teri janaab meN-jamna parshaad raahi

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

تیری جناب میں ۔ جمنا پرشاد راہیؔ

۱

خود صرفِ اعتراف ہوں تیری جناب میں

تاخیر کیوں ہے داورِ محشر حساب میں

۲

نیّت پہ بھی نگاہ رہے احتساب میں

یک مُو کا فاصلہ ہے گُناہ و ثواب میں

۳

ہے دست رس میں باگ تو پا ہے رکاب میں

لیکن ہے رخشِ عمرِ رواں پیچ و تاب میں

۴

جُرأت کہاں ہے دست وقلم کو بِنائے شوق

مقدور ہو تو خط بھی نہ لکھوں جواب میں

۵

کھِلتے ہی گُل پہ شب کے پسینے کی ہے رمق

کیا ماہتاب جذب ہوا آفتاب میں

۶

یہ بے خودی کی کون سی منزل ہے کچھ بتا

عالم تمام قید ہے موجِ شراب میں

۷

آیا ہے میرا نام بھی شیشہ شکن کے ساتھ

یعنی ہے ذکرِ آئینہ پتھر کے باب میں

۸

اِدراک اہلِ ہوش کو دیوانگی کا تھا

آخر خودی کو بھول گئے اِجتناب میں

۹

اِک بانیِ کتاب ہے اِک نقشِ محترم

حیراں ہوں کس کا نام لکھوں انتساب میں

तेरी जनाब में – जमुना पर्शाद राही

ख़ुद सर्फ़-ए एतराफ़ हुं तेरी जनाब में

ताक़ीर क्यूं है दावर-ए महशर हिसाब में

निय्यत पे भी निगाह रहे एहतसाब में

यक मू का फ़ास्ला है गुनाह ओ सवाब में

है दस्त-रस में बाग तो पा है रकाब में

लैकिन है रख़्श-ए उम्र-ए रवां पेच ओ ताब में

जुर’अत कहां है दस्त ओ क़लम को बिना-ए शौक़

मक़्दूर हो तो ख़त भी न लिक्खूं जवाब में

खिल्ते हि गुल पे शब के पसीने कि है रमक़

क्या माहताब जज़्ब हुआ आफ़्ताब में

ये बेख़ुदी कि कौन सी मंज़िल है कुछ बता

आलम तमाम क़ैद है मौज-ए शराब में

आया है मेरा नाम भी शीशा-शिकन के साथ

या’नी है ज़िक्र-ए आईना पत्थर के बाब में

इद्राक अहल-ए होश को दीवानगी का था

आख़र ख़ुदी को भूल गए इज्तनाब में

एक बानी-ए किताब है एक नक़्श-ए मोहतरम

हैरां हूं किस का नाम लिखूं इन्तसाब में

 

Click here for background and on any passage for word meanings and explanatory discussion. jamna parshad raahi (1940-2017), aligaRh. Sahitya Akademi, UP, awardee. President, Progressive Writers’ Association. He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi, though not a shaagird of Ghalib, was deeply influenced by him.
1
Khud sarf1-e eteraaf2 huN teri janaab3 meN
taaqeer4 kyuN hai daavar5-e mahshar6 hisaab7 meN   
1.spending, busy 2.confession 3.grandeur 4.delay 5.lord 6.doomsday 7.reckoning
The poet/lover/sinner is busy readily confessing his transgressions in the grand presence of god (the lord of the day of judgement). But there is a delay in his reckoning and passing of judgement. He wonders why and leaves us to guess. Could it be because he has some redeeming qualities and they are being considered?

2
niyyat1 pe bhi nigaah2 rahe ehtesaab3 meN
yak-moo4 ka faasla5 hai gunaah6 o savaab7 meN   
1.intention 2.sight, glance 3.reckoning, accounting 4.one hair 5.distance 6.transgression, vice 7.virtue
He appeals to god – take a look at my intentions also when an accounting is made of my deeds. The distance between vice and virtue is no more than a hair. My intentions were right, I might have just overstepped that fine line without intending to. Perhaps, god is indeed looking at this and that is why there is some delay in pronouncing judgement (see the previous she’r).

3
hai dast-ras1 meN baag2 to paa3 hai rikaab4 meN
laikin hai raKhsh5-e umr-e-ravaaN6 pech-o-taab7 meN   
1.within reach of hands 2.reins 3.feet 4.stirrups 5.horse, steed 6.flowing/passing life 7.hesitation, back and forth
Says Ghalib …
rau meN hai raKhsh-e umr kahaaN dekhiye thame
ne haath baag par hai na paa hai rikaab meN
raahi makes the same point from a different angle. He has hold of the reins and his feet are firmly in the stirrups, but the steed of life itself hesitates, doesn’t know where to go.

