For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
جلوہ نہاں کیوں ہو ۔ بام دیو شرما رشیؔ پٹیالوی
۱
بیانِ عشقِ غم انجام رسوائے جہاں کیوں ہو
اگر دردِ محبت دل میں ہو لب پر فغاں کیوں ہو
۲
جو ہے دلدار، دل آرام، دلکش، دل نشیں، دلبر
اِلہیٰ وہ میری مشتاق نظروں سے نہاں کیوں ہو
۳
رہِ اُلفت میں فرطِ شوق ہے جب رہنما اپنا
ہمیں تشویشِ منزل اور فکرِ کارواں کیوں ہو
۴
نگاہِ شوق پر احسان کر اے بے خودی تو ہی
دلیلِ ہوش بھی پردہ ہے یہ بھی درمیاں کیوں ہو
۵
زمانہ ربطِ عشق و حسن کا مفہوم تو سمجھے
یہ تیرا ذکر ہو جس میں وہ میری داستاں کیوں ہو
۶
حقیقت میں غرورِ آگہی بھی ایک پردہ ہے
اگر یہ راز کُھل جائے تو وہ جلوہ نہاں کیوں ہو
۷
کوئی مشکل نہیں ہنس ہنس کے کوہِ غم اُٹھا لینا
محبت بار ہو تو ہو مگر بارِ گراں کیوں ہو
۸
طبیعت کی پریشانی کو یہ صدمہ بھی کیا کم ہے
جہاں دردِ محبت ہو غمِ دوراں وہاں کیوں ہو
۹
رشیؔ اُٹھنا اُٹھانا کیا جہاں بیٹھے ہیں بیٹھے ہیں
جو منزل ہی نہیں کوئی تو فکرِ کارواں کیوں ہو
जल्वा नेहां क्यूँ हो – बाम देव शर्मा रिशी पटियालवी
१
बयान-ए इश्क़-ए ग़म-अंजाम रुसवा-ए जहां क्यूँ हो
अगर दर्द-ए मोहब्बत दिल में हो, लब पर फुगाँ क्यूँ हो
२
जो है दिल्दार, दिल-आराम, दिल्कश, दिल-नशीं, दिलबर
इलाही वो मेरी मुश्ताक़ नज़रों से नेहां क्यूँ हो
३
रह-ए उल्फ़त में फ़र्त-ए शौक़ है जब रहनुमा अपना
हमें तश्वीश-ए मंज़िल और फ़िक्र-ए कारवाँ क्यूँ हो
४
निगाह-ए शौक़ पर एहसान कर अए बेख़ुदी तू ही
दलील-ए होश भी पर्दा है, ये भी दरमियां क्यूँ हो
५
ज़माना रब्त-ए इश्क़ ओ हुस्न का मफ़्हूम तो समझे
ये तेरा ज़िक्र हो जिसमें वो मेरी दास्तां क्यूँ हो
६
हक़ीक़त में ग़ुरूर-ए आगही भी एक पर्दा है
अगर ये राज़ खुल जाए तो वो जलवा नेहां क्यूँ हो
७
कोई मुश्किल नहीं हंस हंस के कोह-ए ग़म उठा लेना
मोहब्बत बार हो तो हो मगर बार-ए गिरां क्यूँ हो
८
तबीयत की परेशानी को ये सदमा भी क्या कम है
जहां दर्द-ए मोहब्बत हो, ग़म-ए दौराँ वहां क्यूँ हो
९
रिशी उठना उठाना क्या जहां बैठे हैं बैठे हैं
जो मंज़िल ही नहीं कोई तो फ़िक्र-ए कारवाँ क्यूँ हो
Click here for background and on any passage for word meanings and explanatory discussion. baam dev sharma rishi paTialavi (1917-1999) originally from hoshiarpur in punjab. He was a disciple of nasim noormahli, who in turn was a disciple of daaGh dehlavi. He has written exquite Ghazal in chaste urdu and many progressive nazm in chaste urdu as well as in spoken hindi/urdu/hindustani. He was part of group of friends who organized joint celebration of one another’s religious festivities to promote communal harmony. This Ghazal is linked to Ghalib naqsh-e qadam.
