देश से बड़कर धर्म नहीं है

देश से बड़कर धर्म नहीं है
मानवता से बड़ा कोई  कर्म नहीं है
प्यार मोहब्बत भाई चारा
जुड़ कर रहना सीखो यारा

धर्म के ऊपर युद्ध नहीं हो
धर्म स्थल पे द्वन्द नहीं हो
राम रहीम ईशा औ बुद्ध ने
मोसेस नानक औ महावीर ने
प्यार सिखाया नहीं सिखाई नफ़रत
सौहाद्र शांति की डाली थी आदत
चाहे जिस रूप में याद करे हम
इश्वर अल्लाह या god कहे हम
मिलकर रहना प्रेम बाँटना
यही इबादत यही है जीना

देश से बड़कर धर्म नहीं है

मानवता से बड़ा कोई कर्म नहीं है
प्यार मोहब्बत भाई चारा
जुड़ कर रहना सीखो यारा

चलता है है बना हमारा काम चलता है

सब चलता है अभिप्राय है कलमाड़ी का
राष्ट्र मंडल खेल हुए सब चलता  है ,

स्टेडियम में काम है बाकी चलता है
राहों  में गड्ढा है चलता है
टपक रही है छत चलता है
कुत्ते सोये बिस्तर पे चलता है
डेंगू के मच्छर हैं फैलें चलता है
१०० का काम किया हजार में चलता है
खिला हुआ भ्रष्टाचार है चलता
शर्मसार देश का नाम है चलता है
चलता है व्यव्हार India   का चलता है
चलता है है बना हमारा काम चलता है

Memorable Lines from Novel ‘Shantaram’ by Gregory David Roberts

Shantaram is, quite simply, the Arabian Nights of the new century. Anyone who loves to read has been looking for this book all their reaing life. A novel of high adventure, great storytelling and moral purpose, based on an extraordinary true story of eight years in the Bombay underworld.Following are some of the famous quotes / lines from the novel....

•‘He’d been trying to tell me that every human will has the power to transform its fate. I’d always thought that fate was something unchangeable: fixed for everyone of us at birth, and as constant as the circuit of the stars. But I suddenly realised that life is stranger and more beautiful than that. The truth is that, no matter what kind of game you find yourself in, no matter how good or bad the luck, you can change your life completely with a single thought or a single act of love.’

•‘Luck is what happens to you when fate gets tired of waiting’

•‘I hope that bear got away.’

•‘The only kingdom that makes any man a king is the kingdom of his own soul. The only power that has any real meaning is the power to better the world.’

•‘There are few things more discomforting than a spontaneous outburst of genuine decency from someone you’re determined to dislike for no good reason.’

•‘She once told me that heroes only come in three kinds: dead, damaged, or dubious.’

•‘The cloak of the past is cut from patches of feeling, and sewn with rebus threads. Most of the time, the best we can do is wrap it around ourselves for comfort or drag it behind us as we struggle to go on.’

•‘It’s bad, loving someone you can’t forgive. It’s not as bad as loving someone you can’t have’

•‘Virtue is concerned with what we do, and honour is concerned with how we do it.’

•‘In its essence, honour is the art of being humble. And gangsters, just like cops, politicians, soldiers, and holy men, are only ever good at what they do if they stay humble’.

•Men wage wars for profit and principle, but they fight them for land and women.

•‘She finds useful and talented foreigners, such as you are. She finds people who can work for us, when we need them.’

•‘Whatever wrong I have done, I did for the right reasons. I never did more to you than I thought you could bear. And you should know, you must know, that I always felt for you as if you were my friend, and my beloved son’.

•‘You asked me what my cause is. The only cause I’ve got is my own freedom. And right now that means being free of you, forever.’

•They’d lied to me and betrayed me, leaving jagged edges where all my trust had been, and I didn’t like or respect or admire them anymore, but still I loved them.

•Love is the passionate search for a truth other than your own; and once you feel it, honestly and completely, love is forever. Every act of love, every moment of the heart reaching out, is a part of the universal good: it’s a part of God, or what we call God, and it can never die.

•Every guru you meet and every teacher, every prophet and every philosopher, should answer these two questions for you: What is an objective, universally acceptable definition of good and evil? And, What is the relationship between consciousness and matter?

