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

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

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

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

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

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

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

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

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

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

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

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

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

Click here for background and on any passage for word meanings and explanatory discussion. josh malihabadi (1898-1982) is known as – shaa’er-e inqelaab – poet of revolution. His nazm are fiery, passionate, and full of energy. His Ghazal and rubaaii are equally good. He was a secular humanist writing sharply and irreverently against colonialism, abuse of power, injustice and orthodoxy. He composed several marsia, which are traditionally long. Please see the ‘Overview’ tab for a description of the full marsia.
19
is zamiN ki samt¹ moRi yuN kudaaloN² ne anaaN³
arz⁴ ke tabqaat⁵ ko aane lagiiN angRaiyaaN
parda-e zulmat⁶ se jhaanke rumooz⁷-e een o aaN⁸
haDDiyoN ne apne Dhaanche ki sunaai dastaaN
tang GhaaroN meN hava chalne lagi pau phaT gayi
Khuftagan-e Khaak⁹ ke sar se dulaai¹⁰ haT gayi 1.towards 2.pick axe 3.reins 4.earth 5.layers 6.darkness 7.secrets 8.this and that 9.those sleeping in the dust 10.shawl
Unearthing of cultural artifacts and refinement of knowledge and culture begins. The pickaxe turned its reins towards the earth/ground. The layers of soil stretched as if waking up from a deep sleep. From the veil of darkness, all secrets began to peep out. Dug up bones told stories of their skeletons. A fresh breeze blew through deep caves and lit them up like dawn. The veil was removed from those who were sleeping in the dust i.e., we began to learn about our ancestors.
20
taNg¹ GhaaroN² meN salaatin³-e kuhan⁴ paida hue
pa ba gil⁵ reshauN⁶ se maazi⁷ ke chaman paida hue
but kadauN⁸ ne aankh kholi barhaman paida hue
Khaak ki Khushboo uRi gul pairahan⁹ paida hue
murda parvaanoN¹⁰ ne aah-e sard¹¹ bhar kar bat ki
kushta¹² sham’aoN¹³ ne sunaai dastaaneN raat ki 1.narrow, tight 2.cave 3.kings 4.ancient 5.feet planted in soil (dug deep in the soil) 6.shreds 7.past 8.house of idols (temples) 9.dressed in flowers 10.moth 11.sad (cold) sigh 12.extinguished 13.lamp
Kings of ancient times were unearthed from dark/narrow caves. Shreds dug up from clay told the story of past gardens. Idols in temples opened their eyes to tell us Brahminic tales. Blowing dust told the story of flowery loved ones. dead, loved ones are metaphorically described as clothed in flowers or as flower bodied. Example, see naasiKh’s she’r below.
ho gaye dafn hazaroN hi gulandam is meN
is liye Khaak se hote haiN gulistaaN paida
A thousand flower bodied ones are buried here
That is why gardens grow out of dust
Even dead, unearthed moths sigh and tell the story of their love. Extinguished lamps tell stories of nights of revelry. The lighting of a lamp is a metaphor for night life. In mushaa’era (poetry reading) a lit lamp is placed in front of the shaa’er (poet) invited to recite his composition. josh uses this metaphor to describe celebrations during ancient civilizations … extinguished lamps told stories of festivities of the night past. “shama-parvana” … the lamp and the moth are universally used metaphors for lover and beloved. And the lover always sighs and is sad because he is away from the beloved.
21
chheR kar zarroN¹ ke barbat² gungunaya KhaakdaaN³
aa gayi jumbish⁴ meN Khwaab aagiN⁵ chaTaanoN ki zabaaN
