mauzu-e-suKHan (gul huii jaati hai)

gul huī jaatī hai afsurda sulagtī huī shaam
Evening , numb and smouldering, is being extinguished,
Dhul ke niklegī abhī chashma-e-mahtāb se raat
Soon night will emerge, bathed, from the fountain of the moon,
aur mushtāq nigāhoñ kī sunī jā.egī
And the eyes’ desire will be fulfilled,
aur un hāthoñ se mas hoñge ye tarse hue haat
And these thirsting hands will touch those hands!
un kā āñchal hai ki ruḳhsār ki pairāhan hai
Is it the border of her veil, or cheek, or is it her mantle?
kuchh to hai jis se huī jaatī hai chilman rañgīñ
Something there is by which the curtain is being tinged with colour.
jaane us zulf kī mauhūm ghanī chhāñv meñ
There is no knowing whether in the hazy thick shade of that tress
TimTimātā hai vo āveza abhī tak ki nahīñ
That earring is still twinkling or not.
aaj phir husn-e-dil-ārā kī vahī dhaj hogī
Today again there will be the same style of captivating beauty,
vahī ḳhvābīda sī āñkheñ vahī kājal kī lakīr
Those same as-if-sleeping eye, that line of lampblack
rañg-e-rukHsār pe halkā sā vo ġhāze kā ġhubār
On the colour of the cheek that faint cloud of powder,
sandalī haath pe dhuñdlī sī hinā kī tahrīr
On the sandalwood-coloured hand the misty tracery of henna.
apne afkār kī ash.ār kī duniyā hai yahī
This only is the world of my thoughts, my verses,
jān-e-mazmūñ hai yahī shāhid-e-ma.anī hai yahī
This only is the soul of my meaning, this only is the darling of my intent.

aaj tak surḳh o siyah sadiyoñ ke saa.e ke tale
Down to today, under the shadow of red and black centuries,
aadam o havvā kī aulād pe kyā guzrī hai?
What has befallen the offspring of Adam and Eve?
maut aur ziist kī rozāna saf-ārā.ī meñ
In the daily battle-array of death and life,
ham pe kyā guzregī ajdād pe kyā guzrī hai?
What will befall us, what has befallen our ancestors?
in damakte hue shahroñ kī farāvāñ maḳhlūq
The multitudinous creatures of these glittering cities,
kyuuñ faqat marne kī hasrat meñ jiyā kartī hai
Why do they keep living only in desire of death?
ye hasīñ khet phaTā paḌtā hai jauban jin kaa!
These lovely fields, whose bloom is bursting out,
kis liye in meñ faqat bhuuk ugā kartī hai
Why does only hunger keep growing in them?

ye har ik samt pur-asrār kaḌī dīvāreñ
These harsh walls on every side, full of mysteries,
jal-bujhe jin meñ hazāroñ kī javānī ke charāġh
In which the lamps of the youth of thousands have burned away,
ye har ik gaam pe un ḳhvāboñ kī maqtal-gāheñ
These execution-grounds, at every step , of those dreams
jin ke partav se charāġhāñ haiñ hazāroñ ke dimāġh
By whose radiance the minds of thousands are lamps
ye bhī haiñ aise ka.ī aur bhī mazmūñ hoñge
These also are themes , others also like them there may be.
lekin us shoḳh ke āhista se khulte hue hoñT
But the slowly opening lips of that saucy one!
haa.e us jism ke kambaḳht dil-āvez ḳhutūt
Ah, the cursed alluring lines of that body!

aap hī kahiye kahīñ aise bhī afsūñ hoñge
You yourself say, will there be such sorceries anywhere else?
apnā mauzu-e-suḳhan un ke sivā aur nahīñ
My theme of poetry is nothing else except these,
tab.a-e-shā.er kā vatan un ke sivā aur nahīñ
The native land of the poet’s nature is nothing else except these.

Literal translation above is by Victor Kiernen, as is the poetic one below.