•Didier says that praising people behind their back is monstrously unfair, because the one thing you can’t defend yourself against is the good that people say about you.

•There are three things that no Indian man can resist: a beautiful face, a beautiful song, and an invitation to dance.

•A mujaheddin fighter once told me that fate gives all of us three teachers, three friends, three enemies, and three great loves in our lives. But these twelve are always disguised, and we can never know which one is which until we’ve loved them, left them, or fought them.

•I loved him so much that in the end I found an empty corner in a cleaner’s room, where a tap dripped constantly into a concrete trough, and I fell to my knees on a place marked by two wet footprints, and I begged God to let him die. And then he did die.

•A man is truly a man when he wins the love of a good woman, earns her respect, and keeps her trust. Until you can do that, you’re not a man.

•There are two kinds of people who enter a deadly conflict: those who kill to live, and those who live to kill. The ones who like killing might come into a fight with most of the fire and fury, but the man or woman who fights just to live, who kills just to survive, will usually come out of it on top. If the killer-type begins to lose the fight, his reason for fighting it fades. If the survivor-type begins to lose, his reason for fighting it flares up fiercer than ever.

•What I do know now, and didn’t know then is that, in the long run, motive matters more with good deeds than it does with bad. When all the guilt and shame for the bad we’ve done have run their course, it’s the good we did that can save us. But then, when salvation speaks, the secrets we kept, and the motives we concealed, creep from their shadows. They cling to us, those dark motives for our good deeds.

•Redemption’s climb is the steepest if the good we did is soiled with secret shame.

hindi blogging

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अबूझ पहेली मत बनना ,

अबूझ पहेली मत बनना ,
गूढ़ पहेली मत बनना
चंद कदम चलकर साथ मेरे
अनजान सहेली मत बनना

लब अमृत सा पिया था
हाथों में हाथ रखा था
सीने से लग मुस्काए
अभिमान सहेली मत बनना
अनजान सहेली मत बनना
चंद कदम चल साथ मेरे
अबूझ पहेली मत बनना

जीवन को महकाया था तूने
सांसे गहरी करवाया था तूने
राहों को हंसी से चहकाया था तूने
मंजिल कटीली ना करना तुम
आहों में अविश्वास ना भरना तुम
साथ रहो ना रहो मगर
प्यार नहीं ना कहना तुम

अभिमान सहेली मत बनना
अनजान सहेली मत बनना
चंद कदम चल साथ मेरे
अबूझ पहेली मत बनना

अबूझ पहेली मत बनना ,

गूढ़ पहेली मत बनना
चंद कदम चलकर साथ मेरे
अनजान सहेली मत बनना

moments goes by ,

moments goes by ,


events fades by ,


feelings remains ,


care and affection what it means ,


judgements may not come true ,


believe is hard to believe ,


but love is always there to see .


cherish those who stand by you ,


implore the goodness who are ignored by you ,


have faith in your own divinity ,


be good to every one by your civility.


don`t take  pride in your achievement

don`t go berserk in your embedment

 have faith in humbleness

time may bring joy and happiness ,



have growth and bliss .


a life of content ,

full of good intent .


of love and peace ,


of growth and ease.

एक लम्हा और मिला होता /

बतियाते  घंटो बीत गए 
अब जाने की बेला आई थी 
अभी तो हाथ लिया था हाथों में
पर मोबाइल ने रिंग बजायी थी    
एक लम्हा और मिला होता
 तेरे लबों का अमृत पी लेता

हाथों में हाथ लिए
घूम रहे थे शाम से हम
अभी तो अरमान मचले थे मेरे
अभी सपने चमके थे मेरे
रात हो आई देर हो रही
एक लम्हा और दिया होता
बाँहों में तुझको भर लेता

सुबह सबेरे साथ चले थे
शाम हो आई आखों ने ख्वाब धरे थे
अभी अभी तो धड़कन थी उछली
अभी अभी आखों आखों से प्यास कही थी
देर हुई थी तुझे था जाना
कैसे कहता ये दिल था दीवाना
एक लम्हा और दिया होता
मै अरमानो को जी लेता
भर कर बाँहों में तुझको
तेर लबों का अमृत पी लेता

