Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy.
1
iss baat ki nahiN hai koi inteha¹ na poochh
aye mudd’aa²-e Khalq³ mera mudd’aa⁴ na poochh    1.end, limit 2.claimant, owner 3.universe, creation 4.intent, purpose, goal
The word – mudd’aa – has multiple meanings and it appears to have been used in two different meanings here. If the poet were asked to state what his intent/goal is, then the conversation would never end. This could be either because the poet is confused or more likely he has such grand intent that it cannot be easily described. mudd’aa-e Khalq is one who has claim over creation – god. Thus, he is asking god not to ask him about his goal.
2
kya kah ke phuul banti haiN kaliyaaN gulaab ki
ye raaz¹ mujh se bulbul-e shiiriiN-navaa² na poochh     1.secret 2.sweet voiced
In urdu poetic tradition the bulbul/nightingale and the gul/rose are lovers. The bulbul sings to make the rose happy and bloom. Here, the poet implies that his own song/Ghazal are very effective in making the garden bloom. But that is something that traditionally has to be kept a secret. Thus, O bulbul, do not ask me the secret of the words that make buds bloom into a roses.
3
jitne gadaa¹-navaaz² the kab ke guzar³ chuke
ab kyuuN bichhaa’e⁴ baiThe haiN ham boriya⁵ na poochh    1.beggar 2.to honour/respect 3.passed away 4.spread 5.mat
The traditional picture of a beggar/mendicant is that he spreads a small mat by the side of street and people might stop by to give him something. In this case, all those who repected/were favourable to beggars are now gone. Do not ask why we are still spreading our mat to sit and wait.
4
pesh¹-e nazar² hai past³-o-buland⁴-e rah⁵-e junooN⁶
ham be-KhudoN⁷ se qissa⁸-e arz-o-sama⁹ na poochh    1.before, in front of 2.eyes 3.lows 4.highs 5.path 6.passion, madness 7.intoxicated, in a trance, unaware of surroundings 8.story 9.earth and sky
‘qissa-e arz-o-sama’ is the story of all that goes on under the sky, on the earth i.e., that which is going on in the world. The poet/lover is obsessed with his junoon/passion. His path is that of his junoon and he is focussed on the ups and downs i.e., difficulties of this path. He is in a trance, obsessed with the object of his ishq. Thus, do not ask me about what is going on in the world.
5
sumbul¹ se vaasta² na chaman se munaasibat³
uss zulf⁴-e mushk-baar⁵ ka haal⁶ aye saba⁷ na poochh   1.fragrant grass 2.connection 3.comparison 4.hair 5.bearing the fragrance of musk 6.condition, description 7.morning breeze
The morning breeze blows and brings fragrance from the garden – the fragrance of sumbul, rose, jasmine and others. Thus, the morning breeze is familiar with these descriptions. It is asking the poet/lover to give to it a description of the beloved’s hair. He is helpless in explaining/describing it. There is no connection with sumbul, no comparison with the fragrances of the garden … O, breeze do not ask me to describe and the beloved’s hair bearing the fragrance of musk.
6
sad¹ mahfil²-e nashaat³ hai ek sh’er-e dil-nashiiN⁴
iss barbat⁵-e suKhan⁶ meN hai kis ki sadaa⁷ na poochh     1.hundred 2.gathering 3.pleasure, merriment 4.making a home in the heart, pleasing 5.musical instrument, lute 6.verse, shaa’eri 7.sound, voice
The mahfil-e nishaat is a gathering where the poet is reciting his verse and creating joy/pleasure for everyone. Each one of his ash’aar is creating a hundred pleasures. Whose voice is behind the music of this verse, do not ask. The implication can be that it is the voice of god … inspiration that is behind his she’r.
7
kar rahm¹ meray jeb² o garebaaN³ pe ham-nafas⁴
chalti hai kuu⁵-e yaar⁶ meN kyuNkar havaa⁷ na poochh   1.pity, sympathy 2.pocket but also collar 3.collar 4.friend 5.street 6.beloved 7.desire, love, lust
Traditionally, when the lover gets distraught he tears his collar and goes around like a madman. If his friend asks him why there is a prevalence of love/desire/lust in the street of the beloved, then the lover will be reminded of his own situation and will tear his collar. Thus, have pity on my collar, do not ask me about the affairs of the street of the beloved.
8
rahta nahiN hai dahr¹ meN jab koi aasra²
us vaqt aadmi pe guzarti³ hai kya na poochh    1.world 2.support 3.happens, transpires
When there is no help/support forthcoming in the world, what transpires on the helpless, do not ask. In the context of other ash’aar about injustice in the world, the implication is expressing his frustration that there is no divine help either.
9
har saaNs meN hai chashma-e-haivaan¹ o salsabiil²
phir bhi maiN tishna-kaam³ huN ye maajra⁴ na poochh   1.spring of the water of life 2.name of a river in heaven 3.thirsty 4.condition, situation
It is believed that somewhere unknown there is a spring of water a drink of which gives immortality. Here, the poet is using it to mean ‘life-giving’. Similarly, he is using ‘salsabiil’ to mean blessing. Thus, every breath is a life-giving blessing. Why am I still thirsty for more, do not ask. Either he is expressing dissatisfaction with life, or expressing an insatiable desire for more.
10
banda¹ teray vajood² ka munkir³ nahiN magar⁴
duniya ne kya diye haiN sabaq⁵ aye Khuda na poochh   1.servant, devotee 2.existence 3.denier 4.but 5.lessons
This devotee does not deny your existence O god, but what lessons I have learnt from this world, do not ask. The implication is that the injustice, cruelty and oppression that he sees in the world have taught him lessons … doubting the existence of god.
11
kyuN josh¹ raaz²-e dost³ ki karta hai justuju⁴
kah do koi keh shaah⁵ ka haal⁶ aye gada⁷ na poochh     1.pen-name of the poet 2.secret, mystery 3.friend, god 4.search 5.emperor 6.condition 7.mendicant, beggar
‘dost’ is often used to mean god. Thus, ‘josh’ the poet is in search of understanding, unraveling the mysteries of god. This is akin to the beggar asking about the condition of the king. Do not ask such impertinent questions, says the poet.