dar mad’h-e zuljanaah – mir anis
1
kya mad’h ho husain ke juNg-o-jadaal ki
tasviir ban gaye the ali ke jalaal ki
vo aauu-jaauu ashhab-e zaiGham siKhaal ki
raunda jo ye paraa to vo saf paa’emaal ki
in ubli aNkhRiyauN ke ishaare Ghazab ke the
chal phir Ghazab ki thi to taraare Ghazab ke the
2
hairat meN yakkah-taaz the sub shaam o rom ke
phirti thi barq gird qadam choom choom ke
sayr iski dekhte the shanaasa nujoom ke
phirta tha is hujoom meN kya jhoom jhoom ke
hairaaN siyaah-gosh to chiite Khamosh the
sherauN meN jaan thi na chikaarauN meN hosh the
3
jam kar idhar uRa, udhar utra vo jaa paRa
nikla idhar safauN se vo palTa ye aa paRa
jab is pe rau meN saaya-e zulf-e do-taa paRa
samjha keh taziaana-e mauj-e hava paRa
tasma har ek jo baag ka tha naag ho gaya
aaNkheN ubal paRiiN ye mizaaj aag ho gaya
4
garma ke sub ragauN meN lahu dauRne laga
fur fur ki donoN natthauN se aan’e lagi sada
uRn’e lag’e zamiin pe jam jam ke dast-o-paa
Ghussa keh mujh tak aa ke kidhar rah gaii hava
nazdiik tha ke phaand ke nadi ke paar ho
rok’e vahi husain sa jo shahsavaar ho
5
aahu ki aaNkh, sher ki chitvan, Ghazab ki chaal
vo yaal thi ke hoor ne bikhraa diye the baal
gardan ke Kham ko dekh ke ho sar-niguN hilaal
poochhe koii savaar se shaa’estagi ka haal
uR kar zamiN talak kahiN gard-e qadam ga’ii
jab bas kaha, chamakti hui barq tham ga’ii
6
Khush-Khuu o Khush-Kharaam o Khush-andaam o Khush-lagaam
Khush-ruu o Khush-jamaal o ada-fahm o tez-gaam
jaaNdaar o shooKh-chashm o sa’iid o Khujista-gaam
gul-posh o tez-hosh o saman-gosh o surKh-faam
Ghaali tha, sarfaraaz tha, ‘aali damaaGh tha
goya hava ki dosh pe ek zinda baaGh tha
7
chaalaakiyaaN bhi, Ghaiz bhi, Ghurbat bhi, juNg bhi
baala-ravi buraaq ki, duldul ka DhaNg bhi
bur meN asad bhi, bahr-e veGha meN nihaNg bhi
ghoRa bhi, sher-e nar bhi, hiran bhi, palaNg bhi
hai aag ka mizaaj to sur’at hava ki hai
azdaad itne jam’a haiN, qudrat Khuda ki hai
8
vo saaz aur vo ziin-e murassa ki zeb-o-zayn
uss meN hava meN arz-o-samaa ka tha farq-e ayn
kalGhi se sar ki saaf ayaaN furr-e furqedayn
siine meN dil qavi keh haiN pusht par husain
da’ava ke maiN buraaq ki taufiiq paa’e huN
naaz is pe hai ke baar-e imaamat uThaa’e huN

mir babar ali aniis (1803-1874) faizabad to lukhau.  Fourth generation of highly recognized poets.  He is best known for marsia.  His language, imagery and emotional composition have had a wide influence on poets.  He learnt and practiced martial arts/swordsmanship.  naasiKh was asked to be his ustaad, but soon decided that aniis did not need any.  aniis was also known for his dramatic recitation of marsia.  His contemporary dabiir had a different style, and their followers had a bit of a rivalry, but the two poets had a good relationship.  His non-marsia Ghazal (not so numerous) is also elegant, but not as well known because of the overwhelming popularity of his marsia which greatly influenced non-muslim poets also.
1
kya mad’h ho husain ke juNg-o-jadaal ki
tasviir ban gaye the ali ke jalaal ki
vo aauu-jaauu ashhab-e zaiGham-siKhaal ki
raunda jo ye paraa to vo saf paa’emaal ki
in ubli aNkhRiyauN ke ishaare Ghazab ke the
chal phir Ghazab ki thi to taraare Ghazab ke the

