TaToleN haiN-mir taqi mir

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

ٹٹولیں ہیں ۔ میر تقی میرؔ

۱

صبح ہوئی گلزار کے طائر دل کو اپنے ٹٹولیں ہیں
یاد میں اس خود رو گلِ تر کی کیسے کیسے بولیں ہیں

۲

باغ میں جو ہم دیوانے سے جا نکلیں ہیں نالہ کناں
غنچے ہو ہو مرغ چمن کے ساتھ ہمارے بولیں ہیں

۳

یار ہمارا آساں کیا کچھ سینہ کشادہ ہم سے ملا
خون کریں ہیں جب دل کو دے بند قبا کے کھولیں ہیں

۴

مینہ جو برسے ہے شدّت سے دیکھ اندھیری کیا ہے یہ
یعنی تنگ ہو ہم آتے ہیں دل کو کھول کے رو لیں ہیں

۵

وہ دھوبی کا کم ملتا ہے میلِ دل اودھر ہے بہت
کوئی کہے اس سے ملتے میں تجھ کو کیا ہم دھو لیں ہیں

۶

سرو تو ہے سنجیدہ لیکن پیشِ مصرعِ قدّ یار
نا موزوں ہی نکلے ہے جب دل میں اپنے تولیں ہیں

۷

مرگ کا وقفہ اس رستے میں کیا ہے میرؔ سمجھتے ہو
ہارے ماندے راہ کے ہیں ہم لوگ کوئی دم سو لیں ہیں

टटोलें हैं – मीर तक़ी मीर

सुबह हुई गुल्ज़ार के ताएर दिल को अपने टटोलें हैं
याद में उस ख़ुद-रौ गुल-ए तर की कैसे कैसे बोलें हैं

बाग़ में जो हम दीवाने से जा निक्लें हैं नाला-कुनाँ
ग़ुंचे हो हो मुरग़ चमन के साथ हमारे बोलें हैं

यार हमारा आसाँ क्या कुछ सीना-कुशादा हम से मिला
ख़ून करें हैं जब दिल को दे बंद क़बा के खोलें हैं

मेंह जो बरसे है शिद्दत से देख अंधेरी क्या है ये
यानी तंग हो हम आते हैं दिल को खोल के रो लें हैं

वो धोबी का कम मिलता है मैल-ए दिल ऊधर है बहुत
कोई कहे उस से मिलते में तुझ को क्या हम धो लें हैं

सरव तो है संजीदा लेकिन पेश-ए मिसरा-ए क़द्द-ए यार
ना-मौज़ूँ ही निक्ले है जब दिल में अपने तोलें हैं

मरग का वक़फ़ा इस रस्ते में क्या है मीर समझते हो
हारे मांदे राह के हैं हम लोग कोई दम सो लें हैं

 

Click here for background and on any passage for word meanings and explanatory discussion. mir taqi mir (1722-1810) great classical poet of angst, romance and sufiyaana thoughts. Prolific with six diivaan of urdu and one of faarsi in addition to masnavi.
1
subh hui gulzaar ke taa’er1 dil ko apne TaToleN haiN
yaad meN us Khud-rau2 gul-e-tar3 ki kaise kaise boleN haiN   
1.birds 2.self-grown, wild 3.fresh rose
The usual convention is that birds in the garden, when free are singing happy songs of love for the rose. When they are caged, they sing in sorrow for loss of freedom. When away from the garden they sing for loss of home. This is an unusual situation. They are in the garden, free and singing, but they are examining their own hearts. They don’t seem to like this gulzaar (the world, with its material restrictions). They remember the Khud-rau/wild rose and sing in its rememberance. A celebration of the free human spirit as opposed to the material body.

2
baaGh meN jo hum divaane se jaa nikleN haiN naalah-kunaaN1
Ghunche2 ho ho murGh3-e chaman ke saath hamaare boleN haiN    
1.wailing, crying 2.unopened buds 3.birds
Even as the poet, in mad passion, is wailing in the garden other creatures join him in sorrow. The singing of birds is clear enough but buds joining them in song, is probabaly the unfurling of petals and the gentle clicking sound (chiTakna) that is musical.

3
yaar hamaara aasaaN1 kya kuchh siina-kushaada2 hum se mila
Khoon kareN haiN jab dil ko de band3 qaba3 ke kholeN haiN    
1.easy, ready 2.open breast, open hearted 3.ties 4.robe
Normally it is very difficult to meet/get favours from the beloved. But this time she meets the poet readily (with open heartedness, or with an open/uncovered breast). She wounds his heart as she undoes the ties of her robe.

4
meNh1 jo barse hai shiddat2 se dekh andheri kya hai ye
yaa’ni3 tang4 ho hum aate haiN dil ko khol ke ro leN haiN    
1.rain 2.heavy 3.it means, it is as if 4.tired
This heavy rain and darkness is as if we are tired (of this life) and are crying/weeping profusely.

