Saturday, July 16, 2011

Journey of the Magi

Journey by Neha

A cold coming we had of it,
Just the worst time of the year
For a journey, and such a long journey:
The ways deep and the weather sharp,
The very dead of winter.
And the camels galled, sore-footed, refractory,
Lying down in the melting snow.
There were times when we regretted
The summer palaces on slopes, the terraces,
And the silken girls bringing sherbet.
Then the camel men cursing and grumbling
And running away, and wanting their liquor and women,
And the night-fires going out, and the lack of shelters,
And the cities dirty and the towns unfriendly
And the villages dirty and charging high prices:
A hard time we had of it.
At the end we preferred to travel all night,
Sleeping in snatches,
With the voices singing in our ears, saying
That this was all folly.

Then at dawn we came down to a temperate valley,
Wet, below the snow line, smelling of vegetation;
With a running stream and a water mill beating the darkness,
And three trees on the low sky,
And an old white horse galloped away in the meadow.
Then we came to a tavern with vine-leaves over the lintel,
Six hands at an open door dicing for pieces of silver,
And feet kicking the empty wineskins.
But there was no information, and so we continued
And arrived at evening, not a moment too soon
Finding the place; it was (you may say) satisfactory.

All this was a long time ago, I remember,
And I would do it again, but set down
This set down
This: were we led all that way for
Birth or Death? There was a Birth, certainly,
We had evidence and no doubt. I had seen birth and death,
But had thought they were different; this Birth was
Hard and bitter agony for us, like Death, our death.
We returned to our places, these Kingdoms,
But no longer at ease here, in the old dispensation,
With an alien people clutching their gods.
I should be glad of another death.

- T S Eliot

The Ages

"Fallen" by Neha

WHEN, to the common rest that crowns our days,
Called in the noon of life, the good man goes,
Or full of years, and ripe in wisdom, lays
His silver temples in their last repose;
When, o’er the buds of youth, the death-wind blows,
And blights the fairest; when our bitterest tears
Stream, as the eyes of those that love us close,
We think on what they were, with many fears
Lest Goodness die with them, and leave the coming years.

- William Cullen Bryant (1794–1878)

Wednesday, July 06, 2011

Knots

Circles by Neha


All in all
Each man in all men
All men in each man

All being in each being
Each being in all being

All in each
Each in all

All distinctions are mind, by mind, in mind, of mind
No distinctions no mind to distinguish

-From Knots by R.D.Laing

Friday, June 24, 2011

Ballad of a wilful woman

So she follows the cruel journey
That ends not anywhere,
And dreams, as she stirs the mixing-pot,
She is brewing hope from despair.

- D H Lawrence , From "Look! We have come through!"

Monday, June 20, 2011

Apni Dhun Mein Rehta Hoon

Apni dhun mein rehta hoon
Main bhi tere jaisa hoon

O picchli rut kay saathi
Abke Baras main tanha hoon

Teri gali mein sara din
Dukh kay kankar chunta hoon

Mera diya jalaye kaun
Main tera khali kamra hoon

Apni leher hai apna rog
Dariya hoon aur pyasaa hoon

Aati rut mujhe royegi
Jaati rut ka jhonka hoon

Apni dhun mein rehta hoon
Main bhi tere jaisa hoon

- Written by Nasir Kazmi , Sung by Ghulam Ali

Sunday, June 12, 2011

Mary Morison

O Mary, at thy window be,
It is the wish'd, the trysted hour!
Those smiles and glances let me see,
That make the miser's treasure poor:
How blythely was I bide the stour,
A weary slave frae sun to sun,
Could I the rich reward secure,
The lovely Mary Morison.

Yestreen, when to the trembling string
The dance gaed thro' the lighted ha',
To thee my fancy took its wing,
I sat, but neither heard nor saw:
Tho' this was fair, and that was braw,
And yon the toast of a' the town,
I sigh'd, and said among them a',
"Ye are na Mary Morison."

Oh, Mary, canst thou wreck his peace,
Wha for thy sake wad gladly die?
Or canst thou break that heart of his,
Whase only faut is loving thee?
If love for love thou wilt na gie,
At least be pity to me shown;
A thought ungentle canna be
The thought o' Mary Morison.

- Robert Burns

The Old Wisdom

When the night wind makes the pine trees creak
And the pale clouds glide across the dark sky,
Go out, my child, go out and seek
Your soul: the Eternal I.

For all the grasses rustling at your feet
And every flaming star that glitters high
Above you, close up and meet
In you: the Eternal I.

