Saturday, December 5, 2015

Indignhadas- Dr. Subodh Prabhu

An  orginal Spanish poem very touching indeed  --translated to English ,Marathi by me from the translated French version of the poem (I do not know Spanish )
Hope you like it

Subodh  1 st December

​original
¡Qué suerte no ser una madre palestina,
ni una madre siria, ni una madre afgana,
ni una madre kurda,
ni una madre del cuerno de África !
Qué suerte no tener que... sostener
la muerte de mi hijo en mis brazos…
ese pequeño cuerpo
que se ha muerto sin más,
de hambre, de sed,
desangrado,
atravesado, zas, por una bala!
¡Qué suerte no tener que abrazar a mi hijo muerto
mientras mis ojos se resecan, lentamente,
de dolor, de impotencia,
de rabia contenida!
¡Qué suerte no tener que sortear cada día
el rostro enjuto y oscuro de la Parca,
y regalarle, esconderle, ocultarle
los rostros malditos de mis hijos,
que han nacido donde nada importan,
donde nada valen, donde nada son…!
Qué suerte, me repito cada día, qué suerte,
mientras mis hijos, tranquilos, duermen su infancia merecida.
Marisa Peña.
Poema publicado en el libro colectivo “ Indignhadas “
de Unaria Ediciones
 l.
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
English
What luck! not (to be )  a Palestinian mother,
Nor a mother Syrian, nor a mother Afghan,
Nor a mother Kurdish
Nor a mother in the horn of Africa! (at Cape of good hope in Africa)
 lucky you I  don't ...have to hold
The death of my son in my arms...
That little body
That has been dead

no more, hunger, no  thirst,
Bled out,
 in a crosswire then bang -a bullet (ref to child being targeted at )

 Lucky You I don't have to hold my dead son
While my eyes are wilting (getting dry -helpless), slowly,
Of pain, impotence,
impotence of a pent-up anger!

 Lucky you  I don't have to face each and every day
The face lean and sinister 
 of the grim reaper,(grim reaper ---alludes to death /terrorist  )
And then  give up ,
Hide, hide
the bleeding faces of my children.

 The children born   born where nothing matters ,
 Where nothing is  worth, where nothing is...!

 What luck, I repeat every day, what luck.
While my son is quiet, Yours sleep (peacefully ) the way  his childhood deserves
Poem by :Marisa Peña.
Poem published in the book "Indignhadas" Collective
Unary  editions
किती  भाग्यवान तू  ग   बाई 
तू नाहीस एक प्यालेस्तिनी आई 
किवा सिरीयन ,अफगाण ,कुर्दिश 
आफ्रिकन किवा तत्सम काही !
भाग्यवान तू बाई 
माझ्या मृत बाळाला हातावर 
माझ्यासारखे झेलावे लागत नाही 
ते छोट बाळ 
मरून झालाय काही काळ 
आता भूक नाही ,तहान नाही 
रक्त ठिबकून ठिबकून काही उरलच नाही !
एक निशाणा ,एकच नेम ,ब्यांग- एक गोळी .बाकी काहीच नाही !!

 भाग्यवान तू बाई 
माझ्या मृत मुलाला हातावर झेलत 
डोळे असे  दूक्खाने   षंढ रागाने पाझरत 
दृष्टी मलूल कोरडी  बनत जाई 
ते तुझ्या नशिबी नाही !

भाग्यवान तू बाई 
प्रत्येक दिवशी मृत्यूचा करडा कोरडा चेहरा 
येत नाही असा  तुझ्या सामोरा 
आणि मग असहाय शरणागती ,त्याचाय्पासून पळ्ण 
मुलांचे रक्ताळलेले चेहरे  त्याच्यापासून लपवण 
मुल जी उपजली   जिथे  काहीच महत्वाचे उपजत नाही 
जिथे कशालाच मुल्य  नाही ,खरच  अगदी कशालाच नाही !

