Literature

Khoob Ladi Mardaani, or Bravely Fought the Warrior Queen

The sentiment of heroism in poetry has always been a profound and stirring theme, resonating through the ages. This literary trope, often steeped in grandeur and nobility, captures the essence of the human spirit in its most valiant form. Heroic poetry, from the ancient epics of Homer to the chivalric tales of medieval times, encapsulates the ideals of courage, sacrifice, and honor. These verses not only recount the physical deeds of their protagonists but also delve into the moral and ethical dilemmas faced by these larger-than-life figures. The lyricism in such poetry is not merely about glorifying battles or victories; it’s an exploration of what it means to be truly heroic – which often involves inner battles of virtue, selflessness, and the pursuit of a greater good. The enduring appeal of heroic poetry lies in its ability to inspire, uplift, and remind us of the potential for greatness that lies within each of us.

The theme of heroism in poetry has long captured the imagination of the young, myself included, especially in the pre-modern era. Recently, I’ve found myself nostalgically recalling one of the poems from my childhood that has remained etched in my memory. I took a journey back in time and revisited “Jhansi Ki Rani,” or the Queen of Jhansi. This poem stands out as one of my earliest and most vivid recollections of the poetry I read during those formative years.

It is beautifully penned by Subhadra Kumari Chauhan, who was born in 1904, in the Nihalpur village of Allahabad. An eminent Indian poet, Chauhan holds a distinguished place in Hindi literature. She is not only remembered for this poem but also her impassioned nationalism and poignant portrayal of women’s struggles. She was an active participant in India’s freedom movement.

“Jhansi Ki Rani,” an evocative and rousing ballad, vividly brings to life the bravery of Rani Lakshmibai of Jhansi, a symbol of resistance against British colonialism. Chauhan’s poetry, marked by its directness and lyrical quality, often drew from her personal experiences and the sociopolitical milieu of her times. Her work resonates with the themes of patriotism, valor, and the challenges faced by women, making her an inspirational figure in Indian poetry and a voice of empowerment for many generations.

Enjoy the poem below in all its glory captured in Devanagari script, with a Romanized version to serve as pronunciation guide, and the translation.

झाँसी की रानी (Jhansi Ki Rani) or, The Queen of Jhansi

1
सिंहासन हिल उठे राजवंषों ने भृकुटी तनी थी,
(Sinhasan hil uthey raajvanshon ney bhrukuti tani thi,)
The throne got shook, and the tension erupted among the Raajvanshs, the royal heirs of the throne,
बूढ़े भारत में आई फिर से नयी जवानी थी,
(budhey Bharat mein aayee phir se nayi jawani thi,)
In aged India, a new wave of youth was spreading,
गुमी हुई आज़ादी की कीमत सबने पहचानी थी,
(gumee huee azadi ki keemat sabney pehchani thi,)
All the inhabitants of India had realized the worth of their lost freedom,
दूर फिरंगी को करने की सब ने मन में ठनी थी.
(door phirangi ko karney ki sab ney man mein thani thi.)
All of them had decided to get rid of the British rule,
चमक उठी सन सत्तावन में, यह तलवार पुरानी थी,
(Chamak uthi san sattavan mein, yeh talwar purani thi,)
The old swords started glittering again like new ones in the form of the freedom movement in 1857.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

2
कानपुर के नाना की मुह बोली बहन छब्बिली थी,
(Kanpur key Nana ki muhn boli bahen chhaveeli thi,)
She was as dear to the Nana (Nana Ghunghupant ) of Kanpur as her real sister,
लक्ष्मीबाई नाम, पिता की वो संतान अकेली थी,
(Lakshmibai naam, pita ki woh santaan akeli thi,)
Her name was Laxmibai and she was the only daughter of her parents,
नाना के सॅंग पढ़ती थी वो नाना के सॅंग खेली थी
(Nana key sangh padhti thi woh Nana key sangh kheli thi)
She had been with Nana from her early childhood, since she was a school student.
बरछी, ढाल, कृपाण, कटारी, उसकी यही सहेली थी.
(barchhi, dhal, kripan, katari, uski yehi saheli thi.)
Spear, knife, sword, axe (all different types of weapons used in her time) were her companions all the time.
वीर शिवाजी की गाथाएँ उसकी याद ज़बानी थी,
(Veer Shivaji ki gaathaayen uski yaad zabani thi,)
She had learned by heart the valorous stories of shivaji (a renowned king of Maharashtra).
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

3
लक्ष्मी थी या दुर्गा थी वो स्वयं वीरता की अवतार,
(Lakshmi thi ya Durga thi woh swayan veerta ki avatar,)
No one could guess whether she was Laxmi or Durga devi ( Durga Goddess , also called Bhavani ) or reincarnation of Devi durga,
देख मराठे पुलकित होते उसकी तलवारों के वार,
(dekh Marathey pulkit hotey uski talwaron key vaar,)
Her expertise in using a sword made the people of Marathward (Pulkit) wonder,
नकली युध-व्यूह की रचना और खेलना खूब शिकार,
(nakli yudh-vyuh ki rachna aur khelna khub shikar,)
They learned the war strategy of how to attack the prey,
सैन्य घेरना, दुर्ग तोड़ना यह थे उसके प्रिय खिलवाड़.
(sainya gherna, durg todna yeh they uskey preeya khilwad.)
To ambush her prey and to break the vanity were among her favorite supports,
महाराष्‍ट्रा-कुल-देवी उसकी भी आराध्या भवानी थी,
(Maharashtra-kul-devi uski bhi aaradhya Bhavani thi,)
Maharashtra-kul-Devi (The goddess of the Maharashtra ) was as dear to her as Bhavani (Durga Devi )
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

4
हुई वीरता की वैभव के साथ सगाई झाँसी में,
(Huee veerta ki vaibhav key saath sagai Jhansi mein,)
With valor in a grand festival, she got married in Jhansi,
ब्याह हुआ बन आई रानी लक्ष्मी बाई झाँसी में,
(byah hua ban aayee Rani Lakshmi bai Jhansi mein,)
After her marriage, Laxmibai came to Jhansi as a queen with shower of joy,
राजमहल में बाजी बधाई खुशियाँ छायी झाँसी में,
(rajmahal mein baji badhai khushiyan chhaee Jhansi mein,)
A grand celebration took place in the royal palace of Jhansi. That was a good luck for Bandelos that she came to Jhansi,
सुघत बुंडेलों की विरूदावली-सी वो आई झाँसी में.
(sughat Bundelon ki viroodaavalee-si woh aayee Jhansi mein.)
That was as Chitra met with Arjun or Shiv had got his beloved Bhavani (Durga).
चित्रा ने अर्जुन को पाया, शिव से मिली भवानी थी,
(Chitra ney Arjun ko paya, Shiv sey mili Bhavani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

