Translating Poems using Gen AI
Poem 1:
مجھ سے پہلی سی محبت مری محبوب نہ مانگ
میں نے سمجھا تھا کہ تو ہے تو درخشاں ہے حیات
تیرا غم ہے تو غم دہر کا جھگڑا کیا ہے
تیری صورت سے ہے عالم میں بہاروں کو ثبات
تیری آنکھوں کے سوا دنیا میں رکھا کیا ہے
تو جو مل جائے تو تقدیر نگوں ہو جائے
یوں نہ تھا میں نے فقط چاہا تھا یوں ہو جائے
اور بھی دکھ ہیں زمانے میں محبت کے سوا
راحتیں اور بھی ہیں وصل کی راحت کے سوا
ان گنت صدیوں کے تاریک بہیمانہ طلسم
ریشم و اطلس و کمخاب میں بنوائے ہوئے
جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم
خاک میں لتھڑے ہوئے خون میں نہلائے ہوئے
جسم نکلے ہوئے امراض کے تنوروں سے
پیپ بہتی ہوئی گلتے ہوئے ناسوروں سے
لوٹ جاتی ہے ادھر کو بھی نظر کیا کیجے
اب بھی دل کش ہے ترا حسن مگر کیا کیجے
اور بھی دکھ ہیں زمانے میں محبت کے سوا
راحتیں اور بھی ہیں وصل کی راحت کے سوا
مجھ سے پہلی سی محبت مری محبوب نہ مانگ
ChatGPT:
English:
Do not ask of me, my beloved, that old love again.
I had believed that if you were there, life itself would shine.
I thought that if your sorrow was mine,
What quarrel could the world’s grief still have with me?
From your face alone, I believed,
Spring itself found permanence in this world.
Beyond your eyes, I thought, what did the world even hold?
If I found you, I believed fate itself would bow.
It was not exactly so
I had only wished that it might be so.
There are other sorrows in this world besides love,
Other comforts too, beyond the comfort of union.
Countless centuries of dark, brutal enchantments,
Bodies wrapped in silk, satin, and brocade,
Bodies sold everywhere in streets and in markets,
Bodies smeared with dust, bathed in blood.
Bodies dragged out of furnaces of disease,
From festering wounds where pus still flows.
Where should the gaze turn away what can one do?
Even now, your beauty is captivating,
But what can one do?
There are other sorrows in this world besides love,
Other comforts too, beyond the comfort of union.
Do not ask of me, my beloved, that old love again.
Hindi:
मुझसे पहली-सी मोहब्बत, मेरी महबूब, न माँग।
मैंने समझा था कि तू है तो जीवन दमकता है।
तेरा ग़म है तो फिर दुनिया के ग़म का झगड़ा क्या,
तेरे चेहरे से ही तो इस जग में बहारों को ठहराव है।
तेरी आँखों के सिवा दुनिया में रखा ही क्या है,
तू जो मिल जाए तो क़िस्मत भी झुक जाए।
ऐसा नहीं था
मैंने बस यही चाहा था कि ऐसा हो जाए।
मोहब्बत के सिवा भी दुनिया में और दुख हैं,
मिलन की राहत के सिवा भी और राहतें हैं।
अनगिनत सदियों के अँधेरे, क्रूर तिलिस्म,
रेशम, अतलस और कमख़्वाब में लिपटे हुए,
गली-कूचों, बाज़ारों में जगह-जगह बिकते हुए जिस्म,
धूल में सने, ख़ून में नहलाए हुए।
बीमारियों के भट्ठों से निकले हुए जिस्म,
पीप बहाते, सड़ते हुए नासूरों से।
नज़र उधर भी चली जाती है अब क्या कीजिए।
आज भी तेरा हुस्न दिलकश है,
मगर क्या कीजिए।
मोहब्बत के सिवा भी दुनिया में और दुख हैं,
मिलन की राहत के सिवा भी और राहतें हैं।
मुझसे पहली-सी मोहब्बत, मेरी महबूब, न माँग।
1. Syntax (Sentence Structure)
Partially retained, partially altered.
- The original Urdu poem uses long, flowing, enjambed lines, often with delayed predicates and rhetorical turns.
