Making of a poet

आबला -पा चलते चलते आता   मै

एक  बार  और  जान  से  जाता  मै

कोई मस्जिद-ओ-मीनार मिल  जाता

वही  थोड़ी  फुर्सत पाता  मै

यूँ तो मै भी  हूँ  राहत -तलब

पर  शबेगमको  राहदर बनाता   मै

हो जाऊं गर ख्वैशे रहत्कादा

जहाँन-ऐ-आशियाना  सजाता  मै

जले  तो  नर्म  सरगोशी होता

बुज्हे  तो  आबोताब  जलाता  मै

दरो-ओ-दिवार-ओ-ज़मीं-ओ-हवा

शफीक -ओ -शमीम  फैलाता  मै

जिस्म की  उफ को  मौसूफ़ दिली

ज़िदको-अदम आबाद दिखाता मै

आब्रू बर किए घर मेरे किस किस बहाने आये

कभी भेजा किसिको कभी खुद ही मनाने आये

मै तो मध्होश था इलाही उनको कुछ होश आये

अब ये भी भूले के एक बार मुहोब्बत जताने आये

अफसोस उनकी बेरुखी पर हम कैसे सुनाने आये

सोज-ए-वक्त आखिर जाने क्या लेकर ज़माने आये

राह कुर्बान किये हमने वो मेरे नज़दिके-सर आये

अबके मुज़्तर-ए-दम भरने सिनेमे कुछ डुबाने आये

ज़हिर है आज उनका अनेका मुजमीर इरादा है

कल थे मुतस्सीब आज मुतस्सिफ बनाने आये

हाथ शमा ले किताब-ए-गम गुसार पढाने आये

देखिये इर्द गिर्द कितने फना-ए-इश्क़ परवाने आये

वो तक़दीर-तलब आये तो इंसान को जगाने आये

खुद मुज्तरीफ जान-ए-ज़िद निभाने दोस्ताने आये

आईना सामने और शक्ल सूरत नहीं मिलती

मजमा-ए-शहर में खुदकीही आह्ट नहीं मिलती

अहिस्ता खिराम चलते थे फिक्रे-उकबा कबसे 

वस्त सैल-ऐ-तख़लीक़ वाजिबात नहीं मिलती

खूब यफ्ता टहले जले है कुचेमे उनके

क्यूंकर अशिकी खबर-ओ -फुर्सत नहीं मिलती

चले जा रहे है कबसे फना-ए-तलब

बस हमको वो वक्त वो तारीख़ी वफ़ात मिलती

उम्र-ए-जवा क्यूँ ना होंगे ऐसी कशिश

अक्ल को मियाद-ए-सोहोलियत  नहीं मिलती

आइये  छूके  वफ़ा -ऐ -रस्म  पुरजोर चाहत  करें

लाकर  हवाए  जलने मे कुछ तो राहत  करें

बेहाल  मुन्तशिर  माजूर   है  दिल  अज्जा अज्जा

बेवजह  क्यों दुश्मनोकी   नासाज तबियत करें 

यह  किस्मत  भी  क्या  है  मिजाज़ -ऐ -शरीर

कोई  डूबे  मज़ेमे  तो  कैसे किनारा मुसीबत  करें

ज़िद  मेरी  कैसी  है  इंशा अब  तू  ही   बता 

लिख  लिख  शाम -ओ -सेहर  बर्बाद  रियासत  करें

तक़दीर को  फरमान  दे  कुछ  इशारा  करें 

तदबीर -ऐ -इल्म  चाहिये   तो  कातिब  इशारत   करें 

अहिस्ता  अहिस्ता  यह  बात  समझ में  आये  है

पहुंचे  अदम तो  चलिए   ताजिर  हिसाबात  करें

बेवक्त  शामियाना  बिछाये  कद्र ढूंढे  है यारा 

बनाये  आशियाना  वो  अह्तिराज-ए-ज़ुल्मत  करें

ज़िद आखिर निकला ऐसा कम-अक्ल  तीरंदाज्ज़ 

वो  बैठे  शाख  पर  और  तू  उजलत करें

आखिर  एक  फासला  रह  जायेगा  मौला  दरमियाँ

क्या  क्या  इनाम  देके    ज़माना  उजरत  करें

Dasht Me

Gar Takdeer

Bazm-e-aagaz

My dear friends,

Life changes in-stream. There are physical changes; there are changes of the metaphysics. There is matter; there is mind. There is a matter to change & there is a mind to change.

Sometimes we wait for that to happen. Sometimes we realize what has happened much later. A crawler standing up is a big change. A child running is a big change.

An adult life also has many reverences that probably we miss because these are not organic. They are much more subtle but they have a magic & sometimes unbearable effect on our mind. Feeling of love is one such change. You chase people. You look deep into someone’s eyes & ask question; is this mine? Well these are rudimentary level understanding of life. Later we realize the folly & think love is not about a good face meeting a god face but a good human being meeting a compatible one. Much later we realize love is essentially goodness of character & not just a manner of being favorable to one party. Much later we realize, love is a profound ability to create. Human being may or may not participate in it.

