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/shhKhjm-maujoN-meN-koii-girdaab-nahiiN-audio.mp3

Recitation

موجوں  میں  کوئی  گرداب  نہیں  ۔  جوش  ملیح  آبادی

۱

اے  شوق،  مجھے  گمراہ  نہ  کر،  شورش  کے  لیے  اسباب  نہیں

اُمّید  کے  اُجڑے  گلشن  میں،  اِک  پھول  بھی  اب  شاداب  نہیں

۲

اب  عشق  کا  چہرہ  کیا  دیکھوں،  اے  حسن  ترے  آئینے  میں

اِحساس  کی  آنکھیں  ڈھونڈتی  ہیں،  اُمّید  کے  رُخ  پر  آب  نہیں

۳

اب  دل  کا  سفینہ  کیا  اُبھرے  طوفاں  کی  ہوائیں  ساکن  ہیں

اب  بحر  سے  کشتی  کیا  کھیلے،  موجوں  میں  کوئی  گرداب  نہیں

۴

پھر  جوشؔ  فسردہ  خاطر  ہے،  اے  عہدِ  تمنّا،  واپس  آ

آسائش  کھائے  جاتی  ہے  تمکین  کی  دل  کو  تاب  نہیں

मौजौं में कोई गिर्दाब नहीं – जोश मलीह’आबादी

१

२

३

४

Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as a poet of revolution. He was a secular humanist writing sharply against colonialism, abuse of power, injustice and orthodoxy. This short Ghazal bemoans the onset of old age when he has lost the intensity of passion or perhaps there is some other reason that is causing it.

josh malihabadi (1898-1982) is known as a poet of revolution.  He was a secular humanist writing sharply against colonialism, abuse of power, injustice and orthodoxy.  This short Ghazal bemoans the onset of old age when he has lost the intensity of passion or perhaps there is some other reason that is causing it.

1.desire, passion 2.mislead, astray 3.turmoil 4.means, resources 5.hope 6.ruined, desolate 7.garden 7.fresh, vibrant

O passion, do not lead me astray; I no longer have the resources/strength to deal with this turmoil.  In the ruined garden of hope, not even a single flower remains vibrant.  The poet addresses ‘shauq’ (passion) as a force that might tempt him into chaos.  He is weary either with old age or the trials and tribulations of life.  The desolate garden of hope has lost its bloom, there is not even a single flower left that is fresh/vibrant.

1.face 2.beauty 3.feelings 4.hope 5.face, visage 6.brilliance, lustre

Why should I look at the face of love now, O beauty, in your mirror?  The eyes of awareness search for the glow, but there is no lustre left on hope’s visage.  Love and beauty are intertwined with a sense of disappointment. The poet suggests that even the mirror of beauty cannot revive the faded charm of hope, indicating a deep sense of despair.

1.boat, ship 2.rise, emerge 3.storm 4.still 5.ocean 6.waves 7.whirlpool

How can the heart’s ship rise now, when the stormy winds are still?  How can the boat play in the sea, when the waves lack whirlpools?  These are stormy winds and whirlpools of the poet’s own passion and enthusiasm to deal with difficulties.  The winds are still and there are no whirlpools.  He no longer has defiant courage to deal with passion, so how can the boat rise above the waters or play with the ocean.

1.pen-name 2.dispirited, wilted 3.heart, soul 4.age, times, era, period 5.longing 6.return 7.comfort, tranquility 8.eats, consumes 9.grandeur, greatness 10.strength, capacity

Once again, josh feels dispirited, O era of longing, come back; tranquility consumes him, and the heart has no strength for greatness.  The poet mourns the loss of an era filled with aspirations and desires. The current state of comfort and complacency saps his vitality, leaving him yearning for the passionate struggles of the past that gave life its meaning.

The post maujoN meN koii girdaab nahiiN-josh malihabadi 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/joshm-insaaN-banaa-diya-audio.mp3

