aaKhir-e shab – faiz

آخر  شب  – فیض احمد   فیض

 

یاد کا پھرکوئی دروازہ کھلا آخرِشب

دِل میں بکھری کوئی خوشبوئے حنا آخرِشب

صبح پھوٹی تووہ پہلو سے اُٹھا آخرِشب

وہ جواک عمر سے آیا نہ گیا آخرِ شب

 

چاند سے ماند ستاروں نے کہا آخرِشب

کون کرتا ہے وفا عہدِ وفا آخرِ شب

لمسِ جانا نہ  لئے مستیٗ  پیمانہ لئے

حمد باری کواُٹھے دستِ دعا آخرِشب

 

گھرجو ویراں تھاسرِشام وہ کیسے کیسے

فرقتِ یار نے آباد کیا آخرِ شب

جس ادا سے کوئی آتا تھا کبھی اوّلِ شب

اُسی اندازسے چل بادِ صبا آخرِشب

आख़िर-ए शब – फ़ैज़ अहमद फ़ैज़

 

याद का फिर कोई दरवाज़ा खुला आख़िर-ए शब

दिल में बिखरी कोई ख़ुशबू-ए हिना आख़िर-ए शब

सुबह फूटी तो वो पहलू से उठा आख़िर-ए शब

वो जो-एक उम्र से आया न गया आख़िर-ए शब

 

चाँद से मांद सितारों ने कहा आख़िर-ए शब

कौन करता है वफ़ा अहद-ए वफ़ा आख़िर-ए शब

लम्स-ए जानाना लिए मस्ती-ए पैमाना लिए

हमद-ए बारी को उठे दस्त-ए दुआ आख़िर-ए शब

 

घर जो वीरां था सर-ए शाम वो कैसे कैसे

फ़ुर्क़त-ए यार ने आबाद किया आख़िर-ए शब

जिस अदा से कोई आता था कभी अव्वल-ए शब

इसी अंदाज़ से चल बाद-ए सबा आख़िर-ए शब

aakhir-e shab – faiz ahmed faiz

Click here for overall comments and on any passage for meaning and discussionFaiz’s ghazal is patterned after Makhdoom’s “aaKhir e shab”. It appears in “mere dil, mere musafir”, and along with “raat bhar” and is entitled, “do GhazleN, maKhdoom ki yaad meN”, Moscow, Oct 1968. There is a long standing tradition in Urdu poetry that implies that composing in the pattern of someone is to pay tribute to them. This is Faiz’s tribute to Makhdoom.

yaad ka phir koi darvaza khula aaKhir-e shab
dil meN bikhri koi Khushboo-e hina aaKhir-e shab
subah phooTi1 to vo pahloo2 se uTha aaKhir-e shab
vo jo ek umr se3 aaya na gaya aaKhir-e shab
1. breaking of dawn 2. side 3. in a lifetime, for a long time
“aaKhir e shab” is used literally or metaphorically to convey various meanings. Literally – very late hour of the night just before dawn. Metaphorically – end of life, end of a long journey, giving up at the end of a period of trials and tribulations. It may be used in different ways in different asha’ar. Imagine that Faiz has just received news of the passing of his friend and it opens wide a door to memories, late into the night. These memories are light the fragrance of henna (of the beloved) keeping him up all night. He finally falls asleep in a trance thinking that his friend/beloved is by his side. Dawn wakes him up and he can now see, the pleasant memories of late night turn into reality. His friend/beloved was never there!

chaand se maand4 sitarauN se kaha aaKhir-e shab
kaun karta hai vafa5 ahd-e vafa6 aaKhir-e shab
lams7-e jaanana liye, masti-e paimana8 liye
hamd9-e baari10 ko uThe dast-e dua11 aaKhir-e shab
4. dimming 5. fulfils promise 6. promise of faith/love 7. touch 8. flask 9. praise/prayer 10. god 11. hands raised or folded in prayer
Stars have been trying to get the attention of the moon all night long. Now, near dawn, they are beginning to dim. They are disappointed and with a sigh they say, “Who is true to any pledge of faith, late into the night?”. There is added pathos in this when put in the backdrop of the realization that his friend will not be back, will not “keep faith” now. His hands sill carry memories of the beloved’s touch and a lingering sweet intoxication as he raises them in prayer (maybe at the loss of his friend). The parallelism with the 5th she’r in Makhdoom’s ghazal is beautiful. In Makhdoom’s she’r, noting that the mosque and the church are closed, prayerful hands reach for the flask. In Faiz’s she’r, hands still carry the sense of touch of the beloved and remember handling wine. In this state (of intoxication/elation) they are raised in prayer/praising the almighty. Seeming contradiction, neatly juxtaposed.

