Friday, January 4, 2008

Jawab e Shikwa

Dil Se Jo Baat Nikalti Hai Asar Rakhti Hai
Par Nahi , Takat E Parwaaz Rakhti Hai

Peer E Gardu ( Khuda) Ne Kaha Sun Ke , Kahi Hai Koi
Boley Sayyarey ( Planets) Sarey Arsh E Bari ,Hai Koi
Chand Kehta Tha , Nahi , Aehle Zamee Hai Koi

Kuch Jo Samjha Mere Shikwey Ko To Rizwa ( Khuda) Samjha
Mujhe Jannat Se Nikala Hua Insaa Samjha

Aayi Awaz Gham Angez Hai Afsana Tera
Ashk E Betab Se Labrez Hai Afsana Tera
Aasma Geer Hua Nara E Mastana Tera
Kis Kadar Shokh Zaba Hai Dil E Deewana Tera

Shukr Shikwey Ko Kiya Husn E Ada Se Tuney
Hum Sukhan Kar Diya Bandey Ko Khuda Se Tuney

Hum To Mayal O Karam ( Dene Wala ) Hai ,
Koi Sawali Hi NahiRaah Dikhaye Kisey,
Reh Ravey Manzil Hi NahiTarbiyat Aam To Hai ,
Zohar E Kabil NahiJis Se Tameer Ho Aadam Ko Ye Wo Gil ( Mitti) Nahi

Koi Kabil Ho To Shane Kayi ( Badshahi Shan) Dete Hai
Dhoondney Waley Ko Duniya Bhi Nayi Dete Hai

Jisko Aata Nahi Duniya Mei Koi Fun, Tum Ho
Nahi Jis Kom Ko Parwa E Nasheman Tum Ho
Bijliya Jis Mei Ho Aasuda Wo Khirman Tum Ho
Bech Khate Hai Jo Aslab Ke Madfan( Buzurgo Ki Kabr) Tum Ho

Ho Niko Naam Jo Kabro Ki Tijarat Karke
Kya Na Bechogey Jo Mil Jaye Sanam Paththar Ke

Safha E Dehar Se Batil Ko Mitaya Kis Ne
No E Insaa Ko Gulami Se Churaya Kis Ne
Mere Kabey Ko Zabeeno Se Basaya Kis Ne
Mere Kur;Aan Ko Seene Se Lagaya Kis Ne

They To Wo Aaba Wo Tumharey Hi , Par Tum Kya Ho
Hath Per Hath Dharey Muntazir E Farda Ho

Munaffat Ek Hai Is Kom Ke Nuksaan Bhi Ek
Ek Hi Sab Ka Nabi, Deen Bhi Imaan Bhi Ek
Harm E Paak Bhi Alaah Bhi , Kur;Aan Bhi Ek
Kuch Badi Baat Thi , Hotey Jo Musalmaa Bhi Ek

Firka Bandi Hai Kahi Aur Kahi Zaatey Hai
Kya Zamaney Me Panapne Ki Yahi Batei Hai

Ja Ke Hotey Hai Masjid Me Saf E Aara To Gareeb
Zehmat E Roza Jo Kartey Hai Ganwara To Gareeb
Naam Leta Hai Koi Hamara To Gareeb
Parda Rakhta Hai Koi Tumhara To Gareeb

Um;Aara ( Ameer) Nasha E Dolat Mei Hai Gafil Hum Se
Zinda Hai Millatey Bezaa Gurba Ke Dam Se

Waa;Eez E Kom Ki Wo Pukhta Khayali Na Rahi
Bark E Tabai Na Rahi , Shola E Makali Na Rahi
Reh Gayi Rasme Azaa Rooh E Bilali Na Rahi
Falsafa Reh Gaya , Talkeen E Ghazali Na Rahi

Masjidey Marsiya Khuwa ( Sad) Hai Ki Namazi Na Rahe
Yani Wo Sahab E Ausaf E Hijazi ( Gentle Muslim) Na Rahe

Shor Hai Duniya Se Musalmaa Ho Gaye Nabood
Hum Ye Kehte Hai , They Bhi Kahi Musalmaa Mojood
Wajah Mei Tum Hi Nasari , To Tamaddun Mei Hunood
Ye Musalmaa Hai Jnhe Dekh Ke Sharmayae Yahood

Yu To Sayyed Bhi , Mirza Bhi Ho Afghan Bhi Ho
Tum Sab Kuch Ho Batao , Musalmaa Bhi Ho