Recitation

اِنساں  بنا  دیا  ۔  جوشؔ  ملیح  آبادی

۱

جب  دل  نے  مجھ  کو  شعلہ  بداماں  بنا  دیا

میں  نے  ہر  ایک  خار  کو  بستاں  بنا  دیا

۲

اِس  پچھلی  رات  کو  جسے  کہتے  ہیں  کمسِنی

میری  نظر  نے  صبح  درخشاں  بنا  دیا

۳

اے  حسن  شاد  ہو  کہ  تجھے  چشمِ  شوق  نے

آشوبِ  خلق  و  فتنۂ  دوراں  بنا  دیا

۴

پِنہاں  تھیں  جس  میں  روح  کی  گہری  خموشیاں

اُس  جنبشِ  نظر  کو  غزلخواں  بنا  دیا

۵

زُلفوں  کی  ہر  گرہ  کو  عطا  کی  متاعِِ  دل

ابرُو  کی  ہر  شِکن  کو  رگِ  جاں  بنا  دیا

۶

جلوؤں  کو  دی  نظامِ  دو  عالم  کی  وسعتیں

شوخی  کو  کائنات  بداماں  بنا  دیا

۷

عشووں  کی  غنچگی  کو  عطا  کی  شگفتگی

شبنم  کی  بوند  کو  دُرِ  غلطاں  بنا  دیا

۸

غمزے  کے  اشتباہ  کو  بخشا  یقینِ  ناز

وہمِ  شرر  کو  شعلۂ  عریاں  بنا  دیا

۹

فیضِ  نگاہِ  عشق  نے  اے  دفترِ  جمال

تیرے  ہر  ایک  جزو  کو  قرآں  بنا  دیا

۱۰

خالِ  سیہ  کو  بخش  کے  مُہرِ  پیعمبری

زُلفوں  کی  موجِِ  کفر  کو  ایماں  بنا  دیا

۱۱

اے  ناز  داد  دے  کہ  سرابِ  جمال  کو

میری  نظر  نے  چشمۂ  حیواں  بنا  دیا

۱۲

اے  حُسن  شُکر  کر  کہ  ملی  تُجھ  کو  خسروی

اے  جِسم  ناز  کر  کہ  تجھے  جاں  بنا  دیا

۱۳

کج  کر  کلاہِ  فخر  کہ  تیرے  شباب  کو

میں  نے  خدائے  عالمِ  اِمکاں  بنا  دیا

۱۴

لیکن  بہ  ایں  ہمہ  تیرا  احساں  ہے  جوشؔ  پر

دل  کو  دیے  وہ  داغ  کہ  اِنساں  بنا  دیا

इन्सां बना दिया – जोश मलीहाबादी

१

जब दिल ने मुझ को शो’ला ब-दामां बना दिया

मैं ने हर एक ख़ार को बुस्ताां बना दिया

२

इस पिछली रात को जिसे कहते हैं कमसिनी

मेरी नज़र ने सुबह दरख़्शां बना दिया

३

अए हुस्न शाद हो के तुझे चश्म-ए शौक़ ने

आशोब-ए ख़ल्क़ ओ फ़ितना-ए दौरां बना दिया

४

पिन्हां थीं जिस में रूह की गहरी ख़मोशियाँ

उस जुम्बिश-ए नज़र को ग़ज़लख़्वां बना दिया

५

ज़ुल्फ़ों की हर गिरह को अता की मता’-ए दिल

अब्रू की हर शिकन को रग-ए जां बना दिया

६

जलवों को दी निज़ाम-ए दो-आलम की वुस’अतें

शूख़ी को का’एनात ब-दामां बना दिया

७

इश्वों की ग़ुंचगी को अता की शगुफ़्तगी

शबनम की बूंद को दुर-ए ग़ल्तां बना दिया

८

ग़मज़े के इश्तेबाह को बख़्शा यक़ीन-ए नाज़

वहम-ए शरर को शोला-ए उर्यां बना दिया

९

फ़ैज़-ए निगाह-ए इश्क़ ने अए दफ़्तर-ए जमाल

तेरे हर एक जुज़्व को क़ुर’आं बना दिया

१०

ख़ाल-ए सियह को बख़्श के मोहर-ए पयम्बरी

ज़ुल्फ़ों की मौज-ए कुफ़्र को ईमां बना दिया

११

अए नाज़ दाद दे के सराब-ए जमाल को

मेरी नज़र ने चश्मा-ए हैवां बना दिया

१२

अए हुस्न शुक्र कर के मिली तुझ को ख़ुस्रवी

अए जिस्म नाज़ कर के तुझे जां बना दिया

१३

कज कर कुलाह-ए फ़ख़्र के तेरे शबाब को

मैं ने ख़ुदा-ए आलम-ए इम्कां बना दिया

१४

लेकिन ब-ईं हमा तेरा एहसां है जोश पर

दिल को दिये वो दाग़ के इन्सां बना दिया

Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing. He has written extensively about the beauty of dawn. This is a tribute and at the same time a praise of his own poetic ability.

josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution.  He is very secular and nationalistic in his writings and rebels against orthodoxy.  His range of language and vocabulary is simply amazing.  He has written extensively about the beauty of dawn.  This is a tribute and at the same time a praise of his own poetic ability.

1.flame, passion 2.gathered in the hem of the garment 3.thorn 4.flower garden

The traditional folk way of carrying something is to gather it in the hem of the garment and carry it holding like a temporary sack, but figuratively it means, to be in possession of.  When the heart gathered in its possession flames of passion, I changed every prickly thorn into a fragrant flower.  Thus, the rough, thorny words of verse, became smooth and fragrant verse.

1.past, last night 2.young age, immaturity 3.brilliant

Here he is talking about the immaturity of verse recited last night by the general crowd of poets (or maybe his own initial composition).  He worked on it during the night and by morning changed it into a shining dawn.  Thus, this could be a maturation of his own verse and/or an improvement in the poetic standards of the times.

1.beauty 2.happy 3.eyes 4.desire, love 5.tumult, storm (of passion) 6.world 7.mischief, anarchy 8.times

O beauty, be happy that my loving eye has changed you into a storm of passion and the anarchic tumult of the times.  Thus, his beautiful verse expresses strong passion and creates a tumult (of passions, social movement, rebellion).

1.hidden 2.soul 3.deep 4.silence 5.movement, flutter 6.eyes 7.Ghazal singer

Depths of the silence of the soul are hidden in the eyes.  They want to express, but cannot find words.  I changed the flutter of those eyelashes (fleeting/furtive glances) into Ghazal-singers i.e., they were able to express themselves in exquisite verse.

1.hair 2.knot 3.granted 4.wealth, treasure 5.eyebrow 6.curve, arch 7.jugular vein

‘zulfoN ki girah’-knots in the beloved’s hair can be kinks in the lines of writing, the beloved being his Ghazal.  He gave these kinks the treasure of a heart/love.  This is nicely juxtaposed with the classical thought of the heart captured by the beloved’s curls.  ‘abruu ki shikan’-arched eyebrow, can be a sign of annoyance.  With the finesse of his poetry he changed annoying expressions into a jugular vein – the sign of life.

1.manifestations, visions (of beauty or the divine) 2.order, structure 3.two worlds (this world and the next) 4.vastness, expanse 5.playfulness, mischief (of beauty) 6.universe, cosmos 7.gathered into the hem

I gave the manifestations of beauty (of the beloved or of the divine) the vast structure of both worlds, and gathered all playfulness into the hem of the cosmos.  josh claims (maybe on behalf of all poets) to have elevated fleeting beauty into something with cosmic order, as though his verse gives a structure to the chaos of desire. Even mischief (shuuKhii) is not lost—it is captured and preserved within the folds of the universe itself, giving poetic permanence to what is normally ephemeral.

1.coquettish gestures, teasing flirtation 2.bud-like quality, incipient, potential 3.blossoming, blooming 4.dew 5.drop 6.pearl 7.rolling, dripping

I turned the incipient/shy/beginning coquetry into full blooming beauty, and transformed a drop of dew into a rolling pearl – small, delicate gestures become fully expressed beauty, and something as transient as dew becomes a lasting gem. It’s the poet’s lens that creates transformation-from budding to fully blossomed, from transcience (of a drop) to permanence (of a pearl).

1.flirtatious glance 2.confusion, ambiguity 3.granted, bestowed 4.confident elegance, graceful certainty 5.illusion, doubt 6.spark 7.naked flame

I turned the ambiguity of a coquettish glance into assured grace, and transformed a doubtful spark into an unveiled flame.  His verse granted confidence removing uncertainty from even the most ambiguous flirtatious glances. He turns hesitant flirtation into confident allure, and vague impressions into bold declarations-beauty and emotion made clear through his verse.

1.blessing, grace 2.glance 3.book, record 4.beauty 5.segment, chapter 6.divine revelation

O manuscript of beauty! The grace of lover’s gaze turned your every detail into a sacred revelation.  Addressing the beloved (the beloved could also stand for beauty itself and/or for his own verse) as daftar-e jamaal  the poet elevates every physical attribute into divine scripture. Through the eyes of love, even the beloved’s smallest features hold spiritual truth and beauty becomes sacred text (the beloved can be his own verse).

1.mole, beauty spot 2.black 3.grant, bestow 4.seal 5.prophethood 6.curls 7.wave 8.heresy, disbelief 9.faith

It is believed that prophets had a seal stamped on their backs authenticating them as messengers of god.  I gave the dark mole (on the beloved’s face) the dignity of a prophetic seal, and turned the waves of her heretical curls into articles of faith.  Heretical curls could be the confused first draft of writing or thinking and turn into beautiful verse is like giving it the status of articles of faith.