- In the Hindi translation, sentence structures are slightly simplified for clarity and readability.
- Core syntactic relationships (cause–effect, contrast, rhetorical questioning) are preserved, but:
- Some inversions common in Urdu (“تیرا غم ہے تو…”) are normalized in Hindi.
- Ellipses and pauses are maintained through line breaks rather than complex syntax.
2. Metre and Sound (Rhythm & Musicality)
Partially preserved, but not metrically identical.
- Faiz’s original poem follows a traditional Urdu lyrical cadence, supported by internal rhyme, repetition, and soft consonance.
- The Hindi translation retains:
- Repetition (“और भी दुख हैं…”)
- Parallel phrasing
However:
- Exact metrical equivalence (beher) is not maintained.
- Urdu’s phonetic softness (خ، غ، ق) has no full Hindi equivalent.
3. Lexicon and Grammar (Word Choice & Language Use)
Highly appropriate and context-sensitive.
- Key words such as मोहब्बत, महबूब, हुस्न, ग़म are retained from Perso-Urdu rather than replaced with Sanskritized alternatives.
- Preserves the poem’s linguistic register
- Maintains intimacy and lyrical warmth
- Grammar is standard modern Hindi, avoiding artificial archaism.
4. Cultural Connotations
Successfully preserved and meaningfully translated.
Terms like:
- मोहब्बत (love as devotion, not romance alone)
- महबूब (beloved with spiritual and emotional weight)
- बाज़ार में बिकते हुए जिस्म (social critique of exploitation)
- These retain their South Asian cultural and political resonance.
- The Marxist-humanist undertone of Faiz’s poetry remains intact.
Assessment:
✔ Cultural depth preserved
✔ No flattening of socio-political meaning
5. Tone and Emotion
- Faithfully retained.
- The original poem’s tone shifts from:
- Romantic idealism → Disillusionment → Compassionate realism
The Hindi translation mirrors this progression:
- Tender opening
- Stark imagery of suffering
- Quiet resignation rather than bitterness
Assessment:
✔ Emotional arc intact
✔ Elegiac, reflective tone preserved
6. Semiotics (Symbols & Metaphors)
Effectively translated, with minimal loss.
Key metaphors:
- तिलिस्म (illusion of history)
- रेशम और कमख़्वाब (luxury masking brutality)
- बीमारियों के भट्ठे (industrialized suffering)
These are translated literally but intelligibly, preserving symbolic density.
Some Urdu metaphoric compression is expanded slightly for clarity.
- Overall Evaluation
Translation Analysis:
- अनुवाद-संबंधी संक्षिप्त टिप्पणी
Syntax: उर्दू के काव्यात्मक वाक्य-विन्यास को हिंदी में बनाए रखते हुए हल्का सरलीकरण किया गया है, पर भावात्मक क्रम सुरक्षित है।
Metre & Sound: पूर्ण बह्र संभव न होते हुए भी लयात्मक पुनरावृत्ति, समान अंत-ध्वनियाँ और विराम बनाए गए हैं।
Lexicon: मोहब्बत, महबूब, ग़म, हुस्न, वस्ल जैसे शब्द जानबूझकर रखे गए हैं ताकि सांस्कृतिक-भावनात्मक गहराई बनी रहे।
Cultural Connotations: बाज़ार, जिस्म, रेशम, तिलिस्म जैसे प्रतीक Faiz की सामाजिक चेतना को यथावत रखते हैं।
Tone & Semiotics: प्रेम से मोहभंग और करुण यथार्थ तक की यात्रा बनी रहती है।
यदि आप चाहें, तो मैं इसे
और अधिक छंदबद्ध,
शोध-पत्र स्तर के “annotated translation”,
या तुलनात्मक (उर्दू–हिंदी पंक्ति-दर-पंक्ति) रूप में भी प्रस्तुत कर सकता हूँ।
1. Challenges in Translating the Poem
a) Which parts were challenging to translate, and why?
i. Metre (Behr) and Musicality
The most difficult aspect to translate was the Urdu behr (metrical system). Faiz’s poem relies on:
Qaafiya and radeef (repeated end-words),
Soft consonantal sounds (خ، غ، ق),
A flowing cadence that merges lyricism with argument.
