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/miqbal-tanhaaii-audio.mp3

Recitation

تنہائی  ۔  محمّد  اِقبال

۱

تنہائیِ  شب  میں  حزیں  کیا

انجم  نہیں  ترے  ہمنشیں  کیا

۲

یہ  رفعتِ  آسمانِ  خاموش

خوابیدہ  زمیں  جہانِ  خاموش

۳

یہ  چاند،  یہ  دشت  و  در،  یہ  کہسار

فطرت  ہے  تمام  نسترن  زار

۴

موتی  خوش  رنگ  پیارے  پیارے

یعنی  ترے  آنسوں  کے  تارے

۵

کِس  شئے  کی  تجھے  ہوس  ہے  ائے  دِل

قدرت  تری  ہم  نفس  ہے  ائے  دِل

तन्हाई – मोहम्मद एक़्बाल

१

तन्हाई-ए शब में हज़िं क्या

अंजुम नहीं तेरे हमनशीं क्या

२

ये रफ़’अत आसमान-ए ख़ामोश

ख़्वाबीदा ज़मीं, जहान-ए ख़ामोश

३

ये चाँद, ये दश्त ओ दर, ये कोहसार

फ़ित्रत है तमाम नास्तरन ज़ार

४

मोती ख़ुश रंग प्यारे प्यारे

यानी तेरे आंसुओं के तारे

५

किस शै की तुझे हवस है अय दिल

क़ुद्रत तेरी हम नफ़स है अय दिल

Click here for background and on any passage for word meanings and explanatory discussion. mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi. He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position. Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts.

mohammed iqbal (1877-1938) is one of the greatest, with his literary compositions, both in urdu and in faarsi.  He went through many phases in his thinking and writing – starting with an inclusive, liberal stance to a reactionary, hubristic position.  Sprinkled all over are self-reliance/Khudi, sufiyaana and socialist thoughts.

1.loneliness of the night 2.sorrowful 3.used here in the sense of “why” 3.stars 5.seated together, friends

Why are you sorrowful in the loneliness of the night (O, my heart).  Are not these stars your companions?  Why should you be lonely?

1.eminence, dignity 2.sleeping

The stature/dignity of this silent sky, this sleeping earth, this silent world (they are all your companions).

1.wilderness, uninhabited loneliness 2.”darra”-rift, valley 3.hills 4.nature 5.garden of white roses

This moon, this wilderness, these valleys and hills are as if all of nature is a field of white roses.  In full moonlight everything appears milky white.

1.good colour/nature, beautiful 2.meaning

These beautiful, sweet pearls i.e. your tears/stars (O, heart)

1.thing 2.greed, used here in the sense of yearning 3.nature 4.same breath i.e. harmonious

The poet/lover consoles his heart (himself).  Why are you so sad.  What is it that you yearn for.  Look at the stars, moonlight, beautiful hills and valleys, milky white rose-garden spread out before you … it is as if all nature is harmonious with you.  Why be sorrowful?

The post tanhaa’ii-mohammed iqbal 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/shs-usi-ki-bahaar-hai-audio.mp3

Recitation

اُسی  کی  بہار  ہے  ۔  شاہدؔ  صدیقی

۱

اے  باغباں  یہ  جبر  ہے  یا  اِختیار  ہے

مُرجھا  رہے  ہیں  پھول،  چمن  میں  بہار  ہے

۲

شاید  اِسی  کا  نام  غمِ  روزگار  ہے

وہ  مِل  گئے  تو  اور  بھی  دِل  بے  قرار  ہے

۳

میں  صاحبِ  چمن  ہوں  مجھے  اعتبار  ہے

شامِ  خزاں  کے  بعد  ہی  صبح  بہار  ہے

۴

رہبر  نے  قافلے  ہی  کو  مجبور  کہہ  دیا

اب  وہ  قدم  بڑھائے  جسے  اختیار  ہے

۵

کلیاں  ہیں  زرد  زرد،  فضائیں  ہیں  سرد  سرد

کچھ  لوگ  کہہ  رہے  ہیں  یہ  فصلِ  بہار  ہے

۶

یوں  تو  نہ  رُک  سکے  گا  ستم  کا  یہ  سِلسِلہ

جو  کُشتۂ  ستم  ہے  وہی  شرمسار  ہے

۷

دیکھی  ہیں  میں  نے  باغ  کی  وہ  حالتیں  کہ  اب

میرے  لئے  خزاں  کا  نہ  ہونا  بہار  ہے

۸

ثابت  ہوا  کہ  رونقِ  محفل  ہے  کوئی  اور

محفل  جمی  ہوئی  ہے  مگر  انتظار  ہے

۹

ہر  صاحبِ  جنوں  کا  گلستاں  پہ  حق  نہیں

جس  کا  لہو  بہا  ہے  اُسی  کی  بہار  ہے

उसी कि बहार है – शाहेद सिद्दीक़ी

१

अए बाग़बां ये जब्र है या एख़्तियार है

मुरझा रहे हैं फूल, चमन में बहार है

२

शाएद इसी का नाम ग़म-ए रोज़गार है

वो मिल गए तो और भी दिल बे-क़रार है

३

मैं साहेब-ए चमन हूं, मुझे ए’तेबार है

शाम-ए ख़िज़ां के बाद ही सुबह बहार है

४

रहबर ने क़ाफ़ेले को ही मज्बूर कह दिया

अब वो क़दम बढाए जिसे एख़्तियार है

५

कलियाँ हैं ज़र्द ज़र्द, फ़िज़ाएं हैं सर्द सर्द

कुछ लोग कह रहे हैं ये फ़स्ल-ए बहार है

६

यूँ तो न रुक सकेगा सितम का ये सिलसिला

जो कुश्ता-ए सितम है वही शर्मसार है

७

देखि हैं मैं ने बाग़ कि वो हालतें के अब

मेरे लिए ख़िज़ां का न होना बहार है

८

साबित हुआ के रौनक़-ए महफ़िल है कोई और

महफ़िल जमी हुई है मगर इन्तेज़ार है

९

हर साहेब-ए जुनूं का गुलिस्तां पे हक़ नहीं

जिस का लहू बहा है उसी कि बहार है

Click here for background and on any passage for word meanings and explanatory discussion. abdul matiin shahid siddiqui (1911-1962) hyderabad, India. Born in aagra but migrated to hyderabad in early childhood. Member of the Progressive Writers’ Association, socialist/communist, columnist, magazine editor and poet. He died very young, of complications due to heavy drinking. I recall only one misra that someone had composed as his obituary … apne kiye pe maut pashemaaN hai aajkal. His Ghazal range between political, conventional and sufiyaana. This one seems to be highly political.

abdul matiin shahid siddiqui (1911-1962) hyderabad, India.  Born in aagra but migrated to hyderabad in early childhood.  Member of the Progressive Writers’ Association, socialist/communist, columnist, magazine editor and poet.  He died very young, of complications due to heavy drinking.  I recall only one misra that someone had composed as his obituary … apne kiye pe maut pashemaaN hai aajkal.  His Ghazal range between political, conventional and sufiyaana.  This one seems to be highly political.

1.gardener, political leadership, god 2.force 3.free will 4.wilting 5.spring

The baaGhbaaN could be the political leadership and the baaGh could be the country/homeland, or the baaGhbaaN could be god and the baaGh the whole world.  This appears to be a protest against the deprivation suffered by some (or many) and the spring enjoyed by a few.  You call this the result of our own free will and not something that is forced down on us … some flowers are wilting while others enjoy the spring!

1.perhaps 2.pain, sorrow 3.daily life 4.restless, eager

The poet and his comrades have seen the beloved and know what she looks like … the beloved being the socialist system.  Having seen her and knowing how beautiful she is, they are all the more restless.  Perhaps this is what is called the pain/sorrow of living.

1.owner-used here to mean intimately familiar with 2.trust, belief 3.dry season 4.spring

I am intimately familiar with the garden.  I firmly believe that after the evening of autumn/dry season will lead to the dawn of spring – a harbinger of the socialist revolution.

