maKhdoom ko Khiraj-shahed

مخدوم کو خراج ۔ شاہد

 

منڈوے تلے وہ گیت سُنایا تھا اُس نے جو

مہکی یوں   پیار کی تو چمیلی کبھی نہ تھی

 

خدا جو مسکرا دیتا تھا اُس کے  پیار کرنے پر

جراؑت تو ایسی طوُر پہ دیکھی کبھی نہ تھی

 

گُل کی مہک،شاخوں کی لچک، بجلی کی کڑک

پتھر کے  دِل میں ایسے تو دھڑکی کبھی نہ تھی

 

طفلک تھا بے پدر جو وہ نا خواستہ رہا

مادر کی یاد دِل سے نکالی کبھی نہ تھی

 

زمانے کو لئے ساتھ بڑھا جا رہا تھا وہ

مزدور کی صدا جو بُھلائی کبھی نہ تھی

 

ڈھالا تھا ذوالفقار کو اپنے قلم میں یوں

جیسے درانتی ہاتھ سے چھوٹی کبھی نہ تھی

 

تھا اِنتظار اُس کو کہ گزرے گا اِنقلاب

مایوس ہو کے  راہ تو بدلی کبھی نہ تھی

 

آئی صبا اکیلی شب بیداریوں کے بعد

دِلبر  کی شکل پھر بھی بھلائی کبھی نہ تھی

 

شہر میں دھوم تھی اُس شعلہ نوا کی شاہد

للکار  یوں دکھن نے اُٹھائی کبھی نہ تھی

मख़्दूम को ख़िराज – शाहेद

 

मंडवे तले वो गीत सुनाया था उस ने जो

महकी युं प्यार की तो चमेली कभी न थी

 

ख़ुदा जो मुस्कुरा देता था उस के प्यार करने पर

जुर’अत तो ऐसी तूर पे देखी कभी न थी

 

गुल की महक, शाख़ों की लचक, बिजली की कड़क

पत्थर के दिल में ऐसी तो धड़की कभी न थी

 

तिफ़्लक था बे-पिदर जो वो ना-ख़्वास्ता रहा

मादर की याद दिल से निकाली कभी न थी

 

ज़माने को लिए साथ बढ़ा जा रहा था वो

मज़्दूर की सदा जो भुलाई कभी न थी

 

ढाला था ज़ुल्फ़िक़ार को अपने क़लम में युं

जैसे दरांती हाथ से छूटी कभी न थी

 

था इन्तेज़ार उस को के गुज़रेगा इन्क़ेलाब

मायूस हो के राह तो बदली कभी न थी

 

आई सब अकेली शब्-बेदारियों के बाद

दिलबर की शक्ल फिर भि भुलाई कभी न थी

 

शहर में धूम थी उस शोला नवा की शाहेद

लल्कार युं दक्कन ने उठाई कभी न थी

maKhdoom ko Khiraaj – shahed

Click here for overall comments and on any passage for word meanings and discussion. This tribute to maKhdoom is composed using his own words out of some his well known nazm/Ghazal to reflect on his accomplishments and stature.

manDve1 taley vo geet sunaaya tha us ne jo
mahki2 yuN pyaar meN to chameli kabhi na thi
1.bower 2.fragrant
Jasmine was never so fragrant as when he sang this tribute to love under the bower. maKhdoom’s nazm ‘ek chameli ke manDve taley’ is the backdrop for this she’r. It is thought that this was a memorial to two lovers who were victimized by the landowning family of the woman. The nazm was rendered into a song and is posted under its original title, ‘chaaragar’.

Khuda jo muskura deta tha us ke pyaar karne par
jur’at1 to aisi toor2 pe dekhi kabhi na thi
1.daring 2.Mt. toor/Sinaaii It was an unusually bold statement for the times when maKhdoom wrote ‘Khuda bhi muskura deta tha jab hum pyaar karte the’ in his nazm entitled ‘toor’. Thus, even god smiled at his expression of love. Never was there such a bold assault on Mt. toor. maKhdoom equates his own experience of seekinging love, with Moses’ experience of seeking a manifestation of god on Mt. toor.

