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Ms Shabana Azmi, after inaugurating the Festival, spoke about her father Mr Kaifi Azmi, famous poet and scriptwriter, and his contribution to Urdu Poetry.
جو اتر کر زینہ شام سے تیری چشم خوش میں سما گئے
وہی جلتے بجھتے سے مہر و ماہ مرے بام و در کو سجا گئے
یہ عجیب کھل ہے عشق کا میں نے آپ دیکھا یہ معجزہ
وہ جو لفظ مرے گماں میں تھے وہ تیری زبان پر آ گے
وہ جو گیت تم نے سنا نہیں میری عمر بھر کا ریاض تھا
میرے درد کی تھی داستان جسے تم ہنسی میں اڑا گے
وہ چراغ جاں کبھی جس کی لو نہ کسی ہوا سے نگوں ہوئی
تیری بیوفائی کے وسوسے اسے چپکے چپکے بجھا گۓ
وہ تھا چاند چشم وصال کا کہ روپ تیرے جمال کا
میری روح سے میری آنکھ تک کسی روشنی میں نہا گۓ
یہ جو بندگان نیاز ہے یہ تمام ہیں وہ لشکری
جنھیں زندگی نے اماں نہ دی تو تیرے حضور میں آ گۓ
تیری بےرخی کے دیار میں میں ہوا کے ساتھ ہوا ہوا
تیرے آئینے کی تلاش میں میرے خواب چہرہ گنوا گۓ
تیرے وسوسوں کے فشار میں تیرا شرر رنگ اجڑ گیا
میرے خواہشوں کے غبار میں میرے ماہ و سال وفا گۓ
وہ عجیب پھول سے لفظ تھے تیرے ہونٹ جن سے مہک اٹھے
میرے دشت خواب میں دور تک کوئی باغ جیسے لگا گۓ
میری عمر سے نہ سمت سکے میرے دل میں اتنے سوال تھے
تیرے پاس جتنے جواب تھے تیری اک نگاہ میں آ گۓ
امجد اسلام امجد
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I have been tagged by Humie, Prashhant & Priagovindh, thanks (grrr....!! ;)) . This is the first time that I am trying to write about myself, so, here's my list of things :
1. I'm an engineer by education & a businessman by occupation. My engineering degree has nothing to do with my business. Still, I do not feel to have wasted 4 years doing it as it was so much of fun.
2. I love kids and can be a kid myself being with them.
3. For me, life is a spontaneous process and I try my best not to disturb it too much. I just take it easy and enjoy whatever I am, wherever I am. I'm destined to be happy, can't help it! :D
4. I love painting and wanted to become a painter. I have done some solo shows in my earlier days. I always keep an easel with a blank canvas in my bedroom, though I rarely paint these days.
5. I was so influenced by 'Osho' and his philosophy during my college days that I read around 250 books of his discources (He has authored around 600 books in his life time, I got 'enlightened' before I could reach even half of his books :p). He is rated as one of the finest thinker, philosopher & orator of 20th century and I agree. Though I'm not his follower.
I'm posting one of his portraits here that I had painted during those times, it's still one of my favourite paintings!
6. I enjoy reading books - everything from philosophy to fiction and can read for hours at a stretch. I also love reading urdu poetry.
7. I started photography (except taking family photos:)) from March 2009. All the photos in my stream have been taken by a SONY DSC-T9, yet to evolve to a DSLR. I try to carry my camera wherever I go these days, thanks(!!?) to Flickr! It's kind of reaching to a level of addiction.
8. I love watching cartoons on TV, nothing beats 'Tom & Jerry'! I can watch them anytime of the day, any number of times!
9. I love to be awake till late in night and sleep till late morning/afternoon. I feel uncomfortable to be bound by religions/traditions/thoughts/ideals/'so-called truths' of any kind. Freedom in all aspects is most precious to me. But I can see the intensity of it going down with growing age!:p
10. I love to listen to music (mostly Hindi) - Indian classical music, Old hindi film songs and ghazals. 'Sufi' music is my favourite and I'm a big fan of Nusrat Fateh Ali Khan.
Phew! I managed to write 10 points, it was like a school assignment to write an essay on 'something'! Anyway, for the guys like me who prefer to read the last lines first, don't care to read the whole thing and get bored, you certainly have better things to do! :) Enjoy your day!!
As the tradition goes, I have to tag some people. Forgive me guys but I need to take a revenge! :P Truly speaking, getting tagged is a good experience as it allows us to spend some time with ourselves, think about ourselves which we normally forget in the course of life. Take some time out and celebrate yourself! Cheers!!
1. Anoop Negi
2. Artistic A!!ure
3. Thoughts~n~me
4. s h a i l e n d r a | P h o t o g r a p h y
5. mrigatrishna - The Mirage
6. kakeyzz---- verY biXy---
7. cerebri
8. kimmenzel
9. dmzajac2004
10. Tallapragada
... even though the stars are gazing as always. Lights can leave you starry eyed when you think of stuff happening back home.
Many of us are living in the sugar-coated world of ours own .. oblivious of whats happening in towns and cities of pakistan. I had seen pictures of Faithful Pious Muslims wiping Kalima e tayyaba off mosques. The video of this horrendous act, under the supervision of Pakistan’s Muslim Govt. & Fidayaan e islam, were though shocking. Few days back yet again such an incidence happened.
'an incident that happened few days before Ramadhan in Faisalabad on an Ahmadiyya mosque'
If saying لا الہ الا اللہ محمد الرسول اللہ makes us Non-Muslim … then be it … no one can ever deny us our rights to be muslims. Looking at the video, I wonder how can even the weakest of a muslim can use hammers on names of Allah Almighty and His beloved Hadhrat Muhammad SAWW. Wonder where the fidayaan e islam were then? And the media.
We give our matters in the hand of Allah. This Ramadhan may Allah help us to emerge out true muslims in the spirit of Islam. Ones who can becomes role models for the world and not shame in our own faces. Amen.
ps: I get reminded of this from Islamabad
O' dais say Anay walay bataa ... او دیس سے آنیوالے بتا...
E X P L O R E D # 262 ~ Sep 03, 2009
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کچھ عشق تھا کچھ مجبوری تھی سو میں نے جیون وار دیا
میں کیسا زندہ آدمی تھا اک شخص نے مجھ کو مار دیا
ایک سبز شاخ گلاب کی تھی اک دنیا اپنے خواب کی تھی
وہ ایک بہار جو آئی نہیں اس کے لئے سب کچھ ہار دیا
یہ سجا سجایا گھر ساتھی مری ذات نہیں مرا حال نہیں
اے کاش کبھی تم جان سکو اس سکھ نے جو آزار دیا
میں کھلی ہوئی اک سچائی مجھے جاننے والے جانتے ہیں
میں نے کن لوگوں سے نفرت کی اور کن لوگوں کو پیار دیا
وہ عشق بہت مشکل تھا مگر آسان نہ تھا یوں جینا بھی
اس عشق نے زندہ رہنے کا مجھے ظرف دیا پندار دیا
(عبید اللہ علیم)
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EOS 400D + Nikkor 50mm F1.2
"Patta Patta, Boota Boota, haal hamaara jaane hai
Jaane na jaane gul hin na jaane, baagh to saara jaane hai"
Reminds me of the opening lines of a Ghazal (Urdu poetry/song) by Mir Taqi Mir (1722-1808) of Delhi. Roughly translated:
Each and every leaf and plant my plight doth know;
The rose alone knows not what all the garden knows.
SitaaroN se aage jahaaN aur bhi haiN,
Abhi ishq ke imtihaaN aur bhi haiN,
Tuu shaheen hai parwaz hai kaam tera,
Tere saamne aasmaaN aur bhi haiN.
~ Iqbal
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An attempt to translate this piece of urdu poetry :
There are more worlds beyond the stars,
Your quest has yet more tests to pass,
You are the falcon, your passion is flight,
And you have more skies in the sight.
Suggestions for a better translation are welcome :)
She was making her web in my plastic cup. When i turn my cup up i was shocked she was sitting inside and making her web. I took my camera and take her shot. She i a very different type of spider. if some one known about her type please let me known.
Full Size View Click Here
Dedicated to JoseLMC , Zonifer Lloyd , exoticroy
Joke
Q: Why dogs don't marry?
A: Because they are already leading a dog's life!
Urdu Poetry
Tum Jab Bhi ChAnd Ko DeKho,
Yaad Krna Muje bhi,
Ye Soch Kar Nahi ki khubsurat hai wo sitaro me,
Ye soch kar ke Akela Hai WO bhi Hazaro me
In Order to Arrange Funds for Nikon D700 This image is for Sale with complete Rights.
"nemidanam che manzel bood shab jayi ke man boodam;
be har soo raghse besmel bood shab jayi ke man boodam.
I wonder what was the place where I was last night,
All around me were half-slaughtered victims of love, tossing about in agony."
This picture belongs to a series of portraits of Jagjit Singh, the Ghazal King, shot a few hours ago.
Jagjit Singh is one of the most talented artist of India and a legendary name in the field of Ghazal Singing.
His ghazals do a wonderful job in delivering tranquility (where "mai-khana" is involved), passion, serenity, pain ("sweet pain" in love), deepness, grief, love and a reminder of one's own personal past.
The gazal is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter.
A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain.
The form is ancient, originating in 6th century Arabic verse.
It is one of the principal poetic forms which the Indo-Perso-Arabic civilization offered to the eastern Islamic world.
The ghazal spread into South Asia in the 12th century under the influence of the new Islamic Sultanate courts and Sufi mystics.
Although the ghazal is most prominently a form of Dari and Urdu poetry, today it is found in the poetry of many languages of Indian sub-continent.
Ghazals were written by the Persian mystics and poets Jalal al-Din Muhammad Rumi (13th century) and Hafez (14th century), the Azeri poet Fuzuli (16th century), as well as Mirza Ghalib (1797–1869) and Muhammad Iqbal (1877–1938), both of whom wrote ghazals in Persian and Urdu.
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Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequence
تم آئے ہو نہ شب انتظار گذری ہے
تلاش میں ہے سحر بار بار گزری ہے
جنوں میں جتنی بھی گزری بکار گزری ہے
اگرچہ دل پہ خرابی ہزار گزری ہے
ہوئی ہے حضرتِ ناصح سے گفتگو جس شب
وہ شب ضرور سرکوئے یار گزری ہے
وہ بات سارے فسانے میں جس کا ذکر نہ تھا
وہ بات ان کو بہت ناگوار گزری ہے
نہ گل کھلے ہیں نہ ان سے ملے ہیں نہ مَے پی ہے
عجیب رنگ میں اب کے بہار گزری ہے
چمن میں غارت گلچیں سے جانے کیا گزری
قفس سے آج صبا بے قرار گزری ہے
(فیض احمد فیض)
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© All rights reserved
Please don't copy, edit or use this image on websites, blogs or other media. However if you are interested in using any of my images, please feel free to contact with me.
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en.wikipedia.org/wiki/Meena_Kumari
Meena Kumari or Mahjabeen Bano (August 1, 1932 - March 31, 1972), was an Indian movie actress and poetess. She is regarded as one of the most prominent actresses to have appeared on the screens of Hindi Cinema. During a career spanning 30 years from her childhood to her death, she starred in more than ninety films, many of which have achieved classic and cult status today.
Kumari gained a reputation for playing grief-stricken and tragic roles, and her performances have been praised and reminisced throughout the years. Like one of her best-known roles, Chhoti Bahu, in Sahib Bibi Aur Ghulam (1962), Kumari became addicted to alcohol. Her life and prosperous career were marred by heavy drinking, troubled relationships, an ensuing deteriorating health, and her death from liver cirrhosis in 1972.
Kumari is often cited by media and literary sources as "The Tragedy Queen", both for her frequent portrayal of sorrowful and dramatic roles in her films and her real-life story.[1][2]
Mahjabeen Bano was the third daughter of Ali Baksh and Iqbal Begum; Khursheed and Madhu were her two elder sisters. At the time of her birth, her parents were unable to pay the fees of Dr. Gadre, who had delivered her, so her father left her at a Muslim orphanage, however, he picked her up after a few hours.
Her father, a Sunni Muslim, was a veteran of Parsi theater, played harmonium, taught music, and wrote Urdu poetry. He played small roles in films like Id Ka Chand and composed music for films like Shahi Lutere.
Her mother, Prabhwati Devi, was the second wife of Ali Baksh. Before meeting and then marrying Ali Baksh, she was a stage actress and dancer, under the stage name, Kamini. After marriage, she converted from Hinduism to Islam, and changed her name to Iqbal Begum.
(It is said that Prabhwati Devi's mother, Hem Sundari, had been married into the Tagore family, but she was disowned by that family after being widowed.)
