Sunday, February 08, 2015

Translation - Taskin Ko Ham Na Roen (Ghalib)

taskin ko ham na roen jo zauq-e-nazr mile,
huraan-e-khuld mein teri surat magar mile.

apni gali mein mujhko na kar dafan baad-e-qatal,
mere pate se khalaq ko kyon tera ghar mile?

saqi gari ki sharm karo aaj warna ham,
har shab piya hi karte hain, mai jis qadar mile.
tujh se to kuchh kalaam nahin lekin ai nadim!
mera salaam kaheyo agar naama-bar mile.
tum ko bhi ham dikhaenge majnun ne kya kiya,
fursat kashaakash-e-gham-e-pinhaan se gar mile.
laazim nahin ke khizar ki ham pairwi karen,
maana ke ek bazurg hamen ham safar mile.
ai saaknaan-e-kucha-e-dildaar dekhna,
tum ko kahin jo ghalib-e-aashufta sar mile.

Line 1/2 - We would not cry over the lack of comfort, if the taste of your sight is available. But for your face be available among the fairies of heaven. The poet says he can put up with grief and hardship, provided a glance of your face is available for that would give me joy. But here even in heaven, I am not at peace for there is no face among the countless hoors that matches your face and other pleasure of heaven don't interest me.

Line 3/4 - Don't bury me in your street after you have killed me.Why should my final resting place be the landmark that leads everyone to your house. The poet says that my grave don't bury me in your street for my grave would become a place to guide unknown travellers to your house. This would bring you ill-repute. People would say, the here is the grave of Ghalib and murderer is also here in the same street. Another way of reading it is in the poet's state of jealousy. Okay you kill me! but don't buy me here for why others use my grave to find your house.

Line 5/6 - You should be ashamed of your cupbearer-ship today. otherwise we still drink every night, however much we get it. The poet says to the bartender, that you should be ashamed of limiting the wine you are providing me, for I pretty much drink every night at my home, whatever I can get. At my home, I have little but still have so much to drink daily and here I am at a tavern but still I am not being provided to heart's content. O! shame on you bartender!

Line 7/8 - I have no question/word for(against) you but my friend!. Say my greetings if you see the messanger. The poet talking to an acquaintance says, that if he meets the messenger tell him that he has no complaints against him, and convey my greeting to him. The messenger probably in his loud rhetoric may have impressed the poet of his skills in eliciting a response from the poet's beloved. But now the messenger seems to have gone missing for he could not get a reply for the beloved. The poet in this bit taunt, says convey to the messenger my greetings.

Line 9/10 - We can also show you what majnun did, but first I should get respite from the dilemma of the hidden grief. The poet say that he could have done what majnun did (i.e. wandering into the desert), But I can not for I am gripped by the internal struggle. My grief is more hidden unlike his and it's a dilemma. I am torn by the complexities of this world, the rigours of life & living. My grief are not on similar plane as majnun.

Line 11/12 - It is not necessary that we follow in the footsteps of the Khizar. We think we have took a respectable and wise elder as a fellow traveller. Khizar is a mystical figure inspiring many sufi saints. The poet says, It's not necessary that we follow him. In the path to True Truth, we will assume that we have acquired a learned fellow traveller with us. In this journey my way is no less important than the Khizar's way.

Line 13/14 - O! residents living in the street of my beloved, keep an eye, for you may run into Ghalib somewhere there with his disordered head. The poet says, people living in the street of the beloved, look out for you could find the love crazed and mad Ghalib! What a sight it will be!

Meaning of difficult words -
taskin - satisfaction, comfort
zauq - taste
huraan - hoors (fairy)
khuld - paradise
khalaq - world, all creations
mai = wine
saaqi-gaari = bartender
kaalam = word, composition
naadim = friend
naama-bar = messenger
kashaakash = struggle, dilemma, perplexity
pinhaan = hidden, concealed
saakinaan = dwellers,residents
kucha - street
aashuftaa_sar = mentally deranged

Sunday, December 28, 2014

The Rubaiyat : Quatrain XXII

And we, that now make merry in the Room
They left, and Summer dresses in new Bloom,
Ourselves must we beneath the Couch of Earth
Descend, ourselves to make a Couch--for whom?

This is the twenty-second quatrain of the Rubaiyat. The continuity of the theme of previous quatrains continues. The quatrain says that while we currently are engaged in mirth and fun in this world, they (the best and the loveliest mentioned in the last quatrain) they have left us and passed on to the nether world. The summer is in the bloom now, and must soon we also descend to death to make room for the next generations to wander around on this earth whom we do not know now. We came and we went and some else comes along and the arrow of time moves on, waiting for none!