एक लम्हा और मिला होता /

उम्र बड़ी आशाएं घटी

उम्र बड़ी आशाएं घटी
कुछ पल मुस्काए कुछ आंसू लाये
कभी सजी जीवन  की सरगम
कभी सताए दुःख औ क्रंदन
एक जीवन में  जिए हम कितने जनम
घटती सांसे औ बड़ता बंधन

सिमटते दायरों बिखरते संबंधों में भटकाव

सिमटते दायरों बिखरते संबंधों में भटकाव
सहमी अपेक्षा उच्श्रीन्खल इच्छा में उलझाव  
बदलते स्वरुप रिश्तों में समाहित अधिकार का
बड़ता प्रकोप कुछ रिश्तों के नए विकार  का
मान्यताएं टूटती स्व को पोषती नए विचार
मै का प्रहार हम का घटता प्रचार
नयी भागती दुनिया रीती नयी 
 पल के रिश्ते पल की प्रीती नयी

exemption certificate to ph.d students of mumbai university

कौतुहल है उत्सुकता है और बड़ी भावुकता है

कौतुहल है उत्सुकता है और बड़ी भावुकता है
मिलेंगे किस अभिवादन से कितनी ही आतुरता है
प्रीती दिखेगी प्यार दिखेगा या उलझा  संवाद दिखेगा
प्यार मिले तिरस्कार मिले पर ना व्यवहारिक व्यवहार मिले
कौतुहल है उत्सुकता है और बड़ी भावुकता है

मिलेंगे किस अभिवादन से कितनी ही आतुरता है

काटे कितने ही वसंत अब जीना चाहता हूँ

काटे कितने ही वसंत अब जीना चाहता हूँ
ऐ जिंदगी देखा किया तुझे अब छूना चाहता हूँ


राह में कांटे सजे या हो फूल बिखरे पैरों तले
मंजिल तक पहुँचाना नहीं ख्वाब  जीना चाहता हूँ

काटे कितने ही वसंत अब जीना चाहता हूँ
ऐ जिंदगी देखा किया तुझे अब छूना चाहता हूँ

इशारे मौसम के रहे हों या हों वो महबूब तेरे
ताका किया अब तक उन्हें अब छूना चाहता हूँ


काटे कितने ही वसंत अब जीना चाहता हूँ  
ऐ जिंदगी देखा किया तुझे अब छूना चाहता हूँ











 
अरमान सजोये या मोहब्बत को यादों में पिरोये अब तक
गले लग जा अब तो तुझे अब  जीना चाहता हूँ



काटे कितने ही वसंत अब जीना चाहता हूँ
ऐ जिंदगी देखा किया तुझे अब छूना चाहता हूँ

दिल है बेक़रार किसी का

दिल है बेक़रार किसी का
मन रहा पुकार किसी का
कोई है मशगूल अपनी दिनचर्या में
कोई कर रहा इंतजार किसी का /

Attempt of Interpreting the meaning of song ‘Meraa kuchh saamaan tumhaare paas padaa hai ’ from 1987 film Ijaazat.

Ijaazat(meaning "permission") is an acclaimed 1987 Indian Hindi film directed by Gulzar. Starring Rekha and Naseeruddin Shah in leading roles, the film followed the story of couple who are separated and who accidentally meet in a railway station waiting room and discover some truths about their lives without each other. The film belongs to the realistic, art cinema genre in India, known as parallel cinema, and won two National Film Awards in the music category. Ijaazat was inspired by the famous novel ‘Jatugriha’, by the noted Bengali writer Subhodh Ghosh, , was earlier made into a Bengali movie of the same name in 1964. Directed by Tapan Sinha, Jatugriha starred Uttam Kumar and Arundhati Devi.

In a way, Ijaazat is a simple story about three people, two relationships and one night. But it derives its depth from its complex characterizations. Its strength lies in its screenplay and dialogues by Gulzar and its moody cinematography by Ashok Mehta. In the strong performances of its three leads — Rekha (Sudha), Naseeruddin Shah (Mahen) and Anuradha Patel (Maya).

Storyline Summary - On a rainy night, Mahen unexpectedly runs into his ex-wife Sudha at a railway station waiting room. Two people unwillingly thrown in each other’s company, compelled to revisit a part of their life they have chosen to forget. The relationship has changed, the rules have changed. And the past becomes an intangible third person in the room, much like Maya (Mahen’s past love interest) was in their life.