5
उदित हुआ सौभाग्या, मुदित महलों में उजियली च्छाई,
(Udit hua saubhagya, mudit mahalon mein ujiyali chhayee,)
She came as a good luck to the royal palace of Jhansi and for a log time the palace remained decorated with lighting candles in celebration.
किंतु कालगती चुपके-चुपके काली घटा घेर लाई,
(kintu kaalgati chupkey-chupkey kali ghata gher laayee,)
But as days passed the dark clouds of misfortune covered the royal palace.
तीर चलाने वाले कर में उसे चूड़ियाँ कब भाई,
(teer chalaaney vaaley kar mein usey choodiyan kab bhaayee,)
She stopped wearing bangles for that was the time for a battle.
रानी विधवा हुई है, विधि को भी नहीं दया आई.
(Rani vidhva huee hai, vidhi ko bhi nahin dayaa aayee.)
The queen got widowed and her fate was very unkind to her.
निसंतान मारे राजाजी, रानी शोक-सामानी थी,
(Nisantan marey Rajaji, Rani shok-samani thi,)
The royal king had no children when he died and the queen was grief stricken.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

6
बुझा दीप झाँसी का तब डॅल्लूसियी मान में हरसाया,
(Bujha deep Jhansi ka tab Dalhousie man mein harshaaya,)
So the candle of the royal castle blew off and Dalhousie (a British governor) became very happy in his heart about the situation (that the royal palace had no king or someone strong to defend the throne).
ऱाज्य हड़प करने का यह उसने अच्छा अवसर पाया,
(Raajya hadap karney ka yeh usney achhaa avsar paaya,)
He thought that the time was right to usurp the kingdom.
फ़ौरन फौज भेज दुर्ग पर अपना झंडा फेहराया,
(fauran fauj bhej durg par apna jhandaa phehraya,)
He sent his soldiers to Citadel and raised the British flag on the royal palace.
लावारिस का वारिस बनकर ब्रिटिश राज झाँसी आया.
(lawaris ka waris bankar British Raj Jhansi aaya.)
The British rule came to Jhansi as the guardian of an orphan.
अश्रुपुर्णा रानी ने देखा झाँसी हुई वीरानी थी,
(Ashrupurna Rani ney dekha Jhansi huee birani thi,)
The Rani saw everything with tears in her eyes that how Jhansi got deserted.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

7
अनुनय विनय नहीं सुनती है, विकट शासकों की मॅयैया,
(Anunay vinay nahin sunti hai, vikat shaasakonki maaya,)
Strong (and Cruel) kings do not care about the cajoling.
व्यापारी बन दया चाहता था जब वा भारत आया,
(vyapari ban daya chhahta tha jab wah Bharat aaya,)
They (The British Rulers) came to India in the disguise of poor merchants.
डल्हौसि ने पैर पसारे, अब तो पलट गयी काया
(Dalhousie ney pair pasaarey, ab to palat gayee kaaya)
The British governor (Dalhousi) then extended his influence in India and so the fate of India turned over.
राजाओं नव्वाबों को भी उसने पैरों ठुकराया.
(Rajaon Nawwabon ko bhi usney pairon thukraaya.)
He insulted even the feudal and heads of state of India.
रानी दासी बनी, बनी यह दासी अब महारानी थी,
(Rani daasi bani, bani yeh daasi ab Maharani thi,)
The queen took the gesture of a maidservant; the maid was the real queen.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

8
छीनी राजधानी दिल्ली की, लखनऊ छीना बातों-बात,
(Chheenee rajdhani Dilli ki, Lucknow chheena baaton-baat,)
First of all Indian rulers lost the capital of India, Delhi and subsequently they lost the control of Lucknow.
क़ैद पेशवा था बिठुर में, हुआ नागपुर का भी घाट,
(Qaid Peshwa tha Bithur mein, hua Nagpur ka bhi ghaat,)
Peshwa was imprisoned in Bithur and then the Nagpur tragedy occurred.
ऊदैपुर, तंजोर, सतारा, कर्नाटक की कौन बिसात?
(Udaipur, Tanjore, Satara, Karnatak ki kaun bisaat?)
After the fall of Nagpur, it was not a big task for the intruders to take the control of Udaipur, Tanjore satara and Karnatak.
जबकि सिंध, पंजाब ब्रह्म पर अभी हुआ था वज्र-निपात.
(jabki Sindh, Punjab Brahm par abhi hua that vajra-nipaat.)
They already had the control of Sindh, Punjab and Assam.
बंगाले, मद्रास आदि की भी तो वही कहानी थी,
(Bengaaley, Madras aadi ki bhi to vahi kahani thi,)
The tale of fall of Bengal, Madras and many other states was also the same.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

9
रानी रोई रनवासों में, बेगम गुम सी थी बेज़ार,
(Rani royee rinvason mein, Begum gum se thi bezaar,)
Rani(the queen) wept in her quarter for all that disaster. She was rather lost and was sick of the situation.
उनके गहने कपड़े बिकते थे कलकत्ते के बाज़ार,
(unkey gehney kapdey biktey they Calcutta key bazzar,)
Her ornaments and royal clothes were being sold in the markets of Calcutta.
सरे आम नीलाम छपते थे अँग्रेज़ों के अख़बार,
(sarey aam nilaam chhaptey they angrezon key akhbar,)
The advertisements for the sale of the royal stuff were being published in the daily newspapers of the British Government.
“नागपुर के ज़ेवर ले लो, लखनऊ के लो नौलख हार”.
(“Nagpur key zewar le lo, Lucknow key lo naulakh haar”.)
“Buy the ornaments of Nagpur, Buy the Naulakha locket of Lucknow” had been the highlights of such advertisements.
यों पर्दे की इज़्ज़त परदेसी के हाथ बीकानी थी
(Yon pardey ki izzat pardesi key hath bikani thi)
In this manner the honor of the royal ladies had to be sold to foreigners.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