Akal Hai Teri Sifar, Ishq Hai Shamsher Teri
Mere Darwesh E Khilafat Hai Jahangeer Teri
Ma Siwa Allah Ke Ley E Aag Hai Takbeer Teri
Tu Musalmaa Hai To Ye Taqdeer Teri

Ki Mohammad Se Wafa Tune To Hum Tere Hai
Ye Jaha Cheez Kya Hai Loh O Kalam Tere Hai

_Allama Iqbal

Shikva

Kyon Ziaan kaar banun, sood faramosh rahoon?
Fikr-e-farda na karun, mahw-e-ghum-e-dosh rahoon,

Naale bulbul ke sunoon, aur hama tan gosh rahoon,
Hamnawa main bhi koi gul hoon ke khamosh rahoon?

Jurrat aamoz meri taab-e-sakhun hai mujhko,
Shikwa Allah se khakam badahan hai mujhko.

Aye Khuda shikwa-e-arbab-e-wafa bhi sun le,
Khu gar-e-hamd se thoda sa gila bhi sun le.

Thi toh maujood azal se hi teri zaat-e-qadim,
Phool tha zeb-e-chaman, par na pareshan thi shamim;

Shart insaaf hai, aye, sahib-e-altaf-e-amim,
Boo-e-gul phailti kis tarah jo hoti na nasim?

Hum se pahle tha ajab tere jahan ka manzir,
Kahin masjood the patthar, kahin maabood shajar,

Khugar-e-paikar-e-mahsoos thi insaan ki nazar,
Maanta phir koi un-dekhe Khuda ko kyonkar?

Tujhko maaloom hai leta tha koi naam tera?
Quwwat-e-baazoo-e-Muslim ne kiya kaam tera!

Bas rahe the yahin salijuq bhi, toorani bhi,
Ahl-e-chin cheen mein, Iran mein sasaani bhi,

Isi maamoore mein aabad the Yunaani bhi,
Isi duniya mein Yahudi bhi the, Nusraani bhi,

Par tere naam pe talwar uthai kis ne,
Baat joh bigdi huyi thi woh banaayi kis ne?

The hameen ek tere maarka aaraaon mein!
Khushkion mein kabhi ladte, kabhi dariyaon mein,

Di azaanen kabhi Europe ke kaleesaaon mein,
Kabhi Africa ke tapte huye sahraaon mein.

Thi na kuchh teg zani apni hakumat ke liye,
Sar ba-kaf phirte the kya dahar mein daulat ke liye?

Qaum apni jo zar-o-maal-e-jahan par marti,
But faroshi ke iwaz but shikni kyon karti?

Naqsh tauheed ka har dil pe bithaya hum ne,
Zer-e-khanjar bhi yeh paigham sunaya hum ne.

Tu hi kah de ke ukhada dar-e-Khyber kis ne,
Shaher qaiser ka jo tha us ko kiya sar kis ne?

Tore makhluq khudawandon ke paikar kis ne?
Kaat kar rakh diye kaffaar ke lashkar kis ne?

Aa gaya ain ladaai mein agar waqt-e-namaz,
Qibla roo ho ke zamin bos hui qaum-e-Hejaz,

Ek hi saf mein khade ho gaye mahmud-o-Ayaz,
No koi banda raha aur no koi banda nawaz.

Banda-o-sahib-o-muhtaaj-o-ghani ek huye,
Teri sarkar mein pahunche toh sabhi ek huye.

Mehfil-e-kaun-o-makaan mein shar-o-shaam phire,
Mai-e-tauheed ko lekar sift-e-jam phire.

Dasht toh dasht hain, darya bhi na chhode hum ne,
Bahr-e-zulmaat mein dauda diye ghore hum ne.

Safah-e-dahar se baatil ko mitaya hum ne,
Nau-e-insaan ko ghulami se chhudaya hum ne,

Tere kaabe ko jabeenon se basaya hum ne,
Tere Qur'an ko seenon se lagaya hum ne.

Phir bhi hum se yeh gila hai, ke wafadar nahin,
Hum wafadar nahin, tu bhi toh dildar nahin!

Rahmaten hain teri aghiyar ke kashaanon par,
Barq girti hai toh bechare Musalmaanon par!

Yeh shikayat nahin, hain un ke khazane maamur,
Nahin mehfil mein jinhen baat bhi karne ka shaoor,

Qahar toh yeh hai ke kafir ko milen hoor-o-qasoor,
Aur bechaare Musalmaan ko faqt waada-e-hoor!

