gurez

November 12th, 2006

mira junoon-e-vafaa hai zavaal aamaadah
shikast ho gayaa tera fasoon-e-zebaaii
un aarzooN pe chhaii hai gard-e-maayoosi
jinhoN ne tere tabassum meiN parvarish paaii

fareb-e-shauq ke raNgeeN talism TuuT gaye
haqeeqatoN ne havaadis se phir jalaa paayii
sukoon-o-Khwaab ke parde sarakte jaate haiN
damaaGh-o-dil meiN hai vahshat ki kaar-farmaaii

vo taare jin meiN muhabbat ka noor taabaaN thaa
vo taare Doob gaye le ke raNg-o-raa’naaii
sulaa gayii thiiN jinheiN teri multafat nazreiN
vo dard jaag uThe phir se le kar aNgRaaii

ajeeb aalam-e-afsurdagii hai roo ba-faroGh
na ab nazar ko taqaazaa na dil tamannaaii
tiri nazar, tire gesu, tiri jabeeN, tire lab
mirii udaas tabee’yat hai sab se uktaaii

maiN zindagii ke haqaa’iq se bhaag aaya thaa
k mujh ko Khud meiN chhupaa le tiri fusooN-zaaii
magar yahaaN bhi ta’aqub kiyaa haqaa’iq ne
yahaaN bhi mil na sakii jannat-e-shakeb’aaii

har ek haath meiN le kar hazaar aa’eene
hayaat baNd dareechoN se bhi guzar aayii
mire har ik taraf se ek shor gooNjaa hai
aur us meiN Doob gayii ishratoN ki shahnaaii

kahaaN talak koii zindah haqeeqatoN se bache
kahaaN talak kare chhup chhup ke naGhma pairaaii
voh dekh saamne ke pur-shikvaa aivaaN se
kisii kiraaye kii laRkii kii cheeKh Takraaii

voh phir samaaj ne do pyaar karne vaaloN ko
sazaa ke taur pe baKhshii taveel tanhaaii
phir ek teerah-o-taareek jhoNpaRii ke tale
sisakte bachche pe bevaah kii aaNkh bhar aaii

voh phir bikii kisii majboor kii javaaN beTii
voh phir jhukaa kisii dar pe Gharoor-e-barnaaii
voh phir kisaanoN ke majmooa’ pe gun-mashiinoN se
haqooq yaaftaa tabqe ne aag barsaaii
sakoot-e-halqa-e-zindaaN se ek goooNj uThii
aur us ke saath mire saathiyoN kii yaad aayii

nahiiN nahiiN mujhe youN multafat nazar se na dekh
nahiiN nahiiN mujhe ab taab-e-naGhmaa pairaaii
miraa junoon-e-vafaa hai zavaal aamaadah
shikast ho gayaa teraa fasoon-e-zebaaii

Glossary:

zavaal-aamaadah = ready for failure, leading towards decline
fasoon-e-zebaai = beautiful, elegant charm or magic-spell
gard-e-maayoosii = the dust of hopelessness
tabassum = smile
parvarish paaii = raised
fareb-e-shauq = the tricks of love
talism = magic-spells
haqeeqatoN = realities
hawaadis = plural of “haadsaa”–> events
jalaa paaii = received brilliance
sukoon-o-Khwaab = peace and dreams
kaar-farmaaii = administration, supervision
taabaaN = glittering, shining
raa’naaii = beauty
multafat = politeness, kindness
afsurdagi = sadness
roo ba-faroGh = in face with all splendour and brightness
taqaazaa = urgency, demanding, pressing
gesuu = hair
jabeeN = forehead
tabee’yat = nature, disposition
uktaaii = fed up
haqaa’iq = realities, truths
fusooN-zaaii = the manifestation of enchantment (za’aii in Persian means “manifest”)
ta’aqub = Following, pursuit; persecution
jannat-e-shakeb’aaii = peace .. the heaven of peace
hayaat = life
ishratoN = luxury
naGhma-pairaaii = adorning songs, decorating with songs
pur-shikvaa = full of complaints
aivaaN = halls, galleries
taveel = long
teerah-o-taareek = obscure and dark
bevaa = widow
Gharoor-e-barnaaii = the youthful pride, young pride
majmooa’ = collection
gun-mashiinoN = machine-guns
haqooq = rights
yaafta = founders
haqooq-yaafta = those who attained their rights
tabqe = degree, ranks, orders
sakoot = silence
halqah = circle, fraternity, company, assembly
zindaaN = prison
sakoot-e-halqah-e-zindaaN = the silences of the imprisonned fraternity (or the silence inside the prison)
taab-e-naGhmaa-pairaaii = the patience or strength to decorate with songs

