UrduShahkar

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

https://urdushahkar.org/wp-content/uploads/2025/09/aas-daanishvari-ka-zavaal-audio.mp3

Recitation

دانشوری  کا  زوال  ۔  آلِ  احمد  سرورؔ

۱

سرد  طوفاں،  ساحلوں  کی  آبرو  بنتے  گئے

جو  کبھی  تلوار  تھے  طوقِ  گلو  بنتے  گئے

۲

ہائے  وہ  شعلے  جو  جگنو  ہیں  کسی  برسات  کے

اُف  وہ  دریا  جو  سِمٹ  کر  آب  جو  بنتے  گئے

۳

تازہ  کاری  کا  پیمبر،  لالہ  کاری  کے  رسول

خانہ  باغوں  میں  طلسمِ  رنگ  و  بو  بنتے  گئے

۴

آہوانِ  دشت  کو  دیتے  تھے  جو  درسِ  خِرام

وہ  بھی  شاہی  اصطبل  کی  آبرو  بنتے  گئے

۵

فن  حکومت  کا  سہارا،  فکر  دولت  کی  کنیز

جو  تھے  نشتر،  سوزنِ  تارِ  رفو  بنتے  گئے

۶

چاکِ  تقدیرِ  بشر  سینے  کا  دعوا  تھا  جنہیں

ایک  بوسیدہ  قبا  کے  تار  و  پو  بنتے  گئے

۷

جب  خس  و  خاشاک  کی  بیداد  حد  سے  بڑھ  گئی

گرچہ  شبنم  تھے  مگر  ہم  شعلہ  خو  بنتے  گئے

दानिश्वरी का ज़वाल – आल-ए अहमद सुरूर

१

सर्द तूफ़ां, साहेलौं की आब्रू बनते गए

जो कभी तलवार थे तौक़-ए गुलू बनते गए

२

हाए वो शोले के जुग्नू हैं किस बरसात के

उफ़ वो दर्या जो सिमट कर आब-जू बनते गए

३

ताज़ा-कारी के पयम्बर, लाला-कारी के रसूल

ख़ाना-बाग़ौं में तिलस्म-ए रंग ओ बू बनते गए

४

आहुआन-ए दश्त को देते थे जो दर्स-ए ख़िराम

वो भी शाही अस्तबल की आब्रू बनते गए

५

फ़न, हुकूमत का सहारा, फ़िक्र दौलत की कनीज़

जो थे नश्तर सोज़न-ए तार-ए रफ़ू बनते गए

६

चाक-ए तक़्दीर-ए बशर सीने का दावा था जिन्हें

एक बोसीदा क़बा के तार ओ पौ बनते गए

७

जब ख़स ओ ख़ाशाक कि बेदाद हद से बढ़ गई

गरचे शब्नब थे मगर हम शो’ला-ख़ू बनते गए

Click here for background and on any passage for word meanings and explanatory discussion. aal-e ahmad suroor (1911-2002) academic, critic, writer, editor and poet. MA in English and urdu literature. He taught at aligaRh and lakhnau universities, serving as head of the department of urdu at aligaRh. He was associated with, if not an active member of the Progressive Writers’ Association. His poetic compositions tend to be thoughtful and philosophical. Composed in 1973, this nazm could be a reaction to the emerging political situation because of sanjay gandhi’s machinations, seeing how even thinking public figures exercised self censorship and fawning. This applies even more forcefully to present day India.

aal-e ahmad suroor (1911-2002) academic, critic, writer, editor and poet. MA in English and urdu literature. He taught at aligaRh and lakhnau universities, serving as head of the department of urdu at aligaRh. He was associated with, if not an active member of the Progressive Writers’ Association. His poetic compositions tend to be thoughtful and philosophical. Composed in 1973, this nazm could be a reaction to the emerging political situation because of sanjay gandhi’s machinations, seeing how even thinking public figures exercised self censorship and fawning.  This applies even more forcefully to present day India.

1.cold, calm, still 2.storms 3.shores 4.honour, dignity 5.sword 6.shackles 7.neck

The fierce storms cooled down and became protectors of the shores’ dignity.Those who once wielded swords (symbols of defiance or revolution), eventually transformed into shackles worn around the neck – surrendering their rebellious spirit.A commentary on how resistance can be pacified and absorbed into the status quo, even self-oppressing.

1.alas 2.flames 3.river 4.shrank, collapsed 5.stream, rivulet

Alas, those flames! What fleeting monsoon did they belong to — like fireflies that glow briefly then vanish? Oh, the mighty rivers that shrank into mere streams. This metaphor captures the fading brilliance of once-vibrant voices – once roaring and fiery, now diminished and quiet.

1.freshness, innovation 2.prophets 3.tulip planting, embroidery 4.messengers, apostles 5.formal/arranged gardens 6.magic, illusion 7.color and fragrance

Those who were messengers of creative freshness became champions of artificial, stylized beauty – creating illusions of color and fragrance in manicured gardens.  This is a commentary on artists and intellectuals who traded their originality for decorative, conformist aesthetics to meer ‘show/exhibition’ – the shift from organic expression to curated pretense – fawning.

1.deer 2.desert, wilderness 3.lessons 4.graceful movement, free wanderings 5.royal 6.stable 7.pride, decoration

Those who once could give the wild deer lessons in the art of graceful/free wandering, even they have become showpieces in royal stables.  Freedom-loving mentors and guides, once symbols of natural grace and independence, have now become ornaments within the constraints of royal (political/state) power.

1.art 2.government, state 3.support 4.thought/ideology 5.wealth 6.slave girl 7.scalpel, knife 8.needle 9.thread for patching/mending

Art became a tool of the state; thought became a slave to wealth.Those who were once surgical tools (sharp and probing) became mere needles for patchwork.  A biting critique of artists and thinkers who softened their edge to conform and mend the system instead of challenging it.

1.tear, rip 2.destiny 3.human 4.sewing, mending 5.claim 6.worn-out 7.cloak, robe 8.warp and whoof – but also – thread woven across length and width

Those who once claimed they could mend the torn fabric of human destiny, eventually became just the patchwork fabric of a worn-out cloak. That is, those who once spoke of lofty ideals, healing wounds, repairing fate, shrank to covering up the wounds of a decaying system. Their ambition to reform society was reduced to covering up what should have been discarded.

1.weeds and twigs, i.e., worthless elements 2.bedaad: tyranny, injustice 3.bounds 4.although 5.dew, soft-natured 6.flame-natured, passionate, fiery

When tyranny by the worthless and petty went beyond bounds, though we were like soft dew, we turned into flames.  Who is the ‘we’ – probably the class of defiant poets and academics.  A note of defiance and awakening – even the gentlest souls can become fiery when oppression crosses limits, a reclaiming of resistance.

The post daanishvari ka zavaal-aal-e ahmed suroor 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/2025/09/vaKht-manzil-e-yaqiiN-se-chale-audio.mp3

