Gazal from Baazaar
Nilesh Savargaonkar
the movie Baazaar sung by Lata Mangeshkar? Can someone also explain the meaning
of many 'heavy' urdu words in that gazal? Who wrote this gazal?
- Nilesh.
Prince Kohli
hgu...@Xenon.Stanford.EDU (Himanshu Gupta) writes:
Some nits. If this is going into ISB, I might as well correct it now
than handle modifications later :-)
|> MD: Khaiyyaam
|> Lyrics: Javed Akhtar
|> parishtishkiyaa.N tak ki ye bus(?) tujhe \-2
|> nazar mei.N sab hogii khudaa kar chale
I don't quite remember the first line, but the first two words are:
paristish kiya...
And the second line goes:
nazar mein sabhee kee khuda kar chale.
"Paristish" means "pooja karna." Look at the second line now; it's
a beautiful couplet, isn't it?
|> I don't know what "parishtishkiyaaN" means. Most of the other words are simple.
Cheers,
-Prince
Syed Rizwan
>- Nilesh.
Ok, I'll give it a shot, haven't heard it in about a year, so will probably
be a little off, hopefuly somebody else can fill-in. :)
Dikhaayi diye yoo.n, kay bekhud kiyaa..
hamei.n aap say hi, juda kar chalay...
Parastish kee aadat, kay aay buut tujhay..
.... .... .... .., khuda kar chalay..
buhut aarzo thee, galee kee teree
soyaase lahoo mei.n nahaa kar chalay.. (???) not sure about this.
Welp, I seem to recall less of this ghazal than I thought I could
when I started this post. :(
Can someone fill-in please?
Rizwan
Nilesh Savargaonkar
From the song, it sounds like 'paristish kiya ki ai buth(?) tujhe
I couldn't understand the meaning of 'paristish kiya'(that has been explained
by Prince Kohli) and I don't know the meaning of 'buth' (does it mean statue?)
>nazar mei.N sab hogii khudaa kar chale
This line sounds like nazar mein 'sabhogee' but it could be 'sabhon kee' which
might explain the meaning.
>jabhi sajda(?) karte hi karte gayii \-2
What is the meaning of 'sajda'?
- Nilesh.
Azra Bano
>Should be in ISB under "songs to be added". Anyway, here are the lyrics....
>MD: Khaiyyaam
>Lyrics: Javed Akhtar
>dikhaayii diye yuu.N ki bekhudkiyaa.N \-2
>hame.N aapse bhii judaa kar chale
Dikhaai diye yuN ke bekhud kiya
>hame.N aapse bhii judaa kar chale
Here, aapse means 'khud se', not 'tum se'. When I first heard it,
I thought, confusion between attraction and repulsion..??!!:))[just kidding]
>jabhi sajda(?) karte hi karte gayii \-2
Jabeen sajda karte hi karte gayi..
[There is such a strong hyderabadi flavor to this ghazal, honestly..
it cud be a deliberate attempt 'coz the film is set in Hyderabad, or maybe
I'm just reading more into it than there is..like in this line, in general
urdu, it would be, jabeen sajda karti hi karti gayi, in dakhni urdu, that's
the deccan urdu, it wud be karte gayi..]
Jabeen here is forehead, very poetic, but sajda karna is basically 'maatha
tekna', which makes the line somewhat dicey to explain, but I didn't even
notice it till I tried to..apne Javed bhai has done a splendid job, no
doubt, but he's simply not of the same calibre as some other more prolific
urdu poets..
>haque bandagii ham adaa kar chale
That would basically translate to "I've paid the price of devotion.."
>dikhaayii diye yuu.N ....
>parishtishkiyaa.N tak ki ye bus(?) tujhe \-2
>nazar mei.N sab hogii khudaa kar chale
Parastish kiya tak ke ai buT tujhe
Nazar mei.N saboN ki, Khuda kar chale
I worshipped you to the extent that everyone believed you were God..
A BuT is an idol.
>dikhaayii diye yuu.N .....
>bahuut aarzuu thii galii kii terii \-2
>so yahan se lahuu mei.N nahaa kar chale
so yaan se lahu ..
What is really neat is the refreshingly minimal use of 'hum' 'mai'
'mujhe'..the implication is woven so beautifully too..
Btw, I remarked on this once before, even Ghalib goes 'yaan', wish I cud
remember the sher..that's another very hyderabadi way of saying 'yahan', or
so I thought..
