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

https://urdushahkar.org/wp-content/uploads/2025/07/saahirl-tohmat-uThaane-ko-jii-chaahta-hai-audio.mp3

Recitation

تہمت  اُٹھانے  کو  جی  چاہتا  ہے  ۔  ساحرؔ  لدھیانوی

۱

۲

۳

۴

۵

۶

तोहमत उठाने को जी चाहता है – साहर लुधियानवी

१

२

३

४

५

६

Click here for background and on any passage for word meanings and explanatory discussion. sahir ludhianavi (1921-1980) progressive poet writing in chaste yet relatively easily understood urdu. He brought the quality of urdu nazm to movie songs and raised the standards to a high level. Supported labour movements. This delightfully lighthearted nazm/Ghazal is extracted from a qavvaali style song of the movie ‘dil hi to hai’ and linked to other Ghazaliyaat of the same radeef on the Refrain Index page.

sahir ludhianavi (1921-1980) progressive poet writing in chaste yet relatively easily understood urdu.  He brought the quality of urdu nazm to movie songs and raised the standards to a high level.  Supported labour movements.  This delightfully lighthearted nazm/Ghazal is extracted from a qavvaali style song of the movie ‘dil hi to hai’ and linked to other Ghazaliyaat of the same radeef on the Refrain Index page.

1.eyes 2.heart and soul, life and soul 3.give away

I like to think of this whole Ghazal with the beloved as the protagonist.  The third she’r most clearly reinforces that thought.  Here the beloved wants to be able to look squarely at the lover, and shower him with her heart and soul.

1.accusation 2.to be the target of that accusation

The accusation that the world calls love, I long to be accused of that.

1.making up, entreaties 2.pleasure 3.(feigned) annoyance

The beloved was upset with the lover.  His entreaties so pleased her that she longs to get annoyed all over again.

1.glory, beauty, manifestation 2.veiled, hidden, invisible 3.steal

There is a mystical/sufiyaana interpretation possible but in the light of the romance overload, I am going to lay it aside.  The beloved cannot openly look at the lover and his glory.  Societal restrictions prevent her.  That glory is in front of her and yet hidden.  She want to steal a look at it.

1.meeting 2.message

The beloved asks the lover to send her a message about meeting … when and where.  She desires to come, hiding from the probing/forbidding eyes of the world.

She wants to come hiding from the eyes of the world and desires never to leave.

The post tohmat uThaane ko jii chaahta hai-saahir ludhianavi 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/2025/07/jkchh-aazmaane-ko-jii-chaahta-hai-audio.mp3

Recitation

آزمانے  کو  جی  چاہتا  ہے  ۔  جے  کرشن  چودھری  حبیبؔ

۱

کسی  در  پہ  جانے  کو  جی  چاہتا  ہے

وفا  آزمانے  کو  جی  چاہتا  ہے

۲

اُٹھایا  تھا  جِس  بزم  سے  ہم  کو  اِک  دن

وہیں  پھر  بھی  جانے  کو  جی  چاہتا  ہے

۳

ہوئے  مندمل  زخمِ  دل  میرے  لیکن

نئے  زخم  کھانے  کو  جی  چاہتا  ہے

۴

مآلِ  محبت  سمجھتا  ہوں  پھر  بھی

کہیں  دل  لگانے  کو  جی  چاہتا  ہے

۵

ہیں  کیسے  مزے  کے  ترے  جھوٹے  وعدے

کہ  پھر  دھوکہ  کھانے  کو  جی  چاہتا  ہے

۶

وہ  پھر  آج  کچھ  ہم  سے  روٹھے  ہوئے  ہیں

اُنہیں  پھر  منانے  کو  جی  چاہتا  ہے

۷

ہے  مُدّت  سے  سُونی  مرے  دل  کی  محفل

تمہیں  سے  سجانے  کو  جی  چاہتا  ہے

۸

جو  روشن  ہیں  محفل  میں  عقل  و  خرد  سے

وہ  شمعیں  بجھانے  کو  جی  چاہتا  ہے

۹

جو  سوئے  ہوئے  دل  میں  ہلچل  مچا  دے

وہ  طوفاں  اُٹھانے  کو  جی  چاہتا  ہے

۱۰

حبیبؔ  آگ  بھر  دیں  جو  سینے  میں  سب  کے

وہ  نغمے  سُنانے  کو  جی  چاہتا  ہے

आज़माने को जी चाहता है – जय क्रिष्ण चौधरी हबीब

१

किसी दर पे जाने को जी चाहता है

वफ़ा आज़माने को जी चाहता है

२

उठाया था जिस बज़्म से हम को एक दिन

वहीं फिर भी जाने को जी चाहता है

३

हुए मुंदमिल ज़ख़्म-ए दिल मेरे लेकिन

नए ज़ख़्म खाने को जी चाहता है

४

मा’आल-ए मोहब्बत समझता हूँ फिर भी

कहीं दिल लगाने को जी चाहता है

५

हैं कैसे मज़े के तेरे झूटे वा’दे

के फिर धोका खाने को जी चाहता है

६

वो फिर आज कुछ हम से रूठे हुए हैं

उन्हें फिर मनाने को जी चाहता है

७

है मुद्दत से सूनी मेरे दिल की महफ़िल

तुम्हीं से सजाने को जी चाहता है

८

जो रौशन हैं महफ़िल में अक़्ल-ओ-ख़िरद से

वो शमएँ बुझाने को जी चाहता है

९

जो सोए हुए दिल में हलचल मचा दे

वो तूफ़ाँ उठाने को जी चाहता है

१०

हबीब आग भर दें जो सीने में सब के

वो नग़्मे सुनाने को जी चाहता है

Click here for background and on any passage for word meanings and explanatory discussion. jaikrishn chaudhry habiib (1904-xxxx), born in Dera ismail KhaaN, in pakistan. Lived in jabalpur. He was a scholar of sanskrit, English, faarsi and urdu, and was an active participant in the independence struggle, most notably with Khaan abdul Ghaffaar KhaaN. MA from aligaRh and later LLB, law practice 1929. He migrated to India after partition in 1947. IAS – Collector and later Education Secretary. Early retirement in 1960, but recalled later to serve three more years in jabalpur and retired there. In 1969 he served on Ghalib shataabdhi naagarik samiti which organized four ‘tarahi’ mushaa’era over that year and published a book. He composed several Ghazal in the style of Ghalib. This Ghazal is linked to ham-radeef Ghazal on the Refrain Index page.

jaikrishn chaudhry habiib (1904-xxxx), born in Dera ismail KhaaN, in pakistan.  Lived in jabalpur.  He was a scholar of sanskrit, English, faarsi and urdu, and was an active participant in the independence struggle, most notably with Khaan abdul Ghaffaar KhaaN.   MA from aligaRh and later LLB, law practice 1929.  He migrated to India after partition in 1947. IAS – Collector and later Education Secretary.  Early retirement in 1960, but recalled later to serve three more years in jabalpur and retired there.  In 1969 he served on Ghalib shataabdhi naagarik samiti which organized four ‘tarahi’ mushaa’era over that year and published a book.  He composed several Ghazal in the style of Ghalib.  This Ghazal is linked to ham-radeef Ghazal on the Refrain Index page.

1.door 2.fidelity, loyalty 3.put to the test, try

The poet/lover wants to go to the beloved’s door and see if she comes out.  He has been loyal to her forever and wants to try if his loyalty has had an effect.  The implication is that he knows she will not come out, but he still wants to try.

