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.
سویمبر ۔ گُرُو نرائیں
۱
ہو گیا ہے مرا یہ عہد زمانہ میں عیاں
اپنی طاقت سے اُٹھائے گا جو شیوجی کی کماں
چھتری، وپر، گداگر ہو کہ ہو شاہِ جہاں
بیاہ دوں گا اُسے سیتا کو نہیں اِس میں گماں
تاب اُٹھانے کی اُسے کوئی مگر لا نہ سکا
فخر و اعزاز یہ دنیا میں کوئی پا نہ سکا
۲
یہ کماں وہ ہے اُٹھانے کو جسے ایک ہی بار
زور شاہانِ زمانہ نے کیا تھا ناچار
ہل سکی تھی نہ ذرا اپنی چگہ سے زِنہار
جس طرح ہِل نہ سکے جزوِ زمیں ہو کے پجار
تھی خبر کیا مجھے یہ عہد غضب ڈھائے گا
کوئی شنکر کی دھنُش کو نہ اُٹھا پائے گا
۳
تب کئے رام سے اِس طور پہ کؤشک نے کلام
کھینچ دو اِس کو تو مِل جائے جنک جی کو مرام
جانکی اور سُنینا کی ہو تکلیف تمام
فخر و اعزاز کا حاصل ہو تمہیں بھی انعام
دیکھ کر ہار گئے راون و بانا اِس کو
اور ہلا پائے نہ دنیا کے توانا اِس کو
۴
حکم پا کر یہ اُٹھے رام بصد جاہ و جلال
اُنکے چہرہ سے نمایاں نہ طرب تھا نہ ملال
کر کے محسوس جو سیتا کی تھا تشویش کا حال
دل میں اِک بار کیا اپنے گُرُو جی کا خیال
جا کے نزدیک ابھی صرف اُٹھائی تھی کماں
کھینچ کر زہ نہ جھکائی نہ چڑھائی تھی کماں
۵
دستِ نازک سے گری ٹوٹ کے جس وقت کماں
اِس قدر شور ہوا گونج اُٹھا سارا جہاں
ہفت اِقلیم ہلے چرخ پہ آیا طوفاں
چاند سورج کے بھی گھوڑوں کی گئی چھوٹ عناں
جاگ اُٹھے اپنی سمادھی سے جو تھے گوشہ نشیں
اپنے پیروں سے وہیں داب لی لچھمن نے زمیں
۶
کر کے تب جانکی ماتا کا سراپا شرنگار
زیوروں کی بھی دکھا کر تنِ زیبا پہ بہار
جشن کا راگ سُناتے ہوئے سُوئے دربار
لے چلیں سکھیاں اُنھیں کرنے کو لؤکِک بیوہار
مند مُسکان تھی، ہاتھوں میں طلائی مالا
ماہ ساں جسم وہ سانچے میں تھا گویا ڈھالا
۷
دیکھ کر مہر نما رام کے چہرہ کا جلال
دِل ہی دِل میں ہوئیں سیتاجی بہت اپنے نہال
مدعا اپنا ہوا شرم سے آنکھوں کو محال
گا کے سکھیوں نے کہا اُن سے کہ ڈالو جمیال
دونوں ہاتھوں سے رماجی نے اُٹھائی مالا
رام کی گردنِ زیبا میں پنھائی مالا
۸
رام و سیتا کے اِدھر بیاہ کا تھا جو اسلوب
بھائیوں کی تھی اُدھر ویسی ہی شادی مرغوب
مانڈوی نام سے کُش کیت کی تھی دُخترِ خوب
شاہِ متھِلا نے کیا اُس کو بھرت سے منسوب
اُورمِلا اپنی کماری کو لکھن سے بیاہا
اور شرت کیرتی کو شترودمن سے بیاہا
۹
سہرا
کچھ عجب ہے سرِ نوشاہ پہ آنِ سہرا
تاب کس کی ہے کرے کون بیانِ سہرا
ساتھ میں گوہر و الماس کے تارِ زر سے
پھول گوندھے جو گئے بن گئے جانِ سہرا
ہر کلی جانِ تبسّم سے کھلی جاتی ہے
ہنس کے دکھلاتے ہیں گُل حُسنِ نہانِ سہرا
ہے گُلِ عد٘ن کی اور دُرِّ عدَن کی تزئیں
ہے یہی باعثِ افزونیِ شانِ سہرا
سِلکِ گوہر کی فلک پر ہے ثُریّا تمثیل
ماہ ساں روئے مُنوّر ہے میانِ سہرا
تہنیت کے لئے فردوس سے آئے ہیں ملک
دیکھ کر فرخِ مبارک پہ نشانِ سہرا
ہو نرائن پہ بھی تیرا کرم اے کانِ کرم
سالکوں میں ہو درخشاں وہ بسانِ سہرا
स्वयंबर – गुरु नरायन
१
हो गया है मेरा ये अहद ज़माने में अयां
अपनी ताक़त से उठाएगा जो शिवजी की कमां
छत्री, विप्र, गदागर के हो शाह-ए जहां
ब्याह दूंगा उसे सीता को नहीं इस में गुमां
ताब उठाने की मगर कोई उसे ला न सका
फ़ख़्र ओ ऐज़ाज़ ये दुनिया में कोई पा न सका
२
ये कमां वो है उठाने को जिसे एक हि बार
ज़ोर शाहान-ए ज़माना ने किया था नाचार
