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Saturday, 31 December 2011

Jab Ishq Sikhata Hai


(Aziz Mian)


(Abidaa Parveen)

जब इश्क सीखाता है आदाब-ए-खुद आगाही
खुलते हैं गुलामों पर असरार-ए-शहंशाही
[ आदाब = Ways/traditions/rituals, खुद आगाही = self discovery, असरार = secrets, शहंशाही = kingly  ]

आईन-ए-जवांमर्दा हक-गोई औ बेबाकी
अल्लाह के शेरों को आती नहीं रुबाही
[ आईन= rule/principle, जवांमर्दा = firm and strong men, हक-गोई = truth/right telling, बेबाकी = fearlessness, रुबाही = tricks, legerdemain , deception  ]

ऐ ताईर-ए-लाहूती उस रिज़्क से मौत अच्छी
जिस रिज़्क से आती है परवाज़ में कोताही
[ताईर = bird, लाहूती = divine, रिज़्क = subsistence/daily bread, परवाज़ = flight/soaring high,  कोताही = lacking/hinder]

अत्तार हो रूमी हो, राज़ी हो, गजाली हो
कुछ हाथ नहीं आता बे आह-ए-सहरगाही
अत्तार, रूमी, राज़ी,  गजाली  = all were mystics and philosopher (Rumi and Attar were also poets ) , बे आह-ए-सहरगाही = without help in the light of dawn ]

दारा औ  सिकंदर से वो मर्द-ए-फ़कीर-उल्ला
हो जिसकी फकीरी में बू-ए-अस्सुदुल्लाही
दारा = Darius, सिकंदर = Alexander, मर्द-ए-फ़कीर-उल्ला = men of poverty/beggars, फकीरी = poverty, बू= fragrance , अस्सुदुल्लाही = "Lion of God' (Imam Ali) ]

नाउम्मीद न हो इस से ए रहबर-ए-फरज़ाना
कमकोश तो हैं लेकिन बेजौक़  नहीं राही
[ नाउम्मीद = without hope, रहबर = guide/one who shows the path, फरज़ाना = wise/intelligent , कमकोश = slow paced/sluggish, बेजौक़ = without zeal/joy, राही = travelers  ]

इकबाल


Jab Ishq Sikhata Hai Adab-e-Khud Agaahi
Khule Hain Ghulamon Par Asrar-e-Shehanshahi
[  Adab = Ways/traditions/rituals,  Khud Agaahi  = self discovery,  Asrar = secrets,  Shehanshahi = kingly  ]

Aaeen-e-Jawanmardan, Haq Goyi-o-Bebaki
Allah Ke Sheron Ko Ati Nahin Roobahi
[  Aaeen = rule/principle,  Jawanmardan = firm and strong men,  Haq Goyi  = truth/right telling,  Bebaki = fearlessness,  Roobahi = tricks, legerdemain , deception  ]

Ae Tair-e-Lahooti! Uss Rizq Se Mout Achi
Jis Rizq Se Ati Ho Parwaz Mein Kotahi
[ Tair = bird,  Lahooti = divine,  Rizq  = subsistence/daily bread,  Parwaz  = flight/soaring high,   Kotahi = lacking/hinder]

Attar Ho, Rumi Ho, Razi Ho, Ghazali Ho
Kuch Hath Nahin Ata Be Aah-e-Sahargahi
[  Attar  ,  Rumi  ,  Razi  ,   Ghazali  = all were mystics and philosopher (Rumi and Attar were also poets ) , Be Aah-e  Sahargahi = without help in the light of dawn ]

Dara-o-Sikandar Se Woh Mard-e-Faqeer Aula
Ho Jis Ki Faqeeri Mein Boo-e-Asadullahi
[  Dara = Darius,  Sikandar =Alexander,  Mard-e-Faqeer Aula = men of poverty/beggars,  Faqeeri   = poverty,  Boo = fragrance ,  Asadullahi = "Lion of God' (Imam Ali) ]

Naumeed Na Ho In Se Ae Rahbar-e-Farzana
Kamkosh To Hain Lekin Be-Zauq Nahin Raahi
[  Naumeed  = without hope,  Rahbar = guide/one who shows the path,  Farzana = wise/intelligent ,  Kamkosh  = slow paced/sluggish,  Be-Zauq  = without zeal/joy,  Raahi = travelers  ]


