A Unique Poet And Writer Of Urdu Language !

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Assalam 0 Alaikum all ummid hai aap sab theek honge



Ibn-e-Insha (Punjabi, Urdu: ابن انشاء born Sher Muhammad Khan شیر محمد خان) on 15 June 1927 died 11 January 1978, was a Pakistani Leftist Urdu poet, humorist, travelogue writer and columnist. Along with his poetry, he was regarded one of the best humorists of Urdu. His poetry has a distinctive diction laced with language reminiscent of Amir Khusro in its use of words and construction that is usually heard in the more earthy dialects of the Hindi-Urdu complex of languages, and his forms and poetic style is an influence on generations of young poets.

Biography
Insha was born in Phillaur tehsil of Jalandhar District, Punjab, India. His father hailed from Rajasthan. He received his B.A. degree from Punjab University in 1946 and M.A. from University of Karachi in 1953. He was associated with various governmental services including Radio Pakistan, Ministry of Culture and National Book Centre of Pakistan. He also served UN for some time and this enabled him to visit a lot of places and was the reason of his subsequent travelogues. Some of the places that he visited includes Japan, Philippines, China, Hong Kong, Thailand, Indonesia, Malaysia, India, Afghanistan, Iran, Turkey, France, UK and United States. Insha got the teachers like, Habibullah Ghazenfar Amrohvi, Dr. Ghulam Mustafa Khan and Dr. Abdul Qayyum. Insha spent much of his time in Karachi. He died of Hodgkin's Lymphoma on 11 January 1978 in London and was buried in Karachi.

Literary career
Insha is considered as one of the best poets and writers of his generation. His most famous ghazal Insha Ji Utthoo (انشاء جی اٹھو) (Get up Insha Ji, Let's leave from here) is an influential classic ghazal. He has written several books of travelogues with a touch of humour. His work has been appreciated by Urdu writers and critics. He also translated a collection of Chinese poems in Urdu in 1960.

Bibliography
Poetry
Is Basti Key Ik Koochey Main
Chand Nagar
Dil-e-Wehshi

Travelogue
Awara Gard Ki Diary
Dunya Gol Hey
Ibn Battuta Kay Taqub mein
Chaltay Ho To Cheen Ko Chaliye
Nagri Nagri Phira Musafar

Humor
Khumar e xxxxxm
Urdu Ki Aakhri Kitaab

Khat Insha Jee KayCollection of letters

http://en.wikipedia.org/wiki/Ibn-e-Insha


Ibn-e-Insha Poetry


Dil hijr k dard se bojhal hai, ab aan milo to behter hai,
Is baat se hum ko kya matlab, yeh kaise ho yeh kyun kar ho?

Ik bheek k donon kaasay hain, ek pyaas k donon pyaase hai,
Hum khaiti hain, tum baadal ho, hum nadiya hain tum saagar ho!

Yeh dil hai k jalte seene mein, ik dard ka phora alhar sa,
Na gupt rahe na phoot bahe, koi marham ho koi nishtar hai,

Hum saanjh samay ki chhaya hain, tum charhti raat k chandar maan
Hum jaate hain, tum aate ho, phir mail ki soorat kyun kar ho!

Ab husn ka rutba aali hai, ab husn se sehra khaali hai,
Chal basti mein banjaara ban, chal nagri mein saudagar ho,

Jis cheez ki tujh ko nisbat hai, jis cheez ki tujh ko chahat hai,
Woh sona hai woh heera hai, woh maati ho ya kankar ho,

Ab Insha ji ko bulana kya, ab pyar k deep jalana kya
Jab dhoop aur chhaya ek se hon, jab din aur raat barabar ho,

Woh raaten chaand k saath gayin, woh baatein chaand k saath gayin,
Ab sukh k sapne kya dekhein, jab dukh ka sooraj sar par ho?

MMM.png
 

Fantasy

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Assalam 0 Alaikum all ummid hai aap sab theek honge



Ibn-e-Insha (Punjabi, Urdu: ابن انشاء born Sher Muhammad Khan شیر محمد خان) on 15 June 1927 died 11 January 1978, was a Pakistani Leftist Urdu poet, humorist, travelogue writer and columnist. Along with his poetry, he was regarded one of the best humorists of Urdu. His poetry has a distinctive diction laced with language reminiscent of Amir Khusro in its use of words and construction that is usually heard in the more earthy dialects of the Hindi-Urdu complex of languages, and his forms and poetic style is an influence on generations of young poets.

Biography
Insha was born in Phillaur tehsil of Jalandhar District, Punjab, India. His father hailed from Rajasthan. He received his B.A. degree from Punjab University in 1946 and M.A. from University of Karachi in 1953. He was associated with various governmental services including Radio Pakistan, Ministry of Culture and National Book Centre of Pakistan. He also served UN for some time and this enabled him to visit a lot of places and was the reason of his subsequent travelogues. Some of the places that he visited includes Japan, Philippines, China, Hong Kong, Thailand, Indonesia, Malaysia, India, Afghanistan, Iran, Turkey, France, UK and United States. Insha got the teachers like, Habibullah Ghazenfar Amrohvi, Dr. Ghulam Mustafa Khan and Dr. Abdul Qayyum. Insha spent much of his time in Karachi. He died of Hodgkin's Lymphoma on 11 January 1978 in London and was buried in Karachi.

Literary career
Insha is considered as one of the best poets and writers of his generation. His most famous ghazal Insha Ji Utthoo (انشاء جی اٹھو) (Get up Insha Ji, Let's leave from here) is an influential classic ghazal. He has written several books of travelogues with a touch of humour. His work has been appreciated by Urdu writers and critics. He also translated a collection of Chinese poems in Urdu in 1960.

Bibliography
Poetry
Is Basti Key Ik Koochey Main
Chand Nagar
Dil-e-Wehshi

Travelogue
Awara Gard Ki Diary
Dunya Gol Hey
Ibn Battuta Kay Taqub mein
Chaltay Ho To Cheen Ko Chaliye
Nagri Nagri Phira Musafar

Humor
Khumar e xxxxxm
Urdu Ki Aakhri Kitaab

Khat Insha Jee KayCollection of letters

http://en.wikipedia.org/wiki/Ibn-e-Insha


Ibn-e-Insha Poetry


Dil hijr k dard se bojhal hai, ab aan milo to behter hai,
Is baat se hum ko kya matlab, yeh kaise ho yeh kyun kar ho?

Ik bheek k donon kaasay hain, ek pyaas k donon pyaase hai,
Hum khaiti hain, tum baadal ho, hum nadiya hain tum saagar ho!

Yeh dil hai k jalte seene mein, ik dard ka phora alhar sa,
Na gupt rahe na phoot bahe, koi marham ho koi nishtar hai,

Hum saanjh samay ki chhaya hain, tum charhti raat k chandar maan
Hum jaate hain, tum aate ho, phir mail ki soorat kyun kar ho!

Ab husn ka rutba aali hai, ab husn se sehra khaali hai,
Chal basti mein banjaara ban, chal nagri mein saudagar ho,

Jis cheez ki tujh ko nisbat hai, jis cheez ki tujh ko chahat hai,
Woh sona hai woh heera hai, woh maati ho ya kankar ho,

Ab Insha ji ko bulana kya, ab pyar k deep jalana kya
Jab dhoop aur chhaya ek se hon, jab din aur raat barabar ho,

Woh raaten chaand k saath gayin, woh baatein chaand k saath gayin,
Ab sukh k sapne kya dekhein, jab dukh ka sooraj sar par ho?
View attachment 61231
yeah nice poet ibn-e-insah.... in ki aik ghazal jo mujhy bhhht bhhht bhttt psnd hy wo share krungi :)

but abhi wo mil nhi rhi :(
 

Hoorain

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A n3st!
ibn-e-insha's poetry is really awesome :-bd
Thread is sticky now keep sharing stuff about ibn-e-insha!!


insha jee ki kuch poetry jo muje pasand hay

******************
Insha ji! uTho! ab kooch karo, is shehr mein ji ka lagana kya.
Vehshi ko sukoon se kya matlab, jogi ka nagar mein Thikana kya.

Is dil ke dareeda daman ko dekho to sahi, socho to sahi;
Jis jholi mein sau chhed huhe us jholi ko phailana kya.

Shab beeti, chaand bhi Doob gaya, zanjeer paRi darvaze mein;
Kyon der gaye ghar aaye ho, sajni se karoge bahana kya.

