naqsh-e jaavedaaN apna-seemab akbarabadi

For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.

نقشِ جاوداں اپنا ۔ سیمابؔ اکبرآبادی

۱

پہنچے تا بہ منزل کیا سلسلہ یہیں اپنا

راستے ہیں سب اُن کے اور کارواں اپنا

۲

کیا کریں کہیں قائم عارضی نشاں اپنا

ہے وہیں مکاں اپنا جی لگے جہاں اپنا

۳

بزمِ حسن میں ہوگا کون ترجماں اپنا

دل ہے کچھ بھروسہ تھا، دل مگر کہاں اپنا

۴

وقت راہِ منزل میں ہو نہ رائیگاں اپنا

روز رُخ بدلتا ہے، میرِ کارواں اپنا

۵

فاش کیوں نہیں کرتا رازِ جبر و مجبوری

کیوں خراب کرتا ہے نام آسماں اپنا

۶

درد کو خدا رکّھے، کروٹیں بدلوا دیں

ورنہ کون شامِ غم تھا مزاج داں اپنا

۷

دیکھ لیتی خوابیدہ، کارواں بہاروں کے

جائزہ اگر لیتی صبح گلستاں اپنا

۸

کیا عجب بدل ڈالے اک دن اپنی فطرت بھی

رنگ تو بدلتا ہے، روز آسماں اپنا

۹

موج دائرہ بن کر آشنائے مرکز ہے

بن گیا یقیں آخر پھیل کر گماں اپنا

۱۰

دورِ غم ہے لا محدود، حدّ زیست نا معلوم

کام کیوں نہیں کرتی مرگِ ناگہاں اپنا

۱۱

اب کھلا کہ میں اُن کی ذات کا خلاصہ ہوں

پوچھ کر پتا میرا دے گئے نشاں اپنا

۱۲

ناز سے نیائش کو اِنتقام لینا تھا

تو بھی اے زمیں رکھ لے نام آسماں اپنا

۱۳

ہیں یہ سب گِلے شِکوے، بر بِنائے لا علمی

ورنہ بجلیاں اپنی اور نہ آشیاں اپنا

۱۴

یہ غلط نشانہ کیا، طور ختم، غش موسیٰ

تو نے لے لیا ہوتا پہلے امتحاں اپنا

۱۵

سر اُٹھا کے بھی ہم کو سجدہ کرنا آتا ہے

آپ اپنے گھر رکّھیں، سنگِ آستاں اپنا

۱۶

تھا مقابلہ سیمابؔ عمرِ بزمِ فانی سے

ہم بھی چھوڑ آئے ہیں نقشِ جاوداں اپنا

नक़्श-ए जावदां अपना – सीमाब अक्बराबादी

पहुंचे ता ब मंज़िल, क्या सिल्सिला अपना

रास्ते हैं सब उन के, और कार्वां अपना

क्या करें कहीं क़ाएम आरज़ी निशां अपना

है वही मकां अपना जी लगे जहां अपना

बज़्म-ए हुस्न में होगा कौन तर्जुमां अपना

दिल है कुछ भरोसा था, दिल मगर कहां अपना

वक़्त राह-ए मंज़िल में हो न राएगां अपना

रोज़ रुख़ बदलता है, मीर-ए कार्वां अपना

फ़ाश क्यूं नहीं करता, राज़-ए जब्र ओ मज्बूरी

क्यूं ख़राब करता है नाम आस्मां अपना

दर्द को ख़ुदा रक्खे, करबटें बदलवा दें

वरना कौन शाम-ए ग़म था मिज़ाज-दां अपना

देख लेती ख़्वाबीदा, कार्वां बहारौं के

जाएज़ा अगर लेती सुबह गुल्सितां अपना

क्या अजब बदल डाले एक दिन अपनी फ़ित्रत भी

रंग तो बदलता है, रोज़ आस्मां अपना

मौज दा’एरा बन कर आश्ना-ए मर्कज़ है

बन गया यक़ीं आख़र फैल कर गुमां अपना

१०

दौर-ए ग़म है ला-महदूद, हद्द-ए ज़ीस्त ना-मालूम

काम क्यूं नहीं करती मर्ग-ए नागहां अपना

११

अब खुला के मैं उन की ज़ात का ख़ुलासा हूं

पूछ कर पता मेरा दे गए निशां अपना

१२

नाज़ से निया’एश को इंतेक़ाम लेना था

तू भी अए ज़मीं रख ले नाम आस्मां अपना

१३

हैं ये सब गिले शिक्वे, बर बिना-ए ला-इल्मी

वरना बिजलियां अपनी और न आशियां अपना

१४

ये ग़लत निशाना क्या, तूर ख़त्म, ग़श मूसा

तू ने ले लिया होता पहले इमतहां अपना

१५

सर उठा के भी हम को सज्दा करना आता है

आप अपने घर रक्खें, संग-ए आस्तां अपना

१६