Thursday, December 25, 2014

Translation - Az Mehar Taa Bah Zarrah (Ghalib)

az mehar taa bah zarrah dil o dil hai aaiinah
tootee ko shash jihat se muqabil hai aaiinah
Line 1/2 - From the sun to the grain of sand, they are all hearts and the heart is the mirror. The parrot is confronted by the mirror from the six directions. Like with Ghalib's work a million strands can be made out. Every thing you see around, the unremarkable and small grain of sand to the unique and majestic sun. Everything is a heart. The whole world is a heart and the heart is a mirror. The parrot in the cage is confronted on all the six sides by the mirror, he is confronted by his heart. He is confronted by the world. Whichever way he turns, he can not hide away from the mirror. He has to confront it, in it he sees his heart, his consciousness, and in his heart he realises his external reality. He becomes aware. Looking in (into yourself) is the only way to look out, to comprehend the extent of the universe and your relationship with it. The parrot speaks after looking into the mirror seeing his image. In the same way, our heart is our way of communicating to our external reality. The heart is part of the world, and at the same time the heart shows the image of the world (reflects it). The Self and the Universe are one each reflecting on one other by the act of looking into (Mirror)

Meaning of difficult words :-
az = from/then/by
mehar = sun
taa = to
bah = sand
zarrah = atom, particle
shash = six
jihat = direction
tootee = bird (could be a parrot)
muqabil = confronting, opposing

Sunday, November 02, 2014

Translation - Dost Gamkhvari Mein Meri Sai (Ghalib)

dost gamkhvari mein meri sai farmavenge kya
zakhm ke bharne talak nakhun na badh javenge kya

beniyazi had se guzri banda paravar kab talak
hum kahenge hal-e-dil aur aap farmavenge kya

hazarat-e-naseh gar aayen didah-o-dil farsh-e-rah
koi mujh ko ye to samajha do ki samajhavenge kya

aj van teg-o-kafan bandhe hue jata hun main
uzr mera qatl karne mein wo ab lavenge kya

gar kiya naseh ne hum ko qaid acha yon sahi
ye junun-e-ishq ke andaz chhut javenge kya

khana zad-e-zulf hain zanjir se bhagenge kya
hain giraftar-e-vafa zindan se ghabaravenge kya

hai ab is mamure mein kahat-e-gam-e-ulfat asad
hum ne ye mana ki dilli mein rahe khavenge kya

Meaning of difficult words
gamkhvari - grief-eating
sai - help
farmavenge - to give advise or say informally
beniyazi - indifference/freedom from want
paravar - nourisher
naseh - advisor
didah-o-dil - eyes and heart.
farsh-e-rah - carpet in the path
teg - sword
uzr - objection, excuse
zad-e-zulf - slave of curls
khana - house
zindan- prison
mamure - an inhabited place
kahat - drought
ulfat - affection

Line 1/2 - In my state of affliction/sorrow and friends comforting me, what help would my friend attempt to administer. By the time my wounds fill up and heal, wouldn't my fingernails grow up again? Ghalib in his brilliant best says, in this my state of sorrow and discomfort, what informal advise or help can my friends offer? Maybe they will tell me to cut my finger nails so that I can not scratch my wounds. But what good would come from that? Before my wounds heals, my finger nails would have grown again and I would again be back scratching my wounds. The lover mocks that in this state of his, friends are of no help!

Line 3/4 - The indifference has passed the limits, Oh Cherisher of servants, till when? We tell the state of our heart and you indifferently say - what? The lover says that the indifference of his beloved has passed the limits now. Till when? The beloved is referred in an honorific title as the protectors of followers. The lover opens his heart out and she says - what? as if inattentive and not even listening to the pleas of the lover.

Line 5/6 - If his lordship the advisor would come to me, I would lay down my eyes and heart out like a carpet in his path. Someone explain to me then - what will he explain? Again the lover mocks the helpful and well meaning advisors and says that he respects them highly, but tell me what they will explain to me? what can they advise me to help me lessen the pain of my sorrow?

Line 7/8 - Today, I go there having tied my sword and the shroud. What excuse will she put up now for not killing me. The lover says today I have resolved myself to die having a sword and a kafan (shroud) wrapped around my head as I head towards her place. What excuse she will have today for not killing me? I have the sword which she can use to slay me, besides I am ready for my death and have come prepared for it.

