Sunday, February 3, 2008

Aawara

shahar kii raat aur main naashaad-o-naakaaraa phiruun
jagmagaati jaagati sadakon pe aavaaraa phirun
gair ki basti hai kab tak dar badar maraa phirun

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

jhilmilate qumqumon ki raah main zanjeer si
raat ke haathon main ki mohani tasvir si
mere seene par magar chalati hui shamashir si

ai Gam-e-dil kyaa karun ai vahashat-e-dil kya karun

ye rupahali chhaaon ye aakaash par taaron ka jaal
jaise suufi kaa tasavvur jaise aashiq kaa Khayaal
aah lekin kaun jaane kaun samajhe ji kaa haal

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

phir vo tootaa ik sitaaraa phir vo chhuutee phuljhadi
jaane kis ki god main aaye ye moti ki ladee
hook si seene main uthee chot see dil par padee

ai gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

raat hans hans kar ye kahatee hai ke maikhaane main chal
phir kisee shah_naaz-e-laalaarukh ke kaashaane main chal
ye naheen mumkin to phir ai dost veeraane main chal

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

har taraf bikharee hui rangeeniyaan raanaaiyaan
har qadam par isharate.n leti hui angadaiyan
badh rahi hai god phailaaye hue rusavaaiyan

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

raaste main ruk ke dam le lun meri aadat nahin
laut kar vaapas chala jaaun meri fitarat nahin
aur koi hamnava mil jaaye ye qismat nahin

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

muntazir hai ek tuufaan-e-balaa mere liye
ab bhi jaane kitane daravaaze hain vaa mere liye
par musibat hai meraa ahad-e-vafaa mere liye

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

ji main aataa hai ki ab ahad-e-vafaa bhi tod dun
un ko paa sakataa hun main ye aasaraa bhi chhod dun
haan munaasib hai ye zanjeer-e-havaa bhi tod dun

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

ik mahal kii aad se nikalaa vo peelaa maahtaab
jaise mullah kaa amamaa jaise baniye ki kitaab
jaise muflis ki javaani jaise bevaa kaa shabaab

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

dil me ek sholaa bhadak uthaa hai aakhir kyaa karun
meraa paimanaa chhalak uthaa hai aaKhir kyaa karun
zakhm seene kaa mahak uthaa hai aakhir kyaa karun

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

muflisi aur ye mazaahir hain nazar ke saamane
saikadon changez-o-naadir hain nazar ke saamane
saikadon sultaan jaabar hain nazar ke saamane

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

le ke ik changez ke haathon se khanjar tod doon
taaj par us ke damakataa hai jo patthar tod doon
koi tode yaa na tode main hi badhakar tod doon

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

badh ke is indar-sabhaa kaa saaz-o-saamaan phuunk doon
is kaa gulshan phoonk doon us kaa shabistan phoonk doon
takht-e-sultaan kyaa main saraa qasr-e-sultaan phoonk doon

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

jee main aata hai ye murdaa chaand-taare noch loon
is kinaare noch loon aur us kinaare noch loon
ek do kaa zikr kyaa saare ke saare noch loon

ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun

_Majaz

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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.