Meaning of this ghazal by Momin
gkar...@my-deja.com
could anybody explain the meaning of the
following ghazal by Momin Khan Momin?
naavak a.ndaaz jidhar diidaa-e-jaanaa.N ho.nge
niim-bismil ka_ii ho.nge ka_ii bejaa.N ho.nge
taab-e-nazaaraa nahii.n aa_iinaa kyaa dekhane
duu.N
aur ban jaaye.nge tasviir jo hairaa.N ho.nge
tuu kahaa.N jaayegii kuchh apanaa Thikaanaa kar
le
ham to kal Khvaab-e-adam me.n shab-e-hijaraa.N
ho.nge
phir bahaar aa_ii vahii dasht-e-naavardii hogii
phir vahii paao.n vahii Khaar-e-muGelaa.N ho.nge
naasihaa dil me.n tuu itanaa to samajh apane ke
ham
laakh naadaa.N huye kyaa tujh se bhii naadaa.N
ho.nge
ek ham hai.n ke huye aise pashemaa.N ke bas
ek vo hai.n ke ji.nhe.n chaah ke armaa.N ho.nge
minnat-e-hazarat-e-isaa na uThaaye.Nge kabhii
zi.ndagii ke liye sharmi.ndaa-e-ehasaa.N ho.nge
umr to saarii kaTii ishq-e-butaa.N me.n "Momin"
ab aaKhirii vaqt me.n kyaa Khaak musalamaa.N
ho.nge
Sent via Deja.com http://www.deja.com/
Before you buy.
Padmanabhan Srinagesh
For what they are worth, some comments below. Corrections and even
admonitions are welcome.
gkar...@my-deja.com wrote:
> Hi,
> could anybody explain the meaning of the
> following ghazal by Momin Khan Momin?
>
> naavak a.ndaaz jidhar diidaa-e-jaanaa.N ho.nge
> niim-bismil ka_ii ho.nge ka_ii bejaa.N ho.nge
nAvak andAz = like arrows (nAvak = arrows), dIdA-e jAnAN = glances of
the beloved
nIm-bismil = half wounded, bejAn = dead
It is easy to glance at the beloved, but harder to withstand her
scrutiny.
>
>
> taab-e-nazaaraa nahii.n aa_iinaa kyaa dekhane
> duu.N
> aur ban jaaye.nge tasviir jo hairaa.N ho.nge
She does not have the strength to see herself; if I show her her
reflection in a true mirror, she will be so astonished by the true image
that she sees that she will become motionless, like a picture. I think
Momin is saying that he is a true mirror who can present his love with a
true picture of herself, but fears that the effort will kill her
innocence and replace her ignorance of her self with self-centeredness,
and so he does not want to hold up the mirror.
>
>
> tuu kahaa.N jaayegii kuchh apanaa Thikaanaa kar
> le
> ham to kal Khvaab-e-adam me.n shab-e-hijaraa.N
> ho.nge
khwAb-e-Adam = death, shab-e-hijrAN = night of separation.
Where are you going, make your home (with me)
Tomorrow I will be dead, buried in the long night of separation
>
>
> phir bahaar aa_ii vahii dasht-e-naavardii hogii
> phir vahii paao.n vahii Khaar-e-muGelaa.N ho.nge
A very beautiful verse. I believe that there is a "phir" afer" vahii"
in the first misr. KhAr-e-mughailAN = thorns of the mughailAN bsuh,
which is commonly found in the desert surrounding Mecca. One
interpretation is that when the lover walks in the desert, his bloody
feet will water the thorny plants, and it will appear to the plants that
spring has come again.
Hai dasht ab bhi dasht magar khUn-e-pA se Faiz
sairAb chand khAr-e-mughailAn hue to haiN.
Alternately, when spring comes, separation is especially poignant, and
the urge to mortify the flesh is especially strong.
