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/aif-aap-sa-nahiiN-hota-audio.mp3

Recitation

https://urdushahkar.org/wp-content/uploads/2025/08/aif-aap-sa-nahiiN-hota-ananth.mp3

ananth iyer faani

آپ  سا  نہیں  ہوتا ۔ اننت ایّر فانیؔ

۱

سامنے  یوں  تو  کیا  نہیں  ہوتا

تم  نے  بس  دیکھنا  نہیں  ہوتا

۲

علمِ  انسان  کہاں  پہ  ہوتا  اگر

سیب  اُس  دن  گرا  نہیں  ہوتا

۳

پاس  جاؤ  گے  تو  ہی  سمجھو  گے

ہر   کُھلا   در کُھلا  نہیں  ہوتا

۴

تین  بندر  ہی  کیوں  ہیں  باپو  کے

سوچنے  میں  بُرا  نہیں  ہوتا؟

۵

ہے  خوشی  میں  ہی  صرف  چھوٹی  بڑی

غم  میں  چھوٹا  بڑا  نہیں  ہوتا

۶

روٹھ  جاؤں  یا  گِڑگِڑاؤں  میں

“اثر  اُس  کو  ذرا  نہیں  ہوتا”

۷

آئی  سمجھ  میں  فانیؔ  جی؟

ہر  کوئی  آپ  سا  نہیں  ہوتا

आप सा नहीं होता – अनंत अय्यर फ़ानी

१

सामने यूँ तो क्या नहीं होता

तुमने बस देखना नहीं होता

२

‘इल्म-ए इंसाँ कहाँ पे होता अगर

सेब उस दिन गिरा नहीं होता

३

पास जाओगे तो ही समझोगे

हर खुला दर खुला नहीं होता

४

तीन बंदर ही क्यूं हैं बापू के

सोचने में बुरा नहीं होता?

५

है ख़ुशी में ही सिर्फ़ छोटी-बड़ी

ग़म में छोटा-बड़ा नहीं होता

६

रूठ जाऊँ या गिड़गिड़ाऊँ मैं

“असर उसको ज़रा नहीं होता”

७

बात आई समझ में, फ़ानी जी?

हर कोई आप सा नहीं होता

Click here for background and on any passage for word meanings and explanatory discussion. ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. Currently enrolled in a PhD program at IIM, ahmedabad. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating. He started composing around 2022, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside. He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’.

ananth iyer faani (1989-living) dehli, beNgaluru.  BSc, Applied Physics followed by MBA.  He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music.  Currently enrolled in a PhD program at IIM, ahmedabad.  I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating.  He started composing around 2022, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside.  He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’.

Everything was right there in front of you.  You just didn’t look.  A reflection on inattentiveness, often the problem isn’t absence, but the lack of attention. What we search for may already be present, unseen only because we never truly looked.  Editorial comment – such an analogy is often used as ‘proof’ of existence of god – you can see him all around you, only if you care to look – so they claim.  I am not sure that poet means it this way.

1.knowledge 2.human 3.apple (reference to the legend of Newton’s apple)

Where would human knowledge be if the apple hadn’t fallen that day?  This verse highlights how one event, Newton’s observation of a falling apple, catalyzed an entire chain of discoveries. Gravity, calculus, and modern physics all trace back to that moment, which underscores how transformative curiosity can be.

1.door (literal and metaphorical: access, opportunity)

You’ll only understand if you get close.  Not every open door is truly open.  A reminder that appearances can be deceptive. Some opportunities or people may seem approachable from a distance, but real access or understanding requires effort and proximity.

1.the three monkeys (see no evil, hear no evil, speak no evil) 2.gandhi 3.think, reflect

Why are there only three monkeys of baapu?  Is ‘wrong thought’ not one of the evils.  This couplet wonders why thought isn’t included among the ‘evils’ to avoid. Seeing, hearing, and speaking evil are addressed, but what about negative or passive thought? The verse also invites questioning, not as rebellion, but as reflection.

1.only 2.sorrow, grief

There are degrees only in happiness, big and small; more and less.  In sorrow, no such distinction exists.  Pleasure can be compared, measured, and classified, but grief tends to overwhelm all in a similar way. The line notes the flattening weight of sorrow: once it strikes, its size becomes irrelevant.

1.take offence, sulk 2.plead, beg 3.effect, impact 4.even slightly

Whether I sulk or plead, it has no effect on them.  An expression of helplessness in love or human connection. The speaker’s efforts, whether distant or desperate, meet with indifference. The emotional gap is complete.  The second misra is quoted from a she’r of momin KhaaN momin.

1.pen-name, taKhallus 2.short for jaisa

Did you understand now, faani ji?  Not everyone is like you.  The closing couplet offers a reflective address to the self. It acknowledges that not all people think, feel, or respond the way the poet does, and that difference is a part of life to be accepted.

The post aap sa nahiiN hota-ananth iyer faani appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/08/ravis-tazaadaat-se-hasti-ye-ubhaari-audio.mp3

Recitation

تضادات  سے  ہستی  یہ  اُبھاری  –  روی  سنہا  رویؔ

۱

۲

۳

۴

۵

तज़ादात से हस्ती ये उभारी – रवी सिन्हा रवी

१

ये मेरा करिश्मा के तेरी कारगुज़ारी

हर रात सितारों में तेरी शक्ल उतारी

२

ये बस्ता-ए औहाम मेरा रख़्त-ए सफ़र था

इस दश्त-ए हुवैदा में थी मुबहम की सवारी

३

तनक़ीद-ओ-तनाक़ुज़ का गिला हो तो किसे हो

क़ुदरत के तज़ादात से हस्ती ये उभारी

४

धरती पे सुकूनत के किराये से दबा हूँ

आगे का सफ़र-ख़र्च भी है रूह को भारी

५

इस दिल की ये फ़ितरत के अबस टूटता जाए

क्यूँ सर ये करे रात भर अंदोह-शुमारी

Click here for background and on any passage for word meanings and explanatory discussion. ravi sinha ravi (1952-living) bihar, UP and dehli, physicist, writer, educationist and an activist-scholar associated with progressive and emancipatory movements for nearly four decades. PhD in theoretical physics, MIT. Worked in research and teaching institutions in Maryland, USA and later ahmedabad, gujarat, before resigning from his job to devote himself full time to writing, organizing and theorizing. He is the principal author of the book, Globalization of Capital, co-founder of the hindi journal, sandhan, and one of the founding members of the New Socialist Initiative – an informal group of intellectuals and activists. . Came to urdu late in life (at 65) to start on a new unexpected and challenging venture …

ravi sinha ravi (1952-living) bihar, UP and dehli, physicist, writer, educationist and an activist-scholar associated with progressive and emancipatory movements for nearly four decades. PhD in theoretical physics, MIT.  Worked in research and teaching institutions in Maryland, USA and later ahmedabad, gujarat, before resigning from his job to devote himself full time to writing, organizing and theorizing. He is the principal author of the book, Globalization of Capital, co-founder of the hindi journal, sandhan, and one of the founding members of the New Socialist Initiative – an informal group of intellectuals and activists.  .  Came to urdu late in life (at  65) to start on a new unexpected and challenging venture …

1.miracle, trickery 2.handiwork 3.face, image 4.drew, sketched

Who is the ‘terii’ – (a)beloved (b)the divine or (c)a sublime idea.  The poet wonders – is it the miracle of my creativity or your handiwork that I sketch your image every night in the stars.  This could be the poet writing Ghazal at night or engaging in any other creative activity.  This could also imply creating unachievable illusions.

1.enclosed, surrounded 2.superstitions, illusions 3.provisions 4.journey 5.wilderness 6.manifest, apparent, seen 7.hidden, ambiguous, doubtful 8.journey, travel

The provisions for my journey (of life) are contained in bag of illusions/superstitions. My journey through this wilderness before me is full of doubts/uncertainties.  Editorial comment – belief is not a guiding principle-doubts, questions, uncertainties are.

1.criticism 2.discrepancy, contradiction 3.objection, complaint 4.nature 5.conflicts, contradictions 6.existence, being, life 7.emerged

How can anyone object to criticism and contradictions (of life and thought).  After all, life has emerged out of contradictions of nature.

