Nisar Main Teri Galiyon Ke- A Translation

I could not find a translation of the complete nazm Nisar main teri galiyon ke on the internet while writing the previous post and have attempted my own translation of Faiz’s popular and, in present circumstances in Pakistan, a particularly apt nazm. The original nazm is reproduced below the translation. I have taken quite a few liberties in this humble attempt at translating this highly idiomatic  poem.

***

My salutations to thy sacred streets, O beloved nation!
Where a tradition has been invented- that none shall walk with his head held high
If at all one takes a walk, a pilgrimage
One must walk, eyes lowered, the body crouched in fear

The heart in a tumultuous wrench at the sight
Of stones and bricks locked away and mongrels breathing free

In this tyranny that has many an excuse to perpetuate itself
Those crazy few that have nothing but thy name on their lips
Facing those power crazed that both prosecute and judge, wonder
To whom does one turn for defence, from whom does one expect justice?

But those whose fate it is to live through these times
Spend their days in thy mournful memories

When hope begins to dim, my heart has often conjured
Your forehead sprinkled with stars
And when my chains have glittered
I have imagined that dawn must have burst upon thy face

Thus one lives in the memories of thy dawns and dusks
Imprisoned in the shadows of the high prison walls

Thus always has the world grappled with tyranny
Neither their rituals nor our rebellion is new
Thus have we always grown flowers in fire
Neither their defeat, nor our final victory, is new!

Thus we do not blame the heavens
Nor let bitterness seed in our hearts

We are separated today, but one day shall be re- united
This separation that will not last beyond tonight, bears lightly on us
Today the power of our exalted rivals may touch the zenith
But these four days of omniscience too shall pass

Those that love thee keep, beside them
The cure of the pains of a million heart- breaks

***

The original (source)

nisaar mai.n terii galiyo.n ke ae watan, ki jahaa.N
chalii hai rasm ki koii na sar uThaa ke chale
jo koii chaahanewaalaa tawaaf ko nikale
nazar churaa ke chale, jism-o-jaa.N bachaa ke chale

hai ahl-e-dil ke liye ab ye nazm-e-bast-o-kushaad
ki sang-o-Khisht muqayyad hai.n aur sag aazaad

bahot hai.n zulm ke dast-e-bahaanaa-juu ke liye
jo cha.nd ahl-e-junuu.N tere naam levaa hai.n
bane hai.n ahl-e-hawas muddaii bhii, mu.nsif bhii
kise wakiil kare.n, kis se mu.nsifii chaahe.n

magar guzaranewaalo.n ke din guzarate hai.n
tere firaaq me.n yuu.N subh-o-shaam karate hai.n

bujhaa jo rauzan-e-zi.ndaa.N to dil ye samajhaa hai
ki terii maa.ng sitaaro.n se bhar gaii hogii
chamak uThe hai.n salaasil to hamane jaanaa hai
ki ab sahar tere ruKh par bikhar gaii hogii

Garaz tasavvur-e-shaam-o-sahar me.n jiite hai.n
giraft-e-saayaa-e-diwaar-o-dar me.n jiite hai.n

yuu.N hii hameshaa ulajhatii rahii hai zulm se Khalq
na unakii rasm naii hai, na apanii riit naii
yuu.N hii hameshaa khilaaye hai.n hamane aag me.n phuul
na unakii haar naii hai na apanii jiit naii

isii sabab se falak kaa gilaa nahii.n karate
tere firaaq men ham dil buraa nahii.n karate

Gar aaj tujhase judaa hai.n to kal baham ho.nge
ye raat bhar kii judaaii to koii baat nahii.n
Gar aaj auj pe hai taala-e-raqiib to kyaa
ye chaar din kii Khudaaii to koii baat nahii.n

jo tujhase ahd-e-wafaa ustavaar rakhate hai.n
ilaaj-e-gardish-e-lail-o-nihaar rakhate hai.n

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‘Keh sang-o-khisht muqayyad hain aur sag aazad’

Imran Khan, arrested last week under the anti- terrorism act after Islamist students handed him over to the police, is now lodged in a jail with hardened criminals.

Niazi (said) that Imran was being kept in a cell with common criminals, some of them suspected of murder and other violent crimes.

Imran was taken to Dera Ghazi Khan from Lahore where he was held by radical Islamist students during a protest on Wednesday and handed over to the police, who charged him under the anti-terrorism act. (link)

Yet, Musharaff would have the world believe that the so called emergency is against the Islamists and that Pakistan is on the road to democracy! This is what he said on Nov 3:

“Pakistan is at a critical point. Terror has also taken roots even in Islamabad. Hardliners are spreading fundamentalist ideas about Islam across the country,” he said.

These are the lines by Faiz that immediately come to mind.

