In the middle of the night, tapping away on the laptop, sipping some badly made tea and listening to the verses on you-tube some umpteenth time, has its charms. It has atleast made the insomniac me go crazy on translating those.
I have tried to keep the rythm and meter but any suggestion is welcome.
Film: Zindagi milegi no dobara
Lyrics: Javed Akhtar
Narrator: Farhan Akhtar (Caracter: Imran)
Link: http://www.youtube.com/watch?v=D3UvuleS7iw
(1)
Pighle neelam sa behta hua yeh sama
Neeli neeli si khamoshiyan
Na kahin hai zameen
Na kahin aasmaan
Sarsarati hui tehniyan, pattiyan
Keh rahi hain ki bas ek tum ho yahan
Sirf main hun meri sansain hain aur meri dhadkanen
Aisi gehraiyan
Aisi tanhaiyan
Aur main, sirf main
Apne hone pe mujhko yakin aa gaya.
Trans:
The moments flow by like molten sapphire
Bluish seem the silences
No sign of land anywhere
No trace of the sky
The rustling of the branches, the crackling of leaves
Whispering that only I exist
It’s me, my breath, my heartbeat.
Depth such as this
Solitude such as this
And me, just me
This makes me believe, I live, I do live.
(2)
Ik baat honton tak hai jo aai nahin
Bas ankhon se hai jhaankti
Tumse kabhi, mujhse kabhi
Kuch lafz hai woh maangti
Jinko pehanke honton tak aa jaaye woh
Aawaaz ki baahon mein bahen daalke ithlaye woh
Lekin jo yeh ek baat hai
Ahsas hi ahsas hai
Khushboo si hai jaise hawa mein tairti
Khushboo jo be-aawaaz hai
Jiska pata tumko bhi hai
Jiski khabar mujhko bhi hai
Duniya se bhi chupta nahin
Yeh jaane kaisa raaz hai
Trans:
Words that almost came to my lips remained unsaid,
Through my eyes it just stared.
Sometimes From me, sometimes from you,
A few phrases of comfort it so desired.
Taking their shape it wanted to be spoken and sung
Embraced by my voice it wanted to sway and be swung
But this small little thing
Is a feeling ... just a feeling
Like a fragrance through air it floats
Fragrance that is without voice
Neither of which you are aware
Nor of which I am mindful.
From the world it is not so hidden
Don't know what's all that secret.
(3)
Jab jab dard ka baadal chaya
Jab hum ka saya lehraya
Jab aansoo palkon tak aaya
Jab yeh tanha dil ghabraya
Humne dil ko yeh samjhaya
Dil aakhir tu kyun rota hai?
Duniya mein yun hi hota hai
Yeh jo gehre sannate hain
Waqt ne sabko hi baante hain
Thoda ghum hai sabka kissa
Thodi dhoop hai sabka hissa
Aankh teri bekaar hi nam hai
Har pal ek naya mausam hai
Kyun tu aise pal khota hai
Dil aakhir tu kyun rota hai
Trans:
Every time the cloud of pain did hover,
Every time the my shadows of hurt did loom,
Every time a tear filled my eyes
Every time my scared heart filled with gloom
I tried convincing my heart
Heart, for what do you cry?
For all that happens in the world,
There are no reasons, just no “Why”.
All the piercing silences like these
Time has distributed amongst all with ease.
A little sadness is everyone's tale.
A little sunshine is everyone's share.
Your eyes are damp for just no reason,
Every second is but a whole new season.
Moments like these, why loose, why?
My heart, why despair? For what do you cry?
(4)
Dilon mein tum apni betabiyan leke chal rahe ho
Toh zinda ho tum
Nazar mein khwabon ki bijliyan leke chal rahe ho
Toh zinda ho tum
Hawa ke jhokon ke jaise aazad rehno sikho
Tum ek dariya ke jaise lehron mein behna sikho
Har ek lamhe se tum milo khole apni bahen
Har ek pal ek naya sama dekhen yeh nigahen
Jo apni aankhon mein hairaniyan leke chal rahe ho
Toh zinda ho tum
Dilon mein tum apni Betaabiyan leke chal rahe ho
Toh zinda ho tum
Trans:
If you carry desires in your heart, intense and strong,
Then alive you are.
If in your eyes you carry dreams, mighty as the lightning,
Then alive you are.
Learn to live like these free gentle breezes
Learn to be calm like the lake in stormy waves.
Embrace every moment of your life with arms wide open
May all that your eyes see are dreamy and full of hopin’.
If you carry surprises in your heart, weird and strange
Then you are alive
If you carry desires in your heart, strong and intense,
Then alive you are.
Showing posts with label Translations. Show all posts
Showing posts with label Translations. Show all posts
Thursday, August 04, 2011
Saturday, September 26, 2009
The Lament Of A Heart- Ghalib
No foreword or introduction is necessary for the ballad of a broken heart. Ghazals, too think of it, were created only to assuage just this pain, and ghalib's kalaam has more than helped lay lovers in putting words to feeling.
This Ghazal is portrayed brilliantly on Neena Gupta, in Gulzar's teleserial , Mirza Ghalib. The video can be found here: Please traverse to time, 3:30 for the ghazal.
The transliteration and the translation provided below, id from the book, Mirza Ghalib: A biographical scenario by Gulzar.
Transliteration:
Kisi ko deke dil koi navasanj-e-fughan kyun ho?
Na ho jab dil hi seene me, to phir munh me zaban kyun ho?
Yahi hai aazmana toh, satana kis ko kehte hain
adu ke ho liye jab tum, toh mera intihan kyun ho.
Qafas mein mujhe se rudad-e-chaman kehte na dar hamdum
Giri hai jis pe kal bijli, woh mera aashiyan kyun ho.
Wafa kaisi? Kahan ka ishq? jab sar phorna thehra.
To phir, ae sang-dil, tera sang-e aastan kyun ho.
Translation:
By: Gulzar
( A few changes in words is by me, and I accept the mistakes if any)
Why must you lament after you give away your heart?
If the heart is already lost, Why must the tongue wail?
If this your test, What must your torment be?
If you change your allegiance over to my rival, why this trial?
Don't be scared to tell a caged me, the state of the garden
why must the nestle be mine, where a lightning struck last night.
If I need bang my head, talk not of fate, of love.
and why must it be at your threshold, at your petrified heart.
This Ghazal is portrayed brilliantly on Neena Gupta, in Gulzar's teleserial , Mirza Ghalib. The video can be found here: Please traverse to time, 3:30 for the ghazal.
The transliteration and the translation provided below, id from the book, Mirza Ghalib: A biographical scenario by Gulzar.
Transliteration:
Kisi ko deke dil koi navasanj-e-fughan kyun ho?
Na ho jab dil hi seene me, to phir munh me zaban kyun ho?
Yahi hai aazmana toh, satana kis ko kehte hain
adu ke ho liye jab tum, toh mera intihan kyun ho.
Qafas mein mujhe se rudad-e-chaman kehte na dar hamdum
Giri hai jis pe kal bijli, woh mera aashiyan kyun ho.
Wafa kaisi? Kahan ka ishq? jab sar phorna thehra.
To phir, ae sang-dil, tera sang-e aastan kyun ho.
Translation:
By: Gulzar
( A few changes in words is by me, and I accept the mistakes if any)
Why must you lament after you give away your heart?
If the heart is already lost, Why must the tongue wail?
If this your test, What must your torment be?
If you change your allegiance over to my rival, why this trial?
Don't be scared to tell a caged me, the state of the garden
why must the nestle be mine, where a lightning struck last night.
If I need bang my head, talk not of fate, of love.
and why must it be at your threshold, at your petrified heart.
Thursday, September 24, 2009
Essence in a mantra.
Original Sanskrit Text:
(Image copied from web)
The mantra, called the Prajna-paramita Hrdaya Sutram (The Heart Sutra) is the key for understaing the essential Buddhist philosophy. The sutra, originally in sanskrit, elucidates suffering and the cause of suffering as objects which itself is without form and momentary.
Listen to the rendetion of the Mantra by western scholars here. The prononciation is not how a vedic or tibetian scholar would do, but the usage of music is pleasant.
Transliteration of the original Sanskrit Sutra:
|| Namah Sarvajnyaya||
arya avalokitesvara bodhisattvo
gambhirayam prajnaparamitayam charyam charamano
vyavalokayati sma pancha skandhah. Tascha svabhavasunyam pasyati sma.
Iha sariputra, rupam sunyata, sunyata eva rupam, rupan na prithak
sunyata, sunyataya na prithak rupam.
yad rupam sa sunyata ya sunyata tad rupam.
evam eva vedana samjna samskara vijnanani.
Iha sariputra sarva dharmah sunyata laksana,
anutpanna, aniruddha amala na avimala na una na paripurnah.
Tasmat sariputra Sunyatayan na rupam,
na vedana, na samjna, na samskara, na vijnanani.
Na chaksuh srotan, na ghrana jihva kaya manansi
Na rupam sabda gandha rasa spastavya dharmah.
Na chaksu dhatuh yavan na manovijnanam dhatuh.
Na vidya na avidya na vidya ksayo, na avidya ksayo
yavan na jara-maranam, na jara-marano ksayo,
na duhkha samudaya nirdoha margah
na jnanam na praptih apraptivena.
Bodhisattvasya prajnaparamitam asritya
viharatya chittavaranah. cittavarana
nasti tvad avasto viparya asti kranto
nistha nirvanaha.
Tryadhva-vyavasthitaah sarvabuddhaah
prajnaaparamitaam aashritya anuttaraam samyak
sambodhim abhisambuddhaah.
