Punjabi Wichaar
کلاسک
وچار پڑھن لئی فونٹ ڈاؤن لوڈ کرو Preview Chanel
    



مُڈھلا ورقہ >> شاہ مُکھی وچار >> کلاسک >> کافیاں شاہ حسین >> سنگت شاہ حسین >> کافی 2 - راگ گوڑی

کافی 2 - راگ گوڑی

مظفر اے غفار
March 8th, 2008

راگ گوڑی


چرخہ میرا رنگڑا رنگ لال
جے وڈ چرخہ تے وڈ مُنّے
آون کہہ گیا باراں پُنّے
سائیں کارن لوئن رُنّے
روئے ونجایا حال
چرخہ میرا رنگڑا رنگ لال
جے وڈ چرخہ تے وڈ گھمائن
سبھے آئیاں سیس گُندائن
کائی نہ آیا حال ونڈائن
کائی نہ چلدی نال
چرخہ میرا رنگڑا رنگ لال
وچھے کھادا گوہڑا واڑا
سبھو لڑدا ویڑھا پاڑا
میں کیہ پھیڑیا ویڑھے دانی
پئیاں میرے خیال
چرخہ میرا رنگڑا رنگ لال
جے وڈ چرخہ تے وڈ پچھی
ماپیاں میرے سر تے رکھی
کہے حسین فقیر سائیں دا
ہر دم نال سمھال
چرخہ میرا رنگڑا رنگ لال

 

 