English and Hindi lack an equivalent metrical system, making formal equivalence impossible without sacrificing meaning.
ii. Semantic Density of Images
Lines such as:
“ریشم و اطلس و کمخاب میں بنوائے ہوئے”
“پیپ بہتی ہوئی گلتے ہوئے ناسوروں سے”
compress class critique, bodily suffering, and historical violence into a few words. Translating them risks either:
Over-explication (loss of poetic force), or
Literalism (loss of cultural resonance).
iii. Tonal Shift
The poem moves from romantic idealism → social awakening → resigned compassion. Maintaining this gradual shift without sounding abrupt or didactic posed a major challenge.
b) How were cultural connotations and collocations handled?
Perso-Urdu lexicon (mohabbat, mahboob, vasl, dahr) was largely retained or carefully glossed.
Culture-specific collocations such as:
bazaar + jism (commodification),
resham vs peep (luxury vs decay),
were translated literally but contextually, preserving ideological meaning.
Gemini’s Hindi output preserved many Urdu words with parenthetical explanations, prioritizing semantic transparency over poetic smoothness.
2. Translation Choices and Considerations
a) Did metre or rhyme influence the translation?
ChatGPT prioritized semantic and emotional fidelity, sacrificing metre.
Gemini attempted to compensate for lost metre through:
Blank verse cadence,
Strategic repetition of refrains,
Shifts in line length to mirror emotional weight.
Neither tool could retain Urdu behr, but Gemini showed greater awareness of rhythmic substitution.
b) Were liberties taken to retain tone and emotion?
Yes, deliberately.
Examples:
Expansion of compressed metaphors for clarity.
Slight rephrasing of rhetorical questions (“what can one do?”).
Use of elevated diction (“radiant,” “haunting,” “grim”) to maintain gravitas.
These liberties align with dynamic equivalence, prioritizing affect over form.
3. Comparison of ChatGPT and Gemini Translations
a) Key Differences
b) Which tool performed better?
Overall Assessment: Gemini performed better in retaining:
Cultural semiotics,
Class critique,
Theoretical self-awareness.
However:
ChatGPT excelled in readability, emotional flow, and accessibility, making it better for general audiences.
Conclusion:
Gemini is stronger for academic and theoretical fidelity,
ChatGPT is stronger for poetic reception and fluency.
4. Application of Translation Theories
a) Roman Jakobson
Jakobson argues that poetry is by definition untranslatable, only “creative transposition” is possible.
✔ Both AI tools exemplify this:
Meaning is transferred,
Sound and form are re-created, not replicated.
b) Catford (Linguistic Theory of Translation)
Catford distinguishes between formal equivalence and textual equivalence.
Urdu → English/Hindi shows rank-bound untranslatability (metre, idiom).
Both tools choose textual equivalence, confirming Catford’s model.
c) Ganesh Devy
Devy emphasizes translation as cultural negotiation, not linguistic substitution.
✔ Retention of:
Bazaar,
Bodies,
Silk vs disease imagery
shows successful intercultural mediation, especially in Gemini.
d) A.K. Ramanujan
Ramanujan stresses:
“Context-sensitive” translation,
Inevitable “losses and gains.”
✔ Gains:
Accessibility,
Political clarity.
✖ Losses:
Musicality,
Ghazal-like symmetry.
Both AI outputs align strongly with Ramanujan’s view that plural translations are necessary, not one “correct” version.
Conclusion
This exercise demonstrates that Gen AI can function as a competent literary translator, especially when guided by:
Cultural awareness,
Theoretical grounding,
Conscious trade-offs between form and meaning.
However, AI translations:
Cannot fully replicate poetic metre,
Require human critical framing to interpret choices and losses.
Thus, Gen AI is best understood not as a replacement for human translators, but as a collaborative tool within translation studies.
Gemini:
English:
- Do Not Ask Me For That Love Again
Do not ask me, my love, for that love I once had for you. I used to believe that as long as you existed, life was radiant; That if I suffered for your sake, the sorrows of the world were nothing. Your face alone gave permanence to every springtime, And your eyes were the only treasure the world held. I thought if I won you, my destiny would bow before me.
But it was not like this; I only wished it were so.