Tasmaad jnaatavyo prajnaaparamitaa-mahaamantrah
mahaavidyaa-mantrah anuttara-mantrah asamasama-mantrah,
sarvadukha-prashamanah, satyam amithyatvaat,
prajnaaparamitaayaam ukto mantrah
tadyatha
GATE GATE PARAGATE PARASANGATE BODHI SVAAHA
||Iti prajnaparamita-hridayam samaptam.
Translation in English:
(The translation is attempted line by line, and can be compared with the transliterated sanskrit text copied above.)
|| Greetings to the Omniscent ||
When, holy boddhisattva, Avalokitsvara was in deep thought
contemplating on Transcendental wisdom, he realized the existance of the
five elements, but observed that these were devoid of the essential characteristics.
Here, Sariputra, Form is void and void itself is form. Form is no different
from emptiness, and emptiness is no different from form.
What ever has form is void and whatever is void has form.
And so it is with feeling, conception, volition, and consciousness.
So Sariputra, All things have characteristics of the voidness.
They can neither be created nor they can perish, they are neither defiled nor pure, neither deficient nor complete.
Therefore, Shaariputra, within the voidness, there is no form,
no perception, no conception, no volition, nor consciousness.
Neither is there eye, ear, nose, tongue, body or mind.
Neither is there form, sound, smell, taste, touch nor concepts
Neither is there realm of sight and so forth uptill the realm of non-existence of consciousness.
Neither is there wisdom, nor ignorance, nor extinction of wisdom, nor extinction of ignorance,
and so forth, till we come to the non-existence of old age and death and the non-extinction of old age and death.
Neither is there suffering, cause of suffering, extinction of suffering, nor the path leading to extinction of suffering.
Neither is there wisdom nor acquisition because there is no understanding.
Submitting to the bodhisattva's highest Transcendental Wisdom,
one dwells without any mental hindrance.
Because of the absence of mental hindrance, one is fearless;
freed from all distorted and delusionary thoughts, one achieves Nirvana.
All Buddhas dwelling in the three periods
realize the highest, perfect enlightenment
depending on the Perfection of Transcendent Wisdom.
For this reason, know that the Great Mantra of the perfection of transcendental wisdom
is the Great Wisdom Mantra, the unsurpassed Mantra, the unequalled Mantra.
It obliterates all suffering, and is true and real because it is not false.
It is the mantra proclaimed in the Perfection of transcendental wisdom.
Thus,
Gone, Gone, Gone Completely, Gone forever, Praise to the Buddha.
|| Thus ends the essence of the transcendental Wisdom, Heart Sutra.
Related Sites:
1.Wiki: http://en.wikipedia.org/wiki/Heart_Sutra
2. zen: http://www.andrew-may.com/zendynamics/heart.htm
3. Abt Om Mani Padma Hun: http://www.dharma-haven.org/tibetan/meaning-of-om-mani-padme-hung.htm#Mani
4. Buddhism, karmapa's Page: http://www.dharma-haven.org/index.htm
(Image copied from web)
The mantra, called the Prajna-paramita Hrdaya Sutram (The Heart Sutra) is the key for understaing the essential Buddhist philosophy. The sutra, originally in sanskrit, elucidates suffering and the cause of suffering as objects which itself is without form and momentary.
Listen to the rendetion of the Mantra by western scholars here. The prononciation is not how a vedic or tibetian scholar would do, but the usage of music is pleasant.
Transliteration of the original Sanskrit Sutra:
|| Namah Sarvajnyaya||
arya avalokitesvara bodhisattvo
gambhirayam prajnaparamitayam charyam charamano
vyavalokayati sma pancha skandhah. Tascha svabhavasunyam pasyati sma.
Iha sariputra, rupam sunyata, sunyata eva rupam, rupan na prithak
sunyata, sunyataya na prithak rupam.
yad rupam sa sunyata ya sunyata tad rupam.
evam eva vedana samjna samskara vijnanani.
Iha sariputra sarva dharmah sunyata laksana,
anutpanna, aniruddha amala na avimala na una na paripurnah.
Tasmat sariputra Sunyatayan na rupam,
na vedana, na samjna, na samskara, na vijnanani.
Na chaksuh srotan, na ghrana jihva kaya manansi
Na rupam sabda gandha rasa spastavya dharmah.
Na chaksu dhatuh yavan na manovijnanam dhatuh.
Na vidya na avidya na vidya ksayo, na avidya ksayo
yavan na jara-maranam, na jara-marano ksayo,
na duhkha samudaya nirdoha margah
na jnanam na praptih apraptivena.
Bodhisattvasya prajnaparamitam asritya
viharatya chittavaranah. cittavarana
nasti tvad avasto viparya asti kranto
nistha nirvanaha.
Tryadhva-vyavasthitaah sarvabuddhaah
prajnaaparamitaam aashritya anuttaraam samyak
sambodhim abhisambuddhaah.
Tasmaad jnaatavyo prajnaaparamitaa-mahaamantrah
mahaavidyaa-mantrah anuttara-mantrah asamasama-mantrah,
sarvadukha-prashamanah, satyam amithyatvaat,
prajnaaparamitaayaam ukto mantrah
tadyatha
GATE GATE PARAGATE PARASANGATE BODHI SVAAHA
||Iti prajnaparamita-hridayam samaptam.
Translation in English:
(The translation is attempted line by line, and can be compared with the transliterated sanskrit text copied above.)
|| Greetings to the Omniscent ||
When, holy boddhisattva, Avalokitsvara was in deep thought
contemplating on Transcendental wisdom, he realized the existance of the
five elements, but observed that these were devoid of the essential characteristics.
Here, Sariputra, Form is void and void itself is form. Form is no different
from emptiness, and emptiness is no different from form.
What ever has form is void and whatever is void has form.
And so it is with feeling, conception, volition, and consciousness.
So Sariputra, All things have characteristics of the voidness.
They can neither be created nor they can perish, they are neither defiled nor pure, neither deficient nor complete.
Therefore, Shaariputra, within the voidness, there is no form,
no perception, no conception, no volition, nor consciousness.
Neither is there eye, ear, nose, tongue, body or mind.
Neither is there form, sound, smell, taste, touch nor concepts
Neither is there realm of sight and so forth uptill the realm of non-existence of consciousness.
Neither is there wisdom, nor ignorance, nor extinction of wisdom, nor extinction of ignorance,
and so forth, till we come to the non-existence of old age and death and the non-extinction of old age and death.
Neither is there suffering, cause of suffering, extinction of suffering, nor the path leading to extinction of suffering.
Neither is there wisdom nor acquisition because there is no understanding.
Submitting to the bodhisattva's highest Transcendental Wisdom,
one dwells without any mental hindrance.
Because of the absence of mental hindrance, one is fearless;
freed from all distorted and delusionary thoughts, one achieves Nirvana.
All Buddhas dwelling in the three periods
realize the highest, perfect enlightenment
depending on the Perfection of Transcendent Wisdom.
For this reason, know that the Great Mantra of the perfection of transcendental wisdom
is the Great Wisdom Mantra, the unsurpassed Mantra, the unequalled Mantra.
It obliterates all suffering, and is true and real because it is not false.
It is the mantra proclaimed in the Perfection of transcendental wisdom.
Thus,
Gone, Gone, Gone Completely, Gone forever, Praise to the Buddha.
|| Thus ends the essence of the transcendental Wisdom, Heart Sutra.
Related Sites:
1.Wiki: http://en.wikipedia.org/wiki/Heart_Sutra
2. zen: http://www.andrew-may.com/zendynamics/heart.htm
3. Abt Om Mani Padma Hun: http://www.dharma-haven.org/tibetan/meaning-of-om-mani-padme-hung.htm#Mani
4. Buddhism, karmapa's Page: http://www.dharma-haven.org/index.htm
Wednesday, July 15, 2009
Two for 'Zafar'
We have heard of valiant warrior poets, poet kings with the smile of eros and the body of adonis, but imagine a 60 year old prince becoming the king. With his four queens tucked along and unkept princes running around, the king, with his toothy grin and bent back, must have been an ugly sight. But what the public would have failed to see was his heart which no longer was a mughal but had turned Hindustani like the man that the king was.
Bahadur shah may have been no doubt a Mughal but Zafar was an Indian.
The following two poems by Zafar is a proof of that.
Title: Lagta Nahin Hai Dil Mera
Poet: Bahadur Shah Zafar
Performer: Mohd rafi.
Film: Lal Quila
Lagta Nahin Hai Dil Mera Ujde Dayaar Mein
Kiski Bani Hai Aalam-E-Napaydaar Mein
Dayar - City; Aalam-e-Napaidar - The Mortal World
Keh Do In Hasraton Se Kahin Aur Ja Basein
Itni Jageh Kahan Hai Dil-E-Daagdar Mein
Hasraton: Fancies/desires Dil-e-Daagdaar - Sorrowful Heart
Umr-E-Daraaz Mang Kar Laye The Chaar Din
Do Aarzoo Mein Kat Gaye Do Intezaar Mein
Umr-e-Daraz - Long Life
Kitna Hai Badnaseeb zafar Dafan Ke Liye
Do Gaz Zameen Bhi Na Mili Kuch-E-Yaar Mein
Dafn - Burial; Koo-e-Yaar - Land of the Beloved
Translation:
My heart is so very unhappy on this barren earth,
But who has ever been contended on this mortal hearth
Please ask my fancies to go dwell some place else
There remains no room enough in this sorrow filled heart
I had requested a long life all of four days
Two have passed pining and two spent in the wait
How ill-fated is zafar that for his own burial
Two yards of land was not fated in the land of his beloved.
