Showing posts with label Mowlana Jalaluddin Rumi. Show all posts
Showing posts with label Mowlana Jalaluddin Rumi. Show all posts

Wednesday, January 1, 2014

Beshno az ney chon hekaayat mikonad

Listen to the (ney) reed flute, how it tells a tale of separation,
I want a bosom torn by severance, that I may unfold the pain of love desire,

In every company I uttered my wailful notes,
I consorted with the unhappy and with them that rejoice,

Everyone became my friend from his own opinion;
none sought out my secrets from within me,

My secret is not far from my plaint,
but ear and eye lack the light (to apprehend it)

Body is not veiled from soul nor soul from body,
yet none is permitted to see the soul."

This noise of the reed is fire, it is not wind;
whoso has not this fire may he be naught!

'Tis the fire of Love that is in the reed,
'tis the fervour of love that is in the wine.

The reed is the companion of everyone who has been parted from a friend:
its strains pierced our hearts.

Who ever saw a poison and an antidote like the reed?
Who ever saw a sympathizer and a longing lover like the reed?

The reed tells of the Way full of blood and recounts stories of the passion of Majnun.

Only to the senseless is this sense confided:
the tongue hath no customer save the ear.

In our woe the days (of life) have become untimely:
our days travel hand in hand with burning griefs.

If our days are gone let them go! - 'tis no matter.
Do Thou remain, for none is holy as Thou art!

Whoever is not a fish becomes sated with His water;
whoever is without daily bread finds the day long.

None that is raw understands the state of the ripe:
therefore my words must be brief. Farewell.

~ Rumi

As well as of course our deep and undying gratitude to Mevlana Jalaluddin Rumi for this and the
following pages we are grateful to the following persons:



Transliteration - courtesy of Goli Amini Rad. (Iran)
Translation by professor R.A. Nicholson.

The Persian manuscript is 'the old version' as used by Professor Nicholson when correcting his
original translation. *Those concerned with a more sophisticated transliteration may like to try the excellent Dar al-Masnavi website. JMZ


beshno az ney chon hekaayat mikonad,
az jodaayee ha shekaayat mi-konad,

kaz neyestaan ta maraa bebrideh and,
dar nafiram mardo zan naalideh and,

sineh khaaham sharheh sharheh az faraagh,
ta begooyam sharheh dardeh eshtiyaagh,

har kasi ku door maand az asleh khish,
az jooyad roozegareh vasleh khish,

man be har jamiyati naalaan shodam,
jofteh bad haalaano khosh haalaan shodam,

har kasi az zanneh khod shod yaareh man,
az darooneh man najost asraareh man,

serreh man az naaleyeh man door nist,
lik chashmo goosh ra aan noor nist,

tan zeh jaano jaan zeh tan mastour nist,
lik kas ra dideh jaan dastour nist,

aatash ast in baangeh naayo nist baad,
har keh in aatash nadaarad nist baad,

aatasheh ishq ast kandar ney fetaad,
jooshesheh ishq ast kandar mey fetaad,

ney, harifeh har keh az yaari borid,
pardeh hayash pardeh hayeh ma darid,

hamcho ney zahri o taryaqi keh did?
hamchon ney damsaaz o moshtaqi ke did?

ney hadiseh raheh por khoon mikonad,
qesseh hayeh eshq e majnoon mikonad,

mahrameh in hoosh joz bihoosh nist,
mar zaban ra moshtari joz goosh nist,

dar ghameh ma rooz ha bigaah shod,
rouz ha ba souz ha hamraah shod,

rouz ha gar raft gu ro baak nist,
to bemaan , ey aankeh chin to paak nist,

har keh joz maahi zeh aabash dir shod,
har keh bi roozist, roozash dir shod,

dar nayaabad haaleh pokhteh hich khaam,
pas sokhan kootaah baayad, vassalaam.*

Thursday, December 6, 2012

Chaap Tilak by Farid Ayaz & Abu Muhammad Qawwal Ensemble (2008)

Chaap Tilak is probably one of the all time popular kalams of Hazrat Amir Khusrau. Every qawwal has probably sung it due to its popular appeal.

This soulful rendition is special because it contains many appropriately inserted verses of poetry.

Similar to other forms of folk singing, qawwali has has an earthy and raw sound in the way it is sung.  No one recital of a specific poetry is exactly similar to the other due to the constant improvisation, so sit back and enjoy this one.



