" Aankhon mein chalte phirte roz mile piya baanvre,
Baiyaan ki chhaiyaan aa ke milte nahin kabhi saanvre,
Dukh yeh milan ka le kar kaah karuun kahaan jaaon re
Pa kar bhi nahin me unn ko paati
Maai re , me ka se kahuun peer apne jiya ki , ........Maai re
Ouss nayan ki unke meri
Lagi ko bujhaaye na
Tan man bhigo de aake
Aisi ghataa koi chhaaye naa
Mohe bahaa le jaaye
Aisi lahar koi aaye naa
........Padi nadiyaa ke kinaare me pyaasi
.....Maai ri me ka se kahoo peer apne jiya ki, Mai re,..
Pee ki dagar mein baithe maila huva ri mera aachara..
Mukhada hai feeka feeka, nainon mein sohe nahin kaajra ..
Koyi Jo dekhe maiya preet Ka va se kahuun maajra
...........Latt mein padi kaisi birhaa ki maati
.Maai ri me ka se kahoon peer
apane jiya ki, maai ri...."
( Majrooh Sultanpuri
In English ,I would say:-
( Every day I see him in my eyes
strolling and moving,
And never does he come to the cool space of my arms.
Where shall I carry love's pain ?
Where shall I go with this longing ?
I am unable to reach the person
who appears to be with me only ?
O mother, tell me to whom should I convey the sufferings of my heart..
Neither the dew from his eyes extinguishes the fire within me
Nor does any rainfall pour down to drench my body and soul.
A wave that could carry me along doesn't visit this way .
And helpless I remain with thirst on the river bank.
O mother, tell me to whom should I convey the sufferings of my heart..
While I wait for my beloved in his path,
the corner of my scarf has become stained.
My face has turned faint and this kohl too does not suit my eyes anymore.
If only some one looks this way, I would convey the saga of this love .
The dust of separation has come to settle in my tresses now..
O mother, tell me to whom should I convey the sufferings of my heart )
And Lata Ji's voice and Madan Mohan's' music made these lines immortal...
Allama Iqbal's ancestors were Kashmiri Brahmins. Munira Bano and Javed Iqbal were born from Dr Iqbal's marriage with Sardar Begum, a Kashmiri girl from Lahore .
During winters , Allama drank Kashmiri Kehwa tea . He would use his Pashmina Dussa and Kashmiri Shawl. He loved smoking from his Hookah .
Munira and Javed were also attached to their maternal uncle, Abdul Ghani . He belonged to a Kashmiri family from Lahore. He would take the children for sight seeing and buy them gifts . Abdul Ghani died young.
Allama Iqbal's sisters , brothers , nephews and nieces would come to Javed Manzil ,Lahore and stay there for days at a stretch. Allama loved his sisters , nephews , nieces and brothers . He would extend all help to them.
Allama was very close to his youngest sister Karim Bibi.She was a frequent visitor to Javed Manzil. During winters , a Kangri with charcoal had to be prepared for Karim Bibi . She would also keep it under her Lihaaf (Quilt) to warm her bed before sleeping.During daytime, she would keep the Kangri under her shawl.
( From the book " IQBAL AS I KNEW HIM" by Doris Ahmed )
GOODBYE MY FRIEND SHADI LAL KAUL ( Born 1955 - Died 12th July, 2020)
"Shamas ud Din aage bado hum tumhaare saath hain"
I heard the boys shouting this inside Botanical Park near Chashm e Shahi garden, Srinagar on a summer day in 2009. I knew that a TV serial “ Jatta Vanai “ for DDK , Sringaar was being shot with Shadi Lal in the lead role. I asked one of the boys who must have been barely 19 years old as to who is Shamas ud Din and he immediately opened his small notebook to show me the autograph of Shadi Lal Kaul . It was surprising to find enormous fan following of Shadi Lal even amongst children born after 1990 in the Kashmir valley. Further questioning revealed that they were regularly watching the serial Shabrang ( 104 episodes ) produced by DDK , Srinagar . Who does not remember Shadi Lal's dialogue , " Begum salaal tse kyaazi goyee malaal " from this TV serial ?
This play was telecast for 3 successive years ( 1981 to 1983 ) and i vividly remember how shops would close early and people would rush to their homes to see what Shamas ud Din had to say in the new episode . The play created a character that became as popular as 'Machama ' of Pushker Bhan. Shadi Lal became the face of an ordinary poor or middle class Kashmiri through his innumerable plays telecast on Doordarshan Kendra , Srinagar or performed on stage at Tagore Hall ,Srinagar.
