Tuesday, March 12, 2013

Premchand's story: Sadgati










Munshi Premchand’s Short Story ‘Sadgati’ in English Translation

Here below is my translation of Premchand’s great short story ‘Sadgati’. Readers of Premchand would remember Satyajit Ray’s filmic adaptation of this story for Doordarshan in 1981. It is said to have been the first tele-film produced by Doordarshan, with Om Puri, Smita Patil and Mohan Agashe in the lead roles. I have nothing to say on this great and widely acclaimed story. I shall only quote two extracts, by someone I have not been able to identify, which very forcefully convey the essence of the story:

‘…brutally ironic condemnation of India’s caste system, and  by extension, all inequality and injustice… ‘

‘The final scene takes the story to its logical, devastating conclusion.’

But I have a point to make on the problem I faced while translating the story, especially in finding the right English equivalent for the title ‘Sadgati’. No English word I can think of conveys all the connotations of the expression ’Sadgati’. Indians everywhere would, I believe, generally understand what the word conveys, and thus appreciate the ruthlessly ironic, and surrealist, ending of the story, the horrifying ‘durgati’ to which Dukhia is subjected. But it would be almost impossible to convey the full import of the word to a non-Indian outside the subcontinent using one English word or phrase. In the Hindu belief  system, ‘Sadgati’ refers to a happy state the soul achieves after death. It may mean rebirth in a better world, or as a good living creature (uttam lok ki prapti); or moksha, which is deliverance from the endless cycle of birth-death-rebirth. But this is believed to be possible, apart from other things, only if a person’s last rites are performed according to the rituals prescribed by different traditions, and which may vary. Dukhi’s ending is most horrifying. For him it is ‘durgati’, both in this life, in death, and in the life hereafter. The words ‘deliverance’ and ‘salvation’ have been used to translate ‘Sadgati’ but they don’t convey the full import of Premchand’s title. But these are the dilemmas of translation. Perhaps the word ‘deliverance’ conveys better the horrifying irony of Dukhi’s tale. It is a deliverance from a wretched life indeed, but what a deliverance! In this story too Premchand seems to have moved away from his idealism, and even realism, to surrealism to effectively convey the horrors of caste system.




                                 The Deliverance 
                                     (Sadgati)

Dukhi chamar was sweeping the door front, and his wife, Jhuria, was plastering the floor with dung. After they were done with their chores, the chamarin said, ‘Go now and speak to Pandit Baba, lest he should go somewhere.’

Dukhi said, ‘Yes, I’m going, but think where we should seat him.’

Jhuria said, ‘We’ll borrow a cot from someone. Get it from the thakurs.’

‘Sometimes you say things that make my blood boil. Why would the thakurs lend me a cot? They don’t lend us even fire for lighting, and you expect them to lend us a cot! If I ask for water at the house of a Kaystha, I won’t get it. No question of getting a cot. It’s not like our dung cakes, reed stems, straw and wood; which anyone one can pinch. Let’s wash our own cot. Being summer, it’ll dry up before he comes.’

‘Why would he sit on our cot?  Don’t you know how strict he is in his observances?’

Dukhi replied, a little worried, ‘That’s true. It’ll be better if I make a leaf-plate from Mahua leaves. All big people eat in those plates. These are clean and taintless. Get me the stick. I’ll bring down some leaves from the tree.’

‘I’ll make the leaf-plates. You go. Oh yes, we’ll need some offerings too him. Shall I put them in our thali?’

‘Don’t be mad. We shall lose the offerings. And the thali too! Baba will hurl the thali away. Gets wild in no time. When angry, he doesn’t spare even the panditayan. He thrashed his son so badly that he still has a broken hand. Put the offerings on a leaf-plate. And, don’t you touch anything.’

Jhuria nodded her head in assent.