Recitation

منزلِ  یقیں  سے  چلے  ۔  وحیدؔ  اختر

۱

رہے  وہ  ذکر  جو  لب  ہائے  آتشیں  سے  چلے

چلے  وہ  دَور  جو  رفتارِ  ساتگیں  سے  چلے

۲

ہزاروں  سال  سفر  کر  کے  پھر  وہیں  پہنچے

بہت  زمانہ  ہوا  تھا  ہمیں  زمیں  سے  چلے

۳

خرد  بنی  رہی  زنجیرِ  پائے  شوق  مگر

جنوں  کے  جتنے  بھی  ہیں  سلسلے  ہمیں  سے  چلے

۴

فرات  جیت  کے  بھی  تشنہ  لب  رہی  غیرت

ہزار  تیرِ  ستم  ظلم  کی  کمیں  سے  چلے

۵

زمانہ  ایک  ہی  رستے  پہ  لا  کے  چھوڑے  گا

رواں  ہے  ایک  ہی  دھارا،  کوئی  کہیں  سے  چلے

۶

گمان  و  شک  کے  دوراہے  پہ  ہم  سے  آ  کے  ملے

وہ  قافلے  جو  کسی  منزلِ  یقیں  سے  چلے

۷

ہجومِ  سنگِ  ملامت  رہِ  وفا  میں  ملا

کٹے  جو  پاؤں  ہم  اُس  راہ  میں  جبیں  سے  چلے

۸

ہمیں  شکستِ  حریفاں  کا  بھی  ملال  رہا

شکستہ  دل  جو  ہم  اُس  بزمِ  دل  نشیں  سے  چلے

۹

تمام  گمرہیاں  دیر  اور  حرم  میں  پلیں

تمام  سلسلۂ  کفر  اہلِ  دیں  سے  چلے

۱۰

وحیدؔ  سیلِ  قیامت  نے  راہ  روکی  تھی

جو  بن  کے  اشک  ہم  اُس  چشمِ  نازنیں  سے  چلے

मंज़िल-ए यक़ीं से चले – वहीद अख़्तर

१

रहे वो ज़िक्र जो लब-हा-ए आतिशीं से चले

चले वो दौर जो रफ़्तार-ए सात्गीं से चले

२

हज़ारों साल सफ़र कर के फिर वहीं पहुँचे

बहुत ज़माना हुआ था हमें ज़मीं से चले

३

ख़िरद बनी रही ज़ंजीर-ए पा-ए शौक़ मगर

जुनूँ के जितने भी हैं सिलसिले हमीं से चले

४

फ़ुरात जीत के भी तिश्ना-लब रही ग़ैरत

हज़ार तीर-ए सितम ज़ुल्म की कमीं से चले

५

ज़माना एक ही रस्ते पे ला के छोढेगा

रवाँ है एक ही धारा कोई कहीं से चले

६

गुमान-ओ-शक के दो-राहे पे हम से आ के मिले

वो क़ाफ़ेले जो किसी मंज़िल-ए यक़ीं से चले

७

हुजूम-ए संग-ए मलामत रह-ए वफ़ा में मिला

कटे जो पाऊं हम इस राह में जबीं से चले

८

हमें शिकस्त-ए हरीफ़ां का भी मलाल रहा

शिकस्ता-दिल जो हम उस बज़्म-ए दिल-नशीं से चले

९

तमाम गुमरहियाँ दैर और हरम में पलीं

तमाम सिलसिला-ए कुफ़्र अहल-ए दीं से चले

१०

वहीद सैल-ए क़यामत ने राह रोकी थी

जो बन के अश्क हम उस चश्म-ए नाज़नीं से चले

Click here for background and on any passage for word meanings and explanatory discussion. vaheed aKhtar (1935-1996), hyderabad, poet, writer and critic. He did his PhD in philosophy from osmania university and later taught at aligaRh. His compositions are very thoughtful and thought provoking and reflect his scholarship of philosophy. His ‘free verse’ nazm are extremely musical. This is a rarity in two ways … vaheed aKhtar does not write many Ghazal and he seldom uses his taKhallus. He has done both here.

vaheed aKhtar (1935-1996), hyderabad, poet, writer and critic.  He did his PhD in philosophy from osmania university and later taught at aligaRh.  His compositions are very thoughtful and thought provoking and reflect his scholarship of philosophy.  His ‘free verse’ nazm are extremely musical.  This is a rarity in two ways … vaheed aKhtar does not write many Ghazal and he seldom uses his taKhallus.  He has done both here.

1.mention, narrative, story 2.lips (haa is for plural) 3.fiery 4.duration, period 5.speed 6.large cup of wine for circulation

Let that story begin, which is narrated by fiery lips.  Let that period/age begin which keeps pace with the circulating wine cup.  Narrative from ‘fiery lips’ can mean passionate poetry and/or revolutionary verse.  raftaar-e saatgiiN – the speed of circulation of the wine cup can imply sharing, inclusion and spreading of the word/verse of passionate lips.  I interpreted rahe vo zikr to mean begin that story but it can also mean that is the kind of story that will survive – remain for posterity.

1.years 2.journey 3.period, era, age

In this she’r hameN and ham refers to all of humanity.   Humanity left zamiin on its quest.  After thousands of years of journey, it came back to the same point.  The implication is that the answer is not out there.  It is inside.

1.intelligence, reason 2.chain, shackles 3.feet, legs 4.desire 5.madness of passion 6.movement,

Reason and logic keep passion in check; chained and shackled.  But all movements of passion started with us (us could be poets or progressive).  Passion is the motivating force for all movements/progress.

1.river in karbala 2.thirsty 3.honour, dignity 4.arrow of oppression 5.cruel 6.ambush

This has reference to the story of karbala.  Ghairat stands for honour/dignity/power of yaziid.  Even after shooting thousands of arrows of oppression in ambush, even after killing all the household and companions of husain, even after winning the battle, yaziid could not get what he wanted – an acknowledgement, acceptance of his sovereignty.  Even after getting control of the waters of the furaat yaziid’s Ghairat/honour remained thirsty – deprived of authentication.  The juxtaposition of gaining control of waters and remaining thirsty is noteworthy.

1.the times, world 2.flowing 3.stream, flow

Whichever way you turn, time will bring you back to the same path; there is only one stream that flows through all paths.  Just like in she’r number 2, you come back to the same essence inside yourself – or perhaps the raasta you return to is that of gumaan-o-shak from the next she’r.

1.doubt and uncertainty 2.fork in the road 3.caravans 4.destination 5.certainty, belief

This she’r brings she’r 2 and 5 to a nice climax.  All the caravans that started towards (or departed from) certainty/belief arrived at the fork in the road meeting doubt and uncertainty where the poet already was.  See my nazm – tashkeek on this site.

1.crowding 2.rocks 3.blame 4.path 5.fidelity, love 6.forehead, head

The poet/lover seeker is totally committed to the path of love/fidelity/truth.  When he walked that path, there was an onslaught of rocks of blame aimed at him.  Then his feet were cut off.  But his commitment is so strong that he stayed on that path ‘walking on his head’.

1.breaking, loss, defeat 2.rival, opponent, associate, peer 3.sorrow, pain 4.disappointed, broken hearted 5.gathering 6.heart pleasing, pleasant

There is a pleasant gathering from which the poet leaves broken hearted.  Even as he leaves, he feels sorrowful for the hariifaaN – peers that he is leaving behind.  What kind of gathering?  Why is he broken-hearted?  We have to use the context provided by other ash’aar to make any sense of this.  While this has the structure of a Ghazal it has be considered a nazm with an interconnection and thematic dependency between ash’aar.  Using that context, this could be a pleasant gathering of poets/philosophers/thinkers.  The poet/thinker is leaving disappointed from this gathering because they could not come to a common conclusion at the same time he feels sympathy for his fellow thinkers.  This sympathy could be feeling sorry that they missed out on the truth or that he feels a certain level of respect for their thinking.

1.total, all 2.waywardness 3.temple 4.mosque 5.nurtured 6.movements 7.evil, wrongdoing 8.people of faith

All waywardness is nurtured in houses of belief/faith.  All evil/wrong-minded movements are propagated by people of faith.

1.pen-name 2.flood of doomsday, insurmountable obstacle 3.path 4.tears 5.eyes of the beloved

I think that chashm-e naazniiN is the eye of the beloved and the ham in the second misra is the poet/lover.  I don’t see any alternatives.  A catastrophic flood/an insurmountable obstacle was in the way as the lover/seeker set out on his path.  But it seems that he set out on his quest in the form of an ashk from that chashm-e naazniiN.  This implies that the beloved was sorrowful but she could not even weep openly because of societal pressures.  I am not sure … whichever way I turn this she’r turns into an enigma.  Would appreciate any help any reader can provide.

The post manzil-e yaqiiN se chal’e-vaheed aKhtar 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/2025/09/gssh-Ghariib-ki-duniya-audio.mp3

Recitation

غریب  کی  دنیا  ۔  گیان  سنگھ  شاطرؔ

۱

جس  جگہ  جام  و  مے  کے  دور  چلیں

عشقِ  بے  تاب  محوِ  حسن  رہے

کس  کو  فرصت  ہے  ایسے  عالم  میں

داستانِ  غمِ  حیات  سنے

۲

دیکھیے  تو  غریب  کی  دنیا

صبح  کھایا  تو  فکرِ  شام  ہوئی

پیٹ  بھرنے  کی  حسرتوں  ہی  میں

اُس  کی  عمرِ  رواں  تمام  ہوئی

۳

کتنی  ویرانیاں  ہیں  آنکھوں  میں

غم  سے  چہرے  ہیں  دھول  دھول  سبھی

ایک  نخلِ  حیات  سے  جیسے

جھڑ  گئے  خواہشوں  کے  پھول  سبھی

۴

جب  سے  دنیا  ظہور  میں  آئی

سب  نے  اِفلاس  کو  دبایا  ہے

اِس  کی  بنیاد  پر  امیروں  نے

زندگی  کا  محل  بنایا  ہے

۵

معجزے  قدرتِ  الہٰی  کے

زندگی  کا  اِسے  سوانگ  کہیں

یا  کسی  نامراد  بیوہ  کی

ایک  اُجڑی  ہوئی  سی  مانگ  کہیں

۶

کتنے  دنیا  میں  انقلاب  آئے

رسمِ  نظمِ  رواں  نہ  توڑ  سکے

سیم  و  زر  کے  طلسم  کو  اب  تک

دستِ  محنت  کشاں  نہ  توڑ  سکے

۷

اہلِ  ثروت،  یہ  مفلس  و  نادار

جوئے  ہستی  کے  بہتے  دھارے  ہیں

ساتھ  رہ  کر  بھی  مل  نہیں  پاتے

یعنی  دریا  کے  دو  کنارے  ہیں

ग़रीब की दुनिया – ज्ञान सिंह शातिर

१

२

३

४

५

६

७

Click here for background and on any passage for word meanings and explanatory discussion. gyaan siNgh shaatir (1936-xxxx) hoshiarpur, punjab. He was from a rural agricultural background with no tradition of formal education. His father was annoyed with his desire for schooling and after he graduated from high school with high honours, threw him out of the house at 17. He walked to dehli where he worked as a construction labourer and graduated from the polytechnic college as a civil engineer. Hired by the government on dam construction projects he was sent to Moscow for further training and appointed (1962) as Executive Engineer in hyderabad, where he settled and called home. He started composing in the mid 1960s. In addition to a collection of rubaaii and Ghazal, he published a novel too. ratan panDorvi was his ustaad. This nazm is linked to yaum-e mazdoor on the Theme Index page.

gyaan siNgh shaatir (1936-xxxx) hoshiarpur, punjab.  He was from a rural agricultural background with no tradition of formal education.  His father was annoyed with his desire for schooling and after he graduated from high school with high honours, threw him out of the house at 17.  He walked to dehli where he worked as a construction labourer and graduated from the polytechnic college as a civil engineer.  Hired by the government on dam construction projects he was sent to Moscow for further training and appointed (1962) as Executive Engineer in hyderabad, where he settled and called home.  He started composing in the mid 1960s.  In addition to a collection of rubaaii and Ghazal, he published a novel too.  ratan panDorvi was his ustaad.  This nazm is linked to yaum-e mazdoor on the Theme Index page.