Victor Kiernen

Twilight is burning out and turning chill,
Night comes fresh-bathed from where the moon’s spring flows;
And now—these eager eyes shall have their will,
These avid fingers feel the touch of those!
Is that her fringed veil, is it her face, her dress,
Behind the hanging gauze, that makes it glow—
And in the vague mist of that rippling tress
Does the bright earring twinkle still, or no?
Subtly once more her loveliness will speak,
Those pencilled lids, those languorous eyes, again;
Dusted with that faint powder, her pink cheek,
On her pale hand the henna’s delicate stain.
Here is the chosen world of rhyme and dream
My muse inhabits, here her darling theme!
—Under the black and blood-red murk of ages
How has it fared with Eve’s sons all these years?
How shall we fare, where daily combat rages
Of death with life? how fared our forefathers?
Why must those gay streets’ swarming progeny
So draw breath that to die is all they crave?
In those rich fields bursting with bounty, why
Must no ripe harvest except hunger wave?
Walls dark with secrets frown on every side,
That countless lamps of youth have sunk behind;
Everywhere scaffolds on which dreams have died
That lit unnumbered candles in man’s mind.
—These too are subjects; more there are;—but oh,
Those limbs that curve so fatally ravishingly!
Oh that sweet wretch, those lips parting so slow—
Tell me where else such witchery could be!
No other theme will ever fit my rhyme;
Nowhere but here is poetry’s native clime.


tum aaye ho naa

tum aa.e ho na shab-e-intizār guzrī hai
talāsh meñ hai sahar baar baar guzrī hai

junūñ meñ jitnī bhī guzrī ba-kār guzrī hai
agarche dil pe ḳharābī hazār guzrī hai

huī hai hazrat-e-nāseh se guftugū jis shab
vo shab zarūr sar-e-kū-e-yār guzrī hai

vo baat saare fasāne meñ jis kā zikr na thā
vo baat un ko bahut nā-gavār guzrī hai

na gul khile haiñ na un se mile na mai pī hai
ajiib rañg meñ ab ke bahār guzrī hai

chaman pe ġhārat-e-gul-chīñ se jaane kyā guzrī
qafas se aaj sabā be-qarār guzrī hai

Agha Shahid Ali:

shaam-e-firaaq

shām-e-firāq ab na pūchh aa.ī aur aa ke Tal ga.ī
dil thā ki phir bahal gayā jaañ thī ki phir sambhal ga.ī

bazm-e-ḳhayāl meñ tire husn kī sham.a jal ga.ī
dard kā chāñd bujh gayā hijr kī raat Dhal ga.ī

jab tujhe yaad kar liyā sub.h mahak mahak uThī
jab tirā ġham jagā liyā raat machal machal ga.ī

dil se to har mo.āmla kar ke chale the saaf ham
kahne meñ un ke sāmne baat badal badal ga.ī

āḳhir-e-shab ke ham-safar ‘faiz’ na jaane kyā hue
rah ga.ī kis jagah sabā sub.h kidhar nikal ga.ī

Agha Shahid Ali:

Ask no more about separation
somehow I lived through its night
The heart learned to console itself
life returned to its routines. 

*In the festival of memory
you again were loveliness
lit up by beauty
the grief of the moon was extinguished
we were again together in the night. 

*When I remember you
the morning is essence it is perfume it’s musk
And the night
when I kindle our sorrow
is longing caught in itself

*The heart as such 
has settled its every doubt
when I went to tell her we must part*
but on seeing her
the lips spoke love’s unrehearsed words
and everything changed everything changed

It was the final night Faiz
what happened to those who’d started out with you?
When did the morning breeze abandon you
and where on those last miles
the dawn? 