Now, I see there are sorrows in this world other than the sorrow of love, And comforts other than the joy of our union.
Woven into silks, satins, and gold-brocades, Are the dark, beastly spells of countless centuries. In every street and marketplace, I see bodies being sold Bodies smeared in dust, bathed in their own blood. I see bodies emerging from the fiery ovens of disease, With pus dripping from their rotting, open sores.
My gaze wanders that way too; what can I do? Your beauty is still captivating, but what can I do?
There are other sorrows in this world than the sorrow of love, And other joys than the joy of our union. So, do not ask of me, my love, for that love I once had for you.
Hindi:
- मुझसे पहली सी मोहब्बत मिरी महबूब न माँग
मुझसे पहली सी मोहब्बत, मेरी महबूब, न माँग मैंने समझा था कि तू है तो दरख़्शां (रोशन) है हयात तेरा ग़म है तो ग़म-ए-दहर (दुनिया का दुख) का झगड़ा क्या है तेरी सूरत से है आलम में बहारों को सबात (स्थायित्व) तेरी आँखों के सिवा दुनिया में रक्खा क्या है तू जो मिल जाए तो तक़दीर निगूँ (नतमस्तक) हो जाए
यूँ न था, मैंने फ़क़त चाहा था यूँ हो जाए
और भी दुख हैं ज़माने में मोहब्बत के सिवा राहतें और भी हैं वस्ल (मिलन) की राहत के सिवा
अनगिनत सदियों के तारीक (अंधेरे) बहीमाना (वहशी) तिलिस्म रेशम ओ अतलस ओ कमख़ाब (कीमती कपड़े) में बुनवाए हुए जा-ब-जा (जगह-जगह) बिकते हुए कूचा-ओ-बाज़ार में जिस्म ख़ाक में लथड़े हुए, ख़ून में नहलाए हुए जिस्म निकले हुए अमराज़ (बीमारियों) के तनूरों से पीप बहती हुई गलते हुए नासूरों से
लौट जाती है उधर को भी नज़र क्या कीजे अब भी दिलकश है तिरा हुस्न मगर क्या कीजे
और भी दुख हैं ज़माने में मोहब्बत के सिवा राहतें और भी हैं वस्ल की राहत के सिवा मुझसे पहली सी मोहब्बत मिरी महबूब न माँग।
1. Syntax: Sentence Structures
Altered for Clarity: In the original Urdu, the syntax often places the verb at the end (SOV). In the English translation, this is flipped to Subject-Verb-Object (SVO) to maintain a natural flow.
The "Refrain": The structure of the opening and closing lines is strictly retained. This repetition is vital because it anchors the poem's shift from romanticism to social consciousness.
2. Metre and Sound: Rhythm
Loss of Behr (Meter): Urdu poetry relies on a strict rhythmic meter called Behr. English translations almost always lose this "musical" quality.
Compensating with Cadence: While the rhyme scheme (qaafiya and radeef) is gone, the translation uses blank verse to mimic the somber, heavy rhythm of the original. The transition from long, flowing romantic lines to short, harsh descriptions of "pus" and "blood" helps mirror the original's emotional pace.
3. Lexicon and Grammar: Word Choices
Appropriateness: The word choices are intentionally "high-register."
Example: Translating Drakhshaan as "Radiant" rather than just "bright" preserves the celestial quality of the beloved's presence.
The Shift: The lexicon shifts mid-poem from "romantic/ethereal" (spring, eyes, destiny) to "visceral/clinical" (ovens of disease, ulcers, pus), which is grammatically essential to Faiz’s style.
4. Cultural Connotations
Deep Context: Words like Vasl (Union) and Dahr (The World/Time) carry heavy Sufi and classical weight.
The Silk Metaphor: The mention of Resham-o-Atlas (Silk and Satin) is culturally significant; it represents the "veil" of the ruling class that hides the rot underneath. In English, these are translated as "Gold-brocades" to convey the same sense of oppressive luxury.
5. Tone and Emotion
Retention: The tone begins with Nostalgic Melancholy and ends with Resolute Realism. * Emotional Weight: The translation successfully retains the "apologetic" but "firm" stance of the poet he isn't saying he doesn't love the person anymore; he is saying his heart no longer has the capacity to ignore the world's pain.
