabi. The family moved to rae bareilly in 1962 and he started composing in urdu. He had 6 manuscripts ready in hindi and panjabi to which he added seven in urdu. When his son started a publishing business, he gave his manuscripts to him but his son’s business, their home and all his manuscripts were looted and burnt to the ground in 1984. The family moved to ludhiana. He continued to write and publish as he went along. By 2015 there were 22 collections published with more to come. He continued to write with great love of communal harmony and devotion to figures of other faiths. This composition is linked to karbal katha on the kaaba kaashi page.

sardar karnail siNgh panchhi (1932-xxxx) gujranvala (now in pakistan).  He composed extensively in panjaabi, hindi and urdu and wrote a few songs for movies.  He inherited the talent/passion for poetry from his father who learnt it at grandfather’s knee.  At school he learnt panjabi, urdu and later faarsi.  They had to move to India (rajasthan) in 1947 where he composed in hindi and panjabi.  The family moved to rae bareilly in 1962 and he started composing in urdu.  He had 6 manuscripts ready in hindi and panjabi to which he added seven in urdu.  When his son started a publishing business, he gave his manuscripts to him but his son’s business, their home and all his manuscripts were looted and burnt to the ground in 1984.  The family moved to ludhiana.  He continued to write and publish as he went along.  By 2015 there were 22 collections published with more to come.  He continued to write with great love of communal harmony and devotion to figures of other faiths.  This composition is linked to karbal katha on the kaaba kaashi page.

1.removed, banished 2.darkness, obscurity 3.faith 4.infant son of husain 5.marksman archer who shot an arrow through ali asGhar’s throat

The blood of innocent ali asGhar, shed by hurmula’s arrow, cleansed all darkness from the face of religion i.e., it made the difference between truth and oppression clear for all to see.  In the battle of karbala, husain and his family and companions were denied access to water.  husain brought out his infant son stating that a child of that age is innocent and asking the enemy to give him water.  Instead, hurmula shot him through the throat.

1.pain 2.effect, impact 3.unaware, ignorant 4.goal, mission 5.another name of husain

As long as one remains distant from the transformative effects of the pain of the events of karbala, one cannot understand husain’s mission.  Implies that intellectual understanding is not enough, it requires emotional depth.

1.of zainab 2.speech

This has reference to zainab’s courageous and eloquent speech after the tragedy of karbala in the full court of yaziid, the perpetrator of the war.  The volcanic eruption of her speech burnt the veils of falsehood and brought truth forward.

1.every step 2.heat, rhythm 3.ailing son of husain who survived the battle 4.said 5.chain

When the brief battle was over, husain’s family were taken prisoner.  His ailing son was put in shackles and forced to march.  The poet describes the march in emotional terms … who knows what aabid said to the links of the chain on his shackles, they started to jangle to the rhythm of his steps; perhaps suggesting that even the sound of chains carried the message of truth.

1.fault 2.aware 3.if 4.goal, mission 5.husain

It seems that the poet feels that the mission of husain should be made known to everyone.  If they are not aware of this mission, then it is the fault of the poet as well as his audience; a shared responsibility to spread the word.

1.Ganges water 2.water of river in heaven 3.holy, sacred 4.tears 5.sins 6.water

When the story of karbala is recited at devotional gatherings, the audience gets quite emotional and tears are shed.  The poet calls these ‘karbala ka niir’ and declares that these tears are more sacred than the waters of Ganges or kausar.  He suggests that sins get washed off with the water of these tears.

1.tears 2.deprived 3.give away 4.pain 5.inheritance, wealth

The pain felt at hearing the story of karbala is considered to be the wealth of the believer.  This pain should cause him/her to shed tears.  If they walk away with their eyes dry of tears then it is tantamount to giving away the the wealth of their pain.  The poet pleads for them not to do that.

1.pilgrimage, visitation 2.destiny 3.pen-name 4.writer 5.fate

All that the poet paNchhi wants from the writer of his fate (god) is to grant him one pilgrimage to karbala.  He does not want anything else written in his fate.

The post karbala ke niir se-sardar karnail siNgh panchhi appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/kbn-dil-pe-hukoomat-hoti-hai-audio.mp3

Recitation

دل  پر  بھی  حکومت  ہوتی  ہے  ۔  کرشن  بہاری  نورؔ

۱

شبّیر  تصوّر  سے  تیرے،  خالق  سے  محبّت  ہوتی  ہے

جب  دل  میں  تجلّی  بڑھتی  ہے،  آنکھوں  میں  حقیقت  ہوتی  ہے

۲

یہ  رسمِ  کہن  ہے  دنیا  کی،  ظاہر  میں  اِطاعت  ہوتی  ہے

شبّیر  یہ  ثابت  تم  نے  کیا،  دل  پر  بھی  حکومت  ہوتی  ہے

۳

اصحاب  لہو  میں  ڈوب  گئے،  ایماں  کا  مگر  دامن  نہ  چھٹا

یوں  بھی  تو  محبّت  کرتے  ہیں،  یوں  بھی  تو  عبادت  ہوتی  ہے

۴

پوچھے  کوئی  رونے  والے  سے،  شبّیر  کے  غم  کے  آنسو  کو

جب  دل  میں  صداقت  آتی  ہے،  ہر  اشک  میں  صورت  ہوتی  ہے

۵

وہ  دَورِ  یزیدی  ختم  ہوا،  وہ  ظلمِ  یزیدی  خاک  ہوا

جو  سر  کو  اُٹھا  کر  چلتی  ہے،  برباد  وہ  طاقت  ہوتی  ہے

۶

کہنے  کو  زمانہ  بیت  گیا،  لیکن  جو  خیال  آجاتا  ہے

آئینۂ  موجِ  دریا  میں،  شبّیر  کی  صورت  ہوتی  ہے

۷

شبّیر  ہیں  ساری  دُنیا  کے،  وہ  صرف  ملسمانوں  کے  نہیں

وہ  خاص  کبھی  رہتی  ہی  نہیں،  جو  عام  عبادت  ہوتی  ہے

दिल पर भी हुकूमत होती है – क्रिष्ण बेहारी नूर

१

शब्बीर तसव्वुर से तेरे, ख़ालक़ से मोहब्बत होती है

जब दिल में तजल्ली बढ़ती है, आंखौं में हक़ीक़त होती है

२

ये रस्म-ए कोहन है दुनिया की, ज़ाहर में इता’अत होती है

शब्बीर ये साबित तुम ने किया, दिल पर भी हुकूमत होती है

३

अस्हाब लहू में डूब गए, ईमां का मगर दामन न छुटा

यूं भी तो मोहब्बत करते हैं, यूं भी तो इबादत होती है

४

पूछे कोई रोने वाले से, शब्बीर के ग़म के आंसू को

जब दिल में सदाक़त आती है, हर अश्क में सूरत होती है

५

वो दौर-ए यज़ीदी ख़त्म हुआ, वो ज़ुल्म-ए यज़ीदी ख़ाक हुआ

जो सर को उठा कर चलती है, बरबाद वो ताक़त होती है

६

कहने को ज़माना बीत गया, लैकिन जो ख़याल आ जाता है

आईना-ए मौज-ए दर्या में, शब्बीर कि सूरत होती है

७

शब्बीर हैं सारी दुनिया के, वो सिर्फ़ मुसल्मानौं के नहीं

वो ख़ास कभी रहती हि नहीं, जो आ’म इबादत होती है

Click here for background and on any passage for word meanings and explanatory discussion. kishan bihari noor (1926 – 2003), was born and grew up in lucknow. In a lot of his work he gracefully reaches across communal lines. He also was a great lover of urdu. This is one of series of Ghazal linked to ‘karbal katha’ on the page ‘kaaba-kaashi’ including many cross-religious categories reflecting the accepting and inclusive culture that used to be India. In 680 CE, in karbala, husain and his family and followers, heavily outnumbered and facing certain death, chose to take a principled and courageous stand rather than accept injustice. This has become symbolic across many communities.

kishan bihari noor (1926 – 2003), was born and grew up in lucknow.  In a lot of his work he gracefully reaches across communal lines.  He also was a great lover of urdu.  This is one of series of Ghazal linked to ‘karbal katha’ on the page ‘kaaba-kaashi’ including many cross-religious categories reflecting the accepting and inclusive culture that used to be India.  In 680 CE, in karbala, husain and his family and followers, heavily outnumbered and facing certain death, chose to take a principled and courageous stand rather than accept injustice.  This has become symbolic across many communities.