Title: Na Kisi Ki Aankh Ka Noor Hoon
Poet: Bahadur Shah Zafar
Performed : Mohd Rafi
Film: Lal Quila
Na kisi ki aankh ka noor hoon, na kisi ke dil ka qaraar hoon
Jo kisi ke kaam na aa sake main wo ek musht-e-Gubaar hoon
Qaraar: Ease, Satisfaction; Noor: Light; Musht: The fist/—a blow with the clenched fist/—a handful/—a few; Gubaar: Dirt/Dust
Na to main kisi ka habib hoon, no to main kisi ka raqeeb hoon
Jo bigad gaya wo naseeb hoon, jo ujaad gaya wo dayaar hoon
habib: beloved; raqeeb: enemy; naseeb: fate; dayaar= place
Mera rang-roop bigad gaya, mera yaar mujh se bichhad gaya
Jo chaman fizaan mein ujad gaya main usi ki fasl-e-bahaar hoon
chaman: garden; fizaan: environment; fasl: yield,harvest; bahaar: bloom, beuty, glory;
Paye faatehaa koi aaye kyun, koi chaar phool chadhaaye kyun
Koi aake shammaa jalaye kyun, main wo bekasi ka mazaar hoon
Fateh:Aperture, Conquest, Opening, Sucess, Victory; shamaa: lamp,candle; bekasi: despair; Mazaar: Mausoleum, Shrine, Tomb, Grave
Bahadur shah may have been no doubt a Mughal but Zafar was an Indian.
The following two poems by Zafar is a proof of that.
Title: Lagta Nahin Hai Dil Mera
Poet: Bahadur Shah Zafar
Performer: Mohd rafi.
Film: Lal Quila
Lagta Nahin Hai Dil Mera Ujde Dayaar Mein
Kiski Bani Hai Aalam-E-Napaydaar Mein
Dayar - City; Aalam-e-Napaidar - The Mortal World
Keh Do In Hasraton Se Kahin Aur Ja Basein
Itni Jageh Kahan Hai Dil-E-Daagdar Mein
Hasraton: Fancies/desires Dil-e-Daagdaar - Sorrowful Heart
Umr-E-Daraaz Mang Kar Laye The Chaar Din
Do Aarzoo Mein Kat Gaye Do Intezaar Mein
Umr-e-Daraz - Long Life
Kitna Hai Badnaseeb zafar Dafan Ke Liye
Do Gaz Zameen Bhi Na Mili Kuch-E-Yaar Mein
Dafn - Burial; Koo-e-Yaar - Land of the Beloved
Translation:
My heart is so very unhappy on this barren earth,
But who has ever been contended on this mortal hearth
Please ask my fancies to go dwell some place else
There remains no room enough in this sorrow filled heart
I had requested a long life all of four days
Two have passed pining and two spent in the wait
How ill-fated is zafar that for his own burial
Two yards of land was not fated in the land of his beloved.
Title: Na Kisi Ki Aankh Ka Noor Hoon
Poet: Bahadur Shah Zafar
Performed : Mohd Rafi
Film: Lal Quila
Na kisi ki aankh ka noor hoon, na kisi ke dil ka qaraar hoon
Jo kisi ke kaam na aa sake main wo ek musht-e-Gubaar hoon
Qaraar: Ease, Satisfaction; Noor: Light; Musht: The fist/—a blow with the clenched fist/—a handful/—a few; Gubaar: Dirt/Dust
Na to main kisi ka habib hoon, no to main kisi ka raqeeb hoon
Jo bigad gaya wo naseeb hoon, jo ujaad gaya wo dayaar hoon
habib: beloved; raqeeb: enemy; naseeb: fate; dayaar= place
Mera rang-roop bigad gaya, mera yaar mujh se bichhad gaya
Jo chaman fizaan mein ujad gaya main usi ki fasl-e-bahaar hoon
chaman: garden; fizaan: environment; fasl: yield,harvest; bahaar: bloom, beuty, glory;
Paye faatehaa koi aaye kyun, koi chaar phool chadhaaye kyun
Koi aake shammaa jalaye kyun, main wo bekasi ka mazaar hoon
Fateh:Aperture, Conquest, Opening, Sucess, Victory; shamaa: lamp,candle; bekasi: despair; Mazaar: Mausoleum, Shrine, Tomb, Grave
Wednesday, July 08, 2009
I am drunk
I dont consider myself a confirmed alchoholic, but I couldnt help falling in love with the poem, the moment I heard it for the first time. The pen of Meer and the silken voice of Chaya Ganguly combine uplifting the listening hearts to an ethereal plane, that can only be experienced and never spoken of. I will not attempt an clumsy translation here and will leave the reader with his own imagination and just an handout of meanings for some of the words I deemed difficult.
Lyrics: Meer Taqi Meer
Performer: Chaya Ganguli
Video:
yaaron mujhe muaaf rakho, main nashe mein hoon
ab jaam do to khali hi do, main nashe mein hoon (1)
Muaaf: Pardon, Forgve
Nasha: Addiction, Arrogance, Intoxication, Pride
Jaam: Goblet, Wineglass
ya haathon-haath lo mujhe maanind-e-jaam-e-mai
ya thodi door saath chalo, main nashe mein hoon (2)
Haathon-Haath: Hand in Hand
Maanind: Just As, Like, Similar To, Same As
Jaam-e-Mai: Glass filled with wine
maazoor hoon jo paa’on mera betaraah pare
tum sar-garaaN to mujhse na ho main nashe mein hoon (3)
Maazoor: Helpless
Paa’on: Feet, Legs
Betaraah: Unsteady
Garaan: Heavy Difficult
sar-GaraaN: Annoyed
naazuk mizaaj aap, qayaamat hain mir-ji
joon sheesha mere munh na lago, main nashe mein hoon (4)
Naazuk: Brittle, Delicate, Fragile, Light, Slender, Thin
Mizaaj: Mixture, Temperament, Humor, Pride, Nature, State Of Being
Qayaamat: Apocalypse, Resurrection, Judgement Day, Tumult
Mir: A reference to the poet, Meer Taqi Meer
ik aik furt-e-daur mein yoon hi mujhay bhi do
jaam-e-sharaab pur na karo, main nashe mein hoon (5)
Furt: Intense, Hurried
Daur: Age, Course, Cycle, Era, Orbit, Period, Phase, Race, Reign, Revolving
Furt-e-Daur: Intense Rounds
Pur: Full, Complete, Laden
masti se darhami hai meri guftagoo ke beech
jo chaaho tum bhi mujh ko kaho, main nashe mein hoon (6)
Masti: Lust, Intoxication
Dar-ham: Intermixed, confused, confounded, jumbled, angry:
Guftagoo: Conversation, Discourse, Speech, Talk
bhaagi namaaz-e-jum’a to jaati nahin hai kuchh
chalta hoon main bhi tak to raho, main nashe mein hoon. (7)
Baaghi: Enemy, Rebel
Namaaz: Prayer
Jum’a: The day of the congregation’; Friday (on which day Musalmans assemble to pray at the great mosque); a collection (of things), a handful
Tak: Up to, Until
kya janey keh gaya hoon nashe mein khabar nahin
mera na kuchh khayaal karo, main nashe mein hoon (8)
Khabar: Account, Awareness, Information, Knowledge, News, Notice, Report, Rumor, Watchfulness
Khayaal: Care, Imagination, Judgement, Opinion, Respect, Remember, Thought, Whim
gham se zara najaat mili bekhudi mein aaj
ab mera intazaar karo, main nashe main hoon (9)
Najaat: Freedom (From), Salvation
Be-khudi: Being besides Oneself, Intoxication, Rapture, Senseless
Intazaar: Await, Expectation, Lurch, Waiting (Anxiously)
Note: The performance of Chaya Ganguli is till verse 5.
Lyrics: Meer Taqi Meer
Performer: Chaya Ganguli
Video:
yaaron mujhe muaaf rakho, main nashe mein hoon
ab jaam do to khali hi do, main nashe mein hoon (1)
Muaaf: Pardon, Forgve
Nasha: Addiction, Arrogance, Intoxication, Pride
Jaam: Goblet, Wineglass
ya haathon-haath lo mujhe maanind-e-jaam-e-mai
ya thodi door saath chalo, main nashe mein hoon (2)
Haathon-Haath: Hand in Hand
Maanind: Just As, Like, Similar To, Same As
Jaam-e-Mai: Glass filled with wine
maazoor hoon jo paa’on mera betaraah pare
tum sar-garaaN to mujhse na ho main nashe mein hoon (3)
Maazoor: Helpless
Paa’on: Feet, Legs
Betaraah: Unsteady
Garaan: Heavy Difficult
sar-GaraaN: Annoyed
naazuk mizaaj aap, qayaamat hain mir-ji
joon sheesha mere munh na lago, main nashe mein hoon (4)
Naazuk: Brittle, Delicate, Fragile, Light, Slender, Thin
Mizaaj: Mixture, Temperament, Humor, Pride, Nature, State Of Being
Qayaamat: Apocalypse, Resurrection, Judgement Day, Tumult
Mir: A reference to the poet, Meer Taqi Meer
ik aik furt-e-daur mein yoon hi mujhay bhi do
jaam-e-sharaab pur na karo, main nashe mein hoon (5)
Furt: Intense, Hurried
Daur: Age, Course, Cycle, Era, Orbit, Period, Phase, Race, Reign, Revolving
Furt-e-Daur: Intense Rounds
Pur: Full, Complete, Laden
masti se darhami hai meri guftagoo ke beech
jo chaaho tum bhi mujh ko kaho, main nashe mein hoon (6)
Masti: Lust, Intoxication
Dar-ham: Intermixed, confused, confounded, jumbled, angry:
Guftagoo: Conversation, Discourse, Speech, Talk
bhaagi namaaz-e-jum’a to jaati nahin hai kuchh
chalta hoon main bhi tak to raho, main nashe mein hoon. (7)
Baaghi: Enemy, Rebel
Namaaz: Prayer
Jum’a: The day of the congregation’; Friday (on which day Musalmans assemble to pray at the great mosque); a collection (of things), a handful
Tak: Up to, Until
kya janey keh gaya hoon nashe mein khabar nahin
mera na kuchh khayaal karo, main nashe mein hoon (8)
Khabar: Account, Awareness, Information, Knowledge, News, Notice, Report, Rumor, Watchfulness
Khayaal: Care, Imagination, Judgement, Opinion, Respect, Remember, Thought, Whim
gham se zara najaat mili bekhudi mein aaj
ab mera intazaar karo, main nashe main hoon (9)
Najaat: Freedom (From), Salvation
Be-khudi: Being besides Oneself, Intoxication, Rapture, Senseless
Intazaar: Await, Expectation, Lurch, Waiting (Anxiously)
Note: The performance of Chaya Ganguli is till verse 5.
