For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
دستِ تُند خو کیا ہے ۔ جمنا پرشاد راہیؔ
۱
نشانِ حسرت و حرماں ہوں جستجو کیا ہے
کوئی اُمید نہیں ہے تو آرزو کیا ہے
۲
ہمارے عجز کا داماں رفو رفو کیا ہے
طریقِ جامہ دری دستِ تُند خو کیا ہے
۳
کِھلے ہیں جیب و گریباں کی دھجّیوں میں گلاب
برائے چاک ہمیں حاجتِ رفو کیا ہے
۴
اب آستیں سے پکارے کہ نوکِ خنجر سے
اثر گزار نہیں ہے تو پھر لہو کیا ہے
۵
یہ لوگ بھی کبھی دستار سر پہ رکھتے تھے
اُجڑ گئی ہے جو دِلّی تو آبرو کیا ہے
۶
ہمارے دم سے ترے آستاں کی ہے شہرت
اگر نہ تشنہ لبی ہو تو آب جو کیا ہے
۷
کسی فقیر سے ایسے کلام کرتے ہیں
امیرِ شہر ترا طرزِ گفتگو کیا ہے
۸
ہے تار تار یہ کس کج کلاہ کا دامن
یہ زار زار سی توقیر کُو بہ کُو کیا ہے
۹
ہم اپنے کرب کی لذّت دوبالا چاہتے ہیں
وگرنہ حسرتِ پیمانہ و سُبُو کیا ہے
۱۰
خجل نہ ہو بتِ کافر سے گالیاں کھا کر
لگا ہے داؤ پہ ایماں تو آبرو کیا ہے
۱۱
وہ لب خموش نگاہیں جھکائے بیٹھے ہیں
نہیں ہے عرضِ تمنّا تو آرزو کیا ہے
दस्त-ए तुन्द-ख़ू क्या है – जमना प्रसाद राही
१
निशान-ए हस्रत ओ हिर्मां हूं जुस्तजू क्या है
कोई उमीद नहीं है तो आर्ज़ू क्या है
२
हमारे इज्ज़ का दामां रफ़ू रफ़ू क्या है
तरीक़-ए जामा-दरी दस्त-ए तुन्द-ख़ू क्या है
३
खिले हैं जेब ओ गरेबां कि धज्जियौं में गुलाब
ब-रा-ए चाक हमें हाजत-ए रफ़ू क्या है
४
अब आस्तीं से पुकारे के नोक-ए ख़ंजर से
असर गुज़ार नहीं है तो फिर लहू क्या है
५
ये लोग भी कभी दस्तार सर पे रखते थे
उजढ गई है जो दिल्ली तो आब्रू क्या है
६
हमारे दम से तेरे आस्तां कि है शोहरत
अगर न तिश्ना-लबी हो तो आब-जू क्या है
७
किसी फ़क़ीर से ऐसे कलाम करते हैं
अमीर-ए शहर तेरा तर्ज़-ए गुफ़्तगू क्या है
८
है तार तार ये किस कज कुलाह का दामन
ये ज़ार ज़ार सी तौक़ीर कू-ब-कू क्या है
९
हम अपने कर्ब की लज़्ज़त दुबाला चाहते हैं
वगरना हस्रत-ए पैमाना ओ सुबू क्या है
१०
ख़जिल न हो बुत-ए काफ़िर से गालियां खा कर
लगा है दाऊ पे ईमां तो आब्रू क्या है
११
वो लब-ख़मोश निगाहें झुका के बैठे हैं
नहीं है उर्ज़-ए तमन्ना तो आर्ज़ू क्या है
Click here for background and on any passage for word meanings and explanatory discussion. jamna parshad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi, though not a shaagird of Ghalib, was deeply influenced by him. He has a 200+ page book of Ghazal composed in the style of Ghalib called, ‘baazgasht-e Ghalib’. This Ghazal is in the style of Ghalib’s “tumhi kaho keh ye andaaz-e guftagu kya hai” and is linked to an appropriate icon under ‘Ghalib naqsh-e qadam’.
1
nishaan1-e hasrat2 o hirmaaN3 huN justaju4 kya hai
koi ummiid5 nahiN hai to aarzu6 kya hai 1.picture, embodiment 2.grief 3.disappointment, hopelessness 4.search, seeking 5.hope 6.desire
The poet/lover/seeker has been searching for something and is deeply disappointed. He is the picture of grief and hopelessness. He poses the question, ‘if there is no hope, what is it that you want’. It almost sounds like he is implying, ‘you must have some lingering hope, otherwise you would have given it up or even killed yourself’. On top of it, he does not say what the original search was … looking for the beloved to reciprocate, looking for a connection with the divine, or something else.
