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.

Click here for background and on any passage for word meanings and explanatory discussion. jogeshwar naath betaab composed his ramayan, titled ‘amar kahaani’ in memory of his son, amar, who died in childhood. jogeshwar naath apparently earned BA, LLB degrees and practised law in bareilly. I could not locate any more about the poet, nor even the date of publication, even though I have the book.
1
chhaaii thi aasmaan pe raNgini-e chaman
chhanta tha maahtaab¹ se jalvauN² ka pairahan³
booTe base the atr⁴ meN jaise naii dulhan
seeta ke dam⁵ se rashk-e-iram⁶ tha ashok-ban⁷
muNh par liya tha daaman⁸-e abr-e bahaar chaand
uRti hui ghaTaaoN meN lagte the chaar chaand⁹     1.bright moon 2.display 3.clothing 4.perfume 5.power 6.envy of heaven 7.place where sita was confined by raavan 8.used here to mean veil 9.an expression meaning enhanced beauty (like four moons)
The sky was colourful like a blooming garden. The display of the bright moon filtered through its clothes. The plants around were redolent in perfume like a new bride. Because of sita, ashok-ban had become the envy of heaven. The moon wore a veil of light spring clouds making the flowing clouds even more beautiful.
2
lakke¹ pe abr-e-tar² ke jo un ki gaii nazar³
samjhiiN avadh-naresh⁴ ka aaya payaambar⁵
phaRkaaye hoNT barq-e-tabassum⁶ ne jhoom kar
phir chashm⁷-e ashk-baar⁸ se uRne lage sharar⁹
tasviir-e-husn¹⁰ noor¹¹ ke saaNche¹² meN Dhal gaii
mauj-e mai¹³-e bahaar thi aaii nikal gaii    1.cloud 2.rain cloud 3.glance 4.king of avadh, raam 5.messenger 6.lightning smile 7.eyes 8.raining tears 9.sparks 10.picture of beauty 11.light 12.mould 13.wine
When her glance fell on the rain bearing cloud, she thought it was a messenger from raam. A flash of smile danced on her lips momentarily. The next moments tears fell rain from her eyes, sparkling in the light. What was the picture of beauty a moment ago, melted into the diffuse light, like a wave of spring wine, it rose and fell away.
3
haathoN se dil ko thaam ke boleeN nahiN nahiN
dhoka hai sub nigaah¹ ka koii kahiN nahiN
zahraab²-e chaah³-e ishq⁴ mai-e-aNgabiN⁵ nahiN
tuul⁶-e Gham-e-firaaq⁷ javaaN⁸ hai hasiiN⁹ nahiN
haNstiN thi gaah¹⁰, gaah taRapti thiiN Khaak par
rakhti thiiN haath mal ke dil-e chaak-chaak¹¹ par    1.eyes 2.poison 3.wish 4.love 5.wine of honey, sweet wine 6.prolongation 7.pain of separation 8.young, strong 9.beautiful 10.moment 11.broken
Putting her hands on her heart, she cried, “No, no, the poison/pain of the wish to see the beloved/raam is not like sweet wine. This prolongation of the pain of separation is strong but not beautiful. One moment she was smiling, the next she was writhing in pain on the earth, holding her broken heart again and again.
4
lagti thi dil pe choT si yaad-e habib¹ se
mumkin² na tha hijaab³ bhi furqat-nasiib⁴ se
bajraNg⁵ chhup ke dekh rahe the qariib⁶ se
chhuTne laga jo zabt⁷ ka yaara⁸ Ghariib se
daaman⁹ uTha ke Daal liya roo-e-paak¹⁰ par
saaya hava se phail gaya farsh¹¹-e Khaak par    1.beloved 2.possible 3.hiding 4.misfortune of separation 5.another name of hanuman 6.nearby 7.control, forbearance 8.friendship 9.shawl, veil 10.pure/noble face 11.floor
Her (sita’s) heart would hurt every time she thought of her beloved (raam). It was not possible for her to hide her sorrow, because fate had separated her from her beloved,. hanuman was watching all this from nearby. When poor sita could not control herself any more, she threw her shawl over her sorrowful face. “saaya hava se phail gaya …” is probably a poetic visualization of the shawl being spread and casting a shadow. It might be an oblique reference to hanuman as the son of vaayu, the god of air, jumping down on the ground before her.
