Baajoo Kee Gulley (The Side Lane)
Hamzad Afaqui February 6, 2002
#57 Posted by echoboom on March 26, 2007 9:20:31 pm
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#56 Posted by echoboom on March 26, 2007 9:15:54 pm
#55 Posted by hamzadafaqui on February 13, 2002 7:53:59 pm
Urstruly & Farzana
Errata: from 32
Instead of:
[``Jis ko chaha tha ADA uss ko to hum paa naa sukay
Iss bahaanay sey magar,daikh lee dunyaa hum ney ``]
Please read the first line as:
``Justjoo jis kee thhee,uss ko to naa paaya ham nein``
Errata: from 32
Instead of:
[``Jis ko chaha tha ADA uss ko to hum paa naa sukay
Iss bahaanay sey magar,daikh lee dunyaa hum ney ``]
Please read the first line as:
``Justjoo jis kee thhee,uss ko to naa paaya ham nein``
#54 Posted by Harpreet on February 13, 2002 12:48:42 pm
Someone ( I think Hamzad) recounted the story of Manto`s final moments of life. By coincidence I am reading a collection of short stories by the American writer, Raymond Carver. In one story he writes about the death of his mentor, the Russian writer and dramatist Anton Chekov. He was lying on his deathbed in a spa town in Germany, suffering from consumption and in the middle of the night, he started having convulsions and so on. The doctor was called, who upon seeing his state, knew he only had minutes to live, and any attempt to even give him morphine would be futile. So he calmly walked to the phone and ordered a bottle of champagne and three glasses, opened it, and he, Chekov and his wife each drank a glass. His last words were ``I have not had champagne in a long time``, and then he was no more. Like you say, not a bad way to go...
#53 Posted by AAmir on February 13, 2002 12:48:42 pm
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#52 Posted by hamzadafaqui on February 13, 2002 7:38:07 am
Aamir---51
``Iss saadgi pey kaun naa mur jaaey aiy khudaa
Lartay hain aur haath mein talvaar bhee naheen``.
Oh meria DOLLy sipahayaa tenoo rubb diyaan rakhaan
Eh kuryaan hattan tey naee vik deen,kee lubnaa hai vich bazaar munday.
``Iss saadgi pey kaun naa mur jaaey aiy khudaa
Lartay hain aur haath mein talvaar bhee naheen``.
Oh meria DOLLy sipahayaa tenoo rubb diyaan rakhaan
Eh kuryaan hattan tey naee vik deen,kee lubnaa hai vich bazaar munday.
#51 Posted by hamzadafaqui on February 12, 2002 10:11:53 pm
farzana versey---49
Tumm aao,rim jhim krtee
payaal kee jhankaar liyay
nain bichha-ey baithhaa koi
phoolon bhuree bahaar liy-ey.
.
The interjection part was about the introduction only.
Please read the ADA shair which I quoted.The more you will ponder over it the more its` universality & timelessness will enchant you.It becomes non-contextual,unlike other ones.Now that is GHAZAL.
Majrooh seems to have this refrain in his poems ever since his first became a hit,sung by Munna Day(GREAT!)
``Teraa haath,haath mein aa gayaa keh charaagh rah mein jul gaey
Mujhey sehl ho gaeen manzilein,voh havaa kay rukh bhee budul gaey``
PS:Ismat is Master(mistress?) of indoors,Manto of outdoors.
Every event(as in philosophy) has its niche in Life and ascribing and attributing it to Man/woman is futile.Please don`t.
Each man`s(& woman`s) death (& life) diminishes( & augment) me (& you)
& thereforeetc etc.
Tumm aao,rim jhim krtee
payaal kee jhankaar liyay
nain bichha-ey baithhaa koi
phoolon bhuree bahaar liy-ey.
.
The interjection part was about the introduction only.
Please read the ADA shair which I quoted.The more you will ponder over it the more its` universality & timelessness will enchant you.It becomes non-contextual,unlike other ones.Now that is GHAZAL.
Majrooh seems to have this refrain in his poems ever since his first became a hit,sung by Munna Day(GREAT!)
``Teraa haath,haath mein aa gayaa keh charaagh rah mein jul gaey
Mujhey sehl ho gaeen manzilein,voh havaa kay rukh bhee budul gaey``
PS:Ismat is Master(mistress?) of indoors,Manto of outdoors.
