Shab e furqat meaning in english

z Class 18

5.13.19

§ Announcements

§ Review of last class

§ Finish lecture on Qawwali, begin intro to Pakistan

z Announcements

§ Keshav Batish senior recital, June 5 – Extra credit

§ Exam #1 results posted

§ 2 perfect scores, 25 A’s, 46 B’s, 37 C’s, 17 D and lower

§ Summer course on Indian rhythm (second session)

§ Learn tabla and dholak!

§ Enrollment open now!

z Last class review

§ Qawwali – “Food for the soul”

§ Sufi devotional poetry set to music

§ Performed at dargah

§ ‘Urs

z Terms

§ Mehfil – small, intimate gatherings that involve entertainment of various sorts, including music, poetry, dance etc.

z Tum Ek Gorakh Dhandha Ho

§ “You are a baffling puzzle”

§ Written by Naz Khialvi (1947-2010)

§ Pakistani lyricist and radio broadcaster

§ Popularized by Ustad Nusrat Fateh Ali Khan (1948-1997)

z Tum Ek Gorakh Dhandha Ho

kabhi yahaan tumhein dhoonda kabhi wahaan pohancha tumhaari deed ki khaatir kahaan kahaan pohancha ghareeb mit gaye paamaal ho gaye lekin kisi talak na tera aaj tak nishaan pohancha

ho bhi naheen aur har ja ho tum ik gorakh dhanda ho

At times I searched for you here, at times I traveled there For the sake of seeing You, how far I have come! Similar wanderers wiped away and ruined, but Your sign has still not reached anyone

You are not, yet You are everywhere You are a baffling puzzle

z Bhar Do Jholi Meri

§ Traditional song

§ Popularized in movie “Bajrangi Bhaijaan” (2015)

z Bhar Do Jholi Meri

Tere Darbaar Mein Dil Thaam Ke Woh Aata Hai Jisko Tu Chaahe Hey Nabi Tu Bhulata Hai Tere Dar Pe Sar Jhukaaye Main Bhi Aaya Hoon Jiski Bigdi Haye Nabi Chaahe Tu Banata Hai

Bhar Do Jholi Meri Ya Mohammad Lautkar Main Naa Jaunga Khaali

They come into Your court clenching their hearts Those people whom You desire to see , O Prophet! I’ve also come to Your door with my head bowed down You’re the One who can fix broken fates, O Prophet!

Please fill my lap, O Prophet! I won’t go back empty handed

z Ustad Nusrat Fateh Ali Khan

(1948-1997)

§ Pakistani vocalist

§ Sang classical (khyāl) but more famous as a Qawwali singer

§ Brought classical performance techniques to Qawwali

§ Visiting artist at University of Washington from 1992-93

§ Legacy carried on through his nephew, Rahat Fateh Ali Khan

z Introduction to Pakistan

Badshahi Mosque, Lahore Built in 1671 by Emperor Aurangzeb

z Pakistan

§ Prominent Bronze Age (3000-1500BCE) settlements of Mohenjo

Daro and Harrapa along Indus River Valley

§ Hinduism widespread during Vedic Age (1500-500BCE)

§ Ruled by series of Hindu, Buddhist, and eventually Muslim

(Persian) dynasties

§ Islam introduced by Sufi missionaries from 7th to 13th centuries

§ Ethnically and linguistically diverse

z Indus Valley civilization

z

Pakistan ethnicities

z Modern India and Pakistan

§ By the end of 19th century British rule was in effect over much of old Mughal Empire territory

§ The Hindu and Muslim divide among this territory was becoming more strained

§ Each faction began its own intellectual movement, which eventually formed a body politic

§ All-India Muslim League established in 1906 to counter the Hindu Renaissance that was occurring in Bengal

§ Proponent of two-nation theory

z Partition

§ Partition with India – August 14, 1947

§ Est. 200,000-2,000,000 people killed

§ Roughly 11 million people uprooted and expelled

§ Sikhs, Hindus, and Muslims

§ Panjab

z Panjab

z East and West Pakistan

§ Because of the large majority of Muslims in the present-day area of Bangladesh, the territory was initially ceded as a province of Pakistan

