abhi to main jawaa hoon: meanings please...
Adnan
Hello everybody,
Yogesh Saheb had posted this recently in response to my request.
It's a beautiful poem/song but unfortunately some of the words are just
too tough for me to understand.
Highly appreciate if someone can offer a translation.
Adnan
__________
From: "A.F.Sh." <namel...@hotmail.com>
Newsgroups: rec.music.indian.misc
Abhi to MaiN jawan hooN
by Hafeez Jalandhari
hava bhi khushgavar hai
guloN pay bhi nikhaar hai
tarannumay hazaar hai
bahar pur bahar hai
kahaN chala hai saaqia
idher to lot, idher to aa
aray yay daykhta hai kya
utha suboo, suboo utha
suboo utha peyala bher
peyala bher kay day idher
chaman key simt ker nazar
samaaN to daykh baykhabar
vo kali kali bedliaN
ufaq pay ho gayeeN ravaaN
vo ik hujoomay maykashaaN
hai soo-e maykada ravaaN
yay kya gumaaN hai budgumaaN
samajh na mujh ko naatavaaN
khayalay zohd abhi kahaN
abhi to maN jawan hooN
--------------
ibaadatoN ka zikr hai
nijaat key bhi fikr hai
khayal hai azaab ka
junoon hai savaab ka
magar suno to shaykh jee
ajeeb shay haiN aap bhi
bhala shabab-o-ashiqi
alag huay bhi haiN kabhi
haseen jalva raise hoN
adaaiN fitna khaiz hoN
havaaiN itr raise hoN
to shauq kyuN na taze hoN
nigaar hi fitna-ger
koi idher, koi udher
pukaartay hoN aish ker
to kya karay koi bashar
chalo ji qissa mukhtasir
tumhara nuqta-e-nazar
darust hai to ho magar
abhi to maN jawan hooN
--------------------
na gham kasho to bast ka
buland ka na past ka
no bood ka na hast ka
na badaa-e urest ka
umeed aur yaas gum
havas gum, qayas gum
nazar say aas paas gum
huma bajus gilaas gum
na mai maiN kuch kami rahay
qaza say humdami rahay
nishast yay jami rahay
yehi huma humi rahay
vo saaz chair mutriba
zara baja alam ruba
asar kada-e-saaz ka
jigar maiN aag si laga
her aik lub pay ho sada
na haath rok saaqia
pilaae ja pilaae ja
pilaae ja, pilaae ja
abhi to maN jawan hooN
cAt
Adnan its a very long poem. If you can point out the difficult areas it
would help in translating.
Yogesh Sethi
Adnan Sahib:
You had probably given up on this thread. But I'd like to keep it alive.
My search of the net, for the translation, did not produce any positive
results. If someone knows of a site that has the translation, please
post the info.
It is a very long poem and hence the hesitation in tackling it. But
perhaps we can deal with it in small parts at a time. I cannot commit
myself to translating the whole poem, but I will do all that is
possible. I request everyone, who is upto it, to help out, as there are
bound to be some errors. I have selected the ITRANS version of the text
for two reasons. First, it has the least amount of errors in
transliteration. Second it can be transparently seen in the Hindi script
and therefore easier to correct. I have not come across a site where
this poem is available in the Urdu script.
Given below is the complete script of the poem, as was rendered by
Mallika Pukhraj. It has been taken from ITRANS site. There are very few
errors. These will be pointed out as we go along, but by and large it is
an excellent transliteration:
(Please see the companion post, 'abhii - Hafeez (1)' for the first
batch of translation)
Regards,
Yogesh Sethi
---------------------------------------------------------------------------
abhii to mai.n javaan huu.N
---------------------------------------------------------------------------
Song Title: abhii to mai.n javaan huu.N
Movie Name: Non-Film
Actor(s)/Actress(es):
Singer(s): Mallika Pukhraj
Music Director(s):
Lyricist(s): Hafeez Jalandhari
Category(ies):
[SUBMIT CORRECTION] [ADD CATEGORY]
---------------------------------------------------------------------------
Go to Slow-DEVNAGRI Go back to Index
%
% Contributor: Sandeep S Bajwa
% Transliterator: Rajiv Shridhar
% Date: 10/26/1996
% Credits: Balaji A.S. Murthy
% Malini Kanth Murthy
% U.V. Ravindra
% Last Modified: 10/31/1996
%
%
abhii to mai.n javaan huu.N - 3
havaa bhii Kushagavaar hai, gulo.n pe bhii nikhaar hai
tarannume.n hazaar hai.n, bahaar purabahaar hai
kahaa.N chalaa hai saaqiyaa, (idhar to lauT idhar to aa) - 3
are, yah dekhataa hai kyaa? uThaa subuu, subuu uThaa
subuu uThaa, piyaalaa bhar piyaalaa bhar ke de idhar
chaman kii simT kar nazar, samaa to dekh beKabar
vo kaalii-kaalii badaliyaa.N - 2, ufaq pe ho ga_ii ayaa.n
vo ik hajuum-e-maikashaa.n, hai suu-e-maikadaa ravaa.n
ye kyaa gumaa.n hai badagumaa.n, samajh na mujhako naatavaa.n
Kayaal-e-zohd abhii kahaa.N? abhii to mai.n javaan huu.N
abhii to mai.n javaan huu.N - 2
ibaadato.n kaa zikr hai, nijaat kii bhii fikr hai
junuun hai sabaab kaa, Kayaal hai azaab kaa
magar suno to sheK jii, ajiib shay hai.n aap bhii
bhalaa shabaab-o-aashiqii, alag hue bhii hai.n kabhii
hasiin jalavaarez ho, adaae.n fitanaKez ho
havaae.n itr_bez ho.n, to shauq kyuu.N na tez ho?
