Ghazal: Ek Bas Tu Hi Nahin Mujhase Kafa Ho Baitha
PremC...@gmail.com
Farhat Shehzad sahib ki ye ghazal, Mehdi Hassan aur Abida Parveen ne,
bohut khoobsoorti say ga-ee hai. Mai isay seekhna chahta hoon.
Lekin seekhne say pehle isay sumajhna zaroori hai. Aap sub ki maddad
ki zaroorat hai. Kuch alfaaz hain jinke mai-ne bhe chah-iye
Ghazal pesh hai :
ek bas tuu hii nahii.n mujhase Khafaa ho baiThaa
ek bas tuu hii nahii.n mujhase Khafaa ho baiThaa
mai.n ne jo sa.ng taraashaa vo Khudaa ho baiThaa
uTh ke ma.nzil hii agar aaye to shaayad kuchh ho
shauq-e-ma.nzil me.n meraa aabalaapaa ho baiThaa
masalahat chhin gaii quvvat-e-guftaar magar
kuchh na kahanaa hii meraa merii sadaa ho baiThaa
shukriyaa ae mere qaatil ae masiihaa mere
zahar jo tune diyaa thaa vo davaa ho baiThaa
jaane 'Shehzaad' ko min_jumlaa-e-aadaa paakar
huuk vo uTThii ke jii tan se judaa ho baiThaa
aabalaapaa =
masalahat =
quvvat-e-guftaar =
min_jumlaa-e-aadaa =
Bohut bohut shukria !
Prem Joshi
Afzal A. Khan
Joshi Saheb,
First things first :
Here is my take on the 'difficult' Urdu words you have mentioned :
"aab'la~pa" : Having blisters on the feet
Also, in the sense of 'tired' or 'fatigued'
"maslehat" or "maslihat" : {With a short "e" sound}
Tact or diplomacy. Also, in the sense of "being
politically correct"
"qoowat-e-guftaar" : The strength or capacity to engage in some
conversation.
"min~jumla-a-'aada" 'aada = enemies, rivals
min~jumla = Amongst
I would like to say something about the ghazal itself, but that
will have to wait for the time being.
Afzal
PremC...@gmail.com
>
> - Show quoted text -
Afzal Bhai,
Bohut bohut shukria. Ghazal pe aap ke "comments" ki intzaar karte
hain.
Prem Joshi
pmat...@yahoo.com
I suggest that you listen to Mehdi Hassan Sahab's rendition of the
same ghazal in order to obtain the full essence and flavor of what the
poet wanted to suggest through his words.
Regards,
PM
On Jan 15, 11:35 am, "PremCJo...@gmail.com" <PremCJo...@gmail.com>
wrote:
> Prem Joshi- Hide quoted text -
UVR
wrote:
I second the 'intizaar' part of Prem saahib's post. I've never
thought this is a good Ghazal, literarily speaking.
Listening to Mehdi Hassan sing it is terrific, of course. He even
tries to explain some of the very words Joshi-ji has asked for the
meanings of. The first time I heard him sing it live was in Madras
(now Chennai), 1994. So much for Urdu-wallahs typical feeling of
"What can a Madrasi have to do with Urdu?"
-UVR.
PremC...@gmail.com
>
> - Show quoted text -
UVR Bhai,
I have both, Mehdi Hassan and Abida versions. I didnt pay attention
to the explanation by Mehdi Hassan. I was captivated by his expression
of Raag Miyaan Malhaar. Impossible to copy, But Ill try. If I can
stay true to the raag, Ill be content.
Prem Joshi
Srinage...@gmail.com
It's nice to see a live thread. More on aabla pa:
in aabloN se paaoN ke ghabra gaya tha main
dil khush hua ke raah ko purkhaar dekh kar
and
tez rakhnaa har sar-e khaar ko ai dasht-e junoon
shaayad aa jaaye koi aabla pa mere baad.
