Sab Kahaan Kuchh Laala-o-gul Main - Mirza Ghalib Translation


Sab kahan kuchh lala-o-gul mein numayaan ho gayin
Khaak mein kya suraten hongi ki pinhaan ho gayin

Where are they? Some have manifested in roses and tulips!
O what faces must be in dust that have disappeared?

In the realm of Mirza Ghalib's poetry, this couplet stands as an enigmatic masterpiece in my view. It is a window into the timeless questions that have haunted literature's most profound minds. It embodies the interplay of life and death, beauty and decay, and the ever-elusive quest to uncover the hidden facets of our existence. 

As we read this, we embark on a journey with Mirza Ghalib through a beautiful garden with roses and tulips we encounter a profound question: "Sab Kahaan" or "Where are all?" The poet's inquiry echoes the echoes of literary giants who have pondered the same mysteries. This reminds me of Kabir's "Kahaan gaye" - "where have they gone?" Reminiscent of Whitman's poignant musings on the multitudes, Ghalib's verse beckons us to contemplate the invisible threads that connect humanity.

Within this poetic tapestry, Ghalib intertwines nature's vibrant hues with the fleeting presence of souls. He unravels the essence of existence, revealing how some unveil themselves amidst the blossoms of tulips and roses. In this interplay of life's transience and nature's fleeting beauty, echoes of Rumi's metaphysical exploration resonate, as he too sought to decipher the hidden truths embedded in the tangible world.

But the poet's introspection does not cease there. Ghalib delves into the profound enigma of the second line: "In the dust, what faces there will be that have become hidden?" Here, he poses an existential puzzle that evokes the poetic introspection of Emily Dickinson. Like Dickinson's fascination with the enigmatic depths of the human soul, Ghalib ponders the faces concealed within the dust, contemplating the myriad possibilities of hidden identities and untold stories.

Ghalib's verse transcends mere words, inviting us to embrace the beauty that surrounds us, even within the ephemeral nature of life's fragile tapestry.

yaad thi hamko bhi ranga rang bazm-aaraaiyan
lekin ab naqsh-o-nigaar-e-taaq-e-nisiyaan ho gayin.


I too used to remember those colorful gathering adornings and arrangements. But now they have become a mark or portrait in the niche of oblivion. 

The poet says that he once too reveled, in the corridors of his mind in the remembrance of those vivid gatherings, adorned with resplendent embellishments and meticulous arrangements. Mirza Ghalib was after all the Mughal poet laureate.  However, like delicate brushstrokes upon a canvas, those memories have now evolved into ethereal portraits, nestled within the niche of oblivion. The effervescence that once animated those days has now dissipated, leaving behind a mere echo of their former glory. These memories, like distant paintings, now find their residence within the hallowed confines of oblivion. 

The poet's bear resemblance to the fleeting imagery conjured by Proust's madeleine, each stroke of color a portal to a bygone era, where time held no sway. Some evocative recollections symbolize the bittersweet ebb and flow of life's tapestry, mirroring the poignant sentiments echoed in the works of Marcel Proust, who delved deep into the realm of memory and the impermanence of time. Mirza Ghalib fills his cup of melancholy, honors these faded treasures that grace the niche of oblivion and accepts that they are now gone. 


thi banaat-un-naash-e-garduun din ko parde men nihaan
shab ko un ke ji men kya aai ki uryaan ho gayin


The Ursa Minor constellation was hidden in a veil during the day. In the night, I don't know what came in its heart that it became bare. 

qaid mein yaqub ne li go na yusuf ki khabar
lekin ankhen rauzan-e-diivaar-e-zindaan ho gayin

In the prison, Jacob (yaqub) although has taken no information about Joseph (yusuf). But eyes have become windows in the wall of the prison.

In the annals of the Old Testament, two prominent figures emerge: Joseph and Jacob. Joseph, the son of Jacob, found himself unjustly confined within the Pharaoh's prison. Amidst this troubling chapter in his life, the poet reflects upon Jacob's plight, revealing a poignant truth. Though bereft of any news or knowledge regarding his incarcerated son, Jacob's eyes became a profound portal within the prison's walls. They stood as a steadfast window, vigilantly watching over Joseph, a symbol of a father's unwavering love.