1.gathering

It may be any gathering but most probably, closest to poetic convention it is the beloved’s gathering from which the poet/lover was ejected.  He wants to return to the same gathering, in the vain hope that his luck may have changed.

1.healed, cured 2.wounds

The old wounds of his love have begun to heal.  He wants to get wounded again.  This does not necessarily imply that he seeks another beloved.  Given the poetic convention it is the same universal beloved that all poets/lovers have.

1.end result, consequence

I fully understand the result/consequence of love but still, I feel like falling in love again.

1.pleasing, pleasant 2.promises 3.deception, trickery

The beloved is notorious for making false promises, but her promises are so pleasing that he wants to be deveived all over again.

1.miffed, annoyed 2.making up

The acts of feigned annoyance and pleasantries of making up are a standard trope of light romantic poetry.  Thus, the beloved’s annoyance this day, presents an opportunity for the poet/lover to try his hand at trying to get her to forgive him.

1.long time 2.desolate, ruined 3.gathering place, home 4.adorn, decorate

The poet/lover’s heart is the mahfil where he wants to meet the beloved.  It has been desolate/ruined for a long time.  He wishes to adorn it with her presence and only with her presence.  That is only adornment that he needs.

1.lit up, burning 2.gathering 3.intellect and wisdom 4.lamps, candles

In the gathering there are lamps that are burning in the light of intelligence and wisdom.  The poet wants to put these out, showing a preference for passion over intelligence.  Editorial comment – I did not expect this kind of she’r from jaikrishn chaudhry habiib.

1.tumult, disturbance 2.storm

The poet (through his poetry) wants to raise storms of the kind that cause a tumult/imaptience and energy in hearts.

1.pen-name 2.fire, passion 3.songs, Ghazal

The poet habiib wants to recite Ghazal/sing songs that fill chests/hearts with fire/passion, perhaps of revolutionary zeal.

The post aazmaane ko jii chaahta hai-jaikrishn chaudhry habiib 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

منصور  کا  سر  لے  کے  چلیں  ۔  کانتی  موہن  سوزؔ

۱

اپنی  تاریخ  سے  کوئی  تو  اثر  لے  کے  چلیں

اپنے  کاندھے  کسی  منصور  کا  سر  لے  کے  چلیں

۲

اُس  گُل  اندام  کو  ویرانے  کی  پہچان  نہیں

دل  کے  نقشے  پہ  کسی  قیس  کا  گھر  لے  کے  چلیں

۳

ساری  تجویز  کو  اک  بار  اُلٹنا  ہوگا

اب  نشیمن  کے  لیے  شاخِِ  شجر  لے  کے  چلیں

۴

اُس  کی  محفِل  میں  سماجت  کی  کوئی  پوچھ  نہیں

برق  پہلو  میں  نگاہوں  میں  شرر  لے  کے  چلیں

۵

آخری  بار  تِری  مان  لیں  اے  جوشِ  جنوں

جنسِ  دل  یوں  تو  ہے  ناکارہ  مگر  لے  کے  چلیں

۶

سوزؔ  کی  آن  رہے  جاں  کی  کوئی  بات  نہیں

دار  پہ  بھی  یہی  بدمست  نظر  لے  کے  چلیں

मंसूर का सर ले के चलें – कान्ती मोहन सोज़

१

२

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४

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६

Click here for background and on any passage for word meanings and explanatory discussion. soz-kanti mohan (1935-xxxx), muraadabad and dehli. His life is illustrative of prevailing bigotry and the pull of urdu. His father went to school only up to 4th grade but read a lot – urdu, faarsi, hindi and sanskrit. His father wanted him to learn faarsi and urdu; was staunchly against communalism but the son joined RSS before 6th grade and was dead set against urdu. Never learnt urdu script. However his diction and pronunciation of urdu was strictly enforced by his urdu loving father. He got a PhD in hindi but his father was unhappy and considered him uneducated. During his PhD, he taught at a college, befriended a couple of urdu teachers, his love of urdu language surfaced, he got disillusioned with RSS and left the saNgh. First memory of poetic composition 1948 with many nazm on gandhi. Read classical shu’araa in naagiri script. BA in muradabad, MA and PhD in dehli. Joined the communist party (marxist) in 1964. Dedicates his book to ranadive, calling him ‘the greatest advocate of the democratic rights of urdu language’. He had published writings, which he classifies as urdu, in hindi magazines where it was largely ignored. Finally, his friends persuaded him to compile his Ghazal which he got published in urdu script, in 1990, even if he himself could not read or write it.

soz-kanti mohan (1935-xxxx), muraadabad and dehli.  His life is illustrative of prevailing bigotry and the pull of urdu.  His father went to school only up to 4th grade but read a lot – urdu, faarsi, hindi and sanskrit.  His father wanted him to learn faarsi and urdu; was staunchly against communalism but the  son joined RSS before 6th grade and was dead set against urdu.  Never learnt urdu script.  However his diction and pronunciation of urdu was strictly enforced by his urdu loving father.  He got a PhD in hindi but his father was unhappy and considered him uneducated.  During his PhD, he taught at a college, befriended a couple of urdu teachers, his love of urdu language surfaced, he got disillusioned with RSS and left the saNgh.  First memory of poetic composition 1948 – with many nazm on gandhi.  Read classical shu’araa in naagiri script.  BA in muradabad, MA and PhD in dehli.  Joined the communist party (marxist) in 1964.  Dedicates his book to ranadive, calling him ‘the greatest advocate of the democratic rights of urdu language’.  He had published writings, which he classifies as urdu, in hindi magazines where it was largely ignored.  Finally, his friends persuaded him to compile his Ghazal which he got published in urdu script, in 1990, even if he himself could not read or write it.

1.history 2.influence, impact 3.shoulders 4.mansoor-al-hallaaj

mansoor-al-hallaaj (858-922) was a sufi scholar/mystic who travelled among other places to India, learnt sanskrit and read the vedas.  Upon his return he continued to teach and acquired a following.  He declared an-al-haq I am the Truth aham brahmasmi.  He was charged with heresy and ordered executed unless he recanted.  He refused, and was executed.  He is held up as a symbol of defiance and courage in the face of oppression.  Thus, let us draw a lesson from our history.  Let us carry the head of mansoor on our shoulders i.e., let us defy oppression, in the face of execution.

1.rose-bodied 2.desolation 3.knowledge, recognition 4.map, sketch 5.majnuN 6.home

Here gul-andaam is symbolic of the priveleged and/or ruling class and qais ka ghar – the home of majnuN is desolation/desert.  Thus, the priveleged have no recognition of what desolation/deprivation is.  Let us carry a sketch of our destitution on our breast as we march demanding justice.

1.proposal, plan 2.overturn, turn upside down 3.nest 4.branch 5.tree

The people in power have a plan to build homes for us, the homeless.  These are all hypocritical plans for ‘show and tell’.  We have to overturn these plans.  Let us take our own means (shaaKh-e shajar) to build our own dwellings.

1.gathering, presence 2.pleading 3.asking, hearing 4.lightning 5.side, beside 6.eyes 7.sparks

Here ‘uss‘ is used to mean the priveleged and the powerful.  In their presence, there is no hearing for our pleading.  Let us march their with lightning beside us and fiery sparks in our eyes.

1.last time 2.agree, accept 3.fervour 4.madness, passion 5.merchandise, commodity 6.useless 7.but

The commodity of the heart – jins-e dil – is love.  O intensity of passion, this commodity of the heart is not of much use but let us take it with us, let us give it a chance one last time (before we undertake revolutionary change).