हिल सकी थी ना ज़रा अपनी जगह से ज़िन्हार
जिस तरह हिल न सके जुज़्व-ए ज़मीं हो के पुजार
थी ख़बर क्या मुझे ये अहद ग़ज़ब ढाएगा
कोई शंकर कि धनुश को न उठा पाएगा
३
तब किये राम से इस तौर पे कौशक ने कलाम
खींच दो इस को तो मिल जाए जनक जी को मराम
जानकी और सुनैना कि हो तक्लीफ़ तमाम
फ़ख़्र ओ ऐज़ाज़ का हासिल हो तुम्हें भी इन’आम
देख कर हार गए रावन ओ बाना इस को
और हिला पाए न दुनिया के तवाना इस को
४
हुक्म पा कर ये उठे राम बसद जाह ओ जलाल
उन के चेहरे से नुमायां न तरब था न मलाल
कर के महसूस जो सीता कि था तश्विश का हाल
दिल में एक बार किया अपने गुरू जी का ख़्याल
जा के नज़्दीक अभी सिर्फ़ उठाई थी कमां
खींच कर ज़ह न झुकाई न चढ़ाई थी कमां
५
दस्त-ए नाज़ुक से गिरी टूट के जिस वक़्त कमां
इस क़दर शोर हुआ गूंज उठा सारा जहां
हफ़्त इक़्लीम हिले चर्ख़ पे आया तूफ़ां
चांद सूरज के भी घोढ़ौं की गई छूट अनां
जाग उठे अपनी समाधी से जो थे गोशा नशीं
अपने पैरौं से वहीं दाब लि लछ्मन ने ज़मीं
६
कर के तब जानकी माता का सरापा श्रिंगार
ज़ेवरौं की भि दिखा कर तन-ए ज़ेबा पे बहार
जश्न का राग सुनाते हुए सू-ए दरबार
ले चलीं सखियां उन्हें करने को लौकिक ब्योहार
मुंद मुस्कान थी, हाथौं में तिलाई माला
माह-सां जिस्म वो सांचे में था गोया ढाला
७
देख कर महर नुमा राम के चेहरे का जलाल
दिल हि दिल में हुईं सीता जि बहुत अपने नेहाल
मुद्दोआ अपना हुआ शर्म से आंखौं को महाल
गा के सखियौं ने कहा उन से के डालो जमियाल
दोनों हाथौं से रमा जी ने उठाई माला
राम का गर्दन-ए ज़ेबा में पिन्हाई माला
८
राम ओ सीता के इधर ब्याह का था जो उस्लूब
भाईयौं की थी उधर वैसी ही शादी मर्ग़ूब
मांडवी नाम से कुश केत की थी दुख़्तर-ए ख़ूब
शाह-ए मिथिला ने किया उस को भरत से मंसूब
उर्मिला अपनी कुमारी को लखन से ब्याहा
और श्रुतकीर्ती को शत्रुदमन से ब्याहा
९
सहरा
कुछ अजब है सर-ए नौशाह पे आन-ए सहरा
ताब किस की है करे कौन बयान-ए सहरा
साथ में गौहर ओ अल्मास के तार-ए ज़र से
फूल गूंधे जो गए बन गए जान-ए सहरा
हर कली जान-ए तबस्सुम से खिली जाती है
हंस के दिख्लाते हैं गुल हुस्न-ए नहान-ए सहरा
है गुल-ए अद्न कि और दुर्र-ए अदन की तज़’ईं
है यही बा’अस-ए अफ़्ज़ूनी-ए शान-ए सहरा
सिल्क-ए गौहर कि फ़लक पर है सुरय्या तम्सील
माह-सां रू-ए मुनव्वर है मियान-ए सहरा
तहनियत के लिए फ़िर्दौस से आए हैं मलक
देख कर फ़र्ख़-ए मुबारक पे निशान-ए सहरा
हो नरायन पे भी तेरा करम अए कान-ए करम
सालिकौं में हो दरख़्शां वो बसान-ए सहरा
Click here for background and on any passage for word meanings and explanatory discussion. Published in 1958 by the uttar pradesh hindustani academy under the title ‘adhyatm ramayan’, it does not have a single word about the poet, other than his name – guru narayan. It is written in classical, chaste urdu, liberally sprinkled with sanskrit. It is not even clear when it was composed i.e. is it a re-publication of an older book, or new in 1958. The verse is exquisite and the main narrative written as a musaddas (six line verse) is sprinkled with thematic Ghazal, doha, stuti (ode, praise) and in this case a sehra (classical wedding composition).
