sajda – Ghalib-faarsi-shahed-urdu

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

سجدہ بدان آستاں رسد ۔ مرزا غالبؔ

۱

خوباں نہ آن کنند کہ کس را زیاں رسد

دل برد تا دِگر چہ از آں دلستاں رسد

۲

دارد خبر دریغ و من از سادگی ہنوز

سنجم ہمی کہ دوست مگر نا گہاں رسد

۳

مقصودِ ما ز دیر و حرم جُز حبیب نیست

ہر جا کنیم سجدہ بدان آستاں رسد

۴

دُردی کشاں بہ میکدہ درہم فتادہ اند

نازم بہ خواریِ کہ بہ من زین میاں رسد

۵

گم شد نشانِ من چو رسیدم بہ کنجِ دیر

مانندِ آں صدا کہ بہ گوشِ گراں رسد

۶

در دام بہرِ دانہ نیُفتم مگر قفس

چنداں کنی بلند کہ تا آشیاں رسد

۷

راہی کہ تا من است ہمانا نہ ایمن است

خوں می خورم کہ چوں بخورم مے چساں رسد

۸

رفیتم سوے وی و مژہ اند جگر خلید

زان پیشتر کہ سینہ بہ نوکِ سناں رسد

۹

تیرِ نخُست را غلط انداز گفتہ ام

اے واے گر نہ تیرِ دگر بر نشاں رسد

۱۰

اُمیدِ غلبہ نیست بہ کیشِ مغاں در آ

مے گر بہ جزیہ دست نداد، ارمغاں رسد

۱۱

خوارم نہ آن چناں کہ دِگر مژدۂ وصال

باور کنم اگر ہمہ اش آسماں رسد

۱۲

صاحبقرانِ ثانی اگر در جہاں نماند

گفتارِ من بہ ثانیِ صاحبقراں رسد

۱۳

چوں نیست تابِ برقِ تجلّی کلیم را

کی در سخن بہ غالبِؔ آتش بیاں رسد

غالبؔ کی فارسی غزل کا اُردو ترجمہ ۔ شاہدؔ

۱

اوروں کو دیں تکلیف نہیں خوباں کی شانِ شاں

دل ہم سے لیا ہے تو ہے اُمّید کہ ہوگا وہ مہرباں

۲

پیغام بھی نہ بھیجے ہے محبوب مگر اب بھی

سادہ دل بیٹھے ہیں اُمّید میں آئے گا ناگہاں

۳

سجدہ ہے بس حبیب کا ہو دیر یا حرم

جاتا اُس آستاں پہ ہے چاہے کرو جہاں

۴

چلتی ہے میکدے میں چھڑپ تہہِ مینا کے واسطے

بدنامی اِس میں ہے مری، میں اِس پہ ہوں نازاں

۵

جیسے کہ صدا گم ہوئی بہروں کے کان میں

میں کنجِ دیر پہنچا ملا نہ میرا نشاں

۶

دانے کی چاہ لائے تہہِ دام یہ نہیں ممکن

داخل ہوں خود جو قفس پائے بلندیِ آشیاں

۷

مجھ تک جو راہ لائے، آساں وہ نہیں ہے

مے کے عوض پیا ہے لہو پہنچنے کو جو یہاں

۸

اُس کی طرف بڑھا تو جگر میں چبھی مِژہ

قبل اِس کے میرا سینہ پہنچتا تہہِ سناں

۹

غلط انداز پہلا تیر گیا، ہو نہ سکا میرے جگر پار

وائے قسمت کہ کہیں پھر سے وہ تاکے غلط نشاں

۱۰

کیشِ مغاں قبول جو مقدور نہیں ہے

جِزیے میں مے جو یاں نہ ملے، تو ملے تحفتاً وہاں

۱۱

اتنا تو نہیں خوار کہ پھر حوصلہ دے مژدۂ وصال

باور ہوا یقیں نہ کروں پیغام اُتارے گر آسماں

۱۲

صاحبقرانِ شاہِ جہاں گر نہیں تو پھر

دادِ سخن ملے گی، اُس کا جو ثانی ہے اب یہاں

۱۳

جب تھی نہ تابِ برقِ تجلّی کلیم کو

غالبؔ کا سخن بھی تو ہے اِک آتشیں بیاں

ग़ालिब की फ़ार्सी ग़ज़ल का उर्दू तर्जुमा – शाहेद

औरौं को दें तक्लीफ़, नहीं ख़ूबां कि शान-ए शां

दिल हम से लिया है तो है उम्मीद के होगा गो महरबां

पैग़ाम भी न भेजे है महबूब मगर अब भी

सादा दिल बैठे हैं उम्मीद में आएगा नागहां

सज्दा है बस हबीब का हो दैर या हरम

जाता उस आस्तां पे है चाहे करो जहां

