romancing tagore (part-i)

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Ro man c in g T a g or e

Acollection of over 100 Tagore poems in Urdu Nazm

Transcreated byIndira Varma

Rehman Musawwir


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Copyright Page

DesignJacob. PNew Delhi

Type set byAbdul Tawab at Frontech GraphicsNew Delhi

This Page has to be completed in Kolkata.Since Visva Bharati and Basu Media Servicesare the Publishers..What is written below will remain. The Design and the Typeset


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INTRODUCTION

In his article on Rabindranath Tagore’s influence on modern Indian poetry, V.K. Gokak said, “The influence

of a poet on his epoch or on his contemporaries and successors is a very subtle factor and critical instruments

of utmost precision are required to measure it. The task is even more difficult when we think of an

epoch-making poet like Rabindranath Tagore… .The impact may be one of stimulation, or assimilation, of

acquiescence or revolt. It reveals itself even in the revolt directed against it.”

Mohammad Iqbal, one of the greatest of Urdu writers who were among contemporaries of Rabindranath, said

that he found Rabindranath’s poetry dreamy and one that encouraged inaction and belonged to the world of

the lotus eaters. Yet, in spite of himself, Iqbal was powerfully influenced and moved by many of those forces

and thought-currents, ideals and a vision of life of which Rabindranath was the greatest representative. Firaq

Gorakhpuri commented, “What Iqbal in a moment of impatient criticism, which was more impatient than

critical, more intolerant than discerning called the dreaminess of Tagore’s poetry was really a wide-awake

dream. Out of such dreams revolutions are born and nations rediscover themselves.” In fact, the technique

of giving new socio-cultural content to time-old allusions seems to have had an impact on Iqbal. As the elder

contemporary of Iqbal, Rabindranath sent his greetings to his great younger contemporary. In the course of

a letter to Iqbal, he wrote that he had come to learn of the many great achievements of Iqbal in the realm

of poetry and expressed his fervent desire that their mutual contributions to culture and humanism would

be supplementary and complementary.

An Indian Renaissance was taking place; this was a result of the response to the West and a revival of

ancient Indian thought and literature. Each region in India felt the impact of this Renaissance but Bengal was

privileged to experience it in a special way. Calcutta was the capital of the British in India for a long time and

the Renaissance came to an earlier fruition in Bengal where it was destined to find its classical expression in

the poetry of Rabindranath. Poets of genius arose in other parts of the country only after Rabindranath was

resplendent on the horizon and had been accepted by them as their Master.

Even before he won the Nobel Prize in 1913, a few poems were being translated into Urdu. However, after

1913, we find translations of his poetry growing in number. In 1914, Niaz Fatehpuri created a sensitive prose

translation of the lyrics from Gitanjali . Other well-known translations of Gitanjali were made by Bijnori in

his unfinished rendering in blank-verse and Moulvi Ziauddin of Santiniketan, who learnt Bengali and then

translated into Urdu. Ziauddin’s Kalam-i-Tagore published by Visva-Bharati in 1935 comprised one hundred

and twenty prose-poems. In 1924, Hamid Hasan Quadri translated poems from the English Gardener , entitled,

Baghban yani naghmat-i-muhabbat va hayat . Qamar Jalalabadi published a volume of versified translation


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of selected poems, Tagore ki Nazmen . In 1983, Sahitya Akademi published Firaq Gorakhpuri’s Ek Sau Ek

Nazmen , a collection of poems by Rabindranath in Urdu translation. Unfortunately these translations are not

easily available to today’s readers.

Urdu poets seem to prefer the nazm as a medium for translating Rabindranath’s poems and songs. The

nazm in Urdu language is a form of poetry that has a smooth flow of rhyme and rhythm and is written in

verses. These verses are in continuity to maintain a flow of thought, unlike the ghazal in which verses have

independent meaning and can portray feelings independently without depending on the next verse. Unlike

the ghazal , a nazm is not bound by any restriction of following a certain length pattern. In a nazm the

opportunity for a detailed exploration of every expression is possible. This unique quality of vastness gives

the nazm its due importance in Urdu literature.

The transcreation of Rabindranath’s poems and songs into Urdu nazm by Indira Varma seems to be in

continuation of a tradition started by Qamar Jalalabadi and Firaq Gorakhpuri. She has translated from

English renderings and has recreated them according to her interpretation of these renderings adding to

these lyrics a feminine sensibility. Kshitish Roy lived in Santiniketan for long years and was associated

with Rabindranath; he had assimilated Rabindranath’s thoughts and ideas so well that his translations are

the closest to the Poet’s own poems. It was through Kshitish Roy’s translations that Indiraji first came into

contact with Rabindranath and was inspired to mould these into Urdu nazms . She has also transcreated

from the Poet’s own translations. As her hunger for more songs grew, she explored other renderings. To

appease her hunger I made some working translations of songs I felt would appeal to her sensitivity and

taste. Indiraji’s transcreations are beautiful and will hopefully revive an interest in Rabindranath’s lyrics in

the world outside Bengal.

This reaching out to the world outside of Bengal is very important because it epitomizes Rabindranath’s

universal humanism. In 1921 he established Visva-Bharat i, an international university. A national and

international role was charted out for Visva-Bharati by its founder. In his speech on the occasion of the

inauguration of the institution Rabindranath outlined this role in the form of two objectives: uniting the

diverse cultural streams of India and linking them all with the global civilization of mankind. The Poet

selected for Visva-Bharati, as a motto, an ancient Sanskrit verse, yatra visvam bhavati eka nidam : where the

whole world meets in a single nest.

Indeed the world met in Santiniketan—there were professors, artists, linguists and the like from different

parts of Europe, from America, from the different countries of Asia—China, Japan, Ceylon, and others.


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Some came for short visits, some spent a few years and some settled here for life. My mother-in-law, who

was Japanese, came as a young girl with her father, who was invited by the Poet to teach woodwork in

Santiniketan. She stayed on and Rabindranath was present at her wedding to a Bengali youth who would later

be the Director of Sriniketan, the Institute for Rural Reconstruction. These inter-marriages worked very well

in Santiniketan because the milieu was ready to accept them.

It may not be out-of-place to mention that Indira Varma and her son, Suneet, have been family friends for

many years. My brother, Rathikant and I, have from the beginning given her much encouragement in her

interest in Rabindranath. Her passion and intensity for the work of transcreation was so infectious that all

the members of our family got involved in the book!

The availability of these nazms will be greeted with enthusiasm and we express our gratitude to Indira Varma

and her colleague, Rehman Musawwir. The musical quality of these nazms has moved Rathikant Basu, co-

publisher of this book, to arrange an Audio CD which will have music composed by Debojyoti Mishra, but

reminiscent of Rabindranath’s own compositions. As an ardent Tagore enthusiast, I, for one, welcome such

experimentation.

It is most appropriate that this book of Urdu nazms based on Rabindranath’s poems and songs should be co-

published by Visva-Bharati. We may recall that when the teaching of modern Indian languages was introduced

in Santiniketan, Urdu was one of the first languages that were taught after Bengali. Rabindranath was

interested in the sister-languages of Arabic and Persian which were also taught and continues to be taught

in Visva-Bharati.

Supriya Roy 1- 1- 11


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to India and began collecting and reading hundreds of Tagore’s poems. Unable to read Bangla, I read them

in English and in Hindi translations.