Friday, June 26, 2009
In the praise of the Lord:
-
Mere banay ki baat na poocho:
Note: This Qawwali sung for the first time in the twelfth century, written by Amir Khusro, is a song in the praise of Prophet Muhammad. The poet imagines the prophet as a bridegroom and himself as the lover and bride. The gist of Sufi with the oneness of the man and the lord, is evident and the perhaps the key of this poem.
Like any other sufi or baul music, this qawwali can be best enjoyed when singing along and clapping to the tune of the harmonium.
Album: Rung
Genre: Qawwali
Poet/Lyrics: Amir Khusrau
Performer: Manzoor Niazi & Troupe
Mere banay ki baat na poocho mera bana haryala hai
Mere banay ki baat na poocho mera bana haryala hai
(haryala: Fresh/Green)
Mere banay ki baat na poocho mera bana haryala hai
Khusrave khooban sarwari aalam taj e shafaa'at wala hai
(sarwari : Leadership; aalam: world/universe/beauty; Taj: Crown/Tiara; Shafaaat: Mediation, )
Manmohan bohot tere he daikhe, aisa to dekha na bhala banna
Donon jagat ko loot ke baitha phir bhi bhola bhala hai
Us pe nazar jab jam jaati hai, phir nahi jajta koi nazar mein
Jis ne nazar paayi hai oonchi, bus japta usiki mala hai
Husn ke charchay uske dam se, ronaq e aalam uske qadam se
Noor ke saanchay mein qudrat ne usko kuch aisa dhala hai
(husn:beauty; Noor: Bright/Light; Saancha: Mould; dhala:Mould)
Nabi waali sub uske barati, kis mein uski baat hai aati
Kaamil mera raj dulhara, sub se Alfaaz o aala hai
(Nabi: A Prophet; Waali: Chief/Governor; Kaamil: Absolute/Complete/Learned; Aala: Best/greatest; Alfaaz: Words;)
Mere banay ki baat na poocho:
Note: This Qawwali sung for the first time in the twelfth century, written by Amir Khusro, is a song in the praise of Prophet Muhammad. The poet imagines the prophet as a bridegroom and himself as the lover and bride. The gist of Sufi with the oneness of the man and the lord, is evident and the perhaps the key of this poem.
Like any other sufi or baul music, this qawwali can be best enjoyed when singing along and clapping to the tune of the harmonium.
Album: Rung
Genre: Qawwali
Poet/Lyrics: Amir Khusrau
Performer: Manzoor Niazi & Troupe
Mere banay ki baat na poocho mera bana haryala hai
Mere banay ki baat na poocho mera bana haryala hai
(haryala: Fresh/Green)
Mere banay ki baat na poocho mera bana haryala hai
Khusrave khooban sarwari aalam taj e shafaa'at wala hai
(sarwari : Leadership; aalam: world/universe/beauty; Taj: Crown/Tiara; Shafaaat: Mediation, )
Manmohan bohot tere he daikhe, aisa to dekha na bhala banna
Donon jagat ko loot ke baitha phir bhi bhola bhala hai
Us pe nazar jab jam jaati hai, phir nahi jajta koi nazar mein
Jis ne nazar paayi hai oonchi, bus japta usiki mala hai
Husn ke charchay uske dam se, ronaq e aalam uske qadam se
Noor ke saanchay mein qudrat ne usko kuch aisa dhala hai
(husn:beauty; Noor: Bright/Light; Saancha: Mould; dhala:Mould)
Nabi waali sub uske barati, kis mein uski baat hai aati
Kaamil mera raj dulhara, sub se Alfaaz o aala hai
(Nabi: A Prophet; Waali: Chief/Governor; Kaamil: Absolute/Complete/Learned; Aala: Best/greatest; Alfaaz: Words;)
A Qawwali for the heart
-
Khabar-e-tahiiyyur-e-ishq sun
Khabar-e-tahiiyyur-e-ishq sun, na junoon raha na pari rahi
na to tuu rahaa, na to main rahaa, jo rahi so be-khabari rahi
(Khabar: report; tahiiyyur-e-ishq: wonders of love; junoon : frenzy/furor; pari : fairy/fantasy, be-khabari: unawareness)
Listen to the wonders of love, neither the furor nor the fancy remain
Neither you nor I exist, but a deadly unawareness is all that remain
sha’h-e-be-khudi ne ata kiya mujhe ab libas-e-barahnagi
na Khirad ki bakhyaagiri rahi, na junoon ki parda-dari rahi
(sha’h : grace; be-Khudii : ecstasy; Ata: Benefaction/Concession; libaas : dress; barahnagi: nakedness; Khirad: intellect; bakhyaagiri: stitching; parda-dari: veil)
The grace of ecstasy has adorned me with the cloths of nakedness
Neither intellect nor a stitch on me, only the veil of hysteria remain
chali simt-e-ghaib se ek hawa ke chaman surur ka jal gaya
magar ek shakh-e-nihal-e-Gham jise dil kahen so hari rahi
(simt-e-Ghaib : from the unknown; hawa: breeze/wind; chaman : garden; surur : intoxication; shaaKh-e-nihaal-e-Gham : a branch nurtured by pain; hari : green)
From the land of unknown blows a breeze, that burns the garden of intoxication,
But of all that is green, is a branch nurtured by pain, called the heart, remain
nazar-e-taghaful-e-yaar ka, gila kis zubaan se karun bayaan
ki sharaab-e-sad-qadhe arzuu, Khum-e-dil men thi so bhari rahi
(nazar-e-taGhaaful-e-yaar : heedless glances of the beloved; gilaa : complain; bayaan : explain; sharaab-e-sad-qadhe aarzuu : hundred cups of wine of desire; Khum : decanter; bharii : filled)
In which words should I complain of the heedless glances of my beloved?
When the hundred cups desire filled in the decanter called heart remain.
woh ajab ghadi thi main jis ghadi liya dars nuskha-e-ishq ka
ki kitab aql ki taaq par, jo dhari thi yun hi dhari rahi
(ajab:strange; ghadi : moment; dars : class; nuskha-e-ishq : lessons of love; taaq : shelf; aql:intellect)
Those were strange times when I had taken the lessons of love,
On the shelf that it had lain before, the book of intellect still remain
tere josh-e-hairat-e-husn ka asar is qadar se ayaan hua
ke na aaine main jila rahi, na pari ki jalwa-gari rahi
(josh : passion; hairat : bewilderment; husn : beauty; ayaan : obvious; Jila: Luster; Jalvaa-garii: Manifestation )
The passion of bewilderment of your beauty has become obvious
Neither the mirror remains lustrous nor the displays of fancy remain.
Kiya Khaak aatish-e-ishq ne dil-e-be-navaa-e-”Siraj” ko
na Khatar raha, na hazar raha, magar ek be-Khatari rahi
(Khaak : ashes; aatish-e-ishq: fire of love; dil-e-be-navaa-e-”Siraj” : desolate heart of Siraj; Khatar : fear; hazar : care; be-Khatari : fearlessness)
The fire of love has reduced the desolate heart of Siraj to ashes
Neither fear nor care exist, But a feeling of fearlessness remain.
Lyrcis: Siraj Aurangabadi
Album : Rung
Performed by: Munshi Raziuddin & Troupe
Khabar-e-tahiiyyur-e-ishq sun
Khabar-e-tahiiyyur-e-ishq sun, na junoon raha na pari rahi
na to tuu rahaa, na to main rahaa, jo rahi so be-khabari rahi
(Khabar: report; tahiiyyur-e-ishq: wonders of love; junoon : frenzy/furor; pari : fairy/fantasy, be-khabari: unawareness)
Listen to the wonders of love, neither the furor nor the fancy remain
Neither you nor I exist, but a deadly unawareness is all that remain
sha’h-e-be-khudi ne ata kiya mujhe ab libas-e-barahnagi
na Khirad ki bakhyaagiri rahi, na junoon ki parda-dari rahi
(sha’h : grace; be-Khudii : ecstasy; Ata: Benefaction/Concession; libaas : dress; barahnagi: nakedness; Khirad: intellect; bakhyaagiri: stitching; parda-dari: veil)
The grace of ecstasy has adorned me with the cloths of nakedness
Neither intellect nor a stitch on me, only the veil of hysteria remain
chali simt-e-ghaib se ek hawa ke chaman surur ka jal gaya
magar ek shakh-e-nihal-e-Gham jise dil kahen so hari rahi
(simt-e-Ghaib : from the unknown; hawa: breeze/wind; chaman : garden; surur : intoxication; shaaKh-e-nihaal-e-Gham : a branch nurtured by pain; hari : green)
From the land of unknown blows a breeze, that burns the garden of intoxication,
But of all that is green, is a branch nurtured by pain, called the heart, remain
nazar-e-taghaful-e-yaar ka, gila kis zubaan se karun bayaan
ki sharaab-e-sad-qadhe arzuu, Khum-e-dil men thi so bhari rahi
(nazar-e-taGhaaful-e-yaar : heedless glances of the beloved; gilaa : complain; bayaan : explain; sharaab-e-sad-qadhe aarzuu : hundred cups of wine of desire; Khum : decanter; bharii : filled)
In which words should I complain of the heedless glances of my beloved?
