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

https://urdushahkar.org/wp-content/uploads/2025/07/sraas-ishq-kay-nasheb-o-faraaz-audio.mp3

Recitation

عشق  کے  نشیب  و  فراز  ۔  سادھورام  آرزوؔ  سہارنپوری

۱

پیکرِ  زندگیِ  سوز  و  گداز

میں  ہوں  تفسیرِ  دردِ  بے  آواز

۲

کھل  رہے  ہیں  حیات  و  مرگ  کے  راز

اے  غمِ  دوست  تیری  عمر  دراز

۳

بیچ  میں  ہو  اگر  نہ  پردۂ  راز

نہ  حقیقت  ہے  کوئی  اور  نہ  مجاز

۴

نقشِ  ہستی  پہ  تبصرہ  کیسا

زندگی  راز  اور  موت  بھی  راز

۵

عشق  کا  کاروبار،  ارے  توبہ

پہلے  انجام  بعد  ہے  آغاز

۶

حشر  میں  بھی  نہ  جو  کھلیں  شاید

ایسے  بھی  کچھ  ہیں  وارداتِ  راز

۷

کوئی  آساں  نہیں  ہے  طے  کرنا

جادۂ  عشق  کے  نشیب  و  فراز

इश्क़ के नशीब ओ फ़राज़ – साधु राम आर्ज़ू सहारनपूरी

१

पैकर-ए ज़िंदगी-ए सोज़ ओ गदाज़

मैं हूँ तफ़्सीर-ए दर्द-ए बे-आवाज़

२

खुल रहे हैं हयात ओ मौत के राज़

अए ग़म-ए दोस्त तेरी उम्र दराज़

३

बीच में हो अगर न पर्दा-ए राज़

न हक़ीक़त है कोई और न मजाज़

४

नक़्श-ए हस्ती पे तब्सरा कैसा

ज़िंदगी राज़ और मौत भी राज़

५

इश्क़ का कारोबार, अरे तौबा

पहले अंजाम बाद है आग़ाज़

६

हश्र में भी न जो खुलें शायद

ऐसे भी कुछ हैं वारेदात-ए राज़

७

कोई आसां नहीं है तय करना

जादा-ए इश्क़ के नशेब ओ फ़राज़

Click here for background and on any passage for word meanings and explanatory discussion. saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata. This Ghazal, in the zamin of Ghalib’s ‘maiN huN apne shikast ki aavaaz’ is linked to Ghalib naqsh-e qadam.

saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata.  He was a shaagird of faani badayuni.  There are at least two collections of Ghazal and nazm.  There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.  This Ghazal, in the zamin of Ghalib’s ‘maiN huN apne shikast ki aavaaz’ is linked to Ghalib naqsh-e qadam.

1.form, representation 2.fire, burning 3.melting 4.interpretation

The poet/lover has been silently suffering the neglect and indifference of the beloved for a long time.  He has become the picture/embodiment of fire and melting i.e., passion and pain.  He is the personified interpretation of silent suffering.

1.life 2.death 3.mysteries 4.friend, beloved 5.may you live long

The mysteries of life and death are unfolding because of the pain of love of the beloved.  May you live long is addressed this pain in a sarcastic sense.

1.veil 2.mystery 3.reality 4.illusion

In conventional/sufiyaana thought the material world is supposed to be an illusion and the afterlife is supposed to be real and permanent.  It is thought that there is a veil of mystery between the creator and the created.  If there had not been such a veil, then there would not have been any illusion or reality.  This perhaps is an explanation or justification for the ‘veil of mystery’.

1.sketch, map, meaning 2.existence, life 3.commentary, explanation 4.mystery 5.death

How can the meaning of life be explained.  Both life and death are mysteries.

1.way of working 2.expression meaning god help me 3.result, end 4.later 5.beginning

What can I say about the business/workings of love, god help me.  We already know the result first, and still we begin.

1.doomsday tumult 2.revealed, known 3.perhaps 4.incidents, happenings 5.mystery

Perhaps they may not be revealed even on doomsday; there are such mysterious happenings in this world.

1.easy 2.traverse, go through 3.path 4.highs and lows, ups and downs, obstacles

It is not easy to traverse the obstacles of the path of love.

The post ishq ke nasheb o faraaz-saadhu raam aarzu saharanpuri appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/sraas-shola-e-siina-kaheN-jise-audio.mp3

