आओ चले हम उस जहाँ में
जहा वक्त रुका रुका सा हो
थमा थमा सा हो
वहा बैठे हुए एक दूसरे के साये तले
फिर ये सोचे उन दिनों क्या होगा
जब हम तो नहीं होंगे
पर ये हसींन नज़ारे तब भी होंगे
और यूँ दे अपने अस्तित्व को नए मायने
उस मौन में जो तेरे और मेरे
मौन से मिलकर बना हो
जिसमे हम धीमे धीमे घुलते जाए
साथ ही समाते जाए उस परम मौन में
जो लम्हा लम्हा हमारे पास खिसकता रहा
चोरी चोरी से चुपके चुपके से
और निगलता रहा दोनों के एक हुए मौन को
मिल गया हमारा मौन उस परम मौन से
मिट गाये सारे भेद
और अपना एकत्व
अनित्य के दायरे से दूर
अखंड हो गया
पूर्ण हो गया।
English Version Of The Poem:
Information About The Picture:
The picture clicked by me depicts a spot located at my village situated in Mirzapur District, Uttar Pradesh, India. It’s related with my childhood memories.
Let’s venture out to quiet place
Where time has come to standstill
Where moments love to freeze
And at such a place
Sitting under shade of each other’s soul
Ponder about those days
When we be missing from this world
And yet life’s beauty be prevailing around
In all its majestic grandeur
And such an introspection
Would add a new dimension
In our existence
In our collective silence
Conceived as your silence merged with mine
That annihilated our beingness
And as that happened
We kept coming close
To the realm of Absolute
Which steadily and slowly
Kept moving towards us
Silently embracing our collective silence
The separation vanished altogether
And prevailed absolute oneness
Untouched by impermanence
Gaining entry into realm
Where oneness gets wedded to totality
In light of incessant togetherness.
Hindi Version Of The Poem:
Information About The Picture:
The picture clicked by me shows River Ganges flowing through my village situated in Mirzapur District, Uttar Pradesh, India.
There exists a bridge between
You and I
And I travel across it
To reach to you each day.
This bridge remains invisible
In the world governed by reality
Glad that it is non-existent!
In a world marred by evil eyes
It remains invisible to naked eyes
In love with concrete images
And I did the right
By not giving it a shape
To a bridge I travel across
Each day to reach to you.
Had it been built by me
Surely it would have collapsed
Facing every passing moment
The rays of eyes dipped in
Evil and falsehood, treachery and crime,
And I would have lost something
Which sustains my earthly existence
There exists a bridge between
You and I
And I travel across it
Through the realities of visible world
To reach to you each day
In every passing moment
To arrive at a world
Where no one exists
Other than you and I.
“The course of true love never did run smooth.” (Shakespeare). This became evident in cruel fashion in case of Divya and Ilavarasan. Ilavarasan and Divya belonged to different castes. Ilavarasan belonged to Dalit community and Divya came from a higher Vanniyar community. When their love story attained pinnacle, it did not evoke sweet episodes as one witnesses in Hollywood/Bollywood candyfloss movies. Last year, the girl’s father, unable to digest the vituperative remarks of people belonging to his community committed suicide. And now the news arrives that Ilavarasan, after Divya came to disown the marriage in blatant fashion, has committed suicide by jumping before the train.
Their love story from the very beginning was marred by series of unfortunate developments. It first resulted in a typical caste bigotry, which this time did not remain confined to a small section. The mounting tension took in its grip whole Tamil Nadu. They got married amid unprecedented developments.” I was on my way to Trichy for a football match. When I was in Omalur, I got a call from Divya saying that people in her house are trying to get her married to someone else. She asked me to take her with me. We went to Andhra Pradesh and got married there.” ( Ilavarasan in an interview to Tamil Edition of India Today).
When they got married, it led to huge tension in whole Tamil Nadu. A political party named Pattali Makkal Katchi entered into a campaign, triggering the impression that marriages between Dalit boys and non-Dalit brides were mainly for the purpose of extorting money. Fake cases got filed against Ilavarasan so as to block his appointment into police department in which he got newly selected. The issue further deteriorated when girl’s father committed suicide last November. Many colonies in Naikkankottai village got burnt- the village of boy’s father.
