Guru Nanak Roff

A painting of Guru Nanak and his followers done in Kashmiri style.
Early 19th century. [Kashmiri Painting by Karuna Goswamy, 1998]

A couple of months back I found my Bua singing these lines to herself. We were preparing for my sister’s wedding, it was late at night, we were having a group singing session, like Kashmiris do, striking a spoon on metal platse and  kids beating an odd tumbakhnaer out of beat, everyone singing a song of their choice, often all at the same time. Hindi songs. Kashmiri songs. General fun. In this happy melee, I found my Bua singing some very odd lines. It was obvious she didn’t know the entire song as she kept repeating the same line over and over.

The lines went like this:


Guru Nanak yelli pyau thannay 

Zool kari’tyav
Heri’tay Bon’yay


A Kashmiri song referring to birth celebration of Guru Nanak. Roughly translated the lines mean:

The day Guru Nanak
was born
We light up our
houses
from top
to bottom

Intrigued, much later I asked her more about the song. She said she danced to it when she was in Matric. Back in 1976 a bunch of girls of Katleshwar School danced Roff, traditional Kashmiri dance, to these lines.

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Rama, Rama recited Shekh Sana



Rama Rama paryav Shekh Sanahantay
henzimokha lob tami yar
but polun Koran zoluntay
vantay lo hay lo

~ Poet, Blacksmith Wahab Khar, (b. 1842).

J.L. Kaul in his book ‘Kashmiri Lyrics’ (1945), translates the lines as:

Shekh Sana recited the name of Rama,
And in an Indian girl he found his Love,
He worshipped an idol and burnt the Koran.
Sing hey ho for joy!

Who was this Shekh Sana? Why is the translation peppered with geography? The book offers no details. Well,  that’s not enough for me.

First, this is how I read it:

Rama, Rama
recited Shekh Sana
when
in face of a girl
he found love
He raised an idol
and burnt Koran
O, sing this song!

One would read these lines now and think reference to Koran burning, by a Muslim, is what stands out about these line. But actually what is happening in these lines is really beautiful.

Shekh Sana of these lines is (also) the hero of an Azerbaijanian qissa of Sheikh Sanan,* the man who fell fatally in love with a Georgian-Christian girl, Khumar. In this love story, Khumar’s father agrees to give his daughter to Sanan if he agrees to raise pigs and burn Koran. Sanan agrees, and yet the lovers die, pointing out the fallacy of all religions. Now, the beauty. Later, when this tragedy is transported by Wahab Khar to Kashmir, the poet has the hero recite name of Hindu god Rama and raise idols. Still later, when the same Kashmiri lines are later translated in English by a Pandit, the heroine becomes an Indian. Still much later, when I read those Kashmiri lines and translations, I have to spend hours just to get the context.
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Update:
There is a alternative Kashmiri version in Shekh Sana of Mahmud Gami (1750-1855). In this version Shekh has a reawakening of  faith after an intervention by his friends and followers. In the end, the woman breaks her idols and accepts Islam.

The dame in clear submission
Gave up her pride and low passion.
The Sheikh then taught her the lessons of his creed,
And made her the “Kalima” of unity read.

[Tr. by Gulshan Majid, Medieval Indian literature: An Anthology Volume 2, Edited by K. Ayyappa Paniker]

It seems such creative interventions in folklores were not a exception around that time but a trend. In an alternative version of popular Kashmiri folktale of Heemaal Naagiraay put to Kashmiri masanavi form by Wali Ullah Motoo (d 1858), a contemporary of Mahmood Gami, Naagiraay is presented as a Muslim disguised as a Kafir, a Hindu. In this version after Heemaal and Naagiraay burn to ashes, a fakir from Madina restores the two bodies from ashes and then the bodies are buried according to Muslim ritual.

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*Update:
In his biographical piece on life and work of Mahmud Gami, Muzaffar Aazim mentions that Gami’s Shekh Sana was based on a plot from a Persian work by Sheikh Attar (145-1146 – c. 1221) titled Manteq-ut-Tair [The conference of the bird, a Sufi allegory in which a pack of birds go looking for the mystical Simurgh]. This is the original source of the love story of Shekh Sana and Khumar. In this work the woman was a sun-worshiper and in Gami’s Kashmiri version the girl is a Hindu with a tilak on her face when Shekh Sana first sees her and falls in love.

To the Bulbul

Bulbul. Gurgaon. 2012. Aug 9.
End should have been yellow.

O bulbul, strange bird!
Your loud call was so very sudden
That my sad heart gave one wild leap,
For in a flash my world was quite transformed
Full of roses, bulbuls and spring verdure

I had been reading a Greek play
My mind absorbed, my fancy feeding
On a king’s story, so true to life,
Where new strife treads on the heels of the old.

