gulzaar e raqs o mauseeqee: gul e bakaawali
Zafar
teen din pehle Washington DC ke Kennedy Center of Performing Arts ke
Theater meN Pundit Daya Shankar Nasim kee mash'hoor e zamaana masnavee
"Gulzar e Nasim" par mabnee aik khel paish kiyaa gayaa. zaahir hai k
aise mauqe se istifaada na karnaa kufraan e ne'emat hotaa. so ham bhee
kaaGhaz, qalam (aur camera) le kar vahaaN jaa dhamke aur vaapas aa kar
khel par aik mazmoon bhee likh Daalaa.
ye mazmoon (Urdu rasm ul Khat meN) neeche diye gaye rabt par dastyaab
hai, so agar vaqt ho to paRhiye ... aur Khaaksaar ko du'aayeN deejiye.
http://www.voanews.com/urdu/2006-09-18-voa11.cfm
Zafar
Kali Hawa
GustaKhi muaf, Zafar Sahib, muje kuch aur hi nazar aayaa
"Gulzaar raqs o mausiqee: amreekah ke mashoor naatak ghar meN gul
bikavli kii numaaish
----- Zaif Saeed"
Zafar
ye kuchh aur naheeN, Kala saahib, bal k vuhee hai jis kaa maiN ne zikr
kiyaa thaa :)
aur haaN, ye bhee bataataa chalooN k mazmoon ke aaKhir meN aik link hai
jis ke zaree'ye aap ye khel dekh aur sun sakte haiN.
Zafar
>
> ----- Zaif Saeed"
Naseer
aap kaa gul-i-bakaawalii naaTak par Urdu meN mazmuun paRhaa. nihaayat
mufassail awr dil-chasp thaa. bahut bahut shukriyaa (awr duaa'eN bhii)!
aap ne zikr kiyaa hai kih Irani pariyoN kaa kirdaar safed-faam adaa
kaaraaoN ne kiyaa hai jab kih Hindustaanii pariyaaN Hindustaanii thiiN.
is zimn meN maiN yih kahnaa chaahuuN gaa kih koh qaaf kii pariyaaN
afsaanavii haiN jab kih Hindustan kii pariyoN kaa ek Haqiiqii des hai
awr yih saaNvlii silonii pariyaaN, hamaarii nazar meN, un pariyoN se
kahiiN ziyaadah KHuubsuurat haiN!
KHair-andesh,
Naseer
sarah.n...@gmail.com
Zafar sahib aadaab,
itna KHoobsorat drama hamare saath share karne ka bohot shukriya.
aap ka mazmon to pehle paRh liya tha, abhi abhi drama bhi dekh liya.
Sarah
Zafar
Naseer wrote:
> janaab-i-Zafar Sahib, aadaab 'arz hai!
>
> aap kaa gul-i-bakaawalii naaTak par Urdu meN mazmuun paRhaa. nihaayat
> mufassail awr dil-chasp thaa. bahut bahut shukriyaa (awr duaa'eN bhii)!
Naseer saahib aur Sarah saahiba:
mazmoon pasand farmaane kaa shukriya. aap logoN ne paRh liyaa to mere
paise vusool ho gaye!
> aap ne zikr kiyaa hai kih Irani pariyoN kaa kirdaar safed-faam adaa
> kaaraaoN ne kiyaa hai jab kih Hindustaanii pariyaaN Hindustaanii thiiN.
> is zimn meN maiN yih kahnaa chaahuuN gaa kih koh qaaf kii pariyaaN
> afsaanavii haiN jab kih Hindustan kii pariyoN kaa ek Haqiiqii des hai
> awr yih saaNvlii silonii pariyaaN, hamaarii nazar meN, un pariyoN se
> kahiiN ziyaadah KHuubsuurat haiN!
