'Allaamah MuHammad Iqbal (1877-1938)
Naseer
bunyaadii taur pih Iqbal ko ek nazm-go shaa'ir maanaa jaataa
hai lekin unkii Ghazalen bhii bahut maqbuul haiN.aap
kii KHidmat meN un kee is Ghazal se is laRii kaa aaGhaaz kar
rahaa huuN. ummiid hai kih aap ise pasand farmaaeN ge.
vahii merii kam nasiibii, vahii terii be-niyaazii
mere kaam kuchh nah aayaa yih kamaal-i-nai-navaazii
maiN kahaaN huuN tuu kahaaN hai? yih makaaN kih laa-makaaN hai?
yih jahaaN miraa jahaaN hai kih tirii karishmah-saazii?
isii kashmakash meN guzriiN mirii zindagii kii raateN
kabhii soz-o-saaz-i-Ruumii, kabhii pech-o-taab-i-Raazii
vuh fareb-KHurdah shaahiiN kih palaa ho kargasoN meN
use kyaa KHabar kih kyaa hai rah-o-rasm-i-shaah-baazii
nah zabaaN koii Ghazal kii, nah zabaaN se baa-KHabar maiN
koii dil-kushaa sadaa ho 'ajamii ho yaa kih taazii
nahiiN faqr-o-saltanat meN koii imtiyaaz aisaa
yih sipah kii teGh-baazii, vuh nigah kii teGh-baazii
koii kaarvaaN se TuuTaa, koii bad-gumaaN Haram se
kih amiir-i-kaarvaaN meN nahiiN KHuu-i-dil-navaazii
Urdu ke mashuur naqqaad, janaab-i-Shamsu RaHman Faruqi Sahib ne ek
lambaa chauRaa mazmuun ba-'unvaan-i-"How to Read Iqbal" likhaa hai
(http://www.urdustudies.com/pdf/20/03FaruqiIqbal.pdf) us ke aaKHirii
Hisse kaa iqtibaas pesh-i-Khidmat hai.
...........................................................................................................................................
"......So this is how Iqbal the poet gives us entry into our literary
traditions,creatively, challengingly, and recuperatively. Take care of
the poetry, he seems to say, and the philosophy will take care of
itself. More than any other modern Urdu poet, it is Iqbal who makes us
respect and try to understand the foundations of our poetics. The
structures of meaning that Iqbal makes for us exist in their own right
and also as continuities. A question might be asked: So what about
Iqbal's originality? Should not a poet have an "individual voice," a
"style of his own"? The first
answer to this is that a great deal of truly great poetry passes
beyond petty considerations of "individuality" and "style." All of us
know about "Umar Khayy!m's "individuality" and all of us also know
that out of the several hundred rubaaiyaat that pass as "Umar
Khayyaam's, there are only about a handful that can with some
certainty be ascribed to the poet. We know that some of the most
famous and well-loved she"rs, and even whole ghazals, in the Diivaan
of Hafiz have now been shown to be not from Hafiz, though they reflect
Hafiz's true "individuality" and "style." We know that scores of
ghazals of Sauda's (1706-1781) contemporaries somehow found
their way into Sauda's manuscript collections and continued to be
quoted and studied as part of Sauda's work for two centuries and more.
So questions of "individual style" are essentially contextual, not
absolute.
That is not to say that Iqbal has no style of his own. One way of
putting the matter would be that he has many styles, he has different
styles for different occasions. The style of Shikva and Javab-e Shikva
is different from that of Zauq-o-Shauq whose style is again very
different from that of the ghazals and ghazal-like poems in Zabuur-e
'Ajam. Then there is the grand Iqbalian manner, especially apparent in
the Urdu but not so prominent or differentiated in the Persian. These
matters can't be decided with a few bureaucratic pen strokes. Nor can
we understand them by counting the so-called patterns of sounds,
labial or dental or fricative or liquid or
whatever, that scribal critics pretend to have discovered in Iqbal. To
believe that the existence of poetry could be explained by counting
vowels and consonants is to believe that patterns of vowels and
consonants do not exist elsewhere in the language. In fact, they would
seem to occur more richly in film songs.
