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Mirza galib's poems


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#1 ankit_9489

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Posted 15 April 2006 - 12:50 AM

About Ghalib

Mirza Asadullah Beg Khan -- known to posterity as Ghalib, a
`nom de plume' he adopted in the tradition of all clasical Urdu poets,
was born in the city of Agra, of parents with Turkish aristocratic
ancestry, probably on December 27th, 1797. As to the precise date,
Imtiyaz Ali Arshi has conjectured, on the basis of Ghalib's horoscope,
that the poet might have been born a month later, in January 1798.

Both his father and uncle died while he was still young, and
he spent a good part of his early boyhood with his mother's family.
This, of course, began a psychology of ambivalences for him. On the
one hand, he grew up relatively free of any oppressive dominance by
adult, male-dominant figures. This, it seems to me, accounts for at
least some of the independent spirit he showed from very early child-
hood. On the other hand, this placed him in the humiliating situation
of being socially and economically dependent on maternal grandparents,
giving him, one can surmise, a sense that whatever worldly goods he
received were a matter of charity and not legitimately his. His pre-
occupation in later life with finding secure, legitimate, and
comfortable means of livelihood can be perhaps at least partially
understood in terms of this early uncertainity.

The question of Ghalib's early education has often confused
Urdu scholars. Although any record of his formal education that might
exist is extremely scanty, it is also true that Ghalib's circle of
friends in Delhi included some of the most eminent minds of his time.
There is, finally, irrevocably, the evidence of his writings, in verse
as well as in prose, which are distinguished not only by creative
excellence but also by the great knowledge of philosophy, ethics,
theology, classical literature, grammar, and history that they reflect.
I think it is reasonable to believe that Mulla Abdussamad Harmuzd
-- the man who was supposedly Ghalib's tutor, whom Ghalib mentions at
times with great affection and respect, but whose very existence he
denies -- was, in fact, a real person and an actual tutor of Ghalib
when Ghalib was a young boy in Agra. Harmuzd was a Zoroastrian from
Iran, converted to Islam, and a devoted scholar of literature,
language, and religions. He lived in anonymity in Agra while tutoring
Ghalib, among others.

In or around 1810, two events of great importance occured in
Ghalib's life: he was married to a well-to-do, educated family of
nobles, and he left for Delhi. One must remember that Ghalib was only
thirteen at the time. It is impossible to say when Ghalib started
writing poetry. Perhaps it was as early as his seventh or eight years.
On the other hand, there is evidence that most of what we know as his
complete works were substantially completed by 1816, when he was 19
years old, and six years after he first came to Delhi. We are obviously
dealing with a man whose maturation was both early and rapid. We can
safely conjecture that the migration from Agra, which had once been a
capital but was now one of the many important but declining cities, to
Delhi, its grandeur kept intact by the existence of the moghul court,
was an important event in the life of this thirteen year old, newly
married poet who desparately needed material security, who was
beginning to take his career in letters seriously, and who was soon to
be recognized as a genius, if not by the court, at least some of his
most important comtemporaries. As for the marriage, in the predomin-
antly male-oriented society of Muslim India no one could expect Ghalib
to take that event terribly seriously, and he didn't. The period did,
however mark the beginnings of concern with material advancement that
was to obsess him for the rest of his life.

In Delhi Ghalib lived a life of comfort, though he did not
find immediate or great success. He wrote first in a style at once
detached, obscure , and pedantic, but soon thereafter he adopted the
fastidious, personal, complexly moral idiom which we now know as his
mature style. It is astonishing that he should have gone from sheer
precocity to the extremes of verbal ingenuity and obscurity, to a
style which, next to Meer's, is the most important and comprehensive
styles of the ghazal in the Urdu language before he was even twenty.