1.another name of husain 2.imagination, thought 3.creator, god 4.light, enlightenment 5.truth

O shabbir, just thinking of you increases our love for the divine.  The heart is enlightened so we can discern truth and justice.

1.tradition, ritual 2.ancient 3.apparent, used to mean ‘just to show’, ritualistic 4.devotion 5.prove 6.reign

‘dil par bhi hukoomat hoti’ – whose heart is in the realm of whom?  (a) husain’s heart in the realm of love of god (b) human heart in the realm of love of husain.  It is an ancient practice that devotion (to god) has become a ritual.  (a) you husain have proved, by sacrificing yourselves, that there is genuine love in the heart or (b) your sacrifice generates great admiration and love in our hearts for you.

1.companions, friends 2.blood 3.drowned 4.faith, fidelity, loyalty 5.hem of the robe 6.devotion

‘daaman chhoRna’ is to let go of something especially something desirable.  All companions/followers soaked in blood, but still they did not let go of their faith.  This could also mean that husain lost all companions but still did not let go of his faith in god.  This is the way to show love, this is the way to show devotion.

1.truth, faith 2.tears

There is a strong tradition of mourning for husain’s martyrdom among the shia community.  Ask those who mourn the martyrdom of husain about the tears in their eyes.  When there is faith, every tear reflects the image of husain.

1.reign, power 2.of yazid 3.ended 4.oppression 5.dust 6.swagger of hubris 7.destroyed 8.power

‘yaziid’, who had sent a large army to try to subdue husain, is considered a symbol of oppression and injustice.  Thus, ‘daur-e yaziidi’ is the reign of yazid/injustice.  The reign of yazid is ended, oppression pounded into dust.  The powerful who swagger with hubris are annihilated.

1.used here to mean – long time 2.thought, rememberance 3.river

husain and his companions were camped by the Euphretes, but the forces of yazid cut off their access to water.  A major feature of the battle of karbala is the thirst of husain, his family and companions.  Even though a long time has passed, but still when we remember, the waves of the river reflect the image of husain.

1.only 2.special, used here to mean exclusive, monopolistic 3.common, used here to mean belonging to everyone 4.devotion

shabbir/husain belongs to the whole world, he is not just for muslims.  The devotion/admiration that is common (to humanity) cannot be kept exclusive (for any group).  Elsewhere (posted on this site) too, he writes …

The post dil par bhi hukoomat hoti hai-krishn bihari noor 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/2025/07/kbn-shariikat-alhusain-audio.mp3

Recitation

شریکتہ  الحسین  ۔  کرشن  بہاری  نورؔ

۱

بلندیوں  پر  نگاہِ  زینب،  عروج  پر  نقشِ  پائے  زینب

زباں  پہ  نامِ  حسین  آیا،  تو  دل  میں  گونجی  صدائے  زینب

حُدُودِ  صبر  و  رضا  میں  آنسو،  حقیقتوں  کی  حدوں  میں  جلوے

یہی  ہیں  بخشش  کے  دو  سہارے،  رِدائے  زہرا  ردائے  زینب

۲

قدم  قدم  پر  خدا  کی  مرضی،  صدائے  حق  نعرہ  ہائے  زینب

نگاہِ  مریم  جھکی  ہوئی  ہے،  جہاں  پہ  ہے  نقشِ  پائے  زینب

مصیبتوں  کے  یہ  چند  پہلو،  نقوشِ  صبر  و  رضا  بنے  ہیں

حسین  کی  ہے  جہاں  پہ  منزل،  کوئی  نہ  پہنچا  سوائے  زینب

शरीकत-अलहुसैन – कृष्ण बिहारी नूर

१

बलंदियौं पर निगाह-ए ज़ैनब, उरूज पर नक़्श-ए पा-ए-ज़ैनब

२

क़दम क़दम पर ख़ुदा की मर्ज़ी, सदा-ए हक़ नारा-हा-ए ज़ैनब

Click here for background and on any passage for word meanings and explanatory discussion. krishn bihari noor (1926 – 2003), was born and grew up in lucknow. In a lot of his work, he gracefully reaches across communal lines both in the social/political and religious fields. He also was a great lover of urdu. This is one of several posts linked to ‘karbal katha’ under ‘kaaba-kaashi’ on the Theme Index page, which contains several other cross religious categories. It is a fulsome tribute to the role of zainab, husain’s sister during and after the battle of karbala.

krishn bihari noor (1926 – 2003), was born and grew up in lucknow.  In a lot of his work, he gracefully reaches across communal lines both in the social/political and religious fields.  He also was a great lover of urdu.  This is one of several posts linked to ‘karbal katha’ under ‘kaaba-kaashi’ on the Theme Index page, which contains several other cross religious categories.  It is a fulsome tribute to the role of zainab, husain’s sister during and after the battle of karbala.

1.heights 2.sight 3.apex 4.footprints 5.sound, cry 6.limits, boundaries 7.resolve, determination 8.agreement, will (of god) 9.truths 10.boundaries 11.manifestations, glory 12.deliverance, forgiveness 13.bases, support 14.covering cloth, shawl 15.husain and zainab’s mother

krishn bihari noor pays fulsome tribute to the role of zainab, husain’s sister during and after the battle of karbala.  The eyes of zainab were set high (on the heavens), the footprints of zainab are at the heights of the path of truth.  Whenever we take the name of husain the heart echoes with the voice of zainab i.e., zainab’s speech in yaziid’s court echoes with the same courage and defiance as husain’s sacrifice.  Patience and submission to the divine will were tried to the limits, but tears remained within the limits set by acceptance of the will of god and within that suffering, great spiritual truths, jalve were revealed.  These are the two supports/means of salvation – the ridaa of zahra and the ridaa of zainab.  The ridaa of zahra refers to the qur’aanic verse called aaya-e tat’hiir which declares that those under the ridaa of zahra are god’s specially chosen (this was the immediate family of mohammed).  krishn bihaari noor equates the importance of zainab’s ridaa with the one mentioned in the qur’aan. 

1.every step 2.will (of god) 3.the voice of truth 4.cries/statements 5.eyes, gaze 6.Mary (mother of Jesus) 7.footprint 8.hardship, calamity 9.a few 10.angles, aspects 11.inscriptions, imprints 12.patience, acceptance 13.will, decree (of god) 14.wherever 15.destination, goal 16.except for, other than

At every step (in every action), god’s will is evident i.e., actions are compatible with god’s will; zainab‘s words/statements are the voice of truth; her defiance and speeches (in kuufa and Damascus) are portrayed as not just personal expressions, but manifestations of divine will.  The gaze of Mary bows with respect and admiration wherever the footprint of zainab lies i.e., on the path taken by zainab.  These few facets of hardship have become imprints of patience and acceptance.  Where husain’s goal was, nobody reached except for zainab – pointing to her contribution in the struggle carrying his mission forward.

The post shariikat-alhusain-krishn bihari noor appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/chbhkd-guftaar-hai-tera-audio.mp3

Recitation

گفتار  ہے  ترا  ۔  چندر  بھان  کیفیؔ  دہلوی

۱

کیا  حسن  ہے  یوسف  بھی  خریدار  ہے  ترا

کہتے  ہیں  جسے  مصر،  وہ  بازار  ہے  ترا

۲

تقدیر  اُسی  کی  ہے،  نسیبا  ہے  اُسی  کا

جس  آنکھ  سے  کچھ  وعدۂ  دیدار  ہے  ترا

۳

تا  زیست  نہ  ٹوٹے  وہ  مرا  عہدِ  وفا  ہے

تا  حشر  نہ  پورا  ہو،  وہ  اِقرار  ہے  ترا

۴

برچھی  کی  طرح  دل  میں  کھٹکتی  ہیں  ادائیں

انداز  جو  قاتل،  دمِ  رفتار  ہے  ترا

۵

کیا  تو  نے  کھلائے  چمنِ  بزم  میں  کیفیؔ

کیا  رنگِ  گُل  افشانیٔ  گفتار  ہے  ترا

गुफ़्तार है तेरा – चन्द्र भान कैफ़ी देहलवी

१

क्या हुस्न है यूसुफ़ भी ख़रीदार है तेरा

कहते हैं जिसे मिस्र वो बाज़ार है तेरा

२

तक़्दीर उसी की है नसीबा है उसी का

जिस आंख से कुछ वादा-ए दीदार है तेरा

३

ता ज़ीस्त न टूटे वो मेरा अहद-ए वफ़ा है

ता हश्र न पूरा हो, वो एक़्रार है तेरा

४

बर्छी की तरह दिल में खटक्ती हैं अदाएं

अंदाज़ जो क़ातील, दम-ए रफ़्तार है तेरा

५

क्या तू ने खिलाये हैं चमन-ए बज़्म में कैफ़ी

क्या रंग-ए गुल-अफ़्शानी-ए गुफ़्तार है तेरा

Click here for background and on any passage for word meanings and explanatory discussion. munshi chandr bhaan kaifi dehlavi (????-1941). He taught faarsi and urdu and was editor of a bi-weekly magazine called ‘hamaari zabaan’. Much of his work was lost. One of his shaagird, sheesh chandr taalib dehlavi, collected and published it ten years after his death. He wrote Ghazal of classical themes in classical style and many nationalistic nazm.

munshi chandr bhaan kaifi dehlavi (????-1941).  He taught faarsi and urdu and was editor of a bi-weekly magazine called ‘hamaari zabaan’.  Much of his work was lost.  One of his shaagird, sheesh chandr taalib dehlavi, collected and published it ten years after his death.  He wrote Ghazal of classical themes in classical style and many nationalistic nazm.