एक हम है इस मुल्क में के आशिकाना रह गए 

मुबरख, अपनी जिद से आपने क्या क्या बदला हमको 

Our capability to find meaning in our life changes as also our initiative to find meaning in our life. When we feel there is more to find we find means & measures to go for that find. There are those who can live without all this. There are some who just can’t. Also what changes is the perspective of meaning. Togetherness is the meaning of life initially. Later on we understand the empowerment. It is irrespective of what is near & what is far. Even now as I am writing, my mind knows there is some change. Hopefully it is an elevation.

Change including the change has a predominating effect on everyone around. It is hard to find period of solace; muhalat-e-guftagu, it hard to find an occasion where one could sit & exchange beauty of mind & heart. No cribs but like everything else the poetry has taken a back seat. Instead what have come to the fore are the selling lines that have some objective like getting the job done. The short-deliverance & a shorter perspective have had a very cursing effect on the quality of ghazals that is on the platter now. Poetry has fallen prey to the fast track life. I rarely see anybody even humming his way to glory. There is no path, there is no destination. All in all human consciousness has lost the taste for beauty. Zid ki shayari is an attempt to resurrect the good things & create a new following for the age old classic form of literature. Ghazal is a panacea for a good communication, worthwhile communication in a worthwhile way. It is a research on how many things a human mind could think about. It is a way to find your own world in the world. It is a method of creating that world if that does not exist as such already. Newer destinations, newer vistas, newer events; change is eminent for you.

Zid ki Shayari is not a promise but it is a commitment to add more meaning to life.

होते है कम ही आप जैसे फिकरो-ओ-फन-ओ-इमानदार

जो करे हम जैसे नाचीज़ की क़द्र तहे दिल से एक बार 

From poet to  poetic listener

दोस्तों, मे  एक  इंसान  हूँ. और मेरी जिद मेरी इंसानियत है.
शायद  यह  कहना  ठींक  न  होगा  के  ग़ज़ल   मैंने  लिक्खी  है . शायद  यह  लिखवाइ  गइ   है   किसी  इंसान  किसी शख्स   ने  मजबूर  किये  है  मुजह्को .
इंसान   की  जिंदगी  एक  खुली  किताब   के  तरेह  है   अगर  वो  उसमे  कुछ  लिखना  चाहे  तो. इंसान  की   जिंदगी  एक  बंद  किताब  की  तरेह  है  अगर  वो  कुछ  भी  न  सुन्ना  चाहे  तो,  कुछ  भी  लिखना  चाहे  तो . वक़्त -बा -वक़्त   यह   समां  बदलता  है  के  कब  आप  अपनी  किताब -ऐ-जिंदगी  खुली  करते  हो  कब  उसे  बंद  करते  हो . ज़ाहिर  है  ग़ज़ल  लिखा  जाना  या  ग़ज़ल  लिखवाया  जाना  एक  ऐसे  आलम  की  बात  है  जब  बहुत  कुछ  हो  रहा  है . कुछ  आप  इसलिए  लिखते  हो  के  आप  कोई  एक  फला फला   बात  बखूबी  समझते  है . कुछ  आप  इसलिए  लिखते  हो  के  आप  अपने  आपको  कुछ  समझाना  चाहते  हो . और  कुछ  आप  वो  लिखते  हो  जो  आप  को  समजहना  नामुमकिन  है.  और इसलिए  आरजू  तलब  आप  उसे  लोगो  के  बिच  लाने   कोशिश   करते  हो  के  किसी   तरेह  यह  मुब्तला  दुरुस्त   हो . दोनो  या  यूँ  कहिये  के  सारी   सूरतों  में  लिखना, कहना  एकदम  मुनासिब  बात  हो  जाती  है  एकदम  ज़ाहिर  सी  बात  हो  जाती  है . इसलिए   मै   खुद  यह  समझूंगा  के  ‘जिद  की  शायरी ’ का  आलम  देखकर  इसे  किसी  भी  तरह  से  एक  ‘शायर   की   शायरी ’ न  समझ  इसे  अगर   एक  ‘इन्सान  की  शायरी ’ का  खाना  दिया  जाये  तो  अच्छा  होगा.   शायर  की   शायरी   वक़्त-बे -वक़्त  होती  है . उसके पास   हर  मंज़र  हर  मंजूर-ऐ- दामन   है  लिखने  के  लिए . इंसान  की  शायरी  हया  और  ज़माना -ऐ-खौफ-ऐ-बसर  शायरी  होती  है . उसे  बयां  करने  का  तरीका  बहुत  हल्का  और  बहोत  शर्मिला  होता  है . इसलिए मै पढ़ने  वालोंकी  सबसे  पहले  इजाज़त  चाहूँगा  और  फिर  उनसे  गुजारिश  करूँगा  के  ‘जिद  की  शायरी ’ में  वो  कोई शायर नहीं  ढूंढे  बल्कि  एक  इंसान  ढूंढे . मेरे  ख्याल  से  लाखो इन्सानोमें  एक  कोई शायर  होता  है  लेकिन  इस  ज़मानेमे  में  शायद  ही  कोई  शख्स  हो  जिसने  ज़िद  न  की  हो . इसलिए  आप  सबको  यह  बात  भी  मंज़ूर  रहेगी  के  जिद  अक्सर  बहोत  तनहा  होती  है   उस तनहाइ   को  हल्का  करनेके  लिए  यही   मुनासिब  होगा  के  मेरी  जिद  आप  भी  आपकी  जिद  समझे .
खुदा  हाफिज
ज़िद

Types of Shayaris

Indignant Shayari

There are verses that seek to chastise or self-deprecate the poet.

