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/haa-aashiqaana-kya-audio.mp3

Recitation

https://urdushahkar.org/wp-content/uploads/2025/08/haa-aashiqaana-kya-begum-aKhtar.mp3

begum aKhtar

عاشقانہ  کیا  ۔  حیدر  علی  آتشؔ

۱

کیا  کیا  اُلجھتا  ہے  تری  زلفوں  کے  تار  سے

زیرِ  زمیں  سے  آتا  ہے  جو  گُل  سو  زر  بکف

اُڑتا  ہے  شوقِ  راحتِ  منزل  سے  اسپِ  عمر

زینہ  صبا  کا  ڈھونڈتی  ہے  اپنی  مُشتِ  خاک

چاروں  طرف  سے  صورتِ  جاناں  ہو  جلوہ  گر

صیّاد  اسیرِ  دامِ  رگِ  گُل  ہے  عندلیب

طبل  و  علم  ہی  پاس  ہے  اپنے  نہ  ملک  و  مال

آتی  ہے  کس  طرح  سے  مرے  قبضِ  روح  کو

ہوتا  ہے  زرد  سُن  کے  جو  نامرد  مُدّعی

تِرچھی  نگہ  سے  طائرِ  دل  ہو  چُکا  شِکار

صیّاد  گُل  عذار  دکھاتا  ہے  سیرِ  باغ

بیتاب  ہے  کمال  ہمارا  دلِ  حزیں

یُوں  مُدّعی  حسد  سے  نہ  دے  داد  تو  نہ  دے

आशिक़ाना क्या – हैदर अली आतिश

सुन तो सही जहाँ में है तेरा फ़साना क्या

क्या क्या उलझता है तेरी ज़ुल्फ़ों के तार से

ज़ेर-ए ज़मीं से आता है जो गुल सो ज़र-ब-कफ़

उढता है शौक़-ए राहत-ए मंज़िल से अस्प-ए उम्र

ज़ीना सबा का ढूँडती है अपनी मुश्त-ए ख़ाक

चारों तरफ़ से सूरत-ए जानाँ हो जल्वा-गर

दिल साफ़ हो तेरा तो है आईना-ख़ाना क्या

सय्याद असीर-ए दाम-ए रग-ए गुल है अंदलीब

तब्ल-ओ-अलम ही पास है अपने न मुल्क ओ माल

आती है किस तरह से मेरे क़ब्ज़-ए रूह को

होता है ज़र्द सुन के जो नामर्द मुद्द’ई

तिर्छी निगह से ता’एर-ए दिल हो चुका शिकार

सय्याद-ए गुल-अज़ार दिखाता है सैर-ए बाग़

बेताब है कमाल हमारा दिल-ए हज़ीं

यूँ मुद्द’ई हसद से न दे दाद तो न दे

Click here for background and on any passage for word meanings and explanatory discussion. Khwaaja haider ali aatish (1777-1847), born faizabad, sufi family, disciple of mus’hafi and wrote both in faarsi and urdu. aatish wrote more explicitly than most about the pleasures of flesh. Refused all patronage because he wanted to be independent. He was about 20 years Ghalib’s senior and a contemporary of imaam baKhsh naasiKh. They were known to be rivals in literary style.

Khwaaja haider ali aatish (1777-1847), born faizabad, sufi family, disciple of mus’hafi and wrote both in faarsi and urdu. aatish wrote more explicitly than most about the pleasures of flesh.  Refused all patronage because he wanted to be independent.  He was about 20 years Ghalib’s senior and a contemporary of imaam baKhsh naasiKh.  They were known to be rivals in literary style.

1.world 2.story 3.creatures of god 4.used here to mean-unbeknownst to you

Just listen to your story going around in the world, listen to what the people are say about you in your absence.  A straightforward reflection that people may say good things to your face, but what they really think comes out of your earshot.

1.entangled 2.hair 3.stands 4.demanding/desiring to be stitched 5.bosom 6.hundred tears 7.comb

shaana is comb in faarsi.  The poet characterises it as something with a hundred tears in its bosom.  It desires that its tears be stitched; that is why it tangles with the strands of the beloved’s hair.  Strands of hair are like threads for stitching.

1.under 2.rose, flowers 3.gold in hand 4.Croesus, legendary selfish man who accumulated huge wealth 5.squander, give away 6.treasure

Legend says that qaaruun/Croesus accumulated so much wealth/gold that it sank deep into the earth because of its own weight.  The poet thinks that every flower that rises out of the depths of the earth carries gold dust (pollen) in its hand.  Look at the treasure that qaaruun is giving away, he says.

1.desire 2.comfort 3.destination 4.horse, steed 5.life 6.spur at the stirrup 7.old form of haiN 8.whip

The destination of the steed of life is the next world.  In the desire to reach it, it is flying without being spurred or whipped.  The rider does not even know what a spur or whip is.  The steed of life flies on its own.  Said Ghalib …

1.stairs 2.breeze 3.fistful 4.dust 5.rooftop 6.high 7.beloved 8.threshold

The lover is dead and buries and reduced to dust.  His fistful of dust is searching for ‘stairs of the breeze’ i.e., it is look for the breeze to blow it up high, to take it up the stairs.  Why is it doing that.  Because it wants to be deposited and the threshold of the beloved so it can ‘kiss’/touch the beloved’s feet.  The poet muses … is the threshold of the beloved on a high rooftop.

1.directions 2.image, reflection 3.beloved, divine 4.manifest, displaying glory 5.pure 6.house of mirrors

This suggests that god is every where and divine glory is reflected in everything, in every direction.  If the heart is pure, then you can see it everywhere, why do you need an aa’iina-Khaana – a house of mirrors.

1.hunter, birdcatcher 2.captive 3.net 4.veins 5.rose 6.bulbul, nightingale 7.seeds, grain

In urdu poetic tradition the gul and the bulbul are lovers.  Thus, the bulbul/andaliib is already a captive in the net of the veins of the rose.  Why is it necessary for you, O birdcatcher to spread a hidden net with grain/seeds to catch the bulbul.  This may be an expression of empathy for the lover … the bulbul is already a captive of love, leave it alone.

1.drum and banner 2.country/kingdom and wealth 3.opposed 4.the times, the world

I have neither drum and banner (pomp and glory) nor do I have any kingdom or wealth.  What would the world gain by opposing me.  Said Ghalib …

1.way, method 2.capture, extract 3.soul 4.death 5.excuse, fake reason

Which way will death come to extract my soul, let me see what excuse it finds for this.

1.pale, fearful 2.coward, unmanly 3.claimant, opponent 4.legendary acient Persian warrior 5.story 6.legend

rustam was a legendary warrior so feared that no one would agree to combat him.  He therefore entered combat incognito but just before the last strike he would shout out his own name … striking fear in the opponent who would go pale and drop down.  aatish and naasiKh were known to be intense rivals in the literary and artistic sense (not personal).  It was common for rival poets to take jabs at each other during a mushaa’era.  This appears to be such a jab … why does my opponent turn pale upon hearing this.  Is my story like the legend of rustam.

1.slanted, sidelong 2.glance 3.bird 4.hunted, prey 5.crooked, hooked 6.target, aimed

The beloved casts sidelong glances at her lovers.  These pierce the heart and go through to the liver.  If the heart is taken as as bird that has been struck by the arrow of her sidelong glance, then there is no chance that this bird will fly anywhere.  It has been nailed by the sidelong, hooked glance.

1.hunter, captor, birdcatcher 2.rosy-cheeked 3.scenery 4.cage 5.nest

In urdu poetic tradition the lover is often portrayed as a bird and is captured by the beloved, portrayed as the birdcatcher.  Here he has been captured and caged.  The rosy-cheeked captor is taking him in the cage to show him scenes of the garden.  Is it because he remembers/misses his nest!

1.restless 2.completely 3.melancholy, sorrowful 4.guest 5.rest-house 6.body 7.depart

The soul is a guest in the rest-house for the body in the journey of life.  The sorrowful heart is the equilvalent of the soul and is completely restless.  The poet asks – does this mean that the guest is about to depart; is the soul about to leave!

1.opponent, rival 2.envy 3.appreciation, praise 4.pen-name 5.love-lorn, romantic

We are back to the rivalry between aatish and naasiKh; the former known for his advocacy of emotional intensity and passion and the latter of technical precision and elegance.  What an emotional/romantic Ghazal you have read, O aatish.  What does it matter if the rival does not show any appreciation out of envy.

