maiKhaane ka – qamar jalalavi

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

میخانے کا ۔ قمر جلالوی

۱

اب کیسے رفو پیراہن ہو اِس آوارہ دیوانے کا

کیا جانے گریباں ہوگا کہاں دامن ہے بڑا ویرانے کا

۲

واعظ نہ سنے گا ساقی کی لالچ ہے اسے پیمانے کا

مجھ سے ہوں اگر ایسی باتیں میں نام نہ لوں میخانے کا

۳

کیا جانے کہے گا کیا آ کر ہے دور یہاں پیمانے کا

اللہ کرے واعظ کو کبھی رستہ نہ ملے میخانے کا

۴

تربت سے لگا کر تا محشر سنتے ہیں کوئی ملتا ہی نہیں

منزل ہے بڑی آبادی کی رستہ ہے بڑا ویرانے کا

۵

جنت میں پیے گا تو کیونکر اے شیخ یہاں گر مشق نہ کی

اب مانے نہ مانے تیری خوشی ہے کام مرا سمجھانے کا

۶

جی چاہا جہاں پر روک دیا پاؤں میں چبھے اور ٹوٹ گئے

خاروں نے بھی دل میں سوچ لیا ہے کون یہاں دیوانے کا

۷

ہیں تنگ ترے مے کش ساقی یہ پڑھ کے نماز آتا ہے یہیں

یا شیخ کی توبہ تڑوا دے یا وقت بدل میخانے کا

۸

ہر صبح کو آہِ سرد سے دل شادابِ جراحت رہتا ہے

گر یوں ہی رہے گی بادِ سحر یہ پھول نہیں مُرجھانے کا

۹

بہکے ہوئے واعظ سے مل کر کیوں بیٹھے ہوئے ہو مے خوارو

گر توڑ دے یہ سب جام و سُبُو کیا کر لو گے دیوانے کا

۱۰

احباب یہ تم کہتے ہو بجا وہ بزمِ عدو میں بیٹھے ہیں

وہ آئیں نہ آئیں اُن کی خوشی چرچا تو کرو مر جانے کا

۱۱

اُس وقت کھلے گا حسن کو بھی احساسِ محبت ہے کہ نہیں

جب شمع سرِ محفل رو کر منہ دیکھے گی پروانے کا

۱۲

بادل کے اندھیرے میں چھپ کر میخانے میں آ بیٹھا ہے

گر چاندنی ہو جائے گی قمرؔ یہ شیخ نہیں پِھر جانے کا

मैख़ाने का – क़मर जलालवी

अब कैसे रफ़ू पैराहन हो इस आवारा दीवाने का

क्या जाने गरेबाँ होगा कहाँ दामन है बड़ा वीराने का

वाए’ज़ न सुनेगा साक़ी कि लालच है उसे पैमाने का

मुझ से हों अगर ऐसी बातें मैं नाम न लूँ मैख़ाने का

क्या जाने कहेगा क्या आ कर है दौर यहाँ पैमाने का

अल्लाह करे वाए’ज़ को कभी रस्ता न मिले मैख़ाने का

तुर्बत से लगा कर ता महशर सुनते हैं कोई मिलता ही नहीं

मंज़िल है बड़ी आबादी की रस्ता है बड़ा वीराने का

जन्नत में पिएगा तू क्यूँकर ऐ शैख़ यहाँ गर मश्क़ न की

अब माने न माने तेरी ख़ुशी है काम मेरा समझाने का

जी चाहा जहाँ पर रोक दिया, पाऊँ में चुभे और टूट गए

ख़ारौं ने भी दिल में सोच लिया है कौन यहाँ दीवाने का

हैं तंग तेरे मै-कश साक़ी ये पढ़ के नमाज़ आता है यहीं

या शैख़ की तौबा तुड़वा दे या वक़्त बदल मैख़ाने का

हर सुब्ह को आह-ए सर्द से दिल शादाब-ए जराहत रहता है

गर यूँ ही रहेगी बाद-ए-सहर ये फूल नहीं मुरझाने का

बहके हुए वाए’ज़ से मिल कर क्यूँ बैठे हुए हो मै-ख़्वारो

गर तोड़ दे ये सब जाम-ओ-सुबू क्या कर लोगे दीवाने का

१०

अहबाब ये तुम कहते हो बजा वो बज़्म-ए-अदू में बैठे हैं

वो आएँ न आएँ उन की ख़ुशी चर्चा तो करो मर जाने का

११

उस वक़्त खुलेगा हुस्न को भी एहसास-ए-मोहब्बत है के नहीं

जब शम’अ सर-ए-महफ़िल रो कर मुँह देखेगी परवाने का

१२

बादल के अंधेरे में छुप कर मैख़ाने में आ बैठा है

गर चाँदनी हो जाएगी क़मर ये शैख़ नहीं फिर जाने का

 