Nikalna khuld se sunte the aadam ka lekin

Bade be-abroo hokar tere kuche se hum nikle (Galib)

Or

Honge kam is bisat par hum jaise badkimar

Jo chal hum chale nihayat buri chale (Ibrahim Zouk)

Or

Yun hi ‘Firaq’ ne umr basar ki
Ya gham-e-janan ya gham-e-dauran-Firak Gaurakhpuri

Or

 Jist-e-toofan achha hai, jungju sar accha hai

 Marne se pehle ek aur zid ka khayal accha hai

Or

Is hal huun zid sivay fursat kuch kaam nahin milta…

Or

Is badnasib ka sar ho to zid qutl kya hai

Mar to pehlehi gaya tha isme harz kya hai

Or

Bayaan main kya karun ab is se aage apni nakaami
Tere yeh tevar aur mujh ko tujhi se kaam rahta hai- Jafar Ali Khan

Or

Ham se pehle bhi mohabbat ka yehi anjaam tha
‘Qais’ bhi nashaad tha, ‘Farhad’ bhi nakaam tha-Hasrat Mohani

Or

Muddat hui rasaayi-e-qismat ko ro chuke
Vo sang-e-dar kahan yeh hamaari jabeen kahan- Riaz Khairabadi

Or

Idhar se aaj vo guzre to munh phere hue guzre
Ab inse bhi hamari bekasi dekhi nahi jaati- Asr Lakhnavi

The poets readily walk into the common man shoe & express themselves whole-heartedly. Typically these are the verses that create a pity in the mind of the listener; that the poet is also like him, but also creates pride in him; that he is also like the poet. 

Self-eulogizing shayari

Hai to waise duniyamein aur bhi sukhanwar acche

Magar kehte hai Galib tera andaaz-e-bayan kuch aur hai

Or

Zid tu aata hai jab bhi tund apni kalam-e-tausan pe sawaar

Tab tab mizaz-e-ghalib-e-fun koi aatish-e-bayan yaad aaya

Mehfilo-tanz shayari

Mai nahi samhjta huun ke marhala jaanne ki sabko zarrorat kya hai

Aadab Karen shartiya wah karen samazhneki zaroorat kya hai

or

Bazm gar phareb hai to yeh jist kya hai

Hum kya hai, tum kya hai yeh zid kya hai

or

Aaj phir mehfilse nakaam khudaya ghar aaye,

Roz to aate rahe par aap aaj bahot yaad aaye

Political- Husn-IshqTug of war

नाहक़^[1] हम मजबूरों पर यह तुहमत^[2]है मुख़्तारी^[3] की
चाहते हैं सो आप करें हैं, हमको अबस^[4] बदनाम किया

Or

Main muntazir hun magar tera intazar nahi (Sahir)

Or

Jise aap ginte the aashna, jise aap kehta the bawafa
Main wahi hoon Momin-e-mubtala tumhen yaad ho ke na yaad ho

Or

Be-khabar soye hain woh loot ke neendain meri,
Jazba-e-dil pe tarss khaney ko jee chahta hai(Sahir)

