اردو کی آوازوں کا نظام اور الرڑ بائرن کی شعری زبان مقصود حسنی
ابوزر برقی کتب خانہ مئی ٢٠١٦
ہندوی‘ المعروف اردو ہندی استعمال ۔۔۔۔ بولی سمجھی لکھی پڑھی ۔۔۔۔ میں آنے والی‘ دنیا کی دوسری بڑی اور پرانی زبان ہے‘ جب کہ اپنے لسانیاتی نظام کے حوالہ سے‘ دنیا کی سب سے بڑی زبان ہے۔ لچک پذیری اور الفاظ گھڑنے میں اپنا جواب نہیں رکھتی۔ انگریز عہد کے سوا‘ اس کی کبھی سرپرستی نہیں ہوئی۔ انگریز نے بھی‘ فارسی کا پتا کاٹنے کے لیے‘ اس کی سرپرستی کی۔ اس اکیلی ہی کی نہیں‘ دیگر مقامی زبانوں کی بھی حوصلہ افزائی کی۔ وقت گزرنے کے بعد‘ کیلے کے چھلکے کی طرح پرے دے مارا۔ اس زبان کی یہ بھی خاصیت ہے‘ کہ پورے برصغیر میں استعمال ہوتی ہے۔ یہ برصغیر کے سماج سے پھوٹی اور سماج ہی میں پلی بڑھی۔ یہ حد درجہ کی ملن سار ہے۔ پنجابی کے عالوہ‘ تین
رسم الخط کی حامل زبان ہے۔ ماسی مصیبتے‘ اس وقت دنیا کی چودھرین بنی ہوئی ہے کہ اسے سیکھے اور جانے بغیر‘ ترقی کرنا ممکن ہی نہیں۔ اکثر سوچتا ہوں کہ بالجبر ہونے والے کام‘ کب منزل کو پہنچے ہیں۔ ہمارا بچہ انگریز پڑھتا ہوا‘ کر کرا کر بی اے پاس کر لیتا ہے۔ بڑی ہی چھالنگ لگائے گا‘ تو کسی منشی گاہ میں کلرک بادشاہ بن جائے گا۔ میں نے آج تک یہاں کے کسی انگریزی پڑھے کو‘ اباما کی سیٹ پر براجمان نہیں دیکھا‘ ہاں البتہ اباما کے کسی گماشتے کا چمچہ بن گیا ہو‘ تو یہ الگ بات ہے۔
ماسی مصیبتے سے گہرا رشتہ استوار کیے بغیر‘ ترقی ممکن نہیں۔ بےشک اس سے بڑھ کر‘ کوئی احمقانہ اور گمراہ کن بات ہو ہی نہیں سکتی۔ میں نے اپنے اس لسانی مطالعہ کے لیے زبان وفکر کے مستند شاعر الرڈ بائرن کو لیا ہے۔ مثالیں اسی کے کالم سے پیش کی گئی ہیں۔ اس مطالعہ
کے دوران‘ کسی نوعیت کی لسانی عصیبت میرے پیش نظر نہیں۔ وہ ہی لکھا ہے‘ جو میری سمجھ میں آیا ہے۔ باور رہے‘ اردو میری زبان یا بولی نہیں رہی۔ میں اول تا آخر پنجابی ہوں‘ اس لیے کسی لسانی عصبیت کا سوال ہی نہیں اٹھتا۔
اردو زبان کے استعمال کا نظام پانچ قسم کی آوازوں پر استوار ہے: الپ پران ہلکی آوازیں اس میں الف سے ے تک آوازیں شامل ہیں۔ انگریزی میں کچھ آوازیں شامل نہیں ہیں۔ ان کے لیے مرکب آوازیں استعمال میں الئی جاتی ہیں۔ یہ مرکب آوازیں پچیدگی کا سبب بنتی ہیں۔ جیسے شین کے لیے دس یا اس سے زائد مرکب آوازیں استعمال میں آتی ہیں۔
بعض آوازیں ایک سے زائد آوازیں پیدا کرتی ہیں۔ مثال سی کاف کی آواز بھی دیتی ہے۔ ایس سے زیڈ یعنی ز ذ ض ظ
کی آواز بھی حاصل کی جاتی ہے۔ دوہری آواز
Morn came and went--and came, and brought no day came کم میں‘ سی کاف کی آواز دے رہا ہے Nor age can chill, nor rival steal, can کین میں‘ سی کاف کی آواز دے رہا ہے As once I wept, if I could weep,
once وانس میں‘ سی سین کی آواز دے رہا ہے
could
کڈ میں‘ سی کاف کی آواز دے رہا ہے The palaces of crowned kings--the huts,
palaces پلیسز میں‘ سین کی آواز دے رہا ہے۔ crowned کراؤڈ میں‘ کاف کی آواز دے رہا ہے۔ ............... ایس سے سین کی آواز حاصل کی جاتی ہے۔ مثال
Forests were set on fire--but hour by hour setاور Forests میں ایس سین کی آواز دے رہا ہے۔