>
>
> naasihaa dil me.n tuu itanaa to samajh apane ke
> ham
> laakh naadaa.N huye kyaa tujh se bhii naadaa.N
> ho.nge
>
> ek ham hai.n ke huye aise pashemaa.N ke bas
> ek vo hai.n ke ji.nhe.n chaah ke armaa.N ho.nge
>
> minnat-e-hazarat-e-isaa na uThaaye.Nge kabhii
> zi.ndagii ke liye sharmi.ndaa-e-ehasaa.N ho.nge
hazrat-e-isA is Jesus, the masIhA whose healing power is supposed to
bring the dead to life. Momin says he will not pray to Jesus, since he
does not want to accept the shame of having to be grateful to someone
else for his life. I read this sher as an expression of Momin's reslove
to fight and win his own battles.
>
>
> umr to saarii kaTii ishq-e-butaa.N me.n "Momin"
> ab aaKhirii vaqt me.n kyaa Khaak musalamaa.N
> ho.nge
>
I think there is no "ab" in the last misr. And Momin's advice is good.
A "sorry" at the end of a long period of misbehavior does not make up
for the persistent misbehavior of a lifetime.
Hope this helped a little.
Nagesh
vijay...@my-deja.com
Padmanabhan Srinagesh <nr...@earthlink.net> wrote:
> >
> > tuu kahaa.N jaayegii kuchh apanaa Thikaanaa kar
> > le
> > ham to kal Khvaab-e-adam me.n shab-e-hijaraa.N
> > ho.nge
>
> khwAb-e-Adam = death, shab-e-hijrAN = night of separation.
>
> Where are you going, make your home (with me)
> Tomorrow I will be dead, buried in the long night of separation
>
one of Mehdi Hassan's better efforts. A while back we talked about how
Mehdi Hassan lost his magic in his later years and that his best
renditions were within a rather narrow window of early to late 70's.
This is one of the ghazals he sang in that era, and made it so
accessible to the likes of me.
Allow me to disagree with you slightly about the above she'r. This is
one of my two favorite ashaa'r from this ghazal (the other one
being 'phir bahaar aaii, vohii dasht-e-navardii hogii' and BTW I don't
think there is another 'phir' after 'vohii').
In my opinion in the above she'r, poet is addressing 'shab-e-hizraaN'.
He is saying 'o shab-e-hizraaN, who will you visit to-morrow? find
yourself another abode as your usual companion,i.e., I, will be in the
other world to-morrow.
> >
> > phir bahaar aa_ii vahii dasht-e-naavardii hogii
> > phir vahii paao.n vahii Khaar-e-muGelaa.N ho.nge
>
I wonder if this she'r also carries a rather simpler yet poignant
meaning than the one you offer. The poet seems to be saying that it is
bahaar again, the happy tidings for people, and yet in my destiny is
not the happiness of finding my beloved but the usual ritual of dasht-e-
navardii with bare ablaa-paa trampling the thorns. As Raj Sahib has
pointed out elsewhere, this is the fate of the true lover in the
tradition of, say, Qais!
Respectfully,
Vijay Kumar
Padmanabhan Srinagesh
Your interpretation of the sher appeals to me greatly, and reminds me of why
I miss you and the other ALUPers so much when work keeps me from this
forum. Do you have comments on any other ashaar?
Nagesh
gkar...@my-deja.com
Thanks a zillion for your translations. Both your interpretations are
lovely and it is difficult to disagree with either of them.
By the way i don't agree that Mehdi Hassan sahib lost his magic in the
later years. In fact, i attended a live show hardly a month back in
Fremont, California and the old magic is still there. Probably age
makes a difference, but it is hardly perceptible in his case.
What do you think of the ghazal 'Ranjish hi sahi'? Hats off to Ahmed
Faraz on that one. I think it was masterfully rendered by Mehdi Hassan
saahib.
Karthik
In article <3993918B...@earthlink.net>,
vijay...@my-deja.com
Padmanabhan Srinagesh <nr...@earthlink.net> wrote:
> Vijay Kumar Sahib:
>
> Your interpretation of the sher appeals to me greatly, and reminds me
of why
> I miss you and the other ALUPers so much when work keeps me from this
> forum. Do you have comments on any other ashaar?
