Amir Khusro, Man Kunto Maula

Man Kunto Maula by Fanna-Fi-Allah Sufi Qawwali. Half an hour of pure bliss, if you may.

You will understand and enjoy more if you know the wording and their meaning. Note: Ali was the Prophet’s(PBUH) son in law)

1.The preliminary wordings   

Shah-e-Mardan Sher-e-Yazdan Quwat-e-Parwardigar  

Lafatah illa Ali La Saif illa Zulfiqar.  

 {language: first line: Farsi,  second line: Arabic}


Shah-e-Mardan= King of men

Sher-e-Yazdan = lion of Allah

Quwat-e-Parwardigar = power of lord

Lafatah illa Ali = no victory without Ali

La Saif illa Zulfiqar.= no sword except zulfiqar (Ali’s sward)


2.(This piece is from the site:

Zahay izzo jalaale Bu Turaabe fakhre insaane
Ali al-Murtaza mushkil kushaye shere Yazdane

(The honour and valour of Abu Turab is the pride of mankind.
No doubt Ali al-Murtaza (K.W.K), helper in the time of need, is the Lion of God.)


[Abu Turab (Arabic: أبو تراب‎‎) or Father of Soil, is a title attributed to Imam Ali ibn Abi Talib, the first Shia Caliph and Imam, and the fourth Sunni Caliph. According to narrations the title was given to Ali by Muhammad(PBUH), when he found Ali sleeping while covered with soil.]

These wordings are sung just before the main Amir Khusro’s poem.


3..The main Amir Khusro song “Mun kunto Maula...”

taken from: []


Man kunto Maula
Fa Ali-un Maula
Dara dil-e dara dil-e dar-e daani
Hum tum tanana nana
Nana nana ray
Yalali yalali yala
Yala yala ray…

~ By Amir Khusro    {language:First two lines: Arabic}


“Whoever accepts me as a master, Ali is his master too.”

(The above is a hadith – a saying of the Prophet Mohammad (PBUH). Rest of the lines are tarana bols that are generally meaningless and are used for rhythmic chanting by Sufis.)



For more details, you might like to go to

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Posted by on October 8, 2016 in videos


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Afrikan brick Art – by Charis Tsevis

Afrikan brick Art – by Charis Tsevis

wonderfully beautiful art.

Be ▲rtist - Be ▲rt

Afrikan brick Art - by Charis Tsevis - be artist be art - urban magazine Afrikan brick Art – by Charis Tsevis

Afrikan brick Art - by Charis Tsevis - be artist be art - urban magazine Afrikan brick Art – by Charis Tsevis

Afrikan brick Art - by Charis Tsevis - be artist be art - urban magazine Afrikan brick Art – by Charis Tsevis

Afrikan brick Art - by Charis Tsevis - be artist be art - urban magazine Afrikan brick Art – by Charis Tsevis

Afrikan brick Art - by Charis Tsevis - be artist be art - urban magazine Afrikan brick Art – by Charis Tsevis

Afrikan brick Art – by Charis Tsevis 

Be artist Be art - urban magazine Be artist Be art – urban magazine

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Posted by on September 30, 2016 in Uncategorized


BEGUM AKHTAR, mere ham nafas.

This is Shakil badayuni’s famous ghazal. It is in very simple language and can be related to by us all.

I like the translation offered by ‘Rekhta’ very much, as it is it self poetry. Never the less I would take liberty to expand a little here and there.

The link to ‘Rekhta” is

First listen to it by Begum Akhtar

image shayari for mere ham-nafas mere ham-nawa mujhe dost ban ke dagha na de main hun dard-e-ishq se jaan-ba-lab mujh...


My explanation.

  1. O my friend, though we breathe together and our voices echo together, please do not betray me feigning friendship.

The burning love has brought me near death, do not if you will wish me well.

  1. My wounded soul glows and the light it emits keeps me alive,

I fear you, though my healer, might end up blowing the flame out.