I was lucky, our family friend Rathikant Basu and his family were closely connected with Santiniketan. His

sister Supriya Roy had been the Librarian for over 30 years. He sent me the first 100 translations, then more

and then more. Supriyaji translated poems for me. They became my mentors. The more I read, the more

transfixed I was by the sheer beauty of those words that enraptured me even from the inevitable distance

of translation. With my increasing enchantment, grew my resolution to translate this poetry into Urdu, a

language I have always loved and turned to. With two collections of my own Urdu verses behind me, I was

ready for this trans-creation – of ‘pouring’ Tagore’s verses in my words.

Rathikantji promised to promote and publish my book. He made several trips to Delhi, spoke and met

Kumkum Bhattacharya, Director from Visva-Bharati to consider co-publishing the book. Without him and

Supriyaji nothing could have been possible. The eight year dream that I had been pestering him about now

also became his.

We also considered having the nazms sung. Having been the DG Doordarshan, the CEO Star TV and now

running three of his own TVChannels, Rathikantji made these dreams technicolor. His plans became lofty.

His association with singers of high repute and Music Directors were accessible to him. I just waited while

he adopted the total project. It would be impossible to say thank you in all the words I know but maybe I

will write a poem as an ode. The final impetus was provided by the 150th Birth Anniversary of Gurudev and

the support extended by Visva-Bharati and Santiniketan.

They wanted me to transcreate a hundred specific poems within ten months, so that the book could be

published under their aegis in the 150th year of celebration. The task, I must confess, was both daunting

and irresistible. This is when Musawwir came on board recommended by a dear friend. He is a Ph.D. in Hindi

and his flair for written and spoken Urdu was a boon. He has contributed largely in this ambitious project of

mine and together we burnt the midnight oil continuously for eight months.

Having completed the book, I can now safely say that Tagore has left us one of the best repositories of love

to be found anywhere in any language. This love has multiple forms -- it is divine, it is patriotic, and it is

romantic -- indeed, as romantic as the best of Romantic poets including Wordsworth, Keats or Shelley.

My passion is Urdu poetry. I have grown up reading Ghalib, Mir, Dagh and all the contemporary poets


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of India. My father has written several volumes of poetry. He wrote in Farsi, Urdu, English and Punjabi.

His poetry has been compared with Bulley Shah, Shah Hussain and Baba Farid. I have had close personal

associations with Faiz Sahab and Faraz Sahab. I have been running a society called Shaam-e-Ghazal for forty-

three years in collaboration with the India International Centre.

Zehra Nigah, the foremost poet of the subcontinent is my Guru. She visits me every year and this year I

began transcreating the first nine poems for this collection under her guidance.

During these past eight months of intense labour and close reading of Tagore, every poem that I read left me

overwhelmed. Every line helped me reconnect with my own illusionary forgotten self. My inner hierarchy

started to listen again. Tagore melted the logical grid in me. I would call it nothing other than Romancing

Tagore. It seemed appropriate, therefore, to call the book by this name.

Many poets have sung the laurels of love but only few have succeeded in finding the essence of romance in

its simplicity. Tagore sees romance exuding from the mundane, from the rites and rituals of everyday life. He

feels the need for neither ostensible metaphor nor intricate ornamentation. The beauty of his language and

simplicity of thought makes anything and everything lovely -- be they heavy monsoon clouds, the fragrance

of seasonal flowers, the chirping of birds or the hum of bees. In all its glory, being true to the proverb, it is

Tagore the beholder who renders things beautiful.

To say that Tagore has been extensively translated into innumerable languages is to rehash a known fact.

That Urdu has hardly been one of the languages is a rather sad and curious omission. Therefore, apart

from the pleasure of working on Tagore, an added source of exhilaration has been the task of not merely

translating, but trans-creating Tagore into Urdu nazms. With its rich vocabulary and seduction of form, few

other languages can parallel Urdu in retaining the beauty and romance of Tagore’s original poetry. We hope

that the reader would agree.

As anyone initiated into Tagore would know, a sense of joy is seldom unaccompanied by the sweat of hard

work. This book too bears the testimony to the somewhat unconventional fact that grit, perseverance and

hard work only increase the quota of joy rather than diminish it in any way. But unconventional wisdom is

what we also revere Tagore for. Only a person who understands the importance of hard work in possibilities

of joy can come up with the unconventional assertion that ‘Love’s gift cannot be given; it waits to be

accepted.’ This is the essence of love. This is the essence of Tagore for me and, I hope, also for you.

Indira Varma 1- 1- 11


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PUBLISHER’S NOTE

On the occasion of Rabindranth Tagore’s 150th birth centenary, it behoves upon Visva-Bharati to play a

pivotal role in arousing an inclusive pan-Indian awareness of and familiarity with the works of one of the

tallest creative figures in the world. One way of bringing this to fruition is through the medium of translation

or transcreation of the many genres into which Rabindranath generously poured his creative powers.

This offering of Urdu nazms has been born out the transcreations of Tagore’s songs and poems that by and

large have remained confined to Bengali speakers. There are over 2000 songs abiding in millions of people’s

hearts beating to every emotion and sensation. His songs are indeed special. He wrote the lyrics, composed

the music and indicated the accompaniments for performance.

Our country has many languages and we have a tradition of transcending language barriers. Communicating

in many languages is one of the ways in which unity with our diversity is forged and the exchange of ideas

born out of the beauty of creativity builds enduring bonds among people.

There is a need to spread Rabindranath’s works beyond the Bengali speaking populace; the task is daunting.

In this volume Indira Varma has endeavoured to overcome the natural obstacles of language in her urge to

pay homage to Gurudeva. She has sourced known and unknown English translations in her patient search for

more and more of Tagore and from that distilled for us a fairly large collection of poems that can be read,

recited and sung for us to savour and treasure.

It has been for us a journey of discovery together with Indira Varma not just in sourcing the pieces but in

the process of her transcreations within the complex grammars of both very separate genres Rabindra Sangit

and Urdu Nazms.

The project has been gratifying in many ways being able to extend into another elegant form and taking

Rabindranath to Urdu speaking people thereby facilitating the Urdu speakers rediscover the potent inner

beauty of his works. This volume is an affirmation of faith in the classic timelessness of our bard. We

acknowledge the help, contribution and guidance of Shri Rahti Kanta Basu and Smt Supriya Roy in this

project.

Kumkum Bhattacharya October 31, 2010


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ACKNOWLEDGMENTS

Smt. Zehra Nigah

Smt. Rakhshanda Jalil

Smt. Supriya Roy

Smt. Kumkum Bhattacharya

Shree Rathikant Basu

Ms. Rajula Das

Ms. Manjurika Siroli

Ms. Kasturi Chatterji

Shree S. Z. Alvi

Dr. Anees Ahmed

Mr. Ruchir Shukla

AND

Mr. Rajnesh Tripathi


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Aaji mama mana chaahe jivanabandhure 22