Naseer saahib:
maiN ne Hindustan kee "pariyaaN" naheeN likhaa, bal k Raja ke darbaar
kee "kaneezeN" likhaa thaa! pariyaaN to sab kee sab sufaid-faam hee
theeN!
duvam, maiN ne kaheeN bhee "saanvalee" kaa lafz istemaal naheeN kiyaa.
sivum, yahaaN bhee maiN ne ko'yee "judgement" naheeN diyaa bal k mahaz
aik vaaqiyaatee haqeeqat kee taraf ishaara kiyaa thaa -- jo aap Khud
video meN mulaahiza kar sakte haiN.
lekin agar aap meree zaatee raa'ye ma'aloom karnaa chaahte haiN to
kahooN gaa k apnaa to aqeeda hai baqaul e Nasikh:
husn ko chaahi'ye andaaz o adaa, naaz o namak
kyaa huvaa gar huvee goroN kee tarah khaal sufaid!!!
isee mauzoo' par Abroo ko bhee sun leejiye:
qadr-daaN husn ke kehte haiN use dil-murda
saanvaraa choR kar jo chaah kare goroN kee
aur jab saanvre-salone kee baat chal niklee hai to Jur'at kyoN kisee se
peechhe raheN:
go husn par haiN naazaaN mah-roo ye gore chiTTe
lekin ko'yee "balaa" hai vo saanvalaa salonaa!!!
Nasir Kazmi kaa dheemaa dheemaa, sauz-angez she'r bhee mulaahiza ho:
chaand kee dheemee dheemee lau meN
saanvalaa mukhRaa dukh detaa hai
saanvalee soorat ko namak ke saath munsalik kiyaa gayaa hai (kyoN? ye
aap ke liye savaal hai!), so shaa'iroN ko mauqa haath aa gayaa:
ai namak-paash teree saavalee soorat kee qasam
dil kaa har zaKhm tujhe dil se du'aa detaa hai
lekin jo Zafar Iqbal keh ga'ye haiN, vo bhee apnee jagah laa-javaab
hai:
hai yooN to us kaa sanvalaa-pan saanvalaa hee pan
chakkho to ik miThaas bhee us ke namak meN hai
aadaab arz hai,
Zafar
Naseer
janaab-i-Zafar Sahib, aadaab-o-tasliimaat!
maiN ne apnii saaNvlii awr salonii pariyoN ke baare me sirf mazaq ke
taur pih likhaa hai, awr koii bhii vajah nahiiN thii.
"saaNvle salone" shi'r muhayyaa karne par bahut bahut shukriyah. aap ne
ek savaal kiyaa hai kih saaNvle rang awr namak se kyaa munaasibat hai.
sach puuchheN to mujhe ma'luum nahiiN lekin aTkal pachhuu ke taur par
yih kah saktaa huuN kih safed rang kaa ta'alluq shaayad shiir
(milk/white/sweet) se hai jab kih saaNvle rang kaa rishtah namak (rock
salt/dark/not sweet) se ho (??). maHbuub zaahir hai, agar vuh
kaRvaa-pan nahiiN dikhaataa to kam az kam namkiin zaruur hai!
KHair-andesh,
Naseer
zafa...@gmail.com
Naseer saahib: maiN bhee faqat aik Ghalatee kee tas'heeh kar rahaa thaa
:)
> "saaNvle salone" shi'r muhayyaa karne par bahut bahut shukriyah. aap ne
> ek savaal kiyaa hai kih saaNvle rang awr namak se kyaa munaasibat hai.
> sach puuchheN to mujhe ma'luum nahiiN lekin aTkal pachhuu ke taur par
> yih kah saktaa huuN kih safed rang kaa ta'alluq shaayad shiir
> (milk/white/sweet) se hai jab kih saaNvle rang kaa rishtah namak (rock
> salt/dark/not sweet) se ho (??). maHbuub zaahir hai, agar vuh
> kaRvaa-pan nahiiN dikhaataa to kam az kam namkiin zaruur hai!
koshish buree naheeN hai, lekin ma'azarat ke saath arz karooN gaa k aap
ne jo daleel faraaham kee hai, vo Khud daleel kee muKhtaaj hai! aur vo
yooN k namak aur doodh aik doosre ke mutazaad naheeN haiN (donoN sufaid
haiN).
vaise aap jaante hee hoN ge k Arabi meN bhee "maleeh" se lag bhag yehee
matlab liyaa jaataa hai!
