Subhan Allah this is an eternal gem Chali Simt E Ghaib Se Ek Hawa Key Chaman Zahoor Ka Jal Gaya Magar Ek Shaakh Nihaal E Gham Ji Sey Dil Kahey So Hari Rahi … A breeze came from the unseen dimension ,-and burnt the entire garden But the branch of the tree of sorrow , That is called heart remained green . May Allah be pleased with all who brought this eloquent poetry together
Khabar-e-tahayyur-e-ishq ( خبر تحیر عشق سن نہ جنوں رہا نہ پری رہی - سراج اورنگ آبادی ) is written by eminent mystic poet Siraj Aurangabadi. Born as "Sayyid Sirajuddin", commonly known as Siraj Aurangabadi (1715 - 1763), was an Indian mystic poet who initially wrote in Persian and later started writing in Urdu. He was laid to rest at his birth place Aurangabad, Maharashtra State, India. The anthology of his poems, Kulliyat-e-Siraj, contains his ghazals along with his masnavi Nazm-i-Siraj. He was influenced by Persian poet Hafiz. He had also compiled and edited a selection of Persian poets under the title "Muntakhib Diwan". The anthology of his poems, entitled Siraj-e-Sukhan, was included in Kulliyat-e-Siraj. He stopped writing poetry at the age of 24.In his later life, Aurangabadi renounced the world and became a Sufi ascetic. He lived a life of isolation, though a number of younger poets and admirers used to gather at his place for poetic instruction and religious edification. His legendary Ghazal Khabar-e-Tahayyur-e-Ishq Sun has been sung by many acclaimed singers also it has been sung by Abida Parveen and Ali Sethi paid a tribute to the singer by singing the same ghazal in 2020.
خبرِ تحیرِ عشق سن، نہ جنوں رہا، نہ پری رہی نہ تو تُو رہا، نہ تو میں رہا، جو رہی سو بے خبری رہی شۂ بے خودی نے عطا کیا، مجھے اب لباسِ برہنگی نہ خرد کی بخیہ گری رہی، نہ جنوں کی پردہ دری رہی چلی سمتِ غیب سے اک ہوا کہ چمن ظہور کا جل گیا مگر ایک شاخِ نہالِ غم جسے دل کہیں سو ہری رہی نظرِ تغافلِ یار کا گلہ کس زباں سے کروں بیاں کہ شرابِ حسرت و آرزو، خمِ دل میں تھی سو بھری رہی وہ عجب گھڑی تھی کہ جس گھڑی لیا درس نسخۂ عشق کا کہ کتاب عقل کی طاق پر جو دھری تھی سو وہ دھری رہی ترے جوشِ حیرتِ حسن کا اثر اس قدر ہے یہاں ہوا کہ نہ آئینے میں جِلا رہی، نہ پری میں جلوہ گری رہی کیا خاک آتشِ عشق نے دلِ بے نوائے سراج کو نہ خطر رہا، نہ حذر رہا، جو رہی سو بے خطری رہی سراج اورنگ آبادی
سراج اورنگ آبادی خبر تحیر عشق سن نہ جنوں رہا نہ پری رہی نہ تو تو رہا نہ تو میں رہا جو رہی سو بے خبری رہی شہ بے خودی نے عطا کیا مجھے اب لباس برہنگی نہ خرد کی بخیہ گری رہی نہ جنوں کی پردہ دری رہی چلی سمت غیب سیں کیا ہوا کہ چمن ظہور کا جل گیا مگر ایک شاخ نہال غم جسے دل کہو سو ہری رہی نظر تغافل یار کا گلہ کس زباں سیں بیاں کروں کہ شراب صد قدح آرزو خم دل میں تھی سو بھری رہی وہ عجب گھڑی تھی میں جس گھڑی لیا درس نسخۂ عشق کا کہ کتاب عقل کی طاق پر جوں دھری تھی تیوں ہی دھری رہی ترے جوش حیرت حسن کا اثر اس قدر سیں یہاں ہوا کہ نہ آئنہ میں رہی جلا نہ پری کوں جلوہ گری رہی کیا خاک آتش عشق نے دل بے نوائے سراجؔ کوں نہ خطر رہا نہ حذر رہا مگر ایک بے خطری رہی
siraj aurangabadi made this language a philosophical one with a thought provoking insight for his readers and listeners making also it at par with arabic persian and english in the world class poetry and literature
Khabar-e-tahayyur-e-ishq sunn, na junoon raha na pari rahi Na toh tu raha na toh mein raha, jo rahi so be-khabari rahi On learning the amazing saga of love, neither the frenzy (junoon) was left, nor did the sweetheart (pari) remain. I was ‘me’ no more, you were ‘thee’ no more; only a state of oblivion remained. This she'r reminds me of the lines from Rumi: I always thought that I was me - but no,I was you and never knew it. The consciousness of self is obstructive and it is only the removal of 'knowledge' and 'thought' (Rumi has used the words ‘thought’ and ‘knew’) that leads to the state of self-unconsciousness where the lover and the beloved become one. Shah-e-bekhudi ne ataa kia, mujhay ab libas-e-barahanagi