Having myself considering a semi input person to this discussion forum for few years. lately I've seen a lot of regular folks are stepping back from what they have to say. Duniya de Jhanjat I can understand but EISI V KI GALL HAI KE KOI TOHADE DIL VICH KOI VAL-VALE HI NAHI UTHDEY so com'on people SPEAK SPEAK SPEAK. like a saying in punjabi JAD TAK ROVO NA MAA VI DUDH NAHI DINDI. so stir up something SOCHAAN DE TAAKRE HI KOI SUJH DI CHINAG CHADANGE JIS TON ILM TE AQAL DA BHAMBAD UTHEYGAA. right now is the need is for this fire to be kept ALIVE.

PUNJABI ZINDABAD

A very interesting Article re: Punjabi Boli hare is the Link. It is in Gurmukhi I hope some one can convert it into Shahmukhi

http://www.5abi.com/gyan-vigyan/bhasha-vigyan/280903_punjabiay-rakanay_gurmeet-V2.htm

Today's Dawn, Karachi published the views of Dr. Muhammed A. Shahid on Punjabi not Shahmukhi.

ARTICLE: Punjabi not Shahmukhi

By Dr Muhammed A. Shahid

Punjabi is a language that has been in existence since pre- Sanskrit and pre-Vedic times. Punjabi is, however, a relatively recent name for this ancient language. Late Mohammed Asif Khan did extensive research on the word Punjab, and concluded that the first written evidence of the use of the word Punjab is to be found in the 12th century. He quotes some verses in Persian from Shah Ne'mat Allah Wali (1152AD) in support of his claim:

Punjab shehr Lahore hamm

deraah jaat choon Kashmeer

mulk Mansoor geerand ghaibana

He also refers to a portion of a letter in Persian from Shahab-ad-Din Ghauri (1193AD) to the Rajas in Hindustan:

Ba shumaa sulah kunem keh

sarhind, Punjab wa Multan ba

maa shud wa baqi mamaalik

Hindustaan ba shumaa

Muslims now have a distinctly different and well-established script for writing Punjabi and it is very old. It is the same script in which Baba Farid left his writings for us (Baba Saheb reportedly died in about 1265, and was a contemporary of Maulana Rumi, d.1273). The Persian-based Punjabi script/Imla' has a long history and has been used for centuries for writing Punjabi. A brief account of the history of this script can be found at http://www.nawaiwaqt.com.pk/daily/may-2003/15/index.htm

This is a historical fact that the official language during the Raj of Ranjeet Singh was Persian. Shahmukhi is an illogical misnomer for the written script, which is claimed to be the only one for Punjabi.

There is a very good reason why the Muslim Punjabis have adopted the script that they have. The nature of social forces in Pakistan is such that any suggestion of even remotely linking the written Punjabi language in Pakistan with Gurmukhi will hurt the larger cause of Punjabi in Pakistan. No one wants that to happen.

Users of a language are at many different levels. Expert linguists have to learn many different languages and scripts to do their job effectively. Late Mohammad Asif Khan, a Punjabi scholar, and Annemarie Schimmel, a German scholar, are two such excellent examples. But the majority of ordinary users of any language, and Punjabi is no exception, have much simpler needs and those needs are driven by social, cultural, religious and other regional factors specific to their environment.

"Jagg Nachda menooN Vekhey"

Lo laali merey aadarshaaN di
Tann-mann mera sekey
AkhhiaaN vehRe sooraj magde
Surt sojha merey lekhey
Shala Shah Hussain theevaN meiN
MagroN lehn bolekhey
....Jagg nachda menooN vekhey

Koee surt sonehaaN ban ke
gehr gehr ja meN vassaN
RaNjhan theevan vich keeh chus e
Jagg saare nooN dassaN
Ishq di ramz pachhanaN Moala
Eh likh merey lekhey
....Jagg nachda menooN vekhey

Javed Zaki,

I feel that in the second 'baNd' of the geet, the world "hoor" may be "hook OR kook". The word 'hook Or kook' with 'mashook' appears to be the most appropriate in establishing the lyrical melody of the 'baNd'.

