duniya mere aage – raina’s Ghalib

jagjit singh singing

دنیا مرے آگے –مرزا غالب

۱

بازیچۂ اطفال ہے دنیا مرے آگے
ہوتا ہے شب و روز تماشا مرے آگے

۲

اک کھیل ہے اورنگِ سلیماں مرے نزدیک
اک بات ہے اعجازِ مسیحا مرے آگے

۳

جز نام نہیں صورتِ عالم مجھے منظور
جز وہم نہیں ہستیِ اشیا مرے آگے

۴

ہوتا ہے نہاں گرد میں صحرا مرے ہوتے
گھستا ہے جبیں خاک پہ دریا مرے آگے

۵

مت پوچھ کہ کیا حال ہے میرا ترے پیچھے
تو دیکھ کہ کیا رنگ ہے تیرا مرے آگے

۶

سچ کہتے ہو خود بین و خود آرا ہوں نہ کیوں ہوں
بیٹھا ہے بتِ آئنہ سیما مرے آگے

۷

پھر دیکھیے اندازِ گل افشانیِ گفتار
رکھ دے کوئی پیمانۂ صہبا مرے آگے

۸

نفرت کا گماں گزرے ہے میں رشک سے گزرا
کیونکر کہوں لو نام نہ ان کا مرے آگے

۹

ایماں مجھے روکے ہے جو کھینچے ہے مجھے کفر
کعبہ مرے پیچھے ہے کلیسا مرے آگے

۱۰

عاشق ہں پہ معشوق فریبی ہے مرا کام
مجنوں کو برا کہتی ہے لیلیٰ مرے آگے

۱۱

خوش ہوتے ہیں پر وصل میں یوں مر نہیں جاتے
آئی شبِ حجراں کی تمنّا مرے آگے

۱۲

ہے موج زن اک قلزمِ خوں کاش یہی ہو
آتا ہے ابھی دیکھیے کیا کیا مرے آگے

۱۳

گو ہاتھ کو جنبش نہیں آنکھوں میں تو دم ہے
رہنے دو ابھی ساغر و مینا مرے آگے

۱۴

ہم پیشہ و ہم مشرب و ہم راز ہے میرا
غالب کو برا کیوں کہو اچّھا مرے آگے

दुनिया मेरे आगे – मिर्ज़ा ग़ालिब

1

बाज़ीचा-ए अत्फ़ाल है दुनिया मेरे आगे
होता है शब-ओ-रोज़ तमाशा मेरे आगे

2

इक खेल है औरंग-ए सुलैमां मेरे नज़दीक
इक बात है एजाज़-ए मसीहा मेरे आगे

3

जुज़ नाम नहीं सूरत-ए आलम मुझे मनज़ूर
जुज़ वहम नहीं हसती-ए अशया मेरे आगे

4

होता है निहां गरद में सहरा मेरे होते
घिसता है जबीं ख़ाक पे दरया मेरे आगे

5

मत पूछ के कया हाल है मेरा तेरे पीछे
तू देख के कया रंग है तेरा मेरे आगे

6

सच कहते हो ख़ुद-बीन-ओ-ख़ुद-आरा हूं न कयूं हूं
बैठा है बुत-ए आइना-सीमा मेरे आगे

7

फिर देखिये अनदाज़-ए गुल-अफ़शानी-ए गुफ़तार
रख दे कोई पैमाना-ए सहबा मेरे आगे

8

नफ़रत का गुमां गुज़रे है मैं रशक से गुज़रा
कयूंकर कहूं लो नाम न उन का मेरे आगे

9

ईमां मुझे रोके है जो खेंचे है मुझे कुफ़्र
काबा मेरे पीछे है कलीसा मेरे आगे

10

आशिक़ हुं प माशूक़-फ़रेबी है मेरा काम
मजनूं को बुरा कहती है लैला मेरे आगे

11

ख़ुश होते हैं पर वसल में यूं मर नहीं जाते
आई शब-ए हिजरां की तमनना मेरे आगे

12

है मौज-ज़न इक क़ुलज़ुम-ए ख़ूं काश यही हो
आता है अभी देखिये कया कया मेरे आगे

13

गो हाथ को जुंबिश नहीं आंखों में तो दम है
रहने दो अभी साग़र-ओ-मीना मेरे आगे

14

हम-पेशा-ओ-हम-मशरब-ओ-हम-राज़ है मेरा
ग़ालिब को बुरा कयूं कहो अच्छा मेरे आगे

duniya mere aage – mirza Ghalib

Click on any she’r for meanings and discussion.

1
baaziicha1-e-atfaal2 hai duniya mere aage
hotaa hai shab-o-roz3 tamaashaa4 mere aage
1.play, game 2.infants, children 3.night and day 4.show
Ghalib had a strong streak of Sufi tasavvuf – mysticism in him. This Ghazal should be interpreted from a Sufi mystic point of view (among other possibilities). The world is a pretense, a play of make belief (like children). Reality is something else.

