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

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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.