1.poet, pen-name 2.pride, dignity 3.life 4.gallows 5.intoxicated, ecstatic, defiant 6.eyes

Let the dignity of soz remain in place, steadfast; his life is of no consequence; it can be sacrificed.  Even on the gallows let him carry his defiant ecstacy in his eyes.

The post mansoor ka sar le ke chaleN-kaanti mohan soz 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/2025/07/kms-Ghazal-KhwaaN-rahe-haiN-ham-audio.mp3

Recitation

غزل  خواں  رہے  ہیں  ہم  ۔  کانتی  موہن  سوزؔ

۱

خود  اپنی  جستُجُو  میں  پریشاں  رہے  ہیں  ہم

ہر  انجمن  میں  زُود  ہراساں  رہے  ہیں  ہم

۲

ہر  جوہری  کا  شوق  تھا  پتّھر  بٹورنا

بدقسمتی  سے  لعلِ  بدخشاں  رہے  ہیں  ہم

۳

یاروں  نے  سنگسار  کیا  کہہ  کے  ہم  کو  قیس

ہرچند  عاشقی  سے  گریزاں  رہے  ہیں  ہم

۴

دنیا  میں  پتّھروں  کی  کمی  تھی  نہ  پھول  کی

ہر  سنگ  زن  کے  پیش  گُل  افشاں  رہے  ہیں  ہم

۵

خلقِ  خدا  میں  جیت  گئے  شیطنت  پسند

اپنا  تھا  یہ  قصور  کہ  انساں  رہے  ہیں  ہم

۶

ہم  کو  سمجھ  کے  داغ  زمانہ  مٹائے  کیوں

اُس  کے  ہر  ایک  زخم  کا  درماں  رہے  ہیں  ہم

۷

دامن  تھا  تار  تار  گریباں  تھا  چاک  چاک

اپنا  ہی  دل  تھا  پھر  بھی  غزل  خواں  رہے  ہیں  ہم

۸

اوروں  کا  وہ  نہ  حال  ہو  جو  سوزؔ  کا  ہوا

یہ  بات  سوچ  سوچ  کے  لرزاں  رہے  ہیں  ہم

ग़ज़ल ख़्वाँ रहे हैं हम – कान्ती मोहन सोज़

१

२

३

४

५

६

७

८

Click here for background and on any passage for word meanings and explanatory discussion. soz-kanti mohan (1935-xxxx), muraadabad and dehli. His life is illustrative of prevailing bigotry and the pull of urdu. His father went to school only up to 4th grade but read a lot – urdu, faarsi, hindi and sanskrit. His father wanted him to learn faarsi and urdu; was staunchly against communalism but the son joined RSS before 6th grade and was dead set against urdu. Never learnt urdu script. However his diction and pronunciation of urdu was strictly enforced by his urdu loving father. He got a PhD in hindi but his father was unhappy and considered him uneducated. During his PhD, he taught at a college, befriended a couple of urdu teachers, his love of urdu language surfaced, he got disillusioned with RSS and left the saNgh. First memory of poetic composition 1948 with many nazm on gandhi. Read classical shu’araa in naagiri script. BA in muradabad, MA and PhD in dehli. Joined the communist party (marxist) in 1964. Dedicates his book to ranadive, calling him ‘the greatest advocate of the democratic rights of urdu language’. He had published writings, which he classifies as urdu, in hindi magazines where it was largely ignored. Finally, his friends persuaded him to compile his Ghazal which he got published in urdu script, in 1990, even if he himself could not read or write it.

soz-kanti mohan (1935-xxxx), muraadabad and dehli.  His life is illustrative of prevailing bigotry and the pull of urdu.  His father went to school only up to 4th grade but read a lot – urdu, faarsi, hindi and sanskrit.  His father wanted him to learn faarsi and urdu; was staunchly against communalism but the  son joined RSS before 6th grade and was dead set against urdu.  Never learnt urdu script.  However his diction and pronunciation of urdu was strictly enforced by his urdu loving father.  He got a PhD in hindi but his father was unhappy and considered him uneducated.  During his PhD, he taught at a college, befriended a couple of urdu teachers, his love of urdu language surfaced, he got disillusioned with RSS and left the saNgh.  First memory of poetic composition 1948 with many nazm on gandhi.  Read classical shu’araa in naagiri script.  BA in muradabad, MA and PhD in dehli.  Joined the communist party (marxist) in 1964.  Dedicates his book to ranadive, calling him ‘the greatest advocate of the democratic rights of urdu language’.  He had published writings, which he classifies as urdu, in hindi magazines where it was largely ignored.  Finally, his friends persuaded him to compile his Ghazal which he got published in urdu script, in 1990, even if he himself could not read or write it.

1.oneself 2.searching, seeking, understanding 3.disturbed, scattered, restless 4.gathering, society 5.quicly, easily 6.frightened, alarmed

Who is the ham – ‘we’ in this Ghazal; it could be (a)the poet referring to himself in the first person plural (b)poets as a class/group or (c)the downtrodden masses.  Thus, we are restless in seeking our own identity, our own place in this life; every gathering is quick to make us anxious – suggesting alienation or a deep inner conflict.

1.jeweler 2.passion, interest 3.to collect 4.misfortune 5.ruby 6.region in iran famous for its rubies

Every jeweler was obsessed with collecting ordinary stones, and in our misfortune, we happened to be rare gems (rubies from badaKhshan). A commentary on a society that fails to recognize true value, especially in people (poets) or ideas.

1.stoned, threw rocks 2.calling 3.majnun, mad lover 4.even though 5.fleeing, avoiding

Friends stoned us, accusing us of being like qais (mad with love), even though we were always avoiding (romantic) love.  Perhaps the poet is making a distinction between romantic love and love for the people, for the downtrodden.  But the powers that be in society accuse us (poets) of being romantic lovers and cast aspersions at us.

1.shortage 2.rock-thrower 3.in front of 4.scattering flowers

There was no shortage of either rocks or flowers in this world. But in front of every stone-thrower, we offered flowers. A powerful image of non-violence, compassion, and dignity in the face of aggression.

1.creation, world 2.won 3.satan, evil/deceit 4.like, favour, adopt 5.fault

Those who favoured wickedness won in this creation of god. It is our fault that we remained human. A biting critique of a world that rewards evil and punishes humanity.

1.understanding, presuming 2.stain, scar 3.times, world 4.to erase 5.wound 6.healing, remedy

Why should the world erase us thinking we’re just stains on the time?  We’ve been the remedy for every one of its wounds. A plea not to discard the poet or revolutionary; he’s not the problem but part of the healing.

1.hem of the garment/robe 2.shredded to threads 3.collar/shirt-front 4.ripped apart 5.Ghazal singer/reciter

The shredded hem and torn collar are standard symbols of distress.  The poet’s distress could have been brought on by the injustice that he observed around him.  It could also torn clothes reflecting his own lack of means – with no rewards for his work.  But his heart still summoned up the fortitude to continue singing/reading/writing Ghazal.

1.others 2.condition 3.poet’s pen name 4.trembling

May others not suffer what happened to soz (the poet). The mere thought of it keeps us trembling. A gesture of empathy, warning, and humility, acknowledging deep suffering but hoping it isn’t repeated.

