Gham-e ‘aam ki baateN kiij’e – manohar lal shaarib
1
vaqt ki gardish-e ayyam ki baateN kiij’e
ek na’ii sub’h na’ii shaam ki baateN kiij’e
2
kufr ka zikr na islaam ki baateN kiij’e
log kaht’e haiN Gham-e ‘aam ki baateN kiij’e
3
ab shabistaaN ki na aaraam ki baateN kiij’e
sub’h ka vaqt hai kuchh kaam ki baateN kiij’e
4
surKh-ruu jis ki ataa se ho hayaat-e insaaN
ab usii saaqi-e gulfaam ki baateN kiij’e
5
lutf to jab hai zubuuN-kaari-e maahaul meN bhi
n’ek aaGhaaz o Khush anjaam ki baateN kiij’e
6
jis meN iimaan ki ho shart Khuluus-e insaaN
uss sahiif’e ki uss ilhaam ki baateN kiij’e
7
jalva-e tuur ke qisse haiN kahaaN lutf o suruur
na’e jalve ki na’e baam ki baateN kiij’e
8
har adaa jis ki hai unvaan-e bahaar-e hasti
haaN usii yaar-e gul-andaam ki baateN kiij’e
9
chheRiye kausar o gaNga ka na ab zikr yahaaN
bazm-e shaarib meN mai-o-jaam ki baateN kiij’e

manohar lal shaarib (1920-1962) learnt urdu, farsi and arabi at home.  After matriculation he worked for the agriculture department in hyderabad.  He was very much a part of the progressive circle of shu’ara.  He was fully commited to communal harmony.  It is said that his sensitivity to human suffering and social injustice led him to drinking and an early death.  Two of his collection were published during his lifetime and one posthumously.
1
vaqt ki gardish-e-ayyam¹ ki baateN kiij’e
ek na’ii sub’h na’ii shaam ki baateN kiij’e

1.changing times, vicissitudes to time

The poet opens with a call for historical consciousness. Instead of dwelling on a static past, he urges us to discuss the “gardish-e ayyaam” (changing times or the vicissitudes of time). In a socialist context, this signifies the inevitable transition from an old, decaying system to a “new morning” – a metaphor for the revolution and a classless society where the sun rises for everyone, not just the elite.
2
kufr¹ ka zikr² na islaam ki baateN kiij’e
log kaht’e haiN Gham-e ‘aam³ ki baateN kiij’e

1.non-belief 2.mention, commentary 3.common, of people

This is a classic secular-progressive stance. The poet dismisses religious communalism (kufr and islaam) as distractions. He aligns with the “people” (log) who demand a focus on Gham-e ‘aam – the collective suffering and economic struggles of the masses. It suggests that the real “religion” of the time should be the upliftment of the common man.
3
ab shabistaaN¹ ki na aaraam ki baateN kiij’e
sub’h ka vaqt hai kuchh kaam ki baateN kiij’e

1.bedchamber

The shabistaaN (bedroom/place of rest) represents the lethargy and decadence of the feudal past or the bourgeoisie. The “morning” has arrived, signaling a time for action and labor. This verse emphasizes the dignity of work and the necessity of active struggle over the idle comforts of the ruling class.
4
surKh-ruu¹ jis ki ataa² se ho hayaat³-e insaaN
ab usii saaqi-e gulfaam⁴ ki baateN kiij’e

1.glowing/shining face 2.grant 3.life 4.rose-coloured, red

While saaqi (cupbearer) is a traditional trope, in progressive poetry, it often represents the revolutionary leader or the source of ideology. surKh-ruu (red/shining-faced/triumphant) carries a double meaning here: the “red” of the socialist banner. It is through this revolutionary “gift” that human life finds its true honor and vitality.
5
lutf¹ to jab hai zubuuN-kaari²-e maahaul³ meN bhi
n’ek⁴ aaGhaaz⁵ o Khush anjaam⁶ ki baateN kiij’e

1.pleasure 2.weakness, failure, useless effort 3.ambience, conditions 3.good, lucky 5.beginning 6.result, ending

Even in a “depraved” or “wretched” environment (zubuuN-kaari-e maahaul), the poet finds hope. He suggests that the true pleasure of the struggle lies in maintaining a commitment to a “noble beginning” and a “happy ending” (the successful revolution), regardless of how oppressive the current conditions may be.
6
jis meN iimaan¹ ki ho shart² Khuluus³-e insaaN
uss sahiif’e⁴ ki uss ilhaam⁵ ki baateN kiij’e

1.faith 2.condition, requirement 3.love 4.book 5.inspiration, revelation

The poet redefines “faith” (imaan). He rejects dogmatic scriptures in favor of a new sahiifa (book/scroll) where the only condition for faith is Khuluus-e insaaN (human sincerity/humanism). This is the “revelation” of the progressive movement: that the service of humanity is the highest form of holiness.
7
jalva¹-e tuur² ke qisse³ haiN kahaaN lutf⁴ o suruur⁵
na’e jalve ki na’e baam⁶ ki baateN kiij’e

1.manifestation, glory 2.Mount Sinai 3.story 4.pleasure 5.joy 6.rooftop

The “jalva-e tuur” (the epiphany of Moses on Mount Sinai) represents old religious miracles. The poet argues these old stories no longer provide joy or relevance. Instead, he looks for a “new manifestation” on a “new roof” – referring to the modern, materialist miracles of social change and the heights reachable by human effort.  The appearance on the rooftop baam is associated with the beloved.  In this case the beloved is the socialist revolution.
8
har adaa¹ jis ki hai unvaan²-e bahaar³-e hasti⁴
haaN usii yaar⁵-e gul-andaam⁶ ki baateN kiij’e

1.style, gesture 2.theme, title 3.spring, joy 4.life 5.friend, beloved 6.rose-bodied

This verse masks the “Revolution” as the yaar (beloved). The “beloved” whose every gesture is a “theme of the spring of existence” is actually the socialist ideal. The “spring” is the era of equality and prosperity that the poet longs for, personified with traditional romantic imagery to heighten its appeal.
9
chheRiye kausar¹ o gaNga² ka na ab zikr³ yahaaN
bazm⁴-e shaarib⁵ meN mai⁶-o-jaam⁷ ki baateN kiij’e

1.river in heaven 2.Ganges 3.mention, conversation 4.gathering 5.pen-name 6.wine 7.cup

The poet concludes by rejecting the mythological waters of kausar (paradise) and the gaNga (sacredness) as symbols of division or otherworldliness. In the bazm (gathering) of the poet (shaarib), the focus is on the mai-o-jaam – the wine and cup – which here symbolize the intoxicating and egalitarian spirit of the communal struggle and the shared joy of the people.