01-hamd-vandana-urdu ramayan

For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.  The “Introduction” tab offers an overall background of the whole series of posts that constitute a patchy reconstruction of the ramayan.

 

The ramayan has fascinated minds in India and worldwide for millennia, for the beauty of its literary composition, for its fascinating story content as well as for faith and reverence.  It is not surprising then that the Ramayan has been translated not only into all major languages, but also into unexpected ones like Polish, Norwegian and Swedish.  What is surprising is that there are more than twice as many poetic translations/trans-compositions of the ramayan in urdu as there are of the qur’aan and that the ramayan was translated into urdu even before the qur’aan was.

 

A book “urdu meN hindu dharm” (Hindu Religion in Urdu), Ajai Malviya,  written in Urdu, catalogues in detail urdu translations of the vedas (66), ramayan (103), mahabharat (38), bhagwad gita (83), puranas (44), manu smriti (4), biography of vashisht (14) and miscellaneous other religious compositions (472) spanning about 200 years of publications.

 

Why has this significant piece of literature been relegated to a neglected and ignored heap of disdain?  This needs to be corrected.  The sheer number and the high poetic and linguistic quality of this literature surprised me as I worked to string together representative parts of urdu nazm/poems of ramayan by different poets, like pearls strung in a necklace, into a near complete story.

 

A close reading of urdu ramayan translations offers some fascinating lessons about mingling of cultures in India, the origins and “ownership” of Urdu language, the power of the pen across languages and cultures and the universality of basic human emotions.  One is struck deeply by the acceptance and seamless adoption of multiple religious traditions as indicated by the observation that many ramayan renderings (even some by hindu poets) start with “bismillah ir-rahman ir-rahim” and a “hamd” (an ode and/or expression of gratitude to god).  Since god, like language, has no religion, these odes/hamd/vandana are entirely secular/universal.

 

It is highly contentious to say that urdu is a muslim language (as if a language has religion) or even to say that urdu is a language of muslims.  There are large numbers of muslims (Bengal, Kerala, Tamil Nadu and Karnataka) who do not know/speak urdu.  One of the important reasons that East Pakistan separated and declared baNgladesh was that it did not want urdu to be imposed on it in preference to its own language, beNgali.

 

Of the 100 or so translations/re-compositions of the ramayan in urdu more than 80 were written/composed by hindu writers/poets.  In most, if not all cases the poets were orthodox, believing, practicing hindus.  Why were they writing the ramayan in urdu?  I speculate that there must have been a large section of literate hindu population who considered Urdu their primary language, not because of political favours but because it was naturally their language.  Some of the poets who re-composed tulsidas’ ramcharitmanas suggest that because it was written in “bhaaka or bhaasha” and not easily available to everyone.  Therefore, they translated/re-composed it in urdu, perhaps implying that this is more comprehensible than “bhaaka/bhaasha”.  Apparently by the 1800s neither avadhi nor braj bhaasha were considered a common language.  To show the role urdu played in devotional traditions of north Indian hindus, I paraphrase from a book by bishweshwar parshad munavvar, himself a poet and son of dwaarka parshad ufaq (another poet of renown, who composed a full urdu ramayan).  He writes that, because of the effort of munshi jagannath Khushtar (1809-1864) and munshi shankar dayal farhat (1843-1904) in translating hindu religious texts into urdu, the teachings of the ramayan saved the hindu religion from further decline.  Before we run away with the image of an alien force coming down to “save” hinduism, it might be useful put this quote in perspective.  We have to make an effort to understand that what he might have meant is that there was a substantial community of hindus to whom religious texts were not comprehensible because they were written either in sanskrit or avadhi while their primary language of learning was urdu.  Thus, these translations made religious texts available to them.