10
कुटियों में भी विषम वेदना, महलों में आहत अपमान,
(Kutiya mein bhi visham vedna, mahalon mein aahat apmaan,)
The cottages of poor were full of grief and the royal houses were also full of insult (the royal ladies were maltreated and insulted by the British intruders whereas the poor folk were also in the clutches of the atrocities by the British rulers).
वीर सैनिकों के मान में था अपने पुरखों का अभिमान,
(veer sainikon key man mein tha apney purkhon ka abhmaan,)
Brave soldiers of India had in their mind the prestige of their ancestors.
नाना धूंधूपंत पेशवा जूटा रहा था सब सामान,
(Nana Ghunghupant Peshwa joota raha tha sab saamaan,)
The name of Ghunghupant and Nana, the titles of the great warriors and their weapons, they have lost all such treasure as well.
बहिन छबीली ने रण-चंडी का कर दिया प्रकट आहवान.
(bahen chhaveeli ney Ran-Chandi ka kar diya prakat aahvaan.)
The beloved sisters of Nana (queen of Jhansi- Rani) invited Nana to visit Ran-Chandi.
हुआ यज्ञा प्रारंभ उन्हे तो सोई ज्योति जगानी थी,
(Hua yagna prarambh unhey to soyee jyoti jagani thi,)
The ritual of the holy war of freedom started because they had to awake the divine spirit of the people of India, which had been sleeping so far.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

11
महलों ने दी आग, झोंपड़ी ने ज्वाला सुलगाई थी,
(Mahalon ney di aag, jhonpdi ney jwala sulgayee thi,)
The fire of revolt started from royal palace, which became hot like burning sun when reached to the houses of the poor or common folk.
यह स्वतंत्रता की चिंगारी अंतरतम से आई थी,
(yeh swatantrata ki chingari antratam sey aayee thi,)
This spark of freedom started from the inner soul of the people.
झाँसी चेती, दिल्ली चेती, लखनऊ लपटें छाई थी,
(Jhansi cheti, Dilli cheti, Lucknow laptey chhayi thi,)
It captured Jhansi first then spread in Delhi and also engulfed Lucknow.
मेरठ, कानपुर, पटना ने भारी धूम मचाई थी,
(Merat, Kanpur, Patna ney bhari dhoom machayi thi,)
The freedom struggle was also in full swing in Merat, Kanpur and Patna.
जबलपुर, कोल्हापुर, में भी कुछ हलचल उकसानी थी,
(Jabalpur, Kolhapur, mein bhi kuchh hulchul uksani thi,)
The people of Jabalpur, Kolhapur were also being inspired from others.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

12
इस स्वतंत्रता महायज्ञ में काई वीरवर आए काम,
(Is Swatantrata Mahayagna mein kayee veervar aaye kaam,)
In that great freedom struggle, many brave brothers lost their lives.
नाना धूंधूपंत, तांतिया, चतुर अज़ीमुल्ला सरनाम,
(Nana Ghunghupant, Tantya, chatur Azeemullah sarnam,)
Among them were Nana GhunGhupant, Tantya, great Azeemullah,
अहमदशाह मौलवी, ठाकुर कुंवर सिंह, सैनिक अभिराम,
(Ahmedshah Moulvi, Thakur Kunwar Singh, Sainik Abhiram,)
And many others like Ahmedshah Moulvi, Thakur Kunwar singh, Sainik Abhiram.
भारत के इतिहास गगन में अमर रहेंगे जिनके नाम.
(Bharat key itihaas gagan mein amar rahengey jinkey naam.)
Their names will always be shining in the heavens of the ancient history of India,
लेकिन आज जुर्म कहलाती उनकी जो क़ुर्बानी थी,
(Lekin aaj jurm kehlati unki jo Qurbani thi,)
but they were considered rebels at that time and their great sacrifice was considered a crime against the state of British India.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

13
इनकी गाथा छोड़, चले हम झाँसी के मैदानों में,
(Inki gaatha chhod, chaley hum Jhansi key maidanon mein,)
Well, leave the tale of the bravery of those great men and let us go to the battlefields of Jhansi,
जहाँ खड़ी है लक्ष्मीबाई मर्द बनी मर्दनों में,
(Jahan khadi hai Lakshmibai mard bani mardanon mein,)
Where Laxmibai is standing boldly like a man among the other brave men.
लेफ्टिनेंट वॉकर आ पहुँचा, आगे बड़ा जवानों में,
(Lieutenant Walker aa pohoncha, aagey bada jawanon mein,)
Lieutenant Walker reached there and proceeded further in the people’s army of the brave men,
रानी ने तलवार खींच ली, हुआ द्वंद्ध आसमानों में.
(Rani ney talwaar kheench li, hua dhandh asmanon mein.)
Rani drew her sword, the beating of the drums started in the heavens,
ज़ख़्मी होकर वॉकर भागा, उसे अजब हैरानी थी,
(Zakhmi hokar Walker bhaga, usey ajab hairani thi,)
Walker ran away from the battlefield as Rani defectively wounded him. He was astonished on the agility of Rani.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

14
रानी बढ़ी कालपी आई, कर सौ मील निरंतर पार,
(Rani badhi Kalpi aayee, kar sau meel nirantar paar,)
Rani preceded further and reached Kalpi after taking a hard journey of hundreds of miles.
घोड़ा थक कर गिरा भूमि पर, गया स्वर्ग तत्काल सिधार,
(ghoda thak kar gira bhoomi par, gaya swarg tatkaal sidhaar,)
The horse got exhausted and fell to the ground and the rider (Walker) also fell down immediately .
यमुना तट पर अँग्रेज़ों ने फिर खाई रानी से हार,
(Yamuna tat par angrezon ney phir khayee Rani sey haar,)
In the field of Yamuna again Rani was defeating the British.
विजयी रानी आगे चल दी, किया ग्वालियर पर अधिकार.
(vijayee Rani aagey chal di, kiya Gwalior par adhikar.)
The victorious Rani proceeded further and took the control of Gawalior.
अँग्रेज़ों के मित्र सिंधिया ने छोड़ी राजधानी थी,
(Angrezon key mitra Scindia ney chhodi rajdhani thee,)
The British thus left the Vsindia (capital of Gawalior) and their rule ended in Gawalior.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

15
विजय मिली, पर अँग्रेज़ों की फिर सेना घिर आई थी,
(Vijay mili, par Angrezon ki phir sena ghir aayee thi,)
Although the freedom fighters had won, the British army was again getting organized.
अबके जनरल स्मिथ सम्मुख था, उसने मुंहकी खाई थी,
(Abkey General Smith sammukh tha, usney munhki khayee thi,)
This time, general smith was in command but he was also being defeated by the brave freedom fighters – he had to be defeated.
काना और मंदरा सखियाँ रानी के संग आई थी,
(Kaana aur Mandra sakhiyan Rani key sangh aayee thi,)
Kaana and Mandra (the associates of Rani) were also accompanying her in the war zone.
यूद्ध क्षेत्र में ऊन दोनो ने भारी मार मचाई थी.
(Yudh kshetra mein un dono ney bhari maar machayi thi.)
In the battlefield they both were fighting furiously.
पर पीछे ह्यूरोज़ आ गया, हाय! घिरी अब रानी थी,
(par peechey Hughrose aa gaya, Hai! gheeri ab Rani thi,)
But a British commander, Hughrose came from the backside to help his soldiers – Alas! The British soldiers surrounded the Rani from all sides.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

