Talk:Jigar Moradabadi

Untitled

High Spirituality in Jigar Muradabadi

(By Virendranath Bali ‘Gobind’)

“Mit jaaigee jiss din mere ssijdon kee haqeeqat/ Duniyaan mein teraa naksh-e-kaf-e-paa na rahe gaa/”

One of the most interesting features of Urdu
poetry is the allegorical use of mundane
imagery  of  romantic hide-and-seek between 

lovers , for conveying extremely subtle

and abstract metaphysical, philosophical and
spiritual ideas and themes which could never 
be conveyed so effectively in any prose.

      An illustrious mastery over this form of 

poetical expression is discernible in the work of several great Urdu poets, amongst whom Jigar Muradabadi’s poetry is exceptionally meritorious. Jigar was born in a family of poets and traditional religionists.

   Jigar’s initial education had taken place at home only, at the hands of Maulana Muhammad Siddeeq, who in his time was held in high esteem in the field of learning and religion. In other words, Jigar’s primary education took place in a richly spiritualist atmosphere which impacted his entire life.

Jigar was averse to too much of bookish learning. He was a Sunni Muslim and followed the traditions of Hanafi system.

Jigar has said “ What makes me most proud of my literary and poetic work is that it is consistent with my lifestyle, there is no contradiction between the two.” There is nothing new about the predominance of the Urdu poetry’s traditional theme of love in Jigar’s poetry. Jigar too carries all the various shades of beauty and love which are commonplace in Urdu poetry. But what gives a more authentic touch to Jigar’s poetry on love is the fact that it is not pure imagination but is based on very eventful life time of a personal love life full of dramatic turmoil.

   Tafseer husn-o-ishq jigar maslahat naheen/
    Afshaa-e-raaz-e-qatra-o-dariya na keejiye/

      Tauheen-e-ishq dekh  na ho jigar na ho/
      Ho jaaye dil kaa khoon magar aankh tar na ho/

Initially Jigar’s poetry appears to be influenced by the light hearted and flirtatious style of Daagh, but with the experiences he had personally in his own eventful love life matured him into deeper and more sublime realizations and poetic reactions to the same stimuli.

 YEH ISHQ NAHEEN AASAAN BAS ITNA SAMAJH LEEJE
  IK AAG KAA DARIYAA HAI AUR DOOB KE JAANAA HAI

The later period in Jigar’s poetry seems to be steeped in a hue of self-oblivion. Duniya ke sitam yaad na apnee hee wafaa yaad/ Ab mujhko naheen kuchh bhee muhabbat ke siva yaad/

   Jigar, it seems had reached the high mental state of sensitivity of experiencing the pinnacle of ecstasy and agony both simultaneously. 

Junoon-e-ishq kee qaafir adaaiyaan taubaa/
 Nigaah-e-zahad* bhee padne lagee hareesaanaa/**

             *Zahad= unattached

• • hareesaana= inimical

At this state Jigar seems to have made pain and grief a part and parcel of his being.But, like Ghalib, he too is not complaining about his ‘gham-e-yaar’. He is cherishing it as a desirable possession.

         Main raheen* dard sahee magar mujhe aur chaahiye kyaa jigar/
         Gham-e-yaar hai mera shefta** main farefta*** gham-e-yaar par/

Raheen= girvee rakkhaa hua Shefta= non-attachment Farefta= infatuated

  As Jigar went ahead in the later period of his mature life, the sublimity and seriousness kept on increasing in his poetry. And he could be described entering the esteemed territories of Momin Khan Momin.

  Aankhon mein noor jism mein bankar vo jaan rahe/
   Yaani hameen mein reh ke vo hamse nihaan rahe/

  Aaee hai maut manzil-e-maqsood dekh kar/
   Itane hue qareeb ki ham door ho gaye/

 Teri amaanat-e-gham to haq adaa kar loon/
 Khuda kare shab-e-furqat abhee daraaz rahe/

  Jigar’s approach towards appeasing the beloved was quite peculiar too. Instead of apologizing or persuading the beloved, he would make such an imprint of his own love and character that the beloved would be compelled to accede to his requests.

