Search This Blog

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 

Saturday 17 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

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'

Sunday 23 October 2011

आये कुछ अब्र कुछ शराब आये..




आये कुछ अब्र कुछ शराब आये
उसके बाद आये जो अज़ाब आये
[अब्र = cloud , अज़ाब=trouble, difficulty]

बाम-ए-मीना से माहताब उतरे
दस्त-ए-साकी  में आफताब आये
[बाम-ए-मीना = terrace/top of wine container, माहताब = moon, दस्त-ए-साकी = hands of  lady who serves wine, आफताब = sun ]

हर रग-ए-खूँ में फिर चरागाँ हो
सामने फिर वो बेनकाब आये
[ रग-ए-खूँ = blood in the veins, चरागाँ = lighting celebration ]

उम्र के हर वरक पे दिल को नज़र
तेरी महर-ओ-वफ़ा के बाब आये
[वरक = layer,महर-ओ-वफ़ा = benovelance & faith , बाब = company ]

कर रहा था गम-ए-जहां का हिसाब
आज तुम याद बेहिसाब आये

ना गई तेरे गम की सरदारी
दिल में रोज़ यूँ इंक़लाब आये
[सरदारी = leadership, इंक़लाब = revolution]

जल गए बज़्म-ए-गैर के दर-ओ-बाम
जब भी हम खानामां खराब आये
[बज़्म-ए-गैर = other's party, दर-ओ-बाम = doors and terrace,  ]

इस तरह अपनी खामोशी गूंजी
गोया हर सिम्त से ज़वाब आये
[गोया = as if,  सिम्त = direction]

'फैज़' थी राह सर बा सर मंजिल
हम जहाँ भी पहुचे कामयाब आये
['फैज़' = poet's name/blessed]

फैज़ अहमद 'फैज़'

adding my makhta to it..
 'मुज़्तरिब' हर सिम्त उजाला फैल गया
रुख-ए-रौशन जो आज  बेहिजाब आये
[रुख-ए-रौशन = bright face, बेहिजाब = without veil ]

aaye kuchh abr kuchh sharaab aaye
us ke baad aaye jo azaab aaye
baam-e-miinaa se maahataab utare
dast-e-saaqii me.n aaftaab aaye
har rag-e-Khuu.N me.n phir charaaGaa.N ho
saamane phir wo benaqaab aaye

umr ke har waraq pe dil ko nazar
terii meher-o-wafaa ke baab aaye

kar rahaa thaa Gam-e-jahaa.N kaa hisaab
aaj tum yaad behisaab aaye

na gaii tere Gam kii saradaarii
dil me.n yuu.n roz inqalaab aaye

jal uThe bazm-e-Gair ke dar-o-baam
jab bhii ham Khaanamaa.N_Kharaab aaye
is tarah apanii Khamashii guu.Njii
goyaa har simt se jawaab aaye
'Faiz' thii raah sar basar ma.nzil
ham jahaa.N pahu.Nche kaamayaab aaye

Faiz Ahmad 'Faiz'

Adding my makhta to it

'Muztarib' har simt ujaala phail gaya
rukh-e-raushan jo aaj behijaab aaye

Kutte

ये गलियों के आवारा बेकार कुत्ते
कि बक्शा गया जिनको ज़ौक-ए-गदाई
ज़माने की फटकार सरमाया इनका
जहाँ भर की दुत्कार इनकी कमाई
न आराम शब् को न राहत सवेरे
गज़ालत में घर, नालियों में बसेरे
जो बिगड़े तो इक दुसरे से लड़ा दो
ज़रा एक रोटी का टुकड़ा दिखा दो
ये हर एक की ठोकरे खाने वाले
ये फ़ाकों से उकता के मर जाने वाले
ये मजलूम मखलूक गर सर उठाये
तो इंसां सब सरकशी भूल जाए
ये चाहे तो दुनिया को अपना बना लें
ये आकाओं के हड्डियाँ तक चबा लें
कोई इनको एह्शाह-ए-ज़िल्लत दिला दे
कोई इनकी सोई हुई दम हिला दे

फैज़ अहमद 'फैज़'

Sunday 18 September 2011

Dimaagi guhaandhakaar ka Orangutan




This poem by 'Muktibodh' is taken from his compilation 'Chand ka mooh tedha hai'