1

1.Joseph, reputed to be very handsome, symbol of the apex of beauty 2.buyer, used here to mean admirer 3.egypt, the “world bazaar” of the time

The beloved is so beautiful that even the apex of beauty is her admirer.  She is sought eagerly by all those who come to the largest bazaar of the world.  This does not mean “buying” in the sense of buying the services of a prostitute.  It means people seeking the best of the best of a kind.

1.fortune 2.luck, blessing 3.promise 4.sight

Only he is fortunate, only he is blessed who you have promised that his eyes will be granted a vision/sight of you.

1.until life i.e. as long as I live 2.promise 3.faith, keeping word 4.until doomsday 5.acceptance

My promise of faith to you is such that which will never be broken as long as I live.  Your acceptance (of my love) is such that which will not be fulfilled even until doomsday.

1.dagger 2.coquetry 3.style 4.killer 5.at the time of, during 6.speed, movement

She moves with such graceful movement and coquetry that her style pierces the heart of the poet/lover during her walk.

1.bloom 2.gathering, mushaa’era 3.pen-name of the poet 4.style 5.flower scattering 6.speech

The poet kaifi is reciting his poetry at the gathering (mushaa’era).  His words when he speaks is as if he is scattering flowers.  Reminds me of mirza Ghalib …

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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

خواب  ہے  کیوں  ۔  رام  پرکاش  راہیؔ

۱

توقعات  کی  چہروں  پہ  آب  و  تاب  ہے  کیوں

سوال  بن  کے  یہ  مِنّت  کشِ  جواب  ہے  کیوں

۲

بھنور  کی  آنکھ  میں  آنسو  نہ  اِنفعال  کا  رنگ

یہاں  گرفتِ  تلاطم  میں  سطحِ  آب  ہے  کیوں

۳

کوئی  تو  در  کسی  سِم  سِم  کے  بس  میں  تھا  ورنہ

جو  باریاب  نہیں  تھا  وہ  کامیاب  ہے  کیوں

۴

بھلے  برے  کی  سند  دینے  والوں  سے  پوچھو

نصابِ  زیست  کا  ہر  لفظ  اِک  کتاب  ہے  کیوں

۵

قدم  قدم  کی  پرکھ  وہ  بھی  ذرّے  ذرّے  پر

یہ  احتساب  اگر  ہے  تو  بے  حساب  ہے  کیوں

۶

اُبھر  کے  پھر  اُسی  پانی  میں  ڈوبنے  کے  لیے

پرائے  لمس  کا  مرہون  ہر  حباب  ہے  کیوں

۷

اسی  وثوق  سے  سینچوں  گا  اب  میں  کِشتِ  اُمید

مری  نظر  ہی  پہ  موقوف  ہر  سراب  ہے  کیوں

۸

ضرور  دل  کو  کسی  دل  سے  راہ  سوجھی  ہے

ہر  ایک  رگ  میری  کھینچتی  ہوئی  تناب  ہے  کیوں

۹

بدن  کی  چھوٹ  پہ  لو  دے  رہا  ہے  روپ  جہاں

نظر  کے  لمس  پہ  برہم  تیرا  حجاب  ہے  کیوں

۱۰

وہی  ضمیرِ  تعصب  تہِ  خمیرِ  وفا

سمندروں  پہ  جو  برسے  ہے  وہ  صحاب  ہے  کیوں

۱۱

جو  دوڑ  دھوپ  کو  حاصل  نہیں  حقیقت  ہے

ملے  جو  نیند  میں  اکثر  وہ  راہیؔ  خواب  ہے  کیوں

ख़्वाब है क्यूं – राम प्रकाश राही

१

२

३

४

५

६

७

८

९

१०

११

Click here for background and on any passage for word meanings and explanatory discussion. raam prakash raahi (1924-2003), dehli. There are two collections of his own and several others that he compiled and translated. Only one has a vague introduction, more vague than informative. It is not clear whether he was born in what is now pakistan, but he did post-graduate work in urdu, faarsi and English from lahore and later worked for the government of India.

raam prakash raahi (1924-2003), dehli.  There are two collections of his own and several others that he compiled and translated.  Only one has a vague introduction, more vague than informative.  It is not clear whether he was born in what is now pakistan, but he did post-graduate work in urdu, faarsi and English from lahore and later worked for the government of India.

1.expectations 2.faces 3.radiance, shine 4.question 5.obliged to, dependent upon 6.answer

Why is there such radiance on faces full of expectations?  Why have these faces, becoming an embodiment of question/plea, become so dependent on an answer?  The poet reflects on the tension between expectations and their fulfillment. The glow on faces suggests hope, but the dependency on answers highlights the vulnerability of these hopes.  Who is expecting what from whom?  This is intriguely left undefined.  It could be (a) the throng lovers expecting the beloved to acknowledge their love (b) it could be the deprived masses, expecting their leaders for fulfil promises or (c) it could be believers/devotees expecting god to answer their prayers.

1.whirlpool 2.regret 3.colour, image, style 4.grip 5.storm, choppy waves 6.surface 7.water

Neither tears nor shades of regret in the whirlpool’s eye; why is the water’s surface caught in such turbulence?  The poet paints a picture of turmoil, symbolized by a whirlpool without remorse or sadness. The chaotic surface represents life’s restlessness, reflecting the daily struggle of the masses.  The ‘bhaNvar’ could symbolize the politically powerful or the orthodoxy.

1.door 2.sesame 3.control 4.otherwise 5.admitted/accepted in a court or in company 6.successful

There surely was some door that was controlled by a secret charm, ‘open sesame’ (ali baba and the forty thieves), otherwise, how did the one who did not have access to authority, succeed?  This may reflect the mysteries of fate, which opens doors for someone; or equally about access to power that opens doors surreptitiously.

1.certificate 2.curriculum 3.life 4.word 5.book

Ask those who certify good and bad; why is every word of life’s curriculum like a book?

1.every step 2.evaluation, judgement 3.every paticle/speck/grain 4.accountability 5.immeasurable, unlimited

Every step is judged, every particle scrutinized; if this is called accountability, why is it so expansive/unlimited?  The poet critiques excessive scrutiny and accountability in life. It reflects the frustration of being constantly evaluated without clear standards, making the process seem endless and oppressive.  Following the previous she’r this is a reflection on the judgements that society/orthodoxy pronounces.

1.emerging, rising 2.drown, sink 3.other, foreign 4.touch 5.indebted, mortgaged 6.bubble

Rising only to sink again into the same water; why is every bubble indebted to the other’s touch?  It is possible that bubbles here symbolize fleeting aspirations shaped by external forces of turbulene of life.  They are doomed to dissolve back into the chaos they emerged from.  Here ‘paraaya lams’ is the touch of another’s hand which creates false expectations which why the bubble/hopes burst.

1.certainty, confidence 2.irrigate, water, nature 3.agricultural field 4.hope 5.sight, gaze 6.dependent 7.mirage

With the same confidence, I will now nurture the field of hope; why does every mirage depend solely on my vision?  Mirage represents unfulfilled dreams and false promises.  The poet represents every human who has been shown a mirage – a set of false promises, by the powerful and/or by the orthodoxy.  It is the false promise that gives him (the misplaced) confidence to nurture his field of hope.