§ East Pakistan

§ Pakistan surrendered in 1971; Bangladesh independence

z East and West Pakistan

z Modern Pakistan

§ Unlike the independence movement in India, music was not part of a national identity in a post-Partition Pakistan

§ Music was a predicament for Islamic religious reform movements in the late 19th and early 20th centuries

§ Ambivalent status of music and musicians in Islamic culture

§ “As a new nation in search of cultural self-definition, Pakistan was guided by two paradigms: the negation of anything identified with India, and the affirmation of a Muslim identity…This identity is social and cultural as well as religious.” –Regula Qureshi

z Modern Pakistan

§ In India, musical culture modernized from its feudal roots

§ Music colleges established

§ Music appreciation societies created

§ Patronage shifted to public sector (concerts)

§ Radio stations

§ In Pakistan, the modernization of musical culture was not as extensive as it was in India

§ No music colleges

§ Low public interest for learning and performing music

z Modern Pakistan

§ The Islamicization policies of 1980’s caused art music to decline further in popularity

§ Artists left Pakistan because of the hostile environments created for them (dance)

§ “Pakistani” music were those genres that had a clear connection to an Indo-Islamic heritage

§ Ghazal, Qawwali

z Modern Pakistan

§ Musicians remain under threat by extremism in Pakistan

§ Sufi shrines and musicians attacked

§ 2010 – Sufi shrine of Abdullah Shah Ghazi in Karachi hit by suicide bombers

§ 2016 – Amjad Sabri killed by Taliban in Karachi

z Modern Pakistan

§ Music has retained a neofuedal character in Pakistan

§ Patronized by wealthy, private individuals

§ Mehfil (also called baithak)

z Modern Pakistan

§ For classical musicians born in Pakistan before Partition (1947), the decision to settle in Pakistan or India was critical for the continuity of their livelihoods

§ Bade Ghulam Ali Khan

§ Rais Khan

z Bade Ghulam Ali Khan

1902-1968

§ Born in Qasur (near Lahore in Pakistani Panjab)

§ Trained in Patiala gharana vocal style

§ Relocated to Pakistan after Partition, then applied for and was granted Indian citizenship

§ Moved back to India to continue an illustrious career as a classical musician

z Rais Khan

(1939-2017)

§ Once regarded as one the best sitar players of all time

§ Born in Indore (central India) but moved to Pakistan in 1980’s

§ Career as a musician fell into decline and obscurity

z Class 19

5.15.19

§ Announcements

§ Review of last class

§ Lecture on ghazal

z Announcements

§ Keshav Batish senior recital, June 5 – Extra credit

§ Summer course on Indian rhythm (second session)

§ Learn tabla and dholak!

§ Enrollment open now!

z Last class review

§ Pakistan

§ Formed during the Partition of India, 1947

§ Music not a part of modern nation building

§ Retains “neo-feudal” character

§ Indo-Islamic traditions favored over Indo-Hindu traditions

§ Ghazal and Qawwali

z Terms

§ Ghazal – an Arabic poetic form, consisting of rhyming couplets

§ Laggi/Dhun – instrumental interlude played between verses in a ghazal

z Ghazal

§ Originally an Arabic form of poetry

§ Adapted to many Central and South Asian languages

§ Farsi, Urdu, Hindi, Pashto, Gujarati

§ Rhyming couplets (AA, BA, CA, DA…)

§ Popular in Afghanistan and Pakistan

§ Poetry contains themes related to Sufism

z Ghazal

§ Light-classical genre

§ Contains elements of elite and non-elite music genres

§ Verses of ghazal separated by a musical interlude known as a laggi or dhun

§ Often played in double the original tempo, and after its conclusion returns to the original tempo

§ In more ”popular” ghazal-s the laggi or dhun is omitted or shortened

z Ghazal

§ Similar to Thumri, Ghazal poetry discusses the pain of separation

§ However, the consummation of love in ghazal is thwarted, and the lover is driven to madness

§ The only method through which the lover will meet the beloved (God) is through their death

z Ghazal

§ Ghazal

§ Written from the perspective of a man

§ The man’s beloved is traditionally also male (God or one’s teacher/guide

§ Is a poetic form first and song form second (Thumri is always sung)

