ta’assur miir ka-manohar lal bahaar

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

تاثّر میر کا ۔ منوہر لعل بہارؔ

۱

ہے وہی انداز اپنی گردشِ تقدیر کا

یہ نوشتہ مٹ نہیں سکتا تری تحریر کا

۲

ہے تغزّل اپنا سوز و ساز کا اِک اِمتزاج

فلسفہ غالب کا ہے اِس میں تاثّر میر کا

۳

کیوں پریشاں آپ یوں بیٹھے ہوئے ہیں بزم میں

کچھ اثر شاید ہوا ہے عشق کی تاثیر کا

۴

کتنا گہرا پڑ گیا قیدِ غلامی کا نشاں

آج تک ہے داغ باقی پاوں پر زنجیر کا

۵

لگ گئی کس کی نظر حُسن و جمالِ یار کو

رنگ و روغن اُڑ گیا ہے پیکرِ تصویر کا

۶

ہو گیا ہے کس قدر پامال میکش کا مقام

کیوں خیال آتا نہیں میخانے کی تعمیر کا

۷

دن میں شامل ہو گئی ہیں رات کی تاریکیاں

یہ اثر اُلٹا ہوا ہے خواب کی تعبیر کا

۸

بزمِ عالم میں ہر اِک جانب ہے برپا اے بہارؔ

ایک ہنگامہ کسی کے روئے پُر تنویر کا

ता’अस्सुर मीर का – मनोहर लाल बहार

है वही अंदाज़ अपनी गर्दिश-ए तक़्दीर का

ये नविश्ता मिट नहीं सकता तेरी तहरीर का

है तग़ज़्ज़ुल अपना सोज़-ओ-साज़ का एक इम्तज़ाज

फ़ल्सफ़ा ग़ालिब का है इस में ता’अस्सुर मीर का

क्यूं परेशां आप यूं बैठे हुए हैं बज़्म में

कुछ असर शा’एद हुआ है इश्क़ की तासीर का

कितना गहरा पढ गया क़ैद-ए ग़ुलामी का निशां

आज तक है दाग़ बाक़ी पाऊं की ज़ंजीर का

लग गई किस की नज़र हुस्न-ओ-जमाल-ए यार को

रंग-ओ-रौग़न उढ गया है पैकर-ए तस्वीर का

हो गया है किस क़दर पामाल मयकश का मक़ाम

क्यूं ख़याल आता नहीं मयख़ाने की ता’मीर का

दिन में शामिल हो गई हैं रात की तारीकियां

ये असर उल्टा हुआ है ख़्वाब की ताबीर का

बज़्म-ए आलम में हर एक जानिब है बर्पा अए बहार

एक हंगामा किसी के रू-ए पुर तन्वीर का

 

Click here for background and on any passage for word meanings and explanatory discussion. manohar lal bahaar (1912-????), whose father, rai shahed lal taught him urdu and farsi at home was invited to mushaa’era in hyderabad regularly. His collection ‘bahaaristan’ was published in 1977. He retired as a high-level official in the Department of Agriculture, Andhra Pradesh. This is one of several Ghazal he composed in the style of Ghalib. This one is based on the style of Ghalib’s leading Ghazal – ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’.
1
hai vahi andaaz apni gardish-e-taqdiir ka
ye navishta miT nahiN sakta teri tahriir ka
1.style, way, character 2.vicissitudes of fate 3.written 4.writing
A rather conventional view of fate which indicates total resignation at what is happening. The character of my fate is unchanged. In fact, it cannot be changed. What you (O fate) have written, cannot be erased.

2
hai taGhazzul1 apna soz-o-saaz2 ka ek imtezaaj3
falsafa Ghalib ka hai is meN ta’assur4 mir ka   
1.character of Ghazal 2.sorrow and joy 3.mixture, blend 4.influence, effect
The character of my Ghazal is a pleasant blending of joy and sorrow. It is based on Ghalib’s thought and is influenced by mir (mir taqi mir).

3
kyuN pareshaaN1 aap yuN baiThe hue haiN bazm2 meN
kuchh asar3 shaa’ed4 hua hai ishq ki taasiir5 ka
1.worried 2.gathering 3.effect 4.perhaps 5.effectiveness, influence
Normally the beloved is the life and soul and centre of attention of the gathering/party. But now it appears that she is sitting in a corner with a concerned look on her face. The poet/lover speculates (wishful thinking) that perhaps it is the influence of his love that is causing it.

4
kitna gahra1 paR gaya qaid2-e Ghulaami3 ka nishaaN4
aaj tak hai daaGh5 baaqi6 paauN ki zanjiir ka
1.deep 2.bondage 3.slavery 4.mark, stain 5.scar, wound 6.remaining
I might be tempted to think that he might be alluding to colonialism, but I think that it is more about the ‘slavery of love for the beloved’. The bondage of slavery has left a deep mark. Even today (many years after his release) the wound of his chain/manacles remains on his legs/ankles.

5
lug gaii kis ki nazar1 husn-o-jamaal2-e yaar3 ko
raNg-o-rauGhan4 uR gaya hai paikar5-e tasviir6 ka   
1.evil eye 2.beauty and grandeur 3.beloved 4.colour and vigour 5.form 6.picture
The ‘form of expression’ of the beloved has gone pale. It has lost its vivacious colour. Someone must have cast their evil eye on the beauty and grandeur of the beloved.

