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.
نا مکمّل رامائین – برج نارائن چکبست
بن باس ۔ ماں کا جواب
۱
یہ گفتگو ذرا نہ ہوئی ماں پہ کارگر
ہنس کر وفورِ یاس سے لڑکے پہ کی نظر
چہرے پہ یوں ہنسی کا نمایاں ہوا اثر
جس طرح چاندنی کا ہو شمشان میں گزر
پنہاں جو بیکسی تھی وہ چہرے پہ چھا گئی
جو دِل کی مُردنی تھی نگاہوں میں آ گئی
۲
پِھر یہ کہا كہ میں نے سُنی سب یہ داستاں
لاکھوں برس کی عمر ہو دیتے ہو ماں کو گیاں
لیکن جو میرے دِل کو ہے درپیش امتحاں
بچّے ہو اِس کا علم نہیں تم کو بے گماں
اِس درد کا شریک تمہارا جگر نہیں
کچھ مامتا کی آنْچ کی تم کو خبر نہیں
۳
آخر ہے عمر ، ہے یہ میرا وقتِ واپسیں
کیا اعتبار آج ہوں دُنیا میں کل نہیں
لیکن وہ دن بھی آئے گا اِس دِل کو ہے یقیں
سونچیں گے جب كے روتی تھی کیوں مادرِ حزیں
اولاد جب کبھی تمھیں صورت دکھائے گی
فریاد اِس غریب کی تب یاد آئے گی
۴
ان آنسووں کی قدر تمھیں کچھ ابھی نہیں
باتوں سے جو بجھے یہ وہ دِل کی لگی نہیں
لیکن تمھیں ہو رنج یہ میری خوشی نہیں
جاؤ سدھارو خوش رہو میں روکتی نہیں
دُنیا میں بے حیائی سے زندہ رہوں گی میں
پالا ہے میں نے تم کو تو دکھ بھی سہوں گی میں
۵
نشتر تھے رام كے لئے یہ حرفِ آرزو
دِل ہِل گیا سرکنے لگا جسم سے لہو
سمجھے جو ماں کی دین کو ایمان و آبْرُو
سُننی پڑی اُسے یہ خجالت کی گفتگو
کچھ بھی جواب بن نہ پڑا فکر و غور سے
قدموں پہ ماں كے گر پڑا آنسو كے طور سے
۶
طوفان آنسووں کا زباں سے ہوا نہ بند
رُک رُک كے اِس طرح ہوا گویا وہ درد مند
پہنچی ہے مجھ سے آپ كے دِل کو اگر گزند
مرنا مجھے قبول ہے جینا نہیں پسند
جو بے وفا ہے مادرِ ناشاد كے لئے
دوزخ یہ زندگی ہے اُس اولاد كے لئے
۷
ہے دور اِس غلام سے خودرائی کا خیال
ایسا گمان بھی ہو ، یہ میری نہیں مجال
گر سو برس بھی عمر کو میری نہ ہو زوال
جو دین آپ کا ہے ادا ہو یہ ہے محال
جاتا کہیں نہ چھوڑ كے قدموں کو آپ كے
مجبور کر دیا مجھے کہنے نے باپ كے
۸
آرام زندگی کا دکھاتا ہے سبز باغ
لیکن بہارِعیش کا مجھ کو نہیں دماغ
کہتے ہیں جس کودھرم وہ دُنیا کا ہے چراغ
ہٹ جاؤں اِس روش سے تو کُل میں لگے گا داغ
بے آبرو یہ بنس نہ ہو یہ ہِراس ہے
جس گود میں پلا ہوں مجھے اُس کا پاس ہے
۹
بن باس پر خوشی سے جو راضی نہ ہوں گا میں
کس طرح منه دکھانے كے قابل رہوں گا میں
کیوں کر زبانِ غیر كے طعنے سنوں گا میں
دُنیا جو یہ کہے گی تو پِھر کیا کہوں گا میں
لڑکے نے بے حیائی کو نقشِ جبیں کیا
کیا بے ادب تھا باپ کا کہنا نہیں کیا
۱۰
تاثیر کا طلسم تھا معصوم کا خطاب
خود ماں كے دِل کو چوٹ لگی سن كے یہ جواب
غم کی گھٹا سے ہٹ گئی تاریکیِ عتاب
چھاتی بھر آئی ضبط کی باقی رہی نہ تاب
سرکا كے پاؤں گود میں سَر کو اُٹھا لیا
سینے سے اپنے لختِ جگر کو لگا لیا
۱۱
دونوں كے دِل بھر آئے ہوا اور ہی سماں
گنگ و جمن کی طرح سے آنسو ہوئے رواں
ہر آنکھ کو نصیب یہ اشکِ وفا کہاں
ان آنسووں کا مول اگر ہے تو نقدِ جاں
ہوتی ہے ان کی قدر فقط دِل كے راج میں
ایسا گہر نہ تھا کوئی دسرت كے تاج میں
नामुकम्मिल रामायन – ब्रिज नरायन चक्बस्त
