Sinhasan hil uthey raajvanshon ney bhrukuti tani thi,
budhey Bharat mein aayee phir se nayi jawani thi,
gumee huee azadi ki keemat sabney pehchani thi,
door phirangi ko karney ki sab ney man mein thani thi.
Chamak uthi san sattavan mein, yeh talwar purani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Kanpur key Nana ki muhn boli bahen chhaveeli thi,
Lakshmibai naam, pita ki woh santaan akeli thi,
Nana key sangh padhti thi woh Nana key sangh kheli thi
barchhi, dhal, kripan, katari, uski yehi saheli thi.
Veer Shivaji ki gaathaayen uski yaad zabani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Lakshmi thi ya Durga thi woh swayan veerta ki avatar,
dekh Marathey pulkit hotey uski talwaron key vaar,
nakli yudh-vyuh ki rachna aur khelna khub shikar,
sainya gherna, durg todna yeh they uskey preeya khilwad.
Maharashtra-kul-devi uski bhi aaradhya Bhavani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Huee veerta ki vaibhav key saath sagai Jhansi mein,
byah hua ban aayee Rani Lakshmi bai Jhansi mein,
rajmahal mein baji badhai khushiyan chhaee Jhansi mein,
sughat Bundelon ki viroodaavalee-si woh aayee Jhansi mein.
Chitra ney Arjun ko paya, Shiv sey mili Bhavani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Udit hua saubhagya, mudit mahalon mein ujiyali chhayee,
kintu kaalgati chupkey-chupkey kali ghata gher laayee,
teer chalaaney vaaley kar mein usey choodiyan kab bhaayee,
Rani vidhva huee hai, vidhi ko bhi nahin dayaa aayee.
Nisantan marey Rajaji, Rani shok-samani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Bujha deep Jhansi ka tab Dalhousie man mein harshaaya,
Raajya hadap karney ka yeh usney achhaa avsar paaya,
fauran fauj bhej durg par apna jhandaa phehraya,
lawaris ka waris bankar British Raj Jhansi aaya.
Ashrupurna Rani ney dekha Jhansi huee birani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Anunay vinay nahin sunti hai, vikat shaasakonki maaya,
vyapari ban daya chhahta tha jab wah Bharat aaya,
Dalhousie ney pair pasaarey, ab to palat gayee kaaya
Rajaon Nawwabon ko bhi usney pairon thukraaya.
Rani daasi bani, bani yeh daasi ab Maharani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Chheenee rajdhani Dilli ki, Lucknow chheena baaton-baat,
Qaid Peshwa tha Bithur mein, hua Nagpur ka bhi ghaat,
Udaipur, Tanjore, Satara, Karnatak ki kaun bisaat?
jabki Sindh, Punjab Brahm par abhi hua that vajra-nipaat.
Bengaaley, Madras aadi ki bhi to vahi kahani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Rani royee rinvason mein, Begum gum se thi bezaar,
unkey gehney kapdey biktey they Calcutta key bazzar,
sarey aam nilaam chhaptey they angrezon key akhbar,
"Nagpur key zewar le lo, Lucknow key lo naulakh haar".
Yon pardey ki izzat pardesi key hath bikani thi
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Kutiya mein bhi visham vedna, mahalon mein aahat apmaan,
veer sainikon key man mein tha apney purkhon ka abhmaan,
Nana Ghunghupant Peshwa joota raha tha sab saamaan,
bahen chhaveeli ney Ran-Chandi ka kar diya prakat aahvaan.
Hua yagna prarambh unhey to soyee jyoti jagani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Mahalon ney di aag, jhonpdi ney jwala sulgayee thi,
yeh swatantrata ki chingari antratam sey aayee thi,
Jhansi cheti, Dilli cheti, Lucknow laptey chhayi thi,
Merat, Kanpur, Patna ney bhari dhoom machayi thi,
Jabalpur, Kolhapur, mein bhi kuchh hulchul uksani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Is Swatantrata Mahayagna mein kayee veervar aaye kaam,
Nana Ghunghupant, Tantya, chatur Azeemullah sarnam,
Ahmedshah Moulvi, Thakur Kunwar Singh, Sainik Abhiram,
Bharat key itihaas gagan mein amar rahengey jinkey naam.
Lekin aaj jurm kehlati unki jo Qurbani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Inki gaatha chhod, chaley hum Jhansi key maidanon mein,
Jahan khadi hai Lakshmibai mard bani mardanon mein,
Lieutenant Walker aa pohoncha, aagey bada jawanon mein,
Rani ney talwaar kheench li, hua dhandh asmanon mein.
Zakhmi hokar Walker bhaga, usey ajab hairani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Rani badhi Kalpi aayee, kar sau meel nirantar paar,
ghoda thak kar gira bhoomi par, gaya swarg tatkaal sidhaar,
Yamuna tat par angrezon ney phir khayee Rani sey haar,
vijayee Rani aagey chal di, kiya Gwalior par adhikar.
Angrezon key mitra Scindia ney chhodi rajdhani thee,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Vijay mili, par Angrezon ki phir sena ghir aayee thi,
Abkey General Smith sammukh tha, usney munhki khayee thi,
Kaana aur Mandra sakhiyan Rani key sangh aayee thi,
Yudh kshetra mein un dono ney bhari maar machayi thi.
par peechey Hughrose aa gaya, Hai! gheeri ab Rani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
To bhi Rani maar kaat kar chalti bani sainya key paar,
kintu saamney naala aaya, tha woh sankat visham apaar,
ghoda adaa, naya ghoda tha, itney mein aa gaye avaar,
Rani ek, shatru bahuterey, honey lagey vaar-par-var.
Ghayal hokar giri Sinhni, isey veer gati paani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Rani gayee sidhaar chita ab uski divya sawaari thi,
mila tej se tej, tej ki woh sachchi adhikaari thi,
abhi umr kul teis ki thi, manuj nahin avtaari thi,
humko jeevit karney aayee ban Swatantrata-naree thi,
dikha gayee path, sikha gayee humko jo seekh sikhani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
Jao Rani yaad Rakhengey yeh krutagna Bharatwasi,
yeh tera balidaan jagavega Swatantrata avinasi,
hovey chup itihaas, lagey sachchai ko chahey phansi,
ho madmaati vijay, mitaa dey golon sey chahey Jhansi.