Though silver lay on the tree and around,
When you struck your harp, blossoms came
And my winged fancy soared to heaven –
Spring often does bewitch one’s eyes.

The sun shone bright in an azure sky;
A snow-white cloud sailed, not very far.
We stood, enraptured, gazing at the lake,
My love and I, in an island bower.

Suddenly some one knocked at the door,
Fled was the dream and I was awake.
A cold gust rushed in like a raider,
And back I was where I had been.

I have fastened doors and windows;
Icicles on all sides sparkle like glass;
A black cloud blanket wraps up the sky;
A chill wind pierces the marrow of my bones.

The last chinar leaf on the branch
Hangs withered and lifeless like a corpse.
 Drunk with power, midwinter has his day,
Even the fire pot we cling to is cold.

You are a strange bird, o bulbul!
How can I forget that in dreary midwinter
You made me roam in flowering meadows?

~ Ghulam Nabi Firaq. Translated by Trilokinath Raina. From ‘mahjoor and after: Modern Kashmiri Poetry’.

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Update:

Bilbitchur. Bulbul.
Jammu. 2012. Sept 8.
The yellow bottomed one. 

Kashmiri Folktale: Junky and the Dead Crow

In response to my previous post about short diminutive old Kashmiri women, Man Mohan Munshi Ji recalled an old Kashmiri folktale/song told to him as a kid by his grandmother and mother.


The story goes like this: A crow and a Shod [marijuana addict] were friends and they planned a picnic, got some mutton and cooked it in a lej [Kashmiri pot] on the bank of a stream. Shoda asked the crow to keep watch till he returned after having a wash.The crow out of curiosity lifted the lid [anuit] of the lej but unfortunately fell inside the cooking pot with the lid closed on him. When the Shoda returned he thought that the crow has consumed the mutton and run away. But, when he lifted the lid he saw the dead crow floating along with mutton pieces in the gravy. He was grief-stricken at the loss of his friend and as a sign of mourning shaved off his beard. The stream learning the reason for Shoda’s missing beard dried its water. A deer who came to take water dropped one of its antlers in sympathy. A tree under which the deer used to feed also dropped its branch. A calf also used to come to feed under the tree and after hearing the tragic death of the crow, dropped its tail. The cow after hearing the story from the calf, dried her udder. The milkman in sympathy for the crow cut his finger. His wife after hearing the tragic story, started crying and cut her arm. Then, a camel passed by and after hearing the complete story said, “Both Shoda as well as the crow got what they deserved. Rest of you are fools. What did you gain by doing silly things?”


Here are the Kashmiri lyrics and a translation.



Shoda legeji kaw gow


Crow fell in Shoda’s lej


Shodan dar kas


Shoda shaved his beard


Pokri poin chumrov


Stream dried its water


Hanglan haing trov


Deer dropped its horn


Bran Kuil lang trow


Tree dropped its branch


Vatsth harith lot trov


Calf dropped its tail


Gav maji bab gai kain


Cow dried its udder


Gure chat kis


Milkman cut his little finger


Gure Baie chat nar


Milkmaid cut her arm


Wontan dupnak toi chew fatir


Camel said you are all fools


Toi kiaze karew baif kufi


What did you do silly things?


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Pages and a translation from Persianised Kashmiri Ramayan, 1940s

Man Mohan Munshi Ji shares some pages from a rare Kashmiri Ramayan in his possession written with Persian influence (author unknown, publisher, Ali Mohamad Tajir Kutab, Habbakadal). He writes:


The Chapter deals with meeting of Ramchanderji and Lakshmanji with Hanuman and Sugrev and death of Vali and coronation of Sugrev at the hands of Ramchandar Ji. Here are some verses of the chapter in Roman Kashmiri with English translation.

Karet gai Chak daman khak bar sar

With torn aprons and dust covered heads

Vuchik koh’s akis peth ases wandar

They saw wandars sitting on a mountain

Temov yeli vuch tuluk ye nala fariad

After seeing they started discussing

Dopuk yem deov cha kina adam zad

Are they some demons or human beings ?

Kamanah hiath nakhas peth hait che laran?

They are rushing with bows on their shoulders

Yemen khah rowmut yem kiah che tsadaan?

What have they lost and what are they searching

Yemen khah rowmut yem kiah che tsadaan?

