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Sunday, 6 December 2009

wo ik mozda hai jo kabhi na waqt pe aata hai....

जो गैब है जुस्तुजू उसका क्यूँ सताता है,
और नामाबर भी मुझे उसका पता नहीं बताता है
[गैब = mystry;  जुस्तुजू = quest; नामाबर = messenger]

अरसा-ए-आलम है बराहमी में तहलील
एक ही तस्वीर के कई अक्स नज़र आता है
[अरसा-ए-आलम = whole world ; बराहमी = confusion ;  तहलील = immersed; अक्स = reflection]

गफलत की जहाँ नें जिसकी पहले, फिर की खिलाफत
आज खल्क-ओ-खुल्द उसकी कब्र पे आंसों बहता है
[गफलत = ignore; खिलाफत = oppose; खल्क-ओ-खुल्द = Earth and Heaven]

हाथ तेरे हैं पर उन पे लकीरें कोई और बनता है
अहमक, उलझे हुए सिरों को तू क्यूँ कर सुलझाता है
[अहमक = idiot]

अनवार-ए-इलाही का न कर इंतज़ार 'प्रशांत'
 वो इक मोज़दा  है जो कभी न वक़्त पे आता है
[अनवार-ए-इलाही = divine help; मोज़दा = divine miracle ]

Friday, 20 November 2009

hum bebas kyun hue?

जब इख्तिलाफ इतना था फिर हमनफस क्यूँ हुए ?
उन नीमबाज़ आँखों के आगे हम बेबस क्यूँ हुए ?
[इख्तिलाफ = difference of opinion, हमनफस = friends,नीमबाज़ = dark, बेबस = helpless]

एक ही राह के मुसाफिर, एक ही मंजिल को जाना,
जब हमसफ़र हैं हम फिर इतने अबस क्यूँ हुए ?
[अबस = indifferent]

कहता है वाइज़ की होती है अखलाख की जीत
कहा था सच मैंने फिर असिरान-ए-क़फ़स क्यूँ हुए ?
[वाइज़ = wise man, अखलाख  = virtue/Piety, असिरान-ए-क़फ़स = prisoner of cage]

माना तेरे इनकार-ए-ख़त को हमने अपना मुक्क़दर
अब समझा के उसाक-ए-बुत इतने बेकस क्यूँ हुए
[इनकार-ए-ख़त = letter of rejection, मुक्क़दर = fate, उसाक-ए-बुत = idol worshipers , बेकस = helpless ]

जब हुआ 'प्रशांत' इतात तेरे दर पे मौला,
बंद गोश बरावाज़-ए-कलीसा-ए-जरस क्यूँ हुए ?
[इतात = submission, दर = door, मौला = god, गोश = ears, बरावाज़-ए-कलीसा-ए-जरस = sound of church bells]
'प्रशांत'

Tuesday, 17 November 2009

Don't criticise, condemn or complain

 'God himself, Sir, does not propose to judge man until the end of his days.Why should you and I ?' (*)
PRINCIPLE 1: Don't criticise, condemn or complain
(*) Last line of the first Chapter from Dale Carnegie's book 'How to win friends and Influence People'.

Friday, 13 November 2009

na kareeb aa tu mere ke gam-e-mudaam hun main

मुस्तकिल राह  पे इक  ठहरा मकाम हूँ मैं,
मुहीब रिवाएतों का एक अँधा गुलाम हूँ मैं
[मुस्तकिल = continuous, मुहीब = dreadful, रिवाएतों = traditions]

कोह-ए-गरां से टकरा के सबा मौकूफ हुई,
जो रिफत के आगे झुक गया वो सलाम हूं मैं
[कोह-ए-गरां = large mountain, सबा = wind, मौकूफ = cease/stop, रिफत = height]

दिल-ए-शाद-ओ-उमंग होए है लब से इज़हार
सरगोशी है जिसकी वो मगमूम पैगाम हूँ मैं
[दिल-ए-शाद-ओ-उमंग = happiness and enthusiasm of heart , लब = lips, इज़हार = display, सुर्गोशी = whisper, मगमूम = sad, पैगाम = message]

हर शै को है यहाँ किसी न किसी से उम्मीद
जो किसी को याद न आया वो गुमनाम हूं मैं
[शै = person]

आते हैं तस्सवुर में मेरी बे-इत्तिला किये हुए,
दिल दिया पूछे बगैर क्या इसलिए बदनाम हूं मैं?
[तस्सवुर = imagination/thought , बे-इत्तिला = without informing]

आगोश में कज़ा को ले के कहता है 'प्रशांत'
न करीब आ तू मेरे के गम-ए-मुदाम हूं मैं
[आगोश = embrace, कज़ा = death, गम-ए-मुदाम = never ending sorrow]
'प्रशांत धीरज'

Monday, 9 November 2009

us dil ko guzre to zamana bahut hua

It is very difficult not to get inspired; inadvertently my last Ghazal and this one are very similar to existing Ghazals. After composing this Ghazal I realized that it sounds very similar to a Ghazal of Ahmed Faraz. When I was writing it I had no idea about the theme and wordings of Faraz's Ghazal. Only thing that I could relate was that it has Ahmed Faraz's full name in the makta.
Subconsciously I am writing what I have read before. So my Ghazals are becoming an extension of an extant composition (particularly the last two). Earlier, this would have stopped me to pursue composition any further, the fear of getting inspired, the fear that I'll imitate. But now I have decided that however similar my writings are I will write. I remember reading Gabriel Garcia Marquez somewhere that it’s very natural to imitate when one has just begun to write; the style will follow later. I hope someday I would have my own distinct style.

फ़िक्र-ए-फिराक-ए-यार का तराना बहुत  हुआ
 चले भी आओ के इश्क का फ़साना बहुत हुआ
[फ़िक्र-ए-फिराक-ए-यार = worry of seperation from beloved ; तराना = song; फ़साना = story]

जिस दिल-ए-मासूम की है तुमको उम्मीद
 उस दिल को  गुज़रे  तो  ज़माना  बहुत  हुआ

 ज़ख्म-ए-दिल-ओ-जिगर है इश्क-ए-आराई
मेरे चारागर बस यह खजाना बहुत हुआ
[इश्क-ए-आराई = Ornament of Love; चारागर = healer/doctor; खजाना = treasure]

जीत न जाए मुहब्बत से पिंडार मेरा
करो इश्क आशकार के यह बहाना बहुत हुआ
[पिंडार = pride, आशकार = reveal/express]

 मुसाफिर उस राह का जिसका नहीं मंजिल-ए-अंजाम
संभल जाओ की जुनूं-ए-जाना बहुत हुआ
 [जुनूं-ए-जाना = madness for beloved]

कुव्वत-ए-सब्र को जो समझते है तेरी नाहिफी
उसके पीछे 'प्रशांत धीरज' , तू दीवाना बहुत हुआ
[कुव्वत-ए-सब्र = power of patience; नाहिफी = weakness]

'प्रशांत धीरज'

Saturday, 7 November 2009

INTENSION

This is my first attempt at short stories. The title is Intension (which is intention wrongly spelt. Though the word Intension exists but here it means Intention)

INTENSION

She was reclined on the sofa looking at the cupboard and at the gifts he gave her. He was sitting on the chair facing her. His feet were on the table which was lying between the chair and the sofa.
'Keep your feet down' She chided him.
'Sorry' he replied, pulling back his legs.
'I think we are not made for each other' she said. Her voice was melancholic.
'I am trying my best' he mumbled ' You see my English communication has improved'
'Hmnn.,' she said half approvingly ' But its not fluent enough. Not like those news anchors’
‘We love each other very much' he said ' We can not stay without one another'
'I know' she nodded.
'But I cannot marry you with your bad English and bad grammar' she said dilating her eyes.
She looked at him and said 'For you I have compromised so much. All I want from you is to have a good english and a confident personality'.
'What can I do? I was brought up in a different environment' he tried to gain her sympathy.
'That’s an excuse. Look at that Neeraj. He is from a village. When he joined the organization ,he was unable to utter a single sentence in correct english’. He nodded.
'And now he speaks for hours to those US clients' She paused for a while.
'You don’t want to change’ she said.
'Give me some time’ he asked sheepishly.
'You asked for two years and now it has been  five years. Not much has changed.' She shot back, taking her eyes off his face to the wall on her left. He knew that she does this when she is very upset. He had been through such situation numbers of times and he knew how to react and what to say. He kept silent. She took the newspaper lying on the table and flipped through a few pages. Unable to concentrate she kept it back.
'You want to have coconut trees in our house; you like small cars and want to live in a town. You say that you will go to Himalayas after 40. How can I marry you? '
'Arre..,’ he chuckled ‘Don’t take these things seriously’.
‘I know you'll not do it.' She stopped and resumed 'even if you want, I’ll not let you do’ She emphasized by tilting her head a bit towards her right shoulder and he had to concur.
'But what do I do with your English?' She looked exasperated.
He knew that its time to make her feel guilty.
'So you'll marry someone who speaks well, who is good looking and has very good English',he said.
'I don’t know' she said and her eyes welled up. 'Probably I'll not marry anyone if I will not marry you'.
'I have never asked you to change.’ He continued ‘I have not asked you to learn cooking. You will not marry me just because I cannot speak correct English. You never loved me. You were just fooling with me.' he said with an animated emotion.She started feeling vulnerable. He expected her to cry.
'I can’t marry you, I am sorry’. She was in tears.
'How do you spell Intention' she asked in a hoarse voice.
‘Damn it’ he thought ‘So this is the problem. But how could the ms-word spell check not work?’.
'I N T E N‘he spoke with a break after every letter. Then he took a pause.
He clearly remembered that there were no red lines in the e mail he sent her.
‘S I O N’ he completed.
‘Its T I ON.’ she said furiously. ‘I felt so ashamed’
‘Ohh…but’ He stopped realizing the futility of his argument
'We are not getting married.' She said resolutely.
He knew that she was determined at least at the moment.

