Sunday, May 12, 2019

Rumi: Beya Beya Ke Tui Jaan-e-Sama'

Bar Sama' rast har qas' chiir nest
Tu uma har murg ke injir nest

Naught can all partake of the Gathering,
Birds have no taste for the fruits of the olive tree.

Beya beya ke tui jaan-e-jaan-e-jaan-e-Sama'
Beya ke sarw-o-rawaani ba-bostaan ke Sama'

Come, Come, thou art the heart and soul and heart of the Gathering
Come, for the cypress withers without thee, in the garden of Gathering

Beya ke choon to naboodast o hum nakhwahad bood
Beya ke choon to nadeedast deedgaan-e-Sama'

Come, for there never has been another like thou (and never ought be),
Come, for the likes of thou has never been seen by the seers of Gathering

Sama' ha shukr to goyad ba shad zabaan-e-faseeh
Yaki to nuqta bigoyam man az zaban-e-Sama'

The Gathering will thank thee for coming, in a hundred different tongues
This is one small thing I say, 'bout the language of the Gathering

Khuda azaan e shuma o shuma azaan e Khuda
Sama' az aan shuma o shuma az aan Sama

God call us towards thee, and thou calls towards God
The Gathering's an invitation to thee, and thou calls us into the Gathering

Biya Ke Soorat e Ishqast Shams e Tabrezi
Hama Ba Raqs Darayi mu-darmiyan-e-Sama'

Come O Shams of Tabrez, Thou face of Love
The assembled multitude burst into dance in the Gathering

(Kinar-i zarreh chon pur shud ze partau khursheed
Hameh beh raqs bar ayand bi fugan-e-Sama'.

When the sun rays saturate every corner of each grain of being
All of them rise in the uninhibited dance of the Gathering.)

Saturday, September 29, 2018

Moazzam Jah 'Shahji': Shab-e-hijr Woh Dam-ba-Dam Yaad Aaye

Moazzam Jah, Walashan Shahzada Nawab Mir Sir Shuja’at ‘Ali Khan Siddiqi Bahadur, KCIE (1907 – 1987), was the son of the last Nizam of Hyderabad, Mir Osman Ali Khan, Asaf Jah VII, and his first wife Dulhan Pasha Begum. He married Princess Niloufer, one of the last princesses of the Ottoman empire, and represents the extinction of a line that held sway in the Deccan of India for 200 years.

This son of the last Nizam was a poet who wrote under the pen name Shahji, or sometimes Shahji Hyderabadi.  Here, Farid Ayaz and Company render one of his compositions.

रब अन-दर बुतकदा शीनम, बे पैश ए बुत कुनम सजदा
अगर याबम ख़रीदारे, फ़रोशाम दीन-ओ-ईमान मा

I shall travel to the house of idolatry, circle it and prostrate myself
O find me a buyer so I can sell my belief and my faith.
(attributed to the Chistiyya saint Hazrat Bu Ali Qalandar, 1209-1324.)

दिल की दुनिया को जो बर्बाद किया करता है
उसी के दर्द को दिल याद किया करता है
जब कभी ज़ुल्म को इजाद (evolve) किया करता है
सबसे पहले वो मुझे याद किया करता है
कुछ अज़ब लुत्फ़ से बेदाद किया करता है
बाल-ओ-पर (feathers) नोच के आज़ाद किया करता है

शब-ए-हिज्र वो दम-बा-दम याद आये
बहुत याद आकर भी कम याद आये
अदू (Rivals) उनको बेहर-ए-करम याद आये
सितम आज़माने को हम याद आये
ये कैसा भी गुज़रा है आलम के पहरों
न तुम याद आये न हम याद आये
हमहीं  वो मुजस्सम-ए-वफ़ा (personification of faithfulness)  हैं के जिनको
तेरे सितम भी ब-तर्ज़-ए (transcribed as) करम याद आये
'शहजि' आज तनहा चमन में गए थे
बहुत उनके नख्श-ए-कदम याद आये |

Wednesday, May 9, 2018

Jigar : Allah Agar Taufiq Na De

Ali Sikandar 'Jigar Muradabadi' (1890-1960) has a special place in the history of Urdu poetry. He wrought a Sufiyana qalam with both the flamboyance of a Ghalib and the emotional depth of a Mir.

Allāh agar taufīq na de insān ke bas kā kaam nahīñ
faizān-e-mohabbat aam sahī irfān-e-mohabbat aam nahīñ

If Divine help be withheld from one, mere mortal's work it's never so
Conquests of love are common it's true; Knowledge of Love, never so.

