UrduShahkar

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

https://urdushahkar.org/wp-content/uploads/2025/04/sls-aur-baRha-daaera-zara-audio.mp3

Recitation

اور  بڑھا  دائرہ  ذرا  ۔  سبودھ  لعل  ساقیؔ

۱

جنگل  کی  سمت  شہر  بڑھا  ہے  ذرا  ذرا

وحشت  کی  سلطنت  میں  اضافہ  ہوا  ذرا

۲

دیکھے  تو  کوئی  رشتوں  کا  یہ  سلسلہ  ذرا

نزدیکیاں  بڑھیں  تو  بڑھا  فاصلہ  ذرا

۳

لگتا  ہے  جلد  چھوڑنا  ہوگا  یہ  شہر  بھی

آنے  لگی  ہے  راس  یہاں  کی  ہوا  ذرا

۴

اس  آئینوں  کے  شہر  میں  اکثر  کی  بھیڑ  ہے

کچھ  خود  گِرفتا  اور  ہیں  کچھ  گم  شدہ  ذرا

۵

لاکھوں  کے  شہر  اور  کروڑوں  کے  دیش  میں

تنہائیوں  کا  اور  بڑھا  دائرہ  ذرا

और बढ़ा दा’एरा ज़रा – सुबोध लाल साक़ी

१

जंगल की सम्त शहर बढ़ा है ज़रा ज़रा

२

देखे तो कोई रिश्तों का ये सिलसिला ज़रा

३

लगता है जल्द छोढना होगा ये शहर भी

४

इस आइनों के शहर में अक्सर की भीढ है

५

लाखों के शहर और करोढौं के देश में

Click here for background and on any passage for word meanings and explanatory discussion. subodh lal saaqi (1945-xxxx) direct descendant of hargopal tufta. His father vinod lal taalib was also a shaa’er and his mother a scholar of hindi and sanskrit. Both his older and younger brother are published shu’ara. His father and then aalam fatehpuri were his ustaad. Worked as a high-level officer in the government and later as President of ZTV. His collection was published in 2016. Also see saahir ludhianavi ‘shahr ki aabaadi’ and nida faazeli ‘be-shumaar aadmi’.

subodh lal saaqi (1945-xxxx) direct descendant of hargopal tufta.  His father vinod lal taalib was also a shaa’er and his mother a scholar of hindi and sanskrit.  Both his older and younger brother are published shu’ara.  His father and then aalam fatehpuri were his ustaad.  Worked as a high-level officer in the government and later as President of ZTV.  His collection was published in 2016.    Also see saahir ludhianavi ‘shahr ki aabaadi’ and nida faazeli ‘be-shumaar aadmi’.

1.direction 2.‘wildness’, brutality 3.reign, rule 4.increase

Urban spaces are usually associated with order and civility, culture and civilization.  Here jaNgal is used as symbolic of ‘survival of the fittest’ and vahshat is used in the sense of being vahshi-wild.  The gradual movement of the shahr towards the jaNgal is symbolic of civility and culture being overtaken by savagery/brutality.  Thus,  bit by bit, the city has crept toward the jungle; there’s been a gradual expansion in the empire of savagery/brutality.

1.relationships 2.series, chain 3.nearness, closeness 4.distance

Look closely at this chain of relationships; as intimacy increased, so does the distance.  A quiet paradox: as people appear to grow closer, the emotional or meaningful distance between them also grows. Relationships are now perhaps more performative than genuine, the poet invites us to ‘look closely’.  I am tempted to think that this is about increasing urbanization and hustle-bustle of modernity, although there is nothing specific in the she’r that says so.

1.soon 2.suitable, compatible 3.atmosphere, ambience, culture, thinking

There’s a note of irony here. The city, once different, has been changing (perhaps not for the better).  But the poet is getting used to this change; the ambience is becoming familiar and compatible; but that’s precisely the warning. When one starts getting used to toxicity havaa, it might be time to leave.  Thus, it seems like I’ll have to leave this city soon too; its air has begun to suit me.

1.many 2.in their own grip, trapped in themselves 3.lost

This city is one of appearances, illusions, reflections; possibly narcissism. People are either caught in their own image (ego, identity), or have disappeared altogether, lost in the maze of mirrors.  Thus, in this city of mirrors, there is a crowd of many; some trapped by their own reflections, others dazed and lost.

1.loneliness 2.circle, domain

Despite massive populations, loneliness continues to spread. The more we grow in number, the more isolated we seem to become; an aching commentary on the human, spiritual and emotional alienation of modern life.  Thus, in cities of lakhs and nations of crores, the circle of loneliness has widened.

The post aur baRhaa daa’era zara-subodh laal saaqi 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/2025/04/aps-ek-pal-meN-bikhar-gaya-voh-audio.mp3

Recitation

ایک  پل  میں  بکھر  گیا  وہ  ۔  اجے  پانڈے  سحابؔ

۱

لگا  کے  دھڑکن  میں  آگ  میری  بہ  رنگِ  رقصِ  شرر  گیا  وہ

مجھے  بنا  کے  سُلگتا  صحرا  مرے  جہاں  سے  گزر  گیا  وہ

۲

یوں  نیند  سے  کیوں  مجھے  جگا  کر  چراغِ  امید  پھر  جلا  کر

ہوئی  سحر  تو  اُسے  بجھا  کر  ہوا  کے  جیسا  گزر  گیا  وہ

۳

وہ  ریت  پر  اِک  نشان  جیسا  تھا  موم  کے  اِک  مکان  جیسا

بڑا  سنبھل  کر  چھوا  تھا  میں  نے  پہ  ایک  پل  میں  بِکھر  گیا  وہ

۴

وہ  ساتھ  میرے  تھا  جیسے  ہر  پل  وہ  دیکھتا  تھا  مجھے  مسلسل

ذرا  سا  موسم  بدل  گیا  تو  چرا  کے  مجھ  سے  نظر  گیا  وہ

۵

وہ  ایک  بِچھڑے  سے  میت  جیسا  وہ  اِک  بُھلائے  سے  گیت  جیسا

کوئی  پرانی  سی  دُھن  جگا  کر  وجود  و  دل  میں  اُتر  گیا  وہ

۶

وہ  دوست  سارے  تھے  چار  پل  کے  جو  چل  دیئے  ہم  سفر  بدل  کے

سحابؔ  ناداں  وہیں  کھڑا  ہے  اُسی  ڈگر  پر  ٹھہر  گیا  وہ

एक पल में बिखर गया वो – अजय पांडे सहाब

१

लगा के धढकन में आग मेरी, ब-रंग-ए रक़्स-ए शरर गया वो

मुझे बना के सुलगता सहरा, मेरे जहां से गुज़र गया वो

२

यूं नींद से क्यूं मुझे जगा कर, चराग़-ए उम्मीद फिर जला कर

हुई सहर तो उसे बुझा कर, हवा के जैसा गुज़र गया वो

३

वो रेत पर एक निशान जैसा, था मोम के एक मकान जैसा

बढा संभल कर छुआ था मैं ने, प एक पल में बिखर गया वो

४

वो साथ मेरे था जैसे हर पल, वो देखता था मुझे मुसलसल

ज़रा सा मौसम बदल गया तो, चुरा के मुझ से नज़र गया वो

५

वो एक बिछढे से मीत जैसा, वो एक भुलाए से गीत जैसा

कोई पुरानी सी धुन जगा कर, वजूद-ओ-दिल में उतर गया वो

६

वो दोस्त सारे थे चार पल के, जो चल दिए हम-सफ़र बदल के

सहाब-ए नादां वहीं खढा है, उसी डगर पर ठहर गया वो

Click here for background and on any passage for word meanings and explanatory discussion. ajay paanDe sahaab (1969-living) ICS officer, commisioner GST, jhaarkhanD. Grew up in surroundings completely devoid of urdu. Read sahir, firaq and faiz in devanagiri and fell in love with urdu. Taught himself urdu script reading and writing and started composing at the age of 16-17. He writes …

ajay paanDe sahaab (1969-living) ICS officer, commisioner GST, jhaarkhanD.  Grew up in surroundings completely devoid of urdu.  Read sahir, firaq and faiz in devanagiri and fell in love with urdu.  Taught himself urdu script reading and writing and started composing at the age of 16-17.  He writes …