So much was his popularity that he preferred to remain indoors as people identifying with his characters would embrace him on roads . Ladies would kiss his forehead in traditional Kashmiri style . The shopkeepers , Tongawallas , vegetables sellers , drivers , school and college students would shout "Shamas ud Din Zindabad " loudly at him.
Once he told me this :-
"My inspiration has been the clerks , drivers Tongawallahs, labourers , petty traders on the footpath and men trapped in circumstances beyond their control . I do not remember how many plays i have done . Most of the plays were performed on stage . A good number of plays were adapted by the television as well . I also acted in a Door-Darshan serial under Shyam Benegal banner with Om Puri. My character as Houseboat owner in Balwant Gargi's Play "Houseboat " for Doordarshan was well received . I also acted in a Kashmiri movie ' Inquilab' produced by a Mumbai based producer and directed by D.K.Kanwal.
Once I was shooting in Sopore where a Tongawalla came to the venue and asked me to come to his house for five minutes to have a cup of tea with him. He had also brought some fish for me. I told him that i was with the shooting team and had to go to another village for some shots whereafter I had to rush to Srinagar . He felt disheartened . I assured him to visit his house upon my next visit.He hugged me . Reciprocating his affection , i too hugged him . He kissed my forehead and held my hand as tears rolled down his eyes. He had seen me in Shabrang TV serial . When I left Sopore, I kept looking at him from the car window for a long distance. He kept waving . I reciprocated. That was my award."
A careful look at him revealed humour in his mannerism and body language . He would make appropriate use of his hands and facial expressions . His steps on the stage were always calculated to match the content of the dialogues. He hardly needed rehearsals . Apart from acting , Shadi Lal also wrote script for a popular TV comedy 'Shukriya' directed by Rajesh Kaul . His acting field was not confined to Kashmiri theatre alone . I remember his acting in a Hindi play 'Dulari Bai' in 1981. When Dr Sohan Lal Kaul translated the popular Kannada play 'Haivadan ' by Girish Karnard to Kashmiri ( Gurey Buthh ) , it was Shadi Lal only who became the first choice of the director for this play. And when Mohan Niraash translated a Kannada play by S L Bairappa , Shadi Lal was again in the lead role.He has told me this :-
“ Some artists from whom I draw inspiration include Vijay Suri , Makhan Lal Saraf , Jawahar Wanchoo, Ghulam Nabi Baba and Pran Chandra.I also prefer good script writers like Ali Mohd Lone , Farooq Masoodi , Hriday Kaul Bharti , Bashir Dada and Hari Krishen Kaul .”
Born in a middle class family of Chotta Bazar, Srinagar , Shadi Lal was a self taught man . Together with his friend Ayash Aarif, he founded the 'Kali Das Theatre 'at Chotta Bazar , Srinagar and began his journey in theatre.
Shadi Lal acted in the play "Local Taxes Extra" written by Dr Sohan Lal Kaul.The play was performed at Tagore Hall, Srinagar in 1981. A history of sorts was created by this play in Srinagar. Tickets for the shows would always be sold in advance for a fully packed hall. Additional chairs were always put to accommodate the audience . Once the Staff at Naaz cinema nearby gave a thrashing to the artists performing at Tagore Hall.They were advised to pack up as the play had played havoc with their cinema business. This play was also adapted for television by Ashok Jailkhani . I vividly remember how Rajesh Kaul, another producer at DDK, Srinagar brought a multistep camera to Tagore Hall Srinagar and recorded the play for the Doordarshan audience.
Another popular TV serial done for DDK, Srinagar "Rangan Heund Rang " written by Pushker Bhan and directed by Dr Sohan Lal Koul had Shadi Lal Kaul as 'Nikka Kottur', the lead character .I am also reminded of a comedy serial called 'Cherry Treuch' written by Makhan Lal Saraf and directed by Ayash Aarif for DD Kashir wherein Shadi Lal played the role of Gopi Nath Gagroo. Another comedy 'Ghulam Begum Badshah' for DD Kashir directed by Ayaash Aarif had Shadi Lal playing the main characterof ' Mokhta Mir' . None can forget the comedy 'Tijaratuk Assan Tareeqa ' written for DDK, Srinagar by Hriday Kaul Bharti produced and directed by Shabir Mujahid. Shadi Lal acted as Master Ji in this popular drama .' Gaaash Inuss Taam ' was another play written by Hriday Kaul Bharti and directed by Rajesh Kaul for DDK, Srinagar wherein Shadi Lal's dialogue " Maaji hinz driyee kaami doah guvv zaayee " is still remembered by people in the valley . Shadi Lal also acted in three episodes of 'Gul Gulshan Gulfaam ' under Cinevista banner .
