Shayer Nazeer Akbarabadi...Ek Benazeer Shayer...

 

Birth, early years and migration to Akbarabad
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Syed Wali Mohammad, known as Nazeer Akbarabadi, is the only poet of his kind in Urdu for a variety of reasons. He was born in 1735 in Delhi. There was huge celebration at his birth as he was the only male child of his parents born after twelve daughters. He was brought up with great care and his mother took him to Agra when Delhi fell into bad days.

Nazeer received his early education in Agra. He belonged to a prosperous family and led his childhood and early life in comfort. Following the usual practice of the day, he trained himself as a soldier. He was deeply interested in sports also. When it was the time to pick on a profession for earning a livelihood, he chose to be teacher and started teaching children at Mathura. It is said that he was a teacher to six children of Raja Vilas Rao. Later, the raja of Bharatpur and the nawab of Lucknow, Wajid Ali Shah, wanted to enrol him in their courts but Nazeer did not agree to leave his place.

Nazeer was a contemporary of Meer, Sauda, Jurat, Insha, and Mushafi who stood as the vanguards of classical Urdu poetry with ghazal being nourished as the most prestigious form of poetical expression. Nazeer opened up entirely new avenues for Urdu poetry as he chose his material from life brilliantly spread all around. There is hardly any aspect of secular life that did not engage his attention. His wrote poems on all religious festivals, communal events, carnivals, sports, hobbies, and scenes and scenarios of common life which none had done before him. He evolved a diction that too entirely new for the kind of poems he wrote. There is a general misconception that Nazeer wrote only on the folk life and its various manifestations but he also wrote highly sophisticated, persianised, and creatively rich ghazals which find him a place among the elitist poets of Urdu.

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His father was Muhammad Farooq and his mother was the daughter of Nawab Sultan Khan who was the governor of Agra Fort. Agra, the Indian city, was known as Akbarabad after Mughal emperor at that time. He used simple, everyday language in his poems.

Nazeer's date of birth is not certain but most of his biographers believe that he was born in Delhi (then called "Dihli") in 1735 AD. The period of his birth coincided with the decline of the Mughal empire in India. In 1739, Nazeer was still a child when Nadir Shah attacked Delhi and the Mughal emperor Muhammad Shah (also known as "Muhammad Shah Rangila") was arrested. He was later released but countless people were mercilessly killed in Delhi. The horrors of this plunder were still fresh in the minds of people when 18 years later, in 1757 AD, Ahmad Shah Abdali attacked Delhi. People left Delhi for safer cities. Nazeer along with his mother and grandmother also abandoned Delhi and migrated to Akbarabad. At this time, Nazeer was 22-23 years old.

------------------------------------------------------------------------------------The Banjaranama , Chronicle of the Nomad) is a satirical Urdu poem, written by the eighteenth-century Indian poet Nazeer Akbarabadi. The poem's essential message is that pride in worldly success is foolish, because human circumstances can change in a flash, material wealth and splendor is always transient, and death is the only certainty for all men. The poem quickly captured the popular imagination, and achieved fame in the Indian subcontinent that has lasted for over two centuries. Critics have observed that, despite the deliberate simplicity of its language, the poem's idioms and imagery were dazzling in their span, and portrayed lives of wealth and power as ultimately subject to a nomad's whims (an allusion to death). The poem continues to be hailed as distilling "the teachings of thousands of years into one summary form."
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بنجارا
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ٹک حرص وھوا کو چھوڑ میاں، مت دیس بدیس پھرے مارا

قذًاق اجل کا لوٹے ہے دن رات بجا کر نقًارا
یہ دھوم دھڑکًا ساتھ لیے کیوں پھرتا ہے جنگل جنگل
ا ک تنکا ساتھ نہ جاے گا، موقوف ہوا جب ان اور جل
سب ٹھاٹھ پڑا رہ جاے گا جب لاد چلے گا بنجارا
مغرور نہ ہو تلواروں پر، مت پھول بھروسے ڈھالوں کے
سب پٹاً توڑ کے بھاگیں گے، منہ دیکھ اجل کے بھالوں کے
ہو ڈھیر اکیلا جنگل میں تو خاک لحد کی پھانکے گا
اس جنگل میں پھر آہ نظیر اک بھنگا آن نہ جھانکے گا
سب ٹھاٹھ پڑا رہ جاے گا جب لاد چلے گا بنجارا


