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shumona roy biswas singing
Recitation
Song
اُٹھا اُٹھا کر ۔ داغ دہلوی
۱
کیا ہے دیندار اُس صنم کو، ہزاروں طوفاں اُٹھا اُٹھا کر
لگائیں وہ تہمتیں کہ بولا، خدا خدا کر خدا خدا کر
۲
طبیب کہتے ہیں کچھ دوا کر، حبیب کہتے ہیں بس دعا کر
رقیب کہتے ہیں اِلتجا کر، غضب میں آیا ہوں دل لگا کر
۳
خدا کا ملنا بہت ہے آساں، بتوں کا ملنا ہے سخت مشکل
یقیں نہیں گر کسی کو ہمدم، تو کوئی لائے اُسے منا کر
۴
نثار اِس طرزِ گفتگو پر، نہیں کہیں داغ سا سخنور
ہنسا دیا ہے رُلا رُلا کر، رُلا دیا ہے ہنسا ہنسا کر
۵
کہا نہ کچھ عرضِ مدعا پر، وہ لے رہے دم کو مسکرا کر
سُنا کئے حال چپکے چپکے، نظر اُٹھائی نہ سر اُٹھا کر
۶
نہ طور دیکھے نہ رنگ برتے، غضب میں آیا ہوں دِل لگا کر
وگرنہ دیتا ہے دِل زمانہ، یہ آزما کر وہ آزما کر
۷
تری محبّت نے مار ڈالا، ہزار ایذا سے مجھ کو ظالم
رُلا رُلا کر گھُلا گھُلا کر، جلا جلا کر مٹا مٹا کر
۸
عجب یہ تیرا خاکداں ہے، اِسی کی ہے روشنی جہاں میں
فلک نے اختر بنا لئے ہیں، چراغِ ہستی بجھا بجھا کر
۹
جہاں لگی آنکھ کچھ یوں ہی سی، وہیں چبھی پھانس سی جگر میں
کہ دردِ دل کی چمک نے کیا کیا، دِکھائے صدمے جگا جگا کر
۱۰
تمہیں تو ہو جو کہ خواب میں ہو، تمہیں تو ہو جو خیال میں ہو
کہاں چلے آنکھ میں سما کر، کدھر کو جاتے ہو دل میں آکر
۱۱
ستم کے جو لذّت آشنا ہوں، کرم سے بے لطف بے مزہ ہوں
جو تُو وفا بھی کرے تو ظالم، یہ ہو تقاضا کہ پھر جفا ہو
۱۲
شراب خانہ ہے یہ تو زاہد، طلسم خانہ نہیں جو ٹوٹے
کہ توبہ کرتی گئی ہے توبہ، ابھی یہاں سے شکست پا کر
۱۳
جو ظلم کرنا تھا سر پہ میرے تو اور فتنے اُٹھائے ہوتے
اُٹھائی ہے تم نے تو قیامت، رقیب کو بزم میں بٹھا کر
۱۴
خیال میں سد راہِ زنداں، نگاہ میں دیدۂ نگہباں
ہمیشہ ہاتھوں میں تولتا ہوں، سلاسل اپنی اُٹھا اُٹھا کر
۱۵
نگہ کو بیباکیاں سکھاؤ، حجابِ شرم و حیا اُٹھاؤ
بھُلا کے مارا تو خاک مارا، لگاؤ چوٹیں جتا جتا کر
۱۶
نہ ہر بشر کا جمال ایسا، نہ ہر فرشتے کا حال ایسا
کچھ اور سے اور ہو گیا تُو، مری نظر میں سما سما کر
۱۷
یہ اِمتحاں ہے کہ جو سخی ہیں، ہمیشہ محتاج تر وہی ہیں
دعا نے میری اثر دیا ہے، تمام عالم کو ہاتھ اُٹھا کر
۱۸
الہیٰ قاصد کی خیر گذرے، کہ آج کوچے سے فتنہ گر کے
صبا نکلتی ہے لڑکھڑا کر، نسیم چلتی ہے تھرتھرا کر
۱۹
رقیب اچھے یہ میں نے مانا، برا مجھے تو نے دل سے جانا
بھلوں سے کرتے ہیں سب بھلائی، کسی بُرے کا تُو کچھ بھلا کر
۲۰
قریبِ دِلدار کا ہے احساں، کہ ہم کو گردِش سے باز رکھا
بچے ہزاروں بلاؤں سے ہم، نہ جا سکے اُس کے دم میں آ کر
۲۱
یہ جی میں یاں ٹھن گئی ہے بالکل، کہ حالِ دل کہئے بے تآمل
غضب کیا کیوں کیا تغافل، گھٹا دیا حوصلہ بڑھا کر
۲۲
خدنگِ دل دوز سے خدایا، بچا نہ پہلو، بہت بچایا
اگر جگر سے میں کھیجچ لایا، تو دل میں بیٹھا یہ گھر بنا کر
۲۳
نگاہِ دُزدیدہ پر شرارت، اور اُس پہ دُزدِ حِنا ہے آفت