The course of his life from 1821 onward is easier to trace.
His interest began to shift decisively away from Urdu poetry to Persian
during the 1820's, and he soon abandoned writing in Urdu almost
altogether, except whenever a new edition of his works was forthcoming
and he was inclined to make changes, deletions, or additions to his
already existing opus. This remained the pattern of his work until
1847, the year in which he gained direct access to the Moghul court.
I think it is safe to say that throughout these years Ghalib was mainly
occupied with the composition of the Persian verse, with the
preparation of occasional editions of his Urdu works which remained
essentially the same in content, and with various intricate and
exhausting proceedings undertaken with a view to improving his financial
situation, these last consisting mainly of petitions to patrons and
government, including the British. Although very different in style
and procedure, Ghalib's obsession with material means, and the
accompanying sense of personal insecurity which seems to threaten the
very basis of selfhood, reminds one of Bauldeaire. There is, through
the years, the same self-absorption, the same overpowering sense of
terror which comes from the necessities of one's own creativity and
intelligence, the same illusion -- never really believed viscerrally
-- that if one could be released from need one could perhaps become
a better artist. There is same flood of complaints, and finally the
same triumph of a self which is at once morbid, elegant, highly
creative, and almost doomed to realize the terms not only of its
desperation but also its distinction.

Ghalib was never really a part of the court except in its very
last years, and even then with ambivalence on both sides . There was
no love lost between Ghalib himself and Zauq, the king's tutor in the
writing of poetry; and if their mutual dislike was not often openly
expressed, it was a matter of prudence only. There is reason to believe
that Bahadur Shah Zafar, the last Moghul king, and himself a poet of
considerable merit, did not much care for Ghalib's style of poetry or
life. There is also reason to believe that Ghalib not only regarded
his own necessary subservient conduct in relation to the king as
humiliating but he also considered the Moghul court as a redundant
institution. Nor was he well-known for admiring the king's verses.
However, after Zauq's death Ghalib did gain an appiontment as the
king's advisor on matters of versifiaction. He was also appointed,
by royal order, to write the official history of the Moghul dynasty, a
project which was to be titled "Partavistan" and to fill two volumes.
The one volume "Mehr-e-NeemRoz", which Ghalib completed is an
indifferent work, and the second volume was never completed, supposedly
because of the great disturbances caused by the Revolt of 1857 and the
consequent termination of the Moghul rule. Possibly Ghalib's own lack
of interest in the later Moghul kings had something to do with it.

The only favouarble result of his connection with the court
between 1847 and 1857 was that he resumed writing in Urdu with a
frequency not experienced since the early 1820's. Many of these new
poems are not panegyrics, or occasional verses to celebrate this or
that. He did, however, write many ghazals which are of the same
excellence and temper as his early great work. Infact, it is astonis-
hing that a man who had more or less given up writing in Urdu thirty
years before should, in a totally different time and circumstance,
produce work that is, on the whole, neither worse nor better than his
earlier work. One wonders just how many great poems were permanently
lost to Urdu when Ghalib chose to turn to Persian instead.

In its material dimensions, Ghalib's life never really took
root and remained always curiously unfinished. In a society where
almost everybody seems to have a house of his own, Ghalib never had
one and always rented one or accepted the use of one from a patron.
He never had books of his own, usually reading borrowed ones. He had
no children; the ones he had, died in infancy, and he later adopted
the two children of Arif, his wife's nephew who died young in 1852.
Ghalib's one wish, perhaps as strong as the wish to be a great poet,
that he should have a regular, secure income, never materialized. His
brother Yusuf, went mad in 1826, and died, still mad, in that year of
all misfortunes, 1857. His relations with his wife were, at best,
tentative, obscure and indifferent. Given the social structure of
mid-nineteenth-century Muslim India, it is, of course, inconceivable
that *any* marriage could have even begun to satisfy the moral and
intellectual intensities that Ghalib required from his relationships;
given that social order, however, he could not conceive that his
marriage could serve that function. And one has to confront the fact
that the child never died who, deprived of the security of having a
father in a male-oriented society, had had looked for material but
also moral certainities -- not certitudes, but certainities, something
that he can stake his life on. So, when reading his poetry it must be
remembered that it is the poetry of more than usually vulnerable
existence.

It is difficult to say precisely what Ghalib's attitude was
toward the British conquest of India. The evidence is not only
contradictory but also incomplete. First of all, one has to realize
that nationalism as we know it today was simply non-existent in
nineteenth-century India. Second --one has to remember -- no matter
how offensive it is to some -- that even prior to the British, India
had a long history of invaders who created empires which were eventu-
ally considered legitimate. The Moghuls themselves were such invaders.
Given these two facts, it would be unreasonable to expect Ghalib to
have a clear ideological response to the British invasion. There is
also evidence, quite clearly deducible from his letters, that Ghalib
was aware, on the one hand, of the redundancy, the intrigues, the
sheer poverty of sophistication and intellectual potential, and the
lack of humane responses from the Moghul court, and, on the other, of
the powers of rationalism and scientific progress of the West.