[edit] Career
[edit] Early work
When Mahjabeen was born, Ali Bakhsh aspired to get roles as an actor in Rooptara Studios. At the urging of his wife, he got Mahjabeen too into movies despite her protestations of wanting to go to school. Young Mahjabeen is said to have said, "I do not want to work in movies; I want to go to school, and learn like other children."
As Mahjabeen embarked on her acting career at the age of 7, she was renamed Baby Meena. Farzand-e-Watan or Leatherface (1939) was her first movie, which was directed for Prakash Studios by Vijay Bhatt. She became practically the sole breadwinner of her family during the 1940s. Her early adult acting, under the name Meena Kumari, was mainly in mythological movies like Veer Ghatotkach (1949), Shri Ganesh Mahima (1950), and fantasy movies like Alladin and The Wonderful Lamp (1952).
[edit] Breakthrough
Meena Kumari, (here with Rehman), performed a landmark role, as Choti Bahu, in Abrar Alvi's, Sahib Bibi Aur Ghulam, 1962
Meena Kumari gained fame with her role as a heroine in Vijay Bhatt's Baiju Bawra (1952). This heroine always negated herself for the material and spiritual advancement of the man she loved and was even willing to annihilate herself to provide him the experience of pain so that his music would be enriched. She became the first actress to win the Filmfare Best Actress Award in 1953 for this performance.
Meena Kumari highly successfully played the roles of a suffering woman in Parineeta (1953), Daera (1953), Ek Hi Raasta (1956), Sharda (1957), and Dil Apna Aur Preet Parayi (1960). Though she cultivated the image of a tragedienne, she also performed commendably in a few light-hearted movies like Azaad (1955), Miss Mary (1957), Shararat (1959), and Kohinoor (1960).
One of her best-known roles was in Sahib Bibi Aur Ghulam (1962), which was produced by Guru Dutt. Kumari played Chhoti Bahu, an alcoholic wife. The film was a major critical and commercial success, which was attributed by critics to Kumari's performance, which is regarded as one of the best performances of Hindi Cinema.[3] The role was famous for its uncanny similarity to Meena Kumari's own life. At that time, she herself was on a road to gradual ruin in her own personal life. Like her character, she began to drink heavily, though she carried on. In 1962, she made history by getting all the three nominations for Filmfare Best Actress Award, for her roles in Aarti, Main Chup Rahungi, and Sahib Bibi Aur Ghulam. She won the award for Sahib Bibi Aur Ghulam. Upperstall.com wrote about her performance,
While each of the performances are spot on, if there is one person who is the heart and soul of the film, it is Meena Kumari. Her portrayal of Chhoti Bahu is perhaps the greatest performance ever seen on the Indian Screen. The sequence where Chhoti Bahu dresses for her husband singing Piya Aiso Jiya Main is a poignant exploration of a woman's expectations and sexual desire. And later on when she has become a desperate alcoholic, you cannot help but cry with her in the sequence where she pleads with her husband to stay with her and then angrily turns on him to tell him how she has prostituted her basic values and morals to please him. However the common factors between the actress's life and Chhoti Bahu are too dramatic to be merely coincidental - The estranged marital relationship, the taking of alcohol, turning towards younger male company, the craving to be understood and loved - all elements evident in Meena Kumari's own life.[4]
[edit] Later work
For four more years, Kumari performed successfully in Dil Ek Mandir (1963), Kaajal (1965), and Phool Aur Patthar (1966), all of which earned her Filmfare nominations, with Kaajal garnering her a fourth and last win of the Best Actress award. However, after divorcing her husband in 1964, her addiction to alcohol became stronger, and she often dulled her senses with liquor. She also relied more and more on intimate relationships with younger men like Dharmendra. Her subsequent releases, including Chandan Ka Palna and Majhli Didi did not do well.[1]
Kumari's heavy drinking had badly damaged her liver, and in 1968 she fell seriously ill.[1][5] She was taken to London and Switzerland for treatment. Back home, she started settling her debts and made peace with her estranged sister, Madhu, whom she had not spoken to for two years.[5] Because of her heavy drinking, she increasingly lost her good looks, and when she returned, she began playing character roles in movies like Jawab (1970) and Dushmun (1972).[1]
She developed an attachment to writer-lyricist Gulzar and acted in his directorial debut Mere Apne (1971). Kumari presented an acclaimed portrayal of an elderly woman who got caught between two street gangs of frustrated, unemployed youth and got killed, her death making the youth realise the futility of violence.
Pakeezah, starring Kumari and directed by her ex-husband Kamal Amrohi, took 14 years to reach the silver screen. First planned by Amrohi in 1958, the film went on the studio floors in 1964, but the shooting came to a standstill after their separation in March 1964, when it was more than halfway complete.[5] In 1969, Sunil Dutt and Nargis previewed some reels of the shelved film and convinced the estranged Amrohi and Kumari to complete it.[1] Hindustan Times described the meeting which Dutt had organised between the two:
“ Not much was said, but streams of tears were shed... Amrohi greeted her with a token payment of a gold guinea and the promise that he’d make her look as beautiful as the day she had started the film.[5] ”
Gravelly ill, Kumari was determined to complete the film and, well aware of the limited time left for her to live, went out of her way to complete it at the earliest. Despite her rapidly deteriorating health, she gave the finishing touches to her performance. Initially, after its release in February 1972, Pakeezah opened to a lukewarm response from the public; however, after Meena Kumari's death less than two months later, people flocked to see it, making it a major box-office success. The film has since gained a cult and classic status, and Kumari's performance as a golden-hearted Lucknow prostitute drew major praise. She posthumously received her twelfth and last Filmfare nomination.
Throughout her life, Kumari had a love-hate relationship with movies, and besides being a top-notch actress, she was a talented poetess, and recorded a disc of her Urdu poems, I write, I recite with music by Khayyam.
[edit] Death
Three weeks after the release of Pakeezah, Meena Kumari became seriously ill, and died on March 31, 1972 of cirrhosis of the liver. At her death, she was in more or less the same financial circumstance as her parents at the time of her birth: It is said that when she died in a nursing home, there was no money to pay her hospital bills.
[edit] Relationship with Kamal Amrohi
In 1952, on the sets of one of her films, Meena Kumari fell in love with and married film director, Kamal Amrohi, who was fifteen years elder than her and was already married. She wrote about Amrohi:
Dil saa jab saathi paya
Bechaini bhi woh saath le aaya
When I found someone like my heart
He also brought sorrow with him
Soon after marriage, Kamal Amrohi and Meena Kumari produced a film called Daera (1953), which was based on their love story. They also planned another film, Pakeezah. However, it took sixteen years (1956 to 1972) before Pakeezah reached the silver screen. (The scenes in Pakeezah's popular song, Inhi logon ne, were originally filmed in black and white, and were later reshot in color.)
It is said that Amrohi did not want children with Meena Kumari because she was not a Syed. They raised Kamal Amrohi's son, Tajdaar, who was greatly attached to his chhoti ammi (younger mother).
Due to their strong personalities, however, Meena Kumari and Kamal Amrohi started to develop conflicts, both professionally and in their married life. Their conflicts, separation in 1960, and ultimate divorce in 1964 highly impacted Meena Kumari, who, once a happy woman, became depressed and found solace in heavy drinking.They remarried, but Meena Kumari had become an alcoholic by then.
She expressed her sorrows prominently in her poetry. About Kamal Amrohi she wrote:
Tum kya karoge sunkar mujhse meri kahani
Belutf zindagi ke kisse hain pheeke pheeke
Why do you want to listen to my story:
Colourless tales of a joyless life
At the time of the divorce, she wrote:
Talaak to de rahe ho Nazare kahar ke saath
Jawani bhi mere lauta do Mehar ke saath
You are divorcing me with rage in your eyes
Return to me, also, my youth along with the bridal-price!
[edit] Filmography
1) Gomti Ke Kinare (1972) .... Ganga
2) Pakeezah (1972) .... Nargis/Sahibjaan
3) Dushmun (1971) .... Malti R. Din
4) Mere Apne (1971) .... Anandi Devi/Auaji (Aunt)
5) Jawab (1970) .... Vidya
6) Saat Phere (1970)
7) Abhilasha (1968) .... Mrs. Meena Singh
8) Baharon Ki Manzil (1968) .... Nanda S. Roy/Radha Shukla
9) Bahu Begum (1967) .... Zeenat Jahan Begum
10) Chandan Ka Palna (1967) .... Shobha Rai
11) Majhli Didi (1967) .... Hemangini 'Hema'
12) Noorjehan (1967)
13) Phool Aur Patthar (1966) .... Shanti Devi
14) Pinjre Ke Panchhi (1966) .... Heena Sharma
15) Bheegi Raat (1965)
16) Jadui Angoothi (1965)
17) Kaajal (1965) .... Madhavi
18) Purnima (1965) .... Purnima V. Lal
19) Maain Bhi Ladki Hun (1964) .... Rajni
20) Benazir (1964) .... Benazir
21) Chitralekha (1964) .... Chitralekha
22) Gazal (1964) .... Naaz Ara Begum
23) Sanjh Aur Savera (1964) .... Gauri
24) Akeli Mat Jaiyo (1963) Seema
25) Dil Ek Mandir (1963) .... Sita
26) Kinare Kinare (1963)
27) Aarti (1962) .... Aarti Gupta
28) Main Chup Rahungi (1962) .... Gayetri
29) Sahib Bibi Aur Ghulam (1962) .... Chhoti Bahu
30) Bhabhi Ki Chudiyan (1961) .... Geeta, Shyam's wife
31) Pyaar Ka Saagar (1961) .... Radha/Rani B. Gupta
32) Zindagi Aur Khwab (1961) .... Shanti
33) Bahaana (1960)
34) Dil Apna Aur Preet Parai (1960) .... Karuna
35) Kohinoor (1960)
36) Ardhangini (1959) .... Chhaya
37) Chand (1959)
38) Char Dil Char Raahein (1959) .... Chavli
39) Chirag Kahan Roshni Kahan (1959) .... Ratna
40) Jagir (1959)
41) Madhu (1959)
42) Satta Bazaar (1959) .... Jamuna
43) Shararat (1959)
44) Farishta (1958)
45) Sahara (1958) .... Leela
46) Savera (1958)
47) Yahudi (1958) .... Hannah
48) Miss Mary (1957) .... Miss Mary/Laxmi
49) Sharada (1957) .... Sharada Ram Sharan
50) Bandhan (1956)
51) Ek-Hi-Rasta (1956) .... Malti
52) Halaku (1956) .... Niloufer Nadir
53) Mem Sahib (1956) .... Meena
54) Naya Andaz (1956)
55) Shatranj (1956)
56) Adil-E-Jahangir (1955)
57) Azaad (1955) .... Shobha
58) Bandish (1955) .... Usha Sen
59) Rukhsana (1955)
60) Baadbaan (1954)
61) Chandni Chowk (1954) .... Zarina
62) Ilzam (1954)
63) Daera (1953) .... Sheetal
64) Dana Paani (1953)
65) Do Bigha Zamin (1953) .... Thakurain
66) Foot Path (1953) .... Mala
67) Naulakha Haar (1953) .... Bijma
68) Parineeta (1953) .... Lalita
69) Aladdin Aur Jadui Chirag (1952)
70) Baiju Bawra (1952) .... Gauri
71) Tamasha (1952) .... Kiran
72) Hanumaan Pataal Vijay (1951)
73) Lakshmi Narayan (1951)
74) Madhosh (1951) .... Soni
75) Sanam (1951)
76) Anmol Ratan (1950)
77) Hamara Ghar (1950)
78) Magroor (1950)
79) Shri Ganesh Mahima (1950)
80) Veer Ghatotkach (1949) .... Surekha
81) Bichchade Balam (1948)
82) Piya Ghar Aaja (1947)
83) Bachchon Ka Khel (1946)
84) Duniya Ek Sarai (1946)
85) Lal Haveli (1944)
86) Pratiggya (1943)
87) Garib (1942)
88) Bahen (1941) (as Baby Meena) .... Bina
89) Kasauti (1941)
90) Nai Roshni (1941)
91) Ek Hi Bhool (1940)
92) Pooja (1940)
93) Leatherface (1939)
After I have said the Faitiah at my parents graves I say Fatiah at the grave of Nawab Kashmiri, Meena Kumari, Kamal Amrohi Jalal Agha and Joe Ansari..
Explored # 135 on 24th May 2009
UngliaN ab bhi isi soch mein gum haiN 'Faraz',
Usne kaise naye haath ko thaamaa hoga...
I'm trying to translate this urdu poetry by Ahmed Faraz for my friends who do not understand the language :
(My) fingers are still lost in this thought,
How she could hold somebody else's hand...