مگر وہ عیّار ہے قیامت، کہ چور دیں جِس کو دِل چرا کر
۲۴
جناب سلطانِ عشق وہ ہے، کرے جو اے داغ اِک اِشارہ
فرشتے حاضر ہوں دست بستہ، ادب سے گردن جھکا جھکا کر
उठा उठा कर – दाग़ दहलवी
१
किया है दींदार उस सनम को, हज़ारों तूफ़ां उठा उठा कर
लगाईं वो तोहमतें के बोला, ख़ुदा ख़ुदा कर, ख़ुदा ख़ुदा कर
२
तबीब कहते हैं कुच्छ दवा कर, हबीब कहते हैं बस दुआ कर
रक़ीब कहते हैं इल्तेजा कर, गज़ब में आया हूं दिल लगा कर
३
ख़ुदा का मिल्ना बहुत है आसाँ, बुतौँ का मिल्ना है सख़्त मुश्किल
यक़ीं नहीं गर किसी को हमदम, तो कोई लाए उसे मना कर
४
निसार इस तर्ज़-ए गुफ़्तगू पर, नहीं कहीं दाग़ सा सुख़न्वर
हंसा दिया है रुला रुला कर, रुला दिया है हंसा हंसा कर
५
कहा ना कुछ अर्ज़-ए मुद्दुआ पर, वो ले रहे दम को मुस्कुरा कर
सुना किए हाल चुपके चुपके, नज़र उठाई ना सर उठा कर
६
ना तौर देखा ना रंग बर्ते, ग़ज़ब में आया हुं दिल लगा कर
वगरना देता है दिल ज़माना, ये आज़्मा कर वो आज़्मा कर
७
तेरी मोहब्बत ने मार डाला, हज़ार ईज़ा से मुझ को ज़ालिम
रुला रुला कर, घुला घुला कर, जला जला कर, मिटा मिटा कर
८
अजब ये तेरा ख़ाक्दां है, इसी की है रौश्नी जहां में
फ़लक ने अख़्तर बना लिए हैं, चिराग़-ए हस्ती बुझा बुझा कर
९
जहां लगी आंख कुछ युंही सी, वहीं चुभी फांस सि जिगर में
के दर्द-ए दिल की चमक ने क्या क्या, दिखाए सद्मे जगा जगा कर
१०
तुमहीं तो हो जो के ख़ेवाब में हो, तुमहीं तो हो जो ख़याल में हो
कहां चले आंख में समा कर, किधर को जाते हो दिल में आ कर
११
सितम के जो लज़्ज़त-आश्ना हों, करम से बे-लुत्फ़ ओ बे-मज़ा हों
जो तू वफ़ा भि करे तो ज़ालिम, ये हो तक़ाज़ा के फिर जफ़ा हो
१२
शराब-ख़ाना है ये तो ज़ाहेद, तिलस्म-ख़ाना नहीं जो टूटे
के तौबा करता गई है तौबा, अभी यहां से शिकस्त पा के
१३
जो ज़ुल्म करना था सर पे मेरे, तो और फ़ित्ने उठाए होते
उठाई है तुम ने तो क़यामत, रक़ीब को बज़्म में बिठा कर
१४
ख़याल में सद्द-ए राह-ए ज़िन्दां, निगाह में दीदा-ए निगह्बां
हमेशा हाथौं में तोलता हुं, सलासल अपनी उठा उठा कर
१५
निगाह को बेबाकियां सिखाओ, हिजाब-ए शर्म ओ हया उठाओ
भुला के मारा तो ख़ाक मारा, लगाओ चोटें जता जता कर
१६
ना हर बशर का जमाल ऐसा, ना हर फ़रिश्ते का हाल ऐसा
कुच्छ और से और हो गया तू, मेरी नज़र में समा समा कर
१७
ये इम्तेहां है के जो सख़ी हैं, हमेशा मोहताज-तर वही हैं
दुआ ने मेरी असर दिया है, तमाम आलम को हाथ उठा कर
१८
इलाही क़ासिद की खै़र गुज़्रे, के आज कूचे से फ़ित्ना-गर के
सबा निकलती है लड़खड़ा कर, नसीम चलती है थरथरा कर
१९
रक़ीब अच्छे, ये मैं ने माना, बुरा मुझे तू ने दिल से जाना
भलौं से करते हैं सब भलाइ, किसी बुरे का तू कुच्छ भला कर
२०
क़रीब-ए दिल्दार का है एह्सां, के हम को गर्दिश से बाज़ रक्खा
बचे हज़ारौं बलाऔं से हम, ना जा सके उस के दम में आ कर
२१
ये जी में यां ठन गई है बिल्कुल, के हाल-ए दिल कहिऐ बे-ता’अममुल
