kis ki masjid-mir taqi mir

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

کس کی مسجد ۔ میر تقی میرؔ

۱

کس کی مسجد، کیسے میخانے، کہاں کے شیخ و شاب

ایک گردش میں تری چشمِ سیہ کے سب خراب

۲

تو کہاں، اُس کی کمر کیدھر، نہ کر یوں اِضطراب

اے رگِ گُل دیکھیو کھاتی ہے جو تو پیچ و تاب

۳

موند رکھنا چشم کا ہستی میں عینِ دید ہے

کچھ نہیں آتا نظر جب آنکھ کھولے ہے حباب

۴

تو ہو اور دنیا ہو ساقی میں ہوں مستی ہو مدام
پر، بطِ صہبا نکالے اُڑ چلے رنگِ شراب

۵

ہے ملامت تیرے باعث شور پر تجھ سے نمک

ٹک تو رۂ پیری چلی آتی ہے اے عہدِ شباب

۶
کب تھی یہ بے جراؑتی شایانِ آہوئے حرم
ذبح ہوتا تیغ سے یا آگ میں ہوتا کباب

۷

کیا ہو رنگِ رفتہ کیا قاصد ہو جس کو خط دیا

جُز جوابِ صاف اُس سے کب کوئی لایا جواب

۸

واے اِس جینے پر اے مستی کہ دورِ چرخ میں

جامِ مے پر گردش آوے اور میخانہ خراب

۹

مت ڈھلک مژگاں سے اب تو اے سرشکِ آبدار

مفت میں جاتی رہے گی تیری موتی کی سی آب

۱۰

کچھ نہیں بحرِ جہاں کی موج پر مت بھول میرؔ

دور سے دریا نظر آتا ہے لیکن ہے سراب

 

किस की मस्जिद – मीर तक़ी मीर

किस की मस्जिद कैसे मैख़ाने कहाँ के शैख़‐ओ‐शाब
एक गर्दिश में तेरी चश्म-ए स्या की सब ख़राब

तू कहां उस कि कमर कीधर, न कर यूं इज़्तेराब

अए रग-ए गुल देखियो खाती है जो तू पेच ओ ताब

मूंद रखना चश्म का हस्ती में ऐन-ए दीद है
कुछ नहीं आता नज़र जब आंख खोले है हबाब

तू हो और दुनिया हो साक़ी मैं हूँ मस्ती हो मुदाम
पर बत-ए सहबा निकाले उड़ चले रंग-ए शराब

है मलामत तेरे बा’अस शोर पर तुझ से नमक

टुक तो अहद-ए पीरी चली आती है अए अहद-ए शबाब

कब थी ये बे-जुर’अती शायान-ए आहू-ए हरम
ज़बह होता तेग़ से या आग में होता कबाब

क्या हो रंग-ए रफ़्ता क्या क़ासिद हो जिस को ख़त दिया

जुज़ जवाब-ए साफ़ उस से कब कोई लाया जवाब

वा’ए इस जीने पर अए मस्ती के दौर-ए चर्ख़ में

जाम-ए मै पर गर्दिश आवे और मैख़ाना ख़राब

मत ढलक मिज़्शगां से अब तू अए सरश्क-ए आबदार

मुफ़्त में जाती रहेगी तेरी मोती कि से आब

१०

कुछ नहीं बहर-ए जहां कि मौज पर मत भूल मीर

दूर से दरिया नज़र आता है लैकिन है सराब

 

Click here for background and on any passage for word meanings and explanatory discussion. mir taqi mir (1722-1810) pioneer of urdu language and Ghazal. Considered a poet of angst and sorrow. He speaks profound thoughts in simple language.
1
kis ki masjid kaise maiKhaane kahaaN ke shaiKh-o-shaab1
ek gardish2 meN teri chashm-e-syah3 ki sab Kharaab4    
1.elders and youth 2.movement 3.dark (or drunk or angry) eyes 4.drunk, destroyed
Neither the mosque nor the tavern, neither the venerabe elder not the brazen youth, none of these count for much. They cannot withstand your dark glance. The “your” refers to the ‘saaqi’ and this could be referring to the power of the beauty of her dark (or inebriated/drooping) eyes. In seema sahgal’s singing the ‘maiKhaana’ is turned into a ‘butKhaana’ giving a whole different meaning to the she’r (I am not sure if both are authentic). The “your” becomes ‘god’ and it is his angry look that destroys all orthodoxy.

2
tu kahaaN us ki kamar keedhar1, na kar yuN izteraab2
aye rag-e-gul3 dekhiye khaati hai jo tu pech-o-taab4    
1.old form of kidhar, where 2.restless 3.vein of the rose (petal) 4.twists and turns (in restlessness)
The beloved’s waist is so thin/delicate as to be the envy of the vein of the rose petal. As it blows in the wind, it is considered to be twisting and turning in restlessness because of envy.