Reading a translation is like seeing embroidery from the reverse side but still, I hope the meaning of these lines is conveyed. Anybody who can suggest a better translation is welcome...
135,539 items / 1,037,639 views
I am told by the caretaker Bahadur who died recently that one of her fans built this Mausoleum and would come and place flowers and pray.. but than I dont know the truth, and when you die you add wings to the stories that attach to you and make you more legendary than you are...and the Shia grave yard is a hard bed of incomplete stories of Lifes Drama a sudden curtain call.. a bow in vain..
From Wikipedia, the free encyclopedia
Meena Kumari or Mahjabeen Bano (1 August 1932 - 31 March 1972), was an Indian movie actress and poetess. She is regarded as one of the most prominent actresses to have appeared on the screens of Hindi Cinema. During a career spanning 30 years from her childhood to her death, she starred in more than ninety films, many of which have achieved classic and cult status today.
Kumari gained a reputation for playing grief-stricken and tragic roles, and her performances have been praised and reminisced throughout the years. Like one of her best-known roles, Chhoti Bahu, in Sahib Bibi Aur Ghulam (1962), Kumari became addicted to alcohol. Her life and prosperous career were marred by heavy drinking, troubled relationships, an ensuing deteriorating health, and her death from liver cirrhosis in 1972.
Kumari is often cited by media and literary sources as "The Tragedy Queen", both for her frequent portrayal of sorrowful and dramatic roles in her films and her real-life story.[1][2]
Mahjabeen Bano was the third daughter of Ali Baksh and Iqbal Begum; Khursheed and Madhu were her two elder sisters. At the time of her birth, her parents were unable to pay the fees of Dr. Gadre, who had delivered her, so her father left her at a Muslim orphanage, however, he picked her up after a few hours.
Her father, a Shia Muslim, was a veteran of Parsi theater, played harmonium, taught music, and wrote Urdu poetry. He played small roles in films like Id Ka Chand and composed music for films like Shahi Lutere.
Her mother, Prabhwati Devi, was the second wife of Ali Baksh. Before meeting and then marrying Ali Baksh, she was a stage actress and dancer, under the stage name, Kamini. After marriage, she converted from Hinduism to Islam, and changed her name to Iqbal Begum.
(It is said that Prabhwati Devi's mother, Hem Sundari, had been married into the Tagore family, but she was disowned by that family after being widowed.)
[edit] Career
[edit] Early work
When Mahjabeen was born, Ali Bakhsh aspired to get roles as an actor in Rooptara Studios. At the urging of his wife, he got Mahjabeen too into movies despite her protestations of wanting to go to school. Young Mahjabeen is said to have said, "I do not want to work in movies; I want to go to school, and learn like other children."
As Mahjabeen embarked on her acting career at the age of 7, she was renamed Baby Meena. Farzand-e-Watan or Leatherface (1939) was her first movie, which was directed for Prakash Studios by Vijay Bhatt. She became practically the sole breadwinner of her family during the 1940s. Her early adult acting, under the name Meena Kumari, was mainly in mythological movies like Veer Ghatotkach (1949), Shri Ganesh Mahima (1950), and fantasy movies like Alladin and The Wonderful Lamp (1952).
[edit] Breakthrough
Meena Kumari, (here with Rehman), performed a landmark role, as Choti Bahu, in Abrar Alvi's, Sahib Bibi Aur Ghulam, 1962
Meena Kumari gained fame with her role as a heroine in Vijay Bhatt's Baiju Bawra (1952). This heroine always negated herself for the material and spiritual advancement of the man she loved and was even willing to annihilate herself to provide him the experience of pain so that his music would be enriched. She became the first actress to win the Filmfare Best Actress Award in 1953 for this performance.
Meena Kumari highly successfully played the roles of a suffering woman in Parineeta (1953), Daera (1953), Ek Hi Raasta (1956), Sharda (1957), and Dil Apna Aur Preet Parayi (1960). Though she cultivated the image of a tragedienne, she also performed commendably in a few light-hearted movies like Azaad (1955), Miss Mary (1957), Shararat (1959), and Kohinoor (1960).
One of her best-known roles was in Sahib Bibi Aur Ghulam (1962), which was produced by Guru Dutt. Kumari played Chhoti Bahu, an alcoholic wife. The film was a major critical and commercial success, which was attributed by critics to Kumari's performance, which is regarded as one of the best performances of Hindi Cinema.[3] The role was famous for its uncanny similarity to Meena Kumari's own life. At that time, she herself was on a road to gradual ruin in her own personal life. Like her character, she began to drink heavily, though she carried on. In 1962, she made history by getting all the three nominations for Filmfare Best Actress Award, for her roles in Aarti, Main Chup Rahungi, and Sahib Bibi Aur Ghulam. She won the award for Sahib Bibi Aur Ghulam. Upperstall.com wrote about her performance,
While each of the performances are spot on, if there is one person who is the heart and soul of the film, it is Meena Kumari. Her portrayal of Chhoti Bahu is perhaps the greatest performance ever seen on the Indian Screen. The sequence where Chhoti Bahu dresses for her husband singing Piya Aiso Jiya Main is a poignant exploration of a woman's expectations and sexual desire. And later on when she has become a desperate alcoholic, you cannot help but cry with her in the sequence where she pleads with her husband to stay with her and then angrily turns on him to tell him how she has prostituted her basic values and morals to please him. However the common factors between the actress's life and Chhoti Bahu are too dramatic to be merely coincidental - The estranged marital relationship, the taking of alcohol, turning towards younger male company, the craving to be understood and loved - all elements evident in Meena Kumari's own life.[4]
[edit] Later work
For four more years, Kumari performed successfully in Dil Ek Mandir (1963), Kaajal (1965), and Phool Aur Patthar (1966), all of which earned her Filmfare nominations, with Kaajal garnering her a fourth and last win of the Best Actress award. However, after divorcing her husband in 1964, her addiction to alcohol became stronger, and she often dulled her senses with liquor. She also relied more and more on intimate relationships with younger men like Dharmendra. Her subsequent releases, including Chandan Ka Palna and Majhli Didi did not do well.[1]
Kumari's heavy drinking had badly damaged her liver, and in 1968 she fell seriously ill.[1][5] She was taken to London and Switzerland for treatment. Back home, she started settling her debts and made peace with her estranged sister, Madhu, whom she had not spoken to for two years.[5] Because of her heavy drinking, she increasingly lost her good looks, and when she returned, she began playing character roles in movies like Jawab (1970) and Dushmun (1972).[1]
She developed an attachment to writer-lyricist Gulzar and acted in his directorial debut Mere Apne (1971). Kumari presented an acclaimed portrayal of an elderly woman who got caught between two street gangs of frustrated, unemployed youth and got killed, her death making the youth realise the futility of violence.
Pakeezah, starring Kumari and directed by her ex-husband Kamal Amrohi, took 14 years to reach the silver screen. First planned by Amrohi in 1958, the film went on the studio floors in 1964, but the shooting came to a standstill after their separation in March 1964, when it was more than halfway complete.[5] In 1969, Sunil Dutt and Nargis previewed some reels of the shelved film and convinced the estranged Amrohi and Kumari to complete it.[1] Hindustan Times described the meeting which Dutt had organised between the two:
“ Not much was said, but streams of tears were shed... Amrohi greeted her with a token payment of a gold guinea and the promise that he’d make her look as beautiful as the day she had started the film.[5] ”
Gravelly ill, Kumari was determined to complete the film and, well aware of the limited time left for her to live, went out of her way to complete it at the earliest. Despite her rapidly deteriorating health, she gave the finishing touches to her performance. Initially, after its release in February 1972, Pakeezah opened to a lukewarm response from the public; however, after Meena Kumari's death less than two months later, people flocked to see it, making it a major box-office success. The film has since gained a cult and classic status, and Kumari's performance as a golden-hearted Lucknow prostitute drew major praise. She posthumously received her twelfth and last Filmfare nomination.
Throughout her life, Kumari had a love-hate relationship with movies, and besides being a top-notch actress, she was a talented poetess, and recorded a disc of her Urdu poems, I write, I recite with music by Khayyam.
[edit] Death
Three weeks after the release of Pakeezah, Meena Kumari became seriously ill, and died on 31 March 1972 of cirrhosis of the liver. At her death, she was in more or less the same financial circumstance as her parents at the time of her birth: It is said that when she died in a nursing home, there was no money to pay her hospital bills.
[edit] Relationship with Kamal Amrohi
In 1952, on the sets of one of her films, Meena Kumari fell in love with and married film director, Kamal Amrohi, who was fifteen years elder than her and was already married. She wrote about Amrohi:
Dil saa jab saathi paya
Bechaini bhi woh saath le aaya
When I found someone like my heart
He also brought sorrow with him
Soon after marriage, Kamal Amrohi and Meena Kumari produced a film called Daera (1953), which was based on their love story. They also planned another film, Pakeezah. However, it took sixteen years (1956 to 1972) before Pakeezah reached the silver screen. (The scenes in Pakeezah's popular song, Inhi logon ne, were originally filmed in black and white, and were later reshot in color.)
It is said that Amrohi did not want children with Meena Kumari because she was not a Syed. They raised Kamal Amrohi's son, Tajdaar, who was greatly attached to his chhoti ammi (younger mother).
Due to their strong personalities, however, Meena Kumari and Kamal Amrohi started to develop conflicts, both professionally and in their married life. Their conflicts led to separation in 1960, and ultimately divorce in 1964. Highly affected Meena Kumari, who, once a happy woman, became depressed and found solace in heavy drinking.They remarried, but Meena Kumari had become an alcoholic by then.
She expressed her sorrows prominently in her poetry. About Kamal Amrohi she wrote:
Tum kya karoge sunkar mujhse meri kahani
Belutf zindagi ke kisse hain pheeke pheeke
Why do you want to listen to my story:
Colourless tales of a joyless life
At the time of the divorce, she wrote:
Talaak to de rahe ho Nazar-e-kahar ke saath
Jawani bhi mere lauta do Mehar ke saath
You are divorcing me with rage in your eyes
Return to me, also, my youth along with the bridal-price!
