For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
ڈھالے ہوئے تو ہیں ۔ شوکت علی خاں فانیؔ بدایونی
۱
مر کر ترے خیال کو ٹالے ہوئے تو ہیں
ہم جان دے کے دل کو سنبھالے ہوئے تو ہیں
۲
بیزار ہو نہ جائے کہیں زندگی سے دل
تاثیر سے خفا مرے نالے ہوئے تو ہیں
۳
رِستے ہیں اب کے سال کہ بہتے ہیں دیکھیے
پھر فصلِ گُل میں زخمِ دل آلے ہوئے تو ہیں
۴
ارماں جو یوں نہیں تو نکلتے ہیں کس طرح
یعنی ہمارے دل سے نکالے ہوئے تو ہیں
۵
ہاں دردِ عشق اُن پہ کرم کی نظر رہے
صبر و قرار تیرے حوالے ہوئے تو ہیں
۶
یہ صحبتیں بھی دیکھیے لاتی ہیں رنگ کیا
مہمانِ خار پاؤں کے چھالے ہوئے تو ہیں
۷
کیا جانیے کہ حشر ہو کیا صبح حشر کا
بیدار تیرے دیکھنے والے ہوئے تو ہیں
۸
فانیؔ ترے عمل ہمہ تن جبر ہی سہی
سانچے میں اختیار کے ڈھالے ہوئے تو ہیں
ढाले हुए तो हैं – शौकत अली ख़ां फ़ानी बदायूनी
१
मर कर तेरे ख़याल को टाले हुए तो हैं
हम जान दे के दिल को सँभाले हुए तो हैं
२
बे-ज़ार हो न जाए कहीं ज़िंदगी से दिल
तासीर से ख़फ़ा मेरे नाले हुए तो हैं
३
रिसते हैं अब के साल के बहते हैं देखिए
फिर फ़स्ल-ए गुल में ज़ख़्म-ए दिल आले हुए तो हैं
४
अर्माँ जो यूँ नहीं तो निकलते हैं किस तरह
यानी हमारे दिल से निकाले हुए तो हैं
५
हाँ दर्द-ए इश्क़ उन पे करम की नज़र रहे
सब्र ओ क़रार तेरे हवाले हुए तो हैं
६
ये सोहबतें भी देखिए लाती हैं रंग क्या
मेहमान-ए ख़ार पाँव के छाले हुए तो हैं
७
क्या जानिए के हश्र हो क्या सुब्ह-ए हश्र का
बेदार तेरे देखने वाले हुए तो हैं
८
फ़ानी तेरे अमल हमा-तन जब्र ही सही
साँचे में एख़्तियार के ढाले हुए तो हैं
Click here for background and on any passage for word meanings and explanatory discussion. mohammed shaukat ali KhaaN faani badayuni (1879-1941), BA 1901, law 1908. Stumbling law practice. Invited to hyderabad by maharaja kishan parshaad in 1932, working as the principal of a reputed school. Alcohol proved to be a big problem. He died forlorn and destitute. Much of his work was lost. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page.
1
mar kar terey Khayaal1 ko Taale2 hue to haiN
ham jaan de ke dil ko sambhaale3 hue to haiN 1.thoughts, memories 2.postponed, driven into the background 3.hold together, composed
The poet/lover is metaphorically dead, because he has lost all hope; is numb to all sensation of joy or sorrow. He has lost his life (metaphorically) but is at least able to hold on to his heart, keeping it composed and balanced. He is able to do this only because he has driven thoughts/memories of the beloved into the background (postponed them).
2
be-zaar1 ho na jaa’e kahiN zindagi se dil
taasiir2 se Khafaa3 merey naale4 hue to haiN 1.disillusioned, fed up 2.effectiveness 3.annoyed, displeased 4.laments
The poet/lover concludes that his laments/pleas to the beloved have lost all effectiveness. In spite of his intense sorrow, she does not reciprocate his feelings. He is fearful that his heart might get disillusioned with life itself.