Thursday, 5 November 2009

Dil ko sukoon nahin milta

गर्दिश-ए-हालत है  पर  सिर को जुनूं नहीं मिलता
अश्कबार हैं आँखें पर दिल को सुकूँ  नहीं मिलता
[ गर्दिश-ए-हालत = bad times, जुनूं  = passion/madness, अश्कबार = with tear, सुकून = peace]

शक  हुआ सीना मेरा इक नेजा-ए-नज़र से
दिल फिगार है पर किसी  दस्त  पे मेरा खूं नहीं मिलता
[शक = break , नेजा = spear, दस्त = hand,फिगार = wounded]

जो महव-ए-इश्क होते हैं उन्हें खुदा मिलता है
मुझे  तेरे कोनैन में अए खुदा  कभी तू नहीं मिलता
[ महव-ए-इश्क = drowned in love, कोनैन = both world, ]

इक उम्र से असिरान-ए-जहाँ है 'प्रशांत' 
सबा तो आती है कफस में पर वा गर्दूं नहीं मिलता
[असिरान-ए-जहाँ = prisoner of world, सबा = wind , कफस = cage, वा=open , गर्दूं = sky]

'प्रशांत'

After dozens of mental recitation of this Ghazal I realised that there is a very famous sher which has the same radeef as mine. I am putting down the beautiful Ghazal by Shahryaar..

कभी किसी को मुक्कम्मल  जहाँ नहीं मिलता
कहीं ज़मीं तो कहीं आस्मां नहीं मिलता

जिसे भी देखिये वो अपने आप में गुम है
जुबां मिली है पर हम-जुबां नहीं मिलता

बुझा सका है भला कौन वक़्त के शोले
ये ऐसी आग है जिसमे धुंआ नहीं मिलता

तेरे जहाँ में ऐसा नहीं की प्यार न हों
जहाँ उम्मीद हों इसकी वहां नहीं मिलता

'शहरयार'

Thursday, 29 October 2009

yeh teri nazar ka khumaar hai.

न गुल है न खार है
बस ये तेरी नज़र का खुमार है
[गुल = flower, खार = thorn, खुमार = intoxication/hallucination]

जो  हमें देता था  ज़िन्दगी के मशवरे  कल तलक  
आज मेरे घर के जानिब उसका  मजार है
[मशवरे = suggestion, जानिब = sideways/direction, मजार = grave]

तू उस मुस्सविर का है इक नक्श बस
और इस नक्श के ताबीर हज़ार है
[मुस्सविर = artist; नक्श = brushstroke; ताबीर = interpretation/reality ]

जो तू पढता है मसलिहत  के फतवे दानिश
क्या खुद अपनी जिन्दगी पे तेरा इख्तियार है ?
[ मसलिहत = prudent measures/agood things, फतवे = decree; दानिश = intellectual; इख्तियार = control ]

जब माबूद-ओ-बन्दे का सामना होगा
उस वक़्त-ए-क़यामत का हमें कब से इन्तिज़ार है
[ माबूद = one who is worshiped, बन्दे = followers ]

ये जो तू फिलासुफ़ बना फिरता है 'प्रशांत'
तो फिर ये कैसा बेजार-ओ-इजतिराब है?
[ फिलासुफ़ = philosopher ;  बेजार-ओ-इजतिराब =  displeasure and restlessness ]

'प्रशांत'

Tuesday, 27 October 2009

Sukuut ho gayi ek guftaar

खूं गर हुआ जबीं सजदा-ए-राना  करते करते
मुज्महिल हों गया कुवा  इश्क को जवां करते करते
[जबीं = forehead ; सजदा-ए-राना = worship of the beauty; मुज्महिल = extinguish; कुवा = power]

कभी तो अए संगदिल  इस चिलमन से बाहर निकल
उम्र गुजरी है मेरी तेरी हम्द-ओ-सना करते करते
[संगदिल = stonehearted; चिलमन = veil; हम्द-ओ-सना = praise]

दीद-ए-पैकर-ए-जाना की चाह में जिंदा हूँ
 थम रही है सांस मेरी ज़िन्दगी फना करते करते
[दीद-ए-पैकर-ए-जाना = sight of the face of the beloved; फना = destroy]

कौन कहता है आशुफ्तागरी मुश्किल है, देखो
क्या खोया है मैंने रस्म-ए-जहां-रवां करते करते
[आशुफ्ता गरी = madness ; रस्म-ए-जहां-रवां = to continue with customs of world]

 जानता था की न होगा फ़राज़-ए-अर्श मेरा
मैं गुनाह करता गया इश्क-ए-निहां करते करते
[फ़राज़-ए-अर्श = ascent to heaven ; इश्क-ए-निहां = hiding of love]

हों गया पिन्हाँ 'प्रशांत' ज़हान की भीड़ में,
सुकूत हों गयी इक गुफ्तार इश्क-ए-बयाँ करते करते
[पिन्हाँ = hidden, सुकूत = silence; गुफ्तार = voice/ speech ; इश्क-ए-बयाँ = recitation of love]
'प्रशांत'

Friday, 23 October 2009

Fikr hee tehri tou dil ko fikr-e-khubaan kyun na ho?

फ़िक्र ही ठहरी तो दिल को फ़िक्र-ए-खूबां क्यूँ न हों ?
ख़ाक होना है तो ख़ाक-ए-कू-ए-जाना क्यूँ न हों ?
[फ़िक्र = tension/stress, खूबां = beautiful/Beloved , ख़ाक = annihiliate, कू-ए-जाना = lane of beloved ]

जीस्त है जब मुस्तकिल आवारागर्दी ही का नाम,
अक्ल वालों फिर तवाफ़-ए- कू-ए-जाना क्यूँ न हों ?
[मुस्तकिल  = continuous, तवाफ़ = greeting of sacred/Circumbulation]

इक  न  इक  रीफत के आगे सजदा लाजिम है तो फिर
आदमी महव-ए-सजूद-ए-सिर-ए-खूबां क्यूँ न हों ?
[रीफत = loftiness/peak ; सजदा = prostrate/prayer, महव = drown/immerse सजूद = prostrate ]

इक न इक ज़ुल्मत से जब बाबस्ता रहना है तो  'जोश'
जिन्दगी पर साया-ए-जुल्फ-ए-परीशान क्यूँ न हों ?
' जोश  मलीहाबाद'

Appending my makhta to it.
शब्-ओ-रोज़ की तल्खियों  से जब मुज्महिल रहना है 'प्रशांत'
जिंदगी फिर ज़ेर-ए-पा-ए-जाना  क्यूँ न हों ?
[शब्-ओ-रोज़ = night and day, तल्खियों = bitterness, मुज्महिल = distressed/disappointed, ज़ेर-ए-पा-ए-जाना = beneath the beloved's feet]

chaak-e-jigar kee fugaan kaisi hogi ?

This is my first attempt at Ghazal writing. For the uninitiated let me explain the structure of a Ghazal. A Ghazal is collection of couplets called sher not necessarily connected with one another. A Ghazal has at least one matla (मतला), one makhta (मखता) and is marked by radeef (रदीफ़) and kaafiya (काफ़िया). The length of a Sher is called Behr (बहर). The repeating word/s at the end of each sher is called Radeef. The Ghazal is known by its matla. Generally matla is the first sher of the ghazal and has radeef in both the lines. The words before radeef are rhyming in nature and are called kaafiya. The last sher in which Shayar uses his takhallus (तखल्लुस) (pen name) is called makhta.