1.where 2.goblet and wine 3.circulation, going around 4.restless, eager 5.engrossed, spellbound 6.beauty 7.leisure, time 8.condition 9.story 10.pain 11.life

Where the goblets of wine forever go round,

1.worry 2.longing 3.flowing/passing life 4.finished, consumed

Behold the poor man’s life, his plight

1.desolation 2.sorrow 3.face, appearance 4.dusty, lacklustre 5.tree 6.life 7.shed, dropped 8.desires

In their eyes, a look of deep desolation

1.manifestation, appearance 2.penury, poverty 3.oppressed 4.foundation 5.wealthy 6.palace

Ever since the time of creation,

1.miracles 2.nature, ability, power 3.god 4.masquerade, deception 5.unfortunate 6.widow 7.ruined, unadorned 8.parting of the hair

Is this a miracle of God’s hand,

1.revolutions, upheavels, changes 2.traditions 3.running, order, administration 4.flowing, ongoing 5.silver and gold, wealth 7.hand 8.labourer, worker

How many upheavals the world has known,

1.people of 2.abundance, plenty 3.pauper 4.helpless 5.river 6.life 7.river 8.sides, banks

The rich, the poor, both drift along,

The post Ghariib ki duniya-gyaan siNgh shaatir 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/2025/09/shchstd-minnat-kash-e-darmaaN-na-hua-audio.mp3

Recitation

مِنّت  کشِ  درماں  نہ  ہوا  ۔  شیش  چندر  سکسینہ  طالبؔ  دہلوی

۱

جذبۂ  شوق  کِسی  رنگ  میں  پِنہاں  نہ  ہوا

شعلۂ  عشق  چراغِ  تہہِ  داماں  نہ  ہوا

۲

کتنا  خود  دار  تھا  شرمندۂ  اِحساں  نہ  ہوا

آہ  وہ  درد  جو  مِنّت  کشِ  درماں  نہ  ہوا

۳

یوں  تو  کیا  کچھ  نہ  ہوا  آدمی  اِنساں  نہ  ہوا

کِسی  صورت  کِسی  پہلو  کِسی  عنواں  نہ  ہوا

۴

ذرّہ،  ذرّہ  ہی  رہا  مہرِ  درخشاں  نہ  ہوا

قطرہ  قطرہ  ہی  رہا  موجۂ  طوفاں  نہ  ہوا

۵

کبھی  مل  بیٹھتے  آپس  میں  یہ  اِمکاں  ہوا

تُجھ  سے  اِتنا  بھی  ارے  گردشِ  دوراں  نہ  ہوا

۶

عشق  سے  حسن  کی  رسوائی  کا  ساماں  نہ  ہوا

جذبۂ  دل،  کسی  صورت  سے  نُمایاں  نہ  ہوا

۷

پاس  تھا  حُسن  کی  عِصمت  کا  وفاداروں  کو

جوشِ  وحشت  میں  کبھی  چاک  گریباں  نہ  ہوا

۸

یوں  تو  کِھلنے  کو  کِھلے  پھول  بہاروں  میں  بہت

غنچۂ  دل  مرا  لیکن  گُلِ  خنداں  نہ  ہوا

۹

اِنہیں  آپس  میں  بہ  ہر  طور  نہ  ٹکرانا  تھا

مصحفِ  رخ  کے  مقابل  کبھی  قرآں  نہ  ہوا

۱۰

لوگ  دنیا  کو  دَنی  کہتے  ہیں،  سچ  کہتے  ہیں

میں  زمانے  کی  روِش  پر  کبھی  حیراں  نہ  ہوا

۱۱

وقت  بدلا  تو  زمانے  نے  نگاہیں  پھیریں

کس  مپرسی  کے  سِوا  کوئی  بھی  پرساں  نہ  ہوا

۱۲

میرے  ہر  حال  میں  شامِل  رہی  رحمت  تیری

میں  کِسی  حال  میں  مایوس  و  پریشاں  نہ  ہوا

۱۳

معرفت  اُس  کو  خدا  کی  بھلا  کیسے  ہوگی

اپنی  ہی  ذات  کا  جس  شخص  کو  عرفاں  نہ  ہوا

۱۴

اب  بھی  موجود  ہیں  اصنامِ  خیالی  دل  میں

کعبۂ  دل  کبھی  بھولے  سے  مُسلماں  نہ  ہوا

۱۵

کیا  نوازے  گی  اُسے  بھی  تری  رحمت  یا  رب

جو  کبھی  اپنے  گناہوں  پہ  پشیماں  نہ  ہوا

۱۶

پی  لیے  آنکھ  میں  آئے  ہوئے  آنسو  طالبؔ

جذبۂ  عشق  مرا  جذبۂ  ارزاں  نہ  ہوا

मिन्नत-कश-ए दर्मां न हुआ – शीश चंद्र सक्सेना तालिब देहलवी

१

जज़्बा-ए शौक़ किसी रंग में पिन्हां न हुआ

शोला-ए इश्क़ चिराग़-ए तह-ए दामां न हुआ

२

कितना ख़ुद्दार था शर्मिंदा-ए एहसां न हुआ

आह वो दर्द जो मिन्नत-कश-ए दर्मां न हुआ

३

यूं तो क्या कुछ न हुआ आदमी इन्सां न हुआ

किसी सूरत किसी पहलू किसी उन्वां न हुआ

४

ज़र्रा, ज़र्रा ही रहा महर-ए दरख़्शां न हुआ

क़तरा क़तरा ही रहा मौजा-ए तूफ़ां न हुआ

५

कभी मिल बैठते आपस में ये इम्काँ न हुआ

तुझ से इतना भी अरे गर्दिश-ए दौराँ न हुआ

६

इश्क़ से हुस्न की रुस्वाई का सामां न हुआ

जज़्बा-ए दिल, किसी सूरत से नुमायां न हुआ

७

पास था हुस्न की इस्मत का वफ़ादारों को

जोश-ए वहशत में कभी चाक गरेबां न हुआ

८

यूं तो खिलने को खिले फूल बहारों में बहुत

ग़ुंचा-ए दिल मेरा लेकिन गुल-ए ख़ंदां न हुआ

९

इन्हें आपस में ब हर तौर न टकराना था

मुस्हिफ़-ए रुख़ के मुक़ाबिल कभी क़ुर’आं न हुआ

१०

लोग दुनिया को दनी कहते हैं, सच कहते हैं

मैं ज़माने की रविश पर कभी हैरां न हुआ

११

वक़्त बदला तो ज़माने ने निगाहें फेरीं

कस-मपुर्सी के सिवा कोई भी पुर्सां न हुआ

१२

मेरे हर हाल में शामिल रही रहमत तेरी

मैं किसी हाल में मायूस-ओ-परेशां न हुआ

१३

मा’रेफ़त उस को ख़ुदा की भला कैसे होगी

अपनी ही ज़ात का जिस शख़्स को इर्फ़ां न हुआ

१४

अब भी मौजूद हैं अस्नाम-ए ख़याली दिल में

का’बा-ए दिल कभी भूले से मुसलमां न हुआ

१५

क्या नवाज़ेगी उसे भी तेरी रहमत या रब

जो कभी अपने गुनाहों पे पशेमां न हुआ

१६

पी लिये आंख में आए हुए आंसू तालिब

जज़्बा-ए इश्क़ मेरा जज़्बा-ए अर्ज़ां न हुआ

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. This Ghazal is linked to Ghalib naqsh-e qadam, although it has a slightly different qaafiya.

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.  This Ghazal is linked to Ghalib naqsh-e qadam, although it has a slightly different qaafiya.