Despite the absence of tangible information about his son, Jacob's tearful eyes remained fixated, casting their gaze upon his beloved son. Through this unyielding connection, his eyes became an intimate aperture, akin to a tender crack in the prison's unyielding facade. Night and day, they served as a conduit, allowing Jacob to keep an unrelenting watch over his son's well-being. Such is the boundless depth of a father's affection for his children, transcending physical barriers and imprisonment.

The poet captures the essence of paternal love, highlighting the indomitable power of love to traverse even the most formidable confines. Through Jacob's tearful vigilance, we witness the resolute strength that emanates from a parent's heart, one that creates a window in the prison walls.


sab raqibon se hon nakhush, par zanan-e-misr se
hai zulaikha khush ke mahv-e-mah-e-kanan ho gain


Unhappy with all the rivals, but with the women of Egypt Zulaikha is happy because they have become transfixed in the moon of Canaan. 

In the realms of ancient Egypt, a tale unfolds involving the captivating figure of Zulaikha, a queen enraptured by the love she held for Joseph. As word of her affection spread throughout the land, the women of Egypt began to taunt her, provoking a response unexpected. For typically, lovers harbor discontent toward rivals who vie for the affections of their beloved. Yet, Zulaikha's heart remained unperturbed by the presence of these rivals, finding solace in a peculiar outcome.

Indeed, she discovered a sense of contentment, for as these women beheld the radiant figure of Joseph, often referred to as the "moon of Canaan," their attention became transfixed upon his resplendent charm. Enraptured by his beauty, they became absorbed, momentarily forgetting their spiteful mockery. Herein lies the crux of a story narrated in the Qur'an, which sheds further light upon the matter.

In this ancient tale, Zulaikha distributed apples to each of these women, urging them to cut the fruit upon Joseph's arrival. As destiny would have it, their gazes fell upon him, and in their distraction, they accidentally wounded their own fingers while slicing the fruit. Seizing the moment, Zulaikha reminded them that Joseph graced their presence daily, thus reminding them of the pain they had inadvertently inflicted upon themselves. In this realization, fueled by both physical and emotional discomfort, the women ceased their mockery.

Through this story, the poet unravels a profound truth. Zulaikha's benevolent intent, manifested through the distribution of apples, revealed a wisdom that surpassed the petty taunts and jeers. Instead of harboring resentment, she employed a gentle tactic, one that allowed the natural allure of Joseph to captivate and transform those who had once mocked her. In their mesmerized state, the women found a new perspective, fostering an end to their mockery.

This tale stands as a testament to the power of empathy and understanding, illuminating Zulaikha's remarkable ability to rise above adversity and transform the hearts of her rivals. It portrays a profound lesson on the potential for love to conquer animosity, demonstrating the capacity for personal growth and enlightenment through compassion and self-reflection.

ju-e-khun ankhon se bahane do ki hai shaam-e-firaq
main ye samajhunga ke shamaen do farozan ho gayin


In this eve of parting, let the river of blood flow from my eyes. I shall perceive them as two radiant candles.

The poet, immersed in the depths of longing and separation, utters a poignant plea, beckoning the river of blood to flow from their eyes. This moment, veiled by the twilight of their parting, becomes a canvas for profound emotion. Amidst this profound anguish, a flicker of solace emerges, taking form in the metaphorical illumination of two candles.

In the darkness that envelops the night of separation, the poet envisions these tears, crimson and sorrowful, as radiant flames that dispel the gloom. The bloodied tears, akin to burning candles, cast their luminous glow upon the surrounding darkness, granting a glimmer of comfort amidst the desolation.

In this striking imagery, reminiscent of a scene crafted by the great poet Rumi, the rivers of blood become symbols of fervent devotion. The illumination they cast pierces through the abyss of longing, evoking the transformative power of love amidst the heart's deepest yearnings.

Thus, through the poet's metaphorical invocation, we witness the beauty that can arise from the depths of despair. Like candles ablaze, the tears of the poet create a semblance of light, illuminating the path forward amidst the profound darkness of separation.

in parizadon se lenge khuld men ham intiqam
qudarat-e-haq se yahi huren agar vaan ho gayin


In the realm of paradise, we shall enact vengeance upon these alluring fairies, if, by the power of Truth, they too reside within. The poet laments that this earthly existence falls short in granting retribution from their beloveds, yearning for their presence in heaven to fulfill his desire for revenge. In this sentiment, echoes of Dante's longing for divine justice resonate, as he journeyed through the realms of the afterlife seeking resolution.

neend usaki hai, dimag usaka hai, raten usaki hain
teri zulfen jisake bazu par pareshan ho gayin


Sleep is his, Mind is his, The Nights are his. Your curls of hair, on whose shoulder have become disordered and disheveled.