Wore an unearthly aspect, as by fits
aspect میں ایس سین کی آواز دے رہا ہے۔
The habitations of all things which dwell, habitations things میں ایس ذ ز ض ظ کی آواز دے رہا ہے
Happy were those who dwelt within the eye those میں ایس ذ ز ض ظ کی آواز دے رہا ہے
To chase the glowing hours with flying feet. chase میں ایس ذ ز ض ظ کی آواز دے رہا ہے
They fell and faded--and the crackling trunks crackling trunks میں کے ک کی آواز کے لیے استعمال ہوا ہے
And a quick desolate cry, licking the hand licking میں کے ک کی آواز کے لیے استعمال ہوا ہے ..............
بعض آوازوں کے لیے ایک مفرد آواز سے کام چالیا جاتا ہے۔ مثال ذ ز ض ظ کے لیے زیڈ کی آواز استعمال کی جاتی ہے جو غیر اردو دان کے لیے پچیدگی کا موجب بنتی ہے۔ مثال
zulm
کو زلم‘ ضلم ‘ذلم
zaef کو ذعیف زعیف ظعیف
zillat کو ضلت ظلت زلت
rozeel کو روذیل روضیل روظیل بھی لکھا جا سکتا ہے تاہم سمجھنے تک معاملہ صاف رہتا ہے۔ ہاں لکھتے وقت‘ پچیدگی کا رستہ کھلتا ہے۔
اس مسلے کا تعلق آوازوں کے تبادلی نظام سے نہیں۔ یہ ایک کمی اور کم زوری کی طرف اشارہ ہے۔ رومن میں لکھتے وقت‘ اردو پشتو پنجابی عربی فارسی وغیرہ والے‘ زیڈ سے کام چال لیں گے‘ لیکن لکھتے وقت پچیدگی تو پیدا ہو گی۔ .............. چ بڑی اہم آواز ہے‘ یہ آواز انگریزی کے حروف ابجد میں نہیں ہے‘ تاہم اس کے لیے انگریزی میں مرکب سی ایچ استعمال کیا جاتا ہے۔ مثال ch
And form so soft, and charms so rare, And they did live by watchfires--and the thrones, To watch it withering, leaf by leaf, شروع درمیان یا آخر میں‘ آواز چ دیتا ہے۔ میونخ میں یہ مرکب خ کی آواز دیتا ہے۔
.............. انگریزی میں آواز د موجود نہیں اس کے لیے مرکب ٹی ایچ استعمال میں آتا ہے۔ مثال
There is an eye which could not brook The night that follow'd such a morn ;Than see it pluck'd to-day And men forgot their passions in the dread The flashes fell upon them; some lay down اس سے یہ واضح ہوتا ہے کہ انگریزی والے د کی آواز نکال سکتے ہیں تاہم د کے لیے یہ مرکب مستقل اور مستعمل نہیں۔ مخصوص لفظوں تک محدود ہے۔ .............. انگریزی میں آواز شین موجود نہیں۔ اس کے لیے مرکب
ایس ایچ استعمال میں آتا ہے۔ مثال
The flashes fell upon them; some lay down The feeble ashes, and their feeble breath Ships sailorless lay rotting on the sea, Blushed at the praise of their own loveliness. IS time the heart should be unmoved, .............. اس کے عالوہ کئی مرکب‘ شین کی آواز کے لیے مستعمل ہیں‘ جو انگریزوں کے عالوہ انگریزی سے جبری متعلق لوگوں کے لیے‘ پچیدگی کے دروازے کھولتے ہیں۔ مثال
And men forgot their passions in the dread Of this their desolation; and all hearts
یہ معاملہ شین ش تک ہی محدود نہیں‘ سین کے ساتھ بھی‘ یہ ہی صورت حال درپیش ہے۔ مثال
Immediate and inglorious; and the pang But with a piteous and perpetual moan, ..............