6. Semiotics: Symbols and Metaphors
The "Market": In Urdu poetry, the Bazaar is often where the lover is humiliated. Faiz subverts this, using the "Market" (Koocha-o-Baazaar) as a literal place where human bodies are commodified.
The "Beloved": The beloved herself is a semiotic symbol for the "Old World" the beautiful, distracted past.
The "Oven" (Tannoor): Translating diseases as emerging from "ovens" is a powerful metaphor for the heat of fever and the industrial-scale suffering of the poor, which carries over well into English.
Translation Analysis:
1. Syntax and Grammar
The translation uses Inversion (e.g., "world's treasures lay") to mimic the high-register Urdu syntax. I have maintained the repetitive refrain ("Aur bhi dukh hain...") as a rhythmic anchor, which is grammatically consistent with the way Faiz uses the Radeef (recurring word) in Urdu poetry.
2. Metre and Sound
The Meter: I have utilized a Rising Meter (mostly anapestic and iambic). This captures the "galloping" yet heavy feeling of the original Urdu Behr.
Rhyme Scheme: I employed an AABB/CC structure for the opening and the transition, mirroring the Matla of a Ghazal. For the middle section (the dark imagery), the rhyme is intentionally broken or made "slant" to reflect the chaos of the subject matter, before returning to the couplet rhyme at the end.
3. Cultural Connotations & Semiotics
The Silk/Sickness Contrast: In the original, Resham (Silk) and Peep (Pus) are semiotic opposites. One represents the "blindness" of the elite, and the other represents the "visibility" of the poor. I have retained these literal symbols because they are central to Faiz’s Marxist ideology.
"The Oven" (Tannoor): In South Asian culture, the Tannoor is a place of intense heat and communal gathering. Using it as a metaphor for "disease" creates a jarring, claustrophobic image that translates the cultural horror of industrial-era poverty.
4. Tone and Emotion
The tone moves from Romantic Idealism to Grim Realism. By using words like "haunting" and "rare" for the beloved at the end, the translation acknowledges that the beauty hasn't faded, but the poet's priority has. The emotion is not one of rejection, but of burdened enlightenment.
1. Challenges, Cultural Connotations, and Untranslatability
The Challenges:
The Paradigm Shift: The poem’s sudden pivot from the romantic Ghazal tradition to social realism is its most difficult aspect. Translating the graphic imagery of "pus" (peep) and "ulcers" (naasur) without losing the poetic dignity established in the first half is a major hurdle.
Lexical Density: Urdu allows for "compression." Phrases like Gham-e-Dahr (the grief of the world/time) contain layers of Marxist and Sufi philosophy that English requires multiple words to unpack.
Cultural Connotations:
The Beloved (Mehboob): In Urdu, the beloved is often ambiguous (genderless and potentially divine). ChatGPT and I both interpreted this as a romantic partner to maintain the "human" scale of the poem, though some nuance of the "Beloved as a Muse" is lost.
Brocade/Silk (Resham/Kamkhwaab): These are not just fabrics; they symbolize the "veil" of the bourgeoisie. AI tools handled this by using high-register English terms like "brocade" to signify class and luxury.
Untranslatable Words:
Sabaat (ثبات): It implies a mix of permanence, stability, and eternity. ChatGPT used "permanence," while I used "permanence" as well, though both fail to capture the "musical stillness" the word suggests in Urdu.
Resolution: AI tools resolve untranslatability by focusing on Functional Equivalence—choosing the word that serves the emotional purpose of the line rather than a dictionary literalism.
2. Choices and Considerations
Metre and Rhyme: I took more liberties with the English structure to create a "Rising Meter" (iambic/anapestic) to mimic the Urdu rhythm. ChatGPT prioritized a more literal, prose-like semantic accuracy.
Tone over Literalism: Liberties were taken with the word Tannoor (Oven). A literal translation might confuse a Western reader, but by translating it as "fiery ovens of disease," the AI retains the emotional heat and horror Faiz intended.
