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.
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.
رام جنم ۔ پریم پال اشکؔ
شاعر کی دعا
۱
مِرے بھگون مِری ہستی تِرے دم ہی سے قائم ہے
زمانے کو فنا ہے اور تری ہستی ہی دائم ہے
نظامِ عالمِ ہستی ترے بل ہی پہ سالم ہے
تجھے ہی فکر ہے سب کی تو پھر کس بات کا غم ہے
مرے مالک تو میرے حال پر ہر دم نظر رکھنا
سناتا ہوں کہانی اِک ذرا یہ غور سے سُننا
راجہ دسرتھ کی کوئی اولاد نہ تھی
۲
رگھو کُل بنس کے راجہ سری دسرتھ نپوتے تھے
نہ دولت کی کمی تھی اور نہ شہرت کے وہ بھوکے تھے
جو سچ پوچھو تو اُن سے اصل میں بھگوان رُوٹھے تھے
بِنا پھل ہی کے مُرجھائے ہوے پژمردہ بُوٹے تھے
چمن میں رہ کے بھی اُنکو چمن سے ہائے نفرت تھی
ملا تھا یوں تو سب کُچھ ہی مگر بیٹے کی چاہت تھی
راجہ دسرتھ نے دعائیں کی، یگیہ کئے تو خوشخبری ملی
۶
خدا کی رحمتیں آئیں، اودھ پر بے حساب آئیں
ہمالے کی ہوائیں پھر سے سندیسے نئے لائیں
حسینوں پر شباب آیا اُمیدیں دِل کی بَر آئیں
بھری کِلکاریاں بچّوں نے مائیں دِل میں مسکائیں
فضا میں نور کی بارش ہوئی تاریکیاں بھاگیں
ہوا مُنہ پاپ کا کالا کہ سوئی قسمتیں جاگیں
۷
ہوئے کوشلیا رانی کے ہاں سری رام جی پیدا
سمترا نے تھا لچھمن شتروگھن سا دھن پایا
بھرت تھے کیکئی کے جائے خدمت میں جو تھے اعلی
یہ چاروں بھائی تھے جن پر ایودھیا دل سے تھی شیدا
یہی تھے نور آنکھوں کے، اِنہیں سے دل میں دھڑکن تھی
اُنھوں نے عاقبت کی در حقیقت شان پیدا کی
۸
طبیعت رام چندر جی کی اِک خاموش دریا تھی
تھی لچھمن کی طبیعت میں ذرا تیزی ذرا تلخی
بھرت کے ہاں عقیدت اور سعادت کی تھی گہرائی
محبّت اور اُلفت کی تھی شتروگھن میں گیرائی
یہی تھے بھائی چاروں جن کی اپنی ہی طبیعت تھی
اُخوّت اور مُروّت اُن کی اپنی خاص خصلت تھی
رشی وشوامتر گھبرائے ہوئے آئے ۔ دسرتھ نے آؤبھگت کی
۹
اچانک ایک دن اِک مہرشی دربار میں آئے
تھا اُن کا نام وشوامتر، تھے بے حد وہ گھبرائے
اُنھوں نے عافیت پوچھی کہا ،”تشریف کیوں لائے
یہی محسوس ہوتا ہے کہ بادل غم کے ہیں چھائے
تردّد چھوڑ دیجے بات بے خوف و خطر کہئیے
میں سیوک ہوں تکلّف برطرف اب دل کا ڈر کہئیے”
۱۰
سنی جب بات دسرتھ کی رشی نے کھل کے فرمایا
“بنوں میں راکشسوں کا ہے بڑا کہرام اِک چھایا
میں اپنا ہی نہیں سارے جہاں کا درد ہوں لایا
یقیں کامل میں لے کر آپ ہی کے در پہ ہوں آیا
ہر اِک پاپی کا بڑھ کر میں نے تو اب ناس کرنا ہے
کیا ہے قول رشیوں سے اب اُس کا پاس کرنا ہے”
دسرتھ نے اپنی ساری فوج اور دولت پیش کی مگر ۔۔۔
۱۲
سُنی جب بات دسرتھ کی رشی کی بندھ گئی ہمّت
