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. This Ghazal is dated 1852 (nusKha-e raza – kalidas gupta raza) when Ghalib was transition into the phase of composing easier to understand verse. It is linked to ‘Ghalib naqsh-e qadam’ along with others composed by later shu’ara in the same radeef/qaafiya.
1
hai baskih¹ har ek un ke ishaare² meN nishaaN³ aur
karte haiN muhabbat to guzartaa⁴ hai gumaaN⁵ aur 1.whereas, although 2.sign, point, glance 3.aim, purpose 4.passes through (my mind) 5.suspicion
There is something so different in her glance when she looks at me with affection, that I suspect that there is some other meaning in it.
2
yaarab¹ vo na samjhe haiN na samjheNge merii baat
de aur dil un ko jo² na de mujh ko zabaaN³ aur 1.god 2.or, or else 3.tongue, ability to speak
O god, she has never understood nor will ever understand me. The only cure is that either she gets a new heart (to love me) or I get a different way of speaking of my love before her. BUT THEN … “vo” can mean urdu poetry audience, fellow poets who have been critical of Ghalib for his difficult verses. They have never understood nor will ever understand my verse …
3
abruu¹ se hai kya us nigah-e-naaz² ko paivand³
hai tiir muqarrar⁴ magar⁵ us kii hai kamaaN aur 1.eye brow 2.playful/coquettish glance 3.connection 4.certain 5.perhaps
The glance as the arrow and eyebrow as the bow is an often used expression in urdu poetry. But here the coquettish glance is so different that perhaps it has a different bow, something even more effective than the eyebrow. There are two ways to read the “kya” in the first misra … (a) as a rhetorical question implying an answer “no”, saying that there is no relationship between glance and the eyebrow and (b) as admiring amazement saying look what a connection there is … .
4
tum shahr meN ho to hameN kya Gham jab uTheNge
le aaeNge baazaar se jaa kar dil-o-jaaN aur She has come to town and all lovers are going to lose their hearts and lives. In anticipation of the loss, various lovers are selling off their hearts and lives in the bazaar and these are now readily available commodities. The poet/lover is showing a false bravado – even if I lose my heart and life to you, I will go the bazaar and get a new set.
5
har-chand¹ subuk-dast² hue but-shikanii³ meN
hum⁴ haiN to abhii raah⁵ meN hai saNg-e-giraaN⁶ aur 1.even though 2.light-handed, quick, agile 3.breaking idols, overcoming temptations/sins 4.we, our egos 5.in the way 6.heavy stones, obstacles
Though we have become expert at overcoming many temptations, as long as “we” are (we have egos – and ego is a heavy obstacle) obstacles will remain in our path.This she’r is laden with Sufi underpinning. “saNg-e-giraaN” is the most difficult obstacle in front of the poet/mystic. That is, he has to erase himself/his ego before union with the beloved/god.
6
hai Khoon-e jigar josh meN dil khol ke rota
hote jo kaii diidah¹-e KhooNaabah²-fishaaN³ aur 1.eye 2.blood dripping, bleeding 3.scattering, spreading
My blood boils, and I would have wept to my heart’s content if only I had a few more blood dripping eyes i.e.his passion towards the beloved is much more than he can express with his two eyes – much more than he can express with his pen.
7
martaa huN us aavaaz pe har-chand¹ sar uR jaa’e
jallaad² ko laikin voh kahe jaa’eN keh haaN aur 1.even though 2.executioner
The lover is still willing to die at the sound of her voice even if he is sure to lose his head. And how does he hear her voice – she is calling out to the executioner and urging him to strike more. Otherwise, he might never be able to hear it.
8
logoN ko hai Khurshiid¹-e jahaaN-taab² ka dhokaa
har roz dikhaataa huN maiN ek daaGh-e-nihaaN³ aur 1.sun 2.world burning 3.hidden scar
The lover has many scars (in his heart) and they are all ablaze with passion so much so that they are mistaken for the bright sun. He has enough scars that he can show a new one every day.
9
letaa, na agar dil tumheN deta, koii dam¹ cha’en²
karta, jo na marta, koii din aah-o-foGhaaN³ aur 1.for a moment 2.rest, respite 3.sighs and lamentations
If I had not given my heart to you, I might have been able to rest for a moment. If I had not died of love of you, I would have been able to sigh and weep for a few more days.
10
paate nahiiN jab raah¹ to chaRh² jaate haiN naale³
ruktii hai merii tab’a⁴ to hotii hai ravaaN⁵ aur 1.pathway 2.increase 3.lamentations 4.nature, temperament
If my lamentations/sorrows do not find an outlet then my passion increases. When my (poetic) temperament/nature is obstructed then the flow (of poetry) increases even more. Note the double meaning – “naale” is lamentations as well as flowing streams/drains. If the stream is stopped, it also bursts out of its banks just like lamentations.
11
haiN aur bhii duniya meN suKhan-var¹ bahut achchhe
kahte haiN keh Ghalib ka hai andaaz-e-bayaaN² aur 1.people of “suKhan”, poets 2.way of speech/poetry
There are many good poets in this world, but they say that Ghalib’s poetry is “something else”.

andaaz e bayaaN aur – Raina’s Rendition
2
In vain have I my soul expressed and all my dirges sung
Bestow her a better heart, O god, or me a better tongue
5
There is yet a mighty obstacle ere my worship should attain
For the vision must be blurred at best should consciousness remain
6
The surging art of sharp despair all restraint defies
Oh I should have wept with vigorous zeal but for this paucity of eyes
8
Every morn do I disclose a fresh wound to the world
Alas, that they should mistake, each for the golden dawn unfurled
11
Poets populate this land in competent array
But, “How different Ghalib’s wizardry!”, is what people say