Click here for background and on any passage for word meanings and explanatory discussion. munshi raghunath siNgh haajir dehlavi (1884-1922). Both father and grandfather were poets and scholars of urdu and faarsi. He started composing at the age of 13-14. His father died in 1906 and he moved to bhopal for work and returned to dehli in 1910 to re-start his family practice, establishing a clinic named ‘daar-ul-shifa’. He died in 1922 before he could publish his diivaan, but his son collected his papers and published it. His brother, kaviraj raghunandan singh saahir wrote the preface. In addition to his diivan, there is a collection of his Ghazal called, ‘Ghalib aur haajir’, all composed in the zamin of Ghalib. This Ghazal in the zamin of ‘lab-e saaqi meN salaa mere baad’ is posted in 3 parts and is linked to that category under the icon ‘Ghalib naqsh-e qadam’, on the Theme Index page.
1
chai’n¹ se dahr² meN ek dam³ na rahaa mere baad
us ko yaad aati rahi meri vafaa⁴ mere baad    1.comfort, peace 2.world 3.moment 4.fidelity, steadfast love
The beloved did not spend even one moment in peace after my passing. She constantly remembered my steadfast fidelity after me.
2
uss ne harchand¹ kiya qasd²-e vafaa³ mere baad
koi dil qaabil⁴-e ulfat⁵ na mila mere baad     1.even though 2.resolve, intend 3.fidelity, commitment 4.deserving of 5.love
Even though the beloved resolved to be faithful in love, after my passing, she did not find any suitable/deserving heart.
3
na hua koi giraftaar¹-e balaa² mere baad
p’ech³ khaati rahi voh zulf⁴-e do-taa⁵ mere baad     1.captured, caught 2.calamity, mischief 3.sway, swing, wave 4.hair 5.double-stranded, curly
After the poet/lover passed, the beloved’s curly hair waved and spread their net, but no one was caught. This is not supposed to be a reflection on the beauty or the ability of her hair to snare its intended victim. It is supposed to reflect on the potential lover/admirer underserving to be caught in the web of her hair.
4
dekhiye aati hai ab kis ko qazaa¹ mere baad
kaun hota hai talabgaar²-e jafaa³ mere baad    1.death 2.desirous, demanding 3.cruelty, torture
The mode of death of true lovers is at the hands of the beloved. If they demand torture and are able to bear it, then they get the honour of being killed by her hand. This is what happened to the poet/lover. He wonders if there will be anyone after him who will ask to be tortured.
5
kart’e haiN Ghair¹ se ab tark²-e vafaa³ mere baad
ho rah’e haiN voh pashemaan⁴-e jafaa⁵ mere baad    1.other, rival 2.quit, give up 3.fidelity, love 4.regretful 5.cruelty, torture
One mode of cruelty is for the beloved to ignore the true lover and show favours to the rival. She has been doing this and has caused the death of the true lover. Now she regrets having done that is quitting her ‘fidelity’ to the rival. Too late for the lover.
6
kaun hoga hadaf¹-e tiir-e-jafaa² mere baad
jurm-e-ulfat³ ki kis’e do ge sazaa⁴ mere baad     1.target 2.arrow of cruelty 3.crime of love 4.punishment
Who will be the target of the arrow of cruelty after me. Who will you punish for the crime of love when I am no more.
7
sabr¹ do din bhi jahaaN² meN na hua mere baad
Ghair³ se kart’e haiN voh ahd-e-vafaa⁴ mere baad     1.patience 2.world 3.other, rival 4.promise of fidelity
The beloved could not be patient even for two days after me. She is now making promises of fidelity to the rival.
8
bhool kar haath na phir uss ko lagaaya us ne
zaNg-alooda¹ hui teGh²-e jafaa³ mere baad    1.covered with rust 2.sword 3.cruelty
She did not even touch it by the accident, the sword of cruetly (presumably the one that she used to slay the lover) is now covered with rust.
9
ho gaye ais’e¹ voh anjaam²-e vafaa³ se bezaar⁴
naam ulfat⁵ ka na bhoole se liya mere baad 1.like this, so much 2.result, consequence 3.love, fidelity 4.tired, disinterested 5.love
She became so disillusioned with the consequences of fidelity that she did not even for a moment think about love, after me.