The post aashiqaana kya-haidar ali aatish 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

تو  غزل  کہوں  ۔  وجیندر  سنگھ  پروازؔ

۱

تجھے  دیکھ  لوں  تو  قلم  اُٹھے

تجھے  جان  لوں  تو  غزل  کہوں

۲

نہیں  کچھ  بھی  تِرے  سِوا  یہاں

میں  یہ  مان  لوں  تو  غزل  کہوں

۳

جو  خدا  نے  چاند  کے  قلب  میں  بڑی  اِحتیاط  سے  رکھ  دیا

تِرے  ہاتھ  سے  دل  و  جان  پر  وہ  نشان  لوں  تو  غزل  کہوں

۴

تو  حسین  پھولوں  کی  شاخ  ہے  میں  پرِند  ہوں  اُسی  شاخ  کا

تو  ہلے  تو  اپنے  خیال  کی  میں  اُڑان  لوں  تو  غزل  کہوں

तो ग़ज़ल कहूँ – विजेंद्र सिंह पर्वाज़

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Click here for background and on any passage for word meanings and explanatory discussion. vijendra siNgh parvaaz (1943-living), fareedabad and meeraTh. MA (English Literature). Lecturer, KV Inter College meeraTh. I could not figure out what his family background was and how he came to urdu. A great lover of urdu and a staunch secularist. He has several collections of nazm to his credit and collection of odes to islamic religious figures. This Ghazal is linked to ‘to Ghazal hoti hai’ on the Refrain Index page.

vijendra siNgh parvaaz (1943-living), fareedabad and meeraTh.  MA (English Literature).  Lecturer, KV Inter College meeraTh.  I could not figure out what his family background was and how he came to urdu.  A great lover of urdu and a staunch secularist.  He has several collections of nazm to his credit and collection of odes to islamic religious figures.  This Ghazal is linked to ‘to Ghazal hoti hai’ on the Refrain Index page.

1.see, comprehend 2.pen 3.understand/know deeply

Who is the ‘you’?  It could be the beloved or the divine or any mystery that has been puzzling the poet/lover/seeker.  Thus, if I see you I might be able to pick up the pen; if I get to know/understand you, I will be able to compose a Ghazal.  The beloved or the divine or some mystery is the muse, the spark of creativity.

1.except for, other than 2.agree, accept

The presence of the divine or the beloved is an overwhelming feature of the seeker’s or the lover’s life.  If the poet gets to undertand/accept that nothing exists beyond the divine/beloved, then that realization will inspire poetry – a Ghazal.

1.heart 2.care, delicacy 3.mark, sign, scar

In poetic tradition the spots on the moon are often symbolized as the wound of love on the heart.  The scar of love is a divine gift, carefully placed on the moon for all to see.  Thus, the message of god, is a message of universal love delivered to us through a view of the moon.  If I receive the same scar on my heart and soul from your hands, then I will be inspired to compose a Ghazal.  Who is meant by ‘your’ … it could be the beloved or the concept of universality of humanity.

1.beautiful 2.branch of flowers 3.bird 4.thought, imagination 5.flight

In urdu poetic tradition the poet is often symbolized as a bird who builds a nest on a flower branch.  The relationship between the bird and the flower is that of intense love … the story of gul-o-bulbul.  It is this love that inspires poetry.  Here the poet is a bird on a branch of flowers and when it sways/swings gently in the wind the bird (and the poet’s thought/imagination) takes flight, and he can transform this imagination to a Ghazal.

The post to Ghazal kahuN-vijendra siNgh parvaaz 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

تو  غزل  ہو  جائے  ۔  چندر  بھان  خیالؔ

۱

پردہ  چہرے  سے  ہٹائے  تو  غزل  ہو  جائے

زندگی  سامنے  آئے  تو  غزل  ہو  جائے

۲

سرد  سڑکوں  پہ  سِسکتے  ہوئے  سنّاٹوں  کا

درد  جب  دل  میں  سمائے  تو  غزل  ہو  جائے

۳

سوز  ہر  لفظ  کے  سینے  میں  نہاں  ہے  اب  بھی

خاموشی  ساز  اُٹھائے  تو  غزل  ہو  جائے

۴

شہرِ  احساس  اگر  نرم  لب  و  لہجے  میں

داستاں  اپنی  سنائے  تو  غزل  ہو  جائے

۵

دن  کے  ہنگاموں  میں  گم  کردہ  ہر  اک  فکر  میری

شب  کی  آغوش  میں  جائے  تو  غزل  ہو  جائے

۶

کب  سے  بیٹھا  ہوں  خیالات  کا  خیمہ  تانے

کربِ  تخلیق  ستائے  تو  غزل  ہو  جائے

۷

شامِ  غم  جام  بکف  ہے  تو  اِس  عالم  میں  خیالؔ

ہوش  بھی  ہاتھ  ملائے  تو  غزل  ہو  جائے

तो ग़ज़ल हो जाए – चंदर भान ख़याल

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Click here for background and on any passage for word meanings and explanatory discussion. chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh. Graduated from saagar university. His rural school did not have provisions to teach urdu. He was fascinated with urdu poetry and in his village a philanthropist got a library built and stocked. Visiting the newly opened library, he memorized a lot of Ghazal and nazm from books in devanagiri. He also started composing nazm. Could not find anyone in the village to teach him urdu, not even the imaam at the local masjid. Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years. He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird. Participated in mushaa’era, published a collection and got started on a journalism career. Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli. Sahitya Akademi Award and Tagore Literary Prize.

chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh.  Graduated from saagar university.  His rural school did not have provisions to teach urdu.  He was fascinated with urdu poetry and in his village a philanthropist got a library built and stocked.  Visiting the newly opened library, he memorized a lot of Ghazal and nazm from books in devanagiri.  He also started composing nazm.  Could not find anyone in the village to teach him urdu, not even the imaam at the local masjid.  Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years.  He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird.  Participated in mushaa’era, published a collection and got started on a journalism career.  Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli.  Sahitya Akademi Award and Tagore Literary Prize.

1.veil 2.face 3.life

Who is lifting the veil from their face.  It could be the beloved or life itself.  In the first interpretation, if the beloved lifts the veil from her face, it inspires the poet to compose a Ghazal in praise of her beauty.  In the second misra she may have been characterized as zindagi the life force of the lover.  If she reveals her face, he write a Ghazal.  In the second, more powerful interpretation, it is zindagi – life itself that is lifting the veil from its face.  The poet is then able to see the real character, real conditions of life – revelation of truth/reality – his own life or that of those around him.  It is this revelation that inspires him to write.  It may be about the beauty or the trials and tribulations of life.

1.cold 2.sobbing, shivering 3.silence 4.pain 5.absorb, spread into

Desolate, cold streets and their haunting silence hold a pain that, when felt deeply in the heart, transforms into poetry. The poet turns the quiet suffering of the homeless into an emotional Ghazal.  Here ‘homelessness’ does not have to be literal … it could be emotional isolation, poverty and despair facing the cold unfeeling world.

1.burning emotion, pain 2.word 3.chest, heart 4.hidden 5.musical instrument 6. pick up

Each word still carries a hidden/unspoken fire/passion/pain – hidden in the poet’s heart. If silence itself dares to pick up a musical instrument (i.e., express), the result would be a Ghazal. The imagery blends silence, hidden pain, and music to evoke poetic expression.

1.city, domain 2.feelings, emotions 3.soft 4.lips, words 5.tone, accents 6.story

The poet carries a world of emotions in his heart.  If the emotional world could narrate its tale gently and tenderly, it would take the form of a Ghazal. The tone and sensitivity of storytelling are key to transforming emotions into poetry.

1.chaos 2.lost 3.thought 4.night 5.embrace

Amidst the noisy hustle of the day, facing demands of making a living, the poet’s lost thoughts find no place. But when they return in the still, embracing quiet of night, they blossom into poetry. Night becomes a space for introspection and creation.

1.thoughts 2.tent, shelter 3.spread overhead, pitched 4.agony 5.creativity 6.torment

The poet has ‘pitched a tent’ of his thoughts, is sheltering under the ‘canopy of his thoughts’.  These thoughts are ready to be transformed into words.  When the pain/agony of creativity, of the intense desire to create something meaningful becomes a torment, that very pain gives birth to a Ghazal.

1.evening 2.sorrow 3.cup (of wine) 4.in hand 5.condition, state, setting 6.pen-name 7.awareness, senses

Evening heightens emotional sensitivities and the pain that the poet feels.  O Khayaal, if the evening of sorrow arrives with a cup of wine in hand, and if the senses and awareness join hands, then a Ghazal can emerge.  The wine cup could symbolize ecstasy/trance and this combined with intelligent awareness can result in a good composition.

The post to Ghazal ho jaa’e-chandrbhan Khayaal 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/mKhm-dil-maael-e-mehraab-nahiiN-audio.mp3

