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

https://urdushahkar.org/wp-content/uploads/2025/08/pjs-na-ravish-qalandaraana-audio.mp3

Recitation

نہ  روِش  قلندرانہ  ۔  پنڈت  جیمنی  سرشارؔ

۱

نہ  وہ  دل  نہ  وہ  نگاہیں،  نہ  وہ  غم  نہ  وہ  زمانہ

میری  آرزو  کا  حاصل،  نہ  قفص  نہ  آشیانہ

۲

مری  زندگی  کے  مالک،  مری  زندگی  یہی  ہے

نہ  وقار  کج  کلاہی،  نہ  روِش  قلندرانہ

۳

مری  بے  نیازیوں  کا،  یہ  صِلہ  ملا  ہے  مجھ  کو

مرے  ساتھ  بے  کسی  ہے،  ترے  ساتھ  ہے  زمانہ

۴

تری  عظمتوں  کے  دم  سے،  مری  آبرو  ہے  یا  رب

یہ  جلال  کی  وراثت،  یہ  وقار  کا  خزانہ

۵

تو  جہاں  میں  لامکاں  ہے،  تو  مرا  مکاں  کہاں  ہے

نہ  ترا  کوئی  ٹھکانہ،  نہ  مرا  کوئی  ٹھکانہ

۶

کوئی  بات  ہو  تو  سمجھوں،  مجھے  راس  آ  گیا  ہے

مرا  جرم  ہوشمندی،  مرا  عزمِ  فاتحانہ

۷

اِسی  کشمکش  کے  صدقے،  مرا  وقت  کٹ  رہا  ہے

کبھی  زندگی  کی  سازش  کبھی  موت  کا  بہانہ

۸

رہِ  منزلِ  وفا  میں،  مجھے  لوٹ  لے  تو  کیا  ہو

وہ  ادائے  دلبرانہ،  وہ  جمالِ  کافرانہ

۹

مجھے  تیری  آرزو  تھی  تجھے  میری  جستجو  تھی

میں  غرور  میں  یگانہ،  تُو  شعور  میں  یگانا

۱۰

نہ  سفر  کا  کوئی  حاصل  نہ  سکوں  کی  کوئی  منزل

مرے  اشہبِ  جنوں  پر،  یہ  خِرد  کا  تازیانہ

۱۱

مجھے  بُت  پرست  کہہ  کر،  نہ  اڑا  مذاق  میرا

یہ  جمالِ  دلبرانہ  یہ  تراشِ  آذرانہ

۱۲

یہ  کمال  آگہی  کا،  یہ  مآل  آگہی  کا

دلِ  ناصبور  میرا،  غم  و  درد  کا  خزانہ

न रविश क़लंदराना – पंडित जैमिनी सरशार

१

न वो दिल न वो निगाहें न वो ग़म न वो ज़माना

मेरी आर्ज़ू का हासिल न क़फ़स न आशियाना

२

मेरी ज़िंदगी के मालिक, मेरी ज़िंदगी यही है

न वक़ार-ए कज कुलाही, न रविश क़लंदराना

३

मेरी बेनियाज़ियौं का, ये सिला मिला है मुझ को

मेरे साथ बेकसी है, तेरे साथ है ज़माना

४

तेरी अज़मतौं के दम से, मेरी आब्रू है या रब

ये जलाल की विरासत, ये वक़ार का ख़ज़ाना

५

तू जहां में लामकां है, तो मेरा मकां कहां है

न तेरा कोई ठिकाना, न मेरा कोई ठिकाना

६

कोई बात हो तो समझूं, मुझे रास आ गया है

मेरा जुर्म-ए होशमंदी, मेरा अज़्म-ए फ़ातहाना

७

इसी कशमकश के सदक़े, मेरा वक़्त कट रहा है

कभी ज़िंदगी की साज़िश कभी मौत का बहाना

८

रह-ए मंज़िल-ए वफ़ा में, मुझे लूट ले तो क्या हो

वो अदा-ए दिलबराना, वो जमाल-ए काफ़राना

९

मुझे तेरी आर्ज़ू थी, तुझे मेरी जुस्तजू थी

मैं ग़ुरूर में यगाना, तू शऊर में यगाना

१०

न सफ़र का कोई हासिल न सुकूं की कोई मंज़िल

मेरे अशहब-ए जुनूं पर, ये ख़िरद का ताज़ियाना

११

मुझे बुत परस्त कह कर, न उढा मज़ाक़ मेरा

ये जमाल-ए दिलबराना ये तराश-ए आज़राना

१२

यह कमाल आगही का, यह म’आल आगही का

दिल-ए नासुबूर मेरा, ग़म ओ दर्द का ख़ज़ाना

Click here for background and on any passage for word meanings and explanatory discussion. jaimini sarshaar (1905-1984). Born and raised in rural muzaffar gaRh. He worked as editor of various magazines, but it is not clear if he had any college education, job or lands. He migrated to sonipat, punjab in the middle 1940s. shaagird of tilok chand mahroom. Started composing in 1920, his urge to compose triggered by the jaaliaaNvala baaGh massacre. He wrote patriotic and national nazm with a strong dose of communal harmony. His Ghazal and nazm were published in local magazines, and eventually took the shape of four collections.

jaimini sarshaar (1905-1984).  Born and raised in rural muzaffar gaRh.  He worked as editor of various magazines, but it is not clear if he had any college education, job or lands.  He migrated to sonipat, punjab in the middle 1940s.  shaagird of tilok chand mahroom.  Started composing in 1920, his urge to compose triggered by the jaaliaaNvala baaGh massacre.  He wrote patriotic and national nazm with a strong dose of communal harmony.  His Ghazal and nazm were published in local magazines, and eventually took the shape of four collections.

1.eyes 2.sorrow, pain 3.times, era 4.longing 5.net result, benefit 6.cage 7.nest

In urdu poetic tradition the poet/lover is often portrayed as a bird.  It is either free, with a nest of its own, or it has been captured and caged.  The birdcatcher could be the beloved herself.  The poet seems to be nostalgic for times gone by when things were better.  But now, there is neither the kind of heart that offers true love, nor eyes that appreciate such an offering.  There is no longer the ability to bear the pain of unrequited pain of love.  The result of his longing is neither the cage (being captured by the beloved) nor the freedom/pleasure of a nest/home.  This could be a lament/complaint directed towards god.

1.dignity 2.slanted cap, defiance 3.way, tradition 4.ascetic, humble

O lord of my life (perhaps addressed to god), my life has become this … neither the dignity of defiance nor the ways of humility.  The poet seems to be stuck in limbo.

1.uncaring, neglect 2.reward 3.helplessness 4.times, the world

This is probably addressed to the divine.  This is the reward/recompense that I have received for my neglect.  With me is helplessness, the rest of the world goes with you and your generosity.

1.greatness 2.power 3.respect 4.lord 5.grandeur, eminence 6.legacy 7.dignity 8.treasure

Lord, my honor and respect exist because of your greatness and power. This legacy of splendor and treasure of dignity are all due to you. The poet acknowledges that everything he has, his dignity, and his honor, are a gift from a higher power.

1.world, 2.spaceless, without a home – not confined to one place 3.home 4.place, shelter

The poet directly addresses god, who is considered lamakaaN (not bound by space, without a physical abode, who is everywhere) and asks: If you are without a place in this world, then I don’t have a home either.  I am just like you – neither you have a place, nor do I have a place, suggests a sense of shared values.  This is probably used to mean a shared sense of an infinite expanse – my verse too is not confined by time or space.

1.compatible, suitable 2.transgression, criminality 3.rationality, sense of awareness 4.conviction, resolve 3.victorious

The poet has suufi/ascetic inclinations and is trying to make sense of a contradictory situation in his life.  koii baat ho to can be interpreted to mean, ‘if there is any substance in it, then’.  Thus, if there is any substance/reality in it, then I would understand/accept.  But the contradiction is that I have found compatibility/suitability/comfort in my jurm-e hoshmandi and azm-e faatehaaana.  In the ascetic tradition hoshmandi would be rejected in favour of passion and frenzy and a resolved to prevail (powerful ego) would be rejected in favour of submission to the divine.  But the poetic/ascetic confesses to this contradiction.

1.struggle, internal conflict 2.sacrifice 3.passing 4.conspiracy, plot 5.death 6.pretext, excuse, pretense

Here kashmakash ke sadqe can be interpreted to mean thanks to this struggle, because of this struggle.  vaqt kaT raha hai can be interpreted to mean my time/life is being cut short i.e., it is being wasted.  What is this kashmakash struggle?  It could be the contradiction carried over from the previous she’r or the struggle describe in the next misra.  The conspiracy of life is the constant temptation of materialism and the pretense of the wish to die/merge with the great spirit is just that – a pretense; hence the struggle.

1.path 2.destination 3.fidelity, faith 4.style, coquetry 5.beloved-like, charming 6.beauty 7.faith robbing, distracting from fidelity to the beloved/divine

The poet’s struggle continues.  adaa-e dilbaraana charming coquetry, is the attractions of the material world and jamaal-e kaafiraana is the beauty of the material world that robs the poet/suufi/ascetic of his fidelity to the divine.  He is afraid that these might rob him on his path to seek the divine, merger with the divine.  His struggle is with the temptations of the material world.