Ghalib had many attitudes toward the British, most of them
complicated and quite contradictory. His diary of 1857, the
"Dast-Ambooh" is a pro-British document, criticizing the British here
and there for excessively harsh rule but expressing, on the whole,
horror at the tactics of the resistance forces. His letters, however,
are some of the most graphic and vivid accounts of British violence
that we possess. We also know that "Dast-Ambooh" was always meant to
be a document that Ghalib would make public, not only to the Indian
Press but specifically to the British authorities. And he even wanted
to send a copy of it to Queen Victoria. His letters, are to the contr-
ary, written to people he trusted very much, people who were his
friends and would not divulge their contents to the British authori-
ties. As Imtiyaz Ali Arshi has shown (at least to my satisfaction),
whenever Ghalib feared the intimate, anti-British contents of his
letters might not remain private, he requested their destruction, as
he did in th case of the Nawab of Rampur. I think it is reasonable to
conjecture that the diary, the "Dast-Ambooh", is a document put
together by a frightened man who was looking for avenues of safety and
forging versions of his own experience in order to please his oppr-
essors, whereas the letters, those private documents of one-to-one
intimacy, are more real in the expression of what Ghalib was in fact
feeling at the time. And what he was feeling, according to the letters,
was horror at the wholesale violence practised by the British.

Yet, matters are not so simple as that either. We cannot explain
things away in terms of altogether honest letters and an altogether
dishonest diary. Human and intellectual responses are more complex. The
fact that Ghalib, like many other Indians at the time, admired British,
and therfore Western, rationalism as expressed in constitutional law,
city planning and more. His trip to Calcutta (1828-29) had done much
to convince him of the immediate values of Western pragmatism. This
immensely curious and human man from the narrow streets of a decaying
Delhi, had suddenly been flung into the broad, well-planned avenues of
1828 Calcutta -- from the aging Moghul capital to the new, prosperous
and clean capital of the rising British power, and , given the preco-
ciousness of his mind, he had not only walked on clean streets, but
had also asked the fundamental questions about the sort of mind that
planned that sort of city. In short, he was impressed by much that was
British.

In Calcutta he saw cleanliness, good city planning, prosperity.
He was fascinated by the quality of the Western mind which was rational
and could conceive of constitutional government, republicanism,
skepticism. The Western mind was attractive particularly to one who,
although fully imbued with his feudal and Muslim background, was also
attracted by wider intelligence like the one that Western scientific
thought offered: good rationalism promised to be good government. The
sense that this very rationalism, the very mind that had planned the
first modern city in India, was also in the service of a brutral and
brutalizing mercantile ethic which was to produce not a humane society
but an empire, began to come to Ghalib only when the onslaught of 1857
caught up with the Delhi of his own friends. Whatever admiration he
had ever felt for the British was seriously brought into question by
the events of that year, more particularly by the merciless-ness of
the British in their dealings with those who participated in or
sympathized with the Revolt. This is no place to go into the details
of the massacre; I will refer here only to the recent researches of
Dr. Ashraf (Ashraf, K.M., "Ghalib & The Revolt of 1857", in Rebellion
1857, ed., P.C. Joshi, 1957), in India, which prove that at least
27,000 persons were hanged during the summer of that one year, and
Ghalib witnessed it all. It was obviously impossible for him to
reconcile this conduct with whatever humanity and progressive ideals
he had ever expected the Briish to have possessed. His letters tell
of his terrible dissatisfaction.

Ghalib's ambivalence toward the British possibly represents a
characteristic dilemma of the Indian --- indeed, the Asian -- people.
Whereas they are fascinated by the liberalism of the Western mind and
virtually seduced by the possibility that Western science and technology
might be the answer to poverty and other problems of their material
existence, they feel a very deep repugnance for forms and intensities of
violence which are also peculiarly Western. Ghalib was probably not as
fully aware of his dilemma as the intellectuals of today might be; to
assign such awareness to a mid-nineteenth-century mind would be to
violate it by denying the very terms -- which means limitations --, as
well -- of its existence. His bewilderment at the extent of the
destruction caused by the very people of whose humanity he had been
convinced can , however, be understood in terms of this basic
ambivalence.

