Wednesday, 10 February 2021

Shiv Kumar Batalvi




کی پچھدے ہو حال فقیروں دا؟


Shiv Kumar Batalvi Sb was that Son of the soil that Sialkot should be proud of. He was one of the greatest Punjabi poets of this modern era. He was born on 23 July 1936 (though a few documents related to him state 8 October 1937) in village Bara Pind Lohtian, Shakargarh Tehsil, Sialkot District, to Pandit Krishan Gopal, village Patwari later tehsildar. In 1947, when he was aged 11, his family moved to Batala, Gurdaspur district after partition of India.


He completed his matriculation in 1953, from Panjab University, and enrolled in the F.Sc. program at Baring Union Christian College, Batala, though before completing his degree he moved to S.N. College, Qadian, where he joined the Arts program more suited to his persona, though he left that too in the second year. Thereafter he joined a school at Baijnath, Himachal Pradesh to do a diploma in Civil Engineering, here again he left it in the middle. Next he studied for some time at Govt. Ripudaman College, Nabha.


Later in life, his father got a job as patwari at Qadian, it was during this period, that he produced some of his best work. His first anthology of poems was published in 1960, titled Piran da Paraga (The Scarf of Sorrows), which became an instant success.

In 1965, he became the youngest recipient of the Sahitya Akademi Award in 1967, for his magnum opus, a verse play Loona (1965). 


There was a famous incident happened after winning the award. He also received a handsome amount along with the award but he didn’t take a single paisa to his home, he let all his fellow writers have much drink as they could in the most famous bar of the city. One of his old class mates of Batala told that Shiv Kumar was such a talent that he used to sit on the last bench and could write a poem in one minute....he didn’t think for hours before writing a poem and whenever he felt like writing, he wrote two three poems in few minutes. He was a born God gifted writer. I also heard years ago that once Pandit Jawahar Lal Nehru was to visit Punjab and he asked then the CM Punjab famous Partap Singh Kairon to send a special invitation to Shiv Sb for reciting a poem or two at the occasion. On the day of the occasion Shiv got into the bus with one of his friends and set forth for the event. When they were just forth for the event, they were just within reaching distance of their destination, Shiv’s friend asked what he had written for the event. Shiv game him some money and asked him to get some whiskey whenever the bus stopped. When he came back with the whiskey, Shiv had all of it and took the bus ticket out of his pocket and wrote a poem on the backside of it within seconds. Apart from the fantastic content of that poem the way he sang it in front of Nehru bestowed him a standing ovation that evening. 


His charisma was such that his face represented handsomeness as well as sadness and tragedy. He was a true son of Sialkot and Punjab. Some of his poetry is too difficult to understand for our generation. He has used the original old words and terms of Punjabi, the words forgotten by even the modern rural folk but those words and lines are entrenched with exceptionally crated smiles and metaphors, and when we understand those words then we would come to know why Shiv is regarded as one of the greatest Punjabi writers of modern era. He wrote Pooran Bhagat “LOONA” at such a young age that poets and writers put their fingers in their mouth and couldn’t measure his level of maturity in such an early age. 


Once he was staying with his friend in Chandigarh and couldn’t manage to get whiskey. His friend explained him that he had nothing to offer as he did not have a single drop of alcohol at his home. Shiv laughed and said, “if you have a motorcar you have whiskey, how can you give an excuse while have four wheels under you”. Then they both sat in the car and started their journey towards Himachal. On the way he saw a girl going upwards the hill and he started reciting a FILBADEEH NAZM “pahadan”. It was such a marvellous poem that his friend offered him to stop the car and note it as he was afraid that he could not remember it once they reach home back but Shiv refused to stay as he was thirsty to wet his throat with the whiskey. After reaching home and pouring the whole bottle in his throat he took the piece of the paper and wrote the poem in one go.


His poetry recitations, and singing his own verse, made him and his work even more popular amongst the masses. He is known for his romantic poetry.  Other than the famous Lona his poetical works are Peeran Da Paraga (1960), Lajwanti (1961), Aate Dian Chirian (1962), Mainu Vida Karo (1963), Birha Toon Sultan (1964, a selection), Dardmandan Deean Aaheen (1964), Loonan (1965), Main Te Main (1970), and Aarti (1971).


He fell in love with Gurbaksh Singh Preetlari's daughter who left for the US and married someone else. When he heard of the birth of her first child, Shiv wrote 'Main ek shikra yaar banaya', perhaps his most famous love poem. It's said that when she had her second child, someone asked Shiv whether he would write another poem. Shiv replied "Have I become responsible for her? Am I to write a poem on her every time she gives birth to a child?"


