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Faiz Ahmed Faiz Listen (to Faiz read) is tarah hai ke har ek peR ko’ii mandir hai ko’ii ujRaa huaa, benuur puraanaa mandir DhuunDtaa hai jo Kharaabii ke bahaane kab se chaak har baam, har ek dar kaa dam-e-aaKhir hai aasmaaN ko’ii purohit hai jo har baam tale jism par raaKh male, maathe pe sinduur male sar-niguuN baithaa hai chup-chaap na jaane kab se is tarah hai ke pas-e-pardaa ko’ii saahir hai jis ne aafaaq pe phailaayaa hai yuN seh’r ka daam daaman-e-vaqt se paivast hai yuN daamna-e-shaam ab kabhii shaam bujhegii na andheraa hogaa ab kabhii raat Dhalegii na saveraa hogaa aasmaaN aas liye hai ke ye jaaduu TuuTe chup ki zanjiir kaTe, vaqt kaa daaman chhuTe de ko’ii shanKh duhayii, ko’ii paayal bole ko’ii but jaage, ko’ii saaNvlii ghuuNGhat khole Translation by Agha Shahid Ali Evening The trees are dark ruins of temples, seeking excuses to tremble since who knows when– their roofs are cracked, their doors lost to ancient winds.

ab yahaan ko’ii nahiin. ko’ii nahiin aayega! Solitude . dil-e-zaar! nahiin. bikharne lagaa taaron kaa ghubaar. has hypnotized Time so this evening is a net in which the twilight is caught. so ga’ii raasta tak takke har ek rah guzaar. larkharaane lage aiwaanon mein khwaabiida charaagh. apne be khwaab kivaaron ko muqaffal kar lo. kahiin aur chalaa jaaegaa. dhal chukii raat. ajnabi khaak ne dhundlaa diye qadmon ke suraagh. 2008 Tanhaa’i Faiz Ahmed Faiz Listen (to Faiz read) phir ko’ii aayaa. Some terrible magician. for Silence to break its chains so that a symphony of conch shells may wake up to the statues and a beautiful. may unveil herself. saffron marks on his forehead. hidden behind curtains. gul karo shamiin. not looking up. (from The Rebel’s Silhouette) [blackmamba] 7 comments May 23. ko’ii nahiin.And the sky is a priest. He sits by the temples. for history to tear itself from this net. worn to a shadow. ashes smeared on his body. dark goddess. Now darkness will never come– and there will never be morning. barhaa do mai-o-miinaa-o-ayaagh. raah-rau hogaa. her anklets echoing. The sky waits for this spell to be broken.

finally.Dii siino.n nihaa. A strange dust has buried every footprint.n kii rah takane nikale aas liye aur bachcho. No one. by Agha Shahid Ali More Faiz.Nsatii hu_ii. no one just a passerby on his way. The night has surrendered to clouds of scattered stars. ha.n me. gaatii nikale dard kii kaasanii paazeb bajaatii nikale jis gha. Blow out the lamps.Dii maatamii. now no one will ever return.n Duubate huye dil aastiino. is here! No.Dii raat chale aasamaano. erase all memory of wine.N haatho.Dii raat chale jis gha. Tr. siyah raat chale . Heart. mere paas raho jis gha. unhappy heart. The lamps in the hall waver. Having listened with longing for steps. the roads too are fast asleep.Someone. 2008 Paas Raho Faiz Ahmed Faiz Listen (to Faiz read) tum mere paas raho mere qaatil. break the glasses. tell every dream that knocks to go away. sun-saan.nme. mere dildaar.n ke bilakhane kii tarah qul-qul-e-may bahr-e-naasudagii machale to manaaye na mane jab ko_ii baat banaaye na bane jab na ko_ii baat chale jis gha. [blackmamba] 3 comments May 17. bolt forever your sleepless doors.n kaa lahuu pii kar siyah raat chale marham-e-mushk liye nashtar-e-almaas chale bain karatii hu_ii.