The years between 1857 and 1869 were neither happy nor very
eventful ones for Ghalib. During the revolt itself, Ghalib remained
pretty much confined to his house, undoubtedly frightened by the
wholesale masacres in the city. Many of his friends were hanged,
deprived of their fortunes, exiled from the city, or detained in jails.
By October 1858, he had completed his diary of the Revolt, the
"Dast-Ambooh", published it, and presented copies of it to the British
authorities, mainly with the purpose of proving that he had not
supported the insurrections. Although his life and immediate possesions
were spared, little value was attached to his writings; he was flatly
told that he was still suspected of having had loyalties toward the
Moghul king. During the ensuing years, his main source of income
continued to be the stipend he got from the Nawab of Rampur.
"Ud-i-Hindi", the first collection of his letters, was published in
October 1868. Ghalib died a few months later, on February 15th, 1869.

#2 ankit_9489

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Posted 15 April 2006 - 12:51 AM

aah ko chaahiye ik umr asar hone tak

aah ko chaahiye ik umr asar hone tak
kaun jiitaa hai terii zulf ke sar hone tak

daam har mauj me.n hai halqaa-e-sad_kaam-e-nahang
dekhe.n kyaa guzare hai qatare pe gauhar hone tak

aashiqii sabr-talab aur tamannaa betaab
dil kaa kyaa rang karuu.N Khuun-e-jigar hone tak

ham ne maanaa ke taGaaful na karoge lekin
Khaak ho jaaye.nge ham tum ko Khabar hone tak

partav-e-Khuur se hai shabanam ko fanaa kii taaliim
mai.n bhii huu.N ek inaayat kii nazar hone tak

yak_nazar besh nahii.n fursat-e-hastii Gaafil
garmii-e-bazm hai ik raqs-e-sharar hone tak

Gam-e-hastii kaa 'Asad' kis se ho juz marg ilaaj
shammaa har rang me.n jalatii hai sahar hone tak

#3 ankit_9489

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Posted 15 April 2006 - 12:52 AM

har ek baat pe kahate ho tum ki tuu kyaa hai

har ek baat pe kahate ho tum ki tuu kyaa hai
tumhii.n kaho ke ye a.ndaaz-e-guftaguu kyaa hai

na shole me.n ye karishmaa na barq me.n ye adaa
koii bataao ki vo shoKh-e-tu.ndaKhuu kyaa hai

ye rashk hai ki vo hotaa hai hamasuKhan hamase
vagarnaa Khauf-e-badaamozii-e-ad kyaa hai

chipak rahaa hai badan par lahuu se pairaahan
hamaarii jeb ko an haajat-e-rafuu kyaa hai

jalaa hia jism jahaa.N dil bhii jal gayaa hogaa
kuredate ho jo ab raakh justajuu kyaa hai

rago.n me.n dau.Date phirane ke ham nahii.n qaayal
jab aa.Nkh hii se na Tapakaa to phir lahuu kyaa hai

vo chiiz jisake liye hamako ho bahisht aziiz
sivaa_e baadaa-e-gulfaam-e-mushkabuu kyaa hai

piyuu.N sharaab agar Khum bhii dekh luu.N do chaar
ye shiishaa-o-qadaah-o-kuuzaa-o-subuu kyaa hai

rahii na taaqat-e-guftaar aur agar ho bhii
to kis ummiid pe kahiye ke aarazuu kyaa hai

banaa hai shaah kaa musaahib, phire hai itaraataa
vagarnaa shahar me.n "Ghalib" kii aabaruu kyaa hai

#4 ankit_9489

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Posted 15 April 2006 - 12:53 AM

hazaaro.n Khvaahishe.n aisii ki har Khvaaish pe dam nikale

hazaaro.n Khvaahishe.n aisii ki har Khvaaish pe dam nikale
bahut nikale mere armaa.N lekin phir bhii kam nikale

Dare kyuu.N meraa qaatil kyaa rahegaa usakii gardan par
vo Khuu.N jo chashm-e-tar se umr bhar yuu.N dam-ba-dam nikale

nikalanaa Khuld se aadam kaa sunate aaye hai.n lekin
bahut be-aabaruu hokar tere kuuche se ham nikale

bharam khul jaaye zaalim tere qaamat kii daraazii kaa
agar is turraa-e-purapech-o-Kham kaa pech-o-Kham nikale

magar likhavaaye koii usako Khat to hamase likhavaaye
huii subah aur ghar se kaan par rakkhar qalam nikale

huii is daur me.n ma.nsuub mujhase baadaa-ashaamii
phir aayaa vo zamaanaa jo jahaa.N se jaam-e-jam nikale

huii jinase tavaqqo Khastagii kii daad paane kii
vo hamase bhii ziyaadaa Khastaa-e-teG-e-sitam nikale

muhabbat me.n nahii.n hai farq jiine aur marane kaausii ko dekh kar jiite hai.n jis kaafir pe dam nikale

zara kar jor siine par ki tiir-e-pursitam nikale
jo vo nikle to dil nikale jo dil nikale to dam nikale