The Poetry and Translation that are all part of this rendition

Meri Aankhon Se Mere Dil Mein Uttar Kar Daikho - anyone know the poet?
______________________________________________________
Mir Taqi Mir

'Mir' in Neem Baaz Aankhon Mien
Saari Masti Sharaab ki Si Hai.

Eng Trans:
'Mir' in Those Half Open Eyes
The Intoxication is Just Like Sharaab.
____________________________________
Hazrat Amir Khusrau

Chhap tilak sab cheeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay
Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay
Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay
Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay

Eng Trans:

You've taken away my looks, my identity, by just a glance.
By making me drink the wine of love-potion,
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.
____________________________________
Hazrat Sultan Bahu

Alif Allah Chambe Dee Bootee
Murshid Man Wich Laee Hoo

Nafee Asbaat Da Panee Milia
Har Rage Har Jaee Hoo

Eng Trans: (JR Puri)

My Master has Planted in My Heart
The Jasmine of Allah's Name

Both My Denial that the Creation is Real
And My Embracing of God, the only Reality
Have Nourished The Seedling Down to its Core

___________________________________________
Maulana Jalaluddin Rumi (604-672A.H) had touched the story of 'Ruh' 'Spirit' or 'Soul' by stating the pangs of departing 'Ruh' or 'Spirit' from its real source.

Bishno az nay Chun Heekayat Meekunad
Az Juda’i ha Shikayat Meekunad

Eng trans:

Listen to the flute, how it relates the story
Complaining about the Separation (from the real source)
___________________________________________
Baba Bulleh Shah

Ilmon Bas Kar Oo Yaar
Tainu Ikkoi Alaf Darkar

Eng Trans:

Forget the pride in your knowlege, O friend.
One ‘Alif’ is all you need (for unity with the Devine)
___________________________________________
Kabir Das

Sun Kabira, Bansuri Kahe Niraalee Baat
Nagar Dhandora Peet-ti, Hai Chhoota Pee Ka Saath

Eng Trans:(Farah Aziz)

Listen Kabir, to the flute's unique lament
announcing everywhere that it is parted from the beloved
______________________________________________

Friday, May 18, 2012

Jalwa dikha ke Yaar ne, diwana ker diya - Ahmed Warsi Nasiri Qawwal

"Ustad Mohammed Ahmed Warsi Nasiri Qawwal & Group performed at a ghar mehfil (home concert) in 2008 with a select group of listeners. This kalam (poem) titled "Khud Shamaa Ban Gaye Mujhe Parwaana Kar Diya..." was the gem of the evening. The core kalam is Jigar Moradabadi's but Warsisahib deployed masterful girehs (thematically related poetic insertions) drawing from Amir Khusrau, Faiz Ahmed Faiz, Shams Tabrizi, Jalaluddin Rumi and Fani Badayuni to name a few. The rendition is made more charming (in my opinion) by a couple of anecdotes he narrates to heighten the effect of the girehs. Warsisahib's wit is showcased when he notices a few people leaving the mehfil and turns that event into a sher (couplet) in the same meter as the one he was singing before it and following it. He notices a particularly enchanted elderly connoisseur in the back towards the end and asks me to crouch down from the video recorder to establish visual contact with him. All in all, this is among my favourite qawwali tracks of all time and I hope you all enjoy it!" ~ Irfan Zuberi

Credit: Irfan Zuberi
Poet: Jigar Muradabadi
Qawwal: Muhammad Ahmed Warsi Nasiri Qawwal and Party of Rampur


Jalwa dikha ke Yaar ne, diwana ker diya
khud shama ban gaye, mujhey parvana ker diya

Saaqi ki chashm-e-mast nein, mastana ker diya
aisi pilayi mujh ko ke, diwana ker diya

Kya mangtey ho mujh se, mere paas kuchh nahin
ik dil tha woh bhi aap ko, nazrana ker diya

Jaon mein kahan mein chhor ke, murshed tumhara ghar
tum ne hamarey ghar ko Khudakhana ker diya

Ye husn, ye nikhar, ye aankhon ki mastiyan
jiss pe nigah pard gayee, diwana ker diya

Allah, un ka aur bhi, rutba karein buland
lakhon gada ko aap ne shahana ker diya

....................