1
ho gaya hai mera ye ahd1 zamaane meN ayaaN2
apni taaqat se uThaayega jo shivji ki kamaaN
chhatri3, vipar4, gadaagar5 ke ho shaah-e-jahaaN6
byaah duuNga use sita ko nahiN is meN gumaaN7
taab8 uThaane ki magar koii use laa na saka
faKhr9 o ezaaz10 ye duniya meN koii paa na saka 1.resolution, promise 2.apparent 3.kshatriya, warrior caste 4.brahmin 5.beggar 6.emperor of the world 7.doubt 8.burden, weight 9.pride 10.respect, honour
raja janak (sita’s father) said, my resolution is now well known to everyone. Whoever can pick up shiva’s bow with his own strength, be he kshatriya, brahmin, beggar or emperor, will doubtless earn the right to marry my daughter sita. But no one has yet been able to lift it. None has earned the respect and honour of being able to do so.
2
ye kamaaN vo hai uThaane ko jise ek hi baar
zor1 shaahaan-e-zamaana2 ne kiya tha naachaar3
hil4 saki thi na zara apni jagah se zinhaar5
jis tarah hil na sake juzv-e-zamiN6 ho ke pujaar7
thi Khabar8 kya mujhe ye ahd9 Ghazab10 Dhaayega11
koii shaNkar ki dhanush12 ko na uThaa paayega 1.force 2.kings of the times 3.useless 4.move 5.under no conditions 6.part of the earth 7.water soaked in lowlands 8.knowledge 9.resolution, promise 10.misfortune 11.descend, fall on 12.bow
This is the bow that many monarchs of the day tried with all their might to move just once, but their strength was of no use. They have never been able to move it from its place, like water soaked into the lowlands cannot be lifted up. How was I to know that this resolution of mine would bring down such a curse, that no one would be able to pick up the bow of shaNkar.
3
tab kiye raam se is taur1 pe kaushak2 ne kalaam3
kheeNch do is ko to mil jaaye janak ji ko maraam4
jaanki5 aur sunaina6 ki ho takleef tamaam
faKhr7 o ezaaz8 ka haasil9 ho tumheN bhi in’aam10
dekh kar haar gaye raavan o baana11 is ko
aur hila paaye na duniya ke tavaana12 is ko 1.method, way 2.another name of vishvamitr 3.speech, conversation 4.desire 5.another name of sita 6.sita’s mother 7.honour 8.respect 9.obtainable, available 10.gift 11.I could not locate this character 12.strong, powerful
vishvamitr said thus to raam, pick up and pull this bow so that janak may achieve his heart’s desire (finding a match for his daughter), the sorrow of sita and sunaina may come to an end and you may obtain/achieve the gift of honour and respect. Both raavan and baana tried and failed. None of the strong and powerful of this world could move it.