था मुक़ाबला सीमाब उम्र-ए बज़्म-ए फ़ानी से

हम भी छोढ आए हैं, नक़्श-ए जावदां अपना

 

Click here for background and on any passage for word meanings and explanatory discussion. syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu. A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh. He also did a poetic translation of the whole qur’aan. This Ghazal, composed in the style of Ghalib’s, ‘zikr us parivash ka aur phir bayaaN apna’ contains the same thoughts as some of other Ghalib compositions.
1
pahuNche taa-ba-manzil1 kya silsila2 apna
raaste haiN sub un ke, aur kaarvaaN apna 
1.up to the destination/goal 2.connection, relationship, journey
How can my/our journey get to its destination. All the ways leading to it are ‘theirs’ and the traveling party is ours. The key word is “un” … who is “un”. It could be the beloved, it could be the political system and/or the rich and powerful or it could even be the orthodoxy.

2
kya kareN kahiiN qaa’em1 aarizi2 nishaaN3 apna
hai vahi makaaN4 apna jii lage jahaaN apna   
1.standing, establish 2.temporary, passing 3.mark, stamp 4.home
How can I/Why should I make/establish a mark/home when it is but a passing/temporary thing. My home is wherever my interest is (in the spirit of a seeker/wanderer).

3
bazm1-e husn2 hoga kaun tarjumaaN3 apna
dil hai kuchh bharosa4 tha, dil magar kahaaN apna 
1.company, presence 2.beauty, beloved 3.interpreter, messenger 4.confidence, consolation
Who will speak for me now before the beloved. I had some consolation that my heart will be able to do it, but now I don’t even have my heart. The poet/lover is in a Catch-22 quandary – he has lost his heart to the beloved and with it, he has lost his ability to convey his message of love.

4
vaqt raah1-e manzil2 meN ho na raa’egaaN3 apna
roz ruKh4 badalta hai miir5-e kaarvaaN6 apna 
1.path 2.destination 3.useless, wasted 4.face, direction 5.leader 6.company of travelers/seekers
The leader of the caravan of seekers is either confused, fickle or deceptive. It is not clearly stated which. But he changes direction every day. The poet/seeker is afraid that their time is being wasted along the way to the destination.

5
faash1 kyuN nahiN karta, raaz2-e jabr3 o majbuuri4
kyuN Kharaab karta hai naam5 aasmaaN6 apna 
1.reveal, show 2.secret, reason 3.force, confinement 4.powerlessness 5.name-reputation 6.sky-fate
“aasmaan” is often used to mean fate. Our fate is pre-determined. We have limited discretion. We are powerless. Why does not the sky/heaven reveal this secret. Why does it continue to malign reputation under the pretense that we are given free will.