काय भाग्य !दिवसरात्र मी म्हणते  काय भाग्य तुझे बाई 
इथे माझा मुलगा 'शांत 'तुझा तिथे हक्काने
निवांत झोपी जाई !!
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
English Translation and Marathi  Transformation by  Subodh  Bangalore Dec 15
note :Please mention original poet (not the translator )if you intend to share this poem with others
note :some liberty is used while putting words in English and Marathi to complete the  meaning

Sunday, November 29, 2015

From the diary of SayedJaffrey




must read for all -
From the diary of SayedJaffrey -- the famous bollywood character actor ---
I was 19 when I was married to Mehrunima who was 17. As I grew up, I was very fascinated by the british culture in colonial India. I learnt to speak English fluently, wear suits with grace, and developed impeccable etiquettes. But Mehrunima grew up to be my complete opposite - homely, a typical housewife. All my advices and admonishments couldn't change her basic personality - an obedient wife, a doting mother and a good homemaker. But she was not what I wanted. More I tried to change her, more we drifted apart. Gradually she metamorphosed from a cheerful affectionate young girl into a quiet insecure woman. Meanwhile I started getting attracted to a co-actor of mine who was all what I wanted in my wife. After 10 years of marriage, l divorced Mehrunima, left my home and married my co- actor. I had ensured financial security of Mehrunima and my kids . For about 6-7 months everything went well. Then I started realising, my new wife was not caring and affectionate. She was only concerned about her beauty, her ambitions, her wants and desires. Sometimes I missed Mehrunima's caring touch and concern for my welfare.
Life moved on . I and my new wife were 2 persons living in a house, not one soul living in a home. I never went back to find out what happened to Mehrunima and my kids.
After about 6 -7 years of my second marriage, I came across an article on a Madhur Jaffrey, an upcoming famous chef who had recently launched a book of her own recipes. The moment I looked at the picture of the smart elegant lady, I was stunned. It was Mehrunima. But how could it be ??? She had remarried and changed her maiden name too.
I was shooting abroad at that time. She lived in US now. I caught the next flight to US. I inquired about her where abouts and went to meet her. She refused to see me. My daughter who was 14, and son who was 12, told her they wanted to talk to me one last time. Her new husband was by her side. He was also my children's legal father now.
To this date, I cannot forget what my children told me.
They told me that their new father knows the meaning of true love. He accepted Mehrunima as she was and never tried to change her into what he himself was, because he loves her more than he loves himself. He let her evolve at her own pace and never tried to force his wishes on her. He accepted and enjoyed her person as it was.
And she has bloomed into a confident loving affectionate self reliant lady today under her second husband's selfless love and acceptance.
Where as his selfishness, demands and unacceptance of her persona had crushed her and then in his selfishness he had discarded her.
He Never Loved Her, He Had Always Loved Himself ,
And Those Who Love Themselves, Cannot Love Others.

हुजूर इस कदर भी ना इतराके चलिये-गुलज़ार




🌹
A tribute to Said jafery🌹

हुजूर इस कदर भी ना इतराके चलिये
खुले आम आँचल ना लहरा के चलिये
कोई मनचला अगर पकड़ लेगा आँचल
ज़रा सोचिये आप क्या कीजियेगा
लगा दे अगर बढ़ के जुल्फों में कलियाँ
तो क्या अपनी जुल्फे झटक दिजीयेगा
बड़ी दिलनशी है हँसी की ये लडीयाँ
ये मोती मगर यूँ ना बिखराया कीजे
उड़ा के ना ले जाए झोंका हवा का
लचकता बदन यूँ ना लहराया कीजे
बहोत खूबसूरत है हर बात लेकिन
अगर दिल भी होता, तो क्या बात होती
लिखी जाती फिर दास्ताँ-ए-मोहब्बत
एक अफसाने जैसी मुलाक़ात होती

गीतकार : गुलज़ार, गायक : भूपेंद्र -सुरेश वाडकर, संगीतकार : राहुलदेव बर्मन, चित्रपट : मासूम (१९८२) / Lyricist : Gulzar, Singer : Bhupendra - Suresh Wadkar, Music Director : Rahuldev Burman, Movie : Masoom (1982
.
मॅडम अस ठुमकत नका चालू
सर्वांसमोर पदर नका घसरू देऊ
एखादा वेडा होऊन कदाचित पदर पकडेल
जरा विचार करा की मग काय कराल?
कदाचित तुमच्या केसांमध्ये अचानक फुले भाळेल
मग काय केस झटकून टाका
तुझे हास्य म्हणजे स्वर्गीय मोत्यांची माळ
प्रिये हे मोती असे सहजा सहजी सांडूं देऊ नको
एखाद्या हवेच्या झोक्यांने सुद्धा
ही लचकणारी काया उडून जाऊ शके
प्रत्येक गोष्ट इतकी सौदर्य पूर्ण आहे परन्तु
तुझे हृदय तसे असते तर काय मजा आली असती
 आपल्या प्रेमाची कहाणी सर्वत्र चर्चिली गेली असती
अन आपली मुलाखत एखाद्या परिकथे प्रमाणे झाली असती

