Romancing Tagore (Part-I)
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Ro man c in g T a g or e
Acollection of over 100 Tagore poems in Urdu Nazm
Transcreated byIndira Varma
Rehman Musawwir
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Copyright Page
DesignJacob. PNew Delhi
Type set byAbdul Tawab at Frontech GraphicsNew Delhi
This Page has to be completed in Kolkata.Since Visva Bharati and Basu Media Servicesare the Publishers..What is written below will remain. The Design and the Typeset
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INTRODUCTION
In his article on Rabindranath Tagore’s influence on modern Indian poetry, V.K. Gokak said, “The influence
of a poet on his epoch or on his contemporaries and successors is a very subtle factor and critical instruments
of utmost precision are required to measure it. The task is even more difficult when we think of an
epoch-making poet like Rabindranath Tagore… .The impact may be one of stimulation, or assimilation, of
acquiescence or revolt. It reveals itself even in the revolt directed against it.”
Mohammad Iqbal, one of the greatest of Urdu writers who were among contemporaries of Rabindranath, said
that he found Rabindranath’s poetry dreamy and one that encouraged inaction and belonged to the world of
the lotus eaters. Yet, in spite of himself, Iqbal was powerfully influenced and moved by many of those forces
and thought-currents, ideals and a vision of life of which Rabindranath was the greatest representative. Firaq
Gorakhpuri commented, “What Iqbal in a moment of impatient criticism, which was more impatient than
critical, more intolerant than discerning called the dreaminess of Tagore’s poetry was really a wide-awake
dream. Out of such dreams revolutions are born and nations rediscover themselves.” In fact, the technique
of giving new socio-cultural content to time-old allusions seems to have had an impact on Iqbal. As the elder
contemporary of Iqbal, Rabindranath sent his greetings to his great younger contemporary. In the course of
a letter to Iqbal, he wrote that he had come to learn of the many great achievements of Iqbal in the realm
of poetry and expressed his fervent desire that their mutual contributions to culture and humanism would
be supplementary and complementary.
An Indian Renaissance was taking place; this was a result of the response to the West and a revival of
ancient Indian thought and literature. Each region in India felt the impact of this Renaissance but Bengal was
privileged to experience it in a special way. Calcutta was the capital of the British in India for a long time and
the Renaissance came to an earlier fruition in Bengal where it was destined to find its classical expression in
the poetry of Rabindranath. Poets of genius arose in other parts of the country only after Rabindranath was
resplendent on the horizon and had been accepted by them as their Master.
Even before he won the Nobel Prize in 1913, a few poems were being translated into Urdu. However, after
1913, we find translations of his poetry growing in number. In 1914, Niaz Fatehpuri created a sensitive prose
translation of the lyrics from Gitanjali . Other well-known translations of Gitanjali were made by Bijnori in
his unfinished rendering in blank-verse and Moulvi Ziauddin of Santiniketan, who learnt Bengali and then
translated into Urdu. Ziauddin’s Kalam-i-Tagore published by Visva-Bharati in 1935 comprised one hundred
and twenty prose-poems. In 1924, Hamid Hasan Quadri translated poems from the English Gardener , entitled,
Baghban yani naghmat-i-muhabbat va hayat . Qamar Jalalabadi published a volume of versified translation
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of selected poems, Tagore ki Nazmen . In 1983, Sahitya Akademi published Firaq Gorakhpuri’s Ek Sau Ek
Nazmen , a collection of poems by Rabindranath in Urdu translation. Unfortunately these translations are not
easily available to today’s readers.
Urdu poets seem to prefer the nazm as a medium for translating Rabindranath’s poems and songs. The
nazm in Urdu language is a form of poetry that has a smooth flow of rhyme and rhythm and is written in
verses. These verses are in continuity to maintain a flow of thought, unlike the ghazal in which verses have
independent meaning and can portray feelings independently without depending on the next verse. Unlike
the ghazal , a nazm is not bound by any restriction of following a certain length pattern. In a nazm the
opportunity for a detailed exploration of every expression is possible. This unique quality of vastness gives
the nazm its due importance in Urdu literature.
The transcreation of Rabindranath’s poems and songs into Urdu nazm by Indira Varma seems to be in
continuation of a tradition started by Qamar Jalalabadi and Firaq Gorakhpuri. She has translated from
English renderings and has recreated them according to her interpretation of these renderings adding to
these lyrics a feminine sensibility. Kshitish Roy lived in Santiniketan for long years and was associated
with Rabindranath; he had assimilated Rabindranath’s thoughts and ideas so well that his translations are
the closest to the Poet’s own poems. It was through Kshitish Roy’s translations that Indiraji first came into
contact with Rabindranath and was inspired to mould these into Urdu nazms . She has also transcreated
from the Poet’s own translations. As her hunger for more songs grew, she explored other renderings. To
appease her hunger I made some working translations of songs I felt would appeal to her sensitivity and
taste. Indiraji’s transcreations are beautiful and will hopefully revive an interest in Rabindranath’s lyrics in
the world outside Bengal.
This reaching out to the world outside of Bengal is very important because it epitomizes Rabindranath’s
universal humanism. In 1921 he established Visva-Bharat i, an international university. A national and
international role was charted out for Visva-Bharati by its founder. In his speech on the occasion of the
inauguration of the institution Rabindranath outlined this role in the form of two objectives: uniting the
diverse cultural streams of India and linking them all with the global civilization of mankind. The Poet
selected for Visva-Bharati, as a motto, an ancient Sanskrit verse, yatra visvam bhavati eka nidam : where the
whole world meets in a single nest.
Indeed the world met in Santiniketan—there were professors, artists, linguists and the like from different
parts of Europe, from America, from the different countries of Asia—China, Japan, Ceylon, and others.
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Some came for short visits, some spent a few years and some settled here for life. My mother-in-law, who
was Japanese, came as a young girl with her father, who was invited by the Poet to teach woodwork in
Santiniketan. She stayed on and Rabindranath was present at her wedding to a Bengali youth who would later
be the Director of Sriniketan, the Institute for Rural Reconstruction. These inter-marriages worked very well
in Santiniketan because the milieu was ready to accept them.
It may not be out-of-place to mention that Indira Varma and her son, Suneet, have been family friends for
many years. My brother, Rathikant and I, have from the beginning given her much encouragement in her
interest in Rabindranath. Her passion and intensity for the work of transcreation was so infectious that all
the members of our family got involved in the book!
The availability of these nazms will be greeted with enthusiasm and we express our gratitude to Indira Varma
and her colleague, Rehman Musawwir. The musical quality of these nazms has moved Rathikant Basu, co-
publisher of this book, to arrange an Audio CD which will have music composed by Debojyoti Mishra, but
reminiscent of Rabindranath’s own compositions. As an ardent Tagore enthusiast, I, for one, welcome such
experimentation.
It is most appropriate that this book of Urdu nazms based on Rabindranath’s poems and songs should be co-
published by Visva-Bharati. We may recall that when the teaching of modern Indian languages was introduced
in Santiniketan, Urdu was one of the first languages that were taught after Bengali. Rabindranath was
interested in the sister-languages of Arabic and Persian which were also taught and continues to be taught
in Visva-Bharati.
Supriya Roy 1- 1- 11
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to India and began collecting and reading hundreds of Tagore’s poems. Unable to read Bangla, I read them
in English and in Hindi translations.