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jinhe naaz hai hind par vo kahaaN haiN

November 7th, 2006

This song, “jinhe naaz hai hind par vo kahaaN haiN” is the simplified version of Sahir’s ‘Chakley’ which can be read here in Roman Urdu version and here in English translation. The song was written for the movie ‘Pyaasa’, starring Guru Dutt, Waheeda Rehman and Mala Sinha. The music was given by S.D. Burman and the song was sung by Rafi. The major difference, if you will compare this with the original nazm ‘Chakley’ is that this version was a simpler version, modified version of ‘Chakley’ for the masses. Sahir accomplished this masterfully by replacing ‘sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN’ to ‘jinhe naaz hai hind par vo kahaaN haiN’. Enjoy this version. Perhaps at a future date, I’ll put up the song for all of you to enjoy as well.

jinhe naaz hai hind par vo kahaaN haiN

ye kooche ye neelaam ghar dil_kashi ke
ye luT_te hue kaarawaaN zindagii ke
kahaaN haiN, kahaaN haiN muhaafiz Khudi ke?
jinhe naaz hai hind par vo kahaaN haiN?
kahaaN haiN kahaaN haiN kahaaN haiN?

ye pur-pech galiyaaN, ye badnaam baazaar
ye gumnaam raahii, ye sikkoN ki jhaNkaar
ye ismat ke saude, ye saudoN pe takaraar
jinhe naaz hai hind par vo kahaaN haiN?

ye sadiyoN se be-Khauf sahmii sii galiyaaN
ye maslee hui adh-khulee zard kaliyaaN
ye bikati hui khokalii rang-raliyaaN
jinhe naaz hai hind par vo kahaaN haiN?

vo ujale dareechoN meiN paayal ki chhan-chhan
thaki haarii saaNsoN pe tabale ki dhan-dhan
ye be-ruuh kamroN meiN khaaNsii kii Than-Than
jinhe naaz hai hind par vo kahaaN haiN?

ye phuuloN ke gajare, ye peekoN ke chheeNTe
ye be-baak nazreN, ye gustaaKh fiqare
ye Dhalake badan aur ye beemaar chehare
jinhe naaz hai hind par vo kahaaN haiN?

yahaaN peer bhii aa chuke haiN jawaaN bhi
tanuumand beTe bhi, abbaa miyaaN bhi
ye biwi bhi hai aur behan bhi hai, maaN bhi
jinhe naaz hai hind par vo kahaaN haiN?

madad chaahti hai ye hawwaa ki beTi
yashodaa ki ham-jins raadhaa ki beTi
payaMbar ki ummat zulaiKhaa ki beTi
jinhe naaz hai hind par vo kahaaN haiN?

zaraa mulk ke raahbaroN ko bulaao
ye kuuche ye galiyaaN ye maNzar dikhaao
jinheN naaz hai hind par unako laao
jinhe naaz hai hind par vo kahaaN haiN?
kahaaN haiN kahaaN haiN kahaaN haiN?

Glossary:

kooche = streets
neelaamghar = auction houses
muhaafiz Khudi ke = the protectors of pride
ismat = pride, honour
takaraar = fights, arguments
zard = yellowing
be-ruuh = soul-less
peer = old, wise
tanuumand = healthy, fit
ham-jins = breed
payaMbar = prophet
ummat = race
raahbaroN = leaders


chakley

November 6th, 2006

As promised here’s the original Urdu version that appeared in ‘talKhiyaaN’ (well at least its in my version of ‘talKhiyaaN’). You can read an English translation of this nazm by K.C. Kanda by clicking here
I’ll also be posting a slightly modified version of this nazm that was made famous in the movie Pyasa 1957, starring Guru Dutt and Waheeda Rehman. Highly recommended by me… so if you haven’t watched it yet, you must. Post edit: Click here to read the filmized version.