चलती है मयकदे में झढप तह-ए मीना के वास्ते

बदनामी इस में है मेरी, मैं इस पे हूं नाज़ां

जैसे के सदा गुम हुई बहरौं के कान में

मैं कुंज-ए दैर पहुंचा मिला न मेरा निशां

दाने की चाह लाए तह-ए दाम, ये नहीं मुम्किन

दाख़ल हुं ख़ुद, हो क़फ़स पाए बलंदी-ए आशियां

मुझ तक जो राह लाए, आसां वो नहीं है

मय के एवज़ पिया है लहू, पहुंचा को जो यहां

उस की तरफ़ बढ़ा तो जिगर में चुभी मिज़्शा

क़ब्ल इस के मेरा सीना पहुंचता तह-ए सिनां

ग़लत-अंदाज़ पहला तीर गया, हो न सका मेरे जिगर पार

वा’ए क़िस्मत के कहीं फिर से वो ताके ग़लत निशां

१०

केश-ए मुग़ां क़ुबूल जो मक़्दूर नहीं है

जिज़्ये में मय जो यां न मिले, तो मिले तोहफ़तन वहां

११

इतना तो नहीं ख़्वार के फिर हौस्ला दे मुज़्शदा-ए विसाल

बावर हुआ यक़ीं न करूं पैग़ाम उतारे गर आस्मां

१२

साहब-क़रान-ए शाह-ए जहां गर नहीं तो फिर

दाद-ए सुख़न मिलेगी उस का जो सानी है अब यहां

१३

जब थी न ताब-ए बर्क़-ए तजल्ली कलीम को

ग़ालिब का सुख़न भी तो है एक आतिशीं बयां

 

Click here for background and on any passage for word meanings and explanatory discussion. mirza asadullah KhaaN Ghalib (1797-1869), bard par excellence, thought that his faarsi kalaam was much superior to his urdu verse. This is one of his faarsi Ghazal, rendered in urdu by shahed (1944-living), a novice in urdu and a beginner in faarsi, who maintains this site as a learning exercise.
1
aurauN ko deN takleef, nahiN KhoobaaN1 ki shaan-e shaaN2
dil hum se liya hai to hai ummeed ke hoga vo mehrbaaN3     
1.good people, beloved 2.dignity 3.kind, bestowing
Giving trouble to others does not befit the dignity of good people. She has taken my heart, so there is hope that she will one day bestow favours.

2
paiGhaam bhi na bheje hai mahboob magar ab tak
saada-dil1 baiThe haiN ummeed meN aayega naagahaaN2    
1.simpletons 2.suddenly, unannounced
The beloved has not even sent a message and still simpletons wait, hoping that she will show up unannounced.

3
sajda1 hai bas habiib2 ka ho dayr3 ya haram4
jaata us aastaaN5 pe hai, chaahe karo jahaaN6     
1.ritual prostration in prayer 2.beloved, god 3.temple 4.mosque 5.threshold 6.anywhere
Prayer/prostration is for god, be it in the temple or the mosque. It will reach his (the same) threshold, wherever it is performed.

4
chalti hai maikade1 meN jhaRap tah2-e meena3 ke vaaste4
badnaami is meN hai meri, maiN is pe huN naazaaN5     
1.tavern 2.bottom 3.flask 4.for the sake of 5.proud, happy
There is a fight in the tavern over the remaining wine at the bottom of the flask. (I am involved in the struggle/fight). There is disrepute for me in this, but I am proud of it.