16
तो भी रानी मार काट कर चलती बनी सैन्य के पार,
(To bhi Rani maar kaat kar chalti bani sainya key paar,)
Though Rani was deeply wounded, still she was fighting and had managed to get through the British army,
किंतु सामने नाला आया, था वो संकट विषम अपार,
(kintu saamney naala aaya, tha woh sankat visham apaar,)
But she got stuck because a sewerage canal was there on the other end and she was in deep trouble,
घोड़ा अड़ा, नया घोड़ा था, इतने में आ गये अवार,
(ghoda adaa, naya ghoda tha, itney mein aa gaye avaar,)
Her horse got stuck there – the horse was untrained, in the mean time, the British soldiers, riding on their horses reached there.
रानी एक, शत्रु बहुतेरे, होने लगे वार-पर-वार.
(Rani ek, shatru bahuterey, honey lagey vaar-par-var.)
Rani was all alone while enemies were numerous who were attacking her with their sword from all sides,
घायल होकर गिरी सिंहनी, उसे वीर गति पानी थी,
(Ghayal hokar giri Sinhni, isey veer gati paani thi,)
Rani, who was fighting like a lioness, succumbed to the wounds and fell down. She had to achieve a glorious death in war ( Martyrdom ).
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

17
रानी गयी सिधार चिता अब उसकी दिव्य सवारी थी,
(Rani gayee sidhaar chita ab uski divya sawaari thi,)
Rani was martyred in the battlefield.Her departed soul was then riding a divine vehicle, moving towards heavens
मिला तेज से तेज, तेज की वो सच्ची अधिकारी थी,
(mila tej se tej, tej ki woh sachchi adhikaari thi,)
the Light of her divine soul met with the divine light in the heavens, she was the real heir of divinity,
अभी उम्र कुल तेईस की थी, मनुज नहीं अवतारी थी,
(abhi umr kul teis ki thi, manuj nahin avtaari thi,)
She was only thirty years of age. She was not a human; rather she was divine spirit (a holy being),
हमको जीवित करने आई बन स्वतंत्रता-नारी थी,
(humko jeevit karney aayee ban Swatantrata-naree thi,)
Who did come, in the gesture of a female freedom fighter, to give us a respectable life of light and freedom ,
दिखा गयी पथ, सीखा गयी हमको जो सीख सिखानी थी,
(dikha gayee path, sikha gayee humko jo seekh sikhani thi,)
She showed us the path of freedom, and taught us the lesson of courage, she taught us what we might have learned.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

18
जाओ रानी याद रखेंगे ये कृतज्ञ भारतवासी,
(Jao Rani yaad Rakhengey yeh krutagna Bharatwasi,)
The people of India will remember this debt of yours (O! Rani Laxmaibai), may you be blessed, dear Rani,
यह तेरा बलिदान जागावेगा स्वतंत्रता अविनासी,
(yeh tera balidaan jagavega Swatantrata avinasi,)
Your this life sacrifice will awake an indestructible soul of freedom in the people,
होवे चुप इतिहास, लगे सच्चाई को चाहे फाँसी,
(hovey chup itihaas, lagey sachchai ko chahey phansi,)
History may be made silent or if truth is hanged or killed,
हो मदमाती विजय, मिटा दे गोलों से चाहे झाँसी.
(ho madmaati vijay, mitaa dey golon sey chahey Jhansi.)
Or if the drinkers become victorious or if they destroy jhansi with cannonballs,
तेरा स्मारक तू ही होगी, तू खुद अमिट निशानी थी,
(Tera Smarak tu hi hogi, tu khud amit nishaani thi,)
You, by yourself be the memorial of Rani (queen of Jhansi) because you had been an eternal token of courage.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

JPS Nagi
January 2024

Using Archival Covers to save Paperbacks

Sometimes you have a paperback!
Yes, even I have many paperbacks. Especially the ones with some memories attached to them. At least I want to keep them around for a while …

But paperbacks are designed to read and throw or pass on. The challenge is that the corners get frayed, the spines break or crease and they rip easily. You can extend the life of Mass Market Paperbacks books by using archival quality self-adhesive covers. These also help cover up the creases that can develop on the spine with reading. Depending upon your choice you can choose matt or glossy finish.

Here is how I preserve my paperbacks, I hope you will find them useful.

Please use the links below to help the channel.

Book Cover Clear Self Adhesive Bookcover 18″ X 1.5 Yard (54″)
Bone folder featured in the video is “8 Inch Real Bone Folder VENCINK”
X-Acto Basic Knife Set

Books Featured:
Lightning Thief (Percy Jackson Movie Tie In Edition)
His Dark Materials: The Golden Compass / The Subtle Knife / The Amber Spyglass
The paperback single volume is no longer available for this.

JPS Nagi
June 6, 2021

Ishtihaar (Ikk Kudi) by Shiv Kumar Batalvi – Guitar Chords with Translation

Shiv Kumar Batalvi’s poetry stands for it’s heightened passion, separation and lover’s agony. He is indeed Birha da Sultan – the king of separation of a beloved. He has dived into the abyss of pathos and put it in words that have inspired both the lovers and the lovers of Punjabi language.

The beauty of Shiv’s poetry is the simplicity of his words at the surface but pack a punch at a deeper level that has few rivals in the language. At an age of 30, he became the youngest recipient of Sahitya Akademi Award, a literary honor by India’s National Academy of Letters, Sahitya Akademi.

For more than 4 decades, his poems have attracted the singers with his poignancy and emotions. Each one has sung his poems with welled eyes to varied music genres. From acapella version by Shiv himself (check my blog here) to modern renditions, every singer has brought their own style, music, and flavor to his poems.

A few months back, as I started to pluck the strings of the guitar, once again Shiv’s poetry beckoned and I looked up to a more modern rendition of my all-time favorite poem – “Ishtihaar“. It is also sometimes called “Ikk Kudi“. The song has been arranged in musical notes by likes of Rabbi Shergill, Hans Raj Hans, and classic, Mahender Kapoor’s version. I had to find a version that a novice guitar player like me could play easily. And I found just the one from the movie Udta Punjab. It is sung by Diljit Dosanjh, with music by Amit Trivedi.