Dastaar ( turban ) was a play that touched the height of popularity in Kashmir valley. Written by Hari Krishen Kaul for theatre initially, the play was staged at Tagore Hall in 1978 in a drama festival organised by J&K Academy of Art Culture And Languages . The play was produced by Kamal Theatre, Badyaar Bala and directed by Santosh Tiku . Shadi Lal acted as ' Section Officer 'in this play and received 'Best Actor Award ' for his memorable role . The dialogue from this play "Kusum Lata nein bataa kheytaa " is still popular in Kashmiri households. . This play was also produced for DDK, Srinagar by Ashok Jailkhani wherein another talented actor H. N .Gurtoo performed an equally impressive role. Dastaar was again done for DD1 channel with Shadi Lal in the lead role.
Shadi Lal was a friend and a well-wisher. He was simple and easy to deal with.Never have I heard him speaking ill of any person. Did he ever get angry? I haven't seen it. There was hardly any function in our family which he did not join. Along with Makhan Lal Saraf, I brought him to the literary 'Baithaks' initiated by Narinder Safaya in Jammu . He fully enjoyed these literary gatherings .
( L to R.. Ravinder Kaul, IB Zutshi, Dr Kashi Nath Pandita, Avtar Mota, Prof.Arvind Gigoo, Dr Agnishekhar and Shadi Kaul.. January,2020)
I knew what he was going through for the last three years. Whenever we met, he remained cheerful.I would ask him:-
" How are you feeling now?"
" Bilkul fit. Doctors have told it is just a very small issue that can be tackled with medicines ."
As he went through the painful chemotherapy cycles, he did everything to look normal never losing his smile.
Shadi Lal Kaul was a versatile actor of Kashmiri comedy. A Mehmood, Jagdeep and Kesto Mukherjee all in one.
This man who brought smiles to many faces had his own share of pain and suffering. Destiny snatched his darling child who fell victim to the dreaded Cancer. Shadi Lal would break down and turn serious even at the slightest mention of this painful episode of his life.
Peace be to your soul dear friend. You will be missed. Your smile and humour will be missed. It shall take us time to accept the reality that you are not around.
I end this tribute with a quatrain ( Qitta ) of Ali Sardar Jafri.
“Zindagaani ne diya hai ye mujhe hukm ki Tu
Shab e Tareeq ke daaman mein sitaare bhar De
Phoonk de Jamaa hai Jitnaa Khas o khashak e Nifaaq
Qalb e Insaan mein Mohabbat Ke sharaare bhar De"
( Ali sardar jafri )
" Life has decreed upon me
That I should ,
Decorate the hem of the dark night with shining stars ,
Blow away all that lies heaped with us
As rubbish of disagreement and hate;
And then ,
Fill every human heart
With bright sparks of Love "
The Hindus believe that theirSamaskaras are rituals that make an
individual ‘fit and proper’ for the life ahead. For instance, the Upanayana Samskara
made the individual eligible to study
the Vedas and Upanishads (philosophical texts). The Samskaras,
are described in some hymns of the Vedas, Grihya-Sutras, Dharma-Sutras,
Smritis and other scriptures.
Samskaras aimat bringingmaterial and cultural gains to the individual. During some ceremonies,
prayers are offered to gods for health, wealth, children, intellect etc., which
contribute to the family and social happiness. The number of Samskaras to be
performed from birth to death vary in different Hindu Dharma Granthas (textbooks), it is about 16-40, but the applicable Samskaras are 16 in number.
These sixteen are spread from Garbhadhana to Anteysthi. Among
these 16, only 11 will fall under the period up to childhood.
The sixteen
Samskaras to be performed on an individual during his life cycle are:-
1). Garbhadhana
2). Pumsavana
3). Simantonnayana
4). Jatakarma ....Birth ceremony.