5
jaise ke sadaa1 gum hui bahroN ke kaan meN
maiN kunj2-e dair3 pahuNcha, mila na mera nishaaN      
1.sound 2.corner 3.world
Just like sound is lost in deaf ears, when I came to this world, there was no trace of me to be found. Experts have interpreted this imply the sufi concept of “fana”/annihilation or merger with the great spirit. Elsewhere Ghalib has claimed that his words were acclaimed in the spirit world and so will become famous again after he is dead. This is probably in the same spirit especially because of the reference to deafness. People do not hear/appreciate his verse. So he is lost in this corner of creation.

6
daane1 ki chaah2 laaye tah-e-daam3 ye nahiN mumkin4
daaKhil5 huN Khud6 jo qafas7 paaye balandii8-e aashiyaaN9    
1.grain 2.desire 3.under the trap/net 4.possible 5.enter 6.on my own volition 7.cage 8.height, status, dignity 9.nest
In urdu poetry, the poet is often symbolized as a bird who sings, longing for the rose/beloved and for its home/nest. The bird catcher spreads a net and scatter grain to attract birds to trap. In this case the poet/bird declares that he is not going to stoop down and get caught under a net, tempted by the desire for grain. He has much more dignity than that. On the other hand, if the cage were raised high enough to be equal in status to his nest, then will walk into it, of his own volition. After all elsewhwere, Ghalib wrote … ulTe phir aaye, dar-e k’aaba agar vaa na hua … I would turn back, if the doors of the k’aaba did not open for me.

7
mujh tak jo raah1 laaye, aasaaN vo nahiN hai
mai2 ke evaz3 piya hai lahu4 pahuNchne ko jo yahaaN     
1.pathway 2.wine 3.instead 4.blood
The pathway that leads to where I am is not easy. I have had to drink my own blood instead of wine to reach here.

8
us ki taraf1 baRha to jigar2 meN chubhi mizsha3
qabl4 is ke mera seena pahuNchta tah5-e sinaaN6      
1.towards 2.liver/heart 3.eyelashes 4.before 5.under 6.spear
In urdu poetry jigar/dil – liver/heart are often used interchangeably to symbolize the seat of emotions and fortitude. mizsha/eyelashes of the beloved are like curved daggers that pierce the heart. Just as the poet/lover moved towards the beloved her eyelashes pierced his heart long before his bosom/chest could come under the point of the spear i.e. the beloved can conquer from a distance without wielding a spear.

9
Ghalat-andaaz1 pahla tiir gaya, ho na saka mere jigar paar
vaaye2 qismat ke kahiN phir se vo taake3 Ghalat nishaaN     
1.wrong style/wrong target 2.alas 3.aim for
The poet/lover is eager for the arrows of the beloved to hit him in the heart. Her first arrow was aimed improperly and did not pierce his heart. He is afraid that she might actually be intentionally aiming it wrongly and the second arrow will also miss, confirming his fear that she is ignoring him.

10
kesh1-e muGhaaN2 qubool3 jo maqdoor4 nahiN hai
jizye5 meN mai6 jo yaaN na mile, to mile tohfatan7 vahaaN     
1.faith, belief, tradition 2.wine makers 3.accept 4.means 5.tax 6.wine 7.as a gift
muGhaaN and piir-e muGhaaN, wine makers and the chief vintner are a regular feature of urdu poetry. They can be wine makers of the tavern or of the Zoroastrian temple, where wine is served as a part of the ritual. Thus the poet says, if you don’t have the means (to buy wine), then accept the faith of the wine makers (of Zoroastrian temple). If you cannot get wine here, as a tax that you can levy (because you don’t have the means) at least you can get it there as a gift.

11
itna to nahiN Khwaar1 ke phir hausla2 de muzshda3-e visaal4
baavar5 hua yaqiN6 na karuN paiGhaam7 utaare gar aasmaaN    
1.ignoble, disgraced 2.determination, encouragement 3.good news 4.union 5.revealed, shown, explained 6.believe 7.message
I am not so disgraced/humbled/naive that I will receive encouragement from news that I will soon achieve union with the beloved. From past experience I have learnt not to believe this, even if the message descends from the sky.

