This beautiful kalam in fond praise of Prophet Muhammad (PBUH) depicts the hindustani andaaz in which much of the language is hindi and helps create a larger appeal. Words like lajpaal, kirpa, and daya are relatively unfamiliar in the present Pakistani milieu, but were often used in many sufiyana kalam of India in order to attract the non-muslim population to the Sufi Shrines of Delhi.
The poet talks of coming on the day of judgement, bearing a burden of his sins and beseeching the Prophet to intervene on his behalf with God to ask for forgiveness. Gender reversal which is also quite common in such poetry of dargaahs is also used here.
Ghulam Sabir & Ghulam Waris are better known as Nizami qawwals and are Nizamuddin Awlia's resident Qawwals. They hail from the Delhi Gharana of singers.
Mein Maili Tan Mera Maila from Tasawwuf
Ghulam Sabir & Ghulam Waris recite in praise of Muhammad (PBUH)
Nizami Brothers from Dehli
Mein maili, tan mera maila, kirpa karo sarkaar,
Nazr e karam sarkaar, Ya Muhammad
Sar pe uthha kar paap ki gathri,
aayee hun tumhrey duar
Nazr e karam sarkaar, ya Muhammad
Merey kiwaiyya, beech bhanwar mein, kashti dub na jaaye
Tera hun, tu meri khabar le, kon lagaaye paar
Nazr e karam sarkaar, ya Muhammad
Mujh mangtey ki baat hi kya hai, woh hein barde lajpaal
Mangte khaali hath na loantein, kitni milli khairat na poochho
un ka karam phir unka karam hai, unke karam ki baat na poochho
Mujh mangtey ki baat hi kya hai, woh hein barde lajpaal
Unki kirpa aur daya se, chalta hai sab sansaar
Nazr e karam sarkaar, ya Muhammad
Jiss ko bhi sarkar nawazein, yeh hai unki marzi
Chalti donon jahan mein unki, maalik hein mukhtaar
Nazr e karam sarkaar, ya Muhammad
Nazar ban ke, aankhon mein aaye Muhammad
Sukoon ban ke dil mein samaaye Muhammad
Tamasha ye daikho, jahhanun ki aatish, lagaye Khuda, aur bujhaye Muhammad
Ke Muhammad ki shaan e shafaat to daikho, ke pakrde Khuda aur chhurdaye Muhammad
Museebat se fursat naheen milne waali
Aur qayamat mein rahat naheen milne waali
Khuda to zindagi, daeta bhi hai, laeta bhi hai laikin
Mere sarkaar jo daete hein vo wapis nahin laete
Chalti donon jahan mein unki, maalik hein mukhtaar
Nazr e karam sarkaar, ya Muhammad
Nazr e karam sarkaar, Nazr e karam sarkaar
The poet talks of coming on the day of judgement, bearing a burden of his sins and beseeching the Prophet to intervene on his behalf with God to ask for forgiveness. Gender reversal which is also quite common in such poetry of dargaahs is also used here.
Ghulam Sabir & Ghulam Waris are better known as Nizami qawwals and are Nizamuddin Awlia's resident Qawwals. They hail from the Delhi Gharana of singers.
Mein Maili Tan Mera Maila from Tasawwuf
Ghulam Sabir & Ghulam Waris recite in praise of Muhammad (PBUH)
Nizami Brothers from Dehli
Mein maili, tan mera maila, kirpa karo sarkaar,
Nazr e karam sarkaar, Ya Muhammad
Sar pe uthha kar paap ki gathri,
aayee hun tumhrey duar
Nazr e karam sarkaar, ya Muhammad
Merey kiwaiyya, beech bhanwar mein, kashti dub na jaaye
Tera hun, tu meri khabar le, kon lagaaye paar
Nazr e karam sarkaar, ya Muhammad
Mujh mangtey ki baat hi kya hai, woh hein barde lajpaal
Mangte khaali hath na loantein, kitni milli khairat na poochho
un ka karam phir unka karam hai, unke karam ki baat na poochho
Mujh mangtey ki baat hi kya hai, woh hein barde lajpaal
Unki kirpa aur daya se, chalta hai sab sansaar
Nazr e karam sarkaar, ya Muhammad
Jiss ko bhi sarkar nawazein, yeh hai unki marzi
Chalti donon jahan mein unki, maalik hein mukhtaar
Nazr e karam sarkaar, ya Muhammad
Nazar ban ke, aankhon mein aaye Muhammad
Sukoon ban ke dil mein samaaye Muhammad
Tamasha ye daikho, jahhanun ki aatish, lagaye Khuda, aur bujhaye Muhammad
Ke Muhammad ki shaan e shafaat to daikho, ke pakrde Khuda aur chhurdaye Muhammad
Museebat se fursat naheen milne waali
Aur qayamat mein rahat naheen milne waali
Khuda to zindagi, daeta bhi hai, laeta bhi hai laikin
Mere sarkaar jo daete hein vo wapis nahin laete
Chalti donon jahan mein unki, maalik hein mukhtaar
Nazr e karam sarkaar, ya Muhammad
Nazr e karam sarkaar, Nazr e karam sarkaar
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