2
hamaare ijz1 ka daamaaN2 rafu-rafu3 kya hai
tariiq4-e jaama-dari5 dast6-e tund-Khu7 kya hai 1.powerlessness, humility 2.hem of the robe 3.mend/darn many times 4.ways, habits 5.tearing clothes 6.hand 7.angry natured
The hem of the robe being torn is a sign of distress. The poet/lover is helpless and keeps mending the robe of his helplessness again and again. But the ways/habits of of the hand that tears are the result of its angry nature. The implication is that he keeps mending the tear and the angry hand keeps shredding the hem of his robe. Whose hand is it … the beloved, fate, of society in general. We are left to pick.
3
khile1 haiN jeb2 o garebaaN3 ki dhajjiyoN4 meN gulaab5
ba-raa6-e chaak7 hameN haajit8-e rafu9 kya hai 1.blossomed 2.shirt front 3.collar 4.shreds 5.roses 6.for the purpose of 7.tear 8.need 9.mending
A torn shirt and collar is a standard sign of distress of a mad, passionate lover like majnuN. On top of that he beats his chest in madness creating bleeding wounds which are likened to red roses. Thus, the poet claims that there are roses among the shreds of his shirt front and collar. Why do I need to mend the tear in my collar, he asks. Blooming roses are a mark of distinction and he wants to keep things that way.
4
ab aastiiN1 se pukaare keh nok2-e Khanjar3 se
asar-guzaar4 nahiN hai to phir lahu5 kya hai 1.sleeve 2.point 3.dagger 4.effective 5.blood
Blood of the slain victim stains the sleeve of the killer and the point of the dagger. This serves as evidence. Says amir minaaii …
jo chup rahegi zabaan-e Khanjar, lahu pukaarega aastiN ka
or in the words of faiz ahmed faiz …
na dast-o-naaKhun-e qaatil, na aastiiN pe nishaaN
Here the poet/lover expects his blood to have an effect, perhaps make the beloved think kindly of him. Thus, of what use is it, if the blood cries out (bears witness) from the sleeve or from the point of the dagger. What kind of blood is it, that does not have an effect (on the beloved). Says Ghalib …
jab aaNkh hi se na Tapke to phir lahu kya hai
5
ye log bhi kabhi dastaar1 sar pe rakhte the
ujaR2 gaii hai jo dilli3 to aabru4 kya hai 1.aristocratic ceremonial headgear 2.destroyed, decayed 3.dehli 4.respect, dignity
I am not sure who he means by “ye log” – the old aristocracy of dehli? If so, why is heart bleeding for them at this point of history. Why is he hankering for feudal times. These people, at one time, used to wear a dastaar. Now that dehli is destroyed and decayed, they have lost their dignity. The best possible interpretation I can put on it is that he is reacting to the treatment of muslims and saying that just because they have lost their headgear, they should not be forced to lose their dignity.
6
hamaare dam1 se tere aastaaN2 ki hai shohrat3
agar na tishna-labi4 ho to aab-juu5 kya hai 1.power 2.threshold 3.fame, reputation 4.thirsty lips 5.river
The poet/lover claims credit for the whole class of lovers. It is their power of love that sustains the reputation of the beloved’s threshold, just like a river is in demand only because of thirsty lips. This could also apply to the concept of god. It is only because of humans are thirsty for some form of belief that there is respect for the ‘threshold of god’.
7
kisi faqiir1 se aise kalaam2 karte haiN
amiir3-e shahr4 tera tarz5-e guftagu6 kya hai 1.mendicant, wandering holy man 2.talk to, address 3.leader 4.town 5.way of 6.conversation
The poet is admonishing the powerful. Is this the way to talk to the deprived? O, leader, what kind of a way of conversation is this.
8
hai taar-taar1 ye kis kaj-kulaah2 ka daaman3
ye zaar-zaar4 si tauqiir5 kuu-ba-kuu6 kya hai 1.threads, shreds 2.slanted cap, rebel 3.hem of the robe 4.lamentation 5.reverence, praises 6.street by street
‘daaman taar taar karna – to shred the hem of the robe’ is a sign of extreme distress. ‘kaj kulaahi – wearing the cap at a slanted angle’ is sign of defiance. Thus, the lover is defiant, rebellious and at the same time distressed with his clothes torn to shreds, like majnuN. There appear to be many lovers like this in many streets, they sing praises of the beloved and at the same time lament her lack of attention to them. The poet observes all this and wonders what is going on.
