suKhanvar o suKhanvari-faiz

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

سخنور و سخنوری ۔ فیض احمد فیضؔ

منتخب اشعار

۱

متاعِ لوح و قلم چِھن گئی تو کیا غم ہے

کہ خونِ دِل میں ڈُبو لی ہیں اُنگلیاں میں نے

زباں پہ مہر لگی ہے تو کیا کہ رکھ دی ہے

ہر ایک حلقۂ زنجیر میں زباں میں نے

۲

دربار میں اب سطِوتِ شاہی کی علامت

درباں کا عصا ہے کہ مصنف کا قلم ہے

۳

ہم پرورشِ لوح و قلم کرتے رہیں گے

جو دِل پہ گذرتی ہے رقم کرتے رہیں گے

اِک طرزِ تغافل ہے سو وہ اُن کو مبارک

اِک عرضِ تمنّا ہے سو ہم کرتے رہیں گے

۴

ہمارے دم سے ہے کوئے جنوں میں اب بھی خجل

عبائے شیخ و قبائے امیر و تاجِ شہی

ہمیں سے سُنّتِ منصور و قیس زندہ ہے

ہمیں سے باقی ہے گُل دامنی و کج کلہی

۵

بزمِ اہلِ طرب کو شرماؤ

بزمِ اصحابِ غم کی بات کرو

جان جائیں گے جاننے والے

فیضؔ، فرہاد و جم کی بات کرو

۶

ہے فقط مُرغِ غزل خواں کہ جسے فکر نہیں

معتدل گرمیٔ گفتار کروں یا نہ کروں

۷

جوابِ واعظِ چابک زباں میں فیضؔ ہمیں

یہی بہت ہیں جو دو حرفِ سادہ رکھتے ہیں

۸

دستِ سیّاد بھی عاجز ہے کفِ گلچیں بھی

بوئے گُل ٹھہری نہ بلبل کی زباں ٹھہری ہے

ہم نے جو طرزِ فغاں کی ہے قفس میں ایجاد

فیضؔ گلشن میں وہی طرزِ بیاں ٹھہری ہے

۹

ہے دشت اب بھی دشت مگر خونِ پا سے فیض

سیراب چند خارِ مغیلاں ہوئے تو ہیں

۱۰

حلقہ کئے بیٹھے رہو اِک شمع کو یارو

کچھ روشنی باقی تو ہے، ہر چند کہ کم ہے

सुख़नवर ओ सुख़नवरी – फ़ैज़ अहमद फ़ैज़

मुन्तख़ब अश’आर

मता-ए लौह ओ क़लम छिन गई तो क्या ग़म है

के ख़ून-ए दिल में डुबो ली हैं उँगलियाँ मैं ने

ज़बां पे मोहर लगी है तो क्या के रख दी है

हर एक हल्क़ा-ए ज़ंजीर में ज़बां मैं ने

दरबार में अब सित्वत-ए शाही कि अलामत

दर्बां का असा है के मुसन्नफ़ का क़लम है

हम परवरिश-ए लौह-ओ-क़लम करते रहेंगे

जो दिल पे गुज़रती है रक़म करते रहेंगे

एक तर्ज़-ए तग़ाफ़ुल है सो वो उन को मुबारक

एक अर्ज़-ए तमन्ना है सो हम करते रहेंगे

हमारे दम से है कू-ए जानां में अब भि ख़जिल

अबा-ए शैख़ ओ क़बा-ए अमीर ओ ताज-ए शही

हमीं से सुन्नत-ए मन्सूर ओ क़ैस ज़िन्दा है

हमीं से बाक़ी है गुल दामनी ओ कज कुलही

बज़्म-ए अहल-ए तरब को शरमाओ

बज़्म-ए अहबाब-ए ग़म कि बात करो

जान जाएंगे जान्ने वाले

फ़ैज़, फ़रहाद ओ जम कि बात करो

है फ़क़त मुर्ग़-ए ग़ज़ल-ख़्वां के जिसे फ़िक्र नहीं

मो’तदिल गर्मि-ए गुफ़्तार करूं या न करूं

जवाब-ए वा’एज़-ए चाबुक ज़बां में फ़ैज़ हमें

यहि बहुत है जो दो हर्फ़-ए सादा रखते हैं

दस्त-ए सय्याद भि आजिज़ है, कफ़-ए गुलचीं भी

बू-ए गुल ठहरी न बुलबुल की ज़बां ठहरी है

हम ने जो तर्ज़-ए फ़ुग़ां की है क़फ़स में ईजाद

फ़ैज़ गुल्शन में वही तर्ज़-ए बयां ठहरी है

है दश्त अब भी दश्त मगर ख़ून-ए पा से फ़ैज़

सैराब चंद ख़ार-ए मुग़ैलां हुए तो हैं

१०

हल्क़ा किए बैठे रहो इस शम’अ को यारो

कुछ रौशनी बाक़ी तो है हरचंद के कम है

 