1.feelings, passion 2.longing, desire 3.any condition 4.hidden, concealed 5.flame 6.lamp under the hem of the garment i.e., something that is kept concealed

It is conventional for the lover to keep his love hidden in order not to malign the reputation of the beloved.  But here, the poet says that his passion and longing were so intense that they couldn’t be concealed. The fire of his love was not like a hidden lamp under a garment; it was a visible, undeniable flame.

1.self-respecting, proud 2.ashamed, indebted 3.favour, obligation 4.pain 5.obliged, indebted 6.cure, remedy

The poet expresses admiration for his pain. This pain was so self-respecting that it didn’t accept any favours or cures. It chose to suffer proudly rather than becoming dependent on a remedy – or more likely, the pain was incurable, it did not respond to any consolation.  Said Ghalib …

1.generally speaking 2.what all 3.human being (biologically) 4.human being (morally, with humanity) 5.way, manner 6.aspect 7.title, theme

The poet laments that in the world, while a lot has happened and people exist physically as ‘aadmi’, they have failed to become true ‘insaaN’ with compassion and humanity. It hasn’t happened in any way, from any angle, or for any reason.  Said Ghalib …

1.particle, atom 2.sun 3.shining, brilliant 3.drop 5.wave 6.storm

In a sufiyaana interpretation this she’r speaks to the spiritual longing and a critique of the self. The zarra (atom/particle) and qatra (drop) represent the individual human soul. The mahr-e-daraKhshaaN (shining sun) and mauja-e-toofaaN (storm wave) represent the divine, the ultimate reality, or God.  The couplet laments the failure of the individual soul to merge with the divine.  Ghalib too expresses this desire to merge …

1.together 2.possibility 3.the turn of time, the turn of fate, trials and tribulations of life

The poet addresses his fate – you could not create the possibility that the lover and beloved could sit together even once.  O turn of fate, you could not even do this much!

1.love, lover 2.beauty, beloved 3.disgrace, dishonor 4.cause, reason 5.passion, emotion 6.way, condition 7.visible, manifest

In the poetic tradition of love the lover hides his passion/pain in order not to disgrace the beloved.  That is what happened here.  The lover could not bear to be the cause of the beloved’s disgrace.  The passion of his heart did not get expressed under any condition.

1.regard, respect 2.beauty, beloved 3.honor, chastity, dignity 4.the loyal ones 5.passion 6.madness, frenzy 7.torn, ripped 8.shirt front, collar

Lovers, in a frenzy of passion, tear their clothes and wander the wilderness like in the legend of laila-majnuN.  But it did not happen here – the lover did not rip his shirt front in passionate frenzy because he, a vafa-daar, had regard for the honour/dignity of the beloved.

1.generally speaking 2.to blossom 3.spring 4.bud 5.rose, flower 6.blooming/laughing

Spring is supposed to be a season of flowering and also of love … for the lover to get access to the beloved.  Generally speaking many flowers bloomed and brought joy during the spring season. However, his own heart, which was like a bud, never fully blossomed into a laughing, cheerful flower i.e., he did not achieve union with the beloved.

1.in any way, by any means 2.encounter, collide 3.(holy) book (a common metaphor for a beautiful face) 4.face 5.against, in front of

In poetic tradition the beauty/purity/brilliance of the beloved’s face is often symbolized as a holy/divine page/book.  Here the poet goes one step beyond.  He compares it to the qur’aan.  The qur’aan never confronted, came before this brilliant face.  Perhaps he means that it is fortunate that they never collided, otherwise it would have been difficult to choose/decide which was more brilliant.  Perhaps this is not set up as a competition, but saying that the beloved’s face was so pure and bright that the lover did not need to comptemplate the qur’aan.  Her face was enough for him.

1.lowly, base 2.the world 3.the way/customs 4.surprised

The poet agrees with the common belief that the world is a base and lowly place. He adds that because of this belief, he has never been surprised by the ways and customs of the world. He has come to expect its faults.

1.changed 2.world 3.eyes, gaze 4.turned away, looked away 5.no one asking about, no one caring for, friendlessness 6.except for 7.one who inquires about well being

The poet says that when his luck or time changed, the world turned its back on him. In his state of helplessness, no one came to ask about his well-being, except for friendlessness i.e., friendlessness was his only friend.

1.every 2.condition, situation 3.included, part of 4.mercy, grace 5.disappointed, hopeless 6.distressed, worried

The poet expresses his unwavering faith in a higher power. He says that in every situation of his life, God’s mercy was with him. Because of this divine presence, he never felt hopeless or troubled.

1.knowledge, spiritual awareness 2.self, being 3.person 4.recognition, gnosis (spiritual knowledge of self)

This couplet is about the path to knowing god. The poet argues that a person who has not achieved self-awareness or doesn’t know themselves, how can they ever hope to truly know god?

1.present 2.idols, plural of sanam 3.imagination

This she’r is more a play on words than anything else.  Imaginary idols (perhaps old love affairs or entirely imaginary beloved or materialist attachments) still reside in the heart.  The heart is considered to the the k’aaba – the sanctuary of faith.  k’aaba used to have idols; but when the people of makkah accepted islam and gave up idol worship, these idols were removed.  That is the defining feature of becoming mulim.  The poet confesses that his heart, which should be a sacred space like the k’aaba, is still filled with ‘idols of imagination’ (worldly desires, false beliefs). Because of this, his heart has never truly become a space of pure devotion, or ‘musalmaaN’.

1.bless, favour 2.kindness, forgiveness 3.lord 4.sins 5.regretful, remorseful

The poet questions god’s mercy. He asks if god’s grace will also be bestowed upon a person who never feels regret or remorse for their sins. It’s a profound question about the nature of divine forgiveness and the importance of repentance.  See the delightful collection of gunah ka hisaab under muntaKhab ash’aar on the Theme Index page.

1.aaNsu piina-an expression meaning bear with fortitude, stoicism 2.pen-name, taKhallus 3.passion 4.cheap/common

O taalib, you remained stoic, kept control of your emotions.  You did not let your passion of love for the beloved become cheap and availabe/visible to all.

The post minnat-kash-e darmaaN na hua-shiish chandr saxena taalib dehlavi 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/2025/09/rsfq-hindostaaN-banta-gaya-audio.mp3