The Angel of death

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Discard greed and temptations, forget your travels to near and far;

The bandit of death is blowing his trumpet and indulging in looting day and night;
Why are you roaming from place to place with all your paraphernalia;
Not even a twig will eventually go with you when your death arrives;
Your riches and grand life style are all left behind when the angel of death loads you on his back;
Do not feel proud of your swords and shields;
They will abandon you on seeing the spear of death;
Alone in a desert would you then eat the dust of the grave;
In that desert, indeed Nazeer, not even an insect would care to visit you;
Your riches and grand life style are all left behind when the angel of death loads you on his back.

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Nazeer Akbarabadi
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Natural poetry
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Nazeer was the one who laid the foundation of natural poetry which was later continued by Altaf Hussain Hali and Muhammad Husain Azad. The best thing in his poetry is that he never used the hard poetic language and he always tried to give the concepts of ethics and social values.

His poem was named "Aadmi Nama" was mistakenly published "Army Nama" in Pakistan. Similarly all his words "Aadmi" were replaced by "Army" which become controversial by mistake, it was taken farce on large scale."


In popular culture
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In 1954, Habib Tanvir, wrote and directed his first significant play "Agra Bazar," based on the works and times of Nazir Akbarabadi. It used local residents and folk artist from Okhla village in Delhi and students of Jamia Millia Islamia as actors, a play not staged in a confined space, rather a bazaar, a marketplace.

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Rotiyaan
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roTiyaaN jab aadamii ke peT mein aatii hain roTiyaaN
phuulii nahiin badan mein samaaatii haiin roTiyaaN
aaNkhein parii_ruKhon se laDaatii hain roTiyaaN
siine uupar bhii haath chalaatii hain roTiyaaN
jitane maze hain sab ye dikhaatii hain roTiyaaN


roTii se jis kaa naak talak peT hai bharaa
karataa phire hai kyaa vo uchhal kuud jaa ba jaa
diivaar phaaNd kar koii koThaa uchhal gayaa
ThaaThTha haNsii sharaab sanam saaqii is sivaa

sau sau tarah kii dhuum machaatii hain roTiyaaN

jis jaa pe haaNDii chuulhaa tavaa aur tanuur hai
Khaaliq ke qudaraton kaa usii jaa zahuur hai
chuulhe ke aage aaNch jo jalatii hazuur hai
jitane hain nuur sab mein yahii Khaas nuur hai

is nuur ke sabab nazar aatii hain roTiyaaN

aave tave tanuur kaa jis jaa zabaaN pe naam
yaa chakkii chuulhe kaa jahaaN gulzaar ho tamaam
vaa.N sar jhukaa ke kiijiye DanDavat aur salaam
is vaaste ke Khaas ye roTii ke hain muqaam

pahale inhiin makaano.n me.n aatii hain roTiyaaN

in roTiyon ke nuur se sab dil hain puur puur
aaTaa nahiin hai chhalanii se chhan chhan gire hai nuur
peDaa har ek us kaa hai barfii-o-motii chuur
hargiz kisii tarah na bujhe peT kaa tanuur

is aag ko magar ye bujhaatii hain roTiyaaN

puuchhaa kisii ne ye kisii kaamil faqiir se
ye mehr-o-maah haq ne banaaye hain kaahe ke
vo sun ke bolaa baabaa Khudaa tujh ko Khair de
ham to na chaa.Nd samajhe na suuraj hain jaanate

baabaa hamen to ye nazar aatii hain roTiyaaN

phir puuchhaa us ne kahiye ye hai dil kaa nuur kyaa
is ke mushaahide men hai khulataa zahuur kyaa
vo bolaa sun ke teraa gayaa hai sha_uur kyaa
kashf-ul-quluub aur ye kashf-ul-qubuur kyaa

jitane hain kashf sab ye dikhaatii hain roTiyaaN

roTii jab aaii peT men sau qand ghul gaye
gul_zaar phuule aaNkhon men aur aish tul gaye
do tar nivaale peT men jab aa ke dhul gaye
chaudaa tabaq ke jitane the sab bhed khul gaye

