soorat magar mile-Ghalib-raina

For word meanings and explanatory discussion in English click on the “English” or “Notes” tab.
Two musical renditions – (1) malika pukhraj (2) ayaz abu mohammed

صورت مگر ملے ۔ مرزا غالب

۱

تسکیں کو ہم نہ روئیں جو ذوقِ نظر ملے
حورانِ خلد میں تری صورت مگر ملے

۲

اپنی گلی میں مجھ کو نہ کر دفن بعدِ قتل
میرے پتے سے خلق کو کیوں تیرا گھر ملے

۳

ساقی گری کی شرم کرو آج ورنہ ہم
ہر شب پیا ہی کرتے ہیں مے جس قدر ملے

۴

تجھ سے تو کچھ کلام نہیں لیکن اے ندیم

میرا سلام کہیو اگر نامہ بر ملے

۵

تم کو بھی ہم دکھائیں کہ مجنوں نے کیا کیا
فرصت کشاکشِ غمِ پنہاں سے گر ملے

۶

لازم نہیں کہ خضر کی ہم پے روی کریں
جانا کہ اک بزرگ ہمیں ہم سفر ملے

۷

اے ساکنانِ کوچۂ دلدار دیکھنا
تم کو کہیں جو غالبِ آشفتہ سر ملے

 

सूरत मगर मिले – मिर्ज़ा ग़ालिब

तस्कीं को हम न रोएँ जो ज़ौक़-ए नज़र मिले
हूरान-ए ख़ुलद में तिरी सूरत मगर मिले

अपनी गली में मुझ को न कर दफ़न बाद-ए क़तल
मेरे पते से ख़लक़ को क्यूँ तेरा घर मिले

साक़ी-गरी की शर्म करो आज वरना हम
हर शब पिया ही करते हैं मै जिस क़दर मिले

तुझ से तो कुछ कलाम नहीं लेकिन ऐ नदीम
मेरा सलाम कहयो अगर नामा-बर मिले

तुम को भी हम दिखाएं कि मज्नूँ ने क्या किया
फ़ुरसत कशाकश-ए ग़म-ए पिंहाँ से गर मिले

लाज़िम नहीं कि ख़िज़्र की हम पै-रवी करें
जाना कि इक बुज़ुर्ग हमें हम-सफ़र मिले

ऐ साकिनान-ए कूचा-ए दिलदार देखना
तुम को कहीं जो ग़ालिब-ए आशुफ़्ता-सर मिले

 

Click on any passage for word meanings and explanatory discussion.
1
taskiN1 ko hum na ro’eN jo zauq2-e nazar3 milay
hooraan4-e Khuld5 meN teri soorat magar milay 
1.comfort, consolation, fulfilment 2.taste 3.sight 4.fairies of 5.heaven
The poet/lover is always lamenting. The only condition under which he can stop lamenting is that if he gets fulfilment of his exquisite taste of a sight/glance of the beloved. But he is even more particular that after he dies and goes to heaven and gets his hoories/fairies, he should be able to get a glance of her among them, because he cannot possibly derive any pleasure from looking at hoories. They simply do not compare with her beauty. Ghalib does have sufiyaana trends. Could this be the divine beloved that he wants to see. There are other places too where he wants to see divine manifestation where even Moses failed/fainted …
girni thi hum pe barq-e tajalli na toor par
dete haiN baada zarf-e qadah Khwaar dekh kar
This Ghazal is also posted on this site.

2
apni gali meN mujh ko na kar dafn1 b’aad2-e qatl3
mere pate4 se Khalq5 ko kyuN tera ghar milay 
1.bury 2.afterwards 3.killing 4.address, location 5.creation, everyone
It is a given that the beloved is going to kill the poet/lover. Normally he would have liked to be buried in her street in order to be able to ‘touch’ her feet. But he does not want that. Once he is killed he will become famous (like that other mad lover majnuN) and the whole world will know that he has been killed by the beloved and buried in her street. Thus through his grave they might be able to figure out where she lives. Even in death he is so jealous that he cannot stand that thought, and does not want to be buried there. Ghalib also said …
chhoRa na rashk ne ke tere ghar ka naam luN
har ek se poochhta huN ke jaauN kidhar ko maiN
The poet/lover is lost and is looking for her house. But he cannot bring himself to ask anyone about her because his jealousy does not allow him. If they find out about her beauty then they might become his rivals. So, he ends up asking a meaningless question – which way shall I go?

