For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
مہ و اختر مرے آگے ۔ احمد فرازؔ
۱
ہیں زخم بہت اور بھی دل پر مرے آگے
کوئی نہ کہے اُس کو ستمگر مرے آگے
۲
آفات زمانے کے تعاقب میں مرے ہیں
اور مے ہے نہ مینا ہے نہ ساغر مرے آگے
۳
کیوں بگڑوں فرشتوں کے لکھے پر کہ یہی کھیل
ہوتا رہا دنیا میں بھی اکثر مرے آگے
۴
توساتھ چمن میں ہو تو پھر رشک کے مارے
پھرتے ہیں کئی سرو و صنوبر مرے آگے
۵
صیّاد نے پہلے تو رہائی کی خبر دی
پھر ڈال دیئے اس نے مرے پر مرے آگے
۶
گو تیرہ مقدر ہوں مگر کیسی شکایت
ہیں کانچ کے ٹکڑے مہ و اختر مرے آگے
۷
گمراہِ زمانہ ہوں مگرراہِ وفا میں
پوچھے نہ خضر کو بھی سکندر مرے آگے
۸
وہ صاحبِ دل ہوں کہ مری جان کا دشمن
تعظیم سے رکھ دیتا ہے خنجر مرے آگے
۹
وہ مستِ ازل ہوں کہ مرا کاتبِ تقدیر
لکھتا ہے مری لوحِ مقدر مرے آگے
۱۰
وہ حرفِ صداقت ہوں کہ ہرعہدِ ستم میں
ہے ساغرِ سم قندِ مکرّر مرے آگے
۱۱
اے داورِ محشر نہ مری فردِ عمل دیکھ
اے ہاتفِ غیبی نہ سخن کر مرے آگے
۱۲
اک ذرۂ روزن ہے مرے واسطے خورشید
اک ریزۂ مینا ہے سمندر مرے آگے
۱۳
میں نے بھی کیا قصد سفر کا کہ غزل میں
غالبؔ سا طرحدار ہے رہبر مرے آگے
۱۴
کس اسم کی برکت ہے کہ ایوانِ سخن میں
کھلتا ہی چلا جاتا ہے ہر در مرے آگے
मह ओ अख़्तर मेरे आगे – अहमद फ़राज़
१
हैं ज़ख़्म बहुत और भी दिल पर मेरे आगे
कोई ना कहे उस को सितमगर मेरे आगे
२
आफ़ात ज़माने के त’आक़ुब में हैं मेरे
और मय है न मीना है न साग़र मेरे आगे
३
क्यूं बिग्डूं फ़रिश्तों के लिखे पर के यही खेल
होता रहा दुनिया में भी अक्सर मेरे आगे
४
तू साथ चमन में हो तो फिर रश्क के मारे
फिरते हैं कई सर्व ओ सनोबर मेरे आगे
५
सय्याद ने पहले तो रेहाई की ख़बर दी
फिर डाल दिए उस ने मेरे पर मेरे आगे
६
गो तीरा-मुक़द्दर हूँ मगर कैसी शिका’एत
हैं कांच के टुक्ड़े मह ओ अख़्तर मेरे आगे
७
गुमराह-ए ज़माना हूँ मगर राह-ए वफ़ा में
पूछे न ख़िज़र को भी सिकंदर मेरे आगे
८
वो साहब-ए दिल हूँ के मेरी जान का दुश्मन
ताज़ीम से रख देता है ख़ंजर मेरे आगे
९
वो मस्त-ए अज़ल हूँ के मेरा कातिब-ए तक़्दीर
लिखता है मेरी लौह-ए मुक़द्दर मेरे आगे
१०
वो हर्फ़-ए सदाक़त हूँ के हर अहद-ए सितम में
है साग़र-ए सम क़ंद-ए मुकर्रर मेरे आगे
११
अए दावर-ए महशर न मेरी फ़र्द-ए अमल देख
अए हातेफ़-ए ग़ैबी न सुख़न कर मेरे आगे
१२
एक ज़र्रा-ए रौज़न है मेरे वास्ते ख़ुर्शीद
एक रेज़ा-ए मीना है समंदर मेरे आगे
१३
मैं ने भी किया क़स्द सफ़र का के ग़ज़ल में
ग़ालिब सा तरहदार है रहबर मेरे आगे
१४
किस इस्म कि बरकत है के ऐवान-ए सुख़न में
खुलता ही चला जाता है हर दर मेरे आगे
Click here for background and on any passage for word meanings and explanatory discussion. ahmad faraz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes. This is one of two Ghazal that faraz modeled after Ghalib’s ‘hota hai shab-o-roz tamaasha mere aage’ and is linked to a series of Ghazal in the same style. In this Ghazal faraz specifically acknowledges Ghalib.