1.guide, leader 2.caravan, traveling party 3.helpless, powerless 4.step forward 5.power

I am not sure, but in the historical context, this could be a criticism of the communist party leadership (in which the poet played an active role).  The leader has given up and declared that the traveling party is helpless, cannot do anything.  Let those step forward who can do something.

1.pale, colourless, wilted 2.breeze, winds 3.cold 4.season 5.spring

The buds are colourless and wilted.  Cold winds blow in every direction.  Yet, some have declared that spring has arrived.  Reminds me of faiz ahmed faiz …

1.oppession 2.continuation 3.victim of 4.shamed, guilty

This continuous oppression will not stop like this.  Those who are victims of oppression have been declared guilty.

1.conditions 2.dry season 3.spring

Conditions have been very bad, so bad that the mere absence of hopelessness (drought) has become like spring.

1.proven 2.brilliance, centre of attention 3.gathering 4.but 5.anticipation, waiting

‘raunaq-e mahfil’ could be the socialist revolution for which everyone is eagerly waiting.  Formal independence has arrived but the gathering (people) are still waiting.  This proves that the ‘raunaq-e mahfil’ was something else, not just formal independence.

1.possessor 2.passion 3.garden 4.rights (to power/ownership) 5.blood 6.winter

Every passionate lover of the garden does not have rights over it.  Those who spilt their blood own the rights to spring.

The post usii ki bahaar hai-shahid siddiqui 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/mz-dareecha-na-khula-audio.mp3

Recitation

دریچہ  نہ  کھُلا  ۔  مصطفےٰ  زیدی

۱

بجھ  گئی  شمع  حرم  بابِ  کلیسا  نہ  کھلا

کھل  گئے  زخم  کے  لب  تیرا  دریچہ  نہ  کھلا

۲

درِ  توبہ  سے  بگولوں  کی  طرح  گزرے  لوگ

ابر  کی  طرح  امڈ  آئے  جو  مے  خانہ  کھلا

۳

شہر  در  شہر  پھری  میری  گناہوں  کی  بیاض

بعض  نظروں  پہ  مرا  سوزِ  حکیمانہ  کھلا

۴

نازنینوں  میں  رسائی  کا  یہ  عالم  تھا  کبھی

لاکھ  پہروں  میں  بھی  دروازے  پہ  دروازہ  کھلا

۵

ہم  پری  زادوں  میں  کھیلے  شبِ  افسوں  میں  پلے

ہم  سے  بھی  تیرے  طلسمات  کا  عقدہ  نہ  کھلا

۶

ایک  اِک  شکل  کو  دیکھا  ہے  بڑی  حسرت  سے

اجنبی  کون  ہے  اور  کون  شناسا  نہ  کھلا

۷

ریت  پر  پھینک  گئی  عقل  کی  گستاخ  لبی

پھر  کبھی  کشف  و  کرامات  کا  دریا  نہ  کھلا

दरीचा न खुला – मुस्तफ़ा ज़ैदी

१

बुझ गई शम-ए-हरम बाब-ए-कलीसा न खुला

खुल गए ज़ख़्म के लब तेरा दरीचा न खुला

२

दर-ए-तौबा से बगूलों की तरह गुज़रे लोग

अब्र की तरह उमड आए जो मय-ख़ाना खुला

३

शहर-दर-शहर फिरी मिरी गुनाहों की बयाज़

बाज़ नज़रों पे मिरा सोज़-ए-हकीमाना खुला

४

नाज़नीनों में रसाई का ये आलम था कभी

लाख पहरों में भी दरवाज़े पे दरवाज़ा खुला

५

हम परी-ज़ादों में खेले शब-ए-अफ़्सूँ में पले

हम से भी तेरे तिलिस्मात का उक़्दा न खुला

६

एक इक शक्ल को देखा है बड़ी हसरत से

अजनबी कौन है और कौन शनासा न खुला

७

रेत पर फेंक गई अक़्ल की गुस्ताख़-लबी

फिर कभी कश्फ़-ओ-करामात का दरिया न खुला

Click here for background and on any passage for word meanings and explanatory discussion. zaidi-syed mustafa husain zaidi (1929-1970), was born in allahabad and migrated to pakistan. Started composing early – during high school. In allahabad wrote under the taKhallus – teGh allahabadi. Finished his BA in 1950, migrated to pakistan and completed his MA from lahore. Taught English in a college in karachi and later at peshawar university. Joined the Civil Service in 1954, serving in high ranking positions in several places. He was sent to England in 1968; also traveled to the US and returned to pakistan in 1969. For reasons unknown (to me) he was suspended from his post and later dismissed. He died in controversial circumstances.

zaidi-syed mustafa husain zaidi (1929-1970), was born in allahabad and migrated to pakistan.  Started composing early – during high school.  In allahabad wrote under the taKhallus – teGh allahabadi.  Finished his BA in 1950, migrated to pakistan and completed his MA from lahore.  Taught English in a college in karachi and later at peshawar university.  Joined the Civil Service in 1954, serving in high ranking positions in several places.  He was sent to England in 1968; also traveled to the US and returned to pakistan in 1969.  For reasons unknown (to me) he was suspended from his post and later dismissed.  He died in controversial circumstances.

1

1.mosque 2.door 3.church 4.wound 5.lips 6.windows

mustafa zaidi is not exactly known for sufi inclinations but this she’r has sufi undertones.  The lamp of the mosque has been put out and door to the church is closed … he has no access to the mysteries of god.  His wounds (spiritual thirst??, inner struggle) have opened up but your (god/beloved?) window did not open.  Perhaps there is no sufi undertone at all.  It is just that the poet finds no solace in conventional religion and rituals – his wounds are open but there is no help forthcoming.  Reminds me of maKhdoom …

gul haiN qindil-e haram, gul haiN kaleesa ke chiraaGh

and also of faiz …

lams-e jaanana liye,masti-e paimana liye

1.door of repentence, temple/mosque/church 2.whirlwind 3.clouds 4.rise, climb, gather 5.tavern

Tavern is a symbol of a liberal, accepting, welcoming place.  When the door to the tavern opened up, people gathered in droves, like gathering clouds, but they rushed past the door of repentence like a whirlwind.

1.book, account 2.a few, selected 3.burning, pain, sorrow 4.wise 5.opened up, revealed itself, was understood

The poet’s account of sins could well be his collection of verse (or could be an account of his sins listed by others).  It has spread from city to city.  But only a few selected/discerning eyes could understand the hidden meaning of his pain/wisdom.

1.young women, damsels 2.access 3.state, condition 4. guard

At one time (perhaps because of his poetic fame) he had access to any number of desirable young women.  Doors opened for him, inspite of many guards/conventional hurdles.  This implies that such is no longer the case.  The poet leaves us to guess why conditions may have changed.

1.children of fairies, fairies 2.night of 3.magic, enchantment 4.mystery 5.knot, puzzle

We were raised among fairies and enchantment (perhaps meaning that he heard such stories growing up).  But I still could not solve your mystery.  The ‘I’ of course is the poet/lover and the ‘you’ can be the beloved or god.

1.face 2.longing, eagerness 3.stranger 4.familiar, friend

The poet/lover has looked at each face carefully and with longing, but he still could not figure out who was friend and who was not.

1.wisdom, intelligence 2.impertinent talk, pride 3.knowledge, revelation, manifestation and miracles 4.sea, ocean

The poet has proud of his intellect and reasoning.  He has spoken in overconfidence, impertinently … gustaaKh-labi.  His impertinence has brought him to the sandy shore of the vast sea of knowledge and miracles and thrown (abandoned) him there.  But the sea of knowledge and revelation does not open up for him.  Mysteries remain unsolved.  The poet continues in agony – perhaps in the same way as in the first she’r ‘koii dareecha na khula’.

