Mushkil apni hui jo bood-o-baash

According to wikipedia a Mukhammas ('fivefold') refers to a type of Persian or Urdu cinquain or pentastich with Sufi connections based on a pentameter.It is one of the more popular verse forms in Tajik Badakhshan, occurring both in madoh and in other performance-genres. The mukhammas represents a stanza of two distichs and a hemistich in monorhyme, the fifth line being the “bob” or burden: each succeeding stanza affects a new rhyme, except in the fifth line, e.g., bbbbb + ccccb + ddddb and so forth. Every stanza of a mukhammas includes five lines.

• In the first stanza, all five lines rhyme.
• In the later stanzas, the first four lines rhyme, but the fifth line breaks the rhyme. It can be repeated, or else its rhyme can be that of the first stanza

Meer saw the destruction and moral decline of the society in which he lived. His writings are the living tale of the times he lived in. One of his mukhammas capturing the same is given below:

मुश्किल अपनी हुई जो बूद-ओ-बाश
आए लश्कर में हम बराए तलाश
आन के देखी याँ की तुर्फ़ म'आस
है लब-ए-नां पा सौ जगह परखाश
ने दम-ए-आब है ना चमचा-ए-आश्
[ बूद-ओ-बाश = lifestyle, लश्कर = army, बराए तलाश = in search of job; तुर्फ़ = difficult/ironical, म'आस = condition, लब-ए-नां  = circumference/corner of roti/bread, परखाश = injury, दम-ए-आब = a drink of water, चमचा-ए-आश् = a spoonful of cereal ]

Mushkil apni hui jo bood-o-baash

aaye lashkar mein hum baraaye talaash

aan ke dekhi yaan kee turf maash

hai lab-e-naan pa sau jagah parkhaash

ne dum-e-aab hai na chamcha-e-aash

When living became difficult
I came in army looking for a job
here I see an ironical situation
the bread is torn from all the sides
no water to drink and not even a spoonful of cereal

ज़िंदगानी हुई है सब पे बवाल
कुंजरे झिके हैं रोते हैं बक्काल
पूछो मत कुछ सिपाहियों का हाल
इक तलवार बेचे है इक ढाल
बादशाह-ओ-वज़ीर सब कल्लास

[ बवाल = madness, कुंजरे = a community that sells vegetables and fruits,झिके = to complain बक्काल = merchant, कल्लास  = poor ]

zindagani hui hai sab pe bawaal

kunjare jhike hain rote hain bakkal

poochon mat kuch sipahiyon ka haal

ik talwaar beche hai ik dhaal

baadshaah-o-wazir sab kallash

Life has become hell for all
the fruit sellers are complaining and the merchants are crying
and do not ask the condition of the soldiers
one sells his sword and another his shield
the kings and the ministers all have become poor

शोर मुत्लcक नहीं किसु सर में
ज़ोर बाकी ना अस्प-ओ-उश्तर में
भूख का ज़िक्र अक़्ल-ओ-अक्सर में
खाना जंगी से अमन लश्कर में
ना कोई रींद् ना कोई औबाश
[मुत्लcक = always, अस्प-ओ-उश्तर = horse and camel; अक़्ल-ओ-अक्सर = minority and majority; खाना जंगी = internal conflict; अमन = peace; रींद्  = drunkard,  औबाश = bad]

shor mutluck nahin kisu sar mein

zor baaki na asp-o-ushtar mein

bhookh ka zikr aql-o-aksar mein

khaana jangi se amn lashkar mein

na koi rind ne koi aubaash

there is no drive in any ones mind
there is no strength in horses and camels
all are discussing the hunger
internal conflict has led to peace
and there aren't any drunkard or baddie

लाल खेमा जो है सिपहर असास
पाले हैं रंडियों की उसके पास
है ज़ीना-ओ-शराब बेवस्वास
रोब कर लीजिए यहीं से कियास
किस्सा कोतह रईस है आय्याश
[ सिपहर असास  = whose foundation is sky/tall, ज़ीना-ओ-शराब = beauty & wine बेवस्वास = unlimited, कियास = guess;  ]

laal khema jo hai siphar asaas

paale hain randiyon kee uske paas

hai zina-o-sharaab ke waswaas

rob kar lijiye yahin se kiyaas

kissa kotah raees hai ayyaash

the high red camp
where prostitutes can be readily found
and where beauty and wine are limitless
and you can guess it from here
that the rich are the drown in pleasure

