Kulsoom Mustafa Talha

It can be stated, without going into any detailed study of reading behaviour that News papers and magazines are more widely and extensively read than other literary work produced in any language. Yet, journalists are not as often talked about as Novelists, creative writers or poets. Nor are peans written in their honour, or recognition granted to them as easily.

Muslims have been at the forefront in journalism, wether it be English or Urdu. In todays day and time, we can name Saeed Naqvi, M.J. Akbar, Nidhi Razdan, S. Hussain Zaidi, Rana Safawi, Rana Ayyub, Annie Zaidi, Seema Mustafa and kulsoom Mustafa Talha amongst important journalists writing in English.

Kulsoom Mustafa Talha who has recently been awarded the Waqar Rizvi Award for Journalism, belongs to an illustrious family literateurs and educationists. Her father Kalbe Mustafa was an advocate and literateur. He has written several books in Urdu, amongst which “Fan-e-Khataabat” has been widely acclaimed. I came in contact with Kulsoom Talha in late 1990’s at a literary gathering at my father’s residence, and have known her since. She came accross as an extremely well informed, talented and dynamic personality. Grit, honesty, resilience, poise and purpose define her character. Her association with women empowerment, Child health and development, humanism and education has lent stature to her personality.

She has been an outspoken and honest journalist and is presently writing for Milli Gazette, Women Feature Service, Uday India, Village Square etc.. She started out with the Northern India Patrika and has worked for TOI, Reuters and other frontline media houses. She is also a visiting Professor at several Media institutes across India. Her recent social initiatives ” Zuban aur Tallafuz ” and ” Kishwari Connect ” are the talk of the town.

Abul Kalam Azad

Undoubtedly one of the most important leaders of India of the century is Maulana Abul Kalam Azad. Probably the most important as far as secular India is concerned. This most important Indian leader was born in Mecca, Saudi Arabia, the holy city of the Muslims. Maulana Azad has an enviable lineage and his family has played important roles in the Muslim world. He belongs to an important family of Islamic theologists and leaders of fiq. A family not used to towing the line of Khalifs and Sultans., but one who fearlessly spoke their mind. His forefathers have been known to stand up to what they believed in and have been known to speak in opposition to even Emperor Akbar and Shah Alam Sani. The decadence of the Mughal Empire and Delhi forced his ancestors to move to Hijaz.  Maulana Azad.s father was granted residence in Constantine by Sultan Abdul Majeed and stayed there for two years. During this period they played a role a in affecting a truce between the rebellious Chief of Mecca and the Sultan. However differences arose at alater date between maulana’s father and the sharif of Mecca. Maulana returned to India at the age of three and the family settled in Calcutta.

The Maulana’s family was a religious family, extremely traditional and conservative, and held in high esteem. Maulana Azad is stated to have been disturbed by the customary kissing of hands and feet and of standing with hands tied at the back as a mark of respect to him as he was the Peer’s son. Maulana himself states that even at the young age of fifteen his conscience had begun to trouble him and to whisper into his ears that the world was not confined to the shores he was standing on. He has constantly talked of his questioning nature. The ideas of Maulana Jamaluddin Afghani appear to have had an influence on the mind of Maulana Azad. This is evidenced by the fact that these were often published in his ‘Al Hilal’. Though religious, Maulana Azad has been known for his unorthodox approach to religion. Meanwhile, the situation in Bengal had taken a critical turn, with lord Curzon proposing the division of Bengal in 1905. The division of Bengal set of unrest which was spreading like wildfire. Several secret societies were being formed and revolutionary ideas being fermented. It was at this time that that the Maulana came in contact with Shyam Sunder Chakraborty and through him Aurobindo Ghosh. It was a time when revolutionary or secret societies were mostly constituted of middle class Hindus and such associations discouraged the membership of muslims due to an element of mistrust. Maulana Azad had soon developed his own core group and was looking at expanding activities to other parts of India rather than confining them to Bengal and Bihar. The other revolutionaries had misgivings on this issue as they felt that secrecy would be compromised. In 1912 Maulana came out with his own paper Al Hilal, which became the torch bearer of fermenting revolutionary ideas amongst Urdu readers and amongst Muslims in particular. Maulana Azad had toured Iraq, Syria and Egypt earlier and had come in contact with muslim revolutionaries in these countries who were waging their own battle against the British yoke. Through Al Hilal he hoped to bring the muslims on the anti British bandwagon. Such was the response to Al Hilal that its publication had crossed 24000 in a short time. The British were becoming extremely disturbed by the popularity of Maulana Azad and decided to choke this voice of dissent. They first began by imposing fines on the publication, but not making much headway they ultimately forced his hand and saw that the  voice of Al Hilal was put out. Maulana then started his Al Balagh in 1915. The first world war had begun, and it was of prime importance for the British to see that the activiyies of the Maulana are brought under check. As a result during this period the Maulana was constantly either externed or interned or imprisoned. Mahatma Gandhi came on to the Indian scene around this time and was desirous of meeting the Maulana but was not given permission. After the end of the war Maulana was released and it is then that he came in contact with Gandhiji. This was the most crucial period in Maulana’s political activities. The Khilafat Movement was gaining ground and Maulana was attending all these meetings and using this as a platform for bringing the muslims into the national mainstream. He knew that he had to expose the game the British were playing in the sub-continent. In September 1920 the non-cooperation programme was proposed by Gandhi and seconded by Abul Kalam at the Calcutta session of the Indian National congress. There was opposition to this programme by important leaders but the programme was passed by the congress. This session is also important in as much as it was hereon that Mister Mohamed Ali Jinnah became disassociated with the Congress. Hereafter Maulana was always seen at the side of Mahatma Gandhi, even though he himself says that on occasion he had differences with Gandhi, but put them aside in the interest of the community at large.

