{"id":3040,"date":"2018-02-20T19:56:17","date_gmt":"2018-02-21T00:56:17","guid":{"rendered":"https:\/\/blogs.transparent.com\/urdu\/?p=3040"},"modified":"2018-02-28T20:19:13","modified_gmt":"2018-03-01T01:19:13","slug":"kaifi-azmi-the-circle","status":"publish","type":"post","link":"https:\/\/blogs.transparent.com\/urdu\/kaifi-azmi-the-circle\/","title":{"rendered":"Kaifi Azmi’s “The Circle”"},"content":{"rendered":"

Kaifi Azmi (\u06a9\u06cc\u0641\u06cc \u0627\u0639\u0638\u0645\u06cc, or Sayyid Akhtar Hussein Rizvi, as he was born) is one of Urdu’s greatest poets\u00a0(\u0634\u0627\u0639\u0631\/shaayar)<\/strong> and remains legendary to this day as a poet capable of expressing the subtlest of sentiments with uncanny astuteness and daring. You may recognize his name from that of Shabana Azmi, a famous Indian actress who is also his daughter. Born in 1919 in a village in Azamgarh district, Uttar Pradesh (in what was then British India), Azmi began writing at an early age and achieved fame for his writings not long afterward. In addition to his more literary (\u0627\u062f\u0628\u06cc\u0627\u062a\/adabyaat, “literature” is \u0627\u062f\u0628\/adab, masc. noun)<\/strong> work, he is well-known as a lyricist for popular Hindi-Urdu films. Due to his penchant for blending his literary background with the work he did for films, he is remembered today for bringing a refinement and subtlety to Indian films through his literary touch. Along with other famous poets of his day, he took part in numerous renowned “mushairas” (\u0645\u0634\u0627\u0639\u0631\u0627, masc. noun)<\/strong> or poetry gatherings, during his life. He passed away in 2002, leaving behind his poetic legacy for future readers to admire.<\/p>\n

\"\"<\/a>

Image by Gufranazmi on Wikimedia Commons, licensed under CC BY-SA 4.0.<\/p><\/div>\n

Below, I’ve translated one of his classic poems with notes at the bottom where necessary:<\/p>\n

Kaifi Azmi\u2019s \u201cDaera\u201d (\u201cThe Circle\u201d)\/”\u06a9\u06cc\u0641\u06cc \u0627\u0639\u0638\u0645\u06cc \u06a9\u06cc “\u062f\u0627\u0626\u0631\u0647<\/h3>\n

published in Awaara Sajde <\/em>(Wayward Prayers<\/em>) (1995)<\/p>\n

A central aim while translating this poem was to depict the \u201ccircularity\u201d and drudging mundanity of the poem that strikes one ever more viciously as one continues to read. Although I attempted to be as faithful as possible to the original wording and sense of the poem, occasionally I had to add English words and phrases to the original, as in \u201cday after day I moved forward\u201d instead of the simpler sense of \u201croz\u201d as \u201cdaily, every day.\u201d I wanted the poem to have an arduous, plodding sense about it, weighed down by life\u2019s dullness and cyclical nature, which I tried to achieve with such turns of phrase (others include \u201cmany a time,\u201d \u201ctime and again,\u201d \u201ccorner after corner,\u201d \u201chabitually\u201d and the repetition of \u201ctoo\u201d to mirror the writer\u2019s repeated use of the word \u201cbhi\u201d in the original).<\/p>\n

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Kaifi Azmi is pictured here in the front, leftmost position; image by Bpldxb on Wikimedia Commons, licensed under CC BY-SA 3.0.<\/p><\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

English Translation<\/p>\n<\/td>\n

\n

Urdu Text<\/p>\n<\/td>\n<\/tr>\n

\n

Day after day I move forward<\/p>\n<\/td>\n

\n

\u0631\u0648\u0632 \u0628\u0691\u06be\u062a\u0627 \u06c1\u0648\u06ba \u062c\u06c1\u0627\u06ba \u0633\u06d2 \u0622\u06af\u06d2<\/p>\n<\/td>\n<\/tr>\n

