For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab.
https://urdushahkar.org/wp-content/uploads/2025/10/saahsa-maavaraae-aadmiyyat-hai-audio.mp3
ماورائے آدمیّت ہے ۔ سید عاشق حسین سیمابؔ اکبرآبادی
حرم اور دیر کے کتبے وہ دیکھے جس کو فرصت ہے
یہاں حدّ نظر تک صرف عنوانِ محبت ہے
پرستارِ محبت کی محبت ہی شریعت ہے
کسی کو یاد کرکے آہ کر لینا عبادت ہے
رئیسِ لامکاں ہوں، بے نیازی میری فطرت ہے
مذاقِ آرزو تو بر بِنائے آدمیّت ہے
ہو اِک معمول تم بھی میرے کردارِ محبت کا
مجھے تم سے نہیں، اپنی محبت سے محبت ہے
بھڑک کر حُسنِ خاکستر بنا دے ساری دنیا کو
جو بھُولے سے کبھی کہہ دوں، مجھے کس سے محبت ہے
جہاں دل ہے، وہاں وہ ہیں، جہاں وہ ہیں وہاں سب کچھ
مگر پہلے مقامِ دل سمجھنے کی ضرورت ہے
یہ قوّت بھی شریکِ حُسن ہوجاتی تو کیا ہوتا
کر اس کی قدر دیوانے، تصوّر بھی غنیمت ہے
میں جسم و روح کو کُچلا ہوا محسوس کرتا ہوں
الٰہی بارِ غم سینے پہ ہے یا سنگِ تُربت ہے
جو تُو چاہے وہ ہو جائے، نہ لے تقدیر کا پردہ
خطِ قسمت ہمارا تیرے منشائے عبارت ہے
بگڑنا آدمی کا اور بننا، پھر بگڑ جانا
یہ کس کے ہاتھ میں نبضِ مزاجِ آدمیّت ہے
بہت مشکل ہے قیدِ زندگی میں مطمئن ہونا
چمن بھی اِک مصیبت تھا، قفس بھی اِک مصیبت ہے
کہاں تُو اور کہاں میں منزلِ ہستی میں اے منعم
کہ تُو ٹھوکر ہے دولت کی، مِری ٹھوکر میں دولت ہے
مِری دیوانگی پر ہوش والے بحث فرمائیں
مگر پہلے اُنھیں دیوانہ بننے کی ضرورت ہے
اٹھایا تھا کبھی بارِ امانت ظرفِ انساں نے
اسی سے پوچھیے اب سر اٹھانے کی بھی مہلت ہے؟
حریمِ حُسن میں کیا بن کے سنگِ آئینہ بیٹھوں
میں پروانہ ہوں، مجھ کو رقص کرنے کی اِجازت ہے
وہ سجدہ کیا، رہے احساس جس میں سر اُٹھانے کا
عبادت اور بقیدِ ہوش، توہینِ عبادت ہے
نہ چھیڑ اے تنگیِ صحنِ چمن، پھر لَوٹ جاؤں گا
تصوّر کی نگاہوں میں ابھی صحرا سلامت ہے
شگفتِ دل کی مہلت عمر بھر مجھ کو نہ دی غم نے
کلی کو رات بھر میں پھول بن جانے کی فرصت ہے
مقامِ عشق کو ہر آدمی سیمابؔ کیا سمجھے
یہ ہے اِک مرتبہ جو ماورائے آدمیّت ہے
मावरा-ए आदमीय्यत है – सय्यद आशिक़ हुसैन सीमाब अक्बराबादी
हरम और दैर के कत्बे वो देखे जिस को फ़ुर्सत है
यहाँ हद्द-ए नज़र तक सिर्फ़ उन्वान-ए मोहब्बत है
परस्तार-ए मोहब्बत की मोहब्बत ही शरी’अत है
किसी को याद कर के आह कर लेना इबादत है
रईस-ए लामकाँ हूँ, बेनियाज़ी मेरी फ़ितरत है
मज़ाक़-ए आरज़ू तो बर बिनाए आदमीय्यत है
हो इक मामूल तुम भी मेरे किरदार-ए मोहब्बत का
मुझे तुम से नहीं, अपनी मोहब्बत से मोहब्बत है
भड़क कर हुस्न-ए ख़ाक़स्तर बना दे सारी दुनिया को
जो भूले से कभी कह दूँ, मुझे किस से मोहब्बत है
जहाँ दिल है, वहाँ वो हैं, जहाँ वो हैं वहाँ सब कुछ
मगर पहले मक़ाम-ए दिल समझने की ज़रूरत है
यह क़ुव्वत भी शरीक-ए हुस्न हो जाती तो क्या होता
