Ghuncha-e tasviir ka-imaam baKhsh naasiKh

For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.

غنچۂ تصویر کا ۔ اِمام بخش ناسخؔ
۱
سایہ گُلبن پر اگر پڑ جائے مجھ دلگیر کا
ہووے ہر غنچہ میں عالم غنچۂ تصویر کا

۲
دوستوں کے سر کئے چُن چُن کے مقتل میں قلم
چشمِ بینا ہے ہر ایک جوہر تیری شمشیر کا
۳
وہ تصوّر پیشہ ہوں گر ہو میری تربت پہ نخل
ہو ورق ہر برگ کی جا یار کی تصویر کا
۴
پیچِ کاکُل میں تو چاہے حسن اٹکے سو بخیر
دل نہیں میرا جو ہو پابند اِس زنجیر کا
۵
لکھتے ہیں مضمونِ سوزِ داغِ دل ہم رات دن
کام کرتا ہے ہمارا خامہ آتشگیر کا
۶
سنگدلوں کو کاملوں کے فیض سے بہرہ نہیں
کب اثر ہوتا ہے مس پر بے گزار اکسیر کا
۷
بن گیا بت جو لگا عشقِ بُتاں میں مجھ کو سنک
نالۂ ناقوس ہر نالہ ہوا زنجیر کا
۸
کیا ہے کبرِ مدعی میری تواضع کے حضور
سرکشی دم میں مٹا دیتا ہے خم شمشیر کا
۹
اے مُصوّر سوزِ غم کی ہے رعایت چاہئیے
خاکِ گلخن سے بِنا کردہ میری تصویر کا
۱۰
کھیلتا ہوں اِس سے مرغانِ معانی کا شکار
کام وقتِ فکر لیتا ہوں قلم سے تیر کا
۱۱
درد سے بے درد کیا واقف کہ ہر صیّاد کو
رقصِ شادی ہے تڑپنا لوٹنا نخچیر کا
۱۲
ہے دلیلِ مرگِ اِنساں واقعی موئے سفید
کوہکن کی موت تھی انجام جوئے شیر کا
۱۳
کس کے عارض کے تصوّر میں فنا ہوں آج رات
ہے دھواں مہتاب میرے نالۂ شبگیر کا
۱۴
بسکہ میرے قتل پر ہر ایک راغب کیا عجب
دام ہے میرے لئے عیسیٰ جو دم شمشیر کا
۱۵
راز ہوں ایسا کسی کو میں نظر آتا نہیں
چاہئیے مانی ورق سادہ میری تصویر کا
۱۶
اس خرابے میں بنایا جس نے گھر دیوانہ ہے
دیکھ ہر دروازے پر ناسخؔ نشاں زنجیر کا

ग़ुंचा-ए तस्वीर का – इमाम बख़्श नासख़

साया गुलबन पर अगर पढ जाए मुझ दिलगीर का
होवे हर ग़ुंचे में आलम ग़ुंचा-ए तस्वीर का

दोस्तौं के सर किये चुन चुन के मक़्तल में क़लम
चश्म-ए बीना है हर एक जौहर तेरी शमशीर का

वो तसव्वुर पेशा हुं गर हो मेरी तुर्बत पे नख़्ल
हो वरक़ हर बर्ग की जा यार की तस्वीर का

पेच-ए काकुल में तो चाहे हुस्न अटके सौ बख़ैर
दिल नहीं मेरा जो हो पाबंद इस ज़ंजीर का

लिखते हैं मज़्मून-ए सोज़-ए दाग़-ए दिल हम रात दिन
काम करता है हमारा ख़ामा आतिश्गीर का

संग-दिलौं को कामलौं के फ़ैज़ से बहरा नहीं
कब असर होता है मस पर बे-गुज़ार एक्सीर का

बन गया बुत जो लगा इश्क़-ए बुतां में मुझ को सन्क
नाला-ए नाक़ूस हर नाला हुआ ज़ंजीर का

क्या है किब्र-ए मुद्द’ई मेरी तवाज़’ओ के हुज़ूर
सरकशी दम में मिटा देता है ख़म शमशीर का

