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Article: "taKhayyul and taGhazzul"
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Irfan Abid
Nov 1, 2020, 10:01:55 PM11/1/20
to
aadaab, dosto!
As desired by Naseer sb, I am posting an article that I wrote in July, 2002 and quoted in a recent post here. In this version I have taken the opportunity to make a couple of amendments to the original article as noted herein.
taKhayyul and taGhazzul
The topic being discussed in this article is not new. However, I wanted to write something on it to relive the enjoyment I have had by reading some of my favorite Urdu poetry. In this process, if some of the readers’ knowledge and understanding of Urdu poetry get enriched, it will be a bonus for me.
‘taKhayyul’ means imagination. It is considered an important element of Urdu poetry, and of poetry in any language for that matter. A poet with extraordinary imagination can think of things that may never be conceived by an ordinary human being. ‘taGhazzul’, on the other hand, means poetic touch. A poet with such a touch can turn an ordinary thought or observation into a masterpiece of art. Such a poet has an outstanding control on language and a vast repertoire of words and idioms. A truly great poet is one who has both of these qualities. I will try to illustrate the concept by giving a few examples. Please note that the examples being cited are not a collective representation of the works of the poets included and definitely not of Urdu poetry in general.
Let us first look at some ash’aar that may not be illustrious for their literal construction, yet leave a lasting impression simply due to the uniqueness of thought behind them, that is the ash'aar with a high degree of ‘taKhayyul’.
aadam kaa jism jab ki anaasir se mil banaa
kuchh aag bach rahii thii so aashiq kaa dil banaa (Sauda)
Look at this she’r and read it once, if you have not done it already. What makes it click? Certainly not its construction. The language is simple and there is no wizardry of words. But look at the thought! Sauda says that when God had finished making the body of aadam (man) with various elements, He found that there was some fire left. He used it to create the heart of a lover (the thing that is always burning). What a sher!
chalaa jaataa huuN hanstaa kheltaa mauj-e-havaadis se
agar aasaaniyaaN hoN, zindagii dushvaar ho jaaye (Asghar Gondvi)
This is another example of a shaair thinking in a totally unconventional direction. Usually, troubles (mauj-e-havaadis) are something that people like to avoid. However, Asghar Gondvi thinks that it is these troubles that keep you busy and going. But for these, it would be very difficult to live. What an idea!
mire TuuTe hue paa-e-talab kaa mujh pe ahsaaN hai
tumhaare dar se uTh kar ab kahiiN jaayaa nahiiN jaataa (Makhmoor Dehlvi)
Would you like to have your feet disabled? Perhaps not. But Makhmoor Dehlvi sees a benefit even in broken feet. According to him, they make him immovable and he can’t go anywhere from the doorstep of his beloved. What else would a lover want!
Now let us look at some ash'aar that are remarkable for their ‘taGhazzul’, that is ash’aar that may not have a unique thought behind them, but have a way of presentation that sets them apart from the ordinary.
baiThne kaun de hai phir us ko
jo tire aastaaN se uThtaa hai (Meer)
Meer is considered king of Ghazals. You can find thousands of examples of ideal ‘taGhazzul’ in his poetry. I picked this one at random. A lover is always in the evil eyes of the world and is never allowed to live in peace. There is nothing unusual about this fact, but the way Meer has composed it made it the treat to the heart and mind that this she’r is.
na gayii tere Gham kii sardaarii
dil meN yuuN roz inqilaab aaye (Faiz)
The heart of a lover is mostly occupied by sorrow. This is a well known fact and an age old subject of poetry. But what a way to say it! Please note the use of the word ‘sardaarii’ which means supremacy. Faiz says that although there were many revolutions/changes in the (state of) heart, the sorrow of (separation from) the beloved always reigned supreme. For those who have not read much of Faiz, let me mention that ‘inqilaab’ was one of his favorite subjects. He used it so beautifully here to depict the state of a lover’s heart.
kyaa kahuuN deeda-e-tar! ye to miraa chehraa hai
sang kaT jaate haiN baarish kii jahaaN dhaar gire (Shakeb Jalali)
Crying leaves marks on the face. Is there anything unusual about it? Can you create a memorable sher on this subject? Well, Shakeb Jalali can. The way he uses the erosion of a stone under repeated spells of rain to depict the marks left behind on the face by continuous crying is marvelous. In other words, the poet has used the so called ‘tashbiih’, a popular and effective tool of poetry, to create ‘taGhazzul’ here.
Finally, here are some examples of ash’aar that are rich in both ‘taKhayyul’ and ‘taGhazzul’.
Gham-e-hastii kaa ‘Asad’ kis se ho juz marg ilaaj
sham’a har rang meN jaltii hai sahar hone tak (Ghalib)
You can write books in explaining and praising this gem from the master poet that Ghalib was. However, I will restrict myself to a few lines only. Let us take the aspect of ‘taKhayyul’ first. Sham’a has always been seen as the unkind and ruthless killer of the parvaanaa or as the centerpiece of attraction in a mahfil full of husn and nuur. It takes the imagination of Ghalib to see the other side of this picture. He notices the utter darkness she has to face, the ever depleting oil/wax, the very source of her life that she is always worried about and above all, the pain of constantly burning herself. Now see the ‘taGhazzul’. Ghalib’s mastery over the language and presentation is visible all over the sher. He says that life is a pain that can only be cured by death. This is same as the fact that sham’a has to survive all of her pains and keep burning until dawn when somebody comes and puts her out, relieving her of the horrors of a torturous existence. By the way, the radeef of the she'r, ‘hone tak’, is so haunting! It makes the she'r even more poignant. (Note: Ghalib’s original radeef was ‘hote tak,’ but this Ghazal is popularly known with ‘hone tak’ as the radeef.)
sadqe utreNge, aseeraan-e-qafas chhuuTe haiN
bijliyaaN le ke nasheman pe ghaTaa bhii aayii (Fani)
This one is typical Fani fare. He is known for the uniqueness of his thoughts as well as his exceptionally fluent and highly acclaimed literal constructs. Here he is talking about the birds being released from the cage. This being a matter of joy, some sadqah (offering) is in the offing. For those who don’t know what sadqah is, it is the practice of sacrificing some of the things dear to you in order to ensure your welfare and happiness. Sadqah may be done by giving money to the poor or sacrificing an animal. In this particular she’r, none other than the menacing clouds with lightening have gathered to complete the ritual of sadqah, which ironically may mean burning the nests of the poor birds or even their death. Now after you think about the paradox and the way it is used to depict a hopeless situation, will you do anything but admire Fani?
miTaa de apnii hastii ko agar kuchh martabaa chaahe
ki daanaa Khaak meN mil kar gul-o-gulzaar hotaa hai (Mast Kalkatavi)
(Note: This she’r was erroneously attributed to Iqbal in the original article.)
This gem from Mast Kalkatavi is in the memory of almost every Urdu poetry lover, and for good reason. There is a very captivating thought in it and this thought has been presented in a very effective way. The poet challenges the reader to (be prepared to) loose everything (even his life) if he wants to attain a position of honor. He cites the example of a seed that has to fade into dirt in order to turn into a flowering tree.
Khudii ko kar baland itnaa ki har taqdeer se pahle
Khudaa bande se Khud puuchhe, bataa terii razaa kyaa hai (Iqbal)
(Note: This she’r is an addition to the original article.)
Iqbal’s intellect was unparalleled. His thoughts were very intense and his choice of words to mould these thoughts was excellent. This she'r is just one example of many splendid ash’aar that he gave us. Here he underlines the importance of self respect. He implores the reader to raise his self respect to such a level that even God asks him as to what his wish is, before drafting his destiny. Iqbal emphasized on ‘Khudii’ a lot as he attempted to elevate the self esteem of a generation.
As I said earlier, the ash’aar presented here are just a few drops from the vast ocean of Urdu shaairii. Hope this article provided interesting reading and prompted you to look for that unique she’r when you read Urdu shaairii the next time.
niyaazmand,
Irfan :Abid:
As desired by Naseer sb, I am posting an article that I wrote in July, 2002 and quoted in a recent post here. In this version I have taken the opportunity to make a couple of amendments to the original article as noted herein.
taKhayyul and taGhazzul
The topic being discussed in this article is not new. However, I wanted to write something on it to relive the enjoyment I have had by reading some of my favorite Urdu poetry. In this process, if some of the readers’ knowledge and understanding of Urdu poetry get enriched, it will be a bonus for me.
‘taKhayyul’ means imagination. It is considered an important element of Urdu poetry, and of poetry in any language for that matter. A poet with extraordinary imagination can think of things that may never be conceived by an ordinary human being. ‘taGhazzul’, on the other hand, means poetic touch. A poet with such a touch can turn an ordinary thought or observation into a masterpiece of art. Such a poet has an outstanding control on language and a vast repertoire of words and idioms. A truly great poet is one who has both of these qualities. I will try to illustrate the concept by giving a few examples. Please note that the examples being cited are not a collective representation of the works of the poets included and definitely not of Urdu poetry in general.
