jigar ki be-jigari rahi-Khalil-ur-rahmaan raaz

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

نہ جگر کی بے جگری رہی ۔ خلیل الرحمٰن رازؔ

۱

نہ نظر کی دیدہ وری رہی نہ جگر کی بے جگری رہی

مگر اہلِ دعویٔ شوق سے تری برہم ناز بھری رہی

۲

کبھی جاگ اٹھا کبھی سو گیا کبھی کھل اٹھا کبھی کھو گیا

دلِ مستِ جامِ جمال کو نہ خبر نہ بے خبری رہی

۳

یہ عجب ہوس کا دیار ہے یہاں عام انا کا خمار ہے

مجھے اپنے صحرا سے پیار ہے مجھے راس دربدری رہی

۴

نہ دل و دماغ کو ہے سکوں نہ زماں مکاں کو قرار ہے

میں سفر میں ہوں کہ حضر میں ہوں مری زندگی سفری رہی

۵

کہیں چاند جگنو، پرندہ رُت، کہیں رنگ دھوپ دھنک نرت

مرے دور میں دلِ مضطرب یہ غزل کی شیشہ گری رہی

۶

یہاں مکر بھی ہے جدل بھی ہے یہاں بل کے ساتھ میں چھل بھی ہے

فنِ تیشہ گر کے کمال سے زنِ حیلہ گر ہی کھری رہی

۷

یہ تبسمِ سرِ انجمن وہ عداوتوں کے دلوں میں پھن

نئے دور میں نئی نسل کی یہی شانِ دیدہ وری رہی

۸

جو خدا شناس نہیں ہوا کبھی خود شناس نہ ہو سکا

وہ جو منکرینِ خدا ہوئے اُنہیں خود سے بے خبری رہی

۹

مرے فن کے ذوقِ لطیف کو سند اہلِ ذوق کی چاہئے

مگر آج تک سرِ انجمن یہ طلب دھری کی دھری رہی

۱۰

جو تھے طالبانِ علاجِ غم اُنہیں گہری نیند سلا دیا

نہ مرض رہا نہ مریض ہی یہ غضب کی چارہ گری رہی

न जिगर की बे-जिगरी रही – ख़लील-उर-रहमान राज़

न नज़र की दीदा-वरी रही न जिगर की बे-जिगरी रही

मगर अहल-ए दा’वा-ए शौक़ से तेरी बरहम-ए नाज़ भरी रही

कभी जाग उठा कभी सो गया कभी खिल उठा कभी खो गया

दिल-ए मस्त-ए जाम-ए जमाल को न ख़बर न बे-ख़बरी रही

ये अजब हवस का दयार है यहाँ आम अना का ख़ुमार है

मुझे अपने सहरा से प्यार है मुझे रास दर-ब-दरी रही

न दिल-ओ-दिमाग़ को है सुकूँ न ज़माँ मकाँ को क़रार है

मैं सफ़र में हूँ के हज़र में हूँ मेरी ज़िंदगी सफ़री रही

कहीं चाँद जुगनू परिंदा रुत कहीं रंग धूप धनक न्रत

मेरे दौर में दिल-ए मुज़्तरिब ये ग़ज़ल की शीशागरी रही

यहाँ मक्र भी है जदल भी है यहाँ बल के साथ में छल भी है

फ़न-ए तेशा-गर के कमाल से ज़न-ए हीला-गर ही खरी रही

ये तबस्सुम-ए सर-ए अंजुमन वो अदावतों के दिलों में फन

नए दौर में नई नस्ल की यही शान-ए दीदा-वरी रही

जो ख़ुदा-शनास नहीं हुआ कभी ख़ुद-शनास न हो सका

वो जो मुन्किरीन-ए ख़ुदा हुए उन्हें ख़ुद से बे-ख़बरी रही

मेरे फ़न के ज़ौक़-ए लतीफ़ को सनद अहल-ए ज़ौक़ की चाहिए

मगर आज तक सर-ए अंजुमन ये तलब धरी की धरी रही

१०

जो थे तालिबान-ए इलाज-ए ग़म उन्हें गहरी नींद सुला दिया

न मरज़ रहा न मरीज़ ही ये ग़ज़ब की चारागरी रही

 

