For word meanings and explanatory discussion in English click on the “Roman” or “Notes” tab. The “Introduction” tab offers a background of the whole series of posts that constitute a patchy reconstruction of the ramayan.
Recitation
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.
بن باس ۔ مُنشی دوارکا پرشاد اُفقؔ
۱
ایک دِن آئینہ دسرت نے جو دیکھا ناگہاں
زُلفِ شبگوں نے دکھایا صبح پیری کا سماں
دھیان آیا دل میں لطفِ حکمرانی کچھ نہیں
اب کروں گوشے میں یادِ مالکِ کون و مکاں
یوں مُشیروں سے کہا کل ہو تِلک کا ساز جمع
رام کو دوںگا سمندِ حکمرانی کی عناں
۲
منتھرا تھی کیکئی کی اِک کنیزِ فتنہ جو
سخت رنجیدہ ہوئی قشقہ کی سُن کر داستاں
کیکئی سے عرض کی دسرت ہوے گوشہ نشیں
ہوں گے اب رگھناتھ جی ملکِ اودھ میں حکمراں
بھرت کو دیکھا نہ سُلطاں نے نگاہِ لطف سے
کھل گیا ہے کچھ نہ کچھ آپس میں چشمک بے گماں
۳
دوستیِ شاہ پر تم کو نہایت ناز تھا
اب کہو وہ دِن کہاں ہے وہ محبّت ہے کہاں
ہو گیا ظاہر کہ تھے اندازِ اُلفت ظاہری
ورنہ کیوں رہتے بھرت محتاجِ تختِ خانداں
یہ نہ سمجھو سلطنت پا کر رہیں گے رام رام
دیکھنا آنکھوں کو دکھلاتا ہے کیا کیا آسماں
۴
شاہ سے ایفاے وعدہ کے لئے تم ہٹ کرو
جانشیں ہوں بھرت، ہوں رگھناتھ جی بن کو رواں
مجھ کو سمجھانے سے مطلب تھا تمھیں سمجھا دیا
چاہے مانو یا نہ مانو، سوچ لو سُود و زیاں
یہ سخن سُن کر ہوا محوِ حسد رانی کا دل
محوِ حیرانی ہوئی خاک اوفتادہ ذرّہ ساں
۵
جب شہ دسرت شبستاں میں گئے ہنگامِ شب
کیکئی رانی کو پایا مائلِ آہ و فغاں
پیار سے، اُلفت سے پوچھا کیوں پریشاں حال ہو
فکر کیا ہے، درد کیا ہے، کیا ہے ایذاے نہاں
سچ کہو کیا ہے تمنّا، کس کی خواہش ہے تمہیں
کیا ہوس، کیا آرزو کیا چاہ ہے اے جانِ جاں
۶
کیکئی بولی مِلے تختِ حکومت بھرت کو
رام چودہ سال تک بن کو بنائیں بوستاں
عہدِ سابق تھا جو یہ دل کی یہی ہے آرزو
کیجئیے ایفاے وعدہ سے مجھے اب شادماں
مرد کو پھرنا نہیں لازم ہے اپنے قول سے
عہد پیماں جو ہیں اُن کی ایک ہوتی ہے زباں
۷
رام ابھی کم سِن ہیں کیونکر اُنکو بھیجوں سوئے دشت
یہ جدا ہوں گے تو ہو گا مُرغِ جاں بے آشیاں
میں اگر اُن کو کروں گا دیدۂ روشن سے دور
ٹوٹ جائے گی عنانِ توسنِ عمرِ رواں
بھرت ہوں فرماں روا مُلکِ اوَدھ میں شوق سے
رام کو جانے نہ دوں گا سوے دشتِ بے نشاں
۸
کیکئی بولی نہیں ہیں آپ اگر پیماں شکن
پھر تامّل ہے عبث، تکرار و حجّت رائگاں
الغرض وقتِ سحر آئے جو راجہ رام چندر
سر گذشتِ عہدِ سابق کیکئی نے کی بیاں
پھر یہ فرمایا کہ تم چودہ برس بن میں رہو
بھرت جی ہوں گے سرِ تختِ حکومت حکمراں
बन बास – मुंशी द्वारका परशाद उफ़क़
१
एक दिन आईना दस्रत ने जो देखा नागहां
ज़ुल्फ़-ए शब्गूं ने दिखाया सुबह पीरी का समां
ध्यान आया दिल में लुत्फ़-ए हुक्मरानी कुछ नहीं
अब करूं गेशे में याद-ए मालिक-ए कौन ओ मकां
यूं मुशीरौं से कहा कल हो तिलक का साज़ जम’अ
राम को दूंगा समंद-ए हुक्मरानी का अन’आं
२
मंथरा थी कैकई की एक कनीज़-ए फ़ित्ना-जू
सख़्त रंजीदा हुई क़श्क़े की सुन कर दास्तां
कैकई से अर्ज़ की दस्रत हुए गोशा नशीं
होंगे अब रघुनाथ जी मुल्क-ए अवध में हुक्मरां
भरत को देखा न सुल्तां ने नीगाह-ए लुत्फ़ से
खुल गया है कुछ न कुछ आपस में चश्मक बेगुमां
३
दोस्ती-ए शाह पर तुम को नहायत नाज़ था
