qais hua mere b’aad-munavvar KhaaN Ghaafil

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

قیس ہوا میرے بعد۔مُنوّر خاں غافلؔ

۱

آ کے سجادہ نشیں قیس ہوا میرے بعد

نہ رہی دشت میں خالی کوئی جا میرے بعد

۲

نیام میں اُس نے جو کی تیغِ جفا میرے بعد

خوں گرفتہ کوئی کیا اور نہ تھا میرے بعد

۳

دوستی کا بھی تجھے پاس نہ آیا ہے ہے

تو نے دشمن سے کیا میرا گِلا میرے بعد

۴

گرم بازاریٔ اُلفت ہے مجھی سے ورنہ

کوئی لینے کا نہیں نامِ وفا میرے بعد

۵

منہ پہ لے دامنِ گل روئیں گے مرغانِ چمن

باغ میں خاک اڑائے گی صبا میرے بعد

۶

چاک اِسی غم سے گریبان کیا ہے میں نے

کون کھولے گا ترے بندِ قبا میرے بعد

۷

اب تو ہنس ہنس کے لگاتا ہے وہ مہندی لیکن

خوں رلا دے گا اُسے رنگِ حِنا میرے بعد

۸

میں تو گلزار سے دل تنگ چلا غنچہ روِش

مجھ کو کیا پھر جو کوئی پھول کھلا میرے بعد

۹

وہ ہوا خواہِ چمن ہوں کہ چمن میں ہر صبح

پہلے میں جاتا تھا اور باد صبا میرے بعد

۱۰

سُن کے مرنے کی خبر یار مرے گھر آیا

یعنی مقبول ہوئی میری وفا میرے بعد

۱۱

ذِبح کر کے مجھے نادم یہ ہوا وہ قاتل

ہاتھ میں پھر کبھی خنجر نہ لیا میرے بعد

۱۲

میری ہی زمزمہ سنجی سے چمن تھا آباد

کیا صیّاد نے اِک اِک کو رہا میرے بعد

۱۳

آ گیا بیچ میں اُس زلف کی اک میں ناداں

نہ ہوا کوئی گرفتارِ بلا میرے بعد

۱۴

قتل تو کرتے ہو پر خوب ہی پچھتاؤ گے

مجھ سا ملنے کا نہیں اہلِ وفا میرے بعد

۱۵

برگِ گل لائی صبا قبر پہ میری نہ نسیم

پھر گئی ایسی زمانے کی ہوا میرے بعد

۱۶

گِر پڑے آنکھ سے اُس کی بھی یکایک آنسو

ذکر محفل میں جو کچھ میرا ہوا میرے بعد

۱۷

زیرِ شمشیر یہی سوچ ہے مقتل میں مجھے

دیکھیے اب کسے لاتی ہے قضا میرے بعد

۱۸

شرطِ یاری یہی ہوتی ہے کہ تو نے غافلؔ

بھول کر بھی نہ مجھے یاد کیا میرے بعد

क़ैस हुआ मेरे बा’द-मुनव्वर ख़ां ग़ाफ़िल

आ के सज्जादा-नशीं क़ैस हुआ मेरे बा’द

न रही दश्त में ख़ाली कोई जा मेरे बा’द

नियाम में उस ने जो की तेग़-ए जफ़ा मेरे बा’द

ख़ूँ-गिरफ़्ता कोई क्या और न था मेरे बा’द

दोस्ती का भी तुझे पास न आया हऐ हऐ

तू ने दुश्मन से किया मेरा गिला मेरे बा’द

गर्म-बाज़ारी-ए उल्फ़त है मुझी से वर्ना

कोई लेने का नहीं नाम-ए वफ़ा मेरे बा’द

मुँह पे ले दामन-ए गुल रोएँगे मुर्ग़ान-ए चमन

बाग़ में ख़ाक उड़ाएगी सबा मेरे बा’द

चाक इसी ग़म से गरेबान किया है मैं ने

कौन खोलेगा तेरे बंद-ए क़बा मेरे बा’द

अब तो हँस हँस के लगाता है वो मेहंदी लैकिन

ख़ूं रुला देगा उसे रंग-ए हिना मेरे बा’द

मैं तो गुल्ज़ार से दिल-तंग चला ग़ुंचा-रविश

मुझ को क्या फिर जो कोई फूल खिला मेरे बा’द

वो हवा-ख़्वाह-ए चमन हूँ के चमन में हर सुब्ह

पहले मैं जाता था और बाद-ए सबा मेरे बा’द

१०

सुन के मरने की ख़बर यार मेरे घर आया

या’नी मक़्बूल हुई मेरी वफ़ा मेरे बा’द

११

ज़िब्ह कर के मुझे नादिम ये हुआ वो क़ातिल

हाथ में फिर कभी ख़ंजर न लिया मेरे बा’द

१२

मेरी ही ज़म्ज़मा-संजी से चमन था आबाद

किया सय्याद ने एक एक को रेहा मेरे बा’द

१३

आ गया बीच में उस ज़ुल्फ़ की एक मैं नादाँ

न हुआ कोई गिरफ़्तार-ए बला मेरे बा’द

१४

क़त्ल तो करते हो पर ख़ूब ही पछताओगे

मुझ सा मिलने का नहीं अहल-ए वफ़ा मेरे बा’द

१५

बर्ग-ए गुल लाई सबा क़ब्र पे मेरी न नसीम

फिर गई ऐसी ज़माने की हवा मेरे बा’द

१६

गिर पड़े आँख से उस की भी यकायक आँसू

ज़िक्र महफ़िल में जो कुछ मेरा हुआ मेरे बा’द

१७

ज़ेर-ए शमशीर यही सोच है मक़्तल में मुझे