Iqbal should be seen as a perfecter of different styles in Urdu poetry
and as the inventor of many new ones, for instance, the dramatic
dialogue, the verse style that is suited to speech rhythms, and the
narrative of the imagined landscapes of the mind. Similarly his nature
poems range
from formal stylized narratives that recall the qasidas of the Iranian
Mirz! Habib Qa'aanii (1807-1853) to interior monologue-like poems that
seem to take us back to Wordsworth.
All modes, all manners of poem-making are within Iqbal's practical
range: the celebratory, the narrative, the lyrical, the dramatic, the
hortatory, the speculative, the ironical, the satirical, the comic,
the tender, everything melts in his hand and takes whatever shape he
wants to give it.
Nothing is a stranger here: the intensely introspective, the highly
metaphorical, the plain, or the prophetic, all tones are present in
their appropriate place. Iqbal's poetry teaches us to recognize the
most distant horizons of Urdu poetry as our own.
Majnuun Gorakhpuri said something perceptive about the music of Iqbal,
and I think he was the first to say that even the most difficult of
Iqbal's shi'rs can be sung on the subtlest and most delicate of
musical instruments ([1946?], 88). He didn't say this in precise or
subtle enough
words, but the point, sadly so often lost in the welter of words
generated by us about Iqbal's "truth" and "message," was a valuable
one. Iqbal wrote some of the world's most mellifluous poetry and
that's a quality that takes its place right there where the highest
poetry is. In fact it is to be doubted if there ever can be great
poetry without the quality that Amir
Khusrau called ravaanii ("flowingness").
"Flowingness" has been a quality about which it is impossible to frame
theoretical statements, yet it is clear that some poems or poets have
more of this and others have less. More importantly, since Khusrau the
question of ravaanii ("flowingness") has engaged the attention of many
theorists in the Arabo-Persian-Urdu tradition. Even before Khusrau,
the Arabs seem to have devoted some attention to the matter as an
important aspect of literary appreciation. Adonis ('Ali Ahmad Sa'iid)
quotes from Al-Faaraabii's discussion of the musical quality or the
"beauty of sound" in poetry. Among other elements,Al-Faaraabii
identified "purity: where there is nothing in the melody to spoil it
qualitatively or quantitatively; ... suppleness and delicacy in long-
drawn-out melodies," and above all, the harmonization of voweled
letters (1990, 28-9). This doesn't take us very far, for Al-Faaraabii
was speaking as a musicologist, but Al-Jahiz had a somewhat
more penetrating observation as a literary critic:
"The letters of the words and the verses of the poem should seem
harmonious
and smooth, supple and easy ... gentle and pleasant, flexibly ordered,
light on the tongue, so that the entire verse is like one word, and
one word
is like a single letter."
(ibid., 29; italics added)
This is very much better, though still quite far from a precise,
prescriptive description. Khusrau had much more to say on ravaanii and
by the early eighteenth century in Delhi ravaanii had become accepted
as the prime quality of prime poetry. Miscellaneous attempts to find
the principle or principles where ravaanii may be located have been
made with little success. The fact however remains that, for instance,
the poetry of Miir and that of Miitr Aniis is recognized as having
more flowingness than any of the premodern poets. Similarly, Iqbal
should have been placed at the very highest pinnacle of ravaanii, had
we found time to read his poems as literature
and not as philosophical dissertations or politico-religious
manifestos whose truth, real or imagined, contradictions and
falsehoods are disputatiously analyzed, confirmed, or rejected.
In the delight that he took and gave in the sheer music of
poetry,Iqbal reminds me of Miir, who is the only Urdu poet whose
ravaanii is equal to that of Iqbal, and of Coleridge, who, among all
the great critics, placed the greatest positive value on the music of
poetry. Hartley Nelson
Coleridge remarks in his edition of Coleridge's Table Talk that
Coleridge had "an eye, almost exclusively, for the ideal or universal
in painting and music." But his demand from music was "either thought
or feeling; mere addresses to the sensual ear" didn't appeal to him
(1852, 267). The exact meaning of words like "universal," "thought,"
or "feeling" must differ from
person to person; nonetheless, the general principle enunciated here
is entirely sound for it makes an attempt to relate sound with sense
which I.A. Richards also attempted to do a century later. Coleridge
spoke of "the music of nobler thoughts" (Engell and Bate 1983, 46) and
thus in a way glossed the terms "thought or feeling" used by Hartley
Nelson Coleridge: there can be noble music only where there are noble
thoughts. This is insufficient for it denies the property of music to
satirical or hate poetry which Coleridge would not have granted the
rank of "noble." We need
therefore to rethink the matter a bit.
