UrduShahkar

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

https://urdushahkar.org/wp-content/uploads/2025/06/cbkd-jalva-tuur-ka-audio.mp3

Recitation

جلوہ  طور  کا  ۔  چندر  بھان  کیفیؔ  دہلوی

۱

ہائے  دیکھا  ہی  نہیں  موسیٰ  نے  عالم  نور  کا

ورنہ  ہر  کہسار  سے  پیدا  ہے  جلوہ  طور  کا

۲

آ  رہی  ہے  قُلقُلِ  مینا  سے  حق  حق  کی  صدا

دَور  ہے  اب  میکدے  میں  بادۂ  منصور  کا

۳

تیرہ  بختی  لے  کے  آئی  ہے  بصد  عجز  و  نیاز

کعبۂ  دل  کے  لئے  محمل  شبِ  دیجور  کا

۴

کر  رہی  ہے  ہر  نظر  اپنا  نظارہ  آپ  ہی

فرق  کہنے  کے  لئے  ہے  ناظر  و  منظور  کا

۵

چشمِ  مستِ  ناز  کی  کیفیؔ  شکایت  ہے  عبث

لڑکھڑاتا  ہے  قدم  ہر  میکشِ  مخمور  کا

जल्वा तूर का – चन्द्र भान कैफ़ी देहलवी

१

हाए देखा ही नहीं मूसा ने आलम नूर का

वरना हर कोहसार से पैदा है जल्वा तूर का

२

आ रही है क़ुल्क़ुल-ए मीना से हक़-हक़ की सदा

दौर है अब मैकादे में बादा-ए मंसूर का

३

तीराह-बख़्तओ ले के आई है बसद इज्ज़ ओ नियाज़

काबा-ए दिल के लिए महमिल शब-ए देजूर का

४

कर रही है हर नज़र अपना नज़ाराह आप ही

फ़र्क़ कहने के लिए है नाज़ेर ओ मंज़ूर का

5

चश्म-ए मस्त-ए नाज़ की कैफ़ी शिका’एत है अबस

लढखढाता है क़दम हर मैकश-ए मख़्मूर का

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

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

1.alas 2.Moses 3.condition, state 4.brilliance 5.otherwise 6.hill 7.born at, emerge from 8.face, image, glory 9.mount tuur

The story is that moosa/Moses went up mount tuur asking to see some manifestation of god.  He was told that he would not be able to bear the sight but insisted.  There was a flash of lightning and moosa fainted.  The poet implies that he fainted without seeing the glory.  Thus, alas, moosa never got to see the manifestation of divine brilliance otherwise the (divine) glory of tuur could have emerged from any mountain/hill i.e., a discerning eye is required to see it.

1.sound of wine being poured 2.flask 3.truth-truth 4.sound, declaration 5.circulation, passing around 6.tavern 7.wine 8.mansoor-al-hallaaj

mansoor-al-hallaaj (858-922) was a sufi scholar who traveled a lot, including to India where he studied sanskrit and sanskirt texts.  It is said that he was influenced by ‘aham brahmasmi’ and declared ‘an-al-haq=I am the Truth’.  The orthodoxy judged this to be heretical, he was offered a chance to recant, he refused and was executed.  This story is used as a symbol of resistance to the tyranny of orthodoxy, a declaration of universality of all existence and the presence of the divine spirit in everyone.  Also, the ‘maikadah=tavern’ is a symbol of liberal space and ‘baada=wine’ as that of the wine of universal love.  Thus, the sound ‘qulqul’ of the wine of love being poured out of a long-necked flask and passed around in the tavern is considered a declaration of ‘an-al-haq=universal Truth’.

1.ill fate 2.with a hundred 3.humility 4.offering, submission 5.palanquin for riding a camel, veiled carriage 6.longest night, pitch dark

There is a nice juxtaposition of tiira-baKhti, mahmil and shab-e-daejoor – all dark.  The heart is the seat of god, thus it is the kaaba – kaaba-e dil.  The divine beloved, like laila rides in a mahmil.  But the mahmil is covered with a dark curtain (just like the physical kaaba itself).  Thus, the beloved remains unseen.  It is ill fate that I cannot perceive the beloved in my own heart (just like moosa could not see the divine light all around, but felt compelled to look outside and go to tuur).  But where does the ‘ijz o niyaaz’ come in?  Normally, tiira-baKhti is oppressive.  But here, perhaps tiira-baKhti is being respectful of the concept of the kaaba-e dil.  It brings with it a dark curtain of the long night as a devotional offering for the mahmil in the kaaba-e dil.  Thus, it is my bad luck that I cannot see past this dark curtain.

1.eyes, sight 2.seeing, observing 3.difference 4.only to say, superficial 5.one who observes – god 6.one who is observed – creature, human

Every eye/sight sees/observes itself i.e., there is no difference between the observer and the observed.  The difference between them is only superficial talk i.e., god and human are the same or there is a divine spirit in all creatures.

1.eyes, sight 2.intoxicated 3.coquetry, self-regarding 4.pen-name of the poet 5.complaining 6.useless 7.stumbles 8.step 9.wine lover 10.intoxicated

One reading is that chashm-e mast-e naaz is the intoxicated eye of the rival which gets intoxicated upon perceiving the grace/naaz of the beloved.  Why should the lover complain about the rival, after all anyone who sees the naaz will get drunk and stumble/stagger.  Another reading is possible if ‘mast’ is interpreted as intoxicating rather than intoxicated.  The intoxicating, coquettish eye is that of the divine saaqi.  Those who look at its beauty get drunk and of course they will stagger/stumble.  Thus, O kaifi, it is useless (does not make sense) to complain about the intoxicating beauty of the divine.  After all it is intoxicating offering the wine of love and it is natural for the intoxicated to stumble at every step.

The post jalva tuur ka – chandr bhan kaifi dehlavi appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/06/rajeshr-kaafir-nahiN-huN-maiN-audio.mp3

Recitation

کافر  نہیں  ہوں  میں  ۔  راجیش  ریڈّی

۱

رہ  کے  بھی  سب  کے  سامنے  حاضر  نہیں  ہوں  میں

در  اصل  میں  وہ  ہوں  جو  بظاہر  نہیں  ہوں  میں

۲

مجھ  سے  یہ  کہہ  چُکی  ہے  کئی  بار  زِندگی

میرے  لئے  ہے  تُو  تری  خاطر  نہیں  ہوں  میں

۳

یہ  اور  بات  ہے  کہ  جُدا  ہے  مری  نماز

اللہ  جانتا  ہے  کہ  کافر  نہیں  ہوں  میں

۴

ہونٹوں  پہ  آ  ہی  جاتی  ہے  ہر  بار  کیا  کہوں

سچّائی  کو  چھپانے  میں  ماہر  نہیں  ہوں  میں

۵

منزل  مری  الگ  ہے  مرا  راستہ  الگ

اِک  عام  سے  سفر  کا  مسافر  نہیں  ہوں  میں

काफ़र नहीं हुं मैं – राजेश रेड्डी

१

रह के भी सब के सामने हाज़र नहीं हुं मैं

दर अस्ल में वो हूं, जो ब-ज़ाहर नहीं हुं मैं

२

मुझ से ये कह चुकी है कई बार ज़िंदगी

मेरे लिये है तू, तेरी ख़ातर नहीं हूं मैं

३

ये और बात है के जुदा है मेरी नमाज़

अल्लाह जांता हैं के काफ़र नहीं हूं मैं

४

होंटौं पे आ हि जाती है हर बार क्या कहूं

सच्चाई को छुपाने में माहर नहीं हूं मैं

५

मंज़ील मेरी अलग है मेरा रास्ता अलग

एक आ’म से सफ़र का मुसाफ़र नहीं हूं मैं

Click here for background and on any passage for word meanings and explanatory discussion. rajesh reDDii (1952-living), was born in nagpur and lives in mumbai. All I could get from a radio interview recording that he fell in love with urdu and particularly Ghazal during his college days. He worked for All India Radio and retired from there. He has published three collections of his verse.

rajesh reDDii (1952-living), was born in nagpur and lives in mumbai.  All I could get from a radio interview recording that he fell in love with urdu and particularly Ghazal during his college days.  He worked for All India Radio and retired from there.  He has published three collections of his verse.

