For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
Recitation
تہ و بالا جہاں نہیں ۔ مفتی صدرالدین آزردہؔ
۱
نالوں سے میرے کب تہ و بالا جہاں نہیں
کب آسماں زمین و زمیں آسماں نہیں
۲
آنکھوں سے دیکھ کر تجھے سب ماننا پڑا
کہتے تھے جو ہمیشہ چنیں ہے چناں نہیں
۳
اس بزم میں نہیں کوئی آگاہِ درد کب
واں خندہ زیر لب اِدھر اشکِ نہاں نہیں
۴
افسردہ دل نہ ہو درِ رحمت نہیں ہے بند
کس دن کھلا ہوا درِ پیر مغاں نہیں
۵
لب بند ہوں تو روزنِ سینہ کو کیا کروں
تھمتا تو مجھ سے نالۂ آتش عناں نہیں
۶
ملنا ترا یہ غیر سے ہو بہرِ مصلحت
ہم کو تو سادگی سے تری یہ گماں نہیں
۷
اے دل تمام نفع ہے سودائے عشق میں
اک جان کا زیاں ہے سو ایسا زیاں نہیں
۸
بے وقت آئے دیر میں کیا شورشیں کریں
ہم پیر و پیرِ میکدہ بھی نوجواں نہیں
۹
کٹتی کسی طرح سے نہیں یہ شبِ فراق
شاید کہ گردش آج تجھے آسماں نہیں
۱۰
آزردہؔ ہونٹ تک نہ ہلے اُس کے روبرو
مانا کہ آپ سا کوئی جادو بیاں نہیں
तह-ओ-बाला जहाँ नहीं – मुफ़्ती सद्रुद्दीन आज़ुर्दा
१
नालों से मेरे कब तह-ओ-बाला जहाँ नहीं
कब आसमाँ ज़मीन ओ ज़मीं आसमाँ नहीं
२
आँखों से देख कर तुझे सब मानना पढा
कहते थे जो हमेशा चुनीं है चुनाँ नहीं
३
उस बज़्म में नहीं कोई आगाह-ए दर्द कब
वाँ ख़ंदा ज़ेर-ए लब इधर अश्क-ए नेहाँ नहीं
४
अफ़्सुर्दा-दिल न हो दर-ए रहमत नहीं है बंद
किस दिन खुला हुआ दर-ए पीर-ए मुग़ाँ नहीं
५
लब बंद हों तो रौज़न-ए सीना को क्या करूँ
थमता तो मुझ से नाला-ए आतिश-इनाँ नहीं
६
मिलना तेरा ये ग़ैर से हो बहर-ए मस्लहत
हम को तो सादगी से तेरी ये गुमाँ नहीं
७
अए दिल तमाम नफ़’अ है सौदा-ए इश्क़ में
एक जान का ज़ियाँ है सो ऐसा ज़ियाँ नहीं
८
बे-वक़्त आए दैर में क्या शोरिशें करें
हम पीर ओ पीर-ए मै-कदा भी नौजवाँ नहीं
९
कटती किसी तरह से नहीं ये शब-ए फ़िराक़
शा’एद के गर्दिश आज तुझे आस्माँ नहीं
१०
आज़ुर्दा होंट तक न हिले उस के रू-ब-रू
माना कि आप सा कोई जादू-बयाँ नहीं
Click here for background and on any passage for word meanings and explanatory discussion. mufti sadruddin aazurda (1789-1868), dehli. Chief mufti/judge. He was a close friend of Ghalib. Ghalib was presented in his court on charges of gambling. He sentenced him and, on the side, paid his fine. After the 1857 war he was arrested, and all his property was confiscated. His compositions were probably never published during his lifetime as a diivaan. This Ghazal is linked to ‘tark-e vafa ka gumaaN nahiN’ under the page, “Ghalib naqsh-e qadam”. But this and several others in the same zamin were probably composed for the same mushaa’era by Ghalib’s contemporaries. To recognize this, a category called “1800s hum asar” has been created and such Ghazal have been linked to it. There are two each of Ghalib, aazurda, momin and shefta in this zamin.
1
naaloN1 se mere kab tah-o-baalaa2 jahaaN3 nahiN
kab aasmaaN zamiin o zamiiN aasmaaN nahiN 1.laments, wails 2.topsy turvy, upside down 3.world, universe
The poet/lover’s laments are so intense that they turn the universe upside down. The sky becomes the earth and the earth the sky.
2
aaNkhoN se dekh kar tujhe sab maan’na1 paRaa
kahte the jo hamesha chuniiN2 hai chunaaN3 nahiN 1.agree 2.this 3.that
If the “tujhe” is linked to the first half of the misra i.e. tujhe dekh kar, then it can mean – when they saw you with their own eyes, they all had to agree. Those who used to say that she is this and not that. Agree with what is left – for us to imagine … agree that she is the most beautiful one in the world! If ‘tujhe’ is linked to the second half i.e., tujhe man’na paRa, then it is not clear who the ‘tujhe’ is. It could be the beloved or it could be the whole world. She/they always used to say/argue, “it is not this, it is that” i.e., they always disagreed and insisted on their own point of view, or perhaps the beloved made excuses. Now that they (or I) can see it before their eyes, they are forced to agree. But what is it that they see before their eyes. It is left for us to fill in the blanks.