बन बास – मां का जवाब
१
ये गुफ़्तगू ज़रा ना हुई माँ पे कारगर
हंस कर वुफ़ूर-ए यास से लड़के पे की नज़र
चेहरे पे यूं हंसी का नुमायां हुआ असर
जिस तरह चाँदनी का हो शमशान में गुज़र
पिन्हां जो बेकसी थी वो चेहरे पे छा गई
जो दिल की मुरदनी थी निगाहौं में आ गई
२
फिर ये कहा के मैं ने सुनी सब ये दास्तां
लाखौं बरस की उम्र हो देते हो मां को ग्यां
लैकिन जो मेरे दिल को है दरपेश इम्तेहां
बच्चे हो इस का इल्म नहीं तुम को बे-गुमां
इस दर्द का शरीक तुम्हारा जिगर नहीं
कुच्छ मामता की आंच कि तुम को ख़बर नहीं
३
आख़िर है उम्र, है ये मेरा वक़्त-ए वापसीं
क्या ए’तेबार आज हुं दुनिया में कल नहीं
लैकिन वो दिन भी आएगा इस दिल को है यक़ी
सोंचें गे जब के रोती थी क्युं मादर-ए हज़ी
औलाद जब कभी तुम्हें सूरत दिखाएगी
फ़रयाद इस ग़रीब की तब याद आएगी
४
इन आंसुओं की क़द्र तुम्हें कुछ अभी नहीं
बातौं से जो बुझे ये वो दिल की लगी नहीं
लैकिन तुम्हें हो रंज ये मेरी ख़ुशी नहीं
जाओ सिधारो ख़ुश रहो मैं रोकती नहीं
दुनिया में बे-हयाई से ज़िंदा रहूंगी मैं
पाला है मैं ने तुम को तो दुख भी सहूंगी मैं
५
नश्तर थे राम के लिए ये हरफ़-ए आरज़ू
दिल हिल गया सरकने लगा जिस्म से लहू
समझे जो मां की देन को ईमान ओ आबरू
सुननी पड़ी उसे ये ख़िजालत की गुफ़्तगू
कुछ भी जवाब बन ना पड़ा फ़िक्र ओ ग़ौर से
क़दमों पे मां माण के गिर पड़ा आंसू के तौर से
६
तूफ़ान आंसुओं का ज़बां से हुआ ना बन्द
रुक रुक के इस तरह हुआ गोया वो दर्द-मंद
पहुंची है मुझ से आप के दिल को अगर गज़न्द
मरना मुझे क़ुबूल है जीना नहीं पसन्द
जो बे-वफ़ा है मादर-ए नाशाद के लिए
दोज़ख़ ये ज़िंदगी है उस औलाद के लिए
७
है दूर इस ग़ुलाम से खुदराई का ख़याल
ऐसा गुमान भी हो, ये मेरी नहीं मजाल
गर सौ बरस भी उम्र को मेरी ना हो ज़वाल
जो देन आप का है अदा हो ये है महाल
जाता कहीं ना छोड़ के क़दमों को आप के
मजबूर कर दिया मुझे कहने ने बाप के
८
आराम ज़िंदगी का दिखाता है सब्ज़ बाग़
लैकिन बहार-ए ऐश का मुझ को नहीं दिमाग़
कहते हैं जिस को धर्म वो दुनिया का है चिराग़
हट जाऊं इस रविश से तो कुल में लगे गा दाग़
बे-आबरू ये बन्स ना हो ये हिरास है
जिस गोद में पला हुं मुझे उस का पास है
९
बन-बास पर ख़ुशी से जो राज़ी ना हों गा मैं
किस तरह मुंह दिखाने के क़ाबिल रहूं गा मैं
क्यूंकर ज़बान-ए ग़ैर के ताने सुनूं गा मैं
दुनिया जो ये कहेगी तो फिर क्या कहूं गा मैं
लड़के ने बे-हयाई को नक़्श-ए जबीं किया
क्या बे-अदब था बाप का कहना नहीं किया
१०
तासीर का तिलस्म था मासूम का ख़िताब
ख़ुद मां के दिल को चोट लगी सुन के ये जवाब
ग़म की घटा से हट गई तरीकी-ए इताब
छाती भर आई ज़ब्त की बाक़ी रही ना ताब
सरका के पाऊं गोद में सर को उठा लिया
सीने से अपने लख़्त-ए जिगर को लगा लिया
११
दोनों के दिल भर आए हुआ और ही समां
गंग ओ जमन की तरह से आंसू हुए रवां
हर आंख को नसीब ये अश्क-ए वफ़ा कहां
इन आंसुओं का मोल अगर है तो नक़्द-ए जां
होती है इन की क़द्र फ़क़त दिल के राज में
ऐसा गुहर ना था कोइ दसरत के ताज में
