algebra nay jabar kiya

From an image published in 1952

A popular old ditty from Kashmir on Maths and its mind befuddling mysteries.

Algebra Nay Jabar Kiya
Waqt Ki Rahi Tangi
Kalam Bechara Kya Likhay

Kakaz Rahi Nangi

Algebra unleashed terror.
There wasn’t enough time.
What could the poor pen cover?
Naked, was left the Paper.

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In Kashmir, Kagaz is Kakaz.

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I first came across that ditty thanks to my grandmother who would use bits of it to taunt me while I would fall asleep while reading. Then, recently, I came across two lines in book  ‘Srinagar: My City My Dream’ by Zahid G. Muhammad‘, a complete ‘Kashmir Nostalgia’ trip, (first and only book that someone actually bought from Flipkart based on a recommendation on this blog). Then, today, I came across the full ditty in ‘Cashmere: Kashir That Was Yarbal’ compiled by Somnath Sapru. [PDF download link].

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Shah Hamadan/Kali Mandar, 1957

There are some photographs in Brian Brake’s 1957 Kashmir collection that I feel deserve individual attention.  This one because comparatively Babri and Hydrabad are simple.

The thought occurred to me a few years ago when I showed a few images on this blog to my Nani. Among these images was an old photograph of Mosque of Shah Hamadan and just for the fun of it I quizzed her if she knew which place it was.

From ‘The northern barrier of India: A popular account of the Jummoo and Kashmir territories’ (1877) by Frederic Drew
From ‘Pictorial tour round India’ (1906) by John Murdoch (1819-1904). 

Her answer was quick. With hands held in a namaskar she said, ‘ Kali Mandar’.

I knew the history of this place, both the oral and the written one, about the fights, about how this spot stood for both a mosque and a temple and probably a Buddhist shrine too, but this knowledge didn’t make me realize what this place would have meant for people who lived in Srinagar during a particular era. Most of the old western travelogues I read simply referred to it as the Mosque of Shah Hamadan. Discussed it’s architecture and importance is discussed. In one book, ‘Houseboating in Kashmir’ (1934), an angrez woman, Alberta Johnston Denis, probably finding ‘men only’ policy of the shrine incomprehensible wrote:

Shah Hamadan was holy, according to the Mohammedans of Kashmir; but whatever he may actually have been, in their loyalty to him, at least, they were intolerant. To this day, this is evidenced in the inscription, elaborately carved on the verandah over the entrance, which, translated, reads: “This is the tomb of Shah Hamadan, who was a great saint of God. Whoever does not believe this, may his eyes be blinded and if he still does not believe it, may he go to Hell.” 

In one of these books, I did read about Pandits who while going about their daily business, would pass along this place, stop at a particular spot where water could be seen oozing out and bow down and wash their hands and face. The pull of a hidden holy spring. A spring of strange stories, stories of Kali Nag, an ancient spring, that apparently sprang up just at the moment when Ram killed Ravan, a spring that kids are told holds broken bits of ancient sculptures, a dark spring they say turns you blind if you look into it. Stories of flying chappals and falling gods.

An interesting account on birth and survival of the spot is given by Pandit Anand Koul in his book ‘Archaeological Remains In Kashmir’ (1935):

Going up by boat, one’s attention is arrested farther on by a large building on the right bank between the 3rd and the 4th Bridges, which is called Shah-i-Hamamdan.
There is on this spot a spring, sacred to Kali. There was a Hindu temple over it which was built by Pravarasena II (110-70 A.D.) and was called Kali-Shri. The Mahall, in which it was situated, is still called Kalashpur, a corruption of Kali-Shri-pur. This temple was destroyed by Sultan Qutb-ud-Din (1373-94 A.D.) and, with its materials, he built a khanaqah. The later got burnt down twice and was rebuilt.
Soon after the conquest of Kashmir by Sikhs (1819) the Sikh Governor, Sardar Hari Singh, ordered the demolition of the mosque, saying that as it was a Hindu shrine, the Muhammadans should give up their possession of it. He deputed a military officer, named Phula Singh, with guns which were levelled towards the mosque from the Pathar Masjid Ghat, and everything was ready to blow it away. The Muhammadans then went to Pandit Bir Bal Dhar [a hero, a villian based on which Kashmir narrative you hold dear] who, having brought the Sikhs into Kashmir, was in great power, and requested him to intervene and save the mosque. He at once went to the Governor and told him that the Hindu shrine, though in the Muhammadans, was in a most protected condition and the removal of the mosque would be undersirable as it would simply lay it open to constant pollution by all sorts of people. There upon Sardar Hari Singh desisted from knocking it down.
On the wall fronting the river the Hindus have put a large ochre mark, and worship the goddess Kali there. 

