| Amir Khusrow | |
|---|---|
Amir Khusrow teaching his disciples; miniature from a manuscript of Majlis Al-Usshak by Husayn Bayqarah |
|
| Background information | |
| Birth name | Ab'ul Hasan Yamīn ud-Dīn Khusrow |
| Born | 1253 Patiali, Mughal Empire |
| Died | 1325 |
| Genres | Ghazal, Khayal, Qawwali, Rubai, Tarana |
| Occupations | Musician, Poet |
Ab'ul Hasan Yamīn ud-Dīn Khusrow (1253-1325 CE) (Persian: / Urdu ابوالحسن یمینالدین خسرو; Hindi: अबुल हसन यमीनुद्दीन ख़ुसरौ), better known as Amīr Khusrow (also Khusrau, Khusro) Dehlawī (امیر خسرو دہلوی; अमीर ख़ुसरौ दहलवी), was an Indian musician, scholar and poet. He was an iconic figure in the cultural history of the Indian subcontinent. A Sufi mystic and a spiritual disciple of Nizamuddin Auliya of Delhi, Amīr Khusrow was not only a notable poet but also a prolific and seminal musician. He wrote poetry primarily in Persian, but also in Hindavi.
He is regarded as the "father of qawwali" (the devotional music of the Sufis in the Indian subcontinent).[1][2] He is also credited with enriching Hindustani classical music by introducing Persian and Arabic elements in it, and was the originator of the khayal and tarana styles of music.[3] The invention of the tabla is also traditionally attributed to Amīr Khusrow.
A musician and a scholar, Amir Khusrow was as prolific in tender lyrics as in highly involved prose and could easily emulate all styles of Persian poetry which had developed in medieval Persia, from Khāqānī's forceful qasidas to Nizami's khamsa. He used only 11 metrical schemes with 35 distinct divisions. The verse forms he has written in include Ghazal, Masnavi, Qata, Rubai, Do-Beti and Tarkibhand. His contribution to the development of the ghazal, hitherto little used in India, is particularly significant.[4]
Contents |
Amir Khusrow was born in Patiali near Etah in northern India. His father, Amīr Sayf ud-Dīn Mahmūd, was a Turkic officer and a member of the Lachin tribe of Transoxania, themselves belonging to the Kara-Khitais.[4][5][6]
Khusrow was born in Badaun near Etah in what is today the state of Uttar Pradesh in northern India. His father Amir Saifuddin came from Balkh in modern day Afghanistan and his mother hailed from Delhi.
Khusrow was a prolific classical poet associated with the royal courts of more than seven rulers of the Delhi Sultanate. He is popular in much of North India and Pakistan, because of many playful riddles, songs and legends attributed to him. Through his enormous literary output and the legendary folk personality, Khusrow represents one of the first (recorded) Indian personages with a true multi-cultural or pluralistic identity.
He wrote in both Persian and Hindustani. He also spoke Arabic and Sanskrit.[6][7][8][9][10][11][12] His poetry is still sung today at Sufi shrines throughout Pakistan and India.
Amir Khusrow was the author of a Khamsa which emulated that of the earlier poet of Persian epics Nizami Ganjavi. His work was considered to be one of the great classics of Persian poetry during the Timurid period in Transoxiana.
Amir Khusrow is credited with fashioning the tabla as a split version of the traditional Indian drum, the pakhawaj.
Popular lore also credits him with inventing the sitar, the Indian grand lute, but it is possible that the Amir Khusrow associated with the sitar lived in the 18th century (he is said to be a descendant of the son-in-law of Tansen, the celebrated classical singer in the court of the Mughal Emperor Akbar). See Origin Of Sitar and About Sitars.
کافر عشقم، مسلمانی مرا در کار نیست
ہر رگ من تار گشتہ، حاجت زُنار نیست
از سر بالین من برخیز ای نادان طبیب
دردمند عشق را دارو بہ جز دیدار نیست
ناخدا بر کشتی ما گر نباشد، گو مباش
ما خدا داریم ما را ناخدا در کار نیست
خلق میگوید کہ خسرو بتپرستی میکند
آری! آری! میکنم! با خلق ما را کار نیست
Kafir-e-ishqam musalmani mara darkaar neest
Har rag-e mun taar gashta hajat-e zunnaar neest;
Az sar-e baaleen-e mun bar khez ay naadaan tabeeb
Dard mand-e ishq ra daroo bajuz deedaar neest;
Nakhuda dar kashti-e maa gar nabashad goo mubaash
Ma khuda daareem mara nakhuda dar kaar neest;
Khalq migoyad, ki Khusrau butparasti mikunad
Aare-aare mikunam, ba khalq mara kaar neest.
I am a pagan (worshiper) of love: the creed (of Muslims) I do not need;
Every vein of mine has become taut like a wire; the (Hindu) girdle I do not need.
Leave from my bedside, you ignorant physician!
The only cure for the patient of love is the sight of his beloved –
other than this no medicine does he need.
If there be no pilot on our ship, let there be none:
We have God in our midst: the pilot we do not need.
The people of the world say that Khusrau worships idols.
So I do, so I do; the people I do not need,
the world I do not need.
ख़ुसरो दरिया प्रेम का, उलटी वा की धार,
जो उभरा सो डूब गया, जो डूबा सो पार.