गज़ब किया क्युं किया तग़ाफ़ुल, घटा दिया हौस्ला बढ़ा कर
२२
ख़दंग-ए दिल-दोज़ से ख़ुदाया, बचा ना पहलू, बहुत बचाया
अगर जिगर से मैं खैंच लाया, तो दिल में बैठा ये घर बना कर
२३
निगाह-ए दुज़्दीदा पर शरारत, और उस पे दुज़द-ए हिना है आफ़त
मगर वो आय्यार है क़यामत, के चोर दें जिस को दिल चुरा कर
२४
जनाब सुल्तान-ए इश्क़ वो है, करे जो आए दाग़ एक इशारा
फ़रिश्ते हाज़िर हों दस्त बस्ता, अदब से गर्दन झुका झुका कर
Click here for background and on any passage for word meanings and explanatory discussion. daaGh dehlavi (1821-1905) grew up in the Red Fort, was zauq’s shaagird spent his final years in hyderabad. He writes musically and mischievously on titillating and romantic themes. This is a combination of two Ghazal of the same radeef, qaafiya and bahr. shumona roy biswas beautifully sung four ash’aar, two from each. The order of the ash’aar in the two Ghazal has been changed to correspond to the singing. The combination posted here is long (24 ash’aar) and has two maqta.
1
kiya hai diiNdaar1 us sanam2 ko, hazaaroN toofaaN uTha uTha kar
lagaaiiN vo tohamateN3 ke bola, Khuda Khuda kar, Khuda Khuda kar 1.follower of diin/faith 2.beloved 3.accusations/complaints
The beloved is also referred to as the ‘kaafir’ and ‘diiNdaar’ being the opposite of kaafir signifies a major change in the attitude of the beloved. The poet/lover has been able to win her heart after a thousand entreaties/complaints. Or … it is doomsday and accounts of all actions are being taken. The poet/lover gives a full account of how he has been abused, makes one accusation after another. The beloved implores him to stop and ‘remember god’.
2
tabeeb1 kahte haiN kuchh dava kar, habib2 kahte haiN bus dua kar
raqeeb3 kahte haiN ilteja4 kar, Ghazab5 meN aaya huN dil laga kar 1.healer, hakim 2.beloved 3.rival 4.appeal, beg 5.calamity
The poet/lover is stricken with the malady of love and is receiving advice from different people … healers/hakims prescribe medication, beloveds tell him there is no hope except refuge in god/prayer, rivals tell him that he has to plea/beg the beloved for kindness … he is engulfed in calamity.
3
Khuda ka milna bahut hai aasaaN, butoN1 ka milna hai saKht2 mushkil
yaqiN nahiN gar kisi ko humdum3, to koii laaye use mana4 kar 1.idol, beloved 2.hard/very 3.friend 4.reconcile, convince
It is easier to get god to grant you a wish than to convince the beloved to come and/or grant favours. The poet/lover throws out a challenge … if someone does not agree, he is welcome to try and get her to come.