1.delicate pride 2.reward, praise 3.mirage 4.beauty 5.spring of the nectar of immortality

O pride of grace, praise me, for my vision turned the mirage (unreal shimmering image) of beauty into a spring of life-giving nectar.  He doesn’t just reflect beauty; he transforms and amplifies it, gives it immortality through his verse.

1.beauty 2.thanks 3.kingship 4.body 5.pride 6.soul

O beauty, be grateful that I gave you sovereignty, O body, be proud that I turned you into soul.  josh takes credit for giving external beauty its nobility and for elevating the physical to the spiritual. Through his poetic lens, superficial beauty becomes meaningful, and the material is infused with spirit.

1.tilt, slanted 2.cap, crown 3.pride 4.youth 5.world of possibilities

A tilted/slanted cap is a sign of defiance/confidence/pride.  He is addressing the beloved (where the beloved could be his versification) and saying that he has transformed the budding youth of the beloved into the lord of the world of possibilities i.e., the beloved has been bestowed with great power perhaps to change the world order.

1.despite 2.all this 3.favor, grace 4.pen-name 5.wound, scar 6.human

Yet despite all this (that I have done), josh is indebted to you, for you gave his heart such scars (wounds of love and sensitivity) that they made him human.  The final couplet is a humble turn. Despite the grand claims of artistic transformation and divine beauty, the poet acknowledges that his beloved’s gift of sensitivity to pain is what made him truly human. The scars of love gave him depth, grounding all the poetic heights in human vulnerability.

The post insaaN bana diya-josh malihabadi 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/joshm-kaj-kulaah-gul-o-yaasman-haiN-aaj-audio.mp3

Recitation

کج  کلاہ  گُل  و  یاسمن  ہے  آج  ۔  جوشؔ  ملیح  آبادی

۱

پھر  طرزِ  نو  سے  زینتِ  صحنِ  چمن  ہے  آج

گلشن  میں  کج  کلاہ  گُل  و  یاسمن  ہے  آج

۲

پھر  جامِ  زر  میں  جمع  ہے  صہبا  و  نورِ  ماہ

پھر  اِتّصالِ  جلوۂ  گنگ  و  جمن  ہے  آج

۳

پھر  اہلِ  دل  کی  عقدہ  کشائی  کے  شوق  میں

سرگرمِ  ناز  زُلف  شکن  در  شکن  ہے  آج

۴

تمہیدِ  شرحِ  صدر  ہے  پھر  شغلِ  مے  کشی

پھر  برقِ  طور  موجِ  شرابِ  کہن  ہے  آج

۵

پھر  عکسِ  زلفِ  یار  ہے  قلبِ  فگار  پر

پھر  ابرِ  تیرا  صدر  نشینِ  چمن  ہے  آج

۶

پھر  بوستاں  میں  طرّۂ  طرفِ  کلاہِ  دوست

وجہ  فروغِ  افسرِ  سرو  و  سمن  ہے  آج

۷

پھر  خدمتِ  نیاز  پہ  مائل  ہے  روحِ  ناز

پھر  زانوئے  صنم  پہ  سرِ  برہمن  ہے  آج

۸

لرزاں  تھی  جس  کے  وعدۂ  فردہ  سے  زندگی

پہلو  میں  پھر  وہ  شاہدِ  پیماں  شکن  ہے  آج

۹

زخمِ  نگاہِ  بد  سے  بچائے  رہے  خدا

دیکھو  تو  کوئی  جوشؔ  پہ  کیا  بانکپن  ہے  آج

कज कुलाह गुल ओ यासमन है आज – जोश मलीहआबादी

१

२

३

४

५

६

७

८

९

Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution. He is very secular and nationalistic in his writings and rebels against orthodoxy. His range of language and vocabulary is simply amazing.

josh malihabadi (1898-1982) is called shaa’er-e inqelaab, poet of change/revolution.  He is very secular and nationalistic in his writings and rebels against orthodoxy.  His range of language and vocabulary is simply amazing.

1.way, style 2.new 3.adornment 4.field of the garden, garden plots 5.garden 6.tilted/jaunty caps 7.rose 8.jasmine

The garden is adorned in a new style today – roses and jasmines bloom with tilted crowns (kaj kulaah – in urdu poetic tradition this is symbolic of defiance or sometimes, playfulness/teasing); perhaps here it is used to suggest playfulness i.e., nature’s playful elegance reborn in spring; describing the beauty of spring.

1.cup 2.golden 3.collected 4.wine 5.light, brilliance 6.moon 7.confluence, mingling 8.image, glory 8.Ganges and Jamuna

The confluence of gaNga and jamuna is used as a symbolism of the coming together of two good/beautiful things to make something even more glorious.  Golden cups jaam-e zar, probably symbolize roses and tulips.  Thus, it is spring, a moonlit night and dew and the light of the moon are collected in these ‘golden cups’ making something that is even more glorious.

1.people of heart, lovers 2.unraveling of knots 3.desire, passion 4.busy in 5.coquetry 6.hair 7.curl upon curl, every curl

Lovers intensely desire to unravel knotted tresses of the beloved.  To tease them (in spring) her hair is busy/engaged in the coquetry of twisting itself curl after curl.  This could be symbolic of an inspiration for the poet to unravel mystery after mystery with his ash’aar or of a sufi unraveling divine mysteries.

1.preamble, preface 2.opening of the chest 3.pastime 4.drinking wine 5.lightning 7.mount tuur 8.old

There are two references to stories from religious texts.  One is the story of moosa/Moses going up mount tuur and seeing a flash of lightning as evidence of the divine.  Second is the story of Archangel Gabriel coming down to open the chests of prophets and cleaning their hearts to make them pure and ready to receive divine messages.  Thus, the pastime of wine-drinking is the preface to the cleansing of the heart so that it can receive spiritual revelations/compose ash’aar.  The ripples of wine (sharaab-e kuhan-old/aged wine is excellent) in the poet’s cup are like divine splendour/lightning (barq-e tuur).

1.image, shadow, reflection 2.hair 3.beloved 4.heart 5.broken 6.clouds 7.dark 8.sitting on top

The poet/lover’s heart is broken.  The emotions of a broken heart lead to composition of ash’aar.  The aks-e zulf-e yaar the shade of the beloved’s hair is what brings love/comfort to the broken heart like the dark cloud hovering over the garden and bringing down spring showers – the blessing of ash’aar.

1.garden 2.turban, cermonial cap, ornament 3.direction 4.tilted, skewed 5.friend, beloved 6.reason, basis 7.brilliance, splendour

In orchards, the beloved’s tilted turban-ornament (turra–e tarf-e kulaah is symbolic of her playfulness) makes cypresses and jasmines glow – the beloved’s charge makes the garden even more beautiful.