bol uTThiN sang-e Khara⁶ ki murattib⁷ dhaariyaaN
goonj uTThi murda qarnoN⁸ ki purani daastaaN⁹
nasb¹⁰ har zarre meN phooloN ka Dera ho gaya
shaam¹¹-e zer-e arz¹² ke ghar meN savera¹³ ho gaya 1.pebbles 2.stringed musical instrument 3.container of dust(earth) 4.movement 5.sleepy 6.pointed rocks 7.organized 8.millennium 9.fable 10.established 11.evening/darkness 12.under the earth 13.dawn/light
The earth made a barbat out of pebbles and began to hum for joy. Sleepy mountains opened their mouths, to tell their story. Even layers of rocks and pointed peaks had their own story to tell. The echoes of the fables of millennia began to be heard clearly. Flowers bloomed on every particle of dust and lit the dark underground world to brightness.
22
vo jo aujhal¹ ho chuke the saamne aane lage
gul ruKhaan²-e daur-e pesh³ baal bikhraane lage
jo muGhanni⁴ mil chuke the Khaak meN gaane⁵ lage
Khasta⁶ maah o saal⁷ ek ek puur chaTKhaane⁸ lage
chaadar-e zauq⁹-e tajassus¹⁰ meN rafu¹¹ karne lage
daur-ha¹²-e saNg o aahan¹³ guftagu¹⁴ karne lage 1.disappear 2.flower faced(beautiful) 3.times past 4. singers 5.dead and buried 6.broken, tired 7.month and year 8.crack fingers (express helplessness/amazement) 9.taste, desire 10.curiosity, search 11.repair 12.times, ages 13.stone and iron 14.conversation
Those who had disappeared (lost in history), began to make an appearance. The beautiful ones of past ages began to spread their tresses. Even the singers/musicians, long buried in the dust, began to sing. The tired past was helpless as it was (unwillingly) dragged back to the present. The tears in the sheet of the desire of curiosity were repaired. Stone age and iron age began to tell/reveal their tales.
23
deeda-e bedaar¹ ki maanind² kaaneN³ khul gayiiN
jaag uThe baazaar maazi⁴ ki dukaaneN khul gayiiN
asr-haa⁵-e mohr-bar-lab⁶ ki zabaaneN khul gayiiN
gardan-e taariiKh-e jaaN⁷ ki resmaaneN⁸ khul gayiiN
baRh gaye kuchh aur parde⁹ aagahi¹⁰ ke saaz¹¹ meN
sin¹² bataaya Khaak ne apna thaki avaaz meN 1.awakened eye 2.like, similar to 3.mines/caves 4.past 5.ages, periods 6.sealed lips 7.history of life 8.binds, strings 9.sheets of music 10.knowledge 11.music 12.age
Caves opened their eyes as if waking up from deep slumber. Closed shops of the past became an open bazar. Past ages, lips long sealed, suddenly found tongue as if fetters in neck of history were shattered. Sheets of music of knowledge flourished. Even lowly dust began to speak softly to reveal its age.
24
siina-e aahan¹ se uThi mauj-e shamshir² o qalam³
Khaak meN jaage nuqoosh⁴-e dair⁵ o aivan⁶-e haram⁷
valvaloN⁸ meN jhanjhanaya zamzamoN⁹ ka zer o bam¹⁰
karvaTeN lene lage pathar meN be-tarshe¹¹ sanam¹²
qalb¹³-e zar¹⁴ meN basta¹⁵ kangan¹⁶ chuTkiyaN lene lage
motiyoN ko reshmi dore sada¹⁷ dene lage 1.steel 2.sword 3.pen 4.markings, images 5.temple 6.halls 7.mosque 8.passion 9. music 10.ripples 11.not (yet) carved 12.idols 13.heart 14.gold 15.tied up, hidden 16.bracelet 17.cal
From the heart of steel, emerged waves of sword and pen. Hidden images of ancient temples and mosques were revealed. The music of man’s passion rang out like the ripples of a brook. Even rocks, not yet carved told the story of hidden idols waiting to be carved. Hidden gold bracelets yet to be shaped, tinkled to tell their story. Silk thread gave a call to pearls to be strung into necklaces.
25
taar par mizraab¹ thharraai fiza par raagini²
chhaai ishvoN³ ki ghaTa chiTki ada⁴ ki chandni
naaz ki phooTi kiran andaz ki chiTki kali
dil rubaaii⁵ ne maliN aankheN diloN se lau⁶ uThi
jumbish⁷-e mizhgaaN⁸ junooN⁹ ki kishtiyaaN khene laga
chubh gaye nashtar¹⁰ rag-e-hasti¹¹ lahu dene laga 1.pluck worn on the finger to play strings of the sitar 2.melody 3.coquettish glances 4.coquetry, teasing playfulness 5.fellow feeling, love 6.flame 7.trembling 8.eye lashes 9. ardent passion 10.dagger 11.the artery of life