4
nisaar1 is tarz2-e guftagu3 par, nahiN kahiN daaGh sa suKhanvar4
haNsa diya hai rula rula kar, rula diya hai haNsa haNsa kar 1.pay homage to 2.style of 3.conversation/versification 4.poet
Hats off to his style of versification, there is no other poet like daaGh. He makes you laugh while making you cry and makes you cry while getting you to laugh. Recall the much more pathos filled ash’aar of sulaiman Khateeb …
maiN shaa’eri ka raja, motiyaN luTa ko aarauN
kitte andhaare ghup meN, battiyaaN jala ko aarauN
gammat haNsi haNsi meN rone ke baataaN bolauN
patthar dilaaN ko kaale, paani banaa ko aarauN
5
kaha na kuchh arz1-e muddua2 par, vo le rahe dam ko muskura kar
suna kiye haal chupke chupke, nazar uThaaii na sar uTha kar 1.ask, appeal 2.desire
The beloved did not say anything when the poet/lover presented his desires. She just held her breath, smile and listened quietly. She did not even raise her eyes to look at him.
6
na taur1 dekhe na raNg2 barte3, Ghazab4 meN aaya huN dil laga kar
vagarna5 deta hai dil zamaana, ye aazma6 kar vo aazma kar 1.style 2.mood 3.to experience 4.difficulties 5.othwerwise 6.experiment, try
People usually try things out before making a commitment, but the poet/lover did not look at her style, nor experience her mood before falling love. Now he is in great difficulty.
7
teri mohabbat ne maar Daala, hazaar eeza1 se mujh ko zaalim2
rula rula kar, ghula ghula kar, jala jala kar, miTa miTa kar 1.torture 2.cruel
She is cruel and has tortured him to death by making him cry, making him thin (he forgets to eat), making him jealous and ignoring him.
8
ajab ye tera KhaakdaaN1 hai, isi ki hai raushni jahaaN meN
falak2 ne aKhtar3 bana liye haiN, chiraaGh-e hasti4 bujha bujha kar 1.bowl of dust, earth 2.sky 3.stars 4.life
There is a sudden change of theme. The poet is now addressing god. There is a popular belief that when good people die they become stars in the sky. Your earth/world is strange. You light up the sky by putting off lamps of life on earth and changing them into stars in the sky.
9
jahaaN lagi aaNkh kuch yuNhi si, vahiN chubhi phaaNs1 si jigar meN
ke dard-e dil ki chamak ne kya kya, dikhaaye sadme2 jaga jaga kar 1.thorn, sliver 2.sorrows
Just as he was beginning to dose off, there was a rush of memories pricking him like thorns. The piercing pain in his heart reminded him of many sorrows.
10
tumhiN to ho jo ke Khwaab meN ho, tumhiN to ho jo Khayaal meN ho
kahaaN chale aaNkh meN samaa kar, kidhar ko jaate ho dil meN aa kar You are the only one in my dreams. You the only one in my thoughts. Where are you going, now that you have become the comfort of my eyes, the love of my heart.
11
sitam1 ke jo lazzat-aashna2 hoN, karam3 se be-lutf4, be-maza hoN
jo tu vafa5 bhi kare to zaalim, ye ho taqaaza6 ke phir jafa7 ho 1.oppression, burden 2.familiar with the pleasure of 3.kindness 4.without the pleasure 5.faith, keep promise 6.demand 7.cruelty
The beloved is always cruel and unfaithful and lovers are quite used to it. So much so that they consider her cruelty to be their pleasure. They are not at all familiar with or have a taste for kindness. The result is that if the beloved were to ever show any favour, they would demand that she be cruel.
12
sharaab-Khaana hai ye to zaahid1, tilasm-Khaana2 nahiN jo TooTe
ke tauba3 karti gaii hai tauba, abhi yahaaN se shikast4 paa kar 1.pious, observant, shaiKh 2.house of illusion 3.repentence 4.defeat
sharaab-Khaana/tavern is a liberal/accepting place. As opposed to it, the mosque/temple is a house of illusion. The illusion will break … but the real accepting spirit of the tavern will not change. Repentence herself has accepted failure and left from here (from the tavern), repenting her coming. She had come there to make the patrons change their ways and failed.
13
jo zulm karna tha sar pe mere, to aur fitne1 uThaaye hote
uThaaii hai tum ne to qayaamat, raqeeb2 ko bazm3 meN biTha kar 1.mischief, trick 2.rival 3.party, company
If you had to be cruel to me, you could have chosen any other trick/cruelty. But you have brought down doomsday by admitting the rival in your company.
