dil meN samaa kar chale gaye – jigar muradabadi

For word meanings and explanatory discussion in English click on the “English” or “Notes” tab.
mukesh singing

سما کر چلے گئے ۔ جگر مرادآبادی

۱

آنکھوں میں بس کے دل میں سما کر چلے گئے

خوابیدہ زندگی تھی جگا کر چلے گئے

۲

حسن ازل کی شان دکھا کر چلے گئے

اک واقعہ سا یاد دلا کر چلے گئے

۳

چہرے تک آستین وہ لا کر چلے گئے

کیا راز تھا کہ جس کو چھپا کر چلے گئے

۴

رگ رگ میں اس طرح وہ سما کر چلے گئے

جیسے مجھی کو مجھ سے چرا کر چلے گئے

۵

میری حیاتِ عشق کو دے کر جنونِ شوق

مجھ کو تمام ہوش بنا کر چلے گئے

۶

سمجھا کے پستیاں مرے اوج کمال کی

اپنی بلندیاں وہ دکھا کر چلے گئے

۷

اپنے فروغِ حسن کی دکھلا کے وسعتیں

میرے حدودِ شوق بڑھا کر چلے گئے

۸

ہر شے کو میری خاطرِ ناشاد کے لیے

آئینۂ جمال بنا کر چلے گئے

۹

آئے تھے دل کی پیاس بجھانے کے واسطے

اِک آگ سی وہ اور لگا کر چلے گئے

۱۰

آئے تھے چشمِ شوق کی حسرت نکالنے

سر تا قدم نگاہ بنا کر چلے گئے

۱۱

اب کاروبارِ عشق سے فرصت مجھے کہاں

کونین کا وہ درد بڑھا کر چلے گئے

۱۲

شکرِ کرم کے ساتھ یہ شکوہ بھی ہو قبول

اپنا سا کیوں نہ مجھ کو بنا کر چلے گئے

۱۳

لب تھرتھرا کے رہ گئے لیکن وہ اے جگرؔ

جاتے ہوئے نگاہ ملا کر چلے گئے

समा कर चले गए – जिगर मुरादाबादी

आँखों में बस के दिल में समा कर चले गए

ख़्वाबीदा ज़िंदगी थी जगा कर चले गए

हुस्न-ए-अज़ल की शान दिखा कर चले गए

एक वाक़े’आ सा याद दिला कर चले गए

चेहरे तक आस्तीन वो ला कर चले गए

क्या राज़ था के जिस को छुपा कर चले गए

रग रग में इस तरह वो समा कर चले गए

जैसे मुझी को मुझ से चुरा कर चले गए

मेरी हयात-ए-इश्क़ को दे कर जुनून-ए-शौक़

मुझ को तमाम होश बना कर चले गए

समझा के पस्तियाँ मेरे औज-ए-कमाल की

अपनी बुलंदियाँ वो दिखा कर चले गए

अपने फ़रोग़-ए-हुस्न की दिखला के वुस’अतें

मेरे हुदूद-ए-शौक़ बढ़ा कर चले गए

हर शै को मेरी ख़ातेर-ए-नाशाद के लिए

आईना-ए-जमाल बना कर चले गए

आए थे दिल की प्यास बुझाने के वास्ते

एक आग सी वो और लगा कर चले गए

१०

आए थे चश्म-ए-शौक़ की हस्रत निकालने

सर-ता-क़दम निगाह बना कर चले गए

११

अब कारोबार-ए-इश्क़ से फ़ुर्सत मुझे कहाँ

कौनैन का वो दर्द बढ़ा कर चले गए

१२

शुक्र-ए-करम के साथ ये शिकवा भी हो क़ुबूल

अपना सा क्यूँ न मुझ को बना कर चले गए

१३

लब थरथरा के रह गए लैकिन वो अए जिगर

जाते हुए निगाह मिला कर चले गए

 

Click here for background and on any passage for word meanings and explanatory discussion. jigar muradabadi (1890-1961) has written very musical Ghazal often with sufiyaana implications couched in the language of romance. There are also many instances of rebellion against orthodoxy. Many of his Ghazal have been put to music.
1
aaNkhoN meN bas ke dil meN samaa kar chale gaye
Khwaabida zindagi thi jaga kar chale gaye  
The impression is that the poet/lover has had a brief glimpse/encounter of the beloved. In that brief moment she entered through his eyes, captured his heart and left. His life was sleepy/humdrum until then. She shook/woke him up and left. The beloved could be god … a brief glimpse of the glory/beauty of god and he is forever a devotee.