The post dareecha na khula-zaidi-syed mustafa husain 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/2025/08/sraas-agar-ilhaam-nahiiN-audio.mp3

Recitation

اگر  اِلہام  نہیں  ۔  سادھو  رام  آرزو  سہارنپوری

۱

اللہ  جسے  چاہے  بخشے  یہ  جِنس  متاعِ  عام  نہیں

اِک  درد  سے  بڑھ  کر  دنیا  میں  فِطرت  کا  کوئی  اِنعام  نہیں

۲

پرواز  اگر  محدود  نہیں  اور  سعیِ  طلب  بھی  خام  نہیں

وہ  کون  سا  جلوہ  ہے  اے  دل  جو  تیرے  لئے  پیغام  نہیں

۳

مانا  کہ  وہ  کیف  و  نور  نہیں  وہ  صبح  نہیں  وہ  شام  نہیں

خود  حُسن  پہ  بھی  اِلزام  ہے  یہ  کچھ  عشق  ہی  پر  الزام  نہیں

۴

مستی  ہے  مگر  بے  رنگ  نہیں  صہبا  ہے  مگر  بے  نام  نہیں

اِس  دور  کے  پینے  والوں  کو  اب  تک  بھی  شعورِ  جام  نہیں

۵

کہہ  دو  یہ  ہوس  کے  بندوں  سے  کیوں  عشق  کو  رسوا  کرتے  ہو

ہر  چہرے  کا  پرتو  صبح  نہیں  ہر  زلف  کا  سایہ  شام  نہیں

۶

جب  سے  یہ  ہوا  ہے  دل  کو  یقیں  تو  اور  نہیں  میں  اور  نہیں

اے  عشق  کی  قسمت  کے  مالک  کچھ  مجھ  کو  غمِ  انجام  نہیں

۷

محرومِی  عشق  کی  منزل  کو  اے  بے  خبرو  تم  کیا  جانو

اِس  راہ  کے  چلنے  والے  اگر  ناکام  بھی  ہیں  ناکام  نہیں

۸

ہر  لفظ  ہے  اک  سِرّ  معنی  ہر  شعر  ہے  اک  کنز  معنی

اے  آرزو  تیری  فکرِ  سخن  پھر  کیا  ہے  اگر  اِلہام  نہیں

अगर इल्हाम नहीं – साधू राम आर्ज़ू सहारनपुरी

१

अल्लाह जिसे चाहे बख़्शे, ये जिंस मता-ए आम नहीं

एक दर्द से बढ़ कर दुनिया में, फ़ितरत का कोई इन’आम नहीं

२

परवाज़ अगर महदूद नहीं, और सई-ए तलब भी ख़ाम नहीं

वो कौन सा जल्वा है अए दिल, जो तेरे लिये पैग़ाम नहीं

३

माना के वो कैफ़-ओ-नूर नहीं, वो सुबह नहीं वो शाम नहीं

ख़ुद हुस्न पे भी इल्ज़ाम है ये, कुछ इश्क़ ही पर इल्ज़ाम नहीं

४

मस्ती है मगर बे-रंग नहीं, सहबा है मगर बे-नाम नहीं

इस दौर के पीने वालों को, अब तक भी श’ऊर-ए जाम नहीं

५

कह दो ये हवस के बंदों से, क्यूं इश्क़ को रुस्वा करते हो

हर चेहरे का परतौ सुबह, नहीं हर ज़ुल्फ़ का साया शाम नहीं

६

जब से ये हुआ है दिल को यक़ीं, तू और नहीं मैं और नहीं

अए इश्क़ की क़िस्मत के मालिक, कुछ मुझ को ग़म-ए अंजाम नहीं

७

महरूमी-ए इश्क़ की मंज़िल को, अए बे-ख़बरो तुम क्या जानो

इस राह के चलने वाले अगर, नाकाम भी हैं नाकाम नहीं

८

हर लफ़्ज़ है एक सिर्र-ए म’आनी, हर शेर है एक कंज़-ए म’आनी

अए आर्ज़ू तेरी फ़िक्र-ए सुख़न फिर क्या है अगर इल्हाम नहीं

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

saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata.  He was a shaagird of faani badayuni.  There are at least two collections of Ghazal and nazm.  There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.

1.grant, bestow 2.commodity 3.possession, wealth 4.common 5.pain 6.nature, god 7.reward, gift

A straightforward translation of the first misra would read – this commodity is not a common possession; god grants it to whoever he wants.  What ‘this commodity’ is, is not defined and it is implied that god grants it to a selected few.  Similarly, the second misra reads – there is no gift of nature/god that is greater than this pain.  What ‘this pain’ is not defined.  It could be the same as ‘this commodity’.  In sh’er 8, the poet talks about ilhaam – inspiration (of poetry).  If we carry that idea forward, then ‘this commodity’ could be the inspiration/ability to write and ‘this pain’ could be the pain/urge to compose poetry.  Alternatively, in a sufiyaana interpretation ‘this pain’ could be the pain of universal love.  Not everyone has it; it is bestowed on a select few; there is no greater gift than this, that nature can give.

1.flight, soaring 2.limited, constrained 3.effort 4.desire, seeking 5.incomplete, defective 6.manifestation, sight 7.message

If the flight (of aspiration, imagination, feelings) is not constrained; if the effort of the desire to seek/understand is not defective/weak, then O heart, there is no manifestation/scene in which you cannot read ‘the message’.  What is the message that you are supposed to see – universal love, divine glory, one-ness of creation and creator; all celebrated ideas of sufiism and mysticism.   This verse speaks to the limitless potential of the human spirit. If your aspirations are boundless and your search for truth is earnest and well-developed, then there is no manifestation of beauty or truth in the world that won’t hold a message for you. It implies that a sincere seeker will find meaning everywhere.

1.agree, accept 2.ecstasy, bliss 3.light (of love/enlightenment) 4.self 5.beauty, beloved 6.accusation, blame 7.love, lover

In urdu poetic tradition husn-o-ishq – beauty and love; beloved and lover are often used to imply the divine and devotee; the worshipped and worshipper.  The poet/devotee acknowledges that his devotion is not mature enough to always bring a sense of divine ecstasy or spiritual light.  These are not the ‘days and nights’ that used to be.  But he suggests that the fault doesn’t lie solely with the lover’s/devotee’s passion/devotion but also with the beauty/beloved/divine itself which does not reveal itself in full glory.  The one question that remains to be answered is – what were the days and nights that used to be (we cannot treat that phrase as just a filler).  This may be a stretch, but it could be a hint of the time when the devotee was one with the divine before he was separated and given human form.  In the former state, when he was united with the divine, he was in complete/perfect ecstacy.  Not any more; so, the fault can also lie with the act of separation.   Ghalib too says …

1.intoxication, ecstasy 2.colourless, without any good qualities 3.wine 4.nameless, ordinary 5.period, times, era 6.consciousness, knowledge, etiquette 7.cup of wine

There are two quite different intrepretations possible depending on what we take sahba and jaam to symbolize.  Let us start with the simpler concept.  sahba is the poet’s poetry and jaam is his ash’aar.  He concedes that they may not give full intoxication, but it is not by any means a nameless/ordinary wine.  It is that the people of this era do not fully appreciate his poetry.  Alternatively, sahba could symbolize love of the divine.  This love is not entirely ordinary, it is not colourless/without qualities, and it does impart some intoxication/ecstasy.  It is that the people of this era are not sophisticated enough to fully experience even this level of ecstasy/sufi trance.

1.lust, greed 2.slaves 3.disgraced, dishonored 4.face 5.reflection, glow 6.curls of hair

The poet separates those who engage in lust/greed/materialism from those who are sincere lovers/devotees.  The lustful ones can make false declarations of love, exercise hypocritical rituals of worship.  This brings disrepute and dishonour to true love and devotion.  He cautions everyone to distinguish between hypocrisy and sincerity by suggesting that not every beautiful face reflects the light of true dawn (sincerity, spiritual knowledge) and not every dark/curly hair provides the spiritual solace of evening.

1.certainty, conviction 2.different 3.love, lover, devotee 4.fate, destiny 5.owner, decider 6.sorrow, discomfort, fear 7.outcome, end

This couplet expresses a profound state of spiritual unity. The poet has reached a conviction in his heart that there is no separation between himself and the divine or the beloved.  He then addresses the divine as the owner/decider of the fate of the devotee and declares that ever since reaching this conviction/realization he is not afraid of his fate in the afterlife.  He looks for union with the divine/beloved.