kab yaad mein tera saath nahin

kab yaad meñ terā saath nahīñ kab haat meñ terā haat nahīñ
sad-shukr ki apnī rātoñ meñ ab hijr kī koī raat nahīñ

mushkil haiñ agar hālāt vahāñ dil bech aa.eñ jaañ de aa.eñ
dil vaalo kūcha-e-jānāñ meñ kyā aise bhī hālāt nahīñ

jis dhaj se koī maqtal meñ gayā vo shaan salāmat rahtī hai
ye jaan to aanī jaanī hai is jaañ kī to koī baat nahīñ

maidān-e-vafā darbār nahīñ yaañ nām-o-nasab kī pūchh kahāñ
āshiq to kisī kā naam nahīñ kuchh ishq kisī kī zaat nahīñ

gar baazī ishq kī baazī hai jo chāho lagā do Dar kaisā
gar jiit ga.e to kyā kahnā haare bhī to baazī maat nahīñ

mere dil mere musafir

1978. Bhutto has been ousted. Zia-ul-Haq has taken over. Faiz is in exile again. And there is a Ghalib sh’r too, towards the end:

kahūñ kis se maiñ kih kyā hai shab-e ġham burī balā hai 
mujhe kyā burā thā marnā agar ek bār hotā

mire dil, mire musāfir
huā phir se hukm sādir
ki vatan-badar hoñ ham tum
deñ galī galī sadā.eñ
kareñ ruḳh nagar nagar, kā
ki surāġh koī paa.eñ
kisī yār-e-nāma-bar kā
har ik ajnabī se pūchheñ
jo patā thā apne ghar kā
sar-e-kū-e-nā-shanāyāñ
hameñ din se raat karnā
kabhī is se baat karnā
kabhī us se baat karnā
tumheñ kyā kahūñ ki kyā hai
shab-e-ġham burī balā hai
hameñ ye bhī thā ġhanīmat
jo koī shumār hotā
hameñ kyā burā thā marnā
agar ek baar hotā

My heart, my fellow traveller
It has been decreed again
That you and I be exiled, 
go calling out in every street, 
turn to every town.
To search for a clue
of a messenger from our Beloved.
To ask every stranger
the way back to our home.

In this town of unfamiliar folk
we drudge the day into the night
Talk to this stranger at times, 
to that one at others.

How can I convey to you, my friend
how horrible is a night of lonliness *
It would suffice to me
if there were just some count
I would gladly welcome death
if it were to come but once.

Satendra Nandan.

Dhaka se wapsi par

The title says it all. This was in 1974. A Pakistani goes to the newly-created Bangladesh.

ham ki Thahre ajnabī itnī mudārātoñ ke ba.ad
phir baneñge āshnā kitnī mulāqātoñ ke ba.ad
kab nazar meñ aa.egī be-dāġh sabze kī bahār
ḳhuun ke dhabbe dhuleñge kitnī barsātoñ ke ba.ad
the bahut bedard lamhe ḳhatm-e-dard-e-ishq ke
thiiñ bahut be-mehr sub.heñ mehrbāñ rātoñ ke ba.ad
dil to chāhā par shikast-e-dil ne mohlat hī na dī
kuchh gile shikve bhī kar lete munājātoñ ke ba.ad
un se jo kahne ga.e the ‘faiz’ jaañ sadqe kiye
an-kahī hī rah ga.ī vo baat sab bātoñ ke ba.ad

Agha Shahid Ali’s Translation:

After those many encounters, that easy intimacy,
. we are strangers now —
After how many meetings will we be that close again?

When will we again see a spring of unstained green?
After how many monsoons will the blood be washed
. from the branches?

So relentless was the end of love, so heartless —
After the nights of tenderness, the dawns were pitiless,
. so pitiless.

And so crushed was the heart that though it wished
. it found no chance —
after the entreaties, after the despair — for us to
. quarrel once again as old friends.

Faiz, what you’d gone to say, ready to offer everything,
. even your life —
those healing words remained unspoken after all else had
. been said.

mujh se pahli si mohabbat

This has a line that the Hindi music lovers would recognise:

terii aankhoN ke sivaa duniyaa meN rakhaa kyaa hai?

A tip of the hat to Faiz by Sahir (Sahir has many responses to Faiz, including the famous one to subah-e-Azadi, with woh subah kabhi to aayegi).

