The Passion Entrapment (Daira-e-Mohabbat)

Concept-Art-Branko-Bistrovic-A-Hunter-By-Day-A-Stargazer-By-Night

In an adolescence of union, settings for a year anew plays well…
In an entrapment of passion, beatings of heart-debut plays well…

With each meeting happens a new vow, for separation – a pledge,
In a wager of romance, offerings of a sweet fondue plays well…

“Did you comprehend gist of emerging whispers, oh pioneer?”
In all its posterity, silence leaves, a laughing dejavu plays well…

Even in depths of canyons, hunting a mirage of sun’s warmth…
For ages of remembrance, craving a point of view plays well…

For all the flames that arise to beguile from a star so distant,
Not loosing a shape or form, a diffusion of hue plays well…

In all its liveliness yet after passing of the centuries in passivity,
Due matters of whole life, ending with a thank-you plays well…

Closing in now, for loving, even the majestic skies of heavens,
Yet for real sense of bonding, only “a tried and true” plays well…

– Dedicated to the passion and its dominating idols…

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Urdu Version:

Daira-e-Mohabbat mei dil ho non-e-haal acha hai…
Wasl-e-Mohabbat tera kamsin sa pehla saal acha hai…

Har mulaqat mei qasmei, har judai par waaday…
Labon par qulb-rawani ka gohr-e-kamaal acha hai…

Jo poochna sirhanay “Sunni kiya dil ki dhadkhan?”
Be-sakhta unka hansna, kehkar “sawaal acha hai”…

Pasta-e-haal bhi rawaan hon jo ufaq ki umeedein,
Ae umr-e-tehsil teri har soch ka jamaal acha hai…

Teergi-e-shab mei uthtay hein musulsul sholay,
Behekti karwato se yaha hosh ka zawaal acha hai…

Laut aatay hein aisey jaisey sadiyo mei bahaar,
Seena-e-pewast per yun do pal ka malal acha hai…

Aagaya qurbat mei Sohani ab saatwaan aasmaan,
Ya Ilahi yeh Ishq-e-mizaaji ka bhi to jaal acha hai…

– Dedicated to the idols of love that we create and perish…

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Image/ Art Credits:

  1. Concept Art: Branko Bistrovic – A Hunter By Day A Stargazer By Night
  2. Stock image: Boat in bottle
  3. Occupy Love – TheNation.com
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My beloved, do not ask me for that love again (Mujh se pehli si muhabbat mere mehboob na maang)

Most beautiful recitation I found of this eternal poem is by equally timeless Madam Zohra Sehgal (The Granny – As known by in Bollywood). It’s a sheer pleasure to see her energy and passion along wisdom and patience, and way she weaves them all together to recite this poem. If you haven’t seen this before, I am sure this will be a best thing you will see today.

Translation:

My beloved, ask me not for the love, that once we shared before…

I aspired, should you be along, life would be nothing but serene…
Thinking of you, who would even care, what rest are contemplating?
Countenance of yours holds the bar for the springs in entire universe…
What in world would ever come close to way your eyes do immerse…

Should you be right beside me, heavens and stars would realign to my course…
But, tis happened not, a mere wish it was, no more than a pre-thought.

Endless are there, the pathos in a world,
other than love’s resonance.
Countless are, the comforts in a world,
except a union’s preeminence.

Dark-sorcerous affliction scribbling an uncounted time trail.
Wrapped softly in silk, satin, brocade and velvet…
Wherever leads a sight, alleys-markets having flesh for sale.
Bodies soaked in the dust and sunk in the blood like a pellet…

Bodies emerging from the pits of disease and plague furnace…
And pus flowing out of rotted ulcers and incurable ailments.
My eyes catch such glimpses too my dear, what can I do?
Though still your beauty allures too, but what can I do?

Endless are there, the pathos in a world,
other than love’s resonance.
Countless are, the comforts in a world,
except a union’s preeminence.

My beloved, ask me not for the love, that once we shared before…

– Dedicated to the beloved urging the lover, to shower the love like before…

Mujh se pehli si muhabbat mere mehboob na maang

Maine samjhaa tha ke tu hai to darakhshaan hai hayaat
Tera gham hai to gham-e-dehar ka jhagdaa kyaa hai
Teri surat se hai aalam mein bahaaron ko sabaat
Teri aankhon ke siwaa duniyaa mein rakhkhaa kya hai

Tu jo mil jaaye to taqdir nigoon ho jaaye
Yoon na thaa maine faqat chaahaa thaa yoon ho jaaye
Aur bhi dukh hai zamaane mein muhabbat ke siwaa
Raahatein aur bhi hain vasl ki raahat ke siwaa

