In a recent trip to our family home, my mom rediscovered an old postcard addressed to my great-grandfather, Mohammad Ali Mirza. The letter was sent to him on October 17, 1947 in the aftermath of the partition of British India by his Hindu friend Diwan C. Khanna, who had to flee from Lahore to Delhi. It is a really interesting primary source that gives insight into the pain and grief that those who had to leave their lives and homes behind felt at the time. I’ve written a longer article analyzing the letter and what I think it means for Indians and Pakistanis today, which can be read both in the Indian publication The Quintand in the Pakistani publication The Express Tribune.
Below is the full text of the letter, along with scans of the front and back of the original document:
Mirza Mohd. Ali Sb.
[address removed]
Lahore
[address removed]
New Delhi
17-10-47
My dear Mirzasahib
I arrived here safely this morning. I can’t thank you sufficiently for all you so willingly & gladly did for me. The part which Begum Sahiba played was noble. You have proved what friendship is. I shall ever remain grateful. Please convey my thanks to Begum Sahiba. I am unhappy to be separated from you & other friends. I would like to die in Pakistan than to live in India shall it be possible. My wife & children have been happy to receive me. They were worrying a lot. I had a troublesome journey & that too by stages. Anyhow I reached here with some luggage, arms and one bedding. The rest of the things are at Amritsar which I shall manage to get soon.
With sincere thanks yours sly [sincerely]
Diwan C. Khanna
Naz Khialvi (1947-2010, real name: Muhammad Siddique) was a Pakistani poet and radio broadcaster from near the city of Faisalabad, most famous for his poem “Tum Ik Gorakh Dhanda Ho”. This philosophically and spiritually rich text explores the paradoxes of religion like the prevalence of evil and injustice, selective divine intervention, and other indecipherable aspects of God. The poem also points toward the unity of human religious experiences. At the end, after listing his grievances, the bewildered poet ultimately accepts divine incomprehensibility.
In the sense that “Tum Ik Gorakh Dhanda Ho” is a complaint to God, it is thematically similar to Allama Muhammad Iqbal’s famous “Shikwa”. Like Iqbal, Naz expresses a sense of frustration and wonder towards God. At the same time, this poem would still be considered a hamd, or praise of God. It is worth mentioning that “Tum Ik Gorakh Dhanda Ho” is full of references to prophets, Sufi saints, and Punjabi folk heros. For example, Naz references Mansoor al-Hallaj, a Persian mystic who was executed in the tenth century for saying “I am the truth!” Naz also includes the story of Joseph – referring to him with a rare title, “Maah-e-Kanaan”, meaning “The Moon of Canaan”. Another reference is to the story of Laila and Majnoon, in which Qais becomes a madman (“Majnoon”) for the rest of his life after Laila’s father refuses to let them marry.
See below for videos of Naz Khialvi reciting the poem and of Ustad Nusrat Fateh Ali Khan (1948-1997) performing it. In my translation below, I have used the Nusrat Fateh Ali Khan version. Because NFAK inserts extra lines of poetry into the qawwali, I have tried to delineate which parts are from Naz’s original work and which are asides.
Naz Khialvi کبھی یہاں تمہیں ڈھونڈا کبھی وہاں پہنچا kabhi yahaan tumhein dhoonda kabhi wahaan pohancha At times I searched for you here, at times I traveled there تمہاری دید کی خاطر کہاں کہاں پہنچا tumhaari deed ki khaatir kahaan kahaan pohancha For the sake of seeing You, how far I have come! غریب مٹ گئے پامال ہو گئے لیکن ghareeb mit gaye paamaal ho gaye lekin Similar wanderers wiped away and ruined, but کسی تلک نہ ترا آج تک نشاں پہنچا kisi talak na tera aaj tak nishaan pohancha Your sign has still not reached anyone
ہو بھی نہیں اور ہر جا ہو ho bhi naheen aur har ja ho You are not, yet You are everywhere تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
ہر ذرّے میں کس شان سے تو جلوہ نما ہے har zarre mein kis shaan se tu jalwa-numa hai With what majesty You manifest Yourself in each atom! حیراں ہے مگر عقل کہ کیسا ہے تو کیا ہے hairaan hai magar aqal ke kaise hai tu kya hai But my mind is astonished by how you are, what you are تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
تجھے دیر و حرم میں میں نے ڈھونڈا تو نہیں ملتا tujhe dair-o-haram mein maine dhoonda tu naheen milta I looked for you in the temple and mosque, but you cannot be found مگر تشریف فرما تجھ کو اپنے دل میں دیکھا ہے magar tashreef farma tujhe apne dil mein dekha hai But I have seen You gracing my heart with Your presence تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
ڈھونڈے نہیں ملے ہو نہ ڈھونڈے سے کہیں تم dhoonde naheen mile ho na dhoonde se kaheen tum You are not found through searching; nor through searching are You anywhere اور پھر یہ تماشہ ہے جہاں ہم ہیں وہیں تم aur phir ye tamaasha hai jahaan ham hain waheen tum But then there is this spectacle that You are wherever we are تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
جب بجز تیرے کوئی دوسرا موجود نہیں jab bajuz tere koi doosra maujood naheen When besides you, there is no second in existence پھر سمجھ میں نہیں آتا تیرا پردہ کرنا phir samajh mein naheen aata tera parda karna I do not understand why you seclude yourself تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
Aside حرم و دیر میں ہے جلوۂ پرفن تیرا haram-o-dair mein hai jalwa-e-pur-fan tera In the mosque and temple your artful manifestation is present دو گھروں کا ہے چراغ اک رخِ روشن تیرا do gharon ka hai charaagh ik rukh-e-raushan tera Your one face is the light of two homes [mosque and temple] تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
Naz Khialvi جو الفت میں تمہاری کھو گیا ہے jo ulfat mein tumhaari kho gaya hai The individual who has lost himself in your affection اسی کھوئے ہوئے کو کچھ ملا ہے usi khoye hue ko kuchh mila hai It is that lost one who has actually found something نہ بت خانے نہ کعبے میں ملا ہے na but-khane na kaabe mein mila hai He found You in neither the idol house nor in the Kaaba مگر ٹوٹے ہوئے دل میں ملا ہے magar toote hue dil mein mila hai Rather he found You in a broken heart عدم بن کر کہیں تو چھپ گیا ہے adam ban kar kaheen tu chhup gaya hai You have hidden somewhere as nothingness کہیں تو ہست بن کر آ گیا ہے kaheen tu hast ban kar aa gaya hai While elsewhere You have come as existence نہیں ہے تو تو پھر انکار کیسا naheen hai tu to phir inkaar kaisa If You are not, then why deny it? نفی بھی تیرے ہونے کا پتہ ہے nafi bhi tere hone ka pata hai Even negation reveals Your existence میں جس کو کہہ رہا ہوں اپنی ہستی main jis ko keh raha hoon apni hasti That which I am calling my own existence – اگر وہ تو نہیں تو اور کیا ہے agar wo tu naheen to aur kya hai If not You, what else could it be? نہیں آیا خیالوں میں اگر تو naheen aaya khayaalon mein agar tu If You did not come into my thoughts, تو پھر میں کیسے سمجھا تو خدا ہے to phir main kaise samjha tu Khuda hai Then how did I recognize You as God? تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
حیران ہوں اس بات پہ تم کون ہو کیا ہو hairaan hoon is baat pe tum kaun ho kya ho I am astonished thinking about who You are, what You are ہاتھ آؤ تو بت ہاتھ نہ آؤ تو خدا ہو haath aao to but haath na aao to Khuda ho If I can grasp you, you are an idol, but if not then you are God تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
عقل میں جو گھر گیا لا انتہا کیونکر ہوا aqal mein jo ghir gaya la-intiha kyoonkar hua How can one who is enclosed in our comprehension be boundless? جو سمجھ میں آ گیا پھر وہ خدا کیونکر ہوا jo samajh mein aa gaya phir wo Khuda kyoonkar hua How can one we understand then be God? تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle فلسفی کو بحث کے اندر خدا ملتا نہیں
falsafi ko behes ke andar Khuda milta naheen The philosopher does not find God in his arguments ڈور کو سلجھا رہا ہے اور سرا ملتا نہیں dor ko suljha raha hai aur sira milta naheen He is untangling the cord but cannot ever find its end تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
پتہ یوں تو بتا دیتے ہو سب کو لا مکاں اپنا pata yoon to bata dete ho sab ko la-makaan apna Thus you tell everyone that your address is “nowhere” تعجب ہے مگر رہتے ہو تم ٹوٹے ہوئے دل میں ta’ajjub hai magar rehte ho tum toote hue dil mein How amazing it is, though, that you live in a broken heart تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
Aside جب کہ تجھ بن نہیں کوئی موجود jab ke tujh bin naheen koi maujood When there is none except you in existence, پھر یہ ہنگامہ اے خدا کیا ہے phir ye hangama ae Khuda kya hai Then what, O God, is all this commotion about? تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
Naz Khialvi چھپتے نہیں ہو سامنے آتے نہیں ہو تم chhupte naheen ho saamne aate naheen ho tum You neither hide nor come forth جلوہ دکھا کے جلوہ دکھاتے نہیں ہو تم jalwa dikha ke jalwa dikhaate naheen ho tum Even when showing Yourself, You do not show Yourself دیر و حرم کے جھگڑے مٹاتے نہیں ہو تم dair-o-haram ke jhagre mitaate naheen ho tum You do not wipe out quarrels between religions [the temple and mosque] جو اصل بات ہے وہ بتاتے نہیں ہو تم jo asal baat hai wo bataate naheen ho tum You do not say what the actual truth is حیراں ہوں میرے دل میں سمائے ہو کس طرح hairaan hoon mere dil mein samaaye ho kis tarah I am surprised at how You have occupied my heart حالانکہ دو جہاں میں سماتے نہیں ہو تم haalaanke do jahaan mein samaate naheen ho tum Though even the two worlds cannot accommodate You یہ معبد و حرم یہ کلیسا و دیر کیوں ye maabad-o-haram ye kaleesa-o-dair kyoon Why this shrine and mosque, this church and temple? ہرجائی ہو جبھی تو بتاتے نہیں ہو تم harjaaii ho jabhi to bataate naheen ho tum Whenever there is disloyalty, You do not tell us تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
دل پہ حیرت نہیں عجب رنگ جما رکھا ہے dil pe hairat naheen ajab rang jama rakha hai It is not astonishment, but a wondrous color that has formed on my heart اک الجھی ہوئی تصویر بنا رکھا ہے ek uljhi hui tasveer bana rakha hai You have drawn up a confused picture کچھ سمجھ میں نہیں آتا کہ یہ چکّر کیا ہے kuchh samajh mein naheen aata ke ye chakkar kya hai I do not understand what this whole matter is کھیل کیا تم نے ازل سے یہ رچا رکھا ہے khel kya tum ne azal se ye racha rakha hai What is this game you have fabricated since eternity? روح کو جسم کے پنجرے کا بنا کر قیدی rooh ko jism ke pinjre ka bana kar qaidi Having made the soul a prisoner to the body, اس پہ پھر موت کا پہرا بھی بٹھا رکھا ہے us pe phir maut ka pehra bhi bitha rakha hai You have then placed it in the custody of death دے کے تدبیر کے پنچھی کو اڑانیں تم نے de ke tadbeer ke panchhi ko uraanen tum ne Having given the bird of Your plan flights دامِ تقدیر میں ہر سمت بچھا رکھا ہے daam-e-taqdeer mein har samt bichha rakha hai You have placed the trap of destiny for it on each side کر کے آرائشیں کونین کی برسوں تم نے kar ke aaraaishen kaunain ki barson tum ne Having decorated the two worlds for eons ختم کرنے کا بھی منصوبہ بنا رکھا ہے khatam karne ka bhi mansooba bana rakha hai You have also established a plan for destruction لا مکانی کا بہرحال ہے دعوہ بھی تمہیں la-makaani ka bahar-haal hai daawa bhi tumhein Though in any case you claim to be without a home نَحْنُ اَقْرَب کا بھی پیغام سنا رکھا ہے nahnu aqrab ka bhi paighaam suna rakha hai You have also told us the message of “We are nearer…” [Qur’an 50:16] یہ برائی وہ بھلائی یہ جہنم وہ بہشت ye buraai wo bhalai ye jahannum wo bahisht This badness, that goodness, this hell, that heaven اس الٹ پھیر میں فرماؤ تو کیا رکھا ہے is ulat pher mein farmaao to kya rakha hai Do explain to me, what is the point of this jumbled mess? جرم آدم نے کیا اور سزا بیٹوں کو jurm Aadam ne kiya aur saza beton ko Adam sinned, yet his children were given the punishment عدل و انصاف کا معیار بھی کیا رکھا ہے adal-o-insaaf ka meyaar bhi kya rakha hai What kind of standard of equity and justice have You kept? دے کے انسان کو دنیا میں خلافت اپنی de ke insaan ko dunya mein khilaafat apni By giving mankind Your viceregency on Earth, اک تماشہ سا زمانے میں بنا رکھا ہے ik tamaasha sa zamaane mein bana rakha hai You have created a spectacle in the world اپنی پہچان کی خاطر ہے بنایا سب کو apni pehchaan ki khaatir hai banaaya sab ko You made everyone for the sake of recognizing You سب کی نظروں سے مگر خود کو چھپا رکھا ہے sab ki nazron se magar khud ko chhupa rakha hai But You have hidden Yourself from everyone’s vision تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