1.present 2.in reality 3.apparently, superficially

I may in front of everyone, but the real me is not here, I am hidden.  In reality, I am that which is not apparent/visible.  This could either mean that the the spirit of the poet remains in solitude even if he is in crowded company.  This may also be an allusion to god, who may be present everywhere, but not seen.

1.for the sake of, in the service of

Life has told me many times, you are here to serve me, I am not here to serve you i.e. do not expect things to be handed to you.  Earn them and contribute as you take.

1.separate 2.non-believer, different faith

It is one thing that my mode of prayer is different, but god knows that I am not a non-believer i.e. fundamentally all faiths are the same and pray to the same god.

1.every time 2.expert

I blurt it out every time, what can I say.  I am not an expert at hiding the truth.

1.destination 2.ordinary, common 3.journey 4.traveler

My destination is different (from that of the multitude), my path is different.  I am not a traveler on an ordinary journey.  This is not meant as an elitist statement, but as a willingness to follow the truth, not the crowd, no matter what the conseqence.

The post kaafir nahiiN huN maiN-raajesh reddy 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/2025/06/ddsh-agar-Khuda-na-mila-audio.mp3

Recitation

اگر  خدا  نہ  ملا  ۔  دوارکا  داس  شعلہؔ

۱

کسی  کو  بھول  بھلیّاں  میں  راستہ  نہ  ملا

خدا  کا  نام  بڑا  ہے  مگر  پتہ  نہ  ملا

۲

زہے  نصیب  کہ  بجلی  نے  شمع  دکھلا  دی

بڑی  تلاش  کے  بعد  آج  آشیانہ  ملا

۳

گیا  میں  کعبہ  بھی  اور  بتکدے  بھی  ہو  آیا

کہیں  بھی  تیرے  سوا  کوئی  دوسرا  نہ  ملا

۴

تلاشِ  حق  میں  نہ  دنیا  کو  چھوڑ  اے  زاہد

کہیں  کا  بھی  نہ  رہے  گا  اگر  خدا  نہ  ملا

۵

تمام  عمر  تلاشِ  معاش  میں  گزری

ملی  تو  زیست  مگر  زیست  کا  مزہ  نہ  ملا

۶

بتوں  کو  چھوڑ  کے  کھوئے  گئے  کِدھر  شعلہؔ

خدا  کی  راہ  میں  اپنا  بھی  کچھ  پتہ  نہ  ملا

अगर ख़ुदा न मिला – द्वारका दास शोला

१

२

३

४

५

६

Click here for background and on any passage for word meanings and explanatory discussion   dwarka das sho’la (1910-1983), lahore and later punjab and dehli. He started learning urdu because he liked ‘urdu-vaale’ around him. He inherited a pharmacy business and grew it enough to get a mention in Who’s Who, India Trade Directory, 1942. He received formal schooling only up to 8th grade because his father recruited him in the family business. While washing bottles/vials he kept humming ash’aar. Later, hafiz jalandhari became his ustaad. He says they clicked because hafiz jaalandhari was equally unschooled (formally) and talked in panjabi.

dwarka das sho’la (1910-1983), lahore and later punjab and dehli.  He started learning urdu because he liked ‘urdu-vaale’ around him.  He inherited a pharmacy business and grew it enough to get a mention in Who’s Who, India Trade Directory, 1942.  He received formal schooling only up to 8th grade because his father recruited him in the family business.  While washing bottles/vials he kept humming ash’aar.  Later, hafiz jalandhari became his ustaad.  He says they clicked because hafiz jaalandhari was equally unschooled (formally) and talked in panjabi.

1.labyrinthine maze 2.address, whereabouts, clue

The poet describes life as a labyrinth/maze bhuul bhulayyaN where no one finds a way out of it.  While god’s name is known to all, everyone talks about him, his actual presence/address remains elusive.

1.good fortune 2.lightning flash 3.lamp 4.search 5.nest, home

Here bijli could symbolize a flash of insight/brain wave or even divine inspiration and sham’a could symbolize knowledge while aashiyaana may mean home/refuge from the confusion of the world.  Thus by a stroke of good fortune a flash of insight saved him and he was able to find a refuge.  Any number of simpler interpretations are possible.  I think that the reader should be left free to choose their own.

1.sanctuary in makkah, mosque 2.idol-house, temple 3.except for 4.other, different

I went to the mosque as well as to the temple.  Nowhere did I find anyone other than you (a universal god of all human beings).

1.search 2.truth, god 3.observant of orthodox rituals

O observant ascetic zaahid, don’t abandon the (pleasures of the) world in your truth/god-seeking.  If god isn’t found you’ll have missed out on the pleasures of the world without getting the promised rewards of the afterlife.

1.total, whole 2.life 3.search 4.livelihood 5.passed, spent 6.life

My whole life passed in the struggle for a livelihood talaash-e m’aash.  I did get to live but did not get to enjoy life.

1.idols, also used for beloved 2.lost 3.where 4.pen-name 5.path 6.clue, identity

Here idols but can symbolize a faith in idolatory, beautiful women and/or worldly pleasures.  After abandoning idols look where you got lost, O sho’la.  In the path towards god, you lost your own identity-purpose in life.

The post agar Khuda na mila-dwarka das sho’la 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/2025/06/ddsh-Khuda-ki-baat-na-kar-audio.mp3

Recitation

خدا  کی  بات  نہ  کر  ۔  دوارکا  داس  شعلہؔ

۱

دیکھ  جرم  و  سزا  کی  بات  نہ  کر

میکدے  میں  خدا  کی  بات  نہ  کر

۲

میں  تو  بے  مہریوں  کا  عادی  ہوں

مجھ  سے  مہر  و  وفا  کی  بات  نہ  کر

۳

شوقِ  بے  مدّعا  کا  مارا  ہوں

شوقِ  بے  مدّعا  کی  بات  نہ  کر

۴

وہ  تو  مُدّت  ہوئی  کہ  ٹوٹ  گیا

میرے  دستِ  دعا  کی  بات  نہ  کر

۵

جو  نہیں  اختیار  میں  میرے

اُس  بُتِ  بے  وفا  کی  بات  نہ  کر

۶

عشق  کی  انتہا  کو  دیکھ  ذرا

عشق  کی  ابتدا  کی  بات  نہ  کر

۷

کیا  ملا  فکر  کی  رسائی  سے

میری  فکر  رسا  کی  بات  نہ  کر

۸

اس  کی  تقدیر  میں  خرابی  تھی

اِس  دِلِ  مُبتلا  کی  بات  نہ  کر

۹

جو  بھی  ہونا  تھا  ہو  گیا  شعلہؔ

کرمِ  ناخدا  کی  بات  نہ  کر

ख़ुदा की बात न कर – द्वारका दास शोला

१

देख जुर्म-ओ-सज़ा की बात न कर

मै-कदे में ख़ुदा की बात न कर

२

मैं तो बे-महरियों का आदी हूँ

मुझ से मेहर-ओ-वफ़ा की बात न कर

३

शौक़-ए बे-मुद्द’आ का मारा हूँ

शौक़-ए बे-मुद्द’आ की बात न कर

४

वो तो मुद्दत हुई के टूट गया

मेरे दस्त-ए दुआ की बात न कर

५

जो नहीं एख़्तियार में मेरे

उस बुत-ए बे-वफ़ा की बात न कर

६

इश्क़ की इंतेहा को देख ज़रा

इश्क़ की इब्तेदा की बात न कर

७

क्या मिला फ़िक्र की रसाई से

मेरी फ़िक्र-ए रसा की बात न कर

८

इस की तक़्दीर में ख़राबी थी

इस दिल-ए मुब्तला की बात न कर

९

जो भी होना था हो गया शोला

करम-ए नाख़ुदा की बात न कर

Click here for background and on any passage for word meanings and explanatory discussion. dwarka das sho’la (1910-1983), lahore and later punjab and dehli. He started learning urdu because he liked ‘urdu-vaale’ around him. He inherited a pharmacy business and grew it enough to get a mention in Who’s Who, India Trade Directory, 1942. He received formal schooling only up to 8th grade because his father recruited him in the family business. While washing bottles/vials he kept humming ash’aar. Later, hafiz jalandhari became his ustaad. He says they clicked because hafiz jaalandhari was equally unschooled and talked in panjabi.