ye kashf ye kamaal dikhaatii hain roTiyaaN

roTii na peT mein ho to phir kuchh jatan na ho
mele kii sair Khvaahish-e-baaG-o-chaman na ho
bhuuke Gariib dil kii Khudaa se lagan na ho
sach hai kahaa kisii ne ke bhuuke bhajan na ho

allaah kii bhii yaad dilaatii hain roTiyaaN

ab jin ke aage maal_puye bhar ke thaal hain
puurii bhagat unhiin kii vo saahab ke laal hain
aur jin ke aage rauGanii aur shiir_maal hain
aarif vohii hain aur vohii saahab kamaal hain

pakii pakaaii ab jinhen aatii hain roTiyaaN

kapa.De kisii ke laal hain roTii ke vaaste
lambe kisii ke baal hain roTii ke vaaste
baaNdhe koii rumaal hai rotii ke vaaste
sab kashf aur kamaal hain rotii ke vaaste

jitane hain ruup sab ye dikhaatii hain roTiyaaN

roTii se naache piyaadaa qavaayad dikhaa dikhaa
asavaar naache gho.De ko kaavaa lagaa lagaa
ghungharuu ko baaNdhe paik bhii phirataa hai naachataa
aur is ke sivaa Gaur se dekho to jaa ba jaa

sau sau tarah ke naach dikhaatii hain roTiyaaN

duniyaa mein ab badii na kahiin aur nikoii hai
na dushmanii va dostii na tund khoii hai
koii kisii kaa aur kisii kaa na koii hai
sab koii hai usii kaa ke jis haath Doii hai

naukar nafar Gulaam banaatii hain roTiyaaN

roTii kaa ab azal se hamaaraa to hai Khamiir
ruukhii bhii roTii haq mein hamaare hai shahad-o-shiir
yaa patalii hove moTii Khamiirii ho yaa katiir
gehuuN juaar baajare kii jaisii ho 'Nazeer'

ham ko sab tarah kii Khush aatii hain roTiyaaN

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iid ul fitr
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hai aabidon ko ta'at-o-tajariid kii Khushii
aur zaahidon ko zuhad kii tamahiid kii Khushii ri.nd aashiqo.n ko hai ka_ii ummiid kii Khushii kuchh dil-baro.n ke val kii kuchh diid kii Khushii

[aabid=devotee; ta'at=devotion; tajariid=solitude] [zaahid=preacher; zuhad kii tamaheed=start of religious talk]

aisii na shab-e-baraat na baqriid kii Khushii
jaisii har ek dil men hai is iid kii Khushii

pichhale pahar se uTh ke nahaane kii dhuum hai shiir-o-shakar sivayyaa N pakaane kii dhuum hai piir-o-javaan ko nema'ten khaane kii dhuum hai laDako ko iid-gaah ke jaane kii dhuum hai

[piir=old; nema't=bounty]

aisii na shab-e-baraat na baqriid kii Khushii
jaisii har ek dil mein hai is iid kii Khushii

koii to mast phirtaa hai jaam-e-sharab se
koii pukarataa hai ke chhuuTe azaab se
kallaa kisii kaa phuulaa hai laDDuu kii chaab se chaTakaaren jii men bharate hain naan-o-kabaab se

[azaab=agony; kallaa=cheek]

aisii na shab-e-baraat na baqriid kii Khushii
jaisii har ek dil men hai is iid kii Khushii

kyaa hi muaanqe kii machii hai ulaT palaT
milate hain dauD dauD ke baaham jhapaT jhapaT phirate hain dil-baron ke bhii galiyon men Gat
ke Gat aashiq maze uDaate hain har dam lipaT lipaT

[muaaniq=embrace; GaT=crowd]

aisii na shab-e-baraat na baqriid kii Khushii
jaisii har ek dil men hai is iid kii Khushii

kaajal hinaa Gazab masii-o-paan kii dhaDii pishavaazen surKh sausanii laahii kii phul-jhaDii kurtii kabhii dikhaa kabhii angiyaa kasii kaDii
kah "iid iid" luuTen hain dil ko ghadii ghaDii

[pishwaaz=ladies' skirt]

aisii na shab-e-baraat na baqriid kii Khushii
jaisii har ek dil me.n hai is iid kii Khushii

roze kii Khushkiyon se jo hain zard zard gaal Khush ho gaye vo dekhate hii iid kaa hilaal poshaaken tan me.n zard, sunaharii safed laal dil kyaa ke ha.Ns rahaa hai pa.Daa tan ka baal baal