The mizrab/plectrum plucked strings and melody hovered in the breeze. Playful glances like soothing clouds spread like moonlight. Coquetry burst forth like a ray of light and playfulness bloomed. Love woke up, rubbing its eyes, hearts were set on fire. Fluttering eyelashes launched fleets of passion on the river of love. Eyelash daggers pierced the jugular and blood flowed freely.
26
nargis¹-e beemar² ko tarz³-e takkalum⁴ aa gaya
vo takkalum jis se honToN par tabassum⁵ aa gaya
vo tabassum jo liye mauj-e tarannum⁶ aa gaya
vo tarannum jis se duniya meN talaatum⁷ aa gaya
vo talaatum Khoon meN jis se ravaani⁸ aa gayi
vo ravaani baaRh⁹ par jis se javaani aa gayi 1.eye 2.sick (with love), lover 3.way of, how to 4.speak, express 5.smile 6.song 7.upheaval 8.flow 9.(literally) vegetation, life
Here is the chain reaction of romantic expression. The eye of the lover learnt to express emotions (without words). That expression which brought smiles to the lips of the beloved. The smile that created waves of music that caused tumult and upheaval. Tumult that got the very lifeblood flowing. The flow of blood that gave meaning (youth) to life.
27
naaz se mizhgaan¹-e hasti² ko jhapakna aa gaya
aarzu³ ko vaqt ke seene meN pakna aa gaya
zindagi ko loriyaaN dena thapakna aa gaya
valvaloN⁴ par ras ki boondoN⁵ ko Tapakna aa gaya
roz-e baaraan⁶ o shab-e mah⁷ ka maza chakhne lagiN
farsh⁸-e maKhmal⁹ par tamannaeN¹⁰ qadam rakhne lagiN 1.eyelashes 2.life 3.desire 4.passion 5.drop of juice, tear drops 6.rainy day (considered romantic) 7.moonlit night 8.floor 9.velvet 10.desire
Emotions and modes of expression matured. Life acquired the art of playfulness – “palak jhapakna”. She learnt to nurture romantic desires in her bosom over long periods of time. Life learnt lullabies patting herself to sleep, bearing hardship. As passion welled up, it learnt to flow as tear drops. Life learnt to enjoy days of romance, nights of moonlight. Velvet floors spread out for her desires to step on.
28
ban gaya gulfaam¹ har ek paraa²-e faulaad³ o saNg⁴
zauq⁵-e rangini⁶ se ubhre naqsh⁷-ha-e raNg raNg⁸
jhoom uThe armaan⁹, bahki aarzu, lahki taraNg
motiye¹⁰ ki tarah mahka mahvashoN¹¹ ka aNg aNg
band¹² TooTe Ghurfa-ha¹³-e seem o zar¹⁴ khulne lage
har taraf goya¹⁵ sanam KhanauN¹⁶ ke dar¹⁷ khulne lage 1.flower bodied 2.part 3.steel 4.stone 5.taste, desire 6.colorfulness 7.image, drawing; naqsh ha=plural of naqsh 8.colorful 9.longing/desire 10.jasmine flower 11.wine drinker 12.binds 13. sacks 14.silver and gold 15.as if 16.houses of idols( beauties, pleasure) 17.doors
Hard and cruel stone and steel changed to soft and pleasant petals. Man created colorful images out of a passion for beauty. Longing rose to dance and burst into song as if drunk with desire. Even the body of the revelers was fragrant like jasmine. Man broke ties bondage and new windows to wealth and well-being opened up. It was as if all around houses of pleasure opened their doors.
29
daaman¹-e faulad² tashrif³-e kataaN⁴ ban-ne laga
zahr⁵ ka afsurda⁶ aab-e javedaaN⁷ ban-ne laga
shisha⁸ yuN pighla harir o parniyaaN⁹ ban-ne laga
saNg¹⁰ yuN tarsha¹¹ ke ruKhsar¹²-e butaaN¹³ ban-ne laga
boondiyaN¹⁴ khankiN¹⁵, naqaab¹⁶ ulTi izaar¹⁷-e hoor se
bint¹⁸-e chaNg o raNg¹⁹ jhaaNki Ghurfa²⁰-e aNgur²¹ se 1.apron 2.steel 3.seat 4.silk 5.poison 6.extinguishing 7.eternal 8.glass 9. silk thread; 10.stone 11.carved 12.cheeks 13.idols, beauties 14.ear pearl 15.tinkled 16.vail 17.cheek 18.daughter of 19.merriment 20.window 21.grape
The apron of steel became the seat of soft silk. Life extinguishing poison was turned into life’s elixir. Glass melted and was drawn into silken thread. Stone was carved such as to make beautiful faces. Pearls tinkled as beauties took their naqab off to reveal themselves. The daughter of merriment peeped out from the windows of grape (wine).