Hope that helps..
............................................
Rooh ko shaad kare, dil ko jo purnoor kare
Har nazaare mein ye tanveer kahaan hoti hai
............................................
azra
--
Ikram Ahmed Khan
: >bahuut aarzuu thii galii kii terii \-2
: >so yahan se lahuu mei.N nahaa kar chale
: so yaan se lahu ..
: What is really neat is the refreshingly minimal use of 'hum' 'mai'
: 'mujhe'..the implication is woven so beautifully too..
: Btw, I remarked on this once before, even Ghalib goes 'yaan', wish I cud
: remember the sher..that's another very hyderabadi way of saying 'yahan', or
: so I thought..
Yes, he has. I think in Zulmat kade meN mere, he has used it. Should be one
of the other she'rs that Dad told me after I heard jagjit's version.
Also in song,
JawaaN hai mohabbat, haseeN hai zamaana (Noor's best imHo)
there is a line which goes
YaaN aankhoN aankhoN meN baateN hu'eeN haiN.
The yaaN part sounds truly wonderful in this song.
Later,
Ikram.
: Hope that helps..
roopa
says:
>Jabeen sajda karte hi karte gayi..
>[There is such a strong hyderabadi flavor to this ghazal, honestly..
>it cud be a deliberate attempt 'coz the film is set in Hyderabad, or maybe
>I'm just reading more into it than there is..like in this line, in general
>urdu, it would be, jabeen sajda karti hi karti gayi, in dakhni urdu, that's
>the deccan urdu, it wud be karte gayi..]
>Jabeen here is forehead, very poetic, but sajda karna is basically 'maatha
>tekna', which makes the line somewhat dicey to explain, but I didn't even
>notice it till I tried to..apne Javed bhai has done a splendid job,
Isn't this an original poem by Mir Taqi Mir? Which probably explains the
Hyderabadi usage you noticed. Also, I wonder why you found the line "dicey."
I'm not sure but I assumed it meant "jabin sajdaa karti hi gayi," if it were
expressed in contemporary terms, in the sense of "repeatedly worshipping."
>What is really neat is the refreshingly minimal use of 'hum' 'mai'
>'mujhe'..the implication is woven so beautifully too..
Thanks for mentioning that. I hadn't realized it, and of course it's true. I
thought I couldn't possibly love the poetry more, but now it seems even more
powerful. And appropriate too, because the focus of the poem is on the kind of
love that causes a loss of the "self," makes one forget one's own existence, as
it were, and the absence of the personal pronoun so cleverly reflects that
"forgetfulness."
Roopa
Top Gun
I was listening to the bazaar tape in my car tonight (when I,
incidentally, got rear-ended). Anyway, its cool to see it being discussed
here. I have an ancient version of this tape (with dialogues) and it says
that the lyrics to "dikhai diye yun..." are by Mir Taqi Mir! Is this true?
on an unrelated note, does anyone know of something similar to "Ghalib"
by Jagjit Singh? "similar" refers to any other major poet put to music on
such a large scale?
-Harpreet
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Harpreet Ahluwalia http://www.csua.berkeley.edu/~harpreet/
University of California, Berkeley h2...@uclink2.berkeley.edu
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
U.V Ravindra
Hello Netters,
I have just been reading some of the interesting discussion on the
"dikhaayee diye yooN..." GHazal. It is one of the most interesting
GHazals of Hindi films, IMO.
There seems to be some confusion as to whether the "original" of this
Dakhani GHazal was by Meer Taqi 'Meer' or not. As far as *I* know,
this is *not* a GHazal by Meer. At least, it's not listed in my
Diwan-e-Meer.
I think this is the time to debunk many myths about Meer. It is true
that he was a great shaa'ir. He was a real master of
'naaz-o-nazaakat' in she'r and quite unparalleled in his use of
language. His she'rs are as powerful as those of GHalib's (if not
more), but his vocabulary is more down-to-earth, common-man and even
pedestrian than GHalib's overwhelmingly Persian Urdu. Meer's was the
tongue of the man-on-the-streets, but the she'rs he said (she'r "kahe"
jaate haiN, "likhe" nahiN jaate. GHazaleiN bhi "kahi" hi jaati haiN!)
were unmatched in their grace and loveliness. Even GHalib is said to
have acknowledged Mir's greatness. Look at the following she'r by
Ghalib:
GHalib apnaa to aqeedaa hai ba_kaul-E-NaasiKH
aap be_bahraa haiN jo mOtakid-E-Meer nahiN
(this is the 50th article in the ASAD Page, in which Abhay says:)
"Forget the Urdu, what Ghalib says is -- if you're not a worshipper of
Mir, then you are stupid!"