अब कहो वो दिन कहां हैं वो मोहब्बत है कहां
हो गया ज़ाहर के थे अंदाज़-ए उल्फ़त ज़ाहरी
वरना क्यूं रहते भरत मोहताज-ए तख़्त-ए ख़ांदां
ये न समझो सल्तनत पा कर रहेंगे राम राम
देखना आंखौं को दिख्लाता है क्या क्या आस्मां
४
शाह से ईफ़ा-ए व’आदा के लिये तुम हट करो
जानशीं हों भरत, हों रघुनाथ जी बन को रवां
मुझ को समझाने से मत्लब था तुम्हें समझा दिया
चाहे मानो या न मानो सोच लो सूद ओ ज़ियां
ये सुखंन सुन कर हुआ महव-ए हसद रानी का दिल
महव-ए हैरानी हुई ख़ाक उफ़्तादा-ए ज़र्रा सां
५
जब शह-ए दस्रत शबिस्तां में गए हंगाम-ए शब
कैकई रानी को पाया मा’एल-ए आह ओ फ़ुग़ां
प्यार से उल्फ़त से पूछा क्यूं परेशां हाल हो
फ़िक्र क्या है दर्द क्या है क्या है ईज़ा-ए नहां
सच कहो क्या है तमन्ना किस की ख़्वाहश है तुम्हें
क्या हवस, क्या आर्ज़ू क्या चाह है अए जान-ए जां
६
कैकई बोली मिले तख़्त-ए हुकूमत भरत को
राम चौदह साल तक बन को बनाएं बोस्तां
अहद-ए साबक़ था जो ये दिल की यही है आर्ज़ू
कीजिये ईफ़ा-ए वा’दा से मुझे अब शादमां
मर्द को फिरना नहीं लाज़िम है अपने क़ौल से
अहद पैमां जो हैं उन की एक होती है ज़बां
७
राम अभी कमसिन हैं क्यूंकर उन को भेजूं सू-ए दश्त
ये जुदा होंगे तो होगा मुर्ग़-ए जां बे-आशियां
मैं अगर इन को करूंगा दीदा-ए रौशन से दूर
टूट जाएगी अन’आन-ए तौसन-ए उम्र-ए रवां
भरत हों फ़र्मां-रवा मुल्क-ए अवध में शौक़ से
राम को जाने न दूंगा सू-ए दश्त-ए बे निशां
८
कैकई बोली नहीं हैं आप अगर पैमां शिकन
फिर ता’अम्मुल है अबस, तक्रार हुज्जत राएगां
अल्ग़रज़ वक़्त-ए सहर आए जो राजा रामचंद्र
सरगुज़िश्त-ए अहद-ए साबक़ कैकई ने की बयां
फिर ये फ़र्माया के तुम चौदह बरस बन में रहो
भरत जी होंगे सर-ए तख़्त-ए हुकूमत हुक्मरां
Click here for background and on any passage for word meanings and explanatory discussion. munshi dwarka parshad ufaq composed “ramayan yakqaafiya” – maintaining the same qaafiya throughout the massive composition, an extremely challenging task indeed. There is no word about the poet himself. It appears that the book was published in 1914 but completed in 1885 and the poet had passed away before its publication. An interesting note in the book says, “ba-Khatt-e faarsi zabaan-e bhaasha o urdu”. Thus in 1885 he uses “bhaasha and urdu” to describe the language which is written in faarsi script…
1
ek din aaiina dasrat ne jo dekha naagahaaN1
zulf2-e shabguN3 ne dikhaaya subah piiri4 ka samaaN5
dhyaan6 aaya dil meN lutf-e-hukmraani7 kuchh nahiN
ab karuN goshe8 meN yaad-e maalik-e kaun-o-makaaN9
yuN mushiiroN10 se kaha kal ho tilak11 ke saaz12 jam’a
raam ko duuNga samand13-e hukmraani ki an’aaN14 1.suddenly, unexpectedly 2.hair 3.night-coloured, dark 4.old age 5.scene 6.thought 7.pleasure in governing 8.corner 9.time and place 10.counsellors, ministers 11.ceremonial anointing of the forehead 12.material 13.horse 14.reins