देखिए अब किसे लाती है क़ज़ा मेरे बा’द

१८

शर्त-ए यारी यही होती है के तू ने ग़ाफ़िल’

भूल कर भी न मुझे याद किया मेरे बा’द

 

Click here for background and on any passage for word meanings and explanatory discussion. munavvar KhaaN Ghaafil (????-????), lakhnau. His diivan was published in 1872, a few years after his death because his son worked at naval kishore printing press and mentioned to the owner that his father had left behind a collection of Ghazal. Nothing is mentioned about the shaa’er in the diivan and even this story appears as a footnote towards the end. Ghalib’s Ghazal in this zamin was composed before 1821. I therefore (without any documented proof) link this Ghazal with Ghalib’e demise in 1869.
1
aa ke sajjaada-nashiN1 qais2 hua mere b’aad
na rahi dasht3 meN Khaali koi jaa4 mere b’aad  
1.sitting on the jaa-namaaz/prayer mat 2.another name of majnuN 3.desert, wilderness 4.place
qais/majnuN is the legendary mad/passionate lover who wandered the desert and wilderness in search of his beloved laila. But the poet/lover set such a high standard of passion and wandering that qais had to give up and come back to a conventional life, observing namaaz/prayer. There was no place left for him in the desert. There has been some confusion about the authorship of this Ghazal. In a foreword this she’r was quoted as that of mir taqi mir, but is not found in his ‘kulliyaat’. Then another she’r emerged with ‘mir’ in it as a taKhallus …
b’aad marne ke meri qabr pe aaya vo mir
yaad aaii mere eesa ko davaa mere b’aad
but this is also not found in any of mir’s divaan. But after this confusion, it is definitively established as a Ghazal of munavvar KhaaN Ghaafil.

2
niyaam1 meN us ne jo ki teGh2-e jafaa3 mere b’aad
KhuN-girafta4 koi kya aur na tha mere b’aad  
1.sheath, scabbard 2.sword 3.torture 4.deserving of being killed
After killing the poet/lover the beloved sheathed her sword. Was there no one deserving of being killed after me!

3
dosti ka bhi tujhe paas1 na aaya hai-hai2
tu ne dushman se kiya mera gila3 mere b’aad    
1.regard, consideration 2.alas 3.complaint
Alas, you did not have any regard for my love. You complained to the rival about me, after me (the poet/lover’s death).

4
garm-baazaari1-e ulfat2 hai mujhi se varna3
koi lene ka nahiN naam-e vafaa4 mere b’aad  
1.brisk trade, availability 2.love 3.otherwise 4.fidelity
The offer of staying true/steadfast in love is only because of me, otherwise there is no one who will go anywhere near fidelity after me.

5
muNh pe le daaman-e-gul1 ro’eNge murGhaan2-e chaman
baaGh meN Khaak uRaayegi sabaa3 mere b’aad  
1.hem of the robe of the rose i.e. rose petal 2.birds 3.breeze
Normally, the garden is a place where birds sing songs of love to their beloved, the rose. But after the demise of the poet/lover there will be such sorrow that birds with cry hiding their face behind rose petals. The breeze will blow dust in sorrow.