Recitation

ہندوستاں  بنتا  گیا  ۔  رگھوپتی  سہائے  فراقؔ  گورکھپوری

۱

زیر  و  بم  سے  سازِ  خلقت  کے  جہاں  بنتا  گیا

یہ  زمیں  بنتی  گئی  یہ  آسماں  بنتا  گیا

۲

داستانِ  جَور  بے  حد  خون  سے  لکھتا  رہا

قطرہ  قطرہ  اشکِ  غم  کا  بے  کراں  بنتا  گیا

۳

عشقِ  تنہا  سے  ہوئیں  آباد  کتنی  منزلیں

اک  مسافر  کارواں  در  کارواں  بنتا  گیا

۴

میں  ترے  جس  غم  کو  اپنا  جانتا  تھا  وہ  بھی  تو

زیبِ  عنوانِ  حدیثِ  دیگراں  بنتا  گیا

۵

بات  نکلے  بات  سے  جیسے  وہ  تھا  تیرا  بیاں

نام  تیرا  داستاں  در  داستاں  بنتا  گیا

۶

ہم  کو  ہے  معلوم  سب  رودادِ  علم  و  فلسفہ

ہاں  ہر  ایمان  و  یقیں  وہم  و  گماں  بنتا  گیا

۷

میں  کتابِ  دل  میں  اپنا  حالِ  غم  لکھتا  رہا

ہر  ورق  اک  بابِ  تاریخِ  جہاں  بنتا  گیا

۸

بس  اسی  کی  ترجمانی  ہے  مرے  اشعار  میں

جو  سکوتِ  راز  رنگیں  داستاں  بنتا  گیا

۹

میں  نے  سونپا  تھا  تجھے  اک  کام  ساری  عمر  میں

وہ  بگڑتا  ہی  گیا  اے  دل  کہاں  بنتا  گیا

۱۰

وارداتِ  دل  کو  دل  ہی  میں  جگہ  دیتے  رہے

ہر  حسابِ  غم  حسابِ  دوستاں  بنتا  گیا

۱۱

میری  گُھٹّی  میں  پڑی  تھی  ہو  کے  حل  اردو  زباں

جو  بھی  میں  کہتا  گیا  حسنِ  بیاں  بنتا  گیا

۱۲

وقت  کے  ہاتھوں  یہاں  کیا  کیا  خزانے  لٹ  گئے

ایک  تیرا  غم  کہ  گنجِ  شائیگاں  بنتا  گیا

۱۳

سر  زمینِ  ہند  پر  اقوامِ  عالم  کے  فراقؔ

قافلے  بستے  گئے  ہندوستاں  بنتا  گیا

हिन्दोस्ताँ बनता गया – रघुपती सहाय फ़िराक़ गोरखपूरी

१

ज़ेर-ओ-बम से साज़-ए ख़िल्क़त के जहाँ बनता गया

ये ज़मीं बनती गई ये आसमाँ बनता गया

२

दास्तान-ए जौर-ए बेहद ख़ून से लिखता रहा

क़तरा क़तरा अश्क-ए ग़म का बे-कराँ बनता गया

३

इश्क़-ए तन्हा से हुईं आबाद कितनी मंज़िलें

एक मुसाफ़िर कारवाँ-दर-कारवाँ बनता गया

४

मैं तेरे जिस ग़म को अपना जानता था वो भी तो

ज़ेब-ए उनवान-ए हदीस-ए दीगराँ बनता गया

५

बात निकले बात से जैसे वो था तेरा बयाँ

नाम तेरा दास्ताँ-दर-दास्ताँ बनता गया

६

हम को है मालूम सब रूदाद-ए इल्म-ओ-फ़ल्सफ़ा

हाँ हर ईमान-ओ-यक़ीं वहम-ओ-गुमाँ बनता गया

७

मैं किताब-ए दिल में अपना हाल-ए ग़म लिखता रहा

हर वरक़ एक बाब-ए तारीख़-ए जहाँ बनता गया

८

बस उसी की तर्जुमानी है मेरे अश’आर में

जो सुकूत-ए राज़ रंगीं दास्ताँ बनता गया

९

मैं ने सौंपा था तुझे एक काम सारी उम्र में

वो बिगढता ही गया अए दिल कहाँ बनता गया

१०

वारदात-ए दिल को दिल ही में जगह देते रहे

हर हिसाब-ए ग़म हिसाब-ए दोस्ताँ बनता गया

११

मेरी घुट्टी में पढी थी हो के हल उर्दू ज़बाँ

जो भी मैं कहता गया हुस्न-ए बयाँ बनता गया

१२

वक़्त के हाथों यहाँ क्या क्या ख़ज़ाने लुट गए

एक तेरा ग़म के गंज-ए शाईगाँ बनता गया

१३

सर-ज़मीन-ए हिंद पर अक़्वाम-ए आलम के फ़िराक़

क़ाफ़ेले बसते गए हिन्दोस्ताँ बनता गया

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 faarsi 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.

raghupati sahay firaq gorakhpuri (1896-1982) pre-eminent urdu shaa’er, scholar of faarsi 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.

1.ups and downs, highs and lows 2.music 3.creation 4.world

This world came into being with the highs and lows of the music of creation.  That is how this earth and sky came to be created.  Other than this literal meaning, he may be referring to the sanskrit word ‘Om’ sometimes characterized as the primordial musical note.

1.story 2.cruelty 3.without limits 4.drop by drop 5.tears 6.boundless, vast

Although not explicitly stated, the writer of the daastaan/story is the poet himself.  He has been subjected to unlimited cruelty and has been writing this story in blood.  Drop by drop of his tears of sorrow collected into an expanse.

1.alone, single 2.prosper, established 3.destinations, goals 4.traveler, seeker 5.travelling/seeking groups

Perhaps by ishq-e tanha the poet means the intense desire of a person all by themselves.  Thus, the power of the intense desire even of one person alone, can cause goals to gain followers … manzileN aabaad hona.  One seeker generates caravan upon caravan of seekers.

1.sorrow, pain, love 2.embellishment, decoration 3.title, theme 4.narrative 5.others

Who is ter’e – the beloved, the homeland, the language, shaa’eri, any other passion.  The poet leaves it to us to decide.  He knew the intensity of love/desire for that to be his own, but others saw it too and it became the embellishment of the theme of their narratives also.

1.narrative, story 2.story, legend

Here tera most likely is the poet addressing himself.  It is as if your narrative generates story after story; your (the poet’s) name/fame/reputation is becoming legendary.

1.story 2.knowledge 3.philosophy 4.faith and belief 5.doubt and speculation

There are two exactly opposite interpretations possible.  The simple translation – we know the story of knowledge/reason and philosophy; every faith and belief turns into doubt and speculation.  The two opposite interpretations are that (a)this may be a skeptic celebrating the rise of doubt and questioning and continuous learning or (b)this may be a mad/passionate lover bemoaning the loss of faith to knowledge.

1.condition, state, story 2.page 3.chapter, theme 4.history, story 5.world

I kept writing the story of the pain of my heart in the book of my heart (memory).  Every page turned out to be the story of the history of the world meaning that his story was that of every other lover-a universal story.

1.interpretation, explanation 2.verse, couplets 3.silence, stillness 4.mystery 5.colourful 6.story, legend

There is a ‘silent’-unobtrusive, hidden mystery pervading the universe.  The poet’s verse/poetry explains/interprets this mystery and weaves it into a colourful legend.

1.entrusted, given 2.life 3.spoiled, getting worse 4.get reparied, improve

This is addressed to the heart – tujhe – being the heart.  The poet/lover had entrusted just one task to the heart during his life and even that one task kept getting worse, when did it ever improve/get repaired.  The poet does not make clear what task it was that the heart was entrusted with … was it (a)to win the beloved’s heart (b)to save itself and not fall in love (c)to steel itself and not feel pain … we are left to fill in the blanks.

1.events, happenings 2.accounting 3.pain 4.accounts of friends (of what they owe you)

This is a play on a frequently used saying – hisaab-e dostaaN dar dil – meaning, the account of things that friends owe you, the pain that they cause you should be kept in the heart, not spoken out explicitly.  I kept making a place for the affairs of the heart in the heart, the account of my pain kept becoming the story of my friends i.e., most pain was caused by friends.

1.basic nature acquired at birth 2.dissolved 3.beauty, excellence, standard 4.verse

urdu language was dissolved into my basic nature at birth.  What I said, became the standard for versification i.e., composing urdu verse comes naturally to me and I compose standard setting poetry.

1.treasures 2.treasure 3.highest quality, best

tera Gham – your love/pain – who is the you?  – the beloved, language, poetry!  We are left to choose.  With time all treasures got looted/deteriorated/destroyed but it was the treasure your pain/love alone which remained the best, highest quality treasure.  I venture to suggest that he is talking about his love for versification.

1.homeland 2.communities, nationalities 3.world 4.pen-name, taKhallus 5.travelling parties, caravans 6.settle 7.getting made/modified

Many nationalities of the world kept migrating and settling down in hindustand, reshaping it as they came.  This acknowledges and implicitly welcomes the diversity of cultures contributing to the colours of the hindustani culture.

The post hindostaaN banta gaya-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/2025/09/pjs-nateeja-Khez-hai-saaqi-audio.mp3

