S A H I R L U D H I A N V I - Biography |
S A H I R L U D H I A N V I - Biography |
AzgarKhan |
May 12 2007, 02:27 PM
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#16
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Dedicated Member Group: Members Posts: 4425 Joined: 23-January 04 From: New York (USA) / Hyderabad (India) Member No.: 205 |
Sahir Ludhianvi
Khuda-e-bartar teri zameen par Zameen ki khaatir ye jung kyun hai Har ek khat ho zafar ke daaman Pe khoon-e-insaan ka rang kyun hai Zameen bhi teri, hai hum bhi tere ye milkiyat ka sawaal kya hai Ye qatl-o-khoon ka riwaaj kyun hai Ye rasm-e-jung-o-jadaal kya hai Jinhe talab hai jahan bhar ki Unhi ka dil itna tangg kyun hai Ghareeb maon shareef behnon Ko amn-o-izzat ki zindagi de Jinhe ataa ki hai toone taaqat Unhe hidayat ki roshni de Sarron mein kibr-o-ghuroor kyun hai Dilon ke sheeshe pe zang kyun hai Kazaa ke raste pe jaane waalo Ko bachke aane ki raah dena Dilon ke gulshan ujad na jaye Mohabbaton ko panaah dena Jahan mein jashn-e-wafa ke badle Ye jashn-e-teer-o-tafang kyun hai Khuda-e-bartar teri zameen par Zameen ki khaatir ye jung kyun hai Har ek khat ho zafar ke daaman Pe khoon-e-insaan ka rang kyun hai _______________________________________________________________________________
My Youtube Videos Palestine belongs to the Arabs in the same sense that England belongs to the English or France to the French. It is wrong and inhuman to impose the Jews on the Arabs. - Mohandas Karamchand Gandhi |
AzgarKhan |
Jun 29 2007, 06:35 AM
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#17
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Dedicated Member Group: Members Posts: 4425 Joined: 23-January 04 From: New York (USA) / Hyderabad (India) Member No.: 205 |
Sahir Ludhianvi was only 23 when, in 1943, he published his first book Talkhiyan, arguably the best-selling work of Urdu poetry after the Deewaan-e-Ghalib.
Most of us know of Sahir as a successful lyricist for the Bombay film industry. His songs could be dark and melancholy (Ye duniya agar mil bhi jaaye to kya hai), or playful (Hum aap ki aankhon mein, iss dil ko basaa de to), or even full of charming buffoonery (Sar jo tera chakraaye, ya dil dooba jaaye, aaja pyare paas hamaare, kaahe ghabraae, kaahe ghabraae). It is Sahir, and others like him, who has kept Urdu alive in popular Indian culture through the medium of the film song. But there is also another Sahir. One who has not circulated as widely among the masses. And this is tragic, because it is the ordinary people and their struggles that provided his poetry its breath of life. In the years before 1947, Sahir lived in Lahore, editing a number of journals, including a fortnightly called Savera. In 1949, he was forced to flee. His critical articles had roused the ire of the Pakistani state, and an arrest warrant was issued in his name. Long before his hurried departure from the new nation, Sahir had asked: Chalo us kufr ke ghar se salaamat aa gaye lekin / Khuda ki mamlekat mein sokhta khaanon pe kya guzri (Thank God we arrived safe from the land of infidels; / But in God's own kingdom, what happened to the broken-hearted?). In Bombay, the Sahir mystique was quick to take hold. His songs, lent voice by the best singers in the industry, would sail out from radio sets in shops and the open windows of homes in towns and cities all over the nation. Little is known of Sahir's non-filmi work though. This was partly because Sahir rarely published his works. All of it, however, was powerful poetry. In 1956, for instance, Sahir wrote his long poem Parchaiyan (Silhouettes). A tribute to lost love, it was also a powerful antiwar manifesto. This mix of poetry and politics was Sahir's hallmark. Sahir was a member of the Progressive Writers Association (PWA). But, we might ask, what did this mean in terms of his poetry. The trend with poets had been to ascribe mystical origins to their work. For example, Ghalib had written: Aate hain ghaib se ye mazaameen khayaal mein / Ghalib, sareer e khaama, nawaa e sarosh hai (These ideas come to me from the void / Ghalib, the scratching of pen on paper is the flutter of angels' wings). Sahir was not one for such airy metaphysics. His poetry, quite emphatically, had material roots. And so, on the frontispiece of his book "Talkhiyan" (Bitter Words), we read the following verse: Duniya ne tajrubaat o hawaadis ki shakl mein / Jo kuch mujhe diya hai, wo lauta rahaa hoon main (What the world, in the form of experiences and accidents / Bestowed upon me, I am returning). Sahir's poetry was a departure from the classical traditional of Urdu poetry or the funoon-e-lateefa (the delicate arts). He wanted his poems to walk among the people, and that is why they seem to have the dust of the common roads on them. Sahir was aware that such a radical departure invited dismissal from the pure aesthetes. This did not overly trouble him; he had only contempt for those who wanted anything different of his works. His aesthetic manifesto was