مجھے تو آپ کی باتوں سے راجن مل گئی طاقت
کروں میں سامنا دُشٹوں کا مجھ میں ہے کہاں جُرأت
نہ مجھ کو چاہئیے لشکر نہ مجھ کو چاہئیے دولت
مجھے تو رام لچھمن چاہئیے یہ میرے بازو ہیں
یہی دُشٹوں کے ہیں ناشَک یہی کیتو و راہو ہیں”
کچھ پس و پیش کے بعد بیٹوں کی شکشہ کے لئے دسرتھ راضی ہو گئے
۱۸
گئے جنگل میں دونوں بھائی وشوامتر جی کے سنگ
وہاں دیکھے اُنھوں نے زندگی کے نئے ہی ڈھنگ
عبادت گاہ کو ناپاک کرنے کے وہاں تھے ڈھنگ
بُھنا کرتی ہے اکثر دُشٹ پاپی کے یہاں ہی بھنگ
رشی کی کوششوں سے یگیہ کرنے لگ گئے سارے
دِلوں میں کہہ رہے تھے دھنیہ ہیں دسرتھ کے اُجیارے
شکشہ پوری ہوئی ۔ راکشس مارے گئے ۔ واپسی کی تیّاری کے کچھ پہلے ۔۔۔
۲۰
ملا اِک روز وشوامتر کو سندیش متھلا سے
“سوئمبر کر رہا ہوں میں جواں اب ہو گئی سیتے
بیاہی جائے گی اُس سے جو میری شرط کو جیتے
نہ آئے آپ اگر تو رنگ سب پڑ جائیں گے پھیکے
مِری یہ اِلتجا ہے آپ آئیں لازماً آئیں
مری چھوٹی سی کُٹیا پر مُنی ور کرم فرمائیں”
राम जनम – प्रेम पाल अश्क
शा’एर की दुआ
१
मेरे भगवन मेरी हस्ती तेरे दम ही से क़ा’एम है
ज़माने को फ़ना है और तेरी हस्ती हि दा’एम है
निज़ाम-ए आलम-ए हस्ती तेरे बल हि पे सालम है
तुझे हि फ़िक्र है सब की तो फिर किस बात का ग़म है
मेरे मालिक तु मेरे हाल पर हर दम नज़र रखना
सुनाता हूं कहानी एक ज़रा ये ग़ौर से सुन्ना
राजा दस्रत की कोई औलाद न थी …
२
रघु कुल बंस के राजा स्री दस्रथ नपोते थे
न दौलत की कमी थी और न शोहरत के वो भूके थे
जो सच पूछो तो उन से अस्ल में भगवान रूठे थे
बिना फल ही के मुर्झाए हुए पज़्शमुर्दा बूटे थे
चमन में रह के भी उन को चमन से हाए नफ़्रत थी
मिला था यूं तो सब कुछ हि मगर बेटे की चाहत थी
दुआऐं कीं यग्य किए तो ख़ुश्ख़बरी मिली …
६
ख़ुदा की रहमतें आईं अवध पर बेहिसाब आईं
हिमालए की हवाएं फिर से संदेसे नए लाईं
हसीनौं पर शबाब आया उमीदें दिल की बर आईं
भरी किल्कारियां बच्चौं ने माएं दिल में मुस्काईं
फ़िज़ा में नूर कि बारिश हुई तारीकियां भागीं
हुआ मुंह पाप का काला के सोई क़िस्मतें जागीं
७
हुए कौशल्या रानी के हां स्री राम जी पैदा
सुमित्रा ने था लक्शमन शत्रुघन सा धन पाया
भरत थे कैकई के जाए ख़िद्मत में जो थे आ’ला
ये चारों भाई थे जिन पे अयोध्या दिल से थी शैदा
यही थे नूर आंखौं के इन्हीं से दिल में धढ़कन थी
उन्हों ने आक़बत की दर हक़ीक़त शान पैदा की
८
तबी’यत राम चन्दर जी कि एक ख़ामोश दर्या थी
थि लछमन की तबी’यत में ज़रा तेज़ी ज़रा तल्ख़ी
भरत के हां अक़ीदत और स’आदत की थी गहराई
मोहब्बत और उल्फ़त की थी शत्रूघन में गीराई
यही थे भाई चारों जिन की अपनी ही तबी’यत थी
