Taza hawa bahar ki - Lyrics ?
alpana...@gmail.com
listening to the rendition by Mehdi Hassan and it is beautiful!
Srinivas Ganti
alpana...@gmail.com wrote:
> I am looking for the lyrics of the ghazal "Taza hawa bahar ki". I am
> listening to the rendition by Mehdi Hassan and it is beautiful!
MH's voice renedition is so soothing...This has been taken from ALUP
archives.
sg.
1. Ali Minai Jun 27 1999, 3:00 am show options
Newsgroups: alt.language.urdu.poetry
From: ami...@holmes.ececs.uc.edu (Ali Minai)
I had promised earlier that I would post the words for the
ghazal `tAza havA bahAr kI...'. Well, here are the lines
from the version Mehdi Hasan sang. I am sure the ghazal is
longer, but unfortunately I only have Aziz Hamid Madni's
third collection, `naKHl-e gumAN', and this ghazal must be
from one of the two earlier nes, `daSHt-e imkAN' and
`CHaSHm-e nigarAN'.
tAza havA bahAr kI dil ka malAl lE gayI.
pA-E junUN sE se halqa-E gardiSH-e hAl lE gayI.
jur'at-E SHaOq kE sivA KHalvatiyAn-e KHAs kO
ik tere GHam ki AgahI tA-ba-savAl lE gayI.
tEz havA ki CHAp sE tIra banON meN laO uThI;
rUh-e taGHayyur-E jahAN Ag se fAl lE gayI.
nAfa-E Ahu-E tatAr zaKHm-e numUd kA SHikAr;
daSHt se zindigI ki raO Ek misAl lE gayI.
Like most of Madni's poetry, this is untranslatable in the
sense that the essential meaning resides in the ineffable
effect of the terms and meter rather than in the literal
interpretation. As I wrote earlier, Madni comes closer than
any Urdu poet to the verbal surrealism achieved by Dylan
Thomas in English. Nevertheless, the lines do have literal
meaning which I give below, while also trying to convey
some of the `feeling'. One aspect of Madni's poetry that
should be kept in mind is that he draws very heavily on
the reader's emotional response to images from Persian
and Arabic poetry --- just as Iqbal did. Unlike Iqbal,
however, Madni was a strong rationalist-humanist, as might
be apparent from some of his lines. Also, Madni is very
fond of creating new compounds (tarAkIb), which can sometimes
be difficult to interpret.
Anyway, here is my attempt at translation:
The fresh breeze of spring took away the heart's regrets,
removing the chain of misfortune from the feet of passion.
It was not just the courage of desire that moved your special ones
to question, but also their understanding of their love for you.
The wind's footfall ignited a flame in dark forests,
and the Spirit of the World's Transformation took its omen from this
fire.
The navel of the Tatar musk deer, captive of appearance's wound:
The current of Life took away an image from the desert.
The last she'r is the most obscure. I read it as saying that the
musk's urge for becoming apparent (`numUd') is what led to the deer's
being injured and taken captive, and in this there is a metaphor for
human life as well. Others may interpret this differently. This she'r
illustrates Madni's highly telegraphic, idiosyncratic, and imagistic
style. Indeed, the richness of his imagery is apparent throughout the
ghazal.