ਰਾਗ ਗੋੜੀ

ਚਰਖ਼ਾ ਮੇਰਾ ਰੰਗੜਾ ਰੰਗ ਲਾਲ

ਜੇ ਵਡ ਚਰਖ਼ਾ ਤੇ ਵਡ ਮੁੰਨੇ,

ਆਵਣ ਕਹਿ ਗਿਆ ਬਾਰ੍ਹਾਂ ਪੁੰਨੇ

ਸਾਈਂ ਕਾਰਨ ਲੋਇਨ ਰੁੰਨੇ,

ਰੋਇ ਵੰਜਾਇਆ ਹਾਲ

ਚਰਖ਼ਾ ਮੇਰਾ ਰੰਗੜਾ ਰੰਗ ਲਾਲ

ਜੇ ਵਡ ਚਰਖ਼ਾ ਤੇ ਵਡ ਘੁਮਾਇਨ,

ਸੱਭੇ ਆਈਆਂ ਸੀਸ ਗੁੰਦਾਇਣ

ਕਾਈ ਨਾ ਆਇਆ ਹਾਲ ਵੰਡਾਇਣ,

ਕਾਈ ਨਾ ਚਲਦੀ ਨਾਲ

ਚਰਖ਼ਾ ਮੇਰਾ ਰੰਗੜਾ ਰੰਗ ਲਾਲ

ਵੱਛੇ ਖਾਦਾ ਗੋਹੜਾ ਵਾੜਾ,

ਸੱਭੋ ਲੜਦਾ ਵਿੜਾ ਪਾੜਾ

ਮੌਂ ਕੀ ਫੇੜਿਆ ਵਿਹੜੇ ਦਾ ਨੀ,

ਪਈਆਂ ਮੇਰੇ ਖ਼ਿਆਲ

ਚਰਖ਼ਾ ਮੇਰਾ ਰੰਗੜਾ ਰੰਗ ਲਾਲ

ਜੇ ਵਡ ਚਰਖ਼ਾ ਤੇ ਵਡ ਪੱਛੀ,

ਮਾਪਿਆਂ ਮੇਰੇ ਸਿੱਰ ਤੇ ਰੱਖੀ

ਕਹੇ ਹੁਸੈਨ ਫ਼ਕੀਰ ਸਾਈਂ ਦਾ,

ਹਰ ਦੱਮ ਨਾਲ ਸੰਮ੍ਹਾਲ

ਚਰਖ਼ਾ ਮੇਰਾ ਰਨਗੜਾ ਰੰਗ ਲਾਲ

Raag GaurI

1 Carkha maera rangra, rang laal

1 Jae vadd carkha tae vadd munnae

Aavan keh gya baaraan punnae

Saain kaaran loyan runnae

Roae vanjaaya haal

6 Carkha maera rangra, rang laal

2 jae vadd carkha tae vadd ghumaayarn

Sabhae aaiyyaan sees gundaayan

Kaee nah aiyya haal vandaayan

Kaee nah caldi naal

11 Carkha maera rangra, rang laal

4 Jae vadd carkha tae vadd pacchi

Maapyaan maerae sirr tae rakkhi

Kahae Husayn faqeer saain da

Har damm naam samhaal

21 Carkha maera rangra, rang laal

GLOSSARY:

Rahaao/refrain (Line 1, etc.):

Carkha: s.m: A spinning wheel; a real; the axis of a pulley; awater mill or a well; a potter’s wheel, a lathe, the celestial globe or orb; the sphere of the heavens; sky; circular motion; turn; fortune, chance.

Rangra: s.m: Coloured, with colour, &c,; from rang: s.m. Colour; colouring matter; pigment; paint; dye; colour; tint; hue; complexion; beauty; bloom; expression, countenance, apperarance, aspect; fashion, style; character, nature; mood, mode, manner, method; kind, sort; state, condition, dramatic exhibition, theatre, stage; dancing; singing; acting; sport, enterainment, amusement, merriment, pleasure, enjoyment; - a field of battle.

Laal: adj. Red, red hot; inflamed; - s.m. Enraged; - beloved, draling, dear, precious, - dumb; - s.m. An infant boy, a son; a darling, a pet; - a proper name; - an auspicious colour; color; colour of affirmation of marriage; colour personified; - a ruby.

Stanza 1. Line 1:

Vadd: adj.: Large, beg, great, immense, huge, grand, noble, high, exalted, eminent; grown up, ole, seniour, elder; superior, supreme, principle; grave, serious; vital, essential, important.

Mannae: s.m. The wooden uprights or posts for supporting a spinning wheel, the structure in which a spindle in installed.

Stanza 1. Line 2;

Baaraan: adj. Twelve [12 was the count for a limit, such as a dozen twelve men in a troop, twelve Buddhas, twelve months in a year, twelve years in a generation (ten in the west)]

Punnae: Have been completed, tec.; from punna: adj. Completed received; reached; - died.

Stanza 1. Line 3:

Saain: s.m. Master, husband, lord, God; a tittle of faqeers; - father.

Kaaran: adv. Or postpn. For the reason, because (of), on account (of), for the safke (of). S.m Causes, motive, purpose, reason, principle, ground, source, basis; occasion; account, sake, behalf; - action; agency; - father.

Loyan: s.m. Eyes

Runnae: v.n. Cried, wept.

Stanza 1. Line 4:

Vanjaaya haal (you made me) lose my state or ‘I’; (I) became distraught.

Stanza 2. Line 1:

Ghumaayan: s.m. The handle of a spinning wheel, the big wheel of a spinning wheel.

Stanza 2. Line 2:

Sees: s.m. Head; - supplication.

Gundaayan: For kneading, etc; from gundaana: v.t. To cause to knead; - to have plaits or braids made; to have plaits made or weaving done; to have garlands made.

Stanza 2. Line 3:

Kaee: indef. Pron. Any , anyone, anybody; someone, somebody, some, a few; - in any degree, at all; - unity (as abbreviation of ikaaee)

Stanza 3. Line 3:

Vacchae: poss. Of vaccha: s.m. The calf of a cow or buffalo while suckling (up to one or two years old); - (met.) a fool, young and brutish, a half – conscious person.