1.longing 2.seeking, searching 3.pride, arrogance, ego 4.unique, matchless 5.wisdom, knowledge

Here meri – mine, refers to the poet himself and teri -yours, refers to the beloved but here the beloved is the divine spirit.  Also, justujuu does not imply an active search … going out and seeking but waiting patiently … the picture is that the divine is expecting/waiting for the seeker to arrive.  The poet/seeker is still struggling … caught up in his Ghuroor- ego while the divine in its unique wisdom waits for him.

1.journey 2.use, benefit 3.peace 4.destination 5.horses 6.madness 7.rationality 8.whip

The poet/seeker is on a journey towards merger with the divine.  The the suufi/ascetic tradition the way to this destination is through passion/love/frenzy.  The seeker is riding his ‘horse of madness’ on this journey but ‘Khirad‘ – rationality weilds and whip and distracts the horse, leading him in other directions i.e., his rationality is leading him to material temptations.  Hence there is no net result/benefit in this journey nor is there a stage in the journey where he can rest and contemplate.

1.idol-worshipper 2.mock, make fun of 3.beauty 4.charming 5.carving, sculpture 6.like that of aazar

aazar was the father of ibrahim/Abraham and carved idols, was an idol-worshipper and opposed his son’s preaching of monotheism and formless god.  aazar is reputed to have carved exquisite idols which everyone bought and worshipped.  The poet declares his helplessness faced with the charming beauty of the idols like those carved by aazar.  How can I not be a but-parast when faced with such beauty.  Don’t mock me, he says.  The implication could be that there is divinity in beauty and he, through his idol worship is aiming at the same goal as monotheists of a formless god.    

1.perfection, pinnacle 2.awareness, knowledge 3.end result, consequence 4.restless heart 5.sorrow and pain 6.treasure

The poet/seeker’s heart is restless and is a ‘treasure’ of pain and sorrow.  That is because he has not been able to get to his goal of merger with the divine.  This is the result of his aagahi – awareness/knowledge of the material world.  This carries the thought further that the path to the divine is not through knowledge but through passion.

The post na ravish qalandaraana-panDit jaimini sarshaar 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/2025/08/jgr-ishq-ka-fasaana-audio.mp3

Recitation

عِشق  کا  فسانہ  ۔  جگر  مرادآبادی

۱

یہ  فلک  یہ  ماہ  و  انجم  یہ  زمین  یہ  زمانہ

ترے  حسن  کی  حکایت  مرے  عشق  کا  فسانہ

۲

یہ  ہے  عشق  کی  کرامت  یہ  کمال  شاعرانہ

ابھی  منہ  سے  بات  نکلی  ابھی  ہو  گئی  فسانہ

۳

یہ  مرا  پیام  کہنا  تو  صبا  یہ  مودبانہ

کہ  گزر  گیا  ہے  پیارے  تجھے  دیکھے  اک  زمانہ

۴

مجھے  چاک  جیب  و  دامن  سے  نہیں  مناسبت  کچھ

یہ  جنوں  ہی  کو  مبارک  رہ  و  رسم  عامیانہ

۵

تجھے  حادثات  پیہم  سے  بھی  کیا  ملے  گا  ناداں

ترا  دل  اگر  ہو  زندہ  تو  نفس  بھی  تازیانہ

۶

وہ  ادائے  دلبری  ہو  کہ  نوائے  عاشقانہ

جو  دلوں  کو  فتح  کر  لے  وہی  فاتح  زمانہ

इश्क़ का फ़साना – जिगर मुरादाबादी

१

ये फ़लक ये माह-ओ-अंजुम ये ज़मीन ये ज़माना

तेरे हुस्न की हिकायत मेरे इश्क़ का फ़साना

२

ये है इश्क़ की करामत ये कमाल-ए शा’एराना

अभी मुँह से बात निकली अभी हो गई फ़साना

३

ये मेरा पयाम कहना तू सबा मो’अदबाना

के गुज़र गया है प्यारे तुझे देखे एक ज़माना

४

मुझे चाक-ए जेब-ओ-दामन से नहीं मुनासबत कुछ

ये जुनूँ ही को मुबारक रह-ओ-रस्म-ए आ’मियाना

५

तुझे हादसात-ए पैहम से भी क्या मिलेगा नादाँ

तेरा दिल अगर हो ज़िंदा तो नफ़स भी ताज़ियाना

६

वो अदा-ए दिलबरी हो के नवा-ए आशक़ाना

जो दिलों को फ़तह कर ले वही फ़ातह-ए ज़माना

Click here for background and on any passage for word meanings and explanatory discussion. jigar muradabadi (1890-1961) was a profilic poet of sufiyaana, romantic and musical Ghazal. Many of his compositions have been put to music and sung by great singers. This is one of two Ghazal in the same zamin that jigar has composed. See ‘faateh-e zamaana’ under jigar.

jigar muradabadi (1890-1961) was a profilic poet of sufiyaana, romantic and musical Ghazal.  Many of his compositions have been put to music and sung by great singers.  This is one of two Ghazal in the same zamin that jigar has composed.  See ‘faateh-e zamaana’ under jigar.

1.sky 2.moon 3.stars 4.earth, place, space 5.time 6.beauty 7.story 8.love 9.fable

All of the universe – the sky, moon, stars, space and time is nothing but the story of your beauty and fable of my love.  This may also have sufiyaana implications of divine love.

1.miracle, magic 2.skill, perfection 3.poetic 4.fable

This is called the magic/enchantment of love, this is the perfection poetry – that as soon as words come out of the mouth, they become a fable/famous.

1.message 2.breeze 3.respectfully 4.passed 5.long time

Give her this message very respectfully/discretely, O breeze, that much too long a time has passed since I have seen you, my dear.

1.tear 2.collar 3.hem of the robe 4.match, fit, suitable 5.passion 6.customs and traditions 7.commonplace

The ripping of the collar and tearing off of clothes, do not suit me.  Let passion keep these commonplace customs and traditions to itself.

1.repeated 2.calamities 3.simpleton 4.alive, aware 5.breath 6.whip

Lif is a constant series of calamities.  What will you get out of life, O simpleton.  If your heart is alive (aware of the value of universal love, of the value of fana – merger with the great spirit), then every breath is like the lash of a whip i.e. it will be painful to continue to live.

1.style, manners 2.heart stealing 3.call, sound 4.vanquished, won over 5.greatest/real conquerer of the world

Be it a heart-stealing manner or the call of love, he/she who wins hearts is the greatest/real conquerer of the world.

The post ishq ka fasaana-jigar muradabadi 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/2025/08/saahsa-brij-se-ek-aavaaz-audio.mp3