Click here for background and on any passage for word meanings and explanatory discussion. panDit brij narain chakbast (1882-1926), of kashmiri panDit heritage, grew up in lukhnow, where he was a practicing lawyer. He was politically active and strongly supported the independence movement. He had plans to compose a versified version of ramayan in urdu, much influenced by the style of mir anis. He even uses the same format “musaddas”, as anis. Only a few fragments of this work were completed. These fragments are re-organized as a part of a larger narrative by many different poets.
1
ye guftagu1 zara na hui maaN pe kaargar2
haNs kar vufoor3-e yaas4 se laRke pe ki nazar
chehre pe yuN haNsi ka numaayaaN5 hua asar6
jis tarah chaandni ka ho shamshaan7 meN guzar
pinhaaN8 jo bekasi9 thi vo chehre pe chhaa gayii
jo dil ki murdani10 thi nigaahauN meN aa gayii 1.conversation 2.effect 3.excess of 4.yearning 5.appear 6.effect 7.cremation grounds 8.hidden 9.helplessness, sorrow 10.deathly looks
This conversation (see ban baas ki ijaazat and ijaazat pe israar) did not have any effect on the mother. She cast a yearning look at her son and smiled wanly, like moonlight in the cremation grounds. All her hidden sorrow showed up on her face, her looks deathly pale.
2
phir ye kaha ke maiN ne suni sub ye daastaaN1
laakhauN baras ki umr ho dete ho maaN ko gyaaN2
laikin jo mere dil ko hai darpesh3 imtehaaN4
bachche ho is ka ilm5 nahiN tum ko be-gumaaN6
is dard ka sharik7 tumhaara jigar8 nahiN
kuchh maamta9 ki aaNch ki tum ko Khabar10 nahiN 1.stories 2.gyaan – knowledge, lesson 3.confronting 4.test 5.knowledge 6.no doubt 7.inclusive 8.liver (heart) 9.motherly love 10.awareness, knowledge
And she said, “I have heard these stories before. May you live long, you, trying to give lessons to your mother. But you are a child, you have no idea what tests my heart is confronted with. Your heart is not familiar with this pain. You do not know the fire of motherly love.
3
aaKhir hai umr, hai ye mera vaqt-e vaapasiN1
kya e’tebaar2 aaj huN duniya meN kal nahiN
laikin vo din bhi aayega is dil ko hai yaqiN3
soNcheN ge jab ke roti thi kyuN maadar-e haziN4
aulaad5 jab kabhi tumheN surat dikhaayegi
faryaad6 is Gharib ki tab yaad aayegi 1.time to return (go back) 2.credibility 3.certain 4.sorrowful mother 5.children 6.lamentation
I am at the end of my life, it is time for me to go back. Who knows, I am here today but may not be tomorrow. But this much I am sure of – you will know why your sorrowful mother is crying whenever you look at your children. Then you will remember that sadness of your poor mother.