Yā Rabb ye maqām-e-ishq hai kyā go dīda-o-dil nākām nahīñ
taskīn hai aur taskīn nahīñ ārām hai aur ārām nahīñ

Lord, what station this of Love? where the perceptive of heart never fail
Peace there is, yet there is none, comfort ever there, and yet never so.

Kyuuñ mast-e-sharāb-e-aish-o-tarab taklīf-e-tavajjoh farmā.eñ
āvāz-e-shikast-e-dil hī to hai āvāz-e-shikast-e-jām nahīñ

Why spoil the heady enchantment of drink, forcing hard attention on -
Voices of hearts strangled are, may the Voice of Wine be never so.

Aanā hai jo bazm-e-jānāñ meñ pindār-e-ḳhudī ko toḌ ke aa
ai hosh-o-ḳhirad ke dīvāne yahañ hosh-o-ḳhirad kā kaam nahīñ

When come'st thou to Beloved's hall, bring not with thee the Pride of Self
O Thou madden'd by Reason and Sense, here Reason or Sense? never so.

Zāhid ne kuchh is andāz se pī saaqī kī nigāheñ paḌne lagīñ
maikash yahī ab tak samjhe thhe shāista daur-e-jām nahīñ

The Pious one tried to drink in style, Cup-bearer's looks in askance were drawn
The drunkards had hitherto thought, gentle'd goblet's pass, could be never so.

Ishq aur gavārā ḳhud kar le be-shart shikast-e-fāsh apnī
kuchh dil ki bhi un ke sāzish hai tanhā ye nazar kā kaam nahīñ

Love made disappear rapidly, condition-less, all my obvious lacks
Heart must've conspired with Her, for work of lonely gaze 'twas never so.

Saturday, October 28, 2017

Jami: Mun Khaak-e-Kaaf-e-Paaye

Kharabaat (Persian: خرابات ‎‎) is a term in Persian poetry, created as a combination of the two opposite fragments  kharaab (ruinous) and aabad (prosperous.)

The word originally meant tavern, or house of ill repute, but was eventually appropriated by mystics to refer to a place that they frequented, by way of suspending all hypocritical pretense to piety. This was a place that you could frequent that would dismantle your superficial, show-off beliefs, and, in doing so, restore you to the true, deep faith. The proverbial tavern of the seers and mystics, with wise men masquerading as drunks, is in Persian poetry called Kharabaat.

The Malāmatiyya (ملامتية) or Malaamatis were a Muslim mystic group active in the 9th century in  Greater Khorasan. The root of their name is the Arabic word malāmah (ملامة), or 'blame'. The Malaamatiyya believed in the value of self-blame; that piety should be a private matter; and that being held in good esteem due to public demonstrations of piety, would lead to worldly attachment and defeat the purpose. A Malaamati concealed his knowledge, but made sure his faults were be known, reminding everyone of his imperfections. The Malaamati despises personal piety, not because he is focused on the perceptions or reactions of people, but because he must constantly, involuntarily witness his own pious hypocrisy. Malaamati thus refers to a method of teaching within Sufism, based on surrendering self-glorification, and taking blame.

Nur ad-Dīn Abd ar-Rahmān Jāmī (Persian: نورالدین عبدالرحمن جامی‎‎), known simply as Jami (1414 – 1492), was a medieval Persian poet, prolific scholar, and writer of mystical Sufi literature. A prominent poet-theologian of the school of Ibn Arabi and a Khwājagānī Sũfī, Jami is remembered today for his eloquent brevity, and for his analysis of the metaphysics of mercy.

Here is Subhan Ahmed Nizami Qawwal performing the qalaam of Jami.

Mun khaak-e-kaaf-e-paaye Rindan-e-Kharabaatam

I am as dust 'neath the feet of the Drunkards of Kharabaat
Sacrificed, for the red lips of the Beloveds of Kharabaat

Dil reshi-o-be-kheshi shud ain-e-namaaz-e-mun
Dar qibla-e-abroo-e-khubaan-e-Kharabaatam

My prayer now consists of tormenting my heart, and erasing my Self
My prostrations toward the arched brows, of the Beauties of Kharabaat

Mun aaina-e-yaarum, ganjeena-e-asraarum
Hairat zada-e-ishqam, mun shaan-e-Kharabaatam

I am as a mirror for my Beloved, I am a treasure-chest full of Secrets
Smitten by the wonder of Love, I am now the pride of Kharabaat

Een khirqa-e-hasti ra dar mae-kada-e-Vahdat
Sad baar girau kardam uryaan-e-Kharabaatam

This robe of Self, in the Drunkards' tavern of Unity
A hundred times I cast away, I am now naked in Kharabaat

Een tauba-o-taqwa shud az Jami-e-be-deene
Dar koo-e-Malamaati, hairaan-e-Kharabaatam

All this piety and this supplication, from the heretic Jami
Living in a den of Malaamatis, I am wonderstruck in Kharabaat.

