गुरुवार, 21 नवंबर 2019

न जुनूँ रहा न परी रही / सिराज औरंगाबादी / फ़रीद अयाज़ - अबू मुहम्मद क़व्वाल

https://youtu.be/S7pjtSIozaM 
A perfect blend of mysticism, poetry, 
music and art of singing.

ख़बर-ए-तहय्युर-ए-इश्क़ सुन, न जुनूँ रहा न परी रही। 
न तो तू रहा न तो मैं रहा, जो रही सो बे-ख़बरी रही।।

चली सिम्त-ए-ग़ैब से एक हवा, के चमन सुरूर का जल गया। 
मग़र एक शाख़-ए-निहाल-ए-ग़म, जिसे दिल कहें सो हरी रही।।

वोह अज़ब घरी थी में जिस घरी, लिया दर्स नुस्ख़ा-ए-इश्क़ का। 
कि क़िताब अक़्ल की ताक़ में, ज्यूँ धरी थी त्यूँ ही धरी रही।।

किया ख़ाक आतिश-ए-इश्क़ ने, दिल-ए-बेनवा-ए-'सिराज' को। 
न ख़तर रहा न हज़र रहा, मग़र एक बे-ख़तरी रही।। 

Complete Gazal and Translation :

Khabar-e-tahayyur-e-ishq sunn, na junoon raha na pari rahi
Na toh tu raha na toh mein raha, jo rahi so be-khabari rahi

Shah-e-bekhudi ne ataa kia, mujhay ab libas-e-barahanagi
Na khirad ki bakhiyagari rahi, na junoon ki pardadari rahi

Chali simt-e-ghaib se aik hava, ke chaman suroor ka jal gaya
Magar aik shakh-e-nihal-e-gham, jise dil kahe so hari rahi

Nazar-e-taghaful-e-yaar ka, gila kis zuban se bayan karoon
Ke sharab-e-sad-qadaah aarzu, khum-e-dil mein thi so bhari rahi

Woh ajab ghari thi mein jis ghari, liya dars nuskha-e-ishq ka
Ke kitab aql ki taaq main, jyun dhari thi tyun hi dhari rahi

Tere josh-e-hairat-e-husn ka, asar iss qadar so yahan hua
Ke na aayine main jila rahi, na pari kuun jalva gari rahi

Kiya khak aatish-e-ishq ne dil-e-benava-e-Siraj ko
Na khatar raha na hazar raha, magar aik be-khatari rahi

Siraj Aurangabadi 

(1763-1712), born at Aurangabad Maharashtra, was an 
Urdu poet who came after Wali Dakhani
His full name was Siraj-ud-Din Aurangabadi 

Influenced by famous Persian poets like Hafiz,  
Siraj gave ghazal a new orchestration of mystical  
experience. Hence his ghazals have  
two-dimensional meanings - the mystical and  
metaphysical at one level,  
and the secular and physical at another.

Khabar-e-tahayyur-e-ishq is one of the best know ghazals 
of Siraj. I believe that explaining or paraphrasing a piece 
of poetry from one language in another is such an arduous 
task. More so if a poem of an Indian language is to 
be explained in English.

Besides, a ghazal is like a beautiful and fragrant flower, 
which gives you pleasure but you cannot pass the sublime 
experience on to another person on a vehicle of words. 
I am trying this difficult task for the benefit of my friends 
and, in doing so, am fully aware that my effort is 
most likely to be inadequate.

The text of the ghazal (in Roman script), followed by a 
paraphrase and the explanatory notes (as best as I can explain) 
follow:

Khabar-e-tahayyur-e-ishq sunn, na junoon raha na pari rahi
Na toh tu raha na toh mein raha, jo rahi so be-khabari rahi

On learning the amazing saga of love, neither the frenzy 
(junoon) was left, nor did the sweetheart (pari) remain. 
I was ‘me’ no more, you were ‘thee’ no more; only a 
state of oblivion remained.

This she'r reminds me of the lines from Rumi:

I always thought that
I was me — but no,
I was you
and never knew it.

The consciousness of self is obstructive and it is only 
the removal of 'knowledge' and 'thought' (Rumi has 
used the words ‘thought’ and ‘knew’) that leads to 
the state of self-unconsciousness where the lover 
and the beloved become one.

