Andaaz-e-Bayaan Aur: us kii hasarat hai jise dil se miTaa bhii na sakuu.N
Vinay
has *some* she'rs from him. The matalaa of this ghazal is the first
thing that comes to my mind when I hear the name of Amir Minai.
It was an interesting concept. A ghazal singer combines two different
ghazals of two shaayars with same "zameen" into a single one. IIRC,
Jagjit Singh in his introduction to this ghazal mentions that this
concept was not new and there was even a specific term that he used
for it. Nevertheless, I still do not remember hearing any other such
instance in ghazal singing.
Jagjit Singh here combines she'rs by Ghalib and Amir Minai and wraps
them with an outstanding composition and mesmerizing rendering. One of
the few ghazals, apart from the Mirza Ghalib ones, where I find Chitra
Singh absolutely enchanting. And let's not even start about praising
the she'rs. A favourite whichever way I approach it.
On a side note, I am also starting a new series with this posting,
named "Andaaz-e-Bayaan Aur" (pronounced as it should be -
andaaz-e-bayaa.N aur). This series is supposed to host ghazals; mainly
those that were *not* written for films, but exceptions can be made.
It is an open series and anyone can contribute ghazals under it.
Vinay
===================
% ITRANS Song #
%
\startsong
\stitle{us kii hasarat hai jise dil se miTaa bhii na sakuu.N}%
\film{Rare Gems (Non-Film)}%
\year{196?}%
\starring{}%
\singer{Jagjit Singh, Chitra Singh}%
\music{Jagjit Singh}%
\lyrics{Ghalib, Amir Minai}%
%
% Audio on: HMV
% Contributor: Vinay P Jain
% Transliterator: Vinay P Jain
% Date: 7 Jun 2004
% Series: Andaaz-e-Bayaan Aur
% Comments: The song was first released on EPs in late 60s/early 70s.
Later, in late 80s, HMV released a collection of some ghazals of
Jagjit-Chitra from that era pakcaged as 'Rare Gems'. She'rs # 2, 4, 6
are by Ghalib and the rest by Amir Minai.
% generated using giitaayan
%
\printtitle
#indian
%
1.
us kii hasarat hai jise dil se miTaa bhii na sakuu.N
Dhuu.NDhane us ko chalaa huu.N jise paa bhii na sakuu.N
2.
meharabaa.N ho ke bulaa lo mujhe chaaho jis waqt
mai.n gayaa waqt nahii.n huu.N ki phir aa bhii na sakuu.N
3.
Daal kar Kaak mere Kuun pe qaatil ne kahaa
kuchh ye me.nhadii nahii.n merii ki miTaa bhii na sakuu.N
4.
zauf me.n taanaa\-e\-aGayaar kaa shikavaa kyaa hai
baat kuchh sar to nahii.n hai ki uThaa bhii na sakuu.N
% zauf = kamajorii; aGayaar = dushman
5.
zabt kamabaKt ne aur aa ke galaa gho.nTaa hai
ki use haal sunaauu.N to sunaa bhii na sakuu.N
6.
zahar milataa hii nahii.n mujhako sitamagar varnaa
kyaa qasam hai tere milane kii ki khaa bhii na sakuu.N
7.
us ke pahaluu me.n jo le jaa ke sulaa duu.N dil ko
nii.nd aisii use aaye ke jagaa bhii na sakuu.N
%
#endindian
\endsong
===========
In Nagari:
१.
उस की हसरत है जिसे दिल से मिटा भी न सकूँ
ढूँढने उस को चला हूँ जिसे पा भी न सकूँ
२.
मेहरबाँ हो के बुला लो मुझे चाहो जिस वक़्त
मैं गया वक़्त नहीं हूँ कि फिर आ भी न सकूँ
३.
डाल कर ख़ाक मेरे ख़ून पे क़ातिल ने कहा
कुछ ये मेंहदी नहीं मेरी कि मिटा भी न सकूँ
४.
ज़ौफ़ में ताना-ए-अग़यार का शिकवा क्या है
बात कुछ सर तो नहीं है कि उठा भी न सकूँ
% zauf = kamajorii; aGayaar = dushman
५.
ज़ब्त कमबख़्त ने और आ के गला घोँटा है
कि उसे हाल सुनाऊँ तो सुना भी न सकूँ
६.