Tuesday, April 3, 2012

Rumi's kalam - Naat - Habib-e-Khaaliq-e-Yakta Toui & Gaib-o-Shahadat ~ Hazrat Baba Zaheen Shah

Farid Ayaz & Abu Muhammad Qawwali recite Rumi's Naatiya kalam:


credit audio recording: Sabina Zuberi, London, early 1990s

This rare and peaceful recital starts with a preamble of Khusrau's beautiful rubai in farsi:

Shaahaa ze karam bar man-e darveesh nigar
Bar haal-e khasta-e man-e dil-reesh nigar

Har chand niyam laayeq e bakhshaayesh e to
Dar man manegar bar karam e khesh negar........

trans:
O king! look at me, Thy humble supplicant, through Thy Grace
regard my state of weariness and wounded heart

However much I am unworthy of your mercy
Do not look upon me, look upon your own benevolence
-----

continues on to the Naatiya kalam by Moalana Rumi:

Ya Rasool Allah, Habib e Khaaliq e Yakta Toui ............

-----

and finally in the last part at about 11.10 Ayaz effortlessly switches the tarz ever so slightly and blends in a couple of verses from Baba Zaheen Shah's kalam before switching back to RUMI:

Tabeer-e-Shab-e-Gaib Shabistan-e-Mohammad (SAW)
Wal-Fajar-e-Tulu-e-Rukh-e-Taban-e-Mohammad (SAW)

Hai Koi Jo Dekhy Rukh-e-Tabaan-e-Mohammad (SAW)
Hardam Nigh-e-Haq Hai Nighban-e-Mohammad (SAW)

Ye Mush Fisha Pekar-e-Jan, Khuld Ba Dama
Allah Ray Gulhaay Gulistan-e-Mohammad (SAW)

Ye Aalam-e-Arwah, Ye Barzakh, Ye Shahadat
Kuch Bhi Nahi Juz Husan-e-Khiraman-e-Mohammad (SAW)

Har Aan Nai Shan Main Allah Numaya
Har Shan Hai Allah Ki Shayan-e-Mohammad (SAW)

Gul Ho, Saman Ho K Wo Khushbo-e-Jina Ho
Minat Kashay Yak Jumbish-e-Daman-e-Mohammad (SAW)

Allah Nay Kia Kia Hamay Jalway Na Dikhay
Har Jalwa Nomaya Tha Ba-Unwan-e-Mohammad (SAW)

Ye Alam-e-Imkan Hai Yaha Kia Nahi Mumkin
Laykin Wo Tasauwor Nahi Imkan-e-Mohammad (SAW)

Ye Wosat-e-Konain Meri Tarha Zaheen Aaj
Hazir Hai Tahay Gosha-e-Daman-e-Mohammad (SAW)

~ Hazrat Baba Zaheen Shah
"Lammat-e-Jamal"

Thursday, July 7, 2011

Show Me the Way Back to the Source - Rumi

Rozha fekre man in ast o hame shab sokhanam

Rozha fekre man in ast o hame shab sokhanam

Ke chera ghafel az ahvale dele khishtanam

Az koja amadeam amadan bahre che bod
Be koja miravam akhar nanemayi vatanam ?

Mandeam sakht ajab kaz che sabab sakht mara
Ya che bodast morade vey az in sakhtanam ?

Morgh bagh malakotam
Neyam az allam khak
Do se rozi ghafasi sakhteand az badanam

Ey khosh an roz ke parvaz konam ta dar dost
Be havaye sare khish par o bali bezanam .

- Mevlana Rumi



Recital: Farrokh S. Namazi

English translation of the original Farsi poetry by Rumi:

Whoever Brought Me Here
All day I think about it, then at night I say it.
Where did I come from, and what am I supposed to be doing?
I have no idea.
My soul is from elsewhere, I'm sure of that,
and I intend to end up there.
This drunkenness began in some other tavern.
When I get back around to that place,
I'll be completely sober. Meanwhile,
I'm like a bird from another continent, sitting in this aviary.
The day is coming when I fly off,
but who is it now in my ear who hears my voice?
Who says words with my mouth?
Who looks out with my eyes? What is the soul?
I cannot stop asking.
If I could taste one sip of an answer,
I could break out of this prison for drunks.
I didn't come here of my own accord, and I can't leave that way.
Whoever brought me here, will have to take me home.
This poetry. I never know what I'm going to say.
I don't plan it.
When I'm outside the saying of it,
I get very quiet and rarely speak at all.
Trans. Coleman Barks.

Saturday, July 2, 2011

Khushk Tar o Khushk Chob o Khushk Post

Rumi recital by Farid Ayaz and Abu Muhammad





Khushk taar o khushk chob o khushk post

Az koja mi ayad in awaaz e dost

Nai ze taar o nai ze chob o nai ze post

Khud bakhud mi ayad in awaaz e dost

---
Trans:

Singing strings, vibrant wood, throbbing drums

Whence comes the voice of the Beloved?