4
in aaNsuauN ki qadr1 tumheN kuchh abhi nahiN
baatauN se jo bujhe ye vo dil ki lagi nahiN
laikin tumheN ho ranj2 ye meri Khushi nahiN
jaao sidhaaro3 Khush raho maiN rokti nahiN
duniya meN be-hayaaii4 se zinda rahuNgi maiN
paala hai maiN ne tum ko to dukh bhi sahuNgi5 maiN 1.value, respect 2.sorrow 3.depart 4.used in the sense of “without sincere desire” 5.bear
You do not have regard for these tears just yet. This is not a pain that will be assuaged by talk. But I do not want you to be sorrowful. Go, depart, be happy, I will not stop you. I will continue to live in this world even though I don’t really want to. I have reared you, I will bear this sorrow (of separation) too.
5
nashtar1 the ram ke liye ye harf-e aarzu2
dil hil gaya sarakne3 laga jism4 se lahu5
samjhe jo maaN ki dayn6 ko imaan o aabru7
sun-ni paRi use ye Khijaalat8 ki guftagu9
kuchh bhi javaab ban na paRa fikr-o-Ghaur10 se
qadmauN pe maaN ke gir paRa aaNsu ke taur11 se 1.knives 2.words of love 3.slippping away 4.body 5.blood 6.gift 7.faith and honour 8.shame, embarrassment 9.conversation 10.reasoning and thinking 11.like, similar to
These words of love cut ram like a knife. It was as if his body was drained of blood. He, who considered his mother’s gift (gratitude/duty for the gift of life that a mother gives) to be higher than his faith and honour, had to hear these words that shamed him. Who could no think of any words in reply and fell at her feet like free flowing tears.
6
toofaan1 aaNsuauN ka zabaaN2 se hua na bund
ruk ruk3 ke is tarah hua goya4 vo dard-mand5
pahuNchi hai mujh se aap ke dil ko agar gazand6
marna mujhe qubool7 hai jeena nahiN pasand
jo be-vafa8 hai maadar-e nashaad9 ke liye
dozaKh10 ye zindagi hai us aulaad11 ke liye 1.storm 2.used in the sense of “words” 3.broken, sobbing 4.spoke 5.sorrowful 6.injury, hurt 7.acceptable 8.faithless, breaking promise 9.sorrowful mother 10.hell 11.child
The storm of tears could not be stopped with words. Sobbing and sorrowful he addressed his mother thus, “if I have caused any hurt/pain I would rather die than continue to live. The life of the unfortunate child who breaks his promise to his mother is like hell”.
7
hai duur is Ghulam se Khudraaii1 ka Khayaal
aisa gumaaN2 bhi ho, ye meri nahiN majaal3
gar sau baras bhi umr ko meri na ho zavaal4
jo dayn5 aap ka hai ada6 ho ye hai mahaal7
jaata kahiN na chhoR ke qadmauN ko aap ke
majboor8 kar diya mujhe kahne ne baap ke 1.self-importance 2.illusion 3.daring 4.decline 5.gift 6.pay back 7.difficult 8.helpless
This servant is far from any thoughts of self-importance. It is difficult for me even to entertain such illusions. Even if I live (and serve you) for a hundred years, it would be difficult to pay back the gift (of life) you have given. I would not have left you, but my father’s words/command leave me no choice.
8
aaraam1 zindagi ka dikhaata hai sabz-baaGh2
laikin bahaar-e aish3 ka mujh ko nahiN dimaaGh4
kahte haiN jis ko dharm5 vo duniya ka hai chiraaGh
haT jaauN is ravish6 se to kul7 meN lage ga daaGh8
be-aabru9 ye bans10 na ho ye hiraas11 hai
jis god12 meN pala huN mujhe us ka paas13 hai 1.comfort 2.temptation 3.blossoming of luxury 4.used here in the sense of thought 5.duty 6.pathway 7.family 9.disrespected 10.vansh, dynasty 11.desire 12.lap 13.respect, regard
A comfortable life offers a lot of temptation. But I have no thought of the lap of luxury. Duty is the lamp/guide of my life. If I leave this path (of duty) then the family name will be stained. My desire is that the clan not lose its respect/reputation. I have great regard for the lap that has nurtured me.