2
husn-e-azal1 ki shaan dikhaa kar chale gaye
ek vaaq’ea2 sa yaad dilaa kar chale gaye  
1.eternal beauty 2.story, relating an incident
The beloved (or god) displayed the glory of eternal beauty and left. It was such an impressive incident that it left a mark on his memory. He would recall it again and again.

3
chehre tak aastin1 vo laa kar chale gaye
kyaa raaz2 tha ke jis ko chhupa kar chale gaye  
1.sleeve 2.secret
This probably does not have a hidden implication of god as beloved. Brining sleeve to the face is an indication of hiding/wiping tears. There must have been some secret (her own love for him) that she wanted to hide as she left.

4
rag rag meN is tarah vo samaa kar chale gaye
jaise mujhi ko mujh se churaa kar chale gaye  
The beloved penetrated every vein in his body, so much so that he felt that she took it over completely – stole it, and left.

5
meri hayaat-e-ishq1 ko de kar junoon-e-shauq2
mujh ko tamaam3 hosh4 banaa kar chale gaye  
1.life of love 2.passion of desire 3.total, head to foot 4.awareness
She changed his ordinary life of love to an overpowering passion of desire. Thus, he became an embodiment of desire, always aware of it, and of nothing else.

6
samjhaa ke pastiyaaN1 mere auj-e-kamaal2 ki
apni bulandiyaaN3 vo dikhaa kar chale gaye  
1.low points 2.climax of talent/skill 3.heights
The poet/lover had been under the delusion that he had great talent/skill. When she came, her own beauty was such that all his shortcomings/inadequacies showed up. She displayed her own heights and left.

7
apne faroGh-e-husn1 ki dikhlaa ke vus’ateN2
mere hudood-e-shauq3 baRhaa kar chale gaye  
1.brilliance/splendour of beauty 2.expanse 3.limits of desire
Before this encounter, the poet/lover had ordinary desire with reasonable limits. But when she came and displayed the vast brilliance of her beauty, she increased the limits of his desire (it became more intense) and left.

8
har shai1 ko meri Khaatir-e-naashaad2 ke liye
aaiina-e-jamaal3 banaa kar chale gaye  
1.thing 2.unhappy heart 3.mirror of beauty
She turned everything around him into a mirror that reflected her beauty which was a constant reminder of her and left his heart longing for her.

9
aaye the dil ki pyaas bujhaane ke vaaste
ek aag si vo aur lagaa kar chale gaye  
She had come to quench the thirst of his heart. Instead she lit a fire and left.

10
aaye the chashm-e-shauq1 ki hasrat2 nikaalne
sar-taa-qadam3 nigaah4 banaa kar chale gaye  
1.eye of desire 2.longing 3.head to toe 4.sight, eye
She had come to fulfil the longing of his desirous eye. Instead his desire increased so much that he became an embodiment of the ‘desirous eye’ … always wanting to see her and nothing else.

11
ab kaarobaar-e-ishq1 se fursat2 mujhe kahaaN
kaunain3 ka vo dard baRhaa kar chale gaye  
1.affairs of love 2.leisure 3.two worlds, here and hereafter, material and spiritual
Now the poet is totally pre-occupied with the affairs/thoughts of his love of her. He has neglected his material and spiritual needs, hence that pain keeps increasing.

12
shukr-e-karam1 ke saath ye shikva2 bhi ho qubool3
apna sa kyuN na mujh ko banaa kar chale gaye    
1.thanks for benevolence 2.complaint 3.accept
This is probably addressed to god. Along with thanks for your benevolence, accept this complaint too. Why did you not make me like you before you left. “like you”, being “like god” would imply perfection. Hence his complaint, “why did you not make me perfect”?