Let me say that Maulana Azads prowess at oratory was exceptional and has been lauded even by his detractors. However his importance as a speaker does not in any way take away from his importance as an effective journalist and man of letters. About Maulana Azads writing Ali Jawad Zaidi says “His style was grand forceful and oratorical, possessing a poetic quality…. so irresistible was his style and so forceful his rhetorical logic that it swayed the reader along”. In order to throw some light on his character as wel as his style I quote from his writings “ Nationalism enjoins upon Hindus to strive for freedom of the country, but for muslims it is their religious duty and it inheres in the very concept of the struggle in the path of Allah. Allah has made them a crusader in his path and jihad embraces all efforts directed towards fulfilment of truth and to the breaking of human bondage, slavey and tyranny.” (Al Hilal : 8.12.1912). Maulana Azad has himself summed up the message of his paper thus “I want to tell you that the Al Hilal is essentially and entirely a call for freedom or death”.

 

Amongst Maulan Azads works is his “Tazkirah” , an autobiographical effort that goes much beyond the confines of his home, and makes for pleasant and interesting reading. His lettes to his scholar friend Habibur Rehman Shervani have been collected in “Ghubar-e-Khatir” and are of historical as well as literary value. His “Tarjuman-al-Quran” , a commentary on the holy book is an enlightened work and it is a loss that the same was not completed.

Rafia Shabnam Abedi

ہے موم وہ پتھر تو پگھل کیوں نہیں جاتا
پیکر میں کسی پھول کے ڑھل کیوں نہیں جاتا

دل ہے کوئی بھیگا ہوا کاغذ تو نہیں ہے
مٹھی میں ہے شعلے کی تو جل کیوں نہیں جاتا

سچ بولنا، سچ ہے کوئی سودا تو نہیں ہے
پھر تیغ تلے بھی یہ خلل کیوں نہیں جاتا

صدیوں سے وہ منظر مری آنکھوں میں بسا ہے
موسم کے بدلتے ہی، بدل کیوں نہیں جاتا

ہر بار تجھے دیکھ کے سوچا ہے یہ دل نے
جب جل گئی رسّیہ تو یہ بل کیوں نہیں جاتا

ہوتا ہے جدا شاخ سے، آتا ہے زمیں پر
کچھ تو ہے سبب، عرش پہ پھل کیوں نہیں جاتا

یہ طارِِّ جاں کس کا گرفتار ہے جانے
وا ہے درِ زنداں تو نکل کیوں نہیں جاتا

کس بازو بریدہ کا فرّس رن میں گھرا ہے
گر گر کے جو اٹھتا ہے سنبھل کیوں نہیں جاتا

شبنم تمہیں سورج سے سرو کار نہیں جب
پھر دھوپ میں جلنے کا عمل کیوں نہیں جاتا

Kamal Khan

The unfortunate demise of Kamal Khan  on 14th January, 2022 has left a vacuum in the serious journalism space, not only in Uttar Pradesh but in India. Kamal Khan has been associated with NDTV News since 1995 and was working as Lucknow Bureau Chief and Resident Editor for UP and Chattisgarh.

Kamal Khan was born in 1961 at Lucknow, and completed his graduation from Moscow State University, Moscow. He studied Russian Language and its Philosophy at Moscow. After returning to India he initially worked as an interpretor at HAL Bangalore. Thereafter he worked for several news channels amongst them Amrit Prabhat, Nav Bharat Times and Dainik Jagran.

His stature as a journalist rose exponentially after having joined NDTV. Rajdeep Sardesai recalls having worked with him and writes about him thus ” a gentle soul,  he spoke like a poet with all the style and intonation that make Lucknow such a special place. Kamal was Lucknow at its finest, warm like the winter sun, harmonious like the much vaunted Ganga Jamni tehzeeb of a gently flowing Gomti, and only a stanza away from mellifluous shayari.”

His dedication to the profession was complete and he was committed to the true values of journalism and fearless reporting, and will always be remembered for his services to the field of journalism. He was awarded the  Ram Nath Goenka Award and the Ganesh Shankar Award for Hindi journalism instituted by the HR ministry as also the award instituted by Federation of SAARC writers for Hindi TV reportage. 

GILLESPIE

A large part of this cite is devoted to literature devoted to the struggle of 1857. However 1857 was not the only instance when the Indian people challenged the mighty British empire nor was it the first. The Vellore mutiny which took place in 1806 was an event that saw the death of Col. Fancourt, 130 British officers and soldiers and the takeover of the fort. It was also an effort to re-install the son of Tipu Sultan to the throne.

Although, the poem ‘Gillespie’ written by Sir Henry Bolt eulogises the British recapture of the fort, we bring it to you since it is closely connected to this glories chapter of the Indian struggle for self determination.

Riding at dawn, riding alone,

Gillespie left the town behind,

Before he turned by the Westward road

A horseman crossed him, staggering blind.

‘The  Devil’s abroad in false Vellore,

The Devil that stabs by night, ‘he said,

‘Women and children, rank and file,

Dying and dead, dying and dead’.

Without a word, without a groan,

Sudden and swift Gillespie turned,

The blood roared in his ears like fire,

Like fire the road beneath him turned.

He thundered back to Arcot gate,

He thundered up through Arcot town,

Before he thought a second thought

In the barrack yard he lighted down.

Trumpeter, sound for the light dragoons,

Sound to saddle and spur’, he said;

‘Hethat is ready mayride with me,

And he that can may ride ahead’.

Fierce and fain, fierce and fain

Behind him went the troopers grim,

They rode as ride the the light dragoons

But never a man could ride with him.

Their rowels ripped their horses’ sides,

Their hearts were red with a deeper goad,

But ever alone before them all

Gillespie rode, Gillespie rode.

Alone he came to false Vellore,

The walls were lined, the gates were barred;

Alone he walked where the bullets bit,

And called above to the sergeant’s Guard.

Sergeant, Sergeant, over the gate,

Where are your officers all?’ he said,

Heavily came the sergeant’s voice,

‘there are two living and forty dead’.

A rope, a rope’, Gillespie cried;

They bound their belts to serve this need.

There wasnot a rebel behind the wall

But laid his barrel and drew his bead.

There was not a rebel among them all

But pulled his trigger and cursed his aim,

For lightly swung and rightly swung

Over the gate Gillespie came.

