रस की अनॊखीं लॆहरॆं

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रस की अनॊखीं लॆहरॆं Empty रस की अनॊखीं लॆहरॆं

Post by Guest on Mon May 16, 2011 2:05 pm

रस की अनॊखीं लॆहरॆं

Sanaullah Dar "Meerajee"

1. मैं यह चाहती हूं कि दुनिया की आंखें मुझे देखती जायें, यूं देखती जायें
यूं दॆखती जायें जैसॆ
2. कॊई पॆड़ की नर्म टहनी कॊ दॆखे
3. (लचकती हुई, नर्म टहनी कॊ दॆखे)
4. मगर बॊझ पत्तॊं का उतरॆ हुए पैरहन की तरह सॆज कॆ साथ ही
फ़र्श पर ऎक मसला हुआ
5. ढॆर बन कर पड़ा हॊ,
6. मैं यह चाह्ती हूं की झॊंकॆ हवा कॆ लिपटतॆ चलॆ जाऎं मुझ सॆ,
7. मचलतॆ हुऎ, छॆड़ करतॆ हुऎ, हंस्तॆ हंस्तॆ कॊई बात कह्तॆ हुऎ,
लाज कॆ बॊझ
8. सॆ रुकते रुकते, संभलते हुऎ रस की रंगीन सर्गॊशियॊं मॆं,
9. मैं यह चाहती हूं कभी चलते चलते कभी दौड़तॆ दौड़तॆ
बढ़ती जाऊं.
10. हवा जैसे नदी कॆ लहरॊं सॆ छूतॆ हुऎ, सरसरातॆ हुऎ बहती
जाती है, रुकती
11. नहीँ है,
12. अगर कॊई पंछी सुहानी सदा मॆं कहीं गीत गाऎ
13. तॊ अवाज़ की गरम लहरॆं मॆरॆ जिस्म सॆ आ कॆ टकरायॆं और लौट जाऎं,
ठहरनॆ न पाऎं,
14. कभी गर्म किरणॆं, कभी नर्म झॊंकॆ,
15. कभी मीठी मीठी फ़सूं-साज़ बातॆं,
16. कभी कुछ कभी कुछ नयॆ सॆ नया रंग उभरॆ,
17. उभरतॆ ही तहलील हॊ जाऎ फैली फ़िज़ा मॆं,
18. कॊई चीज़ मॆरॆ मसर्रत कॆ घॆरॆ मॆं रुकनॆ न पाऎ
19. मसर्रत का घॆरा सिमटता चला जा रहा है
20. खुला खॆत गुन्दम् का फैला हुआ है
21. बहुत दूर आकाश का शामियाना अनॊखी मसरही बहायॆ रसीलॆ
इशारॊं सॆ बहका
22. रहा है,
23. थपॆऱॊं सॆ पानी की आवाज़ पंछी कॆ गीतॊं मॆं घुल कर फिसलतॆ
हुऎ अब निगाहॊं सॆ
24. ऒझल हुई जा रही है.
25. मैं बैठी हुई हूं
26. दुपट्टा मॆरॆ सर सॆ ढल्का हुआ है
27. मुझॆ ध्यान आता नहीं है मॆरॆ गॆसूऒं कॊ कॊई दॆख लॆगा,
28. मसर्रत का घॆरा सिमटता चला जा रहा है,
29. बस अब और कॊई नई चित्र मॆरॆ मसर्रत कॆ घॆरॆ मॆं आनॆ न पायॆ

(translation: courtsey frances pritchett)

1. I want the world's eyes to go on looking at me, go on looking at me the
2. someone would look at the tender branch of a tree,
3. (would look at a bending, tender branch)
4. but the burden of leaves like a fallen robe right beside the bed on the
5. would lie in a crumpled heap,
6. I want the gusts of wind to go on wrapping themselves around me,
7. rumpling me, teasing me, laughingly saying something, from the burden
of shame
8. hesitating, being cautious in colorful whispers of ras,
9. I want to keep moving forward, sometimes walking, sometimes running,
10. wind, as if touching the waves of a river, creeping along, keeps
11. it does not stop,
12. if some bird in a pleasing voice would sing a song somewhere,
13. then the warm waves of the voice would come and collide with my body
and return, they would not manage to stay,
14. sometimes warm rays of sunlight, sometimes tender gusts,
15. sometimes sweet sweet spell-weaving words,
16. sometimes one, sometimes another, newer than new color would well up,
17. as soon as it welled up it would dissolve in the spread-out atmosphere,
18. nothing would be able to pause within the boundary of my joy,

19. the boundary of joy has gone on concentrating itself
20. the open field of wheat is spread out
21. very far away the tent of the sky has made a novel floor-cover and with
ras-filled gestures is leading
22. me astray,
23. with slaps, the sound of the water melts into the bird's songs, sliding
away, now from the eyes
24. is gradually vanishing
25. I am seated
26. the dupaTTah has slipped down from my head
27. I don't even pay attention: someone will see my locks of hair,
28. the boundary of joy has gone on concentrating itself,
29. enough, now no other new thing should manage to enter the boundary of my joy


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रस की अनॊखीं लॆहरॆं Empty Re: रस की अनॊखीं लॆहरॆं

Post by Guest on Tue May 17, 2011 3:04 am

http://forum.urduworld.com/f343/mohammad-sanaullah-sani-dar-meeraji-126860/ wrote:Mohammad Sanaullah Sani Dar Meeraji
[ 1912- 1949]

Meeraji is said to have adopted this pen name because of his unrequited love for a girl called Mira Sen. He was born in Gujranwala, West Punjab ( Pakistan) on May 25, 1912 and was called Mohammad Sanaullah Sani Dar. He dropped out of school but read widely. He lived the life of a bohemian and worked only intermittently. He was associated with editing Adabi Duniya ( Lahore) and later worked for the All India Radio, Delhi. He wrote literary columns for the monthly Saqi ( Delhi) and helped edit Khayal ( Bombay) for a short period. Mira ji acknowledged his debt to the Sanskrit poet Amaru and the French poet Baudelaire. He also translated from the Sanskrit poet Damodar Gupta and the Persian poet Omar Khayyam. A prominent member of the Halqa, many consider him to be one of the founders of symbolism in Urdu poetry. He practiced free verse and believed in uninhibited expression of ideas in open forms. He wrote illuminating criticism of poetry and yearned to alter the expression of his age. He published little of his poetry during his lifetime. Two of his verse anthologies were published posthumously and the Kulliyat-e-Miraji appeared only in 1988. Miraji died in Bombay on November 4th, 1949 a diseased, alcoholic, forlorn, angry man, disenchanted with life. His father Munshi Mohammad Mahtabuddin was an engineer in Indian Railways, so Meeraji was bought up in apparently affluent and affectionate circumstances. He left his home and family for certain inexplainable reasons, and spent a greater part of his life as a homeless wanderer, staying with his friends, and making his living by writing songs.


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