This is the first overt instance of Faiz subverting traditional Urdu love oetry to “poetry with purpose”, poetry with social conscience pursuing social causes. And Faiz makes his intentions clear with a Persian epigram from Nizami: “Dil-e-bufro-khatm, jaan-e-khareedun” ( “I have sold my heart and bought a soul”).

mujh se pahlī sī mohabbat mirī mahbūb na maañg
maiñ ne samjhā thā ki tū hai to daraḳhshāñ hai hayāt
terā ġham hai to ġham-e-dahr kā jhagḌā kyā hai
terī sūrat se hai aalam meñ bahāroñ ko sabāt
terī āñkhoñ ke sivā duniyā meñ rakkhā kyā hai
tū jo mil jaa.e to taqdīr nigūñ ho jaa.e
yuuñ na thā maiñ ne faqat chāhā thā yuuñ ho jaa.e
aur bhī dukh haiñ zamāne meñ mohabbat ke sivā
rāhateñ aur bhī haiñ vasl kī rāhat ke sivā
an-ginat sadiyoñ ke tārīk bahīmāna tilism
resham o atlas o kamḳhāb meñ bunvā.e hue
jā-ba-jā bikte hue kūcha-o-bāzār meñ jism
ḳhaak meñ luThḌe hue ḳhuun meñ nahlā.e hue
jism nikle hue amrāz ke tannūroñ se
piip bahtī huī galte hue nāsūroñ se
lauT jaatī hai udhar ko bhī nazar kyā kiije
ab bhī dilkash hai tirā husn magar kyā kiije
aur bhī dukh haiñ zamāne meñ mohabbat ke sivā
rāhateñ aur bhī haiñ vasl kī rāhat ke sivā
mujh se pahlī sī mohabbat mirī mahbūb na maañg

Naomi Lazard: Don’t ask me now, Beloved

Don't ask me now, Beloved, to love you as I did 
when I believed life owed its luster to your existence.
The torments of the world meant nothing;
you alone could make me suffer.
Your beauty guaranteed the spring,
ordained its enduring green.
Your eyes were all there was of value anywhere.
If I could have you, fate would bow before me.
None of this was real; it was all invented by desire.
The world knows how to deal out pain,
apart from passion, and manna for the heart,
beyond the realm of love.
Warp and woof, the trappings of the rich
are woven by the brutish spell cast over all the ages;
human bodies numbed by filth, deformed by injuries,
cheap merchandise on sale in every street.
I must attend to this too: what can be done?
Your beauty still delights me, but what can I do?
The world knows how to deal out pain,
apart from passion, and manna for the heart,
beyond the realm of love.
Don't ask from me, Beloved,
love like that one long ago.

Victor Kiernen: Love, do not ask

Love, do not ask me for that love again 
Once I thought life, because you lived, a prize —
The time's pain nothing, you alone were pain;
Your beauty kept earth's springtimes from decay,
My universe held only your bright eyes —
If I won you, fate would be at my feet.
It was not true, all this, but only wishing;
Our world knows other torments of love,
And other happiness than a fond embrace.
Dark curse of countless ages, savagery
Inwoven with silk and satin and gold lace,
Men's bodies sold in street and marketplace,
Bodies that caked grime fould sand thick blood smears.
Flesh issuing from the cauldrons of disease
With festered sores dripping corruption —
these Sights haunt me too, and will not be shut out;
Not be shut out, though your looks ravish still.
This world knows other torments than of love,
And other happiness than a fond embrace;
Love, do not ask for my old love again.


***

DO NOT ASK FROM ME, MY BELOVED, LOVE LIKE THAT FORMER ONE

Do not ask from me, my beloved, love like that former one.
I had believed that you are, therefore life is shining;
There is anguish over you, so what wrangle is there over the sorrow of the age?
From your aspect springtimes on earth have permanence;
What does the world hold except your eyes?
If you were to become mine, fate would be humbled,
—It was not so, I had only wished that it should be so.
There are other sufferings of the time [world)besides love, There are other pleasures besides the pleasures of union.
The dark beastly spell of countless centuries,
Woven into silk and satin and brocade,
— Bodies sold everywhere in alley and market,
Smeared with dust, washed in blood,
Bodies that have emerged from the ovens of diseases,
Pus flowing from rotten ulcers —
My glance comes back that way too: what is to be done?
Your beauty is still charming, but what is to be done?
There are other sufferings of the time (world) besides love, There are other pleasures besides the pleasures of union;
Do not ask from me, my beloved, love like that former one.