gS ;s fny csd+jkj mlds fy,

Sudhasagartire he 24oks lkfgys&leanj ds ikl vk x, gSa

Mandire mama ke ashile he 26

;s esjs eafnj es a dkSu vk;k

Nibirh ghana aandhare 28

;kl dh csiukg xgjkbZ esa

Antara mama vikasita karo 30

esjh :g ds Qw y dks f[kyus ns

Jivan jakhan shukaye jay 32

tc fny dh t+eha gks tk, l[+r

Oi aasantaler matir pare 34

vius d+neks a rys

Dukhher timire jadi jwal 36

vxj esjs x+e ds ?kusjs v¡/ksjs

Je dhruvapada dihyechho baandhi 38

uX+ek&,&ft+Unxh esjk bd fnu

Aaji pranami tomare chalibo, nath 40

esjs fny dk vkx+ kt+

Shanganagagane ghor ghanaghata 42

?kus ckny

Badal-baul bajaaye re ektara 46tSls bd eqrfjc vkokjk

Ei sharat-aalor kamal-bane 50

;s esjh f[+ kt+ k¡ gS

Hay Hemantalakshmi, tomar nayan keno dhaka52

,s f[+ kt+ k¡ dh nks’kht+ k

Himer raate oi gaganer deepgulire 54

lnhZ ds ekSle us viuh >huh pknj ls

Ore bhai, phagun legechhe 56

viz Sy dh vkfr’k

Barho bedonar mato bejechho 58

nnZ dh bd ygj lh fny ls xqt+jrh gS

De pare de aamay tora 60

,s nksLr

Aamar paran jaha chay 62

rqe oks gh gks

Tumi jeyo na ekhani 64

u tkvks eq>s NksM+dj

Content


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Rodan-bhara e basant 66

blls igys dHkh eSaus ns[kk ugha

Ore, nutan juger bhore 68

u, vgn dh ubZ lgj esa

Gram-chhara oi ranga matir path 70

vkg] jLrk lq[+ kZ & lq[+ kZ

He chiranutan, aaji e diner pratham gane 72

lnk lnk ds rkt+k ne

Ei kathati mane rekho 74

tc dHkh [+kq’k gks ds eq>dks ;kn djuk pkgks rqe

Aabar jadi ichha karo 78

vxj rqEgkjh ;gh gS [+okfg’k Tumi rabe nirabe hridaye mama 80

xehZ dh oks Bgjh gqbZ bd jkr

Mori lo mori, aamay banshite dekechhe ke82

D;k d:¡

Tabu mane rekho 84

vxj eSa fcNqM+ tkÅ¡ rqe ls

Aami tomar sange bendhhechhi aamar pran88

gekjs njE;k¡ D;k gS

Aamar ki bedana she ki jaano 90

esjh nksLr

Premer joyare bhasabe donhare 92

I;kj dk gS ;s rykrqe

Aaji sharat-tapane prabhat-swapane 94

uhan ls tkxrk gw ¡ eSa tc

Aamar praaner majhe sudha achhe, chao ki98

xks’kk&,&fny esa esjs] gS ’kgn dk [+ kt+huk

Bhalobeshe, sakhi, nibhrite jatane 100

pqids&pqids

Aami chini go chini tomare 102

rqe ls f’kuklk fny gqvk ml ikj ds lueAamar matha nata kore dao 106

xnsZ ik dh rgks a esa rqe viuh

Lover’s Gift: Number 28 108

eSaus ,d [+okc vHkh cgqr lqgkuk ns[kk gS

Tumi je surer aagun 110

rqeus esjh :g es a

Aamar sure lage tomar hashi 112

Bgjrk gS esjs uX+eks a is ;w¡ rsjk rcLlqe


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Kul theke mor gaaner tari 114

NksM+ nh xhr dh d’rh vkt+ kn

Gaaner bhitar diye jakhan 116

ns[krk gw¡ dqnjr dks

Kabe aami bahir holem 118

,d fnu pgyd+neh lh djrs gq,

Tomay aamay milan habe 120

rqe vkSj eS a

Shudhu tomar bani noy go 122

,s nksLr esjs

Mor hridayer gopan bijan ghare 124

fny ds fdlh xks’ks esaMala hote khase-para phuler ekti dal 126

cxs Z&xqy >M+ tk, tks xtjs ls rsjs

Dhire bandhu, dhire, dhire 128

vkvks rqEgkjs lwus eafnj esa tk,a

Aamar hiyaar maajhe lukiye chhile 130

eS aus rqedks ugha ik;k

Prabhu, bolo bolo kobe 134

,s esjs [+kqnk

Tumi khushi thaako amaar paane cheye cheye136

tc rsjs njckj esa eSa

Ami bahu bashonay pranpone chay 138

esjk fny gol dk t+[+ khjk Fkk cs’kd

Bhay hate taba abhaya maajhe 140

rqe viuh n;kurnkjh ls

Aachhe dukho aachhe mrityu 142

;gk¡ gS nq[k] ;gk¡ gS ekSr

Swapan jadi bhangile 144

jkr ds fiNys igj

Daake baar baar daake 146

fnu jkr cqykok vkrk gS]Ei-je tomar prem 148

lkfgjs&:g]

Mane rabe ki na rabe aamare 150

rqe eq>s ;kn djks ;k u djks s

Ogo shono ke bajaay 152

ck¡lqjh dh y; lquks

Koto ajanare janaile bondhu 154

csxkuks a dks viukdj


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Anek katha bolechhilem 156

?kuh jkr esa

Aami rupe tomay bholabo na 158

vius gqLuks&ukt+ ls gjfxt+ ugha

Tumi ektu keval bashte diyo kachhe 162

vius igyw esa txg ns nks eq>s

Na na nai ba ele 164

oD+r ugha gS vxj rqEgkjs ikl

Jaani tumi phire aashibe 166

eq>s irk gS

Chaitrapabane mama chittabane 168

vks I;kjh lh yM+dhHay re, ore jaay na ki jaana 170

mldk irk ugha fey ldrk

Mane raye gelo maner katha 172

fny dk nnZ gSa vk¡lw

Deko na aamare deko na 174

bfYrtk gS esjh

Aaji dakshinapabane 176

ckns&lck ds lkFk

Hay go, byathay katha jaay dube jaay 178

oTn esa Mw cs gSa vYQ+kt+ esjs

Bane jadi phutlo kusum 180

f[ky x, xqy fnyu’kha

Likhan tomar dhulaay hoyechhe dhuli 182

iSx+ ke tks rqeus fyD[kk

Deep nibe gechhe mama 184

nhid esjk vkt dh ’kc

Kotha baire dure jaay re urhe 186

taxyh fpfM+;k dh ekfuUn

Aamar ange ange ke bajaay baanshi 190

esjs cnu dh jx jx esaChinile na aamare ki 192

rqeus eq>dks ugha iqdkjk

Dujone dekha holo madhujamini re 194

ml lqgkuh ’kke es a Fks oks feys

Purano sei diner katha 196

rqe dSls Hkqyk ikvksxs

Sahe na jatana 198

nnZ lgk ugha tk,


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Tumi to sei jabei chale 200

,d fnu gks tkvksxs eq>ls tqnk

Barha, bismay laage heri tomaare 202

ns[kdj rqedks gSjku gw¡

Sheydin dujane dulechhinu bane 204

;kn djks ml fnu dks ss

Pakhi aamar nirher pakhi 206

tc ifPNe ls

Kotha chhaayar kone daanriye tumi 208

egcwc esjs vkvks

Chitta jetha bhayasunya 210

tgk¡ t+sguks a esa dksbZ Mj ugha gSHe bhuban, ami jatakhan 212

,s nqfu;k

Britha e krandan 214

jksuk /kksuk lc csdkj

Samukhe shaantipaarabaar 218

vEu dk leUnj gS lkeus

Tomar srishtir path rekhechho akirna kari220

rw Q+jsch gS

Kabe tumi aashbe bole raiba na base 222

?kj ds vanj cSBdj] eSa u d:axk bfUrt+kj

Tomaarei kariyachhi jivaner dhruvataara224

rqEgha gks esjh ft+Unxh dk flrkjk

Aamar dhaala gaaner dhaara 226

eSaus rqEgkjh [+kkfrj vius xhrksa

Aanmana, aanmana 228

esjk fny ?kcjkrk gS

Chokher aaloy dekhechhilem chokher bahire230

tc esjh nqfu;k esa mtkyk Fkk

Aaji godhuli lagane ei baadal gagane 232

/kqa/kys /kq a/kys vkleku ij Aaji jhader raate tomar abhisaar 234

egcw c esjs] gene esjs!