It is Coleridge again who provides the clue by informing us that:
"But the sense of musical delight, with the power of producing it, is
a
gift of imagination; and this together with the power of reducing
multitude
into unity of effect, and modifying a series of thoughts by some one
predominant
thought or feeling, may be cultivated and improved, but can never be
learnt."
This implies or postulates a number of fundamental values about the
nature of the music of poetry. The power to sense musical delight is
complimentary to the power of producing it among others. Musical
delight in a poem is obtainable only when the imagination is at work.
It doesn't
function in a vacuum, it has to emanate from a thought or feeling
which itself has the power to pull together a number of disparate
feelings or experiences.
This does not fully explain the nearly autonomous nature of the music
of poetry, or ravaanii, though later in his discussion of metre
Coleridge throws in another valuable insight in his typical offhand
manner when he says, "[A]s the elements of metre owe their existence
to a state of
increased excitement, so the metre itself should be accompanied by the
natural language of excitement" (ibid., 65).
Walter Jackson Bate has an extremely interesting annotation here from
Coleridge himself who wrote to William Southbey on 13 July 1802 as
follows: "... Metre itself implies a passion, i.e. a state of
excitement, both in the Poet's mind, & is expected in that of the
Reader--" (ibid.).
At one place in Zabuur-e 'Ajam Iqbal seems to be echoing or recalling
Coleridge in some way when he characterizes poetry or the music of
poetry as "lifeless," without "meaning," the term "meaning" here would
seem to signify something like Coleridge's "nobler thoughts" or
"predominant thought or feeling." Characteristically, Iqbal also
brings in Rumi who, among the Persian poets, had perhaps the most to
say about "meaning" (ma'nii) in the sense of "Reality." We read the
following verses toward the end of Zabuur-e 'Ajam:
I do not know where ma'nii's origins are,
Its form is apparent and familiar to me
Though; The song that has no meaning is
Dead, its words are from a fire that's ashen.
The Master of Rom revealed the secret of meaning;
My thought bends its forehead at his doorstep. "Meaning
Is that which takes you away from yourself,
Leaves you in no want for the form. Meaning is not
That which renders you blind or deaf, or makes
Man even more in love with the form."
(1973, 576-7)
In his dialogue with Bhartrihari in Jaaved Naamah, Iqbal makes the
Sanskrit poet and linguistic philosopher describe the poet's music or
mode of existence to be "the crescendo and diminuendo of sound." Other
thanthis, "none in the world know where the poet is" (ibid., 758). I
think there can be no more fitting conclusion to our effort to
understand the secret of
Iqbal's music than to leave the matter here with Iqbal's prayer at the
beginning of Zabuur-e 'Ajam:
Make my clod of dirt blaze with the light
Of David's song,To every particle of my being give
Fire's feathers and wings.
(ibid., 396)
If there ever was a poet's prayer answered, it was this.
............................................................................................................................................
KHair-KHvaah,
Naseer
Naseer
phir baad-i-bahaar aaii, Iqbaal Ghazal KHvaaN ho
Ghunchah hai agar gul ho gul hai to gulistaaN ho
tuu KHaak kii muTThii hai ajzaa kii Haraarat hai
bar ham ho pareshaaN ho vus'at meN biyaabaaN ho
tuu jins-i-muHabbat hai, qiimat hai giraaN terii
kam maayah haiN saudaa-gar is des meN arzaaN ho
kyoN saaz ke parde meN mastuur ho lai terii
tuu naGhmah-i-rangiiN hai, har gosh pih 'uryaaN ho
ai rah-rav-i-farzaanah raste meN agar tere
gulshan hai to shabnam ho saHraa hai to tuufaaN ho
saamaaN kii muHabbat meN muzmar hai tan-aasaanii
maqsad hai har manzil Ghaarat-gar-i-saamaaN ho
Iqbal
...................