1.earth 2.residence 3.expense of the journey 4.spirit, soul 5.heavy

I am burdened by the dues that I have to pay to live on this earth.  The expense of the journey beyond sits heavy on my soul.  The struggle to live on earth, the struggle to deal with the unknowns facing this life, the struggle to keep learning and progressing is a burden heavy enough.  It is implied that the poet considers the additional burden of the journey beyond (afterlife) to be unwanted/unnecessary.

1.nature, character 2.for no reason, unnecessarily 3.sar karnaa – to overcome, to succeeed in 4.counting woes/calamities

Already the character of this heart is that it unnecessarily breaks/loses courage.  Why should it be tasked to overcome the additional burden of counting calamities (of the onward journey).

The post tazaadaat se hasti ye ubhaari-ravi sinha ravi 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/aps-diida-varii-ki-Khair-audio.mp3

Recitation

دیدہ  وری  کی  خیر  ۔  اجے  پانڈے  سحابؔ

۱

صحرائے  لا  حدود  میں  تشنہ  لبی  کی  خیر

ماحولِ  اشک  بار  میں  لب  کی  ہنسی  کی  خیر

۲

لفّاظ  سارے  بن  گئے  شاہِ  سخن  یہاں

صادق  سخنوروں  کی  سخن  پروری  کی  خیر

۳

مشرق  میں  ہند  و  چین  کے  بازار  یوں  بڑھے

جاہ  و  جلالِ  مغرب  و  برطانوی  کی  خیر

۴

ہے  عورتوں  کی  دھوم  زمیں  سے  فلک  تلک

سعیٔ  بقائے  شوکتِ  مردانگی  کی  خیر

۵

ارزاں  ہے  مُشتِ  خاک  سے  اِنسان  کی  حیات

تہذیبِ  قتل  و  خون  میں  اب  زندگی  کی  خیر

۶

ہر  سمت  قتلِ  عام  ہے  مذہب  کے  نام  پر

ساری  عقیدتوں  کی  خدا  پروری  کی  خیر

۷

جمہوریت  کی  لاش  پہ  طاقت  ہے  خندہ  زن

اس  برہنہ  نظام  میں  ہر  آدمی  کی  خیر

۸

سارا  وطن  سمجھ  چکا  دیر  و  حرم  کا  سچ

بد  کار  رہبران  کی  بازی  گری  کی  خیر

۹

اردو  غزل  کے  نام  پہ  چلتے  ہیں  چُٹکُلے

غالب  کے  فیض  میرؔ  کی  اُس  ساحری  کی  خیر

۱۰

مغرب  سے  آ  گئی  یہاں  تہذیبِ  برہنہ

مشرق  تری  روایتی  پاکیزگی  کی  خیر

۱۱

اندھے  پرکھ  رہے  یہاں  معیارِ  روشنی

دیدہ  ورِ  ہُنر  تری  دیدہ  وری  کی  خیر

दीदा-वरी की ख़ैर – अजय पांडे सहाब

१

सहरा-ए ला-हुदूद में तिश्ना-लबी की ख़ैर

माहौल-ए अश्क-बार में लब की हंसी की ख़ैर

२

लफ़्फ़ाज़ सारे बन गए शाह-ए सुख़न यहाँ

सादेक़ सुख़न-वरों की सुख़न-परवरी की ख़ैर

३

मश्रिक़ में हिन्द-ओ-चीन के बाज़ार युं बढ़े

जाह-ओ-जलाल-ए मग़्रिब-ओ-बरतानवी की ख़ैर

४

है औरतों की धूम ज़मीं से फ़लक तलक

सई-ए बक़ा-ए शौकत-ए मर्दानगी की ख़ैर

५

अर्ज़ां है मुश्त-ए ख़ाक से इंसान की हयात

तहज़ीब-ए क़त्ल-ओ-ख़ून में अब ज़िंदगी की ख़ैर

६

हर सम्त क़त्ल-ए आम है मज़हब के नाम पर

सारी अक़ीदतों की ख़ुदा-परवरी की ख़ैर

७

जम्हूरियत की लाश पे ताक़त है ख़ंदा-ज़न

इस बरहना निज़ाम में हर आदमी की ख़ैर

८

सारा वतन समझ चुका दैर-ओ-हरम का सच

बद-कार रहबरान की बाज़ीगरी की ख़ैर

९

उर्दू ग़ज़ल के नाम पे चलते हैं चुटकुले

ग़ालिब के फ़ैज़ मीर की उस साहेरी की ख़ैर

१०

मग़्रिब से आ गई यहां तहज़ीब-ए बरहना

मश्रिक़ तेरी रिवा’एती पाकीज़गी की ख़ैर

११

अंधे परख रहे यहां मे’यार-ए रौशनी

दीदावर-ए हुनर तेरी दीदा-वरी की ख़ैर

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 urdu script reading and writing and started composing at 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 urdu script reading and writing and started composing at 16-17.  He writes …

1.desert 2.boundless 3.thirst 4.sarcastic-may it be well, god help it 5.atmosphere, surroundings, condition 6.tear-shedding 7.lips

This modeled after saahir ludhianavi’s ‘tarah-e nau’ (on this site) in which he writes …

1.wordsmith 2.king 3.prosody, poetry 4.genuine 5.poet 6.poetry worshipping/respecting

Now wordsmiths have become kings of poetry.  The respect for poetry that genuine poets hold, is doomed.

1.east 2.majesty and glory 3.west 4.British

This is a ‘east is rising’ kind of statement.  In the east the demand for/respect for India and China is increasing so much.  The majesty and glory of the west and of Britain is a thing of the past.

1.sky 2.effort 3.survival, maintenance 4.dignity 5.manhood

I interpret this to be a positive statement about the recognition of women’s rights.  There is talk/celebration of women all the way up to the sky.  The effort to maintain the dignity of ‘manhood’ is doomed.

1.cheap 2.fistful 3.dust 4.life 5.culture 6.killing and bloodshed

Human life cheaper than a fistful of dust.  Life is doomed in this culture of killing and bloodshed.

1.direction 2.mass killing 3.beliefs 4.god-worshipping

Whichever direction you look, there is mass killing in the name of religion.  May god save us from such god-worship.

1.democracy, egality 2.corpse 3.power 4.smiling, sneering 5.naked, shameless 6.administration

Power stands sneering at the corpse of democratic traditions.  In this nakedly, shamelessly unjust administration, every person is in danger-may god help us.

1.temple 2.mosque 3.truth, reality 4.evil-doers 5.leaders 6.gambling

The whole world now understands the reality behind temple and mosque.  May god save us from the gambling of these evil leaders.

1.jokes 2.kindness, benevolence, faiz ahmed faiz 3.magic, enchantment, saahir ludhianavi

That which is read in the name of urdu Ghazal sounds like a joke.  May god save the gifts of Ghalib and the enchantment of mir taqi mir.  In using words lik faiz and saahiri, the poet also pays tribute to faiz ahmed faiz and saahir ludhianavi.

1.west 2.culture 3.naked 4.east 5.legendary 6.purity, morality

It is a standard trope in the east, not just among poets, to blame the west for its own immorality, perhaps to divert attention from its own.  I hope the poet says this she’r in a sarcastic sense.  At least, I want to interpret it this way, particularly because of the use of the word ‘legendary’.  The immorality of culture has arrived in the east from the west.  O east, may god save your legendary morality.

1.test, evaluate 2.standards 3.person of discernment, aesthete, virtuoso 4.talent, art 5.discernment

The blind (ignorant) are now incharge of evaluating the standards of light (knowledge).  O virtuoso/expert/aesthete may god help your aesthetic sense.