Taan-e-aghiyaar hai, ruswai hai, nadaari hai,
Kya tere naam pe marne ka iwaz khwari hai?

Hum toh jeete hain ke duniya mein tera naam rahe,
Kahin mumkin hai saqi na rahe, jaam rahe?

Teri mehfil bhi gayi, chahne wale bhi gaye,
Shab ki aahen bhi gayi, subah ke nale bhi gaye,

Dil tujhe de bhi gaye, apna sila le bhi gaye,
Aa ke baithe bhi na the, ke nikaale bhi gaye.

Aaye ushaaq, gaye waada-e-farda lekar,
Ab unhen dhoond chirag-e-rukh-e-zeba lekar!

Dard-e-Laila bhi wohi, Qais ka pahlu bhi wohi,
Nejd ke dasht-o-jabal mein ram-e-aahoo bhi wohi,

Ishq ka dil bhi wohi, husn ka jaadoo bhi wohi,
Ummat-e-Ahmed-e-Mursil bhi wohi, tu bhi wohi,

Phir yeh aazurdagi-e-ghair-sabab kya maani,
Apne shaidaaon pe yeh chashm-e-ghazab kya maani?

Ishq ki khair, woh pehli si ada bhi na sahi,
Jaada paimaai taslim-o-raza bhi na sahi,

Kabhi hum se, kabhi ghairon se shanasaai hai,
Baat kahne ki nahin, tu bhi toh harjaai hai.

Ahd-e-gul khatam hua, toot gaya saaz-e-chaman,
Ud gaye dalion se zamzama pardaaz-e-chaman.

Ek bulbul hai ke hai mahw-e-tarannum ab tak,
Us ke seene mein hai naghmon ka talatam ab tak.

Qumrian shaakh-e-sanober se gurezaan bhi hui,
Pattian phool ki jhad jhad ke pareshan bhi hui;

Woh purani ravishen bagh ki veeran bhi hui,
Daalian parahan-e-barg se uriaan bhi hui.

Qaid-e-mausim se tabiyat rahi aazad uski,
Kaash gulshan mein samjhta koi faryaad uski

Chaak is bulbul-e-tanha ki nawa se dil hon,
Jaagne wale isi baang-e-dara se dil hon.

Yaani phir zinda naye ahd-e-wafa se dil hon,
Phir isi bada-e-deereena ke pyaase dil hon.

Ajmi khum hai toh kya, ma'y toh Hejaazi hai meri,
Naghma Hindi hai toh kya, la'y toh Hejaazi hai meri.

Hai bajaa shaiwa-e-taslim meiN mashhoor haiN ham
Qissa-e-dard sunate haiN ke majboor haiN ham

Saaz-e-khamosh haiN, faryad se maamoor haiN ham
Naala aata hai agar lab pe, to maazoor haiN ham

_Allama Iqbaal

Wednesday, January 2, 2008

Ab Mere Paas Tum Aayee Ho

ab mere paas tum aayee ho to kya aayee ho
maine maana ke tum ik paikar-e-raanaee ho
chaman-e-daher mein rooh-e-chamanarayee ho
tallat-e-meher ho firdaus ki barnai ho
bint-e-mehtaab ho gardoo se utar aayee ho
mujhse milne mein abandesha-e-ruswaayee hai
maine khud apne kiye ki ye saza paayee hai

ab mere paas tum aayee ho to kya aayee ho

un dino mujpe qayamat ka junoon taari thaa
sar pe sarshaari-o-ishrat ka junoon taari thaa
maahpaaron se mohabbat ka junoon taari thaa
shehri yaaron se raqabat ka junoon taari thaa
bistar-e-makhmal-o-sanjaab thee duniya meri
ek rangeen-o-haseeN khwaab thee duniya meri

kya sunogi meri majrooh jawaani ki pukaar
meri fariyaad-e-jigar doz mera lala-e-zaar
shiddhat-e-kard mein doobi huyee meri guftaar
main ke khud apne mazak-e-tarabgee ka shikaar
wo gudaaz-e-dil-e-marhoom kahan se laaoon
ab mein wo zazba-e-masoom kahan se laaoon

ab mere pass tum aayee ho to kya aayee ho

_Majaz
agar na zohro-jabeenoN ke darmayaN guZre
to fir ye kaise kaTe zindagi kahaN guzre

muJhe ye waheM raha muddataoN ke zurrate saur
kahiN na khaatir-e-maasooM par gaRaaN guzre

khata muaaf zamaane se badguma hokar
teri wafa pe bhi kya kya hame' guma guzre

muJhe tha shiKwa-e-hiJraaN ke ye hua mehSooS
mere kareeb se hokar wo naagahaaN guzre