‘Take Bhuri Gond’s daughter with you and buy the offerings from Sah's shop. They should be plentiful. One ser flour, half ser rice, a quarter of lintels, ghee, salt, turmeric. And put a four-anna coin in one corner of the leaf-plate. And if the Gond’s daughter is not around, request Bhurjin. Don’t touch anything, or it would end indisaster.’

Repeating once again all that he had said, Dukhi picked up the stick and a big bundle of grass, and started on his way to panditji’s. How could he go empty-handed? But he had nothing else for a gift. If Baba saw him empty-handed, he would drive him away from a distance.

2

Pandit Ghasi Ram was a great devotee of God. As soon as he woke up, he would begin his daily rounds of worship. It would be eight by the time he washed himself, and then the devotions began in earnest. First of his acts was to grind bhang leaves and soak them in water. Then he would grind some sandalwood into paste; after which he would stand before the mirror and put two long paste marks on his forehead with a piece of straw. And then, a vermilion dot between the lines. Then he would draw, with the paste, roundish shapes on his chest and arms. Then he would take out his deity's image, give it a bathe, put sandalwood marks on it, offer flowers, and recite the aarti, tinkle the bell. It would be ten when he completed his daily observances. Finally, he would filter the bhang-brew, and come out. By then a few clients would be waiting at his door. That was an immediate reward for his devotions, This was his investment and means of livelihood. 

Today when he came out of his prayer room, he saw Dukhi chamar sitting at the door with a bundle of grass. Dukhi got up as soon as he saw him, made his obeisance by lying down flat on his chest in front of him, and then stood up folding his hands. Watching the glorious face in front, Dukhi’s heart was filled with great reverence. What a godly image! Small round and plump body, shining head, full cheeks, and eyes radiating godly refulgence! The sandalwood paste and vermilion further heightened this glory. Turning towards Dukhi, the radiant-faced pandit said, ‘Why have you come, Dukhi?’

Dukhi said, bowing his head, ‘It’s about my daughter’s engagement. I want you to suggest a propitious time and day. When will you be pleased to come?’

‘Dukhia, I’m not free now. I would come by evening.’

‘Maharaj, come early. I have kept everything ready. Where shall I put this bundle of grass?’

‘Put it in front of the cow. And take the broom and sweep the door. The sitting room hasn’t been plastered for many days. Plaster it with dung. By then I shall finish my food, then after resting for a while I shall come. And yes, chop this log of wood into small pieces. And there’re four sacks of straw in the field. Bring those also and put them in the hay store.’

Dukhi at once set himself to obey the commands. Swept the door-front, plastered the sitting room. By then it was noon. Panditji had gone in for his food. Dukhi had eaten nothing since morning, and he too was hungry, but there was nothing for him to eat. His home was a mile away, and if he went there panditji would get angry. The poor fellow suppressed his hunger and began to chop the wood. The piece of wood had a thick knot which had defeated many a devotee, and was now ready for battle again. Dukhi was good at cutting grass, but had no experience of chopping wood. Grass would always bow its head before his trawel but here he attacked the knot with all his force yet it refused to yield even a bit. His axe would slip again and again. He was sweating profusely. He gasped for breath and sat down, rested a while and got up again. He was unable to lift his hands, his legs were shaky, his back would not straighten. Darkness was clouding his eyes, his head was reeling. He was seeing butterflies. Even then he continued his labours.

A chillum of tobacco could give him some strength, he thought. But where would he get it? This was the brahmin habitation, and brahmins don’t smoke like us low-castes. Then he thought of the Gond. He would surely have tobacco, and he ran towards his home. He was lucky. The Gond gave him a chillum and also tobacco, but he had no fire to light the chillum. Dukhi didn’t worry, for he said he would borrow fire from panditji’s, where food was being cooked. He came back and went straight into panditji’s house and said, ‘Master, could I get some fire to light my chillum?’

Panditji was eating at that time. Panditayan questioned, ‘Who’s asking for fire?’

“It’s the same silly Dukhi chamar. I’ve asked him to chop some wood. Give him some fire.’