12
saahabqaraan1-e shaah-e jahaaN gar nahiN to phir
daad2-e suKhan3 milegi, us ka jo saani4 hai ab yahaaN     
1.emperor 2.praise, reward 3.words, verse 4.successor/second/similar
Emperor shah jahaaN had a reputation as a great patron of the arts and artists. bahadur shaah zafar had also gathered poets around him and was reputed to be a great patron and compared with shah jahaaN for his patronage. Thus Ghalib says, now that shah jahaaN is not here, he expects to receive praise/reward for his verse from his successor.

13
jab thi na taab1-e barq2-e tajalli3 kaliim4 ko
Ghalib ka suKhan5 bhi to hai ek aatishiN-bayaaN6      
1.weight, ability to carry the burden 2.lightning 3.brilliance, flash 4.Moses, moosa 5.verse, words 6.fiery speech
Moses/moosa is also known as kaliim – meaning one who can converse, because legend has it that he talked to god. This also has reference to the legend that moosa went up mount tuur asking to see god. There was a flash of lightning and he fainted. Thus moosa/kaliim could not bear the burden of a flash of lightning. Ghalib compares his own verse as fiery speech to such a flash of lightning. If moosa could not bear that burden, how can you expect to!

mirza asadullah KhaaN Ghalib (1797-1869), bard par excellence, thought that his faarsi kalaam was much superior to his urdu verse.  This is one of his faarsi Ghazal, rendered in urdu by shahed (1944-living), a novice in urdu and a beginner in faarsi, who maintains this site as a learning exercise.
1
aurauN ko deN takleef, nahiN KhoobaaN1 ki shaan-e shaaN2
dil hum se liya hai to hai ummeed ke hoga vo mehrbaaN3

1.good people, beloved 2.dignity 3.kind, bestowing

Giving trouble to others does not befit the dignity of good people.  She has taken my heart, so there is hope that she will one day bestow favours.
2
paiGhaam bhi na bheje hai mahboob magar ab tak
saada-dil1 baiThe haiN ummeed meN aayega naagahaaN2

1.simpletons 2.suddenly, unannounced

The beloved has not even sent a message and still simpletons wait, hoping that she will show up unannounced.
3
sajda1 hai bas habiib2 ka ho dayr3 ya haram4
jaata us aastaaN5 pe hai, chaahe karo jahaaN6

1.ritual prostration in prayer 2.beloved, god 3.temple 4.mosque 5.threshold 6.anywhere

Prayer/prostration is for god, be it in the temple or the mosque.  It will reach his (the same) threshold, wherever it is performed.
4
chalti hai maikade1 meN jhaRap tah2-e meena3 ke vaaste4
badnaami is meN hai meri, maiN is pe huN naazaaN5

1.tavern 2.bottom 3.flask 4.for the sake of 5.proud, happy

There is a fight in the tavern over the remaining wine at the bottom of the flask.  (I am involved in the struggle/fight).  There is disrepute for me in this, but I am proud of it.
5
jaise ke sadaa1 gum hui bahroN ke kaan meN
maiN kunj2-e dair3 pahuNcha, mila na mera nishaaN

1.sound 2.corner 3.world

Just like sound is lost in deaf ears, when I came to this world, there was no trace of me to be found.  Experts have interpreted this imply the sufi concept of “fana”/annihilation or merger with the great spirit.  Elsewhere Ghalib has claimed that his words were acclaimed in the spirit world and so will become famous again after he is dead.  This is probably in the same spirit especially because of the reference to deafness.  People do not hear/appreciate his verse.  So he is lost in this corner of creation.
6
daane1 ki chaah2 laaye tah-e-daam3 ye nahiN mumkin4
daaKhil5 huN Khud6 jo qafas7 paaye balandii8-e aashiyaaN9

1.grain 2.desire 3.under the trap/net 4.possible 5.enter 6.on my own volition 7.cage 8.height, status, dignity 9.nest