Aaji naahi naahi nidra aankhipate 236

vkt dh jkr esjh iydksa ij

Aamar bela je jaay sanjh-belate 238

/kqa/kyh /kqa/kyh ’kke ds lkFk

Aamar mukti aaloy aaloy ei aakashe 240

vklek¡ ij jkS’kuh esa


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Aamare koro tomar beena 242

eq>dks viuk lkt+ cuk ykss

Daanriye aachho tumi aamar gaaner opaare244

rqe lkfgy ij ogk¡ [kM+s gks s

Tarite pa diyni aami 246

ik¡o u jD[kk eSaus viuh d’rh esa

Tumi kemon kare gaan karo he guni 248

,s ekfyd!

Aalo aamar, aalo ogo, aalo bhuvan-bhara250

oks jkS’kuh esjh gS — gk¡ esjh gh jkS’kuhs

Tumi ki kebali chhabi 252

eg~os&gSjr gw¡Sarthak janam aamar janmechhi ei deshe254

bl ns’k dh /kjrh is tue esjk gqvk gS

Jibane jata puja holona sara 256

ftu nqvkvksa dks ft+Unxh es a

Nai nai bhay, hobe hobe jay 258

u Mj] u Mj] u Mj] u Mj

Ebar tor mora gaange baan esechhe 260

vkf[+kjdkj vk igq¡pk lSykc

Bhaango, baandh bhenge dao 262

viuh lksp cny Mkykss

Aamar man keman kare 264

esjh cspSu :g

Kaal raater bela gaan elo mor mone 266

dy jkr ,d uX+ek eq>s ;kn vk x;k

Adhara madhuri dharechhi 268

bd vUtkuh lh [+kq’cw gS


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22

Aaji mama mana chaahe jivanabandhure

Today my heart pines for my lifelong friend,

my one steadfast companion

who ever stands by me

day and night,

in weal and in woe,

in life and in death.

Joy perennial, bliss inexhaustible,

He is the firm and constant refuge

Of every age and every clime.

Peace abounding, love limitless

saviour supreme, great in his goodness

He is the soul of my soul

my mind’s intimate,

my gracious master of all timesProviding me with whatever

my body, mind and spirit crave.

He is the king

to whom my heart is held a hostage.

%ç×L ]] ]X »Jôçãc÷ LÝ[ýX[ýμ ÇùãÌ[ý


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23

Hai ye dil beqarar uske l iye

Dost thehra jo zindagi bhar ka Woh hamnawa ki jo saabit qadam hamesha raha

Jo mere saath shab-o-r oz ka musafir tha

Hayaat-o-maut k i paabandiyon se baaz r aha

Woh lazval masarr at ka paikar-e-aala

Muhabbaton ka ameen

Panahagaah

Muhaafiz

Woh chain-o-amn ka tha

Rafeeq mere zehan ka

Woh meri rooh ki rooh

Mera dimaag, mera qalb aur badan mera

Jo il ti maas kare

Woh navaaz deta hai

Woh ek shah

Mera dil aseer hai j iska

saabit qadam - fi rm, constant ; hayaat-o-maut - l if e and death ; lazval - immor tal ; masarrat - happiness ;

paikar-e-aala - the number one ; ameen - fait hful , trustworthy ; panahagaah - asylum ; muhaafiz - escort ; rafeeq - fr iend ; qalb - heart ; i lt imaas - request ; navaaz - to show favour ;

aseer - pr isoner

gS ;s fny csd+jkj mlds fy,nksLr Bgjk tks ft+Unxh Hkj dk oks geuok fd tks lkfcr d+ne ges'kk jgk tks esjs lkFk 'kcks&jkst+ dk eqlkfQ+j Fkk g;krks&ekSr dh ikcafn;ks a ls ckt+ jgk oks ykt+oky eljZr dk iSdjs&vkyk eqgCcrksa dk vehaiukgxkg eqgkfQ+t+oks pSuks&veu dk Fkk jQ+ hd+ esjs t+sgu dk oks esjh :g dh :g esjk fnekx+] esjk d+Yc vkSj cnu esjk tks bfYrekl djsoks uokt+ nsrk gSoks ,d 'kkg

esjk fny vlhj gS ftldk

lkfcr&d+ ne μiDds bjkns okyk] iz frK( g;krks&ekS r μ ft+Unxh vkS j ekS r(ykt+oky μ ftles a fxjkoV u gks( eljZ r μ[+kq'kh] izlUurk(iSdjs&vkyk μlk{kkr xq.k Js"B( vehaμ ftl ij fo'okl fd;k tk,(iukgxkg μ 'kj.kLFky( eq gkfQ+ t+μ j{kk djus okyk( jQ+ hd+μ nksLr] fe=k(d+Ycμân;] fny( bfYrekl μ fuos nu( uokt+&iz nku djuk vlhj μcanh] d+ S nhA


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aÇWýçaçGÌ[ýTöÝãÌ[ý åc÷

Sudhasagartire he

Men and women have come

to the shores of the sea of bliss

to drink of the water of life everlasting.

Blessed is the night,

beautiful the world of nature.

All the four directions resound

with the song of hope and longing.

The full-moon of your love

shines in the sky.

Sweetly blow the winds of your grace.

Waves of joy flow all around.

And my soul dives deep

in the sea of eternal bliss.


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oks lkfgys&leanj ds ikl vk x, gSavkcs&g;kr ihusoks b'd+ ds veha gSaoks enks Z&t+u glha gS a

'kc es a gS [+ kq'k xokjhnkekus&gqLus&d qnjr QSyk gqvk gS gj lw vkSj pkj lEr uX+es mEehn ds gSa xw ¡tsekgs&reke mHkjk gS rsjh mYQ+rks a dk rsjh vnk dh [+kq'kcw :g es a lek jgh gSvkSj :g gkSys&gkSysvcnh eljZrks a dsxgjs leUnjksa dhrg esa mrj jgh gS

lkfgys&lea nj μleq nz rV]vkcs&g;kr μve ̀r( veha μ fo'oLr] ftu ij fo'okl fd;k tk,(enks Z &t+uμiq#"k ,oa efgyk]

nkekus&gqLus&dq njr μizkd` frd lkS an;Z dk n '̀;] lwμ fn'kk pkj lEr μpkjks a vks j( ekgs&reke μiw f.kZ ek dk pk¡ n]vcnh elZ jrksaμog izlUurk ftudk va r u gksA

Woh sahil-e-samandar ke paas aa gaye hain

Aab-e-hayaat peeneWoh ishq ke ameen hai n

Woh mard-o-zan haseen hain

Shab mein hai khush gawari

Damaan-e-husn-e-qudrat phaila hua hai har su

Aur chaar samt naghme ummeed ke hain goonje

Maah-e-tamaam ubhra hai teri ulfaton ka

Teri ada ki khushboo

Rooh mein sama rahi hai

Aur rooh haule-haule

Abdi masarraton ke

Gehre samandaron ki

Teh mein utar rahi hai

aab-e-hayaat- nectar ambrosia ; ameen- fai thful , trustworthy ; mard-o-zan- men and women ;

damaan-e-husn-e-qudrat- scenary , beauty of natur e; su- di rection;samt- side, direction ; maah-e-tamaam- ful l moon ;

abadi masarr aton- immortal joy


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]×³VãÌ[ý ]] åEõ %ç×aã_ åc÷

Mandire mama ke ashile he

Who is come to my temple.

The sky is overspread with bliss

from end to end.

The dark shadows of the night

Vanish and dissolve

on every side.

All the gates open of themselves.

All the lamps burn bright of themselves.

