Category Archives: adab and literature

zehaal e miskin makun taghaful : Amir Khusro

The following is copied with thanks from the site

I, like so many others, love the poem , and the music with it, , but did not have a hint of the meaning. Here I found the meaning also, so lucky I am. Want to share with my readers. At the end you can listen to Ghulam Ali. and some qawwals.


“This poem is written by Amir Khusro in Persian and Brij Bhasha. Brij Bhasha is a Dehaati Zabaan (country tongue) and a dialect of Hindi. In the first verse, the first line is in Persian, the second in Brij Bhasha, the third in Persian again, and the fourth in Brij Bhasha.


Zehaal-e-miskeen makun taghaful,
Duraye naina banaye batiyan.

Do not overlook my misery,
by blandishing your eyes and weaving tales,

Ke taab-e-hijran nadaram ay jaan,
Na leho kahe lagaye chatiyan.

My patience has over-brimmed, O sweetheart!
why do you not take me to your bosom.

Shaban-e-hijran daraz chun zulf,
Wa roz-e-waslat cho umer kotah.

Long like curls in the night of separation
short like life on the day of our union.

Sakhi piya ko jo main na dekhun,
To kaise kaTun andheri ratiyan.

My dear, how will I pass the dark dungeon night
without your face before.

Yakayak az dil do chashm-e-jadu,
Basad farebam baburd taskin.

Suddenly, using a thousand tricks
the enchanting eyes robbed me of my tranquil mind.

Kisay pari hai jo ja sunave,
Piyare pi ko hamari batiyan,

Who would care to go and report
this matter to my darling.

Cho shama sozan cho zaraa hairan,
Hamesha giryan be ishq an meh.

Tossed and bewildered, like a flickering candle,
I roam about in the fire of love.

Na nind naina na ang chaina,
Na aap aaven na bhejen patiyan,

Sleepless eyes, restless body,
neither comes she, nor any message.

Ke daad mara gharib Khusro.

In honour of the day I meet my beloved
who has lured me so long, O Khusro!

Sapet man ke varaye rakhun,
Jo jaye pauN piya ke khatiyan.

I shall keep my heart suppressed
if ever I get a chance to get to her trick.”






OF THIS BEAUTIFUL AFSANA OF Krishn Chander, is at the end of the original Urdu. The name is “Neutral Zone”


Taken from the site

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It is difficult to catch and reproduce the flare and flow of Krishna chandar but I will try to do my best in this abridged English rendition (gist) of this superb story he named,

“The neutral Zone” by Krishn Chander.

Jara and Jari lived on the opposite sides of the mountain stream joined by a dilapidated wooden plank bridge in a village in Kashmir. The story develops when it is not long after the creation of India and Pakistan and division of Kashmir between the two powers whereas this village, situated on both sides of the bridge, was also divided. Half the village was in Pakistan and the other half in India.

Never the less, it was common for the residents to cross to and fro the bridge several times in the day as the need be because of needs of the hour. Jara was in Pakistani side and operated a grain grinding mill that worked with the power of the stream. Jari lived with her parents on the other side and was herding goats and cattle of her father on the slopes of the mountain on her side.

One morning Jari found that the flour in her home was finished and thus she instead of setting loose the animals for grazing, she took a quantity of maize and crossed the bridge for grinding. Jara was busy with a hammer and a nail making new grooves in the grinding stone. She waited till he was done and helped him replace the heavy stone on to the mill. In the process she managed to get her finger between the heavy stones and gave a huge cry. Jara was very sorry and took her to the stream and after washing the finger, gave it a bandage. He tore a part of his shirt to obtain a strip he used for the bandage. This episode though innocent was responsible for kindling a flame of love between the two young souls.

The elders from both the sides met and arranged a day for their marriage. Both were very happy till the day came and their waiting was to end.

But on this day there appeared on the sky air planes and there was bombing and the result was that the central section of the bridge was destroyed.

All the arrangements of the marriage were jeopardised. Both the banks of the stream were soon occupied by the armies of India and Pakistan facing each other across the bridge. On the Pakistani side Major Abdul Aziz was in command who made Jara’s mill his strategic head post. On the Indian side Major Kapoor Chand was in charge. It so happened that these two officers had been class mates when they were receiving military training in Military College in Rawalpindi before the partition and knew each other.