3
riste1 haiN ab ke saal keh bahte2 haiN dekhiye
phir fasl-e-gul3 meN zaKhm4-e dil aale5 hue to haiN 1.fester, ooze 2.flow, bleed profusely 3.flowering season, spring 4.wounds 5.plural of aala meaning tools
In urdu poetic convention spring is a time of rejuventation, meeting of hearts, remembering the beloved. Thus, once again in the spring, the wounds of the heart have become instruments – instruments of what? Probably torture because it is spring; joy all around but the poet/lover still has no success with the beloved. He says, let us see if this year my wounds of the heart fester or they bleed freely because of the new instruments of torture.
4
armaaN1 jo yuN nahiN to nikalte haiN kis tarah2
yaani3 hamaare dil se nikaale4 hue to haiN 1.desires 2.which way, which method 3.that is, it means that 4.turned out, banished
As an expression ‘armaaN nikalna’ means desires fulfilled. In the first misra the poet/lover wonders/asks himself – if desires are not fulfilled in this way, in which other way are they fulfilled. This implies that he knows only one way in which desires are fulfilled. What is that way – it means that they are banished from the heart probably due to the repeated indifference of the beloved.
5
haaN dard-e-ishq1 un pe karam2 ki nazar3 rahe
sabr4 o qaraar5 terey havaale6 hue to haiN 1.pain of love 2.kindness 3.glance, point of view 4.patience 5.tranquility 6.entrusted for safekeeping
The poet/lover is addressing his own ‘pain of love’ and almost warning it to be careful and be kind to the beloved i.e., do not blame her, do not bring disrepute to her. After all, patience and tranquility, peace and quiet have been entrusted to you for safekeeping.
6
yeh sohbateN1 bhi dekhiye laati haiN raNg2 kyaa
mehmaan3-e Khaar4 paaNv ke chhaale5 hue to haiN 1.companionship, association 2.character, result 3.guest 4.thorns 5.blisters
In urdu poetic convention, the mad/distraught lover wanders the wilderness in distress or in search of the beloved. His feet develop blisters. Thorns poke through the blisters resulting in profuse bleeding. Thus, let us see what result ensues because of this companionship. What companionship … companionship of thorns with blisters, because they will become guests of the blisters of his feet.
7
kyaa jaaniye keh hashr1 ho kyaa sub’h2-e hashr3 kaa
bedaar4 tere dekhne vaale hue to haiN 1.hashr hona is an expression meaning result/consequence of something 2.dawn 3.doomsday 4.awake
Whenever the expression ‘kya hashr hoga’ is used, it implies that the speaker anticipates/fears that the result will not be very good. Who knows what will happen on the dawn of doomsday. Those who have seen you, witnessed what you have done, will be woken up from their death (and called to testify). It is implied that the ‘you’ is the beloved and what she has done is tortured her admirers/lovers.
8
faani1 terey amal2 hama-tan3 jabr4 hi sahi
saaNche5 meN eKhtiyaar6 ke Dhaale7 hue to haiN 1.pen-name of the poet 2.actions 3.head to toe, embodiment 4.oppression, forced, not free, helplessness 5.mould 6.power, free will, discretion 7.cast, moulded
O faani, your actions may be the embodiment of powerlessness/helplessness but at least they are cast in the mould of free will – at least you are given the impression that you can choose how to act.
mohammed shaukat ali KhaaN faani badayuni (1879-1941), BA 1901, law 1908. Stumbling law practice. Invited to hyderabad by maharaja kishan parshaad in 1932, working as the principal of a reputed school. Alcohol proved to be a big problem. He died forlorn and destitute. Much of his work was lost. This Ghazal is linked to other ham-radeef Ghazal on the Refrain Index page.
1
mar kar terey Khayaal1 ko Taale2 hue to haiN
ham jaan de ke dil ko sambhaale3 hue to haiN
1.thoughts, memories 2.postponed, driven into the background 3.hold together, composed
The poet/lover is metaphorically dead, because he has lost all hope; is numb to all sensation of joy or sorrow. He has lost his life (metaphorically) but is at least able to hold on to his heart, keeping it composed and balanced. He is able to do this only because he has driven thoughts/memories of the beloved into the background (postponed them).