He dressed the line, he led the charge,

They swept the wall like a stream in spate,

And roaring over the roar they heard

The galloper guns that burst the gate.

Fierce and fain, fierce and fain,

The troopers rodethe reeking flight;

The very stones remember still

The endof them that stab by night.

They’ve kept the tale a hundred years,

They’ll keep the tale a hundred more;

Riding at dawn, riding alone,

Gillespie came to false Vellore.

Note: Ii is my failing, that I could not find a local poem commemorating the event.

Readings from Gandhi

(what he said a hundred years ago when charged of sedition)

Little do town dwellers know how the semi-starved masses of India are slowly sinking to lifelessness. Little do they know that their miserable comfort represents the brokerage they get for the work they do for the … exploiter, that the profits and the brokerage are sucked from the masses. Little do they realize that the Government established by law in … India is carried on for this exploitation of the masses. No sophistry, no jugglery in figures can explain away the evidence that the skeletons in many villages present to the naked eye. I have no doubt whatsoever that … the town dwellers of India will have to answer, if there is a God above, for this crime against humanity which is perhaps unequalled in history. The law itself in this country has been used to serve the … exploiter.  My experience of political cases in India leads me to the conclusion that in nine out of ten the condemned men were totally innocent. Their crime consisted in the love of their country. In ninety-nine cases out of a hundred justice has been denied to Indians … in the courts of India. This is not an exaggerated picture. It is the experience of almost every Indian who has had anything to do with such cases. In my opinion, the administration of the law is thus prostituted consciously or unconsciously for the benefit of the exploiter.

‘The greatest misfortune is  … the administration of the country do not know that they are engaged in the crime I have attempted to describe. I am satisfied that … Indian officials honestly believe that they are administering one of the best system devised in the world and that India is making steady though slow progress. They do not know that a subtle but effective system of terrorism and an organized display of force on the one hand, and the deprivation of all powers of retaliation of self-defence on the other, have emasculated the people and induced in them the habit of simulation. This awful habit has added to the ignorance and the self-deception of the administrators. Section 124A under which I am happily charged is perhaps the prince among the political sections of the Indian Penal Code designed to suppress the liberty of the citizen. Affection cannot be manufactured or regulated by law. If one has no affection for a person or system, one should be free to give the fullest expression of his disaffection, so long as he does not contemplate, promote or incite to violence. But the section under which Mr. Banker and I are charged is one under which mere promotion of disaffection is a crime. I have studied some of the cases tried under it, and I know that some of the most loved of India’s patriots have been convicted under it. I consider it a privilege, therefore, to be charged under that section. I have endeavoured to give in their briefest outline the reasons for my disaffection. I have no personal ill-will against any single administrator … person.

But I hold it to be a virtue to be disaffected towards a government which in its totality has done more harm to India than any previous system. India is less manly … than she ever was before. Holding such a belief, I consider it to be a sin to have affection for the system. And it has been a precious privilege for me to be able to write what I have in the various articles, tendered in evidence against me.
‘In fact, I believe that I have rendered a service to India  … by showing in non-co-operation the way out of the unnatural state in which both are living. In my humble opinion, non-co-operation with evil is as much a duty as is co-operation with good. …. I am here, therefore, to invite and submit cheerfully to the highest penalty that can be inflicted upon me for what in law is a deliberate crime and what appears to me to be the highest duty of a citizen. The only course open to you, the Judge, is either to resign your post and thus dissociate yourself from evil, if you feel that the law you are called upon to administer is an evil and that in reality I am innocent; or to inflict on me the severest penalty if you believe that the system and the law you are assisting to administer are good for the people of this country and that my activity is therefore injurious to the public weal.’

M K Gandhi

GOMTI 1857

There has been an underlying theme to this cultural cite which has been concerned with nationalism and patriotism as reflected in Urdu literature.  An Opera written by noted Urdu poet Rahi Masoom Raza,and produced by Muzaffar Ali was staged in the ballet format at the Dilkusha Palace Lucknow, yesterday evening.  We bring the text for those not based in Lucknow, and others.

parda uThta hai

eik luta huva baazaar hai. kahin kahin ab bhi dhuvaan uth raha hai . Saamaan bikhra para hai. Chand laashen bhi  pari hui hain. Logon ke chiikhne ki aawaaz aati hai.  BuuRha maghmuum (grieved) hai. But ki tarah khara, lute hue baazaar ko dekh raha hai.

chorus

lucknow, lucknow, lucknow, lucknow

apne hi khuun mein Duub kar surkh ru

hai Khizaan mein bhi gul posh tera chaman

tera maathe pe raqsaan hai ab bhi kiran

ab bhi zinda hai ye markaz-e-rang-o-bu

lucknow, lucknow, lucknow, lucknow

teri kalaiyaan hain goya sanaanon ke phal

teri har mahjabiin eik hazrat mahal

zakhmon ki is qaba se baRhi aabruu

lucknow, lucknow, lucknow, lucknow

Chorus gaata hua chala jaata hai

Buurha

Khaamoshi eiRiyaan ragaRti hai

jhurriyon ki tahen bigaRti hain

suuliyon par hai jahd-e-aazaadi

ban mein hai ab dilon ki shahzaadi

sa-birahna jawaaniyaan nikli

pa-birahna kahaaniyaan nikli

loriyaan shor ke havaale hain

Khwaab ke paon mein bhi chhaale hain

kaun ab chhere taar-e-daaman ko

raakhiyaan Dhuundti hain bairan ko

Thumriyon ke labon pe khushki hai

daadre ka kaleja chhalni hai

ghungruu larzaan hain, tabla sahma hai

kone kutre mein chhipke baithe hain

har makaa.n lukhnow ka be dar hai

ab na hazrat mahal na lashkar hai

kaan nuchte hain baaliyon ke liye

haath kaTte hain chuuRiyon ke liye

koi to zahmaton ko shumaar kare

lucknow mar raha hai pyaar kare

Shair ka daakhla – woh bohat thaka hua hai baazaar ko dekh ke hairaan ho jaata hai