स्वप्न के भीतर एक स्वप्न,
विचारधारा के भीतर और
एक अन्य
सघन विचारधारा प्रच्छन्न !!
कथ्य के भीतर एक अनुरोधी
विर्रुद्ध विपरीत,
नेपथ्य..संगीत!!!
मस्तिष्क  के भीतर एक मस्तिष्क,
उसके भी अन्दर एक और कक्ष
कक्ष के भीतर
एक गुप्त प्रकोष्ट और
कोठे के सांवले गुहांधकार में
मज़बूत.. संदूक
दृढ, भारी भरकम
और उस संदूक के भीतर कोई बंद है
यक्ष
या की ओरंगउटांग हाय
अरे! डर यह है..
न उरांग .. उटांग कहीं छूट जाए,
कहीं प्रत्यक्ष न यक्ष हो !
करीने से सजे हुए संस्कृत.. प्रभामय
अध्ययन-गृह में
बहस उठ खड़ी जब होती है -
विवाद में हिस्सा लेता हुआ मैं
सुनता हूँ ध्यान से
अपने ही शब्दों का नाद, प्रवाह और
पाता हूँ अकस्मात्
स्वयं के स्वर में
ओरांगउटांग  की बौखलाती हुन्कृत ध्वनिया
एकाएक भयभीत
पाता हूँ पसीने से सिंचित
अपना यह नग्न मन !
हाय - हाय और न जान ले
की नग्न और विद्रूप
असत्य शक्ति का प्रतिरूप
प्राकृत ओरांग..उटांग यह
मुझमे छिपा हुआ है !

स्वयं की ग्रीवा पर
फेरता हूँ हाथ कि
करता हूँ महसूस
एकाएक गर्दन पर उगी हुई
सघन अयाल और
शब्दों पर उगे  हुए बाल तथा
वाक्यों में ओरांग..उटांग के
बढ़े  हुए नाख़ून!!

दिखती है सहसा
अपनी ही गुच्छेदार मूंछ
जो की बनती है कविता
अपने ही बड़े बड़े दांत
जो की बनते है तर्क और
दीखता है प्रत्यक्ष
बौना यह भाल और
झुका हुआ माथा
जाता हूँ चौंक मैं निज से
अपनी ही बालदार सज से
कपाल की धज से !
और, मैं विद्रूप वेदना से ग्रस्त हो
करता हूँ धड़ से बंद
वह संदूक
करता हूँ महसूस
हाथ में पिस्तौल बन्दूक !!
अगर कहीं पेटी वह खुल जाए,
ओरांगउटांग यदि उसमे से उठ पड़े,
धाएं धाएं गोली दागी जायेगी !!
रक्ताल.. फैला हुआ सब ओर
ओरांगउटांग का लाल-लाल
खून..तत्काल..
ताला लगा देता हूँ मैं पेटी का
बंद है संदूक!!

अब इस प्रकोष्ट के बाहर आ
अनेक कमरों को पार करता हुआ
संस्कृत प्रभामय अध्ययन-गृह में
अदृश्य रूप से प्रवेश कर
चली हुई बहस में भाग ले रहा हूँ!!
सोचता हूँ - विवाद से ग्रस्त कई लोग,
कई तल
सत्य के बहाने
स्वयं को चाहते हैं प्रस्थापित करना !
अहं को, तथ्य के बहाने !
मेरी जीभ एकाएक तालू से चिपकती
अक्ल क्षारयुक्त - सी होती है..
और मेरी आँखें उन बहस करने वालों के
कपड़ों में छिपी हुई
सघन रहस्यमय लम्बी पूँछ देखती !!

और मैं सोचता हूँ...
कैसे सत्य हैं...
ढांक रखना चाहते हैं बड़े बड़े
नाख़ून !!
किसके लिए हैं वे बाघनख !!
कौन अभागा वह !!

गजानन माधव 'मुक्तिबोध'
I have tried translating this poem below:

Organgutan in the darkness of a mind

Dream concealed in a dream
Thought concealed in
another
deep and clandestine thought !!
Story within a requesting
opposite antonymous,
offstage..music !!
Mind within a mind
And within that a chamber
And another chamber within that
And within the chamber
A secret vestibule and
And in the pitch darkness of the chamber
A strong Trunk
Heavy and steadfast
And something is in the trunk
Probably a Demi god
Or an Orangutan
Oh!! The fear is…
That orangutan may get freed
Or the demi god may get revealed!

In A beautifully decorated, civilized and lightened study room
a debate gets sparked
And I, participating in the debate
carefully listen to
The sound and flow of my words
And suddenly
I find in my voice
The agitated grunt of the Orangutan
And afraid
I find drenched In sweat
My naked mind !
Oh! No one should know
That naked and ugly,
The manifestation of untruth
This physical Orangutan
Is hiding in me!!

When on the back of my neck
I caress my hand
I feel
Suddenly the grown
Thick mane
And In words, the hair,
And in my sentences, Orangutans’
Big nails!

And I see
The thick moustache
Which becomes a poem
And my big sharp teeth
Which becomes my arguments and
I can see clearly
The dwarf bear and
head down
And I get startled by myself
By my hairy look
And by my temple
And, I engulfed by ugly pain
Close down firmly with a thud
the trunk
And feel
A pistol in my hand !!
If the trunk gets open,
And if the Orangutan gets out
Bang, Bang I’ll fire !!!
Pool of blood…spread across
Organgutan’s red
Blood..fresh..
I put a lock and
the trunk is locked !!
I come out of this vestibule
Crossing many rooms
I enter the civilized lighted study room
Invisibly, I get in
And participate in the ongoing debate!!
And I think – debate struck people,
In many layers
In the name of truth
Try to establish themselves!
And to establish  there ego, in the garb of fact!!
My tongue suddenly gets stuck to palate
Mind gets soured..
And my eyes, in those debaters’
Cloths, see hidden
Thick, secretive & long mustache!!
And I think…
What type of truth are these..
Trying to conceal big
Nails!!
For whom are those tiger claws!!
Who is the unfortunate!!!