نت نئے نقش بناتے ہو مٹا دیتے ہو nit naye naqsh banaate ho mita dete ho Continuously you make and erase new designs جانے کس جرمِ تمنّا کی سزا دیتے ہو jaane kis jurm-e-tamanna ki saza dete ho Who knows which crime of desire You punish us for کبھی کنکر کو بنا دیتے ہو ہیرے کی کنی kabhi kankar ko bana dete ho heere ki kani At times you turn pebbles into a mine of diamonds کبھی ہیروں کو بھی مٹّی میں ملا دیتے ہو kabhi heeron ko bhi mitti mein mila dete ho At times you merge even diamonds back into the soil زندگی کتنے ہی مردوں کو عطا کی جس نے zindagi kitne hi murdon ko ata ki jis ne He who gave life to so many corpses وہ مسیحا بھی صلیبوں پہ سجا دیتے ہو wo maseeha bhi saleebon pe saja dete ho Even that Messiah You adorn on crucifixes خواہشِ دید جو کر بیٹھے سرِ طور کوئی khwaahish-e-deed jo kar baithe sar-e-toor koi If someone sits on Mount Sinai with the wish of seeing You طور ہی برقِ تجلّی سے جلا دیتے ہو toor hi barq-e-tajalli se jala dete ho You burn Mount Sinai down with a bolt of brightness نارِ نمرود میں ڈلواتے ہو خود اپنا خلیل naar-e-Namrood mein dalwaate khud apna khaleel You Yourself get Your friend [Abraham] thrown into the fire of Nimrod خود ہی پھر نار کو گلزار بنا دیتے ہو khud hi phir naar ko gulzaar bana dete ho But then You Yourself turn the fire into a bed of roses چاہِ کنعان میں پھینکو کبھی ماہِ کنعاں chaah-e-kanaan mein phenko kabhi maah-e-kanaan You throw the Moon of Canaan [Joseph] into the well of Canaan نور یعقوب کی آنکھوں کا بجھا دیتے ہو noor Yaaqoob ki aankhon ka bujha dete ho You thereby extinguish the light from Jacob’s eyes [making him blind] بیچو یوسف کو کبھی مصر کے بازاروں میں becho Yoosuf ko kabhi misr ke baazaaron mein Sometimes you sell Joseph in the bazaars of Egypt آخر کار شہِ مصر بنا دیتے ہو aakhir-kaar shah-e-misr bana dete ho But ultimately you make him the king of Egypt جذب و مستی کی جو منزل پہ پہنچتا ہے کوئی jazb-o-masti ki jo manzil pe pohanchta hai koi When one reaches the height of divine absorption and intoxication بیٹھ کر دل میں انا الحق کی صدا دیتے ہو baith kar dil mein ana-al haqq ki sada dete ho Sitting in his heart, you give voice to the words “I am the truth!” خود ہی لگواتے ہو پھر کفر کے فتوے اس پر khud hi lagwaate ho phir kufr ke fatwe us par Then You Yourself place charges of blasphemy on him خود ہی منصور کو سولی پہ چڑھا دیتے ہو khud hi Mansoor ko sooli pe charha dete ho You Yourself make Mansoor hang by the noose اپنی ہستی بھی وہ اک روز گنوا بیٹھتا ہے apni hasti bhi wo ik roz ganwa baithta hai One day he too loses his life اپنے درشن کی لگن جس کو لگا دیتے ہو apne darshan ki lagan jis ko laga dete ho Whomever you give the desire of Your sight کوئی رانجھا جو کبھی کھوج میں نکلے تیری koi Raanjha jo kabhi khoj mein nikle teri If some Ranjha departs on a search for You تم اسے جھنگ کے بیلے میں رلا دیتے ہو tum use Jhang ke bele mein rula dete ho You torment him in the forests of Jhang جستجو لے کے تمہاری جو چلے قیس کوئی justajoo le ke tumhaari jo chale Qais koi If some Qais embarks on a quest for You, اس کو مجنوں کسی لیلیٰ کا بنا دیتے ہو us ko Majnoon kisi Laila ka bana dete ho You turn him into a madman for some Laila جوت سسّی کے اگر من میں تمہاری جاگے jot Sassi ke agar man mein tumhaari jaage If love for You awakens in Sassi’s heart تم اسے تپتے ہوئے تھل میں جلا دیتے ہو tum use tapte hue thal mein jala dete ho You burn her in the scorching desert سوہنی گر تم کو مہینوال تصوّر کر لے Sohni gar tum ko Maheenwaal tasawwur kar le If Sohni imagines You as Mahiwal اس کو بکھری ہوئی لہروں میں بہا دیتے ہو us ko bikhri hui lehron mein baha dete ho You drown her in the frenzied waves خود جو چاہو تو سرِ عرش بلا کر محبوب khud jo chaho to sar-e-arsh bula kar mehboob If You desire then You can summon Your beloved to the highest heavens ایک ہی رات میں معراج کرا دیتے ہو ek hi raat mein mairaaj kara dete ho In just one night, you complete the Nightly Journey to Heaven [of Muhammad] تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
آپ ہی اپنا پردہ ہو aap hi apna parda ho You are Your own veil تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
جو کہتا ہوں مانا تمہیں لگتا ہے برا سا jo kehta hoon maana tumhein lagta hai bura sa Granted, what I say seems bad to You پھر بھی ہے مجھے تم سے بہرحال گلا سا phir bhi hai mujhe tum se bahar-haal gila sa But still, I have a complaint to you in any case چپ چاپ رہے دیکھتے تم عرشِ بریں پر chup-chaap rahe dekhte tum arsh-e-bareen par You remained quiet, looking from the Sublime Throne at تپتے ہوئے کربل میں محمد کا نواسہ tapte hue Karbal mein Muhammad ka nawaasa Muhammad’s grandson [Hussein] in burning Karbala کس طرح پلاتا تھا لہو اپنا وفا کا kis tarah pilaata tha lahoo apna wafa ko How he let his blood become a drink of loyalty خود تین دنوں سے وہ اگرچہ تھا پیاسہ khud teen dinon se wo agarche tha pyaasa Even though he had been thirsty for three days دشمن تو بہرحال تھے دشمن مگر افسوس dushman to bahar-haal the dushman magar afsos The enemy was, after all, the enemy – but how sad it is تم نے بھی فراہم نہ کیا پانی ذرا سا tum ne bhi faraaham na kiya paani zara sa That You did not provide even a little bit of water ہر ظلم کی توفیق ہے ظالم کی وراثت har zulm ki taufeeq hai zaalim ki viraasat The bounty for every cruelty is the inheritance of the oppressor مظلوم کے حصّے میں تسلّی نہ دلاسہ mazloom ke hisse mein tasalli na dilaasa But the oppressed is given neither consolation nor comfort کل تاج سجا دیکھا تھا جس شخص کے سر پر kal taaj saja dekha tha jis shakhs ke sar par Yesterday, the individual who had a crown adorning his head ہے آج اسی شخص کے ہاتھوں میں ہکاسہ hai aaj usi shakhs ke haathon mein hikaasa Today I see a beggar’s bowl in the same individual’s hands یہ کیا ہے اگر پوچھوں تو کہتے ہو جوابًا ye kya hai agar poochhoon to kehte ho jawaaban If I ask what all this is, You say in response: اس راز سے ہو سکتا نہیں کوئی شناسا is raaz se ho sakta naheen koi shanaasa “No one can be acquainted with this secret!” تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
حیرت کی اک دنیا ہو hairat ki ik dunya ho You are a world of bewilderment تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
Aside ہر ایک جا پہ ہو لیکن پتہ نہیں معلوم har ek ja pe ho lekin pata naheen maaloom You are in each and every place but I do not know your whereabouts تمہارا نام سنا ہی نشاں نہیں معلوم tumhaara naam suna hai nishaan naheen maaloom I have heard your name, but your mark I do not know تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
Naz Khialvi دل سے ارمان جو نکل جائے تو جگنو ہو جائے dil se armaan jo nikal jaaye to jugnoo ho jaaye If a wish emerges from the heart it glows like a firefly اور آنکھوں میں سمٹ آئے تو آنسو ہو جائے aur aankhon mein simat aaye to aansoo ho jaaye And if it condenses in the eyes it becomes tears [of joy] جاپ یا ہو کا جو بیہو کرے ہو میں کھو کر jaap ya hoo ka jo behoo kare hoo mein kho kar By getting lost in Him [God] through the repeated chant of“Ya Hoo” اس کو سلطانیاں مل جائیں وہ باہو ہو جائے us ko sultaaniyaan mil jaaein wo Baahoo ho jaaye One receives lordships and becomes like Sultan Bahoo بال بیکا نہ کسی کا ہو چھری کے نیچے baal bika na kisi ka ho chhuri ke neeche Some receive not the slightest of injury under a knife حلقِ اصغر میں کبھی تیر ترازو ہو جائے halq-e-asghar mein kabhi teer taraazoo ho jaaye But at times an arrow in Asghar’s throat becomes the scale [of justice] تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
کس قدر بےنیاز ہو تم بھی kis qadar be-niyaaz ho tum bhi How carefree You are, too! داستانِ دراز ہو تم بھی daastaan-e-daraaz ho tum bhi A lengthy saga You are, too! تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
راہِ تحقیق میں ہر گام پہ الجھن دیکھوں raah-e-tehqeeq mein har gaam pe uljhan dekhoon On the path of inquiry, I see confusion at every footstep وہی حالات و خیالات میں انبن دیکھوں wahi haalaat-o-khayaalaat mein anban dekhoon I see that discord between circumstances and ideas بن کے رہ جاتا ہوں تصویر پریشانی کی ban ke reh jaata hoon tasveer pareshaani ki I become a picture of distress غور سے جب بھی کبھی دنیا کے درپن دیکھوں ghaur se jab bhi kabhi dunya ke darpan dekhoon Whenever I closely look at the world’s mirror ایک ہی خاک پہ فطرت کے تضادات اتنے ek hi khaak pe fitrat ke tazaadaat itne On one earth, there are so many conflicts of nature اتنے حصّوں میں بنٹا ایک ہی آنگن دیکھوں itne hisson mein banta ek hi aangan dekhoon I see one courtyard divided into so many parts کہیں زحمت کی سلگتی ہوئی پتجھڑ کا سما kaheen zehmat ki sulagti hui patjhar ka sama Somewhere there is the season of the burning autumn of hardship کہیں رحمت کے برستے ہوئے ساون دیکھوں kaheen rehmat ke baraste hue saawan dekhoon Somewhere I see the descending monsoons of mercy کہیں پھنکارتے دریا کہیں خاموش پہاڑ kaheen phunkaarte darya kaheen khaamosh pahaar Somewhere hissing rivers, somewhere silent mountains کہیں جنگل کہیں صحرا کہیں گلشن دیکھوں kaheen jangal kaheen sehra kaheen gulshan dekhoon Somewhere jungle, somewhere desert, somewhere rose gardens I see خون رلاتا ہے یہ تقسیم کا انداز مجھے khoon rulaata hai ye taqseem ka andaaz mujhe This manner of division makes me weep tears of blood کوئی دھنوان یہاں پر کوئی نردھن دیکھوں koi dhanwaan yahaan par koi nirdhan dekhoon Here I see some rich, some poor دن کے ہاتھوں میں فقط ایک سلگتا سورج din ke haathon mein faqat ek sulagta sooraj In day’s hands, there is only one smoldering sun رات کی مانگ ستراوں سے مزیّن دیکھوں raat ki maang sitaaron se muzayyan dekhoon But I see that night’s part is bejeweled with many stars کہیں مرجھائے ہوئے پھول ہیں سچّائی کے kaheen murjhaaye hue phool hain sachaai ke Somewhere there are the withered flowers of truth اور کہیں جھوٹ کے کانٹوں پہ بھی جوبن دیکھوں aur kaheen jhoot ke kaanton pe bhi joban dekhoon And elsewhere I see the thorns of deceit flourishing شمس کی کھال کہیں کھنچتی نظر آتی ہے Shams ki khaal kaheen khinchti nazar aati hai I see Shams’s skin being peeled off somewhere کہیں سرمد کی اترتی ہوئی گردن دیکھوں kaheen Sarmad ki utarti hui gardan dekhoon Somewhere I see Sarmad’s head coming off