1.surely 2.path, connection 3.found, seen 4.vein, fibre of the body 5.pulled tight 6.tight rope/string

Surely, my heart has found a path/connection to another; why then would every fibre in my body pull at me like a taut rope?  This could be about a romantic/love relationship but it might also be about hopes planted in his heart by ‘someone’ – the powerful or the orthodox.

1.body 2.chhooT also means radiance, reflection 3.flame 4.shape, beauty 5.where, when 6.gaze 7.touch 8.annoyed, disturbed 9.veiling, shyness, bashfulness, reticence

The beloved is bashful and prefers reticence, but her beauty sets fire to her reflection and the poet/lover cannot help himself but direct his gaze towards her brilliance.  Why then, should her reticence be annoyed by the ‘touch’ of his gaze.

1.inner self 2.bigotry, prejudice 3.under, beneath 4.essence 5.fidelity, keeping promises 6.seas, ocean 7.rain on 8.cloud

This is the cloud of benevolence, and it is raining on a place that already has a lot of water.  It does not rain where it is needed – on dry fields.  This shows that beneath the veneer of the essence of fidelity (being true to promises) is the inner self of prejudice.

1.an expression meaning-intense activity, hard work 2.gain, obtain 3.truth, reality 4.often 5.dream

What we gain with tireless effort is never reality; what we often find in sleep, O raahi, why is that a dream?  In real life we are faced with unattainable realities based on false hopes and expectations.  Why is it that we only dream about them.

The post Khwaab hai kyuN-raam prakash raahi appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/rsfg-intezaar-e-sahr-bhi-hai-12-22-audio.mp3

Recitation

اِنتظارِ  سحر  بھی  ہے  ۔  رگھوپتی  سہائے  فراقؔ  گورکھپوری

۱۲

وہی  درد  بھی  ہے  دوا  بھی  ہے  وہی  موت  بھی  ہے  حیات  بھی

وہی  عشق  ناوکِ  ناز  ہے  وہی  عشق  سینہ  سپر  بھی  ہے

۱۳

تو  زماں  مکاں  سے  گزر  بھی  جا  تو  رہِ  عدم  کو  بھی  کاٹ  لے

وہ  ثواب  ہو  کہ  عذاب  ہو  کہیں  زندگی  سے  مفر  بھی  ہے

۱۴

جو  گلے  تک  آ  کے  اٹک  گیا  جسے  تلخ  کام  نہ  پی  سکے

وہ  لہو  کا  گھونٹ  اُتر  گیا  تو  سنا  ہے  شیر  و  شکر  بھی  ہے

۱۵

کوئی  اہلِ  دل  کو  کمی  نہیں  مگر  اہلِ  دل  کا  یہ  قول  ہے

ابھی  موت  بھی  نہیں  مل  سکی  ابھی  زندگی  میں  کسر  بھی  ہے

۱۶

بڑی  چیز  دولت  و  جاہ  ہے  بڑی  وسعتیں  ہیں  نصیب  اُسے

مگر  اہلِ  دولت  و  جاہ  میں  کہیں  آدمی  کا  گزر  بھی  ہے

۱۷

یہ  شبِ  دراز  بھی  کٹ  گئی  وہ  ستارے  ڈوبے  وہ  پو  پھٹی

سر  راہ  غفلتِ  خواب  سے  اب  اٹھو  کہ  وقتِ  سحر  بھی  ہے

۱۸

جو  اُلٹ  چکے  ہیں  بساطِ  دہر  کو  اگلے  وقتوں  میں  بارہا

وہی  آج  گردشِ  بخت  ہے  وہی  رنگِ  دورِ  قمر  بھی  ہے

۱۹

نہ  غمِ  عذاب  و  ثواب  سے  کبھی  چھیڑ  فطرتِ  عشق  کو

جو  ازل  سے  مستِ  نگاہ  ہے  اُسے  نیک  و  بد  کی  خبر  بھی  ہے

۲۰

وہ  تمام  شکر  و  رضا  سہی  وہ  تمام  صبر  و  سکوں  سہی

تو  ہے  جس  سے  مائل  امتحاں  وہ  فرشتہ  ہے  تو  بشر  بھی  ہے

۲۱

نہ  کہو  تغافلِ‌  حسن  سے  کوئی  کار  سازیٔ  غم  کرے

کہ  جو  آج  غم  سے  نکل  گئی  وہ  دعا  خرابِ  اثر  بھی  ہے

۲۲

ترے  غم  کی  عمرِ  دراز  میں  کئی  انقلاب  ہوئے  مگر

وہی  طولِ  شامِ  فراقؔ  ہے  وہی  اِنتظارِ  سحر  بھی  ہے

इंतेज़ार-ए-सहर भी है – रघुपती सहाय फ़िराक़ गोरखपूरी

१२

वही दर्द भी है दवा भी है वही मौत भी है हयात भी

वही इश्क़ नावक-ए नाज़ है वही इश्क़ सीना-सिपर भी है

१३

तू ज़माँ मकाँ से गुज़र भी जा तू रह-ए अदम को भी काट ले

वो सवाब हो के अज़ाब हो कहीं ज़िंदगी से मफ़र भी है

१४

जो गले तक आ के अटक गया जिसे तल्ख़-काम न पी सके

वो लहू का घूँट उतर गया तो सुना है शीर-ओ-शकर भी है

१५

कोई अहल-ए दिल को कमी नहीं मगर अहल-ए दिल का ये क़ौल है

अभी मौत भी नहीं मिल सकी अभी ज़िंदगी में कसर भी है

१६

बढी चीज़ दौलत-ओ-जाह है बढी वुस’अतें हैं नसीब उसे

मगर अहल-ए दौलत-ओ-जाह में कहीं आदमी का गुज़र भी है

१७

ये शब-ए दराज़ भी कट गई वो सितारे डूबे वो पौ फटी

सर-ए राह ग़फ़्लत-ए ख़्वाब से अब उठो के वक़्त-ए सहर भी है

१८

जो उलट चुके हैं बिसात-ए दहर को अगले वक़्तों में बारहा

वही आज गर्दिश-ए बख़्त है वही रंग-ए दौर-ए क़मर भी है

१९

न ग़म-ए अज़ाब-ओ-सवाब से कभी छेढ फ़ितरत-ए इश्क़ को

जो अज़ल से मस्त-ए निगाह है उसे नेक-ओ-बद की ख़बर भी है

२०

वो तमाम शुक्र-ओ-रज़ा सही वो तमाम सब्र-ओ-सुकूँ सही

तू है जिस से मा’एल-ए इम्तेहाँ वो फ़रिश्ता है तो बशर भी है

२१

न कहो तग़ाफ़ुल-ए हुस्न से कोई कार-साज़ी-ए ग़म करे

के जो आज ग़म से निकल गई वो दुआ ख़राब-ए असर भी है

२२

तेरे ग़म की उम्र-ए दराज़ में कई इंक़लाब हुए मगर

वही तूल-ए शाम-ए फ़िराक़ है वही इंतेज़ार-ए सहर भी है

Click here for background and on any passage for word meanings and explanatory discussion. raghupati sahay firaq gorakhpuri (1896-1982) pre-eminent urdu shaa’er, scholar of farsi and sanskrit. Was nominated to Indian Civil Service but chose to participate in the freedom movement. After independence he chose an academic career, teaching English at Allahabad University. firaq composed four Ghazal (already posted on urdushahkar) in the style of mir taqi mir and five in the style of Ghalib. He freely swings between mystic, romantic and social themes.

raghupati sahay firaq gorakhpuri (1896-1982) pre-eminent urdu shaa’er, scholar of farsi and sanskrit.  Was nominated to Indian Civil Service but chose to participate in the freedom movement.  After independence he chose an academic career, teaching English at Allahabad University.  firaq composed four Ghazal (already posted on urdushahkar) in the style of mir taqi mir and five in the style of Ghalib.  He freely swings between mystic, romantic and social themes.

1.death 2.life 3.arrow 4.elegance, coquetry 5.shielding the chest/heart

That same ishq mystical love is both the pain and the cure/salve/balm; it is both death and life (rejuvenation).  That same ishq is the arrow of coquetry (that can kill); it is also the shield that protects the heart.  For the mystic, the pain of love itself is the cure and fanaa annihilation results in merger with the divine spirit, hence rejuvenation.

1.time 2.space 3.pass through/beyond 4.path 5.non-existence 6.traverse, go through 7.reward 8.punishment, curse 9.escape, refuge

Here tu could be the poet addressing himself or all of humanity.  He is presenting a sufiyaana point of view.  You may pass through space and time, you may traverse the region of non-being; you may be rewarded or punished; but is there any escape from life!  Whether it is happy (reward) or sad (punishment), whether it is the duality of being and non-being, life is inescapable.