UchiaN LamiyaN TahliaN ve Mahiya
Vich Gujri di (hook)
PeeNgh CchuteNde do jane oe
Aashiq te Mashook

Javed Zaki

You are absolutely right Baljit Pa'a. Thanks for posting this bit of information. I did come across other variants of the same song. If I retrieve them from my somewhat chaotically maintained records, I would feel privileged to share them with the larger readership of APNA. Cheers Sukhbir

Uchian lamiyan Tahlian ve mahiya
Heth vage dariya
Main Darya Di macchli ve Mahi toon
Banke Bagla Aa.

Uchian Lamiyan Tahlian ve Mahiya
Vich Gujri di hoor
Peengh Cchutende do jane oe
Aashiq te Mashook

Baljit

If Shafqat Tanvir Mirza’s list of Punjabi Poets left out some names, I would strongly assume that it was not intentional, as I know him. Secondly, he is least of a person to be labeled as a communalist. To me, these are just trivial issues when analyzed in the overall context of the article. Moreover, according to my understanding, the ethics of literary criticism demand that a critic must point out both ‘positive’ and ‘negative’ aspects of a piece of literature, rather just indulging in to tear it apart on a subjectively assumed disqualifications. I personally believe that there was no need to write so severe criticism to demean Shafqat Sahib.

Javed Zaki

Lafzaali

Roahi= Thhal da ilaaqa (Sussi da Illaqa)
SaaNwal = Saajan (Saraiki) Soani= Saawan
Deh= Jussa
Bajjal= Aib wali, be-kaar
Aogunn= Jidde vich koee khoobi naaN hove
Sukhh-saar= chiNgi khabar den wala
Sochajjal= chuj de kam karan wala

Mr Shafqat Tanvir Mirza makes the following comments in his article adduced here by Mr Zaki:

"The Sikh writers like Dr Mohan Singh, Amrita Preetam, Davinder Sathiarthi, Darshan Singh Awara, Takht Singh, Kartar Singh Duggal, Balwant Gargi, Prabhjot Kaur, Ajeet Kaur, Shiv Kumar Batalvi, Daleep Tiwana, Kulwant Singh Virk, Sheila Gujral, Harbhajan Singh Hundal and many others made brilliant contributions to Punjabi."

I do not know what the possible politics behind such a ludicrous inventory of the so-called "sikh writers" could have been, I am not a little amazed at how uncannily this inventory reads like another such "scroll of honour" from an article written by another literary luminary carried out in the Dawn. It is indeed sad to note how little effort people are willing to make to actually substantiate their scholarship. I make bold to say here that this inventory is outrageously funny.

First, I would like to take up minor inaccuracies not that it matters much. Devinder Satyarthi, Balwant Gargi, Shiv Batalvi and Sheila Gujral are not Sikh but Hindu writers. But, of course, this will be a highly objectionable classification - dividing poets in terms of their communal identities unless their ouevre is specifically infused by a religious ideology and is crying to be identified as such. I would have the greatest of difficulty in accepting Shah Hussain, Bulle Shah, Faiz Ahmed Faiz, Najm Hussain Sayyed as Muslim poets and likewise I would be very uncomfortable in slotting Mohan Singh (incidentally, he was not a Dr unless of course the author is confusing this Mohan Singh with Dr Mohan Singh Diwana), Amrita Pritam, Satyarthi, Gargi or Batalvi along communal identities.

And now very briefly a comment about the lesser unfortunate fact of the complilation of this scroll of honour: how on earth someone could identify the so-called Sikh poets as a phenomenon beginning only from the early 40s is something that defies all credible logic. How someone in his/her critically well-honed mind could place both Amrita Pritam and Sheila Gujral in a list of literary giants remains an impregnable enigma. Prabhjot Kaur likewise would have the greatest of difficulties in finding acceptance as a writer of even modest consequence. And how does Mr Mirza eke out the critical space to so movingly accomodate both Mr Takht Singh and Harbhajan Hundal? And how does he ignore a literary giant like Harbhajan Singh? This list is exasperatingly misleading. There is no space in it for Puran Singh (arguably the greatest poet of the 20th century Punjab), no space for Bawa Balwant, no foothold for contemporary poets like Misha and Jagtar, no mention of Harnam, Pash, Amarjit Chandan, Lal Singh Dil, Waryam Sandhu and Surjit Pattar. But it showcases, of all people, a Sheila Gujral - an absolutely an inconsequential figure. And, yes, what about the so-called "Sikh poets" from the 15th century onward? Sukhbir

By Shafqat Tanvir Mirza

Punjabi poets and writers' efforts in this period were directed towards removing the sense of alienation the people felt towards the language.