अए मुसव्विर सोज़-ए ग़म की है रे’आएत चाहिये
ख़ाक-ए गुलख़न से बिना-कर्दा मेरी तस्वीर का
१०
खेलता हुं इस से मुर्ग़ान-ए म’आनी का शिकार
काम वक़्त-ए फ़िक्र लेता हुं क़लम से तीर का
११
दर्द से बे-दर्द क्या वाक़फ़ के हर सय्याद को
रक़्स-ए शादी है तढपना लोटना नख़्चीर का
१२
है दलील-ए मर्ग-ए इन्सां वाक़’ई मू-ए सफ़ेद
कोहकन की मौत थी अंजाम जू-ए शीर का
१३
किस के आरज़ के तसव्वुर में फ़ना हुं आज रात
है धुआं महताब मेरे नाला-ए शबगीर का
१४
बस्केह मेरे क़त्ल पर हर एक राग़ब क्या अजब
दाम है मेरे लिये ईसा जो दम शमशीर का
१५
राज़ हूं ऐसा किसी को मैं नज़र आता नहीं
चाहिये मानी वरक़ सादा मेरी तस्वीर का
१६
इस ख़राबे में बनाया जिस ने घर दीवाना है
देख हर दरवाज़े पर नासख़ निशां ज़ंजीर का

 

Click here for background and on any passage for word meanings and explanatory discussion. shaiKh imaam baKhsh naasiKh (1772-1838) faizabad and lakhnau. Educated in arabi and faarsi. Refined linguistic skill, keen poetic sensibility and sound training. Although he had many disciples among the nobility, he refused to be associated with any court and remained of independent thought. Left lakhnau for allahabad because of political bickering. Was highly regarded in dehli circles for his language skills and enjoyed a reputation like that of dard, sauda and mir. A senior contemporary of Ghalib, this Ghazal in the same style as Ghalib’s celebrated Ghazal with which led off every edition of his diivaan, ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’, is linked to ‘Ghalib peshrau ham-asr’ along with several others.
1
saaya gulban1 par agar paR jaaye mujh dilgiir2 ka
hove har Ghunche3 meN aalam4 Ghuncha-e tasviir5 ka   
1.grove of flowers 2.heart-broken, passionate 3.unopened bud 4.condition 5.image, imagination
I would like to interpret ‘tasviir’ as a picture in the poet’s mind’s eye. Also, a ‘Ghuncha’ can be viewed as a full potential of blooming into a flower. If the heart-broken, passionate poet/lover were to cast even his shadow on a grove of flowers, then every bud would acquire a state/condition of a “Ghuncha-e tasviir” – the potential of blooming into a full flower. Could be be talking about his verse – the picture in his mind blooming into a Ghazal. In another Ghazal he writes …
kya mubaarak hai mera dast-e junuuN aye naasiKh
baiza-e buum bhi TooTe to huma paida ho
How fortunate is the hand of your passion, O naasiKh
Even if an owl’s egg cracks at your hands, a Phoenix will emerge

2
dostoN ke sar kiye chun chun ke maqtal1 meN qalam2
chashm-e-biina3 hai har ek jauhar4 teri shamshiir5 ka  
1.field of slaughter 2.cut off 3.seeing/discerning eye 4.jewel, brilliance 5.sword
The shine (or the jewels) of the sword of the beloved has a seeing/discerning eye. It picks out her admirers/lovers one by one in the field of slaughter and cuts their heads off. Of course, the sword can be a side-long glance.

3
vo tasavvur1 pesha2 huN gar ho meri turbat3 pe naKhl4
ho varaq5 har barg6 ki jaa7 yaar8 ki tasviir ka 
1.imagination 2.busy, engaged in 3.grave, tomb 4.tree 5.page, paper 6.leaf 7.place, in place of 8.beloved
I am such an expert in imagining/thinking that if a tree were grow over my tomb, in place of every leaf, would be a paper with the beloved’s picture.

4
pech1-e kaakul2 meN to chaahe husn3 aTke4 so baKhair5
dil nahiN mera jo ho paaband6 is zanjiir7 ka 
1.curl, tangle 2.forehead locks 3.beauty, beloved 4.caught, tangled 5.well and good 6.bound by 7.chain
The beloved wants that as many as possible get entangled in her curly foreocks. But my heart is not the one to get bound in this chain.