Let us first look at some ash’aar that may not be illustrious for their literal construction, yet leave a lasting impression simply due to the uniqueness of thought behind them, that is the ash'aar with a high degree of ‘taKhayyul’.
aadam kaa jism jab ki anaasir se mil banaa
kuchh aag bach rahii thii so aashiq kaa dil banaa (Sauda)
Look at this she’r and read it once, if you have not done it already. What makes it click? Certainly not its construction. The language is simple and there is no wizardry of words. But look at the thought! Sauda says that when God had finished making the body of aadam (man) with various elements, He found that there was some fire left. He used it to create the heart of a lover (the thing that is always burning). What a sher!
chalaa jaataa huuN hanstaa kheltaa mauj-e-havaadis se
agar aasaaniyaaN hoN, zindagii dushvaar ho jaaye (Asghar Gondvi)
This is another example of a shaair thinking in a totally unconventional direction. Usually, troubles (mauj-e-havaadis) are something that people like to avoid. However, Asghar Gondvi thinks that it is these troubles that keep you busy and going. But for these, it would be very difficult to live. What an idea!
mire TuuTe hue paa-e-talab kaa mujh pe ahsaaN hai
tumhaare dar se uTh kar ab kahiiN jaayaa nahiiN jaataa (Makhmoor Dehlvi)
Would you like to have your feet disabled? Perhaps not. But Makhmoor Dehlvi sees a benefit even in broken feet. According to him, they make him immovable and he can’t go anywhere from the doorstep of his beloved. What else would a lover want!
Now let us look at some ash'aar that are remarkable for their ‘taGhazzul’, that is ash’aar that may not have a unique thought behind them, but have a way of presentation that sets them apart from the ordinary.
baiThne kaun de hai phir us ko
jo tire aastaaN se uThtaa hai (Meer)
Meer is considered king of Ghazals. You can find thousands of examples of ideal ‘taGhazzul’ in his poetry. I picked this one at random. A lover is always in the evil eyes of the world and is never allowed to live in peace. There is nothing unusual about this fact, but the way Meer has composed it made it the treat to the heart and mind that this she’r is.
na gayii tere Gham kii sardaarii
dil meN yuuN roz inqilaab aaye (Faiz)
The heart of a lover is mostly occupied by sorrow. This is a well known fact and an age old subject of poetry. But what a way to say it! Please note the use of the word ‘sardaarii’ which means supremacy. Faiz says that although there were many revolutions/changes in the (state of) heart, the sorrow of (separation from) the beloved always reigned supreme. For those who have not read much of Faiz, let me mention that ‘inqilaab’ was one of his favorite subjects. He used it so beautifully here to depict the state of a lover’s heart.
kyaa kahuuN deeda-e-tar! ye to miraa chehraa hai
sang kaT jaate haiN baarish kii jahaaN dhaar gire (Shakeb Jalali)
Crying leaves marks on the face. Is there anything unusual about it? Can you create a memorable sher on this subject? Well, Shakeb Jalali can. The way he uses the erosion of a stone under repeated spells of rain to depict the marks left behind on the face by continuous crying is marvelous. In other words, the poet has used the so called ‘tashbiih’, a popular and effective tool of poetry, to create ‘taGhazzul’ here.
Finally, here are some examples of ash’aar that are rich in both ‘taKhayyul’ and ‘taGhazzul’.
Gham-e-hastii kaa ‘Asad’ kis se ho juz marg ilaaj
sham’a har rang meN jaltii hai sahar hone tak (Ghalib)
You can write books in explaining and praising this gem from the master poet that Ghalib was. However, I will restrict myself to a few lines only. Let us take the aspect of ‘taKhayyul’ first. Sham’a has always been seen as the unkind and ruthless killer of the parvaanaa or as the centerpiece of attraction in a mahfil full of husn and nuur. It takes the imagination of Ghalib to see the other side of this picture. He notices the utter darkness she has to face, the ever depleting oil/wax, the very source of her life that she is always worried about and above all, the pain of constantly burning herself. Now see the ‘taGhazzul’. Ghalib’s mastery over the language and presentation is visible all over the sher. He says that life is a pain that can only be cured by death. This is same as the fact that sham’a has to survive all of her pains and keep burning until dawn when somebody comes and puts her out, relieving her of the horrors of a torturous existence. By the way, the radeef of the she'r, ‘hone tak’, is so haunting! It makes the she'r even more poignant. (Note: Ghalib’s original radeef was ‘hote tak,’ but this Ghazal is popularly known with ‘hone tak’ as the radeef.)
sadqe utreNge, aseeraan-e-qafas chhuuTe haiN
bijliyaaN le ke nasheman pe ghaTaa bhii aayii (Fani)
This one is typical Fani fare. He is known for the uniqueness of his thoughts as well as his exceptionally fluent and highly acclaimed literal constructs. Here he is talking about the birds being released from the cage. This being a matter of joy, some sadqah (offering) is in the offing. For those who don’t know what sadqah is, it is the practice of sacrificing some of the things dear to you in order to ensure your welfare and happiness. Sadqah may be done by giving money to the poor or sacrificing an animal. In this particular she’r, none other than the menacing clouds with lightening have gathered to complete the ritual of sadqah, which ironically may mean burning the nests of the poor birds or even their death. Now after you think about the paradox and the way it is used to depict a hopeless situation, will you do anything but admire Fani?
miTaa de apnii hastii ko agar kuchh martabaa chaahe
ki daanaa Khaak meN mil kar gul-o-gulzaar hotaa hai (Mast Kalkatavi)
(Note: This she’r was erroneously attributed to Iqbal in the original article.)
This gem from Mast Kalkatavi is in the memory of almost every Urdu poetry lover, and for good reason. There is a very captivating thought in it and this thought has been presented in a very effective way. The poet challenges the reader to (be prepared to) loose everything (even his life) if he wants to attain a position of honor. He cites the example of a seed that has to fade into dirt in order to turn into a flowering tree.
Khudii ko kar baland itnaa ki har taqdeer se pahle
Khudaa bande se Khud puuchhe, bataa terii razaa kyaa hai (Iqbal)
(Note: This she’r is an addition to the original article.)
Iqbal’s intellect was unparalleled. His thoughts were very intense and his choice of words to mould these thoughts was excellent. This she'r is just one example of many splendid ash’aar that he gave us. Here he underlines the importance of self respect. He implores the reader to raise his self respect to such a level that even God asks him as to what his wish is, before drafting his destiny. Iqbal emphasized on ‘Khudii’ a lot as he attempted to elevate the self esteem of a generation.
As I said earlier, the ash’aar presented here are just a few drops from the vast ocean of Urdu shaairii. Hope this article provided interesting reading and prompted you to look for that unique she’r when you read Urdu shaairii the next time.
niyaazmand,
Irfan :Abid:
Naseer
Nov 2, 2020, 8:36:13 AM11/2/20
to
Thank you for posting your very illuminating article here on ALUP. Here our other friends have the opportunity to add to the subjects of "taxayyul" and "taGhazzul" if they so desire.
Naseer
Zoya
Nov 2, 2020, 5:35:06 PM11/2/20
to
aadaab,
Thank you so much for posting this article in a stand alone thread. I remember reading it years ago for the first time, probably in ebazm, and then again recently via a link in another Alup thread. I am still as impressed with it as I was when I first read it. You are just awesome! :)
Maybe when I have more leisure timeand fewer distractions, I will try to think of some asha'ar in the same vein. You know how much I love stuff like this.
Thanks again, for everything.
A long time member of your fan club,
________Zoya
Afzal A. Khan
Nov 2, 2020, 9:57:23 PM11/2/20
to
Aap ne jis 'arq~rezi se yeh mazmoon likha hai, woh qaabil-e-daad
hai.
I would just like to make one comment, which concerns Mirza
Ghalib's sher quoted by you :
GHam-e-hasti ka Asad kis se ho juz marg 'ilaaj
Sham'a har rNg men jalti hai sahar hone tak
****************
Some 8-10 years back, I had quoted the above sher in some
specific context that I don't quite remember now. At that time,
UVR Saheb used to grace our Newsgroup. Sadly he doesn't do so
any more.
Though he knew Urdu so well, he used to advocate the use of hindi
in prefernce to Urdu. And I didn't quite understand why. After
I had mentioned the above sher, he asked why someone couldn't
use words like "mrityu" and "mom~batti" etc. I believe we had a
lively discussion about this. I don't have the "technique" of
ferreting out old threads, which our worthy friend Naseer Saheb
possesses. I am sure he would recall that thread. Anyway......
****************
Mention of UVR Saheb and that old thread was just "en passant".
The way you have analyzed this sher is absolutely on the dot.
However, I feel that the two words "har raNg" have not been
commented upon sufficiently. IMHO, these two words are
fundamental and pivotal to a proper understanding of the sher.
Afzal
Naseer
Nov 3, 2020, 7:03:47 AM11/3/20
to
https://groups.google.com/forum/#!searchin/alt.language.urdu.poetry/GHam-e-hasti$20ka$20Asad$20kis$20se$20ho$20juz$20marg$20$27ilaaj%7Csort:date/alt.language.urdu.poetry/jv64W4JSW0Y/R83TjfO7xmoJ
Naseer
Naseer
Nov 3, 2020, 7:09:03 AM11/3/20
to
Naseer
Irfan Abid
Nov 6, 2020, 7:58:51 PM11/6/20
to
You are very welcome, sir! Actually you are the catalyst behind the posting of this article for whatever it's worth, so the readers should thank you as well! :)
niyaazmand,
Irfan :Abid:
Irfan Abid
Nov 6, 2020, 8:05:07 PM11/6/20
to
Your generous appreciation is truly appreciated! :) Yes, please let us know what ash'aar come to your mind when you think of examples of illustrious taKhayyul and taGhazzul. I am sure they will be true gems.
niyaazmand,
Irfan :Abid:
Irfan Abid
Nov 6, 2020, 8:10:38 PM11/6/20
to
Please accept my sincere thanks for appreciating this humble effort of mine! You are absolutely right about the words "har rang" in Ghalib's she'r. These words play a very important part in the meaning and impact of the she'r.
niyaazmand,
Irfan :Abid:
Afzal A. Khan
Nov 8, 2020, 4:08:58 PM11/8/20
to
On 11/6/2020 7:10 PM, Irfan Abid wrote:
> On Monday, November 2, 2020 at 9:57:23 PM UTC-5, Afzal A. Khan wrote:
>>> Finally, here are some examples of ash’aar that are rich in both ‘taKhayyul’ and ‘taGhazzul’.
