jafa mere b’aad-amir minaaii

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

جفا میرے بعد ۔ امیرؔ مینائی

۱

کون اُٹھائے گا تمہاری یہ جفا میرے بعد

یاد آئے گی بہت میری وفا میرے بعد

۲

ہوں وہ نالاں کہ ہے اتنے لئے مرنے کی خوشی

چین سے سوئےگی سب خلقِ خدا میرے بعد

۳

جتنا جی چاہے بَلاؤں میں پھنسا لو مجھ کو

کوئی پاؤگے نہ مُشتاقِ بلا میرے بعد

۴

ہے وصیّت میری مرقد پہ یہ لکھ دیں احباب

کہ کرے کوئی کسی سے نہ وفا میرے بعد

۵

شکر ہے کچھ تو محبّت میں ہوا رنگِ اثر

تین دِن اُس نے لگائی نہ حِنا میرے بعد

۶

کون ماتم میں ہے یوں دل کا جلانے والا

گُل ہوئی شمعِ مزارِ شہدا میرے بعد

۷

ضعف میں ہے تنِ مجنوں بھی مہِ نو لیکن

ہے وہ عالم میں تو انگُشت نما میرے بعد

۸

مر گیا ہوں میں صنم تیری فراموشی پر

یاد کرنا نہ مجھے بہرِ خدا میرے بعد

۹

تھا وہ بُلبُل کہ جگر میں مرے کانٹا کھٹکا

چمنِ حسن میں جو پھول کھلا میرے بعد

۱۰

خوں میرا کرکے بہت ہاتھ ملے قاتل نے

نہ جما پر نہ جما رنگِ حِنا میرے بعد

۱۱

تھی مرے دم سے فقط اُس کے ستم کی تیزی

نہ رہے جوہرِ شمشیرِ جفا میرے بعد

۱۲

میرے مرتے ہی ملا خاک میں یہ اوجِ جنوں

دشت میں کوئی بگولا نہ اُٹھا میرے بعد

۱۳

نگہِ ناز سے مارا نہ کسی کو اُس نے

یار سے کھنچ نہ سکی تیغِ ادا میرے بعد

۱۴

خوش خطوں نے نہ کسی کو بھی کیا زیر و زبر

یک قلم چھوٹ گئی مشقِ جفا میرے بعد

۱۵

زینتِ محفلِ اربابِ سخن تھا میں امیرؔ

نہ رہی رونقِ بزمِ شعرا میرے بعد

जफ़ा मेरे बाद – अमीर मीनाई

कौन उठायेगा तुम्हारी ये जफ़ा मेरे बाद

याद आयेगी बहुत मेरी वफ़ा मेरे बाद

हूं वो नालां के है इतने लिये मरने की ख़ुशी

चैन से सोयेगी सब ख़ल्क़-ए ख़ुदा मेरे बाद

जितना जी चाहे बलाऔं में फंसा लो मुझ को

कोई पाओगे न मुश्ताक़-ए बला मेरे बाद

है वसिय्यत मेरी मर्क़द पे ये लिख दें अहबाब

के करे कोई किसी से न वफ़ा मेरे बाद

शुक्र है कुछ तो मोहब्बत में हुआ रंग-ए असर

तीन दिन उस ने लगाई न हिना मेरे बाद

कौन मातम में है यूं दिल का जलाने वाला

गुल हुई शम’अ मज़ार-ए शोहदा मेरे बाद

ज़ो’फ़ में है तन-ए मज्नूं भी मह-ए नौ लैकिन

है वो आलम में तो अंगुश्त-नुमा मेरे बाद

मर गया हूं मैं सनम तेरी फ़रामोशी पर

याद करना न मुझे बहर-ए ख़ुदा मेरे बाद

था वो बुल्बुल के जिगर में मेरे कांटा खटका

चमन-ए हुस्न में जो फूल खिला मेरे बाद

१०

ख़ूं मेरा कर के बहुत हाथ मले क़ातिल ने

न जमा, पर न जमा, रंग-ए हिना मेरे बाद

११

थी मेरे दम से फ़क़त उस के सितम की तेज़ी

न रहे जौहर-ए शम्शीर-ए जफ़ा मेरे बाद

१२

मेरे मरते हि मिला ख़ाक में ये औज-ए जुनूं

दश्त में कोई बगूला न उठा मेरे बाद

१३

निगह-ए नाज़ से मारा न किसी को उस ने

यार से खिंच न सकी तेग़-ए अदा मेरे बाद

१४

ख़ुश ख़तौं ने न किसी को भी किया ज़ेर ओ ज़बर

यक क़लम छूट गई मश्क़-ए जफ़ा मेरे बाद

१५

ज़ीनत-ए महफ़िल-ए अर्बाब-ए सुख़न था मैं अमीर

न रही रौनक़-ए बज़्म-ए शो’अरा मेरे बाद

 

Click here for background and on any passage for word meanings and explanatory discussion. amir ahmed amir minaaii (1829-1900) was contemporary of daaGh dehlavi and much like him received patronage in rampur and later in hyderabad, where he died and is buried. Both he and daaGh composed several Ghazal in the zamin of Ghalib. Both were young and emerging poets during the later years of Ghalib’s life. Both write primarily in the classical style about classical themes of love.
1
kaun uThaayega tumhaari ye jafa1 mere b’aad
yaad aayegi bahut meri vafa2 mere b’aad  
1.cruelty 2.fidelity, faithful in love