[edit] Filmography
1) Gomti Ke Kinare (1972) .... Ganga
2) Pakeezah (1972) .... Nargis/Sahibjaan
3) Dushmun (1971) .... Malti R. Din
4) Mere Apne (1971) .... Anandi Devi/Auaji (Aunt)
5) Jawab (1970) .... Vidya
6) Saat Phere (1970)
7) Abhilasha (1968) .... Mrs. Meena Singh
8) Baharon Ki Manzil (1968) .... Nanda S. Roy/Radha Shukla
9) Bahu Begum (1967) .... Zeenat Jahan Begum
10) Chandan Ka Palna (1967) .... Shobha Rai
11) Majhli Didi (1967) .... Hemangini 'Hema'
12) Noorjehan (1967)
13) Phool Aur Patthar (1966) .... Shanti Devi
14) Pinjre Ke Panchhi (1966) .... Heena Sharma
15) Bheegi Raat (1965)
16) Jadui Angoothi (1965)
17) Kaajal (1965) .... Madhavi
18) Purnima (1965) .... Purnima V. Lal
19) Maain Bhi Ladki Hun (1964) .... Rajni
20) Benazir (1964) .... Benazir
21) Chitralekha (1964) .... Chitralekha
22) Gazal (1964) .... Naaz Ara Begum
23) Sanjh Aur Savera (1964) .... Gauri
24) Akeli Mat Jaiyo (1963) Seema
25) Dil Ek Mandir (1963) .... Sita
26) Kinare Kinare (1963)
27) Aarti (1962) .... Aarti Gupta
28) Main Chup Rahungi (1962) .... Gayetri
29) Sahib Bibi Aur Ghulam (1962) .... Chhoti Bahu
30) Bhabhi Ki Chudiyan (1961) .... Geeta, Shyam's wife
31) Pyaar Ka Saagar (1961) .... Radha/Rani B. Gupta
32) Zindagi Aur Khwab (1961) .... Shanti
33) Bahaana (1960)
34) Dil Apna Aur Preet Parai (1960) .... Karuna
35) Kohinoor (1960)
36) Ardhangini (1959) .... Chhaya
37) Chand (1959)
38) Char Dil Char Raahein (1959) .... Chavli
39) Chirag Kahan Roshni Kahan (1959) .... Ratna
40) Jagir (1959)
41) Madhu (1959)
42) Satta Bazaar (1959) .... Jamuna
43) Shararat (1959)
44) Farishta (1958)
45) Sahara (1958) .... Leela
46) Savera (1958)
47) Yahudi (1958) .... Hannah
48) Miss Mary (1957) .... Miss Mary/Laxmi
49) Sharada (1957) .... Sharada Ram Sharan
50) Bandhan (1956)
51) Ek-Hi-Rasta (1956) .... Malti
52) Halaku (1956) .... Niloufer Nadir
53) Mem Sahib (1956) .... Meena
54) Naya Andaz (1956)
55) Shatranj (1956)
56) Adil-E-Jahangir (1955)
57) Azaad (1955) .... Shobha
58) Bandish (1955) .... Usha Sen
59) Rukhsana (1955)
60) Baadbaan (1954)
61) Chandni Chowk (1954) .... Zarina
62) Ilzam (1954)
63) Daera (1953) .... Sheetal
64) Dana Paani (1953)
65) Do Bigha Zamin (1953) .... Thakurain
66) Foot Path (1953) .... Mala
67) Naulakha Haar (1953) .... Bijma
68) Parineeta (1953) .... Lalita
69) Aladdin Aur Jadui Chirag (1952)
70) Baiju Bawra (1952) .... Gauri
71) Tamasha (1952) .... Kiran
72) Hanumaan Pataal Vijay (1951)
73) Lakshmi Narayan (1951)
74) Madhosh (1951) .... Soni
75) Sanam (1951)
76) Anmol Ratan (1950)
77) Hamara Ghar (1950)
78) Magroor (1950)
79) Shri Ganesh Mahima (1950)
80) Veer Ghatotkach (1949) .... Surekha
81) Bichchade Balam (1948)
82) Piya Ghar Aaja (1947)
83) Bachchon Ka Khel (1946)
84) Duniya Ek Sarai (1946)
85) Lal Haveli (1944)
86) Pratiggya (1943)
87) Garib (1942)
88) Bahen (1941) (as Baby Meena) .... Bina
89) Kasauti (1941)
90) Nai Roshni (1941)
91) Ek Hi Bhool (1940)
92) Pooja (1940)
93) Leatherface (1939)
[edit] Filmfare Awards
Awards won
* 1954 Filmfare Best Actress Award - Baiju Bawra
* 1955 Filmfare Best Actress Award - Parineeta
* 1963 Filmfare Best Actress Award - Sahib Bibi Aur Ghulam
* 1966 Filmfare Best Actress Award - Kaajal
Awards nominated
* 1956 Filmfare Best Actress Award - Azaad
* 1959 Filmfare Best Actress Award - Sahara
* 1960 Filmfare Best Actress Award - Chirag Kahan Roshni Kahan
* 1963 Filmfare Best Actress Award - Aarti
* 1963 Filmfare Best Actress Award - Main Chup Rahungi
* 1964 Filmfare Best Actress Award - Dil Ek Mandir
* 1967 Filmfare Best Actress Award - Phool Aur Patthar
* 1973 Filmfare Best Actress Award - Pakeezah (posthumous nomination)[6]
[edit] Biography
One of the first biographies of Meena Kumari was written just after her death by Vinod Mehta in the year 1972. It was simply titled Meena Kumari.
From Wikipedia, the free encyclopedia
Meena Kumari (1 August 1932 – 31 March 1972), born Mahjabeen Bano, was an Indian movie actress and poetess. She is regarded as one of the most prominent actresses to have appeared on the screens of Hindi Cinema. During a career spanning 30 years from her childhood to her death, she starred in more than ninety films, many of which have achieved classic and cult status today.
Kumari gained a reputation for playing grief-stricken and tragic roles, and her performances have been praised and reminisced throughout the years. Like one of her best-known roles, Chhoti Bahu, in Sahib Bibi Aur Ghulam (1962), Kumari became addicted to alcohol. Her life and prosperous career were marred by heavy drinking, troubled relationships, an ensuing deteriorating health, and her death from liver cirrhosis in 1972.
Kumari is often cited by media and literary sources as "The Tragedy Queen", both for her frequent portrayal of sorrowful and dramatic roles in her films and her real-life story.[1][2][3]
Early life
Meena Kumari was the third daughter of Ali Baksh and Iqbal Begum; Khursheed and Madhu were her two elder sisters. At the time of her birth, her parents were unable to pay the fees of Dr. Gadre, who had delivered her, so her father left her at a Muslim orphanage, however, he picked her up after a few hours.
Her father, a Shia Muslim, was a veteran of Parsi theater, played harmonium, taught music, and wrote Urdu poetry. He played small roles in films like Id Ka Chand and composed music for films like Shahi Lutere.
Her mother was the second wife of Ali Baksh. Before meeting and then marrying Ali Baksh, she was a stage actress and dancer, under the stage name, Kamini.
Career
Early work
When Mahjabeen was born, Ali Bakhsh aspired to get roles as an actor in Rooptara Studios. At the urging of his wife, he got Mahjabeen too into movies despite her protestations of wanting to go to school. Young Mahjabeen is said to have said, "I do not want to work in movies; I want to go to school, and learn like other children."
As Mahjabeen embarked on her acting career at the age of 7, she was renamed Baby Meena. Farzand-e-Watan or Leatherface (1939) was her first movie, which was directed for Prakash Studios by Vijay Bhatt. She became practically the sole breadwinner of her family during the 1940s. Her early adult acting, under the name Meena Kumari, was mainly in mythological movies like Veer Ghatotkach (1949), Shri Ganesh Mahima (1950), and fantasy movies like Alladin and The Wonderful Lamp (1952).
Breakthrough
Meena Kumari gained fame with her role as a heroine in Vijay Bhatt's Baiju Bawra (1952). This heroine always negated herself for the material and spiritual advancement of the man she loved and was even willing to annihilate herself to provide him the experience of pain so that his music would be enriched. She became the first actress to win the Filmfare Best Actress Award in 1953 for this performance.
Meena Kumari highly successfully played the roles of a suffering woman in Parineeta (1953), Daera (1953), Ek Hi Raasta (1956), Sharda (1957), and Dil Apna Aur Preet Parayi (1960). Though she cultivated the image of a tragedienne, she also performed commendably in a few light-hearted movies like Azaad (1955), Miss Mary (1957), Shararat (1959), and Kohinoor (1960).
One of her best-known roles was in Sahib Bibi Aur Ghulam (1962), which was produced by Guru Dutt. Kumari played Chhoti Bahu, an alcoholic wife. The film was a major critical and commercial success, which was attributed by critics to Kumari's performance, which is regarded as one of the best performances of Hindi Cinema.[4] The role was famous for its uncanny similarity to Meena Kumari's own life. At that time, she herself was on a road to gradual ruin in her own personal life. Like her character, she began to drink heavily, though she carried on. In 1962, she made history by getting all the three nominations for Filmfare Best Actress Award, for her roles in Aarti, Main Chup Rahungi, and Sahib Bibi Aur Ghulam. She won the award for Sahib Bibi Aur Ghulam. Upperstall.com wrote about her performance,
"While each of the performances are spot on, if there is one person who is the heart and soul of the film, it is Meena Kumari. Her portrayal of Chhoti Bahu is perhaps the greatest performance ever seen on the Indian Screen. The sequence where Chhoti Bahu dresses for her husband singing Piya Aiso Jiya Main is a poignant exploration of a woman's expectations and sexual desire. And later on when she has become a desperate alcoholic, you cannot help but cry with her in the sequence where she pleads with her husband to stay with her and then angrily turns on him to tell him how she has prostituted her basic values and morals to please him. However the common factors between the actress's life and Chhoti Bahu are too dramatic to be merely coincidental - The estranged marital relationship, the taking of alcohol, turning towards younger male company, the craving to be understood and loved - all elements evident in Meena Kumari's own life."[5]
Later work
For four more years, Kumari performed successfully in Dil Ek Mandir (1963), Kaajal (1965), and Phool Aur Patthar (1966), all of which earned her Filmfare nominations, with Kaajal garnering her a fourth and last win of the Best Actress award. However, after divorcing her husband in 1964, her addiction to alcohol became stronger, and she often dulled her senses with liquor. She also relied more and more on intimate relationships with younger men like Dharmendra. Her subsequent releases, including Chandan Ka Palna and Majhli Didi did not do well.[1]
Kumari's heavy drinking had badly damaged her liver, and in 1968 she fell seriously ill.[1][6] She was taken to London and Switzerland for treatment. Back home, she started settling her debts and made peace with her estranged sister, Madhu, whom she had not spoken to for two years.[6] Because of her heavy drinking, she increasingly lost her good looks, and when she returned, she began playing character roles in movies like Jawab (1970) and Dushmun (1972).[1]
She developed an attachment to writer-lyricist Gulzar and acted in his directorial debut Mere Apne (1971). Kumari presented an acclaimed portrayal of an elderly woman who got caught between two street gangs of frustrated, unemployed youth and got killed, her death making the youth realise the futility of violence.
Pakeezah, starring Kumari and directed by her ex-husband Kamal Amrohi, took 14 years to reach the silver screen. First planned by Amrohi in 1958, the film went on the studio floors in 1964, but the shooting came to a standstill after their separation in March 1964, when it was more than halfway complete.[6] In 1969, Sunil Dutt and Nargis previewed some reels of the shelved film and convinced the estranged Amrohi and Kumari to complete it.[1] Hindustan Times described the meeting which Dutt had organised between the two:
"Not much was said, but streams of tears were shed... Amrohi greeted her with a token payment of a gold guinea and the promise that he’d make her look as beautiful as the day she had started the film."[6]
Gravelly ill, Kumari was determined to complete the film and, well aware of the limited time left for her to live, went out of her way to complete it at the earliest. Despite her rapidly deteriorating health, she gave the finishing touches to her performance. Initially, after its release in February 1972, Pakeezah opened to a lukewarm response from the public; however, after Meena Kumari's death less than two months later, people flocked to see it, making it a major box-office success. The film has since gained a cult and classic status, and Kumari's performance as a golden-hearted Lucknow prostitute drew major praise. She posthumously received her twelfth and last Filmfare nomination.
Throughout her life, Kumari had a love-hate relationship with movies, and besides being a top-notch actress, she was a talented poetess, and recorded a disc of her Urdu poems, I write, I recite with music by Khayyam.
Death
Three weeks after the release of Pakeezah, Meena Kumari became seriously ill, and died on 31 March 1972 of liver cirrhosis. At her death, she was in more or less the same financial circumstance as her parents at the time of her birth: It is said that when she died in a nursing home, there was no money to pay her hospital bills. She was buried at Rahematabad Qabristan located at Narialwadi, Mazgaon, Mumbai.
Relationship with Kamal Amrohi
In 1952, on the sets of one of her films, Meena Kumari fell in love with and married film director, Kamal Amrohi, who was fifteen years elder than her and was already married. She wrote about Amrohi:
"Dil saa jab saathi paya
Bechaini bhi woh saath le aaya"
(When I found someone like my heart
He also brought sorrow with him)
Soon after marriage, Kamal Amrohi and Meena Kumari produced a film called Daera (1953), which was based on their love story. They also planned another film, Pakeezah. However, it took sixteen years (1956 to 1972) before Pakeezah reached the silver screen. (The scenes in Pakeezah's popular song, Inhi logon ne, were originally filmed in black and white, and were later reshot in color.)
It is said that Amrohi did not want children with Meena Kumari because she was not a Syed. They raised Kamal Amrohi's son, Tajdaar, who was greatly attached to his chhoti ammi (younger mother).
Due to their strong personalities, however, Meena Kumari and Kamal Amrohi started to develop conflicts, both professionally and in their married life. Their conflicts led to separation in 1960, and ultimately divorce in 1964. Highly affected Meena Kumari, who, once a happy woman, became depressed and found solace in heavy drinking. They remarried, but Meena Kumari had become an alcoholic by then.
She expressed her sorrows prominently in her poetry. About Kamal Amrohi she wrote:
"Tum kya karo ge sun kar mujh se meri kahani
Bay lutf zindagi ke qissay hain pheekay pheekay"
(Why do you want to listen to my story:
Colourless tales of a joyless life)
At the time of the divorce, she wrote:
"Talaaq to day rahay ho Nazar-e-qehar ke saath
Jawani bhi meri lauta do Mehar ke saath"
(You are divorcing me with rage in your eyes
Return to me, also, my youth along with the alimony!)