Recitation

دِل  مائلِ  محراب  نہیں  ۔  مومن  خاں  مومنؔ

۱

شبِ  وصل  اُس  کے  تغافل  کی  زبس  تاب  نہیں

تلخیِ  مرگ  ہے  آنکھوں  میں  شکر  خواب  نہیں

۲

حسرتیں  میرے  نصیبوں  میں  لکھی  ہیں  کیا  کیا

اتنے  دفتر  میں  کہیں  فصل  نہیں  باب  نہیں

۳

دِل  کا  کیا  حال  کرے  دیکھیے  یہ  گرمیِ  حُسن

ٹھہرتا  آئینۂ  یار  میں  سیماب  نہیں

۴

سرفروشوں  کے  اگر  آپ  خریدار  ہوئے

تو  گراں  ہووے  گی  وہ  جِنس  جو  کمیاب  نہیں

۵

جب  وہ  بدمست  اِدھر  آیا  تو  عدو  کے  گھر  سے

اپنی  قسمت  میں  بجز  دُرد  مئے  ناب  نہیں

۶

رستمی  کا  عوض  افلاک  سے  لوں  گا  پسِ  مرگ

قتلِ  عاشق  ہے  یہ  خوںریزیِ  سہراب  نہیں

۷

کلبۂ  تار  میں  کیوںکر  ترے  بِن  گزرے  گی

دن  کو  یاں  دھوپ  نہیں  رات  کو  مہتاب  نہیں

۸

محتسب  وہم  ہے  تو  پہلے  پِلا  دیکھ  مجھے

یہ  لُنڈھا  پی  لے  مئے  ناب  ہے  زہرآب  نہیں

۹

عشق  کیوں  در  پئے  جاں،  شوق  ہے  کیوں  سینہ  شگاف

دشمنی  دل  شکنی  شیوۂ  احباب  نہیں

۱۰

گلۂ  چرخ  عبث  شکوۂ  جاناں  بے  جا

یاس  و  حرماں  کو  مرے  حاجتِ  اسباب  نہیں

۱۱

کشِش  ابروئے  صنم  کی  سی  کہاں  اے  مومنؔ

لاکھ  سجدے  کریں  دل  مائلِ  محراب  نہیں

दिल मा’एल-ए मेहराब नहीं – मोमिन ख़ाँ मोमिन

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Click here for background and on any passage for word meanings and explanatory discussion. momin KhaaN momin (1800-1852), was a hakim following the profession of his father and grandfather. momin received education in arabi, faarsi, urdu and in medicine, mathematics, and astrology – which must have involved some study of astronomy, which he uses in his compositions. momin composed unabashedly about romantic themes with much witticism on his taKhallus.

momin KhaaN momin (1800-1852), was a hakim following the profession of his father and grandfather.  momin received education in arabi, faarsi, urdu and in medicine, mathematics, and astrology – which must have involved some study of astronomy, which he uses in his compositions.  momin composed unabashedly about romantic themes with much witticism on his taKhallus.

1.night of 2.union 3.indifference, neglect 4.plenty, enough 5.bear, endure 6.bitterness 7.death 8.sweet dreams, deep sleep

The night of union is poisoned by the beloved’s cold neglect; she seems indifferent and is sound asleep. The lover lacks the strength to endure this cruelty.  What he sees in her closed eyes is not the sweetness of dreams, but the bitterness of death.

1.longings, desires 2.destiny 3.list, volumes, records 4.book-section, harvest 5.chapter, door, opening

My fate is filled with a long list of countless desires. Yet in such vast records of longing, there’s not a single fruitful section or a meaningful chapter with a door to possibilites.  This is a nice use of the double meaning of fasl and baab in conjunction with daftar.

1.condition, state 2.warmth, intensity 3.beauty 4.remain in one place 5.mirror 6.beloved 7.quicksilver, mercury

In the days of momin mirrors were made of polished metal sheets.  In classical urdu poetry polish lines are often compared to eyelashes.  But since about 1400 Venetian mirrors had been ‘silvered’ using mercury compounds.  It is possible that some of these were used/known in India at that time.  This early mirroring technique was notorious for its instability under hot humid conditions.  Mercury separated or migrated.  The poet seems to be comparing his heart to such a mirror.  The warmth/heat of the beloved’s beauty causes instability in the mercury of her mirror when she looks uses it.  If mercury cannot remain stable, what will the warmth of her beauty do to my heart!  How can the heart, which reflects her beauty, remain stable/composed.

1.willing to offer their heads as devotional offering 2.buyer, demand, ask for 3.expensive 4.another form of hogi-will become 5.commodity 6.not easily available

The poet addresses the beloved – if you become a buyer of self-sacrificing lovers (sarfarosh), then that commodity which is currently not rare will suddenly become precious (giraaN, costly).  Currently, such lovers are common, even in surplus throwing themselves at her metaphorical marketplace, seeking only notoreity.  But if she, the beloved, were to actually begin to ‘buy’ them (i.e., take them seriously and demand their heads), their abundance would vanish.  Why? The poet leaves this open-ended, but two readings emerge (a) because the beloved’s demand would test their sincerity, exposing the false ones, leaving only the truly devoted. Thus, the genuine ones would prove rare after all.  (b) because her demand would be fatal – literally or emotionally. Once she begins “buying,” the lovers are consumed, killed off, or undone, making the commodity rare again.  Given the lovers’ conventional claim that he is the ONLY true lover, the first interpretation is more likely.

1.stone drunk 2.enemy, rival 3.except for 4.dregs, bottom/bitter layer 5.pure wine

When the beloved came tome she arrived from the rival’s house, stone drunk.  What I had in my fate was nothing other than the dregs, bitter/bottom layer – no pure wine for me.  All her love (pure wine) was spent on the rival.  Ghalib wishes to be spared this fate-

1.the valour of rustam-legendary warrior 2.compensation 3.heavens 4.after 5.death 6.killing 7.bloodshed 8.rustam’s son, whom he unknowingly killed

This has reference to the legend of sohrab and rustam.  rustam was an adventurer and warrior whose son was born while he was away.  His wife hid her son, for fear that he might too, become a warrior and die, and raised him unbeknownst to rustam.  sohrab became a warrior anyway and met his father in battle (neither one knowing their relationship).  sohraab gets killed in this battle.  The poet/lover claims that his death was not out of such unawareness.  He claims, after I die, I will demand from the heavens, my reward for my heroic (rustami) suffering (at the hands of the beloved).  This is not a tragic mistake like sohrab’s killing, this was  the intentional and wilful killing of a lover.

1.hut, cell 2.dark 3.how 4.without 5.pass 6.moonlight

How will life pass in this dark hut without you? There is no sunshine by day, no moonlight by night.  The beloved brings light into his life.

1.morality inspector/enforcer 2.doubt 3.first 4.pour generously 5.pure wine 6.poisonous water

The moralist has been going around trying to enforce abstinence.  In the process of lecturing the poet/wine lover he may have said – ‘this is poisonous’ – in a figurative way.  To this the poet/wine lover replies this is not poison, if you have any doubt, let me drink first, then we can pour a generous helping for you!  Alternatively, the moralist is out to get a drink on the sly.  The poet/wine-lover discovers this and encourages him … go ahead pour out a generous portion to drink and if you have any doubt about it being poisonous, I am happy to go first.

1.bent upon, determined to 2.(take) life i.e., kill 3.desire 4.chest, heart 5.hole 6.enmity 7.breaking/tearing the heart 8.manner, habit 9.friends

The poet/lover classifies love and desire personified as his friends.  Friends do not hate/kill friends.  Why then does love threaten my life? Why does desire tear open the chest/heart?  Enmity and tearing the heart is not the way of true friends.

1.complaint 2.sky, fate 3.in vain 4.grievance 5.beloved 6.yearning, despair 7.despondence, misfortune 9.need 10.basis, reason, justification

Complaining about fate or the beloved is pointless. My despair and deprivation have been written into my fate, they do not need reasons/justification; they simply exist; are a part of my life.

1.pull, attraction 2.eyebrow 3.beloved 4.short for jaisi-like, comparable to 5.pen-name 6.prostration 7.inclined towards, agreeable to 8.prayer niche, central arch in a mosque

momin, the poet/(ironically) the pious one, compares the central arch/prayer niche mehraab, to the arched eyebrow of the beloved.  The mehraab simply does not have the same attraction as the arch of the beloved’s abruu.  It doesn’t matter how many thousands of prostrations he may peform, his heart does not get inclined towards the mehraab – towards ritual prayer.  He would rather offer his devotion to the beloved.

The post dil maa’el-e mehraab nahiiN-momin KhaaN momin 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/mKhm-zah-o-habbazaa-ke-saath-audio.mp3