Recitation

برج  سے  ایک  آواز  ۔  سیماب  اکبرآبادی

۱

اے  اہلِ  وطن  میں  آج  تمہیں،  حیران  و  پریشاں  پاتا  ہوں

یا  مضطر  و  ابتر  پاتا  ہوں،  یا  شاکی  و  گریاں  پاتا  ہوں

۲

اِک  دِن  ہستی  میں  مستی  تھی،  اور  اب  پستی  ہی  پستی  ہے

افلاک  بداماں  دُنیا  کو  اب  خاک  بداماں  پاتا  ہوں

۳

دُنیا  اکثر  بدلی  ہے  مگر،  ایسی  تو  کبھی  بدلی  ہی  نہ  تھی

پھولوں  کے  بھرے  باغوں  کی  جگہ،  سُنسان  بیاباں  پاتا  ہوں

۴

ہر  آنکھ  میں  لاکھوں  آنسو  ہیں،  ہر  لب  پہ  لاکھوں  نالے  ہیں

جو  بانسری  یکسر  نغمہ  تھی،  آج  اُس  کو  نالاں  پاتا  ہوں

۵

اندیشے  میں  غرقاب  کے  ہیں،  ملّاح  بھی  کشتی  والے  بھی

گنگا  جمنا  کی  موجوں  میں،  برپا  اِک  طوفاں  پاتا  ہوں

۶

جِن  میں  میں  نے  یکتائی  کے،  اِنساں  کو  دئے  تھے  درس  کبھی

اُن  پاک  شوالوں  میں  اپنے،  اِلحاد  کا  ساماں  پاتا  ہوں

۷

لوگوں  کو  وفا  کا  پاس  نہیں،  دُنیا  کو  محبّت  راس  نہیں

معمور  نکمّی  باتوں  سے،  معمورۂ  اِنساں  پاتا  ہوں

۸

اِس  مُلک  کے  بسنے  والوں  کی،  اِس  حال  پہ  حیرت  ہے  مجھکو

یا  شیر  و  شکر  پاتا  تھا  کبھی،  یا  دست  و  گریباں  پاتا  ہوں

۹

گیتا  کی  باتیں  دہرانے،  میں  پھر  آتا  ہوں  دُنیا  میں

میں  آتا  ہوں  اِس  دُنیا  میں  جب  اِس  کو  ویراں  پاتا  ہوں

۱۰

میں  بانسری  کے  نغمے  بن  کر،  چھا  جاتا  ہوں  اِس  عالم  پر

جب  مظلوموں  کے  نالوں  کو،  عالم  میں  اوزاں  پاتا  ہوں

۱۱

اُٹھو  اور  اپنی  روحوں  میں،  پھر  میرے  جلوے  جزب  کرو

میں  گیان  کے  گیت  سناتا  ہوں،  جب  سازِ  رگِ  جاں  پاتا  ہوں

۱۲

ہشیار  کے  مثلِ  ابرِ  چمن،  سرمست  و  غزل خواں  می  آیم

بیدار  کے  در  بزمِ  عالم،  صد  نغمہ  بداماں  می  آیم

ब्रिज से एक आवाज़ – सीमाब अक्बराबादी

१

अए अहल-ए वतन मैं आज तुम्हें, हैरान ओ परेशां पाटा हूं

या मुज़्तर ओ अब्तर पाता हूं, या शाकी ओ गिरियाँ पाता हूं

२

एक दिन हस्ती में मस्ती थी, और अब पस्ती ही पस्ती है

अफ़्लाक ब-दामां दुनिया को अब ख़ाक ब-दामां पाता हूं

३

दुनिया अक्सर बदली है मगर, ऐसी तो कभी बदली ही न थी

फूलौं के भरे बाग़ौं कि जगह, सुन्सान ब्याबां पाता हूं

४

हर आँख में लाखौं आंसू हैं, हर लब पे लाखौं नाले हैं

जो बांसुरी यक्सर नग़्मा थी, आज उस को नालां पाता हूं

५

अंदेशे में ग़र्क़-ए-आब के हैं, मल्लाह भी किश्ती वाले भी

गंगा जमना कि मौजौं में, बरपा एक तूफ़ां पाता हूं

६

जिन में मैं ने यक्ताई के, इन्सां को दिए थे दर्स कभी

उन पाक शिवालौं में अपने, इल्हाद का सामां पाता हूं

७

लोगौं को वफ़ा का पास नहीं, दुनिया को मोहब्बत रास नहीं

मामूर निकम्मी बातौं से, मामूरा-ए इन्सां पाता हूं

८

इस मुल्क के बस्ने वालौं के इस हाल पे हैरत है मुझको

या शीर ओ शकर पाता था कभी, या दस्त ओ गरेबां पाता हूं

९

‘गीता’ कि बातें दोहराने, मैं फिर आता हूं दुनिया में

मैं आता हूं इस दुनिया में, जब इस को वीरां पाता हूं

१०

मैं बांसुरी के नग़्मे बन कर, छा जाता हूं इस आलम पर

जब मज़्लूमौं के नालौं को, आलम में औज़ां पाता हूं

११

उट्ठो और अपनी रुहौं में, फिर मेरे जलवे जज़्ब करो

मैं ज्ञान के गीत सुनाता हूं, जब साज़-ए रग-ए जां पाता हूं

१२

हुशियार के मिस्ल-ए अब्र-ए चमन, सर-मस्त ओ ग़ज़ल-ख्व़ां मी आयम

बेदार के दर बज़्म-ए आलम, सद नग़्मा ब-दामां मी आयम

Click here for background and on any passage for word meanings and explanatory discussion. syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic urdu translation of the whole qur’aan. His secular credentials are impeccable. He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’. This nazm/Ghazal is linked to kishan bhakti, under k’aaba kaashi on the Theme Index page.

syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu.  A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh.  He also did a poetic urdu translation of the whole qur’aan.  His secular credentials are impeccable.  He along with his contemporary hasrat mohani, participated in the freedom struggle and composed a collection of devotional poems to krishn, which was published as a book called ‘krishn geet’.  This nazm/Ghazal is linked to kishan bhakti, under k’aaba kaashi on the Theme Index page.

1.people of the homeland 2.puzzled 3.worried 4.helpless 5.miserable 6.complaining 7.weeping

O, my countrymen, today I find you puzzled and worried.  You are either helpless and miserable or complaining and weeping.

1.existence, life 2.depression 3.skies, heavens 4.gathered in apron/cloak

At one time, life was full of joy, now it seems to be depressed.  At one time, you carried heavens with you.  Now I only see dust in your possession.

1.often 2.deserted 3.wilderness

The world has often changed, but never like this.  Once these gardens were blooming with flowers.  Now I find deserted wildernesses.

1.lips 2.wailing 3.complete, head to toe 4.song 5.weeping

Every eye is tearful, ever lip has a thousand cries.  The flute which was the embodiment of joyful song, today is wailing.

1.danger 2.drowning in water 3.boatmen 4.going on, prevailing

I find boatmen and passengers, both fearful of drowning.  I see a strom prevailing in the waters of gaNga and jamna … this could well be a reference to the syncretic culture – gaNga-jumni tahzeeb – of India.

1.unity, harmony 2.lessons 3.pure, holy 4.atheism (used here to mean disrespect for faith) 5.ingredients, conditions

In the holy shivaalay where I once preached unity and harmony, I find disrespect for (other) faith.  (Never mind that krishn, considered an avtar of vishnu, would not preach from a shivalay – but the poet may be using that as a re-inforcement of unity).

1.faith 2.respect 3.agreeable 4.full of 5.useless 6.human habitation i.e. world/country

There is no respect for other people’s faith; love does not seem to be compatible with the ways of the world.  I find the world once brimming with humanity to be now full of useless talk; the country is brimming with rumours.

1.condition 2.amazement 3.milk 4.hand to collar i.e. fighting

I am amazed at this condition of the people inhabiting this country.  At one time I used to find rivers flowing with milk and honey, now I find people at each other’s throats.

1.repeat 2.desolate

To repeat the lesson of the geeta, I come back to this world, when I find it abandoned (by those who can help it).

1.world 2.oppressed 3.wails 4.heavy, burdensome

I become the song of the flute and spread across the lands whenever I find that the wails of the oppressed become painful.

1.spirits, souls 2.faces, manifestations 3.absorb, take in 4.wisdom 5.music, harp 6.jugular vein, throbbing life

Arise, and let the spirit of my manifestation pervade your soul.  I sing songs of wisdom, whenever I encounter throbbing life.

1.similar to, like 2.blessed cloud over the garden 3.joyful 4.I will come 5.attention 6.in 7.assembly of the world i.e. the world 8.hundred songs 9.gathered in the apron

I come like the blessed cloud, joyfully singing Ghazals (could this be the poet himself?).  Listen that I come into this world carrying a hundred songs of love.

The post brij se ek aavaaz-seemaab akbarabadi 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/2025/08/chbhKh-husain-aaj-bhi-zinda-hai-audio.mp3

