ज़िन्दगी से बड़ी सज़ा ही नहीं / कृष्ण बिहारी 'नूर'

ज़िन्दगी से बड़ी सज़ा ही नहीं,

और क्या जुर्म है पता ही नहीं

इतने हिस्सों में बट गया हूँ मैं,

मेरे हिस्से में कुछ बचा ही नहीं

सच घटे या बड़े तो सच न रहे,

झूठ की कोई इन्तहा ही नहीं

जड़ दो चांदी में चाहे सोने में,

आईना झूठ बोलता ही नहीं

ਮੌਤ ਕਿਉਂ ਆਉਂਦੀ ਹੈ...../ਗੁਰਿੰਦਰ ਗਿੰਦਾ

ਆਦਮੀ ਨੂੰ ਇਹ
ਅਹਿਸਾਸ ਕਰਾਉਣ ਲਈ
ਕਿ ਹੁਣ ਤੱਕ ਉਹ
ਜ਼ਿੰਦਾ ਸੀ............
ਮੌਤ ਆਉਂਦੀ ਹੈ।

ਮੌਤ/ਗੁਰਿੰਦਰ ਗਿੰਦਾ

1
ਮੱਨੂਖ ਦੇ
ਜ਼ਿੰਦਾ ਹੋਣ ਦਾ
ਇਕੋ ਇਕ ਪ੍ਰਮਾਣ
ਮੌਤ........

2
ਧਰਮ
ਅਰਥ
'ਤੇ ਕਾਮ
ਸ਼ਕਤੀਆਂ ਖੋਹਣ
ਵਾਲੀ ਤਾਕਤ।

ਮਿਲਾਪ/ਗੁਰਿੰਦਰ ਗਿੰਦਾ

ਤੂੰ ਭਾਵੇ ਚਲਾ ਗਿਆ
ਮੇਰੇ ਮੰਨ ਦੀ ਧਰਤ ਤੇ
ਆਪਣੀ ਸ਼ਖ਼ਸੀਅਤ ਦਾ
ਮੀਂਹ ਵਰਸਾ
ਪਰ ਅੱਜ ਵੀ
ਮੇਰੇ ਮੰਨ ਦੀ
ਧਰਤ 'ਚੋਂ
ਉਠ ਰਹੀ ਮਿੱਟੀ ਦੀ ਮਹਿਕ
ਗਵਾਹ ਹੈ ਕਿ ਅਸੀਂ
ਮਿਲੇ ਸੀ ਕਦੇ
ਸਮੁੰਦਰ 'ਚ ਮਿਲਦੀ
ਨਦੀ ਵਾਂਗ।

ਗਜ਼ਲ/GURINDER GINDA

ਦੋਸਤੋ ਇਸ਼ਕ ਦੇ ਰਾਹ ਔਖੇ,
ਚਲਨਾਂ ਇਹਨਾਂ ਤੇ ਹੁੰਦਾ ਆਸਾਨ ਨਹੀਂ
ਜਿਹੜੇ ਇਸ਼ਕ ਦੇ ਰਾਹ ਤੇ ਤੁਰ ਪੈਂਦੇ,
ਹੁੰਦਾ ਰੱਬ ਵੀ ਉਨ੍ਹਾਂ ਤੇ ਮਿਹਰਵਾਨ ਨਹੀਂ
ਇਸ਼ਕ ਦੇ ਇਸੇ ਰਾਹ ਉਤੇ,
ਘੜ੍ਹਾ ਸੋਹਣੀ ਨਾਲ ਵੈਰ ਕਮਾ ਬੈਠਾ
ਮਿਰਜ਼ਾ ਚੱਲ ਕੇ ਇਸੇ ਰਾਹ ਉਤੇ,
ਧੋਖਾ ਯਾਰ ਦੇ ਹਥੋਂ ਖਾ ਬੈਠਾ
ਰਾਂਝਾ ਚੱਲ ਕੇ ਇਹਨਾਂ ਪੈਂਡਿਆਂ ਤੇ,
ਹੀਰ ਤੋਂ ਪਹਿਲੋਂ ਹੀ ਮੌਤ ਵਿਆਹ ਬੈਠਾ
ਉਸ ਰਾਹ ਤੇ ਚਲਣੋਂ ਮਨ ਹੋੜ 'ਗਿੰਦੇ'
ਜਿਥੇ ਪੈਂਡਾ ਹੀ ਪਾਂਧੀ ਨੂੰ ਖਾ ਬੈਠਾ
ਗੁਰਿੰਦਰ ਸਿੰਘ

लहरें / ज्यून तकामी

तूफ़ान आया है
भयानक तूफ़ान
मैं खिड़की से झाँकता हूँ--
ढलान पर खड़ा पेड़
तेज़ लहरों की तरह लहरा रहा है
पेड़ की पत्तियाँ लहरें हैं हमारी इस धरती की
वैसे ही जैसे
लहरें पत्तियाँ हैं समुद्र की
ओ समुद्र की पत्तियों !
तुम्हें याद करता हूँ मैं
जैसे पेड़ पत्तियों को जीवन देता है
वैसे ही समुद्र लहरों को पालता है
तूफ़ान मेरी खिड़की पर थपेड़े मार रहा है
समुद्र है तो तूफ़ान आएगा ही
जीवन है तो तूफ़ान छाएगा ही
ओ हवा के थपेड़ों से लड़ती पत्तियों !
ओ सागर से हमेशा झगड़ती लहरों !
मानव-जीवन भी तुम्हारी तरह है
थपेड़े खाता रात-दिन
रह नहीं पाता उनके बिन

मैं कमज़ोर हूँ / ज्यून तकामी

मैं कमज़ोर हूँ
मैं लड़ नहीं सकता
ख़ुद जीने के लिए मैं दूसरों को
जाल में नहीं फँसा सकता
मैं कमज़ोर हूँ
लेकिन मुझे इतना नीचे गिरने में
आती है शरम
कि कत्ल करूँ दूसरों का
ख़ुद जीने के लिए
मैं कमज़ोर हूँ
लेकिन मुझे इतना नीचे गिरने में
आती है शरम
कि दूसरों के शब्दों को कह सकूँ
अपने शब्दों की तरह
मैं कमज़ोर हूँ
हमेशा सम्भाल कर रखूंगा अपनी कमज़ोरी ।

बच्चों की दुआ / इक़बाल

लब पे' आती है दुआ बन के तमन्ना मेरी,
ज़िन्दगी शमा की सूरत हो ख़ुदाया मेरी ।
दूर दुनिया का मेरे दम से अंधेरा हो जाए
हर जगह मेरे चमकने से उजाला हो जाए ।
हो मेरे दम से यूँ ही वतन की ज़ीनत,
जिस तरह फूल से होती है चमन की ज़ीनत ।
ज़िन्दगी हो मेरी परवाने की सूरत या रब !
इल्म की शमा से हो मुझ को मुहब्बत या रब !
हो मेरा काम ग़रीबों की हिमायत करना,
दर्दमंदों से, ज़ईफ़ों से मुहब्बत करना ।
मेरे अल्लाह, बुराई से बचाना मुझ को,
नेक जो राह हो, उस रह पे' चलाना मुझ को ।

कह-मुकरियाँ / अमीर खुसरो

१. खा गया पी गया दे गया बुत्ता ऐ सखि साजन? ना सखि कुत्ता!

२. लिपट लिपट के वा के सोई छाती से छाती लगा के रोई दांत से दांत बजे तो ताड़ा ऐ सखि साजन? ना सखि जाड़ा!

३. रात समय वह मेरे आवे भोर भये वह घर उठि जावे यह अचरज है सबसे न्यारा ऐ सखि साजन? ना सखि तारा!

४. नंगे पाँव फिरन नहिं देत पाँव से मिट्टी लगन नहिं देत पाँव का चूमा लेत निपूता ऐ सखि साजन? ना सखि जूता!

५. ऊंची अटारी पलंग बिछायो मैं सोई मेरे सिर पर आयो खुल गई अंखियां भयी आनंद ऐ सखि साजन? ना सखि चांद!

६. जब माँगू तब जल भरि लावे मेरे मन की तपन बुझावे मन का भारी तन का छोटा ऐ सखि साजन? ना सखि लोटा!

७. वो आवै तो शादी होय उस बिन दूजा और न कोय मीठे लागें वा के बोल ऐ सखि साजन? ना सखि ढोल!

८. बेर-बेर सोवतहिं जगावे ना जागूँ तो काटे खावे व्याकुल हुई मैं हक्की बक्की ऐ सखि साजन? ना सखि मक्खी!

९. अति सुरंग है रंग रंगीले है गुणवंत बहुत चटकीलो राम भजन बिन कभी न सोता ऐ सखि साजन? ना सखि तोता!

१०. आप हिले और मोहे हिलाए वा का हिलना मोए मन भाए हिल हिल के वो हुआ निसंखा ऐ सखि साजन? ना सखि पंखा!

११. अर्ध निशा वह आया भौन सुंदरता बरने कवि कौन निरखत ही मन भयो अनंद ऐ सखि साजन? ना सखि चंद!

१२. शोभा सदा बढ़ावन हारा आँखिन से छिन होत न न्यारा आठ पहर मेरो मनरंजन ऐ सखि साजन? ना सखि अंजन!

१३. जीवन सब जग जासों कहै वा बिनु नेक न धीरज रहै हरै छिनक में हिय की पीर ऐ सखि साजन? ना सखि नीर!

१४. बिन आये सबहीं सुख भूले आये ते अँग-अँग सब फूले सीरी भई लगावत छाती ऐ सखि साजन? ना सखि पाती!

१५. सगरी रैन छतियां पर राख रूप रंग सब वा का चाख भोर भई जब दिया उतार ऐ सखि साजन? ना सखि हार!

१६. पड़ी थी मैं अचानक चढ़ आयो जब उतरयो तो पसीनो आयो सहम गई नहीं सकी पुकार ऐ सखि साजन? ना सखि बुखार!

१७. सेज पड़ी मोरे आंखों आए डाल सेज मोहे मजा दिखाए किस से कहूं अब मजा में अपना ऐ सखि साजन? ना सखि सपना!

१८. बखत बखत मोए वा की आस रात दिना ऊ रहत मो पास मेरे मन को सब करत है काम ऐ सखि साजन? ना सखि राम!

१९. सरब सलोना सब गुन नीका वा बिन सब जग लागे फीका वा के सर पर होवे कोन ऐ सखि ‘साजन’ना सखि! लोन(नमक)

२०. सगरी रैन मिही संग जागा भोर भई तब बिछुड़न लागा उसके बिछुड़त फाटे हिया’ ए सखि ‘साजन’ ना, सखि! दिया(दीपक)

21.राह चलत मोरा अंचरा गहे।मेरी सुने न अपनी कहेना कुछ मोसे झगडा-टंटाऐ सखि साजन ना सखि कांटा!

22.बरसा-बरस वह देस में आवे, मुँह से मुँह लाग रस प्यावे।वा खातिर मैं खरचे दाम, ऐ सखि साजन न सखि! आम।।

23.नित मेरे घर आवत है, रात गए फिर जावत है।मानस फसत काऊ के फंदा, ऐ सखि साजन न सखि! चंदा।।

24.आठ प्रहर मेरे संग रहे, मीठी प्यारी बातें करे।श्याम बरन और राती नैंना, ऐ सखि साजन न सखि! मैंना।।

25.घर आवे मुख घेरे-फेरे, दें दुहाई मन को हरें,कभू करत है मीठे बैन, कभी करत है रुखे नैंन।ऐसा जग में कोऊ होता, ऐ सखि साजन न सखि! तोता।।

दोहे / अमीर खुसरो

खुसरो रैन सुहाग की, जागी पी के संग।

तन मेरो मन पियो को, दोउ भए एक रंग।।

खुसरो दरिया प्रेम का, उल्टी वा की धार।

जो उतरा सो डूब गया, जो डूबा सो पार।।

खीर पकायी जतन से, चरखा दिया जला।

आया कुत्ता खा गया, तू बैठी ढोल बजा।।

गोरी सोवे सेज पर, मुख पर डारे केस।

चल खुसरो घर आपने, सांझ भयी चहु देस।।

खुसरो मौला के रुठते, पीर के सरने जाय।

कहे खुसरो पीर के रुठते, मौला नहिं होत सहाय।।

जो मैं जानती बिसरत हैं सैय्या / अमीर खुसरो

जो मैं जानती बिसरत हैं सैय्या, घुँघटा में आग लगा देती,

मैं लाज के बंधन तोड़ सखी पिया प्यार को अपने मान लेती।

इन चूरियों की लाज पिया रखाना, ये तो पहन लई अब उतरत न।

मोरा भाग सुहाग तुमई से है मैं तो तुम ही पर जुबना लुटा बैठी।

मोरे हार सिंगार की रात गई, पियू संग उमंग की बात गई,

पियू संग उमंग मेरी आस नई।

अब आए न मोरे साँवरिया, मैं तो तन मन उन पर लुटा देती।

घर आए न मोरे साँवरिया, मैं तो तन मन उन पर लुटा देती।

मोहे प्रीत की रीत न भाई सखी, मैं तो बन के दुल्हन पछताई सखी।

होती न अगर दुनिया की शरम मैं तो भेज के पतियाँ बुला लेती।

उन्हें भेज के सखियाँ बुला लेती।जो मैं जानती बिसरत हैं सैय्या।

रोटियाँ / नज़ीर अकबराबादी

जब आदमी के पेट में आती हैं रोटियाँ
फूली नही बदन में समाती हैं रोटियाँ
आँखें परीरुख़ों से लड़ाती हैं रोटियाँ
सीने ऊपर भी हाथ चलाती हैं रोटियाँ

