Wali Dakni: Urdu ghazal ka pehla bara naam

Urdu ghazal ki kahani Delhi ya Lucknow se nahin, Deccan se shuru hoti hai. Satrahvin sadi ke aakhir tak shumali Hindustan mein shayar Farsi mein sher kehte the aur Urdu, jise us waqt Rekhta ya Hindi kaha jata tha, bas dil lagi ki zaban samjhi jati thi. Deccan mein halaat mukhtalif the: wahan Golconda aur Bijapur ke darbar barson se isi zaban mein shayari sun rahe the. Is Dakni riwayat ko nikhar kar jis shayar ne shumal tak pahunchaya aur Delhi ke shayaron ko apni zaban mein sher kehne ka hausla diya, woh Wali Muhammad Wali the jinhein Wali Dakni aur Wali Aurangabadi bhi kaha jata hai. Woh khud apne fan ke bare mein kehte hain:

Raah mazmoon taza band nahinTa qayamat khula hai baab-e-sukhan

Zindagi aur zamana

Wali ki zindagi ke bare mein yaqeeni maloomat kam hain. Rekhta un ka asal naam Shamsuddin Muhammad Wali batata hai, aur aam riwayat ke mutabiq woh Aurangabad mein paida hue. Rekhta ke mutabiq un ki paidaish 1667 ke lag bhag hui. Yeh Aurangzeb ka zamana tha, jab Mughal faujein Deccan ki riyasaton ko fatah kar rahi thin aur shumal aur junoob ke log, sipahi, alim aur tajir ek doosre ke shehron mein aa ja rahe the.

Wali ne Gujarat ka safar bhi kiya aur Ahmedabad mein sufiyon ki sohbat mein rahe. Un ke kalam mein Gujarat aur Ahmedabad ki tareef milti hai, aur Rekhta ke mutabiq un ka intiqal Ahmedabad hi mein hua. Tazkiron mein riwayat hai ke Wali san 1700 ke aas paas Delhi aaye aur wahan ke sufi buzurg Shah Saadullah Gulshan se mile. Kaha jata hai ke Gulshan ne unhein mashwara diya ke Farsi shayari ke mazameen apni zaban mein barto. Yeh riwayat kitni durust hai, is par muhaqqiqon mein bahas hai, magar itna tay hai ke Wali ke kalam mein Dakni bol chal ke sath Farsi ghazal ki nazakat bhi poori tarah maujood hai.

Asal waqia is ke baad hua. Rekhta ke taaruf ke mutabiq 1720 mein jab Wali ka deewan Delhi pahuncha to wahan ke log hairan reh gaye. Deewan ki nakalein hathon hath tayyar huin, Delhi ke shayar un ki ghazalon ki zameen mein ghazalein kehne lage, aur Farsi ko chhor kar Rekhta mein sher kehna fashion ban gaya. Aabroo, Hatim aur Naji jaise Delhi ke ibtidai shayar isi lehar ki paidawar hain, aur inhi ke baad Mir aur Sauda ki nasl aayi.

Wali ki wafat ka saal bhi yaqeeni nahin. Rekhta 1707 deta hai, jabke kai tareekhein ise is ke baad ka batati hain. Hum ne yahan Rekhta ki tareekh likhi hai aur ise hatmi nahin samjha.

Uslub

Wali ki pehchan un ki tazgi hai. Un ka mehboob koi khayali paikar nahin balke jita jagta insan hai jis se woh barah-e-raast baat karte hain. Un ke haan “us” se zyada “tujh” ka lafz aata hai, yaani shayar mehboob ki ghair maujoodgi ka rona kam rota hai aur us ke samne beth kar us ki tareef zyada karta hai:

Tujh lab ki sifat laal-e-Badakhshan soon kahoon gaJadoo hain tere nain ghazalan soon kahoon ga

Un ki zaban mein Dakni ke lafz “soon” (se), “koon” (ko), “naeen” (nahin), “sajan” aur “nain” be takalluf aate hain, aur sath hi Farsi ki tarakeeb bhi. Yeh milap ajeeb nahin lagta balke ek nayi zaban ki paidaish ka manzar dikhata hai. Wali tashbeeh ke badshah hain. Zulf ki tashbeeh Urdu aur Farsi mein hazar baar aayi hai, magar Wali ise Hindustani manzar se jor dete hain:

Zulf teri hai mauj Jamna kiTil nazak us ke jyon sanasi hai

Mehboob ki zulf Jamna ki lehar hai, aur us ke paas ka til jaise kinare par betha hua koi sanyasi. Yeh tasveer Farsi shayari se nahin, Hindustan ki mitti se aayi hai.