[roze=fastings; hilaal=crescent moon of Eid; poshaak=clothes]

aisii na shab-e-baraat na baqriid kii Khushii
jaisii har ek dil men hai is iid kii Khushii

jo jo ke un ke husn kii rakhate hain dil se chaah jaate hain un ke saath taa baa-iid-gaah
topon ke shor aur dogaanon kii rasm-o-raah mayaane, khilone, sair, maze, aish, vaah-vaah

aisii na shab-e-baraat na baqriid kii Khushii
jaisii har ek dil mein hai is iid kii Khushii
aisii na shab-e-baraat na baqriid kii Khushii
jaisii har ek dil mein hai is iid kii Khushii

rozon kii saKhtiyon men na hote agar amiir
to aisii iid kii na Khushii hotii dil-paziir
sab shaad hain gadaa se lagaa shaah taa vaziir dekhaa jo ham ne Khuub to sach hai miyaaN "Nazeer"

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Shayer Mirza Rafi Sauda ..the enlightment...

Adam ka dil jub ke anaser se mil bana

kuch aag bach rahi thi so ashiq ka dil bana

Leading Urdu poet of his time, Mirza Muhammad Rafi ‘Sauda’ was born in 1713 in Delhi. His ancestors originally belonged to Kabul and were soldiers by profession. His father ‘Mirza Shafi’ came to India for business. Mirza Rafi was raised and educated in Delhi. His house was in the Kabuli Gate area, which was destroyed in the destruction of Delhi during independence movement of 1857.

Sauda chose Sulaiman Quli Khan 'Vidad' as his ustad, and then he became pupil of ‘Shah Hatim’. Shah Hatim regarded Sauda as his great pupil.

Sauda originally wrote poetry in Persian but ‘Khan-e-Arzu’ his senior and mentor said advised Mirza that in Persian you cannot be such that your poetry, would be worthy of praise. You have the temperament for metrical composition and have an extremely great affinity for verse. If you compose in Urdu, you will be unique in your age. Sauda acted on his ustad's advice and he started writing in Urdu. Soon he gained fame and recognition and found patronage in the ruling Mughal King.


The emperor ‘Shah Alam’ began to give him his poetry for correction, and began to make demands on him. However his self-respect led him to leave the royal courts over an argument over poetry. It is said that one day the king pressed him for a certain ghazal. He offered some excuse. His Majesty commanded, “Mirza my friend, how many ghazals do you manage to compose every day?” Mirza said, “My Lord and Guide, when the urge is upon me, I manage to compose three or four verses”. His Majesty commanded, “My friend, while I'm seated on the toilet I'm able to compose four ghazals”. With folded hands he petitioned,”'Your Majesty, that's what they smell like, too”. With these words, he went away. The king again sent for him a number of times, and assured him the post of ‘Mulk-ush-Shuara’ if he does his ghazals. He did not go, and said, “What's the good of Your Majesty's ‘Mulk-ush-Shuara’?” If anything does it, then my poetry will make me "Mulk-ush-Shuara’". Then he composed a long ‘Shahr e Aashob’ in the form of a quintain.

Till the time Sauda left the royal courts and kept to his house, appreciators of his poetry were there, so that he had no cause for worry. Among them many were nobles and aristocrats, especially Meharban Khan, and Basant Khan. His fame had reached to places like Farukhabad and Awadh. ‘Nawab Shuja-ud-Daulah’ of Awadh invited him to Awadh and wrote to him with the greatest eagerness, sending the expenses for the journey, and asking him to come, but he replied giving excuses for not leaving Delhi. After many years when he was in distress he left Delhi at the age of 60 years. He stayed for few years in Farrukhabad, with ‘Nawab Bangash’ till 1770.

He came to Awadh in 1771. He arrived in the court of ‘Nawab Shuja-ud-Daulah’ and stayed in Faizabad, the then capital of Awadh for about three years. ‘Nawab Shuja-ud-Daula’ honored him with gifts and offered him salary of Rs. 200 per month. It was continued after the death of ‘Shuja-ud-Daula’ when ‘Asif-ud-Daulah’ became the Nawab of Awadh. Nawab ‘Aṣif-ud-Daula’ gave him title of ‘Mulk-ush-Shu'ara’ and annual pension of Rupees Six Thousand. In 1775 when capital of Awadh was moved to Lucknow Sauda also moved to Lucknow. Sauda remained with Asif-ud-Daula till his death.