raahi ab thak ke chuur hai baba

lucknow, ab kitni duur hai baaba

lucknow kaisa lucknow shair

kis ki hai tum ko justuju shair

lucknow naar bhi hai, nuur bhi hai

lucknow paas bhi hai duur bhi hai

lucknow gul bhi, daaman-e-nam bhi

lucknow zaKhm bhi hai marham bhi

lucknow dard-e-hijr-e-jalwa bhi

lucknow soz bhi hai naghma bhi

tum shair ho itna batlao

ho jo mumkin to itna samjhao

yun to sab kuchh jahan mein hota hai

koi naghma fana bhi hota hai

raahi ab thak ke chuur hai baba

lucknow, ab kitni duur hai baaba

Burha –

lucknow kaisa lucknow shair

tumko hai kis ki justuju shair

dil ka baazar luT gaya shair

lucknow ab kahan raha shair

mera dil ro raha hai mat bolo

lucknow so raha hai mat bolo

tum bhi baazaar ka samaa dekho

shaam hai kis qadr jawaan dekho

dekh lo kis maze se leTe hain

laash mat jaaniyo ye baanke hain

jang toKhatm ho gai shair

tum ne aane mein der ki shair

ab jo oRhe hai maut ki chaadar

laRte laRte gira hai ye thak kar

apne se duur ho chuka tha ye

zakhmon se chuur ho chuka tha ye

laR raha tha magar ye jaan- ba- kaf

tha na  machhi bhavan na  shaah najaf

raat aur din ke is bayaabaan mein

gomti rah gai hai maidaan mein

ruuh tak ab aliil hai shair

ye kahaani taviil hai shair

jo ho kahna tumhen kaho shair

ye raha lucknow, milo shair

banduukon ki aawaazen qariib aa jaati hain.

shair – 

baba tum aao mere saath chalo

mere haathon mein deke haath chalo

gore aate hain kya laro ge tum ?

is jagah ruk ke kya karo ge tu ?

raaste chhoR do, haTo baba

lucknow chhoR kar chalo baba

buurha  –

baba ab thak ke chuur hai shair

lucknow duur duur hai shair !

kis taraf hai ummiid ka saahil ?

lucknow chhorne se kya haasil ?

mujhko ek baat khaaye jaati hai

zinda.h rahne se sharm aati hai

logon ke chiiKhne aur karaahne ki aawaaz aur qariib aa jaati hai

jaan ab apni yun bachaen ham

aao laashon mein leT jaayen ham

buurha shair ko ghasiit kar laashon mein leT jaata hai. Bhaagte hue logon ka eik giroh jisme auraten aur bachche bhi hain zakhmon se chuur daakhil hota hai, aur chiiKhta hua duusri taraf nikal jaata hai. In ke jaane ke baad hi goliyaa.n chalaate angrez sipaahi daakhil hote hain. Aur inhin ke piichhe dauRte hue duusri taraf nikal jaate hain. Eik angrez afsar ke saath eik sipaahi ruk jaata hai.

shair  – 

ye huQuumat ka intezaam nahin

barbariyat hai, inteqaam nahin

buurha  –

laash ban kar paRe raho shair

chup raho shor mat karo shair

afsar  –

pahle to ye mazaa bhi deta hai

qatl karna thakaa bhi deta hai

sipaahi  – 

phir bhi murde mein jaan hai major

is khanDhar mein bhi shaan hai major

dono chale jaate hain. Buurha Shair ko le kar khaRa ho jaata hai.

buurha —

zindagi ka nishaan hai shair

lucknow sakht jaan hai shair

ab batao tumhaare saath chalun

ya main farda ka intezaar karun

shair –

har taraf raat hai andhera hai

kya pata kis taraf savera hai

bastiyon ki kami nahin lekin

koi basti mili nahin lekin

laRai abhi tamaam nahin

har taraf tiirgi aur ban hai

bas qalam ka chiraaGh raushan hai

phir bhi ye do-pehar hai shaam nahin

ek nahin, do nahin, hazaar nahin

ye molvi ka koi shumaar nahin

kya safar mein ye subh-o-shaam nahin

is ghulaami ko bhi dawaam nahin

Buurha  –

laal hai khuun se zamii.n shair

jiine ka hausla nahin shair

zehr-e-ghum koi kyun piye shair

koi kiske liye jiye shair

zakhmon se chuur Gomti ka daakhla. libaas taar taar hai. Chalte mein qadam laRkhaRa rahe hain

Gomti  – 

aaye mera payaam le koi

dauR kar mujko thaam le koi

shair –

jang to Khatm ho gayi shair

tum ko kuchh der ho gayi shair

woh girne lagti hai.shair lapak ke use sambhaalta hai. BuuRha diwaanawaar laashon ko jhinjhoRta hai’

Buurha

maut ka uTh ke raasta roko

Gomti so na jaaye,jaag paRo

jaago shaam-e-awadh ke parwaano

jaago ay Gomti ke diiwaano

Gomti

dekh lo main nidhaal hun shair

ab to main ek sawaal hun shair

jiine mein koi dilkashi hi nahin

Buurha

Gomti  !  tu nahin, to main bhi nahin

meri aankhon ki raushni ! mat ja

Gomti ! meri zindagi ! mat ja

shair

baba tum is qadar na ghabrao

Buurha  –

Gomti ji rahi hai batlao

zakhmon se chuur ho chuki haiye

shair  –

jaan mat do ke ji rahi hai ye

Gomti  – 

woh meri justuju mein marte hain

gore mujh ko talaash karte hain

shair  –

gore bhatkenge gard-e- mahmil mein

aarzuu ban ke chhip raho dil mein

Gomti  –

jaan aa kar labon pe aTki hai

waqt kam daastaan lambi hai

baba, tum ye batao kaisi hai

meri hazrat mahal to achhi hai !