Yes, my child, go out into the world; walk slow
And silent, comprehending all, and by and by
Your soul, the Universe, will know
Itself: the Eternal I.

-Jane Goodall

Saturday, June 04, 2011

Mohabbat karney waley

Mohabbat karNe wale kam nah hoNge
Teri mehfil main lekin hum nah hoNge

Zamaane bhar ke gham yah ik tera gham
Yeh gham hoga to kitNe gham nah hoNge

Dilon ki uljah ne bardti rahengi
Agar kuch mushWare baaham nah hoNge

Agar tu ittifaaqan mil bhi jaeN
Teri furqat ke sadMai kam nah hoNge

'Hafeez' oon se mein jit na badGumaaN hooN
Woh mujh se is qadar barham na hoNge

-Hafeez Hoshiarpuri

Listen to this beautiful ghazal by Mehdi Hassan on YouTube

Ye aarzoo thee

yeh aarzoo thi tujhe gul ke ru-ba-ru karte
hum aur bulbul-e-betaab guftagu karte

payaam bar na mayassar hua to khoob hua
zabaan-e-ghair se kyaa shar ki aarzoo karte

meri tarah se maah-o-mahar bhi hain aavaaraa
kisi habib ko ye bhi hain justajoo karte

jo dekhte teri zanjeer-e-zulf kaa aalam
aseer hone ke aazaad aarzoo karte

na poochh aalam-e-baragashtaa taali-e-"Aatish"
barasati aag main jo baaraan ki aarzoo karte

- Sung by Abida Parveen

Friday, June 03, 2011

Hum hain mushtaaq

"Ghalib's Haveli in Delhi" by Neha
Hum hain mushtaaq aur woh bezaar
ya ilahee! ye majra kya hai?

[ mushtaaq = interested, bezaar = displeased]

Main bhee mooh mein zabaan rakhta hoon
Kash! poocho kee "mudda kya hai?

[ mudda = concern/ issue]

Jaan tum par nisaar karta hoon
Mai nahee jaanta kee khuda kya hai

Bas ki dushwar hai har kaam ka aasaan hona
Aadmi ko bhee mayassar nahiin insaan hona

[Dushwaar=difficult; Mayassar=possible]

Jalwa fir arz-e-naaz karta hai
Roz-e-baazaar-e-jaaN_sipaaree hai

[ jalwa = splendour, jaaN_sipaaree = resigning one's life into the hands of another ]

Karne gaye the; usse taGHaaful ka ham gila
kee ek hee nigaah ki bas KHaak ho gaye

[ taGHaaful = negligence, gila = complaint, KHaak = dust/ashes ]

Ishq mujhko naheeN, wehshat hee sahee
Meree wehshat, teree shohrat hee sahee

[ wehshat = solitude, shohrat = fame ]

Apnee hastee hee se ho, jo kuchch ho !
Aagahee gar naheeN GHaflat hee sahee

[ hastee = existence, aagahee = knowledge/information, GHaflat = negligence ]

Fir mujhe deeda-e-tar yaad aaya
Dil jigar tashna-e-fariyaad aaya

[ deeda-e-tar = wet eyes, tashna (or tishna ) = thirsty ]

Aa, ki meree jaan ko qaraar naheen hai
Taaqat-e-bedaad-e-intazaar naheeN hai

[ qaraar = rest/repose, bedaad = injustice ]

Poochtey hain woh ki 'Ghalib' kaun hai ?
Koi batlao ki ham batlaayain kya ?

- Mirza Ghalib

Keeping it real



"What is REAL?" asked the Rabbit one day, when they were lying side by side near the nursery fender, before Nana came to tidy the room. "Does it mean having things that buzz inside you and a stick-out handle?"

"Real isn't how you are made," said the Skin Horse. "It's a thing that happens to you. When a child loves you for a long, long time, not just to play with, but REALLY loves you, then you become Real."

"Does it hurt?" asked the Rabbit.

"Sometimes," said the Skin Horse, for he was always truthful. "When you are Real you don't mind being hurt."

"Does it happen all at once, like being wound up," he asked, "or bit by bit?"

"It doesn't happen all at once," said the Skin Horse. "You become. It takes a long time. That's why it doesn't happen often to people who break easily, or have sharp edges, or who have to be carefully kept. Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand."

- From " The Velveteen Rabbit" by Margery Williams, First published in 1922

Wednesday, June 01, 2011

Miss. Julie


August Strindberg subtitled Miss Julie “A Naturalistic Tragedy,” and set down, in his preface to the play, one of history’s most strident definitions of naturalist theatre as also one of the finest pieces of writing I have read.