Na khirad ki bakhiyagari rahi, na junoon ki pardadari rahi The gift of the ‘Lord of Ecstasy’ to me was a garb of nakedness. All that the wisdom had stitched was gone; the veil of madness no longer remained. At the spiritual level the couplet can be interpreted like this: My beloved, the shah-e-bekhudi has ripped naked my heart and soul, ridding them of the layers of stitching by the misguided intellect, which is nothing more than a veil of madness. The extreme of love endows the heart with divine purity. Reason and intellect have been viewed as hindrances, and the perceived sanity as madness. Chali simt-e-ghaib se aik hava, ke chaman zahoor ka jal gaya Magar aik shakh-e-nihal-e-gham, jise dil kahe so hari rahi A sweeping wind, which came from beyond the visible world, consumed the visible garden with fire; just one branch on the tree of grief, which they call heart, despite the blaze retained its green. The reference here is to the lost Paradise, and the perennial quest to re-unite with it. The Divine breeze would burn the worldly existence leaving behind the hope for reunion. The worldly existence (chaman) has been likened to a tree of sorrow and suffering, and the Divine breeze as the liberator. Nothing grows on that tree except sadness, caused by the separation from his beloved. Now that entire existence is gone, only the abode of the beloved (heart) has survived. Nazar-e-taghaful-e-yaar ka, gila kis zuban se bayan karoon Ke sharab-e-sad-qadaah aarzu, khum-e-dil mein thi so bhari rahi I am speechless to complain about the indifferent and uncaring glances (nazar-e-taghaful-e-yaar) of my beloved; the wine of desire that filled the heart remained suppressed, concealed. At the temporal level, these lines would simply suggest that there is a heart overflowing with desires which one is unable to express due to the indifferent looks of the beloved. At the metaphysical level it would suggest that the worldly desires are often out of sync with the Divine commandments. Woh ajab ghari thi mein jis ghari, liya dars nuskha-e-ishq ka Ke kitab aql ki taaq main, jyun dhari thi tyun hi dhari rahi It was at a moment strange that I read a book of love; the book of reason, brushed aside, remained shelved and sheathed. Reason (aql-o-khirad), the product of mind is considered a detriment, hindering the spontaneity of heart. A person guided by logic and reason is too calculative to be able to devote to pure love; whereas selfless love is motivated by heart and not mind. For that reason love and brain are just incompatible. Mind is deceitful, untrustworthy, selfish and devious whereas heart is pure, untainted and selfless. As Iqbal said: bekhatar kuud para aatishe-namrood mein ishq/aql thi mehvi-tamasha-e-lab-baam abhi Tere josh-e-hairat-e-husn ka, asar iss qadar so yahan hua Ke na aayine main jila rahi, na pari kuun jalva gari rahi Your bewitching beauty, love, such a spell did cast; the mirror stood bereft of gloss and beauty seemed to freeze. Bewildered by your beauty (Josh-e-hairat-e-husn), I had such a mark on my heart (yahan is a pointer towards the heart) that the heart (aayina , the mirror of heart) has lost all its shine (the basic quality of a mirror) and angel (pari is used as simile to refer profound beauty) had no beauty left to reveal (‘kuun’means ko). Kiya khak aatish-e-ishq ne dil-e-benava-e-Siraj ko Na khatar raha na hazar raha, magar aik be-khatari rahi The fire of love reduced to ashes Siraj’s voiceless heart; fears and cares got consumed, intrepid courage held the field. The fire of love (aatish-e-ishq) has burnt the voiceless heart (dil-e-benava) of Siraj to ashes. The heart is so liberated from fears (be-khatari) that there is no feeling of vulnerability or threat left. (As Iqbal has used the word bekhatar: bekhatar kood para aatish-e-namrood mein ishq).