14
Khayaal meN sadd1-e raah2-e zindaaN3, nigaah meN deeda-e nigahbaaN4
hamesha haathoN meN tolta huN, salaasal5 apni uTha uTha kar 1.obstacles 2.pathway 3.prison 4.guard, gatekeeper 5.fetters, chain
The poet/lover is in prison and is chained. He keeps looking at the prison guard to see if he can escape, keeps lifting and weighing his chains to see if he can run away fast enough and in his mind there are all those obstacles in his path out of prison. In a vague sort of way this could be the “prison of love”.
15
nigah ko bebaakiyaaN1 sikhaao, hijaab2-e sharm3 o haya4 uThaao
bhula ke maara to Khaak5 maara, lagaao choTeN jata6 jata kar 1.daring 2.veil 3.reserve 4.bashfulness 5.no value 6.declare, remind
Teach your eyes to be daring. Lift the veil of bashful reserve. What is the use of killing me by ignoring me. Come and openly inflict cruelties on me.
16
na har bashar1 ka jamaal2 aisa, na har farishte3 ka haal4 aisa
kuchh aur se aur ho gaya tu, meri nazar meN sama sama kar 1.human 2.beauty 3.angel 4.condition, stature
No other has such beauty. No angel has such a stature. You have become different (become more beautiful) as you have become more pleasing to my eyes. The poet/lover is giving himself credit for her beauty.
17
ye imtehaaN1 hai ke jo saKhi2 haiN, hamesha mohtaaj-tar3 vahi haiN
dua ne meri asar4 diya hai, tamaam aalam ko haath uTha kar 1.test, trial 2.generous 3.most in need 4.effect
It is generally thought that god tries/tests good people … so much so that those who are generous are usually the most in need/deprivation. The poet/lover (in his generosity) has raised his hands in prayer for the whole world. His prayer has had an effect. The result is that he himself ends up being the one most deprived.
18
ilaahi qaasid1 ki Khair guzre, ke aaj kooche2 se fitna-gar3 ke
saba4 nikalti hai laRkhaRa kar, naseem5 chalti hai tharthara kar 1.messenger 2.lane 3.mischief-maker, beloved 4.morning breeze 5.fragrance
The poet/lover sent a messenger to the beloved’s house with a message of love or an invitation. She must have gotten and done something bad to him, so much so that the morning breeze is stumbling and fragrance is shivering (in fear at what they have seen). “O god, I hope the messenger is well”, says the poet/lover.
19
raqeeb1 achchhe, ye maiN ne maana, bura mujhe tu ne dil se jaana
bhaloN se karte haiN sub bhalaaii, kisi bure ka tu kuchh bhala kar 1.rival
I concede that all my rivals are good people. You think that I am bad. But everyone does well by good people. Why don’t you try to do some good to a bad person.
20
verse qareeb-e-dildaar1 ka hai ehsaaN2, ke hum ko gardish3 se baaz4 rakkha
bache hazaaroN balaaoN5 se hum, na jaa sake us ke dam6 meN aa kar
1.nearness to the beloved 2.benevolence 3.wandering 4.keep away from 5.calamities 6.grip, hold
It is the benevolence of the nearness to the beloved that has kept us from wandering away too far. Because of her tight grip we/I/poet has been saved from many calamities.
21
ye ji meN yaaN Than1 gaii hai bilkul, ke haal-e dil kahiya be-ta’ammul2
Ghazab kiya kyuN kiya taGhaaful3, ghaTa diya hausla4 baRha kar 1.decided 2.without hesitation 3.forget, ignore 4.courage
At first the beloved encouraged the poet/lover to express his love without hesitation. He decided to do so. Now she ignores him, feigns that she has heard nothing. Such cruelty that she encourages him and then cuts him off.
22
KhadaNg1-e dil-doz2 se Khudaaya, bacha na pahlu3, bahut bachaaya
agar jigar se maiN khaiNch laaya, to dil meN baiTha ye ghar bana kar 1.arrow 2.heart piercing 3.side, bosom
O god, I tried to save my bosom from those heart piercing arrows (glances of the beloved), but I could not. If I pulled the arrow from my liver, it found its home in my heart.