مرکب آواز جی ایچ اردو والے رومن میں غین کی آواز کے لیے استعمال کرتے ہیں۔ ئی اور ف کی آواز سے اس کا کوئی تعلق واسطہ نہیں۔ یہ مرکب آواز انگریزی میں مستعمل ہے۔ مفرد آواز ف کے لئے اس مرکب کا استعمال مالحظہ ہو۔
It is enough for me to prove کئی الفظ میں‘ اس کی آواز دب بھی جاتی ہے۔ مثال
HERE be none of Beauty's daughters
.............. انگریزی میں ف کے لیے آواز ایف حروف ابجد میں موجود ہے۔ اردو میں کسی مفرد آواز کے لیے مرکب آواز کا استعمال رواج نہیں رکھتا۔ اس ذیل میں اس کا نظام الگ سے ہے۔ انگریزی میں اس کے لیے جی ایچ مرکب استعمال میں آتا ہے۔ اوپر اس کا مع مثال ذکر موجود ہے۔ ..............
دوہری آواز: آ درحیقیقت‘ اردو کی مفرد اور ہلکی آوازوں میں شامل نہیں۔ انگریزی میں اکثر سنگل اے سے کام چالیا جاتا ہے۔ اہل زبان کے لیے دشواری نہیں بنتی‘ ہاں البتہ غیر انگریزی طبقے کے لیے تلفظ میں مشکل پیدا ہوتی ہے۔ مثال
Wore an unearthly aspect, as by fits
..............
عالمتی آوازیں ان میں زیر زبر شد جزم‘ پیش وغیرہ شامل ہیں۔ اہل زبان کے لیے اس کی مکتوبی صورت الزم نہیں۔ انگریزی میں واول وغیرہ جب کہ شد کے لیے ڈبل ساؤنڈ یعنی ایک ہی حرف لکھا جاتا ہے۔ شد اہم اور نمایاں ترین عالمتی آواز ہے۔ اس میں ایک لفظ ایک بار لکھ کر دو بار پڑھنے میں آتا ہے اور اپنی شناخت برقرار رکھتا ہے۔ اہل زبان بالعالمت اسے اس کے تلفظ کے مطابق پڑھ لیتے ہیں۔ مثال ذرہ‘ جنت‘ قوت‘ مجسم‘ اول‘ تصوف انگریزی میں‘ عالمتی آوازیں موجود نہیں ہیں اس لیے‘ حرف کو دو مرتبہ رقم کر دیا جاتا ہے۔ دونوں آوازیں‘ اپنا وجود برقرار رکھتی ہیں۔ مثال
;Like common earth can rot
com mon The sun that cheers, the storm that lowers, che ers Uphold thy drooping head; dro oping Hissing, but stingless--they were slain for food. His sing Immediate and inglorious; and the pang Im mediate And evil dread so ill dissembled,
dis sembled, .............. غنا کے لیے‘ ایک ہی آواز‘ دو مرتبہ باسلیقہ استعمال کرنے کا رجحان ملتا ہے۔ مثال تسلسل‘ مسلسل‘ تذبذب
Than thus remember thee! remember A moment on that grave to look. moment Swung blind and blackening in the moonless air; blackening
The habitations of all things which dwell, habitations The brows of men by the despairing light despairing .............. اردو میں ایک ہی لفظ میں؛ ایک ہی آواز‘ تین مرتبہ استعمال کرنے کا چلن موجود ہے۔ دو بار مسلسل اور ایک‘ عالمتی آواز شد کی مدد سے حاصل کی جاتی ہے۔ مثال مکرر‘ مقرر‘ مخفف‘ تشدد انگریزی میں یہ طور نہیں ملتا۔ ہاں البتہ‘ ایک لفظ میں ایک آواز کا تین بار استعمال نظر آتا ہے۔ مثال
And the eyes of the sleepers waxed deadly and chill, اصل لفظ
sle ہے مستعمل
sleep ہے
er کی بڑھوتی حالت کی وضاحت کے لیے ہوئی ہے۔
And when they smiled because he deemed it near, میں زمانے کی وضاحت کے لیے استعمال ہوا ..............ہے۔ انگریزی میں ایک آواز کو؛ ایک ہی لفظ میں‘ ایک جا‘ استعمال کا چلن موجود ہے‘ لیکن ان کی الگ سے
