Shivpreet Singh
Shivpreet Singh
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Note from September 30, 2020

Yesterday I composed this Mirza Ghalib ghazal in Raag Nand.  Listening to this Rageshri Bandish today. Interesting that he stops at each sher.  Perhaps this is how ghazals should be sung. It lets the listener think and ruminate. 

उस बज़्म में मुझे नहीं बनती हया किये
बैठा रहा अगरचे इशारे हुआ किये

us bazm me.n mujhe nahii.n banatii hayaa kiye
baiThaa rahaa agarche ishaare huaa kiye

बज़्म, Bazm: Meeting, “Mehafil”, Assembly, Company (At A Feast Or Entertainment), Gathering, Party
हया, Hayaa: Bashfulness, Modesty, Retiring, Shame, Shyness
अगरचे, Agarche: Although
इशारा, Ishaara: Allusion, Gesture, Mention, Sign, Symbol, Quote, Wink, Wrinkle

दिल ही तो है सियासत-ए-दरबान से डर गया
मैं और जाऊं दर से तेरे बिन सदा किये

dil hii to hai siyaasat-e-darbaa.N se Dar gayaa
mai.n aur jaauu.N dar se tere bin sadaa kiye

सियासत, Siyaasat: Management, Politics
दरबान, Darbaan: Doorkeeper, Janitor, Keeper, Sentry
दर, Dar: About, Abode, By, Door, Entrance, Fear, Gate, In, Into, Terror, To, Within
सदा, Sadaa: Always, Call, Conversation, Echo, Ever, Sound, Tone, Voice

रखता फिरूं हूँ खीर्का-ओ-सज्जादा रह्न-ए-मै
मुद्दत हुई है दावत-ए-आब-ओ-हवा किये

rakhataa phiruu.N huu.N Khiirqaa-o-sajjaadaa rahn-e-mai
muddat huii hai daavat-e-aab-o-havaa kiye

खीर्का, Khiirqaa: A Patched Garment
सज्जादा, Sajjaadaa: A Prayer Carpet
रह्न, Rahn: Mortgage
मै, Mai: Wine, Liquor
मुद्दत, Muddat: Awhile, Duration, Length Of Time, Period Of Time, Term, While
दावत, Daavat: Prayers, benedictions; convocations, invitations
आब, Aab: Brightness, Brilliance, Cool, Water, Splendor, Elegance, Gloss,Polish, Temper Steel, Luster Gems
आब-ओ-हवा, Aab-o-Havaa: Climate, Environment, Weather

बेसर्फा ही गुज़रती है हो गरचे उम्र-इ-खिज्र
हज़रत भी कल कहेंगे की हम क्या किया किये

be_sarfaa hii guzaratii hai, ho garche umr-e-Khizr
hazrat bhii kal kahe.nge ki ham kyaa kiyaa kiye

सर्फा, Sarfaa: Stinginess, Expenses, Expenditure, Outgoing
बेसर्फा, Be-Sarfaa: Simple Life, Useless (without much expenditure)
गरचे, Garche: Even Though, If
खिज्र, Khizr: A reference to Khwaaja Khizr; Name of a prophet skilled in divination, and who is said to have discovered and drank of the fountain of life
उम्र-इ-खिज्र, Umr-e-Khizr: Everlasting Life (since Khwajaa Khizr drank from the fountain of life)
हज़रत, Hazrat: Dignity, Lord, Title Of Respect

मक्दूर हो तो ख़ाक से पूछूं के ऐ लाइम
तूने वो गंज हया गिरान-माया क्या किये

maqaduur ho to Khaak se puuchhuu.N ke ae laiim
tuune vo ga.nj haaye giraa.N_maayaa kyaa kiye

मक्दूर, Maqduur: Ability, Afford, Capable
ख़ाक, Khaak: Ashes, Dust, Dirt, Earth, Land
लाइम, Laaim: Vile, abject, mean, base, worthless, reprehensible, inglorious, ignoble;—sordid, avaricious, miserly; a vile or worthless fellow; a sordid man, a miser.
गंज, Ganj: Treasure, Wealth
गिरान, GiraaN: Burdensome, Costly, Dear, Heavy, Important, Precious, Tedious, Tiresome, Weighty
माया, Maayaa: Money, Wealth
गिरान-माया, GiraaN_Maayaa: Of Great Value, Valuable, Precious

किस रोज़ तोहमतें न तराशा किये अदू
किस दिन हमारे सर पे न आरे चला किये

kis roz tohamate.n na taraashaa kiye aduu
kis din hamaare sar pe na aare chalaa kiye

तोहमत, Tohamat: Allegation, Accusation, Tax
तराशा, Taraashaa: Carving, Cutting, Chisel, Fabric, Polish (Stone)
अदू, Aduu: Foe, Enemy
आरा, Aaraa: Adorning, Bent, Crooked Embellishing, Inclined, Oblique, Slanting