The post diida-varii ki Khair-ajay panD’e sahaab 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/fai-mera-qalam-nikle-audio.mp3

Recitation

https://urdushahkar.org/wp-content/uploads/2025/08/fai-mera-qalam-nikle-ananth.mp3

ananth iyer faani

میرا  قلم  نکلے  ۔  اننت  ایّر  فانیؔ

۱

جگر  ہے  اس  لیے  ہی  یہ  غزل  کہنے  کو  ہم  نکلے

زمیں  غالب  کی  ہے،  صاحب،  کہو  کیسے  نہ  دم  نکلے

۲

فرواںی  تھی  اس  درجہ،  فقط  اشعار  کم  نکلے

لطیفوں  کے  بھی  راستے  سے  میرے  رنج  و  الم  نکلے

۳

محبت  بیچ  میں  جتنی  بھی  بھٹکے،  غیر  ممکن  ہے

جڑے  واپس  وہ  لے  سے  جس  پہ  وہ  تالِی  نہ  سم  نکلے

۴

گھڑا  پاپوں  کا  میرا  بھر  چکا  ہوگا  بہت  پہلے

کرم  ہے  دیوتاؤں  میں  سے  شفقت  والے  یم  نکلے

۵

کہا  جاتا  ہے  جس  کو  تیغ  سے  بھی  اور  طاقتور

کسے  معلوم  کل  کو  وہ  قلم  میرا  قلم  نکلے

۶

میں  تیری  بات  سن  تو  لوں  مگر  واعظ  بتا  پہلے

کہ  میخانے  کی  جانب  کس  لیے  تیرے  قدم  نکلے

۷

پرانی  عادتیں  ہیں،  جاتے  جاتے  جائیں  گی  فانیؔ

میں  کہنا  ‘ختم’  ہی  چاہوں  تو  بھی  لب  سے  ‘کھتم’  نکلے

मेरा क़लम निकले – सनंत अय्यर फ़ानी

१

जिगर है इस लिए ही ये ग़ज़ल कहने को हम निकले

ज़मीं ग़ालिब की है, साहिब, कहो कैसे न दम निकले

२

फ़रावानी थी इस दर्जा, फ़क़त अश’आर कम निकले

लतीफ़ों के भी रस्ते से मेरे रंज-ओ-अलम निकले

३

मुहब्बत बीच में जितनी भी भटके, ग़ैर-मुमकिन है

जुड़े वापस वो लय से जिसपे वो ताली न सम निकले

४

घड़ा पापों का मेरा भर चुका होगा बहुत पहले

करम है देवताओं में से शफ़्क़त वाले यम निकले

५

कहा जाता है जिसको तेग़ से भी और ताक़तवर

किसे मालूम कल को वो क़लम मेरा क़लम निकले

६

मैं तेरी बात सुन तो लूँ मगर वा’एज़ बता पहले

के मैख़ाने की जानिब किस लिये तेरे क़दम निकले

७

पुरानी आदतें हैं, जाते जाते जाएँगी फ़ानी

मैं कहना ‘ख़त्म’ ही चाहूँ तो भी लब से खतम निकले

Click here for background and on any passage for word meanings and explanatory discussion. ananth iyer faani (1989-living) dehli, beNgaluru. BSc, Applied Physics followed by MBA. He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music. I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating. He started composing around 2022, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside. He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’. This Ghazal is linked to Ghalib naqsh-e qadam.

ananth iyer faani (1989-living) dehli, beNgaluru.  BSc, Applied Physics followed by MBA.  He manages partnerships in a fintech company and is also a writer and precussionist in karnaaTak music.  I don’t know how he got interested in urdu but I find the combination of youth, non-muslim background and urdu fascinating.  He started composing around 2022, because while interest in urdu poetry was always in the background, the urge to express began bubbling up from the inside.  He chose ‘faani-mortal’ as his taKhallus as a contrast with ‘ananth-without end, immortal’.  This Ghazal is linked to Ghalib naqsh-e qadam.

1.liver-symbolic of courage/daring 2.the term that refers to the triad of qaafiya (rhyme), radeef (refrain) and bahr (meter/rhythm) of a Gazal; 3.dam nikle is a phrase-feel afraid

It is a demonstration of courage that the poet is attempting this Ghazal as after all this is in the zamiin of none other than Ghalib himself- how would one not feel afraid?

4.abundance 5.extent, so much 6.only 7.plural of she’r 8.jokes 9.grief and sorrow

There was such an abundance of sorrow and grief that verses (ash’aar) alone weren’t sufficient for relief; even the route of humour (jokes) was necessary.  A second reading could be that it is not relief from sorrow and grief that the poet seeks but a way to express them.  He does it through his ash’aar but sometimes, this is not enough.  He has to express grief through humour/jokes.

10.not possible 11.rhythm 12.the starting point of a musical beat cycle

When a classical musician (singer or instrumentalist) explores a raaga, they will often seem to wander off the rhythm cycle that the percussionist will be following. The singer or instrumentalist will render notes and phrases that bring out the nuances of the raaga, while not necessarily sticking to the rhythmic nature of the original composition from which their exploration branched out. However, their exploratory detour over, they must return to the rhythm cycle of the original composition (‘bandish’ or ‘naGhma’) and it is at the ‘sam’ beat that they do.  Likewise, however much love or passion appears to meander off, it is not possible for it to stray off rhythm. The act of loving can never lead one astray. It will only leave one enriched.

13.mercy 14.clemency, love 15.the hindu demigod of death

The poet would have surely reached (and exceeded) his permissible quota of sins/misdeeds long ago. The belief is that in such an eventuality, kaarmic balance (something that yama, the demigod of death, keeps track of) would be restored by delivering death.  However, the poet is still alive (and reciting this she’r). Hence, the poet has clearly been shown clemency by yama, otherwise he would have taken his life.

16.sword 17.mighty/strong 18.pen

That which they call ‘mightier than the sword’ – may just turn out to be my pen, who knows!

19.preacher 20.tavern 21.in the direction of 22.steps

O preacher, I would listen to what you have to say, but you must first explain why you (who shun and forbid me to go to the tavern) were headed toward the tavern yourself.  A reference to the maqtaa of Ghalib’s Ghazal (and a reflection on the bypocricy of orthodoxy) …

23.habits 24.the poet’s pen name

Old habits die hard, O faani. While I want to say “Khatm” (the correct way to pronounce the word, which means “finished”- fitting for the last she’r of the Ghazal), I end up saying “khatam,” a very common mispronunciation, especially in the Indian subcontinent.

The post mera qalam nikle-ananth iyer faani appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/08/faani-naa-aashna-e-gosh-hai-audio.mp3

Recitation

نا  آشنائے  گوش  ہے  ۔  فانیؔ  بدایونی

۱

ذرّہ  ذرّہ  تُربتِ  فانی  کا  شیون  جوش  ہے

اِس  صفِ  ماتم  میں  اِک  شمع  لحد  خاموش  ہے

۲

پھیر  لے  میّت  کی  جانب  سے  نگاہِ  اِلتفات

سینکڑوں  شکوؤں  کے  نرغے  میں  لب  خاموش  ہے

۳

وصل  ہو  یا  ہِجر  دونوں  ہیں  مرے  مشرب  میں  کفر

شوقِ  وحدت  آشنا  بیگانۂ  آغوش  ہے

۴

طور  تو  ہے،  ربّی  اَرنی  کہنے  والا  چاہیے

لن  ترانی  ہے  مگر  نا  آشنائے  گوش  ہے

۵

اِک  طلسمِ  فیض  ہے  سینے  میں  سوزِ  دل  کی  ذات

بے  تکلف  ہر  نفس  اِک  شعلۂ  خس  پوش  ہے

۶

رازِ  آزادی  فقط  تیرے  اسیروں  پر  کھلا

جو  تیرے  قدموں  پہ  سر  ہے  بے  نیازِ  دوش  ہے

۷

زندگی  خود  کیا  ہے  فانیؔ  یہ  تو  کیا  کہیے  مگر

موت  کہتے  ہیں  جسے  وہ  زندگی  کا  ہوش  ہے

ना-आश्ना-ए गोश है – फ़ानी बदायूनी

१

ज़र्रा ज़र्रा तुर्बत-ए फ़ानी का शैवन-जोश है

इस सफ़-ए मातम में एक शम’अ-ए लहद ख़ामोश है

२

फेर ले मय्यत कि जानिब से निगाह-ए इल्तफ़ात

सैंक्डों शिक्वौं के नर्ग़े में लब-ए ख़ामोश है

३

वस्ल हो या हिज्र, दोनों हैं मेरे मुश्रिब में कुफ़्र

शौक़-ए वहदत-आश्ना बेगाना-ए आग़ोश है

४

तूर तो है, रब्बी अरनी कहने वाला चाहिये

लनतरानी है मगर ना-आश्ना-ए गोश है

५

एक तिलस्म-ए फ़ैज़ है सीने में सोज़-ए दिल की ज़ात

बे-तकल्लुफ़ हर नफ़स एक शोला-ए ख़स-पोश है

६

राज़-ए आज़ादी फ़क़त तेरे असीरौं पर खुला

जो तेरे क़द्मौं पे सर है, बे नियाज़-ए दोश है

७

ज़िन्दगी ख़ुद क्या है फ़ानी, ये तो क्या कहिये मगर

मौत कहते हैं जिसे वो ज़िन्दगी का होश है

Click here for background and on any passage for word meanings and explanatory discussion. mohammed shaukat ali KhaaN faani badayuni (1879-1941), BA 1901, law 1908. Stumbling law practice. Invited to hyderabad by maharaja kishan parshaad in 1932, working as the principal of a reputed school. Alcohol proved to be a big problem. He died forlorn and destitute. Much of his work was lost. This Ghazal with the same radeef-qaafiya as Ghalib’s, ‘Ghalib sariir-e Khaama navaa-e sarosh hai’ is linked to Ghalib naqsh-e qadam.