Panditayan raised her eyebrows, and said, ‘Haven’t you gone blind to your dharma-karma thinking of nothing but almanacs and horoscopes? Anyone may come in freely, whether he’s a chamar, or dhobi or passi. Is this the home of a Hindu, or a sarai?   Ask him to get out of here, or I shall singe his face with this burning piece of wood. How dare he ask for fire?’

Panditji tried to pacify her. ‘What if he has come in? He hasn’t touched anything here. And he’s working for us. If I had called a wood-cutter to do this, he would have charged at least four annas.’

Panditayan thundered, ‘Why did he enter the house?’

Panditji was irritated , ‘His evil day, what else!’

Panditayan said, ‘All right, I shall give the fire this time. But if he enters the house like this again, I shall burn his face.’

Dukhi was listening to all this. He was regretting that he ever came in. She’s right. How can a chamar enter a brahmin’s house! They are so pure, these people. That’s why the world worships them. That’s why they’re revered so much. They aren’t chamars. I have grown old in this village, and yet I did not have this much sense.

When panditayan came out carrying fire, he felt he was in heaven. He folded both his hands and bent down and put his head to the ground and said, ‘O mother panditayan, I made a great mistake by entering the house. It’s because of my follies that I get punished.’

Panditayan had brought a piece of burning wood held in tongs. She threw it towards Dukhi from a distance. A splinter from this fell on his head, and he began to shake it off. This is the retribution, he thought, for polluting a brahmin’s house. God has sent it so fast. That’s why the world is afraid of pandits. Everyone can be cheated of his money. But just you try to cheat a brahmin! You’ll be destroyed. Your feet will begin to rot, and then fall off.  

He came out and smoked his chillum, and then began to ply the axe again. Pandityan heard the khut-khut of the axe. Realizing that she had been too harsh in throwing the burning piece of wood at Dukhi, she softened a bit. After panditji had finished eating, she said, ‘Give this chamarva something to eat. He has been working for so long. Must be hungry.’ 

Panditji, treating the suggestion as impractical, said, ‘Do you have any rotis to spare?’

‘Only a few,’ she said.

‘A few won’t do. He’s a chamar, and would devour at least a ser of flour.’

‘O God, a ser! Then, forget it.’

Now panditji became aggressive. ‘If you have some bran, mix it with a little flour and make two thick rotis. That will fill his stomach. Thin rotis made from wheat flour can’t fill their stomach. These menials need thick ones made from barley.’

Panditayan said, ‘Then leave it. Who would go out in the heat?’

3

Having smoked his chillum, Dukhi began plying the axe. Resting had restored some of his strength. He kept on plying the axe for another half an hour, and then he sat down with his hands on his head, gasping for breath. In the meantime the Gond came there. He said, ‘Why’re you killing yourself, old man? This knot will not crack.  You’re wasting yourself for nothing.’

Dukhi wiped the sweat off his forehead and said, ‘I have to bring a cartful of straw, too.’

The Gond said, ‘Did they give you anything to eat?  They know only to extract work. Why don’t you go and ask for food?’

‘Chikhuri, what’re you saying? Will I be able to digest a brahmnin’s food?’

‘Yes, you will be able to, but first you should get it. He has eaten to his fill, and is sleeping peacefully, having ordered you to chop this log. The landlord at least gives something to eat. The officer makes you work, yet he too gives you something. And these ones have beaten them all, and they call themselves men of God!’

‘Don’t shout, brother. He’ll explode, if he hears all this.’

Dukhi got up and began to attack the wood. Chikhuri took pity on him. He snatched the axe from him and plied the axe with all his force for half an hour, but the knot refused to yield. Then he threw away the axe, and walked away saying: ‘This knot will not crack, even if you die trying it.’

Dukhi was wondering why Baba had kept this log that refuses to split. How long shall I go on? I have a hundred things to do at home.  We are preparing for our daughter’s engagement. I have so much to do. But why should this man care? I’ll go and bring the straw. I’ll tell him I could not chop the wood and would do it tomorrow.