Gajanan Madhav 'Muktibodh'



Wednesday 14 September 2011

Kab yaad mein tera saath nahin




कब याद में तेरा साथ नहीं, कब हाथ में तेरा हाथ नहीं
सद शुक्र की अपनी रातों में अब हिज्र की कोई रात नहीं

मैंदान-ए-वफ़ा दरबार नहीं, यां नाम-ओ-नसब की पूछ कहाँ
आशिक तो किसी का नाम नहीं, कुछ  इश्क किसी के ज़ात नहीं

जिस धज से कोई मकतल में गया वो शान सलामत रहती है
ये जान तो आनी जानी है इस जाँ की कोई बात नहीं

गर बाज़ी इश्क की बाज़ी है, जो चाहो  लगा दो, डर कैसा
गर जीत गए तो क्या कहना, हारे भी तो बाज़ी मात नहीं

मुश्किल है गर हालत वहां, दिल बेच आये, जान दे आये
दिलवालों कूचा-ए-जाना में में क्या ऐसे भी हालत नहीं

फैज़ अहमद 'फैज़'

Wednesday 17 August 2011

कोई ये कह दे गुलशन गुलशन!!

कोई ये कह दे गुलशन गुलशन
लाख बलाए , एक नशेमन

कामिल रहबर, कातिल रहजन
दिल सा दोस्त न दिल सा दुश्मन
[ कामिल रहबर = guide, कातिल रहजन = dacoit]

 
फूल खिले हैं गुलशन गुलशन
लेकिन अपना अपना दामन

उम्रें बीतीं सदियाँ गुजरीं
है वही अक्ल का बचपन

इश्क है प्यारे खेल नहीं है
इश्क है कार-ए-शीशा-ओ-आहन
[ कार-ए-शीशा-ओ-आहन = work of glass and stone ]

 
खैर मिजाज़-ए-हुस्न की या रब
तेज़ बहुत है दिल की धड़कन
[ मिजाज़-ए-हुस्न = temprament of beauty]

आज न जाने राज़ ये क्या है
हिज्र की रात और इतनी रौशन
[ हिज्र की रात = night of seperation ]

तुने सुलझा कर गेसू-ए-जाना
और बढ़ा दी दिल की धड़कन
[ गेसू-ए-जाना = tresses of beloved]

चलती फिरती छाओं है प्यारे
किस का सेहरा कैसा गुलशन

आ, की न जाने तुझ बिन कब से
रूह है लाशा, जिस्म है मदफन
[ लाशा = corpse, मदफन = grave]

काम अधुरा नाम आज़ादी
नाम  बड़े और थोड़े दर्शन

रहमत होगी ग़ालिब-ए-इसियाँ
रस्क करेगी पाक-ए-दामन
[ रहमत  = blessing, ग़ालिब-ए-इसियाँ = conqueror of sins, रस्क = jealousy,  पाक-ए-दामन = purity of character]

काँटों का भी हक है आखिर
कौन छुडाये अपना दामन

'जिगर' मोरादाबादी

...........