>>>
>>> Gham-e-hastii kaa ‘Asad’ kis se ho juz marg ilaaj
>>> sham’a har rang meN jaltii hai sahar hone tak (Ghalib)
>>>
>>> You can write books in explaining and praising this gem from the master poet that Ghalib was. However, I will restrict myself to a few lines only. Let us take the aspect of ‘taKhayyul’ first. Sham’a has always been seen as the unkind and ruthless killer of the parvaanaa or as the centerpiece of attraction in a mahfil full of husn and nuur. It takes the imagination of Ghalib to see the other side of this picture. He notices the utter darkness she has to face, the ever depleting oil/wax, the very source of her life that she is always worried about and above all, the pain of constantly burning herself. Now see the ‘taGhazzul’. Ghalib’s mastery over the language and presentation is visible all over the sher. He says that life is a pain that can only be cured by death. This is same as the fact that sham’a has to survive all of her pains and keep burning until dawn when somebody comes and puts her out, relieving her of the horrors of a torturous existence. By the way, the radeef of the she'r, ‘hone tak’, is so haunting! It makes the she'r even more poignant. (Note: Ghalib’s original radeef was ‘hote tak,’ but this Ghazal is popularly known with ‘hone tak’ as the radeef.)
> On Monday, November 2, 2020 at 9:57:23 PM UTC-5, Afzal A. Khan wrote:
>>> Finally, here are some examples of ash’aar that are rich in both ‘taKhayyul’ and ‘taGhazzul’.
>>>
>>> Gham-e-hastii kaa ‘Asad’ kis se ho juz marg ilaaj
>>> sham’a har rang meN jaltii hai sahar hone tak (Ghalib)
>>>
>>> You can write books in explaining and praising this gem from the master poet that Ghalib was. However, I will restrict myself to a few lines only. Let us take the aspect of ‘taKhayyul’ first. Sham’a has always been seen as the unkind and ruthless killer of the parvaanaa or as the centerpiece of attraction in a mahfil full of husn and nuur. It takes the imagination of Ghalib to see the other side of this picture. He notices the utter darkness she has to face, the ever depleting oil/wax, the very source of her life that she is always worried about and above all, the pain of constantly burning herself. Now see the ‘taGhazzul’. Ghalib’s mastery over the language and presentation is visible all over the sher. He says that life is a pain that can only be cured by death. This is same as the fact that sham’a has to survive all of her pains and keep burning until dawn when somebody comes and puts her out, relieving her of the horrors of a torturous existence. By the way, the radeef of the she'r, ‘hone tak’, is so haunting! It makes the she'r even more poignant. (Note: Ghalib’s original radeef was ‘hote tak,’ but this Ghazal is popularly known with ‘hone tak’ as the radeef.)
iste'maal kiye haiN :
Shauq har raNg raqeeb-e-sar-o-saamaaN nikla
Qais tasweer ke parde men bhi 'uryaaN nikla
A few years back, there had been considerable discussion on
the above sher in ALUP. And UVR Saheb had taken a very active
part in that discussion.
Afzal
Naseer
Nov 8, 2020, 4:38:11 PM11/8/20
to
I believe the thread in question, Afzal SaaHib, is this one. The discussion on
Shauq har raNg raqeeb-e-sar-o-saamaaN nikla
Qais tasweer ke parde men bhi 'uryaaN nikla
begins a little late into the thread when UVR SaaHib, as far as I can remember, changed the direction of the thread to this couplet. His main reason for doing so was to enquire about the purpose of "bhi" in the second misra3.
https://groups.google.com/forum/#!topic/alt.language.urdu.poetry/9BN-UEww0NY%5B1-25%5D
Naseer
Shauq har raNg raqeeb-e-sar-o-saamaaN nikla
Qais tasweer ke parde men bhi 'uryaaN nikla
https://groups.google.com/forum/#!topic/alt.language.urdu.poetry/9BN-UEww0NY%5B1-25%5D
Naseer
Raj Kumar
Nov 8, 2020, 7:03:06 PM11/8/20
to
***janaab Irfan sahib:
aap ka yeh mazmuun qaabil-e-sitaa'ish hai aur is zimn meN aap ne jo ash'aar pesh kiya haiN, voh aek se baRh kar aek haiN. yaaraan-e-maHfil ne aap ki is taHreer ko be-Had saraaha hai magar is silsile meN mazeed ash'aar pesh nahiiN kiye. maiN is kamii ko, kisi Had tak, puura karne ke liye Haazir hu'aa huuN.
Haaliya 'post' meN, maiN voh ash'aar pesh karuuN ga jo meri nazar meN "taKhayyul-o-tafakkur" ke behtareen aaa'iina-daar haiN. do-aek roz meN, chaNd aise ash'aar le kar Haazir huuN ga jo "taGhazzul" ki jaan hoN. dono suuratoN meN, maiN tashreeH-o-vazaahat se parhez karuuN ga aur yeh mashq apne naazireen ke liye chhoR rakkhuuN ga! :-)
Miir Taqi Miir:
ilaahii, kaise hote haiN jinheN hai baNdagii Khwaahish?
hameN to sharm daaman-giir hotii hai Khudaa hote!
vasl meN raNg uR gayaa meraa
kyaa judaa'ii ko muNh dikhaauuN ga!
Mirza Ghaalib:
hai kahaaN tamannaa kaa duusraa qadam, yaa Rab?
ham ne dasht-e-imkaaN ko aek naqsh-e-paa paayaa!
kyuuN na dozaKh ko bhi jannat meN milaa leN, yaa Rab?
sair ke vaaste thoRii si fazaa aur sahii
Allama Iqbaal:
baaGh-e-bahisht se mujhe Hukm-e-safar diyaa tha kyuuN?
kaar-e-jahaaN daraaz hai, ab mira intizaar kar!
gaah mirii nigaah-e-tuNd cheer ga'ii dil-e-vujuud
gaah ulajh ke rah ga'ii daam-e-tavahhumaat meN
Firaaq Gorakhpuri:
yeh qaul tiraa yaad hai, ai saaqi-e-dauraaN
aNguur ke ik beej meN sau mai-kade pinhaaN!
bahut aahista uThtii hai nigaah-e-shaa'ir-e-fitrat
ruKh-e-hastii se chaadar sii magar sarkaa hi jaatii hai!
Faiz Ahmad Faiz:
mai-Khaana salaamat hai to ham surKhii-e-mai se
taz'iin-e-dar-o-baam-e-Haram karte raheN ge
ham aihl-e-qafas tanhaa bhi nahiiN, har roz naseem-e-sub'H-e-vatan
yaadoN se mu'attar aatii hai, ashkoN se munavvar jaatii hai
Ahmad Faraaz:
sunaa hai us ke shabistaaN se muttasil hai bahisht
makeeN udhar ke bhi jalve idhar ke dekhte haiN!
raat kyaa soye k saarii umr kii neeNd uR ga'ii
Khwaab voh dekhaa k dhaRkaa lag gayaa ta'abiir kaa!
Seemaab Akbarabaadii:
chheeN leeN fikr-e-nasheman ne mirii aazaadiyaaN
jazba-e-parvaaz maHduud-e-gulistaaN ho gayaa!
kahaanii apni ruu-daad-e-jahaaN ma'aluum hotii hai
jo suntaa hai, usii kii dastaaN ma'aluum hotii hai
Akbar Ilaahaabaadii:
puraanii raushnii meN aur na'ii meN farq itnaa hai
ise kashtii nahiiN miltii, use saaHil nahiiN miltaa!
falsafii ko baHs ke aNdar Khudaa miltaa nahiiN
Dor ko suljhaa rahaa hai aur siraa miltaa nahiiN!
fil-Haal itna hi kaafi hai. do-aek roz meN "taGhazzul" se bharpuur chaNd ash'aar le kar Haazir huuN ga.
Khair-aNdesh, Raj Kumar***
nagesh
Nov 9, 2020, 10:36:53 AM11/9/20
to
One small comment: according to Prof. Pritchett, Ghalib's she'r is:
kyūñ nah firdaus meñ dozaḳh ko milā leñ yā rab
sair ke vāst̤e thoṛī sī faẓā aur sahī
The ghazal is from the unpublished portion of Ghalib's work. It has been sung beautifully by Mahendra Kapoor, about whom Afzal Sahib recently wrote. It is available on Youtube. MK sings the version presented by Prof Pritchett. Because it is unpublished, is it more likely that there are multiple versions of the she'r?
Regards,
Nagesh
Raj Kumar
Nov 9, 2020, 11:43:47 AM11/9/20
to
R.K.***
Naseer
Nov 9, 2020, 1:49:07 PM11/9/20
to
Nagesh SaaHib's "version" is correct. In 2012 he provided a link to this Ghazal which I am copy/pasting here.
http://www.columbia.edu/itc/mealac/pritchett/00ghalib/raza/raza360aaaursahii.jpg
There appear to be a couple more ash3aar..
https://aruuz.com/selection?id=QNPF_R96S3MLXMM1_UQW
Naseer
nagesh
Nov 9, 2020, 1:49:24 PM11/9/20
to
I, too, found this she'r remarkable. Both versions scan (2122/1122/1122/22).