5
vo dhobi ka kam milta hai mai’l1-e dil oodhar hai bahut
ko’i kahe us se milte meN tujh ko kya hum dho leN haiN   
1.stain, ill feeling
This she’r has clear indications of homosexual practice of the day. There is a school of thought that it may not be actual homosexual practice but an exaggerated poetic statement, in the same style as other such writing about the beloved. The washerman’s son is staying away, there is ill feeling in his heart. If you meet him, would you please ask him if he thinks that we ‘wash him out’. Probably the ‘wash him out’ means ‘misuse’ him. The only thing I can say about this sher is the juxtapostion of dhobi, mai’l and dho leN.

6
sarv1 to hai sanjidah2 lekin pesh3-e misra4-e qadd-e-yaar5
naa-mauzooN6 hi nikle hai jab dil meN apne toleN haiN  
1.cypress 2.serious, beautiful 3.in front of, compared to 4.hemi-stitch/line of a she’r 5.stature of the beloved 6.inappropriate
The cypress is a symbol of tall slender beauty and dignified stature. That it is, but compared to the stature of the beloved it is inadequate.

7
marg1 ka vaqfa2 is raste meN kya hai mir samajhte ho
haare-maaNde3 raah ke haiN ham log koi dam4 so leN haiN
1.death 2.interval 3.unsuccessful and tired 4.moments
There is life and afterlife. In between the two is a brief period of death during which tired and defeated with the endeavour of material life we catch a few moments sleep. Ghalib too writes …
marg ek maaNdagi ka vaqfa hai
yaanii aage baRheNge dam le kar

mir taqi mir (1722-1810) great classical poet of angst, romance and sufiyaana thoughts.  Prolific with six diivaan of urdu and one of faarsi in addition to masnavi.
1
subh hui gulzaar ke taa’er1 dil ko apne TaToleN haiN
yaad meN us Khud-rau2 gul-e-tar3 ki kaise kaise boleN haiN

1.birds 2.self-grown, wild 3.fresh rose

The usual convention is that birds in the garden, when free are singing happy songs of love for the rose.  When they are caged, they sing in sorrow for loss of freedom.  When away from the garden they sing for loss of home.  This is an unusual situation.  They are in the garden, free and singing, but they are examining their own hearts.  They don’t seem to like this gulzaar (the world, with its material restrictions).  They remember the Khud-rau/wild rose and sing in its rememberance.  A celebration of the free human spirit as opposed to the material body.
2
baaGh meN jo hum divaane se jaa nikleN haiN naalah-kunaaN1
Ghunche2 ho ho murGh3-e chaman ke saath hamaare boleN haiN

1.wailing, crying 2.unopened buds 3.birds

Even as the poet, in mad passion, is wailing in the garden other creatures join him in sorrow.  The singing of birds is clear enough but buds joining them in song, is probabaly the unfurling of petals and the gentle clicking sound (chiTakna) that is musical.
3
yaar hamaara aasaaN1 kya kuchh siina-kushaada2 hum se mila
Khoon kareN haiN jab dil ko de band3 qaba3 ke kholeN haiN

1.easy, ready 2.open breast, open hearted 3.ties 4.robe

Normally it is very difficult to meet/get favours from the beloved.  But this time she meets the poet readily (with open heartedness, or with an open/uncovered breast).  She wounds his heart as she undoes the ties of her robe.
4
meNh1 jo barse hai shiddat2 se dekh andheri kya hai ye
yaa’ni3 tang4 ho hum aate haiN dil ko khol ke ro leN haiN

1.rain 2.heavy 3.it means, it is as if 4.tired

This heavy rain and darkness is as if we are tired (of this life) and are crying/weeping profusely.
5
vo dhobi ka kam milta hai mai’l1-e dil oodhar hai bahut
ko’i kahe us se milte meN tujh ko kya hum dho leN haiN

1.stain, ill feeling

This she’r has clear indications of homosexual practice of the day.  There is a school of thought that it may not be actual homosexual practice but an exaggerated poetic statement, in the same style as other such writing about the beloved.  The washerman’s son is staying away, there is ill feeling in his heart.  If you meet him, would you please ask him if he thinks that we ‘wash him out’.  Probably the ‘wash him out’ means ‘misuse’ him.  The only thing I can say about this sher is the juxtapostion of dhobi, mai’l and dho leN.
6
sarv1 to hai sanjidah2 lekin pesh3-e misra4-e qadd-e-yaar5
naa-mauzooN6 hi nikle hai jab dil meN apne toleN haiN

1.cypress 2.serious, beautiful 3.in front of, compared to 4.hemi-stitch/line of a she’r 5.stature of the beloved 6.inappropriate

The cypress is a symbol of tall slender beauty and dignified stature.  That it is, but compared to the stature of the beloved it is inadequate.
7
marg1 ka vaqfa2 is raste meN kya hai mir samajhte ho
haare-maaNde3 raah ke haiN ham log koi dam4 so leN haiN

1.death 2.interval 3.unsuccessful and tired 4.moments

There is life and afterlife.  In between the two is a brief period of death during which tired and defeated with the endeavour of material life we catch a few moments sleep.  Ghalib too writes …
marg ek maaNdagi ka vaqfa hai
yaanii aage baRheNge dam le kar

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