I was lucky, our family friend Rathikant Basu and his family were closely connected with Santiniketan. His
sister Supriya Roy had been the Librarian for over 30 years. He sent me the first 100 translations, then more
and then more. Supriyaji translated poems for me. They became my mentors. The more I read, the more
transfixed I was by the sheer beauty of those words that enraptured me even from the inevitable distance
of translation. With my increasing enchantment, grew my resolution to translate this poetry into Urdu, a
language I have always loved and turned to. With two collections of my own Urdu verses behind me, I was
ready for this trans-creation – of ‘pouring’ Tagore’s verses in my words.
Rathikantji promised to promote and publish my book. He made several trips to Delhi, spoke and met
Kumkum Bhattacharya, Director from Visva-Bharati to consider co-publishing the book. Without him and
Supriyaji nothing could have been possible. The eight year dream that I had been pestering him about now
also became his.
We also considered having the nazms sung. Having been the DG Doordarshan, the CEO Star TV and now
running three of his own TVChannels, Rathikantji made these dreams technicolor. His plans became lofty.
His association with singers of high repute and Music Directors were accessible to him. I just waited while
he adopted the total project. It would be impossible to say thank you in all the words I know but maybe I
will write a poem as an ode. The final impetus was provided by the 150th Birth Anniversary of Gurudev and
the support extended by Visva-Bharati and Santiniketan.
They wanted me to transcreate a hundred specific poems within ten months, so that the book could be
published under their aegis in the 150th year of celebration. The task, I must confess, was both daunting
and irresistible. This is when Musawwir came on board recommended by a dear friend. He is a Ph.D. in Hindi
and his flair for written and spoken Urdu was a boon. He has contributed largely in this ambitious project of
mine and together we burnt the midnight oil continuously for eight months.
Having completed the book, I can now safely say that Tagore has left us one of the best repositories of love
to be found anywhere in any language. This love has multiple forms -- it is divine, it is patriotic, and it is
romantic -- indeed, as romantic as the best of Romantic poets including Wordsworth, Keats or Shelley.
My passion is Urdu poetry. I have grown up reading Ghalib, Mir, Dagh and all the contemporary poets
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of India. My father has written several volumes of poetry. He wrote in Farsi, Urdu, English and Punjabi.
His poetry has been compared with Bulley Shah, Shah Hussain and Baba Farid. I have had close personal
associations with Faiz Sahab and Faraz Sahab. I have been running a society called Shaam-e-Ghazal for forty-
three years in collaboration with the India International Centre.
Zehra Nigah, the foremost poet of the subcontinent is my Guru. She visits me every year and this year I
began transcreating the first nine poems for this collection under her guidance.
During these past eight months of intense labour and close reading of Tagore, every poem that I read left me
overwhelmed. Every line helped me reconnect with my own illusionary forgotten self. My inner hierarchy
started to listen again. Tagore melted the logical grid in me. I would call it nothing other than Romancing
Tagore. It seemed appropriate, therefore, to call the book by this name.
Many poets have sung the laurels of love but only few have succeeded in finding the essence of romance in
its simplicity. Tagore sees romance exuding from the mundane, from the rites and rituals of everyday life. He
feels the need for neither ostensible metaphor nor intricate ornamentation. The beauty of his language and
simplicity of thought makes anything and everything lovely -- be they heavy monsoon clouds, the fragrance
of seasonal flowers, the chirping of birds or the hum of bees. In all its glory, being true to the proverb, it is
Tagore the beholder who renders things beautiful.
To say that Tagore has been extensively translated into innumerable languages is to rehash a known fact.
That Urdu has hardly been one of the languages is a rather sad and curious omission. Therefore, apart
from the pleasure of working on Tagore, an added source of exhilaration has been the task of not merely
translating, but trans-creating Tagore into Urdu nazms. With its rich vocabulary and seduction of form, few
other languages can parallel Urdu in retaining the beauty and romance of Tagore’s original poetry. We hope
that the reader would agree.
As anyone initiated into Tagore would know, a sense of joy is seldom unaccompanied by the sweat of hard
work. This book too bears the testimony to the somewhat unconventional fact that grit, perseverance and
hard work only increase the quota of joy rather than diminish it in any way. But unconventional wisdom is
what we also revere Tagore for. Only a person who understands the importance of hard work in possibilities
of joy can come up with the unconventional assertion that ‘Love’s gift cannot be given; it waits to be
accepted.’ This is the essence of love. This is the essence of Tagore for me and, I hope, also for you.
Indira Varma 1- 1- 11
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PUBLISHER’S NOTE
On the occasion of Rabindranth Tagore’s 150th birth centenary, it behoves upon Visva-Bharati to play a
pivotal role in arousing an inclusive pan-Indian awareness of and familiarity with the works of one of the
tallest creative figures in the world. One way of bringing this to fruition is through the medium of translation
or transcreation of the many genres into which Rabindranath generously poured his creative powers.
This offering of Urdu nazms has been born out the transcreations of Tagore’s songs and poems that by and
large have remained confined to Bengali speakers. There are over 2000 songs abiding in millions of people’s
hearts beating to every emotion and sensation. His songs are indeed special. He wrote the lyrics, composed
the music and indicated the accompaniments for performance.
Our country has many languages and we have a tradition of transcending language barriers. Communicating
in many languages is one of the ways in which unity with our diversity is forged and the exchange of ideas
born out of the beauty of creativity builds enduring bonds among people.
There is a need to spread Rabindranath’s works beyond the Bengali speaking populace; the task is daunting.
In this volume Indira Varma has endeavoured to overcome the natural obstacles of language in her urge to
pay homage to Gurudeva. She has sourced known and unknown English translations in her patient search for
more and more of Tagore and from that distilled for us a fairly large collection of poems that can be read,
recited and sung for us to savour and treasure.
It has been for us a journey of discovery together with Indira Varma not just in sourcing the pieces but in
the process of her transcreations within the complex grammars of both very separate genres Rabindra Sangit
and Urdu Nazms.
The project has been gratifying in many ways being able to extend into another elegant form and taking
Rabindranath to Urdu speaking people thereby facilitating the Urdu speakers rediscover the potent inner
beauty of his works. This volume is an affirmation of faith in the classic timelessness of our bard. We
acknowledge the help, contribution and guidance of Shri Rahti Kanta Basu and Smt Supriya Roy in this
project.