From the Preface

"In the following drama I have not tried to do anything new--for that cannot be done--but I have tried to modernize the form in accordance with the demands which I thought the new men of a new time might be likely to make on this art. And with such a purpose in view, I have chosen, or surrendered myself to, a theme that might well be said to lie outside the partisan strife of the day: for the problem of social ascendancy or decline, of higher or lower, of better or worse, of men or women, is, has been, and will be of lasting interest. In selecting this theme from real life, as it was related to me a number of years ago, when the incident impressed me very deeply, I found it suited to a tragedy, because it can only make us sad to see a fortunately placed individual perish, and this must be the case in still higher degree when we see an entire family die out. But perhaps a time will arrive when we have become so developed, so enlightened, that we can remain indifferent before the spectacle of life, which now seems so brutal, so cynical, so heartless; when we have closed up those lower, unreliable instruments of thought which we call feelings, and which have been rendered not only superfluous but harmful by the final growth of our reflective organs."

*****

"Not long ago they reproached my tragedy "The Father" with being too sad--just as if they wanted merry tragedies. Everybody is clamouring arrogantly for "the joy of life," and all theatrical managers are giving orders for farces, as if the joy of life consisted in being silly and picturing all human beings as so many sufferers from St. Vitus' dance or idiocy. I find the joy of life in its violent and cruel struggles, and my pleasure lies in knowing something and learning something. And for this reason I have selected an unusual but instructive case--an exception, in a word--but a great exception, proving the rule, which, of course, will provoke all lovers of the commonplace. And what also will offend simple brains is that my action cannot be traced back to a single motive, that the view-point is not always the same. An event in real life--and this discovery is quite recent--springs generally from a whole series of more or less deep-lying motives, but of these the spectator chooses as a rule the one his reason can master most easily, or else the one reflecting most favourably on his power of reasoning. A suicide is committed. Bad business, says the merchant. Unrequited love, say the ladies. Sickness, says the sick man. Crushed hopes, says the shipwrecked. But now it may be that the motive lay in all or none of these directions. It is possible that the one who is dead may have hid the main motive by pushing forward another meant to place his memory in a better light."

*****

" In regard to the character-drawing I may say that I have tried to make my figures rather "characterless," and I have done so for reasons I shall now state.

In the course of the ages the word character has assumed many meanings. Originally it signified probably the dominant ground-note in the complex mass of the self, and as such it was confused with temperament. Afterward it became the middle-class term for an automaton, so that an individual whose nature had come to a stand still, or who had adapted himself to a certain part in life--who had ceased to grow, in a word--was named a character; while one remaining in a state of development--a skillful navigator on life's river, who did not sail with close-tied sheets, but knew when to fall off before the wind and when to luff again--was called lacking in character. And he was called so in a depreciatory sense, of course, because he was so hard to catch, to classify, and to keep track of. This middle-class notion about the immobility of the soul was transplanted to the stage, where the middle-class element has always held sway. There a character became synonymous with a gentleman fixed and finished once for all--one who invariably appeared drunk, jolly, sad. And for the purpose of characterization nothing more was needed than some physical deformity like a clubfoot, a wooden leg, a red nose; or the person concerned was made to repeat some phrase like "That's capital!" or "Barkis is willin'," or something of that kind. This manner of regarding human beings as homogeneous is preserved even by the great Moliere. Harpagon is nothing but miserly, although _Harpagon_ might as well have been at once miserly and a financial genius, a fine father, and a public-spirited citizen. What is worse yet, his "defect" is of distinct advantage to his son-in-law and daughter, who are his heirs, and for that reason should not find fault with him, even if they have to wait a little for their wedding. I do not believe, therefore, in simple characters on the stage. And the summary judgments of the author upon men--this one stupid, and that one brutal, this one jealous, and that one stingy--should be challenged by the naturalists, who know the fertility of the soul-complex, and who realize that "vice" has a reverse very much resembling virtue."

*****

"My souls (or characters) are conglomerates, made up of past and present stages of civilisation, scraps of humanity, torn-off pieces of Sunday clothing turned into rags--all patched together as is the human soul itself. And I have furthermore offered a touch of evolutionary history by letting the weaker repeat words stolen from the stronger, and by letting different souls accept "ideas"--or suggestions, as they are called--from each other."

*****

"I believe love to be like the hyacinth, which has to strike roots in darkness before it can bring forth a vigorous flower. In this case it shoots up quickly, bringing forth blossom and seed at once, and for that reason the plant withers so soon."