For Divya, these developments seemed a bolt from the blue. After her father’s suicide, she went into state of depression and decided to separate from Ilavarasan. Naturally, her decision left Ilavarsan in a state of shock, who was determined to seek better days. Just a day before his suicide, it’s learnt that Divya categorically informed the reporters inside the Madras High Court campus about her decision to disown the marriage and not to return to Ilavarasan at all. Unable to withstand this dejection, the very next day Ilavarsan jumped before the train and ended his life.
Divya might have decided to disassociate with Ilavarsan but Ilavarsan remained true to her till his last breath. The only thing found in his possession, near the railway track, were the letters which he wrote to her during 2011.
Listen my beloved
Love is never put on scale
In love do you measure the
Worth of emotions, desires and wishes?
Why do you wish to heal the pain
Emanating from injuries you fail to see?
Pain which nature wants to heal
Shall always get healed
And sometimes unhealed injuries
Refine the soul further
Or let them remain unhealed
Floating in the ocean of heart as insoluble capsules of pain!
It’s an unbearable dishonesty on your part my beloved
An act unfair to dilute the pain simmering inside
Listen I have learnt lessons
To move from one pain to another
In the company of light
It’s time for you my beloved to touch new horizons
And leave me far behind
To walk all alone on the isolated path
For I have also learnt
How to remain alive with no trace of life inside!
The same poem in Hindi with a slight modification in style and treatment.
सुन मेरे मीत: तू कुछ जख्मो को हरा ही रहने दे!
जो इश्क करते है वो
इश्क को तराजू में नहीं तौलते
अरमानो, ख्वाहिशों, जस्बातो
का लेखा जोखा कैसा मीत!
जो जख्म दीखते नहीं उन
पर मरहम लगाना कैसा?
जिन जख्मो को भरना होता है
वो अपने आप ही भर जाते है
या वक़्त के साए में ढलकर
रूह को थोडा और निखार जाते है
या नासूर बनते है
तो नासूर ही बन जाने दें?
सो लिहाज़ा तेरा तडपना, आज़माना
अब बेमानी सा लगता है
कि एक जख्म से दूसरे जख्म तक
का फासला तय करना हमने सीख लिया है
सो बेहतर है कि तू आगे बढ़ चल
रौशनी के कारवां संग
और छोड़ दे पीछे मुझे
अजनबी सी राहो पे तन्हा चलते रहने को
कि अब मर के भी हमने
जीते सा दीखते रहने का हुनर सीख लिया है।
I have never been die hard fan of Yash Chopra’s movies. His romantic angles mired in illicit relationship always left me appalled. He was a noted filmmaker having Midas touch for conceiving interesting themes, hinging around three people in one single relationship, either due to providence or chance. His penchant for such complex relationships, on par with illicit love affairs, could be gauged from the fact that barring his early years of film making when he made gems like Waqt, Dharamputra, Ittefaq, Mashaal, Trishul, Deewar and Kala Patthar, nearly all his movies in later years depicted adultery in one or other form. It can be safely opined that his movies, both explicitly and implicitly, promoted illegal relationships. That’s pretty unfortunate as filmmaker of his caliber should have been more sensible in application of his mind.
He had the brilliant ability to present romance with all its elements in grand style. The grandeur and colourful imagery noticeable in his movies takes away our breath. It’s true that average cine-goer likes to flirt with unfulfilled dreams and wishes as he/she enters inside the theater, and tries to dissolve the harsh realities in the silken world appearing and disappearing on the silver screen. Any average filmmaker is not very much interested in exposing his viewers to shades of realism. Yash Chopra understood this well and so in his movies we have characters, borrowed straight from Mills and Boon novels, flirting with their ladies against scenic backdrop. No wonder Swiss government honoured Yash Chopra for promoting tourism in Switzerland!