One day, when dasrath looked into a mirror by chance, he saw signs of old age/grey in his otherwise dark hair. He thought he was no longer enjoying the work of governing and it was time to retire to a corner and meditate on the owner/creator of time and place i.e. universe. He told his ministers to make arrangements for a ceremony the next day, he intended to anoint raam and hand over the reins of governing/monarchy.
2
manthara thi kaikaii ki ek kaneez1-e fitna-juu2
saKht ranjiida3 hui qashqe4 ki sun kar daastaaN5
kaikaii se arz6 ki dasrat hue gosha-nashiN7
hoNge raghunaath8 ji mulk-e avadh meN hukmraaN
bhart ko dekha na sultaaN ne nigaah-e-lutf9 se
khul gaya hai kuchh na kuchh aapas meN chashmak10 be-gumaaN11 1.slave, maid 2.mischief-making 3.sorrowful 4.anointing mark 5.story 6.said 7.going into a corner, seclusion 8.raam 9.loving glance 10.disagreement, ill-will 11.without doubt
kaikaii (third wife of dasrath) had a mischief making maid by the name of manthara. When she heard the story of the anointing (of raam) she was very upset. She told kaikaii that dasrath was going into seclusion and raam will become the ruler of the land of avadh. The king (dasrath) did not look at (bharat, kaikaii’s son) with love. Without doubt some disagreement has come up.
3
dosti-e-shaah1 par tum ko nehaayat2 naaz3 tha
ab kaho vo din kahaaN haiN vo mohabbat hai kahaaN
ho gaya zaahir4 ke the andaaz-e-ulfat5 zaahiri6
varna7 kyuN rahte bharat mohtaaj8-e taKht9-e KhaandaaN
ye na samjho saltanat paa kar raheNge raam raam
dekhna aaNkhoN ko dikhlaata hai kya kya aasmaaN 1.friendship/love of the king 2.very much 3.pride 4.apparent 5.style/way of love 6.for display/show 7.otherwise 8.devoid, wanting 9.seat/throne
You were very proud of the love of the king. Where did all that love go now. It is apparent that it was only for show. Otherwise why would bharat be wanting for the family throne. Do not think that raam will remain the same after becoming king. Just wait and see what else will descend upon you from the skies (fate).
4
shaah se eefa1-e v’aada2 ke liye tum haT3 karo
jaaNnashiN4 ho bhart, hoN raghunaath ji ban5 ko ravaaN6
mujh ko samjhaane se matlab tha tumheN samjha diya
chaahe maano ya na maano soch lo suud-o-ziyaaN7
ye suKhan8 sun kar mahv-e-hasad9 raani ka dil
mahv-e-hairaani10 hui Khaak uftaada11-e zarra-saaN12 1.keeping faith, fulfilling 2.promise 3.insist 4.heir 5.forest, jungle 6.depart 7.gain and loss 8.conversation 9.engrossed in envy 10.engrossed in amazement 11.fallen, spread 12.like/similar to grains/dust – thus grains/dust spread below are the earth – the world
You should insist that the king should fulfil that promise/boon he had given you, that bharat should be heir to the throne and raam should depart for the jungle. I am only interest was to explain it to you and I have done so. Whether you agree or not is up to you, but think of what you will gain or lose. Hearing this talk the queen was lost in envious thoughts and the world was amazed (at her envy).