1.pulse, heart 2.in the way of 3.dance 4.spark 5.glowing hot 6.desert 7.world 8.passed through

Who is vo.  Like in naasir kaazimi’s Ghazal vo could me the beloved but more likely the poet’s own alter-ego.  The whole Ghazal, which maintains its theme, can be read that way.  Thus, the poet’s alter-ego appeared to him momentarily like the dance of a spark, set his heart on fire, turned him into a glowing hot desert and passed through his world/life just like that.  Perhaps the poet is trying to understand himself, gets a glimpse of this understanding and it is lost; he is left yearning for more, burning with passion.

1.lamp, light 2.hope 3.dawn 4.passed through

Perhaps the poet keeps thinking about it, wakes up in the middle of the night, catches another glimpse like a lamp of hope that has been lighted, but by dawn his thought/dream has faded away as if the lamp has been put out by a passing breeze.

1.sand 2.mark, sign 3.carefully 4.moment 5.scattered, disappeared

Perhaps he was like a sign in the sand (which gets wiped out by the incoming wave), or perhaps like a house of wax (which can easily melt or burn).  I touched him carefully, but in just the blink of an eye, he disappeared.  Thus, the poet experiences fleeting and vague contacts with his own identity and is left without a clear understanding.

1.moment 2.continuously, constantly 3.weather 4.nazar churaana, to avert glance, look away

It was as if he was with me every moment, was looking at me constantly, but as soon as conditions changed, he averted his glance and disappeared.

1.separated, long-lost 2.friend 3.being 4.descend, pervade

He was like a long-lost friend, like a long forgotten song he stirred in my memory a familiar old tune and descended into my heart and my being.

1.moments 2.companion in the journey (of life) 3.change 4.pen-name 5.simpleton 6.path

All those others were friends for a few moments, the went their own way changing companions but the simpleton sahaab remained standing in the same path, looking for himself.

The post ek pal meN bikhar gaya voh-ajay panD’e sahaab 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/2025/04/mhnf-be-shumaar-aadmi-audio.mp3

Recitation

https://urdushahkar.org/wp-content/uploads/2025/04/mhnf-be-shumaar-aadmi-jagjit-singh.mp3

jagjit siNgh

بے  شمار  آدمی  ۔  مقتدا  حسن  نِداؔ  فاضلی

۱

ہر  طرف  ہر  جگہ  بے  شمار  آدمی

پھر  بھی  تنہائیوں  کا  شکار  آدمی

۲

صبح  سے  شام  تک  بوجھ  ڈھوتا  ہوا

اپنی  ہی  لاش  کا  خود  مزار  آدمی

۳

ہر  طرف  بھاگتے  دوڑتے  راستے

ہر  طرف  آدمی  کا  شکار  آدمی

۴

روز  جیتا  ہوا  روز  مرتا  ہوا

ہر  نئے  دِن  نیا  اِنتظار  آدمی

۵

گھر  کی  دہلیز  سے  گیہوں  کے  کھیت  تک

چلتا  پھرتا  کوئی  کاروبار  آدمی

۶

زندگی  کا  مقدر  سفر  در  سفر

آخری  سانس  تک  بے  قرار  آدمی

बे-शुमार आदमी – मुक़्तदा हसन निदा फ़ाज़ेली

१

हर तरफ़ हर जगह बे-शुमार आदमी

फिर भी तन्हाईयों का शिकार आदमी

२

सुबह से शाम तक, बोझ ढोता हुआ

अपनी ही लाश का ख़ुद मज़ार आदमी

३

हर तरफ़ भागते दौढते रास्ते

हर तरफ़ आदमी का शिकार आदमी

४

रोज़ जीता हुआ, रोज़ मरता हुआ

हर नये दिन नया इंतेज़ार आदमी

५

घर की दहलीज़ से गेहूं के खेत तक

चलता फिरता कोइ कारोबार आदमी

६

ज़िंदगी का मुक़द्दर सफ़र दर सफ़र

आख़री सांस तक बे क़रार आदमी

Click here for background and on any passage for word meanings and explanatory discussion. muqtada hasan nida faazeli (1938-2016) dehli, gwalior. Writer, poet, songwriter, dialogue writer and journalist. MA urdu and hindi, ujjain university. When his family moved to pakistan, he ran away from home, refusing to leave India. Struggled in dehli for a few years as a writer/journalist and finally found work in Bombay in the film industry. He writes in simple urdu and a folksy style.

muqtada hasan nida faazeli (1938-2016) dehli, gwalior.  Writer, poet, songwriter, dialogue writer and journalist.  MA urdu and hindi, ujjain university.  When his family moved to pakistan, he ran away from home, refusing to leave India.  Struggled in dehli for a few years as a writer/journalist and finally found work in Bombay in the film industry.  He writes in simple urdu and a folksy style.

1.direction 2.place 3.innumerable, numerous 4.loneliness 5.prey, victim

Every direction you look, in every place, there are numerous people and yet, every person is a victim of loneliness.  Said jigar muradabadi …

1.weight, burden 2.carrying 3.corpse 4.mausoleum, grave

From morning till night, carrying his own burden as if everyone is their own mausoleum i.e., everyone is numb with the burden of living, as if they are walking dead.

1.direction 2.victim

People running on fast moving pathways (life is running faster than people, they can’t keep up) in every direction you look, humans are victims of other humans.

1.daily 2.waiting

It is as if he rises from the dead each day, goes through life mechanically and dies at the end of the day, waiting for a another such routine the next day.

1.threshold, door 2.wheat 3.business, trade, activity, affair

From the door to the wheat field, it is as if human is nothing but a mechanical activity.

1.fate 2.journey after journey 3.restless

It is as if the fate of life is a constant journey/struggle.  Upto the last breath humans remain restless.