चार लुचे हैं मुस्तैद-ए-कार
दस तिलंगे जो हों, तो है दरबार
हैं वज़ी-ओ-शरीफ सारे ख्वार
लूट से कुछ है गर्मी-ए-बाज़ार
सो भी कंद-ए-सियाह है या माश
[ मुस्तैद-ए-कार = on work, तिलंगे  =soldiers, वज़ी-ओ-शरीफ = decent and respected;ख्वार = disrespect, unpopular; कंद-ए-सियाह = black jaggery; माश = cereal ]

chaar lucche hain mustaid-e-kaar

dus tilange jo hon, tou hai darbaar

hain wazi-o-sharif saare khwaar

loot se kuch hai garmi-e-baazar

so bhee kand-e-siyaah hai ya maash

four goons are alert on the work
ten soldiers if present then it becomes a court
the respected and decent are all dishonoured
the market is high because of the loot
be it black jaggery or the cereals

बस कलम अब ज़बान को अपनी संभाल
खुशनुमा कब है ऐसी काल-ओ-मक़ाल
है  कुद्हब चरख-ए-रुसियह की चाल
मसलेहत है के रहिए होकर लाल
फ़ायदा क्या ज़ो राज़ करिए फ़ाश
[काल-ओ-मक़ाल = conversation ; चरख-ए-रुसियह  = one with black mouth; मसलेहत = advice; लाल = silent ]

bas kalam ab zabaan ko apni sambhaal

khushnumaa kab hai aishi kaal-o-makaal

hai kudab charkh-e-rusiyah kee chaal

maslehat hai ke rahiye hokar laal

faayda kya zo raaz kariye faash

O Pen, keep your mouth in control
pleasant when is such conversation
the black faced is taking a crooked walk
its advisable to be silent
whats is the gain in unvailing the mask?

'Meer Taki Meer'

Wali Muhammad Wali (Wali Dakhani)

(Wali 'Deccani')

During the Mughal times Persian was the official language. It is said that Persian became lingua franca under Akbar for various political and social factors but mainly due to its non-sectarian and fluid nature. However, the armies, merchants, preachers, Sufis, and later the court, also incorporated the local language and the medieval Hindu literary language, Braj Bhasha. This new contact language soon incorporated other dialects, such as Haryanvi, Panjabi, and in the 17th century Khariboli, the dialect of the new capital at Delhi. By 1800, Khariboli had become dominant. The language went by several names over the years: Hindawi or Hindī, "[language] of India"; Dehlavi "of Delhi"; Hindustani, "of Hindustan"; and Zaban-e-Urdu, "the language of the [army] camp.

In 1653 when Prince Aurangzeb was appointed the viceroy of the Deccan for the second time, he made Fatehnagar his capital and renamed it Aurangabad ( a town in present day Maharashtra). Aurangzeb made  Aurangabad  his centre so that he could control the belligerent Deccan and  the Marathas. Augrangzeb ruled from Aurangabad for around 50 years. Aurangabad became a mini Delhi. This led to assimilation between the north and the south. Language also could not remain untouched.The language of Delhi got mixed with southern languages.

A resident of Aurangabad Wali Muhammad wali or Wali ‘Dakhani’, who was born in Aurangabad in 1667, was the first big poet of this language. Till then Ghazals were written only in Persian almost being replicated in thought and style from the original Persian masters like Saa'di, Jami and Khaqani. Wali began using not only an Indian language, but Indian themes, idioms and imagery in his ghazals. He was the first established poet to have composed Ghazal in the local language and have compiled a Divan. 

When Wali Mohammed Wali arrived in Delhi, around 1700 AD,  he established Hindustani with a light smattering of Persian words, a register called Rekhta, for poetry; previously the language of poetry had been Persian. Though the poets of Delhi were attempting to compose in Hindustani but were unable to find a distinct style. Wali provided them with one. His words had heavy southern influence yet it was very sweet and mellifluous. He used ‘tuman’ for ‘tumko’ (for you), ‘haman’ for ‘Hamko’ (for me), su.n , seti for se (from) and ku.n for ko .  It connected with the heart of denizens of delhi.

 His favorite theme was love – both mystical and earthy – and his characteristic tone was one of cheerful affirmation and acceptance, rather than of melancholy grumbling. He was the first Urdu poet to have started the practice of expressing love from the man's point of view, as against the prevailing convention of impersonating as a woman. If, on the one hand, Wali unravelled the beauty and richness of the native language as a poetic medium, on the other, he was alive to the vigour and verve of Persian diction and imagery which he successfully incorporated into the body of his verse. He may thus be called the architect of the modern poetic language, which is a skillful blend of Hindi and Persian vocabulary.