The latter has been sung by both Mehdi Hassan and Abida Parvin. The
CDs say the ghazal is by Mir Taqi Mir, but this is disputed by
scholars, including many ALUPers. The maqta if the ghazal is:
baad marne ke mere qabr pe aaya voh Mir
yaad aaii mere isa ko dava mere baad
Nagesh
UVR
Nagesh saahib,
I think the jumla in the first line of the "mere ba'ad" sh'er you have
quoted is "sar-e-har Khaar" (versus "har sar-e-Khaar). The
interesting thing in this sh'er I think is that "aabla paa" refers not
to "blisters on the feet" (paaoN ke chhale), but to "a blistered feet
individual" (aisaa shaKhs jis ke paaoN bhi mere hi paaNvoN ki tarah
chhaaloN se pur hoN). Whereas in the Farhat Shehzaad sh'er Prem
saahib quoted, the reference is simply to paaoN ke chhaale.
Regarding the doubt about this Ghazal being by Meer Taqi Meer, I think
it's fair to say that it is almost certain this is not by Meer.
Looking at Dr. Frances Pritchett's listing of Meer's Ghazals from the
Kulliyaat e Meer, here:
http://www.columbia.edu/itc/mealac/pritchett/00garden/ghazal_index.html?
one finds that the only ghazal bearing the radeef "mere ba'ad" has
this matla:
aavegi meri qabr se aavaaz mere ba'ad
ubhreNge 'ishq-e dil se tire raaz mere ba'ad
which follows a different qaafiya and behr pattern. There are no
Ghazals listed in this zameen in the entire Kulliyaat.
-UVR.
Afzal A. Khan
>
> It's nice to see a live thread. More on aabla pa:
>
> in aabloN se paaoN ke ghabra gaya tha main
> dil khush hua ke raah ko purkhaar dekh kar
>
> and
>
> tez rakhnaa har sar-e khaar ko ai dasht-e junoon
> shaayad aa jaaye koi aabla pa mere baad.
>
> The latter has been sung by both Mehdi Hassan and Abida Parvin. The
> CDs say the ghazal is by Mir Taqi Mir, but this is disputed by
> scholars, including many ALUPers. The maqta if the ghazal is:
>
> baad marne ke mere qabr pe aaya voh Mir
> yaad aaii mere isa ko dava mere baad
>
> Nagesh
Nagesh Saheb,
I am pretty sure that this ghazal is NOT by Meer Taqi Meer.
I haven't "heard" it of course, since I am not into ghazals
(i.e. the "sung" variety). I don't know whether Medhi Hassan
or Abida Parvin have offered any explanations or comments.
The second misra' in the first sher quoted by you may perhaps
need a change. Kindly check up. The sher could well be :
In aab'loN se paaNv ke ghabra gaya tha maiN
Dil KHush huwa hai raah ko pur~KHaar dekh kar
('hai', in place of 'ke')
I have seen UVR Saheb's 'islaah' in the second sher. But, with
due respect to him, I have my doubts. "Sar" is also used in the
sense of "tip" or "nok". Thus, "sar-e-KHaar" could refer to the
sharp, stinging tip of the thorn.
The poet seems to be asking "dasht-e-junooN" to keep every
thorn-tip {"har sar-e-KHaar"} as sharp as possible.
Afzal
Srinage...@gmail.com
You are right about the Ghalib sher. As for the other ghazal, Abida
Parvin sings it "sar-e har khaar". I don't have the Mehdi Hassan
recording here, and I can't remember for sure his rendition of this
verse.
Who actually wrote the ghazal and is there an authoritative written
version that is accessible to any Aluper?
Regards,
Nagesh
UVR
>
> I have seen UVR Saheb's 'islaah' in the second sher. But, with
> due respect to him, I have my doubts. "Sar" is also used in the
> sense of "tip" or "nok". Thus, "sar-e-KHaar" could refer to the
> sharp, stinging tip of the thorn.
>
> The poet seems to be asking "dasht-e-junooN" to keep every
> thorn-tip {"har sar-e-KHaar"} as sharp as possible.
>
> Afzal
Afzal saahib,
I am responding only because you have alluded to my "islaah" of the
sh'er posted by Nagesh saahib. I have two points to make, and I'll
make them briefly.