जीस्त है गर ऐसी ,फिर कज़ा कैसी होगी ?
बहार है गर ऐसी ,फिर खिजां कैसी होगी ?
[जीस्त = life, कज़ा = death, बहार = spring, खिजां = autumn]

मेरे नीम शब् की माहताब हो तुम
बिन तुम्हारे ये फ़िज़ा कैसी होगी ?
[नीम = dark, शब् = night, माहताब = moon]

हम बाबस्ता हुए जिनसे  वो संग दिल
जाने कहाँ होगी कैसी होगी ?
[बाबस्ता = related , संग = stone]

रोज़--वस्ल की है जब तीरगी इतनी
फिर शब्--हिज्र की शुआ कैसी होगी ?
[रोज़-ऐ-वस्ल = day of meeting, तीरगी = darkness, शब्-ऐ-हिज्र = night of sepration, शुआ = blackness]

दर्द-ऐ-तगाफुल  का जब ये आलम है  'प्रशांत'
 फिर चाक--जिगर की फुगाँ कैसी होगी ?
[दर्द-ऐ-तागाफूल = pain of being ignored, चाक-ऐ-जिगर = crack in heart, फुगाँ = cry]

'प्रशांत'

Wednesday, 21 October 2009

Shehron Mulkon mein jo yeh..

शहरों मुल्कों में जो ये 'मीर' कहाता है मियां,
दीद-नी है पर बहुत कम नज़र आता है मियां
[दीद = vision]
आलम आइना है जिसका वो मुस्सविर बे-मिस्ल
हाए क्या सूरतें पर्दें में बनता है मियां
[आलम = world , आइना = mirror , मुस्सविर=artist मिस्ल = like/example बे-मिस्ल = without example/unique]
किस्मत उस बज्म में लायी की जहाँ का साकी
दे है मय सबको हमको ज़हर पिलाता है मियां
[बज्म = gathering ]
Meer Taqi 'Meer'
Adding my own Makhta to this Ghazal

तर्क-ए-जहाँ को जिसकी इबादत तूने की 'प्रशांत'
वो अब तुम्हें इश्क के सबक सिखलाता है मियां
[तर्क-ए-जहाँ = renounce the world, इबादत = worship]

video

Aake Sajjada Nashin

आके सज्जादानशीं  कैस  हुआ मेरे बाद,
न रही दश्त में खाली कोई जा मेरे बाद
[सज्जादानशीं = saint/dervish ,कैस = Real neame of majnoo, दश्त = wilderness/desert/ ]

चाक  करना है इसी गम से गिरेबान-ए-कफ़न
कौन खोलेगा तेरे बंद-ए-क़बा मेरे बाद
[चाक = torn, गिरेबान = collar, कफ़न = shroud, बंद-ए-क़बा = Closed Gown]

वो हवा खा है चमन के, चमन में हर सुभ
पहले मैं जाता था और बाद-ए-सबा मेरे बाद
[सुभ = Morning, बाद = wind , सबा = wind/Breeze]

तेज़ रखना सरे हर खार को  अए  दश्त-ए-जुनूं
शायद आ जाए कोई आबला पा मेरे बाद
[खार = thorn, दश्त-ए-जुनूं = extreme desert, आबला पा = blistered feet]

मुह पे रख दामन-ए-गुल रोयेंगे मुर्गान-ए-चमन
हर रविश ख़ाक उडाएगी सबा मेरे बाद
[दामन = Skirt, गुल = flower, मुर्गान = birds, रविश = behaviour ,  सबा = wind]

बाद मरने के मेरे कब्र पे आया वो 'मीर'
याद आयी मेरे ईसा को  दवा  मेरे बाद
Meer Taqi 'Meer'

Adding my Maqta to this ghazal

हयात-ए-क़फ़स में बा-मर्ग है 'प्रशांत'
 यहाँ आएगा न कोई मुझ जैसा मेरे बाद
[हयात-ए-क़फ़स = Prison of Life; बा-मर्ग = towards death]

Monday, 12 October 2009

ek khalish ko haasil-e-umr-e-ravaa.N rahne dia

एक खलिश को हासिल-ए-उम्र-ए-रवां रहने दिया
जान कर हमनें उन्हें ना मेहरबां रहने दिया
[ खलिश = pain  रवां = moving/continue, हासिल = gain/Result]
कितनी दीवारों के साए हाथ फैलाते रहे
इश्क नें लेकिन हमें बेखानुमा  रहने दिया
[बेखानुमा = without love]
अपने अपने हौसले अपनी तलब की बात ही
चुन लिया हमने उन्हें सारा जहाँ रहने दिया

यह भी क्या जीने में जीना है बैगैर उनके अदीब,
शम्मा गुल कर दी गयी बाकी धुआं  रहने दिया

'अदीब सहारनपुरी'

I am putting my Maqta to this Ghazal.

अगरचे खू-ए-खूबां है ये पर दिल न माने है 'प्रशांत'
ले ली हंसी मेरी और लब पे फुगाँ रहने दिया
[अगरचे = though; खू = habit; खूबां = beautiful ; फुगाँ = cry]



Monday, 5 October 2009

Main khayal hoon kisi aur ka

मैं ख्याल हूं किसी और का मुझे सोचता कोई और है,
सरे आइना मेरा अक्स है पसे आइना कोई और है
[सरे = In front of, अक्स = Reflection, पसे = Behind]

मैं किसी के दस्त-ऐ-तलब में हूं तो किसी के हर्फ़-ऐ-दुआ में हूं,
मैं नसीब हूं किसी और का मुझे मांगता कोई और है
[दस्त-ऐ-तलब = hands of Pleading/Pursuit, हर्फ़-ऐ-दुआ = words of blessing]

कभी लौट आए तो न पूछना सिर्फ़ देखना बड़े गौर से,
जिन्हें रास्ते में ख़बर हुई की ये रास्ता कोई और है

अजब ऐतेबार-ओ-बेऐतबार के दरमियाँ है ज़िंदगी,
मैं करीब हूं किसी और के मुझे जनता कोई और है
[ऐतेबार-ओ-बेऐतबार = trust and distrust, दरमियाँ = between]

तुझे दुश्मनो की ख़बर न थी, मुझे दोस्तों का पता नहीं ,
तेरी दास्ताँ कोई और थी मेरा वाक्या कोई और है
[दास्ताँ / वाक्या= story, happening]

वही मुन्शिफों की रिवायतें, वही फैसलों की इबारतें,
मेरा जुर्म तो कोई और था, यह मेरी सज़ा कोई और है
[मुन्शिफों = judges, रिवायतें = tradition, फैसलों = judgements, इबारतें = compositions/compilations]

तेरी रोशनी मेरी खद्दो-खाल से मुख्तलिफ तो नहीं मगर,
तू करीब आ तुझे देख लूँ तू वही है या कोई और है
[खद्दो-खाल = body, मुख्तलिफ = different]

जो मेरी रियाज़त-ऐ-नीम-शब् को सलीम सुबहों न मिल सकी,
तो फिर इसके माने तो ये हुए की यहाँ खुदा कोई और है
[रियाज़त = spiritual practice/Discipline , नीम-शब् = dark night ]
'Saleem Kausar'
Mehdi Saab's rendition is embedded below

video

Putting my own Maqta to this Gazal:

'प्रशांत' जीस्त ना अपनी जी सका उसके वादे पे ऐतबार कर
पर क्या गिला करे उससे वो वो नहीं कोई और है
[जीस्त = Life, गिला = complain]

Monday, 21 September 2009

Nagendra Haaraye

When I was a child I would listen to my father’s incantation of ‘Nagendra Haaraye’ every morning. It was very soothing to ears and had a calming effect. I never knew what it meant but I knew it was en eulogy to Lord Shiva.
So when my friend forwarded me this video of 'M.S Subbalakshmi' singing Nagaendra Harayae I was reminded of its power.
http://www.youtube.com/watch?v=yyLeBNsovQ8
Amma had a voice which connected with the god. Slowly I was taken over by the Sholka and its rendition. I became curious to know its meaning. After an hour of Google research I got some information which I am putting down here.

This is called Shiv panchakchar stotram. This was written by Jagatguru Shri Adi Shankaracharya. Panchachar mean five Letters. These letters are Na , Ma , Shi, Va, Ye which constitute the word Namah Shivaye. Shankaracharya tells that each letter in the word Namah Shivaye is in itself Shiva. So the Strota has 5 sholkas each dedicated to a letter.
नागेन्द्रहाराय त्रिलोचनाय भस्मान्गरागाय महेश्वराय
नित्याय शुद्धाय दिग्मंबराय तस्मै 'न' काराय नमः शिवायः

मन्दाकिनी सलिल चंदन चर्चिताय नन्दीश्वर प्रमथनाथ महेश्वराए
मंदार पुष्प बहु पुष्प सूपुजिताय तस्मै 'म' काराय नमः शिवायः

शिवायः गौरी वज्नार्विंदे सूर्राय धक्षाध्वर नाश्काय
श्री नीलकंठाय वृशाव्ध्वजाय तस्मै 'शि' काराय नमः शिवायः

वशिष्टकुंभोद्धवगौतमार्य, मुनीन्द्रदेवाय चित्शेखराय
चंद्राक्वैश्वा नर्लोचनाय , तस्मै 'वा' काराय नमः शिवायः

