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.
نامکمّل رامائن (۱۹۰۲) ۔ برِج نرائن چکبست
بن باس ۔ماں سے اِجازت کی تمنّا
۱
رخصت ہوا وہ باپ سے لے کر خدا کا نام
راہِ وفا کی منزلِ اوّل ہوئی تمام
منظور تھا جو ماں کی زیارت کا انتظام
دامن سے اشک پوچھ کے دِل سے کیا کلام
اِظہارِ بے کسی سے ستم ہوگا اور بھی
دیکھا ہمیں اُداس تو غم ہوگا اور بھی
۲
دِل کو سنبھالتا ہوا آخر وہ نونہال
خاموش ماں کے پاس گیا صورتِ خیال
دیکھا تو ایک در میں ہے بیٹھی وہ خستہ حال
سکتہ سا ہو گیا ہے یہ ہے شدّتِ ملال
تن میں لہو کا نام نہیں زرد رنگ ہے
گویا بشر نہیں کوئی تصویرِ سنگ ہے
۳
کیا جانے کِس خیال میں وہ گُم تھی بے گناہ
نورِ نظر پہ دیدۂ حسرت سے کی نِگاہ
جنبش ہوئی لبوں کو بھری ایک سرد آہ
لی گوشہ ہائے چشم سے اشکوں نے رُخ کی راہ
چہرے کا رنگ حالتِ دِل کھولنے لگا
ہر موئے تن زباں کی طرح بولنے لگا
۴
آخر اسیرِ یاس کا قفلِ دہن کھلا
افسانۂ شدائدِ رنج و محن کُھلا
اک دفترِ مظالمِ چرخِ کہن کھلا
وا تھا دہانِ زخم کہ بابِ سخن کھلا
دردِ دِلِ غریب جو صرفِ بیاں ہوا
خونِ جگر کا رنگ سخن سے عیاں ہوا
۵
رو کر کہا خموش کھڑے کیوں ہو میری جاں
میں جانتی ہوں جِس لئے آئے ہو تم یہاں
سب کی خوشی یہی ہے تو صحرا کو ہو رواں
لیکن میں اپنے منھ سے نہ ہر گز کہوں گی ہاں
کِس طرح بن میں آنکھوں کے تارے کو بھیج دوں
جوگی بنا کے راج دُلارے کو بھیج دوں
۶
دُنیا کا ہو گیا ہے یہ کیسا لہو سپید
اندھا کئے ہوئے ہے زر و مال کی اُمید
انجام کیا ہو کوئی نہیں جانتا یہ بھید
سوچے بشر تو جسم ہو لرزاں مثالِ بید
لکھی ہے کیا حیاتِ ابد اِن کے واسطے
پھیلا رہے ہیں جال یہ کِس دِن کے واسطے
۷
لیتی کسی فقیر کے گھر میں اگر جنم
ہوتے نہ میری جان کو سامان یہ بہم
ڈستا نہ سانپ بن کے مجھے شوکت و حشم
تم میرے لال تھے مجھے کِس سلطنت سے کم
میں خوش ہوں پھونک دے کوئی اِس تخت و تاج کو
تم ہی نہیں تو آگ لگا دوں گی راج کو
۸
کِن کِن ریاضتوں سے گذارے ہیں ماہ و سال
دیکھی تمھاری شکل جب ائے میرے نونہال
پورا ہوا جو بیاہ کا ارمان تھا کمال
آفت یہ آئی مجھ پہ ہوئے جب سفید بال
چھٹتی ہوں اُن سے جوگ لیا جِن کے واسطے
کیا سب کیا تھا میں نے اِسی دِن کے واسطے
۹
ایسے بھی نامُراد بہت آئیں گے نظر
گھر جِن کے بے چراغ رہے آہ عمر بھر
رہتا مرا بھی نخلِ تمنّا جو بے ثمر
یہ جائے صبر تھی کہ دعا میں نہیں اثر
لیکن کہیں تو بن کے مُقدّر بِگڑ گیا
پھل پھول لا کے باغِ تمنّا اُجڑ گیا
۱۰
سرزد ہوئے تھے مجھ سے خدا جانے کیا گناہ
منجدھار میں جو یوں مری کشتی ہوئی تباہ
آتی نظر نہیں کوئی امن و اماں کی راہ
اب یاں سے کوچ ہو تو عدم میں ملے پناہ
تقصیر میری خالقِ عالم بحل کرے
آسان مجھ غریب کی مشکل اجل کرے
नामुकम्मिल रामायन – ब्रिज नरायन चक्बस्त
बन-बास – मां से इजाज़त कि तमन्ना
१
रुख़्सत हुआ जो बाप से ले कर ख़ुदा का नाम