Muntakhab kalam

Kiya mujh ishq ne zalim koon aab aahista aahistaKe aatish gul koon karti hai gulab aahista aahista

Ajab kuch lutf rakhta hai shab khalwat mein gul roo soonKhitab aahista aahista jawab aahista aahista

Ada o naaz soon aata hai woh roshan jabeen ghar soonKe jyon mashriq soon nikle aaftab aahista aahista

Muflisi sab bahar khoti haiMard ka aitbar khoti hai

Jise ishq ka teer kaari lageUse zindagi kyon na bhaari lage

Yaad karna har ghari is yaar kaHai wazifa mujh dil-e-bimar ka

Koocha-e-yaar ain Kasi haiJogi dil wahan ka basi hai

Yeh siyah zulf tujh zanakhdan parNagni jyon kunwe pe pyasi hai

Khoob roo khoob kaam karte hainYak nigah mein ghulam karte hain

Sajan tuk naaz soon mujh paas aa aahista aahistaChhupi baatein apas dil ki suna aahista aahista

Ashaar ki tashreeh

«Kiya mujh ishq ne zalim koon aab aahista aahista…» Ishq ne mujh sakht dil ko aahista aahista pani kar diya, jaise aag phool ko dheere dheere arq-e-gulab mein badal deti hai. Gulab kasheed karne ke amal se yeh tashbeeh Wali ki khas pehchan hai.

«Ajab kuch lutf rakhta hai shab khalwat mein gul roo soon…» Tanhai ki raat mein phool jaise mehboob se dheemay dheemay baat karna aur dheemay dheemay jawab sunna, is ka lutf hi kuch aur hai. Isi ghazal ki radeef “aahista aahista” par baad mein kai shayaron ne taba azmai ki.

«Ada o naaz soon aata hai woh roshan jabeen ghar soon…» Roshan peshani wala mehboob naaz o ada ke sath ghar se yun nikalta hai jaise mashriq se sooraj aahista aahista tulu hota hai.

«Muflisi sab bahar khoti hai…» Ghurbat zindagi ki sari raunaq chheen leti hai aur aadmi ki saakh bhi khatam kar deti hai. Yeh sher teen sau baras baad bhi zarb-ul-misal ki tarah bola jata hai.

«Jise ishq ka teer kaari lage…» Jis ke dil par ishq ka gehra teer laga ho, us ke liye zindagi ka bojh uthana mushkil kyon na ho? Seedhe lafzon mein ek gehri baat, aur zaban aaj ki Urdu se kuch bhi mukhtalif nahin.

«Yaad karna har ghari is yaar ka…» Mehboob ko har lamha yaad karna mere bimar dil ka wazifa hai, jaise koi ibadat guzar din raat ek hi wird karta rahe.

«Koocha-e-yaar ain Kasi hai…» Mehboob ki gali hi mere liye Kashi (Banaras) hai, aur mera jogi dil wahin rehta hai. Hindu teerath ki yeh tashbeeh dikhati hai ke Wali ki shayari Hindustan ki mushtarka tehzeeb mein kis tarah rachi basi thi.

«Yeh siyah zulf tujh zanakhdan par…» Teri thori ke garhe par latakti siyah zulf aisi hai jaise koi pyasi nagin kunwe par jhuki ho. Thori ke garhe ko “chah-e-zanakhdan” yaani kunwan kehne ki purani riwayat ko Wali ne ek zinda manzar bana diya.

«Khoob roo khoob kaam karte hain…» Haseen log kamal karte hain: ek nazar dalte hain aur dekhne wale ko ghulam bana lete hain. Chhoti behr ki yeh shokhi baad mein Delhi ki ghazal ka aam rang ban gayi.

«Sajan tuk naaz soon mujh paas aa aahista aahista…» Ae mehboob, zara naaz se mere paas aa aur apne dil ki chhupi baatein dheere dheere suna. “Tuk” yaani zara, aur “apas” yaani apna, dono Dakni ke narm lafz hain.

Asar aur yaadgar

Wali ko baad ke naqqadon ne Urdu ka “Chaucer” kaha, yaani woh shayar jis ne ek boli ko adab ki zaban bana diya. Un se pehle bhi Deccan mein Quli Qutb Shah aur doosre shayar Urdu mein keh rahe the, magar Wali ka deewan woh pul sabit hua jis par chal kar yeh zaban Delhi pahunchi aur wahan se poore barre saghir mein phaili. Mir Taqi Mir ne apne Farsi tazkire “Nukat-ush-Shuara” mein Wali ka zikr kiya, aur atharahvin sadi ke Delhi wale shayaron ki ek poori nasl ne un ki zameenon mein ghazalein kahin.

Aaj un ka kulliyat kai edition mein chhap chuka hai aur Rekhta par un ki darjanon ghazalein maujood hain. Un ki zaban parhne mein kuch ajnabi lag sakti hai, magar zara si tawajjoh se wahi tazgi mehsoos hoti hai jis ne teen sau baras pehle Delhi ko hairan kar diya tha.

Qaareen se: Wali ka kaun sa sher aap ko aaj ki zaban ke sab se qareeb laga? Hamein likh kar bhejiye. Muntakhab ashaar aap ke naam ke sath agle Jumme ke safhe par shaya kiye jayenge.

Agle Jumme: Mirza Muhammad Rafi Sauda, qaseede aur hajv ke ustad, jinhon ne ujarti Delhi ka haal bhi likha.