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

https://urdushahkar.org/wp-content/uploads/2025/05/jhjm-vaqt-e-safar-yaad-aaya-audio.mp3

Recitation

وقتِ  سفر  یاد  آیا  ۔  فصاحت  جنگ  جلیلؔ  مانکپوری

۱

دل  اُنہیں  بارِ  دِگر  یاد  آیا

ڈھا  چکے  گھر  کو  تو  گھر  یاد  آیا

۲

بے  خودی  کا  ہے  مری  یہ  عالم

تیغ  کو  دیکھ  کے  سر  یاد  آیا

۳

کس  قدر  مجھ  کو  دلِ  سوختہ  آج

دیکھ  کر  شمعِ  سحر  یاد  آیا

۴

ہچکیاں  نزع  میں  کیوں  آنے  لگیں

کس  کو  میں  وقتِ  سفر  یاد  آیا

۵

مر  کے  یاد  آئے  مزے  دنیا  کے

گھر  سے  نکلے  تھے  کہ  گھر  یاد  آیا

۶

میرے  آنے  کی  تو  بندش  ہے  مگر

کیا  کریں  گے  میں  اگر  یاد  آیا

۷

تابشِ  مہرِ  قیامت  کو  جلیلؔ

دیکھ  کر  دامنِ  تر  یاد  آیا

वक़्त-ए सफ़र याद आया – फ़साहत जंग जलील मानिकपूरी

१

दिल उन्हें बार-ए दिगर याद आया

२

बे-ख़ुदी का है मेरी ये आलम

३

किस क़दर मुझ को दिल-ए सोख़्ता आज

४

हिचकियां नज़’अ में क्यूं आने लगीं

५

मर के याद आए मज़े दुनिया के

६

मेरे आने की तो बंदिश है मगर

७

ताबिश-ए महर-ए क़यामत को जलील

Click here for background and on any passage for word meanings and explanatory discussion. jaliil hasan jaliil maanikpuri (1864-1946), maanikpur. Learnt urdu, faarsi, arabi from scholars/tutors at home. Became shaagird of amiir minaaii in 1882 and followed him to rampur (1886) and to hyderabad in 1901. Appointed ustaad of mahboob ali KhaaN in 1910 and later of osman ali KhaaN. Given numerous titles including navaab fasaahat jaNg. This Ghazal is linked to Ghalib naqsh-e qadam ‘diida-e tar yaad aaya’.

jaliil hasan jaliil maanikpuri (1864-1946), maanikpur.  Learnt urdu, faarsi, arabi from scholars/tutors at home.  Became shaagird of amiir minaaii in 1882 and followed him to rampur (1886) and to hyderabad in 1901.  Appointed ustaad of mahboob ali KhaaN in 1910 and later of osman ali KhaaN.  Given numerous titles including navaab fasaahat jaNg.  This Ghazal is linked to Ghalib naqsh-e qadam ‘diida-e tar yaad aaya’.

1.once again, second time, afterthought 2.demolished, destroyed

Here, the ‘unheN’ is the beloved.  She remembered his heart as an afterthought.  Having demolished the house, she remembered it.  In poetic tradition the heart is considered to be the home/house.  The beloved demolished the house i.e., broke his heart, and then remembered it as an afterthought.

1.trance, unawareness, extreme bewilderment 2.condition, state 3.sword

Such is the state of my bewilderment that on seeing the sword, I think of my head.  In poetic convention the lover is in a trance because of the madness of his passion.  He also desires to be killed at the hands of the beloved and the beloved is depicted as chopping heads of lovers off with her sword.  Thus, whenever the poet sees a sword he thinks of his head.

1.how much 2.burnt heart, broken heart 3.candle 4.dawn

The sham’a sahar is a candle that has been burning all night long and by dawn the only thing that is left is its burnt remains-ashes of the wick.  The poet/lover’s heart is similarly burnt (because of the beloved’s indifference) and all that remains is ashes.  Hence, looking at the burnt out dawn candle he thinks of his burnt heart.

1.hiccups 2.time of death, last breath 3.time of departure (from the world)

Why did hiccups arise in the throes of death?  Who has remembered me as I get ready to depart?  Hiccups, often associated with being remembered by someone.  It is customary for the beloved to visit the lover on his death bed.  Either the beloved has been informed of his impending death or she remembers him somehow.  In either case, this triggers the onset of hiccups for the dying lover.  He fondly assumes that it must be the beloved remembering him and phrases the second misra as a rhetorical question.

1.pleasures

After dying, the pleasures of the world were remembered, as soon as I left the house, I remembered the house.  Conventionally, poets are happy to leave this material world for the spiritual world.  They would not normally look back with fond memories at the suffering they went through in this life.  This she’r seems to be unusual in that the departed poet looks back at the pleasure of life and misses them.  The two misra are parallel in meaning i.e. just like one remembers home as soon as they leave home, I remembered the pleasures of life after death.

1.restriction, prohibition 2.if

The beloved has put restrictions on the poet’s visits.  He muses (perhaps in self-deception), what will she do if she remembers me?  It is a bit unusual for the beloved to remember and long for the lover.

1.radiance 2.sun 3.doomsday 4.pen-name 5.wet hem of the garment

It is said that on doomsday the sun will approach the earth and everything will get burnt to ashes.  The poet sees/feels the sun approaching and surmises that doomsday is at hand.  He remembers the hem of his garment which is wet.  There can be two possible reasons for this.  The poet/sinner cries profusely shedding tears of repentence.  In this case the wet hem of his garment is a good thing and will help him get salvation.  On the other hand, it is possible that the hem of the garment is wet because of excessive spilling of wine while drinking.  Khwaaja miir dard has a she’r which implies a wet hem because of spilled wine …

The post vaqt-e safar yaad aaya-jaliil manikpuri appeared first on UrduShahkar.

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Recitation

https://urdushahkar.org/wp-content/uploads/2025/05/fb-sajda-e-raahguzar-yaad-aaya-bharati-vishwanathan.mp3

bharati vishvanathan

سجدۂ  راہ  گزر  یاد  آیا  ۔  فانیؔ  بدایونی

۱

سنگِ  در  دیکھ  کے  سر  یاد  آیا

کوئی  دیوانہ  مگر  یاد  آیا

۲

پھر  وہ  اندازِ  نظر  یاد  آیا

چاکِ  دل  تا  بہ  جگر  یاد  آیا

۳

ذوقِ  ارباب  نظر  یاد  آیا

سجدۂ  بے  مِنّتِ  سر  یاد  آیا

۴

ہر  تبسّم  پہ  یہ  کھاتا  ہوں  فریب

کہ  اُنہیں  دیدۂ  تر  یاد  آیا

۵

پھر  ترا  نقشِ  قدم  ہے  درکار

سجدۂ  راہ  گزر  یاد  آیا

۶

جمع  کرتا  ہوں  غبارِ  رہِ  دوست

سرِ  شوریدہ  مگر  یاد  آیا

۷

ہاے  وہ  معرکۂ  ناوکِ  ناز

دل  بچایا  تو  جگر  یاد  آیا

۸

آئینہ  اب  نہیں  دیکھا  جاتا

میں  بعنوانِ  دِگر  یاد  آیا

۹

درد  کو  پھر  ہے  مرے  دل  کی  تلاش

خانہ  برباد  کو  گھر  یاد  آیا

۱۰

اُس  کو  بھولے  تو  ہوئے  ہو  فانیؔ

کیا  کروگے  وہ  اگر  یاد  آیا

सज्दा-ए राहगुज़ याद आया – फ़ानी बदायुनी

१

संग-ए दर देख के सर याद आया

कोई दीवाना मगर याद आया

२

फिर वो अंदाज़-ए नज़र याद आया

चाक-ए दिल-ता-ब-जिगर याद आया

३

ज़ौक़-ए अरबाब-ए नज़र याद आया

सज्दा बे-मिन्नत-ए सर याद आया

४

हर तबस्सुम पे ये खाता हूँ फ़रेब

के उन्हें दीदा-ए-तर याद आया

५

फिर तेरा नक़्श-ए क़दम है दरकार

सज्दा-ए राहगुज़र याद आया

६

जमा करता हूँ ग़ुबार-ए रह-ए दोस्त

सर-ए शोरीदा मगर याद आया

७

हाए वो मारेका-ए नावक-ए नाज़

दिल बचाया तो जिगर याद आया

८

आईना अब नहीं देखा जाता

मैं ब-उनवान-ए दिगर याद आया

९

दर्द को फिर है मेरे दिल की तलाश

ख़ाना-बरबाद को घर याद आया

१०

उस को भूले तो हुए हो फ़ानी

क्या करोगे वो अगर याद आया

Click here for background and on any passage for word meanings and explanatory discussion. mohammed shaukat ali KhaaN faani badayuni (1879-1941), BA 1901, law 1908. Stumbling law practice. Invited to hyderabad by maharaja kishan parshaad in 1932, working as the principal of a reputed school. Alcohol proved to be a big problem. He died forlorn and destitute. Much of his work was lost. This is a Ghazal that he composed in the zamin of Ghalib, ‘diida-e tar yaad aaya’ and is linked to Ghalib naqsh-e qadam, on the Theme page.

mohammed shaukat ali KhaaN faani badayuni (1879-1941), BA 1901, law 1908.  Stumbling law practice.  Invited to hyderabad by maharaja kishan parshaad in 1932, working as the principal of a reputed school.  Alcohol proved to be a big problem.  He died forlorn and destitute.  Much of his work was lost.  This is a Ghazal that he composed in the zamin of Ghalib, ‘diida-e tar yaad aaya’ and is linked to Ghalib naqsh-e qadam, on the Theme page.