Click here for background and on any passage for word meanings and explanatory discussion. faiz ahmed faiz (1911-1984) a poet of romance, resistance, labour leader, journalist, political activist, Lenin Peace Prize awardee writes with great finesse and delicacy using the beloved as a metaphor for the homeland and/or the socialist revolution. This is a part of series on “suKhanvar o suKhanvari” on the theme of what various shu’ara say about themselves, their verse, their mission and their place in history. There is a nazm of faiz called “shaa’er log” which is also a part of this series. In addition I have collected ash’aar from different Ghazal/nazm/qita and rubaaii for this post.
1
mata1-e lauh2 o qalam chhin gaii to kya Gham hai
ke Khoon-e dil meN Dubo li haiN uNgliyaN maiN ne
zabaN pe mohr3 lagi hai to kya ke rakh di hai
har ek halqa-e zanjeer4 meN zabaN maiN ne  
1.possessions, treasure 2.page, writing tablet 3.stamp, seal 4.circle/link of the chain
The poet has been in prison. He has been denied any writing. His pen and paper has been taken away. He is defiant. He dips his finger in the blood of his heart to write. He is chained. His lips have been sealed. No matter. He has placed a tongue in every link of the chain that binds him!

2
darbaar meN ab sitvat1-e shaahi ki alaamat2
darbaaN3 ka asaa4 hai ke musannif5 ka qalam hai   
1.pomp, glory 2.indications, signs 3.courtier 4.staff 5.writer, poet
By posing a rhetorical question, the poet bemoans that the halls power are like a monarchy. The display or royal glory is through the staff/flag that the courtier carries. It is no longer circumscribed/checkhed by the pen of the writer/poet. The powerful have and display unchecked/absolute power.

3
hum parvarish1-e lauh-o-qalam2 karte raheNge
jo dil pe guzarti hai raqam3 karte raheNge
ek tarz4-e taGhaaful5 hai so vo un ko mubaarak
ek arz-e-tamanna6 hai so hum karte raheNge   
1.nurture 2.writing tablet and pen 3.record 4.way, style 5.studied indifference/neglect 6.cry of demands
We (poets) will keep nurturing pen and paper i.e. we will keep writing. Whatever the heart suffers we will keep recording. Let them (the powerful) practise their studied indifference/neglect (of the masses). We will continue to raise our voice demanding justice. Of course the last she’r has a double meaning where the beloved is exercising indifference towards her lovers.

4
hamaare dum1 se hai koo-e-junooN2 meN ab bhi Khajil3
abaa4-e shaiKh o qabaa5-e amiir6 o taaj-e shahi
hamiN se sunnat7-e mansoor8 o qais9 zinda hai
hamiN se baaqi10 hai gul-daamani11 o kaj-kulahi12    
1.power, strength 2.street of passion 3.regret, shame, guilt 4.orthodox garb 5.royal robe 6.chief, king 7.sanctioned practice, accepted tradition 8.mansoor al-hallaaj 9.majnuN 10.remains 11.collecting flowers in the folds of the robe 12.rebellious slant in the cap
mansoor al-hallaaj was a sufi scholar who declared ‘I am the Truth’ and was considered a rebellious/unorthodox teacher. He was offered the chance to recant on pain of death. He refused and was executed. He is used as a symbol of rebellion against orthodoxy. Similarly, qais/majnuN is a symbol of mad/passionate love. It is because of us (poets) that there is a consciousness of guilt in the street of passion, the orthodox shaiKh, the robed chief and the royal crown. It is because of us (poets) that the tradition of rebellion (like that of mansur) and of passionate love (like that of qais) is still alive. We keep alive the tradition of gathering flowers (writing of love) as well as wearing a tilted/slanted cap (rebellion/protest).

5
bazm-e ahl-e tarab ko sharmaao
bazm-e ahbaab-e Gham ki baat karo
jaan jaayeNge jaan-ne vaale
faiz, farhaad o jam ki baat karo   
1.assembly, society 2.people of luxury 3.shame 4.friends 5.pain, sorrow 6.farhaad of shiriN-farhaad story, symbol of love 7.jamshed, absolute power
Shame the society of the people of luxury. Talk/write/recite about the people of pain/suffering. Those who know will understand, O, faiz talk of the lover and the cruel monarch/powerful.