उख़व्वत और मुरव्वत उन कि अपनी ख़ास ख़स्लत थी
रुशी विश्वामित्र घब्राए हुए आए, राजा दस्रत ने आउभगत की …
९
अचानक एक दिन एक महर्शी दरबार में आए
था उन का नाम विश्वामित्र, थे बेहद वो घब्राए
उन्हों ने आ’फ़ियत पूछी कहा, “तश्रीफ़ क्यूं लाए
यही महसूस होता है के बादल ग़म के हैं छाए
तरद्दूद छोड़ दीजे बात बेख़ौफ़ ओ ख़तर कहिये
मैं सेवक हूं तकल्लुफ़ बरतरफ़ अब दिल का डर कहिये”
१०
सुनी जब बात दस्रथ की रिशी ने खुल के फ़र्माया
“बनौं में राक्शसौं का है बढा कोहराम एक छाया
मैं अपना ही नहीं सारे जहां का दर्द हूं लाया
यक़ीं कामिल मैं ले कर आप ही के दर पे हूं आया
हर एक पापी का बढ कर मैं ने तो अब नास करना है
किया है क़ौल रुशियौं से अब उस का पास करना है”
दस्रत ने अपनी सारी फ़ौज और दौलत पेश की मगर …
१२
सुनी जब बात दस्रथ की रुशी की बन्ध गई हिम्मत
“मुझे तो आप की बातौं से राजन मिल गई ताक़त
करूं मैं सामना दुश्टौं का मुझ में है कहां जुर’अत
न मुझ को चाहिये लश्कर, न मुझ को चाहिये दौलत
मुझे तो राम लछमन चाहिये ये मेरे बाज़ू हैं
यही दुश्टौं के हैं नाशक यही केतू ओ राहू हैं”
कुछ पस ओ पेश के बाद, बेटौं कि शिक्शा के लिए दस्रत राज़ी हो गए …
१८
गए जंगल में दोनों भाई विश्वामित्र जी के स़ग
वहां देखे उन्हों ने ज़िन्दगी के नए ही ढंग
इबादत गाह को नापाक करने के वहां थे ढंग
भुना करती है अक्सर दुश्ट पापी के यहां ही भंग
रुशी की कोशिशौं से यग्य करने लग गए सारे
दिलौं में कह रहे थे धन्य हैं दस्रथ के उज्यारे
शिक्शा पूरी हुई, राक्शस मारे गए, वापसी के कुछ पहले ही …
२०
मिला एक रोज़ विश्वामित्र को संदेश मिथिला से
“स्वयंबर कर रहा हूं मैं जवां अब हो गई सीते
ब्याही जाएगी उस से जो मेरी शर्त को जीते
न आए आप अगर तो रंग सब पढ जाएंगे फीके
मेरी ये इल्तेजा है आप आएं लाज़मन आएं
मेरी छोटी सी कुटिया पर मुनीवर करम फ़रमाएं”
Click here for background and on any passage for word meanings and explanatory discussion. Please see tab “Introduction” for background of ‘ramayan’. prem pal ashk (1933-????), naii dehli. His nazm is not a translation of valmiki’s ramayan, but a composition based on that story. It was published in 1961. He was on the faculty of dayal singh college, naii dehli. The back cover of the book says that he was a well recognized shaa’er whose nazm/Ghazal were published in well regarded journals. He has books on ratan nath sarshaar, mirza Ghalib, short stories and several on the film industry.