1.deprivation 2.love – implied defective/incomplete devotion 3.destination 4.unaware, ignorant 5.path 6.unsuccessful

The poet/seeker challenges those who consider lovers/devotees to have failed in their spirituality.  He says that deprivation of union with the beloved because of inadequate or less that the most sincere love is not to be disdained.  O ignorant ones, how can you realize the pleasure of treading this path.  The implication is that even if the seekers/devotees are unsuccessful, they are not really unsuccessful because their reward is their effort.

1.every word 2.secret, hidden 3.meaning 4.treasure 5.pen-name, taKhallus 6.thought, process 7.poetry 8.if 9.divine inspiration

The poet claims that every word he writes contains hidden meanings/metaphors, and every verse is a treasure of meaning.  O aarzuu what is your thought process of creating poetry if it isn’t divine inspiration.  He suggests that the depth and richness of his work are evidence of its divine origin.  Said Ghalib …

The post agar ilhaam nahiiN-saadhu raam aarzu saharanpuri 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/2025/08/jpr-jo-na-baar-baar-hota-audio.mp3

Recitation

جو  نہ  بار  بار  ہوتا  ۔  جمنا  پرشاد  راہیؔ

۱

یہ  نفس  نفس  نہ  ہوتا  نہ  یہ  قِسط  وار  ہوتا

کسے  مرگ  بارِ  جاں  تھا  جو  نہ  بار  بار  ہوتا

۲

مرے  سینے  میں  بھی  دل  ہے  مجھے  اعتبار  ہوتا

کوئی  تیر  میرے  دل  کے  اگر  آر  پار  ہوتا

۳

شبِ  غم  دوکانِ  دل  پر  یہی  کاروبار  ہوتا

کبھی  ہِجر  نقد  ہوتا  کبھی  غم  اُدھار  ہوتا

۴

سرِ  دشتِ  دل  نہ  آتیں  جو  یہ  سر  پھری  ہوائیں

نہ  بگولے  سر  اُٹھاتے  نہ  کہیں  غبار  ہوتا

۵

جو  خطابِ  سروری  ہے  تو  صدائے  سرد  کیا  ہے

تجھے  آسماں  سمجھتے  جو  سخن  شرار  ہوتا

۶

متضاد  راستوں  سے  نئے  زاویے  نکلتے

مجھے  اپنی  گمرہی  پر  اگر  اعتبار  ہوتا

۷

جو  مکرّر  آ  نہ  جاتے  تری  چاہتوں  کے  موسم

نہ  یہ  زخم  پھول  ہوتے  نہ  یہ  غم  بہار  ہوتا

۸

نہ  گمان  ہاتھ  چھوڑا  نہ  یقیں  نے  رہبری  کی

تجھے  پالیا  تھا  میں  نے  اگر  اعتبار  ہوتا

۹

دمِ  آخرِ  تماشا  غمِ  جاں  نزاعِ  ہستی

کوئی  کھیل  جانتے  ہم  تُو  جو  غم  گُسار  ہوتا

जो न बार बार होता – जमना प्रसाद राही

१

२

३

४

५

६

७

८

९

Click here for background and on any passage for word meanings and explanatory discussion. jamna prashaad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi. He has a whole collection in the style of Ghalib called ‘baazgasht-e Ghalib’. This Ghazal in the style of Ghalib’s ‘visaal-e yaar hota’ is linked to ‘Ghalib naqsh-e qadam’. Many of his Ghazal are extremely difficult to interpret. ‘raahi’ takes himself seriously as a ‘return-baazgasht-echo of Ghalib’ and makes his ash’aar difficult to understand like the complaint about Ghalib voiced by aish dehlavi ‘magar un ki zabaaN vo aap samjheN ya Khuda samjhe’.

jamna prashaad raahi (1940-2017), aligaRh.  Sahitya Akademi, UP, awardee.  President, Progressive Writers’ Association.  He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi.  He has a whole collection in the style of Ghalib called ‘baazgasht-e Ghalib’.  This Ghazal in the style of Ghalib’s ‘visaal-e yaar hota’ is linked to ‘Ghalib naqsh-e qadam’.  Many of his Ghazal are extremely difficult to interpret.  ‘raahi’ takes himself seriously as a ‘return-baazgasht-echo of Ghalib’ and makes his ash’aar difficult to understand like the complaint about Ghalib voiced by aish dehlavi ‘magar un ki zabaaN vo aap samjheN ya Khuda samjhe’.

1.breath, moment of life 2.in installments, in parts 3.death 4.burden of the soul/life 5.repeatedly

Let us start with the second misra.  Would death have been a burden on the soul, if it had happened just once.  The implicit answer is – of course not.  Death is a burden because it happens every time … you die in installments.  Said Ghalib …

With that let us turn to the first misra.  This breath would not have been a breath i.e., this life would not have been a life i.e., this life would not have been sustained, if it had not been qist-vaar – meted out breath by breath and piece by piece.  This is exactly opposite to what the poet feels about death.

In an alternative perspective, the she’r presents a unified philosophical view: Life is an installment plan of breaths, and death is an installment plan of sorrows. The two processes are fundamentally linked. The burden of life is the process of living, which is also the process of slowly dying. The she’r isn’t just saying death is a burden because it happens in installments; it’s saying that life itself – the very thing that keeps us alive – is the slow, relentless, and burdensome process of dying in installments. The pain of death isn’t just in the final moment, but in every moment leading up to it.  Ghalib again …

na ho marna to jiine ka maza kya

1.trust, confidence 2.arrow 3.through and through

The poet/lover does not have confidence that he has a heart in his bosom because he has not experienced any arrow piercing his heart through and through.  Perhaps this means that he has not experienced true love – if only he had trust, in his own emotions or the reality of pain, he might believe there is a heart in his chest too. The absence of a clean, piercing wound makes him doubt the authenticity of his own suffering.

1.business, trade 2.separation 3.cash, immediate 4.on credit, deferred

In the night of sorrow, the heart becomes a shop where only grief is traded; there is no joy. Sometimes the pain of separation is dealt with immediately (cash), sometimes sorrow lingers like debt.

1.head, beginning 2.wilderness 3.headstrong, reckless 4.can also mean love, desire, longing 5.whirlwinds 6.dust, chaos

havaa’eN is used here to mean love and longing and sar-phirii havaa’eN means persistent, headstrong desire.  Thus, persistent love has come to the wilderness of his heart.  If it had not come, then there wouldn’t be dust storms, and the landscape might’ve remained calm. A metaphor for emotional turmoil stirred up by his obstinacy in love.  This is a very clever use of the word havaa and allows us to interpret the she’r in a literal sense, where havaa means ‘wind’ but also in a figurative sense where it means love and longing.

1.title, address 2.leadership, supremacy 3.voice 4.cold, unimpassioned tone 5.sky, elevated, respected 6.speech, poetry 7.spark, fire metaphor for passion

If your speech claims leadership, why is it so uninspired/insipid? Had we truly believed you were like the sky – vast and noble – your words would have sparked like fire/passion.  As opposed to this, Ghalib said …

yeh masaa’el-e tasavvuf, yeh tera bayaan Ghalib

tujhe ham valii samajhte, jo na baada-Khwaar hota

1.contradictory, opposing 2.angles, perspectives 3.being lost, deviation 4.trust, confidence

New perspectives arise from contradictory paths, had the poet trusted even in his own search (even if he might feel lost), perhaps those paths could’ve led somewhere. A philosophical view on the value of doubt and daring to take detours.

1.repeatedly, again and again 2.wounds 3.spring, blossoming

If the seasons of your love hadn’t returned again and again, these wounds wouldn’t have become flowers, and this sorrow wouldn’t feel like spring. Pain, through recurrence, transforms into beauty – a deeply sufiaana thought.

1.suspicion, doubt 2.certainty, belief, confidence 3.guidance 4.trust

Neither doubt let go, nor did confidence/belief guide. Had the poet/seeker trusted (either one), he might have truly found ‘you’; ‘you’ could be the beloved, truth, god, or even self. The poet is stuck between skepticism and faith or between self-doubt and self-confidence, paralyzed by lack of conviction.

