Click here for background and on any passage for word meanings and explanatory discussion. mirza asadullah KhaaN Ghalib (1797-1869). I dare not write any introduction. On more than one occasion Ghalib has warned his readers that he needs no introduction or even address. I humbly comply. Also see the many Ghazal composed in this bahr/zamin by well known and not so well known poets over the years. kalidas gupta raza dates this Ghazal to 1847. A lot of shu’ara/poets have used this zamin to compose their own. They will all be posted over time.
1
milti¹ hai Khu²-e yaar³ se naar⁴ iltehaab⁵ meN
kaafir⁶ huN gar na milti⁷ ho raahat⁸ azaab⁹ meN    1.is similar to 2.nature, character, habits 3.beloved 4.fire, hellfire 5.rising/roaring flames 6.sinner, condemned to hell, unbeliever 7.obtain, derive 8.comfort, pleasure 9.torment, torture
There are many interesting witticisms in this she’r. He is comparing the flames of hell to the anger/nature/character of the beloved, not the other way round i.e. the design of hellfire is based on the example set by the beloved. But I will be damned if I did not get pleasure from the torture that she visits on me. The use of the word ‘milti’ in two very different senses in the two misra is enjoyable. But then, since he has created the imagery of hellfire there is little doubt that he is poking fun at the concept. The second misra may be translated as “I will be an unbeliever, if I did not enjoy the torture of hell”. This implies that he is NOT an unbeliever and if he were not, why would he be in hell?
2
kab se huN kya bataauN jahaan-e-Kharaab¹ meN
shab-haa²-e hijr³ ko bhi rakhuN gar⁴ hisaab⁵ meN    1.wretched world 2.plural of shab/night 3.separation (from the beloved) 4.if 5.reckoning, counting
How can I tell you how long I have been in this wretched world especially if I count the (long, interminable) nights of separation from the beloved.
3
taa¹ phir na intezaar² meN niind aaye umr bhar
aane ka ahd³ kar gaye aaye jo Khwaab meN     1.so that 2.waiting, anticipation 3.promise
Even in showing favours (promise to visit), the beloved tortures the poet/lover. She appears to him in his dream and promises to come visit him so that he may never be able to sleep again.
4
qaasid¹ ke aate aate Khat ek aur likh rakhuN
maiN jaanta huuN jo vo likheNge javaab meN    1.messenger
The poet/lover has been sending missives through a messenger and receiving angry responses and is quite used to it. He has sent off a letter to the beloved and wants to keep the next one ready because he already knows what she is going to write in response.
5
mujh tak kab un ki bazm¹ meN aata tha daur-e-jaam²
saaqi³ ne kuchh milaa na diyaa ho sharaab meN     1.assembly, gathering 2.circulation of cup 3.wine server, beloved
The wine server and the beloved are likely the same person. In her gathering in which all lovers are sitting in order and receive the decanter one after the other. Normally, it never arrives at the poet/lover’s place because it is used up by the time it gets to him. But today it has arrived full, so he wonders if the saaqi/beloved has ‘mixed something in it’ i.e. made it particularly potent. She is trying all her lovers for their capacity to bear/withstand this wine. Apparently no other lover is equal to the task that is why the decanter has arrived with some wine in it. Only the poet/lover has the capacity.
6
jo munkir¹-e vafaa² ho fareb³ us pe kya chale
kyuN bad-gumaaN⁴ huN dost se dushman ke baab⁵ meN     1.denier 2.faithfulness, fidelity (in love) 3.deceipt 4.suspicious 5.theme, subject, door
The more conventional interpretation offered by experts is …. the beloved is ‘munkir-e vafaa’ i.e. she completely denies the very concept of fidelity. So, declarations of love and entreaties of fidelity, by the rival will not work on her. Why should I be suspicious about (the subject/theme of) the rival. My own interpretation is different from that of many experts. I dare to offer it as an alternative. IF ‘baab’=door, ‘fareb’=accusation of deceipt, ‘kya chale’=how can it work, ‘dost’=rival (not unusual because all lovers are fellow sympathisers) and ‘dushman’=beloved (also not unusual, she is always cruel). She is free to show favours to whoever and however many she wants to and cannot be accused of deception, because she does not believe in fidelity. The poet/lover has spotted the rival at her door. But is this enough grounds to be suspicious of her? No. The poet/lover clings on to hope. My interpretation would be stronger IF it were ‘baab pe’ not ‘baab meN’. But then Ghalib has used ‘lab-e saaqi meN salaa mere baad’.