This version attracted me for a number of reasons – the simplicity of music arrangement, modern guitar chords, and of course Shiv’s poetry. As I started dissecting the song, I found that there was not a perfect version that I can play. So I had to create chords for it first before any strings would vibrate on the guitar.

With this blog post, I am sharing the chords for the song along with the English translation of the same.
Download printable version of the chords for the song from Udta Punjab.
Enjoy playing this on a guitar.

JPS Nagi
December 2018

Every Light Cast a Shadow…

A good vs. evil story with an elaborate magic system, set on the background of intriguing political & religious landscape with enough twists and turns to keep you occupied. What else could a fantasy fan want?

Brent Weeks brings the first book of his Lightbringer trilogy “into the light” – The Black Prism. He brought it a while back, I just read it.

Gavin Guile is the Prism, the most powerful man in the world. He is high priest and emperor at Chromeria, a man whose power, wit, and charm are all that preserves a tenuous peace. But Prisms never last, and Guile knows exactly how long he has left to live: Five years to achieve five impossible goals. It’s been 16 years since the Prism Wars and Gavin Guile who single handedly turned the tide of the war has kept peace with his diplomacy and wits over the seven satrapies.

Things change when the Tyrean head, Garadul, decide to break free from Chromeria, and declare himself the king. In order to make an example and show his power, he burns down the whole city of Rekton within Tyrea (his own kingdom). A 15 year old kid, Kip, is the sole witness to burning of Rekton, who loses all his friends and his mother (who was the only family he knew). Circumstances bring Gavin to Rekton and he meets Kip, whom he saves from Garadul. He also uncovers Garadul’s plot to become the king. And things start rolling from there.

The story works at more ways than one. First there is the elaborate magic system. Personally it took me a while to get the feel for it, but once you understand the magic, it is easy. The magic system is based on the light. Light as energy has seven colors. Each color has a characteristic and particular behavior, and of course light of that color is needed in order to use it. The magicians, called drafters, are known as red, green, blue drafter based on what color they can use in drafting. In the nutshell, it is materializing the light (energy) into physical objects (matter). The Prism (of course) can draft all seven colors (and few others beyond the visible spectrum). If you are intrigued, Check out Brent Weeks site (link below) for candle example he gives.

Another level this story works is the political and religious landscape. Before the Prism Wars, there were many gods (called pagan gods in the book), and the war changed everything. Now there is only one – Orholam. The White and the Prism are the religious heads of the land. Further, they, along with representatives from seven satrapies form the political setup of the land. The great city of Chromeria, is where this seat of power resides. Gavin Guile is considered as the best Prism Chromeria. Garadul on the other hand wants to get out of what he feels as the Chromerian-oppression.

This story has lot of twists and turns and not just here and there. The book reads very smooth considering the complexity of the plot. It flows so well that the reader does not realize how complex the story has gotten. My stomach was twisting as Weeks kept throwing luxen after luxen right till the very end. Last hundred pages had me biting my nails and I was shouting “Come on, don’t throw that in there now, the book is ending”.

The book ends satisfactorily and also keeps few (may be many) threads untied; but satisfactory ending all the same. It is a trilogy (as we know now), so many of the threads had to be left untied.

Now, on Brent’s writing. It has matured from the Night Angel trilogy. His style has improved vastly (for my taste) and is very engaging. He uses simpler language, unlike many high fantasy stories will use (there are pros and cons for both); but it works in this novel.

If you are planning to buy the book, then I would recommend the paperback, as it has couple of introductory chapters from the next book in the series The Blinding Knife. I have both hardcover and paperback versions.
It is also the right time to read this, as you may not have to wait too long for the sequel (it is scheduled for later this year).

For audiobook fans, the book has two options – single narrator version read by Cristofer Jean and audio drama from Graphic Audio. I have Cristofer Jean’s version which is well read from Audible.com. The Graphic Audio version is now available as a complete set (I want to get that box set). Both are great depending upon your taste.

In conclusion, this quick page turner is a must read. As always beg, borrow, or buy this book.

Click Here to visit Brent Weeks website.
Do not forget to sign up on the forums, you can interact with the author there.

Click Here to visit Graphic Audio site for The Black Prism.

Click Here to visit Audible.com page for The Black Prism.

Jatinder PS Nagi
January 6, 2012

The Alloy of Law by Brandon Sanderson…

This review is rather late, but the vast reading list I had during later half of 2011 and the release of Battlefield 3 game caused this delay. I was able to finish The Alloy of Law by Brandon Sanderson during my vacations.

Absolutely amazing.

The Alloy of Law takes place 3 centuries after The Well of Ascension in the Mistborn universe. World has changed and Kelsier, Vin, Elend, Sazed, Spook, and the rest are now part of history or religion. Mistborns (Allomancers who can burn all metals) are now found in legends and stories. Mostly, the world now has Mistings (Allomancers who can burn only one metal) or Feruchemists (who can use the metal to safe keep few traits); and few rare individuals who are both (Twinborns). The line of the allomancy is getting thin in bloodlines.

The cities are on the verge of modernization, railways are coming, horse carts will soon be things of the past. There are beaurocratic governments and few nobles have bigger hand in the government. Things have started to slip; nobel houses are competitive (similar to Lord Ruler’s times, as in Mistborn) and corruption has been creeping in.

The lands beyond the cities are called Roughs. The Roughs is where crime and criminals escape the law (and the cities). Few nobles give up the competitive life of the city, and become lawmen of the Roughs to bring these criminals to justice to create a better safer world.

One such is Lord Waxilliam Ladrian (or Wax), a twinborn of reputed nobel house. The predictability of the Roughs makes him feel safe there. His righteousness and honesty has brought many criminals to justice and that makes him a legend in the cities. An unexpected accidental death of his whole family forces him to retire as a lawman, and return to the city to take the reins of his house, which is undergoing financial troubles. In order to get his house of financial trouble, he starts to consider a mutually beneficial matrimonial alliance with another house.

But the past somehow catches up to him. The curtain is lifted from some criminal activities that are dramatically mysterious and circumstances brings him closer to one of the crimes. The lawman inside him prevails, and in order to solve the mystery of these crimes, he takes alliance with an old ally from the Roughs, Wayne, an allomancer, and a new one, Lady Marasi, a cousin of Wax’s to be betrothed. As they investigate the crime, Wax comes face to face with another lawmen from the Rough, Miles, whom he has worked in the past and who has gone rogue. Needless to say, the soup gets thicker.