Sarvat Rahman: Don’t ask me now, Beloved

Don’t ask me now, Beloved, 
for that love of other days
When I thought since you were,
life would always scintillate
That love’s pain being mine,
the world’s pain I could despise.
That your beauty lastingness to the spring would donate,
That nothing in the world was of worth but your eyes;
Were you to be mine, fate would bow low before me.
It was not so; it was only my wish that it were so;
Other pains exist than those that love brings,
Other joys than those of lovers’ mingling.
Dark fearful talismans, come down the centuries,
Woven in silk and damask and cloth of gold;
Bodies that everywhere in streets are sold
Covered with dust, all their wounds bleeding.

Agha Shahid Ali: Don’t ask me for that love again

That which then was ours, my love, 
don't ask me for that love again.
The world then was gold, burnished with light —
and only because of you.
That's what I had believed.
How could one weep for sorrows other than yours?
How could one have any sorrow but the one you gave?
So what were these protests, these rumours of injustice?
A glimpse of your face was evidence of springtime.
The sky, wherever I looked, was nothing but your eyes.
If You'd fall into my arms, Fate would be helpless.
All this I'd thought, all this I'd believed.
But there were other sorrows, comforts other than love.
The rich had cast their spell on history:
dark centuries had been embroidered on brocades and silks.
Bitter threads began to unravel before me
as I went into alleys and in open markets
saw bodies plastered with ash, bathed in blood.
I saw them sold and bought, again and again.
This too deserves attention.
I can't help but look back when I return from those alleys —what should one do?
And you still are so ravishing — what should I do?
There are other sorrows in this world, comforts other than love.
Don't ask me, my love, for that love again.

 

Mahmood Jamal: Do not ask of me, my love

Do not ask of me, my love, that love I once had for you. 
There was a time when life was bright and young and blooming, and your sorrow was much more than any other pain.
Your beauty gave the spring everlasting youth:
your eyes, yes your eyes were everything,
all else was vain.
While you were mine, I thought, the world was mine.
Though now I know that it was not reality,
that's the way I imagined it to be;
for there are other sorrows in the world than love,
and other pleasures, too
Woven in silk and satin and brocade,
those dark and brutal curses of countless centuries:
bodies bathed in blood, smeared with dust,
sold from market-place to market-place,
bodies risen from the cauldron of disease,
pus dripping from their festering sores —
my eyes must also turn to these.
You’re beautiful still, my love,
but I am helpless too;
for there are other sorrows in the world than love,
and other pleasures too.
Do not ask of me, my love, that love I once had for you!

Shiv K Kumar: Ask me not for that old fervour, my love

Ask me not for that old fervour, my love. 
I had then imagined that your love
would spark off my being,
counterpoise the giant agony of the world
that your beauty would bring
every spring to eternal blossom.
And what else was there to cherish but your eyes?
once you were mine would not fate itself bow to me?
I had only willed it all but it was not to be,
for there are sorrows other than heartache,
joys other than love’s rapture.
If there are spells of those dark,
savage, countless centuries
bodies robed in silk, satin and velvet
then aren’t there also bodies
traded down streets and alleyways
bodies smeared in dust, bathed in blood
bodies emerging from ovens of sickness
bodies with pus oozing from chronic sores?
If these images also seize my eye
even though your beauty still enthralls,
it’s because there are sorrows other than heartache,
joys other than love’s rapture
so ask me not for that old fervour, my love.

