For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
معنی عنقا کرے کوئی ۔ مرزا اسداللہ خاں غالبؔ
۱
وحشت کہاں کہ بے خودی اِنشا کر کوئی
ہستی کو لفظ معنی عنقا کرے کوئی
۲
لختِ جِگر سے ہے رگِ ہر خار شاخِ گل
تا چند باغبانی صحرا کرے کوئی
۳
جو کچھ ہے محوِ شوخیِ ابروئے یار ہے
آنکھوں کو رکھ کے طاق پہ دیکھا کرے کوئی
۴
ہر سنگ و خِشت ہے صدفِ گوہر شکست
نقصاں نہیں جنوں سے جو سودا کرے کوئی
۵
ہے وحشت طبیعت ایجاد یاس خیز
یہ درد وہ نہیں کہ نہ پیدا کرے کوئی
۶
ناکامی نگاہ ہے برق نظارہ سوز
تو وہ نہیں کہ تجھ کو تماشا کرے کوئی
۷
عرضِ سِرِشک پر ہے فضاۓ زمانہ تنگ
صحرا کہاں کہ دعوتِ دریا کرے کوئی
۸
خوانا نہیں ہے خط رقمِ اضطرار کا
تدبیرِ پیچ و تابِ نفس کیا کرے کوئی
۹
وہ شوخ اپنے حسن پہ مغرور ہے اسدؔ
دکھلا کے اس کو آئنہ توڑا کرے کوئی
मु’आनी-ए अन्क़ा करे कोई -मिर्ज़ा असद-उल-लाह ख़ां ग़ालिब
१
वहशत कहाँ के बे-ख़ुदी इंशा करे कोई
हस्ती को लफ़्ज़-ए मु’आनी-ए अन्क़ा करे कोई
२
लख़्त-ए जिगर से है रग-ए हर-ख़ार शाख़-ए गुल
ता चंद बाग़-बानी-ए सहरा करे कोई
३
जो कुछ है महव-ए शूख़ी-ए अबरू-ए यार है
आँखों को रख के ताक़ पे देखा करे कोई
४
हर संग ओ ख़िश्त है सदफ़-ए गौहर-ए शिकस्त
नुक़्साँ नहीं जुनूँ से जो सौदा करे कोई
५
है वहशत-ए तबियत-ए ईजाद यास-ख़ेज़
ये दर्द वो नहीं के न पैदा करे कोई
६
नाकामी-ए निगाह है बर्क़-ए नज़ारा-सोज़
तू वो नहीं के तुझ को तमाशा करे कोई
७
अर्ज़-ए सरिश्क पर है फ़ज़ा-ए ज़माना तंग
सहरा कहाँ के दावत-ए दर्या करे कोई
८
ख़्वाना नहीं है ख़त रक़म-ए इज़्तरार का
तद्बीर-ए पेच ओ ताब-ए नफ़स क्या करे कोई
९
वो शूख़ अपने हुस्न पे मग़्रूर है असद
दिखला के उस को आइना तोढा करे कोई
Click here for background and on any passage for word meanings and explanatory discussion. mirza asadullah KhaaN Ghalib (1797-1869). I dare not write any introduction. On more than one occasion Ghalib has warned his readers that he needs no introduction or even address. I humbly comply. There are three Ghazal of Ghalib with the same qaafiya-radeef ‘xxx-aa kare koii’. All three are linked to the category, ‘ibn-e mariam hua kare koii’ dated 1847. Two other Ghazal (this is one of the two) are dated 1821 and are of a period when Ghalib was young (24 years old) and still composed in a style difficult to comprehend. There are numerous other Ghazal by other poets composed in the same qaafiya-radeef all linked to ‘Ghalib naqsh-e qadam’.
1
vahshat1 kahaaN keh be-Khudi2 insha3 kare koii
hasti4 ko lafz5-e mu’aani6-e anqa7 kare koii 1.frenzy of passion 2.trance, erasing self-identy/ego 3.write, create 4.existence, being 5.word 6.meaning 7.imaginary, illusion, Phoenix – legendary bird
Where is the passionate frenzy that can write/describe/create a trance inducing one to erase their own identity (and merge with the divine). (Where is the frenzy of passion that will interpret existence/being to be an illusion like the legendary bird ‘anqa’).
