Khayaal aane tak-qamar jalalavi

For word meanings and explanatory discussion in English click on the “English” or “Notes” tab.
‘tarannum’ in qamar jalalavi’s own voice

خیال آنے تک ۔ قمر جلالوی

۱

تم کو ہم خاک نشینوں کا خیال آنے تک

شہر تو شہر بدل جائیں گے ویرانے تک

۲

باغباں فصل بہار آنے کا وعدہ تو قبول

اور اگر ہم نہ رہے فصل بہار آنے تک

۳

دیکھئے محفلِ ساقی کا نتیجہ کیا ہو

بات شیشے کی پہنچنے لگی  پیمانے تک

۴

صبح ہوتی نہیں اے عشق یہ کیسی شب ہے

قیس و فرہاد کے دہرا لئے افسانے تک

۵

پھر نہ طوفان اٹھیں گے نہ گرے گی بجلی

یہ حوادث ہیں غریبوں ہی کے مٹ جانے تک

۶

میں نے ہر چند بلا ٹالنی چاہی لیکن

شیخ نے ساتھ نہ چھوڑا مرا مے خانے تک

۷

وہ بھی کیا دن تھے کہ گھر سے کہیں جاتے ہی نہ تھے

اور گئے بھی تو فقط شام کو مے خانے تک

۸

میں وہاں کیسے حقیقت کو سلامت رکھوں

جس جگہ رد و بدل ہو گئے افسانے تک

۹

اور تو کیا کہوں اے شیخ تری ہمت پر

کوئی کافر ہی گیا ہو ترے مے خانے تک

۱۰

اُس جگہ بزم میں ساقی نے بٹھایا ہے ہمیں

ہاتھ پھیلائیں تو جاتا نہیں پیمانے تک

۱۱

اے قمر  صبح ہوئی اب تو اُٹھو محفل سے

شمع گُل ہو گئی رخصت ہوئے پروانے تک

۱۲

اے قمرؔ شام کا وعدہ ہے وہ آتے ہوں گے

شام کہلاتی ہے تاروں کے نکل آنے تک

 

ख़याल आने तक – क़मर जलालवी

तुम को हम ख़ाक-नशीनों का ख़याल आने तक

शहर तो शहर बदल जाएँगे वीराने तक

बाग़बाँ फ़स्ल-ए-बहार आने का व’अदा तो क़ुबूल

और अगर हम न रहे फ़स्ल-ए-बहार आने तक

देखिए महफ़िल-ए-साक़ी का नतीजा क्या हो

बात शीशे की पहुँचने लगी पैमाने तक

सुब्ह होती नहीं ऐ इश्क़ ये कैसी शब है

क़ैस ओ फ़रहाद के दोहरा लिए अफ़्साने तक

फिर न तूफ़ान उठेंगे न गिरेगी बिजली

ये हवादिस हैं ग़रीबों ही के मिट जाने तक

मैं ने हर-चंद बला टालनी चाही लेकिन

शैख़ ने साथ न छोड़ा मेरा मय-ख़ाने तक

वो भी क्या दिन थे कि घर से कहीं जाते ही न थे

और गए भी तो फ़क़त शाम को मय-ख़ाने तक

मैं वहाँ कैसे हक़ीक़त को सलामत रक्खूं

जिस जगह रद्द-ओ-बदल हो गए अफ़्साने तक

और तो क्या कहूँ ऐ शैख़ तेरी हिम्मत पर

कोई काफ़िर ही गया हो तिरे मय-ख़ाने तक

१०

उस जगह बज़्म में साक़ी ने बिठाया है हमें

हाथ फैलाएं तो जाता नहीं पैमाने तक

११

अए क़मर सुबह हुई अब तो उठो महफ़िल से

शम’अ गुल हो गई रुख़्सत हुए परवाने तक

१२

अए क़मर शाम का वादा है वो आते होंगे

शाम कहलाती है तारों के निकल आने तक

 

Click on any passage for word meanings and explanatory discussion.
1
tum ko hum Khaak-ashinauN1 ka Khayaal  aane tak
shahr to shahr, badal jaaeNge veeraane tak
1.dust dwellers
By the time the beloved gets around to think of her lovers (who are so down in luck that they are dust dwellers), not just cities, even the wilderness will change (get worse, with the vicissitudes of time).

2
baaGhbaaN1 fasl-e-bahaar2 aane ka vaada3 to qubool4
aur agar hum na rahe fasl-e-bahaar aane tak
1.gardener 2.harvest/season of spring 3.promise 4.acceptable
The gardener could be god, who is promising/giving hope of better days (spring) to come. The poet/lover is willing to accept this promise but what if he is not around by the time spring arrives. He is not sure he will live until then.

3
dekhiye mahfil-e-saaqi1 ka natija2 kya ho
baat sheeshe ki pahuNchne lagi paimaane3 tak
1.gathering of the saaqi (at the tavern) 2.result, end 3.cup, goblet
The pouring of wine into cups is likened to their secret conversation/whispering to each other. They are conversing and perhaps conspiring to carry out a revolt (against the saaqi). Let us see what the result of this gathering is going to be now that the botte and cup are talking to each other.