Kumkum Bhattacharya October 31, 2010
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ACKNOWLEDGMENTS
Smt. Zehra Nigah
Smt. Rakhshanda Jalil
Smt. Supriya Roy
Smt. Kumkum Bhattacharya
Shree Rathikant Basu
Ms. Rajula Das
Ms. Manjurika Siroli
Ms. Kasturi Chatterji
Shree S. Z. Alvi
Dr. Anees Ahmed
Mr. Ruchir Shukla
AND
Mr. Rajnesh Tripathi
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Aaji mama mana chaahe jivanabandhure 22
gS ;s fny csd+jkj mlds fy,
Sudhasagartire he 24oks lkfgys&leanj ds ikl vk x, gSa
Mandire mama ke ashile he 26
;s esjs eafnj es a dkSu vk;k
Nibirh ghana aandhare 28
;kl dh csiukg xgjkbZ esa
Antara mama vikasita karo 30
esjh :g ds Qw y dks f[kyus ns
Jivan jakhan shukaye jay 32
tc fny dh t+eha gks tk, l[+r
Oi aasantaler matir pare 34
vius d+neks a rys
Dukhher timire jadi jwal 36
vxj esjs x+e ds ?kusjs v¡/ksjs
Je dhruvapada dihyechho baandhi 38
uX+ek&,&ft+Unxh esjk bd fnu
Aaji pranami tomare chalibo, nath 40
esjs fny dk vkx+ kt+
Shanganagagane ghor ghanaghata 42
?kus ckny
Badal-baul bajaaye re ektara 46tSls bd eqrfjc vkokjk
Ei sharat-aalor kamal-bane 50
;s esjh f[+ kt+ k¡ gS
Hay Hemantalakshmi, tomar nayan keno dhaka52
,s f[+ kt+ k¡ dh nks’kht+ k
Himer raate oi gaganer deepgulire 54
lnhZ ds ekSle us viuh >huh pknj ls
Ore bhai, phagun legechhe 56
viz Sy dh vkfr’k
Barho bedonar mato bejechho 58
nnZ dh bd ygj lh fny ls xqt+jrh gS
De pare de aamay tora 60
,s nksLr
Aamar paran jaha chay 62
rqe oks gh gks
Tumi jeyo na ekhani 64
u tkvks eq>s NksM+dj
Content
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Rodan-bhara e basant 66
blls igys dHkh eSaus ns[kk ugha
Ore, nutan juger bhore 68
u, vgn dh ubZ lgj esa
Gram-chhara oi ranga matir path 70
vkg] jLrk lq[+ kZ & lq[+ kZ
He chiranutan, aaji e diner pratham gane 72
lnk lnk ds rkt+k ne
Ei kathati mane rekho 74
tc dHkh [+kq’k gks ds eq>dks ;kn djuk pkgks rqe
Aabar jadi ichha karo 78
vxj rqEgkjh ;gh gS [+okfg’k Tumi rabe nirabe hridaye mama 80
xehZ dh oks Bgjh gqbZ bd jkr
Mori lo mori, aamay banshite dekechhe ke82
D;k d:¡
Tabu mane rekho 84
vxj eSa fcNqM+ tkš rqe ls
Aami tomar sange bendhhechhi aamar pran88
gekjs njE;k¡ D;k gS
Aamar ki bedana she ki jaano 90
esjh nksLr
Premer joyare bhasabe donhare 92
I;kj dk gS ;s rykrqe
Aaji sharat-tapane prabhat-swapane 94
uhan ls tkxrk gw ¡ eSa tc
Aamar praaner majhe sudha achhe, chao ki98
xks’kk&,&fny esa esjs] gS ’kgn dk [+ kt+huk
Bhalobeshe, sakhi, nibhrite jatane 100
pqids&pqids
Aami chini go chini tomare 102
rqe ls f’kuklk fny gqvk ml ikj ds lueAamar matha nata kore dao 106
xnsZ ik dh rgks a esa rqe viuh
Lover’s Gift: Number 28 108
eSaus ,d [+okc vHkh cgqr lqgkuk ns[kk gS
Tumi je surer aagun 110
rqeus esjh :g es a
Aamar sure lage tomar hashi 112
Bgjrk gS esjs uX+eks a is ;w¡ rsjk rcLlqe
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Kul theke mor gaaner tari 114
NksM+ nh xhr dh d’rh vkt+ kn
Gaaner bhitar diye jakhan 116
ns[krk gw¡ dqnjr dks
Kabe aami bahir holem 118
,d fnu pgyd+neh lh djrs gq,
Tomay aamay milan habe 120
rqe vkSj eS a
Shudhu tomar bani noy go 122
,s nksLr esjs
Mor hridayer gopan bijan ghare 124
fny ds fdlh xks’ks esaMala hote khase-para phuler ekti dal 126
cxs Z&xqy >M+ tk, tks xtjs ls rsjs
Dhire bandhu, dhire, dhire 128
vkvks rqEgkjs lwus eafnj esa tk,a
Aamar hiyaar maajhe lukiye chhile 130
eS aus rqedks ugha ik;k
Prabhu, bolo bolo kobe 134
,s esjs [+kqnk
Tumi khushi thaako amaar paane cheye cheye136
tc rsjs njckj esa eSa
Ami bahu bashonay pranpone chay 138
esjk fny gol dk t+[+ khjk Fkk cs’kd
Bhay hate taba abhaya maajhe 140
rqe viuh n;kurnkjh ls
Aachhe dukho aachhe mrityu 142
;gk¡ gS nq[k] ;gk¡ gS ekSr
Swapan jadi bhangile 144
jkr ds fiNys igj
Daake baar baar daake 146
fnu jkr cqykok vkrk gS]Ei-je tomar prem 148
lkfgjs&:g]
Mane rabe ki na rabe aamare 150
rqe eq>s ;kn djks ;k u djks s
Ogo shono ke bajaay 152
ck¡lqjh dh y; lquks
Koto ajanare janaile bondhu 154
csxkuks a dks viukdj
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Anek katha bolechhilem 156
?kuh jkr esa
Aami rupe tomay bholabo na 158
vius gqLuks&ukt+ ls gjfxt+ ugha
Tumi ektu keval bashte diyo kachhe 162
vius igyw esa txg ns nks eq>s
Na na nai ba ele 164
oD+r ugha gS vxj rqEgkjs ikl
Jaani tumi phire aashibe 166
eq>s irk gS
Chaitrapabane mama chittabane 168
vks I;kjh lh yM+dhHay re, ore jaay na ki jaana 170
mldk irk ugha fey ldrk
Mane raye gelo maner katha 172
fny dk nnZ gSa vk¡lw
Deko na aamare deko na 174
bfYrtk gS esjh
Aaji dakshinapabane 176
ckns&lck ds lkFk
Hay go, byathay katha jaay dube jaay 178
oTn esa Mw cs gSa vYQ+kt+ esjs
Bane jadi phutlo kusum 180
f[ky x, xqy fnyu’kha
Likhan tomar dhulaay hoyechhe dhuli 182
iSx+ ke tks rqeus fyD[kk
Deep nibe gechhe mama 184
nhid esjk vkt dh ’kc
Kotha baire dure jaay re urhe 186
taxyh fpfM+;k dh ekfuUn
Aamar ange ange ke bajaay baanshi 190
esjs cnu dh jx jx esaChinile na aamare ki 192
rqeus eq>dks ugha iqdkjk
Dujone dekha holo madhujamini re 194
ml lqgkuh ’kke es a Fks oks feys
Purano sei diner katha 196
rqe dSls Hkqyk ikvksxs
Sahe na jatana 198
nnZ lgk ugha tk,
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Tumi to sei jabei chale 200
,d fnu gks tkvksxs eq>ls tqnk
Barha, bismay laage heri tomaare 202
ns[kdj rqedks gSjku gw¡
Sheydin dujane dulechhinu bane 204
;kn djks ml fnu dks ss
Pakhi aamar nirher pakhi 206
tc ifPNe ls
Kotha chhaayar kone daanriye tumi 208
egcwc esjs vkvks
Chitta jetha bhayasunya 210
tgk¡ t+sguks a esa dksbZ Mj ugha gSHe bhuban, ami jatakhan 212
,s nqfu;k
Britha e krandan 214
jksuk /kksuk lc csdkj
Samukhe shaantipaarabaar 218
vEu dk leUnj gS lkeus
Tomar srishtir path rekhechho akirna kari220
rw Q+jsch gS
Kabe tumi aashbe bole raiba na base 222
?kj ds vanj cSBdj] eSa u d:axk bfUrt+kj
Tomaarei kariyachhi jivaner dhruvataara224
rqEgha gks esjh ft+Unxh dk flrkjk
Aamar dhaala gaaner dhaara 226
eSaus rqEgkjh [+kkfrj vius xhrksa
Aanmana, aanmana 228
esjk fny ?kcjkrk gS
Chokher aaloy dekhechhilem chokher bahire230
tc esjh nqfu;k esa mtkyk Fkk
Aaji godhuli lagane ei baadal gagane 232
/kqa/kys /kq a/kys vkleku ij Aaji jhader raate tomar abhisaar 234
egcw c esjs] gene esjs!