Tera Smarak tu hi hogi, tu khud amit nishaani thi,
Bundeley Harbolon key munh hamney suni kahani thi,
Khoob ladi mardani woh to Jhansi wali Rani thi.
English Translation
The Queen of Jhansi)
1
The throne got shook, and the tension erupted among the Raajvanshs, the royal heirs of the throne,
In aged India, a new wave of youth was spreading,
All the inhabitants of India had realized the worth of their lost freedom,
All of them had decided to get rid of the British rule,
The old swords started glittering again like new ones in the form of the freedom movement in 1857.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
2
She was as dear to the Nana (Nana Ghunghupant ) of Kanpur as her real sister,
Her name was Laxmibai and she was the only daughter of her parents,
She had been with Nana from her early childhood, since she was a school student.
Spear, knife, sword, axe (all different types of weapons used in her time) were her companions all the time.
She had learned by heart the valorous stories of shivaji (a renowned king of Maharashtra).
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
3
No one could guess whether she was Laxmi or Durga devi ( Durga Goddess , also called Bhavani ) or reincarnation of Devi durga,
Her expertise in using a sword made the people of Marathward (Pulkit) wonder,
They learned the war strategy of how to attack the prey,
To ambush her prey and to break the vanity were among her favorite supports,
Maharashtra-kul-Devi (The goddess of the Maharashtra ) was as dear to her as Bhavani (Durga Devi )
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
4
With valor in a grand festival, she got married in Jhansi,
After her marriage, Laxmibai came to Jhansi as a queen with shower of joy,
A grand celebration took place in the royal palace of Jhansi. That was a good luck for Bandelos that she came to Jhansi,
That was as Chitra met with Arjun or Shiv had got his beloved Bhavani (Durga).
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
5
She came as a good luck to the royal palace of Jhansi and for a log time the palace remained decorated with lighting candles in celebration.
But as days passed the dark clouds of misfortune covered the royal palace.
She stopped wearing bangles for that was the time for a battle.
The queen got widowed and her fate was very unkind to her.
The royal king had no children when he died and the queen was grief stricken.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
6
So the candle of the royal castle blew off and Dalhousie (a British governor) became very happy in his heart about the situation (that the royal palace had no king or someone strong to defend the throne).
He thought that the time was right to usurp the kingdom.
He sent his soldiers to Citadel and raised the British flag on the royal palace.
The British rule came to Jhansi as the guardian of an orphan.
The Rani saw everything with tears in her eyes that how Jhansi got deserted.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
7
Strong (and Cruel) kings do not care about the cajoling.
They (The British Rulers) came to India in the disguise of poor merchants.
The British governor (Dalhousi) then extended his influence in India and so the fate of India turned over.
He insulted even the feudal and heads of state of India.
The queen took the gesture of a maidservant; the maid was the real queen.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
8
First of all Indian rulers lost the capital of India, Delhi and subsequently they lost the control of Lucknow.
Peshwa was imprisoned in Bithur and then the Nagpur tragedy occurred.
After the fall of Nagpur, it was not a big task for the intruders to take the control of Udaipur, Tanjore satara and Karnatak.
They already had the control of Sindh, Punjab and Assam.
The tale of fall of Bengal, Madras and many other states was also the same.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
9
Rani(the queen) wept in her quarter for all that disaster. She was rather lost and was sick of the situation.
Her ornaments and royal clothes were being sold in the markets of Calcutta.
The advertisements for the sale of the royal stuff were being published in the daily newspapers of the British Government.
“Buy the ornaments of Nagpur, Buy the Naulakha locket of Lucknow” had been the highlights of such advertisements.
In this manner the honor of the royal ladies had to be sold to foreigners.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
10
The cottages of poor were full of grief and the royal houses were also full of insult (the royal ladies were maltreated and insulted by the British intruders whereas the poor folk were also in the clutches of the atrocities by the British rulers).
Brave soldiers of India had in their mind the prestige of their ancestors.
The name of Ghunghupant and Nana, the titles of the great warriors and their weapons, they have lost all such treasure as well.
The beloved sisters of Nana (queen of Jhansi- Rani) invited Nana to visit Ran-Chandi.
The ritual of the holy war of freedom started because they had to awake the divine spirit of the people of India, which had been sleeping so far.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
11
The fire of revolt started from royal palace, which became hot like burning sun when reached to the houses of the poor or common folk.
This spark of freedom started from the inner soul of the people.
It captured Jhansi first then spread in Delhi and also engulfed Lucknow.
The freedom struggle was also in full swing in Merat, Kanpur and Patna.
The people of Jabalpur, Kolhapur were also being inspired from others.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
12
In that great freedom struggle, many brave brothers lost their lives.
Among them were Nana GhunGhupant, Tantya, great Azeemullah,
And many others like Ahmedshah Moulvi, Thakur Kunwar singh, Sainik Abhiram.
Their names will always be shining in the heavens of the ancient history of India,
but they were considered rebels at that time and their great sacrifice was considered a crime against the state of British India.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
13
Well, leave the tale of the bravery of those great men and let us go to the battlefields of Jhansi,
Where Laxmibai is standing boldly like a man among the other brave men.
Lieutenant Walker reached there and proceeded further in the people’s army of the brave men,
Rani drew her sword, the beating of the drums started in the heavens,
Walker ran away from the battlefield as Rani defectively wounded him. He was astonished on the agility of Rani.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
14
Rani preceded further and reached Kalpi after taking a hard journey of hundreds of miles.
The horse got exhausted and fell to the ground and the rider (Walker) also fell down immediately .
In the field of Yamuna again Rani was defeating the British.
The victorious Rani proceeded further and took the control of Gawalior.
The British thus left the Vsindia (capital of Gawalior) and their rule ended in Gawalior.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
15
Although the freedom fighters had won, the British army was again getting organized. This time, general smith was in command but he was also being defeated by the brave freedom fighters – he had to be defeated.
Kaana and Mandra (the associates of Rani) were also accompanying her in the war zone. In the battlefield they both were fighting furiously.
