RAKSHA

Six years ago, she was born on the day of the Raksha Bandhan, a festival of the Hindus and the Sikhs that celebrates the love and duty between brothers and sisters. Hence, her mother had named her Raksha, one of the two common names based on this festival, the other being Rakhi or Rakhee.

Her mother Mubarak had found job as an ayah (a nursemaid or nanny) in a middle aged family in the Railway Officers Colony in Sarai Rohilla. After she had married a man, Gopal, she was advised by his family to change her name to Lakshmi. She was told that her chances of getting a job would be more with her name Lakshmi as compared to Mubarak. In addition, it was explained to her that just in case she was ever apprehended by the police, she was assured of a better treatment with her new name.

She was being paid 6500 rupees per month. In addition she was being given lunch and tea by her employer. Before this job, she had been a maid-servant at several households, earning petty money. She had obtained a smattering of English from these families, which had finally helped her to land the ayah’s job. Life wasn’t easy for her, her husband and their two children – a girl and a boy – living on Rupees 6500 a month.

It was much better when Gopal too used to bring money home through selling odd items in buses such as dant-manjan (dental-powder), combs, nail-cutters, soft drinks and even screw-drivers. But, one fateful day during the rains, he had jumped off from a slowly moving bus, as he often did, and landed in an open manhole, injuring himself badly especially in his legs. No proper hospital treatment could be given to him. His left leg later developed gangrene and was to be amputated in order to save his life. Initially, he had made a trolley with four small wheel-bearings fixed under a small board and he would propel himself on roads trying to sell his items. But, it had become dangerous since he was almost run-over several times by speeding vehicles.

Mubarak alias Lakshmi had then decided to run the family on her own. She had got a Ration-card made in the name of Lakshmi, which she carried with her in her black bag with a golden clip to close it. She had to pay underhand to get the Ration-card, as is often the case in India to get any official document made such as Driving License and Passport. She would have got a Matriculation certificate too; but, that would have cost more. Also, in her bag was her bus pass, about a hundred rupees just in case required and a letter of recommendation and good character given to her by her last employer, the wife of a Major in the Indian Army. This letter was in her previous name Mubarak but since it was on an impressive army letter head with the Indian Army logo, she carried it with her in case a need arose to prove her good conduct and character. She also carried her old Security Pass with her picture on it since the Army employer insisted on it.

She was comfortable with her job even though the hours were long and her memsahib was a perpetual nag. The place was not too far (within 5 km) from the Paharganj slums that they stayed in near the railway tracks and she could easily take a bus to and fro. One other nuisance was that her memsahib’s husband had been frequently making eyes at her. One day, when the memsahib was not at home, he had grabbed her from behind and pressed himself on her. She had escaped sternly telling him that she wasn’t that kind of woman. He had told her that he would be waiting anytime she changed her mind.

One day, her memsahib misplaced or lost her gold chain. She questioned Raksha first tactfully and gradually with strident insinuation. But, firstly, Raksha had not taken it and secondly, she was proud of herself being totally honest despite their poverty. She, therefore, vehemently denied having taken the chain. Finally, her memsahib consulted her husband on the phone. He said he’d lodge a police complaint. Later, a message was received by her memsahib through her husband for Lakshmi to report to the Police Station.

She reported to the Police Station in the afternoon. They made her wait for hours. After that a thorough search of her purse revealed to the police that her actual name was Mubarak. The Inspector at the police station said he believed her that she had not taken the gold-chain. But, her name change was a bigger crime. He said Pahargunj area was full of suspected trouble-makers from her community and that he could keep her in the jail for several months because of this.

She was now openly crying. The Inspector said that there was only one way out, which was that she could give him Rupees 5000 and then go scot-free. She told him through sobs that she was a poor helpless woman who won’t ever have 5000 rupees. He said it with finality that all he could give her was one week to arrange the money.

This was a hopeless situation and she feared for her husband’s life and that of their two children. There was no way out. It crossed her mind that she could buy pesticide and give to the family in the evening meal before taking it herself. Afterall, 68 years after independence, in some parts of the country, poor people, especially farmers, rputinely resorted to ending their lives by taking pesticide. Late into the night, a thought occurred to her but she brushed it aside as against human dignity. However, by wee hours of the morning, she had convinced herself that it was better than dying.

Next day, her memsahib refused to take her in. However, fortunately, her husband was at home and he told his wife that the police had found no evidence about her having committed the theft. She was taken in with a stern warning.

That afternoon, the memsahib went for kitty-party with her friends and Mubarak sensed in it a godsent opportunity. She approached the sahib for a loan of 5000 rupees. He said it wasn’t a small sum and the police was suspecting her to be involved with terrorists. Through tears she told him she was prepared to do anything to get the money. He told her that things had changed after he had proposed to her last time. And that, now, she had to please him whenever he felt like.

She had no choice. For the next one year, she pleased him whenever the memsahib was not at home and he was. She had wanted him to use protection; indeed, begged him to. But, he said he enjoyed it more the naturalway.

And that’s how Raksha was born.

In six years, she had learnt more than another child three times her age. From the age of three she had learnt to beg in and outside the railway station. She had learnt to wipe cars at the traffic signals and then expect to be paid; some did and some didn’t. She had even earned money by wiping and shining shoes. Her mother was happy that all three children were helping to run the family.

Azadi Diwas (Independence Day) was aporoaching and Raksha had learnt that people were egged to become patriotic during the days leading to I -day. This meant that I – day items like flags would sell easily and fetch them money. All the urchins were buying flags and selling them at twice and sometimes thrice the cost. She would obtain 50 rupees from her mother and give back 100 at the end of the day.

One day, she thought of making a big killing. She had learnt from her friends that for the last several days, there was a protest by retired faujis at Jantar Mantar and that these men and their women and children would pay readily and more to buy the tricolor flags: tiranga. She told her mother. Her mother was very worried about the distance involved. But, Raksha said she’d manage as indeed the other urchins did and that in any case it was the day prior to Independence Day and she expected to make huge profit. Finally, the mother acquiesced and gave her 100 rupees and bus fare.

It was the best day of Raksha’s life. Within no time she had sold many of her flags and had already got some 250 rupees or so in her pocket. She had concluded that these ex faujis cared for the flags more than anyone else.

Suddenly, she was tired. She kept the flags down and lay on the pavement and rested.

And that’s the time the police arrived in three trucks. They were in uniform with boots and quickly spread to the venue where the retired faujis were protesting peacefully. As Raksha looked in shock, they started pulling down the stage. When the ex faujis intervened, the police started roughing them up. Some were old and others very old. Some were wearing their medals and ribbons. But, the police didn’t spare any. There was one wearing a white kurta and pajama and a white turban, the kind they wear in Haryana and Rajasthan. The police snatched his medals pinned his shirt. The medals fell and the front of the shirt tore.

Raksha didn’t want to be noticed but the horror of it made her scream involuntarily. One of the police guys noticed her and hit her hard on her cheeks. It hurt and she cringed and wailed loudly. The flags fell from her hand. The police didn’t care and kicked her and trod on her flags and told her to leave immediately. She just lay there motionless, too shocked to move.

She didn’t know how long she lay there crying. But, when she came about again she saw the same kindly man in white kurta and white pajama and white turban bending over her. He made her stand on her feet and wiped her tears with his torn kurta. He noticed the tirangas on the ground, some with the boot-marks of the police. He bent down to pick each one of them by their small bamboo sticks.

When he had the complete bunch with him, he smilingly handed over the bunch to her and said with great dignity, “Don’t ever put down the tiranga. People like me gave our youth and our lives to hold it high.”

Raksha clutched the flags in her left hand, raised her right hand to her forehead and whispered: “Jai Hind“.

AAWAAZ DO HUM CHOR HAIN – AN ANTHEM OF THE MODERN NETA AND BABU

The most shameful images that this country had to see in Independent India were aired yesterday, on the eve of India’s 69th Independence Day, when the government tried to forcibly break-up a peaceful protest by ex-servicemen for the long pending demand of OROP (One Rank One Pension). Lets contrast it with the historic Jallianwala Bagh massacre of 13th April 1919 when the soldiers of the British Indian Army tried to breakup a peaceful protest by the civilians on the Baisakhi day. Yesterday, it was the reverse: the civilian government, an ungrateful government, turned against soldiers who have sacrificed their everything defending this country.

Jantar mantarJust as the country cannot forget the images of Jallianwala Bagh, we can never forget the images like the above from Jantar Mantar, New Delhi, yesterday.

The government also, for the first time signaled that taking on ex armed forces personnel by police and para-military forces is a fair bet since the ex armed forces personnel have already done their bit for the country when in active service and are of little use to the government now; they are not even a large vote bank.

Sadly, people of our great nation don’t see it that way. They have always looked up to the armed forces since the armed forces have delivered each and every time. In the end, what got sullied were not the armed forces personnel who were pushed, shoved, kicked and manhandled. The already sullied images of our netas (irrespective of the political party that they belong to) and babus have now seen the bottom of the pit. Just as the Queen of England never apologised for Jallianwala Bagh massacre, no one expects our netas and babus to apologise for bringing ex servicemen to this mortification.

Today, on the day of our Independence, here is a parody that describes our netas and babus.

My apologies to Jaan Nisar Akhtar, Khaiyyam and Mohammad Rafi for using a parody of their most famous song together to depict what our Netas and Babus have as their anthem today:

चोरी है अपनी ज़मीं, चोरी है अपना गगन,
चोरी है अपना जहाँ, चोरी में लगता है मंन
अपने सभी सुख चोर हैं, अपनी सँगत में सब चोर हैं
आवाज़ दो हम चोर हैं, हम चोर हैं

को: आवाज़ दो, आवाज़ दो हम चोर हैं, हम चोर हैं

ये वक़्त खोने का नहीं, ये वक़्त सोने का नहीं
सबकी जेबें साफ़ करो, किसी को भी ना माफ़ करो

फौजियों ने हमें दी आज़ादी, हम करते हैं उनकी बर्बादी
छलिनी करदो उनका सीना, मुश्किल करदो उनका जीना

दुश्मन भी ना जो करे, हम उनके लिए करते रहें
हर जगह सुहाना शोर है, देश का नेता चोर है

को: आवाज़ दो, आवाज़ दो हम चोर हैं, हम चोर हैं

ये जवान हिमाला में लढा, ये पंजाब में दुश्मन से भिड़ा,
लेकिन हमें ना कोई फ़र्क़ है, जवानो के लिए देश नरक है

रिश्वत पे हमको नाज़ है, पैसा हमारा सरताज है
जनता के पैसे अपने हैं, ये सब हमारे अपने हैं

जवानो ने नमक का मोल दिया, हमने तो उनको बोल दिया
OROP दे देंगे बार बार, पचास साल तो करो इंतज़ार

को: आवाज़ दो, आवाज़ दो हम चोर हैं, हम चोर हैं

उठो जवानां-ए-वतन, बाँधे हुए सर से कफ़न
उठो दक्कन की ओर से, गंग-ओ-जमन की ओर से

पंजाब के दिल से उठो, सतलुज के साहिल से उठो
महाराष्ट्र की खाक से, दिल्ली की अर्ज़-ए-पाक से

बंगाल से गुजरात से, कश्मीर के बागात से
नेफ़ा से राजस्थान से, पुर्ख़ां के हिंदुस्तान से

इस मुल्क़ का नेता चोर है, चारों तरफ ये शोर है
इसका ईमान नोट है, या जनता का वोट है

को: आवाज़ दो, आवाज़ दो हम चोर हैं, हम चोर हैं

ALL PHOTOGRAPHERS AND WRITERS, NO VIEWERS AND READERS

The biggest two techno-social changes that have happened in the last decade or so have affected our lives in a huge manner. Thanks to these two changes, everyone is a photographer now and everyone can write and publish.

People of this generation, who are already used to these two, won’t even know how difficult it used to be in the past.

Lets take photography first. At one time, as you see in various galleries and museums, only the royal people used to have their photographs taken. The camera – an equipment weighing about 5 to 8 kgs – used to be covered with a black cloth so as to save the film from unintended exposure. No one was well versed to take pictures except skilled photographers. Even after these photographers became available to general public; firstly, the cost was well beyond the reach of anyone except the upper crust; secondly, between clicking (actually it was not even clicking but a calculated exposure by removing the cap of the lens) and developing and printing a photograph a great deal of time would pass; and thirdly, because of the first two, there was nothing like photography on the move such as travel photography or even of events like picnics and birthdays.

(Photo and following caption courtesy: https://en.wikipedia.org/wiki/History_of_photography "Boulevard du Temple", a daguerreotype made by Louis Daguerre in 1838, is generally accepted as the earliest photograph to include people. It is a view of a busy street, but because the exposure time was at least ten minutes the moving traffic left no trace. Only the two men near the bottom left corner, one apparently having his boots polished by the other, stayed in one place long enough to be visible.
(Photo and following caption courtesy: https://en.wikipedia.org/wiki/History_of_photography
“Boulevard du Temple”, a daguerreotype made by Louis Daguerre in 1838, is generally accepted as the earliest photograph to include people. It is a view of a busy street, but because the exposure time was at least ten minutes the moving traffic left no trace. Only the two men near the bottom left corner, one apparently having his boots polished by the other, stayed in one place long enough to be visible.

Even after the cameras became smaller and gradually SLR (Single Lens Reflex; that is looking at the subject through the same lens through which a picture was to be taken rather than through a view-finder mounted atop the camera), there were only limited pictures (generally 12) that one could click after settings that included weather, speed, exposure etc because of the limitation of camera roll that had to be installed in the camera with great care so as to avoid unintended exposure. One would know about the results of one’s efforts only after the entire roll got over and you went to a photo-studio to have the roll developed and printed.

(Photo courtesy: www.culture24.org.uk showing the picture of a man operating one of the first cameras)
(Photo courtesy: www.culture24.org.uk showing the picture of a man operating one of the first cameras)

You invited friends and relatives to view your photo albums but rarely shared copies with them unless they featured in the photos. Even at that, to ask photo studio to make copies of specific numbers of photos was frustrating since many times due to reel loading problems, the number occurred atop two adjoining photos.

Even after the digital cameras came up, for the first few years these were so frightfully expensive that they were beyond the reach of the common man.

(Photo courtesy: www.mir.com.my; One of the earliest batch of Leica M3 chrome double stroke model, 1954 model. Here is a lovely illustrative photo of how a typical early Leica M3 camera body looks like. It has slightly cornered top-plate, all early M3 features. Note the lack of viewfinder frame pre-selector lever near the lens mount. Year: 1954 w/Serial No. 70031x. Expected to be pricey in such a condition - to satisfy your curiosity, true enough this unit had an auction price approaching EUR10K !)
(Photo courtesy: www.mir.com.my; One of the earliest batch of Leica M3 chrome double stroke model, 1954 model. Here is a lovely illustrative photo of how a typical early Leica M3 camera body looks like. It has slightly cornered top-plate, all early M3 features. Note the lack of viewfinder frame pre-selector lever near the lens mount. Year: 1954 w/Serial No. 70031x. Expected to be pricey in such a condition – to satisfy your curiosity, true enough this unit had an auction price approaching EUR10K !)

And then suddenly, every phone has a camera, everyone is taking photographs and selfies. Earlier, a video camera used to be carried on the shoulder of a qualified videographer; now, people are taking your videos when you are not even aware. Paparazzi is reportedly a nuisance phenomenon and one of the reasons behind Princess Di’s untimely demise in an accident.

(Paparazzi - The Privacy Killer; Pic courtesy: en.docsity.com)
(Paparazzi – The Privacy Killer; Pic courtesy: en.docsity.com)

People are posting live pictures and videos on social media such as Facebook and Whatsapp. A number of jokes have come up because of this tendency. In a cartoon, for example, in a building people are advised as follows:

‘IN CASE OF FIRE, IMMEDIATELY LEAVE THE BUILDING THROUGH MARKED ESCAPE ROUTES AND NOT WAIT TO TAKE PICTURES AND SELFIES.’

With these millions of pictures on the net, some personal family pictures and others like Google Images, to get people’s attention to view them is quite a task. Various innovative means are thought of to attract people’s attention. One method on Facebook is to tag people in the post with photographs. These people would get notifications such as: “ABC commented on your picture”. You then hope like hell they would see “their picture”. Another method is to give them an attractive and catchy title. For instance, an Income Tax hoarding had an attractive skimpily dressed female with the huge sign that said SEX. As you walked closer, the hoarding said, “Now that we got your attention, we’d like to tell you that the last date for filing Income Tax Return is 30th July”.

Even at that, to get people to see your 349 pictures of your pet dog or 127 of your granddaughter’s mundan ceremony is as difficult as say getting people to see a play titled Swadeshi. There is also this big danger that if people see yours, then they consider you are obliged to see the 292 pictures of their outing to Borivali National Park, which has failed to get your attention since you have been there any number of times anyway.

What about writing? Well, the scene is no different; it is even worse. At one time, to be published was Herculean task. You wrote and wrote and wrote and sent your stuff to newspapers and magazines. They didn’t even respond. Once in a blue-moon, if your letter to the editor got published, it was a much curtailed and edited version of what you wrote.

Nowadays, there are any number of places where you instantly post the fruits of your fertile mind. Indeed, many people do so mindlessly. I have come across people who have written more poems in a year’s time than Wordsworth would have written in his lifetime. I have also come across a blogger who regularly writes two to three articles in a day. Then there are others, who write a paragraph of three to four sentences and call it an article or blog post.

Surprisingly, the more laconic your post or article is, the more people like it and comment on it. It is, they observe, easier to read. Also, mediocrity and even nonsense sell much better than any erudite or intelligent stuff. A few months back, I started a Facebook Group called Main Shayar To Nahin. Initially, there was great enthusiasm to share shair-o-shairi (the cheaper the better and more popular) and we were adding members by dozens. A few examples:

Bahut dard hota hai jab tum yaad aate ho,
Dard hone se phir tumhaari yaad aati hai”.

“Tanhaayi mein tumhaari yaad aati hai,
Kyaa kahun behisaab aati hai
Kuch tere aane se pehle, sanam
Kuchh tere jaane ke baad aati hai!”

“Dard ki hadd paar ho gayi tere intezzar mein,
Kyaa yehi silaa mila mujhe tere pyaar mein?”

I googled the first one and found nearly a Lakh members of that group in which such cheap poetry is shared. Each such shair has hundreds of likes and comments. And, in contrast, the moment I asked in our group to share good quality poetry of Ghalib, Faiz, Shakeel, Firaq, Daag etc, first of all very few people took the trouble to do it and secondly there were hardly any people interested in them, to like or to comment.

Social media like Facebook, Twitter and Whatsapp have an adverse effect of ADS or Attention Deficit Syndrome. No one is interested in a well-researched, well-written article. It has to be something catchy, meant for the dumbos and presented so slick that people fall for those three or four lines that you write. The idea is to enable them to respond since they are authors and writers in their own right. I have had people commenting on my articles copy pasting something that I would have written many months ago in the hope that I too would be suffering from ADS and would have forgotten that it was I who wrote it.