رات کیا شے ہے سویرا کیا ہے raat kya shai hai savera kya hai What is this thing called night, what is dawn? یہ اجالا یہ اندھیرا کیا ہے ye ujaala ye andhera kya hai What is this light, what is this darkness? میں بھی نائب ہوں تمہارا آخر main bhi naaib hoon tumhaara aakhir After all, I too am Your deputy کیوں یہ کہتے ہو کہ تیرا کیا ہے kyoon ye kehte ho ke tera kya hai Why then do you say, “What is yours?”? تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
Aside دیکھنے والا تجھے کیا دیکھتا dekhne waala tujhe kya dekhta What could someone looking for You see? تو نے ہر رنگ سے پردہ کیا tu ne har rang se parda kya You have veiled Yourself in every manner! تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
مسجد مندر یہ مے خانے masjid mandir ye mai-khaane Mosque, temple, these taverns کوئی یہ مانے کوئی وہ مانے koi ye maane koi wo maane Some believe in this, some believe in that سب تیرے ہیں جانا کاشانے sab tere hain jaana kaashaane All of them are Your home, Dear کوئی یہ مانے کوئی وہ مانے koi ye maane koi wo maane Some believe in this, some believe in that اک ہونے کا تیرا قائل ہے ik hone ka tera qaail hai One is persuaded of Your existence انکار پہ کوئی مائل ہے inkaar pe koi maail hai Another is inclined towards denial اصلیت لیکن تو جانے asliyat lekin tu jaane But You alone know the reality کوئی یہ مانے کوئی وہ مانے koi ye maane koi wo maane Some believe in this, some believe in that اک خلق میں شامل کرتا ہے ik khalq mein shaamil karta hai One includes You within creation اک سب سے اکیلا رہتا ہے ik sab se akela rehta hai Another stays aloof from the rest ہیں دونوں تیرے مستانے hain donon tere mastaane Both are Your drunken devotees کوئی یہ مانے کوئی وہ مانے koi ye maane koi wo maane Some believe in this, some believe in that سب ہیں جب عاشق تمہارے نام کے sab hain jab aashiq tumhaare naam ke When all are lovers of Your name, کیوں یہ جھگڑے ہیں رحیم و رام کے kyoon ye jhagre hain Raheem-o-Raam ke Why are there quarrels between Rahim and Ram [Muslims and Hindus]? تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
دیر میں تو حرم میں تو عرش پہ تو زمیں پہ تو dair mein tu haram mein tu arsh pe tu zameen pe tu You are in the temple, in the mosque, in the heavens, on the ground جس کی پہنچ جہاں تلک اس کے لیے وہیں پہ تو jis ki pohanch jahaan talak us ke liye waheen pe tu However far one’s reach goes, You are there for him تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
ہر اک رنگ میں یکتا ہو har ik rang mein yakta ho In every possible aspect, You are unique تم اک گورکھ دھندا ہو tum ik gorakh dhanda ho You are a baffling puzzle
Naz Khialvi مرکزِ جستجو عالمِ رنگ و بو markaz-e-justajoo aalam-e-rang-o-boo The center of our quest, the world of color and scent دم بدم جلوہ گر تو ہی تو چار سو dam-ba-dam jalwa-gar tu hi tu chaar soo In every breath You are manifest, You are on all four sides ہو کے ماحول میں کچھ نہیں الا ہو Hoo ke maahaul mein kuchh naheen illa hoo In God’s surroundings there is nothing but Him تم بہت دلربا تم بہت خوبرو tum bohat dilruba tum bohat khoobaroo You are very enchanting, You are very beautiful عرش کی عظمتیں فرش کی آبرو arsh ki azmatein farsh ki aabroo Glories of heaven, honor of earth تم ہو کونین کا حاصلِ آرزو tum ho kaunain ka haasil-e-aarzoo You are the attainment of the desires of the two worlds آنکھ نے کر لیا آنسوؤں سے وضو aankh ne kar liya aansoo’on se wazoo My eye has performed ablutions with tears اب تو کر دو عـطا دید کا اک سبو ab to kar do ata deed ka ik suboo Now at least grant me a small proof of Your presence آؤ پردے سے تم آنکھ کے روبرو aao parde se tum aankh ke roo-ba-roo Come out from Your veil, face-to-face with my eye چند لمحے ملن دو گھڑی گفتگو chand lamhe milan do ghari guftagoo For a few moments of union, two hours of discussion نازؔ جپتا پھرے جابجا کوبکو Naaz japta phire ja-ba-ja koo-ba-koo Naz will mutter in devotion, in every place and every alley, وَحْدَہُ وَحْدَہُ لا شَریكَ لَهُ wahdahoo wahdahoo la shareeka lahoo “He is one, He is one, He has no partner!
اللہ هو اللہ هو اللہ هو اللہ هو Allah hoo Allah hoo Allah hoo Allah hoo God is, God is, God is, God is!”
In no particular order, here is my list of the top five versions of the qawwali “Tajdar-e-Haram”. You can find my full translation of the poetry here. The original by the Sabri Brothers is obviously very hard to match, but I think others have also done justice to it. Post any more versions of “Tajdar-e-Haram” that you enjoy in the comments!
1. The Timeless Original by the Sabri Brothers
Highlights: The original is always the original, and here the Sabri Brothers are at their best. The two brothers’ voices are very distinct and complementary. They show their musical mastery in this qawwali by repeatedly varying the pace and volume, taking listeners on a journey.
2. The Second Generation by Amjad Sabri & Shahi Hasan
Highlights: Amjad Sabri ventures out of traditional qawwali in this soulful collaboration with Shahi Hasan. It’s an amazing composition in its own right, with lots of overlapping vocal tracks, and the female background vocals at the beginning are really mesmerizing.
3. The Coke Studio Rendition by Atif Aslam (2015)
Highlights: Atif’s Coke Studio version is also not traditional qawwali, but it includes a wider array of instruments that enhance the song. At times, the emotion in his unique voice really comes through.
4. The Indian Masters’ Version by Sonu Nigam & Sukhwinder Singh (1992)
Highlights: This is a really cool (and rare) rendition by two of Bollywood’s most famous singers, Sonu Nigam and Sukhwinder Singh. While not focusing on the raw and spontaneous nature of traditional qawwali, this version lets their amazing, highly-trained voices shine.
5. The Thunderous Tribute by Fareed Ayaz & Abu Muhammad (2016)
Highlights: Fareed Ayaz & Abu Muhammad paid tribute to the Sabri Brothers and Amjad Sabri through a more traditional performance. This version is loud and powerful, with excellent percussion (check out the vocals at 0:49 and the change in beat at 17:58).
“Balaghal-Ula Bi-Kamalihi” is a popular qawwali most famously performed by the late Sabri Brothers, Ghulam Farid Sabri (1930-1994) and Maqbool Ahmed Sabri (1945-2011), from Pakistan. It is a multilingual naat (praise of the prophet Muhammad) that centers around a famous Arabic quatrain (rubai) by the Persian poet Saadi Shirazi (1210-1292). The four-line poem is dispersed between several verses of Urdu and Persian poetry from sources that I have been unable to identify. If anyone recognizes any of the poets whose verses show up in this qawwali, your contribution would be appreciated. Any corrections or improvements would also be appreciated.
The main poem is: “Balaghal-ula bi-kamaalihi / Kashafad-duja bi-jamaalihi / Hasunat jameeu khisaalihi / Sallu alaihi wa aalihi”. (This is in Arabic, but in the translation I do not repeatedly identify it as such because of how spread out it is.) Much of the rest of the qawwali focuses on the story of the “miraj” (“ascension”), an event in Muhammad’s lifetime during which he is said to have ascended to heaven and beyond (to the Placeless Origin to visit the throne of God) on a winged creature named Buraq. The entire trip is said to have occurred in one night. According to some scholars of literature, this story partially inspired the Italian poet Dante’s epic poem, The Divine Comedy.
In the Urdu verses of this qawwali, we see how the monumental meeting between God and Muhammad is metaphorically framed as a meeting between lovers. For example, God summons Muhammad because “He longed to see him”. This metaphor is used to elucidate the common Sufi themes of separation and union, in which the separation of every being from God is a burden, whereas the ultimate goal is union and becoming one with God.
Farsi
اے ختمِ رسل کعبۂ مقصود تویی
ae khatm-e-rusul kaaba-e-maqsood tuyi
O Last of the Prophets, you are the Kaaba [we] seek
در صورتِ ہر چہ ہست موجود تویی
dar soorat-e-har che hast maujood tuyi
Within the form of everything that exists, you are present
آیاتِ کمالِ حق عیان است بتو
aayaat-e-kamaal-e-haq ayaan ast ba-to
The signs of the perfection of the Truth [God] are made clear in you
آن ذات کہ در پردہ نہان بود تویی
aan zaat ke dar parda nihaan bood tuyi
That essence which was hidden behind the veil was you
Urdu
سہانی رات تھی اور پر سکون زمانہ تھا
suhaani raat thi aur pur-sukoon zamaana tha
It was a beautiful night and the age was full of tranquility
اثر میں ڈوبا ہوا جذبِ عاشقانہ تھا
asar mein dooba hua jazb-e-aashiqana tha
The loving attraction was fully engulfed in effect
اُنہیں تو عرش پہ محبوب کو بلانا تھا
unhein to arsh pe mehboob ko bulaana tha
He [God] had to call His beloved to the heavenly throne
ہوس تھی دید کی معراج کا بہانہ تھا
hawas thi deed ki meraaj ka bahaana tha
He longed to see him – the ‘ascension’ was just an excuse!
سرِ لا مکان سے طلب ہوئی
sar-e-la-makaan se talab hui
A command came from the Placeless Origin
سوئے منتہا وہ چلے نبی
soo-e-muntaha wo chale nabi
Towards the final boundary [of the universe], the prophet went
یہ کمالِ حسن کا معجزہ
ye kamaal-e-husn ka moajza
This is the miracle of the perfection of beauty
کہ فراق حق بھی نہ سہ سکا
ke firaaq haq bhi na seh saka
That even the Truth [God] could not bear separation
شبِ معراج لیا عرشِ بریں پر بلوائے
shab-e-meraaj liya arsh-e-bareen par bulvaaye
On the night of ascension, He called Muhammad to the Sublime Throne
صدمۂ حجر خدا سے بھی گوارہ نہ ہوا
sadma-e-hijr Khuda se bhi gavaara na hua
The pain of separation was intolerable even for God
سرِ لا مکان سے طلب ہوئی
sar-e-la-makaan se talab hui
A command came from the Placeless Origin
سوئے منتہا وہ چلے نبی
soo-e-muntaha wo chale nabi
Towards the final boundary [of the universe], the prophet went
کوئی حد ہے اُن کے عروج کی
koi had hai un ke urooj ki
Is there any limit to his ascent?
بَلَغَ الْعُلا بِكَمالِهِ
balaghal-ula bi-kamaalihi
He reached the highest place through his perfection
Arabic
خیر الوریٰ صدر الدقة نجم الهدیٰ نور العلا
khair-ul-wara sadr-ud-duqa najm-ul-huda noor-ul-ula
“Best of creations, epitome of subtlety, star of guidance, light of the highest place
شمس الضحىٰ بدر الدجیٰ یعني محمد مصطفیٰ
shams-ud-duha badr-ud-duja yaani Muhammad Mustafa
Sun of morning, moon of night” – as in, Muhammad Mustafa
Urdu
کوئی حد ہے اُن کے عروج کی
koi had hai un ke urooj ki
Is there any limit to his ascent?
آقا روا سالارِ دین
aaqa rawa saalaar-e-deen
O lord and lawful chief of the religion
یَا رَحْمَةً لِّلْعَالَمِین
ya rehmatal-lil-aalameen
O mercy for the worlds
آ مقتدیٰ ئے مرسلین
aa muqtada-e-mursaleen
O prevailing leader of the messengers
آ پیشوا ئے انبیا
aa peshwa-e-ambiya
O premier of the prophets
Farsi
جنت نشانِ کوے تو
jannat nishaan-e-koo-e-to
Heaven is a sign of your street
والشمسِ ایمان روے تو
wash-shams-e-eemaan roo-e-to
And the sun of faith is your face
واللیل وصفِ روے تو
wal-lail wasf-e-roo-e-to
And the night praises your face
خوبی ئے رویت والضحىٰ
khoobi ye rooyat wad-duha
The morning is the goodness of your face
اسمِ تو اسمِ اعظمی
ism-e-to ism-e-aazami
Your name is the greatest name
جسمِ تو جانِ عالمی
jism-e-to jaan-e-aalami
Your body is the life of the world
ذاتِ تو فخرِ آدمی
zaat-e-to fakhr-e-aadmi
Your rank is the pride of mankind
شانِ تو شانِ کبریا
shaan-e-to shaan-e-kibriya
Your glory is the glory of the Almighty
Urdu
کوئی حد ہے اُن کے عروج کی
koi had hai un ke urooj ki
Is there any limit to his ascent?