3
us bazm1 meN nahiN koii aagaah2-e dard3 kab
vaaN Khanda4 zer5-e lab6 idhar ashk7-e nihaaN8 nahiN 1.assembly, gathering 2.aware, knowledgeable 3.pain 4.smile 5.under 6.lip 7.tears 8.hidden
It is highly likely that “us bazm” refers to the bazm/gathering of the beloved. Who is not familiar with pain in that gathering. Over there are “smiles under the lip” – the “there” is the beloved and her smile/pleasure is hidden. And here tears are not hidden, they flow freely. Hence, everyone is familiar pain – the pain that the beloved inflicts and enjoys doing so.
4
afsurda-dil1 na ho dar2-e rahmat3 nahiN hai band
kis din khula hua dar2-e piir-e-muGhaaN4 nahiN 1.disheartened, sad heart 2.door 3.kindness 4.head/chief wine maker, tavern owner
Normally “dar-e rahmat” is reserved for the benevolence of god. The first misra can certainly lead to that impression. Don’t be disheartened, when is the door of benevolence shut i.e., it is never closed. In the second misra the poet makes it clear that he means the door of the tavern not the divine gate.
5
lab1 band hoN to rauzan2-e siina3 ko kya karuN
thamtaa4 to mujh se naala5-e aatish6-inaaN7 nahiN 1.lips 2.peep-hole, window 3.chest, bosom 4.stop, stay controlled 5.lament 6.fire 7.reins
“aatish inaaN” – holding the reins of fire i.e., riding a fiery horse. Thus, the laments of the poet/lover are like riding fire. Even if he is able to seal his lips (not say anything), what can he do about his fiery laments rising from his heart and escaping his bosom.
6
milna tera ye Ghair1 se ho bahr2-e maslahat3
ham ko to saadagi4 se teri ye gumaaN5 nahiN 1.rival 2.for the sake of 3.(urgent, important) purpose 4.simplicity 5.suspicion, guess
The beloved has met the rival. The poet/lover has complained. She explains it away saying that it was for an important/urgent purpose. But he protests that she is a simpleton and rival must have duped here. Because of her innocence, he cannot surmise/guess that that was the purpose.
7
aye dil tamaam1 naf’a2 hai saudaa3-e ishq4 meN
ek jaan ka ziyaaN5 hai so aisaa ziyaaN nahiN 1.all, total 2.profit, benefit 3.trade, undertaking 4.love 5.loss
O heart, there is total benefit in the undertaking of love. The only loss is that of life, and that is not much of a loss.
8
be-vaqt1 aaye dair2 meN kya shorisheN3 kareN
ham piir4 o piir-e-maikada5 bhii naujavaaN6 nahiN 1.untimely, bad timing 2.temple, zoroastrian temple 3.lament, tumult 4.old 5.chief of the tavern, senior wine maker 6.young
This probably refers to the custom/ritual of the zoroastrian temple which serves wine as a part of its service. I have come to the temple at a bad time, why complain, raise a tumult. I am old and the head of the winemakers is also not young. Does this imply that he should have come here a long time ago, when they were still young?
9
kaTtii1 kisii tarah se nahiN ye shab2-e firaaq3
shaa’ed4 keh gardish5 aaj tujhe aasmaaN nahiN 1.passes 2.night 3.separation (from the beloved) 4.perhaps 5.movement, rotation
The passing of the night (or day) is phrased as the rotation of the sky. Thus, the night of separation does not seem to pass. Perhaps the sky has stopped revolving.
10
aazurdaa1 hoNT2 tak na hile us ke ruu-ba-ruu3
maanaa4 keh aap sa koii jaadu-bayaaN5 nahiN 1.penname of the poet 2.lips 3.face to face 4.agree, admit 5.magical/enchanting speech
O aazurda, when you came face to face with the beloved, your lips did not even move … you did not say anything, even though I agree that there is no other enchanting speaker/poet like you.
mufti sadruddin aazurda (1789-1868), dehli. Chief mufti/judge. He was a close friend of Ghalib. Ghalib was presented in his court on charges of gambling. He sentenced him and, on the side, paid his fine. After the 1857 war he was arrested, and all his property was confiscated. His compositions were probably never published during his lifetime as a diivaan. This Ghazal is linked to ‘tark-e vafa ka gumaaN nahiN’ under the page, “Ghalib naqsh-e qadam”. But this and several others in the same zamin were probably composed for the same mushaa’era by Ghalib’s contemporaries. To recognize this, a category called “1800s hum asar” has been created and such Ghazal have been linked to it. There are two each of Ghalib, aazurda, momin and shefta in this zamin.