What have they lost and what are they searching

Che Sahaib Zada jora lokh masoom

They are two well bread youths in distress

Ba Chus zanan che yem baran bala vir

I know they are very valiant brave hearts

Zaminas seeth suvan Akash as tir

They can stich the earth with sky by an arrow,

Zaminas seeth suvan Akash as tir

They can stich the earth with sky by an arrow,

Even bronth yus dushman tas che galan

Any enemy coming in their way gets destroyed

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Previously:

Gyan Prakash, Kashmiri Leelas, 1949

Man Mohan Munshi Ji shares some more from his treasures. These are pages from a collection of Kashmiri Leelas published under the title  ‘Gyan Prakash’. This was the third edition of the book published in 2006 Bikarmi (1949).

Title Cover

First Leela

A Hindi Leela

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The Kashmiri Ramayana, 1930



hechith buzith wuchith lagun pazaya on

phalis chuy hyol helis chuy sampanan gon


panun dam chuy ganimath boz yih rtch kath
chuh bruthyum broth rozan chuy patyum path



 “During my stay in Kashmir in the year 1893 I often heard of the existence of a Ramayana in the Kashmirir language, but failed to obtain a copy of it. I ascertained, however, that the name of the author, Divakara Prakasa Bhatta, was well known, and that there was a tradition that he was alive during the eight years of the reign of the Hindu king, Sukhajivana Simha, who, according to Hariscandra’s Kashmira Kusuma, came to the throne in 1786, and he lived in the Gojawar (Skt. Gulikavatika) Quarter of the City of Srinagar. So far as I could make out, in 1893 the poem could be found only in fragments, no entire copy of the epic being then known to exist. I accordingly employed Pandit (afterwards Mahamahopadhyaya) Mukunda Rama Sastru, who was assisting me in the preparation  of my Kashmiri Dictionary, to endeavor to collect the fragments and from them to piece together as complete a copy of the whole as was possible. He was fortunate enough to procure several long sections and from them the text of the poem as given in the following pages has been compiled. This is the text to which references are made in the Kashmiri Dictionary, and it is offered merely as a valuable specimen of the language, and in no way as a critical edition.”

Here is: ‘The Kashmiri Ramayana: Comprising the Sriramavataracarita and the Lavakusayuddhacarita of Divakara Prakasa Bhatta’ compiled by George Abraham Grierson in 1930.

I came across it at Digital Library of India and converted it to pdf format for easy reading. Here is the download link.

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Previously:

Sketches from Kashmiri Ramayan in Persian Script, 1940s, with some notes on the Kashmiri version of the epic . From when I had only heard about this book.

My Nani’s song that led me to look for the Kashmiri Ramayanas. Sadly, the lines she sings do not appear in this book. But at least I now know where those lines probably fit in the epic.

Last year I heard my nani sing following lines to herself.

Khir Khand Khyen’chi ae’sis pr’ye
kan-mool khey’th wo’yn kad’ya su dyeh

ga’yom hay’e Ram dand’ak wan
s’yeeth Seeta ti by’e Lakhman

ga’yom hay’e Ram dand’ak wan
ky’end ma’sy’nas tha’ye kho’ran

ga’yom hay’e Ram dand’ak wan

pyeth’kaayan osus na waar
burzakaayan wo’yn an’ya su baar

A transliteration of the lines:

He used to have Candy and Kheer
Now he lives on wild roots and vegetables

My Ram has gone to live in Dandaka Forest
Along with him have gone Sita and Lakshman

My Ram has gone to live in Dandaka Forest
Will not thorns bruise his soft feet
My Ram has gone to live in Dandaka Forest

Even silken robes weren’t soft enough for his skin
Now, will he roam around wearing Birch barks?

In this book similar lines occur in the section on Ram’s departure to forest and the subsequent laments by his near and dear ones. In book we have line:

wolukh tani burza trowikh tasa-makhamal
pakan gay trenaway az-rah-i-jangal

Interestingly, above are drawing on Persian (makhamal: velvetrah-i-jangal: forest-way) while in my Nani’s version similar thought is conveyed using words pyeth’kaayan: Silken.

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Kshemendra Three Satires from Ancient Kashmir by A. N. D. Haksar

‘Victory to that lord supreme,
the illustrious bureaucrat,
infalliable, who can at will
delude the whole world with deceptions’

~Narma Mala, Satire 1

‘This humbug is a scoundrel in search of prestige and recognition. Indifferent to merit, he will fawn on those without it. Hostile to his own kin, he will exude fraternal compassion for outsiders. He is also pitiless. With bowed head, he will be all sweetness when it suits him. But once his purpose is served, he will only wrinkle his brow and say nothing.’
[…]
Hambug seemed upset at having to wait for long. He fixed his gaze on his progenitor and the god’s lotus throne, and stood proud and motionless, as if impaled on a spear. The four-headed god realized that the newcomer wished to be seated. His teeth gleaming in a smile, as if at his carrier, the swan, he said kindly,’Son, sit in my lap. You are worthy of it by virtue of the dignity that your great and remarkable austerity and other merits have given you.’
On hearing these words, hambug carefully sprinkled water on the creator god’s lap to purify it, and quickly sat upon it.’Do not speak loudly,’ he said to the god,’and if you have to, please cover your mouth with your hand so that your breath does not touch me.’ Brahma smiled at this unparalleled concern for ritual purity. ‘ Hambug you certainly are!’ he said with a wave of his hand. ‘Arise. Go to the sea-gridled earth and enjoy pleasures unknown even to the denizens of heaven.’