13
lab thartharaa ke rah gaye lekin vo ai jigar
jaate hue nigaah milaa kar chale gaye  
My lips trembled, but O jigar, she looked me in the eye and left.

jigar muradabadi (1890-1961) has written very musical Ghazal often with sufiyaana implications couched in the language of romance.  There are also many instances of rebellion against orthodoxy.  Many of his Ghazal have been put to music.
1
aaNkhoN meN bas ke dil meN samaa kar chale gaye
Khwaabida zindagi thi jaga kar chale gaye

The impression is that the poet/lover has had a brief glimpse/encounter of the beloved.  In that brief moment she entered through his eyes, captured his heart and left.  His life was sleepy/humdrum until then.  She shook/woke him up and left.  The beloved could be god … a brief glimpse of the glory/beauty of god and he is forever a devotee.
2
husn-e-azal1 ki shaan dikhaa kar chale gaye
ek vaaq’ea2 sa yaad dilaa kar chale gaye

1.eternal beauty 2.story, relating an incident

The beloved (or god) displayed the glory of eternal beauty and left.  It was such an impressive incident that it left a mark on his memory.  He would recall it again and again.
3
chehre tak aastin1 vo laa kar chale gaye
kyaa raaz2 tha ke jis ko chhupa kar chale gaye

1.sleeve 2.secret

This probably does not have a hidden implication of god as beloved.  Brining sleeve to the face is an indication of hiding/wiping tears.  There must have been some secret (her own love for him) that she wanted to hide as she left.
4
rag rag meN is tarah vo samaa kar chale gaye
jaise mujhi ko mujh se churaa kar chale gaye

The beloved penetrated every vein in his body, so much so that he felt that she took it over completely – stole it, and left.
5
meri hayaat-e-ishq1 ko de kar junoon-e-shauq2
mujh ko tamaam3 hosh4 banaa kar chale gaye

1.life of love 2.passion of desire 3.total, head to foot 4.awareness

She changed his ordinary life of love to an overpowering passion of desire.  Thus, he became an embodiment of desire, always aware of it, and of nothing else.
6
samjhaa ke pastiyaaN1 mere auj-e-kamaal2 ki
apni bulandiyaaN3 vo dikhaa kar chale gaye

1.low points 2.climax of talent/skill 3.heights

The poet/lover had been under the delusion that he had great talent/skill.  When she came, her own beauty was such that all his shortcomings/inadequacies showed up.  She displayed her own heights and left.
7
apne faroGh-e-husn1 ki dikhlaa ke vus’ateN2
mere hudood-e-shauq3 baRhaa kar chale gaye

1.brilliance/splendour of beauty 2.expanse 3.limits of desire

Before this encounter, the poet/lover had ordinary desire with reasonable limits.  But when she came and displayed the vast brilliance of her beauty, she increased the limits of his desire (it became more intense) and left.
8
har shai1 ko meri Khaatir-e-naashaad2 ke liye
aaiina-e-jamaal3 banaa kar chale gaye

1.thing 2.unhappy heart 3.mirror of beauty

She turned everything around him into a mirror that reflected her beauty which was a constant reminder of her and left his heart longing for her.
9
aaye the dil ki pyaas bujhaane ke vaaste
ek aag si vo aur lagaa kar chale gaye

She had come to quench the thirst of his heart.  Instead she lit a fire and left.
10
aaye the chashm-e-shauq1 ki hasrat2 nikaalne
sar-taa-qadam3 nigaah4 banaa kar chale gaye

1.eye of desire 2.longing 3.head to toe 4.sight, eye

She had come to fulfil the longing of his desirous eye.  Instead his desire increased so much that he became an embodiment of the ‘desirous eye’ … always wanting to see her and nothing else.
11
ab kaarobaar-e-ishq1 se fursat2 mujhe kahaaN
kaunain3 ka vo dard baRhaa kar chale gaye

1.affairs of love 2.leisure 3.two worlds, here and hereafter, material and spiritual

Now the poet is totally pre-occupied with the affairs/thoughts of his love of her.  He has neglected his material and spiritual needs, hence that pain keeps increasing.
12
shukr-e-karam1 ke saath ye shikva2 bhi ho qubool3
apna sa kyuN na mujh ko banaa kar chale gaye

1.thanks for benevolence 2.complaint 3.accept

This is probably addressed to god.  Along with thanks for your benevolence, accept this complaint too.  Why did you not make me like you before you left.  “like you”, being “like god” would imply perfection.  Hence his complaint, “why did you not make me perfect”?
13
lab thartharaa ke rah gaye laikin vo ai jigar
jaate hue nigaah milaa kar chale gaye

My lips trembled, but O jigar, she looked me in the eye and left.

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