Sajid Sajni: The last poet of Rekhti

First an astonishing Urdu couplet:

talaaq de to rahe ho ataab-o-qahar ke saath
meraa shabaab bhii lauTaa do mere meher ke saath

[Sajid Sajni]

While Classical Urdu ghazal was called ‘Rekhta’, the poetry written in woman’s voice by men was termed as ‘Rekhti’. In the late 18th and early 19th century, in a deadent sultanate of Oudh, poetry in woman’s voice was penned by poets as a form of protest.

It was promptly dubbed Rekhti (opposed to Rekhta). Sa’adat Yaar Khan Rangin is credited as its creator. Though Insha, Jurat and Jan Sahib were other exponents.

In this genre, men wrote poetry in a feminine voice, using the idiom of women (begumati zubaan) and addressed another woman (bhabhi, baaji, aapa, ammi, saheli et al).

It gave a voice to women to express their grievances in their own language, except that it was written by men. Later it degenerated and was never recited in genteel soirees or homes. The genre died in the middle of 19th century

But Sajid Sajni revived it and refined it. He gave it a healthy direction apart from his sharp wit, satire and humour. Sajid Sajni was born in Lucknow in 1922 and settled in Bhopal in 1946.

[Article courtesy: Nasir Kamaal]

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Urdu Poetry: 200 Ghazals and Nazms

Urdu poetry transcends geographical boundaries and is understood and loved by millions who can’t read a word written in Urdu script. I am happy that my other blog now has a collection of 200 selected ghazals and Nazms, each in Urdu, Hindi and Roman English scripts, for the benefit of readers. Read.

Due to the linguistic politics, Urdu unfortunately got identified as a language of Muslims in India, and the script of the langauge suffered as a result. However, the poetry remained as popular as it was in the past.

When you intend to put the gems of Urdu poetry on the web, you can’t ignore that a vast majority of readers can’t read Urdu script (especially Indians). While Roman script was used for writing Urdu even in Indian Army, it has certain restrictions.

Though devanagari script is quite scientific, it also has some limitations. When I started blogging I aimed at publishing the best of Urdu poetry. I soon learnt that one has to use all the three scripts as most of the readers understand Roman but are not too comfortable with the transliteration.

So I decided to write each ghazal or Nazm in English, Urdu and Hindi scripts. Roman and Hindi supplement each other. For example, if a person can’t understand a word in Roman, he can read it in devanagari and be able to pronounce it clearly.

Of course, those who can read Urdu, will have no problem. But they will also get help in pronounciation of difficult or confusing words by reading the Roman text. The result is that now there are over 200 Ghazals and Nazms which you can read at this website. Click

From classical masters like Mir, Ghalib, Momin, Dard and Dagh to progressive poets and the modernist stream, we have tried to incorporate the best verses of each generation.

Nazms are often neglected but on this site you will get to read poetry of Akhtarul Iman, Faiz, Majaz, Ibn-e-Insha, Sahir, Nida and many others. The number of posts is now well over 200 and it will keep growing.

The beauty of Urdu poetry, especially ghazal, lies in the fact that though it has at least five to six couplets, each couplet can be separately used and quoted. The quotability makes Urdu poetry unique and the ‘sher’ reverberate from pan kiosks to parliament of India.

Click to read Urdu poetry.

By Indscribe [www.anindianmuslim.com]

Yeh sharmili nazar kah de to kuchh gustakhiyan kar loon: Akhtar Sheerani

Akhtar Shirani

tamannaaoN ko zindaa aarzuoN ko jawaaN kar luuN
yeh sharmiili nazar kah de to kuchh gustaakhiyaaN kar luuN

bahaar aaii hai, bulbul dard-e-dil kahtii hai phuuloN se
kaho to maiN bhii apnaa dard-e-dil tumse bayaaN kar luuN

hazaaroN shoKh armaaN chutkiyaaN le rahe haiN dil meN
hayaa unkii ijaazat de to kuchh be-baakiyaaN kar luuN

koii suurat to ho duniaa-e-faani meN bahalne kii
Thahar jaa aye jawaani maatam-e-umr-e-ravaaN kar luuN

mujhe donoN jahaaN meN ek voh mil jaayenge gar Akhtar
to apnii hasratoN ko be-nayaaz-e-do-jahaan kar luuN

Akhtar Sheerani

zindagi naam hai mar mar ke jiye jaane ka…Fani Badayuni

Faani Badayuni

एक मोअ’म्मा है समझने का ना समझाने का
ज़िन्दगी काहे को है ख़्वाब है दीवाने का

ख़ल्क़ कहती है जिसे दिल तेरे दीवाने का
एक गोशा है यह दुनिया इसी वीराने का

मुख़्तसर क़िस्सा-ए-ग़म यह है कि दिल रखता हूं
राज़-ए-कौनैन ख़ुलासा है इस अफ़साने का