2
ik khel hai aurang-e-sulaimaaN1 mere nazdiik
ik baat2 hai ejaaz-e-masiihaa3 mere aage
1.Solomon’s throne 2.talk, mere talk, fable 3.miracles of Jesus
Solomon had domain over all creation. Jesus raised the dead to life. But even these are nothing but mere play or “talk” to the mystic.

3
juz1 naam2 nahiiN soorat-e-aalam3 mujhe manzoor4
juz vahm5 nahiiN hastii-e-ashyaa6 mere aage
1.except for 2.name, superficiality 3.appearance of the world 4.acceptable 5.illusion 6.existence of matter
Sufi tasavvuf shares the concept of vahdat-ul-vujood with advaita philosophy. What we see is mere reflection of the many aspects of reality. Reality is vahdat – one-ness, unity of creator and creation. I do not accept that the world is real. It is only a name given to our perceptions. All matter is illusory.

4
hotaa hai nihaaN1 gard2 meN sehraa3 mere hote4
ghistaa5 hai jabiiN6 Khaak7 pe daryaa8 mere aage
1.hidden 2.dust/sand 3.desert 4.when I am around 5.rubs 6.forehead 7.dust/sand 8.sea, ocean
“darya and sehra” are important elements earth/clay and water in the tradition of creation. This basic element too disappears in the dust before me – the “me” here is the sufi mystic – the higher human. Water too pays homage to me.

5
mat poochh1 ke kyaa haal2 hai meraa tere piichhe3
tuu dekh4 ke kyaa raNg5 hai teraa mere aage
1.don’t ask 2.condition 3.behind you, when you are not around, when I am separated from you 4.look/consider 5.colour/condition
A common interpretation is that the poet/lover is complaining about the behaviour of the beloved. My condition is so bad when I am away from you, don’t even ask about it. Just consider what your condition/mood is when I am around – you are so angry/cruel that no wonder my condition is bad. You don’t have to ask – it is self-evident. But consider the mystical possibility that the “beloved” is god and the poet/lover is complaining about god.

6
sach kahte ho Khud-biin1-o-Khud-aaraa2 huN na kyuN hooN3
baiThaa hai but4-e aaiinah-siimaa5 mere aage
1.self regarding 2.self adorning 3.why should I not be, why is surprising 4.idol/beloved 5.silvery mirror
Again, the conventional interpretation is that the beloved (idol) is beautiful with a clear forehead like a mirror (as sign of beauty in poetic convention). You are right, I am self regarding and self absorbed and why not. I sit before an idol who is beautiful and radiant like a polished mirror. But then, god is beautiful and looking at god is like looking into a mirror – re-inforcing the Sufi/advaita concept of unity of creator and creation.

7
phir1 dekhiye andaaz2-e gul-afshaanii3-e guftaar4
rakh de koii paimaanah5-e sahbaa6 mere aage
1.then and only then 2.style 3.rose (petal) scattering 4.speech, poetry 5.flask
Recall that each she’r in a Ghazal can be independent in theme. This is an oft quoted she’r and surely Ghalib is showering much deserved praise on his own poetry. Then and only then can you see/hear the rose-petal scattering style of my speech/poetry – when someone places a flask of wine before me.

8
nafrat1 kaa gumaaN2 guzre3 hai maiN rashk4 se guzraa
kyuNkar5 kahooN lo naam na un kaa mere aage
1.hatred 2.suspicion 3.passes, happens 4.envy 5.how
When they mention her name before me, I get so envious/jealous that people suspect/are mistaken that it is hatred. How can I ask them not to mention her name before me! But this is a rather simplistic explanation. For a rich combination of possible interpretations see http://www.columbia.edu/itc/mealac/pritchett/00ghalib/208/208_08.html

9
iimaaN1 mujhe roke hai jo khaiNche2 hai mujhe kufr3
ka’bah4 mere piichhe hai kaliisaa5 mere aage
1.faith, virtue 2.pull, tempt 3.forbidden pleasures 4.Kaaba, used metaphorically for faith 5.church, used metaphorically for unfaith
Faith stops him, temptation pulls him. A classic struggle, leaving us to imagine what the consequences are. But is Ghalib declaring that he is torn and confused between the two or is he saying that they are both available to me and I choose one sometimes and the other at other times – both are equal/acceptable.

10
aashiq1 huN pah mashuuq-farebii2 hai miraa kaam
majnuuN ko buraa kahtii hai lailaa mere aage3 
1.lover 2.deceiving the beloved 3.before me, compared to me
Ghalib is turning tables on the traditional lover-beloved roles. Here the lover is an expert at deceiving the beloved and has her believing that he is an exemplary lover, deeply in love with her. Seeing this even Laila is jealous and upbraids Majnun comparing him to the poet/lover.