Zafar
> KHair-andesh,
> Naseer
Mohib
aadaab arz hai!
Thanks so much for all these beautiful couplets. I remember you sharing
some of them in a previous post long time back. I really liked them and
memorized a couple.
It being my preference as well, I use them often at various occasions.
:-)
talib-e-du'aa,
Mohib
Naseer
> > Zafar wrote:
> koshish buree naheeN hai, lekin ma'azarat ke saath arz karooN gaa k aap
> ne jo daleel faraaham kee hai, vo Khud daleel kee muKhtaaj hai! aur vo
> yooN k namak aur doodh aik doosre ke mutazaad naheeN haiN (donoN sufaid
> haiN).
>
> vaise aap jaante hee hoN ge k Arabi meN bhee "maleeh" se lag bhag yehee
> matlab liyaa jaataa hai!
>
janaab-i-Zafar Sahib, aadaab 'arz hai!
aap ne to mujhe ek kaRii aazmaaish meN Daal diyaa hai!
saaNvlaa is linked to the Hindu deity Krishna who was considered to be
dark in complextion, hence his epithet "Shyaam" (linked to Farsi siyaah
?)
This is what Platt says about it..
Of a dark or sallow complexion; dark, swarthy; sallow, brown,
nut-brown; of handsome countenance; an epithet of
Krishṇ:--sāṅʼolā-salonā, adj. (f. -ī), Brown and salty; rich
brown;--piquant, pleasing:--sāṅʼolī-ṣūrat, adj. & s.m. Having a
sallow or a handsome countenance;--one who has a sallow countenance.
Notice...brown and salty...of handsome appearance.
Salona is composed of sa+lona meaning having salt. i.e salty. Punjabi
"saluuNRa" would be connected with this word while we know "luuNR"
means salt in several languages of the sub-continent.
According to Platts..
H सलोना salonā [Prk. सलोणअं; S.
स+लावण्य +कं], adj. (f. -ī), Salt, salted; seasoned;
tasteful, tasty, savoury; beautiful, handsome; interesting, piquant;
intelligent; dark-complexioned, nut-brown (complexion); expressive
(countenance).
Note beautiful, handsome..
Note also the English word "saline" which no doubt is also linked.
Namak, as well as it's usual meaning of "salt" is given as "grace,
beauty" by Steingass.
MaliiH, as well as salty (from milH=salt), also has connotations of
beauty, as the Arabic phrase "maliiHu_lwajh" = handsome of countenance.
Now, it beats me why there is a connection between "dark" as in
saaNvlaa and "beautiful". Also salt (as in salona/namak, maliiH) and
"beauty". Please be kind enough to enlighten us! Is it to do with
Lailaa/Krishna who were historically dark and beautiful? But still,
what is the connection with salt?
KHair-andesh,
Naseer
Zafar
Dear Naseer saahib:
You have done a commendable research on the word saanwalaa and its
connotations. I think the time is ripe to launch my “theory” on
the subject :)
These days, even back home, salt comes in packs and boxes, neatly
ground and processed and fortified with minerals. It’s white and is
often hard to differentiate from sugar (I have, on a few occasions,
got to have tea where the poor tea-maker had put in a few teaspoons of
salt instead of sugar!)
But salt was not always white: in the times bygone, salt would be
bought in the form of chunks of raw salt rock and those chunks were
ground by the woman folk on a “sill”, using a stone pestle.
And what was the color of that rock salt? It was not white but dark
brown!
In the excerpts from Platts that you have provided, the “saanwlaa”
complexion refers to dark, brown, rich brown and nut-brown, so it's not
hard to make the connection with the brown/dark brown rock salt. Now
look at the following flowchart:
namak --> gehraa bhoora --> gehraa gandamee --> saanwlaa
Or
namak --> saanwlaa
This is one part of the association of salt with the complexion. Now
consider this:
namak --> lazeez --> pyaaraa --> mehboob
Or
namak --> mehboob
We see here that two threas come into play to define the word,
involving two senses, vision and, more importantly, taste. I have
already explained the visual part. As far as taste is concerned, in
English, too, we come across the association of taste with the mehboob,
as in terms like “sweetie”, “sweetheart”, “honey”, etc.