§ Originally an elite genre of music, though it has become popularized

z Ghazal

§ Ghazal poetry has two primary figures, the lover and the beloved

§ Lover is male

§ Beloved is male, can be female

§ The beloved is often portrayed as non-responsive and sometimes cruel, disdainful, and heartless

z Islam and representation

§ Islam prohibits idolatry

§ Worship of idols/cult images (representations of God)

§ God is typically depicted only by immaterial attributes

§ “Holy,” “Gracious,” or “Merciful”

§ God is not represented in a human form

z Ghazal and the Sublime

§ Immanuel Kant (1724-1804)

§ German philosopher famous for his works on epistemology, moral ethics, and aesthetics

§ The concept of the Sublime

z Kant’s Sublime

§ “The paradox of the Sublime is as follows: in principle, the gap separating ... empirical objects of experience from the Thing-in-itself is insurmountable—that is, no empirical object, no representation of it can adequately present the Thing;

§ “But the Sublime is an object in which we can experience this very impossibility, this permanent failure of the representation to reach after the Thing.

§ “Thus, by means of the very failure of representation, we can have a presentiment of the true dimension of the Thing.

§ “This is also why an object evoking in us the feeling of Sublimity gives us simultaneous pleasure and displeasure: it gives us displeasure because of its inadequacy to the Thing-Idea, but precisely through this inadequacy it gives us pleasure by indicating the true, incomparable greatness of the Thing, surpassing every possible empirical experience” (Zizek, p. 203)

z The experience of the

inadequacy of representation

z Idolatry and representation

§ “Perhaps there is no more sublime passage in the Jewish Law than the commandment; Thou shalt not make unto thee any graven images, or any likeness of any thing that is in heaven or on earth, or under the earth, and so forth.” –Kant

z Idolatry and representation

§ Because idol worship is prohibited in Islam, God becomes an unapproachable, transcendent figure

§ That which cannot be represented

§ That which cannot be seen/approached

§ This prohibition motivates the desire for proximity, which elicits scenes of death

§ In cultural context of ghazal such scenes are joyful possibilities of union

z What happens when you

gaze upon the divine?

z Idolatry and representation

§ The burden and joy of the Sublime

§ In Indic and Islamic traditions, experiencing one’s inadequacy is the joyous goal of apprenticeship—the teacher brings you closer not to the actual divine, but to that rapturous experience of the gap that stands between oneself and the divine

§ ”But the Sublime is an object in which we can experience this very impossibility, this permanent failure of the representation to reach after the Thing.”

§ “Thus, by means of the very failure of representation, we can have a presentiment of the true dimension of the Thing.”

z Metaphorical world of the ghazal

Lover Beloved Author/speaker/singer Male Student Heart Pool of blood Cupbearer Bird Condemned man

Addressee Male (at times coded as female) Arrow Lantern Eyes Drinking/wine cup Wind/breeze Weapon (sword, arrow) Bird catcher Executioner

z Iqbal Bano 1935-2009

§ Highly acclaimed Pakistani ghazal singer

§ Born in Delhi; later moved to Multan (Pakistan)

§ Trained in classical and light classical forms

§ Prominent radio performer in Pakistan

§ Known for her renditions of the ghazals of Faiz Ahmed Faiz (1911-1984)

z Dasht-e Tanhā-ī Maiṇ

The wilderness of loneliness Dasht-e tanhā’ī maiṇ ae jān-e jahāṇ larazāṇ haiṇ Terī āvāz ke sā’e tere hoṭoṇ ke sarāb Dasht-e tanhā’ī maiṇ durī ke ḳhas-o ḳhāk tale Khil rahe haiṇ tere pahalu ke saman aur gulāb Ūṭh rahī hai kahīṇ qurbat se terī sāṇs kī ānch Apnī ḳhushbū maiṇ sulagtī hu’ī madham madham Dor ufaq pār chamaktī hu’ī qatra qatra Gir rahī hai terī dildār nazr kī shabnam Is qadr pīyār se ae jān-e jahāṇ rakhā hai Dil ke raḳhsār pe is vaqt terī yād ne hāth Yuṇ gumāṇ hotā hai garche hai abhī sub’-e firāq Ḍahil gayā hijr kā din ābhī ga’ī vasl kī rāt