The post be-shumaar aadmi-nida faazeli 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/2025/04/amiirm-jalne-ko-tuur-tha-audio.mp3

Recitation

جلنے  کو  طُور  تھا  ۔  امیرؔ  مینائی

۱

موقوف  جُرم  ہی  پہ  کرم  کا  ظہُور  تھا

بندے  اگر  قُصُور  نہ  کرتے  قُصُور  تھا

۲

اے  برقِ  حسنِ  یار  یہ  اچھا  ظہُور  تھا

دیدار  کو  کلیم  تھے،  جلنے  کو  طُور  تھا

۳

جب  تک  کہ  چشمِ  شوق  میں  وحدت  کا  نُور  تھا

جِس  بام  پر  نِگاہ  پڑی  کوہِ  طُور  تھا

۴

سَو  شعر  ایک  جلسے  میں  کہتے  تھے  ہم  امیرؔ

جب  تک  نہ  شعر  کہنے  کا  ہم  کو  شعور  تھا

जलने को तूर था । अमीर मीनाई

१

२

३

४

Click here for background and on any passage for word meanings and explanatory discussion. amir minaaii (1829-1900) was contemporary of daaGh dehlavi and much like him received patronage in rampur and later in hyderabad, where he died and is buried. This is one of several Ghazal of minaaii and other shu’ara in the same radeef/qaafiya as Ghalib and is linked to ‘Ghalib naqsh-e qadam’.

amir minaaii (1829-1900) was contemporary of daaGh dehlavi and much like him received patronage in rampur and later in hyderabad, where he died and is buried. This is one of several Ghazal of minaaii and other shu’ara in the same radeef/qaafiya as Ghalib and is linked to ‘Ghalib naqsh-e qadam’.

1.dependent 2.crime, sin 3.kindness, forgiveness 4.manifestation, appearance 5.slaves, creatures 6.mistake

The manifestation/appearance of kindness is dependent on the commitment of sin i.e., if no one commits a sin, then there is no forgiveness and god does not get to show his kindness.  Therefore if the creatures of god do not commit any sins then that is the greatest sin.  Said panDit anand narain mulla …

1.lightning 2.beauty, glory 3.friend, beloved, god 4.manifestation 5.vision, sight, display 6.another name of moosa/Moses 7.mount tuur

It is said that moosa/Moses went up mount tuur asking to see god or some evidence of his existence.  He was told that he could not bear the sight, but he insisted.  The manifestation appeared as a flash of lightning which caused moosa to faint, and burnt up the mountain.  The poet is ironic in saying … what a wonderful manifestation O lightning of the glory of god, mount tuur is reduced to ashes and moosa gets to see the glory.  Is this fair!

1.eye 2.desire 3.unity, one-ness 4.light 5.rooftop 6.sight, glance 7.mount tuur

As long as the eye of desire (to see the beloved) had the light of ‘one-ness’, as long as it was focussed on the thought that there is only one beloved; then every rooftop that we look at appears like mount tuur (which is where moosa is said to have seen divine manifestation).  The beloved is imagined to appear on her rooftop and that is divine.

1.pulic gathering 2.pen-name 3.ability, wisdom, art

O amiir, I used to recite a hundred verses in public gatherings until I acquired the wisdom to compose (tasteful) verse i.e., wordsmithing is easy; you can spout off a hundred verses, but composing meaningful ash’aar is an artform.  Said Ghalib …

The post jalne ko tuur tha-amir minai 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/2025/04/af-na-hone-ke-baraabar-mere-aage-11-19-audio.mp3

Recitation

نہ  ہونے  کے  برابر  مرے  آگے  ۔  احمد  فرازؔ

۱۱

شعلہ  سا  بدن  زُلف  کی  مخمل  میں  لپیٹے

جیسے  ہو  کوئی  خواب  سا  پیکر  مرے  آگے

۱۲

یوں  جیسے  کہ  جادو  سا  جگاتا  چلا  جائے

اک  آفتِ  جاں  فتنۂ  محشر  مرے  آگے

۱۳

یاقوت  سے  لب،  سرو  سا  قد،  رات  سی  آنکھیں

وہ  جانِ  قیامت  تھی  مرے  گھر  مرے  آگے

۱۴

وہ  کیفیتِ  دل  تھی  کہ  بہزاد  کا  فن  کیا

حافظؔ  کی  غزل  بھی  تھی  فروتر  مرے  آگے

۱۵

اے  گردشِ  دوراں  ذرا  آہستہ  قدم  رکھ

یہ  ساعتِ  گزراں  ہے  گھڑی  بھر  مرے  آگے

۱۶

اے  موسمِ  ہجراں  ابھی  کچھ  دیر  توقف

آنا  ہے  تو  آجانا  ٹھہر  کر  مرے  آگے

۱۷

آسودگئ  قرب  کی  اعضا  شکنی  سے

ہے  نیند  میں  غافل  مرا  دلبر  مرے  آگے

۱۸

اے  صبحِ  جدائی  ابھی  رک  جا  کہ  ستمگر

ایسے  بھی  نہ  جاگے  تھے  مقدر  مرے  آگے

۱۹

شاید  کہ  فرازؔ  آج  کسی  روپ  نگر  سے

آئی  ہے  قضا  بھیس  بدل  کر  مرے  آگے

न होने के बराबर मेरे आगे – अहमद फ़राज़

११

शोला सा बदन ज़ुल्फ़ कि मख़्मल में लपेटे

जैसे हो कोई ख़्वाब सा पैकर मेरे आगे

१२

यूँ जैसे के जादू सा जगाता चला जाए

एक आफ़त-ए जाँ  फ़ित्ना-ए महशर मेरे आगे

१३

याक़ूत से लब सर्व सा क़द रात सी आँखें

वो जान-ए क़यामत थी मेरे घर मेरे आगे

१४

वो कैफ़ियत-ए दिल थी के बहज़ाद का फ़न क्या

हाफ़िज़ कि ग़ज़ल भी थी फ़रोतर मेरे आगे

१५

अए गर्दिश-ए दौरां ज़रा आहस्ता क़दम रख

ये सा’अत-ए गुज़रां है घड़ी भर मेरे आगे

१६

अए मौसम-ए हिज्रां अभी कुछ देर तवक़्क़ुफ़

आना है तो आ जाना ठहर कर मेरे आगे

१७

आसूदगी-ए क़ुर्ब की आज़ा-शिकनी से

है नींद में ग़ाफ़िल मेरा दिलबर मेरे आगे

१८

अए सुबह-ए जुदाई अभी रुक जा के सितमगर

ऐसे भी न जागे थे मुक़द्दर मेरे आगे

१९

शा’एद के फ़राज़ आज किसी रूप नगर से

आई है क़ज़ा भेस बदल कर मेरे आगे

Click here for background and on any passage for word meanings and explanatory discussion. ahmad faraz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes. This Ghazal is modeled after Ghalib’s ‘hota hai shab-o-roz tamaasha mere aage’ and is linked to a series of Ghazal in the same style. The opening she’r (matla) sets the stage for all others. The shaa’er is imagining pleasant things that have been happening to him (all in his imagination) with an anti-climax in the closing she’r (maqta).

11

ahmad faraz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes.  This Ghazal is modeled after Ghalib’s ‘hota hai shab-o-roz tamaasha mere aage’ and is linked to a series of Ghazal in the same style.  The opening she’r (matla) sets the stage for all others.  The shaa’er is imagining pleasant things that have been happening to him (all in his imagination) with an anti-climax in the closing she’r (maqta).

1.flame, burning 2.body 3.hair 4.velvet 5.image, picture

The scene before his eyes was like flaming body, wrapped in velvety smooth hair, like a dreamy image before me.

1.calamity of life 2.tumult of doomsday

‘aafat-e-jaaN’ and ‘fitna-e-mahshar’ are used as descriptors of the image that the shaa’er sees before his eyes.  The scene was as if someone arrives raising/creating magic/illusion in my mind.  Such is the calamity of live, the tumult of doomsday before my eyes.