Not from strings, not from wood, nor from drum

Of Himself comes the voice of the Beloved

Monday, April 25, 2011

Har Lehza Bashakal-aan Boot-e-ayaar Bar amad

About a year ago the recital at the bottom was added to this blog, however today Sabeen Mahmud has added this new and beautiful rendition which is in quite a different mood and contains lovely Urdu verses not heard in earlier performances. I have therefore added it to this old posting. A sure treat for Urdu lovers.



Har Lehza Bashakal-aan Boot-e-ayaar Bar amad, dil Burd-o-nihan Shud
Har Dam ba Libas-e-Digar-aan Yaar Bar amad, Geh Peer-o-Jawan Shud

--

ہر لحظہ وہ بتِ عیار ایک نئی ہی شکل میں ظاہر ہوتا ہے --- دل چھینتا ہے اور غائب ہو جاتا ہے۔
ہر دم وہ یار دوسروں کے لباس میں ظاہر ہوتا ہے -- کبھی بوڑھے کے روپ میں اور کبھی جوان کے۔


--------

The preamble in Urdu consists of verses that introduce the main poem of Mevlana Rumi. It helps set the tone and mood of the listener and at 3.13 minutes the main kalam begins. Farid Ayaz Qawwal has successfully demonstrated what is common in the sufiana words of various saints and poets with regards to similar ideas about revelation and mother earth. The thoughts about Mitti/Earth/Gil (Rumi *)/Maati (Kabir**) have all been beautifully expressed by Rumi, Kabir, Bulleh Shah, Baba Farid to mention a few. I leave the rest for you to enjoy and absorb.

*Rumi: Khud Kuza-o, Khud Kuzagar-o, Khud Gil-e-Kuza, Khud Rind-e-sobookash

**Kabir: Maati kahe kumbhar ko. Tu kya roondhe mohe. Ek din aisaa aayega. Mai roondhoo gi tohe

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هر لحظه به شكلي بت عيار بر آمد, دل برد و نهان شد
هر دم به لباس دگر آن يار بر آمد , گه پير و جوان شد

Har Lehza Bashakal-aan Boot-e-ayaar Bar amad, dil Burd-o-nihan Shud
Har Dam ba Libas-e-Digar-aan Yaar Bar amad, Geh Peer-o-Jawan Shud

ہر لحظہ وہ بتِ عیار ایک نئی ہی شکل میں ظاہر ہوتا ہے --- دل چھینتا ہے اور غائب ہو جاتا ہے۔
ہر دم وہ یار دوسروں کے لباس میں ظاہر ہوتا ہے -- کبھی بوڑھے کے روپ میں اور کبھی جوان کے۔

خود کوزہ و خود کوزہ گر و خود گلِ کوزہ, خود رندِ سبو کش
خود بر سرِ آں کوزہ خریدار برآمد, بشکست رواں شد

Khud Kuza-o, Khud Kuzagar-o, Khud Gil-e-Kuza, Khud Rind-e-sobookash
Khud Barsar-e aan Kuza Khareedar Bar amad, Bishkast Rawan Shud

Trans:

He is the vessel, he is its maker, and he is the clay used to make it,
He is the reveler quaffing drinking from it...
He too is the one who buys it, and breaks it, having drunk from it...

وہ خود ہی کوزہ ہے، خود ہی کوزہ بنانے والا اور خود ہی کوزہ کی مٹی -- اور خود ہی کوزے سے پینے والا۔
اور خود ہی اس کوزے کے خریدار کے طور پر ظاہر ہوتا ہے --- اور اس کیلیے اس کوزے کو توڑنا بھی جائز ہے۔ ني ني كه همو بود كه مي آمد و مي رفت --- هر قرن كه ديدي
تا عاقبت آن شكل عرب وار برآمد -- داراي جهان شد

وہی تھا جو ہرزمانے میں آتا رہا اور چاتا رہا - ہر زمانے نے دیکھا
لیکن بلآخر وہ ایک عرب (ص) کی شکل میں ظاہر ہوا -- اور وہی (ص) جہان کے بادشاہ ہیں۔ ني ني كه همو بود كه مي گفت انا الحق --- در صوت الهي
منصور نبود آن كه بر آن دار برآمد --- نادان به گمان شد