In the wilderness of loneliness, darling, shivering, The shadows of your voice, the mirage of your lips In the wilderness of loneliness, under the separation of straw and dust The flower of your body is blossoming From somewhere this intimacy is awakening, the heat of your breath, Smoldering in its own scent, like honey On the far horizon glittering, drop by drop Like dew, your captivating glances falling Darling, out of love Your memory has now placed its hand on the face of my heart Though this is the morning of separation, it seems that this Day of separation has fled, and now is the night of union

Translation: Iris Yellum

z Shām-e Firāq

The night of separation

Shām-e firāq ab na pūchh ā’ī aur ā ke ṭal ga’ī

Dil thā ke phir bahal gayā jāṇ thī ki phir sanbhal ga’ī

Bazm-e ḳhayāl maiṇ tere husan kī sham‘a jal ga’ī

Dard kā chānd bujh gayā hijr kī rāt ḍahil ga’ī Jab tujhe yād kar liyā subah mahek mahek

aṭhī Jab terī ġham jagā liyā rāt machal machal ga’ī

Dil se har ek m‘āmla kar ke chale the sāf ham Kehne maiṇ un ke sāmne bāt badal badal ga’ī

Āḳhrī shab ke ham safr Faiz na jāne kiyā hu’e Rah ga’ī kis jaga sabā subah kidhr nikal ga’ī

Don’t ask me now about the night of

separation My heart was diverted, I was taking care of

my life The beauty of the candle was burning in your

imagination The pain has been extinguished and the night

of separation has passed When I remember you my morning becomes

fragrant When I wake up the night is stubborn

Having made every matter leave my heart and Speaking in front of this, this thing changed

completely The travelers of last night, Faiz, I don’t know

what happened to them

Where did the morning and the morning breeze go

Translation: Iris Yellum

z Class 19

5.17.19

§ Announcements

§ Review of last class

§ Finish lecture on ghazal

z Announcements

§ Keshav Batish senior recital, June 5 – Extra credit

§ Summer course on Indian rhythm (second session)

§ Learn tabla and dholak!

§ Enrollment open now!

z Last class review

§ Ghazal

§ Rhyming couplets

§ Poetry discusses pain of separation

§ Lover: male

§ Beloved: male (God)

§ Union is thwarted

§ Nature of the divine = Kant’s Sublime

z Maiṇ nazr se pī rahā hūṇ

Drinking from your glances

Maiṇ nazr se pī rahā hūṇ ye samāṇ badal na jā’e Na jhukāo tum nigā haiṇ kahīṇ rāt ḍhal na jā’e Abhī rāt kuchh hai bāqī na ūṭhā niqāb ae sāqī Tera rind girte girte kahīṇ phir sambhal na jā’e Tere ashk bhī haiṇ is maiṇ ye sharāb ban na jā’e Merā jām chhūnevāle tera hāth jal na jā’e Merī zindagī ke mālik mere dil pe hāth rakh de Tere āne kī ḳhushī maiṇ kahīṇ dam nikal na jā’e

This affair of drinking from your glances should not end Don’t close your eyes lest the night should end O beloved, there is still night yet remaining, don’t lift your veil Unless you take care you will fall Your tears are also in this wine, you would become intoxicated If you touch the wineglass you would be burned Master of my life, put your hand on my heart Otherwise I will die out of the happiness of your coming

Translation: Iris Yellum

z The beauty of the beloved

§ Overpowering beauty

§ Cruelly and fatally beautiful

§ Leads to the pain and suffering of the lover

§ They wish for death or die

z Na ganvao navak-e-neem kash

–Faiz Na ganvao navak-e-neem kash, dil- e-reza reza ganva dia Jo bachay hain sang samet lo, tan- e-dagh dagh luta dia Mere charagar ko naveed ho, saf-e- dushmana ko khabar karo Woh jo qarz rakhtay thay jaan par, woh hisab aaj chuka dia

Don‘t waste the half-drawn arrow, I have already lost every fragment of my (broken) heart Save the leftover stones, my injured body is already wasted Let my health giver know, let the procession of foes know He whose soul was indebted, has settled his dues today

z Na ganvao navak-e-neem kash

–Faiz Na ganvao navak-e-neem kash, dil- e-reza reza ganva dia Jo bachay hain sang samet lo, tan- e-dagh dagh luta dia Mere charagar ko naveed ho, saf-e- dushmana ko khabar karo Woh jo qarz rakhtay thay jaan par, woh hisab aaj chuka dia