Line 9/10 - If the Advisor would imprison us, then al right, so be it! These shades of the madness of love and passion - will these also be let go of. Would these leave us? Ghalib says that even if the advisor imprisons us, the shades and temperament of my madness would not go away. I will still wear them even if you imprison my body. This madness is my dress and my reward for my passion.

 Line 11/12 - I belong to the house of slaves of curls. Why will I run away from chains. I am a captive of faithfulness, why would I be afraid of prison. The lover says that he belongs to a house which is slave to the curls. Here the curls of hair akin to the chains. So why would I run away from the chains. I am in them already. Also I am captive to faithfulness and hence does not need to fear prison as I am already a prisoner.

Line 13/14 - There is now in this place, a drought or scarcity of the grief of love, Asad! We have agreed to this that we will remain in Dilli, but what will we eat? Ghalib says in this place there is a scarcity of the grief of love, in fact there is no love for where there is love there has to be grief of love as well. And we are so used to eating grief of love and living by it that though we can live in this place, but what are we going to eat? for there is no grief here! In this city there is no passion, no lovers and no beloveds.

The Rubaiyat : Quatrain XXI

Lo! some we loved, the loveliest and the best
That Time and Fate of all their Vintage prest,
Have drunk their Cup a Round or two before,
And one by one crept silently to Rest.

This is the twenty-first quatrain of the FitzGerald's Rubaiyat. This quatrain as like so many that came earlier tells us that the same fate awaits us all. Look at all the people some we loved, some the loveliest of people we ever met and other the best of people. The best of them were prepared by the working of the Time and of the Fate. Even these very best, will all eventually die having drank from their cup of fortunes.And slowly one by one all will silently creep to the eventual rest, even the loveliest and the best. The Fate of all is same. As someone truly sad - "After the game is over, the king and the pawn go into the same box."

Thursday, July 31, 2014

Borges : The Theme of the Traitor and the Hero

This is another impressive work by Borges where he conceives a short two page detective story. He mentions the setting are unimportant, the plot could well be in any country, at any times. The story is told by a narrator named Ryan who is great grandson of heroic Irish resistance leader Kilpatrick who was mysteriously killed. Ryan attempts to uncover the truth regarding his death. Some things to him regarding his death seem cyclical as if to repeat events from different places and times, from history and from literature. Like a unopened letter warning Kilpatrick of the plot (similar to Caesar) and other events that appeared repeated from story of Shakespeare's Julius Caesar. These parallels led Ryan to "imagine some secret shape of time, a pattern of repeating lines." He also toys with the idea that before Kilpatrick was Kilpatrick, he was Julius Caesar. Further details plunge Ryan into yet more deeper maze. Certain events on the day the hero died seems to have been picked up from the Macbeth. "The idea that history might have copied history is mind-boggling enough; that history should copy literature is inconceivable". Also known is the fact that a close comrade of Kilpatrick named Nolan had translated works of Shakespeare besides written a piece on "Festspiele which is a vast traveling theatrical performances that require thousands of actors and retell historical episodes in the same cities, the same mountains in which they occurred". It was also revealed that Kilpatrick signed a death sentence to a unnamed traitor just days before death. Ryan ultimately discovers that the killing was staged and entire plot was executed over many days in which entire city placed the role of theater. The actual sequence of events are this - the resistance leaders meet and realize that they have a traitor in their midst. Kilpatrick gives Nolan the task of uncovering the traitor. Nolan proves beyond doubt that the traitor was Kilpatrick himself. The leader signs his own death sentence, but pleads that his punishment should not harm the cause. So Nolan devised a plan where Kilpatrick's execution by unknown assassins would rally the support for the rebellion. Nolan being short on time, plagiarizes the scenes from Caesar and Macbeth and this act is played out over multiple days in the entire city. Each act of the traitor is carefully choreographed, hundreds of actors are involved. The act ended with the traitor-hero being shot by unknown assailants. "Ryan suspected that the author interpolated them so that someone, in the future, would be able to stumble upon the truth. Ryan realized that he, too, was part of Nolan’s plot.... After long and stubborn deliberation, he decided to silence the discovery. He published a book dedicated to the hero’s glory; that too, perhaps, had been foreseen."