Click here for background and on any passage for word meanings and explanatory discussion. Khaliil-ur-rahmaan raaz (1946-xxxx), sahaaranpur, from where he got a ‘maulvi faazil’ qualification. MA, philosophy, aligaRh and a PhD in “iqbaaliyat” from umm-ul-qaraa university, makkah, arabia. He worked in doha, qatar. He has a collection of verse, a collection of urdu sonnet and a book on iqbaal. This is one of a series of Ghazal composed in the style of siraaj auraNgabadi’s “na to tu raha, na to maiN raha, jo rahi so be-Khabari rahi”.
1
na nazar1 ki diida-vari2 rahi na jigar3 ki be-jigarii4 rahi
magar ahl5-e daava-e shauq6 se teri barham7-e naaz8 bhari rahi  
1.sight, eyes 2.clear-sightedness 3.liver-considered to be the seat of courage 4.fearlessness 5.people of 6.claim of love 7.annoyed 8.coquetry
This appears to be the age old habit of one generation putting down the next one. Neither clear-sightedness of eyes nor fearlessness remain (in the character of the next generation). They all make claims of love/passion for the beloved, but she is not deceived by their claims. Her coquettish favours remain withheld – she is annoyed with them. Of course it is ambiguous who the beloved is. The conventional beloved is annoyed because their claim of love is superficial. Or the beloved might be learning/knowledge which does not open its page to them because they don’t work hard and sincerely at acquiring knowledge.

2
kabhi jaag uTha kabhi so gaya kabhi khil1 uTha kabhi kho gaya
dil-e mast2-e jaam3-e jamaal4 ko na Khabar5 na be-Khabari6 rahi    
1.blossom 2.intoxicated 3.cup 4.beauty 5.awareness, worldly knowledge 6.trance of divine love, mystic knowledge
This is probably saying that the new generation is neither here nor there … it is neither an expert at worldly knowledge nor observant of spiritual traditions. Thus, sometimes it was awake, at other times asleep. Sometimes it blossomed, at other times it was lost. The heart that was drunk on (worldly) beauty, was neither aware (knowledgeable of the material world) nor in a trance (of mystic love).

3
ye ajab1 havas2 ka dayaar3 hai yahaaN aam4 anaa5 ka Khumaar6 hai
mujhe apne sahra7 se pyaar hai mujhe raas8 dar-ba-dari9 rahi    
1.strange 2.greed, lust 3.regime, region 4.common 5.ego 6.intoxication 7.wilderness 8.suitable 9.wandering
The poet portrays himself (and perhaps his generation) as true/sincere lovers like majnuN who wandered the wilderness in search of his laila. The next genration was merely lustful. Thus, this is a regime of a strange lust. Here the intoxication with ego is common. I love my wilderness. Wandering suits me fine.

4
na dil-o-dimaaGh ko hai sukooN1 na zamaaN2 makaaN3 ko qaraar4 hai
maiN safar5 meN huuN keh hazar6 meN huuN meri zindagi safari rahi    
1.tranquility, satisfaction 2.time 3.space 4.rest, stability 5.journey 6.at home, at rest
The shaa’er is neither satisfied nor does he take any rest. Neither time nor place stands still for him. Whether he is on a journey or at home, his life is always moving/changing i.e., he is always seeking/learning.

5
kahiiN chaand jugnu parinda1 rut2 kahiiN raNg dhuup dhanak3 nrit4
mere daur5 meN dil-e muztarib6 ye Ghazal ki shiishagari7 rahi    
1.bird 2.season 3.rainbow 4.dance 5.times, age 6.restless, sorrowful 7.glass blower
Composing a Ghazal is like ‘shiishagari’ the art of glass blowing – creating delicate and fragile art. But in this age, O my sorrowful heart, this art seems to have been lost. The new shu’ara merely play with words sometimes calling the moon a firefly, at other times comapring a bird with the seasons or colour with the play of sun and rainbow. The implication is that there is deep thought content to their verse.

6
yahaaN makr1 bhi hai jadal2 bhi hai yahaaN bal3 ke saath meN chhal4 bhi hai
fan5-e tesha-gar6 ke kamaal7 se zan8-e hiila-gar9 hi khari10 rahi    
1.lying 2.conflict 3.power 4.deception 5.skill 6.stone cutter (with pickaxe or chisel) 7.excellence 8.woman 9.excuse making 10.pure, genuine
I think that he is still talking about the Ghazal style of the new generation of poets. He also makes reference to the story to shirin-farhaad where farhaad was the stone-mason working hard at digging a channel to win the hand of shirin. Thus, (in the Ghazal of the new generation) there is lying, conflict, powerplay and deception. All that farhaad (in the new telling) does is to carve and an idol of the beloved (paint a word picture) in which the beloved makes excuses to put off the lover. Only such an image of the beloved is considered genuine.

7
ye tabassum1-e sar2-e anjuman3 vo adaavatoN4 ke diloN meN phan5
naye daur6 meN na’ii nasl7 ki yahi shaan8-e diida-vari9 rahi    
1.smile 2.head, open/main part 3.gathering 4.rivalry, jealousy 5.hood of a cobra, fangs 6.times, age 7.generation 8.dignity 9.clearsightedness
In this age, the new generation, smiles in the open gathering, but in their hearts they carry rivalry/jealousy like the fangs of a snake. This goes for the dignity of their clearsightedness.