11
Khush hote haiN par vasl1 meN yuuN2 mar nahiiN jaate
aaii shab-e hijraaN3 ki tamannaa4 mere aage
1.union (with the beloved) 2.like this 3.night(s) of separation (from the beloved) 4.desire, longing
The desire/longing during nights of separation is that the lover would die of joy upon union with the beloved. Union comes about and the lover dies of joy. The poet/lover admonishes himself saying – look it is OK to be happy on achieving union, but you should not die like this.

12
hai mauj-zan1 ek qulzum-e-KhooN2, kaash3 yihii ho4
aataa hai abhii dekhiye kyaa kyaa mere aage
1.wave creating 2.ocean of blood 3.I wish 4.this be true
Calamities are coming at me like an ocean of blood. I hope my anticipation/perception is correct. I am ready for more calamities. The tradition is that there is pleasure in suffering because it is a “gift” from the beloved/god.

13
go haath ko junbish1 nahiiN aaNkhoN meN to dam hai
rahne do abhii saaGhar-o-miinaa2 mere aage
1. movement 2.wine and flask
His hands are too weak to move; he is dying. But he can still see and derive pleasure from sight.

14
ham-peshah1-o-ham-mashrab2-o-ham-raaz3 hai meraa
Ghaalib ko buraa kyuuN kaho achchhaa mere aage
1.same profession 2.same thought 3.confidant There are two spots where you can place a comma. If a comma is placed after “kyuN” then, “why do you say bad things about Ghalib, say good things about him in front of me”. If the comma is placed after “kaho” then, “why do you say bad things about Ghalib, and that too before me!”.

duniya mere aage – mirza Ghalib

1
baaziicha1-e-atfaal2 hai duniya mere aage
hotaa hai shab-o-roz3 tamaashaa4 mere aage

1.play, game 2.infants, children 3.night and day 4.show

Ghalib had a strong streak of Sufi tasavvuf – mysticism in him. This Ghazal should be interpreted from a Sufi mystic point of view (among other possibilities). The world is a pretense, a play of make belief (like children). Reality is something else.
2
ik khel hai aurang-e-sulaimaaN1 mere nazdiik
ik baat2 hai ejaaz-e-masiihaa3 mere aage

1.Solomon’s throne 2.talk, mere talk, fable 3.miracles of Jesus

Solomon had domain over all creation. Jesus raised the dead to life. But even these are nothing but mere play or “talk” to the mystic.
3
juz1 naam2 nahiiN soorat-e-aalam3 mujhe manzoor4
juz vahm5 nahiiN hastii-e-ashyaa6 mere aage

1.except for 2.name, superficiality 3.appearance of the world
4.acceptable 5.illusion 6.existence of matter

Sufi tasavvuf shares the concept of vahdat-ul-vujood  with advaita philosophy. What we see is mere reflection of the many aspects of reality. Reality is vahdat – one-ness, unity of creator and creation. I do not accept that the world is real. It is only a name given to our perceptions. All matter is illusory.
4
hotaa hai nihaaN1 gard2 meN sehraa3 mere hote4
ghistaa5 hai jabiiN6 Khaak7 pe daryaa8 mere aage

1.hidden 2.dust/sand 3.desert 4.when I am around 5.rubs
6.forehead 7.dust/sand 8.sea, ocean

“darya and sehra” are important elements earth/clay and water in the tradition of creation. This basic element too disappears in the dust before me – the “me” here is the sufi mystic – the higher human. Water too pays homage to me.
5
mat poochh1 ke kyaa haal2 hai meraa tere piichhe3
tuu dekh4 ke kyaa raNg5 hai teraa mere aage

1.don’t ask 2.condition 3.behind you, when you are not around, when I am separated from you 4.look/consider 5.colour/condition

A common interpretation is that the poet/lover is complaining about the behaviour of the beloved. My condition is so bad when I am away from you, don’t even ask about it. Just consider what your condition/mood is when I am around – you are so angry/cruel that no wonder my condition is bad. You don’t have to ask – it is self-evident. But consider the mystical possibility that the “beloved” is god and the poet/lover is complaining about god.
6
sach kahte ho Khud-biin1-o-Khud-aaraa2 huN na kyuN hooN3
baiThaa hai but4-e aaiinah-siimaa5 mere aage

1.self regarding 2.self adorning 3.why should I not be, why is surprising 4.idol/beloved 5.silvery mirror

Again, the conventional interpretation is that the beloved (idol) is beautiful with a clear forehead like a mirror (as sign of beauty in poetic convention). You are right, I am self regarding and self absorbed and why not. I sit before an idol who is beautiful and radiant like a polished mirror. But then, god is beautiful and looking at god is like looking into a mirror – re-inforcing the Sufi/advaita concept of unity of creator and creation.
7
phir1 dekhiye andaaz2-e gul-afshaanii3-e guftaar4
rakh de koii paimaanah5-e sahbaa6 mere aage

