
I am creating this blog in the memory of great urdu poet "Majaz Lakhnavi", often reffered as "Keats" of urdu poetry. It is a place where you can find all the colors of urdu poetry and all about the poets. I am dedicating this blog to my favorite shayer "Majaz Lucknawi"... So Come and take a dip in DHANAK.
Tuesday, April 14, 2009
Asrarul Haq Majaz

Ye daagh daagh ujala, ye shab-ghazeeda sahar
Ye daagh daagh ujala, ye shab-ghazeeda sahar
wo intezaar tha jis kaa, ye wo sahar to nahi
Ye wo sahar to nahi jis ki aarzu lekar
chale the yaar ki mil jaayegi kahi na kahi
falak ke dasht mein taaron ki aakhari manzil
kahin to hogaa shab-e-sust mauj ka saahil
kahin to jaa ke rukegaa safinaa-e-Gam-e-dil
jawaa lahu kiipur-asaraar shaaharaahon se
chale jo yaar to daaman pe kitane haath pade
dayaar-e-husn kiibe-sabr Khwaab-gaahon se
pukarati rahi baahein, badan bulaate rahe
bahut aziz thi lekin ruKh-e-sahar ki lagan
bahut qariin thaa hasiinaan-e-nuur ka daaman
subuk subuk thii tamannaa, dabi dabi thi thakan
Friday, April 10, 2009
Ta'arruf
jins-e-ulfat ka talabgaar hun main
ishq hi ishq hai duniya meii
fitanaa-e-aql se bezaar hoon main
chhedati hai jise mizaraab-e-alam
saaz-e-fitarat kaa vahi taar hoon main
aib jo haafiz-o-khayyaam main thaa
haan kuchh is ka bhi gunah-gaar hoon main
zindagi kyaa hai gunaah-e-aadam
zindagi hai to gunah-gaar hoon main
merii baaton main masiihaai hai
log kahate hain ki bimaar hoon main
ek lapakataa hua sholaa hoon main
ek chalati hui talvaar hoon main
Barbaad Tamanna Pe Ataab aur Zyaadaa
haanmeri mohabbat kaa javaab aur zyaadaa
roye na abhi ahal-e-nazar haal pe mere
honaa hai abhi mujh ko Kharaab aur zyada
aavaara-va-majanun hi pe maukoof nahin kuchh
milane hain abhi mujh ko khitaab aur zyaada
uthenge abhi aur bhi tufaan mere dil se
dekhunga abhi ishq ke khvaab aur zyaada
tapake ga lahu aur mere dida-e-tar se
dhadakegaa dil-e-khanaa-kharab aur zyaada
ai mutrib-e-bebaak koi aur bhi naghma
ai saaqi-e-fayyaz sharaab aur zyaada
Monday, March 9, 2009
Kuchh Mazahia Shairi
jahaa.N gaaye the khushiyo.n ke taraane,
muqaddar dekhiye roye wahii.n par
hue masjid se Gum juute hamaare,
jahaa.N se paaye the, khoye wahii.n par
Girgit Ahmedabadi
rail ke Dibbe me.n ye qissaa huaa
ek bachchaa zor se rone lagaa
maa.N ne samajhaane kii koshish kii bahot
us ko bahalaane kii koshish kii bahot
thak ke aakhir loriiyaa.N gaane lagii
bijaliyaa.N kaano par barasaane lagii
das minute tak loriiyaa.N jab wo gaa chukii
til-milaa kar bol uThaa ek aadamii
"Behanjii, itanaa karam ab kiijiiye
aap is bachche ko rone diijiiye!"
Girgit Ahmedabadi
jis din huaa paThaan ke murGe kaa inteqaal
daawat kii maulavii kii tab aayaa use Khayaal
murdaar murG kii huii mullaa ko jab Khabar
saaraa badan sulag uThaa, Gaalib huaa jalaal
kahane lage khilaaoge mam gosht?
tum ko nahii.n zaraa bhii shariyat ka kuchh Khayaal
murdaar Gosht to shariyat me.n hai haraam
jab tak na zibaah kiijiiye, hotaa nahii.n halaal
fatawaa jab apanaa maulavii saahab sunaa chuke
jhunjhalaa ke Khan ne kiyaa tab un se ye sawaal
kaisii hai aap kii ye shariyat bataaiiye
ba.nde ko kar diyaa hai Khudaa se bhii baa-kamaal?
allaah jis ko maar de, ho jaaye wo haraam
ba.nde ke haath jo mare, ho jaaye wo halaal?
SaaGar Khayyami
[musha'iro.n me.n police-waalo.n kii duty lagatii hai aur woh ghar jaate jaate Khud shaa'ir ban jaate hai.n. Is mauzuu par ek sher]
raftaa raftaa har police-waale ko shaa'ir kar diyaa,
mehfil-e-sher-o-suKhan me.n bhej kar sarakaar ne
ek qaidii subah ko phaa.Nsii lagaa kar mar gayaa,
raat bhar Gazale.n sunayii.n us ko thaanedaar ne
SaaGar Khayyami
ek shaam kisii bazm me.n juute jo kho gaye,
ham ne kahaa bataaiiye ghar kaise jaaye.nge
kahane lage ke sher sunaate raho yuu.N hii,
ginate nahii.n bane.nge abhii itane aaye.nge
SaaGar Khayyami
bolaa dukaan-daar ke kyaa chaahiye tumhe.n?
jo bhii kaho ge merii dukaan per wo paoge
mai.ne kahaa ke kutte ke khaane kaa cake hai?
bolaa yahii.n pe khaaoge yaa.N leke jaaoge?
---------------
Popular Meeruti
mai.n huu.N jis haal me.n aye mere sanam rahane de,
teG mat de mere haatho.n me.n qalam rahane de
mai.n to shaa'ir huu.N, meraa dil hai bahot hii naazuk,
mai.n paTaake hii se mar jaauu.Ngaa, bam rahane de
---------
mehabuub waadaa kar ke bhii aayaa na dosto.n
kyaa kyaa kiyaa na ham yahaa.N us ke pyaar me.n
murGe churaa ke laaye the jo chaar "Popular"
"do aarazuu me.n kaT gaye, do intezaar me.n"
Thursday, March 5, 2009
Chhap Tilak - Ameer KHusro
Chhap tilak sab cheeni ray mosay naina milaikay
Matvali kar leeni ray mosay naina milaikay
Bayyan pakar dhar leeni ray mosay naina milaikay
Apni see kar leeni ray mosay naina milaikay
Mohay Suhaagan keeni ray mosay naina milaikay
Sun charkhe di Mithi Mithi Kook
mahiya mainu yaad aavda
mere dil vicho uthdee a hook
mahiya mainu yaad aavda
Mere eid waala chann kado chadega
allah jaane mahi kadon vede vadenga
dukh daade ne te zind-dee malook
mahiya mainu yaad aavda...sun charkhe di mithi mithi kook
Taane marde ne aapne shareek ve
likh chithi vich aun di tareek ve
kaali raat vaali dange mainu shoog ve
Mahi aavega te khushiya manava gi, manava gee
ohde raava vich akhiya bichhava gi
jaan chhadiye vichhodeya ne phook
sun charkhe di mithi mithi kook
katta pudiya te hanju mere vaagde
hun haase v nahi mainu change laagde, nahi change laagde
kive bhool jaava ohde main salook
sun charkhe di mithi mithi kook
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.