सोहबत में ग़ैर की न पड़ी हो कहीं ये खू
देने लगा है बोसे बगैर इल्तिजा किये

sohabat me.n Gair kii na pa.Dii ho kahii.n ye Khuu
dene lagaa hai bose baGair iltijaa kiye

सोहबत, Sohabat: Association, Company, Meeting
गैर, Gair: Rival, Stranger
खू, Khuu: Habit
बोसे, Bose: Kisses, Plural of Bosa
बगैर, Baghair: Without
इल्तिजा, Iltijaa: Pleading, Request

जिद की है और बात मगर खू बुरी नहीं
भूले से उस ने सैकड़ों  वादे वफ़ा किये

zid kii hai aur baat magar Khuu burii nahii.n
bhuule se us ne saika.Do.n vaade-vafaa kiye

जिद, Zid: Contrary, Enmity, Grudge, Obstinacy, Opposite, Opposition, Persistence, Stubborn
सैकड़ों, Saikadon: By hundreds, in hundreds, hundreds of, hundreds upon hundreds
वादा, Vaada: Promise
वफ़ा, Vafaa: Fulfilling A Promise, Fulfillment, Fidelity, Faithful, Sincerity, Sufficiency

ग़ालिब तुम्हीं कहो की मिलेगा जवाब क्या
माना की तुम कहा किये और वो सूना किये

‘Ghalib’ tumhii.n kaho ki milegaa javaab kyaa
maanaa ki tum kahaa kiye aur vo sunaa kiye

ग़ालिब, Ghalib: A reference to the poet, Mirza Ghalib

Lyrics

Us Bazm Main Mujhe Nahi Banti Haya Kiye
Baitha Raha Agarche Ishare Hua Kiye

उस बज़्म में मुझे नहीं बनती हया किए 
बैठा रहा अगरचे इशारे हुआ किए 

दिल ही तो है सियासत-ए-दरबाँ से डर गया 
मैं और जाऊँ दर से तिरे बिन सदा किए 

रखता फिरूँ हूँ ख़िर्क़ा ओ सज्जादा रहन-ए-मय 
मुद्दत हुई है दावत आब-ओ-हवा किए 

बे-सर्फ़ा ही गुज़रती है हो गरचे उम्र-ए-ख़िज़्र 
हज़रत भी कल कहेंगे कि हम क्या किया किए 

मक़्दूर हो तो ख़ाक से पूछूँ कि ऐ लईम 
तू ने वो गंज-हा-ए-गराँ-माया क्या किए 

किस रोज़ तोहमतें न तराशा किए अदू 
किस दिन हमारे सर पे न आरे चला किए
 
सोहबत में ग़ैर की न पड़ी हो कहीं ये ख़ू 
देने लगा है बोसा बग़ैर इल्तिजा किए 

ज़िद की है और बात मगर ख़ू बुरी नहीं 
भूले से उस ने सैकड़ों वा'दे वफ़ा किए 

'ग़ालिब' तुम्हीं कहो कि मिलेगा जवाब क्या 
माना कि तुम कहा किए और वो सुना किए 





It is unusual for ghazals to have a central idea, because generally the individual couplets are independent. However, this Mirza Ghalib (like a few others of his), has a central idea.  The central theme of this poem is the transformative power of love and longing. 

The ghazal explores the tension between the ephemeral and the eternal, the tangible and the intangible. The poet uses powerful metaphors to depict the experience of unrequited love and the profound impact it has on the individual. The journey from sigh to longing, from a drop to a pearl, from acknowledgement to becoming ash, all underscore the transformative nature of deep affection and longing. The poet also uses the symbol of "glance" to highlight the powerful impact of love on the lover, capable of both giving life and causing death. The inevitability of life's suffering and the transient nature of existence are also explored, with death positioned as the ultimate release from this cycle. 

The poem beautifully weaves the themes of love, longing, transformation, and mortality into a poignant exploration of human existence.

Aah Ko Chaahiye - Ghazal by Mirza Ghalib


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

daam-e har mauj mein hai halqah-e sad kaam-e nihang
dekhein kyaa guzre hai qatre pah guhar hone tak

aashiqii sabr-talab aur tamannaa betaab
dil kaa kyaa rang karuun khun-e jigar hone tak

ham ne maanaa kih tagaaful na karoge lekin
khaak ho jaaeinge ham tum ko khabar hone tak

partav-e khur se hai shabnam ko fanaa ki taaliim
main bhii huun ek inaayat kii nazar hone tak

yak nazar besh nahiin 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
shamma har rang mein jaltii hai sahar hone tak 

Translation of Aah Ko Chahiye


A sigh might take a lifetime to reveal its effects,
Until then, who will wait to see you untangle your locks?

A hundred dragon mouths weave waves into a net from a single ocean,
Oh, what an endeavor it is for a drop, until it morphs into a pearl.

Love demands patience, but lust knows only restlessness,
Until my heart bleeds to death, what color should it bear?

I know you won't overlook me, yet,
Until you acknowledge me, I would have transformed into ash.