23
nigaah-e-duzdeeda1 pur-sharaarat2, aur us pe duzd3-e hina4 hai aafat5
magar vo ayyaar6 hai qayaamat7, ke chor deN jis ko dil chura kar 1.sidelong glances 2.full of mischief 3.theft 4.henna 5.curse, problem 6.trickster 7.end of this world, inevitable
The ‘chor’ – thieves here are her ‘sidelong glances’, which are full of mischief and her ‘hennaed hands’. These thieves, steal his heart and give it to her. That trickster is the inevitable winner.
24
janaab sultaan-e ishq vo hai, kare jo aye daaGh ek ishaara
farishte haazir1 hoN dast-basta2, adab3 se gardan jhuka jhuka kar 1.present, come, appear 2.folded hands 3.respect
This is a tricky construction. The ‘sultan-e ishq’ could either be the beloved or the poet/lover himself. The poet is addressing someone (the audience) as ‘janaab’ – sir. Sir, he/she is the king/queen of Love who with one gesture can get angels to attend to him/her with folded hands and bowed heads.
daaGh dehlavi (1821-1905) grew up in the Red Fort, was zauq’s shaagird spent his final years in hyderabad. He writes musically and mischievously on titillating and romantic themes. This is a combination of two Ghazal of the same radeef, qaafiya and bahr. shumona roy biswas beautifully sung four ash’aar, two from each. The order of the ash’aar in the two Ghazal has been changed to correspond to the singing. The combination posted here is long (24 ash’aar) and has two maqta.
1
kiya hai diiNdaar1 us sanam2 ko, hazaaroN toofaaN uTha uTha kar
lagaaiiN vo tohamateN3 ke bola, Khuda Khuda kar, Khuda Khuda kar
1.follower of diin/faith 2.beloved 3.accusations/complaints
The beloved is also referred to as the ‘kaafir’ and ‘diiNdaar’ being the opposite of kaafir signifies a major change in the attitude of the beloved. The poet/lover has been able to win her heart after a thousand entreaties/complaints. Or … it is doomsday and accounts of all actions are being taken. The poet/lover gives a full account of how he has been abused, makes one accusation after another. The beloved implores him to stop and ‘remember god’.
2
tabeeb1 kahte haiN kuchh dava kar, habib2 kahte haiN bus dua kar
raqeeb3 kahte haiN ilteja4 kar, Ghazab5 meN aaya huN dil laga kar
1.healer, hakim 2.beloved 3.rival 4.appeal, beg 5.calamity
The poet/lover is stricken with the malady of love and is receiving advice from different people … healers/hakims prescribe medication, beloveds tell him there is no hope except refuge in god/prayer, rivals tell him that he has to plea/beg the beloved for kindness … he is engulfed in calamity.
3
Khuda ka milna bahut hai aasaaN, butoN1 ka milna hai saKht2 mushkil
yaqiN nahiN gar kisi ko humdum3, to koii laaye use mana4 kar
1.idol, beloved 2.hard/very 3.friend 4.reconcile, convince
It is easier to get god to grant you a wish than to convince the beloved to come and/or grant favours. The poet/lover throws out a challenge … if someone does not agree, he is welcome to try and get her to come.
4
nisaar1 is tarz2-e guftagu3 par, nahiN kahiN daaGh sa suKhanvar4
haNsa diya hai rula rula kar, rula diya hai haNsa haNsa kar
1.pay homage to 2.style of 3.conversation/versification 4.poet
Hats off to his style of versification, there is no other poet like daaGh. He makes you laugh while making you cry and makes you cry while getting you to laugh. Recall the much more pathos filled ash’aar of sulaiman Khateeb …
maiN shaa’eri ka raja, motiyaN luTa ko aarauN
kitte andhaare ghup meN, battiyaaN jala ko aarauN
gammat haNsi haNsi meN rone ke baataaN bolauN
patthar dilaaN ko kaale, paani banaa ko aarauN
5
kaha na kuchh arz1-e muddua2 par, vo le rahe dam ko muskura kar
suna kiye haal chupke chupke, nazar uThaaii na sar uTha kar
1.ask, appeal 2.desire
The beloved did not say anything when the poet/lover presented his desires. She just held her breath, smile and listened quietly. She did not even raise her eyes to look at him.