1
bayaan1-e ishq-e Gham-anjaam2 rusvaa3-e jahaaN kyuN ho
agar dard-e mohabbat dil meN ho lab4 pe fuGhaaN5 kyuN ho 1.narrative, story 2.resulting in sorrow 3.ashamed, embarrassed 4.lips 5.wail
In urdu poetic tradition love always results in sorrow because the beloved does not reciprocate the lover’s feelings. Thus, love is always ‘Gham-anjaam’. Why should the story of unfulfilled love result in embarrassment in the world. If there is pain of love in the heart, why should there be wailing on the lips. In poetic convention the lover should bear his sorrow secretly so as not malign the reputation of the beloved. Thus, why should he have wailing on his lips even if his heart aches with love. Such wailing would result in the embarrassment that the first misra asks us to avoid.
2
jo hai dildaar1, dil-araam2, dilkash3, dil-nashiiN4, dilbar5
ilaahi6 voh meri mushtaaq7 nazaroN8 se nehaaN9 kyuN ho 1.captor of the heart 2.comforter of the heart 3.pleasing to the heart 4.residing in the heart 5.comfort of the heart 6.god 7.eager 8.eyes 9.hidden
Here, the poet describes the beloved using various endearing terms. The poet wonders why the beloved, who possesses qualities like being affectionate, comforting, charming, and delightful, remains hidden from the poet’s longing eyes.
3
rah1-e ulfat2 meN furt3-e shauq4 hai jab rahnuma5 apna
hameN tashveesh6-e manzil7 aur fikr8-e kaarvaaN kyuN ho 1.path, journey 2.love 3.abundance 4.love, desire 5.guide 6.concern 7.destination 8.worry
The poet/lover on his journey of love has a guide – his own abundant love/desire. With such an expert guide why should he be worried about reaching the destination of the path/condition of the journey/caravan.
4
nigaah1-e shauq2 par ehsaan3 kar aye beKhudi4 tuu hi
daleel5-e hosh6 bhi pardah7 hai yeh bhi darmiyaaN8 kyuN ho 1.eye, gaze 2.desire 3.benevolence, generosity 4.unawareness (of self or of the material world) 5.evidence 6.knowledge, sobriety 7.veil 8.in the middle, obstacle
Ideal love is where the lover gets so absorbed in the thoughts of the beloved that he becomes totally unaware of everything else. He is calling upon this unawareness to be generous to him and to make him totally blind. Even the slightest evidence of knowledge/wisdom acts like a veil between his loving gaze and the beloved. Why should this be an obstacle between them. This applies to the divine beloved also.
5
zamaana1 rabt2-e ishq-o-husn3 ka maf’hoom4 to samjhe
yeh tera zikr5 ho jis meN voh meri dastaaN6 kyuN ho 1.world 2.connection, relationship 3.love and beauty, lover and beloved 4.meaning 5.mention, narrative 6.story
There is an inextricable relationship between love and beauty. If the world understood this relationship, then it would not question why in the narrative of the beloved there is also the story of the poet/lover.
6
haqiiqat1 meN Ghuroor2-e aagahi3 bhi ek pardah4 hai
agar yeh raaz5 khul jaaye6 to voh jalvah7 nehaaN8 kyuN ho 1.truth, reality 2.pride 3.awareness, knowledge 4.veil 5.secret 6.opened up, revealed 7.manifestation 8.hidden
The poet suggests that even the pride of knowledge is a veil. We think and are proud that we know. That is why we are unable to see the divine all around us. If this secret is revealed, then why should that hidden splendor remain hidden?