Khusro dariya prem ka, ulṭī vā kī dhār,
Jo ubhrā so ḍūb gayā, jo ḍūbā so pār.
Khusro! the river of love has a reverse flow
He who floats up will drown (will be lost), and he who drowns will get across.
सेज वो सूनी देख के रोवुँ मैं दिन रैन,
पिया पिया मैं करत हूँ पहरों, पल भर सुख ना चैन.
Sej vo sūnī dekh ke rovun main din rain,
Piyā piyā main karat hūn pahron, pal bhar sukh nā chain.
Seeing the empty bed I cry night and day
Calling for my beloved all day, not a moment's happiness or rest.
छाप तिलक सब छीनी रे मोसे नैना मिलाइके
बात अगम कह दीनी रे मोसे नैना मिलाइके
प्रेम भटी का मदवा पिलाइके
मतवारी कर लीन्ही रे मोसे नैना मिलाइके
गोरी गोरी बईयाँ, हरी हरी चूड़ियाँ
बईयाँ पकड़ हर लीन्ही रे मोसे नैना मिलाइके
बल बल जाऊं मैं तोरे रंग रजवा
अपनी सी रंग दीन्ही रे मोसे नैना मिलाइके
ख़ुसरो निजाम के बल बल जाए
मोहे सुहागन कीन्ही रे मोसे नैना मिलाइके
छाप तिलक सब छीनी रे मोसे नैना मिलाइके
बात अजब कह दीनी रे मोसे नैना मिलाइके
Chhāp tilak sab chhīnī re mose nainā milāike
Bāt adham keh dīnī re mose nainā milāike
Prem bhaṭī kā madvā pilāike
Matvālī kar līnhī re mose nainā milāike
Gorī gorī baīyān, harī harī chuṛiyān
baīyān pakaṛ har līnhī re mose nainā milāike
Bal bal jāūn main tore rang rajvā
Apnī sī kar līnhī re mose nainā milāike
Khusro Nijām ke bal bal jaiye
Mohe suhāgan kīnhī re mose nainā milāike
Bāt adham keh dīnī re mose nainā milāike
You've taken away my looks, my identity, by just a glance.
By making me drink the wine from the distillery of love
You've intoxicated me by just a glance;
My fair, delicate wrists with green bangles in them,
Have been held tightly by you with just a glance.
I give my life to you, Oh my cloth-dyer,
You've dyed me in yourself, by just a glance.
I give my whole life to you Oh, Nijam,
You've made me your bride, by just a glance.
Nar naari kehlaati hai,
aur bin warsha jal jati hai;
Purkh say aaway purkh mein jaai,
na di kisi nay boojh bataai.
Is known by both masculine and feminine names,
And lightens up (or burns up) without rain;
Originates from a man and goes into a man,
But no one has been able to guess what it is.
Answer: Nadi (Stream)
Pawan chalat weh dehe badhavay
Jal peevat weh jeev ganvavay
Hai weh piyari sundar naar,
Naar nahin par hai weh naar.
With the blow of wind she flares up,
And dies as soon as she drinks water;
Even though she is a pretty woman,
She’s not a woman, though she’s feminine.
Answer: Aag (Fire)
Note:
Zeehaal-e miskeen makun taghaful,
duraye naina banaye batiyan;
ki taab-e hijran nadaram ay jaan,
na leho kaahe lagaye chhatiyan.
Shaban-e hijran daraz chun zulf
wa roz-e waslat cho umr kotah;
Sakhi piya ko jo main na dekhun
to kaise kaatun andheri ratiyan.
Yakayak az dil do chashm-e jadoo
basad farebam baburd taskin;
Kise pari hai jo jaa sunaave
piyare pi ko hamaari batiyan.
Cho shama sozan cho zarra hairan
hamesha giryan be ishq aan meh;
Na neend naina na ang chaina
Na aap aaven na bhejen patiyan.
Bahaqq-e roz-e wisal-e dilbar
ki daad mara ghareeb Khusrau;
Sapet man ke waraaye raakhun
jo jaaye paaon piya ke khatiyan.
The phrase "Zeehaal-e-miskeen" comes from a poem of Amir Khusrow. The unique thing about this poem is that it is a macaronic, written in Persian and Brij Bhasha. In the first verse, the first line is in Persian, the second in Brij Bhasha, the third in Persian again, and the fourth in Brij Bhasha. In the remaining verses, the first two lines are in Persian, the last two in Brij Bhasha. The poem showcases Amir Khusrau's mastery over both languages. The English translation is:
Do not overlook my misery
Blandishing your eyes, and weaving tales;
My patience has over-brimmed, O sweetheart,
Why do you not take me to your bosom.
The nights of separation are long like tresses,
The day of our union is short like life;
When I do not get to see my beloved friend,
How am I to pass the dark nights?
Suddenly, as if the heart, by two enchanting eyes
Is beset by a thousand deceptions and robbed of tranquility;
But who cares enough to go and report
To my darling my state of affairs?
The lamp is aflame; every atom excited
I roam, always, afire with love;
Neither sleep to my eyes, nor peace for my body,
neither comes himself, nor sends any messages
In honour of the day of union with the beloved
who has lured me so long, O Khusrau;
I shall keep my heart suppressed,
if ever I get a chance to get to his place.
|
|||||
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||