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For
those who have joined now, let me say few words about this Ghalib series.
Ghalib,
his Ghazals, his poems, his genius, and his wits have always fascinated
millions of Urdu lovers
including myself. Those who want to
read my previous work please Ctrl + click on the following link.
http://www.mirza-ghalib.org
or, if you choose, you may send me an email request; I will email back
my previous explanations just for asking.
This is my 13th installment. I have
received excellent response . from lot of friends;
 both Urdu and non- Urdu
speakers. Please know that this is my own, Asghar . Vasanwala’s, work and
not a forwarding . someone else’s work as some
of you thought. Please
forward this . to your friends. Also please send me your
.
. comments/complements. I will
appreciate if you forward me emails . of your Urdu/non-Urdu friends.
. Here is today’s
verse (She'r) in Urdu, Gujarati, and Roman script.
शौक़
हर
रंग
रक़ीब-ए-सर-ओ-सामां
निकला
केस
तस्वीर
के
पर्दे
में
भी
उरयां
निकला
शौक़ =
इश्क़
हर
रंग =हर
तरह
in every aspect
रक़ीब=दुश्मन
केस=मजनूं
का
अस्ली
नाम
सरोसामां
=तकल्लुफ़ात,
NICETY
आराइश
=decoration
तशरीह
:
इश्क़
सिर्फ़
इश्क़
के
लिए
है
उसे
रोटी
कपड़ा
मकान
या
कोइ और
दुनयवी
आराइश
दरकार
नहीं।
मजनू
ने
दुनिया
के
हर
ऐश-ओ-आराइश
को
छोड
दिया
था
।
इश्क़
जिस
रंग
में
भी
हो,
वो
आराइश
और
साज़-ओ-सामां
का
दुश्मन
है।
मजनू
की
तस्वीर
देखिए।
इस
को
इश्क़
था
इस
लिए
इस
की
तस्वीर
हमेशा
बग़ैर
कपड़ों
में
(नंगी)
ही
खींची
जाती
है।
माहिरीन-ए-ग़ालिब
की
राय:
बेख़ुदकी
राय:
इश्क़
का
रंग
ऐसा
साबित
हुआ
है
कि
क़ेस
को
तस्वीर
के
लिबास
में
भी
उरयां
रखा।
रंग-ए-तस्वीर
भी
केस
की
उरयानी(नंगे
पन)
का
पर्दा
ना
बन
सका।
हर
रंग
के
मानी
है
इश्क़
में,
दीवानगी
में,
उरयानी
(नंगे
पन)
में,
तस्वीर
के
रंग
में,
यानी
कि
हर
रंग
में
इश्क़
नेक
नामी
और
इज़्ज़त
का
दुश्मन
ही
रहा
है।
और
ग़ालिब
ने
भी
उसे
उरयां
ही
दिखाया
है।
तबा
तबाई
की
राय:
हर
रंग
मुहावरा
नहीं
है।
हर
तरह
होना
चाहीए
था।
तनासुब लफ़्ज़ी(अलफ़ाज़
की
सजावट)
के
लिए
मुहावरा
छोड
देना
मुनासिब
नहीं।
शेअर
की
खूबियां:
उर्दू
शायरी
में
मजनूं
आशिकों
में
अव्वल
है।
वो
इश्क़
का
ख़ुदा
है।
उर्दू
शायर
मजनू
के
हर
काम
को
और
हर
हरकत
को
सरहाते
हैं
जिस
तरह
शागिर्द
और
चेले
अपने
पीर
या
गुरू
को
सरहाते
हैं।
इश्क़
सिर्फ़
इश्क़
के
लिए
है
उसे
रोटी
,कपड़ा,
मकान,
या
को
ऐ
और
दुनयवी
आराइश
दरकार
नहीं।
मजनूं
ने
दुनिया
के
हर
ऐश-ओ-आराइश
को
छोड
दिया
था।
जब
एक
पेंटर
मजनूं
की
तस्वीर
बनाता
है
तो
उसे
नंगी
ही
बनाना
पड़ता
है
क्योंकि
मजनूं
कपड़ों
को
फाड़
कर
नंगा
हो
जाता
था।
ग़ालिब
कहता
है
कि
पेंटर
या
मुसव्विर
का
paint
और
केनवास
भी
मजनूं
को
cover
नहीं
कर
सकते।
हालांकि
रंग
और
केनवास
दोनों
ख़राब
चीजों
को
ढांक
सकते
हैं
।
एक
पेंटर
,
एक
जोगी
की तस्वीर कपड़े पहने नहीं
बना सकता उसे नंगा और भभूत
रमाये हुए ही बताना पड़ता है। शेअर के
अलफ़ाज़
की सजावट बहुत खूब है।
Shouq har rang raqib-e-sar-o-samaN nikla
love, in any color, is enemy of belongings
Qais tasweer ke parde
meiN bhi QoryaN nikla
Seemingly the picture of Qais (Majnu-the
legendary lover) is covered with
veil of a
canvas, yet he remains naked!