On the Indiblogger, which is a forum for Indian Bloggers, there is a policy of you scratch my back and I scratch yours. In this policy, people would vote and comment on your posts if you vote and comment on theirs. People have discovered that for this MAD (Mutual Assured Dalliance), they don’t really have to actually read anything at all and even if they read they don’t have to pay attention. This is somewhat similar to a minister having asked his secretary to prepare a 20 minutes speech for him and discovering that the speech actually took an hour. He complained to the secretary. She investigated and found that the speech was only 20 minutes long but the minister had read out the two carbon copies too that she had given him to be on the safe side. If you think it is far-fetched, you would do good to remember that our External Affairs Minister Shri SM Krishna recently read out the wrong speech at the United Nations; that of the Portuguese minister!

On Facebook, there is a button called ‘Like’ (Please also read ‘Like’ on this blog). It has answer to all our problems regarding reading anything at all. No matter how long it would have taken the author to write his stuff, you can press Like in less than a second and be done with. You routinely come across people who Like dozens of posts in less than a minute (Please also read ‘Why Read When You Can Like?’).

Various companies profit from this ADS of people at large. They write voluminous Terms and Conditions for their services. Just at the time when you are about to make payment and gain access, you get a message to tick the box to the effect that you have read, understood and agreed with their terms and conditions. You quickly do so without reading anything at all. In any case, if you were to actually read everything you would probably have to log-in all over again. Forget about the transient Internet. Have you ever read the reverse of your dry – cleaner’s receipt or courier consignment receipt or any other receipt? If you actually read through you’d be surprised that the companies, in their terms and conditions, have washed their hands off everything and the total onus of the correctness of their services is on you. Your Internet service-provider’s Terms and Conditions, for example, have nothing whatsoever in your favour even if their services are disrupted for lengthy durations. It is the same with Credit Card companies. Here, you even sign for ‘Our terms and conditions are subject to change’. I used to get a lot of calls from Credit Card companies promising me one Credit Card or the other. I started asking them to provide me with a signed copy of their Terms and Conditions. All calls stopped.

As far as your writings are concerned, you can master various ploys to make people read your stuff. One of the best employed was by the boss telling the secretary, “Mark this TOP SECRET; I want everyone in the office to read it.” But, beyond the ploys, finally it is consistency that pays off. If you have a small niche audience that reads your stuff, you should be happier than if you have had hundreds of Likes.

In the end also remember what Sahir Ludhianvi penned for a song in the Dev Anand movie Hum Dono. He would have never thought one day Sunbyanyname would relate this to social media where everyone is a photographer or writer but there are no viewers or readers:

Kaun rota hai kusi aur ki khaatir, ai dil?
Sabako apani hi kisi baat pe rona aaya
.”
(Who weeps for the sake of someone, O my heart?
Everyone weeps remembering something of their own.)

It is also worth keeping in mind the harsh reality that despite increased techno-social means available in the present world (that’s how I started this essay), the more people you meet on the net, the more alone you are.

It gives immense happiness to read your own articles or to see your own pictures at some later stage in your life when you look at them as another person.

NOSTALGIA ABOUT TELEGRAMS

On the 15th of July 2013 we bade adieu, in India, to the 163 years old Telegram service in India. It was started by the British East India company between Calcutta and Diamond Harbour in 1850. Four years later it was made availabe to the general public.

Telegram news

It was, for a century and half, the fastest means of communication available to the common man in India and elsewhere in the world. As soon as the use of sms, Internet and Whatapp became more widespread, the demise of Telegram was just around the corner.

Telegrams

Telegram_2618017b

Telegrams used to be the harbinger of news both good and bad, happy and sad. Many a times, due to garbled transmission or reception or both or because of sender’s mistake, unintended situations would arise. It could be as comical as mix up of Greeting Telegram numbers wherein you had intended to convey ‘Congratulations on a well deserved success’; but, the recipient got it as ‘Congratulations on the new arrival’ or ‘May God shower His choicest blessings on the newly-weds.’ Or as serious as ‘Wife expired’ when you had meant to send ‘Happy Independence Day’ message. Such mix-ups had resulted in great sadness and heartburn for people until clarification arrived.

Telegram Greeting

I know the case of a fauji who finally managed leave from a forward posting from where he hadn’t got leave for a long time. He sent a telegram to his wife: ‘Got leave. Reaching home 29th’. When he reached home, he found his wife in bed with another man. He was furious; but, the mother-in-law calmed him by saying she’d check up the reason for her strange conduct. Sure enough, by evening, the mother-in-law had checked and found the reason and triumphantly announced to him, “I knew there would be a simple explanation; she never got your telegram.”

In the Hindi movies, telegrams for just-married faujis used to be delivered to them on their honeymoon nights when they would have just lifted the ghunghat of their newly wedded wives. The only message of the telegram would be asking him to report to border since war had broken out. India has fought five wars with its neighbours Pakistan and China. But, if these telegrams were to be believed, everytime a fauji wedded in a movie,  especially,  if it was a love-marriage that the family elders hadn’t approved of,  a war would breakout at about midnight. Irrespective of how far the sender’s place was, there would be jonga waiting to take him to the war with the wife standing in the doorway of their house bidding him a tearful goodbye.  Some would even run behind the jeep barefeet and remind him that Love was what they had between themselves and War was between the two countries and he, over a period of time, shouldn’t get these facts mixed up. One telegram had the power to shatter their dreams. One telegram spelt the difference between Love and War. I give you two consecutive scenes from the Hindi movie Border: the honeymoon scene and the dressing up for reporting to unit scene after the telegram:

Border

Border Telegram

In my case, I wasn’t called to the border, but, was sent to Andaman & Nicobar islands with the then Prime Minster Rajiv Gandhi and his Italian wife Sonia embarked on my ship Ganga. Their togetherness was at the cost of my and my Indian wife Lyn’s togetherness when she was expecting our second child. The news of our younger son Arun arriving was sent by her as a telegram which was received in Communication Centre (COMCEN) at Mumbai, who in turn broadcast the message and the ship received it. In my forenoon watch, the CO read out the message to me and I closed my eyes and said a silent prayer for them whilst thanking God that He made Life and He made Telegrams.

Unlike our Army counterparts, manpower in the Navy has always been scarce and hence not only that most naval personnel serve far away from their homes, they get leave with great difficulty and reluctance. Many innovative means are devised to first obtain leave and then to ask for extension. One of the telegrams received on my ship from a sailor’s family read: MOTHER SERIOUS. COME HOME FOR DIWALI. There was another similar one received on a sister ship: FATHER BREATHING HIS LAST AWAITING YOUR ARRIVAL FOR CHRISTMAS.

The most innovatively genuine Telegram received asking for extension of leave by a sailor was on board Vikrant where I was initially posted after my Subs Courses. This had us in splits. It read: REQUEST EXTENSION 15 DAYS, WIFE NOT YET SATISFIED. After everyone had vented feelings ranging from extreme anger to pity, the XO (whose Christain motto was ‘It is better to be kind than right’), sent the following historic telegram: EXTENSION GRANTED UNTIL WIFE SATISFIED.
image

This XO was decidedly a soft XO. There was a hard-boiled-egg of an XO who was aporoached by a sailor for leave having received a telegram from his wife that read: EXPECTING OUR CHILD. COME HOME URGENTLY. The XO read the telegram, opened his table drawer and pulled out another telegram that read: DON’T SEND SOHAN SINGH LEADING SEAMAN ON LEAVE DURING MY DELIVERY AS HE IS A DRUNKARD AND WON’T BE OF ANY HELP.

Naturally,  the first telegram received by Sohan Singh was redundant in view of second telegram received by XO from Sohan Singh’s wife. Sohan Singh was about to leave resignedly when his inner conscience goaded him to tell the truth, “Sir, you and I are the world’s best liars; you see, Sir, I am not even married.”

Now that BSNL has stuck the death knell of the Telegram, I am sure life would have undergone a sea change for Indians in general and for our faujis and sailors in particular. What would Diwali, Holi, Christmas, Pongal would be without FATHER EXTREMELY SERIOUS telegram?

PROCRASTINATION WAS MY HOBBY NUMBER ONE UNTIL…

When I was small, I used to wistfully look at the hobby selection of my friends. Some were good at stamp collection and had friends in distant corners of the world exchanging philately. During our childhood days, we used to have a candy called Fruitex that had stamps just under the wrapper. People would spend days, months and years collecting stamps from Magyar Posta, USSR and countries whose names we couldn’t pronounce.

Then there were others who liked gardening, photography, travel, poetry, writing, singing. One was into collecting coins too. I too wanted to have a hobby. Poetry and writing suited me most and I liked them. However, the one hobby that I really liked to spend much of my time on was Procrastination. “Don’t put off until tomorrow that which you can do today”, the scriptures taught me that. But, the thought of procrastinating things was far too attractive a temptation not to be tried out. In any case I argued that I could do all those things better tomorrow what I could do today.

Procrastination

The thought of lazily spending the day without much care about doing anything was my vision of an idyllic world. The man who invented the wheel was my ideal; life could go on and on, round and round, without too much of effort. One number that had attraction for me was Beatles’ Let It Be. Another favourite ditty of mine was:

And Noah, he often said to his wife,
Whenever he sat down to dine,
“I don’t care where the water goes,
If it doesn’t get into the wine”.

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First of all the ring of the word itself held fascination for me: a Pro word like Progress, Promotion, and Prophylactic unlike those stupid, senseless Anti words such as Antipathy, Anticipation and Antibiotics. Secondly, the last part of the word is spelt as ‘n-a-t-i-o-n’ and I felt that I was doing my duty to the country by being an avid follower of ‘Procrastination’. In this I had healthy competition from our judges and lawyers, politicians and babus; for years, these worthies have been serving the nation by procrastinating everything. Our countrymen too, used to such inherent delays, have angrily questioned, for example, as to what was the flaming hurry in recently hanging a terrorist after merely twenty-two years of trial?

But then, a hobby is different from a vocation or way of life with some of our authorities. RK Laxman’s cartoons about such procrastination brought us untold mirth. In one of these, a politician visits his village constituency after several years of promising them water and electricity. The poor villagers were so excited that in another decade or so someone or the other from the government would look at the promise and see feasibility.image

The government of India (irrespective of political parties) turned out to be my biggest competitor in procrastination. As the Republic was constituted on 26 January 1950, it declared India to be a sovereign, socialist, secular, democratic republic, assuring its citizens of justice, equality, and liberty, and endeavours to promote fraternity among them. The words “socialist” and “secular” were added to the definition in 1976 by the 42nd constitutional amendment (mini constitution). Where are we 65 years later? Are we making any serious attempts to provide justice, equality, liberty, socialism and secularism? Are we promoting any fraternity among people? Quite the opposite. But, the future is bright and in another hundred years or so our politicians would have actually delivered. Until then, they would keep arguing about what constitutes poverty.image

My next competitors were the judges and lawyers and all those connected with providing justice to our countrymen. I had such a lot of competition from them that I knew that however hard I tred I could never emerge as the champion of procrastination in comparison to them. I used to think that the primary aim of our judicial system was to provide livelihood to lawyers and judges and other court officials. Now I know that it is the only reason. Procrastination is a way of life with them. Most of what they do in terms of providing justice is to give you another date of hearing. There are cases in our courts that were started in the times of present litigants parents and grandparents. Imagine if a perpetrator of terror in India’s leading city was convicted after 22 years, how much longer land and other civil dispute cases would take? Thanks to procrastination by the Indian courts, most Indians now believe in divine justice.

All those involved with the implementation of something called OROP (One Rank One Pension) for the Indian Armed Forces – the same Armed Forces that, in 1971, took only 12 days to sort out the problem of East Pakistan – deserve a Lifetime Achievement Award for their excellence in this hobby of procrastination. I could never match their skills.

Our bureaucrats or babus art in procrastination put me in total awe of them. They weild power through this art. The more they procrastinate the richer they become because people are ready to pay underhand for anything that would make our bureaucratic process – reputed to rank amongst the slowest in the world – faster. Aporopriately, this money is called speed-money. Lets say, you want to start a small factory manufacturing pipes for irrigation. Excellent idea. But, you want to start it during your lifetime itself! Problem. In order to obtain all the clearances, if you are so idealistic as to cringe from paying speed-money your factory would be a pipe-dream.

Our engineers and contractors involved in providing public infrastructure such as roads translate their hobby of procrastination into making more and more money. Projects that were to originally cost A-crores, due to their inimitable skills at procrastination eventually cost A x 10 and in some cases A x 20.

Your neighbourhood friendly doctor literally prolongs your illness as long as his/her felt need of having burgeoning bank-balance is not met. Your cure is always just around the corner.image

Something called Investigation or Inquiry in India still ranks amongst the highest form of procrastination; order one and you as a neta or babu is free from the burdens of responsibility or accountability for decades.

With this kind of stiff competition, I finally realised that I cannot get anywhere in my hobby. There are Masters of Procrastination who have been doing it for generations without much competition.

I took to writing and poetry and music. Next, I am thinking of stamp-collection!

SENIOR NAVAL OFFICERS AND SENSE OF HUMOUR

There is an anecdote about a Midshipman going berserk on a ship. He started playing with shit with his hands and at the same time asking the Topasses to obtain more and more shit from the WCs. The man-management bug had just started in the Navy and hence, rather than sending him straight to the cooler, his Training Officer decided to use tact and counseling with him. He asked him gently as to what he was doing. Without batting an eyelid the Midshipman responded, “I am trying to make a Lieutenant out of it.”

Not being able to handle this on his own, the Training Officer reported this to the XO (Executive Officer), the second-in-command. By that time, more and more shit was being brought to the Midshipman’s JOM (Junior Officers’ Mess). He too inquired as to what the snotty was up to. Pat came the reply that he was making an XO out of it. This was then reported to the Captain who evinced a response that the Mid was making a Captain out of it.

Now this was rather unusual and reported to the Fleet Commander, the last word in Man-management in the Fleet. This wizened man berated the others for not knowing how to handle this “simple” situation, approached the Midshipman, and rather than questioning, said in his heavy baritone, “Don’t tell me, son, what you are doing; I know that you are making an Admiral out of the shit.”

“No, Sir”, responded the Midshipman calmly, “I don’t have enough shit for that.”

It has always been there in the Navy. We live in close quarters with our senior officers and jokes – both overt and covert – abound about this species called ‘Senior Officers’. The reactions to this type of banter are undergoing a huge change these days. We used to have many old-timers who used to recognise that such harmless banter was the sure shot way of cooling tempers and returning to sanity after letting off steam by the juniors. These senior officers would merrily join in the banter and would be expected to crack one or two juicy ones on themselves, which the narrator would be otherwise shy to relate.

It is not easy to allow a joke on yourself when you are the senior officer. It is even more difficult to crack one yourself. And the most difficult is to have a good laugh on these and not earmark it for sorting out the narrator when the opportunity would arise. I am afraid the percentage of senior officers who would take offence is forever increasing. Gone are the days when the senior officers would permit these large-heartedly.

One such person was Admiral Dawson. On the day when he was promoted from Commander to Captain, he was walking to his car at the end of the day, in civvies. A few junior officers too were walking and didn’t recognise him (he was just behind them). They were talking enthusiastically about this b——d called Commander Dawson who was this and that but always a b. At the end of the jetty, Dawson overtook them, turned around and said, “Not Commander Dawson; but, Captain Dawson from now onwards.” The junior officers were stunned and frozen.

Dawson1

Another was Captain Lewin. He was endowed with great sense of humour. During one of his unannounced rounds of his ship, he came across a few Acting Sub Lieuts curiously espying the pages of a Playboy magazine. He called them to his cabin. Being called to Captain’s cabin is nothing short of being marched up to gallows and the Sub Lieuts were expecting the worst. Captain Lewin opened his table drawer, took out a copy of the Navy List (a compendium of all officers in the Navy from CNS downwards, branch-wise) and gave it to them with the remark, “You guys don’t have to spend good money on Playboys. Here, take this (Navy List). You will see more c—-s here than in all the Playboys and Penthouses.”

My CO on Ganga, Captain KK Kohli, was another such large-hearted senior officer. When it came to cracking jokes on the ship everyone had equal rights. Once, on the Bridge, we were all getting nice and proper from him. He noticed me doodling on the blank reverse side of an NC1 (Signal form). He was pretty cheesed off that whilst he was slanging, I was amusing myself by doodling. He angrily snatched the paper from me and saw that I had drawn a complete cricket field with KKK batting and all of us in various fielding positions. He couldn’t believe his eyes. I thought that would be the end of my till then brilliant career. Anyway, he gave the paper back and asked me to draw my own position that he had seen was missing. With trembling hands I took the paper and drew myself at Silly Mid-on! He had a look at it and pocketed the paper. The whole day I kept thinking of how my thoughtlessness had spelt the end of my naval career. Late in the evening, his coxswain came to my cabin with a message, “From Captain to Silly Mid-on: Come and have a glass of beer with me.” Everyone familiar with ships at sea would know that is rare honour indeed.

My Captain on Viraat, Jaggi Bedi, too had a keen sense of humour that promoted team spirit. When things would get tense – and honestly, there were many such moments with the old Viraat having fire and flooding at the drop of the hat – JSB would crack a pippin’ of a joke to relieve tension. Most of these were not directed against anyone but either at the circumstances that we were in or similar circumstances in which Banta Singh or the subject of the joke would find himself. There was one he told the divers of the Command Clearance Diving Team (CCDT) who were very tense because one of our sea tubes was leaking and they were sent to block the sea ingress to it so that repairs could be carried out. Only, the joke is a risqué one and I cannot relate it here. But, it was enough to bring down all around tension and normalcy returned to everyone’s thinking.

Having been in the old-time Navy, it was a rude shock to encounter some of the latter-day senior officers who would actually finish the career of the subordinates who would even think of indulging in such banter. One such guy sent me a show-cause notice asking me to explain why action shouldn’t be taken against me for not ensuring the working condition of a particular equipment. I really thought it was some sort of joke since I was the one who brought it to the notice of the authorities repeatedly that this particular equipment wasn’t working since the time it was installed, ie, for the last ten years even with my predecessors. So, in reply to the show-cause notice, I made a detailed response giving not my perception but facts and figures from various documents. I ended my submission, in my characteristic style: “In the end, I would like to bring out the advice given to a new teacher by a veteran: ‘As you go into the classroom, you would come across a student who is persistently asking questions. Don’t ever be offended by him; he may be the only one paying attention’.”

A Letter of Severe Displeasure (the highest punishment that can be summarily awarded to an officer) was given to me for my misdemeanour. End of humour. I became Yaqub Memon. Humour had led not to pleasure but displeasure.

Looking back, that was still an odd case. Most other senior officers that I came across in the Navy sorted out matters of humour with equivalent or better humour. In one of the Shiksha (exercise between Commands with Chief of the Naval Staff being the umpire) exercises, whenever a situation arose and a Fleet team was asked to respond, the FOO (Fleet Operations Officer) taking down the Fleet Commander’s instructions differed with him on every point. Finally, in good humour, this Fleet Commander grabbed the pen and paper from his FOO and said without even a trace of confrontation or bitterness, “Okay, you dictate the instructions and I shall write.” I was part of the same team and I just couldn’t believe my ears.