>
> Nagesh
>
are also keenly felt. Please do make more frequent appearences.
I feel that you have explained the other ashaa'r very well. You have
left out a couple, likely because those appear self-explanatory. Here
is my take on these as I feel that both these too may have diverse
interpretations.
> naasihaa dil me.n tuu itanaa to samajh apane ke ham
> laakh naadaa.N huye kyaa tujh se bhii naadaa.N ho.nge
>
This is appears to be yet another admonition of naaseh. (word naaseh is
related to nasiihat; an adviser, usually on matters religious). Momin
appears to be saying in the form of a question that O naaseh! try to
understand this in your mind that I may be extremely foolish (in love),
but ain't I better (less foolish) than you(are about matters of life).
> ek ham hai.n ke huye aise pashemaa.N ke bas
> ek vo hai.n ke ji.nhe.n chaah ke armaa.N ho.nge
This one also is apprently simple but open to diverse interpretations.
I feel Momin is comparing himself, an experienced loser, with the naive
lovers. He seems to be saying that here am I, who has been so
frustrated in this game of love that I am at the end of my rope, and
there are the others who are (just starting in this game and) daring to
desire!
> minnat-e-hazarat-e-isaa na uThaaye.Nge kabhii
> zi.ndagii ke liye sharmi.ndaa-e-ehasaa.N ho.nge
>
I liked your tashriih on this one. This one is reminiscent of the
Ghalib she'r:
dard minnat kash-e-dava naa huuaa
meN na acchaa huua, burra na huuaa
il_kh...@my-deja.com
vijay...@my-deja.com wrote:
> In article <3993918B...@earthlink.net>,
> Padmanabhan Srinagesh <nr...@earthlink.net> wrote:
> > Vijay Kumar Sahib:
> >
> > Your interpretation of the sher appeals to me greatly, and reminds
me
> of why
> > I miss you and the other ALUPers so much when work keeps me from
this
> > forum. Do you have comments on any other ashaar?
> >
> > Nagesh
> >
> Thanks Nagesh Sahib for the kind words. Believe me, your long
absences
> are also keenly felt. Please do make more frequent appearences.
> > minnat-e-hazarat-e-isaa na uThaaye.Nge kabhii
> > zi.ndagii ke liye sharmi.ndaa-e-ehasaa.N ho.nge
> >
> I liked your tashriih on this one. This one is reminiscent of the
> Ghalib she'r:
>
> dard minnat kash-e-dava naa huuaa
> meN na acchaa huua, burra na huuaa
>
> Respectfully,
>
> Vijay Kumar
Also, this well-known sher of Ghalib :
Ibn-e-Maryam huwa kare koi
Mere dukh ki dawa kare koi
Ibn-e-Maryam = The reference is to Hazrat Eesa (PBOH)
At times, even the beloved is deemed to have the
same attribute as Hazra Eesa (that of healing the
mortally sick and infusing new life). In these
instances, the beloved is referred to as the
"Masiha" and the attribute as "Masihaa-i".
A beautiful sher by Faani Badayuni :
Lo masiha ne bhi, Allah ne bhi yaad kiya
Aaj beemaar ko hichki bhi, qaza bhi aayi
Another sher from this ghazal :
Ishq ne dil men jagah ki to qaza bhi aayi
Dard duniya men jab aaya to dawa bhi aayi
Afzal
vijay...@my-deja.com
You are most welcome Karthik Sahib.
> By the way i don't agree that Mehdi Hassan sahib lost his magic in the
> later years. In fact, i attended a live show hardly a month back in
> Fremont, California and the old magic is still there. Probably age
> makes a difference, but it is hardly perceptible in his case.
