Sunday, September 23, 2007

Wordsworth in Urdu

William Wordsworth recollected in Urdu
Gayatri Rajwade
Tribune News Service

Daffodils

For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills, And dances with the daffodils.

Ab bahut saalon ke baad, aleem e tanhaiyee mein,
jab lethta hoon bistar par ranjofikar mein,
rangeen nargis ki vahi tasveer
ubhar aati hai zahan mein,
yeh udasi mein meri rahat ka sabab banti hai,
mera dil jhoom uthta hai khushi mein,
aur nachne lagta hai
nargis ke saath saath


Chandigarh, September 22
Eighteenth century Romantic poet William Wordsworth’s lyrical verses will now find resonance in Urdu, courtesy retired English professor Jogendra Kaushal.

While this British poet is his muse, interestingly American poet Robert Frost’s lines “And miles to go before I sleep” from ‘Stopping by woods on a Snowy Evening’ best epitomise this grand old man’s “designs”. “I believe there is a divinity that shapes our ends,” he says quoting from Shakespeare’s Hamlet. But this belies the effort that has gone into translating or rather “re-writing” Wordsworth’s epic poems in Urdu which has taken him the better part of a year of working “in earnest.”

Professor Kaushal believes this is the first time that anyone has attempted translating Wordsworth in Urdu. It is a language that is fading in India he admits, but he is optimistic about its resurgence and believes he will still reach out to “millions of people” in Bihar, Uttar Pradesh, Delhi even Himachal Pradesh (where it is still used as the official language in some courtrooms he says) and Pakistan.

Born in 1928, Kaushal’s primary education was in Urdu, including the geometry and algebra, which was taught in Urdu. However, he never learnt it formally. “There is sweetness in this language so I kept learning it until I felt I was comfortable with it,” he says.

However, it was towards English literature that he veered joining Punjabi University, Patiala, as a lecturer in English where he was selected for specialisation in American literature. He finally retired as director, Correspondence Studies, where he was also monitored distance education programmes as member of a high-powered committee under the UGC and was also part of the International Council for Distance Education.

However literature remained his first love and it was an official trip to Mount Abu in 1986 where gazing at the splendour of the setting sun Wordsworth suddenly sprung to mind:

And I have felt

A presence that disturbs me with the joy

Of elevated thoughts; a sense sublime

Of something far more deeply interfused

Whose dwelling is the light of setting suns

“I was quoting these lines to myself and I thought why not take them to those who have not read Wordsworth?” he said.

However, it was only in 1992 that he finally stopped working and started writing in earnest. “While students appreciate a high voltage teacher it is the adults that really need to be educated but that cannot come from politics, the teacher has to be literature,” he averred. He turned to Wordsworth for the complex lessons of life and for the universal mystical quality the verses possessed. He is now translating Frost.

“People are not interested in heavy literature. They read what they can feel in their pulse and Wordsworth and Frost are closest to this psyche,” he explains.

While it was very difficult to translate and ensure that the essence of the poems is not lost, Kaushal says the whole experience has been cathartic in fact akin to “salvation”.

Around 10 of Wordsworth’s more “significant” poems have been translated and are ready to be published. While Aligarh Muslim University has already expressed its interest, Kaushal is keen that his University takes the project up. He has moved onto translating Frost’s poems starting with the lines found on Pandit Jawaharlal Nehru’s table on the day he passed away:

The woods are lovely, dark and deep

But I have promises to keep

And miles to go before I sleep

And miles to go before I sleep

Until then “the consistency of the poets, their subtle philosophy and the message they hold out to mankind” which brought him to them in the first place, continue to enthrall him. After all in the words of this 79-year-old man, “I have not taught literature, I have lived it.”