1.ruby 2.lips 3.cypress 4.stature 5.life/soul 6.doomsday

Lips red like rubies, stature slender and swaying like a cypress, eyes dark as the night that life and soul of doomsday was my guest before me.  ‘life and soul of doomsday’ is a playful description of the illusory image of the beloved before him.

1.condition 2.legendary artist/painter 3.art 4.admired, exemplary Ghazal poet of faarsi 5.of less value

The shaa’er uses two figures who are considered to be the best in their respective fields … bahzaad in the art of painting and haafiz in composing Ghazal.  The condition of my heart was such that why talk about the art of bahzaad, even the Ghazal of haafiz was of lower value (than the fascinating image) in my eyes.

1.trials and tribulations of fate/times 2.step 3.fleeting moment 4.for a short time

O trials and tribulations of fate, step forward gently, for this fleeting moment will stay with me only for a short time.

1.season 2.separation 3.pause, delay 4.wait

The poet/lover seems to be fully aware that this moment is not going to last and the ‘season of separation’ is sure to arrive.  But he asks the season of separation to wait for a while – if you must come, if your coming is inevitable, then come before me, but wait for a while.

1.contentment, satisfaction, happiness 2.nearness 3.limb-breaking 4.unmindful, indifferent 5.beloved

While aa’za shikani literally means breaking of limbs metaphorically it can mean intense pain alll over the body.  ‘niind’ can also metaphorically mean neglect, unawareness.  The poet/lover has gained access to the beloved.  He is delighted with the nearness but it also gives him intense pain because while the beloved is near and before him, she is in niind/sleep completely unaware of and indifferent to his presence.

1.separation 2.cruel one 3.‘muqaddar jaagna’ – fate smiling upon someone

At first reading ‘sitamgar’ might be read to mean the beloved.  But I read it to mean the morning of separation itself.  The poet has had a night of union with the beloved (perhaps it was just a dream or his rich imagination).  In the second misra he exclaims- fate has never smiled on me like this before.  Therefore, the plea in the first misra … O cruel morning of separation, do not arrive just yet, tarry a while because I don’t know when fate will smile on me again.

1.perhaps 2.pen-name 3.country of beauty/beauties 4.fate, destiny 5.disguise

Normally in poetic tradition fate/destiny is painful.  But this time, O faraaz, perhaps it has come in a different, kindly disguise from the land of beauty.

The post na hone ke baraabar mere aage-11-19-ahmad faraaz 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/2025/04/af-na-hone-ke-baraabar-mere-aage-01-10-audio.mp3

Recitation

نہ  ہونے  کے  برابر  مرے  آگے  ۔  احمد  فرازؔ

۱

کل  شب  تھا  عجب  دید  کا  منظر  مرے  آگے

دنیا  تھی  نہ  ہونے  کے  برابر  مرے  آگے

۲

جیسے  مُتلاطم  ہو  سمندر  مرے  اندر

جیسے  ہو  کوئی  ماہِ  مُنوّر  مرے  آگے

۳

اُس  وقت  نہ  تھی  آنکھ  جھپکنے  کی  بھی  فُرصت

اک  شہرِ  طلسمات  تھا  یکسر  مرے  آگے

۴

اُس  وقت  نہ  تھا  دل  کو  دھڑکنے  کا  بھی  یارا

اک  عالمِ  حیرت  تھا  سراسر  مرے  آگے

۵

خُدّام  بہ  ہر  گام  لئے  جام  سِتادہ

لب  بستہ  کنیزانِ  سمن  بر  مرے  آگے

۶

لائے  کوئی  مینائے  مئے  تند  لپک  کر

رکھ  دے  کوئی  تعظیم  سے  ساغر  مرے  آگے

۷

چُھپ  چُھپ  کے  کوئی  چُست  کرے  تنگ  قبا  کو

ہنس  ہنس  کے  اُتارے  کوئی  زیور  مرے  آگے

۸

اِک  مست  ادا  کاکُلِ  مُشکیں  کو  بکھیرے

لے  آئی  دف  و  چنگ  اُٹھا  کر  مرے  آگے

۹

جیسے  ہو  مرے  سامنے  شدّاد  کی  جنت

جیسے  ہو  صنم  خانۂ  آزر  مرے  آگے

۱۰

جیسے  کوئی  گُل  چہرہ  پری  چَھم  سے  اُتر  آئے

اور  رقص  کرے  ناز  سے  آکر  مرے  آگے

न होने के बराबर मेरे आगे – अहमद फ़राज़

१

कल शब था अजब दीद का मंज़र मेरे आगे

दुनिया थी न होने के बराबर मेरे आगे

२

जैसे मुतलातिम हो समंदर मेरे अंदर

जैसे हो कोई माह-ए मुनव्वर मेरे आगे

३

उस वक़्त न थी आँख झपकने की भी फ़ुर्सत

एक शहर-ए तिलिस्मात था यक्सर मेरे आगे

४

उस वक़्त न था दिल को धड़कने का भी यारा

एक आलम-ए हैरत था सरासर मेरे आगे

५

ख़ुद्दाम ब-हर-गाम लिए जाम सितादा

लब बस्ता कनिज़ान-ए समन-बर मेरे आगे

६

लाए कोई मीना-ए मै-ए तुंद लपक कर

रख दे कोई ताज़ीम से साग़र मेरे आगे

७

छुप छुप के करे चुस्त कोई तंग क़बा को

हंस हंस के उतारे कोई ज़ेवर मेरे आगे

८

एक मस्त अदा काकुल-ए मुश्कीं को बिखेरे

ले आई दफ़ ओ चंग उठा कर मेरे आगे

९

जैसे हो मेरे सामने शद्दाद कि जन्नत

जैसे हो सनम ख़ाना-ए आज़र मेरे आगे

१०

जैसे कोई गुल चेहरा परी छम से उतर आए

और रक़्स करे नाज़ से आकर मेरे आगे

Click here for background and on any passage for word meanings and explanatory discussion. ahmad faraz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes. This Ghazal is modeled after Ghalib’s ‘hota hai shab-o-roz tamaasha mere aage’ and is linked to a series of Ghazal in the same style. The opening she’r (matla) sets the stage for all others. The shaa’er is imagining pleasant things that have been happening to him (all in his imagination) with an anti-climax in the closing she’r (maqta).

ahmad faraz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes.  This Ghazal is modeled after Ghalib’s ‘hota hai shab-o-roz tamaasha mere aage’ and is linked to a series of Ghazal in the same style.  The opening she’r (matla) sets the stage for all others.  The shaa’er is imagining pleasant things that have been happening to him (all in his imagination) with an anti-climax in the closing she’r (maqta).

1.night 2.unusual, fascinating 3.sight, worth seeing 4.scene 5.equal/similar to

Last night the scene before my eyes was fascinating.  The world before me was as if it was the same as not being there.  The implication is that whatever was before his eyes was like an illusion, perhaps like a dream.  The shaa’er creates a suspense by not describing what he was looking at.  Was it the beloved or just a dream or his rich imagination.

1.stormy 2.sea, ocean 3.moon 4.brilliant, radiant

The thought from the first she’r continues.  The enchanting scene before his eyes was like a stormy sea inside him i.e., it generated a storm of emotions inside him.  It was as if a brilliant moon was before him.  This begins to look like either the beloved or her illusion.