When the hundred cups desire filled in the decanter called heart remain.
woh ajab ghadi thi main jis ghadi liya dars nuskha-e-ishq ka
ki kitab aql ki taaq par, jo dhari thi yun hi dhari rahi
(ajab:strange; ghadi : moment; dars : class; nuskha-e-ishq : lessons of love; taaq : shelf; aql:intellect)
Those were strange times when I had taken the lessons of love,
On the shelf that it had lain before, the book of intellect still remain
tere josh-e-hairat-e-husn ka asar is qadar se ayaan hua
ke na aaine main jila rahi, na pari ki jalwa-gari rahi
(josh : passion; hairat : bewilderment; husn : beauty; ayaan : obvious; Jila: Luster; Jalvaa-garii: Manifestation )
The passion of bewilderment of your beauty has become obvious
Neither the mirror remains lustrous nor the displays of fancy remain.
Kiya Khaak aatish-e-ishq ne dil-e-be-navaa-e-”Siraj” ko
na Khatar raha, na hazar raha, magar ek be-Khatari rahi
(Khaak : ashes; aatish-e-ishq: fire of love; dil-e-be-navaa-e-”Siraj” : desolate heart of Siraj; Khatar : fear; hazar : care; be-Khatari : fearlessness)
The fire of love has reduced the desolate heart of Siraj to ashes
Neither fear nor care exist, But a feeling of fearlessness remain.
Lyrcis: Siraj Aurangabadi
Album : Rung
Performed by: Munshi Raziuddin & Troupe
Thursday, January 15, 2009
With her eyes:
Note:
This qawali sung by Aziz ahmed kahan Warsi is a cornerstone and a must hear for any qawal enthusiast. After realizing my incompetence at translating the master poetry, I take my leave by handing over the untranslated lyrics and a guide to urdu dictionary.
Do listen to Warsi singing this, and you will realize why Qawali intoxicates and makes it follower sway with rythm, with just some tabla and some claps.
Yeh Kisne Nigahon se (Qawali)
Yeh kisne nigahon se sagar pilaye,
Khudi par meri bekhudee banke chaye. (1)
Khabardar aye dil, Mecca me adab hai,
Kahin baadahnoshi pe dhabba na aaye. (2)
Kai baar ubhre, kai baar doobe
Kai baar toofan ke chakkar me aaye (3)
Kisi ki mohabbat ne aisa duboya
Bahut koshishein ki ubharne na paye. (4)
Mohabbat woh kya jisme khuddariyan ho
Ibadat woh kya jisme pabandiyan ho (5)
Hakikat me zaheer wohi bandagi hai
jahan sar jhuke aastan jhuk jaaye (6)
kai baar sahil se takrai kashti
kai baar takrake sahil pe aaye (7)
Talasho talab me woh lazzat mili hai
Dua kar raha hun ke manzil na aaye. (8)
Meanings: Urdu to English
Please use : http://www.geocities.com/urdudict/ for translating Urdu to English). Some FAQ meanings have been noted below:
Verse 1.
Be-khudee: Being besides Oneself, Intoxication, Rapture, Senseless
Verse 2.
Adab: Courtsey
Baadah noshi: Jollification, Festivity, Celebration
Verse 3.
Ubharna: Emerge, Jut
Verse 4.
Ibaadat: Prayers, Devotion
Khuddaarii: Self-Respect
Paa band : Restricted
5.
Verse 6.
Zaheer: Ally, Associate, Assistant
Aastaan: Abode, Threshold
Bandagi: Devotion, Worship, Service
Verse 7.
Sahil: river
Kashti: Boat
Verse 8.
Talaash: Look For, Inquiry, Search, Quest, Zetetic
Talab: Demand, Desire, Inquiry, Need, Pursuit, Quest, Request, Search, Want, Wish, Yen
Lazzat: Taste, Deliciousness, Joy, Pleasurable Experience, Relish, Pleasure Enjoyment, Flavour
Duaa: Blessing, Prayer, Wish
This qawali sung by Aziz ahmed kahan Warsi is a cornerstone and a must hear for any qawal enthusiast. After realizing my incompetence at translating the master poetry, I take my leave by handing over the untranslated lyrics and a guide to urdu dictionary.
Do listen to Warsi singing this, and you will realize why Qawali intoxicates and makes it follower sway with rythm, with just some tabla and some claps.
Yeh Kisne Nigahon se (Qawali)
Yeh kisne nigahon se sagar pilaye,
Khudi par meri bekhudee banke chaye. (1)
Khabardar aye dil, Mecca me adab hai,
Kahin baadahnoshi pe dhabba na aaye. (2)
Kai baar ubhre, kai baar doobe
Kai baar toofan ke chakkar me aaye (3)
Kisi ki mohabbat ne aisa duboya
Bahut koshishein ki ubharne na paye. (4)
Mohabbat woh kya jisme khuddariyan ho
Ibadat woh kya jisme pabandiyan ho (5)
Hakikat me zaheer wohi bandagi hai
jahan sar jhuke aastan jhuk jaaye (6)
kai baar sahil se takrai kashti
kai baar takrake sahil pe aaye (7)
Talasho talab me woh lazzat mili hai
Dua kar raha hun ke manzil na aaye. (8)
Meanings: Urdu to English
Please use : http://www.geocities.com/urdudict/ for translating Urdu to English). Some FAQ meanings have been noted below:
Verse 1.
Be-khudee: Being besides Oneself, Intoxication, Rapture, Senseless
Verse 2.
Adab: Courtsey
Baadah noshi: Jollification, Festivity, Celebration
Verse 3.
Ubharna: Emerge, Jut
Verse 4.
Ibaadat: Prayers, Devotion
Khuddaarii: Self-Respect
Paa band : Restricted
5.
Verse 6.
Zaheer: Ally, Associate, Assistant
Aastaan: Abode, Threshold
Bandagi: Devotion, Worship, Service
Verse 7.
Sahil: river
Kashti: Boat
Verse 8.
Talaash: Look For, Inquiry, Search, Quest, Zetetic
Talab: Demand, Desire, Inquiry, Need, Pursuit, Quest, Request, Search, Want, Wish, Yen
Lazzat: Taste, Deliciousness, Joy, Pleasurable Experience, Relish, Pleasure Enjoyment, Flavour
Duaa: Blessing, Prayer, Wish
Wednesday, May 07, 2008
Oh Sweet Stranger!
--------
The song Aami Chini go is a playful ode to a beautiful stranger, the mood of the song vacillating sometimes between a longing moan to sometimes a mischievous banter. The movie based on Rabindranath's story called “The Broken Nest” deals with an urban matured relationship sneakingly born out of loneliness and admiration.
Translator’s Note:
1. My Bengali is not as strong as I wish it to be and some of the words are translated after battering the brains of few of my Bengali friends.
2.I have changed the last lines of the song from the film to the original as composed by Rabindranath.
The last lines of the movie had the words:
"Aami chini go chini tomare
O bou thakuraani"
Which can be translated as:
“ I know you, know you lady
O my lovely sister in law.”
Film: Charulata
Director: Satyajit Ray
Music Director: Rabindranath Tagore (Satyajit Ray)
Singer: Kishore Kumar
Actors: Madhavi Mukherjee & Soumitra Chaterjee
Song:
Aami chini go chini tomare o go videshini
Tumi thaako shindhu paare o go videshini
O go videshini
Dekhechhi sharodo prateh tomay
Dekhechhi madhobi raate tomay
Dekhechhi hridi majhare
O go videshini
Aami aakashe paatia kaan
Sunechhi sunechhi tomari gaan
Aami tomarey sopechhi praan
O go videshini
Bhubono bhramia sheshe
Aami eshechhi nutono deshe
Aami atithi tomari daare
O go videshini
Aami chini go chini tomare
O go videshini
Translation:
I know you ma'am, lady from a land so very far
You live across the sea, o fair stranger from afar.
Have seen you on those dewy autumn mornings
Seen you in the honeyed moonlit evenings
Have seen you in the middle of my heart
O sweet stranger from afar.
I did turn my ears to the sky
And heard you sing, so sweet, so coy
Am offering my soul to you
O sweet stranger from afar.
After wandering around the lonesome earth
Have arrived haggard at a strange new hearth
I am but a guest at your feet
O sweet stranger from afar.
I know you, know you lady
O the sweet stranger.
To view the wondrous clip, Please click to view Aami Chini go from Charulata
The song Aami Chini go is a playful ode to a beautiful stranger, the mood of the song vacillating sometimes between a longing moan to sometimes a mischievous banter. The movie based on Rabindranath's story called “The Broken Nest” deals with an urban matured relationship sneakingly born out of loneliness and admiration.
Translator’s Note:
1. My Bengali is not as strong as I wish it to be and some of the words are translated after battering the brains of few of my Bengali friends.
2.I have changed the last lines of the song from the film to the original as composed by Rabindranath.
The last lines of the movie had the words:
"Aami chini go chini tomare
O bou thakuraani"
Which can be translated as:
“ I know you, know you lady
O my lovely sister in law.”
Film: Charulata
Director: Satyajit Ray
Music Director: Rabindranath Tagore (Satyajit Ray)
Singer: Kishore Kumar
Actors: Madhavi Mukherjee & Soumitra Chaterjee
Song:
Aami chini go chini tomare o go videshini
Tumi thaako shindhu paare o go videshini
O go videshini
Dekhechhi sharodo prateh tomay
Dekhechhi madhobi raate tomay
Dekhechhi hridi majhare
O go videshini
Aami aakashe paatia kaan
Sunechhi sunechhi tomari gaan
Aami tomarey sopechhi praan
O go videshini
Bhubono bhramia sheshe
Aami eshechhi nutono deshe
Aami atithi tomari daare
O go videshini
Aami chini go chini tomare
O go videshini
Translation:
I know you ma'am, lady from a land so very far
You live across the sea, o fair stranger from afar.