(Qais, ripped his own clothing and
remained bare)
shouq= love, yearning Har-rang= in any color, in all aspects
Raqeeb= a rival, an enemy
sar-o-samaN= belongings, roti-kapda-makan
(food-clothing-roof), possessions
nikla= came out, is apparent
Qais= real name of Majnu. In Arabic
majnu means a crazy person; it is
derived from junun=craze.
Arabs called Qais a Majnu, because of his
non-conforming and crazy, behavior.
Tasweer ke parde = canvas of picture
OoryaN= naked,
exposed
This is the 1st verse of Ghalib’s 6th Ghazal. Being 1st verse of a
ghazal it is a “Matla” of the ghazal and its both lines have same radif
& qafiya, a rhyming end. This is one of the most celebrated Ghazals of
Ghalib. It has been sung among others, by top singers Rafi, Talat, Asha,
& Lata. To listen to 3 of them, please click here:
http://lists.elistx.com/archives/blank/200910/mp3GoKJq3lIoP.mp3
Asha?
http://lists.elistx.com/archives/blank/200910/mp3HiIEFb2I42.mp3
Md. Rafi
The
Ghazal has simple words, a short meter, great choice words, and depth of
meaning. Play on words such as: paint, canvas, and nakedness and also
the depth of its meaning are a mind boggling ecstasy.
Meaning: In
Urdu poetry, Majnu is symbol as well as maestro of love; no one can top
him. Again, followers of all religions or path celebrate every action of
their prophets, Gurus, and leaders. In the same vein, Urdu poets loud
actions of Majnu, and consider emulating him an honor.
Love is for sake of love. It doesn’t need comfort, assets, belongings,
or pleasure of roti-kapda-makan. Majnu shunned them all. To expand on
this Ghalib says, a painter renders Majnu’s portrait on a canvas (parda),
with paint; he sketches him naked, because Majnu always tore-off his
clothing; he didn’t need comfort of clothing. That is the way Majnu
looked.
Both canvas and paint are also used for covering or hiding blemishes and
also for making a subject look more beautiful. Ghalib almost in
disbelief wonders that painters for centuries tried to alter Majnu’s
look by covering him with canvas and paint, but they miserably failed;
Majnu still manifests naked! Ghalib thinks this is almost a miracle and
concludes that love, always-in all colors, is enemy of (worldly)
pleasure. The painter dressed Majnu with paint and canvas but he
rebelled against this pleasure of color and clothing and stayed put
naked.
Look at men of God, such as true Sufis, yogis, hermits, and fakirs.
They despise worldly, external, and artificial pleasure. They are in
love with God and don’t care about anything other then their focus on
love of Almighty. A painter can’t show a fakir or a yogi full-clad; his
canvas and paint can’t cover his body! Their nakedness is a symbol by
which they are recognized.
Ghalibologists’ opinions:
Bekhud:
Color of love is such that neither a painter’s garment of canvas
can dress Qais nor his color can cover his body, and fix his nakedness.
Har-rang means: in love, in crazy state, in nakedness, in painters
color, in short, in all situations, love has proved to be an enemy of
pomp and pleasure and Mirza Ghalib has exposed it.
Taba-tabaee:
He criticizes Ghalib. He says, har-rang is not an idiom; it
should have been har-tarah. Just to meet the demands of meter and rhyme
of words, mutilation of an idiom is not justified. |