The national leadership, these days, is on short-fuze. Any cartoonist, writer or critic drawing or writing anything in good humour but critical of authorities is promptly jailed (Please also read: A Dangerous Profession). My service, Navy, was never like this. For a short duration, as a stop-gap, I was Flag Lieutenant (naval equivalent of an ADC) to a Chief of Naval Staff (CNS). We were going to receive the PM of a foreign country at Palam (New Delhi). We were resplendent in our ceremonial uniforms and CNS’s flag flew in the front of the car. Even at that, one of the traffic cops stopped us at a junction to allow the car of the Prime Minister Rajiv Gandhi and his complete entourage pass (they were going to receive the same foreign PM). I was hot under the collar and wanted to berate the traffic cop. The CNS, in excellent humour restrained me by saying, “Don’t do that, Flags; I am only a Chief (a Chief Petty Officer sailor is generally referred to as Chief!).”

Years later, our ex President APJ Abdul Kalam when asked to remove his belt and shoes in a security check at the airport reacted likewise.

Kalam Sense of Humour

I guess the really great have great sense of humour. Others have arrogance; but they ain’t great.

IMMORTAL GHAZALS OF SHAKEEL BADAYUNI – PART III

This post is in continuation of my ‘Immortal Ghazals of Shakeel Badayuni – Part I’ and ‘Immortal Ghazals of Shakeel Badayuni – Part II’.

On the 10th of January this year I started a Facebook group ‘Main Shayar To Nahin’ primarily to air my devotion for him and some other Urdu poets. I regularly put up Shakeel’s poetry with meanings so that more and more people can savour his excellence. I call him the King of Irony since no one can write irony better than he did. Just one example:

Na milata gham to barbaadi ke afsaane kahan jaate?
If there was to be no sorrow, where would odes of ruin find a place
Agar duniya chaman hoti to veeraane kahan jaate?
If the world would be just a garden, where would deserts find a place
Chalo achha hua apano mein koi gair to nikala,
It is good that amongst own people there was an outsider too
Agar hote sabhi apane to begaane kahan jaate?
If all people were your own (in the world) where would strangers find a place

My blog already has a number of articles on Shakeel Badayuni (‘Shakeel Badayuni – The King Amongst Lyricist And Poets – Part I’; ‘Shakeel Badayuni – The King Amongst Lyricist And Poets – Part II’, ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad And Dilip Kumar Together’, and ‘Another Tribute To Shakeel Badayuni In The Month Of His Death Anniversary’)

We were a slave nation for 31 years of his 53 that he walked on this earth. All his contemporaries wrote about social inequalities, poverty, slavery and the like. Shakeel wrote about Love, Mohabbat, Ishq, Wafa, Ulfat; it is as if he lived in a different world. In addition, his god faring nature ensured that he also wrote the finest Bhajans in Hindi movies.

SHAKEEL_1959405gLets restart the journey into his Ghazals:

Ghazal #31

A RARE HAPPY GHAZAL BY SHAKEEL (He says so in the ghazal)

BAHAAR AAYI KISI KA SAAMANA KARNE KA WAQT AAYA

Bahaar aayi kisi ka saamana karne ka waqt aaya,
Sambhal ai dil ki izhaar-e-wafa karne ka waqt aaya.

Unhen aamaada-e-mehr-o-wafa karne ka waqt aaya,
Badi muddat se arz-e-mudda.aa karne ka waqt aaya.
(Aamaada-e-mehr-o-wafa=bent on love and loyalty; Arz-e-mudda.aa=expression of desire)

Ravaan hain apne markaz ki taraf aasuudaa umiiden,
Hujuum-e-yaas ko dil se judaa karne ka waqt aaya.
(Ravaan=moving/active; Markaz=centre; Aasuudaa=satisfied/contented; Hujuum-e-yaas=mob of despair)

Phir ik gum-karda raah ko mil gayi manzil,
Sujuud-e-shukr-e-be-panaah adaa karne ka waqt aaya.
(Gum-karda=lost/missing; Sujuud-e-shukr-e-be-panaah=touching forehead on ground in prayer to offer infinite thanks)

Kabhi doori thi lekin ab khayaal-e-khauf doori hai,
Fughaan ki saa.aten guzri duaa karne ka waqt aaya.
(Khayaal-e-khauf=thought of fear; Fughaan=cry of pain or distress; saa.aten= moments)

Kahaan par khatam rehta darmiyaan par dil ka afsaana,
Bil-aakhir darmiyan se ibtidaa karne ka waqt aaya.
(Darmiyaan=middle/during; Bil-aakhir=at last; Ibtidaa=beginning)

Har ik jurm-e-mohabbat is nigaah-e-lutf ke sadqe,
Naved-e-aafiyat le kar khataa karne ka waqt aaya.
(Jurm-e-mohabbat=crime of love; Nigaah-e-lutf=look of love; Naved-e-aafiyat=good news of well being; Khata=mistake)

Nigaah o dil se ab tafseer-o-sharh-e-aarzoo hogi,
Zabaan o lab se tark -e-iltijaa karne ka waqt aaya.
(Tafseer-o-sharh-e-aarzoo=interpretation of desire; Tark-e-iltijaa=renouncing request)

Woh aate hain Shakeel ab apne dil se haath do baitho,
Nigaah-e-naaz ki keemat adaa karne ka waqt aaya.
(Nigaah-e-naaz=look of love)

Ghazal #32

ZAMEEN PE FASL-E-GUL AAYI FALAK PE MAAHTAAB AAYA
(A very beautiful Ghazal*)

Zamii.n pe fasl-e-gul aa_ii falak par maahataab aayaa
Spring season arrived on Earth, Moon rose in the sky
Sabhii aaye magar ko_ii na shaayaan-e-shabaab aayaa
All came but none befitting your youth
[Fasl-e-gul=spring season; Falak=sky; Maahataab=moon; Shaayaan=befitting/suitable; Shabaab=youth]

Meraa Khat pa.Dh ke bole naamaabar se jaa Khudaa_haafiz
After reading my epistle she told the messenger, go, good-bye
Javaab aayaa merii qismat se lekin laajavaab aayaa
Her reply arrived (through the messenger) but it silenced me
[Khat=letter; Naamaabar=messenger/letter carrier; Javaab=reply:
Khudaa_haafiz=farewell/goodbye; Laajavaab=matchless/silenced]

Ujaale garmii-e-raftaar kaa hii saath dete hai.n
Light accompanies only fast motion
Baseraa thaa jahaa.N apanaa vahii.n tak aaftaab aayaa
Sun arrived only up to my abode
[Garmii-e-raftaar=fast motion; Baseraa=abode; Aaftaab=Sun]

“Shakeel” apane mazaaq-e-diid kii takamiil kyaa hotii
Shakeel, how could appreciation of seeing her be completed
Idhar nazaro.n ne himmat kii udhar ruKh par naqaab aayaa
Here my eyes emboldened to see her, but she hid her face in a veil
[Mazaaq=good taste/appreciation; Diid=seeing/sight; Takamiil=completion; ruKh=face; naqaab=veil]

(*A Ghazal traditionally deals with just one subject: love; specifically an unconditional and superior love. The ghazal is always written from the point of view of the unrequited lover whose beloved is portrayed as unattainable. Most often either the beloved does not return the poet’s love or returns it without sincerity, or else the societal circumstances do not allow it. The lover is aware and resigned to this fate but continues loving nonetheless; the lyrical impetus of the poem derives from this tension)

Ghazal #33

GHAZAL KYAA HAI?

Abhi taq maine Shakeel ki 32 ghazalen aap ki nazar ki hain. Ab tetisviin pesh-e-khidmat hai.

Iss se pehle ki main nawazish karun, main bataana chahata hoon mujhe Ghazal mein kyaa dikhta hai:

Buniyadi taur pe nazam, she.r, ghazal Jazbaat ke Alfaaz hain. Ghazal to sarasar Pyaar, Ishq, Mohabbat ka andaaz hai, agarche ye pyaar, ishq, mohabbat kisi aadmi ya aurat se hi nahin, Allah ya khuda se bhi ho sakati hai. Gham, khushi, beqaraari, bekasi, havas, tanhaai, afsurdgi yaa aur koi bhi jazbaat jaise ki inteqqaam, in sab ki jadh Ghazal mein pyaar ya ishq ke illawa kuchh bhi nahin.

Yaqeenan, Wikipedia mein bayaan kiya hai: “Most ghazal scholars today recognise that some ghazal couplets are exclusively about Divine Love (ishq-e-haqiqi), others are about earthly love (ishq-majazi), but many of them can be interpreted in either context.”

Ghazal kaa ishq se talaaq hona, mere liye qatal-e-aam hai. Zamaana, log, majlis aur awaam ko ghazal mein sirf ishq ke taluq mein laaya ja sakta hai.

Ek ghazal ka namuuna nazar andaz hai:

Unako ye shikaayat hai ki ham kuchh nahin kehte,
Apani to ye aadat hai ki ham kuchh nahin kehte,

Kuchh kehne pe toofaan utha leti hai duniya,
Ab isape qayamat hai ke ham kuchh nahin kehte.

Yahan poori ghazal mein ishq ki wazaahat nahin. Phir bhi ishq hi isaki ibtidaa hai. Urdu shaa’ir aksar apane ishq mein zamaane ko shaamil kar lete the. Misaal ke taur pe:

Kis kis ko sunaayenge judaai ka sabab ham,
Tu mujhase khafa hai to zamaane ke liye aa!

Shaa’ir to ishq mein chand sitaaron ko bhi shaamil kar lete the par Ghazal ka vaasta phir bhi ishq se hi raha hai.

TUM NE YE KYAA SITAM KIYAA

Pesh karta hoon Shakeel Badayuni janaab ki ek aur Ghazal, jisaki bunayad bhi ishq hai:

Tum ne ye kyaa sitam kiyaa zabt se kaam le liya,
What outrage you committed, you used restraint,
Tarq-e-wafa ke baad bhi mera salaam le liya
Even after the end of faithfulness you accepted my salutation.
(Sitam=outrage; Zabt=restraint; Tark-e-wafa=end of faithfulness)

Rind-e-kharaab-nosh ki be-adabii to dekhiye,
Have a look at the lack of respect of the excessive drinker,
Niyyat-e-mai-kashii na kii haath mein jaam le liya.
He took a goblet in his hand even with no intention of drinking.
(Rind-e-kharaab-nosh=excessive or bad drinker; Be-adabii=lack of respect; Niyyat-e-mau-kashii=intention of drinking)

Haay vo paikar–hawas, haay vo khugar-e-qafas,
Alas that appearance of lust, alas that habit of being encaged,
Bech ke jis ne aashiyaan halqa-e-daam le liya
The one who sold his nest and bought hoops of a net.
(Paikar-e-hawas=appearance or form of lust; Khugar-e-qafas=habituated to cage; Aashiyaan=nest; Hakqa-e-daam=loops or hoops of nest)

Baadaa-kushaan-e-ishq ko kuchh to milaa paa.e sukoon
Some peace or repose wine-makers of love may get,
Husn-e-sahar na le sake jalwa-e-shaam le liya
They couldn’t get the beauty of morning but obtained splendour of evening.
(Vaadaa-kushaan-e-ishq=wine makers of love)

Naama-e-shauq padh ke vo kho gaye yak-ba-yak Shakeel,
Upon reading my love letter she was suddenly lost in thought, Shakeel,
Moonh se to kuchh na keh sake dil se payaam le liya.
She couldn’t respond with her voice but took a message with her heart.
(Naama-e-shauq=love letter)

Ise Talat Mahmood ne bahut khoobsurati se gaaya hai:

https://youtube.com/watch?v=8q7Orziten4%3F

Ghazal #34

This is a very beautiful ghazal by him; and once again will provide you with an understanding of what Shakeel’s poetry means to me.

Please enjoy:

AAJ PHIR GARDISH-E-TAQDIR PE RONA AAYA

Aaj phir gardish-e-taqdeer pe rona aaya
Dil ki bigadii huii tasveer pe rona aaya
Today again I cried at the movement (gardish) of fate (taqdeer)
I cried looking at the marred picture of my heart.

Ishq ki qaid mein ab taq to ummiidon pe jiye
Mit gayi aas to zanjeer pe rona aaya
In the prison of love I lived on hopes so far
As the hopes shattered, the chains made me cry

Kyaa haseen khwaab mohabbat ne dikhaya tha hamen
Khul gayi aankh to taabeer pe rona aaya
What a beautiful dream Love showed me
As soon as my eyes opened, I cried about the ‘meaning (or interpretation) of the dream’ (taabeer)

Pehle qasid ki nazar dekh ke dil seham gaya
Phir teri surkhi-e-tahreer pe rona aaya
First I was stunned/shocked (seham gaya) looking at the eye of the messenger (qasid)
Then I cried looking at the headlines of your writing (teri surkhi-e-tahreer)

Dil ganvaa kar bhi mohabbat ke maze mil na sake
Apani khoyi huii taqdeer pe rona aaya
I lost my heart and still couldn’t win the joys of Love
I cried at my destiny (taqdeer) that I lost.

Kitne masruur the jeene ki duaa.on pe Shakeel
Jab mile ranj to taaseer pe rona aaya
How delighted/cheerful (masruur) I was about the prayers for my life, Shakeel
When I got grief (ranj), I cried at the effect/influence (of the prayers)

Ghazal #35

Another beautiful ghazal:

AB TO KHUSHI KA GHAM HAI NA GHAM KI KHUSHI MUJHE

Ab to khushi ka gham hai na gham ki khushi mujhe;
Be-his bana chuki hai bahut zindagi mujhe.
Now, I neither lament happiness, nor rejoice in sorrow,
Life has made me very senseless (be-his).

Vo waqt bhi khuda ne dikhaya kabhi mujhe;
Un ki nadaamton pe ho sharmindagi mujhe.
God has shown me that time too
When I feel ashamed of her regrets (nadaamton)

Rone pe apne un ko bhi afsurda dekh kar,
Yuun ban raha hoon jaise aayi hansi mujhe.
To see her depressed (afsurdaa) on my crying,
I am making it up as if I am about to break into laughter

Rakha hai tishna-kaam to saaqi bas ik nazar,
Sairaab kar na de meri tishna-labii mujhe.
You have kept me thirsty (tishna-kaam), but my wine server, just look,
My parched lips (tishna-labbi) may not leave me fulfilled (sairaab)

Paaya hai sab ne dil magar is dil ke bavaaajuud,
Ik shai mili hai dil mein khatakti hui mujhe.
Everyone has a heart, but despite this heart,
I found a thing (shai) in my heart that is like an obstacle.

Raazi hon ya khafaa hon vo jo kuchh bhi hon Shakeel,
Har haal mein qubuul hai un ki khushii mujhe.
She may be contented or angry, in whatever mood it may be, Shakeel,
In every way I accept her happiness.

Ghazal #36

Here is the 36th ghazal of Shakeel Badayuni with meanings.

This is, like all ghazals, about Love but see the andaz!

Please enjoy:

ABHI JAZBA-E-SHAUQ KAMIL NAHIN HAI

Abhi jazba-e-shauq kamil nahin hai
Ki begana-e-aarzu dil nahin hai
(Emotion of love is not yet complete
My heart is not (fully) ignorant of desire)
(Jazba-e-shauq=Emotion of love; Kamil=Perfect or complete; Begana-e-aarzu=Ignorant of desire)

Koi parda-e-raaz haa.il nahin hai
Sitam hai vo phir bhi muqabil nahin hai
(Some veil of secrecy is there but it is not a hindrance
It is an oppression but still not a confrontation)
(Parda-e-raaz=Veil of secrecy; Haa.il=Hindrance; Sitam=Oppression; Muqabil=Confrontation)

Sar aankhon pe nairangi-e-bazm-e-aalam
Jise KHauf-e-gham ho ye vo dil nahin hai
(I honour the bewitching deception of the world
(But) my heart is not the one that fears sorrow)
(Beautiful couplet indeed!)
(Sar aankhon pe=To accept with respect; Nairangi-e-bazm-e-aalam=Bewitching art, deception of world; KHauf-e-gham=Fear of sorrow)

Masarrat-ba-daman huun sailab-e-gham mein
Koi mauj mahrum-e-sahil nahin hai
(In the flood of grief, I find happiness in (her) hem
It is not some wave that is deprived of shore)
(Masarrat-ba-daman=Happiness in hem; Sailab-e-gham=Flood of grief; Mauj=Wave; Mahrum-e-sahil=Deprived of shore)

Mohabbat se bach kar kahan jaayega
Talatum hai aghosh-e-sahil nahin hai
(The most beautiful couplet in this ghazal!)
(Where will you go saving yourself from Love?
It is a sea-storm and not the embrace of shore)
(Talatum=Sea storm or upheaval; Aghosh-e-sahil=Embrace of shore)

Woh kis naaz o andaz se keh rahe hain
Shakeel ab mohabbat ke qabil nahin hai
(With what pride and style she is saying:
Shakeel is now not deserving of Love)
(Naaz=Pride; Andaz=Manner)

Ghazal #37

Lest anyone should feel I have given up or even paused my fascination for Shakeel’s poetry, here is his 37th (a long one at that) after I gave his 36th on 16 June: Abhi jazba-e-shauk kamil nahin hai.

Please enjoy: BAS EK NIGAH-E-KARAM HAI KAAFI

Bas ik nigaah-e-karam hai kaafii agar u.nhe.n pesh-o-pas nahii.n hai
Zaahe tamannaa kii merii fitarat asiir-e-hirs-o-havas nahii.n hai
Her kind glance (nigaah-e-karam) is sufficient if she has no hesitation (pesh-o-pas)
My nature (fitrat) is not prisoner of greed and lust (asiir-e-hirs-o-havas) of the bow string (Zahe) of desire (tamanna)

Nazar se sayyaad duur ho jaa yahaa.N teraa mujh pe bas nahii.n hai
chaman ko barbaad karanevaale ye aashiyaa.N hai qafas nahii.n hai
O hunter (sayyad) go away from glance, here you have no control over me
O ye who has destroyed the garden (chaman), this is a nest (aashiyaa.N) and not a cage.

