Transcreated by

Indira Varma

Rehman Musawwir

Tagore

Romancing

A collection of over 100 Tagore poems in Urdu Nazm

Copyright Page
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INTRODUCTION
In his article on Rabindranath Tagores influence on modern Indian poetry, V.K. Gokak said, The influence
of a poet on his epoch or on his contemporaries and successors is a very subtle factor and critical instruments
of utmost precision are required to measure it. The task is even more difficult when we think of an
epoch-making poet like Rabindranath Tagore.The impact may be one of stimulation, or assimilation, of
acquiescence or revolt. It reveals itself even in the revolt directed against it.
Mohammad Iqbal, one of the greatest of Urdu writers who were among contemporaries of Rabindranath, said
that he found Rabindranaths poetry dreamy and one that encouraged inaction and belonged to the world of
the lotus eaters. Yet, in spite of himself, Iqbal was powerfully influenced and moved by many of those forces
and thought-currents, ideals and a vision of life of which Rabindranath was the greatest representative. Firaq
Gorakhpuri commented, What Iqbal in a moment of impatient criticism, which was more impatient than
critical, more intolerant than discerning called the dreaminess of Tagores poetry was really a wide-awake
dream. Out of such dreams revolutions are born and nations rediscover themselves. In fact, the technique
of giving new socio-cultural content to time-old allusions seems to have had an impact on Iqbal. As the elder
contemporary of Iqbal, Rabindranath sent his greetings to his great younger contemporary. In the course of
a letter to Iqbal, he wrote that he had come to learn of the many great achievements of Iqbal in the realm
of poetry and expressed his fervent desire that their mutual contributions to culture and humanism would
be supplementary and complementary.
An Indian Renaissance was taking place; this was a result of the response to the West and a revival of
ancient Indian thought and literature. Each region in India felt the impact of this Renaissance but Bengal was
privileged to experience it in a special way. Calcutta was the capital of the British in India for a long time and
the Renaissance came to an earlier fruition in Bengal where it was destined to find its classical expression in
the poetry of Rabindranath. Poets of genius arose in other parts of the country only after Rabindranath was
resplendent on the horizon and had been accepted by them as their Master.
Even before he won the Nobel Prize in 1913, a few poems were being translated into Urdu. However, after
1913, we find translations of his poetry growing in number. In 1914, Niaz Fatehpuri created a sensitive prose
translation of the lyrics from Gitanjali. Other well-known translations of Gitanjali were made by Bijnori in
his unfinished rendering in blank-verse and Moulvi Ziauddin of Santiniketan, who learnt Bengali and then
translated into Urdu. Ziauddins Kalam-i-Tagore published by Visva-Bharati in 1935 comprised one hundred
and twenty prose-poems. In 1924, Hamid Hasan Quadri translated poems from the English Gardener, entitled,

Baghban yani naghmat-i-muhabbat va hayat. Qamar Jalalabadi published a volume of versified translation

of selected poems, Tagore ki Nazmen. In 1983, Sahitya Akademi published Firaq Gorakhpuris Ek Sau Ek

Nazmen, a collection of poems by Rabindranath in Urdu translation. Unfortunately these translations are not
easily available to todays readers.
Urdu poets seem to prefer the nazm as a medium for translating Rabindranaths poems and songs. The

nazm in Urdu language is a form of poetry that has a smooth flow of rhyme and rhythm and is written in
verses. These verses are in continuity to maintain a flow of thought, unlike the ghazal in which verses have
independent meaning and can portray feelings independently without depending on the next verse. Unlike
the ghazal, a nazm is not bound by any restriction of following a certain length pattern. In a nazm the
opportunity for a detailed exploration of every expression is possible. This unique quality of vastness gives
the nazm its due importance in Urdu literature.
The transcreation of Rabindranaths poems and songs into Urdu nazm by Indira Varma seems to be in
continuation of a tradition started by Qamar Jalalabadi and Firaq Gorakhpuri. She has translated from
English renderings and has recreated them according to her interpretation of these renderings adding to
these lyrics a feminine sensibility. Kshitish Roy lived in Santiniketan for long years and was associated
with Rabindranath; he had assimilated Rabindranaths thoughts and ideas so well that his translations are
the closest to the Poets own poems. It was through Kshitish Roys translations that Indiraji first came into
contact with Rabindranath and was inspired to mould these into Urdu nazms. She has also transcreated
from the Poets own translations. As her hunger for more songs grew, she explored other renderings. To
appease her hunger I made some working translations of songs I felt would appeal to her sensitivity and
taste. Indirajis transcreations are beautiful and will hopefully revive an interest in Rabindranaths lyrics in
the world outside Bengal.
This reaching out to the world outside of Bengal is very important because it epitomizes Rabindranaths
universal humanism. In 1921 he established Visva-Bharati, an international university. A national and
international role was charted out for Visva-Bharati by its founder. In his speech on the occasion of the
inauguration of the institution Rabindranath outlined this role in the form of two objectives: uniting the
diverse cultural streams of India and linking them all with the global civilization of mankind. The Poet
selected for Visva-Bharati, as a motto, an ancient Sanskrit verse, yatra visvam bhavati eka nidam: where the
whole world meets in a single nest.
Indeed the world met in Santiniketanthere were professors, artists, linguists and the like from different
parts of Europe, from America, from the different countries of AsiaChina, Japan, Ceylon, and others.

Some came for short visits, some spent a few years and some settled here for life. My mother-in-law, who
was Japanese, came as a young girl with her father, who was invited by the Poet to teach woodwork in
Santiniketan. She stayed on and Rabindranath was present at her wedding to a Bengali youth who would later
be the Director of Sriniketan, the Institute for Rural Reconstruction. These inter-marriages worked very well
in Santiniketan because the milieu was ready to accept them.
It may not be out-of-place to mention that Indira Varma and her son, Suneet, have been family friends for
many years. My brother, Rathikant and I, have from the beginning given her much encouragement in her
interest in Rabindranath. Her passion and intensity for the work of transcreation was so infectious that all
the members of our family got involved in the book!
The availability of these nazms will be greeted with enthusiasm and we express our gratitude to Indira Varma
and her colleague, Rehman Musawwir. The musical quality of these nazms has moved Rathikant Basu, copublisher of this book, to arrange an Audio CD which will have music composed by Debojyoti Mishra, but
reminiscent of Rabindranaths own compositions. As an ardent Tagore enthusiast, I, for one, welcome such
experimentation.
It is most appropriate that this book of Urdu nazms based on Rabindranaths poems and songs should be copublished by Visva-Bharati. We may recall that when the teaching of modern Indian languages was introduced
in Santiniketan, Urdu was one of the first languages that were taught after Bengali. Rabindranath was
interested in the sister-languages of Arabic and Persian which were also taught and continues to be taught
in Visva-Bharati.
Supriya Roy 1- 1- 11

PREFACE
There would be very few people in India who have not heard the name of Rabindranath Tagore. Apart from
being the first Asian ever to receive the Nobel Prize for Literature in 1913 and despite his undying fame as a
polymath excelling in almost everything he tried his hand at, most Indians also remember their dear Gurudev
as the one who gave them their National Anthem -- an anthem declared the best by UNESCO in 2010.
Iconic personalities like W. B. Yeats, Romain Rolland and the Mahatma have all written in his praise and
admiration. Despite the fulsome praise heaped upon him by scores of different people, we are still far away
from fully appraising the treasure trove that comprises the legacy of Tagore.
Perhaps, it is in part due to the sheer magnitude of the legacy. Perhaps, one is daunted by its magnitude. For,
speaking about Tagore is akin to risking what the Bard of Stratford-upon-Avon termed gilding refined gold.
Yet, attempting a book such as this one requires a word or two by way of example in spite of the dangers
therein. Might not the reader ask, what caused the book to be named Romancing Tagore? Is not the reader
intrigued, who has the audacity to romance Gurudev? For that matter, the equally legitimate question also
arises: Can there be any romance in a Tagore composition that is twice removed from the original?
This short preface is an attempt to answer such probable questions. It is also an opportunity to share the
sheer joy and the sense of fulfillment that this book has given in the making. Two things must be clarified at
the very outset: one, this is a trans-creation and not a translation in the conventional sense; and two, we have
approached this text through its English version. While we have culled the English translations from many
different sources, we have taken care to use only those translations which are well read and well known.
My personal adoration of Tagore began ten years ago in the course of long cross-country car-drives from
Islamabad, Lahore to Peshawar, my birth-place, in the company of five Bangladeshi friends. I was in Pakistan
on a personal odyssey. Searching for my roots, I was traveling to the city my ancestors had belonged to,
where I myself had been born, where remnants of my past lay scattered all across the historic city. The
Peshawar Clock Tower that still stands tall was built by my grandfather and gifted to Queen Victoria on her
accession to the throne in 1900.
My friends sang Tagore continuously and with marvelous abandon; it was this that I found healing, even
exhilarating. At that intensely emotional juncture of my life was born the idea of this book. Even though I
had read a lot of Tagore and have a vast collection of his books, I had not read much of his poetry. I returned

