For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
نہ قائل نماز کا ۱۔۹۔ منشی رگھوناتھ سنگھ ہاجرؔ دہلوی
۱
اِحسان کیوں اُٹھاؤں کسی چارہ ساز کا
کشتہ ہوں میں تیری نگہِ نیم باز کا
۲
سر جھک رہا ہے خود بخود اہلِ نیاز کا
کیا کیجیے بیان تیرے کبر و ناز کا
۳
بخشا ہے مجھ کو یار کے دیدار کا شرف
ممنون کیوں نہ ہوں کرمِ کار ساز کا
۴
زنجیرِ آہنی سے تو آساں ہے چھوٹنا
پھندہ ہے سخت آپ کی زلفِ دراز کا
۵
جس نے مجھے جہان سے بیگانہ کر دیا
دیوانہ ہوں میں اُس نگہ دل نواز کا
۶
کیوں رازدار پہلے بنایا رقیب کو
اندیشہ تم کو تھا اگر افشائے راز کا
۷
ہیں دیر و کعبہ دونوں برابر مرے لیے
قائل نہیں ہوں میں تو کسی امتیاز کا
۸
عاشق نیاز مند تو معشوق پُرغرور
یہ سلسلہ ازل سے ہے ناز و نیاز کا
۹
ممکن نہیں ہے حسنِ حقیقی کا دیکھنا
پردہ پڑا ہے آنکھوں پہ جب تک مجاز کا
न क़ा’एल नमाज़ का-१-९ – मुंशी रघुनाथ सिंघ हाजेर देहलवी
१
एहसान क्यूं उठाऊं किसी चारासाज़ का
कुश्ता हुं मैं तेरी निग’ह-ए नीम-बाज़ का
२
सर झुक रहा है ख़ुद-ब-ख़ुद अहल-ए नियाज़ का
क्या कीजिये बयान तेरे किब्र ओ नाज़ का
३
बख़्शा है मुझ को यार के दीदार का शरफ़
मम्नून क्यूं न हूं करम-ए कारसाज़ का
४
ज़ंजीर-ए आहनी से तो आसां है छूटना
फंदा है सख़्त आप की ज़ुल्फ़-ए दराज़ का
५
जिस ने मुझे जहान से बेगाना कर दिया
दीवाना हूं मैं उस निग’ह-ए दिल-नवाज़ का
६
क्यूं राज़दार पहले बनाया रक़ीब को
अंदेशा तुम को था अगर इफ़्शा-ए राज़ का
७
हैं दैर ओ का’बा दोनों बराबर मेरे लिये
क़ा’एल नहीं हूं मैं तो किसी इम्तियाज़ का
८
आशेक़ नियाज़-मंद तो मा’शूक़ पुर-ग़ुरूर
ये सिल्सिला अज़ल से है नाज़ ओ नियाज़ का
९
मुम्किन नहीं है हुस्न-ए हक़ीक़ी का देखना
परदा पढा है आंखौं पे जब तक मजाज़ का
Click here for background and on any passage for word meanings and explanatory discussion. munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘navaa-haa-e raaz ka’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
ehsaan1 kyuN uThaauN kisi chaarasaaz2 ka
kushta3 huN maiN teri nig’h4-e niim-baaz5 ka 1.obligation 2.healer 3.killed, slain 4.glance 5.side-long glance, slanted
The beloved looks at her admirers from the corner of her eyes – slanted looks. Also, being killed/wounded by the beloved is a great honour. If this happens the lover would not want to seek any cure. Thus, why would I want to come under the obligation of a healer. After all, I am the victim of your side-long glance.
2
sar jhuk raha hai Khud-ba-Khud1 ahl2-e niyaaz3 ka
kya kiijiye bayaan4 teray kibr-o-naaz5 ka 1.by itself 2.people of 3.devotional offering 4.narrative, description 5.pride and coquetry
How can the style and coquetry of the beloved be described. Heads how down by themselves as a devotional offering.
3
baKhsha1 hai mujh ko yaar2 ne diidaar3 ka sharaf4
mamnoon5 kyuN na huuN karam6-e kaarsaaz7 ka 1.granted 2.beloved 3.sight, looks 4.privilege, benefit 5.obliged 6.kindness 7.benefactor, facilitator
In this case, it is possible that the kaarsaaz – facilitator – is god, who has arranged for this to happen. Thus, why should I not be obliged to the kindness of my benefactor. The beloved has granted me the privilege of looking at her.
4
zanjiir1-e aahani2 se to aasaaN3 hai chhooTna
phanda4 hai saKht5 aap ki zulf-e-daraaz6 ka 1.chain 2.iron, steel 3.easy 4.noose 5.tight, hard 6.long hair
It is easy to escape an iron chain, but the noose/knot of your long hair is hard to get away from.
5
jis ne mujhay jahaan1 se begaana2 kar diya
diivaana huN maiN uss nig’ah3-e dil-navaaz4 ka 1.world 2.stranger, indifferent 3.glance 4.soothing, gracious, heart-pleasing
That which has made me a stranger to this world. I am mad about that gracious/soothing glance.
6
kyuN raazdaar1 pahle banaaya raqiib2 ko
andesha3 tum ko tha agar4 ifshaa5-e raaz6 ka 1.confidant 2.rival 3.fear 4.if 5.disclosure, revealing 6.secret
The beloved always wants to keep her dalliance a secret (perhas this way she can keep a lot of admirers hanging). But somehow it has become known and rumours are spreading. She complains to the poet/lover implying that he may have divulged her secret. He protests … if you were fearful of the disclosure of the secret, why did you confide in the rival first. Clearly he is accusing the rival of being unfaithful.