6
hai faqat1 murGh2-e Ghazal-KhwaaN3 ke jise fikr4 nahiN
mo’tadil5 garmi6-e guftaar7 karuN ya na karuN
1.only 2.bird 3.Ghazal singing 4.worry 5.moderate, calm/tone down 6.heat, passion 7.speech, verse, recitation
The poet is the Ghazal-singing bird and is the only one who is not worried/fearful of consequences. He is wondering if it is time to tone down the passion of his verse.

7
javaab1-e vaa’ez2-e chaabuk-zabaaN3 meN faiz hameN
yahi bahut hai jo do harf4-e saada5 rakhte haiN
1.answer 2.preacher 3.whip cracking tongue 4.words 5.straight forward
In answer to the whip-cracking tongue of the preacher, it is enough O, faiz that we have a couple of plain-speaking words.

8
dast1-e sayyaad2 bhi aajiz3 hai, kaf4-e gulchiN5 bhi
boo-e-gul6 Thahri hai na bulbul ki zabaaN Thahri hai
hum ne jo tarz-e-fuGhaaN7 ki hai qafas8 meN eejaad9
faiz gulshan meN vahi tarz-e-bayaaN10 Thahri hai   
1.hand 2.bird-catcher 3.tired 4.hand 5.flower-picker 6.fragrance of the flower 7.style of protest 8.cage, prison 9.invent, create 10.style of speech
The bird-catcher and flower-picker are symbols of cruely in the garden/world. Not only do they put birds in cages and pick flowers, but the separate lovers (the bulbul and the rose). They keep doing it and their hands are tired but the fragrance of the rose and song of the bulbul cannot be stopped. The style of protest that we (poets) created from prison has become the common language in the garden (country).

9
hai dasht ab bhi dasht magar Khoon-e paa se faiz
sairaab chand Khaar-e muGhailaaN hue to haiN   
1.widerness 2.bleeding feet 3.satiated, watered 4.thorns 5.acacia bush
The wilderness is still barren. It has not become a garden yet. There is still much injustice and cruelty. The poet/lovers wanders the wilderness in bare feet. His bleeding feet water/nourish/satiate at least a few thorny acacia if not grow the whole garden and make change.

10
halqa1 kiye baiThe raho ek sham’a2 ko yaaro
kuchh raushni baaqi to hai harchand3 ke kum hai   
1.circle, surround 2.lamp 3.even though
faiz recited this in the last BBC sponsored TV mushaa’era a month or two before his death. Although, he said “ek” sham’a, I like to read it as “iss” sham’a – this lamp. Surround this lamp my friends (and listen). It has some brilliance left, even if somewhat reduced.

faiz ahmed faiz (1911-1984) a poet of romance, resistance, labour leader, journalist, political activist, Lenin Peace Prize awardee writes with great finesse and delicacy using the beloved as a metaphor for the homeland and/or the socialist revolution.  This is a part of series on “suKhanvar o suKhanvari” on the theme of what various shu’ara say about themselves, their verse, their mission and their place in history.  There is a nazm of faiz called “shaa’er log” which is also a part of this series.  In addition I have collected ash’aar from different Ghazal/nazm/qita and rubaaii for this post.
1
mata1-e lauh2 o qalam chhin gaii to kya Gham hai
ke Khoon-e dil meN Dubo li haiN uNgliyaN maiN ne
zabaN pe mohr3 lagi hai to kya ke rakh di hai
har ek halqa-e zanjeer4 meN zabaN maiN ne

1.possessions, treasure 2.page, writing tablet 3.stamp, seal 4.circle/link of the chain

The poet has been in prison.  He has been denied any writing.  His pen and paper has been taken away.  He is defiant.  He dips his finger in the blood of his heart to write.  He is chained.  His lips have been sealed.  No matter.  He has placed a tongue in every link of the chain that binds him!
2
darbaar meN ab sitvat1-e shaahi ki alaamat2
darbaaN3 ka asaa4 hai ke musannif5 ka qalam hai

1.pomp, glory 2.indications, signs 3.courtier 4.staff 5.writer, poet

By posing a rhetorical question, the poet bemoans that the halls power are like a monarchy.  The display or royal glory is through the staff/flag that the courtier carries.  It is no longer circumscribed/checkhed by the pen of the writer/poet.  The powerful have and display unchecked/absolute power.
3
hum parvarish1-e lauh-o-qalam2 karte raheNge
jo dil pe guzarti hai raqam3 karte raheNge
ek tarz4-e taGhaaful5 hai so vo un ko mubaarak
ek arz-e-tamanna6 hai so hum karte raheNge

1.nurture 2.writing tablet and pen 3.record 4.way, style 5.studied indifference/neglect 6.cry of demands