Needless to say that a sumptously cooked dinner without salt is called
“rookhaa” and “pheekaa” and a little pinch of salt would make
it savory. Likewise, in the words of Nasikh, “goroN kee tarah khaal
sufaid” is considered rookhaa and pheekaa and a little sprinkling of
dark color makes the color much more, ummm, “palatable.” :) So, in
my opinion, the association of mehboob and namak is more gustatory than
visual.
Now the question that why the same relationship in the West involves
sugar whereas in the Orient -- at least from India to Arabia -- we use
another chemical for the same purpose. Could it be our penchant for
“masaale-daar” food?
Nevertheless, in the Occident, too, salt has been cosidered to be of
great value throughout the ages. For example the English word
“salary” comes from salt. Also, think of such pharses as “worth
one’s salt”, “to be above the salt”, etc.
aadaab arz hai,
Zafar
Naseer
Zafar wrote:
> namak --> gehraa bhoora --> gehraa gandamee --> saanwlaa
> namak --> saanwlaa
janaab-i-Zafar Sahib, aadaab-o-tasliimaat!
Thank you for putting me out of my misery! Your argument certainly
appears convincing enough. It appears that you have studied algebra at
some stage in your life...i.e
a=b and a=c, therefore b=c
namak=saaNvlaa
namak=maHbuub
so, saaNvlaa=maHbuub!
so far so good. You have to give me credit that in my earlier post, I
did mention rock salt being dark. What I did not connect is
salt=tasty=maHbuub. I was thinking that perhaps Mahbuub was not always
sweet to the 'aashiq but was often "namkiin" if not bitter!
Now I can quite easily accept the concept of rock salt being connected
with the maHbuub as the district north of me (Jhelum) has the "Salt
Range" in it. I wonder if rock salt is also plentiful in Iran and the
Arab world. If the Arabs have been obtaining salt from evaporated sea
water, then we may have to look for another explanation for
"maliiHu_lwajh" etc.
Talking about "sweet heart" and "honey", the word "qand" is used in
Farsi poetry. This may have been brown lump sugar. In the matla' of a
famous Ghazal by Rumi, this word is mentioned..
bi-numaay ruKH kih baaGh-o-gulistaan-am aarzuust
bi-kushaay lab kih qand-i-faraavaan-am aarzuust
I wonder if in Persian poetry the maHbuub has linkage with salt. Do you
know if this is so? I know that on the whole the Iranians are a "fair"
race and in one of Hafiz's famous Ghazals...the word "turk" is used as
a symbol of fair colour.. that is even fairer than the local Shiiraazii
damsels!
agar aaN turk-i-shiiraazii ba-dast aarad di-i-maaraa
ba-KHaal-i-hinduu-ash baKHsham samarqand-o-buKHaaraa raa
Enough of tangent-talk!
KHair-andesh,
Naseer
Zafar
Naseer saahib, isee Ghazal ke aaKhir meN aik she'r aataa hai:
badam guftee va Khursandam, 'afaak-Allah, nikoo guftee
jabaab e talKh mee zeebad lab e la'al e shakar Khaa raa!
I cannot think of a Persian couplet, however, where an association has
been made of namak = mehboob. And I think Urdu's lab e sheereeN has
been directly lifted from Persian.
misaal ke taur par Hafiz ke she'r se Ghalib ne apnaa diyaa jalaayaa
hai:
kitne sheereeN haiN tere lab k raqeeb
gaaliyaaN khaa ke be mazaa na huvaa
------
aik aur baat jis kaa zikr reh gayaa thaa vo ye hai k Punjabi, Siraiki
aur Sindhi zabaanoN meN lafz Saanval ko mehboob ke ma'anee meN istemaal
kiyaa jaataa hai. asl meN ye Ranjha, Pannu, Maheenwal, vG., ke qabeel
kaa daastaanee kirdaar hai. ho saktaa hai k is ke saanvle rang kee
nisbat se ise Saanval kahaa jaataa ho. aap ne shaayad lok gaanoN meN
in hazrat kaa zikr e Khair sun rakhaa ho, jaise "saanval moR muhaaraN",
vG.