ज़हर मिलता ही नहीं मुझको सितमगर वर्ना
क्या क़सम है तेरे मिलने की कि खा भी न सकूँ
७.
उस के पहलू में जो ले जा के सुला दूँ दिल को
नींद ऐसी उसे आये के जगा भी न सकूँ
Ket...@att.net
>
>While on to Amir Minai, I am posting one of my favorite ghazals which
>has *some* she'rs from him. The matalaa of this ghazal is the first
>thing that comes to my mind when I hear the name of Amir Minai.
>
>It was an interesting concept. A ghazal singer combines two different
>ghazals of two shaayars with same "zameen" into a single one. IIRC,
>Jagjit Singh in his introduction to this ghazal mentions that this
>concept was not new and there was even a specific term that he used
>for it. Nevertheless, I still do not remember hearing any other such
>instance in ghazal singing.
Isn't this what is called "Hamradeef ghazal"? If not, what is a "Hamradeef"
ghazal? I hope I have the term spelt right. One example is their own from their
"Come Alive" album where Chitra sings : Ishq mein ghairat-e-jazbaat ne rone na
diya, while Jagjit sings : Yaar ko main ne mujhe yaar ne sone na diya at the
same time.
Came across this old post by UVR(date unknown)
Ketan
-------------------------------------------------------------------------------
This is a GHazal by Ameer Minai (sung by Jagjit and Chitra Singh).
It is very similar to the following GHazal by GHalib:
"meharbaaN ho ke bulaa lo mujhe chaaho jis waqt
maiN gayaa waqt nahiN hooN ke phir aa bhi na sakooN"
The confusion is caused by the fact that shers from both these
GHazals were used by Jagjit and Chitra Singh in one of their
albums. In the words of U.V.Ravindra, the GHazal which "...has been
attributed [completely] to Ameer Minai in the Jagjit Chitra album is
actually a PAIR of hamradeef ghazals. Jagjit and Chitra apparently
(used to) revel in singing this kind of due(t/l). In this particular
case the pair of Ghazals is by Mirza Ghalib+Ameer Minai, with Jagjit
sing(h)ing [;-)] the Ameer Minai part and Chitra crooning along the
original Mirza Ghalib Ghazal."
Submitted by: U.V. Ravindra (uvr@tata_elxsi.soft.net),
-------------
uski hasrat hai jise dil se miTaa bhi na sakooN
DhooNDhne usko chalaa hoon jise paa bhi na sakooN
[ hasrat = desire ]
Daal kar KHaak mere KHoon pe qaatil ne kahaa
kuch yeh mehndi nahiN meri ke miTaa bhi na sakooN
zabt kam_baKHt ne aur aa ke galaa ghoNTaa hai
ke use haal sunaaooN to sunaa bhi na sakooN
[zabt = forbearance/"sahan-shakti]
uske pahloo meiN jo lejaa ke sulaa dooN dil ko
neeNd aisee use aaye ke jagaa bhi na sakooN
[ pahloo = lap ]
Afzal A. Khan
No comments about Jagjit Singh and Chitra Singh.
Hasrat = Unfulfilled desire (Not just "desire" which can be
"KH(w)aahish" , "chaahat" etc.
The Dhrupad singers (Dagar Family) used to specialise in
this : the singer would interpolate nice shers by some noted
poet right in the middle of his raag enunciation and, of course,
recite/sing the sher in the same raag. I don't know if modern
day singers still do it. Maybe Dagar Family singers were an
exception because they knew Urdu and Urdu poetry well enough.
Afzal
Vinay
> >It was an interesting concept. A ghazal singer combines two different
> >ghazals of two shaayars with same "zameen" into a single one. IIRC,
> >Jagjit Singh in his introduction to this ghazal mentions that this
> >concept was not new and there was even a specific term that he used
> >for it. Nevertheless, I still do not remember hearing any other such
> >instance in ghazal singing.
>
> Isn't this what is called "Hamradeef ghazal"? If not, what is a
"Hamradeef"
> ghazal? I hope I have the term spelt right. One example is their own from
their
These are sure ham_radiif ghazals. ham_radiif ghazals are those which have
same radiifs (the ending words of each she'r). However, these are not just
ham_radiif, but also ham_behr (of same meter), or ham_qaafiyaa (of same
rhyming pattern) for that matter. But may be you are right. The word that
Jagjit Singh used was ham_radiif, which is the one that's normally used for
two such ghazals.