chakley

ye kooche ye neelaam ghar dil_kashi ke
ye luT_te hue kaarawaaN zindagii ke
kahaaN haiN, kahaaN haiN muhaafiz Khudi ke?

sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN?

ye pur-pech galiyaaN, ye be-Khwaab baazaar
ye gumnaam raahii, ye sikkoN ki jhaNkaar
ye ismat ke saude, ye saudoN pe takaraar

sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN?

ta’affun se pur neem-roshan ye galiyaaN
ye maslee hui adh-khilee zard kaliyaaN
ye bikati hui khokalii rang-raliyaaN

sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN?

vo ujale dareechoN meiN paayal ki chhan-chhan
tanaffus ki uljhan pe tabale ki dhan-dhan
ye be-ruuh kamroN meiN khaaNsii kii Dhan-Dhan

sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN?

ye guuNje hue qah-qahe raastoN par
ye chaaroN taraf bheeR si khiRkiyoN par
ye aawaazeN khiNchate hue aaNchaloN par

sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN?

ye phuuloN ke gajare, ye peekoN ke chheeNTe
ye be-baak nazreN, ye gustaaKh fiqare
ye Dhalake badan aur ye madqooq chehare

sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN?

ye bhuukii nigaaheN haseenoN ki jaanib
ye baRate hue haath seenoN ki jaanib
lapakate hue paaNv zeenoN ki jaanib

sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN?

yahaaN peer bhii aa chuke haiN jawaaN bhi
tanuumand beTe bhi, abbaa miyaaN bhi
ye biwi bhi hai aur behan bhi hai, maaN bhi

sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN?

madad chaahti hai ye hawwaa ki beTi
yashodaa ki ham-jins raadhaa ki beTi
payaMbar ki ummat zulaiKhaa ki beTi

sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN?

zaraa mulk ke raahbaroN ko bulaao
ye kuuche ye galiyaaN ye maNzar dikhaao
sanaa-Khwaan-e-taqdees-e-mashriq ko laao

sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN?

Glossary:

kooche = streets
neelaamghar = auction houses
muhaafiz Khudi ke = the protectors of pride
sanaa-Khwaan-e-taqdees-e-mashriq = those who praise the pious eastern ways
be-khwaab = sleep-less
ismat = pride, honour
takaraar = fights, arguments
ta’affun = bad smell, stink
pur = full of
neem-roshan = dimly lit
zard = yellowing
tanaffus = breaths (life)
be-ruuh = soul-less
qah-qahe = laughters
madqooq = diseased
jaanib = towards
zeenoN = stairs
peer = old, wise
tanuumand = healthy, fit
ham-jins = breed
payaMbar = prophet
ummat = race
raahbaroN = leaders


Brothels (Chakley)

November 5th, 2006

Here’s another translation of a nazm that has been made famous in the movie Pyasa 1957 (Guru Dutt, Waheeda Rehman). The original Urdu version of the nazm was slightly modified for the song that appeared in the feature film. I thought I’d start by posting the translation by K.C. Kanda first. The translation appeared in “Masterpieces of Urdu Nazm”, Sterling Paperbacks, published by Sterling Publishers Pvt. Ltd., New Delhi. ISBN 81 207 1952 2, Reprint 1998, 2000.

Soon, I’ll be posting the original Urdu version (post edit: Click here to read the original version in Roman Urdu) and the modified film song version (post edit: Click here to read the filmized version) as well. The links, once again, will be published in this post, but if you are an avid reader of this blog, then you will be sure not to miss it. :-)

Brothels
These lanes, these marts of rich delights,
Precious lives, undone, defiled;
Where are the defenders of virtuous pride?
Where are they who praise, the pious eastern ways?

These sinuous streets, these doors ajar,
The clinking coins, the moving masks,
Deals of honour, hagglings fast,
Where are they who praise, the pious eastern ways?

These dimly-lighted, stinking streets,
These yellowing buds, crushed and ceased,
These hollow charms, for sale and lease;
Where are they who praise, the pious eastern ways?