3. Comparative Analysis: ChatGPT vs. Gemini
| Feature | ChatGPT | Gemini (Current Model) |
| English Style | Free verse, literal, and narrative. | Rhythmic, semi-rhymed, and lyrical. |
| Hindi Lexicon | Standard/Simplified Hindi (e.g., Jeevan damakta hai). | Perso-Urdu leaning (e.g., Drakhshaan hai hayat). |
| Imagery | Focuses on clarity of the "scene." | Focuses on the "texture" of the language. |
| Structural Fidelity | High; follows line-by-line. | Moderate; reorganizes for English cadence. |
Evaluation: ChatGPT performed better as a pedagogical tool its Hindi translation is easier for a modern Hindi speaker to read, and its English is very clear.
Gemini performed better in poetic "Atmosphere." By retaining more original Urdu vocabulary in the Hindi version and seeking a meter in English, it preserves the Aurat (vibe) of Faiz’s revolutionary grief more effectively.
4. Theoretical Framework Application
Roman Jakobson (Interlingual Translation): Jakobson argued there is no full equivalence in translation. This is seen in the "deficiency" of translating Vasl as "union." AI bridges this by "circumlocution" adding descriptive words to fill the semantic gap.
J.C. Catford (Formal Correspondence vs. Textual Equivalence): The AI shifts are "Level Shifts." Grammar is sacrificed (Formal Correspondence) to ensure the poem functions as a poem in the target language (Textual Equivalence).
G.N. Devy (Translation and Amnesia): Devy suggests that Indian translation is a "continuation." The AI’s choice to keep words like Mohabbat and Mehboob in the Hindi version supports Devy’s idea that Indian languages share a "common consciousness" that shouldn't be erased by Sanskritization.
A.K. Ramanujan (Context-Sensitivity): Ramanujan emphasized that Indian texts are context-sensitive. The AI's success depends on its "training data" recognizing that Faiz is a Marxist poet; without this context, the translation of the "bodies in the market" would lose its political weight.
Poem-2 The Second Coming By W.B.Yeats
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
ChatGPT:
Gemini:
Poem - 3 અમારી મસ્ત ફકીરી - કલાપી
ફકીરીમાં સખિરી મેં, ભરી આજે મજા કેવી?
અમીરીને ફકીરીમાં, મળી આજે રજા કેવી? ૧
ફિકર ઘૂંટી કરી ફાકી, તમન્ના શી હવે બાકી?
શરીરે ત્યાગની કફની, ચડાવી ત્યાં કજા કેવી? ર
ખલકને જાણતા ફાની, પછી પરવાહ તે શાની?
નથી દરકાર દુનિયાની, મળે તે ક્યાં મજા એવી? ૩
પીવો પ્યાલા ભરી પાવો, કરીને જ્ઞાનનો કાવો,
અમીરીને ધરી દાવો, ફકીરીમાં મજા લેવી. ૪
કદી મખમલ તણી શૈય્યા, કદી ખુલ્લી ભૂમિ મૈયા,
કદી વહેતી મૂકી નૈયા, તરંગોની મજા લેવી. પ
કદી ખાવા મળે લાડુ, કદી ખાવા પડે ઝાડુ,
રગશિયું દેહનું ગાડું, ઉપર ભગવી ધજા કેવી? ૬
કદી છે શાલ દુશાલા, કદી લંગોટ ને માલા,
કદી હો ઝેરના પ્યાલા, મળે તેવી મજા લેવી. ૭