Who will bear/accept your cruelties after me. You will remember my faithfulness in love after I am gone (because there will not be anyone else to bear your cruelties).

2
huN vo naalaaN1 ke hai itne liye marne ki Khushi
chayn2 se soyegi sub Khalq3-e Khuda mere b’aad  
1.wailing, crying loudly 2.comfort, peace 3.creation
During his lifetime, the poet/lover wailed loudly and constantly because his love was spurned. Now that he is dead, so many are happy that they (all creation) can sleep in peace. The fact that so many are happy makes him wail again (hopefully, no one can hear his wails).

3
jitna jii chaahe balaa’oN1 meN phaNsa lo mujh ko
koii paaoge na mushtaaq2-e balaa mere b’aad   
1.calamities, problems 2.desirous
Snare me in as many calamities as you like. After me there will be no one who will wish to undergo these calamities.

4
hai vasiyyat1 meri marqad2 pe ye likh deN ahbaab3
ke kare koii kisi se na vafa4 mere b’aad   
1.will (as in last will and testament) 2.grave 3.friends 4.fidelity
The poet/lover is leaving behind a will, asking his friends to inscribe on his grave that no one should show fidelity, faith in love to anyone after him. This could be for one of two reasons … (a) look what happens if you are faithful in love – you are killed by the beloved or (b) he was such an exemplar, had set such high standards that no one can do what he did, so they should cease and desist.

5
shukr1 hai kuchh to mohabbat meN hua raNg-e-asar2
tiin din us ne lagaaii na hina3 mere b’aad    
1.thanks 2.effect 3.henna, mehndi
Three days is one of the primary mourning periods after death. The poet/lover (who has died but is still able to compose verse) is thankful that at least there has been some effect of his love. The beloved has not adorned herself with henna for three days, observing the ritual mourning period.

6
kaun maatam1 meN hai yuN dil ka jalaane vaala
gul2 hui sham’a3 mazaar4-e shohada5 mere b’aad    
1.mourning 2.extinguished 3.lamp, candle 4.grave, mausoleum, memorial 5.martyrs (in this context – those who died of despondence because of spurned love)
The poet/lover was the ideal/exemplary mourner. He lit is own heart (rather than a candle) at the mausoleum of martyrs (of love). Who will mourn like this now, lighting their own heart. The candle (the lover’s heart) at the mausoleum of martrys/lovers is extinguished after him.

7
zau’f1 meN hai tan2-e majnuN bhi mah-e-nau3 laikin
hai vo aalam4 meN to aNgusht-numa5 mere b’aad   
1.weakness 2.body 3.new moon 4.world 5.fingers pointed towards
The new moon is used here as a metaphor for bent back (as in old age or extreme weakness). Recall this she’r of qamar jalalavi (hilaal also means new moon, and qamar means full moon) …
baRha baRha ke jafaa’eN jhuka hi do ge kamar
ghaTa ghaTa ke qamar ko hilaal kar do ge
majnuN (the mad/distraught lover of the laila-majnuN legend) also has a bent back (like the shape of the new moon), because he has become so weak due to his madness and wandering. But the poet/lover says that he became the example that people point their finger towards (angusht-numa) only after he (the poet/lover) is gone. While he was still alive, he was the example that people pointed to.