कर इस की क़दर दीवाने, तसव्वुर भी ग़नीमत है
मैं जिस्म ओ रूह को कुचला हुआ महसूस करता हूँ
इलाही बार-ए ग़म सीने पे है या संग-ए तुर्बत है
जो तू चाहे वो हो जाए, न ले तक़्दीर का पर्दा
ख़त-ए क़िस्मत हमारा तेरे मंशा-ए इबारत है
बिगड़ना आदमी का और बनना, फिर बिगड़ जाना
यह किस के हाथ में नब्ज़-ए मिज़ाज-ए आदमीय्यत है
बहुत मुश्किल है क़ैद-ए ज़िंदगी में मुतम’इन होना
चमन भी एक मुसीबत था, क़फ़स भी एक मुसीबत है
कहाँ तू और कहाँ मैं मंज़िल-ए हस्ती में अए मुन’इम
के तू ठोकर है दौलत की, मेरी ठोकर में दौलत है
मेरी दीवानगी पर होश वाले बहस फ़रमाएँ
मगर पहले उन्हें दीवाना बनने की ज़रूरत है
उठाया था कभी बार-ए अमानत ज़र्फ़-ए इंसाँ ने
इसी से पूछिए अब सर उठाने की भी मोहलत है?
हरीम-ए हुस्न में क्या बन के संग-ए आईना बैठूँ
मैं परवाना हूँ, मुझ को रक़्स करने की इजाज़त है
वो सज्दा क्या, रहे एहसास जिस में सर उठाने का
इबादत और ब-क़ैद-ए होश, तौहीन-ए इबादत है
न छेड़ अए तंगी-ए सह्न-ए चमन, फिर लौट जाऊँगा
तसव्वुर की निगाहों में अभी सहरा सलामत है
शगुफ़्त-ए दिल की मोहलत उम्र भर मुझ को न दी ग़म ने
कली को रात भर में फूल बन जाने की फ़ुर्सत है
मक़ाम-ए इश्क़ को हर आदमी सीमाब क्या समझे
ये है एक मरतबा जो मावरा-ए आदमीय्यत है
Click here for background and on any passage for word meanings and explanatory discussion. syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’.
1
haram1 aur da’er2 ke katb’e3 vo dekhe jis ko fursat4 hai
yahaaN hadd-e-nazar5 tak sirf6 unvaaN7-e mohabbat hai 1.sanctuary, mosque 2.temple 3.inscriptions, epigraphs 4.leisure, time 5.limits of sight 6.only, exclusively 7.theme
Those who have leisure (time to waste) may read inscription/quotations/scripts in the temple or mosque. Here (for me) as far the eye can see, all I can see is the theme of love. Thus, inscriptions/writings are superficial statements while the inner spirit of love stretches from horizon to horizon. An alternative interpretation is that katb’e is also used for epitaphs on gravestones. There could be an implication that ritualistic places of worship are dead with tombstones on them; love reigns supreme.
2
parastaar1-e mohabbat ki mohabbat hi sharii’at2 hai
kisi ko yaad kar ke aah3 kar lena ibaadat4 hai 1.devotee, worshipper 2.religious law, code of behaviour 3.sigh 4.worship
For a lover, love itself is religion, and sighing in someone’s memory is worship. The sufi zikr in remembrance of god is worship. Here ‘sigh’ is not one of despair but sorrow because of separation from the divine beloved.