1
naaloN1 se mere kab tah-o-baalaa2 jahaaN3 nahiN
kab aasmaaN zamiin o zamiiN aasmaaN nahiN
1.laments, wails 2.topsy turvy, upside down 3.world, universe
The poet/lover’s laments are so intense that they turn the universe upside down. The sky becomes the earth and the earth the sky.
2
aaNkhoN se dekh kar tujhe sab maan’na1 paRaa
kahte the jo hamesha chuniiN2 hai chunaaN3 nahiN
1.agree 2.this 3.that
If the “tujhe” is linked to the first half of the misra i.e. tujhe dekh kar, then it can mean – when they saw you with their own eyes, they all had to agree. Those who used to say that she is this and not that. Agree with what is left – for us to imagine … agree that she is the most beautiful one in the world! If ‘tujhe’ is linked to the second half i.e., tujhe man’na paRa, then it is not clear who the ‘tujhe’ is. It could be the beloved or it could be the whole world. She/they always used to say/argue, “it is not this, it is that” i.e., they always disagreed and insisted on their own point of view, or perhaps the beloved made excuses. Now that they (or I) can see it before their eyes, they are forced to agree. But what is it that they see before their eyes. It is left for us to fill in the blanks.
3
us bazm1 meN nahiN koii aagaah2-e dard3 kab
vaaN Khanda4 zer5-e lab6 idhar ashk7-e nihaaN8 nahiN
1.assembly, gathering 2.aware, knowledgeable 3.pain 4.smile 5.under 6.lip 7.tears 8.hidden
It is highly likely that “us bazm” refers to the bazm/gathering of the beloved. Who is not familiar with pain in that gathering. Over there are “smiles under the lip” – the “there” is the beloved and her smile/pleasure is hidden. And here tears are not hidden, they flow freely. Hence, everyone is familiar pain – the pain that the beloved inflicts and enjoys doing so.
4
afsurda-dil1 na ho dar2-e rahmat3 nahiN hai band
kis din khula hua dar2-e piir-e-muGhaaN4 nahiN
1.disheartened, sad heart 2.door 3.kindness 4.head/chief wine maker, tavern owner
Normally “dar-e rahmat” is reserved for the benevolence of god. The first misra can certainly lead to that impression. Don’t be disheartened, when is the door of benevolence shut i.e., it is never closed. In the second misra the poet makes it clear that he means the door of the tavern not the divine gate.
5
lab1 band hoN to rauzan2-e siina3 ko kya karuN
thamtaa4 to mujh se naala5-e aatish6-inaaN7 nahiN
1.lips 2.peep-hole, window 3.chest, bosom 4.stop, stay controlled 5.lament 6.fire 7.reins
“aatish inaaN” – holding the reins of fire i.e., riding a fiery horse. Thus, the laments of the poet/lover are like riding fire. Even if he is able to seal his lips (not say anything), what can he do about his fiery laments rising from his heart and escaping his bosom.
6
milna tera ye Ghair1 se ho bahr2-e maslahat3
ham ko to saadagi4 se teri ye gumaaN5 nahiN
1.rival 2.for the sake of 3.(urgent, important) purpose 4.simplicity 5.suspicion, guess
The beloved has met the rival. The poet/lover has complained. She explains it away saying that it was for an important/urgent purpose. But he protests that she is a simpleton and rival must have duped here. Because of her innocence, he cannot surmise/guess that that was the purpose.
7
aye dil tamaam1 naf’a2 hai saudaa3-e ishq4 meN
ek jaan ka ziyaaN5 hai so aisaa ziyaaN nahiN
1.all, total 2.profit, benefit 3.trade, undertaking 4.love 5.loss
O heart, there is total benefit in the undertaking of love. The only loss is that of life, and that is not much of a loss.
8
be-vaqt1 aaye dair2 meN kya shorisheN3 kareN
ham piir4 o piir-e-maikada5 bhii naujavaaN6 nahiN
1.untimely, bad timing 2.temple, zoroastrian temple 3.lament, tumult 4.old 5.chief of the tavern, senior wine maker 6.young
This probably refers to the custom/ritual of the zoroastrian temple which serves wine as a part of its service. I have come to the temple at a bad time, why complain, raise a tumult. I am old and the head of the winemakers is also not young. Does this imply that he should have come here a long time ago, when they were still young?
9
kaTtii1 kisii tarah se nahiN ye shab2-e firaaq3
shaa’ed4 keh gardish5 aaj tujhe aasmaaN nahiN
1.passes 2.night 3.separation (from the beloved) 4.perhaps 5.movement, rotation
The passing of the night (or day) is phrased as the rotation of the sky. Thus, the night of separation does not seem to pass. Perhaps the sky has stopped revolving.
10
aazurdaa1 hoNT2 tak na hile us ke ruu-ba-ruu3
maanaa4 keh aap sa koii jaadu-bayaaN5 nahiN
1.penname of the poet 2.lips 3.face to face 4.agree, admit 5.magical/enchanting speech
O aazurda, when you came face to face with the beloved, your lips did not even move … you did not say anything, even though I agree that there is no other enchanting speaker/poet like you.