In May 1972, Shiv visited England on the invitation of Dr. Gupal Puri and Mrs. Kailash Puri. When he arrived in England, his popularity and fame had already reached a high point among the Punjabi community. His arrival was announced in the local Indian papers with headlines and pictures.


His engagements in England were regularly reported in the local Indian media and the BBC Television once interviewed him. While Punjabi community got their opportunity to listen to Shiv on various occasions, his stay in London proved to be the last straw for his failing health. He would stay late and continue to drink until 2:00 or 2:30 in the morning at parties or at home engaged in discussions with his hosts and other people who would come to visit him. He would wake up after a short sleep around 4:00 A.M. and begin his day by again taking a couple of sips of Scotch. When Shiv returned from England in September 1972, his health had declined visibly. He was in a dire financial predicament during those days and felt that most of his friends had deserted him in his time of need. His wife Arun, somehow managed to get him admitted in a hospital in Sector 16 of Chandigarh where he received treatment for a few days. A couple of months later, he was admitted in a hospital in Amritsar, but left it on his own against the advice of his doctors. He didn't want to die in a hospital and simply walked out of the hospital and went to his family home in Batala. He was later shifted to the village of his in-laws, Kiri Mangial, a small village near the border with Pakistan. Shiv Kumar Batalvi died in Kiri Mangial on 6th May, 1973.


He was sung by Deedar Singh Pardesi. Jagjit Singh-Chitra Singh, Surinder Kaur, Nusrat Fateh Ali Khan, Ghulam Ali, Hans Raj Hans, Mahendra Kapoorand Asa Singh Mastana. In 2004, Punjabi play titled Dardaan Da Darya based on the life of Shiv Kumar was performed at 'Punjab Kala Bhavan', Chandigarh.


Several of his poems have been adapted for movies, e.g. "Ajj Din Chhadeya Tere Rang Varga," etc.


Babar Nasrullah Khan

Daska, District Sialkot.


(help from Wikipedia is also taken in writing this article)

Sunday, 27 December 2020

احمد فراز کی غزل، مبشر علی زیدی کی کارروائی

 احمد فراز کی غزل، مبشر علی زیدی کی کارروائی
مفاعلن فعلاتن مفاعلن فعلن
مثال خاک کہیں پہ بکھر کے دیکھتے ہیں (حمیرا راحت)
سو اس کے شہر میں کچھ دن ٹھہر کے دیکھتے ہیں
کسی کو اپنے عمل کا حساب کیا دیتے (منیر نیازی)
سو اپنے آپ کو برباد کر کے دیکھتے ہیں
مقام فیض کوئی راہ میں جچا ہی نہیں (فیض)
سو ہم بھی اس کی گلی سے گزر کے دیکھتے ہیں
سنا ہے شہر میں زخمی دلوں کا میلہ ہے (محسن نقوی)
سو ہم بھی معجزے اپنے ہنر کے دیکھتے ہیں
چنے ہوئے ہیں لبوں پر ترے ہزار جواب (جون ایلیا)
یہ بات ہے تو چلو بات کر کے دیکھتے ہیں
خدا کے بعد تو بے انتہا اندھیرا ہے (احمد ندیم قاسمی)
ستارے بام فلک سے اتر کے دیکھتے ہیں
مری لحد پہ پتنگوں کا خون ہوتا ہے (قمر جلالوی)
سنا ہے رات کو جگنو ٹھہر کے دیکھتے ہیں
قرار دل کو سدا جس کے نام سے آیا (جمال احسانی)
سنا ہے اس کو ہرن دشت بھر کے دیکھتے ہیں
میں جس سکون سے بیٹھا ہوں اس کنارے پر (عباس تابش)
سنا ہے شام کو سائے گزر کے دیکھتے ہیں
رکی ہوئی ہے ابھی تک بہار آنکھوں میں (پروین شاکر)
سو اس کو سرمہ فروش آہ بھر کے دیکھتے ہیں
یہاں کسی کو بھی کچھ حسب آرزو نہ ملا (ظفر اقبال)
سو ہم بہار پہ الزام دھر کے دیکھتے ہیں
کھلا یہ راز کہ آئینہ خانہ ہے دنیا (عبید اللہ علیم)
جو سادہ دل ہیں اسے بن سنور کے دیکھتے ہیں
جنھیں کہ دیدہ شاعر ہی دیکھ سکتا ہے (جگر)
مزاج اور ہی لعل و گہر کے دیکھتے ہیں
شب وصال ہے گل کردو ان چراغوں کو (داغ)
پلنگ زاویے اس کی کمر کے دیکھتے ہیں
قبائے جلوہ فزا ہے لباس عریانی (غالب)
کہ پھول اپنی قبائیں کتر کے دیکھتے ہیں
انیس دم کا بھروسا نہیں ٹھہر جاؤ (انیس)
کہ اس شجر پہ شگوفے ثمر کے دیکھتے ہیں
ہماری شہر کے دانش وروں سے یاری ہے (راحت اندوری)
سو رہروان تمنا بھی ڈر کے دیکھتے ہیں
سبق ملا ہے یہ معراج مصطفیٰ سے مجھے (علامہ اقبال)
مکیں ادھر کے بھی جلوے ادھر کے دیکھتے ہیں
سپاہ شام کے نیزے پہ آفتاب کا سر (افتخار عارف)
چلے تو اس کو زمانے ٹھہر کے دیکھتے ہیں
جسے زبان خرد میں شراب کہتے ہیں (ساغر صدیقی)
کبھی کبھی در و دیوار گھر کے دیکھتے ہیں
زمانہ کود پڑا آگ میں یہی کہہ کر (فراق)
اگر وہ خواب ہے تعبیر کر کے دیکھتے ہیں
یہ بے سبب نہیں سودا خلا نوردی کا (عرفان ستار)
فرازؔ آؤ ستارے سفر کے دیکھتے ہیں

