For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
راضی بہ رضا میرے بعد ۔ پنڈت مہاراج کرشن ندیمؔ
۱
کس پہ یوں کیجے گا اب جور و جفا میرے بعد
کون ہے جو کہ ہو راضی بہ رضا میرے بعد
۲
جب ملے گا نہ کوئی بہرِ جفا میرے بعد
کیا نہ پچھتائے گا وہ ماہ لقا میرے بعد
۳
میرے ہی دم سے ہرا نخلِ محبّت جانو
یہ نہ پائے گا کبھی نشو و نما میرے بعد
۴
میری ہی ذات سے رہتی ہے چہل اور پہل
اُس کے کوچے میں نہ پھر کوئی چلا میرے بعد
۵
مانگی جاتی ہے مرے مرنے کی اِس وقت دعا
کون سی مانگئے گا آپ دعا میرے بعد
۶
اے ندیمؔ اپنی تو اِس طرح سے گزری گزری
دیکھئے آتی ہے اب کس پہ بلا میرے بعد
राज़ी ब रज़ा मेरे बाद – पंडित महाराज क्रिष्ण नदीम
१
किस पे यूं किजेगा अब जौर ओ जफ़ा मेरे बाद
कौन है जो के हो राज़ी ब रज़ा मेरे बाद
२
जब मिलेगा न कोई बहर-ए जफ़ा मेरे बाद
क्या न पछताएगा वो माह-लक़ा मेरे बाद
३
मेरे हि दम से हरा नख़्ल-ए मोहब्बत जानो
ये न पाएगा कभी नश्व ओ नुमा मेरे बाद
४
मेरी हि ज़ात से रहती है चहल और पहल
उस के कूचे में न फिर कोई चला मेरे बाद
५
मांगी जाती है मेरे मरने कि इस वक़्त दुआ
कौन सी मांगियेगा आप दुआ मेरे बाद
६
अए नदीम अपनी तो इस तरह से गुज़्री गुज़्री
देखिये आती है अब किस पे बला मेरे बाद
Click here for background and on any passage for word meanings and explanatory discussion. panDit maharaj krishn (~1880-~1950) followed the family tradition established by his grandfather and father into composing in urdu. Initially, he used ‘maftoon’ as his taKhallus and then switched to ‘nadiim’. There is precious little by way of biographical notes but in the book that I have access to, there is reference to his rubaaii published in magazines from 1908-1912 and a note on the first volume of his diivaan about to be published. safi lakhnavi (1862-1950) is listed as his ustaad. This Ghazal styled after Ghalib’s ‘lab-e saaqi meN salaa mere baad’ is linked both to Ghalib naqsh-e qadam and Ghalib-kashmiri panDit.
1
kis pe yuN kiijega ab jaur1 o jafa2 mere baad
kaun hai jo keh ho raazi3 ba raza4 mere baad 1.oppression 2.cruelty 3.agree, accept submit 4.will, desire
The traditional trope in urdu shaa’eri is that the beloved is always cruel to the poet/lover and he meekly/happily submits to her oppression. In fact such forbearance is a mark of honour for him. The implication is that her cruelty has gone so far that he is dying. He warns her – on whom can you visit such cruelty after I am gone. Who else will submit to your will after me. Of course, he is the ideal lover and there can be no one else like him.
2
jab milega na koii bahr1-e jafa2 mere baad
kya na pachhtaa’ega3 vo maah-laqa4 mere baad 1.for, for the intent of 2.cruelty 3.regret 4.moon-faced
When she will not find anyone else capable of/willing to accept/bear her cruelty, will that moon-faced one not regret having killed me.
3
mere hi dam1 se hara naKhl2-e mohabbat jaano3
ye na paa’ega kabhi nashv-o-numa4 mere baad 1.power, breath, life 2.tree 3.know 4.display of new growth
Know that the tree of love is green only because I live. It will not show any new growth after me.