کوئی یہ کہ دے گلشن گلشن
لاکھ بلین ایک نشیمن

کامل رہبر کاتیل رحجان
دل سا دوست نہ دل سا دشمن

پھول کھلے ہیں گلشن گلشن
لیکن اپنا اپنا دامن

عمرے بیٹن صدیاں گزریں
ہے وہی عقل کا بچپن

عشق ہے پیارے کھل نہیں ہے
عشق ہے کار ا شیشہ و آہن

خیر مزاز ا حشن کے یا رب
تیز بہت ہے دل کے دھڑکن

آج نہ جانے راز یہ کیا ہے
حضر کے رات اور اتنی روشن

تونے سلجھا کر گیسو ا جانا
اور الجھا دے بدھ دے دل کے الجھن

چلتی پھرتی چھاؤں ہے پیارے
کسکا صحرا کسکا گلشن

آ کی نہ جانے تجھ بن کب سے
روح ہے لاشہ جسم ہے مدفن

کام ادھورا اور نام آزادی
نام بدی اور تھودے درشن

رحمت ہوگی گالب ا عصیاں
رشک کریگی پاک-ا-دامن

کاٹوں کا بھی کچھ حق ہے آخر
کون چداے اپنا دامن

جگر مورادبادی
-----------

Koi yeh kah de gulshan gulshan
laakh balaayein, ek nasheman

kaamil rahbar, kaatil rahjan
dil sa dost na dil sa dushman

phool khile hain gulshan gulshan
lekin apna apna daaman

umr beetein, sadiyan guzri
hai wahi ab tak aql ka bachpan

ishq hai pyaare khel nahin hai
ishq hai kaar-e-sheesha-o-aahan

khair mizaaz-e-ishq ke ya rab!
tez bahut hai dil ki dhadkan

aaj na jaane raaz ye kya hai
hijr kee raat aur itni raushan

tuu ne suljha kar gesuu-e-jaana
aur badha de dil ke uljhan

chalti phirti chaaon hai pyaare
kis ka sehra kis ka gulshan

aa ke jaane tujh bin kab se
rooh hai laasha, jism hai madfan

kaam adhura aur aazadi
naam bade aur thode darshan

rahmat hogi gaalib-e-isiyaan
rashk karegii paaki-e-daaman

kaaton ka bhee haq hai kuch aakhir
kaun chuudaye apna daaman

'Jigar' Moradabadi

Sunday 7 August 2011

Agar Na Zohrazabeeno ke darmiyan guzre


अगर न जोहराज़बीनों के दरमियाँ गुज़रे
तो फिर ये कैसे कटे ज़िन्दगी, कहाँ गुज़रे
[जोहराज़बीनों = beauties ;दरमियाँ = between/amongst ]

जो तेरे आरिज़-ओ-गेसू के दरमियाँ गुज़रे
कभी कभी तो वो लम्हे बला-ए-जां गुज़रे
[आरिज़-ओ-गेसू = cheek and curls ;बला-ए-जां = trouble on life ]

मुझे ये वहम रहा मुद्दतों कि जुर्रत-ए-शौक़
कहीं न खातिर-ए-मासूम पे गरां गुज़रे
[वहम = illusion जुर्रत-ए-शौक़ = courage of  expressing the love,खातिर-ए-मासूम = innocent heart; गरां = heavy ]

हर इक मुकाम-ए-मुहब्बत बहुत ही दिलकश था
मगर हम अहल-ए-मुहब्बत कशां कशां गुज़रे
[मुकाम-ए-मुहब्बत = destination of love, दिलकश = which touch heart,अहल-ए-मुहब्बत  = world of love, कशां कशां = fast fast ]

जुनूँ के सख्त मराहिल भी तेरी याद के साथ
हसीं हसीं नज़र आये, जवां जवां गुज़रे
[जुनूँ = passion;मराहिल = station ]

मेरी नज़र में से तेरी जुस्तजू के सदके में
ये इक ज़हान ही नहीं, सैकड़ों जहां गुज़रे
[जुस्तजू = desire]

हुजूम-ए-जलवा में परवाज़-ए-शौक़ का क्या कहना
कि जैसे रूह सितारों के दरमियाँ गुज़रे
[हुजूम-ए-जलवा = gathering of beauties; परवाज़-ए-शौक़ = flight of love ]

खता मुआफ, ज़माने से बदगुमां हो कर
तेरी वफ़ा पे भी क्या क्या हमें गुमां गुज़रे

मुझे था शिकवा-ए-हिज्राँ कि ये हुआ महसूस
मेरे करीब से होकर वो नागहाँ गुज़रे
[ शिकवा-ए-हिज्राँ = complain of separation]

बहुत हसीं मनाज़िर भी हुस्न-ए-फितरत के
न जाने आज तबियत पे क्यूँ गिरां गुज़रे
 [ मनाज़िर = scene, हुस्न-ए-फितरत = nature of beauty ]

मेरा तो फ़र्ज़ चमन-बंदी-ए-जहां है फकत
मेरी बला से, बहार आये या खिजां गुज़रे
 [ फ़र्ज़ = duty;चमन-बंदी-ए-जहां = gardening the world, फकत = जुस्त, खिजां = autumn  ]

कहाँ का हुस्न कि खुद इश्क को खबर ना हुई
रहे तलब में कुछ ऐसे भी इम्तिहाँ गुज़रे

भरी बहार में तराजी-ए-चमन मत पूछ
खुदा करे ना फिर आँखों से वो समां गुज़रे
[ तराजी-ए-चमन = destruction of garden]

कोई ना देख सका जिनको दो दिलों के के सिवा
मुआमलात कुछ ऐसे भी दरमियाँ गुज़रे

कभी कभी तो इसी एक मुश्त-ए-ख़ाक के गिर्द
तवाफ़ करते हुए हफ्त आसमां गुज़रे
[मुश्त-ए-ख़ाक = handful of dirt , तवाफ़ = circumbulation ]

बहुत अज़ीज़ है मुझको उन्ही की याद 'जिगर'
वो हादिसात-ए-मुहबात जो नागहाँ गुज़रे
[हादिसात-ए-मुहबात  = accident of love; नागहाँ = inadvertently ]

'जिगर' मोरादाबादी

----------

agar na zohra-zabeeno ke darmiyan guzre
to phir ye kaise kate zindagi, kahan guzre