5
likhte haiN mazmuun1-e soz2-e daaGh3-e dil ham raat din
kaam karta hai hamaara Khaama4 aatishgiir5 ka  
1.theme, story 2.fire, passion, pain 3.wound 4.pen 5.tongs to hold burning logs, control/conquer fire
We (poets, lovers) write the story of the pain of the wounded heart. It is as if our pen works like tongs holding burning logs.

6
saNg-diloN1 ko kaamiloN2 ke faiz3 se bahra4 nahiN
kab asar5 hota hai mas6 par be-guzaar7 eksiir8 ka   
1.hard hearted – used here to mean uncultured, crude 2.perfect, expert 3.benevolence 4.available, fortune 5.effect 6.touch 7.being together of a long time? 8.elixir, alchemy to make gold, paaras patthar
I am not sure what ‘be-guzaar’ is meant to be used as. Is it a qualifier for eksiir or is it a reflection on the uncultured. And “guzaar/passage” through what. I take it to mean ‘guzaar’ of time together between the ‘kaamil’ and the ‘saNg-dil’. The spirit of the sh’er is clear. The crude and uncultured cannot avail themselves of the kindness/goodness of experts. How can rubbing with elixir have an effect without associating with each other for a long time.

7
ban gaya but1 jo lagaa ishq-e butaaN meN mujh ko san’k2
naala3-e naaqoos4 har naala hua zanjiir5 ka   
1.idol, used here to mean stunned senseless like a statue 2.obsession 3.wailing, cry 4.conch shell, shankh 5.chain
As the poet/lover obsessed in love of beauties, he became stunned like a statue, in a trance. He got caught in chains and each link of the chain reflected his wailing, sounding like a conch shell being blown. There is a juxtaposition of idol and conchshell reflecting hindu traditions.

8
kya hai kibr1-e mudda’ii2 meri tavaz’o3 ke huzoor4
sarkashi5 dam6 meN miTa7 deta hai Kham8 shamshiir9 ka   
1.pride, hubris 2.claimant 3.attention, consideration 4.before, in front of 5.rebelliousness 6.moment 7.erase 8.curve, bend 9.sword
Pride/hubris is associated with holding head up slanted cockily. How can this compare to (stand up before) the poet/lover’s solicitous attention to the beloved. The curve of the sword (much like his bowed back in humility) in one moment can erase rebellious cockiness.

9
aye musavvir1 soz2-e Gham3 ki hai re’aayet4 chaahiye
Khaak5-e gulKhan6 se bina-karda7 meri tasviir ka   
1.painter 2.passion, fire 3.pain 4.consideration 5.ashes 6.dried rose petals, garden trash 7.base on, made of
The painter has sketched out a picture of the poet/lover using ashes of burnt dry rose petals. He is not completely happy with that. He suggests that the picture needs to reflect his passion – needs to use the fire that created ashes, not just the ashes.

10
khelta huN is se murGhaan1-e mu’aani2 ka shikaar3
kaam vaqt-e fikr4 leta huN qalam5 se tiir6 ka 
1.birds 2.meaning 3.hunting 4.thought, imagination 5.pen 6.arrow
The poet is like a hunter shooting birds with arrows. But these are not real birds – they are words loaded with imaginative allegories and he not really ‘hunting’ but is deep in thought. He is using his pen as an arrow.

11
dard1 se be-dard2 kya vaaqif3 keh har sayyaad4 ko
raqs5-e shaadi6 hai taRapna loTna naKhchiir7 ka  
1.pain 2.insensitive to pain 3.aware 4.hunter 5.dance 6.joy 7.prey
The prey rolls on the ground and writhes in pain. This is a dance of joy for the hunter. How can one who is insensitive to pain be aware of/understand the pain of others.

12
hai daliil1-e marg2-e insaaN vaaqa’ii3 muu4-e safed
kohkan5 ki maut thi anjaam6 juu7-e shiir8 ka 
1.proof, evidence 2.death 3.in reality 4.hair 5.stone mason, sculptor 6.result, consequence 7.river, canal 8.milk
This has reference to the story of shirin-farhaad. farhaad was a sculptor commissioned to work in shirin’s palace. The fell in love. shirin’s husband just to get rid of farhaad set him an impossible task, asking him to dig a channel over the mountain and cause a ‘river of milk’ to flow. If he succeeded, he would get to marry shirin. farhaad set about the task with mad passion and almost succeeded. Fearing his success, shirin’s husband spread a rumour that she had killed herself. Hearing this farhaad killed himself with the pickaxe that he was using to carve the mountain. White milk is like grey hair and the appearance of grey hair is evidence of coming death just like the river of milk foretold farhaad’s death.