Have seen you on those dewy autumn mornings
Seen you in the honeyed moonlit evenings
Have seen you in the middle of my heart
O sweet stranger from afar.
I did turn my ears to the sky
And heard you sing, so sweet, so coy
Am offering my soul to you
O sweet stranger from afar.
After wandering around the lonesome earth
Have arrived haggard at a strange new hearth
I am but a guest at your feet
O sweet stranger from afar.
I know you, know you lady
O the sweet stranger.
To view the wondrous clip, Please click to view Aami Chini go from Charulata
Thursday, February 28, 2008
Cucurrucucú
Cucurrucucú, what a beautiful sound, seems as if like someone clearing her throat before singing some pleasing melody, Maybe a maynah perched above some branches in the tree, half hidden, singing contently without any worries or a damn to the world.
But sadly I cannot digress anymore, This post is not about any other gutteral bird calls or a treatise on nature, Its just a mere translation of the beautiful spanish song, sung by the Brazilian great Caetano Veloso. THis song is beautifully potrayed in the Spanish Movie Hable con ella(Talk to her)
Before I start, Let me Thank the google translator for helping me with the spanish words and Two great translators from Proz, Mercano and Paloma Maciel whose translations gave me the insight into the poems and help me translate it on my own.
Cucurrucucú, Paloma
Film: Hable Con Ella (Talk to her)
Director: Pedro Almodóvar
Singer: Caetano Veloso
Music : Tomás Méndez
Dicen que por las noches
no más se le iba en puro llorar;
dicen que no comía,
no más se le iba en puro tomar.
Juran que el mismo cielo
se estremecía al oír su llanto,
cómo sufrió por ella,
y hasta en su muerte la fue llamando.
Ay, ay, ay, ay, ya cantaba,
ay, ay, ay, ay, ya gemía,
Ay, ay, ay, ay, ya cantaba,
de pasión mortal moría.
Que una paloma triste
muy de mañana le va a cantar
a la casita sola
con sus puertitas de par en par;
juran que esa paloma
no es otra cosa más que su alma,
que todavía espera
a que regrese la desdichada.
Cucurrucucú paloma, cucurrucucú no llores.
Las piedras jamás, paloma,
¿qué van a saber de amores?
Cucurrucucú, cucurrucucú,
cucurrucucú, cucurrucucú.
Cucurrucucú, Dove
It is said, in the darkness of the nights
All he ever did was cry
They say, food he didn't touch and never did eat
All he did was drink to die
It is sworn that the sky also trembled
As it heard him so bitterly cry
How without her he had so long suffered
That he called out to her as death did pry
Ay ay ay ay yaa, he would so sing
Ay ay ay ay yaa, he would so cry
Ay, ay, ay, yaa, he would so laugh
and of a mortal passion he did die.
What a sad little dove it was,
so early in the morning sang to him
To the tiny little house, the lonely house,
with the doors open wide, little but prim.
It is sworn that this little dove
is no other than his very soul
And with bated eyes, he still waits
For her to come back and be together
Cucurrucucú, dove;
cucurrucucú, dont cry;
Never ever cry for a stone, dove
For what ever do they know of love?
Cucurrucucú, cucurrucucú,
cucurrucucú, cucurrucucú.
But sadly I cannot digress anymore, This post is not about any other gutteral bird calls or a treatise on nature, Its just a mere translation of the beautiful spanish song, sung by the Brazilian great Caetano Veloso. THis song is beautifully potrayed in the Spanish Movie Hable con ella(Talk to her)
Before I start, Let me Thank the google translator for helping me with the spanish words and Two great translators from Proz, Mercano and Paloma Maciel whose translations gave me the insight into the poems and help me translate it on my own.
Cucurrucucú, Paloma
Film: Hable Con Ella (Talk to her)
Director: Pedro Almodóvar
Singer: Caetano Veloso
Music : Tomás Méndez
Dicen que por las noches
no más se le iba en puro llorar;
dicen que no comía,
no más se le iba en puro tomar.
Juran que el mismo cielo
se estremecía al oír su llanto,
cómo sufrió por ella,
y hasta en su muerte la fue llamando.
Ay, ay, ay, ay, ya cantaba,
ay, ay, ay, ay, ya gemía,
Ay, ay, ay, ay, ya cantaba,
de pasión mortal moría.
Que una paloma triste
muy de mañana le va a cantar
a la casita sola
con sus puertitas de par en par;
juran que esa paloma
no es otra cosa más que su alma,
que todavía espera
a que regrese la desdichada.
Cucurrucucú paloma, cucurrucucú no llores.
Las piedras jamás, paloma,
¿qué van a saber de amores?
Cucurrucucú, cucurrucucú,
cucurrucucú, cucurrucucú.
Cucurrucucú, Dove
It is said, in the darkness of the nights
All he ever did was cry
They say, food he didn't touch and never did eat
All he did was drink to die
It is sworn that the sky also trembled
As it heard him so bitterly cry
How without her he had so long suffered
That he called out to her as death did pry
Ay ay ay ay yaa, he would so sing
Ay ay ay ay yaa, he would so cry
Ay, ay, ay, yaa, he would so laugh
and of a mortal passion he did die.
What a sad little dove it was,
so early in the morning sang to him
To the tiny little house, the lonely house,
with the doors open wide, little but prim.
It is sworn that this little dove
is no other than his very soul
And with bated eyes, he still waits
For her to come back and be together
Cucurrucucú, dove;
cucurrucucú, dont cry;
Never ever cry for a stone, dove
For what ever do they know of love?
Cucurrucucú, cucurrucucú,
cucurrucucú, cucurrucucú.
Friday, February 15, 2008
The Temple of pleasure: Madhushala
Let me begin by putting forward my condolences for all those in the world with little or absolutely no knowledge of Hindi... for Harivansh Rai Bachchan's epic cannot have any translation.. Its like translating Pushkin's Eugene Onegin from Russian. You can understand the plight of translators like Novakov of Lolita's fame , who translated the 200 lines Eugene Onegin in four volumes...
With all this forward, let me confess that I tried translating atleast 20 stanzas of Madhushala but then was left flabbergasted, How could I dare to change the meter, what about the rhyme scheme.. the alliteration used and concentrating on the technicalities I was bound to compromise on the meaning. For In addition to the deep philosophy that Madhushala professes it is also a poem that can be sung, a poem where the words clutter and stutter, sway and flow like the wine from an bottle.
In addition to this there was the limitation of language.. Now I am not undermining the english language, I cannot, it is so rich, but then its not yet rich enough to assimilate the Indian culture in all glory. What does Madhushala translate into? House of wine, pub, bar; No I cannot but differ. The cup bearer as Saki lacks the exotic flavor and "haala" and "pyala", "madhusha ki baala" even if translatable doesn't hold back the beauty of the word.
But I still havn't lost hope, I am trying but then the post on some of the couplets in Hindi in the anglo Roman Script couldn't wait. The 20 stanzas are selected from the DVD of Madhushala sung by Manna dey and are available in stores. I should add that the first 10 stanzas are in playful mode, mostly the writer being in awe of Madhushala, but then the last ten stanzas bring a sense of gloom and talks of madhushala and death in the same breath. I don't want to give any commentaries, atleast for now, so let me just end here else I start to digress.