(1) The version of the sh'er I wrote is not "my islaah." This is
actually how Mehdi Hassan sings the sh'er. You may enjoy his
rendition by pointing your browser here:
http://www.musicindiaonline.com/music/ghazals/s/album.10902/artist.413/
(listed at #1)
(2) That 'har sar-e-Khaar' ostensibly makes more sense than 'sar-e-har
Khaar', is a bit irrelevant when one considers the behr of this
Ghazal. The jumla "har sar-e-Khaar" does not 'fit' metrically in this
Ghazal at this place. "sar-e-har Khaar" does.
Coming to "sar-e-har Khaar", I am not sure I really understand the
'difficulty' around it. Compounds like "X-e-har Y" are not totally
unknown in Urdu. Ghalib comes to mind:
daam-e-har mauj meN hai halqa-e-sad kaam-e-nahang
dekheN kyaa guzre hai qatre pe guhar hone tak (hote tak)
shab k woh majlis firoz-e-Khilwat-e-naamoos thaa
rishta-e-har sham'a Khaar-e-kiswat-e-faanoos thaa
Here's Majrooh:
baat to jab hai k bhar de saaGhar-e-har Khaas-o-aam
yooN to jo aayaa wohi peer-e-muGhaaN bantaa gayaa
To me, there is a difference between 'sar-e-har Khaar' and 'har sar-e-
Khaar', even though the difference is not fundamental to the
interpretation of the sh'er. The focus in either phrase is on a
slightly different point (pun unintended). The distinction is more
obvious if one contrasts 'saaGhar-e-har Khaas o aam' versus 'har
saaGhar-e-Khaas o aam'. Here's what I think:
Every thorn-tip: har sar-e-Khaar
Tip of every thorn: sar-e-har Khaar
Finally, here's a sh'er by Ahmed Faraz, bearing a phrase almost
identical to the one we're discussing:
tuu ne dekhi hi naheeN dasht-e-wafaa ki tasweer
*nok-e-har Khaar* pe ik qatra-e-KhooN hai, yooN hai
-UVR.
Afzal A. Khan
>
> Listening to Mehdi Hassan sing it is terrific, of course. The first time I heard him sing it live was in Madras
> (now Chennai), 1994. So much for Urdu-wallahs typical feeling of
> "What can a Madrasi have to do with Urdu?"
>
> -UVR.
Well, this Urdu-wallah has always (repeat always) acknowledged your
multifaceted gifts and skills in different fields, including the
linguistic field. But, aren't you a "multi-city" guy too ?
Afzal
UVR
I am. Well, sort of. At this point, I can truly say that I have
spent a longer duration living outside "my home city" than I spent
growing up there. And this statistic betrays not even the remotest
signs of reversal. However, I'm not sure that the mere fact of having
lived for a time in a particular city makes one "us shahr kaa."
Besides, the fact remains that "you can take the man out of Delhi, but
you can't take Delhi out of the man." Ask Meer. Or (for someone
closer my age), ask Shah Rukh Khan.
BTW, I wonder if you might possibly have misunderstood me -- I wasn't
really referring to myself by the word "Madrasi." I'm not a Madrasi
now, nor have I ever been one. I was trying to say something like
"MadrasiyoN kaa Urdu shaa'iri se kyaa waastaa?"
While we are at it, here's an interesting factoid about the word
"Madrasi." It's sort of a double-edged sword, being a source of pride
for some, and a pejorative to others. On the one hand, like Urdu "ahl-
e-zabaan", genuine Madrasis do not brook any non-Madrasi calling
himself one. On the other, this word is employed in the Hindi/Urdu
areas of India as a pejorative brush to tar everyone from the southern
Indian states (and not from Hyderabad) with, and to caricature their
behavior, language and appearance by. At least it was when I was a
kid.
-UVR.
Afzal A. Khan
Never realized that Mehdi Hassan was a Madrasi !!!
Afzal
UVR
Actually, I think he's a "multi-city" person like you and me.
-UVR.