यक्षस्वरूपाय जटाधराय पिनाक हसताय सनात्नाये
दिव्याय देवाय दिगाम्बराय , तस्मै 'य' काराय नमः शिवायः
--
पंचाक्षरम इदं पुन्यम यहः पठेह शिव सनिधवो
शिवालोकमाप्नोती शिवेंसह्मोदते

इति श्रिशंकराचार्यविरिचितम श्री पंचाक्षर स्तोत्रं संपूर्णम्
I am putting down the rough English translation of this:
One who has a garland of serpents around the neck; who has three eyes; whose body is smeared with ash; who is the highest lord, who is eternal; who is pure, whose dress is sky; is embodied as the letter Na, I prostrate to that Lord Shiva

One whose body is anointed with holy waters from the river Ganges and sandal paste, who is the sovereign king of the Pramatha Ganas and who is adorned with innumerable divine flowers such as Mandaara; is embodied as the letter Ma, I prostrate to that Lord Shiva

One who is the resplendent sun for mother Gauri`s lotus face, who is the destroyer of Daksha`s sacrificial ritual, who is the blue necked Lord (due to the Haalahala poison), whose banner bears the emblem of a bull and who is embodied as the letter Shi, I prostrate to that Lord.
One who is worshipped and prayed to by great sages such as Vashishta, Kumbha, Uddhav and Gautama, whose eyes are sun, moon and the fire and who is embodied as letter ‘Va’, I prostrate to that Lord Shiva

One who is the Yaksha incarnate, whose hairs are long and matted, who holds Pinaaka (trident) in His hand, who has the entire sky as His attire; is embodied as the letter Ya, I prostrate to that Lord Shiva .
Whoever repeats this prayer composed with the five holy letters before Lord Shiva, attains that supreme abode and enjoys the eternal Bliss.

Saturday, 19 September 2009

Jo Thake Thake se the hausle

जो गम-ए-हबीब से दूर थे वो खुद अपनी ही आग में जल गये,
जो गम-ए-हबीब को पा गये वो गमों से हॅश के निकल गये।
[ हबीब = Friend, beloved]

जो थके थके से थे हौसले , वो शबाब बन के मचल गये,
वो नज़र नज़र से गले मिली, तो बुझे चराग़ भी जल गये।

ये शिकस्त-ए-दीद की करवटें भी बड़ी लतीफ-ओ-जमील थी,
मैं नज़र झुका के तड़प गया , वो नज़र बचा के निकल गये
[लतीफ-ओ-जमील = amusing and beautiful]

ना खिzआं में है कोई तीरगी ना बाहर में है कोई रौशनी,
ये नज़र नज़र के चराग़ है, कहीं बुझ गये कहीं जल गये
[खिzआं = autumn, तीरगी= darkness,sadness]
जो संभल संभल के बहक गये वो फरेब खुर्द-ए-राह थे,
वो मकाम इश्क़ को पा गये जो बहक बहक के संभल गए
[खुर्द-ए-राह= lesser path]
जो खिले हुए हैं रविश रविश वो हॅज़ार हुश्न-ए-चमन सही,
मगर उन गुलों का जवाब क्या जो कदम कदम पे कुचल गये
[रविश= The narrow pathways of the garden ]

ना है शायर अब गम-ए-नौ-बा-नौ ना वो दाग-ए-दिल ना वो आरज़ू,
जिन्हे एतमाद-ए-बहार था वो ही फूल रंग बदल गये
[नौ-ब-नौ = New, Fresh, Raw एतमाद = Faith]
शायर 'लखनवी'

Maqta is that part of Ghazal where Shayar uses his thakhallus ( Sobriquet) . It is generally the last sher of the Ghazal. If I would write one for this Ghazal I would write like this:

जो गाम-ए-हयात पे संभल चले वो अंजाम-ए-मंज़िल को हुए 'प्रशांत',
मगर उन आबला-पा का क्या करें जो आगाज़-ए-राह पे फ़िसल गये
[गाम-ए-हयात = steps of life, अंजाम-ए-मंज़िल = end of destination, आबला-पा = wounded foot आगाज़-ए-राह = beginning of journey]

Friday, 11 September 2009

Laa_ii hayat aaye, kazaa le Chalii Chale

लाई हयात आए, क़ज़ा ले चली चले,
ना अपनी खुशी आए ना अपनी खुशी चले
[हयात = Life, क़ज़ा = Death]

बेहतर तो है यही की ना दुनिया से दिल लगे ,
पर क्या करे जो काम ना बेदिल्लगी चले

हो उम्र-ए-खिजर भी तो कहेंगे बा-वक़्त-ए-मर्ग,
हम क्या रहें यहाँ अभी आए अभी चलें
[उम्र-ए-खिजर = old age, बा-वक़्त-ए-मर्ग = at time of death]

दुनिया ने किस का दिया है राह-ए-फ़ना में साथ ,
तुम भी चले चलो जब तक चली चले
[राह-ए-फ़ना = path of annihilation]

नाज़ान ना हो खिरद पे जो होना है वो ही हो,
दानिश तेरी ना कुछ मेरी दानीश्वारी चले
[नाज़ान = Proud; खिरद = intellect; दानिश = Intellect, दानीश्वारी = Intelligence]

कम होंगे इस बिसात पे हम जैसे बद खिमार ,
जो चाल हम चले वो निहायत ही बुरी चले

जा की हवा-ए-शौक़ में है इस चमन से 'ज़ौक़' ,
अपनी बला से बाद-ए-सबा कहीं चले
[baad = wind]
'Zauq'
I have tried to translate the essence of his ghazal.

Life got me here and Death takes me away,
Neither I came happy nor am leaving by will.

Prudence demands not to get involved in worldly pleasures
but what to do if the heart is indulgent

Even in old age at the deathbed I will say
I spent lil time here , just arrived and ready to leave

No one will come with you on the path of annihilation
so keep walking as long as you can

Do not be proud of your intellect
as it will not serve you any good

Few would be as bad a player of this game as I,
Whatever move I made turned to be a bad move

The wind of passion keeps 'Zauq' in this garden,
but does the wind blow without any reason?

Thursday, 27 August 2009

Gazab kia tere waade pe aitbaar kia

ग़ज़ब किया, तेरे वादे पे ऐतबार किया,
तमाम रात क़यामत का इंतेज़ार किया

[तमाम= whole]

हंसा हंसा के शब-ए-वस्ल अश्क-बार किया,
तसल्लियां मुझे दे-दे के बेक़रार किया

[शब-ए-वस्ल = the night of meeting, अश्क-बार = teary, तसल्लियां = consolation]

हम ऐसे माहव-ए-नज़ारा ना थे जो होश आता,
मगर तुम्हारे तगाफुल ने होशियार किया

[माहव-ए-नज़ारा = bewitched with beauty, तगाफुल = nonchalance]

फसाना-ए-शब-ए-गम उन को एक कहानी थी,
कुछ ऐतबार किया और कुछ ना-ऐतबार किया
[फसाना-ए-शब-ए-गम = story of night of dispair]

ये किसने जलवा हमारे सर-ए-मज़ार किया
की दिल से शोर उठा, हाए! बेक़रार किया
[जलवा = Magic, सर-ए-मज़ार = facade of sepulchre]

तड़प फिर ऐ दिल-ए-नादान, की गैर कहते हैं,
आख़िर कुछ ना बनी, सब्र इख्ह्तियार किया

[दिल-ए-नादान = ignorant heart; सब्र=patience]

भुला भुला के जताया है उनको राज़-ए-निहान,
छिपा छिपा के मोहब्बत को आशकार किया

[राज़-ए-निहान= hidden secrets; आशकार= reveal]

तुम्हें तो वादा-ए-दीदार हम से करना था,
ये क्या किया के जहाँ को उम्मीदवार किया
[वादा-ए-दीदार = promise to be seen]

ये दिल को ताब कहाँ है के हो मालंदेश,
उन्होनें वादा किया और हम ने ऐतबार किया
[ताब = Heat,मालंदेश = anxity (not sure)]

ना पूछ दिल की हक़ीक़त मगर ये कहते हैं,
वो बेक़रार रहे जिसने बेक़रार किया

कुछ आगे दावर-ए-महशर से है उम्मीद मुझे,
कुछ आप ने मेरे कहने का ऐतबार किया

[डावर-ए-महाशर= the judge presiding on the day of judgement, i.e. the God]
{Daag Dehlavi}

Daag has not written a maqta to this ghazal. I have written one and could not resist to post it. I hope people will forgive me for this impudence.

जब चला गया 'प्रशांत' जहाँ से मुंतज़ीर हो के,
तब तूने उसके कुचे के जानिब रुखसार किया

[मुंतज़ीर = awaiting, कुचे = Lane, जानिब = direction, रुखसार = turn the face ]

Saturday, 22 August 2009

Indian

I am a palimpsest of mankind; a cradle of civilization, mother of many religions and source of numerous philosophical thoughts. Many came to me; Kings, Conquerors, Tyrants, Philosophers and I assimilated them all. Since Yore I have been emanating the message of love, harmony and peaceful coexistence (Vasudhaiva Kutumbakam). I am high mountains and the deep sea. At one place I am fertile land and at other brazen desert. Here I am tiny brook and there I become a mighty river. I am cornucopia of culture. Though I speak thousands of dialects I understand the language of Love. Today I am harbinger of many human developments. I am the power house of world. I am on the moon. I am freedom. I am collective will and voice of a billion people. I am flux; I am unity. I am an Indian; I am India.