to India and began collecting and reading hundreds of Tagores poems. Unable to read Bangla, I read them
in English and in Hindi translations.
I was lucky, our family friend Rathikant Basu and his family were closely connected with Santiniketan. His
sister Supriya Roy had been the Librarian for over 30 years. He sent me the first 100 translations, then more
and then more. Supriyaji translated poems for me. They became my mentors. The more I read, the more
transfixed I was by the sheer beauty of those words that enraptured me even from the inevitable distance
of translation. With my increasing enchantment, grew my resolution to translate this poetry into Urdu, a
language I have always loved and turned to. With two collections of my own Urdu verses behind me, I was
ready for this trans-creation of pouring Tagores verses in my words.
Rathikantji promised to promote and publish my book. He made several trips to Delhi, spoke and met
Kumkum Bhattacharya, Director from Visva-Bharati to consider co-publishing the book. Without him and
Supriyaji nothing could have been possible. The eight year dream that I had been pestering him about now
also became his.
We also considered having the nazms sung. Having been the DG Doordarshan, the CEO Star TV and now
running three of his own TV Channels, Rathikantji made these dreams technicolor. His plans became lofty.
His association with singers of high repute and Music Directors were accessible to him. I just waited while
he adopted the total project. It would be impossible to say thank you in all the words I know but maybe I
will write a poem as an ode. The final impetus was provided by the 150th Birth Anniversary of Gurudev and
the support extended by Visva-Bharati and Santiniketan.
They wanted me to transcreate a hundred specific poems within ten months, so that the book could be
published under their aegis in the 150th year of celebration. The task, I must confess, was both daunting
and irresistible. This is when Musawwir came on board recommended by a dear friend. He is a Ph.D. in Hindi
and his flair for written and spoken Urdu was a boon. He has contributed largely in this ambitious project of
mine and together we burnt the midnight oil continuously for eight months.
Having completed the book, I can now safely say that Tagore has left us one of the best repositories of love
to be found anywhere in any language. This love has multiple forms -- it is divine, it is patriotic, and it is
romantic -- indeed, as romantic as the best of Romantic poets including Wordsworth, Keats or Shelley.
My passion is Urdu poetry. I have grown up reading Ghalib, Mir, Dagh and all the contemporary poets

of India. My father has written several volumes of poetry. He wrote in Farsi, Urdu, English and Punjabi.
His poetry has been compared with Bulley Shah, Shah Hussain and Baba Farid. I have had close personal
associations with Faiz Sahab and Faraz Sahab. I have been running a society called Shaam-e-Ghazal for fortythree years in collaboration with the India International Centre.
Zehra Nigah, the foremost poet of the subcontinent is my Guru. She visits me every year and this year I
began transcreating the first nine poems for this collection under her guidance.
During these past eight months of intense labour and close reading of Tagore, every poem that I read left me
overwhelmed. Every line helped me reconnect with my own illusionary forgotten self. My inner hierarchy
started to listen again. Tagore melted the logical grid in me. I would call it nothing other than Romancing
Tagore. It seemed appropriate, therefore, to call the book by this name.
Many poets have sung the laurels of love but only few have succeeded in finding the essence of romance in
its simplicity. Tagore sees romance exuding from the mundane, from the rites and rituals of everyday life. He
feels the need for neither ostensible metaphor nor intricate ornamentation. The beauty of his language and
simplicity of thought makes anything and everything lovely -- be they heavy monsoon clouds, the fragrance
of seasonal flowers, the chirping of birds or the hum of bees. In all its glory, being true to the proverb, it is
Tagore the beholder who renders things beautiful.
To say that Tagore has been extensively translated into innumerable languages is to rehash a known fact.
That Urdu has hardly been one of the languages is a rather sad and curious omission. Therefore, apart
from the pleasure of working on Tagore, an added source of exhilaration has been the task of not merely
translating, but trans-creating Tagore into Urdu nazms. With its rich vocabulary and seduction of form, few
other languages can parallel Urdu in retaining the beauty and romance of Tagores original poetry. We hope
that the reader would agree.
As anyone initiated into Tagore would know, a sense of joy is seldom unaccompanied by the sweat of hard
work. This book too bears the testimony to the somewhat unconventional fact that grit, perseverance and
hard work only increase the quota of joy rather than diminish it in any way. But unconventional wisdom is
what we also revere Tagore for. Only a person who understands the importance of hard work in possibilities
of joy can come up with the unconventional assertion that Loves gift cannot be given; it waits to be
accepted. This is the essence of love. This is the essence of Tagore for me and, I hope, also for you.

Indira Varma 1- 1- 11

Book Design Consultant

Suneet Varma

PUBLISHERS NOTE
On the occasion of Rabindranth Tagores 150th birth centenary, it behoves upon Visva-Bharati to play a
pivotal role in arousing an inclusive pan-Indian awareness of and familiarity with the works of one of the
tallest creative figures in the world. One way of bringing this to fruition is through the medium of translation
or transcreation of the many genres into which Rabindranath generously poured his creative powers.
This offering of Urdu nazms has been born out the transcreations of Tagores songs and poems that by and
large have remained confined to Bengali speakers. There are over 2000 songs abiding in millions of peoples
hearts beating to every emotion and sensation. His songs are indeed special. He wrote the lyrics, composed
the music and indicated the accompaniments for performance.
Our country has many languages and we have a tradition of transcending language barriers. Communicating
in many languages is one of the ways in which unity with our diversity is forged and the exchange of ideas
born out of the beauty of creativity builds enduring bonds among people.
There is a need to spread Rabindranaths works beyond the Bengali speaking populace; the task is daunting.
In this volume Indira Varma has endeavoured to overcome the natural obstacles of language in her urge to
pay homage to Gurudeva. She has sourced known and unknown English translations in her patient search for
more and more of Tagore and from that distilled for us a fairly large collection of poems that can be read,
recited and sung for us to savour and treasure.
It has been for us a journey of discovery together with Indira Varma not just in sourcing the pieces but in
the process of her transcreations within the complex grammars of both very separate genres Rabindra Sangit
and Urdu Nazms.
The project has been gratifying in many ways being able to extend into another elegant form and taking
Rabindranath to Urdu speaking people thereby facilitating the Urdu speakers rediscover the potent inner
beauty of his works. This volume is an affirmation of faith in the classic timelessness of our bard. We
acknowledge the help, contribution and guidance of Shri Rahti Kanta Basu and Smt Supriya Roy in this
project.

Kumkum Bhattacharya

October 31, 2010

ACKNOWLEDGMENTS
Smt. Zehra Nigah
Smt. Rakhshanda Jalil
Smt. Supriya Roy
Smt. Kumkum Bhattacharya
Shree Rathikant Basu

Ms. Rajula Das

Ms. Manjurika Siroli
Ms. Kasturi Chatterji

Shree S. Z. Alvi
Dr. Anees Ahmed

Mr. Ruchir Shukla

AND
Mr. Rajnesh Tripathi

This Book is dedicated to all those who love

Urdu and Tagore and have searched in vain
to find them together...

