Khoon-e jigar ko maiN-premchand srivastav mazhar

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

خونِ جگر کو میں ۔ پریم چند سریواستو مظہرؔ

۱

کچھ دور ساتھ لے چلا شمس و قمر کو میں

بیتاب ہو کے بڑھ گیا آگے سفر کو میں

۲

ہر گام پر تھا اِمتحاں راہِ حیات میں

منزل ہی مانتا رہا سارے سفر کو میں

۳

راہِ خِرد کے بعد ملے گی رہِ جنوں

منزل سے بھیجتا ہوں خبر راہبر کو میں

۴

وحشت بڑھے گی اور بھی بربادیوں کے بعد

یہ جانتا اگر تو لُٹاتا نہ گھر کو میں

۵

بھرنے کو رنگ اپنی شبیہِ حیات میں

رکھتا گیا سنبھال کے خونِ جگر کو میں

۶

دی ہے صدف نے قطرۂ ناچیز کو پناہ

کیا جانتا نہیں ہوں بساطِ گہر کو میں

۷

ہر بزم میں رہا ہے مِرا خاص مرتبہ

صہبا کو سب، مگر سمِ مہلک اثر کو میں

۸

پیغام تا کہ عرش کے مظہرؔ ملا کریں

چھوڑ آیا آتے وقت دلِ معتبر کو میں

ख़ून-ए जिगर को मैं – प्रेम चंद स्रीवास्तव मज़्हर

कुछ दूर साथ ले चला शम्स ओ क़मर को मैं

बेताब हो के बढ गया आगे सफ़र को मैं

हर गाम पर था इम्तहां राह-ए हयात में

मंज़िल हि मांता रहा सारे सफ़र को मैं

राह-ए ख़िरद के बाद मिलेगी रह-ए जुनूं

मंज़िल से भेजता हुं ख़बर राहबर को मैं

वहशत बढेगी और भी बरबादियौं के बाद

ये जांता अगर तो लुटाता न घर को मैं

भरने को रंग अपनी शबीह-ए हयात में

रखता गया संभाल के ख़ून-ए जिगर को मैं

दी है सदफ़ ने क़त्रा-ए नाचीज़ को पनाह

क्या जांता नहीं हुं बिसात-ए गोहर को मैं

हर बज़्म में रहा है मेरा ख़ास मरतबा

सहबा को सब, मगर सम-ए मोहलिक असर को मैं

पैग़ाम ता-के अर्श के मज़्हर मिला करें

छोढ आया आते वक़्त दिल-ए मो’तबर को मैं

 

Click here for background and on any passage for word meanings and explanatory discussion. This Ghazal is taken from a small booklet published in 1969 by Ghalib shataabdi naagarik samiti, jabalpur. premchandr srivastav mazhar, PhD, principal of a local college, editorial board member for this booklet, chairman of the jabalpur branch of ‘anjuman-e taraqqi-e urdu’. I pick this Ghazal as representative of the wide following that urdu had even in 1969! How rapidly was the language murdered! This is one of several Ghazal modeled after
“chhoRa na rashk ne keh tere dar ka naam luN
har ek se puuchhta huN keh jaauN kidhar ko maiN”
The ‘samiti’ held several mushaa’era over a two year period using one Ghazal or the other of Ghalib’s as a model.

1
kuchh duur saath le chala shams1 o qamar2 ko maiN
be-taab3 ho ke baRh gaya aage safar4 ko maiN   
1.sun 2.moon 3.restless, impatient 4.journey
The poet is on the journey of life. For a little while he goes with the sun and moon but then, getting impatient he moves ahead on his journey. This implies that the sun and moon are slow and he is eager to move on to get to his destination (the divine, above the stars and the sun). This may be similar to iqbaal’s … sitaaroN ke aage jahaaN aur bhi haiN’. This could also possibly be a strike at the inordinate emphasis that people in India place on the horoscope and the position of the stars. The poet has no patience for this.

2
har gaam1 par tha imtehaaN2 raah3-e hayaat4 meN
manzil5 hi maanta raha saare safar6 ko maiN   
1.step 2.test, trial 3.path 4.life 5.destination 6.journey
At every step of the path of life, the poet faced a test/trial. So much so that be began to consider the journey itself to be his destination.