Saturday, 8 August 2009

La- sharika-La hu

मरकज़-ए-ज़ुस्तुजु,
आलम-ए-रंग-ओ-बू,
दम-बा- दम जलवागर,
तू ही तू चार सू,
हो के माहौल में ,
कुछ नही ईल्लह हू,
तुम बहुत दिलरुबा,
तुम बहुत खूबरू,
अर्श की आज़मातें,
फर्श की आबरू,
तुम हो कोनैइन का हासिल-ए-आरज़ू,
आँख ने कर लिया आँसुओं से वज़ू,
उब तो कर दो अता दीद का इक सबु,
आओ पर्दे से तुम आँख के रु-बॅ-रु,
चंद लम्हे मिलन, दो घड़ी गुफ्तगू,
नाज़ ज़ब्ता फिरे जा-बा-जा,कू-बा-कू,
वाहदा हू, वाहदा हू
ला-शरीका-ला हू

अल्लाह हू, अल्लाह हूं
[मरकज़ = center; ज़ुस्तुजु= search/Desire; आलम = Universe; रंग-ओ-बू = Color and Smell, दम-बा- दम = In every breath ; जलवागर = visible; खूबरू = Handsome; अर्श = heaven; आज़मातें = magnificence; फर्श = floor; = dignity
कोनैइन = both worlds,वज़ू = ablution; दीद= vision ; सबु =grain; जा-बा-जा = place to place
कू-बा-कू = street to street; वाहदा = Unity; ला-शरीका = no partners, हू (arabic) = divine presence, beyond definition]

The english translation is given below.

You are the center of every search,
the world of fragrance and color,
in every heartbeat you are apparent
in all four corners you are present
You are in the surroundings
nothing is there to refutes you
you are the beloved, you are the handsome
You are the magnificence of Heaven,
You are the dignity of the surface,
You are the yearning desire of the two worlds.
The eyes have completed the ablution with tear,
so now grant the flak of your vision,
Come beyond the veil, in front of the eyes
Meet for few breaths, Converse for two seconds
Your pleasure links every where; from place to place, from Street to street
The One Alone, The One Alone
With No Partners

Is God, IS God

Saturday, 25 July 2009

Tum ek gorakhdhandha ho.

The poet Naaz Khaalivi is confounded by God's action. He is unable to understand the contradictory acts of God and is complaing to him about his enigmatic nature. The Lyrics is thought provoking. Listen to this transcendental qawaali by ustad Nusrat.


कभी यहाँ तुम्हें ढूँढा, कभी वहाँ पहुँचा,
तुम्हारी दीद की खातिर कहाँ कहाँ पहुँचा,
ग़रीब मिट गये, पा-माल हो गये लेकिन,
किसी तलक ना तेरा आज तक निशाँ पहुँचा
हो भी नही और हर जा हो,
तुम एक गोरखधंधा हो
[ दीद = vision, पा-माल = Trodden under foot, Ruined, गोरखधंधा = puzzle, enigma]



हर ज़र्रे में किस शान से तू जलवानुमा है,
हैरान है मगर अक़ल, के कैसा है तू क्या है?
तुम एक गोरखधंधा हो
[ज़र्रे = grain/speck of dust, जलवानुमा = magical/divine, अक़ल = mind/Thought]


तुझे दैर-ओ-हरम मे मैने ढूँढा तू नही मिलता,
मगर तशरीफ़ फर्मा तुझको अपने दिल में देखा है
तुम एक गोरखधंधा हो
[दैर-ओ-हरम = temple & mosque; तशरीफ़ फर्मा = to take position ]


जब बजुज़ तेरे कोई दूसरा मौजूद नही,
फिर समझ में नही आता तेरा परदा करना
तुम एक गोरखधंधा हो

[बजुज़ = except]

जो उलफत में तुम्हारी खो गया है,
उसी खोए हुए को कुछ मिला है,
ना बुतखाने, ना काबे में मिला है,
मगर टूटे हुए दिल में मिला है,
अदम बन कर कहीं तू छुप गया है,
कहीं तू हस्त बुन कर आ गया है,
नही है तू तो फिर इनकार कैसा ?
नफी भी तेरे होने का पता है ,
मैं जिस को कह रहा हूँ अपनी हस्ती,
अगर वो तू नही तो और क्या है ?
नही आया ख़यालों में अगर तू,
तो फिर मैं कैसे समझा तू खुदा है ?
तुम एक गोरखधंधा हो
[उलफत = love/enamoured; अदम = lifeless; हस्त = life; नफी = precious; हस्ती = life/existence ]


हैरान हूँ इस बात पे, तुम कौन हो , क्या हो?
हाथ आओ तो बुत, हाथ ना आओ तो खुदा हो
अक़्ल में जो घिर गया, ला-इंतिहा क्यूँ कर हुआ?
जो समझ में आ गया फिर वो खुदा क्यूँ कर हुआ?
फलसफ़ी को बहस क अंदर खुदा मिलता नही,
डोर को सुलझा रहा है और सिरा मिलता नही
तुम एक गोरखधंधा हो

[बुत = idol; अक़्ल = mind/Thought; ला-इंतिहा = boundless; फलसफ़ी = philosopher; बहस=debate]

छुपते नही हो, सामने आते नही हो तुम,
जलवा दिखा के जलवा दिखाते नही हो तुम,
दैर-ओ-हरम के झगड़े मिटाते नही हो तुम,
जो असल बात है वो बताते नही तो तुम
हैरान हूँ मैरे दिल में समाये हो किस तरह,
हाँलाके दो जहाँ में समाते नही तो तुम,
ये माबद-ओ-हरम, ये कालीसा-ओ-दैर क्यूँ,
हरजाई हो जॅभी तो बताते नही तो तुम
तुम एक गोरखधंधा हो
[ माबद-ओ-हरम = temple & moseque; कालीसा-ओ-दैर = church & temple ]


दिल पे हैरत ने अजब रंग जमा रखा है,
एक उलझी हुई तस्वीर बना रखा है,
कुछ समझ में नही आता के ये चक्कर क्या है?
खेल क्या तुम ने अजल से रचा रखा है?
रूह को जिस्म के पिंजड़े का बना कर क़ैदी,
उस पे फिर मौत का पहरा भी बिठा रखा है
दे के तदबीर के पंछी को उड़ाने तूने,
दाम-ए-तक़दीर भी हर सिम्त बिछा रखा है
कर के आरैश-ए-क़ौनाईन की बरसों तूने,
ख़तम करने का भी मंसूबा बना रखा है,
ला-मकानी का बहरहाल है दावा भी तुम्हें,
नहन-ओ-अक़लाब का भी पैगाम सुना रखा है
ये बुराई, वो भलाई, ये जहन्नुम, वो बहिश्त,
इस उलट फेर में फर्माओ तो क्या रखा है ?
जुर्म आदम ने किया और सज़ा बेटों को,
अदल-ओ-इंसाफ़ का मेआर भी क्या रखा है?
दे के इंसान को दुनिया में खलाफत अपनी,
इक तमाशा सा ज़माने में बना रखा है
अपनी पहचान की खातिर है बनाया सब को,
सब की नज़रों से मगर खुद को छुपा रखा है
तुम एक गोरखधंधा हो


[हैरत = confusion; अजल = time immemorial; रूह=soul; जिस्म =body; तदबीर = action/diligent दाम-ए-तक़दीर=trick of luck; सिम्त = direction; आरैश-ए-क़ौनाईन = decoration of both world ला-मकानी = homeless; नहन-ओ-अक़लाब = place for praying; अदल-ओ-इंसाफ़ = justice and equity मेआर = benchmark; खलाफत = kingdom]