3
ra’ees1-e la-makaaN2 huN, beniyaazi3 meri fitrat4 hai
mazaaq5-e aarzu6 to bar-binaa7-e aadmiiyyat8 hai 1.master, lord 2.beyond place, placelessness 3.free of need, indifference 4.nature, character 5.taste for 6.desire 7.on foundations of 8.humanness
The poet/seeker is a sufi. He is given up all material desires and longs for union with the divine. beniyaazi being beyond need has become his nature. He also the master of la-makaaN – beyond the confinements of space, not tied to a location. The taste for longing is built on the foundation of human limitation; but the poet claims a higher station beyond place and need.
4
ho ek maa’mul1 tum bhi mere kirdaar2-e mohabbat ka
mujhe tum se nahiN, apni mohabbat se mohabbat hai 1.routine, habit 2.character, conduct
Here tum is meant to be the divine. Love of the divine, offering prayers becomes a routine; a ritual. The poet/sufi is beyond rituals; he loves love; love itself is divine.
5
bhaRak1 kar husn2-e Khaakistar3 bana de saari duniya ko
jo bhool’e4 se kabhi ka’h duN, mujhe kis se mohabbat hai 1.flare 2.beauty 3.ashes 4.in forgetfulness, carelessly
In conventions of love, the lover keeps the object of his love secret. If he were to ever, in forgetfullness, or carelessly reveal who he loves, then that love would flare up and turn the whole world into ashes. This has a reference to moosa/Moses going up mount tuur and insisting on seeing some evidence of god. A flash of lightning turns mount tuur to ashes and moosa faints. In the first misra the ‘thing’ which is going to flare up … bhaRak kar … and turn the whole world to ashes is the divine power itself. In sufi tradition kitmaaN – concealment is prime because unmediated vision of divine glory is undeserved and destructive. Revealing that secret can cause more destruction than just the burning of mount tuur; it can turn the whole world to ashes.
6
jahaaN dil hai, vahaaN vo haiN, jahaaN vo haiN vahaaN sab kuchh
magar pa’hle maqaam1-e dil samajhne ki zaruurat2 hai 1.station, status, prestige 2.necessity
The divine is within the heart. In the first misra ‘vo’ refers to the divine; and where the divine is, there is everything. First it is necessary to understand the station/status of the heart – the seat of love – before you comprehend the divine within the heart.
7
ye quvvat1 bhi shariik2-e husn3 ho jaati to kya hota
kar is ki qadr4 diivaane, tasavvur5 bhi Ghaniimat6 hai 1.strength, power 2.partner 3.beauty 4.value, respect 5.imagination 6.sufficient, enough
Imagination/perception – conceiving in the mind has great power. It is sufficient (to get you to your goal). Just imagine what could happen if your imagination were to partner with (divine) beauty. The implication is that you will be able to comprehend it in all its glory. Thus, it is sheer madness not to value/make full use of your imagination; so, O madman, do not underestimate the qadr-value of tasavvur-imagination.
8
maiN jism1 o rooh2 ko kuchla3 hua mahsoos4 karta huN
ilaahi5 baar6-e Gham7 siine pe hai ya saNg-e-turbat8 hai 1.body 2.spirit 3.crushed 4.feel 5.my god 6.burden, weight 7.sorrow 8.gravestone
The poet/sufi seeks union with the divine spirit. The sorrow of separation is so intense that he feels crushed in body and soul. This life is like exile/death to him. Union with the divine will give him eternal life. So, the burden of the sorrow of separation feels like the weight of a gravestone on his chest.
9
jo tuu chaah’e vo ho jaa’e, na le taqdiir1 ka parda2
Khat3-e qismat hamaara tere manshaa4-e ibaarat5 hai 1.fate 2.veil, curtain 3.line, writing 4.will, intention 5.writing
There are two radically different interpretations possible. In the more conventional interpretation tuu and tere are meant to be god. Thus, whatever you (god) want will happen; no need hide behind the veil of fate. The written line of our fate is but the writing of your will. In the more radical interpretation tuu and tera are the human being. Thus, whatever you wish you yourself can do; no need to make excuses and hide behind the curtain of fate. The line written in your fate is the writing of your own will.