nigaarahaa-e-fitanaagar - 2, koii idhar koii udhar - 2
ubhaarate ho aish par, to kyaa kare koii bashar
chalo jii qissaa muKtasar, tumhaaraa nuqtaa-e-nazar
durust hai to ho magar, abhii to mai.n javaan huu.N
abhii to mai.n javaan huu.N - 2
ye Gasht kohasaar kii, ye sair juu-e-vaar kii
ye bulabulo.n ke chahachahe, ye gularuKo.n ke qahaqahe
kisii se mel ho gayaa, to ra.nj-o-fikr kho gayaa
kabhii jo vaqt so gayaa, ye ha.Ns gayaa vo ro gayaa
ye ishq kii kahaaniyaa.N, ye ras bharii javaaniyaa.N
udhar se maharabaaniyaa.N, idhar se lantaraaniyaa.N
ye aasmaan ye zamii.n - 2, nazzaraahaa-e-dilanashii.n
une hayaat aafarii.n, bhalaa mai.n chho.D duu.N yahii.n
hai maut is qadar barii.n, mujhe na aaegaa yaqii.n
nahii.n-nahii.n abhii nahii.n, nahii.n-nahii.n abhii nahii.n
abhii to mai.n javaan huu.N - 3
na Gam kashod-o-bast kaa, bala.nd kaa na past ka
na buud kaa na hast kaa na vaadaa-e-alast kaa
ummiid aur yaas gum, havaas gum qayaas gum
nazar se aas-paas gum, haman bajuz gilaas gum
na may me.n kuchh kamii rahe, kadaa se hamadamii rahe
nashist ye jamii rahe, yahii hamaa-hamii rahe
vo raag chhe.D mutaribaa, taravafizaa aalamarubaa
asar sadaa-e-saaz kaa, jiGar me.n aag de lagaa
har ik lab pe ho sadaa, na haath rok saaqiyaa
% In another version (HMV recording, where Mallika Pukhraj sings with
% her daughter, Tahira Syed) the preceding two lines are replaced with
% this line:
%
pilaae jaa pilaae jaa, pilaae jaa pilaae jaa
abhii to mai.n javaan huu.N - 3
%
---------------------------------------------------------------------------
This site is maintained by Navin Kabra. Please send comments and
suggestions to navin...@usa.net
The ITRANS Song Book is maintained by Anurag Shankar and a team of
volunteers. Please send new songs, corrections etc to
asha...@indiana.edu).
Adnan wrote:
>
> Hello everybody,
> Yogesh Saheb had posted this recently in response to my request.
> It's a beautiful poem/song but unfortunately some of the words are just
> too tough for me to understand.
> Highly appreciate if someone can offer a translation.
>
> Adnan
<snip>
Yogesh Sethi
The interpretive translations are generally highly subjective. Mine is
no different!
Here is the first batch:
--------------------------------------------
abhii to mai.n javaan huu.N - 3
1.
havaa bhii Kushagavaar hai, gulo.n pe bhii nikhaar hai
[Kushagavaar=agreeable,delicious; nikhaar=elegance, grace]
tarannume.n hazaar hai.n, bahaar purabahaar hai
[tarannum=lyrical; pur=full,complete]
the air is fragrant , the flowers are in bloom
a thousand trumpets herald the onset of the spring
2.
kahaa.N chalaa hai saaqiyaa, (idhar to lauT idhar to aa) - 3
[saaqiyaa= beloved]
are, yah dekhataa hai kyaa? uThaa subuu, subuu uThaa
[subuu=wine pitcher]
O’ beloved whither-ward you go, come back, come unto me,
What’s your hesitation, lift, lift the pitcher of love
(and pour into the cup of my heart).
---------------------------------------------
Regards,
Yogesh Sethi
Ashok Sinha
Bahut shukriya Yogesh Sahib and David Sahib.
I was in a quandary as to how to split the poem
into words without destroying the connotation.
Thank you once again for the translations.
Dave, do you think in the given text
'careless' describes it better than 'heedless'?
>>chaman key simt ker nazar
>>samaaN to daykh baykhabar
>Look out towards the garden near
>?? [look at the heedless scene?]
Adnan
__________
Yogesh Sethi
Ashok Sinha wrote:
>
> Bahut shukriya Yogesh Sahib and David Sahib.
> I was in a quandary as to how to split the poem
> into words without destroying the connotation.
>
> Thank you once again for the translations.
>
> Dave, do you think in the given text
> 'careless' describes it better than 'heedless'?
>
> >>chaman key simt ker nazar
> >>samaaN to daykh baykhabar
> >Look out towards the garden near
> >?? [look at the heedless scene?]
>
> Adnan
>
Adnan Sahib, I seem to have missed David's post on this subject. This
message is not available on my server and I can't seem to get it thru
DejaNews either.
Can you repost it and/or email it to me. I'd like to see some more
discussion on this thread. Thanks.