3
saaqi-gari1 ki sharm2 karo aaj, varna3 hum
har shab4 piyaa hi karte haiN mai5 jis qadar6 milay 
1.being saaqi, serving wine 2.uphold the dignity of 3.otherwise 4.evening 5.wine 6.as much
Ordinarily the poet/imbiber and his fellow imbibers drink as much wine as they can get. But today is special. He calls upon the saaqi to uphold the dignity of the act of serving wine and serve up her best and in plenty, otherwise tonight will be like any other night.

4
tujh se to kuchh kalaam1 nahiN laikin aye nadiim2
mera salaam kahyo agar naama-bar3 milay 
1.conversation, discourse, dispute 2.friend 3.messenger
There is a lot unsaid/implied in this she’r. Let us begin with another famour she’r of Ghalib
zikr us pari-vash ka aur phir bayaan apna
ban gaya raqib aaKhir, thaa jo raaz-daaN apna
The poet/lover has been describing the beauty of that fairy/beloved and on top of it, his words are so enchanting that his confidant also fell in love with her. In this case too, he has sent a letter with a messenger, who has disappeared (perhaps he is also enamoured of the beloved). The poet/lover encounters the friend who recommended this messenger and tells him … I have no quarrel with you. It is not your fault that the messenger has disappeared. But if you run into him, please convey my greetings (which is a gentle reminder that Ghalib was asking about the fate of his letter to the beloved).

5
tum ko bhi hum dikhaa’eN ke majnuN ne kyaa kiyaa
fursat1 kashaakash2-e Gham3-e pinhaaN4 se gar5 milay 
1.relief, time 2.struggle 3.pain, love 4.hidden 5.if
The poet/lover is struggling with his hidden pain. He has to keep his love hidden to uphold the dignity/reputation of the beloved. This is double pain for him. If ever he is relieved of this responsibility (of hiding pain), he could go into such a frenzy of pain that even a legendary mad-lover like majnuN would not be able to compare with his madness.

6
laazim1 nahiN ke Khizr2 ki hum pairavi3 kareN
jaanaa4 ke ek buzurg5 hameN hum-safar6 milay 
1.necessary 2.legendary old man who is a symbol of gnostic knowledge and is a guide to lost travelers 3.follow 4.know, recongize, agree 5.respected senior 6.fellow traveler
Khizr is a widely recognized and accepted old, wise man whose guidance is taken by all lost travelers. Not Ghalib. It is not necessary that I follow him (because I already know where I am going). I agree that he is a respected old man who is on the same path (gnostic/sufi knowledge seeking) as I am.

7
aye saakinaan1-e koocha2-e dildaar3 dekhna
tum ko kahiN jo Ghaalib-e aashufta-sar4 milay 
1.dwellers 2.street of 3.beloved 4.disheveled hair, mad, in a trance
All rivals/friends reside/hang out in the street of the beloved. Not Ghalib. He is special. Specially mad and in a frenzy. He is out wandering the wastelands. O, you who are in the street of the beloved, watch out for the frenzied Ghalib. If you see him take care of him (alternatively, beware, he is mad and might cause some harm).

1
taskiN1 ko hum na ro’eN jo zauq2-e nazar3 milay
hooraan4-e Khuld5 meN teri soorat magar milay

1.comfort, consolation, fulfilment 2.taste 3.sight 4.fairies of 5.heaven

The poet/lover is always lamenting.  The only condition under which he can stop lamenting is that if he gets fulfilment of his exquisite taste of a sight/glance of the beloved.  But he is even more particular that after he dies and goes to heaven and gets his hoories/fairies, he should be able to get a glance of her among them, because he cannot possibly derive any pleasure from looking at hoories.  They simply do not compare with her beauty. Ghalib does have sufiyaana trends.  Could this be the divine beloved that he wants to see.  There are other places too where he wants to see divine manifestation where even Moses failed/fainted …
girni thi hum pe barq-e tajalli na toor par
dete haiN baada zarf-e qadah Khwaar dekh kar
This Ghazal is also posted on this site.
2
apni gali meN mujh ko na kar dafn1 b’aad2-e qatl3
mere pate4 se Khalq5 ko kyuN tera ghar milay