1.blink 2.time, leisure 3.magic, enchantment 4.all at once, all together

At that time, I did could not even blink my eye i.e., the poet was so fascinated that he kept looking; could not look away, or even blink his eyes for a moment.  It was as a whole city of enchantment/magic had suddenly appeared before his eyes.

1.throbbing, beating 2.friendship, support, help 3.world, condition 4.puzzled, enchanted 5.head to toe, embodiment

At that time, even the heart stood still.  It lost the ability to beat.  The world before me was the embodiment of enchantment.

1.servants 2.at every step 3.goblet (of wine) 4.standing 5.tight-lipped, silent 6.female slaves 7.jasmine bosomed

At every step servants stood ready, bearing goblets of wine and bare-breasted slave girls, silently stood by.

1.flask 2.wine 3.strong, pure 4.jump 5.respectfully 6.cup

One of them would jump to fetch a flask of pure/strong wine for me while another would respectfully place a goblet before me.

1.fitting, tighten 4.close fitting 3.robe, garment 4.jewels

One would unobtrusivels tie the bands of her tight-fitting garment while another, laughing would take off her jewelry.

1.intoxicating gesture/style 2.locks, hair 3.musk fragrance 4.spread out 5.finger cymbals 6.harp

Another one (slave girl) with an intoxicating gesture, flinging her musky locks, brought cymbals and harp before me.

1.legendary king who claimed divinity and created his own heaven 2.heaven 3.idol house 4.father of ibrahim, idol worshipper, idol sculptor

The poet uses two legends in this she’r.  shaddaad is reported to have been a cruel king exercising absolute power.  He declared himself to be god and ‘created’ his own heaven on earth, but died before entering it.  aazar was the father of ibrahim, an idol-sculptor, idol worshipper who opposed his son ibrahim who declared that there was only one god and forbade idol worship.  ‘shaddaad ki jannat’ is used as a metaphor for an illusion of heaven.  Similarly ‘sanam-Khaana-e aazar’ represents idols which may be beautiful but are not divine, not real goddesses.  Thus the poet admits that what he has been describing is an illusion, not real.

1.rose-faced, rosy cheeked 2.with music 3.dance 4.coquettish style

The description of his illusion continues.  The scene before his eyes was as if a rosy-cheeked fairy descended before him with musical ankle bells and danced in coquettish style.

The post na hone ke baraabar mere aage-01-10-ahmad faraaz 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/2025/04/ych-faisla-kare-koii-audio.mp3

Recitation

فیصلہ  کرے  کوئی  ۔  مرزا  واجد  حسین  یگانہؔ  چنگیزی

۱

کیوں  کسی  سے  وفا  کرے  کوئی

دل  نہ  مانے  تو  کیا  کرے  کوئی

۲

نہ  دوا  چاہیے  مجھے  نہ  دعا

کاش  اپنی  دوا  کرے  کوئی

۳

مُفلِسی  میں  مزاج  شاہانہ

کس  مرض  کی  دوا  کرے  کوئی

۴

درد  ہو  تو  دوا  بھی  ممکن  ہے

وہم  کی  کیا  دوا  کرے  کوئی

۵

ہنس  بھی  لیتا  ہوں  اوپری  دل  سے

جی  نہ  بہلے  تو  کیا  کرے  کوئی

۶

موت  بھی  آ  سکی  نہ  منھ  مانگی

اور  کیا  اِلتجا  کرے  کوئی

۷

دردِ  دل  پھر  کہیں  نہ  کروٹ  لے

اب  نہ  چونکے  خدا  کرے  کوئی

۸

عشق  بازی  کی  اِنتہا  معلوم

شوق  سے  اِبتدا  کرے  کوئی

۹

کوہ  کن  اور  کیا  بنا  لیتا

بن  کے  بگڑے  تو  کیا  کرے  کوئی

۱۰

اپنے  دم  کی  ہے  روشنی  ساری

دیدۂ  دل  تو  وا  کرے  کوئی

۱۱

شمع  کیا  شمع  کا  اجالا  کیا

دن  چڑھے  سامنا  کرے  کوئی

۱۲

غالب  اور  میرزا  یگانہؔ  کا

آج  کیا  فیصلہ  کرے  کوئی

फ़ैस्ला करे कोई – मिर्ज़ा वाजद हुसैन यगाना चंगेज़ी

१

क्यूँ किसी से वफ़ा करे कोई

दिल न माने तो क्या करे कोई

२

न दवा चाहिए मुझे न दुआ

काश अपनी दवा करे कोई

३

मुफ़्लिसी में मिज़ाज शाहाना

किस मरज़ की दवा करे कोई

४

दर्द हो तो दवा भी मुम्किन है

वहम की क्या दवा करे कोई

५

हँस भी लेता हूँ ऊपरी दिल से

जी न बहले तो क्या करे कोई

६

मौत भी आ सकी न मुँह-माँगी

और क्या इल्तजा करे कोई

७

दर्द-ए दिल फिर कहीं न करवट ले

अब न चौंके ख़ुदा करे कोई

८

इश्क़-बाज़ी की इंतेहा मालूम

शौक़ से इब्तेदा करे कोई

९

कोहकन और क्या बना लेता

बन के बिग्ड़े तो क्या करे कोई

१०

अपने दम की है रौशनी सारी

दीदा-ए दिल तो वा करे कोई

११

शम’अ क्या शम’अ का उजाला क्या

दिन चढ़े सामना करे कोई

१२

ग़ालिब और मीरज़ा यगाना का

आज क्या फ़ैस्ला करे कोई

Click here for background and on any passage for word meanings and explanatory discussion. mirza vaajid husain yaas yagaana changezi (1884-1956), born in azimabad, now paTna, and named mirza vaajid hussain. He adopted the pen-name ‘yaas’ (despair) and later changed to ‘yagaana’ (unmatched, unique). Egotistical, uncompromising, brusque and acerbic, he did not get along with fellow poets. For some reason he cast himself as a critic of Ghalib. He got a booklet published in which there is a lengthy preface critical of Ghalib but mostly of his many admirers, followed by many rubaaii deriding Ghalib. But he was courageous enough to make controversial statements about religious belief and was attacked by a mob, made to ride a donkey through town. In spite of his ‘derision’ of Ghalib he has several Ghazal in his style, this one modeled after ‘ibn-e mariam hua kare koii’.

mirza vaajid husain yaas yagaana changezi (1884-1956), born in azimabad, now paTna, and named mirza vaajid hussain. He adopted the pen-name ‘yaas’ (despair) and later changed to ‘yagaana’ (unmatched, unique).   Egotistical, uncompromising, brusque and acerbic, he did not get along with fellow poets. For some reason he cast himself as a critic of Ghalib.  He got a booklet published in which there is a lengthy preface critical of Ghalib but mostly of his many admirers, followed by many rubaaii deriding Ghalib. But he was courageous enough to make controversial statements about religious belief and was attacked by a mob, made to ride a donkey through town.  In spite of his ‘derision’ of Ghalib he has several Ghazal in his style, this one modeled after ‘ibn-e mariam hua kare koii’.

1.faith, fidelity

This is a reflection on the tradition of the poet/lover being faithful to the beloved in the face of unrequited love.  Why should anyone remain faithful?  He goes on to answer his own question – what can one do if the heart insists.

1.I wish

This is a reflection on the traditional pathos expressed by poets wishing “someone” to cure their pain/sorrow.  He declares he does not want anyone’s help either with a remedy or with prayers.  I wish someone would cure themselves rather than moan and beg asking someone (god?) to do it.