Filmography
Gomti Ke Kinare (1972) .... Ganga
Pakeezah (1972) .... Nargis/Sahibjaan
Dushmun (1971) .... Malti R. Din
Mere Apne (1971) .... Anandi Devi/Auaji (Aunt)
Jawab (1970) .... Vidya
Saat Phere (1970)
Abhilasha (1968) .... Mrs. Meena Singh
Baharon Ki Manzil (1968) .... Nanda S. Roy/Radha Shukla
Bahu Begum (1967) .... Zeenat Jahan Begum
Chandan Ka Palna (1967) .... Shobha Rai
Majhli Didi (1967) .... Hemangini 'Hema'
Noorjehan (1967)
Phool Aur Patthar (1966) .... Shanti Devi
Pinjre Ke Panchhi (1966) .... Heena Sharma
Bheegi Raat (1965)
Jadui Angoothi (1965)
Kaajal (1965) .... Madhavi
Purnima (1965) .... Purnima V. Lal
Maain Bhi Ladki Hun (1964) .... Rajni
Benazir (1964) .... Benazir
Chitralekha (1964) .... Chitralekha
Gazal (1964) .... Naaz Ara Begum
Sanjh Aur Savera (1964) .... Gauri
Akeli Mat Jaiyo (1963) Seema
Dil Ek Mandir (1963) .... Sita
Kinare Kinare (1963)
Aarti (film) (1962) .... Aarti Gupta
Main Chup Rahungi (1962) .... Gayetri
Sahib Bibi Aur Ghulam (1962) .... Chhoti Bahu
Bhabhi Ki Chudiyan (1961) .... Geeta, Shyam's wife
Pyaar Ka Saagar (1961) .... Radha/Rani B. Gupta
Zindagi Aur Khwab (1961) .... Shanti
Bahaana (1960)
Dil Apna Aur Preet Parai (1960) .... Karuna
Kohinoor (1960)
Ardhangini (1959) .... Chhaya
Chand (1959)
Char Dil Char Raahein (1959) .... Chavli
Chirag Kahan Roshni Kahan (1959) .... Ratna
Jagir (1959)
Madhu (1959)
Satta Bazaar (1959) .... Jamuna
Shararat (1959)
Farishta (1958)
Sahara (1958) .... Leela
Savera (1958)
Yahudi (1958) .... Hannah
Miss Mary (1957) .... Miss Mary/Laxmi
Sharada (1957) .... Sharada Ram Sharan
Bandhan (1956)
Ek-Hi-Rasta (1956) .... Malti
Halaku (1956) .... Niloufer Nadir
Mem Sahib (1956) .... Meena
Naya Andaz (1956)
Shatranj (1956)
Adl-E-Jahangir (1955)
Azaad (1955) .... Shobha
Bandish (1955) .... Usha Sen
Rukhsana (1955)
Baadbaan (1954)
Chandni Chowk (1954) .... Zarina
Ilzam (1954)
Daera (1953) .... Sheetal
Dana Paani (1953)
Do Bigha Zamin (1953) .... Thakurain
Foot Path (1953) .... Mala
Naulakha Haar (1953) .... Bijma
Parineeta (1953) .... Lalita
Aladdin Aur Jadui Chirag (1952)
Baiju Bawra (1952) .... Gauri
Tamasha (1952) .... Kiran
Hanumaan Pataal Vijay (1951)
Lakshmi Narayan (1951)
Madhosh (1951) .... Soni
Sanam (1951)
Anmol Ratan (1950)
Hamara Ghar (1950)
Magroor (1950)
Shri Ganesh Mahima (1950)
Veer Ghatotkach (1949) .... Surekha
Bichchade Balam (1948)
Piya Ghar Aaja (1947)
Bachchon Ka Khel (1946)
Duniya Ek Sarai (1946)
Lal Haveli (1944)
Pratiggya (1943)
Garib (1942)
Bahen (1941) (as Baby Meena) .... Bina
Kasauti (1941)
Nai Roshni (1941)
Ek Hi Bhool (1940)
Pooja (1940)
Leatherface (1939)
Filmfare Awards
Filmfare Best Actress Award – Won
1953 Parineeta – Lalita
1954 Baiju Bawra – Gauri
1963 Sahib Bibi Aur Ghulam – Chhoti Bahu
1966 Kaajal – Madhavi
Filmfare Best Actress Award – Nominated
1956 Azaad – Shobha
1959 Sahara – Leela
1960 Chirag Kahan Roshni Kahan – Ratna
1963 Aarti – Aarti Gupta
1963 Main Chup Rahungi – Gayetri
1964 Dil Ek Mandir – Sita
1967 Phool Aur Patthar – Shanti Devi
1973 Pakeezah – Nargis / Sahibjaan (posthumous nomination)[7]
Bengal Film Journalists' Association Awards
Meena Kumari has won several awards at the Bengal Film Journalists' Association Awards (BFJA)
1963 Best Actress (Hindi): Aarti
1965 Best Actress (Hindi): Dil Ek Mandir
Special Award: Pakeezah[8]
Biography
One of the first biographies of Meena Kumari was written just after her death by Vinod Mehta in the year 1972. It was simply titled Meena Kumari.
Bete ke dhadhakte dil ke liye
hum hindusatan ki kismat nahi badal sakte
These were a filmi dialogues on a passing ricksha that I shot…
(Tanslated from Urdu it means ..
For the heart beats of a sons love I cannot change the destiny of Hindustan…
The son was Prince Salim the father Emperor Akbar in the film Moghul E Azam, the son was besotted by Anrakali a coourtean, or Tawaif, wanted to marry her and make her the Queen of his Heart and his Kingdom..)
Its a famous dialogue written in hindi on the rickshah, I craned and took the shot.The film was a yester year block buster Moghul E Azam..Emperor Akbars son Salim falls in love with a dancing girl or Tawaif , and is completely besotted by her wants to make her his wife , Emperor Akbar says to his Queen Jodha Bai, that he will not allow the thumping of a fickle Princes heart to change the destiny of India.. Hindustan.How can the future of the great Moghul Empire , be tied down in history with Ghungroos ..on the feet of a great country.
Women of such backgrounds were not part of the ruling hierarchy, many a kingdom was ruined by the love of a scion to the Tawaif.In Lucknow where Tawaifs were patronised by the reignning Nawabs of Avadh , this Tawaif culture was an Art Form.. of Tehzeeb and Adab, etiquette and culture.
Noble men sent their children to these Kothas , or to the Kothewalis to learn cuture ,etiqutte, deportment.. collectively known as Adab Tahzeeb…
Romance took place , a lot of Hindi pictures were made on this theme, illicit love of the nobleman and the courtesan..
Pakeezah a Kamal Amrohi film..
Sahib Bibi Aur Ghulam..A Guru Dutt Film..
Beautiful old time charm, old sets of Havelis, tantalising eternal lilting music…
Abhi Na Jao Chodkar Ke Dil Abhi Bhara Nahi…
Enhi logon ne …
Sheer cinematic nostalgia…
I lived in an extensin of the opulent house of the great thespian actor Late Nawab Kashmiri.. whose wife was from the royal family of Avadh, though Nawab Saab and his wife were dead, his mother in law Ammi.. the daughter in law of Nawab Wajid Ali Shah.. was the head of the family.. that consisted of her grandchildren, Akthar Baji, Anwar and Munnawar..Anwar Bhai died sometime back,, he used to wear all kinds of scary masks give my paternal grandmother Khurshed Baji a very hard time..
We grew up as kids in their house, our room was their servants quarters given as rent to my migrant father from lucknow..it was no ordinary servants quarters.. 3 rooms.. all at Khatau Mansions Wode House Road, the otherside of the extension lived a very rich modern family Dossabhai Kanga his wife Gwendolyn their son Keith Kanga.. with his grandmother.. all dead and gone..
Keith Kanga was the pioneer of the Rock scene early 60s in Bombay.. he died unsung…unremembered by the very fraternity of musicians that he promoted .. in their hard days.Nandu Bhende, Neil Chatophadya, so many… just names ..
This was not part of my earlier post.,.. but Adab and Tehzeeb.. is what you transplant .. wherever you go and relocate…Nawab Saabs family let it rub off on us…though my mothers side of Daroga Nabban saab.. took its ancestry from Mir Anis..
Now back too my topic on Tawaifs..
From Wikipedia, the free encyclopedia
Historically, a tawaif was a courtesan who catered to the Muslim nobility of South Asia, particularly during the Mughal era. They were skilled singers (North Indian classical music), dancers (usually Kathak), and poets (Urdu poetry). They were generally highly educated and refined. High-class tawaifs could often pick and choose between the best of their suitors.
The tawaif is celebrated in the Bollywood films Pakeezah (1972), Umrao Jaan (1981), and Devdas (2002
UMRAO JAAN
www.uiowa.edu/~incinema/umraojaan.html
Muzaffar Ali’s adaptation of the first great modern Urdu novel, Umrao Jan Ada by Mirza Ruswa (1905), makes cinematic adjustments and compromises, but is a gem all the same. Whereas Ruswa interwove his fictional memoir of a 19th century tawayaf (courtesan or public woman) of Lucknow with a lively dialogic frame-narrative, in which the courtesan and author, both grown old, reminisce, tease one another, and quote copious ghazal poetry, the director presents a linear account of Umrao’s early life from childhood on, ending soon after the Rebellion of 1857 (a.k.a., the “Sepoy Mutiny”). Where the novel’s heroine is said to be plain, though blessed with a good voice and sharp mind, the film’s is…well, Rekha, here further endowed with the voice of Asha Bhosle singing ghazals that have all become famous. Where the literary Umrao admits to “never having really loved a man,” the cinematic Umrao has one great and lingering romance. The chronology of events is drastically altered as well, and of course a great deal is omitted. Nevertheless, Ali’s film is lovely in its own right, and apart from offering fine performances by renowned actors and gorgeous songs and dances, it succeeds remarkably well in capturing (through lovely cinematography and accurate period sets) much of the atmosphere of the novel, which both celebrates and problematizes the world of the chowk—the prostitute’s quarter of old Lucknow. It also conveys some of Ruswa’s surprisingly radical subtext: his meditation on the plight of upper-class women, whether begums (respectable but housebound wives) or tawayafs (alluring and educated but socially-disapproved courtesans), as birds equally caged by patriarchal double standards. It thus invites comparison with Kamal Amrohi’s PAKEEZAH (1971), which explores some of the same themes in a more allegorical register.
The setting is Lucknow, capital of the northeastern kingdom of Oudh (a.k.a. Awadh), which broke away from the crumbling Mughal Empire in the mid-eighteenth century. After the cultural and economic decline of Delhi, many poets and artists moved eastward, seeking the patronage of the heterodox Shi’ite Muslim rulers of Oudh. Their capital became renowned for the refinement and exaggerated elegance of its Persianized Urdu, as well as for the decadence of its lifestyle, which revolved around the Nawab’s court and the prostitutes’ chowk. The British East India Company’s forceful annexation of Oudh and deposition of its last king in 1856 helped to precipitate the outbreak, the following year, of widespread rebellion against their rule.
As the credits roll, we see the child Ameeran (Umme Farwa), a middle-class Muslim girl of Faizabad, being adorned, at roughly age twelve, for her engagement ceremony while women sing a traditional song. We soon learn that a neighbor of the family, Dilawar Khan, has a grudge against Ameeran’s father (whose testimony in a court case once sent him to prison); the vengeful Khan lures Ameeran from her house, then abducts her at knifepoint. Though he plans to kill her, a companion proposes instead taking her to Lucknow and selling her. After spending several days with a family who deal in stolen children, Ameeran and another frightened girl, Ram Dei, are both sold—the latter to a wealthy family (in the novel we learn that she is meant to be a sex-education toy for a young nawab or aristocrat). As the less attractive of the two, Ameeran is taken to Lucknow and sold to Madame Khanum (Shaukat Kaifi), the keeper of a high-class brothel where dandified gentlemen, wrapped in costly brocaded shawls and fortified by tobacco and opium, pass their evenings engaging in (for starters) witty conversation, musical recitals, and the chewing of paan (a mildly-addictive spiced betel preparation). But to the child, whom Khanum promptly renames Umrao and who understands nothing of the brothel’s commodity culture, it seems a magical and luxurious place, especially after her horrific ordeal. She has no hope of returning to her family (many days journey away) and is “adopted” by kindly Auntie Husaini (Dina Pathak), Khanum’s matronly servant.
Soon she begins her schooling in music, dance, and poetry—a world of art and learning that would have been barred to her had she remained with her family. As she and Khanum’s own daughter Bismillah practice their kathak dance, they are transformed into beautiful young women (Rekha and Prema Narayan). Umrao soon acquires an in-house paramour in the mischievous Gauhar Mirza (Naseeruddin Shah), the son of a prostitute and himself a sometime pimp. She also acquires a poetry teacher, Maulvi Saheb (Gajanan Jagirdar), who is also Hussaini’s lover. Once she begins performing (represented by the ghazal “Dil cheez kya hai” (“Never mind my heart, take my life”) she attracts the attention of a dashing and cultured young nawab, Sultan Sahab (Farouque Shaikh), who shares her taste for poetry. Several scenes are wonderfully evocative of the poetry-smitten world of 19th century Islamicate urban culture, in which all educated people were aspiring Urdu poets, and evenings were spent in mehfils or poetic gatherings at which a candle was passed around the room, and each person before whom it rested had to recite a poem, ideally of his own composition. The performances of ghazals attributed to Umrao Jaan (who composed under the pen-name “Ada”—“the flirtatious one”—which was artfully worked into the final or “signature” couplet of each poem) are likewise memorable (e.g., the haunting “In aankhon ki masti,” “The intoxication of these eyes”). Although Rekha lacks the grace of a classically-trained dancer, the music and opulent mise-en-scene (not to mention her intoxicating eyes) more than compensate.