1.stone threshold 2.but

The poet/lover is quite used to being at the door of his beloved with his bead bowed at her threshold or perhaps even banging his head on it, out of mad passionate love.  Thus, when he sees the threshold, he remembers his head, but also remembers that passionate madman (himself).

1.style of glance 2.tear in the heart 3.upto, until 4.liver

When the poet/lover is wounded in the heart it is deep and runs from the heart to the liver.  Once again, he remembers her coquettish, sidelong glance and is reminded of the wound that runs all the way from his heart to his liver.  Said Ghalib …

1.taste, desire, grace 2.people of discerning/refined sight/tastes 3.prostration 4.without (asking for) favour/grant/blessing

I remember the grace/finesse of people of discerning vision.  I remember the prostration that is not obliged to the head.  The poet/lover is a person of refined taste.  He offers sijda/prostration/prayer without an expectation of favours.  Said Ghalib …

1.smile 2.deception, mistake 3.moist/tearful eye

The poet/lover is sorrowful (because he does not have the attention of the beloved).  His eyes are tearful.  When the beloved smiles, he deceives himself that she might be thinking of remembering his tearful eye.

1.footprint 2.require, need 3.prostration, bowing 4.pathway

The beloved frequents a certain path and the poet/lover goes their looking for her footprints, so he may offer his obeisance.  It has been a while since he has seen any.  Thus, he says that he once again needs her footprints and remembers his past obeisance in her pathway.

1.dust 2.pathway of the beloved 3.mad/confused head

The beloved frequents a certain path.  All that the poet/lover ever gets to see is the dust in her trail.  He collects it and remembers its association with her but also remembers his own passionate madness.  ‘sar-e-shoriida’ is remembered because that is where all the dust is sprinkled to give him that ‘shoriida’ look.

1.quarrel, attack 2.arrow 3.coquetry

The beloved’s sidelong, coquettish glances are like arrows.  The attack is fierce and when the poet/lover saves his heart (emotions), he remembers that his liver (fortitude) will fall victim.  Thus he will become prey one way or the other.

1.by way of subject 2.other, second

The beloved cannot look at the mirror any more, because when she sees herself, she is reminded of the second subject – the poet/lover.  She cannot bear that thought because she is so irritated or because she is forlorn, missing him?

1.search, need 2.home destroyer

Pain (which is so cruel that it destroys wherever it makes its home) is looking for the poet/lover’s heart.  It again remembers its old home.  Thus the poet/lover claims to be the only true lover.  Pain can feel at home only in his heart.

1.pen-name

You have been able to forget her for now, faani.  What will you do when you remember her again.

The post sajda-e raahguzar yaad aaya-faani badayuni appeared first on UrduShahkar.

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Recitation

زخمِ  جگر  یاد  آیا  ۔  بدھ  پرکاش  جوہرؔ  دیوبندی

۱

جب  ترا  تیرِ  نظر  یاد  آیا

اپنا  پھر  زخمِ  جگر  یاد  آیا

۲

تو  مجھے  شام  و  سحر  یاد  آیا

میں  نہ  اُف  تجھ  کو  مگر  یاد  آیا

۳

جب  کِھلا  غنچہ  کوئی  گلشن  میں

تو  بہت  اے  گل  تر  یاد  آیا

۴

جھک  گیا  سر  پئے  تعظیم  وہیں

جب  مجھے  آپ  کا  در  یاد  آیا

۵

تیغِ  ابرو  کا  تصوّر  جو  ہوا

اپنا  بے  ساختہ  سر  یاد  آیا

۶

سانپ  سے  لوٹ  گئے  سینے  پر

زلف  کا  کُھلنا  اگر  یاد  آیا

۷

جب  کبھی  جم  کے  گھٹائیں  برسیں

یک  بیک  دیدۂ  تر  یاد  آیا

۸

رہ  گیا  تھام  کے  دل  میں  جوہرؔ

مجھ  کو  غربت  میں  جو  گھر  یاد  آیا

ज़ख्म-ए जिगर याद आया – बुध प्रकाश जौहर देवबंदी

१

जब तेरा तीर-ए नज़र याद आया

२

तू मुझे शाम ओ सहर याद आया

३

जब खिला ग़ुंचा कोई गुलशन में

४

झुक गया सर पय-ए ता’ज़ीम वहीं

५

तेग़-ए अब्रू का तसव्वुर जो हुआ

६

साँप से लोट गए सीने पर

७

जब कभी जम के घटाएँ बरसीं

८

रह गया थाम के दिल मैं जौहर

Click here for background and on any passage for word meanings and explanatory discussion. buddh prakash gupta jauhar deobandi (1912-xxxx), saharanpur, UP. Family background of agriculture, grain dealership and money lending. Finished high school locally, probably in urdu. There was a strong tradition of monthly mushaa’era in sahaaranpur. Participated in the audience and later as a shaa’er. Continued family business and kept working on urdu. Awarded an honorary PhD by aligaRh university, on his work related to non-muslim shu’ara. This Ghazal is linked to Ghalib naqsh-e qadam.

buddh prakash gupta jauhar deobandi (1912-xxxx), saharanpur, UP.  Family background of agriculture, grain dealership and money lending.  Finished high school locally, probably in urdu.  There was a strong tradition of monthly mushaa’era in sahaaranpur.  Participated in the audience and later as a shaa’er.  Continued family business and kept working on urdu.  Awarded an honorary PhD by aligaRh university, on his work related to non-muslim shu’ara.  This Ghazal is linked to Ghalib naqsh-e qadam.

1.glance 2.wound 3.heart/liver

Whenever your arrow-like glance came to mind, my own wound of the heart came to mind once again.  This couplet describes how the memory of a beloved’s piercing, enchanting glance triggers the remembrance of deep emotional pain. The “zakhm-e jigar” is a recurring metaphor in urdu poetry for profound anguish. The contrast of the beloved’s beauty with the lover’s suffering encapsulates the bittersweet nature of love.

1.evening, night 2.dawn, day 3.an expression of pain or protest

You came to my mind day and night, but alas, I never came to yours, even as a fleeting thought.  This couplet laments the one-sidedness of love.  The lover thinks of the beloved incessantly, yet questions if the beloved spares even a moment to think of them.  This is a recurring classic theme in urdu poetry.

1.opened, blossomed 2.rose bud 3.garden 4.fresh/blossoming flower

When a flower bud blossoms in the garden, it reminds me of you, o fresh, radiant flower.  The blossoming of a bud invokes the memory of the beloved, likened to a fresh and vibrant flower.

1.to offer respect 2.doorstep (of the beloved)

My head bowed in reverence wherever I was, when the memory of your doorstep came to mind.  This couplet portrays the beloved’s doorstep as sacred and the beloved as idol/divine.  The act of bowing symbolizes deep devotion and humility.  In the spiritual or metaphorical sense, it could reflect respect for the divine or a deeply cherished love.

1.sword 2.eyebrows 3.imagination 4.without intention, involuntary, spontaneous

The eyebrows of the beloved are like swords/daggers.  They cut off the head of the lover.  Thus, whenever he imagines those eyebrows he instantly remembers his own spontaneously bowed head.

1.roll on the ground, roll in pain 2.hair

It was as if snakes were rolling on my breast, whenever I remembered those locks unraveling and spreading out.

1.heavily 2.clouds 3.rained 4.suddenly, all at once 5.eyes 6.wet, moist, tear-filled

Whenever heavy clouds poured down rain, it suddenly reminded me of tear-filled eyes. In poetic convention the distraught lover cries rivers of tears causing flooding or cries like a heavy downpour.

1.hold, clutch 2.pen-name 3.estrangement, exile

Holding/clutching my heart, I remained rooted, jauhar, when memories of home came to me in this estrangement.

The post zaKhm-e jigar yaad aaya-buddh prakash gupta jauhar deobandi appeared first on UrduShahkar.