Thursday, 24 December 2020

The pioneering lawyer who fought for women’s suffrage in India

 

The pioneering lawyer who fought for women’s suffrage in India

In the US, it has been 100 years since women cast their votes for the first time. A century ago in the United Kingdom, the first female law students were admitted to the Inns of Court.

At Lincoln's Inn in London, one of those students, Mithan Lam, was an Indian. In 1924, she became the first woman to be allowed to practise law in the Bombay High Court, shattering one of the thickest glass ceilings for professional women in the country.

But Lam's influence extended well beyond the bar: she left an indelible stamp on the female suffragist movement and the struggle for gender equality in India.

Lam was born in 1898 into a wealthy and progressive Parsi family. While on a holiday in Kashmir in 1911, she and her mother, Herabai Tata, had a chance meeting with Sophia Duleep Singh, an ardent feminist and suffragist in Britain.

Intrigued by a colourful badge Singh wore proclaiming "Votes for Women," Lam and Tata were quickly drawn into the cause of Indian female suffrage.Suffrage was a contentious issue amongst nationalists in colonial India: should women's enfranchisement be prioritised over Indian independence?

Lam saw no contradiction between the two demands, branding men's reservations against women's voting rights as "soap-bubble material". "Men say 'Home Rule is our birthright'," Tata stated in 1918, echoing a famous nationalist slogan. "We say the right to vote is our birthright, and we want it."

In the autumn of 1919, women's groups in Bombay decided to send representatives to London when the British Parliament was considering female suffrage in a package of political reforms for India - also known as the Montagu-Chelmsford Reforms.

Lam, 21, and her mother were the natural choice, given their determined activism. Since they were given only four days notice before setting sail to England, they composed their parliamentary evidence on the boat.

Tata and Lam's evidence highlighted the impossibility of meaningful political reform if half of India was excluded on the grounds of sex. "Attempt to reform without the co-operation of women," they argued, "and you are simply raising a paper fabric on foundations of sand."

While unsuccessful in their immediate objective, their evidence might have spurred the British Parliament to leave the decision about female suffrage to the discretion of the Indian provinces. In 1921, both Bombay and Madras presidencies granted limited women's franchise.


Mother and daughter also captivated the British public with their passionate advocacy of Indian women's issues, earning the support of Ramsay MacDonald, the future British prime minister, and the feminist icon Millicent Fawcett.

Lam's suffragist activities eventually led her into the world of law. While in London, she decided to pursue a legal education and a master's degree in economics from LSE. In 1923, she had the distinction of being the first ever woman called to the Bar from Lincoln's Inn as well as the first Indian woman called to the Bar in Britain.

The newly minted lawyer sailed back to India in December 1923. It was a fortuitous time to return because that year, the Indian government removed disqualifications for women to practise law.

