Mohsin Zaidi (1935 – 2003)

Mohsin Zaidi (1935 – 2003) was an Urdu poet who used to write by the pen name 'Mohsin'. Saiyed Mohsin Raza Zaidi (Urdu:سید محسن رضا زیدی ‎) was born in Bahraich, a town in the state of Uttar Pradesh in India on 10th July, 1935, to parents, Saiyed Ali Raza Zaidi and Sughra Begum. He died in Lucknow on 3rd September, 2003.

Education -

He had his early schooling in Pratapgarh, Uttar Pradesh - Islamia School (1940 – 1942); K. P. Hindu High School (1943 – 1948); Government High School (1949 – 1950).
He did his senior school from Maharaj Singh Inter College, Bahraich, Uttar Pradesh (1951-1952).
He did his Bachelor in Arts from Lucknow University, in English Literature, History, Economics (1953-1954).
He got his Masters in Economics from Allahabad University (1955-1956).

Occupation -
He joined the Indian Economic Service in 1956 and worked with the government of India till his retirement in 1993.
Career –
Held many positions with the Central Government in ministries of Chemicals & Fertilizers, Labour, Agriculture; and in the Planning Commission. He retired as a ‘Senior Economist’ in the Senior Administrative Grade of Joint Secretary. As part of government assignments he toured countries like Japan, Singapore, Hong Kong, Taiwan, Indonesia, Malaysia, Thailand and Algeria.
Through out his unblemished career he remained steadfast to his values of honesty and integrity.
Poetic Life –
He started writing in 1950 at the age of 15 while still in high school in Pratapgarh. Initially he was impressed by Naazish Pratapgarhi, a young progressive writer who was emerging as a prominent poet on the local literary scene. However his major inspiration came from the works of classical poets like Mir Taqi Mir, Momin Khan Momin, Mirza Ghalib, Haider Ali Aatish, Mir Anis, Daagh Dehlvi and Mir Dard. Among the neo-classical and modern poets his favourites were Allama ‘Iqbal’, Raghupati Sahay ‘Firaq’, Faiz Ahmed ‘Faiz’ , and ‘Jigar’ Muradabadi.
Poetic Style -
Some critics regard Mohsin Zaidi as a poet closer to the classical tradition of Urdu poetry, some feel that he was a progressive writer; while others view him as part of modernist Urdu poetry. Though his style adhered to the traditional Urdu poetry, his poetic ideas were modern and progressive. He would put his thoughts in plain words and his simple poetic style touched the hearts of the readers. Mohsin Zaidi was among the few poets who used the perfection of diction and pleasantness of narration of traditional ghazal to express new ideas (review by renowned progressive poet of Urdu, Kumar Pashi, in Rishta-e-Kalaam, published in 1978).
The doyen of Urdu poetry, Firaq Gorakpuri, who was a teacher of Mohsin Zaidi in Allahabad University, said in his written comment on Mohsin Zaidi’s ghazals from his first collection of poems, Shehr-e-Dil (1961) that “….his ashaar have softness of style, mellow words and flow of narrative.”
Mohsin Zaidi’s poetry has been acclaimed by many Urdu critics. Makhmoor Saeedi, a contemporary of Mohsin Zaidi and himself a poet and critic of highest repute was of the opinion that “Mohsin Zaidi’s language is not decorative but simple, and to create impression through his simplicity is his special skill. And this skill is not easy but Mohsin Zaidi has a mastery over it” (Foreword to Mataa-e-Akhir-e-Shab, 1990).
According to another noted Urdu critic, Dr. Shaarib Rudawlvi, “…..Mohsin’s ghazals had freshness of thought, intense feelings, and dexterity of expression. One aspect of his poetry is spontaneity; and he has got a flow of ideas that presents one image after another” in the form of his ashaar…… Mohsin Zaidi’s poetry witnessed many literary ups and downs of his times and the rise and fall of many movements. But in every age he preserved his unique poetic style. And this is his greatest quality.”
Mohsin Zaidi was a poet of ghazals. As he himself put it in a lighter vein, he adopted the ‘ghazal’ form of Urdu poetry rather than ‘nazm’, following the economic principle – minimum input to achieve maximum output – where one can express one’s thoughts in a few words. This was indeed an interesting analogy between ghazals and economics.
The study of economics had its influence on his poetry, especially economic issues like economic disparity – ‘Tha shahraah pe to ujala har ek su. Lekin gali mein apni andhera raha tamaam. Apne dayaar hi mein raha qaht-e-aab kyo. Kya abr ek samt barasta raha tamaam?’; uneven distribution of wealth – ‘Ye baat dekhne ki nahin soochne ki hai. Iflaas hai zyaadah ki daulat ziadaah hai; and the economic dominance of developed countries – ‘Wo bhao badal sakta hai bas ek nazar se. Saari hi dukaane sabhi baazaar hain uske’. As per Legendary Urdu litterateur, Dr. Gyan Chand Jain, Mohsin Zaidi was not only a poet but a social commentator (foreword to Baab-e-Sukhan, 2000).
According to Makmoor Saeedi, Mohsin Zaidi’s “poetic character” had been weaned on these elements – self respect, self confidence, integrity of character, opposition to all tyrannical powers, belief in retribution for one’s actions, search for virtues in human nature, belief in the victory of truth; and also a sense of sacrifice for the wellbeing of the coming generations. These elements, which are in his subconscious, form the backdrop for his poetic works.
One of the bloodiest and tragic chapters of history, the battle of Karbala has become symbolic of protest against all forms of brutality and injustice. Karbala has usually been a topic of marsiya form of Urdu poetry, which however does not go beyond the narration of the incident. One obvious trait of Mohsin Zaidi’s poetry is that Karbala forms the backdrop of his contemplation and manifests itself as a metaphor in numerous ashaar. Makhmoor Saeedi in his book, ‘Vaadi-e-Khayaal’ writes that “Mohsin Zaidi was the first poet who used ‘Karbala’ as a metaphor in Urdu ghazal; a trait that was later followed by many other poets”.
- Hai Marka-e-Karb-o-bala asl mein duniya. Baazicha-e-atfaal ko duniya nahin kahte.
- Tum mein se jo bhi chahe mera saath chod de. Dekho yahaan se raaste dushwaar aeynge.
- Wo zer-e-khanjar-e-qatil na tha gulu koi. Wo ek khayaal tha jisko shaheed karte rahe
While on one hand his poetry deals with the harsh realities of life, on the other there are those beautiful and delightful moments of life that represent the enchanting and heartwarming form of poetry which ghazal is known to be in Urdu literature and which has been the tradition of ghazal.
- Voh raaz-e-ishq diloon se bhi the jo posheedah. Unhein khamosh nigaahon ne aashkaar kiya
- Tumhaari yaad is tanha safar mein. Hai shama’a-e-raah bhi rakht-e-safar bhi
- Yeh teergi yeh teri yaad ke bujhe se charaagh. Dhuaan dhuaan si fiza aur ye sham-e-tanhaayi
Poetic Works -
• Shehr-e-Dil (1961)
• Rishtah-e-Kalaam (1978)
• Mataa-e-Aakhir-e-Shab (1990)
• Baab-e-Sukhan (2000)
• Jumbish-e-Nok-e-Qalam (2005)
Awards -
He got many awards from Urdu Academy for his works, the last being from Uttar Pradesh Urdu Academy for his last compilation of ghazals – ‘Jumbish-e-Nok-e-Qalam’ which was published posthumously.
Personal life –
Mohsin Zaidi lived in Delhi for nearly four decades before settling down in Lucknow after retirement. He was a man of simple tastes. Neither his professional achievements nor his standig as a poet of repute ever influenced his humble disposition.
He was not one to chase fame. Speaking in an interview broadcast on All India Radio he stated that he could not learn the art of self publicity; though he was satisfied with the appreciation and adulation he had got. Quoting a sher of Brij Narayan ‘Chakbast’, Chamanzaar-e-mohabbat mein usi ne baghbaani ki. Ke jisne apni mehnat ko hi mehnat ka samar jaana, he said that he had kept writing to the best of his satisfaction without bothering about adulation.
Renowned short story writer of Urdu, Dr. Bisheshar Pardeep wrote a tribute titled ‘Mohsin Zaidi – an honest poet’ in ‘Jumbish-e-Nok-e-Qalam’. He quoted the last couplet of the poet which the latter wrote on his death bed – ‘Ham ne khud ko to badalne ki bahot koshish ki. Sakht haerat hai badal jaati hai duniya kaise’ and went on to explain that the poet could never deviate from the rules that he had set for himself. He concluded by saying that “Mohsin Zaidi was indeed a principled man and an honest poet”.



Some ghazals by Mohsin Zaidi

1.
Nah fikr-e-khaar, nah parwa-e-aabla paayi
Bas eik dhun hai chale ja rahe hain saudayi

Nigaah-e-naaz uthi uth ke jaese sharmai
Khusha voh vaqt hui dilki jab pazeerayi

Jahaan pahoonch na sake shahpar-e-takhaiyyul bhi
Teri nigaah vahaan bhi diye jala aayi

Junoon ko chand qadam chal ke mil gayi manzil
Bhatak rahi hai khirad baavajood-e-daanayi

Teri hi zulf se shoreedgi naseeb hui
Teri hi chashm se hamne junoon ki sheh paayi

Ajab nizaam-e-gulistaan mein hai ta’attul sa
Chaman mein koi kali khil saki nah murjhaai

Yeh teergi yeh teri yaad ke bujhe se charaagh
Dhuaan dhuaan si fiza aur ye sham-e-tanhaayi

Tujhe khabar bhi hai Mohsin kea aah-e-neem shabi
Waqaar-e-dard ka saara bharam gawaan aayi

(Shehr-e-Dil, page 22, 1961)




2.
Hansne ko to hanste hain par ab kaun bataaye
Hum kitne hi zakhmoon ko hain seene mein chhipaaye

Kya kahiye ki ek baar garaan hai gham-e-duniya
Kitne hi subuk varnah teri zulf ke saaye

Jab apni tabaahi peh nahin khud bhi main ghamgeen
Kiyon meri tabaahi peh koyi ashq bahaaye

Begaanahvashi jaese ho is shahr ka dastoor
Is shahr mein aakar hooye apne bhi paraaye

Shaayad ho kisi shab ke muqaddar mein sahar bhi
Ham jaage hain ik umr yahi aas lagaaye

Is kaargah-e-shauq mein jaadu-e-khurd nay
Jitney hi sanam tore hain utne hi banaye

Mohsin hai vahi zulmat-e-auhaam abhi tak
Ek arsa hua aql ko faanoos jalaye

(Shehr-e-Dil, 1961, page 28)
~~~~~~~~~~~~~~~~~


3.
Chaaron taraf baland nishaan teergi ka tha
Rakkha hua faseel pe sar raushni ka tha

Kya soonch ke tum aese safar par nikal pare
Imkaan na jis safar se koi vaapsi ka tha

Yoon dam ba dam charaagh ki lao ho rahi thi kam
Jaise har ek qadam safar-e-aakhri ka tha

Meri hi tarah toot ke vo bhi bikhar gaya
Meri tarah gumaan use shishah gari ka tha

Main kiyon na toot jaata havaadis ke boojh se
Ek bojh mujh pe yun bhi meri zindagi ka tha

Aaya tha lootne mera hamzaad bhi mujhe
Kisko khayal loot mein hamsayagi ka tha

Manzil ba manzil uske bichharne ka gham hai kiyon
Raste mein jiska saath ghari do ghari ka tha

Sar par mere azzaab-e-zamana na tha koi
Mujh par to ek azaab meri aagahi ka tha

Rango ke izdahaam mein sab rang aam thay
Mumtaaz tha to rang teri saadgi ka tha

Barh kar vahaan bhi shab ne seyaahi undhel di
Halka sa shaeba bhi jahaan raushni ka tha

(Rishta-e-Kalaam, 1978, page 21)
~~~~~~~~~~~~~~~~~

4.

Jitna tahzeeb-e-badan se main sanwarta jaaoon
Utna hi toot ke andar se bikharta jaaoon

Zindagi jaise calendar pe badalti taareek
Main shab-o-roz ke maanind guzarta Jaaoon

Kya pata khwaabon ki taabir mile ya na mila
Kisi kaaghaz pe inhe note hi karta jaaoon

Sahn-e-gulshan se woh aakhri rishta bhi gaya
Khushk patton ki tarah ab to bikharta jaaoon

Tah-e-zulmaat un aankhon ke diye jalte jaayein
Zeenah zeenah main ujaalon mein utarta jaaoon

Gard-e-daaman ki tarah mujh ko uraane wale
Aks ban kar teri aankhon mein thaharta jaaoon

Kitne ghabraae huye hain mere qaatil Mohsin
Aasteenon pe lahu ban ke ubharta jaaoon

(Rishta-e-Kalaam, 1978, page 103)
~~~~~~~~~~~~~~~~~

5.

Taraaj bastiyoon mein kidhar jayegi ye raat
Khaali gharoon ko dekh ke dar jayegi ye raat

Din kat gaya hai bhaagte saayoon ke saath saath
Khwaabon ke darmiyaan guzar jayegi ye raat

Ham har taraf mileinge liye haath par charaagh
Jis samt bhi muregi jidhar jayegi ye raat

Yaadon ke izdhaam mein kya neend aayegi
Ab to jaga ke taa-bah sahar jayegi ye raat

Karlo shumaar kushtah charaaghon ko warnah kal
Ilzaam-e-qatl subha pe dhar jayegi ye raat

Kuch der ko hai aur farebe nazar ka khel
Jab khatm hoga khel bikhar jayegi ye raat

Koi to shakl ubhregi aab-o-saraab se
De kar koi to aks-e-sahar jaayegi ye raat

Mohsin hai shab ka saath to hangaam-e-subah tak
Badh jaayeinge ham aage thahar jaayegi ye raat

(Rishta-e-Kalaam, 1978, page 62 )
~~~~~~~~~~~~~~~~~

6.