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Recitation

راہگزر  یاد  آیا  ۔  حبیب  جالبؔ

۱

لوک  گیتوں  کا  نگر  یاد  آیا

آج  پردیس  میں  گھر  یاد  آیا

۲

جب  چلے  آئے  چمن  زار  سے  ہم

اِلتفاتِ  گُلِ  تر  یاد  آیا

۳

تیری  بیگانہ  نگاہی  سرِ  شام

یہ  ستم  تا  بہ  سحر  یاد  آیا

۴

ہم  زمانے  کے  ستم  بھول  گئے

جب  ترا  لُطفِ  نظر  یاد  آیا

۵

تو  بھی  مسحُور  تھا  اُس  شب  سرِ  بزم

اپنے  شعروں  کا  اثر  یاد  آیا

۶

پھر  ہوا  دردِ  تمنّا  بیدار

پھر  دلِ  خاک  بہ  سر  یاد  آیا

۷

ہم  جسے  بھول  گئے  تھے  جالبؔ

پھر  وہی  راہگزر  یاد  آیا

राहगुज़र याद आया-हबीब जालिब

१

लोक-गीतौं का नगर याद आया

आज परदेस में घर याद आया

२

जब चले आए चमन-ज़ार से हम

इल्तेफ़ात-ए गुल-ए तर याद आया

३

तेरी बेगाना-निगाही सर-ए शाम

ये सितम ता ब सहर याद आया

४

हम ज़माने के सितम भूल गये

जब तेरा लुत्फ़-ए नज़र याद आया

५

तू भी महसूर था उस शब सर-ए बज़्म

अपने शेरौं का असर याद आया

६

फिर हुआ दर्द-ए तमन्ना बेदार

फिर दिल-ए ख़ाक ब-सर याद आया

७

हम जिसे भूल गये थे जालिब

फिर वही राहगुज़र याद आया

Click here for background and on any passage for word meanings and explanatory discussion. habib jalib (1929-1993), people’s poet. Wrote and spoke/recited fearlessly against dictatorship, inequality and injustice in simple straightforward language. This Ghazal, in the zamin of Ghalib’s, ‘diida-e tar yaad aaya’ is linked to ‘Ghalib naqsh-e qadam’.

habib jalib (1929-1993), people’s poet.  Wrote and spoke/recited fearlessly against dictatorship, inequality and injustice in simple straightforward language.  This Ghazal, in the zamin of Ghalib’s, ‘diida-e tar yaad aaya’ is linked to ‘Ghalib naqsh-e qadam’.

1.folk songs 2.homeland 3.foreign land

habib jaalib was born in a small village in hoshiarpur district.  In his late teens, when the family migrated to the pakistan side of the border, it is possible that he remembers it and means his birthplace as home and that it is known for its folk-songs.  In this context he considers lahore ‘foreign’ or ‘away from home’ and remembers the folk-songs of his birthplace.

1.garden 2.love, pleasures 3.fresh rose

When we left that expansive garden, memories of fresh flowers return.  Fresh flowers could here literally mean that, or loving associations of his homeland.

1.ignoring/casual glance 2.beginning of the evening 3.cruelty 4.until dawn

Your casual glance last night, as if I were a stranger – I remembered its cruelty all through the night until dawn.

1.times 2.cruelties 3.pleasure, favourable 4.glance

I forgot the cruelties of the times when I remembered your loving glance.

1.enchanted, enraptured 2.night 3.head/front of the gathering 4.verse 5.effect

You too were enraptured in front of the whole gathering.  I remember, such was the effect of verse.

1.pain 2.desire, longing 3.awake 4.dust 5.on the head

Again, the pain of longing for you refreshed.  Again, I remembered my dust-trodden and trampled heart.  Is he still remembering the village of his birth?

1.pen-name of the poet 2.walkway, pathway

That which we had already forgotten, O jaalib, once again, memories of that pathway came back.  This could be the walkway that the beloved traveled or it could be any walkway in the village of his birth.   Said Ghalib …

The post raahguzar yaad aaya-habiib jaalib 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/2025/05/kamj-halqa-meri-zanjiir-ka-audio.mp3

Recitation

حلقہ  مری  زنجیر  کا  ۔  کلبِ  احمد  مانیؔ  جائسی

۱

خامشی،  اچھا  ہے  شیوہ  پیکرِ  تصویر  کا

یعنی  کیا  کہنا  کسی  کی  شوقیِ  تحریر  کا

۲

لطف  کھویا  اشک  نے  نظارۂ  تحریر  کا

دیکھتا  ہوں  آنکھ  سے  لکھا  ہوا  تقدیر  کا

۳

رونقِ  بازارِ  سودا  عقدۂ  گیسو  ترا

زینتِ  بزمِ  جنوں  حلقہ  مری  زنجیر  کا

۴

دستِ  وحشت  سے  نہ  بچتا  دامنِ  دشتِ  جنوں

آ  گیا  ہے  بیچ  میں  لیکن  قدم  زنجیر  کا

۵

اور  ساماں  تو  نہیں  اب  قبرِ  مجنوں  پر  مگر

نغمہ  پردازِ  جنوں  ہے  غُل  مری  زنجیر  کا

۶

کیا  غضب  ہے  کوہکن  کو  حسرتِ  شیریں  رہی

اور  شیریں  کو  رہا  ارمان  جوئے  شیر  کا

۷

بختِ  وحشت  آشنا  کا  بل  ہے  اے  مانیؔ  وہی

نفع  کیا  ہے  میرے  پاؤں  میں  خمِ  زنجیر  کا

हलक़ा मेरी ज़ंजीर का – कल्ब-ए अहमद मानी जा’एसी

१

ख़ामुशी अच्छा है शेवा पैकर-ए तस्वीर का

यानी क्या कहना किसी की शूख़ी-ए तहरीर का

२

लुत्फ़ खोया अश्क ने नज़्ज़ारा-ए तहरीर का

देखता हुं आंख से लिक्खा हुआ तक़्दीर का

३

रौनक़-ए बाज़ार-ए सौदा उक़्दा-ए गेसू तेरा

ज़ीनत-ए बज़्म-ए जुनूं हलक़ा मेरी ज़ंजीर का

४

दस्त-ए वहशत से न बचता दामन-ए दश्त-ए जुनूं

आ गया है बीच में लैकिन क़दम ज़ंजीर का

५

और सामां तो नहीं अब क़ब्र-ए मजनूं पर मगर

नग़्मा पर्दाज़-ए जुनूं है ग़ुल मेरी ज़ंजीर का

६

क्या ग़ज़ब है कोहकन को हस्रत-ए शीरीं रही

और शीरीं को रहा अरमान जू-ए शीर का

७

बख़्त-ए वहशत आश्ना का बल है अए मानी वही

नफ़’अ क्या है मेरे पाऊं में ख़म-ए ज़ंजीर का

Click here for background and on any passage for word meanings and explanatory discussion. syed kalb-e ahmed maani jaa’esi (1885-1963), deoria, uttar pradesh. His taKhallus is the name of a legendary ancient Persian artist. His father worked for the British government of India was transferred frequently. He received urdu and faarsi education at home and in local schools. By the time the opportunity to learn English at school came around, it was too late for him. He seems to have had, clerical and later office supervisory positions in local principalities and later worked as the editor of a magazine. He did get some patronage from raja mahmoodabad and a few others. It seems that in 1954 he was able to meet nehru and azad who granted a government pension to him. Two of his early collections were lost, and three later ones published. This Ghazal with the same radeef-qaafiya as Ghalib’s “shooKhi-e tahriir ka” is linked to Ghalib naqsh-e qadam.

syed kalb-e ahmed maani jaa’esi (1885-1963), deoria, uttar pradesh.  His taKhallus is the name of a legendary ancient Persian artist.  His father worked for the British government of India was transferred frequently.  He received urdu and faarsi education at home and in local schools.  By the time the opportunity to learn English at school came around, it was too late for him.  He seems to have had, clerical and later office supervisory positions in local principalities and later worked as the editor of a magazine.  He did get some patronage from raja mahmoodabad and a few others.  It seems that in 1954 he was able to meet nehru and azad who granted a government pension to him.  Two of his early collections were lost, and three later ones published.  This Ghazal with the same radeef-qaafiya as Ghalib’s “shooKhi-e tahriir ka” is linked to Ghalib naqsh-e qadam.

1.preoccupation, habit, nature 2.image 3.meaning 4.what can be said 5.mischief 6.writing

It is better for the image in the picture to acquire the habit of silence, meaning what is the use of saying anything about the mischief of writing/drawing of this image.  Consider the following … the ‘picture’ is the universe, and the ‘image’ is the human.  god has drawn this image in this picture i.e., placed the human being on earth in this universe.  This is considered to be god’s mischievous hand that has done this.  What is the use of complaining.  Hence, it is better to be habitually silent about this.