Jo tere aariz-o-gesu ke darmiyan guzre
kabhi kabhi to wo lamhe bala-e-jaan guzre

mujhe ye vaham raha mudatoon ki zurrat-e-shauq
kahin na khaatir-e-masoom pe garan guzre

har ik mukaam-e-muhabaat bahut hi dilkash tha
magar hum ahl-e-muhabbat kashan kashan guzre

junoon ke sakht marahil bhee teri yaad ke saath
hasin hasin nazar aaye , jawan jawan guzre

meri nazar se teri justajoo ke sadke mien
ye ik jahan he nahin, saikdon jahan guzre

hujoom-e-jalwa mein parwaaz-e-shaq ka kya kehna
ki jaise rooh sitaron ke darmiyan guzre

khataa muaaf, zamaane se badgumman hokar,
teri wafa pe bhee kya kya hamein gumaan guzre

mujhe tha shikwa-e-hijraa ke ye hua mahsoos,
mere kareeb se hokar wo naagahaan guzre

bahut hasen manaazir bhee hushn-e-fitrat ke,
na jaane aaj tabiyat pe kyun giraan guzre

mera to farz chaman-bandi-e-jahaan hai faqat
meri bala se, bahaar aaye ya khizaan guzre

kahaan ka hushn ki ishq ko khabar na hui
rahe talab mein kuch aise bhee imtihaan guzre

bhari bahaar mein taaraazi-e-chaman mat pooch
khudaa kare na phir aankhon se wo samaan guzre

koi na dekh saka jinko do dilon ke siwa
muaamlaat kuch aise bhee darmiyaan guzre

kabhi kabhi to issi ek must-e-khaak ke gird
tawaaf karte hue haft aasmaan guzre

bahut azeez hai mujhko unhi kee yaad 'jigar'
wo haadisaat-e-muhabbat ho naaghaan guzre

Jigar 'Moradabadi'

----------------

Tuesday 2 August 2011

काम आखिर जज्बा-ए-बेइख्तियार आ ही गया

काम आखिर जज्बा-ए-बेइख्तियार आ ही गया
दिल कुछ इस सूरत से तड़पा उनको प्यार आ ही गया
[जज्बा-ए-बेइख्तियार  =  feeling of helplessness]

जब निगाहें उठ गयी अल्लाह रे मेराज-ए-शौक़
देखता क्या हूँ वो जान-ए-इंतज़ार आ ही गया
[मेराज-ए-शौक़ = heights of love, जान-ए-इंतज़ार = life of awaitingness ]

हाय ये हुश्न-ए-तस्सवुर का फरेब-ए-रंग-ओ-बू
मैंने समझा जैसे वो जान-ए-बहार आ ही गया
[हुश्न-ए-तस्सवुर =  beauty of thought;फरेब-ए-रंग-ओ-बू = illusion of colour and smell]

हां सज़ा दे  ऐ  खुदा-ए-इश्क ऐ तौफिक-ए-गम
फिर जबान-ए-बेअदब पे ज़िक्र-ए-यार आ ही गया
[खुदा-ए-इश्क = God of love,तौफिक-ए-गम = strenght to bear the sorrow]

इस तरह खुश हूँ किसी के वादा-ए-फर्दा पे मैं
दरहकीकत जैसे मुझको ऐतबार आ ही गया
[वादा-ए-फर्दा = promise for tommorow, दरहकीकत = on verge of truth]

है काफिर दिल की ये काफिर जुनू अन्गेज़ियाँ
तुमको प्यार आये न आये मुझको प्यार आ ही गया
[काफिर = apostate ; जुनू अन्गेज़ियाँ = accompnying madness ]

जान दे दी है जिगर ने आज पा-ए-यार पर
उम्र भर की बेक़रारी को करार आ ही गया

'जिगर मोरादाबादी'

Adding my makhta to this

सुकूत-ए-शब् में तुमको भूलने की कोशिश नाकाम
'मुज़्तरिब' पर उरूज़-ए-शब् में सैलाब-ए-गम आ ही गया
[सुकूत-ए-शब् = solitude of night; उरूज़-ए-शब् = mid night; सैलाब-ए-गम = flood of sworrow]

----------


کام  آخر  جذبہ ا بختیار  آ ہی  گیا
دل   کچھ  اس  صراط  سے  تڑپا  انکو  پیار  آ  ہی  گیا 


جب  نگاہیں  اٹھ  گی  الله  ری  مرض ا  شوق
دیکھتا  کیا ہوں  وو  جان ا انتظار  آ ہی  گیا


ہے  یہ  حشن ا تصّور  کا  فریب ا رنگ و بو
مہینے  سمجھا  جیسے  وو  جان ا بہار  آ ہی  گیا


ہاں  سزا  دے  ہے  خدا ا عشق  ہے  توفیق ا گم
پھر  زبان ا بادب  پر  ذکر ا یار  ا ہی گیا