राह-ए वफ़ा की मंज़िल-ए अव्वल हुई तमाम
मंज़ूर था जो मां की ज़ियारत का इंतेज़ाम
दामन से अश्क पोछ के दिल से किया कलाम
इज़हार-ए बेकसी से सितम होगा और भी
देखा हमें उदास तो ग़म होगा और भी
२
दिल को संभालता हुआ आख़िर वो नौनेहाल
ख़ामोश मां के पास गया सूरत-ए ख़याल
देखा तो एक दर में है बैठी वो ख़स्ता हाल
सकता सा हो गया है ये है शिद्दत-ए मलाल
तन में लहू का नाम नहीं ज़र्द रंग है
गोया बशर नहीं कोई तस्वीर-ए संग है
३
क्या जाने किस ख़याल में गुम थी वो बे-गुनाह
नूर-ए नज़र पे दीदा-ए हसरत से की निगाह
जुम्बिश हुई लबों को भरी एक सर्द आह
ली गोशा-हा-ए चश्म से अश्कौं ने रुख़ की राह
चेहरे का रंग हालत-ए दिल खोलने लगा
हर मू-ए तन ज़बां की तरह बोलने लगा
४
आख़िर असीर-ए यास का क़ुफ़्ल-ए दहन खुला
अफ़्साना-ए शदायेद-ए रंज ओ मेहन खुला
एक दफ़्तर-ए मज़ालिम-एचर्ख-ए कुहन खुला
वा था दहान-ए ज़ख़्म के बाब-ए सुख़न खुला
दर्द-ए दिल-ए ग़रीब जो सर्फ़-ए बयां हुआ
ख़ून-ए जिगर का रंग सुख़न से अयां हुआ
५
रो कर कहा ख़मोश खड़े क्यूं हो मेरी जां
मैं जानती हुं जिस लिए आए हो तुम यहां
सब की ख़ुशी यही है तो सेहरा को हो रवां
लैकिन मैं अपने मुंह से ना हरगिज़ कहूंगी हां
किस तरह बन में आंखौं के तारे को भेज दूं
जोगी बना के राज दुलारे को भेज दूं
६
दुनिया का हो गया है ये कैसा लहू सपेद
अँधाअंधा किये हुए है ज़र ओ माल की उमेद
अंजाम क्या हो कोइ नहीं जानता ये भेद
सोचे बशर तो जिस्म हो लर्ज़ा मिसाल-ए बेद
लिखी है क्या हयात-ए अबद इन के वास्ते
फैला रहे हैं जाल ये किस दिन के वास्ते
७
लेती किस फ़क़ीर के घर में अगर जनम
होते ना मेरी जान को सामान ये बहम
डस्ता ना सांप बन के मुझे शौकत ओ हशम
तुम मेरे लाल थे मुझे किस सल्तनत से कम
मैं ख़ुश हुं फूंक दे कोइ इस तख़्त ओ ताज को
तुम ही नहीं तो आग लगा दूंगी राज को
८
किन किन रियाज़तों से गुज़ारे हैं माह ओ साल
देखी तुम्हारी शक्ल जब अय मेरे नौनेहाल
पूरा हुआ जो बियाह का अरमान था कमाल
आफ़त ये आई मुझ पे हुए जब सफ़ेद बाल
छुट्ती हुं उन से जोग लिया जिन के वास्ते
क्या सब किया था मैं ने इसी दिन के वास्ते
९
ऐसे भी ना-मुराद बहुत आएंगे नज़र
घर जिन के बे-चिराग़ रहे आह उम्र भर
रहता मेरा भी नख़्ल-ए तमन्ना जो बे-समर
ये जा-ए सब्र थी के दुआ में नहीं असर
लैकिन यहां तो बन के मुक़द्दर बिगड़ गया
फल फूल ला के बाग़-ए तमन्ना उजड़ गया
१०
सरज़द हुए थे मुझ से ख़ुदा जाने क्या गुनाह
मंझधार में जो युं मेरी किश्ती हुई तबाह
आती नज़र नहीं कोइ अम्न ओ अमां की राह
अब यां से कूच हो तो अदम में मिले पनाह
तक़सीर मेरी ख़ालिक़-ए आलम बहल करे
आसान मुझ ग़रीब की मुश्किल अजल करे
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 and blended into this patchy ramayan narrative of many different poets.
1
