Monday, May 23, 2016

Baazicha-e-atfaal hai duniya mere aage...

Baazicha-e-atfaal hai duniya mere aage...
Hota hai shab-o-rozz tamasha mere aage... 

Ek khel hai aurang-e-Sulemaa'n mere nazdeek...
Ek baat hai ejaaz-e-Maseeha mere aage...

Hota hai nehaa'n gard me sahra mere hote...
Ghista hai jabee'n khaak pe dariya mere aage...

Mat poochh k kya haal hai mera tere peechhe...
Tu dekh k kya rang hai tera mere aage...

Nafrat ka gumaa'n guzre hai,, main rashk se guzra...
Qkar kahun,, lo naam na unka mere aage...

Eemaa'n mujhe roke hai to khenche hai mujhe kufr...
Kaaba mere peechhe hai,, kaleesa mere aage...

Aashiq hun pa mashooq-farebi hai mera kaam...
Majnu ko bura kehti hai Laila mere aage...

Khush hote hain pr wasl me yun mar nhii jate...
Aayi shab-e-hijraa'n ki tamanna mere aage...

Go hath ko jumbish nhii aankho me to dam hai...
Rehne do abhi saghar-o-meena mere aage...

Hum'pesha-o-Hum'mashrab-o-Humraaz hai mera...
GHALIB ko bura Q kaho achcha mere aage....??

-Mirza Ghalib

Friday, May 20, 2016

Jahan Tera Naqsh-e qadam Dekhte Hain

JahaN tera naqsh-e qadam dekhTe haiN
Khiya'baN khiya'baN haram dekhTe haiN

Dil aashuftagaN khaal-e kunj-e dahaN k
Suvai'daa meiN sair-e adam dekhTe haiN

Tere sarv-qamat se, aik qaad-e aadam
QayamaT ke fitNe ko, kamm dekhTe haiN

Tamasha kar ai mehv-e aaeena'daaRi
Tujhe kis tamaNa se hum dekhTe haiN

Mirza "Ghalib"

Tamasha-e daiR-o-haRam dekhTe haiN
Tujhe har bahaNe se hum dekhTe haiN

HumeiN chashm-e biina dikhaTii hai sab kuch
Voh aanDhe haiN, jo jaam-e jamm dekhTe haiN

GhaNimaT hai chashm-e tagahfuk bhi uNKi
Bhut dekhTe haiN jo kamm dekhTe haiN

Nah imaaN-e khva'hish, nah izhar-e matlab
Mere muNh ko ahl-e karam dekhTe haiN

"Daagh" Dehlvi

Wednesday, May 18, 2016

NuktaaCheen Hain Gham-e-Dil

nuktaacheeN hai GHam-e-dil usko sunaaye na bane
kya bane baat jahaaN baat banaaye na bane
maiN bulaata to hooN usko magar 'ei jazba-e-dil
uspe ban jaaye kuchch 'eisee ki bin aaye na bane
khel samjha hai kaheeN choD na de, bhool na jaay
kaash ! yooN bhee ho ki bin mere sataaye na bane
maut kee raah na dekhooN ki bin aaye na rahe
tumko chaahooN ki na aao, to bulaaye na bane

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.