> "Come Alive" album where Chitra sings : Ishq mein ghairat-e-jazbaat ne
rone na
> diya, while Jagjit sings : Yaar ko main ne mujhe yaar ne sone na diya at
the
> same time.
>
This is an interesting one. Good that you mentioned this. This is a combo of
Sudarshan Fakir's and Haider Ali Atish's ghazals. Interestingly, in this
case the radiifs are different in both ghazals. The matalaa of Fakir's
ghazal goes:
ishq me.n Gairat-e-jazabaat ne rone na diyaa
varna kyaa baat thii kis baat ne rone na diiyaa
In the above, the radiif is: "ne rone na diyaa"
Atish's ghazal's matalaa is:
yaar ko mai.n ne mujhe yaar ne sone na diyaa
raat bhar taalaa-e-bedaar ne sone na diyaa
The radiif is: "ne sone na diyaa"
And in the resultant ghazal, sung by Jagjit, the radiif becomes, just: "na
diya".
So strictly speaking these are *not* ham_radiif ghazals. But the ghazal sung
by Jagjit is absolutely fine. Though it changes the radiif, since the new
qaafiyaas fits nicely (rone/sone), it becomes a perfectly okay ghazal in
itself.
Thanks for mentioning this. Are there any more examples of any such
combinations (actually sung by someone) that you or anyone else can
remember?
Thanks for this post by UVR. I must have missed it.
Vinay
Rirfan6
>raat bhar taalaa-e-bedaar ne sone na diyaa
It is one of the finest ghazals sung by
Ustad Amanat Ali Khan.
irfan
@bollyvista.com Amit Malhotra
><Ket...@att.net> wrote in message news:ca2n0...@drn.newsguy.com...
>> In article <f4f0fd2d.04060...@posting.google.com>, Vinay
>says...
>> >
><snipped>
>> >It was an interesting concept. A ghazal singer combines two different
>> >ghazals of two shaayars with same "zameen" into a single one. IIRC,
>> >Jagjit Singh in his introduction to this ghazal mentions that this
>> >concept was not new and there was even a specific term that he used
>> >for it. Nevertheless, I still do not remember hearing any other such
>> >instance in ghazal singing.
>>
>> Isn't this what is called "Hamradeef ghazal"? If not, what is a
>"Hamradeef"
>> ghazal? I hope I have the term spelt right. One example is their own from
>their
>
>These are sure ham_radiif ghazals. ham_radiif ghazals are those which have
>same radiifs (the ending words of each she'r). However, these are not just
>ham_radiif, but also ham_behr (of same meter), or ham_qaafiyaa (of same
>rhyming pattern) for that matter. But may be you are right. The word that
>Jagjit Singh used was ham_radiif, which is the one that's normally used for
>two such ghazals.
>
I think calling them only "ham_radiif" ghazals will be too limiting
for them. As you rightfully pointed out, they are in the same meter
and have the same qaafiya as well. IMHO, a "zamiin" of a ghazal
includes all three things, "radiif", "qaafiyaa" and "be'hr" and hence,
these ghazals are written in the same "zamiin".... so they can easily
be called "ham_zameen" (although I don't think i have ever heard this
terminology before).
Amit Malhotra
@bollyvista.com Amit Malhotra
>While on to Amir Minai, I am posting one of my favorite ghazals which
>has *some* she'rs from him. The matalaa of this ghazal is the first
>thing that comes to my mind when I hear the name of Amir Minai.
>
>It was an interesting concept. A ghazal singer combines two different
>ghazals of two shaayars with same "zameen" into a single one. IIRC,
>Jagjit Singh in his introduction to this ghazal mentions that this
>concept was not new and there was even a specific term that he used
>for it. Nevertheless, I still do not remember hearing any other such
>instance in ghazal singing.
>
I think there are other instances of them, I may have heard Ghulam Ali
do that as well as Mehdi Hasan but nothing concrete is coming to my
mind at the moment.