Daud Kamal: Do Not Ask

Do not ask me For that past love 
When I thought you alone illumined this world
And because of you
The griefs of this world did not matter.
I imagined
Your beauty gave permanence to the colours of spring
And your eyes were the only stars in the universe.
I thought If I could only make you mine
Destiny would, forever, be in my hands.
Of course, it was never like this.
This was just a hope, a dream
Now I know There are afflictions
Which have nothing to do with desire
Raptures Which have nothing to do with love.
On the dark loom of centuries
Woven into silk, damask, and gold cloth
Is the oppressive enigma of our lives.
Everywhere — in the alleys and bazaars —
Human flesh is being sold —
Throbbing between layers of dust —
bathed in blood.
The furnace of poverty and disease
disgorges body after body —
Your beauty is still a river of gems but now I know
There are afflictions which have nothing to do with desire Raptures which have nothing to do with love.
My love, do not ask me ...

wa-yabqa-wajh-o-rabbik (ham dekhenge)

If dasht-e-tanhai is identified with the ghazal singer, this one is even more so. Faiz would often be asked to recite “wo Iqbal Bano wala – Ham Dekhenge”, perhaps the most overtly political nazms of his.

Zulfiqar Ali Bhutto was overthrown by Zia Ul-Haq in 1977 in a coup, who soon unleashed fascistic terror in the name of Nizam-e-Mustafa, thrusting his bigoted vision of fundamentalist Islam on Pakistan. Faiz was forced into exile in Beirut.

In 1979, Faiz turned to the Surah-e-rahman in the Quran to come up with the imagery – and the title – in which the description of qayamat, the Day of Reckoning is turned into the day of revolution.

It did not take much reading between the lines to understand that Faiz’s reading of the Quran had subversively invoked the “removal of idols from the Kaaba” and the “reinstallation of outlaws” to refer to the day of restoration of democracy and the ouster of Zia.

Iqbal Bano’s singing of this immediately turned the nazm into an articulation of defiant protest. Faiz died in 1984. By then the sari too had been banned by Haq’s puritanical regime. On his first death anniversary in 1985, Iqbal Bano turned up in a black sari to sing the song that had already become an iconic anthem, rousing the Lahore audience to start chanting ‘Inquilaab zindabad’. The military intelligence that was monitoring the concert cut off electricity, but Iqbal Bano sang on defiantly, her voice reaching a crescendo, eventually facing the wrath of the brutal regime that severely restricted her performances thereafter.

ham dekheñge
lāzim hai ki ham bhī dekheñge
vo din ki jis kā va.ada hai
jo lauh-e-azal meñ likhkhā hai
jab zulm-o-sitam ke koh-e-girāñ
ruuī kī tarah uḌ jā.eñge
ham mahkūmoñ ke pāñv-tale
jab dhartī dhaḌ-dhaḌ dhaḌkegī
aur ahl-e-hakam ke sar-ūpar
jab bijlī kaḌ-kaḌ kaḌkegī
jab arz-e-ḳhudā ke ka.abe se
sab but uThvā.e jā.eñge
ham ahl-e-safā mardūd-e-haram
masnad pe biThā.e jā.eñge
sab taaj uchhāle jā.eñge
sab taḳht girā.e jā.eñge
bas naam rahegā allāh kā
jo ġhā.eb bhī hai hāzir bhī
jo manzar bhī hai nāzir bhī
uTThegā anal-haq kā na.ara
jo maiñ bhī huuñ aur tum bhī ho
aur raaj karegī ḳhalq-e-ḳhudā
jo maiñ bhī huuñ aur tum bhī ho

