mojid o mufakkir is “inventor and thinker/philosopher” … josh makes an argument that technology has made life easier for human kind but the philosopher/thinker has raised mankind to new heights of an amorphous combination of “values, culture, ethics, humanity”.  The rigor of the argument aside, the language is so awesome, powerful and beautiful that (especially if you allow yourselves to be seduced by josh) you forget about the argument but simply get lost in admiring the composition.  I invite you to that journey …

tamaddun 1-10  In 10 stanzas josh describes how sophistication and culture developed among human beings.  Please remind yourselves that there is no anthropological rigour in this.  The development of civilization/settlements, of speech and writing, of social behaviour is described in the most lyrical and beautiful phrases.

iijadaat 11-18  In stanzas 11-18 josh describes the inventions of technology.  It is joyful to read his description of the timepiece or of the satellite or cinema/TV and of sentient machines.  The metaphors and the language are incomparably beautiful.  I have reordered a couple of stanza from josh’s original marsia to keep the keep the theme compatible in this set of stanzas.

shaa’estagi 19-29  In stanzas 19-29 humans become sensitive to inherited culture, indulge in archeological discoveries and refine culture further.

ehsaan 30-42 josh takes 13 stanzas to pay tribute to scientists and inventors in very beautiful and powerful language and then begins to wonder why humanity is not beholden to them.  He goes on to answer that it is one thing to take us to the “dome of the skies” but another to make us understand the meaning of life.

mufakkir  43-53  Explaining the meaning of life is what a mufakkir does and josh goes on to re-affirm why the mufakkir is foremost in human thought, not the mojid.

sifaat-e husain  54-60  Having described the qualities and contributions of the mufakkir josh proceeds to say that husain ibn-e ali is an exemplary mufakkir who rose to do all this for humanity … he rose carrying a flask of his own blood on his shoulder i.e., ready to sacrifice his own life.

haalaat-e daur-e yaziid  61-68   A few stanzas describing in musical language the changing order from principled governance to hubristic power grab and personal enrichment.

Khoon 69-74  These stanzas are an unadulterated, highly emotional praise of husain.  The terminology of “Khoon” is used not only to say that Husain was ready to sacrifice his own blood but also in the sense that in common parlance the word “Khoon” is used to imply character, heritage and the like.  Even if you are not inclined to shii belief, you will find this composition extremely enjoyable and emotionally charged.

karbala 75-84  josh uses these few stanzas to describe the prevailing conditions before the battle of karbala which led husain to lay down his life in principled resistance.

tarGheeb 85-90  This comes close to incitement and calls upon the audience to resist injustice.

Khiraaj 91-107  Unadulterated tribute to husain.  It is beautiful and powerful composition with rich metaphors.  Enjoyable even when read with a completely secular viewpoint.

almadad 108-116  A resounding call for help from the spirit of husain while calling upon the audience to act on the principles that impelled husain, to resist present day injustice.  His call on husain for water is a most dramatic and ironic climax to this marsia.

Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
75
haN usi ki rau¹ meN rooh-e safdari² aage baRhi
Khaamushi³ kaaNpi, nashed⁴-e haidari⁵ aage baRhi
thartharaiiN zulmateN⁶, paiGhambari⁷ aage baRhi
jagmagaaii subah, taab⁸-e daavari⁹ aage baRhi
is zamiN ko daad¹⁰ auj¹¹-e aasmaN dene laga
zarra¹² zarra qibla roo¹³ ho kar azaaN dene laga 1.flow, wake 2.spirit of safdar (another name of ali) 3.silence (silent against ruling powers, conspiracy) 4. speech, message 5.name of ali 6.darkness, evil 7.prophethood (message of mohammed 8.brilliance 9.lord,god 10.compliments 11.pinnacle, apex 12.particle 13.facing qibla (k’aaba)
In the wake of the flow of that blood ali’s spirit moved forward. Conspiracy shivered, ali’s call was heard. Darknesses trembled in fear, mohammed’s message advanced. A bright new dawn emerged, god’s brilliance was established. The very pinnacle of the skies gave praise to the earth. Every particle turned towards the k’aaba in a call for prayer.
76
haibat¹-e haq² dahshat angezoN³ pe taari⁴ ho gayi
har palak aankheN jhukiiN Dar kar to bhari ho gayi
taajdaari⁵ ki jalaalat⁶ Gharq⁷-e Khwaari⁸ ho gayi
paara paara⁹ aabroo¹⁰-e shahryaari¹¹ ho gayi
Khoon ke baadal¹² uThe qilauN¹³ ki janib muR gaye
aur yuN barse pahaRon ke paraKhche uR gaye 1.fear 2.righteousness 3.terror mongers 4.dominant 5.monarchy 6.grandeur 7.drown 8.disrepute 9.smithereens 10.respect 11.king 12.clouds of blood, resistance, rebellion 13.fort, seat of power
Terror mongers were overwhelmed by fear of righteousness. Eyes closed with fear, they could not look Truth in the eye (‘palak bhari hona’ is an expression which says that eyelids became heavy that could not be raised again. To raise eyelids is to face others as equal. ‘aankhen jhukiiN’ means eyelids were lowered, unable to ‘look you in the eye’). The grandeur of monarchy was drowned in disrepute. Respect for monarchy was broken into smithereens. Defiance rose and turned towards seats of power and pulverized mountains of oppression.
77
nauha¹-e Gham ban gaya har naGhma²-e fatah³ o zafar⁴
daab⁵-e haq⁶ se zalzale Khud ho gaye zer o zabar⁷
qasr⁸ ki takmiil⁹ se ubhri¹⁰ shikast¹¹-e baam o dar¹²
farq¹³-e shahanshah¹⁴ par ghun¹⁵ ban gayi qindiil-e zar¹⁶
gardaneN Khud apni hi teGhoN¹⁷ se kaT kar rah gayiN
kishtiaN sahil¹⁸ par aate hi ulat kar rah gayiN 1.lamentation 2.song 3.victory 4.success 5.force 6.righteousness 7.scattered, destroyed 8. palace; 9.completion 10.emerged 11.defeat 12.roof and door 13.face 14.emperor 15.cloud, overwhelming force 16.lamp (brightness) of wealth 17.sword 18.shore
The lamentation of sorrow turned into the song of victory. The force of righteousness destroyed the forces of evil. husain’s killing contained in itself the destruction of yaziid – in the completion of the construction of palaces i.e., in the killing of husain, emerged the destruction of roof and door (of the palace) – there was defeat (spiritual) in victory (physical). The face of the emperor was clouded by his very wealth. The ‘victors’ cut their own necks with their swords. Even as their boats landed, they were overturned on the shore. Landing boats is metaphorically achieving goal i.e., their goal of killing husain and his followers. Even as the boats reached the shore, they were overturned … another reference to ‘victory in defeat’.
78
sahibaan¹-e aab o saaGhar² dasht o sehra³ ban gaye
Khastagaan⁴-e tishna lab⁵ tasniim⁶ o tuuba⁷ ban gaye
deo-paikar⁸ saed⁹-e marg¹⁰-e sabr¹¹ paimaaN¹² ban gaye
aur jo bejaan the rashk¹³-e masiha¹⁴ ban gaye
kya Ghazab¹⁵ hai jo Daraate the vo Khud hi Dar gaye
ye ajab¹⁶ hai ji uThe maqtool¹⁷, qaatil¹⁸ mar gaye 1.owners 2.water and cup 3.synonyms for wilderness, desert 4.wounded
5.thirsty 6.river in paradise 7.a tree in paradise that spreads to provide cover and fruit to everyone 8.giants 9.prey, targe 10.death 11.patience, endurance, steadfastness 12.determined, promised 13.envy 14.healer, Christ 15.irony 16.strange, unusual 17.killed 18.killer