Recitation

حسین  آج  بھی  زندہ  ہے  ۔  چندر  بھان  خیالؔ

۱

نہ  اِقتدار  کی  خواہش  نہ  آرزوئے  قرار

نہ  مال  و  زر  کی  تمنّا  نہ  عشرتوں  کی  طلب

بس  ایک  فکر  کہ  ایمان  و  حق  بلند  رہے

بس  ایک  چاہ  کہ  دنیا  میں  امن  قائم  ہو

اسی  لیے  وہ  بشر  ہر  زماں  پہ  بھاری  ہے

حسین  آج  بھی  زندہ  ہے  جنگ  جاری  ہے

۲

بُجھائے  جائیں  نہ  اِنصاف  و  عدل  کے  چہرے

لگائے  جائیں  نہ  اِظہار  رائے  پر  پہرے

نہ  ظلم  و  جبر  و  تشدُّد  کا  کاروبار  چلے

نہ  صبر  و  شکر  کی  دنیا  کوئی  اُجاڑ  سکے

یقیں  کی  پیاس  ابھی  ہر  نظر  پہ  طاری  ہے

حسین  آج  بھی  زندہ  ہے  جنگ  جاری  ہے

۳

جو  قتل  گاہ  کی  جانب  بڑھا  ہو  تیز  قدم

وہ  کوئی  اور  نہیں  زندگی  کا  مظہر  ہے

ہلاکتوں  کی  فضاؤں  میں  سانس  لے  کر  بھی

کھڑا  رہا  ہے  اُٹھائے  علم  وفاؤں  کا

وہ  جس  نے  کرب  و  بلا  ہی  میں  شب  گزاری  ہے

حسین  آج  بھی  زندہ  ہے  جنگ  جاری  ہے

۴

سُنا  رہا  ہے  ابھی  بھی  فرات  کا  ساحل

حیات  بخش  شہادت  کی  داستاں  سب  کو

فریب  کار  اندھیرے  ابھی  بھی  روشن  ہیں

نگل  نہ  جائے  گناہوں  کا  یہ  دھواں  سب  کو

جدھر  بھی  جائیں  صداقت  پہ  سنگ  باری  ہے

حسین  آج  بھی  زندہ  ہے  جنگ  جاری  ہے

۵

قدم  قدم  پہ  سیہ  کار  بھیڑ  لوگوں  کی

بہ  نامِ  دین  ہے  آمادۂ  فساد  یہاں

بشر  بشر  ہے  پریشاں  کہ  یہ  ہوا  کیا  ہے

نظر  نظر  میں  بہت  بڑھ  گیا  تضاد  یہاں

کہ  سمت  سمت  کے  چہرے  پہ  سوگواری  ہے

حسین  آج  بھی  زندہ  ہے  جنگ  جاری  ہے

۶

یہ  جنگ  جنگ  ہے  جمہور  کی  بقا  کے  لیے

دبے،  ستائے  ہوئے  سب  عوام  کی  خاطر

جہاں  نہ  لوٹ  سکے  آبروئے  زن  کوئی

اِک  ایسی  بزمِ  اماں  کے  قیام  کی  خاطر

بلند  و  بالا  یہی  اِک  صدا  ہماری  ہے

حسین  آج  بھی  زندہ  ہے  جنگ  جاری  ہے

۷

حسین  صِرف  غم  و  سوگ  کا  فسانہ  نہیں

حسین  چشمِ  عزائم  کی  اِک  حقیقت  ہے

حسین  شانِ  اِمامت  کا  چہرۂ  روشن

حسین  اِبن  علی  وارثِ  رِسالت  ہے

حسین  شوقِ  شہادت  کی  بے  قراری  ہے

حسین  آج  بھی  زندہ  ہے  جنگ  جاری  ہے

हुसैन आज भी ज़िंदा है – चंद्रभान ख़याल

१

न एक़्तेदार की ख़्वाहिश, न आर्ज़ू-ए क़रार

न माल-ओ-ज़र की तमन्ना, न इश्रतों की तलब

बस एक फ़िक्र के ईमान-ओ-हक़ बुलंद रहे

बस एक चाह के दुनिया में अमन क़ायम हो

इसी लिये वो बशर हर ज़माँ पे भारी है

हुसैन आज भी ज़िंदा है जंग जारी है

२

बुझाए जाएँ न इंसाफ़-ओ-अदल के चेहरे

लगाए जाएँ न इज़्हार-ए राए पर पहरे

न ज़ुल्म-ओ-जब्र-ओ-तशद्दुद का कारोबार चले

न सब्र-ओ-शुक्र की दुनिया कोई उजाड़ सके

यक़ीं की प्यास अभी हर नज़र पे तारी है

हुसैन आज भी ज़िंदा है जंग जारी है

३

जो क़त्ल-गाह की जानिब बढ़ा हो तेज़ क़दम

वो कोई और नहीं, ज़िंदगी का मज़्हर है

हलाकतों की फ़िज़ाओं में साँस ले कर भी

खड़ा रहा है उठाए अलम वफ़ाओं का

वो जिस ने कर्ब-ओ-बला ही में शब गुज़ारी है

हुसैन आज भी ज़िंदा है जंग जारी है

४

सुना रहा है अभी भी फ़ुरात का साहिल

हयात-बख़्श शहादत की दास्तां सब को

फ़रेब-कार अँधेरे अभी भी रौशन हैं

निगल न जाए गुनाहों का ये धुआँ सब को

जिधर भी जाएँ सदाक़त पे संगबारी है

हुसैन आज भी ज़िंदा है जंग जारी है

५

क़दम क़दम पे सियह-कार भीड़ लोगों की

ब-नाम-ए दीन है आमादा-ए फ़साद यहाँ

बशर-बशर है परेशाँ के ये हुआ क्या है

नज़र-नज़र में बहुत बढ़ गया तज़ाद यहाँ

के सम्त-सम्त के चेहरे पे सोगवारी है

हुसैन आज भी ज़िंदा है जंग जारी है

६

ये जंग जंग है जमहूर की बक़ा के लिए

दबे, सताए हुए सब अवाम की ख़ातिर

जहाँ न लूट सके आब्रू-ए ज़न कोई

एक ऐसी बज़्म-ए अमाँ के क़्याम की ख़ातिर

बुलंद-ओ-बाला यही एक सदा हमारी है

हुसैन आज भी ज़िंदा है जंग जारी है

७

हुसैन सिर्फ़ ग़म-ओ-सोग का फ़साना नहीं

हुसैन चश्म-ए अज़ा’एम की एक हक़ीक़त है

हुसैन शान-ए इमामत का चेहरा-ए रौशन

हुसैन इब्न-ए अली वारिस-ए रिसालत है

हुसैन शौक़-ए शहादत की बे-क़रारी है

हुसैन आज भी ज़िंदा है जंग जारी है

Click here for background and on any passage for word meanings and explanatory discussion. chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh. Graduated from saagar university. His rural school did not have provisions to teach urdu. He was fascinated with urdu poetry and in his village a philanthropist got a library built and stocked. Visiting the newly opened library, he memorized a lot of Ghazal and nazm from books in devanagiri. He also started composing nazm. Could not find anyone in the village to teach him urdu, not even the imaam at the local masjid. Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years. He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird. Participated in mushaa’era, published a collection and got started on a journalism career. Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli. Sahitya Akademi Award and Tagore Literary Prize. This nazm is linked to karbal-katha under k’aaba-kaashi on the Theme Index page.

chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh.  Graduated from saagar university.  His rural school did not have provisions to teach urdu.  He was fascinated with urdu poetry and in his village a philanthropist got a library built and stocked.  Visiting the newly opened library, he memorized a lot of Ghazal and nazm from books in devanagiri.  He also started composing nazm.  Could not find anyone in the village to teach him urdu, not even the imaam at the local masjid.  Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years.  He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird.  Participated in mushaa’era, published a collection and got started on a journalism career.  Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli.  Sahitya Akademi Award and Tagore Literary Prize.   This nazm is linked to karbal-katha under k’aaba-kaashi on the Theme Index page.

1.power, authority 2.wish 3.desire 4.comfort, rest 5.wealth and gold 6.desire 7.pleasures 8.quest 9.concern 10.faith and righteousness 11.high, dominant 12.wish 13.peace 14.established, prevail 15.human being 16.time 17.more valuable 18.ongoing

Throughout the nazm the poet uses husain as a symbol of resistance, standing up for truth at the cost of one’s own life.  husain was not driven by a desire for power, wealth, or personal pleasure. His only concern was to uphold faith and righteousness, and to establish peace in the world. This is why his character and legacy continue to be so powerful and impactful through time. The struggle jaNg for these ideals is still ongoing, husain lives.

1.justice and fairness 2.face, expression 3.expression of opinion 4.guards, restrictions 5.oppression, force, and violence 6.patience and gratitude 7.destroy, demolish 8.conviction 9.eye, gaze 10.dominant, pervasive

The struggle continues so that the flame of justice and fairness will never be extinguished; so that the right to express opinions freely never be restricted; so that the business of oppression and violence not prevail; so that inner peace and contentment sabr-o-shukr not be destroyed. The thirst for conviction (yaqiiN ki pyaas) is still strong in everyone’s eyes, and the struggle for these values continues, husain lives.

1.field of slaughter, battlefield 2.towards 3.fast-paced, eagerly, willingly 4.manifestation, symbol 5.death, destruction, devastation 6.atmosphere, environment 7.flag, banner 8.faithfulness, commitment 9.karbala, where husain took his last stand but also means facing pain and calamities 10.night, injustice 11.spent

The one who walked in the face of certain death, towards the battlefield willingly and resolutely was not just a person but the very symbol of life. Even in an atmosphere of death and destruction, he stood firm, holding high the banner of truth and commitment. The reference to ‘karb-o-bala’ is not just about the place karbala but enduring pain and calamities.  The struggle continues, husain lives.

1.Euphrates river, which flows through karbala 2.bank (of a river) 3.life-giving 4.sacrifice, martyrdom 5.story, tale 6.deceptive, fraudulent 7.swallow/devour 8.sins 9.truth 10.stoning

The bank of the Euphrates river still tells the story of his (immortality granting) life-giving martyrdom. It warns that even today, deceptive and dark forces are still visible and that we must not allow the smoke/deception of sins/wrong ideas to consume everyone. It points out that no matter where one goes, the truth is still under attack, being pelted with rocks.  The struggle to protect the truth is ongoing, husain lives.

1.every step 2.schemers of evil deeds 3.crowd 4.in the name of 5.faith 6.willing, inclined towards 7.plunder, riot, discord 8.every human 9.worried, troubled 10.every gaze 11.contradiction, conflict 12.in every direction 13.mourning, sorrow

At every step there is an onslaught, there is a crowd scheming evil deeds, in the name of religion, ready to plunder and riot. Everyone is worried and confused about what is happening.  Whichever way you turn to gaze there is conflict.  Whichever you look, there is mourning and sorrow.  The struggle continues husain lives.

1.masses, the people 2.survival, existence 3.oppressed, burdened 4.tormented 5.people 6.for the sake of 7.where 8.honour/dignity of women 9.gathering, society 10.peace and safety 11.establishment 12.loud and reaching high 13.voice, call

This struggle is for the survival of the masses and for all the oppressed people. It is for a world where no one can violate the honor of women. It is a fight to establish a society of peace and safety. The poet says that this is their loud and clear call, and that the struggle for these ideals, embodied by husain, is ongoing.