Gohra: s.m. A ball or bunch of carded cotton; the cotton picked from one cotton flower; one handful or ball or cotton used for spinning; - a cord or rope for typing the legs of an animal; a fetter; tether; - a paper-mache basket used for keeping balls of cotton for spinning.

Vaara: s.m. Fence, hedge, outer boundry or enclosure (of any kind); line, border, rim, margin, edge; the full cotton plant; any plant used for making a hedge; the edge of a weapon or tool; a line or row (of soldiers); front; front rank; stock.

Stanza 3. Line 2.

Larda: Fight, etc.; from larna: v.n. To quarrel, fight, come to fisticuffs (with); quarrelsome discussion.

Verha: s.m. Countryard, court, yard, area, quadrangle; inclosed space adjoining a house.

Paara: s.m. Quarater of a town, district, ward; cluster of huts apart from the village to which they belong, hamlet; boundry of a field; neighborhood.

Stanza 3. Line 3:

Phaeiya: Injured, did mischief to, spoilt, etc.; from phaerna: v.t. To injure, to spoil, to do mischief, to cause a loss to, to (adversely) change from its original situation or position.

Stanza 3. Line 4:

Paiyyaan maerae khyaal: Are obsessed against me, from khyaal paean: v.n. To go after someone obsessively, to behave with extreme rundeness or incivility (towards), to insult, treat with indignity; to be possessed by an evil spirit.

Stanza 4. Line 1:

Pacchi: s.f. basket (made with leaves of date palms, &c., or shavings of stalks); bird; skin of sugarcane; arrow; injury.

Stanza 4. Line 3:

Faqeer: s.m. One who lives in poverty [commended in the Quraan (35:16), and Hadith, Prophet Muhammad (m.p.b.u.h.) said, “Poverty is my pride”]. Poverty signifies, (a) material impoverishment deliberately sought which aims at being liberated from the temptation and possession of material things so that one can foucs on ceaseless inner struggle; (b) it connotes every virtue which the seeker in the way of God embraces, as through povery, meaning ceasing to be self-centred, one can become a channel for God’s grace and the submitted lover of the Divine Beloved; - categories of faqeers known as malaamati (self-repreoaching) or qalander (who abandon all wordly relations) are usually itinerant darvaeshes who reject conventional motes and mock the patterned life that pertained to the khaanqaah-mazaar (convent-tomb) complexs or shrines. These faqeers are spiritual ecstatics who are also social eccentrics; - one who lives in faqar (pious poverty); - a mystic lover of God; - one who has purged himself of egotism, lust, anger, greed, delusion (including self-delusion), pride, etc., a devotee; - a religious mendicant; a beggar.

Stanza 4. Line 4:

Naam: s.m. Name, (usually means God).

Samhaal: v.t. To remember, to bring to mind; to repeat.

1 Coloured is my spinning wheel, red dyed

1 If big the spinning wheel, big its uprights

He said in twelve periods we’d reunite

Because of the lord, se the weeping eye’s plight

Crying so, my self mortified

6 Coloured is my spinining wheel, red dyed

2 If big the spinning wheel, big its revolution

To have heads braided, all came of their own volition

No one came joys, sorrows to apportion

No one walks anongside

11 Coloured is my spinning wheel, red dyed

3 The calf munched the cotton stock

Quarrels with all, in the countryard runs amok

What mischief in the courtyard didI unlock?

I’m the obsession of everyone’s broadside

16 Coloured is my spinning wheel, red dyed

4 If big the spinning wheel, big the basket

On my head parents put the casket

Says Husayn the Lord’s devotee

Every moment with the Name abide4

21 Coloured is my spinning wheel, red dyed

NOTES:

Cotton has always been grown as a major cash crop in the Indus basin. It was a woman’s crop. Women picked the cotton and spun the yarn. They placed their demands on weavers (who were usually men) and developed fabric designs. They also embroidered fabrics. In the time of the poet, bedding was all woven by the weaver. Indeed wealth and dowries were measured in how many khaes [thick bed apreads with boxed pattern (which gave it its name); they were used instead of bedsheets] were given. In well- off homes a khaes was placed over a woven dari (which was thicker and coarser). The beds were made of wood and sprung with vines, or rope made of leaves of certain plants, or jute. The rich used beds sprung with nivaar, a woven cotton strip which was laced by interweaving the tapes.