Recitation

نتیجہ  خیز  ہے  ساقی  ۔  پنڈت  جیمنی  سرشارؔ

۱

زباں  گرچہ  میری  تیغ  و  سناں  سے  تیز  ہے  ساقی

خموشی  اس  سے  بھی  بڑھ  کر  نتیجہ  خیز  ہے  ساقی

۲

زمانے  کی  روِش  کو  دیکھتا  ہوں  کانپ  جاتا  ہوں

یہاں  کی  ہر  نظر  خونخوار  ہے  خوں  ریز  ہے  ساقی

۳

سُنا  ہے  قافلہ  اُترا  تھا  اِک  اس  میں  بہاروں  کا

ہَوا  صحنِ  چمن  کی  اب  بھی  عنبر  بیز  ہے  ساقی

۴

بہے  گا  خوں  جو  اِس  میں  رائیگاں  ہرگز  نہ  جائے  گا

کہ  مِٹّی  اِس  چمن  کی  آج  بھی  زرخیز  ہے  ساقی

۵

یہاں  جو  آدمی  آتا  ہے  پھر  واپس  نہیں  جاتا

فضائے  میکدہ  ایسی  نِشاط  انگیز  ہے  ساقی

۶

نہاں  ہیں  کتنے  رومی  کتنے  شمس  اِس  خاک  کے  اندر

ہر  اِک  خِطّہ  یہاں  ایران  ہے  تبریز  ہے  ساقی

۷

نہیں  اُٹھتا  کوئی  فرہاد  کیوں  فریاد  کرنے  کو

ادائے  حسنِ  شیریں  اب  بھی  فتنہ  خیز  ہے  ساقی

۸

عمل  کی  زندگی  ہی  آدمی  کے  کام  آتی  ہے

یہاں  کیا  گنجِ  قاروں  دولتِ  پرویز  ہے  ساقی

۹

تری  محفل  کے  یہ  اِنساں  فرشتے  ہیں  کہ  اِنساں  ہیں

شرابِ  عاشقی  سے  جِن  کا  دل  لبریز  ہے  ساقی

۱۰

لہو  اِنسان  کا  انسان  پیتا  ہے  زمانے  میں

کسے  اس  دور  میں  اِس  چیز  سے  پرہیز  ہے  ساقی

۱۱

کوئی  اِنساں  کہاں  اب  ہوش  سے  بیگانہ  ہوتا  ہے

یہاں  ہر  اک  حسیں  چہرا  حجاب  آمیز  ہے  ساقی

۱۲

یہ  کس  کا  جلوۂ  عریاں  ہے  سرشارؔ  اپنی  نظروں  میں

کہ  جس  کا  نور  برقِ  طور  سے  بھی  تیز  ہے  ساقی

नतिजा ख़ेज है साक़ी – पंडित जैमिनी सरशार

१

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

ख़मोशी उस से भी बढ़ कर नतिजा खेज़ है साक़ी

२

ज़माने की रविश को देखता हूँ काँप जाता हूँ

यहाँ की हर नज़र ख़ूँख़्वार है ख़ूँरेज़ है साक़ी

३

सुना है क़ाफ़ला उतरा था एक इस में बहारों का

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

४

बहेगा ख़ूँ जो इस में राएगाँ हर्गिज़ न जाएगा

के मिट्टी इस चमन की आज भी ज़र्ख़ेज़ है साक़ी

५

यहाँ जो आदमी आता है फिर वापस नहीं जाता

फ़ज़ा-ए मैकदा ऐसी नशात-अंगेज़ है साक़ी

६

नेहाँ हैं कितने रूमी कितने शम्स इस ख़ाक के अंदर

हर एक ख़ित्ता यहाँ ईरान है तबरेज़ है साक़ी

७

नहीं उठता कोई फ़रहाद क्यूं फ़र्याद करने को

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

८

अमल की ज़िंदगी ही आदमी के काम आती है

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

९

तेरी महफ़िल के ये इंसाँ फ़रिश्ते हैं के इंसाँ हैं

शराब-ए आशिक़ी से जिन का दिल लबरेज़ है साक़ी

१०

लहू इंसान का इंसान पीता है ज़माने में

किसे इस दौर में इस चीज़ से परहेज़ है साक़ी

११

कोई इंसाँ कहाँ अब होश से बेगाना होता है

यहाँ हर एक हसीं चेहरा हिजाब-आमेज़ है साक़ी

१२

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The post natiija-Khez hai saaqi-panDit jaimini sarshaar 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/2025/09/gssh-urdu-ke-viiraane-ki-Khaak-audio.mp3

Recitation

ویرانے  کی  خاک  ۔  گیان  سنگھ  شاطرؔ

۱

یہ  اُڑاتی  ہے  کسی  بستی  کے  افسانے  کی  خاک

اِک  زمانہ  کہہ  رہا  ہے  جس  کو  ویرانے  کی  خاک

۲

کیسی  کیسی  بستیاں  اس  میں  اُجڑ  کر  مل  گئیں

کتنی  تہذیبوں  کا  سرمایہ  ہے  ویرانے  کی  خاک

۳

حلقہ  بستی  کا  بشر  کے  واسطے  جب  تنگ  ہو

اپنے  دامن  میں  سمو  لیتی  ہے  ویرانے  کی  خاک

۴

میری  وحشت  کو  نہ  کیوں  اس  مرتبے  پر  ناز  ہو

تیرے  ہاتھوں  سے  اُڑی  ہے  تیرے  دیوانے  کی  خاک

۵

رہبرانِ  قوم  نے  اِحسان  فرمائے  ہیں  جو

یاد  رکھے  گی  اُسے  اُردو  کے  ویرانے  کی  خاک

۶

اِس  کو  اے  شاطر  کبھی  چشمِ  حقارت  سے  نہ  دیکھ

بستیوں  کی  عظمتِ  رفتہ  ہے  ویرانے  کی  خاک

वीराने की ख़ाक – ज्ञान सिंह शातेर

२

३

४

५

६

Click here for background and on any passage for word meanings and explanatory discussion. gyaan siNgh shaatir (1936-xxxx) hoshiarpur, punjab. He was from a rural agricultural background with no tradition of formal education. His father was annoyed with his desire for schooling and after he graduated from high school with high honours, threw him out of the house at 17. He walked to dehli where he worked as a construction labourer and graduated from the polytechnic college as a civil engineer. Hired by the government on dam construction projects he was sent to Moscow for further training and appointed (1962) as Executive Engineer in hyderabad, where he settled and called home. He started composing in the mid 1960s. In addition to a collection of rubaaii and Ghazal, he published a novel too. ratan panDorvi was his ustaad.

gyaan siNgh shaatir (1936-xxxx) hoshiarpur, punjab.  He was from a rural agricultural background with no tradition of formal education.  His father was annoyed with his desire for schooling and after he graduated from high school with high honours, threw him out of the house at 17.  He walked to dehli where he worked as a construction labourer and graduated from the polytechnic college as a civil engineer.  Hired by the government on dam construction projects he was sent to Moscow for further training and appointed (1962) as Executive Engineer in hyderabad, where he settled and called home.  He started composing in the mid 1960s.  In addition to a collection of rubaaii and Ghazal, he published a novel too.  ratan panDorvi was his ustaad.

1.settlement, village, town 2.tale, story 3.dust, ashes 4.world, era, time 5.wilderness, deserted place

This is the dust of the tales of some settlement; the times refer to it as the dust of the wilderness.  The poet reflects on how the remnants of desolation – symbolized by dust – carry within them the forgotten stories of once-thriving settlements. It suggests that time erodes all grandeur, leaving only traces for history to recall and implies that this ‘dust’ ought to be looked at with kindness, remembering its past glory.

1.settlements, neighbourhoods 2.ruined, desolate 3.civilization, culture 4.sarmaya, treasure, legacy

What grand settlements must they have been that merged into it after being ruined; how many civilizations’ treasures reside in the dust of the wilderness!  This couplet highlights the transience of human civilization. Once-flourishing societies are now reduced to dust, symbolizing both loss and the rich legacy they leave behind to be remembered and repected.

1.circle, boundary, domain 2.human being 3.for 4.narrow 5.lap, embrace 6.fold, hold 7.desolation

When the boundaries of the settlement become too narrow for a person, then the dust of the wilderness gathers them in its embrace.  This couplet reflects on the wilderness as a refuge for those displaced or constrained by society. It metaphorically points to nature’s vastness and its ability to accommodate what human-made boundaries cannot.

1.frenzy, passion 2.rank, stature 3.pride 4.lover, madman

Why shouldn’t my frenzy take pride in this high honour, the dust of your mad lover was scattered/blown by your own hands.  Here, the poet romanticizes the act of devotion and destruction. The ‘mad lover’ (the poet himself) finds pride in being reduced to dust and scattered into the air/wilderness by the very beloved he adores.

1.leaders of the homeland 2.favor, benevolence 3.given, bestowed

The favors bestowed by the leaders of the homeland, will be remembered by the dust of urdu’s wilderness.  This couplet critiques the so-called benevolence of national leaders. The poet sarcastically states that even the desolation surrounding urdu language will preserve the memory of their acts, whether good or ill.

1.pen-name 2.eye of disdain, scornful gaze 3.past grandeur, bygone glory

Never look at this with a scornful eye, O shaatir. the dust of the wilderness holds the bygone glory of settlements.  The poet reminds us that even desolate ruins hold the echoes of past greatness. It’s a call to respect history, even in its decayed state, as it carries the essence of humanity’s achievements.

The post urdu ke viiraane ki Khaak-gyaan siNgh shaatir 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/2025/09/gssh-nazdiik-the-maiKhaane-audio.mp3