Kisii ke jalve ta.Dap rahe hai.n huduud-e-hosh-o-Khirad ke aage
huduud-e-hosh-o-Khirad ke aage nigaah ke dastaras nahii.n hai
Someone’s splendour (jalve) is agitating beyond the limit of consciousness and reason (huduud-o-hosh-o-Khirad)
Beyond the limit of consciousness and reason there is no reach (dastaras) of the eye (nigaah)

Jahaa.N kii nayarangiiyo.n se yaksar badal ga_ii aashiyaa.N kii suurat
Qafas samajhatii hai.n jin ko nazare.n vo dar-haqiiqat qafas nahii.n hai
Worldly deceptions (narangiiyo.n) have entirely (yaksar) changed the face (suurat) of the nest (aashitaa.N
One that the glance (nazare.n) held as cage (Qafas) is in actuality (dar-haqiiqat) not a cage

Kahaa.N ke naale kahaa.N kii aahe.n jamii hai.n un kii taraf nigaahe.n
Kuchh is qadar mahv-e-yaad huu.N mai.n ki fursat-e-yak-nafas nahii.n hai
No time for complaints (naale), no time for sighs (aahe.n), my eyes are fixed in her direction
I am absorbed in memory (mahv-e-yaad) in such a way that I don’t have the leisure for breathing (fursat-e-yak-nafas)

Qusuur hai ishrat-e-guzishtaa kaa husn-e-taasiir allaah allaah
Vahii fazaaye.N vahii havaaye.N chaman se kuchh kam qafas nahii.n hai
Guilt (qusuur) is that of earlier pleasures (ishrat-e-guzishtaa) as effect of beauty (husn-e-taasiir), by God,
Same weather (fazaaye.N), same breeze (havaaye.N) are no less imprisoned (qafas) by the garden

Kisii ke be’etanaa_iyo.n ne badal hii Daalaa nizaam-e-gulashan
Jo baat pahale bahaar me.n thii vo baat ab ke baras nahii.n hai
Someone’s carelessnesses (be’etanaa_iyo.n) have changed the system of garden (nizaam-e-gulashan)
That thing that was earlier there in the spring (bahar), that thing is not there this year

Ye buu-e-sumbul, ye Khaa.ndaa gul aur aah! ye dard bharii sadaaye.N
Qafas ke a.ndar chaman ho shaayad chaman ke a.ndar qafas nahii.n hai
This smell of hyacinth, this smile of flower (Khaa.ndaa gul) and sigh! this painful voices (sadaaye.N)
Perhaps garden is inside the cage, but, cage is not within the garden

Na hosh-e-Khilvat na fikr-e-mahafil ayaa.N ho ab kis pe haalaat-e-dil
Mai.n aap hii apanaa ham-nafas huu.N meraa ko_ii ham-nafas nahii.n hai
There is neither sense of privacy (hosh-e-Khilvat) nor worry of assembly (fikr-e-mahafil), with whom should I make my heart’s condition (haalaat-e-dil) clear (ayaa.N)
I am my own friend (ham-nafas), no one is a friend of mine

Kare.n bhii kyaa shikavaa-e-zamaanaa kahe.n bhii kyaa dard kaa fasaanaa
Jahaa.N me.n hai.n laakh dushman-e-jaa.N ko_ii masiihaa nafas nahii.n hai
With whom should I complain about times (shikavaa-e-zamaanaa), with whom should I tell tale of pain (dard kaa fasaanaa)
The world has lakhs of enemies of heart (dushman-e-jaa.N), there is no messiah to revive the dead

Sunii hai ahal-e-junuu.N ne aksar Khaamoshii-e-marg kii sadaaye.N
Sunaa ye thaa kaaravaan-e-hastii rahiin-e-baa.ng-e-jaras nahii.n hai
The mad people (ahal-e-junuu.N) have often (aksar) heard the voices (sadaaye.N) of the silence of death (Khaamoshii-e-marg)
(They had) heard that caravan of life (kaaravaan-e-hastii) is not pledged to call of bells (rahiin-e-baa.ng-e-jaras)

Chaman kii aazaadiyaa.N muaKhKhar tasavvur-e-aashiyaa.N muqaddam
Gam-e-asiiriihai naa-mukammal agar Gam-e-Khaar-o-Khas nahii.n hai
Freedoms (aazaadiyaa.N) of garden (chaman) are above all (muqaddam) imagination of nest (tasavvur-e-aashiyaa.N)
Sorrow of imprisonment (Gam-e-asiirhai) is incomplete (naa-mukammal) if there is no sorrow of thorns and dry-grass (Gam-e-Khaar-o-khas)

Na kar mujhe sharmsaar naaseh mai.n dil se majabuur huu.N ki jis kaa
Hai yuu.N to kaun-o-makaa.N pe qaabuu magar muhabbat pe bas nahii.n hai
O adviser (naaseh), do not make me ashamed (sharmsaar) I am forced by heart (dil se majabuur) to say
That the one who has the whole world (kaun-o-makaa.N) under her power (qaabuu) but has no control over love

Kahaa.N vo ummiid-e- aamad-aamad kahaa.N ye iifaa_e ahad-e-fardaa
Jab aitabaar-e-nazar na thaa kuchh ab aitabaar-e-nafas nahii.n hai
Where is that hope of arrival (ummiid-e-aamad-aamad), where is that keeping of promise of tomorrow (iifaa_e ahad-e-fardaa)
Then there was no trust of glance (aitabaar-e-nazar), now there is no trust of breath (aitabaar-e-nafas)

Vahii.n hai.n naGme.n vahii hai naale sun ai mujhe bhuul jaane vaale
Terii sama’at se duur huu.N mai.n jabhii to naalo.n me.n ras nahii.n hai
The melodies (naGme.n) are still there, lamentations (naale) are still there, O you who has forgotten me
Whenever I am out of your hearing range (sama’at se duur), my lamentations have no quintessence (ras)

“Shakeel” duniyaa me.n jis ko dekhaa kuchh us kii duniyaa hii aur dekhii
Hazaar naqqaad-e-zindagii hai.n magar ko_ii nuktaaras nahii.n hai
Shakeel, I have seen them in the world, who have a different world
Thousands of critics of life (naqqaad-e-zindagi) are there, but, no one is perceptive of minute detail (nuktaaras)

Ghazal #38

I have explained several times my adoration of Shakeel Badayuni; I grew up listening to his ghazals and songs and they made an indelible mark on my consciousness. Hence, out of 60 Ghazals and Nazams that I have put up in the group Main Shayar To Nahin (not including 32 of my own), 38 of them happen to be Shakeel’s.

Here is a short one of his that was sung by Talat Mehmood:

RAUSHNI SAYA-E-ZULMAT SE AAGE NA BADHI

Raushni saya-e-zulmat se aage na badhi,
Zindagi shama ki ik raat se aage na badhi.
Light did not proceed beyond the shadow of darkness (saya-e-zulmat)
Life didn’t proceed beyond one night of the candle (shama)

Apni hasti ka bhi insaan ko irfaan na huaa,
Khaak phir khaak thi auqaat ke aage na badhi.
Human being had no enlightenment (irfaan) about own existence (hasti)
Dust was just dust, it didn’t go beyond its limit/boundary.

Naam badnaam huaa sinf-e-ghazal ka lekin
Shairi rasm-o-rivayat se aage na badhi.
Form of Ghazal earned a bad name, but,
Shairi didn’t proceed beyond custom (rasm) and tradition (rivayat)

Be-takalluf hui tajdid-e-mulaqaat magar,
Woh bhi ik tishna mulaqaat se aage na badhi.
The novelty of meeting (tajdid-e-mulaqaat) came down to informality (be-takalluf), however,
That too didn’t go beyond the thirsty (tishna) meeting.

Zulf-bar-dosh woh ik baar to aaye, Shakeel,
Phir koi raat bhi us raat se aage na badhi.
Tresses on shoulders (Zulf-bar-dosh) she at least visited once, Shakeel,
Then, no night (ever) went beyond that night.

Ghazal #39

My adoration appears to be tapering off! It had been 11 days since I put up his 38th: RAUSHNI SAYA-E-ZULMAT SE AAGE NA BADHI on the group Main Shayar To Nahin.

By the way, I was only 16 when Shakeel died; three years before joining the Navy. And yet, witness the strong influence!

Please enjoy: MUJH KO SAAQI NE JO RUKHSAT KIYA MAIKHAANE SE

Mujh ko saaqi ne jo rukhsat kiya maikhaane se,
Khud mai-e-naab chhalakane lagi paimaane se.
As the bar-woman dismissed me from the tavern,
By itself neat alcohol (mai-e-naab) started swirling (or spilling) from the goblet.

Dekh kar haalat-e-dil unako taras aa hi gaya,
Wo bhi ghabra se gaye mere tadap jaane se.
(At last) she took pity after seeing the condition of my heart,
She too was worried to see me wince.

Dete hain taana-e-asnaam-parasti mujh ko,
Sajda karte huye jo nikale hain maikhaane se.
They taunt me on my idolatry (asnaam-parasty)
But I have seen them leaving the tavern with heads bowed in prayer (for her) (sajda)

Aap ke jaate hi aabaad hui bazm – e – khayaal,
Ban gayi aur bhi taqdeer bigadh jaane se.
As soon as you departed, the assembly of imagination (bazm-e-khayal) became inhabited (aabaad)
Destiny became better as it got spoiled.

Mohatasib ab tujhe tauba ka yakeen ho ke na ho,
Ham to takra chuke paimaane ko paimaane se.
Law officer (Mohatasib: magistrate), now you may or may not believe (my) penitence (tauba),
I have finished knocking goblet against goblet (meaning, saying “cheers”).

Apna ham-maslak o hamraaz kise kahiye Shakeel,
Nazar us bazm mein sab aate hain begaane se.
Who to call as belonging to same sect (ham-maslak) and confidante (hamraaz), Shakeel,
All in that assembly (bazm) appear to be strangers

Ghazal #40

Fortieth ghazal – the first one being ‘Kaise keh doon ke mulaqaat nahin hoti hai?’ on the day when the group Main Shayar To Nahin was formed, on 10th of January 2015 – and we cannot get over the beauty of his creations.

IK IK QADAM FAREB-E-TAMANNA SE BACH KE CHAL

Ik ik qadam fareb-e-tamanna se bach ke chal,
Duniya ki aarzu hai to duniya se bach ke chal.
Every step walk away from deception of desire (fareb-e-tamanna),
If you desire the world then walk away from the world.

Khud dhoond lega tujh ko tera munfarid maqaam,
Raah-e-talab mein naqsh-e-kaf-e-paa se bach ke chal
On its own your individualistic (munfarid) position (in life) (maqaam) will find you,
On the path of desire (Raah-e-talab) move clear of the footprints (of others).

Milti nahin hai raah-e-sukuun khauf o yaas mein,
Gulshan ki justuju hai to sahra se bach ke chal.
Path of peace of mind (raah-e-sukuun) cannot be found in fear (khauf) and despair (yaas),
If you have quest (justuju) for garden (Gulshan), you must walk clear of desert (sahra).

Munh jaada-e-wafa se na moD ai wafa-shi.ar,
Lekin huduud-e-chashm-e-tamasha se bach ke chal.
O faithful (wafa-shi.ar) don’t turn away from way of love (jaada-e-wafa),
But move away from the boundary or limit (huduud) of spectacles’ (tamasha) eyes (chashm) (meaning don’t turn away from love but from the confines of spectacles)

The next couplet is really very beautiful:

Kitani haseen hain un ke sitam ki masarraten,
Shukr-e-karam ki zahmat-e-be-ja se bach ke chal.
How beautiful (haseen) are the joys (masarraten) of her tyranny (sitam),
(But) Move away from the unnecessary inconvenience or trouble (zahmat-e-be-jaa) of gratitude of (her) kindness (shukr-e-karam) (meaning, whilst the joys of her tyranny are beautiful, you don’t have to go out of the way to express gratitude for her kindness!

Lamhen udaas udaas faza-en ghuti ghuti,
Duniya agar yahi hai to duniya se bach ke chal.
Moments are very sad, atmosphere is stifled,
If this is the world, then move away from the world.

The last one is a self-analysis and self-caution:

Apne adab pe naaz hai tujh ko agar Shakeel,
Maghrib-zada adiib ki duniya se bach ke chal.
Shakeel, if you have pride (naaz) in own literature (adab),
Then move away from the westernised literary world.

Ghazal #41

Love is not a reasoned emotion. When you fall in love, you don’t compare and rue the loss of others; you cling to the one you have fallen in love with. I wrote a complete essay on it in my blog about why certain songs, ghazals, poetry touch the chords of our heart.

Shakeel’s do that for me. It would have been different if I just ‘liked’ his poetry as I do of others. But, I am in love with his poetry!

Here is his 41st in this group made famous by Begum Akhtar and Peenaz Masani:

DUUR HAI MANZIL RAAHE.N MUSHKIL AALAM HAI TANHAAII KAA

Duur hai manzil raahe.n mushkil aalam hai tanahaa_ii kaa
Aaj mujhe ehasaas huaa hai apani shikastaapaa_ii kaa
Destination is far, ways are difficult, there is a world of loneliness,
Today, I have been made conscious of the the infirmity of my feet (shikastaah_paaii)

Dekh ke mujh ko duniyaaa vaale kahane lage hai.n diivaanaa
Aaj vahaa.N hai ishq jahaa.N kuchh Khauf nahii.n rusavaa_ii kaa
Upon seeing me the people of the world started saying I am crazy (in love)
Today, love is at a stage where there is no fear of stigma (rusavaa_ii)

Chho.D de.n rasm-e-Khud_nigarii ko to.D de.n apanaa iimaa.N
Khatm kiye detaa hai zaalim ruup terii a.nga.Daa_ii kaa
I should abandon the custom (rasm) of self description (Khud_nigarii), break my conscience or faith (iimaa.N)
The tyrant picture of your stretching in bed (a.nga.Daa_ii) destroys (me and my description)

Note: Peenaz Masani sings this as:
chho.D de rasm-e-Khud_nigarii ko chho.D de apanaa haath yahaa.N
Khaak kiye detaa hai zaalim ruup terii a.nga.Daa_ii kaa

Mai.n ne ziyaa husn ko baKhshii us kaa to ko_ii zikr nahii.n
Lekin ghar ghar me.n charchaa hai aaj terii raanaa_ii kaa
I lent splendour (ziyaa) to (your) beauty, there is no mention of that
But, everywhere there is talk of your radiance (raanaa_ii)

Ahal-e-havas ab ghabaraate hai.n Duub ke behar-e-Gam me.n “Shakeel”
Pahale na thaa bechaaro.n ko a.ndaazaa geharaa_ii kaa
People of lust or desire (ahal-e-havas) are now worried whilst drowning in the sea of sorrows (behar-e-Gam), Shakeel
Earlier the poor souls (bechaaro.n) had no estimate of the depth

I couldn’t locate the Peenaz Masani version. I am giving you Begum Akhtar version:

https://youtube.com/watch?v=PHwT0PF2c2E%3F

Greetings to everyone on the Birth Anniversary of Shakeel Badayuni on 03rd August.

Here is his Ghazal #42 on this auspicious day that in a way tell us what his life and poetry are all about.

Please enjoy: KABHII ISHQ KAA TAQAAZA KABHI HUSN KE ISHAARE

Kahii.n ishq kaa taqaazaa kahii.n husn ke ishaare
Na bachaa sake.nge daaman Gam-e-zi.ndagii ke maare
Somewhere there is demand (taqaazaa) of Love, at others there are gestures of Beauty
You won’t be able to save the hem of your dress from the sorrow of life

Shab-e-Gam kii tiiragii me.n merii aah ke sharaare
Kabhii ban gaye hai.n aa.Nsuu kabhii ban gaye hai.n taare
In the gloom (tiiragii) of night of sorrow (Shab-e-Gam) are the sparks (sharaare) of my sigh (aah)
Sometimes they appear as tears and sometimes as stars.

Jinhe.n ho sakaa na haasil kabhii kaif-e-qurb-e-ma.nzil
Wahii do kadam hai.n mujhako terii justajuu se pyaare
Those that couldn’t obtain the intoxication of vicinity of destination (kaif-e-qurb-e-ma.nzil)
Those two steps in your quest (justajuu) are dear to me

Mai.n ‘Shakeel’ unakaa ho kar bhii na paa sakaa huu.N unako
Merii tarah zi.ndagii me.n ko_ii jiit kar na haare
Shakeel, I couldn’t claim her even though I was hers,
Like me, in life, no one should lose after winning.

https://youtube.com/watch?v=NhLvDElehXQ%3F

BENGAL BASED HINDI MOVIES FROM ANURADHA TO PIKU

I am fascinated by the talented Bengali film makers, story writers, directors, actors, singers and music directors of Hindi movies. Most of them have brought something refreshingly new, challenging and memorable to the table. I am indeed working on an essay to bring out their contribution to the Hindi cinema; which is mammoth indeed. This essay or article is only about one aspect, that is, movies based on neglect of women in the emerging Bengali society. Now, I am not saying there is no neglect of women in other Indian societies; after all, just a few years back, when female foetuses were found abandoned in a well in Patiala (Punjab), it shocked our nation to know that even the state that touts itself as the most progressive has scant regard for the female child. It is just that the projection of these issues has been so repeatedly and so well done in Bengal based Hindi movies that it is worthy of comment.

Bringing out treatment of women and making movies wherein a woman is the main protagonist has been the focus of many Bimal Roy movies. Take the 1953 movie Parineeta (literally translated as ‘Married Woman’) for example. Meena Kumari as Lalita, daughter of a poor clerk Gurcharan, is in love with Shekhar Rai, a landlord’s son, portrayed by Ashok Kumar and they are married in their minds. All is well except for the poverty in her family that makes her father to take loan from a kind hearted gentleman Girin. By an unfortunate misunderstanding, it is rumoured that Lalita is sold off to Girin.

The movie, based on a story by Sharat Chandra Chattopadhayay went on to receive the Filmfare Best Film award as also got its heroine Meena Kumari, the Best Actress award.

A scene from Bimal Roy's 1953 movie Parineeta. Shekhar accepts Lalita as his wife even before they are married.
A scene from Bimal Roy’s 1953 movie Parineeta. Shekhar accepts Lalita as his wife even before they are married.

Except for his first movie Do Bigha Zameen (which, by the way, was not just the first movie to win Filmfare Best movie award but also the first Indian movie to win an international award at Cannes Film Festival) that was based on Indian neo-realist movement, all his other Hindi movies had women as the main protagonists. After Parineeta, we had Biraj Bahu starring Kamini Kaushal, Madhumati, Sujata and Bandini.

The last scene and song of Bimal Roy's 1963 movie Bandini with an outstanding song sung by SD Burman on his own music and Shailendra's lyrics: Mere saajan hain us paar. A woman is bandini (in bondage) in many different ways.
The last scene and song of Bimal Roy’s 1963 movie Bandini with an outstanding song sung by SD Burman on his own music and Shailendra’s lyrics: Mere saajan hain us paar. A woman is bandini (in bondage) in many different ways.

For depicting the theme of neglect of women or their desires, which is what this essay is all about, I have picked up four movies: Anuradha, Sahin Bibi Aur Ghulam, Anubhav and Piku.

Anuradha is a 1960 movie directed by Hrishikesh Mukherjee with story by Sachin Bhowmick and screenplay and dialogues by Rajinder Singh Bedi. The story based roughly on the novel Madame Bovary by Gustav Flaubert. Leela Naidu plays the protagonist Anuradha Roy, daughter of a rich father who has earned fame as a singer on All India Radio and in public functions. Shailendra as lyricist and Pandit Ravi Shankar as Music Director have done remarkably well to bring out her feelings through songs: those of blithe happiness when with her father and of sadness and neglect when with her husband Nirmal Chaudhury played by Balraj Sahni. He is an idealist doctor who has taken it upon himself to render selfless service to the rural poor. He is unmindful of the fact that his obsession results in his wife’s talent lying totally atrophied. He doesn’t even remember their anniversary. In the end when he is gifted Rupees 20000 (a princely sum during those days) by a millionaire for saving the life and looks of his daughter who meets with a car accident when traveling with Anuradha’s erstwhile ardent lover Deepak played by Abhi Bhattacharya, his family doctor played by Nasir Hussain brings out that Nirmal Chaudhury is not as deserving of the reward as his wife Anuradha since she sacrificed everything for the sake of her husband. Indeed, in the movie, when Deepak tells her that she hadn’t got anything from her husband, she takes offence to it and reminds him that he shouldn’t be insulting her husband under her husband’s roof. I was immediately reminded of Bimal Roy’s Bandini wherein Nutan is portrayed as Bandini (in bondage) to tradition and her first love Ashok Kumar despite her subsequent relationship with a kind-hearted and understanding jailer Dharmendra. There must be something about the portrayal of a Bengali woman’s undying devotion for her husband as a virtue worth acquiring.

