For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
وہ سروِ رواں اپنا ۔ راجہ کشن کمار وقارؔ
۱
سوادِ زلف پر وارفتہ دل ہے جانِ جاں اپنا
فروکش وادیِ ظلمات میں ہے کارواں اپنا
۲
الہٰی خیر ہو مُدّت کے بعد اک دل ہوئے دونوں
تمہارا شعلۂ رُخ نالۂ آتش فشاں اپنا
۳
بشر کیا چیز ہے اُلفت میں اِن زہرہ جبینوں کی
فرشتوں کو نہیں کچھ سُوجھتا سود و زیاں اپنا
۴
ہمارا ضعف مِفتاحِ درِ گنجِ رقیباں ہے
کہ جا سکتا نہیں جاناں تک اب وہم و گماں اپنا
۵
میں وہ مجنون ہوں وحشت نہ جائے عمر بھر اُس کی
سگِ لیلیٰ بھی آ کر سونگھ لے گر اُسُتخواں اپنا
۶
زمیں میں یک قلم گڑ گڑ گئے شمشاد خَجلت سے
خراماں جب ہوا گلشن میں وہ سروِ رواں اپنا
۷
مَلو گلگوں نہ گل سے پھولے رخساروں پہ اے صاحب
کرو روشن چراغِ تازۂ حسنِ جواں اپنا
۸
بہ بیں رویش مپرس، احوال ہے اپنی مِثل گویا
کریں ہم دردِ دل اے بے وفاؤ کیا بیاں اپنا
۹
ہُوئیں سَن سُن کے نالے اے وقارؔ اپنے گلستاں میں
کہ گویا بھول بیٹیھیں بلبلیں شور و فغاں اپنا
वो सर्व-ए रवां अपना – राजा किशन कुमार वक़ार
१
सवाद-ए ज़ुल्फ़ पर वारफ़्ता दिल है जान-ए जां अपना
फ़रोकश वादि-ए ज़ुल्मात में है कार्वां अपना
२
इलाही ख़ैर हो मुद्दत के बाद एक-दिल हुए दोनों
तुम्हारा शोला-ए रुख़, नाला-ए आतश फ़शां अपना
३
बशर क्या चीज़ है, उल्फ़त में इन ज़ोहरा-जबीनौं की
फ़रिश्तौं को नही कुछ सूझता सूद ओ ज़ियां अपना
४
हमारा ज़ो’फ़ मिफ़्ताह-ए दर-ए गंज-ए रक़ीबां है
के जा सकता नहीं जानां तक अब वहम ओ गुमां अपना
५
मैं वो मज्नून हुं वहशत न जाए उम्र भर उस की
सग-ए लैला भी आकर सूंघ ले गर उस्तख़्वां अपना
६
ज़मीं में यक-क़लम गढ गढ गए शमशाद ख़ज्लत से
ख़रामां जब हुआ गुल्शन में वो सर्व-ए रवां अपना
७
मलो गुल्गूं न गुल से फूले रुख़्सारौं पे अए साहब
करो रौशन चराग़-ए ताज़ा-ए हुस्न-ए जवां अपना
८
ब-बीं रूयश मपर्स, अहवाल है अपनी मिसल गोया
करें हम दर्द-ए दिल अए बेवफ़ाओ क्या बयां अपना
९
हुईं सन सुन के नाले अए वक़ार अपने गुलिस्तां में
के गोया भूल बैठीं बुल्बुलें शोर ओ फ़ोग़ां अपना
Click here for background and on any passage for word meanings and explanatory discussion. kishan kumaar vaqaar (~1840-xxxx) was a local lord of muradabad and badayuun. In 1877 his title was elevated from rai to rajah. His first collection of Ghazal was published in 1873 by avadh aKhbaar press. I put his date of birth as a rough guess, at 1840. He has several Ghazal composed in the zamin of Ghalib. This is one of two that vaqaar composed in the style of ‘zikr us parivash ka aur phir bayaaN apna’. There are many others in the same zamin composed by several other shu’araa.
1
savaad1-e zulf2 par vaaraftaa3 dil hai jaan-e-jaaN4 apna
farokash5 vaadi6-e zulmaat7 meN hai kaarvaaN apna 1.blackness 2.hair 3.gone astray, lost 4.life of my life, life and soul, beloved 5.getting down, alighting, camping 6.valley, plains 7.darkness
The poet/lover’s heart is lost in the blackness of the beloved’s hair. It is as if his caravan is camped in the valley of darkness.
2
ilaahi1 Khair2 ho muddat3 ke baad yak-dil4 hue donoN
tumhaara shola5-e ruKh6, naala7-e aatish-fashaaN8 apna 1.my god 2.well-being, safety 3.long time 4.agree, compatible 5.flame 6.face 7.wail, cry 8.flame/fire spreading
The poet/lover cries/wails in pain. His wails are so painful, so full of passion that they appear to be spreading flames all around. The face of the beloved is ‘shola-ruKh’ – flame-faced. This could be either because of the brilliance of her beauty or the intensity of her anger at him. O my god, may I be safe, after a long time her flaming face and my passionate wails are beginning to be like each other.
