"dil DhuuNDtaa hai phir wohi fursat ke raat din"
BGM
1.) chaahat ke subH-o-shaam, muHabbat ke raat din
"dil DhuuNDtaa hai phir wohi fursat ke raat din"
2.) woh shauq-e-be.panah meN alfaaz ki talaash
izhaar ki zubaan meN luknat ke raat din
3.) woh ibtidaa-e-'ishq , woh aaGhaaz-e-shaa'irii
woh dasht-e-jaaN meN pehli musaafat ke raat din
4.) saudaa-e-Aazari meN hawaa-e-sanamgarii
woh but- parastiyoN meN 'ibaadat ke raat din
5.) ruu-e-nigaraaN-o-chashm-e-GhazaloN ke tazkire
gaisu-e-yaar-o-Harf-o-Hikaayat ke raat din
6.) naakardah-kaariyoN pe bhi bad-naamiyoN ka sho'r
aKhtar shumariyoN pe bhi tuhmat ke raat din
7.) Meer-o-Anees-o-Ghalib-o-Iqbal se alag
Raashid, Nadeem, Faiz se raGhbat ke raat din
8.) Shelly ka seHr, Keats kaa dukh, Byron ki dhaj
inn kaafiraan-e-'ishq se nisbat ke raat din
9.) jaise mae-e-suKhan se suraahi bharii hu'ii
zor-e-bayaan-e-Husn-e-tabee'at ke raat din
10.) rakh kar kitaab-e-aql ko nisiyaaN ke taaq par
woh aashiqii meN dil ki Hukuumat ke raat din
11.) har roz, roz-e-abr thaa, har raat chaand raat
azaad zindagi thii, faraaGhat ke raat din
12.) ik raazdaar-e-Khaas ko har waqt DhuuNDna
be-a'itbaariyoN meN zaruurat ke raat din
13.) woh har kisi se apna hi aHwaal puuchhnaa
apne se bhi tajaahul-e-Ghaflat ke raat din
14.) ik dushman-e-wafaa ko bhulaane ke waaste
chaarah-garooN ki pand-o-naseeHat ke raat din
15.) pehle bhi jaaN-gusil thay, magar iss qadar nah thay
ik shehr-e-be.amaaN meN sukuunat ke raat din
16.) phir yeh hu'a kih shewah-e-dil tark kar diyaa
aur taj diye thay ham ne muHabbat ke raat din
17.) fikr-e-mu'aash, shehr- badar kar gayii hameN
phir ham thay aur qalam ki mashaqqat ke raat din
19.) phirte thay Mir Khwaar ko'ii puuchhtaa nah thaa
qismat meN jab talak thay qanaa'at ke raat din
20.) nau-waaridaan-e-shehr-e-tamanna ko kyaa Khabar
ham saakinaan-e-kuu-e-malaamat ke raat din
~Ahmad Faraz
=======================================================
Vijay
Ahmed Faraz, like Gulzar, has also chosen to use '..fursat ke raat
din', rather than the original '...fursat, kih raat din'. Here, of
course, it suits the need of the radiif better, whereas Gulzar could
have gone either way without adversely affecting the intent. It may be
assumed that Ahmed Faraz changed the misra deliberately, whereas
Gulzar inadvertently.
Beautiful ghazal, BGM sahib. Thanks for posting.
Vijay
Jamil
Also, Ghalib's misra' has jii DhuuNDtaa hai , not dil.
The Ghazal is superb, and reference to so many poets; Ghalib:,Meer,
Anees,Iqbal, Rashid, Nadeem, Faiz, besides Shelley, Keats, Byron must
be a record.
Jamil
Vijay
It is intriguing as to why Faraz will use 'dil' and not 'jii',
particularly as he puts the whole misra in quotes. Presumably he was
presenting it as verbatim.* Compare it with another Ghalib misra he
has used in another ghazal in the same book, 'ghazal bahaan karuuN',
in a slightly altered form:
'kis' barahmin ne kaha 'thaa' ki yeh saal acchaa hai
Here, he doesn't surround it with quotation marks; because of the
couple of changes.
Intriguing, as I said.
Vijay
* Unless, of course, he is channelling Gulzar, and not Ghalib!:-)
Naseer
> Anees,Iqbal, Rashid, Nadeem, Faiz, besides Shelley, Keats, Byron must
> be a record.
>
> Jamil
One could stretch it to include "Sauda" and "Akhtar [Sherani?]"! But
he "forgot" to include his own!:-)
Naseer
Naseer
Naseer
Vijay Sahib, aadaab 'arz hai.