gul ki mahak1, shaaKhaun ki lachak2, bijli ki kaRak3
patthar ke dil meN aise to dhaRki4 kabhi na thi
1.fragrance 2.suppleness 3.thunder 4.throb, heartbeat
In his nazm, ‘shaa’er’, maKhdoom writes how he gathers fragrance of flowers, suppleness of boughs, the crack of thunder and weaves them into his poem. Sculpting an idol out of rough rock he puts the throbbing of his own heart into the heart of stone. Thus, we have never seen such fragrance, suppleness and energy endowed to a heart of stone.

tiflak1 tha be-pidar2 jo vo na-Khwaasta3 raha
maadar ki yaad dil se nikaali kabhi na thi
1.infant 2.fatherless 3.unwanted, abandoned
maKhdoom was an infant when his father died. His mother re-married but narrow traditions meant that she had to give up her son. maKhdoom was raised by his paternal uncle, without being told of his mother. Later in life, he discovered her and wrote a nazm, ‘laKht-e jigar’. This she’r reflects that nazm. Thus, he was an unwanted, fatherless infant, but never gave up memories of his mother.

zamaane1 ko liye saath baRha jaa raha tha vo
mazdoor ki sada2 jo3 bhulaaii kabhi na thi
1.everyone 2.voice 3.used here to mean – because
maKhdoom’s famous she’r which became his election slogan was painted on walls all over the city … hayaat le ke chalo, kaa’enaat le ke chalo chalo to saare zamaane ko saath le ke chalo Thus, he moved forward, taking everyone along with him, because he never forgot the voice of the worker.

Dhaala1 tha zulfiqaar2 ko apne qalam3 meN yuN
jaise daraaNti4 haath se chhooTi kabhi na thi
1.cast, molded 2.the sword of ali 3.pen 4.sickle
In his nazm, ‘jahaan-e nau’, maKhdoom writes ‘baatil ki gardanauN pe chamak, zulfiqaar bun’ –‘descend/flash on the neck of evil like the sword zulfiqaar’. Thus, he molded the zulfiqaar into his pen and never let go of the sickle (the hammer and sickle being the symbol of the peasant-worker movement).

tha intezaar1 us ko ke guzrega2 inqelaab3
mayoos4 ho ke raah5 to badli kabhi na thi
1.eagerness 2.will pass through, will come about 3.revolution 4.disappointed 5.pathway, direction, goal
This has reference to maKhdoom’s ‘inqelaab’ in which he writes ‘guzar bhi jaa ke tera intezaar kab se hai’. Of course, the revolution never did happen, but maKhdoom was steadfast in serving the interests of the deprived. Thus, he yearned for the revolution, but disappointment did not make him change his course.

aaii saba1 akeli shab-bedaariyauN2 ke baad
dilbar3 ki shakl phir bhi bhulaaii kabhi na thi
1.morning breeze 2.sleepless nights 3.beloved
In ‘intezaar’, maKhdoom has been waiting for the beloved all night long but when the morning breeze blows, it is all alone, not accompanied by the beloved ‘aye saba tu bhi jo aaii to akeli aaii’. Thus, even though the morning breeze blew in by itself after long sleepless nights, maKhdoom never forgot the visage of his beloved.

shahr meN dhoom thi us sho’la-nava1 ki shahed
lalkaar2 yuN dakhan3 ne uThaaii kabhi na thi
1.burning/passionate cry 2.challenge 3.Deccan, south, southern Indian plateau
maKhdoom’s Ghazal posted under the title ‘pari KhaanuaN meN’, the concluding she’r has ‘shahr meN dhoom hai ek shola nava ki maKhdoom’. Thus, there was much talk in the city of that passionate voice, O shahed. There never was such a powerful challenge raised in the Deccan before.

maKhdoom ko Khiraaj – shahed

This tribute to maKhdoom is composed using his own words out of some his well known nazm/Ghazal to reflect on his accomplishments and stature.

manDve1 taley vo geet sunaaya tha us ne jo
mahki2 yuN pyaar meN to chameli kabhi na thi

1.bower 2.fragrant

Jasmine was never so fragrant as when he sang this tribute to love under the bower.  maKhdoom’s nazm ‘ek chameli ke manDve taley’ is the backdrop for this she’r.  It is thought that this was a memorial to two lovers who were victimized by the landowning family of the woman.  The nazm was rendered into a song and is posted under its original title, ‘chaaragar’.