1.penury 2.demeanour, habits 3.royal 4.illness

Even in penury he has royal tastes/habits.  Which of these illnesses can one cure?  Penury?  or royal tastes?  Is this a swipe at Ghalib who was known to live way beyond his means because of his self-indulgence.

1.possible 2.imagination

If the pain is real then cure may be possible.  How can one cure imaginary pain.  This may be a reflection on the poetic tradition of constantly writing about their (imaginary) pain of love.

1.surface, superficial, not genuine 2.satisfied, consoled

The poet is expressing his own state of sorrow.  He cannot be consoled but he shows cheer and laughs even though it is not genuine.

1.death 2.shamelessly asked for, begging 3.appeal, request

The implication is that ‘death’ is an easy thing to grant.  Normally, a self-respecting poet/lover is supposed to suffer in silence.  But his suffering has gone beyond the limits of forbearance, and he shamelessly begs for death.  Even that is denied.  How can anyone ask for anything else now.

1.turn sides as in waking up 2.become alert, awake

The poet has either forgotten or become inured to his pain/sorrow.  He is afraid that his sorrow might be rekindled (may be because the beloved might show some fleeting interest or the rival might flaunt his own success).  May someone (meaning himself) not become alert again (alert to the affairs of the beloved).

1.love games 2.end result, culmination 3.known 4.whatevery pleases 5.begin

The poet/lover is washing his hands off love games.  He doesn’t want to have anything to do with it because he knows what the end result will be.  If anyone pleases, he can can begin.

1.sculptor, mason 2.spoiled, destroyed

This has reference to the legend of shiriN-farhaad.  farhaad was a sculptor, hopelessly in love with shirin, the wife of a nobleman.  The nobleman just to get rid of farhaad’s pestilence agrees to give his consent to a divorce setting farhaad an impossible task – cut a channel for a river of milk to flow over a hill.  When farhaad, much to his surprise, almost finished the task, he caused a rumour to spread that shirin had died.  Hearing this, having lost the main purpose of his labour, farhaad killed himself with his own pickaxe.  What else could he have done.  What can one do if that which he has accomplished is so completely destroyed.

1.strength, power 2.light 3.eye 4.open

“Light” here could be light of knowledge, love or mysticism/spirituality.  All of this is due to your own power/effort.  All one has to do is open the inner eye.  Said mohammed iqbal …

1.candle 2.light, brilliance 3.middle of the day, broad daylight 4.confront

This is equivalent to the saying, ‘holding a candle to the sun’.  But who is the candle and who is the sun.  The poet leaves that unstated.  Is he comparing himself to Ghalib (as he does explicitly in the next she’r, but still not openly claiming superiority).

1.pen-name of the poet 2.judgement

Between Ghalib and yagaana, who can make a judgement today.  The unstated implication can be that (a)they are both equal and no one can judge clearly (b)Ghalib is superior or (c)yagaana has surpassed him.

The post faisla kare koii-yaas yagaana chaNgezi 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/2025/04/yych-duur-se-dekha-kare-koii-audio.mp3

Recitation

دور  سے  دیکھا  کرے  کوئی  ۔  یگانہؔ  چنگیزی

۱

کس  دل  سے  ترکِ  لذّتِ  دنیا  کرے  کوئی

وہ  خوابِ  دلفریب  کہ  دیکھا  کرے  کوئی

۲

کیا  سہل  ہے  کہ  ترکِ  تماشا  کرے  کوئی

دل  سے  نہ  ہو  تو  آنکھ  سے  توبہ  کرے  کوئی

۳

غنچہ  کے  دل  میں  کچھ  نہ  تھا  اِک  آہ  کے  سوا

پھر  کیا  شگفتگی  کی  تمنّا  کرے  کوئی

۴

آنکھیں  ہوں  جس  کے  آنکھوں  ہی  آنکھوں  میں  تاڑ  لے

درد  اپنا  وہ  نہیں  کہ  ٹٹولا  کرے  کوئی

۵

دل  مضطرب،  نگاہ  گرفتارِ  شش  جہت

فرمائیے  کدھر  کا  اِرادہ  کرے  کوئی

۶

یادش  بغیر  یادِ  خدا  آہی  جاتی  ہے

اپنی  طرف  سے  لاکھ  بھلایا  کرے  کوئی

۷

اُس  کی  نگاہِ  شوق  کے  قربان  جائیے

تجھ  ایسے  بے  نشان  کو  پیدا  کرے  کوئی

۸

طاعت  ہو  یا  گناہ،  پسِ  پردہ  خوب  ہے

دونوں  کا  جب  مزہ  ہے  کہ  تنہا  کرے  کوئی

۹

بندے  نہ  ہوں  گے  جتنے  خدا  ہیں  خدائی  میں

کس  کس  خدا  کے  سامنے  سجدہ  کرے  کوئی

۱۰

حسنِ  یگانہؔ  آپ  ہی  اپنا  حِجاب  ہے

حسنِ  حجاب  دور  سے  دیکھا  کرے  کوئی

दूर से देखा करे कोई – यगाना चंगेज़ी

१

किस दिल से तर्क-ए लज़्ज़त-ए दुनिया करे कोई

वो ख़्वाब-ए दिल-फ़रेब के देखा करे कोई

२

क्या सहल है के तर्क-ए तमाशा करे कोई

दिल से न हो तो आंख से तौबा करे कोई

३

ग़ुंचे के दिल में कुछ न था एक आह के सिवा

फिर क्या शगुफ़्तगी कि तमन्ना करे कोई

४

आंखें हों जिस कि आंखौं हि आंखौं में ताढ ले

दर्द अपना वो नहीं के टटोला करे कोई

५

दिल मुज़्तरब निगाह गिरफ़्तार-ए शश-जहत

फ़र्माईए किधर का इरादा करे कोई

६

यादश बग़ैर याद-ए ख़ुदा आ हि जाती है

अपनी तरफ़ से लाख भुलाया करे कोई

७

उस की निगाह-ए शौक़ के क़ुर्बान जाईये

तुझ ऐसे बे-निगाह को पैदा करे कोई

८

ता’अत हो या गुनाह, पस-ए पर्दा ख़ूब है

दोनों का जब मज़ा है के तन्हा करे कोई

९

बन्दे न होंगे जितने ख़ुदा हैं ख़ुदाई में

किस किस ख़ुदा के सामने सज्दा करे कोई

१०

हुस्न-ए यगाना आप हि अपना हिजाब है

हुस्न-ए हिजाब दूर से देखा करे कोई

Click here for background and on any passage for word meanings and explanatory discussion. mirza vaajid husain yaas yagaana changezi (1884-1956), azimabad/paTna. Early pen-name ‘yaas’ (despair) and later ‘yagaana’ (unmatched, unique). Egotistical, uncompromising, brusque and acerbic, he did not get along with fellow poets. For some reason he cast himself as a critic of Ghalib. He got a booklet published in which there is a lengthy preface critical of Ghalib and of his many admirers, followed by many rubaaii deriding Ghalib. But he was courageous enough to make controversial statements about religious belief and was attacked by a mob, made to ride a donkey through town. In spite of his ‘derision’ of Ghalib he has several Ghazal in his style, this is one two that he composed with the same radeef and qaafiya as Ghaib’s ‘ibn-e mariam hua kare koii’ and is linked to ‘Ghalib naqsh-e qadam’.

mirza vaajid husain yaas yagaana changezi (1884-1956), azimabad/paTna. Early pen-name ‘yaas’ (despair) and later ‘yagaana’ (unmatched, unique).   Egotistical, uncompromising, brusque and acerbic, he did not get along with fellow poets. For some reason he cast himself as a critic of Ghalib.  He got a booklet published in which there is a lengthy preface critical of Ghalib and of his many admirers, followed by many rubaaii deriding Ghalib. But he was courageous enough to make controversial statements about religious belief and was attacked by a mob, made to ride a donkey through town.  In spite of his ‘derision’ of Ghalib he has several Ghazal in his style, this is one two that he composed with the same radeef and qaafiya as Ghaib’s ‘ibn-e mariam hua kare koii’ and is linked to ‘Ghalib naqsh-e qadam’.