Unless Mehdi Hassan's voice had a recent renaissance, we will just have
to agree to disagree on this one. I attended about three of his
concerts in the early-mid eighties, and he sang many of his popular
ghazals, but there was no comparison between his earlier (70's)
renditons of 'sh'ola thaa jal bujhaa huuN', 'yeh dhuuaaN saa kahaaN se
uRtaa hai', guloN meN rang bhare', 'aa ke sajjadaa nashiiN, qais huuaa
mere ba'ad' etc. I have noticed similar decline in his audio video
recordings. I agree that 'age makes a difference' but the point I was
making was that otheres, say,Ghulam Ali, held on to the magic of their
voices much longer. However, having said all this, these are matters
subjective and are difficult to argue. On our sister site, RMIM, there
are many still arguing vehemently and in all earnest that Lata's voice
has lost none of its magic. En Passent, the saddest instance of this
decline I witnessed was in Nusrat Fateh Ali KhaaN, when I attended his
last concert in Toronto, about a year and a half before he passed away.
> What do you think of the ghazal 'Ranjish hi sahi'? Hats off to Ahmed
> Faraz on that one. I think it was masterfully rendered by Mehdi Hassan
> saahib.
>
Mehdi Hassan cetainly did a good job and may even have been
instrumental in getting F'raaz duely recognized. But in my view, it is
neither Ahmed F'raaz's nor Mehdi Hassan's better effort. Ahmed F'raaz
continues to be bombarded with requests for this ghazal in mushaaira's
and in one of these not so long ago, he retortd with healthy
facetiousness, 'yeh gahzal to ab aap Mehdi Hassan Sahib se hii sunyie'!
> tuu kahaa.N jaayegii kuchh apanaa Thikaanaa kar le
> ham to kal Khvaab-e-adam me.n shab-e-hijaraa.N ho.nge
This she'r reminds me of another in which shayar is addressing 'shab-e-
hijraaN'. Here it is written 'shab-e-firaaq' (same difference).
arz hai:
is shehr-e-be-chiraaG meN jaaegii tuu kahaaN
aa ai shab-e-firaaq, tujhe ghar hi le chaleN
Anyone knows the shayar?
Regards,
Vijay Kumar
rajkp...@my-deja.com
vijay...@my-deja.com wrote:
Vijay Saahib:
maiN is laRi meiN apne ta'assuraat pesh karne ki soch hi rahaa tha ke Karthik
Saahib ne aap ka aur Nagesh Saahib ka shukriya hi adaa kar Daala. is par,
maiN yeh samjha ke ab to yeh laRi poori ho gayee hai, to ab bhalaa maiN kya
kahooN? magar, shukr ka maqaam hai ke aap ne ise phir se vaa kar diya!
> En Passent, the saddest instance of this
> decline I witnessed was in Nusrat Fateh Ali KhaaN, when I attended his
> last concert in Toronto, about a year and a half before he passed away.
maiN aap ke mushaaahide se sau-fee-sadi muttafiq hooN.......kiyooN-ke, maiN
khud aksar sochaa kiya hooN ke hamaare buzurg 'artists' apni hudood ko kiyooN
naheeN pehchaante? apna 'talism' kho dene ke ba'ad bhi, kiyooN hamaare sar
par savaar rehte haiN? ho sakta hai ke yeh manshaa khud un ka naheenN hota,
balke un ke 'promoters' ka hota hai! (?)
maiN, is baare meiN, aap ko aek baat bataana chaahooN ga. voh yeh ke apne
vatan-e-azeez meiN, janaab Firaaq Gorakhpuri Saahib aek zamaane tak Urdu ki
duniya par chhaye rahe. maiN ne khud unheN koi bees baar sunaa aur jee bhar
kar saraaha. magar, 1978 meiN, jab ke un ki sehat naa-gufta-beh thi, log
unheN pakaR-dhakaR kar aek mushaa'ire meiN le aaye. maiN un dinoN University
of Delhi meiN 'Visiting Professor' tha. hasb-e-dastoor, us mushaa'ire meiN
gayaa, magar jab Firaaq Saahib ko aek 'wheel chair' meiN laaya gayaa aur
unhoN ne apni aek do gahzaloN ke kuchh she'r TooTe-phooTE andaaz meiN paRhe
to mera dil paseej gayaa. maiN ne apne me-zabaan se kahaa, " yaar, Firaaq
Saahib ne Urdu adab ki be-intehaa khidmat ki hai; ab, is avastha meiN, bhalaa
kiiyooN na inheN apne hujrah-e-uzlat meiN rehne diyaa jaaye"? yeh saahib
chup se rahe!
agle din, aNgrezi ke akhbaar "Statesman" meiN us mushaa'ire ki report darj
hui, jis ki surkhi thi: "The spell of Firaaq! ....... but please leave the
master alone".