KHair-andesh,
Naseer
Naseer
Naaziriin is liye kih aaj kal aap log tamaashaaii bane hue haiN (vuh
bhii duur se), maHfil meN Haazir nahiiN haiN:)
gesuu-i-taab-daar ko awr bhii taab-daar kar
hosh-o-KHirad shikaar kar, qalb-o-nazar shikaar kar
'ishq bhii ho Hijaab meN, Husn bhii ho Hijaab meN
yaa tuu KHud aashkaar ho yaa mujhe aashkaar kar
tuu hai muHiit-i-be-karaaN, maiN huuN zaraa sii aab-juu
yaa mujhe ham-kanaar kar, yaa mujhe be-kanaar kar
maiN huuN sadaf to tere haath meN mere guhar kii aab-ruu
maiN huuN Khazaf to tuu mujhe gauhar-i-shaah-vaar kar
naGhmah-i-nau-bahaar agar mere nasiib meN nah ho
is dam-i-niim-soz ko taa'ir-ak-i-bahaar kar
baaGh-i-bahisht se mujhe Hukm-i-safar diyaa thaa kyoN
kaar-i-jahaaN daraaz hai, ab meraa intizaar kar
roz-i-Hisaab jab meraa pesh ho daftar-i-'amal
aap bhii sharm-saar ho, mujh ko bhii sharm-saar kar
Iqbal
KHair-andesh,
Naseer
Naseer
pareshaaN ho ke merii KHaak aaKHir dil nah ban jaae
jo mushkil ab hai yaa rab, phir vahii mushkil nah ban jaae
nah kar deN mujh ko majbuur-i-navaa firdaus meN HuureN
miraa soz-i-daruuN phir garmii-i-maHfil nah ban jaae
kabhii chhoRii huii manzil bhii yaad aatii hai raahii ko
khaTak sii hai jo siine meN Gham-i-manzil nah ban jaae
banaayaa 'ishq ne daryaa-i-naa-paidaa-karaaN muj ko
yih merii KHud-nigaah-daarii miraa saaHil nah ban jaae
kahiiN is 'aalam-i-be-rang-o-buu meN bhii talab merii
vahii afsaanah-i-dunbaalah-i-maHmil nah ban jaae
'uruuj-i-aadam-i-KHaakii se anjum sahme jaate haiN
kih yih TuuTaa huaa taaraa mah-i-kaamil nah ban jaae
Iqbal
...................................................................................
KHair-andesh,
Naseer
Naseer
koii baat nahiiN agar aap mujh se ham-kalaam nahiiN honaa chaahte!
maiN KHud se hii baateN kartaa chalaa jaauuN gaa:)
laa phir ik baar vahii baadah-o-jaam ai saaqii
haath aa jaae mujhe meraa maqaam ai saaqii
tiin so saal se haiN hind ke mai-KHaane band
ab munaasib hai teraa faiz ho 'aam ai saaqii
mirii miinaa-i-Ghazal meN thii zaraa sii baaqii
shaiKH kahtaa hai kih hai yih bhii Haraam ai saaqii
sher-mardoN se huaa beshah-i-taHqiiq tihii
rah gae suufii-o-mullaa ke Ghulaam ai saaqii
'ishq kii teGh-i-jigar-daar uRaa lii kis ne
'ilm ke haath meN KHaalii hai niyaam ai saaqii
siinah raushan ho to hai soz-i-suKHan 'ain-i-Hayaat
ho nah raushan to suKHan marg-i-davaam ai saaqii
tuu mirii raat ko mah-taab se maHruum nah rakh
tire paimaane meN hai maah-i-tamaam ai saaqii
Iqbal
......................................................................................
