Death of Posey. 

​She lies cold, in my arms

Mimicking the coldness within

White as death, her body is

Dear Poesy, you left me already?


I burn those moments now

That time which we spent alone

Solitude, our company,

Manufacturing through inks and sheets.


Then I saw that the forest

Of words had dried up, brown

No one could then get why

You still existed with me.


Then I made you destroy your

Rhythmic, metric walk

Your grace has now fallen

My hands can’t carve you now.


O God! She lies cold!

Her verses decomposing

O how can I bare it!

My Poesy, O Poesy!


How can I make love to her dead body.

Khabaram Raseedah – Khusro

Check out this video before reading further.

A Farsi (Persian)  ghazal with five as’aar. Five couplets overflowing with the ecstasy of self-annihilation and realization of the Reality. Who else but the disciple of Nizamuddeen Auliya (r.a), Amir Khusro can compose such a brilliant piece of poetry.

Following is a short explanation. As much as my limited perception lets me interpret of this ghazal.  The translations are poetic and not literal. I have tried to explain the ghazal in a spiritual context although there can be multiple interpretations.


خبرم رسیده امشب که نگار خواهی آمد
سر من فدا ی راه که سوار خواهی آمد

Khabaram raseedah imshab ke nigaar khwaahi aamad
Sar-e-man fidae raahe ke sawaar khwaahi aamad

News I received tonight that, O Beauty, you will come
May my head be crushed on the road on which you will come


Who is coming? Reality Personified?  The Beloved? Alas! We who are lost in reality may never know.

The poet received a wonderful piece of news (possibly from his teacher) that She is going to come at last! After all this waiting! Metaphorically, this does seem to signify man’s longing to be liberated. The event of final annihilation or rather, the realization of the already annihilated false-self or nafs. The event which is celebrated as Nirvana (extinguish), Moksha (liberation) and Fanaa’ (destruction).

To make way for the Reality to fill you up, this garbage heap called ‘you’ should be thrown away. The head symbolizes the ego or nafs.


بلوم رسیده جانم تو بیا که زنده مانم
پس از ان که من نمانم بچه کار خواهی آمد

Ba-labam raseedah jaanam to biya ke zindah maanam
Pas az an ke man namaanam ba che kaar khwaahi aamad

The last of my breaths has reached my lips, please come, give me life
Afterwards, when I’m not here, for futility you will come


In Sufism and other esoteric mystical traditions, there are two deaths. One is when the person or the life-energy leaves body and another is when the the person drops away his identification with the mind-body complex. This death is called ‘death before death’. Also called Fanaa’.

So, as the Beloved approaches the poet, he is on the verge of the normal or physical death as the life is just about to go out through his lips. The poet pleads the Beloved to come fast and kill him before death does. So that he may taste Her and become free. So that the illusion of life and death may no longer exist. So that death itself may become ashamed and run away.



کشیش که عشق دارد ناگزاراتد بدینسان
بجنازه گر نائ بمازار خواهی آمد

Kashishe ke ishq daarad na guzaratad badinsaan
Ba-janaazah gar neaayi ba-mazaar khwaahi aamad

The enchantment of love won’t leave you unshaken this way
At my funeral, if you won’t come, at my grave, for sure, you will come


This one seems to lack any obvious spiritual undertones. On the contrary it seems to express a rather simple romantic idea. The lover urging his beloved to understand the nature of love and, in turn, making his seemingly uninterested beloved to pay him a visit before everything that his left of him would be beneath a grave.

On a more positive tone, the lover seems to accept happily the fact that he will not be able to meet his beloved before death. He is happily waiting for her to visit his grave.

Thinking further, In Sufism, there are two types of love: Ishq-e-majaazi (Material or worldly love) and Ishq-e-haqeeqi (Love for the Truth or Divine Love). The term Ishq-e-haqeeqi is much deeper than love for god and stuff. It is love for the Truth. The Reality; with-in and with-out the individual perceptions. In Sufi poetry, it is quite common to express this Ishq-e-haqeeqi metaphorically through Ishq-e-majaazi.

