Tuesday, April 6, 2010

Dashtey Tanhai Maen Aye Janey Jahan

Dashtey tanhai maen aye janey jahan larzaan haen teri awaaz k saye terey honton k sarab
Dasht e tanhai maen doori k khaso khak taley
Khil rahey haen terey pehloo k samaan aur gulab
Dshsht tanhai.......


Uth rahi hae kaheen qurbat sey teri saans ki aanch
Apni khushboo maen sulagti hui madham madham
Door ufaq par chamakti hui qatra qatra
Gir rahi hae teri dildar nazar ki shabnam
Dasht e tanhai.....

Is qadar piyar sey aye jan e jahan rakha hae
Dil k rukhsar pe is waqt teri yaad ney haath
yeun guman hota hae gar che abhi hae subh faragh
Dhal gaya hijr ka din aa bhi gai wasal ki raat
Dasht tanhai....

Tuesday, April 14, 2009

Asrarul Haq Majaz

Asrarul Haq was born in Rudauli, Bara Banki in 1911. He received his early education in Lucknow and Agra, and then got his B.A. at Aligarh Muslim University. He started writing poems while in Aligarh and soon became a popular among the masses and well-respected among the literati. A heavy drinker, Majaz died alone in a tavern on the cold winter night of 5th December 1955 in Lucknow. "Aahang" and "Saaz-e-Nau" are two of his poetry compilations. His sister Safiya was married to Jan Nisar Akhtar, father of Javed Akhtar. Majaz is also well-known for writing the anthem for Aligarh Muslim University, 'ye meraa chaman'.

Ye daagh daagh ujala, ye shab-ghazeeda sahar

Ye daagh daagh ujala, ye shab-ghazeeda sahar

wo intezaar tha jis kaa, ye wo sahar to nahi

Ye wo sahar to nahi jis ki aarzu lekar

chale the yaar ki mil jaayegi kahi na kahi


falak ke dasht mein taaron ki aakhari manzil

kahin to hogaa shab-e-sust mauj ka saahil

kahin to jaa ke rukegaa safinaa-e-Gam-e-dil

jawaa lahu kiipur-asaraar shaaharaahon se

chale jo yaar to daaman pe kitane haath pade

dayaar-e-husn kiibe-sabr Khwaab-gaahon se

pukarati rahi baahein, badan bulaate rahe

bahut aziz thi lekin ruKh-e-sahar ki lagan

bahut qariin thaa hasiinaan-e-nuur ka daaman

subuk subuk thii tamannaa, dabi dabi thi thakan

Friday, April 10, 2009

Ta'arruf

Khoob pahachaan lo asrar hun main
jins-e-ulfat ka talabgaar hun main

ishq hi ishq hai duniya meii
fitanaa-e-aql se bezaar hoon main

chhedati hai jise mizaraab-e-alam
saaz-e-fitarat kaa vahi taar hoon main

aib jo haafiz-o-khayyaam main thaa
haan kuchh is ka bhi gunah-gaar hoon main

zindagi kyaa hai gunaah-e-aadam
zindagi hai to gunah-gaar hoon main

merii baaton main masiihaai hai
log kahate hain ki bimaar hoon main

ek lapakataa hua sholaa hoon main
ek chalati hui talvaar hoon main

Barbaad Tamanna Pe Ataab aur Zyaadaa

barbaad tamannaa pe ataab aur zyaadaa
haanmeri mohabbat kaa javaab aur zyaadaa

roye na abhi ahal-e-nazar haal pe mere
honaa hai abhi mujh ko Kharaab aur zyada

aavaara-va-majanun hi pe maukoof nahin kuchh
milane hain abhi mujh ko khitaab aur zyaada