Recitation

شعلۂ  سینا  کہیں  جسے  ۔  سادھو  رام  آرزوؔ  سہارنپوری

۱

اب  دل  کہاں  کہ  جانِ  تمنّا  کہیں  جسے

دنیائے  حسن  عرشِ  تجلّیٰ  کہیں  جسے

۲

اللہ!  کس  نے  عشق  کی  قسمت  میں  لکھ  دیا

وہ  جورِ  برملا  کہ  تمنّا  کہیں  جسے

۳

کیفیّتِ  حجاب  نظر  کے  سوا  ہے  کیا

فطرت  کی  اصطلاح  میں  جلوہ  کہیں  جسے

۴

دریائے  عینِ  ذات  ہے  قطرے  پہ  منحصر

قطرے  میں  وہ  کشش  ہے  کہ  دریا  کہیں  جسے

۵

ساقی  کی  ہر  نگاہ  وہ  پیغمبرِ  نشاط

عیشِ  تمام،  جنّتِ  مینا  کہیں  جسے

۶

رعنائیِ  خیال  ہے  ہر  جزوِ  آب  و  گل

بھولا  ہوا  سا  خواب  ہے  دنیا  کہیں  جسے

۷

دامانِ  عشق  میں  ہے  ازل  ہی  سے  آرزوؔ

وہ  برقِ  ناز  شعلۂ  سینا  کہیں  جسے

शोला-ए सीना कहें जिसे – साधु राम आर्ज़ू सहारनपुरी

१

अब दिल कहाँ के जान-ए तमन्ना कहें जिसे

दुनिया-ए हुस्न अर्श-ए तजल्ली कहें जिसे

२

अल्लाह! किस ने इश्क़ की क़िस्मत में लिख दिया

वो जौर-ए बरमला के तमन्ना कहें जिसे

३

कैफ़िय्यत-ए हिजाब-ए नज़र के सिवा है क्या

फ़ितरत की इस्तेलाह में जलवा कहें जिसे

४

दर्या-ए अईन-ए ज़ात है क़त्रे पे मन्हसर

क़तरे में वो कशिश है के दर्या कहें जिसे

५

साक़ी की हर निगाह वो पैग़म्बर-ए निशात

ऐश-ए तमाम, जन्नत-ए मीना कहें जिसे

६

रानाई-ए ख़याल है हर जुज़्व-ए आब ओ गिल

भूला हुआ सा ख़्वाब है दुनिया कहें जिसे

७

दामान-ए इश्क़ में है अज़ल ही से आर्ज़ू

वो बर्क़-ए नाज़ शोला-ए सीना कहें जिसे

Click here for background and on any passage for word meanings and explanatory discussion. saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata. This Ghazal is linked to Ghalib naqsh-e qadam, ‘tujh sa kaheN jise’.

saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata.  He was a shaagird of faani badayuni.  There are at least two collections of Ghazal and nazm.  There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.  This Ghazal is linked to Ghalib naqsh-e qadam, ‘tujh sa kaheN jise’.

1.life/soul of desire 2.beauty 3.sky, heaven, divine throne 4.brilliance, glory

Where is the heart now, which we may call the soul of desire.  Where is that world of beauty now, that we might consider the throne of glory.  The implication is that things have changed, and we don’t have the old values.

1.tyranny 2.openly, publicly 3.desire

The poet implies that desire is tyranny that is openly and boldly visited upon the poet/lover and that this tyranny is written in the fate of the lover.  He cannot escape it.  Oh god! who has written this my fate, the poet/lover exclaims.

1.condition 2.veil 3.sight 4.except for 5.nature 6.terminology 7.splendour, glory

In the terminology of nature, that which is called splendour/glory is nothing except for the condition of veiled sight i.e., our inability to see, because of the veil that we have over our eyes.  It requires a discerning eye to perceive the divine.

1.ocean 2.essence 3.being 4.drop 5.dependent 6.attraction

The essence of the existence/being of the ocean is dependent on the drop.  There is such attraction in the drop that it can be called the ocean.  Says Ghalib …

1.glance 2.messenger 3.joy, cheer 4.pleasure, luxury 5.complete, perfect 6.wine

Here, saaqi could symbolize the divine or someone who calls you towards the divine.  Every glance of the saaqi/cupbearer is a message of happiness/love.  It can be called the ultimate pleasure, the paradise of wine (mystic wine of love).

1.elegance 2.thought, imagination 3.constituent, element 4.water and clay 5.forgotten 6.dream

It is said that the divine made humans out of water and clay and blew its breath into it to give it a soul and bring it to life.  Every element of this combination represents the elegance of divine conception.  That which we called the (material) world is but a passing dream.  The reality is the divine conception.

1.hem of the garment 2.beginning of time 3.pen-name of the poet 4.lightning 5.grace, elegance, pride 5.flame 7.Sinai, mount tuur

To have something collected/held in the daaman/hem of the garment, means to possess it.  Thus, O aarzu, ‘it’ was in the possession of ishq/love from the beginning of time.  What the ‘it’ is, is explained in the second misra.  It has reference to the story of moosa/Moses who is said to have gone up mount tuur and asked to see god.  He heard a voice that said that he could not, but he insisted and saw a flash of lightning and fainted.  This flash of lightning in the second misra is called ‘barq-e naaz – flash of grace’ and – sho’la-e siina – the flame of mount tuur in sanai.  This is considered to be a manifestation of divine glory.  Thus, the manifestation of divine glory was in the possession of love from the beginning of time.

The post sho’la-e siina kaheN jise-saadhu raam aarzu saharanpuri appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/sraas-voh-bandagi-kya-hai-audio.mp3

Recitation

وہ  بندگی  کیا  ہے  ۔  سادھو  رام  آرزوؔ  سہارنپوری

۱

خلوصِ  نفس  نہیں  ہے  تو  آدمی  کیا  ہے

یقین  و  عزم  نہیں  ہے  تو  زندگی  کیا  ہے

۲

طلب  کے  جس  میں  عناصر  ہوں  وہ  خودی  کیا  ہے

غرض  پہ  جس  کی  بِنا  ہو  وہ  بندگی  کیا  ہے

۳

ملے  کوئی  تجھے  درویشِ  بے  گلیم  تو  پوچھ

قلندری  کسے  کہتے  ہیں  قیصری  کیا  ہے

۴

فضا  فضا  میں  ہیں  انوارِ  فطرتِ  بے  رنگ

نظر  ملی  ہو  تو  پھر  حسن  کی  کمی  کیا  ہے

۵

ہر  ایک  سانس  پہ  ہوتی  ہیں  رحمتیں  نازِل

کسے  بتاؤں  کہ  دل  کی  شِکستگی  کیا  ہے

۶

میں  اپنے  فقر  کی  دولت  پہ  ناز  کرتا  ہوں

مری  نگاہ  میں  تاج  شہنشہی  کیا  ہے

۷

ہوا  اِک  عمر  گزرنے  پہ  آرزوؔ  معلوم

کہ  شعر  کیا  ہے  حقیقت  میں  شاعری  کیا  ہے

वो बंदगी क्या है – साधु राम आर्ज़ू सहारनपुरी

१

ख़ुलूस-ए नफ़्स नहीं है तो आदमी क्या है

यक़ीन ओ अज़्म नहीं है तो ज़िंदगी क्या है

२

तलब के जिसमें अनासिर हों वो ख़ुदी क्या है

ग़रज़ पे जिसकी बिना हो वो बंदगी क्या है

३

मिले कोई तुझे दरवेश-ए बे गलीम तो पूछ

क़लंदरी किसे कहते हैं क़ैसरी क्या है

४

फ़ज़ा फ़ज़ा में हैं अनवार-ए फ़ितरत-ए बे रंग

नज़र मिली हो तो फिर हुस्न की कमी क्या है

५

हर एक सांस पे होती हैं रहमतें नाज़िल

किसे बताऊं कि दिल की शिकस्तगी क्या है

६

मैं अपने फ़क़्र की दौलत पे नाज़ करता हूं

मेरी निगाह में ताज-ए शहंशही क्या है

७

हुआ एक उम्र गुज़रने पे आर्ज़ू मालूम

के शे’र क्या है हक़ीक़त में शा’एरी क्या है

Click here for background and on any passage for word meanings and explanatory discussion. saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information, but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.