Aaji naahi naahi nidra aankhipate 236
vkt dh jkr esjh iydksa ij
Aamar bela je jaay sanjh-belate 238
/kqa/kyh /kqa/kyh ’kke ds lkFk
Aamar mukti aaloy aaloy ei aakashe 240
vklek¡ ij jkS’kuh esa
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Aamare koro tomar beena 242
eq>dks viuk lkt+ cuk ykss
Daanriye aachho tumi aamar gaaner opaare244
rqe lkfgy ij ogk¡ [kM+s gks s
Tarite pa diyni aami 246
ik¡o u jD[kk eSaus viuh d’rh esa
Tumi kemon kare gaan karo he guni 248
,s ekfyd!
Aalo aamar, aalo ogo, aalo bhuvan-bhara250
oks jkS’kuh esjh gS — gk¡ esjh gh jkS’kuhs
Tumi ki kebali chhabi 252
eg~os&gSjr gw¡Sarthak janam aamar janmechhi ei deshe254
bl ns’k dh /kjrh is tue esjk gqvk gS
Jibane jata puja holona sara 256
ftu nqvkvksa dks ft+Unxh es a
Nai nai bhay, hobe hobe jay 258
u Mj] u Mj] u Mj] u Mj
Ebar tor mora gaange baan esechhe 260
vkf[+kjdkj vk igq¡pk lSykc
Bhaango, baandh bhenge dao 262
viuh lksp cny Mkykss
Aamar man keman kare 264
esjh cspSu :g
Kaal raater bela gaan elo mor mone 266
dy jkr ,d uX+ek eq>s ;kn vk x;k
Adhara madhuri dharechhi 268
bd vUtkuh lh [+kq’cw gS
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Aaji mama mana chaahe jivanabandhure
Today my heart pines for my lifelong friend,
my one steadfast companion
who ever stands by me
day and night,
in weal and in woe,
in life and in death.
Joy perennial, bliss inexhaustible,
He is the firm and constant refuge
Of every age and every clime.
Peace abounding, love limitless
saviour supreme, great in his goodness
He is the soul of my soul
my mind’s intimate,
my gracious master of all timesProviding me with whatever
my body, mind and spirit crave.
He is the king
to whom my heart is held a hostage.
%ç×L ]] ]X »Jôçãc÷ LÝ[ýX[ýμ ÇùãÌ[ý
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Hai ye dil beqarar uske l iye
Dost thehra jo zindagi bhar ka Woh hamnawa ki jo saabit qadam hamesha raha
Jo mere saath shab-o-r oz ka musafir tha
Hayaat-o-maut k i paabandiyon se baaz r aha
Woh lazval masarr at ka paikar-e-aala
Muhabbaton ka ameen
Panahagaah
Muhaafiz
Woh chain-o-amn ka tha
Rafeeq mere zehan ka
Woh meri rooh ki rooh
Mera dimaag, mera qalb aur badan mera
Jo il ti maas kare
Woh navaaz deta hai
Woh ek shah
Mera dil aseer hai j iska
saabit qadam - fi rm, constant ; hayaat-o-maut - l if e and death ; lazval - immor tal ; masarrat - happiness ;
paikar-e-aala - the number one ; ameen - fait hful , trustworthy ; panahagaah - asylum ; muhaafiz - escort ; rafeeq - fr iend ; qalb - heart ; i lt imaas - request ; navaaz - to show favour ;
aseer - pr isoner
gS ;s fny csd+jkj mlds fy,nksLr Bgjk tks ft+Unxh Hkj dk oks geuok fd tks lkfcr d+ne ges'kk jgk tks esjs lkFk 'kcks&jkst+ dk eqlkfQ+j Fkk g;krks&ekSr dh ikcafn;ks a ls ckt+ jgk oks ykt+oky eljZr dk iSdjs&vkyk eqgCcrksa dk vehaiukgxkg eqgkfQ+t+oks pSuks&veu dk Fkk jQ+ hd+ esjs t+sgu dk oks esjh :g dh :g esjk fnekx+] esjk d+Yc vkSj cnu esjk tks bfYrekl djsoks uokt+ nsrk gSoks ,d 'kkg
esjk fny vlhj gS ftldk
lkfcr&d+ ne μiDds bjkns okyk] iz frK( g;krks&ekS r μ ft+Unxh vkS j ekS r(ykt+oky μ ftles a fxjkoV u gks( eljZ r μ[+kq'kh] izlUurk(iSdjs&vkyk μlk{kkr xq.k Js"B( vehaμ ftl ij fo'okl fd;k tk,(iukgxkg μ 'kj.kLFky( eq gkfQ+ t+μ j{kk djus okyk( jQ+ hd+μ nksLr] fe=k(d+Ycμân;] fny( bfYrekl μ fuos nu( uokt+&iz nku djuk vlhj μcanh] d+ S nhA
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aÇWýçaçGÌ[ýTöÝãÌ[ý åc÷
Sudhasagartire he
Men and women have come
to the shores of the sea of bliss
to drink of the water of life everlasting.
Blessed is the night,
beautiful the world of nature.
All the four directions resound
with the song of hope and longing.
The full-moon of your love
shines in the sky.
Sweetly blow the winds of your grace.
Waves of joy flow all around.
And my soul dives deep
in the sea of eternal bliss.
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oks lkfgys&leanj ds ikl vk x, gSavkcs&g;kr ihusoks b'd+ ds veha gSaoks enks Z&t+u glha gS a
'kc es a gS [+ kq'k xokjhnkekus&gqLus&d qnjr QSyk gqvk gS gj lw vkSj pkj lEr uX+es mEehn ds gSa xw ¡tsekgs&reke mHkjk gS rsjh mYQ+rks a dk rsjh vnk dh [+kq'kcw :g es a lek jgh gSvkSj :g gkSys&gkSysvcnh eljZrks a dsxgjs leUnjksa dhrg esa mrj jgh gS
lkfgys&lea nj μleq nz rV]vkcs&g;kr μve ̀r( veha μ fo'oLr] ftu ij fo'okl fd;k tk,(enks Z &t+uμiq#"k ,oa efgyk]
nkekus&gqLus&dq njr μizkd` frd lkS an;Z dk n '̀;] lwμ fn'kk pkj lEr μpkjks a vks j( ekgs&reke μiw f.kZ ek dk pk¡ n]vcnh elZ jrksaμog izlUurk ftudk va r u gksA
Woh sahil-e-samandar ke paas aa gaye hain
Aab-e-hayaat peeneWoh ishq ke ameen hai n
Woh mard-o-zan haseen hain
Shab mein hai khush gawari
Damaan-e-husn-e-qudrat phaila hua hai har su
Aur chaar samt naghme ummeed ke hain goonje
Maah-e-tamaam ubhra hai teri ulfaton ka
Teri ada ki khushboo
Rooh mein sama rahi hai
Aur rooh haule-haule
Abdi masarraton ke
Gehre samandaron ki
Teh mein utar rahi hai
aab-e-hayaat- nectar ambrosia ; ameen- fai thful , trustworthy ; mard-o-zan- men and women ;
damaan-e-husn-e-qudrat- scenary , beauty of natur e; su- di rection;samt- side, direction ; maah-e-tamaam- ful l moon ;
abadi masarr aton- immortal joy
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]׳VãÌ[ý ]] åEõ %ç×aã_ åc÷
Mandire mama ke ashile he
Who is come to my temple.
The sky is overspread with bliss
from end to end.
The dark shadows of the night
Vanish and dissolve
on every side.
All the gates open of themselves.
All the lamps burn bright of themselves.
