niraja giri singing
Recitation
Song
دیوانے کہاں جاتے ۔ حسن چشتی
حدودِ صحنِ گُلشن سے یہ دیوانے کہاں جاتے
اگر جاتے یہ دل والے تو پہچانے کہاں جاتے
ہوا اچھا کہ محفل میں وہ ہم سے دور بیٹھے ہیں
وگرنہ ہم دلِ مضطر کو سمجھانے کہاں جاتے
پرستِش کی تمنّا بُت تراشی پر ہوئی مائل
اگر آزر نہ بنتے ہم تو بُت خانے کہاں جاتے
ہمیں دیکھا سرِ محفل تو نظریں جُھک گئیں اُن کی
نظر ملتی اگر ہم سے تو شرمانے کہاں جاتے
ہمارے دَم سے سارے میکدوں کا ہے بھرم ساقی
نہ ہوتے ہم تو میخانے خدا جانے کہاں جاتے
اگر ہم میکدے میں بادہ و ساغر نہ چھلکاتے
تو پیمانوں کا کیا ہوتا، یہ میخانے کہاں جاتے
خرد والے تو اکثر اپنا گلشن چھوڑ دیتے ہیں
حسنؔ گلشن کے دیوانے ہیں، دیوانے کہاں جاتے
दीवाने कहाँ जाते – हसन चिश्ती
हुदूद-ए सहन-ए गुलशन से ये दीवाने कहाँ जाते
अगर जाते ये दिल वाले तो पहचाने कहाँ जाते
हुआ अच्छा के महफ़िल में वो हम से दूर बैठे थे
वगरना हम दिल-ए मुज़्तर को समझाने कहाँ जाते
परस्तिश की तमन्ना बुत-तराशी पर हुई मा’एल
अगर आज़र न बनते हम तो बुत-ख़ाने कहाँ जाते
हमें देखा सर-ए महफ़िल तो नज़रें झुक गयीं उन की
नज़र मिलती अगर हम से तो शरमाने कहाँ जाते
हमारे दम से सारे मैकदों का है भरम साक़ी
न नोट हम तो मैख़ाने ख़ुदा जाने कहाँ जाते
अगर हम मैकदे में बादा-ओ-साग़र न छलकाते
तो पैमानों का क्या होता, ये मैख़ाने कहाँ जाते
ख़िरद वाले तो अक्सर अपना गुलशन छोड़ देते हैं
हसन गुलशन के दीवाने हैं, दीवाने कहाँ जाते
deevaane kahaaN jaate – hasan chishti
Click here for overall comments and on any she’r for word meanings and discussion. In urdu poetry masjid/kaaba is used as a symbol of orthodoxy and tavern as a symbol of free-thinking. hasan chishti used ‘gulshan’ here as a symbol of gathering place of lovers.
hudood1-e sahn2-e gulshan3 se ye deevaane4 kahaaN jaate
agar jaate ye dil vaale to pahchaane kahaaN jaate1.limits 2.yard, plot, area 3.garden 4.mad/passionate lovers
Where would these passionate lovers go beyond the confines of the garden. If they were to venture out anywhere, no one would recognize them. The world outside the ‘garden’ is not familiar with the behavioural norms of passionate lovers.
hua achha ke mahfil1 meN vo hum se duur baiThe the
vagarna2 hum dil-e muztar3 ko samjhaane kahaaN jaate1.gathering, party 2.othewise 3.restless
It was good that the beloved was far away from the poet/lover in the gathering. Otherwise his heart would have become even more restless, perhaps uncontrollably so and he would not have been able to calm it down. Also see maKhdoom mohiuddin’s “saaz aahista” in which he writes
aur bhi baiThe haiN aye dil zara aahista dhaRak
bazm hai, pahlu ba pahlu hai, kalaam aahista
parastish1 ki tamanna2 but-taraashi3 par hui maa’el4
agar aazar5 na bante hum to but-Khaane6 kahaaN jaate1.worship 2.desire 3.idol carving/sculpting 4.inclined towards 5.father of ibrahim 6.idol houses
ibrahim is credited with teaching the concept of a formless god, forbidding idol worship. His father, aazar, on the other hand continued to sculpt idols even after ibrahim started preaching. The poet/lover is so taken with the beloved that he is inclined towards carving idols to worship her. Thus he has become like aazar. If he had not, then where would idol-houses be?
hameN dekha sar-e-mahfil1 to nazreN jhuk gayiiN un ki
nazar milti agar hum se to sharmaane kahaaN jaate1.head/centre of the gathering/party
The poet/lover runs into the beloved at the centre of the gathering, not in any periphery. She lowers her eyes, otherwise she would have felt so coy and shy that everyone would have seen her flushed face.
hamaare dum1 se saare maikadauN2 ka hai bharam3 saaqi
na hote hum to maiKhaane2 Khuda jaane kahaaN jaate1.strength, courage 2.tavern 3.prestige
Whatever prestige taverns have, it is because of us, O saaqi. If we were not here, where would taverns be?
agar hum maikade1 meN baada2-o-saaGhar3 na chhalkaate4
to paimaanauN5 ka kya hota, ye maiKhaane1 kahaaN jaate1.tavern 2.wine 3.flask 4.spill 5.cups/goblets
The poet continues the theme of the central role of the poet/lover in keeping up the status of the tavern. Thus, if we had not been spilling wine in the tavern, where would it be?