Iqbaal


جب عشق سکھاتا ہے آداب ا خود آگاہی
کھلتیں ہیں غلاموں پی اسرار ا شھنشی 


این ا جوانمرداں حقگوی و بیباکی
الله کے شیروں کو آتی نہیں روباہی 


ہے طائر ا لاہوتی اس رزق سے موت اکچھ
جس رزق سے آتی ہے پرواز میں کوتاہی


اتار ہو رمی ہو راضی ہو گزالی ہو
کچھ ہاتھ نہیں آتا بیاہ ا سہارگاہی 


ڈرا و سکندر سے وو مرد ا فکرللہ 
ہو جس کی فکری میں بو ا اسدلّہٰ


نومید نہ ہو ان سے ہے رہبر ا فرزانہ
کمکوش تو ہیں لیکن بےذوق نہیں رہی 


 اقبال 


A rough Translation is given below

When Love teaches the ways of self realization
the divine secrets are revealed to the fettered

Characters of strong men are truth telling and fearlessness
the Lions of God know no tricks or deception

O divine bird ! Death is better than that subsistence
the subsistence which hinders you from  soaring high

Be is Attar or Rumi or Razi or Ghazalli
Nothing was achieved without the guidance of dawnlight

That Fakir is better  than Darius and Alexander
whose poverty has the fragrance of Asadullah (Ali)

Not be without hope O wise guide !
though slow paced are the travelers but not without zeal.



Friday, 30 December 2011

nagah chaman mein jab wo gulandaam aa gaya



नागह चमन में जब वो गुलंदाम आ गया
गुल को शिकस्त-ए-रंग का पैगाम आ गया
[ नागह = suddenly,  गुलांदाम = one who is as soft as flower,गुल = flower, शिकस्त-ए-रंग = defeat of colour/beauty, पैगाम = message ]

अफ़सोस है के तू रहे मस्त-ए-खराब-ए-सुभ
और आफ़ताब-ए-उम्र लब-ए-बाम आ गया
[ मस्त-ए-खराब-ए-सुभ = happy on a bad morning, आफ़ताब-ए-उम्र = sun/heights of age, लब-ए-बाम = lips/corner of terrace]

समझो खुदा के वास्ते प्यारे बुरा नहीं
दो दिन अगर किसी के कोई काम आ गया

कर कत्ता कब गया तेरे कुचे से 'मुसहफीज़'
गर सुबहो को गया फिर शाम आ गया
[ कत्ता = break ]
'मुसहफीज़'

نگاہ چمن میں جب وو گلاندام آ گیا
گل کو شکست یہ رنگ کا پیگام آ گیا

افسوس ہے کے تو رہے مست یہ خراب یہ صوبۂ
اور آفتاب یہ امر لب یہ بام آ گیا

سمجھو خدا کے واسطے پیارے برا نہیں
دو دیں اگر کسی کے کوئی  کام آ گیا

کر کتا کب گیا تیرے کچھ سے مسحفیظ
گر سبھو کو گیا پھر شام آ گیا

مسحفیظ
 
nagah chaman mein jab wo gulandaam aa gaya
gul ko shikashat e rang ka paigaam aa gaya

afsoos hai ke tu rahe mast e kharaab e shubh
aur aaftab e umr lab e baam aa gaya

samjho khuda ke vaaste pyaare bura nahin
do din agar kisi ke koi kaam aa gaya

karkataa kab gaya tere kuche se mushafeez
gar subho ko gaya wahin phir shaam aa gaya

Mushafeez

Thursday, 29 December 2011

गुलज़ार-ए-हस्त-ओ-बूद न बेगानावार देख



(sung by Ustad Sadeq Fetrat Nashnas who is a very famous Pashto Singer from Afghanistan)

गुलज़ार-ए-हस्त-ओ-बूद न बेगानावार देख
है देखने की चीज़ इससे बार बार देख
[ गुलज़ार-ए-हस्त-ओ-बूद = garden of past and future , बेगानावार = as stranger]

आया है तू जहाँ में मिसाल-ए-शरार देख
दम दे न जाए हस्ती-ए-नापायेदार देख
[मिसाल-ए-शरार = like a lightening, हस्ती-ए-नापायेदार = ephemeral life,  दम दे न जाए = deceit]