1
mere bhagvan meri hasti1 tere dam2 hi se qaa’em3 hai
zamaane ko fana4 hai aur teri hasti hi daa’em5 hai
nizaam6-e aalam-e-hasti7 tere bal8 hi pe saalim9 hai
tujhe hi fikr hai sub ki to phir kis baat ka Gham hai
mere maalik tu mere haal par har dam nazar rakhna
sunaata huN kahaani ek zara ye Ghaur10 se sun-na 1.being, existence 2.power 3.stable, preserved 4.annihilation 5.permanent, forever 6.order, running, administration 7.world of life, material world 8.power 9.safe, preserved 10.carefully
This is a short preamble/prayer. My god, I exist because of your power. This world will be annihilated, but your being is forever. This world is preserved only because of your power/kindness. If you are taking care of the world, what is the reason for any sorrow/worry. My lord keep any eye on my condition/fate. It appears that at this poing the poet turns from addressing god to addressing his audience. I relate this story to you. Listen carefully.
2
raghukul-baNs1 ke raaja sri dasrat napote2 the
na daulat ki kami thi aur na shohrat3 ke vo bhooke the
jo such poochho to un se asl4 meN bhagwaan rooThe the
bina phal hi ke murjhaaye hue pazshmurda5 booTe6 the
chaman meN rah ke bhi un ko chaman se haaye nafrat7 thi
mila tha yuN to sub kuchh hi magar beTe ki chaahat thi 1.family of the tribe of raghu 2.childless 3.fame 4.truth, reality 5.wilted 6.plant/tree, branch 7.hatred, disappointment
Raja dasrath of the tribe of raghu was childless. There was no shortage of wealth and he did not desire any more fame. In reality, god was annoyed with him. He was a fruitless, wilted branch (of the family tree of raghu). Even though he lived a garden/luxury, he was unhappy with it. He had everything he wanted, he desired a son.
6
Khuda ki rahmateN1 aaiiN avadh par be-hisaab2 aaiiN
himaalay ki havaaeN phir se sandese3 naye laa’iiN
hasiinoN par shabaab4 aaya umeedeN dil ki bar5 aaiiN
bhari kilkaariyaaN6 bachchoN ne maa’eN dil meN muskaa’iiN
fiza7 meN noor ki baarish hui taariikiyaaN8 bhaagiiN
hua muNh paap9 ka kaala ke soii qismateN jaagiiN 1.blessings 2.uncounted 3.messages 4.youth 5.fruitful 6.joyous lilting 7.air, ambience 8.darkness 9.sin, evil
I skipped a few stanzas. A ‘yagya – ritual offering to gods’ was performed. As a result of it … uncounted blessing of god descended. Winds from himalay (the abode of gods?) blew and brought new messages. It brough youthful looks to beauties, children lilted joyously, mothers smiled secretly. Light (happiness) rained down and darkness (sorrow) was banished. Evil/bad luck had its face blackened, good fortune smiled.
7
hue kaushalya raani ke haaN sri raam ji paida
sumitra ne tha lakshman shatrughan sa dhan paaya
bharat the kaikaii ke jaaye1 Khidmat2 meN jo the aa’la3
ye chaaroN bhaaii the jin pe ayodhya dil se thi shaida4
yahi the noor aaNkhoN ke inhiN se dil meN dhaRkan thi
unhoN ne aaqebat5 ki dar-haqeeqat6 shaan paida ki 1.son 2.service/loyalty (to raam) 3.high, strong 4.happy, delighted 5.after life, salvation 6.in reality, in truth
I have skipped a few stanzas. The skipped stanzas describe yagya, ritual prayers and sacrifice for the birth of sons. (As a result of which), raam was born to kaushalya. sumitra gained the wealth of two sons, lakshman and shatrughan. bharat, the son born to kaikaii was especially loyal to raam. All of ayodhya was delighted with these four brothers. In reality, they showed the glory of salvation.