1.pleasure 2.tears 3.scene, sighting 4.writing 5.fate

I have lost the pleasure of looking at this writing because of the blurred image caused by my tears.  Tears well up because what I have seen is my fate written out.

1.glory, brilliance 2.trade, passion, love, madness 3.knot 4.hair 5.adornment 6.gathering 7.passionate madness 8.circle, link (of chain)

The use of ‘sauda’ with its double meaning juxtaposed with baazaar and the parallelism between ‘uqda-e gesu’ and ‘halqa-e zanjiir’ is noteworthy.  Thus, the ringlets of the beloved’s hair are the glory of the baazaar where hearts are traded or mad passionate love is on offer.  Parallel to this the link of the chain on the lover’s feet are the adornment of the gathering of passionate madness.  The lover has been chained because he is mad like majnuN.  He wears his chain as a badge of honour to match the glory of the ringlets of the beloved’s hair.

1.hand 2.madness 3.hem of the robe 4.wilderness 5.passion 6.step, feet

This she’r, like several others, evokes the picture of majnuN as a mad passionate lover who is chained.  In the fable, majnuN wandered through the wilderness looking for laila.  Holding the hem of the robe of the wilderness of passion means to demand from the wilderness that it disclose the whereabouts of laila.  Thus, the hem of the robe of the wilderness could not have escaped the hand of madness.  This hand would have grabbed it and demanded to know where laila was.  The only problem is that the chains of the feet of the poet/lover prevent him from doing this.

1.provisions, offerings 2.grave 3.music/song 4.completing/perfecting 5.passion, madness 6.noise, sound

There may be no other offerings, but the sound of my chains completes the musical offering of passion at the grave of majnuN.

1.calamity 2.stone mason, another name of farhaad 3.longing 4.desire, wish 5.river 6.milk

This has reference to the legend of shiriN-farhaad.  farhaad was set an impossible task of carving a channel through a mountain and making a river of milk flow through it.  In the story, he very nearly succeeded but ended up killing himself because of a rumour that shirin had died.  I some ash’aar, shirin is portrayed as an egotistical woman.  Thus, shirin is desirous to see a river of milk flow as a tribute to her beauty but what a calamity that farhaad had a longing for her to his last breath.  In the same vein, munshi naubat rai nazar lakhnavi …

1.fate 2.passion, madness 3.familiar with 4.loop, kink 5.pen-name of the poet 6.profit, use 7.curve, curl, kink, bend

O maani, it is the kink in my passion knowing fate.  Otherwise, what is the meaning of the links of the chain on my feet i.e., it is my fate that my passion leads me to being chained.

The post halqa meri zanjiir ka-kalb-e ahmed maani jaa’esi 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/2025/05/mKhlsh-muNh-choom-kar-shamshiir-ka-audio.mp3

Recitation

مُنھ  چُوم  کر  شمشیر  کا  ۔  مُنشی  خیراتی  لعل  شگفتہؔ  لکھنوی

۱

بخت  ہے  بیدار  جیسے  کاوشِ  تقدیر  کا

حوصلہ  ہے  خوابِ  غفلت  میں  میری  تدبیر  کا

۲

حسرتیں  روتی  ہیں  مِل  مِل  کر  گلے  ہنگامِ  قتل

زخم  ہنستے  ہیں  میرے  مُنھ  چوم  کر  شمشیر  کا

۳

بارِ  احسانِ  وصالِ  یار  کے  الطاف  سے

سر  جھکا  رہتا  ہے  اپنی  آہِ  بے  تاثیر  کا

۴

خانۂ  زنداں  میں  اپنے  دل  کے  بہلانے  کو  میں

نالہ  بن  جاتا  ہوں  اکثر  حلقۂ  زنجیر  کا

۵

سر  جھکایا  ضعف  نے  ایسا  اسیری  میں  مرا

طوقِ  گردن  بن  گیا  حلقہ  مری  زنجیر  کا

۶

او  کمان  ابرو  تری  تیر  افگنی  کے  لطف  سے

ہے  دہانِ  زخم  میں  مسکن  زبانِ  تیر  کا

۷

بے  تامل  تن  سے  سر  کٹوا  دیا  جُنبِش  ںہ  کی

کیا  ادب  تھا  شمعِ  بزمِ  دوست  کو  گُلگیر  کا

۸

تیرے  رخ  کے  سامنے  شرما  کے  او  شعلہ  مِزاج

رکھ  لیا  ہے  مُنھ  پہ  دامن  شمع  نے  گُلگیر  کا

۹

اے  خیالِ  ابروئے  قاتل  ترے  الطاف  سے

محملِ  دل  میں  ہے  مسکن  لیلیِ  شمشیر  کا

۱۰

روز  سرگوشی  کیا  کرتا  ہے  اُس  سے  شکلِ  زُلف

بے  تکلف  غل  ہمارے  نالۂ  شبگیر  کا

۱۱

صاف  باطِن  سے  نہیں  ہوتا  ہے  کارِ  ظاہری

ڈھونڈھنا  تقسیر  ہے  بے  جرم  کی  تقسیر  کا

۱۲

عشق  نے  اک  آئینہ  رو  کے  کیا  ہے  دل  میں  گھر

بن  گیا  ہوں  آئینہ  آئینۂ  تصویر  کا

۱۳

عشقِ  گیسو  کا  تسلسُل  چھوڑ  دوں  میں  کس  طرح

توڑنا  آساں  نہیں  ہے  رشتۂ  زنجیر  کا

۱۴

آرزو  سے  مجھ  کو  دیکھیں  ساکنِ  ارض  و  سما

حسن  بن  جاؤں  اگر  اُس  ماہ  کی  تصویر  کا

۱۵

اے  شگفتہؔ  سر  جھکا  کر  دل  کے  آئینے  میں  دیکھ

تو  اگر  مُشتاق  ہے  اُس  یار  کی  تصویر  کا

मुँह चूम कर शमशीर का – मुंशी ख़ैराती लाल शगुफ़्ता लखनवी

१

२

३

४

५

६

७

८

९

१०

११

१२

१३

१४

१५

Click here for background and on any passage for word meanings and explanatory discussion. munshi Khairaati lal shagufta lakhnavi (xxxx-1898). There is not a single word about him in his diivaan other than that a collection of Ghazal of several of his shaagird was published under the title naGhma-e jaaN-faza. This Ghazal is linked to ‘shooKhi-e tahriir ka’ under Ghalib naqsh-e qadam on the Theme Index page.

munshi Khairaati lal shagufta lakhnavi (xxxx-1898).  There is not a single word about him in his diivaan other than that a collection of Ghazal of several of his shaagird was published under the title naGhma-e jaaN-faza.  This Ghazal is linked to ‘shooKhi-e tahriir ka’ under Ghalib naqsh-e qadam on the Theme Index page.

1.luck 2.awake, active 3.effort 4.fate 5.courage 6.sleep 7.heedlessness 8.plan, will

This is a classical struggle between taqdiir- fate and tadbiir plan.  The baKht luck of the kaavish-e taqdiir the effort of destiny is bedaar active.  In the meantime, the hausla courage of his tadbiir plan is in heedless sleep Khwaab-e Ghaflat i.e., taqdiir is winning.

1.unfulfilled desires 2.at the time of 3.killing, slaughter 4.wounds 5.kiss 6.sword

At the moment of his metaphorical slaughter (hangaam-e qatl), his unfulfilled desires gather, embrace each other and weep, while his wounds smile, as they kiss the blade (shamshiir) that took a cut and made the wound in the first place. This inversion – smiling wounds and weeping desires – conveys how suffering has become an honour while desires remain unfulfilled even up to death.

1.burden 2.obligation 3.union 4.beloved 5.favours 6.sigh 7.ineffective

This appears to be an unconventional situation.  The lover has achieved visaal union with the beloved.  He bears a heavy burden of the obligation of the favours altaaf of the beloved.  His aah which is normally ineffective be-taasiir is crestfallen because it has nothing to do.  Even the rare favour of union (visaal-e yaar) humbles him – instead of pride, it makes him reflect on the past futility of his sighs (aah-e be-taasiir). The contrast of gaining closeness but remembering his earlier helplessness deepens the pain.

1.prison-house, prison-cell 2.soothe 3.wail, lament 4.often 5.circle, link 6.chain

The lover, a madman, is in chains in a prison cell.  He is distraught and to soothe himself he often turns his lament into the jingle of the links of his chain – making music out of the chains that bind him.

1.weakness 2.captivity, imprisonment 3.shackles, iron collar 4.neck 5.circle, link 6.chain

The lover, a madman, is in chains and in prison.  He has chains on his feet and an iron collar around his neck.  He has become so weak that he is all bent.  So much that his neck collar tauq-e gardan has become one with the links on leg chains.