Friday, October 30, 2015

करोगे याद तो हर बात याद आयेगी-बशर नवाज़


करोगे याद तो हर बात याद आयेगी

गुजरते वक्त की, हर मौज ठहर जायेगी


ये चाँद बीते जमानो का आईना होगा

भटकते अब्र में चेहरा कोई बना होगा

उदास राह कोई दास्तां सुनाएगी


बरसता भीगता मौसम धुआँ धुआँ होगा

पिघलती शम्मो पे दिल का मेरे गुमा होगा

हथेलियों की हिना याद कुछ दिलायेगी


गली के मोड़ पे सूना सा कोई दरवाजा

तरसती आँखों से रस्ता किसी का देखेगा

निगाह दूर तलक जा के लौट आयेगी


फिल्म-बाज़ार...1982..
गायक-भूपेन्द्र...
गीत-बशर नवाज़...
संगीत-खय्याम


oooooooooooooooooooooooooo


आठवशील तर प्रत्येक गोष्ट आठवत जाईल

चाललेल्या काळातील प्रत्येक मौज थांबून जाईल ……


हा चंद्र  हरवलेल्या भूतकाळाचा आरसा असेल

विहरणाऱ्या ढगांमध्ये कोणाचा तरी चेहरा दिसत असेल

उदास रस्ता एखादी कहाणी ऐकवेल…..


पाऊसाने भिजवणारा मौसम धूर धूर होईल

ए खाद्या  वितळ नार्या  मेणबत्ती वर  माझे हृदय जळून जात असेल

हातावर असलेले अत्तर एखादी आठवण सांगून जाईल …..


गल्लीच्या वळणावरचा एखादा रिकामा दरवाजा

पाणावलेल्या डोळ्यांनी कोणाचीतरी वाट पाहत असेल

नजर दूरवर जाऊन परत येईल….

Monday, October 19, 2015

हज़ार राहें मुड़ के देखी-गुलज़ार



हज़ार राहें मुड़ के देखी, कहीं से कोई सदा ना आई 
बड़ी वफ़ा से निभाई तुमने, हमारी थोड़ी सी बेवफ़ाई

जहाँ से तुम मोड़ मुड़ गये थे, ये मोड़ अब भी वही पड़े हैं
हम अपने पैरों में जाने कितने भंवर लपेटे हुये खड़े हैं

कहीं किसी रोज यूँ भी होता, हमारी हालत तुम्हारी होती
जो रात हम ने गुज़ारी मर के, वो रात तुम ने गुज़ारी होती

तुम्हें ये ज़िद थी के हम बुलाते, हमें ये उम्मीद वो पुकारे
है नाम होठों पे अब भी लेकिन, आवाज़ में पड़ गई दरारें
गीतकार : गुलज़ार, गायक : लता - किशोर, संगीतकार : खय्याम, चित्रपट : थोडीसी बेवफ़ाई (१९८०)

ओझरती दिसलिस आणि माज़ी शुद्ध  पुर्ण घालवलिस
मला  तुझ्यापासून वेगळ करुन् टाकलस।

 
माझ्यासाठी आयुष्यभर प्रार्थना करत गेलीस
आम्ही स्वतचा अधपात् करण्याचा हक्क बजावत गेलो।

 मी तुजी अशी प्रार्थना  आणि स्तुती करत राहिलो
की लोकांच्या नजरेतून तुला देवत्व प्राप्त जाले।

 तुझ्या जवळ यावे अशी  ओढ़ खूप होती
  मात्र तुझे जाणे मला रक्तबंबाळ करुंन गेले।


दिखाई दिए यूं के बेखुद किया-मीर तकी मीर



दिखाई दिए यूं के बेखुद किया
हमे आप से भी जुदा कर चले

जबीं सजदा करते ही करते गई
हक़-ए-बंदगी हम अदा कर चले

परस्तिश किया तक के ऐ बुत तुझे
नजर में सबो की खुदा कर चले

बहोत आरजू थी गली की तेरी
सो या से लहू में नहा कर चले

गीतकार : मीर तकी मीर, गायक : लता मंगेशकर, संगीतकार : खय्याम, चित्रपट : बाज़ार (१९८२) 




Thursday, October 1, 2015

मन क्यों बहका- वसंत देव



मन क्यों बहका री बहका, आधी रात को
बेला महका री महका, आधी रात को
किस ने बन्सी बजाई, आधी रात को
जिस ने पलकी चुराई, आधी रात को