  1. O my healer, leave me alone if you will, I have little confidence in your healing

Your brief attention might actually cause my malady to worsen.

  1.  (Here a bulbul (bird) is speaking, worried about the garden which is her abode) I am confident that any fire from outside will not touch it, but I have a real fear that the “fire” from the roses might ignite and burn down the garden.
  2. Lo and behold the beloved is ready to dispense favour, O Shakil, where are you,

What is yours might be usurped by someone else I fear.

[Literally: Where are you O  Shakil, Your lover is up, ready with wine and cup,

I fear that the peg of wine which is yours someone else might put a hand on it.]









Posted by on September 29, 2016 in adab and literature, Urdu Poetry, videos



Note: This article is for the novice (you), by the novice (me) and of the novice (us). I will try to give a skeleton only (for simplicity) and for detailed discourse would like to direct you to

Hajj is one of the five pillars of Islam [After 1). Oneness of God, 2). 5 times daily prayer to Allah 3). fasting one month every year in Ramazan, 4). Zakat, 2.5 % of your savings given to poor.]

Hajj can only be done in the month of Zilhajj and on a particular day. Only in Mecca. All the other pillars can be performed wherever you are. The first three pillars deal with your own inner steadfastness and need no financial well being or being healthy. (1, 2, 3,). The 4th, Zakat, is for the wealthy only, the Hajj needs you to be healthy, wealthy, and have time. Hajj must be performed at least once in a life time if you meet the criteria. Zakat is once every year. [IF YOU ARE WEALTHY BY QUESTIONABLE MEANS, YOUR HAJJ AND/OR ZAKAT HAS NO MEANING]

Now Hajj is an exercise which combines physical exertion and spiritual meditation, together with monetary sacrifices.

Hajj is performed in Mecca, but a visit to Medinah (some 300 km north of Mecca), where our beloved prophet (PBUH) lies, though not part of Hajj, is very much desired and done by almost all hajis, except if you are pressed for time.

Hajj has been performed since ancient times but after the advent of Islam it has been regularized and made a pillar. Now the inside of Kaabah (cubical structure) is empty unlike before Islam when it housed many idols. The Kaabah has also been named by Allah as qiblah (a place to where you must face when praying). Before it, the mosque in Jerusalem used to be the qiblah. The muslims face the Kaabah, and go round it,  but DO NOT worship it. They all worship only Allah.

The Hajj comprises mostly of rituals that are done in remembrance of what  prophet Ibrahim (Abraham) (AS), prophet Ismail and bibi Hajrah (Hagar) did many years ago. Also there is a ritual which is the continuation of a practice before Islam.

(i) ZAM ZAM : Ibrahim(AS) was sent by God to some other place and leave his wife Hajrah and his toddler son in the desert near Kaabah. He was very thirsty and Hajrah went in search of some water. In doing so she walked several times between two hills, Safa and Marwah, a distance of about 400 m. All the time keeping an eye on the child Ismail who was at a distance of some 30 m from Kaabah and some 40 m from Safa. In between these hills, there was a stretch of about 50 m, when her view was blocked by a mound and thus she ran for this stretch so as to see the child again. This happened every time she ran and on the seventh run, she saw that lo, there was water gushing from where the feet of Ismail were and she had to say “zam Zam” (stop), because the water was so much and could drown every thing around. This well is still there near the Kaabah and has been supplying water ever since.

(ii) SACRIFICE: Ibrahim (AS) was ordered by God to sacrifice the thing most dear to him and he found his son was most dear to him. He decided to obey his God and sacrifice his son Ismail. Ismail was very willing to go through the exercise. He took him to a place called Arafat some three km from Mecca for the sacrifice. On the way three times Satan tried to dissuade him and each time Ibrahim (AS) threw stones at him to make him go away. Finally at the last moment a ram (sheep) was miraculously replaced and Ismail was saved. God accepted his sacrifice.

TAWWAF: Going around the Kaabah keeping the Kaabah on your left, seven times is called tawwaf. This was practiced by the pilgrims even before Islam.