4
hukm1 paa kar ye uThe raam basad2 jaah-o-jalaal3
un ke chehre se numaayaaN4 na tarab5 tha na malaal6
kar ke mahsoos7 jo sita ki tha tashveesh8 ka haal
dil meN ek baar kiya apne guruji ka Khayaal
ja ke nazdik abhi sirf9 uThaaii thi kamaaN
kheeNch kar zah10 na jhukaaii na chaRhaaii thi kamaaN 1.order, instruction 2.with a hundred 3.dignity and glory 4.apparent, manifest 5.pleasure 6.sorrow 7.feel 8.anxiety, worry 9.merely 10.pull bow-string
Receiving instructions from his guru, raam rose with great dignity and glory. His face did not display any joy or concern that he felt about the anxiety/worry of sita. Approaching it, he had merely picked up the bow, had not pulled the string yet …
5
dast-e-naazuk1 se giri TooT ke jis vaqt kamaaN
is qadar2 shor3 hua gooNj uTha saara jahaaN
haft-iqleem4 hile5 charKh6 pe aaya toofaaN
chaand suraj ke bhi ghoRoN ki gaii chhooT anaaN7
jaag uThe apni samaadhi8 se jo the gosha-nashiN9
anpe pairoN se vahiN daab li lachhman ne zamiN 1.delicate hand 2.so much 3.tumult, noise 4.seven continents 5.shook, trembled 6.skies 7.reins 8.deep meditation 9.going into seclusion/spiritual
… the bow dropped from his delicate hands and broke. A great tumult and noise rose and reverberated through the world. The seven continents trembled, a great storm rolled through the skies. The sun and moon dropped the reins of their horses i.e. they wandered away from the normal path. Even those who had withdrawn into deep meditation and seclusion, woke up from their reverie. The earth too was about to escape, but lakshman held it tight in his feet.
6
kar ke tab jaanki1 maata ka saraapa2 shriNgaar3
zevaroN ki bhi dikha kar tan-e-zeba4 pe bahaar
jashn5 ka raag sunaate hue soo-e-darbaar6
le chaliN sakhiyaaN7 unheN karne ko laukik8 byohaar9
mund10 muskaan thi, haathoN meN tilaaii11 maala
maah-saaN12 jism13 vo saaNche14 meN tha goya15 Dhaala16 1.sita 2.head to toe 3.adornment (like a bride) 4.beautiful body 5.celebration 6.towards the royal court 7.friends, maids 8.of this world, societal 9.rituals 10.subdued 11.golden 12.moon-like 13.body 14.mould 15.as if 16.cast
Decking/adorning sita like a bride, displaying the beauty of her jewelry, singing celebratory songs, her maids led her towards the royal court. She had a subdued smile, a gold garland in her hands. Her moon-like body looked like it was cast in a perfect mould.
7
dekh kar mahr-numa1 raam ke chehre ka jalaal2
dil hi dil meN huiN sita ji bahut apne nehaal3
mudd’ua4 apna hua sharm5 se aaNkhoN ko mahaal6
gaa ke sakhiyoN7 ne kaha un se ke Daalo jamiyaal8
donoN haathoN se ramaaji9 ne uThaaii maala
raam ki gardan-e zeba10 meN pinhaaii maala 1.sun-like 2.glory 3.happy, relieved 4.desire 5.bashfulness 6.difficult 7.friends, maids 8.wedding garland 9.another name of sita 10.beautiful
When she saw the sun-like glory of ram’s face, sita was delighted,secretly in her heart. Bashfulness/convention made if difficult for her to express her feelings through her looks. The maids sang to encourage her to put the wedding garland on raam. She picked up the garland with both her hands and put it around raam’s neck.
8
raam o sita ke idhar byaah ka tha jo usloob1
bhaaiyoN ki thi udhar vaisi hi shaadi marGhoob2
maanDvi naam se kush-ket3 ki thi duKhtar-e-Khoob4
shaah-e-mithila5 ne kiya us ko bharat se mansoob6
urmila apni kumaari ko lakhan7 se byaaha
aur shrutkiirti ko shatrudaman8 se byaaha 1.way, style 2.pleasant 3.born of kush 4.beautiful daughter 5.king of mithila, janak, sita’s father 6.associated 7.lakshman 8.shatrughan
While raam and sita’s wedding was celebrated in this style, pleasing/happy weddings of the other brothers were also arranged. The king of mithila, janak arranged for bharat to be married to maanDavi a beautiful daughter of kushdwaja (younger brother of janak). He married his own daughter urmila (sita’s younger sister) to lakshman and shrut kiirti (sister of maanDvi) to shatrughan.
9
(the poet inserted this classical feature – nazm that is specifically composed and recited at muslim weddings in praise of the garland, using it as a metaphor for the groom himself – into the narrative of ramayan, illustrating once again the easy acceptance/adoption of each other’s traditions).