Content
Aaji mama mana chaahe jivanabandhure

22

24

26

28

30

32

34

36

38

esjs fny dk vkx+kt+

Ore bhai, phagun legechhe

56

Barho bedonar mato bejechho

58

De pare de aamay tora

60

Aamar paran jaha chay

62

rqe oks gh gks

uX+ek&,&ft+Unxh esjk bd fnu

Aaji pranami tomare chalibo, nath

54

,s nksLr

vxj esjs x+e ds ?kusjs v/ksjs

Je dhruvapada dihyechho baandhi

Himer raate oi gaganer deepgulire

nnZ dh bd ygj lh fny ls xqt+jrh gS

vius d+neksa rys

Dukhher timire jadi jwal

Hay Hemantalakshmi, tomar nayan keno dhaka 52

vizSy dh vkfrk

tc fny dh t+eha gks tk, l[+r

Oi aasantaler matir pare

50

lnhZ ds ekSle us viuh >huh pknj ls

esjh :g ds Qwy dks f[kyus ns

Jivan jakhan shukaye jay

Ei sharat-aalor kamal-bane

,s f[+kt+k dh nkskht+k

;kl dh csiukg xgjkbZ esa

Antara mama vikasita karo

46

;s esjh f[+kt+k gS

;s esjs eafnj esa dkSu vk;k

Nibirh ghana aandhare

Badal-baul bajaaye re ektara

tSls bd eqrfjc vkokjk

oks lkfgys&leanj ds ikl vk x, gSa

Mandire mama ke ashile he

42

?kus ckny

gS ;s fny csd+jkj mlds fy,

Sudhasagartire he

Shanganagagane ghor ghanaghata

40

Tumi jeyo na ekhani

u tkvks eq>s NksM+dj

64

Rodan-bhara e basant

66

blls igys dHkh eSaus ns[kk ugha

Ore, nutan juger bhore

68

70

72

74

Aamar praaner majhe sudha achhe, chao ki 98

Bhalobeshe, sakhi, nibhrite jatane

78

Aami chini go chini tomare

100

102

rqe ls fkuklk fny gqvk ml ikj ds lue

80

Aamar matha nata kore dao

xehZ dh oks Bgjh gqbZ bd jkr

xnsZ ik dh rgksa esa rqe viuh

Mori lo mori, aamay banshite dekechhe ke 82

Lovers Gift: Number 28

D;k d:

eSaus ,d [+okc vHkh cgqr lqgkuk ns[kk gS

Tabu mane rekho

94

pqids&pqids

vxj rqEgkjh ;gh gS [+okfgk

Tumi rabe nirabe hridaye mama

Aaji sharat-tapane prabhat-swapane

xkskk&,&fny esa esjs] gS kgn dk [+kt+huk

tc dHkh [+kqk gks ds eq>dks ;kn djuk pkgks rqe

Aabar jadi ichha karo

92

uhan ls tkxrk gw eSa tc

lnk lnk ds rkt+k ne

Ei kathati mane rekho

Premer joyare bhasabe donhare

I;kj dk gS ;s rykrqe

vkg] jLrk lq[+kZ & lq[+kZ

He chiranutan, aaji e diner pratham gane

90

esjh nksLr

u, vgn dh ubZ lgj esa

Gram-chhara oi ranga matir path

Aamar ki bedana she ki jaano

84

Tumi je surer aagun

vxj eSa fcNqM+ tk rqe ls

rqeus esjh :g esa

Aami tomar sange bendhhechhi aamar pran 88

Aamar sure lage tomar hashi

gekjs njE;k D;k gS

Bgjrk gS esjs uX+eksa is ;w rsjk rcLlqe

106

108

110

112

Kul theke mor gaaner tari

114 Tumi khushi thaako amaar paane cheye cheye 136

NksM+ nh xhr dh drh vkt+kn

Gaaner bhitar diye jakhan

tc rsjs njckj esa eSa

116 Ami bahu bashonay pranpone chay

ns[krk gw dqnjr dks

Kabe aami bahir holem

esjk fny gol dk t+[+khjk Fkk cskd

118 Bhay hate taba abhaya maajhe

,d fnu pgyd+neh lh djrs gq,

Tomay aamay milan habe

120

122

124

126

128

,s esjs [+kqnk

Daake baar baar daake

146

Ei-je tomar prem

148

Mane rabe ki na rabe aamare

150

rqe eq>s ;kn djks ;k u djkss

130

eSaus rqedks ugha ik;k

Prabhu, bolo bolo kobe

144

lkfgjs&:g]

vkvks rqEgkjs lwus eafnj esa tk,a

Aamar hiyaar maajhe lukiye chhile

Swapan jadi bhangile

fnu jkr cqykok vkrk gS]

cxsZ&xqy >M+ tk, tks xtjs ls rsjs

Dhire bandhu, dhire, dhire

142

jkr ds fiNys igj

fny ds fdlh xksks esa

Mala hote khase-para phuler ekti dal

Aachhe dukho aachhe mrityu

;gk gS nq[k] ;gk gS ekSr

,s nksLr esjs
Mor hridayer gopan bijan ghare

140

rqe viuh n;kurnkjh ls

rqe vkSj eSa

Shudhu tomar bani noy go

138

Ogo shono ke bajaay

152

cklqjh dh y; lquks

134

Koto ajanare janaile bondhu

csxkuksa dks viukdj

154

Anek katha bolechhilem

156

?kuh jkr esa

Aami rupe tomay bholabo na

158

162

164

166

168

170

172

ckns&lck ds lkFk

Kotha baire dure jaay re urhe

186

Aamar ange ange ke bajaay baanshi

190

Chinile na aamare ki

192

Dujone dekha holo madhujamini re

194

ml lqgkuh kke esa Fks oks feys

174

bfYrtk gS esjh
Aaji dakshinapabane

184

rqeus eq>dks ugha iqdkjk

fny dk nnZ gSa vklw

Deko na aamare deko na

Deep nibe gechhe mama

esjs cnu dh jx jx esa

mldk irk ugha fey ldrk

Mane raye gelo maner katha

182

taxyh fpfM+;k dh ekfuUn

vks I;kjh lh yM+dh

Hay re, ore jaay na ki jaana

Likhan tomar dhulaay hoyechhe dhuli

nhid esjk vkt dh kc

eq>s irk gS
Chaitrapabane mama chittabane

180

iSx+ke tks rqeus fyD[kk

oD+r ugha gS vxj rqEgkjs ikl

Jaani tumi phire aashibe

Bane jadi phutlo kusum

f[ky x, xqy fnyukha

vius igyw esa txg ns nks eq>s

Na na nai ba ele

178

oTn esa Mwcs gSa vYQ+kt+ esjs

vius gqLuks&ukt+ ls gjfxt+ ugha

Tumi ektu keval bashte diyo kachhe

Hay go, byathay katha jaay dube jaay

Purano sei diner katha

196

rqe dSls Hkqyk ikvksxs

176

Sahe na jatana

nnZ lgk ugha tk,

198

Tumi to sei jabei chale

200

,d fnu gks tkvksxs eq>ls tqnk

Barha, bismay laage heri tomaare

202

204

206

208

210

212

Chokher aaloy dekhechhilem chokher bahire 230

Aaji godhuli lagane ei baadal gagane

232

Aaji jhader raate tomar abhisaar

234

egcwc esjs] gene esjs!

214

jksuk /kksuk lc csdkj

Samukhe shaantipaarabaar

228

/kqa/kys /kqa/kys vkleku ij

,s nqfu;k
Britha e krandan

Aanmana, aanmana

tc esjh nqfu;k esa mtkyk Fkk

tgk t+sguksa esa dksbZ Mj ugha gS

He bhuban, ami jatakhan

226

esjk fny ?kcjkrk gS

egcwc esjs vkvks

Chitta jetha bhayasunya

Aamar dhaala gaaner dhaara

eSaus rqEgkjh [+kkfrj vius xhrksa

tc ifPNe ls
Kotha chhaayar kone daanriye tumi

Tomaarei kariyachhi jivaner dhruvataara 224

rqEgha gks esjh ft+Unxh dk flrkjk

;kn djks ml fnu dkss

Pakhi aamar nirher pakhi

222

?kj ds vanj cSBdj] eSa u d:axk bfUrt+kj

ns[kdj rqedks gSjku gw

Sheydin dujane dulechhinu bane

Kabe tumi aashbe bole raiba na base

Aaji naahi naahi nidra aankhipate

236

vkt dh jkr esjh iydksa ij

218

Aamar bela je jaay sanjh-belate

vEu dk leUnj gS lkeus

/kqa/kyh /kqa/kyh kke ds lkFk

Tomar srishtir path rekhechho akirna kari 220

Aamar mukti aaloy aaloy ei aakashe

rw Q+jsch gS

vklek ij jkSkuh esa

238

240

Aamare koro tomar beena

242

Bhaango, baandh bhenge dao

eq>dks viuk lkt+ cuk ykss

viuh lksp cny Mkykss

Daanriye aachho tumi aamar gaaner opaare 244

Aamar man keman kare

rqe lkfgy ij ogk [kM+s gkss

esjh cspSu :g

Tarite pa diyni aami

246

248

Aalo aamar, aalo ogo, aalo bhuvan-bhara 250

oks jkSkuh esjh gS gk esjh gh jkSkuhs

252

eg~os&gSjr gw
Sarthak janam aamar janmechhi ei deshe 254

bl nsk dh /kjrh is tue esjk gqvk gS

Jibane jata puja holona sara

256

ftu nqvkvksa dks ft+Unxh esa

Nai nai bhay, hobe hobe jay

258

u Mj] u Mj] u Mj] u Mj

Ebar tor mora gaange baan esechhe

vkf[+kjdkj vk igqpk lSykc

Adhara madhuri dharechhi

bd vUtkuh lh [+kqcw gS

,s ekfyd!