Doobiya badal jo mandrate hain doobte suraj ke girad (The clouds that gather round the setting sun)

Aak jhapakte hi uske chehre ko dhak lenge (Do take a sober colouring from an eye)

Yeh maut ka manzar hota hai (That hath kept watch o'er man's mortality;)

Besasakta keh uthta hun ek aur sitara toota, Ek aur azeem ulshan daur khatam hui (Another race hath been, and other palms are won)

(Lines from Intimations of Immortality from Recollections of Early Childhood)

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Thursday, September 20, 2007

Urdu and Indian Muslims

Urdu and Indian Muslims
By M A Siraj

Urdu is generally considered to be a language getting confined to the Muslim population in Independent India, notwithstanding secular credentials of its literature in the past.

That is why it has no claim over a specified space and has remained stateless. It is both the strength and the weakness of Urdu. While the spatial spread of Urdu people makes them truly pan-Indian, the absence of a solid critical mass enfeebles its case for a viable medium for education and other modes of communication.
In an India that is divided into linguistic states for administrative facility, Urdu is spoken in tiny enclaves across the states.
The latest Language Atlas of India published by the Registrar General and Census Commissioner has in a special exercise cross tabulated the Urdu and Muslim population in the country. The significant aspect of the outcome of the exercise is the fact that only a little over half of Muslims (i e 51.5 per cent) residing in Uttar Pradesh have recorded Urdu as their mother tongue.
In the case of Bihar, this proportion is about 66.8 per cent. In contrast, a vastly preponderant majority of Muslims living in Andhra Pradesh, Karnataka and Maharashtra have registered Urdu as their mother tongue. Other states where proportion of Urdu speakers among Muslims is significant are Tamil Nadu, Rajasthan and Madhya Pradesh.
To sum up the position of Urdu vis-à-vis Muslims, it would be sufficient to point out that while there were 101.5 million Muslims in India (1991 Census which excludes Jammu and Kashmir), 42.72 per cent recorded Urdu to be their mother tongue. This is to say that less than half of Indian Muslims speak or use Urdu.
Let us go into the linguistic composition of Muslims in India in a little more detail. At least in three more states Muslims make up a good chunk of population. These are Kerala (23 per cent), Assam (28.43 per cent) and West Bengal (23.61 per cent). But Urdu speakers among the Muslims are merely 0.19 per cent, 0.06 per cent and 9.05 per cent respectively in these states. Similarly, in Rajasthan, Madhya Pradesh and Haryana, the proportion of Urdu speakers is 27 per cent, 37.40 per cent and 34
per cent.
The biggest surprise comes from Uttar Pradesh where only a little over 51 per cent Muslims have recorded Urdu to be their mother tongue. It clearly points to changes in linguistic demography of Muslims in a key state associated with Urdu’s development and politics. An unmistakable implication emerging from this is that the word Muslim is no longer co-terminus with Urdu.
Even as formal literacy is on the rise in the doab (region between Ganga and Yamuna) in Uttar Pradesh, the fault lines between Hindi and Urdu are more distinct due to the Devanagari script of Hindi and Perso-Arabic script of Urdu. This new shift in markers of linguistic identity now compels even Urdu-speaking but educated Muslims in Uttar Pradesh to identify with Hindi than Urdu.
Previously, in the absence of literacy and formal education, the two sister languages were easily clubbed under Hindustani. But no longer so now. Perhaps this reality pervades the Muslim existence in the entire North Indian states and calls for its factoring into the educational, curricular, media and communication strategy.
(The author works with the BBC World Service in Bangalore.)

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Wednesday, September 19, 2007

TN Urdu Academy reconstituted

TN Urdu Academy reconstituted


Chennai, Sept 18: The Tamil Nadu government today reconstituted the administrative board of the Tamil Nadu Urdu Academy.

An official press release here said State Higher Education Minister K Ponmudi would be the chairman of the board and Prince of Arcot Nawab Mohammad Ali would be the deputy chairman.

Secretaries of Finance, Higher Education and Backward Classes Welfare departments would be among the members besides Tamil poet Abdul Rehman.

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How about Urdu?