saadhu ram aarzu saharanpuri (1901-1983) saharanpur and kolkata.  He was a shaagird of faani badayuni.  There are at least two collections of Ghazal and nazm.  There is precious little by way of biographical information, but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.

1.sincerity 2.soul 3.confidence 4.resolve, determination

If there is no sincerity/integrity of the soul, then how can it called human-ness.  What kind of a life is it that does not have confidence and resolve to do something.

1.desire (for personal gain) 2.ingredients 3.self-respect 4.selfishness 5.foundation, basis 6.servitude/devotion to the divine

The word Khudi is loaded with a special meaning given to it most prominently by mohammed iqbal.  It is a hazy combination of self-respect, self-reliance and a self-less purpose that goes beyond narrow self-interest.  Thus, if it has ingredients of narrow self-interest then how can it be ‘Khudi’.  That which is based on a selfish desire for rewards cannot be sincere devotion (to the divine).

1.sufi 2.without robes of office 3.other worldliness, spiritualism 4.monarchy, wealth

If you meet a sufi who does not strut about in robes of status, ask him to explain the difference between spiritualism and materialism.

1.air, surroundings, all around 2.rays of light, light 3.nature, cosmos 4.colourless, plain 5.discerning eye 6.beauty 7.shortage

Beauty of the cosmos/creation is all around us but it appears plain i.e., you are unable to see its ‘real’ beauty, its harmonious one-ness unless you have a discerning eye.  But if you do, then there is shortage of beauty around us.

1.blessing, benevolence 2.descend, showered 3.brittleness, fragility

With every breath, at every moment, the poet is showered with blessings.  He is cognizant of these blessings and should be happy and contented.  But his heart is still fragile/sensitive/sorrowful.  He perhaps cannot explain it to himself, leave alone to someone else.  How can I tell them about the fragility of my heart, he says.  There may be an implication that he is sorrowful because in this material life he is separated from the great soul and it is union with the divine that he desires.  He cannot quite explain the emptiness he feels.

1.poverty, asceticism 2.wealth 3.pride 4.eyes 5.royalty

I am proud of the treasure of my asceticism.  Of what value can the royal crown be in my eyes.

1.life-time 2.pass 3.pen-name of the poet 4.truth, reality

Only after a life-time had passed, did I learn O aarzu, the real meaning of a she’r and of shaa’eri.

The post vo bandagi kya hai-saadhu raam aarzu saharanpuri appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/sraas-kaleja-husain-ka-audio.mp3

Recitation

کلیجہ  حسین  کا  ۔  سادھو  رام  آرزوؔ  سہارنپوری

۱

اللہ  رے  یہ  شان  یہ  رتبہ  حسین  کا

خود  سانع  ازل  بھی  ہے  شیدا  حسین

۲

ہونے  نہ  پائی  تھی  ابھی  تخلیق  کی  سحر

تعمیر  ہو  چکا  تھا  سراپا  حسین  کا

۳

سر  دے  کے  سر  پہ  لے  لیا  بارِ  تمامِ  دیں

یہ  حوصلہ  یہ  دل  یہ  کلیجہ  حسین  کا

۴

اے  آرزوؔ  ازل  سے  ہوں  تقدیر  کا  دھنی

بندہ  ہوں  مرتضیٰ  کا  میں  بردہ  حسین  کا

कलेजा हुसैन का – साधु राम आर्ज़ू सहारनपूरी

१

२

३

४

Click here for background and on any passage for word meanings and explanatory discussion. saadhu raam aarzu saharanpuri (1901-1983) saharanpur and kolkata. He was a shaagird of faani badayuni. There are at least two collections of Ghazal and nazm. There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata. He was deeply sufistic, accepting and embracing many traditions. He has written lovingly and admiringly about islamic figures.

saadhu raam aarzu saharanpuri (1901-1983) saharanpur and kolkata.  He was a shaagird of faani badayuni.  There are at least two collections of Ghazal and nazm.  There is precious little by way of biographical information but it seems that he was associated with teaching (perhaps urdu) in some college in kolkata.  He was deeply sufistic, accepting and embracing many traditions.  He has written lovingly and admiringly about islamic figures.

1.glory, dignity 2.status, rank 3.himself/herself 4.builder, craftsman 5.eternity 6.admirer

By god, the glory/dignity and status of husain.  The creator of the eternal universe himself is an admirer of husain.  husain is the iconoclastic symbol of resistance from the battle of karbala.

1.creation, building 2.dawn 3.making, building 4.head to toe, embodiment

Even before the dawn of creation, the spirit of husain was created i.e., the spirit of resistance.

1.sar dena – giving up the head, sacrificing 2.sar pe lena, taking on oneself, taking responsibility 3.burden 4.all, total 5.faith 6.courage 7.liver-seat of courage/daring

By giving up/sacrificing his head, he took on himself the burden of (saving) the whole faith; such was the courage and daring of husain.

1.pen-name 2.eternity, beginning 3.fate, luck 4.wealthy, possessor 5.servant 6.another name of ali, the father of husain 7.slave, bondsman

O aarzu, I am blessed with the possession of good luck from the beginning; I am the servant of ali and the slave of husain.