شناخت‘ موجود نہیں‘ ہاں البتہ آواز میں زور‘ آہنگ اور غنا میں ہر چند اضافہ ضرور ہو جاتا ہے۔ مثال
The flower in ripen'd bloom unmatch'd As stars that shoot along the sky And men forgot their passions in the dread The feeble ashes, and their feeble breath .............. بھاری آوازیں یعنی مہاپران یہ خاص برصغیر کی آوازیں ہیں۔ سنسکریت سے حاصل کی گئی ہیں۔ یہ تعداد میں بہت زیادہ ہیں‘ لیکن اردو میں چند ایک مستعمل ہیں۔ یہ آوازیں انگریزی میں نہیں ہیں۔ جہاں کہیں ان کا استعمال ہوا ہے‘ مرکب آواز کی صورت میں ہوا ہے۔ اس کی جڑ ھ ہے۔ ابتدا میں باقاعدہ آواز کی جڑت ہو جاتی ہے۔ اردو کی بھاری آواز ت ھ تھ انگریزی میں عام استعمال
کی ہے اور غالبا ادھر ہی سے گئی ہے۔ نمونہ کے چند الفاظ مالحظہ ہوں ,Though Earth receiv'd them in her bed The loveliest things that still remain, Through dark and dread Eternity Rayless, and pathless, and the icy earth All earth was but one thought--and that was death bh jh dh rh gh kh ph مرکبات رومن اردو لکھنے والوں کی ضرورت ہیں۔ .............. غیر مشمولہ آواز ں
حروف ابجد میں شامل نہیں‘ لیکن اس کا جمع بنانے کے عالوہ بھی‘ بڑی کثرت سے استعمال ہوتا ہے۔ انگریزی میں یہ آواز موجود نہیں ہے۔ انگریزی میں‘ ڈبل او این کا استعمال ملتا ہے لیکن آواز کو گوالئی اور دائرہ نہیں میسر آتا۔ دوسرا این کی آواز ڈبل او میں مدغم نہیں ہوتی۔ .............. مرکب آوازیں اردو میں بہت سی مرکب آوازیں مستعمل ہیں۔ انگریزی کا دامن مرکب آوازوں سے تہی نہیں لیکن اردو اس معاملہ میں بہت فراخ ہے۔ مرکب آوازوں میں‘ سابقے الحقے وغیرہ شامل ہیں‘ جو حالت اور صیغے کی تبدیلی کے لیے لفظ کا حصہ بنا دیے جاتے ہیں۔ اس ذیل میں چند ایک مثالیں مالحظہ ہوں۔ کر پیکر‘ دنکر‘ منافکر‘ ہیکر
The worm, the canker, and the grief گر جادوگر‘ کاریگر Till hunger clung them, or the dropping dead ار ارضی‘ ارکان‘ ارشی عرشی With silence and tears. Like the swell of Summer's ocean. کن کارکن‘ کان کن
Were burnt for beacons; cities were consum'd, ری
کراری‘ گراری‘ ہتھاری Of cloudless climes and starry skies; Where glory decks the hero's bier, Than thus remember thee! Returns again to me, ٹی پھینٹی‘ بالٹی‘ کانٹی ہٹی‘ ٹٹی پتی ‘بتی درانتی
Through dark and dread Eternity ور زیور
طاقت ور وردان
There flowers or weeds at will may grow, بی باادب‘ باوقار‘ باجماعت بیمار بےکار‘ بےزار‘ بےوقوف یائے مصدری اضافے سے خراب ی خرابی‘ شراب ی شرابی‘ کباب ی کبابی So I behold them not: ان ان تھک‘ ان گنت‘ انجان عنقریب
Wore an unearthly aspect, as by fits
IS time the heart should be unmoved, Though by no hand untimely snatch'd, گھٹن باطن سوتن
And shivering scrap'd with their cold skeleton hands ئی سالئی کڑھائی