5
jab shah-e dasrat shabistaaN1 meN gaye haNgaam2-e shaam
kaikaii raani ko paaya maa’el3-e aah-o-fuGhaaN4
pyaar se ulfat5 se poochha kyuN pareshaaN-haal6 ho
fikr7 kya hai, dard kya hai, kya hai eeza-e-nehaaN8
such kaho kya hai tamanna9 kis ki Khwaahish10 hai tumheN
kya havas11, kya aarzu12 kya chaah hai aye jaan-e jaaN 1.night chamber 2.time 3.inclined to 4.sigh and sob 5.love 6.sorry state 7.worry 8.hidden pain 9.desire 10.wish 11.demand 12.yearning
In the evening, when dasrath retired to his bedroom, he found kaikaii inclined to sighing and sobbing. With love and concern he asked why she was in such a sorry state, what worries, what hurts, what hidden pain did she have. Tell me the truth, what do you desire, what do you wish, what is your demand, your yearning. Your are dearer than life.
6
kaikaii boli mile taKht-e-hukoomat1 bhart ko
raam chaudah saal tak ban2 ko banaayeN bostaaN3
ahd-e-saabiq4 tha jo ye dil ki yahi hai aarzu5
kiijiye eefa6-e v’aada7 se mujhe ab shaadmaaN8
mard ko phirna nahiN laazim9 hai apne qaul10 se
ahd-paimaaN11 jo haiN un ki ek hoti hai zabaaN 1.throne of the reign 2.jungle 3.garden 4.past promise 5.desire 6.keep faith, fulfil 7.promise 8.happy 9.necessary 10.word, commitment 11.keepers of faith
kaikaii asked that bharat should get the throne and raam should make his garden/home in the jungle for 14 years. This is my desire for the past promise/boon you had given me. Now fulfil your promise and make me happy. It is required that the brave/true not turn back on their commitment. Only they are keepers of faith who do not change their word.
7
raam abhi kamsin1 haiN kyuNkar2 un ko bhejuN suu-e-dasht3
ye juda4 hoNge to hoga murGh-e-jaaN5 be-aashiyaaN6
maiN agar in ko karuNga diida-e-raushan7 se duur
TooT jaayegi an’aan8-e tausan9-e umr-e-ravaaN10
bhart hoN farmaN-ravaa11 mulk-e avadh meN shauq se
raam ko jaane na duuNga suu-e-dasht3-e be-nishaaN12 1.young age 2.how 3.towards the wilderness 4.separate 5.bird of life 6.without nest 7.seeing eye, eye-sight 8.rein 9.horse 10.flowing life 11.issuer of edict, commander 12.unknown, unmarked
raam is still young, how can I send him to the wilderness. If he departs, then the bird of life will take flight from its nest i.e. I will die. If I let him out of my sight, then the running horse of life will have its reins cut i.e. the horse will run away, I will die. By all means, let bharat be the commander but I cannot let raam to the unmarked wilderness.
8
kaikaii boli nahiN haiN aap agar paimaaN-shikan1
phir ta’ammul2 hai abas3, takraar4 hujjat5 raayegaaN6
alGharaz7 vaqt-e sahr8 aaye jo raaja raamchandr
sarguzisht9-e ahd-e-saabiq10 kaikaii ne kii bayaaN11
phir ye farmaaya12 ke tum chaudah baras ban meN raho
bharat ji hoNge sar-e taKht-e hukoomat hukmraaN 1.promise breaker 2.hesitation 3.useless 4.argument 5.debate 6.ineffective 7.finally 8.dawn 9.story 10.past promise 11.related, told 12.said
kaikaii said that if you are not a promise breaker then hesitation is useless and argument and debate is futile. Finally, in the morning, when prince raam came (to pay his respects), kaikaii related the story of the past promise (that dasrath had made to her) and then said, you (raam) should live in the jungle for 14 years and bharat would be at the head of throne of the kingdom.