KHair-andesh,
Naseer
Naseer
vahii merii kam-nasiibii, vahii terii be-niyaazii
mere kaam kuchh nah aayaa yih kamaal-i-nai-navaazii
maiN kahaaN huuN tuu kahaaN hai? yih makaaN kih laa-makaaN hai
yih jahaaN miraa jahaaN hai kih tirii karishmah-saazii
is kash-makash meN guzriiN mirii zindagii kii raateN
kabhii soz-o-saaz-i-ruumii kabhii pech-o-taab-i-raazii
vuh fareb-KHurdah shaahiiN kih palaa ho kargasoN meN
use kyaa KHabar kih kyaa hai rah-o-rasm-i-shah-baazii
nah zabaaN koii Ghazal kii, nah zabaaN se baa-KHabar maiN
koii dil-kushaa sadaa ho, 'ajamii ho yaa kih taazii
nahiiN faqr-o-saltanat meN koii imtiyaaz aisaa
yih sipah kii teGh-baazii, vuh nigah kii teGh-baazii
koii kaarvaaN se TuuTaa koii bad-gumaaN Haram se
kih miir-i-kaarvaaN meN nahiiN KHuu-i-dil-navaazii
Iqbal
KHair-KHvaah,
Naseer
Amjad
kalaam-e-Iqbal pesh karne ke liye bahot bahot shukriya.
nah kar deN mujh ko majbuur-i-navaa firdaus meN HuureN
miraa soz-i-daruuN phir garmii-i-maHfil nah ban jaae
maine chand roz pehle hi aik jagah is she'r ka mukhtasar sa maf'hoom
bayaan kia hai, agar aap ijaazat deN to yahaaN bhi pesh kar dooN ?
shukriya
Amjad
Naseer
janaab-i-giraamii-qadr Amjad Sahib, tasliimaat.
aap dekh rahe haiN kih is laRii meN maiN akele hii safar kar rahaa
huuN. aap jaisaa ham-safar mil jaae to awr kyaa chaahiye? Nekii awr
puuchh puuchh!!
KHair-KHvaah,
Naseer
Amjad
khaaksaar Haazir hai.
******************
nah kar deN mujh ko majbuur-i-navaa firdaus meN HuureN
miraa soz-i-daruuN phir garmii-i-maHfil nah ban jaae
Iqbal ka ye sher' aap ki kitaab baal-e-jibreel meiN maujood hai.
Iqbal kehte haiN ke jannat meiN khoobsurat HooroN ki maujoodgi kaheeN
mujhe naghma saraai aur sho'la navaai par majboor na kar de. yaa'ni
maiN kahiN phir se shaa'iri na shuru kar dooN.
Iqbal ko ye fikr laaHaq hai ke jis taraH dunya meiN mere jazbaat aur
mera soz-e-dil mere kalaam meiN garmi paida karte the aur ye garmi-e-
kalaam meHfiloN, muaashre aur afraad par asar andaaz hoti thi, vohi
soorat kahiN jannat meiN bhi paida na ho jaaye.
Iqbal dunyaa jaisi soorat-e-Haal jannat meiN nahiN chaahate, na voh
sho'la navaai, na HooroN ke Husn se mutaccir hona chaahte haiN, aur na
hi voh garmi aur valvala jo unke kalaam ne dunya meiN paida kar diya
tha. to voh kia chaahate haiN, shaa'id apne khaaliq-e-Haqeeqi ka qurb!
yehi baat kam-o-besh voh doosre andaaz meiN isi ghazal ke aik aur
she'r meiN keh rahe haiN :
kahiN us aalam-e-be.rang-o-boo mein bhi talab meri
vohi afsaana-e-dunbaala-e-meHmil na ban jaaye
"dunbaala-e-meHmil" = meHmil ki dum, yaa'ni dasht meiN mehboob ki
talaash meiN kaarvaaN ya meHmil nasheenoN ke peeche peeche chalna.
Iqbal kehte haiN ke jis tarah dunya meiN meri talab poori na ho saki,
aur maiN apne meHboob-e-Haqeeqi ki talaash meiN maara maara phirta
rahaa, mujhe Dar hai ke aalam-e-rang-o-boo yaa'ni doosri dunya
(jannat) meiN bhi meri talab poori na ho sake aur meri talaash meHz
afsaana-e-dunbaala-e-meHmil ban ke reh jaaye.
