A close comparison
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tarānah-e hindī |
tarānah-e millī |
|
| 1h) | ... | 1m) |
sāre jahāñ se achchā
hindūsitāñ hamārā ham bulbuleñ haiñ us kī vuh gulsitāñ hamārā |
chīn-o-ʿarab hamārā
hindūsitāñ hamārā muslim haiñ ham vat̤an hai sārā jahāñ hamārā |
|
| 2h) | 2m) | |
ġhurbat meñ hoñ
agar ham rahtā hai dil vat̤an meñ samjho vuhīñ hameñ bhī dil ho jahāñ hamārā |
tauḥīd kī amānat
sīnoñ meñ hai hamāre āsāñ nahīñ miṭānā nām-o-nishāñ hamārā |
|
| 3h) | 3m) | |
parbat vuh sab se
ūñchā hamsāyah āsmāñ kā vuh santarī hamārā vuh pāsbāñ hamārā |
duniya ke but-kadoñ
meñ pahlā vuh ghar ḳhudā kā ham us ke pāsbāñ haiñ vuh pāsbāñ hamārā |
|
| 4h) | 4m) | |
godī meñ kheltī
haiñ us kī hazāroñ nadiyāñ gulshan hai jin ke dam se rashk-e janāñ hamārā |
teġhoñ ke sāʾe
meñ ham pal kar javāñ huʾe haiñ ḳhanjar ḥilāl kā hai qaumī nishāñ hamārā |
|
| 5h) | 5m) | |
ay āb-rūd-e gangā
vuh din haiñ yād tujh ko utarā tire kināre jab kāravāñ hamārā |
maġhrib kī vādiyoñ
meñ gūñjī ażāñ hamārī thamtā nah thā kisī se sail-e ravāñ hamārā |
|
| 6h) | 6m) | |
mażhab nahīñ sikhātā
āpas meñ bair rakhnā hindī haiñ ham vat̤an hai hindūsitāñ hamārā |
bāt̤il se dabne vāle
ay āsmāñ nahīñ ham sau bār kar chukā hai tū imtiḥāñ hamārā |
|
| 7h) | 7m) | |
yūnān-o-miṣr-o-romā
sab miṭ gaʾe jahāñ se ab tak magar hai bāqī nām-o-nishāñ hamārā |
ay gulsitān-e andlūs
vuh din haiñ yād tujh ko thā terī ḍāliyoñ meñ jab āshiyāñ hamārā |
|
| 8h) | 8m) | |
kuchh bāt hai kih
hastī miṭtī nahīñ hamārī ṣadiyoñ rahā hai dushman daur-e zamāñ hamārā |
ay mauj-e dajlah tū
bhī pahchāntī hai ham ko ab tak hai terā daryā afsānah-ḳhvāñ hamārā |
|
| 9h) | 9m) | |
iqbāl koʾī maḥram
apnā nahīñ jahāñ meñ maʿlūm kyā kisī ko dard-e nihāñ hamārā |
ay arẓ-e pāk terī
ḥarmat pah kaṭ mare haiñ hai ḳhūñ tirī ragoñ meñ ab tak ravāñ hamārā |
|
| 10m) | ||
sālar-e kāravāñ
hai mīr-e ḥijāz apnā us nām se hai bāqī ārām-e jāñ hamārā |
||
| 11m) | ||
iqbāl kā tarānah
bāñg-e darā hai goyā hotā hai jādah-pemā phir kāravāñ hamārā |
||
Iqbal has obviously composed the second of these two ghazals to resonate with the first. They are in the same meter, and they both have the same rhyme scheme (refrain hamārā , rhyme-syllable āñ ).
A number of verses recycle the same rhyme-words too:
pāsbāñ from (3h) is reused in (3m)
kāravāñ from (5h) is reused in (11m)
nām-o-nishāñ from (7h) is reused in (2m)But the similarities go much further.
we are nightingales in a garden in (1h), we are birds in a garden in (7m)
we have door-guards in both (3h) and (3m)
the Ganges is addressed in (5h), the Tigris in (8m)
both (5h) and (7m) address a natural presence and say vuh din haiñ yād tujh ko
both (6h) and (1m) define for us a vat̤an
both (7h)-(8h) and (2m) make it clear that we're hard to eraseAnd there are also a few striking oppositions, especially at the beginning and end. The opening-verse (1h) claims that our homeland is better than the whole world, while the opening-verse (1m) claims that our homeland is the whole world. And the closing-verse (9h) speaks of solitude and dejection, while (10m) and the closing-verse (11m) claim inclusion in a collective moving caravan led, reassuringly, by the Prophet himself.
In general, 'Tarannah-e Hindi' exultantly contrasts India with dead empires, and makes it clear that India is the beautiful center of our loyalties-- an India that has religious tolerance as a guiding moral principle. By contrast, 'Taranna-e Milli' roams the whole world: Central Asia, Arabia, the West, Andalusia, the Tigris River. It directs our attention away from any one geographical place, and refocuses it on a religious community, a millat , moving through history, through many times and places, with a special monotheistic mandate more precious than life itself.