The post Ghazal-KhwaaN rahe haiN ham-kaanti mohan soz 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/2025/07/mKhm-aavaaz-to-dekho-audio.mp3

Recitation

آواز  تو  دیکھو  ۔  مومن  خاں  مومنؔ

۱

آنکھوں  سے  حیا  ٹپکے  ہے  انداز  تو  دیکھو

ہے  بوالہوسوں  پر  بھی  سِتم  ناز  تو  دیکھو

۲

اُس  بت  کے  لیے  میں  ہوسِ  حور  سے  گزرا

اس  عشقِ  خوش  انجام  کا  آغاز  تو  دیکھو

۳

چشمک  مری  وحشت  پہ  ہے  کیا  حضرتِ  ناصح

طرزِ  نگہِ  چشمِ  فسوں  ساز  تو  دیکھو

۴

اربابِ  ہوس  ہار  کے  بھی  جان  پہ  کھیلے

کم  طالعیِ  عاشقِ  جاں  باز  تو  دیکھو

۵

مجلس  میں  مرے  ذکر  کے  آتے  ہی  اُٹھے  وہ

بدنامیِ  عشاق  کا  اعزاز  تو  دیکھو

۶

محفل  میں  تم  اغیار  کو  دُزدیدہ  نظر  سے

منظور  ہے  پنہاں  نہ  رہے  راز  تو  دیکھو

۷

اُس  غیرتِ  ناہید  کی  ہر  تان  ہے  دیپک

شعلہ  سا  لپک  جائے  ہے  آواز  تو  دیکھو

۸

دیں  پاکیِ  دامن  کی  گواہی  مرے  آنسو

اُس  یوسفِ  بے  درد  کا  اعجاز  تو  دیکھو

۹

جنّت  میں  بھی  مومنؔ  نہ  ملا  ہائے  بتوں  سے

جَورِ  اَجلِ  تفرقہ  پرداز  تو  دیکھو

आवाज़ तो देखो – मोमिन ख़ां मोमिन

१

आँखों से हया टपके है अंदाज़ तो देखो

है बुल-हवसौं पर भी सितम नाज़ तो देखो

२

उस बुत के लिये मैं हवस-ए हूर से गुज़रा

इस इश्क़-ए ख़ुश-अंजाम का आग़ाज़ तो देखो

३

चश्मक मेरी वहशत पे है क्या हज़रत-ए नासेह

तर्ज़-ए निगह-ए चश्म-ए फ़ुसूँ-साज़ तो देखो

४

अरबाब-ए हवस हार के भी जान पे खेले

कम-ताल’ई-ए आशेक़-ए जाँ-बाज़ तो देखो

५

मज्लिस में मेरे ज़िक्र के आते ही उठे वो

बदनामी-ए उश्शाक़ का एज़ाज़ तो देखो

६

महफ़िल में तुम अग़्यार को दुज़-दीदा नज़र से

मंज़ूर है पिन्हाँ न रहे राज़ तो देखो

७

उस ग़ैरत-ए नाहीद की हर तान है दीपक

शो’ला सा लपक जाए है आवाज़ तो देखो

८

दें पाकी-ए दामन की गवाही मेरे आँसू

उस यूसुफ़-ए बेदर्द का ए’जाज़ तो देखो

९

जन्नत में भी मोमिन न मिला हाए बुतों से

जौर-ए अजल-ए तफ़रक़ा-पर्दाज़ तो देखो

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.shyness, playfully coy 2.mannerism 3.greedy, lustful 4.torture 5.pride, confidence, coquetry

The beloved’s sidelong glances cause the lover to pine for her.  In addition to that, because her eyes drip with shyness/coyness, even on lustful admirers her shy/coy look is like torture because they like a direct look, direct access; they have no appreciation of subtlety.  Thus, her looks cause torture both to sincere lovers like the poet and to lustful admirers like the rival.  The word ‘bhi‘ in the second misra is key to this interpretation.

1.idol, beloved 2.desire for hoor (in heaven) 3.went past, gave up 4.good/desirable result 5.beginning

This is a wonderful play on words which creates unexpected twists in meaning.  In the first misra ‘havas‘, meaning lust is not a good thing.  But leaving the lust of hoor may be considered a good thing IF it means offering worship/devotion without expecting reward.  But here it means he left all the desire for heaven, did not stick to the straight code, and went for love of the beloved i.e., gave up a pious life (heavenly rewards) chasing after the beloved.  In the second misra ‘Khush anjaam‘ is used in a sarcastic sense.  In urdu poetic convention, love is usually not Khush anjaam.   Thus, the beginning of this love was not so good (straying from the straight and narrow-moving away from the path to heaven), now see what the anjaam might be.  An alternative interpretation might be that if Khush anjaam is meant to really a good result; the lover may be anticipating a good result, then the bad beginning was worthwhile.

1.wink, or stern look 2.frenzy/madness (of love) 3.purist/moralist 4.style 5.glance 6.eye 7.enchantment creating

chashmak is used both as a titillating wink/glance of the beloved or as the stern reproof of the naaseh.  Since the first misra unambiguously says that the naaseh is looking at the frenzy of the lover, it must be a disapproving look.  Thus, why do you look at me disapprovingly, O naaseh look at the style of those enchanting creating eyes (and then tell me if my frenzy is not justified).

1.keepers, friends 2.lust 3.bad omen, poor luck 4.life risking

In urdu poetic tradition the poet is the ‘true’ lover willing to sacrifice himself for the happiness of the beloved.  The rival, on the other hand, is driven by lust.  Even though the rivals lost out, they still wagered their lives to win back the affections of the beloved.  How unlucky is the poet/lover even though he was always willing to lay down his life.

1.gathering 2.mention 3.disrepute 4.lovers 5.respect, consideration

In the gathering, when someone brought up the poet/lover’s name, the beloved got up and left.  The poet/lover attributes this to her respect/consideration of her lovers.  She does not want to hear anything disreputable about her lover(s).

1.gathering 2.others, rivals 3.stolen, sidelong glances 4.acceptable 5.hidden 6.secret

Warning the beloved that her secret will be out.  If it is acceptable to you that your secret be revealed, then do look at rivals with side-long glances.  It appears that he wants to use any excuse to dissuade the beloved from looking at rivals.

1.envy of Venus 2.note 3.deepak raag 4.flame 5.flare up

The beloved is so beautiful that she is the envy of Venus.  On top of that her voice is musical … the juxtaposition of sound and light is beautiful here … every note of hers is like deepak raag which is reputed to start fires.  It seems like the flame flares up every time she speaks.  Also, in iranian mythology nahiid’s mother is godess of fire.

1.cleanliness of the hem (of the robe) 2.witness 3.cruel beauty 4.miracle

paak-daamani is an expression, literally meaning clean hem of the robe, but an expression used to mean above reproach, blameless.  yousuf/Joseph was reputedly very beautiful and is often used as a symbol of beauty and here yousuf-e bedard is used to mean the cruel beloved.  Biblical/qur’aanic legend has it that once when yousuf was accused of something, an innocent child attested to his innocence.  In urdu poetic tradition, tears have the same status as childlike innocence.  Thus the tears of lover bear witness to the blamelessness of the cruel beloved.  Just look at her miraculous act … on the one hand she makes the lover shed tears, and on the other hand gets the advantage of those tears in proving her own purity.