6
chaak1 isi Gham se garebaan2 kiya hai maiN ne
kaun kholegaa tere band3-e qabaa4 mere b’aad  
1.tear 2.collar 3.ties 4.robe
Tearing the collar is a sign of great distress. The poet/lover, anticipating his own death is in great distress either because (a) there will be no one after him to help the beloved untie the ties of her robe, because no one was as intimate with her as he was or (b) he is wondering (and is jealous) about who will replace him.

7
ab to haNs haNs ke lagaata hai vo mehNdi laikin
KhuuN rulaa dega use raNg-e hina1 mere b’aad  
1.henna, mehndi
While the poet/lover is alive she happily applies henna to herself. But after his death she will cry tears of blood because (a) the colour of henna will remind her of him and she will be sorrowful or (b) the colour will not take, will not be a deep red because it is not mixed with his blood.

8
maiN to gulzaar1 se dil-taNg2 chalaa Ghuncha-ravish3
mujh ko kya phir jo koi phuul khilaa4 mere b’aad  
1.garden 2.unopened heart, unfulfilled desire 3.like/similar to unopened flower 4.bloom
The poet/lover departed from the garden/world/life without his heart’s desire being fulfilled. What does he care if any flower blooms in the garden after him.

9
vo havaa-Khwaah1-e chaman huN ke chaman meN har sub’h
pahle maiN jaata tha aur baad-e-sabaa2 mere b’aad  
1.desiring (fresh) air, taking a walk 2.morning breeze
I am so keen on taking an early morning walk for fresh air, that it was I who went to the garden first, and the morning breeze came after me.

10
sun ke marne ki Khabar1 yaar2 mere ghar aaya
y’aani3 maqbuul4 hui meri vafaa5 mere b’aad  
1.news 2.friend, beloved 3.meaning, it means that 4.accept 5.fidelity
After the beloved heard of the news of the poet/lover’s death, she came to his house (to pay respects). This means that his promise of fidelity in love was finally accepted after his death.

11
zib’h1 kar ke mujhe naadim2 ye hua vo qaatil3
haath meN phir kabhi Khanjar4 na liya mere b’aad  
1.slaughter, slit throat 2.regret 3.killer, beloved 4.dagger, sword
The beloved regretted her act after slaughtering the poet/lover so much so that she never touched a sword after that. This could be because she is sorry for him or because there is no one else deserving of “love”.

12
meri hi zamzama-sanji1 se chaman tha aabaad2
kiya sayyaad3 ne ek ek ko rehaa4 mere b’aad    
1.refined/selected of singing 2.prosperous 3.jailer, bird-catcher 4.set free
The bird-catcher had many birds in cages. This could be the beloved herself. The poet/lover was an expert songster. After his death there were no other birds that could match his skill. So the bird catcher released them one after the other. This could be the beloved letting all the other lovers go, disappointed in their fildelity.

13
aa gayaa biich meN us zulf1 ki ek maiN naadaaN2
na hua koi giraftaar-e-balaa3 mere b’aad    
1.hair 2.simpleton 3.snared in calamities
The poet/lover considers himself a simpleton. He did not think through all the implications of falling in love and got snared in the long tresses of the beloved. There was no one else that was caught in calamities after him.

14
qatl to karte ho par Khuub hi pachhtaaoge1
mujh saa milne ka nahiN ahl-e-vafaa2 mere b’aad  
1.regret 2.person of faith/fidelity
You O beloved, are getting ready to kill/slaughter me but you will regret this very much. You will not find another faithful lover like me, after me.

15
barg-e-gul1 laaii sabaa2 qabr3 pe meri na nasim4
phir-gayii5 aisi zamaane ki havaa6 mere b’aad  
1.flower petal 2.breeze 3.grave 4.fragrance 5.changed direction, turned 6.behaviour
The breeze did not blow either flower petals or fragrance towards the grave of the poet/lover. The ways of the world have changed after me.

16
gir paRe aaNkh se us ki bhi yakaayak1 aaNsu
zikr2 mahfil3 meN jo kuchh mera hua mere b’aad  
1.spontaneously 2.mention 3.gathering
When there was some mention of the poet/lover in the gathering around the beloved, she spontaneously shed tears.

