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

----------------------------------------------------------------------------------------


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


------------------------------------------------------------------------------

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


-------------------------------------------------------------------------------


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


----------------------------------------------------------------------------------------

Khwaja Meer Dard.....Mashaal-e-haq

tamana Teri Hai Agar Hai Tamana

Teri Aarzú Hai Agar Aarzú Hai

Khwaja Mir Dard

-----------------

Khwaja Meer Dard was born in 1721 and to ‘Khwaja Mohd. Nasir Andaleeb’. His father was a mystic saint and a poet. Dard received his education in an informal way at home, and in the company of the learned people. He acquired a command of Arabic and Persian, as also of the Sufi lore. He also developed a deep love of music, possibly, through his association with the singers and Qawaals who frequented his father's house. He renounced earthly pleasures at the young age of 28, and led a life of piety and humility.

Dard lived in a turbulent social and political scenario. At that time Delhi was subjected to the repeated assaults of invaders like Ahmed Shah and Nadir Shah, and the people of Delhi were forced to migrate to safer places. Dard's mysticism, though it was an inherited trait deeply ingrained in his nature, could also be explained as a reaction to the harsh realities of the outside world. Unlike his contemporary poets, Meer and Sauda, both of whom had moved to Lucknow under the circumstances, Dard stuck to Delhi. He sought strength in the tenets of the Sufi creed, which stressed the virtues of faith and fortitude, and taught a happy submission to the will of God. It is this faith which lends an element of courage and restraint to Dard's poetry and sets it apart from the plaintive manner of Meer.

Dard is one of the three major poets of the Delhi School, the other two being ‘Mir Taqi Mir’ and ‘Mirza Sauda’, who could be called the pillars of the classical Urdu ghazal. While Mir Taqi Mir, the greatest of them all, is remembered as a poet of love and pathos, and Sauda as a spedalistin satire and panegyric, Dard is first and foremost a mystic, who regards the phenomenal world as a veil of the eternal Reality, and this life as a term of exile from our real home.

Dard inherited his mystical temperament from his father, Nasir Andlib. However, the secret of Dard's appeal as a poet lies not in his mysticism, but in his ability to transmute this mysticism into poetry, and to present transcendental love in terms of human and earthly love. Although he has written ghazals which are unambiguously mystical in their intent, his best couplets can be read at both the secular and spiritual levels, and are, for this reason, acceptable to all. In addition, Dard had also written ghazals which deal with a patently sensuous and earthly love, and deserve to be classed with the best poetry of this kind. Dard generally excels in short ghazals of about seven to nine verses, written in comparatively short measures. His style is simple, natural and musical; his content, thoughtful and thought-provoking. He is not a voluminous writer.

His publications are a collection of Urdu ghazals, a divan in Persian, and some articles in Urdu and Persian prose. Dard's Persian prose works are extensive, consisting of the “Ilm ul Kitab”, a 600+ page metaphysical work on the philosophy of the Muhammadi path, and the “Chahar Risalat”, collections of more than a thousand mystical aphorisms and sayings.

Khwaja Mir Dard is one of the three major poets of the Delhi School — the other two being Mir Taqi Mir and 'Sauda' — who could be called the pillars of the classical Urdu ghazal.

Philosophy

---------------

Dard was first and foremost a mystic, a prominent member of the Naqshbandi Mujaddidi order, and the head of the Muhammadi path (tariqah muhammadiyah, a Mujaddidi offshoot) in Delhi. He regarded the phenomenal world as a veil of the eternal Reality, and this life as a term of exile from our real home. Dard inherited his mystical temperament from his father, Khwaja Muhammad Nasir Andalib, who was a mystic saint and a poet, and the founder of the Muhammadi path.

Education

---------------

Dard received his education in an informal way at home, and in the company of the learned, acquiring in due course a command of Arabic and Persian, as also of Sufi lore. He also developed a deep love of music, possibly, through his association with singers and qawaals who frequented his father's house. He renounced earthly pleasures at the young age of 28, and led a life of piety and humility.

Poetry

----------

The secret of Dard's appeal as a poet lies not in his mysticism, but in his ability to transmute this mysticism into poetry, and to present transcendental love in terms of human and earthly love. Although he has written ghazals which are unambiguously mystical in their intent, his best couplets can be read at both the secular and spiritual levels, and are, for this reason, acceptable to all and sundry. In addition, Dard had also written ghazals which deal with a patently sensuous and earthly love, and deserve to be classed with the best poetry of this kind. Dard generally excels in short ghazals of about seven to nine verses, written in comparatively short measures. His style is simple, natural and musical; his content, thoughtful and thought-provoking. His poetry includes a collection of Urdu ghazals and a divan in Persian.

Dard's Persian prose works are extensive, consisting of the Ilm ul Kitab, a 600+ page metaphysical work on the philosophy of the Muhammadi path, and the Chahar Risalat, collections of more than a thousand mystical aphorisms and sayings.

"My friend, we've seen enough fine sights, through which we loved to roam.