Aesa nahin ke aur sitamgar na aayenge
Lekin tumhare qad ke barabar na aayenge

Ham aayenge to hoke rah-e-mustaqeem se
Auron ki tarah bhul bhatak kar na aayenge

Is baar kho diya to milayenge na phir tumhein
Abke jo ham gaye to palat kar na aayenge

Mil julke aao bakhsh dein in lamhon ko doaam
Ye lamhe zindagi mein mukarrar na aayenge

Kya ye lahu ka daur mere sar pe khatm hai
Kya doosre ke sar pe ye khanjar na aayenge

Hamne bhi koi gul to na phainke thay us taraf
Patthar ke kya jawaab mein patthar na aayenge

Chahre sitam garoon ke to kya honge be naqaab
Unke to naam bhi sare mahzar na aayenge

Aayenge ham banate hue apne naqah-e-pa
Chal kar kisi ke naqsh-e-qadam par na aayenge

Mohsin ye daur khatm samajhye ab iske baad
Gardish mein ye pyala-o-saaghar na aayenge
(Mataa-e-Aakhir-e-Shab, 1990, page 30)
~~~~~~~~~~~~~~~~~

7.

Koi be-wajah kiyon khafa hoga
Kuch to usko bura laga hoga

Aage jaakar thahar gaya hoga
Wo meri raah tak raha hoga

Chhor aaye thay ham jala ke jise
Woh diya kab ka bujh gaya hoga

Jab woh awaaz tham gayi hogi
Shab ka sannaata bolta hoga

Kaise maaloom ho ke aakhri waqt
Usne kiya kuch kaha suna hoga

Kiyon hawa tez abhi se chalne lagi
Ghuncha kam kam abhi khila hoga

Lahja uska bhi kuch tha apna sa
Woh bhi apne dayaar ka hoga

Pahla sajda jahaan kiya tha wahin
Aakhiri sajda bhi ada hoga

Ho nah ho manzil aagayi Mohsin
Chand qadmon ka faasla hoga

(Mataa-e-Aakhir-e-Shab, 1990, page 71)
~~~~~~~~~~~~~~~~~

Main Chamaaron ki Gali Men le Chalunga Aapko

मैं चमारों की गली में ले चलूँगा आपको
by Adam Gondvi


This famous poem talks of exploitation of dalits in a village dominated by upper caste . The poem starts with the line Main chamaron ki gali tak le chaloonga aapko .. The poem is a moving story in itself. The poem was based on a true incident in UP.

आइए महसूस करिए जिंदगी के ताप को
मैं चमारों की गली तक ले चलूँगा आपको
Aaiye mehsoos kariye zindagi ke taap ko
Main chamaaron ki gali tak le chalunga aapko

जिस गली में भुखमरी की यातना से ऊब कर
मर गई फुलिया बिचारी इक कुएँ में डूब कर
Jis gali men bhukhmari ki yaatna se uub kar
Mar gayi Phuliya bechari ik kuyen men duub kar

है सधी सिर पर बिनौली कंडियों की टोकरी
आ रही है सामने से हरखुआ की छोकरी
Hai sadhi sir par Binauli kandiyon ki tokri
Aa rahi hai saamne se Harkhuwa ki chokri


चल रही है छंद के आयाम को देती दिशा
मैं इसे कहता हूँ सरजू पार की मोनालिसा
Chal rahi hai chhand ke aayaam ko deti Disha
Main isse kahta hun Sarjuu paar ki MonaLisa

कैसी यह भयभीत है हिरनी-सी घबराई हुई
लग रही जैसे कली बेला की कुम्हलाई हुई
Kaisi yeh bhaybhiit hai hirni sii ghabraayi huyi
Lag rahi hai jaise kali bela kii kumbhlayi huyi

कल को यह वाचाल थी पर आज कैसी मौन है
जानते हो इसकी ख़ामोशी का कारण कौन है
Kal ko yeh vachaal thi par aaj kaisi maun hai
Jaante hoi ski khamoshi ka karan kaun hai

थे यही सावन के दिन हरखू गया था हाट को
सो रही बूढ़ी ओसारे में बिछाए खाट को
Thay yehi saawan ke din Harkhu gaya tha haat ko
So rahi buudhii ausaare men bichaaye khaat ko


डूबती सूरज की किरनें खेलती थीं रेत से
घास का गट्ठर लिए वह आ रही थी खेत से
Duubti suraj ki kirane khelti thi ret se
Ghaas ka ghatthar liye woh aa rahi thi khet men

आ रही थी वह चली खोई हुई जज्बात में
क्या पता उसको कि कोई भेड़िया है घात में
Aa rahi thi who chali khoyi huyi jazbaat men
Kya pata usko ki koi bhediya hai ghaat men


होनी से बेख़बर कृष्ना बेख़बर राहों में थी
मोड़ पर घूमी तो देखा अजनबी बाँहों में थी
Honi se bekhabar Krisna bekabar raahon men thi
Mod par ghumii tau dekha ajnabi baahon men thi


चीख़ निकली भी तो होठों में ही घुट कर रह गई
छटपटाई पहले, फिर ढीली पड़ी, फिर ढह गई
Chiikh nikli bhi tau honton men ghut kar rah gayi
Chatpatayi pahle, phir dhiilii padi, phir dhay gayi

दिन तो सरजू के कछारों में था कब का ढल गया
वासना की आग में कौमार्य उसका जल गया
Din tau Sarju ke kachaaron men thaa kab ka dhal gaya
Vaasna ki aag men kaumaarya uska jal gaya


और उस दिन ये हवेली हँस रही थी मौज में
होश में आई तो कृष्ना थी पिता की गोद में
Aur us din yeh haveli hans rahi thi mauj men
Hosh men aayi tau Krishna thii pita kii god men


जुड़ गई थी भीड़ जिसमें ज़ोर था सैलाब था
जो भी था अपनी सुनाने के लिए बेताब था
Jud gayi bhiid jis men zor thaa sailaab thaa
Jo bhi thaa apni sunaane ke liye betaab thaa

बढ़ के मंगल ने कहा, 'काका, तू कैसे मौन है
पूछ तो बेटी से आख़िर वो दरिंदा कौन है
Badh ke Mangal ne kaha, “ kaka tu kaise maun hai
Pooch tau beti se aakhir who darinda kaun hai

कोई हो संघर्ष से हम पाँव मोड़ेंगे नहीं
कच्चा खा जाएँगे ज़िंदा उनको छोडेंगे नहीं
Koi ho sungharsh se hum paanv modenge nahii
Kachchca khaa jaayenge zinda unko chodenge nahii

कैसे हो सकता है होनी कह के हम टाला करें
और ये दुश्मन बहू-बेटी से मुँह काला करें'
Kaise ho sakta hai honi kahke hum taala Karen
Aur yeh dushman bahu-beti se munh kaala karen

बोला कृष्ना से - 'बहन, सो जा मेरे अनुरोध से
बच नहीं सकता है वो पापी मेरे प्रतिशोध से'
Bola Krishna se “behan, so jaa mere anurodh se
Bach nahi sakta hai who paapi mere pratishod se


पड़ गई इसकी भनक थी ठाकुरों के कान में
वे इकट्ठे हो गए सरपंच के दालान में
Pad gayi iski bhanak thii thakuron ke kaan men
Ve ikathhe hog aye sarpanch ke daalaan men

दृष्टि जिसकी है जमी भाले की लंबी नोक पर
देखिए सुखराज सिंह बोले हैं खैनी ठोंक कर
Drishti jiski hai jami bhaale ki lambi nok par
Dekhiye Sukhraj Singh bole hain kheni thok kar


'क्या कहें सरपंच भाई! क्या ज़माना आ गया
कल तलक जो पाँव के नीचे था रुतबा पा गया
“Kya kahen sarpanch Bhai! Kya zamana aa gaya
Kal talak jo paanv ke neeche thaa rutba paa gaya”


कहती है सरकार कि आपस में मिलजुल कर रहो
सुअर के बच्चों को अब कोरी नहीं हरिजन कहो
Kahti hai sarkar ki aapas men miljul kar raho
Suwar ke bachchon ko ab kori nahi karijan kaho

देखिए ना यह जो कृष्ना है चमारों के यहाँ
पड़ गया है सीप का मोती गँवारों के यहाँ
Dekhiye naa yeh jo Krishna hai chamaron ke yahan
Pad gayi hai seep ka moti ganwaaron ke yahan

जैसे बरसाती नदी अल्हड़ नशे में चूर है
न पुट्ठे पे हाथ रखने देती है, मगरूर है
Jaise barsati nadi alhad nashe men chuur hai
Na putthhe pe haath rakhne deti hai, magroor hai

भेजता भी है नहीं ससुराल इसको हरखुआ
फिर कोई बाँहों में इसको भींच ले तो क्या हुआ
Bhejta hai nahin sasuraal isko Harkhuwa
Phir koi baahon men isko bhiinch le tau kya huwa

आज सरजू पार अपने श्याम से टकरा गई
जाने-अनजाने वो लज्जत ज़िंदगी की पा गई
Aaj sarju paar apne Shyaam se takra gayi
Jaane anjaane wo lajjat zindagi ki paa gayi

वो तो मंगल देखता था बात आगे बढ़ गई
वरना वह मरदूद इन बातों को कहने से रही
Wo tau Mangal dekhta tha baat aage badh gayi
Warna wo mardud in baton ko kahne se rahi

जानते हैं आप मंगल एक ही मक्कार है
हरखू उसकी शह पे थाने जाने को तैयार है
Jaante hain aap Mangal ek hi makkar hai
Karkhu uski shai pe thane jaane ko tayyar hai

कल सुबह गरदन अगर नपती है बेटे-बाप की
गाँव की गलियों में क्या इज्जत रहेगी आपकी'
Kal subah garden agar napti hai bête-baap ki
Gaon ki galiyon men kya izzat rahegi aapki

बात का लहजा था ऐसा ताव सबको आ गया
हाथ मूँछों पर गए माहौल भी सन्ना गया
Baat ka lahja tha aisa taav sabko aa gaya
Haath munchon par gaye mahaul bhi sanna gaya

क्षणिक आवेश जिसमें हर युवा तैमूर था
हाँ, मगर होनी को तो कुछ और ही मंज़ूर था
Shandik aavesh jis men har yuwa taimur thaa
Haan, magar honi ko tau kuchh aur hi manzoor thaa

रात जो आया न अब तूफ़ान वह पुरज़ोर था
भोर होते ही वहाँ का दृश्य बिलकुल और था
Raat jo aaya na ab tufaan wo purzor thaa
Bhor hote hi wahan ka drishya bilkul aur thaa

सिर पे टोपी बेंत की लाठी सँभाले हाथ में
एक दर्जन थे सिपाही ठाकुरों के साथ में
Sir pe topi baint kii laathi sambhaale hatah men
Ek darjan that sipaahi Thakuron ke saath men

घेर कर बस्ती कहा हलके के थानेदार ने -
'जिसका मंगल नाम हो वह व्यक्ति आए सामने'
Gher kar basti kaha halke ke Thanedaar ne
Jiska Mangal naam hai wo vyakti aaye saamne

निकला मंगल झोपड़ी का पल्ला थोड़ा खोल कर
इक सिपाही ने तभी लाठी चलाई दौड़ कर
Nikla mangal jhonpdi ka palla thoda kholkar
Ik sipaahi ne tabhi laathi chalayi daud kar

गिर पड़ा मंगल तो माथा बूट से टकरा गया
सुन पड़ा फिर, 'माल वो चोरी का तूने क्या किया?'
Gir pada mangal tau maatha boot se takra gaya
Sun pada sir,” Maal wo chori ka tu ne kya kiya?

'कैसी चोरी माल कैसा?' उसने जैसे ही कहा
एक लाठी फिर पड़ी बस, होश फिर जाता रहा
“Kaisi chori maal kaisa?” Usne jaise hi kaha
Ek laathi phir padi bas, hosh phir jaata raha

होश खो कर वह पड़ा था झोपड़ी के द्वार पर
ठाकुरों से फिर दरोगा ने कहा ललकार कर –
Hosh khokar wo pada thaa jhonpdi ke dwaar par
Thakuron se phir Daaroga ne kaha lalkaar kar

"मेरा मुँह क्या देखते हो! इसके मुँह में थूक दो
आग लाओ और इसकी झोपड़ी भी फूँक दो"
“Mera munh kya dekhte ho! Iske munh men thook do
Aag lagaao aur iski jhonpdi bhi phook do.”

और फिर प्रतिशोध की आँधी वहाँ चलने लगी
बेसहारा निर्बलों की झोपड़ी जलने लगी
Aur phir pratishodh ki aandhi vahan chalne lagi
Besahara nirbalon ki jhonpdi jalne lagi

दुधमुँहा बच्चा व बुड्ढा जो वहाँ खेड़े में था
वह अभागा दीन हिंसक भीड़ के घेरे में था
Doodhmuha bachcha wa budhdha jo wahan khere men thaa
Wo abhaaga diin hinsak bhiid keg here men thaa

घर को जलते देख कर वे होश को खोने लगे
कुछ तो मन ही मन मगर कुछ ज़ोर से रोने लगे
Ghar ko jalta dekh kar wo hosh ko khone lage
Kuchh tau man hi man magar kuchh zor se rone lage

'कह दो इन कुत्तों के पिल्लों से कि इतराएँ नहीं
हुक्म जब तक मैं न दूँ कोई कहीं जाए नहीं'
Kah do in kutte ke pillon se ki itraaye nahi
Hukm jab tak main naa duun koi kahin jaaye nahi”

यह दरोगा जी थे मुँह से शब्द झरते फूल-से
आ रहे थे ठेलते लोगों को अपने रूल से
Yeh daroga ji thay munh se shabd jhadte phool-se
Aa rahe tahy thelte logon ko apni rule se

फिर दहाड़े, 'इनको डंडों से सुधारा जाएगा
ठाकुरों से जो भी टकराया वो मारा जाएगा'
Phir dahaade ,”Inko dandon se sudhaara jayega
Thakuron se job hi takraya wo maar jayega”

इक सिपाही ने कहा, 'साइकिल किधर को मोड़ दें
होश में आया नहीं मंगल कहो तो छोड़ दें'
Ik sipaahi ne kaha ,” cycle kidhar ko mod den,
Hosh men aaya nahin Mangal kaho tau chod den”

बोला थानेदार, 'मुर्गे की तरह मत बाँग दो
होश में आया नहीं तो लाठियों पर टाँग लो
Bola Thanedaar, “ Murghe ki tarah mat baang do
Hosh men aaya nahi tau laathiyon pat taang lo.”