aadaab arz hai,
Zafar
UVR
> Naseer wrote:
> > Zafar wrote:
> >
> > > Now the question that why the same relationship in the West involves
> > > sugar whereas in the Orient -- at least from India to Arabia -- we use
> > > another chemical for the same purpose. Could it be our penchant for
> > > "masaale-daar" food?
> > >
> > > Nevertheless, in the Occident, too, salt has been cosidered to be of
> > > great value throughout the ages. For example the English word
> > > "salary" comes from salt. Also, think of such pharses as "worth
> > > one's salt", "to be above the salt", etc.
> >
> > Farsi poetry. This may have been brown lump sugar. In the matla' of a
> > famous Ghazal by Rumi, this word is mentioned..
> >
> > bi-numaay ruKH kih baaGh-o-gulistaan-am aarzuust
> > bi-kushaay lab kih qand-i-faraavaan-am aarzuust
> >
> > I wonder if in Persian poetry the maHbuub has linkage with salt. Do you
> > know if this is so? I know that on the whole the Iranians are a "fair"
> > race and in one of Hafiz's famous Ghazals...the word "turk" is used as
> > a symbol of fair colour.. that is even fairer than the local Shiiraazii
> > damsels!
> >
> > agar aaN turk-i-shiiraazii ba-dast aarad di-i-maaraa
> > ba-KHaal-i-hinduu-ash baKHsham samarqand-o-buKHaaraa raa
>
> Naseer saahib, isee Ghazal ke aaKhir meN aik she'r aataa hai:
>
> badam guftee va Khursandam, 'afaak-Allah, nikoo guftee
> jabaab e talKh mee zeebad lab e la'al e shakar Khaa raa!
>
> I cannot think of a Persian couplet, however, where an association has
> been made of namak = mehboob. And I think Urdu's lab e sheereeN has
> been directly lifted from Persian.
>
> misaal ke taur par Hafiz ke she'r se Ghalib ne apnaa diyaa jalaayaa
> hai:
>
> kitne sheereeN haiN tere lab k raqeeb
> gaaliyaaN khaa ke be mazaa na huvaa
>
It may be that we of the Indian Subcontinent stereotypically
prefer saltiness and spiciness -- when it comes to food --
but it would be folly, in my humble opinion, to extrapolate
this to suggest that "salt = beauty" is the only way we have
traditionally perceived beauty, or that 'sweet = beauty' is a
concept foreign to our land. Nothing could be further from
the truth. Here's a (rather famous, in certain circles) poem
in praise of the beauty of Krishna, in Sanskrit, known as
the 'madhuraaShTakam' [madhura = sweet, honeyed].
The poem is comprised of a set of eight stanzas, each of
which contains nothing but a list of 'sweet' or 'honeyed'
aspects of Krishna's personality. For instance:
adharam madhuram, vadanam madhuram,
nayanam madhuram, hasitam madhuram,
hR^idayam madhuram, gamanam madhuram
madhuraadhipater-akhilam madhuram
[adharam = lips; vadanam = form/body, nayanam =
eyes; hasitam = smile/laughter, hR^idayam = heart;
gamanam = walk]
... and it goes on.
BTW, it is interesting to note that Krishna himself is
described as being possessed of saa.Nvalaa skin
(kR^ishna = dark, black).
-UVR.
Vijay
I had often wondered how the adjectives of 'saaNwle' and 'salone' can
be applied to 'din bahaar ke', but having read the above interechange,
I am a little (mind, only a little) wiser. Are there other examples in
poetry of use of these attributes for inanimate objects?
Vijay
Afzal A. Khan
I rather think that "bahaar" (Spring) and "fasl-e-bahaar"
(the Spring Season) are notions borrowd from Iran i.e.