6
dard1 ko Khuda rakkhe2, karvaTeN3 badalva deN
varna4 kaun shaam-e Gham5 tha mizaaj-daaN6 apna 
1.pain 2.keep (safe), preserve 3.changing sides in restlessness 4.otherwise 5.sorrow 6.sympathiser, friend
In urdu poetic tradition, pain is valued – it is pain of love or mysticism. It is also portrayed as physical pain, but means the spiritual or romantic. Thus, may god preserve ‘pain’. It is thoughtful enough to make us changes sides for comfort. Other than ‘pain’ who else would enquire after us during long nights of sorrow.

7
dekh leti Khwaabiida1 kaarvaaN2 bahaaroN3 ke
jaa’eza4 agar leti sub’h gulsitaaN apna 
1.sleepy, lost, unsure 2.traveling party of seekers 3.spring 4.examine
Parties of seekers are looking for spring. But they are all unsure of where to look. They are sleepy/unaware. If the dawn of the garden had seen them, she would have figured out that they were sleepy. In a political interpretation, “dawn of the garden” could be the socialist system. In a sufiyaana interpretation, “dawn of the garden” can be universal love or love of the divine spirit.

8
kya ajab1 badal2 Daale ek din apni fitrat3 bhi
raNg4 to badalta hai, roz aasmaaN apna  
1.strange, surprising 2.change 3.nature 4.colour, ways/methods
Why should it be surprising if it changes its very nature. After all the sky changes colour every day. Sky changing its colour every day can be taken in the literal sense but then extended to the sky meaning ‘fate’. Normally, the ‘nature’ of fate is considered to be cruel. Here the poet speculates that it may one day change its nature and smile on him.

9
mauj1 daa’era2 ban kar aashna3-e markaz4 hai
ban gaya yaqiiN5 aaKhir, phail kar gumaaN6 apna 
1.wave 2.circle 3.aware, knowledgable 4.centre, focus 5.faith 6.suspicion, uncertainty, scepticism
The focus of the sufi is ‘fana’ – annihilation of its own identity with merger with the great spirit. “mauj daa’era ban’na” brings to mind the picture of a whirlpool into which the boat sinks and gets annihilated. Thus, the specticism of the poet/sufi spread like waves and turned into a whirlpool with its centre/focus being the annihilation/merger/fana of certainty/faith.

10
daur1-e Gham2 hai la-mahdood3, hadd4-e ziist5 na-maaloom7
kaam kyuN nahiN karti, marg8-e naagahaaN9 apna 
1.duration 2.sorrow 3.without limits 4.limit, boundary 5.life 7.unknown 8.death 9.hidden, surprising, sudden
The duration of sorrow is unlimited – this almost sounds like a life-sentence. But the duration of life is limited (although unknown) i.e., we are going to have bear sorrow for as long as we live. This sounds very similar to Ghalib’s …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paae kyuN

11
ab khula1 keh maiN un ki zaat2 ka Khulaasa3 huN
poochh kar pata mera de gaye nishaaN4 apna  
1.see, understand 2.person, being (divine being) 3.explanation, summary (used here to mean reflection/image) 4.mark, stamp
It is only now that I understand/see that I am a reflection/image of his/her being. By asking me my identity he/she put his/her own stamp on me.

12
naaz1 se niyaa’esh2 ko inteqaam3 lena tha
tuu bhi aye zamiN rakh le naam aasmaaN apna 
1.coquetry, pride 2.abject prayer 3.revenge, getting even
The beloved is always stand-offish and coquettish. ‘naaz’ refers to this aspect of the beloved. The poet/lover is always humble and solicitous, begging the beloved for favours. The poet/lover is beginning to feel rebellious. He wants to get even. ‘zamin’ is a symbol of low status while ‘aasmaan’ symbolizes a high status. Thus, as a way of turning tables on the beloved … O zamin, rename yourself aasmaan in order to grant yourself a high status.