First rough draft: Sundeep Dougal

We shall witness
It is imperative that we too shall witness
The day that has been promised
That has been written in the tablet of eternity
When the heavy mountains of tyranny
Will blow away like cotton
When under the feet of the oppressed
the earth shall shake with loud thuds
When over the heads of the rulers
The lightning will crackle uproariously
When from the abode of God
All the idols shall be removed
We the pure who have been kept out of the sacred places
Shall be seated on the high cushions
When the crowns would be knocked off
And the thrones overturned
Only the name of God will remain
Which is absent too and present too
Which is spectacle too and spectator too
As the slogan of I-am-Truth is raised
That is me too and so are you too
And the creation of God shall rule
That is me too and so are you too

du’aa

aaiye haath uThaayeN ham bhii
ham jinheN rasm-e-du’aa yaad nahiiN
ham jinheN soz-e-muhabbat ke sivaa
ko’ii but, ko’ii Khudaa yaad nahiiN

aaiye arz guzaareN ke nigaar-e-hastii
zehr-e-imroz meN shiiriini-e-fardaa bhar de
voh jinheN taab-garaaN-baarii-e-ayyaam nahiiN
un ki palkoN pe shab-o-roz ko halkaa kar de

jin kii aaNkhoN ko rukh-e-subh kaa yaaraa bhii nahiiN
un kii raatoN meN ko’ii shamaa munavvar kar de
jin ke qadmoN ko kisii rah ka sahaara bhii nahiiN
un kii nazroN pe ko’ii raah ujaagar kar de

jinkaa diiN pairavi-e-kazbo-riyaa hai un ko
himmat-e-kufr mile, jurrat-e-tehqiiq mile
jin ke sar muntazir-e-tegh-e-jafaa haiN un ko
dast-e-qaatil ko jhaTak dene ki taufiiq mile

ishq ka sarr-e-nihaaN jaan tapaaN hai jis se
aaj iqraar kareN aur tapish miT jaaye
harf-e-haq dil meiN khaTakta hai jo kaNTe kii tarah
aaj izhaar kareN or khalish miT jaaye

Faiz Ahmed Faiz
14th August 1967

Rough draft
Prayer

Come, let us too lift our hands
We, who do not remember the custom of prayer
We, who other than the fire of love,
Do not recall any idol, any god

Come, let us pray that the beloved, life
Suffuses tomorrow’s sweetness into today’s poison
Makes day and night sit lightly on the eyelashes
Of those who don’t have the strength to bear the burden of time

Those, who can’t see the face of dawn
May a flame light up their nights
Those, whose steps aren’t aided by a path
May a way ahead be illumined to their eyes

Those who believe in justifying deceit and hypocrisy
May they get the courage to defy, the daring to seek
May those whose heads await the sword of tyrrany
Get the strength to snap away the hand of the murderer

The hidden secret of love which has inflamed the soul:
Today own up to it; let the fever abate
The word of truth that pricks the heart like a thorn
Accept it today so that this piercing anxiety is gone

Faiz Ahmed Faiz
14th August 1967

rang hai dil ka mere

rang hai dil kaa mere

tum jo naa aa’e the to har chiiz vahii thii kih jo hai
aasmaaN hadd-e-nazar, raahguzar raahguzar, shiishaah-e-mai,
shiishaah-e-mai
aur ab shiishaah-e-mai, raahguzar, rang-e-falak
rang hai dil kaa mire, “xuun-e-jigar hone tak”
champaa’i rang kabhii, raahat-e-diidaar kaa rang
sur’ma’ii rang kabhii, saa’at-e-bezaar kaa rang
zard pattoN kaa xas-o-xaar kaa rang
surkh phuuloN kaa, dahakte hu’e gulzaar kaa rang
zahar kaa rang, lahuu rang. shab-e-taar kaa rang
aasmaaN, rahguzar, shiishaah-e-mai
koii bhiigaa hu’aa daaman, ko’ii dukhtii hu’ii rag
ko’ii har lahzaah badaltaa hu’aa aa’iinaah hai

ab jo aa’e ho to Thahro kih koii rang, koii rut ko’ii shai
ek jagah par Thahre
phir se ik baar har ik chiiz vahii ho ke jo hai
aasmaaN hadd-e-nazar, rahguzar rahguzar, shiishaah-e-mai,
shiishaah-e-mai

By Frances W. Pritchett
The Sky, the Road, the Glass of Wine: On Translating Faiz

It’s the Color of My Heart 

Before you came everything
was what it is:
the sky the limit of sight
the road a road, the glass of wine
a glass of wine.
And now the glass of wine, the road, the color of the sky
are the color of my heart
while it breaks itself down
into blood.
Sometimes a gold color—a color of eyes’ delight
that sooty color, the color of disgust
the color of dry leaves, straw, thorns
the color of red flowers in a blazing garden
poison color, blood color, the color of black night.
The sky, the road, the glass of wine
are a sodden cloak, an aching vein,
a mirror changing every moment.