One interesting example though would be mixing up a sh'er in a ghazal
by Jagjit Singh (although it may be because the sh'er is probably
attributed to the wrong poet):
the ghazal: hazaaroN khwaaisheiN aisii k har khwaaish pe dam nikle
(Ghalib). Jagjit Singh sings a sh'er in the middle which is:
Khudaa ke vaaste parda na kaabe se uThaa zaalim
kahiiN aisaa na ho yaaN bhii vahii kaafir sanam nikle
This sh'er is not by Ghalib, instead it was written by Zafar (Bahadur
Shah) and the word "zaalim" was not in the initial sh'er by Zafar.
rather it was "zaahid" that was used and the first line may not be
exactly the same either.
All this to say, that would be an example of "ham_zameen" ghazal and
how a sh'er got wrongly attributed to a poet who didn't even write it.
(of course I think the only discussion in ALUP we had about it was
never conclusive either so this matter whether the sh'er belonged to
Ghalib or not may still be discussed but not for this news group i
guess).
>On a side note, I am also starting a new series with this posting,
>named "Andaaz-e-Bayaan Aur" (pronounced as it should be -
>andaaz-e-bayaa.N aur). This series is supposed to host ghazals; mainly
>those that were *not* written for films, but exceptions can be made.
>It is an open series and anyone can contribute ghazals under it.
>
>Vinay
>
I for one will welcome this series. and hopefully contribute to it as
well.
Warm Regards
Amit Malhotra
@bollyvista.com Amit Malhotra
com> wrote:
>On 7 Jun 2004 13:45:02 -0700, v...@hotmail.com (Vinay) wrote:
>
>>While on to Amir Minai, I am posting one of my favorite ghazals which
>>has *some* she'rs from him. The matalaa of this ghazal is the first
>>thing that comes to my mind when I hear the name of Amir Minai.
>>
>>It was an interesting concept. A ghazal singer combines two different
>>ghazals of two shaayars with same "zameen" into a single one. IIRC,
>>Jagjit Singh in his introduction to this ghazal mentions that this
>>concept was not new and there was even a specific term that he used
>>for it. Nevertheless, I still do not remember hearing any other such
>>instance in ghazal singing.
>>
>
>I think there are other instances of them, I may have heard Ghulam Ali
>do that as well as Mehdi Hasan but nothing concrete is coming to my
>mind at the moment.
>
>One interesting example though would be mixing up a sh'er in a ghazal
>by Jagjit Singh (although it may be because the sh'er is probably
>attributed to the wrong poet):
>the ghazal: hazaaroN khwaaisheiN aisii k har khwaaish pe dam nikle
>(Ghalib). Jagjit Singh sings a sh'er in the middle which is:
>
and thinking more of the same example (one or two ash'aar in the
middle of the ghazal) something that Mehdi Hasan sang came to my mind
:)
Ghazal singer: Mehdi Hasan
Ghazal Writer: Ahmed Faraz
Ghazal: Ranjish hi sahii dil hi dukhaane ke liye aa
ash'aar not belonging to the original ghazal by Ahmed Faraz:
maanaa ki muhabbat kaa chhipaanaa hai muhabbat
chupake se kisii roz jataane ke liye aa
jaise tujhe aate hai.n na aane ke bahaane
aise hii kisii roz na jaane ke liye aa
both of these ash'aar are sung at the end of the ghazal. Another
perfect example of ham_zameen ghazals.
Regards,
Amit Malhotra
Ashok
says...
>
>While on to Amir Minai, I am posting one of my favorite ghazals which
>has *some* she'rs from him. The matalaa of this ghazal is the first
>thing that comes to my mind when I hear the name of Amir Minai.
>
>It was an interesting concept. A ghazal singer combines two different
>ghazals of two shaayars with same "zameen" into a single one. IIRC,
>Jagjit Singh in his introduction to this ghazal mentions that this
>concept was not new and there was even a specific term that he used
>for it. Nevertheless, I still do not remember hearing any other such
>instance in ghazal singing.