hai kahan, wo wafa ka koh-e-giraa.n

mera diwaana molvi hai kahan

waqfa

koi talwaar si chubhota hai

mere zakhmon mein dard hota hai

ye batao, kahan savera hai

duur tak kya yahi andhera hai

kya hai aalam idhar udhar shair

tum sunao koi khabar shair

shair  –

gore saari faza mein phaile hain

lafz ghar se nikalte uRte hain

dilli bebas si aaj bebas hai ?

chaandni chowk mein amaavas hai !

shaah-raahon pe suuliyon ke siva

na hai raahi,na koi raahnuma

kahin pardah nahin hai aaR nahin

kisi ghar mein koi kiwaaR nahin !

ye hai dilli ka muKhtasar qissa

raaj hai kampani bahaadur ka !¡

baKht khan ka kahin mila na nishaa.n

TaaTiya bhi na jaane gum hai kahan

aur jhaansi pe ye bala aayi

mar gai laR ke laxmi bai

har taraf maut hai tabaahi hai

sirf Ghaddaaron ki ban aayi hai

laashe dekhe hain main ne shaaKhon par

bachche dekhe hain main ne naizon par

har taraf raat hai andhera hai

sirf tera chiraaGh jalta hai

har taraf raat hai andhera hai ,

sirf mera chiraaGh jalta hai

bandookon ki aawaazen qariib aa jaati hain –

chaap sunte ho in darindon ki ,

main bhi mehmaa.n hun chand lamhon ki

Buurha – bebasi ke josh se

is diye ko bachaa sako to bachao

uTho diiwaar daamanon ki uThao

gomti aakhri rivaayat hai

chorus gaana gaate hue daakhil hota hai

sar pe hai aaj tuufaan chala jayega

ye andhera bhi hai mehmaan chala jayega

duur manzil hai magar aisi bhi koi duur nahin

chorus

aao mujhpar koi qasam khao

aao hazrat mahal idhar aao

pardah

 

hon sada sakht, ye haalaat ka dastuur nahin

aaj pairon mein hai zanjiir giraa.nbaar to kya

laakh majbuur ho, par aadmi majbuur nahin

sarpe hai aaj jo tuufaan chala jayega

ye andhera bhi hai mehmaan chala jayega

shart itni hai ke raahi rahen sargarm safar

shajr-e-shab mein bhi aate hain sitaaron ke samar

ham ne dekha hai ke har raat ki hoti hai saher

ham ne dekha hai sada zulm ka jhukte hue sar

sarpe hai aaj jo tuufaan chala jaye ga

ye andhera bhi hai mehmaan chala jaye ga

tashnagi ! barh ke koi ju-e ru paida kare !

tu jahaan se nahin, tu apna jaha.n paida kare

raah min tere andhera hai to parwaah nahin

kabhi ek chaand, kabhi kahkashaa.n paida kare

sar pe hai aaj jo tuufaan chala jayega

ye andhera abhi hai mehmaa.n chala jayega

chorus gaana gaata hua chala jaata hai

Buurha –

aashiyaa.n ab kahan banaen ham

Gomti ko kahan chhippaen ham

raaste band hain, uTho shair

munh se tum  bhi to kuchh kaho shair

shair  – 

baba is mein koi guzand nahin

aarzuon ki raah chaon hai

aarzu ki manzil mein

Gomti chhip rahe mere dil mein

 

baba sun lo, ye maslehat bhi hai

ganga shiv ki jata mein baithi hai

 – gomti ki aankhen band hone lagti hain

 

baba  – honthon par ungli rakh kar

apne mein kho gaiyi hai mat bolo,

Gomti so gayi hai mat bolo

kisko niind aayi kaun sota hai

–  gomti aankhen khol deti hai

baba ! zakhmon mein dard hota hai

bhaagte hue qadmon aur goliyon aur chiikhne chilaane ki aawaazein bohat qariib se aane lagti hain. Buurha Gomti aur Shair ko le kar laashon mein leT jaata hai. Bhaagte hue zakhmi logon ka giroh girta paRta daakhil hota hai, aur chiikhta hua duusri taraf chala jaata hai. Phir kuchh angrez sipaahi aate hain. Kuchh chale jaate hain. Kuchh ruk jaate hain.

lucknow ka har eik ghar dekha

Gomti ka magar pata na chala

ham ne maidaan to ye maara hai

Gomti hi ka eik Khatra hai

gomti ko kahan se ham laaen

kis taraf DhuunDe kis taraf jaaen

chorus daakhil hota hai

is ka milna muhaal hai paagal

Gomti ek khayaal hai paagal

ye na samjho ye kaam aasaa.n hai

Gomti nikhat-e-pareshaa.n hai

goron ko gomti nahin milti

raat ko raushni nahin milti

chorus chala jaata hai

afsar  –

raat kaafi hai raushni ke liye

daar qaayam ho Gomti ke liye

chand sipaahi jaate hain. aur chand hi lamhon mein eik saliib la kar khaRi kar dete hain. Is biich mein afsar apni talwaar se laashon ko konchta rehta hai.

chorus gaata hua daakhil hota hai

chorus –

ye gore bhi, logon suno lo , bas nikle diwaane

is duniya ko yaad rahenge zulm ke ye afsaane

eik sahma hua Buurha daakhil hota hai

zulm ki dhuup mein duur duur tak bas phaansi ki taain

andhon ne apne zulm ka gaagar, khud chhalkaaya

in ke munh par thuuk rahe hain, kya apne begaane

is duniya ko yaad rahenge zulm ke ye afsaane

dehaaton ne goli payi, aur shehron nen phaansI

itna zulm kiya goron nen duniya hai ruuhaa.n si

duniya se insaaf ke taalib hain ab ye viiraane

isduniya ko yaad rahenge zulmke ye afsaane

eik ghabrai hui aurat ka daakhla

 

afsar  – 

ham ko batla ke gomti hai kahan

kyun hai chup khol apni kaali zubaa.n

 – aurat dileri se use ghuurti hai aur chup rahti hai

aurat –

aankhon mein aankhen daal ke

Gomti ka pata bataun main ?

aisi laanat ka bojh uThaun main ?