جو گیا ہے فرش سے عرش تک
jo gaya hai farsh se arsh tak
He who went from the ground to God’s Throne
وہ براق لے گیا بےدھڑک
wo Buraaq le gaya be-dharak
He took up Buraq fearlessly [beyond the]
طبقِ زمین ورقِ فلک
tabaq-e-zameen waraq-e-falak
Surface of the earth and page of the heavens
گئے نیچے پاؤں سے پل سڑک
gaye neeche paaun se pul sarak
Streets and bridges went out from under his feet
لٹیں زلف کی جو گئیں لٹک
laten zulf ki jo gaeen latak
As the locks of [his] hair dangled
تو جہان سارا گیا مہک
to jahaan saara gaya mehek
The entire world became fragrant
ہوئیں مست بلبلیں اس قدر
hueen mast bulbulen is qadar
The nightingales were intoxicated to such an extent
تو یہ غنچے بولے چٹک ِچٹک
to ye ghunche bole chatak chatak
That the rosebuds broke open and bloomed
کوئی حد ہے اُن کے عروج کی
koi had hai un ke urooj ki
Is there any limit to his ascent?
گئے گھر سے چڑھ کے براق پر
gaye ghar se char ke Buraaq par
He left home having mounted Buraq
شبِ وصل رخ سے ہوئی سحر
shab-e-vasl rukh se hui seher
On the night of union, his face brought about dawn
یہ سفر تھا خوب کا خوبتر
ye safar tha khoob ka khoobtar
This journey was better than the best
یہی تھا ہر ایک کی زبان پر
yahi tha har ek ki zubaan par
This is what was on everyone’s tongues
کوئی حد ہے اُن کے عروج کی
koi had hai un ke urooj ki
Is there any limit to his ascent?
بَلَغَ الْعُلا بِكَمالِهِ
balaghal-ula bi-kamaalihi
He reached the highest place through his perfection
یہی ابتدا یہی انتہا
yahi ibtida yahi intiha
This is the beginning, and this is the end
یہ فروغ جلوۂ حق نما
ye farogh jalwa-e-haq-numa
This brightness is the manifestation of the truth-revealer
کہ جہان سارا چمک اٹھا
ke jahaan saara chamak utha
Such that the entire world rose shining
كَشَفَ الْدُّجىٰ بِجَمالِهِ
kashafad-duja bi-jamaalihi
He drove out the darkness through his beauty
رخِ مصطفیٰ کی یہ روشنی
rukh-e-Mustafa ki ye raushni
This is the illumination of Mustafa’s face
یہ تجلیوں کی ہماہمی
ye tajalliyon ki hamaahami
This is the boastfulness of splendors
کہ ہر ایک چیز چمک اٹھی
ke har ek cheez chamak uthi
Such that every single thing rose shining
كَشَفَ الْدُّجىٰ بِجَمالِهِ
kashafad-duja bi-jamaalihi
He drove out the darkness through his beauty
نہ فلک نہ چاند تارے نہ سحر نہ رات ہوتی
na falak na chaand taare na seher na raat hoti
Neither sky nor moon, nor stars, nor daybreak would have existed
نہ تیرا جمال ہوتا نہ یہ کائنات ہوتی
na tera jamaal hota na ye kaainaat hoti
If not for your beauty, this universe would not have existed
کہ ہر ایک چیز چمک اٹھی
ke har ek cheez chamak uthi
Such that every single thing rose shining
كَشَفَ الْدُّجىٰ بِجَمالِهِ
kashafad-duja bi-jamaalihi
He drove out the darkness through his beauty
وہ سراپا رحمتِ کبریا
wo saraapa rehmat-e-kibriya
That incarnation of the Almighty’s mercy
کہ ہر ایک پہ جس کا کرم ہوا
ke har ek pe jis ka karam hua
He whose generosity reached everyone
یہ قرآنِ پاک ہے برملا
ye Quraan-e-Paak hai barmaala
He [Muhammad] is the open Qur’an in front of all
حَسُنَتْ جَميعُ خِصالِهِ
hasunat jameeu khisaalihi
Beautified were all his characteristics
یہ کمالِ حقِ محمدی
ye kamaal-e-haq-e-Muhammadi
This is the wonder of Muhammad’s dominion
کہ ہر ایک پہ چشمِ کرم رہی
ke har ek pe chashm-e-karam rahi
That the eye of mercy remains on everyone
سرِ حشر نعرۂ امتی
sar-e-hashar naara-e-ummati
On Armageddon, the chant of his followers [will be]
حَسُنَتْ جَميعُ خِصالِهِ
hasunat jameeu khisaalihi
Beautified were all his characteristics
وہی حق نگر وہی حق نما
wohi haq-nigar wohi haq-numa
It alone is the truth-guarder and truth-revealer;
رخِ مصطفیٰ ہے وہ آئینہ
rukh-e-Mustafa hai woh aaeena
The face of Mustafa is that mirror
کہ خدا ئے پاک نے خود کہا
ke Khuda-e-Paak ne khud kaha
Such that Holy God said Himself,
صَلّوا عَلَيْهِ وَآلِهِ
sallu alaihi wa aalihi
“Send blessings upon him and his family”
میرا دین عنبرِ وارثی
mera deen ambar-e-warsi
My faith is an inherited fragrance
بخدا ہے عشقِ محمدی
ba-Khuda hai ishq-e-Muhammadi
By God, it is the love of Muhammad
میرا ذکر و فکر ہے بس یہی
mera zikr-o-fikr hai bas yahi
My only utterance and thought is,
صَلّوا عَلَيْهِ وَآلِهِ
sallu alaihi wa aalihi
“Send blessings upon him and his family”
Farsi and Arabic (alternating)
چہ کنم بیانِ کمالِ او
che kunam bayaan-e-kamaal-e-oo
What can I say about his perfection!
بَلَغَ الْعُلا بِكَمالِهِ
balaghal-ula bi-kamaalihi
He reached the highest place through his perfection
چہ فروغ کردہ جمالِ او
che farogh karda jamaal-e-oo
What brightness his beauty has created!
كَشَفَ الْدُّجىٰ بِجَمالِهِ
kashafad-duja bi-jamaalihi
He drove out the darkness through his beauty
من حیرتم زخصالِ او
man hairatam za-khisaal-e-oo
I am amazed by his characteristics!
حَسُنَتْ جَميعُ خِصالِهِ
hasunat jameeu khisaalihi
Beautified were all his characteristics
دل و جانِ ما باخیالِ او
dil-o-jaan-e-ma baa-khayaal-e-oo
Our hearts and lives are occupied by thoughts of him!
صَلّوا عَلَيْهِ وَآلِهِ
sallu alaihi wa aalihi
Send blessings upon him and his family
اے مظہرِ نورِ خدا
ae mazhar-e-noor-e-Khuda
O manifestation of the divine light of God
بَلَغَ الْعُلا بِكَمالِهِ
balaghal-ula bi-kamaalihi
He reached the highest place through his perfection
مولا علی مشکل کشا
maula Ali muskhil-kusha
Master Ali, resolver of troubles
كَشَفَ الْدُّجىٰ بِجَمالِهِ
kashafad-duja bi-jamaalihi
He drove out the darkness through his beauty
حسنین جانِ فاطمہ
Hasnain jaan-e-Faatima
Hassan and Hussein, the two dearest of Fatima
حَسُنَتْ جَميعُ خِصالِهِ
hasunat jameeu khisaalihi
Beautified were all his characteristics
یعنی محمد مصطفیٰ
yaani Muhammad Mustafa
Meaning, Muhammad Mustafa
صَلّوا عَلَيْهِ وَآلِهِ
sallu alaihi wa aalihi
Send blessings upon him and his family
One example of an excellent contemporary Urdu ghazal is “Dil Mein Ik Leher Si Uthi Hai Abhi” by Nasir Kazmi, a Pakistani poet. Kazmi (1925-72) was born in Ambala in East Punjab during the British Raj, and moved to Lahore during the partition of India. His ghazals are often written in short meter (چھوٹی بحر / chhoti beher) and primarily deal with themes of hope, love, and melancholy. Written in simple language, this ghazal inspires hope and calls upon the reader to be proactive through its uplifting imagery. It’s great to listen to when you are searching for some positivity: a wave is rising, a fresh breeze is blowing, and a wall is being torn down…
Scholars have sometimes criticized the Urdu ghazal for being atomistic, i.e. being composed of several unrelated couplets. I think “Dil Mein Ik Leher” is a strong example to the contrary. The first two verses indicate that some kind of positive change is taking place, although we are not sure what. The third couplet hints that something has been missing (or someone, as we find out). In the next two couplets, it appears that the fresh change is that memories of the poet’s beloved are coming back to him – or perhaps she herself is on her way. In the next three couplets, the poet has sprung to take action himself, searching through the city, looking for open opportunities, and calling his friends to rise up as well. Finally, the last verse leaves us with optimism for what the future holds. Metaphorically, the central message of the poem could be seen as to stay optimistic and take action to pursue your goals, even though they may seem distant.
This ghazal has famously been sung by two Pakistan artists, Ghulam Ali (1940-present) and Tassawar Khanum (1950-present). Pay close attention to the many different ways in which Ghulam Ali sings the word “leher”. By fluctuating the tone, pitch, and length of the word, he evokes the image of different kinds of waves in the ocean.
دل میں اک لہر سی اٹھی ہے ابھی
dil mein ik leher si uthi hai abhi
A kind of wave has risen in my heart right now
کوئی تازہ ہوا چلی ہے ابھی
koi taaza hava chali hai abhi
Some fresh breeze has blown by right now
شور برپا ہے خانۂ دل میں
shor barpa hai khaana-e-dil mein
An uproar is rising in the cockles of my heart;
کوئی دیوار سی گری ہے ابھی
koi deevaar si giri hai abhi
Some kind of wall has fallen right now
بھری دنیا میں جی نہیں لگتا
bhari dunya mein ji naheen lagta
My heart is not satisfied in this crowded world;
جانے کس چیز کی کمی ہے ابھی
jaane kis cheez ki kami hai abhi
I wonder what is lacking right now
و شریکِ سخن نہیں ہے تو کیا
tu shareek-e-sukhan naheen hai to kya
So what if you are not joining me in conversation?
ہم سخن تیری خامشی ہے ابھی
ham-sukhan teri khaamushi hai abhi
Your silence is conversing with me right now
یاد کہ بے نشاں جزیروں سے
yaad ke be-nishaan jazeeron se
Is it my memory, or is it from traceless islands that
تیری آواز آ راہی ہے ابھی
teri aavaaz aa rahi hai abhi
Your voice is reaching me right now?
شہر کی بے چراغ گلیوں میں
sheher ki be-charaagh galiyon mein
Through the unlit streets of the city,
زندگی تجھ کو ڈھونڈتی ہے ابھی
zindagi tujh ko dhoondti hai abhi
Life is searching for you right now
سو گئے لوگ اُس حویلی کے
so gaye log us haveli ke
The people of that house have fallen asleep,
ایک کھڑکی مگر کھلی ہے ابھی
ek khirki magar khuli hai abhi
But one window remains open right now
تم تو یارو ابھی سے اٹھ بیٹھے
tum to yaaro abhi se uth baithe
Friends, you have already risen and sat down,
شہر میں رات جاگتی ہے ابھی
sheher mein raat jaagti hai abhi
But in the city, the night remains awake right now
وقت اچھا بھی آئے گا ناصرؔ
waqt achcha bhi aaye ga Naasir
Good times, too, will come O Nasir!
غم نہ کر زندگی پڑی ہے ابھی
gham na kar zindagi pari hai abhi
Don’t grieve, your whole life is ahead of you right now!
The following line does not appear in Kazmi’s original ghazal, but has been added in the musical renditions:
کچھ تو نازک مزاج ہیں ہم بھی
kuchh to naazuk mizaaj hain ham bhi
Part of the issue is that I’m of sensitive temperament,
اور یہ چوٹ بھی نئی ہے ابھی
aur yeh chot bhi naii hai abhi
But it’s also partly that this wound is fresh right now!
“Tajdar-e-Haram” is a popular qawwali most famously performed by the late Sabri Brothers, Ghulam Farid Sabri (1930-1994) and Maqbool Ahmed Sabri (1945-2011), from Pakistan. The titular Urdu poem was written by Purnam Allahabadi (-2009), a prolific Urdu poet, who moved to Pakistan from Allahabad, India after the 1947 partition. It is important to note, however, that the long version by the Sabri Brothers that is translated here includes many interesting elements, in multiple languages, from several authors.