Shine brightest as they fall from high. My tears might well be shed, ایسی؛ بہت سی مرکب آوازیں موجود ہیں‘ یہاں باطور نمونہ چند آوازیں درج کی گئی ہیں‘ تا کہ دونوں زبانوں کی لسانی قربت اور اردو کے آوازوں کے نظام کا‘ محدود سہی‘ کسی حد تک تھوڑا بہت اندازہ ہو سکے۔
George Gordon (Lord) Byron (1788-1824)
AND THOU ART DEAD, AS YOUNG AND FAIR
ND thou art dead, as young and fair As aught of mortal birth; And form so soft, and charms so rare, Too soon return'd to Earth! Though Earth receiv'd them in her bed, And o'er the spot the crowd may tread
In carelessness or mirth, There is an eye which could not brook A moment on that grave to look.
I will not ask where thou liest low, Nor gaze upon the spot; There flowers or weeds at will may grow, So I behold them not: It is enough for me to prove That what I lov'd, and long must love, Like common earth can rot; To me there needs no stone to tell, 'T is Nothing that I lov'd so well.
Yet did I love thee to the last As fervently as thou,
Who didst not change through all the past, And canst not alter now. The love where Death has set his seal, Nor age can chill, nor rival steal, Nor falsehood disavow: And, what were worse, thou canst not see Or wrong, or change, or fault in me.
The better days of life were ours; The worst can be but mine: The sun that cheers, the storm that lowers, Shall never more be thine. The silence of that dreamless sleep I envy now too much to weep; Nor need I to repine That all those charms have pass'd away,
I might have watch'd through long decay.
The flower in ripen'd bloom unmatch'd Must fall the earliest prey; Though by no hand untimely snatch'd, The leaves must drop away: And yet it were a greater grief To watch it withering, leaf by leaf, Than see it pluck'd to-day; Since earthly eye but ill can bear To trace the change to foul from fair.
I know not if I could have borne To see thy beauties fade; The night that follow'd such a morn Had worn a deeper shade:
Thy day without a cloud hath pass'd, And thou wert lovely to the last, Extinguish'd, not decay'd; As stars that shoot along the sky Shine brightest as they fall from high.
As once I wept, if I could weep, My tears might well be shed, To think I was not near to keep One vigil o'er thy bed; To gaze, how fondly! on thy face, To fold thee in a faint embrace, Uphold thy drooping head; And show that love, however vain, Nor thou nor I can feel again.
Yet how much less it were to gain, Though thou hast left me free, The loveliest things that still remain, Than thus remember thee! The all of thine that cannot die Through dark and dread Eternity Returns again to me, And more thy buried love endears Than aught except its living years.