Let us compare the Ghalib couplet with Gulzar's and Faraz's in turn.
jii DhuuNDtaa hai phir vahii furst kih raat din
baiThe raheN tasavvur-i-jaanaaN kiye hu'e
*dil* DhuuNDtaa hai phir vahii fursat *ke* raat din
baiThe raheN tasavvur-i-jaanaaN kiye hu'e
chaahat ke subH-o-shaam muHabbat ke raat din
dil DhuuNDtaa hai phir vahii fursat ke raat din
Now, I personally do not regard the so called Gulzar's couplet as a
piece of creative work at all. We all know that he has changed "jii"
to dil and "kih" to "ke". We also know that the latter change does
impact upon the meaning of the verse, but ultimately the two meanings
merge into one another. I would go as far as to say that Gulzar has
taken Ghalib's shi'r lock, stock and barrel! He might as well enclose
the couplet in inverted commas giving credit where it's due. Better
still, make no changes to Ghalib's couplet whatsoever and provide
acknowledgement with inverted commas AND in the film credits.
Faraz, IMHO, should have kept the word "jii". I can not think what
additional dimention "dil" brings to the shi'r. Faraz had no choice to
change "kih" to "ke". Again, in spite of these changes the shi'r
remains Ghalib's and he has acknowledged his indebtedness by enclosing
it in quotation marks.
Naseer
BGM
She`r # 19 bhi to zaraa dekhiye.. Mir kaa mash'huur-e-zamaan she`r
kaa bhi to "istemaal" kiyaa hai nah?
"phirtay haiN Meer Khwaar ko'ii puuChhtaa nahiiN
is aashiqee meN Lazzat-e-saadaat bhii gayii"
====================================================================
Vijay
Naseer sahib, addab-o-tasliimaat!
IMHO, no one needs to use quotation marks to acknowledge the words of
ghalib, miir or kaifii, be it Gulzaar, Faraaz, (as in 'phirte haiN
miir Khwaar..) Sahir (go yaaN nahiiN, pe yaaN se nikaale huue to
haiN), Iqbal (ham ne maana ke raheN dilli meN pe khaaeNge kyaa) or our
own, Irfan Abid sahib (ho ke majbuur mujhe usne bhulaaya hoga). The
lesser sho'raa use the words of asaatiza as khiraaj-e-aqiidat and not
as plagiarism. So your views on Gulzar's song are harsh. He has taken
the she'r and has woven a song from it, which is not in the format of
a ghazal. And the words of that song speak for themselves (some like
the song a lot, others not at all; but that is Gulzar for you). I
don't think anyone will accuse him of plagiarism!. He has used ghalib
elsewhere (in a naz'm):
huii hai tujh se jo nisbat usii ka sadqa hai
vagrna she'hr meN ghalib kii aabruu kyaa hai.
Now about the quotation marks. It is customary to put a misra in
quotation marks when it is being used as the 'girha' in a tarahii
ghazal (and not a naz'm or a giit or any other lyrical work). It is
not as much to acknowledge, as to indicate the girah. This misra is
also the one that provides the radiif for the tarahii ghazal. That is
what Faraaz has done here (and it also explains why he hasn't
surrounded miir with quotation marks); and like you, I wonder why he
has substituted 'jii' with 'dil'. I can understand the second change
he has made, i.e. 'ke' v/s 'kih' for the purposes of the radiif for
the rest of his ghazal.
Gulzar's change from 'jii' to 'dil' makes some sense as he wrote it
for a song; and 'dil' as the opening word of a song and having two
consonants is easier and more appealing for a singer to sing and for a
listener to hear.
Best,
Vijay
Afzal A. Khan
BGM Saheb,
This is a very long poem, though one feels reluctant to call it
a ghazal. There is a unity of theme running through and there is
no maqta' with taKHallus.