Regards,
Yogesh Sethi
Yogesh Sethi
Song Title: abhii to mai.n javaan huu.N
Movie Name: Non-Film
Singer(s): Mallika Pukhraj
Lyricist(s): Hafeez Jalandhari
Here is the next installment.
-------------------------------
11.
ye Gasht kohasaar kii,
ye sair juu-e-vaar kii
ye bulabulo.n ke chahachahe,
ye gularuKo.n ke qahaqahe
The winding mountain range,
(thru which) strolls a gushing rivulet
The chirping nightingales,
the laughter of the fair maidens
[Gasht=wandering(chakkar); kohasaar=mountain range
juu=rivulet; vaar=blow, gularuK=rosey face, beautiful]
12.
kisii se mel ho gayaa,
to ra.nj-o-fikr kho gayaa
kabhii jo vaqt so gayaa,
ye ha.Ns gayaa vo ro gayaa
On meeting the beloved,
the sorrows and worries vanished
When the time stood still,
some laughter here some tears there.
----------------------------
Will post more, as time permits. Regards,
Yogesh Sethi
Yogesh Sethi
Song Title: abhii to mai.n javaan huu.N
Movie Name: Non-Film
Singer(s): Mallika Pukhraj
Lyricist(s): Hafeez Jalandhari
Here is the another installment (13-15)
-------------------------------
13.
ye ishq kii kahaaniyaa.N, ye ras bharii javaaniyaa.N
udhar se maharabaaniyaa.N, idhar se lantaraaniyaa.N
These tales of passion, young lives so full of exuberance.
There some display of kindness, here some boastings.
[lantaraaniyaa.N= plural of boasting]
14.
ye aasmaan ye zamii.n - 2, nazzaraahaa-e-dilanashii.n
une hayaat aafarii.n, bhalaa mai.n chho.D duu.N yahii.n
>From heavens to earth , is a sight to behold of my beloved’s grandeur.
Such splendor of life, how can I leave it behind?
[dilanashii.n=lover;
hayaat=life; aafarii.n =well done, praise]
15.
hai maut is qadar barii.n(??), mujhe na aaegaa yaqii.n
(I think it is an error, it is most likely ‘qariib’)
hai maut is qadar qariib, mujhe na aaegaa yaqii.n
nahii.n-nahii.n abhii nahii.n, nahii.n-nahii.n abhii nahii.n
Death waiteth me, so near, I can’t believe it’s already here.
No, no, not yet; no, no, not yet, for I am still young.
[qariib=near; yaqii.n=believe]
Yogesh Sethi
Song Title: abhii to mai.n javaan huu.N
Movie Name: Non-Film
Singer(s): Mallika Pukhraj
Music Director(s):
Lyricist(s): Hafeez Jalandhari
Category(ies):
[SUBMIT CORRECTION] [ADD CATEGORY]
---------------------------------------------------------------------------
Go to Slow-DEVNAGRI Go back to Index
%
% Contributor: Sandeep S Bajwa
% Transliterator: Rajiv Shridhar
% Date: 10/26/1996
% Credits: Balaji A.S. Murthy
% Malini Kanth Murthy
% U.V. Ravindra
% Last Modified: 10/31/1996
%
%
Ref: ITRANS song#: N9074
Translation/interpretation: Yogesh Sethi
Below are shers:(3-4)
-------------------------------------------------------------------------
3.
subuu uThaa, piyaalaa bhar piyaalaa bhar ke de idhar
chaman kii simT kar nazar, samaa to dekh beKabar
[error: I think it’s ‘simt’ not ‘simT’ and ‘smaa.n’ not ‘samaa’.]
Lift the pitcher, fill the cup and give it to me.
Look towards the garden (spring is in its prime,)
how blissful a scene, (halcyon days are here).
[simt=direction; smaa.n=scene; beKabar=unconcerned,]
4.
vo kaalii-kaalii badaliyaa.N - 2, ufaq pe ho ga_ii ayaa.n
vo ik hajuum-e-maikashaa.n, hai suu-e-maikadaa ravaa.n
Ah! The dark clouds , make themselves evident on the horizon,
like a crowd of imbibers, swaying (intoxicated) by the wine of the
tavern.
(A beautiful simile:
comparing movements of the clouds with the gait of an inebriated
person.)
[ufaq=horizon; ayaa.n=clear, evident; hajuum=crowd;
maikash=one who drinks(pl. maikashaa.n)
suu=wine; maikadaa=tavern, ravaa.n=flowing, soul,life]
------------------------------------------------------
Regards,
Yogesh Sethi
capt...@gmail.com
Can look for sub titles by Ayesha Khanna for this Nazm on you tube.
2. This Nazm is about a man who is unable to come to terms
with the fact that his time is up.
farah...@googlemail.com
http://taletown.org/short-stories/places-people-stories/151-i-m-still-young-abhi-toh-main-jawaan-hun
mukesh...@gmail.com
Above website has nicely translated the gazhal in English
iitd...@gmail.com
My objection to various translations offered for Abhi to main jawan hoon is that these force the translator's interpretation on the reader.
The poem has a few uncommon words -- the best policy is to give their meanings and let the reader interpret this beautiful poem on their own.