Saturday, June 3, 2017

Kesarbai Kerkar: Jaa't Kahan Ho?

Kesarbai Kerkar (केसरबाई केरकर, 1892 -1977) was a classical vocalist,  the most prominent disciple of Alladiya Khan (1855–1946), the founder of the Jaipur-Atrauli gharana. She was one of the most noted Indian classical 'khayal' singers of the 20th century.  This thumri of her's in Raga Bhairavi, Taal Deepchandi, is part of the golden disk aboard the Voyager I & II spacecraft that carries a record of humanity's achievements and aspirations into interstellar space.

जा'त कहाँ हो अकेली गोरी, जाने न पैय्यों
केसर रंग के माठ भये होय, होरी खेलत कान्हा रे

Jaat kahan ho, akeli gori, jaane na paiyyon
Where do you go alone, girl, do your feet not know?

Kesar rang ke maath bhaye hoy, Hori khelat Kanha re
The fields are colored saffron, Krishna plays Holi (there I go.)

The sense is that of a companion or elder asking the young lady where she ventures by herself. She answers: Krishna (Kanha) is calling, playing Holi (Hori) in the fields, they are (i.e. my world is) become the color of renunciation.

Quo Vadis? We could ask that of any Voyager.

Saturday, May 6, 2017

Rasoolan Bai: Jaawe Man Najar Nahin Aaye

Rasoolan Bai (1902 – 1974) was a classical tawaif of the Benaras gharana. She specialized in the romantic Purabi Ang  - Eastern Arm - of the Thumri and Tappa musical genres.

The Tappa is a form of Indian semi-classical vocal music. Its specialties are its rolling pace and its knotty construction. The tunes are melodious; intended to mimic the emotions of a forlorn - perhaps God-obsessed - lover.

Tappas originated in folk songs of camel riders of Punjab. The style was refined and introduced to the imperial court of the Mughal Emperor Mohammad Shah 'Rangeela' in the 1720s; and thence to the court of Asaf-ud-Daulah, Nawab of Awadh. It then spread to Benaras and Bengal. In Bengal, Ramnidhi Gupta's compositions form a genre called Nidhu Babu's Tappas. Tappa gayaki took new shape in Bengal, and, over the decades, became puratani, a popular semi-classical form of Bengali vocal music.

Rasoolan Bai was born in Mirzapur, Uttar Pradesh, in a poor family, of a musical mother - Adalat. At the age of five, her prodigy was recognized and she was sent to learn music from Ustad Shammu Khan, and later from the sarangiyas Ashiq Khan and Ustad Najju Khan. She became an expert in tappa singing and went on to dominate the Hindustani classical music genre for next five decades, basing herself in Varanasi and becoming the doyenne of Benaras gharana. In 1948, she stopped performing mujra, moved out of her kotha, married a sari dealer, and moved into a bylane.

Below, Rasoolan Bai sings a tappa in Raga Gaud Sarang. The lyrics are very simple:

Jaawe man, najar nahin aaye -
(Dhhondhata phirat nisi-din, sun Miyo.)

My mind goes (to Him), my eyes do not see (Him)
I look (for Him) night-and-day; listen, Master.

This material was morphed by Sachin-karta into his Ghum Bhulechhi Nijhhum,  and from there into Hum Bekhudi Mein Tumko Pukare Chale Gaye, where it is sung in a cousin-raga, the Chhayanat. The ragas Kedar, Gaud Sarang, and Chhayanat have very similar melodic movements.

Rasoolan Bai was awarded the Sangeet Natak Akademi Award in Hindustani music Vocal in 1957 by the Sangeet Natak Akademi, India's National Academy of Music, Dance and Theatre. Despite an illustrious musical career, she died in penury, running a small tea shop out of a hovel next to the radio station from where she had often broadcast in her heyday.