3
bashar1 kya cheez hai, ulfat2 meN in zohra-jabiinoN3 ki
farsihtoN4 ko nahiN kuchh soojhta5 suud-o-ziyaaN6 apna 1.human, man 2.love 3.bright browed, beautiful 4.angels 5.understand 6.profit and loss, good and bad
How can man amount to much, even angels, in love of these beauties do not understand what is good for them.
4
hamaara z’of1 miftaah2-e dar3-e ganj4-e raqiibaaN5 hai
keh jaa sakta nahiN jaanaaN6 tak ab vahm-o-gumaaN7 apna 1.weakness, age 2.key 3.door 4.treasure house 5.rivals 6.beloved 7.illusion, imagination
The poet/lover has become very weak because he has been pining away for the beloved. His weakness is such that he cannot reach the beloved even in his dreams/imagination. Thus, his weakness has been a boon to the rivals as if they have found the key to a treasure house.
5
maiN vo majnuN1 huN vahshat2 na jaaye umr-bhar3 us ki
sag4-e laila bhi aa kar sooNgh le gar ustaKhwaaN5 apna 1.mad passionate lover, laila-majnuN legend 2.madness, passionate trance 3.life-long 4.dog 5.bones
The poet/lover lays claim to being a special kind of majnuN. His passion is so intense that his madness will never leave him, not all life long, not even after death. In death, his body is disintegrated, and bones scattered. Even if laila’s dog comes sniffing at his bones i.e., even after complete disintegration, his passion will not leave him.
6
zamiN meN yak-qalam1 gaR-gaR2 gaye shamshaad3 Khijlat4 se
KharaamaaN5 jab jua gulshan6 meN vo sarv-e-ravaaN7 apna 1.instantly 2.buried 3.tall slender tree 4.shame 5.graceful stroll 6.garden 7.tall slender tree that can move/sway, beloved
Traditionally the tall slender stature of the beloved is compared to a gently swaying tree. Thus, the beloved is ‘sarv-e-ravaaN’ and she takes a walk in the garden. Her gait is so graceful that every ‘shamshaad – slender tree symbolic of grace, is put to shame. The expression ‘zamiin meN gaR jaana – to be buried in the ground’, means intense shame.
7
malo1 gulguN2 na gul3 se phoole ruKhsaaroN4 pe aye saahib
karo raushan5 charaaGh6-e taaza7-e husn8-e javaaN9 apna 1.rub, apply 2.rose colour 3.rose 4.cheeks 5.brighten 6.lamp 7.fresh 8.beauty 9.youthful
‘phoole ruKhsaar’ – puffed cheeks, are a symbol of taking offence. Often this is playful feigned offence to tease the lover. This is what the beloved is doing and her cheeks are getting rosy as if she is rubbing a rose on her cheeks to enhance that colour. The poet/lover pleads – don’t do this, smile. A simple request to smile is described as ‘brighten the fresh lamp of your youthful beauty’.
8
ba-biiN1 rooyash2, mapars3 ahvaal4 hai apni misal5 goya
kareN hum dard-e dil aye be-vafaao6 kya bayaaN7 apna 1.looking at 2.her face 3.not afraid 4.conditions 5.example 6.faithless ones, the beloved 7.describe, relate
Because of looking at her face/beauty, my condition is its own example/display. Do not fear looking at it. O faithless ones, what is the need to narrate the pain of my heart. It should be apparent from my condition.
9
huiN sun1 sun ke naale2 aye vaqaar3 apne gulistaaN4 meN
keh goya5 bhool baiThiiN bulbuleN shor6 o foGhaaN7 apna 1.numb, used here to mean silent 2.wailing 3.pen-name of the poet 4.garden 5.as if 6.crying 7.lament
Normally bulbul sings/laments in the garden because the flower picker has picked off the rose. But O vaqaar, hearing my wailing, they have become numb/quiet as if they have forgotten their own laments because of intense pity for the pain of my cries.
kishan kumaar vaqaar (~1840-xxxx) was a local lord of muradabad and badayuun. In 1877 his title was elevated from rai to rajah. His first collection of Ghazal was published in 1873 by avadh aKhbaar press. I put his date of birth as a rough guess, at 1840. He has several Ghazal composed in the zamin of Ghalib. This is one of two that vaqaar composed in the style of ‘zikr us parivash ka aur phir bayaaN apna’. There are many others in the same zamin composed by several other shu’araa.