जितने मज़े हैं सब ये दिखाती हैं रोटियाँ

रोटी से जिस का नाक तलक पेट है भरा
करता फिरे है क्या वो उछल कूद जा ब जा
दीवार फाँद कर कोई कोठा उछल गया
ठठ्ठा हँसी शराब सनम साक़ी इस सिवा

सौ सौ तरह की धूम मचाती हैं रोटियाँ

जिस जा पे हाँडी चूल्हा तवा और तनूर है
ख़ालिक़ के कुदरतों का उसी जा ज़हूर है
चूल्हे के आगे आँच जो जलती हज़ूर है
जितने हैं नूर सब में यही ख़ास नूर है

इस नूर के सबब नज़र आती हैं रोटियाँ

आवे तवे तनूर का जिस जा ज़बां पे नाम
या चक्की चूल्हे का जहाँ गुलज़ार हो तमाम
वां सर झुका के कीजिये दंडवत और सलाम
इस वास्ते कि ख़ास ये रोटी के हैं मुक़ाम

पहले इन्हीं मकानों में आती हैं रोटियाँ

इन रोटियों के नूर से सब दिल हैं पूर पूर
आटा नहीं है छलनी से छन छन गिरे है नूर
पेड़ा हर एक उस का है बर्फ़ी-ओ-मोती चूर
हरगिज़ किसी तरह न बुझे पेट का तनूर

इस आग को मगर ये बुझाती हैं रोटियाँ

पूछा किसी ने ये किसी कामिल फ़क़ीर से
ये मेह्र-ओ-माह हक़ ने बनाये हैं काहे के
वो सुन के बोला बाबा ख़ुदा तुझ को ख़ैर दे
हम तो न चाँद समझे न सूरज हैं जानते

बाबा हमें तो ये नज़र आती हैं रोटियाँ

फिर पूछा उस ने कहिये ये है दिल का नूर क्या
इस के मुशाहिदे में है खुलता ज़हूर क्या
वो बोला सुन के तेरा गया है शऊर क्या
कश्फ़-उल-क़ुलूब और ये कश्फ़-उल-कुबूर क्या

कश्फ़=प्रदर्शन; क़ुलूब=हृदय

जितने हीं कश्फ़ सब ये दिखाती हैं रोटियाँ

रोटी जब आई पेट में सौ कन्द घुल गये
गुलज़ार फूले आँखों में और ऐश तुल गये
दो तर निवाले पेट में जब आ के धुल गये
चौदा तबक़ के जितने थे सब भेद खुल गये

ये कश्फ़ ये कमाल दिखाती हैं रोटियाँ

रोटी न पेट में हो तो फिर कुछ जतन न हो
मेले की सैर ख़्वाहिश-ए-बाग़-ओ-चमन न हो
भूके ग़रीब दिल की ख़ुदा से लगन न हो
सच है कहा किसी ने कि भूके भजन न हो

अल्लाह की भी याद दिलाती हैं रोटियाँ

अब जिन के आगे मालपूये भर के थाल हैं
पूरी भगत उन्हीं की वो साहब के लाल हैं
और जिन के आगे रौग़नी और शीरमाल है
आरिफ़ वोही हैं और वोही साहब कमाल हैं

पकी पकाई अब जिन्हें आती हैं रोटियाँ

कपड़े किसी के लाल हों रोटी के वास्ते
लम्बे किसी के बाल हैं रोटी के वास्ते
बाँधे कोई रुमाल है रोटी के वास्ते
सब कश्फ़ और कमाल हैं रोटी के वास्ते

जितने हैं रूप सब ये दिखाती हैं रोटियाँ

रोटी से नाचे पियादा क़वायद दिखा दिखा
असवार नाचे घोड़े को कावा लगा लगा
घुँघरू को बाँधे पैक भी फिरता है नाचता
और इस के सिवा ग़ौर से देखो तो जा ब जा

सौ सौ तरह के नाच दिखाती हैं रोटियाँ

दुनिया में अब बदी न कहीं और निकोई है
न दुश्मनी व दोस्ती न तुन्द खोई है
कोई किसी का और किसी का न कोई है
सब कोई है उसी का कि जिस हाथ डोई है

नौकर नफ़र ग़ुलाम बनाती हैं रोटियाँ

रोटी का अब अज़ल से हमारा तो है ख़मीर
रूखी भी रोटी हक़ में हमारे है शहद-ओ-शीर
या पतली होवे मोटी ख़मीरी हो या कतीर
गेहूं जुआर बाजरे की जैसी हो ‘नज़ीर‘

हम को सब तरह की ख़ुश आती हैं रोटियाँ.

देख बहारें होली की / नज़ीर अकबराबादी

जब फागुन रंग झमकते हों तब देख बहारें होली की।
और दफ़ के शोर खड़कते हों तब देख बहारें होली की।
परियों के रंग दमकते हों तब देख बहारें होली की।
ख़ूम शीश-ए-जाम छलकते हों तब देख बहारें होली की।
महबूब नशे में छकते हो तब देख बहारें होली की।

हो नाच रंगीली परियों का, बैठे हों गुलरू रंग भरे
कुछ भीगी तानें होली की, कुछ नाज़-ओ-अदा के ढंग भरे
दिल फूले देख बहारों को, और कानों में अहंग भरे
कुछ तबले खड़कें रंग भरे, कुछ ऐश के दम मुंह चंग भरे
कुछ घुंगरू ताल छनकते हों, तब देख बहारें होली की

गुलज़ार खिलें हों परियों के और मजलिस की तैयारी हो।
कपड़ों पर रंग के छीटों से खुश रंग अजब गुलकारी हो।
मुँह लाल, गुलाबी आँखें हो और हाथों में पिचकारी हो।
उस रंग भरी पिचकारी को अंगिया पर तक कर मारी हो।
सीनों से रंग ढलकते हों तब देख बहारें होली की।

और एक तरफ़ दिल लेने को, महबूब भवइयों के लड़के,
हर आन घड़ी गत फिरते हों, कुछ घट घट के, कुछ बढ़ बढ़ के,
कुछ नाज़ जतावें लड़ लड़ के, कुछ होली गावें अड़ अड़ के,
कुछ लचके शोख़ कमर पतली, कुछ हाथ चले, कुछ तन फड़के,
कुछ काफ़िर नैन मटकते हों, तब देख बहारें होली की।।

ये धूम मची हो होली की, ऐश मज़े का झक्कड़ हो
उस खींचा खींची घसीटी पर, भड़वे खन्दी का फक़्कड़ हो
माजून, रबें, नाच, मज़ा और टिकियां, सुलफा कक्कड़ हो
लड़भिड़ के 'नज़ीर' भी निकला हो, कीचड़ में लत्थड़ पत्थड़ हो
जब ऐसे ऐश महकते हों, तब देख बहारें होली की।।

As the mirror to my hand,

As the mirror to my hand,
the flowers to my hair,
kohl to my eyes,
tambul to my mouth,
musk to my breast,
necklace to my throat,
ecstasy to my flesh,
heart to my home –

as wing to bird,
water to fish,
life to the living –
so you to me.
But tell me,
Madhava, beloved,
who are you?
Who are you really?

Vidyapati says, they are one another.

ਹਨੇਰਾ ਜਰੇਗਾ ਕਿਵੇਂ......

ਕੁਛ ਕਿਹਾ ਤਾਂ ਹਨੇਰਾ ਜਰੇਗਾ ਕਿਵੇਂ
ਚੁਪ ਰਿਹਾ ਤਾਂ ਸ਼ਮਾਦਾਨ ਕੀ ਕਹਿਣਗੇ
ਗੀਤ ਦੀ ਮੌਤ ਇਸ ਰਾਤ ਜੇ ਹੋ ਗਈ
ਮੇਰਾ ਜੀਣਾ ਮੇਰੇ ਯਾਰ ਕਿੰਜ ਸਹਿਣਗੇ

ਇਸ ਅਦਾਲਤ ‘ਚ ਬੰਦੇ ਬਿਰਖ ਹੋ ਗਏ
ਫੈਸਲੇ ਸੁਣਦਿਆਂ ਸੁਣਦਿਆਂ ਸੁਕ ਗਏ
ਆਖੋ ਏਨਾਂ ਨੂੰ ਉਜੜੇ ਘਰੀਂ ਜਾਣ ਹੁਣ
ਇਹ ਕਦੋਂ ਤੀਕ ਏਥੇ ਖੜ੍ਹੇ ਰਹਿਣਗੇ

ਯਾਰ ਮੇਰੇ ਜੋ ਇਸ ਆਸ ਤੇ ਮਰ ਗਏ
ਕਿ ਮੈਂ ਉੱਨਾਂ ਦੇ ਦੁੱਖ ਦਾ ਬਣਾਵਾਂਗਾ ਗੀਤ
ਜੇ ਮੈਂ ਚੁਪ ਹੀ ਰਿਹਾ ਜੇ ਮੈਂ ਕੁਛ ਨਾ ਕਿਹਾ
ਬਣ ਕੇ ਰੂਹਾਂ ਸਦਾ ਭਟਕਦੇ ਰਹਿਣਗੇ

ਜੋ ਬਦੇਸ਼ਾਂ ‘ਚ ਰੁਲ਼ਦੇ ਨੇ ਰੋਜ਼ੀ ਲਈ
ਉਹ ਜਦੋਂ ਦੇਸ ਪਰਤਣਗੇ ਆਪਣੇ ਕਦੀ
ਕੁਝ ਤਾਂ ਸੇਕਣਗੇ ਮਾਂ ਦੇ ਸਿਵੇ ਦੀ ਅਗਨ
ਬਾਕੀ ਕਬਰਾਂ ਦੇ ਰੁੱਖ ਹੇਠ ਜਾ ਬਹਿਣਗੇ

ਕੀ ਇਹ ਇਨਸਾਫ ਹਉਮੈ ਦੇ ਪੁੱਤ ਕਰਨਗੇ
ਕੀ ਇਹ ਖਾਮੋਸ਼ ਪੱਥਰ ਦੇ ਬੁੱਤ ਕਰਨਗੇ
ਜੋ ਸਲੀਬਾਂ ਤੇ ਟੰਗੇ ਨੇ ਲੱਥਣੇ ਨਹੀਂ
ਰਾਜ ਬਦਲਣੇ ਸੂਰਜ ਚੜਣ ਲਹਿਣਗੇ

ਇਹ ਰੰਗਾਂ ‘ਚ ਚਿਤਰੇ ਨੇ ਖੁਰ ਜਾਣਗੇ
ਇਹ ਜੋ ਮਰਮਰ ‘ਚ ਉਕਰੇ ਨੇ ਮਿਟ ਜਾਣਗੇ
ਬਲਦੇ ਹੱਥਾਂ ਨੇ ਜਿਹੜੇ ਹਵਾ ਵਿਚ ਲਿਖੇ
ਹਰਫ ਉਹੀ ਹਮੇਸ਼ਾ ਲਿਖੇ ਰਹਿਣਗੇ

ਇਹ ਵੀ ਸ਼ਾਇਦ ਮੇਰਾ ਆਪਣਾ ਵਹਿਮ ਹੈ
ਕੋਈ ਦੀਵਾ ਜਗੇਗਾ ਮੇਰੀ ਕਬਰ ਤੇ
ਜੇ ਹਵਾ ਇਹ ਰਹੀ ਕਬਰਾਂ ਉਤੇ ਤਾਂ ਕੀ
ਸਭ ਘਰਾਂ ‘ਚ ਵੀ ਦੀਵੇ ਬੁਝੇ ਰਹਿਣਗੇ

ਸੁਰਜੀਤ ਪਾਤਰ

ਲੱਗੀ ਨਜ਼ਰ ਪੰਜਾਬ ਨੂੰ, ਏਦ੍ਹੀ ਨਜ਼ਰ ਉਤਾਰੋ......

ਲੱਗੀ ਨਜ਼ਰ ਪੰਜਾਬ ਨੂੰ, ਏਦ੍ਹੀ ਨਜ਼ਰ ਉਤਾਰੋ।
ਲੈ ਕੇ ਮਿਰਚਾਂ ਕੌੜੀਆ, ਏਹਦੇ ਸਿਰ ਤੋਂ ਵਾਰੋ
ਸਿਰ ਤੋਂ ਵਾਰੋ, ਵਾਰ ਕੇ, ਅੱਗ ਦੇ ਵਿਚ ਸਾੜੋ
ਲੱਗੀ ਨਜ਼ਰ ਪੰਜਾਬ ਨੂੰ, ਏਦ੍ਹੀ ਨਜ਼ਰ ਉਤਾਰੋ।

ਮਿਰਚਾਂ ਜ਼ਹਿਰੋਂ ਕੌੜੀਆਂ, ਮਿਰਚਾਂ ਸਿਰ ਸੜੀਆਂ
ਕਿਧਰੋਂ ਲੈਣ ਨਾ ਜਾਣੀਆਂ, ਵਿਹੜੇ ਵਿਚ ਬੜੀਆਂ
ਪਹਿਲੀ ਭਰਵੀਂ ਫਸਲ, ਇਨਾਂ ਦੀ ਓਦੋਂ ਲੱਗੀ
ਜਦ ਆਪੇ ਪੰਜਾਬੀਆਂ, ਪੰਜਾਬੀ ਛੱਡੀ..