Sauda died in on 26th June, 1781. He was 70 years at the time of his death. He was buried at ‘Imambara Agha Baqar’. Shah Hatim, the ustad of Sauda who was still alive, on hearing the news of Sauda’s demise, wept profusely and said, 'What a pity, my champion of poetry has died'.


Work

Sauda wrote ghazals, qasidas, marsias, salams and hajvs (satire). Muhammad Husain Azad compares Sauda to Persian poet Anwari. He writes, 'If Sauda can be compared to anyone, it is Anvari, who is the lord of idiom and language, and the king of ode and satire.'

His marsias were different form later marsia writers like ‘Anis’ and ‘Dabeer’. His each stanza consists of four-liners or four verses known as ruba'i or quatrain.

He was master of hajv (satire) in Urdu. Till this date nobody is considered to equal him. His satire reflects his wit and mischief. Every page of the collection of satires has sufficient matter for those who like to laugh. This shows exuberance and liveliness of his temperament.

He also wrote prose in a magazine called ‘Ibrat-ul-Ghafileen’ but his prose was considered quite difficult and lacked natural flow and spontaneity of his poetry.

‘Hakim Sayyed Aslah-ud-Din Khan’ compiled Sauda's complete works and also wrote an introduction for it. In 1872 it was literally translated by ‘Major Henry Court’, Captain of Bengal Cavalry. According to Muhammad Husain Azad, his work comprises Urdu odes (Qasidas), some Persian odes, twenty-four masnavis and many tales and versified anecdotes, then a short volume of his Persian poetry.


Then volume of Rekhtah comprises many incomparable ghazals, and opening verses, quatrains, extended-line poems (musatazads), verse-sets, chronograms, riddles, lover's complaints, repeated-line poems, quintains(mukhammas; he has composed everything. In every form of sauda's poetry there are satires that "turn the hearts and livers of his enemies sometimes to blood, sometimes to kabobs." And finally there was an anthology of Urdu poets which is not found now. Muhammad Husain Azad says, "...from start to finish it's an exemplary model for Urdu poetry and literature."

Sauda wrote Qasidas in praise of not only Nawab Shuja-ud-Dula and Asif-ud-Daula which are imcluded in ‘Kulliat-e-Sauda’, but also has written qasidas for ‘Sarfaraz-ud-Daula Hasan Raza Khan’,’Raja Tikait Rai’, ‘Richard Johnson’ etc.


Sauda, a leading Urdu poet of his time, His accomplishments were a cause of pride to the city of Delhi. His father Mirza Muhammad Shafi was from the aristocratic family of Kabul. His ancestors were soldiers by profession. Mirza Shafi came to India by means of trade. According to some, he got his pen-name 'Sauda' from his father's profession (Saudagar).


Sauda's name is generally mentioned along with Mir's in any discussion of Urdu poetry. Both are the poets of the Delhi School of Poetry, both are contemporaries (Sauda was elder to Mir by eight years), both migrated to Lucknow in the later part of their life, both are counted among the classics of Urdu poetry, and both made a remarkable contribution to the enrichment of poetry and poetic diction.

Work and Contribution of Mirza Muhammad Rafi
Hakim Sayyid Aslah-ud-Din Khan compiled Sauda's complete works and also wrote an introduction for it. According to Muhammad Husain Azad, his work comprises Urdu odes (Qasidas), some Persian odes, twenty-four masnavis and many tales and versified anecdotes, then a short volume of his Persian poetry. In every form of Sauda's poetry there are satires that turn the hearts and livers of his enemies sometimes to blood, sometimes to kabobs. He wrote Ghazals, Qasidas (Ode/Panegyric), Marsias (elegies), Salams and Hajvs (lampoon/ satire).

His marsias were different form later Marsia writers like Anis and Dabeer, each stanza consists of four-liners or four verses known as Ruba'i or quatrain.


Ustads and shagirds
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Sulaimān Qulī Ḳhān ‘Vidād’was his first Ustad (teacher of Urdu poetry) and Shāh Ḥātim too, in the introduction to his volume in which he provides a list of his pupils has recorded Mirzā’s name.King Shah Alam was Shagird (student of Urdu poetry) of ‘Sauda’ and gave him his poetry for correction.