Using his trademark of weaving the past with the present, Gulzar takes us back and forth between the waiting room and their home in the past, the complexities start to unravel. Maya’s free-spiritedness, Sudha’s conflict between being supportive and being possessive, Mahen’s inability to get past his memories but still wanting to keep Sudha happy — the characters become relatable and their dilemmas become real .Mahen and Sudha begin to accept Maya’s memories as part of their lives. And as with most of life’s dilemmas, there are no simple answers, no easy solutions.

During the course of such circumstances, When Sudha sends back some of Maya’s belongings to her, Maya asks for the some of the things from Mahen, which he obviously can’t return to her, the very good time they spent together, the promises, those sleepless nights, those memories back as well. Probably, one of the most touching songs sent in the form of telegram in the movie, by Maya, writing something which none can think of. The song describes the best and unforgettable moments two people can share together while being in love. The agony of missing someone so dear is depicted in such a nice way, its really sad when a person has to go through all this and live with thoughts of all those moments spent together, it is the worst thing to happen. How beautifully can any poet portray the agony and love together from a failed relation. If lyrics reached a point of brilliance, and if acting got to the peak of brilliance, then this song proves it. The beautiful moments spent together were indeed worth the life.The concluding line is worth few tears !!

A song whose lyrics pancham jokingly described as akin to reading a newspaper. There is an interesting anecdote regarding this, When Gulzar wanted R.D. Burman to compose music for this song, then R.D. Burman said, "Mera kuchh saman tumhare paas pada hai. Mera saman mujhe lauta do. What kind of song is this? Tomorrow, you will bring some cuttings from a news-paper and ask me to compose music on it and he refused to compose it saying that music cannot be set on such a difficult poetry. Gulzarsaab continued persisting and Panchamda continued refusing. After lot of cajoling and coaxing, Panchamda relented and started composing. Hear the result. Uncomparabale genius!!.

Asha’s voice languidly caresses every word, as she plaintively at times and retrospectively at other times, asks him to return the moments that they’ve shared. Meraa kuchh saamaan tumhaare paas padaa hai .. Asha performed this song live in 1995 at Madison Square Garden in New York, soon after RD had passed on. Without any accompanying music, in the hushed audience, it sounded just as good and genuine to all, till Asha broke down in grief in the middle..

The song is truly a masterpiece from Gulzarsahab’s pen written with such a depth and fanastically sung by asha bhosale, this song fittingly fetched the National Film Award for Best Lyrics and National Film Award for Best Female Playback Singer to them in 1988.

Mera kuch saamaan tumhare paas pada hai -2

o o o ! saavan ke kuch bheege bheege din rakhe hain

aur mere ik khat main lipti raat padi hai

vo raat bhulaa do, mera vo saamaan lauta do - 2

mera kuch saamaan tumhaare paas pada hai - 2



patjhad hai kuchh ... hai na ?

o o o ! patjhad main kuch patton ke girne kee aahat

kaanon main ek baar pahan ke laut aai thee

patajhad kee vo shaakh abhi tak kaanp rahi hai

vo saakh gira do, mera vo saamaan lauta do - 2



ek akeli chhataree main jab aadhe aadhe bheeg rahe the - 2

aadhe sookhe aadhe geele, sukha to main le aaye thee

geela man shayad bistar ke paas pada ho

vo bhijwa do, mera vo saamaan lauta do



ek so sola chaand ki ratain ek tumhare kaandhe ka til - 2

geeli mahendi ki khushbu, jhoot mooth ke shikwe kuch

jhooth mooth ke wade sab yaad karaa do

sab bhijwa do, mera vo saamaan lauta do - 2



ek ijaazat de do bas, jab isako dafanaaungee

main bhi vaheen so jaungee

main bhi vaheen so jaungee

Attempt of interpreting some lines of this song mean? I asked a friend and even tried to unravel the meaning myself. Since to understand and interpret Gulzar sahab’s lyrics is a big ask.

1. For example one line says ‘ek so sola chaand ki ratain ek tumhare kaandhe ka til’

One hundred sixteen moonlit nights, and one mole on your back, I replied. Perhaps it is a count of nights spent together? Or maybe a four month relationship? (One hundred sixteen moonlit nights would be one hundred twenty days minus the four amaavasyas?) White on black and black on white? Contrasts to indicate the range of emotions felt? With Gulzarsahab, so many interpretations are possible. But whatever the intended meaning, the imagery is subtly sensual and so very beautiful. this line "116 solah chand ki raatein" shows only the intensity of Maya, that she had kept count of all moonlit nights she spent with mahen.