8
tabi’yat1 raam chandar ji ki ek Khaamosh darya thi
thi lachhman ki tabi’yat meN zara tezi, zara talKhi2
bharat ke haaN aqeedat3 aur saa’dat4 ki thi gahraaii5
mohabbat aur ulfat ki thi shatrughan meN giiraaii6
yahi the bhaaii chaaroN jin ki apni hi tabi’yat thi
uKhavvat7 aur muravvat8 un ki apni Khaas Khaslat9 thi 1.nature, habits 2.harshness, anger 3.faith 4.obedience 5.depth 6.grip 7.brotherhood 8.regard, politeness 9.special nature
raam was quiet, lakshman a little brash and short tempered, bharat was loyal and obedient and shatrughan had a grip on love and affection. Brotherly love and politeness was their special nature.
9
achaanak ek din ek maharshi1 darbaar meN aaye
tha un ka naam vishvamitr, the be-hadd2 vo ghabraaye
unhoN ne aafiyat3 poochhi kaha, ‘tashreef kyuN laaye
yahi mahsoos4 hota hai ke baadal Gham ke haiN chhaaye
taraddud5 chhoR deeje baat be-Khauf-o-Khatar6 kahiye
maiN sevak7 huN takalluf-bartaraf8 ab dil ka Dar kahiye” 1.great saint 2.excessive 3.well-being 4.feeling 5.hesitation 6.without fear or risk 7.servant 8.formality aside
One day, unexpectedly, a great saint came to the palace. His name was vishvamitr and he appeared exceedingly worried. He (king dasrath) asked him, “what brings you here. I have a feeling that clouds of sorrow have descended on you. Don not hesitate, speak without fear. I am your servant, leave formality aside and tell me what bothers you”.
10
suni jab baat dasrath ki rishi1 ne khul ke farmaaya2
“banoN3 meN raakshasoN4 ka hai baRa kohraam5 ek chaaya
maiN apna hi nahiN saare jahaaN ka dard huN laaya
yaqiN6 kaamil7 maiN le kar aap hi ke dar8 pe huN aaya
har ek paapi9 ka baRh kar maiN ne to ab naas10 karna hai
kiya hai qaul11 rushiyoN se ab us ka paas12 karna hai 1.saint 2.said 3.forests 4.demons 5.terror 6.certainty, trust 7.complete 8.door 9.sinner/demon 10.destruction 11.word, promise 12.respect
When the saint heard dasrath, he spoke openly. “In the forests (where we live and meditate), demons are spreading terror. I bring not only my problems, but problems of the whole world (of saints). I have come with complete trust to your door. I have to destroy every demon. I have given my word to other rishis and I have to respect it.
12
suni jab baat dasrath ki rushi ki bandh gaii himmat1
“mujhe to aap ki baatoN se raajan mil gaii taaqat2
karuN maiN saamna dushToN3 ka mujh meN hai kahaaN jur’at4
na mujh ko chaahiye lashkar5, na mujh ko chaahiye daulat6
mujhe to raam lachhman chaahiye ye mere baazu7 haiN
yahi dushToN ke haiN naashak8, yahi ketu-o-raahu9 haiN” 1.courage 2.strength, power 3.evil ones 4.daring 5.army 6.wealth 7.hands, arms 8.destroyer 9.astrological points or sun-moon crossing known as dragon’s head and dragon’s tail
I skipped a stanza in which dasrath offers his vast army. Hearing this, the saint (vishvamitr) got courage and said, “your words, O, king, give me strength. How can I dare to (personally) face evil demons. But I do not want your army or your money. I want raam and lakshman, they will be my arms. They are the dragons who will destroy these demons.