its stell-blue anklets ringing with grief. my lover me. drunk on the blood of skies. khushboo zulf lehrane kaa naam Mousam-e-gul hai tumhare baam par aane ka naam Doston us chasm-o-lab ki kuch kaho. na mehkhane ka naam . becomes night. Remain near me when evening. Agha Shahid Ali’s translation. From The Rebel’s Silhouette [blackmamba] 3 comments May 13. mere dildaar. be near me. Be near me when night laments or sings. be near me.paas raho mere qaatil. you whom I love. is the sobbing of children whom nothing will console– when nothing holds. mere paas raho Be Near Me You who demolish me. in the other a sword sheathed in the diamond of stars. be near me. long submerged in the heart’s waters. Be here when longings. as it is poured. resurface and everyone begins to look: Where is the assasin? In whose sleeve is hidden the redeeming knife? And when wine. or when it begins to dance. when nothing is: at that dark hour when night mourns. 2008 Rang pairahan ka. my destroyer. khushboo zulf lehrane kaa naam Faiz Ahmed Faiz Listen Rang pairahan ka. jiske bagair Gulistaan ki baat rangeen hai.

Again the eye fills with the scent of flowers. paimane ka naam. bartender. without which neither the garden would have colour. English Translation (mine): Colour is a dress. who would rather be outsiders than bear a lover’s name. again the heart is lit with a leaping flame. khum ka. dil mein phir shamayen jali Phir tasavvur ne liya us bazm mein jane ka naam Dilbari thehra zabaan-e-khalk khulwane ka naam Ab nahin lete pari-roo zulf bikhrane ka naam Ab kisi laila ko bhi ikraar-e-mehboobi nahin In dinon badnaam hai har ek deewane ka naam Muhatsib ki khair. uncha hai usi ke faiz se Rind ka. Imagination exults. wine. cask and shotglass have their fame. my friends. nor the tavern have a name. Hum se kehte hain chaman vale. why don’t you give your wilderness a pretty name?” Faiz. saaki ka.may ka. out there. . they demand faith from us now. Your appearance at the window gives the Spring its name. and hesitating no longer. Romance is a trick to set the tongues of the world wagging. Say something about this sight. Those with the gardens say to us.Phir nazar mein phool mehke. “You. fragrance is a name for your flowing tresses. No beloved will now declare her desire openly for where is the lover who is not defamed? Praise to the naysayers! for by their grace the drunkard. now even those with angel faces must keep their tresses tamed. rejoins this happy company again. gareebane chaman Tum koi accha sa rakh lo apne veerane ka naam Faiz unko hai takazaa-e-vafa humse jinhe Aashna ke naam se pyaara hai begaane ka naam.

dastaar samhaalo Paayab hai jo mouj guzar jayegi sar se. though obviously this has meant taking some luxuries with the text. Paaposh ki kya fikr hai. Vo rang hai imsaal gulistaan ki fazaa ka Ojhal hui deewar-e-kaphas hadd-e-nazar se Saagar to khanakte hain sharaab aaye na aaye Baadal to garajte hain ghata barse na barse. [falstaff] 4 comments October 9. Phir aag bharakne lagi har saaz-e-tarab mein Phir sholay lapakne lage har deeda-e-tar se. Again the flames leap from every weeping eye. Again the morning light goes hand in glove with the sky. but one I’m fond of. English Translation (mine): Again the sun returns. if only for those two glorious couplets at the end.Not Faiz’s greatest ghazal. bathing the world in its journey. perhaps. . I’ve tried to emulate the pattern of end rhymes (though without a refrain). Phir niklaa deewana koi phoonk ke ghar ko Kuch kahti hai har raah har ek raahguzar se. having set fire to his house And every path says something to every passer by. Again the fire roars in every merry song. 2007 Kuch kahti hai har raah har ek raahguzar se Faiz Ahmed Faiz Listen Phir lauta hai khurshid-e-jahaantaab safar se Phir noor-e-sahar dast-o-garebaan hai sahar se. Obscured the prison walls from the limits of the eye. Again a madman leaves. That colour is implicated in the garden’s very air.