 

Surely these poets, most of whom were believing and observant hindus must have had an audience/readership of similarly devout believers, who revered the composition itself and must have had the linguistic finesse to enjoy its literary excellence.  It draws a picture of a large section of literate hindu population who considered urdu their primary language, not because of political favours but because it was naturally their language.  We do not have any data taken by ‘pollsters’ to show that this was the case.  But we can make some speculative estimates by numbers of publications and the content of those publications.  I am unable to compile a scholarly accounting of such magazines and the numerous contributions of urdu writers.  Suffice it to present to you names of some daily, weekly or monthly publications, “sanaatan dharm pracharak”, “tej”, “aarya veer”, “veer India”, “arya Gazette”, “bande maataram”, “jain sansaar”, “sher-e hind”, “raajput Gazette” and even “agarwal hiteshi” that were published in urdu, some as late as the 1940s.  All had editors and contributors who were hindu (at least by name).

 

The compositions and publications of urdu ramayan cover roughly 1825-1980.  These poets also wrote secular/romantic Ghazal, nazm as well as other devotional pieces to krishn, lakshmi and many others.  The question needs to be asked, but remains unanswered because of lack of documentary evidence, whether these poets, steeped in urdu poetic culture, also recited parts of the ramayan in the mushaa’era that they participated in.  What was the composition of the audience?  They also composed bhajans in urdu.  Were these bhajans sung in religious gatherings.  We know that bhajans composed by syed ibrahim ras Khan (1548-1628) in braj bhaasha, proto-urdu, are sung to this day in prayer meetings.  There is every reason to believe that urdu compositions of ramayan were also recited, heard and enjoyed in public gatherings whether they may be called mushaa’era or not.

 

Well over twenty samples from urdu ramayan composed by different poets over nearly two centuries have been selected in story sequence and strung together like the beads of a tasbiih/jap-mala.  This study of the urdu ramayan shows the versatility, beauty and power of urdu, its ownership by a wide range of communities of India, and the easy and seamless acceptance, adoption and cross pollination of one another’s traditions by all faith systems.  Alas, somewhere along the way, we have lost this unique syncretic tradition.  It is my fervent hope that such studies will contribute a little to its revival.

 

پہلا اِنتخاب اِمتیازالدین کی “اُردو مثنوی رامائن” سے ہے ۔

خدا سے دعا ہے کہ اپنے زورِ سخن سے رام کے روشن کردار دنیا کو دکھا سکیں

 

دعا ۔ محمّد امتیازالدین

۱

خدا کے نام کو ہر سانس میں وردِ زباں کر لوں

اُسی کے عشق سے روشن زمین و آسماں کر لوں

دکھاؤں مثنوی سے رام کے کردار کے جوہر

اُسی کی سیرتِ پاکیزہ زیبِ داستاں کر لوں

۲

اُسی کے کارنامے والمیکی نے سُنائے تھے

اُسی کے ذکر سے میں زندگی کو جاوداں کر لوں

وہ کردارِ مثالی جلوہ گر ہو میری نظموں میں

اُسی کے گیت گا کر دو جہاں کو نغمہ خواں کر لوں

نئے انداز سے لکھوں کہانی سورماؤں کی

خدا کے نام سے زورِ سخن کا اِمتحاں کر لوں

 

دوسرا اِنتخاب چندرمان کائیست بیدلؔ کی فارسی نرگِسِستان سے ہے ۔

اُنکی لکھی حمد اور وندنا نہ اِسلامی ہے نہ ہندو، بلکہ اِنسانی اور صوفیانہ ہے ۔

بادشاہِ وقت اورنگزیب کی مدح اور رامائن لکھنے کا سبب بھی بیان کیا ہے ۔

 

نرگِسِستان ۔ چندرمان کائیست بیدلؔ

 

بسم اللہ الرحمٰن الرحیم

حمدِ پاک

۳

الٰہی بحر و صفت بیکران است

خرد را کشتی اندروی گران است

ز اوجِ وصفِ تو مرغِ زبانہا

فتد بی بال و پر از آشیانہا

کہ منصور اندرین دنیای فانی

چشیدہ لذّتِ رازِ نہانی

بیک ارنی موسیٰ سر بسر طور

نمودی سرمہ از یک شعلۂ نور

 

در مدح بادشاہ عالمگیر غازی

۴

زِ فیضِ اوُ جہان اندر بہار است

نگارِ دہر اوُ را درکنار است

جہان را شاہ تا اورنگ زیب است

بہ ہندستان نہ نیرنگ و نہ زیب است

 

