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Monthly Archives: April 2012

GHALIB AND FIRAQ

GHALIB AND FIRAQ GORAKHPURI

The following ghazal, shown in the last post “FIRAQ GORAKH PURI” is in fact unique in that at least 7 of its 10 shers have one misra from a sher of Ghalib, the other misra is made by Firaq. Generally some shayers do use a misra from Ghalib or some other Ustad, but only one sher in a ghazal;  and they acknowledge this fact by enclosing the borrowed misra between the inverted commas. Here he has gone as far as 7 shers out of ten in a single ghazal and never enclosed any one misra in inverted commas. But I am sure he believed the readers will recognize and treat the ghazal as such, and did not intend to deceive any one. I also think it was his way of paying a rich tribute to the great master that Ghalib really is. (I have a feeling that the other three shers are also similarly ‘half borrowed’ but I cannot say for sure. My readers now have a job of finding whether my feeling is correct!) Also the real shers of Ghalib convey much sweeter and clearer meaning and more beautifully. Clearly it is futile to make any comparison because even as great a shayer as Firaq stands hardly any chance when it comes to face Ghalib. To support my saying this I will below quote the following sher of Ghalib:

JI  DHOONDHTA  HAI  PHIR WOHI FURSAT KE RAAT DIN

BAITHE  RAHEIN TASAWWUR-E-JANAN KIYE HUEY. (GHALIB)

BAITHE  RAHEIN TASAWWUR-E-JANAN KIYE HUEY

DIL  DHOONDHTA  HAI  PHIR WOHI AYYAM-E-ZINDAGI (FIRAQ)

(1) Ji (to me) is more powerful than dil.

(2) Fursat ke raat din conveys the ‘fraghat’ which ayyaam-e-zindagi has failed to do.

Now I will first give the main ghazal of Firaq (1-10) followed by the shers of ghalib

HERE SHER NOS: 1, 2, AND 9 HAVE NO MATCH (SO FAR)

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Posted by on April 27, 2012 in Uncategorized

 

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FIRAQ GORAKH PURI

Firaq Gorakh puri is one of the front line poets of Urdu. His name was Raghu Pati Sahaye and was a professor of English Literature in Allahabad University.

This Ghazal was sent to Naqoosh and was published in 1969.

(Acknowledgement: From Naqoosh, August. 1969, page 167)

(Thank you Liaqat Sahab)

 

The Urdu ghazal above is given here in Roman script.

 

(1)Woh chand lamhe ho gaye kis tarah daymi

 

Tujh par meri nigah padi thi kabhi kabhi

 

(2)Har shai pe ek shoaa ki woh larzishe khafi

 

Main to yehi kahoon ga woh teri nigah thi

 

(3)Kuchh tum se main kahoon jo mile jaan ki amaan

 

Manzoor hai guzarish e ahwaal e waqayi

 

(4)Bhoole se badh hi jaate hain yeh haath sooye jaam

 

Galib chhuti sharab par ab bhi kabhi kabhi

 

(5)Palkon hi palkon mein who rahi phir bhi kis tarah

 

Dil se teri nigaah jigar tak utar gayi

 

(6)Jis dil pe naaz tha mujhe woh dil nahin raha

 

Main jis se aashna that woh dunya badal gayi

 

(7)Ek nau bahar e naaz ko taake hai phir nigah

 

Lab par tabassum aur nigahon men kuchh nami

 

(8)Baithe rahen tasawwur e Jaanan kiye huye

 

Dil dhoondhta hai phir wohi ayyam e zindagi

 

(9)Poojo hamen mitaao hamari zubaan ko

 

Urdu se dushmani hai  ke ehssas e kamtari

 

(10)Achchi nahin yeh talkh kalaami teri FIRAQ

 

Ki jis se baat us ne shikayat zaroor ki.

 

To begin with, I must stress that this ghazal of Firaq is unique in that he has tried in his own way to pay a tribute to the great shayer Ghalib by incoporating a few of his selected shers in this ghazal. Out of ten, I have identifid 7 shers of this ghazal of Firaq that have one misra exactly from a ghalib’s sher. I am sure by extention the other three shers also must have the same character. In the above Roman rendition I have italicised the 7 Ghalib components I found.

 

The translation of any original piece of poetry in another language always leaves much to be desired in the areas of subtle sensibilities and minute technicalities. In any case I am no expert of either Urdu or of English, but will do my best to help my readers who will please bear with my limitaions.

 

(1)   How those few moments have streched to become an eternity

 

The ones that occasionally I happened to have a look at you.

 

(2)   Every thing appears to be glimmering as if in the realm of a hidden flame

 

I will term this phenomenon that it is due to your gaze.

 

      (3) May I please speak to you, given that my life will be spared

 

           I really wish to let you know the actual state of affairs. 

 

      (4) Ghalib says that even though I have stopped drinking

 

            I find my hands still mechanically reach to hold the cup.

 

     (5) Your piercing gaze has succeeded in wounding both my heart and my soul

 

          Even though it appears that your eyes are but love and care.

 

     (6) The heart of which I was so proud no longer exists

 

           The world I was so familiar with also has changed.

 

     (7) My wandering eyes are gazing at a bloomig face

 

          With dampness in the eye but with a smile on the lips.

 

     (8)  I sit and do nothing all the time except thinking of you

 

           My heart is wishing for the return of such days and nights

 

     (9) You do adore me but try to destroy my language

 

           Is it due to shear animosity towards Urdu or is it inferiority complex.

 

    (10) It is not a good habit, O Firaq, that you talk bitterly

 

           Whenever you speak to someone he is sure to comlain.

 

 
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Posted by on April 25, 2012 in Urdu Poetry