झांझर झमके सुन झमके, आधी रात को
उसको टोको ना रोको, रोको ना टोको, टोको ना रोको, आधी रात को
लाज लागे री लागे, आधी रात को
देना सिंदूर क्यों सोऊँ आधी रात को

बात कहते बने क्या, आधी रात को
आँख खोलेगी बात, आधी रात को
हम ने पी चाँदनी, आधी रात को
चाँद आँखों में आया, आधी रात को

रात गुनती रहेगी, आधी बात को
आधी बातों की पीर, आधी रात को
बात पूरी हो कैसे, आधी रात को
रात होती शुरू हैं, आधी रात को
गीतकार : वसंत देव, गायक : आशा भोसले - लता मंगेशकर, संगीतकार : लक्ष्मीकांत प्यारेलाल, चित्रपट : उत्सव (१९८४)

साँझ ढ़ले, गगन तले हम कितने एकाकी- वसंत देव


साँझ ढले, गगन तले हम कितने एकाकी
छोड़ चले, नैनों को किरणों के पाखी

पाती की जाली से झांक रही थी कलियाँ
गंध भरे गुनगुन में, मगन हुयी थी कलियाँ
इतने में तिमीर धसा सपनीले नैनो में
कलियों के आंसू का कोई नहीं साथी

जुगनू का पट ओढ़े आयेगी रात अभी
निशीगंधा के सुर में कह देगी बात सभी
तपता है मन जैसे डाली अंबुवा की
गीतकार : वसंत देव, गायक : सुरेश वाडकर, संगीतकार : लक्ष्मीकांत प्यारेलाल, चित्रपट : उत्सव (१९८४) / 

Thursday, September 17, 2015

मेघा छाये आधी रात---नीरज



मेघा छाये आधी रात, बैरन बन गयी निंदिया


मेघा छाये आधी रात, बैरन बन गयी निंदिया 
बता दे मैं क्या करू ?

सब के आँगन दिया जले रे, मोरे आँगन जिया
हवा लागे शूल जैसी, ताना मारे चुनरीयां
आई हैं आँसू की बारात

रूठ गये रे सपने सारे, टूट गयी रे आशा
नैन बहे रे गंगा मोरे, फिर भी मन हैं प्यासा
किसे कहू रे मन की बात
गीतकार : नीरज, गायक : लता मंगेशकर, संगीतकार : सचिनदेव बर्मन, चित्रपट : शर्मिली - 1971

अर्ध्या रात्री ढग दाटून आले आहेत , 
झोप वैरीण झाली ; सांग मी काय करू ?

सगळ्यांच्या अंगणात दिवा तर जळतोय माझ्या अंगणात जीव
हवा लागतीय शुळासारखी; माझीच ओढणी टोमणे मारतीय
आसवांची बारात आली आहे

सगळी स्वप्ने नष्ट झाली ; सर्व आशा संपून गेल्या
डोळ्यातून गंगा वाहतेय पण मन तहानलेले आहे!
कोणाशी बोलू रे मनातल्या गोष्टी

Wednesday, September 16, 2015

Always Amrita, Always Pritam---Gulzar Singh Sandhu

Always Amrita, Always PritamShe put Punjabi literature on the world map. No other writer is as synonymous with Punjabi literature as Amrita Pritam (1919-2005), a familiar name even for those not acquainted with Punjabi. She cocked a snook at convention and defied social norms. There was no split between life and literature for Amrita because literature was her life. Gulzar Singh Sandhu on the Grand Dame of Punjabi letters
YOUR life could be contained on the back of a revenue stamp" was Khushwant Singh’s cynical remark about the autobiography Amrita Pritam was planning to write. A writer of uncommon passion, Amrita responded to the provocative challenge with an aptly titled Rasidi Ticket (Revenue Stamp). The account of her life became so popular that it was translated into half a dozen Indian languages. This much-maligned story of a Punjabi rebel is adored for the manner in which she says what her readers may decry from the core of their hearts. Reading the story one feels that in the male-dominated world, a woman is more sinned against than sinning.