but it’s close enough).S. and by the casual way Faiz tosses the image in. Frankly. mostly because I wanted to write the translation as a ghazal (the first line doesn’t really rhyme with the second. The fourth couplet is glorious and the fifth ends with one of the cleverest rhymes I’ve ever seen done in a ghazal (and which no translation can ever hope to duplicate). that by the time you get to that swinging last couplet you can almost feel the exhilaration of it sweeping over you. This ghazal is so much fun. no translation was going to do justice to this poem anyway. Don’t worry about shoes now. This isn’t really one of Faiz’s finest ghazals. you get ‘phir nikla hai deewana phoonk ke ghar ko’. From there on the poem just gets better and better. A note on the translation – I’ve taken a few more liberties with the text than I usually like to do. but it’s one that I personally am rather fond of. just like the wave that Faiz ends by warning you about. and then suddenly. in Faiz’s imagery it is. as though a madman setting fire to his house were a daily occurence (which. the ‘ar se’ sound flowing so naturally in at the end that I always find myself forced to do a double take just to make sure that he did actually have a rhyme there. its explosive impact doubled by the fact that Faiz lulls you into a sense of predictability with his repetition of the ‘phir’ (again) starting. It’s as though Faiz had tossed a grenade into the poem and then timidly shut the door. It’s been a while since we ran any Faiz so I figured it was time. 2 comments April 7. It’s a stunning line.The glasses will rattle. whether the liquor flows or not The clouds will thunder. 2007 Intisaab Faiz Ahmed Faiz Listen Aaj ke naam Aur Aaj ke gam ke naam Aaj ka gam ke hai zindagi ke bhare gulistan se khafa Zard patton ka ban Zard patton ka ban jo mera des hai Dard ki anjuman jo mera des hai . better look to your turban This wave that laps at your feet will soon be head high. of course). It starts off slowly – the first two couplets are nice but hardly spectacular. whether it rains or stays dry. out of nowhere. [falstaff] P.

Vaali-e-maseeva. Naybullah-e-fil-arz. Talibilmon ke naam Vo jo asahab-e-tabl-o-alam Ke daron par kitaab aur kalam Ka takazaa liye. magar lautkar ghar na aaye Vo masoom jo bholpan mein Vahan apne nanhe chragon mein lau ki lagan . hath phaileye Pahuchen. dehkan ke naam Jiske dhoron ko zaalim hanka le gaye Jiski beti ko daakoo utha le gaye Haath bhar khet se ek angusht patwar ne kaat li hai Dusri maliye ke bahane se sarkar ne kaat li hai Jiski pag zor valon ki paon tale Dhajjiyan ho gai hai Un dukhi maaon ke naam Raat mein jinke bacche bilakhte hain aur Neend ki maar khae hue bazooaun se sambhalte nahin Dukh batate nahin Minnaton zariyon se bahalte nahin Un hasinaon ke naam Jinki aankhon ke gul Chilmanon aur dareechon ki belon pe bekaar khilkhil ke Murjha gaye hain Un byahtaon ke naam Jinke badan Be-muhabbat riyakaar sejon pe saj-saj ke ukta gaye hain Bevaon ke naam Katriyon aur galiyon.Kilarkon ki aphsurda janon ke naam Kirmkhurda dilon aur zabanon ke naam Postmanon ke naam Tangevalon ke naam Railbanon ke naam Karkhanon ke bhole jiyalon ke naam Badshaah-e-jahan. muhallon ke naam Jinki napaak khashaak se chand raaton Ko aa-aa ke karta hai aksar vazu Jinke saayon se karti hai aah-o-bukaa Aanchalon ki hina Churiyon ki khanak Kakulon ki mahak Aarzoomand seenon ki apne paseene mein jalne ki boo.

Un aseeron ke naam Jinke seenon mein pharda ke shabtab gouhar Jailkhanon ki shoreeda raaton ki sarsar mein Jal jal ke anjum-numa ho gaye hain Aane vaale dinon ke safiron ke naam Vo jo khushboo-e-gul ki tarah Apne paigam par khud phida ho gaye hain My (extremely inept) translation: Dedication In the name of this day And In the name of this day’s sorrow: Sorrow that stands. Representative of God on Earth. The farmer Whose livestock has been stolen by tyrants. One finger to the record keeper And another to the government as tax. beant raaton ke saaye. disdaining the blossoming garden of Life. Whose daughter has been abducted by bandits Who has lost. jahan Bant rahe the ghatatop. . And whose very feet have been trampled to shreds Under the footsteps of the powerful. In the name of the worm-eaten hearts and the worm-eaten tongues In the name of the postmen In the name of the coachmen In the name of the railway workers In the name of the workers in the factories In the name of him who is Emperor of the Universe. Like a forest of dying leaves A forest of dying leaves that is my country An assembly of pain that is my country In the name of the sad lives of clerks. from his hand’s breadth of land. Lord of All Things. In the name of those sad mothers Whose children cry out in the night And will not be silenced by the defeated arms of sleep. Who will not say what saddens them Or be consoled by tears or entreaties.Le ke pahuchen.