1.then and only then 2.style 3.rose (petal) scattering 4.speech, poetry 5.flask

Recall that each she’r in a Ghazal can be independent in theme. This is an oft quoted she’r and surely Ghalib is showering much deserved praise on his own poetry. Then and only then can you see/hear the rose-petal scattering style of my speech/poetry – when someone places a flask of wine before me.
8
nafrat1 kaa gumaaN2 guzre3 hai maiN rashk4 se guzraa
kyuNkar5 kahooN lo naam na un kaa mere aage

1.hatred 2.suspicion 3.passes, happens 4.envy 5.how

When they mention her name before me, I get so envious/jealous that people suspect/are mistaken that it is hatred. How can I ask them not to mention her name before me!  But this is a rather simplistic explanation. For a rich combination of possible interpretations see http://www.columbia.edu/itc/mealac/pritchett/00ghalib/208/208_08.html
9
iimaaN1 mujhe roke hai jo khaiNche2 hai mujhe kufr3
ka’bah4 mere piichhe hai kaliisaa5 mere aage

1.faith, virtue 2.pull, tempt 3.forbidden pleasures 4.Kaaba, used metaphorically for faith 5.church, used metaphorically for unfaith

Faith stops him, temptation pulls him. A classic struggle, leaving us to imagine what the consequences are. But is Ghalib declaring that he is torn and confused between the two or is he saying that they are both available to me and I choose one sometimes and the other at other times – both are equal/acceptable.
10
aashiq1 huN pah mashuuq-farebii2 hai miraa kaam
majnuuN ko buraa kahtii hai lailaa mere aage3

1.lover 2.deceiving the beloved 3.before me, compared to me

Ghalib is turning tables on the traditional lover-beloved roles. Here the lover is an expert at deceiving the beloved and has her believing that he is an exemplary lover, deeply in love with her. Seeing this even Laila is jealous and upbraids Majnun comparing him to the poet/lover.
11
Khush hote haiN par vasl1 meN yuuN2 mar nahiiN jaate
aaii shab-e hijraaN3 ki tamannaa4 mere aage

1.union (with the beloved) 2.like this 3.night(s) of separation (from the beloved) 4.desire, longing

The desire/longing during nights of separation is that the lover would die of joy upon union with the beloved. Union comes about and the lover dies of joy. The poet/lover admonishes himself saying – look it is OK to be happy on achieving union, but you should not die like this.
12
hai mauj-zan1 ek qulzum-e-KhooN2, kaash3 yihii ho4
aataa hai abhii dekhiye kyaa kyaa mere aage

1.wave creating 2.ocean of blood 3.I wish 4.this be true

Calamities are coming at me like an ocean of blood. I hope my anticipation/perception is correct. I am ready for more calamities. The tradition is that there is pleasure in suffering because it is a “gift” from the beloved/god.
13
go haath ko junbish1 nahiiN aaNkhoN meN to dam hai
rahne do abhii saaGhar-o-miinaa2 mere aage

1. movement 2.wine and flask

His hands are too weak to move; he is dying. But he can still see and derive pleasure from sight.
14
ham-peshah1-o-ham-mashrab2-o-ham-raaz3 hai meraa
Ghaalib ko buraa kyuuN kaho achchhaa mere aage

1.same profession 2.same thought 3.confidant

There are two spots where you can place a comma. If a comma is placed after “kyuN” then, “why do you say bad things about Ghalib, say good things about him in front of me”. If the comma is placed after “kaho” then, “why do you say bad things about Ghalib, and that too before me!”.

duniya mere aage – Raina’s Rendition

1
This puny world performs to me each night, each puny day
A sanctuary where I can see the children at their play
2
Sulaiman’s mighty throne is but a playful thing to me
And Christ enshrined in miracles, a mythical entity
4
The desert crumbles down to dust when I should so decree
And upon the dust the river wide does rub its brow to me
5
Ask not how in loneliness I languish in your love
Rather, see how, in front of me, you undermine the vow
9
Conscience holds me back from sin, Temptation drags me on
The Idols lie in front of me, behind me the holy Dawn
10
A lover, yes, but every Eve lays sieve unto my heart
Devout Laila, in my presence, calls majnun an upstart
11
Indeed the joy of togetherness excites exceptionally
But the death I had wished in separation arrived through ecstasy
12
If only this flood of turbulent tears were to be misery’s end
But, watch out and see the catastrophe that love does sure portend
13
Decrepitude wastes my hands, no doubt, but my eyes do yet defy
Then stay the cup before me still, let me but glut the eye
14
Friend and fellow and confidant, and better than that is he
Then call Ghalib no slandersous names, no, not in front of me

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