9
ban-baas1 par Khushi se jo raazi2 na hoNga maiN
kis tarah muNh dikhaane ke qaabil3 rahuNga maiN
kyuNkar zabaan-e Ghair4 ke taane5 sunuNga maiN
duniya jo ye kahegi to phir kya kahuNga maiN
laRke ne be-hayaaii6 ko naqsh7-e jabiN8 kiya
kya be-adab9 tha baap ka kahna nahiN kiya 1.exile to the forest 2.agree 3.able to 4.other 5.sarcasm 6.shamelessness 7.mark of 8.forehead, brow 9.disrespectful
If I do not agree to exile now, then how will I be able to show my face anywhere. How will I be able to bear the sarcasm of others. What will I say when the world says that stamped on his forehead is “shamelessness”. How disrespectul is he that he does not obey his father’s command.
10
taaseer1 ka tilasm2 tha ma’asoom3 ka Khitaab4
Khud maaN ke dil ko choT lagi sun ke ye javaab
Gham ki ghaTa se haT gayii tareeki-e itaab5
chhaati bhar aaii zabt6 ki baaqi7 rahi na taab8
sarka9 ke paauN god10 meN sar ko uTha liya
seene se apne laKht-e jigar11 ko laga liya 1.effect 2.magic 3.innocent, sincere 4.speech, words 5.darkness of anger 6.self-control 7.remain 8.strength 9.move, pull back 10.lap 11.literally, piece of the liver used as a “beloved child”.
The words of that sincere child had a magical effect. The mother was deeply affected hearing this answer. The darkness of anger gave way to clouds of sorrow. Her bosom welled up and she no longer had the strength to control herself. Pulling her feet back she lifted him up to her lap. She clasped her beloved son to her bosom.
11
donoN ke dil bhar aaye hua aur hi samaaN1
gaNg o jaman ki tarah se aaNsu hue ravaaN2
har aaNkh ko nasib3 ye ashk-e vafa4 kahaaN
in aaNsuauN ka mol agar hai to naqd-e jaaN5
hoti hai in ki qadr6 faqat7 dil ke raaj meN
aisa guhar8 na tha koii dasrat ke taaj meN 1.scene 2.flow 3.fortunate 4.tears of love 5.value/essence of life 6.value/respect 7.only 8.pearl
The scene changed as both hearts welled up. Tears flowed like ganga and jumna. Not all eyes are fortunate enough to have such tears of love. The value of these tears is the essence of life. They are respected only in the kingdom of the heart. There are no pearls like these in dasrath’s crown.
panDit brij narain chakbast (1882-1926), of kashmiri panDit heritage, grew up in lukhnow, where he was a practicing lawyer. He was politically active and strongly supported the independence movement. He had plans to compose a versified version of ramayan in urdu, much influenced by the style of mir anis. He even uses the same format “musaddas”, as anis. Only a few fragments of this work were completed. These fragments are re-organized as a part of a larger narrative by many different poets.
1
ye guftagu1 zara na hui maaN pe kaargar2
haNs kar vufoor3-e yaas4 se laRke pe ki nazar
chehre pe yuN haNsi ka numaayaaN5 hua asar6
jis tarah chaandni ka ho shamshaan7 meN guzar
pinhaaN8 jo bekasi9 thi vo chehre pe chhaa gayii
jo dil ki murdani10 thi nigaahauN meN aa gayii
1.conversation 2.effect 3.excess of 4.yearning 5.appear 6.effect 7.cremation grounds 8.hidden 9.helplessness, sorrow 10.deathly looks
This conversation (see maaN se ijaazat and maaN se pe israar) did not have any effect on the mother. She cast a yearning look at her son and smiled wanly, like moonlight in the cremation grounds. All her hidden sorrow showed up on her face, her looks deathly pale.