ਤੇ ਫਿਰ ਅਗਲੀ ਫਸਲ ਦੇ, ਬੀ ਗਏ ਖਿਲਾਰੇ
ਵੱਢੇ ਗਏ ਨਿਰਦੋਸ਼ ਜਦੋਂ, ਰਾਹ ਜਾਂਦੇ ਮਾਰੇ
ਵੱਡਣ ਵਾਲੇ ਕੌਣ ਸਨ ਇਹ ਭੇਤ ਨਾ ਲੱਗਾ
ਪਰ ਬੇਦੋਸ਼ਾਂ ਖੂਨ ਤਾਂ ਪੱਗਾਂ ਸਿਰ ਲੱਗਾ

ਓਹੀ ਛਿੱਟੇ ਖੂਨ ਦੇ, ਬਣ ਗਏ ਬਹਾਨਾ
ਸਾਡੀ ਪੱਗ ਨੂੰ ਪੈ ਗਿਆ ਆਪਣਾ ਬੇਗਾਨਾ
ਜਿੱਥੋਂ ਤਕ ਛਾਂ ਤਖਤ ਦੀ ਅੱਗਾਂ ਹੀ ਅੱਗਾਂ
ਚੌਕ –ਚੁਰਾਹੇ ਸੜਦੀਆਂ ਪੱਗਾਂ ਹੀ ਪੱਗਾਂ

ਪੱਤੇ ਬੂਟੇ ਡੋਡੀਆਂ ਫੁੱਲਾਂ ਦੀਆਂ ਲੜੀਆਂ
ਸਭ ਕੁਝ ਅੱਗ ਵਿਚ ਸੜ ਗਿਆ
ਮਿਰਚਾਂ ਨਾ ਸੜੀਆਂ
ਉਹ ਮਿਰਚਾਂ ਜ਼ਹਿਰੀਲੀਆਂ
ਏਦੇ ਸਿਰ ਤੋਂ ਵਾਰੋ
ਸਿਰ ਤੋਂ ਵਾਰੋ ਵਾਰ ਕੇ
ਅੱਗ ਦੇ ਵਿਚ ਸਾੜੋ ।

ਅੱਗ ਪਿਤਰਾਂ ਦੀ ਜੀਭ ਹੈ
ਓਦੀ ਭੇਟਾ ਚਾੜ੍ਹੋ
ਉਹ ਪਿਤਰਾਂ ਦਾ ਬੀਜਿਆਂ
ਬੀਤੇ ਸੰਗ ਸਾੜੋ ।

ਲੱਗੀ ਨਜ਼ਰ ਪੰਜਾਬ ਨੂੰ, ਏਦ੍ਹੀ ਨਜ਼ਰ ਉਤਾਰੋ।
ਲੈ ਕੇ ਮਿਰਚਾਂ ਕੌੜੀਆਂ ਏਦ੍ਹੇ ਸਿਰ ਤੋਂ ਵਾਰੋ

ਸੁਰਜੀਤ ਪਾਤਰ

RESPECT

RESPECT

Respect is a lesson that everyone should learn

Respect must be given before an expected return

Respect is something that’s given for free

Respect is about us and never about me

Respect is the basis on which relationships are founded

Respect is the anchor that keeps a person well grounded

Respect builds the character and defines who we are

Respect sets the standard and raises the bar

Respect is magnanimous and helps to fulfil

Respect is the partner that sits with good will

Respect is like honey so sweet it’s perceived

Respect a taste to savour for when it’s received

don wilson

Sikh documentaries...

1) Khalsa: A historical film in Punjabi with English subtitles. A humble tribute to all Guru Sahibaan & Great Sikh Martyrs who laid their lives for the principals of Sikhism and to protect the self-respect of Humanity
2) The inseparables: documentary about the relationship of a Sikh with his turban from an historical and religious perspective
3) Prakash Sri Guru Granth Sahib: a documentary film about the uniqueness of Sri Guru Granth Sahib
4) My Mother India: a powerful tale of love and hate, exile and belonging, loss of identity and return of faith
5) Kaya Taran: Sashi Kumar explores the consequences of the 1984 anti-Sikh riots at the individual and social levels through the prism of Gujarat 2002
6) The Sikh Next Door: this short film is a video resource that demonstrates the bicultural lives of Sikh Americans and engages students in a discussion about multiculturalism
7) Continuous Journey: A beautiful essay by Candian filmmaker, Ali Kazimi, that unravels the complex and neglected story of the Komagata Maru and how a ship with 376 mostly Sikh immigrants from India was turned away by Canada in 1914
8) Khamosh Pani (Silent Waters): Pakistani filmmaker, Sabiha Sumar, tells the tragic story of a Sikh women left behind in Pakistan after the partition of India in 1947
9) Blade Battle: A stylistic rendition of the Sikh martial art, Gatka, in this short film by Canadian Pardeep Singh
10) Divided We Fall (Work In Progress): Valarie Kaur will present on her project to document the impact of 9/11 on the lives of ordinary Sikh-Americans
11) India: Who Killed the Sikhs?: An Australian documentary investigating the extra-judicial killings of Sikhs in Punjab during the 1980's and early 1990's.
12) Final Solution: This film by Rakesh Sharma is a study of the politics of hate. Set in Gujarat during 2002 and 2003, the film examines the phenomenon of organized violence against minorities in India
13) Legend of Malerkotla: A Tale from the Punjab - Filmmakers Iqbal and Anu Malhotra examine a small town in Punjab, Malerkotla, where Hindus, Muslims and Sikhs have lived in harmony for over five centuries.
14) Naam: Canadian filmmaker Pardeep Singh takes us on a spiritual journey to connect with the concept of Naam in this short film.
15) Punjabi Cab: Filmmaker Liam Dalzell looks at the harassment that Bay Area Sikh taxi drivers have endured since 9/11 and their resilience in overcoming these hardships.
16) Sewa: From Paris To Tapovan - Filmmaker Reema Anand tells the inspiring story of Sardar Bhagwant Singh Dalawari who has spent the last 25 years caring for leprosy patients in small village called Tapovan after a career as a Indian Foreign Diplomat serving across Europe and Africa.
17) Sikh, Rattle & Roll: For Jas a big day is approaching which marks his passage into adult life, but his friend's jibes and remarks have made him fearful and apprehensive about his new identity. How will Jas relate this new look to his friends and his love for Elvis? A short film by Ekta Walia.
18) Sikh Street: Documentary charting the cultural impact on a typical English street over time as more Sikh residents move in over a half-century.
19) Sikhs And The City: This BBC documentary offers a rare and entertaining portrait of one of Britain's biggest, but least understood, faith communities. It's actually a day-in-the-life snapshot of Britain's Sikhs, as they celebrate the 400th anniversary of the Guru Granth Sahib.
20) Turning Points: Storming The Temple: This piece by Christine Nielsen is a poignant study of the events that led up to the infamous massacre of thousands of innocent Sikhs in 1984. The documentary examines the cultural tensions that existed in India in the early 1980s and it probes the concept of violence cycles.
21) Unheard Voices of Punjab: Filmmaker Harpreet Kaur presents a documentary about the victims of Punjab who share personal encounters that they faced during the years of turmoil in Punjab
22) Amar Khalsa: The movie offers an insight into the mind of the 10th Sikh Guru who laid the foundation of the Khalsa to fight the evils and secure dignity of life.
23) Dharam di chaddar (The sheet of religion): project is an attempt to show a true picture of the circumstances in 1695 AD, leading to the sacrifice of the Guru Tegh Bahadur.

Teachers

A good teacher is like a candle
it consumes itself to light the way for others

the mediocre teacher tells
the good teacher explains
the superior teacher demonstrates
the great teacher inspires

and you're the one who inspires us! !

Miss Smiley face

Sonnet: Respect

Respect your elders all if they deserve;
Respect your servants too who you well serve;
Respect your father for tilling the soil;
Respect your mother for her love and toil.

Respect all teachers who gave you knowledge;
Respect your friend who saved you from the ledge;
Respect all good minds who advised you good;
Respect the man of God who gave soul’s food.

Respect all strangers who were all Godsends;
Respect your foes who taught you self-defense;
Respect those evil men who you troubled;
Respect the tempter who well you misled.

Respect your conscience which tells you what’s right;
Respect your God who is your Friend and Guide.

Dr John Celes

Oh God...

oh, my God it's you I obei,
oh, my God, it's for you that I pray,
oh, my God, it's thanks to you that there is night and day,
oh, my God, show us the right way,

oh, my God, protect us,
oh, my God, help us,

oh, my God i know you see pepole in pain,
oh, my God, help them have a shelter from the rain,
oh, my God, help the weak,
oh, my God, it's you that they seek...

Kuji soliman

Thanks GOD

Thanks GOD! !
I am alive today!
I am blessed today`
I am favored today
I am happy today
Thank God I can dream'
Thank God I can sleep`
Thank God I can scream'
Thank God I can weep
Thank God I can express
My human nuture to love
Thank God I can press`
On to the price at the end of the race;
Thank God I can move'
To the beat of my heart and dance`
Thank God I can FORGIVE!
Thank God I can give`
Thank GOD I can do all things!

TUMELO MAKHUDU

Who Is The Best

Once there was this Rishi
Living under a banyan tree

Meditating on Him, all his life
Alone, without worries or wife..

It was a sunny day, bit hazy
Rishi was relaxed and lazy
A mouse came running and fell at his feet
A cat came chasing to eat

The mouse prayed 'Gimme shelter or u sin'
The cat said 'Protecting my food is no less a thing'
Rishi had to decide one way or other
Rishi blessed the mouse to be his daughter

The daughter grew into a beautiful woman
Time came for Rishi to think of her man.
He asked the daughter for any criteria or test
She said she wanted only the Best

Best of a man is a Rishi, said the father
Not really so, said the daughter
When Rishi said, better than a Rishi is the only Sun
No, said the daughter, not the burning hot one!

Rishi asked the Sun, if he knows anyone better
The Sun said, try the Cloud, it hides my power
When Rishi told her of the Cloud's valor
No, said the daughter, I hate the dark color

Rishi asked the Cloud, who betters it
The Cloud said, surely the Wind, it blows me out
Rishi asked the daughter, if Wind is her choice
No, said the daughter, It just makes noise.

Rishi asked the Wind, for a better person
The Wind said, It is the immovable Mountain
Rishi asked the daughter, if Mountain passes her test
No, said the daughter, full of trough and crest

Rishi asked the Mountain for the best in the land
The Mountain said, It is the Mouse that crushes it to sand
Rishi asked the daughter, if Mouse is her groom
Yes, said the daughter, I love his eyes that zoom..

Rishi made his daughter back into a mouse
They married and lived in a hole as their house
The Best for a mouse is mouse, for Rishi a Rishi, for crook a crook
It depends on what you look out for; your outlook!

ਅੰਮ੍ਰਿਤਾ ਪ੍ਰੀਤਮ (1919-2005)