The ash'aar that have been omitted above are given below :
Ik saada~dil. dayaar-e-karishma'giraaN men gum
Ik qar'ya-e-tilism men hairat ke raat din
Lab~haaye~naa~raseeda(h) ki larzish se jaaN~ba'lab
Sehbaa-e-naa~chasheeda(h) ki lazzat ke raat din
Saudagaraan-e-min(m)bar-o-maktab se roo'kashi
JaaN~daad'gaan-e-daanish-o-hikmat ke raat din
Ahl-e-qaba o ahl-e-riya se gurez~paa
Woh waa'izaan-e-shehr se wehshat ke raat din
Firdausi-o-Nazeeri-o-Haafiz ke saath saath
Bedil, GHani, Kaleem se bai'at ke raat din
Tashkeek-o-mul'hidaana rawaiyye ke baa'wujood
Rumi se waalihaana 'aqeedat ke raat din
YaaroN se shaa'iraana hawaale se chashmakeN
GHairoN se 'aashiqaana raqaabat ke raat din
Sh'eri safar men b'az buzurgoN se iKHtilaaf
Peeraan-e-maikada(h) se baGHaawat ke raat din
Woh sub'h-o-shaam dar'badari hum'sinoN ke saath
Aawaargi-o-sair-o-siyaahat ke raat din
Ik meh'shar-e-KHayaal ke hijraaN men kaaT'na
Tan'haai ke 'azaab, qiyaamat ke raat din
Ik lo'bat-e-jamaal ko har waqt sochna
Aur sochte hi rehne ki 'aadat ke raat din
Be~waj'ha apne aap ko har waqt kosna
Be~sood har kisi se shikaayat ke raat din
RuswaaiyoN ki baat thi, ruswaaiyaaN huweeN
RuswaaiyoN ki 'umr men shohrat ke raat din
Is daulat-humar pe bhi aazaar-e-muflisi
Is roshni-e-tab'a pe zulmat ke raat din
Har aarzu ne jaama-e-hasrat pehan liya
Phir hum the aur gosha-e-'uzlat ke raat din
NaadaaN haiN woh k(e) jin ko hai gum~naamiyoN ka raNj
Hum ko to raas aaye na shohrat ke raat din
"KHoon-e-jigar wadee'at-e- mizhgaan-e-yaar tha"
Aur mud'da'ee the san'at-o-hirfat ke raat din
Kya kya hameN na 'ishq se sharmindagi huwi
Kya kya na hum pe guzre nadaamat ke raat din
Aakaas~bel pi gayee ik sarv ka lahu
Aaseb kha gaya kisi qaamat ke raat din
KaaTi hai ek 'ume isi rozgaar men
BarsoN pe the muheet, azeeyyat ke raat din
SamaaN kahaaN k(e) yaar ko mehmaaN bulaaiye
ImkaaN kahaaN k(e) dekhiye 'ishrat ke raat din
So yeh bhi ek ah'd-e-ziyaaN tha, guzar gayaa
KaT hi gaye haiN jabr-e-masheeyyat ke raat din
Please excuse me if any of the ash'aar posted earlier have
been repeated above.
I would also like to invite the participants' attention to
the fact that Janaab-e- Faraaz has used so many 'taraakeeb'
of Ghalib in his own poem. Some examples are given below,
along with a brief reference to the original Ghalib usage :
"JaaN~gusil" = Gham-e-'ishq jaaN~gusil hai
"KHoon-e-jigar wadee'at-e-mizhgaan-e-yaar tha" = The entire
misra' has been borrowed.
"Nis'yaaN ke taaq par" = Hum be~KHudoN ke taaq-e-nis'yaaN ka
"Yaar ko meh'maaN bulaaiye" = Muddat huwi hai yaar ko meh'maaN
kiye huwe
"Koo-e-malaamat" = Dil phir talaash-e-koo-e-malaamat ko jaaye hai
In a way, it is a tribute by Ahmed Faraaz to the poetic
legacy of Mirza Ghalib.
Afzal
BGM
Waa..h, Afzal saahab!
What an erudite addition, to the "Ghazal" I thought for a while was a
mukammal tasalsul Ghazal.
aap kaa bahot shukriya isay yahaaN pesh karne kaa.
I am very impressed.
====================================================================
Vijay
>
> In a way, it is a tribute by Ahmed Faraaz to the poetic
> legacy of Mirza Ghalib.
>
> Afzal
The book 'ghazal bahanah karuuN' came out in 1999 and Faraaz did a
tour of various countries to launch the book, so to speak. I had the
good fortune of seeing him at the mushaaira in Toronto in August of
that year. ( I am the proud owner of a copy signed by him, dated 2nd
August 1999). Faraaz had had an evening out with the other shora' the
previous day and apparently recited quite a few selections from the
book. On the day of the mushaaira, sadr-e-baz'm, a female poet whose
name escapes me, described the previous evening and how Faraaz
channeled the spirit of Ghalib in his new ghazals.
So Afzal sahib, the ghazal under discussion is only one example of his
tribute to Ghalib's legacy. I give some other examples below from the
book that reminds us of Ghalib. One misra each then and hopefully
ALUPers will be able to guess which Ghalib ghazal is the inspiration:
1. na shab-o-roz hii badle haiN na haal accha hai
2. masaafrat meN bhii tasviir ghar kii dekhte haiN
3. kal shab thaa ajab diid kaa maNzar mere aage
4, yuuN dil se kisii dard kaa paimaaN nahiiN karte
5.na maNziloN ko na ham rah guzar ko dekhte haiN
6. voh to patthar pe bhii guzre na Khuda hone tak
(I know, I know: he could have said 'hote tak', but that sounds so
ancient. So some poetic license is allowable).
7. phirte haiN ab bhii dil ko girebaaN kiie hue
8. hij'r phir hij'r hai visaal kahaaN
And lastly, a complete she'r:
9. ham Khuld se nikal to gae haiN par ai Khuda
itne se waaq'ae kaa fasaanah bohat huua
Vijay