6
ho gaya hai kis qadar1 paamaal2 maikash3 ka maqaam4
kyun Khayaal aata nahiN maiKhaane5 ki taamiir6 ka   
1.much 2.trampled, destroyed 3.wine lover 4.place, status 5.tavern 6.repair
‘maikash ka maqaam’ can be the place he goes to for maikashi i.e. maiKhaana/tavern. It could also mean the status of the maikash – the respect in which he is held. The maiKhaana is also symbolic of the liberal/secular space, free from the influence of the shaiKh or brahman. Thus, the liberal/secular space is losing its status in society. Why are we not concerned about re-constructing/repairing it.

7
din meN shaamil1 ho gaiiN haiN raat ki taariikiyaaN2
ye asar3 ulTa hua hai Khwaab ki t’aabiir4 ka   
1.mixed, included 2.darkness 3.effect, result 4.fulfilment
The poet (and others with him) had had a dream/vision of a new dawn. But what they find is that the new dawn is mixed with the darkness of the night – much like faiz ahmed faiz’s ‘shab gazeda sahr’. This is opposite of the vision that they had envisaged.

8
bazm-e-aalam1 meN har ek jaanib2 hai barpa3 aye bahaar
ek haNgaama4 kisi ke ruu5-e pur-tanviir6 ka   
1.gatherins of the world, world 2.direction 3.going on, happening 4.tumult 5.face 6.brilliant, shining, beautiful
He is talking about the beloved’s beauty. In all directions i.e. everywhere in the world there is conversation going on about the beauty of the beloved.

manohar lal bahaar (1912-????), whose father, rai shahed lal taught him urdu and farsi at home was invited to mushaa’era in hyderabad regularly.  His collection ‘bahaaristan’ was published in 1977.  He retired as a high-level official in the Department of Agriculture, Andhra Pradesh.  This is one of several Ghazal he composed in the style of Ghalib.  This one is based on the style of Ghalib’s leading Ghazal – ‘naqsh faryaadi hai kis ki shooKhi-e tahriir ka’.
1
hai vahi andaaz apni gardish-e-taqdiir ka
ye navishta miT nahiN sakta teri tahriir ka

1.style, way, character 2.vicissitudes of fate 3.written 4.writing

A rather conventional view of fate which indicates total resignation at what is happening.  The character of my fate is unchanged.  In fact, it cannot be changed.  What you (O fate) have written, cannot be erased.
2
hai taGhazzul1 apna soz-o-saaz2 ka ek imtezaaj3
falsafa Ghalib ka hai is meN ta’assur4 mir ka

1.character of Ghazal 2.sorrow and joy 3.mixture, blend 4.influence, effect

The character of my Ghazal is a pleasant blending of joy and sorrow.  It is based on Ghalib’s thought and is influenced by mir (mir taqi mir).
3
kyuN pareshaaN1 aap yuN baiThe hue haiN bazm2 meN
kuchh asar3 shaa’ed4 hua hai ishq ki taasiir5 ka

1.worried 2.gathering 3.effect 4.perhaps 5.effectiveness, influence

Normally the beloved is the life and soul and centre of attention of the gathering/party.  But now it appears that she is sitting in a corner with a concerned look on her face.  The poet/lover speculates (wishful thinking) that perhaps it is the influence of his love that is causing it.
4
kitna gahra1 paR gaya qaid2-e Ghulaami3 ka nishaaN4
aaj tak hai daaGh5 baaqi6 paauN ki zanjiir ka

1.deep 2.bondage 3.slavery 4.mark, stain 5.scar, wound 6.remaining

I might be tempted to think that he might be alluding to colonialism, but I think that it is more about the ‘slavery of love for the beloved’.  The bondage of slavery has left a deep mark.  Even today (many years after his release) the wound of his chain/manacles remains on his legs/ankles.
5
lug gaii kis ki nazar1 husn-o-jamaal2-e yaar3 ko
raNg-o-rauGhan4 uR gaya hai paikar5-e tasviir6 ka

1.evil eye 2.beauty and grandeur 3.beloved 4.colour and vigour 5.form 6.picture

The ‘form of expression’ of the beloved has gone pale.  It has lost its vivacious colour.  Someone must have cast their evil eye on the beauty and grandeur of the beloved.
6
ho gaya hai kis qadar1 paamaal2 maikash3 ka maqaam4
kyun Khayaal aata nahiN maiKhaane5 ki taamiir6 ka

1.much 2.trampled, destroyed 3.wine lover 4.place, status 5.tavern 6.repair

‘maikash ka maqaam’ can be the place he goes to for maikashi i.e. maiKhaana/tavern.  It could also mean the status of the maikash – the respect in which he is held.  The maiKhaana is also symbolic of the liberal/secular space, free from the influence of the shaiKh or brahman.  Thus, the liberal/secular space is losing its status in society.  Why are we not concerned about re-constructing/repairing it.
7
din meN shaamil1 ho gaiiN haiN raat ki taariikiyaaN2
ye asar3 ulTa hua hai Khwaab ki t’aabiir4 ka

1.mixed, included 2.darkness 3.effect, result 4.fulfilment

The poet (and others with him) had had a dream/vision of a new dawn.  But what they find is that the new dawn is mixed with the darkness of the night – much like faiz ahmed faiz’s ‘shab gazeda sahr’.  This is opposite of the vision that they had envisaged.
8
bazm-e-aalam1 meN har ek jaanib2 hai barpa3 aye bahaar
ek haNgaama4 kisi ke ruu5-e pur-tanviir6 ka

1.gatherins of the world, world 2.direction 3.going on, happening 4.tumult 5.face 6.brilliant, shining, beautiful

He is talking about the beloved’s beauty.  In all directions i.e. everywhere in the world there is conversation going on about the beauty of the beloved.

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