1.throat 2.stuck 3.bitter mouth/throat, frustrated/disappointed person 4.blood 5.gulp 6.milk and sugar

What is the jo that came to the throat and got stuck there which talKh-kaam frustrated person could not swallow.  It could be heartbreaks, traumas, memories, bitter truths; we are left with the choice.  Whatever it is, that one gulp of blood, once it descends past the throat, it is heard that it turns into milk and sugar i.e., sweet and palatable.  Keeping bitterness stuck in the throat does not help.  Accepting it, letting descend can begin the process of healing, turning bitterness to sweetness.

1.people of heart, lovers 2.shortage 3.but 4.word, statement, belief 5.death 6.deficiency

To say ‘koi ahl-e dil ko kami nahiN’ goes agains the grain of all poetic convention, because lovers are portrayed as distraught and destitute like majnuN.  I think that this statement should be interpreted to mean that sincere lovers are satisfied and fulfilled in their genuine love.  They are not wanting for anything.  But they still keep saying/complaining that death is not at hand, they are still alive, and there is a deficiency in their lives.  Is this swipe against poetic convention or is it a sufiyaana thought that nothing can satisfy except fanaa.

1.wealth 2.pomp. glory, status 3.expanse 4.available, fated 5.people of 6.passage, place

Wealth and status are a major asset.  Vast opportunities become available because of it.  But in the lives of the people of wealth and status, is there any room for humans?

1.night 2.long 3.passed 4.sunk, set 5.early light broke out 6.head, beginning 7.path 8.heedlessness, oblivion 9.sleep, dream 10.dawn

This long night has passed, early light is breaking out; it is the beginning of the journey get up from the oblivion of sleep, after all it is dawn.  This straightforward word meaning can be applied to any number of issues including a call for the people of India to rise up against colonialism (if this was written before 1947); or calling upon the dispossessed to rise up against their oppressors; or for the ignorant to rise and become aware of the dawn of knowledge around them.  It is up to the reader to take it in any or many directions.

1.turned over, flipped 2.game board 3.world 4.past 5.many times 6.rotation 7.fate 8.colour, style, way 9.rotation of the moon

bisaat-e dahr ulaTnaa means the game/order of the world has been turned over; there have been major upsets/revolutions.  And these have happened many times in the past.  Today, the poet sees the same turning of fate, the same style of rotation of the moon i.e., he sees the same forces about to bring change/revolution.   Once again, this can be applied to any number of possible changes.  We are left to choose.

1.sorrow (threat of grief) 2.punishment 3.reward 4.tease, disturb 5.nature, character 6.beginning, eternity 7.intoxicated 8.gaze, vision 9.good and evil 10.awareness

The sufi mystic is intoxicated/fascinated with the (mental picture) vision of the divine.  They are oblivious to good and evil.  Do not disturb them with threat of sorrow of reward and punishment.  They do what they do for the pleasure of the act itself … not caring for any reward or punishment.

1.total, head to toe, embodiment 2.gratitude and submission to divine will 3.it may be so 4.patience and composure 5.inclined towards 6.test 7.angel 8.human

In the second misra the word tu is addressed to the divine or to fate.  The person in question the object of testing by the divine or by fate may be an embodiment of gratitude and acceptance, patience and composure; they may be like an angel, but they are also human i.e., do not expect angelic perfection, allow room for transgression.

1.do not ask 2.indifference, neglect 3.beauty, beloved 4.remedy, resolution 5.grief 6.prayer 7.destroyer of 8.effect

This could be about the worldly beloved or about the divine beloved.  In poetic convention the beloved is supposed to be indifferent to the pain of the lover.  The divine is also supposed to be mustaGhnii not in need of anything-complete and contended in itself.  Thus, do not ask, do not expect the beloved to provide a remedy for your grief, because that prayer which escapes the lips today can also be destructive of its own effect/fulfillment.

1.life-span 2.long 3.reversals, revolutions 4.length 5.evening of 6.pen-name, separation 7.waiting 8.dawn

In the long life-span of your grief, there have been many changes/reversals/revolutions but it is still the same long evening of separation, the same anticipation of dawn.  Here firaaq and sahar can be given a romantic interpretation or taken in a social-political meaning.

The post intezaar-e sahar bhi hai-12-22-raghupati sahay firaaq gorakhpuri appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/rsfg-intezaar-e-sahr-bhi-hai-01-11-audio.mp3