However, there *are* other shaa'irs, besides Meer who have (albeit
occasionally) come up with excellent she'rs/GHazals. Many wrote in
Meer's style, too. Several GHazals of these obscure shaa'irs however,
survive today by Meer's name. The GHazal in question, IMO, is one
such. In my opinion, the original of "dikhaaee diye yooN..." was not
by Meer.
Coming to Dakhani, Meer doesn't seem to have written too much in
Dakhani, and what little he did write seems to have been by way of
experiment. I cannot emphatically aver that he never wrote in
Dakhani, but he definitely seems to have been very un-prolific in that
dialect.
Abhay, please add to this...
Regards,
Ravindra.
--
guftagoo rEKhte meiN ham se na kar,
yeh hamaari zubaan hai pyaare
-- Meer Taqi 'Meer'
[rEKHtaa = and old name for Urdu]
Ikram Ahmed Khan
: Coming to Dakhani, Meer doesn't seem to have written too much in
: Dakhani, and what little he did write seems to have been by way of
: experiment. I cannot emphatically aver that he never wrote in
: Dakhani, but he definitely seems to have been very un-prolific in that
: dialect.
I personally seem to remember that Mir was from the North. Is that true?
Then how come he was writing in Dakkhani? Anybody knows more as to where
Mir hailed from. I thought it was Delhi and the nearby regions.
Later,
Ikram.
: Abhay, please add to this...
Yes, please do.
: Regards,
p
roopa <RX...@psuvm.psu.edu> wrote:
>Thanks for mentioning that. I hadn't realized it, and of course it's true. I
>thought I couldn't possibly love the poetry more, but now it seems even more
>powerful. And appropriate too, because the focus of the poem is on the kind
of
>love that causes a loss of the "self," makes one forget one's own existence,
as
>it were, and the absence of the personal pronoun so cleverly reflects that
>"forgetfulness."
****************************************************************
is gazal ke baare meN bahut kuchh suna.. aab jigar chahata hai ke is ko khud
puri tarah padhe... koi hai madadgaar jo is gazal ko yahan (yaan ;) ) phir se
likhe?
shikriya..
parul
roopa
>
>is gazal ke baare meN bahut kuchh suna.. aab jigar chahata hai ke is ko khud
>puri tarah padhe... koi hai madadgaar jo is gazal ko yahan (yaan ;) ) phir se
>likhe?
>
>
dikhaayi diye yoon ke bekhud kiyaa
hamen aap se bhi juda kar chale
jabeen sajda karte hi karte gayi
haq-e-bandagi hum adaa kar chale
parastish kiya tak ki ai but tujhe
nazar mein sabhon ki khuda kar chale
bahut aarzoo thi gali ki teri
so yaan se lahoo mein nahaa kar chale
Roopa
Marella Sridhar
: In article <47opli$p...@news.iastate.edu>, Nilesh Savargaonkar <nilesh> wrote:
: >Can someone post the lyrics for the beautiful gazal 'Dikhaayee diye yoon' from
: >the movie Baazaar sung by Lata Mangeshkar? Can someone also explain the meaning
: >of many 'heavy' urdu words in that gazal? Who wrote this gazal?
: >
: >- Nilesh.
: Should be in ISB under "songs to be added". Anyway, here are the lyrics....
: MD: Khaiyyaam
: Lyrics: Javed Akhtar
My HMV cassette (again not a very reliable source) here tells me that the
lyricist is MIR TAQI MIR. Could someone confirm ? That probably explains why the
ghazal is more beautiful than Javed Akhtar is capable of.
Sridhar
akif sultan
U.V Ravindra <uvr@tata_elxsi.soft.net> wrote:
|
|Hello Netters,
|
|I have just been reading some of the interesting discussion on the
|"dikhaayee diye yooN..." GHazal. It is one of the most interesting
|GHazals of Hindi films, IMO.
|
|There seems to be some confusion as to whether the "original" of this
|Dakhani GHazal was by Meer Taqi 'Meer' or not. As far as *I* know,
|this is *not* a GHazal by Meer. At least, it's not listed in my
|Diwan-e-Meer.
|
|survive today by Meer's name. The GHazal in question, IMO, is one
|such. In my opinion, the original of "dikhaaee diye yooN..." was not
|by Meer.