Leela Naidu as Anuradha Roy singing to Abhi Bhattacharya as Deepak: Kaise din beete kaise beeti ratiyan piya jaane na; and yet not accepting his denigrating her husband Balraj Sahni as Nirmal Chaudhury.
Leela Naidu as Anuradha Roy singing to Abhi Bhattacharya as Deepak: Kaise din beete kaise beeti ratiyan piya jaane na; and yet not accepting his denigrating her husband Balraj Sahni as Nirmal Chaudhury.

In Guru Dutt’s 1962 movie Sahib Bibi Aur Ghulam, directed by Abrar Alvi (who was Guru Dutt’s favourite writer and director; they did Aar Paar, Kaagaz Ke Phool, Pyaasa and Mr & Mrs 55 together, in addition to Sahib Bibi Aur Ghulam), Meena Kumari as Chhoti Bahu had a very poignant role opposite Rehman as a husband. Rehman was the face if the moral rot in Bengalu feudalism; he’d spend more time in the company of courtesans than with his wife. The movie’s songs are exceedingly beautiful and meaningful, penned by my favourite lyricist Shakeel Badayuni with music by my favourite Hemant Kumar. Two of the songs, sung by Guru Dutt’s wife Geeta Dutt, and picturised on Meena Kumari bring out the intensity of her emotions; Piya aiso jiya mein samaayi gayo re, and Na jaao sainyya chhuda ke bainyaa kasam tumhari mai ro padhungi. Both bring out how she would dress up, do make up, and even drink alcohol to please him enough so that he’d spend time with her rather than with courtesans. This theme is the same as Anuradha’s; which is that a woman would do anything to win the attention of her husband and that husband, irrespective of the treatment meted out to her, is still worthy of veneration.

A scene from Guru Dutt's 1962 movie Sahib, Bibi Aur Ghulam. Meena Kumari as Chhoti Bahu is desperate to keep her husband Chhote Sarkar from visiting courtesans. In this song: Na jaayo sainyya chhuda ke bainyya, she promises everything that a courtesan would give him.
A scene from Guru Dutt’s 1962 movie Sahib, Bibi Aur Ghulam. Meena Kumari as Chhoti Bahu is desperate to keep her husband Chhote Sarkar from visiting courtesans. In this song: Na jaayo sainyya chhuda ke bainyya, she promises everything that a courtesan would give him.

Cut now to the third movie on this theme: the 1971 movie Anubhav directed by Basu Bhattacharya (who made a trilogy on similar themes with Avishkaar (1973) and Griha Pravesh (1979). In this movie it is Tanuja as Meeta Sen who is facing neglect by her husband Sanjeev Kumar as a newspaper editor Amar Sen. In order to win his attention, she gets rid of all the domestic staff except AK Hangal. It has a positive effect only partly. However, by this time her ex lover Dinesh Thakur as Shashi Bhushan enters the scene. The movie ends with Sanjeev Kumar acknowledging that her past wouldn’t have had a chance to wreck their lives if he had taken care of the present. Her ending dialogue in the movie was: “Main samajh gayi hoon ke tum samajh gaye ho” (I have understood that now you have understood). The movie has some excellent songs sung by Geeta Dutt and Manna Dey on the music of Kanu Roy; three of which are outstandingly beautiful: Meri jaan, mujhe jaan na kaho meri jaan; Mera dil jo mera hota; and Phir kahin koi phool khila, chahat na kaho isako.

A scene from Basu Bhattacharya's 1971 movie Anubhav. Real ecstasy is to have husband at home giving her full attention.
A scene from Basu Bhattacharya’s 1971 movie Anubhav. Real ecstasy is to have husband at home giving her full attention.

The fourth movie, Piku directed by Shoojit Circar, is only different in one respect in that the neglect of the woman, Deepika Padukone as Piku Banerjee, is not at the hands of a husband but by her father, Amitabh Bachchan as Bhaskor Banerjee. He has chronic constipation and gastric condition and he takes it for granted that life of everyone in general and his daughter in particular should revolve around his minute to minute condition. For her, as an architect, there are many embarrassing moments such as when she is busy in her office and news of her father’s latest constipated condition is broken publicly over sms. In his obsession with himself and his constipation in his old age (70 years), he totally ignores her desires. For example, when she is romantically inclined with her co-worker in office, Syed, Bhaskor tells him that his daughter is moody like him and also not a virgin. Bhaskor decides to visit his house in Kolkatta where his brother and his wife live. But, fastidious that he is, he finds going there from Delhi by train or plane unsafe. So, finally, he is driven there by Rana Chaudhary played by Irrfan Khan, who is the owner of a cab company only because none of the drivers want to do duty with Piku due to her moods. He closely observes the totally self-centered, annoying and always complaining habits of Bhaskor and her dedication towards him despite these and tells us, “You have now fallen into the league of great women like Rani Laxmi Bai and Annie Besant.” In the end, Bhaskor dies a kind of death his always wanted – peaceful, no tubes, no ventilator. At a funeral ceremony, Piku tells family and friends, “My father was in peace. No ache or dilemma on his face. And those who know my father, they know, that he only had one problem – constipation. But he was cured of that as well before he passed away. So his death was a happy one. And I’m gonna miss him.”

2015 movie Piku's pics courtesy: www.feastforyou.com. Bhaskor's obsession with his constipation at the expense of his daughter's happiness is reflected in the commode he carries atop the vehicle that takes them 1500 kms from Delhi to Kolkatta
2015 movie Piku’s pics courtesy: www.feastforyou.com. Bhaskor’s obsession with his constipation at the expense of his daughter’s happiness is reflected in the commode he carries atop the vehicle that takes them 1500 kms from Delhi to Kolkatta

There are, I am sure, many more such movies in which self-abnegation in comparison to her husband’s or if single, her father’s comfort, happiness and success exemplifies the Bengali women. Bengali women, as shown in such movies are the epitome of self-sacrificing love, unquestionable loyalty to their husbands, and the ones who would display genuine offence if their husbands are insulted in front of them. Portrayal of Bengali women in the movies is perhaps a reflection of their society wherein women are not displayed as sensuous or young or attractive but as devoted wives, mothers and grandmothers. Even when they are neglected or ignored they continue to be devoted wives, mothers, grandmothers and daughters.

There are, of course, dissenting or divergent voices. Anirvan Chatterjee in a January 1997 essay titled ‘Exploring Bengali Women’s History’ abhors the idea and psychology of arranged marriages for Bengali women. She writes, “I find it a bit puzzling how my mother, and other Bengali women like her, could so casually accept the idea of being sent into the houses of men they’d never met, living in a country 8,000 miles away, having their whole future lives’ paths determined for them in a single act outside their control. The thought of being in my mother’s shoes scares me; I picture myself as a much-bedecked lamb being led almost forcibly to the “slaughter” of the marriage ceremony.” However, she also brings out that just two books helped her get a better understanding of Bengali women: Malavika Karlekar’s Voices from Within and Manisha Roy’s Bengali Women.

Despite the motley of divergent views as those of Anirvan Chatterjee, the most endearing image of Bengali woman would continue being the one who’d do anything in her devotion for her man. The 1953 movie Anuradha, for example, has, in the last scene, Anuradha busy sweeping the floor of her husband’s house. Anyone watching the movie would know that for her self-abnegation has been honed into a fine-art. She may be meek in her devotion or she may actually be like Durga as in Sujoy Ghosh‘s 2012 movie Kahaani avenging the disappearance of her husband; the raison d’être for her.

In her quest to avenge the disappearance of her husband, the distinction between Vidya Bagchi (played by Vidya Balan) and goddess Durga is blurred.
In her quest to avenge the disappearance of her husband, the distinction between Vidya Bagchi (played by Vidya Balan) and goddess Durga is blurred.

ARMED FORCES’ PENCHANT FOR SECRECY

This is a humorous take on our penchant for secrecy, the kind that evokes nostalgic mirth. It is not meant as criticism. Of course we have our reasons for secrecy and most of these are valid reasons. Humour, of course, obtains from those quaint situations and anecdotes that arise from this ubiquitous penchant.

Secrecy cartoon
www.outsiderclub.com

Armed forces personnel are, by nature, secretive and suspicious. I must have had traits of a potential fauji at very early stages of my life. As kids, we were of impressionable age when the Indo-Pak War of 1965 started. We were in the town of Mandi in Himachal Pradesh. Our group of 11 to 12 year olds had felt that what stood between the country’s continued freedom and hostile destruction was – to a large measure – our vigilance. Inspired by the news on All India Radio wherein Paki spies routinely disguised themselves as sadhus and beggars, every such person visiting our colony was subjected to intense search and scrutiny. One or two of them were severely beaten up for not being able to prove their identities. A Horticulture (my dad’s chosen field of work) Colony was coming up in Jawahar Nagar (now must be called Sonia or Rahul Nagar in keeping with the equivalent penchant of our netas) and the labourers were mainly of Tibetan origin. They were living in tents across our house and used to cook on wood. One night – the first night after we had finished putting carbon paper on all glass window panes so that no light would show outside during black-outs – our vigilant group spotted these Tibetans cooking on wood-fires. We felt that these were open invitations for the PAF Canberras to bomb the hell out of us. So, we stridently ordered the labourers to take their fires inside the tents; much against their protests. After about 30 minutes of their complying with our orders, two of the tents caught fire and it took us hours to put out the fires. Luckily, PAF Canberras were not as vigilant as we were.

Ten years later, I joined the Indian Navy as a commissioned officer and realised that my sense of secrecy was still precocious; I had much more to learn. As a Lieutenant I was made a member of a pricing board for buying fresh vegetables. Those days, rations were not supplied to us by the naval Base Victualing Yard (BVY) but through the ASC or Army Supply Corps depot in what we had erroneously been thinking of as naval area but was later confirmed as military area because of the Army’s penchant to hold land even in naval stations. I was stunned to see that the proceedings of this board were marked SECRET. I was thinking of it as a misprint but the board president, a Colonel, assured me otherwise. Later, when I became married, and started receiving those free rations (subsequently called entitled rations so that our civilian counterparts would not exercise their own penchant for always bringing out that freebies were given to us at the drop of a hat), I knew that marking them SECRET was the right thing to do; even I would have wanted them to be SECRET so that others won’t see my mortification at their poor quality. There is always a reason!

Top-secret-stamp-006

Often, the marking of classification evokes curiosity in others. It is somewhat similar to the boss telling the secretary: “Mark this SECRET; I want everyone in the office to read it”. Take social media, for example; you painstakingly put up your posts on which you spend hours researching. However, no one reads them including those who press the Like button. However, if there was some way you could tell people that it has information meant only for the few select ones, see how fast the readership would grow. At one time, the information about Pak Navy assets including weaponry and missiles was SECRET and all of us knew the details like the back of our hands. And then it occurred to Naval Headquarters as to why should stuff that had been gleaned from Jane’s publications be SECRET; so they made it unclassified. End of our curiosity and their being widely known! I can imagine the Naval Intelligence officers exchanging chuckles whilst reading this; they know they were engaged in something useful all these years by passing off news items as intelligence.

(Pic courtesy: www.secrecyfilm.com)

Now, I am sharing with you another source of real intelligence for the naval community in Mumbai, during our days: the newspaper vendor called ODI Mendon. Lets say a friend of yours owed you money (a realistic scenario) and he told you that as soon as he’d get his pay (an unrealistic scenario) he’d return the money since during those days you received your pay in cash. On the first of the next month when you went by you mobike (with the last drops of petrol in it) to extract your owing from him, you found that his ship had sailed. It was a catastrophe and only the hope of the ship’s return would provide you with some silver lining. However, the ships’ movements are highly classified and you can’t get information from anywhere. If you thought hard, you’d find that ODI Mendon was the answer. He’d tell you when exactly the ship would be back; they having stopped the newspaper with him, before sailing, for a specific number of days. He would also tell you which other ships and submarines had sailed. Similarly, MM Pajni, the LIC agent would tell you the ships’ programme as he knew when exactly to come to Naval Dockyard and collect the due premiums of the Life Insurance policies.

But, SECRET or even TOP SECRET doesn’t attract as much curiosity as something called PERSONAL AND CONFIDENTIAL (P&C). As a young Lieutenant  I was posted as an instructor in Navy’s Leadership School INS Agrani at Coimbatore. Our CO, we came to know through rumours, was being overlooked for promotion. During those days, officers received P&C letters regarding the status of their promotions. So, when such a letter arrived at Agrani, curiosity got the better of us. We broke the seals, opened the letter and read how the Navy is such a pyramidal structure and how at various stages some people, however outstanding they are, have to fall off; and so on. The problem was how to put it back: there was an outer ordinary cover and then there was a sealed cover inside; whose seals now had perished. So the Captain’s Secretary (Cap Sec) overnight got a seal manufactured and on the next forenoon the operation of resealing it was done. During those days, it cost him a bomb.

personalconfidentialrubberstampWhen the CO arrived next day and the mail presented to him, he took out the sealed envelope, didn’t even open it, gave it to his Cap Sec and said, “Just open it and file it in my P&C File. It is a letter from ACOP (Assistant Chief of Personnel); I am not making it to the next rank.” Cap Sec felt like a heel.

The most curious incident of this misplaced secrecy was a signal regarding the movement of one of our Chiefs of Naval Staff (CNS) who was accorded high security due to our operations in Sri Lanka against the LTTE (Liberation Tigers of Tamil Eelam). Hence, whilst a MOVREP (Movement Report) signal is generally unclassified, his MOVREP signals used to be SECRET and encrypted accordingly. As CCO (Command Communication Officer) it was my duty to decrypt them and show them to only the C-in-C and the Chief of Staff (COS). The MOVREP signal is in a format that reads: Name, rank, number, designation, arrival date and time, from where arriving and how (train, air etc), purpose of visit, number of days of visit, departure date and  time, and whether transport and mess accommodation are required and any other information. I showed the decrypted signal to COS and he remarked, “By making it SECRET, at least his movements are now classified and not known to everyone.” I disagreed and showed him three unclassified MOVREP signals of three Naval Headquarters officers received simultaneously. In the palce about how were they arriving, each one of them had dutifully written: ‘By CNS Aircraft’.

This was like the parts of those messages received at sea wherein the classified words were coded in Naval Tactical Code. So a signal would read something like: “Call-sign F1 (say Fleet Commander) would be airborne from 1630 to 1715 hours by NATCO blah blah blah blah UNNATCO”. You didn’t even have to decode it to bring out that blah blah blah blah meant HELO. Only the absolute dumbo would imagine that Fleet Commander would be airborne by KITE or BIRD!

Life goes on. Some of our things are so SECRET that even we don’t have any idea of what they are.

DOING THINGS WITHOUT APPARENT PURPOSE OR REASON

Seeing the quality and popularity of my blog posts,  people frequently ask me to write and publish books. In addition to love for my writing, I know that they mean well by suggesting that I do something about my ever dwindling financial resources. When I left the Navy after nearly 37 years, I didn’t have much and I didn’t even covet much. I also know that they feel that the posts ought to be read by wider audiences.

My biggest concern is that I do not want to get into a rut wherein the quality or even acceptability of something that I am passionate about is to be measured in terms of money earned or readership.

There must be something that we do that is not done with a purpose, intent, end or aim in mind. However, in our current national and community thinking all tasks and engagements must have a specific purpose or reason. We even call into question God’s accountability and use such phrases as: “All the money that I donated to the temple fund appears to have been wasted since our son still couldn’t get admission in medical college” or “Yes, God answered our prayers in getting mataji’s health back. But, out of rupees 10000 that I paid as chadhawa (offering to God), God appears to have given back only about 2000 rupees worth”.

A few years back I started trying my hand at the game of golf. Since I am fond of open spaces (Please also read: ‘Walk Or Gym? I Like It In The Open’), I liked walking on greens, through bunkers and woods chasing a small white ball. However, soon many of my friends started teasing me, “So, you have decided to become an Admiral? This is the sure shot way.”

It must be a world-wide phenomenon; but, it is much pronounced in India. Everything has to lead to something. You can’t have friends unless they can be of some use to you when the chips are down. Indeed, many people actually think of friendship as an investment. Similarly, political people, babus, doctors, lawyers etc have to be nurtured assiduously with the purpose of providing some return when needed.

Children’s education too is seen as an investment. There has to be some return else it is not worth making him or her an engineer or even well read or well educated.

After retirement from the Navy, I started this blog with the idea of giving vent to my creative energies. It was supposed to be a leisurely pursuit. However, then I made the mistake of joining Indiblogger (Please also read ‘Blogging – Race Or Stampede?‘). Soon I was hooked on to monthly ranking: mozRank, Alexa rank, frequency of posting, and external juice passing links and the like and then it became as banal as anything that we do in our life.

The other day, I was reading this light-hearted take on blog writing: ‘It is like various stages of prostitution; first you start doing it for fun, then for your intimate friends, thereafter for wider circle of friends and acquaintances but finally you start doing it for money. My writing is still at the first stage and I am – as they say in McDonald’s  ad – I’m lovin’ it.

Yesterday, once again, I was taking a class with the young executives of my company on Leadership and Team Building. In yet another talk, I reminded them about Abraham Maslow’s Hierarchy of Needs. In the pyramid, at the base, are the Physiological Needs, going up to Safety Needs, Love and Belonging Needs, Esteem Needs and finally Self Actualisation Needs. Privately I was thinking that we Indians are almost perpetually at the bottom of the pyramid, doing things only to satisfy some basic need or the other. There is always a purpose for doing anything.

MaslowIs there no time when we would do things because of passion, a fire that burns inside, a quest that needs to be quenched? Is there no time when we would be like the avid mountaineer who was asked why did he have to climb a
mountain and he replied, “Because it is there”?

(Pic courtesy: skreened.com)
(Pic courtesy: skreened.com)

There is no price that can be placed on a smile; and, if you can smile inwardly, without any apparent reason, it is priceless indeed. A mother does it so often with her child and doesn’t ever count the number of likes and comments her child gets or her ranking in the world because of him.

Your pet does it and you do it for your pet; you read a number of articles about how having a pet is good for you. But, those are after you have got him or her.

Love is not a reasoned emotion and yet, it is the greatest of human emotions.

INDIAN NAVY IS THE ONLY LIFE THAT I HAVE KNOWN AND SEEN

There must be thousands like me in the armed forces of India; we join at a very young age (I was 19 when I joined the Naval Academy or NAVAC at Cochin (now called Kochi) in 1973) and retire when we do not have much life left to see (I retired in end Feb 2010 as Commodore at the age of 56). The other day, on Facebook, I saw security executives in my present corporate where I work celebrating four years (to them it appears a long time with the present trend of job-hopping) of having been there in the same industry. I spent 37 years in the Indian Navy and I could have celebrated this feat nine times over!