> > tuu kahaa.N jaayegii kuchh apanaa Thikaanaa kar le
> > ham to kal Khvaab-e-adam me.n shab-e-hijaraa.N ho.nge
>
> This she'r reminds me of another in which shayar is addressing 'shab-e-
> hijraaN'. Here it is written 'shab-e-firaaq' (same difference).
>
> arz hai:
>
> is shehr-e-be-chiraaG meN jaaegii tuu kahaaN
> aa ai shab-e-firaaq, tujhe ghar hi le chaleN
Vijay Saahib, lagta hai ke aap ne is mauzoo' par kaafi research kar rakhkhi
hai, magar ain mumkin hai ke aap ne yeh she'r na sunaa ho:
hashr tak muNh shab-e-hijraaN ka rahe ga kaalaa
ham agar zinda rahe aaj sahar hone tak!!!!!!!!!!!!!!!!!!!!!
Any comments?
khair-aNdesh, Raj Kumar
Abhijit
Raj Kumar ji,
Thank you for making the discussion so interesting and
informative. I have printed the whole thread to read repeatedly
later.
As for artiste loosing their touch in later years...it is
inevitable and natural. NFAK had significant heart problems for
the last two three years so he lost his lung's vital capacity -
which was an important aspect of his singing...look at Jagjit
Singh...underneath high pitch tamburines he tries to hide the
fact that he can not sing more than three-four words without
stopping for a breath...happens to every one.
-----------------------------------------------------------
Got questions? Get answers over the phone at Keen.com.
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rajkp...@my-deja.com
Abhijit <shuklas...@bellatlantic.net.invalid> wrote:
> Thank you for making the discussion so interesting and
> informative. I have printed the whole thread to read repeatedly
> later.
Abhijit Saahib:
Since this thread has generated so much interest, I don't want my input
that I had very much intended to send in fall just by the way-side. I
think that right today, as soon as I find a few moments spare, I'll
submit a couple of posts elaborating on the comments that Nagesh Saahib
and Vijay Saahib have made earlier.
So, please don't regard this thread as 'whole' --- as yet! :-))
rajkp...@my-deja.com
Padmanabhan Srinagesh <nr...@earthlink.net> wrote:
> A very nice ghazal indeed, and beautifully sung by Mehdi Hassan Sahib.
> For what they are worth, some comments below. Corrections and even
> admonitions are welcome.
Nagesh Saahib:
Please allow me to join you and Vijay Saahib in commenting on this truly
beautiful ghazal by Momin. My comments might include a few corrections
here and there but, rest assured,there won't be any admonitions
anywhere! :-))
> > naavak a.ndaaz jidhar diidaa-e-jaanaa.N ho.nge
> > niim-bismil ka_ii ho.nge ka_ii bejaa.N ho.nge
>
> nAvak andAz = like arrows (nAvak = arrows), dIdA-e jAnAN = glances of
> the beloved
> nIm-bismil = half wounded, bejAn = dead
>
> It is easy to glance at the beloved, but harder to withstand her
> scrutiny.
The words 'naavak' and 'aNdaaz' aren't two separate words here; we have
instead a compound word 'naavak-aNdaaz'.........just like
'dakhl-aNdaaz', 'nazar-aNdaaz;, ---.
naavak-andaaz hona = to be shooting arrows.
[Please note that teer-aNdaazi = the art/practice of archery].