1
haiN zaKhm1 bahut aur bhi dil par mere aage
koi na kahe us ko sitamgar2 mere aage 1.wounds 2.cruel, oppressor
‘aage’ is used in two completely different senses in the two misra. In the first misra ‘aage’ is used to mean, ‘from before, already’. Thus, there are many wounds on my heart already. In the second misra ‘aage’ is used to mean, ‘in front of, before’. Thus, let not anyone call her an oppressor before me. I cannot bear any further wounds, my heart is already wounded.
2
aafaat1 zamaane2 ke t’aaqub3 meN haiN mere
aur mai4 hai na meena5 hai na saaGhar6 mere aage 1.difficulties, calamities 2.times, era 3.chasing 4.wine 5.flask 6.cup
The calamities of the times are chasing me and on top of it I have neither flask, wine nor cup.
3
kyuN bigRuN1 farishtoN2 ke likhe par keh yahi khel
hota raha duniya meN bhi aksar3 mere aage 1.get annoyed 2.angels 3.often
It is commonly believed that there are two angels, one each shoulder, observing and writing down all your deeds – good and bad. Their list will be presented on the day of judgement. Said Ghalib …
pakRe jaate haiN farishtoN ke likhe par naahaq
aadmi koii hamaara dam-e tahriir bhi tha
This she’r could be interpreted in the same spirit. Why should I get annoyed at the writing of angels. After all, the same game was often played with me in the world throughout my life. This sounds like the poet writing about himself after his death, which is not very unusual in the poetic tradition. Alternatively, angels are writing his fate and it is not very good. They have always played games with is fate. He has had bad luck so often that he wants to quit complaining about it.
4
tu saath chaman meN ho to phir rashk1 ke maare
phirte haiN kaii sarv2 o sanobar3 mere aage 1.envy 2.cypress 3.coniferous tree, pine
In urdu poetic tradition ‘sarv’ and ‘sanobar’ are used as symbols of tall and slender stature. They are even granted the ability to move. Their gait is compared to the graceful walk of the beloved. If the beloved were to walk with the poet/suitor in the garden, then many ‘sarv’ and sanobar would “walk” before him envious of the graceful gait of the beloved.
5
sayyaad1 ne pahle to rehaaii2 ki Khabar3 di
phir Daal diye us ne mere par mere aage 1.bird catcher 2.release 3.news, information
The poet is often portrayed as a free bird, singing in the garden. The ‘sayyaad’ is the quintessential evil person, catching and caging birds. In this case, the ‘sayyaad’ first informed the poet/bird that he was going to release him and then plucked his feathers and threw them down in front of him, making his release a cruel joke.
6
go tiira-muqaddar1 huN magar kaisi shikaa’et2
haiN kaaNch ke TukRe mah3 o akhtar4 mere aage 1.dark fate 2.complaint 3.moon 4.stars
Possessing ‘moon and stars’ is symbolic of earning/holding great wealth, respect and status. ‘kaaNch ke tukRe’ are like shining trinkets, devoid of any real value. He does not care for worldly goods or reputation.
7
gumraah1-e zamaana2 huN magar3 raah4-e vafa5 meN
poochhe na Khizar6 ko bhi sikandar7 mere aage 1.vagabond, lost 2.times, world 3.but 4.path 5.fidelity, love 6.Methuselah, see note 7.Alexander
Khizr/Methuselah is a legendary figure mentioned in the Bible and the qur’aan. It is believed that he searched for and found the spring of the nectar of immortality. There is also a legend that Alexander was looking for the nectar of immortality as one of the missions of his world conquest. Thus, Alexander would also seek out Khizar to ask for directions to it. The poet himself is a lost wanderer in the ways of the world but is steadfast on the path of love. So, if Alexander were to encounter him, he would stop looking for Khizar and ask the poet about the path of love – which is better than the path of immortality.