But a British commander, Hughrose came from the backside to help his soldiers – Alas! The British soldiers surrounded the Rani from all sides.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
16
Though Rani was deeply wounded, still she was fighting and had managed to get through the British army,
But she got stuck because a sewerage canal was there on the other end and she was in deep trouble,
Her horse got stuck there - the horse was untrained, in the mean time, the British soldiers, riding on their horses reached there.
Rani was all alone while enemies were numerous who were attacking her with their sword from all sides,
Rani, who was fighting like a lioness, succumbed to the wounds and fell down. She had to achieve a glorious death in war ( Martyrdom ).
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
17
Rani was martyred in the battlefield.Her departed soul was then riding a divine vehicle, moving towards heavens
the Light of her divine soul met with the divine light in the heavens, she was the real heir of divinity,
She was only thirty years of age. She was not a human; rather she was divine spirit (a holy being),
Who did come, in the gesture of a female freedom fighter, to give us a respectable life of light and freedom ,
She showed us the path of freedom, and taught us the lesson of courage, she taught us what we might have learned.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
18
The people of India will remember this debt of yours (O! Rani Laxmaibai), may you be blessed, dear Rani,
Your this life sacrifice will awake an indestructible soul of freedom in the people,
History may be made silent or if truth is hanged or killed, or if the drinkers become victorious or if they destroy jhansi with cannonballs,
You, by yourself be the memorial of Rani (queen of Jhansi) because you had been an eternal token of courage.
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
coupleticism - The title "coupleticism", I have taken From the word "couplet", Which means "Sher" in Urdu. Here I feel, from the bottom of the heart to make a blog only for the lover of sher-o-shayri..& Poems..Let's make coupleticism a new word only for the lover of Sher-o-Shayri..& Poems..
Friday, November 26, 2010
चारु चंद्र की चंचल किरणें- (PanchVati) Maithili Sharan Gupta
चारु चंद्र की चंचल किरणें,
खेल रहीं थीं जल थल में।
स्वच्छ चाँदनी बिछी हुई थी,
अवनि और अम्बर तल में।
पुलक प्रकट करती थी धरती,
हरित तृणों की नोकों से।
मानो झूम रहे हों तरु भी,
मन्द पवन के झोंकों से।
पंचवटी की छाया में है,
सुन्दर पर्ण कुटीर बना।
जिसके बाहर स्वच्छ शिला पर,
धीर वीर निर्भीक मना।
जाग रहा है कौन धनुर्धर,
जब कि भुवन भर सोता है।
भोगी अनुगामी योगी सा,
बना दृष्टिगत होता है।
बना हुआ है प्रहरी जिसका,
उस कुटिया में क्या धन है।
जिसकी सेवा में रत इसका,
तन है, मन है, जीवन है।
खेल रहीं थीं जल थल में।
स्वच्छ चाँदनी बिछी हुई थी,
अवनि और अम्बर तल में।
पुलक प्रकट करती थी धरती,
हरित तृणों की नोकों से।
मानो झूम रहे हों तरु भी,
मन्द पवन के झोंकों से।
पंचवटी की छाया में है,
सुन्दर पर्ण कुटीर बना।
जिसके बाहर स्वच्छ शिला पर,
धीर वीर निर्भीक मना।
जाग रहा है कौन धनुर्धर,
जब कि भुवन भर सोता है।
भोगी अनुगामी योगी सा,
बना दृष्टिगत होता है।
बना हुआ है प्रहरी जिसका,
उस कुटिया में क्या धन है।
जिसकी सेवा में रत इसका,
तन है, मन है, जीवन है।
ठुकरा दो या प्यार करो- Subhadra Kumari Chauhan
देव! तुम्हारे कई उपासक कई ढंग से आते हैं।
सेवा में बहुमुल्य भेंट वे कई रंग की लाते हैं॥
धूमधाम से साजबाज से वे मंदिर में आते हैं।
मुक्तामणि बहुमुल्य वस्तुऐं लाकर तुम्हें चढ़ाते हैं॥
मैं ही हूँ गरीबिनी ऐसी जो कुछ साथ नहीं लायी।
फिर भी साहस कर मंदिर में पूजा करने चली आयी॥
धूप-दीप-नैवेद्य नहीं है झांकी का श्रृंगार नहीं।
हाय! गले में पहनाने को फूलों का भी हार नहीं॥
कैसे करूँ कीर्तन, मेरे स्वर में है माधुर्य नहीं।
मन का भाव प्रकट करने को वाणी में चातुर्य नहीं॥
नहीं दान है, नहीं दक्षिणा खाली हाथ चली आयी।
पूजा की विधि नहीं जानती, फिर भी नाथ! चली आयी॥
पूजा और पुजापा प्रभुवर! इसी पुजारिन को समझो।
दान-दक्षिणा और निछावर इसी भिखारिन को समझो॥
मैं उनमत्त प्रेम की प्यासी हृदय दिखाने आयी हूँ।
जो कुछ है, वह यही पास है, इसे चढ़ाने आयी हूँ॥
चरणों पर अर्पित है, इसको चाहो तो स्वीकार करो।
यह तो वस्तु तुम्हारी ही है ठुकरा दो या प्यार करो॥
सेवा में बहुमुल्य भेंट वे कई रंग की लाते हैं॥
धूमधाम से साजबाज से वे मंदिर में आते हैं।
मुक्तामणि बहुमुल्य वस्तुऐं लाकर तुम्हें चढ़ाते हैं॥
मैं ही हूँ गरीबिनी ऐसी जो कुछ साथ नहीं लायी।
फिर भी साहस कर मंदिर में पूजा करने चली आयी॥
धूप-दीप-नैवेद्य नहीं है झांकी का श्रृंगार नहीं।
हाय! गले में पहनाने को फूलों का भी हार नहीं॥
कैसे करूँ कीर्तन, मेरे स्वर में है माधुर्य नहीं।
मन का भाव प्रकट करने को वाणी में चातुर्य नहीं॥
नहीं दान है, नहीं दक्षिणा खाली हाथ चली आयी।
पूजा की विधि नहीं जानती, फिर भी नाथ! चली आयी॥
पूजा और पुजापा प्रभुवर! इसी पुजारिन को समझो।
दान-दक्षिणा और निछावर इसी भिखारिन को समझो॥
मैं उनमत्त प्रेम की प्यासी हृदय दिखाने आयी हूँ।
जो कुछ है, वह यही पास है, इसे चढ़ाने आयी हूँ॥
चरणों पर अर्पित है, इसको चाहो तो स्वीकार करो।
यह तो वस्तु तुम्हारी ही है ठुकरा दो या प्यार करो॥
चाँद और कवि
रात यों कहने लगा मुझसे गगन का चाँद,
आदमी भी क्या अनोखा जीव होता है!