ਅੱਜ ਆਖਾਂ ਵਾਰਸ ਸ਼ਾਹ ਨੂੰ

ਅੱਜ ਆਖਾਂ ਵਾਰਸ ਸ਼ਾਹ ਨੂੰ

ਕਿਤੋਂ ਕਬਰਾਂ ਵਿੱਚੋਂ ਬੋਲ।

ਤੇ ਅੱਜ ਕਿਤਾਬੇ ਇਸ਼ਕ ਦਾ

ਕੋਈ ਅਗਲਾ ਵਰਕਾ ਫੋਲ।

ਇਕ ਰੋਈ ਸੀ ਧੀ ਪੰਜਾਬ ਦੀ

ਤੂੰ ਲਿਖ ਲਿਖ ਮਾਰੇ ਵੈਣ।

ਅੱਜ ਲੱਖਾਂ ਧੀਆਂ ਰੋਂਦੀਆਂ

ਤੈਨੂੰ ਵਾਰਸ ਸ਼ਾਹ ਨੂੰ ਕਹਿਣ।

ਵੇ ਦਰਦਮੰਦਾਂ ਦਿਆ ਦਰਦੀਆ

ਉੱਠ ਤੱਕ ਆਪਣਾ ਪੰਜਾਬ।

ਅੱਜ ਬੇਲੇ ਲਾਸ਼ਾਂ ਵਿਛੀਆਂ

ਤੇ ਲਹੂ ਦੀ ਭਰੀ ਚਨਾਬ।

ਕਿਸ ਨੇ ਪੰਜਾਂ ਪਾਣੀਆਂ ਵਿੱਚ

ਦਿੱਤੀ ਜ਼ਹਿਰ ਮਿਲਾ।

ਤੇ ਉਹਨਾਂ ਪਾਣੀਆਂ ਧਰਤ ਨੂੰ

ਦਿੱਤਾ ਪਾਣੀ ਲਾ।

ਇਸ ਜ਼ਰਖ਼ੇਜ਼ ਜ਼ਮੀਨ ਦੇ

ਲੂੰ ਲੂੰ ਫੁੱਟਿਆ ਜ਼ਹਿਰ।

ਗਿੱਠ ਗਿੱਠ ਚੜ੍ਹੀਆਂ ਲਾਲੀਆਂ

ਫੁੱਟ ਫੁੱਟ ਚੜ੍ਹਿਆ ਕਹਿਰ।

ਵਿਹੁ ਵਲਿੱਸੀ ਵਾ ਫਿਰ

ਵਣ ਵਣ ਵਗੀ ਜਾ।

ਉਹਨੇ ਹਰ ਇਕ ਬਾਂਸ ਦੀ ਵੰਝਲੀ

ਦਿੱਤੀ ਨਾਗ ਬਣਾ।

ਪਹਿਲਾ ਡੰਗ ਮਦਾਰੀਆਂ

ਮੰਤਰ ਗਏ ਗੁਆਚ।

ਦੂਜੇ ਡੰਗ ਦੀ ਲੱਗ ਗਈ

ਜਣੇ ਖਣੇ ਨੂੰ ਲਾਗ।

ਨਾਗਾਂ ਕੀਲੇ ਲੋਕ ਮੂੰਹ

ਬਸ ਫਿਰ ਡੰਗ ਹੀ ਡੰਗ।

ਪਲੋ ਪਲੀ ਪੰਜਾਬ ਦੇ

ਨੀਲੇ ਪੈ ਗਏ ਅੰਗ।

ਗਲਿਓਂ ਟੁੱਟੇ ਗੀਤ ਫਿਰ

ਤ੍ਰਕਲਿਉਂ ਟੁੱਟੀ ਤੰਦ।

ਤ੍ਰਿੰਜਣੋਂ ਟੁੱਟੀਆਂ ਸਹੇਲੀਆਂ

ਚਰਖੜੇ ਘੂਕਰ ਬੰਦ।

ਸਣੇ ਸੇਜ ਦੇ ਬੇੜੀਆਂ,

ਲੁੱਡਣ ਦਿੱਤੀਆਂ ਰੋੜ।

ਸਣੇ ਡਾਲੀਆਂ ਪੀਂਘ ਅੱਜ

ਪਿੱਪਲਾਂ ਦਿੱਤੀ ਤੋੜ।

ਜਿਥੇ ਵਜਦੀ ਫੂਕ ਪਿਆਰ ਦੀ

ਉਹ ਵੰਝਲੀ ਗਈ ਗੁਆਚ।

ਰਾਂਝੇ ਦੇ ਸਭ ਵੀਰ ਅੱਜ

ਭੁੱਲ ਗਏ ਉਸਦੀ ਜਾਚ।

ਧਰਤੀ 'ਤੇ ਲਹੂ ਵਸਿਆ

ਕਬਰਾਂ ਪਈਆਂ ਚੋਣ।

ਪ੍ਰੀਤ ਦੀਆਂ ਸ਼ਹਿਜ਼ਾਦੀਆਂ

ਅੱਜ ਵਿੱਚ ਮਜ਼ਾਰਾਂ ਰੋਣ।

ਅੱਜ ਸਭੇ ਕੈਦੋਂ ਬਣ ਗਏ

ਹੁਸਨ ਇਸ਼ਕ ਦੇ ਚੋਰ।

ਅੱਜ ਕਿੱਥੋਂ ਲਿਆਈਏ ਲੱਭ ਕੇ

ਵਾਰਿਸ ਸ਼ਾਹ ਇਕ ਹੋਰ।

ਅੱਜ ਆਖਾਂ ਵਾਰਸ ਸ਼ਾਹ ਨੂੰ

ਕਿਤੋਂ ਕਬਰਾਂ ਵਿੱਚੋਂ ਬੋਲ।

ਤੇ ਅੱਜ ਕਿਤਾਬੇ ਇਸ਼ਕ ਦਾ

ਕੋਈ ਅਗਲਾ ਵਰਕਾ ਫੋਲ।

ਪ੍ਰੋਫੈਸਰ ਮੋਹਣ ਸਿੰਘ (1905-1978)