There were three "ham-radiif" ghazals by Ghalib
and Daagh/Jigar that Murali Manohar Swaroop
composed for Talat, with Mukesh/C.H. Atma
as co-singers in the early 60s:
1. Ghalib-Daagh
Talat: kisii do de ke dil koii navaa sa.nj-e-fuGaa.n kyo.n ho
na ho jab dil hii siine me.n to phir mu.Nh me.n jubaa.n kyo.n ho
Mukesh: jo dil qaabuu me.n ho to koiii rusavaa-e-jahaa.N kyo.n ho
Kalish kyo.n ho tapish kyo.n ho qalaq kyo.n ho fuGaa.n kyo.n ho
2. Jigar-Ghalib
Mukesh: vo jo ruuThe.n to manaanaa chaahiye
zi.ndagii se ruuTh jaanaa chaahiye
Talat: chaahiye achchho.n ko jitanaa chaahiye
ye agar chaahe.n to phir kyaa chaahiye
3. Ghalib-Daagh
Atma: dil hii to hai na sa.ng-o-Kisht dard se bhar na aae kyo.n
roye.nge ham hazaar baar koii hame.n sataae kyo.n
Talat: dil hii to hai na aaye kyo.n dam hii to hai na jaaye kyo.n
ham ko Kudaa jo sabr de tujh saa hasii.n banaaye kyo.n
Ashok
Vinay
>
> There were three "ham-radiif" ghazals by Ghalib
> and Daagh/Jigar that Murali Manohar Swaroop
> composed for Talat, with Mukesh/C.H. Atma
> as co-singers in the early 60s:
>
> 1. Ghalib-Daagh
>
> Talat: kisii do de ke dil koii navaa sa.nj-e-fuGaa.n kyo.n ho
> na ho jab dil hii siine me.n to phir mu.Nh me.n jubaa.n kyo.n ho
>
> Mukesh: jo dil qaabuu me.n ho to koiii rusavaa-e-jahaa.N kyo.n ho
> Kalish kyo.n ho tapish kyo.n ho qalaq kyo.n ho fuGaa.n kyo.n ho
>
> 2. Jigar-Ghalib
>
> Mukesh: vo jo ruuThe.n to manaanaa chaahiye
> zi.ndagii se ruuTh jaanaa chaahiye
>
> Talat: chaahiye achchho.n ko jitanaa chaahiye
> ye agar chaahe.n to phir kyaa chaahiye
>
> 3. Ghalib-Daagh
>
> Atma: dil hii to hai na sa.ng-o-Kisht dard se bhar na aae kyo.n
> roye.nge ham hazaar baar koii hame.n sataae kyo.n
>
> Talat: dil hii to hai na aaye kyo.n dam hii to hai na jaaye kyo.n
> ham ko Kudaa jo sabr de tujh saa hasii.n banaaye kyo.n
>
>
Thanks for informing about these. Are there reasons to be hopeful
about availability of these songs? Also, if you have them, could you
please transcribe them as they are sung?
Vinay
> Ashok
Vijay Kumar K
>
> One interesting example though would be mixing up a sh'er in a ghazal
> by Jagjit Singh (although it may be because the sh'er is probably
> attributed to the wrong poet):
> the ghazal: hazaaroN khwaaisheiN aisii k har khwaaish pe dam nikle
> (Ghalib). Jagjit Singh sings a sh'er in the middle which is:
>
> Khudaa ke vaaste parda na kaabe se uThaa zaalim
> kahiiN aisaa na ho yaaN bhii vahii kaafir sanam nikle
>
> This sh'er is not by Ghalib, instead it was written by Zafar (Bahadur
> Shah) and the word "zaalim" was not in the initial sh'er by Zafar.
> rather it was "zaahid" that was used and the first line may not be
> exactly the same either.
>
look up my other Ghalib book to confirm if this sher appears in that
collection as well. What prompts you to say this sher is not by Ghalib,
but by Zafar. Is it not possible that Zafar took Ghalib's existing sher
and wove it into one of his own ghazals, or created a whole new ghazal
using that starting point? Gulzar does that all the time :-)
Vijay
Afzal A. Khan
It is not by Ghalib. Comparing the late Mughal Emperor
to Gulzar is a "grave" disrespect for the former.
Afzal
@bollyvista.com Amit Malhotra
wrote:
well, not only the discussions in ALUP but also the fact that I have a
book called selected poetry of zafar in which this sh'er appears in
its modified version. Of course, someone like Zafar sahib from ALUP
will be able to confirm this for me whether this appears in the real
deewaan-e-Ghalib or not. Do refer to ALUP for further discussions on
this sh'er.
Regards,
Amit
>Vijay
UVR
Also, FWIW, the 'Ghalib centennial' edition of the Deewaan-e-Ghalib
published by the Ghalib Academy, Delhi, does not contain this sh'er.