8
mar gaya huN maiN sanam teri faraamoshi1 par
yaad karna na mujhe bahr-e-Khuda2 mere b’aad   
1.forgetfulness, ignoring, overlooking 2.for god’s sake
O beloved, I died (of sorrow) because you ignored me. For god’s sake do not remember me now, after I am gone.

9
tha vo bulbul, ke jigar1 meN mere kaaNTa khaTka
chaman-e husn2 meN jo phool khila3 mere baad   
1.liver, heart 2.beauty, beloved 3.bloom, open
In urdu poetic tradition bulbul and rose are lovers. ‘kaaNTa khaTakna’ can mean a prick of jealousy. Here, the beloved was the bulbul and the poet/lover was the rose. Now that he is gone, every time a flower blooms in the garden of the beloved (a rival emerges), he feels a prick of jealousy even after death.

10
KhuN mera kar ke bahut haath male qaatil1 ne
na jamaa, par na jamaa, raNg-e hina2 mere b’aad   
1.killer, beloved 2.henna, mehndi
The beloved has killed the poet/lover with her glances or with her neglect. Having done so, she is rubbing her hands. “haath malna” can mean to be regretful, to repent. But here it could also mean applying mehndi. But the colour did not take, it did not take. Why? Because she used to use his blood to mix with the mehndi to get a good colour. Now that he is dead, there is not supply of blood.

11
mere marte hi mila Khaak1 meN ye auj2-e junuN3
dasht4 meN koii baguula5 na uTha mere b’aad    
1.dust 2.climax, heights 3.frenzy of passion 4.desert 5.dust storm/whirlwind
When the poet/lover was alive the frenzy of passion was at its peak. He used to wander the desert in search of his beloved, like majnuN. His wandering kicked up desert sands into “whirlwinds – dust devils”. But after him, the frenzy of passion has “gone to dust”, there is no one wandering the desert and there are no whirlwinds.

12
mere marte hi mila Khaak1 meN ye auj2-e junuN3
dasht4 meN koii baguula5 na uTha mere b’aad    
1.dust 2.climax, heights 3.frenzy of passion 4.desert 5.dust storm/whirlwind
When the poet/lover was alive the frenzy of passion was at its peak. He used to wander the desert in search of his beloved, like majnuN. His wandering kicked up desert sands into “whirlwinds – dust devils”. But after him, the frenzy of passion has “gone to dust”, there is no one wandering the desert and there are no whirlwinds.

13
nigah1-e naaz2 se maara na kisi ko us ne
yaar3 se khiNch4 na saki teGh5-e ada6 mere b’aad    
1.glance 2.flirtation, coquetry 3.friend, beloved 4.pull, draw 5.sword 6.style, flirtation
The beloved has not killed anyone with her flirtatious glances. She could not draw the sword of coquetry after me. This could be because she did not think that anyone else was worthwhile/deserving and could it be that she regrets having killed him and does not want to kill any more.

14
Khush-KhatoN1 ne na kisi ko bhi kiya zer-o-zabar2
yak-qalam3 chhooT gayii mashq4-e jafa5 mere b’aad    
1.scribe, expert in penmanship/calligraphy 2.diacritical marks showing vowel sounds 3.suddenly 4.practice 5.torture
This has a complicated double meaning. It should also be remembered that it was common to find pre-pubiscent boys sexually attractive and even compose verse about them. “Khush-Khat” does mean scribe/calligrapher but it also can imply a beautiful “Khat” – pre-pubiscent fuzzy facial hair. “zer-o-zabar” does mean diacritical marks, but it also means demeaning, destroying, hurting someone. Thus, pre-pubiscent boys with fuzzy hair did not torture anyone. Suddenly all the practice of tempting/flirting/playing stopped after me.