You stay on to enjoy them; we are ready to go home."

Khwaja Meer Dard was born in 1721 and to ‘Khwaja Mohd. Nasir Andaleeb’. His father was a mystic saint and a poet. Dard received his education in an informal way at home, and in the company of the learned people. He acquired a command of Arabic and Persian, as also of the Sufi lore. He also developed a deep love of music, possibly, through his association with the singers and Qawaals who frequented his father's house. He renounced earthly pleasures at the young age of 28, and led a life of piety and humility.

Dard lived in a turbulent social and political scenario. At that time Delhi was subjected to the repeated assaults of invaders like Ahmed Shah and Nadir Shah, and the people of Delhi were forced to migrate to safer places. Dard's mysticism, though it was an inherited trait deeply ingrained in his nature, could also be explained as a reaction to the harsh realities of the outside world. Unlike his contemporary poets, Meer and Sauda, both of whom had moved to Lucknow under the circumstances, Dard stuck to Delhi. He sought strength in the tenets of the Sufi creed, which stressed the virtues of faith and fortitude, and taught a happy submission to the will of God. It is this faith which lends an element of courage and restraint to Dard's poetry and sets it apart from the plaintive manner of Meer.

Dard is one of the three major poets of the Delhi School, the other two being ‘Mir Taqi Mir’ and ‘Mirza Sauda’, who could be called the pillars of the classical Urdu ghazal. While Mir Taqi Mir, the greatest of them all, is remembered as a poet of love and pathos, and Sauda as a spedalistin satire and panegyric, Dard is first and foremost a mystic, who regards the phenomenal world as a veil of the eternal Reality, and this life as a term of exile from our real home.

Dard inherited his mystical temperament from his father, Nasir Andlib. However, the secret of Dard's appeal as a poet lies not in his mysticism, but in his ability to transmute this mysticism into poetry, and to present transcendental love in terms of human and earthly love. Although he has written ghazals which are unambiguously mystical in their intent, his best couplets can be read at both the secular and spiritual levels, and are, for this reason, acceptable to all. In addition, Dard had also written ghazals which deal with a patently sensuous and earthly love, and deserve to be classed with the best poetry of this kind. Dard generally excels in short ghazals of about seven to nine verses, written in comparatively short measures. His style is simple, natural and musical; his content, thoughtful and thought-provoking. He is not a voluminous writer.

His publications are a collection of Urdu ghazals, a divan in Persian, and some articles in Urdu and Persian prose. Dard's Persian prose works are extensive, consisting of the “Ilm ul Kitab”, a 600+ page metaphysical work on the philosophy of the Muhammadi path, and the “Chahar Risalat”, collections of more than a thousand mystical aphorisms and sayings.

-----------------------------------------------

Tohmaten Chand Apne Zimme Dhar Chale
Jis Liye Aaye The So Ham Kar Chale

Zindegi Hai Ya Koi Tufaan Hai
Ham To Is Jine Ke Haathon Mar Chale

Kya Hamen Kaam Is Gulon Se Ai Saba
Ek Dam Aaye Idhar Udhar Chale

Dosto Dekha Tamasha Yaan Ka Sab
Tum Raho Khush Ham To Apne Ghar Chale

Aah Bas Ji Mat Jala Tab Jaaniye
Jab Koi Afsun Tera Us Paar Chale

Shamaa Ki Maanind Ham Is Bazm Main
Chashm-Nam Aaye The Daaman-Tar Chale

Dhundhte Hain Aap Se Usko Pare
Shekh Saahib Chhod Ghar Baahar Chale

Ham Jahaan Main Aaye The Tanhavaale
Saath Apne Ab Use Lekar Chale

Jun Sharaar Ai Hasti-E-Bebud Yaan
Baare Ham Bhi Apni Baari Bhar Chale

Ek Main Dil Resh Hun Vaisa Hi Dost
Zakhm Kitno Ka Suna Hai Bhar Chale

Ham Na Jaane Paaye Baahar Aap Se
Vo Bhi Aade Aa Gaya Jidhar Chale

Saaqiya Yaan Lag Raha Hai Chal Chalaao
Jab Talak Bas Chal Sake Saaghar Chale

“Dard” Kuch Maalum Hai Ye Log Sab
Kis Taraf Se Aaye The Kidhar Chale

-----------------------------------------------

Agar Yon Hi Ye Dil Satata Rahe Ga
To Ik Din Mera Ji Hi Jaata Rahe Ga

Main Jaata Hoon Dil Ko Tere Paas Chhode
Meri Yaad Tujhko Dilata Rahe Ga

Gali Se Teri Dil Ko Le To Chala Hoon
Main Pahunchun Ga Jab Tak Ye Aata Rahe Ga

Qafas Main Koi Tum Se Ai Ham-Safiron
Khabar Kal Ki Hamko Sunata Rahe Ga

Khafa Ho Ki Ai “Dard” Mar To Chala Tu
Kahaan Tak Gham Apna Chhupata Rahe Ga

------------------------------------------

Chaman Main Subah Ye Kahti Thi Ho Kar Chashm-E-Tar Shabnam
Bahaar-E-Baag To Yun Hi Rahi Lekin Kidhar Shabnam