Recitation

زہ  و  حبّذا  کے  ساتھ  ۔  مومن  خاں  مومنؔ

۱

دل  بستگی  سی  ہے  کسی  زلفِ  دوتا  کے  ساتھ

پالا  پڑا  ہے  ہم  کو  خدا  کس  بلا  کے  ساتھ

۲

کب  تک  نبھائیے  بتِ  نا  آشنا  کے  ساتھ

کیجے  وفا  کہاں  تلک  اُس  بے  وفا  کے  ساتھ

۳

یادِ  ہوائے  یار  نے  کیا  کیا  نہ  گل  کھلائے

آئی  چمن  سے  نکہتِ  گُل  جب  صبا  کے  ساتھ

۴

مانگا  کریں  گے  اب  سے  دعا  ہجرِ  یار  کی

آخر  تو  دشمنی  ہے  اثر  کو  دعا  کے  ساتھ

۵

ہے  کس  کا  انتظار  کہ  خوابِ  عدم  سے  بھی

ہر  بار  چونک  پڑتے  ہیں  آوازِ  پا  کے  ساتھ

۶

یا  رب  وصالِ  یار  میں  کیوںکر  ہو  زندگی

نکلی  ہی  جان  جاتی  ہے  ہر  ہر  ادا  کے  ساتھ

۷

اللہ  رے  سوزِ  آتشِ  غم  بعدِ  مرگ  بھی

اُٹھتے  ہیں  میری  خاک  سے  شعلے  ہوا  کے  ساتھ

۸

سو  زندگی  نثار  کروں  ایسی  موت  پر

یوں  روئے  زار  زار  تُو  اہلِ  عزا  کے  ساتھ

۹

ہر  دم  عرق  عرق  نگہِ  بے  حجاب  ہے

کس  نے  نگاہِ  گرم  سے  دیکھا  حیا  کے  ساتھ

۱۰

مرنے  کے  بعد  بھی  وہی  آوارگی  رہی

افسوس  جاں  گئی  نفسِ  نا  رسا  کے  ساتھ

۱۱

دستِ  جنوں  نے  میرا  گریباں  سمجھ  لیا

اُلجھا  ہے  اُن  سے  شوخ  کے  بندِ  قبا  کے  ساتھ

۱۲

آتے  ہی  تیرے  چل  دیے  سب  ورنہ  یاس  کا

کیسا  ہجوم  تھا  دلِ  حسرت  فزا  کے  ساتھ

۱۳

میں  کینے  سے  بھی  خوش  ہوں  کہ  سب  یہ  تو  کہتے  ہیں

اُس  فِتنہ  گر  کو  لاگ  ہے  اِس  مبتلا  کے  ساتھ

۱۴

مومنؔ  وہی  غزل  پڑھو  شب  جس  سے  بزم  میں

آتی  تھی  لب  پہ  جان  زہ  و  حبّزا  کے  ساتھ

ज़ह ओ हब्बज़ा के साथ – मोमिन ख़ाँ मोमिन

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Click here for background and on any passage for word meanings and explanatory discussion. momin KhaaN momin (1800-1852), was a hakim following the profession of his father and grandfather. momin received education in arabi, faarsi, urdu and in medicine, mathematics, and astrology – which must have involved some study of astronomy, which he uses in his compositions. momin composed unabashedly about romantic themes with much witticism on his taKhallus.

Khoob thaa, pahl’e se hot’e jo ham apn’e bad-Khwaah

keh bhalaa chaaht’e haiN aur buraa hota hai

momin KhaaN momin (1800-1852), was a hakim following the profession of his father and grandfather.  momin received education in arabi, faarsi, urdu and in medicine, mathematics, and astrology – which must have involved some study of astronomy, which he uses in his compositions.  momin composed unabashedly about romantic themes with much witticism on his taKhallus.

1.heart capture, emotional attachment 2.hair 3.double strand 4.entangled with 5.calamity, trouble

The poet’s heart is captivated by the beloved’s double stranded hair.  He wonders what divine calamity descended and got him entangled.  The juxtaposition of dil-bastagi the tying up of the heart and zulf-e do-taa the two strands (ties) is noteworthy.

1.adapt, accommodate, endure 2.idol 3.unfamiliar, distant, aloof 4.remain faithful 5.how long 6.unfaithful

How long can I adopt to the aloofness/indifference of that idol/beloved.  How long can I remain faithful to that unfaithful one.

1.air – also means intense desire 2.beloved 3.literally-make roses bloom, figuratively-play tricks, work mischief 4.fragrance 5.morning breeze

There is nice word play with havaa and sabaa and gul-khilaana and nik’hat-e gul.  Memories of the intense desire for the beloved played games with him when the morning breeze blew and brought the fragrance of roses.  That fragrance reminds him of the beloved and plays mischief with his emotions.  havaa means air/breeze and in that sense sits well with sabaa, but also conveys the double meaning of intense desire.  In much the same way gul-khilaana sits well nik’hat-e gul and at the same time conveys double meaning of playing mischief.

1.separation 2.beloved 3.after all, finally, in summary 4.enmity, hatred 5.effect 6.prayer

The lover has been praying for union with the beloved.  His prayer has never been answered.  So he concludes that ‘effect/fufillment’ hates prayer.  So, he will pray for separation from the beloved, then maybe he will be able to get the opposite effect.  Ghalib has the same thought …

Khoob thaa, pahl’e se hot’e jo ham apn’e bad-Khwaah

keh bhalaa chaaht’e haiN aur buraa hota hai

1.waiting, anticipation 2.sleep 3.non-being, non-existence, death 4.every time 5.startled 6.sound 7.feet

The lover is dead and buried; in ‘death-sleep’ in his grave.  But who is he waiting for, he is startled every time there are sounds of footsteps.  It is traditional for the beloved to visit the lover’s grave.  This has reference to the lover’s anticipation of this visit.

1.my lord 2.union 3.beloved 4.how 5.gesture

O my lord, how can there be any life, how can I live through/survive union with the beloved.  Every titillating gesture of hers draws life out of the body; is deadly.

1.burning, pain, passion 2.fire 3.sorrow, love 4.after 5.death 6.ashes 7.flame

By god, the intensity of passion of my love!  Even after death, flames of grief rise from his ashes with the passing breeze.

1.sacrifice 2.death 3.profusely, uncontrollaby 4.mourners

The poet/lover imagines his own death and funeral.  There are mourners showing ritual grief but the beloved is crying uncontrollably.  The scene is so pleasing to him (because it proves her love for him or because it makes the rival jealous) that he would gladly sacrifice a hundred lives for one such death.

1.every moment 2.perspiration 3.gaze 4.unveiled, bold, impertinent 5.hot, angry 6.modesty, shyness

The poet/lover gazed/stared directly at the beloved with an unveiled/impertinent glance and instantly broke out into a sweat because she, in her violated modesty looked back angrily at him.  An alternate interpretation that his eyes get tearful when she looks angrily at him.  Such an interpretation is more appropriate if nigah-e be-hijaab hai is read.  But if nigah be-hijaab hai is read, then the araq cannot be associated with the eyes – it is more appropriately thought of as perspiration.

1.aimless wandering 2.alas 3.life, soul 4.breath, sigh 4.unable to reach, ineffective

During his life the poet/lover’s nafas-sigh was ineffectiveness; it could never reach its goal.  Just like that his soul has gone the same way after his death-restless, ineffective and wandering aimlessly.

1.hand 2.passion, madness 3.collar 4.entangled 5.short for jaise like, similar to 6.playful, mischievous 7.ties, fasteners 8.robe, garment

The conventional picture of the mad/passionate lover is that he grabs his own collar and rips his shirt front apart in passionate distress.  Here the hand of passion has gone so mad that it mistakes the ties of the beloved’s robe to be his own collar and gets entangled with them.

1.otherwise 2.longing, despair 3.crowd, onslaught 4.full of longing

The lover’s heart was crowded with feelings of despair and longing.  All departed as soon as the beloved arrived, otherwise he was under an onslaught of despair.

1.grudge, displeasure 2.troublemaker (beloved) 3.affection 4.afflicted (lover)

The admirers/rivals gathered around the beloved hold a grudge against the poet/lover, but he rejoices in that, for at least all of them say that the mischief-maker/beloved shows some attachment/pays some attention to the distraught/afflicted lover.

1.pen-name 2.(previous) night 3.gathering 4.overwhelming/life-sapping emotions 4.exclamations of praise – bravo, wow

Normally lab pe jaan aana is an expression used to mean ‘to be near death’, but here momin uses it to mean that emotions are raised to an overwhelming level and induce a death-like trance in the audience.  Thus, O momin read the same Ghazal that you had read last night when life-threatening emotions were raised because of the intensity of exclamations of praise – ‘bravo’ and ‘well done’.

The post zah-o-habbazaa ke saath-momin KhaaN momin 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/GPsh-phir-jaae-muNh-shamshiir-ka-audio.mp3

Recitation

پھر  جائے  منہ  شمشیر  کا  ۔  جارج  پیِش  شورؔ

۱

پیش  آئے  گا  وہ  ہی  لِکّھا  جو  ہے  تقدیر  کا

اس  لیے  قائل  نہیں  بندہ  کسی  تدبیر  کا

۲

خوں  بہایا  جس  نے  ناحق  عاشقِ  دلگیر  کا

جوں  شفق  خون  ہوگا  دامنگیر  اُس  بے  پیر  کا

۳

غرقۂ  دریا  ہوا  اُس  زلف  پیچاں  کا  اسیر

موج  نے  نقشہ  اُتارا  صاف  جو  زنجیر  کا

۴

خاکساری  سے  سِوا  دولت  کوئی  دیکھی  نہیں

اس  کے  پانے  سے  ہمیں  رتبہ  ملا  اکسیر  کا

۵

غیر  کے  خط  میں  مجھے  آیا  ہے  جو  اُن  کا  سلام

آ  گیا  لِکّھا  مرے  آگے  مری  تقدیر  کا

۶

عذر  اُس  کو  کیا  رہا  جو  جان  و  دل  بھی  دے  چکا

کاٹ  ڈالا  تم  نے  سر  مفت  ایسے  بے  تقسیر  کا

۷

شیشہ  ساں  جب  چرخ  جیسا  سنگ  دل  پانی  ہوا

کیوں  نہ  ہوں  مرہوں  میں  اپنی  آہ  کی  تاثیر  کا

۸

کھینچ  لایا  جذبۂ  دل  اپنا  اُس  بے  مہر  کو

سیکھ  لے  ہم  سے  کوئی  آ  کر  عمل  تسخیر  کا

۹

آگے  پروانے  کے  لی  منہ  میں  زبانِ  شمع  کو

ہم  سے  یہ  دیکھا  نہیں  جاتا  ستم  گلگیر  کا

۱۰

کھینچ  لے  مجھ  زار  جیسے  کی  اگر  مانی  شبیہ

تب  میں  سمجھوں  اُس  کو  ہی  کامِل  فنِ  تصویر  کا

۱۱

میں  ہوں  وہ  سینہ  سپر  اور  وہ  دم  و  خم  مجھ  میں  ہے

روبرو  آ  کر  مرے  پھر  جائے  منہ  شمشیر  کا

۱۲

آیا  پہلو  سے  جگر  میں  کہ  جگر  سے  دل  میں  راہ

کیوں  نہ  مِنّت  کش  ہوں  تیر  انداز  کا  اور  تیر  کا

۱۳

شورؔ  تم  نے  چن  دیے  حرفوں  سے  کاغذ  میں  شرر

کام  دیتا  ہے  تمہارا  خامہ  آتشگیر  کا

फिर जाए मुँह शमशीर का – जॉर्ज़ पेइश शोर

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Click here for background and on any passage for word meanings and explanatory discussion. George Puech shor (1823-1894). aligaRh, meeraTh and dehli. French and German descent from both grandfathers. Received education in urdu and faarsi at the insistence of his father. Six collections of Ghazal and a diary describing the events of 1857. He was well known in poetic circles including Ghalib, daaGh and tufta. This is linked to Ghalib naqsh-e qadam – shooKhi-e tahriir ka, which is dated 1812, much earlier than the birth year of shor.