ਸਾਵੇ ਪੱਤਰ

ਅਸੀਂ ਨਿਮਾਣੇ ਸਾਵੇ ਪੱਤਰ,

ਸਾਨੂੰ ਕੌਣ ਖਿਆਲੇ।

ਦੋ ਦਿਨ ਛਾਂ ਫੁੱਲਾਂ ਦੀ ਸੁੱਤੇ,

ਜਾਗੇ ਸਾਡੇ ਤਾਲੇ।

ਸੋਹਣੇ ਦੇ ਗੁਲਦਸਤੇ ਖ਼ਾਤਿਰ,

ਜਾਣ ਜਦੋਂ ਉਹ ਲੱਗੇ

ਖਾ ਕੇ ਤਰਸ ਅਸਾਂ ਉੱਤੇ ਵੀ,

ਲੈ ਗਏ ਸਾਨੂੰ ਨਾਲੇ।

ਅੰਬੀ ਦੇ ਬੂਟੇ ਥੱਲੇ

ਇਕ ਬੂਟਾ ਅੰਬੀ ਦਾ ਘਰ ਸਾਡੇ ਲੱਗਾ ਨੀ

ਜਿਸ ਥੱਲੇ ਬਹਿਣਾ ਨੀ, ਸੁਰਗਾਂ ਦਾ ਰਹਿਣਾ ਨੀ

ਕੀ ਉਸਦਾ ਕਹਿਣਾ ਨੀ, ਵਿਹੜੇ ਦਾ ਗਹਿਣਾ ਨੀ

ਪਰ ਮਾਹੀ ਬਾਝੋਂ ਨੀ, ਪਰਦੇਸੀ ਬਾਝੋਂ ਨੀ

ਇਹ ਮੈਨੂੰ ਵੱਢਦਾ ਏ, ਖੱਟਾ ਲਗਦਾ ਏ।

ਇਸ ਬੂਟੇ ਥੱਲੇ ਜੇ, ਮੈਂ ਚਰਖਾ ਡਾਹਨੀ ਆਂ

ਤੇ ਜੀ ਪਰਚਾਵਣ ਨੂੰ ਦੋ ਤੰਦਾਂ ਪਾਨੀ ਆਂ

ਕੋਇਲ ਦੀਆਂ ਕੂਕਾਂ ਨੀ ਮਾਰਨ ਬੰਦੂਕਾਂ ਨੀ

ਪੀਹੜੇ ਨੂੰ ਭੰਨਾਂ ਮੈਂ ਚਰਖੀ ਨੂੰ ਫੂਕਾਂ ਨੀ

ਫਿਰ ਡਰਦੀ ਭਾਬੋ ਤੋਂ ਲੈ ਬਹਾਂ ਕਸੀਦਾ ਨੀ

ਯਾਦਾਂ ਵਿਚ ਡੁੱਬੀ ਦਾ ਦਿਲ ਕਿਧਰੇ ਜੁੜ ਜਾਵੇ

ਤੇ ਸੂਈ ਕਸੀਦੇ ਦੀ ਪੋਟੇ ਵਿਚ ਪੁੜ ਜਾਵੇ।

ਫਿਰ ਉੱਠ ਕੇ ਪੀਹੜੇ ਤੋਂ ਮੈਂ ਭੁੰਜੇ ਬਹਿ ਜਾਵਾਂ

ਚੀਚੀ ਧਰ ਠੋਡੀ 'ਤੇ ਵਹਿਣਾ ਵਿਚ ਵਹਿ ਜਾਵਾਂ

ਸੁੱਖਾਂ ਦੀਆਂ ਗੱਲਾਂ ਨੀ ਮੇਲਾਂ ਦੀਆਂ ਘੜੀਆਂ ਨੀ

ਖੀਰਾਂ ਤੇ ਪੂੜੇ ਨੀ ਸਾਵਣ ਦੀਆਂ ਝੜੀਆਂ ਨੀ

ਸੋਹਣੇ ਦੇ ਤਰਲੇ ਨੀ ਤੇ ਮੇਰੀਆਂ ਅੜੀਆਂ ਨੀ

ਜਾਂ ਚੇਤੇ ਆ ਜਾਵਣ ਲੋਹੜਾ ਹੀ ਪਾ ਜਾਵਣ।

ਉਹ ਕਿਹਾ ਦਿਹਾੜਾ ਸੀ ਉਹ ਭਾਗਾਂ ਵਾਲਾ ਸੀ

ਉਹ ਕਰਮਾਂ ਵਾਲਾ ਸੀ ਜਿਸ ਸ਼ੁੱਭ ਦਿਹਾੜੇ ਨੀ

ਘਰ ਮੇਰਾ ਲਾੜਾ ਸੀ

ਮੈਂ ਨ੍ਹਾਤੀ ਧੋਤੀ ਨੀ, ਮੈਂ ਵਾਲ ਵਧਾਏ ਨੀ

ਮੈਂ ਕਜਲਾ ਪਾਇਆ ਨੀ, ਮੈਂ ਗਹਿਣੇ ਲਾਏ ਨੀ

ਮਲ ਮਲ ਕੇ ਖੇੜੀ ਮੈਂ ਹੀਰੇ ਲਿਸ਼ਕਾਏ ਨੀ

ਲਾ ਲਾ ਕੇ ਬਿੰਦੀਆਂ ਮੈਂ ਕਈ ਫੰਬ ਬਣਾਏ ਨੀ

ਜਾਂ ਹਾਰ ਸ਼ਿੰਗਾਰਾਂ ਤੋਂ ਮੈਂ ਵਿਹਲੀ ਹੋਈ ਨੀ

ਆ ਅੰਬੀ ਥੱਲੇ ਨੀ ਫਿਰ ਪੂਣੀ ਛੋਹੀ ਨੀ।

ਉਹ ਚੰਦ ਪਿਆਰਾ ਵੀ, ਆ ਬੈਠਾ ਸਾਹਵੇਂ ਨੀ

ਅੰਬੀ ਦੀ ਛਾਵੇਂ ਨੀ, ਉਹ ਮੇਰੀਆਂ ਪ੍ਰੀਤਾਂ ਦਾ

ਸੋਹਣਾ ਵਣਜਾਰਾ ਨੀ

ਕਿੱਸੇ ਪਰਦੇਸਾਂ ਦੇ, ਲਾਮਾਂ ਦੀਆਂ ਗੱਲਾਂ ਨੀ

ਘੁਮਕਾਰ ਜਹਾਜ਼ਾਂ ਦੀ ਸਾਗਰ ਦੀਆਂ ਛੱਲਾਂ ਨੀ

ਵੈਰੀ ਦੇ ਹੱਲੇ ਨੀ ਸੋਹਣੇ ਦੀਆਂ ਠੱਲਾਂ ਨੀ

ਉਹ ਦੱਸੀ ਜਾਵੇ ਤੇ ਮੈਂ ਭਰਾਂ ਹੁੰਗਾਰਾ ਨੀ।

ਉਸ ਗੱਲਾਂ ਕਰਦੇ ਨੂੰ ਪੱਤਿਆਂ ਦੀ ਖੜ ਖੜ ਨੇ

ਬੱਦਲਾਂ ਦੀ ਸ਼ੂਕਰ ਨੇ ਵੰਗਾਂ ਦੀ ਛਣ ਛਣ ਨੇ

ਚਰਖੀ ਦੀ ਘੂਕਰ ਨੇ, ਟੱਪਿਆਂ ਦੀ ਲੋਰੀ ਨੇ

ਕੋਇਲ ਦੀ ਕੂਕਰ ਨੇ ਮੰਜੇ 'ਤੇ ਪਾ ਦਿੱਤਾ

ਤੇ ਘੂਕ ਸੁਲ੍ਹਾ ਦਿੱਤਾ।

ਤੱਕ ਸੁੱਤਾ ਮਾਹੀ ਨੀ

ਚਰਖੀ ਚਰਮਖ ਤੋਂ, ਮੈਂ ਕਾਲਖ ਲਾਹੀ ਨੀ

ਜਾ ਸੁੱਤੇ ਸੋਹਣੇ ਦੇ, ਮੱਥੇ 'ਤੇ ਲਾਈ ਨੀ

ਮੈਂ ਤਾੜੀ ਲਾਈ ਨੀ

ਮੈਂ ਦੋਹਰੀ ਹੋ ਗਈ ਨੀ, ਮੈਂ ਚੌਹਰੀ ਹੋ ਗਈ ਨੀ

ਉਹ ਉੱਠ ਖਲੋਇਆ ਨੀ, ਘਬਰਾਇਆ ਹੋਇਆ ਨੀ

ਉਹ ਬਿਟ ਬਿਟ ਤੱਕੇ ਨੀ, ਉਹ ਮੁੜ ਮੁੜ ਪੁੱਛੇ ਨੀ

ਮੈਂ ਗੱਲ ਨਾ ਦੱਸਾਂ ਨੀ।

ਤੱਕ ਸ਼ੀਸ਼ਾ ਚਰਖੀ ਦਾ ਉਸ ਘੂਰੀ ਪਾਈ ਨੀ

ਮੈਂ ਚੁੰਗੀ ਲਾਈ ਨੀ

ਉਹ ਪਿੱਛੇ ਭੱਜਾ ਨੀ, ਮੈਂ ਦਿਆਂ ਨਾ ਡਾਹੀ ਨੀ

ਉਸ ਮਾਣ ਜਵਾਨੀ ਦਾ, ਮੈਂ ਹਠ ਜ਼ਨਾਨੀ ਦਾ

ਮੈਂ ਅੱਗੇ ਅੱਗੇ ਨੀ, ਉਹ ਪਿੱਛੇ ਪਿੱਛੇ ਨੀ

ਮੰਜੀ ਦੇ ਗਿਰਦੇ ਨੀ ਅੰਬੀ ਦੇ ਗਿਰਦੇ ਨੀ

ਨੱਸਦੇ ਵੀ ਜਾਈਏ ਨੀ, ਹੱਸਦੇ ਵੀ ਜਾਈਏ ਨੀ

ਉਹਦੀ ਚਾਦਰ ਖੜਕੇ ਨੀ, ਮੇਰੀ ਕੋਠੀ ਧੜਕੇ ਨੀ

ਉਹਦੀ ਜੁੱਤੀ ਚੀਕੇ ਨੀ ਮੇਰੀ ਝਾਂਜਰ ਛਣਕੇ ਨੀ

ਉਹਦੀ ਪਗੜੀ ਢਹਿ ਪਈ ਨੀ

ਮੇਰੀ ਚੁੰਨੀ ਲਹਿ ਗਈ ਨੀ

ਜਾਂ ਹਫ ਕੇ ਰਹਿ ਗਏ ਨੀ

ਚੁੱਪ ਕਰ ਕੇ ਬਹਿ ਗਏ ਨੀ

ਉਹ ਕਿਹਾ ਦਿਹਾੜਾ ਸੀ ਉਹ ਭਾਗਾਂ ਵਾਲਾ ਸੀ

ਉਹ ਕਰਮਾਂ ਵਾਲਾ ਸੀ ਜਿਸ ਸ਼ੁਭ ਦਿਹਾੜੇ ਨੀ

ਘਰ ਮੇਰਾ ਲਾੜਾ ਸੀ।

ਅੱਜ ਖਾਣ ਹਵਾਵਾਂ ਨੀ, ਅੱਜ ਸਾੜਨ ਛਾਂਵਾਂ ਨੀ

ਤਰਖਾਣ ਸਦਾਵਾਂ ਨੀ, ਅੰਬੀ ਕਟਵਾਵਾਂ ਨੀ

ਤੋਬਾ ਮੈਂ ਭੁੱਲੀ ਨੀ, ਹਾੜਾ ਮੈਂ ਭੁੱਲੀ ਨੀ

ਜੇ ਅੰਬੀ ਕੱਟਾਂਗੀ, ਚੜ੍ਹ ਕਿਸ ਦੇ ਉੱਤੇ ਮੈਂ

ਰਾਹ ਢੋਲੇ ਦਾ ਤੱਕਾਂਗੀ।

KHAS VIDIEO LINK

	ਨਵਾਜ਼ ਡੋਗਾ (ਗਾਇਕ) Nawaz Doga (Singer) Lyrics: Prem Mann ਗੀਤ: ਤੈਨੂੰ ਤੱਕਿਆ ਜਾਂ ਸਾਹਮਣੇ ਬਿਠਾ ਕੇ, ਚੰਨਾਂ ਵੇ ਮੈਨੂੰ ਰੱਬ ਭੁੱਲਿਆ। http://www.youtube.com/watch?v=741ow3dQo3Q ਡਾ. ਸ਼ਸ਼ੀ ਕਾਂਤ ਉੱਪਲ (ਪੰਜਾਬੀ ਅਤੇ ਹਿੰਦੀ ਸ਼ਾਇਰ) "ਸਾਵੇ ਪੱਤਰ" ਤੇ Dr. Shashi Kant Uppal (Punjabi and Hindi Poet) on Saavey Pattar Show Part I: http://www.youtube.com/watch?v=VwmhDW97Ajg Part II: http://www.youtube.com/watch?v=msI-McoCE9 ਰਵਿੰਦਰ ਸਹਿਰਾਅ (ਪੰਜਾਬੀ ਸ਼ਾਇਰ) "ਸਾਵੇ ਪੱਤਰ" ਤੇ Ravinder Sahraa (Punjabi Poet) on Saavey Pattar Show Part I: http://www.youtube.com/watch?v=8KIzrYco74o Part II: http://www.youtube.com/watch?v=pEFWlr-I-P0 Part III: http://www.youtube.com/watch?v=s3RO0bxl7KY ਨਰਿੰਦਰ ਮਾਵੀ (ਪੰਜਾਬੀ ਗਾਇਕਾ) "ਸਾਵੇ ਪੱਤਰ" ਤੇ Narinder Mavi (Punjabi Singer) on Saavey Pattar Show Part I: http://www.youtube.com/watch?v=ITXzDbTTBl0 Part II: http://www.youtube.com/watch?v=8wTds1HNweA Part III: http://www.youtube.com/watch?v=6LPv8gmblFM

TimeLine Of Historical Events In Punjab History

The following list covers a brief timeline of major events occurred in the hisotry of punjab which are worth mentioning. Although i guess a big thick book can be written with detailed events of punjab history.

500,000 Years: Pre-historic and Proto-historic existance of early mankind

2500 - 1500 B.C.: Harappa Culture

2500 - 700 B.C.: Rigvedic Aryan Civilization

500 - 200 B.C.: ?Age of Ramayana

1500 B.C.: ?Age of Mahabharta War

500 - 400 B.C.: ?Mahabharta Book completed

599 B.C.: Jainism

567 - 487 B.C.: Budha

550 B.C - 600 A.D.: Budhism remained prevelent

550 - 515 B.C.: Persian Invasion to west of Indus River

326 B.C.: Alexander-s Invasion

322 - 298 B.C.: Chandra Gupta Maurya Period

273 - 232 B.C.: Ashoka-s Period

125 - 160 B.C.: Rise of the Sakas (Scythians known as Jat ancestors)

2 B.C.: Beginning of Rule of the Sakas.

45 - 180 A.D.: Rule of the Kushanas

320 - 550 A.D.: Gupta Empire

500 A.D.: Huns Invasion

510 - 650 A.D.: Vardhanas Era

647 - 1192 A.D.: Rajput Period

713 - 1300 A.D.: Muslim Invaders (Turks and Arabs) famous invaders like Mahmud

Gori and Mahmud Ghazni

8th Century A.D.: Arabs capture Sind and Multan

1450 - 1700 A.D.: Mughal Rulers

1469 - 1539 A.D.: Guru Nanak Dev Ji (1st Sikh Guru)

1539 - 1675 A.D.: Period of 8 Sikh Gurus from Guru Angad Dev Ji to Guru Tegh

Bahadur Ji

1675 - 1708 A.D.: Guru Gobind Singh Ji (10th Sikh Guru)

1699 A.D.: Birth of the Khalsa

1708 - 1715 A.D.: Conquests of Banda Bahadur

1716 - 1759 A.D.: Sikh struggle against Moghul Governors

1739 A.D.: Invasion of Nadir Shah

1748 -1769 A.D.: Ahmed Shah Abdali-s nine invasions

1762 A.D.: 2nd Holocaust (Ghalughara) from Ahmed Shah-s 6th invasion

1764 - 1799 A.D.: Rule of the Sikh Misls

1799 - 1839 A.D.: Rule by Maharaja Ranjit Singh

1849 A.D.: Annexation of Punjab

1849 - 1947 A.D.: British Rule

1947 A.D.: Partition of India thus Punjab into 2 parts the Eastern part became the

Indian Punjab and the Western part the Pakistan Punjab

1966 A.D.: Punjab in India divided into 3 parts on Linguistic basis

(Haryana, Himachal and Punjabi suba the present Punjab)

1984 A.D.: Operation Blue Star and its aftermath

Teachers call strike over UGC proposals

I think it is a very good move by the UGC. This should implement asap to improve the academic standard in the universities. Why teachers are opposing it, if they are sincere and dedicated to their profession, they should welcome it. Abdul Jabbar Khan Ph.D (physics)-1989 Albany, NY A strike on Saturday called by central university teachers across the country forced Delhi University (DU) colleges to postpone internal examinations slated for that day. The strike was called in protest against the University Grants Commission (UGC) meet on Saturday to decide on the teachers’ service conditions based on the Thyagarajan committee recommendations. The Federation of Central Universities Teachers’ Associations (FEDCUTA), which has called the strike, said the teachers felt betrayed. FEDCUTA president Aditya Narayan Mishra, who is also the chief of the Delhi University Teachers’ Association ( DUTA), said: “The UGC had assured that the proposed service conditions would be suitably amended. But now it is going ahead with the meeting without consulting the teachers. It is going to adopt the retrograde service conditions recommended by the Thyagarajan committee.” The recommendations enlisted several criteria for promotion of teachers under the career advancement scheme, which includes an academic performance indicator and weightage points. Based on these parameters the teachers would have to earn points for their promotion. The teachers will earn 150 points for their performance – teaching, familiarity with up – todate teaching material and participation in external/internal examination work. Another 50 points will be awarded for contribution to professional activity by dint of being members on different boards of studies and higher education committees. Besides, they will get 10 points for writing in research publications (journals); 20 points for publishing books or chapters in books by international publishers; 20 points for participation in seminars, conferences and workshops; and 15-20 points for recognition atinternational, national and regional level. Moreover, they will get 10 points for responsibilities such as vice-principal, dean, director, warden or bursar. Membership to professional associations would fetch five points. Awards from accredited international and national associations carry 50 points, while recognitions like a Padmashri or anything from international organisations such as Unesco would fetch another 50 points. Presidents of FEDCUTA affiliates from Aligarh Muslim University, Allahabad University, Assam University, Indira Gandhi National Open University, Jamia Millia Islamia and Delhi University said the parameters for promotion were baseless.

ਸ਼ਿਵ ਕੁਮਾਰ ਬਟਾਲਵੀ

ਕੰਡਿਆਲੀ ਥੋਰ

ਮੈਂ ਕੰਡਿਆਲੀ ਥੋਰ ਵੇ ਸੱਜਣਾ

ਉੱਗੀ ਵਿੱਚ ਉਜਾੜਾਂ !
ਜਾਂ ਉਡਦੀ ਬਦਲੋਟੀ ਕੋਈ ,
ਵਰ ਗਈ ਵਿਚ ਪਹਾੜਾਂ !

ਜਾਂ ਉਹ ਦੀਵਾ ਜਿਹੜਾ ਬਲਦਾ ,
ਪੀਰਾਂ ਦੀ ਦੇਹਰੀ ਤੇ ,
ਜਾਂ ਕੋਈ ਕੋਇਲ ਕੰਠ ਜਿਦੇ ਦੀਆਂ ,
ਸੂਤੀਆਂ ਜਾਵਣ ਨਾੜਾਂ !

ਜਾਂ ਚੰਬੇ ਦੀ ਡਾਲੀ ਕੋਈ ,
ਜੋ ਬਾਲਣ ਬਣ ਜਾਏ ,
ਜਾਂ ਮਰੂਏ ਦਾ ਫੁੱਲ ਬਸੰਤੀ ,
ਜੋ ਠੁੰਗ ਜਾਣ ਗੁਟਾਰਾਂ !

ਜਾਂ ਕੋਈ ਬੋਟ ਕਿ ਜਿਸ ਦੇ ਹਾਲੇ
ਨੈਣ ਨਹੀ ਸਨ ਖੁੱਲੇ
ਮਾਰਿਆ ਮਾਲੀ ਕੱਸ ਗੁਲੇਲਾ
ਲੈ ਦਾਖਾਂ ਦੀਆਂ ਆੜਾਂ !

ਮੈਂ ਕੰਡਿਆਲੀ ਥੋਰ ਵੇ ਸੱਜਣਾ ,
ਉੱਗੀ ਕਿਤੇ ਕੁਰਾਹੇ !
ਨਾ ਕਿਸੇ ਮਾਲੀ ਸਿੰਜਿਆ ਮੈਨੂੰ ,
ਨਾ ਕੋਈ ਸਿੰਜਣਾ ਚਾਹੇ !

ਯਾਦ ਤੇਰੀ ਦੇ ਉੱਚੇ ਮਹਿਲੀਂ ,
ਮੈਂ ਬੈਠੀ ਪਈ ਰੋਵਾਂ ,
ਹਰ ਦਰਵਾਜੇ ਲੱਗਾ ਪਹਿਰਾ,
ਆਵਾਂ ਕਿਹੜੇ ਰਾਹੇ ?

ਮੈਂ ਉਹ ਚੰਦਰੀ ਜਿਸ ਦੀ ਡੋਲੀ ,
ਲੁੱਟ ਲਈ ਆਪ ਕੁਹਾਰਾਂ ,
ਬੰਨਣ ਦੀ ਥਾਂ ਬਾਬਲ ਜਿਸ ਦੇ ,
ਆਪ ਕਲੀਰੇ ਲਾਹੇ !

ਕੂਲੀ ਪੱਟ ਉਮਰ ਦੀ ਚਾਦਰ
ਹੋ ਗਈ ਲੀਰਾਂ ਲੀਰਾਂ
ਤਿੜਕ ਗਏ ਵੇ ਢੋਵਾਂ ਵਾਲੇ
ਪਲੰਘ ਵਸਲ ਲਈ ਡਾਹੇ !

ਮੇਂ ਕੰਡਿਆਲੀ ਥੋਰ ਵੇ ਸੱਜਣਾ ,
ਉੱਗੀ ਵਿਚ ਜੋ ਬੇਲੇ ,
ਨਾ ਕੋਈ ਮੇਰੇ ਛਾਂਵੇ ਬੈਠੇ ,
ਨਾ ਪੱਤ ਖ਼ਾਵਣ ਲੇਲੇ !

ਮੈਂ ਰਾਜੇ ਦੀ ਬਰਦੀ ਅੜਿਆ ,
ਤੂੰ ਰਾਜੇ ਦਾ ਜਾਇਆ ,
ਤੂਹਿਓਂ ਦਸ ਵੇ ਮੋਹਰਾਂ ਸਾਹਵੇਂ
ਮੁੱਲ ਕੀਹ ਖੋਵਣ ਧੇਲੇ ?

ਸਿਖਰ ਦੁਪਹਿਰਾਂ ਜੇਠ ਦੀਆਂ ਨੂੰ
ਸਾਉਣ ਕਿਵੇਂ ਮੈਂ ਆਖਾਂ
ਚੋਹੀਂ ਕੂਟੀ ਭਾਵੇਂ ਲੱਗਣ
ਲੱਖ ਤੀਆਂ ਦੇ ਮੇਲੇ !