Umrao’s romantic idyll with Nawab Sultan occupies much more of the film than it does of the novel, but in both it is repeatedly frustrated by a series of misfortunes that remind her of her status as a public woman who can never truly claim a man. These blows fall thick and fast after Intermission, and as a result the film gets a bit confusing. Frustrated in her love for Sultan (who is shortly to be married) and sick of her madam’s greed, Umrao decides to flee Khanum’s establishment with a darkly handsome admirer (Raj Babbar) who proves to be one Faiz Ali, a notorious daku or highwayman. When he is slain by rural police, Umrao makes her way to the commercial town of Kanpur and briefly (though in fact this compresses several years) sets up on her own, performing for the appreciative provincial gentry. This leads to an engagement at the home of a wealthy begum who proves to be none other than Ram Dei, the Hindu girl who was kidnapped and sold at the same time as Ameeran—by a quirk of fate, she has become the legal wife of a certain powerful Nawab. Discovered by Husaini and Gauhar Mirza, Umrao is brought back to her “home” in Lucknow, where Mirza (at Khanum’s urging, to prevent any future escape) harasses her with a lawsuit alleging that she married him. Just then the Rebellion breaks out, the British lay siege to Lucknow, and amid much confusion the denizens of the chowk escape the city. When the refugees pause overnight in Faizabad, Umrao again slips away from Khanum and eventually (more compression here) takes a flat in the very town in which she was born. Here too she receives invitations to perform in private homes, and the strange familiarity of one of these elicits the beautiful ghazal “Yeh kya jagah hai doston” (“What place is this, friends?”), that leads to a heartrending reunion.
Despite its uneven and sometimes confusing pace—familiarity with the novel (which is readily available in translation; see below), and with a bit of North Indian history certainly helps—this film gets high marks for its strong cast, beautifully written screenplay, and wonderful atmospherics. The exquisite locations never look like sets, and the shimmering costumes (of dazzling brocade and gauziest muslin) seem to be the work of master weavers. The beautiful songs are accompanied by traditional instruments (such as the plaintive-voiced sarangi) appropriate to the period. The director’s loving attention to visual detail is constantly evident, in carpets, hookahs, silver paan boxes, crystal lamps, and the Vermeer-like mirrors that confront the melancholy Umrao at every turn in her eventful journey.
April 21st, 2007
Sarfaroshi ki Tamanna is a patriotic poem written in Urdu by Ram Prasad Bismil, who was involved in motivating the Indian Independence Movement during the British Raj period in India.[1]
The poem was written as an ode to young freedom fighters of the Indian independence movement.[2] It has also been associated with the younger generation of inter-war freedom fighters such as Ashfaqullah Khan, Shaheed Bhagat Singh and Chandrashekhar Azad.[3][4]
Metre of this poem[edit]
This Urdu Ghazal is written in hikayate hasti. This type of Beher in Urdu poetry was the favourite meter of Ram Prasad Bismil. He had written almost 35 ghazals[5] in this meter.
The Urdu arkan(formula of lyric) of hikayate hasti (Mazahif Musamman) is Faailaatun, Faailaatun, Faailaatun, Faailun. In Hindi meter it is called Geetika Chhand/Parivartit Ashtpadiy whose Hindi sutra is Raajbhagaa, Raajbhagaa, Raajbhagaa, Raajbha[6]
The Poem (English transliteration)[edit]
Sarfaroshi ki tamanna ab hamaare dil mein hai
Dekhna hai zor kitna baazu-e-qaatil mein hai
Karta nahin kyun doosra kuch baat-cheet
Dekhta hun main jise woh chup teri mehfil mein hai
Aye shaheed-e-mulk-o-millat main tere oopar nisaar
Ab teri himmat ka charcha ghair ki mehfil mein hai
Sarfaroshi ki tamanna ab hamaare dil mein hai
Waqt aanay dey bata denge tujhe aye aasman
Hum abhi se kya batayen kya hamare dil mein hai
Khainch kar layee hai sab ko qatl hone ki ummeed
Aashiqon ka aaj jumghat koocha-e-qaatil mein hai
Sarfaroshi ki tamanna ab hamaare dil mein hai
Hai liye hathiyaar dushman taak mein baitha udhar
Aur hum taiyyaar hain seena liye apna idhar
Khoon se khelenge holi gar vatan muskhil mein hai
Sarfaroshi ki tamanna ab hamaare dil mein hai
Haath jin mein ho junoon katt te nahi talvaar se
Sar jo uth jaate hain voh jhukte nahi lalkaar se
Aur bhadkega jo shola-sa humaare dil mein hai
Sarfaroshi ki tamanna ab hamaare dil mein hai
Hum to ghar se nikle hi the baandhkar sar pe kafan
Jaan hatheli par liye lo barh chale hain ye qadam
Zindagi to apni mehmaan maut ki mehfil mein hai
Sarfaroshi ki tamanna ab hamaare dil mein hai
Yuun khadaa maqtal mein qaatil kah rahaa hai baar baar
Kya tamannaa-e-shahaadat bhi kisee ke dil mein hai
Dil mein tuufaanon ki toli aur nason mein inqilaab
Hosh dushman ke udaa denge humein roko na aaj
Duur reh paaye jo humse dam kahaan manzil mein hai
Wo jism bhi kya jism hai jismein na ho khoon-e-junoon
Kya lade toofaanon se jo kashti-e-saahil mein hai
Sarfaroshi ki tamanna ab hamaare dil mein hai.
Dekhna hai zor kitna baazuay qaatil mein hai.[7]
The Poem (Devnagari version)[edit]
सरफ़रोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू-ए-क़ातिल में है
करता नहीं क्यूँ दूसरा कुछ बातचीत,
देखता हूँ मैं जिसे वो चुप तेरी महफ़िल में है
ऐ शहीद-ए-मुल्क-ओ-मिल्लत, मैं तेरे ऊपर निसार,
अब तेरी हिम्मत का चरचः ग़ैर की महफ़िल में है
सरफ़रोशी की तमन्ना अब हमारे दिल में है
वक़्त आने पर बता देंगे तुझे, ए आसमान,
हम अभी से क्या बताएँ क्या बिसमिले दिल में है
खेँच कर लाई है सब को क़त्ल होने की उमीद,
आशिक़ोँ का आज जमघट कूचः-ए-क़ातिल में है
सरफ़रोशी की तमन्ना अब हमारे दिल में है
है लिए हथियार दुशमन ताक में बैठा उधर,
और हम तय्यार हैं सीना लिये अपना इधर.
ख़ून से खेलेंगे होली गर वतन मुश्किल में है,
सरफ़रोशी की तमन्ना अब हमारे दिल में है
हाथ, जिन में हो जुनून, कटते नही तलवार से,
सर जो उठ जाते हैं वो झुकते नहीं ललकार से.
और भड़केगा जो शोलः सा हमारे दिल में है,
सरफ़रोशी की तमन्ना अब हमारे दिल में है
हम तो घर से ही थे निकले बाँधकर सर पर कफ़न,
जाँ हथेली पर लिये लो बढ चले हैं ये कदम.
जिन्दगी तो अपनी मॆहमाँ मौत की महफ़िल में है,
सरफ़रोशी की तमन्ना अब हमारे दिल में है
यूँ खड़ा मक़्तल में क़ातिल कह रहा है बार-बार,
क्या तमन्ना-ए-शहादत भी किसी के दिल में है?
दिल में तूफ़ानों की टोली और नसों में इन्क़िलाब,
होश दुश्मन के उड़ा देंगे हमें रोको न आज.
दूर रह पाए जो हमसे दम कहाँ मंज़िल में है,
जिस्म भी क्या जिस्म है जिसमें न हो ख़ून-ए-जुनून
क्या लढ़े तूफ़ान से जो कश्ती-ए-साहिल में है
सरफ़रोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू-ए-क़ातिल में है
The Poem (Urdu Version)[edit]
سرفروشی کی تمنا اب ہمارے دل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے
دیکھنا ہے زور کتنا بازوئے قاتل میں ہے
کرتا نہیں کیوں دوسرا کچھ بات چیت
دیکھتا ھوں میں جسے وہ چپ تیری محفل میں ہے
اے شہید ملک و ملت میں تیرے اوپر نثار
اب تیری ہمت کا چرچہ غیر کی محفل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے
وقت آنے دے بتا دیں گے تجہے اے آسمان
ہم ابھی سے کیا بتائیں کیا ہمارے دل میں ہے
کھینج کر لائی ہے سب کو قتل ہونے کی امید
عاشقوں کا آج جمگھٹ کوچئہ قاتل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے
ہے لئے ہتھیار دشمن تاک میں بیٹھا ادھر
اور ہم تیار ھیں سینہ لئے اپنا ادھر
خون سے کھیلیں گے ہولی گر وطن مشکل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے
ہاتھ جن میں ہو جنون کٹتے نہیں تلوار سے
سر جو اٹھ جاتے ہیں وہ جھکتے نہیں للکا ر سے
اور بھڑکے گا جو شعلہ سا ہمارے دل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے
ہم جو گھر سے نکلے ہی تھے باندہ کے سر پہ کفن
جان ہتھیلی پر لئے لو، لے چلے ہیں یہ قدم
زندگی تو اپنی مہمان موت کی محفل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے
یوں کھڑا مقتل میں قاتل کہہ رہا ہے بار بار
کیا تمناِ شہادت بھی کِسی کے دِل میں ہے
دل میں طوفانوں کی تولی اور نسوں میں انقلاب
ھوش دشمن کے اڑا دیں گے ھمیں روکو نہ آج
دور رہ پائے جو ہم سے دم کہاں منزل میں ہے
وہ جِسم بھی کیا جِسم ہے جس میں نہ ہو خونِ جنون
طوفانوں سے کیا لڑے جو کشتیِ ساحل میں ہے
سرفروشی کی تمنا اب ہمارے دل میں ہے
دیکھنا ہے زور کتنا بازوئے قاتل میں ہے
The Urdu Script was used as a base from here, written by Indian poet and then modified and amended.[8]
English Translation[edit]
The desire for revolution is in our hearts
Let us see what strength there is in the arms of our executioner
Why do you remain silent thus?
Whoever I see, is gathered quiet so...
O martyr of country, of nation, I submit myself to thee
For yet even the enemy speaks of thy courage
The desire for struggle is in our hearts...
When the time comes, we shall show thee, O heaven
For why should we tell thee now, what lurks in our hearts?
We have been dragged to service, by the hope of blood, of vengeance
Yea, by our love for nation divine, we go to the streets of the enemy
The desire for struggle is in our hearts...
Armed does the enemy sit, ready to open fire
Ready too are we, our bosoms thrust out to him
With blood we shall play Holi, if our nation need us
The desire for struggle is in our hearts...
No sword can sever hands that have the heat of battle within,
No threat can bow heads that have risen so...
Yea, for in our insides has risen a flame,
and the desire for struggle is in our hearts...
Set we out from our homes, our heads shrouded with cloth,
Taking our lives in our hands, do we march so...
In our assembly of death, life is now but a guest
The desire for struggle is in our hearts...
Stands the enemy in the gallows thus, asking,
Does anyone wish to bear testimony?...
With a host of storms in our heart, and with revolution in our breath,
We shall knock the enemy cold, and no one shall stop us...
What is that body that does not have hot blood in it,
How can a person conquer a Typhoon while sitting in a boat near the shore.
The desire for struggle is in our hearts,
We shall now see what strength there is in the boughs of the enemy.