Khuda jo muskura deta tha us ke pyaar karne par
jur’at1 to aisi toor2 pe dekhi kabhi na thi

1.daring 2.Mt. toor/Sinaaii

It was an unusually bold statement for the times when maKhdoom wrote ‘Khuda bhi muskura deta tha jab hum pyaar karte the’ in his nazm entitled ‘toor’.  Thus, even god smiled at his expression of love.  Never was there such a bold assault on Mt. toor.  maKhdoom equates his own experience of seekinging love, with Moses’ experience of seeking a manifestation of god on Mt. toor.

gul ki mahak1, shaaKhaun ki lachak2, bijli ki kaRak3
patthar ke dil meN aise to dhaRki4 kabhi na thi

1.fragrance 2.suppleness 3.thunder 4.throb, heartbeat

In his nazm, ‘shaa’er’, maKhdoom writes how he gathers fragrance of flowers, suppleness of boughs, the crack of thunder and weaves them into his poem.  Sculpting an idol out of rough rock he puts the throbbing of his own heart into the heart of stone.  Thus, we have never seen such fragrance, suppleness and energy endowed to a heart of stone.

tiflak1 tha be-pidar2 jo vo na-Khwaasta3 raha
maadar ki yaad dil se nikaali kabhi na thi

1.infant 2.fatherless 3.unwanted, abandoned

maKhdoom was an infant when his father died.  His mother re-married but narrow traditions meant that she had to give up her son.  maKhdoom was raised by his paternal uncle, without being told of his mother.  Later in life, he discovered her and wrote a nazm, ‘laKht-e jigar’.  This she’r reflects that nazm.  Thus, he was an unwanted, fatherless infant, but never gave up memories of his mother.

zamaane1 ko liye saath baRha jaa raha tha vo
mazdoor ki sada2 jo3 bhulaaii kabhi na thi

1.everyone 2.voice 3.used here to mean – because

maKhdoom’s famous she’r which became his election slogan was painted on walls all over the city …
hayaat le ke chalo, kaa’enaat le ke chalo
chalo to saare zamaane ko saath le ke chalo
Thus, he moved forward, taking everyone along with him, because he never forgot the voice of the worker.

Dhaala1 tha zulfiqaar2 ko apne qalam3 meN yuN
jaise daraaNti4 haath se chhooTi kabhi na thi

1.cast, molded 2.the sword of ali 3.pen 4.sickle

In his nazm, ‘jahaan-e nau’, maKhdoom writes ‘baatil ki gardanauN pe chamak, zulfiqaar bun’ –‘descend/flash on the neck of evil like the sword zulfiqaar’.  Thus, he molded the zulfiqaar into his pen and never let go of the sickle (the hammer and sickle being the symbol of the peasant-worker movement).

tha intezaar1 us ko ke guzrega2 inqelaab3
mayoos4 ho ke raah5 to badli kabhi na thi

1.eagerness 2.will pass through, will come about 3.revolution 4.disappointed 5.pathway, direction, goal

This has reference to maKhdoom’s ‘inqelaab’ in which he writes ‘guzar bhi jaa ke tera intezaar kab se hai’.  Of course, the revolution never did happen, but maKhdoom was steadfast in serving the interests of the deprived.  Thus, he yearned for the revolution, but disappointment did not make him change his course.

aaii saba1 akeli shab-bedaariyauN2 ke baad
dilbar3 ki shakl phir bhi bhulaaii kabhi na thi

1.morning breeze 2.sleepless nights 3.beloved

In ‘intezaar’, maKhdoom has been waiting for the beloved all night long but when the morning breeze blows, it is all alone, not accompanied by the beloved ‘aye saba tu bhi jo aaii to akeli aaii’.  Thus, even though the morning breeze blew in by itself after long sleepless nights, maKhdoom never forgot the visage of his beloved.

shahr meN dhoom thi us sho’la-nava1 ki shahed
lalkaar2 yuN dakhan3 ne uThaaii kabhi na thi

1.burning/passionate cry 2.challenge 3.Deccan, south, southern Indian plateau

maKhdoom’s Ghazal posted under the title ‘pari KhaanuaN meN’, the concluding she’r has ‘shahr meN dhoom hai ek shola nava ki maKhdoom’.  Thus, there was much talk in the city of that passionate voice, O shahed.  There never was such a powerful challenge raised in the Deccan before.

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