Wednesday, November 23, 2011

kabhi aye haqiiqat-e-muntazar


Allama iqbal ki is nayaab ghazal ko madan mohan ne bahut hi khubsoorat jaama pehnaya hai. lata ne utni hi shiddat se isko gaaya bhi hai – this is probably the only Iqbal ghazal Lata has ever sung...

Here are some other versions:
·         By Ustad Ghulam Ali Khan
·         By Habib Wali Muhommad
·         By Ibrar ul Haq
·         Recitation by Bostan 
·         By Rahat Fateh Ali Khan


ORIGINAL POETRY BY IQBAL (what is used in the lata version is in bold):
kabhii ai haqiiqat-e-mu.ntazir nazar aa libaas-e-majaaz me.n
ki hazaaro.n sajde ta.Dap rahe hai.n terii jabiin-e-niyaaz me.n

tarab aashanaa-e-Kharosh ho tuu navaa hai maharam-e-gosh ho
vo suruur kyaa ke chhaayaa huaa ho sukuut-e-pardaa-o-saaz me.n

tuu bachaa bachaa ke na rakh ise teraa aa_iinaa hai vo aa_iinaa
ke shikastaa ho to aziiz tar hai nigaah-e-aa_iinaa-saaz me.n

dam-e-tauf kar mak-e-shammaa na ye kahaa ke vo asr-e-kohan
na terii hikaayat-e-soz me.n na merii hadiis-e-gudaaz me.n

na kahii.n jahaa.N me.n aman milii jo aman milii to kahaa.N milii
mere jurm-e-KhaanaaKharaab ko tere azo-e-ba.ndaa-navaaz me.n

na vo ishq me.n rahii.n garmiyaa.N na vo husn me.n rahii.n shoKhiyaa.N
na vo Gazanavii me.n ta.Dap rahii na vo Kham hai zulf-e-ayaaz me.n

jo mai.n sar-ba-sajdaa kabhii huaa to zamii.n se aane lagii sadaa
teraa dil to hai sanam-aashanaaa tujhe kyaa milegaa namaaz me.n

Some friends have asked for its translation… I will try to go a step ahead and attempt its interpretation also… for now, here is a compilation from various sources & I have quoted mostly what scholars especially Islamic researchers have said, and others in the links of music itself:

“Ye allama iqbal ne uss waqt likhi thi jab logon ne kahaa ki Dr Sahib aap toh namaaz hi nahiin parhtay, toh allama ne iss ke zariye apni khwahish zaahir ki hai ki jab asli haqeeqat samnay ayegii toh hee mai.n sajday karoonga… aur aakhri misra iss ka gawaah hai… “

1.     kabhii ai haqiiqat-e-mu.ntazir nazar aa libaas-e-majaaz me.n 
2.     ki hazaaro.n sajde ta.Dap rahe hai.n merii jabiin-e-niyaaz me.n

TRANSLATION:
"Haqeeqat" = truth or reality,
Haqeeqat-e-Muntazir = the eagerly awaited, hidden reality…
"Libas" = apparel
"Majaz" = something that is visible and tangible or apparent in worldly form.
Libaas-e-Majaz = in physical form... (muraad kaayenaat mein phaili salamati ki be-hisab nishaniyan ki hai)
"Nazar" = to be visible or to see.

1.     O long awaited, much sought after truth or reality, sometime, manifest in a tangible or visible or material form (Allama Iqbal was a great scholar…the truth he is referring to is the Absolute truth…)
2.     For all the innumerable prostrations are restless in my bent forehead writhing… Aey Khuda, mein tujhey din mein paanch baar sajda karta hoon, lekin agar kahin tu insaani wujood mein nazar aajaey, aur mein tujhey dekh paaoon tu hazaroon sajdey karoon.

SOME INTERESTING ASPECTS:

·         The Muntazar vs muntazir debate:
"Muntazir" = the person who waits or seeks.
"Muntazar" = “what” (person who / thing which, is waited for or sought after.

There is controversy amongst scholars whether the word used in this ghazal is "MUNTAZAR".
In all the versions of Bang-e-D'ra, particular attention has been given to show this word as "MUNTAZAR". This is a very delicate point as it changes the meaning completely. The Eternal Reality is not "waiting" for any one. It is the creatures who are waiting for "MUSHAHIDA".

·         In Sufi practice at least, one can find examples of Majaaz in "Madho Lal Hussein", or Mehr Ali Shah Sahib when he says:

"Dassay Soorat Rah Bay Soorat Da, Jehra Rah Hay Ain Haqiqat Da,
Par Kam Na'in Eh Bay Soojhat Da, Koi Wirlian Moti Lay Tarian."

That is why man has had to develop different types of worships such as idol worship etc.

A relatively famous contemporary Indian poet said:

Laakh munkir sahi, par zauq-e-parastish mera,
Aaj bhi koi sanam, koi, khuda mangay hai!

Allama Iqbal Sahib expresses his desire to render "Thousands of SAJDAs" in front of  the Awaited Reality IF, IT came in Material Form.