Don‘t waste the half-drawn arrow, I have already lost every fragment of my (broken) heart Save the leftover stones, my injured body is already wasted Let my health giver know, let the procession of foes know He whose soul was indebted, has settled his dues today

• The beauty of the beloved has slain the lover • God’s beauty is a dangerous weapon (arrow)

z Qafas mein hun gar achchha bhi na

jaanen mere shewan ko –Mirza Ghalib (1797-1869)

Qafas meiñ hūñ gar achchhā bhī na jāneñ mere shevan ko mirā honā burā kyā hai navā-sanjān-e-gulshan ko abhī ham qatl-gah kā dekhnā āsāñ samajhte haiñ nahīñ dekhā shanāvar jū-e-ḳhūñ meñ tere tausan ko

Why should my warbling mates take exception to my wails? My being doesn’t disrupt their peace, for I lie encaged. I still think it will be easy to see the killing-ground, I haven’t seen your horse swimming in a river blood

z Qafas meiñ hūñ gar achchhā bhī na

jāneñ mere shevan ko –Mirza Ghalib (1797-1869)

Qafas meiñ hūñ gar achchhā bhī na jāneñ mere shevan ko Mirā honā burā kyā hai navā-sanjān- e-gulshan ko Abhī ham qatl-gah kā dekhnā āsāñ samajhte haiñ Nahīñ dekhā shanāvar jū-e-ḳhūñ meñ tere tausan ko

Why should my warbling mates take exception to my wails? My being doesn’t disrupt their peace, for I lie encaged. I still think it will be easy to see the killing-ground, I haven’t seen your horse swimming in a river blood

•The lover depicts himself as emotionally naïve and unprepared •Lover underestimates the ordeals ahead of him •He expects to die for love, at the beloved‘s command and that it will be pure joy •He does not realize the grueling pain that awaits him •The carnage will be almost unimaginable •Blood will flow in the streets •The beloved‘s horse will swim in it

z Mirza Ghalib

(1797-1869)

§ Born in Agra

§ Prominent Urdu and Persian poet during the final years of the

Mughal Empire

§ Court poet for Bahadur Shah Zafar II, last Mughal emperor

(r. 1837-1857)

§ Prolific ghazal writer

§ Poems remain popular today among musicians and literary critics

z Cheshm-e Mast-’Ajabe

–Amir Khusro Chasm-e-maste ‘ajabe zulf taraze ‘ajabe Maiparaste ‘ajabe fitna taraze ‘ajabe Bahr-e-qatlam chu kashad tegh nehman sar basujud U banaze 'ajabe man banyaze ‘ajabe Waqt-e-bismil shudanam chashm baruyash baz ast Meherbane ‘ajabe bandanawaze ‘ajabe Turk taze ‘ajabe shoba babaze ‘ajabe Kajkulahe ‘ajabe ‘arbada saze ‘ajabe Haq mago kalma-e-kufr ast dar in ja Khusrau Razdane ‘ajabesahib-e-raz-e-‘ajabe

O wondrous ecstatic eyes, o wondrous long locks O wondrous wine worshipper, o wondrous mischievous sweetheart As he draws the sword, I bow my head in prostration so as to be killed, O wondrous is his beneficence, o wondrous my submission In the spasm of being killed my eyes beheld your face: O wondrous benevolence, o wondrous guidance and protection O wondrous amorous teasing, o wondrous beguiling O wondrous tilted cap (symbol of beauty), o wondrous tormentor Do not reveal the Truth; in this world blasphemy prevails, Khusrau O wondrous source of mystery, o wondrous Knower of secrets

z Cheshm-e Mast-’Ajabe

–Amir Khusro

§ The beloved

§ Symbolized by his eyes, locks of hair

§ Lover admits his submission to the beloved, prostrates himself to be killed by the beloved, executioner-style

§ The beloved wields a sword

§ But before the lover dies, he gazes upon the face of the beloved

z Sarv-e sīmīnā bah ṣaḥrā mī ravī

Sa’dī Shīrāzī (c. 1200-1290) Sarv-e sīmīnā bah ṣaḥrā mī ravī Nek bad’ahdi kih bī mā mī ravī

Oh silver cypress, going to stroll in the countryside You’re a true false-promiser, that you’re going without me!

z Sarv-e sīmīnā bah ṣaḥrā mī ravī

Sa’dī Shīrāzī (c. 1200-1290) Sarv-e sīmīnā bah ṣaḥrā mī ravī Nek bad’ahdi kih bī mā mī ravī

Oh silver cypress, going to stroll in the countryside You’re a true false-promiser, that you’re going without me!