The spot captured by Brian Brake in around 1957. A spot that is now claimed and hidden by a tree gone wild. Claimed by a grayness that now fills the recent photographs of Kashmir. A place very simply once claimed in speeches made in Indian parliament floor as proof of syncretic culture of Kashmir.

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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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Electric Fish

Based on a folk ‘medicine’ story I heard a couple of years back from an uncle of my father.

The man was sick – sick unto death with an agony that would have him praying for death.  They laid him in a cot, he felt his senses leaving him. When he regained his senses again, he found himself floating in the air through the trees, through the green paddy fields and towards the black mountains. For a minute he rejoiced at the thought that he was dead and probably being driven to paradise. Up and down. Up and down. Like on a boat. He smiled. But just then a familiar terrible pain, like a needle pick into eyeballs, shot up through his belly and through his body, blasting his head to bits. His body again developed cracks and broke down. He knew he was alive and the thought peppered his pain with grief. He opened his eyes but just then the noon-time sun broke through the foliage and raptured his eyes. He closed his eyes. Frozen, unable to even wither in pain, he felt his irises turning to glass, cutting at his eyelids. Tears rolled down his cheeks but to him it felt like he was crying blood. He knew his days were numbered. But he was losing count. This maddening pain could not go on forever. He would die soon, it was certain. The thought consoled him and he again passed out on the cot, still tied to it with ropes and carried on shoulder of his two sons.


The sickness first came to him a few months ago one sudden afternoon. It arrived in the simple form of stomach ache. Then the fever arrived. Then the burning sensation. He slept over it. Next day he was fine, he went on with his daily business, worked, had Kehwa with extra milk in the afternoon as a precaution, thanked his gods and just felt fine.  But in the evening, once he reached home, a smell of rotting flesh filled his nostrils, engulfed him, he vomited violently till he felt like he would vomit out his intestines. Then he felt like someone had tied his bowels in a knot. He felt shivery and started sweating. It was at that moment that a pain took birth in his stomach and the countdown to his death began. His two young sons took him to all the Hakeems, Veds, priests, saints and peers but none in the city could cure this man’s mystery illness. Then a man told them about a great Hakeem in a village who it was said could even breath life into the dead. The young men put him on a cot and carrying him over their shoulders, started their walk to the village of this miracle Hakeem.


‘I can’t help this man,’ said the Hakeen while still listening to the ebbing pulse of a dying man who was expectantly hearing each word coming from the lips of this gentle old man of Shafa. ‘I know the disease. I know the cure. But I can’t administer it. What this man need can’t be easily found. It is no use…instead…’ 
On hearing this, the fire in his pits, that had momentarily subsided on the sight of an elderly angelic man with ice cool hand, again ignited and reclaimed his body, burning all his hopes and his body. A lightening struck somewhere. A thunder boomed in the sky. The man again passed out. A furious storm raged outside.


Hakeen Sahib, taking his hand off the man, continued instructing the two boys without loosing a single syllable, ‘…give him nothing to eat for next seven days. Only water. With sugar and rock salt. No, it won’t cure him. But it will reduce the pain. When the time comes, it will make his death easier.’ 


The boys shocked at this prophecy of death, forgot all about seeking a cure, disheartened, again picked up the cot on their shoulder and started to head back to the city. But it was now raining outside. So they put down the cot and waited for the bad weather to pass. 