Click here for background and on any passage for word meanings and explanatory discussion. mohammed husain qamar jalaalavi (1887-1968), was born in jalaali, near aligaRh, moved to pakistan after partition/independence. He was popularly known as ‘ustad’, for his expertise in repairing bicycles, which is how he earned his living and lived in penury, in spite of his excellence as a poet. He wrote Ghazal is chaste classical style, many of which have been put to music.
1
ab kaise rafu1 pairaahan2 ho is aavaara divaane ka
kya jaane garebaaN3 hoga kahaaN daaman4 hai baRaa viraane5 ka  
1.stitched, patched 2.clothing 3.collar 4.valley, expanse 5.wilderness
In classical Ghazal convention the mad/passionate lover roams the desert/wilderness and tears off his clothes, particularly his collar. It is a vast wilderness. Who knows where he has thrown it. His clothing cannot be patched up now.

2
vaa’ez1 na sunegaa saaqi ki laalach hai use paimaane2 ka
mujh se hoN agar aisi baateN maiN naam na luuN maiKhaane ka  
1.preacher 2.cup (of wine)
The preacher, has shown up at the maiKhaana is either talking away with the saaqi or haranguing her (it is not clear). The saaqi wants him to leave, but he is hanging around because he has a hidden agenda. He wants a cup of wine. The poet/patron of the tavern observes that the preacher, in his sermon, normally rails against indulgence in wine, and still has the temerity to show up at the tavern. If I were him, I would come nowhere near the tavern, says the poet.

3
kya jaane kahega kya aa kar hai daur1 yahaaN paimaane2 ka
allaah kare vaa’ez3 ko kabhi rasta na mile maiKhaane ka  
1.circulation, rounds 2.cup (of wine) 3.preacher
Who knows what he will say when he comes here, the cup of wine is making its rounds. May god that the preacher never find his way to the tavern.

4
turbat1 se laga kar taa2 mahshar3 sunte haiN koi milta hi nahiN
manzil4 hai baRi aabaadi5 ki rasta hai baRaa viraane6 ka  
1.grave 2.until 3.gathering on the day of judgement 4.destination 5.peopled 6.desolation
They say that from the grave to the gathering on the day of judgement you don’t come across anyone. The destination is well peopled, but the the route is desolate/lonely.

5
jannat meN piyega tu kyuNkar1 ai shaiKh yahaaN gar2 mashq3 na ki
ab maane na maane teri Khushi hai kam mera samjhaane ka  
1.how 2.if 3.practice
The interesting pun is that wine which is forbidden here will be available for enjoyment in heaven. jigar too makes a similar pun …
ye janab-e-shaiKh ka falsafa, hai ajeeb saare jahaan meN
jo vahaaN piyo to halaal hai, jo yahaaN piyo to haraam hai
O, shaiKh, how will you be able to drink in heaven, if you don’t practice it here. You listen or not, it is up to you. It is my job to explain.

6
ji chaaha jahaaN par rok diya, paa’uN meN chubhe aur TuuT gaye
KhaaroN1 ne bhi dil meN soch liya hai kaun yahaaN divaane ka  
1.thorns
Nobody thinks much of the poor mad/passionate lover. Not even thorns. As he wanders through the wilderness they (thorns) feel free to stop him anywhere. They prick/penetrate his feet and break off. Because of this he has even more difficulty in pulling them out and has to stop.

7
haiN taNg1 tere mai-kash2 saaqi ye paRh ke namaaz aata hai yahiN
yaa shaiKh ki tauba3 tuRvaa de yaa vaqt badal maiKhaane ka  
1.tired, disgusted 2.wine drinkers 3.resolve to abstain from wine
O, saaqi, the patrons of your tavern are disgusted/tired of the shaiKh. He comes here immediately after prayers (to harangue us). Either break the shaiKh’s resolve (so that he himself starts drinking and stops haranguing us) or change the timings of the tavern.

8
har subah ko aah-e sard se dil, shaadaab1-e jaraahat2 rahta hai
gar yuN hi rahegi baad-e-sahar3 ye phuul nahiN murjhaane ka  
1.happy, contented 2.wound, pain (of love) 3.morning breeze
Every morning the poet/lover sighs and sorrowful sigh and is quite happy with the pain of love inflicted by the beloved. The sigh is likened to the morning breeze which causes flowers to bloom. Thus, if this sighing continues like this, the heart will forever keep blooming, it will never wilt.