For a very long time local languages of the subcontinent and their literature remained totally neglected in relation to the official languages like Arabic, Sanskrit, Persian, etc. We hardly find any reference to local poets and writers in these languages. For instance, Shah Husain, a 16th century Russali poet who was the pioneer of the kafi genre has not been mentioned in any of the Persian accounts of his period. This great malamati saint of Lahore was mentioned casually by Maulvi Abdul Qadir Badayuni in his rare book Nijatul Rasheed not as a poet or sufi or a learned man but as a friend of a Mughal prince.

Given this approach, education was imparted in the mother tongue but to be called a literate one had to read and write Persian or Urdu. Proficiency in Punjabi was no qualification for a job. Not surprisingly this was a very barren period for Punjabi literature.

Meanwhile, the three religious communities living in Punjab found themselves searching for their linguistic identity. The Sikhs stood for Punjabi which was not adopted as the official language even by Maharaja Ranjeet Singh and his successors. The Hindus identified themselves with Hindi while the Muslims enthusiastically turned to Urdu which had deep links with Punjabi, but had been ignored by the generation of those times. Punjabi, however, still served the cause of the sufis.

As the Sikhs adopted Punjabi as the language of their religion theirs was the major role in its enrichment. The only difference was that all their work was in the Gurmukhi script which was not accepted by the Punjabi Muslims. The Sikh writers like Dr Mohan Singh, Amrita Preetam, Davinder Sathiarthi, Darshan Singh Awara, Takht Singh, Kartar Singh Duggal, Balwant Gargi, Prabhjot Kaur, Ajeet Kaur, Shiv Kumar Batalvi, Daleep Tiwana, Kulwant Singh Virk, Sheila Gujral, Harbhajan Singh Hundal and many others made brilliant contributions to Punjabi.

In the beginning of the twentieth century Punjabi poetry lost its three major poets Khwaja Farid, Mian Muhammad Bukhsh and a little later Maulvi Ghulam Rasul. They belonged to three different regions where different dialects were spoken. Mian Muhammad Bukhsh was from Mirpur (Azad Kashmir) confluence of Pahari, Potohari and Lehnda, Ghulam Farid was from Seraiki-Lehnda belt and Maulvi Ghulam Rasul was from Mahja-Malwa belt. But all of them wrote in Lehnda-oriented language which had been the medium of all the classical poets from Baba Farid to Najm Husain Syed.

Under the changed political conditions of the twentieth century, the Muslim Punjab now produced Allama Iqbal, Maulana Zafar Ali Khan and Khushi Muhammad Nazir. It would be wrong to believe that all Punjabi Muslim writers had abandoned the language and the field had been surrendered to the Sikhs.

In the first stage people like Maula Bukhsh Kushta, Saeen Ahmad Ali and Sanian Peshawri made substantive contributions to Punjabi literature. Some important political events invited their attention notably the Khilafat Movement, the Jallianwala tragedy, the struggle for independence, the demand for a separate Muslim state and the communal riots of 1947.

The Punjabi Muslim writers who had been writing in languages other than Punjabi became conscious of the literary assets of their mother tongue. This realization led teachers and scholars like Prof Fazl-i-Haq, Sir Shahabuddin, Barrister Abdul Aziz, Prof Zia Muhammad Zia and Maulvi Muhammad Shafi to seriously ponder the relevance of Punjabi literature. This trend began in the twenties and even Allama Iqbal, while appreciating the mystic and nationalistic contents of Punjabi poetry, said he regretted that because of his training in other languages he could not write in Punjabi. He exhorted Punjabis to write in the language of their people. He was all praise for the poetry of Khwaja Ghulam Farid.

During the independence struggle Punjabi poets made notable contributions but most of these could not be preserved. Among them were Ustad Ishq Lehr, Muhammad Din Joneka, Zaheer Niazbeg, Abdul Kareem Mujahid and Daim Iqbal Daim. Until then no serious attention was paid to prose by the Muslims, while the Sikhs had brought out many newspapers and magazines in Punjabi, which had become their political language as well. Apart from literature, they were producing hundreds of books on religious, political and historical themes.