The book I have lists this ghazal under 'Meer'. It has seven shers
akif sultan
|
|Coming to Dakhani, Meer doesn't seem to have written too much in
|Dakhani, and what little he did write seems to have been by way of
|experiment. I cannot emphatically aver that he never wrote in
|Dakhani, but he definitely seems to have been very un-prolific in that
|dialect.
|
|Abhay, please add to this...
|
Tanvi Chawla
Here is the complete ghazal from Bazaar, sung by Lata , picturized
beautifully on Supriya Pathak as she looks shyly at Farouque Shaikh and
sings. She is about to be married/sold off to a rich Muslim settled in
the Middle East.
The lyrics in that film were indeed by Javed Akhtar, but this
particular ghazal is very much by Mir Taqi Mir.
The asterisked (*) verses/shers were those in the song. The rest
complete Mir's masterpiece. The asterisked verses, however, were not
sung in the order that Mir wrote them.
Included also is an English translation by Kanda, following each sher,
a little off to the side so the original poetry's continuity is
uninterrupted.
Faqiraana aaye sadaa kar chale
Miyaan khush raho ham dua kar chale
Mendicant-like I came and part
Praying that ye be blessed!
Jo tujh bin na jeene ko kehte the hum
So is ahd ko ab wafa kar chale
"Without you I will not live,"
Behold, this pledge I now redeem.
Koi na-umidaana karte nigaah
So tum hum se munh bhi chhipa kar chale
An unhopeful glance I could have cast,
But you hid your face walking me past.
*Bahut aarzu thi gali ki teri
*So yaan se lahu mein nahaa kar chale
To visit your street, I deeply wished
Lo, I leave it bathed in blood.
*Dikhayi diye yun ki bekhud kiya,
*Hamen aap se bhi juda kar chale.
With just a glimpse, you left me entranced,
Estranged from self, I have been since.
*JabeeN sajda karte hi karte gayi
*Haq-e-bandagi hum ada kar chale.
A long obeisance was my life,
My debt of homage I have paid.
*Parastish ki yaan tak ki ai but tujhe,
*Nazar mein sabhon ki Khuda kar chale.
I adored you, love, so deep and true,
That people took you for a god.
Gayi umr dar band-e-fikr-e-ghazal
So is fan ko aisa bada kar chale.
I spent my life composing lyrics
And raised the worth of poetic art.
kahen kya jo poochhe koi hum se Mir
Jahaan mein tum aaye the, kya kar chale.
What shall we say, Mir, if someone asks,
"Why were you hither sent, what did you achieve?"
As a last word, someone earlier asked about the use of the modified "yahaN"
to "yaan" in other ghazals. I have been trying to thaink about that ever
since and know for sure that there is a popular one (perhaps by Ghalib, but
not "Zulmatkade mein mere" as suggested by the someone earlier) where I am
sure these words occur in combination:
Yaan bhi....
If someone can remember, please respond.
Of course, there are others by Mir himself - his usage of yaan is probably
more frequent.
Two examples are:
Aa jaaeN ham nazar jo koi dam bahut hai yaan
Mohlat basaan-e-barq-o-sharar hai yaan.
The radeef in this whole pieve is the word "yaan".
The other by Mir is from "Dekh to dil ki jaan se uthta hai" and goes:
Gor kis diljale ki hai yeh falak
Shola ik subah yaan se uthta hai.
tanvi
Azra Bano
>Azra Bano (ba...@charlie.ece.scarolina.edu) wrote:
> Yes, he has. I think in Zulmat kade meN mere, he has used it. Should be one
> of the other she'rs that Dad told me after I heard jagjit's version.
Got it..
Khuda ke vaaste parda na kaabe se utha, 'Ghalib'
KahiN aisa na ho yaaN bhi wohi kaafir sanam nikle
^^^^
From 'HazaaroN khwaahisheN aisi ke har khwaahish pe dum nikle..'
> Also in song,
> JawaaN hai mohabbat, haseeN hai zamaana (Noor's best imHo)
Absolutely, imho :)
azra
--
Azra Bano
>In article <bano.815857361@charlie>, ba...@charlie.ece.scarolina.edu (Azra Bano)
>says:
>Isn't this an original poem by Mir Taqi Mir? Which probably explains the
>Hyderabadi usage you noticed. Also, I wonder why you found the line "dicey."