DARKNESS
had a dream, which was not all a dream. The bright sun was extinguish'd, and the stars
Did wander darkling in the eternal space, Rayless, and pathless, and the icy earth Swung blind and blackening in the moonless air; Morn came and went--and came, and brought no day, And men forgot their passions in the dread Of this their desolation; and all hearts Were chill'd into a selfish prayer for light: And they did live by watchfires--and the thrones, The palaces of crowned kings--the huts, The habitations of all things which dwell, Were burnt for beacons; cities were consum'd, And men were gather'd round their blazing homes To look once more into each other's face; Happy were those who dwelt within the eye Of the volcanos, and their mountain-torch:
A fearful hope was all the world contain'd; Forests were set on fire--but hour by hour They fell and faded--and the crackling trunks Extinguish'd with a crash--and all was black. The brows of men by the despairing light Wore an unearthly aspect, as by fits The flashes fell upon them; some lay down And hid their eyes and wept; and some did rest Their chins upon their clenched hands, and smil'd; And others hurried to and fro, and fed Their funeral piles with fuel, and look'd up With mad disquietude on the dull sky, The pall of a past world; and then again With curses cast them down upon the dust, And gnash'd their teeth and howl'd: the wild birds shriek'd
And, terrified, did flutter on the ground, And flap their useless wings; the wildest brutes Came tame and tremulous; and vipers crawl'd And twin'd themselves among the multitude, Hissing, but stingless--they were slain for food. And War, which for a moment was no more, Did glut himself again: a meal was bought With blood, and each sate sullenly apart Gorging himself in gloom: no love was left; All earth was but one thought--and that was death Immediate and inglorious; and the pang Of famine fed upon all entrails--men Died, and their bones were tombless as their flesh; The meagre by the meagre were devour'd, Even dogs assail'd their masters, all save one, And he was faithful to a corse, and kept
The birds and beasts and famish'd men at bay, Till hunger clung them, or the dropping dead Lur'd their lank jaws; himself sought out no food, But with a piteous and perpetual moan, And a quick desolate cry, licking the hand Which answer'd not with a caress--he died. The crowd was famish'd by degrees; but two Of an enormous city did survive, And they were enemies: they met beside The dying embers of an altar-place Where had been heap'd a mass of holy things For an unholy usage; they rak'd up, And shivering scrap'd with their cold skeleton hands The feeble ashes, and their feeble breath Blew for a little life, and made a flame
Which was a mockery; then they lifted up Their eyes as it grew lighter, and beheld Each other's aspects--saw, and shriek'd, and died-Even of their mutual hideousness they died, Unknowing who he was upon whose brow Famine had written Fiend. The world was void, The populous and the powerful was a lump, Seasonless, herbless, treeless, manless, lifeless-A lump of death--a chaos of hard clay. The rivers, lakes and ocean all stood still, And nothing stirr'd within their silent depths; Ships sailorless lay rotting on the sea, And their masts fell down piecemeal: as they dropp'd They slept on the abyss without a surge-The waves were dead; the tides were in their
grave, The moon, their mistress, had expir'd before; The winds were wither'd in the stagnant air, And the clouds perish'd; Darkness had no need Of aid from them--She was the Universe.
THE DESTRUCTION OF SENNACHERIB
HE Assyrian came down like the wolf on the fold, And his cohorts were gleaming in purple and gold; And the sheen of their spears was like stars on the sea, When the blue wave rolls nightly on deep Galilee.
Like the leaves of the forest when Summer is
green, That host with their banners at sunset were seen: Like the leaves of the forest when Autumn hath blown, That host on the morrow lay withered and strown.
For the Angel of Death spread his wings on the blast, And breathed in the face of the foe as he passed; And the eyes of the sleepers waxed deadly and chill, And their hearts but once heaved, and for ever grew still!
And there lay the steed with his nostril all wide, But through it there rolled not the breath of his pride;
And the foam of his gasping lay white on the turf, And cold as the spray of the rock-beating surf.
And there lay the rider distorted and pale, With the dew on his brow, and the rust on his mail: And the tents were all silent, the banners alone, The lances unlifted, the trumpet unblown.
And the widows of Ashur are loud in their wail, And the idols are broke in the temple of Baal; And the might of the Gentile, unsmote by the sword, Hath melted like snow in the glance of the Lord!
THE EVE OF WATERLOO
HERE was a sound of revelry by night, And Belgium's capital had gathered then Her beauty and her chivalry, and bright The lamps shone o'er fair women and brave men. A thousand hearts beat happily; and when Music arose with its voluptuous swell, Soft eyes looked love to eyes which spake again, And all went merry as a marriage bell; But hush! hark! a deep sound strikes like a rising knell!