He was a contemporary of Dard and Mir.
Movement from Delhi
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At the age of sixty or sixty six, he left Delhi and came to Farrukhabad(with Nawab Bangash),and lived there from 1757 to about 1770[3][8] In A.H. 1185 [1771-72] he moved to court of Nawab of Awadh (then in Faizabad) and remained ther till his death.When Lucknow became state capital, he came there with Nawab Shujauddaula.He was also Ustad of Shujauddaulla. Nawab Āṣif ud-Daulah gave him tiltle of Malkushshu’ara and annual pension of Rupees Six Thounsand.

He died in at the age of almost 70 years, in A.H. 1195 [1780-81], in Lucknow.
Works

He is recognized as a great qasidah poet, perhaps the greatest in Urdu. He was a major ghazal poet too. The soundest rock on which Sauda’s reputation rests today are his satires....

Sauda's work from his Kulliyat are:

1.Masnavi Dar Hajv-E Hakim Ghaus,

2.Masnavi Dar Hajv-E Amir-A Daulatmand Bakhil,

3.Masnavi Dar Ta'rif-E Shikar,

4.Masnavi Dar Hajv-E Pil Rajah Nripat Singh,

5.Masnavi Dar Hajv-E Sidi Faulad Khan Kotval-E Shahjahanabad,

6.Masnavi Dar Hajv-E Fidvi Mutavatan-E Panjab Kih Darasal Baqal Bachchah Bud,

7.Masnavi Dar Hajv-E Chipak Mirza Faizu,

8.Qissah-E Darvesh Kih Iradah-E Ziyarat-E Ka'bah Kardah Bud,

9.Mukhammas-E Shahr Aashob,

10.Qasidah Dar Madh-E Nawab Vazir Imad Ul-Mulk

11.Mukhammas On The Desolation Of Shahjahanabad (Delhi)

12.Eulogium On Imam Qasim, The Son Of Imam Husain

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Ghazal
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Dil mat tapak nazar se keh paya na jaye ga
Khoon-e-ashk phir zameen se uthaya na jaye ga


Rukhsat ae baagh'baan keh tak ik daikh lain chaman
Jaate hain waan jahan se phir aya na jaye ga


Teegh jafa-e-yaar se dil ! sar na phair tu
Phir munh wafa ko hum se dikhaya na jaye ga


Kaaba agarcha toota to kiya jaaye gham hai sheikh
Kuch qasr-e-dil nahin keh banaya na jaye ga

Zaalim main keh raha tha tu is khud gharz se dar'guzar
"Soda" ka qatal hai yeh chupaya na jaye ga

English Translation.
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O my poor heart, don’t flow out from
My eyes like blood, beware,
You will never be picked up again
From the ground, like useless tear.

If Kaba (The sacred Muslim Masque in Makkah) has been broken down,
Don’t feel sad, that’s not a lover’s heart,
Which can never be mend again,
If once broken apart.

In this world, we cannot achieve
That what our heart desire,
My wounds will never heal, not sewed
Like roses they’re on fire.

O my poor heart don’t turn your face,
If she has a sword for slaughter,
For if you cannot bear the pain,
How will you face the lovers?

O Shaikh (Saint) put off your turban when
You’re saying your prayers,
Or else you won’t be able to
Pickup your head from prostrate

O dear beloved don’t be cruel,
And don’t think of this slay,
For if you killed Sauda, with this
You will not get away.

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aadam kaa jism jab ke anaasar se mil banaa
kuchh aag bach rahii thii so aashiq kaa dil banaa

sar_garm-e-naalaa aaj kal mai.n bhii huun andliib
mat aashiyaan chaman me.n mere muttasil banaa

jab teshaa kohakaan ne liyaa haath tab ye ishq
bolaa ke apanii chhaatii pe rakhane ko sil banaa

jis tiiragii se roz hai ushaaq kaa siyaah
shaayad usii se cheharaa-e-Khubaan pe til banaa

lab zindagii me.n kab mile us lab se ai! kalaal
saaGar hamaarii Khaak ko mat kar ke gil banaa

apanaa hunar dikhaa de.nge ham tujh ko shiishaagar
tuuTaa hua kisii ka agar hamase dil banaa