>I'm not sure but I assumed it meant "jabin sajdaa karti hi gayi," if it were
>expressed in contemporary terms, in the sense of "repeatedly worshipping."
Yes, thanks for correcting me, roopa, it most definitely is Mir. I simply
picked up the poet's name from the previous post. What bothers me about the
line is that "Jabeen" sajda karte gayi, not the karte hi karte gayi. Mir,
if I am not mistaken, has come up with some ambiguous shers that not too
many people are able to follow...they say that's the beauty of his
shayari..even Ghalib was majorly impressed after hearing one of his
ambiguous ones, wasn't he? The "Kehte hain agle zamaane me koi Mir bhi
thha" bit..anyway, look at this Ghalib sher,
Baazicha-e-atfaal hai duniya mere aage,
Hota hai shab-o-roz tamaasha mere aage,
Hota hai nihaaN gard me sehraa mere hote,
Ghista hai jabeen khaak par dariya mere aage
[May not be exactly as it should be, 'coz I'm typing from memory]
Well anyway, in the above sher by Ghalib, jabeen is used very
appropriately [and what a thought!! Wow!]..In the sajda bit, well sajda
itself includes jabeen..so how do u explain it? It's like this friend of
mine back home would say "Paani ki pyaas lagi hai" I used to rag her
endlessly about it :).. a sajda is the act of bowing till your forehead
touches the ground, like the "Ghista hai jabeen khaak par dariya mere aage",
[what an interpretation of the waves of the sea dashing against
the shore! The sea rubs it's forehead in the dirt in my presence.. Wow once
more!] so when he [Mir] says it like that, it bothers me somewhat ...that's
why I went on to say 'not so cool' in my ignorance..:)
But it's just me I guess, I'll simply take back that remark and wait for
the day when it'll all be clear to me..:)
I guess everyone must be bored with my over-analysis anyway.
>Thanks for mentioning that. I hadn't realized it, and of course it's true. I
>thought I couldn't possibly love the poetry more, but now it seems even more
>powerful. And appropriate too, because the focus of the poem is on the kind of
>love that causes a loss of the "self," makes one forget one's own existence, as
>it were, and the absence of the personal pronoun so cleverly reflects that
>"forgetfulness."
Too much, Roopa..:) Well said, I mean..thanks.
.................................
Thokar na lagaana, hum khud hain
Girti hui deewaaroN ki tarah
.................................
azra
>Roopa
--
roopa
says:
>
>Baazicha-e-atfaal hai duniya mere aage,
>Hota hai shab-o-roz tamaasha mere aage,
>Hota hai nihaaN gard me sehraa mere hote,
>Ghista hai jabeen khaak par dariya mere aage
>[May not be exactly as it should be, 'coz I'm typing from memory]
>
>touches the ground, like the "Ghista hai jabeen khaak par dariya mere aage",
>[what an interpretation of the waves of the sea dashing against
>the shore! The sea rubs it's forehead in the dirt in my presence.. Wow once
>more!]
And WOW yet again! What a neat metaphor, and also the previous one, which
strikes me as a clever use of redundancy: the desert is conceived as becoming
consumed in the sand, as if the "desert" were an entity separate from the
sand. Thanks for reminding me of these lines. And when you have a chance,
could you paraphrase "baazicha-e-atfaal" for me? I don't have a clue what it
means.
A final thought, I didn't know "jabin" was masculine, as it seems from your s
line. Or could it be both? Or was Mir using a variation when he uses the
feminine verb "gayi" with it?
Roopa
>
K.P. Rao
: In article <bano.816582046@charlie>, ba...@charlie.ece.scarolina.edu (Azra Bano)
: says:
: >
: >Baazicha-e-atfaal hai duniya mere aage,
: >Hota hai shab-o-roz tamaasha mere aage,
: >Hota hai nihaaN gard me sehraa mere hote,
: >Ghista hai jabeen khaak par dariya mere aage
: >[May not be exactly as it should be, 'coz I'm typing from memory]
: And WOW yet again! What a neat metaphor, and also the previous one, which
: strikes me as a clever use of redundancy: the desert is conceived as becoming
: consumed in the sand, as if the "desert" were an entity separate from the
: sand. Thanks for reminding me of these lines. And when you have a chance,
: could you paraphrase "baazicha-e-atfaal" for me? I don't have a clue what it
: means.
baazicha-e-atfal means child's toy also means child's play
--kp
Ikram Ahmed Khan
: There is another good gazal from 'Baazaar'- "Phir chhidee raat baat fuloon ki"
: One line in the last stanza is 'Yeh mahakati hui gazal makdoom'. What does
: makdoom mean here?