Lam found herself in a daunting situation as the sole female lawyer in the male bastion of the Bombay High Court. "I felt like a new animal at the zoo, with folks peeping through doorways," she recalled. "As soon as my shadow crossed from the library to the common room, there would be an uncomfortable silence, making me feel even more self-conscious."

Misogyny, ironically, might have played a role in landing Lam her first court appearance.

According to a former Supreme Court judge, Lam was approached by a solicitor whose client had a watertight case. "He has such a good case that he cannot lose," the solicitor claimed. "But he wants to inflict upon the opponent the humiliation of being defeated by a woman."

British officials had argued that the universal franchise was a "bad fit for India".IMAGE COPYRIGHTKEYSTONE
image captionBritish officials had argued that universal franchise was a "bad fit for India"

Within a few years, however, Lam built up a solid legal reputation. She appeared in an eclectic mix of cases in court, ranging from prosecuting currency counterfeiters to defending the validity of a Jewish betrothal.

Outside of the courtroom, she helped shape gender-sensitive legislation for marriage and inheritance and became a prolific advocate of women's and children's rights.

But she matched this legal activism with on-the-ground social work, shuttling between Bombay's elite drawing rooms and its teeming slums. Lam brought slum dwellers improved infrastructure and health facilities, helped resettle Partition refugees and led numerous social welfare activities of the All India Women's Conference.

In 1947, the year of Indian independence, Lam added another first to her credit.

She was appointed as the sheriff of Bombay, the first female sheriff in India. Years later, when she travelled the world as a representative of Indian women, this caused occasional puzzlement. San Francisco's sheriff took her for a visit to the city's prisons and gave her a police baton, not knowing that a sheriff in India occupied a largely ceremonial position. "They were rather intrigued about the fact that a woman could be a sheriff, for in the US sheriffs are real police officers and have to be quick with the gun," she recalled.

By the time she died in 1981, Lam had mentored generations of feminists, hopeful that the growing number of women in law would stimulate political and social reform in India.

Her work - as well as the work of hundreds of other relatively unknown female pioneers - has paved the way for law becoming an increasingly popular career choice for Indian women today.

But according to a recent study, while certain leading law firms exhibit remarkable gender parity, the Indian legal profession continues to be overwhelmingly male-dominated.

Exactly a century ago, Lam rallied against gender-based exclusion with a poignant question: "How can the women be declared unfit without even being given a trial?"

Such words may hold a special resonance today with female trailblazers working their way up in traditionally patriarchal bastions, whether inside or outside the courtroom.

Parinaz Madan is a lawyer and Dinyar Patel is a historian.






Friday, 4 December 2020

Punjabi Couplets

 ‏تیری چُوڑے والی بانہہ پھڑ کے

متھے آئے وال پِشاں کرکے

ہتھ رکھ کے 

ٹھوڈی تاں کرکے

جے میں پُچھاں تیرا ناں کی اے

تاں کی اے؟


(منقول)

Wednesday, 25 November 2020

چار سُو ہے بڑی وحشت کا سماں

 چار سُو ہے بڑی وحشت کا سماں

کسی آسیب کا سایہ ہے یہاں

کوئی آواز سی ہے مرثِیہ خواں
شہر کا شہر بنا گورستاں

ایک مخلوُق جو بستی ہے یہاں
جس پہ اِنساں کا گُزرتا ہے گمُاں

خود تو ساکت ہے مثالِ تصوِیر
جنْبش غیر سے ہے رقص کناں

کوئی چہرہ نہیں جُز زیر نقاب
نہ کوئی جسم ہے جُز بے دِل و جاں

عُلما ہیں دُشمنِ فہْم و تحقِیق
کودنی شیوۂ دانِشمنداں

شاعرِ قوم پہ بن آئی ہے
کذب کیسے ہو تصوّف میں نہاں

لب ہیں مصرُوفِ قصِیدہ گوئی
اور آنکھوں میں ہے ذِلّت عُریاں

سبز خط عاقبت و دِیں کے اثِیر
پارسا خوش تن و نو خیزجواں

یہ زنِ نغمہ گر و عِشق شُعار
یاس و حسرت سے ہُوئی ہے حیراں

کِس سے اب آرزوئے وصل کرے
اِس خرابے میں کوئی مرد کہاں

فہمیدہ ریاض​

’’سرفروشی کی تمنا اب ہمارے دل میں ہے ‘‘ -------- رام پرسادبسمل عظیم آبادی

سرفروشی کی تمنا اب ہمارے دل میں ہے
دیکھنا ہے زور کتنا بازوئے قاتل میں ہے
کیوں نہیں کرتا ہے کوئی دوسرا کچھ بات چیت
دیکھتا ہوں میں جسے وہ چپ تیری محفل میں ہے
اے شہید ملک و ملت میں ترے اوپر نثار
اب تیری ہمت کا چرچہ غیر کی محفل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے

وقت آنے دے بتا دیں گے تجھے اے آسمان
ہم ابھی سے کیا بتائیں کیا ہمارے دل میں ہے
کھینج کر لائی ہے سب کو قتل ہونے کی امید
عاشقوں کا آج جمگھٹ کوچہِ قاتل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے

ہے لئے ہتھیار دشمن تاک میں بیٹھا ادھر
اور ہم تیار ہیں سینہ لئے اپنا ادھر
خون سے کھیلیں گے ہولی گر وطن مشکل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے

ہاتھ جن میں ہو جنوں کٹتے نہیں تلوار سے
سر جو اٹھ جاتے ہیں وہ جھکتے نہیں للکا ر سے
اور بھڑکے گا جو شعلہ سا ہمارے دل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے

ہم جو گھر سے نکلے ہی تھے باندھ کے سر پہ کفن
جاں ہتھیلی پر لئے، لو لے چلے ہیں یہ قدم
زندگی تو اپنی مہماں موت کی محفل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے

یوں کھڑا مقتل میں قاتل کہہ رہا ہے بار بار
کیا تمنا ئے شہادت بھی کِسی کے دِل میں ہے
دل میں طوفانوں کی ٹولی اور نسوں میں انقلاب
ہوش دشمن کے اڑا دیں گے ہمیں روکو نہ آج
دور رہ پائے جو ہم سے دم کہاں منزل میں ہے

جسم بھی کیاجسم ہے جس میں نہ ہو خونِ جنوں
طوفانوں سے کیا لڑے جو کشتیِ ساحل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے
دیکھنا ہے زور کتنا بازوئے قاتل میں ہے

Wednesday, 11 November 2020

سب عشق کے مارے ہیں، سب جنون گزیدہ ہیں

  1.  سسی کا بھنبھور لٹا تھا، ہمارے چوبارے، گلیارے اور کٹریاں فنا ہو گئی ہیں۔ اب شہر بڑے ہو گئے ہیں پر دنیا سمٹ کر ہاتھ کی ہتھیلی میں آگئی ہے۔ اب ہر ایک کی اپنی دیوار ہے۔ ایک انگلی کا اشارہ چاہیے، قدم نہیں اٹھانے پڑتے، نیا موڑ آ جاتا ہے، نئی دیوار نظر کے سامنے ہوتی ہے۔ اب بات چند سو یا ہزار سے نہیں ہوتی، کلام لاکھوں سے ہوتا ہے۔ اب کوئی مطالبہ نہیں کرتا، فتوی دیتا ہے۔ سب سچ جانتے ہیں، سب حق کے داعی ہیں۔ سب عشق کے مارے ہیں، سب جنون گزیدہ ہیں۔ منطق، اصول، دلیل، محبت کے چراغوں کا تیل ختم ہے اور نفرت، عقیدے، دشنام اور بہتان کی سرخ آندھی سڑکوں پر راکھ اڑاتی رقصاں ہے۔ اب پھانسی فیشن میں نہیں ہے، سر تن سے جدا کرنے کا زمانہ ہے۔ پہلے دیواروں کے مالک شکوہ کناں ہوتے تھے کہ رات کی تاریکی میں کون ان کی دیوار پر سیاہ تحریر لکھ جاتا تھا۔ اب نہیں ہوتے کہ اب سب کی اپنی اپنی دیواریں ہیں۔ اور ہر دیوار کے سامنے عشاق کا ہجوم۔ عشق دلیل نہیں مانتا، عشق تجزیہ نہیں مانگتا، عشق اب سر مانگتا ہے۔ عشق کے مضراب سے اب نغمہ تار حیات نہیں پھوٹتا، موت کی وحشی دھن نکلتی ہے۔ عشق دیوار کی ہر تحریر کو صحیفہ آسمانی سمجھتا ہے اور اس پر اپنی جان لٹانے کو دائمی عیش کا رستہ۔ برسوں اس ہجوم نے زہر عشق جرعہ جرعہ پیا ہے اور اس کی قیمت عقل بیچ کر چکائی ہے۔ سودے میں چشم بینا بھی گئی ہے اور درد دل بھی

Urdu Poetry