Recitation

اِنتظارِ  سحر  بھی  ہے  ۔  رگھوپتی  سہائے  فراقؔ  گورکھپوری

۱

جسے  لوگ  کہتے  ہیں  تیرگی  وہی  شب  حجابِ  سحر  بھی  ہے

جنہیں  بے  خودئ  فنا  ملی  اُنہیں  زندگی  کی  خبر  بھی  ہے

۲

ترے  اہلِ  دید  کو  دیکھ  کے  کبھی  کُھل  سکا  ہے  یہ  راز  بھی

اُنہیں  جس  نے  اہلِ  نظر  کیا  وہ  ترا  خرابِ  نظر  بھی  ہے

۳

یہ  وصال  و  ہجر  کی  بحث  کیا  کہ  عجیب  چیز  ہے  عشق  بھی

تجھے  پا  کے  ہے  وہی  دردِ  دل  وہی  رنگِ  زخمِ  جگر  بھی  ہے

۴

یہ  نصیبِ  عشق  کی  گردشیں  کہ  زماں  مکاں  سے  گزر  کے  بھی

وہی  آسماں  وہی  شامِ  غم  وہی  شامِ  غم  کی  سحر  بھی  ہے

۵

ترے  کیفِ  حسن  کی  جان  ہے  مری  بے  دلی  و  فسردگی

جسے  کہتے  ہیں  غمِ  رائگاں  وہ  لئے  ہوئے  کچھ  اثر  بھی  ہے

۶

نہ  رہا  حیات  کی  منزلوں  میں  وہ  فرقِ  ناز  و  نیاز  بھی

کہ  جہاں  ہے  عشق  برہنہ  پا  وہیں  حسن  خاک  بسر  بھی  ہے

۷

وہ  غمِ  فراق  بھی  کٹ  گیا  وہ  ملالِ  عشق  بھی  مٹ  گیا

مگر  آج  بھی  ترے  ہاتھ  میں  وہی  آستیں  ہے  کہ  تر  بھی  ہے

۸

دمِ  حشرِ  ازل  کی  بھی  یاد  کر  یہ  زبان  کیا  یہ  نگاہ  کیا

جو  کسی  سے  آج  نہ  ہو  سکا  وہ  سوال  بارِ  دگر  بھی  ہے

۹

جو  وصال  و  ہجر  سے  دور  ہے  جو  کرم  ستم  سے  ہے  بے  خبر

کچھ  اُٹھا  ہوا  ہے  وہ  درد  بھی  کچھ  اٹھی  ہوئی  وہ  نظر  بھی  ہے

۱۰

یہ  پتہ  ہے  اُس  کی  عنایتوں  نے  خراب  کتنوں  کو  کر  دیا

یہ  خبر  ہے  نرگسِ  نیم  وا  کہ  گرہ  میں  فتنۂ  شر  بھی  ہے

۱۱

اِسی  شامِ  مرگ  کی  تیرگی  میں  ہیں  جلوہ  ہائے  حیات  بھی

اِنہیں  ظلمتوں  کے  حجاب  میں  یہ  چمک  یہ  رقصِ  شرر  بھی  ہے

इंतेज़ार-ए-सहर भी है – रघुपती सहाय फ़िराक़ गोरखपूरी

१

जिसे लोग कहते हैं तीरगी वही शब हिजाब-ए सहर भी है

जिन्हें बे-ख़ुदी-ए फ़ना मिली उन्हें ज़िंदगी की ख़बर भी है

२

तेरे अहल-ए दीद को देख के कभी खुल सका है ये राज़ भी

उन्हें जिस ने अहल-ए नज़र किया वो तेरा ख़राब-ए नज़र भी है

३

ये विसाल-ओ-हिज्र की बहस क्या के अजीब चीज़ है इश्क़ भी

तुझे पा के है वही दर्द-ए दिल वही रंग-ए ज़ख़्म-ए जिगर भी है

४

ये नसीब-ए इश्क़ की गर्दिशें के ज़माँ मकाँ से गुज़र के भी

वही आसमाँ वही शाम-ए ग़म वही शाम-ए ग़म की सहर भी है

५

तेरे कैफ़-ए हुस्न की जान है मेरी बे-दिली-ओ-फ़सुर्दगी

जिसे कहते हैं ग़म-ए राएगाँ वो लिए हुए कुछ असर भी है

६

न रहा हयात की मंज़िलों में वो फ़र्क़-ए नाज़-ओ-नियाज़ भी

के जहाँ है इश्क़ बरहना-पा वहीं हुस्न ख़ाक-बसर भी है

७

वो ग़म-ए फ़िराक़ भी कट गया वो मलाल-ए इश्क़ भी मिट गया

मगर आज भी तेरे हाथ में वही आस्तीं है के तर भी है

८

दम-ए हश्र अज़ल की भी याद कर ये ज़बान क्या ये निगाह क्या

जो किसी से आज न हो सका वो सवाल बार-ए दिगर भी है

९

जो विसाल-ओ-हिज्र से दूर है जो करम सितम से है बे-ख़बर

कुछ उठा हुआ है वो दर्द भी कुछ उठी हुई वो नज़र भी है

१०

ये पता है उस की इनायतों ने ख़राब कितनों को कर दिया

ये ख़बर है नर्गिस-ए नीम-वा के गिरह में फ़ित्ना-ए शर भी है

११

उसी शाम-ए मर्ग की तीरगी में हैं जल्वा-हा-ए हयात भी

उन्हीं ज़ुल्मतों के हिजाब में ये चमक ये रक़्स-ए शरर भी है

Click here for background and on any passage for word meanings and explanatory discussion. raghupati sahay firaq gorakhpuri (1896-1982) pre-eminent urdu shaa’er, scholar of farsi and sanskrit. Was nominated to Indian Civil Service but chose to participate in the freedom movement. After independence he chose an academic career, teaching English at Allahabad University. firaq composed four Ghazal (already posted on urdushahkar) in the style of mir taqi mir and five in the style of Ghalib. He freely swings between mystic, romantic and social themes.

raghupati sahay firaq gorakhpuri (1896-1982) pre-eminent urdu shaa’er, scholar of farsi and sanskrit.  Was nominated to Indian Civil Service but chose to participate in the freedom movement.  After independence he chose an academic career, teaching English at Allahabad University.  firaq composed four Ghazal (already posted on urdushahkar) in the style of mir taqi mir and five in the style of Ghalib.  He freely swings between mystic, romantic and social themes.

1.darkness 2.night 3.veil, covering 4.dawn 5.intoxication, trance, being unmindful 6.destruction, annihilation, non-being, merger with the divine being 7.awareness

Two ways of looking at this … progressive and sufiyaana/mystical.

1.people of sight, admirers, seekers 2.become clear, revealed 3.secret, mystery 4.people of discerning sight, able to see deep 5.that which causes sight to be flawed/blinded

tere in the first misra and tera in the second are addressed to the beloved and the beloved can be the divine.  The poet/protagonist/mystic, observing the people who want to see you/see your superficial attributes, questions whether this mystery has ever become clear/been solved.  What mystery?  The mystery that the power which made them ahl-e-nazar which gave them the ability to discern is also that which makes them Kharaab-e-nazar i.e., of flawed or blinded sight.  What is it that makes people unable to see – it is the dazzling beauty of the divine/beloved.  But it is this very blindness that makes them sensitive to inner beauty and makes them ahl-e-nazar people of discerning sight.

1.union 2.separation 3.arguement, discussion 4.mysterious, wondrous 5.attain, achieve 6.colour, condition 7.wound 8.liver/forbearance

The poet/mystic dismisses the argument about visaal and hijr as inconsequential in the matter of ishq love because love itself is a wondrous/mysterious thing.  Even after achieving visaal nearness to the beloved the same pain as that during hijr remains in the heart and the wound of forbearance remains in the same condition i.e., visaal is not the fulfillment of love; that love is more than the binary of visaal and hijr; that the pain of separation remains even after achievement because the desire to keep searching remains strong.

1.fate 2.circulation, cycle, turning around, curse 3.time 4.space 5.pass beyond, transcend 6.dawn

It is the curse-gardish of the fate of ishq that even after transcending the bounds of space and time i.e., even after moving into the spiritual domain it has the same limiting aasmaan-cover of the evening of sorrow and even the dawn is the harbinger of the shaam-e Gham.  Thus, there is no escape from Gham in the domain of ishq.  Said Ghalib …

1.intoxication of beauty 2.life, soul 3.hopelessness 4.melancholy 5.futile, useless 6.effect, result

I transform the first misra into prose structure … meri be-dili o farsurdagi tere kaif-e husn ki jaan hai.  My hopelessness and melancholy is the life/soul of the intoxication of your beauty.  That which is called futile sorrow carries with it some effect … It is the futility of the poet/mystic’s sorrow and hopelessness that feeds the dazzling beauty of the beloved. The fact that the sufi/mystic/seeker loves/seeks the divine (even though it is an endeavour of hopelessness) makes the divine so desirable.

1.life 2.stages in the journey 3.difference 4.pride, aloofness, indifference 5.devotional offering 6.where, wherever 7.bare-foot 8.beauty 9.dust on the head

Both barhana-paa and Khaak-ba-sar barefeet and dust on the head are metaphorical signs of great distress.  Similarly, naaz is associated with the aloofness/indifference of the beloved or of the divine because the divine is supposed to be complete in itself, and not need anything-mustaGhni.  Thus, in the journey of life the difference between naaz and niyaaz; between the divine and devotee, has been erased.  Wherever you see ishq to be barahnaa-paa there you also see husn as Khaak-ba-sar.

1.separation 2.passed 3.grief, sorrow 4.erased, faded 5.sleeve 6.wet

This is addressed by the poet/lover to himself … the grief of separation has passed; the sorrow of love has faded but to this day your sleeve is wet (with tears).  The anamoly of long past love but presisting grief continues.

1.moment, time 2.day of judgement 3.beginning 4.language 5.glance, gaze 6.question 7.once again

Who is this she’r addressed to.  Who is he calling upon to yaad kar to recall.  I choose to think that he is addressing the divine, because it makes the interpretation a lot more interesting.  He says … at the time of the day of judgment, remember the beginning – why this stern language; why this annoyed gaze – the implication is that at the moment of beginning after all it was you who created these beings who are being subjected to your stern words and angry gaze.  The question that no one could ask to this day will come back again to haunt you, O divine.  The question being – ‘who is responsible for their transgressions; how much responsibility do you bear’.

1.union and separation 2.kindness, favours 3.cruelty, oppression, neglect 4.unaware, indifferent, insensitive 5.glance, gaze

That which is distant from the concerns of union or separation; that which is untouched by kindness/joy or cruelty/pain; even that pain seems to be elevated to a transcendence; even that gaze seems to rise, lifted beyond ordinary seeing.  What kind of pain and what kind of gaze are these and who is experiencing it.  The pain here is not personal sorrow, not born of loss or longing but a higher existential, or spiritual pain that comes from recognizing the futility or illusion of dualities like union/separation, kindness/cruelty, joy/sorrow.  This elevated pain is a quiet, noble suffering, one that doesn’t scream, but whispers truths only silence understands. It might be the ache of a poet, seer, mystic, or philosopher who has gone beyond emotional oscillation; who is no longer caught in the drama of love and betrayal, pleasure and pain.  The gaze is not directed outward in longing or judgment; it’s an inward, contemplative gaze.