Or

Zulphe-muntashir koi kam dimagi sabak nahin Zid zindgika

Jab bhi girah suljhata huun dao-pech aur samajh leta huun

Or

Allah ki khidmat karen zid unhone unhe baharon mein saja rakkha hai

Mai huun nakaam gayabana shae, unhe hazaron mein saja rakhha hai

Or

Wo nikale hai gulfam ban kar, muzhe chehera-e-surk bana rakhha hai

Wo choo gaye aasman be-dilike, zaminpe ba-dili-e-zid bana rakkha hai

Or

Unka robodab mat puchiye, unka behelna mat puchiye, zid

Jab baat muhobbat ki ho to kyunkar nakkab banker aate hai

Or

Is vast aa pahunch hai mere ghar pe jab shame soza-e-mom nahin

Ek thi  zid ki shan-o-shaukat ab wo hijr mein chale aate hai

Be-afsos –e-bayan

फ़क़ीराना आए सदा कर चले

मियाँ खुश रहो हम दुआ कर चले-Meer

Or

Yeh siyahi, ye kagaz ye malba jala dije saab zid

Ye jaddo-jehad ye tere saath jata to kaisa hota

Or

Zid bhi agar na ho sabit muhobbat kabil thik hai

johri-e-alamadar na ho to zeenat kaha hoti hai

Ba-afsos-e-bayan

बहोत आरजू थी गली की तेरी

सो याँ से लहू में नहा कर चले-Meer

Or

Ab aate hai zid jab sar manzar khamosh hai

Idhar log afsos karen hai wahan kismet-e-wafa badlee jati hai

Fitrat-e-shayari

Zid asar ka ek aisa mod hai ke sab kuch ho jaye tabah

Gar taqdeer ek sawaal hai to isko sakht girah chahiye

Or

Wo aise tane hai abroo ke jaise shamsheer-e-ajal babasta ho unse

Mai sochu sharaa-e-kaam-e-sharafat shamsheer-ba-kaf chale aate hai

Tijarat-e-khas shayri

Teri aamdani badhti jaye hai , haadsoe ki, aatishi-lafzo ki

Kya kya sunaye sheher-e-nigra, zid ab tak koi hisab nahin

Or

Kis junoon se likhte aaye ho tum be-mehfilke

Tehjib-ae-shauk-e-tijrat mein faake bahot hai

Junu-e-shayari

Kuch kam hi talluk tah muhobbat ka junu se

Diwane to hote hai banaye nahin jaate

Or

Junoon ke charche hai kya kya hidayat di jaati hai

ruh ki pehchan ke liye khud hi jal janeka paigam diye jati hai

Self-motivating shayari

Zid tu ek tandrust aashiq hai, tu berukhi se darna nahi

Garke-darya hona hai tuzhe, maut se marna nahi

Metaphysics

जबीं सजदा करते ही करते गई

हक-ऐ-बंदगी हम अदा कर चले-Meer

Hum bhi aate rahe is jannat-e-fiza mein kabhi kabhi

Bas gaye aadmi gar yaha to Zid maza kya hai

Or

Wo ek waqt tha ke shagufa mein lipte rehte the

Aaj gar beparde huye to tarikh bhi badlee jayegi

Or

Shab-e-mah behte darya mein muzhe shabgard banakar

Zid na ho taqdeer-e-khafa ek din zeenat bhi badlee jayegi

Tautology

Ye zameen aur hawa zid har ek hai unki ada

Sair hai zamaneki par mere kam aate bhi nahi

Or

Dekhe ja rahe hai husn to qatil nazar aaya

Gaur-talab har shae chake-gireba nazar aaya

Falsafa-e-shayri

Ishq mein dil hi nahi deed bhi sambhli jati hai

Jis thokar pe utthe gubar uski taseer-e-seerat badlee jati hai

Or

Meer, मर्ग^[5] इक मान्दगी ^[6]का वक़्फ़ा^[7] है
यानि आगे चलेंगे दम लेकर

Or

Jo gham-e-habeeb se door the woh khud apni aag mein jal gaye
Jo gham-e-habeeb ko pa gaye woh ghamon se hans ke nikal gaye- Shair Lakhnavi

Or

Shabe ghum chashme naam jaga kiye Zid khwabo ki ek haqeekat mili

Wo yakayak tufano me jo kashti dubi kaise taqdeer palatkar ise ulfat mili

Ba-khuda shayari

Momin na sahi bosa-e-pa sajda hi karenge
Woh but hai jo auron ka to apna bhi Khuda hai

Or

Aisi ghazal kahi yeh ke jhukta hai sab ka sar
Momin ne is zameen ko masjid bana diya

Spatial Poetry

These are the verses that have a very open space. Over the length of the ghazal the poet seeks to condense the space & make it more nuclear.

Dilme ek lehar si utthi hai abhi

Loi taaza hawa chali hai abhi

Or

ek hawa khawab bun rahi hai, iska pesh-e-khidmat kya hoga

Aahat to milti rahi dilonko, khushboo-e-paigam kya hoga (Zid)

Or

Mulke mein adam bahut fail gaye sab taraf

Hawwa befuzul kyun hawa ki tareh lehrati hai

Or

Phir ek lamha ja basa fiza-e-shauk-e-fursat mein

Waqt ko milna hai kisise par ittefaq bhi zaroori hai

Or

Ayega waqt bhi piche tere bandhe sehra

Aaj fursat nahin ae waqt tere guzar jane ko

There is humor that gets manufactured in any poetic expressions. That is principally because there could be confusion between a subject & object. Poetry is a afst track communication of emotions, values, philosophy that likes to keep off any rigid rules or formalities of grammar.

In the verse, for example;

Apni fitrat-e-quad chod maikhane chale aate hai the subject is not clear. Actually the subject is not stated. So it imperative that the listener would tend to think the poet is talking about quad but then he is talking about fitrat-e-quda. It is quite a change in the subject. The word ‘maikhane’ is also a contestant for the subject.

Similarly in the line

Zid tuze dekhe hai har shaks kambhakto ki nazar

Whether the word ‘ kambhakt’ ( gushtaki mauf kare!) is not clearly addressed with respect to the poet. However in the context or form the perspective of the ‘taseer’ of the wholesome ghazal it is obvious that he expression ‘Kambakht’ is with reference to the poet. It is a fashionable expression in poetry; post Mirza Gaalib & poets take pride in saying this. Hence no apologies to the poet concerned here!

Kya guzar shauk baithe phir tuzhe samjhaneko

But eventually the purpose of the poetry is never to create a nucleus. At best one could say it is poetic compulsion to use some sort of nucleus upon which ideas get developed. At best it could start off with the nucleus & expand it into the space. Meaning starts where the words end. Human emotions are more about speechlessness & lesser about utterances. It is truer in case of matters of love & other finer aspects of life. But words do open up varied vistas of thoughts. Words are as harsh as they are provocative. Artistic sensitivity therefore is not so much the measure of one’s understands of the poetry but one’s natural instinct to set off on ‘another’ journey in response to the poetic stimulus.