Couple of familiar characters from the Mistborn universe makes their tiny appearances towards the end. I won’t tell you who they are, but keep a look out for them. It is almost nostalgic (I felt like going back to Mistborn series one more time).

Once again Sanderson weaves a story which is worth reading. In the traditional Sanderson-esque style, the details are aplenty and as the story progresses, readers get pulled in. The story reads like a fantasy and mystery set in steampunk era. There is allomancy and then there are guns, cranes, steam engines.

The Alloy of Law stands among my top 5 books of 2011, and from the author who is among my all time top 5 writers. The book does fall short – in words. The length of the book is not typical of Sanderson’ books; in fact it is almost a third of his standard books. This was something he wrote to get his mind “cleared” before going back to The Wheel of Time.

The story provides a satisfactory ending, a story set in post-The Well of Ascension, and a great introduction to the upcoming steampunk trilogy set in Mistborn universe. It does leave few strands untied.

If you are a fan of audiobooks, the book is read by Michael Kramer, who has read previous Mistborn series and the Wheel of time series. Michael does a great job and it feels natural continuation from original series. Personally, I like to listen to the book at 1.5 to 2 times the speed, because I find them a bit slower (Apple devices allow you to do that).

If you have not read Sanderson before, and are scared to pick one of his thick books, this is a great book to explore this author (be sure to read the appendix in the back to understand how the magic works in this universe).

In conclusion, I would say this is a great story, and a great book that now finds it sitting next to the other Sanderson books on my bookshelf. A must read, listen, or both for fans of Sci-Fi, Fantasy, Steampunk, and Mystery genres.

Click here to visit Brandon Sanderson’s The Alloy of Law portal.

Click here to visit Brandon Sanderson’s site.

Please comment, share, and let me know what you think. Thanks for reading.

Jatinder PS Nagi
December 26, 2011.

The Other Tolkien…

We all know the JRR Tolkien as an author of The Lord of the Rings and The Hobbit. Many, including me, never knew that Hilary Arthur Reuel Tolkien, JRR’s younger brother, as an author. At least, he was when he was young.

In 2008, a small 88 page book was released titled Black and White Ogre country: Lost Tales of Hilary Tolkien. This book is edited by Angela Gardner and Illustrated by Jef Murray. Hilary’s grandchild discovered an old tattered notebook with some stories and it was quickly determined that it is a good idea to get them published.

The tales are flights of fancy put together by the Hilary, inspired by adventures brothers had as young boys. There are stories about black ogres, white ogres, black witches, white witches and many other curious folks, likely based on many of the people the brothers encountered. It is also an introductory journey into the minds of the young boys, one of whom was going to develop a world that we now know as Middle Earth.

Like Ronald, Hilary shows in interest in the all things natural. With time, the stories depict the changes in the countryside around them. There are reminiscences of something that may have influenced the tales of Middle Earth many years later. This is a small book that includes introduction to the notebook, the stories (edited and illustrated), and a brief biography of Hilary Tolkien.

This book also had a mention in Humphrey Carpenter’s Biography on JRR Tolkien.

After their mother died, John (10) and Hilary (8) were under the legal guardianship of the church priest who arranged for their Aunt to take the kids in. The arrangement fell out, and as the time passed, kids grew up moving from home to home. Hilary joined his uncle’s business and later British Army during World War I. After the war, Hilary got a home in Blackminster, near Evesham, maintained a Plum Orchard, married and had family. His house also became one of the venues for family get reunions. He kept in touch with his relatives, as well as his brother during their lifetime.

Hilary kept his creativity alive, with paintings and drawings. Some of them he used on the cards he used to send his relatives. He died in 1976.

I recently acquired a copy of this not so easily available book. The copy I got is the first edition and is signed by the editor – Angela Gardner and the illustrator – Jef Murray. Jef  has also made a small windmill doodle as a part of his signature.

Here are few more photos of the book.


Signature on the inside cover


Jef Murray’s Windmill Doodle in Pencil


Notebook of Hilary Tolkien


Returning Home by Jef Murray on the back cover of the book.

JPS Nagi
July 2011

Magic is magic … Bramble is bramble …

In Paolo Bacigalupi’s The Alchemyst and Tobias Buckell’s The Executioness we meet characters from the world where bramble has taken over fertile farm lands and use of magic is punishable by death. Once a glorious and prosperous world, where magic was practiced freely; now has bramble everywhere. Bramble has strange affinity to magic; it roots itself where it senses magic has happened.
People are now poor and they live under fear of bramble whose needles are fatal to humans. The governance of the land executes anyone caught doing magic to make an example of.

Paolo Bacigalupi introduces us to Jeoz, in the book The Alchemyst. Jeoz has seen better days with magic, but now uses a small un-noticeable magic to cure his daughter’s cough in a hope that no one finds out. He is a scientist and finds a solution to solve the problem of bramble. It tells a story of ethics of science, a story of a father whose daughter is chronically ill, and an evil “creature”. Jonathan Davis voices the varied cast created by Bacigalupi.

Tobias Buckell opens up a story of Tana in The Executioness, set in the same world. It is a story of a mother, a daughter, and a wife, who stands up when her world is turned upside down. She stands up for survival and to bring her family back together. On the way, she meets raiders, traders in caravans, and a ruler who is a religious zealot preaching that salvation from a bramble infested world is possible only by following path he preaches. The woman and her axe becomes “The Executioness”. Katherine Kellgren brings an exotic acceted performance in this fantasy world.

To say the books are amazing, could be an understatement.
Audible Frontiers once again brings exclusive audio release of these two stories under the shared world experiment (similar to the METAtropolis series, where Tobias contributed too).
The world is dark and grim. Hope and life are fading fast. And bramble is taking over.

The real books are very difficult to come by. The audiobook is available as a set from Audible.com.
A good read, rather a good listen, for the lovers of sci-fi and fantasy genre.

Here are the covers for the two books:

Check out Paolo Bacigalupi’s site here.


Check out Tobias S. Buckell’s site here.

Check details of the set at Audible.com.

JPS Nagi
June 27, 2011

The Creator and His Creation (Guest Blog by Rana)

Back in the day when we were kids, we never thought where we would be when we grew up. And then we grew up. Scores of years later, I came across Rana, one more time through the internet.