mohammed shaukat ali KhaaN faani badayuni (1879-1941), BA 1901, law 1908.  Stumbling law practice.  Invited to hyderabad by maharaja kishan parshaad in 1932, working as the principal of a reputed school.  Alcohol proved to be a big problem.  He died forlorn and destitute.  Much of his work was lost.  This Ghazal with the same radeef-qaafiya as Ghalib’s, ‘Ghalib sariir-e Khaama navaa-e sarosh hai’ is linked to Ghalib naqsh-e qadam.

1.every grain of dust 2.tomb 3.pen-name of the poet 4.mourning with great intensity 5.line 6.mourning 7.lamp, candle 8.grave

The poet is dead and buried and turned to dust, but still composing – such is the convention of urdu poetry.  Every grain of dust is intensely mourning the death of the poet.  In this line of mourners, there is one that is silent/extinguished – the candle on his grave.  This signifies the height of neglect, there is no one to light the candle, further increasing the despondence of mourning.  This is probably in the spirit of Ghalib’s she’r …

1.turn away 2.funeral 3.in the direction, towards 4.look, eyes 5.favour, attention, concern 6.complaints 7.encirclement, surrounding 8.lips, mouth 9.silent

All during his life and attempts are courtship, the beloved has never bestowed a favourable glance at the poet/lover.  Now that he is dead, she is at the funeral and looking at him with kindness/sympathy/love.  He suggests that she look away, otherwise his lips which are now silent and have been silent for a long time, but are surrounded by millions of complaints, might start to speak out about her neglect.

1.union 2.separation 3.faith, philosophy 4.forbidden 5.desire 6.knowledgable of oneness of all – divinity and cosmos 7.stranger, unfamiliar, oblivious 8.lap, embrace

The poet portrays himself as ‘vahdat-aashna’, who, like a sufi understands/knows that everything in the cosmose is one with the divine spirit and reflects its glory.  For one who truly believes in ‘vahdat’, the concepts of ‘vasl’ and ‘hijr’ are meaningless and therefore forbidden.  The desire of a ‘vahdat-aashna’ is unfamiliar with any embrace – is oblivious of fulfilment.

1.mount tuur 2.O lord, I want to see you 3.you will not be able to see me 4.unfamiliar 5.ears

Biblical and quraanic stories say that Moses went up on mount tuur and asked to see god – ‘rabbi arani’.  He heard ‘a divine voice’ saying ‘lantaraani’ – you will not be able to see me.  He insisted and there was divine manifestation in the form of lightning.  The poet suggests that it is possible to “see” (conceptualize) the divine but there is no one (other than himself) to insist on seeing god.  Mount tuur is still here, but there is no one insisting ‘rabbi arani’.  The sound of ‘lantaraani’ is here but there is no one who has the capability to hear it.

1.enchantment, magic 2.blessing 3.passion, fire, pain 4.being, existence 5.uninhibited 6.breath 7.flame 8.bearing straw

“sho’la-e Khas posh” is flame carrying a lot of straw on top of itself.  Thus it burns inside, but cannot be seen from the outside.  In much the same way the existence of passion in the heart is a magical blessing.  It burns inside, but cannot be seen on the outside.  It can only express itself as uninhibited breath, staying aflame inside.

1.music, melody 2.freedom, no attachments 3.only 4.captives 5.feet 6.uncaring, not needing 7.back, neck

The melody of freedom/unattachment was revealed only to your captives (those who are captivated in devotion to the divine).  They are so engrossed in their devotion that their head bowed “at the feet of the divine” is unaware of/oblivious of everything else, so much so that ‘it does not need a neck’ i.e., it is not hurt if it is cut off.

1.pen-name of the poet 2.awareness, knowledge

How can I say what the meaning/purpose of life is, O faani, but (this I know) that which is called death, gives real knowledge of (meaning to) life.  Said Ghalib …

The post naa-aashna-e gosh hai-faani badayuni 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/pmrv-Khat-ka-javaab-aa-gaya-audio.mp3

Recitation

خط  کا  آخر  جواب  آ  گیا  ۔  پنڈت  میلا  رام  وفاؔ

۱

قلق  آ  گیا  اِضطراب  آ  گیا

یہ  دل  کیا  گیا  اِک  عذاب  آ  گیا

۲

جبیں  پر  شِکن  ہے  نگہ  شعلہ  ریز

یہ  کون  آج  زیرِ  عتاب  آ  گیا

۳

اِدھر  بڑھتے  بڑھتے  بڑھا  دستِ  شوق

اُدھر  آتے  آتے  حجاب  آ  گیا

۴

لفافے  میں  پُرزے  میرے  خط  کے  ہیں

میرے  خط  کا  آخر  جواب  آ  گیا

۵

سکندر  نصیبے  کا  ہے  وہ  فقیر

تیرے  در  سے  جو  کامیاب  آ  گیا

۶

ہوئی  قائلِ  جلوۂ  طور  خلق

سرِ  بام  وہ  بے  نقاب  آ  گیا

۷

یہ  عالم  ہوا  تابشِ  حسن  سے

سوا  نیزے  پر  آفتاب  آ  گیا

۸

کہا  اُس  نے  دیکھا  جو  در  پر  مجھے

کہاں  سے  یہ  خانہ  خراب  آ  گیا

۹

اُٹھائے  گئے  بزم  سے  بوالہوس

اُنہیں  شیوۂ  اِنتخاب  آ  گیا

۱۰

ہوئے  ہی  تھے  آمادہ  توبہ  پہ  ہم

کہ  گردش  میں  جامِ  شراب  آ  گیا

۱۱

یہ  کیا  کم  ہے  اے  شیخ  مے  کا  جواز

وہ  کعبے  سے  اُٹھ  کر  سحاب  آ  گیا

۱۲

عدو  ساتھ  رہنے  لگے  اے  وفاؔ

گہن  میں  میرا  آفتاب  آ  گیا

ख़त का आख़िर जवाब आ गया – पंडित मेला राम वफ़ा

१

क़लक़ आ गया इज़्तेराब आ गया

ये दिल क्या गया एक अज़ाब आ गया

२

जबीं पर शिकन है निग’ह शो’ला रेज़

ये कौन आज ज़ेर-ए इताब आ गया

३

इधर बढ़ते बढ़ते बढ़ा दस्त-ए शौक़

उधर आते-आते हिजाब आ गया

४

लिफ़ाफ़े में पुर्ज़े मेरे ख़त के हैं

मेरे ख़त का आख़िर जवाब आ गया

५

सिकंदर नसीबे का है वो फ़क़ीर

तेरे दर से जो कामियाब आ गया

६

हुई क़ा’एल-ए जलवा-ए तूर ख़ल्क़

सर-ए बाम वो बे-नक़ाब आ गया

७

ये आलम हुआ ताबिश-ए हुस्न से

सवा नैज़े पर आफ़्ताब आ गया

८

कहा उसने देखा जो दर पर मुझे

कहाँ से ये ख़ाना-ख़राब आ गया

९

उठाए गए बज़्म से बु-अल-हवस

उन्हें शेवा-ए इंतेख़ाब आ गया

१०

हुए ही थे आमादा तौबा पे हम

के गर्दिश में जाम-ए शराब आ गया

११

ये क्या कम है अए शैख़ मय का जुवाज़

वो का’बे से उठ कर सहाब आ गया

१२

अदु साथ रहने लगे हैं वफ़ा

गहन में मेरा आफ़्ताब आ गया

Click here for background and on any passage for word meanings and explanatory discussion. panDit mela ram vafa (1895-1980), sialkoT. Grew up in a rural farming tradition. Early education in rural schools but high school and matriculation from Scotch Mission HS in 1913. One year in Forman Christian College and then quit all formal education. Freedom fighter. Wrote patriotic and resistance poetry for which he was jailed for two years. Worked as editor of several newspapers and taught urdu and faarsi at National College, lahore. India in 1947 and after some struggle found footing in saharanpur, lakhnau and kanpur editing and publishing newspapers. Two collections of nazm and Ghazal to his credit.