18
gaye jaNgal meN donoN bhaaii vishvamitr ji ke saNg1
vahaaN dekhe unhoN ne zindagi ke naye hi DhaNg
ibaadat-gaah2 ko naapaak3 karne ke vahaaN the DhaNg
bhuna karti hai aksar4 dushT paapi ke yahaaN hi bhaNg
rushi ki koshishoN se yagya5 karne lag gaye saare
diloN meN kah rahe the dhanya6 haiN dasrath ke ujyaare7 1.in the company of 2.place of worship 3.impure, defile 4.often 5.rituals 6.blessed, good luck 7.beloved
I have skipped a few stanzas. vishvamitr persuades a hesitant dasrath to let his sons go, promising him that they will acquire a good education and skills. dasrath finally agrees. The two brothers went to the forest with the saint. There they found strange ways. The place of worship was being defiled (by the demons). Roasting bhaNg is used here metaphorically as an evil act. After all, bhaNg is roasted often by evil doers. Because of the effort of the rushi they (I assume that this refers to raam and lakshman) learnt to perform all rituals. Everyone said that these beloved of dasrath are blessed.
20
mila ek roz vishvamitr ko sandesh1 mithila2 se
svayambar3 kar raha huN maiN javaaN ab ho gayii seete4
byaahi jaayegi us se jo meri shart5 ko jeete
na aaye aap agar to raNg sab paR jaayeNge pheeke
meri ye ilteja6 hai aap aayeN laaziman7 aayeN
meri chhoTi si kuTiya8 par muni-var9 karam10 farmaayeN” 1.message 2.kingdom of raja janak 3.wedding (bride choosing the groom herself) 4.a variation of the name of sita 5.condition 6.appeal 7.necessarily, certainly 8.hut (palace) 9.saint 10.blessing
I have skipped a few stanzas in which raam and lakshman have killed many demons, others have run away. They have also completed their education. The saint (vishvamitr) receives a message from mithila. “I am holding a ceremony in which sita (who is now mature) will choose her groom who will meet the condition that I have set. If you don’t come all ceremonies will go bland. I request you to come, it is essential that you come and bless my little hut (palace).
Please see tab “Introduction” for background of ‘ramayan’.
prem pal ashk (1933-????), naii dehli. His nazm is not a translation of valmiki’s ramayan, but a composition based on that story. It was published in 1961. He was on the faculty of dayal singh college, naii dehli. The back cover of the book says that he was a well recognized shaa’er whose nazm/Ghazal were published in well regarded journals. He has books on ratan nath sarshaar, mirza Ghalib, short stories and several on the film industry.
1
mere bhagvan meri hasti1 tere dam2 hi se qaa’em3 hai
zamaane ko fana4 hai aur teri hasti hi daa’em5 hai
nizaam6-e aalam-e-hasti7 tere bal8 hi pe saalim9 hai
tujhe hi fikr hai sub ki to phir kis baat ka Gham hai
mere maalik tu mere haal par har dam nazar rakhna
sunaata huN kahaani ek zara ye Ghaur10 se sun-na
1.being, existence 2.power 3.stable, preserved 4.annihilation 5.permanent, forever 6.order, running, administration 7.world of life, material world 8.power 9.safe, preserved 10.carefully
This is a short preamble/prayer. My god, I exist because of your power. This world will be annihilated, but your being is forever. This world is preserved only because of your power/kindness. If you are taking care of the world, what is the reason for any sorrow/worry. My lord keep any eye on my condition/fate. It appears that at this poing the poet turns from addressing god to addressing his audience. I relate this story to you. Listen carefully.
2
raghukul-baNs1 ke raaja sri dasrat napote2 the
na daulat ki kami thi aur na shohrat3 ke vo bhooke the
jo such poochho to un se asl4 meN bhagwaan rooThe the
bina phal hi ke murjhaaye hue pazshmurda5 booTe6 the
chaman meN rah ke bhi un ko chaman se haaye nafrat7 thi
mila tha yuN to sub kuchh hi magar beTe ki chaahat thi
1.family of the tribe of raghu 2.childless 3.fame 4.truth, reality 5.wilted 6.plant/tree, branch 7.hatred, disappointment
Raja dasrath of the tribe of raghu was childless. There was no shortage of wealth and he did not desire any more fame. In reality, god was annoyed with him. He was a fruitless, wilted branch (of the family tree of raghu). Even though he lived a garden/luxury, he was unhappy with it. He had everything he wanted, he desired a son.