All the strings of my vina
throb to the rhythm
of newer and newer songs.
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;s esjs eafnj es a dkSu vk;k fd vklek¡ dk gj ,d dksuk eljZrksa ls ned mBk gSfd /kqy xbZ gSa reke rkjhfd;k¡ Hkh 'kc dh
reke vcokc [kqy x, gS agq, gS a jkS'ku pjkx+ lkjs;w¡ esjh ohuk ds rkj dk fny /kM+d jgk gSu, rjkus mHkj jgs gSa
elZ jrks aμizlUurkvks a( rkjhfd;k¡μva/ks jk(vcokcμ}kj] njokt+ sA
Ye mere mandir mein kaun aaya
Ki aasman ka har ek konaMasarraton se damak utha hai
Ki dhul gayee hain tamaam tareeqiyan bhi shab ki
Tamaam abwab khul gaye hain
Huye hain roshan charaag sare
Yun meri veena ke taar ka di l dhadak r aha hai
Naye tarane ubhar rahe hain
masarr aton- happiness; tareeqiyan- darkness; abwab- gates, doors;
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×X×[ýQÍö HX %çgWýçãÌ[ý
Nibirh ghana aandhare
In the deep of the darkness
Shines the guiding starwith its steadfast flame.
Have no fear, my heart,
Lose not your way
in the trackless desert.
Do not let your songs cease
when your spirits
droop with despair.Break open the prison of illusion
so that you may fulfil
the meaning of your life.
Have faith in life
that is strong.
Have faith in hope
that sustains.
Have faith in love
which makes the world beautiful.
Smilingly may you walk
through the joys and sorrows of life.
May your heart ever be full
With His loving kindness.
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%Ü™öÌ[ý ]] ×[ýEõ×`Tö EõãÌ[
Antara mama vikasita karo
Let the flower of my soul
bloom fully open,
O, soul of my soul.
Make it purer, brighter
and ever the more beautiful
Arouse and prepare me,
and make me fearless.
Unwearied may I be with your blessings,
and of misgivings free.
Rend asunder my bonds,
and so unite me with all.
May the rhythm of your peace
infuse all my actions.May my tranquil heart lie in repose
at your lotus feet.
Let joy and bliss reign
for ever and ever.
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esjh :g ds Qw y dks f[kyus ns,s esjh :g dh :g cuk ns eq>srkt+ k ls rkt+k&rj [+ kwc ls [+ kw c&rj
vk txk ns eq>svk cuk ns eq>scs&[+krj eS a rqEgkjh nqvkvks a ds lk, esa iyrk jgw ¡Nw u ik, dHkh cs&;d+ huh eq>s
rksM+ ns[kksy nslkjs ca/ku esjsvkSj fQj bl rjg tksM+ ns
esjh gj bd vnk] gj d+nersjs lkt+ dh y; es a gks tk, t+e
vius ik,&d¡oy es a txg ns eq>syqRQ+ ysus ns eq>dks Hkh rLdhu dk
cs[+krj μ fcuk Hk; ds( t+e μ?kqyuk] Mwcuk] lek tkuk(ik,&d¡oy μpj.k&dey
rLdhuμlarq f"V
Meri rooh ke phool ko khilne de
Ai meri rooh ki rooh,Bana de muj he
Taaza se taaza-tar
Khoob se khoobtar
Aa jaga de mujhe
Aa bana de mujhe
Bekhatar
Main tumhaari duaaon ke saaye mein palta rahoon
Chhoo na paaye kabhi beyaqeeni mujhe
Tod de,
Khol de,
Saare bandhan mere
Aur phir is tarah jod de
Meri har i k ada, har qadamTere saaz ki lai mein ho jaaye zam
Apne pa-e kanwal mein jagah de mujhe
Lutf lene de mujhko bhi tasqeen ka
bekhatar-fearlesszam- t o loose onself
pa-ekanwal - l otus feet tasqeen- sati sfaction
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LÝ[ýX ^FX £EõçãÌ ^ ^çÌ^
Jivan jakhan shukaye jay
When the heart is hard and parched up,
come upon me with a shower of mercy.
When grace is lost from life,
come with a burst of song.
When tumultuous work raises its din on all sides
shutting me out from beyond, come to me,
my lord of silence, with thy peace and rest.
When my beggarly heart sits crouched, shut up
in a corner,
Break open the door, my king,
and come with the ceremony of a king.
When desire blinds the mind with delusion and
dust,O thou holy one, thou wakeful,
come with thy light and thy thunder.
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tc fny dh t+eha gks tk, l[+r iM+ tk, d+gr ckSNkjs a jge dh ysdj rqe vkvks esjs ikl
tc thou dh lc uokft+'ks a feV tk,axhrksa dk /kekdk ysdj rqe vkvks esjs ikl
tc njge cjge dke dk 'kksjks&x qy gj lEr mBk, lj [+ kkeks'k eq>s dj ns,s [+ kkeks'kh ds [+kqnk vEu vkSj lqdw¡ ysdj rqe vkvks esjs ikl
tc esjk ;s ukdkjk fny dksus esa nqcd dj Nqi tk,,s esjs 'kkg rqe [kksy nks lc njokt+ svkSj ysdj t'us&'kkghrqe vkvks esjs ikl
tc Nhu ys [+okfg'kkr] t+ sg~ u dh chukbZvkSj ogeks&xqek¡ dh xnZ tes,s pkSdUus iSdjs&rlíqd+?ku xjt rtYyh ysdj rqe vkvks esjs ikl
d+ gr μvdky( uokft+'ks aμvuqdEik,¡] n;k( njge&cjge μ frrj fcrj(vEu&lqdw aμ 'kka fr ,oa pSu( ukdkjk μ tks dke dk u gks(
t'us&'kkgh μ jktksRlo( [+okfg'kkr μbPNk,a( t+ s gu μcq f)(chukbZ μ n` f"V( ogeks&xqekaμHkze] iSdjs&rd+íql μifo=kkRek
rtYyh μizdk'k
Jab dil ki zameen ho jaaye sakht
Pad jaaye qahat Bauchharein raham ki lekar
Tum aao mere paas
Jab jeevan ki sab nawazishein mi t jaayein Geeton ka dhamaka lekar
Tum aao mere paas
Jab darham barham kaam ka shor-o-ghul Har samt uthaaye sar
Khamosh mujhe kar de Ai khamoshi ke khuda Amn aur sukoon lekar
Tum aao mere paas
Jab mera ye nakara dil Kone mein dubak kar chhup jaaye
Ai mere shah Tum khol do sab darwaaze
Aur lekar jashn-e-shahi Tum aao mere paas
Jab chheen le khwahishat, zehan ki beenaai Aur waham-o-gumaan ki gard jame
Ai chaukanne paikar -e-tasadduq Ghan garaj tajall i l ekar
Tum aao mere paas
qahat- draught ; nawazi shein- favour , grace ; daraham-baraham- scattered; amn -peace ; sukoon-tr anquli ty ; nakara- w orthless ;
jashn-e-shahi- royal celebrati on ; khwahishat- desire ;zehan -mind ; beenaai-sightness ; waham-o-gumaan- confusion ; gard-dust ;
paikar-e-tasadduq- embodiment of tr uth ; taj all i- li ght
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C+ %çaXTöã_Ì[ý ]ç×»OôÌ[ý Yã[ý
Oi aasantaler matir pare
Let me lie down upon the ground beneath your
footstool in perfect gladness.
Let my garment be red with the common dust
you touch with your feet.
Set me not higher than others; keep me not apart from all else.
Draw me down into a sweet lowliness.
Let my garment be red with the common dust
you touch with your feet.
