gulo.n mei.n rang bhare, baad-e-naubahaar chale
chale bhii aao ki gulshan kaa karobaar chale
गुलों मे रंग भरे, बाद-ए-नौबहार चले
चले भी आओ कि गुलशन का कारोबार चले
"let the blooms fill with colour, let the first zephyr of spring flow
do come over, so the garden can get on with its daily business"
A plea directed at the Beloved, obviously.
A straightforward sher, the beauty of it lies in the way the first line, at first, sounds like the expression of a simple wish - may colour fill the flowers, etc. - the 'normal' sort of wish you would expect a poet to make. It is only when the second line hits you (and in the typical oral tradition of urdu poetry, this would happen after numerous repetitions of the first line, while the suspense builds up) that you realise that what the first line seemed to be wishing for is, in fact, nothing more than the 'day-to-day business' (कारोबार) of a garden, and what the poet actually desires is for is for the Beloved to come over to the garden, so that its 'normal activities' can 'proceed normally'!
It is only then that the actual compliment implied - that in the absence of the Beloved, things are 'held in abeyance' in the garden - becomes clear!
SO much more romantic than simply telling the Beloved that she brings colour and freshness into his life, isn't it?
qafas udaas hai yaaro.n sabaa se kuchh to kaho
kahii.n to bahr-e-khudaa aaj zikr-e-yaar chale
कफ़स उदास है यारों सबा से कुछ तो कहो
कहीं तो बह्र-ए-खुदा आज ज़िक्र-ए-यार चले
"Gloom reigns in the cage, my friends; do say something to the breeze
somewhere, for God's sake, (there must be) discussion about the Beloved today!"
We return to the familiar 'kafas-gulshan' stylisation of a bird caged away from its garden (by implication, the lover separated from his Beloved).
"The cage is sad", he says, implying that the inhabitant of the cage (the poet himself) is dejected... and as a 'remedy' to his sorrow, he urges his friends to make a request the breeze - that it should seek out a location where the Beloved is being discussed. The implication being that his imprisonment would become bearable, if he could even enjoy a breeze that comes from such a place, and hence has picked up strains of this conversation along the way. Definitely hyperbole, but nice!
'bahr' is a Persian preposition, conveying a sense of 'on account of', or 'for the sake of'. Bahr-e-Khudaa would translate almost literally as the exclamatory 'for God's sake!'
kabhii to subh tere kunj-e-lab se ho aaghaaz
kabhii to shab sar-e-kaakul se mushqbaar chale
कभी तो सुब्ह तेरे कुन्ज-ए-लब से हो आगाज़
कभी तो शब् सर-ए-काकुल से मुश्कबार चले
"(at least once) let the dawn commence from the corner of your mouth
(at least once) let the night be rendered fragrant by your curled tresses"
'i wish there was at least some occasion when the morning was "set into motion" or "inaugurated" by the corner of your mouth' is how the first line literally reads.
To be woken up by a morning kiss from the Beloved seems almost too much to ask for, in the general scheme of things in the Ghazal universe! If wishes were horses...!
baDaa hai dard kaa rishtaa, ye dil gariib sahii
tumhaare naam pe aayenge ghamgusaar chale
बड़ा है दर्द का रिश्ता, ये दिल गरीब सही
तुम्हारे नाम पे आएंगे गमगुसार चले
"the ties of pain run deep; poor as this heart is
comfort-givers will come along, thanks to your name"
What a beautiful sher! I've read some truly ridiculous interpretations of this one on the internet, though!
In effect, the sher wears a sadly sarcastic note - the poet informing the Beloved about the deep fraternity that exists among those who have suffered the pain of her unfaithfulness... hence, even though his impecunious heart has little to offer to anyone, the mere spreading of the word that his pain is caused by the Beloved will cause (similarly suffering souls) to rush to his comfort!
There is a slight poetic rearranging of words in the second line which makes this (otherwise simple) meaning a little difficult to catch - the 'aayenge' is actually to be read after the final 'chale' as 'chale aayenge' (or 'will come over').
जो हम पे गुजरी सो गुजरी मगर शब्-ए-हिजरां
हमारे अश्क तेरी आकबत संवार चले
"i may have endured whatever i endured, but (on the) night of separation!
my tears left your future course adorned"
The implication (probably) being that (publicity about) the poet's copious tears during the night of separation would tend to further enhance the fame of the Beloved.
In an alternative reading, the sher is addressed to the 'shab-e-hijraan' itself - and the poet says that his tears would adorn the future of the (henceforth famous) 'night of separation'!
In either interpretation, it is sweet.
हुज़ूर-ए-यार हुई दफ्तर-ए-जूनून की तलब
गिरह मे लेके गरेबां के तार-तार चले
"The Court of the Beloved (conveyed) the desire for (seeing) the 'documentation of infatuation'
(Tied) in a knot (I carried) the tatters of (my) collar"
There is such delicious abjectness here... The Beloved's Court commands that the 'case file' proving the (poet's) infatuation be produced before it; the poet carries a small pouch containingthe knotted remains of his collar, which he has (in the time-honoured 'chak-e-garebaan' stylisation of Urdu poetry) torn to bits in amorous frenzy.
'Daftar' is now used colloquially to mean 'office', but originally stood for a 'file' or 'folder' containing official papers, such as a legal brief. In Indian Government offices, there are still some persons nominally employed as 'daftaris' who are supposed to file papers and diarise their movement (although they usually just hang about eating peanuts and chewing paan!). The French word 'bureau' (now meaning office) has a similar etymology, i believe. So does the word 'budget' which originally stood for a bag containing official papers.
maqaam koi Faiz raah mei.n jachaa hi nahii.n
jo kuu-e-yaar se nikle to suu-e-daar chale
मकाम कोई फैज़ राह मे जचा ही नही
जो कू-ए-यार से निकले तो सू-ए-दार चले
"no location/station en route caught the fancy, Faiz
after quitting the Beloved's lane, (I) walked on (directly) towards the gallows"
Another beautiful Maqta by Faiz...
Apart from the Beloved's lane, the poet has little interest in setting up abode anywhere; banishment from that privileged neighbourhood is as good as a sentence of death!
The lovely internal rhythm of the final line deserves special savouring!