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