1.arched brow 2.arrow shooting, archery 3.favours 4.mouth 5.wound 6.home

The beloved has arched brows (this could be just a description of her beauty or a sign of her annoyance that she has arched her eyebrows even more).  In either case, the arched brow is like a bow from which arrows are shot.  The arrow is her glance.  It is a favour of this archery that the tongue of the arrow has made a home in the mouth of the wound.

1.without hesitation 2.body 3.movement 4.respect, regard 5.candle 6.gathering 7.beloved 8.candle wick trimmer and flame snuffer

A gulgiir is a classical tool – a scissors with a long handle and the cutting end shaped both to snip the burnt-out wick and when turned over to make a cup over the flame to snuff it out.  Thus, the candle in the beloved’s gathering without hesitation, let its head be cut, not even flinching, such was its regard (adab) for the gulgiir.  Here the lover is symbolized by the candle willing to sacrifice itself at the hands of the beloved.  The gulgiir symbolizes the beloved’s sword.

1.face 2.flamed tempered, flame natured 3.hem of the garment 4.candle 5.candle wick snipper and flame snuffer

The beloved is referred to as flame-natured sho’la mizaaj used here to mean bright faced.  The beloved has such a radiant face that the candle (sham’a), known for its own brilliance, hides its face in shame.  It uses the hem of its garment as a veil – a gulgiir used as a cup to snuff out the flame.

1.thought, memory 2.eyebrow 3.killer 4.favours 5.camel carriage 6.home 7.laili-lailaa is used here as symbolic of the beloved 8.sword

He is using mahmil as a metaphor for sheath of the sword and in turn shamshiir-sword is for the eyebrow.  The memories of the eyebrow (killer eyebrows like the sword) ride in his heart.  Thus the heart has become the seat of this shamshiir-eyebrow which is which is also his laila-beloved.  This appears to be a intrically woven path to say that the memories of the beloved have made a home in his heart.

1.whisper 2.in the shape of, similar to 3.curls 4.informal, familiar 6.lament 7.late-night

The distraught lover laments every night late into the night.  His laments reach the beloved’s abode and the sound of his late-night laments have become such a regular feature that they whisper to the beloved just like her hair – perhaps the nearness of her locks to her ears.

1.clear conscience 2.insincere/showy actions 3.error 4.innocent, blameless

If the conscience is clear then no insincere actions can be performed .  Under such conditions searching for the error of the blameless is like trying to invent something to blame them and is in itself a transgression.

1.mirror-faced, bright faced

A shining faced beloved has made a home in the lover’s heart.  Now he himself has become a mirror, reflecting the image of that image (tasviir ka aaina).  This could apply both to the mystical and romantic beloved.

1.hair, curls 2.continuity 3.relationship, bond

How can the lover abandon the continuity of love for her tresses (gesu)? It’s not easy to break the chain’s bond, either helpless or willing to remain captive.

1.longing 2.dwellers 3.heaven and earth 4.beauty, qualities 5.moon, beloved

This is about the mystical beloved.  If I become/acquire the attributes/qualities of the maah – the divine beloved, then the dwellers of heaven and earth will gaze at me with longing.

1.pen-name 2.desirous, longing 3.beloved

This could be about the mystic or the romantic beloved.  Both make their home in the heart of the lover.  Thus, O shagufta! bow your head and look into the mirror of your heart, if you long for the image of the beloved i.e., turn inward to look into your heart to find mystic knowledge/love.

The post muNh choom kar shamshiir ka-munshi Khairaati laal shagufta lakhnavi 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/2025/05/sahaal-pher-hai-taqdiir-ka-audio.mp3

Recitation

پھیر  ہے  تقدیر  کا  ۔  سید  انور  حسین  آرزوؔ  لکھنوی

۱

زخمِ  بازو  سے  ہے  گہرا  زخمِ  دل  نخچیر  کا

اُس  نگاہِ  ناز  سے  ہلکا  ہے  پلّہ  تیر  کا

۲

ترکشِ  صیّادِ  ظالم  دل  ہے  اِس  نخچیر  کا

جِس  کا  ہر  نالہ  بجائے  خود  ہے  پیکاں  تیر  کا

۳

المدد  اے  زورِ  وحشت  آ  چلی  فصلِ  بہار

کھینچتا  ہے  جیسے  پھر  کوئی  سرا  زنجیر  کا

۴

تیر  پتھر  پر  لگا  کر  دل  میں  کیا  پچھتائے  ہم

اُن  کا  اُف  کرنا  کہ  جانا  آہ  سے  تاثیر  کا

۵

دل  صفائی  میں  ہے  شیشہ  جذب  میں  آئینہ  ہے

اِس  ورق  پر  دونوں  ہی  جانب  ہے  رُخ  تصویر  کا

۶

چھٹ  گئے  قیدی  بندھے  بیٹھے  ہیں  اِس  کوچے  میں  ہم

ٹوٹنا  ممکن  نہیں  اِس  قیدِ  بے  زنجیر  کا

۷

کس  سے  بے  دردی  یہ  ہوتی  تجھ  سے  ظالم  کے  سوا

ہاتھ  بھی  دل  پر  نہ  رکھنا  کھینچ  لینا  تیر  کا

۸

میں  یہاں  تڑپا  وہاں  وہ  کروٹیں  لینے  لگے

ہاں  مرے  دردِ  جگر  یہ  ہے  مزہ  تاثیر  کا

۹

ہے  تصوُّر  کی  رَوِش  وحشت  میں  کیا  معجز  نما

کان  تک  آتا  نہیں  غُل  پاؤں  کی  زنجیر  کا

۱۰

دردِ  پِنہاں  نے  دیا  عاشق  کا  ہر  پیکر  میں  ساتھ

رنگ  اُڑا  جاتا  ہے  چہرے  سے  مری  تصویر  کا

۱۱

کثرت  عِصیاں  بچائے  گی  مجھے  روزِ  حساب

کاتبِ  اعمال  کو  وقفہ  نہیں  تحریر  کا

۱۲

اس  جوابِ  دل  کے  صدقے  اور  بھی  دل  پھٹ  گیا

چاک  کر  کے  بھیجنا  کیا  فرض  تھا  تحریر  کا

۱۳

ڈھونڈتے  پھرتے  ہیں  اُس  کو  دل  میں  جو  موجود  ہے

آرزوؔ  کچھ  بھی  نہیں  یہ  پھیر  ہے  تقدیر  کا

फेर है तक़्दीर का – सय्यद अनवर हुसैन आर्ज़ू लखनवी

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Click here for background and on any passage for word meanings and explanatory discussion. aarzu lakhnavi-syed anvar husain (1874-1951). He was born into a well to do family and was educated at home learning faarsi and urdu. Started composing early. There are several collections of Ghazal and nazm, marsia and masnavi. His inheritance did not last very long and he struggled to make a living. Probably was supported by some of his 140 shaagird and for a while with employment at the raampur court, editing magazines. He wrote some plays that became very popular, and theatre companies employed him to write plays in connection with which he traveled to kalkata, bambaii and lahore. He also wrote dialogue and lyrics for the budding film industry. He was invited to a ‘hind-paak mushaaera’ in Jan 1951 to karaachi where he died in April 1951. This Ghazal is linked to shooKhi-e tahriir ka under Ghalib naqsh-e qadam on the Theme Index page.

aarzu lakhnavi-syed anvar husain (1874-1951).  He was born into a well to do family and was educated at home learning faarsi and urdu.  Started composing early.  There are several collections of Ghazal and nazm, marsia and masnavi.  His inheritance did not last very long and he struggled to make a living.  Probably was supported by some of his 140 shaagird and for a while with employment at the raampur court, editing magazines.  He wrote some plays that became very popular, and theatre companies employed him to write plays in connection with which he traveled to kalkata, bambaii and lahore.  He also wrote dialogue and lyrics for the budding film industry.  He was invited to a ‘hind-paak mushaaera’ in Jan 1951 to karaachi where he died in April 1951.  This Ghazal is linked to shooKhi-e tahriir ka under Ghalib naqsh-e qadam on the Theme Index page.

1.wound 2.side of the bosom 3.deep 4.prey 5.glance 6.coquetry 7.weighing pan of scales

The poet/lover is the target and the beloved is the hunter.  She has shot an arrow – a glance of coquetry at the prey naKhchiir.  In the literal sense the arrow penetrates the side the breast/chest and makes a wound but the wound in the heart is much deeper.  Thus, the effect of the arrow itself is less than the effect of the glance on the feelings of love in the heart.  palla halka hai means that weighed on a scales, the arrowhead comes up short compared to the glance itself.