All the strings of my vina

throb to the rhythm

of newer and newer songs.


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;s esjs eafnj es a dkSu vk;k fd vklek¡ dk gj ,d dksuk eljZrksa ls ned mBk gSfd /kqy xbZ gSa reke rkjhfd;k¡ Hkh 'kc dh

reke vcokc [kqy x, gS agq, gS a jkS'ku pjkx+ lkjs;w¡ esjh ohuk ds rkj dk fny /kM+d jgk gSu, rjkus mHkj jgs gSa

elZ jrks aμizlUurkvks a( rkjhfd;k¡μva/ks jk(vcokcμ}kj] njokt+ sA

Ye mere mandir mein kaun aaya

Ki aasman ka har ek konaMasarraton se damak utha hai

Ki dhul gayee hain tamaam tareeqiyan bhi shab ki

Tamaam abwab khul gaye hain

Huye hain roshan charaag sare

Yun meri veena ke taar ka di l dhadak r aha hai

Naye tarane ubhar rahe hain

masarr aton- happiness; tareeqiyan- darkness; abwab- gates, doors;


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×X×[ýQÍö HX %çgWýçãÌ[ý

Nibirh ghana aandhare

In the deep of the darkness

Shines the guiding starwith its steadfast flame.

Have no fear, my heart,

Lose not your way

in the trackless desert.

Do not let your songs cease

when your spirits

droop with despair.Break open the prison of illusion

so that you may fulfil

the meaning of your life.

Have faith in life

that is strong.

Have faith in hope

that sustains.

Have faith in love

which makes the world beautiful.

Smilingly may you walk

through the joys and sorrows of life.

May your heart ever be full

With His loving kindness.


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30

%Ü™öÌ[ý ]] ×[ýEõ×`Tö EõãÌ[

Antara mama vikasita karo

Let the flower of my soul

bloom fully open,

O, soul of my soul.

Make it purer, brighter

and ever the more beautiful

Arouse and prepare me,

and make me fearless.

Unwearied may I be with your blessings,

and of misgivings free.

Rend asunder my bonds,

and so unite me with all.

May the rhythm of your peace

infuse all my actions.May my tranquil heart lie in repose

at your lotus feet.

Let joy and bliss reign

for ever and ever.


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31

esjh :g ds Qw y dks f[kyus ns,s esjh :g dh :g cuk ns eq>srkt+ k ls rkt+k&rj [+ kwc ls [+ kw c&rj

vk txk ns eq>svk cuk ns eq>scs&[+krj eS a rqEgkjh nqvkvks a ds lk, esa iyrk jgw ¡Nw u ik, dHkh cs&;d+ huh eq>s

rksM+ ns[kksy nslkjs ca/ku esjsvkSj fQj bl rjg tksM+ ns

esjh gj bd vnk] gj d+nersjs lkt+ dh y; es a gks tk, t+e

vius ik,&d¡oy es a txg ns eq>syqRQ+ ysus ns eq>dks Hkh rLdhu dk

cs[+krj μ fcuk Hk; ds( t+e μ?kqyuk] Mwcuk] lek tkuk(ik,&d¡oy μpj.k&dey

rLdhuμlarq f"V

Meri rooh ke phool ko khilne de

Ai meri rooh ki rooh,Bana de muj he

Taaza se taaza-tar

Khoob se khoobtar

Aa jaga de mujhe

Aa bana de mujhe

Bekhatar

Main tumhaari duaaon ke saaye mein palta rahoon

Chhoo na paaye kabhi beyaqeeni mujhe

Tod de,

Khol de,

Saare bandhan mere

Aur phir is tarah jod de

Meri har i k ada, har qadamTere saaz ki lai mein ho jaaye zam

Apne pa-e kanwal mein jagah de mujhe

Lutf lene de mujhko bhi tasqeen ka

bekhatar-fearlesszam- t o loose onself

pa-ekanwal - l otus feet tasqeen- sati sfaction


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32

LÝ[ýX ^FX £EõçãÌ ^ ^çÌ^

Jivan jakhan shukaye jay

When the heart is hard and parched up,

come upon me with a shower of mercy.

When grace is lost from life,

come with a burst of song.

When tumultuous work raises its din on all sides

shutting me out from beyond, come to me,

my lord of silence, with thy peace and rest.

When my beggarly heart sits crouched, shut up

in a corner,

Break open the door, my king,

and come with the ceremony of a king.

When desire blinds the mind with delusion and

dust,O thou holy one, thou wakeful,

come with thy light and thy thunder.


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33

tc fny dh t+eha gks tk, l[+r iM+ tk, d+gr ckSNkjs a jge dh ysdj rqe vkvks esjs ikl

tc thou dh lc uokft+'ks a feV tk,axhrksa dk /kekdk ysdj rqe vkvks esjs ikl

tc njge cjge dke dk 'kksjks&x qy gj lEr mBk, lj [+ kkeks'k eq>s dj ns,s [+ kkeks'kh ds [+kqnk vEu vkSj lqdw¡ ysdj rqe vkvks esjs ikl

tc esjk ;s ukdkjk fny dksus esa nqcd dj Nqi tk,,s esjs 'kkg rqe [kksy nks lc njokt+ svkSj ysdj t'us&'kkghrqe vkvks esjs ikl

tc Nhu ys [+okfg'kkr] t+ sg~ u dh chukbZvkSj ogeks&xqek¡ dh xnZ tes,s pkSdUus iSdjs&rlíqd+?ku xjt rtYyh ysdj rqe vkvks esjs ikl

d+ gr μvdky( uokft+'ks aμvuqdEik,¡] n;k( njge&cjge μ frrj fcrj(vEu&lqdw aμ 'kka fr ,oa pSu( ukdkjk μ tks dke dk u gks(

t'us&'kkgh μ jktksRlo( [+okfg'kkr μbPNk,a( t+ s gu μcq f)(chukbZ μ n` f"V( ogeks&xqekaμHkze] iSdjs&rd+íql μifo=kkRek

rtYyh μizdk'k

Jab dil ki zameen ho jaaye sakht

Pad jaaye qahat Bauchharein raham ki lekar

Tum aao mere paas

Jab jeevan ki sab nawazishein mi t jaayein Geeton ka dhamaka lekar

Tum aao mere paas

Jab darham barham kaam ka shor-o-ghul Har samt uthaaye sar

Khamosh mujhe kar de Ai khamoshi ke khuda Amn aur sukoon lekar

Tum aao mere paas

Jab mera ye nakara dil Kone mein dubak kar chhup jaaye

Ai mere shah Tum khol do sab darwaaze

Aur lekar jashn-e-shahi Tum aao mere paas

Jab chheen le khwahishat, zehan ki beenaai Aur waham-o-gumaan ki gard jame

Ai chaukanne paikar -e-tasadduq Ghan garaj tajall i l ekar

Tum aao mere paas

qahat- draught ; nawazi shein- favour , grace ; daraham-baraham- scattered; amn -peace ; sukoon-tr anquli ty ; nakara- w orthless ;

jashn-e-shahi- royal celebrati on ; khwahishat- desire ;zehan -mind ; beenaai-sightness ; waham-o-gumaan- confusion ; gard-dust ;

paikar-e-tasadduq- embodiment of tr uth ; taj all i- li ght


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34

C+ %çaXTöã_Ì[ý ]ç×»OôÌ[ý Yã[ý

Oi aasantaler matir pare

Let me lie down upon the ground beneath your

footstool in perfect gladness.

Let my garment be red with the common dust

you touch with your feet.

Set me not higher than others; keep me not apart from all else.

Draw me down into a sweet lowliness.



Let me remain the last of all your pilgrims;

I shall try to reach the lowest site

which is the broadest.

