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

https://urdushahkar.org/wp-content/uploads/2025/05/jhjm-vaqt-e-safar-yaad-aaya-audio.mp3

Recitation

وقتِ  سفر  یاد  آیا  ۔  فصاحت  جنگ  جلیلؔ  مانکپوری

۱

دل  اُنہیں  بارِ  دِگر  یاد  آیا

ڈھا  چکے  گھر  کو  تو  گھر  یاد  آیا

۲

بے  خودی  کا  ہے  مری  یہ  عالم

تیغ  کو  دیکھ  کے  سر  یاد  آیا

۳

کس  قدر  مجھ  کو  دلِ  سوختہ  آج

دیکھ  کر  شمعِ  سحر  یاد  آیا

۴

ہچکیاں  نزع  میں  کیوں  آنے  لگیں

کس  کو  میں  وقتِ  سفر  یاد  آیا

۵

مر  کے  یاد  آئے  مزے  دنیا  کے

گھر  سے  نکلے  تھے  کہ  گھر  یاد  آیا

۶

میرے  آنے  کی  تو  بندش  ہے  مگر

کیا  کریں  گے  میں  اگر  یاد  آیا

۷

تابشِ  مہرِ  قیامت  کو  جلیلؔ

دیکھ  کر  دامنِ  تر  یاد  آیا

वक़्त-ए सफ़र याद आया – फ़साहत जंग जलील मानिकपूरी

१

दिल उन्हें बार-ए दिगर याद आया

२

बे-ख़ुदी का है मेरी ये आलम

३

किस क़दर मुझ को दिल-ए सोख़्ता आज

४

हिचकियां नज़’अ में क्यूं आने लगीं

५

मर के याद आए मज़े दुनिया के

६

मेरे आने की तो बंदिश है मगर

७

ताबिश-ए महर-ए क़यामत को जलील

Click here for background and on any passage for word meanings and explanatory discussion. jaliil hasan jaliil maanikpuri (1864-1946), maanikpur. Learnt urdu, faarsi, arabi from scholars/tutors at home. Became shaagird of amiir minaaii in 1882 and followed him to rampur (1886) and to hyderabad in 1901. Appointed ustaad of mahboob ali KhaaN in 1910 and later of osman ali KhaaN. Given numerous titles including navaab fasaahat jaNg. This Ghazal is linked to Ghalib naqsh-e qadam ‘diida-e tar yaad aaya’.

jaliil hasan jaliil maanikpuri (1864-1946), maanikpur.  Learnt urdu, faarsi, arabi from scholars/tutors at home.  Became shaagird of amiir minaaii in 1882 and followed him to rampur (1886) and to hyderabad in 1901.  Appointed ustaad of mahboob ali KhaaN in 1910 and later of osman ali KhaaN.  Given numerous titles including navaab fasaahat jaNg.  This Ghazal is linked to Ghalib naqsh-e qadam ‘diida-e tar yaad aaya’.

1.once again, second time, afterthought 2.demolished, destroyed

Here, the ‘unheN’ is the beloved.  She remembered his heart as an afterthought.  Having demolished the house, she remembered it.  In poetic tradition the heart is considered to be the home/house.  The beloved demolished the house i.e., broke his heart, and then remembered it as an afterthought.

1.trance, unawareness, extreme bewilderment 2.condition, state 3.sword

Such is the state of my bewilderment that on seeing the sword, I think of my head.  In poetic convention the lover is in a trance because of the madness of his passion.  He also desires to be killed at the hands of the beloved and the beloved is depicted as chopping heads of lovers off with her sword.  Thus, whenever the poet sees a sword he thinks of his head.

1.how much 2.burnt heart, broken heart 3.candle 4.dawn

The sham’a sahar is a candle that has been burning all night long and by dawn the only thing that is left is its burnt remains-ashes of the wick.  The poet/lover’s heart is similarly burnt (because of the beloved’s indifference) and all that remains is ashes.  Hence, looking at the burnt out dawn candle he thinks of his burnt heart.

1.hiccups 2.time of death, last breath 3.time of departure (from the world)

Why did hiccups arise in the throes of death?  Who has remembered me as I get ready to depart?  Hiccups, often associated with being remembered by someone.  It is customary for the beloved to visit the lover on his death bed.  Either the beloved has been informed of his impending death or she remembers him somehow.  In either case, this triggers the onset of hiccups for the dying lover.  He fondly assumes that it must be the beloved remembering him and phrases the second misra as a rhetorical question.

1.pleasures

After dying, the pleasures of the world were remembered, as soon as I left the house, I remembered the house.  Conventionally, poets are happy to leave this material world for the spiritual world.  They would not normally look back with fond memories at the suffering they went through in this life.  This she’r seems to be unusual in that the departed poet looks back at the pleasure of life and misses them.  The two misra are parallel in meaning i.e. just like one remembers home as soon as they leave home, I remembered the pleasures of life after death.

1.restriction, prohibition 2.if

The beloved has put restrictions on the poet’s visits.  He muses (perhaps in self-deception), what will she do if she remembers me?  It is a bit unusual for the beloved to remember and long for the lover.

1.radiance 2.sun 3.doomsday 4.pen-name 5.wet hem of the garment

It is said that on doomsday the sun will approach the earth and everything will get burnt to ashes.  The poet sees/feels the sun approaching and surmises that doomsday is at hand.  He remembers the hem of his garment which is wet.  There can be two possible reasons for this.  The poet/sinner cries profusely shedding tears of repentence.  In this case the wet hem of his garment is a good thing and will help him get salvation.  On the other hand, it is possible that the hem of the garment is wet because of excessive spilling of wine while drinking.  Khwaaja miir dard has a she’r which implies a wet hem because of spilled wine …

The post vaqt-e safar yaad aaya-jaliil manikpuri appeared first on UrduShahkar.