ruKhsat1 hua jo baap se le kar Khuda ka naam
raah-e vafa2 ki manzil-e avval3 hui tamaam4
manzoor5 tha jo maaN ki ziyaarat6 ka intezaam
daaman7 se ashk pochh ke dil se kiya kalaam8
izhaar9-e bekasi10 se sitam11 hoga aur bhi
dekha hameN udaas to Gham hoga aur bhi 1.depart 2.path of keeping promise/loyalty 3.first destination/stage 4.complete 5.acceptable/desirable 6.sight/meeting 7.hem of robe 8.speak 9.express 10.helplessness 11.cruelty
After having met with his father, he rose to leave, taking the name of god. The first stage (meeting with father) on the road to loyalty was completed. Now desirous of seeing his mother, he wiped tears off with the hem of his robe and said to himself, “If I show any distress/helplessness, then it will be even more cruel. If (she) sees me sad, it will make her more sad”.
2
dil ko sambhaalta hua aaKhir vo naunehaal1
Khaamosh maaN ke paas gaya surat-e-Khayaal2
dekha to ek dar3 meN hai baiThi vo Khasta-haal4
sakta5 sa ho gaya hai ye hai shiddat6-e malaal7
tan meN lahu8 ka naam nahiN zard9 raNg hai
goya10 bashar11 nahiN koi tasvir-e saNg12 hai 1.literally-toddler, used here to mean young man 2.in the likeness of thought i.e. lost in thought 3.doorway 4.broken condition, broken hearted 5.trance 6.excess of 7.pain/sorrow 8.blood 9.pale 10.as if 11.human being 12.picture/idol of stone
Taking hold of his heart, the young man, lost in thought, at last silently approached his mother. He saw her broken hearted, sitting in a doorway. She looked like she was in a trance, such (excessive) was her grief. Her colour was pale, the body drained of blood, as if she was not a human being but a stone idol.
3
kya jaane kis Khayaal meN gum thi vo be-gunaah
noor-e nazar1 pe deeda-e hasrat2 se ki nigaah3
jumbish4 hui labauN5 ko bhari ek sard6 aah7
li gosha-haa-e chashm8 se ashkauN9 ne ruKh10 ki raah11
chehre ka raNg haalat-e dil kholne laga
har moo-e-tan12 zabaaN ki tarah bolne laga 1.light of the eyes, loved one 2.eye of longing/desire 3.sight 4.movement 5.lips 6.cold/sad 7.sigh 8.corners of eyes 9.tears 10.cheeks 11.pathway 12.hair of the body
Who knows what thoughts that simple/innocent one was lost in. She looked longingly at her loved one, her lips moved and she let out a sad sigh. Tears rolled down from the corners of her eyes towards her cheeks. The colour of her face showed the condition of her heart. Every hair on her body spoke out like a tongue.