2
laKht1-e jigar2 se hai rag3-e har-Khaar4 shaaKh5-e gul6
taa-chand7 baaGh-baani8-e sahra9 kare koii 1.piece, fragment 2.liver 3.vein 4.every thorn 5.branch 6.rose 7.how long 8.gardening, irrigating 9.desert
In poetic tradition the liver is considered to be the source of blood. The poet/lover/devotee cries tears of blood due to the pain of separation from the beloved or the divine. Each tear drop (because it is of blood) contains a fragment of the liver. This nourishes every thorn to bear a rose. How long can this cultivation of the garden go on. Is there anyone to step forward after me.
3
jo kuchh hai mahv1-e shooKhi2-e abru3-e yaar4 hai
aaNkhoN ko rakh ke taaq5 pe dekha kare koii 1.absorbed in, obsessed with 2.mischief, playfulness 3.eyebrow 4.beloved 5.shelf
‘taaq pe rakhna’ is to set something aside on the shelf and not use it/not need it. Thus, everything that I have (perhaps other admirers too) – all parts/juzv, all senses are absorbed in admiring the playfulness of the beloved’s eyebrows. You don’t really need eyes to see. You can set them aside and still look. Does he mean to say – you don’t need eyes to admire the beauty/glory of the divine. You can use all your senses to appreciate it.
4
har saNg1-o-Khisht2 hai sadaf3-e gauhar4-e shikast5
nuqsaaN6 nahiN junuuN7 se jo sauda8 kare koii 1.rock 2.brick, brick-bat 3.shell 4.pearl 5.breaking 6.loss, harm 7.passion 8.deal
Every rock and brick-bat thrown at me is like a pearl-bearing shell that breaks and yields its pearl. There is no harm in dealing with passion. Figuratively, this could imply the imagery of the passionate majnuN on whom everyone throws rocks, but it only increases his passion. This could be that all other poets/critics are throwing rocks at Ghalib, but their rocks break apart and yield pearls. Ultimately, he will triumph. This could also be a sufiyaana expression of passion for the divine.
5
hai vahshat1-e tabi’at2-e iijaad3 yaas-Khez4
ye dard5 vo nahiN keh na paida6 kare koii 1.madness of passion 2.nature 3.creativity 4.despondence/sorrow raising 5.pain 6.cause, create
The passionate madness of the nature of creativity is such that it increases despondence. If this is that passion of creativity of the poet, then the poet is disappointed with the result of trying to put his beautiful thoughts into words. This is not a pain that anyone to undertakes to create/invent can fail to cause (in themselves). Said Ghalib elsewhere …
Ghalib nabuvad sheva-e man qaafiya bandi
zulmiist ke bar kilk o varaq meekunam imshab
O, Ghalib, it is not my practice to do word-smithing
It is cruelty that I visit on pen and paper tonight
6
naakaami1-e nigaah2 hai barq3-e nazaara-soz4
tu vo nahiN keh tujh ko tamaasha5 kare koii 1.failure 2.eyes, sight 3.lightning 4.eye-burning 5.see
The failure of sight is caused by the dazzling brilliance of your glory. You are not the one that can be seen. This has reference to the story when Moses went up mount tuur insisting on seeing god. There was a flash of lightning, Moses fainted and mount tuur was pulverized.
7
arz1-e sarishk2 par hai faza3-e zamaana4 taNg5
sahra6 kahaaN keh daavat7-e dariya8 kare koii 1.presenting, submitting 2.tears 3.air, surroundings 4.times, world 5.narrow, constricting 6.desert, wilderness 7.invite, host 8.sea
The poet/lover/devotee is so agitated because of separation from the beloved/divine that he would cry enough tears to flood the surroudings. But the surroundings of world/times are too constricting for such a presentation/expression of tears. Where is the expansive desert that I may find enough room to entertain this flood of tears.