It is said that once a person tastes even a drop of this ocean of Ishq-e-haqeeqi, he cannot return back to mundane existence. This is mentioned in a straightforward manner in the first misra. The Reality, again, is personified in the next misra. The second misra seems more like a desperate cry of the seeker. Ready to wait even after death to meet the Reality.



همه آهوان صحرا سر خود نهاده بر کف
باید ان که روز بشکار خواهی آمد

Hamaah aahuwaan-e-sehra sar-e-khud nehaada bar kaf
Ba-umeede aan ke roze ba-shikaar khwaahi aamad

All desert-deers are standing, their heads bowing down
They stand wishing that one day, for hunting them, you will come


I’m going to present a wild, but nevertheless, logical interpretation of the use of ‘desert-deer’ in this sher. Let’s say the desert-deer which Amir Khusro is referring to here is the Arabian Oryx of the Sahara desert (makes sense because the Persian word for desert is Sehra, close to Sahara). This Arabian Oryx, in King James Bible, is referred mistakenly as unicorn.

From Wikipedia:

“The myth of the one-horned unicorn may be based on oryxes that have lost one horn. Aristotle and Pliny the Elder held that the oryx was the unicorn’s “prototype”.[17] From certain angles, the oryx may seem to have one horn rather than two,[18][19] and given that its horns are made from hollow bone that cannot be regrown, if an oryx were to lose one of its horns, for the rest of its life, it would have only one”  

So if we see Ahuwan-e-Sehra (Deer of desert) as Unicorns, then the sher expresses how even mythical creatures want to surrender themselves before the Beloved Reality.

In another interpretation, the poet is expressing his own plight with the help of deers.

In any way, this sher goes against all instincts of self-preservation. This sher, hence, comes as a shock for many.



بیک آمدن ربودی دل و دین و صبر خسرو
چه سود اگر نادإنسان دو سه بار خواهی آمد

Be-yek aamadn raboodi dil-o-deen-o-sabr-e-“Khurso”
Che shawad agar nadeensaan do-seh baar khwaahi aamad

You visited once and robbed away Khusro’s heart, faith and fortitude
What disaster will it be if for two-three visits you will come!


The Reality hit the poet (more deeper than the colloquial usage of this phrase). Realization of the blissfulness of the Reality, robbed away the poet of his heart (emotions), faith (dogmatic beliefs) and patience (to meet the Beloved). Thus cleansed and taken away from mundane existence, the poet now worries of going out of this comfort zone and diving into the arms of his Beloved Reality.

This reminds me of an opt-repeated advice by Yogic and Tantric teachers and books that  one can reach until the Ajna Chakra (sorry, I cannot explain in detail about chakras now, if interested, click here) with proper guidance, training and resolve but diving beyond this second-last chakra  to the Sahasrara Chakra, (the highermost chakra symbolizing or encompassing Moksha) needs either absolute madness or complete trust.

The poet seems to be at this stage of partial spiritual awakening, afraid to dive deep into a mystical abyss.




Well, this has been my interpretation at my current level of being and my current state of mind, hands and willpower to write this post.

Please feel free to comment your views. And do check out the video by Voice For Poetry.

पैग़ाम . پيغام


हदीस, क़ुरआन का है बहुत पता मुझे
जब हुए दूर आप, कुछ नहीं पता मझ

حدیث، قرآن کا ہے بہت پتا مجھے
جب ہوئے دور آپ، کچھ نہیں پتا مجھے

About the books of religions a lot I know
When distanced from you, my beloved, a naught I know.

कोई फ़साना-ए-दीन-हा रहा नहीं कहीं
तेरे ख़यालों में सजदह नहीं जमा मुझे

کوئی فسانہ دین ھا رہا نہیں کہیں
ترے خیالوں میں سجدہ نہیں جما میجھے

All the tales in holy books went down the drain
With thoughts of you, all formal prayers lost their glow.

बहुत है वक़्त तेरे लौटने में बचा हुआ
पत्ता, बग़ैर आब, गिरता हुआ दिखा मुझे

بہت ہے وقت ترے لوٹنے میں بچا ہوا
پتّا، بغیر آب، گرتا ہوا دکھا مجھے

A lot of time, still is left, for your return
I saw a leaf, without water, falling dry and slow.

