Aaa Aaa Jaag Aur Dekh Zaraa, Aalam-e-veeraan Meraa Subah
Ke Bhes Mein Nikla Hai Ghareebaan Mera Subah Ke
Bhes Mein Nikla Hai Ghareebaan Mera Jaag Aur Dekh
Zaraa, Aalam-e-veeraan Meraa Subah Ke Bhes Mein Nikla Hai
Ghareebaan Mera Subah Ke Bhes Mein Nikla Hai Ghareebaan
Mera Band Aankhen Kiye Yoon Jaag Rahaa Hoon Shab-e-gham
Band Aankhen Kiye Yoon Jaag Rahaa Hoon Shab-e-gham Ke
Unhey Aaye Nazar Khwaab-e-pareishaan Meraa Ke Unhey Aaye Nazar
Khwaab-e-pareishaan Meraa Muddaton Boo-e-wafaa Aayegi Butkhaanon Se Muddaton Boo-e-wafaa
Aayegi Butkhaanon Se Ood Ban Ban Ke Jalaa Hai
Dil-e-sozaan Meraa Ood Ban Ban Ke Jalaa Hai Dil-e-sozaan
Meraa Tumhen Kyun Madde-nazar Ab Haaye Tumhen Kyun Madde-nazar
Ab Hai Kharaabi Is Ki Tumhen Kyun Madde-nazar Ab
Hai Kharaabi Is Ki Tum To Kehtey Thhe Ke
Ghar Hai Dil-e-insaan Meraa Tum To Kehtey Thhe Ke
Ghar Hai Dil-e-insaan Meraa Pad Gayee Kis Ki Nigaah-e-
Ma-tabassum ′seemaab' Pad Gayee Kis Ki Nigaah-e- Ma-tabassum ′seemaab'
Ho Gayaa Harf-e-halak Daftar-e-isyaan Meraa Ho Gayaa Harf-e-halak Daftar-e-isyaan
Meraa Jaag Aur Dekh Zaraa, Aalam-e-veeraan Meraa Jaag
Aur Dekh Zaraa, Aalam-e-veeraan Meraa Subah Ke Bhes Mein
Nikla Hai Ghareebaan Mera O The Keeper Of My
Destiny, Wake Up And Be Aware Of My Circumstance
Of Desolation And Deprivation. My Indigence Is Such That
Even The Dawn For Me Has Come Cloaked In
Darkness. This Lead In Verse Is So Powerful And
Hard Hitting. The Concept Of Dawn Being Cloaked In
Darkness Simply Shakes Up The Mind; What Is The
State Of Mind Of A Person For Whom Dawn
Is Without Light, And Then What Would Be The
Night For Him. The Second Line Is Very Significantly
Crafted. The Word 'ghareebaan′ Is Referring To Shaam-e-ghareebaan. Shaam-e-ghareebaan
Is Literally The Night Of The Helpless (mazloom). As
Per History, It Is The 11th Night Of The
Month Of Muharram. This Night Is Night Of The
Battle Between The Army Of Prophet Mohammed And His
Grandson Hazrat Hussein, And The Forces Of Ubayd-allah Ibn
Ziyad, The Governor Of Kufa Province. This Battle Was
The Martyrdom Of Hazrat Hussein, And Most Of The
Men In The Army Of Prophet Muhammad. After The
Battle, The Governor′s Army Overran The Camp Of Prophet
Mohammed, Burnt Down The Tents And Captured The Women
And Children Of The Tribe. This Day Is Observed
As A Day Of Mourning Amongst The Moslems. The
Evening Of This Day (maghrib = After Sunset) Is
Called Shaam-e-ghareebaan, In The Memory Of The Helpless And
Defenseless Women And Children At The Camp. On This
Evening, The Believers Will Not Put On Lights In
Their Homes Till Very Very Late In The Night.
Hence, In This Line, The Word Ghareebaan Is Used
In The Context Of Darkness, Or Night Without Lights.
Jaag = Be Awake, Be Cognizant, Be Aware Aur
= And Dekh = See, To View Zaraa =
Little, Somewhat Dekh Zaraa = (used As A Directive)
Please See, Or Do See Aalam = Condition, Circumstance;
Also Environment, Ambience Veeraan = Desolate, Uninhabited, Bereft Of
Human Presence, Lonely Aalam-e-veeraan = Circumstance Of Loneliness, Desolation
Mera = Mine Subah = Dawn, Morning Ke =
Of Bhes = Disguise Mein = In Nikla Hai
= Emerge, Come Out, Dawn Ghareebaan = Darkness (as
Discussed Above) Mera = Mine Band Aankh Kiye Yoon
Jaag Rahaa Hoon Shab-e-gham Ke Unheyn Aaye Nazar Khwaab-e-pareishaan
Meraa In This Night Full Of Unhappiness, I Cannot
Sleep; But I Am Lying Down With My Eyes
Closed, Pretending As If Asleep, So That They (she/Him)
May Witness My Distressed Sleeplessness. The Use Of The
Phrase Khwaab-e-pareishaan – In The First Line, The Poet
Says That He Is Not Asleep; The State Of
Sleeplessness Is Self-induced, Rather Self-inflicted, Because Of Distress And
Anguish. Khwaab-e-pareishaan Literally Is Dreams Of Distress. The Poet
Says That His Attempt To Feign Sleep By Lying
Down And Keeping His Eyes Closed Is The State
Of Extreme Distress. Band = Closed Aankh = Eye,
Eyes Kiye = Having Done Band Aankh Kiye =
Having Closed My Eyes Yoon = This Way, In
This Manner Jaag = Awake Shab = Night Gham
= Sorrow, Unhappiness, Anguish Shab-e-gham = Night Of Sorrows,
Night Full Of Sorrows Ke = So That Unheyn
= To Them, For Them, Unto Them Nazar =
Eyesight, To View, To See Unheyn Aaye Nazar =
So That They Are Able To See Khwaab =
Dream Pareishaan = Distress, Troubled State Khwaab-e-pareishaan = Dreams
Of Distress, Of Restlessness; In This Context, Actually It
Is The Grief Of Being Not Able To Sleep,
Of Pretending To Sleep; Being In A Dreamlike State
Of Distress While Pretending To Be Asleep Mera =
Mine Muddaton Boo-e-wafaa Aayegi Butkhaanon Se Ood Ban Ban
Ke Jalaa Hai Dil-e-sozaan Meraa My Aggrieved Heart Is
Burning Like Ood (a Fragrant Material Of Plant Origin).