dwarka das sho’la (1910-1983), lahore and later punjab and dehli.  He started learning urdu because he liked ‘urdu-vaale’ around him.  He inherited a pharmacy business and grew it enough to get a mention in Who’s Who, India Trade Directory, 1942.  He received formal schooling only up to 8th grade because his father recruited him in the family business.  While washing bottles/vials he kept humming ash’aar.  Later, hafiz jalandhari became his ustaad.  He says they clicked because hafiz jaalandhari was equally unschooled and talked in panjabi.

1.sin and punishment 2.tavern

The tavern is symbolic of a place where free thinkers escape to get away from orthodoxy.  Probably the preacher has shown up and is moralizing.  The poet/reveler protests … don’t talk to me about sin and punishment; don’t talk to me about god in the tavern.

1.unkindness 2.used to 3.kindness, generosity 4.faith

The poet claims to be accustomed to unkindness.  Perhaps the implication is that fate (or the world) has been unkind to him and he is used to it.  Don’t talk to me about generosity and benevolence (of god) and faith in (his) unbound kindness.

1.desire 2.without fulfillment 3.love 4.without selfish motive

It is interesting that the words ‘shauq’ and ‘muddu’aa’ are (legitimately) used to convey different meanings in the two misra.  The poet/lover has already suffered from unfulfilled desires (perhaps unrequited love, indifference of the beloved).  Do not talk to me about selfless love (this is what preachers do often).

1.long time 2.hand

‘dast-e dua’ is hand raised in prayer.  It has been a long time since my hand has been broken (perhaps because of disappointments and unanswered prayers).  Thus, he is disillusioned with prayer.  Don’t talk to me about raising my hands in prayer.

1.control 2.idol, beloved 3.unfaithful

In poetic convention, the beloved is always unfaithful.  He says, that which is not in my control, do not talk to me about that unfaithful beloved.

1.end, result, conclusion 2.beginning

The beginning of love (ishq ki ibteda), is often romanticized, but the speaker, having experienced its painful depths, implies that love’s conclusion is far more painful.  Don’t talk to me about the beginning of love, look at its conclusion

1.reason, wisdom 2.reach

The poet/seeker has gone through in-depth thinking and reasoning and not achieved anything i.e., not come up with any answers.  Do not talk to me about my far-reaching reason/intellect.

1.fate 2.defect 3.afflicted

The poet/lover’s afflicted heart (dil-e mubtalaa) was destined for ruin (taqdiir meN Kharaabi thi). There’s no point in discussing it because its fate was already sealed.

1.pen-name of the poet 2.kindness, mercy 3.captain of the boat, god

It is interesting that ‘na-Khuda’ is used to imply ‘Khuda’.  Also, this she’r is sarcastic about destiny/god’s will.  O sho’la whatever was meant to happen has already occurred (jo bhi hona tha ho gaya).  The implication is that there was devastating storm and his boat drowned.  Don’t talk to me about the mercy of the captain/god.

The post Khuda ki baat na kar-dwarka das sho’la 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/2025/06/kamj-jiye-jaa-raha-huN-maiN-audio.mp3

Recitation

جئے  جا  رہا  ہوں  میں  ۔  کلبِ  احمد  مانیؔ  جائسی

۱

ہر  غم  کو  یوں  تو  ضبط  کئے  جا  رہا  ہوں  میں

اس  غم  کو  کیا  کروں  کہ  جئے  جا  رہا  ہوں  میں

۲

لو  ساتھ  دے  چکی  شب  ہجراں  کا  زندگی

اب  شامِ  غم  کو  ساتھ  لئے  جا  رہا  ہوں  میں

۳

ہاں  آنکھ  تر  نہیں  مگر  آنسو  کہاں  سے  آئیں

ہمراز  خون  دل  تو  پئے  جا  رہا  ہوں  میں

۴

کیسا  سکوں  کہ  دل  بھی  تو  ہے  دفن  میرے  ساتھ

یہ  سازِ  اضطراب  لئے  جا  رہا  ہوں  میں

۵

بھر  بھر  کے  دے  رہا  ہے  فلک  تلخ  جامِ  غم

کیا  ذوق  ہے  بلا  کا  پئے  جا  رہا  ہوں  میں

۶

ہاں  پائے  صبر  تھک  گئے  لیکن  ادھر  تو  دیکھ

اب  سجدہ  ہائے  شکر  کئے  جا  رہا  ہوں  میں

۷

مانیؔ  بہ  سوزنِ  نفس  و  رشتۂ  وفا

لب‌  ہائے  شکوہ  سنج  سیے  جا  رہا  ہوں  میں

जिये जा रहा हूँ मैं – कल्ब-ए अहमद मानी जा’एसी

१

हर ग़म को यूँ तो ज़ब्त किये जा रहा हूँ मैं

इस ग़म को क्या करूँ के जिये जा रहा हूँ मैं

२

लो साथ दे चुकी शब-ए हिज्राँ का ज़िंदगी

अब शाम-ए ग़म को साथ लिये जा रहा हूँ मैं

३

हाँ आँख तर नहीं मगर आँसू कहाँ से आएँ

हमराज़ ख़ून-ए दिल तो पिये जा रहा हूँ मैं

४

कैसा सुकूँ के दिल भी तो है दफ़्न मेरे साथ

ये साज़-ए इज़्तेराब लिये जा रहा हूँ मैं

५

भर भर के दे रहा है फ़लक तल्ख़ जाम-ए ग़म

क्या ज़ौक़ है बला का पिये जा रहा हूँ मैं

६

हाँ पा-ए सब्र थक गये लेकिन इधर तो देख

अब सज्दा-हा-ए शुक्र किये जा रहा हूँ मैं

७

मानी ब-सोज़न-ए नफ़स-ओ-रिश्ता-ए वफ़ा

लब-हा-ए शिक्वा-संज सिये जा रहा हूँ मैं

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 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.

syed kalb-e ahmed maani jaa’esi (1885-1963), deoria, uttar pradesh.  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.

1.tolerate, bear stoically/patiently 2.keep living

The poet patiently bears all sorrow that comes his way.  That is the convention for true lovers.  Bearing pain/sorrow stoically, ignoring it, seems to offer some relief.  But his greatest sorrow seems to be that he continues to live.  Bearing it will not offer any relief.  Thus, he is caught in a vicious circle.

1.night 2.separation 3.evening

This is a pathos filled lament.  His life has been a long night of separation.  ‘saath de chuki’ implies, it has been supportive this long but is now about to depart i.e., life has tolerated this long night of separation so far but is now about to end – the poet/lover is about to die.  He is taking the evening of sorrow along with him to his grave.  Perhaps he means that he will continue to suffer after death.