They come from all sides

to ask for gifts from your hands.Let me wait till they all have had their shares;

I shall be content with the last remnant.




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36

VÇfãFÌ[ý ×Tö×]ãÌ[ý ^×V L ã_

Dukhher timire jadi jwale

If the light of your grace

will shine only in the gloom of my grief,

be it so, my lord.

If death alone will bring me

near to your heaven of eternal life,

be it so, my lord.

If nothing but the blaze of my agony

will kindle the lamp of worship in my heart,

be it so, my lord.

If your loving gaze will not rest

on anything other than my tearful eyes,be it so, my lord.


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37

vxj esjs x+e ds ?kusjs v¡/ksjsrsjh jgerksa ds mtkyksa ls peds apedus ns mudks]pedus ns ekSyk

vxj ekSr vk,eq>s ys ds tk,glha ckx+ tUur ds eq>dks fn[kk,fn[kkus ns mldks]fn[kkus ns ekSyk

vxj 'kksyk esjh vt+h¸;r dk HkM+dsesjs fny es a nhid bcknr dk nedsHkM+dus ns 'kksyk HkM+dus ns ekSyk

rqEgkjh eqgCcr Hkjh ;s fuxkgsavxj p'es&rj ij esjh fVd jgh gSarks vk¡[kks a esa vk¡lw gh jgus ns ekSyk

jgerks aμd ìkvks a]vt+ h¸;r μ rdyhQ+(bcknr μiw tk] vpZ uk(

nedsμpeds(p'es&rj μHkhxh gqbZ vk¡[kA

Agar mere gham ke ghanere andhere

Teri rehmaton ke ujaalon se chamkein Chamakne de unko,

Chamakne de maula

Agar maut aaye

Mujhe leke jaaye

Haseen baagh j annat ke mujhko dikhaaye

Di khane de usko,

Di khane de maula

Agar shola meri azeeyat ka bhadke

Mere dil mein deepak

Ibaadat ka damke

Bhadakne de shola

Bhadakne de maula

Tumhaari muhabbat bhari ye nigaahein

Agar chashm-e-tar par meri t ik r ahi hain

To aankhon mein aansu hi rehne de maula

rehmaton - grace, kindness azeeyat - di ffi culti es and pain

ibaadat - to pray damke - shine

chashm-e-tar - eyes full of tears


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38

å^ WýÐÓ[ýYV ×VãÌ^»K÷ [ý çÅ×Wý

Je dhruvapada diyechho baandhi

I shall attune

the song of my life

to the steadfast note

of the world symphony.

My heart shall sing

with the blue of sky,

and in my silent soul

I shall imbibe its deep

message of peace.

There is a melody that throbs

at the brink of dawn .

May it awaken a new hope

in my heart.

Let the morning of my lifebloom like a flower,

like a song.

And at the day’s end

may I learn to die,

with my spirit attuned

to the song

with which my day began.


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39

uX+e,&ft+Unxh esjk bd fnu lkt+ s&nqfu;k ls lqj feyk,xk esjk fny uhys vklek¡ ds rysuX+e,&bfYrekl xk,xk eqT+n,&vEuks&[+kSjks&vkQ+h;r :g es a esjh mrj tk,xk

lqCg ds gksaVksa isbd uX+e,&'khjha gksxk tks esjs fny esaubZ vkl txk tk,xk

Qwy lk egdsfdlh xhr dh lw jr /kM+dsesjs thou dk losjk

vkSj tc ekSr ds vkx+ ks'k es a lksus tkÅ¡:g gks tk, ge&vkgax mlh uX+es lsftlls vkx+kt+ esjs fnu dk gqvk Fkk bd fnu

uX+e,&bfYrekl μ fuos nu dk xhr(eqT+ n,&vEuks&[+kS jks&vkfQ+;r μ 'kkafr ,oa dq'ky{kse dk la ns'k(uX+e,&'khjhaμe/kqj xhr(

ge&vkgax μ,d nwljs ls feyuk(vkx+kt+μvkjEHkA

Naghm-e-zi ndagi mera ek din

Saaz-e-duniya se sur milaayega Mera dil neele aasman ke tal e

Naghm-e-i l ti maas gaayega

Muzd-e-amn-o-khair-o-aafiyat

Rooh mein meri utar jaayega

Subh ke honton pe

Ik naghm-e-sheerin hoga

Jo mere dil mein

Nayee aas jaga jaayega

Phool sa mehake

Ki si geet ki soorat dhadke

Mere jeevan ka savera

Aur j abMaut ke aaghosh mein sone jaoon

Rooh ho jaaye hum-aahang usi naghme se

Jis se aaghaaz mere din ka hua tha ik din

naghm-e-i l ti maas- hymn of r equestmuzd-e-amn-o-khair -o-aafiyat-auspicious news

naghm-e-sheerin- sweet melody hum aahang-embraced

aaghaaz- beginning


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40

%ç×L YÒS×] åTöç]çãÌ[ý »Jô×_[ý

Aaji pranami tomare chalibo, nath

Let me start my day’s tasks

with a prayer and a salutationto you, my lord.

May your eyes keep watch

on the eyes of my mind.

Let me ever realise

in my silent heart

that you sit enthroned there

as the lord of my life.May the thought of evil die

consumed by the fire of shame.

Through all the varied clamours of the day,

may it be given me

to listen to your cosmic song.

Through all my concourse

with all the varied people,

may I ever realize your presence and nearness.

Whatever I see, whatever hear or say

whatever my thoughts or actions,

let all the chords of my life

remain attuned to your goodness

every moment of the day.


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41

esjs fnu dk vkx+kt+rsjh luk lsrsjh gEn ls

gS rsjh ut+j esjs d+Ycks&t+sg~ u ij gqdwer esjs fny is gS flQ+Z rsjhfd rw gh gS ekfyd esjh ft+Unxh dk

;w¡ feV tk,¡ lc cn&[+k;kyhfd tSlsfunker dh vkfr'k fuxy tk, mudkstks vkokt+ sa fnu Hkj lqukbZ gS a rwusoks dqN Hkh ugha gS aQ+d+r rsjk uX+ek

;s nqfu;k dk te?kV ;s yksxksa dk esyk ;w¡ yxrk gStSls fd rqe gksQ+d+r rqecgqr ikl esjs

eS a tks ns[krk gw¡eS a tks lksprk gw ¡eS a tks dg jgk gw ¡esjs d+ kSyks&Q+s*yks&vey lc ds lc rsjs ge lkt+ gS a

vkx+kt+μvkjEHk(luk μiz'kalk(

gEn μLrq fr] bZ 'oj dh rkjhQ+(d+Ycks&t+ s gu μân; ,oa efLr"d(

funker μyTtk] i'pkrki(vkfr'k μvkx(d+kSyks&Q+S*yks&vey μdFkuh vkS j djuhA

Mere din ka aaghaaz

Teri sana se Ter i hamd se

Hai teri nazar mere qalb-o-zehan parHukumat mere dil pe hai sir f teri

Ki tu hi malik meri zi ndagi ka

Yun mit jaayein sab bad-khyal i Ki jaise

Nadamat ki aati sh nigal jaaye unko

Jo awazein din bhar sunaee hain tune Woh kuchh bhi naheen hain

Faqat tera naghma

Ye duniya ka jamghatYe logon ka mela

Yun lagta hai

Jaise ki tum ho Faqat tum

Bahut paas mere

Main jo dekhta hoonMain jo sochta hoon

Main j o keh raha hoonMere qaul-o-fe’l-o-amal

Sab ke sab

Tere ham saaz hain

aaghaaz- start, commencement sana- praise hamd- hymn

qalb-o-zehan - heart and mind nadamat- t o repent, shame

aatish - fir e qaul-o-fe’l-o-amal- words and works


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Shanganagagane ghor ghanaghata

`çIøXGGãX åHçÌ[ý HXH»Oôç

Dense clouds are massed

in the monsoon sky,and dark is the night.How can I, a mere maiden,weak of courage and strength,venture out to the path of the flowery bower,on this of all nights.Tell me, my friend.