SA’YEE: Going seven times between hills Safa and Marwah, to remember Hajrah’s search for water.

QAYAAM: Spending the a day in Arafat

AHRAAM: Two (preferably white) pieces of clothes for men, and (any colour) full dress for women covering all body except face, hands and feet.

JAMARAAT: There are three pillars with a distance of about 50 m or so between them, between Mecca and Mina, These indicate the three times Satan tried to dissuade Ibrahim (AS) from doing the sacrifice of his son. Pilgrims throw stones at these pillars to remember those times.

SACRIFICE: giving sacrifice of an animal (goat, sheep etc), to remember Ibrahim’s sacrifice.


(1) NIYAT (saying that I intend to perform Hajj)

(2) Take a bath. Put on Ahram. Men must leave the head uncovered.

(3) arrive at Mecca

(4)Perform Tawwaf

(5) Perform Sa’yee

(6) wait in Mecca for the day when every one must go to Mina.(7 Zilhajj, Islamic month). Mina is about 3 km from Mecca. Stay in Mina till the 9th of Zilhajj.

(7) On the 9th Zilhajj, go to Arafat and spend the day there. (pray, pray, pray and/or rest)

(8) In the evening move to Muzdalfa (near by) and spend the night there in the open.(collect 3 sets of 21 small stones each (pea size) from Muzdalfa).

(9) In the morning on the 10th, go to Mecca and join the Eidul Adha prayer congregation.

(10) Come back to Mina and on the way throw stones on the three pillars one by one (7 stones each).Also come out of Ahram and wear normal clothes, Shave head.. (Men only). On this day or on any of the next three days, you may give sacrifice of an animal (goat, sheep etc.) to remember Ibrahim’s (AS) action.

(11) Stay in Minah for the next two days and  throw stones on the three pillars one by one (7 stones each) once each day.

(12) On the 3rd day, (On the 13th Zulhajj), come to Mecca and perform Tawwaf e Vidah (Parting Tawwaf) of the Kaabah.

(13) Go home.

Note: a visit to Medinah mosque and pray there for at least 8 days (may be more or less, depending on time available) can be done before or after the Hajj.

NOTE: Of all the procedures above, the one of staying the day in Arafat is called THE PROCEDURE and if any one just happens to be there for that day becomes a Haji, even if he missed all the other actions. On the other hand, missing Arafat means you have NOT done the hajj, even if you did all the others actions.

NOTE: The first 5 rituals, (namely niyat, ahram, arriving at Mecca, tawwaf and sa’yee) are called UMRAH (lesser hajj) and can be performed any time of the year.

NOTE:  I did my first hajj in 1979, and the second Hajj with my wife, in 2006. I have alhamdulillah done numerous (about 10) Umrahs. The last Umrah we did was in 2012.



























Posted by on September 14, 2016 in Quraan o Sunnat


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Dikhai Diye Yun Ke Bekhud Kiya – Mir Taqi Mir


Poet Mir Taqi Mir was the leading Urdu poet of the 18th century, and remains arguably the foremost name in Urdu poetry often remembered as Khuda-e-sukhan (god of poetry).
Given Below is one of his exquisite works which was also recited in one of our Mehfils.

Faqiraana aaye sadaa kar chale,
Miyaan khush raho hum dua kar chale.
Mendicant like i came and part
Praying that you be blessed.
Jo tujh bin jeene ko kahte the hum,
So is ahd ko ab wafa kar chale.
Without you i will not live
Behold, this pledge i now redeem
Koi naumidana karte nigah,
so tum ham se munh bhi chippa kar chale.
An unhopeful glance i could have cast,
But you hid your face walking me past.
Bahut aarzoo thi gali ki teri,
So yaan se lahu mein naha kar chale.
To visit your street, i deeply…

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Posted by on September 7, 2016 in Uncategorized


Yeh Dhuan sa Kahan se Uthta hai



Dekh to dil ke jaN se uThta hai

Yeh dhuaN sa kahaN se uThta hai.