Subhan Allah this is an eternal gem
Chali Simt E Ghaib Se Ek Hawa
Key Chaman Zahoor Ka Jal Gaya
Magar Ek Shaakh Nihaal E Gham
Ji Sey Dil Kahey So Hari Rahi …
A breeze came from the unseen dimension ,-and burnt the entire garden
But the branch of the tree of sorrow ,
That is called heart remained green .
May Allah be pleased with all who brought this eloquent poetry together
Khabar-e-tahayyur-e-ishq ( خبر تحیر عشق سن نہ جنوں رہا نہ پری رہی -
سراج اورنگ آبادی ) is written by eminent mystic poet Siraj Aurangabadi.
Born as "Sayyid Sirajuddin", commonly known as Siraj Aurangabadi (1715 - 1763), was an Indian mystic poet who initially wrote in Persian and later started writing in Urdu. He was laid to rest at his birth place Aurangabad, Maharashtra State, India.
The anthology of his poems, Kulliyat-e-Siraj, contains his ghazals along with his masnavi Nazm-i-Siraj. He was influenced by Persian poet Hafiz.
He had also compiled and edited a selection of Persian poets under the title "Muntakhib Diwan". The anthology of his poems, entitled Siraj-e-Sukhan, was included in Kulliyat-e-Siraj.
He stopped writing poetry at the age of 24.In his later life, Aurangabadi renounced the world and became a Sufi ascetic. He lived a life of isolation, though a number of younger poets and admirers used to gather at his place for poetic instruction and religious edification.
His legendary Ghazal Khabar-e-Tahayyur-e-Ishq Sun has been sung by many acclaimed singers also it has been sung by Abida Parveen and Ali Sethi paid a tribute to the singer by singing the same ghazal in 2020.
Totally addicted daily sun rha hu raat me 😍❤️
ufff...alfaz kanoun se guzar ke aankoun se aansu ban kar bhi baras saktay hai...kamaal...uff...
I am a proud Aurangabadi💗
❤
Kya khubsurat kalam hai
Jawab nahi
خبرِ تحیرِ عشق سن، نہ جنوں رہا، نہ پری رہی
نہ تو تُو رہا، نہ تو میں رہا، جو رہی سو بے خبری رہی
شۂ بے خودی نے عطا کیا، مجھے اب لباسِ برہنگی
نہ خرد کی بخیہ گری رہی، نہ جنوں کی پردہ دری رہی
چلی سمتِ غیب سے اک ہوا کہ چمن ظہور کا جل گیا
مگر ایک شاخِ نہالِ غم جسے دل کہیں سو ہری رہی
نظرِ تغافلِ یار کا گلہ کس زباں سے کروں بیاں
کہ شرابِ حسرت و آرزو، خمِ دل میں تھی سو بھری رہی
وہ عجب گھڑی تھی کہ جس گھڑی لیا درس نسخۂ عشق کا
کہ کتاب عقل کی طاق پر جو دھری تھی سو وہ دھری رہی
ترے جوشِ حیرتِ حسن کا اثر اس قدر ہے یہاں ہوا
کہ نہ آئینے میں جِلا رہی، نہ پری میں جلوہ گری رہی
کیا خاک آتشِ عشق نے دلِ بے نوائے سراج کو
نہ خطر رہا، نہ حذر رہا، جو رہی سو بے خطری رہی
سراج اورنگ آبادی
چمن (سرور) کا جل گیا!