Us husn ke sache moti ko ham dekh sakein, par chhu na sakein;
Jise dekh sakein par chhu na sakein vo daulat kya vo Khazana kya.

Us ko bhi jala dukhte huhe man, ek shola laal bhabhooka ban;
Yoon aansu ban beh jana kya, yoon maTi mein mil jana kya.

Jab shehar ke log na rasta dain, kyon ban mein na ja bisram kare;
Divanoon ki si na baat kare, to aur kare divana kya.

and

کچھ کہنے کا وقت نہیں یہ۔۔۔۔۔۔کچھ نہ کہو، خاموش رہو
اے لوگو خاموش رہو۔۔۔۔۔۔ ہاں اے لوگو، خاموش رہو
سچ اچھا، پر اسکے جلو میں ، زہر کا اک پیالا بھی
پاگل ہو؟ کیوں ناحق کو سقراط بنو، خاموش رہو
حق اچھا پر اس کے لیے کوئی اور مرے تو اور اچھا
تم بھی کوئی منصور ہو جو سولی پہ چڑھو؟ خاموش رہو
ان کا یہ کہنا سورج ہی دھرتی کے پھیرے کرتا ہے
سر آنکھوں پر، سورج ہی کو گھومنے دو، خاموش رہو
مجلس میں کچھ حبس ہے اور زنجیر کا آہن چبھتا ہے
پھر سوچو، ہاں پھر سوچو، ہاں پھر سوچو، خاموش رہو
گرم آنسو اور ٹھنڈی آہیں، من میں کیا کیا موسم ہیں
اس بگیا کے بھید نہ کھولو، سیر کرو، خاموش رہو
آنکھیں موند کنارے بیٹھو، من کے رکھو بند کواڑ
انشا جی لو دھاگا لو اور لب سی لو، خاموش رہو
( ابن انشا )
n many more!
 
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vamp545

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thnax alot for liking :)
next Nida Fazli - An Indian Urdu poet aur Muqtida Hasan Nida Fazli popularly known as Nida Fazli (Urdu: ندا فاضلی ‎) (born 12 October 1938) is an Indian Urdu poet.

Early life
Nida Fazli was born in Delhi, India into a Kashmiri family and attended school in Gwalior. His father was an Urdu poet. During the partition of India, his parents migrated to Pakistan, but Fazli decided to stay in India.

Career
While still young, Fazli was passing by a Hindu temple where a bhajan singer was singing a composition of Surdas about Radha sharing her sorrow with her maids at being separated from her beloved Krishna. The poetic beauty of the Pad, relating to the close rapport and bonding between human beings, inspired Nida to begin writing poems.

During that period, he felt that there were limitations in Urdu poetry. He absorbed the essence of Mir and Ghalib to express what he intended. He was fascinated by the lyrical mood of Meera and Kabir and widened his knowledge of poetry by studying T.S. Eliot, Gogol, Anton Chekhov and Takasaki.

Bollywood
He moved to Mumbai in search of a job in 1964. In the early days of his career, he wrote in Dharmayug and Blitz dialects. His poetic style attracted the notice of filmmakers and writers of Hindi and Urdu literature. He was often invited to Mushairas, the prestigious recitation sessions of one?s own poetry.

He became known among readers and ghazal singers for his elegant presentation and exclusive use of colloquial language for ghazals, dohaas and nazms, while avoiding ornate Persian imagery and compound words to simplify his poetry. He wrote the famous couplet: 'Duniya jise kehte hain jaadu kaa Khilona hai Mil jaaye to mitti hai kho jaaye to sona hai'. Some of his famous film songs include Aa bhi jaa (Sur), Tu is tarah se meri zindagi mein (Aap To Aise Na The) and Hosh waalon ko khabar Kya (Sarfarosh).

Career
He wrote essays critical of contemporary poets of the sixties in his book Mulaqatein which outraged poets including Sahir Ludhianvi, Ali Sardar Jafri and Kaifi Azmi. As a result, he was boycotted in some poetic sessions.
His career improved when Kamal Amrohi, a filmmaker, approached him. The original songwriter Jan Nisar Akhtar working on the film Razia Sultan (1983) had died before completing the project. Nida wrote the final two songs and attracted other Hindi filmmakers.

His celebrated lyrics were also used in Aap to aise na the, Is Raat Ki Subah Nahin (1996) and Gudiya.
He wrote the title song of TV serials like "Sailaab", "Neem ka Ped", "Jaane Kya Baat Hui" and "Jyoti". The composition "Koi Akelaa Kahaan" is another popular composition sung by Kavita Krishnamurthy. His ghazals and other compositions are sung by notable artists of the day. He teamed up with Jagjit Singh in 1994 to bring an album named Insight, which got appreciation for its soulful poetry and music.
He recently wrote columns for BBC Hindi website on various contemporary issues and literature.
Mirza Ghalib's works often get mentioned by him.

Style
"Hum laboN se keh naa paaye, unse haal-e-dil kabhi,
Aur wo samjhe nahiN, ye khamoshi kya cheez hai''
My lips were never able to express the state of my heart,
And she failed to understand what my silence meant.

- Nida Fazli : Film Sarfarosh
Nida Fazli is a poet of various moods and to him the creative sentiment and inner urge are the sources of poetry. He thinks that the feeling of a poet is similar to an artist: like a painter or a musician.[citation needed] In contrast he found lyric writing a mechanical job as he had to fulfil the demands of the script and the director. Later he accepted the practical necessity of money which comes from lyric writing and helps one to ponder on creative work.

He published his first collection of Urdu poetry in 1969. Childhood imagery persistently reflects in his poetry as elements of nostalgia. Primary themes which run through his poetry are contradictions in life, the search for purpose, nuances of human relationships, differences between practice and preaching, and the groping for that which is lost.

Contribution towards communal harmony
Nida Fazli disagrees with the partition of India and has spoken out against the communal riots, politicians and fundamentalism. During the riots of December 1992 he had to take shelter in his friend?s house due to security concerns.
He has been honoured with the National Harmony Award for writing on communal harmony. He has 24 books to his credit in Urdu, Hindi and Gujarati? some of which are assigned as school textbooks in Maharashtra. He received the Mir Taqi Mir award for his autobiographical novel Deewaron Ke Bich from the Government of M.P. His best known works are: Mor Naach, Ham Qadam, and Safar Me Dhoop To Hogi.

List of works
Poetry collection
+ Lafzon ke phool
+ Mor Naach
+ Aankh aur Khwab ke Darmiyaan
+ Safar mein dhoop to hogi
+ khoya hua sa kuch
+ Duniya ek khilona hai

Award
1998 Sahitya Akademi award
2003 Star Screen Award for Best Lyricist for Sur
2003 Bollywood Movie Award - Best Lyricist for Aa Bhi Ja from Sur

Filmography
Nida Fazli worked as lyricist for
Razia Sultan (film)
Tamanna-''Ghar se masjid hai''
Sur-The melody of life
Is Raat Ki Subah Nahin
Aap To Aise Na The
Yatra (movie)
Sarfarosh
Sur (Aa bhee jaa, ai subha aa bhee jaa)
http://en.wikipedia.org/wiki/Nida_Fazli

Kabhi kisi ko mukammal jahan nahi milta
A beautiful ghazal by Nida Fazli saib

Nida Fazli wrote this nazam at the death of his father. He was not able to reach the burial coz of some reasons and he paid his tribute to his father in this Nazam....

Tumhari qabr per

tumhari qabr per main
Fateha parhne nahi aaya

mujhe maaloon tha, tum marr nahi saktay
tumhari maut ki sachi khabar
jis ne uraaii thi, woh jhoota tha
woh tum kab thay?
koi sookha hua pattaa, hawa mein gir k toota tha.

meri aankhein
tumhare manzaron mein qaid hain ab takk
main jo bhi dekhta hoon, sochta hoon
woh, wohi hai
jo tumhari nek-naami aor bad-naami ki duniya thi

kaheen kuch bhi nahi badla

tumhare haath meri ungliyun mein saans lete hain
main likhne k liye jab bhi, qalam kaagaz uthaata hoon
tumhein baitha hua main
apni hi kursi mein pata hoon

badan mein mere, jitna bhi lahu hai
woh tumhari
lagzishon, na-kaamiyun k saath behta hai
meri awaz mein chup ker, tumhara zehn rehta hai

meri beemariyun mein tum,
meri laa-chaariyun mein tum

tumhari qabr per jis ne tumhara naam likha hai
woh jhoota hai
tumhari qabr mein, main dafn hoon
tum zinda ho !
tum zinda ho !
mile fursat kabhi to Fateha parhne chale aana...