Each bead of dew knows it can evaporate with the sun's rays,
Similarly, I will endure, until you bestow upon me your glance.

Your glances hold the power to cease my life,
As dancing sparks end a jovial gathering, not until the final dance.

Life is an abyss of suffering, Asad, death can provide the cure,
The candle burns in varied hues, not extinguished until the morning's arrival.
Mere Shauk Da Nai Aitbar is the Punjabi translation of a Farsi ghazal by Mirza Ghalib that was translated to Punjabi. Punjabi lyrics translated by Sufi Ghulam Mustafa Tabassum.  I heard today from a historian in Pakistan that it was one of the first songs that made Ghulam Ali popular. The ghazal has been composed in Raag Dhanasri, which seems a raag that Ghulam Ali is one of the few people that has as his favorite.  His other famous ghazal, Chupke Chupke is also in the same raag. 

Here is the ghazal, its lyrics in punjabi and the original farsi ghazal by Mirza Ghalib. The subject of the ghazal is love; especially being intoxicated in love over following the ways of the world.  




Punjabi Translation of Mere Shau Da Nahi

Original lyrics: Mirza Ghalib
Punjabi Translation: Sufi Ghulam Mustafa Tabassum

mere shauq da nahiiN aitbaar teN nuuN aa jaa vekh meraa intezaar aa jaa
aiNveN laRan b'haane labhnaa iiN, kii tuu sochanaa iiN sitamgaar aa jaa

bhaaveN hij'r te bhaaveN visaal hove, vakkho vakkh dohaan diiaaN lazttaN neN
mere sohniaa jaa tuu hzaar vaarii, aa jaa piaaria te lakkh vaar aa jaa

eh rivaaz ai masjidaaN maNdiraaN da, othe hastiiaaN te Khud parastiiaaN neN
maiKhaane vicch mastiiaaN ii mastiiaaN neN, hosh kar ban ke hoshiaar aa jaa

tuu saada te tera dil saadaa, teN nuuN aiNveN raqiib kuraah paaia
je tuuN mere janaaze te nahiiN aaia, raah takdaa ii terii m'zaar aa jaa

sukhii vassna je tuuN chauhnaa eN, mere ghaliba ais j'haan andar
aa jaa riNdaaN dii bazam vicch aa beh jaa, aithe baithde neN Khaaksaar aa jaa


Ghalib took great pride in his Farsi poetry as opposed to his
work in Urdu. He has said:

Farsi been ta ba-beeni naqsh-haa'-e- rang rang
ba-guzar az majmoo'-e-Urdu keh be-rang-e-man ast
[Farsi ko dekho ta keh ranga rang naqsh dekho
maire Urdu ke majmoo'e ko chhoRo keh be-rang hai]

Ghalib's Original Ghazal - za man gar-at na-bavad intezaar be'aa

za man gar-at na-bavad intezaar be'aa
bahaana jooe mabaash va sateeza-kaar be'aa
[agar maire intizaar ka yaqeen nahin karta to aa ja
bahaane na banaa aur jaldi aa ja]

be yak do sheva-e-sitam dil nam-me shavad khursand
be marg-e-man keh ba saamaan-e-rozgaar be'aa

[aik do sitam se dil ko tasalli nahiN hoti
meri maut ke liye, jahaan ke saamaan ke saath aa ???????]

bahaana joo'st dar ilzaam mudda'ee shauq-at
yake ba raghm-e-dil-e-naa-umeed vaar be'aa
[teri muhabbat ka daa'va karne vaala (dil) bahaana-joo hai
aik dafa' dil-e-naa-umeedvaar ki hiqaarat (to spite it) meN hi
aa ja]

halaak-e-shevah-e-tamkeen ma-kha(w)aah mastaan raa
'anaan gasastah-tar az baad-e-nau-bahaar be'aa
[yeh na chaah ke tere divaane tere naaz se halaak ho jaa'eN
havaa se zayaadah aazaad (be-lagaam) ho kar aa ja]

za-maa gasasti va ba deegaraan garo basti
be'aa keh 'ehd-e-vafaa neest ustavaar be'aa
[ham se rishta toR kar doosaroN se baaNdh diya hai
aa keh 'ehd-evafaa pakka nahiN hai]

vadaa'-o-vasl judaagaana lazzate daarad
hazaar baar baro, sad hazaar baar be'aa
[vadaa' (goodbye) aur vasl ki lazzat judaa gaana hai
hazaar baar jaa, aur laakh baar aa]

za khoo'-e-tu-st nehaad-e-shakeeb naazuk-tar
be'aa keh dast-o-dil-am me-ravad za-kaar be'aa
[teri khoo se sabr ki tabee'at naazuk tar hai
aa keh mere dast-o-dil kaam se jaane vaale haiN]

hisaar-e'aafiyati gar havas kuni Ghalib
chu maa ba halqa'e'rindaan-e-khaak-saar be'aa
[Ghalib agar tu chaahta hai keh 'aafiat (khairiyyat) ke hisaar
(qil'e) meN rahe
to hamaari tarah rindaan-e-khaaksaar ke halqe meN aa ja].