6
na taur1 dekhe na raNg2 barte3, Ghazab4 meN aaya huN dil laga kar
vagarna5 deta hai dil zamaana, ye aazma6 kar vo aazma kar
1.style 2.mood 3.to experience 4.difficulties 5.othwerwise 6.experiment, try
People usually try things out before making a commitment, but the poet/lover did not look at her style, nor experience her mood before falling love. Now he is in great difficulty.
7
teri mohabbat ne maar Daala, hazaar eeza1 se mujh ko zaalim2
rula rula kar, ghula ghula kar, jala jala kar, miTa miTa kar
1.torture 2.cruel
She is cruel and has tortured him to death by making him cry, making him thin (he forgets to eat), making him jealous and ignoring him.
8
ajab ye tera KhaakdaaN1 hai, isi ki hai raushni jahaaN meN
falak2 ne aKhtar3 bana liye haiN, chiraaGh-e hasti4 bujha bujha kar
1.bowl of dust, earth 2.sky 3.stars 4.life
There is a sudden change of theme. The poet is now addressing god. There is a popular belief that when good people die they become stars in the sky. Your earth/world is strange. You light up the sky by putting off lamps of life on earth and changing them into stars in the sky.
9
jahaaN lagi aaNkh kuch yuNhi si, vahiN chubhi phaaNs1 si jigar meN
ke dard-e dil ki chamak ne kya kya, dikhaaye sadme2 jaga jaga kar
1.thorn, sliver 2.sorrows
Just as he was beginning to dose off, there was a rush of memories pricking him like thorns. The piercing pain in his heart reminded him of many sorrows.
10
tumhiN to ho jo ke Khwaab meN ho, tumhiN to ho jo Khayaal meN ho
kahaaN chale aaNkh meN samaa kar, kidhar ko jaate ho dil meN aa kar
You are the only one in my dreams. You the only one in my thoughts. Where are you going, now that you have become the comfort of my eyes, the love of my heart.
11
sitam1 ke jo lazzat-aashna2 hoN, karam3 se be-lutf4, be-maza hoN
jo tu vafa5 bhi kare to zaalim, ye ho taqaaza6 ke phir jafa7 ho
1.oppression, burden 2.familiar with the pleasure of 3.kindness 4.without the pleasure 5.faith, keep promise 6.demand 7.cruelty
The beloved is always cruel and unfaithful and lovers are quite used to it. So much so that they consider her cruelty to be their pleasure. They are not at all familiar with or have a taste for kindness. The result is that if the beloved were to ever show any favour, they would demand that she be cruel.
12
sharaab-Khaana hai ye to zaahid1, tilasm-Khaana2 nahiN jo TooTe
ke tauba3 karti gaii hai tauba, abhi yahaaN se shikast4 paa kar
1.pious, observant, shaiKh 2.house of illusion 3.repentence 4.defeat
sharaab-Khaana/tavern is a liberal/accepting place. As opposed to it, the mosque/temple is a house of illusion. The illusion will break … but the real accepting spirit of the tavern will not change. Repentence herself has accepted failure and left from here (from the tavern), repenting her coming. She had come there to make the patrons change their ways and failed.
13
jo zulm karna tha sar pe mere, to aur fitne1 uThaaye hote
uThaaii hai tum ne to qayaamat, raqeeb2 ko bazm3 meN biTha kar
1.mischief, trick 2.rival 3.party, company
If you had to be cruel to me, you could have chosen any other trick/cruelty. But you have brought down doomsday by admitting the rival in your company.
14
Khayaal meN sadd1-e raah2-e zindaaN3, nigaah meN deeda-e nigahbaaN4
hamesha haathoN meN tolta huN, salaasal5 apni uTha uTha kar
1.obstacles 2.pathway 3.prison 4.guard, gatekeeper 5.fetters, chain
The poet/lover is in prison and is chained. He keeps looking at the prison guard to see if he can escape, keeps lifting and weighing his chains to see if he can run away fast enough and in his mind there are all those obstacles in his path out of prison. In a vague sort of way this could be the “prison of love”.
15
nigah ko bebaakiyaaN1 sikhaao, hijaab2-e sharm3 o haya4 uThaao
bhula ke maara to Khaak5 maara, lagaao choTeN jata6 jata kar
1.daring 2.veil 3.reserve 4.bashfulness 5.no value 6.declare, remind
Teach your eyes to be daring. Lift the veil of bashful reserve. What is the use of killing me by ignoring me. Come and openly inflict cruelties on me.