1.heaven 2.pen-name of the poet 3.idols, beloved 4.cruelty 5.death 6.difference creating, discriminating, favouritism

During life momin (the poet) never got to meet the beloved because she always shunned him (that is what the beloved does).  Even in heaven he did not get to meet her.  Does this mean he is putting down hoors as inferior to his beloved?  All this was because of the cruelty of the (biased) favouritism of Death.  Now consider the alternative meaning of momin … the pious man.  He stayed away from the beloved in this world, and missed out.  Inspite of that he did not get to heaven and no hoories in his fate.

The post aavaaz to dekho-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/2025/07/kms-inkaar-karuN-yaa-na-karuN-audio.mp3

Recitation

اِنکار  کروں  یا  نہ  کروں  ۔  کانتی  موہن  سوزؔ

نذرِ  فیض

۱

شوقِ  دیدارِ  رخِ  یار  کروں  یا  نہ  کروں

حسرتِ  حاصلِ  افکار  کروں  یا  نہ  کروں

۲

جام  پر  جامِ  ہلاہل  یوں  ہی  پیتا  جاؤں

محفلِ  یار  میں  تکرار  کروں  یا  نہ  کروں

۳

ہے  عجب  حال  کہ  ناقوس  ہے  پیش  و  پس  میں

سوئے  احباب  کو  بیدار  کروں  یا  نہ  کروں

۵

گویا  اِس  سوچ  میں  ڈوبی  ہے  غزل  کی  کشتی

دل  کے  دریا  کو  ابھی  پار  کروں  یا  نہ  کروں

۶

پھر  وہی  حرفِ  جنوں  سوزؔ  کو  لکھتا  ہے  سلام

دعوتِ  ناز  سے  اِنکار  کروں  یا  نہ  کروں

इन्कार करूं या न करूं – कांति मोहन सोज़

१

२

३

५

६

Click here for background and on any passage for word meanings and explanatory discussion. soz-kanti mohan (1935-xxxx), muraadabad and dehli. His life is illustrative of prevailing bigotry and the pull of urdu. His father went to school only up to 4th grade but read a lot – urdu, faarsi, hindi and sanskrit. His father wanted him to learn faarsi and urdu; was staunchly against communalism but the son joined RSS before 6th grade and was dead set against urdu. Never learnt urdu script. However his diction and pronunciation of urdu was strictly enforced by his urdu loving father. He got a PhD in hindi but his father was unhappy and considered him uneducated. During his PhD, he taught at a college, befriended a couple of urdu teachers, his love of urdu language surfaced, he got disillusioned with RSS and left the saNgh. First memory of poetic composition 1948 with many nazm on gandhi. Read classical shu’araa in naagiri script. BA in muradabad, MA and PhD in dehli. Joined the communist party (marxist) in 1964. Dedicates his book to ranadive, calling him ‘the greatest advocate of the democratic rights of urdu language’. He had published writings, which he classifies as urdu, in hindi magazines where it was largely ignored. Finally, his friends persuaded him to compile his Ghazal which he got published in urdu script, in 1990, even if he himself could not read or write it. This Ghazal uses the same radeef as faiz ahmed faiz and is titled as a tribute to faiz; uses a similar line of thought and composition. faiz in turn wrote his as a tribute to sauda. All three are posted on this site.

soz-kanti mohan (1935-xxxx), muraadabad and dehli.  His life is illustrative of prevailing bigotry and the pull of urdu.  His father went to school only up to 4th grade but read a lot – urdu, faarsi, hindi and sanskrit.  His father wanted him to learn faarsi and urdu; was staunchly against communalism but the  son joined RSS before 6th grade and was dead set against urdu.  Never learnt urdu script.  However his diction and pronunciation of urdu was strictly enforced by his urdu loving father.  He got a PhD in hindi but his father was unhappy and considered him uneducated.  During his PhD, he taught at a college, befriended a couple of urdu teachers, his love of urdu language surfaced, he got disillusioned with RSS and left the saNgh.  First memory of poetic composition 1948 with many nazm on gandhi.  Read classical shu’araa in naagiri script.  BA in muradabad, MA and PhD in dehli.  Joined the communist party (marxist) in 1964.  Dedicates his book to ranadive, calling him ‘the greatest advocate of the democratic rights of urdu language’.  He had published writings, which he classifies as urdu, in hindi magazines where it was largely ignored.  Finally, his friends persuaded him to compile his Ghazal which he got published in urdu script, in 1990, even if he himself could not read or write it.  This Ghazal uses the same radeef as faiz ahmed faiz and is titled as a tribute to faiz; uses a similar line of thought and composition.  faiz in turn wrote his as a tribute to sauda.  All three are posted on this site.

1.desire 2.sight, to see 3.face 4.friend, beloved 5.longing, yearning 6.result/product of 7.thoughts

Should I nurture the desire to see the beloved’s face or not?  Should I yearn for the realization of all my thoughts and ideas or not?  The sight of the beloved’s face is unattainable.  Should the poet/lover/seeker continue to yearn for it and torture himself in agony or give up.  But then … the ‘sight of the face of the beloved’ could be (a)vision of a just future or (b)his Ghazal, both of which can well be ‘haasil-e afkaar‘.

1.cup 2.poison 3.gathering 4.friends, or (sarcastically) the powerful/priveleged 5.dispute

Should I keep drinking cup after cup of poison i.e., keep quiet in the face of injustice, swallowing my pain or should I keep confronting/disputing in the gathering of the privileged (and face the consequences).

1.strange 2.condition, state 3.conch shell, shaNkh 4.back and forth, hesitating 5.sleeping, apathetic 6.friends 7.awaken

The poet/resistance fighter is in a strage condition.  He has a conch shell to blow and raise an alarm or make a declaration, but is hesitant.  His friends/comrades are asleep, unaware or apathetic.  Should he blow his conch shell and shake them out of their apathy?  What will be the consequences of this?  How much trouble will they get into?

1.as if 2.thought 3.drowned, immersed 4.boat 5.river 6.cross

A strange condition this; it is as if the boat of this Ghazal is immersed in deep thought.

1.words of 2.madness/passion 3.poet’s pen name 4.salutations 5.invitation 6.pride/coquetry 7.refusal, turn down

Once again, the words of passionate madness call upon soz to find expression.  Should I turn down this mischievous invitation or write.  Said faiz …

The post inkaar karuN yaa na karuN – kaanti mohan soz 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/2025/07/kms-karo-kaj-jabiiN-pe-sar-e-kafan-audio.mp3