अभी तो मैं जवान हूं
हफ़ीज़ जालंधरी
मल्लिका पुखराज
अभी तो मैं जवान हूं, अभी तो मैं जवान हूं ।
हवा भी ख़ुशगवार है, गुलों पे भी निखार है,
तरन्नुमें हज़ार हैं, बहार पुर बहार है।
कहाँ चला है साक़िया, इधर तो लौट, इधर तो आ,
अरे ये देखता है क्या, उठा सुबू, सुबू उठा, सुबू – सुराही
सुबू उठा, पयाला भर, पयाला भरके दे इधर,
चमन की सिम्त कर नज़र, समाँ तो देख, बेख़बर। सिम्त – तरफ़
वो काली काली बदलियाँ, उफ़क़ पे हो गईं अयाँ, उफ़क़ – क्षितिज, अयाँ – दिखीं
वो इक हजूमे मैक़शाँ, है सू ए मैक़दां रवाँ, हजूमे मैक़शाँ – शराबियों की भीड़,
सू ए मैक़दा – शराबख़ाने की दिशा
ये क्या गुमाँ है बेगुमाँ, समझ न मुझको नातवाँ, गुमाँ – महसूस नातवाँ – कमज़ोर
ख़याले ज़ोहद अभी कहाँ, अभी तो मैं जवान हूं ॥ ज़ोहद – पुण्य, शराब छोड़ना
इबादतों का ज़िक्र है, निजात की भी फ़िक्र है, निजात – मुक्ति
जुनून है सवाब का, ख़याल है अज़ाब का, सवाब – सत्कर्म का फल, अज़ाब – पाप का फल
मगर सुनो तो शैख़जी, अजीब शै हैं आप भी ! शै – चीज़
भला शबाबो आशिक़ी अलग हुए भी हैं कभी?
हसीन जल्वारेज़ हों, अदाएं फ़ितनाख़ेज़ हों, जल्वारेज़ – शोभायमान, फ़ितनाख़ेज़ – शरारत पूर्ण
हवाएं इत्रबेज़ हों तो शौक़ क्यों न तेज़ हों, इत्रबेज़ - सुगंधित
निगार हाय फ़ितनागर, कोई इधर, कोई उधर, निगार – शोभा, फ़ितनागर – शरारती
उभारते हों ऐश पर तो क्या करे कोई बशर, बशर – व्यक्ति
चलो जी क़िस्सा मुख़्तसर, तुम्हारा नुक़्ताए नज़र, मुख़्तसर – संक्षेप, नुक़्ता ए नज़र – सोच
दुरुस्त है तो हो मगर, अभी तो मैं जवान हूं ॥
ना ग़म कशूदो बस्त का, बुलंद का ना पस्त का, कशूद – खुला, बस्त – बंधा
ना बूद का न हस्त का, ना वादा ए अलस्त का, बूद – भूतकाल, हस्त – वर्तमान,
अलस्त – सृष्टि काल
उमीद और यास गुम, हवास गुम, क़यास गुम, यास – निराशा, हवास – चेतना, क़यास – अंदाज़ा
नज़र से आसपास गुम, हमा बजुद गिलास गुम। हमा – सब, बजुद – अलावा
(इन सब के अलावा)
ना मै में कुछ कमी रहे, क़दा से हमदमी रहे, क़दा – जाम, हमदमी – दोस्ती
निशस्त ये जमी रहे, यही हमाहमी रहे, निशस्त – महफ़िल, हमाहमी – चहल पहल
वो राग छेड़ मुतरिबा, तरब फ़ज़ा, अलम रुबा, मुतरिबा – गायिका, तरब फ़ज़ा– खुशी बढ़ाने वाला
असर सदा ए साज़ का, जिगर में आग दे लगा, अलम रुबा - उदास, सदा – पुकार
हर इक लब पे हो सदा, न हाथ रोक साक़िया,
पिलाये जा, पिलाये जा, पिलाये जा, पिलाये जा।
अभी तो मैं जवान हूं ॥
ये गश्त कोहेसार की, ये सैर जू ए वार की, गश्त – घूमना, कोहेसार – पहाड़,
जू ए वार – झरना
ये बुलबुलों के चहचहे, ये गुल रुख़ों के क़हक़हे, गुल – फूल, रुख़ – चेहरा
किसी से मेल हो गया तो रंजो फ़िक्र खो गया,
कभी तो वक़्त सो गया, ये हँस गया वो रो गया,
ये इश्क़ की कहानियाँ, ये रस भरी जवानियाँ,
उधर से मेहरबानियाँ, इधर से लन्तरानियाँ। लन्तरानियाँ – अतिशयोक्ति
यो आसमान ये ज़मीं, नज़ारा हाए दिलनशीं,
उन्हें हयात आफ़रीं, भला मैं छोड़ दूं यहीं ? आफ़रीं – प्रशंसनीय
है मौत इस क़दर क़रीब, मुझे न आयेगा य़क़ीं,
नहीं नहीं अभी नहीं, नहीं नहीं अभी नहीं ।
अभी तो मैं जवान हूं॥
Naseer
I am correcting a few typos. I have not yet taken a look at your glossary.
मल्लिका = मलिका
तरन्नुमें = तरन्नुम-ए-
हजूमे = हुजुम-ए-
मैक़शाँ = मैकशाँ
मैक़दां = मैकदा
बेगुमाँ = बद्गुमाँ
ज़ोहद = ज़ुह्द
निगार हाय = निगार्हा-ए-
क़यास = क़ियास
बजुद = बजुज़
क़दा = क़दह
जू ए वार = जुइबार
नज़ारा हाए = नज़ाराहा-ए-
क़रीब = क़रीं
य़क़ीं = यक़ीं
........................................................................
