For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
خونِ جِگر میرے بعد ۔ پیامؔ فتح پوری
۱
رنگ لایا ہے محبّت کا اثر میرے بعد
ہے پشیمانِ تغافل وہ نظر میرے بعد
۲
کسی دیوانے کے قدموں کا نشاں بھی تو نہیں
سونی سونی سی ہے ہر راہ گزر میرے بعد
۳
نازبردارِ بہاراں نہیں کوئی شائد
کیوں ہوئے لالہ و گل چاک جگر میرے بعد
۴
اب کسی گوشۂ داماں میں نہیں دولتِ غم
کسی مژگاں پہ نہیں لعل و گہر میرے بعد
۵
عظمتِ مسلکِ فرہاد بھی باقی نہ رہی
اب وہ تیشہ ہے نہ سودا ہے نہ سر میرے بعد
۶
دامنِ شب پہ تھی گلکاریِ مژگاں کیا کیا
اب نہ ہوگی کبھی رنگین سحر میرے بعد
۷
ناز اٹھائے گا غمِ عشق کے اب کون پیامؔ
کِس کو ہے حوصلہٗ خونِ جگر میرے بعد
ख़ून-ए जिगर मेरे बाद – पयाम फ़तहपूरी
१
रंग लाया है मोहब्बत का असर मेरे बाद
है पशेमान-ए तग़ाफ़ुल वो नज़र मेरे बाद
२
किसी दीवाने के क़दमों का निशां भी तो नहीं
सूनी सूनी सी है हर राहगुज़र मेरे बाद
३
नाज़बरदार-ए बहारां नहीं कोई शा’एद
क्यूं हुए लाला ओ गुल चाक जिगर मेरे बाद
४
अब किसी गोशा-ए दामां में नहीं दौलत-ए ग़म
किसी मिज़्श्गां पे नहीं लाल ओ गहर मेरे बाद
५
अज़्मत-ए मस्लक-ए फ़रहाद भी बाक़ी न रही
अब वो तीशा है न सौदा है न सर मेरे बाद
६
दामन-ए शब पे थी गुलकारी-ए मिज़्श्गां क्या क्या
अब न होगी कभी रंगीन सहर मेरे बाद
७
नाज़ उठाएगा ग़म-ए इश्क़ के अब कौन पयाम
किस को है हौसला-ए ख़ून-ए जिगर मेरे बाद
Click here for background and on any passage for word meanings and explanatory discussion. payaam fatehpuri-mohammed islaam (1923-2000). Started composing from the age of sixteen. Joined the Progressive Writers’ Association, kaanpur in 1947. There are at least five collection of his nazm/Ghazal. Worked as editor of urdu magazine ‘gaNg o jaman’. This Ghazal does not have the same qaafiya but is clearly inspired by Ghalib’s Ghazal …
kaun hotaa hai harif-e mai-e mard-afgan-e ’ishq
hai mukarrar lab-e saaqi meN salaa mere b’aad
… and is linked to Ghalib naqsh-e qadam.
1
raNg laaya1 hai mohabbat ka asar2 mere baad
hai pashemaan3-e taGhaaful4 voh nazar5 mere baad 1.bore fruit 2.effect 3.regretful 4.indifference, neglect 5.glance
The effects of love have borne fruit after me; that once-indifferent glance is now filled with regret after me. The poet is dead but that does not prevent him from writing about his unsuccessful love. The beloved’s glance has been indifferent to him, ignoring him, while he was alive. He had died of a broken heart and now the beloved’s glance is regretful for its indifference.
2
kisi diivaane1 ke qadmoN2 ka nishaaN3 bhi to nahiiN
suuni-suuni4 si hai har raahguzar5 mere baad 1.madman, passionate lover 2.steps, feet 3.prints 4.desolate 5.pathways
There are not any footprints of any madman; every pathway seems desolate after me. The poet laments the void left by his death. When alive the poet, a mad passionate lover used to roam the streets and pathways looking for his beloved, leaving behind his footprints. Now no one does that and there are no footprints on desolate pathways.
