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Friday, 24 January 2014

वो शम्मा ही क्या जो आप फ़रोज़ाँ न हो

वो शम्मा ही  क्या जो  आप फ़रोज़ाँ न हो 
वो  हुश्न  ही  क्या जो नज़र गुरेज़ाँ न हो
[ शम्मा =  light ; आप फ़रोज़ाँ = self illumination; नज़र गुरेज़ाँ  = evading sight ]

चाहत-ए-दिल ही  दिल पे गरां हो बैठी  है 
मेरी परेशानी कहे है मुझसे, तू  परेशां  न हो
 [ चाहत-ए-दिल = desire of heart,  गरां= heavy ]

मंज़र ऐसे हैं कुछ नज़र के सामने 
हैरत में हूँ, और वो कहे  हैं  कि हैरां  न हो
[ मंज़र = views/sight]

सोज़-ए-आफताब  से है रौनक़-ए-गुल 
ये इश्क़ है मेरा,  तू इस पे सरगरां न हो
[सोज़-ए आफताब = heat of sun, रौनक़-ए-गुल = brightness of flower; सरगरां = proud/haughty ]

मुज़तरिब  पुर-सुकून है मैखाने में साक़ी 
 सदा है यही , मैकदा तेरा कभी  वीरां  न हो
[मुज़तरिब  = restless, पुर-सुकून = peaceful,  सदा = prayer/call, मैखाने/मैकदा = tavern ]



wo shamma hee kya jo aap farozaa na ho
wo hushn hee kya jo nazar gurezaan na ho
[ shamma  =  light ; aap farozaa  = self illumination; nazar gurezaan  = evading sight ]

chahat-e-dil he dil pe garaan ho baithee hai
meri pareshaani khe hai mujhse, tu pareshaan na ho
 [ chahat-e-dil= desire of heart,  garaan= heavy ]

manzar aise hain kuch nazar ke saamne,
hairat mein hoon aur wo kahe hain kee pareshaan na ho
[ manzar = views/sight]

soz-e-aaftaab se hai raunaq-e-gul
ye ishq hai mera, tu iss pe sargaraan na ho
[soz-e-aaftaab = heat of sun, raunaq-e-gul = brightness of flower; sargaraan = proud/haughty ]

'Muztraib' pur-sukoon hai tere maikhaane mein saaqi
sadaa hai yahi, maikadaa tera kabhi viraan na ho
['Muztraib'  = restless, pur-sukoon = peaceful,  sadaa = prayer/call, maikhaane /maikadaa = tavern ]



Putting a quick translation of this Ghazal below:

that's no light that's not self illuminating
that's no beauty that's not eyes evading

desire of heart is weighing heavy on the heart
my problem tells me that there is no problem

such are the sights in front of my eyes
 bewildered, I am, but she say don't be surprised

from the heat of the sun  the flowers get it brightness
its my love for you, don't become arrogant of it

the restless' get peace in your tavern O Saaqi
I pray that you bar  never becomes empty.


Tuesday, 21 January 2014

मेरी तरह सर-ए-महफ़िल उदास था वो भी...


(Janab Mehdi Hasan sings 'Meri tarah Sara-e-Mehfil..')

मेरी तरह सर-ए-महफ़िल उदास था वो भी 
किसी ने हाल जो पुछा तो रो दिआ  वो भी 
[सर-ए-महफ़िल  = at the gathering/merriment ]

नया नया था हमें भी जूनून परस्तिश का 
बना हुआ था सर-ऐ-अंजुमन  खुदा  वो वो भी 
जूनून = madness, परस्तिश = worship, सर-ऐ-अंजुमन = at congregation]

हवा-ए-शाम की जिस से शिकायतें की थी 
चराग-ए-बाम-ए-तमन्ना बुझा गया वो भी
चराग-ए-बाम-ए-तमन्ना = light(hope) at the terrace(heights) of desire]

रिफ़ाक़तों का सिला ये भी कम नहीं 'तश्ना'
हमारा नाम जब आया तो हँस पड़ा वो भी
रिफ़ाक़तों का सिला = result of closeness/friendship, 

आलम ताब 'तश्ना'  

Adding my makhta to this Ghazal:

ज़ख्मों पे नाज़ाँ थे हम अपने मुज़तरिब 
लिए खन्जर मुझ पे था मेहरबां  वो भी 
नाज़ाँ   = proud]


meri tarah sar-e-mehfil udaas tha wo bhee
kisi ne haal jo poocha to ro dia wo bhee

naya naya tha hamne bhee junoon paristish ka
 bana huwa tha sar e anjuman khuda woh bhi 

hawa-e-shaam ki jis se shikaetain ki theen 
chiraag e bbam e tamanna bujha gya woh bhi 

rifaakaton ka silaa ye bhee kam nahin 'tashna'
hamaara naam jab aaya to hash pada wo bhee

Aalam taab 'Tashna'

Adding my Makhta to this

zakhmon pe naazaan the hum apne muztarib
liye khanzar mujhpe tha  mehrbaan wo bhee

Sunday, 5 January 2014

'ख़ुमार' बाराबंकवी

The late 19th century and early part of 20th century was the time when new political forces were gaining grounds (Socialism, Communalism, Nationalism), the new social movements were shaping up (Feminism, Race equality etc.) and new scientific developments were providing insights into hitherto unknown world (Quantum, Genetics etc.). The imperialism was crumbling; the old powers (Europe) were declining and new powers (US, USSR) were on ascendency and almost in every society middle class was growing. This was the time when modernism swept the world of art and culture. The modernist were non conformist and questioned the established ideals and believes. They opined that new rules and thinking should be formed in order to deal with the new age and old ideals were anachronistic and doesn't fit in this age of new thinking. The field of Art and literature saw many new forms of depiction and expression evolving because of the effect of modernism.
The Literature of Indian Subcontinent including Urdu literature couldn't remain untouched of this worldwide movement . A Progressive writer's movement ( तरक्की पसंद तहरीक ) started in the subcontinent. These new wave authors and poets started experimenting with the new forms of expression and started changing the set rules for e.g. poetry in any form till now had to have a set pattern of construct and should rhyme. The new age poets didn't want to confine themselves with such rules.