1.clue, knowledge 2.favours 3.ruin, destruction 4.awareness 5.narcissus, symbolism for the beloved’s eye 6.half-open, dreamy 7.knot, grip, possession 8.mischief of evil/trouble

I think both misra should be interpreted as rhetorical questions.  Do you even know how many have been ruined by uss ki inaa’et their favours.  We still have to decide who the uss is.  It could be the beloved, but are there other possibilities?  Are you even aware that those dreamy eyes carry with them fitna-e-shar – the mischief of trouble.  It the uss is the beloved, it almost sounds like a well experienced lover warning new entrants in the field of love of the dire consequences of their folly; much like Ghalib …

1.evening, night 2.death 3.darkness 4.manifestations 5.life 6.darkness 7.veiled, hidden behind 8.sparkle 9.dance 10.sparks

This she’r yields itself to a mystical and a progressive interpretation …

The post intezaar-e sahar bhi hai-01-11-raghupati sahay firaaq gorakhpuri 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/2025/07/shpvjf-miTaaya-na-jaaega-audio.mp3

Recitation

مِٹایا  نہ  جائے  گا  ۔  شِو  پرشاد  وششٹ  جاویدؔ  فتح  پوری

۱

دل  کو  جنونِ  دل  سے  بچایا  نہ  جائے  گا

احساں  اب  آگہی  کا  اُٹھایا  نہ  جائے  گا

۲

اے  درد  تو  ہی  بڑھ  کے  چھلک  چشمِ  شوق  سے

ہم  سے  تو  دل  کا  حال  سنایا  نہ  جائے  گا

۳

دیکھو  بہت  بڑھاؤ  نہ  اُلفت  کی  رسم  و  راہ

یہ  بارِ  غم  ہے  تم  سے  اُٹھایا  نہ  جائے  گا

۴

احساسِ  لمس  ہی  سے  پگھل  جائے  ہے  دھنک

اُس  گل  بدن  کو  ہاتھ  لگایا  نہ  جائے  گا

۵

مبنی  ہے  آرزو  پہ  تسلسل  حیات  کا

دامانِ  دل  کو  اُن  سے  چھڑایا  نہ  جائے  گا

۶

اِس  پتھروں  کے  شہر  میں  باوصفِ  احتیاط

دل  کو  شکستگی  سے  بچایا  نہ  جائے  گا

۷

جاویدؔ  میرے  فن  کو  نہ  چھو  پائے  گی  فنا

یہ  نقشِ  جاوِداں  ہے  مِٹایا  نہ  جائے  گا

मिटाया नहीं जाएगा – शिव प्रशाद वशिष्ठ जावेद फ़तहपूरी

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Click here for background and on any passage for word meanings and explanatory discussion. 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.

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.mad passion, frenzy 2.save, protect 3.obligation 4.wisdom, reason, rationality

This could be the mad passion/frenzy of romantic or divine love.  In either case the heart cannot be protected from its own madness junuun-e dil.  In order to bring it out of its frenzy, rational thinking is required, but the poet/sufi is unwilling to be obliged by/bear the debt of rationality, hence reinforcing the utter helplessness of the heart.

1.step forward 2.overflow, spill over 3.eye of 4.desire 5.condition

The poet/lover addresses his own pain of love, imploring it to step forward and tell its own story because the poet is incapable to relating his condition with his tongue.  And how is the ‘pain’ to relate his story … by oveflowing from the chashm-e shauq eyes of desire/longing in the form of tears.

1.increase 2.love 3.rituals and practice 4.burden 5.pain, sorrow

This is addressed to the poet/lover himself, warning against inreasing/reading too much into the rasm-o-raah rituals and practice of love i.e., do not surrender so completely to the calls of love because this is burden of sorrow and you will not be able to bear it.

1.feeling, sensing 2.touch 3.melt away 4.rainbow 5.rose-bodied

Divine beauty/splendour is ephemeral.  It cannot be touched.  It can only be felt in fleeting moment of spirituality.  The rainbow-dhanak is a metaphor for ephemeral beauty, that will melt away upon touching. The untouchable rose-bodied beloved becomes an ideal forever beyond physical reach, elevating desire to a spiritual level.

1.dependent 2.unfulfilled desire, longing 3.continuity 4.life 5.daaman chhuRaana, pulling away the hem of the garment is an expression meaning pull away from, escape from

Life’s continuity tasalsul-e hayaat depends on unfulfilled desire – aarzuu. The heart’s hem daamaan-e dil cannot be withdrawn from the (divine) beloved, suggesting our very existence is woven with threads of perpetual longing that both sustain and bind us.  In the sufi tradition, the only end of desire is fulfilment through fanaa.

1.metaphor for ‘hard life’, material world 2.in spite of 3.caution 4.breaking 5.protect

The material world becomes an existential trap where even caution ehtiyaat cannot prevent heartbreak/disappointment. The only escape is through not getting attached to the material, reaching for the spiritual.

1.pen-name (also means immortal) 2.art, poetry 3.annihilation, obliteration 4.mark, image 5.immortality 6.erased

The poet declares that his words are immortal. His artistic creation fun transcends mortality – fanaa, with naqsh-e jaavedaaN – imprint of immortality asserting poetry’s immortality.

The post miTaaya na jaa’ega-shiv prashaad vashishT jaaved fatehpuri 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/2025/07/shpvjf-har-raah-guzar-jaae-audio.mp3

Recitation

ہر  راہگزر  جائے  ۔  شِو  پرشاد  وششٹ  جاویدؔ  فتح  پوری

۱

عالم  ہو  یہ  مستی  کا،  جب  سجدے  میں  سر  جائے

مستوں  کی  بلا  جانے،  شام  آئے  سحر  جائے

۲

یہ  دیر  و  حرم  والے،  کیوں  راہ  میں  لڑتے  ہیں

جب  ایک  ہی  منزل  تک  ہر  راہگزر  جائے

۳

یہ  دل  کا  سفینہ  بھی،  پروردۂ  طوفاں  ہے

ٹکرا  کے  تلاطم  سے،  ڈوبے  تو  اُبھر  جائے

۴

وہ  کون  سی  منزل  ہے،  وہ  کون  سا  جادہ  ہے

انساں  ہو  جہاں  انساں  جس  سمت  بشر  جائے

۵

بےتابیِ  دل  سے  تھی  آوارگیِ  پیہم

اب  کون  اِدھر  آئے  اب  کون  اُدھر  جائے

۶

تقدیر  چمک  اُٹّھے،  اُن  خاک  نشینوں  کی

تو  جن  کو  محبت  سے  ٹُھکرا  کے  گزر  جائے

۷

رُت  گیت  کنول  بھنورا،  رس  روپ  کلی  خوشبو

ہمراہ  چلیں  اُس  کے،  وہ  شوخ  جِدھر  جائے

۸

بیٹھے  جو  ترے  در  پر،  منہ  موڑ  کے  دنیا  سے

وہ  اُٹھ  کے  ترے  در  سے،  جائے  تو  کِدھر  جائے

۹

آنسو  بھی  ہیں  شبنم  بھی،  کلیاں  بھی  ہیں  تارے  بھی

سب  کچھ  ہے  نظاروں  تک  گر  تیری  نظر  جائے

۱۰

جاویدؔ  نے  کہہ  دی  ہے،  اشعار  کے  پردے  میں

وہ  بات  جو  نشتر  سی  ہر  دل  میں  اُتر  جائے

हर राहगुज़र जाए – शिव प्रशाद वशिष्ठ जावेद फ़तह पुरी

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Click here for background and on any passage for word meanings and explanatory discussion. 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.

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.condition, state 2.intoxication, trance 3.prostration, bowing in prayer 4.drunk in love, mad lovers 5.an expression meaning ‘who cares’ 6.dawn, morning

The ecstatic state/trance should be such that when the head bows in prayer, the mad lovers are completely unaware of the passage of time.  They don’t care whether it is evening or dawn, they transcend time.

1.temple 2.mosque 3.path 4.quarrel 5.destination

Why do these people of temple and mosque quarrel along the path, when all paths lead to the same destination.

1.boat 2.nurtured 3.storm 4.clash, confront 5.storm 6.emerge

This heart is like a boat nurtured by storms; confronting tempests if it is sunk, it emerges again.  The symbolism is of a storm of love.  Whoever immerses themselves completely in love, emerges triumphant.  Said amiir Khusro …

1.destination 2.path 3.where 4.direction 5.human

Which destination is it, where is the pathway in which humanity is universal; whatever direction one turns, there are human beings only i.e., they are not divided into religions or sects.  The destination and the path that the poet is looking for is the path of love.

1.restlessness 2.wandering, lost 3.repeated, constant

Restlessness-betaabi is probably restlessness because of the temptations and illusions of the material world.  One can easily get lost in the constant wandering-flitting from one attraction to the other.  The poet/sufi yearns for contentment-why should one keep turning from here to there, he asks.

1.fate, destiny 2.dust-dwellers, downtrodden, rejected 3.kick, reject

mohabbat se Thukraana- reject lovingly is a contradiction but can nevertheless be conceived as an act of love rather one of anger.  Destiny shines on the humble khaak-nashiiN whom you reject lovingly.  I am not sure I understand this.  Is this addressed to the earthly beloved or the divine beloved.  Is it a statement of humility that being lovingly rejected is enough.  There is no expectation of success in love.

1.season (spring) 2.juice, nectar 3.beauty 4.follow, accompany 5.playful, beloved

A sensual ode to the beloved – seasons, songs, lotuses, bees, nectar, beauty, buds and fragrance all follow wherever that playful one goes.