mukhbari to mera shaar nahin

itna bhi zindagi se pyaar nahin

afsar  –

Gomti ka pata bata aurat

aurat –

muKhbari karne waale par laanat

Gomti maamta ka nuur bhi hai

Gomti mang ka sinduur bhi hai

hanste hanste main jaan de dun gi

lekin apni zubaa.n na kholungi

maa hun, mamta ka nuur kaise dun

hun suhaagin sinduur kaise dun

afsar barh kar aurat ko thaRar maar deta hai

Gomti – 

baba ab ye saha nahin jaata

mujh se ab chup raha nahin jaata

afsar – aurat se

kyun bulaati hai  apni tu shaamat

Gomti ka pata bata aurat ;

woh use phir thapaR maarta hai. Shair se bardaasht nahin hota. woh khaRa ho jaata hai.

is bichaari pe ab na haath uTha

main bataata hun Gomti ka pata

shair aur mukhbari ki laanat ? dekh

ay wafa ; aa ke apni zillat dekh

gir gaya shair apne rutbe se

koi ab kis par eitmaad kare

phir bhi main dil bura nahin karti

main kisi se gila nahin karti

waise to baat ye baiid na thi

mujh ko shair se ye ummiid na thi ;

officer- shair se

tu batae ga gomti ka pata

ham baRhaenge martaba tera

faiz ahmed faiz ke sher mein thoRi si tabdiili kar di gayi hai

 

aurat – shair se

tere gharwaale munh chhipaenge

un pe log ungliyaan uthaenge

afsar – shair se

is ki baaton pe tum na kaan dharo

jis se rutba baRhe wo kaam karo

aurat – afsar se – shair ki taraf ara kar ke

iski baaton pe tum na kaan dharo

Gomti main hun mujhko phaansi do

shair – aurat ki taraf ishaara kar ke

 

sote bchchon ki siskiyon mein hai

Gomti zakhmi loriiyon mein hai

Gomti in luTi dukaanon mein

Gomti chiikhte makaanon mein

Gomti main bhi hun, ye aurat bhi

Gomti meri iski nafrat bhi

sun liya tumne Gomti  ka pata

ab baRhao na martaba mera !

afsar   –

khair ham justuju mein the shair

tum bhi mauqe se mil gaye shair

ham tumhaara lahu bhi chaaTenge

hum tumhaari zubaan bhi kaaTenge

shair  –

koi suraj se us ki hiddat ko

zindagi  se namu ki aadat ko

ishq se is ke miithe sapnon ko

aur shair se uske naghmon ko

chhiin paaya, na chhiin sakta hai

afsar – shair se –

ab ye batlao, kya iraada.h hai

bhaagna hai to bhaag kar dekho

bad-zubaa.n ki zubaa.n kaaT to lo

sipaahi se –shair- hiqaarat se

apne qisse tumhen sunaata kyun

bhaagna hota to main aata kyun

do sipaahi usse pakaR lete hain. Tiisra uski zubaan kaatna chahta hai. Gomti beqaraar ho jaati hai. Buurha use rokna chahta hai.

gomti – buurhe se

baba ab ye saha nahin jaata

mujh se ab chup raha nahin jaata

Sipaahi shair ki zubaan kaat lete hain. Gomti khaRi ho jaati hai

Gomti

gomti main hun

aurat – baat kaat kar

gomti main hun

Gomti –

gomti main hun

gomti main hun

Sipaahi aurat ki taraf mutawajje nahin hote. Gomti ko pakar lete hain. Aurat Gomti ko chhuRaane ke liye diWaanawaar sipaahiyon parTuuT paRti hai. Eik nepaali sipaahi use qaruli maar deta hai. woh gir jaati hai.

Gomti –

gomti main hun mujh ko de lo saza

be-gunaahon ko maarne se kya

Shair –

nahin- woh raushni nahin hai ye

officer, gomti nahin hai ye

ye to paagal hai,kar na lena yaqii.n

Gomti ko ye jaanti bhi nahin

aurat shair ke munh par thuuk deti hai. sipaahi use ghasiit kar eik taraf phenk dete hain.shair aastiin se munh ponchhta hai.

gomti ko ye jaanti bhi nahin

puuchho is shahr ke makaanon se

gomti bah rahi hai aankhon se

ban ke khushbu chhipi hai phuulon mein

daagh ban kar chhipi hai siinon mein

 

aurat – kohniyon ke bal uThne ki koshish karti hai aur phir gir jaati hai

raushni main hun – raushni main hun

Gomti main hun – Gomti main hun

mar jaati hai

sipaahi Gomti ko masluub kar dete hain

afsar haath jhaar kar –

chalo ye kaambhi tamaam hua

Ab se hindustaan ghulaam hua

Angrez sipaahi kahkahe lagaate hain. Phir chale jaate hain. In ke jaate hi Buurha dauR kar Gomti ke paas aata Hai. Shair diwaanawaar Gomti ke pairon se lipaT jaata hai, aur uske haathon aur pairon se bahne waala khuun chehre par malne lagta hai. Gomti aankhen khol deti hai.

ye na socho ke ab main qissa hun

mere shair abhi main zinda hun

chorus ka daakhla- chorus

khuun hai khuun ki rawaani hai

ye kahaani bhi kya kahaani hai

hazrat mahal ka daakhla- haath mein nangi talwaar hai jis se khuun tapak raha hai.