When you walk away from a place, in your mind the time seems to have stopped for that place. In your mind, the images, the people freeze. My mind also had a picture of Rana as that guy I knew during school. I had frozen him back in that time too. As I started interacting with him, I saw him as a person I knew from cryogenic chambers of my mind, yet I saw another side of him. Even being separated by more than 6000 miles, I could easily identify with him. He is like my long lost brother.

Rana writes. And he writes beautifully. What follows here is a piece he shared with some of us recently. It is a well thought, well written piece. So I decided to share it with the world.

This is the first contribution "guest blog" by Gurpreet Singh Rana, and that too without his knowledge. His writings may seem small like marble, but if you look closer, they envelop the universe. I hope he will contribute more "knowingly" in days to come and tickle our gray matter.

Here he is with "The Creator and His Creation"

He sat alone one day thinking
What if I create a world of living beings?
Lo and behold and the earth came into seeing
And came the mountains, the oceans and the spring
Came the stars, the moon the sun and all other things
And all those beauties, emotions and the musings
Then came the greed of the man, the lust and the cravings
Drew they lines; the countries,the continents came into viewing.

Sad He sat as He saw the wars, battles and the deceit
Sad He sat as He saw the poverty, religious fanatics and the people cheat
Sad He sat as He saw the corruption, oppression and the truth taking a defeat.

A man sat alone one day thinking
Who is the one who has made all these belongings?
Is He there or is He not, or all are just imagining
This creation is a chain of reactions, apply some reasoning
How do I believe that He made all which I am perceiving?
I am the supreme; I am the creator, of all these worldly things
I controlled the floods; I carved the mountains, and even did cloning
I have the power to reach the moon and now I am who is controlling

He sat alone one day, but He was not sad
He had a smile on His lips as He saw the human being brag
He reflected and remarked, “Is this the beginning of the end?”

September 10, 2010
Copyright Gurpreet Singh Rana

Humne to Nisaar Kar Diya Dil (Here I offer my heart)

Hum ne to nisaar kar diya dil,
Ab jane woh shokh, yaa na jaane.

Here I offer my heart to her,
To accept or say no is upto my sweet.
[Hasrat Mohani]

This was the ibteda (beginning) of my love. A new phase of my life, back then; I felt that it would decide my fate. If my heart is accepted, then aafreen, otherwise my name will join the list of aashiqs whose love story ended before it ever began.

I have lost the count of days since I first saw her. It must have been years and years, I believe. I still remember when I saw that beauteous face for the first time. And all I could say was,

Aap ko dekh kar dekhta rah gaya,
Kya kahoon aur kahne ko kya rah gaya.

I saw you and couldn’t take my eyes off,
What other words can describe your beauty.
[Aziz Qaisi]

I have no words to tell you how beautiful she is. Her glowing face, her long raven tresses, her honey dripping voice, her graceful gait like a gazelle, and her hazel eyes.

Yeh jafaaen gham ka chara, woh nijaat-e-dil ka aalam,
Tera husn dast-e-isah, teri yaad rooh-e-mariam.
Teri deed se siwa hai tere shauq mein bahaaran,
Woh zamin jahaan giri thi tere gaissuon ki shabnam.
Yeh ajab qayaamaten hain teri rahguzr mein guzraan,
Na hua ke mar miten hum, na hua ke ji uthe hum.

This cures oppressive griefs, that delivers the heart,
Your beauty is the hand of Christ, your memory Merriam’s face.
More beauteous than you is the love awakened earth,
Fertilized by dew of your fragrant lochs.
Strange are the calamities in the path of love,
Nor we have will to live, nor the strength to die.
[Faiz Ahmed Faiz]

And not to forget those ruby red lips,

Gharq-e-shaqar hue hain kaam-o-zabaan,
Jab liya hun main nam tuj lab ka.

My palate and tongue get honey drenched,
Whensoever I mention your lips.
[Wali Mohd. Wali]

And in this way my infatuation began. A strange feeling was all over me,

Dil-e-nadaan tujhe hua kya hai?
Aakhir is dard ki dawa kya hai?
Mai bhi munh mein zabaan rakhta hun,
Kaash puchho ke mudda kya hai?

What ails thee, my silly heart?
What balm for your ache, at last?
I too have a tongue, I too can speak,
Would that you ask, what I crave?
[Asadullah Khan Ghalib]

I was surrounded by her. She was in my dreams. She still is. I was restless. I started looking forward to seeing her each day; Wali has rightly said,

Dekhna har subah tujh rukhsaar ka,
Hai mutaala matlai-anwaar ka.
Subah tera daras paya tha sanam,
Shauq-e-dil muhtaaj hai taqraar ka.

To see your face every morn,
Is to see the glorious flush of dawn.
I saw you just this morning, Love,
Lo, my heart yearns again.
[Wali Mohd. Wali]

One is highly intoxicated when in love. Radiance of light of love spreads its aura all around you. Iqbal farmaate hain,

Anokhi waza hai saare zamaane se niraale hain,
Yeh aashiq kaunsi basti ke yaarab rahne waale hain.

Strange are their looks, out-of-this world they seem!
Wherefrom, O Lord, do these lovers spring?
[Sir Mohd. Iqbal]

I then thought of expressing myself. And thanks to the “Benevolent Lord of the Three Worlds” who arranged that also,

Baam par aane lage woh, samna hone laga,
Ab to izhaar-e-mohabbat barmila hone laga.

She now comes on roof top, face to face we stand,
Love is now proclaimed without least reserve.
[Hasrat Mohani]

But these encounters were unable to put my restless heart to rest. I then pumped all my blood into my heart and approached her, one day. I stopped her. She stopped. Smiled. I opened my mouth and ark! nothing came out of it. Them I stammered & stuttered. Her beautiful radiant face and equally beautiful smile had left me speechless. And before she left, all I could think was,

Mere dil ko kiya be-khud teri ankhion ne aakhir kon,
Ke jion be-hosh karti hai sharaab, ahista, ahista.

Your eyes,at last, have entranced my heart,
As wine benumbs our wits, step by step.
[Wali Mohd. Wali]

And all I could see was a drop of sweat, from her tresses trickled on her cheek and lo, how wondrous to see sun splashed over with dew. She again smiled and ran away. I stood there. Standing there. Still. And I told myself,

Ibtadaae ishq hai, rota hai kya,
Aage aage dekhiye hota hai kya.

It’s only the beginning, why dost thou groan?
O, wait and see what happens as you onwards move.
[Mir Taqi Mir]

I was captured by the long and deadly roots of love. More I tried to free myself, more I got entangled in them,

Yaad karna har ghari us yaar ka,
Hai wazifaa mujh dil-e-bimaar ka,
Aakbat kya howega maalum nahin,
Dil hua mubtla dildaar ka.

