For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
جواب آہستہ آہستہ ۔ مرزا تقی بیگ مائلؔ دہلوی
۱۱
درازی روزِ محشر کی بڑھائی اور جائے گی
سنائی گر میری فردِ حساب آہستہ آہستہ
۱۲
کچھ ایسا محوِ لطفِ نااُمیدی ہوں کہ دانستہ
دعا کرتا ہوں وقتِ اِضطراب آہستہ آہستہ
۱۳
نہ کوہِ طور ہی جلتا نہ موسیٰ ہی کو غش آتا
اُلٹتا گر وہ جانِ جاں نقاب آہستہ آہستہ
۱۴
ترے کہنے سے کیوںکر بے تامُّل چھوڑ دوں واعظ
حرام اللہ نے کی ہے شراب آہستہ آہستہ
۱۵
گزک کا لطف کیا جانے یہ ایک دو گھونٹ مے پی کر
اُڑا جائے گا واعظ سب کباب آہستہ آہستہ
۱۶
رکھا ہے ہاتھ سینے پر تو تھوڑی دیر تو رکّھو
کہ ٹھہرے گا دلِ پُر اِضطراب آہستہ آہستہ
۱۷
تفاوت ہے تو اتنا ہے فلک میں اور اُس بُت میں
کیا کرتا ہے وہ مِٹّی خراب آہستہ آہستہ
۱۸
جلوں کیوں کر نہ قاصد سے کہ مجھ سے آ کے کہتا ہے
مجھے ٹھہرا کے لکھا ہے جواب آہستہ آہستہ
۱۹
خدا جانے کہ کیا ہے رمز اُس میں حضرتِ مائل
جو پچھلی شب کو پیتے ہیں شراب آہستہ آہستہ
जवाब आहिस्ता आहिस्ता – मिर्ज़ा तक़ी बेग मा’एल देहलवी
११
दराज़ी रोज़-ए महशर की बढ़ाई और जाएगी
सुनाई गर मेरी फ़र्द-ए हिसाब आहिस्ता आहिस्ता
१२
कुछ ऐसा महव-ए लुत्फ़-ए ना-उमीदी हूं के दानिस्ता
दुआ करता हूं वक़्त-ए इज़्तेराब आहिस्ता आहिस्ता
१३
न कोह-ए तूर ही जलता न मूसा ही को ग़श आता
उलटता गर वो जान-ए जां नक़ाब आहिस्ता आहिस्ता
१४
तेरे कहने से क्यूंकर बे-त’अम्मुल छोढ दूं वा’एज़
हराम अल्लाह ने की है शराब आहिस्ता आहिस्ता
१५
गज़क का लुत्फ़ क्या जाने ये एक दो घूंट मय पी कर
उढा जा’एगा वाएज़ सब कबाब आहिस्ता आहिस्ता
१६
रखा है हाथ सीने पर तो थोढी देर तो रक्खो
के ठहरेगा दिल-ए पुर-इज़्तेराब आहिस्ता आहिस्ता
१७
तफ़ावुत है तो इतना है फ़लक में और उस बुत में
किया करता है वो मिट्टी ख़राब आहिस्ता आहिस्ता
१८
जलूं क्यूंकर न क़ासिद से के मुझ से आ के कहता है
मुझे ठहरा के लिक्खा है जवाब आहिस्ता आहिस्ता
१९
ख़ुदा जाने के क्या है रमज़ उस में हज़्रत-ए मा’एल
जो पिछली शब को पीते हैं शराब आहिस्ता आहिस्ता
Click here for background and on any passage for word meanings and explanatory discussion. mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This Ghazal is linked to other ham-radeef Ghazaliyaat on the Refrain Index page.
11
daraazi1 roz-e-mahshar2 ki baRhaaii aur jaa’egi
sunaaii gar meri fard-e-hisaab3 aahista aahista 1.length, duration 2.day of judgment 3.list/account of grievances
The length/duration of the day of judgment will have to be increased even more, if the list of grievances (against the beloved) were read out slowly. Alternatively, it could be the list of the poet/sinner’s transgressions.
12
kuchh aisa mahv1-e lutf2-e naa-umiidi3 huN keh daanista4
dua karta huN vaqt-e izteraab5 aahista aahista 1.engrossed 2.pleasure 3.hopelessness 4.knowingly, intentionally 5.restlessness, anguish
The poet/lover is intensely anguished at the indifference of the beloved. He is totally hopeless that the situation will ever change. But he seems to derive masochistic pleasure in this hopelessness. So, at the time of his anguish he intentionally prays slowly so as to prolong his period of anguish.