Tumi ki kebali chhabi

264

266

dy jkr ,d uX+ek eq>s ;kn vk x;k

iko u jD[kk eSaus viuh drh esa

Tumi kemon kare gaan karo he guni

Kaal raater bela gaan elo mor mone

262

260

268

Aaji mama mana chaahe jivanabandhure

Today my heart pines for my lifelong friend,
my one steadfast companion
who ever stands by me
day and night,
in weal and in woe,
in life and in death.
Joy perennial, bliss inexhaustible,
He is the firm and constant refuge
Of every age and every clime.
Peace abounding, love limitless
saviour supreme, great in his goodness
He is the soul of my soul
my minds intimate,
my gracious master of all times
Providing me with whatever
my body, mind and spirit crave.
He is the king
to whom my heart is held a hostage.

%L ]] ]X Jc L[X[[

22

gS ;s fny csd+jkj mlds fy,

nksLr Bgjk tks ft+Unxh Hkj dk
oks geuok fd tks lkfcr d+ne ges'kk jgk
tks esjs lkFk 'kcks&jkst+ dk eqlkfQ+j Fkk
g;krks&ekSr dh ikcafn;ksa ls ckt+ jgk
oks ykt+oky eljZr dk iSdjs&vkyk
eqgCcrksa dk veha
iukgxkg
eqgkfQ+t+
oks pSuks&veu dk Fkk
jQ+hd+ esjs t+sgu dk
oks esjh :g dh :g
esjk fnekx+] esjk d+Yc vkSj cnu esjk
tks bfYrekl djs
oks uokt+ nsrk gS
oks ,d 'kkg
esjk fny vlhj gS ftldk

Hai ye dil beqarar uske liye

Dost thehra jo zindagi bhar ka
Woh hamnawa ki jo saabit qadam hamesha raha
Jo mere saath shab-o-roz ka musafir tha
Hayaat-o-maut ki paabandiyon se baaz raha
Woh lazval masarrat ka paikar-e-aala
Muhabbaton ka ameen
Panahagaah
Muhaafiz
Woh chain-o-amn ka tha
Rafeeq mere zehan ka
Woh meri rooh ki rooh
Mera dimaag, mera qalb aur badan mera
Jo iltimaas kare
Woh navaaz deta hai
Woh ek shah
Mera dil aseer hai jiska

lkfcr&d+neiDds bjkns okyk] izfrK( g;krks&ekSrft+Unxh vkSj ekSr(

ykt+okyftlesa fxjkoV u gks( eljZr[+kq'kh] izlUurk(
iSdjs&vkyklk{kkr xq.k Js"B( vehaftl ij fo'okl fd;k tk,(
iukgxkg'kj.kLFky( eqgkfQ+t+j{kk djus okyk( jQ+hd+nksLr] fe=k(
d+Ycn;] fny( bfYreklfuosnu( uokt+&iznku djuk
vlhjcanh] d+SnhA

23

saabit qadam - firm, constant ; hayaat-o-maut - life and death ;

lazval - immortal ; masarrat - happiness ;
paikar-e-aala - the number one ; ameen - faithful, trustworthy ;
panahagaah - asylum ; muhaafiz - escort ; rafeeq - friend ;
qalb - heart ; iltimaas - request ; navaaz - to show favour ;
aseer - prisoner

Sudhasagartire he
Men and women have come
to the shores of the sea of bliss
to drink of the water of life everlasting.
Blessed is the night,
beautiful the world of nature.
All the four directions resound
with the song of hope and longing.

The full-moon of your love

shines in the sky.
Sweetly blow the winds of your grace.
Waves of joy flow all around.
And my soul dives deep
in the sea of eternal bliss.

aWaG[T[ c

24

Woh sahil-e-samandar ke paas aa gaye hain

oks lkfgys&leanj ds ikl vk x, gSa

vkcs&g;kr ihus
oks b'd+ ds veha gSa
oks enksZ&t+u glha gSa
'kc esa gS [+kq'k xokjh
nkekus&gqLus&d qnjr QSyk gqvk gS gj lw
vkSj pkj lEr uX+es mEehn ds gSa xwts
ekgs&reke mHkjk gS rsjh mYQ+rksa dk
rsjh vnk dh [+kq'kcw
:g esa lek jgh gS
vkSj :g gkSys&gkSys
vcnh eljZrksa ds
xgjs leUnjksa dh
rg esa mrj jgh gS

Aab-e-hayaat peene
Woh ishq ke ameen hain
Woh mard-o-zan haseen hain
Shab mein hai khush gawari
Damaan-e-husn-e-qudrat phaila hua hai har su
Aur chaar samt naghme ummeed ke hain goonje
Maah-e-tamaam ubhra hai teri ulfaton ka
Teri ada ki khushboo
Rooh mein sama rahi hai
Aur rooh haule-haule
Abdi masarraton ke
Gehre samandaron ki
Teh mein utar rahi hai

lkfgys&leanjleqnz rV]
vkcs&g;krve`r( vehafo'oLr] ftu ij fo'okl fd;k tk,(
enksZ&t+uiq#"k ,oa efgyk]
nkekus&gqLus&dqnjrizkd`frd lkSan;Z dk n`';] lwfn'kk
pkj lErpkjksa vksj( ekgs&rekeiwf.kZek dk pkn]
vcnh elZjrksaog izlUurk ftudk var u gksA
25

aab-e-hayaat- nectar ambrosia ; ameen- faithful, trustworthy ;

mard-o-zan- men and women ;
damaan-e-husn-e-qudrat- scenary, beauty of nature; su- direction;
samt- side, direction ; maah-e-tamaam- full moon ;
abadi masarraton- immortal joy

Mandire mama ke ashile he

Who is come to my temple.
The sky is overspread with bliss
from end to end.
The dark shadows of the night
Vanish and dissolve
on every side.

All the gates open of themselves.

All the lamps burn bright of themselves.
All the strings of my vina
throb to the rhythm
of newer and newer songs.

]V[ ]] E %a_ c

26

;s esjs eafnj esa dkSu vk;k

fd vklek dk gj ,d dksuk
eljZrksa ls ned mBk gS
fd /kqy xbZ gSa reke rkjhfd;k Hkh 'kc dh

Ye mere mandir mein kaun aaya

Ki aasman ka har ek kona
Masarraton se damak utha hai
Ki dhul gayee hain tamaam tareeqiyan bhi shab ki
Tamaam abwab khul gaye hain

reke vcokc [kqy x, gSa

gq, gSa jkS'ku pjkx+ lkjs
;w esjh ohuk ds rkj dk fny /kM+d jgk gS
u, rjkus mHkj jgs gSa

Huye hain roshan charaag sare

Yun meri veena ke taar ka dil dhadak raha hai
Naye tarane ubhar rahe hain

elZjrksaizlUurkvksa(
rkjhfd;kva/ksjk(
vcokc}kj] njokt+sA

27

masarraton- happiness;
tareeqiyan- darkness;
abwab- gates, doors;

Nibirh ghana aandhare

In the deep of the darkness
Shines the guiding star
with its steadfast flame.
Have no fear, my heart,
Lose not your way
in the trackless desert.
Do not let your songs cease
when your spirits
droop with despair.
Break open the prison of illusion
so that you may fulfil
the meaning of your life.
Have faith in life
that is strong.
Have faith in hope
that sustains.
Have faith in love
which makes the world beautiful.
Smilingly may you walk
through the joys and sorrows of life.
May your heart ever be full

With His loving kindness.