4
subah hoti nahiN aye ishq1 ye kaisi shab2 hai
qais3 o farhaad4 ke dohra5 liye afsaane6 tak
1.love 2.night 3.another name of majnuN 4.farhaad of shiriN-farhaad story, both are used as symbols of mad passionate lovers
The night of separation is so long that it does not pass, dawn does not break, even though the (long and painful) stories of majnuN and farhaad have been repeated over and over.

5
phir na toofaan1 uTheNge na giregi bijli
ye havaadis2 haiN GharibauN hi ke miT3 jaane tak
1.storm 2.incidents, calamities 3.erased, wiped out
After this there will be no more storms, no more lightning strikes. Such calamities are only meant for the poor to be wiped out. Once that is done, no more storms/lightning.

6
maiN ne har-chand1 balaa2 Taalni3 chaahi  laikin
shaiKh ne saath na chhoRa mera mai-Khaane4 tak
1.every possible way 2.calamity, curse 3.get rid of 4.tavern
The poet/reveler is on his way to the tavern and runs into the shaiKh. He tries all possible tricks but is unable to get rid of him (he is viewed as a curse). It is not clear if the shaiKh is forcing himself on the poet/reveler because he wants to lecture him on abstinence or if he is secretly interested in going to the tavern himself.

7
vo bhi kya din the ke ghar se kahiN jaate hi na the
aur gaye bhi to faqat1 shaam ko mai-Khaane2 tak
1.only 2.tavern
The tavern is a place of joy/revelry and symbol of free thinking, freedom from the clutches of orthodoxy. Those were the days when we did not need to go anywhere except to the tavern in the evenings. It is implied that times have changed and we are being forced to go to the mosque.

8
maiN vahaaN kaise haqiqat1 ko salaamat2  rakkhuN
jis jagah radd-o-badal3 ho gaye afsaane4 tak
1.truth, reality 2.preserve 3.change, modification 4.story
I am not sure if there is anything profound (or political) the poet is trying to say here. I can only do a literal translation … how can I preserve the truth when the story has been distorted … the implication is that the beloved is making things up to blame the poet/lover and he is helpless, either because he cannot malign her name or because he has no credibility when faced with her side of the story.

9
aur to kya  kahuN aye shaiKh teri himmat1 par
koi kaafir2 hi gaya ho tere mai-Khaane3 tak
1.courage 2.sinner, non-believer 3.tavern
The shaiKh is so foolhardy/ desperate that he has opened up a tavern. Of course, this is a trap to catch unwary revelers. The poet/lover gets wise to this deception … what can I say about your daredevilry O shaiKh, only a non-believer would go to your tavern. The poet is turning the table in a very interesting way. Those who are real believers would know the real tavern and would not turn up at the shaiKh’s place. Only non-believers (those who do not believe in the ‘real’ tavern) would show up.

10
us jagah bazm1 meN saaqi ne biThaaya hai hameN
haath phailaayeN to jaata nahiN paimaane2 tak
1.gathering 2.cup (of wine)
The saaqi has been particularly cruel to the poet/reveler. She has given him a seat in the gathering that is so remote that even if he stretches his hand he cannot reach the cup of wine.

11
aye qamar1 subah hui ab to uTho mahfil2 se
shama’3 gul4 ho gayii ruKhsat5 hue parvaane6 tak
1.poet’s pen name, full moon 2.gathering 3.lamp, candle 4.extinguish 5.depart 6.moth
Revelry and wine-drinking has gone on all night long. It is now dawn. The party is over. The lamp has been extinguished and moths are gone (the beloved has left and all lovers are gone), but the poet/lover/moon is hanging on, reluctant to leave, perhaps because he had not received any favours from the beloved during the night and was still hanging on to hope. This sounds like the poet is talking to himself, trying to persuade himself to leave, saying that there is no hope now, leave.

12
aye qamar shaam ka vaada1  hai vo aate hoNge
shaam kahlaati hai taarauN ke nikal aane tak
1.promise
I found two different versions of this Ghazal with two different maqta. I have included both. The poet/lover is consoling himself. She has promised to come in the evening. The stars are out (that is the end of evening and beginning of night). She should be coming any time now.