Ajj akhan Waris Shah nu
Kitte kabran vichon bol
Te ajj kitab-e-ishq da
Koi agla varka phol
Ik royi si dhi Punjab di
Tu likh-likh mare ven
Ajj lakhan dhian rondiyan
Tainu Waris Shah nu kehan

(I call out to Waris Shah today
To speak out from the grave
And open another leaf
From the book of love
When one daughter of
Punjab had wept
You wrote a million dirges
Today a million daughters
are weeping
And they are looking up to you, Waris Shah, for solace)
The novelist in Amrita Pritam was at her best in Pinjar (The Skeleton). The younger generation was introduced to Amrita’s work through this novel which was made into a film sometime back. It is the story of a Hindu girl, Pooro, abducted by a Muslim boy Rashid. Her parents refuse to recover a ‘defiled’ woman. Unable to resist the circumstances she was thrown into, Pooro settles down as a bride and bears Rashid a son. In 1947, nostalgia for the life missed by Pooro makes the couple save Hindu and Sikh women from their Muslim abductors and send them to the security of evacuee camps meant to take them to their kith and kin.
Born in a traditional Sikh family of undivided Punjab in 1919, in Gujranwala and brought up in Lahore, Amrita was the product of the other side of Punjab and she religiously remained so till her end. It was from there that she had been drawing her strength and symbols with all the sublimity embodied in the works of great Sufi poets and saints. It is no wonder she was known in the present-day Pakistan much move than her contemporaries i.e. Mohan Singh and Shiv Kumar Batalavi.
Her attitude to worn out social norms and traditions was so candid that she earned the wrath of many an established institution but never faltered from the path she chose. She rose to be the voice of the entire Indian womanhood and sowed the seeds of rebellion in the minds of her readers against values that were wrong and unjust, according to her.
She started writing poetry in her teens under the influence of her father Kartar Singh Hitkari and became the proud author of a collection of poemsAmrit Lehran in 1936. Such was the grip of the muse in her soul that she churned out half a dozen collections of poems in as many years between 1936 and 1943. The tone of her poetry was ethical, didactic and romantic, clouded in platonic overtones, with a degree of elasticity in form and diction.
It did not take her long to jump on to the band-wagon of the Progressive Movement and her very next collection titled Lok Peed and published in 1944 spoke of the war-torn economy born out of Great Famine of Bengal of 1943 which threw out millions yearning for loaves and love.
This was the time that she took to attack the old social fabric questioning the morality of traditional love and even that of conjugal rights and duties. She did not hesitate to term the husband as a mere bread-winner who wanted nothing but physical pleasure.
Amrita presenting a programme on Radio Lahore.
Amrita presenting a programme on Radio Lahore.
Amrita was married to Pritam Singh in 1939. That made her change her name from Amrita Kaur to Amrita Pritam. Life was thrown out of gear by the Partition of the country in 1947. So fierce was the trauma of the holocaust on her poetic mind that she had to charter out an entirely new path for herself and her people embracing the sorrows of the community as a whole. So heart-rending was the cry in herOde to Waris Shah that she earned the title of The Voice of Punjab. She emerged as one who had the mind and the power of the pen to record the sufferings of Heer as she could fathom the depth of trauma undergone by the hundreds of girls in Punjab at that time.
Amrita Pritam was at her best in Sunehe(Messages) published in 1955 in which she mixes the romantic and the sentimental within with the progressive callings outside. It was also the time when she was moving away from conjugal bindings. This collection won her the Sahitya Akademi Award, followed by invitations from a host of literary societies. She was also awarded honorary doctorates from more than one university. Her national and international acclamation soared to the skies. At this point, her prose writings, especially fiction, got the better of her mainly because of the instant popularity of this genre amongst the Hindi-reading public.
Awards and honours came her way aplenty
Awards and honours came her way aplenty
With her seasoned craft of weaving a plot and creating motivated characters, her acceptance as a novelist was all-pervasive among the women. The lustre of her poetic expression in prose was a boost to her receptivity amongst readers of all ages, irrespective of the caste and creed they belonged to.
In her very first novelette, Jai Shri, she made the heroine of the same name reject all young men offering her conventional proposals of marriage to pick up a bridgegroom of her choice in Suresh who turns out to be a sincere and true lover.
Good people becoming the victims of violence and misery is the theme of Alhna (The Nest) and other works of fiction by her. Amrita was a sensitive writer who highlighted the problem of Indian womanhood both in her poetry and fiction.
Amrita incarnates herself, through Pooro, to express her hatred for social conventions and male lust. Resigning themselves their fate is what lies in store for the entire womanhood of India, according to Amrita. Throughout her life, Amrita had been a symbol of liberation for contemporary women writers. Amrita has ardently highlighted man’s disaffection with woman. A poem titled Kumari (Virgin) in her Jnanpith Award-winning Kaghaz Te Canvas depicts the modern girl as follows:
When I moved into your bed
I was not alone — there were two of us
A married woman and a virgin
To sleep with you.
I had to for the virgin in me
I did so
This slaughter is permissible in law
Not the indignity of it
And I bore the onslaught of insult.
Amrita has succeeded in presenting such themes with all the sophistication of a protagonist seeking to change social values. She has been in the forefront when it came to defying all that was outworn and obsolete in society. One may not agree with her solutions but one has to accept that her writings did set the ball rolling in so far as challenging wrongs in society was concerned.
Amrita brought out a monthly literary magazine Nagmani that was profusely illustrated by Imroz, her artist friend and companion in the second half of her life. The magazine made her accessible to the newest of Punjabi writers who flocked to her residence in Hauz Khas in New Delhi, with or without their spouses carrying suitable gifts and souvenirs to be presented to her. She was quick in introducing ever-fresh themes as new columns on such varied subjects as readings from palmistry and star talk.
Of the 100-odd books penned by Amrita, more than a dozen are available in English today. She has been lucky in her translations as well. Khushwant Singh had picked up her novelette Pinjar for translation while he was to travel to London by sea for a change.
He was interested in a shorter work that could be translated in the three weeks that he was aboard the ship. I had suggested one out of Doctor Dev and Pinjar and he had chosen the latter. This was her first introduction to English readers when not many of them were aware that she wrote fiction too. The Indian film industry and Doordarshan did not lag behind in presenting her works on the screen, big and small.
Amrita was a person of many parts. She was an extremely good conversationalist and could hold audiences of all shades. Whether she acquired this art from the stint she had with the All India Radio or she was picked up by them because of this talent in her is a matter of debate.
Amrita felt more at home with the mazars of Mian Meer Waris Shah and Bulleh Shah which were as dear to her as the Taj and Roza of Ajmer Sharif. This did not apply to the places of worship of other religions in her case.
With all her honours and acclaim, the heights she reached in her lifetime, including the membership of the Rajya Sabha, bestowed on her by late Prime Minister Indira Gandhi, she carved out a niche for herself amongst the immortals of Punjabi literature. Born in the same year as Indira Gandhi, and perhaps under the same stars, wittingly or unwittingly, she waited for the same date to take leave of the world.
Shy of meeting people and visiting different places, Amrita was fond of cooking at home. Hundreds of visitors from other parts of the country and abroad would remember the lime tea served by her. Those interested in artistic calligraphy may continue to visit her Hauz Khas residence which is full of her writings calligraphed by Imroz on all possible corners.
Four decades of her companionship with Imroz has enabled him to master the art of tea-making and one can be sure of Amrita’s legacy being carried on by him.