1.door 2.turning away from 3.where

Those who sit at your door turning away from/renouncing the (material) world have no other place to go – where could they go from your threshold?

1.dew 2.withing sight 3.eyes, gaze, glance

Here teri nazar could be the gaze of the poet himself.  Thus, tears, dew, buds and stars are all before you to see if only you raise your eyes and gaze at them.  This could be an implication that god created beauty is all around you.  All you have to do is, look.

1.pen-name 2.knife

jaaved says words (meanings) hidden behind the veil of ash’aar that descend into every heart like a knife … either painful, heart touching or heart warming truths.

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

https://urdushahkar.org/wp-content/uploads/2025/06/jjdhpm-kyuN-teri-shamshiir-ka-audio.mp3

Recitation

کیوں  تری  شمشیر  کا  ۔  دھرم  پال  مرواہا  جگرؔ  جالندھری

۱

زخم  کھایا  دل  نے  اُلٹا  آہِ  بے  تاثیر  کا

خود  نشانہ  بن  گیا  صیّاد  اپنے  تیر  کا

۲

اِس  طرح  حیران  ہوں  اُس  بُت  کی  صورت  دیکھ  کر

سامنا  ہو  جس  طرح  تصویر  سے  تصویر  کا

۳

وہ  محبّت  کر  چُکا،  اُس  سے  محبّت  ہو  چکی

جس  کو  بدنامی  کا  ڈر  ہے،  خوف  ہے  تشہیر  کا

۴

وہ  اکیلا  ہی  نہیں  سَو  حسرتیں  بھی  ساتھ  ہیں

کیوں  نہ  بھاری  ہو  جنازہ  عاشقِ  دلگیر  کا

۵

دیکھ لینے کی اِجازت مل تو جاتی ہے مجھے

آپ سے بہتر ہے یہ رُخ آپ کی تصویر کا

۶

مجھ  کو  دیوانہ  بنانے  والا  موسم  آ  گیا

دوست  بندوبست  کرنے  لگ  پڑے  زنجیر  کا

۷

دل  سے  کہتا  ہے  نظر  کے  تیر  کو  خوش  آمدید

کیا  کلیجہ  ہے  تمہارے  عاشقِ  دلگیر  کا

۸

تیری  صورت  دیکھ  تو  لینے  دے  پہلے  قتل  سے

دم  نکلتا  جا  رہا  ہے  کیوں  تری  شمشیر  کا

۹

آستانِ  یار  کی  مِٹّی  جو  ہو  جائے  نصیب

عمر  بھر  ہم  منہ  نہ  دیکھیں  اے  جگر  اِکسیر  کا

क्यूं तेरी शमशीर का – धरम पाल मरवाहा जिगर जालंधरी

१

ज़ख़्म खाया दिल ने उल्टा आह-ए बे-तासीर का

ख़ुद निशाना बन गया सय्याद अपने तीर का

२

इस तरह हैरान हूं उस बुत कि सूरत देख कर

सामना हो जिस तरह तस्वीर से तस्वीर का

३

वो मोहब्बत कर चुका, उस से मोहब्बत हो चुकी

जिस को बदनामी का डर है, ख़ौफ़ है तशहीर का

४

वो अकेला हि नहीं सौ हसरतें भी साथ हैं

क्यूं न भारी हो जनाज़ा आशेक़-ए दिलगीर का

५

देखख लेने की इजाज़त मिल तो जाती है मुझे

आप से बेहतर है ये रुख़ आप कि तस्वीर का

६

मुझ को दीवाना बनाने वाला मोसम आ गया

दोस्त बन्दोबस्त करने लग पढे ज़ंजीर का

७

दिल से कहता है नज़र के तीर को ख़ुश-आमदीद

क्या कलेजा है तुम्हारे आशेक़-ए दिलगीर का

८

तेरी सूरत देख तो लेने दे पहले क़त्ल से

दम निकलता जा रहा है क्यूं तेरी शमशीर

९

आस्तान-ए यार की मिट्टी जो हो जाए नसीब

उम्र भर हम मुंह न देखें अए जिगर एक्सीर का

Click here for background and on any passage for word meanings and explanatory discussion. dharam pal marvaaha jigar jalandhari (1953-xxxx). BA, LLB punjab university. At least ten awards between 1968 and 1984 from a range of organizations such as the university, urdu academy, Lions Club and Rotary Club, showing both recognition of his poetic excellence and the continued popularity of urdu. This Ghazal with the same radeef/qaafiya as Ghalib’s ‘kaaGhazi hai pairahan har paikar-e tasviir ka’ is linked to Ghalib naqsh-e qadam.

dharam pal marvaaha jigar jalandhari (1953-xxxx).  BA, LLB punjab university.  At least ten awards between 1968 and 1984 from a range of organizations such as the university, urdu academy, Lions Club and Rotary Club, showing both recognition of his poetic excellence and the continued popularity of urdu.  This Ghazal with the same radeef/qaafiya as Ghalib’s ‘kaaGhazi hai pairahan har paikar-e tasviir ka’ is linked to Ghalib naqsh-e qadam.

1.sigh 2.without effect 3.target 4.hunter

Normally, the beloved is portrayed as the hunter and poet/lover as the prey.  But here the poet/lover is the hunter and is using his long-drawn sigh as an arrow.  But his sigh does not have any effect on the intended target – the beloved.  She simply ignores him and he himself becomes a target of his own arrow.

1.puzzled, stunned 2.idol 3.encounter, face to face

The poet/lover has come face to face with the beloved and dazzled/stunned by her beauty so much so that he remains frozen as in a picture creating the impression of a picture.  The beloved herself is picture perfect in her beauty.  Thus the description-picture face to face with a picture.

1.disrepute 2.fear 3.fame, becoming famous/infamous

In poetic convention the beloved likes to string along lovers but she does not want this known for fear of disrepute.  The poet/lover knows all this and does not actively seek to fall in love with such a beloved.  But as the first misra indicates, he is helpless.  Alternatively, vo mohabbat kar chuka can be a sarcastic statement meaning, he will never be able to love.  In love, disrepute is inevitable because the lover goes stark raving mad.  Thus, he who is afraid of disrepute will never be able to love.

1.longing, unfulfilled desires 2.heavy 3.funeral bier 4.heart-broken

Why should the funeral bier of the heart-broken lover not be heavy.  He is not alone, there are hundreds of unfulfilled desires to be buried along with him.

1.permission 2.better 3.face, angle, facet, feature

The beloved does not even permit the lover to see her, but her picture does.  At least this facet/characteristic of the picture is better than you.

1.season 2.arrangement 3.chain

In urdu poetic tradition, the arrival of spring marks the beginning of the rise of the passion of love.  Lovers go stark raving made ala majnuN and they need to be chained.  Thus, the season that makes me go mad is at hand.  My friends are making arrangements for a chain.

1.welcome 2.liver-considered to be the seat of courage/fortitude 3.heart-broken

The beloved shoots arrows with glances at the lover.  That should cause fear of injury.  But this lover welcomes the arrows of glances from the bottom of his heart.  The second misra then admires the fortitude (kaleja) of the heart-broken lover.

1.killing 2.breath, life, moment … but also means sharp edge 3.sword

In poetic convention the beloved draws her sword to kill her lover.  ‘dam nikalna’ can mean any and all of three things (a)losing breath-meaning losing courage (b)shining edge being drawn out of the scabbard (c)losing its sharpness/shine.  The lover considers it an honour to be killed at the hands of the beloved.  Even as the lover is being killed/slaughtered he wants to catch a glimpse of the beloved’s face.  Three possibilities go with each interpretation of ‘dam’ – (a)he may be fearful that the sword is losing its courage (b) he is reassured that the shining edge is being pulled out of the scabbard (c)one way to see the beloved’s face is through its reflection in the mirror like surface of the sword-he is afraid that the sword is beginning to lose its mirror like quality.

1.threshold 2.friend, beloved 3.granted by fate 4.life-long 5.face 6.pen-name of the poet 7.elixir, cure

An elixir may be a cure-all and/or life-extender.  The poet/lover considers the dust from the threshold of the beloved to be better than an elixir.  Thus, if fate grants me some of the dust/clay from the threshold of the beloved, I would not seek to see the face of an elixir all my life.  Alternatively, eksiir also means a substance can convert base metal to gold.  The poet/lover is happy with the dust from the threshold of the beloved, and would readily discard all the gold in this world by comparison.

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