17
zer1-e shamshir2 yahi soch hai maqtal3 meN mujhe
dekhiye ab kise laati hai qazaa4 mere b’aad  
1.under 2.sword 3.slaughter-house 4.death
The poet/lover is under the sword in the slaughter-house, his throat about to be slit. He wonders who will be next. Is this out of jealousy!

18
shart1-e yaari2 yahi hoti hai ke tu ne Ghaafil3
bhuul kar bhi na mujhe yaad kiya mere b’aad    
1.condition 2.love 3.pen name of the poet, also means-forgetful, neglectful
Normally when the taKhallus is used, it implies the poet him/herself. But in this case, the taKhallus stands-in for the beloved. It is she who has been forgetful. Is this the condition/requirement that you placed on my love O, forgetful one. You have not remembered me even by mistake, after me.

munavvar KhaaN Ghaafil (????-????), lakhnau.  His diivan was published in 1872, a few years after his death because his son worked at naval kishore printing press and mentioned to the owner that his father had left behind a collection of Ghazal.  Nothing is mentioned about the shaa’er in the diivan and even this story appears as a footnote towards the end.  Ghalib’s Ghazal in this zamin was composed before 1821.  I therefore (without any documented proof) link this Ghazal with Ghalib’e demise in 1869.
1
aa ke sajjaada-nashiN1 qais2 hua mere b’aad
na rahi dasht3 meN Khaali koi jaa4 mere b’aad

1.sitting on the jaa-namaaz/prayer mat 2.another name of majnuN 3.desert, wilderness 4.place

qais/majnuN is the legendary mad/passionate lover who wandered the desert and wilderness in search of his beloved laila.  But the poet/lover set such a high standard of passion and wandering that qais had to give up and come back to a conventional life, observing namaaz/prayer.  There was no place left for him in the desert.  There has been some confusion about the authorship of this Ghazal.  In a foreword this she’r was quoted as that of mir taqi mir, but is not found in his ‘kulliyaat’.  Then another she’r emerged with ‘mir’ in it as a taKhallus …
b’aad marne ke meri qabr pe aaya vo mir
yaad aaii mere eesa ko davaa mere b’aad
but this is also not found in any of mir’s divaan.  But after this confusion, it is definitively established as a Ghazal of munavvar KhaaN Ghaafil.
2
niyaam1 meN us ne jo ki teGh2-e jafaa3 mere b’aad
KhuN-girafta4 koi kya aur na tha mere b’aad

1.sheath, scabbard 2.sword 3.torture 4.deserving of being killed

After killing the poet/lover the beloved sheathed her sword.  Was there no one deserving of being killed after me!
3
dosti ka bhi tujhe paas1 na aaya hai-hai2
tu ne dushman se kiya mera gila3 mere b’aad

1.regard, consideration 2.alas 3.complaint

Alas, you did not have any regard for my love.  You complained to the rival about me, after me (the poet/lover’s death).
4
garm-baazaari1-e ulfat2 hai mujhi se varna3
koi lene ka nahiN naam-e vafaa4 mere b’aad

1.brisk trade, availability 2.love 3.otherwise 4.fidelity

The offer of staying true/steadfast in love is only because of me, otherwise there is no one who will go anywhere near fidelity after me.
5
muNh pe le daaman-e-gul1 ro’eNge murGhaan2-e chaman
baaGh meN Khaak uRaayegi sabaa3 mere b’aad

1.hem of the robe of the rose i.e. rose petal 2.birds 3.breeze

Normally, the garden is a place where birds sing songs of love to their beloved, the rose.  But after the demise of the poet/lover there will be such sorrow that birds with cry hiding their face behind rose petals.  The breeze will blow dust in sorrow.
6
chaak1 isi Gham se garebaan2 kiya hai maiN ne
kaun kholegaa tere band3-e qabaa4 mere b’aad

1.tear 2.collar 3.ties 4.robe

Tearing the collar is a sign of great distress.  The poet/lover, anticipating his own death is in great distress either because (a) there will be no one after him to help the beloved untie the ties of her robe, because no one was as intimate with her as he was or (b) he is wondering (and is jealous) about who will replace him.
7
ab to haNs haNs ke lagaata hai vo mehNdi laikin
KhuuN rulaa dega use raNg-e hina1 mere b’aad