Naseer
Zoya
> Replying to a thread which started in 1997!
> My objection to various translations offered for Abhi to main jawan hoon is that these force the translator's interpretation on the reader.
> The poem has a few uncommon words -- the best policy is to give their meanings and let the reader interpret this beautiful poem on their own.
Over the years, it has become as much Malika Pukhraj's as it is Hafeez Jalandhari's. The other nazm that I would put on the eternally classic duo list is "mujh se pehli si muhabbat" Noor Jehan/Faiz, and perhaps also the ghazal "ab ke ham biChhRe to shayad kabhi" Mehdi Hasan/ Faraz.
I agree with you that translations are useful if a language is totally foreign to the reader. If a reader knows basics of a language, it is best to provide meanings of difficult words and leave the interpretation to one's imagination. Personally, depending on what phase/mood I am going through, a poem/couplet can take a whole new meaning from one day to the next! In fact that is what makes for a truly great piece of poetry for me.
I am going to add another comment or two in my next message in this thread, as a follow up to Naseer sahib's message.
_____Zoya
Zoya
Naseer sahib,
You do not cease to amaze me. Urdu, Persian and now Hindi. Impressive, sir.
Notice, due to a certain major league 'tussle' that you have lost in the past, I am not mentioning Punjabi language here! :-)
Let me add at least one more word, which I find glaring, to the pretty comprehensive list you have compiled. In Roman though. I can't type in Devanagari.
ऐश --> aish
In Urdu -> Hindi translation, I have a strong objection to: गुमाँ – महसूस, I would say gumaaN should be more like 'shak' (doubt/suspicion).
And when I saw लन्तरानियाँ – अतिशयोक्ति, I went what????? Reality check, this settles that even my Hindi is not as good as I assume it to be. I have no alternate Hindi word to offer here, maybe Irfan sahib can. I have always thought of the meaning of this particular word in English, sort of being boastful, right?
This was a fun exercise.
___Zoya
Naseer
>
> I agree with you that translations are useful if a language is totally foreign to the reader. If a reader knows basics of a language, it is best to provide meanings of difficult words and leave the interpretation to one's imagination.
Zoya SaaHibah, aadaab 3arz hai.
I think one needs to know more than the basics of a language to grasp full understanding of poetry. There may be cultural, literary and religious overtones at play and a mere understanding of the language may not then be sufficient. In this nazm for example, we have..
hazaar۔۔۔۔ One may think of this as a "thousand" but here it means "nightingale".
lan-taraa-nii....This is a complete sentence in Arabic and its literal translation is "You will never see me". Its context is the Qur'an in which prophet Moses wanted to see God and God's response was this sentence.
"And when Moses arrived at Our appointed time and his Lord spoke to him, he said, "My Lord, show me [Your self] that I may look at You." [ Allah ] said, "You will not see Me...". Metaphorically, it translates to "Boastfulness".
va3dah-i-alast kaa..Here again, "alast" harks back to the Qur'an where God describes an event in which He (God) asked all creation the question, "'a lastu bi-rabbiku"..."Am I not your Lord?"
(7:172) "And recall (O Prophet)133 when your Lord brought forth descendants from the loins of the sons of Adam, and made them witnesses against their ownselves. asking them: 'Am I not your Lord?' They said: 'Yes, we do testify.' 134 We did so lest you claim on the Day of Resurrection: 'We were unaware of this.'"
निगार हाय फ़ितनागर Here हाय is not as in "haa'e maiN mar ga'ii" but the "haa" is the plural and the "-i-" is the izaafat of Persian, as in "riyaasat-haa-i-muttaHidah"..United States.
Naseer
Naseer
You know, I am not just a pretty face, Zoya SaaHibah!:-) And you don't really know about my Punjabi!
> Let me add at least one more word, which I find glaring, to the pretty comprehensive list you have compiled. In Roman though. I can't type in Devanagari.
>
> ऐश --> aish
>
I did n't quite follow your train of thought here. Perhaps I am missing something.
One or two more corrections..
तरन्नुमें हज़ार हैं = तरन्नुम-ए-हज़ार है
ना ग़म कशूदो बस्त का, बुलंद का ना पस्त का,
ना बूद का न हस्त का, ना वादा ए अलस्त का,
ना मै में कुछ कमी रहे
In all these, one should have न
कोहेसार = कोह्सार
बशर – व्यक्ति Here I would say bashar means insaan and not shaxs.
Naseer
Zoya
> >
> > ऐश --> aish
> >
>
> I did n't quite follow your train of thought here. Perhaps I am missing something.
>
Afzal A. Khan
I am entirely in agreement with whatever you have stated above.
In fact, I wanted to explain the expression "lan~taraaniyaaN"
(apart from some other observations) but you beat me to it.
Maybe, in one instance, there can be a different take relating
to the following line :
Tarannum-e-hazaar hai.......
The "amendment" offered is "bahaar~pur'bahaar hai".
I would render it as "bahaar par bahaar hai".
When something pleasant reaches its peak, in a manner of
speaking, we say : "is cheez par bahaar aa gayee hai".