He picked up the sack and went to fetch the straw. The field wasn’t less than two furlongs from here. If he had stuffed the sack to its fill, he could have completed the task faster, but then he wouldn’t have been able to carry it. So he only half filled the sack, and was able to bring in the whole load gradually by four o’clock.

By this time Panditji had woken up. He washed his face, stuffed a paan into his mouth and came out. He found Dukhi sleeping with the sack on his face. He shouted, ‘O Dukhi, you’re sleeping. The log is lying uncut. What have you been doing all this time? You have wasted the whole time hauling a handful of straw. And on top of it, you’re sleeping. Get up, pick up the axe and chop the wood. You can’t chop this small piece of wood! Don’t blame me if I follow your way to determine the propitious day for the engagement. People are right when they say that the moment a menial has food in his house, he turns a dodger.’

Dukhi picked up the axe once again. He forgot everything. His stomach was beginning to touch his back. He had eaten nothing even in the morning, for he hadn’t got time for this. He was unable to stand up, yet he argued with himself: He’s a brahmin, and if he fixes an inauspicious day, all will be ruined. That’s why people respect them. Everything depends on them. They can make it or break it.

Panditji came close to him and began to egg him on: ‘Come on, hit hard, still harder…don’t you have strength in your hands? Hit harder. What’re you thinking of. It’s about to crack. Hit into that opening.’

Dukhi was now out of his senses. He did not know what mysterious force was driving him on. Weakness, exhaustion, hunger – all were gone. He was wondering at his own strength. Each of his strokes came down like a thunderbolt. He kept on hitting at the wood for half an hour, and then the knot gave way and the axe fell off his hands. His head reeled and he too fell down. The hungry, thirsty and exhausted body had given way.

Panditji shouted, ‘Get up, a few strokes of the axe. Chip the log into small pieces.’ But Dukhi didn’t get up. Panditji didn’t want to trouble him any further. He went inside, readied his bhang, answered the call of nature, bathed, wore his pandit’s dress and came out. Dukhi was still lying on the ground. He shouted loudly, ‘O, will you keep lying there? Get up.I’m going to your home. Is everything ready?’ But Dukhi still did not get up.

 Now panditji became apprehensive. He went close and saw that Dukhi’s body had become stiff. Horrified, he ran in and told panditayan, ‘It looks Dukhi is dead.’

She said, frightened, ‘But he was chopping wood just now.’

‘Oh yes. He died while chopping. What shall we do now?’

Panditayan said in a calm voice, ‘Nothing. Send a message to the chamars. They will carry away the body.’

The news spread in the village in no time. The village belonged to the brahmins, except for the house of the Gonds. People stopped using this pathway. The way to the well led through this path. How shall they draw water? Who will go to the well passing by a chamar’s dead body? An old woman said to panditji, ‘Why don’t you have the corpse thrown away? How shall we drink water?’

On the other side, the Gond warned the chamars not to touch the body. ‘The police have to investigate,’ he said. ‘It’s not a joke. He has killed a poor man. He may be a brahmin. So what! If you touch the corpse, you too will be in trouble.’

Panditji came to the chamars’ habitations, but no chamar was ready to lift the body. Dukhi’s wife and his daughter came to panditji’s door crying, and began to beat their heads. A number of chamar women accompanied them. A few of them cried; others tried to console. But not a single chamar came there. Panditji, threatened, argued, pleaded, but the chamars were frightened of the police, and none agreed. At last he gave up and returned home.

4

The women kept weeping and wailing till midnight. It became difficult for gods to sleep. Yet no chamar came to carry away the corpse. And how could a brahmin touch a chamar’s corpse! The shastras and purans forbade this.

 Panditayan said in exasperation, ‘These she-devils have licked our heads. Their throats don’t dry up.’ Panditji said, ‘Let them cry, these chudels. How long will they go on! When he was alive, no one cared. Now that he’s dead, they’ve come here to hue and cry.’