(Nida Fazli)

my fvt ghazal by nida fazli
tera hijr mera naseeb hai teraa Gham he meri hayat hai
mujhay teri doori ka Gham ho kiyon tu kaheen bhi ho mere sath hai


meray waastey teray naam par koi harf aaye nahi nahi
mujhay Khouf-e-duniya nahi magar mere ru?ba?ru teri zaat hai


tera wasl aey meri dil-rubaa nahi meri kismat to kia hua
meri mehjabeen yahi kam hai kia teri hasraton ka to saath hai


tera ishq mujh pay hai mahraban meray dil ko haasil hai do jahan
meri jan-e-jaan isi baat par meri jaan jaaye to baat hai


 

vamp545

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nida fazli ki ek ghazal hai "suniye" us pe ek love story likhi gayi hai sacha post kardu aap logo ko behadd pasand aaye gi ye love sory

"Ye tumne banaye hain?" Usne aaloo ke parantha tod kar munh mein rakha aur fauran boli.

"Haan bilkul" Maine haste hue jawab diya.

"Jhoothe kahin ke"

Aur phir vo khilkhila kar has uthi. Vahi hasi jiska main deewana tha. Vahi hasi jise sune bina na mera din guzarta tha aur na raat basar hoti thi.Vo kuchh lamhe, vo kuchh pal, jab vo dil khol kar hasa karti aur mera haath thaam liya karti, jab kabhi haste haste uski aankhon mein aansoo aa jaya karte, jaise meri zindagi bas unhi kuchh lamhon mein simat kar reh gayi thi.

"Arrey sach keh raha hoon, maine hi banaye hain tumhare liye" Maine phir haste hue jhooth bola.

"Subah se main hi mili hoon na? Na aaloo hain tumhare ghar mein, na aaloo ubalne ke liye cooker aur na hi paranthe banane ke liye tawa. Ye kya hawa mein banaye the?"

Uski baat ka mere paas koi jawab nahi tha aur vo mere chori pakde jaane wale andaz par ek baar phir has padi.

"Lallu ho ekdam, par mere ho"

Chand se, Phool Se, Ya meri zubaan se suniye,
Har taraf aapka qissa hai, Jahan se suniye.


Ek main tha aur ek vo thi. Aur ham tamam duniya se jaise bekhabar se the. Vo hoti toh raunak hoti, vo na hoti toh mayusi hoti. Vo hoti toh mehfil hoti aur vo na hoti toh veeraniyan hoti. Vo hasti toh mahaul khushnuma ho jaya karta aur vo bilakhti toh jaise aasman phat padta. Vo mujhe apna kehkar mera haath thama karti toh jaise ek doobte ko sahara sa mil jaya karta aur jab vo haath chhodti toh kadam ladkhada se jaate.

"Tum jaante ho ladkiyan kaise bani?"

"Thodi si jalan, thodi si kudhan, thoda gussa, thodi chugliyan aur aisi kayi cheezon ko mila kar kadhai mein fry kiya gaya tab?" Maine has kar jawab diya.

"Shut up. Duniya ki har aurat ek mard se bani"

"Matlab?"

"Matlab ye ke Muslim aur Christian mythology ke hisaab se khuda ne pehle aadmi ko banaya. Phir unhone aadmi ke left side ki ek pasli nikali aur us pasli se aurat ko banaya"

"Hmmm, interesting. I wonder meri pasli se kaun bani" Maine use chidhane wale andaaz mein kaha.

"Mere ghar ki naukrani bani tumhari pasli se" Kehkar usne mera haath chhoda aur naraz hokar doosri taraf munh kar liya.

Kehte hain ke zindagi chhote chhote kayi qisson ka ek tana bana hai. Zindagi koi ek lambi si kahani nahi balki chhoti chhoti kahaniyon ko mila kar banayi gayi ek kitaab hai. Ham saari umar is kitaab ke panne palat-te hain aur har panne par ek nayi kahani padhte hain.
Par meri zindagi ek aise mod par aa khadi hui thi jahan mere har panne par, har safhe par qissa toh shayad alag tha par har kahani mein sirf usi ka naam tha. Har kahani jaise bas usi ke naam se shuru hua karti, usi ke naam par khatam aur har kahani ka saransh bhi vahi hoti.

"Kaisi lag rahi hoon?" Usne apna webcam on kiya aur thodi door jakar khadi ho gayi.

Aur hamesha ki tarah mera dil ek baar phir se dhadak utha. Usne aaj pehli baar Saree pehni thi, kisi shaadi mein jaane ke liye. Ek hare rang ki saree jo uske gore rang par bahut phab rahi thi.

"Bahut khoobsurat" Main bas itna hi keh saka aur apni palkein tak jhapkana bhool gaya.

Kya aisa bhi kabhi hota hai? Kya khuda kabhi kisi par is tarah bhi meharbaan ho sakta hai? Kya kabhi koi dua is tarah bhi qabool ho jaya karti hai ke phir uske baad kabhi zindagi mein aur kisi cheez ki zaroorat hi na mehsoos ho? Ke zindagi muqammal lagne lage aur har takleef, har pareshani pheeki pad jaaye? Kya kabhi Khuda maangne par kuchh is tarah se de diya karta hai ke phir aur kuchh maangne ke liye haath kabhi uthe hi na , sirf sar jhuk jaya kare sajde mein shukr ada karne ke liye?

Aur mere hazaron aise sawalon ka jawab ek vo hi thi. Haan vo jise shayad Khuda ne sirf mere liye mere jism ka ek hissa nikal kar banaya tha. Vo jiski aankhon mein main apna aks talash kiya karta tha, jiski baaton mein apni zindagi dhoondha karta tha aur jiski aankhen mujhse is baat ka ehsaas karati thi ke meri saanson mein abhi rawani hai. Ke mere seene mein bhi ek dil hai jo uske naam par dhadka karta hai.

"I love you, so much" Maine uske maathe ko chooma aur uske kaan mein dheere se kaha.

"Itna mat kaha karo please" Usne phir vahi iltija ki.

"I know, i know but i cant help it. Do you know why?"

"Why?"

"Because i love you so much" Maine phir apni baat dohrayi.

"Oh ho, sunte nahi ho na? Nazar lag jaati hai"

Aur uska vo darr ke mere mohabbat ke baar baar izhaar karne par nazar lag sakti hai. Yun toh un lamhon mein sirf main aur vo hua karte par vo phir bhi dara karti ke kahin hamari mohabbat ko hamari hi nazar na lag jaaye. Main kabhi chah kar bhi use ye na samjha saka ke uska ye darr be-maani hai. Ke main toh khud hi uske bina zindagi ek pal ganwara nahi kar sakta. Ke main toh khud agar kabhi uske siwa raha toh adhura reh jaoonga.

"Phir bhi, mat kaha karo itna please" Vo bechain hokar aksar mujhse kaha karti aur main uski baat ansuni kar ek baar phir izhaar-e-mohabbat karta.


Sabko aata nahi duniya ko saja kar jeena,
Zindagi kya hai, mohabbat ki zubaan se suniye.


"Kya kar sakte ho mere liye?" Vo aksar shokh hokar mujhse puchha karti

"Kuchh bhi"

"Kuchh bhi kya?"

"Kuchh bhi matlab kuchh bhi"

"Matlab kuchh bhi nahi. Agar bata hi nahi pa rahe ho toh karoge kya khaak?" Vo zubaan nikal kar mujhe chidha diya karti.

Aur ye sach bhi toh, bilkul sach. Main kabhi use bata hi nahi saka ke main kya kar sakta hoon uske liye. Vo aksar mujhe ye sawal kiya karti aur main la-jawab ho jaya karta. Magar haqeeqat ye thi ke main kabhi vo alfaaz dhoondh hi nahi saka jo mere jazbaat ki bayaan kar sake. Jo kabhi use is baat ka andaza dila saken ke main kis qadar use chahta hoon. Ke mere dil ek saaz hai jo har dhadkan ko raag bana kar sirf uske sur mein gata hai.