ये समझते हैं कि ठाकुर से उलझना खेल है
ऐसे पाजी का ठिकाना घर नहीं है जेल है'
“Yeh samajhte hain Thakur se uljhana khel hai
Aise paaji ka thikaana ghar nahin jail hai.”

पूछते रहते हैं मुझसे लोग अकसर यह सवाल
'कैसा है कहिए न सरजू पार की कृष्ना का हाल'
“Poochte rahte hain mujhse log aksar yeh sawaal
Kaise hain kahiye sarju paar ki Krishnaa ka haal.”

उनकी उत्सुकता को शहरी नग्नता के ज्वार को
सड़ रहे जनतंत्र के मक्कार पैरोकार को
Unki utsukta ko shehri nagntaa ke jwaar ko
Sarr rahe jantantra ke makkar parokaar ko

धर्म, संस्कृति और नैतिकता के ठेकेदार को
प्रांत के मंत्रीगणों को केंद्र की सरकार को
Dharm, sanskriti aur naitikta ke thekedaar ko
Praant ke mantriganon ko Kendra ki sarkaar ko

मैं निमंत्रण दे रहा हूँ आएँ मेरे गाँव में
तट पे नदियों के घनी अमराइयों की छाँव में
Main nimantran de raha hun aaye mere gaaon men
Tat pe nadiyon ke ghani amaaraiyon ki chaanv men

गाँव जिसमें आज पांचाली उघाड़ी जा रही
या अहिंसा की जहाँ पर नथ उतारी जा रही
Gaanv jismen aaj Paanchaali ughaadi jaa rahi
Yaa ahinsa ki jahan par nath utaari jaa rahi

हैं तरसते कितने ही मंगल लँगोटी के लिए
बेचती हैं जिस्म कितनी कृष्ना रोटी के लिए
Hai taraste kitne hi Mangal langoti ke liye
Bechti hai jism kitni Krishna roti ke liye

Adam Gondvi #shair of the day on 17th may 2012

I realized that a brilliant poet like Adam Gondvi was not being read by many because his work is published mainly in Devnagri script.
This blog page with some of his poems transliterated in Roman script is my homage to his brilliance. Hope everyone likes it.


People's Poet ,Adam Gondvi , whose real name was Ram Nath Singh was born on 22nd October, 1947 in Aatta Gram, paraspur, Dist Gonda in Uttar Pradesh. He passed away in Lucknow on 18th December 2011 in Lucknow,UP.
Critics regarded him as the torchbearer of Hindi Ghazals after Dushyant Kumar. Adam attacked the social injustice and rampant degradation of politics.
Gondvi lived like a villager throughout his life and wrote revolutionary poetry focusing on the pathetic state of dalits and the poor. He himself died in poor financial condition and cultural and social activists had to appeal for donations for his treatment.
His couplet, Kaaju bhuni plate mein, whisky bhari gilaas mein, utra hai raamraaj vidhayak niwas mein was a great hit among the masses.
He was felicitated with Dushyant Kumar prize in 1998 by Madhya Pradesh government.






Some of his poems are given which I have transliterated in Roman

1. ग़ज़ल को ले चलो अब गाँव के दिलकश नज़ारों में

ग़ज़ल को ले चलो अब गाँव के दिलकश नज़ारों में

ग़ज़ल को ले चलो अब गाँव के दिलकश नज़ारों में
मुसल्सल फ़न का दम घुटता है इन अदबी इदारों में

न इनमें वो कशिश होगी, न बू होगी, न रानाई
खिलेंगे फूल बेशक लॉन की लंबी क़तारों में

अदीबो! ठोस धरती की सतह पर लौट भी आओ
मुलम्मे के सिवा क्या है फ़लक के चाँद-तारों में

रहे मुफ़लिस गुज़रते बे-यक़ीनी के तजरबे से
बदल देंगे ये इन महलों की रंगीनी मज़ारों में

कहीं पर भुखमरी की धूप तीखी हो गई शायद
जो है संगीन के साए की चर्चा इश्तहारों में

Ghazal ko le chalo ab gaaon ke dilkash nazaaron men
Musalsal fan ka dam ghut ta hai in adabi idaaron men

Na inmen who kashish hogi na buu hogi, na ranaayi
Khilenge phool beshak lawn ki lambi qataaron men

Adeebo, thos dharti ki satah par laut bhi aao
Mulamme ke siwa kya hai falak ke chaand-taaron men

Rahe muflis guzarte be-yaqeeni ke tajurbe se
Badal denge ye in mahlon ki rangeeni mazaaron men

Kahin par bhukhmari ki dhoop teekhi ho gayi shaayad
Jo hai sangeen ke saaye ki charcha ishtahaaron menn





2. जो डलहौज़ी न कर पाया वो ये हुक़्क़ाम कर देंगे

जो डलहौज़ी न कर पाया वो ये हुक़्क़ाम कर देंगे
कमीशन दो तो हिंदोस्तान को नीलाम कर देंगे

ये वंदे-मातरम् का गीत गाते हैं सुबह उठ कर
मगर बाज़ार में चीज़ों का दुगुना दाम कर देंगे

सदन में घूस दे कर बच गई कुर्सी तो देखोगे
वो अगली योजना में घूसखोरी आम कर देंगे

Jo Dalhousie na kar paaya woh yeh hukkam kar denge
Commission do tau Hindustan ko niilaam kar denge

Yeh Vande Matram ka geet gaate hain subah uth kar
Magar baazaar men cheezon ka dugna daam kar denge

Sadan men ghuus de kar bach gayi kursi tau dekhoge
Woh agli yojna men ghuuskhori aam kar deng



3. सौ में सत्तर आदमी

सौ में सत्तर आदमी
फिलहाल जब नाशाद है

दिल पे रखकर हाथ कहिये
देश क्या आज़ाद है

कोठियों से मुल्क के
मैयार को मत आँकिये

असली हिंदुस्तान तो
फ़ुटपाथ पर आबाद है

Sau main sattar aadmi
Filhaal jab nashaad hai

Dil pe rakh kar haath kahiye
Desh kya aazaad hai

Kothiyon se mulk ke
Meyaar ko mat aankiye

Asli Hindustan tau
Footpath pe aabaad hai




4. भूख के एहसास को शेरो-सुख़न तक ले चलो

भूख के एहसास को शेरो-सुख़न तक ले चलो
या अदब को मुफ़लिसों की अंजुमन तक ले चलो

जो ग़ज़ल माशूक़ के जलवों से वाक़िफ़ हो गई
उसको अब बेवा के माथे की शिकन तक ले चलो

मुझको नज्मो-ज़ब्त की तालीम देना बाद में
पहले अपनी रहबरी को आचरन तक ले चलो

गंगाजल अब बुर्जुआ तहज़ीब की पहचान है
तिश्नगी को वोदका के आचरन तक ले चलो

ख़ुद को ज़ख़्मी कर रहे हैं ग़ैर के धोखे में लोग
इस शहर को रोशनी के बाँकपन तक ले चलो

Bhookh ka ehsaas ko sher o sukhan tak le chalo
Ya adab ko muflison ki anjuman tak le chalo

Jo ghazal mashooq ke jalvon se waqif ho gayi
Usko ab bewa ke maathe ki shikan tak le chalo

Mujhko najmo-zabt ki taaliim dena baad men
Pahle apni rahbari ko aacharan tak le chalo

Gangajal ab burjua tahzeeb ki pehchaan hai
Tishnagi ko vodka ke aacharan tak le chalo

Khud ko zakhmi kar rahe hain ghair ke dhoke men log
Iss shehar ko raushni ke bankpan tak le chalo







5. मुक्तिकामी चेतना अभ्यर्थना इतिहास की

मुक्तिकामी चेतना अभ्यर्थना इतिहास की
यह समझदारों की दुनिया है विरोधाभास की

आप कहते हैं जिसे इस देश का स्वर्णिम अतीत
वो कहानी है महज़ प्रतिरोध की, संत्रास की

यक्ष प्रश्नों में उलझ कर रह गई बूढ़ी सदी
ये प्रतीक्षा की घड़ी है क्या हमारी प्यास की?

इस व्यवस्था ने नई पीढ़ी को आख़िर क्या दिया
सेक्स की रंगीनियाँ या गोलियाँ सल्फ़ास की

याद रखिए यूँ नहीं ढलते हैं कविता में विचार
होता है परिपाक धीमी आँच पर एहसास की

Muktikaami chetna abhyarthana itihaas ki
Yeh samajhdaron ki duniya hai virodhabhaas ki

Aap kahte hain jisse iss desh ka swarnim atiit
Who kahaani hai maihaz pratirodh ki, santraas ki

Yaksh prashanon men ulajh ke rah gayi buudhi sadi
Yeh pratiksha kii ghadii hai kya hamaari pyaas kii?

Is vyavastha ne nayi piidhii ko aakhir kya diya
Sex kii rangiiniyaan ya goliyaan sulfaas kii

Yaad rakhiye yun nahi dhalta hai kavita men vichaar
Hota hai paripaak dhiimi aanch par ehsaas kii




6. विकट बाढ़ की करुण कहानी

विकट बाढ़ की करुण कहानी नदियों का संन्यास लिखा है
बूढ़े बरगद के वल्कल पर सदियों का इतिहास लिखा है

क्रूर नियति ने इसकी क़िस्मत से कैसा खिलवाड़ किया है
मन के पृष्ठों पर शाकुंतल, अधरों पर संत्रास लिखा है

छाया मदिर महकती रहती गोया तुलसी की चौपाई
लेकिन स्वप्निल स्मृतियों में सीता का वनवास लिखा है

नागफनी जो उगा रहे हैं गमलों में गुलाब के बदले
शाख़ों पर उस शापित पीढ़ी का खंडित विश्वास लिखा है

लू के गर्म झकोरों से जब पछुआ तन को झुलसा जाती
इसने मेरे तनहाई के मरुथल में मधुमास लिखा है

अर्धतृप्ति, उद्दाम वासना ये मानव जीवन का सच है
धरती के इस खंडकाव्य पर विरहदग्ध उच्छ्वास लिखा है

Vikat baadh ki karun kahaani nadiyon ka sanyaas likha hai
Buudhe bargad ke valkal par sadiyon ka itihaas likha hai

Kruur niyati ne iski qismat se aisa khilwaad kiya hai
Man ke prishton par shaankutal, adhron par santraas likha hai

Chaaya madir mahakti rahti goya Tulsi ki chaupaai
Lekin swapnil smritiyon men Sita ka vanvaas likha hai

Naagphani jo utha rahe hain, gamlon men gulaab ke badle
Shaakhon par uss shapit piidhi ka khandit vishwaas likha hai

Luu ke garm jhakoron se jab pachhua tan ko jhulsa jaati
Is ne mere tanhaai ke maruthal men madhumaas likha hai

Ardhtripti, uddaam vaasna yeh maanav jeevan ka sach hai
Dharti ke iss khandkavya par virahdagdh uchchhwaas likha hai




7. वेद में जिनका हवाला हाशिए पर भी नहीं

वेद में जिनका हवाला हाशिए पर भी नहीं
वे अभागे आस्था विश्वास ले कर क्या करें

लोकरंजन हो जहाँ शंबूक-वध की आड़ में
उस व्यवस्था का घृणित इतिहास ले कर क्या करें

कितना प्रगतिमान रहा भोगे हुए क्षण का इतिहास
त्रासदी, कुंठा, घुटन, संत्रास ले कर क्या करें

बुद्धिजीवी के यहाँ सूखे का मतलब और है
ठूँठ में भी सेक्स का एहसास ले कर क्या करें

गर्म रोटी की महक पागल बना देती मुझे
पारलौकिक प्यार का मधुमास ले कर क्या करें

Veda men jinka hawala hashiye par bhi nahi
Ve abhaage aastha vishwaas lekar kya Karen

Lokranjan ho jahan shambuk- vadh ki aad men
uss vyavastha ka ghrindit itihas lekar kya Karen

Kitna pragatimaan raha bhoge huye shann ka itihaas
Traasdi,kunthaa,ghutan,santraas lekar kya Karen

Budhijeevi ke yahan suukhe kaa matlab aur hai
Thuunth se bhi sex ka ahsaas lekar kya karen

garm roti ka ehsaas pagal bana deti mujhe
paarlaukik pyaar ka madhumaas lekar kya Karen



8. वो जिसके हाथ में छाले हैं पैरों में बिवाई है

वो जिसके हाथ में छाले हैं, पैरों में बिवाई है
उसी के दम से रौनक आपके बंगले में आई है

इधर एक दिन की आमदनी का औसत है चवन्नी का
उधर लाखों में गांधी जी के चेलों की कमाई है

कोई भी सिरफिरा धमका के जब चाहे ज़िना कर ले
हमारा मुल्क इस माने में बुधुआ की लुगाई है