उलझनें अपनी बनाकर आप ही फँसता,
और फिर बेचैन हो जगता, न सोता है।
जानता है तू कि मैं कितना पुराना हूँ?
मैं चुका हूँ देख मनु को जनमते-मरते
और लाखों बार तुझ-से पागलों को भी
चाँदनी में बैठ स्वप्नों पर सही करते।
आदमी का स्वप्न? है वह बुलबुला जल का
आज बनता और कल फिर फूट जाता है
किन्तु, फिर भी धन्य ठहरा आदमी ही तो?
बुलबुलों से खेलता, कविता बनाता है।
मैं न बोला किन्तु मेरी रागिनी बोली,
देख फिर से चाँद! मुझको जानता है तू?
स्वप्न मेरे बुलबुले हैं? है यही पानी?
आग को भी क्या नहीं पहचानता है तू?
मैं न वह जो स्वप्न पर केवल सही करते,
आग में उसको गला लोहा बनाता हूँ,
और उस पर नींव रखता हूँ नये घर की,
इस तरह दीवार फौलादी उठाता हूँ।
मनु नहीं, मनु-पुत्र है यह सामने, जिसकी
कल्पना की जीभ में भी धार होती है,
बाण ही होते विचारों के नहीं केवल,
स्वप्न के भी हाथ में तलवार होती है।
स्वर्ग के सम्राट को जाकर खबर कर दे-
रोज ही आकाश चढ़ते जा रहे हैं वे,
रोकिये, जैसे बने इन स्वप्नवालों को,
स्वर्ग की ही ओर बढ़ते आ रहे हैं वे।
आदमी भी क्या अनोखा जीव होता है!
उलझनें अपनी बनाकर आप ही फँसता,
और फिर बेचैन हो जगता, न सोता है।
जानता है तू कि मैं कितना पुराना हूँ?
मैं चुका हूँ देख मनु को जनमते-मरते
और लाखों बार तुझ-से पागलों को भी
चाँदनी में बैठ स्वप्नों पर सही करते।
आदमी का स्वप्न? है वह बुलबुला जल का
आज बनता और कल फिर फूट जाता है
किन्तु, फिर भी धन्य ठहरा आदमी ही तो?
बुलबुलों से खेलता, कविता बनाता है।
मैं न बोला किन्तु मेरी रागिनी बोली,
देख फिर से चाँद! मुझको जानता है तू?
स्वप्न मेरे बुलबुले हैं? है यही पानी?
आग को भी क्या नहीं पहचानता है तू?
मैं न वह जो स्वप्न पर केवल सही करते,
आग में उसको गला लोहा बनाता हूँ,
और उस पर नींव रखता हूँ नये घर की,
इस तरह दीवार फौलादी उठाता हूँ।
मनु नहीं, मनु-पुत्र है यह सामने, जिसकी
कल्पना की जीभ में भी धार होती है,
बाण ही होते विचारों के नहीं केवल,
स्वप्न के भी हाथ में तलवार होती है।
स्वर्ग के सम्राट को जाकर खबर कर दे-
रोज ही आकाश चढ़ते जा रहे हैं वे,
रोकिये, जैसे बने इन स्वप्नवालों को,
स्वर्ग की ही ओर बढ़ते आ रहे हैं वे।
Thursday, November 25, 2010
Pushp ki Abhilasha-Makhan lal Chaturvedi
चाह नहीं मैं सुरबाला के गहनों में गूँथा जाऊँ
चाह नहीं, प्रेमी-माला में बिंध प्यारी को ललचाऊँ
चाह नहीं, सम्राटों के शव पर हे हरि, डाला जाऊँ
चाह नहीं, देवों के सिर पर चढ़ूँ भाग्य पर इठलाऊँ
मुझे तोड़ लेना वनमाली उस पथ पर देना तुम फेंक
मातृभूमि पर शीश चढ़ाने जिस पर जावें वीर अनेक ।।
चाह नहीं, प्रेमी-माला में बिंध प्यारी को ललचाऊँ
चाह नहीं, सम्राटों के शव पर हे हरि, डाला जाऊँ
चाह नहीं, देवों के सिर पर चढ़ूँ भाग्य पर इठलाऊँ
मुझे तोड़ लेना वनमाली उस पथ पर देना तुम फेंक
मातृभूमि पर शीश चढ़ाने जिस पर जावें वीर अनेक ।।
Friday, September 10, 2010
जब तुम दूर चले जाओगे
तुम फिर दूर चले जाओगे
कैसे कहें कितना हमे तड़पाओगे
बातों बातों में तेरी बात आएगी
दिल की बात तुमसे न कह पायेंगे
हवा भी छु कर तुझे मेरे पास न आयेगी
हर सुबह तेरी याद हमे तडपायेगी
रात चमकेंगे सितारे और इच्छाएं भी मचलेंगी
बारिश की बूँदें भी तपिश न बुझा पाएंगी
ये हर ओर किसी अपने को ढूंढेगी
बन कर आंसू आँखों में यादें मचलेंगी
दिल को रौंद कर जो भीड में खो जाओगे
जाने कैसे फिर तुम भी सो पाओगे ...
तुम फिर दूर चले जाओगे
कैसे कहें कितना हमे तड़पाओगे
बातों बातों में तेरी बात आएगी
दिल की बात तुमसे न कह पायेंगे
हवा भी छु कर तुझे मेरे पास न आयेगी
हर सुबह तेरी याद हमे तडपायेगी
रात चमकेंगे सितारे और इच्छाएं भी मचलेंगी
बारिश की बूँदें भी तपिश न बुझा पाएंगी
ये हर ओर किसी अपने को ढूंढेगी
बन कर आंसू आँखों में यादें मचलेंगी
दिल को रौंद कर जो भीड में खो जाओगे
जाने कैसे फिर तुम भी सो पाओगे ...