7
haiN da’er1 o kaaba2 donoN baraabar3 meray liye
qaa’el4 nahiN huN maiN to kisi imitiyaaz5 ka 1.temple 2.used here as mosque 3.equal 4.convinced, believer 5.differentiation
Both the temple and mosque are the same for me. I am not a believer in differentiation/discrimination.
8
aashiq niyaaz-mand1 to maa’shooq2 pur-Ghuroor3
yeh silsila4 azal5 se hai naaz-o-niyaaz6 ka 1.devotees 2.beloved 3.full of pride 4.continuity 5.beginning of time 6.coquetry and devotion
In urdu poetic tradition the lover and beloved are referred to as ‘naaz’-pride-indifference, style, coquetry associated with the beloved and ‘niyaaz’-offering, devotion, abject submission associated with the lover. Thus, this chain of naaz-o-niyaaz has been continuous since the beginning of time – the lover begs humbly and the beloved is shows indifference.
9
mumkin1 nahiN hai husn-e-haqiiqi2 ka dekhna
parda paRaa hai aaNkhoN peh jab tak majaaz3 ka 1.possible 2.literally ‘real beauty’ is used for the divine spirit as opposed to ‘husn-e-majaazi’-illusionary/worldly beauty 3.illusion, not real
It is not possible to comprehend divine beauty as long as the veil of illusion is draped over your eyes i.e., as long as you see only the material world without comprehending the spiritual.
munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal, composed in the zamin of ‘navaa-haa-e raaz ka’, is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme page.
1
ehsaan1 kyuN uThaauN kisi chaarasaaz2 ka
kushta3 huN maiN teri nig’h4-e niim-baaz5 ka
1.obligation 2.healer 3.killed, slain 4.glance 5.side-long glance, slanted
The beloved looks at her admirers from the corner of her eyes – slanted looks. Also, being killed/wounded by the beloved is a great honour. If this happens the lover would not want to seek any cure. Thus, why would I want to come under the obligation of a healer. After all, I am the victim of your side-long glance.
2
sar jhuk raha hai Khud-ba-Khud1 ahl2-e niyaaz3 ka
kya kiijiye bayaan4 teray kibr-o-naaz5 ka
1.by itself 2.people of 3.devotional offering 4.narrative, description 5.pride and coquetry
How can the style and coquetry of the beloved be described. Heads how down by themselves as a devotional offering.
3
baKhsha1 hai mujh ko yaar2 ne diidaar3 ka sharaf4
mamnoon5 kyuN na huuN karam6-e kaarsaaz7 ka
1.granted 2.beloved 3.sight, looks 4.privilege, benefit 5.obliged 6.kindness 7.benefactor, facilitator
In this case, it is possible that the kaarsaaz – facilitator – is god, who has arranged for this to happen. Thus, why should I not be obliged to the kindness of my benefactor. The beloved has granted me the privilege of looking at her.
4
zanjiir1-e aahani2 se to aasaaN3 hai chhooTna
phanda4 hai saKht5 aap ki zulf-e-daraaz6 ka
1.chain 2.iron, steel 3.easy 4.noose 5.tight, hard 6.long hair
It is easy to escape an iron chain, but the noose/knot of your long hair is hard to get away from.
5
jis ne mujhay jahaan1 se begaana2 kar diya
diivaana huN maiN uss nig’ah3-e dil-navaaz4 ka
1.world 2.stranger, indifferent 3.glance 4.soothing, gracious, heart-pleasing
That which has made me a stranger to this world. I am mad about that gracious/soothing glance.
6
kyuN raazdaar1 pahle banaaya raqiib2 ko
andesha3 tum ko tha agar4 ifshaa5-e raaz6 ka
1.confidant 2.rival 3.fear 4.if 5.disclosure, revealing 6.secret
The beloved always wants to keep her dalliance a secret (perhas this way she can keep a lot of admirers hanging). But somehow it has become known and rumours are spreading. She complains to the poet/lover implying that he may have divulged her secret. He protests … if you were fearful of the disclosure of the secret, why did you confide in the rival first. Clearly he is accusing the rival of being unfaithful.
7
haiN da’er1 o kaaba2 donoN baraabar3 meray liye
qaa’el4 nahiN huN maiN to kisi imitiyaaz5 ka
1.temple 2.used here as mosque 3.equal 4.convinced, believer 5.differentiation
Both the temple and mosque are the same for me. I am not a believer in differentiation/discrimination.
8
aashiq niyaaz-mand1 to maa’shooq2 pur-Ghuroor3
yeh silsila4 azal5 se hai naaz-o-niyaaz6 ka
1.devotees 2.beloved 3.full of pride 4.continuity 5.beginning of time 6.coquetry and devotion
In urdu poetic tradition the lover and beloved are referred to as ‘naaz’-pride-indifference, style, coquetry associated with the beloved and ‘niyaaz’-offering, devotion, abject submission associated with the lover. Thus, this chain of naaz-o-niyaaz has been continuous since the beginning of time – the lover begs humbly and the beloved is shows indifference.
9
mumkin1 nahiN hai husn-e-haqiiqi2 ka dekhna
parda paRaa hai aaNkhoN peh jab tak majaaz3 ka
1.possible 2.literally ‘real beauty’ is used for the divine spirit as opposed to ‘husn-e-majaazi’-illusionary/worldly beauty 3.illusion, not real
It is not possible to comprehend divine beauty as long as the veil of illusion is draped over your eyes i.e., as long as you see only the material world without comprehending the spiritual.