Nise poetry
سراج اورنگ آبادی
خبر تحیر عشق سن نہ جنوں رہا نہ پری رہی
نہ تو تو رہا نہ تو میں رہا جو رہی سو بے خبری رہی
شہ بے خودی نے عطا کیا مجھے اب لباس برہنگی
نہ خرد کی بخیہ گری رہی نہ جنوں کی پردہ دری رہی
چلی سمت غیب سیں کیا ہوا کہ چمن ظہور کا جل گیا
مگر ایک شاخ نہال غم جسے دل کہو سو ہری رہی
نظر تغافل یار کا گلہ کس زباں سیں بیاں کروں
کہ شراب صد قدح آرزو خم دل میں تھی سو بھری رہی
وہ عجب گھڑی تھی میں جس گھڑی لیا درس نسخۂ عشق کا
کہ کتاب عقل کی طاق پر جوں دھری تھی تیوں ہی دھری رہی
ترے جوش حیرت حسن کا اثر اس قدر سیں یہاں ہوا
کہ نہ آئنہ میں رہی جلا نہ پری کوں جلوہ گری رہی
کیا خاک آتش عشق نے دل بے نوائے سراجؔ کوں
نہ خطر رہا نہ حذر رہا مگر ایک بے خطری رہی
I'm here After listing this in ali sethi's voice
Me too
Me three
Me too
@@muniramunira2010 👍
@@mayaaf7000 👍
I guess i was alive to listen to this
This qawalli sent me in the depth of qawali
subhan allah
Bhot khub
Dil ko chu gaye
I am from that city from where "Siraj Aurangabadi" was.
Me too
@@junaidahmed98 is it Aurangabad?
Gazab....Gazab ...gazab
realy thanksss to upload this beautiful gift for us ....
masha allah subkhan allah
May GOD BLESS U .. u r a legend for posting this
Khabar e Tahayyur e Ishq Sun" (kalam of Siraj Aurangabadi).
Wo ajab ghari k jis ghari liya drs nuskha e ishq ka
Jo kitab aqal ki taq pr jo dhari rahi so dhari rahi
Kalam ka haq ada kr dia.
Wah wah no words for this
This made me cry
Masterpiece
Kamal hai bhai , amazing
Grate and Excellent Faqeera
Super
My favourite Qawwali since long
سراج اورنگ آبادی کی عمدہ غزل ہے
siraj aurangabadi made this language a philosophical one with a thought provoking insight for his readers and listeners making also it at par with arabic persian and english in the world class poetry and literature
This is a grand poetry of deep awareness. The team of musicians also presented it in a grand manner. My salutes.
MASHA ALLAH
Outstanding kalaam.
Bahut umda khamse
اسے کہتے ہے۔۔۔۔افسونے تکلم۔۔۔۔۔
badi muddat se talasha h inhe
Mind blowing
😍
Mesmerizing
excellent
great poetry
God bless you sir
Kia BAAT ha
Marhaba Marhaba Marhaba Marhaba
Ishq asan na buwad
iska koi jawab aur sani nhi
Where I can find English subtitles for thi qwaali
Khabar-e-tahayyur-e-ishq sunn, na junoon raha na pari rahi
Na toh tu raha na toh mein raha, jo rahi so be-khabari rahi
On learning the amazing saga of love, neither the frenzy (junoon) was left, nor did the sweetheart (pari) remain. I was ‘me’ no more, you were ‘thee’ no more; only a state of oblivion remained.
This she'r reminds me of the lines from Rumi:
I always thought that
I was me - but no,I was you
and never knew it.
The consciousness of self is obstructive and it is only the removal of 'knowledge' and 'thought' (Rumi has used the words ‘thought’ and ‘knew’) that leads to the state of self-unconsciousness where the lover and the beloved become one.
Shah-e-bekhudi ne ataa kia, mujhay ab libas-e-barahanagi
Na khirad ki bakhiyagari rahi, na junoon ki pardadari rahi
The gift of the ‘Lord of Ecstasy’ to me was a garb of nakedness. All that the wisdom had stitched was gone; the veil of madness no longer remained.