1.moist, tearful 2.but 3.confidant, friend

It appears that the friend has observed that his eyes are dry and he responds.  You are right, my eyes are not tearful, but where can I get tears.  I have been drinking the blood of my heart!  It is this blood that is converted to tears or sometimes becomes tears of blood.  ‘Khoon piina’ is a expression meaning bear all sorrow stoically.  Thus, figuratively because he is bearing sorrow with patience, there are no tears and literally, because he is drinking his heart’s blood there are no tears.

1.peace, tranquility 2.buried 3.instrument 4.restlessness

The heart has been the cause/instrument of restlessness throughout his life.  In death too, he will not peace because his heart will be buried along with him and will continue to cause pain/sorrow.

1.sky, fate 2.bitter 3.cup 4.taste, desire 5.calamity

Fate serves up cup after cup brimming with sorrow.  Look at my taste for calamity, I keep drinking it.

1.feet 2.patience 3.tired 4.ritual prostration 5.thanks, gratitude

Yes, the feet of patience are tired, but look at me, now I keep prostrating/bowing down in thanks (because of the sorrow that I have been granted).

1.pen-name of the poet 2.burning, painful 3.breath 4.relationship 5.fidelity, promise 6.lips 7.experts in complaining 8.stitch, sew

O maani, with breath on fire and this painful relationship with (lack of) fidelity, causes me to sew up my lips that are otherwise fully capable of complaining i.e., I bear my pain in silence.

The post jiye jaa raha huN maiN-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/2025/06/msrch-kaarsaaz-kiye-jaa-raha-huN-maiN-audio.mp3

Recitation

کارساز  کئے  جا  رہا  ہوں  میں  ۔  محمد  صادق  رازؔ  چاندپوری

۱

دل  کو  حریفِ  ناز  کئے  جا  رہا  ہوں  میں

ہر  شے  سے  بے  نیاز  کئے  جا  رہا  ہوں  میں

۲

شکرِ  نگاہِ  ناز  کئے  جا  رہا  ہوں  میں

فطرت  کو  کارساز  کئے  جا  رہا  ہوں  میں

۳

ہے  جستجوئے  سِرّ  حقیقت  رواں  فروز

راہِ  طلب  دراز  کئے  جا  رہا  ہوں  میں

۴

دنیا  کو  دے  رہا  ہوں  سبق  حسن  و  عشق  کا

افشا  ہر  ایک  راز  کئے  جا  رہا  ہوں  میں

۵

ہوگا  کبھی  تو  حُسنِ  حقیقت  نظر  نواز

نظارۂ  مجاز  کئے  جا  رہا  ہوں  میں

۶

ناکامیِ  امید  سے  گھبرا  نہ  جائے  دل

قسمت  پر  اپنی  ناز  کئے  جا  رہا  ہوں  میں

۷

محروم  رہ  نہ  جائے  کوئی  تشنہ  کام  رازؔ

ارزاں  شرابِ  راز  کئے  جا  رہا  ہوں  میں

कारसाज़ किये जा रहा हूँ मैं – मोहम्मद सादेक़ राज़ चांदपूरी

१

दिल को हरीफ़-ए नाज़ किये जा रहा हूँ मैं

हर शय से बे-नियाज़ किये जा रहा हूँ मैं

२

शुक्र-ए निगाह-ए नाज़ किये जा रहा हूँ मैं

फ़ितरत को कारसाज़ किये जा रहा हूँ मैं

३

है जुस्तुजू-ए सिर्र-ए हक़ीक़त रवाँ फ़रोज़

राह-ए तलब दराज़ किये जा रहा हूँ मैं

४

दुनिया को दे रहा हूँ सबक़ हुस्न-ओ-इश्क़ का

इफ़्शा हर एक राज़ किये जा रहा हूँ मैं

५

होगा कभी तो हुस्न-ए हक़ीक़त नज़र-नवाज़

नज़्ज़ारा-ए मजाज़ किये जा रहा हूँ मैं

६

नाकामी-ए उमीद से घबरा न जाए दिल

क़िस्मत पर अपनी नाज़ किये जा रहा हूँ मैं

७

महरूम रह न जाए कोई तिश्ना-काम ‘राज़’

अर्ज़ां शराब-ए राज़ किये जा रहा हूँ मैं

Click here for background and on any passage for word meanings and explanatory discussion. mohammed saadiq raaz chaandpuri (1892-1969), chaandpur UP. He received traditional education in urdu and faarsi at home and in a madrasa. Later he studied urdu and English formally at a high school in muradabad. He seems to have had a day job in jabalpur, but I don’t know what it was. There are 4 publications of Ghazal, nazm, short stories and rubaaiyaat and fifth book of a biography of his ustaad seemaab akbarabadi. I had access only to the collection of his Ghazal which include several in the zamin of Ghalib. This Ghazal is linked to other Ghazal of the same radeef on the Refrain-radeef page.

mohammed saadiq raaz chaandpuri (1892-1969), chaandpur UP.  He received traditional education in urdu and faarsi at home and in a madrasa.  Later he studied urdu and English formally at a high school in muradabad.  He seems to have had a day job in jabalpur, but I don’t know what it was.  There are 4 publications of Ghazal, nazm, short stories and rubaaiyaat and fifth book of a biography of his ustaad seemaab akbarabadi.  I had access only to the collection of his Ghazal which include several in the zamin of Ghalib.  This Ghazal is linked to other Ghazal of the same radeef on the Refrain-radeef page.

1.equal to 2.coquetry, beloved 3.everything 4.indifferent, oblivious

The beloved is always indifferent to her lovers.  The poet/lover is training his heart to be equally indifferent to everything and become the rival of, equal to the beloved.  This could have sufiyaana implications.  god is mustaGhni – not in need of anything, indifferent to everything.  The poet/sufi is also trying to be like that.  But becoming a ‘hariif’ of that is rather strong language.

1.thanks 2.glance 3.coquetry 4.nature, character, mentality, personality 5.effective, clever, skilled, compatible

The beloved casts mischievous and coquettish glances at the poet/lover.  He keeps being thankful for these glances thus making his own nature more effective (or her nature compatible) so that he may make some progress in his love.

1.search 2.secret, mystery 3.truth 4.flowing 5.bright 6.path 7.desire 8.long, can also mean high, exalted

The poet/seeker/sufi wants to keep searching for the mystery of Truth.  His search is proceeding; he is making the flow/progress of the search more bright.  Thus, the path of desire is becoming more exalted/respected.

1.lesson 2.beauty 3.reveal 4.secret

(Through my verse) I reveal every secret and impart lessons of love and beauty.

1.beauty 2.truth, reality 3.patronize/favour the seeker’s sight 4.looking at 5.illusion

The material world is considered to be an illusion, a temporary/passing world while the spiritual world is ‘haqiiqi’-real, permanent.  The poet has been looking at the illusion – the majaazi world.  That is all he can see.  Perhaps by looking at it, he is realizing that his real goal is the haqiiqi world.  In doing so, he hopes that one day the ‘husn-e haqiiqat’ meaning god, will look with favour upon him the seeker.

1.failure 2.hope 3.worried, scared 4.pride

The poet is afraid that because of failure of his hopes in being realized and fulfilled his heart might get dejected/worried.  I keep expressing pride/joy at my fate.  At first glance this seems contradictory.  His hopes are not being fulfilled; that is his fate; but he is expressing joy/pride at his fate.  Is that because he is proud of being put to such a test or is that he is pretending to be proud so that his heart may not get worried.  I am not sure.  I appreciate any help with interpretation.