Anginat sadiyon ki taareeq bahemaanaa tilism
Resham-o-atlas-o-kamkhwaab mein bunvaaye hue
Ja-ba-ja bikte hue koochaa-o-baazaar mein jism
Khaak mein lithade hue, khoon mein nehlaaye hue
Jism nikle hue amraaz ke tannooron se
Peep behti hui galte hue naasooron se

Laut jaati hai udhar ko bhi nazar, kya keeje?
Ab bhi dilkash hai tera husn, magar kya keeje?
Aur bhi dukh hai zamaane mein muhabbat ke siwaa
Raahatein aur bhi hain vasl ki raahat ke siwaa

Mujh se pehli si muhabbat mere mehboob na maang

– Original verses written by none other than one of the world’s greatest Urdu poets, Faiz Ahmad Faiz saheb. So delicately he puts the words here and so wonderfully structured the poem is, that one can’t help but stay amazed. Requesting the beloved to stop being so nostalgic, he’s here narrating a character arc, building the fantasy in the starting couplets and then in verses that follows it, he slowly sheds it down with the pieces of reality, of what happens to be the world around. Beautifully portraying his helplessness in dividing an attention, between eternal love of his life, and injustice and corruption rampant.

Urdu version:

مجھ سے پہلی سی محبت مری محبوب نہ مانگ

میں نے سمجھا تھا کہ تو ہے تو درخشاں ہے حیات
تیرا غم ہے تو غمِ دہر کا جھگڑا کیا ہے
تیری صورت سے ہے عالم میں بہاروں کو ثبات
تیری آنکھوں کے سوا دنیا میں رکھا کیا ہے؟
تو جو مل جائے تو تقدیر نگوں ہو جائے
یوں نہ تھا، میں نے فقط چاہا تھا یوں ہو جائے

اور بھی دکھ ہیں زمانے میں محبت کے سوا
راحتیں اور بھی ہیں وصل کی راحت کے سوا

ان گنت صدیوں کے تاریک بہیمانہ طلسم
ریشم و اطلس و کمخاب میں بُنوائے ہوئے
جابجا بکتے ہوئے کوچہ و بازار میں جسم
خاک میں لتھڑے ہوئے خون میں نہلائے ہوئے

جسم نکلے ہوئے امراض کے تنوروں سے
پیپ بہتی ہوئی گلتے ہوئے ناسوروں سے
لوٹ جاتی ہے ادھر کو بھی نظر کیا کیجے
اب بھی دلکش ہے ترا حسن مگر کیا کیجے

اور بھی دکھ ہیں زمانے میں میں محبت کے سوا
راحتیں او ربھی ہیں وصل کی راحت کے سوا

مجھ سے پہلی سی محبت مری محبوب نہ مانگ

– فیض احمد فیض

Other than the narrations, this poem has been adapted as a song and has been lend a voice of another legendary woman Madam Noor Jehan.

On a very same tune, Farhan Zameer has provided a male version, nothing short of pure brilliance…

Anther good recital of the poem:

Reference:
Translation of Mustansir Dalvi – Mujh se pehli si mohabbat mere mehboob na mang

Suppose (Farz karo) – Ibn-e-Insha

Translation:

Suppose one’s a lover in chaste;
Suppose one’s crazy as well.
Suppose these both are plain lies,
Suppose there’s fiction in place.

Suppose this lament of heart is
narrated with a possessive heart.
Suppose there’s more to it than
revealed – in concealed parts.

Suppose if to entertain you, one
searches for various excuses.
Suppose if pair of your eyes too
are for real the potion chalices.

Suppose, if this affliction is a lie,
and lie is the one’s love for you.
Suppose under such influence at times,
one’s breathing remains due.

Suppose, if this union-separation
is all a drama well orchestrated.
Suppose this is the truth only,
what remains is all just pretended.

– Dedicated to interplay of fantasy and reality – imagination, that in spite of being unreal is very real, and reality that in spite of being actual is quite perceptive, and a derivative of our imagination.

farz karo ham ahl-e-wafaa hoN, farz karo diivaane hoN
farz karo ye donoN baateN jhuuTii hoN afsaane hoN

farz karo ye jii kii biptaa jii se jod sunaayii ho
farz karo abhii aur ho itnii aadhi ham ne chhupaayii ho

farz karo tumheN Khush karne ke dhuuNde ham ne bahaane hoN
farz karo ye nain tumhaare sach-much ke maiKhaane hoN

farz karo ye rog ho jhuuTaa jhuuTii peet hamaarii ho
farz karo is peet ke rog meN saaNs bhi ham pe bhaari ho

farz karo ye jog-bijog kaa hamne Dhong rachaayaa ho
farz karo bas yahii haqiiqat baaqii sab kuch maayaa ho

– Original poetry by an influential Urdu poet and humorist Ibn-e-Insha. This poem is famous for leaving the reader in perplexion, making them assume two extremely opposite states of perception.