1
savaad1-e zulf2 par vaaraftaa3 dil hai jaan-e-jaaN4 apna
farokash5 vaadi6-e zulmaat7 meN hai kaarvaaN apna
1.blackness 2.hair 3.gone astray, lost 4.life of my life, life and soul, beloved 5.getting down, alighting, camping 6.valley, plains 7.darkness
The poet/lover’s heart is lost in the blackness of the beloved’s hair. It is as if his caravan is camped in the valley of darkness.
2
ilaahi1 Khair2 ho muddat3 ke baad yak-dil4 hue donoN
tumhaara shola5-e ruKh6, naala7-e aatish-fashaaN8 apna
1.my god 2.well-being, safety 3.long time 4.agree, compatible 5.flame 6.face 7.wail, cry 8.flame/fire spreading
The poet/lover cries/wails in pain. His wails are so painful, so full of passion that they appear to be spreading flames all around. The face of the beloved is ‘shola-ruKh’ – flame-faced. This could be either because of the brilliance of her beauty or the intensity of her anger at him. O my god, may I be safe, after a long time her flaming face and my passionate wails are beginning to be like each other.
3
bashar1 kya cheez hai, ulfat2 meN in zohra-jabiinoN3 ki
farsihtoN4 ko nahiN kuchh soojhta5 suud-o-ziyaaN6 apna
1.human, man 2.love 3.bright browed, beautiful 4.angels 5.understand 6.profit and loss, good and bad
How can man amount to much, even angels, in love of these beauties do not understand what is good for them.
4
hamaara z’of1 miftaah2-e dar3-e ganj4-e raqiibaaN5 hai
keh jaa sakta nahiN jaanaaN6 tak ab vahm-o-gumaaN7 apna
1.weakness, age 2.key 3.door 4.treasure house 5.rivals 6.beloved 7.illusion, imagination
The poet/lover has become very weak because he has been pining away for the beloved. His weakness is such that he cannot reach the beloved even in his dreams/imagination. Thus, his weakness has been a boon to the rivals as if they have found the key to a treasure house.
5
maiN vo majnuN1 huN vahshat2 na jaaye umr-bhar3 us ki
sag4-e laila bhi aa kar sooNgh le gar ustaKhwaaN5 apna
1.mad passionate lover, laila-majnuN legend 2.madness, passionate trance 3.life-long 4.dog 5.bones
The poet/lover lays claim to being a special kind of majnuN. His passion is so intense that his madness will never leave him, not all life long, not even after death. In death, his body is disintegrated, and bones scattered. Even if laila’s dog comes sniffing at his bones i.e., even after complete disintegration, his passion will not leave him.
6
zamiN meN yak-qalam1 gaR-gaR2 gaye shamshaad3 Khijlat4 se
KharaamaaN5 jab jua gulshan6 meN vo sarv-e-ravaaN7 apna
1.instantly 2.buried 3.tall slender tree 4.shame 5.graceful stroll 6.garden 7.tall slender tree that can move/sway, beloved
Traditionally the tall slender stature of the beloved is compared to a gently swaying tree. Thus, the beloved is ‘sarv-e-ravaaN’ and she takes a walk in the garden. Her gait is so graceful that every ‘shamshaad – slender tree symbolic of grace, is put to shame. The expression ‘zamiin meN gaR jaana – to be buried in the ground’, means intense shame.
7
malo1 gulguN2 na gul3 se phoole ruKhsaaroN4 pe aye saahib
karo raushan5 charaaGh6-e taaza7-e husn8-e javaaN9 apna
1.rub, apply 2.rose colour 3.rose 4.cheeks 5.brighten 6.lamp 7.fresh 8.beauty 9.youthful
‘phoole ruKhsaar’ – puffed cheeks, are a symbol of taking offence. Often this is playful feigned offence to tease the lover. This is what the beloved is doing and her cheeks are getting rosy as if she is rubbing a rose on her cheeks to enhance that colour. The poet/lover pleads – don’t do this, smile. A simple request to smile is described as ‘brighten the fresh lamp of your youthful beauty’.
8
ba-biiN1 rooyash2, mapars3 ahvaal4 hai apni misal5 goya
kareN hum dard-e dil aye be-vafaao6 kya bayaaN7 apna
1.looking at 2.her face 3.not afraid 4.conditions 5.example 6.faithless ones, the beloved 7.describe, relate
Because of looking at her face/beauty, my condition is its own example/display. Do not fear looking at it. O faithless ones, what is the need to narrate the pain of my heart. It should be apparent from my condition.
9
huiN sun1 sun ke naale2 aye vaqaar3 apne gulistaaN4 meN
keh goya5 bhool baiThiiN bulbuleN shor6 o foGhaaN7 apna
1.numb, used here to mean silent 2.wailing 3.pen-name of the poet 4.garden 5.as if 6.crying 7.lament
Normally bulbul sings/laments in the garden because the flower picker has picked off the rose. But O vaqaar, hearing my wailing, they have become numb/quiet as if they have forgotten their own laments because of intense pity for the pain of my cries.