तुझ लब की सिफ़त लाल-ए-बदख्श़ाँ सूँ कहूँगा।
जादू है तेरे नैन ग़जाला सूँ कहूँगा।।

[ सिफ़त = characteristc/beauty,  लाल-ए-बदख्श़ाँ  = rubies from Badkhwashan (a province in afganishtan) ग़जाला = deer ]

Tujh lab kee sifat laal-e-badkhwasaan se kahoonga 
jaado hain tere nain ghazaala se kahoonga

To the rubies Of Badkhashaan  will I tell the beauty of your lips
to the Deers I'll tell the magic of your eyes

- - X - -

सजन तुम मुख सेती खोलो नक़ाब आहिस्ता आहिस्ता।
कि ज्यों गुल से निकसता है गुलाब आहिस्ता आहिस्ता।। 

Sajan tum much sitti ulto nikaab ahistah ahistaha
Ki jyun gul se nikasta hai gulaab ahista ahista

Dear, remove the veil from your face slowly slowly
as the rose comes out from the bud slowly slowly

अजब कुछ लुत्फ़ रखता है शब्-ए-खल्वत में गुल्रू से
खिताब अहिश्ता अहिश्ता ज़वाब अहिश्ता अहिश्ता 

 [lलुत्फ़=enjoyment/pleasure; शब्=night; खल्वत=solitude]
[गुल्रू=rosy faced; खिताब=to address; ज़वाब=reply]

Ajab kuch lutf rakhta hai shab-e-khalvat mein gulroon se
Khitaab ahistah ahista zawaab ahista ahista

 To the rose faced, in the night of solitude, Its a unique pleasure
to address slowly slowly, to respond slowly slowly

'वली' मुझ दिल में आता है ख्याल-ए-यार-ए-बेपरवाह
के ज्यों अंखियन में आता है ख्वाव अहिस्ता अहिस्ता

"Wali" mujh dil me.n aataa hai Khayaal-e-yaar-e-beparavaah
ke jiyo.n a.nkhiyan me.n aataa hai Khvaab aahistaa aahistaa


O 'Wali' The thought of my uncaring beloved thus visit my heart ,
 As a dream comes to my eyes slowly slowly

- - X - -

अजब नईं गर गुलां दौड़े पकड़ कर सूरत-ए-कुमरी

अदा सू जब चमन भीतर , वह सर्व-ए-सरफ़राज़ आवे
[ अजब = unexpected, नईं = not, गर = if; गुलां  = flowers; सूरत-ए-कुमरी = like nightingale, सर्व-ए-सरफ़राज़  = one with tall height]

Ajab nai  gar gulaan daude pakad kar surat-e-kumri

Adaa se jab chamsan bheetar, wah sarv-e-sarfaraaz aawe 

Its not unexpected if the flowers come running with the nightingale
when with all her charm, the tall beloved, comes in the garden

वली उस गौहर-ए-कान-ए-हया की क्या कहूं खूबी
मिरे घर इस तरह आता है ज्यूँ सीने में राज़ आवे
[ गौहर-ए-कान-ए-हया = the pearl from the treasure of shyness (the shy beloved)]

Wali uss gauhar-e-kaan-e-haya kee kyaa kahoon khoobi

Mire ghar iss tarah aata hai jyun seene mein raaz aawe

 

Wali, what do I tell you the suppleness of the shy beloved

she comes in my house as if a secret comes to my heart

- - X - - 

सफ़र-ए--इश्क का अगर है ख़याल

हिम्मत-ए-दिल को जाद-ए-राह करो

Safar-e-ishq ka agar hai khayaal
Himmat-e-dil ko jaad-e-raah karo

if you worry about the journey of love
then for the travel, better carry the streangth of heart

- - X - -

मेरी तरफ सागर बकफ आया है वह मस्त-ए-हया
ए दिल तकल्लुफ बर तरफ मस्ताना हो मस्ताना हो
[ सागर बकफ = wine in hands, मस्त-ए-हया = intoxicated in shyness, तकल्लुफ बर तरफ = keep aside formalities]

Meri taraf saagar bakaf aaya hai wah mast-e-haya
Aye dil takalluf bar tarf mastaana ho mastaana ho

With the wine in her hands, has come to me, intoxicated in shyness
O heart, keep aside your formalities, get intoxicated , get intoxicated