To make his romance stories gain some substance, he was but compelled to fall in the arms of “illicit relationship” so as to provide some shock value to his films. However, he lacked the ability to seriously contemplate over any issue, which demanded deep attention, but in the same genre his brother B R Chopra exhibited the art of serious presentation in an effortless manner. That’s why B R Chopra’s “Gumrah”, having adultery as central theme, depicted the conflict emanating out of such relationship quite well. Yash Chopra’s movies based on the same plot stand nowhere to pathos exhibited in Gumrah. Yash was more governed by the desire to emerge as a successful director in the genre of popular cinema despite being person of immense capabilities. He was a pure entertainer, who used “arrival of third person” as perfect masala element to make his movies mint money. That’s why we cannot contrast him with likes of Raj Kapoor. He failed to attain the stature of Raj Kapoor, who was also governed by the desire to emerge as great entertainer but with a difference: Raj’s sensitivity always managed to find a suitable cause, which under his brilliant directorial treatment ripped apart our emotions. In fact, lot is said about depiction of grandeur/ style in his movies but Gulshan Rai and Feroz Khan stand miles ahead of him even in this department.
Let’s take into cognizance “illicit relationship” – a dominant feature of his movies. He should not have roped in this angle unless he had enough reasons to substantiate his viewpoint. For instance, let’s take “Darr” promoted as a violent love story. What was Yash Chopra trying to demonstrate? That Sunny Deol (husband) has to be equally cunning, powerful and mad like Shah Rukh Khan (lover) to save his wife from the shrewd moves. The greatest irony is that evil gets checkmated by good doesn’t sound convincing in the end when evil enjoys the upper hand, dancing with some else’s beloved for most of the time. One of the salient features of movies made by Yash Raj Films has been that one has to be shrewd and street smart to emerge as a winner. Idealism is of little use in world dominated by market-oriented world, wherein end justifies the means. That’s the guiding principle of protagonists appearing in “Trishul” and “Deewar”. Aditya Chopra’s “Dilwale Dulhania Le Jayenge” highlights the same trait. The protagonist even as he is reluctant to run away with his beloved, enters into ridiculousness and pathetic gestures to woo his would be wife. The success of this movie is remark on the declining standards of a viewer’s approach towards cinema.
That’s the aberration which marred the movies churned out by Yash Raj Films. The movies having candyfloss flavour, embedded in synthetic sentiments, depicted a section of society, which barely depicted the real face of India. For instance, Salaam Namaste was entirely shot in Australia, talked about reunion of two lovers, caught in problems born out of “laid-back lifestyle”. Hum Tum, Mohabbatein, Dil To Pagal Hai and etc. turned out be old wine in new bottle. Even patriotic perceptions were effectively used in “Chak De India” to keep the cash box ringing. The point is that Yash Chopra and his successors have realized this pretty well that market forces and not the theme of the movie, which ensures success or failure. The global world, which made the boundaries meaningless, opened new markets, and, therefore, themes also got focused on people who sustained these markets. Both Bollywood and Hollywood rely on stereotyped emotions to make their movies emerge as blockbuster. So scenic landscape, stunning faces, big cars and pulsating music became the essential ingredients of romantic movies be its made by Yash Chopra or anyone else from Hollywood.
Some might find it unpalatable, and unbearable as well, to treat his movies as promoter of illegal relationships. However, it’s not a misplaced belief when one becomes aware of the fact that cinema, life and society are intimately linked to each other. Chandni, Dhool Ka Phool, Kabhi Kabhi, Silsila, Doosra Aadmi, Darr, Faasle, Lamhe, Daag, Aaina, Yeh Dillagi and Mere Brother Ki Dulhan to name a few, more or less, had controversial themes, wherein secret lover or illicit relationship added a complex twist to the story line. It’s a cliche to state that cinema borrows its concept from society. The ultimate truth is that it borrows the clues from society, exaggerates them, turning them into saleable scripts and, in the process, creates scope for more distorted themes. In a combined research conducted by the ” American Medical Association, the American Psychological Association, the American Academy of Pediatrics, the American Academy of Child and Adolescent Psychiatry and the National Institute of Mental Health” to establish the negative impact of movies on youths in USA, it was clearly established that “just as every cigarette increases the chance that someday you will get lung cancer, every exposure to violence increases the chances that some day a child will behave more violently than they otherwise would.”