13
haiN ye sub gile1 shikve2 bar-binaa3-e la-ilmi4
varna5 bijliyaaN6 apni aur ba aashiyaaN7 apna 
1.protest 2.complaints 3.on the foundation of 4.ignorance 5.otherwise 6.lightning 7.nest
In urdu poetic convention lightning always strikes the poet’s nest and he always complains. All these protests and complaints are based on a foundation of ignorance. What we don’t realize is that neither the lightning nor the nest is ours – we don’t have control over the one or ownership of the other, that is why we complain, otherwise we would not have complained – would have accepted god’s will totally.

14
ye Ghalat1 nishaana2 kya, tuur3 Khatm4, Ghash5 moosa6
tuu ne le liya hota pahle imtehaaN7 apna  
1.wrong 2.target 3.peak of mount Sinaii 4.finished, destroyed 5.unconscious 6.Moses 7.test
The story is that Moses went to the peak of mount tuur and asked to see god. He was told that he would not be able to bear the sight but insisted. god manifested him/herself as lightning, which reduced mount tuur to ashes and moosa fainted. Says the poet … O god, why this wrong target. moosa did not have the capacity for this test. You should have tested me first. This is the same thought as Ghalib’s …
girni thi ham pe barq-e tajalli na tuur par
dete haiN baada zarf-e qadah-Khwaar dekh kar

15
sar uTha ke bhi ham ko, sajda1 karna aata hai
aap apne ghar rakkheN, saNg-e-aastaaN2 apna 
1.prayerful prostration 2.stone doorsill
The lover offers his devotion by prostrating at the doorsill of the beloved (god). Prostration may be considered a sign of abject humility/indignity. The poet/devotee protests. I have some dignity. I too know how to offer devotion with my head held up high. You keep your houses (temple and mosque), all I need is a doorsill. Ghalib in one of his faarsi Ghazal writes …
maqsood-e maa ze dair o haram juz habiib niist
har jaa kuniim sajda ba-daaN aastaaN rasad
My object in either temple or mosque is none other than god
Wherever I perform sajda, the doorsill will appear

16
tha muqaabala1 seemab2, umr3-e bazm-e-faani4 se
ham bhi chhoR aaye haiN, naqsh5-e jaavedaaN6 apna 
1.competition 2.pen-name of the poet 3.life-span 4.gathering (world) of mortals/transients 5.marks, prints 6.eternal
O seemab, there was a competition with a limited life-span in this world of mortals. So, I came away leaving behind eternal footprints.

syed aashiq husain seemab akbarabadi (1880-1951) was a scholar of farsi and arabi in addition to urdu.  A progressive poet of secular outlook who wrote nazm of socialist themes as well odes to krishn and buddh.  He also did a poetic translation of the whole qur’aan.  This Ghazal, composed in the style of Ghalib’s, ‘zikr us parivash ka aur phir bayaaN apna’ contains the same thoughts as some of other Ghalib compositions.
1
pahuNche taa-ba-manzil1 kya silsila2 apna
raaste haiN sub un ke, aur kaarvaaN apna

1.up to the destination/goal 2.connection, relationship, journey

How can my/our journey get to its destination.  All the ways leading to it are ‘theirs’ and the traveling party is ours.  The key word is “un” … who is “un”.  It could be the beloved, it could be the political system and/or the rich and powerful or it could even be the orthodoxy.
2
kya kareN kahiiN qaa’em1 aarizi2 nishaaN3 apna
hai vahi makaaN4 apna jii lage jahaaN apna

1.standing, establish 2.temporary, passing 3.mark, stamp 4.home

How can I/Why should I make/establish a mark/home when it is but a passing/temporary thing.  My home is wherever my interest is (in the spirit of a seeker/wanderer).
3
bazm1-e husn2 hoga kaun tarjumaaN3 apna
dil hai kuchh bharosa4 tha, dil magar kahaaN apna

1.company, presence 2.beauty, beloved 3.interpreter, messenger 4.confidence, consolation

