Click here for background and on any passage for word meanings and explanatory discussion. jamna parshad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi, though not a shaagird of Ghalib, was deeply influenced by him. He has a 200+ page book of Ghazal composed in the style of Ghalib called, ‘baazgasht-e Ghalib’. This Ghazal is in the style of Ghalib’s “lab-e saaqi meN salaa mere baad”.
1
na-rasaaii¹ ka safar² Khatm hua mere baad
kyuN ho mahjoob³ koii dast⁴-e dua mere baad    1.inability to reach, ineffective 2.journey 3.veiled, hidden 4.hand
In urdu poetic tradition, the poet/lover always beseeches the beloved to reciprocate his love. But he does it secretly so as not to malign the reputation of the beloved. He knows that his entrieties will go unanswered, but he presists in his one-sided love. This is considered to be a standard setting practice. Here the shaa’er claims that this high standard will no longer be followed after he is gone. Why would any hands raised in entrieties be hidden. People will be open and crude, not subtle and refined.
2
munkashif¹ raaz²-e nihaaN³ mujh pe hua mere baad
guNbad⁴-e zaat⁵ ka darvaaza khula mere baad    1.revealed 2.secret 3.hidden 4.dome 5.being, god
The hidden secret was revealed to me after I died. The door to the dome of being was opened – implying that he achieved union (is it with god or with the beloved).
3
nau-ba-nau¹ taaza² mafaaheem³ ka manzar⁴ hogi
mere alfaaz⁵ ki bosiida⁶ qaba⁷ mere baad   1.again and again 2.fresh, new 3.meanings 4.revelation 5.words 6.thin 7.robe
The words of the poet, his Ghazal, is like a thin robe hiding multiple meanings. He claims that over time, again and again, the thin robe of his words will be a revelation of fresh/new meanings/interpretations.
4
aa gaya zaKhm¹ chhupaane ka saleeqa² kis ko
kaun hai bazm³ meN phir naGhma-sara⁴ mere baad    1.wound 2.skill, disposition, discretion 3.gathering 4.singing, Ghazal reciting
In urdu poetic tradition the poet hides his pain, bears in stoically. Here the shaa’er poses a rhetorical question. Who has learned the refined skill of hiding their pain – no one. Who is it that again recites Ghazal in the gathering – no one. There is an added implication that Ghazal is a subtle and hidden expression of the poet’s pain and others coming after him will not have the skill of expressing themselves subtly.
5
qasr¹-e ehsaas² ki dehleez³ pe mahsoos⁴ kareN
ho jinheN mere na hone ka gila⁵ mere baad   1.mansion 2.sentiments, emotions 3.door-sill 4.feel 5.complaint
Those who complain about me being gone, those who miss me, should go to the door of the mansion of sentiments and feel my presence.
6
ranj miTne¹ ka nahiN ranj to is baat ka hai
kis ke ghar jaayega sailaab²-e bala³ mere baad    1.erased, destroyed 2.flood 3.calamities
The second misra is taken directly from Ghalib. Poetic tradition is that the flood of calamities always affects the poet and the poet alone, no one else. Here he claims, I am not sorrowful about being wiped out/destroyed. I am worried about the flood of calamities. Where will it go, who will it affect after I am gone.
7
maiN charaaGh-e-sahr¹-e dasht²-e balaa³ tha ab kya
sar paTaKhti³ phire aavaara⁴ hava mere baad    1.lamp of the dawn 2.wilderness 3.calamities 4.banging head 5.wandering, looking for
To be ‘charaaGha-e sahr’ is to be at the end of life, about to run out of oil or wax, or about to be extinguished because it is dawn and a lamp is no longer needed. Thus, not only is the poet like a “charaaGh-e sahr”, he is also one in the wilderness of calamities. In addition to this, the wind always targets the lamp i.e., the poet, no one else. Now that he is about to be put out like a charaaGh-e sahr, the wind will wander around looking for me and not able to find me, it will bang its head in frustration.
8
bujh ke rah jaayeNge har taaq¹ meN yaadoN ke diye
kal jo rah jaayega darvaaza khula mere baad    1.alcove
All lamps of memories are placed in alcoves. The poet guards and protects them from being blown out. But now that he is gone, the door will be left open and stormy winds will blow in and put out all the lamps.
9
jubba¹-e miir-e-suKhan² shaaki³-e aalam⁴ hoga
dukh yateemi⁵ ka sahegi⁶ jo anaa⁷ mere baad     1.garments, robe of honour 2.head/chief versifier/poet 3.to complain/blame, to doubt 4.world 5.orphanhood 6.bear, tolerate 7.self, identity, uniqueness
In this telling, the chief/best/most respected poet is given robes of honour. Now that the shaa’er is dead, they will have to find someone else to wear these robes. These robes are looking with doubt/blame at everyone who is a candidate, because they don’t measure up. Uniqueness has been orphaned, it will have to bear the burden of orphanhood after the poet is gone.
10
faiz¹-e muKhtaar² se kuchh baat bani hai laikin
kaun baandhega aligaRh ki hava³ mere baad    1.blessings 2.another pen-name of the poet 3.atmosphere, ambience
Because of the blessings of muKhtaar (the poet) there was a good poetic/literary ambience in aligaRh. Who will create such an ambience after me!