The language was taught in government schools and the script was Gurmukhi which separated the two Punjabi communities. The language was made the medium of instruction at the primary level in Patiala state. The other Sikh states had also patronized the language. The prose written in the central Punjab was mainly in Mahji dialect in contrast to the richest tradition of poetry in Lehnda dialect. In the thirties and the forties the All-India Radio, Lahore Station and the film industry also came to the help of Punjabi writers, particularly playwrights.

The major factor which helped revive the interest in Punjabi was the partition of the subcontinent in 1947 which shook the roots of the Punjabis. Amrita Preetam's poem "Aj aakhan Waris Shah mon" played a pivotal role in stirring the emotions of the people. Two prominent poets, namely Ahmad Rahi and Munir Niazi, came to dominate the scene. Both of them belonged to East Punjab and suffered the trauma of being uprooted from their home. They, along with Sharif Kunjahi, are undoubtedly considered the pioneer of modern Punjabi poetry.

The progressive writers from Punjab made a big impact in reviving interest in Punjabi when they realized that they owed something to their land and its people. Moreover writing in Punjabi had not been favoured by the Establishment. Many intellectuals had kept themselves away from their mother tongue. But once the language and literature were introduced in the university and colleges, they immediately responded and dominated the newly-opened Punjabi department in educational institutions.

The main thrust of twentieth century Punjabi literature is towards a quest for political and cultural identity. It is rich in themes such as the tradition of resistance by the Punjabis against foreign invaders and rulers, feudal domination, post-colonial influences and western hegemony. The heroes like Dullah Bhatti, Ahmad Khan Kharal, Mehran Lak and Bhagat Singh were idolized by a prominent group headed by Najm Husain who has written plays on them. Major Ishaq Muhammad of the Rawalpindi Conspiracy Case also wrote plays on the Musallis of Harappa and Dullah Bhatti.

From the older generation Dr Faqir Muhammad, Chaudhry Afzal and his father, Maula Bakhsh Kushta, Joshua Fazluddin and Akbar Lahori played a dynamic role in the promotion of Punjabi language.

On the ideological-linguistic front Safdar Mir, Asaf Khan and Afzal Ahsan Randhawa made a significant contribution. Chaudhary Shahabuddin, Barrister Abdul Aziz and Dr Baqir were also not far behind while Sharif Kunjahi, Sajjad Hyder, Anwar Ali ('Nanna' of The Pakistan Times cartoons) Pir Fazal Gujrati, Hakeem Nasir, Abdul Majeed Bhatti, Baqi Siddiq, Sufi Ghulam Mustafa Tabassum, Ferozuddin Sharaf and many others also had a big share in the promotion of Punjabi literature.

All of them did their best to eliminate the general feeling of alienation with the language, which was the biggest problem of that period. Najm Husain Syed and his followers interwove national and literary themes which slowly changed the attitude of the Punjabi readers towards their mother tongue and their motherland. Faiz Ahmad Faiz, who made a name for himself for his poetry and prose in Urdu and English, turned to Punjabi when he said: Hovey fajr tey aakhiay Bismilla aj doltan saadey ghar aayanain.(Let there be dawn and we say in the name of God our wealth has come back to us).

Waris Shah de naal naal Mian Mohammad Bakhsh waalee kitaab da vee Romanian wich translation ho geyaa ey. Eh donoN kitaabaaN cheti ee chaapey chaRh jaawan giyaaN. Halaa sheri dewan da shukriyaa.

Javed Zaki

"Shah Hussain di Vel"

Lo laali meray aadarshaaN di
Tunn munn mera sekay
AkhhiaaN vehRe sooraj magde
Surt sojha meray lekhe
MeiN vi Shah Hussain thaya waaN
Maadhu aa koi wekhe

Javed Zaki

Lafzaali

Aadarsh= ideal
Magde= Kolay jiddoN bakhh ke laal soohe hoNde neiN
Surt Sojha= Samjh aavani
Lekhhe= Qismat vich

"Ik AvalRee TaahNg"