6
Khuda ki rahmateN1 aaiiN avadh par be-hisaab2 aaiiN
himaalay ki havaaeN phir se sandese3 naye laa’iiN
hasiinoN par shabaab4 aaya umeedeN dil ki bar5 aaiiN
bhari kilkaariyaaN6 bachchoN ne maa’eN dil meN muskaa’iiN
fiza7 meN noor ki baarish hui taariikiyaaN8 bhaagiiN
hua muNh paap9 ka kaala ke soii qismateN jaagiiN
1.blessings 2.uncounted 3.messages 4.youth 5.fruitful 6.joyous lilting 7.air, ambience 8.darkness 9.sin, evil
I skipped a few stanzas. A ‘yagya – ritual offering to gods’ was performed. As a result of it … uncounted blessing of god descended. Winds from himalay (the abode of gods?) blew and brought new messages. It brough youthful looks to beauties, children lilted joyously, mothers smiled secretly. Light (happiness) rained down and darkness (sorrow) was banished. Evil/bad luck had its face blackened, good fortune smiled.
7
hue kaushalya raani ke haaN sri raam ji paida
sumitra ne tha lakshman shatrughan sa dhan paaya
bharat the kaikaii ke jaaye1 Khidmat2 meN jo the aa’la3
ye chaaroN bhaaii the jin pe ayodhya dil se thi shaida4
yahi the noor aaNkhoN ke inhiN se dil meN dhaRkan thi
unhoN ne aaqebat5 ki dar-haqeeqat6 shaan paida ki
1.son 2.service/loyalty (to raam) 3.high, strong 4.happy, delighted 5.after life, salvation 6.in reality, in truth
I have skipped a few stanzas. The skipped stanzas describe yagya, ritual prayers and sacrifice for the birth of sons. (As a result of which), raam was born to kaushalya. sumitra gained the wealth of two sons, lakshman and shatrughan. bharat, the son born to kaikaii was especially loyal to raam. All of ayodhya was delighted with these four brothers. In reality, they showed the glory of salvation.
8
tabi’yat1 raam chandar ji ki ek Khaamosh darya thi
thi lachhman ki tabi’yat meN zara tezi, zara talKhi2
bharat ke haaN aqeedat3 aur saa’dat4 ki thi gahraaii5
mohabbat aur ulfat ki thi shatrughan meN giiraaii6
yahi the bhaaii chaaroN jin ki apni hi tabi’yat thi
uKhavvat7 aur muravvat8 un ki apni Khaas Khaslat9 thi
1.nature, habits 2.harshness, anger 3.faith 4.obedience 5.depth 6.grip 7.brotherhood 8.regard, politeness 9.special nature
raam was quiet, lakshman a little brash and short tempered, bharat was loyal and obedient and shatrughan had a grip on love and affection. Brotherly love and politeness was their special nature.
9
achaanak ek din ek maharshi1 darbaar meN aaye
tha un ka naam vishvamitr, the be-hadd2 vo ghabraaye
unhoN ne aafiyat3 poochhi kaha, ‘tashreef kyuN laaye
yahi mahsoos4 hota hai ke baadal Gham ke haiN chhaaye
taraddud5 chhoR deeje baat be-Khauf-o-Khatar6 kahiye
maiN sevak7 huN takalluf-bartaraf8 ab dil ka Dar kahiye”
1.great saint 2.excessive 3.well-being 4.feeling 5.hesitation 6.without fear or risk 7.servant 8.formality aside
One day, unexpectedly, a great saint came to the palace. His name was vishvamitr and he appeared exceedingly worried. He (king dasrath) asked him, “what brings you here. I have a feeling that clouds of sorrow have descended on you. Don not hesitate, speak without fear. I am your servant, leave formality aside and tell me what bothers you”.