मेरे मकान के क़रीब है तेरा मकान बड़ा
कुछ दिनो से वोह घर सर्द-सा लगा मुझे

مرے مکاں کے قریب ہے ترا مکاں ںبڑا
کچھ دنوں سے وہ گھر سرد سا لگا  مجھے

In an open field, near my home, is a home of yours
That house felt cold, although you’re there to say hello.

वजूद-ए-तू की हरारत डरा रही है अब
तेरे एक एक लफ़्ज़ से नार-ओ-नहर मिला मुझे

وجودِ تو کی حرارت ڈرا رہی ہے اب
ترے اک ایک لفظ سے نار و نہار ملا مجھے

The warmth of your mere presence does frighten me now
Each thing you utter blesses me with heavenly joy or hellish sorrow.

सबा, तू पैग़ाम-ए-‘राज़’ लेके चल वहाँ अभी
उनका हो ज़िक्र कुछ कहीं तो ,सबा, बता मुझे

صبا، تو پیغامِ ‘راز’ لیکے چل وہاں ابھی
ان کا ہو ذکر کچھ کہیں تو، صبا، بتا میجھے

O gentle wind, please take the message of this ‘Raz’ to her
And bring her thoughts and scent to me and go.



हदीस = Collection of reports describing the words, actions, or habits of Prophet Muhammad (s.a.w.s)

फ़साना-ए-दीन-हा = stories from various religions
आब = Water

वजूद-ए-तू = Your existence
हरारत = Warmth
नार-ओ-नहर = Fire and River, symbolizes Hell and Heaven

सबा = Breeze
पैग़ाम = Message
पैग़ाम-ए-‘राज़’  = Message from ‘Raz’ OR mysterious message
ज़िक्र = A sign, remembrance



Rhythm: 1212/212/212/1212

نور تو ~ नूर-ए-तू

DCF 1.0


खिड़की थी आधी बंद

परदाह गिरा हुआ

जो नूर आयी तो फ़र्श को चमका उठा

के फ़र्श पर अब आयी है रौनक़

वो रौशनी से घिरा हुआ


खिड़की के कांच को चीरती हुई

आयी है रौशनी


इस मंज़र से

दिमाग़ में आयी एक याद है

यह नूर तेरे नज़र की तरह है जानम


और मैं?

मेरे ही चश्म को तुम काँच समझ लो

और दिल मेरा है वो फ़र्श का टुकड़ा .



کھڑکی تھی آدھی بند

پردہ گرا ہوا

جو نور آی تو فرش کو چمکا اٹھا

کہ فرش پر اب آی ہے رونق

وہ روشنی سے گھرا ہوا


کھڑکی کے کانچ کو چیرتی ہوئ

آی ہے روشنی


اس منظر سے

دوماغ میں آی اک یاد ہے

یہ نور تیری نظر کے تیروں کی طرح ہے جانم


اور میں ؟

مرے ہی چشم کو تم کانچ سمجھ لو

اور دل مرا ہے وہ فرش کا ٹکڑا



Image credits :

सजदे में | سجدے میں



(In Urdu below..)

सजदे में मेरा यूँ हाल क्यों नि (नहीं) होता

जो होता है बारिश में अब्रों से गिरते उस क़तरे का

जो तैरता है आस्मां से तेज़ी से लेकिन

वो देखता है दुनिया को रंगों में सारे।


मज़े वह उठता है नीम-शब् और उम्र-ए-सग़ीर का यूँ

के भूलता है अपना वह मानी-ए-रूह, दिल

हर हक़्क़-ए-जहां और अल्हक़्क़ से भी दूर है

वो भूलता है… मिटती है ख़ुशहालगी भी


जब लगता है उसको के है नी हयात में कुछ बाक़ी अब

वो सोचता है क्यों हूँ मैं जीता

वो सोचता है कौन है जो जीता

वो कौन है जो मैं हूँ

वो कौन है जो मैं नि

क्या मैं हूँ या मैं नि?

क्या मैं हूँ, क्या मैं नि?


तब गिरता है आस्मां से दरया में वापस वो आता है

अनल बहर!