ghar jo veeraaN12 tha sar-e shaam13 vo kaise kaise
furqat-e yaar14 ne aabad15 kiya aaKhir-e shab
jis ada16 se koi aata tha kabhi avval-e shab17
usi andaaz18 se chal baad-e saba19 aaKhir-e shab
12. desolate 13. start of the evening 14. separation from the beloved 15. inhabit, prosper 16. style 17. beginning of night 18. style 19. morning breeze
The home/heart has been desolate/empty from early evening because there is no sign of the beloved. The thing that populates/fills the emptiness is the “absence of the beloved” – as if this absence has a palpable personality and arrives to fill the emptiness. Realizing that the only thing that fills the heart is “emptiness” the poet expresses a plaintive wish, “the rare flair with which she’d arrive, early of an evening, O breeze of morning blow in that same manner late into the night.

aaKhir-e shab – faiz ahmed faiz

Overall Comments
Faiz’s ghazal is patterned after Makhdoom’s “aaKhir e shab”.  It appears in “mere dil, mere musafir”, and along with “raat bhar” and is entitled, “do GhazleN, maKhdoom ki yaad meN”, Moscow, Oct 1978. There is a long standing tradition in Urdu poetry that implies that composing in the pattern of someone is to pay tribute to them.  This is Faiz’s tribute to Makhdoom.

yaad ka phir koi darvaza khula aaKhir-e shab
dil meN bikhri koi Khushboo-e hina aaKhir-e shab
subah phooTi1 to vo pahloo2 se uTha aaKhir-e shab
vo jo ek umr se3 aaya na gaya aaKhir-e shab

1. breaking of dawn 2. side 3. in a lifetime, for a long time
“aaKhir e shab” is used literally or metaphorically to convey various meanings.  Literally – very late hour of the night just before dawn.  Metaphorically – end of life, end of a long journey, giving up at the end of a period of trials and tribulations.  It may be used in different ways in different asha’ar.  Imagine that Faiz has just received news of the passing of his friend and it opens wide a door to memories, late into the night.  These memories are light the fragrance of henna (of the beloved) keeping him up all night.  He finally falls asleep in a trance thinking that his friend/beloved is by his side.  Dawn wakes him up and he can now see, the pleasant memories of late night turn into reality.  His friend/beloved was never there!

chaand se maand4 sitarauN se kaha aaKhir-e shab
kaun karta hai vafa5 ahd-e vafa6 aaKhir-e shab
lams7-e jaanana liye, masti-e paimana8 liye
hamd9-e baari10 ko uThe dast-e dua11 aaKhir-e shab

4. dimming 5. fulfils promise 6. promise of faith/love 7. touch 8. flask 9. praise/prayer 10. god 11. hands raised or folded in prayer

Stars have been trying to get the attention of the moon all night long.  Now, near dawn, they are beginning to dim.  They are disappointed and with a sigh they say, “Who is true to any pledge of faith, late into the night?”.  There is added pathos in this when put in the backdrop of the realization that his friend will not be back, will not “keep faith” now.  His hands sill carry memories of the beloved’s touch and a lingering sweet intoxication as he raises them in prayer (maybe at the loss of his friend).  The parallelism with the 5th she’r in Makhdoom’s ghazal is beautiful.  In Makhdoom’s she’r, noting that the mosque and the church are closed, prayerful hands reach for the flask.  In Faiz’s she’r, hands still carry the sense of touch of the beloved and remember handling wine.  In this state (of intoxication/elation) they are raised in prayer/praising the almighty.  Seeming contradiction, neatly juxtaposed.

ghar jo veeraaN12 tha sar-e shaam13 vo kaise kaise
furqat-e yaar14 ne aabad15 kiya aaKhir-e shab
jis ada16 se koi aata tha kabhi avval-e shab17
usi andaaz18 se chal baad-e saba19 aaKhir-e shab

12. desolate 13. start of the evening 14. separation from the beloved 15. inhabit, prosper 16. style 17. beginning of night 18. style 19. morning breeze

The home/heart has been desolate/empty from early evening because there is no sign of the beloved.  The thing that populates/fills the emptiness is the “absence of the beloved” – as if this absence has a palpable personality and arrives to fill the emptiness.  Realizing that the only thing that fills the heart is “emptiness” the poet expresses a plaintive wish, “the rare flair with which she’d  arrive, early of an evening, O breeze of morning blow in that same manner late into the night.

Search Words:  faiz-maKhdoom pairs