Wednesday, September 8, 2010
Hum Pyar Samajh Lete hain
Itefaaq Se Nazar Nazar Se Mili
Aur Hum Pyaar Samajh Letey Hai
Kisi Ke Dil Main Chupe Ehesaason Ko
Hum Apne Jazbaat Samajh Letey Hai
Woh Nazar Chura Kar Chale Gaye Humse
Hum Phir Milege Ye Baat Samajh Letey Hai
Woh Hue Na Hamare To Koi Baat Nahi
Unke Saaye Ko Apna Pyaar Samajh Letey Hai
Kabhi Koi Milga Humsayaa Zindagi Mai
Isii Dhokhe Mai Ye Baat Samajh Letey Hai
Itefaaq Se Nazar Nazar Se Mili
Aur Hum Pyaar Samajh Late Hai
Itefaaq Se Nazar Nazar Se Mili
Aur Hum Pyaar Samajh Letey Hai
Kisi Ke Dil Main Chupe Ehesaason Ko
Hum Apne Jazbaat Samajh Letey Hai
Woh Nazar Chura Kar Chale Gaye Humse
Hum Phir Milege Ye Baat Samajh Letey Hai
Woh Hue Na Hamare To Koi Baat Nahi
Unke Saaye Ko Apna Pyaar Samajh Letey Hai
Kabhi Koi Milga Humsayaa Zindagi Mai
Isii Dhokhe Mai Ye Baat Samajh Letey Hai
Itefaaq Se Nazar Nazar Se Mili
Aur Hum Pyaar Samajh Late Hai
Mulaqat ho gayi
kal ek shakhs se mulaqaat ho gai
Kal ek Shakhs se Mulaqaat Ho gai
pal pal joda or din bhar baat ho gai
subah ka dilkash manzar cheda
kab na jaane haseen raat ho gai
Khuda bhi the shayad meherbaan humpe
chaha tha bheegna or barsaat ho gai
baaton baaton me jab muskuraye woh
yu laga hawaa bhi apne saath ho gai
tab se ud rahi hoon hawao mai "Lamha"
jaise mujh nacheez ki koi auqaat ho gai
Kal ek Shakhs se Mulaqaat Ho gai
pal pal joda or din bhar baat ho gai
subah ka dilkash manzar cheda
kab na jaane haseen raat ho gai
Khuda bhi the shayad meherbaan humpe
chaha tha bheegna or barsaat ho gai
baaton baaton me jab muskuraye woh
yu laga hawaa bhi apne saath ho gai
tab se ud rahi hoon hawao mai "Lamha"
jaise mujh nacheez ki koi auqaat ho gai
Coupleticism-Meaning and Defination
Shayri
Urdu Poetry or Shaayaree, essentially comprises couplet, or Sher. The plural for Sher is Ashaar. The form ghazal is a collection of mulitiple ashaar - each of which should convey a complete thought without any reference to other shayari of the same ghazal. In fact, though belonging to the same ghazal, the different ashaar therein can have completely different meaning and tone relative to one another.
Sher
(Couplet). It consists of two lines (misra); first line is called 'misra-e-oola' and the second is called 'MISRA-E-SANI'. Each verse embodies a single thought or subject (sing): Sher, Shero, Shayari, Shyari, Shayri.
Bait-ul-Ghazal
The best Sher in a Ghazal.
Example- a Shēr (couplet by poet Majrooh Sultanpuri as given below.
"mai. akelā hī chalā thā zānīb-ē-manzīl magar lōg sāth ātē gayē aur kāravā banatā gayā"
(I started all alone towards the goal but people kept joining and it began to turn into a karavan)
Urdu Ghazal
The Ghazal is an ode. The literal meaning of the word "ghazal" is "to converse with the beloved".
Etymologically, it comes from the Arabic word Ghizaal, meaning gazelle. It is a poem containing a minimum of 5 verses and maximum 25. The opening verse of the ghazal is called matla and both hemistiches rhyme with one another. The last verse of the ghazal is a maqta, which usually contains the penname of the poet. Most of Persian and Urdu writers have earned fame as ghazal writers. Ghazal is the soul of Urdu literature and most popular form of Urdu poetry.
The following is an example of sher, composed by Mirza Ghalib:
nahii.n ki mujhko qayaamat kaa etiqaad nahii.n
shab-e-firaaq se roz-e-jazaa ziyaad nahii.n
It is not that I do not have faith in (the pains of) the day of judgement, But the night of separation is not less than the day of judgement.
What the poet is trying to say is that he trusts that the day of judgement would be very painful, as it has been described in Qur'an and Hadith; however, this night of separation from his beloved is not less painful than the day of judgement.
A better example of ghazal is shown below from two couplets of Baqa Akbarabadi*, a contemporary of Meer Taqi Meer, from a ghazal written in the classical conversational form, that is, a dialogue between the lover and the beloved. This traditional form, as seen in Hafiz Shirazi's works in old Persian poetry, does seldom appear in contemporary Urdu works.Today we have only few good ghazal writers it includes dr asif husain Tahir faraz,Iqbal ashar,Naseem nikhat ETC.
Kaha main ne! Sila meri wafa ka tujhsey kya nikla?
Kaha us ne! Nateeja dil lagane ka, bura nikla?
Kaha main ne! Wajah koi teri is be-wafaai ki?
Kaha us ne! Fida mujhpar koi, tujhsey siwa nikla!
Said I! What return did my love get back from you?
Said she! Did indeed your heart have a bad experience?
Said I! What caused this unfaithfulness of yours?
Said she! Someone more enchanted than you has shown up!
source:-*Diwaan e Baqa Akbarabadi, Nizami Press Kanpur India 1932. Kutubkhana Anjuman Taraqqi Urdu. Hyderabad. India.
Fard
Composition of only a single SHER, Shero-Shayari, Shyari, Shayri is called FARD.
"mere bachche mujhe boodha nahin hone dete"
Hamd
Written in praise of ALLAH
ai do jahan ke wali, ai gulshanon ke mali, her cheese se hai zahir, hikmat teri nirali'.