1.moment 2.final, ending, death 3.spectacle, attractions 4.sorrow of the soul/life 5.struggle, conflict 6.existence, life 7.companion in sorrow, one who consoles

The spectacle of the moment of death, the sorrows of life, the struggle for existence, would all have been child’s play, if you had been my companion.

The post jo na baar-baar hota-jamna parshaad raahi 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/2025/08/kgm-mujhe-eKhtiyaar-hota-audio.mp3

Recitation

مجھے  اختیار  ہوتا  ۔  کرشن  گوپال  مغمومؔ

۱

اگر  اپنے  دل  پہ  کچھ  بھی،  مجھے  اختیار  ہوتا

مرا  درد  میری  صورت،  سے  نہ  آشکار  ہوتا

۲

تری  زلفِ  عنبریں  سے،  جو  کہیں  دو  چار  ہوتا

مرا  ہر  نَفَس  یقیناً  نَفَسِ  بہار  ہوتا

۳

کبھی  اپنی  رو  میں  یوں  بھی،  میں  ترانہ  بار  ہوتا

یہ  جہاں  جہاں  نہ  ہوتا،  کوئی  نغمہ  زار  ہوتا

۴

مرے  سازِ  دل  کے  پردے،  کبھی  جھنجھنا  نہ  اُٹھتے

مری  ہر  اُمیدِ  دل  کا،  نہ  اگر  فشار  ہوتا

۵

ہے  بہار  اور  وحشت،  میں  کوئی  تو  ربط  ورنہ

گُل  و  لالہ  کا  نہ  دامن،  کبھی  تار  تار  ہوتا

۶

وہ  مرے  سوا  کسی  کو،  نہ  کبھی  نظر  میں  لاتے

مجھے  ایسا  عشق  ہوتا،  مجھے  اِتنا  پیار  ہوتا

۷

مجھے  سر  پہ  خود  بٹھاتے،  مرے  راستے  کے  کانٹے

مرا  ہمسفر  جو  کوئی  گلِ  نو  بہار  ہوتا

۸

تری  رحمتوں  کا  منشا،  مرے  دل  نے  خوب  پایا

نہ  گناہگار  ہوتا،  تو  گناہگار  ہوتا

۹

مرے  سازِ  دل  سے  آتیں،  تری  دل  نشیں  نوائیں

مرا  شاہکار  یعنی،  ترا  شاہکار  ہوتا

۱۰

مرے  دل  کی  دھڑکنیں  بھی،  مرا  ساتھ  چھوڑ  جاتیں

مری  بے  قراریوں  کو  جو  کبھی  قرار  ہوتا

۱۱

جو  اِدھر  بھڑک  رہی  تھی،  وہی  آگ  اُدھر  سُلگتی

نہ  مجھے  قرار  ہوتا،  نہ  اُنہیں  قرار  ہوتا

۱۲

میں  نظر  سے  دور  مغمومؔ،  اُنہیں  ایک  پل  نہ  رکھتا

جو  ذرا  بھی  اپنے  دل  پر،  مجھے  اختیار  ہوتا

मुझे एख़्तियार होता – क्रिष्ण गोपाल मग़्मूम

१

अगर अपने दिल पे कुछ भी, मुझे एख़्तियार होता

मेरा दर्द मेरी सूरत, से न आश्कार होता

२

तेरी ज़ुल्फ़-ए अम्बरीं से, जो कहीं दो चार होता

मेरा हर नफ़स यक़ीनन, नफ़स-ए बहार होता

३

कभी अपनी रौ में यूं भी, मैं तराना-बार होता

ये जहां जहां न होता, कोई नग़्मा-ज़ार होता

४

मेरे साज़-ए दिल के परदे कभी झुंजुना न उठते

मेरी हर उमीद-ए दिल का, न अगर फ़िशार होता

५

है बहार और वहशत, में कोई तो रब्त वरना

गुल ओ लाला का न दामन, कभी तार तार होता

६

वो मेरे सिवा किसी को, न कभी नज़र में लाते

मुझे ऐसा इश्क़ होता, मुझे इतना प्यार होता

७

मुझे सर पे ख़ुद बिठाते, मेरे रास्ते के कांटे

मेरा हमसफ़र जो कोई, गुल-ए नौ-बहार होता

८

तेरी रहमतौं का मंशा, मेरे दिल ने ख़ूब पाया

ना गुनाहगार होता, तो गुनाहगार होता

९

मेरे साज़-ए दिल से आतीं, तेरी दिल-नशीं नवाएं

मेरा शाहकार यानी, तेरा शाहकार होता

१०

मेरे दिल की धढकनें भी मेरा साथ छोढ जातीं

मेरी बे-क़रारियौं को, जो कभी क़रार होता

११

जो इधर भढक रही थी, वही आग उधर सुलगती

न मुझे क़रार होता, न उन्हें क़रार होता

१२

मैं नज़र से दूर मग़्मूम, उन्हें एक पल न रखता

जो ज़रा भी अपने दिल पर, मुझे एख़्तियार होता

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

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

1.control, authority 2.face, looks 3.evident, visible

If I had had any control over my heart, then my pain (of love) would not have been evident from my face/appearance.  The implication is that he has no control over his heart/love and everyone can see that he is suffering.

1.hair 2.amber, fragrant 3.come face to face with 4.breath 5.certainly 6.spring blooms

do-chaar hona is an expression literally meaning eyes looking into eyes (two making four).  It is used to mean encounter or come face to face with.  Thus, if my breath were ever to encounter the fragrance of your hair, then every breath of mine would be fragrant like spring blooms.

1.flow, trend 2.song-raining, singing 3.world 4.song garden

If ever in my flow, I were to keep singing, then this world would not have been like it is, it would have been a garden of songs.

1.musical instrument 2.musical segment, movement 3.reverberate 4.hope, desire 5.break, tear

The music of my heart would never have risen with reverberation, unless the hopes and aspirations of my heart had not been torn apart i.e., it is the pain of dashed hopes, unrequited love that motivates the songs of his heart-his poetry.

1.spring 2.madness, intense p[assion 3.connection, relationship 4.otherwise 5.rose 6.tulip 7.hem of the garment 8.shredded

The shedding of the petals of the rose and the tulip is described as the shredding of the hem of the garment and this is attributed to the intensity of passion like majnuN shredding his collar and his garments.  Thus, there must be a connection between spring (when rose and tulip bloom) and madness.  Otherwise, they would not have shred their garment.

1.except for 2.nazar meN laana think of someone/something as worthwhile

This is either an expression of a deeply felt desire or an ‘if-then’ statement.  The voh in the first misra refers to the beloved.  I wish that I had such pure and intense love that the beloved would never even have looked at anyone else – or – if I had had an intense and pure love, then the beloved would not have considered anyone else worth her while.

1.sar pe biThaana to take very good care of, to regard highly 2.companion 3.rose 4.newly blossomed

Normally thorns along the path would prick and cause the feet to bleed.  But if the beloved (gul-e nau-bahaar newly blossomed rose) had been his companion, then the thorns along the way themselves would have taken good care of him.

1.kindness, forgiveness 2.intent, purpose 3.very well 4.sinner

I very well understand the purpose of your benevolence.  I would have been a sinner, had I not sinned i.e., by not sinning I would have defeated the purpose of your benevolence.  panDit anand narain mulla writes …

1.musical instrument, music 2.heart capturing 3.sounds 4.masterpiece

The music of my heart would have been the heart-capturing sound of your singing.  In other words, your masterpiece would have been my masterpiece.  This also can be interpreted as an expression of a wish or an if-then statement.

1.beating, pulsations 2.restlessness 3.peace of mind, comfort

Restlessness in pain of love is an essential part of the lover’s life.  If his restlessness were ever to be changed into comfort/peace then his heart would stop beating.

1.flare up 2.burn 3.tranquility, peace

That which flares up here, if the same fire were to burn there, then neither would I have had any peace of mind, nor would she i.e., if the same fire of love were burning in both hearts, then neither the beloved nor the lover would have had any peace of mind.

1.sight 2.pen-name 3.moment 4.even a little 5.control

O maGhmoom, I would not have let her out of my sight even for a moment, if I had had even a little control over my heart i.e., the lover has no control over his heart and if were to see the beloved, he would go stark raving mad.  Since he has no such control, he does not keep her within sight.