X[Q HX %gW[

28

Yaas ki bepanaah geharaai mein

;kl dh csiukg xgjkbZ esa

bd flrkjk vHkh f>yfeykrk rks gS

Ek sitara abhi jhilmilata to hai

Mere dil! Kisliye itna mayoos hai

esjs fny! fdlfy, bruk ek;wl gS

n'rks&lgjk esa Hkh jkLrk <wa< ys
xj fujk'kk dHkh fny is nLrd Hkh ns
vius uX+eksa dks [+kkeks'k gksus u ns
rksM+ ns oge dh l[+r ft+Unk dks rw
ft+anxh dks u;k ,d eQ+gwe ns
tke dks rw Hkjksls ls ycjst+ j[k
Fkke ys gkFk c<+dj eqgCcr dk rw
gS eqgCcr ls d+k;e fut+kes&tgk
eqLdjkrs gq, vius jLrs is py
rw xys ls yxk ys [+kq'kh vkSj x+e
x+dZ+ gksdj gd+hd+h eqgCcr esa rw
,d fnu viuh eaft+y dks ik tk,xk

Dasht-o-sahra mein bhi raasta dhoondh le

Gar nirashaa kabhi dil pe dastak bhi de
Apne naghmon ko khaamosh hone na de
Tod de waham ki sakht zindan ko tu
Zindagi ko naya ek mafhoom de
Jaam ko tu bharose se labrez rakh
Thaam le haath badhkar muhabbat ka tu
Hai muhabbat se qaayam nizam-e-jahan
Muskarate huye apne raste pe chal
Tu gale se laga le khushi aur gham
Gharq hokar haqiqi muhabbat mein tu
Ek din apni manzil ko pa jaayega

;klfujk'kk( ek;wlukmEehn(
n'rks&lgjktaxy vkSj jsfxLrku(
nLrdnjokt+k [kV[kVkuk( eQ+gweHkkokFkZ( ycjst+ifjiw.kZ] yckyc(
d+k;efLFkj] fVdk gqvk( fut+kes&tgklalkj dh O;oLFkk(
gd+hd+hlPphA
29

yaas- dejection, sadness ; mayoos- pessimism ;

dasht-o-sahara- forest and desert ;
dastak- knock ; mafhoom - meaning ; labrez- filled up ;
qayam - firm ; nizame-jahan- world affairs ;

Antara mama vikasita karo

Let the flower of my soul
bloom fully open,
O, soul of my soul.
Make it purer, brighter
and ever the more beautiful
Arouse and prepare me,
and make me fearless.
Unwearied may I be with your blessings,
and of misgivings free.

Rend asunder my bonds,

and so unite me with all.
May the rhythm of your peace
infuse all my actions.
May my tranquil heart lie in repose
at your lotus feet.
Let joy and bliss reign
for ever and ever.

%[ ]] [E`T E[

30

Meri rooh ke phool ko khilne de

esjh :g ds Qwy dks f[kyus ns

,s esjh :g dh :g
cuk ns eq>s
rkt+k ls rkt+k&rj
[+kwc ls [+kwc&rj
vk txk ns eq>s
vk cuk ns eq>s
cs&[+krj
eSa rqEgkjh nqvkvksa ds lk, esa iyrk jgw
Nw u ik, dHkh cs&;d+huh eq>s

Ai meri rooh ki rooh,

Bana de mujhe
Taaza se taaza-tar
Khoob se khoobtar
Aa jaga de mujhe
Aa bana de mujhe
Bekhatar
Main tumhaari duaaon ke saaye mein palta rahoon
Chhoo na paaye kabhi beyaqeeni mujhe
Tod de,

rksM+ ns
[kksy ns
lkjs ca/ku esjs
vkSj fQj bl rjg tksM+ ns
esjh gj bd vnk] gj d+ne
rsjs lkt+ dh y; esa gks tk, t+e
vius ik,&doy esa txg ns eq>s
yqRQ+ ysus ns eq>dks Hkh rLdhu dk

Khol de,
Saare bandhan mere
Aur phir is tarah jod de
Meri har ik ada, har qadam
Tere saaz ki lai mein ho jaaye zam
Apne pa-e kanwal mein jagah de mujhe

Lutf lene de mujhko bhi tasqeen ka

cs[+krjfcuk Hk; ds(

t+e?kqyuk] Mwcuk] lek tkuk(
ik,&doypj.k&dey
rLdhularqf"V

31

bekhatar-fearless
zam- to loose onself
pa-ekanwal- lotus feet
tasqeen- satisfaction

Jivan jakhan shukaye jay

When the heart is hard and parched up,
come upon me with a shower of mercy.
When grace is lost from life,
come with a burst of song.
When tumultuous work raises its din on all sides
shutting me out from beyond, come to me,
my lord of silence, with thy peace and rest.

When my beggarly heart sits crouched, shut up

in a corner,
Break open the door, my king,
and come with the ceremony of a king.
When desire blinds the mind with delusion and
dust,
O thou holy one, thou wakeful,
come with thy light and thy thunder.

L[X ^FX E^ ^^

32

Jab dil ki zameen ho jaaye sakht

Pad jaaye qahat
Bauchharein raham ki lekar
Tum aao mere paas

tc fny dh t+eha gks tk, l[+r

iM+ tk, d+gr
ckSNkjsa jge dh ysdj
rqe vkvks esjs ikl
tc thou dh lc uokft+'ksa feV tk,a
xhrksa dk /kekdk ysdj
rqe vkvks esjs ikl

Jab jeevan ki sab nawazishein mit jaayein

Geeton ka dhamaka lekar
Tum aao mere paas

tc njge cjge dke dk 'kksjks&x qy

gj lEr mBk, lj
[+kkeks'k eq>s dj ns
,s [+kkeks'kh ds [+kqnk
vEu vkSj lqdw ysdj
rqe vkvks esjs ikl

Jab darham barham kaam ka shor-o-ghul

Har samt uthaaye sar
Khamosh mujhe kar de
Ai khamoshi ke khuda
Amn aur sukoon lekar
Tum aao mere paas

tc esjk ;s ukdkjk fny

dksus esa nqcd dj Nqi tk,
,s esjs 'kkg
rqe [kksy nks lc njokt+s
vkSj ysdj t'us&'kkgh
rqe vkvks esjs ikl
tc Nhu ys [+okfg'kkr] t+sg~u dh chukbZ
vkSj ogeks&xqek dh xnZ tes
,s pkSdUus iSdjs&rlqd+
?ku xjt rtYyh ysdj
rqe vkvks esjs ikl

Jab mera ye nakara dil

Kone mein dubak kar chhup jaaye
Ai mere shah
Tum khol do sab darwaaze
Aur lekar jashn-e-shahi
Tum aao mere paas

Jab chheen le khwahishat, zehan ki beenaai

Aur waham-o-gumaan ki gard jame
Ai chaukanne paikar-e-tasadduq
Ghan garaj tajalli lekar
Tum aao mere paas

d+grvdky( uokft+'ksavuqdEik,] n;k( njge&cjgefrrj fcrj(

qahat- draught ; nawazishein- favour, grace ; daraham-baraham- scattered;
vEu&lqdwa'kkafr ,oa pSu( ukdkjktks dke dk u gks(
amn -peace ; sukoon-tranqulity ; nakara- worthless ;
t'us&'kkghjktksRlo( [+okfg'kkrbPNk,a( t+sgucqf)(
jashn-e-shahi- royal celebration ; khwahishat- desire ;zehan -mind ;
chukbZn`f"V( ogeks&xqekaHkze] iSdjs&rd+qlifo=kkRek
beenaai-sightness ; waham-o-gumaan- confusion ; gard-dust ;
paikar-e-tasadduq- embodiment of truth ; tajalli- light
rtYyhizdk'k
33

Oi aasantaler matir pare

Let me lie down upon the ground beneath your
footstool in perfect gladness.
Let my garment be red with the common dust
you touch with your feet.
Set me not higher than others; keep me not apart from all else.
Draw me down into a sweet lowliness.
Let my garment be red with the common dust
you touch with your feet.

Let me remain the last of all your pilgrims;

I shall try to reach the lowest site
which is the broadest.
They come from all sides
to ask for gifts from your hands.
Let me wait till they all have had their shares;
I shall be content with the last remnant.
Let my garment be red with the common dust
you touch with your feet.

C+ %aXT_[ ]O[ Y[

34

Apne qadmon tale

Mujhko bichh jaane do
Ek mukammal khushi ke liye
Apne paon ki is dhool se
Surkh ho jaane do
Meri poshaak ko

vius d+neksa rys

eq>dks fcN tkus nks
bd eqdEey [+kq'kh ds fy,
vius iko dh bl /kwy ls
lq[+kZ gks tkus nks
esjh iks'kkd dks
u cukvks eq>s nwljksa ls cM+k
nwljksa ls tqnk Hkh u jD[kks eq>s
bUdslkjh ds tT+cs ls Hkj nks eq>s
vius iko dh bl /kwy ls
lq[+kZ gks tkus nks
esjh iks'kkd dks

Na banao mujhe doosron se bada

Doosron se juda bhi na rakho mujhe
Inkisaari ke jazbe se bhar do mujhe
Apne paon ki is dhool se
Surkh ho jaane do
Meri poshaak ko

eSa cuw vkidk t+k;js&vkf[+kjh

vkSj igqpw Q+D+r vkf[+kjh ntsZ rd
nj gd+hd+r ogh gS olhmy&vjht+

Main banoo aapka zaayr-e-aakhiri

Aur pahunchun faqat aakhiri darje tak
Dar haqeeqat wahi hai wasi-ul-areez

pkj lErksa ls vkrs gSa oks

vkids gkFk ls
dqN bukekrks&bdjke ds okLrs
tc ryd mudks mudk fgLlk feys
eq>dks djus nks cl bfUrt+kj
vkSj vkf[+kj esa tks dqN cps
esjh [+kkfrj oks gksxk cgqr dqN
vius iko dh bl /kwy ls
lq[+kZ gks tkus nks
esjh iks'kkd dks

Chaar samton se aate hain woh

Aap ke hath se
Kuch inamaat-o-ikram ke waaste
Jab talak unko unka hissa mile
Mujhko karne do bas intizaar

Aur aakhir mein jo kuch bache

Meri khatir woh hoga bahut kuch
Apne paon ki is dhool se
Surkh ho jaane do
Meri poshaak ko

bUdslkjhfouezrk(
t+k;js&vkf[+kjhvafre n'kZd ;k J)kyq(
olhmy&vjht+yEck] pkSM+k(
bukekrks&bdjkeiqjLdkj ,oa lEekuA

35

inkisaari- humbleness
zaayar-e-aakhari- last visitor
wasi-ul-areez- extensive, immeasurable
inamaat-o-ikaram- reward

Dukhher timire jadi jwale

If the light of your grace
will shine only in the gloom of my grief,
be it so, my lord.