Did ye not hear it? -- No; 'twas but the wind, Or the car rattling o'er the stony street;
On with the dance! let joy be unconfined; No sleep till morn, when youth and pleasure meet To chase the glowing hours with flying feet. But hark! -- that heavy sound breaks in once more, As if the clouds its echo would repeat; And nearer, clearer, deadlier than before; Arm! arm! it is -- it is -- the cannon's opening roar!
Within a windowed niche of that high hall Sate Brunswick's fated chieftain; he did hear That sound the first amidst the festival, And caught its tone with death's prophetic ear; And when they smiled because he deemed it near, His heart more truly knew that peal too well Which stretched his father on a bloody bier, And roused the vengeance blood alone could
quell; He rushed into the field, and, foremost fighting, fell.
Ah! then and there was hurrying to and fro, And gathering tears, and tremblings of distress, And cheeks all pale, which, but an hour ago, Blushed at the praise of their own loveliness. And there were sudden partings, such as press The life from out young hearts, and choking sighs Which ne'er might be repeated; who would guess If ever more should meet those mutual eyes, Since upon night so sweet such awful morn could rise!
And there was mounting in hot haste; the steed,
The mustering squadron, and the clattering car, Went pouring forward with impetuous speed, And swiftly forming in the ranks of war; And the deep thunder, peal on peal afar; And near, the beat of the alarming drum Roused up the soldier ere the morning star; While thronged the citizens with terror dumb, Or whispering, with white lips -- "The foe! they come! they come!"
ON THIS DAY I COMPLETE MY THIRTY-SIXTH YEAR
IS time the heart should be unmoved, Since others it hath ceased to move:
Yet, though I cannot be beloved, Still let me love!
My days are in the yellow leaf; The flowers and fruits of love are gone; The worm, the canker, and the grief Are mine alone!
The fire that on my bosom preys Is lone as some volcanic isle; No torch is kindled at its blaze-A funeral pile.
The hope, the fear, the jealous care, The exalted portion of the pain And power of love, I cannot share,
But wear the chain.
But 'tis not thus--and 'tis not here-Such thoughts should shake my soul nor now, Where glory decks the hero's bier, Or binds his brow.
The sword, the banner, and the field, Glory and Greece, around me see! The Spartan, borne upon his shield, Was not more free.
Awake! (not Greece--she is awake!) Awake, my spirit! Think through whom Thy life-blood tracks its parent lake, And then strike home!
Tread those reviving passions down, Unworthy manhood!--unto thee Indifferent should the smile or frown Of beauty be.
If thou regrett'st thy youth, why live? The land of honourable death Is here:--up to the field, and give Away thy breath!
ON THIS DAY I COMPLETE MY THIRTY-SIXTH YEAR
IS time the heart should be unmoved,
Since others it hath ceased to move: Yet, though I cannot be beloved, Still let me love!
My days are in the yellow leaf; The flowers and fruits of love are gone; The worm, the canker, and the grief Are mine alone!
The fire that on my bosom preys Is lone as some volcanic isle; No torch is kindled at its blaze-A funeral pile.
The hope, the fear, the jealous care, The exalted portion of the pain
And power of love, I cannot share, But wear the chain.
But 'tis not thus--and 'tis not here-Such thoughts should shake my soul nor now, Where glory decks the hero's bier, Or binds his brow.
The sword, the banner, and the field, Glory and Greece, around me see! The Spartan, borne upon his shield, Was not more free.
Awake! (not Greece--she is awake!) Awake, my spirit! Think through whom Thy life-blood tracks its parent lake,
And then strike home!
Tread those reviving passions down, Unworthy manhood!--unto thee Indifferent should the smile or frown Of beauty be.
If thou regrett'st thy youth, why live? The land of honourable death Is here:--up to the field, and give Away thy breath!
Seek out--less often sought than found-A soldier's grave, for thee the best; Then look around, and choose thy ground, And take thy rest.