panDit mela ram vafa (1895-1980), sialkoT.  Grew up in a rural farming tradition.  Early education in rural schools but high school and matriculation from Scotch Mission HS in 1913.  One year in Forman Christian College and then quit all formal education.  Freedom fighter.  Wrote patriotic and resistance poetry for which he was jailed for two years.  Worked as editor of several newspapers and taught urdu and faarsi at National College, lahore.  India in 1947 and after some struggle found footing in saharanpur, lakhnau and kanpur editing and publishing newspapers.  Two collections of nazm and Ghazal to his credit.

1.regret, sorrow 2.restlessness 3.torture, torment, divine retribution

I have regrets, sorrow and have become restless.  As soon as I gave my heart (to the beloved) it is as if a calamity has descended on me.

1.forehead, brow 2.wrinkles, furrow 3.eyes, gaze 4.flame raising, flaming 5.under control of, in the grip of 6.anger, rage

The brow is furrowed and the eyes flaming, who is it that is in the grip of a rage.  This is obviously about the beloved.  It is not specified who she is angry with.  It could be the poet/lover himself or someone else and he is observing her anger.

1.hand 2.desire 3.veil, shyness, coyness

The hand of desire is the hand of the poet/lover.  Gradually extended, it tried to reach the beloved while on that side (the beloved’s side) shyness/coyness kept increasing until it overpowered the poet’s reach.

1.envelope 2.parts, shreds 3.at last 4.reply, answer

The poet/lover has been sending missives but has not received any response.  It is implied that he repeatedly asked for a response and finally received one … his own letter, shredded and placed back in the envelope.

1.Alexander 2.fate 3.beggar, seeker 4.door 5.successful

‘sikandar-naseeb’ is an expression meaning extremely fortunate.  The military successes of Alexander are transformed into the doing of fate/blessings.  In the second misra-ter’e dar-your door/threshold-implies god’s door.  Thus, the beggar who returns successul from your door (O god), is indeed extremely fortunate, like Alexander.  Of course, this could also be the beloved’s door with the beggar/lover returning from it, after having conquered the domain.

1.convinced, believing 2.beauty, glory 3.mount tuur 4.the world 5.top, head 6.roof 7.unveiled

The story of mount tuur and moosa/Moses is that moosa went up mount tuur and asked to see god.  After much insistence, there was a flash of lightning.  It was so overwhelming that moosa fainted and was convinced of the existence of god.  Thus, the beloved comes unveiled to the rooftop and her radiance is so overwhelming that the world is convinced of the story of mount tuur (divine beauty/glory).

1.condition 2.brilliance, brightness 3.distance of one and a quarter lance/spear 4.sun

According to folklore about doomsday, the sun will come as close to the earth as the distance of one and quarter lance and the intense heat will burn everything up.  Thus, the brilliance of the beauty of the beloved was such that the conditions around felt like the sun was as close as one and a quarter length of a lance.

1.door 2.homewrecker

The poet/lover went to the door of the beloved.  Seeing him she said, where has this homewrecker come from.

1.gathering 2.lechers 3.habit, capability 4.selection, disctinction

The difference between aashiq and bu-al-havas … true lover and lecher is very important in urdu poetry.  The poet/lover considers himself to be the true aashiq and the rival to be a lecher, lusting for the beauty of the beloved.  The poet/lover always bemoans the lack of capacity of the beloved to discern who the true lover is.  But now, from the gathering of the beloved, lechers were asked to leave.  She has developed the ability to distinguish between true lover and lecher.

1.inclined towards, agree to 2.repentence 3.circulation 4.cup, goblet

The poet/reveler had just agreed to repent and give up drinking when the goblet of wine came into circulation.

1.preacher 2.wine 3.reason, justification, permission 4.cloud

O preacher, is this justification for drinking wine any less.  See, that cloud from over the k’aaba has drifted here.  In poetic tradition, spring is the season or clouds and rain and it is also a time for rejuvenation and merriment.  Spring clouds trigger wine drinking parties.  This time, the cloud has drifted in from the west i.e., from over the k’aaba.  Is that not justification enough to drink, asks the poet/reveler.

1.enemy, rival 2.pen-name of the poet 3.eclipse 4.sun

O vafa, the rival often accompanies the beloved now.  My beloved/brilliant sun has gone into an eclipse.

The post Khat ka aaKhir javaab aa gaya-panDit mela ram vafa 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/cbkd-musalmaaN-bana-diya-audio.mp3

Recitation

مُسلماں  بنا  دیا  ۔  چندر  بھان  کیفیؔ  دہلوی

۱

نیرنگیِ  مآل  نے  حیراں  بنا  دیا

اِنساں  کو  خاک،  خاک  کو  اِنساں  بنا  دیا

۲

ہے  وسعتِ  خیال  میں  نظّارۂ  جمال

سارے  جہاں  کو  کوچۂ  جاناں  بنا  دیا

۳

بختِ  سیہ  سے  ہے  مرے  ظلمت  میں  آفتاب

صبحِ  وطن  کو  شامِ  غریباں  بنا  دیا

۴

تھی  کیا  فنا  کے  رنگ  سے  کلیوں  کو  بیکلی

موجِ  نسیم  نے  گلِ  خنداں  بنا  دیا

۵

انساں  کی  دو  جہان  میں  مِٹّی  خراب  تھی

دو  عشق  کو  دعا  اُسے  اِنساں  بنا  دیا

۶

دی  ہے  جمالِ  یار  نے  ہر  شئے  کو  منزِلت

ذرّے  کو  آفتابِ  درخشاں  بنا  دیا

۷

کیفیؔ  ہے  ایک  بات  خدا  کی  نگاہ  میں

کافر  بنا  دیا  کہ  مُسلماں  بنا  دیا

۸

مہنگی  شراب  ہوگئی  کیفیؔ  نے  چھوڑ  دی

کافر  کو  مُفلسی  نے  مُسلماں  بنا  دیا

मुसलमां बना दिया – चन्द्र भान कैफ़ी देहलवी

१

नैरंगी-ए मा’आल ने हैरां बना दिया

इंसां को ख़ाक, ख़ाक को इंसां बना दिया

२

है वुस’अत-ए ख़याल में नज़्ज़ारा-ए जमाल

सारे जहां को कूचा-ए जानां बना दिया

३

बख़्त-ए सियह से है मेरे है ज़ुल्मत मैं आफ़्ताब

सुबह-ए वतन को शाम-ए ग़रीबां बना दिया

४

थी क्या फ़ना के रंग से कलियों को बेकली

मौज-ए नसीम ने गुल-ए ख़न्दां बना दिया

५

इन्सां की दो जहान में मिट्टी ख़राब थी

दो इश्क़ को दुआ इसे इन्सां बना दिया

६

दी है जमाल-ए यार ने हर शय को मंज़िलत

ज़र्रौं को आफ़्ताब-ए दरख़्शां बना दिया

७

कैफ़ी है एक बात ख़ुदा की निगाह में

काफ़ेर बना दिया के मुसलमां बना दिया

८

महंगी शराब हो गई कैफ़ी ने छोड़ दी

काफ़ेर को मुफ़्लिसी ने मुसलमां बना दिया

Click here for background and on any passage for word meanings and explanatory discussion. munshi chandr bhaan kaifi dehlavi (????-1941). He taught faarsi and urdu and was editor of a bi-weekly magazine called ‘hamaari zabaan’. Much of his work was lost. One of his shaagird, sheesh chandr taalib dehlavi, collected and published it ten years after his death. He wrote Ghazal in classical style on classical themes but also wrote many nationalistic nazm. He has composed a beautiful tribute to Ghalib and a few Ghazal in using popular radeef of Ghalib. This one has very nice twists in several ash’aar.

munshi chandr bhaan kaifi dehlavi (????-1941).  He taught faarsi and urdu and was editor of a bi-weekly magazine called ‘hamaari zabaan’.  Much of his work was lost.  One of his shaagird, sheesh chandr taalib dehlavi, collected and published it ten years after his death.  He wrote Ghazal in classical style on classical themes but also wrote many nationalistic nazm.  He has composed a beautiful tribute to Ghalib and a few Ghazal in using popular radeef of Ghalib.  This one has very nice twists in several ash’aar.