5). Namakarna: ....Ceremony of naming the child.
6). Nishkramana: ..The child’s first outing.
7). Annaprashana: The first feeding of the child with solid foods.
8). Chudakarana: The child’s first haircut.
9). Karnavedha: Piercing of the child’s ears.
10). Vidya-arambha: Beginning of the child’s studies.
11). Upanayana: The wearing of the sacred thread.
12). Veda-arambha: Start of Vedic studies.
13). Keshanta: First shaving of the beard.
14). Samavartana: Taking leave of one’s teacher.
15). Vivaha: Marriage.
16). Antyeshthi: Last Rites.
Some Samaskaras that were linked
with the way of living during ancient and mediaeval periods
have been abandoned by Hindu society. However Samaskaras like Jatakarama,
Namakarna, Annpravesha, Chudakarna, Upanayana, Vivaha, Antyeshti,etc. have
become inseparable from the Hindu way of life.
KK Klostermaier in his book "A
survey of Hinduism" writes:-
"Traditionally, not only birth-related
but all subsequent rituals were important. Some of the texts in which
these Samskāras are mentioned date back to 4,000 BCE[2] . They
were probably introduced to suit the circumstances that existed then and may
have held practical utility and a purpose suited to that time. However, many
changes and modifications have taken place over the years as required to meet
the needs of society. Hinduism is not a fossilized religion and ‘in its
long history, it has undergone many changes rapidly adapting to modern
times."
Hindus believe that by performing the
Samskāras, a person becomes a member of the socio-religious
community. The Samaskaras are meant for “sanctifying the body and
purifying it in this life and after
death’ The Upanishads mention Samaskaras as a means to
grow and prosper in all four aspects of human pursuits
- Dharma (righteousness), Artha (wealth), Karma and Kama (work
and pleasure), and Moksha (Salvation).
JATAKARAMA SAMSKĀRA
Jataka is originally a Sanskrit word
that means a newborn baby. In astrology, it means the study of
horoscopes ( Zaatuk in Kashmiri). It has a different meaning in Buddhism
where it means a voluminous body of literature native to India concerning the word previous births of Gautama Buddha. Without doubt word, Jatakarama has come fromJataka.
The Jatakarama ceremony
welcomes the baby into the world. The Jatakarama Samskāra is a celebration
of the child’sbirth and his bonding with his father. During the ceremony, the father has to
welcome the child by touching the lips of the baby with honey and ghee. Reciting Vedic Hymns
is also very auspicious during Jatakarama ceremony.Jatakarama has been mentioned as an important
Samaskara in Grehsutras, Vedas, Smritis
and many other ancient Scriptures.
Jatakarama Samskāra provides an opportunity to examine the baby immediately
after birth. Madhu ( Honey ), Swarna ( Gold ) and Ghrita ( Ghee ) licking helps to check and initiate sucking,
rooting and swallowing reflexes which should exist in co-ordination.
R.Pandey in his book" Hindu Saṃskāras: Socio-religious Study of the
Hindu Sacrament" writes:-
" Jatakarama
has the following aspects: the Medha-jananais performed so that the child
is bestowed with great intellect (Medha or buddhi). The Ayush ceremony
is performed for a long life for the child. The mother is showered with praise
by the husband and the family for having given the greatest of gifts to the
family in the form of the child. All guests are given appropriate gifts and
alms are given to the needy. The next of the Samaskara is called
the Nama-Karana (name-giving ceremony). Typically, the name of one of
the many Hindu deities is chosen as it is believed that the deity would protect
the child. Furthermore, when the family and friends call by that name, they too
get the divine blessing. The scriptures contain literally thousands of names, for
example, Vishnu is typically worshipped by reciting his one thousand
names. Anyone of these names could be chosen. Similarly, other deities too are
known by various names. There are similar rules for naming a daughter. It is
suggested by the Hindu texts, for example, that where the girl's name ends with
‘a’ or ‘i’, it is considered as auspicious and the girl is blessed by the
divine. The namakarana ceremony is typically performed on the 10th or
12th day of birth."
In some parts of
the country, Jatakarma performed on six days from the birth of a
child, is for the purification of the house. This is done in order to keep a
child in a clean atmosphere where he may not incur any physical or mental
problems. It is also called Shashthi. Goddess Shashthi is the protector of
children. Jatakarma is followed by Grah Puja andHoma.