तुमने देखा है कभी घर को बदलते हुए रंग
आओ देखो ना तमाशा मेरे ग़मख़ाने का

दिल से पोंह्ची तो हैं आंखों में लहू की बूंदें
सिलसिला शीशे से मिलता तो है पैमाने का

हमने छानी हैं बहुत दैर-ओ-हरम की गलियां
कहीं पाया न ठिकाना तेरे दीवाने का

हर नफ़स उमरे गुज़िश्ता की है मय्य्त फ़ानी
ज़िन्दगी नाम है मर मर के जिये जाने का
(फ़ानी बदायूनी)

Ek mohamma hai samajhne ka na samjhaane ka
Zindago kaahe ko hai, Khwaab hai diivane ka

The element of sorrow shines through the poetry of Fani Badauni. No poet wrote as much about meloncholy and with such intensity as Fani. In order to read the ghazal in Urdu script CLICK

Mirza Ghalib’s Ghazal in Urdu and devanagari

ghalib


न गुल-ए-नग़्मा हूं न परदा-ए-साज़
मैं हूं अपनी शिकस्त की आवाज़

तू और आराईश-ए-ख़म-ए-काकुल
मैं और अंदेशए-हाए-दूर-दराज़

लाफ़-ए-तमकीं फ़रेब-ए-सादा-दिली
हम हैं और राज़हाए सीना-ए-गुदाज़

हूं गिरफ़्तार-ए-उल्फ़त-ए-सय्याद
वरना बाक़ी है ताक़त-ए-परवाज़

नहीं दिल में मेरे वह क़तरा-ए-ख़ूं
जिस से मिश्गां हुई न हो गुलबाज़

ऐ तेरा ग़मज़ा-ए-यक क़लम अंगेज़
ऐ तेरा ज़ुल्म-ए-सर बसर अंदाज़

तू हुआ जलवागर मुबारक हो
रेज़िश-ए-सिजदा-ए-जबीन-ए-न्याज़

मुझको पूछा तो कुछ ग़ज़ब न हुआ
मैं गरीब और तू ग़रीब नवाज़

असदुल्लाह ख़ां तमाम हुआ
ऐ दरेग़ा वह रिंद-ए-शाहिदबाज़
(ग़ालिब)

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Meer un neembaaz aankhoN men sari masti sharaab ki si hai: Meer Taqi Meer

That’s Meer’s famous ghazal.

Momin’s famous Urdu ghazal: Tum mere paas hote ho goya…

Read Momin Khan Momin’s famous ghazal. It is posted here in Roman, Devanagari and Persian scripts:

असर उसको ज़रा नहीं होता
रंज राह्तफ़ज़ा नहीं होता

तुम हमारे किसी तरह न हुए
वरना दुनिया में क्या नहीं होता

नारसाई से दम रुके तो रुके
मैं किसी से ख़फ़ा नहीं होता

तुम मेरे पास होते हो गोया
जब कोई दूसरा नहीं होता

हाल-ए-दिल यार को लिखूं क्यूं कर
हाथ दिल से जुदा नहीं होता

दामन उसका जो है दराज़ तो हो
दस्ते आशिक़ रसा नहीं होता

किसको है ज़ौक़-ए-तल्ख़्कामी लैक
जंग बिन कुछ मज़ा नहीं होता

चारा-ए-दिल सिवाए सब्र नहीं
सो तुम्हारे सिवा नहीं होता

क्यों सुने अर्ज़-ए-मुज़्तर ऐ मोमिन
सनम आख़िर ख़ुदा नहीं होता

मोमिन ख़ां मोमिन

asar usko zaraa nahiiN hotaa/ranj raahat-fazaa nahiiN hotaa

tum hamaare kisii taraH na hu’e/varnaa duniaa meN kyaa nahiiN hotaa

narsaa’ii se dam ruke to ruke/maiN kisii se Khafaa nahiiN hotaa

tum mere paas hote ho goyaa jab ko’ii doosraa nahiiN hotaa

haal-e-dil yaar ko likhuuN kyuuN kar/haath dil se judaa nahiiN hotaa

daaman uskaa jo hai daraaz to ho/dast-e-aashiq rasaa nahiiN hotaa

kisko hai zauq-e-talKh-kalaami laik/jang bin kuchh mazaa nahiiN hotaa

chaara-e-dil sivaa’e sabr nahiiN/so tumhaare sivaa nahiiN hotaa

kyuuN sune arz-e-muztar a’e-momin/sanam aaKhir Khudaa nahiiN hotaa