 

hazrat mahal daur kar gomti se lipaT jaati hai

hazrat mahal

kaise bahta hua ye khuu.n rokuu.n

main kin aankhon se ye samaa dekhuu.n

aaftaab . apni raushni le ja

raat waalon ko raushni se kya

duur tak sirf ret phaili hai

zindagi jazb hoti jaati hai

Gomti se

zakhmon mein dard ho raha hai ? kaho

gomti bolo, mujhse baat karo

Gomti

mujhko chhoro,meri na fikr karo

jao, goron se lar sako to laro

Buurha

Daalo teori pe bal, jihaad karo

jao hazrat mahal, jihaad karo

hazrat mahal

achha qismat ko aazmaati hun

lucknow chhor ke main jaati hun

lucknow ka to ab wo haal nahin

ab yahan jang ka sawaal nahin

jang ka to bigRr chuka naqsha

har gali kuucha hai firangi ka

morcha ab yahan nahin banta

koi surat nahin rahi baba

kya bataun ye raat hai kaisi

laashon mein raah tak nahin milti

ye sadma uTha rahi hun main

ye qasam kha ke ja rahi hun main

qaid- khaane mein mar nahin sakti

sulah goron se kar nahin sakti

hazrat mahal chali jaati hai – chorus gaata hai

bolo hazrat mahal ja rahi ho kidhar

hain kaRe kos aur sakht hai safar

manzilein bhi nayi hain nai raahguzar

jao lekin ye sun lo, jhukaana na sar

bolo hazrat mahal ja rahi ho kidhar

bolo hazrat mahal ja rahi ho kidhar

zakhmon se chur molvi ka daakhla. wo Gomti ke saamne talwaar ke sahaare khaRa ho jaata hai.

ye na samjho chala gaya hun main

jaan dene ko aa gaya hun main

haan laRai abhi tamaam na ho

pa birahna awadh ki shaam na ho

baba

ran se jis dam sawaari aayegi

Gomti aarti utaare gi

ab bhi aabaad hai gali dil ki

Gomti sar jhuka nahin sakti

molvi

kya maza rah gaya hai jiine mein

ek jwaala mukhi hai siine mein

aur ab aayegi qayaamat kya

eik insaan ki haqiiqat kya

na ummiidi zirah pehnaati hai

maut aa aa ke dil baRhaati hai

baba

tum kisi ko pukaarte bhi nahin

nahin jiite , to haarte bhi nahin

zakhm khaoge, muskurao ge

tum abhi duur duur jaoge

molvi

zakhmon se laRkhRa raha hun main

phir bhi laRne ko ja raha hun main

Gomti se

Gomti, tujh ko main bachaun ga

tujh ko in zakhmon mein chhipaun ga

Gomti aankhen khol deti hai

hai jo marna to chain hi se maruun

molvi aa main tujh ko piya karuun

Molvi Gomti ke qadmon par haath rakh deta hai

zindagi ka fareb khaana mat

sar kata dena, sar jhukaana mat

Molvi chala jaata hai . Buurha Gomti ke paas sar jhuka kar baith jaata hai. Shair diwaanawaar stage par ghuumne lagta hai. Goliyon ki aawaaz yak bohat tez ho jaati hai. Phir sannaata ho jaata hai. Sannaata hote hi Shair eik dam se ruk jaata hai. woh yak bohat thak jaata hai.laRkharaata hai. saliib ka sahaara leta hai. aur tik jaata hai. 

chorus gaana gaata hai.

suno bhaiyon, suno bhaiyon, katha suno saawan ki

kaan khol kar suno, katha hai krant ke pahle saawan ki

jaan bech kar laRe firangi se dharti ke laal

zakhmon ke baazaar khul gaye, bika sarvan ka maal

diwaane har raah se guzre, gali gali hai laal

dil ki nagri luuT maar ke bhi gore kangaal

har har raahguzar par laashen, aas hai kiske darshan ki

suno bhaiyon, suno bhaiyon, katha suno saawan ki

11th Mahindra Sanatkada Literary Festival, Lucknow

The 11th Mahindra Sanatkada Literary Festival, Lucknow closed yesterday, after an interesting five days of literary fare. I Shall restrict my comments to those events which were personally attended. An extremely enlightening discourse was that initiated by Dr. Purushottam Agrawal in the backdrop of his book named “Padmavat”‘. Thanks to the learned comments of the distinguished scholar, anyone in the audience was in a position to debunk the authenticity of “Padmavat” the blockbuster. But, more important than that, Agrawal was able to drive home the fact that “Padmavat” should be seen, as a purely creative work of a talented poet who worked with the Doha-Chaupai traditions to produce this magnum-opus. Also, how, this magnificent piece of poetry should not be seen as historical allegory, but as an ode to love and dignity. How it is replete with symbolism common to Indian traditions and how it cannot be regarded as inclined towards or influenced by any religious agenda. Dr. Purushottam Agrawal argued that if at all any incline could be seen ,it was towards a social milieu of the time and space around which the tale is spun.

Ali Khan Mahmoodabad while speaking on Qasbati Poetry, elucidated his speech with interesting anecdotes that helped in understanding the true persona of the poets as well as the true state of society as it existed in the Qasbas. He spoke about how Rajasaheb Mahmoodabad wanted to fix a honorarium for Majaz, the poet, on condition he give up drinking. Where upon Majaz quipped “without drink how would I at all produce poetry of  any consequence”. He also commented on the fact as to how the standards of Mushaira were seeing decline, ever since they became public renderings, rather than poet assemblies.

The paper presented by Dr. Sara Rai, who is also the grand daughter of Premchand on ‘ “The qasba of the mind- in search of Naiyar Masud” was both illuminating and informative, and testimony to her professionalism. She emphasised that Naiyar Masud was unlike any other short story writer, and his technique was truly his own. In response to a query “as to how she would compare him to the likes of Premchand”, she stated that Naiyar Masud was a brilliant writer, but clearly Masud and Premchand were non-comparables, and no such effort need be made.

Dr. Mohamad Aslam or Aslam Ahsan spoke on the politics of the Qasbas and argued that, whereas, Dalit leadership and jat leadership have been able to build upon support within their sphere of influence, the Muslim leadership hasfailed miserably in its effort to do so. He arguedthat muslims were a house divided, not only on Shia-Sunni lines, but also, on upper caste – lower caste lines. And therefore, it became impossible for Muslim leaders to exert a significant influence upon this class as a whole.

The festival was given a worthy closing on a musical note, by Mohamad Muneem Nazir, the singer/ lyricist  from Kashmir. He was an instant hit with youngsters thronging the venue. Hardik Vaghela, Amit Gadgil, Aman Moroney and Karan Chitra Deshmukh did a commendable job. Their Band “Alif” has been making waves ever since they made their entry in 2008 in Kashmir. Their music video Lalnawat was awarded as the best in that category at the Dada Saheb Phallke Film Festival. “Alif” mesmerised the crowd with their soulful music, interspersed with elements of pop and rock.