The point is when you are genuinely depicting the harsh realities of life, be it centered on illegal relationship, it adds a new dimension in your understanding but when you use such themes to carve unrealistic presentation, merely to ensure commercial success, it’s altogether a different story. Yash Chopra was more conscious of commercial success then ensuring a perfect treatment to a substantial story line. Ironically, Mahesh Bhatt also used illicit relationship as effective plot but he ensured that he remained close to the real life. Anyway, Yash Chopra makes me realize that attaining success is different thing than doing good work which makes difference in lives of people. He got success by promoting flawed romance, which served no greater cause other than ensuring flow of money.
It’s really hard to understand why lovers or couples who were so intimately involved in courtship years feel the need to move on different routes barely after few years of togetherness in a marital relationship? In my eyes, such breakdowns are indicative of weak foundation. Just the way the wall crumbles down if it’s devoid of proper foundation, the modern relationships are crumbling because they were not built upon the proper values in the formative years. At the same time it cannot be altogether denied that negative education has made newer generation hyperconscious. As a result of wrong conditioning we are not able to imbibe positive values which ensure healthy relationship. For instance, co-operation is indicative of weakness. One needs to prove one’s worth. So when competitive spirits sets in the wisdom gives ways to trickery or cleverness. One might be totally corrupt but one should know how to promote himself as saint! That’s called management funda by our modern times management gurus! We have now mastered this art. The world is being ruled by such people only. No wonder right from offices to homes are all in state of doldrums.
Some feel that new work culture in which couples do not get enough time to share qualitative moments might be the reason of rise in cases of separation. However, one needs to ask why did we give rise to such system which ensured such maddening involvement of both the sexes? On top of it, it was very cleverly filled inside the consciousness of modern women that they can live life on their own with no assistance from anyone else. Obviously, heightened individualism ensured that modern women feels it insulting to compromise or adjust! At the same time, capitalist values ensured that greed controls both the sexes. So even as the couple talked about love somewhere in the mind the desire to own big house and car or, for that matter, comforts of life remained the cherished goals.
Economic security does ensure stability but bigger financial dreams often acts as spoilsport. So bigger became our dreams, the lesser became our happiness. Above all, in an attempt to realize our dreams we created a huge distance from our real being. After all, bigger dreams cannot be realized unless we have learnt the art of deception, unless we have learnt to work like machines. Once we turned into machines the home life representative of intimate feelings became some sort of stopover. It also ensured that complexities look like part and parcel of human life; complex relationship look more meaningful than normal relationships and all lesser people got worshiped as icons of success. Against this backdrop, it’s obvious break ups are more visible than tales of long union.
Is there a way to restore lost love or lost intimacy ? Yes. However, the problem with human beings is that as they increase the subtlety of mind they coin strange terms to define human relationships. That way they make the human life more complex. Life is calmer when we rise above the such stupid notions carved by humans. Just go back in times when we were kids. We were mired in bliss since we loved life to its fullest. Now we don’t enjoy life. The new absurd categorizations which sees men and women as alpha male and alpha female have blocked the interplay of emotions humane in nature. So the most effective way to ensure a good relationship is to strike a good bond with our real being. How can we know that we have struck a perfect bond with it ? Once it happens we start thinking in simple ways. Like a walk together becomes as romantic as dinner in costly restaurant!! Let’s learn to be simple so that we regain the ability to see the world from our own eyes rather than seeing the world from eyes of corrupt souls.
I am interested in deep loving relationship between man and woman. And I am really in pain to say that as both sexes are evolving it’s become difficult for them to live together in perfect harmony. I prefer inertness of previous ages than evolution of nowadays. At least, we were able to “drink from thine eyes” quite freely without being fear of labeled as this or that.
“Drink to me only with thine eyes,
And I will pledge with mine;
Or leave a kiss within the cup
And I’ll not ask for wine.”
( Ben Jonson)