13
kis ke aariz1 ke tasavvur2 meN fana3 huN aaj raat
hai dhuaaN mahtaab4 mere naala5-e shabgiir6 ka
1.face 2.imagination 3.self-obliteration 4.full moon 5.wail, cry 6.late night
The poet/lover is deep in thought imagining the face/beauty of the beloved. The intensity is such that he goes into a trance, forgetting his own identity – self-obliteration. His heart burns with passion and when he cries late into the night, smoke rises and fogs the moon. The beloved becomes even more hazy in his imagination.

14
baskeh1 mere qatl2 par har ek raaGhib3 kya ajab4
daam5 hai mere liye eesa6, jo dam7 shamsiir8 ka 
1.because 2.killing 3.inclined towards 4.surprising 5.trap, net 6.Jesus 7.breath, sharp/shining edge of the sword 8.sword
There is a nice play of words with opposite meanings. ‘dam’ is breath – the breath of Jesus revived the dead back to life. ‘dam’ is also the sharp edge of a sword, which kills. Everyone is inclined towards, desirous of killing the poet (perhaps out of jealousy). Why should this be surprising (he is a better poet than any of them and/or the beloved has shown him favours). He is calling upon Jesus to save him with his breath because the sharp edge of the sword is a trap for him.

15
raaz1 huN aisa kisi ko maiN nazar2 aata nahiN
chaahiye maani3 varaq4 saada5 meri tasviir ka   
1.mystery 2.visible 3.legendary poet who painted very realistic fine pictures 4.page 5.plain
The poet draws a picture with words. But his meaning remains a mystery to everyone – they cannot see/appreciate it. The page on which he draws a picture remains a blank. He declares that he needs a ‘maani’ – the legendary painter to fill out the sketch.

16
is Kharaabe1 meN banaaya jis ne ghar diivaana hai
dekh har darvaaze par naasiKh2 nishaaN zanjiir ka   
1.ruins 2.pen-name of the poet
The material world is like ruins compared to the beauty of the spiritual world. It is also a trap – like the hindi words ‘maaya moh’ – trap of illusion. Look, every door in this world has a chain (as they used to in those days). This chain is symbolic of the trap that the material word sets for you. Thus whoever builds a house here – invests emotionally in the material world, is a fool.

shaiKh imaam baKhsh naasiKh (1772-1838) faizabad and lakhnau. Educated in arabi and faarsi.  Refined linguistic skill, keen poetic sensibility and sound training.  Although he had many disciples among the nobility, he refused to be associated with any court and remained of independent thought.  Left lakhnau for allahabad because of political bickering.  Was highly regarded in dehli circles for his language skills and enjoyed a reputation like that of dard, sauda and mir.  A senior contemporary of Ghalib, this Ghazal in the same style as Ghalib’s celebrated Ghazal with which led off every edition of his diivaan, ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’, is linked to ‘Ghalib peshrau ham-asr’ along with several others.
1
saaya gulban1 par agar paR jaaye mujh dilgiir2 ka
hove har Ghunche3 meN aalam4 Ghuncha-e tasviir5 ka

1.grove of flowers 2.heart-broken, passionate 3.unopened bud 4.condition 5.image, imagination

I would like to interpret ‘tasviir’ as a picture in the poet’s mind’s eye.  Also, a ‘Ghuncha’ can be viewed as a full potential of blooming into a flower.  If the heart-broken, passionate poet/lover were to cast even his shadow on a grove of flowers, then every bud would acquire a state/condition of a “Ghuncha-e tasviir” – the potential of blooming into a full flower.  Could be be talking about his verse – the picture in his mind blooming into a Ghazal.  In another Ghazal he writes …
kya mubaarak hai mera dast-e junuuN aye naasiKh
baiza-e buum bhi TooTe to huma paida ho
How fortunate is the hand of your passion, O naasiKh
Even if an owl’s egg cracks at your hands, a Phoenix will emerge
2
dostoN ke sar kiye chun chun ke maqtal1 meN qalam2
chashm-e-biina3 hai har ek jauhar4 teri shamshiir5 ka