The post mujhe eKhtiyaar hota-krishn gopal maGhmum appeared first on UrduShahkar.

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

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Recitation

دستِ  دعا  اُٹھائے  کیوں  ۔  مرزا  واجد  حسین  یاسؔ  یگانہؔ  چنگیزی

۱

آہ  یہ  بندۂ  غریب  آپ  سے  لَو  لگائے  کیوں

آ  نہ  سکے  جو  وقت  پر  وقت  پہ  یاد  آئے  کیوں

۲

دوست  کے  اِنتظار  میں  دوست  کو  نیند  آئے  کیوں

بوئے  اُمید  پاتے  ہی  رنگ  بدل  نہ  جائے  کیوں

۳

مُژدۂ  مرگِ  نوجواں  آج  ہی  کیا  ضرور  تھا

آج  تو  دن  ہے  عید  کا  آج  قیامت  آئے  کیوں

۴

کلمہ  پڑھوں  تو  کیوں  پڑھوں  سب  کی  نظر  پہ  کیوں  چڑھوں

یادِ  خدا  تو  دل  سے  ہے  دل  سے  زباں  تک  آئے  کیوں

۵

لاکھ  عِتاب  کا  جواب  ایک  خلوصِ  بندگی

چینِ  جبینِ  دوست  کو  دھیان  میں  کوئی  لائے  کیوں

۶

اپنے  خیال  میں  ہے  خوش  دل  کی  ضدیں  تو  دیکھیے

آپ  سے  دور  کیوں  رہے  آپ  کے  پاس  جائے  کیوں

۷

خواب  و  خیال  سے  ہو  پاک  نیند  وہی  ہے  میٹھی  نیند

نقشِ  خیالِ  نیک  و  بد  نیند  میں  رنگ  لائے  کیوں

۸

عیب  سے  خالی  کون  ہے  حسنِ  دل  سے  پوچھیے

اہلِ  نظر  کے  سامنے  آنکھ  جھپک  نہ  جائے  کیوں

۹

منہ  جو  ذرا  اُتر  گیا  اور  بھی  گُل  میں  گل  کِھلا

یوں  ہی  بقدرِ  ذائقہ  حسن  بھی  غم  نہ  کھائے  کیوں

۱۰

دید  کی  التجا  کروں  تشنہ  ہی  کیوں  نہ  جان  دوں

پردۂ  ناز  خود  اُٹھے  دستِ  دعا  اُٹھائے  کیوں

۱۱

بھول  بھی  جا  بُھلا  بھی  دے  یاد  نہ  کر  خدا  کو  مان

تیری  زباں  پہ  بار  بار  نامِ  یگانہؔ  آئے  کیوں

दस्त-ए दुआ उठाए क्यूं – मिर्ज़ा वाजिद हुसैन यास यगाना चंगेज़ी

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. mirza vaajid husain yaas yagaana changezi (1884-1956), azimabad/paTna. Early pen-name ‘yaas’ (despair) and later ‘yagaana’ (unmatched, unique). Egotistical, uncompromising, brusque and acerbic, he did not get along with fellow poets. For some reason he cast himself as a critic of Ghalib. He got a booklet published in which there is a lengthy preface critical of Ghalib and of his many admirers, followed by many rubaaii deriding Ghalib. But he was courageous enough to make controversial statements about religious belief and was attacked by a mob, made to ride a donkey through town, sitting backwards, with his face blackened. This Ghazal is linked to ‘koii hameN sataae kyuN’ under Ghalib naqsh-e qadam on the Theme Index page.

mirza vaajid husain yaas yagaana changezi (1884-1956), azimabad/paTna. Early pen-name ‘yaas’ (despair) and later ‘yagaana’ (unmatched, unique).   Egotistical, uncompromising, brusque and acerbic, he did not get along with fellow poets. For some reason he cast himself as a critic of Ghalib.  He got a booklet published in which there is a lengthy preface critical of Ghalib and of his many admirers, followed by many rubaaii deriding Ghalib. But he was courageous enough to make controversial statements about religious belief and was attacked by a mob, made to ride a donkey through town, sitting backwards, with his face blackened.  This Ghazal is linked to ‘koii hameN sataae kyuN’ under Ghalib naqsh-e qadam on the Theme Index page.

1.sigh 2.servant, devotee 3.poor, helpless 4.attachment, craving

Why should this poor devotee nurture any attachment to you.  The one who never keeps their promise to come, why should he remember them at the appointed time.  This of course applies to the beloved as a lament of broken promises and unrequited devotion.  The aah-sigh at the beginning indicates that in spite of his better sense he is attached to the beloved and waits for her.  Could it also apply to the divine beloved?

1.friend, beloved 2.waiting 3.fragrance, whiff 4.hope

The lover spends sleepless night in sorrow of separation from the beloved.  She promises to come and he stays awake all night long hoping that she will keep her promise.  Why should it not be-he asks.  Then, with the slightest whiff of hope, perhaps a faint footfall somewhere, the breeze giving a sense of rustling of the beloved’s clothes raises hope and changes the ‘colour’ of the scene.  Of course, this is false hope and he falls back to his mournful waiting.

1.news 2.death 3.young (lover) 4.necessity 5.joyous celebration 6.doomsday

Why must news of the lover’s death in youth come on a joyous day?  Why should the joy of celebration be changed to the gloom of doomsday.   Beyond this literary translation, I am not sure what the poet wants to imply.  If anyone is able to read more into it and can help me, I would appreciate it.

1.verse-declaration of faith 2.recite 3.eyes 4.used here to mean-come before/in front of

Why recite the declaration of faith to show in front of others? True remembrance of god is heartfelt, not performative; why should it rise to the lips; critiquing ritual hypocrisy.

1.anger, reproach 2.answer 3.sincerity 4.devotion 5.wrinkled forehead, frown, annoyance 6.friend, beloved 7.mind, thoughts

There is only one answer to all reproach- sincere devotion.  Why focus on the beloved’s frown when worship brings peace?

1.thoughts 2.stubborn-ness, obstinacy

The heart is happy in its own thoughts; look at how obstinate it is.  It enjoys its fantasies while staying distant, why should it yearn to get closer.  On the other hand the word aap can also be interpreted to mean apn’e aap – in itself.  Thus, look at how obstinate the heart is in its own thoughts, it has no need to move away from itself or get closer; it is satisfied in its own fantasies.

1.thoughts 2.purified, purged 3.marks, images 4.good and bad, good and evil

Only that sleep is sweet/peaceful that is purged of all dreams and thoughts.  Why should images/thoughts of good and evil colour/stain peaceful sleep.  Is this an exhortation to purge the mind of all feelings of guilt or of righteousness.

1.flaws 2.devoid of 3.beauty, skill 4.people of discerning sight 5.bat eyes, look away

Who is devoid of flaws; just ask your heart.  No one is flawless; why shy away from/look away from discerning eyes?  A call for self-acceptance before critics.

1.muNh utarnaa means saddened, disappointed, dejected 2.rose, used here to mean the beloved’s face/lools 3.gul khilnaa is used here to mean the rose blooms 4.in proportion to 5.taste 6.beauty, beloved 7.Gham khaana-feel sorrowful

When the beloved looks sorrowful, it becomes blooms even more beatuful like a rose.  Why should she not feel sorrow too, is just this proportion (not too much, otherwise her beauty will be spoiled).

1.glimpse 2.plea, beg 3.thirst 4.veil 5.pride, coquetry, beloved 6.hand of supplication

Why should I beg for a glimpse; why not give up my life thirsty and yearning?  Let the veil over pride/beloved lift itself; why should I lift my hands in prayer/supplication.   Said Ghalib …

1.again and again 2.pen-name

Forget yourself, let consciousness of the self lapse, do not remember the self; have faith in god.  Why should the name of yagaana rise to your lips again and again.

The post dast-e dua uThaa’e kyuN-yaas yagaana chaNgezi appeared first on UrduShahkar.