\n

Only to return to the same place (world)*<\/p>\n<\/td>\n

\n

\u067e\u06be\u0631 \u0648\u06c1\u06cc\u06ba \u0644\u0648\u0679 \u06a9\u06d2 \u0622 \u062c\u0627\u062a\u0627 \u06c1\u0648\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

Many a time, I\u2019ve destroyed them<\/p>\n<\/td>\n

\n

\u0628\u0627\u0631\u06c1\u0627 \u062a\u0648\u0691 \u0686\u06a9\u0627 \u06c1\u0648\u06ba \u062c\u0646 \u06a9\u0648<\/p>\n<\/td>\n<\/tr>\n

\n

The walls I collide with, time and again<\/p>\n<\/td>\n

\n

\u0627\u0646\u06c1\u06cc\u06ba \u062f\u06cc\u0648\u0627\u0631\u0648\u06ba \u0633\u06d2 \u0679\u06a9\u0631\u0627\u062a\u0627 \u06c1\u0648\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

Day after day, a handful of cities spring up<\/p>\n<\/td>\n

\n

\u0631\u0648\u0632 \u0628\u0633\u062a\u06d2 \u06c1\u06cc\u06ba \u06a9\u0626\u06cc \u0634\u06c1\u0631\u0646\u0626\u06d2<\/p>\n<\/td>\n<\/tr>\n

\n

Day after day, they sink further into the earth<\/p>\n<\/td>\n

\n

\u0631\u0648\u0632 \u062f\u06be\u0631\u062a\u06cc \u0645\u06cc\u06ba \u0633\u0645\u0627 \u062c\u0627\u062a\u06d2 \u06c1\u06cc\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

During the earthquakes, the slightest heat could be felt<\/p>\n<\/td>\n

\n

\u0632\u0644\u0632\u0644\u0648\u06ba \u0645\u06cc\u06ba \u062a\u06be\u06cc \u0630\u0631\u0627 \u0633\u06cc \u06af\u0631\u0645\u06cc<\/p>\n<\/td>\n<\/tr>\n

\n

Those tremblings occur every day now<\/p>\n<\/td>\n

\n

\u0648\u06c1 \u0628\u06be\u06cc \u0627\u0628 \u0631\u0648\u0632 \u06c1\u06cc \u0622 \u062c\u0627\u062a\u06d2 \u06c1\u06cc\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

\u269c<\/p>\n<\/td>\n

\n

\u269c<\/p>\n<\/td>\n<\/tr>\n

\n

From the body to the soul, everything is dust, only dust<\/p>\n<\/td>\n

\n

\u062c\u0633\u0645 \u0633\u06d2 \u0631\u0648\u062d \u062a\u0644\u06a9 \u0631\u06cc\u062a \u06c1\u06cc \u0631\u06cc\u062a<\/p>\n<\/td>\n<\/tr>\n

\n

Nowhere is there sunshine, nor shade, nor self-deception*<\/p>\n<\/td>\n

\n

\u0646\u06c1 \u06a9\u06c1\u06cc\u06ba \u062f\u06be\u0648\u067e \u0646\u06c1 \u0633\u0627\u06cc\u06c1 \u0646\u06c1 \u0633\u0631\u0627\u0628<\/p>\n<\/td>\n<\/tr>\n

\n

How many desires lie hidden in the wilds<\/p>\n<\/td>\n

\n

\u06a9\u062a\u0646\u06d2 \u0627\u0631\u0645\u0627\u0646 \u06c1\u06cc\u06ba \u06a9\u0633 \u0635\u062d\u0631\u0627 \u0645\u06cc\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

Who keeps an account of tombs<\/p>\n<\/td>\n

\n

\u06a9\u0648\u0646 \u0631\u06a9\u06be\u062a\u0627 \u06c1\u06d2 \u0645\u0632\u0627\u0631\u0648\u06ba \u06a9\u0627 \u062d\u0633\u0627\u0628<\/p>\n<\/td>\n<\/tr>\n

\n

The pulse is extinguished and ignited, too,<\/p>\n<\/td>\n

\n

\u0646\u0628\u0636 \u0628\u062c\u06be\u062a\u06cc \u0628\u06be\u06cc \u0628\u06be\u0691\u06a9\u062a\u06cc \u0628\u06be\u06cc \u06c1\u06d2<\/p>\n<\/td>\n<\/tr>\n