Enjoy and do pray for me, I will be needing a lot of those:
Madhushala:
Madiralaya jaane ko ghar se, chalta hai peene wala
kis path se jaaoon asamanjas, me hai woh bholabhala
alag alag path batalate sab, par main yeh batalata hun
raah pakad tu ekk chalachal, paa jaaega madhushala. (1)
Click For Translation
Sun kal-kal chhal-chhal, madhukhat se girti, pyaalon mein haalaa
sun runjhun runjhun chal, vitaran karti madhusha ki baalaa
bas aa pahunche, door nahin, kuch chaar kadam ab chalna hai
chahak rahe sun, peene waale, mehak rahi le madhushala. (2)
Click For Translation
Lal sura ki dhaar lapat si, kehna isse dena jwalaa
hai nil madira hai mat isko, keh dena ur ka chhaalaa
dard nasha hai iss madira ka, Bigat smritiyan saaki hain
peeda mein anand jise ho, aaey meri madhushala. (3)
Click For Translation
Dharma granth sab jalaa chuki hain, jiske antar ki jwalaa
mandir, masjid, girje sab ko, tod chuka jo matwala
pandit, momin, padriyon ke, phandon ko jo kaat chuka
kar sakti hai aaj usi ka, swaagat meri madhushala. (4)
Click For Translation
Lalayit adharon se jisne, haay nahin choomi halaa
harshiv kampit kar se jisne, haay na chuaa madhu ka pyaalaa
haath pakad lajjit saaki ka, pass nahin jisne khincha
vyarth sukhaa daali jeevan ki, usne madhumaya madhushala. (5)
Click For Translation
Bane pujaari premi saaki, gangajal pawan halaa
rahe pherta avirat gati se, madhu ke pyalon ki malaa
aur liye jaa, aur piye jaa, issi mantra ka jaap kare
main Shiv ki pratimaa ban baithun, mandir ho yeh madhushala. (6)
Click For Translation
Ek baras mein ek baar hi, jalti holi ki jwalaa
ek bar hi lagti baazi, jalti deepon ki malaa
duniya waalo kintu kisi din, aa madiralaya mein dekho
din ko holi raat diwali, roz manati madhushala. (7)
Click For Translation
Adharon par ho koi bhi ras, jiwha par lagti halaa
haan jan ho koi haathon mein, lagta rakha hai pyaalaa
har surat saaki ki surat, main parivartit ho jati
aankhon ke aage ho kuchh bhi, aankhon mein hai madhushala. (8)
Click For Translation
Sumukhi tumhara sundar mukh hi, mujh ko kanchan ka pyalaa
chhalak rahi hai, jisme maanik roop madhur maadak halaa
main hi saaki banta main hi, peene waala banta hun
jahan kahin mil baithe hum tum, wahin gai ho madhushala. (9)
Click For Translation
Do din hi madhu mujhe pilaa kar, oob uthi saaki balaa
bhar kar ab khiska deti hai, woh mere aage pyalaa
naaz adaa andazon se ab, haye pilanaa duur huaa
ab to kar deti hai keval, farz-adaaee madhushala. (10)
Chote se jeevan main kitna, pyaar karoon, pee loon halaa
aane ke hi saath jagat main, kahlayaa jaane walaa
swagat ke hi saath bidaa ki, hoti dekhi tayyaari
band lagi hone khulate hi, meri jeevan madhushala.(11)
Shaant sakhi ho kab tak saaqi, pee kar kis ur ki jwaalaa
aur aur ki ratan lagataa, jataa har peene walaa
kitni ichchhaaen, har jane walaa chhod yahan jataa
kitne armaanon ki ban kar, qabra khadi hai madhushala. (12)
Yam aaegaa saaki ban kar, saath liye kaali halaa
pee na hosh main phir aaegaa, sura visudh yah matwaalaa
yah antim behoshi, antim saaki, antim pyaala hai
pathik pyaar se peena isko, phir na milegi madhushala. (13)
Dhalak rahi ho tan ke ghat se, sangini jab jeevan halaa
paatra garal ka le jab antim, saaki ho aanewala
haath paras bhule pyaale ka, swaad sura jwiha bhule
kaanon main tum kehti rehna, madhukan pyaala madhushaala (14)
Girti jaati hai din pratidin, pranayani pranon ki halaa
bhagna hua jaata din pratidin, shubhage mera tan pyala
rooth raha hai mujhse roopasi, din din yauwan ka saaki
sookh rahi hai din din sundari, meri jeevan madhushaala. (15)
Mere adharon par ho antim, vastu na tulsi daal pyalaa
meri jwiha par ho antim, vastu na gangaajal halaa
mere shav ke peechhe chalne walon, yaad isse rakhna
Ram naam hai satya na kehna, kehna sachee madhushaala.(16)
Mere shav par woh roae ho, jiske ansoo mein halaa
aah bhare woh ho jo surbhit, madira pee kar matwalaa
dain mujhko weh kandha jinke, pad-mad-dag-mag hote ho
aur jaloon us thaur jahan par, kabhi rahi ho madhushaala. (17)
Aur chita par jaae undela, patra na ghrit ka par pyaala
ghant bandhi angoor lata me, madhya na jal ho par haala
praan priye yadi shraadh karo tum mera, toh aise karna
peene walon ko bulwakar, khulwa dena madhushala. (18)
Naam agar pooche koi toh, kehna bas peenewaala
kaam dhaalna aur dhalaana, sabko madira ka pyaala
jaati priye pooche yadi koi, keh dena deewanon ki,
dharam batana pyaalon ki le, maala japna madhushaala. (19)
Pitr pakshya me putra uthana, arghya na kar me par pyaala
Baith kahin par jaana ganga, saagar me bhar kar haala
kisi jagah ki mitti bheege, tripti mujhe mil jaayegi
tarpan arpan karna mujhko, padh padh karke madhushala. (20)
With all this forward, let me confess that I tried translating atleast 20 stanzas of Madhushala but then was left flabbergasted, How could I dare to change the meter, what about the rhyme scheme.. the alliteration used and concentrating on the technicalities I was bound to compromise on the meaning. For In addition to the deep philosophy that Madhushala professes it is also a poem that can be sung, a poem where the words clutter and stutter, sway and flow like the wine from an bottle.
In addition to this there was the limitation of language.. Now I am not undermining the english language, I cannot, it is so rich, but then its not yet rich enough to assimilate the Indian culture in all glory. What does Madhushala translate into? House of wine, pub, bar; No I cannot but differ. The cup bearer as Saki lacks the exotic flavor and "haala" and "pyala", "madhusha ki baala" even if translatable doesn't hold back the beauty of the word.
But I still havn't lost hope, I am trying but then the post on some of the couplets in Hindi in the anglo Roman Script couldn't wait. The 20 stanzas are selected from the DVD of Madhushala sung by Manna dey and are available in stores. I should add that the first 10 stanzas are in playful mode, mostly the writer being in awe of Madhushala, but then the last ten stanzas bring a sense of gloom and talks of madhushala and death in the same breath. I don't want to give any commentaries, atleast for now, so let me just end here else I start to digress.
Enjoy and do pray for me, I will be needing a lot of those:
Madhushala:
Madiralaya jaane ko ghar se, chalta hai peene wala
kis path se jaaoon asamanjas, me hai woh bholabhala
alag alag path batalate sab, par main yeh batalata hun
raah pakad tu ekk chalachal, paa jaaega madhushala. (1)
Click For Translation
Sun kal-kal chhal-chhal, madhukhat se girti, pyaalon mein haalaa
sun runjhun runjhun chal, vitaran karti madhusha ki baalaa
bas aa pahunche, door nahin, kuch chaar kadam ab chalna hai
chahak rahe sun, peene waale, mehak rahi le madhushala. (2)
Click For Translation
Lal sura ki dhaar lapat si, kehna isse dena jwalaa
hai nil madira hai mat isko, keh dena ur ka chhaalaa
dard nasha hai iss madira ka, Bigat smritiyan saaki hain
peeda mein anand jise ho, aaey meri madhushala. (3)
Click For Translation
Dharma granth sab jalaa chuki hain, jiske antar ki jwalaa
mandir, masjid, girje sab ko, tod chuka jo matwala
pandit, momin, padriyon ke, phandon ko jo kaat chuka
kar sakti hai aaj usi ka, swaagat meri madhushala. (4)
Click For Translation
Lalayit adharon se jisne, haay nahin choomi halaa
harshiv kampit kar se jisne, haay na chuaa madhu ka pyaalaa
haath pakad lajjit saaki ka, pass nahin jisne khincha
vyarth sukhaa daali jeevan ki, usne madhumaya madhushala. (5)
Click For Translation
Bane pujaari premi saaki, gangajal pawan halaa
rahe pherta avirat gati se, madhu ke pyalon ki malaa
aur liye jaa, aur piye jaa, issi mantra ka jaap kare
main Shiv ki pratimaa ban baithun, mandir ho yeh madhushala. (6)
Click For Translation
Ek baras mein ek baar hi, jalti holi ki jwalaa
ek bar hi lagti baazi, jalti deepon ki malaa
duniya waalo kintu kisi din, aa madiralaya mein dekho
din ko holi raat diwali, roz manati madhushala. (7)
Click For Translation
Adharon par ho koi bhi ras, jiwha par lagti halaa
haan jan ho koi haathon mein, lagta rakha hai pyaalaa
har surat saaki ki surat, main parivartit ho jati
aankhon ke aage ho kuchh bhi, aankhon mein hai madhushala. (8)
Click For Translation
Sumukhi tumhara sundar mukh hi, mujh ko kanchan ka pyalaa
chhalak rahi hai, jisme maanik roop madhur maadak halaa
main hi saaki banta main hi, peene waala banta hun
jahan kahin mil baithe hum tum, wahin gai ho madhushala. (9)
Click For Translation
Do din hi madhu mujhe pilaa kar, oob uthi saaki balaa
bhar kar ab khiska deti hai, woh mere aage pyalaa
naaz adaa andazon se ab, haye pilanaa duur huaa
ab to kar deti hai keval, farz-adaaee madhushala. (10)
Chote se jeevan main kitna, pyaar karoon, pee loon halaa
aane ke hi saath jagat main, kahlayaa jaane walaa
swagat ke hi saath bidaa ki, hoti dekhi tayyaari
band lagi hone khulate hi, meri jeevan madhushala.(11)
Shaant sakhi ho kab tak saaqi, pee kar kis ur ki jwaalaa
aur aur ki ratan lagataa, jataa har peene walaa
kitni ichchhaaen, har jane walaa chhod yahan jataa
kitne armaanon ki ban kar, qabra khadi hai madhushala. (12)
Yam aaegaa saaki ban kar, saath liye kaali halaa
pee na hosh main phir aaegaa, sura visudh yah matwaalaa
yah antim behoshi, antim saaki, antim pyaala hai
pathik pyaar se peena isko, phir na milegi madhushala. (13)
Dhalak rahi ho tan ke ghat se, sangini jab jeevan halaa
paatra garal ka le jab antim, saaki ho aanewala
haath paras bhule pyaale ka, swaad sura jwiha bhule
kaanon main tum kehti rehna, madhukan pyaala madhushaala (14)
Girti jaati hai din pratidin, pranayani pranon ki halaa
bhagna hua jaata din pratidin, shubhage mera tan pyala
rooth raha hai mujhse roopasi, din din yauwan ka saaki
sookh rahi hai din din sundari, meri jeevan madhushaala. (15)
Mere adharon par ho antim, vastu na tulsi daal pyalaa
meri jwiha par ho antim, vastu na gangaajal halaa
mere shav ke peechhe chalne walon, yaad isse rakhna
Ram naam hai satya na kehna, kehna sachee madhushaala.(16)
Mere shav par woh roae ho, jiske ansoo mein halaa
aah bhare woh ho jo surbhit, madira pee kar matwalaa
dain mujhko weh kandha jinke, pad-mad-dag-mag hote ho
aur jaloon us thaur jahan par, kabhi rahi ho madhushaala. (17)
Aur chita par jaae undela, patra na ghrit ka par pyaala
ghant bandhi angoor lata me, madhya na jal ho par haala
praan priye yadi shraadh karo tum mera, toh aise karna
peene walon ko bulwakar, khulwa dena madhushala. (18)
Naam agar pooche koi toh, kehna bas peenewaala
kaam dhaalna aur dhalaana, sabko madira ka pyaala
jaati priye pooche yadi koi, keh dena deewanon ki,
dharam batana pyaalon ki le, maala japna madhushaala. (19)
Pitr pakshya me putra uthana, arghya na kar me par pyaala
Baith kahin par jaana ganga, saagar me bhar kar haala
kisi jagah ki mitti bheege, tripti mujhe mil jaayegi
tarpan arpan karna mujhko, padh padh karke madhushala. (20)
Friday, November 30, 2007
An Ode to Hope
Note: This song is one of the pieces which is rarely found blaring from the neighbouring barber shop's radio. But its lack of popularity in noway berates the amazing philosophy if professes. A song about fantasy, a song celebrating Hope.