Translation in English: 
Translated by Shivpreet Singh

Come Fast

You appear to doubt the depth of my passion,
Why not witness my fervor firsthand, come fast!
Don't delay with trivial excuses and hesitations,
Such skepticism? Oh, you who hold sway, come fast!

Whether from afar or in close vicinity,
I savor delight in each, individually.
My love, you may leave me a thousand times if you wish,
But my dearest, come a million times, come fast!

In the tradition of mosques and temples,
You will find big figures and egos there
In this realm of wine, only ecstasy reigns,
Show some wisdom, be sober, come fast!

Your purity matches the purity of your heart,
Your unwarranted enmity is unjustified from the start.
Since you didn't attend my final rite,
My grave yearns your presence, come fast!

If you wish to attain bliss,
in this world, O Ghalib
Join the intoxicated souls without delay,
Come sit with the down-to-earth ones, come fast!
I am reading Desire Path: Sequoia by Donika Kelly today in Poetry magazine (see below for the poem) and meditating upon the theme of the impermanence of faces. 

We, as humans, are minuscule and transient. Faces that will disappear like clouds.  We see them today everywhere, and tomorrow there are no where to be seen.  Perhaps some will appear, like Ghalib says in his Ghazal Sab Kahaan, through beautiful flowers.  
Sab kahaan kuchhh lalaa-o-gul mein numaaya ho gayeen
Khaak main kyaa suratein hongi ki pinhaa ho gayeen
Where are they all, a few manifest in beautiful flowers
What spectacular faces must have beem that the ground now hides 
Our impermanence can swiftly transform our existence, making us vulnerable like something inflammable. Like Baba Farid says, don't touch the safflower, O love, it will burn.  It is vulnerable and flammable. 
Hath na laayi kasumbharai, jal jaasi dhola 


Everything that currently possesses a distinct identity, even objects with faces, will eventually lose their individuality and merge with the vastness of the universe. Time will gradually deposit layers upon them, turning them into sediment, blending them into the fabric of eternity. This reminds me of Shams Mashraqi's Persian poem Har Lehza where he talks about find the trickster love in every face:

Har lehza ba shakl aan but-e-ayyar baraamad  
Dil burd-o-nihaan shud 
Har dum ba libaas-e-digar aan yaar baraamad 
Gah peer-o-jawaan shud 

O' that trickster idol-beloved! Every time he made an appearance, he had a different face
He pulled the people's hearts, And hid from view. 
Every time he came out in a different garb
He was sometimes young, And sometimes he was old.
The future remains unknown, and perhaps we need to express gratitude for this lack of foresight.  Or the gratitude for the foresight to see the one in all, and thereby not needing to know that everything is impermanent.

Desire Path: Sequoia


The poem is titled "Desire Path: Sequoia" to evoke the sense of longing and the connection between human desires and the majestic Sequoia tree. The term "Desire Path" suggests an unconventional route or an intuitive path created by human yearning. In this context, it represents the speaker's deep connection with nature and their vulnerability, symbolized by the Sequoia.

Desire Path: Sequoia
By Donika Kelly

Today I see the faces in everything:
the trees across the street, the clouds

in Ansel Adams’s The Golden Gate
Before the Bridge, San Francisco,

California. In the picture, I’m not hugging
the sequoia; I’m showing the woman

behind the camera I am small, young,
that I’ve always been vulnerable

to fire, and I am smiling to know this.
I am holding my arms perpendicular

to the plane of my body, which is parallel
to the plane of the tree, the tree

between my arms, outstretched,
and in so doing I am saying to the woman

behind the camera: You too are small, young,
you have always been vulnerable to fire.

In taking the picture, she says: I agree.
You are small. The picture is on a screen

in a hotel room. The woman behind the camera
a figment of memory, her face smudged,

imprecise. There is pleasure in planes
gone to silt, in time (as with water, as with wind)

doing its sedimentary work. Pleasure
in what’s past—the feeling of the tree’s

rough bark, its trunk as whole
between my arms as the Golden Gate,

through either peninsula, running
into ocean under only one horizon—

pleasure in not knowing (fire, steel,
grief) what’s yet to come.


Sab kahan kuchh lala-o-gul mein numayaan ho gayin
Khaak mein kya suraten hongi ki pinhaan ho gayin

Where are they? Some have manifested in roses and tulips!
O what faces must be in dust that have disappeared?

In the realm of Mirza Ghalib's poetry, this couplet stands as an enigmatic masterpiece in my view. It is a window into the timeless questions that have haunted literature's most profound minds. It embodies the interplay of life and death, beauty and decay, and the ever-elusive quest to uncover the hidden facets of our existence. 