O Sajna, O sajna
TuN meray suNj mosaan aNder vich
AlhaR Heer da haasa
Jaan kaNdal jei be-aasi vich
Nirmal aas, dilaasa
...Yaa fir sikhhar dopehr nooN jiveeN
Saon baddal di chhaaN
Aa ja kidhroN chham chham kar da
ThhaNd cha pa akhhiaaN

Aa O Sajna
Kisay sevair di laali ban ke
Meray munn nooN raNgla kar de
Madh chhalka ke mast akhhiaaN da
Meray looN looN da mudh bhar de
Kamla kar de
JiNdRi poah di raat de waaNgar
Chup chapeet
ANg aNg seet
TuN koi nighhee bukkal ban ke
Apna mann ke
Meri jiNd garma
JiveeN nit shala

Javed Zaki

Javed Zaki

Shukar ey tusi merey naaN de naal h da waadhaa naheeN kar ditaa naheeN taaN sidhaa sidhaa Shaheed ho jaaN*aa see. Danwaad.

Shahmukhi lessons waalaa kam waikh ke sawaad aa geyaa ey.lafzaaN te fiqriyaaN dee choN* vee Theek keetee ey. Hashke bhai hashke. Bravo.

************Ghazal*****************

chan taray bolday

geet gaan dholday

teray kole aan lai

par pae tolday

sajnaaN nooN sajnaaN

inj te nain rolday

terayaaN isharyaan te

dil kinay dolday

payar da ae sauda chan

poora poora tolday

Sikandera ae shear teray

bhaet pae kholday

******Altaf Sikander Busal*****

Aayah sada lee Mor
Nafrat, talak,talak,talak.
Rab, ma kee ehnaadaa Bigger rai ah?
Shaad Geer ghai ahh Sirhaa?
RS Dhillon, 5th Sept 03

Sutto
Thale lao
Wich pao
Syapa mukao
Miti pao

It is regarding the last post under Rupe's Name. who is actualy Khalsa Collage(north campus delhi)alumni. because I am the proud grad from the same. it feels so good about reading about MERI ROOH MERI JIND MERI JAAN offcourse my collage. there are so many yaadaan tagged along with it. I was political Science major. but hang out always with punjabi major class fellows. it was something about that class or just my plain love to just read or hear punjabi that drives me to that class. Sitting in that class drives me to go to punjabi university patiala to do my MA in punjabi. ANYWAY just wanted to write something about my dearly beloved collage.

Kabhi Turanioon ne ghar luta
Kabhi Duranioon ne zar luta
Kabhi Nadar ne qatal-i-am kiya
Kabhi Mahmud ne ghulam kiya
Sab se akhir me lai gai bazi

Aik shaista qaum maghrib ki.

Safir Rammah Ji, I want to say a big thank you for adding Shahmukhi lessons to the APNA homepage. I will spread the word about the Shahmukhi lessons which are the first i have come across on the internet.

So here goes in Punjabi SHUKRIYA!!!

Akhilesh

p.s. If there are any plans to publish Shahmukhi text books i would be glad to make some donations. (I am a student so as much as i can give i will).

This is of course if there is a demand for Shahmukhi text books, otherwise it is not worth printing them yet.

If computere windows were in Punjabi, we could have used
Send - Sutto
Insert - Wich pao
Download - Thale lao
Trash - Miti pao
Ctrl+Alt+Del - Syapa Mukao

Rupinder, DAWN is a Karachi based newspaper. I seriously doubt they would be interested in Punjabi language or Shahmukhi script. Read some of the letters sent to them which they print of their website, half of them of anti-Punjabi stuff calling for the braking of Pakistan's Punjab province into 3 parts, or even more. They also send letters crying about "Punjabi hegemony" and "Seriaki language", which doesnt even exist. I have Punjabi in-laws who were Multani speaking and there is no difference between them and us (according to my father). He can understand everything they say and vice-versa.

People of Sindh are frustrated that they come from a desert waste-land and that no one in the world gives a damn about them or their cooked-up stories about being a "10,000" year old civilization (Complete lie). They sound exactly like the right-wing Hindus of India who scream and shout day-in-day-out about being the people who invented science, civilization, astronomy, mathmatics etc etc All total BS! Bunch of liars and frauds...

Because no one in the World buys their mumbo-jumbo and even laugh at these people, they (frustrated Sindhis from Pakistan and frustrated Indian Hindus from Bharat) try and take out their inferiority complex on the Punjabis. We are obviously an easy target for these people to blame everything on (Pakistan because Punjabis are the majority, India because Punjabis are a highly successful minority.)