When the audience involvement is considered within the time & space of the recitation it is likely that poetic verses are more obvious. I call this ‘Kacchi Shayari’. You mostly enjoy this in company of kith & kin.

Nazar nawajish nazaron mein ji nahin lagta

Wo kya gay eke baharon me ji nahi lagta

But where the effect is likely to be more after the poetic interface the verses are likely to be very subtle, very open & very quiet. Good poetry has that intent capacity to hide the content & also the meaning. I call this ‘Pakki Shayari’. You mostly enjoy this when you are alone.

Shab-ae-furkat ka jaga huun farishto ab to sone do

Kabhi furst mein kar lena hisab aahista aahista-Ameer

Or

Daamne yaar ki zeenat na bane har aansoo

Apne palko ke liye kuch to bachaye rakkhiye-Tarik Badayani

There are ghazals that are short & hence they seek to make a fast-track effort to come to the conclusion. In that sense the ghazal is not one of the classical journeys through poetry as much as it is a generous recipe of beauty of music, expressions & the personification of ‘leher’ by the singer.

Waqt accha bhi aayega naseer

Gum na kar zindgi padi hai abhi

In the poetry

Allah ki khidmat karen unhone unhe baharon mein saja rakkha hai

After many cribs & transgressions such as

Mai huun sans-e-tar unhe, be-dhadkan aaram de rakkha hai

the ghazal takes you to a very poignant case;

Ab marna hai isliye unhone meherbaniye kinaron pe basa rakkha hai

Biggest jump comes at the end where the poet says;

Yeh khwab hi sahi, Zid dekh unhone tuzhe palko mein bitha rakkha hai

But most good poetries take recourse to metaphors that offer soothing touch to the soul.

 Self-Talk poetry

These are the intricate areas of human consciousness that many time borders on the subconscious thinking. This is category of mature poetry that steadily reduces the number that ether wants to listen to this or they can understand this. Poetry being it, never tries to offer any explanation for anything that is said. It is against the poetic rights or for that matter, rights of every creative sport.

Apni zid ko sawarne phir nikale hum

Aawargi ko basane  phir chale hum

Gardishone kaha ab koi raah nahin

Apnihi god mein phir so gaye hum

Or

Koi samjhe meri betaabi, ashayar pahelehi keh dale

Wo pahunche nahin hai mehfil, khwab bhi pure kar dale

Rawayt-e-khas shayari

Ghazal is not just a reality of experience but it is also realization of an experience through imagination. Hence many traditions & etiquettes find an easy way into the ghazal.

Hum bhi jaga kiye tere sone tak …

…therefore, needs a freedom of mind to appreciate the plot rather than having to actually justify this kind of an experience.