In this crisp story the lines between reality and fiction are obscured and blurred. Each real day and it's events are played out as an act, each moment of the reality is at the same time is a moment of fiction as well. The falsehood is planned in such detail and such scheme that in close observation the truth could be realized and the truth is again to be buried. Not only does the life imitates the art, falsehood actually replaces the reality. In this falsehood itself somewhere lies hidden the reality waiting to be discovered and to be lost again. Also the difference between reality and drama is not absolute, neither is the difference between the hero and the traitor. Both are hostage to perception and the act of investigation. The truth play out irrespective of they are being perceived correctly or not. Is it the truth, the complete truth? What if I do not understand it? Would it still be the truth. It becomes a prisoner to the Observer. The act of perceiving defines what the truth is. It is similar to a idea that "If a tree falls in a forest and no one is around to hear it, does it make a sound?" What looks to be an dramatic act on a wider stage to Ryan may appear to be truth by someone else who has access to more or less layers of information about the events than Ryan had. Alternate levels of realities each deeper than the other may exist depending on how many layers you unravel. There is no end to the layers and each one adding more detail to the whole plot.Besides the indifference to the place and timings, the generalization of details tells us the universality of the theme.

Saturday, June 28, 2014

The Rubaiyat : Quatrain XX

Ah, my Beloved, fill the Cup that clears
To-day of past Regrets and future Fears--
To-morrow?--Why, To-morrow I may be
Myself with Yesterday's Sev'n Thousand Years.

This is the twentieth quatrain of "The Rubaiyat". The poet says O! my beloved, fill this cup of mine with that intoxicating wine. It cheers my heart and clears and helps me forget the regrets of the past and makes me unaware of the fear of the future (as to what lies ahead). This wine animates me and makes me forget the past and the future. Why the future? Because tomorrow my beloved, I may be dead. I may be what I was seven thousand years ago (a lump of lifeless rock, the poet assumes that life started seven thousand years). The motif of the quatrain being enjoying the present for tomorrow no one knows, we may be dead and consequently a relic of past. 

Translation - Zindagi Apni Jab Is Shakl (Ghalib)

zindagi apni jab is shakl se guzrii Ghalib
hum bhi kya yaad karenge ki khuda rakhte thein

Line 1/2 -  When my life passed in this shape Ghalib, will we even remember that we used to have a God? The poet says when this life of ours was passing in such bad circumstances, will be even remember that we used to have a God. In the misery of my situation, will I remember that we were once in His hands? He forged the good times for us, and now the bad times are also His ways. But will we remember Him?

There can be multiple ways in which these lines can be understood. Another possible stream of thought can be how earlier we have seen better days under Him, but now in these bad circumstances, He has abandoned us.Yet another can be that when the bad times come, we will remember that we had a God and this bad fate is also His workings.

Saturday, May 31, 2014

Photo Of The Day

christ church cathedral, newcastle

fort scratchley, newcastle

Translation - Ug Raha Hai Dar-o-Deewar (Ghalib)

ug raha hai dar-o-deewar se sabzah ghalib
ham bayabaan mein hein aur ghar mein bahar aai hai.

Meaning of difficult words -
sabzah: greenery
bayabaan: wilderness

Line 1/2 - Greenery is growing out of the doors and the walls Ghalib!. We am in the wilderness and springs has arrived at my home. Ghalib says that he is in the wilderness having abandoned his home to the elements. Greenery is shooting out of his home. The weeds and grass grows all over his abandoned home now while he roams in the wilderness. These weeds give a semblance of the arrival of spring at his home. Absolute beauty of words!!

Another interpretation being since he has has left his home and lost in desolation, there is spring now at his home. (irony as well) He is such lost in his mind that he compares the slow destruction of his house (by growing weeds) to arrival of spring. The poet has gone mad for he compares the signs of abandonment at his home with the arrival of the life giving spring for how could a sane person compare slow destruction with life giving spring. Such is the wilderness and desolation of the Self.

The Rubaiyat : Quatrain XIX

And this delightful Herb whose tender Green
Fledges the River's Lip on which we lean--
Ah, lean upon it lightly! for who knows
From what once lovely Lip it springs unseen!

This is the nineteenth quatrain of "The Rubaiyat". The broad idea being the same as one in the previous quatrain. Look at this tender and pleasing green grass which cover the sides of the river's bank on which we leisurely lean. Tread on this grass lightly my dear! for who knows, what once lovely peoples now lay underneath who springs forth this lush greenery. As with last quatrain where the dead underneath makes the rose and hyacinth come up bright and brilliant. In this one the lush green grass besides the river, lean on it lightly for we do not know what lovely person lay buries underneath that springs these lush herbs.

Sunday, April 27, 2014

Photo Of The Day

Newcastle City, NSW

Nooby Beach, Newcastle, NSW

Friday, April 18, 2014

Thought Of The Day

For those who know Kierkegaard, this BBC documentary is an exemplary take on the times and lives of this brilliant philosopher.


"Life can only be understood backwards; but it must be lived forwards."