Who will speak for me now before the beloved.  I had some consolation that my heart will be able to do it, but now I don’t even have my heart.  The poet/lover is in a Catch-22 quandary – he has lost his heart to the beloved and with it, he has lost his ability to convey his message of love.
4
vaqt raah1-e manzil2 meN ho na raa’egaaN3 apna
roz ruKh4 badalta hai miir5-e kaarvaaN6 apna

1.path 2.destination 3.useless, wasted 4.face, direction 5.leader 6.company of travelers/seekers

The leader of the caravan of seekers is either confused, fickle or deceptive.  It is not clearly stated which.  But he changes direction every day.  The poet/seeker is afraid that their time is being wasted along the way to the destination.
5
faash1 kyuN nahiN karta, raaz2-e jabr3 o majbuuri4
kyuN Kharaab karta hai naam5 aasmaaN6 apna

1.reveal, show 2.secret, reason 3.force, confinement 4.powerlessness 5.name-reputation 6.sky-fate

“aasmaan” is often used to mean fate.  Our fate is pre-determined.  We have limited discretion.  We are powerless.  Why does not the sky/heaven reveal this secret.  Why does it continue to malign reputation under the pretense that we are given free will.
6
dard1 ko Khuda rakkhe2, karvaTeN3 badalva deN
varna4 kaun shaam-e Gham5 tha mizaaj-daaN6 apna

1.pain 2.keep (safe), preserve 3.changing sides in restlessness 4.otherwise 5.sorrow 6.sympathiser, friend

In urdu poetic tradition, pain is valued – it is pain of love or mysticism.  It is also portrayed as physical pain, but means the spiritual or romantic.  Thus, may god preserve ‘pain’.  It is thoughtful enough to make us changes sides for comfort.  Other than ‘pain’ who else would enquire after us during long nights of sorrow.
7
dekh leti Khwaabiida1 kaarvaaN2 bahaaroN3 ke
jaa’eza4 agar leti sub’h gulsitaaN apna

1.sleepy, lost, unsure 2.traveling party of seekers 3.spring 4.examine

Parties of seekers are looking for spring.  But they are all unsure of where to look.  They are sleepy/unaware.  If the dawn of the garden had seen them, she would have figured out that they were sleepy.  In a political interpretation, “dawn of the garden” could be the socialist system.  In a sufiyaana interpretation, “dawn of the garden” can be universal love or love of the divine spirit.
8
kya ajab1 badal2 Daale ek din apni fitrat3 bhi
raNg4 to badalta hai, roz aasmaaN apna

1.strange, surprising 2.change 3.nature 4.colour, ways/methods

Why should it be surprising if it changes its very nature.  After all the sky changes colour every day.  Sky changing its colour every day can be taken in the literal sense but then extended to the sky meaning ‘fate’.  Normally, the ‘nature’ of fate is considered to be cruel.  Here the poet speculates that it may one day change its nature and smile on him.
9
mauj1 daa’era2 ban kar aashna3-e markaz4 hai
ban gaya yaqiiN5 aaKhir, phail kar gumaaN6 apna

1.wave 2.circle 3.aware, knowledgable 4.centre, focus 5.faith 6.suspicion, uncertainty, scepticism

The focus of the sufi is ‘fana’ – annihilation of its own identity with merger with the great spirit.  “mauj daa’era ban’na” brings to mind the picture of a whirlpool into which the boat sinks and gets annihilated.  Thus, the specticism of the poet/sufi spread like waves and turned into a whirlpool with its centre/focus being the annihilation/merger/fana of certainty/faith.
10
daur1-e Gham2 hai la-mahdood3, hadd4-e ziist5 na-maaloom7
kaam kyuN nahiN karti, marg8-e naagahaaN9 apna

1.duration 2.sorrow 3.without limits 4.limit, boundary 5.life 7.unknown 8.death 9.hidden, surprising, sudden