George Puech shor (1823-1894). aligaRh, meeraTh and dehli.  French and German descent from both grandfathers.  Received education in urdu and faarsi at the insistence of his father.  Six collections of Ghazal and a diary describing the events of 1857.  He was well known in poetic circles including Ghalib, daaGh and tufta.  This is linked to Ghalib naqsh-e qadam – shooKhi-e tahriir ka, which is dated 1812, much earlier than the birth year of shor.

1.pesh aana-unfold, happen 2.fate, destiny 3.convinced, believer 4.servant, self-deprecating reference to oneself 5.planning, strategy, effort

The poet expresses his resignation to fate. Whatever is written in destiny will unfold, so he sees no point in relying on human effort or clever strategies. A deeply fatalistic view.

1.unjustly 2.lover 3.heartbroken 4.like, similar to 5.twilight, blood-soaked 6.clinging to the hem (symbol of accountability) 7.without equal, peerless, unmatched, beloved

The peerless/unmatched beloved has unjustly shed the blood of the heartbroken lover.  His blood, like the blood-red colour of twilight will cling to the hem of her garment i.e., it will appeal for justice.

1.drowned 2.ocean, sea or river 3.hair 4.curly 5.captive 6.wave 7.image, likeness 8.draw, sketch, trace 9.clear 10.chain

The captive of those curly tresses (the beloved’s hair) drowned in the sea. Her curly hair are like chains; the lover is bound by those chains and drown in the sea (perhaps the sea/ocean of love).  The waves, moved by his death, sketched a clear image of a chain as memorial to the lover.  The ripples in the sea look like the curly hair of the beloved.

1.humility 2.beyond, more than 3.wealth 4.acquiring 5.rank, status 6.alchemy, something that turns base to gold

The poet exalts humility above all worldly riches. It is through humility that he gained the status of something like alchemy, a transformative/ennobling force. Spiritual richness through self-effacement.

1.rival 2.letter 3.greeting 4.before, in front of 5.destiny

The beloved sends her greeting not directly, but through the rival’s letter. The poet sees this as confirmation of his bitter fate. A resigned acceptance that even affectionate greeting comes second-hand.

1.excuse, stated reason 2.life and heart 3.for nothing 4.faultless, blameless

What excuse could she possibly have for slaying someone who had already given her his life and heart? The poet condemns the beloved’s cruelty in killing the blameless, a powerful indictment of emotional injustice.  Of course, the poet/lover is talking about his own slaying (but still writing after his own death).

1.glass-like, mirror-like 2.fate 3.like, similar to 4.hard-hearted 5.paani hona to turn to water, to melt – become kind and forgiving 6.indebted 7.effect, impact

In the first misra both shiisha-saaN and charKh jaisa are used as descriptors of the beloved.  The former means fragile/delicate and/or shining/bright and beautiful.  The latter is used to mean hard-hearted like fate (the poet/lover is always ill-fated).  Thus, even a beautiful, hard-hearted beloved can melt (become more kind and forgiving).  This is the effect of his sigh.  Why should he not be indebted to the impact of his sigh – thus, this is an expression of pride in his own strength.

1.pull, attract 2.emotion 3.unkind, unloving 4.learn 5.action, art 6.conquest, especially of hearts

The poet’s expression of pride in his own abilities continues.  Through the sheer force of love, the poet has drawn even the unloving beloved to himself. He offers his love as a lesson in the conquest of hearts, as though he’s mastered the craft of emotional victory.

1.in front of 2.moth 3.tongue 4.candle, lamp 5.cruelty 6.scissor like wick snipping tool

The parvaana is the quintessential lover of the candle flame.  It goes round and round and even gets burnt to death.  The gulgiir is a scissor-like tool that is used to snip the charred wick of the candle or the oil lamp.  This snipping/trimming is done while the candle/lamp is still burning.  This is akin to taking the tongue of the candle in its mouth; and the gulgiir is doing it in front of the ideal lover-moth.  Of course, this make it jealous and the poet cannot bear to watch this cruelty of the gulgiir.

1.sketch, draw 2.wretched, miserable 3.legendary painter of ancient Persia reputed to paint true likeness 5.then 6.understand, accept 7.perfect 8.art, skill 9.painting, drawing

maani was an legendary painter of ancient Persia.  His reputation rested on doing such a realistic picture that it could be confused for the original object e.g., butterflies would alight at his painting of flowers.  It is very difficult to represent the intensity of emotions of the lover in a picture.  If maani succeeds in doing so then the poet/lover would accept him as the perfect artist.  The implication is the even maani will not be able to represent the lover’s misery.

1.shield-like chest, brave 2.literally the shine/sharpness of the curve of a sword, strength and daring 3.face to face 4.turn back 5.sword

The poet declares himself courageous and strong; claiming to be so strong that the sword would turn away when it comes face to face with him.  Of course, the sword might be a metaphor for anything … critics of his poetry, trials and tribulations of life or oppression of the beloved.  We are left to imagine.

1.side, also used for heart 2.liver (seat of courage) 3.indebted to 4.archer, beloved 5.arrow, beloved’s sidelong glance

The arrow, the beloved’s sidelong glance entered the side of his chest (his heart) and made its way to the liver, or was it the other way around, the poet wonders.  Said Ghalib …

1.pen-name 2.selected, weaved into 3.words 4.paper 4.sparks 5.pen 6.incendiary, fire-catching

O shor you have weaved selected words like sparks on the paper such that your pen spreads fire i.e., his words are intensely passionate.

The post phir jaa’e muNh shamshiir ka-George Puech Jr. shor 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/GPsh-Khat-ke-javaab-meN-audio.mp3

Recitation

خط  کے  جواب  میں  ۔  جارج  پیِش  شورؔ

۱

آنسو  ہیں  جس  قدر  مرے  چشمِ  پُر  آب  میں

اُتنی  ہیں  حسرتیں  دلِ  خانہ  خراب  میں

۲

جب  دم  لبوں  پہ  آئے  ہے  اُس  دم  وہ  آئے  ہے

میں  بھی  عذاب  میں  ہوں  اجل  بھی  عذاب  میں

۳

فرماؤ  آج  شرم  کے  دعوے  کہاں  گئے

جوں  بوئے  گل  ہو  جامہ  سے  باہر  عتاب  میں

۴

ہے  آپ  کی  جفا  سے  زیادہ  مری  وفا

کر  لو  حساب  فرق  نہیں  کچھ  حساب  میں

۵

دیکھو  نگاہِ  ناز  سے  مرنے  کے  ہم  نہیں

آبِ  حیات  ہے  اِسی  تیغِ  پُر  آب  میں

۶

یہ  وہ  ہے  داغِ  دل  کہ  قیامت  کو  ہو  پُکار

گر  عکس  زن  ہو  آینۂ  آفتاب  میں

۷

تم  بزم  میں  ہمارے  تو  آؤ  کبھی  ذرا

وہ  ہم  دکھائیں  گے  جو  نہ  دیکھا  ہو  خواب  میں

۸

ہرجائی  پن  کے  طعنے  سے  بر  آئی  آرزُو

جھنجھلا  کے  آپ  آئے  وہ  خط  کے  جواب  میں

۹

رلوا  رہا  ہے  خون  کے  آنسو  یہ  دورِ  جام

دورِ  فلک  ہے  گردشِ  جامِ  شراب  میں

۱۰

بیدردیاں  غضب  ہیں  جلا  کر  وہ  دل  مرا

کہتے  ہیں  یہ  کہ  رہ  گئی  خامی  کباب  میں

۱۱

لکھی  ہے  لاجواب  غزل  آپ  نے  یہ  شورؔ

ایک  اور  بھی  ہو  اِس  سے  سِوا  اِنتخاب  میں

ख़त के जवाब में – जॉर्ज पेइश शोर

१

२

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Click here for background and on any passage for word meanings and explanatory discussion. George Puech shor (1823-1894). aligaRh, meeraTh and dehli. French and German descent from both grandfathers. Received education in urdu and faarsi at the insistence of his father. Six collections of Ghazal and a diary describing the events of 1857. He was well known in poetic circles including Ghalib, daaGh and tufta. This Ghazal modeled after Ghalib’s saaqi ne kuchh mila na diya ho sharaab meN is linked to Ghalib naqsh-e qadam.