Maybe the poet is saying that "bahaar (spring) par bhi
bahaar aa gayee hai". In other words, "sone pe suhaaga(h)".
The Spring has reached the epitome of its pleasantness.
Afzal
iitd...@gmail.com
I thought no one will look up this thread after so many years!
I am self-taught in Urdu - not having learnt it formally. I can read the script with some effort. Thanks for the corrections. I'll now have the satisfaction that my copy in devnagri has passed through the eyes of experts!
Thanks for pointing out that hazaar also means nightingale. Now the phrase तरन्नुम ए हज़ार makes perfect sense.
To Zoya ... An easier translation for लंतरानियाँ is डींग or tall tales.
In an interview with Hafeez sa'ab, it is clear that he meant it this way and not in the original arabic sense. See
https://www.youtube.com/watch?v=hnFEVGihAY8
Many lines in the poem lend themselves to different interpretations.
For example,
ये क्या गुमाँ है बदगुमाँ, समझ न मुझको नातवाँ,
Guman can be awareness, as well as pride. (Unless there is a difference in the way these are spelt in Urdu - may be one has the letter `n' and the other just the terminal nasalization through the cup shaped symbol? The poem uses the nasal ending.)
What kind of pride you have, o unaware one - don’t take me for a weakling!
Or -–
what kind of notion you have (about me), o uncaring one,
do not regard me as weak.
Also, in the last stanza,
ये आसमान ये ज़मीं, नज़ारहा ए दिलनशीं,
These, and this beautiful life,
how can I give up these?
Of course, without a comma is OK too. Then it could mean that life, which is essential for enjoying these नज़ारहा ए दिलनशीं.
Regarding ऐश --> aish
Diphthongs have largely vanished from Hindi and have been replaced by open vowels. Thus, pronouncing the double `matra's as अइ or ओउ is now regarded as antiquated/regional. In mainstream Hindi, ऐश does rhyme with `cash'. So, cash = कैश, and hindi word for hair = केश ! Devnagri is reasonably phonetic, but it does run into problems with some vowels. (Pen versus Pain).
But that is another topic altogether -- some other day and forum!
iitd...@gmail.com
It should have been Zoya sahiba (?). My apologies.
Afzal Sa'ab
My source for the transcript is from
https://www.youtube.com/watch?v=WM3zELqhU74
It clearly shows "pur bahar" and not "par bahar". Malika Pukhraj pronounces it that way, too.
As far as singing is concerned, Malika Pukhraj has `decorated' some phrases by deliberating delaying these from the pure beat. This is particularly so in the stanza about Maikashan -- the delay adds emphasis and creates the impression associated with Mai.
Naseer
You have done a commendable job in trying to present a transliteration of this wonderful melodious nazm written by Hafeez Jalandhri in 1924. The stanza न ग़म कशूदोबस्त का comes last in the book, although in the sung version it is not. I am no expert in Devanagri script. Just like you, I too have taught myself the script.
A few further comments.
गुमां = P گمان gumān [Pehl. gumān; Zend vī-manaṅh; S. वि+मनस्], s.m. Doubt, distrust, suspicion; surmise, conjecture;
बद्-गुमां = bad-z̤an, adj. Suspicious, mistrustful, &c. ( = bad-gumān, q.v.)
ये क्या गुमाँ है बेगुमाँ = What is this distrust O mistrustful one!
कशूदो बस्त = इन्तिज़ाम
मुतरिबा = ऐ मुत्रिब = O minstrel
अलम रुबा = दर्द दूर कर्ने वाला
कभी तो वक़्त सो गया = कभी जो ब्ख़्त सो गया where ब्ख़्त is fate.
इन्हें हयात-आफ़्रीं = (To the best of my understanding and I could be wrong!) [yih sab-kuchh] in ke liye zindagii paidaa karne vaalii chiizeN haiN.
P آفرين āfirīn, āfrīn [ā+frīn = Zend frīna = S. प्रीण], s.f. Praise, applause; — part. adj. & s.m. Creating; creator (used in compn. e.g. jahān-āfirīn, Creator of the world); — intj. Bravo! well done!: — āfrīn-sad-āfrīn, Idem (syn. shābāsh): — āfrīn karnā (-par), To pronounce āfrīn (upon), to praise, laud, applaud.
Naseer
iitd...@gmail.com
This correspondence is a wonderful source of learning for me! My name is Dinesh. I use the net in "read mostly, write rarely" mode. That does not mean I am shy of arguing - even with experts like you :-)
In Urdu, a derived meaning of guman is indeed pride. (K.L. Sehgal -- O gori, kahe guman kare etc.) Dictionaries also give this meaning.
My point all along has been that we enjoy poetry all the more by interpreting it in different ways -- sometimes even beyond what the poet intended!
Since the poet accuses the saqi of thinking of him as a weakling, it is not unlikely that the word carries a shade of this meaning.
In fact नातवाँ could be taken to mean drink impaired? (Being a tea-totaler I am not so familiar with nuances of words in this genre!)
I do understand the metaphysical reference to drinking in the poem, though.
I am familiar with बख़्त = fate and that is indeed the right word (I checked back with the Urdu script and that is the word being used).
The mildly abusive कमबख़्त is a common word in Hindi as well as Urdu. No allusion to timelessness or ecstasy here!