8
jo Khuda-shanaas1 nahiiN hua kabhi Khud-shanaas2 na ho saka
vo jo munkiriin3-e Khuda hue unheN Khud se be-Khabari4 rahi    
1.god knowing 2.self-aware 3.deniers 4.unaware, ignorant
Those who do not understand/acknowledge god cannot understand themselves. Those who deny god are ignorant of themselves (their own values/character). Editorial comment – I beg to differ. Those who seek to learn because they do not accept ‘received belief’ are very acutely aware of their own value system, because it is well thought out rather than blindly accepted.

9
mere fan1 ke zauq2-e latiif3 ko sanad4 ahl-e-zauq5 ki chaahiye
magar aaj tak sar6-e anjuman7 ye talab8 dhari9 ki dhari rahi    
1.skill 2.taste 3.subtle, refined 4.testimonial 5.people of taste, other poets, critics 6.head, prominent part 7.gathering 8.demand, need 9.kept in place untouched
The poet thinks that he has a subtle/refined taste of versification. He wants other shu’ara to acknowledge it. But from the most prominent part of the gathering (mushaa’era) his need has been left untouched. Nobody has acknowledged his refined taste. Editoria comment – I am not surprised!

10
jo the taalibaan1-e ilaaj2-e Gham3 unheN gahri niiNd sulaa diya
na maraz4 rahaa na mariiz5 hi ye Ghazab6 ki chaaragari7 rahi    
1.seekers, those who demand/need 2.cure 3.pain (of love) 4.ailment 5.stricken 6.disastrous 7.healing
There is someone here who is a fake healer who is practising disastrous healing. The stricken needed a cure for their ailment. Instead, the fake healer put them to deep sleep so that to all appearances there was neither anyone stricken with that ailment nor any such ailment existed. The ailment is the pain of genuine (let us say sufiyaana) love. The fake healer may be the system created by the new generation. They simply did away with the concept of this genuine pain and declared that there was no one stricken.

Khaliil-ur-rahmaan raaz (1946-xxxx), sahaaranpur, from where he got a ‘maulvi faazil’ qualification.  MA, philosophy, aligaRh and a PhD in “iqbaaliyat” from umm-ul-qaraa university, makkah, arabia.  He worked in doha, qatar.  He has a collection of verse, a collection of urdu sonnet and a book on iqbaal.  This is one of a series of Ghazal composed in the style of siraaj auraNgabadi’s “na to tu raha, na to maiN raha, jo rahi so be-Khabari rahi”.
1
na nazar1 ki diida-vari2 rahi na jigar3 ki be-jigarii4 rahi
magar ahl5-e daava-e shauq6 se teri barham7-e naaz8 bhari rahi

1.sight, eyes 2.clear-sightedness 3.liver-considered to be the seat of courage 4.fearlessness 5.people of 6.claim of love 7.annoyed 8.coquetry

This appears to be the age old habit of one generation putting down the next one.  Neither clear-sightedness of eyes nor fearlessness remain (in the character of the next generation).  They all make claims of love/passion for the beloved, but she is not deceived by their claims.  Her coquettish favours remain withheld – she is annoyed with them.  Of course it is ambiguous who the beloved is.  The conventional beloved is annoyed because their claim of love is superficial.  Or the beloved might be learning/knowledge which does not open its page to them because they don’t work hard and sincerely at acquiring knowledge.
2
kabhi jaag uTha kabhi so gaya kabhi khil1 uTha kabhi kho gaya
dil-e mast2-e jaam3-e jamaal4 ko na Khabar5 na be-Khabari6 rahi

1.blossom 2.intoxicated 3.cup 4.beauty 5.awareness, worldly knowledge 6.trance of divine love, mystic knowledge

This is probably saying that the new generation is neither here nor there … it is neither an expert at worldly knowledge nor observant of spiritual traditions.  Thus, sometimes it was awake, at other times asleep.  Sometimes it blossomed, at other times it was lost.  The heart that was drunk on (worldly) beauty, was neither aware (knowledgeable of the material world) nor in a trance (of mystic love).
3
ye ajab1 havas2 ka dayaar3 hai yahaaN aam4 anaa5 ka Khumaar6 hai
mujhe apne sahra7 se pyaar hai mujhe raas8 dar-ba-dari9 rahi

1.strange 2.greed, lust 3.regime, region 4.common 5.ego 6.intoxication 7.wilderness 8.suitable 9.wandering

The poet portrays himself (and perhaps his generation) as true/sincere lovers like majnuN who wandered the wilderness in search of his laila.  The next genration was merely lustful.  Thus, this is a regime of a strange lust.  Here the intoxication with ego is common.  I love my wilderness.  Wandering suits me fine.
4
na dil-o-dimaaGh ko hai sukooN1 na zamaaN2 makaaN3 ko qaraar4 hai
maiN safar5 meN huuN keh hazar6 meN huuN meri zindagi safari rahi

1.tranquility, satisfaction 2.time 3.space 4.rest 5.journey 6.at home, at rest

The shaa’er is neither satisfied nor does he take any rest.  Neither time nor place stands still for him.  Whether he is on a journey or at home, his life is always moving/changing i.e., he is always seeking/learning.