The post kaleja husain ka – saadhu raam aarzu saharanpuri appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/ragm-na-jhuka-sar-apna-audio.mp3

Recitation

نہ  جُھکا  سر  اپنا  ۔  رام  اوتار  گپتا  مضطرؔ

۱

کر  لیا  ہم  نے  تباہی  کو  مُقدّر  اپنا

کِسی  چنگیز  کے  آگے  نہ  جُھکا  سر  اپنا

۲

داستاں  ظلم  و  تشدُّد  کی  لہو  سے  لِکّھی

نوکِ  خامہ  کو  بنا  کے  رکھا  خنجر  اپنا

۳

سبزۂ  نرم  نہ  بن  ورنہ  کُچل  دے  گا  جہاں

رتبہ  منوایا  یہاں  خار  نے  چُبھ  کر  اپنا

۴

اب  کُھلا  درد  ہے  کیا،  چوٹ  کسے  کہتے  ہیں

اپنے  سر  پر  لگا  جب  لَوٹ  کے  پتھر  اپنا

۵

کِس  سے  غرقابیِ  کشتی  کی  شکایت  کرتے

ناؤ  اپنی  ہے،  بھنور  اپنا،  سمندر  اپنا

۶

بو  کے  الفاظ  کی  خُوشبُو  وہ  مری  سانسوں  میں

لکھ  گیا  نام  میرے  دل  پہ  سِتمگر  اپنا

न झुका सर अपना – राम अवतार गुप्ता मुज़्तर

१

२

३

४

५

६

Click here for background and on any passage for word meanings and explanatory discussion. raam avtaar gupta muztar sundailvi (1936-xxxx) was a well recognized poet in both urdu and hindi. He was exposed to the Progressive Writers’ Association but explicitly chose to be apolitical. His compositions are mostly classical romantic in their themes. His work is published in two collections – seepiyoN ka samandar and safeer-e aaKhir-e shab. This nazm has a few ash’aar that are more in the tradition of progressive poets.

raam avtaar gupta muztar sundailvi (1936-xxxx) was a well recognized poet in both urdu and hindi.  He was exposed to the Progressive Writers’ Association but explicitly chose to be apolitical.  His compositions are mostly classical romantic in their themes.  His work is published in two collections – seepiyoN ka samandar and safeer-e aaKhir-e shab.  This nazm has a few ash’aar that are more in the tradition of progressive poets.

1.ruins, destruction 2.fate 3.chaNgez KhaaN-symbolic of absolute power

We have chosen a ruinous fate for ourselves.  Who is the ‘we’.  It could be the poet writing about himself in the first person plural or maybe he is writing about poets as a group.  How did he/they choose a ruinous fate – by not bowing down to the powerful.

1.story 2.cruelty, exploitation 3.oppression 4.blood 5.point 6.pen 7.dagger

We write the story of exploitation and oppression with blood.  We use the point of our pen as a dagger.  This could be using the pen to make the oppressor take notice and make amends.  It could also be using his own pen as a dagger to draw blood to write, hinting at the pain the poet feels in writing such a painful story.

1.greenery, leaves 2.soft 3.otherwise 4.trample 5.world 6.status 7.gain recognition 8.thorn 9.pricking

Do not be like soft leaves, otherwise the world will grind/trample you down.  The thorn pricks in order to gain recognition of its status.  Could this be a call to the oppressed to rise up, raise their voice and resist.

1.revealed, known 2.return

Now it has been revealed to me, I understand now what is pain and what is called a blow, when the rock I threw turned back and hit me in the head.

1.drowning under water 2.complaint 3.boat 4.whirlpool

Who do we complain out about the drowning of the boat.  We were sailing the boat into a whirlpool of our own making in our own sea.

1.sow, plant 2.words 3.fragrance 4.tormentor

Who is the tormentor – the sitamgar.  In usual poetic convention this would be the beloved.  But it is a bit unusual for the beloved to plant the fragrance of words in his breath – unless love for her inspires him to write fragrant love sonnets.  Thus, by writing her name on his heart she has inspired him to write fragrant verse.  Might the sitamgar be the injustice that he sees around him.  By making an impression on his heart it has inspired him to write resistance poetry.

The post na jhuka sar apna-raam avtaar gupta muztar appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/rkm-baar-e-giraaN-uThaaye-hue-audio.mp3

Recitation

بارِ  گراں  اُٹھائے  ہوئے  ۔  رام  کرشن  مضطرؔ

۱

چلا  ہوں  جانبِ  منزل  قدم  بڑھائے  ہوئے

غمِ  حیات  کا  بارِ  گراں  اُٹھائے  ہوئے

۲

نہ  پوچھ  مجھ  سے  مرے  سوزِ  عشق  کی  تاثیر

نفس  نفس  میں  ہے  اِک  آگ  سی  لگائے  ہوئے

۳

یہ  تیری  بزم  سے  گھبرا  کے  اُٹھ  چلا  ہے  کون

دلِ  حزیں  میں  محبّت  تری  چھپائے  ہوئے

۴

نگاہِ  شوق  نے  حسرت  سے  دور  تک  دیکھا

وہ  جب  قریب  سے  گزرے  نظر  بچائے  ہوئے

۵

کہیں  قرار  نہ  آ  جائے  تیرے  مضطرؔ  کو

زمانہ  بیت  گیا  دل  پہ  زخم  کھائے  ہوئے

बार-ए गिरां उठाए हुए – राम क्रिष्ण मुज़्तर

१

चला हुं जानिब-ए मंज़िल क़दम बढ़ाए हुए

ग़म-ए हयात का बार-ए गिरां उठाए हुए

२

न पूछ मुझ से मेरे सोज़-ए इश्क़ की तासीर

नफ़स नफ़स में है एक आग सी लगाए हुए

३

ये तेरि बज़्म से घबरा के उठ चला है कौन

दिल-ए हज़ीं में मोहब्बत तेरी छुपाए हुए

४

निगाह-ए शौक़ ने हसरत से दूर तक देखा

वो जब क़रीब से गुज़रे नज़र चुराए हुए

५

कहीं क़रार न आ जाए तेरे मुज़्तर को

ज़माना बीत गया दिल पे ज़ख़्म खाए हुए

Click here for background and on any passage for word meanings and explanatory discussion. raam krishn muztar (1927-1984) buland shahr. He was adopted by a childless uncle and aunt, but they died while he was still very young. He did not have much interest in being a landlord and lost inherited lands to squatters but did his undergraduate in faarsi (with honours) from punjab university with further education from the Iranian Cultural House in dehli, in the late 1950s. Worked for milaap, dehli, an urdu daily newspaper/magazine.

raam krishn muztar (1927-1984) buland shahr.  He was adopted by a childless uncle and aunt, but they died while he was still very young.  He did not have much interest in being a landlord and lost inherited lands to squatters but did his undergraduate in faarsi (with honours) from punjab university with further education from the Iranian Cultural House in dehli, in the late 1950s.  Worked for milaap, dehli, an urdu daily newspaper/magazine.