Cotton is a summer crop. It is harvested in October-November. In winter wheat is usually cropped. Wheat has been completely a man’s crop. In the poet’s time, during the early winters, women used to grow and harvest a new crop of cotton while the men were away preparing the land and planting wheat. Spinning yarn was undertaken by most women, regardless of social class1, All patterns in fabrics were usually developed by women. The motifies of weaving (primarily in the khaes) and of embroidery were usually the same2.

Weaving was a major industry in the sixteenth century, the time of the poet. Cotton was exported and so were woven products3.

The spinning wheel was a basic economic tool. It was not a quaint gadget which well-to-do women were associated with. It was used by most developed advanced skills of yarn-making. The thickness of the yarn was managed by touch and feel. The carkha[charkha] was everywhere, in every home. It was often also a ‘companion’ ofchatting women. Several women spinners could be seen socializing in countryards or roof tops as they went about their spinning with diligence, in fellowship, and with a certain joy. Older women who were present at the scene of this spinning activitypassed on their experience to neophytes. This included solving problems of the carkha, and of spinning, as well as of realationships with husbands, in laws, children. It was a happy activity. The woman’s common was called aatan, trinjan, or bhandaar. Spinning as a metaphor for life probably grew out of the activity in the aatan.

Children played around the spinning women; some were suckled as spinning went on. The whole activity and the carkha became a part of the children’s childhood and contributed to their world view. We may not be able to emotionally relate to Shaah Husayn’s experience in this matter. But the metaphor of the carkha and weaving probably had great emotional presence for him, as is obvious from the whole activity of spinning, which forms the scene-set for this kaafi.

Rahaao/refrain (Line 1):

Carkha maera rangra, rang laal

Coloure is my spinning wheel, red dyed

The rahaao is descrioptive and has a tone full of possessiveness. The carkha of the poet is the central prop of this kaafi. He tells us that it is full of colour and it is coloured red. Indeed most coloured carkhaas were red. For red was synonymous with ‘color’. It stood out, and was considered auspicious. Clearly the poet presents it as a source of joy. The rahaao returns after every four line verse, several of which present matters not considered right in the eyes of the poet. But the rahaao has an insistent pithch to it. In this kaafi it appears that the poet has reversed his usual structure: here (othr than in the first verse) ‘what could have been’ is in the rahaao and ‘what has always been’ is in the antras (verses).

As the rahaao keeps returning, three is a celebration, a hope, a potential for joy. It seems to say, ‘I have this joy regardless of everthing’.

Emphasis on the word laal may also include Maadho Laal, the beloved of Shaah Husayn. Or the poet is talking about himself and his red garment, with the carkha standing for his bodily frame.

Stanza 1. Line 1:

Jae vaad carkha taed vaad munnae

If big the spinning wheel, big its uprights

The poet is happy about ‘her’ carkha – a small but real pleasure. Its colour seems to give personal joy. But now we are introduced to another carkha. This one is large. Its uprights are also largew. It is a grand spinning wheel. It has eminence. But does it function any better? Or at all? Is the poet disclaiming eminence just for the sake of show?

Stanza 1. Line 2:

Avan keh gya baaraan punnae

He said in tweleve periods we’d reunite

The poet leaves the theme of the previous line. He want us to take it in. He will return to it presently. But now he talks of birha (love, as pining for the beloved). ‘He’ said that he would return in twelve ‘completions’ (periods: months, days, etc.). But clearly ‘he’ has not returned. Twelve ‘completions’ can rrefer to any specified period, including time’s end (for the individual, or for the universe).