Recitation

نزدیک  تھے  میخانے  ۔  گیان  سنگھ  شاطرؔ

۱

اِک  عمر  نہ  کر  پائے  جِس  کام  کو  فرزانے

اِک  کھیل  سمجھتے  ہیں  اُس  کو  ترے  دیوانے

۲

تھی  تیری  نگاہوں  میں  کیا  بات  خدا  جانے

دنیا  نے  بنائے  ہیں  جس  بات  کے  افسانے

۳

اتنا  تو  کرم  ہو  اب  اے  جوشِ  جنوں  تیرا

اِک  بار  تو  وہ  کہہ  دیں  کیا  حال  ہے  دیوانے

۴

جب  حُسنِ  سحر  جاگا  جب  دَورِ  خِرد  آیا

شہروں  میں  اٹھا  لائے  صحراؤں  کو  دیوانے

۵

اے  وادیِ  گُل  آخر  تعبیر  ہے  کیا  اِس  کی

کل  خواب  میں  دیکھے  ہیں  ویرانے  ہی  ویرانے

۶

تھے  دیر  و  حرم  دونوں  صدیوں  کی  مسافت  پر

کیا  کرتے  چلے  آئے  نزدیک  تھے  میخانے

۷

تفسیر  ہیں  بستی  کی  تقدیر  ہے  بستی  کی

تصویر  میں  بستی  کی  اُجڑے  ہوئے  ویرانے

۸

ملنے  کو  ملے  اُن  سے  سو  بار  مگر  شاطرؔ

وہ  ہم  کو  نہ  پہچانے  ہم  اُن  کو  نہ  پہچانے

नज़्दीक थे मयख़ाने – ग्यान सिंघ शातिर

१

एक उम्र न कर पाए जिस काम को फ़रज़ाने

एक खेल समझते हैं उस को तेरे दीवाने

२

थी तेरी निगाहों में क्या बात ख़ुदा जाने

दुनिया ने बनाए हैं जिस बात के अफ़्साने

३

इतना तो करम हो अब अए जोश-ए जुनूँ तेरा

एक बार तो वो कह दें क्या हाल है दीवाने

४

जब हुस्न-ए सहर जागा, जब दौर-ए ख़िरद आया

शहरों में उठा लाए सहराओं को दीवाने

५

अए वादी-ए गुल आख़िर ताबीर है क्या इस की

कल ख़्वाब में देखे हैं वीराने ही वीराने

६

थे दैर-ओ-हरम दोनों सदियों की मुसाफ़त पर

क्या करते चले आए, नज़्दीक थे मयख़ाने

७

तफ़्सीर हैं बस्ती की, तक़्दीर है बस्ती की

तस्वीर में बस्ती की उजड़े हुए वीराने

८

मिलने को मिले उन से सौ बार मगर शातिर

वो हम को न पहचाने, हम उन को न पहचाने

Click here for background and on any passage for word meanings and explanatory discussion. gyaan siNgh shaatir (1936-xxxx) hoshiarpur, punjab. He was from a rural agricultural background with no tradition of formal education. His father was annoyed with his desire for schooling and after he graduated from high school with high honours, threw him out of the house at 17. He walked to dehli where he worked as a construction labourer and graduated from the polytechnic college as a civil engineer. Hired by the government on dam construction projects he was sent to Moscow for further training and appointed (1962) as Executive Engineer in hyderabad, where he settled and called home. He started composing in the mid 1960s. In addition to a collection of rubaaii and Ghazal, he published a novel too. ratan panDorvi was his ustaad.

gyaan siNgh shaatir (1936-xxxx) hoshiarpur, punjab.  He was from a rural agricultural background with no tradition of formal education.  His father was annoyed with his desire for schooling and after he graduated from high school with high honours, threw him out of the house at 17.  He walked to dehli where he worked as a construction labourer and graduated from the polytechnic college as a civil engineer.  Hired by the government on dam construction projects he was sent to Moscow for further training and appointed (1962) as Executive Engineer in hyderabad, where he settled and called home.  He started composing in the mid 1960s.  In addition to a collection of rubaaii and Ghazal, he published a novel too.  ratan panDorvi was his ustaad.

1.lifetime 2.wise, learned

The task which the wise could not accomplish in a lifetime, your devoted lovers consider a mere game.  What the task was is not specified.  It is clear though that it is easy for love to do it while rataionalizing people would hesitate.  This highlights the power of love and passion to make the seemingly impossible effortless.  Said mohammed iqbal …

1.eyes, gaze, glance 2.legends, tales, fables

What was it, so powerful and enchanting, in the beloved’s gaze that it has given rise to countless legends and tales throughout the world, a mystery that only god knows.

1.grace, kindness, favour 2.passion 3.madness 4.condition, state

The poet/lover pleads with the intensity of his passion (which he credits with powers that shape his life); do at least one more favour, let the beloved ask, at least once, about the condition/state of her mad lover – if only to show a moment’s kindness.

1.beauty, excellence 2.magic, enchatment, fascination 3.awoke, was realized, appeared 4.era, age, times 5.wisdom, reason 6.city, urbanization 7.desert, wilderness

The appearance of the beauty/skill/excellence of fascination/creativity and the dawn of age of knowledge, the mad passionate ones brought the wilderness into urban settlements.  I am not sure what the symbolism of diivaane and sahraa is here, but I am speculating that diivaane are poets and sahraa is symbolic of mad passionate love.  I would welcome any thoughts on what this symbolizes/implies.

1.valley of flowers 2.interpretation of a dream 3.desolation, ruins

The poet has seen ruins and desolation in his dream last night.  He addresses the valley of flowers, and asks for the interpretation of his dream – like he is talking to himself and wondering what this might mean.  The implication is that he is afraid that this beautiful valley might turn into ruins.  Could this be a reflection of his experience as a dam builder, when he saw whole villages submerged and destroyed, suggesting a sense of foreboding or loss, even amidst beauty.

1.temple and mosque-symbols of conservative narrow-mindedness and exclusion 2.centuries 3.journey, distance 4.taverns – symbol of a liberal welcoming place

The is about the poet/seekers spiritual journey.  The temple and the mosque are both conservative places that exclude liberal thinking – they are out of reach, as if they are at a centuries long journey.  The tavern on the other hand is nearby and a welcoming place.  Thus, what else could the liberal thinkers do, but go to the tavern.

1.interpretation, explanation, meaning 2.settlement, neighbourhood 3.destiny 4.ruined 5.desolation, wilderness

The poet expresses a foreboding sense of ruination – the meaning of settlements, indeed the destiny of settlements is to turn into ruined wildernesses.  Is he talking about the natural cycle to building and decay or man-made disasters.

1.pen-name, taKhallus 2.recognize, know, understand

Here the unn could be the beloved or more likely any other human being or urbanized people in general.  We meet a hundred times for the sake of meeting but we seldom get to know each other – a theme of alienation and the inability to form a genuine, deep connection.

The post nazdiik th’e maiKhaane-gyaan siNgh shaatir 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/2025/09/gssh-roTi-ke-fasaane-audio.mp3

Recitation

روٹی  کے  فسانے  ۔  گیان  سنگھ  شاطرؔ

۱

اِک  سمت  مئے  عیش  کہ  بہتے  ہوئے  دھارے

اِک  سمت  بلکتے  ہوئے  اِفلاس  کے  مارے

۲

اِک  سمت  شب  و  روز  زر  و  سیم  کی  برسات

اِک  سمت  ہیں  روٹی  کے  لیے  پھیلے  ہوئے  ہات

۳

اِک  سمت  نفس  مستیِ  دولت  میں  شرابور

اِک  سمت  کلیجے  میں  غم  و  رنج  سے  ناسور

۴

اِک  سمت  دل  آویز  محبت  کے  ترانے

اِک  سمت  سلگتے  ہوئے  روٹی  کے  فسانے

۵

اِک  سمت  ہے  چہرے  پہ  مہکتا  ہوا  غازہ

اِک  سمت  ہے  دل  اپنی  امیدوں  کا  جنازہ

۶

اِک  سمت  اداؤں  میں  نفاست  ہی  نفاست

اِک  سمت  نگاہوں  میں  ہلاکت  ہی  ہلاکت

۷

اِک  سمت  جواں  شوخ  مچلتی  ہوئی  باہیں

اِک  سمت  لبِ  یاس  پہ  سہمی  ہوئی  آہیں

۸

افلاس  و  امارت  کی  یہ  تہذیب  کا  دھارا

طوفان  کی  زد  میں  نظر  آتا  ہے  کنارا

रोटी के फ़साने – ज्ञान सिंह शातिर

१

एक सम्त मय-ए ऐश के बहते हुए धारे

एक सम्त बिलकते हुए इफ़्लास के मारे

२

एक सम्त शब-ओ-रोज़ ज़र-ओ-सीम की बरसात

एक सम्त हैं रोटी के लिए फैले हुए हात

३

एक सम्त नफ़स मस्ती-ए दौलत में शराबोर

एक सम्त कलेजे में ग़म-ओ-रंज से नासूर

४

एक सम्त दिल-आवेज़ मुहब्बत के तराने

एक सम्त सुलगते हुए रोटी के फ़साने

५

एक सम्त है चेहरे पे महकता हुआ ग़ाज़ा

एक सम्त है दिल अपनी उमीदों का जनाज़ा

६

एक सम्त अदाओं में नफ़ासत ही नफ़ासत

एक सम्त निगाहों में हलाकत ही हलाकत

७

एक सम्त जवाँ शूख़ मचलती हुई बाहें

एक सम्त लब-ए यास पे सहमी हुई आहें

८

इफ़्लास-ओ-अमारत की ये तहज़ीब का धारा

तूफ़ान की ज़द में नज़र आता है किनारा

Click here for background and on any passage for word meanings and explanatory discussion. gyaan siNgh shaatir (1936-xxxx) hoshiarpur, punjab. He was from a rural agricultural background with no tradition of formal education. His father was annoyed with his desire for schooling and after he graduated from high school with high honours, threw him out of the house at 17. He walked to dehli where he worked as a construction labourer and graduated from the polytechnic college as a civil engineer. Hired by the government on dam construction projects he was sent to Moscow for further training and appointed (1962) as Executive Engineer in hyderabad, where he settled and called home. He started composing in the mid 1960s. In addition to a collection of rubaaii and Ghazal, he published a novel too. ratan panDorvi was his ustaad.

gyaan siNgh shaatir (1936-xxxx) hoshiarpur, punjab.  He was from a rural agricultural background with no tradition of formal education.  His father was annoyed with his desire for schooling and after he graduated from high school with high honours, threw him out of the house at 17.  He walked to dehli where he worked as a construction labourer and graduated from the polytechnic college as a civil engineer.  Hired by the government on dam construction projects he was sent to Moscow for further training and appointed (1962) as Executive Engineer in hyderabad, where he settled and called home.  He started composing in the mid 1960s.  In addition to a collection of rubaaii and Ghazal, he published a novel too.  ratan panDorvi was his ustaad.