Khudaa ke vaaste pardaa na kaabe se uThaa zaalim
Kahii.n aisaa na ho yaa.N bhii vahii kaafir sanam nikale

Kahaa.N maiKhaane ka daravaazaa 'Ghalib' aur kahaa.N vaaiz
par itanaa jaanate hai.n kal vo jaataa thaa ke ham nikale

#5 ankit_9489

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Posted 15 April 2006 - 12:54 AM

ye jo ham hijr me.n diivaar-o-dar ko dekhate hai.n

ye jo ham hijr me.n diivaar-o-dar ko dekhate hai.n
kabhii sabaa ko kabhii naamaabar ko dekhate hai.n

vo aaye ghar me.n hamaare Khudaa kii kudarat hai
kabhii ham un ko kabhii apane ghar ko dekhate hai.n

nazar lage na kahii.n usake dast-o-baazuu ko
ye log kyo.n mere zaKhm-e-jigar ko dekhate hai.n

tere javaahiir-e-tarf-e-kulah ko kyaa dekhe.n
ham auj-e-taalaa-e-laal-o-guhar ko dekhate hai.n

#6 ankit_9489

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Posted 15 April 2006 - 12:55 AM

ye na thii hamaarii qismat ke visaal-e-yaar hotaa

ye na thii hamaarii qismat ke visaal-e-yaar hotaa
agar aur jiite rahate yahii intazaar hotaa

tere vaade par jiye ham to ye jaan jhuuTh jaanaa
ke Khushii se mar na jaate agar aitabaar hotaa

terii naazukii se jaanaa ki ba.Ndhaa thaa ahd_bodaa
kabhii tuu na to.D sakataa agar ustavaar hotaa

koii mere dil se puuchhe tere tiir-e-niimakash ko
ye Khalish kahaa.N se hotii jo jigar ke paar hotaa

ye kahaa.N kii dostii hai ke bane hai.n dost naaseh
koii chaaraasaaz hotaa, koii Gam_gusaar hotaa

rag-e-sang se Tapakataa wo lahuu ki phir na thamataa
jise Gam samajh rahe ho ye agar sharaar hotaa

Gam agarche jaa.N_gusil hai, pe kahaa.N bache.n ke dil hai
Gam-e-ishq gar na hotaa, Gam-e-rozagaar hotaa

kahuu.N kis se mai.n ke kyaa hai, shab-e-Gam burii balaa hai
mujhe kyaa buraa thaa maranaa agar ek baar hotaa

hue mar ke ham jo rusavaa, hue kyo.N na Garq-e-dariyaa
na kabhii janaazaa uThataa, na kahii.n mazaar hotaa

use kaun dekh sakataa ki yaganaa hai wo yaktaa
jo duii kii buu bhii hotii to kahii.n do chaar hotaa

ye masaail-e-tasavvuf, ye teraa bayaan 'Ghalib'
tujhe ham walii samajhate, jo na baadaa_Khvaar hotaa

#7 ankit_9489

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Posted 15 April 2006 - 12:55 AM

koii ummiid bar nahii.n aatii

koii ummiid bar nahii.n aatii
koii suurat nazar nahii.n aatii

maut kaa ek din mu'ayyaa.N hai
nii.nd kyo.n raat bhar nahii.n aatii

aage aatii thii haal-e-dil pe ha.Nsii
ab kisii baat par nahii.n aatii

jaanataa huu.N savaab-e-taa'at-o-zahad
par tabiiyat idhar nahii.n aatii

hai kuchh aisii hii baat jo chup huu.N
varna kyaa baat kar nahii.n aatii

kyo.n na chiiKhuu.N ki yaad karate hai.n
merii aavaaz gar nahii.n aatii

daaG-e-dilagarnazar nahii.n aata
buu bhii ai chaaraagar nahii.n aatii

ham vahaa.N hai.n jahaa.N se ham ko bhii
kuchh hamaarii Khabar nahii.n aatii

marate hai.n aarazuu me.n marane kii
maut aatii hai par nahii.n aatii

kaabaa kis muu.Nh se jaaoge 'Ghalib'
sharm tumako magar nahii.naatii

#8 ankit_9489

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Posted 15 April 2006 - 12:56 AM