وہی تھا کہ جس نے کہا کہ میں ہی حق ہوں -- خدا کی آواز میں
وہ منصور نہیں تھا جو سولی پر ظاہر ہوا -- نادان اور نہ جاننے والوں کو یہی لگتا ہے کہ وہ منصور تھا۔ رومي سخن كفر نگفته است و نگويد --- منكر نشويدش
كافر بود آن كس كه به انكار برآمد --- از دوزخيان شد

رومی نے کبھی کفر کی بات نہیں کی اور نہ وہ کرتا ہے -- وہ منکر نہیں ہے
کافر تو وہ ہے جس نے انکار کیا تھا یعنی شیطان --- اور وہی دوزخیوں میں سے ہے

- MTauseefAmin

The creator and the creations are fully aligned. Symbolism and its parallels become second nature of the mystic artist who reads into the inner meaning of divine secrets creating an art that liberates the human soul. The art of the mystics always has the art of life. It has had the same echo through the ages, in different parts of the world.

- Muzaffar Ali - Painter and filmmaker who finds inspiration in Sufi poetry and music

Friday, November 26, 2010

Yadegaar e Doost - Rumi


Credit: Youtube user (BonnyFatius80)

In remembrance of the Beloved or Yadegare Doost is about as good as it gets when it comes to wonderfully soothing Sufi Music that helps to transport you to the Divine. It is truly a masterpiece with the provocative sounds of several string instruments like the tanbur and dotar (there are likely more that I am unfamiliar with), the haunting sound of the ney (around 2.40) and as well the warm & soul stirring voices of Shahram Nazeri & Hafez Nazeri.

I just love it when he repeats Aziz e Man, Aziz e Man, Aziz e Man. (Oh my beloved)

The complete version of this piece of music is 29 minutes long and a gem to be sought and treasured.

Other links to Rumi:

RUMI POET OF THE HEART,

Rumi
Shams Tabrizi


Rumi's shrine in Konya

Saturday, September 11, 2010

Har Lehza BaShakal-aan Boot-e-ayaar Bar amad by Abdullah Manzur Niazi

Another wonderful rendition of Mowlana Rumi's poetry..this time by Abdullah Niazi ibne Manzur Niazi Qawwal. The sound and image quality is great being a professional job done by ARY.


credit:gulammoin on youtube

هر لحظه به شكلي بت عيار بر آمد, دل برد و نهان شد
هر دم به لباس دگر آن يار بر آمد , گه پير و جوان شد

Har Lehza Bashakal-aan Boot-e-ayaar Bar amad, dil Burd-o-nihan Shud
Har Dam ba Libas-e-Digar-aan Yaar Bar amad, Geh Peer-o-Jawan Shud

ہر لحظہ وہ بتِ عیار ایک نئی ہی شکل میں ظاہر ہوتا ہے --- دل چھینتا ہے اور غائب ہو جاتا ہے۔
ہر دم وہ یار دوسروں کے لباس میں ظاہر ہوتا ہے -- کبھی بوڑھے کے روپ میں اور کبھی جوان کے۔
-----
خود کوزہ و خود کوزہ گر و خود گلِ کوزہ, خود رندِ سبو کش
خود بر سرِ آں کوزہ خریدار برآمد, بشکست رواں شد

Khud Kuza-o, Khud Kuzagar-o, Khud Gil-e-Kuza, Khud Rind-e-sobookash
Khud Barsar-e aan Kuza Khareedar Bar amad, Bishkast Rawan Shud

Trans:
He is the vessel, he is its maker, and he is the clay used to make it,
He is the reveler quaffing drinking from it...
He too is the one who buys it, and breaks it, having drunk from it...

وہ خود ہی کوزہ ہے، خود ہی کوزہ بنانے والا اور خود ہی کوزہ کی مٹی -- اور خود ہی کوزے سے پینے والا۔
اور خود ہی اس کوزے کے خریدار کے طور پر ظاہر ہوتا ہے --- اور اس کیلیے اس کوزے کو توڑنا بھی جائز ہے۔ ني ني كه همو بود كه مي آمد و مي رفت --- هر قرن كه ديدي
تا عاقبت آن شكل عرب وار برآمد -- داراي جهان شد

وہی تھا جو ہرزمانے میں آتا رہا اور چاتا رہا - ہر زمانے نے دیکھا
لیکن بلآخر وہ ایک عرب (ص) کی شکل میں ظاہر ہوا -- اور وہی (ص) جہان کے بادشاہ ہیں۔ ني ني كه همو بود كه مي گفت انا الحق --- در صوت الهي
منصور نبود آن كه بر آن دار برآمد --- نادان به گمان شد