Is it the taKHallus of the poet Makhdoom?
Ikram.
: - Nilesh
Nilesh Savargaonkar
There is another good gazal from 'Baazaar'- "Phir chhidee raat baat fuloon ki"
One line in the last stanza is 'Yeh mahakati hui gazal makdoom'. What does
makdoom mean here?
- Nilesh
Azra Bano
roopa <RX...@psuvm.psu.edu> writes:
>In article <bano.816582046@charlie>, ba...@charlie.ece.scarolina.edu (Azra Bano)
>says:
>>
[Interesting analysis deleted]
>sand. Thanks for reminding me of these lines. And when you have a chance,
>could you paraphrase "baazicha-e-atfaal" for me? I don't have a clue what it
>means.
Well, baazicha-e-atfaal...it would bring to [my] mind a playground with
children running around playing games we used to play as kids, kho-kho for
one..:) let's just throw in a couple of see-saws and a merry-go-rounds as
well..you get the picture.."woh khel woh saathi, woh jhoole, woh daud ke
kehna aa chhoole.."..the literal meaning was explained by someone, so I'm
not getting into it..now if we go back and read the lines..Ghalib is [you
are, actually, without realising, it becomes you] the interested observer..
Baazicha-e-atfaal hai, duniya mere aage
Hota hai shab-o-roz tamaasha mere aage..
Another sher that I love from the same ghazal, which also explains why I
would say interested rather than detached observer..
Go haath me jumbish nahiN, aankhoN mein to dum hai
Rehne do abhi saaghru meena mere aage..
go : although
jumbish : movement
meena :jewel
saaghru : visible
[These meanings may not be right/exact.]
>A final thought, I didn't know "jabin" was masculine, as it seems from your s
>line. Or could it be both? Or was Mir using a variation when he uses the
>feminine verb "gayi" with it?
Nai nai, jabeen most definitely is feminine, a beautiful word like that
couldn't possibly be masculine :))..when he says 'ghista', he refers to the
'dariya', which is masculine..but Mir is directly referring to the Jabeen,
that's why the feminine gender..[the line under discussion being 'Jabeen
sajda karte hi karte gayi']
......................................................................
How happy is he born and taught, that serveth not another's will
Whose armour is his honest thought, and simple truth his utmost skill
......................................................................
azra
--
Tanvi Chawla
On 27 Nov 1995, Azra Bano wrote:
> Another sher that I love from the same ghazal, which also explains why I
would say interested rather than detached observer..
> Go haath me jumbish nahiN, aankhoN mein to dum hai
> Rehne do abhi saaghru meena mere aage..
> saaghru : visible
>[These meanings may not be right/exact.]
It is not "saaghru" but
Rehne do abhi saaghar-o-mina mere aage.
saaghar=wine
mina=goblet
tanvi
Syed Rizwan
>It is not "saaghru" but
>Rehne do abhi saaghar-o-mina mere aage.
>saaghar=wine
>mina=goblet
Saaghar means a 'jaam', a wine-glass or any kind of a glass that is
used to drink 'sharaab' Are you sure the sher didn't say 'saaghar-o-
ma.y'? Ma.y, (that's pronounced like the first part of 'Mass') means
'sharaab' but I'm no Urdu-buff, mina could mean the same thing. *shrug*
Rizwan
Ikram Ahmed Khan
: On 27 Nov 1995, Azra Bano wrote:
: > Another sher that I love from the same ghazal, which also explains why I
: would say interested rather than detached observer..
: > Go haath me jumbish nahiN, aankhoN mein to dum hai
: > Rehne do abhi saaghru meena mere aage..
: > saaghru : visible
: >[These meanings may not be right/exact.]
: It is not "saaghru" but
: Rehne do abhi saaghar-o-mina mere aage.
And I think that should be meena and not mina. Mina besides being a holy
place in Saudi Arabia also means something else. Where are our friends
with the Urdu/English dictionary :) and the dictionary himself (Irfan, UVRji
et al. ):)
Later,
Ikram.