2
be-zaar1 ho na jaa’e kahiN zindagi se dil
taasiir2 se Khafaa3 merey naale4 hue to haiN
1.disillusioned, fed up 2.effectiveness 3.annoyed, displeased 4.laments
The poet/lover concludes that his laments/pleas to the beloved have lost all effectiveness. In spite of his intense sorrow, she does not reciprocate his feelings. He is fearful that his heart might get disillusioned with life itself.
3
riste1 haiN ab ke saal keh bahte2 haiN dekhiye
phir fasl-e-gul3 meN zaKhm4-e dil aale5 hue to haiN
1.fester, ooze 2.flow, bleed profusely 3.flowering season, spring 4.wounds 5.plural of aala meaning tools
In urdu poetic convention spring is a time of rejuventation, meeting of hearts, remembering the beloved. Thus, once again in the spring, the wounds of the heart have become instruments – instruments of what? Probably torture because it is spring; joy all around but the poet/lover still has no success with the beloved. He says, let us see if this year my wounds of the heart fester or they bleed freely because of the new instruments of torture.
4
armaaN1 jo yuN nahiN to nikalte haiN kis tarah2
yaani3 hamaare dil se nikaale4 hue to haiN
1.desires 2.which way, which method 3.that is, it means that 4.turned out, banished
As an expression ‘armaaN nikalna’ means desires fulfilled. In the first misra the poet/lover wonders/asks himself – if desires are not fulfilled in this way, in which other way are they fulfilled. This implies that he knows only one way in which desires are fulfilled. What is that way – it means that they are banished from the heart probably due to the repeated indifference of the beloved.
5
haaN dard-e-ishq1 un pe karam2 ki nazar3 rahe
sabr4 o qaraar5 terey havaale6 hue to haiN
1.pain of love 2.kindness 3.glance, point of view 4.patience 5.tranquility 6.entrusted for safekeeping
The poet/lover is addressing his own ‘pain of love’ and almost warning it to be careful and be kind to the beloved i.e., do not blame her, do not bring disrepute to her. After all, patience and tranquility, peace and quiet have been entrusted to you for safekeeping.
6
yeh sohbateN1 bhi dekhiye laati haiN raNg2 kyaa
mehmaan3-e Khaar4 paaNv ke chhaale5 hue to haiN
1.companionship, association 2.character, result 3.guest 4.thorns 5.blisters
In urdu poetic convention, the mad/distraught lover wanders the wilderness in distress or in search of the beloved. His feet develop blisters. Thorns poke through the blisters resulting in profuse bleeding. Thus, let us see what result ensues because of this companionship. What companionship … companionship of thorns with blisters, because they will become guests of the blisters of his feet.
7
kyaa jaaniye keh hashr1 ho kyaa sub’h2-e hashr3 kaa
bedaar4 tere dekhne vaale hue to haiN
1.hashr hona is an expression meaning result/consequence of something 2.dawn 3.doomsday 4.awake
Whenever the expression ‘kya hashr hoga’ is used, it implies that the speaker anticipates/fears that the result will not be very good. Who knows what will happen on the dawn of doomsday. Those who have seen you, witnessed what you have done, will be woken up from their death (and called to testify). It is implied that the ‘you’ is the beloved and what she has done is tortured her admirers/lovers.
8
faani1 terey amal2 hama-tan3 jabr4 hi sahi
saaNche5 meN eKhtiyaar6 ke Dhaale7 hue to haiN
1.pen-name of the poet 2.actions 3.head to toe, embodiment 4.oppression, forced, not free, helplessness 5.mould 6.power, free will, discretion 7.cast, moulded
O faani, your actions may be the embodiment of powerlessness/helplessness but at least they are cast in the mould of free will – at least you are given the impression that you can choose how to act.