How can there be (enough) praise for the (skills of) war and battle of husain?
(For) he had become the very picture of the majesty of ali.
That back-and-forth movement of the white horse with the nature of a lion,
It ground this wing (of the army) into the dust, and trampled that row (of enemy lines).
The gestures of those bulging eyes were full of wrath,
If its movement was wondrous, its leaps were magnificent.

aniis begins by connecting husain’s battle tactics to the legendary courage of his father, ali ibn-e abu-taalib. zuljanaah is introduced not just as a mount, but as a lion-like white horse that mirrors this divine fury. The stanza highlights the terrifying precision of the horse on the battlefield; with a single charge, it completely tramples and obliterates the enemy lines. Even its physical expressions – its bulging, intense eyes and its fierce, rhythmic leaps – strike absolute terror into the hearts of the opposition.
2
hairat meN yakkah-taaz the sub shaam o rom ke
phirti thi barq gird qadam choom choom ke
sayr iski dekhte the shanaasa nujoom ke
phirta tha is hujoom meN kya jhoom jhoom ke
hairaaN siyaah-gosh to chiite Khamosh th’e
sherauN meN jaan thi na chikaarauN meN hosh th’e

astonished were all the champion warriors of Syria and Rome,
Lightning circled (its hooves), kissing its feet repeatedly.
Star-gazers (astrologers) were watching (to predict) its movement,
How grandly it swayed and turned within this crowd!
Lynxes were amazed and cheetahs silenced (by his flexibility and speed),
Lions were left stunned/lifeless, deer lost their senses.

The reference to Syria is because yaziid was based there and Rome probably is used to mean Constantinople/Turkiye which was under arab rule by that time and may have contributed their forces.  yakka-taaz are champion warriors famous for their one-on-one battle victories.  This  illustrates the universal awe inspired by zuljanah, stretching from the veteran warriors of Syria and Rome to the animals known for their speed, ferocity and flexibility. The horse moves with such supernatural speed that lightning itself seems to circle and kiss its hooves, and even the astrologers who used the knowledge to predict are left mesmerized by its unpredictable movements. aniis notes that nature’s fiercest predators – the lynx, the cheetah, and the lion—are left utterly silenced, paralyzed, and stripped of their senses in the presence of this magnificent creature.
3
jam kar idhar uRa, udhar utra vo jaa paRa
nikla idhar safauN se vo palTa ye aa paRa
jab is pe rau meN saaya-e zulf-e do-taa paRa
samjha keh taziaana-e mauj-e hava paRa
tasma har ek jo baag ka tha naag ho gaya
aaNkheN ubal paRiiN ye mizaaj aag ho gaya

Firmly planting its feet here, it flew landed way over there,
It emerged from the rows here, turned around, and fell upon them there.
When the shadow of (husain‘s) double braided-curved locks fell upon it,
It thought that a whip was waving in the wind urging speed.
Every strap of the reins became like a serpent,
Its eyes bulged out, and its temperament turned into pure fire.

Here, aniis captures the profoundly unpredictable movements of the horse as it catches the enemy completely by surprise (just like the astrologers in the previous stanza), seamlessly weaving through their ranks in the blink of an eye. The tactical chaos it inflicts gives way to a beautiful moment of internal intensity: as husain’s long, braided locks cast a shifting shadow over the horse, zuljanaah mistakes it for a whip waving in the wind, urging him to unleash even greater speed. Instantly, the horse’s reins twist like striking serpents in the rush of air, its eyes flash, and its temperament turns into pure, uncalculable fire.
4
garma ke sub ragauN meN lahu dauRne laga
fur fur ki donoN natthauN se aan’e lagi sada
uRn’e lag’e zamiin pe jam jam ke dast-o-paa
Ghussa keh mujh tak aa ke kidhar rah ga’ii hava
nazdiik tha ke phaand ke nadi ke paar ho
rok’e vahi husain sa jo shahsavaar ho

Becoming heated, the blood began to race through all his veins,
A loud sound of snorting issued from both his nostrils.
Pounding the earth firmly, its fore and hind legs spring and air carries him aloft,
Angry, that the wind, lags behind somewhere even as
he gets ready to leap across the river to safety,
[But] only a grand rider like husain could restrain it.