I was given the President’s Commission on 01 July 1975 and just a few days back my course-mates and I greeted one another on having completed 40 years of commissioned life. At the time of joining, some of my course-mates were suave, smart, confident and in with the naval way of life. To me, it was all very strange (if I were a girl, I would have been called Alice irrespective of what my parents would have named me!). One or two of the course-mates even appeared to have been from a different planet; one still appears thus. I must have been the most awkward and unlike a Labrador, the least trainable.

What fascinated me about the Navy? The short answer is books and movies; I lapped them up during my boyhood days and imagined myself standing on the deck of a ship like, say, Willie Keith in Caine Mutiny or George Ericson in The Cruel Sea. I also had this strange wanderlust and hence going to sea was as far as I could get from the hills of Himachal where I had been for all my childhood and boyhood years. Now that I have retired from the Navy though the sea is still as fascinating (Please read ‘The Lure Of The Sea’), my next fascination is about matters of philosophy and meta-physics (you will find my writings on these in the Philosophy section of this blog)

So, one fine day, from my home-station in Simla (now spelt Shimla), in May 1973, I took a train to Cochin to be trained (tough job for them!) to become an Indian Navy officer. Here are the last two pictures with my people before Navy claimed me:

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You must have seen two things in the above pictures: the short hair-cut that I supported in preparation for the Naval life and the huge smile. As soon as I landed up at Cochin they modified both. The journey to Cochin from Simla had taken only two and half days and how much my hair would have grown in less than three days? However, the urgency with which I was taken to the barber (barbarian?) made it seem like I was some hirsute sadhu who had emerged from the caves in the hills after long hibernation. I couldn’t believe the mirror when this barbarian had finished with me; all resemblance to a wantonly college-going teenager was gone forever. My snake-leather belt, large brass buckle and my bell-bots were all gone. Even civvies for us were the muftis with a neck-tie. Uniform became a way of life in profession, in spare time, in thoughts and even in sub-consciousness.

The next were my seniors who appeared to be direct descendants of Goebbels; they made me wipe my smile as if it was an ugly scar. One of them got used to ragging me with a simple monosyllable word repeated ad-inifinitum (one of the two in his extensive vocabulary; the other being No). An intelligent conversation with him went like this:

A: Why didn’t you report to me yesterday?
Me: Sir, I broke my leg.
A: So?
Me: I reported to the hospital.
A: So?
Me: They put my leg in a cast. It is still in the cast as you can see.
A: So?

“So, Sir, I prayed whole night to God to make me a bird” I wanted to add, “But, then He told me I would have to do without a brain because He had given you the bird(‘s)-brain.”

I also found out that neither my seniors nor any of the staff at NAVAC respected time of the day or night; one could be asked to do front-rolls immediately after dinner or do somersaults in the middle of the time. I was also to learn, at great cost to my dignity (or whatever remained of it) and physique that during war we may have to change various rigs in less than a minute each time lest the enemy should steal advantage over us. And, in order to prevent enemy from seeking this advantage, those of us who couldn’t finish rig-changing in a minute’s time had to go through the kind of torture that the enemy would have unleashed on all.

These staff and seniors, totally bereft of even the remotest traces of civility, made me do things that were well beyond my own endurance and stamina and against my loudest protestations. For example, they predicted that if they threw me in the deep end of the swimming pool, I would automatically learn swimming. I knew it was impossible and I tried my best to tell them so. However, they insisted on the correctness of their theory. Lo, and behold, after a few dunkings and after my having drunk gallons of chlorinated water, it is they who were proved right and I automatically learnt swimming. Late at night in my bed I formed the opinion that it wasn’t correct that God listened to the godly and righteous people; He also listened to such devils.

In likewise manner, I automatically learnt many a thing and discovered newer limits for my own endurance and stamina.

I learnt, for example, that one could go to sleep whilst standing erect on the bridge of Cadet Training Ship Delhi with binoculars in hand tied to a lanyard around the neck.

I also learnt about Relativity of Time; four hours spent in the club (Officers Institute) in the drunken company of my course mates would pass in a jiffy; whilst the same four hours during the middle watch on the ship appeared like four years.

To add to the misery of training days was the naval lingo that had quaint feel about it. One had to say “Aye aye Sir” if one wanted to say “Yes Sir”; port for left, starboard for right, and “very good” whilst acknowledging a report even if the report was about an impending collision.

I remember seeing the Daily Orders for the first time and laughed that even in an official document personnel were called by their nicknames such as Popti for our physical training instructor until it was explained to me after considerable front-rolling and bend-stretches that it wasn’t Popti but PO PTI (Petty Officer Physical Training Instructor).

Armed forces are, I gradually learnt, always training. Many years later, when I was the Director of Maritime Warfare Centre at Mumbai (I am the only officer who has been Director of all three MWCs in the Navy involved in tactical operational training of Command teams), the motto on the Large Screen Display in the auditorium was by General Patton: ‘The more you sweat in peace, the less you bleed in war’. Armed forces, therefore, are always sweating.

On Cadet Training Ship INS Delhi, our only contact with the civilian world was to be taken for what was called RWR (Road Walk and Run) along the Marine Drive in Bombay. What a world awaited us, we thought; Bombay, the dream city of Hindi films (not yet bastardised to ‘Bollywood’) and glamour, the city of marines and window to the rest of the world, the city of money, and the city of possibilities. And when I finally joined it, honestly, there was this air about us that put us on a pedestal. During those days, you rubbed shoulders with the elite and they were dying to be seen with you. During my Acting Sub Lieutenant days, we could sit in the Ante Room and enjoy the company of Nutan and Tanuja. A video of those days is going around showing really big film stars, singers and music directors attending the Navy Ball.

Forty years back, I remember, I had gone in uniform to receive a senior officer at Bombay Central. After receiving him, as I stood in the queue for a cab to take me back to my ship INS Himgiri, a cop who was directing people into cabs, beckoned me at the end of the queue, stopped the next cab for me, put me into it, without any protest or demurring from anyone ahead of me in the queue. It felt really nice being a uniformed naval officer.

And what about going abroad? For a boy from a small town in Himachal, who was awed by walking and running along the Marine Drive in Bombay, stepping on a foreign shore was ecstasy indeed. Our CO said we were to be ambassadors of our great country and as I covered in ‘Foreign Jaunts’, it felt great to be in the naval-diplomatic role wherever we went. Many decades later, in the year 2001, as the Indian Navy organised its International Fleet Review in Mumbai, the motto selected by them was ‘Bridges of Friendship Across the Seas’. I remember our visit to Odessa in erstwhile USSR (now in Ukraine) on Himgiri, my second ship as a commissioned officer after three weeks on Vikrant in harbour. The official reception was held on the second evening. All the lovely Russian damsels attending the reception asked us why the officers were not attending the reception. We were flummoxed until the mystery unfolded. In foreign shores, sailors go on shore leave in uniform whereas officers go out in civvies. Some of these damsels, fascinated by naval uniforms, gave company to some of the sailors over drinks, dancing and dinner. When they inquired from these sailors the meaning of two crossed anchors badges on their sleeves, the sailors responded that they were officers (conveniently forgetting to add that they were Petty Officers!) and hence permitted to wear uniform ashore whereas the other ranks had to perforce go out in civvies.

In Split, erstwhile Yugoslavia, my first foreign visit as an officer
In Split, erstwhile Yugoslavia, my first foreign visit as an officer

The fascination for naval uniform abroad was to be seen to be believed. I have seen in real life and in pictures people stopping to have their pictures clicked with men in uniform.

During the training period and in our formative years in the Navy, we almost totally forgot about our families. My only sister, for example, got married when I was a cadet, holy-stoning the decks of INS Delhi (erstwhile HMS Achilles that took part in the famous Battle of the River Plate against German battleship Graf Spee, together with HMS Ajax and HMS Exeter. The movie was shot in 1956 and the ship had already been transferred to us in 1958. During the shooting an aerial photo shoot was to be redone because when the reel was developed, it came out that a Sikh sailor, complete with his turban, had come out on the upper deck of Delhi!). I never attended her marriage or any other marriage; I was married to the Navy.

We did manage to fall in love and get married (Please read ‘Lyn And I – Scene By Scene‘); but, the Navy proudly and correctly told our wives that Navy happened to be our first love and they could, at best, be Number Two. The wives themselves had no doubt and never tried to be Numero Uno in our lives. Strangely, the ladies too learnt the ropes through the automatic process that I mentioned above. Whilst we had learnt quick rig-changing, my wife learnt the art of quick packing and unpacking both on permanent as well as temporary duties. They also automatically learnt how to get the best from MES (Military Engineering Service); for example, how many incandescent bulbs of what wattage they were entitled to in exchange for how many. They waited endlessly for us to return to harbour; only to see us off again on another mission, which, they complained the newspaper man and the dhoodhwalla knew all about; but, which “thanks to your stupid secrecy norms, you don’t tell us”.

Our first child, Arjun, was born immediately after my father’s untimely death in an accident and hence under trying circumstances. Our second child, Arun, was born when I was away for a month to Andaman and Nicobar islands on my ship INS Ganga with Prime Minister Rajiv Gandhi and his Italian wife Sonia embarked. Lyn, my wife, walked to the hospital, quickly delivered and returned home so as to look after the first one too. Now that we were raising a family – and in my case, under most difficult conditions (as you would have gathered from the blog ‘Lyn And I – Scene By Scene’) – for the nth time, the automatic process came in handy. Both the children too became fiercely independent (Read ‘Diminishing Dad‘), capable and accomplished almost entirely on their own. The other day, my erstwhile coxswain of INS Aditya, a retired Petty Officer, brought his daughter for selection in ICSI (Institute of Company Secretaries of India) run institute called CCGRT (Centre for Corporate Governance Research and Training). She is from a small town in Andhra and just 12th standard pass. She had to compete against graduates and diploma holders but she easily got selected, thanks to the automatic learning process of the armed forces.

During our days there was a joke about a naval officer’s involvement with his family (I believe the joke is still prevalent). A naval officer was asked how big his two children were. He pointed out with his hands, not vertically, but horizontally. This was rather quaint way of bringing out the size of his children and he was asked to explain. He responded, “I see them in the bed only; when I leave in the morning they are still in bed, when I return late at night, they have already gone to bed.”

Naval families 'automatically' grow up and learn to stand on their own feet.
Naval families ‘automatically’ grow up and learn to stand on their own feet.

Ask a naval officer as to what are his most nostalgic experiences in the Navy. With very few exceptions, he would answer:

#1, the Midshipman Tenure. It was a rank unique to the Navy when one was not quite a commissioned officer yet and also not a cadet. This lasted for only six months whereas we would have wanted it to last a lifetime; you’d start getting some perks of being and officer and yet not too much of responsibility. Indeed, in the naval slang a Midshipman used to be called Snotty as he would be frequently wiping his nose on his sleeve. Our Midshipman tenure was on INS Tir, an erstwhile River Class Frigate of the Royal Navy; and we had a ball, even though we had to do hot-bunking (the number of bunks in our mess being much less than the number of Midshipmen on the premise that a certain number would be on duty by rotation all the times).

#2, the Command of a Ship, Submarine or Aircraft. A Commanding Officer is next to God. Indeed, as the old timers used to say: “Ham God nahin hain, par, God se kam bhi nahin hain.” (I am not God; but I am no less than God). The responsibility that the nation places on a CO of a ship, submarine or aircraft at sea is as mammoth as the unfettered powers given to him; you can’t afford to make mistakes; people’s lives are dependent on you. During our training years we used to wonder how the CO, even whilst asleep in his cabin, instinctively knew what revolutions the ship did by the sound of the engines and whether we were headed into danger. Two decades later when I commanded my own ship, I realised that it comes to you automatically.

#3, to be given an official transport (vehicle). Ahh, for this, during our days, one had to be a very senior officer! And then, the moment this honour (Read: Navy And Staff Cars) was bestowed on you, you sat at the left rear of an Ambassador car, saluted back with a flourish all those who saluted you and failed to recognise your erstwhile friends lest they should ask you to share the prized possession.

Nearly 37 long years went as if in a jiffy. And before you can pause, the Navy retires you. Three days after I retired from the Navy on 28th Feb 2010, I wrote a blog ‘I Flew Over The Cuckoo’s Nest – Did I?’ in which I concluded “I have no desire to fly over the cuckoo’s nest. The loony bunch is family, for heaven’s sake.” There is nowhere to go. Five years later, after working in India’s largest corporate, there is still nowhere to go; Navy is the only home I knew, the only life I had.

We hadn’t seen any life on civvie street at all. The civilians must be smart in their own ways; after all they command large organisations, governments and countries, whereas all that we do is to command ships, submarines and aircraft. However, frankly, I haven’t met anyone half as smart as a naval officer! In my case, in the Naval Academy, in the Ante Room, I distinctly remember that we waited for someone smart to switch on the television as one, we hadn’t seen one before; and two, with its complex sounding controls such as Contrast, Brightness, V hold and H hold, people would laugh at us if we didn’t know how to get a picture that didn’t jump on the screen. Years later, we were handling with ease, the most complex Electronic Warfare and Action Information systems. The Navy lets you learn all these – well, by now even you know the process – automatically.

Navy was life, a system that used to work; and I know it still works. We were always responsible and accountable for all our actions and non actions; except perhaps during our Midshipmen days. And then you are faced with the lack of discipline and accountability to that extent wherein people die and no one is to be blamed; wherein brand new bridges collapse and no one is accountable; wherein after 40 years of promises and more promises, we still don’t have an OROP (One Rank One Pension) and everyone assures you it would be there shortly.

A Navy man is totally at home when he is at sea as I wrote in Lure of the Sea. But, the moment he is out, he pines for the sea, the only life he’s had.

INDIANS – POOR IN RECORD-KEEPING; ARMED FORCES NO EXCEPTION

As Director,  College of Naval Warfare in Mumbai, in the year 2008; I took the Naval Higher Command Course student officers with me to a tour of South Africa and Mauritius. In Mauritius we visited the Folk Museum of Indian Immigration.  We were surprised to see the records of all indentured labourers who came to British Mauritius from Bihar between 1834 and 1921 (the museum houses 2000 volumes of these). In the year 1835, slavery was abolished in Mauritius and hence these were called indentured labourers.

mgi_immSimilarly, if you go to the Cellular Jail in Port Blair, you would be stunned at the painstaking way in which the British maintained the records of all the prisoners brought from India to the jail that came to be known as Kala Pani (Black Water). The British were cruel and committed untold atrocities on Indian slaves, but, they were much better than us for their record-keeping or documentation.

cellular-jail

When I saw Satyajit Ray’s Shatranj Ke Khiladi I was surprised to see in the end that almost all the credits and acknowledgments of Indian history records were to the Britishers.

We learnt many a thing from our rulers but we didn’t learn from them this due diligence in record keeping. This has resulted in many an embarrassing situation. After the Kargil War in July 1999, Grenadier Yogendra Singh Yadav was awarded the highest military honour: The Param Vir Chakra. His citation read that he was being awarded this posthumously. It was a big relief and huge embarrassment for Army Headquarters to know that he was actually alive. The Armed Forces of India are at perpetual war with the Indian bureaucracy for the step-motherly treatment that they often get (the present OROP controversy is one of the examples). However, it is a fact that we are equally poor in record keeping at least. Please read: Rediff On The NeT Army battling to correct its Param Vir mistakes.

We have had an Army Chief who embarrassed the nation no end through challenging the record of his own date of birth (Read ‘Army Chief’s Age – The Other Issues’, ‘Hats Off To General VK Singh’ and ‘Indian Army Before And After Operation Vijay’).

After the infamous 26/11 Mumbai Attacks, Indian government handed over two demarches to Pakistan. Amongst other things, the demarches asked for the arrest of and handing over of about 20 persons including gangster Dawood Ibrahim, Jaish-e-Mohammad terrorist leader Maulana Masood Azhar and Lashkar-e-Taiba chief Hafeez Mohammad Saeed. It was widely reported in the Indian newspapers that the list also included at least four names of “hardened criminals” enjoying “immunity” in Pakistan when actually they were held in Indian prisons.

We fought a major war with China in 1962. Fifty three years later, we still do not have an officially accepted record of the history of the war. The Henderson Brooks-Bhagat report, also referred to as the Henderson Brooks report, is the report of an analysis (Operations Review) of the Sino-Indian of 1962. Its authors are Indian Army officers: Lieutenant-General TB Henderson Brooks and Brigadier Premindra Singh Bhagat, Commandant of the Indian Military Academy at that time. However, the report has not been declassified even though there has been hue and cry about its publication.

Why do we, as a nation and armed forces, land up in this mess? The reason appears to lie in the glory and glamour attached to operations and looking down on administrative skills. The armed forces have a Defence Services Staff College in Wellington (Nilgiris) to teach the middle ranking armed forces officers administrative skills. However, when an armed forces officer lands up after the Staff Course, say, in Naval Headquarters, he quickly finds out that practically it is so different from what has been theoretically taught to him. Many have realised that locating an earlier letter or file is a virtual impossibility. Hence, an armed forces officer is most likely to indulge in what is known as reinventing the wheel when it comes to long-standing issues (these are “long-standing” because of the babus in the Ministry of Defence).

In the IAF, for example, fliers want to do flying all the times. Attending courses, for them, is considered beneath their macho spirit. When I underwent Higher Command course with the Army (I did HC 25 in the year 1996-97), I was able to learn from my IAF counterparts that officers pull strings to get out of attending courses so that they can continue doing what they like most: flying.

On the lighter side, after leaving the Navy in end Feb 2010, I have found that my name and address held in various departments in the Western Naval Command has rarely been correct. Because of this, many a times, I have missed important meetings and functions. I have tried my best in the last five years to get the records corrected by writing mails with my correct name and address and have personally visited the Command Headquarters to get these corrected. However, so strong is our inclination to be administratively poor that until now I haven’t received many letters with my correct name and address.

Another curious thing that I have discovered is that in the header of the mail from an official/authority in the Armed Forces, if a telephone number is given, it is rarely of the officer signing it. If you have a query regarding the letter that you have received and you dial this number, you are likely to get connected to the clerk who typed out the letter and he would have no idea of what you are asking.

The Army Headquarters are the worst in this. At one time an opportunity arose in my corporate to employ retired Major Generals for some very senior billets. Through my friends in Naval Headquarters, I got in touch with the Army Headquarters (MS Branch). The officer there seemed to understand my request for the names of a few Major Generals who had just retired. However, after a few days when I was expecting a list from him, I received a mail asking me to spell out my requirement again by mail (this is a favourite ploy with all services headquarters). A phone number and Fax number was given at the letter head. Fifteen days of unsuccessfully trying to get in touch on those numbers left me totally drained out.