रोटी कितनी महँगी है यह वह औरत बताएगी
जिसने जिस्म गिरवी रख कर यह क़ीमत चुकाई है

Woh jiske haath men chhaale hain, pairon men biwaai hai
Usii ke dam se raunak aapke bangle men aayi hai

Idhar ek din kii aamdanii ka ausat hai chavannii ka
Udhar laakhon men Gandhi ji ke chelon kii kamaai hai

Koii bhii sirphira dhamka ke jab chaahe zina kar le
Hamaara mulk is maane men Budhua kii lugaai hai

Rotii kitnii mehngii hai, yah woh aurat bataayegii
Jisne jism girvii rakh kar yah qeemat chukaai hai



9. हिन्दू या मुस्लिम के अहसासात को मत छेड़िए

हिंदू या मुस्लिम के अहसासात को मत छेड़िए
अपनी कुर्सी के लिए जज़्बात को मत छेड़िए

हममें कोई हूण, कोई शक, कोई मंगोल है
दफ़्न है जो बात, अब उस बात को मत छेड़िए

ग़लतियाँ बाबर की थीं; जुम्मन का घर फिर क्यों जले
ऐसे नाज़ुक वक़्त में हालात को मत छेड़िए

हैं कहाँ हिटलर, हलाकू, ज़ार या चंगेज़ ख़ाँ
मिट गए सब, क़ौम की औक़ात को मत छेड़िए

छेड़िए इक जंग, मिल-जुल कर ग़रीबी के ख़िलाफ़
दोस्त, मेरे मज़हबी नग़मात को मत छेड़िए

Hindu ya Muslim ke ahsasaat ko mat chhediye
Apni kursi ke liye jazbaat ko mat chhediye

Hum men koi huund, koi shaq, koi mangol hai
dafn hai jo baat, ab us baat ko mat chhediye

Ghalatiyaan Babar kii thiin; Jumman ka ghar phir kyun jale
Aise naazuk waqt men haalaat ko mat chhediye

Hain kahan Hitler, Halaaku, Tsar ya Changez Khan
Mit gaye sab qaum ki auqaat ko mat chhediye




10.जिसके सम्मोहन में पागल धरती है आकाश भी है

जिसके सम्मोहन में पागल धरती है आकाश भी है
एक पहेली-सी दुनिया ये गल्प भी है इतिहास भी है

चिंतन के सोपान पे चढ़ कर चाँद-सितारे छू आए
लेकिन मन की गहराई में माटी की बू-बास भी है

इंद्रधनुष के पुल से गुज़र कर इस बस्ती तक आए हैं
जहाँ भूख की धूप सलोनी चंचल है बिंदास भी है

कंकरीट के इस जंगल में फूल खिले पर गंध नहीं
स्मृतियों की घाटी में यूँ कहने को मधुमास भी है

Jiske sammohan men pagal dhartii hai aakash bhi hai
Ek pahelii-sii duniya ye galp bhii hai itihaas bhii hai

Chintan ke sopaan pe chadhkar chaand-sitaare choo aaye
Lekin man ki gahrayi men motii sii bu-baas bhii hai

Indradhanush ke pul se guzar kar is bastii tak aaye hain
Jahan bhookh kii dhoop salonii chanchal hai bindaas bhii hai

Kankreet (concrete) ke is jangal men phool khile par gandh nahiin
Smritiyon kii ghaatii men yun kahne ko madhumaas bhii hai






11. जिस्म क्या है रूह तक सब कुछ ख़ुलासा देखिए

जिस्म क्या है रूह तक सब कुछ ख़ुलासा देखिए
आप भी इस भीड़ में घुस कर तमाशा देखिए

जो बदल सकती है इस पुलिया के मौसम का मिजाज़
उस युवा पीढ़ी के चेहरे की हताशा देखिए

जल रहा है देश यह बहला रही है क़ौम को
किस तरह अश्लील है कविता की भाषा देखिए

मतस्यगंधा फिर कोई होगी किसी ऋषि का शिकार
दूर तक फैला हुआ गहरा कुहासा देखिए

Jism kyaa hair ruh tak sab kuch khulaasa dekhiye
Aap bhi iss bhiid men ghuskar tamaasha dekhiye

Jo badal sakti hai iss puliya ke mausam ka mizaaj
Uss yuwa piidhi ke chehre kii hataash dekhiye

Jal raha hai desh yeh bahla rahi hai qaum ko
Kis tarah ashleel hai, kavita kii bhaasha dekhiye

Matsyagandha phir koi hogi Rishi kaa shikaar
Duur tak phaila huwa gehra kuhaasa dekhiye





12. ग़र चंद तवारीखी तहरीर बदल दोगे

गर चंद तवारीखी तहरीर बदल दोगे
क्या इनसे किसी कौम की तक़दीर बदल दोगे

जायस से वो हिंदी की दरिया जो बह के आई
मोड़ोगे उसकी धारा या नीर बदल दोगे

जो अक्स उभरता है रसखान की नज्मों में
क्या कृष्ण की वो मोहक तस्वीर बदल दोगे

तारीख़ बताती है तुम भी तो लुटेरे हो
क्या द्रविड़ों से छीनी जागीर बदल दोगे

Gar chand twarikhi tahrir badal doge,
kya inse kisi qaum ki taqdir badal doge?

Jais se woh Hindi ki dariya jo bah ke aayi
Modoge uskii dhaara yaa neer badal doge

Jo aks ubharta hai RasKhan ki nazmon men
Kya Krishna ki wo mohak tasweer badal doge

Tareekh batati hai tum bhi tau lutere thay
Kya Dravidon se cheenii jageer badal doge





13. तुम्हारी फाइलों में गाँव का मौसम गुलाबी है

तुम्हारी फाइलों में गाँव का मौसम गुलाबी है
मगर ये आँकड़े झूठे हैं ये दावा किताबी है

उधर जमहूरियत का ढोल पीटे जा रहे हैं वो
इधर परदे के पीछे बर्बरीयत है, नवाबी है

लगी है होड़-सी देखो अमीरी औ' गरीबी में
ये गांधीवाद के ढाँचे की बुनियादी खराबी है

तुम्हारी मेज चाँदी की तुम्हारे ज़ाम सोने के
यहाँ जुम्मन के घर में आज भी फूटी रक़ाबी है

tumhari fiiloN me Gaon ka mausam Gulaabi hai
magar ye aankde jhuthe hain ye dava kitaabi hai

udhar jamhuriyat ka dhol pitey ja rahe hain vo
idhar parde ke piche barbariyat hai,Nawaabi hai

lagee hai hod si dekho ameeri aur gareebi me
ye Gandhivaad ke dhanche ki Buniyadi kharaabi hai

tumhari mez Chaandi ki tumhare Jaam sone ke
yahan Jumman ke ghar me aaj bhi phooti Raqaabi hai !!!



14. काजू भुने पलेट में ह्विस्की गिलास में

काजू भुने पलेट में विस्की गिलास में
उतरा है रामराज विधायक निवास में

पक्के समाजवादी हैं तस्कर हों या डकैत
इतना असर है खादी के उजले लिबास में

आजादी का वो जश्न मनाएँ तो किस तरह
जो आ गए फुटपाथ पर घर की तलाश में

पैसे से आप चाहें तो सरकार गिरा दें
संसद बदल गई है यहाँ की नखास में

जनता के पास एक ही चारा है बगावत
यह बात कह रहा हूँ मैं होशो-हवास में

Kaju bhune hain plate me whiskey gilaas me
utra hai Ram rajya vidhayak niwas mein

Pakke samaajwaadi hain taskar ho yaa dakait
Itna asar hai khaadi ke ujale libaas men

Azaadi ka who jashn manaaye tau kis tarah
Jo aa gaye footpath par ghar ki talash men

Paise se aap chaahe tau sarkar gira den
Sansad badal gayi hai yahan ki nakhaas men

Janta ke paas ek hi chaara hai baghavat
Yeh baat kah raha hun main hosh o havaas men




15. न महलों की बुलंदी से न लफ़्ज़ों के नगीने से

न महलों की बुलंदी से न लफ़्ज़ों के नगीने से
तमद्दुन में निखार आता है घीसू के पसीने से

कि अब मर्क़ज़ में रोटी है, मुहब्बत हाशिए पर है
उतर आई ग़ज़ल इस दौर में कोठी के ज़ीने से

अदब का आईना उन तंग गलियों से गुज़रता है
जहाँ बचपन सिसकता है लिपट कर माँ के सीने से

बहारे-बेकिराँ में ता-क़यामत का सफ़र ठहरा
जिसे साहिल की हसरत हो उतर जाए सफ़ीने से

अदीबों की नई पीढ़ी से मेरी ये गुज़ारिश है
सँजो कर रक्खें 'धूमिल' की विरासत को क़रीने से

Jo mahlon ki bulandi se na lafzon ke nageeno se
Tamaddun men nikhaar aata hai gheesu ke paseene se

Ki ab markaz men roti hai, muhabbat haashiye par hai
Utar aayi gazal is daur men kothi ke ziine se

Adab ka aaiina un tang galiyon se guzarta hai
Jahan bachpan sisakta hai lipat kar maa ke sine se

Bahaar e bekiraan men taa qayamat ka safar thahra
Jisse saahil ki hasrat ho utar jaaye safiine se

Adeebon ki nayi piidhii se meri yeh guzarish hai
Sajo kar Rakhen dhumil ki virasat ko kareene se


16. 

स्वंत्रता ्र दिवस पर विशेष::
सौ में सत्तर आदमी
फिलहाल जब नाशाद है,
दिल पे रखकर हाथ कहिये
देश क्या आजाद है|

कोठियों से मुल्क के
मेयार को मत आंकिये,
असली हिंदुस्तान तो फुटपाथ पर आबाद है|

इधर एक दिन की आमदनी का औसत है चवन्नी का,
उधर लाखों में गांधी जी के चेलों की कमाई है|

कोई भी सिरफिरा धमका के जब चाहे जिना कर ले,
हमारा मुल्क इस माने में बुधुआ की लुगाई है|
और

जो उलझ कर रह गई है फाइलों के जाल में,
गाँव तक वो रोशनी आएगी कितने साल में|

जिस्म क्या है रूह तक सब कुछ ख़ुलासा देखिए,
आप भी इस भीड़ में घुस कर तमाशा देखिए|

जो बदल सकती है इस पुलिया के मौसम का मिजाज़,
उस युवा पीढ़ी के चेहरे की हताशा देखिए|

जल रहा है देश यह बहला रही है क़ौम को,
किस तरह अश्लील है संसद की भाषा देखिए|
और

आजादी का वो जश्न मनाएँ तो किस तरह,
जो आ गए फुटपाथ पर घर की तलाश में|

पैसे से आप चाहें तो सरकार गिरा दें,
संसद बदल गई है यहाँकी नखास में|

जनता के पास एक ही चारा है बगावत,
यह बात कह रहा हूँ मैं होशो-हवास में||::"अदम गोंडवी जी"|

17.

आँख पर पट्टी रहे और अक़्ल पर ताला रहे;

अपने शाहे-वक़्त का यूँ मर्तबा आला रहे|

तालिबे-शोहरत हैं कैसे भी मिले मिलती रहे;

आए दिन अख़बार में प्रतिभूति घोटाला रहे|

एक जन सेवक को दुनिया में अदम क्या चाहिए;

चार छह चमचे रहें माइक रहे माला रहे|::"अदम गोंडवी जी"|

18.

ज़ुल्फ़-अँगड़ाई-तबस्सुम-चाँद-आईना-गुलाब

भुखमरी के मोर्चे पर ढल गया इनका शबाब

पेट के भूगोल में उलझा हुआ है आदमी

इस अहद में किसको फुरसत है पढ़े दिल की क़िताब

इस सदी की तिश्नगी का ज़ख़्म होंठों पर लिए
बेयक़ीनी के सफ़र में ज़िंदगी है इक अजाब

डाल पर मज़हब की पैहम खिल रहे दंगों के फूल
सभ्यता रजनीश के हम्माम में है बेनक़ाब

चार दिन फुटपाथ के साए में रहकर देखिए
डूबना आसान है आँखों के सागर में जनाब| ::"अदम गोंडवी जी"|

19. 

"चाँद है ज़ेरे-क़दम,सूरज खिलौना हो गया"::
चाँद है ज़ेरे-क़दम. सूरज खिलौना हो गया
हाँ, मगर इस दौर में क़िरदार बौना हो गया

शहर के दंगों में जब भी मुफलिसों के घर जले
कोठियों की लॉन का मंज़र सलोना हो गया
ढो रहा है आदमी काँधे
पे ख़ुद अपनीसलीब
जिंदगी का फ़लसफ़ा जब बोझ ढोना हो गया 

जिंद यूँ तो आदम के बदन पर भी था पत्तों का लिबास
रूह उरियाँ क्या हुई मौसम घिनौना हो गया

अब किसी लैला को भी इक़रारे-महबूबी नहीं
इस अहद में प्यार का सिंबल तिकोना हो गया.
::"अदम गोंडवी जी"|

(more will be added soon)

Mirza Ghalib

(This bio-pic written by #shair member @sairmir)

Hoga koi aisa bhi Jo "Ghalib" ko na jaane
Shayar to woh accha hai pa badnaam bohut hai'.....

[It's difficult to find a person who has no opinion about Ghalib'
He is a good poet, but the dark rumors about him are more than enough....]

'The Magician' as many poetry zealots including myself would call him,
is better known to the world as 'Mirza Asad Ullah Khan Ghalib' ,
'Ghalib' being his pen name. The word 'Ghalib' translates to
'Victorious'. Popularly known as Mirza Nausha, he had quite a few
titles attributed to him.,Najjmudawia ('Star of the Realm'),
Dahirul-Mulk ('Honor of the Country') and Nizam Jang ('Hero of War')
to name a few.