15
zeenat1-e mahfil2-e arbaab3-e suKhan4 tha maiN amir5
na rahi raunaq6-e bazm7-e shu’ara8 mere b’aad    
1.embellishment, decoration 2.gathering, society 3.lords, owners, nuturers 4.versification 5.pen name of poet 6.glory 7.gathering, society 8.poets
I was the embellishment of the gathering of the lords of versification, O, amir. The gathering of poets (mushaa’era) lost its glory after me.

amir ahmed amir minaaii (1829-1900) was contemporary of daaGh dehlavi and much like him received patronage in rampur and later in hyderabad, where he died and is buried.  Both he and daaGh composed several Ghazal in the zamin of Ghalib.  Both were young and emerging poets during the later years of Ghalib’s life.  Both write primarily in the classical style about classical themes of love.
1
kaun uThaayega tumhaari ye jafa1 mere b’aad
yaad aayegi bahut meri vafa2 mere b’aad

1.cruelty 2.fidelity, faithful in love

Who will bear/accept your cruelties after me.  You will remember my faithfulness in love after I am gone (because there will not be anyone else to bear your cruelties).
2
huN vo naalaaN1 ke hai itne liye marne ki Khushi
chayn2 se soyegi sub Khalq3-e Khuda mere b’aad

1.wailing, crying loudly 2.comfort, peace 3.creation

During his lifetime, the poet/lover wailed loudly and constantly because his love was spurned.  Now that he is dead, so many are happy that they (all creation) can sleep in peace.  The fact that so many are happy makes him wail again (hopefully, no one can hear his wails).
3
jitna jii chaahe balaa’oN1 meN phaNsa lo mujh ko
koii paaoge na mushtaaq2-e balaa mere b’aad

1.calamities, problems 2.desirous

Snare me in as many calamities as you like.  After me there will be no one who will wish to undergo these calamities.
4
hai vasiyyat1 meri marqad2 pe ye likh deN ahbaab3
ke kare koii kisi se na vafa4 mere b’aad

1.will (as in last will and testament) 2.grave 3.friends 4.fidelity

The poet/lover is leaving behind a will, asking his friends to inscribe on his grave that no one should show fidelity, faith in love to anyone after him.  This could be for one of two reasons … (a) look what happens if you are faithful in love – you are killed by the beloved or (b) he was such an exemplar, had set such high standards that no one can do what he did, so they should cease and desist.
5
shukr1 hai kuchh to mohabbat meN hua raNg-e-asar2
tiin din us ne lagaaii na hina3 mere b’aad

1.thanks 2.effect 3.henna, mehndi

Three days is one of the primary mourning periods after death.  The poet/lover (who has died but is still able to compose verse) is thankful that at least there has been some effect of his love.  The beloved has not adorned herself with henna for three days, observing the ritual mourning period.
6
kaun maatam1 meN hai yuN dil ka jalaane vaala
gul2 hui sham’a3 mazaar4-e shohada5 mere b’aad

1.mourning 2.extinguished 3.lamp, candle 4.grave, mausoleum, memorial 5.martyrs (in this context – those who died of despondence because of spurned love)

The poet/lover was the ideal/exemplary mourner.  He lit is own heart (rather than a candle) at the mausoleum of martyrs (of love).  Who will mourn like this now, lighting their own heart.  The candle (the lover’s heart) at the mausoleum of martrys/lovers is extinguished after him.
7
zau’f1 meN hai tan2-e majnuN bhi mah-e-nau3 laikin
hai vo aalam4 meN to aNgusht-numa5 mere b’aad

1.weakness 2.body 3.new moon 4.world 5.fingers pointed towards

The new moon is used here as a metaphor for bent back (as in old age or extreme weakness).  Recall this she’r of qamar jalalavi (hilaal also means new moon, and qamar means full moon) …
baRha baRha ke jafaa’eN jhuka hi do ge kamar
ghaTa ghaTa ke qamar ko hilaal kar do ge
majnuN (the mad/distraught lover of the laila-majnuN legend) also has a bent back (like the shape of the new moon), because he has become so weak due to his madness and wandering.  But the poet/lover says that he became the example that people point their finger towards (angusht-numa) only after he (the poet/lover) is gone.  While he was still alive, he was the example that people pointed to.
8
mar gaya huN maiN sanam teri faraamoshi1 par
yaad karna na mujhe bahr-e-Khuda2 mere b’aad