The duration of sorrow is unlimited – this almost sounds like a life-sentence.  But the duration of life is limited (although unknown) i.e., we are going to have bear sorrow for as long as we live.  This sounds very similar to Ghalib’s …
qaid-e-hayaat-o-band-e-Gham asl meN donoN ek haiN
maut se pahle aadmii Gham se nijaat paae kyuN
11
ab khula1 keh maiN un ki zaat2 ka Khulaasa3 huN
poochh kar pata mera de gaye nishaaN4 apna

1.see, understand 2.person, being (divine being) 3.explanation, summary (used here to mean reflection/image) 4.mark, stamp

It is only now that I understand/see that I am a reflection/image of his/her being.  By asking me my identity he/she put his/her own stamp on me.
12
naaz1 se niyaa’esh2 ko inteqaam3 lena tha
tuu bhi aye zamiN rakh le naam aasmaaN apna

1.coquetry, pride 2.abject prayer 3.revenge, getting even

The beloved is always stand-offish and coquettish.  ‘naaz’ refers to this aspect of the beloved.  The poet/lover is always humble and solicitous, begging the beloved for favours.  The poet/lover is beginning to feel rebellious.  He wants to get even.  ‘zamin’ is a symbol of low status while ‘aasmaan’ symbolizes a high status.  Thus, as a way of turning tables on the beloved … O zamin, rename yourself aasmaan in order to grant yourself a high status.
13
haiN ye sub gile1 shikve2 bar-binaa3-e la-ilmi4
varna5 bijliyaaN6 apni aur ba aashiyaaN7 apna

1.protest 2.complaints 3.on the foundation of 4.ignorance 5.otherwise 6.lightning 7.nest

In urdu poetic convention lightning always strikes the poet’s nest and he always complains.  All these protests and complaints are based on a foundation of ignorance.  What we don’t realize is that neither the lightning nor the nest is ours – we don’t have control over the one or ownership of the other, that is why we complain, otherwise we would not have complained – would have accepted god’s will totally.
14
ye Ghalat1 nishaana2 kya, tuur3 Khatm4, Ghash5 moosa6
tuu ne le liya hota pahle imtehaaN7 apna

1.wrong 2.target 3.peak of mount Sinaii 4.finished, destroyed 5.unconscious 6.Moses 7.test

The story is that Moses went to the peak of mount tuur and asked to see god.  He was told that he would not be able to bear the sight but insisted.  god manifested him/herself as lightning, which reduced mount tuur to ashes and moosa fainted.  Says the poet … O god, why this wrong target.  moosa did not have the capacity for this test.  You should have tested me first.  This is the same thought as Ghalib’s …
girni thi ham pe barq-e tajalli na tuur par
dete haiN baada zarf-e qadah-Khwaar dekh kar
15
sar uTha ke bhi ham ko, sajda1 karna aata hai
aap apne ghar rakkheN, saNg-e-aastaaN2 apna

1.prayerful prostration 2.stone doorsill

The lover offers his devotion by prostrating at the doorsill of the beloved (god).  Prostration may be considered a sign of abject humility/indignity.  The poet/devotee protests.  I have some dignity.  I too know how to offer devotion with my head held up high.  You keep your houses (temple and mosque), all I need is a doorsill.  Ghalib in one of his faarsi Ghazal writes …
maqsood-e maa ze dair o haram juz habiib niist
har jaa kuniim sajda ba-daaN aastaaN rasad
My object in either temple or mosque is none other than god
Wherever I perform sajda, the doorsill will appear
16
tha muqaabala1 seemab2, umr3-e bazm-e-faani4 se
ham bhi chhoR aaye haiN, naqsh5-e jaavedaaN6 apna

1.competition 2.pen-name of the poet 3.life-span 4.gathering (world) of mortals/transients 5.marks, prints 6.eternal

O seemab, there was a competition with a limited life-span in this world of mortals.  So, I came away leaving behind eternal footprints.