Persia. Maybe, Vijay Saheb is thinking of the well-known
film song "SaaNvle~salone aaye din bahaar ke". One can
appreciate the real significance of this line by equating
"bahaar" with "saawan" --- with visions of an overcast sky
and "bheeni~bheeni phuhaar".
Afzal
Afzal A. Khan
Some 15 years back, the Bombay TV station used to
telecast old film songs. And, in the upper left
hand corner of the TV screen, one could read the
words "Krishna Dhawal". This intrigued me for a
while, till some Marathi-knowing friend explained
that this was Marathi for "Black & White".
Obviously, "Krishna" stood for the former.
Zafar Saheb had quoted some verses with reference
to "salt" and "sweet". Here is one sher that I had
heard from my father long years back :
Kisi sheereeN~dahan ki ulfat men
Dil men hota hai meeTha meeTha dard
I don't recall the poet's name. Another sher from this
ghazal also involved some "ri'aayat-e-lafzi" :
Kaun aaya yeh KHaana-e-dil men
Kis ki t'azeem ko yeh uTTha dard
Afzal
Vijay
Yes, Afzal Sahib, that is the song I alluded to. But you will agree
that "saaNwle salone" in the song convey more than just the color of
the clouds. I thought it refered to the colors, flowers, the mood of
spring and conveyed the beauty, wonder and enchantment of 'din bahaar
ke'. So the stretch for me is to accept that these words have come to
mean these qualities and hence can be applied to things other than
people. That is why I wondered if there are other such examples in
poetry (or for that matter in prose).
Vijay
Naseer
UVR wrote:
> It may be that we of the Indian Subcontinent stereotypically
> prefer saltiness and spiciness -- when it comes to food --
> but it would be folly, in my humble opinion, to extrapolate
> this to suggest that "salt = beauty" is the only way we have
> traditionally perceived beauty, or that 'sweet = beauty' is a
> concept foreign to our land. Nothing could be further from
> the truth. Here's a (rather famous, in certain circles) poem
> in praise of the beauty of Krishna, in Sanskrit, known as
> the 'madhuraaShTakam' [madhura = sweet, honeyed].
> The poem is comprised of a set of eight stanzas, each of
> which contains nothing but a list of 'sweet' or 'honeyed'
> aspects of Krishna's personality. For instance:
>
> adharam madhuram, vadanam madhuram,
> nayanam madhuram, hasitam madhuram,
> hR^idayam madhuram, gamanam madhuram
> madhuraadhipater-akhilam madhuram
>
> [adharam = lips; vadanam = form/body, nayanam =
> eyes; hasitam = smile/laughter, hR^idayam = heart;
> gamanam = walk]
>
> ... and it goes on.
>
> BTW, it is interesting to note that Krishna himself is
> described as being possessed of saa.Nvalaa skin
> (kR^ishna = dark, black).
janaab-i-UVR Sahib,
It appears then that the MaHbuub is "salt", "sugar" "honey" all rolled
into one! What about "makhkhan" and "ghee"?
KHair-andesh,
Naseer
Naseer
Vijay wrote:
> >
> Yes, Afzal Sahib, that is the song I alluded to. But you will agree
> that "saaNwle salone" in the song convey more than just the color of
> the clouds. I thought it refered to the colors, flowers, the mood of
> spring and conveyed the beauty, wonder and enchantment of 'din bahaar
> ke'. So the stretch for me is to accept that these words have come to
> mean these qualities and hence can be applied to things other than
> people. That is why I wondered if there are other such examples in
> poetry (or for that matter in prose).
>
>
janaab-i-Vijay Sahib, aadaab 'arz hai!
I think that the compound adjective "saaNvlaa salonaa" means
"charming", "lovely", "comely" etc. Therefore, "saaNvle salone din
bahaar ke aae" would imply "those charming spring days are upon us",
the charm being derived from everything associated with "bahaar" or
"barkhaa rut". As for examples, I can not furnish them readily but I
have no doubt there would be plenty.
KHair-andesh,
Naseer