2.1
Your guide: Sir FarazBelieves a good tashreeh is half understanding, half good handwriting.
Pause for a moment. When the name of the Rasoolullah ﷺ is spoken near you, what do you say, and what does your heart do?
Read the Naat on p. 7 of your book first. Here is the poet, the shape of the poem, and the book's four poetic terms.
Mahir-ul-Qadri's real name was Manzoor Hussain; Mahir was his pen name. He was born in July 1906 in Kesar Kalan, District Bulandshahr (U.P., India). His father was Muhammad Mashooq Ali.
He learned the Quran and Urdu at the village maktab, passed matric from Aligarh Muslim University in 1926, and joined the postal department in Hyderabad Deccan in 1929.
After Pakistan was made, he launched the monthly Faran in April 1949; it appeared regularly for 29 years. In 1952 he wrote Karwan-e-Hijaz on what he saw and felt during Hajj.
His books include Zahoor-e-Qudsi (a collection of naats), Mahsoosat-e-Mahir, Naghmat-e-Mahir and Kulliyat-e-Mahir-ul-Qadri. He died in 1978, at the age of 72.
The book: the most marked quality of his naats is a deep, devoted love for Nabi-e-Kareem ﷺ. His style is simple, fluent and moving, full of spiritual feeling.
The Naat is from Kulliyat-e-Mahir-ul-Qadri. It has seven couplets, and the refrain (radif) after each rhyme is “kahiye” (say it). It opens with two of his ﷺ titles:
رسولِ مجتبیٰؐ کہیے، محمدؐ مصطفیٰ کہیے (ص 7، شعر 1)
Couplet 2 gives two more titles: what the shariat insists on, and what love demands.
شریعت کا ہے یہ اِصرار ختم الانبیاؐ کہیے (ص 7، شعر 2)
محبت کا تقاضا ہے کہ محبوبِ خدا کہیے (ص 7، شعر 2)
Couplet 3 tells what to do when his ﷺ name is spoken:
جب اُنؐ کا نام آئے مرحبا صلِّ علیٰ کہیے (ص 7، شعر 3)
Couplets 4–6 speak of his ﷺ footsteps as the lamp of guidance, of his prophethood, and of the dust of the road to Taiba. In the last couplet (maqta) the poet names himself, Mahir, and speaks of Madina.
مدینہ یاد آتا ہے تو پھر آنسو نہیں رُکتے (ص 7، شعر 7)
The book divides the nazm into four kinds: paband (bound), muarra (blank), azad (free) and nasri (prose) nazm. A paband nazm keeps metre, rhyme (qafiya) and refrain (radif).
Misra: in Arabic, one panel of a door. As a term, half of a couplet. Two misras together make a sher.
Sher: writing in a fixed metre (wazn and bahr). A sher has two misras: the first is misra-e-oola, the second misra-e-sani.
Qafiya: the rhyming words at the end of the couplets, which change from couplet to couplet. In the book's example, habaab and saraab are qafiyas.
Radif: the word or words that come again and again after the qafiya. In Arabic it means one who rides behind the rider. In Mir Taqi Mir's example, “jaane hai” is the radif.
Step 1 / 7
Pause for a moment. When the name of the Rasoolullah ﷺ is spoken near you, what do you say, and what does your heart do?
Read the Naat on p. 7 of your book first. Here is the poet, the shape of the poem, and the book's four poetic terms.
Mahir-ul-Qadri's real name was Manzoor Hussain; Mahir was his pen name. He was born in July 1906 in Kesar Kalan, District Bulandshahr (U.P., India). His father was Muhammad Mashooq Ali.
He learned the Quran and Urdu at the village maktab, passed matric from Aligarh Muslim University in 1926, and joined the postal department in Hyderabad Deccan in 1929.
After Pakistan was made, he launched the monthly Faran in April 1949; it appeared regularly for 29 years. In 1952 he wrote Karwan-e-Hijaz on what he saw and felt during Hajj.
His books include Zahoor-e-Qudsi (a collection of naats), Mahsoosat-e-Mahir, Naghmat-e-Mahir and Kulliyat-e-Mahir-ul-Qadri. He died in 1978, at the age of 72.