who.In the name of those beauties The flowers of whose eyes Blossomed from every curtain and balcony And withered away in waiting. In the name of those harbingers of the days to come Who. And from whose shadows cries out The fragrance of veils The tinkling of bangles The scent of loosened hair The smell of passionate bodies burning in their own sweat. but to the People. to be heard. Have become enamoured of their own message. To a star like radiance. In the name of those wives Whose unloved bodies Have grown tired of the treachery of beds In the name of the widows In the name of neighbourhoods Whose scattered garbage the moon Blesses every night. There are some unforgettable lines here (Zard patton . Ginsberg’s Howl is like that. In the name of students Who went to the masters of drums and banners Prostrating themselves on doorsteps With their books and pens Praying. like the flower with its scent. Gil Scott-Heron’s The Revolution will not be televised is like that. to where The shadows of endless nights were being given out. at once incantatory and delicate. In the name of those prisoners In whose breasts the shining gem of the future Burns. at once heroic and sorrowful. Poems that seem addressed. And then there’s Faiz’s Intisaab. There are some poems that have an anthem-like. singing paean of a poem. polished by the noise of the jailer’s night. Those innocents. But never returned. in their naivete Took their tiny lamps. Their candle flames of hope. with open arms. Poems that demand not so much to be read aloud as to be shouted into microphones. fed line by hungry line to some roaring mob that raises its fists high in support after every stanza. not to a single person. This is a marching. declamatory quality.

Politics and poetry do not. to be heard”. Salute Au Monde!.” That’s just one example. the Song of Joys. that fairly overflows with attitude. There are exceptions. but poems with a ‘message’ often end up sacrificing poetic merit for political momentum. There is the same rhythm of repetition. in general. even great. 2006 Tum kya gaye ke rooth gaye din bahar ke Faiz Ahmed Faiz Listen . go well together. This is emphatically not true of Intisaab. the same deceptive simplicity. from a desire to celebrate the common people. my translation doesn’t do anywhere near justice to the poem. in the suffering of ordinary men and women. Frankly. Think of all the other songs – The Song of Occupations. In the stanza about students. there are things I just cannot translate. writes from a well-spring of humanism. Faiz. If the debtor is a superior. is Whitman.ka ban jo mera des hai / Dard ki anjuman jo mera des hai) and some beautiful images (Jinki napaak khashaak se chaand raaton / Ko aa-aa kar karta hai aksar vazu) but the overall effect is of being swept up in the urgency of a historical moment. with open arms. of course. reading this. for instance. Think of the long enumerations from Song of Myself. That is why he will survive. I sing the Body Electric. Faiz. appealing to his honor and shame. so that they remain memorable not so much for their poetry per se but for the protest they contain. understands in his deeply democratic heart that it is here that true power lies. The Song of the Open Road. haath phailaye / pahuchen” which I translate as “Prostrating themselves on doorsteps / with books and pens/ praying. like Whitman. is a poet of his people. like Whitman. political poems. only that the rawness and stridency that makes for good politics doesn’t always fit comfortably with more poetic aims. the creditor may supplicate and lay on his doorstep. in the tidal wave of an entire people and their determination to stand firm against suffering. Faiz says “kitab aur kalam / ka takaaza liye. This is a poem whose every line screams Revolution. Faiz. That is why he matters. Sanderson Beck writes: “In takaza a man may restrain an equal or inferior from leaving his house or eating or compel him to sit in the sun until he makes some accommodation. That doesn’t begin to do justice to the metaphor. stand firm against oppression. The poet I’m always reminded of. the same grandness of vision. in the uncomplaining courage with which they bear whatever History thrusts upon them. Notes: As should be obvious. This is a poem that is as political as you can get. 5 comments June 8. like Whitman. Which is not to say that there aren’t good. and yet is also a sophisticated and stunningly visual lyrical work.