*****

From the Play


" JEAN.
You're mighty queer, do you know!

JULIA.
Perhaps. But so are you. And for that matter, everything is queer. Life, men, everything--just a mush that floats on top of the water until it sinks, sinks down! I have a dream that comes back to me ever so often. And just now I am reminded of it. I have climbed to the top of a column and sit there without being able to tell how to get down again. I get dizzy when I look down, and I must get down, but I haven't the courage to jump off. I cannot hold on, and I am longing to fall, and yet I don't fall. But there will be no rest for me until I get down, no rest until I get down, down on the ground. And if I did reach the ground, I should want to get still further down, into the ground itself--Have you ever felt like that?

JEAN.
No, my dream is that I am lying under a tall tree in a dark wood. I want to get up, up to the top, so that I can look out over the smiling landscape, where the sun is shining, and so that I can rob the nest in which lie the golden eggs. And I climb and climb, but the trunk is so thick and smooth, and it is so far to the first branch. But I know that if I could only reach that first branch, then I should go right on to the top as on a ladder. I have not reached it yet, but I am going to, if it only be in my dreams."

*****

" JEAN.
[Rising]

No! Forgive me instead what I have been saying. I don't want to strike one who is disarmed, and least of all a lady. On one hand I cannot deny that it has given me pleasure to discover that what has dazzled us below is nothing but cat-gold; that the hawk is simply grey on the back also; that there is powder on the tender cheek; that there may be black borders on the polished nails; and that the handkerchief may be dirty, although it smells of perfume. But on the other hand it hurts me to have discovered that what I was striving to reach is neither better nor more genuine. It hurts me to see you sinking so low that you are far beneath your own cook--it hurts me as it hurts to see the Fall flowers beaten down by the rain and turned into mud."

*****

"JEAN.
Have you not loved your father, Miss Julia?

JULIA.
Yes, immensely, but I must have hated him, too. I think I must have been doing so without being aware of it. But he was the one who reared me in contempt for my own sex--half woman and half man! Whose fault is it, this that has happened? My father's--my mother's--my own? My own? Why, I have nothing that is my own. I haven't a thought that didn't come from my father; not a passion that didn't come from my mother; and now this last--this about all human creatures being equal--I got that from him, my fiance--whom I call a scoundrel for that reason! How can it be my own fault? To put the blame on Jesus, as Christine does--no, I am too proud for that, and know too much--thanks to my father's teachings--And that about a rich person not getting into heaven, it's just a lie, and Christine, who has money in the savings-bank, wouldn't get in anyhow. Whose is the fault?--What does it matter whose it is? For just the same I am the one who must bear the guilt and the results--"

Read the complete Preface and Miss.Julie here

Like the Water

"The Element" by Neha


......Like the water
of a deep stream, love is always too much. We
did not make it. Though we drink till we burst
we cannot have it all, or want it all.
In its abundance it survives our thirst.

- Windell Berry ( From " My Story As Told by Water")

Thursday, May 26, 2011

The Nomad Flute

To Music by Neha

You that sang to me once sing to me now
let me hear your long lifted note
survive with me
the star is fading
I can think farther than that but I forget
do you hear me

do you still hear me
does your air
remember you
o breath of morning
night song morning song
I have with me
all that I do not know
I have lost none of it

but I know better now
than to ask you
where you learned that music
where any of it came from
once there were lions in China

I will listen until the flute stops
and the light is old again

- W.S. Merwin from " In The Shadow of Sirius"

Saturday, May 07, 2011

Wild Geese

The Village of Prades by Joan Miró ( 1917 )

You do not have to be good.
You do not have to walk on your knees
for a hundred miles through the desert, repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting--
over and over announcing your place
in the family of things.

- Mary Oliver

Monday, May 02, 2011

Dard ka hudd se guzarna

Pollard Willows with Setting Sun by Van Gogh - 1888


Ishrate qatrah hai, dariya mein fana ho jana
Dard ka hudd se guzarna hee dawa ho jana

Tujh se qismat mein reri soorate qafle abjad
Tha likha, baat ke bante hi juda ho jana

Dil hua kashmakash charai zahmat mein tamam
Mit gaya ghisne mein is uqdey ka wa ho jana

Ab jafa se bhi hain mahroom hum allah allah!
Is qader dushmane arbabe wafa ho jana!