1.towards 2.destination 3.step 4.life 5.burden 6.heavy

I step forward towards my destination, bearing the heavy burden of the sorrows of life.

1.fire, passion 2.effect 3.every breath

Do not ask me about the effect of the fire of my passion.  Every breath of mine is like a flame.

1.gathering 2.worried, troubled 3.sorrowful

Who is this that is leaving your gathering, troubled and worried, hiding love of you, in his heart.  While the poet poses this as a question, rhetorically, he is referring to himself.

1.eye 2.desire 3.longing 4.near 5.passed by 6.an expression meaning intentionally looking the other way, ignoring

The poet/lover has been waiting on the path that the beloved takes hoping to catch her eye, but she looks the other way as she passes by.  His eye of desire/love, look at her receding figure longingly into the far distance.

1.comfort 2.pen-name of the poet, restless 3.long time 4.gone by, passed 5.wound

There is a witty use of pen-name here.  It is customary to think of every encounter with the beloved wounding the heart of the lover.  It has been a long time since the heart has been wounded.  Wound it again lest his heart become comfortable i.e., lest he forget you.

The post baar-e giraaN uThaa’e hu’e-raam krishn muztar appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/sksp-karbala-ke-niir-se-audio.mp3

Recitation

کربلا  کے  نیر  سے  ۔  سردار  کرنیل  سنگھ  پنچھیؔ

۱

دُور  کر  دی  سب  سیاہی  دین  کی  تصویر  سے

خونِ  اصغر  نے  ٹپک  کر  حُرملا  کے  تیر  سے

۲

دل  رہے  گا  دور  جب  تک  درد  کی  تاثیر  سے

لوگ  ناواقف  رہیں  گے  مقصدِ  شبیر  سے

۳

جھوٹ  کے  پردے  جلے  اور  سامنے  سچ  آ  گیا

ایک  لاوا  ایسا  پھوٹا  زینبی  تقریر  سے

۴

جھنجھنانے  لگ  گئی  ہے  ہر  قدم  کے  تال  پر

جانے  عابد  نے  کہا  کیا  پاؤں  کی  زنجیر  سے

۵

اس  میں  میری  آپ  سب  کی  بھی  خطا  ہے  دوستو

لوگ  واقف  ہی  نہیں  گر  مقصدِ  شبیر  سے

۶

گنگا  جل  یا  آبِ  کوثر  سے  مُقدّس  ہیں  یہ  اشک

اپنے  اپنے  پاپ  دھو  لو  کربلا  کے  نیر  سے

۷

اشک  سے  محروم  آنکھیں  لے  کے  تم  تو  چل  دیے

اپنا  حصہ  تو  نہ  بانٹو  درد  کی  جاگیر  سے

۸

کربلا  کی  اِک  زیارت  میری  قسمت  میں  بھی  ہو

اور  پنچھیؔ  کچھ  نہ  چاہوں  کاتبِ  تقدیر  سے

करबला के नीर से – सरदार करनैल सिंघ पंछी

१

२

३

४

५

६

७

८

Click here for background and on any passage for word meanings and explanatory discussion. sardar karnail siNgh panchhi (1932-xxxx) gujranvala (now in pakistan). He composed extensively in panjaabi, hindi and urdu and wrote a few songs for movies. He inherited the talent/passion for poetry from his father who learnt it at grandfather’s knee. At school he learnt panjabi, urdu and later faarsi. They had to move to India (rajasthan) in 1947 where he composed in hindi and panjabi. The family moved to rae bareilly in 1962 and he started composing in urdu. He had 6 manuscripts ready in hindi and panjabi to which he added seven in urdu. When his son started a publishing business, he gave his manuscripts to him but his son’s business, their home and all his manuscripts were looted and burnt to the ground in 1984. The family moved to ludhiana. He continued to write and publish as he went along. By 2015 there were 22 collections published with more to come. He continued to write with great love of communal harmony and devotion to figures of other faiths. This composition is linked to karbal katha on the kaaba kaashi page.

sardar karnail siNgh panchhi (1932-xxxx) gujranvala (now in pakistan).  He composed extensively in panjaabi, hindi and urdu and wrote a few songs for movies.  He inherited the talent/passion for poetry from his father who learnt it at grandfather’s knee.  At school he learnt panjabi, urdu and later faarsi.  They had to move to India (rajasthan) in 1947 where he composed in hindi and panjabi.  The family moved to rae bareilly in 1962 and he started composing in urdu.  He had 6 manuscripts ready in hindi and panjabi to which he added seven in urdu.  When his son started a publishing business, he gave his manuscripts to him but his son’s business, their home and all his manuscripts were looted and burnt to the ground in 1984.  The family moved to ludhiana.  He continued to write and publish as he went along.  By 2015 there were 22 collections published with more to come.  He continued to write with great love of communal harmony and devotion to figures of other faiths.  This composition is linked to karbal katha on the kaaba kaashi page.