Tuesday, May 2, 2017

Moujuddin Khan: Bajawa Re Baar Baar Baje

The defeat of the Sepoy Mutiny of 1857 led to the collapse of centers of cultural patronage in Awadh, Agra and Delhi. The famous courtesans of the age moved around in search of benefactors to Benares or Kolkata. Victoria Hemmings - the famous Maika Jaan - and her daughter (by one dry-ice engineer named William Yeoward) Angelina better known as Gauhar Jaan - are two famous singers who followed this trajectory.

Between the 1870s and 1930s, Benares came into its own as a center for classical or semi-classical music. This was the age of Rasoolan Bai, Siddeshwari, Moti Bai; the thumri in Eastern-style or Purbi-ang reached its zenith. Veshya-Stotra written by Babu Bacchu Singh in the 1890s lists over 100 tawaifs or courtesans, each of whom would conduct a mehfil every few days.

Compared to the teentaal based regular beats of the courts of Oudh, Benares preferred the irregular 1-2-3/1-2-3-4 deepchandi. The lyrics and melodic span were simple, the goal was a contemplative depth of emotion. Boating parties carrying the singers and their patrons would ply the Ganges all night. A music lover was to lament in 1979:

Ah - at 2 in the night - Siddeshwari in one boat, Kashi Bai in another, Rasoolan in a third. Each singing different ragas - one a chaiti in Jogiya. Sometimes all three boats would come together, sometimes they would all float separately. People would forget where they were going. Where are those days now?

Below, Reba Muhury (who sang Mohey Lagi Lagan in Satyajit Ray's Benares-based Jai Baba Felunath) revives a thumri from that era. The composition is attributed by Smt. Muhury to Moujuddin Khan Saheb, the guru of the Elder Moti Bai. The simple - even rustic - lyrics describe the wedding procession of Rama and Sita in Awadh. It is sung with an artlessness that is the art, and contrasts with the sensual histrionics of the other styles of singing.

Bajawa re baar baar baje
Awadh mein
Ram Lakshman Bharat Shatrughn
Pragat char bhaiyya
Ram Lakshman Bharat Shatrughn
Behak saaj saaje.
Raja Dasarath ati sukhat bhayo
Kanchan roupya det lutaiyyan.
Puranari sab harash bhar
Abir gulal det udaiyyan.

The strings and pipes they play and play
O - in Awadh
Ram Lakshman Bharat Shatrughn
Proceed the brothers four
Ram Lakshman Bharat Shatrughn
Beguilingly decked all o'er.
King Dasarath, so happy is
Of gold and silver he the strewer.
Women-folk of town in joy
Let colors fly in the air.

Wednesday, October 12, 2016

Bhawaiya : Diney Diney

The territory of the Bhawaiya folk song is North Bengal, Coochbehar, and Assam -  also covering much of the Rangpuri-dialect-speaking areas of northern Bangladesh.  Some say Bhawaiya is derived from "bhava" - emotion.   Others think the term originated from the word "bhabaiya" -  that which inspires contemplation. Certainly the themes of this genre are contemplation, love, and loss. The lyrics below are traditional - dated sometime between the 17th and 19th centuries, now resurrected in a MTV sherwani. (Disregard the mishmash of overlaid new-age Punjabi lyrics, which bear no relation to the original.)

দিনে দিনে খসিয়া পড়িবে
রঙ্গিলা দালানের মাটি গোসাঁইজি ... কোন রঙে?

Diney diney khoshiya poribe
Rongila dalaner mati Gosain-ji ...  Kon rongey?

Day by day will crumble
Mud-walls of this pretty-colored house, O priest ... In what color?

বাঁধিছেন ঘর মিছা
মিছা দ্বন্দ্ব মাঝে গোসাঁইজি ... কোন রঙে?

Bandhichhen ghar michha
Michha dwandwa majhe Gosain-ji ...Kon rongey?

Your house-framing is futile
Futile in midst of doubt, O priest ... In what color?

বাল্য না কাল গেলো হাসিতে খেলিতে
যৈবন কাল গেলো রঙ্গে
আর বৃদ্ধ না কাল গেলো ভাবিতে চিন্তিতে
গুরু ভজিবো কোন কালে, গোঁসাইজী ... কোন রঙে?

Balyo na kaal gelo hashite khelite
Jaiban kaal gelo rangey
Aar briddho na kaal gelo bhabite chintite
Guru bhojibo kon kaale Gosain-ji ... Kon rongey?

Childhood went in laughter and play
Youth in dance and song
Old age in thinking and worry
When to chant of Guru, O priest ... In what color?