"Arham-ur-Raahimeen(the greatest of all in mercifulness)-sonnets is the first collection of Hamdia sonnets by Tanwir Phool(cf.S.No.7 of "opinion of others" available at [1].The above book and another notable collection of Hamdia poetry "Zaboor-e-Sukhan(the Psalms of Poetry)" by Tanwir Phool,have been published by Jahan-e-Hamd Publications,Urdu Bazar, Karachi,(Pakistan).
Hijv
(Satire). A poem written to condemn or to abuse a person. This form of poetry is considered of low type and which is usually avoided by reputed poets. The exact opposite of HIJV is MADAH which is a poem written in praise of Kings and Patrons.
Matla
Rhyming of the first two lines of a GHAZAL is called HUSN-E-MATLA.
Madah
Poem written in praise of Kings and Patrons.
Manqabat
Poem written in praise of Ahle-E-Bait (the members of the family of Prophet Muhammad) or Sahaaba(companions of the Prophet)
LaayaiN kahaaN se Saani-e-Asnain kaa jawaab ! ! Boobakr hainN Rasool ke pahlu maiN mahv-e-khwaab
(From "Anwaar-e-Hira" by Tanwir Phool)
Maqta
The last line of a GHAZAL or a poem which generally contains the poet's pen-name.
Didaray mustafa ka karina mujhe dedoo Sara gaha lailoo mujhe madina dedoo
Samat fermmayiye
Mera Dil tadap raha hai Mera Jal raha hai sina yeh dawa wahi milegi Mujhe lailoo chloo Madina Madina Madina
Masnawi
A long epic poem describing the battles fought long ago and past events. It may also contain philosophical or ethical themes. The most famous MASNAWIS are Shah-Namah of Firdosi, Masnavi-E-Roomi in Persian language and Zehar-E-Ishq in Urdu.
Matla
The opening SHER of a GHAZAL.
Misra
One line of a couplet, or verse.
Munajat
A lyrical poem as prayer to God.
Khudaawand-e-doaalam ! benawaaoN ki duaa sun lay! Tujhi se multaji ham haiN,hamaari iltijaa sun lay
(From "Anwaar-e-Hira" by Tanwir Phool)
Musaddas
Each unit consists of 6 lines (Misra). Most famous writer of this type of poem is Maulana Altaf Husain Hali.
Naat
Verses written in praise of Prophet Muhammad.
Yeh kaainaat Shah-e-bahr-o-bar kaa sadqa hai JahaaN maiN jo bhi hai,Khair-ul-bashar kaa sadqa hai Nabi ke naam se raushan hai mash'al-e-eemaaN DiloN maiN noor, Muhammad ke dar kaa sadqa hai Chaman maiN Naat ke aie Phool! hai bahaar aayee Yeh baagh-e-Taiba ke nakhl-o-samar kaa sadqa hai Falak par chaand taaroN se raqam ism-e-Muhammad hai Suno tum,daafa-e-ranj-o-alam, ism-e-Muhammad hai BaRa zeeshaan Un kaa naam hai saari khalaaiq maiN Khuda kaa naam hai,phir muhtaram ism-e-Muhammad hai
(From "Qindeel-e-Hira (poems)" by Tanwir Phool)
Nazm
The literary meaning of Nazm is Poetry (cf. Nasr, or Prose) A poem fully dealing with a single subject or thought.
Qafia
Rhyming of the last words of a poem.
Qasida
(Ballad). It is a long poem in Urdu, Persian or Arabic which usually describes battles or written in praise of kings; princes or the poet's patron. There is no limit of verses; it may even go beyond hundred lines.
Qat'a
(Fragments). It has two Ashaar and has a one complete subject. Plural Qita'at.
Radeef
(End rhyme). Each SHER or couplet of GHAZAL in addition to QAFIA may also have RADEEF which is rhyming of more than the last two or three words.
Ruba'i
Persian word for Quatrain. Contains only 4 lines, the third one being different from the other three as it should not have QAFIA and RADEEF. RUBA'I deals with social, philosophical and romantic subjects. In Persian language Umar Khayyam is supposed to be a great poet of RUBAIYY A T whereas in Urdu Yagana, Firaq and Josh are leading poets of this time and Anis, an old time poet.
MaiN khud hi saNwaarooN gaa jahaaN ki basti MaiN baRh ke badal dooN gaa nizaam-e-hasti! Jannat se nikalwaa diya ShaitaaN! too ney ! Aur auj ke badle maiN dilaa dee pasti
(From "Anwaar-e-Hira",by Tanwir Phool)
Salam
(Literal meaning Salutation) It is a kind of poem in which the incidents of Karbala i.e. hardships of Imam Husain and his followers are described It is also written in praise of the Islamic prophet Muhammad, and is recited by standing up.
Shaheed ho geyaa Lakht-e-Dil-e-Nabi,daikho! Sipaah-e-Shaam ki pur zulm kaj rawi daikho ! ! Husain karne gaye thay na iqtidaar ki jang! YaqeeN naheeN hai to bachchoN ki hamrahi daikho Khuda ki Hamd,Nabi ki Sana,Salam-e-Husain ! Yahi hai Phool kaa rang-e-sukhanwari daikho
(Tanwir Phool)
Sehra
A song sung at the time of tying Sehra during wedding ceremony, praising the bride or the bridegroom and their relatives.
Shehr Ashob
Ek Bekasi Hai Hijr Ke Maaron Ke Saath Saath .... Tutaa Hai Mera Dil Bhi Saharon Ke Saath Saath .... Jee Bhar Ke Dekhne Bhi Na Paaye They Chup Gaye .... Armaan Bhi Hain Udas Nazaron Ke Saath Saath .... Dil Main Wafur-e-Shauq Ka Tufaan Liye Hue .... Khamosh Jagta Hoon Sitaaron Ke Saath Saath .... Itni To Mahviyat Ho Tasawur Main Tere Dost .... Khud Ko Bhi Bhul Jaun Nazaron Ke Saath Saath .... Ye Aag Ishq Ki Phir Bhi Na Bujh Saki .... Hai Dil Main Ashk-e-Gham Bhi Sharun Ke Saath Saath ....