In this poignant verse, the poet paints a vivid picture of the disarrayed locks of his beloved's hair, cascading upon the shoulder of the lover. In this juxtaposition, the poet reflects upon the contrasting states of their minds and souls. As the locks of hair find solace upon the lover's shoulder, tranquility befalls the rival, their sleep undisturbed, their thoughts lucid, and their nights devoid of despair. In stark contrast, the poet laments his own tumultuous state, plagued by restless nights, a mind in disarray, and thoughts entangled with confusion. Through this evocative imagery, the poet conveys the profound imbalance and longing that consumes the depths of their being, as the beloved's scattered locks symbolize the disorder within their own thoughts and emotions.

main chaman mein kya gaya, goya dabistan khul gaya
bul-bulen sun kar mere nale, gazalkhwan ho gayin


I had hardly entered the garden, as if a school had opened. The nightingale having heard my lamentations, become ghazal singers. 

The poet says that has he ventured into the garden, consumed by contemplation, it seemed akin to entering a school. Like a chorus of children reciting verses in unison, the nightingales, upon hearing his plaintive cries, transformed into maestros of ghazals. His lamentations, so poignant and melodious, resonated within their very souls, weaving together a refined ghazal that transcended the realms of beauty and sorrow.

In this enchanting scene, echoes of Hafez's nightingales come to mind, their songs imbued with the essence of longing and poetic mastery. The convergence of my heartfelt expressions with the nightingales' melodic imitation birthed a sublime ghazal, epitomizing the profound beauty that lies within the interplay of human emotion and the natural world.

vo nigahen kyun hui jati hain yarab dil ke par
jo meri kotaahii-e-qismat se mizshgan ho gain


Why do those glances, oh Lord! keep going through the heart? Which through my failure of fate, became eye-lashes. 

In this verse, the poet explores the profound impact of the beloved's glances, specifically focusing on the significance of receiving only a glimpse or eyelash. The poet distinguishes between the usual glances bestowed by the beloved and the rarity of receiving just the attention of their eyelashes. This unusual occurrence suggests a lack of fortune or limited luck, as the poet yearns for the complete gaze of the beloved.

However, despite this misfortune, the poet is astounded by the profound effect that even the smallest glance of the beloved has on their heart. It transcends the limitations of mere physical sight, resonating deeply within their being. The poet marvels at the immense power contained within these seemingly insignificant eyelash glances, acknowledging the all-encompassing impact they have on their heart.

Through this reflection, the poet poignantly captures the intensity of their longing and the ability of even the tiniest gestures from the beloved to evoke a profound emotional response. The disparity between the limited fortune and the immense impact of these small glances highlights the extraordinary power of love to transcend physical boundaries and touch the depths of the heart.

bas ki roka main ne aur seene mein ubharen pai-ba-pai
meri aahein bakhiya-e-chak-e-garibaan ho gayin


Although I stopped them, more emerged or swelled up with in the chest again and again. My sighs became the stitching on the torn hem of the shirt. 

The poet portrays the relentless surges of sighs within their heart, drawing a striking parallel to the act of mending a torn shirt's hem. It is an act of futility, for these sighs persistently rise, analogous to the relentless tearing and mending of the fabric. Initially, madness compelled the poet to rip the shirt, while moments of calmness allowed for the stifling of never-ending sighs, akin to stitching the torn garment. However, the mounting pressure of suppressed sighs eventually becomes suffocating, necessitating the tearing of the shirt once again to allow the heart to breathe. This cycle of sighs, tearing, and sewing offers no meaningful solace, perpetuating an endless chain of emotional turbulence. As Pritchett astutely observes, the poet skillfully employs wordplay, wherein "seene" (chest) can also be interpreted as "seena" (to sew up), while strategically juxtaposing the words "tearing" and "sewing" for heightened dramatic effect.

vaan gaya bhi main to unki gaaliyon ka kya jawab
yaad thi jitini duayen, sarf-e-darbaan ho gayin


Even if I were to go there, what answer would I have for her insults? As many prayers I could remember, all were used on the doorkeeper.

