उज़्र आने में भी है और बुलाते भी नहीं बाइस-ए-तर्क-ए-मुलाक़ात बताते भी नहीं

Urdu poetry (Urdu: اُردُو شاعرى‎ Urdū S̱ẖāʿirī) is a rich tradition of poetry and has many different forms. Today, it is an important part of the cultures of South Asia. According to Naseer Turabi there are five major poets of Urdu which are Mir Taqi Mir, Mirza Ghalib, Mir Anees, Allama Iqbal, and Josh Malihabadi. The language of Urdu reached its pinnacle under the British Raj, and it received official status. All famous writers of Urdu language including Ghalib and Iqbal were given British scholarships. Following the Partition of India in 1947, it found major poets and scholars were divided along the nationalistic lines. However, Urdu poetry is cherished in both nations. Both the Muslims and Hindus from across the border continue the tradition.

Nawab Mirza Khan Daagh Dehlvi (Urdu: نواب مرزا خان داغ دہلوی‎, 25 May 1831 – 17 March 1905) was a poet known for his Urdu ghazals. He belonged to the old Delhi school of Urdu poetry.

He wrote romantic and sensuous poems and ghazals in simple and chaste Urdu, minimizing the usage of Persian words. He laid great emphasis on the Urdu idiom and its usage. He wrote under the takhallus (Urdu word for nom de plume) Daagh Dehlvi (the meanings of Daagh, an Urdu noun, include stain, grief, and taint while Dehlvi means belonging to or from Dehli or Delhi). He belonged to the Delhi school of thought.

His honorific Dabeer ud Dawla, Faseeh ul Mulk, Nawab Nizam Jang Bahadur, Sipah Salar, Yar-e-Wafadar, Muqrib-us-Sultan, Bulbul-e-Hindustan, Jahan Ustad, Nazim Yar Jung, were the titles bestowed upon him by the sixth Nizam of Hyderabad Mir Mahbub Ali Khan.

Daagh was considered one of the best romantic poets of his time by some commentators.

It is fundamentally performative poetry and its recital, sometimes impromptu, is held in Mushairas (poetic expositions). Although its tarannum saaz (singing aspect) has undergone major changes in recent decades, its popularity among the masses remains unaltered. Mushairas are today held in metropolitan areas worldwide because of the cultural influence of the South Asian diaspora. Ghazal singing and Qawwali are also important expository forms of Urdu poetry. Source Wikipedia.

ایک روز داغؔ نماز پڑھ رہے تھے کہ ایک صاحب ان سے ملنے آئے اور انہیں نماز میں مشغول دیکھ کر لوٹ گئے ۔اسی وقت داغ صاحبؔ نے سلام پھیرا۔ ملازم نے کہا ''فلاں صاحب آئے تھے پھر چلے گئے ۔''فرمانے لگے ۔''دوڑ کر جا،ابھی راستے میں ہوں گے ۔'' وہ بھاگا بھاگا گیا اور ان صاحب کو بلا لیا ۔داغؔ نے ان سے پوچھا کہ ''آپ آکر چلے کیوں گئے ؟ ''وہ کہنے لگے ۔''آپ نماز پڑھ رہے تھے ، اس لیے میں چلا گیا ۔''داغ صاحبؔ نے فوراً کہا۔''حضرت! میں نماز پڑھ رہا تھا ، لاحول تو نہیں پڑھ رہا تھا جو آپ بھاگے۔
حوالہ ریختہ ویب سائٹ''

One day Daag was saying prayer and a gentleman came to see him, found him engaged in prayer, he returned. Daag immediately finished his prayer and asked his servant about him. The servant said that so and so person came and left. Daag Said, rush and bring him back. When he came Daag asked him why did he come and leave. He said, I found you praying so I left. Daag said, I was saying prayer not uttering Lahol, which made your ran away.  

उज़्र आने में भी है और बुलाते भी नहीं

बाइस-ए-तर्क-ए-मुलाक़ात बताते भी नहीं

मुंतज़िर हैं दम-ए-रुख़्सत कि ये मर जाए तो जाएँ

फिर ये एहसान कि हम छोड़ के जाते भी नहीं

सर उठाओ तो सही आँख मिलाओ तो सही

नश्शा-ए-मय भी नहीं नींद के माते भी नहीं

क्या कहा फिर तो कहो हम नहीं सुनते तेरी

नहीं सुनते तो हम ऐसों को सुनाते भी नहीं

ख़ूब पर्दा है कि चिलमन से लगे बैठे हैं

साफ़ छुपते भी नहीं सामने आते भी नहीं

मुझ से लाग़र तिरी आँखों में खटकते तो रहे

तुझ से नाज़ुक मिरी नज़रों में समाते भी नहीं

देखते ही मुझे महफ़िल में ये इरशाद हुआ

कौन बैठा है उसे लोग उठाते भी नहीं

हो चुका क़त्अ तअ'ल्लुक़ तो जफ़ाएँ क्यूँ हों

जिन को मतलब नहीं रहता वो सताते भी नहीं

ज़ीस्त से तंग हो ऐ 'दाग़' तो जीते क्यूँ हो

जान प्यारी भी नहीं जान से जाते भी नहीं

uzr aane men bhi hai aur bulate bhi nahin

baais-e-tark-e-mulaqat batate bhi nahin

muntazir hain dam-e-ruḳhsat ki ye mar jaae to jaaen

phir ye ehsan ki ham chhod ke jaate bhi nahin

sar uthao to sahi aankh milao to sahi

nashsha-e-mai bhi nahin niind ke maate bhi nahin

kya kaha phir to kaho ham nahin sunte teri

nahin sunte to ham aison ko sunate bhi nahin

ḳhuub parda hai ki chilman se lage baithe hain

saaf chhupte bhi nahin samne aate bhi nahin

mujh se laghar tiri ankhon men khatakte to rahe

tujh se nazuk miri nazron men samate bhi nahin

dekhte hi mujhe mahfil men ye irshad hua

kaun baitha hai use log uthate bhi nahin

ho chuka qata taalluq to jafaen kyuun hon

jin ko matlab nahin rahta vo satate bhi nahin

ziist se tang ho ai 'daagh' to jiite kyuun ho

jaan pyari bhi nahin jaan se jaate bhi nahin

an impromptu translaion...

There are excuses incoming and they don't call

The reason why breaking relations doesn't even tell

We are waiting for the death of departure, if they die, they will go.

Then this is a favor that we don't ever leave

If you raise your head, then you can look at it.

Not even in intoxication, not in sleep.

What did you say? Then say, ′′ We don't listen to you ′′

If we don't listen, we don't even tell them.

There is a  veil that they are sitting with the blinds.

They don't even hide clearly, they don't even come

I am helpless, I kept knocking in your eyes.

I don't even smile in my eyes more delicate than you.

As soon as I saw this, I was told in the gathering.

Who is sitting, people don't even carry him

If the relationship is broken, then why should I be definite?

Those who don't have the meaning don't even hurt

If you are tired of life, then why do you live?

Life is not dear, it doesn't even go away from life

By Dagh Dehlvi

turk-breaking

chilman-blind