माना की तेरी दीद के काबिल नहीं हूँ मैं
तू मेरा शौक़ देख मेरा इंतज़ार देख
[दीद = sight]

खोली है ज़ौक-ए-दीद ने आँखें तेरी अगर
हर रहगुज़र में नक़्श-ए-कफ-ए-पा-ए-यार देख
[ज़ौक-ए-दीद = joy of sight, रहगुज़र = road,  नक़्श-ए-कफ-ए-पा-ए-यार = image of foot print of beloved ]

'इकबाल'

گلزار ا ہست و بعد نابگانوار دیکھ
یہ دکھانے  کی چیز ہے  اسے بار بار دیکھ

آیا ہے تو جہاں میں مصال ا شرار دیکھ
دم دے نہ جائے ہستی ا ناپاےدار دیکھ

منا کی تیری دید کے کابل نہیں ہوں میں
تو میرا شوق دیکھ میرا انتظار دیکھ

کھولی ہے ذوق ا دید نے آنکھیں تیری اگر
ہر رہگزر میں نکش ا کف ا پا ا یار دیکھ

اقبال

GULZAR-E-HAST-O-BOOD NA BEGANA-WAAR DEKH
HAI DEKHNAY KI CHEEZ ISAY BAAR BAAR DEKH

AAYA HAI TU JAHAN MAIN MISAL-E-SHARAR DEKH
DUM DAY NA JAYE HASTI-E-NA-PAAIDAR DEKH

MAANA KEH TERI DEED KAY QABIL NAHIN HOON MAIN
TU MERA SHAOQ DEKH, MERA INTIZAR DEKH

KHOLI HAIN ZOQ-E-DEED NAI ANKHEN TERII AGAR
HAR RAH GUZAR PEH NAQSH-E-KAF-E-PAA-E-YAR DEKH

'IQBAAL'

 
A rough translation is given below


 look not at the garden of existence as stranger
it is a thing worth admiring, look at it again and again

you have come into the world like a spark, beware
lest your ephemeral life may deceit you, beware

granted that I may not worthy of your sight
 look at my passion, and look at my perseverance

if your eyes have been opened by the longing for sight
look for the foot prints of the beloved in every lane

Wednesday, 28 December 2011

ला-इलाज मर्ज़ है



ला-इलाज मर्ज़ है, क्यूँकर दवा करे
  बावक्त-ए-मर्ग है, हैफ अब दुआ करे !
[ ला-इलाज-ए-मर्ज़  = incurable illness, बावक्त-ए-मर्ग = near death, हैफ = alas ]

किस्मत-ए-रकीब पे रस्क होता है
काश के ऐसा मेरे साथ भी हुआ करे
[ किस्मत-ए-रकीब = fortune of enemy, रस्क = envy ]

आलम है रवानी, ये जमाल है फानी 
पाइंदगी-ए-हुस्न तुझ पे खुदा  करे  
[आलम = world, रवानी = flowing, जमाल = beauty, फानी = temporary, पाइंदगी-ए-हुस्न = permanence of beauty ]

गम-ओ-आरजू रख कर दहलीज़ पे 
सूद-ओ-ज़ियाँ तुम को अदा  करे 
गम-ओ-आरजू = pain and desire, दहलीज़ = threshold, सूद-ओ-ज़ियाँ = interest and principle ]

मुफलिस  मुज़्तरिब क्या देगा तुमको 
अल्लाह  खुश रखे, बंदा यही सदा करे
[ मुफलिस = poor, सदा = call/pray ]

'मुज़्तरिब' 

Tuesday, 20 December 2011

uzr aane mein bhee hai





uzr aane me.n bhii hai aur bulaate bhii nahii.n
baais-e-tark-e-mulaaqaat bataate bhii nahii.n

Khuub pardaa hai ke chilaman se lage baiThe hai.n
saaf chhupate bhii nahii.n saamane aate bhii nahii.n

ho chukaa qata ta'lluq to jafaaye.n kyo.n ho.n
jinako matalab nahii.n rahataa wo sataate bhii nahii.n

ziist se ta.ng ho ae DaaG to jiite kyo.n ho
jaan pyaarii bhii nahii.n jaan se jaate bhii nahii.n