1.deprived 2.thirsty 3.pen-name of the poet 4.readily available, plentiful 5.secrets

‘sharaab-e raaz’ – wine of secrets is the poet’s verse.  He is making it available so that no one is left deprived and thirsty for the meaning of love/truth/god.  He writes to reveal these secrets.  See number 4 above.

The post kaarsaaz kiye jaa raha huN maiN-mohammed saadiq raaz chaandpuri 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/2025/06/shmKhibni-ye-bachcha-kis-ka-bachcha-hai-audio.mp3

Recitation

یہ  بچّہ  کس  کا  بچّہ  ہے  ۔  شیر  محمد  خاں  اِبنِ  انشاءؔ

۱

یہ  بچّہ  کیسا  بچّہ  ہے

یہ  بچّہ  کالا  کالا  سا

یہ  کالا  سا  مٹیالہ  سا

یہ  بچّہ  بھوکا  پھوکا  سا

یہ  بچّہ  سوکھا  سوکھا  سا

یہ  بچّہ  کس  کا  بچّہ  ہے

یہ  بچّہ  کیسا  بچّہ  ہے

۲

جو  ریت  پہ  تنہا  بیٹھا  ہے

نا  اس  کے  پیٹ  میں  روٹی  ہے

نا  اس  کے  تن  پر  کپڑا  ہے

نا  اس  کے  سر  پر  ٹوپی  ہے

نا  اس  کے  پیر  میں  جوتا  ہے

نا  اس  کے  پاس  کھلونوں  میں

کوئی  بھالو  ہے  کوئی  گھوڑا  ہے

۳

نا  اس  کا  جی  بہلانے  کو

کوئی  لوری  ہے  کوئی  جھولا  ہے

نا  اس  کی  جیب  میں  دھیلا  ہے

نا  اس  کی  امی  ابو  ہیں

نا  اس  کے  آپا  خالہ  ہیں

یہ  سارے  جگ  میں  تنہا  ہے

یہ  بچّہ  کیسا  بچّہ  ہے

۴

یہ  صحرا  کیسا  صحرا  ہے

نا  اس  صحرا  میں  بادل  ہے

نا  اس  صحرا  میں  برکھا  ہے

نا  اس  صحرا  میں  بالی  ہے

نا  اس  صحرا  میں  خوشہ  ہے

نا  اس  صحرا  میں  سبزہ  ہے

نا  اس  صحرا  میں  سایہ  ہے

۵

یہ  صحرا  بھوک  کا  صحرا  ہے

یہ  صحرا  موت  کا  صحرا  ہے

یہ  بچّہ  کیسے  بیٹھا  ہے

یہ  بچّہ  کب  سے  بیٹھا  ہے

یہ  بچّہ  کیا  کچھ  پوچھتا  ہے

یہ  بچّہ  کیا  کچھ  کہتا  ہے

۶

یہ  دنیا  کیسی  دنیا  ہے

یہ  دنیا  کس  کی  دنیا  ہے

اِس  دنیا  کے  کچھ  ٹکڑوں  میں

کہیں  پھول  کھلے  ہیں  سبزہ  ہے

کہیں  بادل  گِھر  گِھر  آتے  ہیں

کہیں  چشمہ  ہے  کہیں  دریا  ہے

۷

کہیں  اونچے  محل  اٹاریاں  ہیں

کہیں  محفل  ہے  کہیں  میلا  ہے

کہیں  کپڑوں  کے  بازار  سجے

یہ  ریشم  ہے  یہ  دیبا  ہے

کہیں  غلّے  کے  انبار  لگے

سب  گیہوں  دھان  مہیّا  ہے

۸

کہیں  دولت  کے  صندوق  بھرے

ہاں  تانبہ  سونا  روپا  ہے

جو  تم  مانگو  سو  حاضر  ہے

جو  تم  چاہو  سو  ملتا  ہے

۹

اِس  بُھوک  کے  دُکھ  کی  دنیا  میں

یہ  کیسا  سُکھ  کا  سپنا  ہے

وہ  کس  دھرتی  کے  ٹکڑے  ہیں

یہ  کس  دنیا  کا  حِصّہ  ہے

۱۰

ہم  جِس  آدم  کے  بیٹے  ہیں

یہ  اُس  آدم  کا  بیٹا  ہے

یہ  آدم  ایک  ہی  آدم  ہے

وہ  گورا  ہے  یا  کالا  ہے

۱۱

یہ  دھرتی  ایک  ہی  دھرتی  ہے

یہ  دنیا  ایک  ہی  دنیا  ہے

سب  اِک  داتا  کے  بندے  ہیں

سب  بندوں  کا  اِک  داتا  ہے

کچھ  پورب  پچھم  فرق  نہیں

اِس  دھرتی  پر  حق  سب  کا  ہے

۱۲

یہ  تنہا  بچّہ  بیچارہ

یہ  بچّہ  جو  یہاں  بیٹھا  ہے

۱۳

اس  بچّے  کی  کہیں  بھوک  مِٹے  ۔  کیا  مشکل  ہے  ہو  سکتا  ہے

اِس  بچّے  کو  کہیں  دودھ  ملے  ۔  ہاں  دودھ  یہاں  بہتیرا  ہے

اس  بچّے  کا  کوئی  تن  ڈھانکے  ۔  کیا  کپڑوں  کا  یہاں  توڑا  ہے

اس  بچّے  کو  کوئی  گود  میں  لے  ۔  انسان  جو  اب  تک  زندہ  ہے

۱۴

پھر  دیکھے  کیسا  بچّہ  ہے

یہ  کتنا  پیارا  بچّہ  ہے

۱۵

اس  جگ  میں  سب  کچھ  رب  کا  ہے

جو  رب  کا  ہے  وہ  سب  کا  ہے

سب  اپنے  ہیں  کوئی  غیر  نہیں

ہر  چیز  میں  سب  کا  ساجھا  ہے

جو  بڑھتا  ہے،  جو  اُگتا  ہے

وہ  دانا  ہے  یا  میوہ  ہے

جو  کپڑا  ہے  جو  کمبل  ہے

جو  چاندی  ہے  جو  سونا  ہے

۱۶

وہ  سارا  ہے  اس  بچّے  کا

جو  تیرا  ہے  جو  میرا  ہے

۱۷

یہ  بچّہ  کس  کا  بچّہ  ہے

یہ  بچّہ  سب  کا  بچّہ  ہے

ये बच्चा किस का बच्चा है – शेर मोहम्मद ख़ां इब्न-ए इन्शा

ये बच्चा कैसा बच्चा है

२

जो रेत पे तन्हा बैठा है

३

ना उस का जी बहलाने को

४

ये सहरा कैसा सहरा है

५

ये सहरा भूख का सहरा है

६

ये दुनिया कैसी दुनिया है

७

कहीं ऊँचे महल अटारियाँ हैं

८

कहीं दौलत के संदूक़ भरे

९

इस भूख के दुख की दुनिया में

१०

हम जिस आदम के बेटे हैं

११

ये धरती एक ही धरती है

१२

ये तन्हा बच्चा बेचारा

१३

इस बच्चे की कहीं भूख मिटे – क्या मुश्किल है हो सकता है

१४

फिर देखे कैसा बच्चा है

१५

इस जग में सब कुछ रब का है

१६

वो सारा है इस बच्चे का

१७

ये बच्चा किस का बच्चा है

Click here for background and on any passage for word meanings and explanatory discussion. sher mohammad KhaaN ibn-e insha (1927-1978), poet, journalist, travelogue writer. A progressive with wide ranging subjects – romance, politics, deep humanism and self deprecating humour. He was deeply affected by the picture of a starving child used by UNICEF for famine relief (critical in Africa at the time) and wrote this nazm. I take the liberty to re-dedicate it to WCNSF ‘Wounded Child, No Surviving Family’ and link it to ‘filistiin’ on the Theme Index page.

sher mohammad KhaaN ibn-e insha (1927-1978), poet, journalist, travelogue writer.  A progressive with wide ranging subjects – romance, politics, deep humanism and self deprecating humour.  He was deeply affected by the picture of a starving child used by UNICEF for famine relief (critical in Africa at the time) and wrote this nazm.  I take the liberty to re-dedicate it to WCNSF ‘Wounded Child, No Surviving Family’ and link it to ‘filistiin’ on the Theme Index page.