Ke main uske liye aur sirf uske liye ek shehar mein jana chahta hoon. Haan vo shehar, vo khushiyon ka shehar. Jahan suna hai ke har khushi mil jaya karti hai. Aur main lana chahta hoon ek hasi uske labon ke liye, kuchh laali uske chehre ke liye, kuchh shokhi uski aankhon ke liye, Kuchh resham uske baalon ke liye, kuchh chand uske maathe ke liye, kuchh sooraj uski baali ke liye, kuchh sangeet uski choodi ke liye aur kuchh khwaab meethe uski raaton ke liye. Main jana chahta hoon us shehar aur har vo cheez lana chahta hoon jiski kabhi use khwahish thi, talab thi. Par kabhi us shehar se main vo alfaaz na la saka jo meri is tamanna ko kabhi mere lab tak le aate.

Meri aawaz hi parda hai mere chehre ka,
Main hoon khamosh jahan, mujhko vahan se suniye.


"Neend nahi aa rahi" Main raat ko phone par baat karte hue aksar shikayat karta.

Aur phir vo apni meethi aawaz mein koi naghma gungunane lagti. Aur uski aawaz sunkar meri tamam din ki thakan, tamam vehshat door ho jaati aur palken bhaari hone lagti. Kabhi samajh nahi saka ke vo yun sirf mujhe sulane ke liye gaati thi ya un geeton ki zubaani mujhe kuchh kehna chahti thi. Kayi baar samajhne ki koshish ko par har baar zehan hakla mehsoos hone lagta aur main kuchh samajhne se pehle hi neend ke aagosh mein chala jata.

"Maine kaha tha na nazar lag jaayegi, dekho lag gayi" Usne phir mujhse shikayat ki.

"Kuchh nahi hoga tumhein, kuchh bhi nahi" Maine badi mushkil se apne aansoo roke aur uska haath thama.

"Jhoothe kahin ke" Vo phir usi ada se muskurayi "Ek cheez maangun tumse? Karoge mere liye"

"Kuchh bhi" Main phir vahi jawab diya.

"Aise hi rehna hamesha, cute se. Kabhi badalna mat"

Badi mushkil se apne aansuon par ikhtiyaar karta main uske kamre se nikla aur hospital ke corridor mein aakar bilakh pada. Aansuon ka sailab umad pada.

Kya aisa bhi kabhi hota hai? Kya khuda kisi se is tarah bhi naraz ho jaya karta hai ke apni di hui cheez yun ek jhatke se chheen le? Insaan se uska sab kuchh yun loot le ke phir zindagi bemani lagne lage? Ke phir aadmi us chhote bachche ki tarah ho jaaye jisse uska man-pasand khilona chheen liya gaya ho? Kya kabhi Khuda yun bhi kabhi mazak karta hai ke phir kabhi haath dua mein uthte hi nahi, sirf nazar uthe shikayat karne ke liye.

"Kya karoge mere baad?" Vo udaas nazron se meri taraf dekh kar boli, "Jab raat ko neend nahi aaya karegi toh so-oge kaise?"

Mujhse kuchh jawab dete hi na bana. Kya kehta? Kaise batata use ke main kaise jiyunga uske jaane ke baad jabki mujhe khud hi nahi pata tha. Sirf khamosh khada main uske chehre ko dekhta raha jahan se zindagi ki rangat ko maut dheere dheere chura rahi thi. Vo jiski aawaz kabhi mujhe loriyan bankar sukoon se sula diya karti thi aaj khud ek lambi neend sone ki taiyyar kar rahi thi aur main chah kar bhi kuchh kar nahi pa raha tha.


" Dekho mere baad bhi Khush rehna please. Meri yaad ko aansuon mein mat bahana. Tumhari hasi bahut anmol thi mere liye, is hasi ko qayam rakhna varna meri rooh sukoon se na reh sakegi"

Aur usne jaate jaate kuchh aisa maang liya jisne mujhe do tukdon mein baant diya. Ek tukda jo uske jaane ka gham karna chahta tha, rona chahta tha, zindagi se bezaar hona chahta tha aur doosra tukda jo jo uski aakhri maangi hui cheez use dena chahta tha. Jo aansuon ke sailaab ko rokna chahta tha aur chehre par ek nakli hasi qayam rakhna chahta tha.


Aur phir us khoobsurat jism ko ek safed chadar mein lapet kar uske uper mitti daal di gayi aur main khamosh khada dekhta raha. Dekhta raha ke kaise vahan khade us hujoom ne kis bedardi ke saath use zameen mein chhod diya, tanha akela. Ek vo jiske aanchal ko bhi main kabhi zameen nahi chhune deta tha aaj use mere saamne hi supurd-e-khaak kar diya gaya. Aur main khada bas dekhta hi reh gaya.

Aur jaate jaate vo phir ek baar khud ko sahi saabit kar gayi. Ek dard ki tez lehar se uthi mere dil mein, mere seene ke baayin taraf aur phir samajh aaya ke aisa kyun hua. Mere jism ka ek hissa aaj mujhse chheen liya gaya tha. Ek vo jise mere seene ka ek hissa nikal kar banaya gaya tha aaj vo mitti mein dafan thi. Aaj main adhoora tha, mera jism adhoora tha. Pareshan main tha, takleef mein main tha, vehshat mein mera dimag tha par takleef mere seene mein hi thi, baayin taraf jahan se shayad kabhi use banaya gaya tha. Aaj mera vo hissa mujhe alag tha, mujhse judaa ho gaya tha aur pichhe reh gayi thi sirf ek kabhi na khatam hone wali kami, ek takleef.


Kya zaroori hai ke har parda uthaya jaaye,
Mere haalat bhi apne hi makaan se suniye.
 
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Fantasy

~ The Rebel
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Sep 13, 2011
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Chal "Insha" apne gaon mein..!
bethen gy sukh ki chaoon mae

Yahan ujlay ujlay roop bht
per asli kam behroop bht
Us pair k nichy kiya rukna
Jahan saya kam ho dhoop bht

Chal "Insha" apne gaon mein
Bethen gy sukh ki chhaon mein

Q? Teri aankh sawali hai ?
Yahan har ek baat nirali hai
Is dais basera mat karna
Yahan muflis hona gaali hy

Chal "Insha" apne gaon mein
bethen gy sukh ki chaoon mae

Jahan sachey rishty yaaron k
Jahan wadey pakky pyaron k
Zanjeer na koi paon mein


Chal "Insha" apne gaon mein...
bethen gy sukh ki chaoon mae...
 

Hoorain

*In search of Oyster Pearls*
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Dec 31, 2009
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A n3st!
Chal "Insha" apne gaon mein..!
bethen gy sukh ki chaoon mae
Yahan ujlay ujlay roop bht
per asli kam behroop bht
Us pair k nichy kiya rukna
Jahan saya kam ho dhoop bht
Chal "Insha" apne gaon mein
Bethen gy sukh ki chhaon mein
Q? Teri aankh sawali hai ?
Yahan har ek baat nirali hai
Is dais basera mat karna
Yahan muflis hona gaali hy
Chal "Insha" apne gaon mein
bethen gy sukh ki chaoon mae
Jahan sachey rishty yaaron k
Jahan wadey pakky pyaron k
Zanjeer na koi paon mein
Chal "Insha" apne gaon mein...
bethen gy sukh ki chaoon mae...
Awesomeeeeeeeeeee :-bd
best poetry!
 
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vamp545

Ì míśš ůř šťůpîđ fâćë
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Sahir Ludhianvi - A romantic urdu poet of beautiful words
Sahir Ludhianvi (8 March 1921 ? 25 October 1980) was a popular Urdu poet and Hindi lyricist, who worked extensively in Hindi films. Sahir Ludhianvi is his pseudonym. He won the Filmfare Award twice, in 1964 and 1977, and in 1971 was awarded the Padma Shri.

Early life
Sahir Ludhianvi was born into the wealthy Muslim family as Abdul Hayee on 8 March 1921 in Ludhiana, Punjab in India. His mother's name was Sardar Begum. Sahir's parents had a very loose and estranged relationship. In 1934, when he was thirteen years old, his father married for the second time. At that time, his mother decided to take the bold step of leaving her husband, forfeiting all claims to the financial assets. Sahir's father then sued his mother for child custody but lost. He threatened to make sure Sahir did not live with his mother very long, even if that meant taking the child's life. Sahir's mother then found friends who kept a close watch on him and didn't let him out of sight. Fear and financial deprivation surrounded the formative years of this young man. His parents' divorce brought him and his mother face to face with poverty and struggle in life.