We (poets) will keep nurturing pen and paper i.e. we will keep writing.  Whatever the heart suffers we will keep recording.  Let them (the powerful) practise their studied indifference/neglect (of the masses).  We will continue to raise our voice demanding justice.  Of course the last she’r has a double meaning where the beloved is exercising indifference towards her lovers.
4
hamaare dum1 se hai koo-e-junooN2 meN ab bhi Khajil3
abaa4-e shaiKh o qabaa5-e amiir6 o taaj-e shahi
hamiN se sunnat7-e mansoor8 o qais9 zinda hai
hamiN se baaqi10 hai gul-daamani11 o kaj-kulahi12

1.power, strength 2.street of the beloved 3.regret, shame, guilt 4.orthodox garb 5.royal robe 6.chief, king 7.sanctioned practice, accepted tradition 8.mansoor al-hallaaj 9.majnuN 10.remains 11.collecting flowers in the folds of the robe 12.rebellious slant in the cap

mansoor al-hallaaj was a sufi scholar who declared ‘I am the Truth’ and was considered a rebellious/unorthodox teacher.  He was offered the chance to recant on pain of death.  He refused and was executed.  He is used as a symbol of rebellion against orthodoxy.  Similarly, qais/majnuN is a symbol of mad/passionate love.  It is because of us (poets) that there is a consciousness of guilt in the street of passion, the orthodox shaiKh, the robed chief and the royal crown.  It is because of us (poets) that the tradition of rebellion (like that of mansur) and of passionate love (like that of qais) is still alive.  We keep alive the tradition of gathering flowers (writing of love) as well as wearing a tilted/slanted cap (rebellion/protest).
5
bazm-e ahl-e tarab ko sharmaao
bazm-e ahbaab-e Gham ki baat karo
jaan jaayeNge jaan-ne vaale
faiz, farhaad o jam ki baat karo

1.assembly, society 2.people of luxury 3.shame 4.friends 5.pain, sorrow 6.farhaad of shiriN-farhaad story, symbol of love 7.jamshed, absolute power

Shame the society of the people of luxury.  Talk/write/recite about the people of pain/suffering.  Those who know will understand, O, faiz talk of the lover and the cruel monarch/powerful.
6
hai faqat1 murGh2-e Ghazal-KhwaaN3 ke jise fikr4 nahiN
mo’tadil5 garmi6-e guftaar7 karuN ya na karuN

1.only 2.bird 3.Ghazal singing 4.worry 5.moderate, calm/tone down 6.heat, passion 7.speech, verse, recitation

The poet is the Ghazal-singing bird and is the only one who is not worried/fearful of consequences.  He is wondering if it is time to tone down the passion of his verse.
7
javaab1-e vaa’ez2-e chaabuk-zabaaN3 meN faiz hameN
yahi bahut hai jo do harf4-e saada5 rakhte haiN

1.answer 2.preacher 3.whip cracking tongue 4.words 5.straight forward

In answer to the whip-cracking tongue of the preacher, it is enough O, faiz that we have a couple of plain-speaking words.
8
dast1-e sayyaad2 bhi aajiz3 hai, kaf4-e gulchiN5 bhi
boo-e-gul6 Thahri hai na bulbul ki zabaaN Thahri hai
hum ne jo tarz-e-fuGhaaN7 ki hai qafas8 meN eejaad9
faiz gulshan meN vahi tarz-e-bayaaN10 Thahri hai

1.hand 2.bird-catcher 3.tired 4.hand 5.flower-picker 6.fragrance of the flower 7.style of protest 8.cage, prison 9.invent, create 10.style of speech

The bird-catcher and flower-picker are symbols of cruely in the garden/world.  Not only do they put birds in cages and pick flowers, but the separate lovers (the bulbul and the rose).  They keep doing it and their hands are tired but the fragrance of the rose and song of the bulbul cannot be stopped.  The style of protest that we (poets) created from prison has become the common language in the garden (country).
9
hai dasht ab bhi dasht magar Khoon-e paa se faiz
sairaab chand Khaar-e muGhailaaN hue to haiN

1.widerness 2.bleeding feet 3.satiated, watered 4.thorns 5.acacia bush

The wilderness is still barren.  It has not become a garden yet.  There is still much injustice and cruelty.  The poet/lovers wanders the wilderness in bare feet.  His bleeding feet water/nourish/satiate at least a few thorny acacia if not grow the whole garden and make change.
10
halqa1 kiye baiThe raho ek sham’a2 ko yaaro
kuchh raushni baaqi to hai harchand3 ke kum hai

1.circle, surround 2.lamp 3.even though

faiz recited this in the last BBC sponsored TV mushaa’era a month or two before his death.  Although, he said “ek” sham’a, I like to read it as “iss” sham’a – this lamp.  Surround this lamp my friends (and listen).  It has some brilliance left, even if somewhat reduced. 

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