Perhaps Ghalib wrote both versions, and since he chose to exclude it from his Divan, we do not know which one he would have preferred.
I like all the she'rs in this ghazal. The following she'rs (cut and paste from Prof Pritchett's site) are especially appealing to me. I think they are very high in "tafakkur". YMMV:-)
tere kūche kā hai māʾil dil-e muẓt̤ar merā
kaʿbah ek or sahī qiblah-numā aur sahī
mujh ko vuh do kih jise khā ke nah pānī māñgūñ
zahr kuchh aur sahī āb-e baqā aur sahī
Regards,
Nagesh
Raj Kumar
Nov 9, 2020, 2:09:41 PM11/9/20
to
niyaaz-maNd, Raj Kumar***
Raj Kumar
Nov 9, 2020, 2:23:23 PM11/9/20
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> Raj Kumar Sahib:
>
> I, too, found this she'r remarkable. Both versions scan (2122/1122/1122/22).
> Perhaps Ghalib wrote both versions, and since he chose to exclude it from his Divan, we do not know which one he would have preferred.
>
Incidently, the other she'r of Ghaalib that I had quoted in my write-up is also missing from normal versions of Diivaan-e-Ghaalib, although a Ghazal in the same 'zameen' is very much there --- I mean, the one that contains this beautiful she'r:
shor-e-paNd-e-naaseH ne zaKhm par namak chhiRkaa
aap se ko'ii puuchhe, "tum ne kyaa mazaa paayaa"?
R.K.***
nagesh
Nov 9, 2020, 2:29:12 PM11/9/20
to
On Monday, November 9, 2020 at 10:49:07 AM UTC-8, Naseer wrote:
Your skills at finding our older posts are as sharp as ever,
Prof Pritchett provides a more complete analysis of the ghazal on her website, and I left with the impression that this was written very late in Ghalib's life; perhaps too late to be included in Diivaan's that had been compiled earlier.
Here is the link:
http://www.columbia.edu/itc/mealac/pritchett/00ghalib/xxradindex_i.html
Nagesh
nagesh
Nov 9, 2020, 2:41:16 PM11/9/20
to
The ghazal in question (shor-e pand-e naaseh ... ) is apparently an amalgam of two ghazals. Nine couplets from the two ghazals were dropped, including both maqtas and the she'r you cited. You can find more information at http://www.columbia.edu/itc/mealac/pritchett/00ghalib/004/index_004.html
Regards,
Nagesh
Irfan Abid
Nov 9, 2020, 9:45:41 PM11/9/20
to
mazmuun kii pasandeedgii kaa shukriya! aap ne jo ash'aar inaayar farmaaye haiN, vuh vaaqa'ii nageene haiN. bahut bahut shukriya! aap kii aglii qist kaa intizaar rahegaa.
niyaazmand,
Irfan :Abid:
Zoya
Nov 10, 2020, 2:43:08 PM11/10/20
to
RK sahib,
aap ne vaaqa'ii "taKhayyul-o-tafakkur" kii behtariin misaaleN pesh kii haiN aur is laRii ko chaar chhand lagaa diye haiN.
'taghazzul' par mabni aglii qist kaa mujhe bhii besabrii se intizaar hai. aap ke zauq-o-shauq se ham sab vaaqif haiN, aur jaante haiN k taghazzul par jo aap ki giraft hai, voh aur kisii kii nahiiN!
Thank you.
_____Zoya
aap ne vaaqa'ii "taKhayyul-o-tafakkur" kii behtariin misaaleN pesh kii haiN aur is laRii ko chaar chhand lagaa diye haiN.
'taghazzul' par mabni aglii qist kaa mujhe bhii besabrii se intizaar hai. aap ke zauq-o-shauq se ham sab vaaqif haiN, aur jaante haiN k taghazzul par jo aap ki giraft hai, voh aur kisii kii nahiiN!
Thank you.
_____Zoya
Raj Kumar
Nov 12, 2020, 12:02:33 AM11/12/20
to
On Sunday, November 8, 2020 at 4:03:06 PM UTC-8, Raj Kumar wrote:
***Irfan sahib v Zoya sahiba:
"taKhayyul-o-tafakkur" ki chaNd misaaleN jo maiN ne apne pichhle Khat meN pesh kii thiiN, aap ne unheN pasaNd farmaaya hai --- jis ke liye maiN aap donoN ka tah-e-dil se shukriya adaa karta huuN. meri tajveez to ab aise ash'aar pesh karne ki thi jo "taGhazzul" ki umda-tareeN misaal hoN magar ho yeh rahaa hai abhi aur bahut se aise ash'aar mere zehn meN muNdlaa rahe haiN jinheN mere pahle Khat ki zeenat hona chaahiye tha. agar naazireen buraa na maaneN to mujhe apne zehn se yeh bojh utaar lene deN.
"taGhazzul" se bharpuur ash'aar mere agle Khat ki zeenat hoN ge! :-)
------------------ "taKhayyul-o-tafakkur" ke chaNd aur namuune ---------------
Be-Khud Dehlavi:
naz'a meN saamne ik suurat-e-zebaa aa'ii
maut chehre se haTaatii hu'ii parda aa'ii
ko'ii Gham-Khwaar bhi dekhaa, ko'ii ham-dam bhi milaa?
yuuN to aane ko tirii bazm meN dunyaa aa'ii
Faani Badaayuuni:
maujoN ke talaatum se maayuus na ho, Faanii
girdaab ki har tah meN saaHil nazar aataa hai
farmaan-e-saHar teraa har shaam pe jaarii hai
yaa Rab, shab-e-Gham ko bhii taakeed-e-saHar farmaa!
AsGhar GoNDavii:
jis se kal tak dil-e-betaab phuNkaa jaataa thaa
usi sho'alay ko jo dekhaa to sar-tuur hai aaj
hai dil-e-naakaam-e-aashiq meN tumhaarii yaad bhii
yeh bhi kyaa ghar hai k hai barbaad bhii, aabaad bhii
Firaaq Gorakhpuri:
farsh-e-mai-Khaana pe jugnuu se chamak jaate haiN
deedanii hai tiri aahista-ravii, ai saaqii
(nayee saal ki aamad par)
mehr ke gird yeh zamiiN kar chuki ik tavaaf aur
qalb-e-zamaaN-makaaN meN aaj paR gayaa ik shigaaf aur
Adeeb Sahaaranpuri:
maiN un ke saamne se guzartaa huuN is liye
tark-e-ta'alluqaat ka aHsaas mar na jaaye
jii chaahataa hai, phir se bulaa luuN bahaar ko
lekin yeh sochtaa huuN, KhizaaN ruuTh kar na jaaye
Nushuur VaaHidii:
yaar ko baa-vafaa kahuuN yaa use be-vafaa kahuuN?
manziloN ki baat hai, raaste meN kyaa kahuuN?
shaa'ir ke falak-bos tasavvur ka tasalsul
baadal haiN k taa-Hadd-e-nazar chhaaye huye haiN
Anwar Saabiri:
hazaar baar nasheman banay, ujaR jaaye
magar chaman ko na, yaa Rab, kabhii zavaal aaye
dostii nibh na sakii sheeshe ki paimaane se
jab se ham log nikaale gaye mai-Khaane se
roz aapas meN laRaa karte haiN arbaab-e-Khirad
ko'ii deevaana ulajhtaa nahiiN deevaane se
Hafeez Hoshiarpuri:
zamaana ho gayaa, phir bhii yihii maHsuus hotaa hai
unheN pahle-pahal jis tar'H dekhaa ho abhii ham ne
Hafeez, un se maiN jitnaa bad-gumaaN huuN
voh mujh se is qadar barham na hoN ge
Sahir Hoshiarpuri:
ham tirii yaad se bahlaaye huye the dil ko
kyaa Khabar thii k yeh rag rag meN utar jaaye gii
gard kii tah hi meN rahne do ise aasuuda(h)
ziNdagii aa'ina dekhe gi to Dar jaaye gii
ab, jaate jaate, agar apna aek she'r sunaa duuN to kyaa harj hai?
kise bataa'uuN k teraa Khayaal aate hii
Hijaab mere tasavvur ko aaye haiN kyaa kyaa
ab aap meri agli qist ka intizaar keejiye!
Raj Kumar***
Irfan Abid
Nov 13, 2020, 9:53:02 PM11/13/20
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muhtaram RK sb, aadaab arz hai!
ek martaba phir aap ne nihaayat dilkash ash'aar inaayat farmaaye haiN. aaKhirii she'r kaa to javaab hii nahiiN, and I mean it. bahut bahut shukriya!
niyaazmand,
Irfan :Abid:
Zoya
Nov 18, 2020, 11:34:35 AM11/18/20
to
RK sahib,
aap ne jo asha'ar apni duusrii qist meiN darj kiye haiN, inheN maiN baarhaa paRh chukii huuN. I bow to your taste and your memory. Absolute gems again. Some of these asha'ar are familiar to me, in fact a few are on my personal favorite list, however reading these again (and again) imparts a new meaning every time.
agar aap Thhiik samjheN to merii guzaarish hai k Josh Malsiani kaa voh she'r bhii apni is list meiN shaamil kar liijiye jo maiN ne sirf aap hii se sunaa hai, and it still wows me. You know which she'r I am talking about:
parvaanoN kaa hai bazm meN, ai Josh, qatl-e-aam
aNdher --- aur voh bhi charaaGhoN ke saamne!