4
jur’at1 kahaaN hai dast2 o qalam3 ko bina4-e shauq
maqdoor5 ho to Khat bhi na likkhuN javaab meN   
1.courage 2.hand 3.pen 4.basis, foundation 5.capacity, ability
The poet sent a message to the beloved and has received a response that seems to be a rejection. His hand and pen do not have the courage to lay the foundation of love i.e. do not have the courage to write a letter to the beloved again, declaring his undying love. Even as he says this, he seems to be asserting his dignity – I would not have written to you in response, if I had any control over myself. As it is, I am helpless, because I am deeply in love. Thus, in typical Ghalib fashion, he begs and asserts his dignity at the same time.

5
khilte hi gul1 pe shab2 ke pasiine ki hai ramaq3
kya maahtaab4 jazb5 hua aaftaab6 meN   
1.rose 2.night 3.last breath, death 4.full moon 5.absorbed 6.sun
‘shab ka pasiina’ is dew drops. The two misra/lines show parallelism of imagery – as soon as the rose blooms (at dawn), the dew collected during the night disappears, just like the moon disappears (gets absorbed) when the sun becomes bright.

6
ye beKhudi1 ki kaun si manzil2 hai kuchh bata
aalam3 tamaam4 qaid5 hai mauj6-e sharaab meN   
1.trance, forgetting oneself 2.stage 3.world 4.whole 5.captive 6.wave
This could be a reference to sufiyaana/mystical thought. The poet/mystic has had a good helping of the ‘wine of love’ and is in a trance. It appears to him that the whole world is submerged under a wave of wine. He wonders what stage inebriation/ecstacy/trance this might be.

7
aaya hai mera naam bhi shiisha-shikan1 ke saath
yaa’ni hai zikr2-e aaiina patthar ke baab3 meN   
1.one who shatters glass/mirrors 2.mention 3.theme, chapter
There is someone who is shattering/breaking glass. If ‘shiisha’ is taken to be a bottle, then the ‘shiisha-shikan’ could be the preacher or the religious police who is breaking bottles of wine. If ‘shiisha’ is taken to mean glass i.e. glass house, it could be the critic who is throwing rocks at the glass house and shattering it. In either case (for some reason not revealed) the name of the poet appears alongside that of the ‘shiisha-shikan’. The poet considers himself to be delicate/fragile mirror/glass and the ‘shiisha-shikan’ to be the stone/rock. Thus he observes that the story of the glass appears in the chapter of the story of rock. The implication is that this causes him to be uncomfortable.

8
idraak1 ahl-e-hosh2 ko diivaanagi3 ka tha
aaKhir Khudi4 ko bhool gaye ijtenaab5 meN   
1.knowledge, awareness 2.people of wisdom/rationality 3.madness, forgetting the self 4.self-identity, spiritual self 5.abstinence, avoidance
This she’r too appears to have sufiyaana/mystical implications. In sufiyaana thought forgetting oneself and becoming one with the divine is that which you real identity. Anything else is false or superficial. Thus, rational people were completely aware of this, were knowledgable about it. But they abstained from ‘diivaanagi’. As a result they did not achieve the “real Khudi” that derives from it.

9
ek baani1-e kitaab hai ek naqsh2-e mohtaram3
hairaaN4 huN kis ka naam likhuN intesaab5 meN   
1.maker, author 2.mark, print 3.respected 4.puzzled 5.dedication, acknowledgement
Here ‘naqsh-e-mohtaram’ is the respected foot-print of Ghalib, that shows the pathway, inspires the poet. ‘baani-e-kitaab’, the author/writer of this book of course is the poet. He is puzzled who to acknowledge as the author, who to dedicate the book to … Ghalib, who inspires or himself, who writes.

jamna parshad raahi (1940-2017), aligaRh.  Sahitya Akademi, UP, awardee.  President, Progressive Writers’ Association.  He specialized in composing in the style of Ghalib and traced his literary lineage to daaGh dehlavi, though not a shaagird of Ghalib, was deeply influenced by him.
1
Khud sarf1-e eteraaf2 huN teri janaab3 meN
taaqeer4 kyuN hai daavar5-e mahshar6 hisaab7 meN

1.spending, busy 2.confession 3.grandeur 4.delay 5.lord 6.doomsday 7.reckoning

The poet/lover/sinner is busy readily confessing his transgressions in the grand presence of god (the lord of the day of judgement).  But there is a delay in his reckoning and passing of judgement.  He wonders why and leaves us to guess.  Could it be because he has some redeeming qualities and they are being considered?
2
niyyat1 pe bhi nigaah2 rahe ehtesaab3 meN
yak-moo4 ka faasla5 hai gunaah6 o savaab7 meN