1. 'Homa' is performed with curds and clear butter along with mantras.
2. The word 'Vak' is whispered in the ear of the child.
3. The child is made to lick from golden spoon cards, honey and clarified
butter.
4. The child is addressed by a secret name.
5. The mother offers her breast milk
to the child.
During my visit to Bali ( Indonesia ) in 2015, I was told by a Balinese Hindu priest as under:-
“ We
BalineseHindus follow theSamaskaras mentioned in Dharam-Sastras. Jatakarma is the
most important ceremony of the newborn child. The Samsakara is performed immediately after childbirth. In
this Samsakara the father has to chant specific Mantras into the right ear of newborn and
feed the mixture of Madhu ( honey ), Ghrta ( Clarified butter ) in a Svrna spoon to the newborn followed by breastfeeding to
the child. In olden days some particles of Swarna dust were mixed with Madhu and Ghrta
.”
Jatakarma
is performed in every part of the country as per Hindu traditions which may vary from area to area yet the core
the ceremony is almost the same.
KASHMIRI PANDITS AND JATAKARAMA / KAAH-NETHAR.
Jatakarma is known as Kaah-nether by Kashmiri
Pandits. It is performed on the 11th day of the birth of the baby .In
Kashmiri, Kaah means eleven and Nethar means wedding or union of
the child into the family's Gotra. The purpose of this ceremony is to bring the
baby into the family’s Gotra or fold and seek blessings of Kul-Devta/
Kul-Devi and other deities for the welfare and orderly life of the baby.
On this day, the child and his mother are given a bath and they wear new
clothes. The Yajman for this function happens to be the father of the baby.
Accordingly, gifts for the baby and the mother are bought by the father of the baby
. He also makes arrangements for the Homa or a yajna. The family priest
recites Vedic Mantras seeking the welfare of the child and his family. The Mantras
are also meant to seek blessings from deities for the newborn who has entered
the family’s Gotra. It is followed by a feast wherein close relatives and family friends are invited. It is strictly a family affair. The guests partake the food as Prasada. The family
priest also takes note of the birth time and the constellation of the planets –Nakshatras to
create a birth chart which is supposed to be the blueprint of one's life.
Many Kashmiri Pandit families also bring a golden ring or earrings for the baby.
Tied to a Mauli ( Naribund ), this golden jewellery is touched to the tongue of the baby and thenMauli( with the golden jewellery ) is put around his / her neck during the Puja by the family priest. It is meant to be used by the baby
as he or she grows. Honey and clarified butter ( Ghee) is
also touched to the baby's tongue. Some families use curd as well. This practice
is being enthusiastically implemented after 1990 by Kashmiri Pandits. It
appears that by this practice, Kashmiri Pandits are following the ancient Vedic practice of Jatakarmadetailed in Manusmriti, Brihadaranyaka Upanishad and
Grihya Sutras. Manu alsomakes mention of Swarna, Madhu and clarified butter to be touched to baby's tongue during Jatakarama ceremony. And
surprisingly, it is Manu who recommends Jatakarama for both male and female babies.
It is pertinent to mention that in a Kashmiri
Pandit family, no ritual connected with Vivaha, Sharada or Pind-dhaan can be
done if for any reason Jatakarma
or Kaahnethar has not been performed to any newborn. Though performed on
11th day of birth, it can be held subsequently also on any auspicious day. Kashmiri Pandits combine this Samaskara with Naamkarna ritual.
Kashmiri Pandits also treat Jatakarama or Kaahnethar as a purification
ceremony for the baby and the mother who had remained under confinement. For
this reason, some auspicious Mantras are also recited during the Homa for
purification and the child, his mother, the family and the house. Kashmiri
Pandits also perform Shraan Sonder on 7th or 10th day of the baby's birth apart from Trui
ritual on the third day of the baby’s birth. Shraan Sonder is the medicinal bath
of the mother.
I conclude this post with a Vaak of Kashmir’s
saint poetess Lal Ded or Lalleshwari …
“zanam praa'vith vyabhav no
tsonddum Luubhan bhuugan baram na pray Somuy Ahaar suetthaah zonum, Tsolum dwakha-vaav polum Dai. “
“
In life, I sought neither wealth nor power,
Nor ran after the pleasures of sense.
Moderate in food and drink, I lived a controlled life,
And loved my God.”