The house where Sahir was born, a red sand-stone haveli, stands in Karimpura, a Muslim neighbourhood of Ludhiana, with a small plaque announcing its importance upon the arched mughal darwaaza ? the only effort by the city to remember him.

Sahir studied at and graduated from Khalsa High School in Ludhiana. Upon matriculation, he joined the Satish Chander Dhawan Government College For Boys, Ludhiana. He was quite popular for his ghazals and nazms in the college. He was famously expelled from the college within the year 'for sitting in the Principal's lawn with a female class-mate'. About his expulsion, some accounts erroneously mention Amrita Pritam as the girl, but she never lived in Ludhiana. They met after the partition of India, when she arrived in Delhi from Lahore in 1949.

In 1943, after being expelled from college, Sahir settled in Lahore. Here, he completed the writing of his first Urdu work, Talkhiyaan (Bitterness). He then began searching for a publisher and, after two years, he found one in 1945. After his work was published, he began editing four Urdu magazines, Adab-e-Lateef, Shahkaar, Prithlari, and Savera; these magazines became very successful.[5] He then became a member of the Progressive Writers' Association. However, inflammatory writings (communist views and ideology) in Savera resulted in the issuing of a warrant for his arrest by the Government of Pakistan. So, in 1949, Sahir fled from Lahore to Delhi. After a couple of months in Delhi, he moved to and settled in Bombay. A friend of his recalls Sahir telling him "Bombay needs me!".

His most famous love affair, however, was with Amrita Pritam, who became his most ardent fan. She has openly acknowledged her love for Sahir in interviews and her books. Apart from Amrita, several other women too came in his life but he could never decide on accepting any of those as his life partner. He remained a bachelor all his life.

In recent years there have been many attempts to chronicle his life and times. Many books about him were published both in India and Pakistan. In 2010 Danish Iqbal wrote a Stage Play 'Sahir' about his life which was directed by NRI Director Pramila Le Hunt. This Play became a commercial success and had a dream run in Delhi. For perhaps first time, in the history of Indian Theatre, songs were used as narrative to recreate the life and struggles of Sahir. Many of his misty eyed contemporaries, Ramesh Chand Charlie, Kuldeep Nayyar and few others, thronged the performance with nostalgic ache in their heart.

According to writer Niilesh A Raje, While in college Sahir had established his reputation for being a good writer, wrote fiery speeches and was equally popular for his ghazals and nazms. Sahir was a restless person and could not sit in one place for long. It was evident he had the literary talent but that could not give him stability so he decided to contribute his work for Bollywood in a way to give him financial stability. Attempts are being made to convert this Play into a film on Sahir. Because the Play Sahir had characters like Guru Dutt, Yash Chopra and Amrita Pritam, it would be a tough task for the casting and depiction but it would be a nostalgic journey down the memory lane both for the public and his friends and admirers.

Lyrics and Bollywood
Sahir lived on the first floor of the main building of an Andheri outhouse. His famous neighbours included the poet, Gulzar and Urdu litterateur, Krishan Chander. In the 1970s, he constructed Parchaiyaan (Shadows), a posh bungalow, and lived there till his death. Journalist Ali Peter John, who knew the poet personally, says real-estate sharks have been eyeing Sahir's abode after the death of his sister. His belongings and trophies are in a state of ruin, according to the journalist.

Sahir Ludhianvi made his debut in films writing lyrics for the film Aazadi Ki Raah Par (1949). The film had four songs written by him and his first song was Badal Rahi Hai Zindagi... Both the film and its songs went unnoticed. However, with Naujawaan (1951), he gained recognition. S.D. Burman composed the music for Naujawaan. Even today, the film's lilting song, "ठंडी हवाएँ लहराके आएँ...," remains popular. His first major success came the same year with Guru Dutt's directorial debut, Baazi (1951), again pairing him with Burman. Thus he became part of the Guru Dutt team, and after the success of Naujawaan and Baazi, the combination of Sahir Ludhianvi and S.D. Burman came out with many more everlasting songs.

Sahir worked with many music composers, including Ravi, S.D. Burman, Roshan and Khayyam, and has left behind many unforgettable songs for fans of the Indian film industry and its music. Pyaasa marked an end to his successful partnership with S.D. Burman over what is reported to be S.D. Burman's displeasure at Sahir receiving more admiration (and thus credit for the success) from audiences for the words of the lyrics than S.D. Burman did for his memorable tunes.[citation needed] Later, Sahir Ludhianvi teamed up with composer Datta Naik in several films. Datta, a Goan, was a great admirer of Sahir's revolutionary poetry. They had already worked together to produce the music for Milaap (1955). Sahir wrote many unforgettable gems for Datta.
From the time B.R. Chopra started producing and directing films under his banner 'B.R.Films' around 1950, Sahir Ludhiyanvi remained the preferred songwriter for his films. This association continued till Sahir Ludhiyanvi died, with his last composition for B.R.Films being for Insaaf Ka Tarazu. It was only after Sahir died that B.R. Chopra decided to use a new lyricist Hassan Kamaal for his films, starting with films like Nikaah. The association between Sahir and B.R. Chopra's family continued for so long that despite B.R. Chopra using different music directors in his movies, Sahir always remained the lyricist for his movies. Not just this, but even Yash Chopra, who broke away from B.R. Chopra's films and became an independent director and then producer of Hindi films, also used only Sahir Ludhiyanvi as the lyricist in all his movies, again an association which lasted till Sahir's death.

In 1958, Sahir wrote the lyrics for Ramesh Saigal's film Phir Subah Hogi, which was based on Fyodor Dostoevsky's novel Crime and Punishment. The male lead was Raj Kapoor and it was presumed that Shankar-Jaikishan would be the music composers. However, Sahir insisted that only someone who had read the novel could provide the right score. Thus, Khayyam ended up as the music composer for the film, and the song Woh Subah Kabhi Toh Aayegi with minimal background music remains an all-time hit. Khayyam went on to work with Sahir in many films including Kabhie Kabhie and Trishul.

Admirers and critics rate Sahir's work in Guru Dutt's Pyaasa as his finest. Pyaasa, some say, bears resemblance to Sahir's early years as a poet. The onscreen poet, Vijay played by Guru Dutt, bears a strong likeness to the man whose poetry gave the film its soul.

With success, Sahir started displaying arrogance. He insisted on writing the lyrics first and then having them set to music unlike his other contemporaries who would be happy penning their verses to the tunes. His other insistence of being paid 1 Rupee more than Lata Mangeshkar created a rift between him and S D Burman and Lata. His attempt at promoting a new singer Sudha Malhotra who was also his love interest was another example.

Sahir Ludhianvi's work in the 1970s was restricted to films mainly directed by Yash Chopra. Though his output in terms of number of films had thinned out, the quality of his writing commanded immense respect. Kabhie Kabhie (1976) saw him return to sparkling form. These songs won him his second Filmfare Award for Best Lyricist, the first being for Taj Mahal (1963).

Last days
On 25 October 1980, at the age of fifty-nine, Sahir Ludhianvi suffered a massive heart attack and died in the arms of his friend Dr R.P. Kapoor. He was buried at the Juhu Muslim cemetery. His tomb was demolished in 2010 to make space for new bodies.

Sahir's final works were released for the Hindi film Lakshmi (1982). He will always be remembered along with Kaifi Azmi as the poet who brought Urdu literature to Indian motion pictures. Over twenty-five years after Sahir Ludhianvi's death, his poetry and lyrics remain an inspiration for lyricists of the day. Composers and singers of Sahir's time swear by the depth, intensity and purity in his poetry. As singer, Mahendra Kapoor said in a Vividh Bharati interview, "I don't think a writer like Sahir Ludhianvi will be born again."
Sahir also wrote songs for Laila Majnoon and Daag

Personality
It was ironically appropriate; while the poet's heart bled for others, he never paid enough attention to his own life.

His friend, Prakash Pandit once recalled how, after the Partition of India, Sahir was unhappy without the company of his Hindu and Sikh friends (they had all fled to India). A secular India was Sahir's preference to an Islamic Pakistan.