Every event(as in philosophy) has its niche in Life and ascribing and attributing it to Man/woman is futile.Please don`t.
Each man`s(& woman`s) death (& life) diminishes( & augment) me (& you)
& thereforeetc etc.
#50 Posted by AAmir on February 12, 2002 10:11:53 pm
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#49 Posted by hamzadafaqui on February 12, 2002 3:51:19 pm
HN---43
Thank you for reminding me that Gautams` journey starts from Sharasvatee. The first chapter is so beautifully written especially the dialogue between Shankar & Gautam AND the character(role) of Champaa?----jee chahtaa hai abhee gode mein bithha kurr choom loon.(aur buss!).
.
I rank ``Seetaa Haran`` & ``Housing Society`` as her great works as well. In fact there are few passages in Seeta Haran which are worth their weight in...... plutonium!
Thank you for your encouraging comments.
Thank you for reminding me that Gautams` journey starts from Sharasvatee. The first chapter is so beautifully written especially the dialogue between Shankar & Gautam AND the character(role) of Champaa?----jee chahtaa hai abhee gode mein bithha kurr choom loon.(aur buss!).
.
I rank ``Seetaa Haran`` & ``Housing Society`` as her great works as well. In fact there are few passages in Seeta Haran which are worth their weight in...... plutonium!
Thank you for your encouraging comments.
#48 Posted by FarzanaVersey on February 12, 2002 3:51:19 pm
Hamzad Afaqui:
An interesting way to delve into the mind of a writer, though I was waiting for Manto’s interjections, especially since you had granted him permission!
A few thoughts…how rebellious was Manto really? I have not read much of his work (and I can only read the translations), but quite a bit on him. I think by portraying reality you do not expose hypocrisy. Besides, from one story that I remember, there was an element of the writer exploiting the subject as much as the people he was exposing. I am referring to the one where a rich man lures a woman in need of money. Manto’s description was less vivid and more voyeuristic. In that sense I feel Ismat Chugtai’s work was more commendable. She was fighting against the social mores of the time. It must not have been easy for a woman to go against the tide.
Anyway, I am discovering Urdu literature and seeing it in a new light. I still remember attending a poetry reading session and this shayar acquaintance said, “Wahaan tau wah-wah koi keh nahin sakta, tau mazaa kahaan?” How true. I realise too that all my mellow dreams happen in Urdu :)
Urstruly (#35):
[I think our writers and our poets (urdu) have a penchant for attaching a mystery to the woman, especially, the women of loose character and sometimes even to the at`tar ka londa. Sure they have a story to tell but so does everyone else.]
Loose woman? What an archaic term! If you insist, then the men writing about such women were loose themselves, or perhaps felt that by stooping they could conquer and having done so, package that. The woman as underdog had greater appeal if she was legitimised by literary intervention.
Hamzad mentioned Umrao Jaan…she went a step further and legitimised herself. The couplets following the one he quoted are even more poignant….
“Ae Adaa aaj sunaayegi tau kya haal apna
Umr ka lambaa safar taey kia tanha humnein.
Kab mili thi, kahaan bichdee thi humein yaad nahin
Zindagi tujhko tau bas khwaab mein dekha humnein.”
HN (#43):
[One of my favourite romantic example of poetic conceit are these lines from Majrooh Sultanpuri`s song from Mere Jeevan Saathi...
Yoon to akela bhi aksar gir ke sambhal saktaa hoon mein
Tum jo pakad lo haath mera, duniya badal saktaa hoon mein
Maanga Hai tumhe duniya ke liye, ab to sanam faisla keejiya]
Come on, Harish, you can’t be serious. Majrooh is in fact talking about emotional dependence, the power of love to change and rebel. If there is any conceit it is FOR the partner. It is a sort of opposition to the Majnoon idea of love.
Regards,
Farzana
An interesting way to delve into the mind of a writer, though I was waiting for Manto’s interjections, especially since you had granted him permission!
A few thoughts…how rebellious was Manto really? I have not read much of his work (and I can only read the translations), but quite a bit on him. I think by portraying reality you do not expose hypocrisy. Besides, from one story that I remember, there was an element of the writer exploiting the subject as much as the people he was exposing. I am referring to the one where a rich man lures a woman in need of money. Manto’s description was less vivid and more voyeuristic. In that sense I feel Ismat Chugtai’s work was more commendable. She was fighting against the social mores of the time. It must not have been easy for a woman to go against the tide.