munshi dwarka parshad ufaq composed “ramayan yakqaafiya” – maintaining the same qaafiya throughout the massive composition, an extremely challenging task indeed. There is no word about the poet himself. It appears that the book was published in 1914 but completed in 1885 and the poet had passed away before its publication. An interesting note in the book says, “ba-Khatt-e faarsi zabaan-e bhaasha o urdu”. Thus in 1885 he uses “bhaasha and urdu” to describe the language which is written in faarsi script…
1
ek din aaiina dasrat ne jo dekha naagahaaN1
zulf2-e shabguN3 ne dikhaaya subah piiri4 ka samaaN5
dhyaan6 aaya dil meN lutf-e-hukmraani7 kuchh nahiN
ab karuN goshe8 meN yaad-e maalik-e kaun-o-makaaN9
yuN mushiiroN10 se kaha kal ho tilak11 ke saaz12 jam’a
raam ko duuNga samand13-e hukmraani ki an’aaN14
1.suddenly, unexpectedly 2.hair 3.night-coloured, dark 4.old age 5.scene 6.thought 7.pleasure in governing 8.corner 9.time and place 10.counsellors, ministers 11.ceremonial anointing of the forehead 12.material 13.horse 14.reins
One day, when dasrath looked into a mirror by chance, he saw signs of old age/grey in his otherwise dark hair. He thought he was no longer enjoying the work of governing and it was time to retire to a corner and meditate on the owner/creator of time and place i.e. universe. He told his ministers to make arrangements for a ceremony the next day, he intended to anoint raam and hand over the reins of governing/monarchy.
2
manthara thi kaikaii ki ek kaneez1-e fitna-juu2
saKht ranjiida3 hui qashqe4 ki sun kar daastaaN5
kaikaii se arz6 ki dasrat hue gosha-nashiN7
hoNge raghunaath8 ji mulk-e avadh meN hukmraaN
bhart ko dekha na sultaaN ne nigaah-e-lutf9 se
khul gaya hai kuchh na kuchh aapas meN chashmak10 be-gumaaN11
1.slave, maid 2.mischief-making 3.sorrowful 4.anointing mark 5.story 6.said 7.going into a corner, seclusion 8.raam 9.loving glance 10.disagreement, ill-will 11.without doubt
kaikaii (third wife of dasrath) had a mischief making maid by the name of manthara. When she heard the story of the anointing (of raam) she was very upset. She told kaikaii that dasrath was going into seclusion and raam will become the ruler of the land of avadh. The king (dasrath) did not look at (bharat, kaikaii’s son) with love. Without doubt some disagreement has come up.
3
dosti-e-shaah1 par tum ko nehaayat2 naaz3 tha
ab kaho vo din kahaaN haiN vo mohabbat hai kahaaN
ho gaya zaahir4 ke the andaaz-e-ulfat5 zaahiri6
varna7 kyuN rahte bharat mohtaaj8-e taKht9-e KhaandaaN
ye na samjho saltanat paa kar raheNge raam raam
dekhna aaNkhoN ko dikhlaata hai kya kya aasmaaN
1.friendship/love of the king 2.very much 3.pride 4.apparent 5.style/way of love 6.for display/show 7.otherwise 8.devoid, wanting 9.seat/throne
You were very proud of the love of the king. Where did all that love go now. It is apparent that it was only for show. Otherwise why would bharat be wanting for the family throne. Do not think that raam will remain the same after becoming king. Just wait and see what else will descend upon you from the skies (fate).
4
shaah se eefa1-e v’aada2 ke liye tum haT3 karo
jaaNnashiN4 ho bhart, hoN raghunaath ji ban5 ko ravaaN6
mujh ko samjhaane se matlab tha tumheN samjha diya
chaahe maano ya na maano soch lo suud-o-ziyaaN7
ye suKhan8 sun kar mahv-e-hasad9 raani ka dil
mahv-e-hairaani10 hui Khaak uftaada11-e zarra-saaN12
1.keeping faith, fulfilling 2.promise 3.insist 4.heir 5.forest, jungle 6.depart 7.gain and loss 8.conversation 9.engrossed in envy 10.engrossed in amazement 11.fallen, spread 12.like/similar to grains/dust – thus grains/dust spread below are the earth – the world
You should insist that the king should fulfil that promise/boon he had given you, that bharat should be heir to the throne and raam should depart for the jungle. I am only interest was to explain it to you and I have done so. Whether you agree or not is up to you, but think of what you will gain or lose. Hearing this talk the queen was lost in envious thoughts and the world was amazed (at her envy).