The book: the most marked quality of his naats is a deep, devoted love for Nabi-e-Kareem ﷺ. His style is simple, fluent and moving, full of spiritual feeling.
The Naat is from Kulliyat-e-Mahir-ul-Qadri. It has seven couplets, and the refrain (radif) after each rhyme is “kahiye” (say it). It opens with two of his ﷺ titles:
رسولِ مجتبیٰؐ کہیے، محمدؐ مصطفیٰ کہیے (ص 7، شعر 1)
Couplet 2 gives two more titles: what the shariat insists on, and what love demands.
شریعت کا ہے یہ اِصرار ختم الانبیاؐ کہیے (ص 7، شعر 2)
محبت کا تقاضا ہے کہ محبوبِ خدا کہیے (ص 7، شعر 2)
Couplet 3 tells what to do when his ﷺ name is spoken:
جب اُنؐ کا نام آئے مرحبا صلِّ علیٰ کہیے (ص 7، شعر 3)
Couplets 4–6 speak of his ﷺ footsteps as the lamp of guidance, of his prophethood, and of the dust of the road to Taiba. In the last couplet (maqta) the poet names himself, Mahir, and speaks of Madina.
مدینہ یاد آتا ہے تو پھر آنسو نہیں رُکتے (ص 7، شعر 7)
The book divides the nazm into four kinds: paband (bound), muarra (blank), azad (free) and nasri (prose) nazm. A paband nazm keeps metre, rhyme (qafiya) and refrain (radif).
Misra: in Arabic, one panel of a door. As a term, half of a couplet. Two misras together make a sher.
Sher: writing in a fixed metre (wazn and bahr). A sher has two misras: the first is misra-e-oola, the second misra-e-sani.
Qafiya: the rhyming words at the end of the couplets, which change from couplet to couplet. In the book's example, habaab and saraab are qafiyas.
Radif: the word or words that come again and again after the qafiya. In Arabic it means one who rides behind the rider. In Mir Taqi Mir's example, “jaane hai” is the radif.
In this Naat the radif is “kahiye” and the qafiyas end in the same sound: mustafa, kya, al-anbiya, khuda. Finding them is exercise 6.
Q1. Exercise 2 (p. 8): Which titles has Mahir-ul-Qadri used for Nabi-e-Kareem ﷺ in this Naat? Make a list.
Rasool-e-Mujtaba, Muhammad Mustafa, Khatam-ul-Anbiya, Mehboob-e-Khuda and Sarkar (couplets 1, 2 and 4, p. 7).
Q2. Exercise 1 (ii) and (v) (p. 8): What do the shariat and love ask, in the poet's words? What should a Muslim say on hearing his ﷺ name?
The shariat insists that he ﷺ be called Khatam-ul-Anbiya; love demands that he ﷺ be called Mehboob-e-Khuda. On hearing his ﷺ name, say “Marhaba, salli ala”.
✗ Calling “kahiye” the qafiya of this Naat.
✓ “Kahiye” repeats after the rhyme, so it is the radif. The changing rhymes before it (mustafa, khuda…) are the qafiyas.
✗ Dropping the salawat sign when copying a misra with his ﷺ name.
✓ Copy each misra as printed on p. 7, with the sign after every name and title of the Rasool ﷺ.
✗ Counting “khaak” as twice in couplet 6.
✓ Read the second misra slowly: khaak, then jis khaak, then khaak-e-shifa. It is three times.
1. The radif of the Naat is
(a) Exercise 3 (i): “kahiye” comes after every qafiya (p. 7).
2. For the poet, the whole world should fall silent and listen when his ﷺ…
(b) Exercise 3 (ii): couplet 3, first misra, speaks of his ﷺ zikr (p. 7).
3. “Mujtaba” and “Mustafa” are his ﷺ
(c) Exercise 3 (iii): they are titles (alqaab).
4. How many times does the word “khaak” come in the Naat?
(d) Exercise 3 (iv): all three are in couplet 6, second misra (p. 7).
5. In the maqta, why do the poet's tears not stop?
(b) Exercise 3 (v): “Madina yaad aata hai” (couplet 7, p. 7).
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