1.dust covered

What child is it that sits here?

1.sand 2.alone 3.body 4.feet 5.bear

Who sits alone upon the sand

1.heart, mind 2.console 3.lullaby 4.swing 5.pocket 6.coin 7.world 8.alone

None to console his heart,

1.desert 2.cloud 3.rain, drizzle 4.ear of wheat 5.fruit cluster 6.greenery 7.shade

What desert that stretches all around

1.death 2.speak, say

This desert is the desert of hunger,

1.pieces, patches (of land) 2.blossoming 3.greenery 4.circling, rising 5.spring 6.river

What kind of a world is this,

1.tall, high 2.mansions 3.terraces 4.gatherings 5.fair 6.arranged 7.silk 8.brocade 9.provisions 10.heaps, mounds 11.wheat 12.rice 13.available

Grand mansions and terraces here,

1.treasure 2.chests, boxes 3.filled 4.copper 5.gold 6.silver rupee 7.demand 8.presented

Where treasure chests are brimming full,

1.sorrow, pain 2.pleasure, joy 3.dream 4.land

In this harsh world of hunger’s pain,

1.Adam, human

The human, whose children we are,

1.earth, land 2.lord 3.creatures 4.west 5.east 6.difference

The earth is one and the same,

1.alone 2.helpless

This helpless child, alone, afraid,

1.plenty 2.body 3.cover 4.scarcity 5.lap, embrace

Let this child’s hunger be satisfied – it can be done, not too difficult

Then see the wonder in his eyes,

1.world 2.lord 3.other, foreign 4.share 5.grain 6.fruit 7.blanket

All in this world belongs to the lord,

1.all, total

All that is, also belongs to this child

Whose child is he, can we still ask?

The post ye bachcha kis ka bachcha hai-ibn-e insha 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/2025/06/ahm-javaaN-hai-saaqi-audio.mp3

Recitation

جواں  ہے  ساقی  ۔  اَسرار  الحق  مجازؔ

۱

یہ  جہاں  بارگہ  رطلِ  گراں  ہے  ساقی

اک  جہنم  مرے  سینے  میں  تپاں  ہے  ساقی

۲

جس  نے  برباد  کیا  مائلِ  فریاد  کیا

وہ  محبت  ابھی  اِس  دل  میں  جواں  ہے  ساقی

۳

ایک  دن  آدم  و  حوّا  بھی  کیے  تھے  پیدا

وہ  اُخوّت  تری  محفل  میں  کہاں  ہے  ساقی

۴

ہر  چمن  دامنِ  گل  رنگ  ہے  خونِ  دل  سے

ہر  طرف  شیون  و  فریاد  و  فغاں  ہے  ساقی

۵

ماہ  و  انجم  مرے  اشکوں  سے  گہر  تاب  ہوئے

کہکشاں  نور  کی  ایک  جوئے  رواں  ہے  ساقی

۶

حسن  ہی  حسن  ہے  جس  سمت  بھی  اُٹھتی  ہے  نظر

کتنا  پر  کیف  یہ  منظر  یہ  سماں  ہے  ساقی

۷

زمزمہ  ساز  کا  پائل  کی  چھناکے  کی  طرح

بہتر  از  شورشِ  ناقوس  و  اذاں  ہے  ساقی

۸

میرے  ہر  لفظ  میں  بیتاب  مرا  شورِ  دروں

میری  ہر  سانس  محبت  کا  دھواں  ہے  ساقی

जवाँ है साक़ी – अस्रार-उल-हक़ मजाज़

१

ये जहाँ बारगह-ए रत्ल-ए गिराँ है साक़ी

एक जहन्नम मेरे सीने में तपाँ है साक़ी

२

जिस ने बर्बाद किया मा’एल-ए फ़र्याद किया

वो मोहब्बत अभी इस दिल में जवाँ है साक़ी

३

एक दिन आदम ओ हव्वा भी किए थे पैदा

वो उख़ुव्वत तेरी महफ़िल में कहाँ है साक़ी

४

हर चमन दामन-ए गुल-रंग है ख़ून-ए दिल से

हर तरफ़ शेवन-ओ-फ़र्याद-ओ-फ़ुग़ाँ है साक़ी

५

माह ओ अंजुम मेरे अश्कों से गुहर-ताब हुए

कहकशाँ नूर की एक जू-ए रवाँ है साक़ी

६

हुस्न ही हुस्न है जिस सम्त भी उठती है नज़र

कितना पुर-कैफ़ ये मंज़र ये समाँ है साक़ी

७

ज़मज़मा साज़ का पायल की छनाके की तरह

बेहतर-अज़-शोरिश-ए नाक़ूस-ओ-अज़ाँ है साक़ी

८

मेरे हर लफ़्ज़ में बेताब मेरा शोर-ए दरूँ

मेरी हर साँस मोहब्बत का धुआँ है साक़ी

Click here for background and on any passage for word meanings and explanatory discussion. asrar-ul haq majaz (1911-1955) was progressive as well as romantic poet, a heartthrob. He received his BA from aligaRh after interruptions in earlier schooling. He developed close relationships with progressives and was a major force in the Progressive Writers’ Association. He lived in aligaRh, dehli and lucknow working for radio stations, editing magazines on and off but with no steady income. He met with a rather tragic end at the young age of 44. This Ghazal is linked to ham-radeef Ghazal on the Refrain Index.

asrar-ul haq majaz (1911-1955) was progressive as well as romantic poet, a heartthrob.  He received his BA from aligaRh after interruptions in earlier schooling.  He developed close relationships with progressives and was a major force in the Progressive Writers’ Association.  He lived in aligaRh, dehli and lucknow working for radio stations, editing magazines on and off but with no steady income.  He met with a rather tragic end at the young age of 44.  This Ghazal is linked to ham-radeef Ghazal on the Refrain Index.

1.world, life 2.(royal) court 3.large flask/barrell (of wine) 4.hell, fire 5.burning, restless

Here ratl-e giraaN is used not just as symbolism for a surfeit of wine but of many material attractions of this world.  The poet/traveler through this world is caught up in these many attractions and his heart burns with desire as if there is hell-fire in his heart.

1.ruined 2.inclined towards 3.appeal, supplication 4.strong, vigorous

The same love that had ruined the poet/lover is still strong is his heart i.e., the chances of his further ruination are strong.  What ‘love’ is the poet talking about … it could be the love of wine, which literally was and was the cause of his sorrowful and premature death.  It could also be his love of poetry, romantic love, mystic love.  We are left to choose.

1.Adam 2.Eve 3.created 4.brotherhood, equality 5.gathering

Here aadam o havva are used not to signfiy Adam and Eve as individuals but as representing the human species … humanity.  There was a time that all humanity was one, where is that equality now, in your assembly, O saaqi.

1.hem of the garment, field, yard 2.rose colour, red 3.direction 4.mourning 5.lamentation 6.wailing

Every garden is like a field coloured red with the blood of the heart i.e., there is pain and suffering all around.  Even blossoming roses are like bleeding hearts to the poet.  In every direction there is mourning, lamentation and wailing O, saaqi.

1.moon 2.stars 3.tears 4.bright pearls 5.milky way, constellation 6.light 7.river 8.flowing

The poet is sorrow and sheds tears that shine.  The moon and stars are like shiny pearls because of the brilliance of his tears.  The constellation is a flowing river of light because of his sorrow.  The poet asserts the primacy of human suffering even as the universe appears brilliant and beautiful.