"afsaana-e-dunbaalaa-e-meHmil" = majnooN ka lailaa ki talaash meiN
maara maara phirne ki daastaan ko kehte haiN.
vaazeH rahe ke khaas taur par baal-e-jibreel ke mazaameen soofiyaana
rang ke haiN.
is ghazal ka aakhri she'r mujhe sab se zyaadah pasand hai :
urooj-e-aadam-e-khaaki se anjum sehmay jaate haiN
ke ye TooTa hua taarah mah-e-kaamil na ban jaaye
shukriya
Amjad
Naseer
janaab-i-muHtaram Amjad Sahib, aadaab 'arz hai.
maiN aap kaa nihaayat shukr-guzaar huuN kih aap ne Iqbal ke is shi'r
kii mufassal tashriiH kii hai. Iqbal ko is baat kii fikr laa-Hiq thii
kih jannat meN unheN phir naGhmah-saraaii par nah uksaa diyaa jaae awr
hameN is baat kii fikr hai kih naGhmah-saraaii to ek taraf, hameN
"gate" se bhii andar jaane deN ge kih nahiiN!!:)
lafz-i-Huur ke silsile meN ek baat kahnaa chaahtaa huuN. aap ko
ma'luum hii hai kih "ham mard" logoN ne is lafz ko hameshah mu'annis
ma'noN meN liyaa hai. ya'nii ek aisii maKHluuq jo KHudaa ke nek bandoN
ko jannat meN 'ataa kii jaae gii.agar suurat-i-Haal yih hai to nek
KHavaatiin ke Hisse meN kyaa aae gaa?
dar-Haqiiqat, 'arabii zabaan meN baRii baRii chamkiilii aaNkhoN vaale
ko "aHwar" (ba-vazn-i-akbar) kahte haiN awr baRii baRii chamkiilii
aaNkhoN vaalii ko "Hawraa'". in donoN alfaaz kii ek hii jam' hai
"Huur" ya'nii baRii baRii aaNkhoN vaale awr vaaliyaaN!! so,
mardoN/'auratoN, donoN ke nasiib meN "Huur" hai!!
KHair-KHvaah,
Naseer
B.G.M.
> KHavaatiin ke Hisse meN kyaa aaye gaa?
>
> dar-Haqiiqat, 'arabii zabaan meN baRii baRii chamkiilii aaNkhoN vaale
> ko "aHwar" (ba-vazn-i-akbar) kahte haiN awr baRii baRii chamkiilii
> aaNkhoN vaalii ko "Hawraa'". in donoN alfaaz kii ek hii jam' hai
> "Huur" ya'nii baRii baRii aaNkhoN vaale awr vaaliyaaN!! so,
> mardoN/'auratoN, donoN ke nasiib meN "Huur" hai!!
Wo...w!!!
a brand new and amazing perception,indeed!
never thought of it!