1.direction, side 2.wine 3.luxury/pleasure 4.poverty, destitution.

On one side, there is an abundance of pleasure and luxury, likened to freely flowing streams of wine. On the other side, there are people stricken by extreme poverty, weeping and struggling. The nazm sets up the central theme of disparity.

1.direction, side 2.night and day 3.gold and silver

The contrast continues. One group experiences a constant shower of wealth, gold and silver, day and night. Meanwhile, another group extends their hands, begging for a mere piece of bread.

1.breath 2.intoxication 3.wealth 4.drenched, steeped in 5.liver, heart 6.sorrow and grief 7.festering sore, malignancy

One side is completely absorbed and intoxicated by their wealth and self-indulgence. The other, however, carries a deep, festering wound in their heart, caused by sorrow and pain.

1.enchanting, heart-capturing 2.songs 3.smoldering, burning slowly 4.tales, stories

The contrast shifts to culture and expression. On one side, there are enchanting songs of love and happiness. On the other, there are “tales of bread” that are not joyous, but smoldering. These are not just stories; they are narratives of hunger and suffering that burn with a silent, intense pain.

1.face 2.fragrant, scented 3.rouge 4.hopes, desires 5.funeral procession, coffin

This highlights the vanity of one world with its obsession with self-adornment and the complete loss of hope in the other. One side wears fragrant makeup, a symbol of beauty, luxury, and keeping up appearances. The other side’s heart carries the coffin of its hopes, signifying that their hopes and dreams are dead and gone.

1.mannerisms, gestures 2.refinement, sophistication 3.sight, gaze, glance 4.destruction, ruin, death

The contrast is now about demeanor. One group’s every gesture and mannerism exudes pure refinement and sophistication. In stark opposition, the eyes of the other group show nothing but ruin and destruction, reflecting a life of hopelessness and despair.

1.youthful, energetic 2.playful, mischievous 3.playful, restless 4.lips 6.despair 7.frightened, timid 8.sighs

This verse juxtaposes youthful vitality with utter despair. One side shows playful, restless arms, full of life and energy. The other side has ‘frightened sighs’ on the ‘lips of despair’, indicating a life where even a sigh is hesitant and filled with fear.

1.poverty and wealth 2.civilization, culture 3.stream, current 4.storm 5.range, strike, target 6.sight 7.shore, edge

This concluding couplet brings the poem’s message to a powerful climax. The vast difference between poverty and wealth is not just a social issue but a fundamental ‘current of civilization’.  This current, with its stark divisions, is so unstable that the ‘shore’, a symbol of peace and stability, appears to be the target of a devastating storm. It suggests that this deep-seated inequality is a dangerous situation that threatens the entire society.

The post roTi ke fasaane-gyaan siNgh shaatir 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/2025/09/gplm-mere-naGhmoN-se-hasiiN-tar-hoNge-audio.mp3

Recitation

میرے  نغموں  سے  حسیں  تر  ہوں  گے    ۔  گوپال  مِتّل

۱

تیری  تنقید  ہے  اے  دوست  بجا  اور  دُرُست

مجھ  کو  اِس  بات  سے  خود  بھی  کوئی  اِنکار  نہیں

۲

میرا  نغمہ  ہے  فقط  وقت  کی  آوازِ  نحیف

میرا  نغمہ  ہے  فقط  میرے  ہی  دل  کی  دھڑکن

اس  میں  موجود  نہیں  ہے  ابدیت  کا  جلال

اس  میں  شامل  ہی  نہیں  نورِ  ازل  کا  پرتو

۳

ایک  شاعر  ہوں  پیمبر  تو  نہیں  ہوں  اے  دوست

اک  مجھی  پر  تو  نہیں  ختم  سرودِ  ہستی

اک  مجھی  پر  تو  نہیں  رونقِ  دنیا  کا  مدار

سیلِ  نغمہ  تو  ہر  ایک  قلب  میں  آسودا  ہے

۴

جبرِ  ماحول  لگا  دے  نہ  اگر  مُہرِ  سُکُوت

ہر  گوالا  ہے  یہاں  کرشن  کنہیّا  پیارے

۵

دیکھ  ہر  لمحہ  نکھرتے  ہوئے  ماحول  کو  دیکھ

جبر  کے  داغ  ہر  اک  آن  مِٹے  جاتے  ہیں

اور  اُبھرتے  ہی  چلے  آتے  ہیں  دلکش  خد  و  خال

۶

یہ  ہر  اِک  لمحہ  نکھرتا  ہوا  ماحول  کا  حُسن

نغمۂ  شوق  کی  تطہیر  بھی  کر  ڈالے  گا

اِک  نئی  تان  نئے  ساز  کا  موجد  ہوگا

۷

بدلے  ماحول  کے  خوش  بخت  مُغنّی  کی  قسم

کل  کے  نغمے  مرے  نغموں  سے  حسیں  تر  ہوں  گے

मेरे नग़्मौं से हसीं-तर होंगे – गोपाल मित्तल

२

३

४

५

६

७

Click here for background and on any passage for word meanings and explanatory discussion. gopal mittal (1901-1993) migrated from lahore to dehli is 1948. Poet, editor, publisher, critic and much more. He has written eloquently about communal harmony, univeral love and Reason.

gopal mittal (1901-1993) migrated from lahore to dehli is 1948.  Poet, editor, publisher, critic and much more.  He has written eloquently about communal harmony, univeral love and Reason.

1.criticism 2.appropriate, valid 3.correct 4.myself 5.denial, refusal

Your criticism, my friend, is valid and correct, I myself do not deny this fact.  The poet acknowledges the validity of his friend’s critique with humility. This sets the tone of the poem as introspective and self-aware, highlighting the poet’s willingness to accept constructive criticism and look forward with hope at the change that is coming.

1.song, poem 2.only 3.weak, faint 4.present 5.eternity 6.glory, majesty 7.included 8.eternal light 9.reflection, image

My song is merely the faint voice of time; it is only the rhythm of my own heartbeat; it does not possess the majesty of eternity; it lacks even a reflection of the eternal light.  The poet reflects on the limitations of his work, humbly noting that his creations are finite i.e. relevant only to the times, and deeply personal. He contrasts the transient nature of his art with the grandeur of eternity, revealing an inner struggle with imperfection.

1.prophet 2.end, completed 3.melody 4.life 5.glory, beauty 6.dependence 7.flood 8.heart 9.at peace, also used for those who are dead and buried, here it is used to mean buried

I am a poet, not a prophet, my friend; the melody of existence does not end with me alone; the world’s beauty does not depend on me alone; a flood of songs is buried in every heart.  The poet distinguishes himself from divine messengers, emphasizing the universality of art. He acknowledges that creativity flows through every heart, suggesting suggesting that others may not have had a chance to let this flood manifest itself.

1.oppression 2.surroundings, circumstances 3.if 4.seal 5.silence 6.cowherd

The hindu god krishn, also known as krishn kanhaiyya was a cowherd and he is known as a magical flute player and songster.  If the oppression of circumstances does not silence voices; every cowherd here can become krishna, dear friend; this she’r celebrates the latent potential within everyone, asserting that oppressive environments suppress greatness. The imagery of every cowherd transforming into krishna signifies the divine power within ordinary individuals.

1.moment 2.freshen, grow, evolve 3.circumstance, condition 4.oppression 5.moment 6.erased 7.emerge 8.beautiful 9.features

See the beauty of conditions evolving every moment; the scars of oppression are getting erased with every passing moment, and charming new features continue to emerge.  The poet expresses optimism, observing the persistent transformation of society. He visualizes the fading of oppressive marks and the emergence of new, captivating aspects, symbolizing hope and progress.

1.moment 2.freshening, renewing, evolving 3.surroundings, world 4.song 5.desire, love 6.purification 7.melody 8.instrument, music 9.inventor, writer

This ever-evolving beauty of the world, will purify the songs of love as well.  It will invent new melodies with new instruments.  Here, the poet views change as an enhancer of art and human spirit. The idea of new tunes and instruments metaphorically represents innovation and renewal in thought and creativity.

1.changed, changing 2.surroundings, times 3.fortunate 4.singer 5.songs 6.more beautiful

I affirm/swear that by the fortunate singer of the changing times, tomorrow’s songs will be more beautiful than my songs.  The poet gracefully anticipates the evolution of art and acknowledges that future works will surpass his own. This demonstrates his belief in progress and his lack of ego, concluding the poem on a note of humility and hope.  Said sahir ludhianavi …

The post mere naGhmoN se hasiiN-tar hoNge-gopal mittal appeared first on UrduShahkar.