He would say:

  Raanaai-e-khayaal ko ruswaa na keejiye/
 Mumkin bhee ho to arz-e-tamannaa na keejiye/

 Husn betaab tajallee khud hai lekin ai Jigar/
 Ek halkaa saa hijab-e-chashm-e-hairaan chaahiye/

 Husn kee baargaah mein rakhiye sambhaal kar qadam/
 Ye vo muqaam hai jahaan khwaahish-e-dil haram hai./

 But cautiously Jigar would then melt the beloved’s heart by impressing the importance that he gives his beloved in his scheme of things.

 Waqt aaye to ham jaan bhee kar denge fida/
Kyaa ye mumkin hai tere naam kee izzat na karein/

Jahaan vo hain vaheen mera tasavvur/
Jahaan main hoon kheyaal-e-yaar bhee hai/

Jazba-e-shauq ne dam lene ka mauqaa na diyaa/ Shamaa munh dekhtee hee reh gaee parvaane kaa/

     A human being starts grappling with the basic
questions about the origin, purpose, and meaning,
if any, of his own and the world’s existence, almost
as soon as his thinking faculties start functioning. 

And mostly he gets totally bogged down in the

quagmire of the apparent and the occult truths
emanating from a confusing simultaneous sense
of separation and oneness with God.
  Jigar too finds himself in the same plight.

    “Ssamjhe the door tujhsse nikal jaayenge kanhee/
  Dekhaa to har muqaam teree reh-guzar mein hai/

“Waqt aataa hai ek aissaa bhee ssar-e-bazm-e-jamaal/ Ssaamne hote hain vo aur ssaamnaa hotaa naheen/”

“Vo bazm-e-tamaashaa bhee kyaa bazm-e-tamaashaa hai/ Jo jalwaa hai pardaa hai jo pardaa hai vo jalwaa hai/

      The idea of altruism, oneness with God has rarely been conveyed so effectively anywhere else as in the couplets of Jigar.

“Allah re kamaal-e-khudee kee ye wuss’aten/ Meraa hee ssaamnaa hai jidhar dekhtaa hoon main/”

“Ek jagah baith ke pee loon meraa dastoor naheen/ Maikhaanaa tang banaa doon mujhe manzoor naheen/”

“Tamaam uth gaye parde to uss sse kyaa haassil/ Mazaa to jab thaa ki main bhee na darmiyaan hotaa/”

“Ye ssab numood-o-numaaish hai tere chhupne sse/ Jo too na parde mein hotaa to main kahaan hotaa/

    Omnipresence of God is acknowledged by all
religions. And especially Vedant and Sufism, which 

maintain that man and God, and for that matter,

everything of the universe is integrally ‘One’

unified ‘Beingness’; however it is the nature of this ‘oneness’ to create the illusion of duality,

multiplicity and infinity, adopting multifarious
forms, to play hide and seek with itself. This
perhaps is the subtlest of the philosophical
concepts, and defies expression in any prose.
      And again we find beautiful expression of 

this extremely abstract idea in Jigar’s poetry.

“Jiss rang mein dekho usse vo pardaa nasheen hai/ Aur ispe ye pardaa hai ki pardaa hi naheen hai!/

 Har-ik makaan mein koee iss tarh makeen hai/
  Poochho to kaheen bhee naheen dekho to yaheen hai/”

“Vo kaun hai aissaa ki teree shakl dikhaa de/ Ehssaan hai uskaa jo mujhe mujhse milaa de/”

“Yak shauq-e-deed behad ssab kuchh dikhaa rahaa hai/ Koee na aa rahaa hai koee na jaa rahaa hai/

 Meraaj-e-shauq kahiye yaa haassil-e-tassavvur/
 Jiss simt dekhtaa hoon too muskuraa rahaa hai/”

“Pardaa jab uth gayaa hai dekhaa yahee hai aksar/ Apnee hee aarzoo mein apnee hee justjoo klee/”