Husne bayan-shayari

Wo alat palat rahe hai aaftab-e-noor achha hai

Wo angdae le rahe Zid khayal-e-katil achha hai

Or

Yeh gesu hai bikhre ya meri nazren hai bebak

Ham bhi jaga kiye har roz zid tere sone tak

Or

Abr-angdae zameene utar aaye to bark hai

Ise bazm-e-aara kahe ke Zid kayamat kahe

Nigahi-e- shayari

Mai pe kya lagate ho aaj to bin piye hi mast hai

Ho sake to kuch kijiye in aankhoka ilaaz

Jin aankhonse mai khud tapakati hai

Or

Mai teri mast nigahika bharam rakh lunga

Hosh aaya bhi to kehdunga muzhe hosh nahin

Ishkiya shayari

Ibaadat hoti hai sarre-aam hathon se 

Aur ye purjor bhakht cheez nigahon mein chipai jati hai

Or

Waqt guzrte der nahi lagti safina-e-safar der nahi lagti

Khair aaj koi khalk nahin aaj wo hangame wafa yaad aaya

Muhobbati Shayari

Muhobbat ruhani husn ki numaish hai

Zid ye aisi shiddat jo khas soorateon mein girvida hoti jati  hai

Or

Bada-e-safi kaun pa gaya hai insa

Mehfile zid roz phir kyun sajti rahi

Insaniyat ki shayari

Zindgi tune kya kya sataya hai insaan ko koi bedaag chehra nahin milta

But to kitne ban baithe hai zamane mein par zid jaisa koi kafir nahi milta

Or

Waqt-b-waqt har shaks ko ilm bhi nahin hota

Zid bhi kya cheez hai ek aah guzar jane ko

Or

Ukda nahin e-o-aa thodi kashmakash hai

Insa samaze gar insa to zid har dil aziz hai

Or

Mai guftgu-e-wasl sochu wo shauk-e-arram kare

Jism jalta rahe yahan zid wo khayal purjor Karen

Or

Kabhi aasu, kabhi aahe sab namkin banakar betalkh pee gaye

Zid bekalf hai, nigar nisar hun ye paitronki zaroorat kya hai

Or

Hairat-e-gum se ghabaraye ho zid to ye sun lo

Lije kuch aisi bhi dawa jo ke khaye na bane

Or

Aaj aayeho milne jab zid jane ki fikr mein hai

Log puch rahein ‘kiska kaun’ aur aapka bhi jikr hai

Or

Junoon ke charche hai zid kya kya hidayat di jaati hai

ruh ki pehchan ke liye khud hi jal janeka paigam diye jati haiOr

Mai ek nek banda hun khudaka nawazo

Par na pucho muzhse ke khuda kya hai

Taqdeer-e-mizaz shayari

Taqdeer ek bar jiska daman choo le wo khilona hai insan nahin milta

Ye wo falsafae band lifafe hai jis khat ka kisiko pata nahin milta

Or

Ab wo bhi aaye mahatab, ashiyane par nikhar aaye

Taqdeer palatte der hai, mizaz mein bahar aaye

Or

Tege dodam bakkaf tejotund takrarkar laut jati hai lillah teri zidse 

Dast andaaz hai koi taqdeer-e-khuda bas yahan paigam nahin milta

Apne nashemanse kaise Zidko muntakil karne aaye

Parwar-digar muzhe jannat-e-khwab dikhane aaye

Or

Huwe marke hum jo ruswa huye kyun na garke dariya

Na kabhi janaza uthata na kahi mazaar hota

Or

Aap to Zid pehlelhi mar gaye the

Tareekh dekh kafan sara jala dala

Or

Aise wajud bhi kaha milta hai zid kisko ek zindgi jinepar

Tajwiz-e-bakshish pasand aayi, ab bekhauf jiye ja raha huun

Or

Taaheer-e-nafaz to ud gaya khak abhi baaki hai

Kaunsi zid saath le gaya uska pata abhi baaki hai

Taseer

All human emotions revolve around some fixed component. Without the existence of that it would be impossible to remember a subject. Poetry is a response to human emotion & hence it is likely to follow one recipe or one type of dote.

Ba-Taseer

There is continuity of the environment. There is a persistsence on a subject. This is more like a traditional English poetry.

Is mehfil mein ek parivash hai apni nazar se kaise dikhau

Mere zhakmi haalat-e-aalam aapse kaise na chupau

Yeh inqalab-e-muhobbat hai aatish hai aag kaise buzau

Koi yakayak sinese lipat jaye hai hasrat-e-mudam kaise na jatau

Mutmaen lamhe guzre aaram hai elahi-e-khidmat kaise na batau

Bada-e-gulfam dube hai zamana is shisha-e-aafat ko kaise na tod du

Bada-e-gusar ka markaj jo hai us dimag ko kaise na badal dun

Badiya-e-gard kimar bane hai Is shart ko kaise na tod du

Zindgi wada hai waqt-e-shareerka is miyad ko kaise na suljha du

Akl wais-e-shauk batain hai is fasad ko zid kaise na luta du

Be-taseer

Dard minnat-kash-e-dawa na huwa mai na achha huwa bura na huwa

does not maintain the poetic chemistry in the following verses;

Jama karte hokyun trakibo ko yeh tamasha huwa gila na huwa

Kuch to kahiye ke log kehte hai aaj Ghalib gazhal sar na huwa

Hai khabar garm unke aaneki aaj hi gharmein boriya na huwa…

Or

Yeh hasrat kehkasha mein kaise ghume hai, jo ban gaye sitarein unse huzzat kare hai

does not have he same chemistry as;

Nikal do in sabko meri aakhri tamanna hai, akela hi rahu waha sab muzhpe nazar karen hai

Or

Jis thokar pe zamane guzre ishq-e-latif ke usi ravishse nikle zid muhobbat-e-julus apni

Does not have the same chemistry as;

Kuch kam nahi ye masarrat bhi badi hai kaun mahi-e-beab bane hai khushi apni

Ghazal is minor subject if it considered as a part of the generalized notion of poetry; all languages included. However, ghazal is one of the most intricate & challenging subject know how when considered as a tool of expression. It is these complexities that make ghazal such a passionate subject for people who live more in after-thought than in thought per say. That is possibly a reason that steadily ghazal is losing favors with mass thinking & is getting elevated to being subject matter of connoisseurs. Zid ki Shayari is a sincere attempt to make that connoisseur class multiply by creating that taste and understanding. There is more to follow.

Meter of the couplets

Meter

All good verses are written from the point of view of narration. A text could be read with uneven syntaxes but poetry is something that must have regular syntaxes.

Humse aaya na gaya (Galib)

Tumse bulaya na gaya

The list of word used are Tumse, humse, bulaya, aaya, gaya.  This is simplest example of how a simplistic approach could still create an attention. But short meter will need not a couple but a quadruplet to make it deliver the content.

Fasla pyar mein

Dono so mitaya na gaya

Another example

Taqat-e-insaan ko zid

Gurur bahot hai

Sunte hai apnihi

Ashyar bahot hai

Shorter the meter lesser the dramatics & longer the meter the scope for dramatics becomes exponential.