Recitation

کرو  کج  جبیں  پہ  سرِ  کفن  ۔  کانتی  موہن  سوزؔ

۱

صفِ  سرفروشاں  کے  واسطے  شبِ  تار  تھی  تری  انجمن

ترے  طالبوں  کے  ہجوم  میں  کوئی  قیس  تھا  نہ  تو  کوہکن

۲

تری  خامشی  سے  اے  ہمنفس  تیری  آبرو  تو  بچی  رہی

تو  ذلیل  ہوتا  جہان  میں  بڑا  معتبر  تھا  وہ  راہزن

۳

وہ  جو  سارا  مال  و  منال  تھا  وہ  جو  سارا  لطف  و  جمال  تھا

سبھی  ریزہ  ریزہ  چلا  گیا  نہ  گیا  غیور  کا  بانکپن

۴

پسِ  مرگ  حاکمِ  وقت  نے  یہ  خراج  مجھ  کو  عطا  کیا

یہ  مُرید  لگتا  ہے  فیض  کا  کرو  کج  جبیں  پہ  سرِ  کفن

करो कज जबीं पे सर-ए कफ़न – कान्ति मोहन सोज़

१

२

३

४

Click here for background and on any passage for word meanings and explanatory discussion. soz-kanti mohan (1935-xxxx), muraadabad and dehli. His life is illustrative of prevailing bigotry and the pull of urdu. His father went to school only up to 4th grade but read a lot – urdu, faarsi, hindi and sanskrit. His father wanted him to learn faarsi and urdu; was staunchly against communalism but the son joined RSS before 6th grade and was dead set against urdu. Never learnt urdu script. However his diction and pronunciation of urdu was strictly enforced by his urdu loving father. He got a PhD in hindi but his father was unhappy and considered him uneducated. During his PhD, he taught at a college, befriended a couple of urdu teachers, his love of urdu language surfaced, he got disillusioned with RSS and left the saNgh. First memory of poetic composition 1948 with many nazm on gandhi. Read classical shu’araa in naagiri script. BA in muradabad, MA and PhD in dehli. Joined the communist party (marxist) in 1964. Dedicates his book to ranadive, calling him ‘the greatest advocate of the democratic rights of urdu language’. He had published writings, which he classifies as urdu, in hindi magazines where it was largely ignored. Finally, his friends persuaded him to compile his Ghazal which he got published in urdu script, in 1990, even if he himself could not read or write it. Also see faiz ahmed faiz – pas-e marg ham ne bhula diya.

soz-kanti mohan (1935-xxxx), muraadabad and dehli.  His life is illustrative of prevailing bigotry and the pull of urdu.  His father went to school only up to 4th grade but read a lot – urdu, faarsi, hindi and sanskrit.  His father wanted him to learn faarsi and urdu; was staunchly against communalism but the  son joined RSS before 6th grade and was dead set against urdu.  Never learnt urdu script.  However his diction and pronunciation of urdu was strictly enforced by his urdu loving father.  He got a PhD in hindi but his father was unhappy and considered him uneducated.  During his PhD, he taught at a college, befriended a couple of urdu teachers, his love of urdu language surfaced, he got disillusioned with RSS and left the saNgh.  First memory of poetic composition 1948 with many nazm on gandhi.  Read classical shu’araa in naagiri script.  BA in muradabad, MA and PhD in dehli.  Joined the communist party (marxist) in 1964.  Dedicates his book to ranadive, calling him ‘the greatest advocate of the democratic rights of urdu language’.  He had published writings, which he classifies as urdu, in hindi magazines where it was largely ignored.  Finally, his friends persuaded him to compile his Ghazal which he got published in urdu script, in 1990, even if he himself could not read or write it.  Also see faiz ahmed faiz – pas-e marg ham ne bhula diya.

1.line/rank 2.those who offer their heads for sacrifice 3.for 4.dark 5.night 6.gathering 7.seeker, lover 8.crowd 9.legendary lover (majnuN) 10.farhaad, the mountain-digger

Both majnuN and farhaad are symbols of ideal lovers who sacrifice themselves for their love.  But tonight, in the ranks of those willing to sacrifice their lives for the beloved (the homeland) the gathering was like a dark night (cheerless and hopeless) because among the lovers there was no one willing to step up to sacrifice themselves.

1.silence 2.companion, friend 3.honor 4.saved, protected 5.humiliated 6.world 7.respected, powerful 8.bandit, looter

O friend, your silence protected your reputation.  If you had spoken up, if you had protested then you would have lost your reputation because the one who plundered us walked the world in high esteem.  This couplet criticizes the silence of the good and the honor enjoyed by the corrupt. In a twisted world, the looter is respected, while the decent person stays silent to save face. The poet mourns this moral inversion.

1.wealth and possessions 2.charm and beauty 3.shattered, fragmented 4.one with dignity, self-respect 5.elegance, swagger, proud bearing

All the beauty, the charm, the treasures; we lost them all shattered in pieces and scattered.  What was not lost, what endured, was the proud and defiant bearing of those with dignity and self-respect.

1.after death 2.ruler 3.the time 4.tribute 5.granted 6.follower, disciple 7.faiz ahmed faiz 8.slanted, cocked, tilted 9.forehead, brow 10.crown piece/head piece of the shroud

A slanted/cocled cap on the brow is a sign of defiance.  faiz ahmed faiz wanted to remain and look defiant even after death.  He said …

The post karo kaj jabiiN pe sar-e kafan-kaanti mohan soz 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/2025/07/kms-ilzaam-hii-to-hai-audio.mp3

Recitation

الزام  ہی  تو  ہے  ۔  کانتی  موہن  سوزؔ

۱

ابھی  فردِ  گنہ  میں  صِرف  اپنا  نام  ہی  تو  ہے

ابھی  مجرم  کہاں  ہیں  ہم  پہ  اِک  الزام  ہی  تو  ہے

۲

ہمارے  پاس  آنے  سے  نہ  ڈر  تو  اس  قدر  ناصح

ہمارے  ہاتھ  میں  خنجر  نہیں  ہے  جام  ہی  تو  ہے

۳

یہ  کل  اپنی  تپِش  سے  ظلمتوں  کو  چاک  کر  دے  گا

ابھی  ڈوبا  کہاں  ہے  دل  قریبِ  شام  ہی  تو  ہے

۴

شفا  ہے  دور،  اپنی  کامیابی  پر  نہ  ہو  نازاں

مداوے  سے  ترے  بندے  کو  کچھ  آرام  ہی  تو  ہے

۵

کلامِ  سوزؔ  کا  کیا  ذکر  ہو  یاروں  کی  محفل  میں

ابھی  رن  کا  نہیں  ڈنکا  محض  پیغام  ہی  تو  ہے

इल्ज़ाम ही तो है – कान्ति मोहन ‘सोज़’

१

२

३

४

५

Click here for background and on any passage for word meanings and explanatory discussion. soz-kanti mohan (1935-xxxx), muraadabad and dehli. His life is illustrative of prevailing bigotry and the pull of urdu. His father went to school only up to 4th grade but read a lot – urdu, faarsi, hindi and sanskrit. His father wanted him to learn faarsi and urdu; was staunchly against communalism but the son joined RSS before 6th grade and was dead set against urdu. Never learnt urdu script. However his diction and pronunciation of urdu was strictly enforced by his urdu loving father. He got a PhD in hindi but his father was unhappy and considered him uneducated. During his PhD, he taught at a college, befriended a couple of urdu teachers, his love of urdu language surfaced, he got disillusioned with RSS and left the saNgh. First memory of poetic composition 1948 with many nazm on gandhi. Read classical shu’araa in naagiri script. BA in muradabad, MA and PhD in dehli. Joined the communist party (marxist) in 1964. Dedicates his book to ranadive, calling him ‘the greatest advocate of the democratic rights of urdu language’. He had published writings, which he classifies as urdu, in hindi magazines where it was largely ignored. Finally, his friends persuaded him to compile his Ghazal which he got published in urdu script, in 1990, even if he himself could not read or write it. Also see faiz ahmed faiz ‘ilzaam hii to hai’.

soz-kanti mohan (1935-xxxx), muraadabad and dehli.  His life is illustrative of prevailing bigotry and the pull of urdu.  His father went to school only up to 4th grade but read a lot – urdu, faarsi, hindi and sanskrit.  His father wanted him to learn faarsi and urdu; was staunchly against communalism but the  son joined RSS before 6th grade and was dead set against urdu.  Never learnt urdu script.  However his diction and pronunciation of urdu was strictly enforced by his urdu loving father.  He got a PhD in hindi but his father was unhappy and considered him uneducated.  During his PhD, he taught at a college, befriended a couple of urdu teachers, his love of urdu language surfaced, he got disillusioned with RSS and left the saNgh.  First memory of poetic composition 1948 with many nazm on gandhi.  Read classical shu’araa in naagiri script.  BA in muradabad, MA and PhD in dehli.  Joined the communist party (marxist) in 1964.  Dedicates his book to ranadive, calling him ‘the greatest advocate of the democratic rights of urdu language’.  He had published writings, which he classifies as urdu, in hindi magazines where it was largely ignored.  Finally, his friends persuaded him to compile his Ghazal which he got published in urdu script, in 1990, even if he himself could not read or write it.  Also see faiz ahmed faiz ‘ilzaam hii to hai’.