3
naaz-bardaar1-e bahaaraaN2 nahiN koi shaa’ed3
kyuN hu’e laala-o-gul4 chaak-jigar5 mere baad 1.coquetry bearing/accepting, admirer 2.spring, blooms 3.perhaps 4.tulip and rose 5.torn hearts
Perhaps there is no one left to bear the coquettish mischief of blooming flowers (symbolizing the beloved) anymore, now that the poet is dead and gone. Why have the tulips and flowers torn their hearts after me? Blooming and opening up of tulips and roses reveals their pistils, which are usually dark and here used to symbolize torn hearts. Flowers bloom anyway, but the poet uses this in his poetic imagination and mouring his passing.
4
ab kisii gosha1-e daamaaN2 meN nahiN daulat3-e Gham4
kisii mizshgaaN5 pe nahiN laal-o-gohar6 mere baad 1.corner 2.hem of the garment 3.wealth 4.sorrow 5.eyelashes 6.pearls and rubies
Now, wealth of sorrow is no longer collected in corners of hems of garments; no eyelashes hold pearls and rubies after me. This she’r is rich in symbolism. What is the ‘wealth of sorrow’ – sorrow is because of unrequited love and the wealth of sorrow is tears. These would normally be wiped by, or fall into the hem of the garment and ‘collected’ there. Pearls and rubies are tears of blood on eyelashes. Thus, no one seems to be crying tears of blood and gathering them in the hem of their garment i.e., there are no mad passionate lovers after me.
5
azmat-e maslak-e farhaad bhi baaqi na rahi
ab voh tiisha hai, na saudaa hai, na sar mere baad 1.greatness 2.path, ways, faith 3.legendary lover of shiiriiN-farhaad fable 4.remaining 5.pickaxe 6.passion, madness, obsession 7.head
Even the greatness of farhaad’s ways are not recognized any longer; there is no one that has the same pickaxe, the same obsession or the same head. This has reference to the legend of shiiriiN-farhaad. farhaad fell madly in love with shiiriiN, the wife of emperor Khusro. She reciprocated his love. Khusro to get rid of farhaad set him an impossible task – dig a channel over the mountain and make a river of milk flow for shiiriin’s bath. farhaad set about doing this with his pickaxe and almost succceeded. Fearing his success Khusro caused a rumour to spread that shiiriin was dead. Hearing this, farhaad struck his head with his pickaxe and died. This is held up as the epitome of obsession and single-minded pursuit of love. The poet says that there are no such lovers left after his passing.
6
daaman-e-shab1 pe thi gulkaari2-e mizshgaaN3 kya kya
ab na hogi kabhi rangiin sahar4 mere baad 1.hem of the garment of the night 2.embroidery 3.eyelashes 4.dawn.
The hem of the garment of the night was once embroidered with my eyelashes. Now, no dawn will ever be colorful after me. The hem of the garment of the night is the horizon. The horizon at dawn is colourful – red. These are signs of the tears of blood that the poet shed which were collected in the hem of the night. Now no one sheds such tears and dawns will no longer be colourful.
7
naaz1 uThaa’ega Gham-e-ishq2 ke ab kaun payaam3
kis ko hai hausla4-e Khoon-e jigar5 mere baad 1.coquetry, pride 2.sorrow of love 3.pen-name 4.courage 5.liver/heart
Who will now bear the coquetry of the beloved, bear the sorrow of love, O payaam? who will have the courage to shed the blood of the heart (cry tears of blood) after me?
payaam fatehpuri-mohammed islaam (1923-2000). Started composing from the age of sixteen. Joined the Progressive Writers’ Association, kaanpur in 1947. There are at least five collection of his nazm/Ghazal. Worked as editor of urdu magazine ‘gaNg o jaman’. This Ghazal does not have the same qaafiya but is clearly inspired by Ghalib’s Ghazal …
kaun hotaa hai harif-e mai-e mard-afgan-e ’ishq
hai mukarrar lab-e saaqi meN salaa mere b’aad
… and is linked to Ghalib naqsh-e qadam.
1
raNg laaya1 hai mohabbat ka asar2 mere baad
hai pashemaan3-e taGhaaful4 voh nazar5 mere baad
1.bore fruit 2.effect 3.regretful 4.indifference, neglect 5.glance
The effects of love have borne fruit after me; that once-indifferent glance is now filled with regret after me. The poet is dead but that does not prevent him from writing about his unsuccessful love. The beloved’s glance has been indifferent to him, ignoring him, while he was alive. He had died of a broken heart and now the beloved’s glance is regretful for its indifference.