1.field of slaughter 2.cut off 3.seeing/discerning eye 4.jewel, brilliance 5.sword

The shine (or the jewels) of the sword of the beloved has a seeing/discerning eye.  It picks out her admirers/lovers one by one in the field of slaughter and cuts their heads off.  Of course, the sword can be a side-long glance.
3
vo tasavvur1 pesha2 huN gar ho meri turbat3 pe naKhl4
ho varaq5 har barg6 ki jaa7 yaar8 ki tasviir ka

1.imagination 2.busy, engaged in 3.grave, tomb 4.tree 5.page, paper 6.leaf 7.place, in place of 8.beloved

I am such an expert in imagining/thinking that if a tree were grow over my tomb, in place of every leaf, would be a paper with the beloved’s picture.
4
pech1-e kaakul2 meN to chaahe husn3 aTke4 so baKhair5
dil nahiN mera jo ho paaband6 is zanjiir7 ka

1.curl, tangle 2.forehead locks 3.beauty, beloved 4.caught, tangled 5.well and good 6.bound by 7.chain

The beloved wants that as many as possible get entangled in her curly foreocks.  But my heart is not the one to get bound in this chain.
5
likhte haiN mazmuun1-e soz2-e daaGh3-e dil ham raat din
kaam karta hai hamaara Khaama4 aatishgiir5 ka

1.theme, story 2.fire, passion, pain 3.wound 4.pen 5.tongs to hold burning logs, control/conquer fire

We (poets, lovers) write the story of the pain of the wounded heart.  It is as if our pen works like tongs holding burning logs.
6
saNg-diloN1 ko kaamiloN2 ke faiz3 se bahra4 nahiN
kab asar5 hota hai mas6 par be-guzaar7 eksiir8 ka

1.hard hearted – used here to mean uncultured, crude 2.perfect, expert 3.benevolence 4.available, fortune 5.effect 6.touch 7.being together of a long time? 8.elixir, alchemy to make gold, paaras patthar

I am not sure what ‘be-guzaar’ is meant to be used as.  Is it a qualifier for eksiir or is it a reflection on the uncultured.  And “guzaar/passage” through what.  I take it to mean ‘guzaar’ of time together between the ‘kaamil’ and the ‘saNg-dil’.  The spirit of the sh’er is clear.  The crude and uncultured cannot avail themselves of the kindness/goodness of experts.  How can rubbing with elixir have an effect without associating with each other for a long time.
7
ban gaya but1 jo lagaa ishq-e butaaN meN mujh ko san’k2
naala3-e naaqoos4 har naala hua zanjiir5 ka

1.idol, used here to mean stunned senseless like a statue 2.obsession 3.wailing, cry 4.conch shell, shankh 5.chain

As the poet/lover obsessed in love of beauties, he became stunned like a statue, in a trance.  He got caught in chains and each link of the chain reflected his wailing, sounding like a conch shell being blown.  There is a juxtaposition of idol and conchshell reflecting hindu traditions.
8
kya hai kibr1-e mudda’ii2 meri tavaz’o3 ke huzoor4
sarkashi5 dam6 meN miTa7 deta hai Kham8 shamshiir9 ka

1.pride, hubris 2.claimant 3.attention, consideration 4.before, in front of 5.rebelliousness 6.moment 7.erase 8.curve, bend 9.sword

Pride/hubris is associated with holding head up slanted cockily.  How can this compare to (stand up before) the poet/lover’s solicitous attention to the beloved.  The curve of the sword (much like his bowed back in humility) in one moment can erase rebellious cockiness.
9
aye musavvir1 soz2-e Gham3 ki hai re’aayet4 chaahiye
Khaak5-e gulKhan6 se bina-karda7 meri tasviir ka

1.painter 2.passion, fire 3.pain 4.consideration 5.ashes 6.dried rose petals, garden trash 7.base on, made of