Thank you. Keep them coming.
_______Zoya
aap ne jo asha'ar apni duusrii qist meiN darj kiye haiN, inheN maiN baarhaa paRh chukii huuN. I bow to your taste and your memory. Absolute gems again. Some of these asha'ar are familiar to me, in fact a few are on my personal favorite list, however reading these again (and again) imparts a new meaning every time.
agar aap Thhiik samjheN to merii guzaarish hai k Josh Malsiani kaa voh she'r bhii apni is list meiN shaamil kar liijiye jo maiN ne sirf aap hii se sunaa hai, and it still wows me. You know which she'r I am talking about:
parvaanoN kaa hai bazm meN, ai Josh, qatl-e-aam
aNdher --- aur voh bhi charaaGhoN ke saamne!
Thank you. Keep them coming.
_______Zoya
Raj Kumar
Nov 19, 2020, 11:21:56 PM11/19/20
to
> muhtaram RK sb, aadaab arz hai!
> ek martaba phir aap ne nihaayat dilkash ash'aar inaayat farmaaye haiN.
aaKhirii she'r kaa to javaab hii nahiiN, and I mean it. bahut bahut shukriya!
du'aa-go, Raj Kumar***
Raj Kumar
Nov 22, 2020, 3:20:34 PM11/22/20
to
On Wednesday, November 18, 2020 at 8:34:35 AM UTC-8, Zoya wrote:
> RK sahib,
> aap ne jo asha'ar apni duusrii qist meiN darj kiye haiN, inheN maiN baarhaa paRh chukii huuN. I bow to your taste and your memory. Absolute gems again. Some of these asha'ar are familiar to me, in fact a few are on my personal favorite list, however reading these
> again (and again) imparts a new meaning every time.
***Zoya saahiba, aap ko mere darj kiye huye ash’aar pasaNd aaye, yeh meri Khush-qismati hai. maiN jaanta huuN k is aap ka adabi zauq kisi duusre se kam nahiiN hai, is liye aap ka izhaar-e-pasaNdeedagi mere liye baa’is-e-sad-masarrat hai!***
> RK sahib,
> aap ne jo asha'ar apni duusrii qist meiN darj kiye haiN, inheN maiN baarhaa paRh chukii huuN. I bow to your taste and your memory. Absolute gems again. Some of these asha'ar are familiar to me, in fact a few are on my personal favorite list, however reading these
> again (and again) imparts a new meaning every time.
agar aap Thhiik samjheN to merii guzaarish hai k Josh Malsiani kaa voh she'r bhii apni is list meiN shaamil kar liijiye jo maiN ne sirf aap hii se sunaa hai, and it still wows me. You know which she'r I am talking about:
parvaanoN kaa hai bazm meN, ai Josh, qatl-e-aam
aNdher --- aur voh bhi charaaGhoN ke saamne!
Qais par “zor-e-taKhayyul” is qadar Haavii hu’aa
aaj phir “Husn-e-taGhazzul” aur peechhe paR gayaa!*** :-)
------------------ taKhayyul-o-tafakkur ke chaNd aur namuune -----------------
Josh Malsiyani
parvaanoN kaa hai bazm meN, ai Josh, qatl-e-aam
aNdher --- aur voh bhi charaaGhoN ke saamne!
naam hai is ka ‘bashar’, is meN hai ‘shar’ do-baTa-teen
Faani Badaayuuni
ma’aal-e-soz-e-Ghamhaa-e-nihaanii dekhte jaa’o
bhaRak uTThii hai sham’a-e-ziNdagaanii, dekhte jaa’o
uThaa’ii jaa rahii hai laash-e-faanii, dekhte jaa’o
tum apne marne vaale kii nishaanii dekhte jaa’o
sune jaate na the tum se mire din raat ke shikve
kafan sarkaa’o, merii be-zabaanii dekhte jaa’o!
Firaaq Gorakhpuri
ko’ii meri aaNkh se dekhtaa teri bazm-e-naaz ki vus’ateN
voh har aek gosha makaaN makaaN, voh har aek lamHa zaman zaman
hu’i vaardaat-e-saHar yahaaN to guloN ke seene dhaRak gaye
voh chalii k teGh-e-naseem ne ka’ii haath uchhaal diya lahuu
shaadii ki aNjuman ho k maatam ki bazm ho
shaamil haiN ik “adaa-e-kinaaraa-kashii” se ham
shakl insaan ki ho, chaal bhi insaan ki ho
yuuN bhi aatii hai qayaamat, mujhe ma’aluum na thaa
Ahmad Faraaz (?)
mire kalaam se behtar hai meri Khaamoshii
na jaane, kitne savaaloN ki aabruu rakh lii
du’aayeN deejiye beemaar ke tabassum ko
mizaaj puuchhne vaaloN ki aabruu rakh lii
(naa-ma’aluum)
ghabraa ke ziNdagii ke Gham-e-laa-zavaal se
ham ro diye lipaT ke tumhaare Khayaal se
dekheN ab aasmaan se aata hai kyaa javaab
kaaNpe to haiN sitaare hamaare savaal se
Akbar Ilahaabaadi
na bahte ashk to taaseer meN sivaa hote
sadaf meN rahte yeh motii to be-bahaa hote
raah to mujh ko bataa dii Khizr ne
uuNT kaa lekin kiraaya kaun de?
Pandit Hari Chand Akhtar
Khudaa ke naam par dast-o-giriibaaN haiN Khudaa vaale
bahut hai jis qadar zikr-e-Khudaa, Khauf-e-Khudaa kam hai
du’aa ko haath kyuuN uTTheN mire teemaar-daaroN ke
zabaaN se kyuuN naheeN kahte k ummeed-e-shifaa kam hai?
***ab, jaate jaate, aek she’r Khaaksaar ka bhi ho jaaye to kyaa harj hai --- aur she’r bhi aisa k jise kisi post meN Irfan sahib ne bahut saraahaa tha; arz hai
yeh kyaa k baad-e-sabaa sar jhukaaye aa’ii hai
jabeen-e-naaz ne bhejaa na ho salaam apnaa
------------
to leejiye, ZS, aap ne to sirf aek she’r ki shumuuliyat ke liye kahaa tha aur Khaaksaar aThaara ash’aar ki laRii le aaya -------- yeh to vuhi baat hu’ii k Hanumaan jo ko to sirf aek “saNjeevanii buuTii” laane ke liye kahaa gayaa thaa aur aaN-janaab pahaaR ka pahaaR uThaa laaye! :-)
du’aa-go, Raj Kumar***
Zoya
Nov 22, 2020, 10:05:47 PM11/22/20
to
On Sunday, November 22, 2020 at 2:20:34 PM UTC-6, Raj Kumar wrote:
> to leejiye, ZS, aap ne to sirf aek she’r ki shumuuliyat ke liye kahaa tha aur Khaaksaar aThaara ash’aar ki laRii le aaya -------- yeh to vuhi baat hu’ii k Hanumaan jo ko to sirf aek “saNjeevanii buuTii” laane ke liye kahaa gayaa thaa aur aaN-janaab pahaaR ka pahaaR uThaa laaye! :-)
kya baat hai RK sahib, bahut Khuub, bahut hii Khuub. aChhaa kiya jo maiN ne ek she'r kii farmaaish kar dii aur javaaban ek Khazaanaa mil gayaa. :)
> to leejiye, ZS, aap ne to sirf aek she’r ki shumuuliyat ke liye kahaa tha aur Khaaksaar aThaara ash’aar ki laRii le aaya -------- yeh to vuhi baat hu’ii k Hanumaan jo ko to sirf aek “saNjeevanii buuTii” laane ke liye kahaa gayaa thaa aur aaN-janaab pahaaR ka pahaaR uThaa laaye! :-)
Guess what, from this new list, I remembered only two asha'ar, the rest are new for me! What a treat, I will be savoring these for quite some time. Thank you so much. No rush for the next qist, take your time, these 18 are enough to keep me busy for now.
> du’aa-go, Raj Kumar***
You are such a treasure RK sahib, they don't make 'em like you anymore. salaamat rahiye.