7
koi mushkil1 nahiN haNs-haNs2 ke koh3-e Gham4 uThaa5 lena
mohabbat baar6 ho to ho magar baar-e giraaN7 kyuN ho 1.difficult 2.cheerfully 3.mountain, burden 4.sorrow 5.lift, carry, bear 6.burden 7.heavy
The poet suggests that there is no difficulty in cheerfully bearing the burden of sorrow (of love). Love may be burdensome, but why should it be an unbearable burden? This reflects the poet’s resilience in the face of difficulties in love.
8
tabiiyyat1 ki pareshaani2 ko yeh sadma3 bhi kya kam hai
jahaaN4 dard5-e mohabbat ho Gham6-e dauraaN7 vahaaN kyuN ho 1.mood, disposition 2.worry, depression 3.shock, tragedy, sorrow 4.where 5.pain 6.sorrow 7.times, period, world
In poetic concepts there is a Gham-e jaanaaN and a Gham-e dauraaN – sorrow of love and sorrow of the condition of the world. Thus, the tragedy/shock of ‘dard-mohabbat – Gham-e jaanaaN’ is enough for the depression of my mood/disposition. Where there is dard-e mohabbat, why should there also be Gham-e dauraaN. A slight variation of this could be, Gham-e jaanaaNis is so intense that it eclipses Gham-e dauraaN.
9
rishi1 uThna-uThaana2 kya jahaaN3 baiThe haiN baiThe haiN
jo manzil4 hi nahiN koi toh fikr5-e kaarvaaN6 kyuN ho 1.pen-name of the poet 2.getting up and doing something 3.where 4.destination 5.worry 6.caravan/journey
O rishi, what is the use of getting up and trying to get anywhere, just sit where you are. If there is no destination in sight, why worry about the journey. This could be focussed on the futility of getting anywhere with the beloved and more related to the conventions of urdu poetry than to the progressive movement.
baam dev sharma rishi paTialavi (1917-1999) originally from hoshiarpur in punjab. He was a disciple of nasim noormahli, who in turn was a disciple of daaGh dehlavi. He has written exquite Ghazal in chaste urdu and many progressive nazm in chaste urdu as well as in spoken hindi/urdu/hindustani. He was part of group of friends who organized joint celebration of one another’s religious festivities to promote communal harmony. This Ghazal is linked to Ghalib naqsh-e qadam.
1
bayaan1-e ishq-e Gham-anjaam2 rusvaa3-e jahaaN kyuN ho
agar dard-e mohabbat dil meN ho lab4 pe fuGhaaN5 kyuN ho
1.narrative, story 2.resulting in sorrow 3.ashamed, embarrassed 4.lips 5.wail
In urdu poetic tradition love always results in sorrow because the beloved does not reciprocate the lover’s feelings. Thus, love is always ‘Gham-anjaam’. Why should the story of unfulfilled love result in embarrassment in the world. If there is pain of love in the heart, why should there be wailing on the lips. In poetic convention the lover should bear his sorrow secretly so as not malign the reputation of the beloved. Thus, why should he have wailing on his lips even if his heart aches with love. Such wailing would result in the embarrassment that the first misra asks us to avoid.
2
jo hai dildaar1, dil-araam2, dilkash3, dil-nashiiN4, dilbar5
ilaahi6 voh meri mushtaaq7 nazaroN8 se nehaaN9 kyuN ho
1.captor of the heart 2.comforter of the heart 3.pleasing to the heart 4.residing in the heart 5.comfort of the heart 6.god 7.eager 8.eyes 9.hidden
Here, the poet describes the beloved using various endearing terms. The poet wonders why the beloved, who possesses qualities like being affectionate, comforting, charming, and delightful, remains hidden from the poet’s longing eyes.