3
mooNd1 rakhna chashm2 ka hasti meN a’yn3-e diid4 hai
kuchh nahiN aata nazar jab aaNkh khole hai habaab5    
1.closed 2.eye 3.essence 4.sight 5.bubble
Consider a bubble acting like a spherical mirror. As long as its eyes are closed it can “see” – show the image of things around it. As soon as the eye is open (the bubble bursts) it ceases to be able to see. Thus keeping eyes closed is the essence of sight. Here the poet/sufi implies closing eyes to the external world and looking inside for the spirit.

4
tu ho aur dunya ho saaqi maiN huN masti ho mudaam1
par, bat-e-sahba2 nikaale uR chale raNg-e sharaab   
1.constant, perpetual 2.duck shaped wine flask
There is a sufiyaana implication with the saaqi becoming divine and the ‘intoxication’ being that of love. Thus, the poet/sufi wants perpetual intoxication not have to wait for the next round to be served. He wants to be so intoxicated as to see the wine-duck sprout wings and fly. Not just that, even the colour of wine (of love) should fly and spread all over.

5
hai malaamat1 tere baa’as2 shor3 par tujh se namak
Tuk to rah-e-piiri4 chali aati hai aye ahd-e-shabaab5   

1.blame, disrepute 2.due to 3.frenzy, tumult (farsi) 4.path of old age 5.time of youth
This is addressed to ‘ahd-e shabaab’, to youth. The thing that the poet values and wants to preserve is “shor” – the frenzy (of divine love). But because of the indiscretions of youth there is blame/disrepute on frenzy. The implication is that youth is in a state of frenzy because of earthly/carnal love, not divine love. Because of this there is disrepute and salt on the wound of ‘shor’. Don’t forget, O, youth, that old age is around the corner.

6
kab thii ye be-jur’ati1 shaayaan2-e aahuu3-e haram4
zabah5 hotaa teGh se yaa aag meN hota kabaab    
1.lack of courage 2.befitting 3.deer 4.k’aaba 5.slaughtered
Apparently, deer used to roam freely in the precincts of the k’aaba, since it was forbidden to kill them there. “Deer” is used metaphorically for the lover. The ideal for the lover is to be slaughtered by the beloved just like the slaughtering and roasting of deer into kabaab. The poet bemoans the fact that the deer lack courage and hang around the k’aaba/sanctuary. This does not befit them. They should venture out and be prepared to be slaughtered by the beloved.

7
kya ho raNg-e-rafta1, kya qaasid2 ho jis ko Khat diya
juz4 javaab-e-saaf5 us se kab koii laaya javaab
1.style of days gone by 2.messenger 4.except for 5.clear answer or blank paper
The poet/lover is writing letters/messages and sending them through the messenger. All he gets back is a clear message denying his imploration or even perhaps a blank paper. What kind of a ‘qaais’ is this. How can the style of days gone by (when the beloved used to respond) be brought back.

8
vaa’e1 is jeene par aye masti2, ke daur-e-charKh3 meN
jaam-e-mai4 par gardish5 aave aur maiKhaana Kharaab   
1.curse on 2.intoxication 3.period of (evil) fate 4.cup of wine 5.evil fate, calamity
Curse on it, what kind of a life is this, O, intoxication, that in this period of evil fate, calamity has befallen the cup of wine and the tavern is destroyed.

9
mat Dhalak mizshgaaN1 se ab tu aye sarashk-e-aabdaar2
muft meN jaati rahegi teri moti ki si aab3        
1.eyelashes 2.shining tear drop 3.brilliance
Do not drop from the eyelash, O, shining tear drop. For nothing, you will lose your pearly brilliance. Thus, there is no use of shedding tears.

10
kuchh nahiN bahr-e-jahaaN1 ki mauj par mat bhool mir
duur se dariya nazar aata hai laikin hai saraab2    
1.world ocean 2.mirage, illusion
Do not forget O, mir that there is nothing on the waves of the ocean of life. It just appears to be an ocean but it only a mirage/illusion.

mir taqi mir (1722-1810) pioneer of urdu language and Ghazal.  Considered a poet of angst and sorrow.  He speaks profound thoughts in simple language.
1
kis ki masjid kaise maiKhaane kahaaN ke shaiKh-o-shaab1
ek gardish2 meN teri chashm-e-syah3 ki sab Kharaab4