Consider this she’r of qamar jalalavi
na jaane saaGhar-o-meena pe paimaane pe kya guzri
jo hum pii kar chale aaye to maiKhaane pe kya guzri
Khirad1 vaale to aksar2 apna gulshan chhoR dete haiN
hasan3 gulshan ke deevaane haiN, deevaane kahaaN jaate1.knowledge, reason 2.often 3.name and pen-name of the poet
This is a classic tussle between Reason and Faith/Love. People of knowledge/reason often leave their homeland/community. But the poet/lover (hasan) is mad/passionate about his homeland. How can he go anywhere else.
deevaane kahaaN jaate – hasan chishti
In urdu poetry masjid/kaaba is used as a symbol of orthodoxy and tavern as a symbol of free-thinking. hasan chishti used ‘gulshan’ here as a symbol of gathering place of lovers.
hudood1-e sahn2-e gulshan3 se ye deevaane4 kahaaN jaate
agar jaate ye dil vaale to pahchaane kahaaN jaate
1.limits 2.yard, plot, area 3.garden 4.mad/passionate lovers
Where would these passionate lovers go beyond the confines of the garden. If they were to venture out anywhere, no one would recognize them. The world outside the ‘garden’ is not familiar with the behavioural norms of passionate lovers.
hua achha ke mahfil1 meN vo hum se duur baiThe the
vagarna2 hum dil-e muztar3 ko samjhaane kahaaN jaate
1.gathering, party 2.othewise 3.restless
It was good that the beloved was far away from the poet/lover in the gathering. Otherwise his heart would have become even more restless, perhaps uncontrollably so and he would not have been able to calm it down. Also see maKhdoom mohiuddin’s “saaz aahista” in which he writes
aur bhi baiThe haiN aye dil zara aahista dhaRak
bazm hai, pahlu ba pahlu hai, kalaam aahista
parastish1 ki tamanna2 but-taraashi3 par hui maa’el4
agar aazar5 na bante hum to but-Khaane6 kahaaN jaate
1.worship 2.desire 3.idol carving/sculpting 4.inclined towards 5.father of ibrahim 6.idol houses
ibrahim is credited with teaching the concept of a formless god, forbidding idol worship. His father, aazar, on the other hand continued to sculpt idols even after ibrahim started preaching. The poet/lover is so taken with the beloved that he is inclined towards carving idols to worship her. Thus he has become like aazar. If he had not, then where would idol-houses be?
hameN dekha sar-e-mahfil1 to nazreN jhuk gayiiN un ki
nazar milti agar hum se to sharmaane kahaaN jaate
1.head/centre of the gathering/party
The poet/lover runs into the beloved at the centre of the gathering, not in any periphery. She lowers her eyes, otherwise she would have felt so coy and shy that everyone would have seen her flushed face.
hamaare dum1 se saare maikadauN2 ka hai bharam3 saaqi
na hote hum to maiKhaane2 Khuda jaane kahaaN jaate
1.strength, courage 2.tavern 3.prestige
Whatever prestige taverns have, it is because of us, O saaqi. If we were not here, where would taverns be?
agar hum maikade1 meN baada2-o-saaGhar3 na chhalkaate4
to paimaanauN5 ka kya hota, ye maiKhaane1 kahaaN jaate
1.tavern 2.wine 3.flask 4.spill 5.cups/goblets
The poet continues the theme of the central role of the poet/lover in keeping up the status of the tavern. Thus, if we had not been spilling wine in the tavern, where would it be? Consider this she’r of qamar jalalavi
na jaane saaGhar-o-meena pe paimaane pe kya guzri
jo hum pii kar chale aaye to maiKhaane pe kya guzri
Khirad1 vaale to aksar2 apna gulshan chhoR dete haiN
hasan3 gulshan ke deevaane haiN, deevaane kahaaN jaate
1.knowledge, reason 2.often 3.name and pen-name of the poet
This is a classic tussle between Reason and Faith/Love. People of knowledge/reason often leave their homeland/community. But the poet/lover (hasan) is mad/passionate about his homeland. How can he go anywhere else.