On the First of July this year, my course completed 40 years of having received President’s Commission. I retired five years back and likewise with my coursemates except those who retired as Rear and Vice Admirals later. All of us were full of nostalgia about our active time in the Navy. As if to bring me down to mother earth, just a day prior to that, on 30th June, I received a letter from the Pension Cell in Naval Pay Office that my Genform (a General Information order regarding movements of personnel) for having retired on 28th Feb 2010 had not been received by them. It has been only five and half years. Perhaps in another half a decade they would get it. Nothing changes; we are proud of our administrative inefficiency despite the computer age and improved means of communications.

NPO Letter 26 May 15

HAMARA NAVAL DRAMA

Now that after retirement I am employed in a corporate, I am able to see the difference in work culture: you have people specifically for specific duties as given in their JDs or Job Descriptions. In the armed forces, one is expected to do everything as and when the need arises; and many a times someone else’s job too. No one tells you how; you learn as you go along. If the armed forces were to be a play or drama, there is rarely a prepared script or dialogues or plot; you ad-lib the entire thing. People’s lives are at stake, at times, and hence you better get your role right; the first time itself without any rehearsals. For example: “That over there is Tiger Hill. Now get it vacated of intruders.”

Why did I think of the Navy as a drama or a play when I was in active service? Well, come to think of it, even life is like that. But, I had one more reason: my fondness for acting and directing honed from my school and college days. In the NAVAC or Naval Academy, on the positive side, I was much in demand for plays and skits, even extempore ones during camps. On the negative side, I recall that a boxing bout between me and my course mate was stopped by the referee on the ground that whilst the entire thing looked very impressive complete with wincing and all that, he was sure that we should stop acting and get on with real boxing for a change. Actual blood and bruises followed after that and then only our officers and instructors were happy. Histrionics have their time and place elsewhere in the Navy, I learnt.

One such opportunity came my way when I was posted to Navy’s Leadership School at INS Agrani in Coimbatore. One fine day, our CO called a senior colleague and me to his office and said a letter had arrived from Southern Naval Command at Cochin for us to field a team at the Annual Dramatic Championship. He said the responsibility for taking this task on rested on my shoulders since I was the junior most officer posted there. He said my colleague Amarjit Bajwa would help me out.

Bajwa and I took our task rather seriously and that night discussed our strategy over several bottles of beer that continued till wee hours of the morning. In our drunken stupor a brainwave hit us; which is, that in order to enact a play, we require a script. So, next day we started searching in our library for play scripts. We found that the library was loaded with books on current affairs, history, poems, stories and the like; however, there was not a single play. In the next few days, we ransacked various libraries in and around Coimbatore; but we couldn’t find a suitable play.

We even went to the Staff College Library in Wellington by Bajwa’s Bullet mobike. But, it appeared that whilst in real – life in the armed forces, everybody is acting, there was a dearth of good play-scripts to help out people acting on stage.

After these expeditions, we involved a few sailors in doing a play. Various problems came our way. One prominent one was that most of the play scripts had some female cast. Our tall Regulating Petty Officer (Naval Police) was persuaded by us to put on a saree and shifting his role from being a terror in office to being a terror at home. But, somehow even the donning of Saree made no difference to his austere and upright naval police looks.

We tried a few sailors for their suitability in various roles and found that they were typically suited only for one role!

Dejected, one day, I performed various roles for Bajwa that I had performed in school and college and some that I would have wanted to do. In his no-nonsense mood, he wasn’t tickled. In one of these, I made him sit on a bench complete with his turban and beard. But imagining him as a girl, I approached him with a large sunflower, and wearing a tapori cap and started a dialogue that I had heard in one of Sunil Dutt’s movies, “Dilo dildaar, gulo gulzaar, ahd-e-bahaar, rango khumaar, film star, mallika-tarunnam, malika-e-jahan….” Before, I could finish with “….roop ki raani, baharon ki mallika…” Bajwa had given up on me as a gone case nut.

The date for staging the play was getting closer and it had come to last one week. Let alone rehearsing the play for a prestigious event, we hadn’t even selected a play. That day Bajwa was so annoyed with me that he could have eaten me alive.

That night, I wrote the script for a three-act-play titled Hamara Drama. Whatever we had done in search and preparation for the play was put in the first two acts. In the last act, Bajwa and I were sitting dejected that we still didn’t have a play and that everything had failed. And then yet another brainwave occurred to me and I tell him, “Why don’t we present our search for a suitable play and a cast as a play…is mein khushi hai, gham hai, bebasi hai, suspense hai, comedy hai, tragedy hai….aur kahin kahin to paagalpan bhi hai…hahahaha…hahahaha..exactly like our navy life..” The play ended there with a freeze shot. Bajwa and I, until the last day, kept adding to the dialogues in order to make them more satirical and comical.

When we went to Cochin for presenting the play, our hearts sank seeing the plays of other establishments. Each one of them had elaborate sets, cast, background music and other props. We had nothing. But, now, at that late stage could do nothing about it.

Ours was the last play on the second day. Each play was to be one hour’s duration with ten minutes given for changing sets. During our preparation time, Bajwa and I were sitting with the audience in uniform. When the curtain opened, we got up from the audience and performed on stage. It was a riot. The audience roared with every dialogue. For example, at one stage, I told Bajwa that I could do the famous Rajesh Khanna’s Anand movie dialogue, “Babu moshaye, ye zindagi ek rang manch hai aur ham sabb ismein kaam karne wali kathputliyan; in kathputliyon ki dore ooper waale ke haath mein hai. Kab, kahan, kaise kis kis ko uthana hai ye koi nahin jaanata…ha, ha, ha…ha, ha, ha..” And Bajwa asked me on stage, “But, what has this got to do with the naval audience?” And then I told him that we could modify it…and I enacted the modified dialogue:

Babu moshaye, yeh navy ek rang manch hai aur hum sabb is mein kaam karne waale afsar ya sailor. Ham sabaki dore DOP (Directorate of Personnel) ke haath mein hai. Kabb, kaise, kahan kis kis ka transfer ho jaaye yeh koi nahin jaanata..ha, ha, ha…ha, ha, ha...”

I espied C-in-C and his wife in the front row having side-splitting laughs. It was difficult to proceed from one dialogue to the other throughout the play as the laughter and applause won’t die down. No one could believe we could actually present a play, a humorous take on how we did things in the Navy or for that matter in the armed forces.

The jury was unanimous in voting for Hamara Drama as the Best Play and yours truly as the Best Actor.

Some pictures of the play are still there with me but they are lying in my home-station Kandaghat in the baggage yet to be unpacked, after my retirement in Feb 2010. I shall, subsequently, put them up when I visit Kandaghat next. In the meantime, Bajwa could persuade his wife Jaya to search in his baggage and find some pictures (he himself is on his ship at sea). She was able to find one and I am putting it up:

Hamara Drama1
Persuading one of our sailors to showcase his talent in Hamara Drama. The background prop was from the play preceding ours!

Many years later, in the year 2003, I directed the inaugural play in Mulla Auditorium in Mumbai. The Chief of the Naval Staff was the Chief Guest. My son Arjun acted in it. I adapted it from a Moliere’s play and called it Suddenly In The Park. Navy is a life’s drama in which your families are also acting and involved!

I did many other plays. For example, in Peter Shaffer’s farcical play called Black Comedy, I was Schuppanzigh, the German electrician, sent to repair the fuse since the entire play is as if performed in the dark.

After repairing the fuse, I as Schuppanzigh move to the light switch, saying "God said: "Let there be light!" And there was, good people, suddenly — astoundingly — instantaneously — inconceivably — inexhaustibly — inextinguishably and eternally — LIGHT!"
After repairing the fuse, I as Schuppanzigh move to the light switch, saying “God said: “Let there be light!” And there was, good people, suddenly — astoundingly — instantaneously — inconceivably — inexhaustibly — inextinguishably and eternally — LIGHT!”

I also directed and acted in Mahesh Dattani’s play on incest called ’30 Days in September’. The fauji audiences are normally used to only two type of plays: comedies and suspense-dramas. We were not sure how the audience would view a serious play on incest. Our C-in-C summed up the response by saying, “If Mahesh Dattani had been present tonight at the staging of his play by this team, he would have really felt proud. I was, of course, the bad guy, the perpetrator of incest. For many months after the staging of the play, women and girls, in naval residential areas would scream and run for cover after seeing me.

30 days in september

The last one I did was in 2007, a Neil Simon play called ‘Come Blow Your Horn’. I also acted as the father of Alan and Buddy Baker. Just before the curtains, Aunt Gussie who was all the while only talked about made her appearance. The only problem was that we hadn’t got anyone to do Aunty’s role. So, after my last appearance as father, I quickly changed my clothes and make up and appeared as Aunt Gussie!

Me as father Baker with my elder son Alan Baker, who lives the life of a playboy.
Me as father Baker with my elder son Alan Baker, who lives the life of a playboy.
Me as Mr. Baker with Mrs Baker. Our younger son Buddy is seen in the background
Me as Mr. Baker with Mrs Baker. Our younger son Buddy is seen in the background
Come Blow Your Horn3
Me berating the younger son Buddy Baker for having been spoiled under the influence of his elder brother Alan.

In the final scene of this three act play me appearing as Aunt Gussie with Buddy, the spoiled brat

In the final scene of this three act play me appearing as Aunt Gussie with Buddy, the spoiled brat

That was true reflection of what Navy is all about; we change roles together with the situation; and, we do absolutely strange roles that people least expect us to do. We don’t ever say we ain’t ready for a particular role.

We also do many roles on the stage but not half as difficult or strange as in real life.

Babu moshaye, yeh Navy ek rangmanch hai…..

RAJA MEHDI ALI KHAN’S HUMOROUS POEM: ADIB KI MEHBOOBA

I have already given you a blog – post on a favourite lyricist Raja Mehdi Ali Khan: ‘The Magic Of The Lyrics Of Raja Mehdi Ali Khan’. He paired with the great Music Director Madan Mohan to make some of the most memorable songs of Lata Mangeshkar. His song for the 1946 movie ‘Do Bhai’: Mera sundar sapna toot gaya reminds us that he was capable of deep philosophy and understanding of womanly pain and anguish at a very young age (he wasn’t yet 18 years of age when he wrote the song sung by Geeta Dutt on SD Burman’s music.

The great music director Naushad Ali brought out that two of his ghazals: Aap ki nazaron ne samajha and Hai isi mein pyaar ki aabru, with Madan Mohan‘s music were better than the entire compositions of Naushad!

And yet, not many people are aware of this that Raja Mehdi Ali Khan delved in funny, humorous and satirical Urdu poetry. As an example, I am giving you his nazm: Adib Ki Mehbooba. It is really very humorous. He has used the takhallus (pen names or non de plume) of various poets and writers both in their metaphorical sense as well as their identities to bring out the tale of his failed love.

I have attempted not just a translation of this humorous poem but also have given you the full names and short description and life-span of the poets and writers mentioned.

Please enjoy: Raja Mehdi Ali Khan’s Adib Ki Mehbooba:

Tumhaari ulfat mein harmonium pe Meer ki ghazlen ga raha hoon
Bahattar in mein chhupe hain nashtar jo sab ke sab aazma raha hoon.
In your love I am singing the ghazals of Meer
These have 72 cutters (nashtar) hidden in them that I am trying out all.

Bahut dinon se tumhaare jalwe Khadija Mastoor ho gaye hain,
Hai shukr-e-baari ki saamne apne aaj phir tumako paa raha hoon.
Since many days your splendor has become Khadija Mastoor (Pakistani writer 1927-1982)
But, thank God, I still find you in front of me today.

Lihaf ‘Ismat’ ka o.Dh kar tum fasane Manto ke pa.Dh rahi ho
Pahan ke ‘Bedi’ ka garam coat aaj tumase aankhen mila raha hoon
Wrapping the quilt of Ismat (Chugtai Ismat; Urdu writer 1915-1991), you are reading the tales of Manto (Saadat Hassan Manto; 1912-1955, short-story writer)
I am wearing Bedi’s (Rajinder Singh Bedi) warm coat and looking into your eyes.

Tumhaare ghar Noon Meem Rashid ka le ke aaya sifarshi KHat,
Magar ta.ajjub hai phir bhi tumase nahin main kuchh Faiz pa raha hoon.
I came to your house with a letter of recommendation by Noon Meem Rashid (1910-1975)
But it is surprising that I am not getting any Faiz (success or victory; and also the poet Faiz Ahmed Faiz; 1911-1984) from you

Bahut hai sidhi si meri baat na jaane tum kyun nahin samajhati,
Kasam KHuda ki kalaam-e-Ghalib nahin main tumako suna raha hoon.
My talk is straight, why do you not understand it
By God, I am not making you listen to some (difficult) poetry of Ghalib (1797-1869).

Tumhaari zulf-e-siyaah pe tangiid kis se likhwaayun tum hi bolo,
Shri Ibadat Barelvi ko main taar de kar bula raha hoon
The criticism (tangiid) of your black tresses (zulf-e-siyaah) who should I ask to write,
I am sending a telegram to call Shri Ibadat Barelvi (1920-1999)

Main tum pe hoon Jaan Nisar Akhtar, kasam hai Munshi Fida Ali ki,
Bahut dinon se main tum pe Sahir se jaadu tone kara raha hoon.
I am Jaan Nisar Akhtar (poet and lyricist 1914 – 1976) on you, I swear by Munshi Fida Ali (a Lucknow poet),
Since many days I am trying Sahir’s (Sahir Ludhainvi 1921 – 1980) magic and black magic on you.

Agar ho tum Hajara to phir mujh se mil ke Masroor kyun nahin ho
Tumhaare aage Upendra Nath Ashq ban ke aansu baha raha hoon
If you are Hajara (abandoned; also feminist Pakistani poet Hajara Masroor 1930-2012), then why are you not happy (Masroor) upon meeting me,
I am shedding tears in front of you like Upendra Nath Ashq (novelist 1910-1996).

Haseen ho zehra-jamaal ho tum mujhe sata ke nihal ho tum
Tumhaare ye zulm Qurrat-ul-Ain ko bataane jaa raha hoon
You are beautiful, you are like Zahra Jamal (Dr Zahra Jamal – leading protagonist of international Women’s right), you are joyous (nihal) after oppressing me,
I am going to Qurrat-ul-Ain (Qurrat-ul-Ain Hyder, female novelist 1927-2007) to tell about your tyranny (zulm).

Meri mohabbat ki dastaan sun ke ro pa.De Josh Malsiyani,
Sukha ke pankhe se un ke aansu abhi wahan se main aa raha hoon.
After hearing the tale (dastaan) of my love, Josh Malsiyani (poet, 1883-1976) was in tears,
I am just returning after blowing dry his tears by a fan.

Meri tabaahi ki chhap denge Naqsh ka ek KHaas number,
Tufail sahib ke paas saare musavvade le ke jaa raha hoon.
The imprint of my wreck shall be given in a special number by Naqsh (84 years old poet and lyricist from Lyallpur in Pakistan)
I am taking all manuscripts to Tufail sahib (Ibn Tufail – writer, novelist, philosopher 1105-1185)

Vazir Agha pathan hain saath saath yaaron ke yaar bhi hain,
Pakad ke who tum ko peet denge main kal unhe saath la raha hoon.
Vazir Agha (Pakistani poet and writer 1922-2010) is a pathan and also friend of friends,
He will catch you and beat you; I shall arrive with him tomorrow.

Hakim Yousuf Ali ne jab meri nabz dekhi to ro ke bole:
Jigar hai zakhmi tabah gurde yeh baat tum se chhupa raha hoon.
Doctor Yousuf Ali (Sir Abdullah Yusuf Ali, the famous scholar who translated Quran into English 1872-1953) when he felt my pulse, he cried and said:
Your Jigar (Liver; also famous poet Jigar Moradabadi 1890 – 1960) is wounded, kidneys are ruined; this fact I am hiding from you.

Malihabad aaj jaa raha hoon main Josh laa.un ki aam laa.un,
Tumhaare hontho pe gham ki maujon ko dekh kar tilmila raha hoon.
I am going to Malihabad (the town of famous Pakistani poet Josh Malihabadi 1894-1982) today; should I bring Josh or mangoes,
I am agitated to see the waves of sorrow on your lips.

Fasana-e-ishq mukhatsar hai qasam KHuda ki na bore hona,
Firaq Gorakhpuri ki ghazalen nahin main tum ko suna raha hoon.
The tale of love is short, I swear by God, please don’t get bored,
I am not reciting to you (the long) ghazals of Firaq Gorakhpuri (1896-1982)

Meri mohabbat ki daastaan ko gadhe ki mat sarguzisht samajho,
Main Krishan Chander nahin hoon yakeen tum ko dila raha hoon.
Do not think of the tale of my love as a donkey’s biography,
I am not Krishan Chander (Urdu writer of short stories & novels 1914-1977) I can assure you that.

Pilaao aankhon se taaki mujh ko kuchh ‘aal-e-ahmed-suruur’ aaye,
Bahut hain gham aashiqi ke bina piye dagmagaa raha hoon.
Make me drink from your eyes so that I should get Ale Ahmed Suroor (Intoxication; as well as famous poet 1911-2002)
I have a lot of sorrows of love, without drinking I am ambling.

INCREDIBLE NOSTALGIA (I.N.) SONGS – PART II

Guest Writers

This is my second post that has inputs from a Guest Writer. The first one was ‘Incredible Nostalgia (I.N.) Songs – Part I’ which had Surekha Saini, my sister, who lives in Ambala, as the Guest Writer. She has given IN Song #8 here. Another sister of mine Evani Leela, also an Administrator of two of my Facebook groups, has abiding interest in Music and Old Hindi Songs. Her part of the post is easy to make out as it is in transliterated Hindi. She too is capable of research and burning of the midnight oil to find out facts about songs that would escape the casual fan of songs.

Incredible Nostalgia Songs or IN Songs

These songs not just fill you with nostalgia of the era of melody that existed; but, these songs also fill you with disbelief and wonder. Part I indicates that we shall follow up on these subsequently. This part’s selection includes: Devika Rani’s song Mere Haath Mein Tera Haath Rahe of 1933 movie Karma that she made with her husband Himanshu Rai; Zeenat Begum’s and Pt. Amarnath’s Hamari Gali Aaana from 1944 movie Shukriya; Mohammad Rafi’s Dil Mein Chhupa Ke Pyaar Ka Toofan Le Chale from 1952 movie Aan; Asha Bhosle’s First Solo Song: Do Chaar Idhar, Do Chaar Udhar from 1949 movie Raat Ki Rani; Mohammad Rafi singing for Raj Kapoor: Main Zindagi Mein Hardam Rota Hi Raha Hoon from the 1949 movie Barsaat; Krishna Chandra Rey’s bhajan Jaao Jaoo Ai Mere Sadhu from the 1932 movie Puran Bhagat; and, Hemant Kumar singing for Raj Kapoor on Madan Mohan’s music in 1953 movie Dhun: Hum pyar karenge.

Let us re-start our Incredible and Nostalgic journey.

IN (Incredible Nostalgia) Song #7
Mere Haath Mein Tera Haath Rahe
1933 Movie Karma

I think the first movie song of the first lady of Indian Cinema Devika Rani deserves to be included in IN Songs!

She was the grand niece of Rabindra Nath Tagore who was born on 30th Mar 1908. When at the age of 20, she met Himanshu Rai, a film producer who asked her to join him. She joined him in wedlock as well as in films. Within a year she got married to him and went to Germany to receive training in film-making.