Let me remain the last of all your pilgrims;
I shall try to reach the lowest site
which is the broadest.
They come from all sides
to ask for gifts from your hands.Let me wait till they all have had their shares;
I shall be content with the last remnant.
Let my garment be red with the common dust
you touch with your feet.
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VÇfãFÌ[ý ×Tö×]ãÌ[ý ^×V L ã_
Dukhher timire jadi jwale
If the light of your grace
will shine only in the gloom of my grief,
be it so, my lord.
If death alone will bring me
near to your heaven of eternal life,
be it so, my lord.
If nothing but the blaze of my agony
will kindle the lamp of worship in my heart,
be it so, my lord.
If your loving gaze will not rest
on anything other than my tearful eyes,be it so, my lord.
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vxj esjs x+e ds ?kusjs v¡/ksjsrsjh jgerksa ds mtkyksa ls peds apedus ns mudks]pedus ns ekSyk
vxj ekSr vk,eq>s ys ds tk,glha ckx+ tUur ds eq>dks fn[kk,fn[kkus ns mldks]fn[kkus ns ekSyk
vxj 'kksyk esjh vt+h¸;r dk HkM+dsesjs fny es a nhid bcknr dk nedsHkM+dus ns 'kksyk HkM+dus ns ekSyk
rqEgkjh eqgCcr Hkjh ;s fuxkgsavxj p'es&rj ij esjh fVd jgh gSarks vk¡[kks a esa vk¡lw gh jgus ns ekSyk
jgerks aμd ìkvks a]vt+ h¸;r μ rdyhQ+(bcknr μiw tk] vpZ uk(
nedsμpeds(p'es&rj μHkhxh gqbZ vk¡[kA
Agar mere gham ke ghanere andhere
Teri rehmaton ke ujaalon se chamkein Chamakne de unko,
Chamakne de maula
Agar maut aaye
Mujhe leke jaaye
Haseen baagh j annat ke mujhko dikhaaye
Di khane de usko,
Di khane de maula
Agar shola meri azeeyat ka bhadke
Mere dil mein deepak
Ibaadat ka damke
Bhadakne de shola
Bhadakne de maula
Tumhaari muhabbat bhari ye nigaahein
Agar chashm-e-tar par meri t ik r ahi hain
To aankhon mein aansu hi rehne de maula
rehmaton - grace, kindness azeeyat - di ffi culti es and pain
ibaadat - to pray damke - shine
chashm-e-tar - eyes full of tears
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å^ WýÐÓ[ýYV ×VãÌ^»K÷ [ý çÅ×Wý
Je dhruvapada diyechho baandhi
I shall attune
the song of my life
to the steadfast note
of the world symphony.
My heart shall sing
with the blue of sky,
and in my silent soul
I shall imbibe its deep
message of peace.
There is a melody that throbs
at the brink of dawn .
May it awaken a new hope
in my heart.
Let the morning of my lifebloom like a flower,
like a song.
And at the day’s end
may I learn to die,
with my spirit attuned
to the song
with which my day began.
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uX+e,&ft+Unxh esjk bd fnu lkt+ s&nqfu;k ls lqj feyk,xk esjk fny uhys vklek¡ ds rysuX+e,&bfYrekl xk,xk eqT+n,&vEuks&[+kSjks&vkQ+h;r :g es a esjh mrj tk,xk
lqCg ds gksaVksa isbd uX+e,&'khjha gksxk tks esjs fny esaubZ vkl txk tk,xk
Qwy lk egdsfdlh xhr dh lw jr /kM+dsesjs thou dk losjk
vkSj tc ekSr ds vkx+ ks'k es a lksus tkš:g gks tk, ge&vkgax mlh uX+es lsftlls vkx+kt+ esjs fnu dk gqvk Fkk bd fnu
uX+e,&bfYrekl μ fuos nu dk xhr(eqT+ n,&vEuks&[+kS jks&vkfQ+;r μ 'kkafr ,oa dq'ky{kse dk la ns'k(uX+e,&'khjhaμe/kqj xhr(
ge&vkgax μ,d nwljs ls feyuk(vkx+kt+μvkjEHkA
Naghm-e-zi ndagi mera ek din
Saaz-e-duniya se sur milaayega Mera dil neele aasman ke tal e
Naghm-e-i l ti maas gaayega
Muzd-e-amn-o-khair-o-aafiyat
Rooh mein meri utar jaayega
Subh ke honton pe
Ik naghm-e-sheerin hoga
Jo mere dil mein
Nayee aas jaga jaayega
Phool sa mehake
Ki si geet ki soorat dhadke
Mere jeevan ka savera
Aur j abMaut ke aaghosh mein sone jaoon
Rooh ho jaaye hum-aahang usi naghme se
Jis se aaghaaz mere din ka hua tha ik din
naghm-e-i l ti maas- hymn of r equestmuzd-e-amn-o-khair -o-aafiyat-auspicious news
naghm-e-sheerin- sweet melody hum aahang-embraced
aaghaaz- beginning
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%ç×L YÒS×] åTöç]çãÌ[ý »Jô×_[ý
Aaji pranami tomare chalibo, nath
Let me start my day’s tasks
with a prayer and a salutationto you, my lord.
May your eyes keep watch
on the eyes of my mind.
Let me ever realise
in my silent heart
that you sit enthroned there
as the lord of my life.May the thought of evil die
consumed by the fire of shame.
Through all the varied clamours of the day,
may it be given me
to listen to your cosmic song.
Through all my concourse
with all the varied people,
may I ever realize your presence and nearness.
Whatever I see, whatever hear or say
whatever my thoughts or actions,
let all the chords of my life
remain attuned to your goodness
every moment of the day.
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esjs fnu dk vkx+kt+rsjh luk lsrsjh gEn ls
gS rsjh ut+j esjs d+Ycks&t+sg~ u ij gqdwer esjs fny is gS flQ+Z rsjhfd rw gh gS ekfyd esjh ft+Unxh dk
;w¡ feV tk,¡ lc cn&[+k;kyhfd tSlsfunker dh vkfr'k fuxy tk, mudkstks vkokt+ sa fnu Hkj lqukbZ gS a rwusoks dqN Hkh ugha gS aQ+d+r rsjk uX+ek
;s nqfu;k dk te?kV ;s yksxksa dk esyk ;w¡ yxrk gStSls fd rqe gksQ+d+r rqecgqr ikl esjs
eS a tks ns[krk gw¡eS a tks lksprk gw ¡eS a tks dg jgk gw ¡esjs d+ kSyks&Q+s*yks&vey lc ds lc rsjs ge lkt+ gS a
vkx+kt+μvkjEHk(luk μiz'kalk(
gEn μLrq fr] bZ 'oj dh rkjhQ+(d+Ycks&t+ s gu μân; ,oa efLr"d(
funker μyTtk] i'pkrki(vkfr'k μvkx(d+kSyks&Q+S*yks&vey μdFkuh vkS j djuhA
Mere din ka aaghaaz
Teri sana se Ter i hamd se
Hai teri nazar mere qalb-o-zehan parHukumat mere dil pe hai sir f teri
Ki tu hi malik meri zi ndagi ka
Yun mit jaayein sab bad-khyal i Ki jaise
Nadamat ki aati sh nigal jaaye unko
Jo awazein din bhar sunaee hain tune Woh kuchh bhi naheen hain
Faqat tera naghma
Ye duniya ka jamghatYe logon ka mela
Yun lagta hai
Jaise ki tum ho Faqat tum
Bahut paas mere
Main jo dekhta hoonMain jo sochta hoon
Main j o keh raha hoonMere qaul-o-fe’l-o-amal
Sab ke sab
Tere ham saaz hain
aaghaaz- start, commencement sana- praise hamd- hymn
qalb-o-zehan - heart and mind nadamat- t o repent, shame
aatish - fir e qaul-o-fe’l-o-amal- words and works
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Shanganagagane ghor ghanaghata
`çIøXGGãX åHçÌ[ý HXH»Oôç
Dense clouds are massed
in the monsoon sky,and dark is the night.How can I, a mere maiden,weak of courage and strength,venture out to the path of the flowery bower,on this of all nights.Tell me, my friend.