दरमियानी मनज़िल

मुसाफिरोँ ने तो बिसतर लगा लिए होँगे
के रात होने को आई सफर तमाम हुवा
रुकी वो लूं , वो घुटी तप्ती प्यास की शिद्दत
एक और रन्झ भरे दिन का इख़्तिताम (close) हुवा

मगर अभी तो सफर की ये इब्तिदा (start) भी नहीँ
अभी तो शहर की सरहद के पार निकले हैँ
अभी फ़सील (rampart) से कुच्छ दूर कारवाँ वाले
पए-नज़ारा लेल-ो-निहार (dawn) निकले हैँ

अभी तो अपने वतन के हसीँ मीनारों से
सनकती आई थी हलकी सदा अज़ानोँ की
मेरा लपेटा मुसल्ला (prayer mat) बिच्छा रहा था कोई
भटक रही थी जो आवाज़ आसमानोँ की

तस्सव्वुरोँ (imaginings) के अधेरोँ मेँ मन्दिरोँ के कलश
चमक रहे हैं कहीँ जैसे बज़्म-ऐ-नग़मा-फरोश (group of songsters)
छलकती (brimming) छागलेँ (leather bottles ) ललचा रही हैँ प्यासोँ को
जमी है फर्श-ए-अक़ीदत पे महफ़िल-ए-दिल-ो-होश

अभी तो शहर में मानूस (acquainted) शाम की ख़िलवत(chamber)
बिछा रही है धुंधलके(twilight) की मलगजी (blackish)चादर
दिखा रही है फ़ज़ा तुमतराक़-ऐ -दौलत(show of wealth)से
सड़क के क़मक़मोँ(lamps)की जगमगाती सी झालर

नहीं नहीं न कहो इसको इन्तहा-ए सफर
यहॉँ से सुबह को फ़िर कूच ही तो करना है
अभी तो राह में आऐँगे कितने रेगिस्ताँ
जहाँ से हमको ठहरते हुए गुज़रना है

हमेँ ये हक़ है के हम जिस तरफ भी चाहेँ चलेँ
हमेँ ये हक़ है के तनहा न जाएँ साथ रहेँ
हमेँ ये हक़ है के हम खुद निकालेँ राह नई
हमेँ ये हक़ है के जाने का क़सद (intention) तर्क करेँ (give up )

मगर पलट के भी जाना यहॉं से मुशकिल है
यहाँ से सिम्त (direction) सफर की बदल नहीँ सकती
ये माना दूर है मनज़िल (destination )मगर मेरे साथी !
क़याम की कोई सूरत निकल नहीँ सकती

अभी तो मनज़िल-ऐ-अव्वल है अय रफ़ीक़-इ-सफर
अभी से ख्वाहिश-ऐ आराम फ़िक्र-इ-असियाँ(sin) है
हमारा क़ाफ़िला , इस मनज़िल-ऐ-गुरेज़ाँ (fugitive state) मेँ
बस ऐक शब् का फ़क़त ऐक शब् का मेहमाँ है

ALI JAWAD ZAIDI

जलीयांवाला बाग़

कभी तो स्वर्ग झुक के पूछता ही होगा अय फलक
ये कैसी सरज़मीन है ये कौन लोग थे यहाँ

जो ज़िंदगी की बाज़ियोँ को जीतने की चाह मेँ
लुटा रहे थे बेझिझक लहू कि सब अशर्फियाँ
यहाँ लहू लहू के रंग मेँ अयाँ था किस तरह
न सब्ज़ था न केसरी न था सलीब का निशां
न राम नाम था यहाँ न थीँ ख़ुदा की रेहमतें
न स्वर्ग इनकी मंज़िलें न नर्क का सवाल था
मसीह-ो-गौतम-ो-रसूल कृष्न कोई भी नहीं
के जिसके नाम जाम पी के मस्त हो गये होँ सब
ये कौन सी शराब थी के जिसका यह सुरूर था

ये कौन सी शराब थी के जिसका यह सुरूर था
ये किस तरह की मस्तियोँ मेँ इस क़दर ग़ुरूर था
के ऐक मुश्त ख़्वाब थे जो ज़िंदगी की माँग मेँ
बिखर गई सिंदूर सी

इन्हें यक़ीन था के इनके दम से ही बहार है
इन्हें यक़ीन था के इनके दम से ही बहार है
ये कह रहे थे हमसे ही बहार है
बहार पे यह बंदिशें इनहें क़ुबूल क्यूँ नहीँ
इन्हें क़ुबूल क्यूँ नहीँ यह ग़ैर की हुकूमतें
ये क्या हुवा के यक-ब-यक सब के-सब
यक-ब-यक सब ख़ामोश हो गये
यहाँ पे ओस क्यूँ पड़ी ये धूल दब गई है क्यूँ
वो जिससे फ़ूल खिल उठे थे ज़ख़्म भर गया है क्यूँ
मुझे यक़ीन है के फ़िर इसी मक़ाम से
उठे गा हष्र जी उठेंगे सारे नर्म ख़्वाब फ़िर
बराबरी का सब जुनूँ सिमट के फ़िर से आऐगा
बिखेर देगी ज़िनदगी की हींग अपनी ज़ुल्फ़ को
यहीँ से उठ्ठे गी सदा के ख़ुद पे तू यक़ीन कर

यहीँ से उठ्ठे गी सदा के ख़ुद पे तू यक़ीन कर
यहीँ से ज़ुल्म की कड़ी पे पहला वार आऐगा

गौहर रज़ा

Hard Fruit

This morning when I tell you

that I dreamt

the theocracy had been declared –

and the internet was down

and it was no longer safe

to say ‘freedom’

in a song or a slogan

or even on the phone

you just nodded

and said you’d woken

sweating and shaking

after dreaming of breaking

all your front teeth on a hard,

red apple from Kashmir

Anonymous – Pseudonym Humraaz Raaz