Tah-Tul-Lafz
The manner of reciting a poem; like rhythmic prose i.e. without singing; word for word. And, when a poem is sung, its tune is called TARANNUM.
Takhallus
A name adopted by a poet, by which he is known in the literary world.
Wasokht
Literal meaning 'displeasure' or 'disgust'. A kind of poem in which the displeasure and carelessness of a lover is narrated; while relinquishing the beloved.
Geet
Song or hymn.See this link for example:
dil jo maghroor haseena se lagaya jaye, goya toofan me charagon ko jalaya jaye. husn aur ishq ka rishta yun nibha ya jaye, koi bhe khouf-o-khatar dil me na laya jaye. ret ka ghar labe sahil na banaya jaye, kise sang dil se kabhe dil na lagaya jaye. wo qayamat ki ghare ho ge a-chanak jo kise sar se masoom ke ma baap ka saya jaye. arsh ke paye hila dete hai mazloom ki aah kise mazloom ke dil ko na dukhaya jaye. samne tegh ho sooli ho safe dushman ho farz ki raah me qadmo ko baraha ya jaye. apne ayebon ko chchupa lete hain sab hi "SAHIR" aib auron ka jahan tak ho chchupaya jaye.
Qawwali
Sufi music expressing the love and oneness with God or Prophet Muhammad and his companions sung by a group of people to the accompaniment of musical instruments. Now-a-days, it has taken popular form covering subjects of romance, liquor, etc.
Urdu Poetry or Shaayaree, essentially comprises couplet, or Sher. The plural for Sher is Ashaar. The form ghazal is a collection of mulitiple ashaar - each of which should convey a complete thought without any reference to other shayari of the same ghazal. In fact, though belonging to the same ghazal, the different ashaar therein can have completely different meaning and tone relative to one another.
Sher
(Couplet). It consists of two lines (misra); first line is called 'misra-e-oola' and the second is called 'MISRA-E-SANI'. Each verse embodies a single thought or subject (sing): Sher, Shero, Shayari, Shyari, Shayri.
Bait-ul-Ghazal
The best Sher in a Ghazal.
Example- a Shēr (couplet by poet Majrooh Sultanpuri as given below.
"mai. akelā hī chalā thā zānīb-ē-manzīl magar lōg sāth ātē gayē aur kāravā banatā gayā"
(I started all alone towards the goal but people kept joining and it began to turn into a karavan)
Urdu Ghazal
The Ghazal is an ode. The literal meaning of the word "ghazal" is "to converse with the beloved".
Etymologically, it comes from the Arabic word Ghizaal, meaning gazelle. It is a poem containing a minimum of 5 verses and maximum 25. The opening verse of the ghazal is called matla and both hemistiches rhyme with one another. The last verse of the ghazal is a maqta, which usually contains the penname of the poet. Most of Persian and Urdu writers have earned fame as ghazal writers. Ghazal is the soul of Urdu literature and most popular form of Urdu poetry.
The following is an example of sher, composed by Mirza Ghalib:
nahii.n ki mujhko qayaamat kaa etiqaad nahii.n
shab-e-firaaq se roz-e-jazaa ziyaad nahii.n
It is not that I do not have faith in (the pains of) the day of judgement, But the night of separation is not less than the day of judgement.
What the poet is trying to say is that he trusts that the day of judgement would be very painful, as it has been described in Qur'an and Hadith; however, this night of separation from his beloved is not less painful than the day of judgement.
A better example of ghazal is shown below from two couplets of Baqa Akbarabadi*, a contemporary of Meer Taqi Meer, from a ghazal written in the classical conversational form, that is, a dialogue between the lover and the beloved. This traditional form, as seen in Hafiz Shirazi's works in old Persian poetry, does seldom appear in contemporary Urdu works.Today we have only few good ghazal writers it includes dr asif husain Tahir faraz,Iqbal ashar,Naseem nikhat ETC.
Kaha main ne! Sila meri wafa ka tujhsey kya nikla?
Kaha us ne! Nateeja dil lagane ka, bura nikla?
Kaha main ne! Wajah koi teri is be-wafaai ki?
Kaha us ne! Fida mujhpar koi, tujhsey siwa nikla!
Said I! What return did my love get back from you?
Said she! Did indeed your heart have a bad experience?
Said I! What caused this unfaithfulness of yours?
Said she! Someone more enchanted than you has shown up!
source:-*Diwaan e Baqa Akbarabadi, Nizami Press Kanpur India 1932. Kutubkhana Anjuman Taraqqi Urdu. Hyderabad. India.
Fard
Composition of only a single SHER, Shero-Shayari, Shyari, Shayri is called FARD.
"mere bachche mujhe boodha nahin hone dete"
Hamd
Written in praise of ALLAH
ai do jahan ke wali, ai gulshanon ke mali, her cheese se hai zahir, hikmat teri nirali'.
"Arham-ur-Raahimeen(the greatest of all in mercifulness)-sonnets is the first collection of Hamdia sonnets by Tanwir Phool(cf.S.No.7 of "opinion of others" available at [1].The above book and another notable collection of Hamdia poetry "Zaboor-e-Sukhan(the Psalms of Poetry)" by Tanwir Phool,have been published by Jahan-e-Hamd Publications,Urdu Bazar, Karachi,(Pakistan).
Hijv
(Satire). A poem written to condemn or to abuse a person. This form of poetry is considered of low type and which is usually avoided by reputed poets. The exact opposite of HIJV is MADAH which is a poem written in praise of Kings and Patrons.
Matla
Rhyming of the first two lines of a GHAZAL is called HUSN-E-MATLA.
Madah
Poem written in praise of Kings and Patrons.
Manqabat
Poem written in praise of Ahle-E-Bait (the members of the family of Prophet Muhammad) or Sahaaba(companions of the Prophet)
LaayaiN kahaaN se Saani-e-Asnain kaa jawaab ! ! Boobakr hainN Rasool ke pahlu maiN mahv-e-khwaab
(From "Anwaar-e-Hira" by Tanwir Phool)
Maqta
The last line of a GHAZAL or a poem which generally contains the poet's pen-name.