Popular culture[edit]
The poem was used in the 1965 Manoj Kumar movie Shaheed on the life of Bhagat Singh.[9] It was again used (with altered lines) as the lyrics for a song in the 2002 Hindi film, The Legend of Bhagat Singh. The poem has also been used in the 2006 film, Rang de Basanti. The poem is also referenced in abridged form in the 2009 movie, Gulaal by Anurag Kashyap.
rashid rashidaziz rashidazizbhutta asghar asgharkhan asgharjamali asgharjamalibaloch asgharbaloch baloch jamali colony asgar balochistan innayatjamali innayat arif khan jamali arifjamali zafarullah jamali mir meer zafrullajamali baloc meer farid ullah jamali ghulshan iqbal karachi ppp psf meer jumman jamali rahib khan jamali shahzad sahib aslam saleem habib ullah hidaitullah saraiki saraikistan siraikistan saraiki siraiki sindh sindhi pakistan rojhan rojhanjamali langah jacababad rohi cholistan struggle tajlangah ranafaraz noon zahoor dhareja jamshed dasti jamshed khan dasti mna mpa multan khanpur jabar abbasi sqm saraikistan tehreek abdullah dahir dharejo bhutta bhutto pyo punjab punjabi hazara province sooba soba culture picture flag map saraikimap saraikiflag saraikistan flag khawaja farid sachal sarmast gm sayed song tarana protest kashmala sajida sajida langah bilawal asif zardari ssf syo saraikiyouth saraiki student saraikiculture saraikisong saraikistanmap saraikimap darkhawasti asif dhareja khanpur rahimyarkhan bahawalpur rajanpur quetta jamalicolonyeast jamalikarachi faiqkhanjmali seemi khan jamali anp mqm ppp pti jhangvi naqvi shia sunni girl beautifull lahore buzdar ashiq aziz shahid azizshahid nazir leghari saeed khawar thal thar dr qadirmagsi bashir qureshi liyari gangwar aman ullah arshad jatoi mujahid jatoi qamar jatoi mian riaz pirzada altaf hussain shah rukh jatoi mian abdul sattar takht lahore molana molvi mukhtar sheedi alama ali hader azam tariq sarakhan singer poet shazia khushuk abida parveen kalam peer khlil ramzan rezwan kasgty kashif allrhman rashid bhoto gulzar nhbvg nmbhgvbn zafer zafer fraz khan jamali amjad bhaikhrom khan lolai baloch hayat khan jamali
Ibn-e-Insha says:
Chaand kisi ka ho naheen sakta, chaand kisi ka hota hay
Chaand ki khatir zid naheen kartay, aiey meray achhay inshaa chaand
Translation:
The moon (here moon refers to the poet's bloved) cannot be anyone's, it is never possible.
O my dear Insha (the poet himself), don't become irrational for the sake of the moon (the beloved).
Another Poet says:
Chaand aur Main
Aik say musafir hain
Aik saa muqaddar hay
Main zameen par tanha
Aur woh aasmanoun main
Translation:
MOON AND ME
We have a same destiny
We have a common fate
I am alone on the earth
And the moon is! on skies.
Another piece of poetry from Ibn-e-Insha on this:
Kal Choudhween kee raat thee
Shab bhar raha charcha tera
Kuch nay kaha yeh chaand hay
Kuch nay kaha Chehra tera
Hum Bhee wahaan moujeed thay
Hum say bhe Sab Poocha kiyay
Hum Hans diya, hum chup rahay
Manzoor tha parda tera
Translation:
Last night it was the 14th of moon (the full moon night),
and while seeing the moon, everybody talked about you.
Some people said, that it was the moon (on the sky), and some poeple said that it was your bright face.
I was also present there, and poeple asked for my opinion as well
I just smiled and said nothing - as I did not intend to disclose your secret.
Dr.C.K.Atal at the first International art exhibition of Gurgaon held at his Art center in Gurgaon,Haryana, where artists from different countries participated.
OTHER CONTRIBUTIONS OF DR ATAL -ATAL TRUST(ART HISTORY,CULTURE, LITERATURE)
HISTORIAN, ARTIST, ART CONNOISSEUR, COLLECTOR, CRITIC, AUTHOR, WRITER, AND RESEARCHER IN HISTORY -He has researched in history and art , written books and articles on the subject, held exhibitions, delivered lectures on art, organized seminars and exhibitions, and commissioned artists for artworks.
243.MULTILINGUIST–spoken and written English, Hindi, Urdu, French, German, Punjabi, and some working knowledge of Persian.
244.ORIGINAL RESEARCH IN HISTORY AND ART - he has done original research in art and history, particularly Punjab history including Maharaja Ranjit Singh’s period. Examples include work on the legendary court artists and painters of Pahari art particularly Chaju, the grandson of world renowned pahari artist Nainsukh. In a unique research study on technological supremacy, the coins of different countries and periods were subjected to mass spectrum analysis to find out the nature, composition and quality of its alloy to determine the metallurgical competence/superiority of different countries .A country which had better metallurgical technology could make better coins and therefore also better weapons, like superior swords, guns, cannons and heavy artillery. This technological superiority was a decisive factor in winning wars. Based on the study, he was invited by historian and friend Dr. M. S. Randhawa for a lecture on the reasons for the frequent Military setbacks of India in war against the invaders. This lecture highlighted a unique and overlooked way of demonstrating the specific technological difference between various countries. This scientific approach on metallurgical weakness and strengths was highly appreciated for its unique research approach to historical events.
245.LECTURES, EXHIBITIONS IN ART & HISTORY -Lectures have been delivered by him in India, in Calcutta museum (now Kolkata) on portrait specialist and court artist (Maharaja Ranjit Singh’s court) Chhaju Bhagat Raina, grandson of legendary pahari artist “Nainsukh”. He delivered a lecture at IGNCA, Delhi on different styles of miniature paintings and art in Punjab court. ignca.nic.in/nl002103.htm . He has held other personal / private exhibitions and talks on art at Gurgaon centre 1000 A. This included the south East Asian artwork exhibition has been the first of its kind in India, and was held by him based on personal collection at a limited family/friends gathering. He has contributed to a weeklong exhibition cum seminar on the last recognized Pahari artist of bygone era, master artist Sansar Chand Sharma, who worked in the court of last ruler of Jammu Kashmir, Maharaja Hari Singh, exhibition held at Indira Gandhi National Centre for Arts, Delhi held on 4-10 July 2008. He has contributed to a weeklong exhibition (Kashmir Lithographs)and seminar(1 March 2009) on paintings and art during the “Kashmir festival” organized at IGNCA 23rd Feb to 2nd March 2009, (the IGNCA site has an error on the heading of lecture mentioned as talk on Master Sansar Chand Sharma instead of paintings by Chajju in nineteenth century Punjab court). ignca.nic.in/kashmir.htm docs.google.com/viewer?a=v&q=cache:EDfxPhABe4gJ:ignca...
246.VIETNAM VERSION OF INDIAN MINIATURE PAINTINGS / INDO-VIETNAMESE PAINTINGS) - ( Indian style of paintings painted by Vietnamese artists in Vietnam and painted over 7 years period).Dr. Atal patronized and commissioned in Hanoi and also Saigon (Ho Chi Minh City) some renowned Vietnam artists for painting miniature style of Indian art and also Vietnamese art. The artists were exposed to Indian style of painting and in a way established a sort of Vietnam school of Indian miniature paintings between 1985 to 1992 (seven years).This system churned out many miniature paintings of different Indian styles, some of them being of finest quality, such as Mughal, Rajasthani, Pahari, Basohli, and the uncommon Kashmir style etc. The famous wall paintings of Royal palace of Bangkok were also reproduced and rendered by Vietnamese artist. Besides this he collected Vietnamese paintings, embroidery, shellac art, wood, ceramic, bone, metal, lacquer art etc. He has an excellent eye for aesthetics and refined art because of which he has acquired a decent collection in artwork.
247.FOUNDER MEMBER OF “HERITAGE KASHMIR” for preservation of art and culture of J&K.
248.ESTABLISHED “GALLERY @ 1000 A”-THE CENTRE FOR PROMOTION OF FINE ARTS- at Gurgaon, Haryana, India, a non commercial personal project. The various private collections have been displayed for select viewer ship at the site from time to time.The aim has been to promote talented artists and therefore encourage art.
249.MULTIVOLUME BOOKS ON HISTORY AND ART- He has written illustrated unpublished books on history, art; poetry and rare paintings (See author & writer).
250.ARTICLES ON ART AND HISTORY-Some references of articles on art/history are – “Paintings under the Sikh rule”, (Vihangama”-The IGNCA newsletter, Vol. III, May –Jun 2002), “The Kashmiri pundits in the Court of Ranjit Singh” (Vimarsh, Vol. I, No 1, Jul-Sep2005), “Some miniature portrait paintings of the Sikh peroid”, (Roop Lekha, vol. XLIV, No.1&2, 1979), “The story of a Rupee” (Tribune, Sunday, 14th September, 1980).
251.POETRY AND BOOK ON URDU POETRY- See author section for poetry book written in Urdu. He has organized an Urdu poetry event at home which was attended by chief minister Sheikh Abdulla.
252.PHILATELY-he has a significant stamps collection and was awarded at exhibition held in Jammu (See award section).
253.RESEARCH ON COINS- He has a deep knowledge on the coins of India of various periods and wrote an article with Mr. Suraj Saraf, titled “The story of a Rupee” published in the Newspaper “Tribune”, Sunday, 14th September, 1980.His original metallurgical research and lecture on coins has already been mentioned above.
254.PHOTOGRAPHY- he has been an excellent photographer with a good collection of photos using various cameras over time since 1950s.
255. MULTIPLE INTEREST/ HOBBIES,COLLECTIONS - He has multiple collections , deep knowledge of different topics and multiple hobbies like history, literature, art , artifacts, poetry, books, prints, coins, traveling, photography, mountaineering, trekking, philately, gardening, bonsai(he has had extremely green fingers) cooking(he has been an excellent cook). In this capacity as Director, he has helped in designing a few buildings of RRL, including modifications of existing structures like the new administrative building and animal house. (As per information available, during the time of laying of the infrastructure of India by Pundit Nehru, a tradition started by him was that the Directors of some scientific institutes were allowed to take major decisions in designing, if needed , hence a working title of architect was automatically conferred on them as heads of the institute. In the present time, however, professionals are available for this).He has also made some sculptures and paintings.
256.ORGANISING ANNUAL FLOWER SHOW AT RRL, JAMMU- every year for the general public. www.flickr.com/photos/13059662@N06/6810341244/in/photostream
rashid rashidaziz rashidazizbhutta asghar asgharkhan asgharjamali asgharjamalibaloch asgharbaloch baloch jamali colony asgar balochistan innayatjamali innayat arif khan jamali arifjamali zafarullah jamali mir meer zafrullajamali baloc meer farid ullah jamali ghulshan iqbal karachi ppp psf meer jumman jamali rahib khan jamali shahzad sahib aslam saleem habib ullah hidaitullah saraiki saraikistan siraikistan saraiki siraiki sindh sindhi pakistan rojhan rojhanjamali langah jacababad rohi cholistan struggle tajlangah ranafaraz noon zahoor dhareja jamshed dasti jamshed khan dasti mna mpa multan khanpur jabar abbasi sqm saraikistan tehreek abdullah dahir dharejo bhutta bhutto pyo punjab punjabi hazara province sooba soba culture picture flag map saraikimap saraikiflag saraikistan flag khawaja farid sachal sarmast gm sayed song tarana protest kashmala sajida sajida langah bilawal asif zardari ssf syo saraikiyouth saraiki student saraikiculture saraikisong saraikistanmap saraikimap darkhawasti asif dhareja khanpur rahimyarkhan bahawalpur rajanpur quetta jamalicolonyeast jamalikarachi faiqkhanjmali seemi khan jamali anp mqm ppp pti jhangvi naqvi shia sunni girl beautifull lahore buzdar ashiq aziz shahid azizshahid nazir leghari saeed khawar thal thar dr qadirmagsi bashir qureshi liyari gangwar aman ullah arshad jatoi mujahid jatoi qamar jatoi mian riaz pirzada altaf hussain shah rukh jatoi mian abdul sattar takht lahore molana molvi mukhtar sheedi alama ali hader azam tariq sarakhan singer poet shazia khushuk abida parveen kalam peer khlil ramzan rezwan kasgty kashif allrhman rashid bhoto gulzar nhbvg nmbhgvbn zafer zafer fraz khan jamali amjad bhaikhrom khan lolai baloch hayat khan jamali
RRL Newsletter-first edition was published in 1974 and serially continued.
Turnkey system was introduced at RRL Jammu by Dr.C.K.Atal. Innovative use of forest waste like pine needles, having hazard of igniting forest fires, and developing technology for converting it into pine wool and finally into pine boards, a packing material. This industry was successfully established in Bilaspur, as a first in the world, for Himachal Pradesh state Government. Turpentine was also obtained from pine needles as a parallel by product. Official agreement was also signed for Baijnath area in Himachal Pradesh (RRL newsletter Dec 1982, vol 9, no 7).