Meer ke dino majhab ko aab puchte kya ho inne to

Kashka khencha dair mein baitha kabka tarq islam kiya

Or

Roz peshani-e-hayat-e-bal durust karun; apni taqdeer sawaroo,

Yeh kainat ashiqee hai teri to muzhe tasavvur ki zaroorat kya hai

Or

Insa gar mukhlisi insa bane rahe to insaniyat ki alag zarrorat kya hai

Sang-e-marmar aur kam aayenge numaish-e-but ki zarrorat kya hai

Self-pity

Haq zidka cheenati hai badguman-e-aatish

Ankhen jalti hai kuch aisi ke tasavvur na bane

Or

Idhar taqdeer sir pe hai zid udhar wo muskura rahe hai

Khaudaya aap bhi kaise kaise ghazab dha rahe hai

Or

Ek asasa khalk reh jata hai unki aadat-e-guftaar-e-haya mein

Wasl ki  raat guzare arram se zid subah gunah samjhe aate hai

Or

Na socha na samajha na sikha na jana
mujhe aa gaya khudbakhud dil lagana (Meer)

Or

Sher ke parde mein main ne gham sunaya hai bahut
marsiye ne dil ko mere bhi rulaya hai bahut (Meer)

Or

Zid kya kya dekh rahi hai teri ankhein koi pur-asar sher nahin milta

Awaaze cheekh rahi hai raston mein, par koi dilkashi-e-saaz nahin milta

Or

Yaksu dil hi dilmein soch raha hai zid kabse

Ke gar mera koi mukam hota to wo kaise hota

Bayan-e-fana

Ek riwayat hai zid jo farden farden tameel hoti hai

Aate farte-shauk wapas namurad ban kar jata hai

Or

Jo bijli hamakti ha unke mehal par

Wo karle tasalli mera ghar jala kar

Or

Khoob roshan hai zid afatab jinhe jeena pasand hai

khub kiye hai intezaar jinhe marna pasand hai

Or

Jano-imaan fana zid jab bhi hoti hai

Admi ko rage gairat ki kaha hoti hai

Or

Duniya ne kis ka rah-e-fana mein diya hai sath
tum bhi chale chalo yun hi jab tak chali chale (Zouk)

Chemistry of Gazals

Every style of literature as much as every period of literature has an intrinsic culture; Ghazal is a zenith. Ghazal exemplifies the respect for the beloved. On the pretext of that feeling ghazal creates many subjects & many metaphors that journey deeper & deeper into the pains & sufferings of love in all phases. Romance is an intrinsic part of growing up and romance never dies. But love is the next thing in romance. It is an absolute commitment to creation. All those who are in some way or the other related to this act are in love. It is a single point epitome of spirituality & humanity in the purest possible sense. It is a transition of body into the spirit & beginning of an experience beyond physics. In that sense romantic poetry will confine itself more to the ishq-husn politic whereas love poetry would tend to transcend itself to anything & everything under & over the sun, including the sun because love has expansive radiations & it is capable of filling up everything. It is an experience of metaphysics where the space may not be given, it could be created, beauty may not be given it could be created. Love is the final hope of the universe. In tragic times it thrives on remembrances, in good times it creates a weightlessness of the matter making it a free-floating experience; you could journey from anywhere to anywhere.

Poetry is universally an experience of the spectrum of light. Depending on where you are standing a different color ray would hot your perspective. Poetry is subject to varied interpretations by different people in the same space as much its varied interpretations by the same person in different space.

Poetry is not collection of words or idioms.

Jod kar dekhe labz-e-bayan ke bahane

Gar rubahi ban bhi jaye to kaha hai maene

Poetry is essentially born out of a deeper need to communicate.

Ghazala tum to waaqif ho kaho Majnun ke marne ki
Agar deewana na raha to veerane pe kya guzregi

Suprisingly Ghalib the king of expressions also wrote;

Magar likhvaaye koi usko khat, to hum se likhvaaye
Hui subaha, aur ghar se kaan par rakh kar qalam nikle

This shows all big names rea free-flowing int their expressions.

There are poets who communicate more to others.

Koi naam pata gar puche to ae qasid bata dena

Takallus daag hai aur ashoko ke dilme rehte hai (Daag)

There are poetries that communicate more to oneself;

Aap to aate rahe khayalon mein bana diye zidko kafeer 

Din-o-majhab aur kya hai baat sabko samzhayi nahin jati

Thus a piece of poetry could become either a connection of one world with another or simple autobiographic expression.

Considering the numbers that are there already in the Ghazali literature, they follow apublic opinion. That is when you refer to a populist literature.

…Ae muhobbat tere anjaam pe rona aaya

…Jaane kyun aaj tere naam pe rona aaya ( Shakeel)

However, every poet is different. He has a different psyche, he has a different motivation & he has a different perspective. Although within the quantum of literature that is produced one come across some contradictions. Hence it is ideal for the reader to look at poetry as independent of the poet.

The following lines of Momin are not in the same spirit;

Kyun sune arz muztarab Momin, Sanam aakhir khuda nahi hota

Hae sanam! hae sanam lab pe kyun,Khair hai Momin? Tumhe kya ho gaya?,

It need not be, it won’t be, it should not be. Art is sport played better with unpredictability.On top of it all he may be in most unusual time & space condition in which the poetry is written. It is a given thing that a literary writes for the posterity but he himself lives for the moment. That moment when his thoughts are converted into literature is the moment of reckoning & not when the poetry is read. This is a paradox that no one has been able to resolve. When you write a non-fiction you express stream of thought or may be extend it. But you have lived with it for a sustained period. Poetry being more of fiction is very impulsive. To help resolve this crisis, I feel it is best to use an emotionally intelligent model & say that poet may be very different from the poetry in the time & space you read the poetry. Hence it is better to like or dislike the poetry rather than like or dislike the poet. One simply may not know that persona.