बहर था मैं हर वक़्त,  यहाँ से वहाँ था

मेरे ज़हन में कहीं तो छिपी थी हक़ीक़त

बहर को ही पाना था

इस से ही मिलना था

इस ही में मिलना था


अब मैं हूँ अल्हक़्क़ में

मैं था ही अल्हक़्क़ में

मैं मैं था कभी नि।


सजदे में मेरा यूँ हाल क्यों नि होता ?



سجدے میں مرا کیوں یوں حال نی (نہیں ) ہوتا

جو ہوتا ہے بارش میں ابروں سے گرتے اس قطرے کا

جو تیرتا ہے آسماں سے تیزی سے لیکن

وہ دیکھتا ہے دنیا کو رنگوں میں سارے

مزے وہ اٹھاتا ہے نیم شب اور امر صغیر کا یوں

کے بھولتا ہے اپنا وہ معنی روح, دل

ہر حق جہاں سے اور الحق سے بھی دور ہے

وہ بھولتا ہے , مٹتی ہے خشھالگی بھی

جب لگتا ہے اس کو کے ہے نی حیات میں کچھ باقی اب

وہ سوچتا ہے کیوں ہوں می جیتا

وہ سوچتا ہے کون ہے جو جیتا

وہ کون ہے جو میں ہوں

وہ کون ہے جو میں نی

کیا میں ہوں یا میں نی ؟

کیا میں ہو کیا میں نی ؟

تب گرتا ہے آسماں سے دریا میں واپس وہ آتا ہے

!انا البحر

بحر تھا میں ہر وقت ,یہاں سے وہاں تھا

مرے ذہین میں کہیں تو چھپی تھی حقیقت

بحر کو ہی پانا تھا

اس کو ہی مل نا تھا

اس ہی میں مل نا تھا

اب میں ہو الحق میں

میں تھا ہی الحق میں

میں میں تھا کبھی نی

سجدے میں مرا کیوں یوں حال نی ہوتا ؟

मुझ को मुझ ही से दफ़ा कर दे.


मुझ को मुझ ही से दफ़ा कर दे
साफ़ तू अब मेरा हर सफ़्हा कर दे।

Banish me from my own self
Wipe away all the pages of my life.

यूँ चलूँ तोड़कर मैं सभी ज़ंजीर
बस निगाह-ए-वफ़ा एक दफ़ाह कर दे।

I will walk towards you, breaking away all restrains
Just spare a look at me with eyes full of faith

दिख रहे हर जगह बस तुम ही हो
आईने से मेरी ये गिलाह कर दे।

Only you can I see everywhere, O Beloved
Say aloud this grievance to the mirror on the wall.

शख़्सियात-ए-हरम हैं मेरे ख़ास यार
एक पल में मुझे ख़ाक का कर दे।

The men of heaven are my good friends
You, just in a second, turn me to dirt.

ख़्वाब ही में अगर मिल सकें हम तुम
ख़्वाब को ज़िंदगी में सदा कर दे।

If we do meet only in land of dreams
Make the whole of life an unending dream.

पड़ रही है नज़र चश्म-ए-ज़ीबां की
हर नज़र का मेरे ख़ातमाह कर दे।

Those beautiful eyes pierce me with their look
These visions I see, destroy them all.

है नहीं ‘राज़’ को दिख रही दुनिया
क़ैद-ए-क़ल्ब-ओ-बदन से रिहा कर दे।

This world and its magic ‘Raz’ is unable to see
Free him from the bondage of body and the heart.

Nashk :

مجھ کو مجھ ہی سے دفا کر دے
صاف تو اب مرا ہر صفحہ کر دے

یوں چلوں توڈکر میں سبھی زنجیر
بس نگاہِ  وفا اک دفعہ کر دے

دکھ رہے ہر جگہ بس تم ہی ہو
آئنے سے مری یہ گلہ کر دے

شخصیاتِ حرم ہیں مرے خاص یار
ایک پل میں مجھے خاک کا کر دے

خواب ہی میں اگر مل سکیں ہم تم
خواب کو زندگی میں سدا کر دے

پڑ رہی ہے نظر چشمِ  زیباں کی
   ہر نظر کا مرے خاتمہ کر دے

ہے نہیں ‘راز’ کو دکھ رہی دنیا
قیدِ قلب و بدن سے رہا کر دے