سبب تالیفِ کتاب نرگِسِستان عرف راماین

۵

بہ عشقِ رام گویم این فسانہ

کہ باشد دلربا از ہر ترانہ

درین محفل ترا ساقی کہ رام است

بہ نوش از شوق در دستِ تو جام است

کہ تا دورِ قیامت این فسانہ

بماند یادگار اندر زمانہ

چو جُستم از خرد گفتا کہ بر خوان

طراوت بخش دِلہا باغِ ایمان

 

رامائن یکقافیہ ۔ دوارکا پرشاد اُفقؔ

۶۰۰۰ سے زیادہ اشعار ایک ہی قافیہ میں لکھے گئے ہیں

۶

لب سیا، رگھبر دہن، دنداں بھرت، لچھمن زباں

شترہن جی نطق لَو آواز کش حُسنِ بیاں

نغمہ زن ہر وقت رہتے ہیں اُنہیں کے وصف میں

جم برن سنکا و نارد سیس سورج چندرماں

ہفت دوزخ، ہفت اختر، ہفت جوش و ہفت کوہ

کرتے ہیں ظاہر اِنہیں ساتوں کی قدرت کا نشاں

قدرتِ کامل دکھاتے ہیں اِنہیں کے ہفت رنگ

ہفت کشور، ہفت قلزم، ہفت خط، ہفت آسماں

ہیں جو رامائن کے مشہورِ زمانہ سات کانڈ

سات پردے ہیں وہ چشمِ اِنس و جِن کے بے گماں

۷

بس بس اب خاموش اے لبِ کِلکِ اُفقؔ

مدح کر اِن کی بھلا یہ تجھ میں گویائی کہاں

روشنی پہونچائے گا کس طرح سایہ دھوپ کو

کیا ضیا خورشید کو بخشے گا مہر آسماں

ہے مناسب پیش کر کچھ نذرِ موزونیِ طبع

ارمغانِ خوش بیانی تحفۂ حُسنِ بیاں

पहला इन्तख़ाब इम्तियाज़ुद्दीन की “उर्दू मस्नवी – रामायन” से है।

ख़ुदा से दुआ है के अपने ज़ोर-ए सुख़न से राम के रौशन किरदार दुनिया को दिखा सकें।

 

दुआ – मोहम्मद इम्तियाज़ुद्दीन

ख़ुदा से दुआ है के अपने ज़ोर-ए सुख़न से राम के रौशन किरदार दुनिया को दिखा दें।

 

ख़ुदा के नाम को हर सांस में विर्द-ए ज़बां कर लूं

उसी के इश्क़ से रौशन ज़मीन ओ आस्मां कर लूं

दिखाऊं मस्नवी से राम के किर्दार के जौहर

उसी कि सीरत-ए पाकीज़ा ज़ेब-ए दास्तां कर लूं

उसी के कारनामे वाल्मीकी ने सुनाये थे

उसी के ज़िक्र से मैं ज़िन्दगी को जावदां कर लूं

वो किर्दार-ए मिसाली जल्वा-गर हो मेरी नज़्मौं में

उसी के गीत गा कर दो जहां को नग़्मा-ख़्वां कर लूं

नये अंदाज़ से लिक्खूं कहानि सूरमाऔं की

ख़ुदा के नाम से ज़ोर-ए सुख़न का इम्तहां कर लूं

 

नर्गिसिस्तान – चंद्रमान कायस्त बेदिल

उन की लिखी हम्द और वन्दना न इस्लामी है न हिन्दू, बल्के इन्सानी और सूफ़ियाना है।

बादशाह-ए वक़्त औरंगज़ेब की मदह और रामायन लिखने का सबब भी बयान किया है।

 