The theme of ‘victory in defeat’ continues as a metaphor and message of resistance, even if you ‘lose’ or ‘get killed’, you are victorious because you speak ‘truth to power’. The owners of water and cup ended up in the desert wilderness. Those wounded by thirst became ‘tasniim and tuuba’. Giants fell prey to the steadfast determination of martyrs. The ones who were killed rose to become the envy of Jesus. How ironical that those who terrorized were themselves terrified. Amazing that martyrs rose to eternal life and killers destroyed.
79
yuN bujha kar rakh diye aahoN ne daulat ke diye
aaNsuoN meN bah gaye tabl o alam¹ ke dabdabe²
beRiyauN³ ki goonj se aiwaan⁴ tharraane lage
ek bibi ki Khitaabat⁵ ne vo Daale zalzale
ashk⁶-e Khoon raushan hue nazroN se taare gir gaye
Khaak⁷ par qasr⁸-e hukumat ke minaare gir gaye 1.drum and standard (flag) 2.glory 3.chains, ankle fetters 4.hallways (of palaces) 5.speech 6.tears 7.dust 8.palace
The sighs of the prisoners extinguished the ‘beacons of wealth’. The celebration of victory was washed away in their tears. The jangling of chains shook the hallways of power. One lady’s oratory caused such an earthquake, that the victors cried tears of blood and scales fell from their eyes. The minarets of the palaces of power crumbled into dust. This stanza focuses on the prisoners of war whose sighs and tears, jangling of chains blew and washed away signs of power. ‘ek bibi ki Khitaabat’ refers to zainab’s (husain’s sister) oratory in yaziid’s court which caused ‘earthquakes’ – a near revolt in yaziid’s followers. ‘blood of the eyes shone’ might mean ‘eyes became red with crying’ (when people heard zainab’s oratory) or they became angry at the injustice that had been done. ‘nazroN se taare girna’ is also a metaphor for ‘scales to fall’ or for people to realize/discover truth.
80
gauhar¹-e Khush-aab² ne shole ko paani kar diya³
zo’af⁴ ne taaqat⁵ ko sayd-e-natawani⁶ kar diya
faqr⁷ ne daulat ko mahv-e-nauha-Khwaani⁸ kar diya
deen ne duniya ko vaqf-e-sargaraani⁹ kar diya
sirf ek tanvir¹⁰ ne zulmat¹¹ ki Khandaq¹² paaT¹³ di
pankhaRi ki dhaar ne lohe ki gardan kaaT di 1.pearl, tears 2.beautiful brilliance (also play of words with good water and pani kar dena) 3.pani kar diya means to defeat 4.feebleness 5.strength, power 6.prey of the powerless 7.poverty, here meaning no worldly goods 8.engrossed in lamentation 9.given in care of worries/difficulties 10.ray of light 11.darkness 12.moat, ditch 13.crossed
The metaphor/imagery of a rose petal as a sharp cutting edge goes back to iqbal in his translation of bhartari hari
phool ki pathi se kaT sakta hai heere ka jigar
mard-e nadaaN par kalaam-e narm o nazuk be-asar
Josh uses this imagery in multiple ways. See for example Stanza 73 (kaaT kar baatil ka sar apni anokhi dhar se).
The brilliance of tears/pearls put to shame the glory of the palace. Weakness turned strength into its prey. Helplessness got wealth engrossed in lamentation. Righteousness consigned worldliness to the realm of worries. Just a simple ray of light bridged over the moat of darkness. The edge of a rose petal cut through the neck of steel.
81
ahl-e-dil¹ se kah rahi hai ye mu’ariKh² ki zabaN
baad-e-paiGhambar³ hui thiiN kis qadar⁴ sargoshiaN⁵
chhaa gaya tha har taraf kis tarah daulat ka dhuaN
kya dabe paoN chale the saazishoN⁶ ke karvaaN
ab bhi in amvaj⁷ meN Doobi paRi hai karbala
haaN unhiN ki ek tariKhi⁷ kaRi⁸ hai karbala 1.people of feeling (the audience) 2.historian (the poet) 3.after the prophet 4.how much 5.whisper 6.conspiracies 7.waves 8.of history 9.link (in the chain of history)
At first reading this might sound like a narrow chain of thoughts, specific to post-mohammed intrigues. It might even sound sectarian. But if you will allow yourselves to be seduced into thinking that josh is using these as metaphors for conspiracies and intrigues in the halls of power and is about to lead his audience to (his) present times, making the point that such intrigues are still going on … if you think of this as a metaphor for intrigues of power for all time, then you will enjoy the composition much more. O, people of feeling, the tongue of the historian/poet says to you that after mohammed too there were whisperings. The fog of wealth dominated everything. Caravaans of conspiracy came in with stealthy steps. Even now karbala is drowned in the same waves. Yes, karbala is a link in the same chain of history.