नित नये नक़्श बनाते हो, मिटा देते हो,
जाने किस ज़ुर्म-ए-तमन्ना की सज़ा देते हो?
कभी कंकड़ को बना देते हो हीरे की कनी ,
कभी हीरों को भी मिट्टी में मिला देते हो
ज़िंदगी कितने ही मुर्दों को अदा की जिसने,
वो मसीहा भी सलीबों पे सज़ा देते हो
ख्वाइश-ए-दीद जो कर बैठे सर-ए-तूर कोई,
तूर ही बर्क- ए- तजल्ली से जला देते हो
नार-ए-नमरूद में डळवाते हो खुद अपना ख़लील,
खुद ही फिर नार को गुलज़ार बना देते हो
चाह-ए-किनान में फैंको कभी माह-ए-किनान,
नूर याक़ूब की आँखों का बुझा देते हो
दे के युसुफ को कभी मिस्र के बाज़ारों में,
आख़िरकार शाह-ए-मिस्र बना देते हो
जज़्ब -ओ- मस्ती की जो मंज़िल पे पहुचता है कोई,
बैठ कर दिल में अनलहक़ की सज़ा देते हो ,
खुद ही लगवाते हो फिर कुफ्र के फ़तवे उस पर,
खुद ही मंसूर को सूली पे चढ़ा देते हो
अपनी हस्ती भी वो इक रोज़ गॉवा बैठता है,
अपने दर्शन की लॅगन जिस को लगा देते हो
कोई रांझा जो कभी खोज में निकले तेरी,
तुम उसे झन्ग के बेले में रुला देते हो
ज़ुस्त्जु ले के तुम्हारी जो चले कैश कोई,
उस को मजनू किसी लैला का बना देते हो
जोत सस्सी के अगर मन में तुम्हारी जागे,
तुम उसे तपते हुए तल में जला देते हो
सोहनी गर तुम को महिवाल तसवउर कर ले,
उस को बिखरी हुई लहरों में बहा देते हो
खुद जो चाहो तो सर-ए-अर्श बुला कर महबूब,
एक ही रात में मेराज करा देते हो
तुम एक गोरखधंधा हो
[नित = everyday, नक़्श = copy/model; ज़ुर्म-ए-तमन्ना = crime of desire; सलीबों = cross; ख्वाइश-ए-दीद = desire for divine vison; सर-ए-तूर = one with a halo/Saint/prophet; बर्क- ए- तजल्ली = blessing of divine menifestation; नार-ए-नमरूद = Furnace of King Nimrod;ख़लील = friend;गुलज़ार = garden;नूर= light शाह-ए-मिस्र= king of Egypt; अनलहक़ = I am the Truth/I am the God; कुफ्र = apostacy; फ़तवे= religious decree तल = desert; तसवउर = think; सर-ए-अर्श = In heaven; मेराज = exaltation]



जो कहता हूँ माना तुम्हें लगता है बुरा सा,
फिर भी है मुझे तुम से बहरहाल गिला सा,
चुप चाप रहे देखते तुम अर्श-ए-बरीन पर,
तपते हुए करबल में मोहम्मद का नवासा,
किस तरह पिलाता था लहू अपना वफ़ा को,
खुद तीन दिनो से वो अगरचे था प्यासा
दुश्मन तो बहर तौर थे दुश्मन मगर अफ़सोस,
तुम ने भी फराहम ना किया पानी ज़रा सा
हर ज़ुल्म की तौफ़ीक़ है ज़ालिम की विरासत,
मज़लूम के हिस्से में तसल्ली ना दिलासा
कल ताज सजा देखा था जिस शक़्स के सिर पर,
है आज उसी शक़्स क हाथों में ही कासा,
यह क्या है अगर पूछूँ तो कहते हो जवाबन,
इस राज़ से हो सकता नही कोई शनसा
तुम एक गोरखधंधा हो
[अर्श-ए-बरीन = from heaven; नवासा = son of one's daughter; फराहम = offer,तौफ़ीक़=concent/support]


आह-ए-तहकीक में हर गाम पे उलझन देखूं,
वही हालत-ओ-ख़यालात में अनबन देखूं,
बन के रह जाता हूँ तस्वीर परेशानी की,
गौर से जब भी कभी दुनिया का दर्पण देखूं
एक ही खाक से फ़ितरत के तzआदत इतने,
कितने हिस्सों में बटा एक ही आँगन देखूं,
कहीं ज़हमत की सुलगती हुई पतझड़ का सामान ,
कहीं रहमत के बरसते हुए सावन देखूं ,
कहीं फुन्कारते दरया, कहीं खामोश पहाड़ ,
कहीं जंगल, कहीं सेहरा, कहीं गुलशन देखूं ,
खून रुलाता है यह तक्सीम का अंदाज़ मुझे ,
कोई धनवान यहाँ पर कोई निर्धन देखूं ,
दिन के हाथों में फक़त एक सुलगता सूरज ,
रात की माँग सितारों से मज़्ज़यन देखूं ,
कहीं मुरझाए हुए फूल हैं सचाई के ,
और कहीं झूट के काँटों पे भी जोबन देखूं ,
रात क्या शै है, सवेरा क्या है ?
यह उजाला यह अंधेरा क्या है ?
मैं भी नाइब हूँ तुम्हारा आख़िर,
क्यों यह कहते हो के तेरा क्या है ?
तुम एक गोरखधंधा हो
[आह-ए-तहकीक = desire to enquire; गाम = step, उलझन = confusion; हालत-ओ-ख़यालात = reality & thought; फ़ितरत= Nature/Characteristic; तzआदत=division/Contradiction/Lie; ज़हमत = Inconvenience ; रहमत= compassion; नाइब=assistant]
नाज़ खियालवी
Here I have tried to put a rough english transalation to the lyrics.
I looked for thee hither and thither
For a look of thee, I went everywhere
The dear ones got ruined and downtrodden
But no one got thee where bout.
Thou art and thou art not
Thou art an Enigma

With what splendor thou art in every speck
But confused is mind that what art thee? Who are thee?
Thou art an Enigma

I do not find thee in temple and Mosque
But see thou in my heart
Thou art an Enigma

If thou art the only one
Then from who do thou you conceal thyself?
Thou art an Enigma

Blesses are those who are lost in thy love
Thou could not be found in temple nor Kaabah
But can be found in broken heart
Thou art hidden as barren
And thou appear as life
If thou art not, then why deny thee?
Even the negation confirms thy existence
What I call existence if not you who is that?
If thou didn’t come in my thoughts then
How did I learn that you are God?
Thou art an Enigma

Confounded I am that what thou art and who thou art?
When palpable then thou become an idol and when not thou become god.
One that can be bounded by logic how can it be boundless?
One that is understood how can it bee God?
Sophist does not find God in philosophy
He tries to untangle the cord but cannot find the end
Thou art an enigma

Neither thou hide nor thou reveal thyself
Thou show thy divinity but do not show thyself
Thou do not solve the fight over temple and mosque
Thou don’t reveal the real thing
I am perplexed that how thou art housed in my heart
Even though thou could not be contained in both the worlds
Why art these temple & mosques and church and synagogue?
Thou are faithless for not showing thy countenance
Thou art an enigma.

The mysticism has taken strange possession of my heart
A confused picture it’s drawn within it
I do not understand what all this puzzle is
What is this game thou have been playing since time immemorial
Thou had made the soul a prisoner of the body
and then had put the sentry of death on it.
Thou make the bird of endeavor fly ‘yet
Thou have spread the net of fate everywhere.
For years thou have decorated the world and hereafter
thou have made the plan of its destruction
Though you claim to be homeless
Yet thou preached places of worship.
This is bad, that good, this is hell, that is heaven
Please tell me what is in this perplexity?
For Adam’s crime thou punish his Progeny
Is that the standard of thy justice?
By giving the earthly kingdom to the man,
Thou have made it into a spectacle
For thy own recognition thou created all
But thou hide thyself from all
Thou art an enigma.

Thou draw pictures and erase it thyself
I don’t know for which crime of desire thou you punish us
Sometimes thou turn a pebble into a diamond
Other times thou will turn a diamond into dust
The prophet who gave life to many dead
thou made him adorn the cross
The one that longed to have thy sight on the Mount Sinai
thou reduced the Mount to ashes with the Lightning of thy Manifestation
thou wished Abraham to be thrown into Nimrud’s Fire
Then thou turned that fire into flowers thyself
Sometimes thou throw a Canaanite into the well of Canaanites
And then deprive Jacob of his sight
thou make Joseph to be put into the slave-mart of Egypt
And then thou only make him the king of Egypt
When someone reaches to the destination of higher spirituality
thou make him to voice: I’m the Truth
Then allow the verdicts of infidelity against Him
Thou send Mansoor to the crucifix
One day he too loses his life
Whom thou make to see Your sight
If a Ranjha goes in thy quest
Thou make him in the charity of Jhang
If some Qais goes in thy quest
thou make him Majnu of some Laila
If Thou love awakens in Sassi’s heart
thou scorch her in a burning desert
If Sohni imagined thee as her Mahival
thou drowned her into the ragging currents
Thou do as thou wish by summoning to the Heaven
in a single night thou can make the Prophet’s Accession to Heaven
Thou art an Enigma

I know thou you feel umbrage about my sayingsyet I’ve a little complaint to makethou were sitting quiet on thy Throne in heaven
When Muhammad’s grandson was scorching in the desert of Karbala
he gave his blood for Your Love
though he was thirsty for three days
His enemies were after all enemies,
but what’s sad is that even thou didn’t offer him Water
Every favor of oppression is the approval of the oppressor
But the oppressed is neither consoled nor comforted
Yesterday he who had a crown on his head
Today I see him with a begging bowl
What is this? If I ask, thy answer is
That no one can get acquainted with this secret
Thou art an enigma

Thou enquiry makes me confused at every step
There is discord between the reality and Ideas
I have become a picture of distress
Whenever I see in the mirror of the world
I see so many contradictions in a single eye
I see one place divided into so many parts
Somewhere I see the autumnal smoke of hardship
Somewhere I see the monsoon showers of blessing
Here I see hissing rivers and there silent Mountains
Here I see a forest, there I see a desert and somewhere else I see a garden
This style of division writhes me
I see some rich and some poor here
In Day’s share, I see only one sun shinning
While the night is bedecked with millions of stars
Here I see the withered flowers of truth
There I see the thorns of lies abloom
What is night? What is morning?
What is light? What is darkness?
After all I’m also your deputy, why thou say “what is thy?”
Thou art an enigma.
Naaz Khiaalvi

For web search convenience I am putting the English transliteration here.