1.removed, banished 2.darkness, obscurity 3.faith 4.infant son of husain 5.marksman archer who shot an arrow through ali asGhar’s throat

The blood of innocent ali asGhar, shed by hurmula’s arrow, cleansed all darkness from the face of religion i.e., it made the difference between truth and oppression clear for all to see.  In the battle of karbala, husain and his family and companions were denied access to water.  husain brought out his infant son stating that a child of that age is innocent and asking the enemy to give him water.  Instead, hurmula shot him through the throat.

1.pain 2.effect, impact 3.unaware, ignorant 4.goal, mission 5.another name of husain

As long as one remains distant from the transformative effects of the pain of the events of karbala, one cannot understand husain’s mission.  Implies that intellectual understanding is not enough, it requires emotional depth.

1.of zainab 2.speech

This has reference to zainab’s courageous and eloquent speech after the tragedy of karbala in the full court of yaziid, the perpetrator of the war.  The volcanic eruption of her speech burnt the veils of falsehood and brought truth forward.

1.every step 2.heat, rhythm 3.ailing son of husain who survived the battle 4.said 5.chain

When the brief battle was over, husain’s family were taken prisoner.  His ailing son was put in shackles and forced to march.  The poet describes the march in emotional terms … who knows what aabid said to the links of the chain on his shackles, they started to jangle to the rhythm of his steps; perhaps suggesting that even the sound of chains carried the message of truth.

1.fault 2.aware 3.if 4.goal, mission 5.husain

It seems that the poet feels that the mission of husain should be made known to everyone.  If they are not aware of this mission, then it is the fault of the poet as well as his audience; a shared responsibility to spread the word.

1.Ganges water 2.water of river in heaven 3.holy, sacred 4.tears 5.sins 6.water

When the story of karbala is recited at devotional gatherings, the audience gets quite emotional and tears are shed.  The poet calls these ‘karbala ka niir’ and declares that these tears are more sacred than the waters of Ganges or kausar.  He suggests that sins get washed off with the water of these tears.

1.tears 2.deprived 3.give away 4.pain 5.inheritance, wealth

The pain felt at hearing the story of karbala is considered to be the wealth of the believer.  This pain should cause him/her to shed tears.  If they walk away with their eyes dry of tears then it is tantamount to giving away the the wealth of their pain.  The poet pleads for them not to do that.

1.pilgrimage, visitation 2.destiny 3.pen-name 4.writer 5.fate

All that the poet paNchhi wants from the writer of his fate (god) is to grant him one pilgrimage to karbala.  He does not want anything else written in his fate.

The post karbala ke niir se-sardar karnail siNgh panchhi appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/kbn-dil-pe-hukoomat-hoti-hai-audio.mp3

Recitation

دل  پر  بھی  حکومت  ہوتی  ہے  ۔  کرشن  بہاری  نورؔ

۱

شبّیر  تصوّر  سے  تیرے،  خالق  سے  محبّت  ہوتی  ہے

جب  دل  میں  تجلّی  بڑھتی  ہے،  آنکھوں  میں  حقیقت  ہوتی  ہے

۲

یہ  رسمِ  کہن  ہے  دنیا  کی،  ظاہر  میں  اِطاعت  ہوتی  ہے

شبّیر  یہ  ثابت  تم  نے  کیا،  دل  پر  بھی  حکومت  ہوتی  ہے

۳

اصحاب  لہو  میں  ڈوب  گئے،  ایماں  کا  مگر  دامن  نہ  چھٹا

یوں  بھی  تو  محبّت  کرتے  ہیں،  یوں  بھی  تو  عبادت  ہوتی  ہے

۴

پوچھے  کوئی  رونے  والے  سے،  شبّیر  کے  غم  کے  آنسو  کو

جب  دل  میں  صداقت  آتی  ہے،  ہر  اشک  میں  صورت  ہوتی  ہے

۵

وہ  دَورِ  یزیدی  ختم  ہوا،  وہ  ظلمِ  یزیدی  خاک  ہوا

جو  سر  کو  اُٹھا  کر  چلتی  ہے،  برباد  وہ  طاقت  ہوتی  ہے

۶

کہنے  کو  زمانہ  بیت  گیا،  لیکن  جو  خیال  آجاتا  ہے

آئینۂ  موجِ  دریا  میں،  شبّیر  کی  صورت  ہوتی  ہے

۷

شبّیر  ہیں  ساری  دُنیا  کے،  وہ  صرف  ملسمانوں  کے  نہیں

وہ  خاص  کبھی  رہتی  ہی  نہیں،  جو  عام  عبادت  ہوتی  ہے

दिल पर भी हुकूमत होती है – क्रिष्ण बेहारी नूर

१

शब्बीर तसव्वुर से तेरे, ख़ालक़ से मोहब्बत होती है

जब दिल में तजल्ली बढ़ती है, आंखौं में हक़ीक़त होती है

२

ये रस्म-ए कोहन है दुनिया की, ज़ाहर में इता’अत होती है

शब्बीर ये साबित तुम ने किया, दिल पर भी हुकूमत होती है

३

अस्हाब लहू में डूब गए, ईमां का मगर दामन न छुटा

यूं भी तो मोहब्बत करते हैं, यूं भी तो इबादत होती है

४

पूछे कोई रोने वाले से, शब्बीर के ग़म के आंसू को

जब दिल में सदाक़त आती है, हर अश्क में सूरत होती है

५

वो दौर-ए यज़ीदी ख़त्म हुआ, वो ज़ुल्म-ए यज़ीदी ख़ाक हुआ

जो सर को उठा कर चलती है, बरबाद वो ताक़त होती है

६

कहने को ज़माना बीत गया, लैकिन जो ख़याल आ जाता है

आईना-ए मौज-ए दर्या में, शब्बीर कि सूरत होती है

७

शब्बीर हैं सारी दुनिया के, वो सिर्फ़ मुसल्मानौं के नहीं

वो ख़ास कभी रहती हि नहीं, जो आ’म इबादत होती है

Click here for background and on any passage for word meanings and explanatory discussion. kishan bihari noor (1926 – 2003), was born and grew up in lucknow. In a lot of his work he gracefully reaches across communal lines. He also was a great lover of urdu. This is one of series of Ghazal linked to ‘karbal katha’ on the page ‘kaaba-kaashi’ including many cross-religious categories reflecting the accepting and inclusive culture that used to be India. In 680 CE, in karbala, husain and his family and followers, heavily outnumbered and facing certain death, chose to take a principled and courageous stand rather than accept injustice. This has become symbolic across many communities.

kishan bihari noor (1926 – 2003), was born and grew up in lucknow.  In a lot of his work he gracefully reaches across communal lines.  He also was a great lover of urdu.  This is one of series of Ghazal linked to ‘karbal katha’ on the page ‘kaaba-kaashi’ including many cross-religious categories reflecting the accepting and inclusive culture that used to be India.  In 680 CE, in karbala, husain and his family and followers, heavily outnumbered and facing certain death, chose to take a principled and courageous stand rather than accept injustice.  This has become symbolic across many communities.