2
kisi diivaane1 ke qadmoN2 ka nishaaN3 bhi to nahiiN
suuni-suuni4 si hai har raahguzar5 mere baad
1.madman, passionate lover 2.steps, feet 3.prints 4.desolate 5.pathways
There are not any footprints of any madman; every pathway seems desolate after me. The poet laments the void left by his death. When alive the poet, a mad passionate lover used to roam the streets and pathways looking for his beloved, leaving behind his footprints. Now no one does that and there are no footprints on desolate pathways.
3
naaz-bardaar1-e bahaaraaN2 nahiN koi shaa’ed3
kyuN hu’e laala-o-gul4 chaak-jigar5 mere baad
1.coquetry bearing/accepting, admirer 2.spring, blooms 3.perhaps 4.tulip and rose 5.torn hearts
Perhaps there is no one left to bear the coquettish mischief of blooming flowers (symbolizing the beloved) anymore, now that the poet is dead and gone. Why have the tulips and flowers torn their hearts after me? Blooming and opening up of tulips and roses reveals their pistils, which are usually dark and here used to symbolize torn hearts. Flowers bloom anyway, but the poet uses this in his poetic imagination and mouring his passing.
4
ab kisii gosha1-e daamaaN2 meN nahiN daulat3-e Gham4
kisii mizshgaaN5 pe nahiN laal-o-gohar6 mere baad
1.corner 2.hem of the garment 3.wealth 4.sorrow 5.eyelashes 6.pearls and rubies
Now, wealth of sorrow is no longer collected in corners of hems of garments; no eyelashes hold pearls and rubies after me. This she’r is rich in symbolism. What is the ‘wealth of sorrow’ – sorrow is because of unrequited love and the wealth of sorrow is tears. These would normally be wiped by, or fall into the hem of the garment and ‘collected’ there. Pearls and rubies are tears of blood on eyelashes. Thus, no one seems to be crying tears of blood and gathering them in the hem of their garment i.e., there are no mad passionate lovers after me.
5
azmat1-e maslak2-e farhaad3 bhi baaqi4 na rahi
ab voh tiisha5 hai, na saudaa6 hai, na sar7 mere baad
1.greatness 2.path, ways, faith 3.legendary lover of shiiriiN-farhaad fable 4.remaining 5.pickaxe 6.passion, madness, obsession 7.head
Even the greatness of farhaad’s ways are not recognized any longer; there is no one that has the same pickaxe, the same obsession or the same head. This has reference to the legend of shiiriiN-farhaad. farhaad fell madly in love with shiiriiN, the wife of emperor Khusro. She reciprocated his love. Khusro to get rid of farhaad set him an impossible task – dig a channel over the mountain and make a river of milk flow for shiiriin’s bath. farhaad set about doing this with his pickaxe and almost succceeded. Fearing his success Khusro caused a rumour to spread that shiiriin was dead. Hearing this, farhaad struck his head with his pickaxe and died. This is held up as the epitome of obsession and single-minded pursuit of love. The poet says that there are no such lovers left after his passing.
6
daaman-e-shab1 pe thi gulkaari2-e mizshgaaN3 kya kya
ab na hogi kabhi rangiin sahar4 mere baad
1.hem of the garment of the night 2.embroidery 3.eyelashes 4.dawn.
The hem of the garment of the night was once embroidered with my eyelashes. Now, no dawn will ever be colorful after me. The hem of the garment of the night is the horizon. The horizon at dawn is colourful – red. These are signs of the tears of blood that the poet shed which were collected in the hem of the night. Now no one sheds such tears and dawns will no longer be colourful.
7
naaz1 uThaa’ega Gham-e-ishq2 ke ab kaun payaam3
kis ko hai hausla4-e Khoon-e jigar5 mere baad
1.coquetry, pride 2.sorrow of love 3.pen-name 4.courage 5.liver/heart
Who will now bear the coquetry of the beloved, bear the sorrow of love, O payaam? who will have the courage to shed the blood of the heart (cry tears of blood) after me?