1.forgetfulness, ignoring, overlooking 2.for god’s sake

O beloved, I died (of sorrow) because you ignored me.  For god’s sake do not remember me now, after I am gone.
9
tha vo bulbul, ke jigar1 meN mere kaaNTa khaTka
chaman-e husn2 meN jo phool khila3 mere baad

1.liver, heart 2.beauty, beloved 3.bloom, open

In urdu poetic tradition bulbul and rose are lovers.  ‘kaaNTa khaTakna’ can mean a prick of jealousy.  Here, the beloved was the bulbul and the poet/lover was the rose.  Now that he is gone, every time a flower blooms in the garden of the beloved (a rival emerges), he feels a prick of jealousy even after death.
10
KhuN mera kar ke bahut haath male qaatil1 ne
na jamaa, par na jamaa, raNg-e hina2 mere b’aad

1.killer, beloved 2.henna, mehndi

The beloved has killed the poet/lover with her glances or with her neglect.  Having done so, she is rubbing her hands.  “haath malna” can mean to be regretful, to repent.  But here it could also mean applying mehndi.  But the colour did not take, it did not take.  Why?  Because she used to use his blood to mix with the mehndi to get a good colour.  Now that he is dead, there is not supply of blood.
11
thi mere dam1 se faqat2 us ke sitam3 ki tezi4
na rahe jauhar5-e shamshiir6-e jafa7 mere b’aad

1.on the basis of, on the strength of 2.only 3.cruelty 4.sharpness, effect 5.skill, shine 6.sword 7.torture, pain

It was only on the basis of my ability to bear it that the beloved’s cruelty had currency.  After me the sword of torture went dull.
12
mere marte hi mila Khaak1 meN ye auj2-e junuN3
dasht4 meN koii baguula5 na uTha mere b’aad

1.dust 2.climax, heights 3.frenzy of passion 4.desert 5.dust storm/whirlwind

When the poet/lover was alive the frenzy of passion was at its peak.  He used to wander the desert in search of his beloved, like majnuN.  His wandering kicked up desert sands into “whirlwinds – dust devils”.  But after him, the frenzy of passion has “gone to dust”, there is no one wandering the desert and there are no whirlwinds.
13
nigah1-e naaz2 se maara na kisi ko us ne
yaar3 se khiNch4 na saki teGh5-e ada6 mere b’aad

1.glance 2.flirtation, coquetry 3.friend, beloved 4.pull, draw 5.sword 6.style, flirtation

The beloved has not killed anyone with her flirtatious glances.  She could not draw the sword of coquetry after me.  This could be because she did not think that anyone else was worthwhile/deserving and could it be that she regrets having killed him and does not want to kill any more.
14
Khush-KhatoN1 ne na kisi ko bhi kiya zer-o-zabar2
yak-qalam3 chhooT gayii mashq4-e jafa5 mere b’aad

1.scribe, expert in penmanship/calligraphy 2.diacritical marks showing vowel sounds 3.suddenly 4.practice 5.torture

This has a complicated double meaning.  It should also be remembered that it was common to find pre-pubiscent boys sexually attractive and even compose verse about them.  “Khush-Khat” does mean scribe/calligrapher but it also can imply a beautiful “Khat” – pre-pubiscent fuzzy facial hair.  “zer-o-zabar” does mean diacritical marks, but it also means demeaning, destroying, hurting someone.  Thus, pre-pubiscent boys with fuzzy hair did not torture anyone.  Suddenly all the practice of tempting/flirting/playing stopped after me.
15
zeenat1-e mahfil2-e arbaab3-e suKhan4 tha maiN amir5
na rahi raunaq6-e bazm7-e shu’ara8 mere b’aad

1.embellishment, decoration 2.gathering, society 3.lords, owners, nuturers 4.versification 5.pen name of poet 6.glory 7.gathering, society 8.poets

I was the embellishment of the gathering of the lords of versification, O, amir.  The gathering of poets (mushaa’era) lost its glory after me.

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