===============================================
Naseer
nah tuu zamiiN ke liye hai nah aasmaaN ke liye
jahaaN hai tere liye tuu nahiiN jahaaN ke liye
yih 'aql-o-dil haiN sharar shu'lah-i-muHabbat ke
vuh KHaar-o-KHas ke liye hai yih naistaaN ke liye
maqaam-i-parvarish-i-aah-o-naalah hai yih chaman
nah sair-i-gul ke liye hai nah aashiyaaN ke liye
rahe gaa raavii-i-niil-o-faraat meN kab tak
tiraa safiinah kih hai baHr-i-be-karaaN ke liye
nishaan-i-raah jo dikhaate the sitaaroN ko
taras gae haiN kisii mard-i-raa-daaN ke liye
nigah buland, suKHan dil-navaaz, jaaN pur-soz
yahii hai raKHt-i-safar miir-i-kaarvaaN ke liye
zaraa sii baat thii andeshah-i-'ajam ne ise
baRhaa diyaa hai faqat zeb-i-daastaaN ke liye
Iqbal
KHair-andesh,
Naseer
Naseer
aflaak se aataa hai naaloN kaa javaab aaKHir
karte haiN KHitaab aaKHir, uThte haiN Hijaab aaKHir
aHvaal-i-muHabbat meN kuchh farq nahiiN aisaa
soz-o-tab-o-taab avval, soz-o-tab-o-taab aaKHir
maiN tujh ko bataataa huuN taqdiir-i-umam kyaa hai
shamshiir-o-sinaaN avval, taauus-o-rubaab aaKHir
maiKHaanah-i-Yuurap ke dastuur niraale haiN
laate haiN suruur avval, dete haiN sharaab aaKHir
kyaa dabdabah-i-naadir, kyaa shaukat-i-taimuurii
ho jaate haiN sab daftar Gharq-i-mai-i-naab aaKHir
KHalvat kii ghaRii guzrii jalvat kii ghaRii aaii
chhaTne ko hai bijlii se aaGhosh-i-saHaab aaKHir
thaa zabt bahut mushkil is sail-i-ma'aanii kaa
kah Daale qalandar ne asraar-i-kitaab aaKHir
Iqbal
KHair-KHvaah,
Naseer
Naseer
KHirad-mandoN se kyaa puuchhuuN kih merii ibtidaa kyaa hai
kih maiN is fikr meN rahtaa huuN merii intihaa kyaa hai
KHudii ko kar buland itnaa kih har taqdiir se pahle
KHudaa bande se KHud puuchhe bataa terii rizaa kyaa hai
maqaam-i-guftuguu kyaa hai agar maiN kiimiyaa-gar huuN
yahii soz-i-nafas hai awr merii kiimiyaa kyaa hai
nazar aaiiN mujhe taqdiir kii gahraaiyaaN us meN
nah puuchh ai ham-nashiiN mujh se vuh chashm-i-surmah saa kyaa hai
agar hotaa vuh majzuub-i-firangii is zamaane meN
to iqbaal us ko samjhaataa maqaam-i-kibriyaa kyaa hai
navaa-i-subH-gaahii ne jigar KHuuN kar diyaa meraa
KHudaayaa jis KHataa kii yih sazaa hai vuh KHataa kyaa hai
Iqbal
KHair-KHvaah,
Naseer
Naseer
mujhe aah-o-fuGhaan-i-niim-shab kaa phir payaam aayaa
tham ai rah-rau kih shaayad phir koii mushkil maqaam aayaa
zaraa taqdiir kii gahraaiyoN meN Duub jaa tuu bhii
kih is jangaah se maiN ban ke teGh-i-be-niyaam aayaa
yih misra' likh diyaa kis shoKH ne miHraab-i-masjid par
yih naa-daaN gir gae sajdoN meN jab vaqt-i-qiyaam aayaa
chal ai merii Ghariibii kaa tamaashaa dekhne vaale
vuh maHfil uTh gaii jis dam to mujh tak daur-i-jaam aayaa
diyaa Iqbaal ne hindii musalmaanoN ko soz apnaa
yih ik mard-i-tan-aasaaN thaa, tan-aasaanoN ke kaam aayaa
isii Iqbaal kii maiN justujuu kartaa rahaa barsoN
baRii muddat ke ba'd aaKHir vuh shaahiiN zer-i-daam aayaa
Iqbal
Naseer
Naseer
sitaaroN se aage jahaaN awr bhii haiN
abhii 'ishq ke imtiHaaN awr bhii haiN
tihii zindagii se nahiiN yih fazaaeN
yahaaN saiNkaRoN kaarvaaN awr bhii haiN
qanaa'at nah kar 'aalam-i-rang-o-buu par
chaman awr bhii aashiyaaN awr bhii haiN
agar kho gayaa ik nasheman to kyaa Gham
maqaamaat-i-aah-o-fuGhaaN awr bhii haiN
tuu shaahiin hai, parvaaz hai kaam teraa
tire saamne aasmaaN awr bhii haiN
isii roz-o-shab meN ulajh kar nah rah jaa
kih tere zamaan-o-makaaN awr bhii haiN
gae din kih tanhaa thaa maiN anjuman meN
yahaaN ab mere raaz-daaN awr bhii haiN
Iqbal
KHair-andesh,
Naseer
Naseer
gul-zaar-i-hast-o-buud nah begaanah-vaar dekh
hai dekhne kii chiiz ise baar baar dekh
aayaa hai tuu jahaaN meN misaal-i-sharaar dekh
dam de nah jaae hastii-i-naa-paay-i-daar dekh
maanaa kih terii diid ke qaabil nahiiN huuN maiN
tuu meraa shauq dekh miraa intizaar dekh
kholii haiN zauq-i-diid ne aaNkheN tirii agar
har rah-guzar meN naqsh-i-kaf-i-paay-i-yaar dekh
Iqbal
...............................................................................
