Skip to main content

Haseen Chaand

A double treat for my readers - since I was inactive for long, I thought of putting up two pieces at the same time. Heavy dose for you guys?? :P

Phool khilte hain baharon mein gar jo aate ho tum
Jo na bhi aawo toh mitte rahe ye gul phir bhi,

Saansein meri ruk-ruk ke chalti hain jo na ho tum
Aur jo ho bhi tum to rukti nahi kambhakt phir bhi,

Zinda hua raat ki chaa gaya taaron ka jaal
Saba ki yaad mein rota hai ye dil phir bhi,

Aayi hai maut bankar abki saba ki khusboo
Na bhoolega dil sab me uge haseen chaand ko phir bhi.
Labels:

Comments

Ankur Mohan Sinha said…
malum padta hai janab ne haseen chaand ki chaandni me dube hue kafi rate nikali hain issko lihkne me...
the inspiration must be as beautiful as the writing
10 November 2008 at 21:48
Ankur Mohan Sinha said…
malum padta hai janab ne haseen chaand ki chaandni me dube hue kafi rate nikali hain issko lihkne me...
the inspiration must be as beautiful as the writing
10 November 2008 at 21:48
Anonymous said…
kya baat hai bhai...aaj kal badi gehraai dekhti hai teri likhawat me ......
3 February 2009 at 01:02
SATYAANVESHI said…
Zabardast janaab! "Saansein meri ruk-ruk ke chalti hain jo na ho tum
Aur jo ho bhi tum to rukti nahi kambhakt phir bhi", ye to ghazab hi tha :)
24 August 2009 at 09:05
Post a Comment

Popular posts from this blog

When nationalism tried to ‘reform’ Indian sadhus

In 1930, a sadhu named Dhoortanand had come to a wealthy household of one Lalaji, promising him to double his wealth by conducting a three-day tapasya (penance, ritual). The next morning, Lalaji had to go to the police station to report on the absconding sadhu and the missing wealth. Apparently, Lalaji was not the only one to have fallen prey to the promise of becoming richer; such a tapasya, according to the police, was conducted in at least twenty-five households. Published under the title Gerua Daaku (Ochre-Robe Robber) under a Kahkaha series (joke-stories), the story and the name itself – Dhoortanand, meaning deceitful – symbolised the extent to which the figure of the sadhu had become the stock of social mocking in the early decades of the twentieth century.   Cutting across layers of time, perhaps there is no other Indian figure that comes close to sadhus in being seen as the bearer of disguise and artiste of deceit. From the times of the Ramayana when Ravana disguised as ...
Post a Comment
Read more

“Cockroaches” at home? Gen Z and the new frontiers of politicization

A disparaging comment , describing the unemployed youth of the country as cockroaches and parasites, made by the chief justice of India (CJI), Surya Kant, created history. It gave rise to a much-needed street-based movement in India. The protest placards, the snappy bytes of the protestors, and the witty slogans will remain inerasable evidences of a temporal shift which the future historians will use to write the history of popular protests and Indian democracy. Image source: here We need to wait to see how this movement will make its journey from movement to being a vehicle of political transformation, but there is no doubt that the government has lost this round to India’s youth. This victory carries wider implications for our political culture and for existing notions of social and moral authority. The dominant political culture of the Modi era is based on cult loyalty, (misplaced) hyper-patriotism, and majoritarianism. Modi has quite successfully tried to fuse political, social, a...
Post a Comment
Read more

The doomed diva

The doomed diva Har ek mod pe bas do hi naam milte hain Maut keh lo – jo muhabbat na kehne paao (There are only two names on each pathways (of life) Call it death, if you can’t call it love) I am sorry for even trying my hands at translating these beautiful verses portraying intense suffering, tragedy and clamour of an individual. Are there any guesses who penned these lines? I am sure very few of us would rightfully identify this poetess-in-oblivion who wrote many such verses and couplets as a personal way of registering, recording and dealing with her grief-stricken short life of forty odd years. She was born on 1st August 1932 in Mumbai to Ali Baksh and Iqbal Begum (renamed from Prabhawati Devi). Her father was an actor in Parsi theatre and also dabbled in Urdu poetry and occasionally gave music direction in Hindi movies. This girl, Mahjabeen Bano, was the youngest of her siblings and in the family mired in financial hardships she was literally forced to work in films. Her career st...
10 comments
Read more