Main unhain chor doon aur kuch na kahay

mai.n u.nhe.n chhe.Duu.N aur kuch na kahe.n
chal nikalate jo mai piye hote

qahar ho yaa balaa ho, jo kuchh ho
kaash ke tum mere liye hote

merii qismat me.n Gam gar itanaa thaa
dil bhii yaa rab kaii diye hote

aa hii jaataa vo raah par 'Ghalib'
koii din aur bhii jiye hote

#9 ankit_9489

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Posted 15 April 2006 - 12:57 AM

na huii gar mere marane se tasallii na sahii

na huii gar mere marane se tasallii na sahii
imtihaa.N aur bhii baaqii ho to ye bhii na sahii

Khaar-Khaar-e-alam-e-hasarat-e-diidaar to hai
shauq gulachiin-e-gulistaan-e-tasallii na sahii

may parastaa.N Khum-e-may muu.nh se lagaaye hii bane
ek din gar na huaa bazm me.n saaqii na sahii

nafaz-e-qais ke hai chashm-o-charaaG-e-saharaa
gar nahii.n shama-e-siyahaKhaanaa-e-lailaa na sahii

ek ha.ngaame pe maukuuf hai ghar kii raunak
noh-e-Gam hii sahii, naGmaa-e-shaadii na sahii

na sitaaish kii tamannaa na sile kii parawaah
gar nahii.n hai mere ashaar me.n maane na sahii

isharat-e-sohabat-e-Khubaa.N hii Ganiimat samajho
na huii "Ghalib" agar umr-e-tabii_ii na sahii

#10 ankit_9489

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Posted 15 April 2006 - 12:58 AM

na thaa kuchh to Khudaa thaa, kuchh na hotaa to Khudaa hotaa

na thaa kuchh to Khudaa thaa, kuchh na hotaa to Khudaa hotaa
Duboyaa mujh ko hone ne, na hotaa mai.n to kyaa hotaa

huaa jab Gam se yuu.N behis to Gam kyaa sar ke kaTane kaa
na hotaa gar judaa tan se to zaa.Nno.n par dharaa hotaa

huii muddat ke 'Ghalib' mar gayaa par yaad aataa hai
wo har ek baat pe kahanaa ke yuu.N hotaa to kyaa hotaa

#11 ankit_9489

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Posted 15 April 2006 - 12:59 AM

rahiye ab aisii jagah chalakar jahaa.N koii na ho

rahiye ab aisii jagah chalakar jahaa.N koii na ho
hamasuKhan koii na ho aur hamazabaa.N koii na ho

bedar-o-diivaar saa ik ghar banaayaa chaahiye
koii hamasaayaa na ho aur paasabaa.N koii na ho

pa.Diye gar biimaar to koii na ho tiimaaradaar
aur agar mar jaaiiye to nauhaa_Khvaa.N koii na ho

#12 ankit_9489

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Posted 15 April 2006 - 12:59 AM

saadagii par us kii mar jaane kii hasarat dil me.n hai
bas nahii.n chalataa ki phir Khanjar kaf-e-qaatil me.n hai

dekhanaa taqariir kii lazzat ki jo usane kahaa
mai.nne yah jaanaa ki goyaa yah bhii mere dil me.n hai

garache hai kis kis buraa_ii se vale baa ii.n hamaa
zikr meraa mujh se behatar hai ki us mahafil me.n hai

bas hujuum-e-naa umiidii Khaak me.n mil jaayagii
yah jo ik lazzat hamaarii sa_i-e-behaasil me.n hai

ra.nj-e-rah kyo.n khe.nchiye vaamaa.ndagii ko ishq hai
uTh nahii.n sakataa hamaaraa jo qadam ma.nzil me.n hai

jalvaa zaar-e-aatash-e-dozaKh hamaaraa dil sahii
fitanaa-e-shor-e-qayaamat kis kii aab-o-gil me.n hai

hai dil-e-shoriidaa-e-Gaalib tilism-e-pech-o-taab
raham kar apanii tamannaa par ki kis mushkil me.n hai