The river Jamuna is lashedand clouds roar intermittently.Lightening flashes,uprooted trees litter the road,and my limbs are all atremblewith fear and shame.
Rim jhim, rim jhim, rim jhim-
it rain unceasingly.
The path to the flowery bowerlies across the dense shadow of dark trees.
Tell me, friend, does it become my Krishnaplaintively to call Radha’s nameon his fatal flute
on such a venturesome night?
Continued...
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?kus ckny tek gSa Hkhxs Hkhxs vklek¡ ij jkr dkyh gS
eS a rUgk dksbZ nks'kht+k]ugha gS ftles a fgEer vkSj rkd+r pyw ¡ ml jkLrs ij fdl rjg lstks jLrk Qwyks a ds >qjeqV dh tkfuc tk jgk gSesjs genecrk]vc D;k d:¡ eSa
unh tequk es a gS t+ksjs&rykrqexjt mBrs gS a jg jg dkys ckny ped mBrs gS a 'kksysnj[+r m[kM+s iM+s a gSa jkLrs esa
tks jLrk Qwyks a ds >qjeqV dh tkfuc tk jgk gSgS esjs ftLeks&tk¡ es a[+ kkSQ+ dhvkSj 'keZ dh bd didih lh
cjlrk gS eqlyly ikuh fjef>e?kus isM+ ksa dh xgjh Nk¡o ml jLrs is NkbZtks jLrk Qwyks a dh >qjeqV dh tkuc tk jgk gSA
nks'kht+k μd¡ qokjh yM+dh( tkfuc μvks j] rjQ+( t+ks js&rykrqe μ rwQ+ku dk t+ks j( ftLeks&tk¡μ 'kjhj ,oa izk.k([+kkSQ+μHk;(
Ghane baadal
Jama hain bheege-bheege aasman parRaat kaali hai
Main tanha koi doshiza,
Nahin hai j ismein himmat aur taaqat
Chaloon us raaste par ki s tarah se
Jo rasta phoolon ke jhurmut ki jaanib ja r aha hai
Mere humdum
Bataa,
Ab kya karoon main
Nadi Jamuna mein hai zor-e-talatum
Garaj uthte hain reh reh kaale baadal
Chamak uthte hain shole
Darakht ukhde pade hain raaste mein
Jo rasta phoolon ke jhurmut ki jaanib ja r aha hai Hai mere jism-o-jan mein
Khauf ki
Aur sharm ki ek kapkapi si
Barasta hai musalsal pani r imjhi m
Ghane pedon ki gehr i chhanv us raste pe chhaai
Jo rasta phoolon ke jhurmut ki jaanib ja r aha hai
doshiza - maiden gir l jaani b - dir ection
zor-e-tal atum - heavy flood j ism-o-jan - body and soul
Khauf - fear
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44
Shanganagagane ghor ghanaghata
Deck me then in a bejewelled necklace
and place a pendant
at the parting of my hair.
Gather up the truant tresses
which play about my breasts,
in a chaplet of champaka.
’Do not go to thy youthful lover
on this darksome night, O maiden’,
says Bhanu, thy humble servant,
’The roar and rumble of the clouds
will instill untold fear in your heart,
if you venture out tonight!’
`çIøXGGãX åHçÌ[ý HXH»Oôç
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esjs gene crk ;s vc]esjs fd'kuk dks D;k ;s t+sc nsrk gSfd bruh iqj&[+krj 'kc es a]oks brus lkst+ks&x+e es aiqdkjs tk jgk gS tku ysok ck¡lqjh ij uke jk/kk dk eq>s vkjkLrk dj nkseqjLlk gkj iguk nksltk nks ek¡x es a Vhdk esjh cs'keZ ckyksa dh yVks a dks\ck¡/k nks Qw yksa ds xtjks a lsfd ;s lhus ls esjs [ksyrh gSa
;s ^Hkkuw* esjk [+ kkfne eq>ls dgrk gSva/ksjh jkr es aml ukStoka vkf'kd+ ls feyus ds fy, er tk
ngkM+s a] xM+xM+kgV] cknyksa dhvudgk bd [+kkSQ+gkSys ls rqEgkjs fny esa Hkj ns axhvxj rqe vkt 'kc [+ krjk mBk dj ckgj tkvksxs
vkjkLrk μlqlfTtr(eq jLlk μ ghjs eks rh tM+k gqvk([+kkfne μukSdjA
Mere humdum bataa ye ab,
Mere kishna ko kya ye zeb deta hai Ki i tni pur-khatar shab mein,
Woh itne soz-o-gham mein
Pukar e ja raha hai jaan leva baansur i par
Nam Radha ka
Muj he aarasta kar do
Murassa haar pehna do
Saja do maang mein teeka
Meri besharm balon ki laton ko
Baandh do phoolon ke gajr on se
Ki ye seene se mere khelti hain
Ye ’Bhanu’ mera khadim mujhse kehta hai
Andher i raat mein
Us naujawan aashiq se milne ke li ye mat j a
Dahade, gadgadahat, baadlon ki Ankaha ik khauf
Haul e se tumhaare dil mein bhar dengi
Agar tum aaj shab
Khatr a utha kar bahar jaaoge
aarasta - to adorn murassa - studded wi th j ewels
khadim - servant
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46
[ýçV_-[ýç=_ [ýçLçÌ^ åÌ[ý AEõTö
Badal-baul bajaaye re ektara
The rain is a baul,
a wandering minstrel.He strums on his single string
all day long
in a ceaseless patter of rain.
Drunk with his own rhythm
he goes dancing through the woodlands
down to the paddy-fields
until he is fit to drop.
His matted hair is a cloud
that deepens the dark sky.
Drip-drop of the rain
on every tiny leaf,
is a jingle of his ankle-bells.
Listless roams the eastern wind
lured out of its home
by the far-away call
of the rain ,
who is a baul,
a wandering minstrel.
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tSls bd eqrfjc vkokjk ckfj'k gS dksbZ catkjk ;s yxkrkj fVi&fVi] fVi&fVi iwjs fnu ns[kksctk jgk gS bd rkjk
viuh /kqu esa engks'k gS ;sukps gS n'rks&lgjk esa[ksrks a ij /kku ds >qdrk gS;s tc rd cwan u cu tk,
ckny gS a xqFks gq, xslw xgjh f'kír ls Nk, gS a xgjs vkdk'k is ;s
uUgh iÙkh ij ckfj'k dh cwanks a dh e/kqj vkokt+
yxrh gS mldh ik;y dh ?kq a?k# dh >udkj
nwj ls vkrh gqbZ iqdkjs a ckfj'k dhvkokjk iqjok gokvksa dkscgyk Qqlykdj ?kj ls ckgj ys vkbZdkSu gS ;s catkjk tSls bd eqrfjc vkokjk
eq rfjc μxkus okyk(engks'k μ nhokuk] tks gks'k es a u gks(
f'kír μcgq r xgjhA
Jaise ik mutrib aawara
Baari sh hai koi banjara Ye lagataar ti p-tip, ti p-tip
Poore din dekho
Baja raha hai ik tara
Apni dhun mein madhosh hai ye
Naache hai dasht-o-sahra mein
Kheton par dhaan ke jhukta hai
Ye jab tak boond na ban jaaye
Baadal hain guthe huye gesu
Gehar i shiddat se chhaaye hain gehre aakash pe ye
Nanhi patti par
Baarish ki boondon ki madhur aawaaz
Lagti hai uski paayal ki ghunghru ki jhankaar
Door se aati hui pukarein baari sh ki
Aawara purva hawaaon ko
Behla phuslakar ghar se baahar l e aayee
Kaun hai ye banjara
Jaise ek mutr ib aawara
mutri b - ministrel, singer ; madhosh - stupefied, i ntoxicated
shiddat - intensit y
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Ink and waterproof ink on paper, 54 x 26 cm.,signed and dated in Bengal, 1/2/35.