4
aaKhir asiir-e yaas1 ka qufl-e-dahn2 khula
afsaana3-e shadaayed4-e ranj o mehen5 khula
ek daftar6-e mazaalim7-e charKh-e kuhan8 khula
vaa9 thaa dahaan-e zaKhm10 ke baab-e suKhan11 khula
dard-e dil-e Gharib jo sarf-e-bayaaN12 hua
Khoon-e jigar ka raNg suKhan13 se ayaaN14 hua 1.prisoner of yearning/hope 2.lock of the mouth 3.stories of 4.excesses of 5.pain and sorrow 6.book of 7.cruelties 8.ancient wheel/bowl/sky 9.open 10.mouth of wounds 11.door of speech 12.used in speech 13.speech 14.apparent
At last the lock/seal on the mouth of that prisoner of hope was broken/unlocked. The story of the excess of pain and sorrow began to be told. In urdu poetic convention cruelties are visited upon us by the skies/fate. Thus, it was as if a book of fate’s cruelties opened up. The mouth of every wound opened, the doors of speech flung wide. And as the wounded heart of the poor lady began to talk, the blood of heart showed on her face/colour.
5
ro kar kaha Khamosh khaRe kyuN ho meri jaaN
maiN jaanti huN jis liye aaye ho tum yahaaN
sub ki Khushi yahi hai to sehra1 ko ho ravaaN2
laikin maiN apne muNh se na hargiz3 kahuNgi haaN
kis tarah ban4 meN aakhauN ke taare ko bhej duN
jogi5 bana ke raaj dulaare ko bhej duN 1.wilderness 2.depart 3.under no conditions 4.forest 5.monk/medicant/beggar
Why do you stand there silently my love, she cried. I know why you have come here. If it is everyone’s pleasure, then depart for the wilderness, but I can never bring myself to say that I agree. How can I send the star of my eyes into the forest. How can I send my loved one into destitution.
6
duniya ka ho gaya hai ye kaisa lahu1 saped2
andha kiye hue hai zar o maal3 ki umed4
anjaam5 kya ho koii nahiN jaanta ye bhed6
soche bashar7 to jism ho larzaaN8 misaal9-e bed10
likhi hai kya hayaat-e abad11 in ke vaaste12
phaila rahe haiN jaal ye kis din ke vaaste 1.blood 2.white 3.gold and wealth 4.hope 5.result 6.meaning, secret 7.human 8.trembling 9.example, like 10.(slim bamboo) cane 11.eternal life 12.for “these people”
What has happened, has everyone’s blood turned white. Has the hope/desire of gold and wealth made them blind. No one knows what the result of this is going to be. If someone were to think about it, they would tremble like a cane. In the next misra “in ke vaaste – for these people”, refers to kaikayee and her group. Do they think that eternal life is written in their fate. In other words, are they not afraid of dying and one day having to face god/judgement. For what day (if not the day of judgement) have they spread this web.
7
leti kisi faqir1 ke ghar meN agar janam2
hote na meri jaan ko saamaan ye baham3
Dasta4 na saaNp ban ke mujhe shaukat o hasham5
tum mere laal the mujhe kis saltanat se kam
maiN Khush huN phooNk de koii is taKht o taaj ko
tum hi nahiN to aag laga dooNgi raaj ko 1.poor man 2.birth 3.furnished, available 4.sting 5.pomp and glory
If I had been born in the house of a poor man, then these things would not have happened to me i.e. if she had been born to a poor man she would not have been married to dasarath and thus would not have been faced with the banishment of her son. The pomp and glory of royalty would not have stung me like a snake. You my dear son are not in any way less than a kingdom to me. If you are gone, then I might as well burn this royalty down.