Arq Ki Bund Us Ki Zulf Se Rukhsaar Par Tapki
Tajjub Ki Hai Jaage Ye Padi Khurshid Par Shabnam

Hamen To Baagh Tujh Bin Khaana-E-Maatam Nazar Ayaa
Idhar Gul Pharte The Jeb, Roti Thi Udhar Shabnam

Kare Hai Kuch Na Kuch Taasir Sohbat Saaf Taabon Ki
Hui Aatish Se Gul Ke Baithte Rashq-E-Sharar Shabnam

Bhala Tuk Subah Hone Do Ise Bhi Dekh Levenge
Kisi Aashiq Ke Rone Se Nahin Rakhti Khabar Shabnam

Nahin Asbaab Kuch Laazim Subak Saaron Ke Uthane Ko
Gai Ud Dekhte Apne Bagair Az Baal-O-Par Shabnam

Na Paaya Jo Gaya Is Baag Se Hargiz Suraag Uska
Na Palti Phir Sabaa Idhar, Na Phir Aai Nazar Shabnam

Na Samjha Dard Hamne Bhed Yaan Ki Shaadi-O-Gham Ka
Sahar Khandaan Hai Kyon Roti Hai Kis Ko Yaak Kar Shabnam

-------------------------------------------------------------
zindagii hai yaa koii tuufaan hai
ham to is jiine ke haathon mar chale


kyaa hame.n kaam is gulon se ai sabaa
ek dam aaye idhar udhar chale


dosto dekhaa tamaashaa yaaN kaa sab
tum raho Khush ham to apane ghar chale


aah bas jii mat jalaa tab jaaniye
jab koii afsun teraa us paar chale


shamaa kii maanind ham is bazm men
chashm-nam aaye the daaman-tar chale


DhuuNdhate hain aap se usako pare
sheKh saahib chhoD ghar baahar chale


ham jahaaN men aaye the tanhaavaale
saath apane ab use lekar chale


juu.N sharaar ai hasti-e-bebud yaaN
baare ham bhii apanii baarii bhar chale


ek main dil resh huuN vaisaa hii dost
zaKhm kitanon kaa sunaa hai bhar chale


ham na jaane paaye baahar aap se
vo bhii aaDe aa gayaa jidhar chale


saaqiiyaa yaaN lag rahaa hai chal chalaao
jab talak bas chal sake saaGar chale


"Dard" kuchh maaluum hai ye log sab
kis taraf se aaye the kidhar chale

-----------------------------------------------------------------------------------------------------------
ham tujh se kis havas kii falak justajuu karen
dil hii nahiin rahaa hai jo kuchh aarazuu karen



miT jaayen ek aan men kasarat namayaaN
ham aaiine ke saamane aa kar jo huu karen

taar-daamani pe sheiKh hamaarii na jaaiio
daaman nichoD den to farishte vazuu karen

sar taa qadam zabaaN hai juuN shamaa go ke ham
par ye kahaaN majaal jo kuchh guftaguu karen

har chand aaiinaa huuN par itanaa na qabuul
muuNh pher le vo jisake mujhe ruubaruu karen

ne gul ko hai sabaat ne ham ko aitabaar
kis baat par chaman havas-e-rang-o-buu karen

hai apanii ye salaah ke sab zahidaan-e-shahar
ai "Dard" aa ke bet-e-dast-e-sabuu karen

----------------------------------------------------------

mera jii hai jab tak teri justajuu hai
zabaan jab talak hai yahi guftagu hai


Khuda jaane kyaa hogaa anjaam is kaa
main besabar itana huN wo tund Khuu hai


tamannaa hai teri agar hai tamannaa
terii aarazuu hai, agar arazu hai


kiya sair hamane gulzaar-e-duniya
gul-e-dostii men ajab rang-o-buu hai


Ganimat hai ye diid waa diid-e-yaaraaN
jahaaN mund gayii aaNkh, main huuN na tu hai


nazar mere dil ki paDii "dard" kis par
jidhar dekhataa huuN wahii ruu-ba-ruu hai

----------------------------------------------

tujhii ko jo yaaN jalwaa farmaa na dekhaa
baraabar hai duniyaa ko dekhaaa na dekhaa