Shah-e-bekhudi ne ataa kia, mujhay ab libas-e-barahanagi

Na khirad ki bakhiyagari rahi, na junoon ki pardadari rahi

The gift of the ‘Lord of Ecstasy’ to me was a garb of 
nakedness. All that the wisdom had stitched was 
gone; the veil of madness no longer remained.

At the spiritual level the couplet can be interpreted like this: 
My beloved, the shah-e-bekhudi has ripped naked my 
heart and soul, ridding them of the layers of stitching 
by the misguided intellect, which is nothing more 
than a veil of madness. The extreme of love endows the 
heart with divine purity. Reason and intellect have 
been viewed as hindrances, and the perceived sanity 
as madness. 
Chali simt-e-ghaib se aik hava, ke chaman zahoor ka jal gaya
Magar aik shakh-e-nihal-e-gham, jise dil kahe so hari rahi

A sweeping wind, which came from beyond the 
visible world, consumed the visible garden 
with fire; just one branch on the tree of grief, 
which they call heart, despite the blaze retained 
its green.

The reference here is to the lost Paradise, and the 
perennial quest to re-unite with it. The Divine 
breeze would burn the worldly existence leaving 
behind the hope for reunion. The worldly 
existence (chaman) has been likened to a tree of 
sorrow and suffering, and the Divine breeze as 
the liberator. Nothing grows on that tree except 
sadness, caused by the separation from his 
beloved. Now that entire existence is gone, only 
the abode of the beloved (heart) has survived.

Nazar-e-taghaful-e-yaar ka, gila kis zuban se bayan karoon
Ke sharab-e-sad-qadaah aarzu, khum-e-dil mein thi so bhari rahi

I am speechless to complain about the indifferent 
and uncaring glances (nazar-e-taghaful-e-yaar) of 
my beloved; the wine of desire that filled 
the heart remained suppressed, concealed.

At the temporal level, these lines would simply 
suggest that there is a heart overflowing with 
desires which one is unable to express due to 
the indifferent looks of the beloved. At the 
metaphysical level it would suggest that the 
worldly desires are often out of sync with the 
Divine commandments.

Woh ajab ghari thi mein jis ghari, liya dars nuskha-e-ishq ka
Ke kitab aql ki taaq main, jyun dhari thi tyun hi dhari rahi

It was at a moment strange that I read a book of 
love; the book of reason, brushed aside, 
remained shelved and sheathed.

Reason (aql-o-khirad), the product of mind is 
considered a detriment, hindering the spontaneity 
of heart. A person guided by logic and reason is 
too calculative to be able to devote to pure love; 
whereas selfless love is motivated by heart 
and not mind. For that reason love and brain 
are just incompatible. Mind is deceitful, 
untrustworthy, selfish and devious whereas 
heart is pure, untainted and selfless. As Iqbal 
said: bekhatar kuud para aatishe-namrood mein 
ishq/aql thi mehvi-tamasha-e-lab-baam abhi


Tere josh-e-hairat-e-husn ka, asar iss qadar so yahan hua
Ke na aayine main jila rahi, na pari kuun jalva gari rahi

Your bewitching beauty, love, such a spell 
did cast; the mirror stood bereft of gloss 
and beauty seemed to freeze.

Bewildered by your beauty (Josh-e-hairat-e-husn), 
I had such a mark on my heart (yahan is a pointer 
towards the heart) that the heart (aayina , the 
mirror of heart) has lost all its shine (the basic 
quality of a mirror) and angel (pari is used as 
simile to refer profound beauty) had no 
beauty left to reveal (‘kuun’means ko).

Kiya khak aatish-e-ishq ne dil-e-benava-e-Siraj ko
Na khatar raha na hazar raha, magar aik be-khatari rahi

The fire of love reduced to ashes Siraj’s voiceless 
heart; fears and cares got consumed, intrepid 
courage held the field.

The fire of love (aatish-e-ishq) has burnt the 
voiceless heart (dil-e-benava) of Siraj to ashes. 
The heart is so liberated from fears (be-khatari) 
that there is no feeling of vulnerability or threat 
left. (As Iqbal has used the word bekhatarbekhatar 
kood para aatish-e-namrood mein ishq).

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