5
jhuk kar adab¹ se paauN pe bajraNg ne kaha
maata na hoN niDhaal bura vaqt Tal² gaya
pul bandh raha hai kooch³ ka saamaan ho chuka
ab aaye raam, Khaak meN laNkesh⁴ ab mila
duniya ki fikr chhoR ke bhagwat⁵ ka naam leN
ye muddara⁶ uThaayeN meri raam raam leN    1.respect 2.passed 3.departure, launch (of attack) 4.king of laNka, raavan 5.bhagwat puraan, bhakti/devotion to vishnu 6.mudra, coin, stamp, signet ring
Bowing down respectfully at her feet, hanuman said, “O, mother, do not lose hope, bad times haved passed. A bridge has been constructed and means of attack are complete. Ram will come soon and the king of laNka will be pound into the dust. Leave all worries of the world and just recite/remember the bhagwat. Here is raam’s signet ring as proof that he sent me with this message.
6
aaNkhoN se jaanki¹ thiiN abhi muddara² lagaaye
bichh bichh ke donoN haath hanumaan ne uThaaye
aashiirvaad³ le ke ba-ujlat⁴ qadam⁵ baRhaaye
peRauN ko raundte⁶ hue mahloN pe dandanaaye
larzi⁷ bina-o-baam⁸ jo sotauN ki li Khabar⁹
logoN ne dauR bhaag ke raavan ko di Khabar¹⁰      1.sita 2.signet ring 3.blessing 4.in a hurry 5.steps 6.trample 7.trembled 8.foundation and roof 9.Khabar lena is an expression used here to mean “to punish/irritate” 10.here it means to give news, inform
sita was still holding raam’s signet ring to her eyes, when hanuman, prostrating before her and lifting his arms prayerfully, begged for blessings and in hurry went trampling trees and then pounding palaces. Palaces trembled from foundation to roof and those sleeping woke up terrified and ran to inform raavan.
7
baanar bhi kya bala hai ke chalta nahiN hai bas¹
dil meN zara hai Khauf² na mutlaq³ hai pesh-o-pas⁴
toRa idhar alam⁵ to giraaya udhar kalas⁶
hota nahiN maqaam⁷ se apne vo Tas-se-mas⁸
bola sitam-zarif⁹ ki gardan maroR do
looka¹⁰ laga ke pooNchh¹¹ meN baanar ko chhoR do    1.will, intention, power 2.fear 3.absolutely 4.hesitation 5.banner, flag 6.turret, dome 7.place 8.firm, obstinate 9.mischief maker 10.fire 11.tail
(They ran and reported to raavan that …) this monkey is such a calamity that we don’t seem to be able to do anything. He has no fear and absolutely no hesitation, tearing a flag here and breaking a dome there. He is firm in his place i.e. bent upon his plan. raavan said, twist the neck of that mischief maker. Set his tail on fire and let him loose.
8
bajraNg ko tha raam ke lutf-o-karam¹ pe naaz²
hukm³-e saza⁴ pe dil meN haNse ho ke sarfaraaz⁵
sho’le⁶ hue baland to dum bhi hui daraaz⁷
jhakkaR⁸ ke haa-o-huu se milaaya hava ne saaz⁹
sona phuNka ke ek chita¹⁰ si bhaRak gaii
dozaKh¹¹ ke peshvaaoN¹² ke chhaati dhaRak gaii    1.love and kindness 2.proud 3.orders 4.punishment 5.proud 6.flames 7.long 8.storm 9.melody 10.funeral pyre 11.hell 12.promoters
hanuman/bajraNg was proud/certain of raam’s love and kindness (protection). When this punishment was announced he felt proud/confident. As flames burst forth, he elongated his tail. The wind joined in the music of the blowing storm. It was as if a funeral pyre burst into flames. The hearts of those who were wishing hell on hanuman began to tremble (he swung his burning tail in the blowing wind and set laNka on fire).
9
pakke the apni dhun ke dhani baat ke bali¹
chaaroN taraf ye aag laga ke uRe bali
saagar meN apni pooNchh² bujha kar chale bali
sena³ meN aaye dhoom machaate hue bali
aNgad⁴ ke haath sulah⁵ ka bheja gaya payaam⁶
laikin udhar se juNg ka ulTa mila payaam    1.strong, another name of hanumaan 2.tail 3.army 4.son of sugriv, a character in ramayan 5.peace 6.message
Faithful to his intent and true to his word was hanumaan. Setting fire on all sides, he flew off. He put the fire of his tail off dipping it in the ocean and went on his way, arriving to the army with loud celebration. raam sent aNgad as a messenger of peace but from the other side came a challenge of war.