1.beauty 2.direction 3.eyes 4.full of exhilaration, intoxicating 5.sight 6.scene

It is beauty, nothing but beauty, whichever direction you raise your eyes.  How intoxicating/exhilarating are the sights and scenes around, O saaqi.  Is there an implication that this beauty hides suffering on earth?  Or is this pointing out injustice and cruelty of fate … beauty all around but suffering on earth.

1.soothing music 2.musical instrument, harp 3.ankle bells 4.tinkling 5.better 6.than 7.sound, noise 8.conch shell, temple call 9.islamic call to prayer

The soothing music of the harp, like the tinkling of ankle bells is better than the noise of the conch shell or of the azaan – a clear rejection of orthodoxy.

1.word 2.restless, trembling 3.noise, tumult 4.inner

Every word of the poet trembles with the inner tumult of his passion.  Every breath is the smoke of the fire of love in his heart.

The post javaaN hai saaqi-asraar-ul-haq majaaz 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/2025/06/asj-lahu-pukaarta-hai-audio.mp3

Recitation

لہو  پکارتا  ہے  ۔  علی  سردارؔ  جعفری

۱

لہو  پکارتا  ہے

ہر  طرف  پکارتا  ہے

۲

سحر  ہو،  شام  ہو،  خاموشی  ہو،  کہ  ہنگامہ

جلوسِ  غم  ہو  کہ  بزمِ  نشاط  آرائی

۳

لہو  پکارتا  ہے

لہو  پکارتا  ہے  جیسے  خشک  صحرا  میں

پکارا  کرتے  تھے  پیغمبران  اسرائیل

۴

زمیں  کے  سینے  سے  اور  آستین  قاتل  سے

گلوئے  کشتہ  سے  بے  حِس  زبانِ  خنجر  سے

صدا  لپکتی  ہے  ہر  سمت  حرفِ  حق  کی  طرح

۵

مگر  وہ  کان  جو  بہرے  ہیں  سن  نہیں  سکتے

مگر  وہ  قلب  جو  سنگیں  ہیں  ہل  نہیں  سکتے

۶

کہ  ان  میں  اہلِ  ہوس  کی  صدا  کا  سیسہ  ہے

وہ  جھکتے  رہتے  ہیں  لب  ہائے  اقتدار  کی  سمت

۷

وہ  سنتے  رہتے  ہیں  بس  حکمِ  حاکمانِ  جہاں

طواف  کرتے  ہیں  اربابِ  گیر  و  دار  کے  گرد

۸

مگر  لہو  تو  ہے  بے  باک  و  سرکش  و  چالاک

یہ  شعلہ  مے  کے  پیالے  میں  جاگ  اُٹھتا  ہے

۹

لباسِ  اطلس  و  دیبا  میں  سرسراتا  ہے

یہ  دامنوں  کو  پکڑتا  ہے  شاہراہوں  میں

۱۰

کھڑا  ہوا  نظر  آتا  ہے  داد  گاہوں  میں

زمیں  سمیٹ  نہ  پائے  گی  اس  کو  بانہوں  میں

۱۱

چھلک  رہے  ہیں  سمندر  سرک  رہے  ہیں  پہاڑ

لہو  پکار  رہا  ہے  لہو  پکارے  گا

یہ  وہ  صدا  ہے  جسے  قتل  کر  نہیں  سکتے

लहू पुकारता है – अली सरदार जाफ़री

१

लहू पुकारता है

हर तरफ़ पुकारता है

२

सहर हो, शाम हो, ख़ामोशी हो, के हंगामा

जुलूस-ए ग़म हो के बज़्म-ए नशात-आराई

३

लहू पुकारता है

लहू पुकारता है जैसे ख़ुश्क सहरा में

पुकारा करते थे पैग़म्बरान-ए इसराईल

४

ज़मीं के सीने से और आस्तीन-ए क़ातिल से

गुलू-ए कुश्ता से बे-हिस्स ज़बान-ए ख़ंजर से

सदा लपकती है हर सम्त हर्फ़-ए हक़ की तरह

५

मगर वो कान जो बहरे हैं सुन नहीं सकते

मगर वो क़ल्ब जो संगीं हैं हिल नहीं सकते

६

के उन में अहल-ए हवस की सदा का सीसा है

वो झुकते रहते हैं लब-हा-ए इक़्तेदार की सम्त

७

वो सुनते रहते हैं बस हुक्म-ए हाकेमान-ए जहाँ

तवाफ़ करते हैं अर्बाब-ए गीर-ओ-दार के गिर्द

८

मगर लहू तो है बे-बाक ओ सरकश ओ चालाक

ये शो’ला मय के प्याले में जाग उठता है

९

लिबास-ए अत्लस-ओ-दीबा में सरसराता है

ये दामनों को पकढता है शाह-राहों में

१०

खढा हुआ नज़र आता है दाद-गाहों में

ज़मीं समेट न पाएगी उस को बाँहों में

११

छलक रहे हैं समुंदर सरक रहे हैं पहाढ

लहू पुकार रहा है लहू पुकारेगा

ये वो सदा है जिसे क़त्ल कर नहीं सकते

Click here for background and on any passage for word meanings and explanatory discussion. ali sardar jafri (1913-2000), balrampur, gonDa, U.P. Religious upbringing and education. MA luckhnow university. Started composing at 15. He soon turned to progressive, revolutionary nazm/Ghazal. Member Communist Party. Arrested in 1940. Plays, short stories, movies and TV serials gave him a career in mumbaii. Padma Shri in 1967. Also see lahu ka suraaGh-faiz ahmed faiz and saahir ludhianavi-Khoon phir Khoon hai.

ali sardar jafri (1913-2000), balrampur, gonDa, U.P. Religious upbringing and education.  MA luckhnow university. Started composing at 15.  He soon turned to progressive, revolutionary nazm/Ghazal.  Member Communist Party.  Arrested in 1940.  Plays, short stories, movies and TV serials gave him a career in mumbaii. Padma Shri in 1967.  Also see lahu ka suraaGh-faiz ahmed faiz and saahir ludhianavi-Khoon phir Khoon hai.

1.blood 2.direction

Blood cries out, from every direction, in every direction, blood raises a cry.  Blood spilled in injustice, violated truth/rights, cannot be hidden, will not be silent.

1.dawn 2.procession 3.gathering 4.adornment of joy

Whether it is dawn or dusk, silence/stillness or chaos/tumult, procession of mourning or a joyous gathering, it will cry out.  No moment is immune. The blood’s call echoes through all times and moods; sorrow or celebration. It cuts across the rhythms of daily life, refusing to be ignored.

1.dry 2.desert 3.prophets, messengers

Blood cries out, blood raises a cry like the prophets of israa’iil in the patched desert.  This implies that the prophets raised their voice in support of the oppressed and cried for justice.  Spilled blood carries the same ‘divine’ message.

1.sleeve 2.killer 3.throat 4.cut 5.unfeeling, inanimate, silent 6.knife 7.sound, cry 8.rises, leaps 9.direction 10.word 11.truth, justice

From the bosom/heart of the earth, from the bloody sleeve of the killer, from the slaughtered throat, from the silent tongue of the knife, cry leaps in every direction like the word of truth.

1.deaf 2.hearts 3.stony, hard

But ears that are deaf cannot hear, and hearts turned to stone cannot be moved.  Whose ears and whose hearts is revealed in what follows.

1.people of greed 2.sound, voice 3.lead 4.lips, words 5.power 6.direction

They cannot hear because molten lead of the sound of greed is poured into their ears.  The bow towards the voice of the people in power.