Keh sang-o-khisht muqayyad hain aur sag aazad

(That stones and bricks are locked up, and dogs free). (translation by via sankarshan)

The full nazm, the famous nisar main teri galiyon pe ai watan ….here

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Gulzar as a Poet and Lyricist

“Tum shayar nahin hotey, toh bahut hi ordinary aadmi hotey”(Had you not been a poet, you would have been a very ordinary man”

These are the words of Aarti Devi, the ambitious, Indira Gandhi- like character in the movie Aandhi, directed towards her husband. The dialogues for this movie were written by Gulzar, and apparently this dialogue is inspired from the actual words that his wife once made in real life to him.

I personally do not have a very high opinion of Gulzar as a poet. In my opinion, Gulzar is far better as a dialogue writer than as a poet. As a poet, he is awkward, plays around with words that sound very well but have little or no poetic embellishment, sometimes making simple things sound more complex.

It still makes him a very fine lyricist, though, because music works as a distraction from the words, and then there are those flashes of brilliance. Take for example, one of the otherwise very fine songs: Humne dekhi hain in aankhon se mehakti khushboo”- eyes that smell like flowers? I find this one difficult to swallow. One can pull out many other examples, and probably this will be the subject of another post.

This post, however, brings out some discussions on his lyrics from deep down the internet archives- I first read them in the mid- 1990s, and this thread pertained to comparisons between Sahir Ludhianvi and Gulzar. The internet browsing community then was dominated by the fans of Sahir, I have a feeling that the tables have now turned and Sahir is less popular than Gulzar. A whole generation has grown up without listening to Sahir as much as it has  listened to Gulzar. The fact that Sahir died nearly three decades ago, and his best work was in the 1950s and 60s, makes sound him far less contemporary than Gulzar.

Sami Mohammad satirized Gulzar’s style in this interesting re- write of some of Sahir’s popular lyrics in the style of Gulzar. The thread was called “Gulzar becomes Sahir”. The style that Sami has chosen is more like the Gulzar of the 1970s and 1980s, I’d wager that the Gulzar post 1990s is more mature as a lyricist.

Enjoy!

PART I: Gulzar’s extraordinary vocabulary! (Words such as bartan, chappal, taxi,
bus, train, etc)

S. Sahir
G. Gulzar

1S. Haseen champaee pairon ko jabse dekha hai
Nadi ki mast sadaen bula rahi hain tumhe

1G. Haseen champaee pairon ko jabse dekha hai
Bata ki Hawaai chappal bula rahi hai tumhe

2S. Dil ki bechaen umangon pe karam farmaao
Itna ruk ruk ke chalogi to quayaamat hogi

2G. Tum aaoge to noor aa jaega
Itna ruk ruk ke chalogi to local train chooT jaegi

4S. Aap jo phool bichae unhe hum THukraaen
Humko Dar hai ke ye tauheen-e-mohabbat hogi

4G. Tumne to aakaash bichaaya
Mere nange paaon me zamin ki gard hai
Mohabbat maili ho jaegi

5S. Pyaar par bas to nahin hai mera lekin phir bhi
Tu bataade main tujhe pyaar karun ya na karun

5G. In pyaar ki lambi sadkon par, public bus to chalti nahin phir bhi
Jo ghoomti phirti rehti hain, main woh taxi hire karun ya na karun

PART II: The complex Gulzar. Simple things expressed in an unnecessarily
complex manner. “Ghoomake dena” !

6S. Lo aaj humne toR diya rishta-e-ummeed
Lo ab gila karenge na kisi se hum

6G. Neele aakaash ke ghoonsle par jo ummeed ke boodhe baba thhe unhe humne
alvida keh diya
Duniya ke samandar ko gile-shikwon ki boondh se na chheRenge hum

7S. Tum mujhe bhool bhi jaao to ye haq hai tumko
Meri baat aur hai maine to mohabbat ki hai

7G. Sust raste aur tez quadam raahen tumhe meri yaad nahin dilaae to kya
Pathhar ki haweli se sheeshe ke gharondon tak meri rooh tumhaare ehsaas ko
mehsoos karegi

8S. GHam aur KHushi me farq na mehsoos ho jahan
Main dil ko us muquaam pe laata chala gaya

8G. GHam ka kinara jahan KHushi ke kinare se bachkar kinare se milta hai
Usi kinare par maine apne dil ke kinare ko kinare laga diya

9S. Tum agar mujhko na chaaho to koi baat nahin
Tum kisi aur ko chahogi to mushkil hogi

9G. Tere bina zindagi se koi shikwa to nahin lekin
Barfili sardion me kisi bhi pahaad par
Bhool bhulayyan galion me kisi ajnabi ke saath
Tumhe uRte hue dekhunga to mushkil hogi

10S. M: Hum aapko KHwaabon me la la ke sataenge
F: Hum aapki aankhon se neenden hi uRaden to ?

10G. M: Hum aapko KHwaabon me la la ke sataenge

F: Aankhon me neend na hogi, aansu hi tairte honge
Aansu ke samandar me neend ki naaov (boat) nahin aa paaegi

PART III: The ultra-complex Gulzar. Jab kuchh samajhme na aae, then use
contradictory lines to make things look profound.