1.only 2.grief and mourning 3.story, tale 4.spring, source, wellspring 5.resolve 6.reality, truth 7.glory 8.leadership 9.shining face 10.son of ali 11.carrying the legacy 12.prophethood 13.desire, willingness 14.self-sacrifice 15.restlessness, impatience

The final stanza concludes by saying that husain is not just a tale of sorrow and grief. He is a living truth, a reality, a source of unwavering determination. He represents the shining glory of leadership and carries the legacy of prophethood. He is the very embodiment of the eagerness/willingness to sacrifice oneself for truth and justice. husain‘s spirit and the struggle he represents are not things of the past but are very much alive today.

The post husain aaj bhi zinda hai-chandrbhan Khayaal 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/2025/08/chbhKh-aavaaz-ke-maqtal-meN-audio.mp3

Recitation

آواز  کے  مقتل  میں  ۔  چندر  بھان  خیالؔ

۱

پھر  لَوٹ  کے  آیا  ہوں  تنہائی  کے  جنگل  میں

اِک  شہرِ  تصوُّر  ہے  اِحساس  کے  ہر  پل  میں

۲

تو  مِصر  کی  ملکہ  ہے،  میں  یوسفِ  کنعاں  ہوں

افسوس  مگر  گُم  ہیں  تفریق  کے  دلدل  میں

۳

انسان  کی  دنیا  میں  انساں  ہے  پریشاں  کیوں

مچھلی  تو  نہیں  ہوتی  بے  چین  کبھی  جل  میں

۴

ہر  فِکر  کے  چہرے  پر  سَو  زخم  ہیں  ماضی  کے

اِک  لفظ  نہیں  زندہ  آواز  کے  مقتل  میں

۵

چُٹکی  میں  مسلتے  ہیں  تِنکے  بھی  پہاڑوں  کو

جب  خون  سِمٹتا  ہے  مظلوم  کے  آنچل  میں

۶

پھر  چھوڑ  دیا  تنہا  دنیا  نے  خیالؔ  ہم  کو

پھر  ذہن  پریشاں  ہے  جذبات  کی  ہلچل  میں

आवाज़ के मक्तल में – चंद्रभान ख़याल

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Click here for background and on any passage for word meanings and explanatory discussion. chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh. Graduated from saagar university. His rural school did not have provisions to teach urdu. He was fascinated with urdu poetry and in his village a philanthropist got a library built and stocked. Visiting the newly opened library, he memorized a lot of Ghazal and nazm from books in devanagiri. He also started composing nazm. Could not find anyone in the village to teach him urdu, not even the imaam at the local masjid. Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years. He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird. Participated in mushaa’era, published a collection and got started on a journalism career. Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli.

chandr bhaan Khayaal (1946-xxxx), hoshaNgabad, madhya pradesh.  Graduated from saagar university.  His rural school did not have provisions to teach urdu.  He was fascinated with urdu poetry and in his village a philanthropist got a library built and stocked.  Visiting the newly opened library, he memorized a lot of Ghazal and nazm from books in devanagiri.  He also started composing nazm.  Could not find anyone in the village to teach him urdu, not even the imaam at the local masjid.  Taught himself reading and writing urdu, and after college, went to dehli, working in a petrol pump for a few years.  He took a nazm to raam chandr muztar who was chief editor of ‘milaap’ and later became his shaagird.  Participated in mushaa’era, published a collection and got started on a journalism career.  Worked for urdu dailies – savera and qaumi aavaaz and later chief editor of hindi weekly bhaavya Times, dehli.

1.returned 2.solitude 3.city, domain 4.imagination 5.feeling, emotion 6.moment

The poet returns to the metaphorical ‘forest of solitude’ – a state of deep inner isolation.  Here ‘forest’ could symbolize and lush, green place of growth and/or directionless place where you wander with danger lurking at every turn.  Yet, within each moment of emotional awareness, is a domain of imagination, of creativity in which the poet can compose verse and pour his feelings into it.

1.Egypt 2.queen 3.Joseph known for his legendary beauty 4.the tribe of yusuf 5.tragedy, regret 6.lost 7.division, separation 8.swamp, quagmire

Here the poet refers to the beloved as ‘misr ki maleka‘ – this could mean Cleopatra as the epitome of feminine beauty (it could also mean zulaiKha, but either symbolism works) and he refers the lover as ‘yusuf‘ – the epitome of male beauty.  Thus the lover and the beloved consider each other to be the epitome of beauty and are madly in love but what a tragedy that they are lost in the quagmire of separation/division.  This could due to class disctinction, communal or caste barriers – or other societal oppression.

1.human 2.troubled, distressed 3.restless 4.water

This she’r questions the existential disquiet of human life. Just as a fish is naturally at peace in water, so should humans be in the world they’ve built. But unlike the fish, humans seem inherently restless, pointing to societal oppression or perhaps spiritual or moral disconnection.

1.thought 2.face 3.wounds 4.past 5.word 6.voice 7.killing field, slaughterhouse

Every thought bears scars from the past – these wounds could be from suppression of speech, memories, traumas, regrets. In the ‘killing field’ of voice, even a single word cannot survive – perhaps due to censorship, suppression, emotional paralysis, silent suffering.  Indifference of society can also be the ‘killing field’ of voice.

1.a pinch, between fingers 2.to crush 3.straw, the powerless/oppressed 4.mountains, powerful/oppressor 5.gathers 6.oppressed 7.head covering, hem of the garment

The oppressed gain enormous moral strength in the face of injustice. Even the weakest ‘straws’ can crush mountains between their fingers, when the blood of the oppressed pools in their ‘aaNchal’.  Also see, saahir ludhianavi- Khoon phir Khoon hai, maKhdoom mohiuddin – lumumba and ali sardar jafri – lahu pukaarta hai.

1.abandoned 2.alone 3.pen-name 4.mind 5.disturbed, agitated 6.emotions 7.unrest, confusion, activity, turbulence

Either the world has left Khayaal the poet alone to his own thoughts, or it has ignored his words/writings.  In either case, in his solitude, his mind is once more agitated by a storm of emotions. The cyclical nature of isolation and inner turmoil underscores the poet’s personal and perhaps creative struggle.

The post aavaaz ke maqtal meN-chandrbhan Khayaal appeared first on UrduShahkar.

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

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Recitation

قتل  ہمارا  حِجاب  میں  ۔  نانک  چند  نانکؔ  لکھنوی

۱

کامل  ہوا  جو  عشقِ  رِسالت  مآب  میں

مقبول  ہو  گیا  وہ  خدا  کی  جناب  میں

۲

ہوتا  اگر  نہ  وہ  رخِ  روشن  نقاب  میں

بڑھ  جاتی  خیرگی  نگہِ  آفتاب  میں

۳

ترچھی  نگاہ  رہتی  ہے  ہر  دم  نقاب  میں

مدّ  نظر  ہے  قتل  ہمارا  حِجاب  میں

۴

تصویرِ  حُسن  آئینۂ  دل  پہ  کھینچ  لوں

بھولے  سے  بھی  اگر  وہ  کہیں  آئیں  خواب  میں

۵

افسوس  وصلِ  دوست  کا  ارمان  رہ  گیا

بعدِ  فنا  بھی  اِس  دلِ  خانہ  خراب  میں

۶

دیکھیں  کہ  طول  کھینچے  شبِ  ہِجر  کس  قدر

دیکھے  ہیں  ہم  نے  گیسوئے  دلدار  خواب  میں

۷

تم  بھی  لگا  دو  بڑھ  کے  جنازے  میں  میرے  ہاتھ

منظور  ہے  شریک  جو  ہونا  ثواب  میں

۸

صبر  و  قرار  ہِجر  میں  ہمراہِ  دل  گئے

درد  و  الم  نے  ساتھ  دیا  اِضطراب  میں

۹

پیکاں  حضور  آپ  کے  ناوک  کا  رہ  گیا

ارمان  کی  طرح  دلِ  خانہ  خراب  میں

۱۰

کروٹ  بدل  بدل  کے  کٹی  ہے  تمام  رات

کی  ہے  تڑپ  تڑپ  کے  سحر  اضطراب  میں

۱۱

اے  جاں  شبِ  فراق  میں  تڑپا  دیا  مجھے

اُٹھ  اُٹھ  کے  درد  نے  دلِ  پُر  اِضطراب  میں

۱۲

نانکؔ  ہزار  حیف  لڑکپن  گزر  گیا

ہم  کو  پھنسا  کے  پنجۂ  عہدِ  شباب  میں

क़त्ल हमारा हिजाब में – नानक चंद नानक लखनवी

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१०

११

१२

Click here for background and on any passage for word meanings and explanatory discussion. lala naanak chand khatri naanak (1893-xxxx). lukhnau. His father was a retail cloth merchant, and he started working in the shop and at the age of 16 started his own retail chikan clothing business. No formal schooling after that. Fellow cloth merchants around his shop were deep into urdu shaa’eri and some were poets. They used to have lively conversations during slack business times. naanak fell in love with urdu and started composing Ghazal. He has full diivaan. He could not write or even read urdu script. Wrote in muRhia mahajani script. Not sure how he started composing marsia but publicly read his first marsia in 1918. Was invited to read in majaalis all around lukhnau and also as far away as hyderbad (1926). This Ghazal is linked to ‘saaqi ne kuchh mila na diya ho sharaab meN’, Ghalib naqsh-e qadam, Theme Index page.

lala naanak chand khatri naanak (1893-xxxx).  lukhnau.  His father was a retail cloth merchant, and he started working in the shop and at the age of 16 started his own retail chikan clothing business.  No formal schooling after that.  Fellow cloth merchants around his shop were deep into urdu shaa’eri and some were poets.  They used to have lively conversations during slack business times.  naanak fell in love with urdu and started composing Ghazal.  He has full diivaan.  He could not write or even read urdu script.  Wrote in muRhia mahajani script.  Not sure how he started composing marsia but publicly read his first marsia in 1918.  Was invited to read in majaalis all around lukhnau and also as far away as hyderbad (1926).  This Ghazal is linked to ‘saaqi ne kuchh mila na diya ho sharaab meN’, Ghalib naqsh-e qadam, Theme Index page.