হাড়েরও ঘরখানি, চামেরও ছাউনি
বন্ধে বন্ধে তার জোড়া
আর তাহারই তলে ময়ুর আর ময়ুরী
শূন্যে উড়ায় তারা গোসাঁইজি ... কোন রঙে?

A room of bones, thatched by skin
Joint by joint tied
And beneath, peacock and peahen
They fly in space, O priest ... In what color?

(মতান্তরে )
হাড়েরও ঘরখানি, চামেরও ছাউনি
বন্ধে বন্ধে তার জোড়া
সেই ঝড়েরও প্রহরী ময়ুর আর ময়ুরী
কবে দেয় যে গো উড়া গোসাঁইজি ... কোন রঙে?

Harero gharkhani, chamero chhawni
Bandhe bandhe tar jora
Shei jharero prohori mayur ar mayuri
Kobe deay je go ura Gosain-ji ... Kon rongey?

A room of bones, thatched by skin
Joint by joint tied
That tempest's guards, peacock and peahen
Who knows when they fly away, O Priest ... In what color?

Saturday, July 9, 2016

Amjad Sabri: Yehi Mera Zauq-e-Sujood Hai

A few weeks ago, two motorcyclists opened fire on Amjad Sabri's car in Karachi. Sabri was shot twice in the head and once on the ear and died shortly after.  The killing was claimed by a splinter group of the Pakistani Taliban who accused Sabri of blasphemy.

Here is a piece of traditional qawwali from Amjad Sabri. The circumspect poster of the video (apparently the music label who produced it) has bleeped some of the problematic lines, wherein Hindu deities and Western philosophy are said to be found within a saint's shrine along with Muhammad or Allah. At one point, a camouflaging grunt of "Allaaaaah" is added to the soundtrack.

Yehi mera zauq-e-sujood hai, yehi mere ishq ka raaz hai
Teri yaad mein mera jhoomna, mera Hajj hai meri Namaaz hai

This is my perception of the essence of prayer: acknowedgement of my love for Thee
My whirling dance ,with Thee in mind, this is my pilgrimage (Hajj) and my prayer (Namaaz.)

Tere dar pe sajda ada kiya, tujhe apna kaaba bana liya
Yeh gunah hai to hua kare, mujhe is gunah pe naaz hai

I lay my prayers at Thine door, I made Thee my most sacred enclosure (Kaaba)
If these be sins, so be it, I cherish such sins of mine.

Yehan pehle raaj hain Aulia, yehan paaon rakha rawaan naheen
Yahan sar ke bal chalo aashiqon, ye dayar ye banda nawaz hai

The First Lord here is the shrine's saint (Aulia), none stepping here are sent back
Prostrate here your heads, O Lovers, this be the realm of Friends of Worship.

Yahan Falsafi bhi hai Ram hai, yeh ajeeb kaisa maqam hai
Jahan khud se jhuk na sake zabeen wahan sajda karna haraam hai

Here be philosophy (natural philosphy, i.e. science), here be Ram (avatar of Vishnu) too, what a strange station this is
Where Beauty (Pride?) cannot bow down before itself, that place is forbidden for prayers.

Mujhe Anwar-ul ka hai aasra, ke wahi to mere rafeeq hain
Main ghareeb hoon to kya hua mera silsila to daraaz hai

I take shelter in the Luminous One (Ali, the first Shia Imam), for he is my ally himself
So what if I am poor, my link to him is still unbroken.

Another rendering of this qalaam, by Shafqat Hussain and Shujaat Hussain qawwals, is here.

Saturday, June 18, 2016

Nizami: Mara Ba Ghamza Kusht

Nizami Ganjavi (Persian: نظامی گنجوی, Nezāmi Ganjavi‎‎), 1141-1209,  is considered the greatest romantic epic poet of Persian literature.  He forged a colloquial, realistic style of writing, and his heritage is shared today across Afghanistan, Azerbaijan, Iran, Kurdistan and Tajikistan. Nizami was born in Ganja (an outpost of the Seljuq empire, in present-day Azerbaijan, named from the Turkic 'Gan chai,' refering to the eponymous 'Wide river',)  and is believed to have spent his whole life in the South Caucasus.