1.magic, deception, fickleness 2.end result 3.bewildered 4.clay, dust

This is about the fickleness of creation and the unpredictability of life.  It is said that humans were made of clay and it is a common expression that when they die they go back to being dust.  The poet is bewildered at the fickleness of the result, this cycle of dust to human and human to dust.

1.expanse, vastness 2.thought, imagination 3.sighting, appearance 4.beauty, glory 5.world 6.street 7.beloved

In the vastness of thought/imagination, beauty/glory appears before me, turning the entire world into the alley of the beloved.  The poet speaks of the transformative power of thought and imagination. vus’at-e Khayaal” (the vastness of thought) allows the poet to see beauty everywhere, turning the whole world into a metaphorical street where the beloved resides. This reflects the poet’s romantic worldview, where the beloved becomes the center of everything, remembering that this could be the divine beloved.

1.fate 2.dark 3.darkness 4.sun 5.homeland 6.exile, grief

Because of my dark fate, the sun is covered in darkness.  It (my dark fate) has changed the dawn of the homeland into the night of exile/grief.  Here sun symbolizes hope, knowledge and progress while darkness symbolizes ignorance, fear and decline.

1.annihilation 2.colour, style, mode 3.buds 4.restlessness, eagerness 5.gust 6.morning breeze 7.smiling

It is said that the morning breeze blows and tickles sleeping buds to bloom into flowers.  Soon after they bloom, they decay, their petals fall off and they are ‘annihilated’.  The poet wonders … were the buds eager for the mode of annihilation that the gust of the morning breeze turned them into smiling (blooming) flowers?  Eagerness of ‘fanaa’ is a highly valued sufiyaana concept.

1.used for basic nature, character

The prospects for human nature were not very good either here or in the hereafter, material or spiritual world.  It was love that changed clay into humans.  Thus, love is the essence of being human.

1.beauty, glory 2.friend, beloved, divine 3.commodity, thing 4.status 5.particles/grains of sand/dust 6.sun 7.brilliant, shining

Sunshine reflects off grains of dust which then appear brilliant/shining.  Thus, the beauty of god confers a (high) status to every (lowly) thing, just like the sun makes every every grain of sand shine brilliantly.

1.pen-name of the poet 2.eyes, sight 3.non-believer

This is a sarcastic statement.  O kaifi, there is something unique about the glance of god.  With one glance, he can make one a believer and the other a non-believer.  There is an implication that one is blessed with salvation and the other is condemned.  Thus, the making of believer and non-believer is sarcastically presented as totally arbitrary.

1.expensive, pricey 2.pen-name of the poet 3.non-believer 4.poverty, indigence

This is a rather humorous she’r.  The defining characteristic of being musalmaan is abstaining from wine.  The poet, kaifi, used to enjoy wine, therefore is regarded as non-believer/kaafir.  But then wine becomes expensive and he can no longer afford it and has to give it up.  Thus, indigence has forced the non-believer to give up wine and in effect become musalmaan.

The post musalmaaN bana diya-chandr bhan kaifi dehlavi 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/dGhd-Khat-aaya-javaab-meN-audio.mp3

Recitation

خط  آیا  جواب  میں  ۔  داغؔ  دہلوی

۱

اُن  کو  کہاں  ہے  صبر  و  تحمّل  عِتاب  میں

دم  بھر  کے  بعد  اور  خط  آیا  جواب  میں

۲

کیوں  فِکر  اس  قدر  ہے  رقیبوں  کے  باب  میں

اُن  کے  گنہ  بھی  ڈال  دو  میرے  حِساب  میں

۳

دیکھا  دل  اُن  کا  غیر  نے  سینے  پہ  رکھ  کے  ہاتھ

وہ  کاش  دیکھتے  نہ  مجھے  اِضطراب  میں

۴

صوفی  کو  اِجتناب  ہے  واعظ  کو  اِحتراض

کیا  زہر  گُھل  گیا  ہے  الہٰی  شراب  میں

۵

یا  رب  نہ  پوچھ  عرصۂ  محشر  میں  رازِ  دل

کرتا  ہوں  میں  حِجاب  کی  باتیں  حِجاب  میں

۶

عاشق  تو  کب  دبیں  گے  فرِشتوں  سے  بعدِ  مرگ

تکرار  ہو  نہ  جائے  سوال  و  جواب  میں

۷

دل  دے  کے  مفت  مول  لیا  پھر  ہزار  بار

اپنے  دھوئیں  بکھر  گئے  عہدِ  شباب  میں

۸

اُس  نے  بغیر  خط  کے  پڑھے  لِکھ  دیا  جواب

یہ  بات  بھی  ہے  لکھنے  کے  قابِل  کتاب  میں

۹

تِربِھر  ہوئے  ہیں  کیسے  وہ  برسے  ہیں  کس  قدر

لگتی  لگاتی  بات  جو  کہہ  دی  عِتاب  میں

۱۰

آؤ  نہ  اتنی  دیر  ہمیں  تم  کریں  کلام

روزِ  جزا  ابھی  ہے  توقّف  حِساب  میں

۱۱

میں  دیکھتا  ہوں  دیکھتے  ہی  وصل،  ہجر  بھی

تعبیر  مُجھ  کو  خواب  کی  ملتی  ہے  خواب  میں

۱۲

پوچھے  تو  کوئی  حضرتِ  واعظ  سے  اتنی  بات

ایسے  ہی  تھے  جناب  بھی  عہدِ  شباب  میں

۱۳

آنکھ  اپنی  بند  ہوتے  ہی  پردے  سے  اُٹھ  گئے

دیکھا  تھا  ہم  نے  خاک  جہانِ  خراب  میں

۱۴

تم  مجھ  پہ  جور  کر  کے  پشیمان  بھی  نہیں

میں  تم  سے  دل  لگا  کے  پڑا  کس  عذاب  میں

۱۵

کچھ  ہوش  ہو  تو  داغؔ  کو  سمجھائیں  نیک  و  بد

ڈوبا  ہوا  ہے  نشۂ  جام  شراب  میں

ख़त आया जवाब में – दाग़ देहलवी

१

२

३

४

५

६

७

८

९

१०

११

१२

१३

१४

१५

Click here for background and on any passage for word meanings and explanatory discussion. daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (by marriage of his mother to zafar’s son). After 1857, he had to move to rampur and later to hyderabad, where he died. His Ghazal are more earthy and romantic than sufiyaana or philosophical. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib and composed several Ghazal in the zamiin of Ghalib, using many of the same phrases. This is one of them.

daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (by marriage of his mother to zafar’s son). After 1857, he had to move to rampur and later to hyderabad, where he died.  His Ghazal are more earthy and romantic than sufiyaana or philosophical.  He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known.  But daaGh had good relations with Ghalib and composed several Ghazal in the zamiin of Ghalib, using many of the same phrases.  This is one of them.

1.patience 2.toleration, capacity to bear 3.calamitous anger 4.even for a moment 5.answer, reply

The poet/lover has sent a letter via messenger to the beloved.  But does she have the patience or control over her calamitous anger.  Of course not!  Within a minute she dashes off a reply to his letter.  The implication is that it was an angry response.

1.concern 2.so much 3.rivals 4.theme, in the subject of 5.sin 6.account

The beloved is showing much concern about the fate of the rival.  The poet/lover is miffed.  Why do you show so much concern about the rival, just write all of his sins too in my account.  Thus, by taking on all his sins, the poet hopes that the beloved will not be so obsessed with thoughts of the rival.