1.service 2.offering, devotion 3.inclined towards 4.spirit 5.coquetry, pride 6.lap 7.beloved, idol 8.priest, devotee

In urdu poetic tradition naaz-niyaaz – coquetry and devotion, are used as symbolic of the beloved and lover.  In addition, here, sanam-barhaman the idole/beloved and the priest/devotee are used in the same way.  Thus, once again, today, the lover is inclined towards serving the beloved, the lover places his head at the feet/lap of the beloved.  This could mean that the poet is inclined to make an offering to his beloved – ash’aar.

1.trembling, throbbing (in excitement) 2.promise 3.future 4.side 5.most usually-witness, but it also means the beloved 6.promise breaking

The beloved’s promise of a future favour that kept the poet/lover alive-kept his heart throbbing with excitement.  That same promise-breaking beloved (shaahid-e paimaaN shikan) is beside the poet/lover-in his embrace.  This may be symbolic of the fulness of spring or perhaps the poet saying that the inspiration of writing poetry is within his grasp today.

1.wound 2.evil eye 3.keep protected 4.pen-name 5.elegance, charm, defiance

May god protect josh from the wounds of the evil eye.  Behold what playful charm (baaNkpan) josh displays today.  He is celebrating his poetic vitality.

The post kaj kulaah gul-o-yaasman hai aaj-josh malihabadi 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/shhKhjm-dahr-ke-inqelaab-meN-audio.mp3

Recitation

دہر  کے  اِنقلاب  میں  ۔  جوشؔ  ملیح  آبادی

۱

دیر  سے  منتظر  ہوں  میں  بیٹھ  نہ  یوں  حِجاب  میں

تاروں  کی  چھاؤں  ہے  در  آ  میرے  دلِ  خراب  میں

۲

کس  سے  کہوں  میں  داستاں  طولِ  شبِ  فراق  کی

جاگ  رہا  ہوں  ایک  میں،  سارا  جہاں  ہے  خواب  میں

۳

اُس  سے  ڈرو  وہ  فتنۂ  بزمِ  حیات  ہے  جسے

شیب  میں  تابِ  مے  نہ  ہو  عشق  نہ  ہو  شباب  میں

۴

عرش  سے  آئی  یہ  صدا  بخش  دیے  ترے  گناہ

یاد  کیا  کسی  کو  یوں،  کل  شبِ  ماہتاب  میں

۵

یوں  تو  حریمِ  ناز  میں  کتنے  ہی  دل  ہوئے  تھے  پیش

حُکمِ  شِکستگی  ہوا  میرے  ہی  دل  کے  باب  میں

۶

مضطر  و  بیقرار  ہوں  جوشؔ  وہ  خود  مرے  لیے

کاش  اِک  ایسی  رَو  بھی  ہو،  دہر  کے  انقلاب  میں

दहर के इनक़ेलाब में – जोश मलीह’आबादी

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Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as a poet of revolution. He was a secular humanist writing sharply against colonialism, abuse of power, injustice and orthodoxy. ‘manshoor’ is manifesto/declaration. This Ghazal representing wishful thinking, composed in the same radeef as Ghalib’s ‘saaqi ne kuchh milaa na diya ho sharaab meN’ is linked to Ghalib naqsh-e qadam.

josh malihabadi (1898-1982) is known as a poet of revolution.  He was a secular humanist writing sharply against colonialism, abuse of power, injustice and orthodoxy.  ‘manshoor’ is manifesto/declaration.  This Ghazal representing wishful thinking, composed in the same radeef as Ghalib’s ‘saaqi ne kuchh milaa na diya ho sharaab meN’ is linked to Ghalib naqsh-e qadam.

1.waiting 2.veiled, hidden 3.intrude, come in without hesitation 4.ruined

1.story 2.length 3.night 4.separation 5.world 6.sleep

1.disturbance, mischief maker 2.gathering 3.life 4.old age 5.strength, capacity to bear 6.wine 7.youth

1.sky, heavens 2.voice 3.forgiven 4.sins 5.full-moon night

1.sanctuary 2.coquetry, elegance 3.presented, offered 4.command, order 5.breaking 6.door, domain

1.restless 2.imaptient 3.pen-name 4.herself 5.I wish 6.tide, flow 7.world 8.revolution

May she herself be restless and impatient for me, O josh; I wish that there was such a tide in the topsy turvy world order.

The post dahr ke inqelaab meN-josh malihabadi 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/shhKhjm-nau-e-bashar-hanooz-11-20-audio.mp3

Recitation

نوعِ  بشر  ہنوز  ۔۱۱۔۲۰۔  جوشؔ  ملیح  آبادی

۱۱

اِس  جادۂ  درازِ  سنین  و  شُہور  پر

اِنسان  کا  سفر  ہے  بہت  مختصر  ہنوز

۱۲

بے  مُزد  بھر  رہے  ہیں  جو  ذہنوں  کی  جھولیاں

وہ  ناشرانِ  شعر  ہیں  دریوزہ  گر  ہنوز

۱۳

قدریں  ہیں  دائمی  کہ  اِضافی  کسے  خبر

اُلجھا  ہوا  ہے  مسئلۂ  خیر  و  شر  ہنوز

۱۴

ذہنوں  کی  سرزمین  پہ  ہیں  برف  باریاں

لب  بستہ  ہے  نبوت  برق  و  شرر  ہنوز

۱۵

منہ  اپنا  دیکھنے  کو  سمجھتے  ہیں  کفر  لوگ

حیران  ہے  ذکاوتِ  آئینہ  گر  ہنوز

۱۶

اے  دیدہ  ہائے  غولِ  بیاباں  کی  روشنی

تیری  تہوں  میں  دفن  ہیں  شمس  و  قمر  ہنوز

۱۷

اک  خسروِ  شنیدہ  و  نادیدہ  کے  حضور

پھینکے  ہوئے  ہے  دانشِ  آدم  سپر  ہنوز

۱۸

بخشے  گا  زندگی  سے  جو  اِنسان  کو  نجات

وہ  حرفِ  مایہ  دار  ہے  نا  معتبر  ہنوز

۱۹

حیران  ہوں  کہ  خود  ہے  جو  مسجودِ  کائنات

سجدوں  کے  شغل  میں  ہے  وہ  نوعِ  بشر  ہنوز

۲۰

زانوئے  دل  پہ  دیر  سے  خوابیدہ  ہیں  دماغ

مثلِ  جنازہ  دوش  پہ  جُنباں  ہیں  سر  ہنوز

नौ-ए बशर हनूज़ –११-२०- जोश मलीहआबादी

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Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. Typically, josh’s compositions throb and overflow with energy and ‘josh/passion’. Here josh derides the intellectual paralysis of humanity. This is a long Ghazal-numa nazm, posted in two parts for easy reading. This is the second part.

josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution.  His nazm are fiery, passionate and full of energy.  His Ghazal and rubaaii are equally good.  He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy.  Typically, josh’s compositions throb and overflow with energy and ‘josh/passion’.  Here josh derides the intellectual paralysis of humanity.  This is a long Ghazal-numa nazm, posted in two parts for easy reading.  This is the second part.