__________Zoya
Irfan Abid
Nov 23, 2020, 7:30:56 PM11/23/20
to
muhtaram RK sb, aadaab arz hai!
aap ke haafize se baraamad hue yih kuchh aur negeene sar aaNkhoN par! nihaayat dilkash ash'aar haiN. Arsh Malsiyani kaa "do baTaa teen" vaalaa she'r aap ne kuchh arsa qabl sunaayaa thaa jo ki is kii dilchasp radeef kii vajh se mujhe Khuub yaad hai. aur haaN, aaKhirii she'r bhii yaad aayaa. kyaa kehne!
niyaazmand,
Irfan :Abid:
Raj Kumar
Dec 12, 2020, 8:30:24 PM12/12/20
to
yaaraan-e-maHfil:
aaj bahut dinoN ke ba’ad is laRii ki jaanib ruKh hu’aa hai, go k idhar aane ka Khayaal to har laHza aata rahaa. is asnaa meN, kuchh to mulk ke siyaasi Haalaat aise rahe haiN k apni tavajjo besh-tar unheeN par markuuz rahi hai aur kuchh tabii’at aisi mutalavvin-mizaaj vaaq’ea hu’ii hai k kabhi saazgaar to kabhi naasaaz. taaham, ba-ruu-e-va’ada, maiN aaj kuchh aise ash’aaar le kar Haazir hu’aa huuN jo meri nazar meN “Husn-e-taGhazzul” ke kaamyaab namuune haiN.
is meN ko’ii shak nahiiN k har achchhe she’r meN taKhayyul aur taGhazzul donoN ka daKhl hota hai; albatta, kisi she’r meN pahli sifat ziyaada aur duusri kam yaa phir duusri sifat ziyaada aur pahli kam. aaj ke pesh-karda ash’aar meN taKhayyal to Khair hai hi magar taGhazzul kuuT kuuT kar bharaa hu’aa hai --- goyaa, alfaaaz ka munaasib inteKhaab, un ki tarteeb aisi jaise kisi laRii meN moti piroye gaye hoN, izaafatoN ka ustaadaana ist’emaal, she’r paRho to muusiiqii ka sa asar paida ho --- vGh, vGh.
chaliye, aaGhaaz karte haiN Jigar M. ke aek qit’e se, jis meN agarche faarsiiyat ka zor hai magar Huzuur ki “artistry” qaabil-e-deed hai; farmaate haiN
“voh aek she’r-e-mujassam, voh aek paikar-e-Husn
voh sair-e-baaGh, ba-aNdaaz-e-be-niyaazaana(h)
nazar nazar mutabassim, agarche be-parvaa
nafas nafas mutavajji(h), agarche begaana(h)
fidaa-e-neem-niqaabii tamaam nak_hat-o-raNg
nisaar-e-neem-nigaahii tamaam mai-Khaana(h)”
ab dekhiye Husn-e-taGhazzul ki aek misaal jahaaN ash’aar aam-fahm alfaaz meN malbuus haiN --- meri muraad hai Firaaq G. ke chaNd ash’aar se. pahle aek qit’a
“lab par hi kabhii aa na sakaa naam tumhaaraa
dil ne to ka’ii baar, ka’ii baar pukaaraa
ik baar jo mil jaa’eN voh beete huye lamHe
sau baar hameN talKhii-e-ayyaam gavaaraa”
ab aek Ghazal ke teen she’r (duusre she’r meN, taGhazzul ke saath saath, Khayaal ki nudrat bhi dekhiye ga)
“bazm-e-mah-jabeenaaN hai, chuuRiyaaN khanaktii haiN
adh-khile gulaaboN kii DaaliyaaN mahaktii haiN
voh guzar gayaa kab kaa, phir bhii shaah-raahoN par
kisht-e-Khush-Kharaamii kii baaliyaaN lahaktii haiN
haiN Firaaq har lab par naGhma-zan mirii GhazleN
jaise shaaKh-saaroN par bulbuleN chahaktii haiN”
ab teen she’r pesh haiN Be-Khud Dehlavi ke (jinheN paRh kar insaan kyuuN na be-Khud ho jaaye)
"aaj kuchh baateN hu’ii haiN aashiq-e-jaaN-baaz se
sharm se, neechii nazar se, naaz se, aNdaaz se
aaNkh meN begaanagii hai aur dil meN tamkanat
raaz khulte jaa rahe haiN aap ke aNdaaz se
lutf ban jaaye gi ik din yeh nigaah-e-qahr bhii
ham, tire sar kii qasam, vaaqif na the is raaz se"
ab do she’r Bismil Sa’eedi ke (nihaayat aasaan alfaaz meN nihaayar lateef taGhazzul)
“rutba yeh tire dar ko mire sar se milaa hai
HaalaaN-k mujhe sar bhi tire dar se milaa hai
jis shaKhs ki Bismil se mulaaqaat hu’ii hai
voh shaKhs moHabbat ke payambar se milaa hai”
ab teen she’r Naresh Kumar Shaad ke (jo taGhazzul aur tarannum ki sifaat se aaraasta-pairaasta haiN)
“gulshan kii pur-kaif fazaa meN be-Khud ho kar jhuum rahaa huuN
phuuloN kaa to zikr hi kyaa hai, kaaNToN ko bhii chuum rahaa huuN
jin galiyoN meN tuu ne mujh se kuchh jhuuTe iqraar kiye the
ab bhi ba-Haal-e-afsurda maiN un galiyoN meN ghuum rahaa huuN
mausim-e-dilkash, seHn-e-gulistaaN, saaqi-e-gul-ruu, baada-e-raNgeeN
is maaHaul meN rah kar bhii, ai dost, bahut maGhmuum rahaa huuN”
ab dekhiye SaaHir Ludhianvi ke kalaam ki “shiguftagii”
“har roz tire Husn ka hotaa hai samaaN aur
har roz mujhe chaahiye aNdaaz-e-bayaaN aur
haTtii hi nahiiN haiN tire chehre se nigaaheN
thaktii hi nahiiN haiN tujhe lipTaa ke yeh baaheN
chhuu lene se hotaa hai tiraa jism javaaN aur
har roz mujhe chaahiye aNdaaz-e-bayaaN aur”
ab do-aek ash’aar Khaaksaar ke bhi ho jaa’eN to kyaa harj hai ---- mulaaHiza farmaaiye
“na tafakkur hai, na aHsaas, na taufeeq-e-suKhan
phir mujhe suuNgh ga’ii ko’ii nasheelii naagan
maiN huuN voh phuul k jo zeenat-e-saHraa Thahraa
log kyuuN DhuuND rahe haiN mujhe gulshan gulshan”
--------------
to yeh rahe kuchh namuune Husn-e-taGhazzul ke jo Haafize ki jheel meN aek halki si Dubki lagaane se bar-aamad huye haiN. agar kisi jaanib se izhaar-e-ishteyaaq hu’aa to maiN aek gahri Dubki lagaa kar mazeed moti chun_ne ki koshish karuuN ga. fil-Haal, aap isi sauGhaat se jii bahlaaiye.
du’aa-go, Raj Kumar
B.G. M.
Dec 13, 2020, 11:16:42 AM12/13/20
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taGhazzul se labrez ash’ar jo aap ne aaj yahaaN raqam kiye haiN waaqeyii eik besh qeemat I Khazaane se kam nahiiN!
Bahot shukriya yeh ham se share karne kaa!🙏🙏🙏
I will keep them in my bayaaz and cherish them for a lifetime.
Allah aap ki umr daraaz karay aur aap ko seHat mand aur pur-sukuun zindagi ataa’ kare, Aameen, summaa Aameen!
==================================================
Irfan Abid
Dec 13, 2020, 7:05:02 PM12/13/20
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On Saturday, December 12, 2020 at 8:30:24 PM UTC-5, Raj Kumar wrote:
muhtaram RK sb, aadaab arz hai!
Khuub, balki bahut Khuub! behad dilkash ash'aar haiN. kya kehne! maiN soch rahaa huuN ki jab ek halki si Dubki par aise motii baraamad hue haiN to ek gehre Ghote kaa nateeja kyaa hogaa. :) agar vaqt ijaazat de to yih silsilaa jaarii rakhiye.
niyaazmand,
Irfan :Abid:
Zoya
Dec 14, 2020, 2:29:07 PM12/14/20
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RK sahib,
As always, your latest installment in this series is also breathtaking. You are a treasure, and we are fortunate that you take the time to share these gems with us.
Keep 'em coming. The more you oblige, the greedier I get. :)
salaamat rahiye. Please take good care of yourself.
________Zoya
As always, your latest installment in this series is also breathtaking. You are a treasure, and we are fortunate that you take the time to share these gems with us.
Keep 'em coming. The more you oblige, the greedier I get. :)
salaamat rahiye. Please take good care of yourself.
________Zoya
Raj Kumar
Dec 19, 2020, 5:34:28 PM12/19/20
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>
> Bahot shukriya yeh ham se share karne kaa!🙏🙏🙏
>
> I will keep them in my bayaaz and cherish them for a lifetime.
>
> Allah aap ki umr daraaz karay aur aap ko seHat mand aur pur-sukuun zindagi ataa’ kare, Aameen, summaa Aameen!
>
> ==================================================
***BG sahib, agar aap ko yeh ash'aar "is qadar" pasaNd aaye haiN to mujhe apne kiye par kuchh faKhr sa hone lagaa hai. aap inheN baar baar paRhiye aur Khuub lutf uThaaiye.
> Bahot shukriya yeh ham se share karne kaa!🙏🙏🙏
>
> I will keep them in my bayaaz and cherish them for a lifetime.
>
> Allah aap ki umr daraaz karay aur aap ko seHat mand aur pur-sukuun zindagi ataa’ kare, Aameen, summaa Aameen!
>
> ==================================================
aur jo du'aa'eN aap ne meri Khaatir kii haiN, unheN paRh kar hi meri seHat behtar hone lagi hai. aur jab yeh du'aa'eN kaar-gar hueeN tab to maiN shaayad decathlon meN shirkat karne ke qaabil ho jaauuN ga. :-)
Khair-aNdesh, Raj Kumar***
Raj Kumar
Dec 20, 2020, 11:43:57 AM12/20/20
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Huzuur, idhar na to vaqt ki kami hai aur na hi Haafize ki jheel meN motiyoN ki --- kami hai to seHat-maNdi ki. kabhi 'up' kabhi 'down' aur aaj kal to mujhe 'shingles' ke muuzi maraz ne gher rakkha hai, jis ki vajah se kuchh likhne-paRhne ka 'mood' kam kam hi banta hai. Even so, the show has to go on -------------
du'aa-go, Raj Kumar***
stanvir
Dec 21, 2020, 2:17:22 PM12/21/20
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Irfan Abid sahib,
Thank you for your article. Not only I enjoyed it very much, I also came across a grest many amazing couplets in the many responses, specially the ones from Raj Kumar sahib, thanks to your posting this article here.