11S. Hum intezaar karenge tera quayamat tak
KHuda kare ke quayamat ho aur tu aae

11G. Koi waada nahin kiya lekin, kyun tera intezaar rehta hai
Tere aa jaane ke baad bhi, hume tera intezaar rehta hai

12S. Main pal do pal ka shaer hun
Pal do pal meri kahani hai
Pal do pal meri hasti hai
Pal do pal meri jawani hai

13G. Main pal do pal ka shaer hun
Woh pal, jo aanewaala thha, lekin jaanewaala bhi hai
Jab main isme zindagi bitane ki sonchta hun
To duniya mujhpe hansti hai

More on the Sahir vs Gulzar discussions.

Related posts

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‘Tum Vahin ho’

You’re Where You’ve Always Been

Cigarette
earlier touching my lips
now floats in the Thames
Does the river know
the feel of such a touch?
Touches are never forgotten.

In the midst of chilly, gusting winds
standing before a poster of Marilyn Monroe
Unbidden I salute her beauty.
Beauty mustn’t die.
Beauty must abide for all time.

But no–
I see the young man coming along
Eyes slip away from the poster
to behold beauty in motion.

If
Time hadn’t propelled me so far forward
I would have kissed you.

I light a cigarette
and drop it in the Thames
so the river might extinguish it.

The last of the cigarette-gone-dead bobs
as though smiling at me saying:
You’re where you’ve always been.
 
Time–
Look! it stands behind you.

***

By Azra Abbas, from Hairat Ke Us Paar. Translated from the original in Urdu by Muhammad Umar Memon
Source: the annual of Urdu Studies (pdf format).

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Urdu in the time of Plagues

Museindia’s July- Aug issue has a focus on contemporary Indian Urdu literature. The selection of the poetry is lackadaisical, certainly, I believe, because of the laboured translation into English. Some of the short stories are good, like this one by Joginder Paul:

Hero

What could I really do?

We need a few new faces for our latest feature film, and our producer Appa sahib had said, “You can cast any one for any role, but the hero will be my man.”

The man Appa sahib had chosen to be the hero, was by nature a villain. Perhaps I was still in search of a hero or who knows what, I cast someone as the villain, who actually appeared to me as sensitive, innocent, and well-intentioned, just like my hero.

“But …. I …..” the young man said hesitantly.

“What do you mean by that? Who is going to accept you as a hero unless you have made a complete villain of yourself.”

The essay “The Situation of the Urdu Writer” by CM Naim, written in 1994 is still as relevant as it is scathing. Reading it, I recalled my own sisyphean endeavours at learning Urdu via a distance education program of the Jamia Milia Islamia University. I used to receive lessons by post and was supposed to complete exercises within a fortnight. The initial ones were duly examined and marked by an anonymous mentor. After the third or fourth instalment, the mentor apparently lost interest and I stopped getting the responses back. When I told this to a friend, a writer and playwright who had himself switched from writing in Urdu to Hindi, he commented wryly “Your mentor must be thinking why lead this young enthusiast astray? What has he himself achieved by learning Urdu?”

Naim echoes the frustrations, like that of my friend’s, of writing in Urdu today, and yet, why it needs to be written.

If, however, you are not in with the ignorant bureaucrats or their imbecilic advisors from academia, you have no choice but to publish the book yourself. Average first edition: 400 to 1,000 copies.

Congratulations!  You now have a book out, but will it sell?  A lucky first edition sells in two or four yeas. That is the end of your book, unless someone brings out a pirated edition in Pakistan. In fact, you secretly long that someone will. How else will you reach that other audience of yours?

Of course, while all this was going on, you were also trying to find and hold a job, to raise a family. Then one day your daughter comes home from school and tearfully shows you her Hindi or history textbook.  It says that the Muslims were aliens in India, that they only destroyed temples and persecuted the Hindus and made no positive contribution; that they must be ‘brought back into the main stream of Indian life’. Or your son tells you how he was taunted by some boys who called him a ‘Babur’s son.’ (Babur was the Central Asian prince who conquered parts of northern India in 1526 and laid the foundation for what later came to be known as Mughal dynasty.)  What do you say to them?  Or perhaps you have the experience yourself when you go to the corner store and find written on its wall in crude letters: ‘Babur’s  children / Go to your graves or to Pakistan!’. Should you then not find it amusing that even the ugly slogan aimed at you was written in Hindi while, conversely, it used a jingle form that imitated Urdu?  Perhaps not.  Hashimpura, Maliana, Bhagalpur, Meerut, Bhiwandi, Baroda, Ahmedabad, Hyderabad, Bombay, Surat, Bhopal – what happened in these and many other places was far from amusing.

So, you return home and write a story, in Urdu. For writing in Urdu in India is now definitely a political act. It may not empower you much, but it still lets you assert the fact of your existence. You authorise yourself. In a time of plagues, that is enough.

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