2
phir ye kaha ke maiN ne suni sub ye daastaaN1
laakhauN baras ki umr ho dete ho maaN ko gyaaN2
laikin jo mere dil ko hai darpesh3 imtehaaN4
bachche ho is ka ilm5 nahiN tum ko be-gumaaN6
is dard ka sharik7 tumhaara jigar8 nahiN
kuchh maamta9 ki aaNch ki tum ko Khabar10 nahiN
1.stories 2.gyaan – knowledge, lesson 3.confronting 4.test 5.knowledge 6.no doubt 7.inclusive 8.liver (heart) 9.motherly love 10.awareness, knowledge
And she said, “I have heard these stories before. May you live long, you, trying to give lessons to your mother. But you are a child, you have no idea what tests my heart is confronted with. Your heart is not familiar with this pain. You do not know the fire of motherly love.
3
aaKhir hai umr, hai ye mera vaqt-e vaapasiN1
kya e’tebaar2 aaj huN duniya meN kal nahiN
laikin vo din bhi aayega is dil ko hai yaqiN3
soNcheN ge jab ke roti thi kyuN maadar-e haziN4
aulaad5 jab kabhi tumheN surat dikhaayegi
faryaad6 is Gharib ki tab yaad aayegi
1.time to return (go back) 2.credibility 3.certain 4.sorrowful mother 5.children 6.lamentation
I am at the end of my life, it is time for me to go back. Who knows, I am here today but may not be tomorrow. But this much I am sure of – you will know why your sorrowful mother is crying whenever you look at your children. Then you will remember that sadness of your poor mother.
4
in aaNsuauN ki qadr1 tumheN kuchh abhi nahiN
baatauN se jo bujhe ye vo dil ki lagi nahiN
laikin tumheN ho ranj2 ye meri Khushi nahiN
jaao sidhaaro3 Khush raho maiN rokti nahiN
duniya meN be-hayaaii4 se zinda rahuNgi maiN
paala hai maiN ne tum ko to dukh bhi sahuNgi5 maiN
1.value, respect 2.sorrow 3.depart 4.used in the sense of “without sincere desire” 5.bear
You do not have regard for these tears just yet. This is not a pain that will be assuaged by talk. But I do not want you to be sorrowful. Go, depart, be happy, I will not stop you. I will continue to live in this world even though I don’t really want to. I have reared you, I will bear this sorrow (of separation) too.
5
nashtar1 the ram ke liye ye harf-e aarzu2
dil hil gaya sarakne3 laga jism4 se lahu5
samjhe jo maaN ki dayn6 ko imaan o aabru7
sun-ni paRi use ye Khijaalat8 ki guftagu9
kuchh bhi javaab ban na paRa fikr-o-Ghaur10 se
qadmauN pe maaN ke gir paRa aaNsu ke taur11 se
1.knives 2.words of love 3.slippping away 4.body 5.blood 6.gift 7.faith and honour 8.shame, embarrassment 9.conversation 10.reasoning and thinking 11.like, similar to
These words of love cut ram like a knife. It was as if his body was drained of blood. He, who considered his mother’s gift (gratitude/duty for the gift of life that a mother gives) to be higher than his faith and honour, had to hear these words that shamed him. Who could no think of any words in reply and fell at her feet like free flowing tears.
6
toofaan1 aaNsuauN ka zabaaN2 se hua na bund
ruk ruk3 ke is tarah hua goya4 vo dard-mand5
pahuNchi hai mujh se aap ke dil ko agar gazand6
marna mujhe qubool7 hai jeena nahiN pasand
jo be-vafa8 hai maadar-e nashaad9 ke liye
dozaKh10 ye zindagi hai us aulaad11 ke liye
1.storm 2.used in the sense of “words” 3.broken, sobbing 4.spoke 5.sorrowful 6.injury, hurt 7.acceptable 8.faithless, breaking promise 9.sorrowful mother 10.hell 11.child
The storm of tears could not be stopped with words. Sobbing and sorrowful he addressed his mother thus, “if I have caused any hurt/pain I would rather die than continue to live. The life of the unfortunate child who breaks his promise to his mother is like hell”.