: saaghar=wine
: mina=goblet
: tanvi
Dhawal Tyagi
> In article <Pine.SUN.3.91.95112...@dopey.cc.utexas.edu>,
> Tanvi Chawla <ta...@dopey.cc.utexas.edu> wrote:
> >It is not "saaghru" but
> >
> >Rehne do abhi saaghar-o-mina mere aage.
> >
> >saaghar=wine
> >mina=goblet
> >
> >tanvi
>
In article <49j0uk$k...@Radon.Stanford.EDU>, hgu...@Xenon.Stanford.EDU
(Himanshu Gupta) wrote:
> Now that there is some confusion as to whether it is "saaghar-o-mina"
> or "saagar-o-meena"...I somehow fail to appreciate it. Is the poet
> trying to express his insatiable appetite/desire for "wine"?? Does he
> wish to drink till even his eyes become "numb" ??
As Tanvi pointed out it is saaghar-o-meena and not saghru
To answer Himanshu's point, no Ghalib is not trying to express his insatiable
desire for wine. The way I have understood it is:
You tend to lose opportunities in life when you become incapable of giving
your best (or opportunities tend to lose you !). this is exactly what Ghalib
is trying to say, albeit in a cryptic way.
"Go haath ko jumbish nahiN", even though I'm not physically capable any more
"aankhoN mein to dum hai", I still have the desires and emotions.
"rehne do abhee saghar-o-meena mere aage", literally he is saying that even
if I don't have the energy to lift the goblet and drink the wine, I still
want to look at them, so at least don't take them away from me. In other
words, please don't condemn me (if that is the right word) if I'm physically
incapable anymore.
Hope that I've expressed it clearly enough :-)
Regards
Dhawal
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Himanshu Gupta
Tanvi Chawla <ta...@dopey.cc.utexas.edu> wrote:
>
>
>> Another sher that I love from the same ghazal, which also explains why I
> would say interested rather than detached observer..
>> Rehne do abhi saaghru meena mere aage..
>
>> saaghru : visible
>>[These meanings may not be right/exact.]
>
>
>Rehne do abhi saaghar-o-mina mere aage.
>
>saaghar=wine
>mina=goblet
>
>tanvi
Its strange. I had found the above sher as it was ("saaghru meena") truly
beautiful. The poet trying to convey something along the same lines as...
Rang hai aankhon ke liye, aur bu damaagon ke liye
Phool ko haath lagane ki zaruurat kya hai ?
Now that there is some confusion as to whether it is "saaghar-o-mina"
or "saagar-o-meena"...I somehow fail to appreciate it. Is the poet
trying to express his insatiable appetite/desire for "wine"?? Does he
wish to drink till even his eyes become "numb" ??
-Himanshu.
>
>
Irfan Moinuddin
>Is the poet
> trying to express his insatiable appetite/desire for "wine"?? Does he
> wish to drink till even his eyes become "numb" ??
>
Precisely. However, I don't think it necessarily has to
be a desire for wine, it could simply be a desperate need for
wine....But what is wine?....the alcohol of fermented
grapes or the alcohol of life or the alcohol of divine intoxication?
Irfan
> -Himanshu.
*********************************
Irfan Moinuddin
University of Illinois
College of Medicine
"""""""""""""""""""""""""""""""""
Lutf-E-akhirat kI inteha nahIN haI
Dard-E-zindagI kI had kyA haI?
MarzI hai yA taqdIr hai irfAN
InshA-e-ilAhI kI had kyA haI?
"""""""""""""""""""""""""""""""""
*********************************
K.P. Rao
[stuff deleted..]
: Another sher that I love from the same ghazal, which also explains why I
: would say interested rather than detached observer..
: Go haath me jumbish nahiN, aankhoN mein to dum hai
: Rehne do abhi saaghru meena mere aage..
: go : although
: jumbish : movement
: meena :jewel
: saaghru : visible
: [These meanings may not be right/exact.]
U are right but not exact :-)
meena means a jewel but n this sher Ghalib has used its other
meaning and that is A WINE JUG
saaghru should be
sagar-o
and sagar means... wine goblet, sharab ka paylaaa
so that line should read
Rehene do abhi sagar-o-meena mere aage...
A great sher, Ghalib was very fond of alchol and he tells it all in
this sher of his...
Another one of his on the same lines that comes to my mind is
ye misal-e-tasavuf ye tera bayan "Ghalib"
tujhe ham vali samajahte jo na badaha-kahawar hota
Cheers....
--kp