1.another name of husain 2.imagination, thought 3.creator, god 4.light, enlightenment 5.truth

O shabbir, just thinking of you increases our love for the divine.  The heart is enlightened so we can discern truth and justice.

1.tradition, ritual 2.ancient 3.apparent, used to mean ‘just to show’, ritualistic 4.devotion 5.prove 6.reign

‘dil par bhi hukoomat hoti’ – whose heart is in the realm of whom?  (a) husain’s heart in the realm of love of god (b) human heart in the realm of love of husain.  It is an ancient practice that devotion (to god) has become a ritual.  (a) you husain have proved, by sacrificing yourselves, that there is genuine love in the heart or (b) your sacrifice generates great admiration and love in our hearts for you.

1.companions, friends 2.blood 3.drowned 4.faith, fidelity, loyalty 5.hem of the robe 6.devotion

‘daaman chhoRna’ is to let go of something especially something desirable.  All companions/followers soaked in blood, but still they did not let go of their faith.  This could also mean that husain lost all companions but still did not let go of his faith in god.  This is the way to show love, this is the way to show devotion.

1.truth, faith 2.tears

There is a strong tradition of mourning for husain’s martyrdom among the shia community.  Ask those who mourn the martyrdom of husain about the tears in their eyes.  When there is faith, every tear reflects the image of husain.

1.reign, power 2.of yazid 3.ended 4.oppression 5.dust 6.swagger of hubris 7.destroyed 8.power

‘yaziid’, who had sent a large army to try to subdue husain, is considered a symbol of oppression and injustice.  Thus, ‘daur-e yaziidi’ is the reign of yazid/injustice.  The reign of yazid is ended, oppression pounded into dust.  The powerful who swagger with hubris are annihilated.

1.used here to mean – long time 2.thought, rememberance 3.river

husain and his companions were camped by the Euphretes, but the forces of yazid cut off their access to water.  A major feature of the battle of karbala is the thirst of husain, his family and companions.  Even though a long time has passed, but still when we remember, the waves of the river reflect the image of husain.

1.only 2.special, used here to mean exclusive, monopolistic 3.common, used here to mean belonging to everyone 4.devotion

shabbir/husain belongs to the whole world, he is not just for muslims.  The devotion/admiration that is common (to humanity) cannot be kept exclusive (for any group).  Elsewhere (posted on this site) too, he writes …

The post dil par bhi hukoomat hoti hai-krishn bihari noor appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/kbn-shariikat-alhusain-audio.mp3

Recitation

شریکتہ  الحسین  ۔  کرشن  بہاری  نورؔ

۱

بلندیوں  پر  نگاہِ  زینب،  عروج  پر  نقشِ  پائے  زینب

زباں  پہ  نامِ  حسین  آیا،  تو  دل  میں  گونجی  صدائے  زینب

حُدُودِ  صبر  و  رضا  میں  آنسو،  حقیقتوں  کی  حدوں  میں  جلوے

یہی  ہیں  بخشش  کے  دو  سہارے،  رِدائے  زہرا  ردائے  زینب

۲

قدم  قدم  پر  خدا  کی  مرضی،  صدائے  حق  نعرہ  ہائے  زینب

نگاہِ  مریم  جھکی  ہوئی  ہے،  جہاں  پہ  ہے  نقشِ  پائے  زینب

مصیبتوں  کے  یہ  چند  پہلو،  نقوشِ  صبر  و  رضا  بنے  ہیں

حسین  کی  ہے  جہاں  پہ  منزل،  کوئی  نہ  پہنچا  سوائے  زینب

शरीकत-अलहुसैन – कृष्ण बिहारी नूर

१

बलंदियौं पर निगाह-ए ज़ैनब, उरूज पर नक़्श-ए पा-ए-ज़ैनब

२

क़दम क़दम पर ख़ुदा की मर्ज़ी, सदा-ए हक़ नारा-हा-ए ज़ैनब

Click here for background and on any passage for word meanings and explanatory discussion. krishn bihari noor (1926 – 2003), was born and grew up in lucknow. In a lot of his work, he gracefully reaches across communal lines both in the social/political and religious fields. He also was a great lover of urdu. This is one of several posts linked to ‘karbal katha’ under ‘kaaba-kaashi’ on the Theme Index page, which contains several other cross religious categories. It is a fulsome tribute to the role of zainab, husain’s sister during and after the battle of karbala.

krishn bihari noor (1926 – 2003), was born and grew up in lucknow.  In a lot of his work, he gracefully reaches across communal lines both in the social/political and religious fields.  He also was a great lover of urdu.  This is one of several posts linked to ‘karbal katha’ under ‘kaaba-kaashi’ on the Theme Index page, which contains several other cross religious categories.  It is a fulsome tribute to the role of zainab, husain’s sister during and after the battle of karbala.