The jingling trinklets at casement bright,
Tambourins athrob’ mid gasping life;
Cheerless rooms with cough alive;
Where are they who praise, the pious eastern ways?

Boisterous laughs on public paths,
Crowds at windows, thick and fast,
Vulgar words, obscene remarks;
Where are they who praise, the pious eastern ways?

The betel spittal, the floral wreaths,
Audacious looks and filthy speech,
Flaccid figures, looks diseased;
Where are they who praise, the pious eastern ways?

Lecherous eyes in beauty’s quest,
Extended hands chasing breasts,
Springing feet on stairs pressed;
Where are they who praise, the pious eastern ways?

This is the haven of young and old.
Aging sires and youngsters bold,
Wife, mother and sister — she plays a triple role.
Where are they who praise, the pious eastern ways?

Help, O Help, this daughter of Eve!
Radha’s child, Yashoda’s breed;
The prophet’s race, Zuleikha’s seed;
Where are they who praise, the pious eastern ways?

Call, O call the leaders wise
Let them see these streets, these sights,
Where are the champs of eastern pride?
Where are they who praise, the pious eastern ways?


taaj mahal

November 5th, 2006

Here’s the Roman Urdu version of the ‘Taj Mahal’ as promised.  One of the masterpieces written by Sahir, this nazm is really a treat to read.  Although a glossary is presented below, for those interested in the English translation of the nazm, one of them is presented here

taaj mahal

taaj tere liye ik mazhar-e-ulfat hi sahii
tujh ko is vaadii-e-rangeeN se aqeedat hii sahii

merii mehboob kahiiN aur milaa kar mujh se!

bazm-e-shaahii meiN GhariiboN kaa guzar kyaa ma’anii
sabt jis raah pe hoN satwat-e-shaahii ke nishaaN
us pe ulfat bharii ruuhoN kaa safar kyaa ma’anii

merii mehboob pas-e-pardaa-e-tash_heer-e-vafaa
tu ne satwat ke nishaanoN ko to dekhaa hotaa
murdaa shaahoN ke maqaabir se behalne vaalii
apne taareek makaanoN ko to dekhaa hotaa

anginat logoN ne duniyaa meiN muhabbat kii hai
kaun kahtaa hai ki saadiq na the jazbe un ke
lekin un ke liye tash_heer kaa saamaan nahiiN
kyuuN ke vo log bhii apnii hii tarah muflis the

ye imaaraat-o-maqaabir ye faseeleN, ye hisaar
mutla-qulhukm shahanshaahoN kii azmat ke sutuuN
daaman-e-dahar pe us rang kii gulkaarii hai
jis meN shaamil hai tire aur mire ajdaad kaa KhuuN

merii mehboob! uNheiN bhii to muhabbat hogii
jinakii sannaa_ii ne baKhshii hai ise shakl-e-jameel
un ke pyaaroN ke maqaabir rahe benaam-o-namuud
aaj tak un pe jalaa_ii na kisii ne qaNdeel

ye chamanzaar ye jamunaa kaa kinaaraa ye mahal
ye munaqqash dar-o-deevaar, ye mehraab ye taaq
ik shahanshaah ne daulat ka sahaaraa le kar
ham GhariiboN kii muhabbat kaa uRaayaa hai mazaaq

meri mehboob kahiiN aur milaa kar mujh se!

Glossary:


mazhar-e-ulfat = symbol of love
vaadii-e-rangeeN = beautiful valley, spot.
aqeedat = respect, reverence
bazm-e-shaahii = royal courts
sabt = etched
satwat-e-shaahii = royal grandeur
pas-e-parda-e-tash_heer-e-vafaa = behind the veil of this advertisement of love
satwat = grandeur, wealth
maqaabir = tombs
taareek = dark
saadiq = true
tash_heer = advertisement
muflis = poor
hisaar = forts
mutla-qulhukm = arrogant, selfish
azmat = greatness
sutuuN = symbols
daaman-e-dahar = on the face of this world
gulkaari = flowers and vines
ajdaad = ancestors
sannaa_ii = artistry
shakl-e-jameel = beautiful form
benaam-o-namuud = without name or a trace
qandeel = candle
chamanzaar = garden
munaqqash = picturesque


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