ਤੇਰੀ ਮੇਰੀ ਪੀ੍ਤ ਦਾ ਅੜਿਆ
ਉਹੀਓ ਹਾਲ ਸੂ ਹੋਇਆ,
ਜਿਉਂ ਚਕਵੀ ਪਹਿਚਾਣ ਨਾ ਸੱਕੇ
ਚੰਨ ਚੜਿਆ ਦਿਹੁੰ ਵੇਲੇ !

ਮੈਂ ਕੰਡਿਆਲੀ ਥੋਰ ਵੇ ਸੱਜਣਾ ,
ਉੱਗੀ ਵਿਚ ਜੋ ਬਾਗਾਂ !
ਮੇਰੇ ਮੁੱਢ ਬਣਾਈ ਵਰਮੀ
ਕਾਲੇ ਫ਼ਨੀਅਰ ਨਾਗਾਂ !

ਮੈਂ ਮੁਰਗਾਈ ਮਾਨਸਰਾਂ ਦੀ
ਜੋ ਫੜ ਲਈ ਕਿਸੇ ਸ਼ਿਕਰੇ
ਜਾਂ ਕੋਈ ਲਾਲੀ ਪਰ ਸੰਧੂਰੀ
ਨੋਚ ਲਏ ਜਿਦੇ ਕਾਗਾਂ !

ਜਾਂ ਸੱਸੀ ਦੀ ਭੈਣ ਵੇ ਦੂਜੀ
ਕੰਮ ਜਿਦਾ ਬਸ ਰੋਣਾ
ਲੁਟ ਖੜਿਆ ਜਿਦਾ ਪੁਨੂੰ ਹੋਤਾਂ
ਪਰ ਆਈਆਂ ਨਾ ਜਾਗਾਂ !

ਬਾਗਾਂ ਵਾਲਿਆ ਤੇਰੇ ਬਾਗੀਂ
ਹੁਣ ਜੀ ਨਹੀਓ ਲਗਦਾ ,
ਖਲੀ-ਖਲੋਤੀ ਮੈਂ ਵਾੜਾਂ ਵਿਚ
ਸੋ ਸੋ ਦੁਖੜੇ ਝਾਗਾਂ !

ਬਦ-ਅਸੀਸ

ਯਾਰੜਿਆ ਰੱਬ ਕਰਕੇ ਮੈਨੂੰ

ਪੈਣ ਬਿਰਹੋਂ ਦੇ ਕੀੜੇ ਵੇ
ਨੈਣਾ ਦੇ ਦੋ ਸੰਦਲੀ ਬੂਹੇ
ਜਾਣ ਸਦਾ ਲਈ ਭੀੜੇ ਵੇ

ਯਾਦਾ ਦਾ ਇੱਕ ਛੰਭ ਮਟੀਲਾ
ਸਦਾ ਲਈ ਸੁਕ ਜਾਏ ਵੇ
ਖਿੜੀਆ ਰੂਪ ਮੇਰੇ ਦੀਆ ਕੱਮੀਆਂ
ਆ ਕੋਈ ਢੋਰ ਲਤੀੜੇ ਵੇ

ਬੰਨ ਤਤੀਰੀ ਚੋਵਣ ਦੀਦੇ
ਜਦ ਤੇਰਾ ਚੇਤਾ ਆਵੇ ਵੇ
ਐਸਾ ਦਰਦ ਭਰਾ ਮੈ ਹਉਕਾ
ਟੁੱਟ ਜਾਵਣ ਮੇਰੇ ਬੀੜੇ ਵੇ

ਇਉ ਕਰਕੇ ਮੈ ਘਿਰ ਜਾ ਅੜਿਆ
ਵਿਚ ਕਸੀਸਾਂ ਚੀਸਾਂ ਵੇ
ਜਿਉ ਗਿਰਜਾ ਦਾ ਟੋਲਾ ਕੋਈ
ਮੋਇਆ ਕਰੰਗ ਧਰੀੜੇ ਵੇ

ਲਾਲ ਬਿੰਬ ਹੋਠਾਂ ਦੀ ਜੋੜੀ,
ਘੋਲ ਵਸਾਂਰਾ ਪੀਵੇ ਵੇ
ਬੱਬਰੀਆ ਬਣ ਰੁਲਣ ਕੁਰਾਹੀਂ
ਮਨ ਮੰਦਰ ਦੇ ਦੀਵੇ ਵੇ

ਆਸਾ ਦੀ ਪਿਪਲੀ ਰੱਬ ਕਰਕੇ
ਤੋੜ ਜੜੋ ਸੁੱਕ ਜਾਏ ਵੇ
ਡਾਰ ਸ਼ੰਕ ਦੇ ਟੋਟਰੂਆ ਦੀ
ਗੋਲਾਂ ਬਾਝ ਮਰੀਵੇ ਵੇ

ਮੇਰੇ ਦਿਲ ਦੀ ਹਰ ਇਕ ਹਸਰਤ
ਬਨਵਾਸੀ ਤੁਰ ਜਾਏ ਵੇ
ਨਿੱਤ ਕੋਈ ਨਾਗ ਗ਼ਮਾ ਦਾ
ਮੇਰੀ ਹਿੱਕ ਤੇ ਕੁੰਜ ਲਹੀਏ ਵੇ

ਬੱਝੇ ਚੌਲ ਉਮਰ ਦੀ ਗੰਢੀ
ਸਾਹਵਾਂ ਦੇ ਡੁੱਲ ਜਾਵਣ ਵੇ
ਚਾੜ ਗ਼ਮਾਂ ਦੇ ਛੱਤੀਂ ਕਿਸਮਤ
ਰੋ ਰੋ ਰੋਜ ਛਟੀਵੇ ਵੇ

ਐਸੀ ਪੀੜ ਰਚੇ ਮੇਰੇ ਹੱਡੀਂ
ਹੋ ਜਾ ਝੱਲ – ਵਲੱਲੀ ਵੇ
ਤਾਅ ਕੱਕਰਾ ਚੋ ਭਾਲਣ ਦੀ
ਮੈਨੂੰ ਪੈ ਜਾਏ ਚਾਟ ਅਵੱਲੀ ਵੇ

ਭਾਸਣ ਰਾਤ ਦੀ ਹਿੱਕ ਦੇ ਤਾਰੇ
ਸਿੰਮਦੇ ਸਿੰਮਦੇ ਛਾਲੇ ਵੇ
ਦਿੱਸੇ ਬਦਲੀ ਦੀ ਟੁਕੜੀ
ਜਿਉ ਜ਼ਖਮੋਂ ਪੀਕ ਉਥਲੇ ਵੇ

ਸੱਜਣਾ ਤੇਰੀ ਭਾਲ ‘ਚ ਅੜਿਆ
ਇਉ ਕਰ ਉਮਰ ਵੰਝਾਵਾ ਵੇ
ਜਿਉਂ ਕੋਈ ਵਿਚ ਪਹਾੜਾਂ ਕਿਧਰੇ
ਵੱਗੇ ਕੂਲ ਇਕੱਲੀ ਵੇ

ਮੰਗਾ ਗਲ ਵਿਚ ਪਾ ਕੇ ਬਗਲੀ
ਦਰ ਦਰ ਮੌਤ ਦੀ ਭਿਖਿੱਆ ਵੇ
ਅੱਡੀਆ ਰਗੜ ਮਰਾਂ ਪਰ ਮੈਨੂੰ
ਮਿਲੇ ਨਾ ਮੌਤ ਸਵੱਲੀ ਵੇ

ਘੋਲੀ ਸ਼ਗਨਾ ਦੀ ਮੇਰੀ ਮਹਿੰਦੀ
ਜਾ ਦੂਧੀ ਹੋ ਜਾਏ ਵੇ
ਹਰ ਸੰਗਰਾਂਦ ਮੇਰੇ ਘਰ ਕੋਈ
ਪੀੜ ਪਰਾਹੁਣੀ ਆਏ ਵੇ

ਲੱਪ ਕੁ ਹੰਝੂ ਮੁੱਠ ਕੁ ਪੀੜਾ
ਹੋਵੇ ਪਿਆਰ ਦੀ ਪੂੰਜੀ ਵੇ
ਜਿਉਂ ਜਿਉਂ ਕਰਾ ਉਮਰ ਚੋ ਮਨਫ਼ੀ
ਤਿਉਂ ਤਿਉਂ ਵਧਦੀ ਜਾਏ ਵੇ

ਜਿੰਦਗੀ ਦੀ ਰੋਹੀ ਵਿੱਚ ਨਿੱਤ ਇਉ
ਵਧਦੀਆ ਉਜਾੜਾਂ ਵੇ
ਜਿਉ ਭੱਖੜੇ ਦਾ ਇੱਕ ਫੁੱਲ ਪੱਕ ਕੇ
ਸੂਲੇ ਚਾਰ ਬਣਾਏ ਵੇ

ਜਿਊਦੇ ਜੀ ਅਸੀ ਕਦੇ ਨਾ ਮਿਲੀਏ
ਬਾਅਦ ਮੋਇਆ ਪਰ ਸੱਜਣਾ ਵੇ
ਪਿਆਰ ਸਾਡੇ ਦੀ ਕੱਥ ਸੁੱਚੜੀ
ਆਲਮ ਕੁੱਲ ਸਣਾਏ ਵੇ

SHIV KUMAR BATALVI (1936-1973)-LIFE AND POETRY

Blog
ontact Us
Disclaimer




















Shiv Kumar Batalvi (1936-1973) – Life and Poetry
Lesser-known facts about a well-known poet1.Shiv Kumar Batalvi was born in village Lohtian (Pakistan) on October 8, 1937.2. After Partition he migrated to Batala along with his parents.3. His father was a patawri.4. He only studied up to matric.5. He worked as a patawri for a short time when he was young.6. He moved to Chandigarh in 1965.7. His first book on poetry Peeran Da Paraga was published in 1960.8. After coming to Chandigarh he joined the State Bank of India as a librarian.9. He was a heavy drinker. 10. He became famous after the publication of Loona. 11. Alcoholism took his life at a young age on May 6, 1973. Shiv Kumar Batalvi (1936-1973) – Life and PoetrySafir RammahAcademy of the Punjab in North AmericaManu SharmaSarav Bharati Likhari Sabha InternationalVolume 9, Number 2, July-December 2002The life and poetry of Shiv Kumar Batalvi - the most popular modern Punjabi poet and the youngest recipient of Shahitya Academy Award in 1967 - has been the subject of a large number of books and magazine articles, mostly written in Punjabi. Yet, a reliable and coherent study of his life has not come to light. The authors have attempted to put together a broad outline of Shiv’s life through detailed review of relevant published material, by interviewing a number of his contemporaries and family members and by conducting background research on people and places and the social and literary environment that shaped Shiv’s life and poetry. The authors also present an overview of Shiv’s poetry, highlighting its versatility and deep roots in Punjabi literary traditions. The authors have identified the main reason behind the extraordinary popularity of Shiv as his exceptional capability to embody the collective psyche of Punjabis and their traditional cultural identity in his poetry.IntroductionOn the eve of the turbulent decade of 1960’s, a dynamic, exciting and controversial time for the youth around the world, who rose to challenge and redefine the established boundaries of politics, culture, literature and art of their societies, Shiv Kumar Batalvi, a young man of barely 20 years of age, appeared on the scene of Punjabi poetry in East Punjab. By living a brief and intense life that was devoted to writing deeply profound, passionate and enchantingly lyrical poetic expressions of the pathos of his time, and dying young at the age of 36, a fate that he had predicted and romanticized throughout his poetry, he attained the charisma of a modern day saint and a fallen-hero in the eyes of many of his admirers. The sixties was primarily a phenomenon of western societies but its resonance had also touched the literature and art in the third world and had produced new trends in all forms of creative expressions. It was perhaps not a coincidence that Shiv Kumar Batalvi came to age and quickly gained prominence at this crucial juncture when the emerging era of modernity was decisively and permanently replacing the traditional way of writing Punjabi poetry. It was the most opportune time for talented poets to get attention and fame at a young age as the authentic voices of the new times. The real wonder of Shiv Kumar Batalvi’s poetry is not that he mastered the new and innovative ways to express modern poetical sensibilities better than most of his contemporaries, but that he did it by masterfully and artistically combining and fusing them with the spirit of Punjab’s culture and with the age old charm of classical Punjabi poetry and folk songs. He evoked, and still continues to do so, strong emotions among the listeners and readers of his poetry. For a vast majority, he is quintessence of the absolute best that great poetry is supposed to be, while for some his poetry is an un distraction from the true goal of poetry as a tool to identify and expose the fault lines in the society and people’s reaction to them.
__________________
ਕੌਣ ਦਿੰਦਾ ਉਮਰ ਭਰ ਦਾ ਸਹਾਰਾ..,ਲੋਕ ਤਾਂ ਅਰਥੀ 'ਚ ਵੀ ਮੋਢਾ ਬਦਲ ਲੈਦੇਂ