1.rival 2.I wish 3.restlessness, longing

The beloved has cast a longing glance at the poet/lover.  The rival who is next to her sees her concerned look and checks out her heart for palpitations.  That of course, causes the poet/lover a lot of angst due to jealousy.  Although her longing glance is very satisfying/rewarding to the poet/lover he wishes that she had not done so.  He is willing to forego the pleasure of her longing glance to avoid giving the rival the chance/excuse to place his heart on her chest to feel her heartbeat.

1.mystic 2.abstinence, avoidance 3.preacher 4.objection 5.god

The mystic abstains, the preacher objects.  O god, is there poison dissolved in wine – is that why the mystic avoids and preacher objects.

1.lord 2.time, duration 3.day of judgement 4.secret 5.hidden

O lord, do not ask me about the secrets of my heart during the day of judgement.  I like to keep hidden matters hidden.

1.suppressed 2.death 3.argument 4.question and answer

Were lovers ever suppressed by angels after death.  I fear that an argument might break out during question and answer.  It is implied that the question and answer will be about the deeds of the lover and they might get offended and annoyed.

1.without charge 2.acquire 3.thousand times 4.smoke, passion 5.spread, scattered 6.duration, time 7.youth

The poet/lover gave away his heart to the beloved without her asking for it, but later he had to pay the price a thousand times (in pain and suffering).  His passion got wasted blown away like smoke during his youth.

1.without 2.reply 3.deserving of, worthwhile

The beloved sent her usual angry reply (that he has seen many times before) without even reading his letter.  This too, is well worth writing about in the book (of his life).

1.upset, angry 2.rained (like calamities raining down) 3.how much 4.sensitive, touching a raw nerve 5.torment, agony

O how angry she has gotten, how much has she rained on me like calamities coming down from the sky, when I said something sensitive about her tormenting me.

1.conversation 2.day of judgment 3.delay, suspended, postponed 4.reckoning

itni der means while we have time …thus, while we have this time, why don’t you and I talk to each other.  There is a long time left before we are called to reckon our deeds on the day of judgment.  The implication is that conventional fear of the day of judgment inhibits us from enjoying ourselves while we have the time to do so.  The poet is calling us to shed those inhibitions.

1.union (with the beloved) 2.separation 3.interpretation, fulfillment 4.dream

The poet preceives and as soon as he sees/experiences union, he also sees separation.  Separation is the taabiir of his Khwaab i.e., even union was a dream and he knows that the dream will end in full realization that he is a state of hijr-separation.

1.mister 2.preacher 3.honourable 4.times, era, age 5.youth

Let someone ask mister preacher this much; was his honour like this during his time of youth … presumably, the preacher is now in his advanced years and is admonishing the youth to stay away from enjoying themselves.  The poet wants someone to remind him of his hypocricy … engaging in joyful activities during his own youth, while forbidding it for the current generation.

1.dust, nothing of value 2.ruined world

aaNkh band hona implies death and parde uThna means new truths revealed.  All we have seen in this ruined world is Khaak – nothing of real value, only illusion.  As soon as we die, it is as if veils have been lifted off and we can see the truth.  This of course, is not what rationalists think.

1.force, oppression 2.remorseful 3.calamity

You (O beloved) do not show any regret even after being so cruel to me.  I, on the other hand, have only had calamities befall me after giving you my heart.

1.senses, sobriety 2.pen-name, taKhallus 3.explain 4.good and bad 5.drowned 6.intoxication 7.cup

If he comes to his senses, we will explain to daaGh the difference between good and bad; right now he seems to be drowned in the intoxication of the wine-cup.

The post Khat aaya javaab meN-daaGh dehlavi 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/ravis-aagahi-ke-baab-meN-audio.mp3

Recitation

آگہی  کے  باب  میں  –  روی  سنہا  رویؔ

۱

۲

۳

۴

۵

۶

आगही के बाब में – रवि सिन्हा रवि

१

बात थी कुछ और जब आया किये थे ख़्वाब में

क्या लताफ़त रह गई है अब अदब-आदाब में

२

एक सूरज जल रहा था जल रहे हैं सौ चराग़

क्या तजल्ली ढूँडिये दाग़ी किसी महताब में

३

चश्म से दाख़िल मगर इद्राक का पर्दा है दूर

रौशनी उलझी हुई है ज़हन के अस्बाब में

४

बेकराँ फैला हुआ है ये समन्दर किस लिये

डूब जाना है अगर बाज़ीचा-ए पायाब में

५

धुन्ध में औहाम का चेहरा दिखे तो पूछना

राह रोके क्यूँ खढा है आगही के बाब में

६

यूँ तो दुनिया में रहे बा-क़ा’एदा हम भी शरीक

ज़िन्दगी गुज़री मगर एक जुस्तजू नायाब में

Click here for background and on any passage for word meanings and explanatory discussion. ravi sinha ravi (1952-living) bihar, UP and dehli, physicist, writer, educationist and an activist-scholar associated with progressive and emancipatory movements for nearly four decades. PhD in theoretical physics, MIT. Worked in research and teaching institutions in Maryland, USA and later ahmedabad, gujarat, before resigning from his job to devote himself full time to writing, organizing and theorizing. He is the principal author of the book, Globalization of Capital, co-founder of the hindi journal, sandhan, and one of the founding members of the New Socialist Initiative – an informal group of intellectuals and activists. . Came to urdu late in life (at 65) to start on a new unexpected and challenging venture …

ravi sinha ravi (1952-living) bihar, UP and dehli, physicist, writer, educationist and an activist-scholar associated with progressive and emancipatory movements for nearly four decades. PhD in theoretical physics, MIT.  Worked in research and teaching institutions in Maryland, USA and later ahmedabad, gujarat, before resigning from his job to devote himself full time to writing, organizing and theorizing. He is the principal author of the book, Globalization of Capital, co-founder of the hindi journal, sandhan, and one of the founding members of the New Socialist Initiative – an informal group of intellectuals and activists.  .  Came to urdu late in life (at  65) to start on a new unexpected and challenging venture …

1.elegance, delicacy, pleasantness 2.respect and traditions

Who or what was it that kept appearing his dream.  This has to be surmised from the context of the remaining Ghazal.  These were aspirations of the future that kept appearing in the seeker’s dreams.  Here ‘baat kuchh aur thi’ means conditions/behaviour used to be different.  The poet recalls a time when things were different, perhaps more pure or full of promise with dreams of progress and better times.  Now, however, the refinement and grace (lataafat) that once characterized culture, manners, or interactions (adab-aadaab) seem to have faded.  This could also be a reflection of changing communal relations in India.

1.hundred 2.lamps 3.brilliance 4.stained, blemished 5.moon

I interpret this in a highly political sense.  ‘suuraj’ used as a symbol of light, knowledge and justice.  Because of this one source (either a guiding principle e.g., social justice or a leader) a hundred lamps were lit i.e., knowledge and values spread.  Now things have changed.  The suuraj is gone and is replaced by a moon that is a faint reflection of the sun’s brilliance and that too blemished.  How can you look for brilliance here.

1.eye 2.enter 3.wisdom, insight 4.tangled 5.mind, intellect 6.means, capabilities

Light/sight enters the eyes but insight understanding is behind a veil, far away i.e., we see but we don’t understand the true meaning of what we see.  Light is tangled up in the capabilities of the mind … in biases, thoughts and emotions.

1.expanse, boundless 2.playground 3.shallow, ankle deep

There is a boundless ocean (of knowledge) before us, but we spend our life in, drown ourselves in the shallow playground of trivia, superstition and bias.  Of what use is the boundless ocean if we don’t dive into it.

1.fog, confusion 2.superstitions 3.face 4.path 5.knowledge, wisdom 6.domain, realm

In the fog/confusion of ignorance if you see the face of superstitions, ask him, why it is standing in the path, blocking the way of progress in the realm of knowledge.

1.in a principled way, in full measure 2.participate 3.passed 4.search 5.unique, unachievable

We too participated in life on this earth in full measure but our life was spent in a unique search – a constant search for knowledge and understanding, even if unachievable.