اس  طرح  خوش  ہوں  کسی  کے  وداع ا فردا  پی میں
درحککت  جیسے مجھکو  اعتبار  ا  ہے گیا

ہے  کافر  دل  کی  یہ  کافر  جنو  انگیزیاں 
تمکو  پیار اے نہ اے مجھکو پیار  ا  ہے گیا

جان  ہے  دے دی  جگر  نے  آج  پا ا یار  پر
امر بھر  کی بیکراری  کو کرا  ہے  گیا 

'جگر موردا بادی '

-------
اسس غزل پی اک اپنا مختا لکھ رہا ہوں

سکوت ا شب میں تمکو بھولنے کی کوشش ناکام
مضطرب پی وروز ا شب میں سیلاب ا گم ا ہی گیا
-------

Kaam aakhir jazbaa-e-beikhtiyaar aa hee gaya
dil kuch iss surat se dhadka unko pyaar aa he gaya

jab nigaahein uth gayi allah re meraaj-e-shauq
dekhta kya hoon wo jaan-e-intezaar aa he gaya

haye ye hushn-e-tassavur ka fareb-o-rang-o-boo
maine samjhaa jaise wo jaan-e-bahaar aa hee gaya

haan sazaa de aye Khuda-e-ishq aye tafeeq-e-gum
phir zabaan-e-beadab per zikr-e-yaar aa he gaya

is tarah kush hoon kisi ke wada-e-fardaa pe main
darhakeekat jaise mujhko aitbaar aa he gaya

haye, kaafir dil ki yeh kaafir junoon angeziyaan
tumko pyaar aaye na aaye mujhko payaar aa he gaya

jaan he de di 'jigar' ne aaj paa-e-yaar per
umr bhar ke bekaraari ko karaar aa he gaya

'Jigar' moradabadi
-----
Adding my makhta to this
 
Sukuut-e-shab mein tumko bhulne ke koshish naakam
'Muztarib' per uruz-e-shab mein sailaab-e-gam aa he gaya
-----

Sunday 10 July 2011

ik aag ka dariya hai aur doob ke jaana hai...


इक लफ्ज़-ए-मुहब्बत का अदना सा फ़साना है
सिमटे तो दिल-ए-आशिक फैले तो ज़माना है

ये किस का तस्सवुर है ये किस का फ़साना है
जो अश्क है आँखों में तस्बीह का दाना है
[तस्सवुर = imagination, फ़साना = story, तस्बीह का दाना = bead of a rosary ]

हम इश्क के मारों का इतना ही फ़साना है
रोने को नहीं कोई हसने को ज़माना है

वो और वफ़ा दुश्मन मानेगे न माना है
सब दिल की शरारत है आँखों का बहाना है

क्या हुस्न ने समझा है क्या इश्क़ ने जाना है
हम खाकनसीनों की ठोकर में ज़माना है
[खाकनसीनों = one who stays in dirt]

 
वो हुस्न-ओ-जमाल उनका ये इश्क़-ओ-शबाब अपना
जीने की तमन्ना है मरने का ज़माना है
[हुस्न-ओ-जमाल = beauty & beauty ; इश्क़-ओ-शबाब = love & youth]

या वो थे खफा हम से या हम थे खफा उन से
कल उन का ज़माना था आज अपना ज़माना है

अश्कों के तबस्सुम में आहों के तरन्नुम में
मासूम मोहब्बत का मासूम फसाना है
[तबस्सुम = smile, तरन्नुम = music ]

आँखों में नमी सी है चुप-चुप से वो बैठे हैं
नाज़ुक सी निगाहों में नाज़ुक सा फसाना है

है इश्क़-ए-जुनूं पेशा हाँ इश्क़-ए-जुनूं पेशा
आज एक सितमगर को हंस हंस के रुलाना है

ये इश्क़ नहीं आसां इतना तो समझ लीजे
इक आग का दरिया है और डूब के जाना है

आंशु तो बहोत से हैं आँखों में 'जिगर' लेकिन
बिन्ध जाए सो मोती है रह जाए सो दाना है

जिगर मोरदाबादी
--------
Adding my makhta to it
 
कभी आप ही बातें करता है, कभी आप ही पे रोता है
जिंदगी मुzतरिब तेरी खिल्वत-ओ-गम का तानाबाना है
 
[ he talks to himself and he cries at himself
life of muztarib is enbroidary solitude and pain]
 