8
Khwaana1 nahiN hai Khat2-e raqam3-e isteraar4 ka
tadbiir5-e pech-o-taab6-e nafas7 kya kare koii 1.legible, meaningful 2.line 3.writing 4.helplessness, restlessness 5.scheme, method (of cure) 6.twists and turns, agitation 7.breath
The poet is emotionally worked up when composing his verse. The lines of his writing have no legibility/meaning. By what scheme can this agitation of the breath/life/soul can be cured. Please see notes on she’r 5 for Ghalib’s faarsi she’r on the same subject. Ghalib’s opening she’r in all of his urdu diivaan …
naqsh fariyaadi hai kis ki shooKhi-e tahriir ka
kaaGhazi hai pairahan har paikar-e tasviir ka
Whose mischief of writing does the word appeal against
Every symbol of the word is clothed in a paper robe of protest
The other more straightforward and perhaps more popular interpretation is that this is a letter to the beloved that is not beloved. The poet/lover feels helpless in expressing the agitation of his soul.
9
vo shooKh1 apne husn2 pe maGhruur3 hai asad4
dikhla ke us ko aa’ina toRa kare koii 1.mischeivous one, beloved 2.beauty 3.proud, arrogant 4.pen-name of the poet
The beloved is proud of her beauty and considers herself unique. Will someone show her a mirror so she can see her equal in beauty be humbled (or possibly get annoyed and jealous). There are three reasons to ‘break the mirror’ discussed by various commentators … (a) to appease her annoyance after showing her an equal in her beauty (b) to give her a lesson that consequence of pride is such downfall as being broken into pieces or (c) so that now each fragment is a mirror and reflects back her beauty and she can see that there are many more just as beautiful as she is.
mirza asadullah KhaaN Ghalib (1797-1869). I dare not write any introduction. On more than one occasion Ghalib has warned his readers that he needs no introduction or even address. I humbly comply. There are three Ghazal of Ghalib with the same qaafiya-radeef ‘xxx-aa kare koii’. All three are linked to the category, ‘ibn-e mariam hua kare koii’ dated 1847. Two other Ghazal (this is one of the two) are dated 1821 and are of a period when Ghalib was young (24 years old) and still composed in a style difficult to comprehend. There are numerous other Ghazal by other poets composed in the same qaafiya-radeef all linked to ‘Ghalib naqsh-e qadam’.
1
vahshat1 kahaaN keh be-Khudi2 insha3 kare koii
hasti4 ko lafz5-e mu’aani6-e anqa7 kare koii
1.frenzy of passion 2.trance, erasing self-identy/ego 3.write, create 4.existence, being 5.word 6.meaning 7.imaginary, illusion, Phoenix – legendary bird
Where is the passionate frenzy that can write/describe/create a trance inducing one to erase their own identity (and merge with the divine). (Where is the frenzy of passion that will interpret existence/being to be an illusion like the legendary bird ‘anqa’).
2
laKht1-e jigar2 se hai rag3-e har-Khaar4 shaaKh5-e gul6
taa-chand7 baaGh-baani8-e sahra9 kare koii
1.piece, fragment 2.liver 3.vein 4.every thorn 5.branch 6.rose 7.how long 8.gardening, irrigating 9.desert
In poetic tradition the liver is considered to be the source of blood. The poet/lover/devotee cries tears of blood due to the pain of separation from the beloved or the divine. Each tear drop (because it is of blood) contains a fragment of the liver. This nourishes every thorn to bear a rose. How long can this cultivation of the garden go on. Is there anyone to step forward after me.
3
jo kuchh hai mahv1-e shooKhi2-e abru3-e yaar4 hai
aaNkhoN ko rakh ke taaq5 pe dekha kare koii
1.absorbed in, obsessed with 2.mischief, playfulness 3.eyebrow 4.beloved 5.shelf
‘taaq pe rakhna’ is to set something aside on the shelf and not use it/not need it. Thus, everything that I have (perhaps other admirers too) – all parts/juzv, all senses are absorbed in admiring the playfulness of the beloved’s eyebrows. You don’t really need eyes to see. You can set them aside and still look. Does he mean to say – you don’t need eyes to admire the beauty/glory of the divine. You can use all your senses to appreciate it.