#13 ankit_9489

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Posted 15 April 2006 - 01:00 AM

tuu dost kisii kaa bhii sitam_gar na hu_aa thaa
auro.n pe hai vo zulm ki mujh par na hu_aa thaa

chho.Daa mah-e-naKhshab kii tarah dast-e-qazaa ne
Khurshiid hanoz us ke baraabar na hu_aa thaa

taufiiq ba andaaz-e-himmat hai azal se
aa.Nkho.n me.n hai vo qataraa ki gauhar na hu_aa thaa

jab tak kii na dekhaa thaa qad-e-yaar kaa aalam
mai.n motaqid-e-fitanaa-e-mahashar na hu_aa thaa

mai.n saadaa dil aazurdagi-e-yaar se Khush huu.N
yaanii sabaq-e-shauq mukarrar na hu_aa thaa

dariyaa-e-ma_aasii tunuk abhii se hu_aa Khushk
meraa sar-e-daaman bhii abhii tar na hu_aa thaa

jaarii thii asad daaG-e-jigar se mere tahasiil
aatash_qadaa jaagiir-e-samandar na hu_aa thaa

#14 ankit_9489

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Posted 15 April 2006 - 01:01 AM

phir is a.ndaaz se bahaar aa_ii
ke huye mehar-o-maah tamaashaa_ii

dekho ai sakinaan-e-khittaa-e-Khaak
is ko kahate hai.n aalam-aaraa_ii

ke zamii.n ho ga_ii hai sar taa sar
ruukash-e-satahe charKhe minaa_ii

sabze ko jab kahii.n jagah na milii
ban gayaa ruu-e-aab par kaa_ii

sabz-o-gul ke dekhane ke liye
chashm-e-nargis ko dii hai binaa_ii

hai havaa me.n sharaab kii taasiir
badaanoshii hai baad paimaa_ii

kyuu.N na duniyaa ko ho Khushii "Ghalib"
shaah-e-dii.ndaar ne shifaa pa_ii

#15 ankit_9489

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Posted 15 April 2006 - 01:02 AM

chaahiye achchho.n ko jitanaa chaahiye
ye agar chaahe.n to phir kyaa chaahiye

sohabat-e-rindaa se vaajib hai hazar
jaa-e-mai apane ko khe.nchaa chaahiye

chaahane ko tere kyaa samajhaa thaa dil
baare ab is se bhii samajhaa chaahiye

chaak mat kar jeb be ayyaam-e-gul
kuchh udhar kaa bhii ishaaraa chaahiye

dostii kaa pardaa hai begaanagii
mu.nh chhupaanaa ham se chho.Daa chaahiye

dushmanii me.n merii khoyaa Gair ko
kis qadar dushman hai dekhaa chaahiye

apanii rusvaa_ii me.n kyaa chalatii hai sa_i
yaar hii ha.ngaamaa aaraa chaahiye

munhasir marane pe ho jis kii umiid
naa_umiidii us kii dekhaa chaahiye

Gaafil in mah tala_ato.n ke vaaste
chaahane vaalaa bhii achchhaa chaahiye

chaahate hai.n Khuubaru_o.n ko asad
aap kii surat to dekhaa chaahiye

#16 ankit_9489

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Posted 15 April 2006 - 01:04 AM

dil-e-naadaa.N tujhe huaa kyaa hai
aaKhir is dard kii davaa kyaa hai

ham hai.n mushtaaq aur vo bezaar
yaa ilaahii ye maajaraa kyaa hai

mai.n bhii muu.Nh me.n zabaan rakhataa huu.N
kaash puuchho ki muddaa kyaa hai

jab ki tujh bin nahii.n koii maujuud
phir ye ha.ngaamaa, ai Khudaa kyaa hai

qataah:

ye parii cheharaa log kaise hai.n
Gamazaa-o-ishvaa-o-adaa kyaa hai

shikan-e-zulf-e-ambarii kyo.n hai
nigah-e-chashm-e-surmaa saa kyaa hai

sabazaa-o-gul kahaa.N se aaye hai.n
abr kyaa chiiz hai havaa kyaa hai

hamako unase vafaa kii hai ummiid
jo nahii.n jaanate vafaa kyaa hai

haa.N bhalaa kar teraa bhalaa hogaa
aur darvesh kii sadaa kyaa hai

jaan tum par nisaar karataa huu.N
mai.n nahii.n jaanataa duaa kyaa hai

mai.n ne maanaa ki kuchh nahii.n 'Ghalib'
muft haath aaye to buraa kyaa hai

#17 ankit_9489

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Posted 15 April 2006 - 01:04 AM