The 1933 movie Karma was the first movie that they made together as the lead cast. The movie, directed by JL Freer Hunt won her critical acclaim. The movie had a 4 minute long kissing scene between her and her husband, a record that has not been broken yet in Indian movies. It was however, controversial in our prudish society.

That was not the only controversial thing that she did. Her husband and she started the famous Bombay Talkies. In 1935, Bombay Talkies first production, a crime thriller Jawani Ki Hawa was produced with her being in lead role opposite Najam-ul-Hassan. The movie was entirely shot in a train. Something about him must have attracted her to him for in their next movie, Jeevan Naiyya, she eloped with him. She was persuaded by her husband’s friends to return since considerable part of the movie had been shot at large cost. She eventually returned as she knew divorce (during those days) was virtually impossible and a Hindu marrying a muslim wasn’t something that the society condoned. The movie was reshot with Ashok Kumar as hero and he then acted with her in several movies starting with 1936 movie on untouchables called Achhut Kanya.

Himanshu Rai died in 1940 and she took up reins of Bombay Talkies and made some very successful films. At the peak of her career in 1945 she chose to retire and marry and settle down with Russian Painter Svetsolav Roerich. They lived together in Manali where several of his paintings are displayed in what was called Roerich Estate. I visited the estate with my father and that’s how I know Devika Rani, the recipient of highest award in Indian Films: the Dadasaheb Phalke Award as well as Padam Shri.

The 1933 movie Karma starring her and her husband Himanshu Rai was a joint production between Germant, UK and India.

The movie was just two years after the first talkie on Indian screen, the 1931 movie Alam Ara.

Lets listen to the song Mere haath mein tera haath rahe sung by Devika Rani. No video is available and the still shows the famous kissing scene between Devika Rani and Himanshu Rai. Roy Douglas and Earnest Broadhurst are the Music Directors but the lyricist is unknown.

Please enjoy: Mere haath mein tera haath rahe….

mere haath mein tera haath rahe
saamne se dono saath rahen
tum mere man ki chaaya ho
tum mere karm ki chaaya ho
mere haathon mein tera haath rahe
aa milke donon saath rahen
tum mere man ki chaaya ho
tum mere karm ki chaaya ho

aa aa aa aa aa aa
aa aa aa aa aa aa aa
karma
karma

aa aa aa aa aa
karma
karma
karma

https://youtube.com/watch?v=hOpLvMLLVpQ%3F

IN (Incredible Nostalgia) Song #8
Hamari Gali Aana

1944 Movie Shukriya

The song I am going to present in IN songs or Incredibly Nostalgic songs is ‘Hamari gali aana’ from film Shukria (1944) sung by Zeenat Begum and Amarnath. When one listens to it with eyes closed, one can feel fragrance of soil after rain and very earthy sounds. The music of this song was composed by GA Chishty who was known for his music from soil. His music was called: “ZAMEEN KI MAUSEEQI”; very simple with eastern tunes but too melodious with the use of basic musical instruments. The song was penned by himself. GA Chishty was also known as Baba Chishty for whom the famous music director Khayyam Saab worked as assistant.

The singer Zeenat Begum was a heart throb voice of 1940s vintage era in Hindi film industry. She had very versatile voice, sweet and melodious but strong and effective. Though not much know about her personal life but she was spotted by Pt Amarnath who was a renowned composer of that period as she used to sing in mehfils and social gatherings. Mostly she sang Punjabi songs for HMV during 1937 till singing for Hindi cinema. Pt Govindram introduced her to Hindi cinema for playback singing in 1942. Mangti (1942) was her first Hindi film for which she sang 10 songs;all super-hit. She sang in another film Nishane (1942) which too was a hit. In the next year she sang in three movies named Paapi, Poonji, Sahara.
After 12 yrs the song, Hamari gali aana, was recorded for film Mem Sahab (1956). The song is almost same copy of that of film Shukria (1944). Madan Mohan composed the song for Mem Sahab, a very delightful film, added very nice and improved instrumentation making it faster in tempo. Lyrics – almost similar – were written by Rajinder Krishan. Song was pleasantly rendered by Talat Mehmood and Asha Bhosle and of course with song recorded with better orchestration and technology.
Why do I find vintage songs nostalgic is because when I listen to these a wish comes to mind: I wish I had a Time Machine which could take me to that era and I see how these songs were recorded with in the absence of today’s advanced technology. This used to be the power of vocals that made vintage songs immortal. Incredible. …hats off. ..
Please enjoy: Hamari gali aana ….

Hamari gali aana
Dekho ji hame na bhulana
Dekho ji hamari gali aana
Hamko ji hame na bhulana achha ji

Shadi mohabbat ki bate
Aur hai jawnai ki rate
Shadi mohabbat ki bate
Aur hai jawnai ki rate
Pehli pehli mulakate
Pehli pehli mulakate
Hai ye khushi ka jamana
Hamari gali aana dekho ji
Hai ye khushi ka jamana
Hamari gali aana dekho ji
Dekho ji hame na bhulana
Dekho ji hamari gali aana
Hamko ji hame na bhulana achha ji

Sawan ki rut hai suhani
Sawan ki rut hai suhani
Joban pe aayi jawani
Kehti dilo ki kahani
Kehti dilo ki kahani
Kahe ko ab sharmana
Hamari gali aana
Kahe ko ab sharmana
Hamari gali aana
Dekho ji hame na bhulana
Dekho ji hamari gali aana
Hamko ji hame na bhulana achha ji

Gata khushi ki har bela
Gata khushi ki har bela
Dhole hai man ki naiya
Dhole hai man ki naiya

https://youtube.com/watch?v=Rk1KWPmyvPU%3F

IN (Incredible Nostalgia) Songs #09
Dil Mein Chhupa Ke Pyaar Ka Toofan Le Chale
1952 Movie Aan

This post is being done almost entirely from memory, on a cellphone in my bed, since I have excruciating toothache. Hence, if anyone of you brings out a historical error, I would readily correct it.

My favourite quartet: Shakeel Badayuni as Lyricist, Naushad Ali as Music Director, Mohammad Rafi as Singer and Dilip Kumar as Actor (Please also read: ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad And Dilip Kumar Together’), have been so far missing from IN Songs even though they made some incredibly beautiful songs. The reason is that I couldn’t think of a fact that sounds incredible!

And then I thought of Mehboob Khan’s 1952 movie Aan wherein they were together just as they were together for K Asif’s Mughal-e-Azam, though only for one song: Zindabad, zindabad.

What is so special about Aan? Well, if you remember the fact that it was India’s first Technicolor movie! If that’s not enough, for the first time in an Indian movie a large orchestra of 100 pieces was used. Still not enough? Well, for the first time in India, Naushad used Western system of musical notations or symbols for Indian raagas.

Aha..now we are getting to the incredible parts. Here is one more incredible part: Aan was the first Indian movie internationally released. So impressed was Cecil De Mille on seeing it in London that he wrote to Mehboob Khan about its directorial excellence. Nimmi was nearly signed by him for a stint in Hollywood!

No one experimented with music the way Naushad did. He ushered in Indian classical raagas into movies. Although he ushered in large orchestras in Hindi movies, 11 years later, in 1963 movie Mere Mehboob’s title song, he used only six instruments! Unfortunately, I can never put up that song; I am not worthy of putting up a song that has no parallel in Hindi movies.

So please enjoy this Aan song put together by my favourite quartet: Dil mein chhupa ke pyaar ka toofaan le chale..

dil me.n chhupaa ke pyaar kaa tuufaan le chale
ham aaj apanii maut kaa saamaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale

ha ha haa a aa
miTataa hai kaun dekhiye ulafat kii raah me.n
he
ulafat kii raah me.n
miTataa hai kaun dekhiye ulafat kii raah me.n
wo le chale hai.n aan to ham jaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale

ha ha haa a aa
manzil pe hogaa faisalaa qisamat ke khel kaa
aa
qisamat ke khel kaa
manzil pe hogaa faisalaa qisamat ke khel kaa
kar de jo dil kaa Kuun wo mehamaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale

https://youtube.com/watch?v=RhJUZbnlF04%3F

IN (Incredible Nostalgia) Songs #10
Do Chaar Idhar Do Chaar Udhar
1949 Film Raat Ki Rani

Jab aise geeton ki khoj ki jaati hai to bahut sambhal sambhalkar kadam uThana paDta hai. Lekin jab khoj ke dariya mein utarte hain to haath pair chalane ka mood nahin hota. Gota lagaane mein hi mann Dooba rehta hai. Main dekh rahi thi ki Ravinder PS Ravi aur Surekha Saini bahut mehnat se iss theme ko ek anokha roop dene ke liye pata nahin kahan kahan se anmol ratna khoj laa rahe the. To mera bhi mann lalchaaya ki main bhi ek ratna ko pakaD loon. Aur jab mila aur aankh uThakar dekha to woh KOHINOOR se bhi chamakdaar aur moolyvaan nikala.
Asha karti hoon ki aap sabko bhi pasand aayega.
Yeh geet hamari dulari, hamare dilon par raaj karne wali Asha Bhosle ka pehla solo song hai jo Raat ki Rani (1949) film se hai. aap ko dhyaan se sun.na paDega kyonki aap sunenge to aise lagega ki Yeh Lata mangeshkar ki naqal utaar rahi hai. yaani itni prabhaavit.
Sunkar achambha hua ki Guinness book mein apna naam darj karvaane wali apna ek style aur mukaam haasil karne wali ne kaise aur kitni mehnat ki hogi yahan tak aane ke liye.
Main unke mooh se aaj yeh geet sun.na pasand karungi. lekin woh baat shaayad hi aaye.
Iss naayaab geet ke geetkaar Arzoo Lucknowi hain jinka zikr faqr ke saath karna ho to “karoon kya aas niras bhayi” ke saath kar sakte hain.
Music director Hansraj Behl mere most fav hain.
Dada Saheb Phalke award graheeta Smt Asha Bhosle ka pehla solo geet sagarv aapke liye pesh hai.
Yeh Mujra fest mein rarest geet ho sakta tha.

Please enjoy: Do chaar idhar, do chaar udhar…

Hai mauj mein apne begaane
Ae ae ae ae
Ae ae
Hai mauj mein apne begaane
Do chaar idhar
Do chaar udhar
Do chaar idhar
Do chaar udhar
Dhalke hain chhalakte
O ji chhalakte
Aaaa chhalakte paimaane
Do chaar idhar
Do chaar udhar
Do chaar idhar
Do chaar udharKi aafat dhaa ke gaye
Matwaali adaa dikhlaa ke gaye
Matwaali adaa dikhlaa ke gaye
Sar phod rahe hain deewaane
Do chaar idhar
Do chaar udhar
Do chaar idhar
Do chaar udharTooti ummeedon ke tukde
Haaye bikhre hai
Aansoon ban ban ke
Kyun bikhre hain
Aansoon ban ban ke
Jaise kisi maala ke daane
Do chaar idhar
Do chaar udhar
Do chaar idhar
Do chaar udharLehraati batti kya jaane
Aapey mein nahin hain mastaane
Aapey mein nahin hain mastaane
Jal jal ke girey hain parwaane
Haaye parwaane
Do chaar idhar
Do chaar udhar
Do chaar idhar
Do chaar udhar.

https://youtube.com/watch?v=tcKCrXV1JNU%3F

IN (Incredible Nostalgia) Songs #11
Main Zindagi Mein Hardam Rota Hi Raha Hoon
1949 Film Barsaat

I have stated this ‘incredible’ fact earlier. However, now I am going to include it in IN Songs. The 1949 movie Barsaat was the first of my Great Songs Movies on Lyrical with as many as 11 Songs. It was the debut movie of Nimmi. It was also the debut movie of Shankar Jaikishen with whom Raj Kapoor worked in 20 movies (10 of his own).

It was the second movie to be directed by Raj Kapoor after 1948 Aag with Nargis (They worked together for 16 movies including six of RK Productions)

Now, Aag already had the IN Song sung for Raj Kapoor by his singing voice Mukesh: Zinda hoon is tarah ki gham-e-zindagi nahin. What is ‘incredible’ about the song? Well, this that Raj Kapoor doesn’t have his moustache that we see in all his movies including his debut film the 1947 movie Neelkamal!

Ok, so what’s so ‘incredible’ about the only song that he sings in the 1949 movie Barsaat? Only this that Mohammad Rafi sang it for him wherever his singing voice Mukesh sang for Prem Nath: Tirchhi nazar hai!

So in this IN song that I am giving you Hasrat Jaipuri is there as Lyricist (which was in all RK Productions; either him or Shailendra), Shankar Jaikishen are there as Music Director (in all RK Productions after this until Jaikishen died). However, in the only song picturised on Raj Kapoor in the movie, Mohammad Rafi sang for him!

Please enjoy Mohammad Rafi singing for Raj Kapoor in his own production: Main zindagi mein hardam rota hi raha hoon….

mai.n zi.ndagii me.n haradam rotaa hii rahaa huu.N
rotaa hii rahaa huu.N, ta.Dapataa hii rahaa huu.N
mai.n zi.ndagii …

ummiid ke diye bujhe dil me.n hai a.ndheraa
jiivan kaa saathii na banaa koI bhii meraa
phir kisake liye
phir kisake liye aaj mai.n jiitaa hii rahaa huu.N
mai.n zi.ndagii …

rah-rah ke ha.Nsaa hai merii haalat pe zamaanaa
kyaa dukh hai mujhe ye to kisii ne bhii na jaanaa
Kaamosh
Kaamosh mohabbat liye phirataa hii rahaa huu.N
mai.n zi.ndagii …

aaI na mujhe raas mohabbat kii phizaaye.n
sharamaaI merii aa.Nkh se saavan kii ghaTaae.n
laharo.n me.n sadaa
laharo.n me.n sadaa Gam ko bahaataa hii rahaa huu.N
mai.n zi.ndagii …

https://youtube.com/watch?v=kgXoz51hxTg%3F

IN (Incredible Nostalgia) Song #12
Jaao Jaao Ai Mere Sadhu
1932 Movie Puran Bhagat

Krishna Chandra Rey ek aisi hasti hai jise hum pehle hum naman karenge phir unke baare mein baat karenge.
Inka jeewan charita sabhi insaanon ke liye ek maargdarshan hai.
Inhone apni 13 saal ki umar mein kisi kaaraN apni aankhen kho di aur poori tarah andhe ho chuke the. Par Bhagwan ki aseem kripa ki sangeet mein itni oonchai chaDhe ki famous sangeet kaar S D Burman ke pehle Guru aur maargdarshak bane. Manna dey ke chacha hone ke kaaraN yeh unke liye bhi guide rahe guardian rahe aur unhe Bombay lekar aaye. As an assistant Manna Dey unke saath rahe aur apne career ki neenv bahut sudruDh Dali. Aaj pata chal raha ki Sachin Da aur Manna Da ki safalta ke peeche kiska haath unke sir pe tha. K C Dey as actor, singer, aur music director kamaal ki safalta haasil ki. Ek se ek geet diye films mein sangeet bhi diya aur Pankaj Mullick, RC Boral jaise diggaj angeetkaron ke geet bhi gaaye. Faqr ho raha hai iss geet ko, iss shaqhs ko aapke sammukh prastut karte hue. Inke bhajan aaj bhi bahut shraddha ke yad kiye jaate hain.” teri gathari mein laaga chor musafir jaag zara”, “mann ki ankhen khol baba mann ki ankhen khol”. Aaj bhi itne saalon ke baad bhi unki aawaaz mein jo bhakti rass hai, use aap apne mann mein mehsoos kar sakte hain. Iss geet ko suniye to aapko pata chalega ki woh aankhon mein shaayad aansoo liye gaa rahe the.

Puran Bhagat film ka yeh bhajan aapke liye: Jaao jaao ai mere sadhu…

aa
jaavo-jaavo e mere saadhuu raho guruu ke sa.ng -2

solah baras par aaye the ik din shaant rahe ham log -2
ab phir chho.D chale ham sabako -2
kaho ye kaun hai Dha.ng
jaavo-jaavo e mere saadhuu raho guruu ke sa.ng -2

jitanii duur bhii jaa_o rahoge hiraday hii ke samiip -2
aise hii tum har ik yug me.n -2
badalo har ik ra.ng
jaavo-jaavo e mere saadhuu raho guruu ke sa.ng -2

jaavo parameshwar ko bhajate karo bhalaa_ii sabakii -2
sab sansaarii ju.D jaaye.nge -2
puuran naam ke sa.ng
jaavo-jaavo e mere saadhuu raho guruu ke sa.ng -2

solah baras par aaye the ik din shaant rahe ham log -2
ab phir chho.D chale ham sabako
kaho ye kaun hai Dha.ng
jaavo-jaavo e mere saadhuu raho guruu ke sa.ng

https://youtube.com/watch?v=T80Cd9Vmc-c%3F

IN (Incredible Nostalgia) Song #13
Ham Pyaar Karenge, Ham Pyar Karenge
1953 Film Dhun

The 1953 movie Dhun was the 13th of the 16 movies that Raj Kapoor did together with Nargis. Mukesh was his singing voice and Shankar Jaikishen his Music Directors.

He acted in only two movies that had Madan Mohan’s music: the 1953 movie Dhun and 1952 movie Ashiana.

In the former, there is a duet between Hemant Kumar and Lata Mangeshkar singing for Raj Kapoor and Nargis. Bharat Vyas was the lyricist.

Please enjoy a rare song in which Hemant Kumar sang for Raj Kapoor: Ham pyaar karenge, ham pyaar karenge…..

he: ham pyaar kare.nge ham pyaar kare.nge
ham la.Dake jhaga.Dake bhii pyaar kare.nge
la: ek baar kare.nge do baar kare.nge
sau baar sau baar sau baar kare.nge
do: ham pyaar kare.nge ham pyaar kare.nge

he: (gar saare saare din ham aa na sake) -2
(vaadaa karake bhii apanaa nibhaa na sake) -2
la: (saarii saarii raat teraa i.ntazaar kare.nge ) -2
ek baar kare.nge do baar kare.nge
sau baar sau baar sau baar kare.nge
do: ham pyaar kare.nge ham pyaar kare.nge

la: (ham laaj ke maare mar jaaye.nge) -2
(par saamane na tere kabhii aaye.nge ) -2
he: (chhup-chhup ke teraa diidaar kare.nge) -2
ek baar kare.nge do baar kare.nge
sau baar sau baar sau baar kare.nge
do: ham pyaar kare.nge ham pyaar kare.nge

do: (hame.n lage hai.n ba.De is duniyaa ke Dar
kahii.n pyaar ko hamaare lag jaaye na nazar ) -2
(ham chorii-chorii yuu.N hii taqaraar kare.nge ) -2
ek baar kare.nge do baar kare.nge
sau baar sau baar sau baar kare.nge
ham pyaar kare.nge ham pyaar kare.nge

https://youtube.com/watch?v=vQODcwnsRuI%3F

There, then, is the second part of Incredible Nostalgia songs. We shall entertain you with more such gems in the subsequent parts of this blog.

Until we meet again: Jai Hind.

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