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

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Recitation

اگر  اِختیار  ہوتا  ۔  یاسؔ  یگانہ  چنگیزی

۱

اگر  اپنی  چشمِ  نم  پر  مجھے  اِختیار  ہوتا

تو  بھلا  یہ  رازِ  اُلفت  کبھی  آشکار  ہوتا

۲

ہے  تُنُک  مزاج  صیّاد  کچھ  اپنا  بس  نہیں  ہے

میں  قفس  کو  لے  کے  اُڑتا  اگر  اِختیار  ہوتا

۳

یہ  ذرا  سی  اِک  جھلک  نے  دل  و  جاں  کو  یوں  جلایا

تری  برقِ  حسن  سے  پھر  کوئی  کیا  دو  چار  ہوتا

۴

اجی  توبہ  اُس  گریباں  کی  بھلا  بِساط  کیا  تھی

یہ  کہو  کہ  ہاتھ  اُلجھا  نہیں  تار  تار  ہوتا

۵

وہ  نہ  آتے  فاتحہ  کو  ذرا  مُڑ  کے  دیکھ  لیتے

تو  ہجوم  یاسؔ  اتنا  نہ  سر  مزار  ہوتا

अगर एख़्तियार होता – यास यगाना चंगेज़ी

१

अगर अपनी चश्म-ए नम पर मुझे एख़्तियार होता

तो भला ये राज़-ए उल्फ़त कभी आश्कार होता

२

है तुनुक-मिज़ाज सय्याद कुछ अपना बस नहीं है

मैं क़फ़स को ले के उढता अगर एख़्तियार होता

३

ये ज़रा सी एक झलक ने दिल ओ जां को यूं जलाया

तेरी बर्क़-ए हुस्न से फिर कोई क्या दो-चार होता

४

अजी तौबा इस गरेबाँ की भला बिसात क्या थी

ये कहो कि हाथ उलझा नहीं तार-तार होता

५

वो न आते फ़ातेहा को ज़रा मुढ के देख लेते

तो हुजूम यास इतना न सर-ए मज़ार होता

Click here for background and on any passage for word meanings and explanatory discussion. mirza vaajid husain yaas yagaana changezi (1884-1956), azimabad/paTna. Early pen-name ‘yaas’ (despair) and later ‘yagaana’ (unmatched, unique). Egotistical, uncompromising, brusque and acerbic, he did not get along with fellow poets. For some reason he cast himself as a critic of Ghalib. He got a booklet published in which there is a lengthy preface critical of Ghalib and of his many admirers, followed by many rubaaii deriding Ghalib. But he was courageous enough to make controversial statements about religious belief and was attacked by a mob, made to ride a donkey through town, sitting backwards, with his face blackened. In spite of his critique of Ghalib be wrote many Ghazal in the zamin of Ghalib. This Ghazal is linked to ‘visaal-e yaar hota’ – Ghalib naqsh-e qadam on the Theme Index page.

mirza vaajid husain yaas yagaana changezi (1884-1956), azimabad/paTna. Early pen-name ‘yaas’ (despair) and later ‘yagaana’ (unmatched, unique).   Egotistical, uncompromising, brusque and acerbic, he did not get along with fellow poets. For some reason he cast himself as a critic of Ghalib.  He got a booklet published in which there is a lengthy preface critical of Ghalib and of his many admirers, followed by many rubaaii deriding Ghalib. But he was courageous enough to make controversial statements about religious belief and was attacked by a mob, made to ride a donkey through town, sitting backwards, with his face blackened.  In spite of his critique of Ghalib be wrote many Ghazal in the zamin of Ghalib.  This Ghazal is linked to ‘visaal-e yaar hota’ – Ghalib naqsh-e qadam on the Theme Index page.

1.moist/tearful eye 2.control 3.an expression meaning-how would it have been possible 4.secret 5.love 6.revealed

It urdu poetic tradition the true lover tries to keep his love hidden so as not to malign the reputation of the beloved.  His stoicism is legendary.  In this case, he lost control over his eyes and cried profusely.  Otherwise, how would it have been possible for this secret of love to be revealed.  This could be an explanation that he is offering to the beloved on being questioned about revealing his love publicly.

1.quick tempered, easily irritated 2.hunter, bird-catcher, beloved 3.power, control 4.cage 5.control, ability

The beloved is the captor and the bird is the poet/lover.  The bird has been caught and put in a cage.  The captive bird sings songs and asks to be released to return to its garden and aashiyaana but the beloved gets annoyed easily.  If I had the ability I would not beg to be released but simply fly away with the cage around me – he says.

1.glimpse 2.lightning flas 3.beauty 4.come face to face with

Just one little glimpse burnt up the heart and soul of the poet/lover such that no one will ever summon enough courage to come face to face with the beloved because of her beauty dazzling like a lightning flash.

1.an expression meaning-I will repent if this is a lie 2.collar 3.status, ability 4.tangled up 5.shredded to threads

In poetic convention the mad-passionate lover tears his collar to shreds.  In this case, apparently it is not completely shredded.  The poet explains- I am not lying, how can this collar stand up to me, it would have been shredded to threads had my hand not got entangled/caught.

1.last rights 2.crowd 3.pen-name, mourning 4.by the tomb

There are several ways of reading this.  In traditional urdu script the izaafat-zer (represented in Roman script as -e) is not always explicitly written.  If this she’r is read without the izaafat, then … if she had not come to the grave for the last rights, just turned around, taken a look and gone away, then there would not have been such a crowd at the grave of yaas-the poet/lover.  The crowd has come because of her.  It the she’r is read with the izaafat then the other meaning of ‘yaas’ becomes operative.  If she had not come for the last rights then there would not have been so much mourning.  There could be two reasons for this.  She came, demonstrated her regrets/sorrow at the death of the lover and there was much sorrowing because the others saw her sorrowful.  Alternatively, the others were rivals … they saw her mournful and became sorrowful themselves out of jealousy of the dead lover.

The post agar eKhtiyaar hota-yaas yagaana chaNgezi appeared first on UrduShahkar.

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

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Recitation

دار  تک  نہیں  پہنچا  ۔  اجے  پانڈے  سحابؔ

۱

فن  جو  معیار  تک  نہیں  پہنچا

اپنے  شہکار  تک  نہیں  پہنچا

۲

پگڑی  پیروں  میں  کیسے  میں  رکھتا

ہاتھ  دستار  تک  نہیں  پہنچا

۳

کوئی  اِنعام  کوئی  بھی  تمغہ

سچے  حق  دار  تک  نہیں  پہنچا

۴

ایسا  ہر  شخص  ہے  مسیحا  اب

جو  کبھی  دار  تک  نہیں  پہنچا

۵

ہر  خدا  جنّتوں  میں  ہے  محدود

کوئی  سنسار  تک  نہیں  پہنچا

۶

چارہ  گر  سب  کے  پاس  جاتا  تھا

صرف  بیمار  تک  نہیں  پہنچا

۷

دوست  بن  کر  دغا  نہ  دے  جو  وہ

اپنے  کردار  تک  نہیں  پہنچا

۸

مجھ  کو  القاب  کیوں  ملیں  لوگو

میں  تو  دربار  تک  نہیں  پہنچا

۹

ایسا  جھگڑا  بتا  دو  مجھ  کو  جو

گھر  میں  دیوار  تک  نہیں  پہنچا

۱۰

کس  نے  بیچا  نہیں  سخن  اپنا

کون  بازار  تک  نہیں  پہنچا

दार तक नहीं पहुंचा – अजय पांडे सहाब

१

फ़न जो मेआ’र तक नहीं पहुंचा

अपने शहकार तक नहीं पहुंचा

२

पगढी पैरों में कैसे मैं रखता

हाथ दस्तार तक नहीं पहुंचा

३

कोई इन’आम कोई भी तमग़ा

सच्चे हक़दार तक नहीं पहुंचा

४

ऐसा हर शख़्स है मसीहा अब

जो कभी दार तक नहीं पहुंचा

५

हर ख़ुदा जन्नतों में है महदूद

कोई संसार तक नहीं पहुंचा

६

चारा-गर सब के पास जाता था

सिर्फ़ बीमार तक नहीं पहुंचा

७

दोस्त बन कर दग़ा न दे जो वो

अपने किरदार तक नहीं पहुंचा

८

मुझ को अल्क़ाब क्यूं मिलें लोगो

मैं तो दरबार तक नहीं पहुंचा

९

ऐसा झगढा बता दो मुझ को जो

घर में दीवार तक नहीं पहुंचा

१०

किस ने बेचा नहीं सुख़न अपना

कौन बाज़ार तक नहीं पहुंचा

Click here for background and on any passage for word meanings and explanatory discussion. ajay paanDe sahaab (1969-living) ICS officer, commisioner GST, jhaarkhanD. Grew up in surroundings completely devoid of urdu. Read sahir, firaq and faiz in devanagiri and fell in love with urdu. Taught himself reading and writing urdu script and started composing at age of 16-17. He writes …

ajay paanDe sahaab (1969-living) ICS officer, commisioner GST, jhaarkhanD.  Grew up in surroundings completely devoid of urdu.  Read sahir, firaq and faiz in devanagiri and fell in love with urdu.  Taught himself reading and writing urdu script and started composing at age of 16-17.  He writes …