This qawwali would fall under the category of naat (praise of the prophet Muhammad), since it serves as a plea to Muhammad to bestow his mercy on the needy. Excerpts from quiet a few naats are recited by the Sabri Brothers. The primary one that they repeatedly return to, of course, is “Tajdar-e-Haram” by Purnam Allahabadi. Another Urdu naat is by the famous Pakistani poet, Muzaffar Warsi (1933-2011), who also wrote the hamd (praise of God) titled “Wohi Khuda Hai”. Plus, a Persian line from the poem “Marhaba Sayyidi Makki Madani” by Muhammad Jaan Qudsi Mashhadi (-1646), the poet laureate of the Mughal Empire under Shah Jahan, is also recited.
Continuing with naats, the opening and another section are by Maulana Jami (1414-1492), a Sufi theologian and poet from modern-day Afghanistan. There are also a few lines in Arabic from a poem written by Zain al-Abideen (659-713), a descendant of the Prophet Muhammad and the fourth Shia imam. Like Purnam’s poem, these two excerpts involve a hapless person asking the morning breeze (“Saba”) to carry his message seeking forgiveness to Muhammad’s tomb in Madinah.
The Sabri Brothers also recite a few excerpts from “Zihaal-e-Miskeen”, a celebrated poem by Ameer Khusro (1253-1325), who was a Sufi disciple of Nizamuddin Auliya and the father of qawwali. Interestingly, “Zihaal-e-Miskeen” alternates languages, with one line in Persian followed by one line in Braj Bhasha (a dialect of Hindi-Urdu). Furthermore, another part of this qawwali is possibly from a Purbi poem by Bhai Mardana (1459–1534), a companion of Guru Nanak. Both of these excerpts follow the Sufi theme of a person lamenting their separation from their beloved, who in the context of this qawwali is Muhammad.
Since this qawwali is so complex, I have done my best to indicate the language and author of each section wherever I could. I’d like to thank Ammar Kalimullah for helping with some of the more difficult parts of the translation. Any corrections or improvements would be appreciated.
A few notes that might help in understanding this qawwali:
* Taajdaar-e-Haram, Mustafa, Mujtaba, Sayyid, Tayyib, Saaqi-e-Kausar, Aaqa, and Arab ke Kunwar are all different names and titles used to address Muhammad.
* In Sufi poetry, concepts related to wine are often used metaphorically. In “Tajdar-e-Haram”, the wine drinkers being called to Madinah are those who are intoxicated by a divine love for the prophet Muhammad and for God. The prophet acts as a wine-pourer, i.e. as the guide facilitating a close relationship with the divine. Specifically, he is mentioned as the wine-pourer of Kausar (or Kawthar). Kausar is a body of water (sometimes called a “lake-fount”) in heaven that was promised to Muhammad in a Qur’anic revelation. In this poem, when he fills the cups of his followers with drink, he is replenishing their spirituality.
* The daaman that is filled refers to a concept similar to that of the jholi in “Bhar Do Jholi”. Literally, a daaman would be the hem of a long South Asian garment. Folding up and holding one’s daaman to form a sort of pouch is a way of begging for money. Since Muhammad is believed to have been generous to the poor, this qawwali mentions how he fills up the daaman of all those who come to his door. At the same time, the other meaning is that everyone is metaphorically a beggar asking for and receiving the prophet’s alms, i.e. his forgiveness.
Persian (Jami)
صبا تحیتِ شوقم بہ آن جناب رسان
saba tahiyat-e-shauqam ba aan janaab rasaan
O morning breeze! Carry my passionate greetings to His Holiness [Muhammad]!
حدیثِ ذرۂ مسکین بہ آفتاب
hadees-e-zarra-e-miskeen ba aaftaab rasaan
Carry the word of a wretched atom to the glorious sun!
ترا مقام کہ آرام گاہِ اقدسِ اوست
tura maqaam ke aaraam-gaah-e-aqdas-e-oost
Since your destination is his holiest of all resting places,
زمین ببوس و سلامِ منِ خراب رسان
zameen bi-bos o salaam-e-man-e-kharaab rasaan
Kiss the ground and convey the greetings of this sinner there!
Urdu (Purnam)
قسمت میں مری چین سے جینا لکھ دے
qismat mein meri chain se jeena likh de
Ordain for me a fate of living in peace!
ڈوبے نہ کبھی میرا سفینہ لکھ دے
ḍoobe na kabhi mera safeena likh de
May my ship never sink – write it!
جنت بھی گوارہ ہے مگر میرے لیے
jannat bhi gawaara hai magar mere liye
Paradise, too, is desirable, but for me,
اے کاتبِ تقدیر مدینہ لکھ دے
ae kaatib-e-taqdeer madeena likh de
O Writer of Destiny [God], inscribe Madinah!
تاجدارِ حرم ہو نگاہِ کرم
taajdaar-e-haram ho nigaah-e-karam
O King of the Holy Sanctuary [Muhammad], spare a glance of mercy!
ہم غریبوں کے دن بھی سنور جائیں گے
ham ghareebon ke din bhi sanwar jaaen ge
Even we, the downtrodden, will see our days turn for the better!
Persian (Qudsi Mashhadi)
چشمِ رحمت بکشا سوئے من انداز نظر
chashm-e-rehmat bi-kusha soo-e-man andaaz nazar
Open the eye of mercy, and cast a glance towards me,
اے قریشی لقبی ہاشمی و مطلبی
ae Qureshi Laqabi Hashimi o Muttalibi
O Qurayshi, you who are titled Hashemite and Muttalibite!
Urdu (Purnam)
تاجدارِ حرم ہو نگاہِ کرم
taajdaar-e-haram ho nigaah-e-karam
O King of the Holy Sanctuary, spare a glance of mercy!
Persian
یا رسول اللہ به احوالِ خرابِ ما ببین
ya Rasoolullah ba-ahwaal-e-kharaab-e-maa bi-been
O Prophet of God, look at our devastated conditions!
رو بہ خاک افتاده ام از شرمِ عصیان بر زمین
roo ba-khaak uftaada-am az sharm-e-isiyan bar zameen
I have fallen, with my face in the ground, from the shame of sin.
مذنبِ چون من نباشد در تمامِ امتت
muznib-e-choon man nabaashad dar tamaam-e-ummatat
There is no sinner like me in your entire community –
رحم کن بر حالِ ما یَا رَحْمَةً لِّلْعَالَمِین
reham kun bar haal-e-ma ya rehmatal-lil-aalameen
Bestow mercy on my condition, O mercy for the worlds!
Urdu (Purnam)
تاجدارِ حرم ہو نگاہِ کرم
taajdaar-e-haram ho nigaah-e-karam
O King of the Holy Sanctuary, spare a glance of mercy!
Purbi (Mardana)
توری پریت میں سدھ بدھ سب بسری
tori preet mein sudh budh sab bisri
In your love, I have lost all sense of consciousness;
کب تک یہ رہے گی بےخبری
kab tak ye rahe gi be-khabri
How long will state of unknowing last?
Persian & Braj Bhasha (Khusro)
ز حالِ مسکین مکن تغافل
zihaal-e-miskeen makun taghaaful
Do not neglect the condition of this wretched one,
دورائے نیناں بنائے بتیاں
doraaye nainaan banaaye batiyaan
By averting your eyes and making up stories!
کہ تا بِ ہجران ندارم اے جان
ke taab-e-hijraan nadaaram ae jaan
For I cannot tolerate separation, my dear.
نہ لیہو کاہے لگائے چھتیاں
na leho kaahe lagaaye chhatiyaan
Why do you not embrace me?
چون شمعِ سوزان چون ذره حيران
choon sham-e-sozaan choon zarra hairaan
Like a burning candle, like a bewildered atom,
ہميشہ گريان با عشقِ آن مہ
hamesha giryaan ba ishq-e-aan meh
I always weep out of love for that moon [i.e. the beloved].
نہ نیند نیناں نہ انگ چیناں
na neend nainaan na ang chainaan
Neither sleep for my eyes nor rest for my body,
نہ آپ آویں نہ بھیجیں پتیاں
na aap aaven na bhejen patiyaan
And you neither come to me nor send letters!
Purbi (Mardana)
توری پریت میں سدھ بدھ سب بسری
tori preet mein sudh budh sab bisri
In your love, I have lost all sense of consciousness;
کب تک یہ رہے گی بےخبری
kab tak ye rahe gi be-khabri
How long will state of unknowing last?
Urdu
جو جانے والے مدینے کے ہیں سنیں وہ ذرا
jo jaane waale madeene ke hain sunein woh zara
Listen, all those who are on their way to Madinah!
شہِ مدینہ سے اتنا ضرور کہہ دینا
shah-e-madeena se itna zaroor keh dena
Make sure to tell the King of Madinah
کہ ایک زخمی ءِ تیرِ نگاہ نظر جو پڑا
ke ek zakhmi-e-teer-e-nigeh nazar jo para
That when one wounded by the arrow of your glance saw you,
تڑپ تڑپ کے وہ کہتا تھا یا رسول اللہ
tarap tarap ke woh kehta tha ya rasool Allah
He would restlessly would call out, “O Messenger of God!”
Purbi (Mardana)
توری پریت میں سدھ بدھ سب بسری
tori preet mein sudh budh sab bisri
In your love, I have lost all sense of consciousness;
کب تک یہ رہے گی بےخبری
kab tak ye rahe gi be-khabri
How long will state of unknowing last?
گاہے بفگن دزدیدہ نظر
gaahe bifigan duzdeeda nazar
Cast a stolen glance towards me sometime!
کبھی سن بھی تو لو ہمری بتیاں
kabhi sun bhi to lo hamri batiyaan
Listen to what I too have to say sometime!
Urdu (Purnam)
تاجدارِ حرم ہو نگاہِ کرم
taajdaar-e-haram ho nigaah-e-karam
O King of the Holy Sanctuary, spare a glance of mercy!
Urdu
کہنا صبا حضور سے کہتا ہے ایک غلام
kehna saba huzoor se kehta hai ek ghulaam
O morning breeze, tell the Prophet that a servant of his pleads,
بس ایک نظر ہو ایک نطر کا سوال ہے
bas ek nazar ho ek nazar ka sawaal hai
“Spare a glance, tis a matter of just one glance!”
Arabic
یَا مُصْطَفیٰ یَا مُجْتَبیٰ إِرْحَمْ لَنَا إِرْحَمْ لَنَا
ya Mustafa ya Mujtaba irham lana irham lana
O Mustafa, O Mujtaba, have mercy on us, have mercy on us!
یَا مُصْطَفیٰ یَا سَیِّد
ya Mustafa ya sayyid
O Mustafa, O master,
مُطَهَّر مُنَوَّر في الْبَیْتِ وَالْحَرَم
mutahhar munawwar fil baiti wal haram
Purified and enlightened in the House and Sanctuary [of God, i.e. the Kaaba]!
یَا طَیِّب، اللہ
ya tayyib – Allah
O pure one – Allah!
یَا مُصْطَفیٰ یَا سَیِّد
ya Mustafa ya sayyid
O Mustafa, O master,
یَا مُصْطَفیٰ، صَلِّ عَلٰی
ya Mustafa – salli ala
O Mustafa – upon [him] be blessings!
یَا رَسُولُ اللہ یَا حَبِیبُ اللہ
ya Rasoolullah ya Habibullah
O Prophet of God, O Beloved of God!
Urdu (Warsi)
پھر گدڑیوں کو لال دے، جان پتھرون میں ڈال دے
phir gudriyon ko laal de, jaan patharon mein daal de
Give rubies to the rags once again, and give life to stones.
حاوی ہو مستقبل پہ ہم، ماضی سا ہم کو حال دے
haavi ho mustaqbil pe ham, maazi sa ham ko haal de
You comprehend our future, give us a condition like the past!
دعوٰی ہے تیری چاہ کا
daava hai teri chaah ka
This is a call for your favor!
اِس اُمتِ گمراہ کا تیرے سوا کوئی نہیں
is ummat-e-gumraah ka tere siwa koi naheen
For your this astray community of yours, there is no one but you,
یَا رَحْمَةً لِّلْعَالَمِین
ya rehmatal-lil-aalameen
O mercy for the worlds!
Arabic
یَا مُصْطَفیٰ، صَلِّ عَلٰی
ya Mustafa – salli ala
O Mustafa – upon [him] be blessings!
Arabic & Persian (Jami)
یَا مُصْطَفیٰ یَا مُجْتَبیٰ إِرْحَمْ لَنَا إِرْحَمْ لَنَا
ya Mustafa ya Mujtaba irham lana irham lana
O Mustafa, O Mujtaba, have mercy on us, have mercy on us!