10
bigaRna1 aadmi ka aur ban’na, phir bigaR jaaNa
ye kis ke haath meN nabz2-e mizaaj3-e aadmiiyyat4 hai 1.destroyed, ruined, spoiled 2.pulse 3.temperament, condition 4.human’ness,humanity
There is somone or something that has control of the pulse of the human condition. The result is that life gets ruined, rebuilt and ruined again. Who is it that controls the pulse of the human condition. The poet leaves us with the question. Is it the privileged and the powerful or is it the divine.
11
bahut mushkil1 hai qaid2-e zindagi meN mutma’in3 hona
chaman4 bhi ek musiibat5 tha, qafas6 bhi ik museebat hai 1.difficult 2.confinement 3.satisfied 4.garden 5.adversity, misfortune 6.cage
In urdu poetic tradition the poet often describes himself as a bird either free to fly in the garden/world or sorrowful an caged. But to the poet/sufi both conditions seem to be like a burden. It is very difficult to be satisfied with the confines of life either free or caged. Real freedom is in union with the divine beloved.
12
kahaaN tu aur kahaaN maiN manzil-e-hasti1 meN aye mun’im2
keh tuu Thokar3 hai daulat4 ki, meri Thokar meN daulat hai 1.stage/condition of life 2.well endowed, rich 3.kick, reject, disdain 4.wealth
The poet/sufi compares the stage of his own life with that of a well-provided wealthy person. It is possible that the word daulat is the second misra is being used to convey different meanings. The first time it is used to mean the wealth of love/devotion, and the second is used to mean worldly/material wealth. Thus the mun’im is one who is rejected by the treasure of love/devotion and the poet/sufi is the one who has rejected material wealth.
13
meri diivaanagi par hosh1 vaal’e bahs2 farmaa’eN3
magar pahl’e unheN diivaana ban’ne ki zarurat4 hai 1.reason, sobriety 2.argue 3.declare, perform 4.necessary
The sane/reasoning people can offer agruements about my madness, but first they have to experience/taste madness to understand it i.e., reason cannot explain the frenzy/trance of love.
14
uThaaya tha kabhi baar1-e amaanat2 zarf3-e insaaN ne
isi se poochhiye ab sar uThaaNe ki bhi mohlat4 hai? 1.burden 2.trust, responsibility 3.capacity 4.time, leisure
It is said/believed that after creating the universe god offered an opportunity to all his creatures to take responsibility for all creation. None except humans stepped up. Thus, at one time human beings had the capacity/willingness to bear the responsibility of all creation. It is implied that now they have lost it because they have been too busy acquiring material wealth. Humanity once bore that trust, but now struggles even to raise its head – can they still endure?
15
hariim1-e husn2 meN kya ban ke saNg-e-aaina3 baiThuN
maiN parvaana4 huN, mujh ko raqs5 karne ki ijaazat6 hai 1.sanctuary 2.beauty, beloved 3.mirror of polished stone 4.moth 5.dance 6.permission
The beloved is in her private rooms looking at a mirror … a mirror of polished stone. Even though the poet/lover would dearly love to see the beloved in that pose, why would he want to be like a cold/unfeeling mirror. He is more a like moth that is attracted to the flame and dances around it at the risk of getting burned to death.
16
vo sajda1 kya, rah’e ehsaas2 jis meN sar uThaaNe ka
ibaadat3 aur ba-qaid4-e hosh5, tauhiin6-e ibaadat3 hai 1.prostration, worship 2.feeling, awareness 3.worship 4.confined by, limited by 5.awareness 6.insult
True worship demands full submission, perhaps so engrossed in worship that you loose awareness of everything around you. What kind of a prostration is it in which you can think of raising your head again. Worship that is limited by awareness of the self in prostration dishonors worship.