mera Guncha-e-dil hai woh dil-girifata
ke jis ko kaso ne kabhii waa na dekha


aziat, musibat, malaamat, balaayen
tere ishq men ham ne kyaa kyaa na dekha


kiya mujh ko daaGon sarv-e-chiraaGaaN
kabho tu ne aakar tamaashaa na dekha


taGaaful ne tere ye kuchh din dikhaaye
idhar tu ne lekin na dekhaa, na dekha


hijaab-e-ruKh-e-yaar the aap hii ham
khulii aa.Nkh jab, koii paradaa na dekha


shab-o-roz aye "Dard" darapaii huN us ke
kaso ne jise yaaN samajhaa na dekha

---------------------------------------------

jag men aakar idhar udhar dekhaa
tuu hii aayaa nazar jidhar dekhaa

jaan se ho gaye badan Khaalii
jis taraf tune aaNkh bhar ke dekhaa

naala fariyaad aah aur zaarii
aap se ho sakaa so kar dekhaa

un labon ne kii na masihaaii
ham ne sau -sau tarah se mar dekhaa

zor aashiq mizaaj hai koii
"Dard" ko qisaa-e-muKhtasar dekhaa

-----------------------------------------------

Paasbaan-e-Aqal-....Allama Iqbal

khudi ko kar buland itna ki har taqdir se pahle 

khudā bande se khud puchhe bata teri raza kya hai

The Poet-Philosopher
--------------------

Sir Iqbal was undoubtedly one of the greatest poets, philosophers and seers of humanity of all times. He took a prominent part in the politics of the country and in the intellectual and cultural reconstruction of the Islamic world. His contribution to the literature and thought of the world will live for ever.


Biography
------------

Sir Muhammad Iqbal, fondly remembered as Allama Iqbal, was born in Sialkot on November 9, 1877. He was educated at Sialkot and Lahore, and later at Cambridge. After receiving a doctorate from the Ludwig-Maximillian University at Munich in 1907 for his thesis The Development of Metaphysics in Persia, and bar at law from Lincoln's Inn in 1908, he practiced law for many years in Lahore, the city he had adopted as his home.

Iqbal's fame as a poet grew with his annual performances at the sessions of a philanthropic association from 1900 in Lahore and the publication of his poems in Makhzan, a leading literary magazine from 1901. With Asrar-i-Khudi (The Secrets of the Self), he shifted to Persian, especially the form of mathnavi, as the prime medium of expression for his philosophical ideas. His greatest masterpiece was Javidnama (1932), a spiritual odyssey across the universe under the guidance of Rumi and culminating in an interview with God. Among his Urdu anthologies, Bang-i-Dara (The Caravan Bell), which came out in 1924, remains the most popular and includes such well-known poems as 'The Complaint,' 'The Candle and the Poet' and 'Khizr of the Way' while Baal-i-Gabriel (The Flight of Gabriel) in 1936 took the literary forms of Urdu poetry to unprecedented heights through poems such as 'The Mosque of Cordoba,' which is often estimated to be the greatest poem in that language.

Iqbal's stature as a philosopher rests mainly on his superb poetry but is thoroughly supplemented by his prose writings, especially The Reconstruction of Religious Thought in Islam. He also supported the idea of a separate Muslim state in the North-West of South Asia in his Presidential Address to the annual session of the All India Muslim League at Allahabad in December 1930. In the subsequent years he gave active support to the cause of this state although he did not live to see its making as Pakistan in 1947, when he was officially acclaimed as its ideological founding father. He died in Lahore on April 21, 1938.

---------------------------------------------------

majnun ne shahr chhoDa to sahra bhi chhoD de
nazzare ki hawas ho to laila bhi chhoD de

waiz kamal-e-tark se milti hai yan murad
duniya jo chhoD di hai to uqba bhi chhoD de

taqlid ki rawish se to behtar hai KHud-kushi
rasta bhi DhunD KHizr ka sauda bhi chhoD de

manind-e-KHama teri zaban par hai harf-e-ghair
begana shai pe nazish-e-beja bhi chhoD de

lutf-e-kalam kya jo na ho dil mein dard-e-ishq
bismil nahin hai tu to taDapna bhi chhoD de

shabnam ki tarah phulon pe ro aur chaman se chal
is bagh mein qayam ka sauda bhi chhoD de

hai aashiqi mein rasm alag sab se baiThna
but-KHana bhi haram bhi kalisa bhi chhoD de

sauda-gari nahin ye ibaadat KHuda ki hai
ai be-KHabar jaza ki tamanna bhi chhoD de

achchha hai dil ke sath rahe pasban-e-aql
lekin kabhi kabhi ise tanha bhi chhoD de

jina wo kya jo ho nafas-e-ghair par madar
shohrat ki zindagi ka bharosa bhi chhoD de

shoKHi si hai sawal-e-mukarrar mein ai kalim
shart-e-raza ye hai ki taqaza bhi chhoD de

waiz subut lae jo mai ke jawaz mein
‘iqbaal’ ko ye zid hai ki pina bhi chhoD de

------------------------------------------------

Nigah-e-faqr main shaan-e-sikandari kya hai?
Khiraaj ki jo gada ho, wo qaiseri kya hai?
Falaq nay ki hai ata un ko khaajgi kay jinhain
Khabar nahin rawish-e-banda parwari kya hai?
Kissey nahin hai tamanna-e-sarwari lekin
Khudi ki mout ho jis main, wo sarwari kya hai?
Buton say tujh ko umeedain, Khuda say no meedi
Mujhey bata tou sahi aur kaafri kya hai?