If death alone will bring me

near to your heaven of eternal life,
be it so, my lord.

If nothing but the blaze of my agony

will kindle the lamp of worship in my heart,
be it so, my lord.

If your loving gaze will not rest

on anything other than my tearful eyes,
be it so, my lord.

VfF[ T][ ^V L _

36

Agar mere gham ke ghanere andhere

vxj esjs x+e ds ?kusjs v/ksjs

rsjh jgerksa ds mtkyksa ls pedsa
pedus ns mudks]
pedus ns ekSyk

Teri rehmaton ke ujaalon se chamkein

Chamakne de unko,
Chamakne de maula
Agar maut aaye

vxj ekSr vk,

eq>s ys ds tk,
glha ckx+ tUur ds eq>dks fn[kk,
fn[kkus ns mldks]
fn[kkus ns ekSyk

Mujhe leke jaaye

Haseen baagh jannat ke mujhko dikhaaye
Dikhane de usko,
Dikhane de maula

vxj 'kksyk esjh vt+h;r dk HkM+ds

esjs fny esa nhid
bcknr dk neds
HkM+dus ns 'kksyk
HkM+dus ns ekSyk

Agar shola meri azeeyat ka bhadke

rqEgkjh eqgCcr Hkjh ;s fuxkgsa

vxj p'es&rj ij esjh fVd jgh gSa
rks vk[kksa esa vklw gh jgus ns ekSyk

Tumhaari muhabbat bhari ye nigaahein

Mere dil mein deepak

Ibaadat ka damke
Bhadakne de shola
Bhadakne de maula

Agar chashm-e-tar par meri tik rahi hain

To aankhon mein aansu hi rehne de maula

jgerksad`ikvksa]
vt+h;rrdyhQ+(
bcknriwtk] vpZuk(
nedspeds(
p'es&rjHkhxh gqbZ vk[kA

37

rehmaton - grace, kindness

azeeyat - difficulties and pain
ibaadat - to pray
damke - shine
chashm-e-tar - eyes full of tears

Je dhruvapada diyechho baandhi

I shall attune
the song of my life
to the steadfast note
of the world symphony.
My heart shall sing
with the blue of sky,
and in my silent soul
I shall imbibe its deep
message of peace.
There is a melody that throbs
at the brink of dawn

May it awaken a new hope

in my heart.
Let the morning of my life
bloom like a flower,
like a song.
And at the days end
may I learn to die,
with my spirit attuned
to the song

with which my day began.

^ W[YV V^K [gW

38

Naghm-e-zindagi mera ek din

uX+e,&ft+Unxh esjk bd fnu

lkt+s&nqfu;k ls lqj feyk,xk
esjk fny uhys vklek ds rys
uX+e,&bfYrekl xk,xk
eqT+n,&vEuks&[+kSjks&vkQ+h;r
:g esa esjh mrj tk,xk

Saaz-e-duniya se sur milaayega

Mera dil neele aasman ke tale
Naghm-e-iltimaas gaayega
Muzd-e-amn-o-khair-o-aafiyat
Rooh mein meri utar jaayega
Subh ke honton pe

lqCg ds gksaVksa is
bd uX+e,&'khjha gksxk
tks esjs fny esa
ubZ vkl txk tk,xk

Ik naghm-e-sheerin hoga
Jo mere dil mein
Nayee aas jaga jaayega
Phool sa mehake

Qwy lk egds
fdlh xhr dh lwjr /kM+ds
esjs thou dk losjk

Kisi geet ki soorat dhadke

Mere jeevan ka savera
Aur jab

vkSj tc
ekSr ds vkx+ks'k esa lksus tk
:g gks tk, ge&vkgax mlh uX+es ls
ftlls vkx+kt+ esjs fnu dk gqvk Fkk bd fnu

Maut ke aaghosh mein sone jaoon

Rooh ho jaaye hum-aahang usi naghme se
Jis se aaghaaz mere din ka hua tha ik din

uX+e,&bfYreklfuosnu dk xhr(
eqT+n,&vEuks&[+kSjks&vkfQ+;r'kkafr ,oa dq'ky{kse dk lans'k(
uX+e,&'khjhae/kqj xhr(
ge&vkgax,d nwljs ls feyuk(
vkx+kt+vkjEHkA

39

naghm-e-iltimaas- hymn of request

muzd-e-amn-o-khair-o-aafiyat-auspicious news
naghm-e-sheerin- sweet melody
hum aahang-embraced
aaghaaz- beginning

Aaji pranami tomare chalibo, nath

Let me start my days tasks
with a prayer and a salutation
to you, my lord.
May your eyes keep watch
on the eyes of my mind.
Let me ever realise
in my silent heart
that you sit enthroned there
as the lord of my life.
May the thought of evil die
consumed by the fire of shame.
Through all the varied clamours of the day,
may it be given me
to listen to your cosmic song.
Through all my concourse
with all the varied people,
may I ever realize your presence and nearness.
Whatever I see, whatever hear or say
whatever my thoughts or actions,
let all the chords of my life
remain attuned to your goodness

every moment of the day.

%L YS] T][ J_[, XU

40

Mere din ka aaghaaz

Teri sana se
Teri hamd se

esjs fnu dk vkx+kt+

rsjh luk ls
rsjh gEn ls
gS rsjh ut+j esjs d+Ycks&t+sg~u ij
gqdwer esjs fny is gS flQ+Z rsjh
fd rw gh gS ekfyd esjh ft+Unxh dk

Hai teri nazar mere qalb-o-zehan par

Hukumat mere dil pe hai sirf teri
Ki tu hi malik meri zindagi ka

;w feV tk, lc cn&[+k;kyh

fd tSls
funker dh vkfr'k fuxy tk, mudks

Yun mit jaayein sab bad-khyali

Ki jaise
Nadamat ki aatish nigal jaaye unko

tks vkokt+sa fnu Hkj lqukbZ gSa rwus

oks dqN Hkh ugha gSa
Q+d+r rsjk uX+ek

Jo awazein din bhar sunaee hain tune

Woh kuchh bhi naheen hain
Faqat tera naghma

;s nqfu;k dk te?kV
;s yksxksa dk esyk
;w yxrk gS
tSls fd rqe gks
Q+d+r rqe
cgqr ikl esjs
eSa tks ns[krk gw
eSa tks lksprk gw
eSa tks dg jgk gw
esjs d+kSyks&Q+s*yks&vey
lc ds lc
rsjs ge lkt+ gSa

Ye duniya ka jamghat
Ye logon ka mela
Yun lagta hai
Jaise ki tum ho
Faqat tum
Bahut paas mere

Main jo dekhta hoon

Main jo sochta hoon
Main jo keh raha hoon
Mere qaul-o-fel-o-amal
Sab ke sab
Tere ham saaz hain

vkx+kt+vkjEHk(
lukiz'kalk(
gEnLrqfr] bZ'oj dh rkjhQ+(
d+Ycks&t+sgun; ,oa efLr"d(
funkeryTtk] i'pkrki(
vkfr'kvkx(
d+kSyks&Q+S*yks&veydFkuh vkSj djuhA

41

aaghaaz- start, commencement

sana- praise
hamd- hymn
qalb-o-zehan - heart and mind
nadamat- to repent, shame
aatish - fire
qaul-o-fel-o-amal- words and works

Shanganagagane ghor ghanaghata

Dense clouds are massed
in the monsoon sky,
and dark is the night.
How can I, a mere maiden,
weak of courage and strength,
venture out to the path of the flowery bower,
on this of all nights.
Tell me, my friend.
The river Jamuna is lashed
and clouds roar intermittently.
Lightening flashes,
uprooted trees litter the road,
and my limbs are all atremble
with fear and shame.
Rim jhim, rim jhim, rim jhimit rain unceasingly.
The path to the flowery bower
lies across the dense shadow of dark trees.
Tell me, friend, does it become my Krishna
plaintively to call Radhas name
on his fatal flute
on such a venturesome night?