delivered in these ringing words: Mujh ko is ka ranj nahin hai, log mujhe fankaar na manein / Fikr o sukhan ke taajir mere sheron ko ash-aar na manein (I do not regret that people do not consider me an artist / That the traders of thought and words do not consider my poems poetic). To call a critic a crass trader is a time-honoured practice among Leftist poets. It continues to this day. Javed Akhtar, for instance, has unfurled his own banner in the following verse: Jaanta hoon main tum ko, zauq e shaairi bhi hai / Shaqsiyat sajaane mein, ek ye maahiri bhi hai / Phir bhi harf chunte ho, sirf lafz sunte ho / Un ke darmiyaan kya hai, tum na jaan paaoge (I know you appreciate poetry / After all, it is a personality-building skill / But you just pluck letters, hear words / What lies between them, you shopkeepers will never know). But, there is a profound difference between a proclamation like Akhtar's, and the one by Sahir. And it lies in the fact that Sahir actually used his poetry to explain why he consciously repudiated the dominant forms of Urdu poetry - and his words carried a stinging awareness of why he himself would, in turn, be rejected by those who defended the status quo. Sahir's triumph, of course, is that his finest poetry is as fine-grained as the ghazals of Ghalib and Meer, as lyrical as Faiz's nazms, and as inflected with philosophy as musadddas by Hali or Iqbal. Such poetry is a repudiation of all worn-out arguments against progressive, politically-inflected writing. However, despite the fact that Sahir's poems are hummed on the streets, his songs are keeping an idiom alive, and his non-film poetry is sold out, Sahir has received little critical attention, especially in commentaries written in English. In his famous analysis of Urdu literature, Mohammed Sadiq, after a chapter on Ghalib, Iqbal, and even Akbar Ilahabadi, dismisses Sahir in one paragraph. It is true that several Urdu journals have devoted special issues to Sahir's work, and Urdu critics like Intizar Husain have lauded him as a literary giant. Indeed, his songs continue to inspire many Urdu writers. But, there is no critical appreciation of his work in English. Barring a critical and empathic analysis by Carlo Coppola, most of Sahir's critics in English dismiss him as a pamphleteer or an ideologue. In the narrow world of Urdu criticism in English, there appears to be an implicit agreement that the works of PWA writers, while they may be lauded as devices of public organising, are aesthetically inferior, and even harmful to Urdu poetry's classical traditions. Why have these progressives been given such short shrift? I believe that their fate is not unique to Urdu writers. It is not unusual for the defenders of the canon in any field of literature to be wary of aesthetic experiments, and to regard the outcome of such experiments as aesthetic failure. Thus, in the present literature on Urdu poetry, poets like Sahir Ludhianvi remain forgotten, very much like the workers who built the Taj Mahal, about whom he wrote with such indelible passion: Meri mehboob, unhe bhi to mohabbat hogi / Jin ki sannaa'i ne bakhshi hai ise shakl e jameel / Unke pyaaron ke maqaabir rahe be naam-o-numood / Aaj tak un pe jalaai na kisi ne qandeel (My love, they too must have loved / Whose craft has given the Taj its beautiful visage / Their loved ones lie in unmarked graves / Where no one even lights a candle). At this point in history, though, Sahir's touching appeals against war are strongly brought to mind. In 1956, following the Suez Canal crisis, he wrote Parchaiyan, which focused on the domestic fallout of war. Us shaam mujhe maaloom hua, kheton ki tarah is duniya mein Sahmi hui doshezaaon ki muskaan bhi bechi jaati hai Us shaam mujhe maaloom hua, is kaargah e zardaari mein Do bholi bhaali roohon ki pehchaan bhi bechi jaati hai On that evening, I learned that in this world, like fields The smiles on the nervous faces of beauties are also traded On that evening, I learned that in the marketplace of capital The intimacy of two innocent souls is also traded. … Guzishta jang mein ghar hi jale, magar is baar Ajab nahin, ke ye tanhaaiyaan bhi jal jaayen Guzishta jang mein paikar jale, magar is baar Ajab nahin, ke ye parchaiyan bhi jal jaayen In the last war, homes were burned, but this time Even the loneliness may burn away In the last war, only bodies burned, but this time Even the silhouettes may burn away (Raza Mir teaches at Monmouth University, New Jersey and helps edit the magazine SAMAR.) _______________________________________________________________________________
My Youtube Videos Palestine belongs to the Arabs in the same sense that England belongs to the English or France to the French. It is wrong and inhuman to impose the Jews on the Arabs. - Mohandas Karamchand Gandhi |
AzgarKhan |
Jun 29 2007, 06:41 AM
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#18
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Dedicated Member Group: Members Posts: 4425 Joined: 23-January 04 From: New York (USA) / Hyderabad (India) Member No.: 205 |