• The beloved is a cypress tree • Tall, slender and straight, like the trunk of a cypress • He sways gracefully while walking, like a cypress in the wind

• The cypress is strolling in the countryside because the cypress is an evergreen, immune to the changing of seasons

• The beloved is a free, independent being • Not anchored to one spot but can move around at will, and

likely to follow its own pleasure rather than that of another

z Āvāragān-e ‘ishq kā pūchhā jo maiñ nishāñ

–Mir (1723-1810)

Āvāragān-e ‘ishq kā pūchhā jo maiñ nishāñ Musht-e ghubār le ke ṣabā ne uṛā diyā

When I asked for a sign of the wanderers of love, The breeze took a handful of dust and flung it into the air

z Āvāragān-e ‘ishq kā pūchhā jo maiñ nishāñ

–Mir (1723-1810)

Āvāragān-e ‘ishq kā pūchhā jo maiñ nishāñ Musht-e ghubār le ke ṣabā ne uṛā diyā

When I asked for a sign of the wanderers of love, The breeze took a handful of dust and flung it into the air

• The breeze implies that the wanderers of love… • End up as mere handfuls of dust after their deaths • Are nameless and unknown as handfuls of dust • Are perpetual wanderers, as restless as handfuls of dust

OR • The breeze is uninterested, merely flings dust into the air instead of

responding • The breeze may be flinging dust on its own head as a sign that its

grief for the wanderers of love is beyond words

z Talḳhī-e furqat thī jo beḥad

nah hargiz khā sakā –Sitvat Lakhnavī

Talḳhī-e furqat thī jo beḥad nah hargiz khā sakā Haḍḍiyān merī sag-e jānāñ chabā kar rah gayā

The bitterness of separation was so extreme that he couldn’t possibly eat them The beloved’s dog merely gnawed a bit on my bones, the left them.

z Talḳhī-e furqat thī jo beḥad

nah hargiz khā sakā –Sitvat Lakhnavī

Talḳhī-e furqat thī jo beḥad nah hargiz khā sakā Haḍḍiyān merī sag-e jānāñ chabā kar rah gayā

The bitterness of separation was so extreme that he couldn’t possibly eat them The beloved’s dog merely gnawed a bit on my bones, the left them.

• The beloved’s dog is a privileged creature • The lover has the pleasure of dying in the beloved’s courtyard • The dog finds the body OR the beloved tosses the body to the dog • But the bones are bitter (talḳhi) in taste and in spirit • The dog refuses to eat the bones and leaves them

z Mujh par bhī to yih ‘uqdah tū khol ṣabā bare

–Khwaja Mir Dard (1720-1785)

Mujh par bhī to yih ‘uqdah tū khol ṣabā bare Ẓulfoñ ne kise bhejā yih nāmah-e pechīdah

For me, too, open this knot at last, oh breeze! The curls have sent this convoluted letter–to whom?

z Mujh par bhī to yih ‘uqdah tū khol ṣabā bare

–Khwaja Mir Dard (1720-1785)

Mujh par bhī to yih ‘uqdah tū khol ṣabā bare Ẓulfoñ ne kise bhejā yih nāmah-e pechīdah

For me, too, open this knot at last, oh breeze! The curls have sent this convoluted letter–to whom?

• The breeze is carrying the scent of the beloved‘s curls • The breeze has carried the scent from afar

• Implying that it has passed by many people • What is the message? • Who was it intended for?

• To “open a knot” is an image for unraveling a knotty problem • It also evokes the act of loosening tied-up curls of hair • The letter sent by the curls is “pechidah,” twisted, and therefore hard

to understand • This convoluted letter is sent not even by the beloved but by the

curls themselves