As we read this, we embark on a journey with Mirza Ghalib through a beautiful garden with roses and tulips we encounter a profound question: "Sab Kahaan" or "Where are all?" The poet's inquiry echoes the echoes of literary giants who have pondered the same mysteries. This reminds me of Kabir's "Kahaan gaye" - "where have they gone?" Reminiscent of Whitman's poignant musings on the multitudes, Ghalib's verse beckons us to contemplate the invisible threads that connect humanity.

Within this poetic tapestry, Ghalib intertwines nature's vibrant hues with the fleeting presence of souls. He unravels the essence of existence, revealing how some unveil themselves amidst the blossoms of tulips and roses. In this interplay of life's transience and nature's fleeting beauty, echoes of Rumi's metaphysical exploration resonate, as he too sought to decipher the hidden truths embedded in the tangible world.

But the poet's introspection does not cease there. Ghalib delves into the profound enigma of the second line: "In the dust, what faces there will be that have become hidden?" Here, he poses an existential puzzle that evokes the poetic introspection of Emily Dickinson. Like Dickinson's fascination with the enigmatic depths of the human soul, Ghalib ponders the faces concealed within the dust, contemplating the myriad possibilities of hidden identities and untold stories.

Ghalib's verse transcends mere words, inviting us to embrace the beauty that surrounds us, even within the ephemeral nature of life's fragile tapestry.

yaad thi hamko bhi ranga rang bazm-aaraaiyan
lekin ab naqsh-o-nigaar-e-taaq-e-nisiyaan ho gayin.


I too used to remember those colorful gathering adornings and arrangements. But now they have become a mark or portrait in the niche of oblivion. 

The poet says that he once too reveled, in the corridors of his mind in the remembrance of those vivid gatherings, adorned with resplendent embellishments and meticulous arrangements. Mirza Ghalib was after all the Mughal poet laureate.  However, like delicate brushstrokes upon a canvas, those memories have now evolved into ethereal portraits, nestled within the niche of oblivion. The effervescence that once animated those days has now dissipated, leaving behind a mere echo of their former glory. These memories, like distant paintings, now find their residence within the hallowed confines of oblivion. 

The poet's bear resemblance to the fleeting imagery conjured by Proust's madeleine, each stroke of color a portal to a bygone era, where time held no sway. Some evocative recollections symbolize the bittersweet ebb and flow of life's tapestry, mirroring the poignant sentiments echoed in the works of Marcel Proust, who delved deep into the realm of memory and the impermanence of time. Mirza Ghalib fills his cup of melancholy, honors these faded treasures that grace the niche of oblivion and accepts that they are now gone. 


thi banaat-un-naash-e-garduun din ko parde men nihaan
shab ko un ke ji men kya aai ki uryaan ho gayin


The Ursa Minor constellation was hidden in a veil during the day. In the night, I don't know what came in its heart that it became bare. 

qaid mein yaqub ne li go na yusuf ki khabar
lekin ankhen rauzan-e-diivaar-e-zindaan ho gayin

In the prison, Jacob (yaqub) although has taken no information about Joseph (yusuf). But eyes have become windows in the wall of the prison.

In the annals of the Old Testament, two prominent figures emerge: Joseph and Jacob. Joseph, the son of Jacob, found himself unjustly confined within the Pharaoh's prison. Amidst this troubling chapter in his life, the poet reflects upon Jacob's plight, revealing a poignant truth. Though bereft of any news or knowledge regarding his incarcerated son, Jacob's eyes became a profound portal within the prison's walls. They stood as a steadfast window, vigilantly watching over Joseph, a symbol of a father's unwavering love.

Despite the absence of tangible information about his son, Jacob's tearful eyes remained fixated, casting their gaze upon his beloved son. Through this unyielding connection, his eyes became an intimate aperture, akin to a tender crack in the prison's unyielding facade. Night and day, they served as a conduit, allowing Jacob to keep an unrelenting watch over his son's well-being. Such is the boundless depth of a father's affection for his children, transcending physical barriers and imprisonment.

The poet captures the essence of paternal love, highlighting the indomitable power of love to traverse even the most formidable confines. Through Jacob's tearful vigilance, we witness the resolute strength that emanates from a parent's heart, one that creates a window in the prison walls.


sab raqibon se hon nakhush, par zanan-e-misr se
hai zulaikha khush ke mahv-e-mah-e-kanan ho gain


Unhappy with all the rivals, but with the women of Egypt Zulaikha is happy because they have become transfixed in the moon of Canaan. 

In the realms of ancient Egypt, a tale unfolds involving the captivating figure of Zulaikha, a queen enraptured by the love she held for Joseph. As word of her affection spread throughout the land, the women of Egypt began to taunt her, provoking a response unexpected. For typically, lovers harbor discontent toward rivals who vie for the affections of their beloved. Yet, Zulaikha's heart remained unperturbed by the presence of these rivals, finding solace in a peculiar outcome.

Indeed, she discovered a sense of contentment, for as these women beheld the radiant figure of Joseph, often referred to as the "moon of Canaan," their attention became transfixed upon his resplendent charm. Enraptured by his beauty, they became absorbed, momentarily forgetting their spiteful mockery. Herein lies the crux of a story narrated in the Qur'an, which sheds further light upon the matter.