1.path 2.long 3.centuries 4.months 5.journey 6.brief 7.still, even now

Humanity’s journey across centuries remains brief; their journey over the path of time is still very brief.

1.without compensation, free 2.minds 3.sacks 4.publishers, writers 5.beggars

Poets still fill minds at no charge (without getting any compensation or reward).  These writers/publishers are still beggars.

1.value 2.eternal 3.extra, additional, redundant 4.knowledge, awareness 5.tangled 6.puzzle 7.good and evil

Who realizes or appreciates that values are eternal not redundant.  The puzzle of what is good and what evil remains unresolved.

1.minds, intellect 2.homeland 3.raining ice 4.closed lips 5.prophesy, divine message 6.lightning 7.spark

Here barf-baari the rain of ice on the homeland of minds is used as a metaphor for frozen/unthinking/uncritical minds.  Thought is frozen in time by accepting received word as eternal.  nubuvvat-e barq-o-sharar the message of lightning and sparks is used as symbolic of energetic thinking.  Thus, minds are frozen and the voice of the message of critical thinking is still lab-basta silent.

1.look at oneself (in the mirror) 2.blashpemy 3.astonished 4.probity, ingenuity 5.mirror-maker

The aaiina-gar mirror-maker is the person who gives you the ability to look at yourself.  This could be the poet himself or the class of poets, who write/read out ash’aar that show people their inner selves.  But people consider such self-reflection blasphemous.  The probity of the mirror-maker is still astonished at this behaviour.

1.plural of diida, eyes 2.Ghaul-e siyaah means-night, night 3.wilderness 4.light 5.layers 6.buried 7.sun 8.moon

Here Ghaul is used as short for Ghaul-e siyaah, meaning night.  biyabaaN-wilderness is used as symbolic of having lost the way and wandering in the wildernss – confused, searching.  Thus, the first misra translates to mean – O light of the eyes i.e., vision of the night of wilderness/confusion.  This vision of confusion/questioning has the sun and moon hidden in its layers i.e., all it has to do is remove these layers of confusion and things will be bright as the sun and moon.

1.king 2.heard about, imagined 3.unseen 4.in front of, before 5.wisdom, knowledge 6.human 7.shield, armour

Before an imagined but unseen king, human knowledge has thrown down its shield; discarded its armor i.e., it is vulnerable to the unknown and unproven.

1.grant, bestow 2.life, the trials of life 3.human 4.deliverance, liberation 5.word 6.high value 7.not credible

The high-value/meaningful word that could liberate humanity, remains unappreciate, doubted, not believed.

1.astonished, puzzled 2.self 3.one who is worshipped, one before whom others prostrate, perfrom sajda 4.universe 5.prostration 6.pastime 7.human species

This has reference to the story of ‘creation’.  god created human and collected all other creatures angels and spirits and ordered them to bow down/prostrate before adam-the first human.  Thus, human species is the object/target of prostration by the rest of the universe (what a self-serving thought).  The poet is astonished that the very species worshipped by creation remains engrossed in prostration before someone/something else.  This something else could be received belief, uncritical thinking.

1.lap 2.asleep 3.intellect 4.similar to, like 5.corpse, unthinking 7.moving

Here dil is symbolic of emotions and dimaaGh of intellect.  Thus, for too long now, intellect has been sleeping in the lap of emotions.  The head moves on the shoulders but like a corpse i.e., unthinking mind – an image of intellectual paralysis.

The post nau-e bashar hanooz-11-20-josh malihabadi 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/shhKhjm-nau-e-bashar-hanooz-1-10-audio.mp3

Recitation

نوعِ  بشر  ہنوز  ۔۱۔۱۰۔  جوشؔ  ملیح  آبادی

۱

نا  آشنائے  سجدۂ  نوع  ہے  بشر  ہنوز

زانوئے  فکر  سے  ہے  بہت  دور  سر  ہنوز

۲

اُبھری  نہیں  ہے  جودتِ  گردوں  شناس  ابھی

بینا  نہیں  ہے  دیدۂ  گیتی  نِگر  ہنوز

۳

دیوانگی  کے  در  پہ  ہیں  سجدوں  کی  بارشیں

فرزانگی  کی  راہ  میں  اُڑتے  ہیں  سر  ہنوز

۴

رَو  میں  ہے  ظلمتِ  شبِ  تاریک  کی  سپاہ

سکتے  میں  ہے  جلوسِ  طلوعِ  سحر  ہنوز

۵

بھٹکا  ہوا  ہے  قافلۂ  عِلم  و  آگہی

اُلجھی  ہوئی  ہے  زلفِ  مذاقِ  خِضر  ہنوز

۶

پھبکی  ہوئی  ہے  کشتِ  خس  و  خار  آج  بھی

دہکی  ہوئی  ہے  دولتِ  برگ  و  ثمر  ہنوز

۷

عالم  ہے  اِس  دیار  کا  فرزندِ  نا  خلف

جاہل  ہے  اِس  زمین  کا  لختِ  جگر  ہنوز

۸

محصول  اِس  قدر  ہے  کہ  اللہ  کی  پناہ

آساں  نہیں  تجارتِ  علم  و  خبر  ہنوز

۹

ہوتا  ہے  ضبط  سرحد  و  ساحل  پہ  مالِ  عقل

ممنوع  ہے  درآمدِ  فکر  و  نظر  ہنوز

۱۰

نظروں  کی  جستُجُو  میں  ہے  جنسِ  جمال  ابھی

گاہک  کی  منتظر  ہے  متاعِ  ہنر  ہنوز

नौ-ए बशर हनूज़-१-१० – जोश मलीहआबादी

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Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. Typically, josh’s compositions throb and overflow with energy and ‘josh/passion’. Here josh derides the intellectual paralysis of humanity. This is a long Ghazal-numa nazm, posted in two parts for easy reading.

josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution.  His nazm are fiery, passionate and full of energy.  His Ghazal and rubaaii are equally good.  He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy.  Typically, josh’s compositions throb and overflow with energy and ‘josh/passion’.  Here josh derides the intellectual paralysis of humanity.  This is a long Ghazal-numa nazm, posted in two parts for easy reading.

1.unfamiliar 2.prostration 3.new 4.human 5.still, to this day 6.lap 7.reason, intellect

Humanity remains unacquainted with true/real prostration/devotion/respect – is still far from placing the head (intellect) on the lap of reason/wisdom.  zanuu par sar rakhna is an expression meaning to be immersed in deep thought.  Humanity is still far from doing this.