In the spirit of true respect for the beloved there are possibly very few other comparable languages that make a direct comparison & sometimes a direct substitution of God with the beloved. So ‘dair’ & ‘dar’ are brought within the visual distance of human intellect. Hence it could be said that Urdu language especially within the folds of ghazal is an elaborate experience of either describing the pain or lauding the beauty, detailing the journeys including the passage of lonely nights & the upcoming & soft end of bazm or mehfil, upsurge of human ego or its downfall, rejections & dejections, bitter & sweet descriptions, tours & detours & the poetry winds itself generously through the expressions & the experiences of saba, shaam, baam, shab, taqdeer, kismet, naustar, sheesha, sumandar, leher, taj, isnaan, aadmi, tasavvur, khwab, haqeekat, zakhm, dard & what have you!

Ghazal is a layered communication. It is a synthesis & its complexities are manifold considering the interlocutor’s mind set which itself may have many more layers of interception and understanding. It has four major constituents to support the manufacture or the culturing of the thoughts. So here is the phase analysis of the ghazal that would be followed by or that would be in tandem with the horizontal analysis of the poetry. Poetry especially a ghazal follows a grammar or rather a linguistic exuberance that could also be seen from analytical perspective.

Poetry to Rhythm

Khawateen-o-hazrat,

Ek zamana tha Zid shayar bahara karte tarhtush

Dekhe aaj adib kaisa ummodo-khair giraftar hai

I often wonder whether poetry is a text written in rhythmic form or it is something very subtle that cannot be expressed literally in words.  

कहनेको किस किस मौजू पर क्या क्या कहते हम बा-इखलाख

If I was required to say something I have many issues that could be handled with care & sanity…

हम  सुखनवर कम नहीं मगर देखिये तारीफ़ किसकी होने लगी

I am no ordinary speaker but it seems people are getting lostin my imagination of my beloved’s beauty more than my poetry.

I remember once Faiz sahab talked about Kacchi shayari & Pucci shayari. 

Kacchi shayari is the one which bears the same meaning as the words are. These expressions are common expressions because the content itself is common. However, when there is a transit of subjects that boils down to confusing ideas including the confusions of the mind of the poet himself,  the poetry invariable goes into digging out expressions & metaphors that are increasingly complex. This is where a novice to the world of literature gives up because he wants to hear what he has already heard. More evolved listeners what to hear what they have never heard. To bring people out of this naivety poet's own intervention is required.

I am trying to put a parallel thought in a parallel languagethat could help many relate the poetry better. 

I hope you will not mind it!

ऐसे बज़्म-ऐ -खिराद क्यूँ  न  रह जाऊ आज  यारा  मुहर  बलब 

Seeing the company of such wise people who understand me beyond the words, should I not keep my lips closed?

बे-अल्फ़ाज़े मेरी लगी उनकी दिलकशी साज़-ऐ-सरमदी  होने लगी

Without me saying a word my pains have become my audience’s sensitive treasure that is turning into an immortal song.

उधर  निगाही -ऐ -बदरफ्तार  इधर  खवाइश  नीयत -ऐ -परवाज़

She is putting her eyes on me & I am being swept off my feet. Then I have my own set of desires that are as always airborne with wings…

कभी  जहाँ -ऐ -मुतमइन  कभी  रंजो-गिरफ्त तबाही होने  लगी

I see a world of deep happiness & contentment on one side & the melancholy that has imprisoned me that is beginning to destroy me on the other side.

बा-मशक्कत  काटी  है  तारीक़ी-ऐ -गम  शम्मा  कुश्त के  बाद

I have lived through the night of darkness after the night lamp is switched off with a lot of difficulty

नाशाद  बेताब-ओ-तलबी जाकर अबके गिरaनी-ऐ-यारी होने लगी

That disturbed & random state of me has now decided to make a friendship with the darkness.

बा -आंकी बाइसे-निफफत  हम  कबके  हुए  शहर -ऐ -कदर

Although after the break I left her & the world & I sat in my coffin

बा-इअज़ज़त-ओ-एहतिराम मेरी शै उनके खानेमे मजाज़ी होने लगी

Today she has adorably made full arrangements to reduce me in her thoughts to be a mere metaphor.

सर -ऐ -बाम किया था हमने इंतज़ार-ऐ-वतन ताजिस्ट इंतज़ाम

Standing on the rooftop of my house I had created a world of waiting for ever

क्यूँ संग-दिली-ओ-शब् -ऐ-हिज्रकी बेवक़्त ही वापसी होने लगी

But this unstoppable phenomena of the night falling has happened bit too early today.

कौनसी खुराख पायी है ज़िद रूदाद-ओ-निहां खैरात बटने  लगी

What is it that the poet is thriving on that his hidden messages of love are being generously distributed?

तेरे गम ख्वार  को  भी  तुजसे  कशाकाश-ओ-रुस्वाई होने लगी

And his best friends who used to share his grief have also starting to get dismayed by his tendency to celebrate the pains.