-------------------------------------------------------------

ḳhird-mandon se kya puchhun ki meri ibtida kya hai

ki main is fikr men rahta huun meri intiha kya hai

ḳhudi ko kar buland itna ki har taqdīr se pahle

ḳhuda bande se ḳhud puchhe bata teri raza kya hai

maqam-e-guftugu kya hai agar main kimiya-gar huun

yahi soz-e-nafas hai aur meri kimiya kya hai

nazar aa.iin mujhe taqdir ki gahra.iyan is men

na puchh ai ham-nashin mujh se vo chashm-e-surma-sa kya hai

agar hota vo majzub-e-farangi is zamāne men

to ‘iqbal’ us ko samjhata maqam-e-kibriya kya hai

nava-e-sub.h-gahi ne jigar ḳhuun kar diya mera

ḳhudaya jis ḳhata ki ye saza hai vo ḳhata kya hai

-------------------------------------------------------------
kabhi ai haqiqat-e-muntazar nazar aa libas-e-majaz men

ki hazaron sajde taḌap rahe hain miri jabin-e-niyaz men

tarab-ashna-e-ḳharosh ho to nava hai mahram-e-gosh ho

vo sarod kya ki chhupa hua ho sukut-e-parda-e-saz men

tu bacha bacha ke na rakh ise tira aa.ina hai vo aa.ina

ki shikasta ho to aziz-tar hai nigah-e-a.ina-saz men

dam-e-tauf kirmak-e-sham.a ne ye kaha ki vo asar-e-kuhan

na tiri hikayat-e-soz men na miri hadis-e-gudaz men

na kahin jahan men amaan mili jo amaan mili to kahan mili

mire jurm-e-ḳhana-ḳharab ko tire afv-e-banda-navaz men

na vo ishq men rahin garmiyan na vo husn men rahin shoḳhiyan

na vo ghaznavi men taḌap rahi na vo ḳham hai zulf-e-ayaz main

main jo sar-ba-sajda hua kabhi to zamin se aane lagi sada

tera dil to hai sanam-ashna tujhe kya milega namaz men

------------------------------------------------------------

jinhen main dhundhta tha asmanon mein zamiinon mein

vo nikale mere zulmat-e-Khana-e-dil ke makiinon mein

mahiine vasl ke ghadiyon kii suurat udte jaate hain

magar ghadiyaan judaaii kii guzartii hai mahinon mein

mujhe rokega tu aye na-khuda kya garq hone se

ki jin ko dubna hai duub jaate hain safiinon mein

jalaa saktii hai sham-e-kushta ko mauj-e-nafas un kii

ilaahii kya chupa hota hai ahal-e-dil ke siinon mein

tamannaa dard-e-dil kii ho to kar Khidamat faqiiron kii

nahiin milta ye gauhar badashahon ke Khaziinon mein

muhabbat ke liye dil dhuundh koii tuutanevaala

ye vo maye hai jise rakhte hain naazuk aab_giinon mein

buraa samjhun unhein mujh se to aisaa ho nahiin sakta

ki main Khud bhii to hun "Iqbal" apne nukta-chiinon mein

-----------------------------------------------------------

[naKhuda = boatsman; garq = drowning; safiinaa = boat]

[sham-e-kushtaa = extinguished candle/flame]

[mauj-e-nafas = waves of (one's) breath]

[aab_giinaa = delicate decanter (wine container) made of glass]

Asrar ul Haq Majaz .....bujh gaye charagh kaise kaise.....

bujh gaye charagh kaise kaise

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Asrar ul Haq Majaz was a distinguished and one of the most progressive Urdu shayar and journalist famous for romantic and revolutionary poetry. He was the maternal uncle of film lyricist Javed Akhtar. His father's name was Sirajul Haq. Majaz did his graduation from Aligarh Muslim University, where he started his career as a poet. Majaz began his career as the first editor of the Urdu journal of All India Radio, Aawaz – Delhi. However, he soon left the job to become an active member of the Progressive Writers Movement. In collaboration, with Sardar Jaffri and Sibtey Hasan, he started the most influential progressive literary monthly magazine of that period, from Lucknow. This magazine was known as Naya Adab. His collections of poems are under two titles, 'Ahang' and 'Shab Tab'. His most famous poem is 'Aawara'. It is a personification of the yearning of a modern young man of a big city, where money is the only commodity that can buy happiness. His other poems like Nora and Nazr-e-Aligarh were also very famous during that era. At one point of time he was undergoing treatment for addiction to alcohol at Ranchi Mental Hospital. He died in Lucknow in 1955.