1.perfect, complete 2.exalted prophet, mohammed 3.accepted 4.presence

The one who perfects/immerses themselves in the love of the exalted prophet becomes accepted in the divine court.

1.face 2.shining, dazzling 3.veil 4.dazzlement, blindness 5.gaze 6.sun

The poet imagines that if the radiant face of the beloved weren’t veiled, he would be even more dazzeld as if he were gazing at the sun.

1.sidelong glance 2.every moment 3.veil 4.objective/aim in sight 5.slaying 6.hidden, secretly

The beloved is a sly killer; though she is veiled, the sidelong glances remain deadly. The poet sees the veil not as concealment but as a stage where the game of love and destruction continues. It suggests intentional allure.  The hijaab throws a veil over the killing, so that the beloved doesn’t get accused of the death of the lover.

1.beauty 2.even in forgetfulness

The poet/lover does not have high hopes of the beloved appearing before him, not even in his dreams.  But if she were to ever, in forgetfulness, appear in his dreams, then he would etch the beloved’s image on his heart’s mirror.

1.alas 2.union 3.friend, beloved 4.longing, unfulfilled desire 5.after 6.annihilation, death 7.ruined/derelict heart

The regret of not attaining union with the beloved lingers even after metaphorical or literal death. The heart remains desolate, suggesting an eternal, unfulfilled longing.

1.tuul khiiNchna-to stretch something longer 2.night of 3.separation 4.how much 5.hair, tresses 6.beloved

The beloved’s hair are supposed to be dark and long.  The poet/lover is setting up an imaginary competition between the night of separation and the beloved’s hair.  He appears to be challenging the night of separation … let us see how long you can make it; I have seen the beloved’s hair in my dream – perhaps he is walking along the length of her hair and thinks that his dream-walk/length of the beloved’s hair will last longer than the night.

1.funeral bier 2.acceptable 3.join, participate 4.blessing, reward

Not too long ago (even in my lifetime) it was not unusual for even strangers to consider it a courtesy/act of piety to walk at a funeral procession, at least for a few steps, if they came across one.  They might even lend a shoulder.  If strangers can do this, why not the beloved.  The poet invites the beloved to join his funeral procession so she might gain spiritual reward. It’s a layered request-perhaps sarcastic or deeply emotional-asking for recognition in death if not in life.

1.patience 2.peace, tranquility 3.together with 5.pain 6.sorrow 7.restlessness

The poet suggests that pain and sorrow are his true, dependable friends.  They remained with him during his time of restlessness but the patience and tranquility, together with his heart, left him during the time of separation from the beloved.

1.tip of the arrow 2.honourific-applied here to the beloved 3.arrow 4.longing, unfulfilled desire 6.ruined

It is not unusual for a hunter to pull out the arrow after shooting his prey.  The beloved has shot an arrow (a sidelong glance), wounded the lover and pulled out the arrow (looked away).  But the tip of the arrow (a lingering wound) remains in the heart.  It is just like his unfulfilled desires that remain in his ruined heart.  The arrow doesn’t quite go through, doesn’t kill the lover.  Said Ghalib …

1.side on which you lie down 2.changing (changing sides-tossing and turning) 3.passed 4.all, whole 5.writhing in pain 6.dawn 7.restlessness

The entire night is passed in anguish, tossing and turning, twisting with pain, leading into a dawn born of torment. It’s a classic image of sleepless, tortured lovers, heightened by helpless anticipation.

1.life, beloved 2.night of 3.separation 4.tortured 5.rising/increasing again and again 6.pain 7.full of restlessness

The poet is tortured throughout the night by recurring waves of pain, his heart fully consumed by restlessness. It’s a continuation of the emotional thread from the previous couplet, reinforcing helpless love.  I am not sure if there is a typo … IF it is read aye jaaN shab-e firaaq ne taRpa diya mujhe, the the she’r makes a lot more sense.  O my life, the night of separation has tortured my.  I spend the whole night tossing and turning.

1.pen-name 2.alas, sorrows 3.childhood 4.passed 5.caught 6.clutch, grip 7.age, period 8.youth

The poet laments the loss of innocent childhood and his entrapment in the complexities of youth, likely hinting at love, desire, and emotional entanglement or perhaps the need to earn a living. The sorrow is not just of lost time, but of lost simplicity.

The post qatl hamaara hijaab meN-naanak chand khatri naanak appeared first on UrduShahkar.

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Recitation

https://urdushahkar.org/wp-content/uploads/2025/08/ashaf-saara-kalaam-rakh-diya-faraz.mp3

ahmad faraaz

سارا  کلام  رکھ  دیا  ۔  اَحْمَد  فراز

सारा कलाम रख दिया – अहमद फ़राज़

१

उस ने सुकूत ए शब में भी अपना पयाम रख दिया

हिजर की रात बाम पर माह-ए तमाम रख दिया

२

आमद-ए दोस्त की नवीद कू-ए वफ़ा में आम थी

मैं ने भी एक चिराग़ सा दिल सर-ए शाम रख दिया

३

शिद्दत-ए तिश्नगि में भी ग़ैरत-ए मै-कशि रही

उस ने जो फेर ली नज़र मैं ने भी जाम रख दिया

४

देखो ये मेरे ख़्वाब थे, देखो ये मेरे ज़ख़्म हैं

मैं ने तो सब हिसाब-ए जां बर-सर-ए आम रख दिया

५

उस ने नज़र नज़र में ही, ऐसे भले सुख़न कहे

मैं ने तो उस के पाऊं में सारा कलाम रख दिया

६

और फ़राज़ चाहिएं कितनी मोहब्बतें तुझे

माऔं ने तेरे नाम पर बच्चौं का नाम रख दिया

Click here for background and on any passage for word meanings and explanatory discussion. ahmad faraaz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes, social activist with an international reach.

ahmad faraaz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes, social activist with an international reach.

1.quiet, solitude 2.night 3.message 4.separation 5.separation 6.full moon

It’s the middle of the night of separation (from the beloved) and the poet lover is all alone on the roof top.  The full moon appears like a message from the beloved; it brings a flood of memories increasing the anguish of the poet/lover.

1.arrival 2.friend, beloved 3.good news 4.street 5.faith, love 6.common 7.head, beginning

The street of love, thronging with lovers, there are rumours flying that the beloved would arrive.  Everyone is doing something or the other in anticipation, in preparation to greet and offer something to the beloved.  The poet lover too, places a lamp (his burning heart) early in the evening.

1.intensity 2.thirst 3.respect, pride, dignity 4.wine drinking 5.turned away 6.cup (of wine)

Even in intensity of thirst the poet/lover maintains the dignity of wine drinking.  It is not dignified to drink when she is not looking; so, he puts down the cup whenever she turns her eyes away.

1.dreams, wishes, desires 2.hurt, pain, disappointments 3.accounting 4.life 5.at the head of 6.public, open

The poet/lover has no secrets.  He does not want to hide his love for the beloved and has placed a full account of his dreams and his disappointments out in the open for everyone to see.

1.eyes, sight 2.good, beautiful 3.words, verse 4.words, opus of poetry

Her eyes are so soulful and expressive that her looks are like poetry.  The poet/lover is so affected that he places his whole opus at her feet as a tribute.

The poet, addressing himself – how many more favours do you want O faraaz.  Mothers have named their children after you, to show their appreciation (of your verse).