George Puech shor (1823-1894). aligaRh, meeraTh and dehli.  French and German descent from both grandfathers.  Received education in urdu and faarsi at the insistence of his father.  Six collections of Ghazal and a diary describing the events of 1857.  He was well known in poetic circles including Ghalib, daaGh and tufta.  This Ghazal modeled after Ghalib’s saaqi ne kuchh mila na diya ho sharaab meN is linked to Ghalib naqsh-e qadam.

1.tears 2.as much, as many 3.eyes 4.water filled i.e., tear filled 5.longing, unfulfilled desires 6.ruined home, broken heart

There is an abundance of tears in the poet/lover’s tear-filled eyes.  There are as many unfulfilled desires in his broken/ruined heart as there are tears in his eyes.  Thus, the cause of his tears (sorrow) is the unfulfilled desires – probably the beloved’s indifference.

1.breath, life 2.lips 3.moment 4.torment, suffering 5.death

It is customary for the beloved to visit the lover on his death bed.  His life is ‘hanging on the lips’ i.e., he is about to die and yet she has not arrived.  She arrives only at the last minute.  All this while the lover is in agony waiting for her.  Seeing his agony, death itself feels tormented or perhaps death is restless because it has to do its job and move on.

1.speak, say 2.modesty, shyness 3.claims 4.like, similar to 5.fragrance 6.rose 7.garment, also jaama se baahir hona means to lose control of oneself 8.anger, rage

The background appears to be that the beloved always claims that her modesty prevents her from speaking and meeting.  But now she has lost complete control of herself and is publicly and (perhaps) loudly abusing him.  He reminds her of her claims of modesty … what happened to those, he asks and says that she has lost control of herself like the rose loses control of its fragrance.  Perhaps the poet means to imply that even her rage and public expression of it is pleasant to the lover like fragrance.

1.cruelty, betrayal 2.more 3.loyalty, fidelity 4.counting, reckoning 5.difference

The lover is always faithful to the beloved and she always teases and tortures him by playing around with other admirers.  He claims that his fidelity is far more than her cruelty and invites her to count/reckon/measure it herself.  She will not find any difference, he is confident.

1.glance 2.coquetry 3.water of life, elixir of immortality, amrit 4.sword 5.shiny, sharp

There is a nice play of words with aab-e hayaat and pur-aab – aab can mean both water and luster/sharpness.  The lover always desire to be killed at the hands of the beloved and she slays him with her sharp sword.  Figuratively, her coquettish glance can be the sword with which she slays him.  He declares he won’t die from a coquettish glance, instead, he finds immortality in the sharp and shiny sword of love.

1.scar 2.doomsday 3.if 4.reflection striking/falling on 5.mirror of the sun

The scar on the heart is so deep and dramatic that if it falls on the ‘mirror of the sun’, then it would cause such an eclipse that people would shout that doomsday is at hand.

1.gathering

I am not sure who this invitation is to – the beloved or the preacher/moralizer.  Perhaps to the latter who always preaches abstinence.  He is invited to come to the gathering at that tavern at least once, even for a little while, and the wine-lovers will show him such a pleasant time as he has never even dreamt of.

1.habitual infidelity 2.sarcasm 3.fruitful 4.desire, longing 5.irritated 6.herself 7.reply

Lovers write letters of entreaties to the beloved and send them via messenger.  Most of the time, letters go unanswered.  This time, the lover wrote sarcastically accusing the beloved of being a harjaa’ii and that too habitually.  This raised her temper and in extreme irritation she showed up herself to scold him.  Of course, her arrival is an answer to his prayers, never mind that she is irritated.  See the many delightful ways in which letters are answered …

1.making someone cry 2.tears 3.circulation, passing around 4.cup 5.rotation of the sky, vicissitudes of time, trials and tribulations of life 6.movement

The passing around of the wine cup is making the lover cry tears of blood.  It is as if the trials and tribulations of life, the calamities that befall the lover are reflected/embodied in the movement/circulation of the cup.  Why this is so is not clear.  Perhaps the saaqi/beloved is passing it around to the Ghair rival (perhaps more than one rival) and this is making the lover cry tears of blood.  Any other suggestions?

1.cruelties 2.a colloquial expression meaning ‘so much’ 3.defect

The beloved visits many kinds of cruelties on the lover and burns his heart (of jealousy).  She ‘burns/roasts it into a kabaab’ and says there is a defect/shortcoming in it.  Perhaps it is not cooked enough and she is getting ready for more cruelty.

1.without example, unequaled 2.pen-name 3.beyond, more/better than 4.selection

I imagine that there is a tarahii mushaa’era in which a Ghazal of Ghalib is given as a tarah model (saaqi ne kuchh mila na diya ho sharaab meN) for all poets to compose for the evening.  shor reads this Ghazal, praises it as beyond compare and invites himself to read another one even better than this.  He then proceeds to read the second Ghazal (also posted on this site as iss ke javaab meN).

The post Khat ke javaab meN-George Puech Jr. shor 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/mKhm-uss-be-vafa-ke-saath-audio.mp3

Recitation

اُس  بے  وفا  کے  ساتھ  ۔  مومن  خاں  مومنؔ

۱

اُلٹے  وہ  شکوے  کرتے  ہیں  اور  کِس  ادا  کے  ساتھ

بے  طاقتی  کے  طعنے  ہیں  عذرِ  جفا  کے  ساتھ

۲

بہرِ  عیادت  آے  وہ  لیکن  قضا  کے  ساتھ

دم  ہی  نکل  گیا  مرا  آوازِ  پا  کے  ساتھ

۳

بے  پردہ  غیر  پاس  اُسے  بیٹھا  نہ  دیکھتے

اُٹھ  جاتے  کاش  ہم  بھی  جہاں  سے  حیا  کے  ساتھ

۴

وہ  لالہ  رو  گیا  نہ  ہو  گلگشتِ  باغ  کو

کچھ  رنگِ  بوئے  گُل  کے  عوض  ہے  صبا  کے  ساتھ

۵

اُس  کی  گلی  کہاں  یہ  تو  کچھ  باغِ  خُلد  ہے

کس  جاے  مجھ  کو  چھوڑ  گئی  موت  لا  کے  ساتھ

۶

آتی  ہے  بوئے  داغ  شبِ  تارِ  ہجر  میں

سینہ  بھی  چاک  ہو  نہ  گیا  ہو  قبا  کے  ساتھ

۷

گل  بانگ  کس  کا  مشورۂ  قتل  ہو  گیا

کچھ  آج  بوئے  خوں  ہے  وہاں  کی  ہوا  کے  ساتھ

۸

تھے  وعدے  سے  پھر  آنے  کے  خوش  یہ  خبر  نہ  تھی

ہے  اپنی  زندگانی  اُسی  بے  وفا  کے  ساتھ

۹

کوچے  سے  اپنے  غیر  کا  منہ  ہے  ہٹا  سکے

عاشق  کا  سر  لگا  ہے  ترے  نقشِ  پا  کے  ساتھ

۱۰

اللہ  ری  گمرہی  بت  و  بتخانہ  چھوڑ  کر

مومنؔ  چلا  ہے  کعبے  کو  اک  پارسا  کے  ساتھ

उस बेवफ़ी के साथ – मोमिन ख़ां मोमिन

१

उल्टे वो शिक्वे करते हैं और किस अदा के साथ

बे-ताक़ती के ता’ने हैं उज़्र-ए जफ़ा के साथ

२

बहर-ए अयादत आये वो लैकिन क़ज़ा के साथ

दम ही निकल गया मेरा आवाज़-ए पा के साथ

३

बे-पर्दा ग़ैर पास उसे बैठा न देखते

उठ जाते काश हम भी जहां से हया के साथ

४

वो लाला-रू गया न हो गुल्गश्त-ए बाग़ को

कुछ रंग बू-ए गुल के एवज़ है सबा के साथ

५

उस की गली कहां, ये तो कुछ बाग़-ए ख़ुल्द है

किस जाए मुझ को छोढ गई मौत ला के साथ

६

आती है बू-ए दाग़ शब-ए तार-ए हिज्र में

सीना भी चाक हो न गया हो क़बा के साथ

७

गुल्बांग, किस का मश्वरा-ए क़त्ल हो गया

कुछ आज बू-ए ख़ूं है वहां की हवा के साथ

८

थे वा’दे से फिर आने के ख़ुश, ये ख़बर न थी

है अपनी ज़िन्दगानी उसी बे-वफ़ा के साथ

९

कूचे से अपने, ग़ैर का मुंह है, हता सके

आशेक़ का सर लगा है तेरे नक़्श-ए पा के साथ

१०

अल्लाह री गुमरही बुत ओ बुत-ख़ाना छोढ कर

मोमिन चला है काबे को एक पारसा के साथ

Click here for background and on any passage for word meanings and explanatory discussion. momin KhaaN momin (1800-1852), was a hakim following the profession of his father and grandfather. momin received education in arabi, faarsi, urdu and in medicine, mathematics, and astrology – which must have involved some study of astronomy, which he uses in his compositions. momin composed unabashedly about romantic themes with much witticism on his taKhallus.

momin KhaaN momin (1800-1852), was a hakim following the profession of his father and grandfather.  momin received education in arabi, faarsi, urdu and in medicine, mathematics, and astrology – which must have involved some study of astronomy, which he uses in his compositions.  momin composed unabashedly about romantic themes with much witticism on his taKhallus.