sun sun ke arz-e-haal meraa yaar ne kahaa
"Sauda" na baate.n baiTh ke yaa.N muttasil banaa

anaasar=the five elements

ushaaq=plural of aashiq; siyaah=dark, black

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ve suraten ilahi kis mulk bastiyan hain

ab dekhne ko jin ke ankhen tarastiyan hain


aaya thā kyuun adam men kya kar chala jahan men

ye marg-o-zist tujh bin aapas men hanstiyan hain


kyunkar na ho mushabbak shisha sa dil hamara

us shoḳh kī nigahen patthar men dhanstiyan hain


barsat ka to mausam kab ka nikal gaya par

mizhgan kī ye ghaTaen ab tak barsatiyan hain


lete hain chhin kar dil ashiq kā pal men dekho

khuban ki ashiqon par kyā pesh-dastiyāñ haiñ


is vāste ki haiñ ye vahshī nikal na jāveñ

āñkhoñ ko merī mizhgāñ Doroñ se kastiyāñ haiñ


qīmat meñ un ke go ham do jag ko de chuke ab

us yaar kī nigāheñ tis par bhī sastiyāñ haiñ


un ne kahā ye mujh se ab chhoḌ duḳht-e-raz ko

piirī meñ ai divāne ye kaun mastiyāñ haiñ


jab maiñ kahā ye us se 'saudā' se apne mil ke

is saal tū hai saaqī aur mai-parastiyāñ haiñ

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har sañg mein sharār hai tere zuhur ka

muusā nahin ki sair karun koh-e-tur ka


padhiye durud husn-e-sabih-o-malih par

jalva har ek par hai mohammad ke nuur ka


todun ye aaina ki ham-aghosh-e-aks hai

hove na mujh ko paas jo tere huzūr kā


bekas koī marey to jaley us pe dil mirā

goya hai ye charagh ghariban ki gor ka


ham to qafas meñ aan ke khamosh ho rahe

ai ham-safir fāeda nāhaq ke shor ka


saaqi se kah ki hai shab-e-mahtab jalva-gar

de basma-posh ho ke tu saghar bilor ka


'sauda' kabhī na maniyo vaaiz kī guftugu

avaz-e-duhul hai khush-aind duur ka


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tujh ishq ke mariz kī tadbīr shart hai

lekin shifa ko gardish-e-taqdir shart hai


saudai dil ko zulf-e-girah-gir shart hai

divaane ke ilaaj mein zanjir shart hai


naale to mein bahut kiye us but ke samne

patthar ke narm karne ko tasir shart hai


ho ḳhaak rah-e-ishq mein tā-qadr ho tari

mis ke tila banane ko iksir shart hai


kaafi hai ik ishara-e-abru tira hamein

kuchh ashiqon ke qatl ko shamshir shart hai


dil ki shikast-o-reḳht ki mere to le ḳhabar

har ghar ki derpai ko taamir shart hai


karta hai kis gunah pe uqūbat hamen tu yaar

taazir ke to vaste taqsir shart hai


'sauda' main is chaman men huun juun ġhuncha dil-giraft

matam-sara men surat-e-dil-gir shart hai


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ai aah tiri qadr asar ne to na jaani

go tuj ko laqab ham ne diya arsh-makani


yak ḳhalq ki nazron men subuk ho gaya lekin

karta huun main ab tak tiri ḳhatir pe giranī


Tuk dida-e-tahqiq se tu dekh zuleḳha

har chaah men aata hai nazar yusuf-e-sani


mamur hai jis roz se virana-e-duniya

har jins ke insan ki ye maati gai chhani


ik vamiq-e-nau ka hai samajh chaak gareban

karti hai jo rakhna koi divaar purani


bulbul hi sisakti na thi kuchh baaġh meñ tujh bin

shabnam gulon ke munh men chuvati rahi paani


hai gosh-zada khalq mira qissa-e-jan-kah

jab se ki na samjhe tha tū chidiya kī kahani


juun shama mujhe sharm hai zunnar ki ai shaikh

maala na japun raat ko be-ashk-fishani


jis samt nazar mauj-e-sarab aave to ye jaan

hovegi kisi zulf-e-chalipa ki nishani


kya kya mile laila-manshan ḳhaak men 'sauda'

go apne bhi mahbub ki dekhi na javani


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