Didaray mustafa ka karina mujhe dedoo Sara gaha lailoo mujhe madina dedoo
Samat fermmayiye
Mera Dil tadap raha hai Mera Jal raha hai sina yeh dawa wahi milegi Mujhe lailoo chloo Madina Madina Madina
Masnawi
A long epic poem describing the battles fought long ago and past events. It may also contain philosophical or ethical themes. The most famous MASNAWIS are Shah-Namah of Firdosi, Masnavi-E-Roomi in Persian language and Zehar-E-Ishq in Urdu.
Matla
The opening SHER of a GHAZAL.
Misra
One line of a couplet, or verse.
Munajat
A lyrical poem as prayer to God.
Khudaawand-e-doaalam ! benawaaoN ki duaa sun lay! Tujhi se multaji ham haiN,hamaari iltijaa sun lay
(From "Anwaar-e-Hira" by Tanwir Phool)
Musaddas
Each unit consists of 6 lines (Misra). Most famous writer of this type of poem is Maulana Altaf Husain Hali.
Naat
Verses written in praise of Prophet Muhammad.
Yeh kaainaat Shah-e-bahr-o-bar kaa sadqa hai JahaaN maiN jo bhi hai,Khair-ul-bashar kaa sadqa hai Nabi ke naam se raushan hai mash'al-e-eemaaN DiloN maiN noor, Muhammad ke dar kaa sadqa hai Chaman maiN Naat ke aie Phool! hai bahaar aayee Yeh baagh-e-Taiba ke nakhl-o-samar kaa sadqa hai Falak par chaand taaroN se raqam ism-e-Muhammad hai Suno tum,daafa-e-ranj-o-alam, ism-e-Muhammad hai BaRa zeeshaan Un kaa naam hai saari khalaaiq maiN Khuda kaa naam hai,phir muhtaram ism-e-Muhammad hai
(From "Qindeel-e-Hira (poems)" by Tanwir Phool)
Nazm
The literary meaning of Nazm is Poetry (cf. Nasr, or Prose) A poem fully dealing with a single subject or thought.
Qafia
Rhyming of the last words of a poem.
Qasida
(Ballad). It is a long poem in Urdu, Persian or Arabic which usually describes battles or written in praise of kings; princes or the poet's patron. There is no limit of verses; it may even go beyond hundred lines.
Qat'a
(Fragments). It has two Ashaar and has a one complete subject. Plural Qita'at.
Radeef
(End rhyme). Each SHER or couplet of GHAZAL in addition to QAFIA may also have RADEEF which is rhyming of more than the last two or three words.
Ruba'i
Persian word for Quatrain. Contains only 4 lines, the third one being different from the other three as it should not have QAFIA and RADEEF. RUBA'I deals with social, philosophical and romantic subjects. In Persian language Umar Khayyam is supposed to be a great poet of RUBAIYY A T whereas in Urdu Yagana, Firaq and Josh are leading poets of this time and Anis, an old time poet.
MaiN khud hi saNwaarooN gaa jahaaN ki basti MaiN baRh ke badal dooN gaa nizaam-e-hasti! Jannat se nikalwaa diya ShaitaaN! too ney ! Aur auj ke badle maiN dilaa dee pasti
(From "Anwaar-e-Hira",by Tanwir Phool)
Salam
(Literal meaning Salutation) It is a kind of poem in which the incidents of Karbala i.e. hardships of Imam Husain and his followers are described It is also written in praise of the Islamic prophet Muhammad, and is recited by standing up.
Shaheed ho geyaa Lakht-e-Dil-e-Nabi,daikho! Sipaah-e-Shaam ki pur zulm kaj rawi daikho ! ! Husain karne gaye thay na iqtidaar ki jang! YaqeeN naheeN hai to bachchoN ki hamrahi daikho Khuda ki Hamd,Nabi ki Sana,Salam-e-Husain ! Yahi hai Phool kaa rang-e-sukhanwari daikho
(Tanwir Phool)
Sehra
A song sung at the time of tying Sehra during wedding ceremony, praising the bride or the bridegroom and their relatives.
Shehr Ashob
Ek Bekasi Hai Hijr Ke Maaron Ke Saath Saath .... Tutaa Hai Mera Dil Bhi Saharon Ke Saath Saath .... Jee Bhar Ke Dekhne Bhi Na Paaye They Chup Gaye .... Armaan Bhi Hain Udas Nazaron Ke Saath Saath .... Dil Main Wafur-e-Shauq Ka Tufaan Liye Hue .... Khamosh Jagta Hoon Sitaaron Ke Saath Saath .... Itni To Mahviyat Ho Tasawur Main Tere Dost .... Khud Ko Bhi Bhul Jaun Nazaron Ke Saath Saath .... Ye Aag Ishq Ki Phir Bhi Na Bujh Saki .... Hai Dil Main Ashk-e-Gham Bhi Sharun Ke Saath Saath ....
Tah-Tul-Lafz
The manner of reciting a poem; like rhythmic prose i.e. without singing; word for word. And, when a poem is sung, its tune is called TARANNUM.
Takhallus
A name adopted by a poet, by which he is known in the literary world.
Wasokht
Literal meaning 'displeasure' or 'disgust'. A kind of poem in which the displeasure and carelessness of a lover is narrated; while relinquishing the beloved.
Geet
Song or hymn.See this link for example:
dil jo maghroor haseena se lagaya jaye, goya toofan me charagon ko jalaya jaye. husn aur ishq ka rishta yun nibha ya jaye, koi bhe khouf-o-khatar dil me na laya jaye. ret ka ghar labe sahil na banaya jaye, kise sang dil se kabhe dil na lagaya jaye. wo qayamat ki ghare ho ge a-chanak jo kise sar se masoom ke ma baap ka saya jaye. arsh ke paye hila dete hai mazloom ki aah kise mazloom ke dil ko na dukhaya jaye. samne tegh ho sooli ho safe dushman ho farz ki raah me qadmo ko baraha ya jaye. apne ayebon ko chchupa lete hain sab hi "SAHIR" aib auron ka jahan tak ho chchupaya jaye.
Qawwali
Sufi music expressing the love and oneness with God or Prophet Muhammad and his companions sung by a group of people to the accompaniment of musical instruments. Now-a-days, it has taken popular form covering subjects of romance, liquor, etc.
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