5
jab shah-e dasrat shabistaaN1 meN gaye haNgaam2-e shaam
kaikaii raani ko paaya maa’el3-e aah-o-fuGhaaN4
pyaar se ulfat5 se poochha kyuN pareshaaN-haal6 ho
fikr7 kya hai, dard kya hai, kya hai eeza-e-nehaaN8
such kaho kya hai tamanna9 kis ki Khwaahish10 hai tumheN
kya havas11, kya aarzu12 kya chaah hai aye jaan-e jaaN
1.night chamber 2.time 3.inclined to 4.sigh and sob 5.love 6.sorry state 7.worry 8.hidden pain 9.desire 10.wish 11.demand 12.yearning
In the evening, when dasrath retired to his bedroom, he found kaikaii inclined to sighing and sobbing. With love and concern he asked why she was in such a sorry state, what worries, what hurts, what hidden pain did she have. Tell me the truth, what do you desire, what do you wish, what is your demand, your yearning. Your are dearer than life.
6
kaikaii boli mile taKht-e-hukoomat1 bhart ko
raam chaudah saal tak ban2 ko banaayeN bostaaN3
ahd-e-saabiq4 tha jo ye dil ki yahi hai aarzu5
kiijiye eefa6-e v’aada7 se mujhe ab shaadmaaN8
mard ko phirna nahiN laazim9 hai apne qaul10 se
ahd-paimaaN11 jo haiN un ki ek hoti hai zabaaN
1.throne of the reign 2.jungle 3.garden 4.past promise 5.desire 6.keep faith, fulfil 7.promise 8.happy 9.necessary 10.word, commitment 11.keepers of faith
kaikaii asked that bharat should get the throne and raam should make his garden/home in the jungle for 14 years. This is my desire for the past promise/boon you had given me. Now fulfil your promise and make me happy. It is required that the brave/true not turn back on their commitment. Only they are keepers of faith who do not change their word.
7
raam abhi kamsin1 haiN kyuNkar2 un ko bhejuN suu-e-dasht3
ye juda4 hoNge to hoga murGh-e-jaaN5 be-aashiyaaN6
maiN agar in ko karuNga diida-e-raushan7 se duur
TooT jaayegi an’aan8-e tausan9-e umr-e-ravaaN10
bhart hoN farmaN-ravaa11 mulk-e avadh meN shauq se
raam ko jaane na duuNga suu-e-dasht3-e be-nishaaN12
1.young age 2.how 3.towards the wilderness 4.separate 5.bird of life 6.without nest 7.seeing eye, eye-sight 8.rein 9.horse 10.flowing life 11.issuer of edict, commander 12.unknown, unmarked
raam is still young, how can I send him to the wilderness. If he departs, then the bird of life will take flight from its nest i.e. I will die. If I let him out of my sight, then the running horse of life will have its reins cut i.e. the horse will run away, I will die. By all means, let bharat be the commander but I cannot let raam to the unmarked wilderness.
8
kaikaii boli nahiN haiN aap agar paimaaN-shikan1
phir ta’ammul2 hai abas3, takraar4 hujjat5 raayegaaN6
alGharaz7 vaqt-e sahr8 aaye jo raaja raamchandr
sarguzisht9-e ahd-e-saabiq10 kaikaii ne kii bayaaN11
phir ye farmaaya12 ke tum chaudah baras ban meN raho
bharat ji hoNge sar-e taKht-e hukoomat hukmraaN
1.promise breaker 2.hesitation 3.useless 4.argument 5.debate 6.ineffective 7.finally 8.dawn 9.story 10.past promise 11.related, told 12.said
kaikaii said that if you are not a promise breaker then hesitation is useless and argument and debate is futile. Finally, in the morning, when prince raam came (to pay his respects), kaikaii related the story of the past promise (that dasrath had made to her) and then said, you (raam) should live in the jungle for 14 years and bharat would be at the head of throne of the kingdom.