1.emerged 2.intelligence 3.skies, heavens, universe 4.knowing, comprhending 5.seeing 6.eye 7.world 8.perceiving

1.foolishness, ignorance 2.door 3.prostrations 4.wisdom, knowledge 5.path 6.fly, cut off

1.on the move 2.darkness 3.night 4.dark 5.army 6.stupor 7.procession 8.rise 9.dawn 

1.wandering, lost 2.caravan 3.learning 4.knowledge 5.tangled 6.hair 7.taste, ways, traditions 8.legendary old man

1.sprout, grow, flourish 2.harvest, agricultural fields 3.straw, weeds 4.thorns 5.burnt, destroyed, ruined 6.wealth, domain 7.leaves, petals 8.fruit

The fields of weeds and thorns are flourishing, while the domain of vegetation and fruits is destroyed.

1.condition 2.domain 3.progeny 4.ignoble, wicked 5.ignorant 6.piece of the liver – an expression used to mean ‘beloved child’

The condition of this domain/land is like that of an ignoble child.  The beloved children of this earth are still ignorant.

1.profit, yield 2.in such measure 3.protection 4.easy 5.trade 6.learning 7.knowledge

iss qadar can mean in such (small) measure i.e., only this much.  Thus, the benefit is so little (or so slow) that it is difficult to trade/sell the concept of learning and knowledge.

1.confiscated 2.borders 3.shoreline 4.goods 5.intelligence 6.forbidden, prohibited 7.import 8.reasoning 9.discerning, examining

The goods/treasures of intelligence are confiscated at the borders and shores.  The import of reason and critical perception is forbidden.

1.sight 2.seeking, searching 3.commodity 4.beauty 5.buyer 6.waiting 7.treasure 8.art

Sight/eyes still seek the commodity of superficial beauty.  The treasure of the artist is still waiting for a buyer i.e., aesthetic sense is still immature.

The post nau-e bashar hanooz-01-10-josh malihabadi 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/pnp-shaam-o-sahar-yaad-aaya-audio.mp3

Recitation

شام  و  سحر  یاد  آیا  ۔  پرکاش  ناتھ  پرویزؔ

۱

پھر  وہ  فردوسِ  نظر  یاد  آیا

عالمِ  کیف  اثر  یاد  آیا

۲

میں  جسے  یاد  نہ  آیا  اک  دن

وہ  مجھے  شام  و  سحر  یاد  آیا

۳

اُن  کی  محفل  کا  خیال  آتے  ہی

اپنا  ہنگامِ  سفر  یاد  آیا

۴

ہاتھ  میں  جام  لیا  جب  میں  نے

خونِ  دل،  خونِ  جگر  یاد  آیا

۵

دل  میرا  کر  تو  رہے  ہو  برباد

کیا  کرو  گے  یہ  اگر  یاد  آیا

शाम ओ सहर याद आया – प्रकाश नाथ परवेज़

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Click here for background and on any passage for word meanings and explanatory discussion. prakash nath parvez (1930-????), amritsar district. BA (1953) and MA (1960) in urdu from punjab university. He also learnt faarsi as a part of his BA curriculum. He started composing verse at an early age with first publication in a magazine in 1956. He worked for the central government in the accountant general’s office. There are at least four collections of doha, nazm and Ghazal. This Ghazal is linked to ‘diida-e tar yaad aaya’, Ghalib naqsh-e qadam on the Theme Index page.

prakash nath parvez (1930-????), amritsar district.  BA (1953) and MA (1960) in urdu from punjab university.  He also learnt faarsi as a part of his BA curriculum.  He started composing verse at an early age with first publication in a magazine in 1956.   He worked for the central government in the accountant general’s office.  There are at least four collections of doha, nazm and Ghazal.  This Ghazal is linked to ‘diida-e tar yaad aaya’, Ghalib naqsh-e qadam on the Theme Index page.

1.paradize 3.sight 3.condition, state 4.rapture inducing

The beloved’s beauty is described as fidaus nazar i.e., looking at her is like looking at heaven.  Thus, once again, I remembered that paradise-like vision; that state of blissful intoxication (the sight of the beloved induces rapture) came to mind.

1.day and night

In classical urdu poetry the beloved is notorious for being indifferent to the lover.  Hence, the one who never remembered me even once, I remember that beloved day and night.

1.gathering 2.thought, memory 3.time of 4.journey

The moment I remembered the beloved’s gathering, I also recalled my own time of departure/journey.  Perhaps the lover had obtained access to the beloved’s gathering and later was forbidden because of the machinations of the rival.  He then started on his journey of distress through the wilderness.

1.cup/goblet of wine 2.liver

Both the heart and liver of the lover have been shot through by the arrow of the beloved’s glance.  That makes him cry tears of blood and when he raises/picks up a wine-cup, he remembers the profuse bleeding of his heart and liver.

1.destroy, ruin

You are indeed ruining my heart; but what will you do if you remember this loving heart.  The implication is that there will be no other heart that can offer the sincere love that his heart offers.  It is a cautionary warning to the beloved.

The post shaam-o-sahar yaad aaya-prakash nath parvez 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/ravishs-diida-e-tar-yaad-aaya-audio.mp3