बिस्मिल्लाह-इर-रहमान-इर-रहीम

हम्द-ए पाक

इलाही बहर ओ सिफ़त बेकरान अस्त

ख़िरद रा किश्ती अंदरवी गिरान अस्त

ज़ औज-ए वस्फ़-ए तू मुर्ग़-ए ज़बान-हा

फ़तद बे बाल ओ पर अज़ आशियान-हा

के मन्सूर अंदर इन दुनिया-ए फ़ानी

चशीदा लज़्ज़त-ए राज़-ए नहानी

बयक अरनी मूसा सर-ब-सर तूर

नमूदी सुर्मा अज़ यक शो’ला-ए नूर

 

दर मदह बादशाह आलमगीर ग़ाज़ी

ज़ फ़ैज़-ए ऊ जहान अंदर बहार अस्त

निगार-ए दहर ऊ रा दर किनार अस्त

जहान रा शहाह ता औरंगज़ेब अस्त

ब हिंदोस्तान न नैरंग ओ न ज़ेब अस्त

 

सबब-ए तालीफ़-ए किताब नर्गिसिस्तान उर्फ़ रामायन

ब इश्क़-ए राम गूयम इन फ़साना

के बाशद दिलरुबा अज़ हर तराना

दर इन महफ़िल तोरा साक़ी के राम अस्त

ब नोश अज़ शौक़ दर दस्त-ए तू जाम अस्त

के ता दौर-ए क़यामत इन फ़साना

बमानद यादगार अंदर ज़माना

चु जुस्तम अज़ ख़िरद गुफ़्ता के बर ख़्वान

तरावत बख़्श दिल-हा बाग़-ए ईमान

 

रामायन यक्क़ाफ़िया – द्वारका परशाद उफ़क़

६००० से ज़ियादा अश’आर एक ही क़ाफ़िये में लिखे हैं।

 

लब सिया, रघुबर दहन, दन्दां भरत, लछमन ज़बां

शत्रुहन जी नुत्क़, लव आवाज़, कुश हुस्न-ए बयां

नग़्मा-ज़न हर वक़्त रहते हैं उन्हीं के वस्फ़ में

जम, बरन, संका ओ नारद सीस सूरज चन्द्रमां

हफ़्त दोज़ख़, हफ़्त अख़्तर, हफ़्त जोश ओ हफ़्त कोह

करते हैं ज़ाहर इन्हीं सातौं कि क़ुद्रत का निशां

क़ुद्रत-ए कामिल दिखाते हैं इन्हीं के हफ़्त रंग

हफ़्त किश्वर, हफ़्त क़ुल्ज़ुम, हफ़्त ख़त, हफ़्त आस्मां

हैं जो रामायन के मश्हूर-ए ज़माना सात कांड

सात पर्दे हैं वो चश्म-ए इन्स ओ जिन के बेगुमां

बस बस अब ख़ामोश अए लब-ए किल्क-ए उफ़क़

मदह कर इन की भला ये तुझ में गोयाई कहां

रौश्नी पहुंचाएगा किस तरह साया धूप को

क्या ज़िया ख़ुर्शीद को बख़्शेगा महर-ए आस्मां

है मुनासब पेश कर कुछ नज़्र-ए मौज़ूनी-ए तब’अ

अर्मुग़ान-ए ख़ुश बयानी तोहफ़ा-ए हुस्न-ए बयां

 

Click here for background and on any passage for word meanings and explanatory discussion. There are nearly hundred ramayan in urdu and more than a dozen in faarsi. Some begin with bismillah-ir-rahman-ir-rahim and/or a hamd/ode to the creator. Others begin with a ‘ganesh vandana’. They are not correlated with the religious affilation of the poet. There is easy and comfortable crossing of cultural boundaries. Included here is a sampling of a few beginnings.
The first selection from imtiazuddin’s, “urdu masnavi – ramayan” is a prayer in the name of Khuda to give him the ability to describe the character of raam to the world.

dua – mohammed imtiazuddin
1
Khuda ke naam ko har saaNs meN vird-e zabaaN kar luN
usi ke ishq se raushan zamin o aasmaaN kar luN
dikhaauN masnavi se raam ke kirdaar ke jauhar
usi ki seerat-e paakeeza zeb-e daastaaN kar luN    
I chant the name of Khuda in every breath. With love of him, I light up the earth and the sky. In a masnavi (a long epic poem) I will show the brilliance of the character of raam. I will make his character the embellishment of my story.