"Once you label me you negate me."

Kafka - The Trial

"The Trial" by Kafka like lot of his works was never completed. Though there is a chapter at the end that brings the story to a conclusion but one does get a feeling if it was the way it was originally intended by the author. Like lot of Kafka's works, this also can be interpreted in many different ways.

The novel starts with protagonist Joseph K.waking up and finding two persons near his bed who inform him that he is being arrested for crimes that are no specified. The real authority of the ones arresting him is also left unknown. He is told that though he is 'arrested', he is free to continue with his normal life as before. K. is a senior bank official finds this kind of arrest strange. He goes on with his daily life. One day he is summoned to attend a court on coming Sunday. K. reaches the place where the court is in progress. The court is disordered, crowded and unregulated. There is a sense of sham in its proceedings. K. makes a speech deriding the whole system yet he is unsure if he made an impact or if anybody cared. K. visits the place next week but the court is not in session and he meets the court attendant who takes him to law offices located in attics.Again the whole legal system comes out as dark, unknown and impenetrable. Till now nothing is divulged of the crime or the authority that bought the charges against K. An uncle of K. takes him to a advocate as he thinks K. is not serious about his case. The advocate discloses the internal workings and the extent of the Law. Since the charges are unknown, he proposes that their defense would involve considerable work. The advocate discloses that the working of court are hidden, the charges, the judges, and laws, the rules, the previous judgments everything is a secret. The advocate tells that the major task of defense is to work with court officials in the background to get a favorable judgement. They start working on the first plea.

K. work at the bank deteriorates as the case disturbs him mentally. One day, a client of the bank tells K. that he is aware of the case and refers him to a painter who may help him. K goes to the painter who is the official painter of the court painting portraits of the judges. He divulges more details about the courts. He tells that absolute acquittal is impossible The only options is either make the case go very slowly by influencing officials or get the case stuck in bureaucratic maze. K. is convinced that the advocate is not working hard on his the case for he has still not completed his plea. He visits him with a plan to dismiss him. There he meets another of advocate's client Block, whose case is going on for five years. There he sees Block's excessively submissive behavior towards the advocate.The scene breaks. In the next, K. waits for a bank's client to show him around a cathedral. The client is late, and instead the cathedral priest starts talking to K. He tells a fable about Law to K. and they both discuss its various interpretations. In the last chapter two men arrive at K. room. They lead him to a abandoned quarry and over him as he lay on the dirt, pass the long knife back and forth between them (to provoke him to commit suicide). At last one holds his shoulder and the other stabs him in the heart.

The inaccessibility of the justice, the over-bearing bureaucracy, the dark and airless corridors of law, the omni-presence of all things legal is the repeating theme in the chapters. The tragic situation of K. where he condemned for a "crime" that he does not know, by a "court" that he can not not reach. In midst of all this, there is the meek human existence trying to penetrate the Law, working hopelessly to curry some favors with officials and trying all possibilities only to be dashed in the next layer of this vast unforgiving organization. The unreachable Law feeds on hope and laying waste the human spirit. The only working principle being that all accused are always guilty and complete acquittal is impossible. In this world, all the parts work giving hope from one hand and extinguishing it from the other in sole purpose to break the human will and make him accept not the invincibility of the Law's power but of individual's hopelessness. The absolute power makes people not question as to why they are arrested or what their crime is, but just trying to work with the Law and its officials to get some reprieve. There is no heroism, no valiant defense in courts and definitely no redemption. Instead there is a bleak existence, the helplessness, the anxiety, the unknown guilt, the final realization, the absurdity of the whole premise, and of the life itself. Like a web, the more one struggles the more he will get stuck in its web.

Translation - Ghar Mein Tha Kyaa Ke (Ghalib)

ghar mein tha kyaa ke tera gum use gaarat karta
woh jo rakhte the hum ek hasrat-e-tameer so hai.

Line 1/2 - What was even there in the house, that the grief for you would have destroyed it? That which we used to keep, one longing for a construction is still there. As with Ghalib there can be countless interpretations to it. The poet says what was there in the house that the grief of passion could have destroyed. The house was already dilapidated even before the grief. There is nothing much worse you could have done. The one thing the heart longs for, a construction, a structure is still there, a place of mine. Nothing could undo that longing. I think Ghalib wrote this after the sack of Delhi during the 1857 war. The palpable sense of despair and the un-extinguished hope both find home in these lines. What is there left in the city now that anything could destroy it?? One alone longing is still there in my heart and nobody an erase it.

Meaning of difficult words
gaarat = destroy
hasrat = longing
tameer = construction