Sahir Ludhianvi was known to be very egotistic[citation needed], perhaps as a result of his zamindar background; he fought for, and became the first lyricist or songwriter, to get royalties from music companies. Sahir insisted on writing the songs before the song was composed, against the Bollywood norm. However, some of his songs were written after the tunes were ready. For example, मांग के साथ तुम्हारा (Naya Daur 1957 ? music by O.P. Nayyar). At the height of his popularity, Sahir is known to have demanded a rupee more than what was paid to Lata Mangeshkar for singing it. It was on Sahir's insistence that All India Radio started crediting lyricists along with singers and music composers for songs it aired.

Poetry
A colossus amongst film lyricists, Sahir Ludhiyanvi was slightly different from his contemporaries. A poet unable to praise Khuda (God), Husn (Beauty) or Jaam (Wine), his pen was, at its best, pouring out bitter but sensitive lyrics over the declining values of society, the senselessness of war and politics, and the domination of materialism over love. Whenever he wrote any love songs, they were tinged with sorrow, due to realisation that there were other, starker concepts more important than love. He could be called the underdog's bard; close to his heart were the farmer crushed by debt, the soldier gone to fight someone else's war, the woman forced to sell her body, the youth frustrated by unemployment, the family living on the street and other victims of society. His lyric from Pyaasa when lead actor Guru Dutt (Vijay) was passing through a red light area by singing this song, moved even Pt. Jawaharlal Nehru, Honourable Prime minister of India that time.

Sahir Ludhiyanvi's poetry had a "Faizian" quality. Like Faiz Ahmed Faiz, he too gave Urdu poetry an intellectual element that caught the imagination of the youth of the 1940s, 1950s and 1960s. He helped them discover their spine. Sahir asked questions and was not afraid of calling a spade, a spade; he roused people from an independence-induced smugness. He would pick on the self-appointed custodian of religion, the self-serving politician, the exploitative capitalist, and the war-mongering super-powers.

Sahir's poetry reflected the mood of the age. Whether it was the arrest of progressive writers in Pakistan, the launch of the satellite Sputnik or the discovery of Ghalib by a government lusting after minority votes, Sahir reacted with a verve not seen in many writers' work. Kahat-e-Bangal ("The Famine of Bengal"), written by a 25-year-old Sahir, bespeaks maturity that came early. His Subah-e-Navroz ("Dawn of a New Day"), mocks the concept of celebration when the poor exist in squalor.

Perhaps Sahir is the first renowned Urdu poet, who, could express his view towards The Tajmahal in a complete different way.

he poet asks his lover to meet him anywhere else but Tajmahal. A tomb which has been a symbol of luxurious monarchy for years, there is no need to make journey of love by two beautiful but not famous hearts there.
Sahir will always be remembered as a poet who made his creation a lesson for all ages of Urdu poetry to come. In this way he contradicts his own creation: "kal aur aayenge naghmo ki khilti kalian chunnewale, mujhse behtar kehnewale, tumse behtar sunne wale; kal koi mujhko yaad kare, kyun koi mujhko yaad kare, masroof zamana mere liye kyun waqt apna barbad kare?" Translation: Tomorrow there will be more who will narrate the love poems. May be someone narrating better than me. May be someone listening better than you. Why should anyone remember me? Why should anyone remember me? Why should the busy age waste it?s time for me?

Personal life
Sahir Ludhianvi remained a bachelor all his life, he had two failed love affairs with journalist Amrita Pritam and singer/actress Sudha Malhotra.[14] These relationships had left him an embittered man. He took to drinking heavily and drank himself deep into alcoholism. The tragedies and pathos of his personal life most truly reflected in his poignant poetry.

His relationship with Amrita Pritam was so passionate that at one time, while attending a press conference, Amrita wrote his name hundreds of times on a sheet of paper. The two of them would meet without saying a word and Sahir would puff away with his cigarettes, and after he left, Amrita would smoke the cigarette butts left by him. After his death, she hoped the smoke from her cigarettes would meet him in the other world.

It is said that when Sahir was courting Amrita Pritam, he built a taller house in front of Amrita Pritam's residence in Ludhiana to show her father that he could afford a house. This statement is a fallacy derived from the Hindi film Tere Ghar Ke Samne. Sahir's economic position at the time was pitiful, so 'building a house' would be out of the question; and secondly, Amrita Pritam did not belong to Ludhiana but to Gujranwala; and the "love of her life" was another Urdu shayar, Imroz, as detailed extensively in her autobiography, written in Punjabi for which she got a Sahitya Academy Award.

Famous works
English translations of Sahir's poetry: LUDHIYANVI, Sahir (1921?1980)
SHADOWS SPEAK tr. with intro. Khwaja Ahmad Abbas {Abbas, Khwaja Ahmad} pref. Sajjad Zaheer {Zaheer, Sajjad} English text only. P.P.H. Bookstall (Bombay) 129pp (intro. 7?12) 1958 paper only.
THE BITTER HARVEST tr. Rifat Hassan {Hassan, Rifat} Urdu & English texts. Aziz Publishers (Lahore) 169pp (pref. i?iii) 1977 cloth only.
SORCERY/ (Sahir) tr. with pref. Sain Sucha {Sucha, Sain} Urdu & English texts. Vudya Kitaban Forlag (Sollentuna, Sweden) 114pp (pref. 1?6, essay in Urdu 106?114) 1989 paper only.
Gaata jaye Banjara ? A Collection of film lyrics

 
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vamp545

Ì míśš ůř šťůpîđ fâćë
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INDIAN SONGS - by Saahir Ludhyaanwi

Song : haseenoN ke jalwe pareshaan rahate agar ham na hote
Movie : Babar (1960)
Singers : Asha Bhonsle, Manna De, Mohd. Rafi, Sudha Malhotra, Chorus
Lyrics : Sahir Ludhianvi
Music : Roshan
Starring : Azra, Sohan, Shobha Khote

haseenoN ke jalwe pareshaan rahate agar ham na hote
mohabbat se tum log anjaan rahate agar ham na hote

hamiiN ne tumheN jaan-e-mehfil banaayaa
nigaahoN meN tul ne ke qaabil banaayaa
hamiiN ne sikhaayaa tumheN waar karanaa
huye qatl aur tum ko qaatil banaayaa
ye sab naaz-o-andaaz bejaan rahate agar ham na hote

hamiiN ne tumheN pyaar kii roshanii di
jo aaNchal se chhantii hai wo chaaNdanii dii
nazar se jawaanii kii shabanam looTaa ke
tamannaa ke har phool ko taazagii dii
chaman aarazooN ke veeraan rahate agar ham na hote

agar ham no hote to kyaa baat banatii
siyaa zulf kaise haseeN raat banatii
agar ham na chaahat ke sajde luTaate
Khudaa kis tarah husn kii baat banatii
butoN ko Khudaa_ii ke armaan rahate agar ham na hote

tumheN ham ne jaadoo bhare Khwaab baKhshe
andherii fizaaoN ko mahataab baKhshe
junooN ko wafaa kaa salikaa sikhaayaa
diloN ko dhaRakane ke aadaab baKhshe
ye naadaan dil yooN hii naadaan rahate agar ham na hote

jawaaN baazuoN ko lachak ham ne dii hai
haseeN chuRiyoN ko khanak ham ne dii hai
hamiiN ne bharaa loch angaRaa_iyoN meN
tumheN bijaliyoN kii chamal ham ne dii hai
tum is husn par Khud pashemaan rahate agar ham na hote

duaa do ki tum ko muhabbat sikhaa dii
murawwat kii Khaatir sharaafat sikhaa dii
hamiiN ne tumheN Dhang-e-tahzeeb baKhshaa
hamiiN ne tumheN aadamiyat sikhaa dii
zamaane meN wahashat ke saamaan rahate agar ham na hote

.....

Song : tum ek baar muhabbat kaa imtahaan to loMovie : Babar (1960)
Singer : Mohd. Rafi
Lyrics : Sahir Ludhianvi
Music : Roshan
Starring : Azra, Sohan Kapila, Shobha Khote

tum ek baar muhabbat kaa imtahaan to lo
mere junooN merii wahashat kaa imtahaan to lo
tum ek baar muhabbat kaa imtahaan to lo

salaam-e-shauq pe ranjish bharaa payaam na do
mere Kholoos ko hirs-o-hawas kaa naam na do
merii wafaa kii haqeeqat kaa imtahaan to lo
tum ek baar muhabbat kaa imtahaan to lo

na taKht-o-taaj naa laal-o-gauhar kii hasarat hai
tumhaare pyaar tumhaarii nazar kii hasarat hai
tum apane husn kii azamat kaa imtihaan to lo
tum ek baar muhabbat kaa imtahaan to lo

maiN apanii jaan bhii de dooN to aitabaar nahiiN
ke tum se baRh ke mujhe zindagii se pyaar nahiiN
yooN hii sahii merii chaahat kaa imtihaan to lo
tum ek baar muhabbat kaa imtahaan to lo

.......