This changes the meaning of the first line significantly.
goya, is she'r meiN, shaa'ir ka kehna hai ke "jis taraf bhi
deeda-e-jaanaan teer phaiNk rahe hoN ge, us taraf bahut se naazireen
neem-bismal aur bahut se be-jaan ho ke reh jaayeN ge".
> > tuu kahaa.N jaayegii kuchh apanaa Thikaanaa kar
> > le
> > ham to kal Khvaab-e-adam me.n shab-e-hijaraa.N
> > ho.nge
>
> khwAb-e-Adam = death, shab-e-hijrAN = night of separation.
>
> Where are you going, make your home (with me)
> Tomorrow I will be dead, buried in the long night of separation
I am sorry I don't see this she'r this way. I would rather go with the
interpretation given by Vijay Saahib.
> > phir bahaar aa_ii vahii dasht-e-naavardii hogii
> > phir vahii paao.n vahii Khaar-e-muGelaa.N ho.nge
I'll comment on this she'r in a separate post, linking myself to one of
Vijay Saahib's posts!
> > minnat-e-hazarat-e-isaa na uThaaye.Nge kabhii
> > zi.ndagii ke liye sharmi.ndaa-e-ehasaa.N ho.nge
>
> hazrat-e-isA is Jesus, the masIhA whose healing power is supposed to
> bring the dead to life. Momin says he will not pray to Jesus, since
he
> does not want to accept the shame of having to be grateful to someone
> else for his life. I read this sher as an expression of Momin's
reslove
> to fight and win his own battles.
Well said, Nagesh Saahib; I fully agree here. I'll simply point out that
the second misra here is in the interrogative; your tashreeh does indeed
take that fact into account.
Here I would like to quote Ustaad Zauq as well, who says:
minnat, dilaa!, kisi ki na aslaa uThaaiye
mar jaaiye, na naaz-e-Maseeha uThaaiye!
It is essentially the same subject as in Momin's she'r, but what struck
me most was the enormous similarity of expression between the two!
Talking of 'Maseehaa' and 'Maseehaaii', here is a good one to ponder:
dil-e-naadaaN!, tujhe qaatil se shikaayat kya hai?
tu ne dekhi hai Maseehaa ki maseehaaii bhi!!!
khair-aNdesh, Raj Kumar
rajkp...@my-deja.com
vijay...@my-deja.com wrote:
> > > phir bahaar aa_ii vahii dasht-e-naavardii hogii
> > > phir vahii paao.n vahii Khaar-e-muGelaa.N ho.nge
> >
> I wonder if this she'r also carries a rather simpler yet poignant
> meaning than the one you offer. The poet seems to be saying that it is
> bahaar again, the happy tidings for people, and yet in my destiny is
> not the happiness of finding my beloved but the usual ritual of dasht-e-
> navardii with bare ablaa-paa trampling the thorns.
Vijay Saahib:
Yes, indeed, the she'r is highly poignant and your take on it right on the
dot. Yet, one point needs to be emphasized here, i.e., the emphasis on the
words 'phir' and 'vuhi'!
shaa'ir ka kehna hai ke "hasb-e-ma'amool, bahaar ki aamad se deevaanagi ke
aalam ka aur ziyaada riqqat-aNgez ho jaane ka imkaan hai. yooN to apne haaN
hamesha hi dasht-navardi [not dasht-e-navardi] ka ma'amool rehta hai magar
bahaar ke mausam meiN yeh amal aur bhi tez ho jaata hai. is liye, aek baar
'phir' hameN 'vuhi' dasht-navardi karna hogi jo har saal bahaar ki aamad par
karna paRti hai, etc., etc. The second line essentially continues the same
theme further.
To appreciate this subtlety a little better, one may recall this famous she'r
by Meer:
dhoom hai phir bahaar aane ki
kuchh karo fikr mujh divaane ki
yahaaN par bhi aap dekhiye ga ke lafz 'phir' ne kaisa jaadoo Dhaa rakhkha hai!