1.quiver 2.hunter 3.cruel 4.prey 5.cry, wail 6.by itself 7.arrowhead

The prey’s (lover’s) heart is like the quiver of the cruel hunter (the beloved); each of its cries (naala) is itself an arrowhead (paikaaN); the heart not only suffers arrows shot at it, but also contains the weapons/arrows of its torment as if it is a quiver for the cruel hunter, suggesting self-inflicted suffering or inescapable pain from love.

1.help! 2.power 3.madness 4.flowering season, spring 5.end

Spring is a season of joy and rejuvenation and of connecting with love.  In poetic tradition the lover goes mad because of his yearning.  The poet calls for the power of madness to help.  With the arrival of spring he feels as if someone is pulling the end of his chain … he is chained to the beloved and it feels as if she is pulling that chain.

1.regretted 2.sigh 3.effect

The lover has ‘shot an arrow’ – a deep and painful sigh – at the beloved.  It is as if he were shooting at a hard rock.  The next part can be interpreted in two different ways depending on how sincere the ‘uff’ of the beloved is.  (a)say that the ‘uff’ is one of annoyance, like shooing a mosquito away.  Then the poet’s heart regrets having shot the arrow because he learns that his sigh has no effect.  (b)say that the ‘uff’ is one of pain, however slight.  Then the poet says, why should my heart regret shooting an arrow, after all I learnt that it has had some effect.

1.clarity, purity 2.clear glass 3.absorption 4.mirror 5.page 6.sides 7.face, image

In clarity and purity the heart is like clear glass and in absorption it is like a mirror.  Because of its purity a clear image of the beloved or the divine can enter his heart and because of its absorption, the image gets captured like in a mirror and retained; it shows up on both sides of the heart.

1.released 2.prisoners 3.lane 4.possible 5.captivity 6.without chains

The lover is a captive without chains, but emotionally tied to the street of the beloved.  Even though he has no chains, he cannot leave, while all the other prisoners have been released and have left.  The ‘other prisoners’ could be those who are merely lustful and not as sincere as the poet/lover.

1.torture 2.short for ‘jaise’, like 3.cruel 4.except

Who else can torture like this except for a cruel one like you; you pull out the arrow without even placing a hand on the heart i.e., she shoots the arrow of her glance and looks away without a second thought.

1.writhed in pain 2.turn over in sleep 3.aching heart 4.pleasure 5.effect

Yes, my aching heart, the real pleasure of effect is when I writhe in pain, the beloved turns restlessly in her sleep.

1.imagination 2.path, manner, habit 3.madness 4.miraculous 5.noise, clamour

In classical poetry the lover can be like a madman, chained to restrain him.  He might break a link of his chain and run off into the desert with bits of chain still hanging on his feet.  But his imagination makes him oblivious of the weight, pain and noise of the chain.  How miraculous is the way of imagination, in the madness of passion that the clamour of the chain of the feet does not reach the ears.

1.hidden pain 2.form, manifestation, aspect 3.going pale/colourless 4.face

The lover’s hidden pain is with him in all his aspects; even his picture/portrait loses its colour and his face becomes pale.

1.abundance 2.sins 3.save 4.day of reckoning 5.record keeper 6.actions 7.time interval 8.writing

The sheer number of sins will save me on the day of judgment.  The record keeper will just have no time to write them all down.  The implication is that he will give up in exhaustion and the poet/sinner will get away with a clean sheet.

1.reply 2.heart, message of the heart 3.used sarcastically, sacrifice self, pay homage 4.tear 5.necessary 6.writing, letter

The poet/lover sent a letter to the beloved through a messenger.  He calls this message his dil suggesting that he poured his heart into the letter.  The beloved replied by tearing his letter into pieces and sending them back.  He says, I pay homage to the reply of the message of my heart; my heart is torn; was it necessary for the beloved to tear my letter into shreds.

1.searching 2.present 3.pen-name 4.manipulation, trickery as in heraa-pherii 5.fate

We search everywhere for the one who resides in our hearts; O aarzu, this is nothing but fate’s trickery.  The trickery is that you are looking for the divine (or the beloved) outside you, when they are in your heart all the time.

The post pher hai taqdiir ka-anvar husain aarzu lakhnavi 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/2025/05/mrs-kuchh-fikr-hai-taamiir-ka-audio.mp3

Recitation

کچھ  فِکر  ہے  تعمیر  کا  ۔  مرزا  رفیع  سوداؔ

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ہو  یہ  دیوانہ  مُرید  اُس  زلف  چُھٹ  کِس  پیر  کا

سِلسِلہ  بہتر  ہے  سوداؔ  کے  لئے  زنجیر  کا

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زخمِ  دل  پاوے  مرے  سوزِ  سخن  سے  اِلتیام

چاک  مِلتا  ہے  زبانِ  شمع  سے  گُلگیر  کا

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گُل  مرے  مشہد  پہ  کب  بھیجے  ہے  وہ  ابرو  کمان

طرح  غنچہ  کے  کِھلے  پیکاں  نہ  جب  تک  تیر  کا

۴

ایک  دن  تجھ  سے  سُلگ  اُٹھتے  نہ  دیکھا  کارواں

اے  جرس  حاصل  کچھ  اِس  فریادِ  بے  تاثیر  کا

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توڑ  کر  بُت  خانے  کو  مسجد  بِنا  کی  تو  نے  شیخ

برہمن  کے  دل  کی  بھی  کچھ  فِکر  ہے  تعمیر  کا

۶

سیم  و  زر  کے  آگے  سوداؔ  کچھ  نہیں  اِنسان  کی

خاک  ہی  رہنا  بھلا  تھا  بلکہ  اِس  اِکسیر  کا

कुछ फ़िक्र है ता’मीर का – मिरज़ा रफ़’ई सौदा

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हो ये दीवाना मुरीद उस ज़ुल्फ़ छुट किस पीर का

सीलसिला बेहतर है सौदा के लिये ज़ंजीर का

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ज़ख़्म-ए दिल पावे मेरे सोज़-ए सुख़न से इल्तियाम

चाक मिलता है ज़बान-ए शम’अ से गुल्गीर का

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गुल मेरे मशहद पे कब भेजे है वो अब्रू-कमान

तरह ग़ुंचे के खिले पैकां न जब तक तीर का

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एक दिन तुझ से सुलग उठते न देखा कारवां

अए जरस हासिल कुछ इस फ़र्याद-ए बे-तासीर का

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तोढ कर बुत-ख़ाने को मसजिद बिना की तू ने शैख़

बरहमन के दिल की भी कुछ फ़िक्र है ता’मीर का

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सीम ओ ज़र के अगे सौदा कुछ नहीं इंसान की

ख़ाक ही रहना भला था बल्के इस एक्सीर का

Click here for background and on any passage for word meanings and explanatory discussion. mirza mohammed rafi sauda (1713-1781) wrote faarsi and urdu, romantic and sufiyaana Ghazal in classical style. Contemporary (somewhat senior) of mir taqi mir. sauda, along with mir taqi mir was a strong proponent of communal harmony. They made much fun of orthodoxy. Ghalib’s famous Ghazal ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’ has the same radeef and qaafiya as this Ghazal. This is linked to ‘paikar-e tasviir’ ka series under Ghalib peshrau-hamqadam and also to Ghalib naqsh-e qadam (for completeness).

mirza mohammed rafi sauda (1713-1781) wrote faarsi and urdu, romantic and sufiyaana Ghazal in classical style.  Contemporary (somewhat senior) of mir taqi mir.  sauda, along with mir taqi mir was a strong proponent of communal harmony.  They made much fun of orthodoxy.  Ghalib’s famous Ghazal ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’ has the same radeef and qaafiya as this Ghazal.  This is linked to ‘paikar-e tasviir’ ka series under Ghalib peshrau-hamqadam and also to Ghalib naqsh-e qadam (for completeness).

1.follower, devotee 2.hair 3.leaving aside, besides, except for 4.scholar, teacher, ‘holy’ man 5.continuation, series 6.better 7.pen-name of the poet 8.chain

There is a strong dose of sufi thought in sauda’s Ghazal.  Here he uses sufi terminology in delightful ways.  There is a piir/murshad/teacher who has many muriid/followers.  If the piir is of a high enough status he can start a school – a silsila.  Here, ‘silsila-zanjiir-zulf’ are nicely juxtaposed.  Who will this mad lover become a follower of except of that exalted piir (zulf-long hair of the beloved).  It is better for sauda to be chained to this ‘silsila-school’; he does not need any other ‘piir’.

1.wound 2.fire, passion 3.verse 4.healing, cure 5.tear, cut 6.tongue of the candle, flame 7.special scissors to trim the burnt wick of the candle

When the wick burns out, it can only sustain a drooping flame.  A ‘gulgiir-scissors’ is used to trim the wick and the flame is restored.  In much the same way, the wounded heart of the poet/lover is healed by the cut it receives from his own passionate/painful verse.