17
na chheR1 aye taNgi2-e sahan3-e chaman4, phir lauT5 jaauNga
tasavvur6 ki nigaahoN7 meN abhi sahra8 salaamat9 hai 1.tease 2.narrowness, confines 3.courtyard 4.garden 5.return 6.imagination, memory 7.eyes 8.desert, wilderness 9.remaining, safe, prospering
The poet/seeker has been wandering the desert seeking love/truth. Memories of the vastness of the desert/wilderness are etched into his mind’s eye. He has just come to the garden and finds the yard narrow and confining. He warns the garden – stop teasing me, for in imagination the open desert still thrives, and I might return there.
18
shagufta1-e dil ki mohlat2 umr-bhar3 mujh ko na dii Gham4 ne
kalii5 ko raat bhar meN phool ban jaan’e ki fursat6 hai 1.lossom 2.time, permission 3.life-long 4.sorrow, pain 5.bud 6.leisure, permission
The poet/sufi wishes all his life to blossom-to be re-united with the divine spirit. But he is denied that pleasure during his lifetime. He is not allowed to blossom in this life and spends it in pain/longing/grief. He compares this with the situation of a bud which can become a flower overnight. He is registering a protest.
19
maqaam-e-ishq1 ko har aadmi seemab2 kya samjhe3
ye hai ek martaba4 jo maavaraa5-e aadmiiyyat6 hai 1.station of love 2.pen-name, taKhallus 3.understand, know 4.rank, status 5.beyond 6.human capacity
O seemab, how can any ordinary individual understand the station of love. This is a rank that is beyond human capacity (to understand through reason).
syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’.
1
haram1 aur da’er2 ke katb’e3 vo dekhe jis ko fursat4 hai
yahaaN hadd-e-nazar5 tak sirf6 unvaaN7-e mohabbat hai
1.sanctuary, mosque 2.temple 3.inscriptions, epigraphs 4.leisure, time 5.limits of sight 6.only, exclusively 7.theme
Those who have leisure (time to waste) may read inscription/quotations/scripts in the temple or mosque. Here (for me) as far the eye can see, all I can see is the theme of love. Thus, inscriptions/writings are superficial statements while the inner spirit of love stretches from horizon to horizon. An alternative interpretation is that katb’e is also used for epitaphs on gravestones. There could be an implication that ritualistic places of worship are dead with tombstones on them; love reigns supreme.
2
parastaar1-e mohabbat ki mohabbat hi sharii’at2 hai
kisi ko yaad kar ke aah3 kar lena ibaadat4 hai
1.devotee, worshipper 2.religious law, code of behaviour 3.sigh 4.worship
For a lover, love itself is religion, and sighing in someone’s memory is worship. The sufi zikr in remembrance of god is worship. Here ‘sigh’ is not one of despair but sorrow because of separation from the divine beloved.
3
ra’ees1-e la-makaaN2 huN, beniyaazi3 meri fitrat4 hai
mazaaq5-e aarzu6 to bar-binaa7-e aadmiiyyat8 hai
1.master, lord 2.beyond place, placelessness 3.free of need, indifference 4.nature, character 5.taste for 6.desire 7.on foundations of 8.humanness
The poet/seeker is a sufi. He is given up all material desires and longs for union with the divine. beniyaazi being beyond need has become his nature. He also the master of la-makaaN – beyond the confinements of space, not tied to a location. The taste for longing is built on the foundation of human limitation; but the poet claims a higher station beyond place and need.
4
ho ek maa’mul1 tum bhi mere kirdaar2-e mohabbat ka
mujhe tum se nahiN, apni mohabbat se mohabbat hai
1.routine, habit 2.character, conduct
Here tum is meant to be the divine. Love of the divine, offering prayers becomes a routine; a ritual. The poet/sufi is beyond rituals; he loves love; love itself is divine.
5
bhaRak1 kar husn2-e Khaakistar3 bana de saari duniya ko
jo bhool’e4 se kabhi ka’h duN, mujhe kis se mohabbat hai
1.flare 2.beauty 3.ashes 4.in forgetfulness, carelessly
In conventions of love, the lover keeps the object of his love secret. If he were to ever, in forgetfullness, or carelessly reveal who he loves, then that love would flare up and turn the whole world into ashes. This has a reference to moosa/Moses going up mount tuur and insisting on seeing some evidence of god. A flash of lightning turns mount tuur to ashes and moosa faints. In the first misra the ‘thing’ which is going to flare up … bhaRak kar … and turn the whole world to ashes is the divine power itself. In sufi tradition kitmaaN – concealment is prime because unmediated vision of divine glory is undeserved and destructive. Revealing that secret can cause more destruction than just the burning of mount tuur; it can turn the whole world to ashes.