As always I request You to go though the translation only if you are not well versed in Hindi.
Film: Thoda Sa Roomani Ho Jaye
Director: Amol Palekar
Singer: Chayya Ganguly
Music : Bhaskar Chanvarkar
Lyrics: Kamalesh Pande
Hindi:
Badlon ka naam na ho ambar ke chaaon main
jalta ho jungle khud apni hi chaaon main
yehi to hai mausam,
yehi to hai mausam aao tum aur hum ,
baarish ke nagme gungunaye,
Thoda sa roomani ho jaye
Mushkil hai jeena
Mushkil hai jeena ummeed ke bina
Thode se sapne sajaye
thoda sa roomani ho jaye(2)
Translation
No trace of the clouds in the sky's shadows
Its the forest that burns in its own meadows
Isnt this what is clime?
The trees sways and the winds, do chime
Let us then hum the songs of the rain
Let the fantasizing begin.
Its impossible for life to hold up
without the existing continual hope
let us then nurture the world of dreams
Let the fantasizing begin.
As always I request You to go though the translation only if you are not well versed in Hindi.
Film: Thoda Sa Roomani Ho Jaye
Director: Amol Palekar
Singer: Chayya Ganguly
Music : Bhaskar Chanvarkar
Lyrics: Kamalesh Pande
Hindi:
Badlon ka naam na ho ambar ke chaaon main
jalta ho jungle khud apni hi chaaon main
yehi to hai mausam,
yehi to hai mausam aao tum aur hum ,
baarish ke nagme gungunaye,
Thoda sa roomani ho jaye
Mushkil hai jeena
Mushkil hai jeena ummeed ke bina
Thode se sapne sajaye
thoda sa roomani ho jaye(2)
Translation
No trace of the clouds in the sky's shadows
Its the forest that burns in its own meadows
Isnt this what is clime?
The trees sways and the winds, do chime
Let us then hum the songs of the rain
Let the fantasizing begin.
Its impossible for life to hold up
without the existing continual hope
let us then nurture the world of dreams
Let the fantasizing begin.
Friday, May 18, 2007
Epitaph for the lost love
Note: This is a song which I loved to hear. Tried my hands at translating this song, a very difficult job and nowhere near the original. Please read the translation only if you are not conversant in Hindi.
Info of the song:
Lyricist :Rajendra Krishna
Singer :Talat Mehmood
Music Director :Madan mohan
Movie :Dekh Kabira Roya - 1957
Video:
Lyrics:
Hum se aaya na gaya, tum se bulaya na gaya
Faasla pyar me donon se mitaya na gaya.
Woh ghadi yaad hai, Jab tum se mulakaat hui,
Ek ishaara hua, do haath badhe, baat hui
Dekhte dekhte, din dhal gaya aur raat hui
Woh shama aaj talak dil se bhulaya na gaya
Kya khabar thi, ke mile hain toh bichadne ke liye
Kismatain apni banayi hai, bigadne ke liye
Pyar ka baagh lagaya tha, ujadne ke liye
Iss tarah ujda ke phir, humse basaya na gaya
Yaad rah jaati hai aur waqt gujar jaata hai
Phool khilta bhi hai, aur khil ke bikhar jaata hai
Sab chale jaate hain, kab dard-e-jigar jaata hai,
Daag jo tu ne diya, dil se mitaya na gaya.
Translation:
Not me to make an effort to return, not you to make the plead
The rift that so grew, could not be without an effort breached
Recall the time, when for the first time we met,
A glint, two hands touched and had our hearts did confabulate
But with time's passage, the sun had made way for the dark
The spark that had been ignited then, had left its lasting mark.
Who it was who knew that we had met only to part
Only to crush our destinies we had them so lovingly carved
The garden nurtured with our love was created just to be ruined
No amount of love can have these wrecks ever redeemed
Only the memories remain but time passes on,
The flower blooms and then wilts, after its moment under the sun.
Every one departs someday, but will these heartburns ever digress
The scar of the departed's pain is so difficult for my heart to efface.
Info of the song:
Lyricist :Rajendra Krishna
Singer :Talat Mehmood
Music Director :Madan mohan
Movie :Dekh Kabira Roya - 1957
Video:
Lyrics:
Hum se aaya na gaya, tum se bulaya na gaya
Faasla pyar me donon se mitaya na gaya.
Woh ghadi yaad hai, Jab tum se mulakaat hui,
Ek ishaara hua, do haath badhe, baat hui
Dekhte dekhte, din dhal gaya aur raat hui
Woh shama aaj talak dil se bhulaya na gaya
Kya khabar thi, ke mile hain toh bichadne ke liye
Kismatain apni banayi hai, bigadne ke liye
Pyar ka baagh lagaya tha, ujadne ke liye
Iss tarah ujda ke phir, humse basaya na gaya
Yaad rah jaati hai aur waqt gujar jaata hai
Phool khilta bhi hai, aur khil ke bikhar jaata hai
Sab chale jaate hain, kab dard-e-jigar jaata hai,
Daag jo tu ne diya, dil se mitaya na gaya.
Translation:
Not me to make an effort to return, not you to make the plead
The rift that so grew, could not be without an effort breached
Recall the time, when for the first time we met,
A glint, two hands touched and had our hearts did confabulate
But with time's passage, the sun had made way for the dark
The spark that had been ignited then, had left its lasting mark.
Who it was who knew that we had met only to part
Only to crush our destinies we had them so lovingly carved
The garden nurtured with our love was created just to be ruined
No amount of love can have these wrecks ever redeemed
Only the memories remain but time passes on,
The flower blooms and then wilts, after its moment under the sun.
Every one departs someday, but will these heartburns ever digress
The scar of the departed's pain is so difficult for my heart to efface.
Thursday, February 01, 2007
Compromise
This Poem is in Hindi and is from the movie ArdhaSatya.. An excellent poem which you have to sit and ponder... Have tried my hands at translating this for guys not so well versed in Hindi ...
Chakravyuh mein ghusne se pehle
kaun tha main aur kaisa tha main
yeh mujhe yaad hi na rahe
Chakravyuh mein ghusne ke baad
mere aur chakravyuh ke beech sirf jaan leva nikatta thi
is ka mujhe patha hi na chaley
Chakravyuh se bahar nikalney par main mukt ho jaun bhaley hi.
phir bhi chakravyuh ke rachna mein farak hi nahin padega
Marun ya maarun
maara jauun ya jaan se maar dun
iska faisla kabhi na ho paayega
soya hua aadmi jab neend se utkhar chalna shuru karta hai
tab sapnon ka sansar usey dubara dikhai dega kya
us roshni mei,jo nirnay ki roshni hai
sab kuch samaan hoga kya?
ek paldey mei napunsakta
dushray paldey par paarush
aur theek tarazu ke beech ke kaantey par
ArdhaSatya
Translation(Plain):
Before entering the field with encircling enemies
Who was I and How was I,
This I hope I dont still remember
After entering the field of enemies
There was a deathly nearness between them and me
This i hope I dont even get to know
Once I get I out of this field of madness
I may be freed of the world
but there will no difference in the field of enemies itself
If I die or I kill,
If I am killed or destroy another life
That decission can never be taken
A sleeping man after waking up when starts walking
then will he be able to see the world of dreams
In that light, which is the light of deliverance
will everything be weighed equal
In one balance there is cowardice on the other there is valour
and lies exactly in the middle of the scale is ...
Half Truth
Chakravyuh mein ghusne se pehle
kaun tha main aur kaisa tha main
yeh mujhe yaad hi na rahe
Chakravyuh mein ghusne ke baad
mere aur chakravyuh ke beech sirf jaan leva nikatta thi
is ka mujhe patha hi na chaley
Chakravyuh se bahar nikalney par main mukt ho jaun bhaley hi.
phir bhi chakravyuh ke rachna mein farak hi nahin padega
Marun ya maarun
maara jauun ya jaan se maar dun
iska faisla kabhi na ho paayega
soya hua aadmi jab neend se utkhar chalna shuru karta hai
tab sapnon ka sansar usey dubara dikhai dega kya
us roshni mei,jo nirnay ki roshni hai
sab kuch samaan hoga kya?
ek paldey mei napunsakta
dushray paldey par paarush
aur theek tarazu ke beech ke kaantey par
ArdhaSatya
Translation(Plain):
Before entering the field with encircling enemies
Who was I and How was I,
This I hope I dont still remember
After entering the field of enemies
There was a deathly nearness between them and me
This i hope I dont even get to know
Once I get I out of this field of madness
I may be freed of the world
but there will no difference in the field of enemies itself
If I die or I kill,
If I am killed or destroy another life
That decission can never be taken
A sleeping man after waking up when starts walking
then will he be able to see the world of dreams
In that light, which is the light of deliverance
will everything be weighed equal
In one balance there is cowardice on the other there is valour
and lies exactly in the middle of the scale is ...
Half Truth
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