Born in Agra On December 27, 1797 , little did the world know that
this young boy who started poetry at the tender age of 10, would go on
to become arguably one of the greatest poets Urdu language, or if I
may add, 'any language' will ever see. Ghalib had an unsupervised
childhood as first his father and then his uncle died. Married at the
young age of 13 to Umrao Begum, Ghalib moved on to settle in
Delhi.Never able to cope up with his marriage, Ghalib, in one of his
letters, went ahead to describe marriage as his second imprisonment,
Life itself being the first.

The agony of losing all their new born children dented the couple
beyond repair as none of their seven children survived infancy.
However the torment somewhat faded away when Ghalib adopted his wife's
nephew 'Arif’. But the real cataclysm was yet to take place. Arif too
died at a young age. When this happened, Mirza was in Kolkata and got
acquainted with this news on his return back home. Stupefied, this
tragedy pushed Ghalib into writing one of his most critically
acclaimed and perhaps the most despondent ghazal ever, a few couplets
from which are:

‘Laazim Tha Ki Dekho Mera Rasta Koee Din Aur,
Tanha Gaye Kyon ? Ab Raho Tanha Koee Din Aur

Jaate Huve Kahte Ho, Qayaamat Ko Milenge
Kya Khoob ! Qayaamat Ka Hai Goya Koee Din Aur ?

Haan ‘Ei Falak-E-Peer, Javaan Tha Abhee ‘Aarif
Kya Tera Bigadata Jo Na Marta Koee Din Aur ?’….

[ It was necessary/proper that you would {wait for me / 'watch my
road'} a few days more
why did you go alone? --now remain alone a few days more!

while going, you say, 'we'll meet on Doomsday'
that's a good one! as if Doomsday is some other day!

indeed, oh ancient/venerable Sky, Arif was still young
what harm would it have done you, if he hadn't died for a few days more? ]….


Initially Ghalib's style of writing was incomprehensible to most
people. He would go on to defend himself and say:

‘Mushqil hai zabs kalaam mera ai dil
sun sun ke usey sukhvanvaraane kaamil

Aasaan kehne ki kartey hain farmaaish
goyam mushqil vargna goyam mushqil’….

['I agree, O heart, that my Ghazals are not easy to take in,
When they hear my work, experienced poets
Tell me I should write something easier to understand,
I have to write what's difficult, otherwise it is difficult to write.']

However acting upon the advice of a close friend of his, Ghalib
started to write in a relatively easier manner.

Infamous for being an alcoholic, a gambler and a social outcast, his
contemporaries would always look down on him. Infact Ghalib was twice
arrested for gambling. Incidentally the first and second editions of
his 'Deewan' were published in the same years when he was arrested.
This never deterred his confidence, and why should it, for Mirza had a
league of his own. Having said this, Ghalib would time and again hint
towards the realization of all his repugnant avocations as is evident
on many occasions in his poetry, for instance,

'Yeh Masaayil-e-tassawuf, yeh Tera Bayaan Ghalib,
Tujhe hum wali samajhte, jo na baadakhwaar hota'

[ Your talk about spiritual matters is great, Oh Ghalib
You could have been thought of as a sage/saint if you didn't drink
all the time)

Ghalib was a visionary too. He was probably one of the first persons
to point out the 'Divide and rule' policy of the British especially on
the basis of language and region.
A very important aspect about Mirza Ghalib's life was his recognition
of his own proficiency. According to one anecdote, although Ghalib was
going through a huge financial crunch at the time, he refused to
accept the proposal of heading the Persian Department at the Delhi
College in 1842 A.D. only because the then British official Mr. Thomas
didn't personally come and offer him the post but sent an informer
instead. This goes on to speak volumes about the level of
self-esteem, the dignity Mirza Ghalib had. Infact, Ghalib's
commendation of his own work and abilities becomes incontrovertible
when we take a
look at his following couplets:

'Hai aur bhi duniya mein sukhanwar bohut acche,
Kehte hain ki "Ghalib" ka hai andaaz-e-bayaan aurr'....

[ We know there is more than one good poet in the world,
But the common belief is that Ghalib’s little jests are great and unique]

'Thii khabar garm ki "Ghalib" ke udeinge purzey,
Dekhne hum bhi Gaye the, pa tamaasha na hua'.......

[ Gossip was that when Ghalib spoke, he would be broken with insults,
Everybody went to watch that event, but it turned out differently ]

The journey, that we refer to as life, could never actually bring
Mirza Ghalib alive. Technically speaking, he just passed every single
day and night as and when it came. As if losing his father, uncle and
all his children wasn't enough, Mirza Ghalib ran into a serious
financial mess after the British stopped his hereditary pension, the
release of which was a long, frustrating and a futile battle for him.
Mirza Ghalib lived a major part of his life in debt, sometimes the
debts reaching sky high. It was years after Ghalib’s death that his
work got appreciated. He died with his achievements unrecognized.
Hence, Ghalib dejected life. Ghalib's hatred for life and his
obsession with ‘death’ can be traced at so many places in his poetry:


‘Marte hain aarzoo mein marne ki,
Maut aatee hai par nahin aatii’…..

[ We die in the longing to die / 'we're dying to die'
death comes, but does not come] …..


Naadaa’n ho jo kehte ho ki kyon jeetey ho “Ghalib”
Kismat mein hai marne Ki tamanna Koii din aurr ‘….

[ You’re foolish when/if you say, why does Ghalib live?
In (my) destiny is the longing to die, for a few days more ]….


‘Qaid-e-hayaat-o-band-e-Gham, asl mein dono ek hain,
maut se pehle aadmi gham se nijaat paaye kyon’….

[ The prison of life, and the bondage of grief-- in
reality/essence/origin both are one.
before death, how/why would a person find escape/release from grief? ]...


Many people then, and many of us even now denounce Mirza Ghalib as a
drunken reprobate, a gambler and some would even go on to call him a
womanizer and an atheist. But how many of us are acquainted with the
other side of his personality? Ghalib, who lived a life of debt and
could hardly take care of himself and his wife, took responsibility of
his brother Yusuf's whole family soon after his brother lost his
mental balance and went on to die after a prolonged period of
psychiatric illness. This proved to be a tremendous burden for Mirza
Nausha but he never shied away from it.

Most of the Ghalibs work went unrecognized while he was alive, partly
because his then contemporaries in the Mughal King Bahadur Shah
Zaffars court 'completely' failed to appreciate the quality of his
work( and they can't be blamed for it for such work was never
witnessed before) and partly because of personal vendetta that Mirza
Ibrahim Zauq (tutor to Bahadur Shah Zaffar) and others had against
Mirza Ghalib. Yes, Ghalib had a huge ego. Yes, he thought he was
peerless. And today when we look at his work, we actually realize that
he was right. A nonpareil that he was was, Ghalib would also make it
known if he'd
appreciate somebody else's work. For instance Ghalib had the highest
possible regard for Mir Taqi Mir and wrote:


‘Raikhtay ke tum hi ustaad nahin ho “Ghalib”
Kehte hain agle zamaane mein koii “Mir” bhii thaa’…

[ only/emphatically you are not the Ustaad of Rekhta (Urdu), Ghalib
they say that in an earlier time/age there was even/also some Mir ]




The 'egoistic' Mirza Ghalib is also known to have offered his
contemporary poet Momin Khan Momin a major part of his 'Deewan' if
Momin offered this single couplet of his to Ghalib (The Momin's
couplet is incidentally my favorite as well).:

'Tum mere paas hotey ho goya,
Jab koi doosra nahin hota’…

[You are with me as if/when nobody else is]


When asked of his religion, Mirza Ghalib is believed to have
considered himself a half-Muslim,. He'd say “I drink wine but I do not
touch pork.” One can make out Mirza Ghalib's lighter side from this.
Some people may claim that God and religion hardly exist in Ghalib's
poetry. But I believe its always about perception. There's hardly
anyone who'd doubt the intensity of 'Ishq-e Majazi' (Metaphorical
love) in Mirza Ghalib's poetry but then, as they say, its all about
application. If we apply Ghalib's poetry to 'Ishq-e-Haqiqi'(The real
love / Love of God) , we reach probably the highest levels of Sufism.

Probably the wittiest poet ever, another anecdote talks about how
Mirza Ghalib once openly taunted Mirza Ibrahim Zauq (King's tutor) by
saying


'Hua hai Shah ka musaahib, phirre hai itraata'

[ he's become the King's companion-- he goes around giving himself airs]

Later when Ghalib was asked to explain his comment in the King's
court, legend has it that Mirza Nausha instantly composed a ghazal in
a matter of seconds to save his skin. This Ghazal is now widely
appreciated by his fans. A few couplets from this masterpiece:

'Har ek baat pe kehte ho tum ki "tu kya hai?",
Tum hii kaho ki yeh andaaz-e-guftaguu kya hai.

Jalaa hai jism, jahaan dil bhi jal gayaa hoga,
Kuredtey ho jo ab raakh, justajoo kya hai…

Hua ha shah ka musaahib, phirre hai itraata,
Wagarna shehr mein "Ghalib" ki aabruu kya hai....

[ At every single utterance you say, 'what are you?!'
only/emphatically you say [=imperative]-- what is this style of speech?!

where the body has burned, even/also the heart will have burned
since you now rake/poke the ashes, what is the 'search' [for]?

He’s become the King’s companion-- he goes around giving himself airs
otherwise, what honor/dignity/reputation does Ghalib have in the city?! ]…


So what's it about Mirza Ghalib's poetry that makes him different from
the others? That consolidates him in a league of his own? That takes
him to a different level altogether? Well, there's 'something' about
Ghalib's poetry. Something that has made millions of us crazy, that
makes us rub our eyes in disbelief, that makes us wonder how a human
mind can acquire such mesmerizing thoughts, that keeps us wanting for
more .Craving actually.

Ghalib wrote fearlessly about almost anything and everything. He
touched almost every aspect of life with his poetry.
Be it the everlasting , ever fresh romantic poetry that can move even
the most obdurate person to tears



‘Taskii’n ko hum na royein. jo zauq-e-nazar mile,
Hooraan-e-khuld mein teri surat magar mile’….


[I wouldn't weep over [the loss of] rest/peace, if pleasure/relish of
seeing you would be available
but among the Hoors/virgins of Paradise your face/form should be available!]



‘Unke dekhe se jo aa jaatii hai munh par raunaq,
woh samajhte hain ke beemaar ka haal achcha hai’….


[ From seeing her, the radiance that comes upon the face,
she considers that the sick person's condition is good ]



'Partav-e-khuur se hai shabnam ko fana'a ki taaleem
main bhi hoon ik inaayat ki nazar hone tak'....

[from the ray of sun is, to the dew, an education in oblivion/destruction
even/also I exist/am until the existence/occurrence of a
single/particular/unique glance of favor (from you)]



Or be it the trademark Ghalib poetry about hopeless despair and the
ironies of life .



‘Bas ke Dushwaar hai har kaam ka aasaa’n hona,
aadmi ka mayassar nahin insaan hona’…..


[ Although it's difficult for every task to be easy
even/also for a man, it's not attainable/attained/easy to become
human/humane ]…


'Gham-e hastii ka “Asad kis se ho juz marg ilaaj
sham’a har rang mein jaltii hai sahar hone tak'


[ For the grief of life,’ Asad’, from what/whom would be the cure,
except death?
The candle, in every color/mood/condition, burns until the coming of dawn ]



‘Daayim padaa huaa tere dar par nahin hoon main,
Khaak aisii zindagii pe ki patthar nahin hoon main’…

[ I am not always lying/fallen at your door
{woe to / dust upon} such a life!-- {in that / since} I am not stone ]….


Ghalib didn't even spare the priests and the Mullahs

'Kahaan maikhaane ka darwaaza "Ghalib" aur kahaan waaiz,
Par itna jaante hain, kal woh jaata tha ki hum nikle'

[How can the door of the wine-house and the Preacher be compared, Ghalib?
But I know this much: yesterday he went in/by, when I was coming out
from there]…


Such was the ease with which Ghalib penned down his thoughts, he wrote
masterpieces even on his favorite objects and places. It won't be out
of place here to mention about Ghalib's love for mangoes.

Ghalib loved Calcutta. He expressed his desire to settle in this city
on numerous occasions.



‘Kalkatte ka Jo zikr kiya tune hamnashiin,
ik teer mere seene mein maara ke haaye haaye’….

[ Why did you speak of Calcutta in front of me , O my friend, now
that you've mentioned it,
I miss the place so much, feels as if somebody shot an arrow
through my chest]



Most of Ghalib's work was destroyed during the revolt of 1857 after
British ransacked the personal libraries of his friend who kept the
only copies of Ghalib's work. Ghalib wrote in one of his letters that
he recovered one of his poems when a beggar came to his doorstep and
recited a Ghalib poem as means of requesting food.

During the latter stages of his life around the revolt of 1857,
disturbed by the violence and bloodshed around, Mirza Ghalib remained
confined to his room, secluded from the outside world. Ghalib left
this world on February 15th, 1869. He didn't die, for he is and will
remain alive in the hearts of millions. Ghalib lost his hearing a few
years before death but he gave us an invaluable treasure in the form
of his poetry that we'll hear, read and cherish forever. Ghalib's
memory had impaired, but he had given this world the most memorable
gift of his quintessential poetry that seems as old as the very
existence of life and as fresh as effloresce, that continues to
bewilder his readers. Mentally alert of his disintegration, he wrote,

“I sleep in the courtyard. Two men carry me onto the veranda and dump
me in a small, dark, side room. I spend the day lying in its dingy
corner. In the evening, I’m again carried out and dumped on the cot.”

The world of poetry is in debt of this mystic, legendary poet and will
ever remain for none can ever replicate what Mirza Ghalib offered to
us.

His wife died on the same date as he died, a year later.

Lastly, I remember reading somewhere that Ghalib would deliver in a
couple of lines, what other poets took a lifetime to say. I can't help
but wonder how true it is.....