The theme of this nazm being that Hayat is afrin -- I agree with the singer in bringing this stanza to the end -- to leave this phrase ringing in the ears.
Naseer
In this forum, you will find we discuss/argue to our heart's content and respect everyone's views. Having said this, the golden rule is that we do not abuse anyone and stay within the circle of etiquette and good manners that Urdu language and culture expects of us. So, please argue your case to the best of your ability. No one claims to be an expert in this forum. We all have something to contribute to a lesser or greater degree. Please don't be surprised you find people putting up a good fight with you. We are all battle hardened here!:-) You will have seen Zoya SaaHibah and I using the word "tussle" on occasions. Here is the debate that we had!
https://groups.google.com/forum/#!topic/alt.language.urdu.poetry/IJEn-D4PXg4%5B1-25%5D (reshmi salvaar/shalvaar: Laurel vs Yanny)
https://groups.google.com/forum/#!topic/alt.language.urdu.poetry/NiX5hRy-hrY%5B26-50%5D (Three Shirts of Joseph)
"Pride" is indeed one of the meanings of "gumaan/N" and as far as interpretation of a shi3r is concerned, no one has a monopoly over its interpretation. Someone may come with an outrageous interpretation that might even be "wrong" but s/he has every right to put forward that interpretation. In the shi3r in question, "pride" is possibly the most likely meaning. So, we are in agreement.
"The mildly abusive कमबख़्त is a common word in Hindi as well as Urdu." I would have said this something like this.
کم بخت is a common word in Urdu and it (कमबख़्त) may also be common in Hindi. Now if you would like to debate this change of order with me and the change from "is" to "may", be my guest!:-)
Naseer
Naseer
>
Naseer
Naseer
>
> Mukarramee,
>
> I am entirely in agreement with whatever you have stated above.
> In fact, I wanted to explain the expression "lan~taraaniyaaN"
> (apart from some other observations) but you beat me to it.
>
> Maybe, in one instance, there can be a different take relating
> to the following line :
>
> Tarannum-e-hazaar hai.......
>
> The "amendment" offered is "bahaar~pur'bahaar hai".
>
> I would render it as "bahaar par bahaar hai".
>
> When something pleasant reaches its peak, in a manner of
> speaking, we say : "is cheez par bahaar aa gayee hai".
>
> Maybe the poet is saying that "bahaar (spring) par bhi
> bahaar aa gayee hai". In other words, "sone pe suhaaga(h)".
> The Spring has reached the epitome of its pleasantness.
>
>
> Afzal
I have checked some old "naGmah-zaar" copies in which it clearly has "pur" with a pesh. Having said this, in an unvowelled text, yours would be a very valid interpretation. There is a an old video of Hafeez Jalandhari where he reads the whole nazm. But as (bad) luck would have it, it is inaudible at the very point we are discussing!
https://www.youtube.com/watch?v=gR05AK7uDDo
Naseer
iitd...@gmail.com
I recall that in my childhood, use of the word कमबख़्त brought an immediate reprimand in our strict family. (I am on the wrong side of seventy!)
The word has its origins in Urdu, of course -- so I have no bones to pick with the order in which these are mentioned! I prefer devnagri for transliteration of Urdu because the English/Roman transliteration is not accurate and the unusual mixing of lower case and capitals distracts from the word itself.
Naseer
> आदाब, Naseer Saaheb. You are characteristically modest, but the contents of your messages as well as your लहजा tell me that you are an expert in Urdu/Persian!
>
> I recall that in my childhood, use of the word कमबख़्त brought an immediate reprimand in our strict family. (I am on the wrong side of seventy!)
> The word has its origins in Urdu, of course -- so I have no bones to pick with the order in which these are mentioned! I prefer devnagri for transliteration of Urdu because the English/Roman transliteration is not accurate and the unusual mixing of lower case and capitals distracts from the word itself.
>
>
We generally don't post in the Urdu script because not everyone interested in Urdu poetry is familiar with its script. I would say the same would go for Devanagri even though Urdu lovers from India may be familiar with it but not necessarily those who hale from Pakistan and elsewhere.
Transliteration in Roman is therefore an obvious choice even though it may be an eye sore for some but it is a necessary "evil".
Naseer
Zoya
>
> Zoya SaaHibah, aadaab 3arz hai.
>
> I think one needs to know more than the basics of a language to grasp full understanding of poetry. There may be cultural, literary and religious overtones at play and a mere understanding of the language may not then be sufficient. In this nazm for example, we have..
>
>
>
> va3dah-i-alast kaa..Here again, "alast" harks back to the Qur'an where God describes an event in which He (God) asked all creation the question, "'a lastu bi-rabbiku"..."Am I not your Lord?"
>
aadaab arz hai, Naseer sahib,
I stand by my original statement and believe that what you are saying is simply supplementing it. Yes religious, social, historical, cultural and perhaps even political contexts are needed to appreciate any poetry fully. However, all of these can be compensated if we understand a language and are curious readers willing to seek a little help with unfamiliar/difficult words/phrases.
To illustrate, I will give you some simple examples from my personal experience. The very first time I read a sh'er with the word 'tavaaf' in it, I had to pause and look for its meaning. It was foreign to me but probably known to all muslims. We use the word 'parikarma' in a similar sense, a word which some other readers may be know.