8
vo saahib-e-dil1 huN keh meri jaan ka dushman
t’aaziim2 se rakh deta hai Khanjar3 mere aage 1.master of the heart i.e., courageous 2.respect, reverence 3.dagger, knife
The poet has a fearless heart. Everyone knows that. So much so, that his sworn enemy, instead of plunging the dagger through his heart, would place it reverentially before him, knowing that the courageous poet would himself pick it up and finish the job fearlessly.
9
vo mast1-e azal2 huN keh kaatib3-e taqdiir4
likhta hai meri lauh5-e muqaddar6 mere aage 1.intoxicated, in a trance 2.eternity, universal/eternal spirit 3.scribe, writer 4.fate 5.tablet, folio 6.fate, destiny
The normal thinking is that people do not know their fate. The scribe writes their destiny in secret. But the poet is in a sufiyaana trance about eternal spirit and unmindful of any other destiny written for him. Hence, the ‘kaatib-e taqdiir’ writes his fate openly on his folio, in front of him.
10
vo harf1-e sadaaqat2 huN keh har ahd3-e sitam4 meN
hai saaGhar5-e sum6 qand7-e mukarrar8 mere aage 1.word 2.truth, credibility 3.times, age 4.oppression 5.cup 6.poison 7.sweet nectar 8.twice, double
The picture is of Socrates refusing to recant, steadfast on the path of truth, and cheerfully drinking hemlock. So, poets, in every age of oppression, are so dedicated to truth that a cup of poison is doubly sweet for them.
11
aye daavar1-e mahshar2 na meri fard-e-amal3 dekh
aye haatif-e-Ghaibi4 na suKhan5 kar mere aage 1.lord 2.day of judgement 3.account of deeds 4.angel announcing (making known, explaining) the unknown 5.conversation
Here the “unknown” is the result/the judgement after looking at the account of deeds. The “haatif-e-Ghaibi” is supposed to announce to the poet the judgement of the ‘lord of the day of judgement’. Thus the poet says – don’t look at the account of my deeds, do not talk to me about the final judgement. This could be because (a) he does not subscribe to the idea of reward and punishment (b) already knows what it is (c) does not care or (d) does not believe in all these fables.
12
ek zarra1-e rauzan2 hai mere vaaste3 Khursheed4
ek reza5-e meena6 hai samandar mere aage 1.grain, particle 2.aperture, peep hole 3.for 4.sun 5.particle, fragment 6.blue, azure
faraz goes one above Ghalib. Whereas Ghalib is content with the sea and the desert …
hotaa hai nihaaN gard meN sehraa mere hote
ghistaa hai jabiiN Khaak pe daryaa mere aage
He declares that the sun is nothing more than a small grain of a peep-hole (perhaps to look at the worlds beyond) and the sea is nothing more than a fragment of blue. While Ghalib’s she’r has a sufiyaana interpretation to it, I have difficulty in getting my head around to think of faraaz going anywhere near being a sufi. So, I don’t really know what the significance of this she’r is beyond its word meaning. Zaheer contributed … Said Ghalib: bazeecha-e atfaal hai dunya mere aage; hota hai shab-o roz tamaasha mere aage. Consistent with certain religious narratives, Ghalib believes himself to be the supreme creation of God. – the entire universe doesn’t measure up to him in stature. Immersed in his supremacy, Ghalib says that the desert, upon seeing him, hides itself into dust as it cannot face his greatness/vastness as a human. He equates the tides’ ebb and flow to the prostration that water does to him.
Following in the footsteps of Ghalib, Faraz too mocks the triviality of the sun and declares that it’s no more than a tiny aperture – a fragment of what his insightful eye is blessed to behold. He calls the ocean a tiny fragment of his goblet because his goblet carries much more for him to drink than the ocean can ever afford.
13
maiN ne bhi kiya qasd1 safar2 ka keh Ghazal meN
Ghaalib sa tarahdaar3 hai rahbar4 mere aage 1.determination, plan 2.journey 3.of graceful/elegant style 4.guide
I too determined to launch on the journey of Ghazal because Ghalib, of graceful style, was my guide.