Sahir wrote Jashn-e-Ghalib (Ghalib's Celebration) after the Indian government suddenly decided to mark the 100th anniversary of Ghalib's death in 1968. There could be no more scathing critique of the treatment meted out to Urdu by the bureaucratic policies in India:
Jin shehron mein goonji thhi, Ghalib ki navaa barson Un shehron mein aaj Urdu, benaam-o-nashaan thehri Aazaadi-e-kaamil ka elaan huaa jis din, Maatoob zabaan thehri, ghaddar zabaan thehri Jis ahd-e-siyaasat ne ye zinda zubaan kuchli Us ahd-e-siyaasat ko marhoomon ka gham kyon hai Ghalib jise kehte hain, Urdu hi ka shaayar thha Urdu pe sitam dhha kar, Ghalib pe karam kyon hai In those cities, where Ghalib's voice echoed for years In those very cities now, there is no trace of Urdu The day we announced our independence It became an oppressed language, a traitor language The political will that crushed this living tongue Why does that very politic mourn Urdu's dead The one who you call Ghalib, he was a poet of urdu Why bury Urdu and then praise Ghalib? _______________________________________________________________________________
My Youtube Videos Palestine belongs to the Arabs in the same sense that England belongs to the English or France to the French. It is wrong and inhuman to impose the Jews on the Arabs. - Mohandas Karamchand Gandhi |
AzgarKhan |
Aug 7 2007, 08:52 PM
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#19
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Dedicated Member Group: Members Posts: 4425 Joined: 23-January 04 From: New York (USA) / Hyderabad (India) Member No.: 205 |
This song, "Jinhe Naaz Hai Hind Par Wo Kahan Hai" is the simplified version of Sahir's 'Chakley'. The song was written for the movie 'Pyaasa', starring Guru Dutt, Waheeda Rehman and Mala Sinha. The music was given by S.D. Burman and the song was sung by Mohammed Rafi. The major difference, if you will compare this with the original nazm 'Chakley' is that this version was a simpler version, modified version of 'Chakley' for the masses. Sahir accomplished this masterfully by replacing 'sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN' to 'jinhe naaz hai hind par vo kahaaN haiN'.
Ye kooche ye nilaam ghar dilkashi ke Ye lut-te huwe karvaan zindagi ke Kahan hai, kahan hai muhafiz khudi ke Jinhe naaz hai Hind par wo kahan hai Kahan hai, kahan hai, kahan hai Ye purpaich galiyan, ye badnaam bazaar Ye gumnaam raahi, ye sikkon ki jhankaar Ye ismat ke sauday, ye saudon pe taqraar Jinhe naaz hai Hind par wo kahan hai Kahan hai, kahan hai, kahan hai Ye sadiyon se be-khauf sehmi si galiyaan Ye masli hui adh-khili zard kaliyaan Ye bikti hui khokli rang-raliyaan Jinhe naaz hai Hind par wo kahan hai Kahan hai, kahan hai, kahan hai Wo ujle darichon mein payal ki chann chann Thaki haari saanson pe tablay ki dhan dhan Ye be-rooh kamron mein khaansi ki than than Jinhe naaz hai Hind par wo kahan hai Kahan hai, kahan hai, kahan hai Ye phoolon ke gajre, ye peekon ke cheentay Ye be-baak nazrein, ye gustaakh fitrein Ye dhalke badan, aur ye beemar chehre Jinhe naaz hai Hind par wo kahan hai Kahan hai, kahan hai, kahan hai Yahan peer bhi aa chuke hain, jawaan bhi Tan-o-mand bete bhi, abba miya bhi Ye biwi bhi hai, aur bahen bhi hai Maa bhi Jinhe naaz hai Hind par wo kahan hai Kahan hai, kahan hai, kahan hai Madad chaahti hai ye Hawwa ki beti Yashoda ki hum-jins, Radha ki beti Payambar ki ummath, Zulekha ki beti Jinhe naaz hai Hind par wo kahan hai Kahan hai, kahan hai, kahan hai Zara mulk ke rehbaron ko bulao Ye kooche ye galiyaan ye manzar dikhao Jinhe naaz hai hind par unko lao Jinhe naaz hai Hind par wo kahan hai Kahan hai, kahan hai, kahan hai Glossary: Kooche = Streets Nilaam Ghar = Auction Houses Muhaafiz Khudi ke = the protectors of pride Ismat = pride, honour Takraar = fights, arguments Zard = yellowing Be-rooh = soul-less Peer = old, wise Tan-o-mand = healthy, fit Hum-jins = breed Payambar = prophet Ummat = race Rehbaron = leaders _______________________________________________________________________________
My Youtube Videos Palestine belongs to the Arabs in the same sense that England belongs to the English or France to the French. It is wrong and inhuman to impose the Jews on the Arabs. - Mohandas Karamchand Gandhi |
simplefable |
Aug 21 2007, 08:07 AM
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#20
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Dedicated Member Group: Members Posts: 8613 Joined: 3-August 07 From: ANDHRA PRADESH Member No.: 20340 |
Thankyou all...for such a wonderful insight into the poet and his works..got no words to explain the efforts you all have put in...if i delve in this corridors, i will definitely pick up the finer nuances of Urdu...i am sure. :-)
With all humility, i would say that no two persons can be compared...ever. It is for us, to enjoy what we like at our own pace. :-) After silence that which comes nearest to expressing the inexpressible is music.