One assumes that the Ghalib Academy does (or employs persons who do)
authoritative research on Ghalib's Ghazals.
-UVR.
Rirfan6
>published by the Ghalib Academy, Delhi, does not contain this sh'er.
I have Deevaan-e-Ghalib compiled by
Ghulam Rasul Mehr which is considered
as one of the most authentic compilations. This compilation does not
contain this she'r. The ghazal has nine she'rs and it is mentioned in the
footnote
that it was a Tarahi ghazal read in a Shahi Mushaira and published in Delhi
Urdu Akhbaar on 16th June 1853. Mehr
however has mentioned a she'r in FN -
zara ker zor seeney se keh tiir-e-pur
sitam nikaley
jo yeh nikaley to dil nikaley jo dil nikaley
to dumm nikaley
Mehr says that this she'r does not appear in any authentic compilation and
was found as ninth she'r instead of Matalaa-e-
Saani which is not acceptable.
Regards,
Irfan
@bollyvista.com Amit Malhotra
funny that you mentionned this sh'er :) it was also discussed on ALUP
and not so long ago. well after looking up the link, i said "not so
long" but it has been over a year.. so here is the link:
http://makeashorterlink.com/?O38B52388
Regards,
Amit Malhotra
paabagil
Okay, 'Zafar saahib from ALUP' is at your service :)
I remember clearing up this issue at ALUP about two years ago, but
strangely, the post can't be found now. Perhaps Google mahaaraj ate
it! So here we go again:
In deevaan e panjam (5th) of the kulliyaat e BS Zafar, published by
Sang e Meel, Lahore, we find this 11-couplet Ghazal (I'm writing only
the important ash'aar):
kahaaN aansoo ke qatre Khoon e dil se haiN baham nikle
ye dil meN jama' the muddat se kuchh paikaan e Gham nikle
mire mazmoon e sauz e dil se Khat sab jal gayaa meraa
qalam se harf jo nikle, sharar hee yak qalam nikle [nice she'er]
jigar par daaGh, lab par dood e dil, aur ashk daaman meN
tiree mehfil se ham maanind e sham' e sub-dam nikle [Excellent;
especially, the image of "dood e dil". cf. "dekh to dil k jaaN se ..."
by Mir]
Khudaa ke vaaste parda uThaa *zaahid* na Ka'aba kaa
kaheeN aisaa na ho yaaN bhee vuhee kaafir sanam nikle
and the maqta'
tamannaa hai ye dil meN jab talak hai dam meN dam apnaa
Zafar moonh se hamaare naam us kaa dam-ba-dam nikle
Ghalib's "ham-zameen" Ghazal (yes, the term is perfectly legitimate),
"hazaaroN KhaahisheN aisee ... " was written for a Royal mushaa'ira
and was published in Delhi Urdu AKhbaar on June 19, 1863. According to
the custom of the times, a misra e tarah was provided by the King to
the participating poets who would "compose" Ghazals accordingly. It
appears that both Ghazals were written for that particular mushaa'ira.
BSZ was under the tutelage of Sheikh Ibrahim Zauq (died 1854) at that
time; Ghalib was commissioned for the same job after the death of the
Ustad.
Hope this is helpful.
Zafar
PS. And, by the way, Ghulam Rasool Mehr's deevan e Ghalib is generally
NOT considered an authoritative collection.
@bollyvista.com Amit Malhotra
Zafar sahib, thank you very much for clearing up the issue on this
sh'er. And most importantly, i'm glad because of you I got to read
the ghazal by Bahadur Shah Zafar.
>
>Khudaa ke vaaste parda uThaa *zaahid* na Ka'aba kaa
>kaheeN aisaa na ho yaaN bhee vuhee kaafir sanam nikle
>
>Ghalib's "ham-zameen" Ghazal (yes, the term is perfectly legitimate),
>"hazaaroN KhaahisheN aisee ... " was written for a Royal mushaa'ira
>and was published in Delhi Urdu AKhbaar on June 19, 1863. According to
>the custom of the times, a misra e tarah was provided by the King to
>the participating poets who would "compose" Ghazals accordingly. It
>appears that both Ghazals were written for that particular mushaa'ira.