For Ages To Come, My Friends (or People) Would
Remember My Dedication And Steadfastness In Love. Or, For
Ages To Come, The Memories, The Aroma Of My
Dedication And Loyalty In Love Will Be Manifest. The
Poet Is Alluding To The Fact That His Dedication
And Steadfastness Will Be Remembered As Exemplary; That Although
The Beloved Was Unmindful And Indifferent, Yet He Continued
To Be Steadfast In His Love. This Is A
Commitment Of A Romantic – 'Tu Pyaar Karey Ya
Tthukraaye, Hum To Hain Tere Deewaanon Mein′ The Use
Of Word Butkhaanaa Is Also Very Interesting. 'butt′ Means
Image Or Statue, 'butkhaanaa′ Is A Place Where Statues
And Images Are Kept. In The Urdu Literature And
Poetry, This Word Is Often Used To Represent The
Hindu Temple (with Its Images And Statues Of God).
Additionally, Another Context Emerges; 'butkhaanaa' Is This World, Which
Is Populated By Different Images I.e. People (as In
Man Is An Image Of God). Continuing This Logic
Further, The ′butkhaanaa′ For An Individual Is His Immediate
Circle Of Friends And Relatives, I.e. My Images Or
Images Known To Me. With This Interpretation The First
Line Can Also Be Understood As – 'for Ages
To My Friends Will Remember My Steadfastness And Dedication
In Love.' Muddat = Long Period Of Time Muddaton
= For A Long Period Of Time, For Ages
Boo = Smell, Fragrance, Aroma; In This Context, Can
Also Be Interpreted As Memory, Remembrance Wafaa = Loyalty,
Dedication, Steadfastness Aayegi = Will Come, Will Be Existing,
Will Be Manifest Butkhaanaa = A Place Where Images
Or Statues Are Housed Se = From Ood =
A Fragrant Flammable Material Of Plant Origin Ban =
To Become Ban Ban Ke = In Context, Transformed
Into, Or Becoming Like Ood Ban Ban Ke =
Transformed / Became Like Ood Jalna = To Burn
Jalaa Hai = Has Burnt, Is Burning Dil =
Heart Soz = Burning, Or Grief Dil-e-sozaan = A
Heart Full Of Anguish And Sorrow, Or A Heart
Burnt Mera = Mine Tumhen Kyun Madde-nazar Ab Hai
Kharaabi Is Ki Tum To Kehtey Thhe Ke Ghar
Hai Dil-e-insaan Meraa Why Is It So That Now
It Is No Longer Acceptable To You; You Who
Used To Claim That You Live In The Heart.
Read With The Previous Verse, This Is Once Again
A Very Powerful Indictment Directed At The Beloved Or
Even More So Towards God. In Present Circumstances, When
My Heart Is Burning (or Full Of Sorrow), Now
It Is Not Acceptable To You, You Who Had
Told Me That You Prefer Living In The Heart.
The Reproachment And The Censure Is Even More Grave,
In The Context That In The First Place The
Poet Is Already Holding The Beloved (or God) Responsible
For The Sorrow And Anguish That Now Resides In
His Heart. And On Top Of That, The Beloved
(or God) Now Does Not Want To Be In
This Heart. The Reprimand And The Blame Is Very
Forceful. Tumhen = To You Kyun = Why Madde-nazar
= A Phrase In Urdu Meaing – In View
Of The Situation Or Circumstances Ab = Now Hai
= Is Is Ki = Of This – 'this′
Is Referring To The Idea In The Next Line
Tum = You To = Literally Means 'so′, In
Context, Used For Placing Emphasis On The Verb 'kehtey′
Keh = Say Tum To Kehtey Thhe Ke =
You Used To Say That Ghar = Abode, Home,
Place Where One Resides Hai = Is Dil =
Heart Insaan = Human Being Dil-e-insaan = Heart Of
A Human Person Pad Gayee Kis Ki Nigaah-e-ma-tabassum 'seemaab'
Ho Gayaa Harf-e-halak Daftar-e-isyaan Meraa Someone′s Smiling Glance Fell
On My Sins And Disobediences, And The Entire Record
Of My Transgressions Faded Away. Pad Gayee = Fell
Kis Ki = Whose Nigaah = Glance Tabassum =
Smile Ma-tabassum = With A Smile, With A Smiling
Face; Or A Smiling Face Ho Gayaa = (it)
Happened; In Context, It Transformed Harf = Letter, Vowel;
In Context This Refers To Written Word Or Written
Record Halak = Variant Of Halkaa – Meaning Light
Or Faded Harf-e-halak = Faded Or Unreadable Letters /
Words Daftar = The Literal Meaning In Present Usage
Is ′office'; But This Is Not The True Meaning.
′daftar' Means A Register Or A Journal In Which
Things Get Written. Over Years, The Usage Got Transformed
To ′office', The Place Where Such Registers Are Kept
And Worked On. Isyaan = Sin, Transgression, Failing Daftar-e-isyaan
= Record Of Transgressions And Failings Mera = Mine.