Crayon on paper, 53.5 x 28 cm.
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Wax pastel and crayon pencil on paper, 38 x 24.5 cm., signed and dated in Bengali, 16/8/36.
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Ei sharat-aalor kamal- bane
A+ `Ì[ýd-%çã_çÌ[ý Eõ]_[ýãX
This autumn is mine,
for she was rocked in my heart.
The glistening bells of her anklets
rang in my blood,
and her misty veil
fluttered in my breath.
I know the touch
of her blown hair
in all my dreams.
She is abroad
in the trembling leaves
that danced in my life-throbs,
and her eyes that smilefrom the blue sky
drank their light from me.
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;s esjh f[+ kt+ k¡ gSfd ftlus esjs fny is d+kcw fd;k gSpedrs gq, mldh ik;y ds ?kq a?k# [kudrs gSa esjs ygw esaoks >huh ud+kc mldhlk¡lksa es a Hkjrh gS cspSfu;k¡
eq>s gS irk ;s mldh gh ygjkrh t qYQ+ sa gS a tksesjs lkjs [+okcks a dks lgyk jgh gS
cgqr nwj gS oksyjt+rh gqbZ ifÙk;ksa esa dghaesjh ft+Unxh dh gS /kM+du es a jD+lk¡rcLlqe esa Mw ch gqbZ mldh vk¡[ksatks gS a uhys vkdk'k ls ns[krh
tT+c djrh gS eq>ls gh oks jks'kuh
>huh μikjn'khZ ( rcLlqe μeqLdjkgV( tT+cμ[khapuk] vkdZ "k.kA
Ye meri khizaan hai
Ki jisne mere dil pe qaabu ki ya hai Chamakte huye uski paayal ke ghunghru
Khanakte hain mere lahu mein
Woh jheeni naqaab uski
Saanson mein bharti hain bechainiyan
Muj he hai pata
Ye uski hi lehraati zulfein hain jo
Mere saare khwaabon ko sehla rahi hai
Bahut door hai woh
Larazti hui pattiyon mein kaheen
Meri zindagi ki hai dhadkan mein raqsan
Tabassum mein doobi huee uski aankhein
Jo hain neele aakash se dekhti
Jazb karti hai muj hse hi woh roshni
jheeni- thi n, tr ansparent; tabassum- smile,
jazb- suck, attr action
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,s f[+ kt+ k¡ dh nks'kht+ k D;kas rqEgkjh vk¡[kks a ij lqjebZ /kq a/kyds dk ;s ud+kc gS xgjk
gS rqEgkjs gkFkksa esa 'kke dk fpjkx+ exj yx jgh gS dksgjs esa bldh ykS t+jk e)evkSj rqEgkjs ygts esa'kcueh mnklh gS
vkbZ Fkh t+eharsjs nj is feLys&lkby tc rwus mldk dklk Hkhnqj&gk,&t+jha ls Hkj fn;k yckyc Fkk ;kuh mldh >ksyh esavc t+[+khjk iw jk gS
;s rqEgkjh Q+¸;kt+ h dk dje gqvk ml ij
rqe exj crkvks rksD;ksa #dh #dh lh gks\D;kas Fkdh Fkdh lh gks\D;ksa cq>h cq>h lh gks\rqeus D;ks a cuk;k gS[+ kqn dks bl rjg tkuk¡,s f[+ kt+ k¡ dh nks'kht+ k
f[+kt+k¡μir>M+( nks'kht+k μdq aokjh yM+dh( feLys&lkby μ fHk[kkjh dh rjg( nq j&gk,&t+ jhaμlksus ds eks rh( t+[+khjk μHkaMkj(Q+̧;kt+h μ nku'khyrkA
Aye khi zaan ki doshiza
Kyon tumhaari aankhon parSurmai dhundalke ka
Ye naqaab hai gehara
Hai tumhare hathon mein shaam ka chiraagh magar
Lag rahi hai kohre mein iski lau zara maddham
Aur tumhaare lahje mein
Shabnami udaasi hai
Aayee thi zameen
Tere dar pe misl-e-saail jab
Tune uska kasa bhi
Dur -haa-e-zar reen se bhar diya labalab tha
Yaani uski jholi mein
Ab zakheera poora hai
Ye tumhaari fayyazi ka karam hua us par
Tum magar batao to
Kyon ruki r uki si ho?
Kyon thaki thaki si ho?
Kyon bujhi bujhi si ho?
Tumne kyon banaya hai ,
Khud ko is tarah jaanaan
Aye khi zaan ki doshiza
khizaan-autumn doshiza- maiden gir l
kohre-mist, fog misl-e-saail- li ke begger
dur-haa-e-zarr een- gl it teri ng pearl s zakheera- tr easure
fayyazi- charity
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×c÷ã]Ì[ý Ì[ýçãTö C+ GGãXÌ[ý VÝ
Himer raate oi gaganer deepgulire
Early winter spreads her filmy veil
over midnight stars,
and the call comes from the deep:
Man, bring out your lamp.
The forests are bare of flowers,
the birds have ceased to sing
the river-side grass has shed its blossoms.
Come, Dipali, waken hidden flames
out of the desolate dark,
and offer symphony of praise to eternal light.
The stars are dimmed
the night is disconsolate,and the call comes from the deep:
Man, bring out your lamp.
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CãÌ [ý \öç+, ZõçmX å_ãGä»K÷
Ore bhai, phagun legechhe
The fire of April
leaps from forest to forest,
flashing up in leaves and flowers
from all nooks and corners.
The sky is thriftless with colours,
The air delirious with songs.
The wind-tost branches of the woodland
Spread their unrest in our blood.
The air is filled
with bewilderment of mirth;
and the breeze rushes
from the flower to flower,
asking their names.
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vizSy dh vkfr'k mM+rh gStaxy&taxy gS cxksZ&xqy eas 'kksyk lk gj xks'ks es a] gj dksus esagS Q+yd is jaxksa dh egfQ+y gS oTn es a Mwch gqbZ gok eLrh esa >werh gSa 'kk[+ksaHkjrh gS [+ kw u esa cspSuhd+gd+gs gok es a ?kqys feysvkSj gYdh gYdh ueZ gok bBykrh nkSM+rh fQjrh gSbl Qwy dHkh] ml Qwy dHkhvLek,&fxjkeh iwNrh gS
Aprail ki aatish
Udti haiJungle - jungle
Hai barg-o-gul mein shola sa
Har goshe mein, har kone mein
Hai falak pe rangon ki mehafil
Hai wajd mein doobi hui hawa
Masti mein jhoomti hain shakhein
Bharti hain khoon mein bechaini
Qahqahe hawa mein ghule mile
Aur halk i halki narm hawa
Ithlati daudti phir ti hai
Is phool kabhi, uss phool kabhi
Asma-e-girami poochhti hai