1.elders and youth 2.movement 3.dark (or drunk or angry) eyes 4.drunk, destroyed

Neither the mosque nor the tavern, neither the venerabe elder not the brazen youth, none of these count for much.  They cannot withstand your dark glance.  The “your” refers to the ‘saaqi’ and this could be referring to the power of the beauty of her dark (or inebriated/drooping) eyes.  In seema sahgal’s singing the ‘maiKhaana’ is turned into a ‘butKhaana’ giving a whole different meaning to the she’r (I am not sure if both are authentic).  The “your” becomes ‘god’ and it is his angry look that destroys all orthodoxy.
2
tu kahaaN us ki kamar keedhar1, na kar yuN izteraab2
aye rag-e-gul3 dekhiye khaati hai jo tu pech-o-taab4

1.old form of kidhar, where 2.restless 3.vein of the rose (petal) 4.twists and turns (in restlessness)

The beloved’s waist is so thin/delicate as to be the envy of the vein of the rose petal.  As it blows in the wind, it is considered to be twisting and turning in restlessness because of envy.
3
mooNd1 rakhna chashm2 ka hasti meN a’yn3-e diid4 hai
kuchh nahiN aata nazar jab aaNkh khole hai habaab5

1.closed 2.eye 3.essence 4.sight 5.bubble

Consider a bubble acting like a spherical mirror.  As long as its eyes are closed it can “see” – show the image of things around it.  As soon as the eye is open (the bubble bursts) it ceases to be able to see.  Thus keeping eyes closed is the essence of sight.  Here the poet/sufi implies closing eyes to the external world and looking inside for the spirit.
4
tu ho aur dunya ho saaqi maiN huN masti ho mudaam1
par, bat-e-sahba2 nikaale uR chale raNg-e sharaab

1.constant, perpetual 2.duck shaped wine flask

There is a sufiyaana implication with the saaqi becoming divine and the ‘intoxication’ being that of love.  Thus, the poet/sufi wants perpetual intoxication not have to wait for the next round to be served.  He wants to be so intoxicated as to see the wine-duck sprout wings and fly.  Not just that, even the colour of wine (of love) should fly and spread all over.
5
hai malaamat1 tere baa’as2 shor3 par tujh se namak
Tuk to rah-e-piiri4 chali aati hai aye ahd-e-shabaab5

1.blame, disrepute 2.due to 3.frenzy, tumult (farsi) 4.path of old age 5.time of youth

This is addressed to ‘ahd-e shabaab’, to youth.  The thing that the poet values and wants to preserve is “shor” – the frenzy (of divine love).  But because of the indiscretions of youth there is blame/disrepute on frenzy.  The implication is that youth is in a state of frenzy because of earthly/carnal love, not divine love.  Because of this there is disrepute and salt on the wound of ‘shor’.  Don’t forget, O, youth, that old age is around the corner.
6
kab thii ye be-jur’ati1 shaayaan2-e aahuu3-e haram4
zabah5 hotaa teGh se yaa aag meN hota kabaab

1.lack of courage 2.befitting 3.deer 4.k’aaba 5.slaughtered

Apparently, deer used to roam freely in the precincts of the k’aaba, since it was forbidden to kill them there.  “Deer” is used metaphorically for the lover.  The ideal for the lover is to be slaughtered by the beloved just like the slaughtering and roasting of deer into kabaab.  The poet bemoans the fact that the deer lack courage and hang around the k’aaba/sanctuary.  This does not befit them.  They should venture out and be prepared to be slaughtered by the beloved.
7
kya ho raNg-e-rafta1, kya qaasid2 ho jis ko Khat diya
juz4 javaab-e-saaf5 us se kab koii laaya javaab

1.style of days gone by 2.messenger 4.except for 5.clear answer or blank paper

The poet/lover is writing letters/messages and sending them through the messenger.  All he gets back is a clear message denying his imploration or even perhaps a blank paper.  What kind of a ‘qaais’ is this.  How can the style of days gone by (when the beloved used to respond) be brought back.
8
vaa’e1 is jeene par aye masti2, ke daur-e-charKh3 meN
jaam-e-mai4 par gardish5 aave aur maiKhaana Kharaab

1.curse on 2.intoxication 3.period of (evil) fate 4.cup of wine 5.evil fate, calamity

Curse on it, what kind of a life is this, O, intoxication, that in this period of evil fate, calamity has befallen the cup of wine and the tavern is destroyed.
9
mat Dhalak mizshgaaN1 se ab tu aye sarashk-e-aabdaar2
muft meN jaati rahegi teri moti ki si aab3

1.eyelashes 2.shining tear drop 3.brilliance

Do not drop from the eyelash, O, shining tear drop.  For nothing, you will lose your pearly brilliance.  Thus, there is no use of shedding tears.
10
kuchh nahiN bahr-e-jahaaN1 ki mauj par mat bhool mir
duur se dariya nazar aata hai laikin hai saraab2

1.world ocean 2.mirage, illusion

Do not forget O, mir that there is nothing on the waves of the ocean of life.  It just appears to be an ocean but it only a mirage/illusion.

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