(a)
kuchh ajab1 hai sar-e naushaah2 pe aan-e-sahra3
taab4 kis ki hai kare kaun bayaan5-e sahra 1.amazing 2.groom 3.dignity/beauty of garland 4.power/ability 5.description
The beauty of the sahra on the face/head of the groom is amazing. Who has the capacity to write/compose a description of the sahra.
(b)
saath meN gauhar1 o almaas2 ke taar-e-zar3 se
phool goondhe jo gaye ban gaye jaan-e-sahra4 1.pearls 2.diamonds 3.golden thread 4.life/essence of sahra
Clusters of pearls and diamonds gathered in gold thread become the very life of the sahra.
(c)
har kali jaan-e tabassum1 se khili jaati hai
haNs ke dikhlaate haiN gul2 husn3-e nehaan4-e sahra 1.smile 2.flower 3.beauty 4.hidden
Every bud, with the smile of life, blossoms into a flower revealing the hidden beauty of the sahra.
(d)
hai gul-e adan ki aur durr1-e adan ki taz’eeN2
hai yahi baa’as3-e afzooni4-e shaan-e sahra 1.pearl 2.decoration, ornament, embellishments 3.basis 4.increase
Pearls of Aden/adan are considered here to be the purest and brightest. Because the flowers/pearls of adan have found a place in the sahra, their ornamentation/brilliance increases, based on the grandeur of the sahra.
(e)
silk-e-gauhar1 ki falak2 par hai surayya3 tamseel4
maah-saaN5 ruu-e-munavvar6 hai miyaan7-e sahra 1.string of pearls 2.sky 3.constellation (Pleiades) 4.example 5.moon-like 6.brilliant face 7.middle
The pearl necklace outshines the stars of the sky. The moonlike face shines brightly surrounded by the garland/sahra.
(f)
tahniyat1 ke liye firdaus2 se aaye haiN malak3
dekh kar farKh4-e mubaarak5 pe nishaan-e sahra 1.congratulations 2.heavens 3.angels 4.face 5.holy/beautiful
Angels from heaven have arrived with congratulatory messages, seeing the sahra/garland on the beautiful face (of raam).
(g)
ho naraayan1 pe bhi tera karam2 aye kaan3-e karam
saalikoN4 meN ho darKhshaaN5 vo basaan6-e sahra 1.name of the poet 2.blessing 3.mine, treasure 4.travelers on the (righteous) path 5.shine 6.similar to
May naraayan (the poet) be also blessed O, treasure house of blessings. May he shine among the righteous like the sahra/garland.
Published in 1958 by the uttar pradesh hindustani academy under the title ‘adhyatm ramayan’, it does not have a single word about the poet, other than his name – guru narayan. It is written in classical, chaste urdu, liberally sprinkled with sanskrit. It is not even clear when it was composed i.e. is it a re-publication of an older book, or new in 1958. The verse is exquisite and the main narrative written as a musaddas (six line verse) is sprinkled with thematic Ghazal, doha, stuti (ode, praise) and in this case a sehra (classical wedding composition)
1
ho gaya hai mera ye ahd1 zamaane meN ayaaN2
apni taaqat se uThaayega jo shivji ki kamaaN
chhatri3, vipar4, gadaagar5 ke ho shaah-e-jahaaN6
byaah duuNga use sita ko nahiN is meN gumaaN7
taab8 uThaane ki magar koii use laa na saka
faKhr9 o ezaaz10 ye duniya meN koii paa na saka
1.resolution, promise 2.apparent 3.kshatriya, warrior caste 4.brahmin 5.beggar 6.emperor of the world 7.doubt 8.burden, weight 9.pride 10.respect, honour
raja janak (sita’s father) said, my resolution is now well known to everyone. Whoever can pick up shiva’s bow with his own strength, be he kshatriya, brahmin, beggar or emperor, will doubtless earn the right to marry my daughter sita. But no one has yet been able to lift it. None has earned the respect and honour of being able to do so.
2
ye kamaaN vo hai uThaane ko jise ek hi baar
zor1 shaahaan-e-zamaana2 ne kiya tha naachaar3
hil4 saki thi na zara apni jagah se zinhaar5
jis tarah hil na sake juzv-e-zamiN6 ho ke pujaar7
thi Khabar8 kya mujhe ye ahd9 Ghazab10 Dhaayega11
koii shaNkar ki dhanush12 ko na uThaa paayega
1.force 2.kings of the times 3.useless 4.move 5.under no conditions 6.part of the earth 7.water soaked in lowlands 8.knowledge 9.resolution, promise 10.misfortune 11.descend, fall on 12.bow
This is the bow that many monarchs of the day tried with all their might to move just once, but their strength was of no use. They have never been able to move it from its place, like water soaked into the lowlands cannot be lifted up. How was I to know that this resolution of mine would bring down such a curse, that no one would be able to pick up the bow of shaNkar.