In this ancient tale, Zulaikha distributed apples to each of these women, urging them to cut the fruit upon Joseph's arrival. As destiny would have it, their gazes fell upon him, and in their distraction, they accidentally wounded their own fingers while slicing the fruit. Seizing the moment, Zulaikha reminded them that Joseph graced their presence daily, thus reminding them of the pain they had inadvertently inflicted upon themselves. In this realization, fueled by both physical and emotional discomfort, the women ceased their mockery.

Through this story, the poet unravels a profound truth. Zulaikha's benevolent intent, manifested through the distribution of apples, revealed a wisdom that surpassed the petty taunts and jeers. Instead of harboring resentment, she employed a gentle tactic, one that allowed the natural allure of Joseph to captivate and transform those who had once mocked her. In their mesmerized state, the women found a new perspective, fostering an end to their mockery.

This tale stands as a testament to the power of empathy and understanding, illuminating Zulaikha's remarkable ability to rise above adversity and transform the hearts of her rivals. It portrays a profound lesson on the potential for love to conquer animosity, demonstrating the capacity for personal growth and enlightenment through compassion and self-reflection.

ju-e-khun ankhon se bahane do ki hai shaam-e-firaq
main ye samajhunga ke shamaen do farozan ho gayin


In this eve of parting, let the river of blood flow from my eyes. I shall perceive them as two radiant candles.

The poet, immersed in the depths of longing and separation, utters a poignant plea, beckoning the river of blood to flow from their eyes. This moment, veiled by the twilight of their parting, becomes a canvas for profound emotion. Amidst this profound anguish, a flicker of solace emerges, taking form in the metaphorical illumination of two candles.

In the darkness that envelops the night of separation, the poet envisions these tears, crimson and sorrowful, as radiant flames that dispel the gloom. The bloodied tears, akin to burning candles, cast their luminous glow upon the surrounding darkness, granting a glimmer of comfort amidst the desolation.

In this striking imagery, reminiscent of a scene crafted by the great poet Rumi, the rivers of blood become symbols of fervent devotion. The illumination they cast pierces through the abyss of longing, evoking the transformative power of love amidst the heart's deepest yearnings.

Thus, through the poet's metaphorical invocation, we witness the beauty that can arise from the depths of despair. Like candles ablaze, the tears of the poet create a semblance of light, illuminating the path forward amidst the profound darkness of separation.

in parizadon se lenge khuld men ham intiqam
qudarat-e-haq se yahi huren agar vaan ho gayin


In the realm of paradise, we shall enact vengeance upon these alluring fairies, if, by the power of Truth, they too reside within. The poet laments that this earthly existence falls short in granting retribution from their beloveds, yearning for their presence in heaven to fulfill his desire for revenge. In this sentiment, echoes of Dante's longing for divine justice resonate, as he journeyed through the realms of the afterlife seeking resolution.

neend usaki hai, dimag usaka hai, raten usaki hain
teri zulfen jisake bazu par pareshan ho gayin


Sleep is his, Mind is his, The Nights are his. Your curls of hair, on whose shoulder have become disordered and disheveled.

In this poignant verse, the poet paints a vivid picture of the disarrayed locks of his beloved's hair, cascading upon the shoulder of the lover. In this juxtaposition, the poet reflects upon the contrasting states of their minds and souls. As the locks of hair find solace upon the lover's shoulder, tranquility befalls the rival, their sleep undisturbed, their thoughts lucid, and their nights devoid of despair. In stark contrast, the poet laments his own tumultuous state, plagued by restless nights, a mind in disarray, and thoughts entangled with confusion. Through this evocative imagery, the poet conveys the profound imbalance and longing that consumes the depths of their being, as the beloved's scattered locks symbolize the disorder within their own thoughts and emotions.

main chaman mein kya gaya, goya dabistan khul gaya
bul-bulen sun kar mere nale, gazalkhwan ho gayin


I had hardly entered the garden, as if a school had opened. The nightingale having heard my lamentations, become ghazal singers. 

The poet says that has he ventured into the garden, consumed by contemplation, it seemed akin to entering a school. Like a chorus of children reciting verses in unison, the nightingales, upon hearing his plaintive cries, transformed into maestros of ghazals. His lamentations, so poignant and melodious, resonated within their very souls, weaving together a refined ghazal that transcended the realms of beauty and sorrow.

In this enchanting scene, echoes of Hafez's nightingales come to mind, their songs imbued with the essence of longing and poetic mastery. The convergence of my heartfelt expressions with the nightingales' melodic imitation birthed a sublime ghazal, epitomizing the profound beauty that lies within the interplay of human emotion and the natural world.

vo nigahen kyun hui jati hain yarab dil ke par
jo meri kotaahii-e-qismat se mizshgan ho gain


Why do those glances, oh Lord! keep going through the heart? Which through my failure of fate, became eye-lashes. 