Panditayan said, ‘A chamar’s crying is unpropitious.’

‘Yes, very much so.’

‘The body is beginning to stink now.’

‘I wonder whether he was a chamar. These fellows see no difference between what to eat and what not to eat.’

‘They don’t even feel any repulsion.’

‘They’re all renegades.’

The night passed somehow, but no chamar came there in the morning. The chamar women had also gone away, ending their crying and wailing. The stink had begun to spread. 

   Panditji took out a rope. He made a loop at one end and slung it round the corpse’s feet and pulled it to tighten it. It was still dark. Panditji caught the rope from the other end and began to pull the corpse. He dragged it out of the village. Then he came home and bathed, recited the prayer to goddess Durga and sprinkled the Ganga water all over in the house.

   Out there in the fields, jackals and vultures, dogs and crows were tearing at Dukhi’s corpse. This was the reward for a life-time of devotion, service and steadfastness.

                                                             ---
                                                                (Hindi, Premkunj, a Collection, 1930)









Monday, February 4, 2013

Premchand's story "Thakur ka Kuan" in translation




Here is my translation of Premchand’s short story  ‘Thakur ka Kuan’ .








                                   Thakur’s Well
                               (Thakur Ka Kuan)

1
As Jokhu brought the lota to his lips to drink, the water gave off a nasty smell. He said to Gangi, ‘What kind of water is this? It smells so horrible I can't drink it. My throat’s dry, and you’re making me drink this foul water.’

Gangi used to store up water in the evening. The well was far away, and it was difficult to walk the distance again and again. The water she had brought yesterday was good. What could have gone wrong today? she wondered. She brought the lota to her nose. Yes, it was stinking. An animal must have fallen into the well and drowned. But where from would she get water now?

No one would let her mount the Thakur’s well. They would drive her away from a distance. Sahuji’s well was at the other end of the village. But who would let her draw water from there? And there was no fourth well in the village.

Jokhu had been ill for many days. Though thirsty he kept quiet for some time. Then he said, ‘I can’t hold my thirst any more. Come, I’ll squeeze my nose and drink a little bit.’ 

Gangi didn’t let him. She knew that drinking this unsafe water would aggravate his illness, but she didn’t know that boiling would make it safe for drinking. She said, ‘How can you drink this water? God knows what animal it was. I’ll bring water from somewhere.’

Jokhu looked at her with surprise. ‘Where will you bring it from?’

‘There are two wells: the Thakur’s and the Sahu’s. Won’t they let me have even one lota-ful?’

‘You’ll get only broken arms and legs, nothing else. Sit quietly. The brahmin will bless you with curses, the Thakur wield his lathi, and Sahuji charge five for one. No one feels our pain. Even when we die, no one comes to see, least of all to lend his shoulder to the bier. Will such people let you draw water?’

This was the bitter truth. Gangi kept quiet, but she did not let him drink the stinking water.


2
It was nine o’clock in the night. The exhausted labourers had gone to sleep but a few idlers were gathered outside the Thakur’s door. The times and opportunities for showing valour in the battlefield were now gone. They were talking of battles won in the law courts. How the Thakur had bribed the thanedar and saved his skin. How cleverly he had obtained the copy of a landmark court judgement. The nazir and other court officials had said that a copy couldn’t be given. Some demanded fifty, others a hundred. He obtained the copy without paying a single cowrie or paisa! One should know the art of manipulation. 

It was then Gangi arrived to draw water from the well.

A faint light from the street oil-lamp was falling on the well. Gangi came and sat close to the platform around the well, sheltering herself, and waited for an opportunity.