4
meri hi zaat1 se rahti hai chahal-aur-pahal2
us ke kooche3 meN na phir koii chalaa mere baad 1.person, being 2.activity, hustle bustle 3.lane
Traditionally lovers throng to the lane to the beloved. In fact, they live there, watching all day and all night in the hope of catching a glimpse. He claims that he was the only true lover and there was such activity in her lane only because of him. There will be none who will be able to patiently wait in her lane after him.
5
maaNgi jaati hai mere marne ki is vaqt dua
kaun sii maaNgiyega aap dua mere baad At the present time (now that I am alive), you are so tired of my supplications that you wish for my death. What will you pray for after I am gone i.e., the beloved has everything she needs.
6
aye nadiim1 apni to is tarah2 se guzri guzri3
dekhiye aati hai ab kis pe balaa4 mere baad 1.pen-name of the poet 2.like this, in this way 3.it is OK that it passed like this 4.calamity, curse, bad luck
O nadiim, it is OK that my life passed like this (under such suffering). Let us see who will be the victim of such a calamity after me.
panDit maharaj krishn (~1880-~1950) followed the family tradition established by his grandfather and father into composing in urdu. Initially, he used ‘maftoon’ as his taKhallus and then switched to ‘nadiim’. There is precious little by way of biographical notes but in the book that I have access to, there is reference to his rubaaii published in magazines from 1908-1912 and a note on the first volume of his diivaan about to be published. safi lakhnavi (1862-1950) is listed as his ustaad. This Ghazal styled after Ghalib’s ‘lab-e saaqi meN salaa mere baad’ is linked both to Ghalib naqsh-e qadam and Ghalib-kashmiri panDit.
1
kis pe yuN kiijega ab jaur1 o jafa2 mere baad
kaun hai jo keh ho raazi3 ba raza4 mere baad
1.oppression 2.cruelty 3.agree, accept submit 4.will, desire
The traditional trope in urdu shaa’eri is that the beloved is always cruel to the poet/lover and he meekly/happily submits to her oppression. In fact such forbearance is a mark of honour for him. The implication is that her cruelty has gone so far that he is dying. He warns her – on whom can you visit such cruelty after I am gone. Who else will submit to your will after me. Of course, he is the ideal lover and there can be no one else like him.
2
jab milega na koii bahr1-e jafa2 mere baad
kya na pachhtaa’ega3 vo maah-laqa4 mere baad
1.for, for the intent of 2.cruelty 3.regret 4.moon-faced
When she will not find anyone else capable of/willing to accept/bear her cruelty, will that moon-faced one not regret having killed me.
3
mere hi dam1 se hara naKhl2-e mohabbat jaano3
ye na paa’ega kabhi nashv-o-numa4 mere baad
1.power, breath, life 2.tree 3.know 4.display of new growth
Know that the tree of love is green only because I live. It will not show any new growth after me.
4
meri hi zaat1 se rahti hai chahal-aur-pahal2
us ke kooche3 meN na phir koii chalaa mere baad
1.person, being 2.activity, hustle bustle 3.lane
Traditionally lovers throng to the lane to the beloved. In fact, they live there, watching all day and all night in the hope of catching a glimpse. He claims that he was the only true lover and there was such activity in her lane only because of him. There will be none who will be able to patiently wait in her lane after him.
5
maaNgi jaati hai mere marne ki is vaqt dua
kaun sii maaNgiyega aap dua mere baad
At the present time (now that I am alive), you are so tired of my supplications that you wish for my death. What will you pray for after I am gone i.e., the beloved has everything she needs.
6
aye nadiim1 apni to is tarah2 se guzri guzri3
dekhiye aati hai ab kis pe balaa4 mere baad
1.pen-name of the poet 2.like this, in this way 3.it is OK that it passed like this 4.calamity, curse, bad luck
O nadiim, it is OK that my life passed like this (under such suffering). Let us see who will be the victim of such a calamity after me.