1
tum ko hum Khaak-nashinauN1 ka Khayaal aane tak
shahr to shahr, badal jaaeNge veeraane tak

1.dust dwellers

By the time the beloved gets around to think of her lovers (who are so down in luck that they are dust dwellers), not just cities, even the wilderness will change (get worse, with the vicissitudes of time).
2
baaGhbaaN1 fasl-e-bahaar2 aane ka vaada3 to qubool4
aur agar hum na rahe fasl-e-bahaar aane tak

1.gardener 2.harvest/season of spring 3.promise 4.acceptable

The gardener could be god, who is promising/giving hope of better days (spring) to come.  The poet/lover is willing to accept this promise but what if he is not around by the time spring arrives.  He is not sure he will live until then.
3
dekhiye mahfil-e-saaqi1 ka natija2 kya ho
baat sheeshe ki pahuNchne lagi paimaane3 tak

1.gathering of the saaqi (at the tavern) 2.result, end 3.cup, goblet

The pouring of wine into cups is likened to their secret conversation/whispering to each other.  They are conversing and perhaps conspiring to carry out a revolt (against the saaqi).  Let us see what the result of this gathering is going to be now that the botte and cup are talking to each other.
4
subah hoti nahiN aye ishq1 ye kaisi shab2 hai
qais3 o farhaad4 ke dohra5 liye afsaane6 tak

1.love 2.night 3.another name of majnuN 4.farhaad of shiriN-farhaad story, both are used as symbols of mad passionate lovers

The night of separation is so long that it does not pass, dawn does not break, even though the (long and painful) stories of majnuN and farhaad have been repeated over and over.
5
phir na toofaan1 uTheNge na giregi bijli
ye havaadis2 haiN GharibauN hi ke miT3 jaane tak

1.storm 2.incidents, calamities 3.erased, wiped out

After this there will be no more storms, no more lightning strikes.  Such calamities are only meant for the poor to be wiped out.  Once that is done, no more storms/lightning.
6
maiN ne har-chand1 balaa2 Taalni3 chaahi laikin
shaiKh ne saath na chhoRa mera mai-Khaane4 tak

1.every possible way 2.calamity, curse 3.get rid of 4.tavern

The poet/reveler is on his way to the tavern and runs into the shaiKh.  He tries all possible tricks but is unable to get rid of him (he is viewed as a curse).  It is not clear if the shaiKh is forcing himself on the poet/reveler because he wants to lecture him on abstinence or if he is secretly interested in going to the tavern himself.
7
vo bhi kya din the ke ghar se kahiN jaate hi na the
aur gaye bhi to faqat1 shaam ko mai-Khaane2 tak

1.only 2.tavern

The tavern is a place of joy/revelry and symbol of free thinking, freedom from the clutches of orthodoxy.  Those were the days when we did not need to go anywhere except to the tavern in the evenings.  It is implied that times have changed and we are being forced to go to the mosque.
8
maiN vahaaN kaise haqiqat1 ko salaamat2 rakkhuN
jis jagah radd-o-badal3 ho gaye afsaane4 tak

1.truth, reality 2.preserve 3.change, modification 4.story

I am not sure if there is anything profound (or political) the poet is trying to say here.  I can only do a literal translation … how can I preserve the truth when the story has been distorted … the implication is that the beloved is making things up to blame the poet/lover and he is helpless, either because he cannot malign her name or because he has no credibility when faced with her side of the story.
9
aur to kya kahuN aye shaiKh teri himmat1 par
koi kaafir2 hi gaya ho tere mai-Khaane3 tak

1.courage 2.sinner, non-believer 3.tavern

The shaiKh is so foolhardy/ desperate that he has opened up a tavern.  Of course, this is a trap to catch unwary revelers.  The poet/lover gets wise to this deception … what can I say about your daredevilry O shaiKh, only a non-believer would go to your tavern.  The poet is turning the table in a very interesting way.  Those who are real believers would know the real tavern and would not turn up at the shaiKh’s place.  Only non-believers (those who do not believe in the ‘real’ tavern) would show up.
10
us jagah bazm1 meN saaqi ne biThaaya hai hameN
haath phailaayeN to jaata nahiN paimaane2 tak

1.gathering 2.cup (of wine)

The saaqi has been particularly cruel to the poet/reveler.  She has given him a seat in the gathering that is so remote that even if he stretches his hand he cannot reach the cup of wine.
11
aye qamar1 subah hui ab to uTho mahfil2 se
shama’3 gul4 ho gayii ruKhsat5 hue parvaane6 tak

1.poet’s pen name, full moon 2.gathering 3.lamp, candle 4.extinguish 5.depart 6.moth

Revelry and wine-drinking has gone on all night long.  It is now dawn.  The party is over.  The lamp has been extinguished and moths are gone (the beloved has left and all lovers are gone), but the poet/lover/moon is hanging on, reluctant to leave, perhaps because he had not received any favours from the beloved during the night and was still hanging on to hope.  This sounds like the poet is talking to himself, trying to persuade himself to leave, saying that there is no hope now, leave.
12
aye qamar shaam ka vaada1 hai vo aate hoNge
shaam kahlaati hai taarauN ke nikal aane tak

1.promise

I found two different versions of this Ghazal with two different maqta.  I have included both.  The poet/lover is consoling himself.  She has promised to come in the evening.  The stars are out (that is the end of evening and beginning of night).  She should be coming any time now.

Key Search Words:

Leave a Reply

Your email address will not be published. Required fields are marked *