1.intention 2.sight, glance 3.reckoning, accounting 4.one hair 5.distance 6.transgression, vice 7.virtue

He appeals to god – take a look at my intentions also when an accounting is made of my deeds.  The distance between vice and virtue is no more than a hair.  My intentions were right, I might have just overstepped that fine line without intending to.  Perhaps, god is indeed looking at this and that is why there is some delay in pronouncing judgement (see the previous she’r).
3
hai dast-ras1 meN baag2 to paa3 hai rikaab4 meN
laikin hai raKhsh5-e umr-e-ravaaN6 pech-o-taab7 meN

1.within reach of hands 2.reins 3.feet 4.stirrups 5.horse, steed 6.flowing/passing life 7.hesitation, back and forth

Says Ghalib …
rau meN hai raKhsh-e umr kahaaN dekhiye thame
ne haath baag par hai na paa hai rikaab meN
raahi makes the same point from a different angle.  He has hold of the reins and his feet are firmly in the stirrups, but the steed of life itself hesitates, doesn’t know where to go.
4
jur’at1 kahaaN hai dast2 o qalam3 ko bina4-e shauq
maqdoor5 ho to Khat bhi na likkhuN javaab meN

1.courage 2.hand 3.pen 4.basis, foundation 5.capacity, ability

The poet sent a message to the beloved and has received a response that seems to be a rejection.  His hand and pen do not have the courage to lay the foundation of love i.e. do not have the courage to write a letter to the beloved again, declaring his undying love.  Even as he says this, he seems to be asserting his dignity – I would not have written to you in response, if I had any control over myself.  As it is, I am helpless, because I am deeply in love.  Thus, in typical Ghalib fashion, he begs and asserts his dignity at the same time.
5
khilte hi gul1 pe shab2 ke pasiine ki hai ramaq3
kya maahtaab4 jazb5 hua aaftaab6 meN

1.rose 2.night 3.last breath, death 4.full moon 5.absorbed 6.sun

‘shab ka pasiina’ is dew drops.   The two misra/lines show parallelism of imagery – as soon as the rose blooms (at dawn), the dew collected during the night disappears, just like the moon disappears (gets absorbed) when the sun becomes bright.
6
ye beKhudi1 ki kaun si manzil2 hai kuchh bata
aalam3 tamaam4 qaid5 hai mauj6-e sharaab meN

1.trance, forgetting oneself 2.stage 3.world 4.whole 5.captive 6.wave

This could be a reference to sufiyaana/mystical thought.  The poet/mystic has had a good helping of the ‘wine of love’ and is in a trance.  It appears to him that the whole world is submerged under a wave of wine.  He wonders what stage inebriation/ecstacy/trance this might be.
7
aaya hai mera naam bhi shiisha-shikan1 ke saath
yaa’ni hai zikr2-e aaiina patthar ke baab3 meN

1.one who shatters glass/mirrors 2.mention 3.theme, chapter

There is someone who is shattering/breaking glass.  If ‘shiisha’ is taken to be a bottle, then the ‘shiisha-shikan’ could be the preacher or the religious police who is breaking bottles of wine.  If ‘shiisha’ is taken to mean glass i.e. glass house, it could be the critic who is throwing rocks at the glass house and shattering it.  In either case (for some reason not revealed) the name of the poet appears alongside that of the ‘shiisha-shikan’.  The poet considers himself to be delicate/fragile mirror/glass and the ‘shiisha-shikan’ to be the stone/rock.  Thus he observes that the story of the glass appears in the chapter of the story of rock.  The implication is that this causes him to be uncomfortable.
8
idraak1 ahl-e-hosh2 ko diivaanagi3 ka tha
aaKhir Khudi4 ko bhool gaye ijtenaab5 meN

1.knowledge, awareness 2.people of wisdom/rationality 3.madness, forgetting the self 4.self-identity, spiritual self 5.abstinence, avoidance

This she’r too appears to have sufiyaana/mystical implications.  In sufiyaana thought forgetting oneself and becoming one with the divine is that which you real identity.  Anything else is false or superficial.  Thus, rational people were completely aware of this, were knowledgable about it.  But they abstained from ‘diivaanagi’.  As a result they did not achieve the “real Khudi” that derives from it.
9
ek baani1-e kitaab hai ek naqsh2-e mohtaram3
hairaaN4 huN kis ka naam likhuN intesaab5 meN

1.maker, author 2.mark, print 3.respected 4.puzzled 5.dedication, acknowledgement

Here ‘naqsh-e-mohtaram’ is the respected foot-print of Ghalib, that shows the pathway, inspires the poet.  ‘baani-e-kitaab’, the author/writer of this book of course is the poet.  He is puzzled who to acknowledge as the author, who to dedicate the book to … Ghalib, who inspires or himself, who writes.

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