1.relinquish, give up 2.pleasure 3.dream 4.heart enchanting

How can anyone find the heart/fortitude to give up the pleasures of this world, a dream that enchants the heart.  How can anyone stop dreaming such a dream.  Could this be sarcasm on conventional beliefs that this life is an illusion and the next life is real.

1.easy 2.give up 3.sight, amusement 4.regret, abstain

These are parallel rhetorical questions.  Is it easy to give up the amusement (of this world).  If the heart does not let you abstain/regret, how can the eye give up.

1.unopened flower bud 2.sigh 3.except for 4.blossoming 5.desire, longing

The unopened bud had no other desire in its heart except sigh/sorrow (because it still not in bloom).  Now look at what happened to it … as soon it bloomed it was either plucked off or it withered away.  Why would anyone now wish to blossom.

1.just by looking, in a single glance 2.surmize, figure out 3.pain, sorrow 4.search, probe

Those who can see, who have discerning vision, will be able to see in a single glance.  My pain/sorrow is not that which they will have to probe and search for.

1.restless, eager 2.eyes, glance 3.held by, dominated by 4.six direction i.e., the material world 5.tell me 6.intention, determination

The heart is eager (with material desire), the eyes are fixated upon the material world, now tell me which way can one go i.e., it is natural for us to enjoy this world.

1.memory, intentional thinking 2.without 3.from, volition 4.forget

Even without intentionally thinking, one remembers god e.g., when calamity strikes.  This will be the case even if you try a thousand times to forget i.e., when you fall on hard times you remember god (and injunctions of orthodoxy).

1.glance of 2.love 3.pay tribute to, admire 4.like, similar to 5.without the ability/desire to look at 6.create

This is a sarcastic observation about the beloved who does not even deign to look at her admirers.  Thus, “nigaah-e shauq” – loving glance is notable by its absence.  The beloved’s aloofness has to be admired.  How can anyone create someone like you who is “be-nigaah”, does not have a “nigaah-e shauq”.

1.submission, obedience, conformance 2.transgression 3.behind 4.veil, curtain 5.good 6.pleasure 7.alone, in privacy

Whether it is submission (to the will of god/orthodoxy) or transgression/sin, it is better if it is done behind the curtain.  The pleasure of both is when it is done in privacy.  Transgressions/sins done behind the curtain is understandable.  But even conformance to orthodoxy/good deeds are to be done privately – perhaps the implication is that you don’t trumpet good deeds or expect a reward for them as in Ghalib’s …

1.slaves, creatures 2.gods, lords 3.creation, world 4.prostration, devotion

There are more ‘gods’ in this world than there are ‘creatures/slaves’.  How many gods can we prostrate before.  This appears to be a sarcasm on claims of high status by any of the groups of politicians, orthodoxy, wealthy and the like.

1.beauty 2.pen-name but also meaning unique 3.veil

This is a nice use of the pen-name of the poet in its multiple meanings.  He could be praising unique beauty, divine beauty, or his own beauty/skill (of versification) which is unique.  To be its own hijaab implies that it is so beautiful/dazzling that no one can look at it for long; or that his verse hides many meanings behind a veil.  Thus, he is inviting the viewer to look at it from a distance so as not to be blinded by its brilliance.

The post duur se dekha kare koii-yaas-yagaana chaNgezi 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/2025/04/rsdr-baGhaavat-kii-hai-audio.mp3

Recitation

بغاوت  کی  ہے  رگھوبیر  سرن  دِواکر  راہیؔ

۱

مجھ  کو  معلوم  ہے  راہیؔ  کہ  شرارت  کی  ہے

گُفتگُو  تُم  نے  جو  اُن  سے  مری  بابت  کی  ہے

۲

ایک  ناصح  جو  ہے  باطِن  میں  مرے  اے  ناصح

میں  تری  کچھ  نہ  سُنُوں  اُس  نے  نصیحت  کی  ہے

۳

کر  کے  تذلیل  مرے  شوقِ  بتاں  کی  اے  شیخ

تو  نے  اِنسان  کی  فطرت  سے  بغاوت  کی  ہے

۴

ہم  نے  باتوں  سے  نہیں  بلکہ  جنابِ  زاہد

خدمتِ  خلقِ  خدا  کر  کے  عبادت  کی  ہے

۵

مجھ  کو  رسوائی  کا  کچھ  خوف  نہیں  ہے  لیکن

میں  نے  عِزّت  نہیں  بیچی  ہے  محبت  کی  ہے

۶

حق  کی  آواز  اُٹھائی  ہے  بِلا  خوف  و  لحاظ

یہ  بغاوت  ہے  تو  ہاں  ہم  نے  بغاوت  کی  ہے

۷

میرا  دعویٰ  ہے  کہ  شعروں  میں  بھی  میں  نے  راہیؔ

حق  و  اِنصاف  کی  بے  خوف  حمایت  کی  ہے

बग़ावत की है – रघुबीर सरन दिवाकर राहि

१

२

३

४

५

६

७

Click here for background and on any passage for word meanings and explanatory discussion. raghubir saran divaakar raahi (1914-1968), rampur. Three Ghazal collections with hundreds of Ghazal in each. Born in amroha, learnt urdu and faarsi at school. BA, LLB from meeraTh. District Information Officer, UP. shaa’eri was in addition to his ‘day job’. Posted to and retired in rampur, 1954 and started law practice. Editor of hindi magazines. Very secular and makes much fun of the shaiKh and brahman.

raghubir saran divaakar raahi (1914-1968), rampur.  Three Ghazal collections with hundreds of Ghazal in each.  Born in amroha, learnt urdu and faarsi at school.  BA, LLB from meeraTh.  District Information Officer, UP.  shaa’eri was in addition to his ‘day job’.  Posted to and retired in rampur, 1954 and started law practice.  Editor of hindi magazines.  Very secular and makes much fun of the shaiKh and brahman.

1.knowledge, realization 2.pen-name of the poet 3.mischief 4.conversation 5.in regard to

The poet, assuming the role of an alter-ego, is talking to himself.  I know that you have created mischief, O raahi, by talking to her about me.  Thus, the poet/lover is the alter ego and raahi the person has talked to the beloved about him.  What the subject of the conversation was, is not explicity stated but contextually it must be to speak of his love.  This has caused the beloved to get upset and has caused mischief.

1.moralizer, adviser, disciplinarian 2.inside 3.advice, instruction

The poet has an internal adviser (his conscience) that he considers good and would readily listen to.  He also has an external adviser who is a moralist, disciplinarian and a prude.  This moralist has approached the poet with some advice/criticism.  He says, I have an internal adviser who has advised me never to listen to anything you say.