10
suni jab baat dasrath ki rishi1 ne khul ke farmaaya2
“banoN3 meN raakshasoN4 ka hai baRa kohraam5 ek chaaya
maiN apna hi nahiN saare jahaaN ka dard huN laaya
yaqiN6 kaamil7 maiN le kar aap hi ke dar8 pe huN aaya
har ek paapi9 ka baRh kar maiN ne to ab naas10 karna hai
kiya hai qaul11 rushiyoN se ab us ka paas12 karna hai
1.saint 2.said 3.forests 4.demons 5.terror 6.certainty, trust 7.complete 8.door 9.sinner/demon 10.destruction 11.word, promise 12.respect
When the saint heard dasrath, he spoke openly. “In the forests (where we live and meditate), demons are spreading terror. I bring not only my problems, but problems of the whole world (of saints). I have come with complete trust to your door. I have to destroy every demon. I have given my word to other rishis and I have to respect it.
12
suni jab baat dasrath ki rushi ki bandh gaii himmat1
“mujhe to aap ki baatoN se raajan mil gaii taaqat2
karuN maiN saamna dushToN3 ka mujh meN hai kahaaN jur’at4
na mujh ko chaahiye lashkar5, na mujh ko chaahiye daulat6
mujhe to raam lachhman chaahiye ye mere baazu7 haiN
yahi dushToN ke haiN naashak8, yahi ketu-o-raahu9 haiN”
1.courage 2.strength, power 3.evil ones 4.daring 5.army 6.wealth 7.hands, arms 8.destroyer 9.astrological points or sun-moon crossing known as dragon’s head and dragon’s tail
I skipped a stanza in which dasrath offers his vast army. Hearing this, the saint (vishvamitr) got courage and said, “your words, O, king, give me strength. How can I dare to (personally) face evil demons. But I do not want your army or your money. I want raam and lakshman, they will be my arms. They are the dragons who will destroy these demons.
18
gaye jaNgal meN donoN bhaaii vishvamitr ji ke saNg1
vahaaN dekhe unhoN ne zindagi ke naye hi DhaNg
ibaadat-gaah2 ko naapaak3 karne ke vahaaN the DhaNg
bhuna karti hai aksar4 dushT paapi ke yahaaN hi bhaNg
rushi ki koshishoN se yagya5 karne lag gaye saare
diloN meN kah rahe the dhanya6 haiN dasrath ke ujyaare7
1.in the company of 2.place of worship 3.impure, defile 4.often 5.rituals 6.blessed, good luck 7.beloved
I have skipped a few stanzas. vishvamitr persuades a hesitant dasrath to let his sons go, promising him that they will acquire a good education and skills. dasrath finally agrees. The two brothers went to the forest with the saint. There they found strange ways. The place of worship was being defiled (by the demons). Roasting bhaNg is used here metaphorically as an evil act. After all, bhaNg is roasted often by evil doers. Because of the effort of the rushi they (I assume that this refers to raam and lakshman) learnt to perform all rituals. Everyone said that these beloved of dasrath are blessed.
20
mila ek roz vishvamitr ko sandesh1 mithila2 se
svayambar3 kar raha huN maiN javaaN ab ho gayii seete4
byaahi jaayegi us se jo meri shart5 ko jeete
na aaye aap agar to raNg sab paR jaayeNge pheeke
meri ye ilteja6 hai aap aayeN laaziman7 aayeN
meri chhoTi si kuTiya8 par muni-var9 karam10 farmaayeN”
1.message 2.kingdom of raja janak 3.wedding (bride choosing the groom herself) 4.a variation of the name of sita 5.condition 6.appeal 7.necessarily, certainly 8.hut (palace) 9.saint 10.blessing
I have skipped a few stanzas in which raam and lakshman have killed many demons, others have run away. They have also completed their education. The saint (vishvamitr) receives a message from mithila. “I am holding a ceremony in which sita (who is now mature) will choose her groom who will meet the condition that I have set. If you don’t come all ceremonies will go bland. I request you to come, it is essential that you come and bless my little hut (palace).