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Recitation

لطفِ  سخن  ۔  علی  سردار  جعفری

۱

جب  ہوں  رُسوا  سرِ  بازار  تو  ہے  لطفِ  سخن

حرفِ  حق  جب  ہو  سرِ  دار  تو  ہے  لطفِ  سخن

۲

اپنے  اور  غیر  ہوں  سچ  کہنے  پہ  آمادۂ  قتل

اور  نہ  ہو  کوئی  طرفدار  تو  ہے  لطفِ  سخن

۳

مصلحت  وقت  کی  اِقرار  سکھائے  لیکن

دل  میں  ہو  جرأتِ  اِنکار  تو  ہے  لطفِ  سخن

۴

ظلم  کے،  خوف  کے،  اور  موت  کے،  سنّاٹے  میں

ایک  اک  حرف  ہو  بیدار  تو  ہے  لطفِ  سخن

लुत्फ़-ए सुख़न । अली सरदार ज़फ़री

Click here for background and on any passage for word meanings and explanatory discussion. ali sardar jafri (1913-2000), balrampur, gonDa, U.P. Religious upbringing and education. MA luckhnow university. Started composing at 15. He soon turned to progressive, revolutionary nazm/Ghazal. Member Communist Party. Arrested in 1940. Plays, short stories, movies and TV serials gave him a career in mumbaii. Padma Shri in 1967. This short Ghazal/nazm is linked to ‘to Ghazal hoti hai’ on the Refrain Index page, even though it does not have the same radeef, but the theme is tantalizingly the same.

ali sardar jafri (1913-2000), balrampur, gonDa, U.P. Religious upbringing and education.  MA luckhnow university. Started composing at 15.  He soon turned to progressive, revolutionary nazm/Ghazal.  Member Communist Party.  Arrested in 1940.  Plays, short stories, movies and TV serials gave him a career in mumbaii. Padma Shri in 1967.  This short Ghazal/nazm is linked to ‘to Ghazal hoti hai’ on the Refrain Index page, even though it does not have the same radeef, but the theme is tantalizingly the same.

1.embarrassed, insulted 2.in the open market, publicly 3.pleasure 4.words, speech, verse 5.word of 6.truth 7.on the gallows

This Ghazal/nazm is linked to a collection under ‘to Ghazal hoti hai’ on the Refrain Index page in which shu’ara describe the emotions or thoughts that lead them to compose Ghazal.  ali sardar jafri is doing the same here, except he calls it lutf-e suKhan.  In the first misra, it is not clear who is embarrassed/insulted; it is left ambiguous.  It could be the poet himself, or it could be misleading/manipulative leadership.  If he is embarrassed or insulted or feels remorse (about some public wrong) then he writes verse.  In order to embarrass manipulative leadership he writes verse.  When the word of truth is sent to the gallows then he writes verse.

1.ours, friends 2.others, rivals 3.truth 4.ready to, willing to 5.kill 6.partisan

When friend and foe is ready to kill for speaking out truth, and when there is no partisan on your side, then there is pleasure in writing verse.

1.purpose, hidden agenda, personal gain 2.agreement, acquiescence 3.courage 4.deny

When the hidden agenda of the time teaches you to acquiesce, but your heart has the courage to deny, then there is pleasure in writing verse.

1.oppression 2.fear 3.death 4.silence 5.word 6.awake, alert, loud and clear

When everyone is silent in the face of oppression, fear and death; when my every word is loud and clear, then there is pleasure in writing verse.

The post lutf-e suKhan-ali sardar jafri appeared first on UrduShahkar.

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Recitation

کفن  کی  فکر  میں  ۔  مومن  خاں  مومنؔ

۱

غنچہ  ساں  خاموش  بیٹھے  ہیں  سخن  کی  فکر  میں

قافیہ  کیا  تنگ  ہے  وصفِ  دہن  کی  فکر  میں

۲

دامنِ  قاتل  کو  وقتِ  قتل  کیوں  کر  چھوڑتی

بے  کسی  سے  جان  تھی  اپنی  کفن  کی  فکر  میں

۳

شوق  مُردن  کو  بھی  سامانِ  سفر  درکار  تھا

سو  ہے  از  خود  رفتگی  ترکِ  وطن  کی  فکر  میں

۴

تلخیِ  خسرو  ہو  شیریں  کام  شادی  مرگ  کیا

جاں  کنی  ہے  انتقام  کوہکن  کی  فکر  میں

۵

وہمِ  عشقِ  لالہ  رُو  سے  داغِ  دل  کیا  کیا  کِھلے

جان  کر  گُلچیں  کو  تاراجِ  چمن  کی  فکر  میں

۶

سر  سے  شعلے  اُٹھتے  ہیں  کس  طرح  روکوں  کیا  کروں

جل  گیا  جی  ضبطِ  آہِ  شعلہ  زن  کی  فکر  میں

۷

ہے  گریباں  گیر  واں  نازِ  تغافل  اب  تلک

جی  جلا  یاں  باعثِ  دیر  آمدن  کی  فکر  میں

۸

دردِ  بے  درماں  مرا  مِنّت  کش  مرہم  نہیں

داغِ  نو  ہے  چارۂ  داغِ  کہن  کی  فکر  میں

۹

گر  یقینی  واں  دعا  ہوتی  ہے  اے  مومنؔ  قبول

جائیں  گے  کعبہ  بھی  طفلِ  برہمن  کی  فکر  میں

कफ़न की फ़िक्र में – मोमिन ख़ाँ मोमिन

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Click here for background and on any passage for word meanings and explanatory discussion. momin KhaaN momin (1800-1852), was a hakim following the profession of his father and grandfather. momin received education in arabi, faarsi, urdu and in medicine, mathematics, and astrology – which must have involved some study of astronomy, which he uses in his compositions. momin composed unabashedly about romantic themes with much witticism on his taKhallus.

momin KhaaN momin (1800-1852), was a hakim following the profession of his father and grandfather.  momin received education in arabi, faarsi, urdu and in medicine, mathematics, and astrology – which must have involved some study of astronomy, which he uses in his compositions.  momin composed unabashedly about romantic themes with much witticism on his taKhallus.

1.like/similar to an unblossomed bud 2.verse, words 3.worry, thought 4.rhyming phrase 5.restricted, limited 6.praise 7.mouth

The poet sits, silently, with his lips pursed like an unblossomed bud; lost in thought, trying to think of appropriate rhyming phrases.  He wonders why the rhyme feels so restrictive when he tries to describe the beauty of the beloved’s lips.  It is noteworthy that tight lips are juxtaposed with an unblossomed bud, which will bloom and what will out is the fragrance of the poet’s verse.

1.hem of the garment 2.killer 3.killing, slaughter 4.how 5.helplessness 6.life 7.burial shroud 8.thought, worry

The beloved is the killer, slaughtering the poet/lover.  How could his life have let go of the killers robe.  Because of its helplessness, it held tight the hem of the robe, worrying/thinking about his burial shroud.  Culturally, making arrangements for their own funeral, well before death, is an important responsibility of everyone.  His be-kasi helplessness was such that this is all he could think of as an arrangement for his shroud.

1.desire 2.death 3.provisions 4.journey 5.needed, necessary 6.hence there is 7.literally running away from self, unself-consciousness, erasing ego 8.departing 9.homeland, earth

Even the desire for death requires provisions for the journey.  The poet/seeker has made arrangements for his journey.  What are these arrangements/provisions – the act of unself-consciousnes, the act of forgetting self-identity, erasing the ego, detachment from the material world and getting ready to merge with the universal spirit in preparation of tark-e vatan.

1.bitterness 2.ancient Persian monarch 3.of shiiriiN-farhaad legend, also means sweet 4.throat 5.celebration 6.death 7.agony of death 8.revenge 9.stone-mason, farhaad

This has reference to the legend of shiiriiN-farhaad.  In addition, the word shiiriiN-kaam – sweet throat is used to mean good taste, pleasure, comfort.  farhaad, a stone-mason was hired to work on the palace of Khusro.  He falls deeply and sincerely in love with shiiriin and Khusro, just to get rid of his pestilence sets him an impossible task as a condition of winning the hand of shiiriin.  He almost succeeds in digging a channel through the mountain as a part of the conditions set.  An alarmed Khusro causes a rumour to spread that shiiriin has died.  Distraught, farhaad kills himself with his own pickaxe.  Says the poet – how can the celebration of death (of farhaad) ‘sweeten the throat’ of the bitterness of Khusro.  The agony of death is bent upon taking revenge for the death of kohkan-farhaad.  Thus, Khusro will never be able to derive any pleasure from the rival’s death.

1.suspicion, illusion 2.tulip-faced, beautiful 3.wounds 4.blossomed 5.knowing 6.flower-picker 7.plundering

In urdu poetic tradition the gulchiiN the flower-picker, picks off the rose, leaving its lover the bulbul to sing mournful songs.  Here the gulchiiN is the rival.  The rival suspects that the tulip-faced beloved favours the poet/lover.  In a fit of jealousy/anger, he is getting ready to plunder the garden.  Learing about this, knowing this the poet’s heart-wounds are refreshed … they begin to bleed, blossom into red colour like flowers – daaGh-e dil ke phool khile.

1.flames 2.way, method 3.stop 4.heart 5.restraint, self-control 6.sigh 7.flame creating

The poet/lover has restrained his fiery sighs for fear that they will set fires all around.  But the result was that they set his heart on fire and now flames are shooting higher than his head and he feels helpless not knowing what to do, how to stop them.

1.holding the collar, fighting 2.over there 3.pride 4.indifference 5.heart, soul 6.over here 7.basis, reason 8.late arrival 9.worry

The beloved is proud of her indifference towards her lovers.  Although she has promised to come, she is garebaaN-giir – struggling/fighting her pride of indifference.  While this is going on, the poet’s heart/life/soul burns worrying about what the cause of her delay might be.