In urdu poetry, the poet is often symbolized as a bird who sings, longing for the rose/beloved and for its home/nest.  The bird catcher spreads a net and scatter grain to attract birds to trap.  In this case the poet/bird declares that he is not going to stoop down and get caught under a net, tempted by the desire for grain.  He has much more dignity than that.  On the other hand, if the cage were raised high enough to be equal in status to his nest, then will walk into it, of his own volition.  After all elsewhwere, Ghalib wrote … ulTe phir aaye, dar-e k’aaba agar vaa na hua  …  I would turn back, if the doors of the k’aaba did not open for me.
7
mujh tak jo raah1 laaye, aasaaN vo nahiN hai
mai2 ke evaz3 piya hai lahu4 pahuNchne ko jo yahaaN

1.pathway 2.wine 3.instead 4.blood

The pathway that leads to where I am is not easy.  I have had to drink my own blood instead of wine to reach here.
8
us ki taraf1 baRha to jigar2 meN chubhi mizsha3
qabl4 is ke mera seena pahuNchta tah5-e sinaaN6

1.towards 2.liver/heart 3.eyelashes 4.before 5.under 6.spear

In urdu poetry jigar/dil – liver/heart are often used interchangeably to symbolize the seat of emotions and fortitude.  mizsha/eyelashes of the beloved are like curved daggers that pierce the heart.  Just as the poet/lover moved towards the beloved her eyelashes pierced his heart long before his bosom/chest could come under the point of the spear i.e. the beloved can conquer from a distance without wielding a spear.
9
Ghalat-andaaz1 pahla tiir gaya, ho na saka mere jigar paar
vaaye2 qismat ke kahiN phir se vo taake3 Ghalat nishaaN

1.wrong style/wrong target 2.alas 3.aim for

The poet/lover is eager for the arrows of the beloved to hit him in the heart.  Her first arrow was aimed improperly and did not pierce his heart.  He is afraid that she might actually be intentionally aiming it wrongly and the second arrow will also miss, confirming his fear that she is ignoring him.
10
kesh1-e muGhaaN2 qubool3 jo maqdoor4 nahiN hai
jizye5 meN mai6 jo yaaN na mile, to mile tohfatan7 vahaaN

1.faith, belief, tradition 2.wine makers 3.accept 4.means 5.tax 6.wine 7.as a gift

muGhaaN and piir-e muGhaaN, wine makers and the chief vintner are a regular feature of urdu poetry.  They can be wine makers of the tavern or of the Zoroastrian temple, where wine is served as a part of the ritual.  Thus the poet says, if you don’t have the means (to buy wine), then accept the faith of the wine makers (of Zoroastrian temple).  If you cannot get wine here, as a tax that you can levy (because you don’t have the means) at least you can get it there as a gift.
11
itna to nahiN Khwaar1 ke phir hausla2 de muzshda3-e visaal4
baavar5 hua yaqiN6 na karuN paiGhaam7 utaare gar aasmaaN

1.ignoble, disgraced 2.determination, encouragement 3.good news 4.union 5.revealed, shown, explained 6.believe 7.message

I am not so disgraced/humbled/naive that I will receive encouragement from news that I will soon achieve union with the beloved.  From past experience I  have learnt not to believe this, even if the message descends from the sky.
12
saahabqaraan1-e shaah-e jahaaN gar nahiN to phir
daad2-e suKhan3 milegi, us ka jo saani4 hai ab yahaaN

1.emperor 2.praise, reward 3.words, verse 4.successor/second/similar

Emperor shah jahaaN had a reputation as a great patron of the arts and artists.  bahadur shaah zafar had also gathered poets around him and was reputed to be a great patron and compared with shah jahaaN for his patronage.  Thus Ghalib says, now that shah jahaaN is not here, he expects to receive praise/reward for his verse from his successor.
13
jab thi na taab1-e barq2-e tajalli3 kaliim4 ko
Ghalib ka suKhan5 bhi to hai ek aatishiN-bayaaN6

1.weight, ability to carry the burden 2.lightning 3.brilliance, flash 4.Moses, moosa 5.verse, words 6.fiery speech

Moses/moosa is also known as kaliim – meaning one who can converse, because legend has it that he talked to god.  This also has reference to the legend that moosa went up mount tuur asking to see god.  There was a flash of lightning and he fainted.  Thus moosa/kaliim could not bear the burden of a flash of lightning.  Ghalib compares his own verse as fiery speech to such a flash of lightning.  If moosa could not bear that burden, how can you expect to!

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