8
kin kin rayaazatauN1 se guzaare haiN maah o saal2
dekhi tumhaari shakl3 jab aye mere naunehaal4
poora hua jo biyaah ka armaan tha kamaal5
aafat6 ye aaii mujh pe hue jab safed baal
chhuTti huN un se jog7 liya jin ke vaaste8
kya sab kiya tha maiN ne isi din ke vaaste 1.practice, (repeated) hard work 2.months and years 3.face 4.toddler – used here to mean son 5.miracle, gift 6.calamity 7.used here to mean give up luxury/comfort 8.for the sake of
Oh much hard work did I go through for all these years. When I saw your face my dear, it was the fulfilment of the desire/purpose of marriage. And now this calamity has befallen me in my old age (when my hair have turned gray). I am being separated from the one for whose sake I gave up luxuries (and worked hard). Did I do all this for such a day as this.
9
aise bhi na-muraad1 bahut aayeNge nazar2
ghar jin ke be-chiraaGh rahe aah3 umr bhar
rahta mera bhi naKhl4-e tamanna5 jo be-samar6
ye jaa7-e sabr8 thi ke dua meN nahiN asar9
laikin yahaaN to ban ke muqaddar bigaR gaya
phal phool laa ke baaGh-e tamanna5 ujaR gaya 1.unfortunate 2.see 3.alas 4.tree of 5.desire 6.without fruit 7.place/occasion of 8.patience 9.effect
Alas, you will see such unfortunate too, whose homes have remained without lamp (children) all life long. If the tree of my desire had also not borne fruit, then it would have been an occasion to be patient/to accept that my prayers had no effect. But here, I have had good fortune which has been destroyed. The garden of my desire flowered and fruited and is now made barren.
10
sarzad1 hue the mujh se Khuda jaane kya gunaah
manjdhaar2 meN jo yuN meri kishti hui tabaah
aati nazar nahiN koii amn o amaaN3 ki raah4
ab yaaN se kooch5 ho to adam6 meN mile panaah7
taqsiir8 meri Khaaliq-e aalam9 bahal10 kare
aasaan mujh Gharib ki mushkil ajal11 kare 1.happened, committed 2.whirlpool, storm 3.peace and refuge 4.pathway 5.departure 6.non-being, death 7.refuge 8.error, sin 9.creator of the world, god 10.forgive 11.death
god knows what sins I have committed that my boat has been destroyed in this storm. I do not see any path to happiness. The only refuge I can find is to depart from here into nothingness. May god forgive my sins. May death come to this poor one and relieve my difficulties.
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 and blended into this patchy ramayan narrative of many different poets.
1
ruKhsat1 hua jo baap se le kar Khuda ka naam
raah-e vafa2 ki manzil-e avval3 hui tamaam4
manzoor5 tha jo maaN ki ziyaarat6 ka intezaam
daaman7 se ashk pochh ke dil se kiya kalaam8
izhaar9-e bekasi10 se sitam11 hoga aur bhi
dekha hameN udaas to Gham hoga aur bhi
1.depart 2.path of keeping promise/loyalty 3.first destination/stage 4.complete 5.acceptable/desirable 6.sight/meeting 7.hem of robe 8.speak 9.express 10.helplessness 11.cruelty
After having met with his father, he rose to leave, taking the name of god. The first stage (meeting with father) on the road to loyalty was completed. Now desirous of seeing his mother, he wiped tears off with the hem of his robe and said to himself, “If I show any distress/helplessness, then it will be even more cruel. If (she) sees me sad, it will make her more sad”.