1.rose 2.grave 3.eye-brow 4.bow (as in bow and arrow) 5.in this way, like 6.rose-bud 7.bloom 8.arrow-tip

Here ‘abruu-kamaan’ is descriptive of the beloved.  Her arched eyebrows are like drawn bows out of which the arrow of her glance will be shot.  But she shoots her arrow only when she is sure that the tip of the arrow will bloom like a rose-bud, meaning that it hits the heart/bosom and creates a red wound analogous to a rose bloom.  Why would she send roses to my grave!

1.bell 2.benefit, yield 3.lament, appeal 4.ineffective

To get the caravan on its way the caravan bell is rung to announce its departure.  The poet considers its ringing to be ‘be-taasiir’-ineffective.  ‘kaarvaaN sulag uThna’ literally means the caravan set alight.  I have not seen even once, the caravan light up in a flame.  What use then is this lament O caravan bell.  Beyond this literal meaning, I am not sure what it means.  I would welcome suggestions, but here is my speculation.  This is the caravan of love.  ‘sulag uThna’ can mean arouse passion/response from the beloved.  The lover’s lament is the ringing of the caravan bell.  It has been totally ineffective.  Thus, he is asking the lover (himself) what the use of his lament is.

1.house of idols, temple 2.foundation 3.concern, thought 4.construction, building

I had difficulty with the grammar of the second misra because both fikr and taa’miir are considered feminine, but naim sahib pointed out that during sauda’s lifetime fikr was treated interchangeably as feminine and masculine.  Thus, while you broke the but-Khaana you laid the foundation for building a masjid, O shaiKh.  Do you have any concern about building the broken heart of the brahman.  Elsewhere sauda writes …

1.sliver 2.gold 3.before, in comparison with 4.trade, also pen-name of the poet 5.dust, clay 6.well 7.in any case 8.elixir, chemistry

The very first objective of the study of chemistry was to try to convert base metal into gold.  sauda says, it is good that Khaak remained Khaak.  We see that there is no value to human beings in comparison with gold and silver.  Alternatively, it is traditionally assumed that humans were made with clay and water.  This is their chemistry.  Thus, the second misra reads-in any case, it would have been better for this chemistry to remain as clay i.e., for humans not to have been created.  Why would this have been better.  Because the value of humans is nothing in the trade with silver and gold, or, O, sauda, there is no value of humans in comparison with silver and gold.  This is a very nice use of double meaning in his taKhallus.  To see many other delightful examples, see ‘taKhallus ka khel’ in the theme index.

The post kuchh fikr hai taa’miir ka-mirza raf’ii sauda 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/2025/05/bmam-junoon-e-jaNg-hai-saaqi-audio.mp3

Recitation

جنونِ  جنگ  ہے  ساقی  ۔  بال  مُکُند  عرشؔ  ملسیانی

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زمانے  پر  مُسلّط  پھر  جنونِ  جنگ  ہے  ساقی

فساد  انگیز  پھر  تمیزِ  نسل  و  رنگ  ہے  ساقی

۲

سریرآرائے  عالم  وحشتیں  ہیں  بربریت  کی

تنفُّر  پھر  جہاں  میں  صاحبِ  اورنگ  ہے  ساقی

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کدورت  کے  لیے  آسان  ہے  جینا  تو  کیا  حاصل

محبت  پر  تو  عرصہ  زندگی  کا  تنگ  ہے  ساقی

۴

بِنائے  حرب  کے  آلاتِ  مہلک  اور  اُس  پر  بھی

خود  اپنی  بےبسی  پر  عقلِ  انساں  دنگ  ہے  ساقی

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محافظ  کوئی  ناموسِ  بشر  کا  اب  نہیں  ملتا

دلوں  سے  دور  یکسر  فکرِ  نام  و  ننگ  ہے  ساقی

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شرابِ  عشق  سے  گو  تُو  نے  صدیوں  تک  اِسے  دھویا

دلِ  آدم  میں  پھر  بھی  نفرتوں  کا  زنگ  ہے  ساقی

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کہاں  ہے  وہ  طرب  افزائیِ  جامِ  مئے  گُلگُوں

نوائے  دل  نوائے  غم  سے  ہم  آہنگ  ہے  ساقی

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ربابِ  دہر  کے  پُر  درد  نغمے  ہم  سنیں  کب  تک

کہاں  تو  ہے  کہاں  تیرا  سُرُود  و  چنگ  ہے  ساقی

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نگاہِ  لُطف  تُو  نے  پھیر  لی  کیوں  اپنے  رِندوں  سے

نہ  وہ  رونق  ہے  محفل  کی  نہ  اب  وہ  رنگ  ہے  ساقی

۱۰

جہاں  میں  بادۂ  نفرت  کے  پیہم  دور  چلتے  ہیں

علاج  دردِ  آدم  کا  یہ  اچھا  ڈھنگ  ہے  ساقی

۱۱

ہر  اک  راحت  اثر  تعمیر  ہے  تخریب  کا  باعِث

ہر  ایک  شیشہ  جہاں  کے  واسطے  اک  سنگ  ہے  ساقی

۱۲

یہ  کِس  نے  چھین  لی  اُس  سے  ادائے  شرمگیں  اُس  کی

عروسِ  زندگی  کیوں  آج  شوخ  و  شنگ  ہے  ساقی

۱۳

ترے  جامِ  اخُوّت  ہی  سے  اب  تسکین  ممکن  ہے

کہ  راحت  بخش  زمزم  ہے  نہ  آبِ  گنگ  ہے  ساقی

۱۴

پلا  دے  پھر  مئے  اِخلاص  اِس  گمراہ  دنیا  کو

زمانے  پر  مُسلّط  پھر  جنونِ  جنگ  ہے

जुनून-ए जंग है साक़ी – बाल मुकुंद अर्श मल्सियानी

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Click here for background and on any passage for word meanings and explanatory discussion. baalmukund arsh malsiaani (1908-1979), son of josh malsiaani, both renowned shu’ara of progresssive views, from malsiaan, punjab. They moved to dehli in the 1930s. arsh malsiaani was assistant editor of Govt of India urdu publication ‘aaj kal’ under josh malihabadi and took over as editor after josh left for pakistan. He wrote a book dedicated to Ghalib ‘faizaan-e Ghalib’ about his influence on his many shaagird. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page and to jaNg na hon’e paa’e on the Theme Index page.

baalmukund arsh malsiaani (1908-1979), son of josh malsiaani, both renowned shu’ara of progresssive views, from malsiaan, punjab.  They moved to dehli in the 1930s.  arsh malsiaani was assistant editor of Govt of India urdu publication ‘aaj kal’ under josh malihabadi and took over as editor after josh left for pakistan.  He wrote a book dedicated to Ghalib ‘faizaan-e Ghalib’ about his influence on his many shaagird.  This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page and to jaNg na hon’e paa’e on the Theme Index page.

1.times, world 2.dominating, spread over 3.madness 4.war, conflict 5.riot/havoc-causing 6.difference, discrimination 7.race and colour/religion

This was probably written about the riots during partition (1947) but it is still applicable to the times (April-May 2025) when there is war likely between India and pakistan.  The she’r laments the spread of warlike madness over the world.  junoon-e jaNg (the frenzy of war) again dominates the times, and once more the world is aflame with divisive ideologies rooted in race and color/religion.

1.adornment of the throne 2.world 3.savagery 4.barbarism 5.hatred, disgust 6.world 7.owners of the throne/seat of power, ruler

Savage barbarism is the decoration of the throne sariir-aaraa of the world.  Hatred is the ruler of the world (sahib-e auraNg) today.

1.hatred 2.easy 3.living, life 4.benefit, use 5.time, domain 6.tight, narrow, restricted

Living for hatred is easy, but what does it accomplish? True love struggles to find room in the narrow space left by a life consumed with prejudice.

1.foundation, basis 2.war, conflict 3.instruments 4.lethal 5.helplessness 6.intellect, mind 7.amazed, astounded

War and conflict is built on man-made lethal instruments of war and on top of it, humankind is helpless before its own violence. The poet is astounded that human intellect is unable to find a way out.

1.protector 2.honour, dignity 3.human 4.entirely 5.concern about 6.reputation and disrepute

There is no one who will protect the honor of humanity.  All concern about reputation has left hearts entirely.  People are no longer concerned with their ethical or spiritual reputation (naam o naNg).

1.even though 2.centuries 3.Adam, human 4.hatred 5.rust

O saaqi, you have tried for centuries to cleanse the human heart with the wine of love (sharaab-e ishq), yet the rust of hatred remains deeply embedded.