AUTHOR AND WRITER, UN COMPILATIONS
Dr. Atal has written many books including some world reference books and also compilations for UN. His two volume book (approx 1000 pages together) on cultivation and utilization of medicinal plants, and on cultivation and utilization of aromatic plants is used officially in curriculum for higher studies in all the Pharmacy colleges and is also used as a reference book globally in research institutes involving medicinal and aromatic plants. It is extensively quoted in references internationally. Following are his contributions as writer and author.
RESEARCH ARTICLES IN NATIONAL AND INTERNATIONAL JOURNALS
185.NUMEROUS RESEARCH ARTICLES IN NATIONAL AND INTERNATIONAL JOURNALS-
A.Written about 450-550 or more research articles (exact number uncertain).
B.The Pharmacos Vol. 34, 2005,UIPS, Chandigarh, shows 50 references mostly before 1964 , www.askaword.com/search.jsp?q=Kurchi&d=ls&libs
C.RRL Jammu data shows more than 400 articles mostly after 1964, also mentioned at the IIIM link.http://www.herbalnet.org/events.htm
D.Google Beta scholar search shows 380 references/ citations / 38 pages (Nov 2011) as Seen in the two links below. scholar.google.co.in/scholar?start=0&q=author:%22Atal... scholar.google.com/scholar?q=%22author%3AC.%20%25K.+autho...
E.70 articles found in pub med in the internet link below- www.ijpsonline.com/medlineresult.asp?search=Atal%20CK&...
F.The sciverse scopus preview at the site www.scopus.com/results/authorNamesList.url?sort=count-f&a...
MEMBER ADVISORY /EDITORIAL BOARD OF JOURNALS
186.MEMBER OF THE EDITORIAL BOARD - ELSEVIER- A PRESTIGIOUS INTERNATIONAL “JOURNAL OF ETHNO-PHARMACOLOGY”, IRELAND: published by international Elsevier scientific publishers of Ireland. www.flickr.com/photos/13059662@N06/6506301553/in/photostream
187.MEMBER, EDITORIAL BOARD, Indian perfumer, Essential oil association of India. RRL also published the “Indian Perfumer” on behalf of EOAI (1979-1982) under Dr. Atal.
188.SERIAL RRL NEWS LETTER (1974-1985) - serially Printed / published by Dr. C. K. Atal, edited by B. M. Kapoor. (First edition published in 1974). - RRL COMPILATION. www.flickr.com/photos/13059662@N06/6952344393/in/photostream
189.MEMBER ADVISORY /EDITORIAL BOARD OF THE QUARTERLY JOURNAL APPLIED BOTANY ABSTRACTS, NBRI, LUCKNOW since its inception in 1981 by the Director, National Botanical Research Institute Lucknow,India.
AUTHOR/EDITOR OF BOOKS
www.google.com/search?tbo=p&tbm=bks&q=inauthor:%2...
190.EDITOR, INDIAN MUSHROOM SCIENCE-1, Published by Indo- American Literature house, 1976, based on the first National symposium on Survey and Cultivation of edible mushrooms in India. The keynote address was delivered by Dr. C. K. Atal, and the Symposium attended by the Hon, ble Minister, Agriculture, Mr. Kochak Sahib, Maharaja Patiala Amarinder Singh Sahib ji, and Dr. W. A. Haynes, University of Aston, Birmingham England. books.google.com/books?id=GpGIcAAACAAJ&dq=inauthor:%2...
191.SURVEY AND CULTIVATION OF EDIBLE MUSHROOMS IN INDIA- C.K. Atal, B.K. Bhat, T.N. Kaul 1978 - 531 pages www.google.com/search?hl=en&sa=N&biw=1024&bih...
192.INTERNATIONAL REFERENCE BOOK- CULTIVATION AND UTILIZATION OF MEDICINAL AND AROMATIC PLANTS, Dr. C. K. Atal and B. M. Kapur, 1977 (single volume edition)-foreword by the Director of Pusa Institute Dr. M. S. Swaminathan, renowned for the Green Revolution in India and member Planning Commission. This was upgraded, converted and expanded into two world reference books (volume I and II) as below. books.google.com/books?id=53g_AAAAYAAJ&source=gbs_sim...
193.INTERNATIONAL REFERENCE BOOKS - CULTIVATION AND UTILIZATION OF MEDICINAL PLANTS, VOLUME I, CSIR PUBLICATION, serial editions. books.google.com/books?id=qkFtAAAAMAAJ&source=gbs_sim...
194.INTERNATIONAL REFERENCE BOOKS -CULTIVATION AND UTILIZATION OF AROMATIC PLANTS, VOLUME II, CSIR, serial editions. www4.fao.org/cgi-bin/faobib.exe?rec_id=234066&databas...
195.MEMBER, ADVISORY COMMITTEE on the Book “Diosgenin and other steroidal drug Precursors”1979, along with Dr. T. N. Khoshoo, (Director, NBRI, Lucknow), Dr. Y. K. Hamid (M.D., Cipla), and Dr. Nitya Nand, Director CDRI, Lucknow).
196.CHEMISTRY AND PHARMACOLOGY OF VASICINE – RRL, Jammu, a new oxytocic and abortifacient, written by Dr. C. K. Atal and his team, 1980. books.google.com/books?id=8__qGwAACAAJ&dq=inauthor:%2...
197.HOPS IN INDIA, 1985, RRL, Jammu, by S. K. Bakshi and Dr. C. K. Atal. books.google.com/books?id=Y3Y_AAAAYAAJ&source=gbs_sim...
198.AGRO TECHNOLOGY OF HOPS PRODUCTION IN INDIA. RRL COMPILATION
199.ERGOT PRODUCTION IN INDIA, RRL, JAMMU, 1985, by K. S. M. Shastry, B. M. Kapoor and Dr. C. K. Atal. books.google.com/books?id=E5MLGwAACAAJ&dq=inauthor:%2...
200.PHARMACOGNOSY AND PHYTOCHEMISTRY OF WITHANIA SOMNIFERA (LINN) DUNAL, 1975, Central Council for research in Indian Medicine and Homeopathy, New Delhi, by C. K. Atal. , O. P. Gupta, K. Raghunathan & K. L. Dhar. books.google.com/books?id=sIA_AAAAYAAJ&source=gbs_sim...
201.CONTRIBUTIONS TOWARDS RURAL DEVELOPMENTS, 1979 (booklet, English version)-RRL COMPILATION. nationallibrary.gov.in/showdetails.php?id=20702
202.CONTRIBUTIONS TOWARDS RURAL DEVELOPMENTS, 1979,1980, (booklet, Hindi version). - RRL COMPILATION.
203.RECENT CONTRIBUTIONS TOWARDS RURAL DEVELOPMENT (BOOKLET, SUPPLEMENT), RRL, Jammu, 1983. - RRL COMPILATION.
204.NON WOOD FOREST PRODUCTS - A completed unpublished book on non wood forest products of about 80 pages-an extension of compilation for United Nations.
205.FLORA OF KOLAHOI VALLEY OF KASHMIR HIMALAYAS, C.K.Atal. Regional research Laboratory: Violaceae, Tamaricaceae, Malvaceae, Oxalidaceae, Aceraceae, Polygalaceae, Hypericaceae, Geraniaceae, Balsaminaceae, Hippocastanaceae. books.google.com/books/about/Flora_of_Kolahoi_Valley_of_K...
206.FAST GROWING SPECIES FOR PULP AND PAPER,RRL,JAMMU,A.K.DUTT,R.K.FOTEDAR,J.S.CHAWLA,C.K.ATAL.1979Prabhat printing press,Jammu,India.
UNITED NATIONS COMPILATIONS
207.FAO- FOOD AND AGRICULTURE ORGANIZATION COMPILATION- UNITED NATIONS REPORT, 1995: report of the International Expert Consultation on non wood forest products, 1995, article 4.2.1 (Processing, refinement and value addition of non wood forest products, and this compilation/monograph on non wood forest products under UN consultancy was presented as a key note address on the World Forestry conference at Indonesia (delivered by Silva). Reference- www.fao.org/docrep/v7540e/V7540e18.htm . www.fao.org/docrep/v7540e/v7540e00.htm
208.WHO SEAR INSTITUTIONAL REPOSITORY (South East Asia region)- Assignment report on strengthening of the Bangladesh council of scientific and industrial research laboratory at Chittagong, Bangladesh, 31 January - 2 March 1984,published by New Delhi WHO Regional Office for South-East Asia. Subjects-Health Laboratory Methods, Laboratories, Laboratory Services, Training Programs, Traditional Medicine, Medicine, Traditional, Laboratory Personnel, 7 September issue 1984. URI- repository.searo.who.int/handle/123456789/14829
BOOKS ON HISTORY, ART, POETRY
209.RESEARCH /ARTICLES /PAPERS ON HISTORY / ART.
210.BOOK OF URDU POETRY, “Jazeerae” (Islands of thought), with foreword written by the renowned artist, Dogri writer and winner of literary awards, late Shri O. P. Sharma “Sarathi” of J & K state. www.facebook.com/pages/Cherishing-the-legacy-of-Dr-OPShar...
211.MULTI-VOLUME PUNJAB HISTORY BOOKS -Completed but unpublished book on Punjab history of the 18th and 19th century, and also who is who in the Punjab court.
212.MULTIPLE BOOKS - OF HISTORY, ART AND RARE PAINTINGS: Completed but unpublished history books- history book of about 150-250 pages, illustrations on world renowned Pahari artist, Lahore court artist and portrait specialist Chhajju Bhagat Raina, (grandson of the legendary Indian pahari artist Nainsukh), an article on Kashmir style of miniature paintings, about 100 pages of Indian history through the eyes of Illustrated London news, a History book on Kashmiri Pandits in north Indian courts, a history book on different forts of India etc., an urdu poetry compilation based on Late Shri. R. P. Atal’s writings.
213.BOOK- HERITAGE OF JAMMU, KASHMIR AND LADAKH, Edited by G.L. Badam and K.K. Chakravarty, Research India Press, 2010, xiv, 206 p, 51 b/w plates, 26 colour- part 2,pg 71-4, article no. 10 , Master Artist--Pandit Sansar Chand Sharma written by Navin Atal and C.K. Atal. www.vedamsbooks.in/no64160/heritage-jammu-kashmir-ladakh-...
Common name: Firebush, Scarlet bush, Hummingbird bush
Botanical name: Hamelia patens Family: Rubiaceae (coffee family)
Firebush is a showy, fast-growing, semi-woody evergreen shrub that can get up to 15 ft (4.6 m) tall under ideal conditions, but usually stays much smaller. It has whorled leaves, usually with three but occasionally as many as seven at each node. Throughout the year, firebush produces showy terminal clusters (cymes) of bright reddish-orange or scarlet tubular flowers, each about 0.75 in (1.9 cm), long. Even the flower stems are red. The clusters of fruit also are showy. Each fruit is a juicy berry with many small seeds, ripening from green to yellow to red and finally to black. A firebush plant usually has flowers and fruit in various stages.
Very hard to control the color of this flower, the white fur is natural and the red lower cap later turn in Red sweet berries.
I took my time to take this picture only for Altagracia Aristy
Large View Click Here
Image Dedicated to fmc.nikon.d40 , alfvet and Helminadia
More Material Information Click Here
Joke
Fact of life: One woman brings you into this world crying and
the other (wife) ensures you continue to do so for the rest of your life!
Urdu Poetry
Tum ko bhi Hum se waisi hi Mohabat hoa Zaruri toa Nahi
Ek Si Donon Ki Halat Ho Zaruri toa Nahi
Dil ki Chahat to Khuwab Jaga Daite Hai
Haan Magar Sath me Kismat Bhi ho Zaruri to Nahi
Meri Tanhayan Karti hai Tum ko Yaad
Sada Tum ko bhi meri Zarurat ho Zaruri toa Nahi
Muskrane Se Bhi hota hai Bayan Gham-e-Dil
Aankh se Aansoo Tapkay Zaruri to Nahi
Neend to Dard ke Bistar Pe bhi aa'a Sakti
Aap kay Aaghosh me Sar ho Ye Zaruri to Nahi.
In Order to Arrange Funds for Nikon D700 This image is for Sale with complete Rights.
Indian Postal stamp commemorating the centenary of the Emperor;
Bahadur Shah Zafar was also one of the greatest Urdu poets in Indian history. He wrote a large number of Urdu Ghazals, out of these Urdu poetry, a large chunk was lost and destroyed during the unrest of 1857-1858, yet a large collection still survive, which was later on compiled as Kulliyyat-i Zafar. The court that he maintained, arguably pretentious and decadent for a ruler whose writ extended only to Delhi's Red Fort, was home to other writers of high standing in Urdu and South Asian literature, including Ghalib, Dagh, Mumin, and Zauq (Dhawq).
Explored....
Aug 22, 2006 #412