The post aagahi ke baab meN-ravi sinha ravi 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/dGhd-kis-vaqt-Khuda-yaad-aaya-01-10-audio.mp3

Recitation

کِس  وقت  خدا  یاد  آیا  ۔  داغؔ  دہلوی

۱

کون  سا  طائرِ  گم  گشتہ  اُسے  یاد  آیا

دیکھتا  بھالتا  ہر  شاخ  کو  صیّاد  آیا

۲

میرے  قابو  میں  نہ  پہروں  دلِ  ناشاد  آیا

وہ  مرا  بھولنے  والا  جو  مجھے  یاد  آیا

۳

کوئی  بھولا  ہوا  اندازِ  ستم  یاد  آیا

کہ  تبسّم  تجھے  ظالم  دمِ  بیداد  آیا

۴

لائے  ہیں  لوگ  جنازے  کی  طرح  محشر  میں

کس  مصیبت  سے  ترا  کشتۂ  بیداد  آیا

۵

جذبِ  وحشت  ترے  قربان  ترا  کیا  کہنا

کِھنچ  کے  رگ  رگ  میں  مرے  نشترِ  فصّاد  آیا

۶

اس  کے  جلوے  کو  غرض  کون  و  مکاں  سے  کیا  تھا

داد  لینے  کے  لیے  حسنِ  خداداد  آیا

۷

بستیوں  سے  یہی  آواز  چلی  آتی  ہے

جو  کیا  تو  نے  وہ  آگے  ترے  فرہاد  آیا

۸

دلِ  ویراں  سے  رقیبوں  نے  مرادیں  پائیں

کام  کس  کس  کے  مرا  خِرمن  برباد  آیا

۹

عشق  کے  آتے  ہی  منہ  پر  مرے  پھولی  ہے  بسنت

ہو  گیا  زرد  یہ  شاگرد  جب  اُستاد  آیا

۱۰

ہو  گیا  فرض  مجھے  شوق  کا  دفتر  لکھنا

جب  مرے  ہاتھ  کوئی  خامۂ  فولاد  آیا

किस वक़्त ख़ुदा याद आया – दाग़ देहलवी

१

कौन सा ता’एर-ए गुम-गश्ता उसे याद आया

देखता भालता हर शाख़ को सय्याद आया

२

मेरे क़ाबू में न पहरौं दिल-ए नाशाद आया

वो मेरा भूलने वाला जो मुझे याद आया

३

कोई भूला हुआ अंदाज़-ए सितम याद आया

के तबस्सुम तुझे ज़ालिम दम-ए बेदाद आया

४

लाए हैं लोग जनाज़े की तरह महशर में

किस मुसीबत से तेरा कुश्ता-ए बेदाद आया

५

जज़्ब-ए वहशत तेरे क़ुर्बान तेरा क्या कहना

खिंच के रग रग में मेरे नश्तर-ए फ़स्साद आया

६

उस के जल्वे को ग़रज़ कौन-ओ-मकाँ से क्या था

दाद लेने के लिए हुस्न-ए ख़ुदा-दाद आया

७

बस्तियौं से यही आवाज़ चली आती है

जो किया तू ने वो आगे तेरे फ़रहाद आया

८

दिल-ए वीराँ से रक़ीबौं ने मुरादें पाईं

काम किस किस के मेरा ख़िर्मन-ए बर्बाद आया

९

इश्क़ के आते ही मुँह पर मेरे फूली है बसंत

हो गया ज़र्द ये शागिर्द जब उस्ताद आया

१०

हो गया फ़र्ज़ मुझे शौक़ का दफ़्तर लिखना

जब मेरे हाथ कोई ख़ामा-ए फ़ौलाद आया

Click here for background and on any passage for word meanings and explanatory discussion. daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (because of the marriage of his widowed mother to zafar’s oldest son). After 1857, he had to move to rampur and later to hyderabad, where he died after 10+ happy years. His Ghazal are more earthy and romantic than sufiyaana or philosophical, but they are very popular because of their musicality. He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known. But daaGh had good relations with Ghalib. This is a long Ghazal. It is posted in two parts to make for easy reading and listening. It is also linked to Ghalib naqsh-e qadam – ‘diida-e tar yaad aaya’.

daaGh dehlavi (1831-1905), grandson of bahadur shah zafar (because of the marriage of his widowed mother to zafar’s oldest son).  After 1857, he had to move to rampur and later to hyderabad, where he died after 10+ happy years.  His Ghazal are more earthy and romantic than sufiyaana or philosophical, but they are very popular because of their musicality.  He was a disciple of zauq, whose rivalry with/jealousy of Ghalib is well known.  But daaGh had good relations with Ghalib.  This is a long Ghazal.  It is posted in two parts to make for easy reading and listening.  It is also linked to Ghalib naqsh-e qadam – ‘diida-e tar yaad aaya’.

1.bird 2.lost 3.branch 4.birdcatcher, hunter

The poet himself is depicted as a bird, and he is apprehensive because he sees the hunter looking/searching on every branch for something.  Which lost bird came to the hunter’s mind?  He is coming, seaching on every branch.

1.control 2.for hours, a pahr is three hours 3.unhappy heart

For hours, I could not control my unhappy heart, when the one who had forgotten me came to my mind.  Of course, the one who has forgotten him is the beloved, but he still remembers her and is unhappy about her indifference.

1.style, manner 2.cruelty 3.smile 4.tyrant, torturer 5.time, moment 6.cruelty, oppression

The beloved is inflicting cruelty on the poet/lover and suddenly smiles.  He gueses … did you remember some forgotten manner of cruelty, when that smile appeared on your lips at the moment of oppression.

1.funeral bier 2.doomsday, judgment day 3.victim, killed by 5.tyranny

‘kushta-e bedaad’ – the one who was killed by tyranny is the poet/lover and the tyrant is the beloved.  He was reluctant to come on the day of judgement, perhaps because he did not want the beloved to have to face him and face the consequences of having killed him.  He was dragged/carried like a funeral bier to the field of judgment.  It was with great difficulty that he came here.

1.intense feeling 2.wildness, madness, passion 3.sacrificial/devotional offering 4.used to mean ‘how can I praise/thank you’ 5.attracted 6.every vein 7.dagger 8.one who draws blood, phlebotomist

I am not sure if this she’r connects with it … but in urdu poetic convention the lover’s blood is added to the beloved’s henna to give a deeper red hue.  This could be the beloved’s dagger that is drawn to every vein in the body of the lover to draw blood.  This is because of his feelings/passion and the poet expresses his admiration for his own passion.

1.radiance, beauty 2.concern 3.universe, space and time 4.approval, admiration 5.beauty 6.Khuda-daad

The undefined pronoun ‘uss’ may be about the beloved.  Her beauty is raised to the level of divine glory.  It had no concern with the limitations of time and space – the universe.  Her god-given beauty descended to earth to be appreciated (much like god is supposed to have created humans to become realized/known.  dwarka das sho’la has a very interesting and humorous take …

1.neighbourhoods, settlements, towns 2.sound, call 3.before you 4.of shiiriiN-farhaad legend

According to legend farhaad nearly succeeded in carving a channel through a mountain to bring a river of milk for shirin’s bath.  A false rumour was spread that shirin was dead.  Upon hearing it, farhaad killed himself with his own pickaxe.  Here, daaGh takes it as a lesson for forlorn lovers.  The sound/call from every town look what happened to farhaad before you.

1.desolate 2.rivals 3.desires, supplications, prayers 4.received, fulfilled 5.harvest 6.ruined

Rivals had their prayers answered because of my desolate heart, how many people benefited from the ruins of my harvest (the ruinous result/yield of his own love)?  The poet laments how others have benefited from his suffering.  The beloved ignored his, was indifferent to him, and the rival got an opportunity.

1.phuuli hai basant – literally, spring has bloomed; yellow colour of mustard blooms at springtime 2.pale 3.student 4.master, teacher

The phrases ‘ishq ke aate hi’ in the first misra and ‘ustaad aaya’ in the second, lead me to believe that ishq is the ustaad and of course the lover is the shaagird.  Thus, as soon as love ‘came upon him’ he turned pale with melancholy out of fear of the outcome.

1.duty, obligation 2.passion 3.record, chronicle 4.steel pen

It became my duty to (I could not help but) record the chronicles of passion when a steel pen came into my hand.  The significance of the ‘steel pen’ is that a conventional quill or straw pen would wear out, the legend of his passion is so long and painful that the only suitable instrument is a steel pen.

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