Recitation

دیدۂ  تر  یاد  آیا  ۔  روشؔ  صدیقی

۱

حاصِلِ  دیدۂ  تر  یاد  آیا

خاک  میں  مل  کے  گہر  یاد  آیا

۲

کیوں  غرورِ  گُلِ  تر  یاد  آیا

دلِ  خوں  گشتہ  مگر  یاد  آیا

۳

اب  نہ  جادہ  ہے  نہ  منزل  کوئی

کیا  سرِ  راہ  گزر  یاد  آیا

۴

شام  ہی  سے  دلِ  افسردہ  کو

چہرۂ  شمعِ  سحر  یاد  آیا

۵

قسمتِ  وعدۂ  فردہ  معلوم

بھول  جاؤ  گے  اگر  یاد  آیا

۶

کسی  جانب  قدم  اُٹھتے  ہی  نہیں

کون  یہ  وقتِ  سفر  یاد  آیا

۷

ہم  نے  منہ  پھیر  لیا  منزل  سے

حسنِ  آغازِ  سفر  یاد  آیا

۸

رہ  گئے  دیکھ  کے  آئینہ  کو

کیا  کوئی  اہلِ  نظر  یاد  آیا

۹

ڈھونڈنے  کس  کو  چلے  ہیں  آنسو

کون  اے  دیدۂ  تر  یاد  آیا

۱۰

مرہمِ  زخمِ  جگر  یاد  آیا

پھر  وہی  تیرِ  نظر  یاد  آیا

۱۱

ہم  نہ  اے  داورِ  محشر  ہوں  گے

کوچہ  دوست  اگر  یاد  آیا

۱۲

جوشِ  وحشت  میں  بھی  ظالم  دل  کو

اُسی  بے  درد  کا  گھر  یاد  آیا

۱۳

آئینہ  دیکھ  کے  منہ  پھیر  لیا

کون  بربادِ  نظر  یاد  آیا

۱۴

تھا  اِسی  ضبط  کا  وعدہ  اُس  سے

تجھ  کو  اے  دیدۂ  تر  یاد  آیا

۱۵

بن  گئیں  نقش  بہ  دیوار  آنکھیں

جب  تیرا  پردۂ  در  یاد  آیا

۱۶

تنگیِ  دہر  سے  گھبرا  کے  روشؔ

وہی  اُجڑا  ہوا  گھر  یاد  آیا

दीदा-ए तर याद आया – रविश सिद्दीक़ी

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Click here for background and on any passage for word meanings and explanatory discussion. shahid aziz ravish siddiqui (1909-1971) was brought up in a religious atmosphere but in addition to arabi and faarsi, he learnt sanskrit and hindi and was well versed in vedantic literature. As a Ghazal writer he has leaned heavily on Ghalib with many Ghazal composed in his style. This is in the style of Ghalib’s ‘diida-e tar yaad aaya’ and is linked to Ghalib naqsh-e qadam.

shahid aziz ravish siddiqui (1909-1971) was brought up in a religious atmosphere but in addition to arabi and faarsi, he learnt sanskrit and hindi and was well versed in vedantic literature.  As a Ghazal writer he has leaned heavily on Ghalib with many Ghazal composed in his style.  This is in the style of Ghalib’s ‘diida-e tar yaad aaya’ and is linked to Ghalib naqsh-e qadam.

1.yield, output, result 2.tearful eye 3.dust, clay, earth 4.gem, pearl

What is the net result, the yield of a tearful eye.  Tear drops (which are like pearls) drop and get absorbed in the soil.  Thus, all you get out of mourning is to have the symbols of your emotion buried into the ground.  That is what comes to the mind of the poet.

1.pride 2.fresh rose 3.blood soaker, blood dripping

The poet wonders why he thinks of a fresh rose.  That is because it reminds him of a blood dripping heart.  The physical similarity of a dew soaked red rose and blood soaked red heart is clear.  The juxtaposition of the vibrant pride of a fresh rose with the bleeding heart signifies the stark contrast between joy and suffering, emphasizing the intertwining of happiness and grief.

1.pathway 2.destination 3.along the pathway

Perhaps there are two ways of looking at this.  If the second misra is read as a rhetorical question … is this the way to remember the roadside, there is no vision of the destination and no defined path to get there.  Then this becomes the poet admonishing himself or may be those around him.  If the second misra is read as a question, asking someone (or himself) if he has remembered the side of the road (where the roadside represents a resting place) then the first misra gives an answer … there is no clear path, no defined destination and the only alternative is to rest by the side of the road.  It is a chaotic, perhaps purposeless life that the poet presents.

1.despondent heart 2.face 3.candle at dawn

If the sham’a-e-sahar represents a burnt-out candle which has been burning all night long and at dawn it is all used up or about to be put out, then the face of such a candle would be forlorn.  Thus, even from early evening the depondent heart of the sorrowful poet imagines the forlorn face of a used-up candle.  If the sham’a-e sahar represents the light of hope at dawn (the rising sun), then the despondent heart of the poet begins to yearn for this hope from the early evening.

1.fate 2.promise 3.future 4.known

The fate of tomorrow’s promise is known, i.e., it will never be fulfilled.  In classical urdu poetry the beloved is notorious for breaking her promise, but this can apply to anyone.  Even if you remember this promise (and perhaps remind the other party about it), you will soon forget if (perhaps because of repeated let-downs).

1.direction 2.steps 3.time of departure

The poet may be addressing himself or an interlocuter.  You take no step in any direction, who has come to mind at the time of departure, beginning of the journey?  The poet expresses a sense of being lost or longing for something other than the journey, perhaps he remembers the beloved and is paralyzed.

1.turned away 2.destination 3.beauty 4.beginning 5.journey

Perhaps as a result of repeated disappointments the poet/seeker has turned away from/given up on the destination.  He recalls with nostalgia the beauty of the beginning of the journey.  If we think of this as the journey of love, then the initial euphoria was beautiful and gradually disillusionment set in.

1.stopped, paused 2.person of discerning eye, or of insight

If the first misra is addressed to the beloved, she regards at herself in the mirror and stops, because she thinks of her admirer, the poet/lover – ‘here was a man who had good taste in beauty’, she might be saying to herself.  If the first misra is read as addressed to himself, then the she’r becomes a bit mundane.

1.searching 2.tears 3.tearful eye

Whom are these tears searching for?  Who did the tearful eye remember?  Tears are personified as seekers of a lost person/relationship.  Posed as a poignant question, it deepens the sense of longing and reflects on the emotional turmoil of remembrance.

1.balm, ointment 2.wound 3.liver/heart 4.arrow of the glance

The beloved’s sidelong glance is like an arrow.  It wounds the liver/heart of the poet/lover.  Yet he considers it to be balm for the wound and wants more of it.

1.judge, lord 2.day of judgment 3.street 4.beloved

I will not be present before you, O lord of judgment day, if the beloved’s street comes to mind.  The poet/lover has completely surrendered himself to love.  Answering the call of love is even more important than fear of divine accountability.

1. frenzy 2.madness, passion 3.cruel 4.heartless

Even in the frenzy of mad passion, this cruel heart, remembered the house of that heartless one.  Expresses the paradox that even in the throes of chaos, the heart holds on to memories of the very person who caused the anguish.

1.turned away 2.ruined 3.glance

The poet/lover is the one who has been ruined by the enchanting glance of the beloved.  When he looks at himself in the mirror, he realises what has become of him and turns away from it.  Perhaps the first misra is about the beloved.  She regards herself in the mirror and remembers the lover ruined by her glance.  She cannot bear the thought and turns away from the mirror.

1.self-restraint 2.promise 3.tearful eye

Following the conventions of love, the lover has promised the beloved that he would not show his distress in public.  But his eyes cannot help but shed tears.  He admonishes his tearful eye – is this the kind of self-restraint that had promised; O tearful eye, do you remember.

1.naqsh-ba-diivaar is an expression meaning stunned, amazed, silent like a picture on the wall 2.veil, curtain 3.doorway

The memory of even the curtain on the beloved’s doorway invokes intense memories in the mind of the poet/lover so much so that he becomes dazed and stunned.  Perhaps associated with the curtain is an occasional parting of the curtain and the beloved peeing out or even emerging into the open.

1.narrowness, constraints 2.world 3.weary, fearful 5.ruined, desolate 6.home, shelter

The poet/lover is tired of the constraints that the world/society places on him.  To get away from it, he thinks of the once-familiar house, even if it were ruined and desolate.  It provides a sanctuary in stark contrast with the cruel world.