1.insult 2.desire, love 3.idols 4.nature, character 5.revolution, turn upside down

This she’r has a very delightful use of the word ‘but’ with its two meanings … idol and beloved.  Thus, by insulting my love of idols, O shaiKh, you are turning human nature upside down – going against human nature.  The shaiKh raves and rants against idol worship and/or pontificates about staying away from women – ‘the beloved’.  In either case, but particularly in the latter case, the shaiKh is going against human nature.

1.instead of 2.honourable 3.preacher 4.service 5.humanity 6.worship

Here ‘hum’ could be people outside the circle of orthodoxy, or the circle of poets.  There is an implicatied accusation that the shaiKh offers only ritual worship with words.  Not in empty words, but O honourable preacher, we have offered worship through service to mankind.

1.blame, disgrace 2.fear 3.but 4.honour, self-respect

I am not fearful of being blamed/disgraced, but I have not sold my honour, I have loved.  Why would there be disgrace; who has he loved; why is there a question of selling honour.  Here is my interpretation … he does not participate in hypocritical, ritualistic worship.  Participating in this is hyprocritical and tantamount to selling honour.  This can be a cause for people to blame him.  But he is not afraid of such blame.  He does not feel disgraced by it, because he has offered ‘real love’ … his ‘real love’ might be ‘Khidmat-e Khalq-service to mankind’ or love of humanity, or spiritual love.

1.truth 2.without 3.fear 4.consideration (of favours) 5.rebellion

I have always raised the voice of truth without fear or favour.  If this is rebellion then, I have been a rebel.

1.claim, assertion 2.pen-name of the poet 3.truth 4.justice 5.fearlessly 6.support, help

O raahi, I claim that even in my verse/nazm/Ghazal, I have stood on the side of truth and justice.

The post baGhaavat kii hai-raghubiir saran divaakar raahi 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/2025/04/rsdr-aish-e-jannat-ke-liye-audio.mp3

Recitation

عیشِ  جنّت  کے  لئے  ۔  رگھوبیر  سرن  دواکر  راہیؔ

۱

سر  جھکا  ہے  جو  اِطاعت  کے  لئے

اُٹھ  بھی  سکتا  ہے  بغاوت  کے  لئے

۲

شہرت  و  ثروت  نہ  دولت  کے  لئے

ہم  ترستے  ہیں  محبّت  کے  لئے

۳

اپنی  دنیا  کو  تُو  دوزخ  مت  بنا

شیخ!  خوابِ  عیشِ  جنّت  کے  لئے

۴

آدم  و  ہوّا  کی  بیٹی  آج  بھی

جان  دے  دیتی  ہے  عصمت  کے  لئے

۵

زندگی  برباد  کر  دیتے  ہیں  لوگ

چند  لمحوں  کی  مسرّت  کے  لئے

۶

غنچہ  غنچہ  سر  بہ کف  ہے  باغباں

اپنے  گلشن  کی  حفاظت  کے  لئے

۷

گڑھ  لیا  کرتے  ہیں  راہیؔ  حق  شناس

چند  افسانے  حقیقت  کے  لئے

ऐश-ए जन्नत के लिये – रगुवी शरण दिवाकर राही

१

सर झुका है जो इता’अत के लिये

उठ भी सकता है बग़ावत के लिये

२

शोहरत ओ सरवत न दौलत के लिये

हम तरसते हैं मोहब्बत के लिये

३

अपनी दुनिया को तू दोज़ख़ मत बना

शैख़! ख़्वाब-ए ऐश-ए जन्नत के लिये

४

आदम ओ हव्वा कि बेटी आज भी

जान दे देती है इस्मत के लिये

५

ज़िंदगी बरबाद कर देते हैं लोग

चंद लम्हौं कि मसर्रत के लिये

६

ग़ुंचा-ग़ुंचा सर-ब-कफ़ है बाग़बां

अपने गुलशन की हिफ़ाज़त के लिये

७

गढ़ लिया करते हैं राही हक़-शिनास

चंद अफ़्साने हक़ीक़त के लिये

Click here for background and on any passage for word meanings and explanatory discussion. raghubir saran divaakar raahi (1914-1968), rampur. Three Ghazal collections with hundreds of Ghazal in each. Born in amroha, learnt urdu and faarsi at school. BA, LLB from meeraTh. District Information Officer, UP. shaa’eri was in addition to his ‘day job’. Posted to and retired in rampur, 1954 and started law practice. Editor of hindi magazines. Very secular and makes much fun of the shaiKh and brahman.

raghubir saran divaakar raahi (1914-1968), rampur.  Three Ghazal collections with hundreds of Ghazal in each.  Born in amroha, learnt urdu and faarsi at school.  BA, LLB from meeraTh.  District Information Officer, UP.  shaa’eri was in addition to his ‘day job’.  Posted to and retired in rampur, 1954 and started law practice.  Editor of hindi magazines.  Very secular and makes much fun of the shaiKh and brahman.

1.bowed 2.obedience, prayer 3.rebellion

The head that is bowed in obedience and respect can also be raised in rebellion.  This could be a warning to the powerful – heads that are bowed before you can rise in rebellion.  It could also be an exhortation/encouragement to the oppressed who bow down before the oppressor – you don’t have to accept this, you can rebel.  This could also be directed against the orthodoxy.

1.fame 2.plenty, excess, affluence 3.wealth 4.thirsty, yearn

Neither for wealth nor fame, but for love we yearn.

1.hell 2.dreams 3.luxuries 4.heaven

O shaiKh, don’t make life on earth hellish, just for dreams of luxuries in heaven.  Here ‘dreams’ implies that these are mere dreams, not real.

1.Adam and Eve 2.honour, virtue

To this day, the daughter of Adam and Eve is ready to give up her life to save her dignity.  This is a double edged sword.  It recognizes that oppression of women started with the story of Adam and Eve and continues to this day.  I am sure that this is what the poet meant.  But it also creates problems.  ‘ismat’ in this context primarily has connotations of sexual exploitation.  This puts a burden on women by putting them up on a pedestal.  It also reinforces the thought/practice that a mark of victory over the other is to violate ‘their’ women.

1.a few 2.destroy, waste 3.moments 4.pleasure

I am not sure how it fits in the flow of the rest of the Ghazal.  It may just be a ‘filler’.  Thus, for a few brief moments of pleasure, people destroy/waste lives (their own or other people’s).

1.every bud 2.head in hand, ready to die 3.gardener 4.garden 5.safeguard, protect

Very probably the word ‘baaGhbaaN’ is used to imply a double role – gardener and flower-picker.  In urdu poetic tradition the flower-picker is a villain (in addition to the bird-catcher).  In this she’r the primary role is that of flower-picker.  Because he is picking off flowers, buds stand ready to give up their lives to protect the garden i.e., they protect the garden by protecting its beauty – by blooming into flowers to replace the ones that have been picked off.  A blossomed flower is picked off or it sheds its petals signifying its death.  Given the life-span of the poet this could well have political undertones about the freedom movement.

1.make up, concoct 2.pen-name of the poet 3.knowledgable of faith – used here in the sense of partisans of faith 4.a few 5.fables 6.truth

O raahi, the partisans of faith concoct a few fables to make it sound like truth.

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