The river Jamuna is lashedand clouds roar intermittently.Lightening flashes,uprooted trees litter the road,and my limbs are all atremblewith fear and shame.

Rim jhim, rim jhim, rim jhim-

it rain unceasingly.

The path to the flowery bowerlies across the dense shadow of dark trees.

Tell me, friend, does it become my Krishnaplaintively to call Radha’s nameon his fatal flute

on such a venturesome night?

Continued...


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43

?kus ckny tek gSa Hkhxs Hkhxs vklek¡ ij jkr dkyh gS

eS a rUgk dksbZ nks'kht+k]ugha gS ftles a fgEer vkSj rkd+r pyw ¡ ml jkLrs ij fdl rjg lstks jLrk Qwyks a ds >qjeqV dh tkfuc tk jgk gSesjs genecrk]vc D;k d:¡ eSa

unh tequk es a gS t+ksjs&rykrqexjt mBrs gS a jg jg dkys ckny ped mBrs gS a 'kksysnj[+r m[kM+s iM+s a gSa jkLrs esa

tks jLrk Qwyks a ds >qjeqV dh tkfuc tk jgk gSgS esjs ftLeks&tk¡ es a[+ kkSQ+ dhvkSj 'keZ dh bd didih lh

cjlrk gS eqlyly ikuh fjef>e?kus isM+ ksa dh xgjh Nk¡o ml jLrs is NkbZtks jLrk Qwyks a dh >qjeqV dh tkuc tk jgk gSA

nks'kht+k μd¡ qokjh yM+dh( tkfuc μvks j] rjQ+( t+ks js&rykrqe μ rwQ+ku dk t+ks j( ftLeks&tk¡μ 'kjhj ,oa izk.k([+kkSQ+μHk;(

Ghane baadal

Jama hain bheege-bheege aasman parRaat kaali hai

Main tanha koi doshiza,

Nahin hai j ismein himmat aur taaqat

Chaloon us raaste par ki s tarah se

Jo rasta phoolon ke jhurmut ki jaanib ja r aha hai

Mere humdum

Bataa,

Ab kya karoon main

Nadi Jamuna mein hai zor-e-talatum

Garaj uthte hain reh reh kaale baadal

Chamak uthte hain shole

Darakht ukhde pade hain raaste mein

Jo rasta phoolon ke jhurmut ki jaanib ja r aha hai Hai mere jism-o-jan mein

Khauf ki

Aur sharm ki ek kapkapi si

Barasta hai musalsal pani r imjhi m

Ghane pedon ki gehr i chhanv us raste pe chhaai

Jo rasta phoolon ke jhurmut ki jaanib ja r aha hai

doshiza - maiden gir l jaani b - dir ection

zor-e-tal atum - heavy flood j ism-o-jan - body and soul

Khauf - fear


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44

Shanganagagane ghor ghanaghata

Deck me then in a bejewelled necklace

and place a pendant

at the parting of my hair.

Gather up the truant tresses

which play about my breasts,

in a chaplet of champaka.

’Do not go to thy youthful lover

on this darksome night, O maiden’,

says Bhanu, thy humble servant,

’The roar and rumble of the clouds

will instill untold fear in your heart,

if you venture out tonight!’

`çIøXGGãX åHçÌ[ý HXH»Oôç


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45

esjs gene crk ;s vc]esjs fd'kuk dks D;k ;s t+sc nsrk gSfd bruh iqj&[+krj 'kc es a]oks brus lkst+ks&x+e es aiqdkjs tk jgk gS tku ysok ck¡lqjh ij uke jk/kk dk eq>s vkjkLrk dj nkseqjLlk gkj iguk nksltk nks ek¡x es a Vhdk esjh cs'keZ ckyksa dh yVks a dks\ck¡/k nks Qw yksa ds xtjks a lsfd ;s lhus ls esjs [ksyrh gSa

;s ^Hkkuw* esjk [+ kkfne eq>ls dgrk gSva/ksjh jkr es aml ukStoka vkf'kd+ ls feyus ds fy, er tk

ngkM+s a] xM+xM+kgV] cknyksa dhvudgk bd [+kkSQ+gkSys ls rqEgkjs fny esa Hkj ns axhvxj rqe vkt 'kc [+ krjk mBk dj ckgj tkvksxs

vkjkLrk μlqlfTtr(eq jLlk μ ghjs eks rh tM+k gqvk([+kkfne μukSdjA

Mere humdum bataa ye ab,

Mere kishna ko kya ye zeb deta hai Ki i tni pur-khatar shab mein,

Woh itne soz-o-gham mein

Pukar e ja raha hai jaan leva baansur i par

Nam Radha ka

Muj he aarasta kar do

Murassa haar pehna do

Saja do maang mein teeka

Meri besharm balon ki laton ko

Baandh do phoolon ke gajr on se

Ki ye seene se mere khelti hain

Ye ’Bhanu’ mera khadim mujhse kehta hai

Andher i raat mein

Us naujawan aashiq se milne ke li ye mat j a

Dahade, gadgadahat, baadlon ki Ankaha ik khauf

Haul e se tumhaare dil mein bhar dengi

Agar tum aaj shab

Khatr a utha kar bahar jaaoge

aarasta - to adorn murassa - studded wi th j ewels

khadim - servant


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46

[ýçV_-[ýç=_ [ýçLçÌ^ åÌ[ý AEõTö

Badal-baul bajaaye re ektara

The rain is a baul,

a wandering minstrel.He strums on his single string

all day long

in a ceaseless patter of rain.

Drunk with his own rhythm

he goes dancing through the woodlands

down to the paddy-fields

until he is fit to drop.

His matted hair is a cloud

that deepens the dark sky.

Drip-drop of the rain

on every tiny leaf,

is a jingle of his ankle-bells.

Listless roams the eastern wind

lured out of its home

by the far-away call

of the rain ,

who is a baul,

a wandering minstrel.


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47

tSls bd eqrfjc vkokjk ckfj'k gS dksbZ catkjk ;s yxkrkj fVi&fVi] fVi&fVi iwjs fnu ns[kksctk jgk gS bd rkjk

viuh /kqu esa engks'k gS ;sukps gS n'rks&lgjk esa[ksrks a ij /kku ds >qdrk gS;s tc rd cwan u cu tk,

ckny gS a xqFks gq, xslw xgjh f'kír ls Nk, gS a xgjs vkdk'k is ;s

uUgh iÙkh ij ckfj'k dh cwanks a dh e/kqj vkokt+

yxrh gS mldh ik;y dh ?kq a?k# dh >udkj

nwj ls vkrh gqbZ iqdkjs a ckfj'k dhvkokjk iqjok gokvksa dkscgyk Qqlykdj ?kj ls ckgj ys vkbZdkSu gS ;s catkjk tSls bd eqrfjc vkokjk

eq rfjc μxkus okyk(engks'k μ nhokuk] tks gks'k es a u gks(

f'kír μcgq r xgjhA

Jaise ik mutrib aawara

Baari sh hai koi banjara Ye lagataar ti p-tip, ti p-tip

Poore din dekho

Baja raha hai ik tara

Apni dhun mein madhosh hai ye

Naache hai dasht-o-sahra mein

Kheton par dhaan ke jhukta hai

Ye jab tak boond na ban jaaye

Baadal hain guthe huye gesu

Gehar i shiddat se chhaaye hain gehre aakash pe ye

Nanhi patti par

Baarish ki boondon ki madhur aawaaz

Lagti hai uski paayal ki ghunghru ki jhankaar

Door se aati hui pukarein baari sh ki

Aawara purva hawaaon ko

Behla phuslakar ghar se baahar l e aayee

Kaun hai ye banjara

Jaise ek mutr ib aawara

mutri b - ministrel, singer ; madhosh - stupefied, i ntoxicated

shiddat - intensit y


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Ink and waterproof ink on paper, 54 x 26 cm.,signed and dated in Bengal, 1/2/35.