Now let me quote a couple of ash'aar that may seem pretty simple, but again contain religious references that I was not really familiar with. The first time I read these ash'aar, I had to ask my muslim friends for clarification:
1. haasil-e-kun hai ye jahaan-e-Kharaab
yahi mumkin tha itni ujlat meiN
Jaun Eliya
2. Khayaal aata hai aadhi raat ko jab bhi tira dil meiN
utartaa ik sahiifa apne uupar dekh sakti huuN
Parveen Shakir
____Zoya
Naseer
https://groups.google.com/forum/#!searchin/alt.language.urdu.poetry/shikvah$20and$20khushwant%7Csort:date/alt.language.urdu.poetry/DTfSI5p-4UQ/hj6z0melwo4J
Naseer
Zoya
>
> Zoya SaaHibah, I also stand by what I have said. Of course one can and should go the extra mile and try to understand any word, construction, idiom etc that one is not familiar with. I think all this can be best illustrated by the discussion we had over the late Khushwant Singh's translation of Iqbal's Shikva. You are aware of this but did not continue in the thread due to two weddings and "Pasandeedah ashaar".
>
> https://groups.google.com/forum/#!searchin/alt.language.urdu.poetry/shikvah$20and$20khushwant%7Csort:date/alt.language.urdu.poetry/DTfSI5p-4UQ/hj6z0melwo4J
>
> Naseer
Thanks for reminding me about the long lost shikva/javaab-e-shikva/Khushwant Singh thread. Those two weddings are long over, in fact I think one of those couples is already divorced! What a waste, so much for the big fat Punjabi weddings!!
After reading the 'interesting' (to put it mildly) discussion that followed in that thread, I dare not add anything else! No way, sir. :-)
BTW, when is Vijay sahib's sabbatical ending? If possible, please convey that his presence is greatly missed on Alup.
_____Zoya
Naseer
I have sent Vijay Kumar SaaHib an e-mail but am still waiting for a reply. Another person who has taken a deep dive is Kala SaaHib. I hope both are safe and well.
Naseer
Zoya
>
> What's this "sir" business, Zoya SaaHibah? I have n't been knighted yet!:-)
>
> I have sent Vijay Kumar SaaHib an e-mail but am still waiting for a reply. Another person who has taken a deep dive is Kala SaaHib. I hope both are safe and well.
>
> Naseer
___Zoya
Afzal A. Khan
> What's this "sir" business, Zoya SaaHibah? I have n't been knighted yet!:-)
Sir Naseer Saheb, Esqr.
For me at least, you are a Knight (In Shining Armour). who has
held aloft the banner of Urdu and is in the forefront of a
valiant crusade in the cause of our beloved language.
May your tribe increase.......
Afzal
Irfan Abid
I second it!
niyaazmand,
Irfan :Abid:
Jamila Bagash
Ashraf An
Mohtaram Afzal sahib,
I was looking for an urdu translation of Shelley's poem "Ode to the West Wind", and I happened to stumble upon this group, that, somehow small but has literary gems of Urdu speakers from around the world. I'm grateful. Could you please provide me with the Urdu translation of the the said poem, in nastaleeq if possible?
Naseer
In the film called Devdas that starred Dilip Kumar, in a train scene he has a chance meeting with Chunni Babu (Motilal) who had earlier introduced Devdas (Dilip Kumar) to the redlight district of Calcutta. Here is part of the dialogue that takes place in the train.
Chunni Babu - are Devdas!
Devdas - Chunni Babu, tum!
Chunni Babu - yih kyaa suurat banaa rakhii hai. pahchaane bhii nahiiN jaate! kyaa xabar hai?
Devdas - xabar bas yahii hai kih zindah haiN.
is maHfil kii xabar bhii kuchh aisii hii hai. ham chand log jo is meN shirkat kar rahe haiN, zindah haiN lekin mujhe nihaayat afsos se kahnaa paRtaa hai kih yih baat muHtaram Afzal A Khan ke baare meN vusuuq se najiiN kahii jaa saktii! ek taviil muddat se vuh yahaaN tashriif nahiiN laa'e.
agar aap is group meN "Shelly's "Ode to the West Wind" - - Urdu Rendition - Part 1 talaash kareN (jis kii taariix aap ko 27/12/2010 or 28/12/2010 milke gii), to aap ko aap kaa matluubah tarjumah mil jaa'e gaa. mere xayaal meN, Part 2 kii taariizx 29/12/2010 hai.
Naseer
Zoya
> wa 3alaikum Assalaam, Ashraf An SaaHib,
>
> In the film called Devdas that starred Dilip Kumar, in a train scene he has a chance meeting with Chunni Babu (Motilal) who had earlier introduced Devdas (Dilip Kumar) to the redlight district of Calcutta. Here is part of the dialogue that takes place in the train.
>
> Chunni Babu - are Devdas!
>
> Devdas - Chunni Babu, tum!
>
> Chunni Babu - yih kyaa suurat banaa rakhii hai. pahchaane bhii nahiiN jaate! kyaa xabar hai?
>
> Devdas - xabar bas yahii hai kih zindah haiN.
is baat par mujhe Habeeb Jalib kaa yeh she'r yaad aa gayaa:
is shahr-e-Kharaabii meN gham-e-ishq ke maare
zindah haiN yahii baat baRii baat hai pyaare!
> Naseer
jiite rahiye :)
_________Zoya