I'd like to end with a Ghalib's couplet that, in a sense, expresses my
incapacity to do justice to this great, great poet.

'Puucchte hain woh ki "Ghalib" kaun hai,
Koii batlaao ki hum batlaayein kya'

[They ask me, 'Who is Ghalib?',
Someone tell them, 'What can I say?'


Sair Mir.

sairmir@gmail.com
http://www.twitter.com/sairmir



[References: A few english translations from
http://www.columbia.edu/itc/mealac/pritchett/00ghalib/ghazal_index.html?
]



It is literally impossible to pick a few among Ghalib's poems, each
is a masterpiece by all the standards.
However I leave you with a few of his 'gems'.....





ah ko chaahiye ik umr asar hone tak

aah ko chaahiye ik umr asar hone tak
kaun jiitaa hai terii zulf ke sar hone tak

daam har mauj me.n hai halqaa-e-sad_kaam-e-nahang
dekhe.n kyaa guzare hai qatare pe gauhar hone tak

aashiqii sabr-talab aur tamannaa betaab
dil kaa kyaa rang karuu.N Khuun-e-jigar hone tak

ham ne maanaa ke taGaaful na karoge lekin
Khaak ho jaaye.nge ham tum ko Khabar hone tak

partav-e-Khuur se hai shabanam ko fanaa kii taaliim
mai.n bhii huu.N ek inaayat kii nazar hone tak

yak_nazar besh nahii.n fursat-e-hastii Gaafil
garmii-e-bazm hai ik raqs-e-sharar hone tak

Gam-e-hastii kaa 'Asad' kis se ho juz marg ilaaj
shammaa har rang me.n jalatii hai sahar hone tak


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




baaziichaa-e-atfaal hai duniyaa mere aage


baaziichaa-e-atfaal hai duniyaa mere aage
hotaa hai shab-o-roz tamaashaa mere aage

ik khel hai aurang-e-sulemaa.N mere nazadiik
ik baat hai ejaaz-e-masiihaa mere aage

juz naam nahii.n suurat-e-aalam mujhe manzuur
juz vaham nahii.n hastii-e-ashiyaa mere aage

hotaa hai nihaa.N gard me.n seharaa mere hote
ghisataa hai jabii.n Khaak pe dariyaa mere aage

mat puuchh ke kyaa haal hai meraa tere piichhe
tuu dekh ke kyaa rang hai teraa mere aage

sach kahate ho Khud_biin-o-Khud_aaraa huu.N na kyo.N huu.N
baiThaa hai but-e-aa_iinaa siimaa mere aage

phir dekhiye andaaz-e-gul_afshaanii-e-guftaar
rakh de ko_ii paimaanaa-e-sahabaa mere aage

nafrat ka gumaa.N guzare hai mai.n rashk se guzaraa
kyo.N kar kahuu.N lo naam naa us kaa mere aage

imaa.N mujhe roke hai jo khii.nche hai mujhe kufr
kaabaa mere piichhe hai kaliisaa mere aage

aashiq huu.N pe maashuuq_farebii hai mera kaam
majanuu.N ko buraa kahatii hai lailaa mere aage

Khush hote hai.n par vasl me.n yuu.N mar nahii.n jaate
aa_ii shab-e-hijaraa.N kii tamannaa mere aage

hai mauj_zan ik qulzum-e-Khuu.N kaash! yahii ho
aataa hai abhii dekhiye kyaa-kyaa mere aage

go haath ko jumbish nahii.n aa.Nkho.n me.n to dam hai
rahane do abhii saaGar-o-miinaa mere aage

ham_peshaa-o-ham_masharab-o-ham_raaz hai meraa
'Ghalib' ko buraa kyo.N kaho achchhaa mere aage


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



daayam pa.Daa huaa tere dar par nahii.n huu.N mai.n

daayam pa.Daa huaa tere dar par nahii.n huu.N mai.n
Khaak aisii zindagii pe ke paththar nahii.n huu.N mai.n

kyuu.N gardish-e-mudaam se ghabaraa na jaaye dil
insaan huu.N, pyaalaa-o-saaGar nahii.n huu.N mai.n

yaarab! zamaanaa mujh ko miTaataa hai kis liye
lauh-e-jahaa.N pe harf-e-mukarrar nahii.n huu.N mai.n

had chaahiye sazaa me.n uquubat ke waaste
aaKhir gunaahagaar huu.N, kaafir nahii.n huu.N mai.n

kis waaste aziiz nahii.n jaanate mujhe
laal-o-zumaruud-o-zar-o-gauhar nahii.n huu.N mai.n

rakhate ho tum qadam merii aa.Nkho.n se kyuu.n dareG
rutabe me.n mahr-o-maah se kamatar nahii.n huu.N mai.n

karate ho mujhako manaa-e-qadam_bos kis liye
kyaa aasmaa.N ke bhii baraabar nahii.n huu.N mai.n

'Ghalib' wazifaa_Khwaar ho, do shaah ko duaa
wo din gaye ki kahate the "naukar nahii.n huu.N mai.n"


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




dil hii to hai na sang-o-Khisht dard se bhar na aaye kyuu.N



dil hii to hai na sang-o-Khisht dard se bhar na aaye kyuu.N
roe.nge ham hazaar baar koii hame.n sataaye kyuu.N

dair nahii.n haram nahii.n dar nahii.n aastaa.N nahii.n
baiThe hai.n rahaguzar pe ham Gair hame.n uThaaye kyuu.N

jab vo jamaal-e-dilafaroz, suurat-e-mahr-e-niimaroz
aap hii ho nazaaraasoz, parde me.n muu.Nh chhupaaye kyuu.N

dashnaa-e-Gamzaa jaa.Nsitaa.N, naavak-e-naaz bepanaah
teraa hii aks-e-ruKh sahii, saamane tere aaye kyuu.N

qaid-e-hayaat-o-band-e-Gam asl me.n dono.n ek hai.n
maut se pahale aadamii Gam se najaat paaye kyuu.N

husn aur us pe husn-e-zan rah gaii bulahavas kii sharm
apane pe etimaad hai Gair ko aazamaaye kyuu.N

vaa.N vo Guroor-e-izz-o-naaz yaa.N ye hijaab-e-paas vaz_a
raah me.n ham mile.n kahaa.N, bazm me.n vo bulaaye.n kyuu.N

haa.N vo nahii.n Khudaaparast, jaao vo bevafaa sahii
jisako ho diin-o-dil aziiz, usakii galii me.n jaaye kyuu.N

"Ghalib"-e-Khastaa ke baGair kaun se kaam band hai.n
roiie zaar-zaar kyaa, kiijie haaye-haaye kyuu.N



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




kisii ko deke dil koii navaa_sa.nj-e-fuGaa.N kyo.n ho

kisii ko deke dil koii navaa_sa.nj-e-fuGaa.N kyo.n ho
na ho jab dil hii siineme.n to phir muu.Nh me.n zubaa.N kyo.n ho

vo apanii Khuu na chho.De.nge ham apanii vazaa kyo.n badale.n
subuk_saar banake kyaa puuchhe.n ki ham se sar_giraa.N kyo.n ho

kiyaa Gam_Khvaar ne rusavaa lage aag is muhabbat ko
na laaye taab jo Gam kii vo meraa raazadaa.N kyo.n ho

vafaa kaisii kahaa.N kaa ishq jab sar pho.Danaa Thaharaa
to phir ai sang_dil teraa hii sang-e-aastaa.N kyo.n ho

qafas me.n mujh se ruudaad-e-chaman kahate na Dar ham_dam
girii hai jis pe kal bijalii vo meraa aashiyaa.N kyo.n ho

ye kah sakate ho ham dil me.n nahii.n hai.n par ye bataao
ki jab dil me.n tumhii.n tum ho to aa.Nkho.n se nihaa.N kyo.n ho

Galat hai jazabaa-e-dil kaa shikavaa dekho jurm kisakaa hai
na khii.ncho gar tum apane ko kashaakash darmiyaa.N kyo.n ho

ye fitanaa aadamii kii Khaanaaviiraanii ko kyaa kam hai
hue tum dost jisake dushman usakaa aasmaa.N kyo.n ho

yahii hai aazamaanaa to sataanaa kis ko kahate hai.n
aduu ke ho liye jab tum to meraa imtihaa.N kyo.n ho

kahaa tumane ki kyo.n ho Gair ke milane me.n rusavaaii
bajaa kahate ho sach kahate ho phir kahiyo ki haa.N kyo.n ho

nikaalaa chaahataa hai kaam kyaa taano.n se tuu "Ghalib"
tere bemahar kahane se vo tujh par meharabaa.N kyo.n ho



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



laazim thaa ki dekho meraa rastaa koii din aur

laazim thaa ki dekho meraa rastaa koii din aur
tanhaa gaye kyo.n ab raho tanhaa koii din aur

miT jaayegaa sar, gar teraa paththar na ghisegaa
huu.N dar pe tere naasiyaa_farsaa koii din aur

aaye ho kal aur aaj hii kahate ho ki jaauu.N
maanaa ki hameshaa nahii.n achchaa koii din aur

jaate hue kahate ho qayaamat ko mile.nge
kyaa Khuub! qayaamat kaa hai goyaa koii din aur

haa.N ae falak-e-piir, javaa.N thaa abhii aarif
kyaa teraa biga.Dataa jo na marataa koii din aur

tum maah-e-shab-e-char_duhum the mere ghar ke
phir kyo.n na rahaa ghar kaa vo naqshaa koii din aur

tum kaun se aise the khare daad-o-sitad ke
karataa malak_ul_maut taqaazaa koii din aur

mujhase tumhe.n nafrat sahii, nayyar se la.Daaii
bachho.n kaa bhii dekhaa na tamaashaa koii din aur

guzarii na bahar_haal yaa muddat Khushii-naaKhush
karanaa thaa javaa.N_marg! guzaaraa koii din aur

naadaa.N ho jo kahate ho ki kyo.n jiite ho 'Ghalib'
qismat me.n hai marane kii tamannaa koii din aur


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


taskii.N ko ham na roe.n jo zauq-e-nazar mile

taskii.N ko ham na roe.n jo zauq-e-nazar mile
huraa.N-e-Khuld me.n terii suurat magar mile

apanii galii me.n mujh ko na kar dafn baad-e-qatl
mere pate se Khalq ko kyo.n teraa ghar mile

saaqii garii kii sharm karo aaj varnaa ham
har shab piyaa hii karate hai.n mai jis qadar mile

tujh se to kuchh kalaam nahiin lekin ae nadiim
meraa salaam kahiiyo agar naamaabar mile

tum ko bhii ham dikhaaye ke majanuu.N ne kyaa kiyaa
fursat kashaakash-e-Gam-e-pinhaa.N se gar mile

laazim nahii.n ke Khijr kii ham pairavii kare.n
maanaa ke ek buzurg hame.n ham safar mile

ae saakanaan-e-kuchaa-e-dil_daar dekhanaa
tum ko kahii.n jo Ghalib-e-aashuftaa sar mile


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


ye na thii hamaarii qismat ke visaal-e-yaar hotaa

ye na thii hamaarii qismat ke visaal-e-yaar hotaa
agar aur jiite rahate yahii intazaar hotaa

tere vaade par jiye ham to ye jaan jhuuTh jaanaa
ke Khushii se mar na jaate agar aitabaar hotaa

terii naazukii se jaanaa ki ba.Ndhaa thaa ahd_bodaa
kabhii tuu na to.D sakataa agar ustavaar hotaa

koii mere dil se puuchhe tere tiir-e-niimakash ko
ye Khalish kahaa.N se hotii jo jigar ke paar hotaa

ye kahaa.N kii dostii hai ke bane hai.n dost naaseh
koii chaaraasaaz hotaa, koii Gam_gusaar hotaa

rag-e-sang se Tapakataa wo lahuu ki phir na thamataa
jise Gam samajh rahe ho ye agar sharaar hotaa

Gam agarche jaa.N_gusil hai, pe kahaa.N bache.n ke dil hai
Gam-e-ishq gar na hotaa, Gam-e-rozagaar hotaa

kahuu.N kis se mai.n ke kyaa hai, shab-e-Gam burii balaa hai
mujhe kyaa buraa thaa maranaa agar ek baar hotaa

hue mar ke ham jo rusavaa, hue kyo.N na Garq-e-dariyaa
na kabhii janaazaa uThataa, na kahii.n mazaar hotaa

use kaun dekh sakataa ki yaganaa hai wo yaktaa
jo duii kii buu bhii hotii to kahii.n do chaar hotaa

ye masaail-e-tasavvuf, ye teraa bayaan 'Ghalib'
tujhe ham walii samajhate, jo na baadaa_Khvaar hotaa

Nazeer Akbarabadi #shair 17th may 2011

Nazeer Akbarabadi

Nazeer Akbarabadi (real name “Wali Muhammad”) was an Indian poet of 18th century who wrote Urdu ghazals and nazms under nom de plume “Nazeer”. 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 Akbar at that time.
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 Muhammad Shah Rangeela 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 years old.
It is said that Nazeer’s poetic treasure consisted of about 200,000 verses but unfortunately a bigger portion of it is destroyed and only 6000 verses are available in printed form. No other Urdu poet used as many words as Nazeer did. Nazeer’s poetry conveyed the plight of the common people in their own everyday language and was very popular among the masses. It was due to this lack of the “elite” element perhaps that Nazir’s genius was not recognized until much later.
But in spite of this neglect, some of his poetic treasure is still available and some of his poems, such as Banjara Nama (chronicle of a nomad/gypsy), Kaljug nahin karjug hai yeh, Aadmi Naama (chronicle of man), etc., became immortal. Such poems find their place in school text books and discerning fans of Urdu poetry will not fail to recognize the greatness of Nazeer’s verse.
His poetic treasure has some immortal poems like “Banjara Nama”, “Kaljug nahin karjug hai yeh”, “Aadmi Naama” (Chronicle of man) etc. These poems are also in school text books and anticipating fans of Urdu poetry will not fail to recognize the glory of Nazeer’s verse. He was purely a people’s poet and his nazams reflects various aspects of daily life of his era. He wrote on all types of religious and social events with all minor details in which common people can be seen laughing, singing, teasing and playing. He wrote nazams on various social festivals like “Diwali, Holi, Eid, Shab-e-baraat” and about animals, birds, seasons and even on inanimate objects like “paisa, rupaiaa, rotiyaan, aata-daal (flour and lentils), pankha (fan), and kakrhi (a kind of cucumber)”.
He also wrote nazams about different aspects of human life like “muflisi” (Poverty) and “kohrinamah” (Chronicle of leper). Nazeer Akbarabadi died in 1830 AD at the age of 98.