'Daag' Dehlavi


उज्र आने में भी है और बुलाते भी नहीं
बाईस-ए-तर्क-ए-मुलाक़ात बताते भी नहीं
[ उज्र =hesitate; बाईस-ए-तर्क-ए-मुलाक़ात =basis for terminating acquaintanceship]

खूब पर्दा है की चिलमन से लगे बैठे हैं
साफ़ छूपते भी नहीं सामने आते भी नहीं
[चिलमन  = veil]

हो चुका कत्ता ताल्लुक तो जफ़ायें क्यूँ हो
जिनको मतलब नहीं रहता वो सताते भी नहीं
[ कत्ता = break; ताल्लुक = relationship; जफ़ायें  = disloyal ]

जीस्त से तंग हो ऐ दाग़ तो जीते क्यूँ हो
जान प्यारी भी नहीं और जान से जाते भी नहीं
[ जीस्त = life ]

'दाग़' देहलवी 


ازر  آنے  میں  بھی  ہے  اور  بلاتے  بھی  نہیں
بیس  ا  ترک  ا  ملاکات  بتاتے  بھی  نہیں

خوب  پردہ   ہے  کے  چلمن  سے  لگے  بیٹھے  ہیں
صاف  چھپتے  بھی  نہیں  سامنے  آتے  بھی نہیں

ہو  چکا  کتا  تاللک  تو  جفاہیں  کیوں  ہو
جنکو  مطلب  نہیں  رہتا  وو  ستاتے  بھی  نہیں 

زیست  سے  تنگ  ہو  ہے  داغ  جیتے  کیوں  ہو 
جان  پیاری  بھی  نہیں  اور  جان  سے  جاتے  بھی  نہیں 


داغ دہلوی 

Sunday, 18 December 2011

dono jahan teri muhabbat mein haar ke






दोनों जहाँ तेरी मुहब्बत में हार के
वो जा रहा है कोई शब्-ए-गम गुज़ार के
[शब्-ए-गम = night of dispair ]

دونو  جہاں  تیری  محبّت  میں  ہار  کے
وو  جا  رہا  ہے  کوئی  شب ا گم  گزار  کے

dono jahaan teri mohabbat mein haar ke
wo jaa rahaa hai koii shab-e-Gam guzaar ke

वीरां है मैकदा, ख़म-ओ-सागर उदास है
तुम क्या गए के रूठ गए दिन बहार के
[वीरां = empty, मैकदा = bar, ख़म-ओ-सागर = glass and wine ]

ویران  ہے  میکدہ  خام و ساگر  اداس  ہے
تم  کیا  گئے  کے  روٹھ  گئے  دیں  بہار  کے 

viiraan hai maikadaa Khum-o-saaGar udaas hai
tum kyaa gaye ke ruuth gaye din bahaar ke


दुनिया ने तेरी याद से बेगाना कर दिया
तुझसे भी दिलफरेब है गम रोज़गार के
[दिलफरेब  = deceptive]

دنیا  نے  تیری  یاد  سے  بیگانہ  کر  دیا
تجھسے  بھی  دلفریب  ہے  گم  روزگار  کے 

duniyaa ne terii yaad se begaanaa kar diyaa
tujh se bhii dil fareb hai.n Gam rozagaar ke

इक फुर्सत-ए-गुनाह मिली, वो भी चार दिन
देखे हैं हमने हौसले परवरदिगार के
[फुर्सत-ए-गुनाह = time to do sin/love, हौसले = confidence, परवरदिगार = almighty]

اک  فرسٹ ا گناہ  ملی  وو  بھی  چار  دیں
دیکھ  ہیں  ہمنے  حوصلے  پروردگار کے 

ik fursat-e-gunaah milii, wo bhii chaar din
dekhe hai.n ham ne hausale parvar-digaar ke

भूले से मुस्कुरा तो दिए थे वो वो आज 'फैज़'
मत पूछ वलवले दिल-ए-नाकर्दाकार के
[वलवले = enthusiasm, दिल-ए-नाकर्दाकार = insensitive heart ]

بھلے  سے  مسکرا  تو  دے  تھے  وو  آج  'فیض'
مت  پوچھ  ولولے  دل ا ناکرداکار  کے

bhuule se muskuraa to diye the wo aaj 'Faiz'
mat puuchh val-vale dil-e-naa-kardaakaar ke


