mataa-e-Ghair
mere kh(w)aaboN ke jharokoN ko sajaane waali
tere kh(w)aaboN meiN kahiiN meraa guzar hai k nahiiN
puuchhkar apnii nigaahoN se bataa de mujhko
merii raatoN ke muqaddar meiN sahar hai k nahiiN
chaar din kii ye rafaaqat jo rafaaqat bhii nahiiN
umr bhar ke liye aazaar huii jaatii hai
zindagii yuuN to hamesha se pareshaan-sii thii
ab to har saaNs giraaN-baar huii jaatii hai
meri ujRii huii neeNdoN ke shabistaanoN meiN
tuu kisii Kh(w)aab ke paikar kii tarah aaii hai
kabhii apnii-sii, kabhii Ghair nazar aatii hai
kabhii iKhlaas kii moorat, kabhii harjaaii hai
pyaar par bas to nahiiN hai mira, lekin phir bhii
tuu bataa de k tujhe pyaar karouN yaa na karouN
tuune Khud apne tabassum se jagaayaa hai jinheiN
un tamannaaoN kaa izhaar karouN yaa na karouN
tuu kisii aur ke daaman kii kalii hai lekin
merii raateiN tirii Khushbuu se basii rahtii haiN
tuu kahiiN bhii ho tire phool se aariz kii qasam
terii palkeiN mirii aaNkhoN pe jhukii rahtii haiN
tere haathoN kii haraarat, tere saaNsoN kii mahak
tairatii rahtii hai ehsaas kii pahnaaii meiN
DhooNDhatii rahtii hai takh’ayeel kii baaheiN tujhko
sard raatoN kii sulagtii hui tanhaaii meiN
teraa altaaf-o-karam ek haqeeqat hai magar
ye haqeeqat bhii haqeeqat meiN fasaanaa hi na ho
terii maanoos nigaahoN kaa ye mohtaat payaam
dil ke KhooN karne ka ek aur bahaanaa hi na ho
kaun jaane mire imroz kaa fardaa kyaa hai
qurbateiN baRhke pashemaan bhii ho jaatii haiN
dil ke daaman se lipaT_tii huii raNgiiN nazreiN
dekhte-dekhte, anjaan bhii ho jaatii haiN
merii darmaaNda javaanii kii tamannaaoN ke
muzmahil kh(w)aab kii ta’abeer bataa de mujhko
tere daaman meiN gulistaaN bhii haiN, veeraane bhii
meraa haasil, mirii taqdeer bataa de mujhko
Glossary:
mataa-e-Ghair = other’s property
sahar = dawn
rafaaqat = company
aazaar = illness
giraaN-baar = heavily burdened
shabistaan = bedroom, sleeping room
paikar = body
iKhlaas = sincerity, affection
tabassum = smile
izhaar = display
aariz = cheeks
Haraarat = heat
ehsaas = feelings
pahnaaii = clothings
taKhy’eel = imagination
altaaf-o-karam = favours and kindness
maanoos = friendly, intimate
mohtaat = discreet, guarded, careful
imroz = today
fardaa = tomorrow
qurbateiN = love, closeness
pashemaan = ashamed
darmaaNdaa = helpless
muzmahil = exhausted
ta’aabeer = result
brilliant!!
December 2nd, 2006 | #
bohot khoobsoorat.
May 30th, 2007 | #
speechless!!!!!!
June 15th, 2008 | #
tere haathoN kii haraarat, tere saaNsoN kii mahak
tairatii rahtii hai ehsaas kii pahnaaii meiN
pahnaaii = clothings
Dear sir may i correct it? instead of “pahnaaii” it should be “PINHAAYEE” main, ehsaas ka koi libaas nahee hota… ehsaas hamarey aur aap main pinhaan hota hai.. (chupaa hua hota hai) jaisy jumla yun bayaan kiya jaa sakta hai ke “tujh main pinhaan hai zaat meri.” agar ghalat ho tow zaroor yaad farmaiye ga mohtram, ba ummed-e-khuda.
August 1st, 2011 | #
a lot of mistakes
August 14th, 2011 | #
Dear Bhavesh,
Please do elaborate on what kind of mistakes are in this post as well. Just sayin “a lot of mistakes” is not enough. Thank you in advance for your time.
August 17th, 2011 | #
Unfortunately Anjum miyaan, you are wrong on this one. The poet wrote “pahnaai” and not “pinhayee” and what you make of that in terms of explanation is up to you.
August 17th, 2011 | #
If you have had enough of Sahir then you r bound to fall for Ghalib…thereafter only God remains as the next poet !!
And yes.. I like Anjum’s constructive criticism here..
September 5th, 2011 | #
for example…KAB KAHAAN SAB LALA O GUL MEIN NUMAYA HO GAYEEN
KHAAQ MEIN KYA SOORTEIN HONGI KE PINHAA HO GAYEEN !
RANJ SE KHOON GAR HUA INSAAN TOH MIT JATA HAI RANJ
MUSKILEIN MUJH PAR PADI ITNI KE ASAAN HO GAYEEN !!
September 5th, 2011 | #
Ok, let’s clarify some things here. Sahir Ludhianvi, who is no longer with us, wrote this nazm. Anjum said “Let me correct you”, well he can’t correct me as I did not write this nazm, Sahir did and he wrote “pahnaai”. As far as constructive criticism goes, it’s not valid, this is not constructive as changing “pahnaai” to “pinhaai” changes the whole meaning of the two lines he quoted.
Now the question is, which probably Anjum doesn’t understand, and by virtue of that, neither does Mr. Arora (as he likes Anjum’s opinion here)… what is the meaning of those two lines, that is what is Sahir trying to say by saying “ehsaas ki pahnaai meiN”. The first line: “tere haathoN ki hararat, teri saaNsoN ki mehak” — the warmth of your hands, the fragrance of your breath — “tairati rahti hai ehsaas ki pahnaai meiN” — is still swimming around within my feelings.
Basically, he has tried to personify his feelings here and is telling his beloved that the little things, her fragrance, her hands, etc… are still alive and “Bound within” his feelings, his emotions. That is he can still feel those things, even though she is no longer with him (hence mata-e-ghair, means belonging to someone else). So no, he is not trying to say that those things are still “hidden” within his feelings, they are not hidden, they are THERE, he knows that they are there and he feels them. So he uses his words carefully and says that those things that made her special to him, are still wearing the clothes of his feelings and are still swimming around him.. he can feel them disguised in his emotions.
So constructive criticism? I dont’ know about that. What I do know is Sahir said what he needed to say very well.
As far as comparing Sahir to Ghalib, there is no comparison. Both are two very different type of poets from two very different eras. Their writing style and the gist of what they wrote is very different.
I hope this clarifies what I feel Sahir was trying to say and how I feel pinhaai is not the correct word to use here compared to pahnaai.
Anjum: While Pahnaai means clothing, it can be used in may context. You dont’ always use the words in their literal sense in poetry. It can also be used as “disguise” — something disguised as something else… there’s a meaning of the whole here, and not just the parts.
September 5th, 2011 | #