9
bahke1 hue vaa’ez2 se mil kar kyuN baiThe hue ho mai-Khwaaro3
gar toR de ye sab jaam-o-subu4 kya kar loge divaane ka  
1.annoyed 2.preacher 3.wine drinkers
The preacher has come to the tavern and annoyed the patrons. They are all annoyed and sitting in a huff. What good will this do to you, if he breaks all cups and flasks what can you do to this fool.

10
ahbaab1 ye tum kahte ho bajaa2 vo bazm-e-adu3 meN baiThe haiN
vo aayeN na aayeN un ki Khushi charchaa to karo mar jaane ka  
1.friends 2.appropriate, fitting, true 3.gathering of rivals
In Ghazal tradition the beloved never visits the poet/lover except when he is dead. The poet has died (and even in his death) has sent his friends to inform her, so she may come to his funeral. They come back and report that she is in the gathering of rivals (and likely to be annoyed if disturbed). So the corpse of the poet/lover urges his friends – you may be right, but tell her anyway. It is her wish, whether she comes or not, at least, let her know.

11
us vaqt khulega1 husn2 ko bhi ehsaas-e-mohabbat3 hai ke nahiN
jab sham’a sar-e-mahfil ro kar muNh dekhegi parvaane ka  
1.become clearr 2.beauty/beloved 3.awareness of the love of the lover
Ghazal convention is that the beloved is feigns that she is not aware of the love of the poet/lover. But there is one condition under which it will become clear whether she is or not. That condition brings up another Ghazal convention. The candle is the beloved. The moth is the lover and molten wax, dripping from the candle is tear drops. The moth is burnt to death, and the candle is crying at its demise. When the beloved observes this in the gathering and realizes that the poet/lover also loved her and cries, then it will become to clear to all whether she was aware or not.

12
baadal ke aNdhere meN chhup kar maiKhaane meN aa baiThaa hai
gar chaaNdni ho jaayegi qamar1 ye shaiKh nahiN phir jaane ka  
1.pen name of the poet, also, full moon
It is a cloudy night and dark enough that the shaiKh has furtively come to the tavern and is indulging. But now if the full moon/qamar breaks out, then the shaiKh is not going to go away. This could be because he is afraid of being recognized in the moonlit night, or because the mood for drinking wine grows strong in romantic, moonlit ambience.

mohammed husain qamar jalaalavi (1887-1968), was born in jalaali, near aligaRh, moved to pakistan after partition/independence.  He was popularly known as ‘ustad’, for his expertise in repairing bicycles, which is how he earned his living and lived in penury, in spite of his excellence as a poet.  He wrote Ghazal is chaste classical style, many of which have been put to music.
1
ab kaise rafu1 pairaahan2 ho is aavaara divaane ka
kya jaane garebaaN3 hoga kahaaN daaman4 hai baRaa viraane5 ka

1.stitched, patched 2.clothing 3.collar 4.valley, expanse 5.wilderness

In classical Ghazal convention the mad/passionate lover roams the desert/wilderness and tears off his clothes, particularly his collar.  It is a vast wilderness.  Who knows where he has thrown it.  His clothing cannot be patched up now.
2
vaa’ez1 na sunegaa saaqi ki laalach hai use paimaane2 ka
mujh se hoN agar aisi baateN maiN naam na luuN maiKhaane ka

1.preacher 2.cup (of wine)

The preacher, has shown up at the maiKhaana is either talking away with the saaqi or haranguing her (it is not clear).  The saaqi wants him to leave, but he is hanging around because he has a hidden agenda.  He wants a cup of wine.  The poet/patron of the tavern observes that the preacher, in his sermon, normally rails against indulgence in wine, and still has the temerity to show up at the tavern.  If I were him, I would come nowhere near the tavern, says the poet.
3
kya jaane kahega kya aa kar hai daur1 yahaaN paimaane2 ka
allaah kare vaa’ez3 ko kabhi rasta na mile maiKhaane ka

1.circulation, rounds 2.cup (of wine) 3.preacher

Who knows what he will say when he comes here, the cup of wine is making its rounds.  May god that the preacher never find his way to the tavern.
4
turbat1 se laga kar taa2 mahshar3 sunte haiN koi milta hi nahiN
manzil4 hai baRi aabaadi5 ki rasta hai baRaa viraane6 ka

1.grave 2.until 3.gathering on the day of judgement 4.destination 5.peopled 6.desolation