Amrita Pritam did not confine herself to the limits and boundaries of this Punjab. She did not belong to either side of the Wagah border or even both sides put together. She was the voice of Punjabis all over the world and hence the voice of hum

Amrita Pritam: Queen of Punjabi Literature By KHUSHWANT SINGH

Amrita Pritam: Queen of Punjabi Literature 

By KHUSHWANT SINGH 

The Tribune, Nov. 12, 2005 

 
Photo: Amrita Pritam, with Imroz 

I had known Amrita Pritam for more than 60 years and, besides her live-in gentleman companion and her children, been closer to her than asnyone else. I was the first to translate some of her works into English, including her best-known novel Pinjar (The Skeleton) and selections of her verse published in the brochure released by Prime Minister P.V. Narasimha Rao when she was given the Jnanpith Award. However, when T.V. and radio channels asked me to pay tribute to her when she died on October 31, I firmly said no. Then I heard and read what others had to say about her. Patwant Singh on N.D.T.V., in his usual haw haw English, spoke about her steadfast adherence to political principles. As a matter of fact, Amrita never bothered about politics and hardly ever read newspapers. Obituaries in newspapers repeated the same things about her life and work loaded, as is their practice, with superlatives. No one dared to mention her human failings.

Amrita's father was a pracharak - a preacher of the Sikh faith from Gujranwala, where she was born. After the death of his wife, father and daughter moved to Lahore. Amrita grew into a pretty girl with almond-shaped eyes, fine features and a fair complexion. She was also petite, barely five feet tall. And precocious. She began composing poetry in her teens. Her earliest work was in praise of Sikh gurus and what they stood for. She was lauded for her work. Among her many admirers was Jagat Singh Kwatra, owner of the leading hosiery store in Anarkali Bazaar. He asked for her hand for his son Pritam Singh. The offer was readily accepted. On marriage, Amrita added her husband's name to her own and became Amrita Pritam. I met her a couple of times in Lahore with other Punjabi writers all of whom were infatuated by her, chief among them Mohan Singh Mahir, then acknowledged as the best among younger poets. He claimed his affection was reciprocated. Amrita assured me it was not.