Brahimi nazar paida magar mushkil say hoti hay
Hawas, chupp chupp kay seenon mein bana laiti hai tasveerein.

All Sufis, and most poets, have been longing for a Glimpse of the Eternal and the Omnipresent Reality.
Ghalib said :
Usay kaun dekh sakta, ki yagana hai, wo, yakta
Jo, du'i ki boo bhi hoti, tau, kaheen do'char hota.

Man’s desire to “see” God has been, and, to some extent still is, his strongest…

Another example of the desire to see God:
Maana ki teri deed ke qaabil nahiin huun mai,
Tu mera shauq dekh mera intizaar dekh!

And the apparent response:
Kholi hain zauq-e-deed ne ankhein teri agar,
har rah-guzar mein naqsh-e-kaf-e-pa-e-yaar dekh!

Iqbal has mentioned at other places like "Qareeb tar hai Namood jis ki, usi ka mushtaq hai zamana..

·         Not just hazaar, but hazaaro;N – jaise do versus dono.N - implying that I've never done any at all…
·         Wordplay (involving both sound and meaning) of munta:zir and na:zar ; and of the invocation of the powerful traditional opposition of haqiiqat  vs. majaaz
·         The wild 'theologically incorrect' brashness of this verse is irresistible. In effect, the speaker is trying to cut a deal with God over what God claims as his rightful due already.
·         Also check out all the meanings of niyaaz , Platts p. 1164.
·         He has also said: Masjid to bana dii shab bhar main imaa.n ki hararat walon ne,
Mann apna purana paapi hai barson mein namaazi ban na sakaa!

********

1.     tarab aashanaa-e-Kharosh ho tuu navaa hai maharam-e-gosh ho 
2.     vo suruur kyaa ke chhaayaa huaa ho sukuut-e-pardaa-o-saaz me.n

TRANSLATION:
1.     Join the assembly's celebrations… Become joy-acquainted with clamor… you are a voice, become intimate of the ear… you are a song, be heard… ('joy-acquainted' is literal; the expression may appear strange, but no stranger than much else in modern English poetry).
2.     What [kind of] pleasure would it be, that remains or is spread merely over or hidden in… or What good are melodies which are veiled in… the silence of the curtain / tone / fret of a musical instrument?

SOME INTERESTING ASPECTS:
·         Check out all the meanings of pardah, Platts p. 246


********

1.     tuu bachaa bachaa ke na rakh ise teraa aa_iinaa hai vo aa_iinaa 
2.     ke shikastaa ho to aziiz tar hai nigaah-e-aa_iinaa-saaz me.n

TRANSLATION:
1.     Do not carefully protect it, your mirror is that mirror,
2.     Which, if it were broken, would be even dearer in the mirror-maker’s (Maker's) eye!

SOME INTERESTING ASPECTS:

·         The 'mirror of the heart' goes far back in Persian ghazal tradition. Traditionally it's a metal mirror that can be either brightly polished or dimmed by rust and dust; here, however, it's a new fangled glass mirror that, like a heart, can be broken…
·         In Islamic mysticism, Aaina (mirror) is a metaphor of Dil (Heart). Iqbal says: Ae logo, apne dil ko bacha bacha kar na rakho, tum darte ho ke kahin tumhaara dil dukhi na ho jaaey, toot na jaaey, yaad rakho, dukhi aur toote huwey dil ooper waaley ki nazar mein ziyaada qeemti hain.

********

1.     dam-e-tauf kar mak-e-shammaa na ye kahaa ke vo asr-e-kohan 
2.     na terii hikaayat-e-soz me.n na merii hadiis-e-gudaaz me.n

TRANSLATION:
1.     At the moment of circumambulation the moth (candle-insect) exclaimed, "Those past effects,
2.     Are neither in your tale of burning (story of pathos), nor in my story of melting (tale of love).

SOME INTERESTING ASPECTS:
·         A kirmak, literally a 'worm', can also be a small insect, thus a moth too as it obviously is here.
·         But of course, if he says it while going around the candle (and thus preparing to hurl himself into it), how true can his words be taken to be? Or is he saying it as he hesitates, and considers not hurling himself in?
·         The loss of effect that he complains of is a literary one: it concerns narrative problems, not physical ones.

********

1.     na kahii.n jahaa.N me.n aman milii jo aman milii to kahaa.N milii 
2.     mere jurm-e-KhaanaaKharaab ko tere azo-e-ba.ndaa-navaaz me.n

TRANSLATION:
1.     My wretched sins could not get peace or shelter anywhere in the world… if it were to be available, where would it be available except…
2.     To my house-wrecking sins, when they in the shade of Thy Gracious Forgiveness were…

SOME INTERESTING ASPECTS:
·         The first line is a tour de force of resonant sound effects.
·         The irresistible force meets the immovable object: my power to sin is, urgent and devastating as it is, is hounded everywhere by your equally perpetual and indefatigable mercy.
·          Shikastagi ka khayal na laatay huey salamati ki paiham koshish karo… jahaan mein aman sirf salamati mein hai, iss nay-mat-e-lazawal kay baghair fisaad-o-fitna hai !