uthenge abhi aur bhi tufaan mere dil se
dekhunga abhi ishq ke khvaab aur zyaada

tapake ga lahu aur mere dida-e-tar se
dhadakegaa dil-e-khanaa-kharab aur zyaada

ai mutrib-e-bebaak koi aur bhi naghma
ai saaqi-e-fayyaz sharaab aur zyaada

In poetry, the ghazal (Persian: غزل; Turkish gazel) is a poetic form consisting of rhyming couplets and a refrain. Each line must share the same meter. The Arabic word "ghazal" is pronounced roughly like the English word "guzzle", but with a different first consonant, and literally means "speaking with women." A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The form is ancient, originating in 6th century pre-Islamic Arabic verse. It is derived from the Arabian panegyric qasiida. The structural requirements of the ghazal are similar in stringency to those of the Petrarcan sonnet. In its style and content it is a genre which has proved capable of an extraordinary variety of expression around its central themes of love and separation. It is one of the principal poetic forms the Indo-Perso-Arabic civilization offered to the eastern Islamic world.
The ghazal spread into South Asia in the 12th century under the influence of the new Islamic Sultanate courts and Sufi mystics. Exotic to the region, as is indicated by the very sounds of the name itself when properly pronounced as ġazal, with its very un-Indian initial voiced velar fricative g. Although the ghazal is most prominently a form of Urdu poetry, today, it is found in the poetry of many languages.
Ghazals were written by the Persian mystics and poets Jalal al-Din Muhammad Rumi (13th century) and Hafez (14th century), the Turkish poet Fuzuli (16th century), as well as Mirza Ghalib (1797–1869) and Muhammad Iqbal (1877–1938), who both wrote Ghazals in Persian and Urdu. Through the influence of Johann Wolfgang von Goethe (1749–1832), the ghazal became very popular in Germany in the 19th century, and the form was used extensively by Friedrich Rückert (1788–1866) and August von Platen (1796–1835). The Kashmiri-American poet Agha Shahid Ali was a proponent of the form, both in English and in other languages; he edited a volume of "real ghazals in English."
In some modernized ghazals the poet's name is featured somewhere in the last verse.

The ghazal not only has a specific form, but traditionally deals with just one subject: Love. And not any kind of love, but specifically, an illicit, and unattainable love. The subcontinental ghazals have an influence of Islamic Mysticism and the subject of love can usually be interpreted for a higher being or for a mortal beloved. The love is always viewed as something that will complete a human being, and if attained will lift him or her into the ranks of the wise, or will bring satisfaction to the soul of the poet. Traditional ghazal love may or may not have an explicit element of sexual desire in it, and hence the love may be spiritual.
The Persian historian Ehsan Yar-Shater notes that "As a rule, the beloved is not a woman, but a young man. In the early centuries of Islam, the raids into Central Asia produced many young slaves. Slaves were also bought or received as gifts. They were made to serve as pages at court or in the households of the affluent, or as soldiers and body-guards. Young men, slaves or not, also, served wine at banquets and receptions, and the more gifted among them could play music and maintain a cultivated conversation. It was love toward young pages, soldiers, or novices in trades and professions which was the subject of lyrical introductions to panegyrics from the beginning of Persian poetry, and of the ghazal." (Yar-Shater, Ehsan. 1986. Persian Poetry in the Timurid and Safavid Periods, Cambridge History of Iran. Cambridge: Cambridge University Press, pp.973-974. 1986)
The ghazal is always written from the point of view of the unrequited lover, whose beloved is portrayed as unattainable. Most often either the beloved does not return the poet's love or returns it without sincerity, or else the societal circumstances do not allow it. The lover is aware and resigned to this fate but continues loving nonetheless; the lyrical impetus of the poem derives from this tension. Representations of the lover's powerlessness to resist his feelings often include lyrically exaggerated violence. The beloved's power to captivate the speaker may be represented in extended metaphors about the "arrows of his eyes", or by referring to the beloved as an assassin or a killer. Take for example the following couplets from Amir Khusro's Persian ghazal Nami danam chi manzil buud shab:


Nami-danam chi manzil buud shab jaay ki man buudam;
Baharsu raqs-e bismil buud shab jaay ki man buudam.
Pari paikar nigaar-e sarw qadde laala rukhsare;
Sarapa aafat-e dil buud shab jaay ki man buudam.


I wonder what was the place where I was last night,
All around me were half-slaughtered victims of love, tossing about in agony.
There was a nymph-like beloved with cypress-like form and tulip-like face,
Ruthlessly playing havoc with the hearts of the lovers.

BEST, OF THE BEST OF
" URDU "
POETRY