I will limit myself to just two examples that I find fascinating in therms of their "taKhayyul and taGhazzul".
The first one is a couplet:
magas ko baagh meiN jaane na dijo
ke naahaq khoon parvaane ka ho ga
This gem needs no explanation as to why it is an amazing masterpiece. Unfortunately the name of the poet escapes me aty the moment.
The second one is Faiz Ahmad Faiz's poem "Raqeeb se".
I am not well read in urdu literature, sepccailly poetry, yet I will ventiure to claim that nobody had ever seen this other dimension of relationship between romanrtic rivals before Faiz Ahmad Faiz so beautifully penned it.
Shoaib
Thank you for your article. Not only I enjoyed it very much, I also came across a grest many amazing couplets in the many responses, specially the ones from Raj Kumar sahib, thanks to your posting this article here.
I will limit myself to just two examples that I find fascinating in therms of their "taKhayyul and taGhazzul".
The first one is a couplet:
magas ko baagh meiN jaane na dijo
ke naahaq khoon parvaane ka ho ga
This gem needs no explanation as to why it is an amazing masterpiece. Unfortunately the name of the poet escapes me aty the moment.
The second one is Faiz Ahmad Faiz's poem "Raqeeb se".
I am not well read in urdu literature, sepccailly poetry, yet I will ventiure to claim that nobody had ever seen this other dimension of relationship between romanrtic rivals before Faiz Ahmad Faiz so beautifully penned it.
Shoaib
Nagesh
Dec 22, 2020, 3:01:57 PM12/22/20
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Greetings! The she'r beginning "magas ko" was discussed in another thread, and I tried to reproduce an interpretation I heard years ago. The interpretation is somewhat far-fetched, and a better explanation would be very welcome.
Would you please explain to us what meaning you take from this she'r?
Many thanks!
Regards,
Nagesh
stanvir
Dec 22, 2020, 3:44:33 PM12/22/20
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Dear Nagesh sahib,
Greetings! I was not aware the she’r in question was discussed in a different thread. I would love to see what others have understood from this great couplet. Could ou please post a link here for me?
As for myself, this is what I take it to mean:
"Do not let the honey bee enter the garden for it will lead to the death of the moth."
At face value, this conclusion is hard to arrive at. How could a bee's going into a garden result in the death of a moth? But, if we ponder a little bit, it becomes crystal clear that this is exactly what would happen. For if bees are allowed to enter the garden, they will gather the nectar from flowers and head back to their hives to store the nectar and turn it into honey. The humans will raid the bee hive and harvest the beeswax from the honey. Candle makers will use this wax to make candles. Once those candles are sld to consumers, they will be put to daily use. The burning candles will attract the moths and thus claim their lives.
That’s what I took this couplet to mean. This is what we call “dariya ko koozay meiN band karna. (The equivalent English proverb is not nearly as close to convey the same meaning.)
Warm regards,
Shoaib
Greetings! I was not aware the she’r in question was discussed in a different thread. I would love to see what others have understood from this great couplet. Could ou please post a link here for me?
As for myself, this is what I take it to mean:
"Do not let the honey bee enter the garden for it will lead to the death of the moth."
At face value, this conclusion is hard to arrive at. How could a bee's going into a garden result in the death of a moth? But, if we ponder a little bit, it becomes crystal clear that this is exactly what would happen. For if bees are allowed to enter the garden, they will gather the nectar from flowers and head back to their hives to store the nectar and turn it into honey. The humans will raid the bee hive and harvest the beeswax from the honey. Candle makers will use this wax to make candles. Once those candles are sld to consumers, they will be put to daily use. The burning candles will attract the moths and thus claim their lives.
That’s what I took this couplet to mean. This is what we call “dariya ko koozay meiN band karna. (The equivalent English proverb is not nearly as close to convey the same meaning.)
Warm regards,
Shoaib
Nagesh
Dec 22, 2020, 8:39:18 PM12/22/20
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https://groups.google.com/g/alt.language.urdu.poetry/c/spM5_W6p8sU/m/PlswgwwZBQAJ
Regards,
Nagesh
stanvir
Dec 23, 2020, 12:52:50 PM12/23/20
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Thank you Nagesh sahib. You are a true gentleman.
Regards,
Shoaib
Regards,
Shoaib
Raj Kumar
Jan 11, 2021, 5:53:27 PM1/11/21
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yaaraan-e-maHfil:
aaj, aek mahiine ke ba’ad, is laRii ki jaanib ruKh karne ki taufeeq hu’ii hai --- kahne ka matlab yeh k apne Haafize ki “jheel-e-neem-munjamid” meN aek gahri Dubki lagaane ki jasaarat hu’ii hai. nateejatan, chaNd aur anmol moti nikaal laane ka mauq’a faraaham hu’aa hai aur kuchh aise ash’aar bar-aamad huye haiN jo Husn-e-taGhazzul se labrez haiN!
Hasb-e-ma’amuul, aaj ki sham’a bhi sab se pahle janaab-e-Jigar M. ke saamne aati hai aur maHfil un ki sifaat-e-taGhazzul-o-tarannum se mustafeed hoti hai. samaa’at farmaaiye:
aaNkheN to khol, sar to uThaa, dekh to zaraa
kab se Jigar voh chaaNd saa chehra niDhaal hai
tuu miray Haal-e-pareshaaN pe bahut tanz na kar
apne gesuu bhi zaraa dekh, kahaaN tak pahuNche?
aek dil hai aur tuufaan-e-Havaadis, ai Jigar!
aek sheesha hai k har patthar se Takraataa huuN maiN
ab sham’a Firaaq G. ke saamne aati hai, jin se Haazireen sirf “gahraarii-e-taGhazzul” hi nahiiN bal-k “uNchaaii-e-taKhayyul” ki ummeed bhii rakhte haiN --- aur unheN jo Ghizaa muyassar hoti hai voh un ki ummeed se kahiiN baRh kar hoti hai. mulaaHiza farmaaiye:
yeh nakhatoN kii narm-ravii, yeh havaa, yeh raat
yaad aa rahe haiN ishq ko TuuTe ta’alluqaat
daryaa ke madd-o-jazr to paanii ke khel haiN
hastii hi ke fareb haiN, kyaa maut kyaa Hayaat
ham aihl-e-dil ne raNg-e-zamaana badal diyaa
sab ne lagaaya zor magar ban paRay ki baat
ab chaar ash’aar aek aisi Ghazal ke pesh-e-Khidmat haiN, jo maiN ne Dilli ke aek mushaa’ire meN Huzuur ki zabaani suni thi; us ke ba’ad, aaj tak voh Ghazal kisi kitaab meN nazar nahiiN aa’ii. in ash’aar meN lafzoN ka inteKhaab, un ka imtezaaj, zabaan ka iste’maal aur fikr ki parvaaz --- yeh sabhii sifaat yak-jaa maujuud haiN. samaa’at farmaaiye:
taRap kar jigar muNh ko aa jaaye hai
use dekh kar kab rahaa jaaye hai?
rumuuz-e-bahaaraaN jo puuchho ho tum
gul apne lahuu meN nahaa jaaye hai
mujhe paa ke tanhaa mirii be-kasii
sar-e-shaam bistar lagaa jaaye hai
mujhe gum-rahii kaa nahiiN ko’ii Khauf
tire ghar ko har raastaa jaaye hai
ab aap deegar sho’raa-e-karaam ko suniye:
Hafeez J.
aNjuman kii aNjuman ne ajnabii jaanaa mujhe
shukriya, ai chashm-e-saaqii, tuu ne pahchaanaa mujhe
jaam uThaanaa bhii jinheN aayaa nahiiN ab tak Hafeez
voh sikhaane aaye haiN aadaab-e-mai-Khaana mujhe
Faani B.
is kashmakash-e-hastii meN ko’ii raaHat na milii jo Gham na hu’ii
tadbeer ka Haasil kyaa kahiye, taqdeer ki gardish kam na hu’ii
dil naam hai us ki tajallii kaa jo aalam ban kar aam hu’ii
Gham naam hai us ki tajallii kaa jo raaz rahii, aalam na hu’ii
insaan ki saarii hastii kaa mafhuum hai Faanii aek nazar
voh aek nazar jo dil meN utar kar zaKhm banii, marham na hu’ii
Shamiim Kirhaani
voh dil bhi dukhaate haiN, rakh dete haiN marham bhii
kyaa turfa tabii’at hai, sho’alay bhi haiN shabnam bhii
voh ruk ke nahiiN milte, ham jhuk ke nahiiN milte
ma’aluum yeh hotaa hai, kuchh voh bhi haiN kuchh ham bhii
Naresh Kumar Shaad
aek jaanib hai raah daftar kii
ik taraf mai-kade ka jaada hai
aa gayaa huuN ajab do-raahe par
ai Gham-e-zeest, kyaa iraada hai?
dil ke zulmat-kade meN terii yaad
aaj aa’ii hai raNg-o-nuur liye
jaise ik seem-posh dosheezah
maqbare meN jalaa rahii ho diye
ab agar do she’r Khaaksaar ke bhi ho jaayeN to kyaa harj hai?
miri ziNdagii ka savaal tuu, miri shaa’irii ka kamaal tuu
tu samaa gayaa miri ruuH meN, maiN Ghazal meN tujh ko samo gayaa
kaheeN teri jalva-numaa’iyaaN, kaheeN meri naGhma-saraa’iyaaN
tu hazaar moti luTaa gayaa, maiN hazaar moti piro gayaa
Hasb-e-ma’muul, aap sabhi dostoN ke ta’assuraat ka intezaar rahe ga!