دستِ ہمہ بیچارہ را دامان توئی دامان توئی
dast-e-hama bechaara raa daamaan tu-yii daamaan tu-yii
For the hands of all helpless ones, you are the hem [to grasp]!
من عاصیم من عاجزم من بےکسم
man aasiyam man aajizam man be-kasam
I am a sinner, feeble and alone.
حالِ مرا یا شافعِ روزِ جزا پرسان توئی پرسان توئی
haal-e-maraa ya shaafi-e-rooz-e-jaza pursaan tu-yii pursaan tu-yii
O intercessor on the Last Day, only you ask about my condition!
Persian
اے مشک بید عنبر فشان
ae mushk-bed ambar fishaan
O musk-willow, spraying fragrance!
پیکِ نسیمِ صبحدم
paik-e-naseem-e-subahdam
O courier of the sweet morning breeze!
اے چارہ گر عیسٰی نفس
ae chaara-gar Eesaa nafas
O healer with the breath of Jesus!
اے مونسِ بیمارِ غم
ae moonis-e-beemaar-e-gham
O consoler of the grief-stricken!
اے قاسدِ فرخندہ پا
ae qaasid-e-farkhunda pa
O messenger with auspicious feet!
Urdu
تجھ کو اُسی گل کی قسم
tujh ko usi gul ki qasam
I swear to you by that same fragrance!
Arabic (Zain al-Abideen)
إنْ نَلٗتِ يَا رِيح الٗصَّبَا
in nalti ya reeh as-saba
O morning breeze, if you go
يَوْمًا إِلٰى أَرْضِ الْحَرَم
yauman ila ard il-haram
To the sacred land someday,
بَلِّغْ سَلَامِي رَوْضَةً
balligh salaami rauzatan
Carry my greetings to the grave
فِيهَا الْنَّبِيُّ الْمُحْتَرَم
feehan-nabiy-yul-muhtaram
In which rests the revered Prophet.
Urdu (Purnam)
تاجدارِ حرم ہو نگاہِ کرم
taajdaar-e-haram ho nigaah-e-karam
O King of the Holy Sanctuary, spare a glance of mercy!
ہم غریبوں کے دن بھی سنور جائیں گے
ham ghareebon ke din bhi sanwar jaaen ge
Even we, the downtrodden, will see our days turn for the better!
حامیِ بےکساں کیا کہے گا جہاں
haami-e-be-kasaan kya kahe ga jahaan
O Protector of the Helpless, what will the world say
آپ کے در سے خالی اگر جائیں گے
aap ke dar se khaali agar jaaen ge
If we leave empty-handed from your door?
کوئی اپنا نہیں غم کے مارے ہیں ہم
koi apna naheen gham ke maare hain ham
We have nobody to call our own and are afflicted with grief –
آپ کے در پہ فریاد لائے ہیں ہم
aap ke dar pe fariyaad laaye hain ham
To your door we have come with our plea!
ہو نگاہِ کرم ورنہ چوکھٹ پہ ہم
ho nigaah-e-karam warna chaukhat pe ham
Spare us a merciful glance, else at your doorstop,
آپ کا نام لے لے کے مر جائیں گے
aap ka naam le le ke mar jaaen ge
We will perish crying your name!
Urdu
مے کشوں آؤ آؤ مدینے چلیں
mai-kashon aao aao madeene chalen
Come, wine drinkers, let’s go to Madinah!
آؤ مدینے چلیں
aao madeene chalen
Come, let’s go to Madinah!
اِسی مہینے چلیں
isi maheene chalen
Let’s go this very month!
آؤ مدینے چلیں
aao madeene chalen
Come, let’s go to Madinah!
جب سال کے قریب مہینے پہنچ گئے
jab saal ke qareeb maheene pahunch gaye
When the number of months spent [in travel] reached nearly a year,
جدے میں عاشقوں کے سفینے پہنچ گئے
jadde mein aashiqon ke safeene pahunch gaye
In Jeddah the ships of those lovers [of Muhammad] arrived.
جن کو طلب کیا ہے
jin ko talab kiya hai
Those whom he summons…
جسے چاہا در پہ بلا لیا
jise chaaha dar pe bula liya
Whomever he wills he calls to his door.
جسے چاہا اپنا بنا لیا
jise chaaha apna bana liya
Whomever he wills he makes his own.
یہ بڑے کرم کے ہیں فیصلے
ye bare karam ke hain faisle
These are decisions of great mercy,
یہ بڑے نصیب کی بات ہے
ye bare naseeb ki baat hai
And this is a matter of great fortune!
جن کو طلب کیا ہے مدینے پہنچ گئے
jin ko talab kiya hai Madeene pahunch gaye
Those whom he summoned reached Madinah.
پیاسے تھے سال کے پینے پہنچ گئے
pyaase the saal ke peene pahunch gaye
Thirsty for a year, they arrived to take a drink!
پڑھتے ہوئے درود مدینے پہنچ گئے
parhte hue durood Madeene pahunch gaye
Whilst reciting prayers for the Prophet, they reached Madinah!
تجلیوں کی عجب ہے فضا مدینے میں
tajalliyon ki ajab hai fiza madeene mein
The wonder of divine manifestations is in the air of Madinah!
نگاہِ شوق کی ہے انتہا مدینے میں
nigaah-e-shauq ki hai intiha madeene mein
The zealous and ever-seeking gaze finds fulfilment in Madinah!
غمِ حیات نہ خوفِ قضا مدینے میں
gham-e-hayaat na khauf-e-qaza madeene mein
Neither sorrows of life nor fear of death exist in Madinah!
نمازِ عشق کریں گے ادا مدینے میں
namaaz-e-ishq karen ge ada madeene men
We will offer our prayer of love in Madinah!
اِدھر اُدھر نہ بھٹکتے پھرو خدا کے لیے
idhar udhar na bhatakte phiro Khuda ke liye
Don’t wander to and fro, for God’s sake,
براہِ راست ہے راہِ خدا مدینے میں
ba-raah-e-raast hai raah-e-Khuda madeene mein
As the path to God is clear and direct in Madinah!
مے کشوں آؤ آؤ مدینے چلیں
mai-kashon aao aao madeene chalen
Come, wine drinkers, let’s go to Madinah!
دستِ ساقی ءِ کوثر سے پینے چلیں
dast-e-saaqi-e-Kausar se peene chalen
Let’s go drink from the hand of the Wine-Pourer of Kausar!
Urdu (Purnam)
یاد رکھو اگر اُٹھ گئی ایک نظر
yaad rakho agar uth gayi ek nazar
Keep in mind that if he looks up just once
جتنے خالی ہیں سب جام بھر جائیں گے
jitne khaali hain sab jaam bhar jaaen ge
All the empty wine cups will suddenly be filled!
خوفِ طوفان ہے بجلیوں کا ہے ڈر
khauf-e-toofaan hai bijliyon ka hai dar
We have a storm to fear and lightning to dread
سخت مشکل ہے آقا کدھر جائیں ہم
sakht mushkil hai aaqa kidhar jaaen ham
Our misery is severe, Master, where should we turn?
آپ ہی گر نہ لیں گے ہماری خبر
aap hi gar na lein ge hamaari khabar
If even you will not take notice of our condition,
ہم مصیبت کے مارے کدھر جائیں گے
ham museebat ke maare kidhar jaaen ge
Where will we, suffering from calamities, go?
آپ کے در سے کوئی نہ خالی گیا
aap ke dar se koi na khaali gaya
No one has ever left your door empty-handed;
اپنے دامن کو بھر کے سوالی گیا
apne daaman ko bhar ke sawaali gaya
Each seeker returned with his daaman filled.
ہو حبیبِ حزین پر بھی آقا نظر
ho habeeb-e-hazeen par bhi aaqa nazar
Also look upon this sorrowful lover, master,
ورنہ اوراقِ ہستی بکھر جائیں گے
warna auraaq-e-hasti bikhar jaaen ge
Else the pages of my existence will scatter away!
Urdu
بندہ پرور نگاہِ کرم کیجیے
banda-parwar nigaah-e-karam kijiye
O sustainer of mankind, look upon me mercifully!
اب نہ کچھ امتحانِ وفا لیجیے
ab na kuch imtihaan-e-wafa lijiye
Do not take any more tests of my loyalty!
مجھ کو اقرار ہے میں گناہگار ہوں
mujh ko iqraar hai main gunaahgaar hoon
I have given my confession that I am a sinner.
مجھ کو کملی میں اپنی چھپا لیجیے
mujh ko kamli mein apni chhupa lijiye
Hide me within your cloak!
Urdu (Purnam)
آپ کے در سے کوئی نہ خالی گیا
aap ke dar se koi na khaali gaya
No one has ever left your door empty-handed;
اپنے دامن کو بھر کے سوالی گیا
apne daaman ko bhar ke sawaali gaya
Each seeker returned with his daaman filled.
ہو حبیبِ حزین پر بھی آقا نظر
ho habeeb-e-hazeen par bhi aaqa nazar
Also look upon this sorrowful lover, master,
ورنہ اوراقِ ہستی بکھر جائیں گے
warna auraaq-e-hasti bikhar jaaen ge
Or else the pages of my existence will scatter away!
تاجدارِ حرم
taajdaar-e-haram
O King of the Holy Sanctuary!
While not in this version, I have heard the following lines in other performances of this qawwali, so I have translated them as well:
Purbi (Mardana)
کا تم سے کہوں اے عرب کے کنور
ka tum se kahoon ae arab ke kunwar
What is there to tell you, O Prince of Arabia,
تم جانت ہو من کی بتیاں
tum jaanat ho man ki batiyaan
You know what is in my heart!
دارِ فرقتِ تو اے اُمی لقب
daar-e-furqat-e-tu ae ummi-laqab
O you known as the Unlettered One, while in separation from you,
کاٹے نہ کٹت ہیں اب رتیاں
kaaṭe na katat hain ab ratiyaan
My nights do not pass now!
Urdu
دکھ رنج و الم سب چھٹتے ہیں
dukh ranj o alam sab chhat’te hain
Sadness, agony, and suffering are all escaped
حسنین کے سدقے بٹتے ہیں
Hasnain ke sadqe bat’te hain
As the charity of Hassan and Hussein is distributed!
This Urdu ghazal was penned by the Pakistani poet Fana Buland Shehri and performed as a qawwali by the great Ustad Nusrat Fateh Ali Khan (1948-1997). I could not find much online about the poet’s life, but quite a few famous qawwalis are attributed to him. Although “Mere Rashk-e-Qamar” is not as famous as other qawwalis performed by Nusrat Fateh Ali Khan, in my opinion it is one of the most poetic and powerful ones.
میرے رشکِ قمر تو نے پہلی نظر، جب نظر سے ملائی مزہ آ گیا
mere rashk-e-qamar tu ne pehli nazar, jab nazar se milaaii maza aa gaya
O my envy of the moon, when your eyes first met mine, I was overjoyed
برق سی گر گئی، کام ہی کر گئی، آگ ایسی لگائی مزہ آ گیا
barq si gir gaii kaam hi kar gaii, aag aisi lagaaii maza aa gaya
Lightning struck and destroyed me; you ignited such a fire that it made me ecstatic
جام میں گھول کر حسن کی مستیاں، چاندنی مسکرائی مزہ آ گیا
jaam mein ghol kar husn ki mastiyaan, chaandni muskuraaii maza aa gaya
Mixing beauty’s mischief into my drink, the moonlight smiled – how enjoyable!
چاند کے سائے میں اے میرے ساقیا، تو نے ایسی پلائی مزہ آ گیا
chaand ke saaey mein ae mere saaqiya, tu ne aisi pilaaii maza aa gaya
In the moon’s shadow, O my cup-bearer, you made me drink such a wine that I was ecstatic
نشہ شیشے میں انگڑائی لینے لگا، بزمِ رنداں میں ساغر کھنکنے لگے
nasha sheeshe mein angraaii lene laga, bazm-e-rindaan mein saaghar khanakne lage
Intoxication spread through the bottle, and goblets clinked in the party of debauchees
میکدے پہ برسنے لگیں مستیاں، جب گھٹا گھر کے چھائی مزہ آ گیا
maikade pe barasne lagiin mastiyaan, jab ghata ghir ke chaaii maza aa gaya
Mischief descended upon the tavern, and when storm clouds poured down, I was overjoyed
بےحجبانہ وہ سامنے آ گئے، اور جوانی جوانی سے ٹکرا گئی
behijaabana woh saamne aa gae, aur jawaani jawaani se takra gaii
Unveiled, she came before me, and her youthful splendor collided with mine
آنکھ اُن کی لڑی یوں میری آنکھ سے، دیکھ کر یہ لڑائی مزہ آ گیا
aankh un ki lari yuun meri aankh se, dekh kar yeh laraaii maza aa gaya
Her eyes clashed with mine in such a way that seeing this fight made me joyful
آنکھ میں تھی حیاہ ہر ملاقات پر، سرخ عارض ہوئے وصل کی بات پر
aankh mein thi hayaa har mulaaqaat par, surkh aariz hue wasl ki baat par
Modesty was in her eyes every time we met; her cheeks blushed red when I spoke of our union
اُس نے شرما کے میرے سوالات پہ، ایسے گردن جھکائی مزہ آ گیا
us ne sharma ke mere sawaalaat pe, aise gardan jhukaaii maza aa gaya
Embarrassed by my questions, she lowered her head in such a way that I was delighted
شیخ صاحب کا ایمان مٹ ہی گیا، دیکھ کر حسنِ ساقی پگھل ہی گیا
shaikh saahib ka eemaan mit hi gaya, dekh kar husn-e-saaqi pighal hi gaya
The shaikh’s faith was obliterated; upon seeing the cup-bearer’s beauty, it melted away
آج سے پہلے یہ کتنے مغرور تھے، لٹ گئی پارسائی مزہ آ گیا
aaj se pehle ye kitne maghroor the, lut gaii paarsaaii maza aa gaya
Before today, how proud he was; now his piety has been lost – how enjoyable!