>
Ok, the question now is, what was the misra-e-tarah that was given for
this tarahi mushaira? :) In the few ash'aar you quoted from Zafar's
ghazal, and from the ones I know that Ghalib wrote... there doesn't
seem to be any that could be called misra-e-tarah. kya in hazraat ne
misra-e-tarah pe girah bhi lagaii thi k nahiiN?
and one more question (although it's going way out of RMIM's domain
and the thread is becoming OT, but I might as well ask it while you
are here): Who else wrote on this misra-e-tarah? Any way that you
could get the other ghazals written by the other poets in the same
zameen (hopefully you can send it on ALUP).
>Hope this is helpful.
>
>Zafar
>
It was very helpful!!
Regards,
Amit Malhotra
paabagil
> Ok, the question now is, what was the misra-e-tarah that was given for
> this tarahi mushaira? :) In the few ash'aar you quoted from Zafar's
> ghazal, and from the ones I know that Ghalib wrote... there doesn't
> seem to be any that could be called misra-e-tarah. kya in hazraat ne
> misra-e-tarah pe girah bhi lagaii thi k nahiiN?
>
> and one more question (although it's going way out of RMIM's domain
> and the thread is becoming OT, but I might as well ask it while you
> are here): Who else wrote on this misra-e-tarah? Any way that you
> could get the other ghazals written by the other poets in the same
> zameen (hopefully you can send it on ALUP).
I guess this would require a lot of research. AFAIK, it was not
customary to incorporate the misra e tarah in the Ghazal in those
days. I checked in the deevaan e Zauq but no Ghazal in this zameen was
listed there. However, that does'nt prove anything as we know that a
good part of the kulliyaat e Zauq was lost in the "Mutiny" of 1857.
Another poet who might have participated in the mushaa'ira is Mufti
Azurda, but I have never seen his deevaan and don't even know whether
it has been published or not. Shaifta could be anther possibility
(Maumin not there for sure: he died in 1851).
But, nevertheless, I think the zameen and the following she'er might
have been inspired:
> jigar par daaGh, lab par dood e dil, aur ashk daaman meN
> tiree mehfil se ham maanind e sham' e sub-dam nikle [Excellent;
> especially, the image of "dood e dil". cf. "dekh to dil k jaaN se ..."
> by Mir]
Ghalib's famous she'er:
boo e gul, naala e dil, dood e chiraaGh e mehfil
jo tiree bazm se niklaa, so pareeshaaN niklaa
This Ghazal appears in the NusKha e Hameediya (a manuscript edition of
deevaan e Ghalib), presented to the library of the Nawab of Bhopal in
1821. Note especially the similiarity of the radeef.
Note that both these ash'aar can be presented to illustrate the "rule
of economy of words" in poetry. Ghalib says the same thing in 25% less
words!
*****
You're right that this thread has gone out of the domain of RMIM. So
to rectify things a bit, I'd share another "ham-zameen" Ghazal, sung
exquisitely by Mehdi Hasan: the famous "guloN meN rang bhare ..." by
Faiz. The she'er "chalaao teer k seene ke aar paar chale" (and perhaps
one more she'er) is not by Faiz and I've heard Mehdi Hasan saying that
Faiz himslef had allowed him to sing those ash'aar in his Ghazal!!!
Zafar
@bollyvista.com Amit Malhotra
>Note that both these ash'aar can be presented to illustrate the "rule
>of economy of words" in poetry. Ghalib says the same thing in 25% less
>words!
>
>*****
>
>You're right that this thread has gone out of the domain of RMIM. So
>to rectify things a bit, I'd share another "ham-zameen" Ghazal, sung
>exquisitely by Mehdi Hasan: the famous "guloN meN rang bhare ..." by
>Faiz. The she'er "chalaao teer k seene ke aar paar chale" (and perhaps
>one more she'er) is not by Faiz and I've heard Mehdi Hasan saying that
>Faiz himslef had allowed him to sing those ash'aar in his Ghazal!!!
>
>Zafar
Thank you for your reply Zafar sahib and for sharing some more
valuable information regarding that mushaira. Of course, i'd love to
talk to you more about how and when and why misra-e-tarah started
getting incorporated in tarahi ghazals... but i'll leave that for
another newsgroup ;-)
that's an interesting thing about Mehdi Hasan singing a few ham-zameen
ghazals. now that you mention one, one that was mentionned by me..
seems like a more common thing with him.
Oh and last but not least.. i like what you said about "rule of
economy of words" .. very interesting thought.