1.bury 2.afterwards 3.killing 4.address, location 5.creation, everyone

It is a given that the beloved is going to kill the poet/lover.  Normally he would have liked to be buried in her street in order to be able to ‘touch’ her feet.  But he does not want that.  Once he is killed he will become famous (like that other mad lover majnuN) and the whole world will know that he has been killed by the beloved and buried in her street.  Thus through his grave they might be able to figure out where she lives.  Even in death he is so jealous that he cannot stand that thought, and does not want to be buried there.  Ghalib also said …
chhoRa na rashk ne ke tere ghar ka naam luN
har ek se poochhta huN ke jaauN kidhar ko maiN
The poet/lover is lost and is looking for her house.  But he cannot bring himself to ask anyone about her because his jealousy does not allow him.  If they find out about her beauty then they might become his rivals.  So, he ends up asking a meaningless question – which way shall I go?
3
saaqi-gari1 ki sharm2 karo aaj, varna3 hum
har shab4 piyaa hi karte haiN mai5 jis qadar6 milay

1.being saaqi, serving wine 2.uphold the dignity of 3.otherwise 4.evening 5.wine 6.as much

Ordinarily the poet/imbiber and his fellow imbibers drink as much wine as they can get.  But today is special.  He calls upon the saaqi to uphold the dignity of the act of serving wine and serve up her best and in plenty, otherwise tonight will be like any other night.
4
tujh se to kuchh kalaam1 nahiN laikin aye nadiim2
mera salaam kahyo agar naama-bar3 milay

1.conversation, discourse, dispute 2.friend 3.messenger

There is a lot unsaid/implied in this she’r.  Let us begin with another famour she’r of Ghalib
zikr us pari-vash ka aur phir bayaan apna
ban gaya raqib aaKhir, thaa jo raaz-daaN apna
The poet/lover has been describing the beauty of that fairy/beloved and on top of it, his words are so enchanting that his confidant also fell in love with her.  In this case too, he has sent a letter with a messenger, who has disappeared (perhaps he is also enamoured of the beloved).  The poet/lover encounters the friend who recommended this messenger and tells him … I have no quarrel with you.  It is not your fault that the messenger has disappeared.  But if you run into him, please convey my greetings (which is a gentle reminder that Ghalib was asking about the fate of his letter to the beloved).
5
tum ko bhi hum dikhaa’eN ke majnuN ne kyaa kiyaa
fursat1 kashaakash2-e Gham3-e pinhaaN4 se gar5 milay

1.relief, time 2.struggle 3.pain, love 4.hidden 5.if

The poet/lover is struggling with his hidden pain.  He has to keep his love hidden to uphold the dignity/reputation of the beloved.  This is double pain for him.  If ever he is relieved of this responsibility (of hiding pain), he could go into such a frenzy of pain that even a legendary mad-lover like majnuN would not be able to compare with his madness.
6
laazim1 nahiN ke Khizr2 ki hum pairavi3 kareN
jaanaa4 ke ek buzurg5 hameN hum-safar6 milay

1.necessary 2.legendary old man who is a symbol of gnostic knowledge and is a guide to lost travelers 3.follow 4.know, recongize, agree 5.respected senior 6.fellow traveler

Khizr is a widely recognized and accepted old, wise man whose guidance is taken by all lost travelers.  Not Ghalib.  It is not necessary that I follow him (because I already know where I am going).  I agree that he is a respected old man who is on the same path (gnostic/sufi knowledge seeking) as I am.
7
aye saakinaan1-e koocha2-e dildaar3 dekhna
tum ko kahiN jo Ghaalib-e aashufta-sar4 milay

1.dwellers 2.street of 3.beloved 4.disheveled hair, mad, in a trance

All rivals/friends reside/hang out in the street of the beloved.  Not Ghalib.  He is special.  Specially mad and in a frenzy.  He is out wandering the wastelands.  O, you who are in the street of the beloved, watch out for the frenzied Ghalib.  If you see him take care of him (alternatively, beware, he is mad and might cause some harm).

Key Search Words:

Badri Raina’s translation
1
I should be quite content in heaven should I but spot you there
For no fairies may ever resemble you is the quick of my despair
2
O bury me not in your alley, once you have murdered me;
Why should they get to know your house, from where my grave should be?
3
O pour the ample wine tonight to guard your generous pride;
For a humble draught or two I do but always have beside
4
O gentle friend, I know you not, but, should you my courier find
Do pass my greetings on to him, – some gesture to remind
7
Tell me, O all of you that are good neighbours to my love
If you should Ghalib find somewhere, quite unhinged above