 “Hoon khataawaar, ssiyahkaar,gunahgaar magar/
  Kisko bakhshe teree rehmat jo gunahgaar na hon!/”

   The precipitate plight of human being, as has 

been well expounded by Jean Paul Sartre, is that he is helplessly an inseparable part of “Beingness’s”

phenomenal (based compulsively on a regime of 

dualities) nature which he calls ‘For itself’, and he yearns to know and become one with “Beingness’s” ‘In itself’(the essentially non-dual existence). Sartre

has depicted the human plight as that of a tool
in the hands of ‘In-itself’ Beingness’ which
the latter uses to manifest itself and to ‘enjoy’ that 

‘for-itself’ manifestation. Protesting against this unfair

condition of the human existence in a valiant
challenging tone, Sartre declares that though 

he is aware that his actions are of no consequence to the ‘Being in-itself’, he is going to perform them all the same and with full passion as though they were going to make all the difference in the scheme of things.

Though any knowledge of mutual thoughts or 

exchange of notes between Sartre and Jigar can

not be even remotely thought of , how this deep
and subtle concept gets conveyed most
effectively and candidly in Jigar’s poetry is simply
amazing!

“Unko apnee shaan-e-rehmat per ghuroor/ Mujhko apnee bebassee per naaz hai/

“Vo kyaa dekh ssakte hain apnee adaayen/ Hamhee dekhte hain jo ham dekhte hain/

Nigaah-e-muhabbat dikhaatee hai ssab kuchh/ Na tum dekhte ho na ham dekhte hain/”

“Muhabbat kee muhabbat tak hee jo duniyaa ssamajhte hain/ Khuda jaane vo kyaa ssamjhe hue hain kyaa ssamajhte hain/ Jamaal-e-rang-o-boo tak husn kee duniyaa ssamjhte hain/ Jo sirf itnaa ssamajhte hain vo aakhir kyaa ssamajhte hain/

Nigaah-e-shauq hee kuchh jaantee hai raaz-e-mastooree/ vo khud jalwaa hai unkaa ssab jisse pardaa ssamajhte hain/

“Ssoz mein bhee ek naghmaa hai jo ssaaz mein hai/ Farq nazdeek kee aur door kee aawaaz mein hai/

“Mujhe ghair ssamajhen na ahl-e-dil

ham’atan agarche hijaab hoon/ Jo nihaan hai meree nazar sse bhee main ussee ke rukh kee naqaab hoon/”

Be-pardgee-e-husn sse hain ssab ye hijaabaat/ Pardaa jo giraa doge to pardaa na rahegaa/”

“Teree khabar naheen magar itnee to hai khabar/ Too ibtidaa sse pehle hai too intehaa ke baad/”

“Hamein maaloom hai hamsse ssuno

mehshar mein kyaa hogaa/

ssab usko dekhte honge vo hamko dekhtaa hogaa/

Ssamajhtaa kyaa hai too deewangaan-e-ishq ko zaahid/ ye ho jaayen jiss jaantb ussee jaanib Khuda hogaa/”

“Fikr-e-manzil hai na hosh-e-jaada-e-manzil mujhe/ Jaa rahaa hoon jiss taraf le jaa rahaa hai dil mujhe/

Ye bhi kyaa manzar hai badhte hain na hatate hain qadam/ Tak rahaa hoon door sse manzil ko main manzil mujhe/”

“Husn kee ik-ik adaa per jaan-o-dil ssadqe magar/ Lutf kuchh daaman bachaa kar hee guzar jaane mein hai/

“Mit jaaigee jiss din mere ssijdon kee haqeeqat/ Duniyaan mein teraa naksh-e-kaf-e-paa na rahe gaa/” — Preceding unsigned comment added by 120.59.52.11 (talk) 12:33, 11 February 2012 (UTC)

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Ali Sikandar about life style

Ali Sikandar about life style Ansar 1234567 (talk) 16:52, 21 January 2024 (UTC)

Fast Ansar 1234567 (talk) 16:53, 21 January 2024 (UTC)