2
dil ko sambhaalta hua aaKhir vo naunehaal1
Khaamosh maaN ke paas gaya surat-e-Khayaal2
dekha to ek dar3 meN hai baiThi vo Khasta-haal4
sakta5 sa ho gaya hai ye hai shiddat6-e malaal7
tan meN lahu8 ka naam nahiN zard9 raNg hai
goya10 bashar11 nahiN koi tasvir-e saNg12 hai
1.literally-toddler, used here to mean young man 2.in the likeness of thought i.e. lost in thought 3.doorway 4.broken condition, broken hearted 5.trance 6.excess of 7.pain/sorrow 8.blood 9.pale 10.as if 11.human being 12.picture/idol of stone
Taking hold of his heart, the young man, lost in thought, at last silently approached his mother. He saw her broken hearted, sitting in a doorway. She looked like she was in a trance, such (excessive) was her grief. Her colour was pale, the body drained of blood, as if she was not a human being but a stone idol.
3
kya jaane kis Khayaal meN gum thi vo be-gunaah
noor-e nazar1 pe deeda-e hasrat2 se ki nigaah3
jumbish4 hui labauN5 ko bhari ek sard6 aah7
li gosha-haa-e chashm8 se ashkauN9 ne ruKh10 ki raah11
chehre ka raNg haalat-e dil kholne laga
har moo-e-tan12 zabaaN ki tarah bolne laga
1.light of the eyes, loved one 2.eye of longing/desire 3.sight 4.movement 5.lips 6.cold/sad 7.sigh 8.corners of eyes 9.tears 10.cheeks 11.pathway 12.hair of the body
Who knows what thoughts that simple/innocent one was lost in. She looked longingly at her loved one, her lips moved and she let out a sad sigh. Tears rolled down from the corners of her eyes towards her cheeks. The colour of her face showed the condition of her heart. Every hair on her body spoke out like a tongue.
4
aaKhir asiir-e yaas1 ka qufl-e-dahn2 khula
afsaana3-e shadaayed4-e ranj o mehen5 khula
ek daftar6-e mazaalim7-e charKh-e kuhan8 khula
vaa9 thaa dahaan-e zaKhm10 ke baab-e suKhan11 khula
dard-e dil-e Gharib jo sarf-e-bayaaN12 hua
Khoon-e jigar ka raNg suKhan13 se ayaaN14 hua
1.prisoner of yearning/hope 2.lock of the mouth 3.stories of 4.excesses of 5.pain and sorrow 6.book of 7.cruelties 8.ancient wheel/bowl/sky 9.open 10.mouth of wounds 11.door of speech 12.used in speech 13.speech 14.apparent
At last the lock/seal on the mouth of that prisoner of hope was broken/unlocked. The story of the excess of pain and sorrow began to be told. In urdu poetic convention cruelties are visited upon us by the skies/fate. Thus, it was as if a book of fate’s cruelties opened up. The mouth of every wound opened, the doors of speech flung wide. And as the wounded heart of the poor lady began to talk, the blood of heart showed on her face/colour.
5
ro kar kaha Khamosh khaRe kyuN ho meri jaaN
maiN jaanti huN jis liye aaye ho tum yahaaN
sub ki Khushi yahi hai to sehra1 ko ho ravaaN2
laikin maiN apne muNh se na hargiz3 kahuNgi haaN
kis tarah ban4 meN aakhauN ke taare ko bhej duN
jogi5 bana ke raaj dulaare ko bhej duN
1.wilderness 2.depart 3.under no conditions 4.forest 5.monk/medicant/beggar
Why do you stand there silently my love, she cried. I know why you have come here. If it is everyone’s pleasure, then depart for the wilderness, but I can never bring myself to say that I agree. How can I send the star of my eyes into the forest. How can I send my loved one into destitution.