Anyway, i believe the only newspaper published in Pakistan which is in Punjabi is http://www.bhulekha.com/

Good luck!

Is Dawn an Urdu paper or Punjabi? Would it be able to print these in Panjabi (Shahmukhi) Script?
Would it be interested in my ideas for new Panjabi words?
Who to contact if so?

Rupe

Ayeh’aa Kala Vaqt, Ayeh’ aa Kala Vaqt.
Bahadoor Chu’eea Bun ge’eh,
Looche Sher Bun ge’eh,
Zamana Hai barra Saqt, Zamana Hai barra Saqt.

Kala Thel lahee masoon noon vad de,
Kala Thel lahee kiss ‘ eh noon nahin shad de.

Oukab dee chunjh choote jaal vich
Sabh dee akkaah annee’ah kar dee,
Lele dee jisam jaal ke, lahoo choos dee.

Baagdaad Khuddaa Tuhanoo Nan gha kar ge ah!
Baagdaad Ounna da passa le ge ah!

Insanyaat kitha ga hee?
R.S.Dhillon

Kala Thel lahee masoon noon vad de,
Kala Thel lahee kiss ‘ eh noon nahin shad de.

Oukab dee chunjh choote jaal vich
Sadh dee akkaah annee’ah kar dee,
Lele dee jisam jaal ke, lahoo choos dee.

Baagdaad Khuddaa Tuhanoo Nabgha kar ge ah!
Baagdaad Ounna da passa le ge ah!

Insanyaat kitha ga hee?
R.S.Dhillon

Please contact
Janmeja Singh Johl
2920, Gurdev nagar, Ludhiana, Punjab
India- 141001
email janmeja@email.com
Tel +91-161-2426246

******Ghazal*******

door na honda nalay rehnda

kidhray aal dawalay rehnda

ohnooN tatti wa na lagdi

main wich dhupaaN palay rehnda

aa janda jay yaar bulanda

bhaweeN panni kallay rehnda

jeewan ji kandh dheh wi jandi

tera payar sanbhalay rehnda

rozi day jay dukh na honday

altaf busal busalay rehnda

jeewan janda saur siknder

jay kar yaar kawalay rehnda

Altaf sikander busal

UchchRa burj Lahore da ve sonNeyaa
Heth vage dariya
Mall mall naavanN goriyaaN ve
Lai ke GuraaN da naaN
Ve sonNeyaa...lai ke GuraaN da naan

The play, Caucasian Chalk Circle was adapted into Punjabi by Amarjit Chandan and Amitoj in mid-seventies and was staged in Chandigarh and New Delhi during emegency before being banned by Giani Zail Singh. The play was directed by MK Raina and the music was rendered by the inimitable Kamal Tiwari. The play was briefly revived by MK Raina post-anti-Sikh-riots and was readapted by Madan Gopal Singh and also musically rendered by him along with three new compositions in additions to the earlier ones. Two of his lyrical adaptations that I only half-remember today are:

Maaye ni maaye mere vatanaaN di dhart jehi
dukhaaN laddi hoyioN pareshaaN
maare gaye putt tere haakmaaN di juNg vich
putt tere gabbroo jawaan

and

sauN gaye aajRi gawaache vachheyaaN de
hunN koi nayioN nikhReyaaN di haak sunNdaa
baajh paanNiyoN kumlaa(h)e booteyaaN nu
madadgaar darkaar sarkaar sunNdaa

TureyoN aap tuN juNg nu d'holnNa ve
bolLi juNg peyaa eh baalL rulLdaa
chuk os nu j'hakhRaaN theeN laNg gayi meiN
paak mohabbataaN nu bas eho raa(h) khuldaa

The paly had used an incredible range of Punjabi folk music - Heer RaNjha, Mirza SahibaN, Puran B'hagat, Jaggaa, Keima Malki, KaliyaaN, HekkaN, SiftaaN, NaataaN, Vidaayi, naqalaaN, soz, qawwali, manqabat...

Sukhbir

Sukhbir Jee. MenuN chete piya aaNde je Bresht di eh kevita kise neN thhoRi jayi tabdili kar ke 'Maahye' di soorat gaee e.