9
ham apne karb1 ki lazzat2 dubaala3 chaahte haiN
vagarna4 hasrat5-e paimaana6 o suboo7 kya hai 1.grief, anguish 2.pleasure 3.double 4.otherwise 5.longing 6.cup 7.flask
Grief of love is considered a mark of honour and the distressed lover derives pleasure from it. He wants the pleasure to be doubled, otherwise why would he long for cup and flask (of wine) i.e., being intoxicated doubles the pleasure of grief.
10
Khajil1 na ho but-e-kaafir2 se gaaliyaaN kha kar
laga hai daau3 pe iimaaN4 to aabru5 kya hai 1.shamed, insulted 2.belief stealing idol/beloved 3.wager, gamble 4.faith 5.respect
While ‘but-e-kaafir’ can be interpreted literally to mean ‘the non-believing idol’ it is best to intepret it as ‘that beloved which makes you lose your faith’ i.e., you start worshipping the beloved rather than god. The beloved has been heaping abuses at the poet/lover. He says (to himself) do not be insulted by her abuse, after all you have wagered your faith, why worry about your respect/reputation.
11
vo lab-Khamosh1 nigaaheN2 jhuka3 ke baiThe haiN
nahiN hai arz4-e tamanna5 to aarzu6 kya hai 1.silent lips 2.eyes 3.lowered 4.petition, appeal 5.longing 6.desire, need
Who is the ‘vo’. It cannot really be the beloved, because it is very unlike the beloved to sit silently with lowered eyes. It has be the collection of lovers, all of whom are dejected and sitting silently (in her lane) with lowered eyes. They do not openly express their longing, but what is this (posture) if it is not their desire i.e., why do they need to speak.
jamna parshad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi, though not a shaagird of Ghalib, was deeply influenced by him. He has a 200+ page book of Ghazal composed in the style of Ghalib called, ‘baazgasht-e Ghalib’. This Ghazal is in the style of Ghalib’s “tumhi kaho keh ye andaaz-e guftagu kya hai” and is linked to an appropriate icon under ‘Ghalib naqsh-e qadam’.
1
nishaan1-e hasrat2 o hirmaaN3 huN justaju4 kya hai
koi ummiid5 nahiN hai to aarzu6 kya hai
1.picture, embodiment 2.grief 3.disappointment, hopelessness 4.search, seeking 5.hope 6.desire
The poet/lover/seeker has been searching for something and is deeply disappointed. He is the picture of grief and hopelessness. He poses the question, ‘if there is no hope, what is it that you want’. It almost sounds like he is implying, ‘you must have some lingering hope, otherwise you would have given it up or even killed yourself’. On top of it, he does not say what the original search was … looking for the beloved to reciprocate, looking for a connection with the divine, or something else.
2
hamaare ijz1 ka daamaaN2 rafu-rafu3 kya hai
tariiq4-e jaama-dari5 dast6-e tund-Khu7 kya hai
1.powerlessness, humility 2.hem of the robe 3.mend/darn many times 4.ways, habits 5.tearing clothes 6.hand 7.angry natured
The hem of the robe being torn is a sign of distress. The poet/lover is helpless and keeps mending the robe of his helplessness again and again. But the ways/habits of of the hand that tears are the result of its angry nature. The implication is that he keeps mending the tear and the angry hand keeps shredding the hem of his robe. Whose hand is it … the beloved, fate, of society in general. We are left to pick.
3
khile1 haiN jeb2 o garebaaN3 ki dhajjiyoN4 meN gulaab5
ba-raa6-e chaak7 hameN haajit8-e rafu9 kya hai
1.blossomed 2.shirt front 3.collar 4.shreds 5.roses 6.for the purpose of 7.tear 8.need 9.mending
A torn shirt and collar is a standard sign of distress of a mad, passionate lover like majnuN. On top of that he beats his chest in madness creating bleeding wounds which are likened to red roses. Thus, the poet claims that there are roses among the shreds of his shirt front and collar. Why do I need to mend the tear in my collar, he asks. Blooming roses are a mark of distinction and he wants to keep things that way.