اے فناؔ شکر ہے آج بعدِ فنا، اُس نے رکھلی میرے پیار کی آبرو
ae Fana shukar hai aaj baad-e-fana, us ne rakhli mere pyaar ki aabroo
O Fana, today I am grateful that after my demise, she has maintained the honor of my love
اپنے ہاتھوں سے اُس نے میری قبر پر، چادرِ گل چڑھائی مزہ آ گیا
apne haathon se us ne meri qabar par, chaadar-e-gul charhaaii maza aa gaya
With her own hands, she spread a sheet of flowers on my grave – how delightful!
* Note on the takhallus: The takhallus (Urdu: تخلص) is the pen name adopted by a poet in Urdu, and is usually incorporated into his/her poems near the end. It often has a double meaning as both a name and as a word. Fana Buland Shehri included his takhallus in this qawwali when he says, “ae Fana shukar hai aaj baad-e-fana, us ne rakhli mere pyaar ki aabroo”. Fana is the author’s name, but it also means “annihilation”. This adds another meaning to that line: “O annihilation (death), today I am grateful that after my demise, she has maintained the honor of my love”.
Sufi devotional music has long and rich history in South Asia. One of its major forms is qawwali (Urdu: قوالی), which originated at the shrines of Sufi saints centuries ago. The content of qawwalis is either religious or romantic poetry (or both, as per the Sufi influence). Those who sing qawwali are known as qawwals. A party of qawwals includes a lead singer (or two), accompanied by side singers, clappers, a harmonium or two, and tabla and dholak drums. Qawwali songs are traditionally very long, as they involve a lot of repetition of lyrics. They often begin slowly and increase in energy gradually. The singing of notes instead of words, sargam (Urdu: سرگم), is usually intertwined with the lyrics of the composition. Overall, qawwali is a mystical and hypnotic kind of music that can be spiritually awakening. It appeals to many people, and one need not be religious to appreciate it.
“Bhar Do Jholi” is a popular qawwali most famously performed by the late Sabri Brothers, Ghulam Farid Sabri (1930-1994) and Maqbool Ahmed Sabri (1945-2011), from Pakistan. It was written by Purnam Allahabadi and is mainly a praise of the Prophet Muhammad (naat), though also of his companion Bilal and his grandson Hussein. Purnam Allahabadi (-2009) was the pen name of Mohammed Musa, a prolific Urdu poet, although the performers of his work have gained more fame than he has for it. “Bhar Do Jholi” was published in his book Phool Dekhe Na Gaye (I Could Not Look at Flowers), which you canread online here on Rekhta (it starts on page 21).
The poet/singer of this qawwali takes on the role of a beggar, coming to ask the Prophet Muhammad for food and/or money. Yet, this is only the surface meaning; he is not only begging for physical sustenance but for spiritual sustenance and redemption as well. I have translated the title phrase “bhar do jholi” as “fill my bag”, but that does not convey the meaning totally accurately. Here, “bag” refers to the lower portion of one’s upper garment that beggars fold upward from the bottom corners and hold to fill it with change. So, the narrator of the song is extending his garment out in front of Muhammad to metaphorically have it filled. He also sings in praise of the grandson of Muhammad, Hussein, who was martyred by the tyrant Yazid at the Battle of Karbala. Near the end, he praises Bilal, an Ethiopian slave who was freed by Muhammad’s friend, Abu Bakr, and was chosen by Muhammad to recite the adhan, which is the Islamic call to prayer.
شہِ مدینہ سنو اِلتجا خدا کے لئے
Shah-e-Madeena suno iltija Khuda ke liye
O King of Madinah, hear my plea, for God’s sake
کرم ہو مجھ پہ حبیبِ خدا، خدا کے لئے
karam ho mujh pe Habeeb-e-Khuda Khuda ke liye
Bestow your favor upon me, O Beloved of God, for God’s sake
حضور غنچۂ اُمّید اَب تو کھِل جائے
Huzoor ghuncha-e-ummeed ab to khil jaye
O Prophet, let the bud of my hopes blossom now
تمہارے در کا گدا ہوں تو بھیک مِل جائے
tumhaare dar ka gada hoon to bheek mil jaye
I am a pauper at your door, here to seek alms
بھر دو جھولی میری یا محمد
bhar do jholi meri ya Muhammad
Fill my bag, O Muhammad
لوٹ کر میں نہ جاؤں گا خالی
laut kar main na jaaoon ga khaali
I will not go back empty-handed
تمہارے آستانے سے زمانہ کیا نہیں پاتا
tumhaare aastane se zamaana kya naheen paata
What does the world not receive at your doorstep?
کوئی بھی در سے خالی مانگنے والا نہیں جاتا
koi bhi dar se khaali maangne waala naheen jaata
No one who comes asking at your door leaves empty-handed
بھر دو جھولی میری سرکارِ مدینہ
bhar do jholi meri Sarkaar-e-Madeena
Fill my bag, Lord of Madinah
بھر دو جھولی میری تاجدارِ مدینہ
bhar do jholi meri Taajdaar-e-Madeena
Fill my bag, Sovereign of Madinah
تم زمانے کے مختار ہو یا نبی
tum zamaane ke mukhtaar ho ya Nabi
You are the chosen one of the age, O Prophet
بیکسوں کے مددگار ہو یا نبی
bekason ke madadgaar ho ya Nabi
And the helper of the friendless, O Prophet
سب کی سنتے ہو اَپنے ہوں یا غیر ہوں
sab ki sunte ho apne hon ya ghair hon
You listen to everyone, whether they are your own or strangers
تم غریبوں کے غمخوار ہو یا نبی
tum ghareebon ke ghamkhwaar ho ya Nabi
You are the comforter of the poor, O Prophet
بھر دو جھولی میری سرکارِ مدینہ
bhar do jholi meri Sarkaar-e-Madeena
Fill my bag, Lord of Madinah
بھر دو جھولی میری تاجدارِ مدینہ
bhar do jholi meri Taajdaar-e-Madeena
Fill my bag, Sovereign of Madinah
ہم ہیں رنج و مصیبت کے مارے ہوئے
ham hain ranj o museebat ke maare huey
I am struck with grief and hardship
سخت مشکل میں ہیں غم سے ہارے ہوئے
sakht muskhil mein hain gham se haare huey
I am in great difficulty, defeated by sorrow
یا نبی کچھ خدا را ہمیں بھیک دو
ya Nabi kuchh Khuda-ra hamein bheek do
O Prophet, give me some alms for the sake of God
در پہ آئے ہیں جھولی پسارے ہوئے
dar pe aaey hain jholi pasaare huey
I have come to your door with my bag stretched open
بھر دو جھولی میری سرکارِ مدینہ
bhar do jholi meri Sarkaar-e-Madeena
Fill my bag, Lord of Madinah
بھر دو جھولی میری تاجدارِ مدینہ
bhar do jholi meri Taajdaar-e-Madeena
Fill my bag, Sovereign of Madinah
ہے مخالف زمانہ کدھر جائیں ہم
hai mukhaalif zamaana kidhar jaaein ham
The times are against me, where should I go?
حالتِ بیکسی کس کو دکھلائیں ہم
haalat-e-bekasi kis ko dikhlaaein ham
To whom should I show my state of helplessness?
ہم تمہارے بھکاری ہیں یا مصطفیٰ
ham tumhaare bhikaari hain ya Mustafa
I am your beggar, O Mustafa
کس کے آگے بھلا ہاتھ پھیلائیں ہم
kis ke aage bhala haath phailaaein ham
In front of whom else shall I spread my hands?
بھر دو جھولی میری سرکارِ مدینہ
bhar do jholi meri Sarkaar-e-Madeena
Fill my bag, Lord of Madinah
بھر دو جھولی میری تاجدارِ مدینہ
bhar do jholi meri Taajdaar-e-Madeena
Fill my bag, Sovereign of Madinah
بھر دو جھولی میری یا محمد
bhar do jholi meri ya Muhammad
Fill my bag, O Muhammad
لوٹ کر میں نہ جاؤں گا خالی
laut kar main na jaaoon ga khaali
I will not go back empty-handed
کچھ نواسوں کا صدقہ عطا ہو
kuchh nawaason ka sadqa ata ho
Let me gain some of your grandsons’ charity
در پہ آیا ہوں بن کر سوالی
dar pe aaya hoon ban kar sawaali
I have come to your door to ask from you
حق سے پائی وہ شانِ کریمی
haq se paai woh shaan-e-kareemi
Rightfully you have attained your beneficent glory
مرحبا دونو عالم کے والی
marhaba Dono Aalam Ke Waali
Welcome, O Master of Both Worlds
اُس کی قسمت کا چمکا ستارہ
us ki qismat ka chamka sitaara
The star of fate shines upon
جس پہ نظرِ کرم تم نے ڈالی
jis pe nazar-e-karam tum ne daali
Whomever you look at with kindness and favor
زندگی بخش دی بندگی کو
zindagi bakhsh di bandagi ko
He sacrificed his life to worship God
آبرو دینِ حق کی بچا لی
aabroo deen-e-haq ki bacha li
And saved the honor of the religion of truth
وہ محمد کا پیارا نواسہ
woh Muhammad ka pyaara nawaasa
That beloved grandson of Muhammad,
جس نے سجدے میں گردن کٹا لی
jis ne sajde mein gardan kata li
Whose neck was cut in prostration
جو اِبنِ مرتضیٰ نے کیا کام خوب ہے
jo Ibn-e-Murtaza ne kiya kaam khoob hai
The deed done by the son of Murtaza is excellent
قربانی ءِ حسین کا انجام خوب ہے
qurbaani-e-Husain ka anjaam khoob hai
The consequence of the sacrifice of Hussein is virtuous
قربان ہو کے فاطمہ زہرا کے چین نے
qurbaan ho ke Faatima Zehra ke chain ne
By sacrificing himself, Fatima Zahra’s source of comfort,
دینِ خدا کی شان بڑھائی حسین نے
deen-e-Khuda ki shaan barhaai Husain ne
Hussein, increased the glory of the religion of God
بخشی ہے جس نے مذہبِ اِسلام کو حیات
bakhshi hai jis ne mazhab-e-Islam ko hayaat
He is the one who gave life to the religion of Islam
کتنی عظیم حضرتِ شبیر کی ہے ذات
kitni azeem Hazrat-e-Shabbeer ki hai zaat
How great is the rank of Hazrat Shabbir!
میدانِ کربلا میں شہِ خوش خصال نے
maidaan-e-Karbala mein Shah-e-Khush Khisaal ne
In the field of Karbala, the King of Good Character,
سجدے میں سر کٹا کے محمد کے لال نے
sajde mein sar kata ke Muhammad ke laal ne
That beloved of Muhammad, was decapitated in prostration
زندگی بخش دی بندگی کو
zindagi bakhsh di bandagi ko
He sacrificed his life to worship God
آبرو دینِ حق کی بچا لی
aabroo deen-e-haq ki bacha li
And saved the honor of the religion of truth
وہ محمد کا پیارا نواسہ
woh Muhammad ka pyaara nawaasa
That beloved grandson of Muhammad,
جس نے سجدے میں گردن کٹا لی
jis ne sajde mein gardan kata li
Whose neck was cut in prostration
حشر میں اُن کو دیکھیں گے جس دم
hashar mein un ko dekhein ge jis dam
The moment they see him (Muhammad) on Armageddon,
اُمتی یہ کہیں گے خوشی سے
ummati yeh kahein ge khushi se
His followers will say with happiness,
آ رہے ہیں وہ دیکھو محمد
aa rahe hain woh dekho Muhammad
“Look, Muhammad is coming,
جن کے کاندھے پہ کملی ہے کالی
jin ke kaandhe pe kamli hai kaali
on whose shoulders is a black shawl.”