3
rah1-e ulfat2 meN furt3-e shauq4 hai jab rahnuma5 apna
hameN tashveesh6-e manzil7 aur fikr8-e kaarvaaN kyuN ho
1.path, journey 2.love 3.abundance 4.love, desire 5.guide 6.concern 7.destination 8.worry
The poet/lover on his journey of love has a guide – his own abundant love/desire. With such an expert guide why should he be worried about reaching the destination of the path/condition of the journey/caravan.
4
nigaah1-e shauq2 par ehsaan3 kar aye beKhudi4 tuu hi
daleel5-e hosh6 bhi pardah7 hai yeh bhi darmiyaaN8 kyuN ho
1.eye, gaze 2.desire 3.benevolence, generosity 4.unawareness (of self or of the material world) 5.evidence 6.knowledge, sobriety 7.veil 8.in the middle, obstacle
Ideal love is where the lover gets so absorbed in the thoughts of the beloved that he becomes totally unaware of everything else. He is calling upon this unawareness to be generous to him and to make him totally blind. Even the slightest evidence of knowledge/wisdom acts like a veil between his loving gaze and the beloved. Why should this be an obstacle between them. This applies to the divine beloved also.
5
zamaana1 rabt2-e ishq-o-husn3 ka maf’hoom4 to samjhe
yeh tera zikr5 ho jis meN voh meri dastaaN6 kyuN ho
1.world 2.connection, relationship 3.love and beauty, lover and beloved 4.meaning 5.mention, narrative 6.story
There is an inextricable relationship between love and beauty. If the world understood this relationship, then it would not question why in the narrative of the beloved there is also the story of the poet/lover.
6
haqiiqat1 meN Ghuroor2-e aagahi3 bhi ek pardah4 hai
agar yeh raaz5 khul jaaye6 to voh jalvah7 nehaaN8 kyuN ho
1.truth, reality 2.pride 3.awareness, knowledge 4.veil 5.secret 6.opened up, revealed 7.manifestation 8.hidden
The poet suggests that even the pride of knowledge is a veil. We think and are proud that we know. That is why we are unable to see the divine all around us. If this secret is revealed, then why should that hidden splendor remain hidden?
7
koi mushkil1 nahiN haNs-haNs2 ke koh3-e Gham4 uThaa5 lena
mohabbat baar6 ho to ho magar baar-e giraaN7 kyuN ho
1.difficult 2.cheerfully 3.mountain, burden 4.sorrow 5.lift, carry, bear 6.burden 7.heavy
The poet suggests that there is no difficulty in cheerfully bearing the burden of sorrow (of love). Love may be burdensome, but why should it be an unbearable burden? This reflects the poet’s resilience in the face of difficulties in love.
8
tabiiyyat1 ki pareshaani2 ko yeh sadma3 bhi kya kam hai
jahaaN4 dard5-e mohabbat ho Gham6-e dauraaN7 vahaaN kyuN ho
1.mood, disposition 2.worry, depression 3.shock, tragedy, sorrow 4.where 5.pain 6.sorrow 7.times, period, world
In poetic concepts there is a Gham-e jaanaaN and a Gham-e dauraaN – sorrow of love and sorrow of the condition of the world. Thus, the tragedy/shock of ‘dard-mohabbat – Gham-e jaanaaN’ is enough for the depression of my mood/disposition. Where there is dard-e mohabbat, why should there also be Gham-e dauraaN. A slight variation of this could be, Gham-e jaanaaNis is so intense that it eclipses Gham-e dauraaN.
9
rishi1 uThna-uThaana2 kya jahaaN3 baiThe haiN baiThe haiN
jo manzil4 hi nahiN koi toh fikr5-e kaarvaaN6 kyuN ho
1.pen-name of the poet 2.getting up and doing something 3.where 4.destination 5.worry 6.caravan/journey
O rishi, what is the use of getting up and trying to get anywhere, just sit where you are. If there is no destination in sight, why worry about the journey. This could be focussed on the futility of getting anywhere with the beloved and more related to the conventions of urdu poetry than to the progressive movement.