In this verse, the poet explores the profound impact of the beloved's glances, specifically focusing on the significance of receiving only a glimpse or eyelash. The poet distinguishes between the usual glances bestowed by the beloved and the rarity of receiving just the attention of their eyelashes. This unusual occurrence suggests a lack of fortune or limited luck, as the poet yearns for the complete gaze of the beloved.

However, despite this misfortune, the poet is astounded by the profound effect that even the smallest glance of the beloved has on their heart. It transcends the limitations of mere physical sight, resonating deeply within their being. The poet marvels at the immense power contained within these seemingly insignificant eyelash glances, acknowledging the all-encompassing impact they have on their heart.

Through this reflection, the poet poignantly captures the intensity of their longing and the ability of even the tiniest gestures from the beloved to evoke a profound emotional response. The disparity between the limited fortune and the immense impact of these small glances highlights the extraordinary power of love to transcend physical boundaries and touch the depths of the heart.

bas ki roka main ne aur seene mein ubharen pai-ba-pai
meri aahein bakhiya-e-chak-e-garibaan ho gayin


Although I stopped them, more emerged or swelled up with in the chest again and again. My sighs became the stitching on the torn hem of the shirt. 

The poet portrays the relentless surges of sighs within their heart, drawing a striking parallel to the act of mending a torn shirt's hem. It is an act of futility, for these sighs persistently rise, analogous to the relentless tearing and mending of the fabric. Initially, madness compelled the poet to rip the shirt, while moments of calmness allowed for the stifling of never-ending sighs, akin to stitching the torn garment. However, the mounting pressure of suppressed sighs eventually becomes suffocating, necessitating the tearing of the shirt once again to allow the heart to breathe. This cycle of sighs, tearing, and sewing offers no meaningful solace, perpetuating an endless chain of emotional turbulence. As Pritchett astutely observes, the poet skillfully employs wordplay, wherein "seene" (chest) can also be interpreted as "seena" (to sew up), while strategically juxtaposing the words "tearing" and "sewing" for heightened dramatic effect.

vaan gaya bhi main to unki gaaliyon ka kya jawab
yaad thi jitini duayen, sarf-e-darbaan ho gayin


Even if I were to go there, what answer would I have for her insults? As many prayers I could remember, all were used on the doorkeeper.

The poet contemplates the consequences of approaching the beloved's door, fearing not receiving any favors or glances, but instead enduring taunts and insults. In this quandary, the poet ponders the dilemma of how to respond. All the prayers and blessings they could recall were exhausted on the doorman, leaving no resources for a suitable retort. This predicament, lacking the freshest and newest blessings to counter the beloved's crude and humiliating words, becomes a source of worry. It is indeed an amusing situation, reminiscent of the comedic complexities found in the works of Molière, where irony and wit collide, presenting the poet with a humorous yet challenging conundrum.

jaan-fiza hai baada, jis ke hath mein jaam aa gaya
sab lakiren haath ki goya rag-e-jaan ho gayin


Lively is wine, in whomsoever's hand the glass comes. All the lines of the palm as if became the jugular vein. 

There can be two main interpretations of this: 

The first interpretation highlights the lively and exhilarating nature of wine. The poet suggests that consuming wine leads to a sense of expansiveness and euphoria, symbolized by the engorged lines on one's hand, resembling blood-filled veins. By connecting the visuals of wine, hand lines, and the heart's main artery, the poet emphasizes the life-affirming qualities of wine and its ability to animate and invigorate.

The second interpretation focuses on the visual imagery created by a glass of red wine in hand. As the glass is held, the lines on the hand appear red when seen through the glass, resembling arteries filled with living blood. This interpretation suggests that wine possesses the power to imbue life and vitality. The dry lines on the hand, usually devoid of color, now appear to be brimming with flowing blood, signifying the life-giving properties attributed to wine.

Both interpretations emphasize the transformative nature of wine, whether through its ability to elicit a sense of liveliness and euphoria or its metaphorical representation of life-giving qualities. The imagery of wine and its connection to the hand's lines and the flow of blood serve to underscore the profound impact that wine can have on one's experience and perception of life.

hum muwahhid hain, hamara kesh hai tark-e-rusum
millatein jab mit gain, ajza-e-iman ho gayin


We are the believers in one God, our nature is the abandonment of rituals and customs. When nations or communities have been erased, they become part of the faith. 

The poet expresses a belief in the unity of God and emphasizes that true spiritual fulfillment can only be attained by relinquishing external customs, rituals, and religious practices. According to the poet, the elimination of sectarian divisions and the abandonment of religious distinctions would enable individuals to become united in their faith. It is through transcending the confines of organized religion that one can truly embrace a genuine spiritual path.

In the poet's perspective, the essence of a genuine religion lies in the absence of any specific religious affiliation. By discarding the trappings of organized religion, individuals can reach a state where the oneness of God and the oneness of humanity are realized. This notion challenges the notion of religion as a set of dogmas and rituals, instead emphasizing a deeper, more profound connection to the divine that transcends traditional boundaries.