1.pleasure increasing 2.cup 3.wine 4.rose coloured 5.sound, call 6.same melody/tune

Where is the cup or joy-increasing rose-coloured wine (wine of love).  Now, even the song of the heart is in tune with the cry of sorrow.

1.lyre 2.world 3.full of pain 4.song 5.music 6.harp

How long must we listen to the painful songs played by the world’s lyre (rubaab-e dahr)? Where are you, O saaqi, with your music of joy, where is your harp/lute.

1.glance 2.favour, indulgence, grace 3.turn away 4.wine lovers 5.glory 6.gathering 7.colour, ambience

O saaqi, you have turned away your glance of grace and kindness from wine-lovers who come to the tavern.  Without your favour the gathering (mahfil) has lost all its glory and joyful ambience.

1.world 2.wine 3.hatred 4.again 5.rounds, circulation 6.cure, healing 7.pain 8.Adam, human 9.way, method

O saaqi the wine of hatred is being served and circulated continuously in this world.  Is this really the best way to heal the wounds of mankind?

1.joy giving, prescription for comfort 2.constructive endeavour 3.destruction 4.basis 5.glass, crystal, beauty, delicacy 6.world 7.for 8.rock

Every endeavour/undertaking meant to have the effect of comfort/joy has become the basis/cause of destruction.  Even delicate crystal has become a rock to be cast at the other.

1.snatched away 2.style 3.shy, bashful 4.bride 5.happy and playful-see not below

Normally shooKh-o-shaNg may be used in the positive sense of playfulness of the beloved, but here it is being used as overly bold and garish.  Who has robbed life (aruus-e zindagi, the bride of life) of her bashful grace?  Now she seems garish and overly bold. A critique of life’s brazenness; loss of subtlety.

1.cup of wine 2.brotherhood, universal love 3.peace, tranquility 4.possible 5.comfort granting 6.water of the well near k’aaba 7.water of the Ganges

Only your cup of wine of universal love (brotherhood-uKhuvvat) can now bring peace. Neither the sacred waters of zamzam nor the gaNga provide the needed comfort.  This is a call for a move away from looking to religion as a cure and turn to universality.

1.wine 2.sincerity, affection 3.lost, gone astray 4.times, world 5.dominating, spread over 6.madness 7.war, conflict

Offer a cup of the wine of affection to humanity that has strayed from the path of love.  The madness of conflict has once again spread over the times.

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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/2025/05/plrjm-yeh-mazhaka-kya-hai-audio.mp3

Recitation

یہ  مضحکہ  کا  کیا  ہے۔  پنڈت  لبھورام  جوشؔ  ملسیانی

۱

زندگی  دی  تو  پھر  قضا  کیا  ہے

میرے  خالق  یہ  مضحکہ  کیا  ہے

۲

حیف  اے  اُلفتِ  فریب  انجام

اِبتدا  کیا  تھی  اِنتہا  کیا  ہے

۳

آپ  بے  وجہ  مدّعی  کیوں  ہیں

آپ  کا  اِس  سے  مدّعا  کیا  ہے

۴

زندگی  خود  ہی  جب  ہو  جی  کا  زیاں

ایسے  جینے  سے  فائدہ  کیا  ہے

۵

تو  اگر  بے  نیاز  ہے  سب  سے

یہ  خدائی  پھر  اے  خدا  کیا  ہے

۶

جتنی  رونق  تھی  میرے  دم  سے  تھی

اُن  کی  محفل  میں  اب  دھرا  کیا  ہے

۷

تم  گِلہ  سُن  کے  رُوٹھ  جاتے  ہو

اور  تم  سے  مجھے  گِلہ  کیا  ہے

۸

بدحواسی  میں  خط  تو  لکھ  ڈالا

یہ  نہ  لِکّھا  کہ  مُدّعا  کیا  ہے

۹

میں  تو  مشتاق  ہوں  شہادت  کا

وار  کر  وار  سوچتا  کیا  ہے

۱۰

میں  معافی  بھی  مانگ  لیتا  ہوں

یہ  تو  معلوم  ہو  خطا  کیا  ہے

۱۱

تلخ  ہو  زندگی  ہی  جب  اے  جوشؔ

شعر  کہنے  میں  پھر  مزا  کیا  ہے

ये मज़्हका क्या है – पंडित लभुराम जोश मल्सियानी

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Click here for background and on any passage for word meanings and explanatory discussion. panDit labhuram josh malsiani (1884-1976) from malsian in the now pakistani side of punjab. He was orphaned at 14, without any material inheritance and grew up very poor, in an atmosphere devoid of any poetic tradition. Migrated to India a little before partition/independence. He has written with great feeling about communal harmony and about the loss of his homeland – pakistan. daaGh dehlavi was his ustaad for a brief duration (1902-1905). His son, baalmukund arsh malsiani was also a well recognized poet. Honoured with padma-shrii in 1971. This Ghazal is linked to ‘yaa ilaahi yeh maajra kya hai’ under Ghalib naqsh-e qadam on the Theme Index.

panDit labhuram josh malsiani (1884-1976) from malsian in the now pakistani side of punjab.  He was orphaned at 14, without any material inheritance and grew up very poor, in an atmosphere devoid of any poetic tradition.  Migrated to India a little before partition/independence.  He has written with great feeling about communal harmony and about the loss of his homeland – pakistan.  daaGh dehlavi was his ustaad for a brief duration (1902-1905).  His son, baalmukund arsh malsiani was also a well recognized poet.  Honoured with padma-shrii in 1971.  This Ghazal is linked to ‘yaa ilaahi yeh maajra kya hai’ under Ghalib naqsh-e qadam on the Theme Index.

1.death 2.creator 3.joke, irony

You granted me life, then what is death?  O my creator, what kind of irony is this?  The word “mazhaka” (mockery, irony) intensifies the emotional disillusionment. This she’r speaks to the existential absurdity many poets have wrestled with; why must something so vibrant be temporary?

1.alas 2.love 3.deceitful result 4.beginning 5.end, culmination

Alas, O love of deceitful outcome; look at what the beginning was, and what it culminates in!  Said mir taqi mir …

1.without reason 2.plaintiff, claimant, accuser 3.purpose, objective

This is probably addressed to the beloved.  Why are you, without reason, making accusations?  What is your real objective in this?  It might also be a critique of those who judge or interfere without cause, perhaps societal moralists or hypocrites.

1.itself 2.life, spirit 3.loss 4.living 5.benefit, use

When life itself is a loss of spirit (joyless), then what’s the point of such living?  This existential verse questions the value of a life devoid of fulfillment. jii kaa ziyaaN (loss of soul/spirit) reflects conventional thinking about spiritual vs material.

1.if 2.unmindful, indifferent 3.reigning over the universe, lordship

If you are indifferent to everyone (implied – to the pain and suffering of everyone); then what is the meaning of being creator and sustainer/reigning over the universe!  How can divinity claim love if it shows no care?   Also see dwarka das sho’la …

1.glory, splendour 2.power, capacity 3.gathering, assembly 4.remaining

In poetic convention, the poet alone is a true lover; pure lover without any expectations.  All others/rivals are lustful pretenders.  Thus, all the splendor existed because of me; what remains in her gathering now?  The poet/lover has probably been thrown out or forbidden entry and this is a reflection on the poet’s departure from the gathering of admirers.

1.complaint 2.offended, annoyed

There is a self-contradiction (perhaps delightfully intentional) in this she’r.  The poet/lover has complained about something-perhaps her neglect/indifference.  The beloved gets offended.  He reacts – the only complaint I have is that you get offended when I complain.  Thus, there was an original complaint (indifference) and then there was a complaint about getting offended.  There are at least two right here.

1.confusion, disorientation 2.purpose, objective

The poet/lover was distraught and wrote a letter in haste/confusion, but forgot to write what it was about; what he wanted.  He is so overwhelmed by his emotions and sorrow that that is all he wrote about but forgot to declare his love.

1.desirous, eager 2.martyrdom 3.strike, blow

In poetic convention, the lover is eager to be slaughtered at the hands of the beloved.  He derives pleasure from it.  Thus, I am eager to be martyred at your hands.  Strike, strike! What are you thinking about, why are you hesitating!

1.forgiveness 2.know 3.fault, offence

The poet is more than willing to ask for forgiveness; all he wants to know is what his offence was.

1.bitter 2.pen-name 3.pleasure

This is a conventional complaint about the bitterness of life, quite opposite to the celebration of the vitality of life by josh malihabadi.  See zindagi kya hai on the Theme Index page for a variety of perspectives on life.  Here – when life itself is bitter, O josh, what pleasure is there in writing verse?  One noteworthy feature; in the second misra he could easily have said aise jiine meN phir mazaa kya hai but he said, “she’r kahne meN phir mazaa kya hai” elevating the value of she’r kahna over that of living itself.

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