3
tab kiye raam se is taur1 pe kaushak2 ne kalaam3
kheeNch do is ko to mil jaaye janak ji ko maraam4
jaanki5 aur sunaina6 ki ho takleef tamaam
faKhr7 o ezaaz8 ka haasil9 ho tumheN bhi in’aam10
dekh kar haar gaye raavan o baana11 is ko
aur hila paaye na duniya ke tavaana12 is ko
1.method, way 2.another name of vishvamitr 3.speech, conversation 4.desire 5.another name of sita 6.sita’s mother 7.honour 8.respect 9.obtainable, available 10.gift 11.I could not locate this character 12.strong, powerful
vishvamitr said thus to raam, pick up and pull this bow so that janak may achieve his heart’s desire (finding a match for his daughter), the sorrow of sita and sunaina may come to an end and you may obtain/achieve the gift of honour and respect. Both raavan and baana tried and failed. None of the strong and powerful of this world could move it.
4
hukm1 paa kar ye uThe raam basad2 jaah-o-jalaal3
un ke chehre se numaayaaN4 na tarab5 tha na malaal6
kar ke mahsoos7 jo sita ki tha tashveesh8 ka haal
dil meN ek baar kiya apne guruji ka Khayaal
ja ke nazdik abhi sirf9 uThaaii thi kamaaN
kheeNch kar zah10 na jhukaaii na chaRhaaii thi kamaaN
1.order, instruction 2.with a hundred 3.dignity and glory 4.apparent, manifest 5.pleasure 6.sorrow 7.feel 8.anxiety, worry 9.merely 10.pull bow-string
Receiving instructions from his guru, raam rose with great dignity and glory. His face did not display any joy or concern that he felt about the anxiety/worry of sita. Approaching it, he had merely picked up the bow, had not pulled the string yet …
5
dast-e-naazuk1 se giri TooT ke jis vaqt kamaaN
is qadar2 shor3 hua gooNj uTha saara jahaaN
haft-iqleem4 hile5 charKh6 pe aaya toofaaN
chaand suraj ke bhi ghoRoN ki gaii chhooT anaaN7
jaag uThe apni samaadhi8 se jo the gosha-nashiN9
anpe pairoN se vahiN daab li lachhman ne zamiN
1.delicate hand 2.so much 3.tumult, noise 4.seven continents 5.shook, trembled 6.skies 7.reins 8.deep meditation 9.going into seclusion/spiritual
… the bow dropped from his delicate hands and broke. A great tumult and noise rose and reverberated through the world. The seven continents trembled, a great storm rolled through the skies. The sun and moon dropped the reins of their horses i.e. they wandered away from the normal path. Even those who had withdrawn into deep meditation and seclusion, woke up from their reverie. The earth too was about to escape, but lakshman held it tight in his feet.
6
kar ke tab jaanki1 maata ka saraapa2 shriNgaar3
zevaroN ki bhi dikha kar tan-e-zeba4 pe bahaar
jashn5 ka raag sunaate hue soo-e-darbaar6
le chaliN sakhiyaaN7 unheN karne ko laukik8 byohaar9
mund10 muskaan thi, haathoN meN tilaaii11 maala
maah-saaN12 jism13 vo saaNche14 meN tha goya15 Dhaala16
1.sita 2.head to toe 3.adornment (like a bride) 4.beautiful body 5.celebration 6.towards the royal court 7.friends, maids 8.of this world, societal 9.rituals 10.subdued 11.golden 12.moon-like 13.body 14.mould 15.as if 16.cast
Decking/adorning sita like a bride, displaying the beauty of her jewelry, singing celebratory songs, her maids led her towards the royal court. She had a subdued smile, a gold garland in her hands. Her moon-like body looked like it was cast in a perfect mould.