1.art 2.standard 3.masterpiece, zenith, peak

Art that does not reach a high standard, cannot reach its zenith.  ajay sahaab is more focussed on the excellence of the art (of poetry) but saahir focusses on reaching the indigent, the downtrodden and the ignored …

1.turban 2.celebratory head gear

Placing the pagRi at someone’s feet is a sign of abject submission to them.  In some parts of India the father of the bride is expected to do this to the father of the groom.  Here the poet/protagonist seems to show some resistance to this abhorent practice.  How could I have placed my pagRi at their feet; my hand could never reach for my proud cap.

1.prize 2.medal of honour 3.truthful i.e., genuinely deserving 4.claimant, rightful claim

This is a reflection on the honours and recognition granted by (perhaps) the government or associations.  No prize or medal has ever been awarded to the truly deserving claimant.

1.person 2.healer 3.gallows

Perhaps there is a hint of the healing that Jesus Christ is reported to have brought upon the sick.  He did go to the gallows … the cross.  This symbolism is used to suggest that to become a true healer of people, the healer has to sacrifice his own needs.  Said saahir ludhianavi …

1.heavens 2.limited, restricted, confined, circumscribed 3.world

Every god has remained confined to their heaven.  None has come down to earth among the people who need them most.

1.healer 2.only 3.sick

The healer goes to everyone.  Only, he never visits the sick.

1.decieve 2.character

The one who befriends and has not yet deceived, has not fully shown his character.

1.titles

O people, why would I be given any titles; I have never gone to the royal palace/court.  The implication is that those who flatter and faun the powerful get titles.  The poet has never done that.

1.symbolically used to mean insurmountable obstacle, impasse

Show may any domestic conflict that does not reach an irresolvable impasse.

1.poetry

ajay sahaab has in other places too expressed the thought that writing poetry for monetary gain is not real art; it is commercialism.  This is a reflection on poets around him that he sees engage in commercialism.  Who has not sold his verse.  Who is it who has not reached the bazaar (to be sold).

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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/2025/08/saahirl-daar-tak-nahiiN-pahuNcha-audio.mp3

Recitation

دار  تک  نہیں  پہنچا  ۔  عبدالحئی  ساحرؔ  لدھیانوی

۱

فن  جو  نادار  تک  نہیں  پہنچا

ابھی  معیار  تک  نہیں  پہنچا

۲

اُس  نے  بر  وقت  بے  رُخی  برتی

شوق  آزار  تک  نہیں  پہنچا

۳

عکسِ  مے  ہو  کہ  جلوۂ  گُل  ہو

رنگِ  رُخسار  تک  نہیں  پہنچا

۴

حرفِ  اِنکار  سر  بلند  رہا

ضعف  اِقرار  تک  نہیں  پہنچا

۵

حکمِ  سرکار  کی  پہنچ  مت  پوچھ

اہلِ  سرکار  تک  نہیں  پہنچا

۶

عدل  گاہیں  تو  دور  کی  شے  ہیں

قتل  اخبار  تک  نہیں  پہنچا

۷

اِنقلاباتِ  دہر  کی  بنیاد

حق  جو  حق  دار  تک  نہیں  پہنچا

۸

وہ  مسیحا  نفس  نہیں  جس  کا

سِلسِلہ  دار  تک  نہیں  پہنچا

दार तक नहीं पहुंचा – अब्दुलहई साहेर लुधियानवी

१

फ़न जो नादार तक नहीं पहुंचा

अभी मे’यार तक नहीं पहुंचा

२

उस ने बर-वक़्त बे-रुख़ी बरती

शौक़ आज़ार तक नहीं पहुंचा

३

अक्स-ए मय हो कि जल्वा-ए गुल हो

रंग-ए रुख़्सार तक नहीं पहुंचा

४

हर्फ़-ए इन्कार सर बुलंद रहा

ज़ो’फ़-ए एक़्रार तक नहीं पहुंचा

५

हुक्म-ए सरकार की पहुंच मत पूछ

अहल-ए सरकार तक नहीं पहुंचा

६

अद्ल-गाहें तो दूर की शय हैं

क़त्ल अख़्बार तक नहीं पहुंचा

७

इन्क़ेलाबात-ए दहर की बुनियाद

हक़ जो हक़दार तक नहीं पहुंचा

८

वो मसीहा-नफ़स नहीं जिस का

सिल्सिला दार तक नहीं पहुंचा

Click here for background and on any passage for word meanings and explanatory discussion. sahir ludhianavi (1921-1980) progressive poet writing in chaste yet relatively easily understood urdu. He brought the quality of urdu nazm to movie songs and raised the standards to a high level. He was active in Progressive Writers’ Association and in the socialist movement in India, without being a formal member of it.

sahir ludhianavi (1921-1980) progressive poet writing in chaste yet relatively easily understood urdu.  He brought the quality of urdu nazm to movie songs and raised the standards to a high level.  He was active in Progressive Writers’ Association and in the socialist movement in India, without being a formal member of it.

1.art, versification 2.indigent, needy, powerless 3.standard

saahir writes verse in simpler, easier to understand language.  The purpose is to reach the people.  His standard of excellence appears to be ‘that which is understood’ by the powerless.  This was the advice of the Progressive Writers’ Association.  Thus, art of versification, that does not speak of justice, that does not reach the oppressed, has not met the poet’s standard of excellence.

1.just in time 2.indifference, ignoring someone 3.deploy, use 4.desire, love 5.torment

In poetic convention the beloved is indifferent to the pain of the lover.  The second misra suggests that this may be because the desire of the lover has not yet reached the stage of torment.  I am trying to force/squeeze a more progressive interpretation.  The beloved here could symbolize the people in power who ignore the suffering of the masses.  Perhaps their suffering is not so noticeable and can still be ignored.

1.reflection, image 2.wine 3.glory, beauty 4.rose 5.colour, style, nature 6.cheeks, face

Be it the likeness/image/picture of wine or the beauty of the rose, they have not yet reached the same level of beauty as the cheeks/face of the beloved.  Thus, there are many beautiful things for the poet to write about, but none is as enticing the beauty of the beloved.

1.word 2.refusal, denial, defiance 3.head held high, proud 4.weakness 5.agreement, acquiescence

This is a statement of defiance against power.  The word of refusal has always held its head high.  It has not yet acquiesced because of weakness.

1.command, order 2.reach 3.people of

Do not ask about the reach of the commands/rules/laws of those who govern.  They have not yet reached the people in control i.e., the powerful violate rules that they make for others to follow.

1.houses of justice, courts of law 2.thing, place 3.killing, murder 4.news

Houses of justice are a far off thing (unreachable, denied access to).  Killing does not even make it to the news.

1.revolutions 2.world 3.foundation, basis, reason 4.rights, justice 5.claimant of rights

The reason for revolutions in the world is that the rightful claimants are denied their rights.

1.healing breath 2.connection 3.gallows

This uses the healing breath of Jesus as a symbol.  A healer has to face up to the powerful, has to go through trials, has to face the gallows before he can claim to be a healer.  He who does not have a direct connection with struggle, with defying power and facing the gallows, cannot claim to be a healer.  ‘Healer’ here is used in a broad sense.

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