1.orders 2.commanders, rulers 3.world 4.circumabulate 5.people of 6.hold and grip, dominate, war and conflict 7.around

They only listen to the orders of the commanders/tyrants of the world.  They circumabulate in submission around people of war and domination.

1.blood 2.fearless 3.rebellious 4.clever 5.flame 6.wine

But blood is fearless, defiant and clever, it lights up like a flame in a cup of wine.  I am not sure what ‘a flame in a cup of wine’ symbolizes.  I would appreciate any help in interpretation.

1.garment 2.satin 3.silk 4.rustling 5.hem of the garment 6.pull 7.main road

daaman pakaRna is symbolic of accuse, seek justice and shaah-raah is symbolic of the public square-open place.  The privileged, in fine satin and silk clothing, rustling as they walk have the hem of their garment held-justice demanded in the public square.

1.seen, appear 2.place of justice 3.contain, gather 4.arms

It (blood) is seen standing in courts of justice.  The earth will not be able to contain it in its arms i.e., nothing will be able to hold it back, hide it; the demand of justice will be heard.

1.overflow 2.sea, ocean 3.slip, slide 4.cry 5.kill, silence

The oceans spill over, mountains slide, but blood cries out and it will keep crying out.  This is a sound that cannot silenced.  The cry for justice will bring oceanic floods, move mountains but will not be silenced until justice is achieved.

The post lahu pukaarta hai-ali sardar jafri 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/2025/06/nhj-diida-e-bedaar-hai-saaqi-11-21-audio.mp3

Recitation

دیدۂ  بیدار  ہے  ساقی  ۔  ۱۱۔۲۱۔ نذیر  حسین  صدیقی  جنونؔ

۱۱

فضائے  مے  کدہ  پر  چھا  گیا  اِک  کیفِ  مستانہ

۱۲

جو  آ  کر  پھر  نہ  جائے  اور  جائے  گر  تو  جاں  لے  کر

۱۳

وہ  آئیں  اور  ترے  چھوٹے  سے  پیمانے  کو  پی  جائیں

۱۴

یہاں  آتا  ہے  جو  سیراب  ہی  ہو  کر  وہ  اُٹھتا  ہے

۱۵

زمانے  بھر  سے  ٹکراتی  ہے  طبعِ  بے  غرض  میری

۱۶

یہ  آیا  ہے  وہیں  سے  تیرا  مستِ  لم  یزل  ہوکر

۱۷

مجھے  کیا  خوف  ان  بِپھری  ہوئی  امواجِِ  دوران  کا

۱۸

ترا  حسنِ  عطا  توبہ  شِکن  ہے  اچھے  اچھوں  کا

۱۹

ترے  رِندوں  کو  کفر  و  دیں  کے  جھگڑوں  سے  غرض  کیا  ہے

۲۰

جسے  دیکھو  وہ  گھائل  ہے  تری  ہی  چشمِ  قاتل  کا

۲۱

جنوںؔ  کہتے  ہیں  سب  جس  کو  وہی  آزادۂ  عالم

दीदा-ए बेदार है साक़ी – ११-२१- नज़ीर हुसैन सिद्दीक़ी जनूँ

११

१२

१३

१४

१५

१६

१७

१८

१९

२०

२१

Click here for background and on any passage for word meanings and explanatory discussion. nazeer hussain siddiqui (1891-1956) kaakori (near lukhnau) and hyderabad. Early education in arabi and faarsi as well as urdu, was traditional and at home. Orphaned early, he was brought up by an uncle who also passed away. He trained in accountancy and moved to hyderabad with the encouragement of his brother; progressed steadily to become Assistant Financial Secretary. With the early passing of his wife, he devoted himself to his children and their education and expressed his creative talent in writing urdu poetry. His Ghazal have layers of mystic/sufi thought intertwined with romantic and religious themes. After his passing in 1956 but his diivaan remained in the family for a long time, only as a collection organized by radeef. in his own handwriting. This collection was finally published in 2022 after four years of loving work by his grandchildren. This Ghazal (in two parts) is linked to other ham-radeef Ghazal on the Refrain Index page.

nazeer hussain siddiqui (1891-1956) kaakori (near lukhnau) and hyderabad.  Early education in arabi and faarsi as well as urdu, was traditional and at home.  Orphaned early, he was brought up by an uncle who also passed away.  He trained in accountancy and moved to hyderabad with the encouragement of his brother; progressed steadily to become Assistant Financial Secretary.  With the early passing of his wife, he devoted himself to his children and their education and expressed his creative talent in writing urdu poetry.  His Ghazal have layers of mystic/sufi thought intertwined with romantic and religious themes.   After his passing in 1956 but his diivaan remained in the family for a long time, only as a collection organized by radeef. in his own handwriting. This collection was finally published in 2022 after four years of loving work by his grandchildren.  This Ghazal (in two parts) is linked to other ham-radeef Ghazal on the Refrain Index page.

1.atmosphere, ambience 2.tavern 3.envelope, spread over 4.contentment, bliss 5.ecstatic, intoxicating 6.awesome, wondrous 7.thing 8.cup and flask 9.tinkling

A contented bliss of intoxication/ecstacy has enveloped the tavern’s air; the clink of goblets and flasks is a wondrous melody, o saaqi.

1.affliction, disease

That which arrives and never leaves, or if it does, takes your life away; I fear that love is that kind of an afflication, o saaqi.

1.cup 2.flask after flask 3.barrel after barrel 4.necessary

They come and drink from your tiny cup; even those who usually demand flask upon flask, barrel upon barrel, o saaqi.  Either the saaqi has a miraculous cup or even a small dose is potent and does the work of a barrell.

1.satiated, satisfied 2.court, reign 3.all said and done, after all

Whoever arrives here leaves fully quenched/satiated; after all, your court is truly your court, o saaqi.

1.times, world 2.confront, oppose 3.nature, temperament 4.selfless, ascetic 5.world 6.shame, qualms, hesitation, reservation

My selfless/ascetic/other-worldly nature confronts the temptations of the world; I am alien to the world, and the world to me, o saaqi.  The suufi is estranged from a selfish society, he belongs to a different, spiritual realm.

1.from there-implied from before birth 2.intoxicated 3.eternal 4.wine-drinker 5.beginning, eternity 6.satiated, fulfilled

He comes from the other world (before birth) already permanently intoxicated (by love of the divine);  my wine-drinker has always been full/satiated with love, o saaqi.

1.fear 2.swelling, raging, stormy 3.waves 4.times 5.glance 6.grace 7.boat across, mission accomplished

1.beauty, grace 2.offering, granting 3.resolution breaking 4.resolute 5.refusal

The poet/wine lover has resolved to give up wine but the saaqi offers wine with such grace that it can break the resolve of even the most resolute.  How can my refusal/resistance stand against that, o saaqi.

1.wine lovers 2.faith and unfaith, orthodoxy 3.debates, conflicts 4.concern 5.burdensome 6.restrictions 7.tasbiih, prayer beads 8.janev, orthodox thread

Wine-lovers are mystics and/or liberal thinkers.  They are not concerned with, do not care about debates of orthodoxy.  These ritualistic restrictions (symbolized by the prayer beads and thread) are burdensome for me, o saaqi.

1.wounded 2.gaze 3.killer 4.glance

Everyone I see is wounded by your killer gaze; every glance of yours is like a swinging sword, o saaqi.

1.pen-name of the poet 2.free, liberated 3.world 4.feet 5.ready

There is an interesting use of the double meaning of junoon and of aazaadah.  In one interpretation – he who is called junoon, liberated from the temptations of the material world is ready to place his head at you feet (submit completely to you), o saaqi.  In another interpretation – that which the world calls madness is true liberation from the world.  That madness is complete surrender to you , o saaqi.

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