Stanza 1. Line 3:

Saain kaaran loyan runnae

Because of the lord, see the weeping eye’s plight

Eyes weep because the saain (Master, Lord) has not kept his word. Is the poet alluding to some imagined promise of God that he would take Creation back into Himself? This is drawn from the Sufi thought that everything was One. Then the universe was created. It split from the Unity. Man’s entire being now thirsts for union again. That is the essence of birha which in the old religious philosophy was considered as the highest form of love. The poet may be alluding to the verse in the Quraan which tells us that the expanding universe would be rolled up like ascroll. That may be the end of Time. But it has not happened yet. In many ways, asthe poet tells us later in the kaafi, its about time it did. But right now he weeps, his eyes weep. He waits with baited breath. He is fully in the state of birha, the highest form of love. Or Love.

Stanza 1. Line 4:

Roae vanjaaya hall

Crying so, my self mortified

This line seems to continue what was said in the previous line. But the poet is saying something in addition. Pining for the beloved is an expression of love. But beingh besides oneself is something of concern, even when facing such extenuating circumstances. We are brought back to this line in the penultimate line, as we shall see.

Rahaao/refrain (Line 6):

Carkha maera rangra, rang laal

Coloured is my spinning wheel, red dyed

In this despondency the rahaao returns and picks up the almost fallen poet.

Stanza 2. Line 1:

Jae vadd carkha tae vadd ghumaayan

If big the spinning wheel, big its revolution

The poet brings us back to the4 line 1 of stanza 1. The grand carkha returns, with its grand handle and its grand wheel. It is there to assert its eminence, its individuality, its distinction, and its separation from others.

Stanza 2. Line 2;

Sabhae aaiyyaan sees gundaayan

To have heads braided, all came of their own volition

The presence of the grand carkha has created a growing stir in the entire society. Now women do not gather to spin and socialize. The come together for personal adornment – such as to get litytle braids made on their heads. Or they have headaches handling the grand carkha and want their heads pressed. In either case, this unproductive situation has been a direct result of the introductuin of a grand and eminent gadget into society – something which is creating havves and have-nots

Stanza 2. Line 3:

Kaee nah aiyya haal vandaayan

No one came joys, sorrows to apportion

As result of the situation mentioned in the lines above, women no longer come to share their joys and sorrows, to ‘divide’ their predicaments inot little pieces and hence, sharing them away. (The word hall also means ecstasy, as well as the present, are also in the line). The poet is telling us that jfellowship divides and spreads pain whereas differentiation creates an agglomerating focus on one’s own pain. The two actions are opposite to each other. Their effect too is opposite.

Stanza 2. Line 4:

Kaee nah caldi naal

No one walks alongside

 

Now there is no fellowship. No one is willing to gothe distance with anyone else. Everyone is alone. Kaaee (as an abbreviation of Ikaaee) means ‘no one’ as well as unity. Unity is no longer walking with us. One word carriers both the negative and positive routes to the same meaning.

Rahaao/refrain (Line 11):

Carkha maera rangra, rang laal

Coloured is my spinning wheel, red dyed

The rahaao is difant. All is not lost. Look! My carkha is coloured – carkha now perhaps persents a metaphor for life. There is colour in my life. Laal is in my life. The colour in my l9fe is laal. And Laal is so dear to me. Though no one else walks with me, Yet it is a shared life. Laal is with me! Or my colour is red. I am of the colour of my beloved, my Beloved!

Stanza 3. Line 1:

Vacchae khaada gohra vaara

The calf munched the cotton stock

We are introduced to a calf. Compared to humans, animals are half – conscious. This calf is worse. It even tries to eat cotton wads. Or is it just behaving as half-conscious people do? Their actions are unthinking and often of no value to themselves. They caudse consternation or loss to others.

