یہ جو دیوانے سے دو-چار نظر آتے ہیں
ye jo dīvāne se do-chār nazar aate haiñ
These few who appear to be madmen
ساغر صدیقی
یہ جو دیوانے سے دو-چار نظر آتے ہیں اِن میں کچھ صاحبِ اسرار نظر آتے ہیں
ye jo dīvāne se do-chār nazar aate haiñ in meñ kuchh sāhab-e-asrār nazar aate haiñ
These few who appear to be madmen, Among them, some appear to be masters of secrets.
تیری محفل کا بھرم رکھتے ہیں سو جاتے ہیں ورنہ یہ لوگ تو بیدار نظر آتے ہیں
terī mahfil kā bharam rakhte haiñ so jaate haiñ varna ye log to bedār nazar aate haiñ
They preserve the illusion of your gathering, so they (pretend to) sleep; Otherwise, these people appear to be truly awake.
دُھو تک کوئی ستارہ ہے نہ کوئی جُگنو مرگِ اُمید کے آثار نظر آتے ہیں
duur tak koī sitāra hai na koī jugnū marg-e-ummīd ke āsār nazar aate haiñ
In the distance, there is no star, nor any firefly; The signs of the death of hope are visible.
مِ <bos> دامن میں شراروں کے سِوا کچھ بھی نہیں آپ پھُولوں کے خریدار نظر آتے ہیں
mire dāman meñ sharāroñ ke sivā kuchh bhī nahīñ aap phūloñ ke ḳharīdār nazar aate haiñ
In my lapel, there is nothing but sparks; (And) you appear to be a buyer of flowers.
کل جنہیں چھُو نہیں سکتی تھی فرشتوں کی نظر آج وہ رونقِ اَ بازار نظر آتے ہیں
kal jinheñ chhū nahīñ saktī thī farishtoñ kī nazar aaj vo raunaq-e-bāzār nazar aate haiñ
Those whom, yesterday, the gaze of angels could not touch, Today, they are seen as the adornment of the marketplace.
حشر میں کون گواہی مِری دے گا 'ساغر' سب تمہارے ہی طرف دار نظر آتے ہیں
hashr meñ kaun gavāhī mirī degā 'sāġhar' sab tumhāre hī taraf-dār nazar aate haiñ
On the Day of Judgment, who will give testimony for me, 'Saghar'? Everyone there seems to be your partisan.
📖Couplet 1:
The poet starts with the classic Sufi idea that those dismissed by the world as 'madmen' (dīvāne) are often the ones who possess deep, mystical secrets (sāhab-e-asrār). They see the truth, and the world cannot handle it.
Couplet 2:
This deepens the first couplet. These 'madmen' are not asleep; they are the only ones truly 'awake' (bedār). They pretend to be asleep (or ignorant) only to maintain the bharam (the honor, the illusion) of the world's 'party' (mahfil). They are silent witnesses, unwilling to destroy the world's fragile happiness with the harsh truths they know.
Couplet 3:
A simple but powerful expression of utter hopelessness. There is no light, neither large (a star) nor small (a firefly). The poet sees only the 'death of hope.'
Couplet 4:
The poet addresses the world (or a patron, or the beloved). He says, 'I have nothing to offer but sharāroñ (sparks)—fiery poetry, pain, harsh truths.' But the world is a 'buyer of flowers'—it wants only pretty, comfortable, and pleasant things. They are incompatible.
Couplet 5:
A tragic lament. He speaks of people (or ideals, or the beloved) who were once so pure and untouchable that even 'angels couldn't gaze upon them.' But now, they have fallen from grace and become raunaq-e-bāzār—a 'public spectacle,' a commodity to be bought and sold, the cheap life of the party.
Couplet 6 (Maqta):
The poet addresses God (or his beloved) directly. 'On Judgment Day, who will speak for me, Saghar?' He is utterly alone. The complaint is that everyone—all of creation, all the angels, all of humanity—will be on God's side (taraf-dār). He stands alone, accused, with no one to defend him against the One he has spent a lifetime loving and complaining to.