Everyone drank from this well. They alone, the ill-fated, were forbidden. Gangi’s rebellious heart began to hit out at the traditional society’s restrictions and compulsions. What makes us low, and them high? Just because they are wearing a string round their necks! All these people are so crooked, each one more than the other. They steal. They cheat. They file false cases against others. Only the other day the Thakur poached the shepherd’s sheep, then slaughtered and ate it up. And this panditji’s house is a round-the-year den of gamblers. And this very Sahuji adulterates ghee with oil. They make us labour for them, but don’t want to pay for it. In what way are they higher than us? In swaggering, yes. We don’t go shouting in the streets, like them, that we are superior. Whenever I walk through the village, they look at me with lusting eyes, and their hearts turn and twist in envy. Yet they pride themselves on their superiority!   

She heard the sound of footsteps at the well. Her heart began thumping with fright. Hell would break loose if she was seen. She picked up the pitcher and the rope and, bending herself low, walked away towards a tree and hid herself in its dark shadow. They never show anyone any mercy. They had beaten up poor Mahngu so badly that he had kept spitting blood for months—just because he had refused to work without being paid! And they are higher! 

Two women had come to the well to draw water. They were talking.

‘They’ve come in to eat, and have ordered us to bring fresh water.’

‘These men become agitated if they find us resting for a while.’

‘They didn’t have the decency to come here and draw water by themselves. They only know to give orders, as if we were their bondwomen.’

‘What else are you, if not a bondwoman? Don’t you get food and clothing? And you snatch a few rupees from them, off and on. How are bondwomen different?’

‘Don’t insult me, sister. I’m not able to relax even for a short while. Had I laboured like this at another’s household, life would have been a lot easier. And he would have been grateful too. Kill yourself with work, yet no one’s pleased.’ 

Both the women walked away after drawing water. Gangi came out of the tree’s shadow and walked towards the well. The idlers had gone away. The Thakur too had shut the door from inside and was readying himself to sleep in the courtyard. Gangi heaved a sigh of relief. The coast seemed clear now. Even the prince who had gone to steal amrita, would not have taken such meticulous care. Gangi treaded the edge of the well with soft steps. Seldom had she experienced such a sense of triumph!

She looped one end of the rope round the pitcher’s neck. She peered to her right and left, like a soldier readying himself to pierce the enemy’s defences. If she were caught now, there would be no mercy at all. At last, invoking the gods, fortifying her heart, she lowered the pitcher into the well.

The pitcher sank into the water gently, making no sound at all. Gangi pulled the rope up quickly, and the pitcher came up to the top. Even a powerful wrestler couldn’t have drawn up the pitcher so swiftly.

Gangi leaned forward to catch the pitcher and rest it on the edge of the well. Just then the Thakur’s door opened suddenly. A lion’s look could not have been more terrifying than this sound. The rope slipped through her hands, and the pitcher went hurtling down the well and hit the water with a loud thud.  The water kept making a rippling sound for a few moments.

The Thakur was advancing towards the well, shouting, ‘Who’s there? Who’s there?’ and Gangi, jumping from the well’s platform, was running furiously.

When she reached home, she found Jokhu drinking the dirty water from the lota.

(Hindi, ‘Jagran’   August 1932)    





My Comments

In many ways the story has become dated. The rural India has undergone tremendous changes. The caste relations have become more horizontal and less vertical, though caste identities have sharpened with the rising political consciousness across the castes. New horizontal caste combinations and alliances are emerging to negotiate a space in the political power structure. Feudalism has been on the decline. Yet the important features of feudal India that Premchand portrays in this story still persist in the new and changing India. Exclusion and discrimination on the basis of caste are still endemic, and self-assertion by the lower castes often leads to violent retribution by the upper castes in many parts of the country, which goes unpunished by the state still heavily biased in favour of the upper castes, though with some exceptions. Women still remain at the receiving end because the society continues to be strongly patriarchal. And the rural rich and powerful, successors to the lost feudal world, are able to manipulate the state administration through connections, bribery, chicanery, and, above all, political clout. 

Today, Premchand would have written the story differently, but the essential features would have been the same: Caste/class/gender inequalities, gross social injustice, and corruption and abuse of power.