- - X - -

मेरा दिल क्यूँ  ना जावे उस गली में

गली उस दिलरुबा की दिलकुशा है

Mera dil kyun na jaawe us gali mein
Gali us dilruba kee dilkusha hai

Why shouldn't my heart go in that lane
The lane of my Dear is very attractive

- - X - - 

ज्यूँ गुल शिगाफ्तारू है सुखन के चमन में हम
ज्यूँ शमा सर्बलंद है हर अंजुमन में हम
[ शिगाफ्तारू = smiling face]

Jyun gul shiguftaru hai sukhan ke chaman mein hum
Jyun shama sarbaland hai har anzuman mein hum

I am the smiling flower in the garden of shayari
I am the  tall flame in all the gatherings

- - X - -  

मुफलिसी सब बहार खोती है

मर्द का ऐतबार खोती है

Muflisi sab bahar khoti hai
Mard ka aitbaar khoti hai

poverty looses all the pleasure
it looses the trust of a man

- - X -  -

Although Wali tried his hand at a variety of verse forms including the masnavi, qasida, mukhammas, and the rubai, the ghazal was his speciality. He wrote 473 ghazals containing 3,225 couplets (Ashaar). Wali died in Ahmedabad in 1707, and was buried in the same city. The path shown by Wali was followed by the later Shayars of Delhi, which reached its Zenith by 1750 in Meer*. 

* This article is precursor to 'Vignette of Meer Taqi 'Meer'

A Masnavi by Meer Taqi 'Meer'

Masnavi, or mathnawī, is the name of a poem written in rhyming couplets, or more specifically, “a poem based on independent, internally rhyming lines”. Most mathnawī followed a meter of eleven, or occasionally ten, syllables, but had no limit in their length. The mathnawi consists of an indefinite number of couplets, with the rhyme scheme aa/bb/cc. Mathnawī have been written in Persian, Arabic, Turkish, and Urdu cultures (From Wikipedia) 

खुशा हाल उसका जो मादूम है
की अह्वाल अपना तो मालूम है

[ खुशा हाल = happy,  मादूम = obliterated, अह्वाल = condition/state]

रही जान-ए-गमनाक को काहिशें
गयी दिल से नौमीद सी ख्वाइशें

[ जान-ए-गमनाक = unhappy soul, काहिशें = difficulties/sorrow, नौमीद  = without hope]

जमाने नें रखा मुझे  मुत्तसिल
परागन्द रोज़ी, परागन्द दिल

[मुत्तसिल = ever/always परागन्द रोज़ी = fianancial problem, परागन्द दिल = problem of heart ]

गयी कब परेशानी–ए-रोज़गार
रहा मैं तो हम ताले-ए-जुल्फ-ए-यार

[ परेशानी–ए-रोज़गार = problem of employment, ताले-ए-जुल्फ-ए-यार = locked in the tresses of beloved.]

ज़माने नें आवारा चाहा मुझे
मेरी बेकासी नें निबाहा मुझे

दिल इक बार, सो बेकरार-ए-बुतां
गुबार-ए-सर-ए-रहगुज़ार-ए-बुतां 

[बेकरार-ए-बुतां = desiring for beloved, गुबार-ए-सर-ए-रहगुज़ार-ए-बुतां = dust of the roads of beloved]

गिरफ्तार-ए-रंज-ओ-मुसीबत रहा
ग़रीब-ए-दायर-ए-मुहब्बत रहा

[गिरफ्तार-ए-रंज-ओ-मुसीबत = prisoner of sorrow and problems ; ग़रीब-ए-दायर-ए-मुहब्बत = poor from the land of love ]

चला अकबराबाद से जिस घड़ी
दर-ओ-बाम पर चस्म-ए-हसरत पड़ी

[ अकबराबाद = earlier name of Agra; दर-ओ-बाम = doors and terrace, चस्म-ए-हसरत = with sad eyes]

की तर्क-ए-वतन पहले क्यूँ कर करूँ
मगर हर कदम दिल को पत्थर करूँ

[ तर्क-ए-वतन = leaving the land]

पस अज कत-ए-रह, लाए दिल्ली में बख़्त
बहुत खेँचे याँ मैने, आज़ार सख़्त

[पस अज कत-ए-रह = after travelling the road,  बख़्त = fortune/destiny]

जिगर जौर-ए-गर्दुं से खुउं हो गया
मुझे रुकते रुकते जुनून हो गया

[ जौर-ए-गर्दुं = hardship of the world ]

मीर ताकी 'मीर'