_Jigar

Alvida

ऐ मलिहाबाद के रंगीं गुलिस्तां अलविदा
अलविदा ऐ सरज़मीन-ए-सुबह-ए-खन्दां अलविदा
अलविदा ऐ किशवर-ए-शेर-ओ-शबिस्तां अलविदा
अलविदा ऐ जलवागाहे हुस्न-ए-जानां अलविदा

तेरे घर से एक ज़िन्दा लाश उठ जाने को है
आ गले मिल लें कि आवाज़-ए-जरस आने को है

ऐ मलीहाबाद के रंगीं गुलिस्तां अलविदा

हाय क्या क्या नेमतें मिली थीं मुझ को बेबहा
यह खामोशी यह खुले मैदान यह ठन्डी हवावाए,
यह जां बख्श गुस्तां हाए रंगीं फ़िज़ा
मर के भी इनको न भूलेगा दिल-ए-दर्द आशना
मस्त कोयल जब दकन की वादियों में गायेगी
यह सुबुक छांव बगूलों की बहुत याद आएगी

ऐ मलीहाबाद के रंगीं गुलिस्तां अलविदा

कल से कौन इस बाग़ को रंगीं बनाने आएगा
कौन फूलों की हंसी पर मुस्कुराने आएगा
कौन इस सब्ज़े को सोते से जगाने आएगा
कौन इन पौधों को सीने से लगाने आयेगा
कौन जागेगा क़मर के नाज़ उठाने के लिये
चांदनी रात को ज़ानों पर सुलाने के लिये

ऐ मलीहाबाद के रंगीं गुलिस्तां अलविदा

आम के बाग़ों में जब बरसात होगी पुरखरोश
मेरी फ़ुरक़त में लहू रोएगी चश्म-ए-मैफ़रोश
रस की बूंदें जब उडा देंगी गुलिस्तानों के होश
कुन्ज-ए-रंगीं में पुकारेंगी हवाएं ‘जोश जोश’
सुन के मेरा नाम मौसम ग़मज़दा हो जाएगा
एक महशर सा गुलिस्तां में बपा हो जाएगा

ऐ मलीहाबाद के रंगीं गुलिस्तां अलविदा

आ गले मिल लें खुदा हाफ़िज़ गुलिस्तान-ए-वतन
ऐ अमानीगंज के मैदान ऐ जान-ए-वतनअलविदा
ऐ लालाज़ार-ओ-सुम्बुलिस्तान-ए-वतनअस्सलाम
ऐ सोह्बत-ए-रंगीं-ए-यारान-ए-वतन
हश्र तक रहने न देना तुम दकन की खाक में
दफ़न करना अपने शायर को वतन की खाक में

ऐ मलीहाबाद के रंगीं गुलिस्तां अलविदा

_Josh Malihabadi
तस्कीन-ए-दिल-ए-महज़ू न हुई वो सई-ए-क़रम फ़रमा भी गये,
उस सई-ए-क़रम का क्या कहिये बहला भी गये तड़पा भी गये,

एक अर्ज़-ए-वफ़ा भी कर न सके कुछ कह न सके कुछ सुन न सके,
यहां हम ने ज़बां ही खोले थी वहां आंख झुकी शरमा भी गये,

आशुफ़्तगी-ए-वहशत की क़सम हैरत की क़सम हसरत की क़सम,
अब आप कहे कुछ या न कहे हम राज़-ए-तबस्सुम पा भी गये,

रूदाद-ए-ग़म-ए-उल्फ़त उन से हम क्या कहते क्योंकर कहते,
एक हर्फ़ न निकला होठों से और आंख में आंसू आ भी गये,

अरबाब-ए-जुनूं पे फ़ुर्कत में अब क्या कहिये क्या क्या गुज़रा,
आये थे सवाद-ए-उल्फ़त में कुछ खो भी गये कुछ पा भी गये,

ये रन्ग-ए-बहार-ए-आलम है क्या फ़िक़्र है तुझ को ऐ साक़ी,
महफ़िल तो तेरी सूनी न हुई कुछ उठ भी गये कुछ आ भी गये,