Song : salaam-e-hasarat qabool kar lo
Movie : Babar (1960)
Singer : Sudha Malhotra
Lyrics : Sahir Ludhianvi
Music : Roshan
Starring : Azra, Sohan Kapila, Shobha Khote

salaam-e-hasarat qabool kar lo
merii muhabbat qabool kar lo
salaam-e-hasarat qabool kar lo

udaas nazareN taRap taRap kar
tumhaare jalawoN ko DhooNDhatii haiN
jo Khwaab kii tarah kho gaye
un haseen lamhoN ko DhooNDhatii haiN
agar na ho naaGawaar tum ko
to ye shikaayat qabool kar lo
salaam-e-hasrat qabool kar lo

tumheeN nigaahoN kii justajoo ho
tumheeN KhayaaloN kaa mudda'a ho
tumheeN mere waaste sanam ho
tumheeN mere waaste Khudaa ho
merii parastish kii laaj rakh lo
merii ibaadat qabool kar lo
salaam-e-hasarat qabool kar lo

tumhaarii jhukatii nazar se jab tak
na ko_ii paiGaam mil sakegaa
na rooh taskeen paa sakegii
na dil ko aaraam mil sakegaa
Gam-e-judaa_ii hai jaan lewaa
ye ik haqeeqat qabool kar lo
salaam-e-hasarat qabool kar lo

........

Song : payaam-e-ishq-o-muhabbat hameN pasand nahiiN
Movie : Babar (1960)
Singer : Sudha Malhotra
Lyrics : Sahir Ludhianvi
Music : Roshan
Starring: Azra, Sohan Kapila, Shobha Khote

payaam-e-ishq-o-muhabbat hameN pasand nahiiN
ye dillagii ye sharaarat hameN pasand nahiiN

bajaa nahiiN thaa ye izahaar beqaraarii kaa
lihaaz kuchh to kiyaa hotaa pardaadaarii kaa
hayaa se itanii baGaawat hameN pasand nahiiN
payaam-e-ishq muhabbat hameN pasand nahiiN

hameN to haNs ke sitaaroN ne bhii nahiiN dekhaa
nazar milaa ke bahaaroN ne bhii nahiiN dekhaa
kisii nigaah kii jurrat hameN pasand nahiiN
ye dillagii ye sharaarat hameN pasand nahiiN

jo taKht-o-taaj ke waaris haiN un kaa pyaar hii kyaa
badalane waalii nigaahoN kaa aitabaar hii kyaa
hazoor kii ye inaayat hameN psand nahiiN
payaam-e-ishq muhabbat hameN pasand nahiiN

.......

Song : tum na jaane kis jahaaN meN kho gaye
Movie : Sazaa (1951)
Singer : Lata Mangeshkar
Lyrics : Sahir Ludhianvi
Music : S. D. Burman
Starring : Dev Anand, Nimmi, Shyama
Note: This is the only song by Sahir in this movie. The other 7 songs were written by Rajinder Krishan.

tum na jaane kis jahaaN meN kho gaye
ham bharii duniyaa meN tanhaa ho gaye

ek jaaN aur laakh Gam ghuT ke rah jaaye na dam
aao tum ko dekh leN Doobatii nazaroN se ham
looT kar meraa jahaaN chhup gaye ho tum kahaaN
tum kahaaN, tum kahaaN, tum kahaaN
tum na jaane kis jahaaN meN kho gaye

maut bhii aatii nahiiN raat bhii jaatii nahiiN
dil ko ye kyaa ho gayaa ko_ii shay bhaatii nahiiN
looT kar meraa jahaaN chhup gaye ho tum kahaaN
tum kahaaN, tum kahaaN tum kahaaN
tum na jaane kis jahaaN meN kho gaye

......

Song : toraa man darpan kah laaye
Movie : Kaajal (1965)
Singer : Asha Bhonsle
Lyrics : Sahir Ludhianvi
Music : Ravi
Starring : Meena Kumari, Raaj Kumar

praanii apane prabhoo se poochhe
kis vidhii paa_ooN tohe
prabhu kahe tuu man ko paale
paa jaayegaa mohe

toraa man darpan kah laaye
bhale bure saare karmoN ko
dekhe aur dikhaaye

man hii devataa man hii iishwar
man se baRaa na koye
man ujiyaaraajab jab jab phaile
jag ujiyaaraa hoye
is ujale darpan par praanii
dhool na jamane paaye
toraa man darpan kah laaye

sukh kii kaliyaaN dukh ke kaaNTeN
man sab kaa aadhaar
man se ko_ii baat chhupe na
man ke nain hazaar
jag se chaahe bhaag le ko_ii
man se bhaag na paaye
toraa man darpan kah laaye

tan kii daulat Dhalatii chhaayaa
man kaa dhan anmol
tan ke kaaraan man ko apane
mat maaTii meN rol
man kii qadar bhulaane waalaa
heeraa janam gaNwaaye
toraa man darpan kah laaye

........[DOUBLEPOST=1367569921][/DOUBLEPOST]my fvt ghazal by Saahir Ludhyaanwi aur vampire bhai ki story ka zikr hai (tere kooche mein)

Sangay mar-mar se tarasha hua ye shukh badan
Itna dil kash hai ke apnanay ko ji chahta hai

surkh honton mein terkti hai ye rangeen sharaab
jisay pe kar bhahak janay ko ji chahta hai

naram seenay mein darktay hain woh nazuk tufaan
jin ki lahroon mein utar janay ko ji chahta hai

Tum se kya rishta hai, kab se hai, yeh maloom nahin,
Lekin is hussn pe mar janey ko jee chahta hai,

Rakh ley kal ke liye yeh doosri pazeb dil,
Kal is bazzm mein phir aney ko jee chahta hai,

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

Kab se khamosh ho aye jane jahan kuch to bolo,
Kya abhi bhi sitam aur dhaney ko jee chahta hai,

Chorr kar tum ko kahan chain miley ga hum ko,
Yahin jeeney yahin mar janey ko jee chahta hai,

Apne hathon se sanwara hai tumhein qudrat ne,
Dekh ker dekhte reh jane ko jee chahta hai,

Noor hi noor jhalakta hai haseen chehre se,
Bas yahin sajde mein gir janey ko jee chahta hai,

Mere daman ko koi aur na chuu paye ga,
Tum ko chuu kar kasam yeh khaney ko jee chahta hai,

Chand chehra hai tera aur nazar hai bijli,
Aik ik jalwe pe mar janey ko jee chahta hai,

Chand ki hasti hi kya samne jab suraj ho,
Aap ke kadmon mein mitt janey ko jee chahta hai
?
 

vamp545

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Rahat Indori (Urdu: ڈاکٹر راحت اندوری ) (born January 1, 1950) is an eminent Urdu language poet and a bollywood lyricist[. Prior to this he was a pedagogist of Urdu literature at Indore University.