It was evening when the man again came to senses, there was no pain, yet. Instead there was now only a slow burning sensation in his stomach. But he was in senses enough to recognize it was fire of hungry that now haunted him. He cursed himself, for even if he was close to death, he still felt the need to feed himself, to throw things into this unending pit. This pit of death. He called out to his sons. Not getting a response, driven by hunger, he willed himself up. At a distance near a river bank, he saw his two sons sitting down munching on something. He imagined it must be fish. His sons were eating fish while he lay here hungry, while he lay here dying. In his anger he could even smell roasted fish. In a weak feeble voice, infuriated, he again called out the names of his two sons and asked to be fed some food. The sons didn’t even turn in response. Thinking that they must not have heard him, the man, a bit dejected, tired, his legs about to give up, turned back to his cot, mouthing curses for his two unworthy sons. Just then his eyes fell on a heavenly sight,  he saw on boulder next to his cot, a freshly roasted fish. Just lying there, waiting to be eaten. The sight of it filled his heart with shame and pride. As he began to dig into the fish like a mad man possessed, like a man hungry all his seven lives, he cried and praised his thoughtful sons, he blessed them and blessed them some more. And he blessed the fish which might well be his last meal and thanked the gods. When he finished eating, fear of impending pain put him into a deep sleep.


A week later, Hakeem Sahib walked from the village to the man’s house in the city to witness the miracle. He came to see the man who defied malakul maut – angle of death. A man that he had openly proclaimed dead was walking again. Men were now questioning Hakeem’s judgement. 


‘Where did you find it?’ was the first that Hakeem Sahib asked the two boys and the man who had been given up for dead only a week ago.


‘Find what?’ They all asked.

‘There was only one cure for the disease that this man had. And that was a ‘Trath-lej Gaad’, a fish that’s been thunderstruck.’

The sons were still at loss. But on hearing this everything became clear to the man who had been saved by a thunderstruck fish found on a roadside boulder. He began to laugh and told Hakeem Shahib the story of his Kismet. Kismet for having two dutiful sons and for finding the rarest of rare fish – a Trath-lej Gaad.

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do the pahada

At Shalimar, 2008

It came back to me a couple of years ago while watching a sequence from Mohsen Makhmalbaf’s Iranian film ‘Gabbeh’ (1996). The poetic sequence involved an elderly teacher singing a lesson to his young pupils [video link]. I remembered the way my grandmother sang table of two to me when I was a kid. It’s rustic nature never failed to delight me. In many futile attempts I tried to capture it. Could manage only a few delightful multiplications. I asked my grandmother but she too recalled it only in parts. Last night I again gave it another shot but instead ended up getting distracted by ‘Do Ekam Do Do Duni Chaar’ song from Dil Deke Dekho (1959) [video link]. But it also made me finally go for closure. This morning I called up my grandmother and over a long call, finally managed to compile the table. It was a fun exercise, which started after I failed to explain her my interest in something so trivial, in fact I am now somewhat in-famous in the family for my trivial interests,  nevertheless, ever the Dadi, she agreed to entertain me one more time with her table song. From the voice in the background, I knew this time she had help, her son and daughter were filling in the blanks (only that my father was adding his own mock ribald version into it,only adding to the confusing). At time she ran so fast with the flow that I had to stop her so that I could follow, and then she would again start from the beginning, with each stop and re-rendering the song kept changing. In any case, I think I now have an acceptable version. Little rhyme, no reason. First line is what could pass off as ‘Hindustani’ but the second line, the auxiliary for memory, is in Kashmiri. And it goes like this:

do e kaya do
Padow Ladkow

[2 1 za 2]
[Read my Boys]

do duna char
Batt’e Lejj Phayaar (Or Maj’e Dyutnay Mar)

[2 2 za 4]
[Stir the Rice Bowl (or Mother beat you)]

do tiya che
Vothu Batt’e Khe

[2 3 za 6]
[Get up and eat rice]

do chukay aath
Hyer par paath

[2 4 za 8]
[Read a bit louder (Read upstairs (?))]

do panjay dus
Hooyn Kheynay nas

[2 5 za 10]
[Dog ate your nose] (Laugh.Recall point.)

do che barah
Mol chui Praran

[2 6 za 12]
[Father is waiting]

do satay chowdhah
nikkan kori maedaan

[2 7 za 14]
[You kid just shit]

do ahthay solah
mol chui bolan

[2 8 za 16]
[Father is talking]

do navay athara
mol chui laran

[2 9 za 18]
[Father is giving a run]


do dahya bees
ungjan kad tees

[2 10 za 20]
[crack your knuckles]

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I thank my grandmother for teaching me how to spell धन्यवाद्.


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