From Wikipedia
http://en.wikipedia.org/wiki/Nazeer_Akbarabadi

Banjaranama

gar tuu hai lakhi Banjara aur khep bhi teri bhaari hai,

ai ghaafil tujhse bhi chadhta ek aur bada vyapari hai,

kya shakar,misri,kand gari, kya sambhar meetha khari hai

kya dakh munaqqa sonth ,mirch, kya kesar laag supari hai

sab thaath pada rah jayega , jab laad chalega banjara

sab thaath pada rah jayega / jab laad chalega banjara

Aadmi nama

Duniya mien badshah hai so hai woh bhi aadmi

aur muflis o gada hai so hai woh bhi aadmi

zar dar be nawa hai so hai woh bhi aadmi

ne’amat jo kha raha hai so hai woh bhi aadmi

tukde jo mangta hai so hai woh bhi aadmi

abdaal o qutb o ghaus o wali aadmi hui

munkar bhi aadmi hue aur kufr se bhare

kya kya karishme kashf o karamat ke kiye

had ta ke apne zor o riyazat ke zor pe

khaliq se ja mila hai so hai woh bhi aadmi

fir’aun ne kiya tha jo daawa khudai ka

shaddad bhi bahisht bana kar hua khuda

namrud bhi khuda hi kahaata tha bar mala

yeh baat hai samajhne ki aage kahoon main kya

yan tak jo ho chuka hai so hai woh bhi aadmi

yan aadmi hi naar hai aur aadmi hi noor

yan aadmi hi paas hai aur aadmi hi door

kul aadmi ka husn o qaba mien hai yaan zahoor

shaitaan bhi aadmi hai jo karta hai makr o zor

aur haadi, rehnuma hai so hai woh bhi aadmi

masjid bhi aadmi ne banai hai yan miyan

bante hain aadmi hi imaam aur khutba khwan

padhte hain aadmi hi namaaz aur quran yan

aur aadmi hi un ki churaate hain jootiyan

unko jo tadhta hai so hai woh bhi aadmi

yan aadmi pe jaan ko ware hai aadmi

aur aadmi hi tegh se maare hai aadmi

pagrhi bhi aadmi ki utaare hai aadmi

chilla ke aadmi ko pukare hai aadmi

aur sun ke daudhta hai so hai woh bhi aadmi!

Bahre Taweel

http://wn.com/Nazeer_Akbarabadi

Zia Mohyeddin Bahre Taweel #Nazirakbarabadi #ShairoftheDay

Holi

Jab khele holi Nandlalan, hans hans nandgaon basyan main ll Nar naari ko anand hoye khushwaqti chhori chayan main

जब खेली होली नंद ललन हँस हँस नंदगाँव बसैयन में।

नर नारी को आनन्द हुए ख़ुशवक्ती छोरी छैयन में।।

कुछ भीड़ हुई उन गलियों में कुछ लोग ठठ्ठ अटैयन में ।

खुशहाली झमकी चार तरफ कुछ घर-घर कुछ चौप्ययन में।।

डफ बाजे, राग और रंग हुए, होली खेलन की झमकन में।

गुलशोर गुलाल और रंग पड़े हुई धूम कदम की छैयन में।

Jan Nisar Akhtar #shair May 2011& 14th feb 2012

Jan Nisar Akhtar

Jan Nisar Akhtar was an important 20th century Indian poet of Urdu ghazals and nazms, and a part of the Progressive Writers’ Movement, who was also a lyricist for Bollywood.
In his career spanning four decade he worked with distinguished music composers like C. Ramchandra, O.P. Nayyar, N Dutta and Khayyam writing about 151 songs, notable among them were songs from his breakthrough film AR Kardar’s Yasmin (1955), Aankhon hi Aankhon Mein in Guru Dutt’s C.I.D. (1956), Yeh dil aur unki nigahon ke saaye in Prem Parbat (1974) and Aaja re in Noorie (1979) and his last unforgettable song Ae Dil-e-naadaan in Kamal Amrohi’s Razia Sultan (1983)
His notable poetry works include, Nazr-e-Butaan, Salaasil, Javidaan, Pichali Pehar, Ghar Angan and “Khaak-e-dil” (The Ashes of Heart”), a poetry collection for which he was awarded the 1976 Sahitya Akademi Award in Urdu by Sahitya Akademi, India’s National Academy of Letters
He was born in 1914, in Gwalior, Madhya Pradesh, India, into a family of Sunni theologians, scholars and poets. His father Muzter Khairabadi was poet as was his father’s elder brother, Bismil Khairabadi, while his great grandfather, Fazl-e-Haq Khairabadi, a scholar of Islamic studies and theology, notably edited the first diwan of Mirza Ghalib on his request, and later became an important figure during the Indian Rebellion of 1857 in his native Khairabad.
Jan Nisar passed his matriculation from Victoria Collegiate High School, Gwalior, and in 1930 joined Aligarh Muslim University, from where he did his B.A. Honours and M.A. degree, and started his doctoral work, but had to return to Gwalior due to family conditions
In 1943, he married Safiya Siraj-ul Haq, also an alumnus of AMU, and the sister of poet Majaz Luckknawi, their two sons, Javed and Salman were born in 1945 and 1946 respectively. Post-independence riots in Gwalior forced him to shift base to Bhopal, where he joined the Hamidia College as Head of Department of Urdu and Persian, later Safiya also joined the college. Soon they became part of the Progressive Writers’ Movement and subsequently he was made its president.
His poetry was secular and like many of progressive writers of his generation talked of freedom, dignity, economic exploitation and other issues gleaming of the leftist leanings.[10] Even his romanticism which was amply displayed in his ghazals, was replete with references to household and family life. His notable books include Nazr-e-Butaan, Salaasil, Javidaan, Ghar Angan and Khaak-e-Dil (all Urdu titles). One of his many famous couplets is :
Ashaar mere yuu.N to zamaane ke liye hai.n,
kuchh sher faqat unako sunaane ke liye hain
He even wrote and produced a film Bahu Begum (1967) starring Pradeep Kumar and Meena Kumari. During the period of four year to his death he published three collections of his works most important of them being, Khak-e-Dil (The Ashes of Heart”), which has his representative poems from 1935 to 1970, and which won him the Sahitya Akademi Award (Urdu) in 1976.
Jan Nisar was commissioned by the first Prime Minister of India, Jawaharlal Nehru to collate the best Hindustani poetry of last 300 years, and later the first edition of the book titled Hindustan Hamara (Our Hindustan) in two volumes was released by Indira Gandhi. It contained Urdu verses on a topics, ranging from love and praise for India and its history, to festivals like Holi and Diwali, on Indian rivers like the Ganga, Yamuna and the Himalayas.
He died in Mumbai, India on 19 August 1976, while he was still working on Kamal Amrohi’s film, Razia Sultan (1983). He was nominated posthumously for 1980 Filmfare Best Lyricist Award for “Aaja Re Mere Dilbar” from the film, Noorie.
His anthology, Hindustan Hamara was re-released in Hindi in 2006
http://en.wikipedia.org/wiki/Jan_Nisar_Akhtar

Nazm and Ghazals

1.
Ye zakhm hi apna hissa hain,
in zakhmon par sharmayein kya
Kyon kehte huye sharmayein hum,
duniya ne humein thukraya hai

Har saans mein aisa lagta hai,
shola sa koi lehraya hai
Ye surkh jo rehti hain aankein,
zakhmon ne lahu chalkaya hai

Do ghav bane ho chehre par,
khud dekh lo hum dikhlayein kya
Ye zakhm hi apna hissa hain,
in zakhmon par sharmayein kya

Jheli hai saza khuddari ki,
par haath nahin phailaye hain .
Auron ke liye har dard saha,
us par bhi bure keh laaye hain

Teeron ka jinhein fun sikhlaya,
khud teer unhi se khaye hain .
Jo zakhm mile hain apno se,
un zakhmon ko ginwayein kya

Ye zakhm hi apna hissa hain,
in zakhmon par sharmayein kya
Aati thein sadayein jin ki kabhi,
khilwat mein bhi dil ke taaron se .

Hum jaan chidakte the jin par,
yaari na nibhi un yaaron se ..
Ye zakhm jo dil ne khaye hain,
gehre hain kayi talwaaron se ..

Maloom na ho jab apni khata,
hum uzar bhi lekar jayein kya ..
Ye zakhm hi apna hissa hain,
in zakhmon par sharmayein kya

2.
zindagii tanhaa safar kii raat hai
apne apne hausle kii baat hai

kis aqiide kii duhaa’ii deejiye
har aqiidah aaj be-auqaat hai
(aqiidah : belief; be-auqaat : without value)

kyaa pataa pahunchenge kab manzil talak
ghaTte-baRhte faasiloN kaa saat(h) hai

3.
bhuule na kisii haal meN aadaab-e-nazar ham
mur kar na tujhe dekh sake vaqt-e-safar ham
(aadaab : etiquettes; nazar : sight, view; vaqt-e-safar : departing time)

ai husn! kisii ne tujhe itnaa to na chaahaa
barbaad hu’aa tere liye kaun, magar ham

jiine ka hameN Khud na milaa vaqt to kyaa hai
logoN ko sikhlaate rahe jiine kaa hunar ham
(hunar : skill, excellence)

ab tere ta’lluq se hameN yaad hai itnaa
ek raat ko mehmaan rahe the tere ghar ham
(ta’lluq : relationship, acquaintance)

duniyaa kii kisii chhaaNv se dhundlaa nahiiN saktaa
aaNkhoN meN liye phirte haiN jo Khvaab-e-sehar ham
(Khvaab-e-sehar : dream of dawn)

vo kaunsii aahat thii jo Khvaabon mein dar aayii
kyaa jaaniye kyuun chaunk paRe picchle pehar ha

4.Qitaat
lamhaa lamhaa terii yaaden jo chamak uthtii hain
aisaa lagtaa hai ke urte hu’e pal jalte hain
mere Khvaabon mein ko’ii laash ubhar aatii hai
band aankhoN mein ka’ii Taj Mahal jalte hain

5.
tuu is qadar mujhe apne qareeb lagtaa hai
tujhe alag se jo sochuun, ajiib lagtaa hai

jise na Husn se matlab na ishq se sarokaar
vo shaksh mujh ko bahut bad-nasiib lagtaa hai

huduud-e-zaat se baahar nikal ke dekh zaraa
na ko’ii Ghair, na ko’ii raqeeb lagtaa hai

ye dostii, ye maraasim, ye chaahateiN ye Khuluus
kabhii kabhii ye sab kuch ajiib lagtaa hai

ufaq pe duur chamaktaa huvaa ko’ii taaraa
mujhe charaaGh-e-dayaar-e-Habeeb lagtaa hai

na jaane kab ko’ii tuufaaN aaye gaa yaaroN
buland mauj se saaHil qareeb lagtaa hai

6.
jaaiye baiThiye hukmraanoN ke biich
aap kyuuN aa gaye ham divaanoN ke biich
(hukmraanoN : rulers)

aur kyaa hai siyaasat ke baazaar meN
kuch khilone saje haiN dukaanoN ke biich
(siyaasat : politics)

thaa jinheN ishq kaa hauslaa uTh gaye
tazkire rah gaye daastoN ke biich
(hauslaa : ambition; tazkire : talks; daastaaN : stories)

ishq ke naam par aur to kyaa hogaa
dushmani ho gayii do gharaanoN ke biich

log baateN banaane pe aise tule
chhup gayii har haqiiqat fasaanoN ke biich
(haqiiqat : reality; fasaane : stories)

jalne vaaloN kii aaheN kahaaN jal sakiiN
ek dhuaaN hai abhii tak makaanoN ke biich

zindagaanii kii qadreN badalne lagiiN
log baNTne lage do zamaanoN ke biich
(qadreN : benchmarks, paradigms)

kam se kam ham meN ye hauslaa to rahaa
zindagii kaaT dii imtihaanoN ke biich

sher-o-fan kii sajii hai nayii anjuman
ham bhii baiThe haiN kuch nau-javaanoN ke biich
(sher-o-fan : poetry; anjuman : gathering)

7.
ujRii ujRii huii har aas lage
zindagii Ram ka ban-baas lage
(aas : hope; ban-baas : exile)

tuu ke bahtii huii nadiyaa ke samaan
tujhko dekhuuN to mujhe pyaas lage
(nadiyaa : river; samaan : similar; pyaas : thirst)

phir bhii chhuunaa use, aasaan nahiiN
itnii duurii pe bhii, jo paas lage

vaqt saayaa saa koii chhoR gayaa
ye jo ek dard kaa ehsaas lage

aik ek laher kisii yug kii kathaa
mujhko Gangaa ko’ii itiihaas lage
(yug : era; kathaa : story; itiihaas : history)

sher-o-naGhme se ye vahshat terii
Khud terii ruuh ka aflaas lage
(sher-o-naGhme : couplets and songs; vahshat : loneliness, dreariness; ruuh : soul; iflaas : poverty)

8.

zindagii ye to nahiiN tujhko saNvaaraa hii na ho
kuch na kuch teraa ehsaan utaaraa hii na ho
(ehsaan : benifincence)

kuu-e-qaatil kii baRii dhuum hai, chal kar dekheN
kyaa Khabar, kuuchaa-e-dildaar se pyaaraa hii na ho
(kuu-e-qaatil : home of the murderer; kuuchaa-e-dildaar : house of the beloved)

dil ko chhuu jaatii hai raat kii aavaaz kabhii
chauNk uThtaa huuN kahiiN tuune pukaaraa hii na ho

kabhii palkoN pe chamaktii hai jo ashkoN kii lakiir
sochtaa huuN tere aaNchal kaa kinaaraa hii na ho

zindagii ek Khalish de ke na rah jaa mujhko
dard vo de jo kisii suurat gavaaraa hii na ho
(Khalish : pricking)

sharm aatii hai ke us shah’r meN ham haiN ke jahaaN
na mile bhiik to laakhoN kaa guzaaraa hii na ho

10.
ashaar mere yuun to zamaane ke liye hain
kuch sher faqat unko sunaane ke liye hain

ab ye bhi nahin theek ki har dard mita den
kuchh dard kaleje se lagaane ke liye hain

aankhon men jo bhar loge to kaante se chubhenge
ye Khwaab to palakon pe sajaane ke liye hain

dekhun tere haathon ko to lagata hai tere haath
mandir men faqat deep jalaane ke liye hain

ye ilm ka sauda ye risaale ye kitaaben
ik shaKhs ki yaadon ko bhulane ke liye hain

Haider Ali Aatish #shair May 2011 & 4th Feb 2012

Khwaja Haider Ali Aatish was one of the titans of Urdu poetry whose literary rivalry with his contemporary Nasikh produced some rare lyrical gems. ‘Aatish’ was born in 1778 in Faizabad.