gam rozgaar ke Bhoole se muskara to diye the voh aaj “faiz” Mat poocho valvale dil-e-nakardaa kaar ke Translation (by Agha Shahid Ali): He bet both this life and the next and gambled all night for your love he first lost earth then eternity Now he departs from his night of grief defeat visible in his eyes Oh what a desolation the taverns deserted each glass disconsolate Love when you left even springtime forsook me you left and that season disowned this world You made it so brief our time on earth its exquisite sins this sensation Oh Almighty of forgetting you We know how vulnerable you are we know you are a coward God This rapture of simple routines life’s common struggles have surpassed my memory of your love It’s proved more enticing just to survive even more than you my love Today she forgot herself her usual ways her face broke as if by chance into a smile Don’t ask what happened to the defeated heart .Dono jahaan teri muhabbat main haar ke Voh jaa rahaa hai koi shab-e-gam guzaar ke Veeran hai maykada. voh bhi chaar din Dekhe hain humne housle parvardigaar ke Duniya ne teri yaad se begaana kar diyaa Tujshe bhi dil-fareb hai. khum-o-saagar udaas hai Tum kyaa gaye ke rooth gaye din bahaar ke Ek phursat-e-gunah milee.

And then. forgetting herself.Oh Faiz how it broke once again into hopeless longing. Such a wonderful and passionate description of the utter abandonment of unrequited love. sets the pulse racing again. “Dono jahan teri mohabbat mein har ke” indeed – the game of love is played on precisely so fragile a wager. Forgetting you was a reprieve. Such an overwhelming sense of despair. but it did not last. just when the world seems ruined beyond measure. VI). that one casual smile of a line that revives everything. Now we have seen how far even God can be trusted. the business of living proved more deceptive than your love. How desperately the heart must long to hope. and the heart. The world seduced us. I. of defeat. 2006 Baazi hai ab ke jaan se badhkar lagi hui . And the taverns are deserted. and the wine glasses are upset. today. Faiz’s ghazal shows us how desperate a redemption this is. One of my favourite Faiz ghazals. Translation (mine): Craving your love. of resignation. Look – he is leaving now having spent the night in grief. that it will stake all its happiness on something as fickle as a smile. she smiled. made us exiles from your memory. day by day. And then. hurt by your departure even the Spring has turned away. 4 comments May 21. Tennyson writes: “The world were not so bitter / But a smile could make it sweet” (Maud. he gambled away both this world and the next. must long to believe. so long unused. began to beat with a new urgency.

Faiz Ahmed Faiz Listen (to Falstaff read) Sunne ko bheed hai sar-e-mahshar lagi hui Tohmat tumhare ishq ki hum par lagi hui Rindon ke dam se aatish-e-may ke bagair bhi Hai maykade mein aag barabar lagi hui Aabad karke shahar-e-khamoshan harek soo Kis khoj mein hai teg-e-sitamgar lagi hui Jeete the yon to pahle bhi hum jaan pe khelkar Baazi hai ab ke jaan se badhkar lagi hui "Lao to katlnama mera. this is their vigil: they've made sure. its people exiled or finished to the last. simply with a witnessing thirst. The suspense that lasts between killers and weapons as they gamble: who will die and whose turn is next? That bet has now been placed on me. . But those who swear by rapture. No wine is left in the taverns of this earth. This is the accusation: that I have loved you. In whose search is the swordsman now? His blade red. that intoxication is not put out today. That bet has now been placed on me Translation by Agha Shahid Ali The Day of Judgement is here. A restless crowd has gathered all around the field. mein bhi dekh loon Kis kis hi muhar hai sar-e-mahzar lagi hui Aakhir ko aaj apne lahoo par hui tamaam Baazi miyan-e-kaatil-o-khanjar lagi hui. he's just come from the City of Silence.

But the thirst of the drunkards Has kept the taverns burning. Who is the tyrant's sword searching for? Now that it has filled every graveyard. Populated every silence? I have lived this way before. A crowd has gathered to hear them proclaim: I am accused of having loved you. In the end. But this time more than my life is at stake. I must see with whose seals the margins are stamped. More Faiz on pō'ĭ-trē . [1] Raat Yun Dil Mein Teri [2] Paon se Lahoo Ko Dho Dalo [3] Aur Bhi Gham Hain Zamaane Mein [4] Jinhe Zurm-e-ishq Pe Naaz Tha [blackmamba] 6 comments April 7. recognize the signatures on the scrolls. it is true. So bring the order for my execution Let me see who accuses me Who signs his name to my death. Playing games with death. There is no wine left now. More than my life is at stake Translation by Falstaff The day of judgement has arrived. 2006 Jinhe zurm-e-ishq pe naaz tha Faiz Ahmed Faiz . This is all my life turns out to be: A gamble between a killer and his sword With my blood as the prize.So bring the order for my execution.