The physical manifestation of zuljanaah’s rage and determination to protect his rider peaks in this stanza, with blood pumping furiously through its veins and its nostrils snorting with immense power. As its hooves stamp the ground, ready to take flight, as the wind carries him and rider aloft, the horse is getting ready to leap across the river.  He feels angry that the wind is too slow and lags behind even as he is on the verge of making a massive leap that would carry it completely across the furaat, and the poet notes that only a rider as flawlessly skilled and divinely composed as husain could possibly restrain such monumental energy.
5
aahu ki aaNkh, sher ki chitvan, Ghazab ki chaal
vo yaal thi ke hoor ne bikhraa diye the baal
gardan ke Kham ko dekh ke ho sar-niguN hilaal
poochhe koii savaar se shaa’estagi ka haal
uR kar zamiN talak kahiN gard-e qadam ga’ii
jab bas kaha, chamakti hui barq tham ga’ii

The eye of a deer, the expression/glance of a lion, and a wondrous gait,
Its mane was such as if a houri of paradise had spread her hair.
Seeing the curve of its neck, the crescent moon would bow its head.
Only the rider can appreciate the true state of its elegance—
[Only] after flying high did the dust of its hooves finally touch the ground somewhere far,
The moment (husain) said “enough!,” the flashing lightning came to a halt.

aniis pivots to a detailed appreciation of the horse’s physical perfection. zuljanaah possesses the beautiful/large eye of a deer, the fierce gaze of a lion, and a majestic gait, while its beautiful mane is compared to the flowing hair of a heavenly hoor (houri). Its arched neck is so perfectly curved that it puts the crescent moon to shame. The dust kicked up by the hooves flies high and lands somewhere far away.  Yet, despite this wild, untamed beauty and power, its absolute discipline is highlighted: the moment husain utters the word “stop,” the flashing lightning of the hooves halts instantly.
6
Khush-Khuu o Khush-Kharaam o Khush-andaam o Khush-lagaam
Khush-ruu o Khush-jamaal o ada-fahm o tez-gaam
jaaNdaar o shooKh-chashm o sa’iid o Khujista-gaam
gul-posh o tez-hosh o saman-gosh o surKh-faam
Ghaali tha, sarfaraaz tha, ‘aali damaaGh tha
goya hava ki dosh pe ek zinda baaGh tha

Sweet-tempered, elegant in stride, beautiful in physique, and responsive to the reins,
Beautiful-faced, full of dignity, understanding of gestures, and swift-paced.
Spirited, bright-eyed, auspicious, and of a blessed presence,
Flower-adorned, sharp-witted, jasmine-eared, and red-tinted.
It was dominant, exalted, and proud of intellect,
As if upon the shoulder of the wind, it was a living garden.

This stanza is a rhythmic, breathless praise of zuljanaah’s noble traits, using a string of compound faarsi adjectives. The horse is described as sweet-tempered, elegant in stride, beautiful, responsive to commands, intelligent, and blessed with auspicious footsteps. With its rosy-spotted coat, sharp intellect, and proud disposition, zuljanaah is dominant and victorious.  aniis summarizes that watching zuljanaah fly swiftly through the air is like looking at a living, growing garden floating on the shoulders of the wind.  I am puzzled by what this imagery implies but here is a speculative picture.  zuljanaah flies through the air splattering the blood of the slain enemy creating the impression of a floating bed or roses. The image of an exalted warrior is compatible with Ghaali and sarfaraaz of the previous misra.
 7
chaalaakiyaaN bhi, Ghaiz bhi, Ghurbat bhi, juNg bhi
baala-ravi buraaq ki, duldul ka DhaNg bhi
bur meN asad bhi, bahr-e veGha meN nihaNg bhi
ghoRa bhi, sher-e nar bhi, hiran bhi, palaNg bhi
hai aag ka mizaaj to sur’at hava ki hai
azdaad itne jam’a haiN, qudrat Khuda ki hai

Tricky cleverness, and rage, and meekness/loyalty, and the spirit of war.
The flying stride of buraaq, and the manner of duldul too.
On land a lion, and in the ocean of battle a wily crocodile.
A horse, a fearless lion, a deer, and a leopard too.
If its temperament is of fire, then its speed is of the wind.
So many opposites are gathered in it; it is the miraculous power of god.

