haqiiqat ka gumaaN kab tak – krishan gopal maGhmoom
1
yeh be-maa’ni rahega qissa-e amn-e jahaaN kab tak
jahaaN vaal’e na samjh’eNge mohabbat ki zabaaN kab tak
2
rah’eNge vaqt ke sayyaad ab resha-davaaN kab tak
bahaaroN par rahega saaya-e fasl-e KhizaaN kab tak
3
hameN to apni himmat se sar-e manzil pahuNchna hai
uReNg’e raah meN ban kar Ghubaar-e kaarvaaN kab tak
4
kamandeN Daal kar hum ek na ek din jaa hi pahuNcheNge
rahegi duur apni dastaras se kahkashaaN kab tak
5
unheN raas aa’egi kab vus’at-e viiraana-o-sahra
bahaareN muskura’eNgi ba-qaid-e gulsitaaN kab tak
6
na’ii mahfil, na’e saaGhar, naya saaqi, na’e maikash
uThaa’eN ab ter’e ehsaan aye piir-e muGhaaN kab tak
7
hameN tahziib-e haazir ke takalluf par ta’assuf hai
kareN Khaali tasann’o par haqiiqat ka gumaaN kab tak
8
chaman ke aashiyaane yuN hi bant’e haiN ujaRt’e haiN
chaman vaalo diloN meN Khadsha-e barq-e tapaaN kab tak
9
mayassar hogi naGhmoN ko mer’e kab rooh-e bedaari
rahuuNga yuN hi maiN maGhmoom sargarm-e fuGhaaN kab tak

krishn gopal baava maGhmum (1916-1987+), aTak district (now in pakistan).  His father was a scholar of urdu and faarsi and grandfather (tulsidas) was also an urdu shaa’er.  His mother died when he was only 4.  Ill-treatment by his stepmother drove him to depression and even attempted suicide.  To cope he secluded himself and read a lot.  All the books at home including religious texts were in urdu.  He read up all of them and learnt to write too.  Interest in shaa’eri started from childhood.  In college he was class fellow of jagan nath azad and through him became a disciple of tilok chand mahroom and later of bishweshwar prashad munavvar lakhnavi.  Completed his BA and after various minor jobs got an appointment in a clerical position in the government of punjab.  He continued his education and passed Public Service Commission exams.  Worked for the government of panjab and later haryana, retiring in 1974.  There are at least 10 collections of his shaa’eri including Ghazal, rubaaii and nazm.
1
yeh be-maa’ni rahega qissa-e amn-e jahaaN kab tak
jahaaN vaal’e na samjh’eNge mohabbat ki zabaaN kab tak

This she’r questions how long global discourses on peace will remain empty rhetoric. True harmony is impossible as long as humanity refuses to understand and embrace the universal language of love. This could well have been written in the backdrop of communal riots during and after independence.
2
rah’eNge vaqt ke sayyaad ab resha-davaaN kab tak
bahaaroN par rahega saaya-e fasl-e KhizaaN kab tak

The poet asks how long this oppression will last; asking how long the predatory forces of the era (hunters of the present times – vaqt ke sayyaad) will continue their scheming/machinations (resha-davaanii – spreading fibres/net) and keep the metaphorical spring of human potential shrouded in autumn’s gloom (saaya-e fasl-e KhizaaN).  I think that this resha-davaanii is suggestive of conspiracies to spread communal riots.
3
hameN to apni himmat se sar-e manzil pahuNchna hai
uReNg’e raah meN ban kar Ghubaar-e kaarvaaN kab tak

Asserting self-reliance, this verse declares that true progress requires individual resolve to reach the destination (perhaps independence or the promised post-independence prosperity). One cannot merely exist as passive dust drifting aimlessly behind the rest of the caravan.
4
kamandeN Daal kar hum ek na ek din jaa hi pahuNcheNge
rahegi duur apni dastras se kahkashaaN kab tak

A powerful expression of human ambition and reach, the poet argues that through effort and determination (casting lassos), humanity will inevitably scale the highest peaks—the galaxy (kahkashaaN) itself cannot remain beyond our grasp (dastras) forever.
5
unheN raas aa’egi kab vus’at-e viiraana-o-sahra
bahaareN muskura’eNgi ba-qaid-e gulsitaaN kab tak

unheN in the first misra refers to the bahaareN of the second misra.  Thus, when will the expanse of the wilderness and the desert (vus’at-e viiraana-o-sahra) become compatible/agreeabe to the spring – bahaareN.  How long can the spring smile, confined by the garden.  This couplet highlights the restriction of confinement versus the freedom of vast expanses. It questions how long vibrant forces (spring) can endure being imprisoned within structured, artificial boundaries (the garden) instead of roaming the free wilderness.
6
na’ii mahfil, na’e saaGhar, naya saaqi, na’e maikash
uThaa’eN ab ter’e ehsaan aye piir-e muGhaaN kab tak

Representing a desire for total renewal, the poet observes a completely transformed gathering (mahfil), cups, cup-bearer and patrons with fresh perspectives. In this new era, there is no longer a need to remain indebted to old traditions or ancient mentors symbolized by piir-e mughaaN the head tavern keeper.  Could the mahfil be the homeland and the old piir-e muGhaaN the senior, out of touch leadership?
7
hameN tahziib-e haazir ke takalluf par ta’assuf hai
kareN Khaali tasann’o par haqiiqat ka gumaaN kab tak

A critique of modernity, this verse expresses profound regret (ta’assuf) over the superficial etiquette (takalluf) of contemporary culture tahziib-e haazir. The poet laments how society mistakes mere pretense and artificiality (tasann’o) for genuine truth.
8
chaman ke aashiyaane yuN hi bant’e haiN ujaRt’e haiN
chaman vaalo diloN meN Khadsha-e barq-e tapaaN kab tak

Addressing the inhabitants of the homeland or world, the poet notes that material structures aashiyaane will always be built and destroyed. Therefore, it is futile to live in perpetual, paralyzing fear (Khadsha) of impending disasters (the flashing lightning – barq-e tapaaN).
9
mayassar hogi naGhmoN ko mer’e kab rooh-e bedaari
rahuuNga yuN hi maiN maGhmoom sargarm-e fuGhaaN kab tak

In the concluding signature verse (maqta), maghmoom asks when his poetic expressions – naGhme – will finally awaken a deeper consciousness (rooh-e bedaari) in his audience, wondering how long he must remain consumed/engaged in (sargram) by lonely, sorrowful lamentation (fuGhaaN).  There is a good double use of his taKhallus where maGhmoom also means sorrowful.