Remembering my Love all the time,
Is all the prayer my sick heart knows,
I know not how its going to end,
I’ve lost my heart to my sweet heart.
[Wali Mohd. Wali]

I was then avoided, tracks, streets, bazaars, changed on seeing me. I was sad,

Muddat hui sajan ne dikhaya nahin jamaal,
Dikhla apas ke kad kon kiya nahin nihaal.

For long hasn’t my Love shown her beauteous face,
Nor with her stately presence uplifted my state.
[Wali Mohd. Wali]

And I wailed,

Husn-e-be parwah ko khud bin-o-khud aara kar diya,
Kya kiya maine ke izhaare tamanna kar diya.

Beauty self-oblivious has turned self- aware,
O, why at all did I express my heart’s desire?
[Hasrat Mohani]

The days were tiring; the nights long,

Tum aae ho na shab-e-intzaar guzri hai,
Talaash mein sahar baar baar guzri hai.
Woh baat saare fasaane mein jiska zikar na tha,
Woh baat unko bahut nagawaar guzri hai.
Na gul khile hain, na unse mile hain, na mai pi hai,
Ajib rang mein ab ke bahaar guzri hai.

You haven’t come, nor has the night of waiting gone,
Looking for you the morn has called again & again.
What did not even figure in the tale entire,
To that he has taken very grave offence.
No flames, no wine, no sight of my friend,
In what queer way we’ve spent this spring.
[Faiz Ahmed Faiz]

Nobody heard my cry, but nothingness. All words were lost there. Days passed. Months passed. And even did the years. Nothing was exchanged between us. There was vast, immense, dark and dead silence. My heart was crushed, that was the first time I realized it.

Tujhiko jo yaan jalwa farma na dekha,
Baraabar hai duniya ko dekha na dekha.
Mera Guncha-e-dil hai woh dil grifta,
Ke jis ko kaso ne kabhi wa na dekha.
Aziat, musibat,malaamat, balaaen,
Tere ishq mein hum ne kya kya na dekha?
Kiya mujh ko daaghon ne sarv-e-chiraaghan,
Kabhi tune aakar tamaasha na dekha.

If here we see thee not immanent in thy grace,
What use then, our earthly pilgrimage?
My heart is such a crumpled bud,
None has ever seen it bloom.
Trouble, torture, reproach, disaster,
What all haven’t I suffered in love?
The scars within have set me ablaze,
Alas, you haven’t seen this sight.
[Khwaja Mir Dard]

I had initiated. She had taken a step back. So I coiled all my feelings around myself. Meetings became scanty. On those rare occasions when we used to see each other, I would often think,

Roya karenge aap bhi pahron isi tarah,
Atka kahin jo aapka dil bhi meri tarah.

You too shall weep for hours on end, if your
Heart, like mine, somewhere gets entwined.
[Momin Khan Momin]

Then the sky fell down on my head. She was in love with someone else. The sky had fallen over my head. The world must have reached qayaamat (end of the world). But, I could spare a smile for her,

Donon jahaan teri mohabbat mein haar ke,
Woh jaa raha hai koi shab-e-gham guzaar ke.
Bhule se muskra to diye hum aaj Faiz,
Mat puchh walwale dil-e-naakarda kaar ke.

Having lost both worlds in the game of love,
There goes lonesome man, ending his night in grief.
Today, Faiz, unawares you chanced to give a smile,
O what a swell and surge within my powerless heart.
[Faiz Ahmed Faiz]

Once, when I met her, I told her,

Mera ji hai jab tak, teri justju hai,
Zabaan jab talak hai, yehi guftgu hai,
Tamanna hai teri, agar hai tamanna,
Teri aarzoo hai, agar aarzoo hai.

Your quest is my objective, as long as I live,
Of you alone I talk, while I have a tongue,
For you alone I yearn, if yearn at all,
You are my desire, if I harbour one.
[Khwaja Mir Dard]

And I was reminded of Ghalib’s great ghazal,

Hazaaron khwaaeshen aisi ke har khwahish pe dam nikle,
Bahut nikle mere armaan, lekin phir bhi kam nikle.
Nikalna khuld se adam ka sunte aaye the lekin,
Bahut be-aabroo ho kar tere kuche se hum nikle.

Thousand of desires tantalizing one and all,
Many a wish have I realized; yet I yearn for more.
Oft have we heard about Adam’s exile from Eden,
Humiliating much more was my exit from your door.
[Asadullah Khan Ghalib]

And, with what else can I end but,

Hum parwarsh-e-loh-o-qalam karte rahenge,
Jo dil pe guzarti hai raqam karte rahenge.
Ek tarz-e-taghaaful hai so woh unko mubarak,
Ek tarz-e-tamanna hai so hum karte rahenge.

We’ll keep on plying the pen on the page,
Record shall we the tale of our heart.
A style of indifference will be her way,
A style of submission will be our creed.
[Faiz Ahmed Faiz]

April 1995/ (revisited) May 1997

Copyright JPS Nagi.

The English translation of the Urdu poetry is taken from the book “Masterpieces of Urdu Ghazals” by K.C. Kanda, Sterling Press, India. This was the first piece of writing I put together. I was under many spells, one of them being the Urdu poetry.

Shiv – The Golden Voice

Shiv Kumar Batalvi is an Sahitya Academy Award (1967) winning poet of Punjabi language. He is known for his romantic poetry for its passion, pathos and the pain of separation. Batala (District Amritsar, Punjab) became his home town in India after the partition, and that also gave him his takhaluss, “Batalvi”. It is said that he had a failed love affair that came out in the form of intense passion and pathos in his writings. He never confirmed these rumors. He tactfully avoided the subject during his interviews.

His poems are very popular among the Punjabi singer on both sides of the border. Jagjit & Chitra Singh, Nusrat Fateh Ali Khan, Surinder Kaur, Assa Singh Mastana, Mahendra Kapoor, Hans Raj Hans, are some of the singers who have brought the birha from Shiv’s songs to the vast audience.

Here, I am presenting some of the rare recordings of Shiv Kumar Batalvi reciting his poems. This is how he meant these to be read, sung, and recited. Click on the links below to play the songs in the browser.

Ek Kudi

Ki Puchdey O Haal Faqiran Da

Shikhar Dupehar Sir Te

The recordings are noisy, as these were converted from ancient All India Radio (AIR) archives. They will sound best with low treble. I am working to clean them up, and will update these.

Please provide comments.

August 2010.

Copyright JPS Nagi