Kabhi Yahaan Tumhein Dhunda, Kabhi Wahaan Pahuncha
Tumhari Deed Ki Khaatir Kahan Kahan Pahucha
Gareeb Mit Ga'ay, Paa-maal Ho Gaye lekin
Kisi Talak Na Tera Aaj Tak Nishaan Pahuncha

Ho Bhi Nahi Aur Her Jaa HoTum Ek Gorakh Dhanda Ho
Her Zarray Mein Kiss Shaan Say Tu Jalwa Numa Hai
Hairaan Hai Magar Aqal, Ke Kaisay Hai Tu Kya Hai?
Tum Ek Gorakh Dhanda Ho

Tujhay Dair-O-Haram Maine Dhunda Tu Nahi Milta
Magar Tashreef Farma Tujhko Apne Dil Mein Daikha Hai
Tum Ek Gorakh Dhanda Ho

Jab Bajuz tere koi Dosra Maujood Nahi
Phir Samajh Mein Nahi Aata Tera Purdah Karna
Tum Ek Gorakh Dhanda Ho

Jo Ulfat Mein Tumhari Kho Gaya hai,
Usi Kho'ay Huay Ko Kuch Mila Hai
Na But-Khanay, Na Kabay Mein Mila Hai,
Magar Tutay Huay Dil Mein Mila Hai
Adam Bun Ker Kaheen tu Chup Gaya Hai,
Kaheen To Hast Bun Ker Aa Gaya
Nahi Hai Tu To Phir Inkaar Kaisa,
Nafi Bhi Tairay Honay Ka Pata Hai
Mein Jiss Ko Keh Raha Hoon Apni Hasti,
Agar Wo Tu Nahi To Aur Kia Hai
Nahi Aaya Khayaloon Mein Agar Tu,
To Phir Mein Kaisay Samjha Tu Khuda Hai
Tum Ek Gorakh Dhanda Ho


Hairan Huoon Is Baat Pay, Tum Kaun Ho Kya Ho?
Haath Aao to But, Haath Na Aao to Khuda Ho
Aqal Mein Jo Ghir Gaya La-Intiha Kiyoon Ker Hua?
Jo Samajh Mein Aa Gaya Phir Wo Khuda Kyun Ker Hua?
Falsafi Ko Behas K Ander Khuda Milta Nahi
Dor Ko Suljha Raha Hai Aur Sira Milta Nahi
Tum Ek Gorakh Dhanda Ho

Chuptay Nahi Ho, Samnay Aatay Nahi Ho Tum,
Jalwa Dikha K Jalwa Dikhatay Nahi Ho Tum
Dair O Haram K Jhagray Mita'tay Nahi Ho Tum,
Jo Asal Baat Hai Wo Batatay Nahi To Tum
Hairaan Hoon Mairay Dil Mein Sama'ay Ho Kiss Tarah,
Haan'la K Do Jahan Mein Samatay Nahi To Tum
Yeah Mabud O Haram, Yeah Qaleesa-o-Dair Kiyoon,
Harjayii Ho Jabhi To Bata'tay Nahi To Tum
Tum Ek Gorakh Dhanda Ho


Dil Pe Hairat Nai Ajab Rung Jama Rakha Hai,
Aik Uljhi Howi Tasveer Bana Rakha Hai
Kuch Samajh Mein Nahi Aata K Yeah Chakkar Kia Hai,
Khail Kia Tum Nai Azal Say Yeah Racha Rakha Hai
Rooh Ko Jism K Pingray Ka Bana Ker Qaidee,
Us Pay Phir Mout Ka Pehraa Bhi Bithaa Rakha Hai
Day K Tadbeer K Panchi Ko Uraaney Tune,
Daam-E-Taqdeer bhee Her Sumt Bicha Rakha Hai
Kar K Araish-e-Qounain Ki Barsoon Tu Nai,
Khatam Karne Ka Bhi Mansooba Bana Rakha Hai
La-Makaani Ka Bahr Haal Hai Dawa Bhi Tumhein,
Nahan-o-aQalab Ka Bhi Paighaam Suna Rakha Hai
Yeah Burai, Wo Bhalai, Yeah Jahannum, Wo Bahisht,
Is Ulat Phiar Mein Farmao To Kia Rakha Hai
Jurm Aadam Nai Kiya Aur Saza Baitoon Ko,
Adl O Insaaf Ka Mi'aar Bhi Kia Rakha Hai
De K Insaan Ko Dunya Mein Khalafat Apni,
Ik Tamasha Sa Zamanay Mein Bana Rakha Hai
Apni Pehchaan Ki Khaatir Hai Banaya Sub Ko,
Sub Ki Nazaroon Say Magar Khud Ko Chupa Rakha Hai
Tum Ek Gorakh Dhanda Ho

Nit Naye Naqsh Banatay Ho, Mita Daitay Ho,
Janay Kiss Jurm-e-tamanna Ki Saza Daitay Ho
Kabhi Kanker Ko Bana Daitay Ho Heeray Ki Kani,
Kabhi Heeron Ko Bhi Mitti Mein Mila Daitay Ho
Zindagi Kitnay He Murdoon Ko Ata Ki Jiss Nai,
Wo Maseeha Bhi Saleebon Pay Saja Daitay Ho
Khuwahish-E-Deed Jo Kar Baithay Sar-E-Tuur Koi,
Tuur Hee Bark- e- Tajaali Say Jala Daitay Ho
Naar-e-Namrood Mein Dalwatay Ho khud apna Khaleel,
Khud Hee Phir Naar Ko Gulzaar Bana Daitay Ho
Chah-e-kinaan Mein Phainko Kabhi Maah-e-Kinaan,
Noor Yaqoob Ki Aankhon Ka Bujha Daitay Ho
Day Ke Yusuf Ko Kabhi Misr K Bazaaron Mein,
Aakhir Kaar Shah-E-Misr Bana Daitay Ho
Jazb O Masti Ki Jo Manzil Pe Pohonchta Hai Koi,
Baith Ker Dil Mein Analhaq Ki Saza Daitay Ho
Khud He Lagwatay Ho Phir Kufr K Fatway Us
Khud He Mansoor Ko Sooli Peh Charha Daitay Ho
Apni Hasti Bhi Wo Ik Rooz Gawa Baith'ta Hai,
Apne Darshan Ki Lagan Jiss Ko Laga Daitay Ho
Koi Ranjha Jo Kabhi Khooj Mein Nikle Teri,
Tum Usay Jhang K Bele Mein Rula Daitay Ho
Justujo Lay K Tumhari Joh Chalay Qais Koi,
Us Ko Majno Kisi Laila Ka Bana Daitay Ho
Jot Sassi K Agar Mun Mein Tumhari Jagay,
Tum Usay Taptay Hoay Thal Mein Jala Daitay Ho
Sohni Gar Tum Ko Mahiwaal Tassawur Ker Le,
Us Ko Bikhri Howi Lehroon Mein Baha Daitay Ho
Khudh Joh Chaho To Sar-E-Arsh Bula Ker Mehboob,
Aik He Raat Mein Mairaaj Kara Daitay Ho
Tum Ek Gorakh Dhanda Ho

Jo Kehta Hoon Mana Tumhein Lagta Hai Bura Sa,
Phir Bhi Hai Mujhay Tum Say Baharhaal Gila Sa
Chup Chaap Rahay Daikhtay Tum Arsh-E-Bareen Per,
Taptay Hoay Karbal Mein Mohammad Ka Nawasa
Kiss Tarah Pilata Tha Laahu Apna Wafa Ko,
Khud Teen Dino Say Wo Agarchay Tha Piyasa
Dushmun To Bahar taur Thay Dumshun Magar Afsoos,
Tum Nai Bhi Faraaham (offer) Na Kia Pani Zara Sa
Her Zulm Ki Taufeeq Hai Zaalim Ki Wirasat,
Mazloom K Hissay Mein Tasalli Na Dilasa
Kal Taaj Saja Daikha Tha Jis Shaqs K Sir Per,
Hai Aaj Usi Shaqs K Haathon Mein Hi kasa
Yeh Kia Hai Agar Pochon To Kehtay Ho Jawaban,
Is Raaz Say Ho Sakta Nahi Koi Shanasa
Tum Ek Gorakh Dhanda Ho

