“Nami Danam Ke Aakhir Chun Dam e Deedar Me Raqsam” is an iconic Persian Kalam by Hazrat Khwaja Usman Harooni, the illustrious spiritual master of Khwaja Moinuddin Chishti. This poem is the ultimate expression of Wajd (spiritual ecstasy), describing the soul’s reckless dance in the presence of the Divine. Below are the lyrics in Persian, Roman Urdu, and English translation.
نمی دانم کہ آخر چوں دمِ دیدار می رقصم
مگر نازم بایں ذوقے کہ پیشِِ یار می رقصم
Nami Danam Ke Aakhir Chun Dam-e-Deedar Me Raqsam
Magar Nazam Ba-een Zauqe Ke Pesh-e-Yaar Me Raqsam
I know not why at the moment of Vision, I am dancing,
But I take pride in this ecstasy, that I dance before my Beloved.
تُو آں قاتل کہ از بہرِ تماشا خونِ من ریزی
من آں بسمل کہ زیرِ خنجرِ خونخوار می رقصم
Tu Aan Qatil Ke Az Bahar-e-Tamasha Khoon-e-Man Reezi
Man Aan Bismil Ke Zer-e-Khanjar-e-Khonkhwar Me Raqsam
You are that Slayer who sheds my blood for Your spectacle,
I am that wounded prey who dances beneath the bloodthirsty dagger.
بیا جاناں تماشا کن کہ در انبوہِ جانبازاں
بہ صد سامانِ رسوائی سرِ بازار می رقصم
Biya Janan Tamasha Kun Ke Dar Anboh-e-Janbazan
Ba Sad Saman-e-Ruswai Sar-e-Bazaar Me Raqsam
Come, O Beloved, and witness that in the crowd of those who risk their lives,
With a hundred reasons for infamy, I am dancing in the open market.
خوشا رندی کہ پامالش کنم صد پارسائی را
زہے تقویٰ کہ من با جبّہ و دستار می رقصم
Khusha Rindi Ke Pamalash Kunam Sad Parsai Ra
Zahe Taqwa Ke Man Ba Jubba-o-Dastaar Me Raqsam
Hail to the intoxication for which I have trampled a hundred pieties,
Excellent is the piety where I dance even with my cloak and turban!
اگرچہ قطرۂ شبنم نپوئید بر سرِ خارے
منم آں قطرۂ شبنم بنوکِ خار می رقصم
Agarcha Qatra-e-Shabnam Napuyed Bar Sar-e-Kharey
Manam Aan Qatra-e-Shabnam Ba-Nok-e-Khaar Me Raqsam
Though the dewdrop does not usually settle upon the thorn,
I am that dewdrop who dances upon the very tip of the thorn.
تو ہر دم می سرائی نغمہ و ہر بار می رقصم
بہر طرزے کہ رقصانی منم اے یار می رقصم
Tu Har Dam Me Sarayi Naghma-o-Har Baar Me Raqsam
Ba Har Tarze Ke Raqsani Manam Ay Yaar Me Raqsam
Every moment You sing a melody, and every time I dance,
In whatever style You make me dance, O Beloved, I am dancing.
سراپا بر سراپائے خودم از بیخودی قربان
بگرد مرکزِ خود صورتِ پرکار می رقصم
Sarapa Bar Sarapaye Khudam Az Bekhudi Qurban
Bagard-e-Markaz-e-Khud Surat-e-Parkar Me Raqsam
From head to toe, I sacrifice myself for my own state of selflessness,
Like a compass, I dance around my own center.
مرا طعنہ مزن اے مدعی طرزِ ادائیم بیں
منم رندے خراباتی سرِ بازار می رقصم
Mara Tana Mazan Ay Mudai Tarz-e-Adayim Been
Manam Rind-e-Kharabati Sar-e-Bazaar Me Raqsam
Do not taunt me, O critic, look instead at my style of expression,
I am the tavern-dweller who dances in the middle of the market.
کہ عشقِ دوست ہر ساعت دروں نار می رقصم
گاہےبر خاک می غلتم , گاہے بر خار می رقصم
Ke Ishq-e-Dost Har Saat Darun-e-Naar Me Raqsam
Gahe Bar Khak Me Ghaltam Gahe Bar Khaar Me Raqsam
For the love of the Friend, I dance every hour within the fire,
Sometimes I roll in the dust, and sometimes I dance on thorns.
منم عثمانِ ھارونی کہ یارے شیخِ منصورم
ملامت می کند خلقے و من برَ،دار می رقصم
Manam Usman-e-Harooni Ke Yaar-e-Sheikh-e-Mansooram
Malamat Me Kunad Khalqe-o-Man Bar Daar Me Raqsam
I am Usman Harooni, a friend of Sheikh Mansoor Al-Hallaj,
The world reproaches me, yet I am dancing upon the gallows.
Spiritual Echoes: The Universal Vision
The ecstatic dance of Khwaja Usman Harooni finds deep resonance across the centuries of Sufi thought:
Amir Khusro : Raqs-e-Bismil (The Slain Dance)
The “Dance of the Slain” (*Raqs-e-Bismil*) in the presence of the Beloved is a theme shared by both Khwaja Harooni and his spiritual descendant, Amir Khusro:
Khwaja Moinuddin : Mansoor & Daar (The Gallows)
Khwaja Harooni identifies as a lover of Mansoor Hallaj; his disciple, Khwaja Ghareeb Nawaz, echoes the same secret of the gallows:
Hafiz Shirazi : Zahid Zahir Parast (Externalism)
The dismissal of outward ritual (*Jubba-o-Dastaar*) in favor of inner intoxication is a central pillar in the Diwan of Hafiz:
Alahazrat : Markaz (The Circumference)
Harooni’s metaphor of the compass (*Parkar*) circling the Center finds a complex scholarly echo in Alahazrat’s description of the Mairaj:
Allama Iqbal : Sarapa (Totality of Beauty)
The total surrender (*Sarapa… Qurban*) mentioned by Harooni aligns with Iqbal’s search for the Beauty that makes the heart a sacrifice:
Alahazrat : Raqs-e-Bismil (Mina)
Alahazrat connects the ecstatic dance of the soul to the sacred ground of sacrifice at Mina, mirroring the spiritual intoxication of Harooni:
Khwaja Usman Harooni
خواجہ عثمان ہارونی
Text Reference: http://aljellani.blogspot.com/2012/01/blog-post_5148.html
I saw another post which attributes these lyrics to Hazrat Usman Marwandi (Shahbaz Qalander) and a qwal also sang it badly and disrespectfully. Can you kindly elaborate the authenticity of this wonderful poetry. Thanks
brother you are right and wrong too?? because this is Ameer khusroo kalam originallye…
Wonderful poetry. Aa Allah bless his soul for giving us such wonderful and amazing poetry.
This Spiritual Poetry is written by Hazrat Laal Shahbaz Qalander. This 100% true. I am finding its reference. I will share it.
The 2nd thing is that If we read this, we come to know that the taste of this poetry depicts Qalanderi Taste. So Khwaja Usman Harooni R.A was not a Qalander.
So plz don’t share the wrong information please.
Thank you ❤️
Listen to Nusrat Fateh Ali Khan sab, his Qawali nami danam che manzil 14:00 in that this poetry also comes with translation and This is Poetry or Sharab of Khwaja Usman e Harooni the Friend of Mansoor Al Khalaaj and Shaykh of Moin Ud Din Chishti ?♥️♥️???.