7
dekh kar mahr-numa1 raam ke chehre ka jalaal2
dil hi dil meN huiN sita ji bahut apne nehaal3
mudd’ua4 apna hua sharm5 se aaNkhoN ko mahaal6
gaa ke sakhiyoN7 ne kaha un se ke Daalo jamiyaal8
donoN haathoN se ramaaji9 ne uThaaii maala
raam ki gardan-e zeba10 meN pinhaaii maala
1.sun-like 2.glory 3.happy, relieved 4.desire 5.bashfulness 6.difficult 7.friends, maids 8.wedding garland 9.another name of sita 10.beautiful
When she saw the sun-like glory of ram’s face, sita was delighted,secretly in her heart. Bashfulness/convention made if difficult for her to express her feelings through her looks. The maids sang to encourage her to put the wedding garland on raam. She picked up the garland with both her hands and put it around raam’s neck.
8
raam o sita ke idhar byaah ka tha jo usloob1
bhaaiyoN ki thi udhar vaisi hi shaadi marGhoob2
maanDvi naam se kush-ket3 ki thi duKhtar-e-Khoob4
shaah-e-mithila5 ne kiya us ko bharat se mansoob6
urmila apni kumaari ko lakhan7 se byaaha
aur shrutkiirti ko shatrudaman8 se byaaha
1.way, style 2.pleasant 3.born of kush 4.beautiful daughter 5.king of mithila, janak, sita’s father 6.associated 7.lakshman 8.shatrughan
While raam and sita’s wedding was celebrated in this style, pleasing/happy weddings of the other brothers were also arranged. The king of mithila, janak arranged for bharat to be married to maanDavi a beautiful daughter of kushdwaja (younger brother of janak). He married his own daughter urmila (sita’s younger sister) to lakshman and shrut kiirti (sister of maanDvi) to shatrughan.
9
sahra (the poet inserted this classical feature – nazm that is specifically composed and recited at muslim weddings in praise of the garland, using it as a metaphor for the groom himself – into the narrative of ramayan, illustrating once again the easy acceptance/adoption of each other’s traditions).
(a)
kuchh ajab1 hai sar-e naushaah2 pe aan-e-sahra3
taab4 kis ki hai kare kaun bayaan5-e sahra
1.amazing 2.groom 3.dignity/beauty of garland 4.power/ability 5.description
The beauty of the sahra on the face/head of the groom is amazing. Who has the capacity to write/compose a description of the sahra.
(b)
saath meN gauhar1 o almaas2 ke taar-e-zar3 se
phool goondhe jo gaye ban gaye jaan-e-sahra4
1.pearls 2.diamonds 3.golden thread 4.life/essence of sahra
Clusters of pearls and diamonds gathered in gold thread become the very life of the sahra.
(c)
har kali jaan-e tabassum1 se khili jaati hai
haNs ke dikhlaate haiN gul2 husn3-e nehaan4-e sahra
1.smile 2.flower 3.beauty 4.hidden
Every bud, with the smile of life, blossoms into a flower revealing the hidden beauty of the sahra.
(d)
hai gul-e adan ki aur durr1-e adan ki taz’eeN2
hai yahi baa’as3-e afzooni4-e shaan-e sahra
1.pearl 2.decoration, ornament, embellishments 3.basis 4.increase
Pearls of Aden/adan are considered here to be the purest and brightest. Because the flowers/pearls of adan have found a place in the sahra, their ornamentation/brilliance increases, based on the grandeur of the sahra.
(e)
silk-e-gauhar1 ki falak2 par hai surayya3 tamseel4
maah-saaN5 ruu-e-munavvar6 hai miyaan7-e sahra
1.string of pearls 2.sky 3.constellation (Pleiades) 4.example 5.moon-like 6.brilliant face 7.middle
The pearl necklace outshines the stars of the sky. The moonlike face shines brightly surrounded by the garland/sahra.
(f)
tahniyat1 ke liye firdaus2 se aaye haiN malak3
dekh kar farKh4-e mubaarak5 pe nishaan-e sahra
1.congratulations 2.heavens 3.angels 4.face 5.holy/beautiful
Angels from heaven have arrived with congratulatory messages, seeing the sahra/garland on the beautiful face (of raam).
(g)
ho naraayan1 pe bhi tera karam2 aye kaan3-e karam
saalikoN4 meN ho darKhshaaN5 vo basaan6-e sahra
1.name of the poet 2.blessing 3.mine, treasure 4.travelers on the (righteous) path 5.shine 6.similar to
May naraayan (the poet) be also blessed O, treasure house of blessings. May he shine among the righteous like the sahra/garland.