16
na har bashar1 ka jamaal2 aisa, na har farishte3 ka haal4 aisa
kuchh aur se aur ho gaya tu, meri nazar meN sama sama kar
1.human 2.beauty 3.angel 4.condition, stature
No other has such beauty. No angel has such a stature. You have become different (become more beautiful) as you have become more pleasing to my eyes. The poet/lover is giving himself credit for her beauty.
17
ye imtehaaN1 hai ke jo saKhi2 haiN, hamesha mohtaaj-tar3 vahi haiN
dua ne meri asar4 diya hai, tamaam aalam ko haath uTha kar
1.test, trial 2.generous 3.most in need 4.effect
It is generally thought that god tries/tests good people … so much so that those who are generous are usually the most in need/deprivation. The poet/lover (in his generosity) has raised his hands in prayer for the whole world. His prayer has had an effect. The result is that he himself ends up being the one most deprived.
18
ilaahi qaasid1 ki Khair guzre, ke aaj kooche2 se fitna-gar3 ke
saba4 nikalti hai laRkhaRa kar, naseem5 chalti hai tharthara kar
1.messenger 2.lane 3.mischief-maker, beloved 4.morning breeze 5.fragrance
The poet/lover sent a messenger to the beloved’s house with a message of love or an invitation. She must have gotten and done something bad to him, so much so that the morning breeze is stumbling and fragrance is shivering (in fear at what they have seen). “O god, I hope the messenger is well”, says the poet/lover.
19
raqeeb1 achchhe, ye maiN ne maana, bura mujhe tu ne dil se jaana
bhaloN se karte haiN sub bhalaaii, kisi bure ka tu kuchh bhala kar
1.rival
I concede that all my rivals are good people. You think that I am bad. But everyone does well by good people. Why don’t you try to do some good to a bad person.
20
qareeb-e-dildaar1 ka hai ehsaaN2, ke hum ko gardish3 se baaz4 rakkha
bache hazaaroN balaaoN5 se hum, na jaa sake us ke dam6 meN aa kar
1.nearness to the beloved 2.benevolence 3.wandering 4.keep away from 5.calamities 6.grip, hold
It is the benevolence of the nearness to the beloved that has kept us from wandering away too far. Because of her tight grip we/I/poet has been saved from many calamities.
21
ye ji meN yaaN Than1 gaii hai bilkul, ke haal-e dil kahiya be-ta’ammul2
Ghazab kiya kyuN kiya taGhaaful3, ghaTa diya hausla4 baRha kar
1.decided 2.without hesitation 3.forget, ignore 4.courage
At first the beloved encouraged the poet/lover to express his love without hesitation. He decided to do so. Now she ignores him, feigns that she has heard nothing. Such cruelty that she encourages him and then cuts him off.
22
KhadaNg1-e dil-doz2 se Khudaaya, bacha na pahlu3, bahut bachaaya
agar jigar se maiN khaiNch laaya, to dil meN baiTha ye ghar bana kar
1.arrow 2.heart piercing 3.side, bosom
O god, I tried to save my bosom from those heart piercing arrows (glances of the beloved), but I could not. If I pulled the arrow from my liver, it found its home in my heart.
23
nigaah-e-duzdeeda1 pur-sharaarat2, aur us pe duzd3-e hina4 hai aafat5
magar vo ayyaar6 hai qayaamat7, ke chor deN jis ko dil chura kar
1.sidelong glances 2.full of mischief 3.theft 4.henna 5.curse, problem 6.trickster 7.end of this world, inevitable
The ‘chor’ – thieves here are her ‘sidelong glances’, which are full of mischief and her ‘hennaed hands’. These thieves, steal his heart and give it to her. That trickster is the inevitable winner.
24
janaab sultaan-e ishq vo hai, kare jo aye daaGh ek ishaara
farishte haazir1 hoN dast-basta2, adab3 se gardan jhuka jhuka kar
1.present, come, appear 2.folded hands 3.respect
This is a tricky construction. The ‘sultan-e ishq’ could either be the beloved or the poet/lover himself. The poet is addressing someone (the audience) as ‘janaab’ – sir. Sir, he/she is the king/queen of Love who with one gesture can get angels to attend to him/her with folded hands and bowed heads.
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