इस महफ़िल-ए-कैफ़-ओ-मस्ती में इस अन्जुमन-ए-इरफ़ानी में,
सब जाम-ब-कफ़ बैठे रहे हम पी भी गये छलका भी गये,

_Majaaz

In poetry, the ghazal (Persian: غزل; Turkish gazel) is a poetic form consisting of rhyming couplets and a refrain. Each line must share the same meter. The Arabic word "ghazal" is pronounced roughly like the English word "guzzle", but with a different first consonant, and literally means "speaking with women." A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The form is ancient, originating in 6th century pre-Islamic Arabic verse. It is derived from the Arabian panegyric qasiida. The structural requirements of the ghazal are similar in stringency to those of the Petrarcan sonnet. In its style and content it is a genre which has proved capable of an extraordinary variety of expression around its central themes of love and separation. It is one of the principal poetic forms the Indo-Perso-Arabic civilization offered to the eastern Islamic world.
The ghazal spread into South Asia in the 12th century under the influence of the new Islamic Sultanate courts and Sufi mystics. Exotic to the region, as is indicated by the very sounds of the name itself when properly pronounced as ġazal, with its very un-Indian initial voiced velar fricative g. Although the ghazal is most prominently a form of Urdu poetry, today, it is found in the poetry of many languages.
Ghazals were written by the Persian mystics and poets Jalal al-Din Muhammad Rumi (13th century) and Hafez (14th century), the Turkish poet Fuzuli (16th century), as well as Mirza Ghalib (1797–1869) and Muhammad Iqbal (1877–1938), who both wrote Ghazals in Persian and Urdu. Through the influence of Johann Wolfgang von Goethe (1749–1832), the ghazal became very popular in Germany in the 19th century, and the form was used extensively by Friedrich Rückert (1788–1866) and August von Platen (1796–1835). The Kashmiri-American poet Agha Shahid Ali was a proponent of the form, both in English and in other languages; he edited a volume of "real ghazals in English."
In some modernized ghazals the poet's name is featured somewhere in the last verse.

The ghazal not only has a specific form, but traditionally deals with just one subject: Love. And not any kind of love, but specifically, an illicit, and unattainable love. The subcontinental ghazals have an influence of Islamic Mysticism and the subject of love can usually be interpreted for a higher being or for a mortal beloved. The love is always viewed as something that will complete a human being, and if attained will lift him or her into the ranks of the wise, or will bring satisfaction to the soul of the poet. Traditional ghazal love may or may not have an explicit element of sexual desire in it, and hence the love may be spiritual.
The Persian historian Ehsan Yar-Shater notes that "As a rule, the beloved is not a woman, but a young man. In the early centuries of Islam, the raids into Central Asia produced many young slaves. Slaves were also bought or received as gifts. They were made to serve as pages at court or in the households of the affluent, or as soldiers and body-guards. Young men, slaves or not, also, served wine at banquets and receptions, and the more gifted among them could play music and maintain a cultivated conversation. It was love toward young pages, soldiers, or novices in trades and professions which was the subject of lyrical introductions to panegyrics from the beginning of Persian poetry, and of the ghazal." (Yar-Shater, Ehsan. 1986. Persian Poetry in the Timurid and Safavid Periods, Cambridge History of Iran. Cambridge: Cambridge University Press, pp.973-974. 1986)
The ghazal is always written from the point of view of the unrequited lover, whose beloved is portrayed as unattainable. Most often either the beloved does not return the poet's love or returns it without sincerity, or else the societal circumstances do not allow it. The lover is aware and resigned to this fate but continues loving nonetheless; the lyrical impetus of the poem derives from this tension. Representations of the lover's powerlessness to resist his feelings often include lyrically exaggerated violence. The beloved's power to captivate the speaker may be represented in extended metaphors about the "arrows of his eyes", or by referring to the beloved as an assassin or a killer. Take for example the following couplets from Amir Khusro's Persian ghazal Nami danam chi manzil buud shab:


Nami-danam chi manzil buud shab jaay ki man buudam;
Baharsu raqs-e bismil buud shab jaay ki man buudam.
Pari paikar nigaar-e sarw qadde laala rukhsare;
Sarapa aafat-e dil buud shab jaay ki man buudam.


I wonder what was the place where I was last night,
All around me were half-slaughtered victims of love, tossing about in agony.
There was a nymph-like beloved with cypress-like form and tulip-like face,
Ruthlessly playing havoc with the hearts of the lovers.