2
usi ke kaarnaame vaalmiiki ne sunaaye the
usi ke zikr se maiN zindagi ko jaavedaaN kar luN
vo kirdaar-e misaali jalva-gar ho meri nazmauN meN
usi ke geet gaa kar do jahaaN ko naGhma KhwaaN kar luN
naye andaaz se likkhuN kahaani suurmaaoN ki
Khuda ke naam se zor-e suKhan ka imtehaaN kar luN   
His (raam’s) accomplishments were related to us by valmiki. With the narration of his story I will make my life/reputation last forever. May that exemplary character show through in my nazm. May his songs make the whole world sing along with me. May I be able to write the story of the brave in a new style. With the help of god I will put to test the power of my versification.

The second selection from chandraman kaayast bedil, in faarsi, entitled “nargisistan” (1888) has a hamd/vandana that sounds neither islamic nor hindu, but universal and sufiyaana.  It includes an ode to auraNgzeb and describes the reasons for composing the ramayan before actually beginning the epic.

nargisistan – chandramaan kaayast bedil

bismillah-ir-rahman-ir-rahim
hamd-e paak (holy ode)
3
ilaahi bahr-o-sifat bekaraan ast
Khirad ra kishti andarve giraan ast
ze auj-e vasf-e tu murGh-e zabaanha
fatad be-baal o par az aashiyaanha
ke mansoor andar-een duniya-e faani
chasheeda lazzat-e raaz-e nihaani
bayak arani moosa sar-ba-sar tuur
namoodi surma az yak sho’la-e nuur   
O, god, describing your attributes is like sailing in a limitless ocean. The boat of wisdom/(material) knowledge is too heavy (sinking). Describing the heights of your attributes, the tongue fails, like a bird without wings and feathers falls from the nest. But mansoor, in this mortal life got a taste of the pleasure of the hidden secret (an-al-haq, aham brahmasmi). With just one word, tuur was reduced to ashes by a flash of lightning and moosa fainted (if this happened to moosa, what can happen to my pen, if it tries to describe you).

dar madah baadshah aalamgir Ghaazi (in praise of emperor aalamgir, the victor)
4
ze faiz-e oo jahaan andar bahaar ast
nigaar-e dahr oo raa dar kinaar ast
jahaan raa shaah ta auraNgzeb ast
ba-hindostan na nairaNg o na zeb ast   
Spring blooms in the world because of him. Because of him, the beauty of the world knows no bounds. In this world, as long as auraNgzeb is emperor, for hindostan there is no (more) need for enchantment or for embellishment.

sabab-e taaleef-e kitaab nargisistaan urf ramayan (the reason for writing ramayan)
5
ba-ishq-e raam gooyam in fasaana
ke baashad dilruba az har taraana
dar een mahfil tura saaqi ke raam ast
ba-noosh az shauq dar dast-e tu jaam ast
ke ta daur-e qayaamat een fasaana
ba-maanad yaadgaar andar zamaana
chu justam az Khirad gufta ke bar Khwaan
taraavat baKhsh dil-ha baaGh-e eemaan    
Because of love of raam, I relate this story, that every song in it, be pleasing. In this gathering raam is your saaqi. Drink with pleasure, in your hand you hold the cup (his book is a cup of wine). I write so that until doomsday this may remain memorable in the world. If you search with wisdom, you will find in this recitation, freshness of the garden of faith bestowed on your heart.