1.turn around 2.complaints, blame 3.gesture, style 4.weakness, incapacity 5.taunts 6.excuse 7.cruelty, oppression

The beloved turns around and blames the lover.  She is the oppressor perpetrating cruelty on the lover but blames him and even that with such style!  She taunts him that he does not have the capacity to bear her cruelty, even though this is the ideal of the true lover.  This implies that he is not a true lover and not deserving of her cruelty.  Thus, the lover is blamed for complaining because he does not have the strength to bear the trials of love.  The beloved herself is glorified for showing him the ‘favour of cruelty’ even though he does not deserve it.

1.for, with the intent of 2.visiting the sick/dying 3.death 4.breath, life 5.sound of footsteps

The beloved came to visit and ask about the sick lover on his death bed but she came accompanied by death.  The lover died the moment he heard her footsteps.

1.unveiled 2.other, rival 3.near 4.leave, depart 5.I wish 6.world 7.modesty, shyness

There is a major comouflaged hit at the beloved.  The second misra implies that ‘hayaa jahaan se uTh ga’ii hai‘ i.e., modesty has departed from this world/died; the beloved has lost all her modesty.  The lover sees the unveiled beloved sitting next to the rival.  He wishes that he too had departed this world along with hayaa.

1.tulip faced, beautiful 2.garden walk 3.quality, characteristic 4.fragrance 5.instead of, in addition to 6.breeze

The lover speculates that the tulip-faced beloved must have gone for a walk in the garden because he senses that there is different character mixed with the fragrance of the rose.  What is it that is mixed with fragrance?  It could be the fragrance of the beloved’s hair or in a gory interpretation it could be the smell of blood as she slaughters her admirers/lovers.

1.heaven, paradise 2.death

Death has brought the dead lover and left him in what appears to be an unfamiliar spot.  He was expecting to be taken to the beloved’s lane after death … because that was his idea of heaven.  But he seems to have been left in some garden of heaven.  It is implied that he is unhappy about that; he would rather be in the beloved’s lane.

1.smell 2.wound 3.night 4.dark 5.separation 6.chest 7.torn, rent apart 8.robe, garment

It is the dark night of separation and the distressed, mad lover has torn his clothes.  But now he smells something that feels to him like the smell of his wounded heart.  He speculates that he must have torn assunder his chest along with his robe.

1.nightingale’s note, sound of cheer 2.advice, proposal 3.killing, slaughter 4.smell

The cheerful sound that the lover hears may be the sound of the beloved.  He is addressing that i.e., he is addresses the beloved and asks – whose killing has been proposed, who is being slaughtered because I get the smell of blood when the wind blows from ‘there’.

1.promise 2.again, another time 3.awareness 4.unfaithful

The beloved has been together with the lover and is now leaving.  To console him she promises to come back again.  He is very happy to hear this little realizing that his life is closely tied with the presence of the unfaithful beloved.  When she leaves, he would immediately die.

1.lane, street 2.other, rival 3.has the face, has the courage 4.remove 5.lover 6.footprints

Does the rival have the courage, does he dare to remove me from his lane.  He does not because the head of the lover is where the footprints of the beloved are.  This implies that the beloved travels in the street but he is still steadfast in his love for her.

1.waywardness 2.idol 3.idol house 4.pen-name 5.chaste, abstemious

By god, look at the waywardness of momin he is leaving the idol/beloved and idol-house (house of the beloved) and heading to the k’aaba with an abstemious companion.  Thus, heading to the k’aaba is described as waywardness.

The post uss be-vafaa ke saath-momin KhaaN momin 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/GPsh-apni-Ghazal-sunaae-kyuN-audio.mp3

Recitation

اپنی  غزل  سنائے  کیوں  ۔  جارج  پیِش  شورؔ

۱

عشق  میں  یہ  بھی  ننگ  ہے،  نکلے  ہے  منہ  سے  ہائے  کیوں

صبر  کی  تاب  گر  نہ  ہو،  دل  کو  کوئی  پھنسائے  کیوں

۲

اُٹھ  سکے  گر  نہ  بارِ  غم،  دم  میں  کسی  کے  آئے  کیوں

روئیے  سر  پکڑ  کے  کیوں،  کیجیے  ہائے  ہائے  کیوں

۳

اپنی  وہ  روح  بخش  لب،  لب  سے  مرے  ملائے  کیوں

سر  پہ  لی  اپنے  پھر  بلا،  آ  کے  مجھے  جلائے  کیوں

۴

چھپتے  نہیں  ہیں  مہر  و  ماہ،  پردے  میں  لاکھ  گر  رکھو

اُن  سے  بھی  جب  فزوں  ہو  پھر،  ہم  سے  وہ  منہ  چھپائے  کیوں

۵

شادی  و  غم  ہی  دم  کے  ساتھ،  ساتھ  رہیں  گے  تا  ممات

مرنے  سے  پہلے  پھر  بشر،  اُن  سے  فراغ  پائے  کیوں

۶

تم  تو  ہمیں  کو  کہتے  تھے،  طعنہ  ہمیں  کو  دیتے  تھے

آپ  تو  سب  سمجھتے  تھے،  غیر  کے  بس  میں  آئے  کیوں

۷

ہو  نہ  جہاں  کوئی  رفیق،  ہو  نہ  جہاں  کوئی  شفیق

ایسے  خراب  دہر  میں،  عمر  بشر  گنوائے  کیوں

۸

عشق  میں  ہیں  خرابیاں،  آفتیں  سو  بلائے  جاں

جس  سے  نہ  اُٹّھیں  یہ  ذرا،  دل  وہ  کہیں  لگائے  کیوں

۹

سمجھے  جو  سوزِ  دل  کو  ساز،  حُسن  پر  اپنے  بھی  ہو  ناز

ایسے  کو  جان  کر  جہاں،  جان  و  دل  جلائے  کیوں

۱۰

ناز  و  ادا  سے  گر  بچا،  پیچ  میں  زُلف  کے  جا  پھنسا

اِس  میں  تمہارا  کیا  گِلا،  دل  ہی  کسی  پر  آئے  کیوں

۱۱

ہم  کو  ہی  پاسِ  آبرُو،  اُن  کو  خیال  غیر  کا

دن  کو  تو  ہم  نہ  مل  سکیں،  رات  کو  وہ  بلائے  کیوں

۱۲

جو  یہ  کہے  کہ  بے  نمک،  شورؔ  کا  ہے  کلام  تو

ایسے  حسد  شعار  کو،  اپنی  غزل  سنائے  کیوں

अपनी ग़ज़ल सुनाए क्यूँ – जॉर्ज पियूश शोर

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Click here for background and on any passage for word meanings and explanatory discussion. George Puech shor (1823-1894). aligaRh, meeraTh and dehli. French and German descent from both grandfathers. Received education in urdu and faarsi at the insistence of his father. Six collections of Ghazal and a diary describing the events of 1857. He was well known in poetic circles including Ghalib, daaGh and tufta. Ghalib’s Ghazal – ko’ii hameN sataa’e kyuN is dated 1853. George Puech would have been 30 at that time and it is possible that this Ghazal was read at the same mushaa’era, but I cannot date it with any certainty. Historical records show that he was in meeraTh at that time, so it is unlikely to be the same mushaa’era. It is possible that Ghalib’s Ghazal was used in a tarahii mushaa’era.

George Puech shor (1823-1894). aligaRh, meeraTh and dehli.  French and German descent from both grandfathers.  Received education in urdu and faarsi at the insistence of his father.  Six collections of Ghazal and a diary describing the events of 1857.  He was well known in poetic circles including Ghalib, daaGh and tufta.  Ghalib’s Ghazal – ko’ii hameN sataa’e kyuN is dated 1853.  George Puech would have been 30 at that time and it is possible that this Ghazal was read at the same mushaa’era, but I cannot date it with any certainty.  Historical records show that he was in meeraTh at that time, so it is unlikely to be the same mushaa’era.  It is possible that Ghalib’s Ghazal was used in a tarahii mushaa’era.

1.passionate love 2.shame, disgrace 3.cry of pain 4.patience 5.capacity, endurance 6.get trapped

In poetic convention the lover tries to never embarrass or bring disrepute to the beloved.  Therefore, in true passionate love, even sighing aloud is a disgrace. If the heart lacks the strength to bear the trials of love, why involve it at all?  This implies that love is a voluntary act.  There is plenty of convention to say that it is not.

1.if 2.burden 3.sorrow 4.also means deception, trickery

If you can’t bear the grief of unrequited love, why fall for their trickery.  Why then hold your head and cry, why moan and wail.  Again, the implication is that it is a choice for the lover not to fall for the beloved’s trickery.

1.soul-giving, life-infusing 2.lips 3.calamity 4.burn (perhaps jealousy)

The scenario appears to evolve something like this.  The beloved has allowed her life-giving lips to be touched by the lover’s lips.  By falling for this, the lover has brought a calamity down on his own head.  He should have known that this is trickery, because now she has not only stopped her favours, but is also causing him to burn with jealousy.