`IXGGX H[ HXHO

42

Continued...

Ghane baadal

?kus ckny
tek gSa Hkhxs Hkhxs vklek ij
jkr dkyh gS
eSa rUgk dksbZ nks'kht+k]
ugha gS ftlesa fgEer vkSj rkd+r
pyw ml jkLrs ij fdl rjg ls
tks jLrk Qwyksa ds >qjeqV dh tkfuc tk jgk gS
esjs gene
crk]
vc D;k d: eSa
unh tequk esa gS t+ksjs&rykrqe
xjt mBrs gSa jg jg dkys ckny
ped mBrs gSa 'kksys
nj[+r m[kM+s iM+sa gSa jkLrs esa
tks jLrk Qwyksa ds >qjeqV dh tkfuc tk jgk gS
gS esjs ftLeks&tk esa
[+kkSQ+ dh
vkSj 'keZ dh bd didih lh
cjlrk gS eqlyly ikuh fjef>e
?kus isM+ksa dh xgjh Nko ml jLrs is NkbZ
tks jLrk Qwyksa dh >qjeqV dh tkuc tk jgk gSA

Jama hain bheege-bheege aasman par

Raat kaali hai
Main tanha koi doshiza,
Nahin hai jismein himmat aur taaqat
Chaloon us raaste par kis tarah se
Jo rasta phoolon ke jhurmut ki jaanib ja raha hai
Mere humdum
Bataa,
Ab kya karoon main
Nadi Jamuna mein hai zor-e-talatum
Garaj uthte hain reh reh kaale baadal
Chamak uthte hain shole
Darakht ukhde pade hain raaste mein
Jo rasta phoolon ke jhurmut ki jaanib ja raha hai
Hai mere jism-o-jan mein
Khauf ki
Aur sharm ki ek kapkapi si

Barasta hai musalsal pani rimjhim

Ghane pedon ki gehri chhanv us raste pe chhaai

Jo rasta phoolon ke jhurmut ki jaanib ja raha hai

nks'kht+kdqokjh yM+dh(
tkfucvksj] rjQ+(
t+ksjs&rykrqerwQ+ku dk t+ksj(
ftLeks&tk'kjhj ,oa izk.k(
[+kkSQ+Hk;(

43

doshiza - maiden girl

jaanib - direction
zor-e-talatum - heavy flood
jism-o-jan - body and soul
Khauf - fear

Shanganagagane ghor ghanaghata

Deck me then in a bejewelled necklace
and place a pendant
at the parting of my hair.
Gather up the truant tresses
which play about my breasts,
in a chaplet of champaka.

Do not go to thy youthful lover

on this darksome night, O maiden,
says Bhanu, thy humble servant,
The roar and rumble of the clouds
will instill untold fear in your heart,
if you venture out tonight!

`IXGGX H[ HXHO

44

Mere humdum bataa ye ab,

esjs gene crk ;s vc]

esjs fd'kuk dks D;k ;s t+sc nsrk gS
fd bruh iqj&[+krj 'kc esa]
oks brus lkst+ks&x+e esa
iqdkjs tk jgk gS tku ysok cklqjh ij
uke jk/kk dk
eq>s vkjkLrk dj nks
eqjLlk gkj iguk nks
ltk nks ekx esa Vhdk
esjh cs'keZ ckyksa dh yVksa dks\
ck/k nks Qwyksa ds xtjksa ls
fd ;s lhus ls esjs [ksyrh gSa
;s ^Hkkuw* esjk [+kkfne eq>ls dgrk gS
va/ksjh jkr esa
ml ukStoka vkf'kd+ ls feyus ds fy, er tk
ngkM+sa] xM+xM+kgV] cknyksa dh
vudgk bd [+kkSQ+
gkSys ls rqEgkjs fny esa Hkj nsaxh
vxj rqe vkt 'kc
[+krjk mBk dj ckgj tkvksxs

Mere kishna ko kya ye zeb deta hai

Ki itni pur-khatar shab mein,
Woh itne soz-o-gham mein
Pukare ja raha hai jaan leva baansuri par
Nam Radha ka
Mujhe aarasta kar do
Murassa haar pehna do
Saja do maang mein teeka
Meri besharm balon ki laton ko
Baandh do phoolon ke gajron se
Ki ye seene se mere khelti hain
Ye Bhanu mera khadim mujhse kehta hai
Andheri raat mein
Us naujawan aashiq se milne ke liye mat ja
Dahade, gadgadahat, baadlon ki
Ankaha ik khauf
Haule se tumhaare dil mein bhar dengi
Agar tum aaj shab

Khatra utha kar bahar jaaoge

vkjkLrklqlfTtr(
eqjLlkghjs eksrh tM+k gqvk(
[+kkfneukSdjA

45

aarasta - to adorn
murassa - studded with jewels
khadim - servant

Badal-baul bajaaye re ektara

The rain is a baul,
a wandering minstrel.
He strums on his single string
all day long
in a ceaseless patter of rain.
Drunk with his own rhythm
he goes dancing through the woodlands
down to the paddy-fields
until he is fit to drop.

His matted hair is a cloud

that deepens the dark sky.
Drip-drop of the rain
on every tiny leaf,
is a jingle of his ankle-bells.
Listless roams the eastern wind
lured out of its home
by the far-away call
of the rain

who is a baul,

a wandering minstrel.

[V_-[=_ [L^ [ AET[

46

Jaise ik mutrib aawara

tSls bd eqrfjc vkokjk

ckfj'k gS dksbZ catkjk
;s yxkrkj fVi&fVi] fVi&fVi
iwjs fnu ns[kks
ctk jgk gS bd rkjk

Baarish hai koi banjara

Ye lagataar tip-tip, tip-tip
Poore din dekho
Baja raha hai ik tara
Apni dhun mein madhosh hai ye

viuh /kqu esa engks'k gS ;s

ukps gS n'rks&lgjk esa
[ksrksa ij /kku ds >qdrk gS
;s tc rd cwan u cu tk,
ckny gSa xqFks gq, xslw
xgjh f'kr ls Nk, gSa xgjs vkdk'k is ;s

Naache hai dasht-o-sahra mein

Kheton par dhaan ke jhukta hai
Ye jab tak boond na ban jaaye
Baadal hain guthe huye gesu
Gehari shiddat se chhaaye hain gehre aakash pe ye
Nanhi patti par

uUgh ikh ij
ckfj'k dh cwanksa dh e/kqj vkokt+
yxrh gS mldh ik;y dh ?kqa?k# dh >udkj
nwj ls vkrh gqbZ iqdkjsa ckfj'k dh
vkokjk iqjok gokvksa dks
cgyk Qqlykdj ?kj ls ckgj ys vkbZ
dkSu gS ;s catkjk
tSls bd eqrfjc vkokjk

Baarish ki boondon ki madhur aawaaz

Lagti hai uski paayal ki ghunghru ki jhankaar
Door se aati hui pukarein baarish ki
Aawara purva hawaaon ko

Behla phuslakar ghar se baahar le aayee

Kaun hai ye banjara
Jaise ek mutrib aawara

eqrfjcxkus okyk(
engks'knhokuk] tks gks'k esa u gks(
f'krcgqr xgjhA

47

mutrib - ministrel, singer ;

madhosh - stupefied, intoxicated
shiddat - intensity

Crayon on paper, 53.5 x 28 cm.

Ink and waterproof ink on paper, 54 x 26 cm.,
signed and dated in Bengal, 1/2/35.

Wax pastel and crayon pencil on paper, 38 x 24.5 cm., signed and dated in Bengali, 16/8/36.

Ei sharat-aalor kamal- bane

This autumn is mine,
for she was rocked in my heart.
The glistening bells of her anklets
rang in my blood,
and her misty veil
fluttered in my breath.
I know the touch
of her blown hair
in all my dreams.

She is abroad
in the trembling leaves
that danced in my life-throbs,
and her eyes that smile
from the blue sky
drank their light from me.