On the wedding day a worried Jara sought and obtained with much difficulty a meeting with the Major Abdul Aziz. When he said today is my wedding day he asked if he had come to invite the major in the wedding. Jara said no sir, my would-be- wife is on the other side of the valley, across the bridge. The major said seriously there is nothing that could be done in the circumstances because, as you can see, the enemy has trained guns toward us. Jara was very disappointed and went to his hut.

Jari was very sad and could not sleep. In the dead of the night she sneaked from her house and keeping low chose a spot from where to try crossing the gorge creek. The gorge was particularly more turbulent than usual this night but she was beyond reason in her passion to meet her beloved. She thought she had on several occasions saved the life of kid goats from the stream. But tonight it was dark also and she had to endure a multitude of bruises and scratches from rocks but managed to reach the other side. As she was climbing the shore she dislodged a stone which tumbled down making noise. A voice roared above the noise of the turbulence, “Who goes there?” She raised one hand while remaining hidden behind a rock. A bullet went passed injuring her hand and she gave a cry and fainted.

She was soon brought in front of Major Abdul Aziz who ordered for her to be attended to and when she was able to talk after a while, she was told that she was a spy of the Indians and will face execution. She said she was a simple girl named Jari and today was her wedding. She only wanted to meet her would-be-husband Jara on this side of the bridge. The major gave a sigh and would not have believed her if Jara had not met him earlier. He sent a sepoy to fetch Jara. He soon returned and said he was not to be found anywhere.

The major found a way to call the Indian commander and told him that he caught a woman spy of his and that have they resorted to employ women for spying.

Major Kapoor Chand denied sending any spy but said instead he had caught one Pakistani spy who is a man.

Major asked his name and was told he says it is Jara.

Major Abdul Aziz was stunned that both these poor souls had taken the greatest risk only to meet their beloved. He told Major Kapoor Chand what the reality was, and asked in the name of old times to do something for these two.

Now what happened next was never reported in any news paper or bulletin or in any military report.

The bridge was repaired the next morning by local people from both sides and the two were married on the central newly repaired part of the bridge, Military commanders and sepoys being the most important guests.


Posted by on February 19, 2018 in adab and literature, Afsaane



Jashn e Rekhta has a wonderful array of videos in YouTube and my intention is to bring them all to my readers with this wonderful discussion of Urdu in Indian courts.

Hilarious is the place where a judge quotes a sher of Ghalib in his judgement but adds that this is a sher from a ghazal sung by Jagjeet Singh!. No mention of Ghalib!.



Celebrating Ghalib’s 220th birthday with Google India.
نہ تھا کچھ تو خدا تھا کچھ نہ ہوتا توخدا ہوتا
  • Mirza Ghalib’s 220th Birthday. December 27, 2017

  • Today we celebrate one of Urdu literature’s most iconic poets, Mirza Asadullah Baig Khan, known in popular culture by many names, but most commonly as Ghalib (meaning conqueror).

    Born in the India and saw the reign of the last Mughal Emperor Bahadur Shah,Zafar, Ghalib showed a gift for language at an early age and was educated in Persian, Urdu, and Arabic.

    His verse is characterized by a lingering sadness borne of a tumultuous and often tragic life — from being orphaned at an early age, to losing all of his seven children in their infancy, to the political upheaval that surrounded the fall of Mughal rule in India. He struggled financially, never holding a regular paying job but instead depending on patronage from royalty and more affluent friends.

    But despite these hardships, Ghalib navigated his circumstances with wit, intellect, and an all-encompassing love for life. His contributions to Urdu poetry and prose were not fully appreciated in his lifetime, but his legacy has come to be widely celebrated, most particularly for his mastery of the Urdu ghazal (amatory poem).

    Irshaad mukarrar, Mirza!

    Early concepts of the Doodle below

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Posted by on December 28, 2017 in adab and literature, GHAALIB


urdu zaban by gulzar

Urdu is dhoop.

