Rasul Mir

Ghazal — Rind poosh maal gindni draai lolo

Translation

The gay lover goes out to frolic; the sober one performs worship. What grace in the swan-neck of Henziyani—spare her from evil eyes, O God; your bounty will not lessen at court.

Black hair and a forehead bright as lightning; the navel’s curl, the musk of down—Henzi’s curls, a hundred trellises of jasmine: the love goes out to frolic again.

Kashmiri (transliteration)

Rind poosh maal gindni draai lolo Shoobi shabaash chani puu’zai(Ibadat) lolo

Raaz’e hyenzi’yani naaz kya , ae’nz’ni gardan Ya ilahi chashme bad nish rachtam

Gasi kya kam chani baargaahi lolo Rind poosh maal gindney draai lolo

Kaale mooyas taakaen chei barsar Fael’le naafai moulmut mushqe adfar

Hyen’zi pouraan czou’natre tai daaie lolo Rind poosh maal gindnei draai lolo

Rind Posh Maal — rhyme and refrain

The opening lines below mark the shared end-rhyme (kaafiya) syllables and the repeating end phrase (radeef) as commonly analysed in Urdu–Persian prosody.

Rind poosh maal gindni draai lolo Shoobi shabaash chani puu’zai lolo

Opening misraʿ and Behr-e-Hazaj

The foot مَفَاعِیلُنْ (mafāʿīlun) is often taught with a long–short weight pattern summarised as 1–2–2–2. The table maps the first half-line (opening misraʿ) of the lyric in Latin transliteration to that pattern as an aid to reading—not as a claim about Kashmiri scansion in performance.

Opening misraʿ: Rind poosh maal gindni draai lolo
Foot segment	Pattern (1–2–2–2)	Syllables (approx.)
1	short	Rind
2	long	poosh maal
3	long	gindni
4	long	draai lo-lo

Ghazal — Gaste wesiye antan aste lolo

Reading

A companion lyric in the same oral tradition, built on the same refrain, moves through lovers’ names and landscapes familiar in Rasul Mir’s corpus.

Kashmiri (transliteration)

Gaste wesiye antan aste lolo Hee mea kermas pooshan daste lolo

Gaste lillah antan moun dilbar Mea chu billah, bai(Me) maernas te lolo

Nyeeze khanjar laye’nam aas nai aar Paare kornam dile jigras te lolo