14
kis ism1 ki barkat2 hai keh aivaan3-e suKhan4 meN
khulta hi chala jaata hai har dar5 mere aage 1.name 2.blessing 3.hallways 4.verse, Ghazal 5.door
There is some “name” that is blessing him. It is very likely that he means Ghalib, even though he does not say so explicitly. Because of the blessing of Ghalib, in the hallways of Ghazal, every door opens before me.
ahmad faraz (1931-2008) popular love and romance poet as well as a substantial contributor to progressive themes. This is one of two Ghazal that faraz modeled after Ghalib’s ‘hota hai shab-o-roz tamaasha mere aage’ and is linked to a series of Ghazal in the same style. In this Ghazal faraz specifically acknowledges Ghalib.
1
haiN zaKhm1 bahut aur bhi dil par mere aage
koi na kahe us ko sitamgar2 mere aage
1.wounds 2.cruel, oppressor
‘aage’ is used in two completely different senses in the two misra. In the first misra ‘aage’ is used to mean, ‘from before, already’. Thus, there are many wounds on my heart already. In the second misra ‘aage’ is used to mean, ‘in front of, before’. Thus, let not anyone call her an oppressor before me. I cannot bear any further wounds, my heart is already wounded.
2
aafaat1 zamaane2 ke t’aaqub3 meN haiN mere
aur mai4 hai na meena5 hai na saaGhar6 mere aage
1.difficulties, calamities 2.times, era 3.chasing 4.wine 5.flask 6.cup
The calamities of the times are chasing me and on top of it I have neither flask, wine nor cup.
3
kyuN bigRuN1 farishtoN2 ke likhe par keh yahi khel
hota raha duniya meN bhi aksar3 mere aage
1.get annoyed 2.angels 3.often
It is commonly believed that there are two angels, one each shoulder, observing and writing down all your deeds – good and bad. Their list will be presented on the day of judgement. Said Ghalib …
pakRe jaate haiN farishtoN ke likhe par naahaq
aadmi koii hamaara dam-e tahriir bhi tha
This she’r could be interpreted in the same spirit. Why should I get annoyed at the writing of angels. After all, the same game was often played with me in the world throughout my life. This sounds like the poet writing about himself after his death, which is not very unusual in the poetic tradition. Alternatively, angels are writing his fate and it is not very good. They have always played games with is fate. He has had bad luck so often that he wants to quit complaining about it.
4
tu saath chaman meN ho to phir rashk1 ke maare
phirte haiN kaii sarv2 o sanobar3 mere aage
1.envy 2.cypress 3.coniferous tree, pine
In urdu poetic tradition ‘sarv’ and ‘sanobar’ are used as symbols of tall and slender stature. They are even granted the ability to move. Their gait is compared to the graceful walk of the beloved. If the beloved were to walk with the poet/suitor in the garden, then many ‘sarv’ and sanobar would “walk” before him envious of the graceful gait of the beloved.
5
sayyaad1 ne pahle to rehaaii2 ki Khabar3 di
phir Daal diye us ne mere par mere aage
1.bird catcher 2.release 3.news, information
The poet is often portrayed as a free bird, singing in the garden. The ‘sayyaad’ is the quintessential evil person, catching and caging birds. In this case, the ‘sayyaad’ first informed the poet/bird that he was going to release him and then plucked his feathers and threw them down in front of him, making his release a cruel joke.
6
go tiira-muqaddar1 huN magar kaisi shikaa’et2
haiN kaaNch ke TukRe mah3 o akhtar4 mere aage
1.dark fate 2.complaint 3.moon 4.stars
Possessing ‘moon and stars’ is symbolic of earning/holding great wealth, respect and status. ‘kaaNch ke tukRe’ are like shining trinkets, devoid of any real value. He does not care for worldly goods or reputation.
7
gumraah1-e zamaana2 huN magar3 raah4-e vafa5 meN
poochhe na Khizar6 ko bhi sikandar7 mere aage
1.vagabond, lost 2.times, world 3.but 4.path 5.fidelity, love 6.Methuselah, see note 7.Alexander
Khizr/Methuselah is a legendary figure mentioned in the Bible and the qur’aan. It is believed that he searched for and found the spring of the nectar of immortality. There is also a legend that Alexander was looking for the nectar of immortality as one of the missions of his world conquest. Thus, Alexander would also seek out Khizar to ask for directions to it. The poet himself is a lost wanderer in the ways of the world but is steadfast on the path of love. So, if Alexander were to encounter him, he would stop looking for Khizar and ask the poet about the path of love – which is better than the path of immortality.