6
jahaaN dil hai, vahaaN vo haiN, jahaaN vo haiN vahaaN sab kuchh
magar pa’hle maqaam1-e dil samajhne ki zaruurat2 hai
1.station, status, prestige 2.necessity
The divine is within the heart. In the first misra ‘vo’ refers to the divine; and where the divine is, there is everything. First it is necessary to understand the station/status of the heart – the seat of love – before you comprehend the divine within the heart.
7
ye quvvat1 bhi shariik2-e husn3 ho jaati to kya hota
kar is ki qadr4 diivaane, tasavvur5 bhi Ghaniimat6 hai
1.strength, power 2.partner 3.beauty 4.value, respect 5.imagination 6.sufficient, enough
Imagination/perception – conceiving in the mind has great power. It is sufficient (to get you to your goal). Just imagine what could happen if your imagination were to partner with (divine) beauty. The implication is that you will be able to comprehend it in all its glory. Thus, it is sheer madness not to value/make full use of your imagination; so, O madman, do not underestimate the qadr-value of tasavvur-imagination.
8
maiN jism1 o rooh2 ko kuchla3 hua mahsoos4 karta huN
ilaahi5 baar6-e Gham7 siine pe hai ya saNg-e-turbat8 hai
1.body 2.spirit 3.crushed 4.feel 5.my god 6.burden, weight 7.sorrow 8.gravestone
The poet/sufi seeks union with the divine spirit. The sorrow of separation is so intense that he feels crushed in body and soul. This life is like exile/death to him. Union with the divine will give him eternal life. So, the burden of the sorrow of separation feels like the weight of a gravestone on his chest.
9
jo tuu chaah’e vo ho jaa’e, na le taqdiir1 ka parda2
Khat3-e qismat hamaara tere manshaa4-e ibaarat5 hai
1.fate 2.veil, curtain 3.line, writing 4.will, intention 5.writing
There are two radically different interpretations possible. In the more conventional interpretation tuu and tere are meant to be god. Thus, whatever you (god) want will happen; no need hide behind the veil of fate. The written line of our fate is but the writing of your will. In the more radical interpretation tuu and tera are the human being. Thus, whatever you wish you yourself can do; no need to make excuses and hide behind the curtain of fate. The line written in your fate is the writing of your own will.
10
bigaRna1 aadmi ka aur ban’na, phir bigaR jaaNa
ye kis ke haath meN nabz2-e mizaaj3-e aadmiiyyat4 hai
1.destroyed, ruined, spoiled 2.pulse 3.temperament, condition 4.human’ness,humanity
There is somone or something that has control of the pulse of the human condition. The result is that life gets ruined, rebuilt and ruined again. Who is it that controls the pulse of the human condition. The poet leaves us with the question. Is it the privileged and the powerful or is it the divine.
11
bahut mushkil1 hai qaid2-e zindagi meN mutma’in3 hona
chaman4 bhi ek musiibat5 tha, qafas6 bhi ik museebat hai
1.difficult 2.confinement 3.satisfied 4.garden 5.adversity, misfortune 6.cage
In urdu poetic tradition the poet often describes himself as a bird either free to fly in the garden/world or sorrowful an caged. But to the poet/sufi both conditions seem to be like a burden. It is very difficult to be satisfied with the confines of life either free or caged. Real freedom is in union with the divine beloved.
12
kahaaN tu aur kahaaN maiN manzil-e-hasti1 meN aye mun’im2
keh tuu Thokar3 hai daulat4 ki, meri Thokar meN daulat hai
1.stage/condition of life 2.well endowed, rich 3.kick, reject, disdain 4.wealth
The poet/sufi compares the stage of his own life with that of a well-provided wealthy person. It is possible that the word daulat is the second misra is being used to convey different meanings. The first time it is used to mean the wealth of love/devotion, and the second is used to mean worldly/material wealth. Thus the mun’im is one who is rejected by the treasure of love/devotion and the poet/sufi is the one who has rejected material wealth.