------------------
 
ik lafz-e-mohabbat kaa adanaa saa fasaanaa hai
simaTe to dil-e-aashiq phaile to zamaanaa hai

ye kis kaa tasavvur hai ye kis kaa fasaanaa hai
jo ashk hai aa.Nkho.n me.n tasbiih kaa daanaa hai

ham ishq ke maaro.n kaa itanaa hii fasanaa hai
rone ko nahii.n ko_ii ha.Nsane ko zamaanaa hai

vo aur vafaa-dushman maane.nge na maanaa hai
sab dil kii sharaarat hai aa.Nkho.n kaa bahaanaa hai
kyaa husn ne samajhaa hai kyaa ishq ne jaanaa hai
ham Khaak-nashiino.n kii Thokar me.n zamaanaa hai

vo husn-o-jamaal un kaa ye ishq-o-shabaab apanaa
jiine kii tamannaa hai marane kaa zamaanaa hai

yaa vo the Khafaa ham se yaa ham the Khafaa un se
kal un kaa zamaanaa thaa aaj apanaa zamaanaa hai

ashkon ke tabassum mein aahon ke tarannum mein
maasuum mohabbat kaa maasuum fasaanaa hai

aaNkhon mein namii sii hai chup-chup se vo baiThe hain
nazuk sii nigaahon mein naazuk saa fasaanaa hai

hai ishq-e-junuuN-peshaa haa.N ishq-e-junuu.N-peshaa
aaj ek sitamagar ko haNs haNs ke rulaanaa hai

ye ishq nahin aasaaN itanaa to samajh liije
ek aag kaa dariyaa hai aur Duub ke jaanaa hai

aaNsuu to bahot se hain aaNkhon mein 'Jigar' lekin
bindh jaaye so motii hai rah jaaye so daanaa hai

Jigar Moradabaadi

--------
Adding my own makhta to it

Kabhi aap hi baatein karta hai, kabhi aap hi pe rota hai,
zindagi muztarib teri Khilvat-o-gam ka taanabaan hai
---

Zoroastrianism or Parsiism

This post is a note made from the book ‘A comparative study of Religions’ by Y Masih, Chapter 1 ‘Zoroastrianism or Parsiism’.


It is difficult to ascertain the time of rise of Zoroastrianism, but it is surmised that it has happened to have arisen about 2000 B.C. Zoroastrianism is one of the oldest religions along with Brahmanism. It is construed from scripts of both the religions that they have a common genesis.

The Iranians and Indo Aryans

Devas and Asura (Ahura), Yajna and Yasna, rita and asha (gatha) are one and the same religious terms. Other linguistic similarity in grammar and words is very great. So it can be said with certitude that both these races had a common origin, but what is not certain is there cause of separation.

One theory suggested by Martin Haug is that that a part of Aryans became agriculturist and settled in Iran and a part remained pastoral. These pastoral Aryans, who later became Indo-Aryans, often strayed into the Agriculturist Iranian Aryans often looting their animals and agricultural products. This led an antagonism between the two. At around 2000 B.C. there was a reformation in the religion of agriculturist Aryans. The agriculturist Iranians reached and preached the doctrine of strict monotheism with a good deal of stress on morality which means inner purity. In contrast, the pastoral Indo Aryans remained polytheistic, ritualistic and believed in efficacy of animal sacrifice. Thus there was a deep rift between the Persian Aryans and Indo Aryans.

According to Martin Haug, in the Zorastrian scripture Zend-Avesta , from the beginning Deva is the general name of an evil spirit and Zorastrianism is against the Devas (vi-daevo). It is a religion of Asura (Ahura) and Ahura Mazda (‘Medha’ meaning wise) is the supreme god. In earliest portions of rig veda, ‘asura’ is used in a good sense. Indra, Varuna, Savitri and Rudra are all called asura which means living for asu (breath). But as time went on in the later Vedic literature Devas were taken as the creatures of light that were at war with Asuras. Thus, Asuras became the demons in later Brahmin literature and in the Zorastrian scripture Asuras remained the object of worship and veneration. Hence , the Indo- Aryans became the deva worshippers with Indra as the supreme war-lord whereas for the Iranians Ahura Mazda remained their only God.

Zoroastrian Scriptures

Parsi’s sacred book is called Gatha. Since it is written in Avesta (Language) and is in the form of Zend (Commentary) it is known as Zend-Avesta. Zend-Avesta is divided into two parts

1) The first part has three sub parts:

a. Vendidad: a compilation of religious laws and stories.

b. Visperad: litanies pertaining to sacrifices

c. Yasna: Litanies and hymns in special dialect

2) ‘Kharda Avesta’ or ‘Small Avesta’ containing prayers.

The modern scholars were unable to decipher the language of Zend-Avesta till very recently. Later it was discovered that The Gatha has great kinship with Sanskrit language. Western scholars were able to decipher Zend by applying the grammar of Panini, Katyanan and Patanjali. This fact made it clear that Iranians of Gatha and Aryans of Vedas formed one single race speaking language akin to Sanskrit. The similarities between Sanskrit and Avesta are apparent. A line in Gathic Persian from Avesta:
"Tem amavangtem zazatem surem damohu sevishtem mithrem zazai zaothrabyo"

Word for word in Sanskrit this would be:

"Tam amavantam yajatam shuram dhamasu shavistam mitram yajai hotrabhyah"

(With Libation will I worship Mithra, that strong and mighty angel, most bountiful to all creatures)

About Zarathustra



It is presumed that Zarathustra or Zoraster, the first prophet, reformed the existing Parsiism and made it strictly monotheistic. Since most researchers dates the oldest of the Vedas to between 1500 and 1200 BC, the Gathas of Zarathustra are unlikely to originate from much later. This suggests that the prophet lived some time around 1200 BC, a period traditionally ascribed to Moses. Some though put him rather with Abraham, between 1700 to 1500 BC.