ધર્યા છે કેશરી જામા, કર્યાં કાષાયનાં કપડાં,
તજી સંસારના ભામા, કજામાંથી મજા લેવી. ૮
ભર્યા છે જ્ઞાનધન ભાથાં, ઝુકાવે શાહ પણ માથાં,
જગતનો ગમ સદા ખાતાં, ગમીને જ્યાં રજા દેવી. ૯
ખુશી આફત મૂકી સાથે, ધખાવી હોળીઓ હાથે,
બીજાના દુઃખની માથે, ખુશીથી જ્યાં સજા લેવી. ૧૦
જગત જીત્યું અલખ નામે, અચલ એ રાજને પામે,
નમાવી સર કદર સામે, ઊભાં ત્યાં દેવ ને દેવી. ૧૧
અમીરીની મજા મીઠી, ફકીરીમાં અમે દીઠી,
ન કરવી ચાકરી ચીઠી સ્પૃહાને જ્યાં રજા દેવી. ૧ર
થયાં જ્યાં એક ઈશ્વરથી, પછી શી ગાંઠ ઘરઘરથી,
જગાવ્યે પ્રેમ પરવરથી, શલાકા સ્નેહની સેવી. ૧૩
ChatGPT:
Gemini:
Poem -4 हमने यह देखा - रघुवीर सहाय
यह क्या है जो इस जूते में गड़ता है
यह कील कहाँ से रोज़ निकल आती है
इस दुःख को रोज़ समझना क्यों पड़ता है
फिर कल की जैसी याद तुम्हारी आई
वैसी ही करुणा है वैसी ही तृष्णा
इस बार मगर कल से है कम दुखदायी
फिर ख़त्म हो गए अपने सारे पैसे
सब चला गया सुख-दुःख बट्टेखाते में
रह गए फ़क़त हम तुम वैसे के वैसे
फिर अपना पिछला दर्द अचानक जागा
फिर हमने जी लेने की तैयारी की
उस वक़्त तक़ाज़ा करने आया आग़ा
इस मुश्किल में हमने आख़िर क्या सीखा
इस कष्ट उठाने का कोई मतलब है
या है यह केवल अत्याचार किसी का
''यह तो है ही'', शुभचिंतक यों कहते हैं,
अपमान, अकेलापन, फ़ाक़ा, बीमारी
क्यों है? औ' वह सब हम ही क्यों सहते हैं?
हम ही क्यों यह तक़लीफ़ उठाते जाएँ
दुख देने वाले दुख दें और हमारे
उस दुख के गौरव की कविताएँ गाएँ!
यह है अभिजात तरीक़े की मक्कारी
इसमें सब दुख हैं, केवल यहीं नहीं हैं
अपमान, अकेलापन, फ़ाक़ा, बीमारी
जो हैं, वे भी हो जाया करते हैं कम
है ख़ास ढंग दुख से ऊपर उठने का
है ख़ास तरह की उनकी अपनी तिकड़म
जीवन उनके ख़ातिर है खाना-कपड़ा
वह मिल जाता है और उन्हें क्या चहिए
आख़िर फिर किसका रह जाता है झगड़ा
हम सहते हैं इसलिए कि हम सच्चे हैं
हम जो करते हैं वह ले जाते हैं वे
वे झूठे हैं लेकिन सबसे अच्छे हैं
पर नहीं, हमें भी राह दीख पड़ती है
चलने की पीड़ा कम होती जाती है
जैसे-जैसे वह कील और गड़ती है
हमने यह देखा दर्द बहुत भारी है
आवश्यक भी है, जीवन भी देता है
यह नहीं कि उससे कुछ अपनी यारी है
हमने यह देखा अपनी सब इच्छाएँ
रह ही जाती हैं थोड़ी बहुत अधूरी
यह नहीं कि यह कहकर मन को समझाएँ
यह नहीं कि जो जैसा है वैसा ही हो
यह नहीं कि सब कुछ हँसते-हँसते ले लें
देने वाले का मतलब कैसा ही हो
यह नहीं कि हमको एक कष्ट है कोई
जो किसी तरह कम हो जाए, बस छुट्टी
कोई आकर कर दे अपनी दिलजोई
वह दर्द नहीं मेरे ही जीवन का है
वह दर्द नहीं है सिर्फ़ बिरह की पीड़ा
वह दर्द ज़िंदगी के उखड़ेपन का है
वह दर्द अगर ये आँखें नम कर जाए
करुणा कर आप हमारे आँसू पोंछे
वह प्यार कहीं यह दर्द न कम कर जाए
चिकने कपड़े, अच्छी औरत, ओहदा भी
फ़िलहाल सभी नाकाफ़ी बहलावे हैं
ये तो पा सकता है कोई शोहदा भी
जब ठौर नहीं मिलता है कोई दिल को
हम जो पाते हैं उस पर लुट जाते हैं
क्या यही पहुँचना होता है मंज़िल को?
हमको तो अपने हक़ सब मिलने चहिए
हम तो सारा-का-सारा लेंगे जीवन
'कम-से-कम' वाली बात न हमसे कहिए।
ChatGPT:
Gemini:
Thank You
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