Re: Shiv Kumar Batalvi (1936-1973) – Life and Poetry
Shiv Kumar Batalvi’s Life:The VillageShiv was born on July 23, 1936, in a village, Bara Pind Lohtian, located in the northern part of pre-partition Punjab close to the border with the State of Jammu and Kashmir[1]. Bara Pind Lohtian is about thirty miles east of Sialkot and 15 miles west of India-Pakistan border on Zafarwal-Shakargarh road, in district Narowal. Before partition, this area was in district Gurdaspur. Due to the proximity of Jammu and Kahsmir mountains, the weather here is relatively temperate compared to the extreme summer heat of the plains of the Punjab. A number of nalas (small streams) Aik, Daigh, Basantar, Tavi and others pass through the area. The village is located on the bank of Basantar nala. At the time of the partition, the village had approximately 400 houses of Hindu and 100 houses of Muslim families. There was only one Sikh household in the village. Muslims were mostly poor while Hindus were generally affluent. They were landlords, merchants and moneylenders. Their houses were solidly built with small bricks and wood. Doors and windows were elaborately designed. The main doors had engraving of their religious figures. Hindus were the dominant faction in the village. They did not allow the slaughter of cows but other than that people in the village lived together with remarkable religious tolerance and communal harmony. They drank water from the same wells, and Hindu and Muslim children used to play together. The religious and seasonal festivals were the big events of their lives and were celebrated with a lot of funfair. The village life was by and large very peaceful. Disputes were settled by the panchayat (council) of village elders and police never came to the village. No murders or other major crimes are reported in that area during those days.The square of the village was an open space of about half an acre in area with a number of shops around it. Large mango orchards surrounded the village. On a clear day one could see the mountains of Kashmir and at nighttime lights of the city of Samba. An unpaved road passed through the village, coming from Jammu through Samba, Tanda, and Darman up to Amritsar. There used to be a diesel bus service between Samba and Amritsar that passed through the village once a day. The nearest railway station was Shakargarh, about 8 miles away. The village had a primary school for boys, an animal hospital and a small village council. There was no school for girls but a Hindu woman used to teach Hindu girls in a mandir (temple). Hindu women used to cover their faces with veils and usually did not go out of their houses. The land was very fertile and was irrigated through wells. The village was called Lohtian either because the businessmen of the area used to bring loha (iron) from Amritsar for selling, or more likely, because the cast of the Hindu Khatri clan that used to live there was Lohtia. Bara Pind Lohtian during pre-partition days was an ideal place for a sensitive and dreamy Hindu boy to grow up.The ChildhoodShiv belonged to a middle-class family that had lived in that area for many generations. His father, Pandit Krishan Gopal, was the second-born among his three brothers and two sisters[2]. He started his career as a patwari (land recorder and surveyor) and eventually reached the post of Qanoongoh (a mid-level supervisory position in the Revenue Department) and retired as the principal of Patwar School, Batala. Soon after passing the exam of patwar in 1931, Krishan Gopal married a tall and beautiful girl, Shanti Devi, from a nearby village. Shanti Devi was known for her melodious singing voice that Shiv inherited from her. Their first son, Davarka, was born during the second year of their marriage followed by Shiv a couple of years later. By all accounts, Shiv had a happy and carefree childhood. He was known for his peculiar habit of wandering around in the village and its surroundings alone. Many times, his father would have to search for him, finding him lying down under the trees at the banks of Bassantar nala or near a mandir on the south side of the village. At other times he would be found watching with fascination the tricks of snake charmers or absorbed in listening to the singings of raas-daharis (a folk verse-play based on religious songs). Even today, the old folks in the village remember that ‘patwari's son’ was known as a sheedai (obsessed) and a malang (wandering faqir). He was very fond of taking part in Ramlila (a musical verse play staged on the occasion of Hindu holy festival Dussehra for nine consecutive nights based on Ramayan) and other plays during religious festivals, usually in a female role.Shiv studied at the boys’ primary school in the village where he got a scholarship in the 4th grade exam. His father was by then promoted to the position of Girdwar (supervisor of patwaris) and posted at Dera Baba Nanak. Shiv also moved to Dera Baba Nanak with his father, mother and elder brother, Davarka.[3] Next year in August 1947, while Shiv and Davarka were visiting Bara Pind Lohtian during their summer vacations from school, the partition of Punjab was announced. In the middle of the gruesome carnage that swept the Punjab in the wake of partition, Shiv left the village with other close relatives. They travelled through the state of Jammu and Kasmir and after many days arrived at Dera Baba Nanak where Shiv's parents were anxiously waiting for their sons. Shiv's family soon migrated to Batala, across from Bara Pind Lohtian on the other side of the newly carved border. The bloody partition of Punjab shattered Shiv's idyllic childhood and brought the happiest period of his life to an abrupt end.[4]The impressions of this early period provided Shiv's poetry a nostalgic wealth of haunting imagery and metaphors, most of which can be traced back to the scenery and traditional village life of rural Punjab in the area where he grew up. The memories of his childhood stayed fresh in his mind . [Gargi 2000, ‘Kaudian Wala Sapp’ ]. The traumatic disruption of Shiv's childhood caused by the events of partition was perhaps one of the sources of his deep sorrow and melancholy, although Shiv never expressed it directly in his early poetry. Only at the end of his poetic career, he addressed it in his poem Dudh Da Qatal (Murder of Mother’s Milk), as part of a surgical and painful analysis of his inner sufferings, calling the pre-partition combined Punjab as his mother: [5]I still remember it today, and you must remember it tooWhen, together, we murdered our mother.My childhood was killed with the murder of my motherAnd its cold corpse was left behind in your place.Even now, I become quiet when I remember thatAnd lose myself in the thoughts of that half-a-body that was your share.
__________________
ਕੌਣ ਦਿੰਦਾ ਉਮਰ ਭਰ ਦਾ ਸਹਾਰਾ..,ਲੋਕ ਤਾਂ ਅਰਥੀ 'ਚ ਵੀ ਮੋਢਾ ਬਦਲ ਲੈਦੇਂ

Re: Shiv Kumar Batalvi (1936-1973) – Life and Poetry
The Years of Aimless WanderingsShiv’s family settled down in Batala in Darussalam muhalla (section of a city), now re-named as Prem Nagar.[7] Shiv attended the Salvation Army High School and passed his matriculation examination in first division in 1953. That is about how far he would go as far as formal education was concerned. To the utter disappointment of his father who wanted him to get a good education and start a successful career, he spent the next few years getting in and out of three colleges without getting a degree. He spent two years in the Baring Union Christian College, Batala, in the F.Sc. program but dropped out without sitting in the Board examination. He next joined R. D. College, Nabha, but left it after a few months. He then got admission in S.N. College, Qadian, a small town near Batala, in arts subjects but dropped out again after a couple of years. [Pal 1998][8]. Finally, his father forced him to join the Revenue Department as a patwari.[9] After joining the service, Shiv took little interest in the work and for a while made an arrangement with a retired patwari to take care of his official responsibilities in exchange of one-third of his pay. Even that didn’t last for long and Shiv resigned from his job in 1961. [Kahlon. Int. 2002].It was during the final year of his unsuccessful college career at Qadian in 1957 that Shiv started writing poetry in Punjabi[10]. Among his student friends in the colleges he had attended, he was already very popular as a talented singer and he had developed a large following of fans. [Pal 1998]. Now, instead of singing folk and film songs, he started singing his own poems. He soon got introduced in the literary circles of Batala. Some senior writers of Batala, including Jaswant Singh Rahi, Kartar Singh Balgan and Barkat Ram Yumman, as the saying goes, took him under their wings. Among them, Barkat Ram Yumman played an important role in introducing him to the kavi darbars (poetry recital functions, also called mushairas) outside Batala. [Sharma 1979].The Decade of Shiv’s Poetic MiracleThe next decade, after Shiv left S.N College, was the most prolific period of his poetry writing. It was during this time that he composed most of his masterpiece poetry that he was destined to write during his brief lifetime. Once he discovered his poetic genius, the writing of poetry became his primary passion and overshadowed all other considerations. He practically dedicated his life to writing poetry as the only objective of his life. He extensively studied Punjabi, Hindi, Urdu and English literature.[11] Shiv also developed friendships with a large number of well-known Punjabi writers and started moving in their circle. Between 1960 and 1965, he published his first five collections of poetry. One of the only two other collections that he published later contained poems that were mostly written during this period. He was awarded the coveted Sahitya Academy Award for his verse-drama, Loonan, published in 1965, becoming its youngest ever recipient.By the end of this period, Shiv had become a living legend and most sought after Punjabi poet. The organizers of kavi darbars all over the Punjab had found out that inviting Shiv would guarantee a large audience and success of their functions. They also began to break the longstanding tradition of seniority by inviting Shiv to recite his poetry after some well-established and senior poets knowing well that the audience will not stay around to listen to other poets after him. [Singh 1994]. He was the star attraction of kavi darbars and was famous for his unique and passionate style of singing of his poetry that could spellbind his audience into pin-drop silence. Many who had listened to Shiv’s recitations of his poetry found it as one of the most memorable experiences of their lives.[12] [Duggal & Sekhon 1992].
__________________
ਕੌਣ ਦਿੰਦਾ ਉਮਰ ਭਰ ਦਾ ਸਹਾਰਾ..,ਲੋਕ ਤਾਂ ਅਰਥੀ 'ਚ ਵੀ ਮੋਢਾ ਬਦਲ ਲੈਦੇਂ

Re: Shiv Kumar Batalvi (1936-1973) – Life and Poetry
Shiv’s extraordinary hold on his audience has been noted by all of his biographers. A typical example is Balwant Gargi’s description of a kavi darbar that he attended with Shiv:‘This mushaira was organized by Principal O. P. Sharma on a very large scale on the occasion of Guru Nanak’s 500th birthday … As soon as we appeared on the stage, a wave of excitement ran through the audience on seeing Shiv. They d him with a loud round of applause …When he stood up to recite his poetry, a trance-like silence dominated the hall. He read his poem, Safar (a travel) … The vibrations of his enchanting and soft tunes touched the hearts of everyone present. Suddenly he raised the pitch of his voice. He was challenging Nanak. A poet was addressing another poet. He was saying to Guru Nanak: “See how far your nation has travelled after you. Today they have travelled from your name to the sword” … Shiv’s voice was resonating in the hall. He was standing tall and there was a prophet-like grandeur in his voice … when the poem ended … the girls started shouting for him to sing “Kee puchdey o haal faqeeran da (What is the point of asking us faqirs how are we doing?) … Shiv smiled and switching his mood he then sang the poem that he had sung hundreds of time and each time it had won the hearts of his audience … When Shiv left the microphone after reading three poems, no other poet could get the attention of the audience. The spell had broken and people had lost their interest in the kavi darbar.’[13] [Gargi 2000 ‘Haseen Chehre’].Those were also tough times for Shiv. He didn’t like working as a patwari. After resigning from this job, he remained unemployed until 1966. Without much financial support from his father, he had to rely on the occasional fees he received for reading his poems in kavi darbars, and later the meagre royalty he received for his books.[14] His bohemian lifestyle was a constant cause of rift between him and his father. He would stay away from home for long periods of time spending the nights at the homes of his friends. Finally, in 1966 he made an effort to start living a normal life and took a clerical job at the State Bank’s branch in Batala. He married in 1967. His wife, Aruna, was a Brahmin from district Gurdaspur. He had two children, Meharbaan (b. 1968) and Puja (b. 1969). In 1968 he moved to Chandigarh where he continued his employment at the State Bank of India.
__________________
ਕੌਣ ਦਿੰਦਾ ਉਮਰ ਭਰ ਦਾ ਸਹਾਰਾ..,ਲੋਕ ਤਾਂ ਅਰਥੀ 'ਚ ਵੀ ਮੋਢਾ ਬਦਲ ਲੈਦੇਂ

Re: Shiv Kumar Batalvi (1936-1973) – Life and Poetry
The Years of Bitterness and DisappointmentShiv had come to Chandigarh with many hopes but after four years when he left this city he was bitter and disappointed. Although his stay in Chandigarh initially brought him more fame, his growing popularity had already given rise to many detracting voices in Punjabi literary circles that became more loud and stronger during his time in Chandigarh. This eventually became quite distressing for him. So much so that he retaliated against the criticism of his poetry in an article published as the preface of Dardmandan Deean Aheen, a selection of his poetry, under the heading ‘Mere Nindak’ (My Critics).Shiv hardly did any work at the State Bank in Chandigarh where he was employed. For a while, he was given the charge of some books lying around in the bank. Shiv simply kept a register on his table and let everyone know that whoever needed a book could make entry in the register and take the book. Similarly, he was also assigned other light duties on different desks, including of public relations. He would go to the bank only once or twice a week. [Bhandari. Int. 2002]. Shiv lived in a house in Sector 21. His favourite place in Chandigarh was the watch shop of Preetam Kanwal Singh, close to a liquor shop in Sector 22. It was a small booth type shop. Shiv would arrive there early in the day and would hold court until evening. He would sometimes lie down behind the counter to get some rest in the afternoon. In the evenings, he could be found at the ‘Writers-Corner’ in the square of Sector 22. [Manhas. Int. 2002]. On the same day that Shiv shifted to Chandigarh, he met some fellow poets, Mohan Bhandari, Bhagwant Singh, Bhushan Dhyanpuri and some others, standing by the railing on the side of the road at 22 Sector. They immediately decided to name this corner ‘Writers Corner’ to celebrate the occasion. A young boy was sent to get a small board painted with the inscription ‘Writers Corner’. They hanged the board there and got it inaugurated by Shiv. It is also called Battian Wala Chowk (the square with traffic lights) of Sector 22-23, since it is just in the first corner of Sector 22 from the main road and Sector 23 begins across the road. This Sector was the main centre of literary activities in Chandigarh. About 25-30 writers were living around in that area and other close by Sectors. Sector 22 was their main meeting place in the evening. [Bhandari. Int. 2002].During the last couple of years of Shiv’s stay in Chandigarh, his health had started declining. He had a few attacks of epilepsy. [Batalvi. Int. 2002]. The harsh criticism of his poetry from some quarters had started taking its toll on his mental and physical health. Until then, Shiv’s social persona had never exhibited some of the deep sorrow reflected in his poetry. He was known as the delight of social gatherings of his friends and admirers where he was always a witty, sharp-minded and very intelligent conversationalist. From serious discussions about literature or recitation of his sad or serious poetry, he would effortlessly turn to telling jokes or other light and entertaining topics. [Kahlon. Int. 2002]. Now, a growing bitterness was often noticed in his demeanour. He started talking more openly about his impeding death. He also started drinking on a regular bases
__________________
ਕੌਣ ਦਿੰਦਾ ਉਮਰ ਭਰ ਦਾ ਸਹਾਰਾ..,ਲੋਕ ਤਾਂ ਅਰਥੀ 'ਚ ਵੀ ਮੋਢਾ ਬਦਲ ਲੈਦੇਂ