He was born on January 1, 1950 in Indore to Rafatullah Qureshi, a cloth mill worker, and his wife Maqbool Un Nisa Begum. He was their fourth child. He did his schooling from Nutan School Indore from where he completed his Higher Secondary. He completed his graduation from Islamia Karimia College Indore in 1973 and has passed his MA in Urdu literature from Barkatullah University. Bhopal (Madhya Pradesh) in 1975. Equally competent in prose and poetry, Rahat was awarded a PhD in Urdu literature from the Bhoj University of Madhya Pradesh in 1985 for his thesis titled Urdu Main Mushaira


aaNkh pyaasii hai koii manzar de
is jaziire ko bhii samandar de

apanaa cheharaa talaash karanaa hai
gar nahii.n aainaa to patthar de

band kaliyo.n ko chaahiye shabanam
in chiraaGon me.n roshanii bhar de

pattharo.n ke saro.n se karz utaar
is sadii ko koii payambar de

kah_kahon men guzar rahii hai hayaat
ab kisii din udaas bhii kar de

phir na kahanaa ke Khud_Khushii hai gunaah
aaj fursat hai faisalaa kar de
 

vamp545

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intezamaat naye sire se sambhaale jaayen
jitane kamzarf hain mehafil se nikaale jaayen

meraa ghar aag kii lapaTo.n me.n chhupaa hia lekin
jab mazaa hai tere aa.Ngan me.n ujaale jaayen

Gam salaamat hai to piite hii rahe.nge lekin
pehale maiKhaane kii haalat sambhaale jaayen

Khaalii vaqton men kahiin baiTh ke role.n yaaro
fursaten hai.n to samandar hii khangaale jaayen

Khaak me.n yuuN na milaa zabt kii tauhiin na kar
ye vo aa.NsuuN hai.n jo duniyaa ko bahaa le jaayen

ham bhii pyaase hai.n ye ehasaas to ho saaqii ko
Khaalii shiishe hii havaaon men uchhaale jaayen

aao shahr men naye dost banaayen "Rahat"
aastiinon men chalo saaNp hii paale jaayen



Rahat Indori
 

vamp545

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Abroo Shah Mubarak

Shah Mubarak Aabruu was one of the most prominent North Indian poets of formative phase of Urdu literature. He was born in 1685 at Lucknow and moved to Delhi, where he spent rest of his life. He was one of the first poets who started writing Diwan (collection of Urdu poetries) and was the contemporary of Meer Taqi Meer and Mushafi. His Diwan was published in 1967. His poetry is marked by ‘Iham goi’ (the style of writing couplets with double meanings) and this style is popular even today. Abruu also pioneered the writing of ‘vasokht’ in Urdu – a poetic genre describing the grace of an imaginary beloved with which the poet falls in love.

MY FVRY LINE

DOOR KHAMOSH BAITHA RAHETA HU
IS TARAH DIL KA HAAL KAHETA HU
 

vamp545

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Ale Ahmad Suroor

Ale Ahmad Suroor was born in a middle-class family of Badayun Uttar Pradesh(INDIA) on 8 Oct 1912. He had his education from Ghazipur, Agra and Aligarh. After B.Sc. he switched over to English literature and acquired a master degree. Suroor started working as a lecturer in English. Later he moved to the department of Urdu as a lecturer doing post graduation in Urdu literature. Suroor was a noted poet, critic and scholar. His poetical works include Salsabeel (1935) and Zauq-e-Junoon (1955). Some of his other works are Maqallate yume Iqbal (essays on Iqbal) (1945), Naye aur purane chiragh (1946), Tanquidi ishare (literary and critical essays) (1949) and Adab aur Nazaria (1954). In poetry, he adhered to the traditional form of rhymed verses. Saroor occupies a very important place as a critic in Urdu. He was a member of Sahitya Akademy. He died on February 8, 2002 in Delhi.
 

vamp545

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Best poetry by Ale Ahmad Suroor

Wo bhi kya log the aasan thi rahen jin ke
band aankhen kiye ik simt chale jate the

aql-o-dil khvab-o-haqiqat ke na uljhan na khalish
mukhtalif jalve nigahon ko na bahalate the

ishq sada bhi tha bekhud bhi jununpesha bhi
husn ko apni adaon pe hijab aata tha

phul khilate the to phoolon mein nasha hota tha
raat dhalati thi to shishon pe shabab aata tha

chandani kaifasar ruhafza hoti thi
abr aata tha to badmast bhi ho jate the

din mein shorish bhi hua karati thi hangame bhi
raat ke god mein muh dhanp ke so jate the




narm rau waqt ke dhare pe safine the ravan
sahil-o-bahr ke aain na badalate the kabhi

nakhudaon pe bharosa tha muqaddar pe yaqin
chadar-e-ab se tufan na ubalate the kabhi

hum ke tufanon ke pale bhi sataye bhi hain
barq-o-baran mein wo hi shamen jalayen kaise

ye jo aatishkada duniya mein bhadak uttha hai
aansuon se use har bar bujhayen kaise

kar diya barq-o-bukharat ne mahashar barpa
apne daftar mein litafat ke siva kuch bhi nahi

ghir gaye waqt ke beraham kashakash mein magar
pas tahazib ke daulat ke siva kuch bhi nahi

ye andhera ye talatum ye hawaon ka kharosh
is mein taron ke subuk narm ziya kya karati

talkhi-e-zist se kadava hua aashiq ka mizaj
nigah-e-yar ke masum ada kya karati

safar aasan tha to manzil bhi badi raushan thi
aj kis darja purasarar hain rahen apni

kitni parachaiyan aati hain tajalli ban kar
kitne jalvon se ulajhati hain nigahen apni
 

vamp545

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Sarwar Alam Raz Sarwar
Fort Worth, Texas, USA
Born: March 16, 1935 ( Jabalpur, India)

Sarwar Alam Raz was born on March 16, 1935 in the central Indian city of Jabalpur in a reputable Muslim family with a long history of active interest in Urdu literature and poetry. He received his early education in Jabalpur and later moved to Aligarh in order to pursue his education at the famous Aligarh Muslim University (AMU). He earned his baccalaureate from AMU in Sciences as well as in Civil Engineering and later joined the University as a Lecturer in Civil Engineering. Later he went abroad to pursue higher studies at Louisiana State University, USA and North Carolina State University, USA. He emigrated to the USA in 1971 and after working as a Structural Engineer for various international consulting engineering firms for many years took early retirement in 1995. He currently resides in Fort Worth, Texas, USA where he devotes his time to further the cause of Urdu language and literature.

Sarwar received his training in Urdu poetry and literature from his illustrious father, the late Abul Fazil Raz Chandpuri who was an eminent poet and author of his time. Sarwar is primarily interested in Urdu Ghazal wherein his style favors and reflects the styles and ideas of the old masters like Ghalib and Meer. His interests, however, also include Urdu short stories (afsaane) as well as literary criticism. He is widely published in Urdu magazines in India as well as Pakistan.

To date Sarwar has written eight books on various subjects. He has published two text books on Civil Structural Engineering and two Handbooks on Islaamiyaat (all in English). In addition, he has published two collections of his Ghazals (Shehr-e-Nigar and Rang-e-Gulnar), a collection of his short stories (Teesraa Haath) and a critical study of the poetry of Raz Chandpuri (Baaqiyaat-e-Raz). A third collection of his Ghazals (Dur-e-Shahwaar) is expected to be published shortly.

Sarwar is deeply involved in various Urdu literary activities on the Internet and devotes a large part of his time and energy to helping new and relatively inexperienced writers and poets improve and hone their skills. He has recently developed a comprehensive system of Roman Urdu (Urdu in Roman script) writing which takes into account almost all finer points and details of Urdu :imlaa and talaffuz: and is eminently suited to literary purposes.
best ghazal

mujhe zindagee peh apnee agar iKhtiyaar hotaa
to maiN raah-e-aarzoo meN yooN Kharaab-o-Khwaar hotaa?

tujhe meraa, mujh ko teraa agar e'tibaar hotaa
nah too sharmsaar kartaa, nah maiN sharmsaar hotaa!

kiyaa too ne yeh GhaZ^ab kyaa, diyaa khol raaz-e-hastee?
nah maiN aashkaar hotaa, nah too aashkaar hotaa!

Gham-e-aarzoo meN jaaN par miree yooN agar nah bantee
koyee aur teraa saathee, dil-e-beqaraar! hotaa?

sar-e-bazm meree jaanib jo too uThtee gaahe gaahe
mujhe tujh se shikwah phir kyoN ai nigaah-e-yaar! hotaa?

nah maiN tujh se aashnaa hooN, nah hee Khud se baa-Khabar hooN
yeh maze kahaaN se milte agar hoshiyaar hotaa?

miree fikr dil-kushaa hai, miree baat be-riyaa hai
tujhe phir bhee yeh gilaa hai, maiN wafaa-shi,a'ar hotaa!

hai Khat^aa yeh i'shq lekin, yeh gunaah to naheeN hai!
maiN Khat^aa se taubah kartaa to gunaahgaar hotaa!

Gham-e-a'ashiqee huwaa hai Gham-e-zindagee meN shaamil
:mujhe kyaa buraa thaa marnaa agar ek baar hotaa:!

tiree ik Ghazal bhee "Sarwar" kisee kaam kee jo hotee
to Z^aroor shaa,i'roN meN tiraa bhee shumaar hotaa!

 
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