1.heights 2.sight 3.apex 4.footprints 5.sound, cry 6.limits, boundaries 7.resolve, determination 8.agreement, will (of god) 9.truths 10.boundaries 11.manifestations, glory 12.deliverance, forgiveness 13.bases, support 14.covering cloth, shawl 15.husain and zainab’s mother

krishn bihari noor pays fulsome tribute to the role of zainab, husain’s sister during and after the battle of karbala.  The eyes of zainab were set high (on the heavens), the footprints of zainab are at the heights of the path of truth.  Whenever we take the name of husain the heart echoes with the voice of zainab i.e., zainab’s speech in yaziid’s court echoes with the same courage and defiance as husain’s sacrifice.  Patience and submission to the divine will were tried to the limits, but tears remained within the limits set by acceptance of the will of god and within that suffering, great spiritual truths, jalve were revealed.  These are the two supports/means of salvation – the ridaa of zahra and the ridaa of zainab.  The ridaa of zahra refers to the qur’aanic verse called aaya-e tat’hiir which declares that those under the ridaa of zahra are god’s specially chosen (this was the immediate family of mohammed).  krishn bihaari noor equates the importance of zainab’s ridaa with the one mentioned in the qur’aan. 

1.every step 2.will (of god) 3.the voice of truth 4.cries/statements 5.eyes, gaze 6.Mary (mother of Jesus) 7.footprint 8.hardship, calamity 9.a few 10.angles, aspects 11.inscriptions, imprints 12.patience, acceptance 13.will, decree (of god) 14.wherever 15.destination, goal 16.except for, other than

At every step (in every action), god’s will is evident i.e., actions are compatible with god’s will; zainab‘s words/statements are the voice of truth; her defiance and speeches (in kuufa and Damascus) are portrayed as not just personal expressions, but manifestations of divine will.  The gaze of Mary bows with respect and admiration wherever the footprint of zainab lies i.e., on the path taken by zainab.  These few facets of hardship have become imprints of patience and acceptance.  Where husain’s goal was, nobody reached except for zainab – pointing to her contribution in the struggle carrying his mission forward.

The post shariikat-alhusain-krishn bihari noor appeared first on UrduShahkar.

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

https://urdushahkar.org/wp-content/uploads/2025/07/chbhkd-guftaar-hai-tera-audio.mp3

Recitation

گفتار  ہے  ترا  ۔  چندر  بھان  کیفیؔ  دہلوی

۱

کیا  حسن  ہے  یوسف  بھی  خریدار  ہے  ترا

کہتے  ہیں  جسے  مصر،  وہ  بازار  ہے  ترا

۲

تقدیر  اُسی  کی  ہے،  نسیبا  ہے  اُسی  کا

جس  آنکھ  سے  کچھ  وعدۂ  دیدار  ہے  ترا

۳

تا  زیست  نہ  ٹوٹے  وہ  مرا  عہدِ  وفا  ہے

تا  حشر  نہ  پورا  ہو،  وہ  اِقرار  ہے  ترا

۴

برچھی  کی  طرح  دل  میں  کھٹکتی  ہیں  ادائیں

انداز  جو  قاتل،  دمِ  رفتار  ہے  ترا

۵

کیا  تو  نے  کھلائے  چمنِ  بزم  میں  کیفیؔ

کیا  رنگِ  گُل  افشانیٔ  گفتار  ہے  ترا

गुफ़्तार है तेरा – चन्द्र भान कैफ़ी देहलवी

१

क्या हुस्न है यूसुफ़ भी ख़रीदार है तेरा

कहते हैं जिसे मिस्र वो बाज़ार है तेरा

२

तक़्दीर उसी की है नसीबा है उसी का

जिस आंख से कुछ वादा-ए दीदार है तेरा

३

ता ज़ीस्त न टूटे वो मेरा अहद-ए वफ़ा है

ता हश्र न पूरा हो, वो एक़्रार है तेरा

४

बर्छी की तरह दिल में खटक्ती हैं अदाएं

अंदाज़ जो क़ातील, दम-ए रफ़्तार है तेरा

५

क्या तू ने खिलाये हैं चमन-ए बज़्म में कैफ़ी

क्या रंग-ए गुल-अफ़्शानी-ए गुफ़्तार है तेरा

Click here for background and on any passage for word meanings and explanatory discussion. munshi chandr bhaan kaifi dehlavi (????-1941). He taught faarsi and urdu and was editor of a bi-weekly magazine called ‘hamaari zabaan’. Much of his work was lost. One of his shaagird, sheesh chandr taalib dehlavi, collected and published it ten years after his death. He wrote Ghazal of classical themes in classical style and many nationalistic nazm.

munshi chandr bhaan kaifi dehlavi (????-1941).  He taught faarsi and urdu and was editor of a bi-weekly magazine called ‘hamaari zabaan’.  Much of his work was lost.  One of his shaagird, sheesh chandr taalib dehlavi, collected and published it ten years after his death.  He wrote Ghazal of classical themes in classical style and many nationalistic nazm.

1

1.Joseph, reputed to be very handsome, symbol of the apex of beauty 2.buyer, used here to mean admirer 3.egypt, the “world bazaar” of the time

The beloved is so beautiful that even the apex of beauty is her admirer.  She is sought eagerly by all those who come to the largest bazaar of the world.  This does not mean “buying” in the sense of buying the services of a prostitute.  It means people seeking the best of the best of a kind.

1.fortune 2.luck, blessing 3.promise 4.sight

Only he is fortunate, only he is blessed who you have promised that his eyes will be granted a vision/sight of you.

1.until life i.e. as long as I live 2.promise 3.faith, keeping word 4.until doomsday 5.acceptance

My promise of faith to you is such that which will never be broken as long as I live.  Your acceptance (of my love) is such that which will not be fulfilled even until doomsday.

1.dagger 2.coquetry 3.style 4.killer 5.at the time of, during 6.speed, movement

She moves with such graceful movement and coquetry that her style pierces the heart of the poet/lover during her walk.

1.bloom 2.gathering, mushaa’era 3.pen-name of the poet 4.style 5.flower scattering 6.speech

The poet kaifi is reciting his poetry at the gathering (mushaa’era).  His words when he speaks is as if he is scattering flowers.  Reminds me of mirza Ghalib …

The post guftaar hai tera-chandr bhan kaifi dehlavi appeared first on UrduShahkar.