5
kahiiN chaand jugnu parinda1 rut2 kahiiN raNg dhuup dhanak3 nrit4
mere daur5 meN dil-e muztarib6 ye Ghazal ki shiishagari7 rahi

1.bird 2.season 3.rainbow 4.dance 5.times, age 6.restless, sorrowful 7.glass blower

Composing a Ghazal is like ‘shiishagari’ the art of glass blowing – creating delicate and fragile art.  But in this age, O my sorrowful heart, this art seems to have been lost.  The new shu’ara merely play with words sometimes calling the moon a firefly, at other times comapring a bird with the seasons or colour with the play of sun and rainbow.  The implication is that there is deep thought content to their verse.
6
yahaaN makr1 bhi hai jadal2 bhi hai yahaaN bal3 ke saath meN chhal4 bhi hai
fan5-e tesha-gar6 ke kamaal7 se zan8-e hiila-gar9 hi khari10 rahi

1.lying 2.conflict 3.power 4.deception 5.skill 6.stone cutter (with pickaxe or chisel) 7.excellence 8.woman 9.excuse making 10.pure, genuine

I think that he is still talking about the Ghazal style of the new generation of poets.  He also makes reference to the story to shirin-farhaad where farhaad was the stone-mason working hard at digging a channel to win the hand of shirin.  Thus, (in the Ghazal of the new generation) there is lying, conflict, powerplay and deception.  All that farhaad (in the new telling) does is to carve and an idol of the beloved (paint a word picture) in which the beloved makes excuses to put off the lover.  Only such an image of the beloved is considered genuine.
7
ye tabassum1-e sar2-e anjuman3 vo adaavatoN4 ke diloN meN phan5
naye daur6 meN na’ii nasl7 ki yahi shaan8-e diida-vari9 rahi

1.smile 2.head, open/main part 3.gathering 4.rivalry, jealousy 5.hood of a cobra, fangs 6.times, age 7.generation 8.dignity 9.clearsightedness

In this age, the new generation, smiles in the open gathering, but in their hearts they carry rivalry/jealousy like the fangs of a snake.  This goes for the dignity of their clearsightedness.
8
jo Khuda-shanaas1 nahiiN hua kabhi Khud-shanaas2 na ho saka
vo jo munkiriin3-e Khuda hue unheN Khud se be-Khabari4 rahi

1.god knowing 2.self-aware 3.deniers 4.unaware, ignorant

Those who do not understand/acknowledge god cannot understand themselves.  Those who deny god are ignorant of themselves (their own values/character).  Editorial comment – I beg to differ.  Those who seek to learn because they do not accept ‘received belief’ are very acutely aware of their own value system, because it is well thought out rather than blindly accepted.
9
mere fan1 ke zauq2-e latiif3 ko sanad4 ahl-e-zauq5 ki chaahiye
magar aaj tak sar6-e anjuman7 ye talab8 dhari9 ki dhari rahi

1.skill 2.taste 3.subtle, refined 4.testimonial 5.people of taste, other poets, critics 6.head, prominent part 7.gathering 8.demand, need 9.kept in place untouched

The poet thinks that he has a subtle/refined taste of versification.  He wants other shu’ara to acknowledge it.  But from the most prominent part of the gathering (mushaa’era) his need has been left untouched.  Nobody has acknowledged his refined taste.  Editoria comment – I am not surprised!
10
jo the taalibaan1-e ilaaj2-e Gham3 unheN gahri niiNd sulaa diya
na maraz4 rahaa na mariiz5 hi ye Ghazab6 ki chaaragari7 rahi

1.seekers, those who demand/need 2.cure 3.pain (of love) 4.ailment 5.stricken 6.disastrous 7.healing

There is someone here who is a fake healer who is practising disastrous healing.  The stricken needed a cure for their ailment.  Instead, the fake healer put them to deep sleep so that to all appearances there was neither anyone stricken with that ailment nor any such ailment existed.  The ailment is the pain of genuine (let us say sufiyaana) love.  The fake healer may be the system created by the new generation.  They simply did away with the concept of this genuine pain and declared that there was no one stricken.

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