2. ‘ek ijaazat de do bas, jab isko dafnaauungi
main bhii vahii so jauungii .. main bhii vahii so jauungii ..’

memories get their well-deserved burial only at the end of one’s life. As Maya requests Mahen at the end of her letter. Only you can use it for whom you love the most and adore.The meaning of this line is beyond imagination for a normal human brain.

3. ‘geeli mahendi ki khushbu’

Memories of mehendi Maya used to draw up as a preparation of their imminent marriage and show it to mahen as it’s drawn?? Or also a time spent in drawing a mehendi assuming her to be a bride???...pheww

Though we developed technology, todays modern times are devoid of any real happiness.Just temporary & false pomp of happiness.This song symbolises the times where all contributed there best to create such a masterpiece.

http://www.youtube.com/watch?v=6IdOKOQctBw

http://en.wikipedia.org/wiki/Ijaazat

फिर-फिर के मै फिर जाता हूँ

फिर-फिर के मै फिर जाता हूँ
     राह तेरी ही आता हूँ
     ऐसा क्या है तुझमे
रोता गाता तुझमे ही रम जाता हूँ

फिर-फिर के मै फिर जाता हूँ

    राह तेरी ही आता हूँ

जतन किया कितने ही 
नमन किये कितने ही 
याद तेरी नहीं जाती 
फिर तुझ तक ही आ जाता हूँ 

फिर-फिर के मै फिर जाता हूँ

     राह तेरी ही आता हूँ

भाव विकल हो या हो तनहाई
खुशियों का मौसम या हो रुसवाई 
हर लमहा तुम तक ही जाता                                                
आसान हो रास्ता या कठिनाई 

फिर-फिर के मै फिर जाता हूँ

    राह तेरी ही आता हूँ

ख्वाबों में संसार बसाया
अच्छाई संग दौड़ लगाया
हर मंजिल पर तू ही दिखती
चाहे जिस ओर पैर बढाया

फिर-फिर के मै फिर जाता हूँ

राह तेरी ही आता हूँ












 

शमा उदात्त है

शमा उदात्त है
भावों में काम व्याप्त है
तनहाई बिन तेरे
तरसी हर बात है


शमा उदात्त है


भवरे चहके
पराग हैं बहके
नाचे  मोर
अभिलाषाएं दहके


पर्वत प्यासा
प्यासी नीर
हवा प्रेमातुर
उमंगें अधीर


गहरी सांसे
कामी सपने
चंचल मन
मचला बदन


तीव्र पिपाशा
तन भी प्यासा
रोक रहा मै
क्या क्या जिज्ञासा


शमा उदात्त है
भावों में काम व्याप्त है
तनहाई बिन तेरे
तरसी हर बात है

शबाब तेरे हुश्न का और वो अदा

शबाब  तेरे हुश्न का और वो अदा
शरारत कजरारी आखों में और चेहरे पे हया  
भरपूर जवानी खिली हुई और सादगी की क़ज़ा
लूटना ही था दिल को न था मै खुदा

क्या कहा उन आखों ने
क्या सुना मुस्कराहट की बातों में
क्या कह गयी हवा तेरा बदन छू के जों आई थी
क्या शमा महकी या मेरी हसरतें बेकाबू  थी


तेरी खनकती आवाज में कुछ जादू था
तेरी हर अदा कातिल औ तू ही मेरा साहिल था
ख़ामोशी तेरी बयाँ कर रही थी किस्से कितने
मै भी मशगूल था उसमे और बन रहे थे सपने

एक वक़्त हुआ हमको जिए

आखों  के आंसूं सूखें है  
गम का अधियारा बाकी है
एक वक़्त हुआ हमको जिए
सांसों का थमना बाकी है

दुनिया को मै हार भी जाता
पर तुझको बाँहों में भरना बाकी है

जीवन को मै त्याग  भी जाता
पर अरमानो को जीना बाकी है

आखों के आंसूं सूखें है

गम का अधियारा बाकी है
एक वक़्त हुआ हमको जिए
सांसों का थमना बाकी है