The painter has sketched out a picture of the poet/lover using ashes of burnt dry rose petals.  He is not completely happy with that.  He suggests that the picture needs to reflect his passion – needs to use the fire that created ashes, not just the ashes.
10
khelta huN is se murGhaan1-e mu’aani2 ka shikaar3
kaam vaqt-e fikr4 leta huN qalam5 se tiir6 ka

1.birds 2.meaning 3.hunting 4.thought, imagination 5.pen 6.arrow

The poet is like a hunter shooting birds with arrows.  But these are not real birds – they are words loaded with imaginative allegories and he not really ‘hunting’ but is deep in thought.  He is using his pen as an arrow.
11
dard1 se be-dard2 kya vaaqif3 keh har sayyaad4 ko
raqs5-e shaadi6 hai taRapna loTna naKhchiir7 ka

1.pain 2.insensitive to pain 3.aware 4.hunter 5.dance 6.joy 7.prey

The prey rolls on the ground and writhes in pain.  This is a dance of joy for the hunter.  How can one who is insensitive to pain be aware of/understand the pain of others.
12
hai daliil1-e marg2-e insaaN vaaqa’ii3 muu4-e safed
kohkan5 ki maut thi anjaam6 juu7-e shiir8 ka

1.proof, evidence 2.death 3.in reality 4.hair 5.stone mason, sculptor 6.result, consequence 7.river, canal 8.milk

This has reference to the story of shirin-farhaad.  farhaad was a sculptor commissioned to work in shirin’s palace.  The fell in love.  shirin’s husband just to get rid of farhaad set him an impossible task, asking him to dig a channel over the mountain and cause a ‘river of milk’ to flow.  If he succeeded, he would get to marry shirin.  farhaad set about the task with mad passion and almost succeeded.  Fearing his success, shirin’s husband spread a rumour that she had killed herself.  Hearing this farhaad killed himself with the pickaxe that he was using to carve the mountain.  White milk is like grey hair and the appearance of grey hair is evidence of coming death just like the river of milk foretold farhaad’s death.
13
kis ke aariz1 ke tasavvur2 meN fana3 huN aaj raat
hai dhuaaN mahtaab4 mere naala5-e shabgiir6 ka

1.face 2.imagination 3.self-obliteration 4.full moon 5.wail, cry 6.late night

The poet/lover is deep in thought imagining the face/beauty of the beloved.  The intensity is such that he goes into a trance, forgetting his own identity – self-obliteration.  His heart burns with passion and when he cries late into the night, smoke rises and fogs the moon.  The beloved becomes even more hazy in his imagination.
14
baskeh1 mere qatl2 par har ek raaGhib3 kya ajab4
daam5 hai mere liye eesa6, jo dam7 shamsiir8 ka

1.because 2.killing 3.inclined towards 4.surprising 5.trap, net 6.Jesus 7.breath, sharp/shining edge of the sword 8.sword

There is a nice play of words with opposite meanings.  ‘dam’ is breath – the breath of Jesus revived the dead back to life.  ‘dam’ is also the sharp edge of a sword, which kills.  Everyone is inclined towards, desirous of killing the poet (perhaps out of jealousy).  Why should this be surprising (he is a better poet than any of them and/or the beloved has shown him favours).  He is calling upon Jesus to save him with his breath because the sharp edge of the sword is a trap for him.
15
raaz1 huN aisa kisi ko maiN nazar2 aata nahiN
chaahiye maani3 varaq4 saada5 meri tasviir ka

1.mystery 2.visible 3.legendary poet who painted very realistic fine pictures 4.page 5.plain

The poet draws a picture with words.  But his meaning remains a mystery to everyone – they cannot see/appreciate it.  The page on which he draws a picture remains a blank.  He declares that he needs a ‘maani’ – the legendary painter to fill out the sketch.
16
is Kharaabe1 meN banaaya jis ne ghar diivaana hai
dekh har darvaaze par naasiKh2 nishaaN zanjiir ka

1.ruins 2.pen-name of the poet

The material world is like ruins compared to the beauty of the spiritual world.  It is also a trap – like the hindi words ‘maaya moh’ – trap of illusion.  Look, every door in this world has a chain (as they used to in those days).  This chain is symbolic of the trap that the material word sets for you.  Thus whoever builds a house here – invests emotionally in the material world, is a fool.