फैज़ अहमद 'फैज़'

فیض احمد 'فیض'

Faiz Ahmad 'Faiz'

Adding my Makhta to this

तस्सवूर में तेरी सोचता है 'मुज़्तरिब',
क्या आयेंगे दिन वो फिर से प्यार के ?
[तस्सवूर में तेरी = thinking about you ]

تصّور  میں  تیری  سوچتا  ہے  مضطرب
کیا ااینگے  دیں  وو  پھر  سے  پیار  کے ؟

 tasavvur mein teri sochta hai muztarib
kya aayenge din wo phir se pyaar ke ?

Putting down a rough translation of this ghazal:

having lost both the worlds in your love
he is leaving after the night of dispair

the bar is vacant, the jar and the wine sad
you left and so did the days of joy

the world has devoid me of your thoughts
but to you, everydays' worries are more deceptive 

 the time to love that i got was just few days
i have seen the confidence of the god
unknowingly, when she smiled at you o 'Faiz'
look at the happiness of your insensitive heart

Saturday, 17 December 2011

How to get initiated into the world of Urdu Poetry Or How I Progressed into the world of Urdu Poetry


The purpose of this article is to guide people, like me, into initiation and subsequent progression in the beautiful world of Urdu Ghazal and Shayari. When I say people ‘Like me’, I limit the boundary to those who would not encounter any other mode of introduction to this field other than listening to Ghazals and when I say ‘progression into’ I mean that there is a natural course which one would take and there are no set rules. Just as one flows with the torrid stream and there is no style of swimming that can be practiced other than to give up to the force of water and flow with it.

My affliction with Ghazal and eventually Urdu poetry started around twelve years back. I would like to categorize these twelve years into three distinct stages of progression or enamor:

• Enamor to Light Ghazals a la Ghalib (simple) and quintessential ‘dil dhoonthdhta hap phir wahi fursat ke raat din’

• Enamor to Classical Ghazals a la Ghalib/Meer (elemental ) and quintessential ‘ Patta Patta Boota Boota haal hamara jaane hai’

• Enamor to Ustad Mehdi Hasan a la Ghalib/Meer/Faraz/Jigar and quintessential ‘Ranjish hee sahi, dil he dukhane ke liye aa’

‘Dil dhoondhta hai phir wahi fursat ke raat din’ (My heart longs for those days & night of laziness):

It is said that a Ghazal is made up of three attributes: Alfaaz (Words), Saaz (Music) and Aawaz (Voice/Melody). In this phase ‘Aawaz’ is the most prominent attribute followed by ‘Saaz’ and ‘Alfaaz’. This phase starts with listening to Jagjit Singh and would last for around four years. Here one would love the slow and melodious voice of Jagjit. There would not be any need to learn the Urdu language as Jagjit Singh’s Ghazals are mostly in Hindi with few embedded Urdu words. The meaning of these Urdu words could be easily Googled. My suggestion is that one should maintain a diary of these collected words. By the end of second year or beginning of third year one would start searching for Ghalib’s Shayari on net. Most probable reason for this would be enchantment with album ‘Mirza Ghalib’ sung by Jagjit Singh. This would lead to discovery of various Forums and Websites dedicated to Ghazals and Shayari. To all the passersby from this phase, Ghalib would become one of the most prolific and the greatest Urdu poet. This according to me is the only permanent characteristic of this phase which cut across all other phases though I am sure there would be challengers to Ghalib at different stages of progression. In this phase one would also get acquainted to singers like Begum Akhtar, Ghulam Ali, Mehdi Hasan but still Jagjit would remain the epitome of Ghazal singing.