He died in 1846 in Lucknow. His poems are compiled under ‘Deewan-e-Aatish’.

Since his father died when he was very young, Aatish could not have a formal education. But his instinctive taste for poetry gave him easy access to the court of Nawab Mohammed Taqi Khan Taraqqi, who, in turn, took him to Lucknow. At Lucknow he sought poetic instruction from Mushafi, an important poet of the Lucknow school. On the strength of his poetic abilities and performance, Aatish soon established his reputation in literary circles, and came to be regarded as a top ranking poet of Lucknow, and a worthy rival of Nasikh.

Aatish was a contented, self- respecting man who led a simple and stringent life, and never stooped before nobility to gain personal favours. This independence of spirit and ascetic- like unconcern with worldly comforts, is also reflected in his poetry.

Although Aatish belongs unmistakably to the Lucknow school, his poetry is generally free from the faults of affectation, sensuality, and linguistic jugglery, associated with this school.

He is generally bracketed with Nasikh for purposes of poetic comparison. Both of them were good friends and poetic rivals, both of them were representatives of the Luckriow school, and both of them were acknowledged masters in the field. Again, both of them respected each other, so much so, that after the death of Nasikh, Aatish stopped writing poetry.

Some critics rank him next to Mir and Ghalib. His ghazals are built round the traditional themes of love and mysticism, and his sentiment is noble and refined. He writes familiar, speech-like language, and his words are carefully chosen and artistically arranged. He also makes an apt use of he contemporary idiom, so that some of hi lines, like the lowing, have become popular quotations.

Renowned for ghazals with a mystic flavour, Aatish’s work displays a unique sensuous quality. He seldom loses spontaneity. Quite often he displays a tendency for ornamentation and word based poetry but we also have in him a representative lyricist of the age.

 

Ghazal

1.

shab-e-vasl thii chaandnii kaa samaan thaa

baGal meN sanam thaa, Khudaa meherbaaN thaa

voh shab thii ki thii roshnii jismen din kii

zamiin par se ek nuur taa aasmaan thaa

nikaale the do chaand usne muqaabil

voh shab sub’h-e-jannat ka jis pe gumaan thaa

uruusii kii shab kii halaavat thii haasil

farahnaak thii ruuh, dil shaadmaan thaa

bayaan khwaab kii tarah jo kar rahaa hai

ye qissa hai jab kaa ki Aatish javaan thaa

2.

tadapate hain na rote hain na ham fariyaad karate hain

sanam kii yaad mein har-dam Khudaa ko yaad karate hain

unhiin ke ishq mein ham naalaa-o-fariyaad karate hain

ilaahii dekhiye kis din hamen vo yaad karate hain

[naalaa = loud wailing]

shab-e-furqat mein kyaa kyaa saanp laharaate hain siine par

tumhaarii kaakul-e-pechaa.N ko jab ham yaad karate hain

[shab-e-furqat = night of separation; kaakul-e-pechaan = curly hair]

3.

sun to sahii jahaan mein hai teraa fasaanaa kyaa

kahatii hai tujh se Khalq-e-Khudaa Gaibaanaa kyaa

ziinaa sabaa kaa Dhuundhatii hai apanii musht-e-Khaak

baam-e-baland yaar kaa hai aastaanaa kyaa

aatii hai kis tarah se merii kabz-e-ruuh ko

dekhuun to maut Dhuundh rahii hai bahaanaa kyaa

betaab hai kamaal hamaaraa dil-e-aziim

mahamaan saaraay-e-jism kaa hogaa ravanaa kyaa

4.

yaar ko maiin ne mujhe yaar ne sone na diyaa

raat bhar taali’-e-bedaar ne sone na diyaa

[taali'-e-bedaar = good fortune]

ek shab bul_bul-e-betaab ke jaage na nasiib

pahaluu-e-gul me.n kabhii Khaar ne sone na diyaa

raat bhar kii dil-e-betaab ne baaten mujh se

mujh ko is ishq ke biimaar ne sone na diyaa

5.

ye aarazuu thii tujhe gul ke ruu-ba-ruu karate

ham aur bul_bul-e-betaab guftaguu karate

[ruu-ba-ruu = in front of; guftaguu = conversation]

payaam bar na mayassar huaa to Khuub huaa

zabaan-e-Gair se kyaa shar kii aarazuu karate

[mayassar = available; shar = mischief]

merii tarah se maah-o-mahar bhii hain aavaaraa

kisii habiib ko ye bhii hain justajuu karate

[maah-o-mahar = moon and sun; habiib = friend]

jo dekhate terii zanjiir-e-zulf kaa aalam

asiir hone ke aazaad aarazuu karate

[asiir = prisoner]

na puuchh aalam-e-baragashtaa taali-e-”Aatish”

barasatii aag mein jo baaraan kii aarazuu karate

[baragashtaa = turn around/against; baaraa.N = rain]

[taali-e-aatish = burning fate]

6.

Dakan par ham unke gunman kaise kaise,

Kalaam aafe hai;i darmiaan kaise kaise.

Za,nin-e-chaman gut khilati hai kya kya,

Badalta hai rang aasmaan kaise kaise.

Na gor-e-Sikander, na hal qabar-e-Dara,

Mite izaamion ke nishaan kaise kaise.

Bahar-e-gulistan ki hal aaTnad, aamad,

Keh phirte ham khush baagbaan kaise, kaise.

Tawajjuh ne ten ha?naare Maseeah,

Tawaana Kieye naatuuan kalse kaise.

DiI-o-deeda-e-ahl-e-alaam mein ghar hal,

Tumhaare lieye ham tnakaan kaise kaise.

Gham-o-çhussa-o-ranj-o-andoh-o-hirman,

Hamaare bki ham mehrbaan kaise kaise.

Kare jis qadar shukr-e-naimat wok ham hal,

Maze loot-ti hal zabaan kaise kaise.

7.

Adam se jaanib-e-hasti talaash-e-yaar mein aae,

Khuli aankhen tau dekha, waadi-e-pur khaar mein aae.

Yaqin hal kuchh na kuchh rahmat mizaaj-e-yaar mein aae,

Adafi se haath baandhe hum tere darbaar mein aae.

Agar bakhshe zahe rehmat, na bakhshe tau shikaait kya,

Sar-e-taslim khum hal, jo mizaaje-yaar mein aae.

Na puchho ahl-e-mahshar, hum se diwaana ki be-taabi,

Yahaan majma suna, yaan bhi talaash-e-yaar mein aae.

Adam ke jaane waalo, bazm-e-jaanaan tak agar pahuncho,

Hamen bhi yaad rakhna, zikar jo darbaar mein aae.

Na maango bosa, ai Aatish, begaare munh woh baithe ham,

Qayaamat hai agar ha! abroo-e-khamdaar mein aae.

8.

Dost ho jab dushman e jaan to kya maalum ho

Aadmi ko kis tarah apni qazaa maluum ho

Aashiqon se se puchiye khoobi lab e jaankhash ki

Johri ko qad e lal e bebaha maluum ho

Daam main laaya hai Aatish sabza e khat e butan

Sach hai kya Isa ko kismat ka likha maluum ho

9.

Ae sanam! Jis ne tujhe chand si soorat di hai

Usi Allah ne mujh ko bhi mohabbat di hai

Tegh be aab hai bazu-e-qaatil kamzor

Kuch giran jaani hai maut befursat di hai

Koi akseer ghazi dil nahi rakhti aesa

Khaaksari nahi di hai daulat di hai

Furqat-e-yaar mein ro ro ke basar karta hoon

Zindagi mujhe kya di hai museebat di hai

Yaad-e-mehboob faramosh na huye Ae dil!

Husn-e-neeyat ne mujhe ishq si naimat di hai

Gosh paida kiye sunne ko tera zikr-e-jamal

Dekhne ko tere aankhon mein basarat di hai

Lutf-e-dilbastagi-e-ashiq-e-shaida na pooch!

Do jahaan se is asseeri ne furaghat di hai

Kamar-e-yaar ke mazmun ko baandh aaye ‘Aatish’

Zulf khuban si mere gham ko tabiyat di hai

10.

agar bakhshe zehe qismat, na bakhshe to shikayat kya

sare tasleem kham jo mizaaj yaar mein aaye

11.

husn-e-paree ik jalwa-e-mastaana hai us ka

hushyaar wahi hai ke jo deewaana hai us ka

gul aate hain hanstee mein adam se hamatan gosh

bulbul ka ye naala nahin afsaana hai us ka

jo chasm ke hairaan hui aaina hai us kee

jo seena ke sad chaak hua shaana hai us ka

wo yaad hai uski ke bhula de do jahaaN ko

haalat ko kare ghair wo yaaraana hai us ka

Yusuf nahin jo hath lage chand dir(h)am se

qeemat jo do aalam ki hai begaana hai us ka

aawaargi-e-nikhat-e-gul hai ye ishaara

jaame se jo baahar hai wo deewaana hai us ka

shukraan-e-saaqi azal karta hai Aatish

labrez may shauq se paimaana hai us ka

11.

Dekha yaan aaeena e fikr ne jab safaay e aab dar sukhan ka

Dahan ko jauhar khula zabaan ka, zabaan ko aqda khula dahan ka

Nazar jo aa jaaye baid Majnu to to royun Majnu ki yaad mein

Jo dekhun yatsha to sar ko phodun kyaal bandh jaaye ko ha kan ka

barhana(nude)aaya tha yaan Adam se, Barhana yaan se chala Adam ko

Na boye kafur hain naa sunghi, Na dagh mujhko laga kafan ka

Nigaah awwal mein chashm se go’n, yeh rang mehfil kare deegar go’n

Woh haal howe jo waqt aakhir, sharab khurun ki anjuman ka

Jo haal parwaan e ishq mein hai, wahi mohabbat mein aalam e dil

Woh samaa fanoos ka hai kashta, yeh sukhta noor pairahan ka

Na yeh nazakat pari mein hogi, naa hurein yeh nazakat Aatish

Jo haar phoolon ka is ne pahna, to bojh uthaya hazaar man ka

12.

Hazrat dil jo kuch irshaad kiya karte hain

Dekhiye kat chuke kab zeest ke apne yeh pahaad

Dard sar soorat Farhaad kiya karte hai

Bulbulon se jo gale kholein hai laakar tahe daam

Chahchahe baagh mein syaad kiya karte hai

Gham shabe hijr mein apne nahin darpesh aata

Zikr se wasl ke dil shaad kiya karte hain

Zikr ashq se nahin ek dam inko fursat

Naaz o andaaz naye ijaad (invent) kiya karte hain

Aatishein naalon ki Allah re garmi shabe hijr

narm tar mom(wax) se falood(iron) kiya karte hain

sunte hain shoq shahaadat ka jo mere shahrah

Yaad Aatish mujhe jallad kiya karte hain

13.

taar taar pairahan hain bhar gayi hai buu-e-dost

Misle tasweer nihaali mai huun ya pahlu-e-dost?

Hijr ki shab ho gayi roz-e-qayamat se daraaz

dosh se neeche nahin utre abhi gesu-e-dost

Daagh-e-dil par khair guzri to ghanimat jaaniye

Dushman-e-jaan hain jo aankhen dekhti hain soye dost

Farsh-e-gul bistar tha apna, khaak par sote hain ab

Khisht zer-e-sar nahin yaa takia tha zaanu-e-dost

yaad karke apni barbaadi ko rote hain hum

jab udaati hain hawaaein tund khaak-e-koo-e-dost

Is balay-e-jaal se AAtish dekhiye kyunkar nibhe

Dil siwa sheeshe se nazuk, dil se nazuk khoo-e-dost

14.

Uljha hai dil buton ke gesu-e-pur shikan mein

ugti hai jaaey sabza kanghi mere chaman mein

latkegein dilon bankar dil zulf ki rasan mein

dikhlayega paseena paani che zaqan mein

shirin zabaan hui hai Farhaad ke dahan mein

Laila pukarti hai Majnu ke pairahan mein

itr gulab bankar halqe mein yar baitha