Anyway, I am discovering Urdu literature and seeing it in a new light. I still remember attending a poetry reading session and this shayar acquaintance said, “Wahaan tau wah-wah koi keh nahin sakta, tau mazaa kahaan?” How true. I realise too that all my mellow dreams happen in Urdu :)
Urstruly (#35):
[I think our writers and our poets (urdu) have a penchant for attaching a mystery to the woman, especially, the women of loose character and sometimes even to the at`tar ka londa. Sure they have a story to tell but so does everyone else.]
Loose woman? What an archaic term! If you insist, then the men writing about such women were loose themselves, or perhaps felt that by stooping they could conquer and having done so, package that. The woman as underdog had greater appeal if she was legitimised by literary intervention.
Hamzad mentioned Umrao Jaan…she went a step further and legitimised herself. The couplets following the one he quoted are even more poignant….
“Ae Adaa aaj sunaayegi tau kya haal apna
Umr ka lambaa safar taey kia tanha humnein.
Kab mili thi, kahaan bichdee thi humein yaad nahin
Zindagi tujhko tau bas khwaab mein dekha humnein.”
HN (#43):
[One of my favourite romantic example of poetic conceit are these lines from Majrooh Sultanpuri`s song from Mere Jeevan Saathi...
Yoon to akela bhi aksar gir ke sambhal saktaa hoon mein
Tum jo pakad lo haath mera, duniya badal saktaa hoon mein
Maanga Hai tumhe duniya ke liye, ab to sanam faisla keejiya]
Come on, Harish, you can’t be serious. Majrooh is in fact talking about emotional dependence, the power of love to change and rebel. If there is any conceit it is FOR the partner. It is a sort of opposition to the Majnoon idea of love.
Regards,
Farzana
#47 Posted by hamzadafaqui on February 12, 2002 3:51:19 pm
freethinker---46
I am so glad you have access to Urdu literature through a great collection of your.
Yeh I have read Vajidaa T....& despite her too much ``openess``,she has still managed to record the Hyderabaadi four-wall dramatics.
.
Syed Rafique Hussein is a writer which must be resurrected.In fact a writer like him is perhaps nowhere in the world.The characters of his novels are animals & their symbiotic relationship mith mankind.Kipling etc & even the time-less PanchTantraas or Kaleela O Dumna seem too adolescent in his presence.In fact he is a class of his own.
I translated one of his stories & submitted the first installment to CHOWK last year,but in their wisdom they have not considered it fit to print----or maybe they will one day but at least they should acknowledge it.
Maybe I should remind them.They could have forgotten.
I am so glad you have access to Urdu literature through a great collection of your.
Yeh I have read Vajidaa T....& despite her too much ``openess``,she has still managed to record the Hyderabaadi four-wall dramatics.
.
Syed Rafique Hussein is a writer which must be resurrected.In fact a writer like him is perhaps nowhere in the world.The characters of his novels are animals & their symbiotic relationship mith mankind.Kipling etc & even the time-less PanchTantraas or Kaleela O Dumna seem too adolescent in his presence.In fact he is a class of his own.
I translated one of his stories & submitted the first installment to CHOWK last year,but in their wisdom they have not considered it fit to print----or maybe they will one day but at least they should acknowledge it.
Maybe I should remind them.They could have forgotten.
#46 Posted by hamzadafaqui on February 12, 2002 3:51:19 pm
dost-mittar:
(CHOWK seems to have gobbled up an earlier post)
It is Kaali SHalvaar.I urdu it is always SHALAVAAR. In Panjabi it is also Salvaar(sometimes & someplaces).
Turkish/Mongol word.Another one for a different style is Shalooka.
Very Urdu-ish,These words.
__________________________.
As you must be well aware the word URDU means :army,cantonment,etc.
Ibne-Inshaa writes(humorously)that he was delighted to see a grand majestic building in Istanbul/ankara which said URDU in bold letters.He praised his Turkish guide for their devotion to our language--but was soon brought back to earth.It was the Army Headquarters.