I got closer to Amrita Pritam after 1947 when we migrated from Lahore to Delhi. She got a job in the Punjabi service of All India Radio. It was about that time she decided to make a clean break from her past. She persuaded her husband to divorce her leaving their son in her custody. She did not formally renounce Sikhism but cut off her hair and took to smoking heavily. It was also around this time she composed her poem Aaj Aakhaan Waris Shah Noo addressed to the Sufi poet Waris Shah, author of the most famous tragic Punjabi saga of Heer & Ranjah.

Utth dard-mandaan dey dardiyaa tak apna Punjab
Beyley laashaan vichhiyaan
Teh lahoo da bharya Chenab

(Sharer of stricken hearts,
Look at your Punjab,
Corpses are strewn in the field
Blood flows in the Chenab.)

With this memorable lament, Amrita Pritam shot into fame in the Punjabi speaking world, both Pakistani and Indian. She never looked back.

My first disappointment came when she won the Sahitya Akademi Award. She was a member of the selection panel. She cast the deciding vote in her own favour. I found it hard to digest but said nothing to her. When she was served with a warrant by an Amritsar Court for something she had written about Sikhism, I agreed to accompany her. Nothing came of it. When Krishna Sobti took her to court for stealing the title of her autobiography Zindaginamah, I appeared in the Delhi High Court as a defence witness. Other troubles came her way, I stood by her.

Amrita was not a highly educated woman, not exposed to good writing in languages other than Punjabi. Nor sophisticated enough to add new dimensions to her own. She was besotted by Bollywood and believed getting one of her novels or short stories accepted by a film-maker was the ultimate in success. All her stories and novels were sob stuff and uniformly second rate.

When I translated Pinjar, I gave half the share of royalties due to me to her on condition that she would tell me her life story and her love life. We had many sessions. She conceded she had been in love with Sahir Ludhianvi and no one else. He came over to Delhi to meet her. It came to nothing. I told her her love life could be written behind a postage stamp. She used it as a title of her autobiography Raseedee Ticket. About Imroz, the one who devoted most of his life to her, she had not much to say. (He is not Muslim as the name might indicate, but a clean-shaven Sikh.) He not only loved her, painted her eyes on doors and walls, designed book jackets for her but in the past few years of her life, when she was unable to move, looked after her to the last. He gave me a line drawing of Waris Shah, which I keep in my studio as an emblem of eternal love. 

Monday, September 14, 2015

ये दिल और उनकी निगाहों के साये---Ja Nisaar Akhtar



ये दिल और उनकी निगाहों के साये
मुझे घेर लेते है बाहों के साये

पहाड़ों को चंचल किरण चूमती है
हवा हर नदी का बदन चूमती है
यहाँ से वहाँ तक, है चाहों के साये

लिपटते ये पेड़ों से बादल घनेरे
ये पल पल उजाले, ये पल पल अंधेरे
बहोत ठंडे ठंडे है राहों के साये

धड़कते हैं दिल कितनी आज़ादीयों से
बहोत मिलते जुलते हैं इन वादियों से
मोहब्बत की रंगीन पनाहों के साये

संगीतकार : जयदेव, चित्रपट : प्रेम परबत (१९७३) / Lyricist : Ja Nisaar Akhtar, Singer : Lata Mangeshkar, Music Director : Jaidev, Movie : Prem Parbat (1973) :

हे हृदय  आणि प्रियकरच्या नजरांच्या सावल्या
मला घेरून टाकतात त्याने दिलेल्या आलिंगनाच्या  सावल्या


चंचल किरणे पहाडाना   चुम्बत आहेत
हवा प्रत्येक नदिच्या अंगाशी लगट  करत आहे
इथून ते तिथे सगळीकडे  ; पसरल्या आहेत शृंगाराच्या सावल्या


काळे ढग वृक्षाना बिलगत   आहेत
हा क्षणात होणारा उजेड आणि अंधार
खुप कठीण आहेत ह्या प्रतीक्षेच्या   वाटा


निसर्गातील स्वातंत्र्यात प्रेमीकांची हृदये जोरात धड़कत आहे  
ती धड़कने भासताहेत  डोंगर दर्य्याप्रमाणे