At the spiritual level the couplet can be interpreted like this: My beloved, the shah-e-bekhudi has ripped naked my heart and soul, ridding them of the layers of stitching by the misguided intellect, which is nothing more than a veil of madness. The extreme of love endows the heart with divine purity. Reason and intellect have been viewed as hindrances, and the perceived sanity as madness.
Chali simt-e-ghaib se aik hava, ke chaman zahoor ka jal gaya
Magar aik shakh-e-nihal-e-gham, jise dil kahe so hari rahi
A sweeping wind, which came from beyond the visible world, consumed the visible garden with fire; just one branch on the tree of grief, which they call heart, despite the blaze retained its green.
The reference here is to the lost Paradise, and the perennial quest to re-unite with it. The Divine breeze would burn the worldly existence leaving behind the hope for reunion. The worldly existence (chaman) has been likened to a tree of sorrow and suffering, and the Divine breeze as the liberator. Nothing grows on that tree except sadness, caused by the separation from his beloved. Now that entire existence is gone, only the abode of the beloved (heart) has survived.
Nazar-e-taghaful-e-yaar ka, gila kis zuban se bayan karoon
Ke sharab-e-sad-qadaah aarzu, khum-e-dil mein thi so bhari rahi
I am speechless to complain about the indifferent and uncaring glances (nazar-e-taghaful-e-yaar) of my beloved; the wine of desire that filled the heart remained suppressed, concealed.
At the temporal level, these lines would simply suggest that there is a heart overflowing with desires which one is unable to express due to the indifferent looks of the beloved. At the metaphysical level it would suggest that the worldly desires are often out of sync with the Divine commandments.
Woh ajab ghari thi mein jis ghari, liya dars nuskha-e-ishq ka
Ke kitab aql ki taaq main, jyun dhari thi tyun hi dhari rahi
It was at a moment strange that I read a book of love; the book of reason, brushed aside, remained shelved and sheathed.
Reason (aql-o-khirad), the product of mind is considered a detriment, hindering the spontaneity of heart. A person guided by logic and reason is too calculative to be able to devote to pure love; whereas selfless love is motivated by heart and not mind. For that reason love and brain are just incompatible. Mind is deceitful, untrustworthy, selfish and devious whereas heart is pure, untainted and selfless. As Iqbal said: bekhatar kuud para aatishe-namrood mein ishq/aql thi mehvi-tamasha-e-lab-baam abhi
Tere josh-e-hairat-e-husn ka, asar iss qadar so yahan hua
Ke na aayine main jila rahi, na pari kuun jalva gari rahi
Your bewitching beauty, love, such a spell did cast; the mirror stood bereft of gloss and beauty seemed to freeze.
Bewildered by your beauty (Josh-e-hairat-e-husn), I had such a mark on my heart (yahan is a pointer towards the heart) that the heart (aayina , the mirror of heart) has lost all its shine (the basic quality of a mirror) and angel (pari is used as simile to refer profound beauty) had no beauty left to reveal (‘kuun’means ko).
Kiya khak aatish-e-ishq ne dil-e-benava-e-Siraj ko
Na khatar raha na hazar raha, magar aik be-khatari rahi
The fire of love reduced to ashes Siraj’s voiceless heart; fears and cares got consumed, intrepid courage held the field.
The fire of love (aatish-e-ishq) has burnt the voiceless heart (dil-e-benava) of Siraj to ashes. The heart is so liberated from fears (be-khatari) that there is no feeling of vulnerability or threat left. (As Iqbal has used the word bekhatar: bekhatar kood para aatish-e-namrood mein ishq).
@@MsQUDSIA exquisite translation!
The great Aurangabad ❤
ye singer kon ha????
farid ayazji hai singer
Anyone can tell who is best singer of this kalaam
munshi raziudin ahmad khan ...
He is father of fareed ayaz. Name munshi razeuddin ahmad
Munshi raziuddin ahmad khan