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Tied at the top…

Imagine an iconic piece of music that’s been made immortal by a master of the genre. Now along comes a singer who’s the other gender, and not just nails it, but in a manner of speaking, gets around to actually own the very same song, at the very least, taking a hefty bite out of the pie. Sounds unbelievable, doesn’t it? Normally a song sung by two singers of either gender sounds better in one voice. This is truly, an exception, I would feel.

The wonderful ghazal by Hafiz Hoshiarpuri as it is usually rendered has been composed in the extremely melodious raag Khamaj and I honestly believe the ghazal sounds so good because of the raag it is based on. Listen to this amazing rendition by my favourite ghazal singer, the maestro, the aptly lauded Shehenshah-e-Ghazal, Mehdi Hassan. Khansaheb’s undoubtedly divine skill in giving a piece of verse life and soul is what truly sets him apart from the rest of the pack. Check it out for yourself.    https://youtu.be/NQ3rRwSl__8

Khamaj is an amazingly soulful raag best suited to convey pain or sorrow, is a Shadav-sampoorna raag of the Thaat named after itself. It is usually performed between 12 midnight and 3 am. It is used extremely frequently for rendering ghazals and thumris. Check out this longer version of the same ghazal sung by Khansaheb himself. https://youtu.be/HFgqn2qPfMc

Just when you feel satiated, let me bring you a version by Farida Khanum whose husky, bass voice delivers the sorrowful yearning that goes to awaken the somnolent soul out of its complacency. I believe the unusual quality of her voice gives her this ability. Shobha Gurtu had this tonal quality, too, and she is the standout exponent of Thumris, Dadra, Tappa, Horis and some Ghazals in my lifetime. She built on Begum Akhtar‘s musical legacy and took it further. https://youtu.be/XPyrj6WTIy0

A poetic dedication of sorts by the shayar to all those who have seen those who were close to them get distanced or separated, even those who unfortunately had to deal with the death of a loved one.

मोहब्बत करने वाले कम न होंगे

हफ़ीज़ होशियारपुरी

मोहब्बत करने वाले कम न होंगे

तेरी महफ़िल में लेकिन हम न होंगे...

मैं अक्सर सोचता हूँ फूल कब तक

शरीक-ए-गिर्या-ए-शबनम न होंगे

ज़रा देर-आश्ना चश्म-ए-करम है

सितम ही इश्क़ में पैहम न होंगे

दिलों की उलझनें बढ़ती रहेंगी

अगर कुछ मशवरे बाहम न होंगे

ज़माने भर के ग़म या इक तेरा ग़म ,

ये ग़म होगा तो कितने ग़म न होंगे

कहूँ बेदर्द क्यूँ अहल-ए-जहाँ को

वो मेरे हाल से महरम न होंगे

हमारे दिल में सैल-ए-गिर्या होगा

अगर बा-दीदा-ए-पुर-नम न होंगे

अगर तू इत्तिफ़ाक़न मिल भी जाए

तेरी फ़ुर्क़त के सदमे कम न होंगे

हफ़ीज़’ उन से मैं जितना बद-गुमाँ हूँ

वो मुझ से उस क़दर बरहम न होंगे

The commonest renditions are based only on 4 out of the 9 ash’aar. These are marked in bold. The ghazal does have a sprinkling of words that might pose something of a challenge to those dabbling or developing a new interest in the language. I have given my interpretation, please feel free to correct me, if you are more knowledgeable about the language.

शरीक-ए-गिर्या-ए-शबनम:  दुःख का रोने में शामिल, दुःख- विलाप में जुड़ना, किसी की मृत्यु पर रोना, शोक-विलाप करना, one who joins someone else in their hour of grief,  देर-आश्ना: वह व्यक्ति जो जल्दी घुलना-मिलना न जानता हो, जो हर काम देर में करने का आदी हो, शर्मीला, shy. चश्म-ए-करम: कृपादृष्टि; पैहम: लगातार, बार बार, repeatedly. बाहम: आपस में, परस्पर, reciprocally, together. अहल-ए-जहाँ: दुनिया भर के लोग, people of the world. महरम: (शाब्दिक) हराम (जो इस्लाम धर्म-शास्त्र में वर्जित या त्याज्य हो, निषिद्ध) किया गया, ममनू: proscribed by religion, लेकिन शायर ने इस शब्द को कुछ अलग तरीके से प्रयोग किया है: वह जो भीतरी रहस्य से परिचित हो, हार्दिक मित्र, राजदार, भेद जानने वाला, confidante. सैल-ए-गिर्या: आँसूओं की बाढ़, flood of crying/sorrow. बा-दीदा-ए-पुर-नम: आँसुओं से नम आँखोंसे, with moist eyes. इत्तिफ़ाक़न: इत्तिफ़ाक से, संजोग से, Coincidentally. फ़ुर्क़त: वियोग, विरह, जुदाई, फ़िराक़, separation. सदमे: आघात, दिल पर लगनेवाली चोट, shock. बद-गुमाँ: अविश्वासी, संदेह रखने वाला, suspicious, distrustful. बरहम: ग़ुस्से में, नाराज़, angry, upset.

As with all translations, each language has nuances that don’t really come through. The beauty of each language is it’s own and there is no getting away from having to know it better. Translations or transliterations are a poor compromise.

Here’s to the beauty of eternal longing, the bittersweetness of parting, paradoxically a pleasurable pain… And the unparalleled joy of good poetry rendered with unimaginable felicity, soul and passion.

Have a wonderful day ahead, folks. I will stay lost in this addictive art form. Much better and healthier addiction than any man made substance

By abchandorkar

Consultant Interventional Cardiologist, Pune, India

14 replies on “Tied at the top…”

अगर तू इत्तिफ़ाक़न मिल भी जाए

तेरी फ़ुर्क़त के सदमे कम न होंगे

What a rendition of core pain in simple words. Your narration is always a feast to read.

Liked by 1 person

खूप छान. राग खमाज हा अतिशय गोड राग आहे. काही हिंदी सिनेमातील गाणी राग खमाज मध्ये आहेत. आयो कहा से घनश्याम हे सुध्दा खमाज रागात आहे.
धन्यवाद

Liked by 1 person

शरीक- ए -(गिर्या-ए-शबनम ) = हुरहुर लावणारी तिन्हीसांज
देर- आश्ना = लाजरा भिडस्त
होउ शकेल कां?

Liked by 1 person

सर कवीला प्रत्येक शब्द रूपकात्मक वापरण्याची मुभा आहेच, आणि देर-आश्ना चा हा शाब्दिक अर्थच आहे

Like

Superb rendition & equally superb narration.
Posting few ashaars of Hafeez Hoshiyarpuri.

वो आके सामने जिस वक्त मुस्कुराते हैं
हम उनकी सारी जफाओ को भूल जाते हैं
हम अपने भूलने वालो को चाहते हैं हफीज
वो अपने चाहने वालों को भूल जाते हैं

Liked by 1 person

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