aniis marvels at how zuljanaah beautifully embodies opposing characteristics, calling it a miracle of god’s creation. The horse combines extreme agility and fierce rage with absolute humility and loyalty. It possesses the heavenly stride of buraaq (mohammed‘s celestial mount) and the legendary grace of duldul (ali’s horse). It behaves like a fierce lion on land, a wily crocodile in the sea of battle, and a swift deer all at once. It is a perfect paradox of fiery temperament and the speed of the wind.
8
vo saaz aur vo ziin-e murassa ki zeb-o-zayn
uss meN hava meN arz-o-samaa ka tha farq-e ayn
kalGhi se sar ki saaf ayaaN furr-e furqedayn
siine meN dil qavi keh haiN pusht par husain
da’ava ke maiN buraaq ki taufiiq paa’e huN
naaz is pe hai ke baar-e imaamat uThaa’e huN

That armor and the beauty and adornment of that jewel-studded saddle!
The distinction between it and air is like the illusion of sight between earth and sky at the horizon.
From the crest of its head, the brilliance of the brightest twin stars, clearly manifest.
In its chest is a fearless heart, for he carries husain upon its back.
Its claim is: “I have obtained the divine capability of buraaq,”
And its pride is in this: “I am carrying the sacred weight of the imaamat.”

This stanza starts with the horse’s regal armor and its jewel studded saddle. Adorned in a jewel-encrusted saddle (like shining stars), the horse leaps so high into the air that the distinction between it and air/sky disappears just like that between earth at the horizon.  In this, I am interpreting farq-e ayn to mean the difference (created by) of the eye – meaning, an illusion.  And the eyes on the sides of the crest on its head shine like the brightest twin stars in the heavens. With a strong, fearless heart beating in its chest; zuljanaah‘s courage/fearlessness lies in the immense responsibility/love of the safety of his rider. The horse proudly claims that while it has the spiritual capability of the celestial buraaq, its ultimate honor is bearing the heavy, sacred weight/responsibility of the imaamat – a playful expression of carrying the imaam vs the imaamat.

Praise of Horse – Shakespeare

Antony and Cleopatra, Act I, Scene v

Antony is out somewhere and Cleopatra is pining for him.  She is talking to her maid and speculates that he may be riding his horse, and the horse is so lucky as to bear the weight of such a great man.   For a direct comparison see the last she’r in Anis’ selection.

O happy horse, to bear the weight of Antony!
Do bravely, horse! for wot’st thou whom thou movest?
The demi-Atlas of this earth, the arm
And burgonet of men.

Henry V, Act III, Scene vii

Somewhere in France, the party of Dauphin, Duke and attendants has been riding all night long.  The Dauphin is praising his horse.  In aniis’ selection aniis is praising, zuljanaah (husain’s horse in the battle of karbala).  The analogies and metaphors are uncannily similar.

Dauphin:  What a long night is this! I will not change my horse with any that treads but on four pasterns. Ca, ha! he bounds from the earth, as if his entrails were hairs; le cheval volant, the Pegasus, chez les narines de feu!  When I bestride him, I soar, I am a hawk: he trots the air; the earth sings when he touches it; the basest horn of his hoof is more musical than the pipe of Hermes.

Duke of Orleans:  He’s of the colour of the nutmeg.

Dauphin:  And of the heat of the ginger. It is a beast for Perseus: he is pure air and fire; and the dull elements of earth and water never appear in him, but only in Patient stillness while his rider mounts him: he is indeed a horse; and all other jades you may call beasts.

Constable of France:  Indeed, my lord, it is a most absolute and excellent horse.

Dauphin:  It is the prince of palfreys; his neigh is like the
bidding of a monarch and his countenance enforces homage.

Duke of Orleans:  No more, cousin.

Dauphin:  Nay, the man hath no wit that cannot, from the rising of the lark to the lodging of the lamb, vary deserved praise on my palfrey: it is a theme as fluent as the sea: turn the sands into eloquent tongues, and my horse is argument for them all: ’tis a subject for a sovereign to reason on, and for a sovereign’s sovereign to ride on; and for the world, familiar to us and unknown to lay apart their particular functions and wonder at him. I once writ a sonnet in his praise and began thus:
‘Wonder of nature,’—