7
maiN muztarib¹ huN vasl² meN Khauf³-e raqib⁴ se
Daala hai tum ko vahm⁵ ne kis pech-o-taab⁶ meN     1.restless, uneasy, fearful, agitated 2.union 3.fear 4.rival 5.suspicion, imagination 6.perplexion, dilemma, hesitation
There are too many conflicting interpretations. I will choose only one which I prefer and add my own twist to it. The ‘huN’ in the first misra is to be interpreted as ‘hoNga’-will become. This is not an actual union but a discussion about a future tryst for union. The beloved is making excuses, suggesting that the poet/lover might get agitated and fearful upon meeting her. He protests, do you think I will be agitated because of the fear of a rival. What kind of a hesitation has this illusion put you into? No, I am not going to be agitated, do not hesitate, invite me to our tryst.
8
maiN aur hazz¹-e vasl² Khuda-saaz³ baat hai
jaaN nazr⁴ deni bhuul gayaa izteraab⁵ meN     1.joy, good fortune 2.union 3.god given 4.offering, sacrifice 5.agitation
The poet/lover has received a promise of union and is agitated – me and being offered the good fortune of union! How can this be? It must be a gift of god and in my agitation, I forgot to offer my life in gratitude. I have a suspicion that this gratitude is towards the beloved, not god.
9
hai te’ori¹ chaRhi hui andar naqaab² ke
hai ek shikan³ paRi hui tarf⁴-e naqaab² meN     1.wrinkled forehead, scowl 2.veil 3.crease, wrinkle 4.side
The poet/lover has asked the beloved to raise the veil and let him see her. She scowls at him from behind the veil which is strong enough that it causes a wrinkle to appear on the side of the veil.
10
laakhoN lagaau¹ ek churaanaa nigaah² ka
laakhoN banaau³ ek bigaRnaa itaab⁴ meN     1.attachments, favours 2.glance 3.adornments 4.anger, annoyance
The poet/lover compares two facets of the beloved and clearly indicates which he prefers. On the one side, a thousand favours, on the other a single stolen glance. Maybe it is the beloved who is stealing a coy look at the poet/lover and he catches her doing so. That is worth a thousand favours that she might show. One one side, a thousand adornments, on the other a single look of annoyance.
11
vo naala¹ dil meN Khas² ke baraabar jagah na paaye
jis naale se shigaaf³ paRe aaftaab⁴ meN     1.wail 2.straw 3.hole, tear 4.sun, used here to mean the skies
The beloved is particularly hard hearted. The poet/lover wails in pain, strong enough to make a tear in the skies but it would find no room in her heart, not even as much as a sliver of straw.
12
vo sehr¹ mudd’aa-talabi² meN na kaam aaye
jis sehr se safina³ ravaaN⁴ ho saraab⁵ meN     1.magic 2.demanding/achieving goals/desires 3.boat 4.launch 5.mirage
Launching a boat in a ‘lake/river’ that is actually a mirage is an impossible task. But even if you have the ability to perform such magic/illusion, you will not reach your desired goal i.e. win the beloved’s heart.
13
Ghalib chhuTi sharaab par ab bhi kabhi kabhi
piitaa huuN roz-e-abr¹ o shab-e-maahtaab² meN     1.cloudy day 2.moonlit night
In poetic convention, and perhaps because clouds bring much sought rain for crops, rainy days are a time of celebration as are moonlit nights. Thus while claims to have given up wine, he still drinks/celebrates (on the sly?) on cloudy days and moonlit nights.

1
Unruly fire does best compare the fierceness of her mind;
Should bliss not lie in blazing heat, I am a heretic, I am blind.
2
I know not how long I have been a part of this sordid mess,
For each night has been a million years, and each day – little less.
3
Since she wished for me the agony of sleepless wait for good,
She promised, when I dreamt at night, to come, whenever she would.
4
O, let me scribble another plea, more poignat than the previous one,
For I know the answer he must bring, when my courier should return.
5
Never before did her gracious wine flow across to me;
Then why tonight?  Oh, I tremble, lest the cup should poisoned be
6
No deceit can ever be worked on her, a stranger to painful love;
Then why need I fear the endeavours of my friend, pray tell me now.
7
My bliss in this togetherness is halved for fear of a rival claim;
But why that uneasiness in you, for it is no double game.
8
Me, and this promise of delight! O praised be God’s decree;
In gratitude I should have gifted life, but I forgot, in ecstasy.
9
Her brow within the veil is creased by a frown of great disgust;
So potent that the veil itself does catch the crease and bust.
10
In every amorous overture spasms of delight;
And every tender annoyance a captivating sight.
11
The moan that does across the sun a mighty fissure draw,
Fails in her heart to find the foothold of a straw.
12
The eloquence that makes the ship sail forth in the desert sand,
Has, likewise proved so impotent to make her understand.