सगळीकडे उरुन रहिल्यात प्रणयाच्या रंगीन आठवणीच्या सावल्या

Thursday, September 10, 2015

Sahir’s tortured soul --Khushwant Singh

Khushwant Singh


Sahir’s tortured soul
Khushwant Singh

I first met Sahir Ludhianvi at a small gathering of poets in the home of Dr Rafiq Zakaria and his wife Fatma. Zakaria was then a minister in the Maharashtra Government and lived in a spacious bungalow with a garden on Malabar Hill. The party was in honour of Firaq Gorakhpuri, who happened to be visiting Bombay. The guests included Akhtarul Imam, the novelist Krishen Chander, Sahir Ludhianvi and a few other lovers of Urdu poetry. The only misfit was Mota Chudasama, a Gujarati businessman who knew neither Urdu nor poetry. He was rich and a friend of the Zakarias. The party had just started with a few poets reading their compositions when Chudasama made some inane remark which upset Sahir. He exploded in bad temper: "Who invited you here? If you know nothing, you should keep your mouth shut." Or words to that effect. Chudasama walked out in a huff. The party was ruined.

I learnt that Sahir was prone to losing his temper and behaving rudely. He was a heavy drinker. When he arrived at Zakaria’s home, he was already high. He expected to be served with Scotch and soda. Instead he was served tea and pakodas. That may have triggered off the explosion.


He invited me over to his bungalow by the sea in Juhu. I accompanied the Zakarias. I was on my guard lest I say something which might upset him. I spent most of the evening talking in Punjabi to his mother and a ladycousin or niece. I could sense his mother doted on him as he doted on him mother. More than once, she asked me: "Puttar (son)you tell him not to drink so much. He is ruining his health." I didn’t dare. I joined him for a couple of drinks, had my dinner and departed.

I got Sahir’s background in bits and pieces from his many admirers. He was by then the most celebrated composer of lyrics in the Bombay film industry. Though I did not get to see his films, I got to know many songs Sahir has composed for them. Unlike other men of letters who never miss an opportunity to praise themselves, Sahir modestly conceded that he was no more than a writer of songs designed to fit into a film plot. He rebelled against authority and hated the rich. In his celebrated poem on the Taj Mahal, he execrated emperor Shah Jahan, who ordered its construction and praised stone masons who gave it shape and beauty. In another poem Chaklay (brothels), he wrote sympathetically of prostitutes while castigating their rich clients. His forte was sarcasm.

An article by Shamim Ahmed in a Pakistani magazine filled in some gaps in my information about Sahir. He was born in Ludhiana (hence Ludhianvi). His real name was Abdul Haye. He took on the poetic pseudonym Sahir (enchanter). He had a very unhappy childhood. His father Fazal Din, who owned a little agricultural land, was an inveterate womaniser: he married 14 women in succession. Only one, Sardar Begum, bore him a son (Sahir). He divorced her to marry another. He took Sardar Begum to court, alleging her son was illegitimate. The Lahore High Court accepted Sahir’s legitimacy and appointed his mother his guardian. Sahir developed a strong mother-fixation and loathing for his father: the relationship was an example of the Greek Oedipus complex, which made him incapable of consummating the few love affairs he had in the short life of 59 years.Shamim Ahmed names three women in Sahir’s life, all three non-Muslims. The first was a Hindu girl, Prem Choudhury, who died of consumption at a young age. Sahir wrote a poem Marghat (Place of cremation) about her. The second one was Ishar Kaur, a Sikh girl, whom he met while he was a student in Lahore. She spent a night with him in the college hostel. Sahir was expelled from the hostel.

She followed Sahir to Bombay, where he had shifted on the advice of S.D. Burman but married some distant cousin. No one knows what happened to this Ishar Kaur. The third was also a Sikh, the eminent poet Amrita Pritam. She admits to the love affair in her autobiography Raseedee Tikat (Revenue Stamp) he responded to her overtures and came to meet her in Delhi’s Claridges Hotel. It was a non-starter. By then Sahir had burnt himself out with excessive drink and complexes, which rendered him impotent. Names of Lata Mangeshkar and Sudha Malhotra are also mentioned as Sahir’s heart-throbs.

Sahir’s mother died in 1976. With her went Sahir’s will to live. She was the only real love in his life. Because of his doting on her, he developed a distrust for other women (gynephobia) and fear of marrying (gamophobia). Four years after his mother left, he died on October 25, 1980.
It is time someone researched Sahir Ludhianvi’s past life, poetry and his abortive love affairs because he was a poet of great stature.