3
raah1-e Khirad2 ke baad milegi rah3-e junooN4
manzil5 se bhejta huN Khabar6 raahbar7 ko maiN   
1.path 2.(material) knowledge 3.path 4.passion 5.destination 6.news 7.guide
The poet has found the guide to be either too slow or too incompetent. He was insisting on teaching him the ways of the (material) world. But the poet got impatient and moved on and found that beyond the path of knowledge of the material world is the path of passion/love/mysticism/spirituality. This to him is the more desirable goal. Having reached this destination he is sending back a message to the guide who had left behind.

4
vahshat baRhegi aur bhi barbadiyoN ke baad
ye jaanta agar to luTaata na ghar ko maiN   
1.madness, passion 2.squandered, destroyed 3.if 4.let it be looted
This has echoes of majnuN of the laila-majnuN legend. majnuN, in mad passion abandons his home and wanders the desert in search of his beloved, laila. The poet has done the same and now regrets because instead of soothing him, it has increased his passion even more. Thus, if I had known that my passion would increase even more after destroying/rejecting everything I had, I would not have let my home be looted.

5
bharne ko raNg apni shabiih-e hayaat meN
rakhta gaya sanbhaal ke Khoon-e jigar ko maiN
1.image, picture, sketch 2.life 3.saved, protected 4.liver/heart
The poet is making/drawing/writing a sketch of his life. In order to fill it with colours he has been saving his heart’s blood along the way i.e., his life has been so painful that it can only be represented by the colour of his blood.

6
dii hai sadaf1 ne qatra2-e naacheez3 ko panaah4
kya jaanta nahiN huN bisaat5-e gohar6 ko maiN  
1.shell, sea-shell 2.drop 3.worthless 4.refuge 5.spread, ability, range 6.pearl
It is believed in urdu poetic tradition that when a drop of water is lucky enough to find its way into a shell, then it can become a pearl. This is held up as an example of the courage of a drop or its good fortune. Here the poet gives credit to the shell. The shell has given refuge to an otherwise worthless drop. Because of the benevolence of shell it has become pearl. Don’t I know the capabilities of the pearl! Here the ‘worthless drop’ could be the poet himself and the ‘shell’ could be the nurturing, blessing he received from his parents, ustaad or from the divine.

7
har bazm1 meN raha hai mera Khaas2 martaba3
sahba4 ko sub, magar5 sam6-e mohlik7 asar8 ko maiN   
1.gathering, association 2.special 3.status 4.flask, decanter 5.poison 6.fatal 7.fatal 8.effect
I have always had a special status in every gathering. Everyone else went for the flask of wine, I went for the effect of the fatal drink. The use of ‘sam’ – poison, is probably superflous to just emphasize fatality/potency, but not necessarily poison. The ‘fatal drink’ that the poet goes after here may be the eyes of the saaqi/beloved.

8
paiGhaam1 ta-keh2 arsh3 ke mazhar4 mila kareN
chhoR aaya aate vaqt dil-e mo’tabar5 ko maiN   
1.messages 2.so that 3.sky, heaven, divine 4.pen-name of poet 5.trustworthy
This could be a continuation of thought from the previous she’r. He was in the presence of the saaqi (divine beloved), going after the most potent wine – love of the divine. Even though he returned from that mafil, he left his heart there. Thus, O mazhar, so that I may continue to receive divine message, I left my trustworthy heart behind.

This Ghazal is taken from a small booklet published in 1969 by Ghalib shataabdi naagarik samiti, jabalpur.  premchandr srivastav mazhar, PhD, principal of a local college, editorial board member for this booklet, chairman of the jabalpur branch of ‘anjuman-e taraqqi-e urdu’.  I pick this Ghazal as representative of the wide following that urdu had even in 1969!  How rapidly was the language murdered!  This is one of several Ghazal modeled after
“chhoRa na rashk ne keh tere dar ka naam luN
har ek se puuchhta huN keh jaauN kidhar ko maiN”
The ‘samiti’ held several mushaa’era over a two year period using one Ghazal or the other of Ghalib’s as a model.
1
kuchh duur saath le chala shams1 o qamar2 ko maiN
be-taab3 ho ke baRh gaya aage safar4 ko maiN