for that love again. we have two translations.” Posting poems by Faiz without the translation by Shahid Ali has always sparked interesting discussions on translation( [1]. [2]. tere jaan nisaar chale gaye Teri rah mein karte the sar talab. yeh dar.n vasl kii raahat ke sivaa mujh se pahalii sii mohabbat merii mahabuub na maa. Compare.n zamaane me. contrast. he puts her on the pedestal too. Faiz broke away from the idea of the Beloved.n mohabbat ke sivaa raahate. karoge kya Jinhei zurm-e-ishq pe naaz tha. na hikaytein. my love. ye rasan. One by Shahid Ali and the other by Falstaff.Ng” “There are other sorrows in this world. Only to build another pedestal (/tradition).n aur bhii hai. for all things just as precious. unlike [3]). “aur bhii dukh hai. as tradition seems to demand. by Agha Shahid Ali) Your sorrow in search of someone willing to spill his blood but they who once lined the roads ready to give up this life at a moment’s notice for you have left no longer to be found . critique. Yeh humi the jinke libaas par sar-e-ru siyahi likhi gayi Yahi daag the jo saja ke hum sar-e-bazm-e-yaar chale gaye. comforts other than love. Yes. So here. Na raha junoon-e-rukh-e-vafa. equally exquisite. the archangel of urdu poetry.Listen (to Falstaff read) Tere gum ko jaan ki taalash thi. na shikaytein Tere ahad mein dil-e-zaar ke sabhi ikhtiyar chale gaye. sar-e-rehguzaar chale gaye Teri kaj-adai se haar ke shab-e-intezar chali gayi Mere zabt-e-haal se rooth kar mere gumgusar chale gaye Na saval-e-vasl na arz-a-gum. Don’t ask me. appreciate… Those once proud to be accused of love (tr. voh gunehgaar chale gaye.

Beloved the night waited with me for you at dawn it admitted defeat and left my consolers also departed hurt to find my eyes without tears let down that I held back my grief Nothing’s left now no possibility of the night of love and no way to show even a glimpse of pain there’s no room for complaints no margins allowed for suggestions Tyrant it’s your era the restless heart’s lost its every right It was me it was my shirt that was printed with blood on the streets darkened there with inks of accusation I declared these stains a new fashion and went to mingle with the guests at my lover’s home Nowhere anymore that abandon of passion no one wear’s fidelity’s raw fabrics Hangman what will you do with that rope? who’s asked you to build the scaffold? those once proud to be accused of love they all have vanished. . And the other.

Angry with me because I would not cry. I cannot complain.Those who were proud to be accused of love (tr. And this rope. by Falstaff) Your sorrow came. 2006 Paon se lahoo ko dho dalo Faiz Ahmed Faiz Listen (to Falstaff read) Hum kya karte kis reh chalte Har raah mein kaante bikhre the Un rishton ke jo choot gaye Un sadiyon ke yaranon key Jo ik-ik karke toot gaye. cannot say what grieves me. These are the stains that I wore proudly All the way to my beloved’s house. are no longer needed. There is no question of love now. Annoyed with you for keeping it waiting. And those who came to console me have left. I have no suggestions to make In the tyranny of your love My heart has lost all its rights. Those who were proud to be accused of love Have all vanished like criminals. But those who would have died for you are gone. these gallows. Those who would have bowed their heads when you passed Have all gone their own ways. I was the one Whose shirt turned red with the blood from the streets. searching for life. [blackmamba] Add comment March 16. And the night is gone too. . But passion is out of style now.

whatever direction we choose Our feet come away bathed in blood. And the onlookers say: What is this ritual you have devised? Why have you tattooed yourself with these wounds? Who are you to question The barrenness of faith? Wash the blood from your feet. kyon kahat-e-vapha Ka nahak charcha karte ho Paon se lahoo ko dho dalo Ye raatein jab at jayengi Sow raste in se phootenge Tum dil ko sambholo jismein abhi Sow tarah ke nashtar tootenge. And an excellent translation by Falstaff. When the night has passed A hundred new roads will blossom. one by one? Whatever path we take. . many times.Jis raah chale jist simt gaye Yun paon lahoo-luhan hue Sab dekhne vaale kahte the Ye kaisi reet rachai hai Ye mehndi kyon lagvai hai Vo kehte the. You must steady your heart. Wash the blood from your feet Where should we go and what should we do When every road is scattered With the thorns of our fallen loves? When the friendships of centuries Have broken. For it has to break many.

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