Zarathustra addressed a nation who venerated fire and worshipped the ancestral deities of the Indo-European, the gods of sky and earth, Asman and Zam, the gods of Sun and Moon, Mithra and Mah,the god of war Indra, and the host of daevas. Zarthustra proclaimed that there is only one God, Ahura Mazda, and he identified the source of all evil in the worlds as the Lie (Druj) – later to be personified as Angra Mainyu or Ahirman. He reduced all other divinities to the status of attributes, mere partial glimpses, of the glorious totality of Ahura Mazda.

Basic Tenets of Zoratrianism

Zarathustra was the first prophet of Parsiism who reformed the preexisting Parsiism belonging to the age of Gathas. According to Martin Haug Zarathustra maintained strict monotheism. With the rise of speculative tendency, Zoroastrianism became dualistic, maintaining the conflict between two primeval forces. Reformed Parsiism has the following features:
• Ahura Mazda is the one and only God

• God is essentially transcendent (i.e. Beyond and outside the ordinary range of human experience or understanding)

• God is immanent (i.e. Of qualities that are spread throughout something) only in a metaphorical or secondary sense in as much as He enters into relation with his worshippers as their father, brother and friend.

• As God is Transcendent, he can be found out through his intermediaries called angels, but above all by his prophet Zarathustra.

• God demands humata (good thought), hukhta (good words) and hvarshta (good deed).

• Zoroastrianism believes in resurrection of dead and day of judgment.

• Every human will have to get across the bridge of Chinvat. Good souls who go across will go to heaven and evil ones who fail pass, into hell.

• Zoroastrianism believes in restoration when the whole universe will be restored to its purity

• Animal sacrifice is eschewed.

• Fire is the symbol of light and purity.

• Zoroastrianism teaches equality and brotherhood of man.

• Zoroastrianism does not favors asceticism and prescribes the life of a house holder

• Later on Dualism entered into Zoroastrianism as its secondary tenet. The evil force is represented by Ahriman and his demons who instill evil thoughts in man and create evil in all other circumstances. Ahura Mazda through his representative Spenta Mainyu and other good Angels are there to fight evil so that the day of restoration is brought nearer.

• Zoroastrianism with its doctrine of angels and demonology teaches that man is to become co-sharer and co-worker in the fight conquest of evil by goodness.

SPENTA MEINYU

Ahura Mazda is transcendent, immutable and absolute entity. The world is mutable and changeable. How can the two reconcile. Here there is conception of Spenta Mainyu who is the manifestation and projection of creative will and thought of Ahura Mazda. The two are coeval and eternal. Spenta Mainyu is the manifest form of Ahura Mazda. If we draw parallel with Advaitism of Shankara then Ahura Mazda is the Nirgun Brahma and Spenta Mainyu is the Sagun Ishwara.

ANGELS

Ahura Mazda has six cardinal virtues of Vohu Manah (good mind), Asha (righteousness), Khshathra (God’s Kingdom), Armaiti (Devotion), Haurvatat (Perfection), and Ameretat (immortality). The personification of these spiritual attributes became holy angel where Vohu Manah, Asha and Khshathra are male members and Armaiti, Haurvatat and Ameratat are feminine.

ANGARA MAINYU or AHIRMAN

Creation is finitization of infinite. Hence, imperfection is the inevitable result of creation. When Spenta Meinyu tried to create good world, its counterpart in the form of Ahirman or Angara Mainyu introduced evil in the world. Drought, famine, pestilence and all sorts of evil in the world are due to ahriman and his associates. Not only Angra Mainyu creates natural calamities but he distorts the mind of human. Ahriman lures man towards evil deeds, lulls his conscience and make the evil appear as good.

Influence of Zoroastrianism on Semitic Religion

Both Islam and Christianity have their origin in Judaism which in turn was influenced by Zoroastrianism. Judaism got influenced when the Jews were taken into exile in Babylonia between 712 – 600 B.C. Zoroastrianism was the dominant religion of that time. Judaism before coming into contact of Zoroastrianism was mere a tribal religion. Yahweh was one of the god amongst other gods and was essentially a nature god of thunder and storm. He was appeased by the animal sacrifices of bull and ran. Post exile under the influence of Zoroastrianism, Judaism became strictly monotheistic. It inculcated the doctrine of resurrection and the Day of Judgment, the teaching of Angels, heaven and hell, hatred of idolatry and animal sacrifice. They also began to develop sense of individual responsibilities instead of tribal morality.