Because of this, 'Ghazal' the most popular form of poetic expression got impacted. Till now ghazal had been more or less considered to be a conversation with the beloved. Though Ghalib and Iqbaal changed the paradigm by giving it a philosophical perspective but still even they mostly remained in the confines of the rules. They used similes like Mai (Wine), Saki (Bartendress), Maikada (Tavern) etc. While reading them you have to be perceptive enough to find out whether they were addressing the God or talking to beloved. The progressive writers believed that the literature in any form should be have social relevance and be used in the cause of human upliftment. So Classical Ghazal which is an expression of love , jealousy, unrequited love became a socially irrelevant for of this progressive movement. It was labeled as 'Khanghi Choti ki Shayari' (the couplets of comb and tresses).

Urdu Classical Ghazal when it was most endangered got its biggest savior in form of the legendary 'Jigar' Moradabaadi. 'Jigar' was rock star of his time. His rendition of ghazals in tarranuum ( like slow singing) made the listeners go ecstatic. Here is a link to a rare video of 'Jigar' reciting his ghazal in tarranuum.

'Khumaar' Barabankwi belongs to the same school of classical ghazal poets. He kept the tradition of 'Jigar' and 'Hasrat' alive in our present age. 'Khumaar' sahab was born in 1919 in Barawankwi which is a small town in Uttar Pradesh in India. His real name was Muhammad Haider Khan. He kept a pen name (takkhalus) of 'Khumaar' which means an intoxication which is waning out. His poetry collection is called 'Aatish-e-Tar'. He wrote lyrics of couple of Hindi movie. He died in 1999

 I have never heard a better rendition of ghazal in recent time than his. Attaching a video of his recital.


इक पल में इक सदी का मज़ा हम से पूछिए 
दो दिन की ज़िंदगी का मज़ा हम से पूछिए 
की भूले हैं रफ्ता रफ्ता उन्हें मुदत्तों  में हम 
किस्तों में ख़ुदकुशी का मज़ा हम से पूछिए 
आगाज़-ए -आशिक़ी का मज़ा आप जानिये 
अंज़ाम-ए-आशिक़ी का मज़ा हम से पूछिए 
जलते दीयों में जलते घरों जैसी जौ  कहाँ 
सरकार रौशनी का मज़ा हम से पूछिए 
वो जान ही गए की हमें उनसे प्यार है 
आँखों की मुखबिरी का मज़ा हम से पूछिए 
की हसने का शौक़ हमको ही था आप की तरह 
हासिये मगर हसी का मज़ा हम से पूछिए 
हम तौबा कर के मर गए कब्र-ए -अज़ल 'खुमार'
तौहीन-ए-मैकशी का मज़ा हम से पूछिए 
'ख़ुमार' बाराबंकवी 

Saturday, 4 January 2014

कभी ज़मीं पे आसमां का शामिआना था

कभी ज़मीं पे आसमां का  शामिआना  था
साथ था तुम्हारा तो ख़ुशी का ज़माना था

मिज़गाँ के जानिब नक्श सिर्फ तुम्हारा था
इश्क़ में तेरे  मैं बेखुदी तर   दीवाना था
[मिज़गाँ = eyelashes; नक्श = image ]

फरत-ए-तलब तुमको इंतेक़ाम की थी
 बेवफाई का गोया बस इक बहाना था
[ फरत-ए-तलब = deep longing, गोया  = as if]

हर सदी, हर दौर में  पशेमां  मैं  ही था
बेदखली-ए-खुल्द मेरा ही फ़साना था
[पशेमां = ashamed/embarrassed; बेदखली-ए-खुल्द  = abandonment from heaven, फ़साना = story ]

 जाने वाले चले ही जाते हैं मुज़तरिब
 पर हमसाया  मेरा वो  बहुत पुराना था


kabhi zameen pe  aasmaa ka shamiyaan tha
saath tha tumhara to khushi ka zamaana tha

mizgaan ke zaanib naqs sirf  tumhara tha
ishq mein tere main bekhudi tar deewana tha
[mizgaan = eyelashes, naqs = image ]

furt-e-talab tumko intekaam kee thee
bewafai ka Goyaa bas ik bahana thaa
[ furt-e-talab = deep longing, Goyaa  = as if]
har sadi, har daur mein pashemaan main hee thaa
bedakhli-e-khuld mera hee fasaana thaa
[pashemaan = ashamed/embarrassed; bedakhli-e-khuld  = abandonment from heaven, fasaana = story ]

 jaane waale chale hee jaate hain 'Muztarib'
per hamsaaya wo mera bahut puraana tha



کبھی زمیں پی آسماں کا شامیانہ تھا 

ساتھ تھا تمھارا تو خوشی کا زمانا تھا 

مژگاں کے زانب نقش صرف تمہارا تھا 

عشق میں تیرے میں بیخودی تر دیوانہ تھا 


فرٹ ے طلب تمکو انٹکام کی تھے 

بیوفائی کا گویا بس اک بہانہ تھا 


ہر صدی ہر دور میں پشیماں میں ہی تھا 

بیدخلی ے خلد میرا ہی فسانہ تھا 


جانے والے چلے ہی جاتے ہیں مضطرب 

پر ہمسایہ وو میرا بہت پرانا تھا