1.sun 2.moon 3.restless, impatient 4.journey

The poet is on the journey of life.  For a little while he goes with the sun and moon but then, getting impatient he moves ahead on his journey.  This implies that the sun and moon are slow and he is eager to move on to get to his destination (the divine, above the stars and the sun).  This may be similar to iqbaal’s … sitaaroN ke aage jahaaN aur bhi haiN’.  This could also possibly be a strike at the inordinate emphasis that people in India place on the horoscope and the position of the stars.  The poet has no patience for this.
2
har gaam1 par tha imtehaaN2 raah3-e hayaat4 meN
manzil5 hi maanta raha saare safar6 ko maiN

1.step 2.test, trial 3.path 4.life 5.destination 6.journey

At every step of the path of life, the poet faced a test/trial.  So much so that be began to consider the journey itself to be his destination.
3
raah1-e Khirad2 ke baad milegi rah3-e junooN4
manzil5 se bhejta huN Khabar6 raahbar7 ko maiN

1.path 2.(material) knowledge 3.path 4.passion 5.destination 6.news 7.guide

The poet has found the guide to be either too slow or too incompetent.  He was insisting on teaching him the ways of the (material) world.  But the poet got impatient and moved on and found that beyond the path of knowledge of the material world is the path of passion/love/mysticism/spirituality.  This to him is the more desirable goal.  Having reached this destination he is sending back a message to the guide who had left behind.
4
vahshat baRhegi aur bhi barbadiyoN ke baad
ye jaanta agar to luTaata na ghar ko maiN

1.madness, passion 2.squandered, destroyed 3.if 4.let it be looted

This has echoes of majnuN of the laila-majnuN legend.  majnuN, in mad passion abandons his home and wanders the desert in search of his beloved, laila.  The poet has done the same and now regrets because instead of soothing him, it has increased his passion even more.  Thus, if I had known that my passion would increase even more after destroying/rejecting everything I had, I would not have let my home be looted.
5
bharne ko raNg apni shabiih-e hayaat meN
rakhta gaya sanbhaal ke Khoon-e jigar ko maiN

1.image, picture, sketch 2.life 3.saved, protected 4.liver/heart

The poet is making/drawing/writing a sketch of his life.  In order to fill it with colours he has been saving his heart’s blood along the way i.e., his life has been so painful that it can only be represented by the colour of his blood.
6
dii hai sadaf1 ne qatra2-e naacheez3 ko panaah4
kya jaanta nahiN huN bisaat5-e gohar6 ko maiN

1.shell, sea-shell 2.drop 3.worthless 4.refuge 5.spread, ability, range 6.pearl

It is believed in urdu poetic tradition that when a drop of water is lucky enough to find its way into a shell, then it can become a pearl.  This is held up as an example of the courage of a drop or its good fortune.  Here the poet gives credit to the shell.  The shell has given refuge to an otherwise worthless drop.  Because of the benevolence of shell it has become pearl.  Don’t I know the capabilities of the pearl!  Here the ‘worthless drop’ could be the poet himself and the ‘shell’ could be the nurturing, blessing he received from his parents, ustaad or from the divine.
7
har bazm1 meN raha hai mera Khaas2 martaba3
sahba4 ko sub, magar5 sam6-e mohlik7 asar8 ko maiN

1.gathering, association 2.special 3.status 4.flask, decanter 5.poison 6.fatal 7.fatal 8.effect

I have always had a special status in every gathering.  Everyone else went for the flask of wine, I went for the effect of the fatal drink.  The use of ‘sam’ – poison, is probably superflous to just emphasize fatality/potency, but not necessarily poison.  The ‘fatal drink’ that the poet goes after here may be the eyes of the saaqi/beloved.
8
paiGhaam1 ta-keh2 arsh3 ke mazhar4 mila kareN
chhoR aaya aate vaqt dil-e mo’tabar5 ko maiN

1.messages 2.so that 3.sky, heaven, divine 4.pen-name of poet 5.trustworthy

This could be a continuation of thought from the previous she’r.  He was in the presence of the saaqi (divine beloved), going after the most potent wine – love of the divine.  Even though he returned from that mafil, he left his heart there.  Thus, O mazhar, so that I may continue to receive divine message, I left my trustworthy heart behind.

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