A+ `[d-%_[ E]_[X

50

Ye meri khizaan hai

;s esjh f[+kt+k gS
fd ftlus esjs fny is d+kcw fd;k gS
pedrs gq, mldh ik;y ds ?kqa?k#
[kudrs gSa esjs ygw esa
oks >huh ud+kc mldh
lklksa esa Hkjrh gS cspSfu;k

Ki jisne mere dil pe qaabu kiya hai

Chamakte huye uski paayal ke ghunghru
Khanakte hain mere lahu mein
Woh jheeni naqaab uski
Saanson mein bharti hain bechainiyan
Mujhe hai pata

eq>s gS irk
;s mldh gh ygjkrh t qYQ+sa gSa tks
esjs lkjs [+okcksa dks lgyk jgh gS

Ye uski hi lehraati zulfein hain jo

Mere saare khwaabon ko sehla rahi hai
Bahut door hai woh

cgqr nwj gS oks

yjt+rh gqbZ ifk;ksa esa dgha
esjh ft+Unxh dh gS /kM+du esa jD+lk
rcLlqe esa Mwch gqbZ mldh vk[ksa
tks gSa uhys vkdk'k ls ns[krh
tT+c djrh gS eq>ls gh oks jks'kuh

Larazti hui pattiyon mein kaheen

Meri zindagi ki hai dhadkan mein raqsan
Tabassum mein doobi huee uski aankhein
Jo hain neele aakash se dekhti
Jazb karti hai mujhse hi woh roshni

>huhikjn'khZ(
rcLlqeeqLdjkgV(
tT+c[khapuk] vkdZ"k.kA

51

jheeni- thin, transparent;

tabassum- smile,
jazb- suck, attraction

Hay hemantalakshmi,
tomar nayan keno dhaka
O maid of autumn,
why are your eyes hid
behind a thick veil
of foggy gray?
The evening lamp in your hand
shows dim in the mist,
and the tone of your voice
has in it a dewy sadness.
The earth came begging to your door,
and her beggars bowl
you filled with a harvest
of golden corn.
Her granary is full
with your bounty.
But why remain distant and obscure
behind the cover of your gift?
Why do you keep yourself to yourself
in this way,

O maid of autumn?

c^ c]_, T][ X^X EX RE

52

Aye khizaan ki doshiza

,s f[+kt+k dh nks'kht+k
D;kas rqEgkjh vk[kksa ij
lqjebZ /kqa/kyds dk
;s ud+kc gS xgjk

Kyon tumhaari aankhon par

Surmai dhundalke ka
Ye naqaab hai gehara

gS rqEgkjs gkFkksa esa 'kke dk fpjkx+ exj

yx jgh gS dksgjs esa bldh ykS t+jk e)e
vkSj rqEgkjs ygts esa
'kcueh mnklh gS

Hai tumhare hathon mein shaam ka chiraagh magar

vkbZ Fkh t+eha

rsjs nj is feLys&lkby tc
rwus mldk dklk Hkh
nqj&gk,&t+jha ls Hkj fn;k yckyc Fkk
;kuh mldh >ksyh esa
vc t+[+khjk iwjk gS
;s rqEgkjh Q+;kt+h dk dje gqvk ml ij

Aayee thi zameen

rqe exj crkvks rks

D;ksa #dh #dh lh gks\
D;kas Fkdh Fkdh lh gks\
D;ksa cq>h cq>h lh gks\
rqeus D;ksa cuk;k gS
[+kqn dks bl rjg tkuk
,s f[+kt+k dh nks'kht+k

Lag rahi hai kohre mein iski lau zara maddham

Aur tumhaare lahje mein
Shabnami udaasi hai

Tere dar pe misl-e-saail jab

Tune uska kasa bhi
Dur-haa-e-zarreen se bhar diya labalab tha
Yaani uski jholi mein
Ab zakheera poora hai
Ye tumhaari fayyazi ka karam hua us par
Tum magar batao to
Kyon ruki ruki si ho?

Kyon thaki thaki si ho?

Kyon bujhi bujhi si ho?
Tumne kyon banaya hai,
Khud ko is tarah jaanaan
Aye khizaan ki doshiza

f[+kt+kir>M+(
nks'kht+kdqaokjh yM+dh(
feLys&lkbyfHk[kkjh dh rjg(
nqj&gk,&t+jhalksus ds eksrh(
t+[+khjkHkaMkj(
Q+;kt+hnku'khyrkA

53

khizaan-autumn
doshiza- maiden girl
kohre-mist, fog
misl-e-saail- like begger
dur-haa-e-zarreen- glittering pearls
zakheera- treasure
fayyazi- charity

Himer raate oi gaganer deepgulire

Early winter spreads her filmy veil
over midnight stars,
and the call comes from the deep:
Man, bring out your lamp.

The forests are bare of flowers,

the birds have ceased to sing
the river-side grass has shed its blossoms.
Come, Dipali, waken hidden flames
out of the desolate dark,
and offer symphony of praise to eternal light.

The stars are dimmed

the night is disconsolate,
and the call comes from the deep:
Man, bring out your lamp.

c][ [T C+ GGX[ VYm_[

54

Sardi ke mausam ne apni jhini chaadar se

lnhZ ds ekSle us viuh >huh pknj ls

vk/kh jkr ds rkjksa dks <d jD[kk gS
nwj dgha xgjkbZ ls vkokt+ ;s vkrh gS
vkvks djsa pjkx+k
taxy gS Qwyksa ls cjguk
fpfM+;ksa us vius uX+eksa ds eqg lh jD[ks gSa
unh fdukjs mxs gq, lCt+s ds nkeu ls
<yd x, gSa Qwy

Aadhi raat ke taaron ko dhak rakha hai

Door kahin gehrai se aawaaz ye aati hai
Aao karein charaghan
Jungle hai phoolon se barhna
Chidiyon ne apne naghmon ke munh see rakhe hain
Nadi kinare uge huye sabze ke daman se
Dhalak gaye hain phool
Aao, diwali aao

vkvks] fnokyh vkvks

bl lqulku va/ksjs ds
insZ esa Nqis mtkyksa dks
bd ckj txk tkvks
bu jks'kfu;ksa ds ekfyd dh
lc feydj luk djsa
e)e rkjs
eX+ewe gS 'kc
vkSj nwj dgha xgjkbZ ls
vkokt+ ;s vkrh gS
vkvks djsa fpjkx+k

Is sunsaan andhere ke
Parde mein chhupe ujaalon ko
Ik baar jaga jaao
In roshniyon ke malik ki
Sab milkar sana karein
Madham taare
Maghmoom hai shab
Aur door kahin gehrai se

Aawaaz ye aati hai

Aao karein charaghan

>huhikjn'khZ(
pjkx+kjkS'kuh(
cjgukuXu(
eX+ewenq[kksa ls HkjkA

55

ghini- transparent;
charaghan- lighting
barhna- naked
maghmoom- full of sorrows, gloomy

Ore bhai, phagun legechhe

The fire of April
leaps from forest to forest,
flashing up in leaves and flowers
from all nooks and corners.
The sky is thriftless with colours,
The air delirious with songs.
The wind-tost branches of the woodland
Spread their unrest in our blood.
The air is filled
with bewilderment of mirth;
and the breeze rushes
from the flower to flower,
asking their names.

C[ \+, ZmX _GK

56

Aprail ki aatish

vizSy dh vkfr'k
mM+rh gS
taxy&taxy
gS cxksZ&xqy eas 'kksyk lk
gj xks'ks esa] gj dksus esa
gS Q+yd is jaxksa dh egfQ+y
gS oTn esa Mwch gqbZ gok
eLrh esa >werh gSa 'kk[+ksa
Hkjrh gS [+kwu esa cspSuh
d+gd+gs gok esa ?kqys feys
vkSj gYdh gYdh ueZ gok
bBykrh nkSM+rh fQjrh gS
bl Qwy dHkh] ml Qwy dHkh
vLek,&fxjkeh iwNrh gS

Udti hai
Jungle - jungle
Hai barg-o-gul mein shola sa
Har goshe mein, har kone mein
Hai falak pe rangon ki mehafil
Hai wajd mein doobi hui hawa
Masti mein jhoomti hain shakhein
Bharti hain khoon mein bechaini
Qahqahe hawa mein ghule mile
Aur halki halki narm hawa
Ithlati daudti phirti hai
Is phool kabhi, uss phool kabhi
Asma-e-girami poochhti hai

cxksZ&xqyiks ,oa Qwy(

xks'ksdksus esa(
Q+ydvkdk'k(
oTnijekuan dh voLFkk(
d+gd+gsBgkds(
vLek,&fxjkehukeA

57

barg-o-gul- leaves and flowers

goshe- corner
falak- sky
wajd- ecstasy
qahqahe- loud laughter
asma-e-girami- good name