Premchand still remains the chronicler of themes and issues that, sadly, seem perennial and refuse to die down even in the independent and democratic India. This is what Bhisham Sahani wrote 25 years ago:  ‘Out of the evils against which Premchand struggled only one has disappeared – the British Raj. All the others he wrote about continue to haunt us in one form or the other.’ What about today?
                                                   ---
Also see the following link for an analysis of the power structures in this story:

http://www.languageinindia.com/july2011/premchandashokfinalpaid.pdf

      





Wednesday, January 9, 2013

Hindi Poetry

            Some More Hindi Poems 

            and Their English Versions

1


2


3


4


5


                   1

LET THEM FLY AWAY


Let them grow wings
So that
Spreading them
They can fly
In the open blue sky

I know there is danger
In their attempting to measure
Its unfathomable depths
They can lose their way
And wander aimless
In its boundless expanse
They can burn their wings
Trying to reach the sun

But do not stop them
Let them fly away
         ---


             2

CONTRASTS


Your huge magnificent palace
Persian carpets on white marble
Soft, soft cushions caressing your back
Paintings bejewelling the walls
Your air-conditioner
Taming the June heat
With its steady feline purr
And your speech
Soft suave civilized -
Do they all prove
That my fifty-year long
Ordinary man’s life
Lined with denials
From end to end
Has been meaningless?
           ---

        3

EACH  DAY


Every morning
People of this city
Set their homes ablaze
And flee

And every evening
After burning their dead
They retreat
Defeated
---

                 4

AN OLD PHOTOGRAPH


In this photograph
This little girl
With her doll
Still looks like a chick
Stepping out of its egg-shell

I bought this book
Years ago
Now it’s old and yellow
Like a falling leaf
And my face
Watching this girl
A dry furrowed field
             ---

              5

THIS HOUSEWIFE


Enclosed within these walls
Of relationships
She often wonders
If ever that piece of the blue sky
Visible beyond the window panes
Could have been hers
Where she could fly like a bird
Her wings spread out…
---


Monday, December 10, 2012

Poetry


My Four Poems 

These may interest some readers.

1.  THE  SILVER  JUBILEE

For twenty–five years
We have lived here
In this house
We call ours
Slept in the same bed
Looked into each others’ eyes
Embraced and begotten
These children
We call ours

Together
We have spent
This life
And yet
We have been two cocoons
In tangential contact
Our unmetamorphosed selves
Shrivelling year by year
In our dark individual cells
          ---

          
2. ARCHAEOLOGICAL  REMAINS

We have tried
Both of us
We have broken our heads
Against stone walls
Withstood the heat of blast furnaces
Waded through parsecs of frozen silence…
To edge towards each other

And now
Two frayed animals at our wits’ end
We stare into each other’s eyeballs
Reflecting two archaeological sites:
Ruined cities with their broken artifacts
Time beaten images of clay
Seals and tablets inscribed
With undecipherable messages:
Remains of a defeated endeavour
            ---

3.  WE  TWO

In this wilderness
We two
Could’ve walked
Hand in hand
On the same pathway

But chasing mirages
We’ve strayed away
From each other
Our oases

    ---

4. PARTING

That day
During our casual talk
Over a cup of tea
One thing my dear
Was clear:
Henceforth we won’t be
Atoms united in covalent bonds
Perhaps we would be
Two particles of dust
In random motion
Floating in a shaft of sunlight
Or two elements in two non-intersecting
Universes of discourse
Never meeting
Never coming in each other’s way
Hurtling through space
Like galaxies from the shattered centre
          ---




Monday, November 19, 2012

Lal Singh Dil Punjabi Poetry

Lal Singh Dil  in translation in MPT




Admireres of Lal ingh Dil would be happy to know that five of his  poems have been published in Modern Poetry in Translation (MPT), a poetry magazine published on line as well as in print from London. The magazine publishes poems in translation from languages all over the world. The number in which the poems have been published is called Transitions, out in autumn this year.  see link : http://www.mptmagazine.com/

The following five poems have been published. Kindly bear with my shoddy images from the magazine.