1.charge sheet of sins 2.only 3.convicted, criminal 4.accusation, blame

Right now, it’s only our name on the charge sheet, nothing more.  We’re not proven criminals yet; it’s just an accusation.  This could be a statement of calm defiance and refusal to accept guilt (or a refusal to recognize whatever he has done as a crime, asserting that it is fully justified).  This could also be a statement that says … they have only accused us so far, just wait and see what kind of justice they carry out.  In both cases, it is an assertion of innocence, not necessarily a denial of their actions.

1.fear 2.so much 3.moralizer, preacher 4.dagger 5.wine goblet

Don’t be so afraid to come near us, O preacher. We don’t carry a dagger, just a wine cup.  This couplet challenges moral hypocrisy and fear of nonconformists. The poet isn’t a threat, just a seeker of beauty or truth (symbolized by jaam). Yet, society treats even such harmless rebellion with suspicion.

1.burning, heat, fire 2.darkness 3.tear apart 4.drowned 5.near evening (twilight)

Tomorrow, this (heart) will tear through darkness with its fire.  It hasn’t drowned yet, it’s only near dusk.  The poet urges hope and endurance. Darkness (injustice or despair) may be near, but the heart still burns, and its fire will bring light. Evening isn’t the end, it precedes a new dawn.

1.cure, healing 2.far 3.(temporary) success 4.proud 5.treatment/remedy 6.servant/devotee 7.rest/relief

The cure is still far off, don’t boast of your success just yet.  Your remedy has brought the devotee only temporary relief.  This is probably addressed to the people in power.  A jab at arrogant rulers, healers, or reformers who celebrate small victories, superficial reforms. The poet reminds them: the disease (injustice, suffering) still exists; the real solution is far off. Don’t take credit too soon.

1.speech, poetry 2.pen-name 3.mention, talk about 4.friends 5.gathering 6.battle 7.drums, declaration 8.merely 9.message

Why even bring up soz’s poetry in this gathering of friends?  The war hasn’t begun yet, right now it’s just a message.  The implication is that this is just the beginning of resistance and that the poetry of soz will get more fiery later.  The battlefield of truth or revolution hasn’t been entered yet. But the message is here, and it will grow.

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

https://urdushahkar.org/wp-content/uploads/2025/07/faf-ilzaam-hi-to-hai-audio.mp3

Recitation

https://urdushahkar.org/wp-content/uploads/2025/07/faf-ilzaam-hi-to-hai-sonroopa-vishaal.mp3

sonroopa vishaal

اِلزام  ہی  تو  ہے  ۔  فیض  احمد  فیضؔ

۱

ہم  پر  تمہاری  چاہ  کا  اِلزام  ہی  تو  ہے

دُشنام  تو  نہیں  ہے  یہ  اِکرام  ہی  تو  ہے

۲

کرتے  ہیں  جس  پہ  طعن  کوئی  جُرم  تو  نہیں

شوقِ  فضول  و  اُلفتِ  ناکام  ہی  تو  ہے

۳

دل  مُدّعی  کے  حرفِ  ملامت  سے  شاد  ہے

اے  جانِ  جاں  یہ  حرف  ترا  نام  ہی  تو  ہے

۴

دل  نااُمید  تو  نہیں  ناکام  ہی  تو  ہے

لمبی  ہے  غم  کی  شام  مگر  شام  ہی  تو  ہے

۵

دست  فلک  میں  گردشِ  تقدیر  تو  نہیں

دستِ  فلک  میں  گردشِ  ایّام  ہی  تو  ہے

۶

آخر  تو  ایک  روز  کرے  گی  نظر  وفا

وہ  یارِ  خوش  خصال  سرِ  بام  ہی  تو  ہے

۷

بھیگی  ہے  رات  فیضؔ  غزل  اِبتدا  کرو

وقتِ  سرودِ  درد  کا  ہنگام  ہی  تو  ہے

इल्ज़ाम ही तो है – फ़ैज़ अहमद फ़ैज़

१

हम पर तुम्हारी चाह का इल्ज़ाम ही तो है

दुश्नाम तो नहीं है ये इकराम ही तो है

२

करते हैं जिस पे ता’न कोई जुर्म तो नहीं

शौक़-ए फ़ुज़ूल ओ उल्फ़त-ए नाकाम ही तो है

३

दिल मुद्द’ई के हर्फ़-ए मलामत से शाद है

अए जान-ए जां ये हर्फ़ तेरा नाम ही तो है

४

दिल ना-उमीद तो नहीं नाकाम ही तो है

लम्बी है ग़म की शाम मगर शाम ही तो है

५

दस्त-ए फ़लक में गर्दिश-ए तक़्दीर तो नहीं

दस्त-ए फ़लक में गर्दिश-ए अय्याम ही तो है

६

आख़िर तो एक रोज़ करेगी नज़र वफ़ा

वो यार-ए ख़ुश-ख़िसाल सर-ए बाम ही तो है

७

भीगी है रात फ़ैज़ ग़ज़ल इब्तेदा करो

वक़्त-ए सरोद दर्द का हंगाम ही तो है

Click here for background and on any passage for word meanings and explanatory discussion. faiz ahmed faiz (1911-1984) a poet of romance and resistance, labour leader, journalist, political activist, Lenin Peace Prize awardee writes with great finesse and delicacy using the beloved as a metaphor for the homeland and/or the socialist revolution.

faiz ahmed faiz (1911-1984) a poet of romance and resistance, labour leader, journalist, political activist, Lenin Peace Prize awardee writes with great finesse and delicacy using the beloved as a metaphor for the homeland and/or the socialist revolution.

1.love 2.accusation 3.insult 4.honour

The poet/lover has been accused of loving the beloved.  He declares that he is proud of it.  After all, this is not an insult, it is an honour!  Who is the beloved.  Could it be the homeland or socialist ideals.  The poet has spoken out against the people in power and accused … he is proud of his love of social justice.

1.sarcasm, taunt 2.crime 3.wish, desire 4.useless, ineffective 5.love 6.failed

The poet is in love with socialist ideals.  That doesn’t get him anywhere, there are no results; his love is ineffective, and they taunt him.  He declares … this is not a crime, it may be an ineffective wish, a failed love.  Implied is that he will continue to hold on to his ideals.

1.claimant, accuser 2.word of 3.accusation, reproach 4.happy 5.essense of my life, beloved

Someone has accused the poet of something.  His heart is happy with this reproach because, O love of my life, after all these words of accusation are your name i.e., he has been accused of the love of the homeland and he is happy and proud of it.

1.hopeless 2.unsuccessful 3.long 4.sorrow 5.night

The poet/revolutionary’s heart is not hopeless, even if it is unsuccessful.  He still hopes to succeed one day.  The night of sorrow is long, but after all it is just a night i.e., there will be dawn at the end of the night and dawn is symbolic of a new beginning.