The word Horde or Urad of the Mongols(Remember Horde of Genghis Khan--wondered why horde is always used for Mongols only?)is the origin of our URDU.From Urud of Mongols it entered as Horde in Norwegian(they were terrified!) and thence into the English language.
``Mujhh sey pehlay uss gulley mein meray afsaaney gaey``..:)
I hope this was not too overbearing.
(CHOWK seems to have gobbled up an earlier post)
It is Kaali SHalvaar.I urdu it is always SHALAVAAR. In Panjabi it is also Salvaar(sometimes & someplaces).
Turkish/Mongol word.Another one for a different style is Shalooka.
Very Urdu-ish,These words.
__________________________.
As you must be well aware the word URDU means :army,cantonment,etc.
Ibne-Inshaa writes(humorously)that he was delighted to see a grand majestic building in Istanbul/ankara which said URDU in bold letters.He praised his Turkish guide for their devotion to our language--but was soon brought back to earth.It was the Army Headquarters.
The word Horde or Urad of the Mongols(Remember Horde of Genghis Khan--wondered why horde is always used for Mongols only?)is the origin of our URDU.From Urud of Mongols it entered as Horde in Norwegian(they were terrified!) and thence into the English language.
``Mujhh sey pehlay uss gulley mein meray afsaaney gaey``..:)
I hope this was not too overbearing.
#45 Posted by freethinker on February 12, 2002 1:06:08 pm
Please note a correction in my last posting. Instead of Manto`s novels, please read `Manot`s short stories`. Sorry for this mix up.
#43 Posted by freethinker on February 12, 2002 11:34:14 am
Dear Hamzad:
I was touched by Manto`s Mauzail and Khol Do. I was Intermediate student in 1953 when one of our English Professors discussed Manto`s Khol Do in the class. He was a great professor; in addition to his normal teaching, he used to discuss Faiz`s poetry, Manto`s novels, newly released films, M. Aslam`s novels which he ridiculed, Nasim Hijazi`s novels, and much else.
I must have read almost all of Manto`s works excepting those which he wrote in the last days of his life.Besides Mauzail and Khol Do, there are numerous other stories whose profiles I remember only vaguely. His Ganjay Farishtay left a lasting impression on my mind. I had read much of Krishan Chandar, Ismet Chughtai and other `Tarraqui Pasand` writers but Manto was a class in himself.I have lost touch, by and large, with Urdu literature since 1970 although I still leisurely and occasionally leaf through Deewan-e-Ghalib, Iqbal`s Kulliyat,Faiz`s Kulliyat, and a few other books that I have in my collection. Since 1970, I have read Shahab Naamah and a few other pieces such as Mufti`s Labbaik.
It`s good that you and Godot before you, found time to write on Manto. Have you read Wajida Tabassum? You must have.
Regards.
I was touched by Manto`s Mauzail and Khol Do. I was Intermediate student in 1953 when one of our English Professors discussed Manto`s Khol Do in the class. He was a great professor; in addition to his normal teaching, he used to discuss Faiz`s poetry, Manto`s novels, newly released films, M. Aslam`s novels which he ridiculed, Nasim Hijazi`s novels, and much else.
I must have read almost all of Manto`s works excepting those which he wrote in the last days of his life.Besides Mauzail and Khol Do, there are numerous other stories whose profiles I remember only vaguely. His Ganjay Farishtay left a lasting impression on my mind. I had read much of Krishan Chandar, Ismet Chughtai and other `Tarraqui Pasand` writers but Manto was a class in himself.I have lost touch, by and large, with Urdu literature since 1970 although I still leisurely and occasionally leaf through Deewan-e-Ghalib, Iqbal`s Kulliyat,Faiz`s Kulliyat, and a few other books that I have in my collection. Since 1970, I have read Shahab Naamah and a few other pieces such as Mufti`s Labbaik.
It`s good that you and Godot before you, found time to write on Manto. Have you read Wajida Tabassum? You must have.
Regards.
#42 Posted by HN on February 12, 2002 11:34:14 am
This business of being disowned by the progressives and the leftists hurting Manto and the poetic conceit in his response reminded ``if they do not consider me progressive let them do so. I am not progressive I am Manto only Manto.``
Salvadore Dali did a wittier one when he was thrown out of the Surrealists` group by Andre Breton.``The only difference between me and the surrealists is that I am the integral surrealist.``
Come to think of it, they did more or less mean the same thing.