محشر کے روز پیشِ خدا ہوں گے جس گھڑی
mehshar ke roz pesh-e-Khuda hon ge jis ghari
On the Day of Judgment when they will be before God
ہو گی گناہگاروں میں کس درجہ بیکلی
ho gi gunaahgaaron mein kis darja bekali
In such a degree of uneasiness sinners will be
آتے ہوئے نبی کو جو دیکھیں کے اُمتی
aate huey Nabi ko jo dekhein ge ummati
When his followers will see the Prophet approaching,
ایک دوسرے سے سب یہ کہیں گے خوشی خوشی
ek dusre se sab yeh kahein ge khushi khushi
They will all say to each other happily,
آ رہے ہیں وہ دیکھو محمد
aa rahe hain woh dekho Muhammad
“Look, Muhammad is coming,
جن کے کاندھے پہ کملی ہے کالی
jin ke kaandhe pe kamli hai kaali
on whose shoulders is a black shawl.”
سرِ محشر گناہگاروں سے پرسش جس گھڑی ہو گی
sar-e-mehshar gunaahgaaaron se pursish jis ghari ho gi
On the Day of Judgment, when sinners will be questioned,
یقیناً ہر بشر کو اَپنی بخشش کی پڑی ہو گی
yaqeenan har bashar ko apni bakhshish ki pari ho gi
Truly, each person will be preoccupied with his own pardon
سبھی کو آس اُس دن کملی والے سے لگی ہو گی
sabhi ko aas us din kamli waale se lagi ho gi
That day everyone will be placing their hope in the one with the shawl
کہ ایسے میں محمد کی سواری آ رہی ہو گی
ke aise mein Muhammad ki sawaari aa rahi ho gi
And in this situation, Muhammad’s procession will be coming
پکارے گا زمانہ اُس گھڑی دکھ درد کے ماروں
pukaare ga zamaana us ghari dukh dard ke maaron
At that hour, the age will call out, “O you who are afflicted and suffering!
نہ گھبراؤ گناہگاروں نہ گھبراؤ گناہگاروں
na ghabraao gunaahgaaron na ghabraao gunaahgaaron
Fear not, sinners! Fear not, sinners!
آ رہے ہیں وہ دیکھو محمد
aa rahe hain woh dekho Muhammad
Look, Muhammad is coming,
جن کے کاندھے پہ کملی ہے کالی
jin ke kaandhe pe kamli hai kaali
on whose shoulders is a black shawl.”
عاشقِ مصطفیٰ کی اَذان میں اللہ اللہ کتنا اَثر تھا
aashiq-e-Mustafa ki azaan mein Allah Allah kitna asar tha
By God, such influential power was in the adhan of Mustafa’s adorer
سچا یہ واقعہ ہے اَذانِ بلال کا
sacha yeh waaqia hai azaan-e-Bilaal ka
This incident about Bilal’s adhan is true
ایک دن رسولِ پاک سے لوگوں نے یوں کہا
ek din Rasool-e-Paak se logon ne yoon kaha
One day people said to the Holy Prophet,
یا مصطفیٰ اَذان غلط دیتے ہیں بلال
ya Mustafa azaan ghalat dete hain Bilaal
“O Mustafa, Bilal recites the adhan incorrectly.
کہیے حضور آپ کا اِس میں ہے کیا خیال
kahiye Huzoor aap ka is mein hai kya khayaal
Tell us, Prophet, what is your thought on this matter?”
فرمایا مصطفیٰ نے یہ سچ ہے تو دیکھیے
farmaaya Mustafa ne yeh sach hai to dekhiye
Mustafa declared, “Let us see if this is true.
وقتِ سحر کی آج اَذان اور کوئی دے
waqt-e-seher ki aaj azaan aur koi de
Let someone else give the adhan at dawn today.”
حضرت بلال نے جو اَذانِ سحر نہ دی
Hazrat Bilaal ne jo azaan-e-seher na di
Since Hazrat Bilal did not give the dawn adhan
قدرت خدا کی دیکھو نہ مطلق سحر ہوئی
qudrat Khuda ki dekho na mutlaq seher hui
Behold God’s power: dawn did not break at all
آئے نبی کے پاس کچھ اصحابِ با صفا
aaye Nabi ke paas kuchh ashaab-e-ba-safa
Some companions came to the Prophet with purity
کی عرض مصطفیٰ سے کہ یا شاہِ اَنبیا
ki arz Mustafa se ke ya Shaah-e-Ambiya
And asked Mustafa, “O King of the Prophets!
ہے کیا سبب سحر نہ ہوئی آج مصطفیٰ
hai kya sabab seher na hui aaj Mustafa
What is the reason for the sun not rising today, O Mustafa?”
جبریل لائے اَیسے میں پیغامِ کبریا
Jibreel laaey aise mein paighaam-e-Kibriya
In this situation Gabriel brought the message of the Magnificent Lord
پہلے تو مصطفیٰ کو اَدب سے کیا سلام
pehle to Mustafa ko adab se kiya salaam
First he greeted Mustafa cordially
بعد اَز سلام اُن کو خدا کا دیا پیام
baad az salaam un ko Khuda ka diya payaam
After the greeting he gave him God’s message
یوں جبرائیل نے کہا خیر الاَنام سے
yoon Jibraaeel ne kaha khair-ul-anaam se
And so Gabriel said to the best of creations,
اللہ کو ہے پیار تمہارے غلام سے
Allah ko hai pyaar tumhaare ghulaam se
“God loves your slave!
فرما رہا ہے آپ سے یہ ربِ ذو الجلال
farma raha hai aap se yeh Rabb-e-Zul-Jalaal
The Majestic Lord is declaring to you:
ہو گی نہ صبح دیں گے نہ جب تک اَذان بلال
ho gi na subah dein ge na jab tak azaan Bilaal
It shall not be morning until Bilal gives the adhan!”
آشقِ مصطفیٰ کی اَذان میں اللہ اللہ کتنا اَثر تھا
Aashiq-e-Mustafa ki aazaan mein Allah Allah kitna asar tha
By God, such influential power was in the adhan of Mustafa’s adorer
عرش والے بھی سنتے تھے جس کو
arsh waale bhi sunte the jis ko
Even that which God and the angels listened to,
کیا اَذان تھی اَذانِ بلالی
kya azaan thi azaan-e-Bilaali
Which adhan was it but the adhan of Bilal?
کاش پرنمؔ دیارِ نبی میں
kaash Purnam dayaar-e-Nabi mein
If only, Purnam, to the land of the Prophet
جیتے جی ہو بلاوہ کسی دن
jeete ji ho bulaawa kisi din
I may be summoned someday in my life
حالِ غم مصطفیٰ کو سناؤں
haal-e-gham Mustafa ko sunaaoon
I will recount my sadness to Mustafa
تھام کر اُن کے رَوضے کی جالی
thaam kar un ke rauze ji jaali
While clutching the screen around his tomb
بھر دو جھولی میری یا محمد
bhar do jholi meri ya Muhammad
Fill my bag, O Muhammad
لوٹ کر میں نہ جاؤں گا خالی
laut kar main na jaaoon ga khaali
I will not go back empty-handed
* Note on names: Mustafa is another name for Muhammad, and Murtaza is another name for Ali, Muhammad’s son-in-law. The son of Murtaza mentioned, also Muhammad’s grandson, is Hussein. Shabbir is another name for Hussein. Hazrat is an Islamic honorific title used for prophets, saints, and other important religious figures.
* Note on the takhallus: The takhallus (Urdu: تخلص) is the pen name adopted by a poet in Urdu, and is usually incorporated into his/her poems near the end. It often has a double meaning as both a name and as a word. Purnam Allahabadi included his takhallus in this qawwali when he says, “kaash Purnam dayaar-e-nabi mein jeete ji ho bulaawa kisi din”. Purnam is the author’s name, but it also means “tearfully” or “weeping”. This adds another meaning to that line: “If only I may be summoned to the land of the Prophet someday in my life, weeping [from being overwhelmed]”.
Urdu is an Indo-European language from the central zone of the Indo-Aryan branch, with over one hundred million speakers worldwide. Once associated with the Mughal Empire, it is most prominent in Pakistan, northern India, and South Asian diaspora communities.
Urdu is the official language in Pakistan and some states of India (marked in dark orange; marked in yellow is Hindi).
Due to its mutual intelligibility with Hindi, Urdu and Hindi are often referred to jointly by the term Hindustani (literally: “from the land of the Indus”). Considering Hindustani as a single unit, it is the third or fourth most spoken language in the world, depending on which source you look at.
People often ask what the differences between Hindi and Urdu are, and I would say that there are essentially two. First, the writing system: Hindi employs the Devanagari script, which is a descendant of older Indian scripts, whereas Urdu uses a version of the Perso-Arabic script, which came into use for several South Asian languages after Muslims entered the subcontinent. Second, while the grammar and syntax for both is alike, higher-level vocabulary in Hindi is derived from Sanskrit while in Urdu it is often derived from Persian and Arabic. In regular conversation, though, Hindi and Urdu speakers can communicate with each other perfectly well. Due to the partition of the subcontinent in 1947, the differences between the two have been artificially magnified in Pakistan, where Urdu has national status, and India, where Hindi has national status, in quite a politicized manner.
Anyways, Urdu is known for its great canon of literature and poetry; figures such as Meer, Ghalib, and Iqbal have truly inspired millions. It makes sense that Urdu is a poetic language when one looks at the rich sources it draws from – it is built on a foundation of Sanskrit and Hindi, and ornamented with vocabulary from Persian, Arabic, and even Turkish.
Interestingly enough, the word Urdu is even synonymous with poetry in some cases. For example, take a look at the super-hit Bollywood song “Chaiyya Chaiyya” from the 1999 movie Dil Se. Skip to 1:28 and you’ll hear the line “Woh yaar hai jo khushboo ki tarah, jiski zubaan Urdu ki tarah”. This would translate to “My beloved is like a sweet aroma, whose words sound like Urdu”.
In this post I will highlight some of the interesting features of Urdu. (Of course, many of these apply to Hindi as well)
1) In Urdu, a noticeable number of words rhyme with their antonyms. Here are a few examples:
There are also many pairs of rhyming words that are connected by a similar theme, and while they aren’t necessarily exact opposites, they are distinct.
2) This is probably my favorite characteristic of the Urdu language. Many verbs are part of families (usually 3-4 verbs) that use a root verb to derive causative versions of it. Take a look at the examples below to see what I mean. The infinitive form of every Urdu verb end with the suffix “-na” (نا-), just as every English infinitive begins with “to”.
Banna (to become) بننا – Banaana (to make) بنانا – Banvaana (to have someone make, as in, to cause to be made) بنوانا
Seekhna (to learn) سیکھنا – Sikhaana (to teach) سکھانا – Sikhvaana (to cause to be taught) سکھوانا
Karna (to do) کرنا – Karaana (to have done) کرانا – Karvaana (to cause to have done) کروانا
Milna (to meet) ملنا – Milaana (to introduce/connect) ملانا – Milvaana (to cause to introduce) ملوانا
Khulna (to become open) کھلنا – Kholna (to open) کھولنا – Khulvaana (to cause to open) کھلوانا
It is a little confusing if you’re not used to it, so here is an example of how these multiple forms could be used:
.یہ دروازہ خود کھلتا ہے
Yeh darwaaza khud khulta hai (This door opens by itself).
.تم نے اس دروازے کو کھولنا ہے
Tum ne is darwaaze ko kholna hai (You need to open this door).
.اس دروازے کو کسی سے کھلوانا ہے
Is darwaaze ko kisi se khulvaana hai (Someone must be brought to make this door open).
3) Urdu also has the interesting feature of having rhyming series of certain pronouns and adverbs.
Is ka (his/hers, owner present) اس کا – Us ka (his/hers, owner absent) اس کا – Jis ka (whosever) جس کا – Kis ka (whose?) کس کا
Ab (now) اب – Tab (then) تب – Jab (whenever) جب – Kab (when?) کب
As you can see, there is a pattern, such that the first one always has to do with something removed from the present situation, the second has to do with something related to the present situation, the third is used for general statements applicable to any situation, and the fourth is an interrogative word for an uncertain situation.
4) Like many languages, Urdu has a rich vocabulary, but there is a focus on poetic and romantic words. There exist multiple words for things that have only one word in other languages like English. The reason for this is that some words have South Asian etymologies, while others have Central or Western Asian origins.
Haseen حسین – Khoobsoorat خوبصورت – Sundar سندر (beautiful)
I hope that those who are interested in the study of languages enjoyed this post. Please feel free to comment below to ask any questions you may have about Urdu.