Ultimately, the poet suggests that the pursuit of true faith necessitates a departure from religious structures and the unification of people under the banner of a universal belief in the oneness of God. By embracing this notion, individuals can transcend the limitations of external religious practices and foster a deeper understanding of the spiritual realm.

ranj se khugar hua insaan to mit jata hai ranj
mushkilen mujh par padi itani ke asaan ho gayin


When a person become accustomed to grief, then the grief gets erased. So many difficulties have fallen upon me, that they became easy. 

This couplet is widely recognized as one of the most renowned verses from this ghazal. The poet asserts that by aligning oneself with grief, the grief itself loses its hold. Despite the multitude of hardships that have befallen the poet, they have become bearable, as the poet has attuned themselves to such challenges. These difficulties no longer evoke despair, as the poet has adapted to them. This sentiment also evokes the teachings of Guru Nanak, specifically the concept of "Dukh Daaru Bhaya," where sorrow transforms into a healing remedy. There are also two similar couplets by Ghalib: - 'ranj uthanay say bhi khushi ho gi, pahlay dil dard aashna keejay' and "dard minnat-kash-e-davā na huā". 

yunn hi gar rota raha 'ghalib', to ae ahl-e-jahan
dekhana in bastiyon ko tum ki viraan ho gayin


If Ghalib keeps on crying like this, then oh! people of this world. You take a look at these towns, that they have become abandoned and deserted. 

The couplet suggests that the poet believes their emotional state is so intense and overwhelming that it has the power to affect the environment and the people around them. The poet implies that their constant weeping and expression of sorrow will have a profound impact on the towns or communities they inhabit. The idea conveyed is that the poet's emotional distress is so pervasive that it can cause a sense of desolation and emptiness, symbolically driving people away from the towns. It reflects the poet's belief in the profound influence of their emotions on the world around them.

I stumbled upon this beautiful poem by Emily Dickinson. In this poem she writes about the desire of the heart and how it evolves as we go through life:

The Heart asks Pleasure – first –
And then – Excuse from Pain –
And then – those little Anodynes
That deaden suffering –



And then – to go to sleep –
And then – if it should be
The will of its Inquisitor
The liberty to die –

The first and foremost desire of the heart is pleasure, which is the ultimate goal of every human being. However, when pleasure is unattainable, the heart seeks to avoid pain and live a life free from suffering.

But what happens when pain is unavoidable? The heart then longs for "Anodynes," or painkillers, to ease its discomfort. The word "Anodyne" stems from the Greek for "without pain," and it represents the heart's desperate plea for relief. Yet, even when anodynes fail, the heart does not give up hope. It seeks the escape of sleep or unconsciousness to find some solace.

But what if sleep fails to soothe one's ills? What if the pain is too great to bear, and there seems to be no end in sight? At this point, the heart's only remaining desire is for death to bring it the ultimate release. It is a desperate plea for liberty, a way to end the suffering once and for all.

In the end, the heart turns to the Inquisitor, a religious figure who represents the ultimate Inquisitor, God (or Death), for help. The Inquisitor is the only one who can bring an end to the heart's pain and grant it the peace it seeks.

So the desires of the heart eventually find solace in death.  Death is the ultimate cure for all desires. 

In somewhat contrasting light, Mirza Ghalib relates desires to death:

Hazaron Khwahishen Aisi Ke Har, Ke Har Khwahish Pe Dam Nikle
I have thousands of desires, and each desire to die for
I have lost so many wishes, but I have still a lot more

 


Death is the ultimate cure for all desires

The idea that death is the ultimate cure for all desires is a common theme in literature and philosophy. It suggests that death is the final and ultimate end to all of our earthly struggles and desires. This is a belief that has been held by many cultures and religions throughout history.

One interpretation of this idea is that death is the ultimate release from suffering. All of our desires, whether they are for pleasure, love, success, or something else entirely, are ultimately driven by a desire to avoid suffering. We seek pleasure to avoid pain, we seek love to avoid loneliness, and we seek success to avoid failure. However, no matter how much we try to satisfy our desires, there will always be some degree of suffering in our lives. Death, therefore, is seen as the ultimate release from this suffering. It is the final cure for all our earthly desires and a way to achieve the ultimate peace.

Another interpretation of this idea is that death is the ultimate equalizer. No matter how rich, powerful, or successful we are in life, we all face the same fate in death. In this sense, death is seen as the ultimate leveler, the great equalizer that puts everyone on an even playing field. It is the one thing that we all have in common, regardless of our differences in life.

While the idea that death is the ultimate cure for all desires may seem bleak or pessimistic, it can also be seen as a reminder to appreciate the time we have on this earth and to make the most of it. Rather than chasing after unattainable desires, we can focus on living our lives in a way that brings us joy and fulfillment, knowing that in the end, death will come for us all. By accepting this reality, we can find peace and meaning in the present moment, rather than constantly striving for something more.
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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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