13
na koh-e-tuur1 hi jalta na moosa2 hi ko Ghash3 aata
ulaTta4 gar voh jaan-e-jaaN5 naqaab6 aahista aahista 1.mount tuur in the Sinai 2.Moses 3.fainting spell 4.turn over, raise 5.life of the soul, beloved
This has reference to the story of Moses, when he went to mount tuur asking to see god. A mysterious voice told him that he could not bear the sight, but he insisted. There was a flash of lightning; moosa fainted and mount tuur got burnt to ashes. Here the poet is equating the brilliance and beauty of the beloved with that of the divine and suggesting that the divine manifestation that moosa sought was nothing but a glimpse of the beloved. If the beloved had lifted her veil gradually then neither moosa would have fainted nor tuur would have been burnt. It was the sudden/lightning-like manifestation of her glory that knocked him out.
14
ter’e kahn’e se kyuNkar1 be-ta’ammul2 chhoR duN vaa’ez3
haraam4 allaah ne kii hai sharaab aahista aahista 1.why 2.without apprehension/doubt/hesitation 3.preacher 4.forbidden
The preacher has warned the poet/wine lover that god has forbidden wine and that he should give it up. Why should I do it unhesitatingly, after all god took his time in forbidding it (so I can take my time in giving it up).
15
gazak1 ka lutf2 kya jaan’e yeh ek do ghooNT3 mai4 pii kar
uRa5 jaa’ega vaa’ez6 sab kabaab aahista aahista 1.sweet. relish 2.pleasure 3.sips 4.wine 5.swipe away 6.preacher
Apparently, gazak is tasted between glasses of wine to change taste. I am not sure if it is worth spending too much time on this she’r. But … who is ‘yeh’ in the first misra. Is it the vaa’ez himself? If so, he has agreed to take a sip or two of wine. Thus, how will he be able to get any pleasure from gazak after drinking just one or two sips of wine. The vaa’ez will simply swipe off all kabaab slowly on the sly.
16
rakha hai haath siin’e par to thoRi der to rakkho
keh Thahrega dil-e pur-izteraab1 aahista aahista 1.full of anguish/restlessness
The poet/lover’s heart is throbbing/beating rapidly because of his anguish. He complains to the beloved and she places her hand on his heart to calm it down. He says, if you have placed your hand on the heart, at least let it be there for a while because it will take time for the heart to calm down.
17
tafaavut1 hai to itna hai falak2 meN aur uss but3 meN
kiya karta hai voh miTTi-Kharaab4 aahista aahista 1.difference 2.sky, fate 3.idol, beloved 4.destroy completely-from the roots
If there is any difference between fate and the beloved it is this … the beloved destroys completely down to the very basic nature of the lover, but does it gradually.
18
jaluuN1 kyuNkar na qaasid2 se keh mujh se aa ke kahta hai
mujhe Thahra ke likkha hai javaab3 aahista aahista 1.feel jealous 2.messenger 3.reply
The poet/lover has sent a missive to the beloved through a messenger. She makes him wait (presumably in her presence) and takes her time writing out a response. During this time, the messenger has an opportunity to be in her presence and perhaps even to see her. Then, why should I not feel jealous of the messenger, asks the poet/lover.
19
Khuda jaan’e1 keh kya hai ramz2 uss meN hazrat3-e maa’el4
jo pichhli-shab5 ko piite haiN sharaab aahista aahista 1.god knows 2.enigma, riddle, secret 3.mister 4.pen-name 5.late night, after midnight
O maa’el only god knows what enigma there is associated with wine that is sipped slowly after midnight.
mirza taqi beg maa’el dehlavi (1850-1931) has a large corpus with quite a few of his Ghazal composed in the style of Ghalib. He started composing at the age of 14 and it is reported that he met with Ghalib several times but did not seek or receive any tutoring. Perhaps he considered that presumptuous because he was too young and Ghalib was in his final years. He moved to jaipur in 1875 and lived there until his passing. His work, scattered among many friends was collected and published as his ‘kulliyaat’ – complete works – in three volumes, under the sponsorship of the rajasthan sahitya academy. This Ghazal is linked to other ham-radeef Ghazaliyaat on the Refrain Index page.