Aah-e-Tehkeek mein har gam pe uljhan dekhoon
Wohi haalat-o-khayalat mein anban dekhoon
Ban ke reh jaata hoon tasweer pareshani ki
Ghaur se jab bhi kabhi duniya ka darpan dekhoon
Ek hi khaak se fitrat ke tazaadat itnay
Kitnay hisson mein bata ek hi aangan dekhoon
Kahin zehmat ki sulagti hui patjhar ka samaan
Kahin rehmat ke baraste huay sawan dekhoon
Kahin phunkaarte darya, kahin khamosh pahaar
Kahin jangal, kahin sehra, kahin gulshan dekhoon
Khun rulata hai yeh takseem ka andaaz mujhe
Koi dhanwaan yehan par koi nirdhan dekhoon
Din ke haathon mein faqat ek sulagta sooraj
Raat ki maang sitaron se muzzayyan dekhoon
Kahin murjhaaye huay phool hain sacchai ke
Aur kahin jhoot ke kaanton pe bhi joban dekhoon
Raat kya shai hai saweera kya hai
Yeh ujala yeh andhera kya hai
Mein bhi nayib hun tumhara akhir
Kyon yeh kehte ho ke tera kya hai
Tum ek gorakhdhanda ho

video

Wednesday, 8 July 2009

Books I would like to read again.

I would not out rightly say that I am going to mention about my favorite books because I myself am not sure about the exhaustiveness of the list. I am also very certain that the list will keep changing. Hence, without getting politically incorrect, I am heading this blog entry as 'the books which I would like to read again'.

Genre: Fiction

Love in the Time of Cholera: By Gabriel Garcia Marquez
The book is a semi autobiographical account wherein Marquez picks up the love story of his parents and subtly mixes it with his own imagination. The coalescence of the real happenings with imaginary events creates one of the most Quixotic and romantic Love stories.
Fermina Daza, the fiery and temperamental girl, who was obstinately wooed by whimsical Florenteno Ariza, the telegraph operator, goes much against the will of her father in courting Ariza but leaves him as she turns 21 for she feels that their love was immature and impulsive and marries much well off doctor Urbino with whom she feels more secure and financially stable and lives with him for decades till he dies one day when he falls from a tree while catching a parrot. On the day of Doctor Urbino’s funeral the old Florenteno Ariza, much to the chagrin of Fermina, confesses his inextinguishable love for her. Story switches between the present and past and the love story unfolds.
While Marquez most famed work is ‘100 years of Solitude’ I liked ‘Love in the Time of Cholera’ more because of two reasons; First that it’s a semi true Love story and second its is free from the magical realism that marks ‘100 years of Solitude’ . However both the works are labor of love and an absolute reader’s delight.
http://en.wikipedia.org/wiki/Love_in_the_time_of_cholera

Midnight’s Children: By Salman Rushdie
Saleem Sinai, the magical child, is born on midnight of 15th of August 1947 .And his destiny is linked with the destiny of his motherland which comes into existence at the same time as him. The story travels backward in time as he narrates his life to his to be wife Padma. Rushdie is a brilliant raconteur. The way he weaves his words amazes his readers.
http://en.wikipedia.org/wiki/Midnight%27s_Children

Shame: By Salman Rushdie
Rushdie claims that this can be a story of any country but any observer of world politics can easily identify that this is about Pakistan. Written in the backdrop of General Zia and Zulfikar Bhutto’s relationship, this story revolves around two characters, the peripheral hero Omar Khayyam who is allegory of shamelessness and Sufia Zinobia who symbolize shame. This concoction of fact & fiction is a brilliant read.
http://en.wikipedia.org/wiki/Shame_(novel)

Of Human Bondage: W. Somerset Maugham
This is story about Philip Carey and his relationships. Philip is a lame guy madly in love with Mildred. He is heartbroken when she leaves him for another man. But later when her lover does not marry her, she along with her baby returns back to Philip. Philip breaks his relationship with his then girlfriend and happily accepts Mildred. He looks after her and her baby but again one day she leaves him for Griffith who is a friend of Philip. He is devastated. He always knew that Mildred doesn’t love him and is taking advantage of him but he could not stop him from loving her. Like a placid river the story moves slowly and smoothly. the reader feels pity of Philip. Finally the story end in a happy note when Philip finds his love in a farmer’s daughter and becomes indifferent towards Mildred who becomes a prostitute.
http://en.wikipedia.org/wiki/Of_Human_Bondage

Genre: Non Fiction
My areas of interest is History, Geo Politics and Philosophy and hence most the books in non fiction belong to these categories.

History of God: By Karen Armstrong
Karen Armstrong talks about the provenance of three great monotheistic religions of Judaism, Christianity and Islam. She critically analyzes the circumstances in which these religions came into existence. The book is very factual and is free to a large extent of personal biases however at times one might feel that being a Christian nun she knows the follies of Christianity too well than the other two religions which she observe through text books and anecdote.
http://en.wikipedia.org/wiki/A_History_of_God

Decline & Fall of Roman Empire: By Edward Gibbons
Before it was first published in 1776 , Edward Gibbon took about 20 years to complete this book. and . 236 years after that it still remains the most authoritarian book on this subject. It starts from the height of Roman Empire (Around 60-90 Ad) and covers a period till the fall of Constantinople in 15th century. The gradual decline of Roman Empire took 1500 years during which the empire was divided into two halves the western Roman Empire and the eastern Roman Empire. The western empire ended by 7-8th century but the eastern empire, popularly known as Byzantine Empire, continued till 14th century when it was finally conquered by the Turks.
http://en.wikipedia.org/wiki/The_History_of_the_Decline_and_Fall_of_the_Roman_Empire

The Wonder That was India: By A.L Basham
This book covers the history of India before the arrival of Islam. It studies the political and cultural landscape of India beginning with the Indus valley civilization till 700 AD. Basham devotes separate chapters on Prehistory, The State, Society, Everyday Life, Religion, Arts, and Language & Literature. When it was first published in 1954, it became an instant hit. It is a classic that anybody with an interest in the civilization beginning of India must read. It is work of uncompromisingly scholarship.
http://en.wikipedia.org/wiki/The_Wonder_That_Was_India

Freedom at Midnight: By Dominique Lapierre and Larry Collins
In the preface of this book the authors reveal that they have collected about a ton of research documents for this book and it is very much evident when you read this master piece. This book gives an account of the political and social events of the last two years before the independence. The book is slightly favorable towards Lord Mountbatten but the authors can be condone for the fact that he was only key figure available for interviews when authors were researching as Gandhiji, Nehru, Patel and Jinnah had already become history. After reading this book my respect for Gandhiji increased to an extent which fell little short of deification.
http://en.wikipedia.org/wiki/Freedom_at_midnight

Story of Philosophy: By Will Durant
Those like me who wants to get initiated with philosophical doctrines but are unable to make sense of the contradicting and arcane philosophical text must first put there hands on this book. Durant very lucidly explains the life and teachings of Major Philosophers. Even after 80 years of its first publication it remains the best selling books in Philosophy.
http://en.wikipedia.org/wiki/The_Story_of_Philosophy

Genre: Drama


Hayavadanah: By Girish Karnad
The plot comes from Kathasaritsagar, an ancient collection of stories in Sanskrit .This drama entails a woman’s struggle to satisfy her desire of physical love and her thirst for intellectualism that she finds in two different person. The play opens with Devdatta and Kapila who are close friends. Devdatta is a man of intellect and Kapila is a man of great physique. Their relationship gets complicated when Devdatta’s newly wedded wife Padmini falls for Kapila. While attempting to resolve this conflict, the two men behead themselves. Padmini is contemplating suicide when Goddess Kali intervenes and endows her with the powers to revive Kapila and Devdatta. In reattaching their fallen heads, Padmini transposes the heads onto the wrong bodies. An identity crisis ensues. Hayavadana explores the dilemma of physical versus intellectual appeal, and how it defines us.

Genre: Short Stories

Metamorphosis: By Franz Kafka
Gregor Samasa one morning suddenly turns into an insect and with this changes the attitude of his parents and sister towards him. This once blue eyed boy turns a liability on his family. The emotional bonding and strength of a relationship is need based is the central theme of this book. His father loathes him, his mother fears him and his sister sympathizes with him but gradually she too feels burdened looking after him. Death absolves him of his family and his family of him.
http://en.wikipedia.org/wiki/Metamorphosis_(novel)

Genre: Noir

In Cold Blood: By Truman Capote
One night the entire Clutter family is found murdered in Holcombe a small town in US. The book has two different narrations running in parallel which converges when the victims meet their killers. Truman Capote who covered this incident for a newspaper digs deep into the minds of killers. How at the impulse of moment some of the most heinous crimes are committed, how the past defines the present actions, are some of the questions which leave the reader pondering.
http://en.wikipedia.org/wiki/In_cold_blood