Sunday, September 09, 2007

Urdu plays: popular in India

Play of words

Audiences flock to see entertaining Urdu plays, provided they are advertised as Hindi! Where have all the real Urdu plays gone, wonders RANA SIDDIQUI


Demand is greater than supply. One is not talking about IT professionals but Urdu plays on the Delhi stage. Delhiites complain about not having seen real Urdu plays for ages. The scene is the same in other cities like Mumbai and Bhopal where theatre otherwise is said to be thriving. For years there has been only a trickle of new Urdu plays. This despite the fact that some good old plays continue to be crowd-pullers, even if many of them are advertised as Hindi plays! Decades ago Nadira Babbar’s “Yahoodi Ki Ladki” played to packed halls in Delhi. Such is the success rate of this Urdu play that it has seen 1500 shows across the country and is still a major crowd puller.

More recently, Delhi saw “Maulana Azad” with Tom Alter in the title role. The two-and-half hour soliloquy in chaste Urdu is written and directed by Mohammad Sayeed Alam. This play has done 200 successful shows. Alam is almost the lone crusader in Delhi, who, through his plays like “Ghalib in New Delhi”, “K.L. Saigal” and “Bahadur Shah Zafar” gives Urdu theatre a kiss of life. Never mind that even Alam has to sell his Urdu plays as those in Hindi!

One can recall names like Revati Saran Sharma whose plays like “Phir Wohi Talash” and “Aur Shama Jalti Rahi” have earned a name for their excellent Urdu and stagecraft. Not to mention the doyen of Indian theatre, Habib Tanvir, whose “Agra Bazaar” and “Shatranj Ke Mohre” are always staged to overflowing halls.
The question

So, the audiences are there but why are Urdu plays so hard to come by? Where are the Urdu knowing actors, playwrights and directors? Perhaps the face of the Urdu play has changed. It is now represented by the likes of Naseeruddin Shah-Ratna Shah and Javed Akhtar-Shabana Azmi. As is known, they have transformed the stories of Ismat Chughtai, Sadat Hasan Manto, and memoirs of Kaifi Azmi and Shaukat Azmi (“Kaifi Aur Main”, etc.) into Urdu plays.

Says Tanvir, “Actually, all good Urdu writers like Rajender Singh Bedi and Manto were with All India Radio, so they used to write radio plays. They may never have thought in terms of staging them. Moreover, great Urdu speaking actors like Prithiviraj Kapoor and Saeed Jaffery were all absorbed by the film industry. After all, films have more money and there is no one to take care of Urdu theatre.”

Agrees Nadira, “Why should the children learn Urdu? It doesn’t fetch them a job. Urdu exists only in the Constitution. For ages I have not been able to stage good Urdu plays because there are no sponsors. The Government says ‘Urdu ke liye budget nahi hai.’ (There is no budget for Urdu.) Yeh woh jung hai jo door tak haari ja chuki hai. (It is a lost cause.) There is no distribution network for Urdu books. The TV serials have further tarnish ed the language. How do we keep theatre alive if there is no language and no torchbearers?”

Alam finds it a “paradoxical situation”. He says, “Modern Hindi theatre is ‘literarily’ Urdu. For instance, a play like “Tughlaq” is advertised as ‘Hindi play’ while it is in Urdu.” He feels the prevailing confusion between Hindustani and Urdu has resulted in pure Urdu losing out. “We playwrights are also responsible for it. I am guilty of saying that ‘Ghalib in New Delhi’, and ‘K.L. Saigal’ are Hindi plays while they are 70 per cent Urdu. And I have to do it, because if I declare that the play is in Urdu, then I lose half the audience because they think I am talking of ‘Persianised’ Urdu which is never the case.”

The practitioners of Urdu theatre are not sure if the efforts of the Shahs and Javed-Shabana are harbingers of hope. Tanvir remarks, “It is just a new beginning. Whether it survives or dies, only time will tell.”

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