Monday, March 9, 2009

Kuchh Mazahia Shairi

Girgit Ahmedabadi

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
Chhap tilak sab cheeni ray mosay naina milaikay

Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay

Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay

Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay

Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay

Chhap tilak sab cheeni ray mosay naina milaikay

Ameer Khusro-Zihale Miskeen

Sun charkhe di Mithi Mithi Kook

Sun charkhe di mithi mithi kook
mahiya mainu yaad aavda
mere dil vicho uthdee a hook
mahiya mainu yaad aavda
sun charkhe di mithi mithi koo

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
sun charkhe di mithi mithi kook

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
mahiya mainu yaad aavda
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.