Bahadar shah zafar is one of most underrated poets of Urdu language. we need to explore him honestly which ll surely show us the hidden treasure of urdu literature . His poetry is full of extreme sadness shows pain he suffered . this is very natural because he not only enjoyed throne of Mughal empire but also suffered painful life of prison.we can see this effect in this ghazal too.
جن گلين ميں پہلے ديکھیں لوگن کی رنگ رلیاں تھیں پھر دیکھا تو ان لوگن بن سونی پڑی وہ گلیاں تھیں ایسی انکھیاں میچے پڑے ہیں کروٹ بھی نہیں لے سکدے جن کی چالیں البیلی اور چلنے میں چھَل بلیاں تھیں خــاک ان کا بستر ہے اور ســر کے نیـچے پتــھر ہے ہائے وہ شکلیں پیاری پیاری کس کس چاؤ سے پلیاں تھیں تلخی اٹھائی موت کے چکھے، خاک سب ان کو چاٹ گئی
Since gaining independence in 1947, India has been a secular state. But now, as religious fundamentalism grips much of India's population, the greatest danger to the nation's extremely strained social fabric may come not from Sikh or Muslim separatists, but from Hindu fundamentalists who are appealing to the 83% Hindu majority to redefine India as a Hindu nation.
IN THE NAME OF GOD focuses on the campaign waged by the militant Vishwa Hindu Parishad (VHP) to destroy a 16th century mosque in Ayodhya said to have been built by Babar, the first Mughal Emperor of India. The VHP claim the mosque was built at the birthsite of the Hindu god Ram after Babar razed an existing Ram temple. They are determined to build a new temple to Ram on the same site. This controversial issue, which successive governments have refused to resolve, has led to religious riots which have cost thousands their lives, culminating in the mosque's destruction by the Hindus in December of 1992. The resulting religious violence immediately spread throughout India and Pakistan leaving more than 5,000 dead, and causing thousands of Indian Muslims to flee their homes.
Filmed prior to the mosque's demolition, IN THE NAME OF GOD examines the motivations which would ultimately lead to the drastic actions of the Hindu militants, as well as the efforts of secular Indians - many of whom are Hindus - to combat the religious intolerance and hatred that has seized India in the name of God.
The Mahut (elephant-tamer), the Maishal (buffalo keeper) and the Garial (cart-driver) are recurrent characters in Goalpariya and Bhawaiya folk songs. This is a song of longing (bicched) sung by the Maishal's young bride. Maishal has to slog for months in the bathan (grazing ground for buffaloes) to earn a few shillings to pay off the marriage dowry, whereas the wife endures pangs of long separation. She curses Maishal's boss and urges him to come back home at once. She'd rather sell off her necklace to meet their financial needs.
I have stitched together two different renditions - one by the inimitable Kali Dasgupta, and the second one beautifully sung by Ruma Guhathakurta. This song, for obvious reasons, is more suited to the female voice. In the beginning, Kali Dasgupta talks a little about the socio-economic context of the song.
"Hastir kainya hastir kainya bamaner nari Mathay niya tam kalasi o, sakhi haste sonar jhari sakhi o, O mor haay hastir kainya re, khaneko doya nai tor mahutok lagiya re
Balu til-til pankhire kande balute pariya Gouripuriya Mahut kande o, sakhi ghar bari chhariya sakhi o. O more haay hastir kainya re, khaneko daya nai tor mahutok lagiya re
Ai charilong bhai charilong charilong sonar puri Biao kareya chariya asilong o, sakhi alpa bayaser nari sakhi o. O more haay hastir kainya re, khaneko daya nai tor mahutok lagiya re
Phand ladilong phanda ladilong aro ladilong dori Mahut phandi jukti kari o, sakhi cholitong sikar bari, sakhi o. O more haay hastir kainya re, khaneko daya nai tor mahutok lagiya re" ----------------------------
O elephant girl! O Brahmin woman! With the copper pitcher on your head and the golden water-sprinkler in your hand. O my friend, my elephant girl, won't you have a little pity for the Mahout (elephant keeper)? The sandpiper cries in the sands; the Mahout from Gouripur cries for his home. I left my mother, I left my brother, I left my golden house. I even left behind my young married wife. We took the lasso; we took the cards and ropes along. Us, the Mahout and the trapper (Phandi) planned together before we set out for the hunting ground. O my friend, won't you have a little pity on the Mahout?