4
ab aastiiN1 se pukaare keh nok2-e Khanjar3 se
asar-guzaar4 nahiN hai to phir lahu5 kya hai
1.sleeve 2.point 3.dagger 4.effective 5.blood
Blood of the slain victim stains the sleeve of the killer and the point of the dagger. This serves as evidence. Says amir minaaii …
jo chup rahegi zabaan-e Khanjar, lahu pukaarega aastiN ka
or in the words of faiz ahmed faiz …
na dast-o-naaKhun-e qaatil, na aastiiN pe nishaaN
Here the poet/lover expects his blood to have an effect, perhaps make the beloved think kindly of him. Thus, of what use is it, if the blood cries out (bears witness) from the sleeve or from the point of the dagger. What kind of blood is it, that does not have an effect (on the beloved). Says Ghalib …
jab aaNkh hi se na Tapke to phir lahu kya hai
5
ye log bhi kabhi dastaar1 sar pe rakhte the
ujaR2 gaii hai jo dilli3 to aabru4 kya hai
1.aristocratic ceremonial headgear 2.destroyed, decayed 3.dehli 4.respect, dignity
I am not sure who he means by “ye log” – the old aristocracy of dehli? If so, why is heart bleeding for them at this point of history. Why is he hankering for feudal times. These people, at one time, used to wear a dastaar. Now that dehli is destroyed and decayed, they have lost their dignity. The best possible interpretation I can put on it is that he is reacting to the treatment of muslims and saying that just because they have lost their headgear, they should not be forced to lose their dignity.
6
hamaare dam1 se tere aastaaN2 ki hai shohrat3
agar na tishna-labi4 ho to aab-juu5 kya hai
1.power 2.threshold 3.fame, reputation 4.thirsty lips 5.river
The poet/lover claims credit for the whole class of lovers. It is their power of love that sustains the reputation of the beloved’s threshold, just like a river is in demand only because of thirsty lips. This could also apply to the concept of god. It is only because of humans are thirsty for some form of belief that there is respect for the ‘threshold of god’.
7
kisi faqiir1 se aise kalaam2 karte haiN
amiir3-e shahr4 tera tarz5-e guftagu6 kya hai
1.mendicant, wandering holy man 2.talk to, address 3.leader 4.town 5.way of 6.conversation
The poet is admonishing the powerful. Is this the way to talk to the deprived? O, leader, what kind of a way of conversation is this.
8
hai taar-taar1 ye kis kaj-kulaah2 ka daaman3
ye zaar-zaar4 si tauqiir5 kuu-ba-kuu6 kya hai
1.threads, shreds 2.slanted cap, rebel 3.hem of the robe 4.lamentation 5.reverence, praises 6.street by street
‘daaman taar taar karna – to shred the hem of the robe’ is a sign of extreme distress. ‘kaj kulaahi – wearing the cap at a slanted angle’ is sign of defiance. Thus, the lover is defiant, rebellious and at the same time distressed with his clothes torn to shreds, like majnuN. There appear to be many lovers like this in many streets, they sing praises of the beloved and at the same time lament her lack of attention to them. The poet observes all this and wonders what is going on.
9
ham apne karb1 ki lazzat2 dubaala3 chaahte haiN
vagarna4 hasrat5-e paimaana6 o suboo7 kya hai
1.grief, anguish 2.pleasure 3.double 4.otherwise 5.longing 6.cup 7.flask
Grief of love is considered a mark of honour and the distressed lover derives pleasure from it. He wants the pleasure to be doubled, otherwise why would he long for cup and flask (of wine) i.e., being intoxicated doubles the pleasure of grief.
10
Khajil1 na ho but-e-kaafir2 se gaaliyaaN kha kar
laga hai daau3 pe iimaaN4 to aabru5 kya hai
1.shamed, insulted 2.belief stealing idol/beloved 3.wager, gamble 4.faith 5.respect
While ‘but-e-kaafir’ can be interpreted literally to mean ‘the non-believing idol’ it is best to intepret it as ‘that beloved which makes you lose your faith’ i.e., you start worshipping the beloved rather than god. The beloved has been heaping abuses at the poet/lover. He says (to himself) do not be insulted by her abuse, after all you have wagered your faith, why worry about your respect/reputation.
11
vo lab-Khamosh1 nigaaheN2 jhuka3 ke baiThe haiN
nahiN hai arz4-e tamanna5 to aarzu6 kya hai
1.silent lips 2.eyes 3.lowered 4.petition, appeal 5.longing 6.desire, need
Who is the ‘vo’. It cannot really be the beloved, because it is very unlike the beloved to sit silently with lowered eyes. It has be the collection of lovers, all of whom are dejected and sitting silently (in her lane) with lowered eyes. They do not openly express their longing, but what is this (posture) if it is not their desire i.e., why do they need to speak.