\n

The heart\u2019s custom is unease, too,<\/p>\n<\/td>\n

\n

\u062f\u0644 \u06a9\u0627 \u0645\u0639\u0645\u0648\u0644 \u06c1\u06d2 \u06af\u06be\u0628\u0631\u0627\u0646\u0627 \u0628\u06be\u06cc<\/p>\n<\/td>\n<\/tr>\n

\n

At night, the darkness spoke to the darkness:<\/p>\n<\/td>\n

\n

\u0631\u0627\u062a \u0627\u0646\u062f\u06be\u06cc\u0631\u06d2 \u0646\u06d2 \u0627\u0646\u062f\u06be\u06cc\u0631\u06d2 \u0633\u06d2 \u06a9\u06c1\u0627<\/p>\n<\/td>\n<\/tr>\n

\n

To keep living is a habit, too.<\/p>\n<\/td>\n

\n

\u06cc\u06a9 \u0639\u0627\u062f\u062a \u06c1\u06d2 \u062c\u06cc\u06d2 \u062c\u0627\u0646\u0627 \u0628\u06be\u06cc<\/p>\n<\/td>\n<\/tr>\n

\n

\u269c<\/p>\n<\/td>\n

\n

\u269c<\/p>\n<\/td>\n<\/tr>\n

 <\/p>\n

The arc of the stars is of one kind<\/p>\n<\/td>\n

\n

\u0642\u0648\u0633 \u0627\u06a9 \u0631\u0646\u06af \u06a9\u06cc \u06c1\u0648\u062a\u06cc \u06c1\u06d2 \u0637\u0644\u0648\u0639<\/p>\n<\/td>\n<\/tr>\n

\n

\u00a0The goblet, too, has only one trick<\/p>\n<\/td>\n

\n

\u06cc\u06a9 \u06c1\u06cc \u0686\u0627\u0644 \u0628\u06be\u06cc \u067e\u06cc\u0645\u0627\u0646\u06d2 \u06a9\u06cc<\/p>\n<\/td>\n<\/tr>\n

\n

On corner after corner, a mosque stands<\/p>\n<\/td>\n

\n

\u06af\u0648\u0634\u06d2 \u06af\u0648\u0634\u06d2 \u0645\u06cc\u06ba \u06a9\u06be\u0691\u06cc \u06c1\u06d2 \u0645\u0633\u062c\u062f<\/p>\n<\/td>\n<\/tr>\n

\n

Then what has become of the tavern\u2019s guise?<\/p>\n<\/td>\n

\n

\u0634\u06a9\u0644 \u06a9\u06cc\u0627 \u06c1\u0648 \u06af\u06cc\u0674 \u0645\u06d2\u0650\u062e\u0627\u0646\u06d2 \u06a9\u06cc<\/p>\n<\/td>\n<\/tr>\n

\n

Someone used to say, \u201cI am the ocean,\u201d<\/p>\n<\/td>\n

\n

\u06a9\u0648\u06cc\u0674 \u06a9\u06c1\u062a\u0627 \u062a\u06be\u0627 \u0633\u0645\u0646\u062f\u0631 \u06c1\u0648\u06ba \u0645\u06cc\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

But, in my pocket, there isn\u2019t even a drop.<\/p>\n<\/td>\n

\n

\u0627\u0648\u0631 \u0645\u06cc\u0631\u06cc \u062c\u06cc\u06ba \u0645\u06cc\u06ba \u0642\u0637\u0631\u06c1 \u0628\u06be\u06cc \u0646\u06c1\u06cc\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

I write of my good fortune, habitually<\/p>\n<\/td>\n

\n

\u062e\u06cc\u0631\u06cc\u062a \u0627\u067e\u0646\u06cc \u0644\u06a9\u06be\u0627 \u06a9\u0631\u062a\u0627 \u06c1\u0648\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