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dāman-e-dil pe nahīñ bārish-e-ilhām abhī

ishq nā-puḳhta abhī jazb-e-darūñ ḳhaam abhī

ḳhud hī jhuktā huuñ ki da.avā-e-junūñ kyā kījiye

kuchh gavārā bhī hai ye qaid-e-dar-o-bām abhī

ye javānī to abhī mā.il-e-paikār nahīñ

ye javānī to hai rusvā-e-mai-o-jām abhī

vaa.iz o shaiḳh ne sar joḌ ke badnām kiyā

varna badnām na hotī mai-e-gulfām abhī

maiñ ba-sad-faḳhriya zuhhād se kahtā huuñ 'majāz'

mujh ko hāsil, sharf-e-bai.at-e-ḳhayyām abhī

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aish se be-niyāz haiñ ham log

be-ḳhud-e-soz-o-sāz haiñ ham log

jis tarah chāhe chheḌ de ham ko

tere hāthoñ meñ saaz haiñ ham log

be-sabab iltifāt kyā maanī

kuchh to ai chashm-e-nāz haiñ ham log

mahfil-e-soz o saaz hai duniyā

hāsil-e-soz o saaz haiñ ham log

koī is raaz se nahīñ vāqif

kyuñ sarāpā niyāz haiñ ham log

ham ko rusvā na kar zamāne meñ

bas-ki terā hī raaz haiñ ham log

sab isī ishq ke karishme haiñ

varna kyā ai 'majāz' haiñ ham log

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aql kī sat.h se kuchh aur ubhar jaanā thā

ishq ko manzil-e-pastī se guzar jaanā thā

jalve the halqa-e-sar dām-e-nazar se bāhar

maiñ ne har jalve ko pāband-e-nazar jaanā thā

husn kā ġham bhī hasīñ fikr hasīñ dard hasīñ

un ko har rañg meñ har taur sañvar jaanā thā

husn ne shauq ke hañgāme to dekhe the bahut

ishq ke dāva-e-taqdīs se Dar jaanā thā

ye to kyā kahiye chalā thā maiñ kahāñ se hamdam

mujh ko ye bhī na thā maalūm kidhar jaanā thā

husn aur ishq ko de tāna-e-bedād 'majāz'

tum ko to sirf isī baat par mar jaanā thā

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ḳhāmushī kā to naam hotā hai

varna yuuñ bhī kalām hotā hai

ishq ko pūchhtā nahīñ koī

husn kā ehtirām hotā hai

aañkh se aañkh jab nahīñ miltī

dil se dil ham-kalām hotā hai

husn ko sharmsār karnā hī

ishq kā intiqām hotā hai

Allāh Allāh ye nāz-e-husn 'majāz'

intizār-e-salām hotā hai

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ḳhud dil meñ rah ke aañkh se parda kare koī

haañ lutf jab hai pā ke bhī DhūñDā kare koī

tum ne to hukm-e-tark-e-tamannā sunā diyā

kis dil se aah tark-e-tamannā kare koī

duniyā laraz ga.ī dil-e-hirmāñ-nasīb kī

is tarah sāz-e-aish na chheḌā kare koī

mujh ko ye aarzū vo uThāeñ naqāb ḳhud

un ko ye intizār taqāzā kare koī

rañgīni-e-naqāb meñ gum ho ga.ī nazar

kyā be-hijābiyoñ kā taqāzā kare koī

yā to kisī ko jurrat-e-dīdaār hī na ho

yā phir mirī nigāh se dekhā kare koī

hotī hai is meñ husn kī tauhīn ai 'majāz'

itnā na ahl-e-ishq ko rusvā kare koī


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Awara

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shahr kī raat aur maiñ nāshād o nākārā phirūñ