وہی تھا کہ جس نے کہا کہ میں ہی حق ہوں -- خدا کی آواز میں
وہ منصور نہیں تھا جو سولی پر ظاہر ہوا -- نادان اور نہ جاننے والوں کو یہی لگتا ہے کہ وہ منصور تھا۔ رومي سخن كفر نگفته است و نگويد --- منكر نشويدش
كافر بود آن كس كه به انكار برآمد --- از دوزخيان شد

رومی نے کبھی کفر کی بات نہیں کی اور نہ وہ کرتا ہے -- وہ منکر نہیں ہے
کافر تو وہ ہے جس نے انکار کیا تھا یعنی شیطان --- اور وہی دوزخیوں میں سے ہے

- MTauseefAmin

The creator and the creations are fully aligned. Symbolism and its parallels become second nature of the mystic artist who reads into the inner meaning of divine secrets creating an art that liberates the human soul. The art of the mystics always has the art of life. It has had the same echo through the ages, in different parts of the world.

- Muzaffar Ali - Painter and filmmaker who finds inspiration in Sufi poetry and music

Sunday, February 7, 2010

It is Time to Open the Maekhana of Rumi - وقت است کہ بگشایم میخانۂ رومی باز



Poetry: Iqbal
Recital: Munshi Raziuddin

پس چہ بائد کرد
اے اقوامِ شرق
(اقبال)

قندہار و زیارت خرقہ مبارک

غزل
از دیر مغان آیم بی گردش صہباست
در منزل لا بودم از بادہ الا مست

I come from the temple of Magians(Old Persian Magus)intoxicated with the passing of wine.
I was inebriate with the wine of illa in the state of la*(Nothingness).

دانم کہ نگاہ او ظرف ہمہ کس بیند
کرد است مرا ساقی از عشوہ و ایما مست

I know his eyes perceive the capacity of every person,
the saqi has made me ecstatic by his blandishment and beckoning.

وقت است کہ بگشایم میخانۂ رومی باز
پیران حرم دیدم در صحن کلیسا مست

It is time I should again open the tavern(Mai-Khana) of Rumi:
I have seen the custodian (پیران) of the Harem intoxicated in the churchyard.

این کار حکیمی نیست دامان کلیمی گیر
صد بندۂ ساحل مست یک بندہ دریا مست

It is not the work of a philosopher, catch hold of the hem of a Moses, who conversed with God.
A hundred persons enrapt with the shore and but one tipsy with the river.

از حرف دلاویزش اسرار حرم پیدا
دی کافرکی دیدم در وادی بطحا مست

From his delightful words, the secrets of the Harem shine out:
I saw a mini‐infidel yesterday intoxicated in the valley of Batha.

سینا است کہ فاران است یارب چہ مقام است اینہر ذرہ خاک من چشمی است تماشا مست
Is this Sinai or Faran? O God, what is this place?
Each particle of my dust is an eye lost in beholding the garment of that Interstice that cannot be crossed

www.youtube.com/tauseeqau

Thursday, July 31, 2008

Rumi's Sufi Poetry - Na Man Behooda Girde

Rumi's Sufi Poetry - Na Man Behooda
Farid Ayaz and Abu Muhammad sing with passion and feeling. They are both intense and gentle in their recital. Seems like the culture of Iran meets Turkey and then meets Pakistan in this video.


Rumi Poetry - Na Man Behooda Girde Koocha-e-Bazar from Tasawwuf on Vimeo.

Na man behooda girde kocha wa bazaar megardam
Mazaj-e-ashiqee daram paye dildar megardam

Khudaya rahm kon bar man
Pareeshan waar megardam

Khata karam gonahgaram
Ba hale zaar megardam

Sharabe showq menosham
Ba girde yaar megardam

Sukhan mastana megoyam
Walay hooshyaar megardam...

English Translation:Farah Aziz, UK

No I am not roaming aimlessly around the streets and bazaar
I am a lover searching for his beloved

God have mercy on me
I am walking around troubled

I have done wrong and sinned
and am walking around wounded

I have drunk the wine of desire
and am strolling around beloved

Though I may seem drunk
I am quite sober...

My thanks to Farid Ayaz and Abu Muhammad Qawwals for keeping
this kala alive in the hearts and minds of sufi music lovers,
and to all those who helped to make this evening possible.