Now, there isn\u2019t the slightest risk in my fate<\/p>\n<\/td>\n

\n

\u0627\u0628 \u062a\u0648 \u062a\u0642\u062f\u06cc\u0631 \u0645\u06cc\u06ba \u062e\u0637\u0631\u06c1 \u0628\u06be\u06cc \u0646\u06c1\u06cc\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

I read my palms, habitually<\/p>\n<\/td>\n

\n

\u0627\u067e\u0646\u06d2 \u06c1\u0627\u062a\u06be\u0648\u06ba \u06a9\u0648 \u067e\u0691\u06be\u0627 \u06a9\u0631\u062a\u0627 \u06c1\u0648\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

Sometimes like the Qur\u2019an, sometimes like the Gita*<\/p>\n<\/td>\n

\n

\u06a9\u0628\u06be\u06cc \u0642\u0631\u0622\u06ba \u06a9\u0628\u06be\u06cc \u06af\u06cc\u062a\u0627 \u06a9\u06cc \u0637\u0631\u062d<\/p>\n<\/td>\n<\/tr>\n

\n

In just a few lines and borders<\/p>\n<\/td>\n

\n

\u0686\u0646\u062f \u0631\u06cc\u06a9\u06be\u0627\u0648\u0674\u06ba \u0645\u06cc\u06ba \u0633\u06cc\u0645\u0627\u0648\u0674\u06ba \u0645\u06cc\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

Life is imprisoned, like Sita*<\/p>\n<\/td>\n

\n

\u0632\u0646\u062f\u06af\u06cc \u0642\u06cc\u062f \u06c1\u06d2 \u0633\u06cc\u062a\u0627 \u06a9\u06cc \u0637\u0631\u062d<\/p>\n<\/td>\n<\/tr>\n

\n

When Ram will return, there is no word<\/p>\n<\/td>\n

\n

\u0631\u0627\u0645 \u06a9\u0628 \u0644\u0648\u0679\u06cc\u06ba\u06af\u06d2 \u0645\u0639\u0644\u0648\u0645 \u0646\u06c1\u06cc\u06ba<\/p>\n<\/td>\n<\/tr>\n

\n

If only some Ravan would come<\/p>\n<\/td>\n

\n

\u06a9\u0627\u0634 \u0631\u0627\u0648\u0646 \u06c1\u06cc \u06a9\u0648\u0626\u06cc \u0622 \u062c\u0627\u062a\u0627<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

*\u062c\u06c1\u0627\u06ba\/jahaan can mean both “place” and “world,” and it is good to consider both senses of this term while reading the poem<\/p>\n

*\u0633\u0631\u0627\u0628\/saraab technically means “mirage,” but I substituted it for “self-deception” to preserve the alliteration and rhythm of the line<\/p>\n

*\u0642\u0631\u0622\u0646\/Quraan, of course, refers to the Islamic holy book and \u06af\u06cc\u062a\u0627\/Gita refers to the “Bhagavad Gita,” a religious and philosophical text found in the Hindu epic poem Mahabharata<\/em> that contains a dialogue between the god Krishna (an avatar of Lord Vishnu) and the prince and warrior Arjuna<\/p>\n

*\u0633\u06cc\u062a\u0627\/Sita is the heroine of the Hindu epic poem Ramayana<\/em>\u00a0who is the wife of the tale’s hero, Rama. She is sought after due to her beauty by the evil King Ravana, who uses deception to abduct and imprison her on his isle of Lanka. The rest of the poem is devoted to Rama’s journey and struggles to find and free her. The “lines and borders” Azmi refers to can also be an allusion to the “Lakshman Rekha” or the magical line that Lakshman, Rama’s brother, draws around Sita at the beginning of the tale to protect her from abduction, a strategy which ultimately fails.\u00a0\u00a0<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"\"\"

Kaifi Azmi (\u06a9\u06cc\u0641\u06cc \u0627\u0639\u0638\u0645\u06cc, or Sayyid Akhtar Hussein Rizvi, as he was born) is one of Urdu’s greatest poets\u00a0(\u0634\u0627\u0639\u0631\/shaayar) and remains legendary to this day as a poet capable of expressing the subtlest of sentiments with uncanny astuteness and daring. You may recognize his name from that of Shabana Azmi, a famous Indian actress who…<\/p>\n

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