KHair-KHvaah,
Naseer
Naseer
nah aate hamiiN is meN takraar kyaa thii
magar va'dah karte hue 'aar kyaa thii
tumhaare payaamii ne sab raaz kholaa
KHataa is meN bande kii sarkaar kyaa thii
bharii bazm meN apne 'aashiq ko taaRaa
tirii aaNkh mastii meN hushyaar kyaa thii
ta'ammul to thaa un ko aane meN qaasid
magar yih bataa tarz-i-inkaar kyaa thii
khiNche KHud-ba-KHud jaanib-i-tuur Muusaa
kashish terii ai shauq-i-diidaar kyaa thii
kahiiN zikr rahtaa hai Iqbal teraa
fusuuN thaa koii terii guftaar kyaa thii
Iqbal
KHair-Khvaah,
Naseer
Amjad
moHtaram Naseer saHib
salaam arz hai
aaj bahot dinoN baa'd ALUP ki varaq gardaani karte hue is laRee ko
phir se dekhne ka mauqa milaa. aik savaal zehn meiN uThaa so poochta
chalooN, kia pehle misre meiN "hamiiN" ki jaga "hameN" nahiN hai?
"na aate hameN is meiN takraar kia thi"
ummeed hai aap ka javaab khaaksaar ke ilm meiN izaafay ka baa'ic hoga.
Amjad
Naseer
On May 21, 11:58 am, Amjad <Mr_sukhan...@yahoo.com> wrote:
> On Apr 19, 9:26 pm, Naseer <qures...@googlemail.com> wrote:
> > nah aate hamiiN is meN takraar kyaa thii
> > magar va'dah karte hue 'aar kyaa thii
> aaj bahot dinoN baa'd ALUP ki varaq gardaani karte hue is laRee ko
> phir se dekhne ka mauqa milaa.
Huzuur, ALUP ek kitaab nahiiN hai balkih ek shahr hai jis meN bahut se
galii-kuuche haiN. in galii kuuchoN meN ahl-i-shahr-i-ALUP ghhumte
phirte haiN lekin afsos, balkih sad afsos kih jis kuuche meN shaa'ir-i-
mashriq rihaa'ish-paziir haiN, vahaaN shaaz-o-naadir hii koii ALUP-ii
tashriif laataa ahi!
mujhe KHushii huii hai ek aap pichhle chand mahinoN meN yahaaN tiisrii
baar tashrrif laa kar 'Allaamah Muhammad Iqbal kii yaad taazah kar
rahe haiN.
> ik savaal zehn meiN uThaa so poochta
> chalooN, kia pehle misre meiN "hamiiN" ki jaga "hameN" nahiN hai?
> "na aate hameN is meiN takraar kia thi"
aap kaa irshaad sau fii sad durust hai. yih merii hii KHataa hai.
> ummeed hai aap ka javaab khaaksaar ke ilm meiN izaafay ka baa'ic hoga.
yih meraa nasiib kahaaN!:)
KHair-KHvaah,
Naseer
Amjad
Naseer saHib
javaab ka bahot bahot shukriya
janaab ye hamaari kotaahi aur sust.ravi hai ke yahaaN bahot kam
chakkar lagta hai. aur shehr vaali baat bhi khoob ki, ham aainda varaq
gardaani ki jaga aavaara gardi kia kareN ge :)
Josh ki nazm bhi mujh par udhaar hai, jald pesh karooN ga insha'Allah.