Oh I feel a fire in me, I can see something like smoke rising

I wonder if it originates from my heart or from my soul.

Gor kis dil jale ki hai yeh falak

Shola ek subh yaN se uThta hai

It musts be the grave of someone who died with unfulfilled burning desires

I see from this grave in the sky a huge flame rise every day in the morning.


khana e dil se zeenhaar na ja

koi ayese makaN se uThta hai?

This sher gave me jitters due to one word zeenhaاr. I am indebted to one Mr. Raj Kumar Pathria.*

for detailed explanation please see the end.

I would rather you do not leave the abode of my heart at all

Just  imagine, would any one think of leaving the house in such a manner?

or (2) Just  imagine, Would any one think of leaving such a house?

Naalah sar kheeNchta hai jab mera

Shor ek aasmaN se uThta hai.

As my agony finds tortured voice

It becomes a terrible noise from the sky.


Sudh le ghar ki bhi shola e awaaz

Dood kuchh aashiaN se uThta hai

O you (eagle) (who is busy roaming the sky), the one with fierce shrieks

Head now toward your abode as I can see some smoke rising from it.

BaiThne kaon de hai phir us ko

Jo tere aastaN se uThta hai

If one should ever leave the abode of his lover

Who will let him have any peace then?

YuN uThe aah us gali se ham

Jaise koi jahaN se uThta hai

Aah, the way I (had to) leave the locale of my beloved

was like one leaves this world (when he dies)

Ishq ek Meer bhaari pattar hai

Kab yeh tujh naatwaN se uThta hai

Love is like a huge rock, O Meer

How will you ever bear it, given you are so weak.



Raj Kumar Pathria

One more she’r that I would like to discuss in this mini-session is

khaana-e-dil se zeenhaar na ja
koi aise makaaN se uthta hai?

This is clearly one of the better she’rs of this ghazal — and, like
she’r # 4, is typical MEER! Unfortunately, it contains one
semi-difficult word, zeenhaar, that made it unfit for popular singing.

khaana-e-dil = dil ka makaan, the (lover’s) heart as the abode (of his

‘zeenhaar’ is the less common version of the same word whose more common
version is ‘zinhaar’, meaning ‘hargiz’. Meer had to use this version to
meet the demands of the ‘meter’.

zeenhaar na ja = hargiz na ja, don’t leave under any circumstances.

The paraphrase of this she’r is straight-forward. Meer is addressing his
beloved and is saying: “mera dil tumhaara ghar hai, ise chhorh kar mat
jaana. bhalaa koi aisa makaan chhorh kar jaata hai?”

The content of the first line is commonplace; any aashiq would say so,
and any poet would write so. It is the second line that makes this she’r
a “Meer ka she’r”!

Commonly spoken, the first line would imply a ‘request’ or a ‘plea’ on
the part of the aashiq. Here, on the other hand, it appears as an
‘advice’ or a ‘cautionary note’… koi aise makaan se uthta hai?

Please note that Meer could have said: kaun aise makaan se uthta hai?
— Does anyone leave a place like this? Instead, he says: koi aise
makaan se uthta hai? — as if he is saying ke “zaraa socho to, bhalaa
koi aise makaan se uthta hai?”
is andaaz-e-bayaaN mein jo lataafat hai, woh Meer hi ka hissa hai!!!