> As Raj Sahib has
> pointed out elsewhere, this is the fate of the true lover in the
> tradition of, say, Qais!
vaise, zaroori naheeN ke har sachche aashiq ka yihi haal ho. :-))
balke, maiN to yeh kahooN ga ke
vuhi bazm thi vuhi jaam the, vuhi ulTe-seedhe payaam the
yeh to zarf zarf ki baat thi, koi haNs gayaa koi ro gayaa!!!!!! :-))
vijay...@my-deja.com
rajkp...@my-deja.com wrote:
> Vijay Saahib, lagta hai ke aap ne is mauzoo' par kaafi research kar
rakhkhi hai,
Raj Sahib, research kii baat nahiiN, yeh dono she'r mujhe is liie
pasand haiN aur yaad rahe haiN kyoNke in meN jis tarha yeh dono
shoraa 'shab-e-firaaq' ya 'shab-e-hizraaN' se muKhatib huue haiN, jaise
ise 'personify' kiia hai, voh bohat dilkash hai. Vaise to is unvaan par
aur bhii saNkRoN ashaa'r haiN, lekin yeh aisi 'personification' mujhe
kisii aur she'r meN nahiiN milii.
>magar ain mumkin hai ke aap ne yeh she'r na sunaa ho:
>
> hashr tak muNh shab-e-hijraaN ka rahe ga kaalaa
> ham agar zinda rahe aaj sahar hone tak!!!!!!!!!!!!!!!!!!!!!
>
> Any comments?
aap kii baat bilkul sahii hai, nahiiN sunaa. lekin yeh she'r kyoNki ba-
rang-e-ghalib hai (shamma har rang meN jaltii hai sahar hone tak),is
liie ain mumkin hai ki yeh aap kaa hi kalam-band ho. aur yeh bhii
mumkin hai ki kisii musalsal ghazal se ho. Raj Sahib, she'r to bohat
acchaa hai, meharbaanii hogii agar aap puurii gahzal nashar kar deN to.
Respectfully,
Vijay Kumar
gkar...@my-deja.com
Your comments made interesting reading. As you rightly say, there are
certain things that are highly subjective and this is one of them. I
still say that Mehdi Hassan Sahib is brilliant, but i will also make a
huge allowance - It is probably my love and respect for this artist
that makes me overlook certain things about him which is probably
evident as 'daylight' to others.
By the way, i enjoyed your interpretation of the other two ghazals
which Nagesh saahib had left untranslated.
Regards,
Karthik
In article <8n6qa5$fd1$1...@nnrp1.deja.com>,
vijay...@my-deja.com wrote:
> In article <8n1pl7$77b$1...@nnrp1.deja.com>,
> gkar...@my-deja.com wrote:
> > Hi Nagesh and Vijay Kumar,
> > Thanks a zillion for your translations.
>
> You are most welcome Karthik Sahib.
>
> > By the way i don't agree that Mehdi Hassan sahib lost his magic in
the
> > later years. In fact, i attended a live show hardly a month back in
> > Fremont, California and the old magic is still there. Probably age
> > makes a difference, but it is hardly perceptible in his case.
>
> Unless Mehdi Hassan's voice had a recent renaissance, we will just
have
> to agree to disagree on this one. I attended about three of his
> concerts in the early-mid eighties, and he sang many of his popular
> ghazals, but there was no comparison between his earlier (70's)
> renditons of 'sh'ola thaa jal bujhaa huuN', 'yeh dhuuaaN saa kahaaN se
> uRtaa hai', guloN meN rang bhare', 'aa ke sajjadaa nashiiN, qais huuaa
> mere ba'ad' etc. I have noticed similar decline in his audio video
> recordings. I agree that 'age makes a difference' but the point I was
> making was that otheres, say,Ghulam Ali, held on to the magic of their
> voices much longer. However, having said all this, these are matters
> subjective and are difficult to argue. On our sister site, RMIM, there
> are many still arguing vehemently and in all earnest that Lata's voice
> has lost none of its magic. En Passent, the saddest instance of this
> decline I witnessed was in Nusrat Fateh Ali KhaaN, when I attended his
> last concert in Toronto, about a year and a half before he passed
away.