~Kalavilasa, Satire 2

Victory to the Heramba!
The ten directiond smile, lit up
by the brilliant radiance
of the playful raising of his tusk,
slender as lotus.
And victory to the courtesan,
lightning in the clouds of vice;
to libertines, the thespians
in the artful play of crookery;
and to that river of deception,
the procuress, whose forceful current
sweeps away, like trees, the people.

Desopadesa, Advice from the Countryside, Satire 3

More about the eleventh century CE funny guy from Kashmir:

‘Kshemendra’s work was earlier known only from quotations in some anthologies and a refrence in the Rajatarangini. In modern times, its first manuscript was discovered by A.C. Burnell, at Tanjore, in 1871. This was the Brihatkathamanjari, the abridgement of the lost work [of Gunadhya’s] already mentioned. In the succeeding half-century Indologists G. Buhler, A. Stein, B. Peterson, S.C. Das and M.S. Kaul located manuscripts of his other works, at different times, mainly in Kashmir. So far, eighteen of these have been found, and their texts edited and printed. Another sixteen are known, at least by title, from reference or quotations in the discovered texts, but still remain lost.’

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It is tempting but wrong to see present in past. To read these ancient sketches, to see the scene in front of you and go, ‘Indeed nothing has changed.’  Even if it is not the intention, the work for the troubled place of its origin, and the way it is presented in this book, the translated words of this ancient Kashmiri does seem to offer the bitter sweet pill of present coated in past. The book runs a little trick on simple readers, casual book-self browsers. Trick, the cover say’s ‘Three Satires from Ancient Kashmir’ but inside you find one of the satires, Kalavilasa, the one in which Muladeva, the king of thieves describes the ways of swindlers of the world, was in fact set in Ujjayani, near present Ujjain in Madhya Pradesh. The blurb on the last page claims, ‘these little-known exposes of eleventh-century society find resonance in India even today.’ If sketch of  bureaucrats, scribes, gurus, traders, and the all thieves of the world in Kshemendra’s writing be true, be still relevant, then what about his sketch of women, his blood sucking witches. who make a man ‘struct and dance like a pet peacock.’ While Kshemendra’s sketch of men may still be acceptable, identifiable, to today’s Shabhya people, but probably not his sketch of women and ‘their ways’. No cultured man will quote Kshemendra to score a point in a debate on ‘women’s liberation’. This is not ancient times. There has been progress.  We live in modern age. We…

‘A Nit-picking man. One of the many hambugs infesting Kal-yug. Listen, stop scratching your bum, wondering what-this-what-that, you Kashmiri bum, trader of black-ink, dweller of ivory island. You have to run down one of your own. Look around, ask the man on street what he thinks of ‘women and their ways’. The man pours his heart and piss on walls of public urinals. Don’t be surprised if he says the same sundry things that I wrote a thousand years ago. Just read me in translation. Me in translation by a bureaucrat and marvel. ‘

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You can purchase the book here:

Buy Three Satires from Ancient Kashmir from Flipkart.com

Chunna’ kuney, chunna kuney

Old Jammu.
The poet’s brother used to work in Delhi.



Chunna’ kuney, chunna kuney,
Vuchh oard na’ yoard kuney,
This phyur talai mool n’ kuney,
Chhukhai tsaitan svori’tan sukuney

He is nowhere, he is nowhere,
Don’t look hither and thither,
Under this tree, there is no root,
If you are awake, do look.

~ Rupa Bhavani (1620-1721) – The lady, more famous for riding tigers and turning into ball of light at night much to the horror of her husband and mother-in-law, famous for floating down a mat on Jhelum river preaching difference between silver, gold and pearls to a Muslim missionary, was also a poet.

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“The language is archaic; there are double and occasionally more meanings to what she said. The expressions are obscure, unintelligible, mystical and esoteric. The devotees, afraid to incur the saint’s displeasure, refuse to explain the sacred secrets; probably they themselves know precious little of what they recite or contemplate in blind admiration. “

~ Prem Nath Bazaz writing on Rupa Bhavani’s Vakhs in his book Daughters of Vitasta.

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