Those of you who are familiar with the concept of ta’alli
(self-exaltation), commonly indulged in by the great poets in their
maqtas, will realize that this she’r is in the same spirit (of ta’alli)
— this time in behalf of the aashiq. For what is being said here
amounts to saying: “hum aam aashiqon jaise aashiq naheen hain aur na hi
hamaara dil aam dilon jaisa hai. aise aashiq aur aise dil baRi mushkil
se milte hain. tum khush-qismat ho ke tumhein hum jaisa aashiq milaa hai
aur hamaare dil jaisa makaan milaa hai. inhen chhorh kar jaana naadaani

achhchha, ab ijaazat dejiye.

khair-andesh,  Raj Kumar


Posted by on September 5, 2016 in Urdu Poetry


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Khabar e tahayyur e Ishq sun (Siraj Aurangabadi) (2)

You may want to hear this ghazal of Siraj Aurangabadi (714-1763) before reading its wording and its analysis. here

This ghazal has 7 couplets. It appears that the love discussed here is invariably Love of the Divine.

my interpretations:

  1. True love means appearance of complete void where love, lover and the object of love all merge into oblivion. In context with the love for God, it strangely alludes to the fusion of subject and object into oneness and nothingness.
  2. True love allows one to be free from the norms of reason (mind) and of craziness (heart) and leaves him with just bare soul burning in love.
  3. The heat from the True One is so intense that it consumes the whole existence,yet the heart where He lives survives.
  4. In spite of a strong feeling of apparently being ignored (by the beloved) one can sense that his heart remains full of hundreds of longings. [This speaks of complete confidence in his Love and that he does not mind being thwarted or seemingly so] here I remember a sher of Ghalib “dhota hun jab main peene ko us seem tan ke paon, rakhta hai zid mein kheench ke baahar lagan ke paon’, meaning as I try to wash her beautiful feet to drink water thereof, She repeatedly keeps withdrawing the feet out of the pan.]
  5. It was a golden moment when I had the first lesson of True Love. Since then all powers of reason have taken leave of me.
  6. The effect of Your profound Beauty has left my heart incapable of appreciating any further ‘beauties’ or perhaps any other beauty has no shine any more.
  7.  Your Love has reduced my soul to ashes, and thus I cannot feel any threat or danger. I am free from fear.

خبرِ تحیرِ عشق سن، نہ جنوں رہا، نہ پری رہی
نہ تو تُو رہا، نہ تو میں رہا، جو رہی سو بے خبری رہی

شۂہ بے خودی نے عطا کیا، مجھے اب لباسِ برہنگی
نہ خرد کی بخیہ گری رہی، نہ جنوں کی پردہ دری رہی

چلی سمتِ غیب سے اک ہوا کہ چمن ظہور کا جل گیا
مگر ایک شاخِ نہالِ غم جسے دل کہیں سو ہری رہی

نظرِ تغافلِ یار کا گلہ کس زباں سے کروں بیاں
کہ شرابِ حسرت و آرزو، خمِ دل میں تھی سو بھری رہی

وہ عجب گھڑی تھی کہ جس گھڑی لیا درس نسخۂ عشق کا
کہ کتاب عقل کی طاق پر جو دھری تھی سو وہ دھری رہی

ترے جوشِ حیرتِ حسن کا اثر اس قدر ہے یہاں ہوا
کہ نہ آئینے میں جِلا رہی، نہ پری میں جلوہ گری رہی

کیا خاک آتشِ عشق نے دلِ بے نوائے سراج کو
نہ خطر رہا، نہ حذر رہا، جو رہی سو بے خطری رہی

سراج اورنگ آبادی


….na junoon raha na pari rahi – when neither you exist nor I exist

Anis Zuberi writes:

It is hard to translate classical poets. This ghazal of Siraj is like a flower, full of beauty and fragrance that one should smell and enjoy and not dissect. …Siraj Aurangabadi was one of the earlier poets of Urdu who came after Wali Dukkani. According to his biography, for years, he was in a state of trance and used to remain naked. Khabar e-tahayyur-e-ishq is one of his most famous Ghazals.

Khabar-e-tahayyur-e-ishq sunn, na junoon raha na pari rahi
Na toh tu raha na toh mein raha, jo rahi so be-khabari rahi

Learn oh absorbing love that neither the obsession (for the beloved) is left nor the object (pari) of love survived. The only thing that is left is a state of self-unconsciousness: where neither you exist nor I exist.