7
hai duur is Ghulam se Khudraaii1 ka Khayaal
aisa gumaaN2 bhi ho, ye meri nahiN majaal3
gar sau baras bhi umr ko meri na ho zavaal4
jo dayn5 aap ka hai ada6 ho ye hai mahaal7
jaata kahiN na chhoR ke qadmauN ko aap ke
majboor8 kar diya mujhe kahne ne baap ke
1.self-importance 2.illusion 3.daring 4.decline 5.gift 6.pay back 7.difficult 8.helpless
This servant is far from any thoughts of self-importance. It is difficult for me even to entertain such illusions. Even if I live (and serve you) for a hundred years, it would be difficult to pay back the gift (of life) you have given. I would not have left you, but my father’s words/command leave me no choice.
8
aaraam1 zindagi ka dikhaata hai sabz-baaGh2
laikin bahaar-e aish3 ka mujh ko nahiN dimaaGh4
kahte haiN jis ko dharm5 vo duniya ka hai chiraaGh
haT jaauN is ravish6 se to kul7 meN lage ga daaGh8
be-aabru9 ye bans10 na ho ye hiraas11 hai
jis god12 meN pala huN mujhe us ka paas13 hai
1.comfort 2.temptation 3.blossoming of luxury 4.used here in the sense of thought 5.duty 6.pathway 7.family 9.disrespected 10.vansh, dynasty 11.desire 12.lap 13.respect, regard
A comfortable life offers a lot of temptation. But I have no thought of the lap of luxury. Duty is the lamp/guide of my life. If I leave this path (of duty) then the family name will be stained. My desire is that the clan not lose its respect/reputation. I have great regard for the lap that has nurtured me.
9
ban-baas1 par Khushi se jo raazi2 na hoNga maiN
kis tarah muNh dikhaane ke qaabil3 rahuNga maiN
kyuNkar zabaan-e Ghair4 ke taane5 sunuNga maiN
duniya jo ye kahegi to phir kya kahuNga maiN
laRke ne be-hayaaii6 ko naqsh7-e jabiN8 kiya
kya be-adab9 tha baap ka kahna nahiN kiya
1.exile to the forest 2.agree 3.able to 4.other 5.sarcasm 6.shamelessness 7.mark of 8.forehead, brow 9.disrespectful
If I do not agree to exile now, then how will I be able to show my face anywhere. How will I be able to bear the sarcasm of others. What will I say when the world says that stamped on his forehead is “shamelessness”. How disrespectul is he that he does not obey his father’s command.
10
taaseer1 ka tilasm2 tha ma’asoom3 ka Khitaab4
Khud maaN ke dil ko choT lagi sun ke ye javaab
Gham ki ghaTa se haT gayii tareeki-e itaab5
chhaati bhar aaii zabt6 ki baaqi7 rahi na taab8
sarka9 ke paauN god10 meN sar ko uTha liya
seene se apne laKht-e jigar11 ko laga liya
1.effect 2.magic 3.innocent, sincere 4.speech, words 5.darkness of anger 6.self-control 7.remain 8.strength 9.move, pull back 10.lap 11.literally, piece of the liver used as a “beloved child”.
The words of that sincere child had a magical effect. The mother was deeply affected hearing this answer. The darkness of anger gave way to clouds of sorrow. Her bosom welled up and she no longer had the strength to control herself. Pulling her feet back she lifted him up to her lap. She clasped her beloved son to her bosom.
11
donoN ke dil bhar aaye hua aur hi samaaN1
gaNg o jaman ki tarah se aaNsu hue ravaaN2
har aaNkh ko nasib3 ye ashk-e vafa4 kahaaN
in aaNsuauN ka mol agar hai to naqd-e jaaN5
hoti hai in ki qadr6 faqat7 dil ke raaj meN
aisa guhar8 na tha koii dasrat ke taaj meN
1.scene 2.flow 3.fortunate 4.tears of love 5.value/essence of life 6.value/respect 7.only 8.pearl
The scene changed as both hearts welled up. Tears flowed like ganga and jumna. Not all eyes are fortunate enough to have such tears of love. The value of these tears is the essence of life. They are respected only in the kingdom of the heart. There are no pearls like these in dasrath’s crown.