They say that from the grave to the gathering on the day of judgement you don’t come across anyone.  The destination is well peopled, but the the route is desolate/lonely.
5
jannat meN piyega tu kyuNkar1 ai shaiKh yahaaN gar2 mashq3 na ki
ab maane na maane teri Khushi hai kam mera samjhaane ka

1.how 2.if 3.practice

The interesting pun is that wine which is forbidden here will be available for enjoyment in heaven.  jigar too makes a similar pun …
ye janab-e-shaiKh ka falsafa, hai ajeeb saare jahaan meN
jo vahaaN piyo to halaal hai, jo yahaaN piyo to haraam hai
O, shaiKh, how will you be able to drink in heaven, if you don’t practice it here.  You listen or not, it is up to you.  It is my job to explain.
6
ji chaaha jahaaN par rok diya, paa’uN meN chubhe aur TuuT gaye
KhaaroN1 ne bhi dil meN soch liya hai kaun yahaaN divaane ka

1.thorns

Nobody thinks much of the poor mad/passionate lover.  Not even thorns.  As he wanders through the wilderness they (thorns) feel free to stop him anywhere.  They prick/penetrate his feet and break off.  Because of this he has even more difficulty in pulling them out and has to stop.
7
haiN taNg1 tere mai-kash2 saaqi ye paRh ke namaaz aata hai yahiN
yaa shaiKh ki tauba3 tuRvaa de yaa vaqt badal maiKhaane ka

1.tired, disgusted 2.wine drinkers 3.resolve to abstain from wine

O, saaqi, the patrons of your tavern are disgusted/tired of the shaiKh.  He comes here immediately after prayers (to harangue us).  Either break the shaiKh’s resolve (so that he himself starts drinking and stops haranguing us) or change the timings of the tavern.
8
har subah ko aah-e sard se dil, shaadaab1-e jaraahat2 rahta hai
gar yuN hi rahegi baad-e-sahar3 ye phuul nahiN murjhaane ka

1.happy, contented 2.wound, pain (of love) 3.morning breeze

Every morning the poet/lover sighs and sorrowful sigh and is quite happy with the pain of love inflicted by the beloved.  The sigh is likened to the morning breeze which causes flowers to bloom.  Thus, if this sighing continues like this, the heart will forever keep blooming, it will never wilt.
9
bahke1 hue vaa’ez2 se mil kar kyuN baiThe hue ho mai-Khwaaro3
gar toR de ye sab jaam-o-subu4 kya kar loge divaane ka

1.annoyed 2.preacher 3.wine drinkers

The preacher has come to the tavern and annoyed the patrons.  They are all annoyed and sitting in a huff.  What good will this do to you, if he breaks all cups and flasks what can you do to this fool.
10
ahbaab1 ye tum kahte ho bajaa2 vo bazm-e-adu3 meN baiThe haiN
vo aayeN na aayeN un ki Khushi charchaa to karo mar jaane ka

1.friends 2.appropriate, fitting, true 3.gathering of rivals

In Ghazal tradition the beloved never visits the poet/lover except when he is dead.  The poet has died (and even in his death) has sent his friends to inform her, so she may come to his funeral.  They come back and report that she is in the gathering of rivals (and likely to be annoyed if disturbed).  So the corpse of the poet/lover urges his friends – you may be right, but tell her anyway.  It is her wish, whether she comes or not, at least, let her know.
11
us vaqt khulega1 husn2 ko bhi ehsaas-e-mohabbat3 hai ke nahiN
jab sham’a sar-e-mahfil ro kar muNh dekhegi parvaane ka

1.become clearr 2.beauty/beloved 3.awareness of the love of the lover

Ghazal convention is that the beloved is feigns that she is not aware of the love of the poet/lover.  But there is one condition under which it will become clear whether she is or not.  That condition brings up another Ghazal convention.  The candle is the beloved.  The moth is the lover and molten wax, dripping from the candle is tear drops.  The moth is burnt to death, and the candle is crying at its demise.  When the beloved observes this in the gathering and realizes that the poet/lover also loved her and cries, then it will become to clear to all whether she was aware or not.
12
baadal ke aNdhere meN chhup kar maiKhaane meN aa baiThaa hai
gar chaaNdni ho jaayegi qamar1 ye shaiKh nahiN phir jaane ka

1.pen name of the poet, also, full moon

It is a cloudy night and dark enough that the shaiKh has furtively come to the tavern and is indulging.  But now if the full moon/qamar breaks out, then the shaiKh is not going to go away.  This could be because he is afraid of being recognized in the moonlit night, or because the mood for drinking wine grows strong in romantic, moonlit ambience.

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