Aldous Huxley "Waqt ne kiya...Kya haseen sitm...Tum rahe na tum..Hum rahe na hum.." geetadutt noorjehan shamshadbegum Anmol Fankaar |
Krish786 |
Aug 27 2007, 05:21 AM
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#21
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Member Group: Members Posts: 56 Joined: 20-August 07 Member No.: 21927 |
All my love and respect goes to Sahir ji..
Thanks Azgarbhai sahib.. Irshad..farmayiye.. ( thanks to Apritam ji) and btw.. who is shaqil ppl talking about? chota shaquil? I never heard he is/was poet also? Feel Free to add me to your email id krish786.nAThotmail.com
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anjvajay |
Aug 27 2007, 10:40 PM
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#22
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Dedicated Member Group: Members Posts: 1210 Joined: 28-November 06 Member No.: 7705 |
and btw.. who is shaqil ppl talking about? chota shaquil? I never heard he is/was poet also? Hi Krish, Agar aap Shakeel ko chhota kar ke Sahir ko bada saabit karna chahte hain to behad galat kar rahen hain. Shakeel Badayuni,Majrooh Sultanpuri,Prem Dhavan,Shailendra aur Kaifi Azami ye saare log ek hi raah ke humsafar the.Ye saare lyricist zindagi bhar Progressive Writers Association se jude rahe. Mujhe hairat hai ki Kaifi Azami ka Forum gayab ho gaya hai. |
Krish786 |
Aug 27 2007, 11:34 PM
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#23
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Member Group: Members Posts: 56 Joined: 20-August 07 Member No.: 21927 |
and btw.. who is shaqil ppl talking about? chota shaquil? I never heard he is/was poet also? Hi Krish, Agar aap Shakeel ko chhota kar ke Sahir ko bada saabit karna chahte hain to behad galat kar rahen hain. Shakeel Badayuni,Majrooh Sultanpuri,Prem Dhavan,Shailendra aur Kaifi Azami ye saare log ek hi raah ke humsafar the.Ye saare lyricist zindagi bhar Progressive Writers Association se jude rahe. Mujhe hairat hai ki Kaifi Azami ka Forum gayab ho gaya hai. No sir.. it was just a simple Joke.. But truth is I rate Shair Way above others.. IMHO...I have yet to see SB's shayari to the level of SL, Pyasa.. Kabhi Kabhi.. and some non filmi are mind blowing from SL.. SB i am not sure.. was a good poet, like others, Shailendra is over rated to me as well.. Well its all in ones own perception.. so, joking was not to push SL up above SB at all I am no body to do it.. and SL does not require that push even. He is already high up there.. Feel Free to add me to your email id krish786.nAThotmail.com
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AzgarKhan |
Aug 28 2007, 12:51 PM
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#24
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Dedicated Member Group: Members Posts: 4425 Joined: 23-January 04 From: New York (USA) / Hyderabad (India) Member No.: 205 |
All my love and respect goes to Sahir ji.. Thanks Azgarbhai sahib.. Irshad..farmayiye.. ( thanks to Apritam ji) and btw.. who is shaqil ppl talking about? chota shaquil? I never heard he is/was poet also? Cant believe people dont know Shakeel Badayuni, one of the greatest Indian poets who penned songs for Mother India, Moghul-e-azam, Ganga Jamuna, Mere Mehboob, Chaudhvin ka chand, Sahib Bibi aur Ghulam to name a few. _______________________________________________________________________________
My Youtube Videos Palestine belongs to the Arabs in the same sense that England belongs to the English or France to the French. It is wrong and inhuman to impose the Jews on the Arabs. - Mohandas Karamchand Gandhi |
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