Warm Regards,
Amit Malhotra
Vijay Kumar
> to rectify things a bit, I'd share another "ham-zameen" Ghazal, sung
> exquisitely by Mehdi Hasan: the famous "guloN meN rang bhare ..." by
> Faiz. The she'er "chalaao teer k seene ke aar paar chale" (and perhaps
> one more she'er) is not by Faiz and I've heard Mehdi Hasan saying that
> Faiz himslef had allowed him to sing those ash'aar in his Ghazal!!!
>
This she'er goes something like:
huua jo tiir-e-nazar niim-kash to kyaa haasil
maza to jab hai keh siine ke aar paar chale
Vijay Kumar
UVR
Yes, I have heard MH sing this sh'er and, IIRC, MH said that
this was written by a shaa'ir who was a "friend" and "fan" of
Faiz's, and that is the reason Faiz agreed to MH singing it.
Also, I don't know why but I keep associating the name of
Kunwar Mohinder Singh Bedi 'Sahar' with this sh'er ...
-UVR.
paabagil
Thanks for the correction, Vijay saahib. The she'er is a poetic reply
("javaab") to Ghalib:
ko'yee mere dil se poochhe tire teer e neem-kash ko
ye Khalish kahaaN se hotee jo jigar ke paar hotaa
[The most sung Ghazal ever?]
Coming back to MH's claim that Faiz allowed him to sing this she'er in
his Ghazal. I think Faiz was a very amiable man, so he might have
nodded just out of courtesy when asked by MH how did he like the
she'er!
But Ahmad Faraz was different (at least in attitude!). He once showed
his anger publicly at the singing of ham-zameen ash'aar inside his
Ghazal. Not only ham-zameen, I remember seening him scolding Mehnaz
for not singing his ash'aar in order in the Ghazal
ab k tajdeed e vafaa kaa naheeN imkaaN jaanaaN
yaad kyaa tujh ko dilaa'yeN tiraa paimaaN jaanaaN
A very nice Ghazal, though.
Zafar
vibhendu
-Vibhendu
>
> Vijay Kumar
Afzal A. Khan
paabagil wrote:
>
> guz...@hotmail.com (Vijay Kumar) wrote in message news:<58f08299.04061...@posting.google.com>...
> > >paab...@hotmail.com (paabagil) wrote in message >
> > > You're right that this thread has gone out of the domain of RMIM. So
> > > to rectify things a bit, I'd share another "ham-zameen" Ghazal, sung
> > > exquisitely by Mehdi Hasan: the famous "guloN meN rang bhare ..." by
> > > Faiz. The she'er "chalaao teer k seene ke aar paar chale" (and perhaps
> > > one more she'er) is not by Faiz and I've heard Mehdi Hasan saying that
> > > Faiz himslef had allowed him to sing those ash'aar in his Ghazal!!!
> > >
> >
> > This she'er goes something like:
> >
> > huua jo tiir-e-nazar niim-kash to kyaa haasil
> > maza to jab hai keh siine ke aar paar chale
>
> Thanks for the correction, Vijay saahib. The she'er is a poetic reply
> ("javaab") to Ghalib:
>
> ko'yee mere dil se poochhe tire teer e neem-kash ko
> ye Khalish kahaaN se hotee jo jigar ke paar hotaa
>
> [The most sung Ghazal ever?]
>
> Coming back to MH's claim that Faiz allowed him to sing this she'er in
> his Ghazal. I think Faiz was a very amiable man, so he might have
> nodded just out of courtesy when asked by MH how did he like the
> she'er!
I am sure it must have happened exactly as you describe it.
>
> But Ahmad Faraz was different (at least in attitude!). He once showed
> his anger publicly at the singing of ham-zameen ash'aar inside his
> Ghazal. Not only ham-zameen, I remember seening him scolding Mehnaz
> for not singing his ash'aar in order in the Ghazal
>
> ab k tajdeed e vafaa kaa naheeN imkaaN jaanaaN
> yaad kyaa tujh ko dilaa'yeN tiraa paimaaN jaanaaN
>
> A very nice Ghazal, though.
Ahmed Faraz is a frequent visitor to the US. And stories
of his ill-temper and intemperate language abound in this
country too.
But there is no denying that he is one of the finest
poets these days.
Afzal
>
> Zafar