ramayan yak-qaafiya – dwarka parshad ufaq
There are over 6000 ash’aar in the same qaafiya.
6
lab siya, raghubar dahan, dandaaN bharat, lachhman zabaaN
shatrughanji nutq, luv aavaaz, kush husn-e bayaaN
naGhma-zan har vaqt rahte haiN unhiN ke vasf meN
jam, baran, saNka o naarad, sees, suraj, chandrmaaN
haft dozaKh, haft aKhtar, haft josh o haft koh
karte haiN zaahir inhiN saatoN ki qudrat ka nishaaN
qudrat-e kaamil dikhaate haiN inhiN ke haft raNg
haft kishwar, haft qulzum, haft Khat, haft aasmaaN
haiN jo ramayan ke mashhoor-e zamaana saat kaanD
saat parde haiN vo chashm-e ins o jin ke begumaaN   
My lips, mouth, teeth, tongue, power of speech, sound and beauty of versification are all constantly dedicated to singing the praise of sita, raam, bharat, lakshman, shatrughan, luv and kush (twin sons of raam and sita). All the gods, the sun and moon, seven hells, seven stars, seven oceans and seven mountains, all display the power of these seven. The seven colours of the rainbow show their perfect nature. Seven contintents, seven oceans, seven regions and seven heavens and the famous seven chapters of the ramayan are all but seven screens for the eyes of all creation, without a doubt.

7
bus bus ab Khaamosh aye lab-e kilk-e ufaq
madah karna in ki bhala ye tujh meN goyaaii kahaaN
raushni pahuNchaayega kis tarah saaya dhoop ko
kya ziya Khursheed ko baKhshega mahr-e aasmaaN
hai munaasib pesh kar kuchh nazr-e mauzooni-e tab’a
armuGhaan-e Khush-bayaani tohfa-e husn-e bayaaN   
Enough, enough, be silent O mouth of the pen of ufaq (the poet), how can you hope to have words to praise them (the seven characters of ramayan). Can a shadow give brilliance to sunlight? Can a faint moon give light to the sun? It is better if you present an offering suitable to your nature – an offering of good versification and a gift of beauty of verse.

There are nearly hundred ramayan in urdu and more than a dozen in faarsi.  Some begin with bismillah-ir-rahman-ir-rahim and/or a hamd/ode to the creator.  Others begin with a ‘ganesh vandana’.  They are not correlated with the religious affilation of the poet.  There is easy and comfortable crossing of cultural boundaries.  Included here is a sampling of a few beginnings.

The first selection from imtiazuddin’s, “urdu masnavi – ramayan” is a prayer in the name of Khuda to give him the ability to describe the character of raam to the world.

dua – mohammed imtiazuddin
1
Khuda ke naam ko har saaNs meN vird-e zabaaN kar luN
usi ke ishq se raushan zamin o aasmaaN kar luN
dikhaauN masnavi se raam ke kirdaar ke jauhar
usi ki seerat-e paakeeza zeb-e daastaaN kar luN

I chant the name of Khuda in every breath.  With love of him, I light up the earth and the sky.  In a masnavi (a long epic poem) I will show the brilliance of the character of raam.  I will make his character the embellishment of my story.
2
usi ke kaarnaame vaalmiiki ne sunaaye the
usi ke zikr se maiN zindagi ko jaavedaaN kar luN
vo kirdaar-e misaali jalva-gar ho meri nazmauN meN
usi ke geet gaa kar do jahaaN ko naGhma KhwaaN kar luN
naye andaaz se likkhuN kahaani suurmaaoN ki
Khuda ke naam se zor-e suKhan ka imtehaaN kar luN

His (raam’s) accomplishments were related to us by valmiki.  With the narration of his story I will make my life/reputation last forever.  May that exemplary character show through in my nazm.  May his songs make the whole world sing along with me.  May I be able to write the story of the brave in a new style.  With the help of god I will put to test the power of my versification.

The second selection from chandraman kaayast bedil, in faarsi, entitled “nargisistan” (1888) has a hamd/vandana that sounds neither islamic nor hindu, but universal and sufiyaana.  It includes an ode to auraNgzeb and describes the reasons for composing the ramayan before actually beginning the epic.

nargisistan – chandramaan kaayast bedil

bismillah-ir-rahman-ir-rahim
hamd-e paak (holy ode)
3
ilaahi bahr-o-sifat bekaraan ast
Khirad ra kishti andarve giraan ast
ze auj-e vasf-e tu murGh-e zabaanha
fatad be-baal o par az aashiyaanha
ke mansoor andar-een duniya-e faani
chasheeda lazzat-e raaz-e nihaani
bayak arani moosa sar-ba-sar tuur
namoodi surma az yak sho’la-e nuur