Raj Kumar
Zoya
Jan 12, 2021, 12:16:23 PM1/12/21
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RK sahib,
aap kii is qist meN jo ash'aar shaamil haiN, unheN paRh kar mujhe kuChh aisaa maHsuus ho rahaa hai:
"jasie saHraaoN meN haule se chale baad-e- nasiim.........."
In the mayhem all around us these days, your post feels like an oasis. I needed to read something just like this today. Thank you. :)
Take good care of yourself.
Thank you again.
________Zoya
aap kii is qist meN jo ash'aar shaamil haiN, unheN paRh kar mujhe kuChh aisaa maHsuus ho rahaa hai:
"jasie saHraaoN meN haule se chale baad-e- nasiim.........."
In the mayhem all around us these days, your post feels like an oasis. I needed to read something just like this today. Thank you. :)
Take good care of yourself.
Thank you again.
________Zoya
Irfan Abid
Jan 17, 2021, 5:44:21 PM1/17/21
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muhtaram RK sb, aadaab arz hai!
jaisaa Zoya sahiba ne farmaayaa, zihn aaj kal ke haalaat kii badaulat bahut uljhaa huaa hai. baqaul-e-Zafar Iqbal "abhii aaNkheN khulii haiN aur kyaa kyaa dekhne ko." aap ke inaayat.karda ash'aar aisii kafiyyat se faraar kaa muassar zariya saabit hue. hasb-e-maamuul aap kii pasand daad kii mustahiq hai so qubuul farmaaiye.
niyaazmand,
Irfan :Abid:
Raj Kumar
Jan 30, 2021, 11:41:54 PM1/30/21
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***yaaraan-e-maHfil:
aaj kal maHfil-e-ALUP meN Khaamushii ka daur-daura hai. ise vaaqif-e-aavaaz karne ke liye Khaaksaar Haazir-e-Khidmat hu’aa hai.
is laRii meN Husn-e-taGhazzul ke kuchh aur moti pirone ke liye maiN ne apne zehn ki jheel meN aek aur Dubkii lagaa’ii hai aur is kaar-e-Khair se jo moti faraaham huye haiN voh aap sabhoN ki nazr haiN.
yaad rahe k taGhazzul ki sifat is baat ka taqaazaa karti hai k shaa’ir lafzoN ka inteKhaab aur un ki tarteeb is aNdaaz se kare k mazmuun ke ma’ani khul kar ujaagar hoN aur yak-laKht saam’een ke diloN meN utar jaa’eN. is ke ilaava agar she’r meN manzar-kashii bhi ho to kyaa hi kahne. yahaaN manzar-kashii se muraad qudrat ke manaazar hi se nahiiN hai bal-k insaani jazbaat aur vaardaat se bhi hai --- goyaa, jis baat yaa amal ka zikr kiyaa jaa rahaa hai, us ki tasveer bhi diloN meN utar jaaaye!
chaaliye, to shuruu’a karte hate haiN ustaad DaaGh ke teen ash’aar se; farmaate haiN k
saaf kab imteHaan lete haiN
voh to dam de ke jaan lete haiN [Please note the jugglery of the words “dam” and “jaan”]
phir na aanaa agar ko’ii bheje
naama-bar se zabaan lete haiN
jab jhagaRte haiN voh raqeeboN se
beech meN mujh ko saan lete haiN [“saan lenaa” --- what a phrase!]
Next, PaNDit Mela Ram Vafaa:
kyuuN na le dil balaa’eN tumhaarii
dil-rubaa haiN adaa’eN tumhaarii
kis nazaakat se uTThaa hai Khanjar
aa’o, baaheN dabaa’eN tumhaarii ;-)
Next, Firaaq G.
furqat kii GhamgeeN raatoN ko yaad meN terii ro leN haiN
taaroN ko jab neeNd aave hai, ham bhi ghaRii bhar so leN haiN
saaqii, bhalaa kahaaN qismat meN ab voh chhalakte paimaane
ham yaadoN ke jaam chuum ke suukhe hoNT bhigo leN haiN
taare aaNkheN jhapkaaveN haiN, zarra zarra so’ey hai
tum bhi suno ho, yaaro, shab meN sannaaTe kuchh boleN haiN
Next, (a someone lesser known poet) Prem Vaar-barTanii:
dunyaa soche, Ghaur se soche aaj aur kal ke baare meN
maiN kyuuN apnaa chain gaNvaauuN is paagal ke baare meN
chuumo, ghuuNghaT khol ke chuumo, is dulhan ke hoNToN ko
apnaa to dastuur yihii hai har botal ke baare meN
aur ab yeh laa-javaab she’r dekhiye:
aaKhir us ki suukhii lakRii aek chitaa ke kaam aa’ii
hare-bhare qisse sunte the jis peepal ke baare meN!
-----------
ab kuchh mutafarriq ash’aar isii qabeel ke:
Hashr meN maiN shikva-e-bedaad karne ko uThaa
Daal kar baaheN gale meN kar diyaa paanii mujhe
Daal do saaya apne aaNchal kaa
naa-tavaaN huuN, kafan bhi ho halkaa
Ilaahii, kyaa ta’alluq hai, voh jab lete haiN aNgRaa’ii
mire seene ke sab zaKhmoN ke TaaNke TuuT jaate haiN
rah ga’ii jaam meN aNgRaa’iyaaN le le ke sharaab
ham se maaNgii na ga’ii, un se pilaa’ii na ga’ii
gungunaatii hu’i aatii haiN falak se buuNdeN
ko’ii badlii tiri paa-zeb se Takraa’ii hai
kal tum jo bazm-e-naaz meN aaNkheN churaa gaye
khoye gaye ham aise k aGhyaar paa gaye
-----------
ab yeh dil-fareb ash’aar:
raat taaroN se tiraa zikr rahaa der talak
chuTkiyaaN leti rahii saari fazaaa der talak
ham ne jab gesuu-e-shab-raNg ki ta’areef kahii
sun ke jaltii rahi saavan ki ghaTaa der talak
Note: yuuN to yeh ash’aar maiN ne barsoN pahle risaala “BiiswiiN Sadii” meN paRhe the, magar pichhle dinoN jab yeh ash’aar phir se yaad aaye to yak-laKht aek she’r hu’aa:
sun ke ash’aar mire, dekh ke aNdaaz miraa
maHv-e-Hairat rahe Parvez-o-Ziyaa der talak
[zaahir hai k, biraadaraan-e-giraami ke hote huye, mujh se yeh she’r kahne ki kabhi jur’at na hotii.]
------------
chaliye, aaKhir meN do-aek she’r Khaaksaar ke bhi ho jaa’eN to kyaa harj hai? mulaaHiza farmaaiye
ab dil bhi apne bhed hameeN se chhupaaye hai
puuchhe ko’ii k kyuuN usi kaafir pe aaye hai
jab bhii tirii talaash ko nikle, bhaTak gaye
hai ko’ii raasta jo tire ghar ko jaaye hai?
kyaa baat hai k ko’i kisii kaa nahiiN rahaa
saHraa bhi ab to Qais se peechhaa chhuRaaye hai
Hasb-e-ma’amuul, aap sabhi dostoN ke ta’assuraat ka intezaar rahe ga.
Khair-aNdesh, Raj Kumar
Irfan Abid
Feb 7, 2021, 10:54:09 AM2/7/21
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niyaazmand,
Irfan :Abid:
Zoya
Feb 8, 2021, 1:02:20 PM2/8/21
to
RK sahib,
is qist ko pesh karne kaa bahut shukriyah, maiN ise baarhaa paRh chukii huuN. jaisaa k aap ne kahaa, in ash'aar meN kyaa Khuub manzar-kashi hai.
in meN se kaii ash'aar mere liye naye haiN, lekin ek sh'er aisaa hai jo maiN ne apne bachpan meN kahiiN paRhaa thaa, aur mujhe behad pasand hai. yeh ghaaleban Qateel Shifaai kaa sh'er hai:
gungunaatii hu’i aatii haiN falak se buuNdeN
ko’ii badlii tiri paa-zeb se Takraa’ii hai
I still love this one as much as I did when I first read it, thanks for the reminder. :)
baat manzar-kashi kii ho rahii hai, to merii pasand kaa ek sh'er aur, what a visual:
maiN ne dekhaa hai muhabbat ko badan pehnaa kar
haath joRe hue baiThhii ho pujaaran jaise!
_______Zoya
is qist ko pesh karne kaa bahut shukriyah, maiN ise baarhaa paRh chukii huuN. jaisaa k aap ne kahaa, in ash'aar meN kyaa Khuub manzar-kashi hai.
in meN se kaii ash'aar mere liye naye haiN, lekin ek sh'er aisaa hai jo maiN ne apne bachpan meN kahiiN paRhaa thaa, aur mujhe behad pasand hai. yeh ghaaleban Qateel Shifaai kaa sh'er hai:
gungunaatii hu’i aatii haiN falak se buuNdeN
ko’ii badlii tiri paa-zeb se Takraa’ii hai
baat manzar-kashi kii ho rahii hai, to merii pasand kaa ek sh'er aur, what a visual:
maiN ne dekhaa hai muhabbat ko badan pehnaa kar
haath joRe hue baiThhii ho pujaaran jaise!
_______Zoya
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