PROMETHEUS
ITAN! to whose immortal eyes The sufferings of mortality, Seen in their sad reality, Were not as things that gods despise; What was thy pity's recompense? A silent suffering, and intense; The rock, the vulture, and the chain, All that the proud can feel of pain, The agony they do not show, The suffocating sense of woe, Which speaks but in its loneliness,
And then is jealous lest the sky Should have a listener, nor will sigh Until its voice is echoless.
Titan! to thee the strife was given Between the suffering and the will, Which torture where they cannot kill; And the inexorable Heaven, And the deaf tyranny of Fate, The ruling principle of Hate, Which for its pleasure doth create The things it may annihilate, Refus'd thee even the boon to die: The wretched gift Eternity Was thine--and thou hast borne it well. All that the Thunderer wrung from thee
Was but the menace which flung back On him the torments of thy rack; The fate thou didst so well foresee, But would not to appease him tell; And in thy Silence was his Sentence, And in his Soul a vain repentance, And evil dread so ill dissembled, That in his hand the lightnings trembled.
Thy Godlike crime was to be kind, To render with thy precepts less The sum of human wretchedness, And strengthen Man with his own mind; But baffled as thou wert from high, Still in thy patient energy, In the endurance, and repulse
Of thine impenetrable Spirit, Which Earth and Heaven could not convulse, A mighty lesson we inherit: Thou art a symbol and a sign To Mortals of their fate and force; Like thee, Man is in part divine, A troubled stream from a pure source; And Man in portions can foresee His own funereal destiny; His wretchedness, and his resistance, And his sad unallied existence: To which his Spirit may oppose Itself--and equal to all woes, And a firm will, and a deep sense, Which even in torture can descry Its own concenter'd recompense,
Triumphant where it dares defy, And making Death a Victory.
SHE WALKS IN BEAUTY
HE walks in beauty, like the night Of cloudless climes and starry skies; And all that's best of dark and bright Meet in her aspect and her eyes: Thus mellow'd to that tender light Which heaven to gaudy day denies.
One shade the more, one ray the less, Had half impair'd the nameless grace
Which waves in every raven tress, Or softly lightens o'er her face; Where thoughts serenely sweet express How pure, how dear their dwelling-place.
And on that cheek, and o'er that brow, So soft, so calm, yet eloquent, The smiles that win, the tints that glow, But tell of days in goodness spent, A mind at peace with all below, A heart whose love is innocent!
THERE BE NONE OF BEAUTY'S DAUGHTERS
HERE be none of Beauty's daughters With a magic like Thee;
And like music on the waters Is thy sweet voice to me: When, as if its sound were causing The charmĂŠd ocean's pausing, The waves lie still and gleaming, And the lull'd winds seem dreaming: And the midnight moon is weaving Her bright chain o'er the deep, Whose breast is gently heaving As an infant's asleep: So the spirit bows before thee To listen and adore thee; With a full but soft emotion, Like the swell of Summer's ocean.
WE'LL GO NO MORE A-ROVING
O, we'll go no more a-roving So late into the night, Though the heart be still as loving, And the moon be still as bright.
For the sword outwears its sheath, And the soul wears out the breast, And the heart must pause to breathe, And love itself have a rest.
Though the night was made for loving, And the day returns too soon, Yet we'll go no more a-roving
By the light of the moon.
WHEN WE TWO PARTED
HEN we two parted In silence and tears, Half broken-hearted To sever for years, Pale grew thy cheek and cold, Colder thy kiss; Truly that hour foretold Sorrow to this.
The dew of the morning Sunk chill on my brow--
It felt like the warning Of what I feel now. Thy vows are all broken, And light is thy fame: I hear thy name spoken, And share in its shame.
They name thee before me, A knell to mine ear; A shudder comes o'er me-Why wert thou so dear? They know not I knew thee, Who knew thee too well: Lond, long shall I rue thee, Too deeply to tell.
I secret we met-I silence I grieve, That thy heart could forget, Thy spirit deceive. If I should meet thee After long years, How should I greet thee? With silence and tears.
اردو کی آوازوں کا نظام اور الرڑ بائرن کی شعری زبان مقصود حسنی
ابوزر برقی کتب خانہ مئی ٢٠١٦