1.henna, mehndi

While the poet/lover is alive she happily applies henna to herself.  But after his death she will cry tears of blood because (a) the colour of henna will remind her of him and she will be sorrowful or (b) the colour will not take, will not be a deep red because it is not mixed with his blood.
8
maiN to gulzaar1 se dil-taNg2 chalaa Ghuncha-ravish3
mujh ko kya phir jo koi phuul khilaa4 mere b’aad

1.garden 2.unopened heart, unfulfilled desire 3.like/similar to unopened flower 4.bloom

The poet/lover departed from the garden/world/life without his heart’s desire being fulfilled.  What does he care if any flower blooms in the garden after him.
9
vo havaa-Khwaah1-e chaman huN ke chaman meN har sub’h
pahle maiN jaata tha aur baad-e-sabaa2 mere b’aad

1.desiring (fresh) air, taking a walk 2.morning breeze

I am so keen on taking an early morning walk for fresh air, that it was I who went to the garden first, and the morning breeze came after me.
10
sun ke marne ki Khabar1 yaar2 mere ghar aaya
y’aani3 maqbuul4 hui meri vafaa5 mere b’aad

1.news 2.friend, beloved 3.meaning, it means that 4.accept 5.fidelity

After the beloved heard of the news of the poet/lover’s death, she came to his house (to pay respects).  This means that his promise of fidelity in love was finally accepted after his death.
11
zib’h1 kar ke mujhe naadim2 ye hua vo qaatil3
haath meN phir kabhi Khanjar4 na liya mere b’aad

1.slaughter, slit throat 2.regret 3.killer, beloved 4.dagger, sword

The beloved regretted her act after slaughtering the poet/lover so much so that she never touched a sword after that.  This could be because she is sorry for him or because there is no one else deserving of “love”.
12
meri hi zamzama-sanji1 se chaman tha aabaad2
kiya sayyaad3 ne ek ek ko rehaa4 mere b’aad

1.refined/selected of singing 2.prosperous 3.jailer, bird-catcher 4.set free

The bird-catcher had many birds in cages.  This could be the beloved herself.  The poet/lover was an expert songster.  After his death there were no other birds that could match his skill.  So the bird catcher released them one after the other.  This could be the beloved letting all the other lovers go, disappointed in their fildelity.
13
aa gayaa biich meN us zulf1 ki ek maiN naadaaN2
na hua koi giraftaar-e-balaa3 mere b’aad

1.hair 2.simpleton 3.snared in calamities

The poet/lover considers himself a simpleton.  He did not think through all the implications of falling in love and got snared in the long tresses of the beloved.  There was no one else that was caught in calamities after him.
14
qatl to karte ho par Khuub hi pachhtaaoge1
mujh saa milne ka nahiN ahl-e-vafaa2 mere b’aad

1.regret 2.person of faith/fidelity

You O beloved, are getting ready to kill/slaughter me but you will regret this very much.  You will not find another faithful lover like me, after me.
15
barg-e-gul1 laaii sabaa2 qabr3 pe meri na nasim4
phir-gayii5 aisi zamaane ki havaa6 mere b’aad

1.flower petal 2.breeze 3.grave 4.fragrance 5.changed direction, turned 6.behaviour

The breeze did not blow either flower petals or fragrance towards the grave of the poet/lover.  The ways of the world have changed after me.
16
gir paRe aaNkh se us ki bhi yakaayak1 aaNsu
zikr2 mahfil3 meN jo kuchh mera hua mere b’aad

1.spontaneously 2.mention 3.gathering

When there was some mention of the poet/lover in the gathering around the beloved, she spontaneously shed tears.
17
zer1-e shamshir2 yahi soch hai maqtal3 meN mujhe
dekhiye ab kise laati hai qazaa4 mere b’aad

1.under 2.sword 3.slaughter-house 4.death

The poet/lover is under the sword in the slaughter-house, his throat about to be slit.  He wonders who will be next.  Is this out of jealousy!
18
shart1-e yaari2 yahi hoti hai ke tu ne Ghaafil3
bhuul kar bhi na mujhe yaad kiya mere b’aad

1.condition 2.love 3.pen name of the poet, also means-forgetful, neglectful

Normally when the taKhallus is used, it implies the poet him/herself.  But in this case, the taKhallus stands-in for the beloved.  It is she who has been forgetful.  Is this the condition/requirement that you placed on my love O, forgetful one.  You have not remembered me even by mistake, after me.

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