Shah-e-bekhudi ne ataa kia, mujhay ab libas-e-barahanagi
Na khirad ki bakhiyagari rahi, na junoon ki pardadari rahi

My beloved (shah-e-bekhudi is a reference to the beloved. Knowing what little I know about Siraj I am leaning towards God as his object of love rather than a worldly being) has bestowed me with a dress of nakedness (libas-e-barahanagi). Neither the intellect (khirad) can repair it nor does the insanity (junoon) rip it. Meaning what a dress (nakedness) my beloved has conferred upon me! I am now free from the trouble of ripping it or mending it (depending on the mental state I am in). My focus is my beloved not my own appearance or even existence.

Chali simt-e-ghaib se aik hava, ke chaman zahoor ka jal gaya
Magar aik shaakh-e-nihal-e-gham, jise dil kahen so hari rahi

A breeze came from the outer space (simt-e-ghaib) and burned the entire garden of existence (zahoor) but a branch of the tree of sorrow (nihal-e-gham) that is called heart remained green. Since in the first line poet is referring to a wind coming from the direction of God (ghaib) that has burned the whole existence (chaman) it can be assumed that tree of sorrow is a symbol of the poets own being. In the burned garden of existence he stood like a sad tree. Nothing grows on that tree except sadness, caused by the separation from his beloved. Now that entire existence is gone, only the abode of the beloved (heart) is survived.

Nazar-e-taghaful-e-yaar ka, gila kis zuban se bayan karoon
Ke sharab-e-sad-qadaah aarzu, khum-e-dil mein thi so bhari rahi

I am speechless (kis zuban). How can I complain the indifferent and uncaring glances (nazar-e-taghaful-e-yaar) of my beloved? After reading, the second line it is clear that he is trying to say that I cannot complain about those cold looks or eyes that have granted me so much. I am indebted to those eyes. Why? My heart is brimming with his desire (aarzu) as if a vessel (khum) is filled with hundred goblets of wine (sharaab-e-sad-qadaah).

Woh ajab ghari thi mein jis ghari, liya dars nuskha-e-ishq ka
Ke kitab aql ki taaq main, jyun dhari thi tyun hi dhari rahi

In Urdu poetry, reason (aql-o-khirad) the product of mind is considered a source of selfishness and as it causes a person to make calculated move; as against altruistic emotions that come out of heart. A thoughtful person thinks about the consequences before taking any action. That is why it is assumed that a selfless love is motivated by heart and not mind. For that reason love and brain are just incompatible. Mind is deceitful, untrustworthy, selfish and devious whereas heart is pure, untainted and selfless. As Iqbal said:
bekhatar kuud para aatishe-namrood mein ishq
aql thi mehvi-tamasha-e-lab-baam abhi

That is what Siraj is saying that at that strange moment when I started taking lesson in love (dars-e-nuskha-e-ishq) I left my intellect or brain (kitaab-e-aql- book is synonymous with intellect as one needs brain to read or write) in an alcove, where it is lying ever since.

Tere josh-e-hairat-e-husn ka, asar iss qadar hai yahan hua
Ke na aayine main jila rahi, na pari meiN jalva gari rahi

Bewildered by your beauty (Josh-e-hairat-e-husn), I had such a mark on my heart (yahan is a pointer towards the heart) that the heart (aayina means heart) has lost all its shine (the basic quality of a mirror) and angel (pari is used as simile to refer profound beauty) had no beauty left to reveal.

Kiya khak-e-aatish-e-ishq ne dil-e-benava-e-Siraj ko
Na khatar raha na hazar raha, magar aik be-khatari rahi

The fire of love (aatish-e-ishq) has burned the voiceless heart (dil-e-benava) of Siraj to the ashes. There is no feeling of vulnerability or threat left. Only freedom from fear (be-khatari) is left. (As Iqbal has used the word bekhatar: bekhatar kood para aatish-e-namrood mein ishq.)



Posted by on August 31, 2016 in adab and literature, Urdu Poetry


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