I have tried to pen down what he says “taa ke sanad rahe aur waqt e zaroorat kaam aaye” 🙂



یہ کیسا عشق ہے اردو زباں کا

یہ کیسا عشق ہے اردو زباں کا

مزہ کھلتا ہے اردو کا زباں پر

کہ جیسے پان کا مہنگا قوام گھلتا ہے-

نشہ آتا ہے اردو بولنے میں

گلوری کی طرح ہیں منھ لگی

 سب اصطلاحیں لطف دیتی ہیں

حلق چھوتی ہے اردو تو

حلق سے جیسے مے کا گھونٹ اترتا ہے

بڑی ارسٹوکریسی ہے زباں میں

فقیری میں نوابی کا مزہ دیتی ہے اردو

اگرچہ معنی کم ہوتے ہیں اور الفاظ  کی افراط ہوتی ہے

مگر پھر بھی

بلند آواز پڑھیے تو بہت ہی معتبر لگتی ہیں باتیں

کہیں کچھ دور سے کانوں میں پڑتی ہے اگر اردو

تو لگتا ہے کہ دن جاڑوں کے ہیں

کھڑکی کھلی ہے

دھوپ اندر آ رہی ہے-









Posted by on December 9, 2017 in adab and literature, Urdu Poetry




دو اشعار اور ایک مضمون –  فیصلہ آپ کریں کے کون سا بہتر ہے-

روشن ہے اس طرح دل ویراں میں داغ ایک

اجڑے نگر میں جیسے جلے ہے چراغ ایک

میر تقی میر

لوگوں کو ہے خورشید _ جہاں تاب کا دھوکا

ہر روز دکھاتا ہوں میں ایک داغ _ نہاں اور



دو اشعار اور ایک مضمون –  فیصلہ آپ کریں کے کون سا بہتر ہے-

دل کی ویرانی کا کیا مذ کور

یہ نگر سو مرتبہ لوٹا گیا

میر تقی میر

کوئی ویرانی سی ویرانی ہے

د شت کو د یکھ کے گھر یاد آیا



عشق کرتے ہیں اس پری رو سے

میر صاحب بھی کیا دیوانے ہیں

میر تقی میر

گدا سمجھ کہ وہ  چپ تھا جو میری شامت آ ئی

اٹھا  اور اٹھ کے قدم میں نے پاسباں کے لئے



پتہ پتہ بوٹا بوٹا حال ہمارا جانے ہے

جانے نہ جانے گل ہی نہ جانے، باغ تو سارا جانے ہے

میر تقی میر

ہم نے مانا کہ تغافل نہ کرو گے لیکن

خاک ہو جائیں گے ہم تم کو خبر ہونے تک


آخری شعر زبردستی کا ہے—– ہم کو غالب کے دیوان میں پتہ پتہ بوٹا بوٹا — کے مساوی کوئی ایک شعر نہیں ملا – لیکن اتنا بھی نہیں –  دونوں اشعار میں جس امر کا زکر ہے وہ ہے معشوق کی  خبر گیری کا یا بے خبری کا، یعنی تغافل-



Posted by on November 18, 2017 in adab and literature, GHAALIB




ॐ पूर्णमद पूर्णमिदं पूर्णात् पूर्णमुदच्यते 

पूर्णस्य पूर्णमादाय पूर्णमेवावशिष्यते 

Om Purnmad purnmidam purnaat purnmudachchyete

Purnasye purnmadaaye purnmevavashishyate


that is purnam this is purnam

what comes from purnam is truly purnam

what remains after purnam is removed from purnam

is still purnam

PURNAMA: —means Whole, Complete, Full, Infinite, Endless, Without beginning, Timeless………(Akaal)



B. Ghalib said


نہ تھا کچھ تو خدا تھا کچھ نہ ہوتا تو خدا ہوتا

ڈبویا مجھ کو ہونے نے نہ ہوتا میں تو کیا ہوتا


Na tha kuchh to khuda tha kuchh na hota to khuda hota

Diboya mujh ko hone ne na hota main to kia hota


There was God when there was nothing, if there would have been nothing, God would still be there,

I got drowned (ruined) because of being, what would have mattered if I were not to be.


C. Another piece from Urdu shayri


ہونا ہی نہ ہونا ہے

نہ ہونا عین ہونا ہے


Hona hi na hona hai

Na hona ain hona hai


To be is in fact being not.

Not being is as good as being.



If you draw a line on a paper, you have not created it, you have only highlighted what was there all the time since the beginning.

The line wasn’t there, it was there, will be there after you erased it. To be or not to be.

Is it that this universe is a line God has drawn?

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Posted by on September 17, 2017 in adab and literature