Perhaps the poet is linking those who are like this calf with those who make grand carkhaas. Then the grand carkha, like this calf, is consuming the whole cotton plant – cotton and everthing on the cotton satalk, with attendant wide-ranging repercussions for the whole of society. Without cotton, cotton-spinning would cease. And so would women getting together and enjoying fellowship in the aatan or trinjan (woman’s common), etc…

The metaphor of cotton eating calves’ even holds today for it represents people whose main activity is to interfere with the work of others or to create road blocks. Indeed they are the misappropriators who abound in corrupt societies.

The word gohra also means the rope for typing the legs of animals, as a restraining device. This calf has eaten that rope. And like an unrestrained villain, now he runs amoke.

Stanza 3. Line 2:

Sabho larda verha paara

Quarrels with all, in the courtyard runs amok

We find that this calf is not satisfied with doing weird things but tht it is also active in disintegrating society. It does not stop at munching the cotton stock but also quarrels with everyone in the countyard4, disrupting the activities of the entire compound. Fellowship is hit a hard blow – like a neighbour creating difficulties or a bureaucrat or governemt clerk stymieing worthwhile efforts, etc.. The poet treats such people like the scum of society, for they directly interfere with human brotherhood. However, what we also notice is that although the poet makes the character of the calf sufficiently deranged to mae him a disrupting influence, he does not make it deranged enough to be put away.

Stanza 3. Line 4-5:

Maen kih phaerya verbae da ni

What mischief in the courtyard did I unlock?

Paiyyan maerae khyaal

I’m the obsession of everone’s broadside

The situation described above becomes worse. Not only is the calf running amok in the neighbourhood, it creates an atmosphere whereby the blame for the difficulties of society is put on the doorstep of the good. The poet laments that although he has caused no harm, or mischief in the neighbourhood, still all the people are obsessed with him. This is clearly an autobiographical line. According to tradition, the poet faced great difficulties in the society in which he lived. His red clothes, unkempt appearance, his singing and dancing in the streets and his close relationship with Maadho, all made him a hub of societal attack. The poet implores us to analyse all the criticisms of society. Especially those which relate to his own person. For it is people like the poet, who have certain eccentricities, but who are noble souls and o not interfere with society – unlike the aggressive calf running amoke – who wind up becoming targets of ridicule and societal anger. The plea below the surface of these lines is for tolerance. And for indentifying the culprits, But alas, the mirror of society does not hold this image which the poet wishes for.

Rahaao/refrain (Line 16):

Carkha maera rangra, rang laal

Coloured is my spinning wheel, red dyed

The rahaao returns telling us that ‘but this is how its always been.’ Yet it also carriers defiance. And even a certain pride in being what he is, and what he has and does.

Stanza 4. Lines 1-2:

Jae vadd carkha tae vadd pacchi

If big the spinning wheel, big the basket

Maapyaan maerae sirr tae rakkhi

On my head parents put the casket

The grand carkha returns for the third time. This time tis role is that of a burden, which the young bride is carrying on her head. Her mother and father (perhaps symbols for society) had placed it there. The large carkha was usually given by the well-off as a part of the dowry. It was often an unwitting burden which created difficulties for the new bride as it needed more strength to operate and tired the operator more easily. Somethimes of course it was given as a boast about the status of the parents. It also created division within society as some people resented the affluent gift while others saw in it a reflection of the girl’s social snobbishness. The symbol of eminence hence becomes a burden for its possessor. The situation presented earlier is reversed. Now no one walks with the girl with the grand carkha. Look what the parents have done, the poet says. The parents are allied to the tempherament of the cotton-eating calf. With grand possessions come grand burdens, says the poet. And they disrupt society by creati9ng resentment among the have-nots (even if the grand possessions are non- functional and ridiculed, as a defence mechanism, by the have-notes).