jagmagātī jāgtī saḌkoñ pe āvārā phirūñ

ġhair kī bastī hai kab tak dar-ba-dar maarā phirūñ

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

jhilmilāte qumqumoñ kī raah meñ zanjīr sī

raat ke hāthoñ meñ din kī mohnī tasvīr sī

mere siine par magar rakhī huī shamshīr sī

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

ye rupahlī chhāñv ye ākāsh par tāroñ kā jaal

jaise suufī kā tasavvur jaise āshiq kā ḳhayāl

aah lekin kaun jaane kaun samjhe jī kā haal

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

phir vo TuuTā ik sitāra phir vo chhūTī phul-jaḌī

jaane kis kī god meñ aa.ī ye motī kī laḌī

huuk sī siine meñ uTThī choT sī dil par paḌī

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

raat hañs hañs kar ye kahtī hai ki mai-ḳhāne meñ chal

phir kisī shahnāz-e-lāla-ruḳh ke kāshāne meñ chal

ye nahīñ mumkin to phir ai dost vīrāne meñ chal

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

har taraf bikhrī huī rañgīniyāñ ra.anā.iyāñ

har qadam par ishrateñ letī huī añgḌā.iyāñ

baḌh rahī haiñ god phailā.e hue rusvā.iyāñ

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

rāste meñ ruk ke dam le luuñ mirī aadat nahīñ

lauT kar vāpas chalā jā.ūñ mirī fitrat nahīñ

aur koī ham-navā mil jaa.e ye qismat nahīñ

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

muntazir hai ek tūfān-e-balā mere liye

ab bhī jaane kitne darvāze haiñ vā mere liye

par musībat hai mirā ahd-e-vafā mere liye

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

jī meñ aatā hai ki ab ahd-e-vafā bhī toḌ duuñ

un ko pā saktā huuñ maiñ ye aasrā bhī toḌ duuñ

haañ munāsib hai ye zanjīr-e-havā bhī toḌ duuñ

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

ik mahal kī aaḌ se niklā vo piilā māhtāb

jaise mullā kā amāma jaise baniye kī kitāb

jaise muflis kī javānī jaise beva kā shabāb

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

dil meñ ik sho.ala bhaḌak uTThā hai āḳhir kyā karūñ

merā paimāna chhalak uTThā hai āḳhir kyā karūñ

zaḳhm siine kā mahak uTThā hai āḳhir kyā karūñ

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

jī meñ aatā hai ye murda chāñd taare noch luuñ

is kināre noch luuñ aur us kināre noch luuñ

ek do kā zikr kyā saare ke saare noch luuñ

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

muflisī aur ye mazāhir haiñ nazar ke sāmne

saikḌoñ sultān-e-jābir haiñ nazar ke sāmne

saikḌoñ chañgez o nādir haiñ nazar ke sāmne

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

le ke ik chañgez ke hāthoñ se ḳhanjar toḌ duuñ

taaj par us ke damaktā hai jo patthar toḌ duuñ

koī toḌe yā na toḌe maiñ hī baḌh kar toḌ duuñ

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

baḌh ke us indar sabhā kā saaz o sāmāñ phūñk duuñ

us kā gulshan phūñk duuñ us kā shabistāñ phūñk duuñ

taḳht-e-sultāñ kyā maiñ saarā qasr-e-sultāñ phūñk duuñ

ai ġham-e-dil kyā karūñ ai vahshat-e-dil kyā karūñ

Meer Taqi Meer.......

Syed Amanullah Meer Taqi was the only son of a Sufi saint, Meer Muttaqi. When Meer was a little child, his father looking at his face used to say what this fire is which is burning within your heart that is reflecting on your face. Living in an atmosphere of Sufism at a very young age had profound effect on Meer. He did not have much desire for worldly things. This is a philosophy reflected by Meer in most of his works. A lot about Meer�s life has been figured out by his autobiographical writing called Zikr-e-Mir. To know more about Meer, continue to read this insightful biography on him.


Zikr-e-Mir covers a large part of his life, the time from his childhood to his youth in Lucknow. But the historians and anthropologists still have their doubts on it. It is mainly because the autobiographical account is not in a structured chronological order. It also is written in such a fashion that it masks more than it discloses the intimate details of Meer�s life. Meer�s father had a great influence on his personality since the time he was a little boy. His father believed in the goodness of life and highlighted the importance of feelings, emotions, love and compassion in life. His father was a god fearing man and taught him to be considerate and loving. Meer�s long narrative poems��Mu�amlat-e-ishq and Khwab O khyal-e-Mir, are considered to be inspired by his early love affairs with women but it cannot be said for certain whether every little detail in these poems is directly taken from poet�s own life or not.

After his father's death, at the age of 11 years, the people in whose care he had been left abandoned him. Meer left Agra for Delhi in search of livelihood. Samsamudaula gave him a scholarship of one rupee per day, but this did not continue for long because in 1739, Nadir Shah attacked Delhi in which Samsamudaula was killed. Soon Meer was homeless, jobless, and roaming in the streets aimlessly.

Meer belonged to the Mughal Delhi for the most of his life. He used to live in Kuchha Chelan in Old Delhi. He could not stand all the plundering that was going on at the time. He wrote a lot about the sad situation of the Delhi he so loved in some of his poems written around that time. After Nadir Shah's carnage there was no charm left in Delhi for the poets, many of them moved to Lucknow. When he migrated to Lucknow he was much disappointed because he was made to feel out-fashioned by his fellow courtiers at the court of Nawab Asaf-ud-Daulah. He too detested the writing of the new poets by calling their work as only �kissing and cuddling�. With this attitude and under such circumstances, Meer destroyed his relationship with the Nawab and fellow courtiers and ended up lonely. Meer came to Lucknow in 1783; Nawab Asafaddaula fixed him Rs. 200 a month stipend. His early experiences in life and shortness of money though had made a permanent change in his nature and even in the peaceful atmosphere of Lucknow he lived a terrible life. Simple things used to make him upset, many times he walked out of the Nawab's court. In 1810 he died in Lucknow.