6
duniya ka ho gaya hai ye kaisa lahu1 saped2
andha kiye hue hai zar o maal3 ki umed4
anjaam5 kya ho koii nahiN jaanta ye bhed6
soche bashar7 to jism ho larzaaN8 misaal9-e bed10
likhi hai kya hayaat-e abad11 in ke vaaste12
phaila rahe haiN jaal ye kis din ke vaaste
1.blood 2.white 3.gold and wealth 4.hope 5.result 6.meaning, secret 7.human 8.trembling 9.example, like 10.(slim bamboo) cane 11.eternal life 12.for “these people”
What has happened, has everyone’s blood turned white. Has the hope/desire of gold and wealth made them blind. No one knows what the result of this is going to be. If someone were to think about it, they would tremble like a cane. In the next misra “in ke vaaste – for these people”, refers to kaikayee and her group. Do they think that eternal life is written in their fate. In other words, are they not afraid of dying and one day having to face god/judgement. For what day (if not the day of judgement) have they spread this web.
7
leti kisi faqir1 ke ghar meN agar janam2
hote na meri jaan ko saamaan ye baham3
Dasta4 na saaNp ban ke mujhe shaukat o hasham5
tum mere laal the mujhe kis saltanat se kam
maiN Khush huN phooNk de koii is taKht o taaj ko
tum hi nahiN to aag laga dooNgi raaj ko
1.poor man 2.birth 3.furnished, available 4.sting 5.pomp and glory
If I had been born in the house of a poor man, then these things would not have happened to me i.e. if she had been born to a poor man she would not have been married to dasarath and thus would not have been faced with the banishment of her son. The pomp and glory of royalty would not have stung me like a snake. You my dear son are not in any way less than a kingdom to me. If you are gone, then I might as well burn this royalty down.
8
kin kin rayaazatauN1 se guzaare haiN maah o saal2
dekhi tumhaari shakl3 jab aye mere naunehaal4
poora hua jo biyaah ka armaan tha kamaal5
aafat6 ye aaii mujh pe hue jab safed baal
chhuTti huN un se jog7 liya jin ke vaaste8
kya sab kiya tha maiN ne isi din ke vaaste
1.practice, (repeated) hard work 2.months and years 3.face 4.toddler – used here to mean son 5.miracle, gift 6.calamity 7.used here to mean give up luxury/comfort 8.for the sake of
Oh much hard work did I go through for all these years. When I saw your face my dear, it was the fulfilment of the desire/purpose of marriage. And now this calamity has befallen me in my old age (when my hair have turned gray). I am being separated from the one for whose sake I gave up luxuries (and worked hard). Did I do all this for such a day as this.
9
aise bhi na-muraad1 bahut aayeNge nazar2
ghar jin ke be-chiraaGh rahe aah3 umr bhar
rahta mera bhi naKhl4-e tamanna5 jo be-samar6
ye jaa7-e sabr8 thi ke dua meN nahiN asar9
laikin yahaaN to ban ke muqaddar bigaR gaya
phal phool laa ke baaGh-e tamanna5 ujaR gaya
1.unfortunate 2.see 3.alas 4.tree of 5.desire 6.without fruit 7.place/occasion of 8.patience 9.effect
Alas, you will see such unfortunate too, whose homes have remained without lamp (children) all life long. If the tree of my desire had also not borne fruit, then it would have been an occasion to be patient/to accept that my prayers had no effect. But here, I have had good fortune which has been destroyed. The garden of my desire flowered and fruited and is now made barren.
10
sarzad1 hue the mujh se Khuda jaane kya gunaah
manjdhaar2 meN jo yuN meri kishti hui tabaah
aati nazar nahiN koii amn o amaaN3 ki raah4
ab yaaN se kooch5 ho to adam6 meN mile panaah7
taqsiir8 meri Khaaliq-e aalam9 bahal10 kare
aasaan mujh Gharib ki mushkil ajal11 kare
1.happened, committed 2.whirlpool, storm 3.peace and refuge 4.pathway 5.departure 6.non-being, death 7.refuge 8.error, sin 9.creator of the world, god 10.forgive 11.death
god knows what sins I have committed that my boat has been destroyed in this storm. I do not see any path to happiness. The only refuge I can find is to depart from here into nothingness. May god forgive my sins. May death come to this poor one and relieve my difficulties.