Now that you’ve come, stay—let some color, season, thing
stay in place.
One more time let everything
be what it is:
the sky the limit of sight
the road a road, the glass of wine
a glass of wine.

By Victor Kiernan
Poems by Faiz Pg 252-255

Before You Came 

Before you came, all things were what they are—
The sky sight’s boundary, the road a road,
The glass of wine a glass of wine; since then,
Road, wineglass, colour of heaven, all have taken
The hues of this heart ready to melt into blood—
Now golden, as the solace of meeting is,
Now grey, the livery of despondent hours,
Or tint of yellowed leaves, of garden trash,
Or scarlet petal, a flowerbed all ablaze:
Colour of poison, colour of blood, or shade
Of sable night. Sky, highroad, glass of wine—
The first a tear-stained robe, the next a nerve
Aching, the last a mirror momently altering….
Now you have come, stay here, and let some colour,
Some month, some anything, keep its own place,
And all things once again be their own selves,
The sky sight’s bound, the road a road, wine wine.

By Naomi Lazard
The True Subject Pg 32-35

Before You Came 
Before you came things were just what they were:
the road precisely a road, the horizon fixed,
the limit of what could be seen,
a glass of wine was no more than a glass of wine.

With you the world took on the spectrum
radiating from my heart: your eyes gold
as they open to me, slate the color
that falls each time I lost all hope.

With your advent roses burst into flame:
you were the artist of dried-up leaves, sorceress
who flicked her wrist to change dust into soot.
You lacquered the night black.

As for the sky, the road, the cup of wine:
one was my tear-drenched shirt,
the other an aching nerve,
the third a mirror that never reflected the same thing.

Now you are here again—stay with me.
This time things will fall into place;
the road can be the road,
the sky nothing but sky;
the glass of wine, as it should be, the glass of wine.

By Agha Shahid Ali
The Rebel’s Silhouette Pg 56-57

Before You Came 
Before you came,
things were as they should be:
the sky was the dead-end of sight,
the road was just a road, wine merely wine.

Now everything is like my heart,
a color at the edge of blood:
the grey of your absence, the color of poison, or thorns,
the gold when we meet, the season ablaze,
the yellow of autumn, the red of flowers, of flames,
and the black when you cover the earth
with the coal of dead fires.

And the sky, the road, the glass of wine?
The sky is a shirt wet with tears,
the road a vein about to break,
and the glass of wine a mirror in which
the sky, the road, the world keep changing.

Don’t leave now that you’re here—
Stay. So the world may become like itself again:
so the sky may be the sky,
the road a road,
and the glass of wine not a mirror, just a glass of wine.

By Shiv K. Kumar
Faiz Ahmed Faiz: Selected Poems pg 126-127

The Colour of the Moment 
Before you came, everything was what it is—
the sky, vision-bound
the pathway, the wine-glass.
And now the wine-glass, the pathway, the sky’s tint—
everything bears the colour of my heart
till all melts into blood.
Sometimes the golden tinge, sometimes the hue of the joy of
seeing you,
sometimes ashen, the shade of the dreary moment—
the colour of yellow leaves, of thorn and trash,
of the crimson petals of the flower-beds aglow,
the tint of poison, of blood, of sable night.
The sky, the pathway, the wine-glass—
some tear-stained robe, some wincing nerve,
some ever-revolving mirror.

Now that you’re here, stay on
so that some colour, some season, some object may come to rest
and once again everything may become what it was—
the sky, vision-bound, the pathway, the wine-glass.