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pata-pata buta-buta hal hamara

pata-pata buta-buta hal hamara jane hai
jane na jane gul hi na jane, bag to sara jane hai

lagne na de bas ho to us k gauhar-e-gosh k bale tak
us ko falak chashm-e-mai-o-khor ki titli ka tara jane hai

age us mutaqabbar k ham Khuda Khuda kiya karte hain
kab maujud khuda ko wo magrur khud-ara jane hai

ashiq sa to sada koi aur na hoga duniya main
ji k zian ko ishq main us k apna wara jane hai

charagari bimari-e-dil ki rasm-e-shahar-e-husn nahin
warna dilbar-e-nadan bhi is dard ka chara jane hai

kya hi shikar-farebi par magrur hai wo sayad bacha
tayar urte hawa main sare apni usra jane hai

mehar-o-wafa-o-lutf-o-inayat ek se waqif in main nahin
aur to sab kuch tanz-o-kanaya ramz-o-ishara jane hai

kya kya fitne sar par us k lata hai mashuq apna
jis bedil betab-o-tawan ko ishq ka mara jane hai

ashiq to murda hai hamesha ji uthta hai dekhe use
yar k a jane ko yakayak umr do bara jane hai


rakhnon se diwar-e-chaman k munh ko le hai chipa ya'ani
un surakhon k tuk rahne ko sau ka nazara jane hai

tashna-e-khun hai apna kita 'Mir' bhi nadan talkhikash
damdar ab-e-teg ko us k ab-e-gawara jane hai


Zulmat-e-shab ko sitaaron se sanwaara hum ne..
Meer Taqi Meer


Zulmat-e-shab ko sitaaron se sanwaara hum ne,
Kitni raton ko tujhe uthe ke pukara hum ne,

Jab kabhi hath se umeed ka daaman choota,
Le liya aap ke daaman ka sahara hum ne,

Yoon to dunya bhi mukhaalif hai hamari warna,
Rukh badaltey huye dekha hai tumhara hum ne,

Hum zamaney se bhi takraa gaye teri khaatir,
Jo na karna tha kiya woh bhi ganwaara hum ne,

Ae Taqi, Gham nahin yeh jaan rahe ya na rahe,
Paa liya un nighaaon ka ishaara hum ne..


hastee apnee Hubaab kee see hai


hastee apnee Hubaab kee see hai
ye numa'ish suraab kee see hai

naazukee uss ke lab kee kya kahiye
paNkhaRee ik gulaab kee see hai

baar-baar us ke dar pe jaata hooN
Haalat ab iztiraab kee see hai

maiN jo bola kaha ke ye aawaaz
usee KHaanah-KHaraab kee see hai

Meer" un neem-baaz aaNkhoN meN
saaree mastee sharaab kee see hai


Ulti hogayin sab tadbeeren kuch na davaa ne kaam kiya..
Meer Taqi Meer

Ultii ho gayin sab tadbeeren kuch na davaa ne kaam kiya,
Dekha iss beemari-e-dil ne aakhir kaam tamaam kiya,

Ehed-e-jawani ro ro kaata, peeri main li aankhen muund,
Yaani raat bohat they jaage subh hui araam kiya,

Naahaq hum majbooron pr yeh tohmat hai mukhtaari ki,
Chahte hain so aap karen hain hum ko abass badnaam kiya,

Meer ke deen-o-mazhab ko ab poochte kya ho us ne to,
Qashqaa kheencha dair main betha kab ka tark islam kiya..


Faqiraana aaye sadaa kar chale..
Meer Taqi Meer


Faqiraana aaye sadaa kar chale,
Mian khush raho hum duaa kar chale,

Jo tujh bhi na jeene ko kehte they hum,
So us ehd ko ab wafaa kar chale,

Shifaa apni taqdeer hi mei na thi,
Ke maqduur tak to dawaa kar chale,

Parre aese asbaab paayaan-e-kaar,
Ke na-chaaar yun hi jalaa kar chale,

Woh kya cheez hai aah jiss ke liye,
Har aik cheez se dil uthaa kar chale,

Koii na-umeedana karte nigaah,
So tum hum se muun bhi chupa kar chale,

Bohat aarzuu thi gali ki teri,
So yaan se lahuu mei nahaa kr chale,

Dikhaayi diye yuun ke be-khud kiya,
Hamen aap se bhi judaa kar chale,

Jabeen sajdaa karte hi karti gayi,
Haq-e-bandagi hum adaa kar chale,

Parastish ki yaan tak ke aayi buut tujhe,
Nazar me sabhon ki khudaa kar chale,

Jhadde phuul jis rang gulbun se yuun,
Chaman mei jahaan ke hum aa kar chale,

Na dekha gham-e-dostaan shukr hia,
Hamiin daagh apna dikhaa kar chale,

Gayi umar dar-band-e-fikr-e-ghazal,
So is fun ko aisaa barra kar chale,

Kahen kya jo puuche koii hum se “mir”,
Jahan mei tum aaye they kya kar chale..

ye dhuwan sa......


dekh to dil k jan se uthta hai
ye dhuan sa kahan se uthta hai

gor kis dil-jale ki hai ye falak
shola ik subah yan se uthta hai

khana-e-dil se zinhar na ja
koi aise makan se uthta hai

nala sar khenchata hai jab mera
shor ek asman se uthta hai

larti hai us ki chashm-e-shokh jahan
ek ashob wan se uthta hai

sudh le ghar ki bhi shola-e-awaz
dud kuch ashiyan se uthta hai

baithne kaun de hai phir us ko
jo tere astan se uthta hai

yun uthe ah us gali se ham
jaise koi jahan se uthta hai

ishq ik 'Meer' bhari paththar hai
bojh kab natawan se uthta hai


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