1.hand 2.fate 3.calamity 4.destiny 5.days, present times

The hands of fate do not hold the calamities of my destiny, they hold just the vicissitudes of present times.  This too shall pass.

1.finally 2.day 3.sight, look 4.fidelity, keeping promise 5.friend, beloved 6.polite, affable, good disposition 7.head, top 8.roof

The yaar-e Khush-Khisaal the well disposed friend/beloved is the homeland or a socially just order.  She is not too far, she is on the roof-top and surely one day, she fulfill her promise and will look at the protagonist and his comrades.

1.wet, soaked, drenched 2.pen-name 3.begin 4.time of 5.melody, song 6.time, occasion

bhiigi raat could be symbolic of a night heavily laden with sorrow/emotion.  The poet calls upon himself to begin his Ghazal perhaps a song of consolation or an anthem of resistance.  After all, this is the time for music/melody even if it is a passing moment of pain.

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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/2025/07/sraas-maqaamaat-e-sarmad-o-mansoor-audio.mp3

Recitation

مقاماتِ  سرمد  و  منصور  ۔  سادھو  رام  آرزوؔ  سہارنپوری

۱

نصیب  میں  ہو  کہاں  سے  مقامِ  قُرب  و  حُضُور

نہ  زندگی  کا  سلیقہ  نہ  بندگی  کا  شُعُور

۲

نظر  نہ  آئے  کِسی  کو  تو  کیا  کِسی  کا  قُصُور

نظر  کے  سامنے  ہے  مرکزِ  شُہُود  و  ظہُور

۳

خِرد  کے  بس  کے  نہیں  مرحلاتِ  دار  و  رسن

جُنُوں  سے  پوچھ  مقاماتِ  سرمد  و  منصُور

۴

خودی  بلند  ہو  اپنی  تو  پھر  خود  اپنا  وجُود

تمام  نغمہ  و  مستی  تمام  نکہت  و  نُور

۵

نظر  ملی  ہو  تو  اُس  انجمن  کی  سیر  بھی  کر

جس  انجُمن  میں  برابر  ہیں  ناظِر  و  منظُور

۶

جو  بُوالہوس  ہیں  وہ  یہ  سِرّ  خاص  کیا  جانیں

کہ  حسن  سے  بھی  سِوا  ہے  مِزاجِِ  عشقِ  غیور

۷

یہ  راز  پوچھ  کِسی  صاحبِ  محبت  سے

کہ  زُلف  حسن  بھی  ہے  بوئے  عشق  سے  مخمور

۸

نظر  تو  کیا  جسے  اب  تک  خیال  چھو  نہ  سکا

ہے  ذرّہ  ذرّہ  اُسی  گنجِِ  حُسن  سے  معمور

۹

جو  ہو  سکے  تو  اُٹھا  دے  نقابِ  چہرۂ  زیست

کہ  چشمِ  وا  سے  نظر  آئے  جلوۂ  مستُور

۱۰

ہزار  پردۂ  اَسرار  میں  چُھپے  کوئی

نگاہِ  عشق  کسی  حال  میں  نہیں  مجبور

۱۱

اُسی  کے  دم  سے  ہے  اے  آرزوؔ  حیات  مری

عطا  ہوئی  تھی  ازل  میں  جو  موجِِ  بادۂ  نور

मक़ामात-ए सर्मद ओ मन्सूर – साधु राम आर्ज़ू सहारनपूरी

१

२

३

४

५

६

७

८

९

१०

११

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

saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata.  He was a shaagird of faani badayuni.  There are at least two collections of Ghazal and nazm.  There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.  This Ghazal has a strong sufiyaana flavour talking about vahdat-ul-vujuud one-ness of all creation.

1.fate, destiny 2.station, place, status 3.closeness (to god) 4.presence (before god) 5.nature, temperament, skill, conduct 6.servitude, worship 7.awareness, understanding

How can one be destined for the station of nearness to and presence before the divine when one lacks the proper nature/art of life and the knowledge of true devotion?  As opposed to this, dwarka das sho’la does not think very highly of bandagi …

1.visible, seen 2.fault 3.eyes 4.center, focus 5.testimony, proof 6.manifestation

If someone fails to see the truth, how can it be anyone else’s fault?  The focus of testimony and manifestation is right before the eyes i.e., the universe that we see around us is a testimony of the existence of the divine.

sarmad was a rebel sufi, a friend of daara shikoh during shaah jahaaN’s time.  He sometimes went about naked as a symbol of ‘nothing to hide’.  He was ordered executed by auraNgzeb.  mansuur was also a sufi scholar and a rebel from iraan who traveled extensively in India, learnt sanskrit and read the vedas.  He declared ‘I am the Truth’, influenced by aham brahmasmi.  He was declared a heretic and sentenced to death unless he retracted his statement.  He refused and was executed.  Thus, sarmad o mansoor willingly and courageously faced the gallows and rope.  Their courage is attributed to their passion.  Says the poet … intellect/reason cannot grasp the problems of martyrdom at the gallows.  That is for the passion of the likes of sarmad and mansoor.  Said iqbal …

1.selfhood, ego in iqbalian sense 2.elevated, noble 3.existence 4.melody 5.ecstasy 6.fragrance 7.light

When one’s sense of self is elevated, their very being shines; their whole existence becomes a totality of song, joy, fragrance, and radiance.

1.sight, discernment 2.gathering, spiritual assembly 3.roam in, participate in 4.equal 5.observer 6.the observed

If you possess discerning vision, come to that gathering where the observer and the observed are one and the same.  This is the sufi concept of vahdat.

1.lustful 2.secret 3.special 4.beauty 5.beyond, greater than 6.nature, temperament 7.with self-respect, an attribute of god

The lustful can never grasp this special secret; that the temperament of noble love is even greater than superficial beauty.  Thus, if people learn this special secret, they will not go after beauty, material possessions and go for true love.

1.secret 2.owner, master 3.hair 4.beauty 5.fragrance 6.intoxication

Ask a true lover the secret, even beauty’s tresses are intoxicated by the fragrance of love.  Here husn is symbolic of god and muhabbat of the devotee.  Thus, god’s fragrance is the result of the devotee’s intoxication.

1.sight 2.thought, imagination 3.touch 4.every particle 5.treasure 6.beauty 7.filled, populated

Forget vision, even imagination can never touch it.  Yet every particle of existence is filled with that treasure of beauty i.e., you may not be able to reach/touch the divine but it is in every particle around us.

1.veil 2.face 3.life 4.eye 5.open 6.be seen, be visible 7.glory, radiance 8.hidden

If possible, lift the veil from life’s face, so the opened eye may see the hidden glory (of the divine).  I think that this is addressed to the devotee.  They have to lift the veil from the face of life … see beyond material existence to comprehend the divine.

1.veil 2.mysteries 3.hidden 4.gaze of love 5.condition, circumstance 6.helpless

Even if someone hides behind a thousand veils of mystery, the gaze of love is not helpless under any conditions; it can see through all.  Thus, the devotee, with a discerning sight, will be able to see that the creator and the created are one and the same and they will see the glory of the creator reflected in all creation.

1.breath, essence, power 2.pen-name 3.life 4.granted, bestowed 5.eternity, beginning 6.wave 7.wine 8.light

O arzuu, my life endures because of his (divine) power; of the wave of the wine of enlightenment/brilliance/love that was granted to me from the beginning of time.

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