Zof se giryah mubaddil bah dam serd hawa
Bawer aaya hamein pani ka hawa ho jana

Dil se mitna teri angusht hinaee ka khayal
Ho gaya gosht se nakhun ka zuda ho jana

Hai mujhe abre bahari ka baras ker khulna
Rote rote game furqat mein fana ho jana

Gar nahin nikhate gul ko tere koche ki hawas
Kiyon hai girde rahe jolane saba ho jana

Bakhshe hain jalwai gul joshe tamasha Ghalib!
Chashm ko chahiye her rang mein wa ho jana

Taki tujh per khule ajaz hawai saiqal
Daikh bersatmein sabz aiene ka ho jana

- Mirza Ghalib

Key to urdu words: Ishrat- heartfelt wish (desire), qatrah- drop of water , fana- to get destroyed (mit jana)

Sunday, May 01, 2011

Ek bass tu hi nahee

Southern Gardens by Paul Klee ( 1936)

Ek bass tu hi nahin mujhse khafa ho baitha
Mainey jo sang taraasha tha khuda ho baitha

Uth ke manzil hi agar aaye to shayad kuchh ho
Shauq-E-Manzil to mera aablaa-pa ho baitha

Masalaht cheen gayi quwwat-e-guftaar magar
Kuchh na kehna hee mera meri kata ho baitha

Shukriya ai mere qaatil ai masiha merey
Zehar jo tuney diya tha wo dawa ho baitha

Jaan-e-shahazaad ko min-jumlaa-e-ada pa kar
Huuk wo utthi ki ji tan se juda ho baitha

- Farhat Shehzad

Key to urdu words: Khafa: Angry, Annoyed, Displeased, Sang: Stone, Taraashaa: Carving ; Shauq-e-Manzil: Eager search of the goal/destination, Aabalaa-paa: Blistered Feet;Maslehat: Public interest, a thing that is right or wrong, Cheen-na: Snatching, Quvvat: Strength, Guftaar: Conversation, Discourse, Speech, Talk, Quvvat-e-Guftaar: Strength of Speech, Sadaa: Sound, Tone, Voice, Qaatil: Killer, Masihaa: God ( as Christ) , Zehar : Poison, Dawa: Medicine , Shehzad: A reference to the poet, Farhat Shehzad, Min-jumla-e-ada: fragile state, Huuk: shooting pain ( translation thanks to Ek Fankaar )

Notes: Listen to beautiful renditions of this ghazal on YouTube by Abida Parveen and Mehdi Hassan

Sunday, April 17, 2011

Do not go gentle into that good night

The Starry Night Sketch by Vincent Van Gogh

Do not go gentle into that good night,
Old age should burn and rage at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

- Dylan Thomas

Love this reading by Anthony Hopkins : http://www.youtube.com/watch?v=s1fTlIsUGks&feature=fvwrel

Friday, April 15, 2011

To Women As Far As I'm Concerned

to a certain several women I have known

The feelings I don't have I don't have.
The feeling I don't have, I won't say I have.
The feelings you say you have, you don't have.
The feelings you would like us both to have, we neither of us have.
The feelings people ought to have, they never have.
If people say they've got feelings, you may be pretty sure they haven't got them.
So if you want either of us to feel anything at all
You'd better abandon all ideas of feelings altogether.

- D H Lawrence

Monday, March 21, 2011

Nasadiya: The hym of creation

"The Hym" by Neha


There was neither non-existence nor existence then.
There was neither the realm of space nor the sky which is beyond.
What stirred?
Where?
In whose protection?
Was there water, bottlemlessly deep?

There was neither death nor immortality then.
There was no distinguishing sign of night nor of day.
That One breathed, windless, by its own impulse.
Other than that there was nothing beyond.

Darkness was hidden by darkness in the beginning,
with no distinguishing sign, all this was water.
The life force that was covered with emptiness,
that One arose through the power of heat.

Desire came upon that One in the beginning,
that was the first seed of mind.
Poets seeking in their heart with wisdom
found the bond of existence and non-existence.

Their cord was extended across.
Was there below?
Was there above?
There were seed-placers, there were powers.
There was impulse beneath, there was giving forth above.

Who really knows?
Who will here proclaim it?
Whence was it produced?
Whence is this creation?
The gods came afterwards, with the creation of this universe.
Who then knows whence it has arisen?

Whence this creation has arisen
- perhaps it formed itself, or perhaps it did not -
the One who looks down on it,
in the highest heaven, only He knows
or perhaps even He does not know.

- Rig Veda

Translation by Wendy Doniger O'Flaherty. From the Book "The Rig Veda - Anthology"