Re: Shiv Kumar Batalvi (1936-1973) – Life and Poetry
The Trip to EnglandIn May of 1972, Shiv visited England on the invitation of Dr. Gupal Puri and Mrs. Kailash Puri He had been looking forward to his first trip abroad as a relief from the drudgery of his life in Chandigarh. When he arrived in England, his popularity and fame had already reached a high point among the Punjabi community. His arrival was announced in the local Indian papers with headlines and pictures. [Takhar. Int. 2002]. He spent a busy time in England. A number of public functions and private parties were arranged in his honour where he recited his poetry. Dr. Gupal Puri arranged the first large function in Coventry, near London, to Shiv. A large number of his fans and Punjabi poets, including Santokh Singh Santokh, Kuldip Takhar and Tarsem Purewal and many others attended this function. Another large gathering was organized at Rochester (Kent) in his honour. The famous artist S. Sobha Singh was also present who had travelled on his own expense to see Shiv. His engagements in England were regularly reported in the local Indian media and the BBC Television once interviewed him. While Punjabi community got their opportunity to listen to Shiv on various occasions, his stay in London proved to be the last straw for his failing health. He would stay late and continue to drink until 2:00 or 2:30 in the morning at parties or at home engaged in discussions with his hosts and other people who would come to visit him. He would wake up after a short sleep around 4:00 A.M. and begin his day by again taking a couple of sips of Scotch.[16] [Kaur 1998].The Final DaysWhen Shiv returned from England in September 1972, his health had declined visibly. He was now bitterly complaining about the undue criticism of his poetry by the progressive and leftist writers. He openly started talking about his disappointment at the unjustified condemnation of his poetry.[17] [Gargi 2000 ‘Surme Walee Akhah’ ]. Within a couple of months after his return from England, his health started sinking, never to recover again. He was in a dire financial predicament during those days and felt that most of his friends had deserted him in his time of need. His wife, Aruna, somehow managed to get him admitted in a hospital in Section 16 of Chandigarh where he received treatment for a few days. A couple of months later, he was admitted in a hospital in Amritsar, but left it on his own against the advice of his doctors. He didn’t want to die in a hospital and simply walked out of the hospital and went to his family home in Batala. He was later shifted to the village of his in-laws, Kiri Mangial, a small village near the border with Pakistan. Shiv Kumar Batalvi died in Kiri Mangial during the early morning hours of May 6, 1973.[18] [Kahlon. Int. 2002].
__________________
ਕੌਣ ਦਿੰਦਾ ਉਮਰ ਭਰ ਦਾ ਸਹਾਰਾ..,ਲੋਕ ਤਾਂ ਅਰਥੀ 'ਚ ਵੀ ਮੋਢਾ ਬਦਲ ਲੈਦੇਂ

Re: Shiv Kumar Batalvi (1936-1973) – Life and Poetry
Shiv Kumar Batalvi’s PoetryPunjabi Poetry Scene Before ShivPoetry has been a part of Punjab’s culture as an important feature of Punjabis’ living experience since at least, and probably long before, the time of the first major Punjabi poet, Baba Farid (1173-1265). During the following centuries, it took many different and distinct forms and besides producing a long line of distinguished poets in the Sufi and Qissa (epic love story) tradition, its oral tradition encompasses a wide variety of popular poetry in its folk songs and verse-dramas on the themes of religious mythology. The classical period of Sufi and Qissa Punjabi poetry came to an end at the turn of the 20th century with Maulvi Ghulam Rasul (1849-1892), Khwaja Ghulam Farid (1841-1901) and Mian Muhamamd Baksh (1830-1904). By then, Punjabi poets had already started adopting modern verse forms. Bhai Vir Singh (1872-1952) was the first Punjabi poet who introduced free verse in Punjabi poetry. During the first half of 20th century, Punjabi poetry went through the process of a complete transformation from traditional to modern with the political, economical and cultural changes that were taking place in India and the rest of the world. The world wars on international front, Marxist/Leninist revolution in Russia and India’s own independence struggle on the national level brought about several changes in the life and outlook of people that were also reflected in Punjabi literature. By the time Shiv Kumar Batalvi started writing poetry in late 50’s, the classical Punjabi poetry period was already long over and post-partition poetry was represented by many emerging progressive and modern trends, dominated by Prof. Mohan Singh (1905-1978), Amrita Pritam (b. 1919) and other stalwarts of modern Punjabi poetry. [Singh 1994].A Brief Survey of Shiv’s PoetryShiv was not just a poet of a few dozen popular poems nor was his poetry limited to a couple of topics. He was a very versatile poet of many different styles and a wide range of subjects. Throughout his brief poetic career, his poetry shows a continuous progression from the early pangs of birha (separation from a loves ones) to increasingly complex emotions and different reactions to his inner sufferings and towards society at large. His sense of his own identity also went through many changes. He travelled a great distance from his first collection of poems Peeran Da Paraga (A Handful of Pains), published in 1960, to his last major work Mein Te Mein (Me and Myself) published in 1970.[19] Following is a brief survey of his published poetry:1. Peeran Da Paraga (A Handful of Pains) (1960): It is Shiv’s first published collection of poetry consisting of 25 poems. It includes poems that he had written between 1957 and 1960 expressing pain and sorrow of separation and his desire for death. It includes some of his early popular poems.2. Lajwanti (The Shy Maid) (1961): Within a single year after the publication of his first collection of poetry, Shiv appeared to have arrived at a level of maturity that was not as prominent in his earlier poetry. This collection has some remarkable poems on many different subjects. In all of his poetry, there are certain subjects that he has touched upon once, writing a memorable poem on it, and then never coming back to the same subject. In this collection, Sheesho, an exceptionally beautiful and comparatively long poem, falls in that category. Shiv’s description of the exploitation of a poor village girl by the rich landowner is remarkable both for its poetic qualities and for Shiv’s heart wrenching pity and compassion about the poor girl’s plight. A long poem, Geet (A song - Uchcian paharan diya ohle ohle soorja – O Sun, hiding behind the high peaks of mountains) is an example of Shiv’s mastery of describing natural scenery:
__________________
ਕੌਣ ਦਿੰਦਾ ਉਮਰ ਭਰ ਦਾ ਸਹਾਰਾ..,ਲੋਕ ਤਾਂ ਅਰਥੀ 'ਚ ਵੀ ਮੋਢਾ ਬਦਲ ਲੈਦੇਂ

Re: Shiv Kumar Batalvi (1936-1973) – Life and Poetry
The sun peeks outFrom behind the high mountains,Planting little seedling of light.It crushes the yellow sunshineInto small pieces,To make anklets for the mountaintops!Ankle deep in the windFlow fragrances,The birds fall asleep.Through a clump of green treesA water channel flowsPiping a melody!Seeing the blue lotusIn the mirror like waterThe drooping leaves weep.The wind has tiedTiny anklets around its feet,And stamps her heels as she walks!………….[Translation: Suman Kashyap]A totally different mood from the sadness of some of his other poems, dominates another poem by the tile of Geet (A Song):Where rivulets of perfume flow,There my beloved lives.Where passing breezes halt,There my beloved lives.Where dawn arrives on little bare toes,Where night throws henna-beams on feet.Where fragrance bathes in moonlight,There my beloved lives.…………[Translation: Suman Kashyap].
__________________
ਕੌਣ ਦਿੰਦਾ ਉਮਰ ਭਰ ਦਾ ਸਹਾਰਾ..,ਲੋਕ ਤਾਂ ਅਰਥੀ 'ਚ ਵੀ ਮੋਢਾ ਬਦਲ ਲੈਦੇਂ

Re: Shiv Kumar Batalvi (1936-1973) – Life and Poetry
A number of Shiv’s memorable and popular poems are part of this collection.3. Atte Deean Chirian (The Sparrows of Kneaded Flour) (1962): This collection is quite different from the previous two collections, both in matter as well as in its various themes. Shiv experimented with different themes under a dominant mood of sensuous feelings. He also returned back to the topic of birha in Shikra (A Falcon) and couple of other poems. Once again, there are poems in this collection that display his wide versatility of subjects, including various themes that are limited to single poems, i.e., Hijra (Eunuch) and Zakham (A Wound). Shiv also further experimented in some poems by writing them in the prevalent style of expressing post-modern consciousness. Shiv was awarded the first prize from the Language Department of Punjab for this collection.4. Mainu Vida Karo (Bid Me farewell) (1963): This is another collection of songs full of symbols of death and pain of separation that he expressed in different forms, including the bemoaning of a love-torn girl addressed to her father in Dharmee Babula. Once again demonstrating his exceptional talent of interweaving Punjab’s culture in this poems:When the cotton flower blooms,O noble father.Bring that season back for me,O noble father.It was in that season that I lost my song.Separation choked its throat,Sorrow ravaged its face,Like water in ruined wells were its eyes.It was a song that brought to lips,The scent of musk.O noble father.Bring back that song for me.O noble father.One day my song and I,In that enchanted season,Ploughed the earth of my heart,Sowed it with seeds of undefiled dreams.No matter how many tears I poured on it,No flower bloomed.O noble father.Bring back one flower for me,O noble father.What use your fertile landsIf daughters wilt?What use your lakesIf the swans are parched?What use your ample wealthYour granary of pearls,O noble father,If you cannot bring back the season,When the cotton flower blooms.O noble father.[Translation: Suman Kashyap]
__________________
ਕੌਣ ਦਿੰਦਾ ਉਮਰ ਭਰ ਦਾ ਸਹਾਰਾ..,ਲੋਕ ਤਾਂ ਅਰਥੀ 'ਚ ਵੀ ਮੋਢਾ ਬਦਲ ਲੈਦੇਂ

Re: Shiv Kumar Batalvi (1936-1973) – Life and Poetry
5. Loonan (1965): It is an epic-like verse play and is considered by many of Shiv’s critics as his masterpiece and most significant literary achievement. Shiv reworked the theme of Puran Bhagat, a mythical folklore of Punjab about the implications of marrying a young girl with an old man. In the traditional story the young wife is depicted as an evil villain in her relationship with the grown-up son of her husband from his first marriage. Shiv wrote his poem from the perspective of injustice to the young wife. He altogether changed the traditional character of Loonan that is portrayed in the legend as a wicked, lustful and cruel women . He made Loonan a sympathetic character and challenged the male dominated society to reconsider their norms and moral values. Shiv was awarded Sahitiya Academy award for this book in 1967.Loonan stands out among Shiv’s poetic works for a number of reasons. It not only adds a new dimension to the versatility of Shiv’s poetry, it also recasts, to some degree, Shiv’s entire poetry in a new light. In particular, the profound and perceptive empathy of women’s emotions and feelings as victims of social inequity and injustice that Shiv portrayed in Loonan, allows deeper understanding of Shiv’s concept of love and gender-relations in his poetry than the stereotype of women as poet’s self-centred object of desire. Similarly, the masterful use of imagery that sets the tone and atmosphere of each of the eight acts of the verse play, helps to highlight Shiv’s superb poetic techniques of equally expert use of imagery in his other poems.In Loonan, Shiv presents a remarkably incisive and insightful appreciation of women’s sufferings in a patriarchy and exposes its moral values as the tools that force women to sacrifice their individuality to fit in various roles assigned to them. Reading the deliberate politics of the monarchical discourse in the legend, Shiv presents it from women’s point of view. More importantly, Shiv rejects the glorification of patriarchal assignment of women’s role and instead forcefully brings out the individuality of Loonan. ‘Shiv Kumar … views her sexual subjugation and deprivation as a basic injustice to her and cause of her suffering. He vindicates the veracity of her Being by asserting her right to choose and by condemning her deprivation in marriage - through her own voice. In Luna body is not merely a site of sexual desire but her humanity asserted through valuing and articulating the needs of her body and condemning their deprivation in marriage. The play is a strong assertion of woman’s sexuality which has been ignored, abused, repressed or mythologized (as passive) in patriarchy.’ [Singh 2000, 133-134].Shiv used strong sensual imagery to highlight Loonan’s individual feelings. She repeatedly refers herself as “fire,” “fire maiden” or “women-fire”:Why should not fire speaks out friends?… … … …I wish every hearth’s fire to leapAnd break all boundsWith its scorching and burningTear up the pages of oppressionWhy should anybody weigh our fire’s warmthAgainst a handful of rice?… … … …One day this fireShall speak outIts eyes shall deliverInstead of a tearBlood of fi[e]ry rebellionWhich shall burn down the prideOf the fire-eating salamadar, man[Translation: Sekhon 1985]
__________________
ਕੌਣ ਦਿੰਦਾ ਉਮਰ ਭਰ ਦਾ ਸਹਾਰਾ..,ਲੋਕ ਤਾਂ ਅਰਥੀ 'ਚ ਵੀ ਮੋਢਾ ਬਦਲ ਲੈਦੇਂ

http://media.punjabilokvirsa.com/210060/Shiv-Kumar-Batalvi---Ki-Puchhde-o-haal-Fakiran-da