ghar hamaaraa, jo na rote bhii, to viraa.N hotaa
bahr gar bahr na hotaato bayaabaa.N hotaa

ta.ngi-e-dil kaa gilaa kyaa, ye wo kaafir dil hai
ke agar ta.ng na hotaa, to pareshaa.N hotaa

baad-e-yak umr-e-waraa, baar to detaa baare
kaash rizawaa.N hii dar-e-yaar kaa darabaa.N hotaa

#18 ankit_9489

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Posted 15 April 2006 - 01:05 AM

ghar jab banaa liyaa hai tere dar par kahe baGair
jaanegaa ab bhii tuu na meraa ghar kahe baGair

kahate hai.n, jab rahii na mujhe taaqat-e-suKhan
jaanuu.N kisii ke dil ki mai.n kyuu.Nkar kahe baGair

kaam us se aa pa.Daa hai ki jisakaa jahaan me.n
leve naa koii naam sitamagar kahe baGair

jii me.n hii kuchh nahii.n hai hamaare vagarnaa ham
sar jaaye yaa rahe na rahe.n par kahe baGair

chho.Duu.Ngaa mai.n na us but-e-kaafir kaa puujanaa
chho.De na Khalq go mujhe kaafir kahe baGair

maqsad hai naaz-o-Gamzaa vale guftaguu me.n kaam
chalataa nahii.n hai, dashnaa-o-Kha.njar kahe baGair

har chand ho mushaahidaa-e-haq kii guftaguu
banatii nahii.n hai baadaa-o-saaGar kahe baGair

baharaa huu.N mai.n to chaahiye duunaa ho iltafaat
sunataa nahii.n huu.N baat muqarrar kahe baGair

"Ghalib" na kar huzuur me.n tuu baar-baar arz
zaahir hai teraa haal sab un par kahe baGair

#19 ankit_9489

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Posted 15 April 2006 - 01:06 AM

hai bas ki har ik unake ishaare me.n nishaa.N aur
karate hai.n muhabbat to guzarataa hai gumaa.N aur

yaa rab vo na samajhe hai.n na samajhe.nge merii baat
de aur dil unako jo na de mujhako zubaa.N aur

abaruu se hai kyaa us nigaah -e-naaz ko paiba.nd
hai tiir muqarrar magar usakii hai kamaa.N aur

tum shahar me.n ho to hame.n kyaa Gam jab uThe.nge
le aaye.nge baazaar se jaakar dil-o-jaa.N aur

har cha.nd subuk_dast hue but_shikanii me.n
ham hai.n to abhii raah me.n hai sang-e-giraa.N aur

hai Khuun-e-jigar josh me.n dil khol ke rotaa
hote kaii jo diidaa-e-Khuu.Nnaaba_fishaa.N aur

marataa huu.N is aavaaz pe har cha.nd sar u.D jaaye
jallaad ko lekin vo kahe jaaye ki haa.N aur

logo.n ko hai Khurshiid-e-jahaa.N taab kaa dhokaa
har roz dikhaataa huu.N mai.n ik daaG-e-nihaa.N aur

letaa na agar dil tumhe.n detaa koii dam chain
karataa jo na marataa koii din aah-o-fuGaa.N aur

paate nahii.n jab raah to cha.D jaate hai.n naale
rukatii hai merii tabaa to hotii hai ravaa.N aur

hai.n aur bhii duniyaa me.n suKhanavar bahut achchhe
kahate hai.n ki 'Ghalib' kaa hai a.ndaaz-e-bayaa.N aur

#20 ankit_9489

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Posted 15 April 2006 - 01:07 AM

ham rashk ko apane bhii gavaaraa nahii.n karate
marate hai.n vale un kii tamannaa nahii.n karate

dar pardaa unhe.n Gair se hai rabt-e-nihaanii
zaahir kaa ye pardaa hai ki pardaa nahii.n karate

yah baa_is-e-naumiidi-e-arbaab-e-havas hai
Gaalib ko buraa kahate ho achchhaa nahii.n karate




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