The poet contemplates the consequences of approaching the beloved's door, fearing not receiving any favors or glances, but instead enduring taunts and insults. In this quandary, the poet ponders the dilemma of how to respond. All the prayers and blessings they could recall were exhausted on the doorman, leaving no resources for a suitable retort. This predicament, lacking the freshest and newest blessings to counter the beloved's crude and humiliating words, becomes a source of worry. It is indeed an amusing situation, reminiscent of the comedic complexities found in the works of Molière, where irony and wit collide, presenting the poet with a humorous yet challenging conundrum.

jaan-fiza hai baada, jis ke hath mein jaam aa gaya
sab lakiren haath ki goya rag-e-jaan ho gayin


Lively is wine, in whomsoever's hand the glass comes. All the lines of the palm as if became the jugular vein. 

There can be two main interpretations of this: 

The first interpretation highlights the lively and exhilarating nature of wine. The poet suggests that consuming wine leads to a sense of expansiveness and euphoria, symbolized by the engorged lines on one's hand, resembling blood-filled veins. By connecting the visuals of wine, hand lines, and the heart's main artery, the poet emphasizes the life-affirming qualities of wine and its ability to animate and invigorate.

The second interpretation focuses on the visual imagery created by a glass of red wine in hand. As the glass is held, the lines on the hand appear red when seen through the glass, resembling arteries filled with living blood. This interpretation suggests that wine possesses the power to imbue life and vitality. The dry lines on the hand, usually devoid of color, now appear to be brimming with flowing blood, signifying the life-giving properties attributed to wine.

Both interpretations emphasize the transformative nature of wine, whether through its ability to elicit a sense of liveliness and euphoria or its metaphorical representation of life-giving qualities. The imagery of wine and its connection to the hand's lines and the flow of blood serve to underscore the profound impact that wine can have on one's experience and perception of life.

hum muwahhid hain, hamara kesh hai tark-e-rusum
millatein jab mit gain, ajza-e-iman ho gayin


We are the believers in one God, our nature is the abandonment of rituals and customs. When nations or communities have been erased, they become part of the faith. 

The poet expresses a belief in the unity of God and emphasizes that true spiritual fulfillment can only be attained by relinquishing external customs, rituals, and religious practices. According to the poet, the elimination of sectarian divisions and the abandonment of religious distinctions would enable individuals to become united in their faith. It is through transcending the confines of organized religion that one can truly embrace a genuine spiritual path.

In the poet's perspective, the essence of a genuine religion lies in the absence of any specific religious affiliation. By discarding the trappings of organized religion, individuals can reach a state where the oneness of God and the oneness of humanity are realized. This notion challenges the notion of religion as a set of dogmas and rituals, instead emphasizing a deeper, more profound connection to the divine that transcends traditional boundaries.

Ultimately, the poet suggests that the pursuit of true faith necessitates a departure from religious structures and the unification of people under the banner of a universal belief in the oneness of God. By embracing this notion, individuals can transcend the limitations of external religious practices and foster a deeper understanding of the spiritual realm.

ranj se khugar hua insaan to mit jata hai ranj
mushkilen mujh par padi itani ke asaan ho gayin


When a person become accustomed to grief, then the grief gets erased. So many difficulties have fallen upon me, that they became easy. 

This couplet is widely recognized as one of the most renowned verses from this ghazal. The poet asserts that by aligning oneself with grief, the grief itself loses its hold. Despite the multitude of hardships that have befallen the poet, they have become bearable, as the poet has attuned themselves to such challenges. These difficulties no longer evoke despair, as the poet has adapted to them. This sentiment also evokes the teachings of Guru Nanak, specifically the concept of "Dukh Daaru Bhaya," where sorrow transforms into a healing remedy. There are also two similar couplets by Ghalib: - 'ranj uthanay say bhi khushi ho gi, pahlay dil dard aashna keejay' and "dard minnat-kash-e-davā na huā". 

yunn hi gar rota raha 'ghalib', to ae ahl-e-jahan
dekhana in bastiyon ko tum ki viraan ho gayin


If Ghalib keeps on crying like this, then oh! people of this world. You take a look at these towns, that they have become abandoned and deserted. 

The couplet suggests that the poet believes their emotional state is so intense and overwhelming that it has the power to affect the environment and the people around them. The poet implies that their constant weeping and expression of sorrow will have a profound impact on the towns or communities they inhabit. The idea conveyed is that the poet's emotional distress is so pervasive that it can cause a sense of desolation and emptiness, symbolically driving people away from the towns. It reflects the poet's belief in the profound influence of their emotions on the world around them.

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