>
> > What do you think of the ghazal 'Ranjish hi sahi'? Hats off to Ahmed
> > Faraz on that one. I think it was masterfully rendered by Mehdi
Hassan
> > saahib.
> >
>
> Mehdi Hassan cetainly did a good job and may even have been
> instrumental in getting F'raaz duely recognized. But in my view, it is
> neither Ahmed F'raaz's nor Mehdi Hassan's better effort. Ahmed F'raaz
> continues to be bombarded with requests for this ghazal in mushaaira's
> and in one of these not so long ago, he retortd with healthy
> facetiousness, 'yeh gahzal to ab aap Mehdi Hassan Sahib se hii
sunyie'!
>
> > tuu kahaa.N jaayegii kuchh apanaa Thikaanaa kar le
> > ham to kal Khvaab-e-adam me.n shab-e-hijaraa.N ho.nge
>
> This she'r reminds me of another in which shayar is addressing 'shab-
e-
> hijraaN'. Here it is written 'shab-e-firaaq' (same difference).
>
> arz hai:
>
> is shehr-e-be-chiraaG meN jaaegii tuu kahaaN
> aa ai shab-e-firaaq, tujhe ghar hi le chaleN
>
> Anyone knows the shayar?
>
> Regards,
>
bushra...@gmail.com
Hi,
Please translate this ghazal,
Beqarari si beqarari hai
din bhi bhari hai rat bhari hai
Zindagi ki bisat par aksar
jiti bazi bhi ham ne hari hai
Toro dil mera shauq se toro
chiz meri nahin tumhari hai
Bar-e-hasti utha saka na koi
ye gam-e-dil jahan se bhari hai
Ankh se chhup ke dil men baithe ho
hai kaisi ye parda-dari hai
http://www.youtube.com/watch?v=E5Xryn6eXyk
IOn Wednesday, August 9, 2000 12:30:00 PM UTC+5:30, gkar...@my-deja.com wrote:
> Hi,
> could anybody explain the meaning of the
> following ghazal by Momin Khan Momin?
>
> niim-bismil ka_ii ho.nge ka_ii bejaa.N ho.nge
>
> duu.N
> aur ban jaaye.nge tasviir jo hairaa.N ho.nge
>
> le
> ham to kal Khvaab-e-adam me.n shab-e-hijaraa.N
> ho.nge
>
> phir vahii paao.n vahii Khaar-e-muGelaa.N ho.nge
>
> ham
> laakh naadaa.N huye kyaa tujh se bhii naadaa.N
> ho.nge
>
> ek vo hai.n ke ji.nhe.n chaah ke armaa.N ho.nge
>
> zi.ndagii ke liye sharmi.ndaa-e-ehasaa.N ho.nge
>
> ab aaKhirii vaqt me.n kyaa Khaak musalamaa.N
> ho.nge
>
>
>
zama...@gmail.com
Just by chance I happened to this site while connecting ghazal sites of Mehdi Hasan.
It was not only surprizing but happy to know that there are persons like you ( and Vijay sb ) who adore urdu shaeri ( specially classical shaeyri ).
I will be in touch with you all from time to time.
Hoping to hear from you.
Dr. Khaleequzzaman Khan
Asst. Prof.
Dept of Management and Marketing,
Dhofar University, Salalah-211
Oman.
Ph. 0096899080566
srinage...@gmail.com
srinage...@gmail.com
It is a restlessness like nothing else;
The days weigh heavily on me, and the nights too
On the chessboard of life, often
I have snatched defeat from the jaws of victory
Break my heart, and do so eagerly
It is no longer mine, it belongs to you
Nobody has been able to lift the burden of life
The sorrows of the heart are heavier than the entire world
You have concealed yourself from my eyes by hiding in my heart
What manner of concealment it this?
Hello again to all the old familiars, and I do beg your forgiveness for missing any posts addressed to me. I did not mean to be neglectful.
Nagesh