The post diida-e tar yaad aaya-ravish siddiqui 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/shchstd-baar-e-digar-yaad-aaya-audio.mp3

Recitation

بارِ  دگر  یاد  آیا  ۔  شیش  چندر  سکسینہ  طالبؔ  دہلوی

۱

پھر  ترا  تیرِ  نظر  یاد  آیا

پھر  ہمیں  زخمِ  جگر  یاد  آیا

۲

گو  بہت  دل  سے  بھلانا  چاہا

بھولنے  والا  مگر  یاد  آیا

۳

یاد  بھولے  سے  کریں  گے  نہ  کبھی

اور  بھولے  سے  اگر  یاد  آیا؟

۴

موت  نے  رختِ  سفر  کیا  باندھا

زندگانی  کا  سفر  یاد  آیا

۵

یاد  آنا  تھا  بہرحال  جسے

شام  بھولے  تو  سحر  یاد  آیا

۶

ہاے  کیا  چیز  ہے  حب  الوطنی

تھے  جو  غربت  میں  تو  گھر  یاد  آیا

۷

جس  کو  مٹی  میں  ملے  دیر  ہوئی

آج  وہ  خاک  بسر  یاد  آیا

۸

پھر  ہوئیں  تازہ  روآیات  کہن

سنگ  کو  دیکھ  کے  سر  یاد  آیا

۹

کیوں  ہوے  حشر  کے  فتنے  بیدار

کس  کے  نالوں  کا  اثر  یاد  آیا

۱۰

دل  میں  رہ  رہ  کے  خلِش  ہوتی  ہے

کون  یہ  بارِ  دِگر  یاد  آیا

۱۱

تیرے  اندازِ  بیاں  سے  طالبؔ

میر  و  غالب  کا  ہنر  یاد  آیا

बार-ए-दगर याद आया – शीश चंद्र सक्सेना तालिब देहलवी

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Click here for background and on any passage for word meanings and explanatory discussion. taalib dehlavi-shiish chandr saxena (1910-1975), born and raised in ambaala. High school, 1925. After some interruption, BA (1935) from Hindu College, dehli. Started composing in 1927; shaagird of munshi maharaaj barq dehlavi. He may have been independently wealthy. He writes about frequent mushaa’era held at his house. He collected and compiled the works of munshi maharaj barq dehlavi, ramprakash sahir hoshiarpuri and chandrbhan kaifi dehlavi, which might otherwise have been lost. In addition, he compiled a collection called ‘hamaare husain’, elegies composed by non-muslim shu’ara as tributes to husain and karbala. This Ghazal, in the zamiin of Ghalib’s ‘diida-e tar yaad aaya’ is linked to Ghalib naqsh-e qadam.

taalib dehlavi-shiish chandr saxena (1910-1975), born and raised in ambaala.  High school, 1925.  After some interruption, BA (1935) from Hindu College, dehli.  Started composing in 1927; shaagird of munshi maharaaj barq dehlavi.  He may have been independently wealthy.  He writes about frequent mushaa’era held at his house.  He collected and compiled the works of munshi maharaj barq dehlavi, ramprakash sahir hoshiarpuri and chandrbhan kaifi dehlavi, which might otherwise have been lost.  In addition, he compiled a collection called ‘hamaare husain’, elegies composed by non-muslim shu’ara as tributes to husain and karbala.  This Ghazal, in the zamiin of Ghalib’s ‘diida-e tar yaad aaya’ is linked to Ghalib naqsh-e qadam.

1.arrow 2.glance 3.wound 4.liver/heart

The beloved’s glance is like an arrow.  It pierces the heart and liver.  The poet remembers such a glance of the beloved and he immediately recalls the wounds of his liver and heart.

1.even though 2.forget

Even though the poet tried hard to forget; to eradicate the memory (of the beloved) from his heart, he still remembered the forgetful one.  The beloved is characterized as the one who forgets i.e., ignores the poet/lover.

1.remember 2.by mistake

This she’r presents a nice word play with the words yaad, bhool.  The poet/lover has resolved not to remember the beloved even by mistake.  But what can he do if he remembers her even without a deliberate effort.

1.death 2.provisions 3.journey 4.made arrangements, packed

The poet is about to die; death has made arrangements, packed provisions for the journey to the next world.  Just at this moment, the dying poet remembers the journey of life.  Either the whole life is flashing before his mind, or he is mentally not prepared to go.  We are left to decide.

1.under any condition, inevitable 2.dawn

It is inevitable that the poet/lover remember the beloved.  If he were to ever not remember her in the evening, then her memories will flood in at dawn.

1.love of the homeland 2.exile, away from home, in a foreign land

O, how strong is the love of the homeland.  When I was I was away (or exiled) I remembered home.

1.dust on the head

This is probably composed on behalf of the beloved.  She is remembering the dead lover.  It has been a while since he died, was buried and turned into dust … miTTi meN mil gaya.  Today she remembers that mad passionate one.  The sign of his mad passion is that his hair is always coated with dust from his aimless, forlorn wandering.

1.refreshed 2.traditions, legends 3.ancient 4.stones, rocks

Ancient legend here probably refers to the legend of laila-majnuN.  majnuN was so distraught in his failure to earn the hand of laila that he wandered the streets in madness.  Street urchins threw stones at him and he bled all over his body but particularly from the head.  Thus, when the poet/lover looks at rocks, he remembers his head because the ancient legend is refreshed in his mind.

1.doomsday 2.calamities, ordeals 3.awaken, refreshed 4.wailing 5.effect

It is natural to assume that ‘kis ke naale’ were the lover’s lamentations.  In poetic traditions they are described as reaching the sky and creating great tumult/hovoc.  This tumult/havoc is equal to ‘hashr ke fitne’-the ordeals of doomsday.  Who is it who is remembering this lamentation and in their mind the ordeals of doomsday are refreshed.  Most likely it is the beloved who is recalling the lamentation of her now dead lover.

1.intermittently, repeatedly 2.pain, burning 3.once again

Burning pain arises in the heart repeatedly.  Who do I remember once again.  It is the poet’s heart that is experiencing this frequent pain as memories of the beloved rise in his mind once again.

1.style, way 2.speaking, reciting poetry 3.pen-name 4.mir taqi mir 5.talent, genius

Because of the style of your poetry, O taalib, we remember the genius of mir and Ghalib.

The post baar-e digar yaad aaya-shiish chandr saxena taalib 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/2025/05/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

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दिल उन्हें बार-ए दिगर याद आया

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बे-ख़ुदी का है मेरी ये आलम

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किस क़दर मुझ को दिल-ए सोख़्ता आज

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हिचकियां नज़’अ में क्यूं आने लगीं

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मर के याद आए मज़े दुनिया के

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मेरे आने की तो बंदिश है मगर

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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 …

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