Manto`s epitaph is another case of this trait in writers.
One of my favourite romantic example of poetic conceit are these lines from Majrooh Sultanpuri`s song from Mere Jeevan Saathi...
Yoon to akela bhi aksar gir ke sambhal saktaa hoon mein
Tum jo pakad lo haath mera, duniya badal saktaa hoon mein
Maanga Hai tumhe duniya ke liye, ab to sanam faisla keejiya
Hamzad Afaqui saab:
Aag ka Dariya mein Gautam Nilambar goes to Takshashila from Shravashti. The ruins of Shravasti are still there at Sarnath outside Banares/ Varanasi.
Am enjoying the discussion on your thread.
Harish
Salvadore Dali did a wittier one when he was thrown out of the Surrealists` group by Andre Breton.``The only difference between me and the surrealists is that I am the integral surrealist.``
Come to think of it, they did more or less mean the same thing.
Manto`s epitaph is another case of this trait in writers.
One of my favourite romantic example of poetic conceit are these lines from Majrooh Sultanpuri`s song from Mere Jeevan Saathi...
Yoon to akela bhi aksar gir ke sambhal saktaa hoon mein
Tum jo pakad lo haath mera, duniya badal saktaa hoon mein
Maanga Hai tumhe duniya ke liye, ab to sanam faisla keejiya
Hamzad Afaqui saab:
Aag ka Dariya mein Gautam Nilambar goes to Takshashila from Shravashti. The ruins of Shravasti are still there at Sarnath outside Banares/ Varanasi.
Am enjoying the discussion on your thread.
Harish
#41 Posted by hamzadafaqui on February 11, 2002 8:22:07 pm
dost-mittar--41
``TUMM shehr mein ho tO,humein kyaa ghumm,jubb uthhaingay
Ley aaingey bazaar sey jaa kar dil O jaan aur``
.
This ghazal is like a nazm which basically means that there is only one subject which runs throughout the ghazal.The mood is situational & contextual.Each couplet is connected to the next.
It is addressed to a Hasseena who has spurned Ghalib & obviously Ghalib is not too happy about it.In a trifle departure from a ghazal-ethos this has a tinge of frustration.(generally a no-no in ghazal).He wears this singed heart on his sleeve.
So this is also called a ``Vasokht``(cry from a burnt heart).
So she has gathered all kind of lovers around her and treating Ghalib as no one special....giving mixed signals(unn key isharay mein--),doesn`t understand lingo of heart(dey aur dil unko---) and have hearts & souls(dil aur jaan) at her behest.So it has become a kind of auction(my term) and everything is for sale.Ghalib is still trying to convey that he has already lost his heart & soul and since she has spurned so many & strewn in the bazaar,he can just get another one.
On the one hand,he is castigating her for her amoral & `democratic` coquettishness and on the other he is still saying that he should be let in again because his love-pangs for her the most.
So typical of Ghalib.
PS:Now this was my take on it.No one has to agree & I do not have to agree with anyone either.:)
``TUMM shehr mein ho tO,humein kyaa ghumm,jubb uthhaingay
Ley aaingey bazaar sey jaa kar dil O jaan aur``
.
This ghazal is like a nazm which basically means that there is only one subject which runs throughout the ghazal.The mood is situational & contextual.Each couplet is connected to the next.
It is addressed to a Hasseena who has spurned Ghalib & obviously Ghalib is not too happy about it.In a trifle departure from a ghazal-ethos this has a tinge of frustration.(generally a no-no in ghazal).He wears this singed heart on his sleeve.
So this is also called a ``Vasokht``(cry from a burnt heart).
So she has gathered all kind of lovers around her and treating Ghalib as no one special....giving mixed signals(unn key isharay mein--),doesn`t understand lingo of heart(dey aur dil unko---) and have hearts & souls(dil aur jaan) at her behest.So it has become a kind of auction(my term) and everything is for sale.Ghalib is still trying to convey that he has already lost his heart & soul and since she has spurned so many & strewn in the bazaar,he can just get another one.
On the one hand,he is castigating her for her amoral & `democratic` coquettishness and on the other he is still saying that he should be let in again because his love-pangs for her the most.
So typical of Ghalib.
PS:Now this was my take on it.No one has to agree & I do not have to agree with anyone either.:)
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