By the end of the 10th century, Persian literature had become widespread from the Mediterranean to the Punjab. The Seljuqs took Ganja from the Shaddadids in 1075, and adopted Persian for their courts. By the middle of the 12th century, the Seljuqs' control of the region had weakened;  their provincial governors, usually local Persian nobles, further encouraged Persianization. Political power was diffused; Farsi remained the primary language of court and commerce. This was especially true in Ganja: Nizami was patronized by different rulers, and dedicated his epics to various rival dynasties including the Seljuqs, Eldiguzids, Shirvanshahs, the ruler of Ahar and Ahmadilis. Although he rubbed shoulders with rulers and princes, Nizami avoided the court life and is generally believed to have lived in seclusion with his 'most beloved wife', a Qipchaq slave girl of the Eurasian steppe named Afaq ('Horizon'.) It is after Afaq that Shirin ('Sugar') of Nizami's epic Khusrau and Shirin is modeled.

Often referred to by the honorifics Hakim ('Sage') or Rind ('Knowledgable'), Nizami is both a learned poet and master of a lyrical, sensuous, secular style. Poets of the time were expected to be well versed, Nizami was exceptionally so. His poems show not only that he was fully acquainted with Arabic and Persian literatures, as well as with popular traditions, but also that he was familiar with diverse fields such as mathematics, astronomy, astrology, alchemy, medicine, botany, Quranic exegesis, Islamic theory and law, Iranian myths and legends, history, ethics, philosophy, esoterica, painting, and music. His strong character, social sensibility, and knowledge of oral and written historical records, as well as his rich Persian cultural heritage  - all serve to unite pre-Islamic and Islamic Iran into the creation of a new standard of literary achievement; one that not only creates a bridge between pre-Islamic and Islamic Iran, but also straddles Iran and the whole ancient world.

I went to the Tavern last night, but I was not admitted
I was bellowing at the door, yet nobody was listening to me
Either none of the wine-sellers were awake
Or I was a nobody, and no one opens the door for a nobody
When more or less half of the night had passed
A knowing man  raised his head from a booth and showed his face
I asked of him: "Open the door"; he told me: "Go, talk not like a fool
At this hour, nobody opens the door for anybody
This is not a mosque where doors are open any moment
Where you can come late and push ahead to the first row
This is the Tavern of Magians and Rinds dwell here
There are Beauties, candles, wine, sugar, reed flutes and songs
Whatever wonders that exist, are present here
Muslims, Armenians, Zoroastrian, Nestorians, and Jews
If you are seeking company of all that is found here
You must become a dust upon the feet of everyone."
O Nizami! if you knock on this door day and night
You won't find but smoke from a burning fire.

Goethe described Nizami thus:

A gentle, highly gifted spirit, who, when Firdausi had completed the collected heroic traditions, chose for the material of his poems the sweetest encounters of the deepest love. Majnun and Layli, Khosrow and Shirin, lovers he presented; meant for one another by premonition, destiny, nature, habit, inclination, passion staunchly devoted to each other; but divided by mad ideas, stubbornness, chance, necessity, and force, then miraculously reunited, yet in the end again in one way or another torn apart and separated from each other.

Amir Khusrau's lament after reading Nizami:

Ruler of the kingdom of phrases; scholar and poet, his goblet raises
In it pure wine, intoxicatingly sweet; in goblet beside me settles only peat.

Below, K.L. Saigal renders a composition attributible to Nizami, though there is some debate on whether certain of the couplets were added later, such as by Mirza Hasan Qateel Dehlvi (Qateel "Lahori" to the Persians.)

Mara ba ghamza kusht, o qaza ra bahana sakht
Beloved killed me with slanted glance, "fate" was what she blamed.

Khud suye ma na deed, o haya ra bahana sakht
Deigned not Beloved meet mine gaze, "modesty" was what she claimed.

Daste ba dosh-e ghair, nihade bar-e karam
Put her arms around rival's shoulder, entwined him without pretense -

Mara chun deed laghzish-e pa ra bahana sakht
Seeing me she sprang apart, said "feet slipped", ashamed. 

Raftam ba masjidi ke bebinam jamaal-e-dost
Hurried I to mosque, hoping to see Beloved's beauty thence -

Dasti ba rukh kashid, o dua ra bahana sakht
Raised she hands to hide her face, and "prayer time", exclaimed.

Zahid na dasht taab-e-jamaal-e pari rukhan 
The pious there dared not meet, raging beauty of fairy-like face -

Kunji girift o yad-e khuda ra bahana sakht 
Retreated they to rosaries, "thinking of the Lord", they claimed.

There are other decent renderings of this qalam - Iqbal Bano's, and Farid Ayaz's.