Baquair-I-Shouq

ba-qadr-e-shauk iqraar-e-wafaa kyaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa
hamaare shauk ki hai intehaa kyaa
haan hamaare shauk ki hai intehaa kyaa
dil-e-aafat-zadaa kaa mudda'aa kyaa
haan
dil-e-aafat-zadaa kaa mudda'aa kyaa
shikastaa-saaz kyaa, us ki sadaa kyaa
shikastaa-saaz kyaa, us ki sadaa kyaa
mohabbat ka yehi jab shagl thhehraa
mohabbat ka yehi jab shagl thhehraa
to phir aah-e-rasaa kyaa na rasaa kyaa
to phir aah-e-rasaa kyaa na rasaa kyaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa
duaa dil se jo nikle kaargar ho
duaa dil se jo nikle kaargar ho
yahaan dil hi nahin dil se duaa kyaa
yahaan dil hi nahin dil se duaa kyaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa
salaamat daaman-e-ummeed-e-'seemaab'
salaamat daaman-e-ummeed-e-'seemaab'
mohabbat mein kisi ka aasraa kyaa
mohabbat mein kisi ka aasraa kyaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa

qadr = value, appreciation
shauk = hobby, interest, pursuit, pastime
ba-qadr-e-shauk = that my pursuit is valued and appreciated
iqraar = affirmation, acceptance
wafaa = love, loyalty in love, steadfastness in love,
iqraar-e-wafaa = an affirmation and reciprocation of the emotion of love
intehaa = ultimate limit, last point, terminal
dil-e-aafat-zadaa kaa mudda'aa kyaa
shikastaa-saaz kyaa, us ki sadaa kyaa
After all what is the purpose, the core intention of this turbulent, miserable heart? Who can say? What music can be played on an instrument that is broken.
Once again, the rhetorical questioning continues. The self is likened to a broken musical instrument, which cannot create any music. If that be the presumed situation, then please reveal what after all is the core idea, what is the purpose, the claim of this miserable heart.
dil = heart
aafat = calamity, misery
zadaa = one possessing the quality, e.g.
aafat-zadaa = one who is miserable, one who is in trouble
dil-e-aafat-zadaa = a miserable, sorrowful heart
mudda'aa = object, claim, central theme, key point
shikast = defeat
shikastaa-saaz = a musical instrument that is broken (defeated)
sadaa = sound, music, call
mohabbat ka yehi jab shagl tthehraa
to phir aah-e-rasaa kyaa na rasaa kyaa
If it is customary that this is what the routine endeavor of the emotion of love is, then what if one may be sad and cried, or if one did not; it would make no difference.
If the disappointments and frustrations are the routine experiences in love, then it does not matter that one may be sad and cried, or even if one didn't.
mohabbat = love
yehi = this
shagl = occupation, routine
thheharaa = is so
to phir = then
aah = a long breath of regret, disappointment
rasaa = adept at, having reached a certain level of understanding
aah-e-rasaa = proficient in being sad or disappointed
aah-e-rasaa kya na rasaa kya = whether one be adept at managing disillusionments, or one may be not.
duaa dil se jo nikle kaargar ho
yahaan dil hi nahin dil se duaa kyaa
It is said that the cry (or blessing) that emanates from the heart is always effective. But here, no heart remains, where lies the question of raising a cry (or give a blessing).
The poet says that the heart is so burdened with sorrow and disillusionments that it has lost its ability to call out (or give a blessing).
duaa = a blessing, a cry for help
dil = heart
se = from
jo = which
nikle = emanates, comes from
kaargar = effective, operative, active
yahaan = here
salaamat daaman-e-ummeed-e-'seemaab'
mohabbat mein kisi ka aasraa kyaa
May one be hanging on to the hope, and may that tenuous hope persist; do not have any hope or expectation from another person, your expectations are bound to be belied.
The poet is advising against staking hope on another person, no matter the other person is the beloved. Just hang on to the strings of hope, and pray that the strings of hope remain, are not broken.
salaamat = secure, safe
daaman = the flowing part of a garment
ummeed = hope, anticipation
mohabbat = love
mein = in
ka = of
aasraa = support, sustenance.