Wednesday, March 30, 2011

Agar Na Zohra Jabeenon: Jigar Moradabadi

Agar Na Zohra Jabeenon...
By Jigar Moradabadi.

Agar na zohra jabeenon ke darmiyaan guzre
To phir ye kaise kate zindagi kahaan guzre [1]

Mujhe ye waham raha muddaton ke jurrat-e-shauq
Kahin na khaatir-e-maasoom par geraan guzre [2]

Khata muaaf, zamaane se badgumaan ho kar
Teri wafaa pe bhi kya kya humein gumaan guzre [3]

Junoon ke sakht maraahil bhi teri yaad ke saath
Haseen haseen nazar aaye, jawaan jawaan guzre [4]

Mujhe tha shikwa-e-hijraan, ke ye hua mahsoos -
Mere qareeb se hokar wo naagahaan guzre [5]

Bohot azeez hain mujhko unhi ki yaad Jigar
Wo haadasaat-e-mohabbat jo naagahaan guzre [6]

---
One of my favourite ghazals by my all-time favourite poet, Jigar Moradabadi...seems I have been carrying it around for decades - especially [2], [3], and [5] touch a very special place that is quite unique and comes straight from the heart. Suddenly and unexpectedly (naagahaan), the right time has come to unburden and post it here...

The version sung by Vinod Sehgal has been with me for ever, and is unsurpassable. Found an mp3 here; surprisingly the full version isn't on youtube yet. 

Let's see if I can translate this well...will take time for sure...each word carries the weight of months and years...

Thursday, February 17, 2011

Abandon

"We move on and on, in search of mystery...and then we come to see that the only mysteries we want are the ones we'll never solve. And all we can do is try to cage with reasons what we know to be beyond the scope of reason. Till at last we surrender to something beyond us, and become unknowable ourselves."


"Metaphor was critical to the Sufis...because it was itself a metaphor: it said that behind the things we see, behind the people who speak, there lies another dimension, and that the other person sees even the things of the world in the light of the eternal."


From Pico Iyer's "Abandon".

Friday, February 04, 2011

Hum Dekhenge: Faiz's Predictions, Tunisia, Egypt and Beyond

Faiz Ahmed Faiz's lines echo around in one's mind these days, witnessing the upheavals in large parts of middle-east under oppressive political elites for long, for far too long...

Faiz's choice of words is haunting for several reasons: it is at once inspiring, hopeful, suggests a state of current oppression, and most importantly, predictive. He almost seems to be predicting that this indeed will happen, and "indeed, we too will witness..." - and the predictions at first glance are quite extreme, almost incredible. Yet, it is all happening...

Hum dekhenge
Laazim hai ke hum bhi dekhenge...


Jab zulm-o-sitam ke kooh-e-garaan
Rooi ki tarah ur jaaenge...


Sab taaj uchhaale jaaenge
Sab takht giraae jaaenge...


I rarely translate Faiz, as it has been done by so many others quite well. One blogger's version is here.

Iqbal Bano's version remains the definitive one in terms of singing these lines...


Wednesday, December 08, 2010

Ghazal ka Saaz: The Ghazal Instrument (a translation)

The Ghazal Instrument (Ghazal ka Saaz Uthao)
By Firaaq Gorakhpuri.

[Translated from the Urdu by Siyaah]

Pick up the ghazal instrument - the night is sad indeed
Play the melody of Mir - the night is sad indeed [1]

If not to you - to whom else should I go and complain:
O shadows of black tresses - the night is sad indeed [2]

We have heard of lamps dying out in such times before:
Do pray for the hearts - the night is sad indeed [3]

Let your hand remain in mine, as is, for a little while
Do not yet depart - the night is sad indeed [4]

------
Translator's Notes

I first thought this would be easy. But translating Firaaq Gorakhpuri poses unique challenges. While Firaaq often does not use heavily persianized expressions, some of his apparently simple idiomatic expressions can be hard to translate accurately.

[1] Saaz: instrument, apparatus. Can also refer to the sound from the instrument. I left "ghazal" as-is in the translation, since any translation of this into a general word such as "poetry" would miss all the traditional implications inherent in the reference to the ghazal form. Nawa-e-Mir: Nawa means melody, tune, sound; Firaaq's reference to Mir is an acknowledgement of inspiration from, and deep appreciation of, the well-known poet of an earlier generation, Mir Taqi Mir. Firaaq has similarly referred to Mir in other ghazals as well.

[2] Kis se jaa ke kahen: Though the literal meaning is "to whom should I go and say", the "say" here implies "complain" and it is difficult to transfer the meaning in English without using "complain" directly. Zulf: hair, tresses. Interesting implications are possible here: is the night sad (dark) due to the (one with) black tresses - notice the imagery of sad night and black tresses - , and if so, who else more appropriate to complain to about it?

[3] Khair manao: This is an idiomatic expression that could mean "pray for the safety of", "take precautions for the safety of", etc.

[4] The first line uses the words "yun hi" (as-is) in a manner that allows two readings: I have translated it as the first more obvious meaning. It could also idiomatically mean, "for no real reason". I wondered if "just like that" could fulfill both meanings in English, but wasn't satisfied. This remains the key difficulty in translating poetry - poets are adept at using words that mean more than they seem to, and as listeners in the native language, we sometimes don't even realize that is why some verses subconsciously strike a chord with us.

Thoughts on improvements are welcome!

Wednesday, November 10, 2010

Ghazal Ka Saaz Uthao: Firaaq

Ghazal Ka Saaz Uthao

Ghazal ka saaz uthao - bari udaas hai raat
Nawaa-e-Meer sunaao - bari udaas hai raat

Kahen na tumse to phir aur kisse jaa ke kahen
Siyaah zulf ke saayon - bari udaas hai raat

Suna hai pehle bhi aise mein bujh gaye hain chiraagh
Dilon ki khaair manaao - bari udaas hai raat

Diye raho yuheen kuchh der aur haath mein haath
Abhi na paas se jaao - bari udaas hai raat

----
Firaaq's obsession with night comes through in several of his compositions - this is one of them. It's also an example of his beautiful use of simpler language. Should be fun to translate this one. The rendition by Jagjit Singh will certainly count as one of the best (luckily so many of these are already uploaded by others and I don't have to upload them):