8
vo saahib-e-dil1 huN keh meri jaan ka dushman
t’aaziim2 se rakh deta hai Khanjar3 mere aage
1.master of the heart i.e., courageous 2.respect, reverence 3.dagger, knife
The poet has a fearless heart. Everyone knows that. So much so, that his sworn enemy, instead of plunging the dagger through his heart, would place it reverentially before him, knowing that the courageous poet would himself pick it up and finish the job fearlessly.
9
vo mast1-e azal2 huN keh kaatib3-e taqdiir4
likhta hai meri lauh5-e muqaddar6 mere aage
1.intoxicated, in a trance 2.eternity, universal/eternal spirit 3.scribe, writer 4.fate 5.tablet, folio 6.fate, destiny
The normal thinking is that people do not know their fate. The scribe writes their destiny in secret. But the poet is in a sufiyaana trance about eternal spirit and unmindful of any other destiny written for him. Hence, the ‘kaatib-e taqdiir’ writes his fate openly on his folio, in front of him.
10
vo harf1-e sadaaqat2 huN keh har ahd3-e sitam4 meN
hai saaGhar5-e sum6 qand7-e mukarrar8 mere aage
1.word 2.truth, credibility 3.times, age 4.oppression 5.cup 6.poison 7.sweet nectar 8.twice, double
The picture is of Socrates refusing to recant, steadfast on the path of truth, and cheerfully drinking hemlock. So, poets, in every age of oppression, are so dedicated to truth that a cup of poison is doubly sweet for them.
11
aye daavar1-e mahshar2 na meri fard-e-amal3 dekh
aye haatif-e-Ghaibi4 na suKhan5 kar mere aage
1.lord 2.day of judgement 3.account of deeds 4.angel announcing (making known, explaining) the unknown 5.conversation
Here the “unknown” is the result/the judgement after looking at the account of deeds. The “haatif-e-Ghaibi” is supposed to announce to the poet the judgement of the ‘lord of the day of judgement’. Thus the poet says – don’t look at the account of my deeds, do not talk to me about the final judgement. This could be because (a) he does not subscribe to the idea of reward and punishment (b) already knows what it is (c) does not care or (d) does not believe in all these fables.
12
ek zarra1-e rauzan2 hai mere vaaste3 Khursheed4
ek reza5-e meena6 hai samandar mere aage
1.grain, particle 2.aperture, peep hole 3.for 4.sun 5.particle, fragment 6.blue, azure
faraz goes one above Ghalib. Whereas Ghalib is content with the sea and the desert …
hotaa hai nihaaN gard meN sehraa mere hote
ghistaa hai jabiiN Khaak pe daryaa mere aage
He declares that the sun is nothing more than a small grain of a peep-hole (perhaps to look at the worlds beyond) and the sea is nothing more than a fragment of blue. While Ghalib’s she’r has a sufiyaana interpretation to it, I have difficulty in getting my head around to think of faraaz going anywhere near being a sufi. So, I don’t really know what the significance of this she’r is beyond its word meaning. Zaheer contributed … Said Ghalib: bazeecha-e atfaal hai dunya mere aage; hota hai shab-o roz tamaasha mere aage. Consistent with certain religious narratives, Ghalib believes himself to be the supreme creation of God. – the entire universe doesn’t measure up to him in stature. Immersed in his supremacy, Ghalib says that the desert, upon seeing him, hides itself into dust as it cannot face his greatness/vastness as a human. He equates the tides’ ebb and flow to the prostration that water does to him.
Following in the footsteps of Ghalib, Faraz too mocks the triviality of the sun and declares that it’s no more than a tiny aperture – a fragment of what his insightful eye is blessed to behold. He calls the ocean a tiny fragment of his goblet because his goblet carries much more for him to drink than the ocean can ever afford.
13
maiN ne bhi kiya qasd1 safar2 ka keh Ghazal meN
Ghaalib sa tarahdaar3 hai rahbar4 mere aage
1.determination, plan 2.journey 3.of graceful/elegant style 4.guide
I too determined to launch on the journey of Ghazal because Ghalib, of graceful style, was my guide.
14
kis ism1 ki barkat2 hai keh aivaan3-e suKhan4 meN
khulta hi chala jaata hai har dar5 mere aage
1.name 2.blessing 3.hallways 4.verse, Ghazal 5.door
There is some “name” that is blessing him. It is very likely that he means Ghalib, even though he does not say so explicitly. Because of the blessing of Ghalib, in the hallways of Ghazal, every door opens before me.