82
karbala meN amr-e-haq¹ ki bartari² se jaNg thi
taaqat³-e naan-e-sha’eer-e-haidari⁴ se jaNg thi
azmat⁵-e dereena⁶-e paiGhambari se jaNg thi
jis ka qura’aN meN hai zikr⁷ us daavari⁸ se jaNg thi
kab nifaaq⁹ arbab-e-haq¹⁰ se barsar-e-paikar¹¹ tha
vo Khuda par aaKhri laat-o-habal¹² ka vaar¹³ tha 1.word of Truth 2.superiority, to prevail 3.strength 4.jau ki roti/javari bread of Ali (Ali is reputed to have led a simple life – on ‘bread and water’ 5.greatness 6.past 7.mentioned, written 8.leadership (power struggle) 9.disagreement 10.friends of righteousness 11.engaged in war 12.pre-Islamic/pagan goddesses, daughters of allah (pre-Islamic chief god) 13.blow, attack
josh continues his quasi sectarian narrative but layered into this is a larger metaphorical imagery of resistance to absolute/arbitrary power. karbala was an attack on the word of righteousness. It was an attack against the simple values exemplified by ali. It was a war against the established glory of the prophet. It was an attack against the power grab mentioned in the qur’aan. You think dissenters were at war with the friends of righteousness, in reality it was the latest blow of pre-Islamic paganism on god.
83
kufr¹ ne kaaTa nahiN tha mus-hif-e-natiq² ka sar
asl meN qur’aan vo phainka gaya tha phaaR kar
hamla-aavar³ ibn-e-haidar⁴ pe na the arbaab-e-shar⁵
zarb⁶ thi vo asl⁷ meN islam ki buniyaad⁸ par
chand jaaNbaazoN⁹ ki jaanib¹⁰ ruKh¹¹ na tha aafaat¹² ka
din pe vo dar-asl⁷ dhaava tha andheri raat ka 1.evil 2.speaking book/qur’aan – husain is called ‘living qur’aan’ 3.attacking
4.son of haider/ali i.e., husain 5.friends/people of evil 6.blow, attack 7.reality 8.foundation 9.a few braves ready to die 10.towards 11.face 12.catastrophies
josh is trying to assert that karbala was a lot bigger than an immediate war. He later relates it present day affairs but for now he is repeating a fairly conventional line that. It was not just that husain’s head was cut off, but it was really the qur’aan that was violated. It was not that evil doers were just attacking the son of haider, but it was a blow at the very foundation of islam. It was not that disaster was visited upon a few braves ready to die, it was a war on righteousness by the forces of evil.
84
vo na tha uftaad¹-e tasht-e-haq² ka sauti³ irte’aash⁴
mustafa se dushmani ka vo hua tha raaz faash⁵
Khaima-e-shabbir⁶ ko ghere nahiN the bad-qamaash⁷
gardan-e-haq ke liye thi resmaaN⁸ ki vo talaash
ashqia⁹ jhapTe na the ibn-e-shah-e-laulaak¹⁰ par
asl¹¹ meN but¹² aastinoN¹³ se gire the Khaak par 1.calamitous fall, crash 2.platter of righteousness (which would fall and shatter) 3.sound, loud 4.quaking, reverberating, shattering 5.secret revealed 6.tents of Husain and his family 7.evil natured 8.rope, noose 9.cruel/evil oppressors 10.son of the king of creation – husain (ali is referred to as shah-e-laulaak) 11.in reality 12.idols 13.sleeves
This is the last of three somewhat conventional stanzas with considerable hyperbole bordering on the sectarian. josh continues to write that karbala was much larger than meets the eye. In this stanza he harks back to conventional shia position that karbala was a continuation of enmity against mohammed. In the last misra, the reference in ‘but aastinoN se girna’ is to some early converts to islam … who declared their allegiance to islam for political convenience but continued to carry idols hidden in their sleeves. When they came to namaaz the idols reportedly fell out revealing their secret. josh is implying that those who attacked husain were of the same ilk. The sounds of war in karbala were not just the crash of Truth they were in reality the revelation of the enmity of mohammed. Evil doers had not just surrounded the tents/camps of husain, they were looking for a rope/noose to hang righteousness. Killers had not just ambushed husain, it was really their old opposition to mohammed showing.