Crayon on paper, 53.5 x 28 cm.


53/61

Wax pastel and crayon pencil on paper, 38 x 24.5 cm., signed and dated in Bengali, 16/8/36.


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50

Ei sharat-aalor kamal- bane

A+ `Ì[ýd-%çã_çÌ[ý Eõ]_[ýãX

This autumn is mine,

for she was rocked in my heart.

The glistening bells of her anklets

rang in my blood,

and her misty veil

fluttered in my breath.

I know the touch

of her blown hair

in all my dreams.

She is abroad

in the trembling leaves

that danced in my life-throbs,

and her eyes that smilefrom the blue sky

drank their light from me.


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51

;s esjh f[+ kt+ k¡ gSfd ftlus esjs fny is d+kcw fd;k gSpedrs gq, mldh ik;y ds ?kq a?k# [kudrs gSa esjs ygw esaoks >huh ud+kc mldhlk¡lksa es a Hkjrh gS cspSfu;k¡

eq>s gS irk ;s mldh gh ygjkrh t qYQ+ sa gS a tksesjs lkjs [+okcks a dks lgyk jgh gS

cgqr nwj gS oksyjt+rh gqbZ ifÙk;ksa esa dghaesjh ft+Unxh dh gS /kM+du es a jD+lk¡rcLlqe esa Mw ch gqbZ mldh vk¡[ksatks gS a uhys vkdk'k ls ns[krh

tT+c djrh gS eq>ls gh oks jks'kuh

>huh μikjn'khZ ( rcLlqe μeqLdjkgV( tT+cμ[khapuk] vkdZ "k.kA

Ye meri khizaan hai

Ki jisne mere dil pe qaabu ki ya hai Chamakte huye uski paayal ke ghunghru

Khanakte hain mere lahu mein

Woh jheeni naqaab uski

Saanson mein bharti hain bechainiyan

Muj he hai pata

Ye uski hi lehraati zulfein hain jo

Mere saare khwaabon ko sehla rahi hai

Bahut door hai woh

Larazti hui pattiyon mein kaheen

Meri zindagi ki hai dhadkan mein raqsan

Tabassum mein doobi huee uski aankhein

Jo hain neele aakash se dekhti

Jazb karti hai muj hse hi woh roshni

jheeni- thi n, tr ansparent; tabassum- smile,

jazb- suck, attr action


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53

,s f[+ kt+ k¡ dh nks'kht+ k D;kas rqEgkjh vk¡[kks a ij lqjebZ /kq a/kyds dk ;s ud+kc gS xgjk

gS rqEgkjs gkFkksa esa 'kke dk fpjkx+ exj yx jgh gS dksgjs esa bldh ykS t+jk e)evkSj rqEgkjs ygts esa'kcueh mnklh gS

vkbZ Fkh t+eharsjs nj is feLys&lkby tc rwus mldk dklk Hkhnqj&gk,&t+jha ls Hkj fn;k yckyc Fkk ;kuh mldh >ksyh esavc t+[+khjk iw jk gS

;s rqEgkjh Q+¸;kt+ h dk dje gqvk ml ij

rqe exj crkvks rksD;ksa #dh #dh lh gks\D;kas Fkdh Fkdh lh gks\D;ksa cq>h cq>h lh gks\rqeus D;ks a cuk;k gS[+ kqn dks bl rjg tkuk¡,s f[+ kt+ k¡ dh nks'kht+ k

f[+kt+k¡μir>M+( nks'kht+k μdq aokjh yM+dh( feLys&lkby μ fHk[kkjh dh rjg( nq j&gk,&t+ jhaμlksus ds eks rh( t+[+khjk μHkaMkj(Q+̧;kt+h μ nku'khyrkA

Aye khi zaan ki doshiza

Kyon tumhaari aankhon parSurmai dhundalke ka

Ye naqaab hai gehara

Hai tumhare hathon mein shaam ka chiraagh magar

Lag rahi hai kohre mein iski lau zara maddham

Aur tumhaare lahje mein

Shabnami udaasi hai

Aayee thi zameen

Tere dar pe misl-e-saail jab

Tune uska kasa bhi

Dur -haa-e-zar reen se bhar diya labalab tha

Yaani uski jholi mein

Ab zakheera poora hai

Ye tumhaari fayyazi ka karam hua us par

Tum magar batao to

Kyon ruki r uki si ho?

Kyon thaki thaki si ho?

Kyon bujhi bujhi si ho?

Tumne kyon banaya hai ,

Khud ko is tarah jaanaan

Aye khi zaan ki doshiza

khizaan-autumn doshiza- maiden gir l

kohre-mist, fog misl-e-saail- li ke begger

dur-haa-e-zarr een- gl it teri ng pearl s zakheera- tr easure

fayyazi- charity


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54

×c÷ã]Ì[ý Ì[ýçãTö C+ GGãXÌ[ý VÝ

Himer raate oi gaganer deepgulire

Early winter spreads her filmy veil

over midnight stars,

and the call comes from the deep:

Man, bring out your lamp.

The forests are bare of flowers,

the birds have ceased to sing

the river-side grass has shed its blossoms.

Come, Dipali, waken hidden flames

out of the desolate dark,

and offer symphony of praise to eternal light.

The stars are dimmed

the night is disconsolate,and the call comes from the deep:

Man, bring out your lamp.


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56

CãÌ [ý \öç+, ZõçmX å_ãGä»K÷

Ore bhai, phagun legechhe

The fire of April

leaps from forest to forest,

flashing up in leaves and flowers

from all nooks and corners.

The sky is thriftless with colours,

The air delirious with songs.

The wind-tost branches of the woodland

Spread their unrest in our blood.

The air is filled

with bewilderment of mirth;

and the breeze rushes

from the flower to flower,

asking their names.


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vizSy dh vkfr'k mM+rh gStaxy&taxy gS cxksZ&xqy eas 'kksyk lk gj xks'ks es a] gj dksus esagS Q+yd is jaxksa dh egfQ+y gS oTn es a Mwch gqbZ gok eLrh esa >werh gSa 'kk[+ksaHkjrh gS [+ kw u esa cspSuhd+gd+gs gok es a ?kqys feysvkSj gYdh gYdh ueZ gok bBykrh nkSM+rh fQjrh gSbl Qwy dHkh] ml Qwy dHkhvLek,&fxjkeh iwNrh gS

Aprail ki aatish

Udti haiJungle - jungle

Hai barg-o-gul mein shola sa

Har goshe mein, har kone mein

Hai falak pe rangon ki mehafil

Hai wajd mein doobi hui hawa

Masti mein jhoomti hain shakhein

Bharti hain khoon mein bechaini

Qahqahe hawa mein ghule mile

Aur halk i halki narm hawa

Ithlati daudti phir ti hai

Is phool kabhi, uss phool kabhi

Asma-e-girami poochhti hai

romancing tagore (part-i)

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