11
daraazi1 roz-e-mahshar2 ki baRhaaii aur jaa’egi
sunaaii gar meri fard-e-hisaab3 aahista aahista
1.length, duration 2.day of judgment 3.list/account of grievances
The length/duration of the day of judgment will have to be increased even more, if the list of grievances (against the beloved) were read out slowly. Alternatively, it could be the list of the poet/sinner’s transgressions.
12
kuchh aisa mahv1-e lutf2-e naa-umiidi3 huN keh daanista4
dua karta huN vaqt-e izteraab5 aahista aahista
1.engrossed 2.pleasure 3.hopelessness 4.knowingly, intentionally 5.restlessness, anguish
The poet/lover is intensely anguished at the indifference of the beloved. He is totally hopeless that the situation will ever change. But he seems to derive masochistic pleasure in this hopelessness. So, at the time of his anguish he intentionally prays slowly so as to prolong his period of anguish.
13
na koh-e-tuur1 hi jalta na moosa2 hi ko Ghash3 aata
ulaTta4 gar voh jaan-e-jaaN5 naqaab6 aahista aahista
1.mount tuur in the Sinai 2.Moses 3.fainting spell 4.turn over, raise 5.life of the soul, beloved
This has reference to the story of Moses, when he went to mount tuur asking to see god. A mysterious voice told him that he could not bear the sight, but he insisted. There was a flash of lightning; moosa fainted and mount tuur got burnt to ashes. Here the poet is equating the brilliance and beauty of the beloved with that of the divine and suggesting that the divine manifestation that moosa sought was nothing but a glimpse of the beloved. If the beloved had lifted her veil gradually then neither moosa would have fainted nor tuur would have been burnt. It was the sudden/lightning-like manifestation of her glory that knocked him out.
14
ter’e kahn’e se kyuNkar1 be-ta’ammul2 chhoR duN vaa’ez3
haraam4 allaah ne kii hai sharaab aahista aahista
1.why 2.without apprehension/doubt/hesitation 3.preacher 4.forbidden
The preacher has warned the poet/wine lover that god has forbidden wine and that he should give it up. Why should I do it unhesitatingly, after all god took his time in forbidding it (so I can take my time in giving it up).
15
gazak1 ka lutf2 kya jaan’e yeh ek do ghooNT3 mai4 pii kar
uRa5 jaa’ega vaa’ez6 sab kabaab aahista aahista
1.sweet. relish 2.pleasure 3.sips 4.wine 5.swipe away 6.preacher
Apparently, gazak is tasted between glasses of wine to change taste. I am not sure if it is worth spending too much time on this she’r. But … who is ‘yeh’ in the first misra. Is it the vaa’ez himself? If so, he has agreed to take a sip or two of wine. Thus, how will he be able to get any pleasure from gazak after drinking just one or two sips of wine. The vaa’ez will simply swipe off all kabaab slowly on the sly.
16
rakha hai haath siin’e par to thoRi der to rakkho
keh Thahrega dil-e pur-izteraab1 aahista aahista
1.full of anguish/restlessness
The poet/lover’s heart is throbbing/beating rapidly because of his anguish. He complains to the beloved and she places her hand on his heart to calm it down. He says, if you have placed your hand on the heart, at least let it be there for a while because it will take time for the heart to calm down.
17
tafaavut1 hai to itna hai falak2 meN aur uss but3 meN
kiya karta hai voh miTTi-Kharaab4 aahista aahista
1.difference 2.sky, fate 3.idol, beloved 4.destroy completely-from the roots
If there is any difference between fate and the beloved it is this … the beloved destroys completely down to the very basic nature of the lover, but does it gradually.
18
jaluuN1 kyuNkar na qaasid2 se keh mujh se aa ke kahta hai
mujhe Thahra ke likkha hai javaab3 aahista aahista
1.feel jealous 2.messenger 3.reply
The poet/lover has sent a missive to the beloved through a messenger. She makes him wait (presumably in her presence) and takes her time writing out a response. During this time, the messenger has an opportunity to be in her presence and perhaps even to see her. Then, why should I not feel jealous of the messenger, asks the poet/lover.
19
Khuda jaan’e1 keh kya hai ramz2 uss meN hazrat3-e maa’el4
jo pichhli-shab5 ko piite haiN sharaab aahista aahista
1.god knows 2.enigma, riddle, secret 3.mister 4.pen-name 5.late night, after midnight
O maa’el only god knows what enigma there is associated with wine that is sipped slowly after midnight.