1.pain, sickness 2.incurable 3.under the obligation of 4.ointment, remedy 5.wound 6.new 7.remedy, cure, healing 8.old

The poet laments (or perhaps he is proud) that his incurable pain does not bear the obligation of any remedy i.e., no ointment works on it.   If he thinks/worries about the old wound, then a new wound appears.  Thus, he should simply give up and accept pain as a part of his life.

1.if 2.certainty 3.over there 4.pen-name 5.accepted, granted 6.child

It was common in urdu poetry of the era to depict the beloved as a pre-adolescent child – sometimes as the child of a brahmin priest.  Thus, if it is certain (as they say) that your prayers are granted at the k’aaba, then I will go there and pray for the love of the beloved (portrayed here as a pre-adolescent brahmin child).  In a roundabout way this simply makes fun of the conventional belief that prayers are granted at the k’aaba.  In addition, it tries to break ritualistic prohibitions.  This should not be interpreted as child molestation in real life.

The post kafan ki talaash meN-momin KhaaN momin 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/2025/08/haa-aashiqaana-kya-audio.mp3

Recitation

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begum aKhtar

عاشقانہ  کیا  ۔  حیدر  علی  آتشؔ

۱

کیا  کیا  اُلجھتا  ہے  تری  زلفوں  کے  تار  سے

زیرِ  زمیں  سے  آتا  ہے  جو  گُل  سو  زر  بکف

اُڑتا  ہے  شوقِ  راحتِ  منزل  سے  اسپِ  عمر

زینہ  صبا  کا  ڈھونڈتی  ہے  اپنی  مُشتِ  خاک

چاروں  طرف  سے  صورتِ  جاناں  ہو  جلوہ  گر

صیّاد  اسیرِ  دامِ  رگِ  گُل  ہے  عندلیب

طبل  و  علم  ہی  پاس  ہے  اپنے  نہ  ملک  و  مال

آتی  ہے  کس  طرح  سے  مرے  قبضِ  روح  کو

ہوتا  ہے  زرد  سُن  کے  جو  نامرد  مُدّعی

تِرچھی  نگہ  سے  طائرِ  دل  ہو  چُکا  شِکار

صیّاد  گُل  عذار  دکھاتا  ہے  سیرِ  باغ

بیتاب  ہے  کمال  ہمارا  دلِ  حزیں

یُوں  مُدّعی  حسد  سے  نہ  دے  داد  تو  نہ  دے

आशिक़ाना क्या – हैदर अली आतिश

सुन तो सही जहाँ में है तेरा फ़साना क्या

क्या क्या उलझता है तेरी ज़ुल्फ़ों के तार से

ज़ेर-ए ज़मीं से आता है जो गुल सो ज़र-ब-कफ़

उढता है शौक़-ए राहत-ए मंज़िल से अस्प-ए उम्र

ज़ीना सबा का ढूँडती है अपनी मुश्त-ए ख़ाक

चारों तरफ़ से सूरत-ए जानाँ हो जल्वा-गर

दिल साफ़ हो तेरा तो है आईना-ख़ाना क्या

सय्याद असीर-ए दाम-ए रग-ए गुल है अंदलीब

तब्ल-ओ-अलम ही पास है अपने न मुल्क ओ माल

आती है किस तरह से मेरे क़ब्ज़-ए रूह को

होता है ज़र्द सुन के जो नामर्द मुद्द’ई

तिर्छी निगह से ता’एर-ए दिल हो चुका शिकार

सय्याद-ए गुल-अज़ार दिखाता है सैर-ए बाग़

बेताब है कमाल हमारा दिल-ए हज़ीं

यूँ मुद्द’ई हसद से न दे दाद तो न दे

Click here for background and on any passage for word meanings and explanatory discussion. Khwaaja haider ali aatish (1777-1847), born faizabad, sufi family, disciple of mus’hafi and wrote both in faarsi and urdu. aatish wrote more explicitly than most about the pleasures of flesh. Refused all patronage because he wanted to be independent. He was about 20 years Ghalib’s senior and a contemporary of imaam baKhsh naasiKh. They were known to be rivals in literary style.

Khwaaja haider ali aatish (1777-1847), born faizabad, sufi family, disciple of mus’hafi and wrote both in faarsi and urdu. aatish wrote more explicitly than most about the pleasures of flesh.  Refused all patronage because he wanted to be independent.  He was about 20 years Ghalib’s senior and a contemporary of imaam baKhsh naasiKh.  They were known to be rivals in literary style.

1.world 2.story 3.creatures of god 4.used here to mean-unbeknownst to you

Just listen to your story going around in the world, listen to what the people are say about you in your absence.  A straightforward reflection that people may say good things to your face, but what they really think comes out of your earshot.

1.entangled 2.hair 3.stands 4.demanding/desiring to be stitched 5.bosom 6.hundred tears 7.comb

shaana is comb in faarsi.  The poet characterises it as something with a hundred tears in its bosom.  It desires that its tears be stitched; that is why it tangles with the strands of the beloved’s hair.  Strands of hair are like threads for stitching.

1.under 2.rose, flowers 3.gold in hand 4.Croesus, legendary selfish man who accumulated huge wealth 5.squander, give away 6.treasure

Legend says that qaaruun/Croesus accumulated so much wealth/gold that it sank deep into the earth because of its own weight.  The poet thinks that every flower that rises out of the depths of the earth carries gold dust (pollen) in its hand.  Look at the treasure that qaaruun is giving away, he says.

1.desire 2.comfort 3.destination 4.horse, steed 5.life 6.spur at the stirrup 7.old form of haiN 8.whip

The destination of the steed of life is the next world.  In the desire to reach it, it is flying without being spurred or whipped.  The rider does not even know what a spur or whip is.  The steed of life flies on its own.  Said Ghalib …

1.stairs 2.breeze 3.fistful 4.dust 5.rooftop 6.high 7.beloved 8.threshold

The lover is dead and buries and reduced to dust.  His fistful of dust is searching for ‘stairs of the breeze’ i.e., it is look for the breeze to blow it up high, to take it up the stairs.  Why is it doing that.  Because it wants to be deposited and the threshold of the beloved so it can ‘kiss’/touch the beloved’s feet.  The poet muses … is the threshold of the beloved on a high rooftop.

1.directions 2.image, reflection 3.beloved, divine 4.manifest, displaying glory 5.pure 6.house of mirrors

This suggests that god is every where and divine glory is reflected in everything, in every direction.  If the heart is pure, then you can see it everywhere, why do you need an aa’iina-Khaana – a house of mirrors.

1.hunter, birdcatcher 2.captive 3.net 4.veins 5.rose 6.bulbul, nightingale 7.seeds, grain

In urdu poetic tradition the gul and the bulbul are lovers.  Thus, the bulbul/andaliib is already a captive in the net of the veins of the rose.  Why is it necessary for you, O birdcatcher to spread a hidden net with grain/seeds to catch the bulbul.  This may be an expression of empathy for the lover … the bulbul is already a captive of love, leave it alone.

1.drum and banner 2.country/kingdom and wealth 3.opposed 4.the times, the world

I have neither drum and banner (pomp and glory) nor do I have any kingdom or wealth.  What would the world gain by opposing me.  Said Ghalib …

1.way, method 2.capture, extract 3.soul 4.death 5.excuse, fake reason

Which way will death come to extract my soul, let me see what excuse it finds for this.

1.pale, fearful 2.coward, unmanly 3.claimant, opponent 4.legendary acient Persian warrior 5.story 6.legend

rustam was a legendary warrior so feared that no one would agree to combat him.  He therefore entered combat incognito but just before the last strike he would shout out his own name … striking fear in the opponent who would go pale and drop down.  aatish and naasiKh were known to be intense rivals in the literary and artistic sense (not personal).  It was common for rival poets to take jabs at each other during a mushaa’era.  This appears to be such a jab … why does my opponent turn pale upon hearing this.  Is my story like the legend of rustam.

1.slanted, sidelong 2.glance 3.bird 4.hunted, prey 5.crooked, hooked 6.target, aimed

The beloved casts sidelong glances at her lovers.  These pierce the heart and go through to the liver.  If the heart is taken as as bird that has been struck by the arrow of her sidelong glance, then there is no chance that this bird will fly anywhere.  It has been nailed by the sidelong, hooked glance.

1.hunter, captor, birdcatcher 2.rosy-cheeked 3.scenery 4.cage 5.nest

In urdu poetic tradition the lover is often portrayed as a bird and is captured by the beloved, portrayed as the birdcatcher.  Here he has been captured and caged.  The rosy-cheeked captor is taking him in the cage to show him scenes of the garden.  Is it because he remembers/misses his nest!

1.restless 2.completely 3.melancholy, sorrowful 4.guest 5.rest-house 6.body 7.depart

The soul is a guest in the rest-house for the body in the journey of life.  The sorrowful heart is the equilvalent of the soul and is completely restless.  The poet asks – does this mean that the guest is about to depart; is the soul about to leave!

1.opponent, rival 2.envy 3.appreciation, praise 4.pen-name 5.love-lorn, romantic

We are back to the rivalry between aatish and naasiKh; the former known for his advocacy of emotional intensity and passion and the latter of technical precision and elegance.  What an emotional/romantic Ghazal you have read, O aatish.  What does it matter if the rival does not show any appreciation out of envy.

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