Stanza 4. Linnes 3-4:

Kahae Husayn faqeer saain da

Says Husayn the Lord’s devotee

Har damm naam samhaal

Every moment with the Name abide

The poet has presented the poem playing many parts – those of the distraught girl waiting for her beloved; the girl who has wrongly become the obsession of society; the bride burdened with grand possessions. Now the speaks directly, like the chorus of a play which speaks for the playwright. Shaah Husayn introduces himself as a devotee of the Master. His statement may be an echo of what the Master has said. The advice is ‘stay with your own conscious’. With this line he negates all that we do half-consciously and not understanding the many implication of or actions.

These lines take us back to serval earlier lines of this kaafi. We return to the poet who is out of sorts when the beloved does not return in the promised time. Had she stayed with her own consciousness, she would have found support within herself to prop herself up. Then there is the crazed calf who is half conscious. Then again all the women who are obasessed with the poet rather than working with their own consciousness, she would have found support within herself to prop herself up. Then there is the crazed calf who is half conscious. Then again all the women who are obsessed with the poet rather than working with their own consciousness are there. Finally the parents who burden their daughters with the differentiating carkha (grand material possessions) are also presented as half-conscious.

The key to a good life is to restrain, regulate, sustain and prop oneself. This is an act of consciously remembering the Name of God at all times. The poet proposes to overcome the shortcomings in our thoughts and actions. We carry the analysis of society in our conscious. ‘Remembering the Name’ is a vast philosophy in itself. It has to do with remembrance of God’s name as an activity to understand God, and man’s relationship with Him. It is an vast philosophy in itself. It has to do with remembrance of God’s Name as an activity to understand God, and man’s relationship with Him. It is an exercise in self-awareness, and of creating a linkage with the divine. It also carries the concept that man has forgotten the original name of things (which God taught Adam). Consequently, distortions and deviations have corrupted the common meanings of words, For example the carkha as a part of the dowry was a route to fellowship with other women in the aatan. This was foregotten and the grand carkha was gifted, resulting in alienation of the girl from the carkha and all that it represented.

The rahaao has in it dukh (pain, etc.) of the poet and a certain defiance. It has power as well as celebration.

Rahaao/refrain (Line 21):

Carkha maera rangra, rang laal

Coloured is my spinning wheel, red dyed

Charkha also stands for the orbital movement of the planets, starts, the sky and the heavens. It is also the cosmos within man, and in society. If the carkha (which could also be the ego that propels) is too grand, it interferes with society. And it also clashes with the carkha in the rahaao, which celebrates life.

In this poem metaphors are made delicate. They are not on a mechanical outing, just to be there and to move the cogwheels of the poem, and say little. The key theme is fellowship for work. Or worship. When this effort is replaced by display, alienation is inevitable. Then no one walks with with us; we are made alone.

The poem also pesents a personal crisis of the poet: “everyone is against me”, he says, and asks in anguish, “Why?” He also speaks for all who share his state. The calf which runs amok becomes the symbol of what goes wrong in society as well as the irrationality that is often at the core of societal problems. The issue of paranoia also lurks.

Finally, the grand carkha supplants the saain (the spiritual gude; God). All hope is pinned on grand possessions. “They will bring you joy’, is believed so avidly by parents, whether arrogant or ignorant. Or both. But all it does is to alienate its owner. Perhaps the poet feels that he has got through to us.

In the end the refrain dances in celebration of life. It impels us to dance in fellowship.

Note:

One musical composition of the rahaao is as follows:

Rangra, rang laal, carkha maera

 

This would show the freedom the musical composer has in playing with the rahaao (refrain). The kaafi could start with the refrain, as written at the beginning of the kaafi, or as above, and after each antra.


Share |


 

Depacco.com


 

 

Your Name:
Your E-mail:
Subject:
Comments:


Support Wichaar

Subscribe to our mailing list
نجم حسین سیّد
پروفیسر سعید بُھٹا
ناول
کہانیاں
زبان

 

Site Best Viewd at 1024x768 Pixels