‘ Patta Patta Boota Boota haal hamara jaane hai ‘ ( Every leaf and every shoot in the garden is aware of my misfortune):

When frequency of listening to Ghulam Ali becomes more than Jagjit Singh then one can assume that he has progressed into the next phase. This phase should also last for around four years. The inclination would be more towards classical Ghazal listening. In this stage ‘Aawaz’ would lose it prominence to ‘Saaz’ but ‘Alfaaz’ would still be the least prominent attribute. Ghulam Ali would become favorite singer to the passersby to this phase and they would be enchanted by his voice modulation. One would still respect Jagjit Singh but would find his rendition plain & monotonous. Passersby would get introduced to poet ‘Meer’ most probably through the Ghazal ‘Patta Patta Butta Butta haal hamara Jaane hai’ sung by Ghulam Ali. ‘Patta Patta’ , ‘Aawargi’ and ‘Chupke Chupke’ would be the favorite Ghazals of this phase . Passersby might also get introduced to poets like ‘Faraz’, ‘Momin’ and ‘Zafar’ but they would not be considered anywhere in the league of ‘Ghalib’ who by now would have grown on them and would be in his elemental best. They would start loving the philosophical and cynical Ghalib over the romantic one. One would search for Ghalib’s sher on net and would try to find meaning of many chaste Urdu (Persian) words. By this time the diary of Urdu words which was started in earlier phase would have around 200 to 300 Urdu words. An urge to read Ghazals in its original script will seed in. If this urge is not subsiding I would suggest passersby to buy elementary Urdu learning book. There are websites available which teaches Urdu scripts. It would take around a month to learn alphabets and read simple words. The end of this stage is marked by continuous listening of Mehdi hasan and his over shadowing other Ghazal singers

Ranjish hi sahi, dil hee dukhaane ke liye aa (let it be for enmity, come even if it is to hurt me)

The beginning of this phase is marked by the realization that most singers try to imitate the nonpareil Ustaad Khan Sahib ‘Mehdi Hasan’. Passersby to this phase would start getting introduced, one by one, to Mehdi Hasan’s Ghazals. I say one by one because it is not possible to listen to Mehdi Hasan’s Ghazals one after another for the reason that most of his Ghazals are gem in itself and each one will engulf you for some time. So it would be that one would listen to same Ghazals many a time in a day and for many days to come. Most probably it would start with ‘Ranjish hee sahi’ written by Ahmad Faraz. Mehdi Hasan has this ability to make ‘Alfaaz’ as prominent as ‘Saaz’ and ‘Aawaz’ ; such is the power of his rendition. One would encounter many poets like ‘Faraz’, ‘Adeeb’, ‘Jigar’ etc in this phase. This phase is also marked by a dilemma of one-upmanship of ‘Ghalib’ and ‘Meer’. Many passersby would solve this by giving equal importance to both. In this phase ‘Alfaaz’ would also become independent of ‘Saaz’ and ‘Aawaz’. One would simply like to read Urdu Ghazals irrespective of whether it is rendition as song or not.

I am in the fourth year of this phase and by now I have a fair knowledge of Urdu words and with an hour of revision of alphabets I can read Urdu sentences. I have read famous Ghazals of at least dozens of prominent Urdu Shayars and I totally agree with Lata Mangeshkar when she says that ‘Mother Saraswati’ resides in the voice of Khan Sahib Mehdi Hasan. For me he is the god of Ghazal.

P.S.: In a job interview an interviewer asked me to write a small article on how I got interested into Urdu poetry and Ghazals and hence the genesis of this article.

Wednesday, 7 December 2011

na din ko chaain, na shab ko shukuun


न दिन को चैन न शब् को सुकूं
दश्तान्वर्द फिरूं  दर-बा-दर, कु-बा-कु
[ शब् = night, दश्तान्वर्द = roam in wilderness,  दर-बा-दर = door to door, कु-बा-कु = lane to lane]

फना हो जाऊं बस यही है आरज़ू
गर मिल जाए सराब  है जिसकी जुस्तजू, 
[फना = annhiliate, सराब = illusion, जुस्तजू, = search]

जब हुआ उनसे  अव्वल -दफा  रूबरू,
इन्तेहाँ-ए-अना हुई  और आवारगी  शुरू,
[ अव्वल -दफा = first time,  इन्तेहाँ-ए-अना  = end of ego/rules, आवारगी  = wandering]

गो इश्क है इबादत तो है सनम तू
हरचंद किया हमने आंसुओं से वजू
[ गो = if, इबादत = prayer, सनम = god, हरचंद = every instant, वजू = abulation ]

'मुज़्तरिब' देखना तू नज़रों की गुफ्तगू
गर वो आये तेरे कुचे अगरचे यूँ ही कभू,
[गुफ्तगू = conversation, अगरचे  =although, गर= if,  ]

'मुज़्तरिब'