4
har saNg1-o-Khisht2 hai sadaf3-e gauhar4-e shikast5
nuqsaaN6 nahiN junuuN7 se jo sauda8 kare koii
1.rock 2.brick, brick-bat 3.shell 4.pearl 5.breaking 6.loss, harm 7.passion 8.deal
Every rock and brick-bat thrown at me is like a pearl-bearing shell that breaks and yields its pearl. There is no harm in dealing with passion. Figuratively, this could imply the imagery of the passionate majnuN on whom everyone throws rocks, but it only increases his passion. This could be that all other poets/critics are throwing rocks at Ghalib, but their rocks break apart and yield pearls. Ultimately, he will triumph. This could also be a sufiyaana expression of passion for the divine.
5
hai vahshat1-e tabi’at2-e iijaad3 yaas-Khez4
ye dard5 vo nahiN keh na paida6 kare koii
1.madness of passion 2.nature 3.creativity 4.despondence/sorrow raising 5.pain 6.cause, create
The passionate madness of the nature of creativity is such that it increases despondence. If this is that passion of creativity of the poet, then the poet is disappointed with the result of trying to put his beautiful thoughts into words. This is not a pain that anyone to undertakes to create/invent can fail to cause (in themselves). Said Ghalib elsewhere …
Ghalib nabuvad sheva-e man qaafiya bandi
zulmiist ke bar kilk o varaq meekunam imshab
O, Ghalib, it is not my practice to do word-smithing
It is cruelty that I visit on pen and paper tonight
6
naakaami1-e nigaah2 hai barq3-e nazaara-soz4
tu vo nahiN keh tujh ko tamaasha5 kare koii
1.failure 2.eyes, sight 3.lightning 4.eye-burning 5.see
The failure of sight is caused by the dazzling brilliance of your glory. You are not the one that can be seen. This has reference to the story when Moses went up mount tuur insisting on seeing god. There was a flash of lightning, Moses fainted and mount tuur was pulverized.
7
arz1-e sarishk2 par hai faza3-e zamaana4 taNg5
sahra6 kahaaN keh daavat7-e dariya8 kare koii
1.presenting, submitting 2.tears 3.air, surroundings 4.times, world 5.narrow, constricting 6.desert, wilderness 7.invite, host 8.sea
The poet/lover/devotee is so agitated because of separation from the beloved/divine that he would cry enough tears to flood the surroudings. But the surroundings of world/times are too constricting for such a presentation/expression of tears. Where is the expansive desert that I may find enough room to entertain this flood of tears.
8
Khwaana1 nahiN hai Khat2-e raqam3-e isteraar4 ka
tadbiir5-e pech-o-taab6-e nafas7 kya kare koii
1.legible, meaningful 2.line 3.writing 4.helplessness, restlessness 5.scheme, method (of cure) 6.twists and turns, agitation 7.breath
The poet is emotionally worked up when composing his verse. The lines of his writing have no legibility/meaning. By what scheme can this agitation of the breath/life/soul can be cured. Please see notes on she’r 5 for Ghalib’s faarsi she’r on the same subject. Ghalib’s opening she’r in all of his urdu diivaan …
naqsh fariyaadi hai kis ki shooKhi-e tahriir ka
kaaGhazi hai pairahan har paikar-e tasviir ka
Whose mischief of writing does the word appeal against
Every symbol of the word is clothed in a paper robe of protest
The other more straightforward and perhaps more popular interpretation is that this is a letter to the beloved that is not beloved. The poet/lover feels helpless in expressing the agitation of his soul.
9
vo shooKh1 apne husn2 pe maGhruur3 hai asad4
dikhla ke us ko aa’ina toRa kare koii
1.mischeivous one, beloved 2.beauty 3.proud, arrogant 4.pen-name of the poet
The beloved is proud of her beauty and considers herself unique. Will someone show her a mirror so she can see her equal in beauty be humbled (or possibly get annoyed and jealous). There are three reasons to ‘break the mirror’ discussed by various commentators … (a) to appease her annoyance after showing her an equal in her beauty (b) to give her a lesson that consequence of pride is such downfall as being broken into pieces or (c) so that now each fragment is a mirror and reflects back her beauty and she can see that there are many more just as beautiful as she is.