13
meri diivaanagi par hosh1 vaal’e bahs2 farmaa’eN3
magar pahl’e unheN diivaana ban’ne ki zarurat4 hai
1.reason, sobriety 2.argue 3.declare, perform 4.necessary
The sane/reasoning people can offer agruements about my madness, but first they have to experience/taste madness to understand it i.e., reason cannot explain the frenzy/trance of love.
14
uThaaya tha kabhi baar1-e amaanat2 zarf3-e insaaN ne
isi se poochhiye ab sar uThaaNe ki bhi mohlat4 hai?
1.burden 2.trust, responsibility 3.capacity 4.time, leisure
It is said/believed that after creating the universe god offered an opportunity to all his creatures to take responsibility for all creation. None except humans stepped up. Thus, at one time human beings had the capacity/willingness to bear the responsibility of all creation. It is implied that now they have lost it because they have been too busy acquiring material wealth. Humanity once bore that trust, but now struggles even to raise its head – can they still endure?
15
hariim1-e husn2 meN kya ban ke saNg-e-aaina3 baiThuN
maiN parvaana4 huN, mujh ko raqs5 karne ki ijaazat6 hai
1.sanctuary 2.beauty, beloved 3.mirror of polished stone 4.moth 5.dance 6.permission
The beloved is in her private rooms looking at a mirror … a mirror of polished stone. Even though the poet/lover would dearly love to see the beloved in that pose, why would he want to be like a cold/unfeeling mirror. He is more a like moth that is attracted to the flame and dances around it at the risk of getting burned to death.
16
vo sajda1 kya, rah’e ehsaas2 jis meN sar uThaaNe ka
ibaadat3 aur ba-qaid4-e hosh5, tauhiin6-e ibaadat3 hai
1.prostration, worship 2.feeling, awareness 3.worship 4.confined by, limited by 5.awareness 6.insult
True worship demands full submission, perhaps so engrossed in worship that you loose awareness of everything around you. What kind of a prostration is it in which you can think of raising your head again. Worship that is limited by awareness of the self in prostration dishonors worship.
17
na chheR1 aye taNgi2-e sahan3-e chaman4, phir lauT5 jaauNga
tasavvur6 ki nigaahoN7 meN abhi sahra8 salaamat9 hai
1.tease 2.narrowness, confines 3.courtyard 4.garden 5.return 6.imagination, memory 7.eyes 8.desert, wilderness 9.remaining, safe, prospering
The poet/seeker has been wandering the desert seeking love/truth. Memories of the vastness of the desert/wilderness are etched into his mind’s eye. He has just come to the garden and finds the yard narrow and confining. He warns the garden – stop teasing me, for in imagination the open desert still thrives, and I might return there.
18
shagufta1-e dil ki mohlat2 umr-bhar3 mujh ko na dii Gham4 ne
kalii5 ko raat bhar meN phool ban jaan’e ki fursat6 hai
1.lossom 2.time, permission 3.life-long 4.sorrow, pain 5.bud 6.leisure, permission
The poet/sufi wishes all his life to blossom-to be re-united with the divine spirit. But he is denied that pleasure during his lifetime. He is not allowed to blossom in this life and spends it in pain/longing/grief. He compares this with the situation of a bud which can become a flower overnight. He is registering a protest.
19
maqaam-e-ishq1 ko har aadmi seemab2 kya samjhe3
ye hai ek martaba4 jo maavaraa5-e aadmiiyyat6 hai
1.station of love 2.pen-name, taKhallus 3.understand, know 4.rank, status 5.beyond 6.human capacity
O seemab, how can any ordinary individual understand the station of love. This is a rank that is beyond human capacity (to understand through reason).
The post maavara-e aadmiyyat hai-seemab akbarabadi appeared first on UrduShahkar.