1.sun 2.moon 3.veil, concealment 4.greater, beyond

Even the sun and moon can’t be hidden—how, then, can she (more radiant than them) hide her face from the poet/lover?  Said Ghalib …

1.joy 2.sorrow 3.breath, life 4.till 5.death 6.human 7.freedom, relief

Joy and grief will always accompany us till death. So why expect to escape them while still alive?  Said Ghalib …

1.taunt 2.the other, rival in love 3.under control

The beloved once scolded the poet for loving too easily, she taunted and blamed him, yet now she herself has fallen for the rival!  This seems to be an admonishment, perhaps asking the beloved to come back to the true lover.

1.where 2.companion, friend 3.kind, affectionate, sympathizer 4.ruined 5.world 6.life 7.human 8.waste

If the world offers neither friendship nor kindness, why waste a human life in such a ruined place?

1.ruination 2.disaster 3.affliction 4.even a little

Love brings ruin, torment, disasters by the hundred. If one’s heart cannot endure even a bit of this, why attach it at all?

1.burning (in the fire of love) 2.music, melody, joy 3.beauty 4.pride 5.knowingly 6.world 7.life

The beloved is proud of her beauty and takes pleasure in seeing the lover burn in the fire of love.  Why does the world, knowingly lets its life and heart burn with love.

1.coquetry 2.style, gesture, elegance 3.if 4.escaped 5.twist, curl 6.hair 7.caught 8.complaint

If someone escapes your charms, they might still get entangled in your hair. So how is that your fault? Why did my heart fall for someone at all?

1.regard, concern 2.dignity 3.thoughts 4.the other, rival

It is the poet/lover who is concerned about, has regard for the beloved’s dignity.  So, he cannot meet her during the day (for concern that others might see and bring disrepute to her).  She is absorbed in thoughts of the rival.  Why would she call him to meet at night.

1.without salt, tasteless 2.pen-name, also in faarsi it means salt 3.verse 4.envy, jealousy 5.nature, character

There used to be intense rivalry among poets in those days and they were not above trying to put each other down in a mushaa’era.  This she’r is aimed at rival poets and makes witty use of the faarsi meaning of shor.  If someone claims shor’s poetry has no salt, is tasteless, why should I read my Ghazal to one of such a jealous nature.

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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/mKhm-behuda-sarii-itni-audio.mp3

Recitation

بیہودہ  سری  اِتنی  ۔  مومن  خاں  مومنؔ

۱

منہ  کو  نہ  سیا  ناصح  کی  بخیہ  گری  اِتنی

لوں  میں  بھی  ابھی  لتّے،  ہیں!  پردہ  دری  اِتنی

۲

تم  اُٹھ  گئے  محفل  سے  ذکر  آتے  ہی  مجنوں  کا

سایہ  سے  مرے  وحشت  اے  رشکِ  پری  اِتنی

۳

دل  لے  کے  وفا  کیسی  پر  قول  تو  دینا  تھا

اے  سیم  تن  آفت  ہے  تو  مفت  بری  اِتنی

۴

بے  پردہ  پسِ  چلمن  یکبار  تم  آ  بیٹھے

ہے  تابِ  نظر  کس  کو  کیوں  جلوہ  گری  اِتنی

۵

لازم  تھا  عذر  مجھ  سے  ناچیز  کے  نالوں  سے

پر  تجھ  کو  کہاں  غیرت  اے  بے  اثری  اِتنی

۶

لو  چھیڑے  ہے  نِکہت  کو  گلہائے  شبینہ  کی

اب  تم  سے  بھی  چل  نکلی  بادِ  سحری  اِتنی

۷

یہ  کون  کہے  اُس  سے  کی  ترکِ  وفا  میں  نے

کر  تو  ہی  ذرا  ناصح  پیغام  بری  اِتنی

۸

کیا  ہو  گئی  خود  بینی  اب  غیر  سے  چشمک  ہے

یا  خوش  نگہی  وہ  کچھ  یا  بد  نظری  اِتنی

۹

کہتا  ہے  میرے  آگے  وہ  مجھ  پہ  عدو  غش  ہے

ہے  ہے  میری  اُلفت  سے  ہے  بے  خبری  اِتنی

۱۰

سجدہ  نہ  کہیں  کرنا  مومنؔ  قدمِ  بُت  پر

کعبے  ہی  میں  ہوتی  ہے  بیہودہ  سری  اِتنی

बेहूदा-सरी इतनी – मोमिन ख़ाँ मोमिन

१

२

३

४

५

६

७

८

९

१०

Click here for background and on any passage for word meanings and explanatory discussion. momin KhaaN momin (1800-1852), was a hakim following the profession of his father and grandfather. momin received education in arabi, faarsi, urdu and in medicine, mathematics, and astrology – which must have involved some study of astronomy, which he uses in his compositions. momin composed unabashedly about romantic themes with much witticism on his taKhallus.

momin KhaaN momin (1800-1852), was a hakim following the profession of his father and grandfather.  momin received education in arabi, faarsi, urdu and in medicine, mathematics, and astrology – which must have involved some study of astronomy, which he uses in his compositions.  momin composed unabashedly about romantic themes with much witticism on his taKhallus.

1.stitch 2.moralist, preacher 3.sewing, mending, stitching 4.latt’e lena – punish, get even, ‘I will ‘see’ you’ 5.used as an exclamation – Oh! 6.veil-lifting, exposing

The moralist/enforcer has been sewing/mending the lover’s torn collar – kii baKhiya-gari intni, but he has failed to stitch his lips i.e., he has been talking about the lover to others, exposing his secret love – parda-dari itni.  The lover threatens/warns him, I will take care of you.

1.gathering 2.mention 3.legendary lover of laila 4.shadow 5.madness, fear, dread 6.envy of fairies, because she is more beautiful than fairies

The poet/lover calls majnuN his shadow i.e., he is the real lover and majnuN is merely his shadow, a faint reflection of the real lover.  In a similar exaggeration the beloved is described as so beautiful that she is the envy of fairies.  You left the gathering the moment majnuN was mentioned; O envy of fairies, do you have so much dread/abhorence for even a reflection of my love.

1.loyalty, faithfulness 2.word, promise 3.silver-bodied, delicate beauty 4.calamity, trouble 5.making with something without paying, free acquisition

You made off with my heart without any recompense, without even giving me your word/promise.  O silver-bodied one, this free usurping is a calamity.

1.unveiled 2.behind 3.curtain 4.all of a sudden 5.strength, endurance 6.sight 7.manifestation in full glory, display of beauty

The beloved suddenly appeared unveiled, in full glory, behind the curtain.  But her glory filters through the curtain, but who has the capacity to bear even this filtered sight.

1.necessary 2.excuse, objection 3.worthless, insignificant (the poet himself) 4.lament 6.sense of honor/pride 7.ineffectiveness

The lover’s laments have no effect; they are annoying; everyone (even effectiveness) objects to them, except ineffectiveness itself.  It was necessary/proper to object to the laments of a worthless person like me, but where do you have the pride to care, O ineffectiveness!  You are the only one that recognizes my laments i.e., they remain ineffective.

1.stirred 2.fragrance 3.flowers 4.nightly 5.breeze 6.early morning

gul-haa-e shabiina could be literally the flower garland that the beloved was wearing last night or they could symbolize delicate memories of a night of celebration.  The early morning breeze has gone beyond you, is doing one better than you, is surpassing your mischief; it is stirring up the fragrance of the nightly flowers (stirring up memories).  This is likely to reveal the secrets of the night … hence this mischief is even more than what the beloved usually does.

1.abandonment, giving up 2.loyalty, fidelity 3.moralizer, preacher 4.message-bearing

This interpretation assumes a lot of background and may be a bit of a stretch, but it is typically witty momin.  The naaseh has been lecturing the lover warning him to stay away from the beloved.  The lover pretends to agree to do that, but turns around and asks the naasseh, who would dare tell her that I abandoned loyalty?  And follows up with this suggestion … O naaseh, since you’re the one who has persuaded me to give up my love, why don’t you carry this message too?  A sarcastic jab – either the naaseh would not dare, or if he does, he might be afflicted with love of the beloved himself upon seeing her beauty; or he might get chewed out, much to the delight of the lover who finds this chance to get even with the pestering preacher.

1.self-regard, self-respect 2.other, rival 3.winking 4.beautiful/dignified glance 5.lecherous gaze

What has happened to that erstwhile self-respect, when you even refused to look directly at me; you now wink at the rival.  Once you maintained a reserved/dignified glance and now you cast lecherous glances at the rival.  What a transformation!

1.in front of me, before me, to me 2.enemy, rival 3.faints 4.short for haa’e-haa’e – an expression of anguish 5.love 6.unawareness, indifference, ignorance

The beloved is praising the rival before the lover by saying that the rival’s love is so sincere/deep that he faints upon seeing me.  Alas, she is totally unaware of my love.

1.prostration, bowing down in devotion 2.pen-name 3.feet 4.idol, beloved 5.absurdity, foolishness

I find two possible interpretations … both very explosive.  (a)O momin, don’t go prostrating before the idol (beloved), such foolishness is reserved only for the holy k’aaba!  or (b)don’t prostrate at the feet of the beloved for fear of dirtying her feet.  You can do all the defiling you want at the k’aaba.

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