********

1.     na vo ishq me.n rahii.n garmiyaa.N na vo husn me.n rahii.n shoKhiyaa.N 
2.     na vo Gazanavii me.n ta.Dap rahii na vo Kham hai zulf-e-ayaaz me.n

TRANSLATION:
1.     Neither did those fervors remain in passion, neither Love has that warmth or heat nor did that mischievous-ness (!) remain in beauty…
2.     Neither that restlessness or writhing remained in the Ghaznavi nor those curls in the hair locks of Ayaaz remain !

SOME INTERESTING ASPECTS:
·         Four negations, four losses, obviously connected… but exactly how? are they parallel, or do the changes in the second line cause the changes in the first line?
·         Mahmud Ghaznavi (r.998-1030) had a beautiful slave boy, Ayaaz, with whom he shared a strong mutual love… Iqbal seems to invoke this pair of lovers more than many ghazal poets do (also referred to him in his famous & controversial nazm SHIKWA - ek hi saf mein khadey ho gaye Mahmud-o-Ayaaz, Na koi banda raha, na koi banda-nawaaz)
In the same row they stood for prayers shoulder to shoulder
None as the Slave and none as the Master stood. Mehmud Ghaznavi and Ayaaz were lovers, Iqbal says: Mohabbat ke silsiley ko aage badhaane ke liye zuroori hai ke Aashiq ke dil mein ishq ki shama jali rahe aur mehboob ke liye zuroori hai ke wo apne hussn ko barqaraar rakhey, ab to ye haal hai ke ishq ki aag bhi bujh gaii hai aur hussn ka chaand bhi gehna gaya hai gaya… Mehmud Ghaznavi ke dil se Isq ki tadap jaati rahi aur Ayaaz ka hussn-o-shabaab bhi rukhsat huwa…
·         Many weep when they listen to this verse… “probably because the ummah is at its lower point... and we have lost our real values somewhere in the past..... and this is what he means by these lines!”
·         “dr iqbal uss ko Allah kay husn say tabeer kartay hain - aaj ham in nishaniyon kay ilm ko science ka ilm bana chuke hain aur huey jahan-e-adna ( duniya ) kay deewany aur alam-e-aala akhiraa ki salamati ko faramosh kar chuke? iss liye hamara farz amaal-e-saleh yani salamati ki paiham koshish hai”

********

·         jo mai.n sar-ba-sajdaa kabhii huaa to zamii.n se aane lagii sadaa 
·         teraa dil to hai sanam-aashanaaa tujhe kyaa milegaa namaaz me.n

TRANSLATION:
1.     If ever I put my head down in prostration, a voice appeared to rise from the ground (earth),
2.     Your heart is acquainted with materialism (idols), whatever will you ever get from namaz… no rewards for your prayers are possible… “jis dil mein jazba-e-salamati na ho, ussey ye sunayi diya ki tera nafs khahishat-e-faani ka ghulam hai, tu jazba-e-lazawal ka ghulam nahi, teri namaz jo salamati ki taleem kaise?  When I started to pray (which I seldom do), the earth cried out “Your heart belongs to your love, what would you yield out of the prayer? (In Muslim prayers ONE should be free of every bond on earth before praying, hence the last line)

SOME INTERESTING ASPECTS:
·         This final verse elegantly reminds us of the first one.
·         The beloved in the ghazal world is often called an 'idol', both for her beauty and the worship the lover accords her, and for her rivalry with the real God.
·         The question in the second line could be admonitory ('God can see that your heart isn't in it') or merely impatient ('You're already friends with idols, so what more do you need?').
·         Jab Khuda Hi Mehboob/Sanam Ban Jaaye Tab Ye Line Kahi/Likhi/Samjhi Ja Sakti Hai..

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7 comments:

Tirath Singh said...

Millions a thanks, Dr Reshma. This translation/explanation of Iqbal's one of the greatest ghazals is simply priceless.

Ehsan Sajjad said...

Please keep sharing more poetry with translation of Dr Allama Iqbal

Vinay Arora said...

Thank you, Madam -- thank you so much. For years I had been trying to find or work out the exact meaning of the couplet saying ' na woh Gazanavi mein tarap rahi, naa woh kham hai
zulf-e- Aayaaz mein"

Narottam Jansari said...

Thanks to translater to trnslate such a poem

Anonymous said...

Reshma Ji, really a pleasure and Privilege to have read such a beautiful translation and explanation. Thanks a lot.

Sanjay K Lal said...

This is definitely the best interpretation I have ever seen. Very in depth understanding. A million thanks to Dr Reshma.

chennairavi said...

Wow! Thank you for this detailed and nuanced explanation and translation.
I am going to read, re-read and more read your post to appreciate this poetry.

Thank you 🙏🏼