O, god, describing your attributes is like sailing in a limitless ocean.  The boat of wisdom/(material) knowledge  is too heavy (sinking).  Describing the heights of your attributes, the tongue fails, like a bird without wings and feathers falls from the nest.  But mansoor, in this mortal life got a taste of the pleasure of the hidden secret (an-al-haq, aham brahmasmi).  With just one word, tuur was reduced to ashes by a flash of lightning and moosa fainted (if this happened to moosa, what can happen to my pen, if it tries to describe you).

dar madah baadshah aalamgir Ghaazi (in praise of emperor aalamgir, the victor)
4
ze faiz-e oo jahaan andar bahaar ast
nigaar-e dahr oo raa dar kinaar ast
jahaan raa shaah ta auraNgzeb ast
ba-hindostan na nairaNg o na zeb ast

Spring blooms in the world because of him.  Because of him, the beauty of the world knows no bounds.  In this world, as long as auraNgzeb is emperor, for hindostan there is no (more) need for enchantment or for embellishment.

sabab-e taaleef-e kitaab nargisistaan urf ramayan (the reason for writing ramayan)
5
ba-ishq-e raam gooyam in fasaana
ke baashad dilruba az har taraana
dar een mahfil tura saaqi ke raam ast
ba-noosh az shauq dar dast-e tu jaam ast
ke ta daur-e qayaamat een fasaana
ba-maanad yaadgaar andar zamaana
chu justam az Khirad gufta ke bar Khwaan
taraavat baKhsh dil-ha baaGh-e eemaan

Because of love of raam, I relate this story, that every song in it, be pleasing.  In this gathering raam is your saaqi.  Drink with pleasure, in your hand you hold the cup (his book is a cup of wine).  I write so that until doomsday this may remain memorable in the world.  If you search with wisdom, you will find in this recitation, freshness of the garden of faith bestowed on your heart.

ramayan yak-qaafiya – dwarka parshad ufaq
There are over 6000 ash’aar in the same qaafiya.
6
lab siya, raghubar dahan, dandaaN bharat, lachhman zabaaN
shatrughanji nutq, luv aavaaz, kush husn-e bayaaN
naGhma-zan har vaqt rahte haiN unhiN ke vasf meN
jam, baran, saNka o naarad, sees, suraj, chandrmaaN
haft dozaKh, haft aKhtar, haft josh o haft koh
karte haiN zaahir inhiN saatoN ki qudrat ka nishaaN
qudrat-e kaamil dikhaate haiN inhiN ke haft raNg
haft kishwar, haft qulzum, haft Khat, haft aasmaaN
haiN jo ramayan ke mashhoor-e zamaana saat kaanD
saat parde haiN vo chashm-e ins o jin ke begumaaN

My lips, mouth, teeth, tongue, power of speech, sound and beauty of versification are all constantly dedicated to singing the praise of sita, raam, bharat, lakshman, shatrughan, luv and kush (twin sons of raam and sita).  All the gods, the sun and moon, seven hells, seven stars, seven oceans and seven mountains, all display the power of these seven.  The seven colours of the rainbow show their perfect nature.  Seven contintents, seven oceans, seven regions and seven heavens and the famous seven chapters of the ramayan are all but seven screens for the eyes of all creation, without a doubt.
7
bus bus ab Khaamosh aye lab-e kilk-e ufaq
madah karna in ki bhala ye tujh meN goyaaii kahaaN
raushni pahuNchaayega kis tarah saaya dhoop ko
kya ziya Khursheed ko baKhshega mahr-e aasmaaN
hai munaasib pesh kar kuchh nazr-e mauzooni-e tab’a
armuGhaan-e Khush-bayaani tohfa-e husn-e bayaaN

Enough, enough, be silent O mouth of the pen of ufaq (the poet), how can you hope to have words to praise them (the seven characters of ramayan).  Can a shadow give brilliance to sunlight?  Can a faint moon give light to the sun?  It is better if you present an offering suitable to your nature – an offering of good versification and a gift of beauty of verse.

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