Uchche burj Lahore de ve
HeThh vegge darya ve Maahya
MeiN darya te kapRe peyi dohvaaN
TuN kise bahane mill jaa ve Maahya

Teesra baNd vi hoo-bahoo (with the addition of Maahya)

UchchiaaN lammiyaaN TaaliyaaN ve beliyaa,
Vich ve vage dariyaa
MeiN dariyaa te kapRe payi d'hovaaN
Kise bahaane mil jaa
Ve sajnNaa kise bahaane mil jaa
kise bahaane mil jaa

Sargi vele dil de vehRe sooraj banN chaR aa
ShaamaaN vele dil de banere chann banN ke chaR aa
Ve sajnNa chann banN ke chaR aa

MeiN dariya di machhali ve haanNiyaa
Baglaa banN ke chaa
Jind meri di beRi chaRh ke
Paar pattanN ghar aa
Ve sajnNaa paar pattanN ghar aa

Another of Brecht's poems in Punjabi

Sukhbir

Sargi vele dil de vehRe sooraj banN chaR aa
ShaamaaN vele dil de banere chann banN chaR aa
Ve sajnNa chann banN chaR aa

MeiN dariya di machhali ve haanNiyaa
Baglaa banN ke chaa
Jind meri di beRi chaRh ke
Paar pattanN ghar aa
Ve sajnNaa paar pattanN ghar aa

Another of Brecht's poems in Punjabi

Sukhbir

Bertolt Brecht diaaN 120 nazmaaN da Punjabi tarjma Mushtaq Sufi horaaN neN vi kita e, jeRha 'Gora Publishers-Lahore' neN 1996 vich chhapiya si.

Javed Zaki

sunN yaar mere, gall rakhkhiN chete,
vekhiN aisaa vee zamaanaa kadi aayoo,
fasal vaddoo ohi, jehRa ohnu beejoo,
khet ose da hi, jehRa ohnu vahoo,
jadoN maareyaa lokaaN ne haa da naara,
vadde vadde oh munaareyaaN nu d'haayoo,
sach supnNe lokaaN de ohdoN honNge Shaavaa,
jadoN ghamaaN waali raat laNg'h jaayoo.

From a Brechtian ballad (Chalk Circle) translated into Punjabi by either Amitoj or Amarjit Chandan.

Sukhbir

Aao ral-mil karye waadhiaaN
JeRhiN beejaaN ge, oh saadhiaaN
Saade bohlaaN nuN hathh laana naN
SaadiN baNhwaaN baRyaaN dadhiaaN

Javed Zaki

......GEET.......

SajnaN wachhoRe tere maarya
AkhiaaN nuN jhole paiNde
Tere ee khiyaal rehNde
Aa ja mere dil de saharya
....SajnaaN wachhoRe tere maarya

TeriaaN odeekaaN vich, akhiaaN charagh neeN
TaariyaaN de waaNg mere, seene wale daagh neeN
BirhuN neeN tan man saaRya
....SajnaaN wachhoRe tere maarya

SamyaaN de bullaaN utte, hoake neeN te HaaNwaaN neeN
Patt jhaR loosdi e, tatiaaN hawawaaN neeN
Sussi wala thhal kiyooN osaarya
....SajnaaN wachhoRye tere maarya

SochaaN te khiyaalaaN utte, yaadaaN wali chhaaN eeN
Wasal gulabaaN wali washnaa jawaaN eeN
PhhullaaN da shabaab tethoN waarya
....SajnaaN wachhoRe tere maarya

Dr. Javed Zaki

Juddho Bachchaa Janam daa,
Khubsoorat Kamal lag daa.
Eis to ko’hee nahin vaddaa sach.
Mumta da moti ha
Mumta da moti ha
Bapu da harekh sapnaa ha
Bapu da harekh sapnaa ha
Suchee piaar dee nishanee
Khuddaa dee merbhanee
Eis to ko’hee nahin pal piaaree
RS Dhillon

Shahid Ji, I see your point. I guess there is perhaps no need for an official name. People who are comfortable with "Shahmukhi" or "Panjabi" can call the Persian based script either one.

I have heard Urdu script refered to as "Urdu", "Nastaliq" and "Perso-Arabic", the name is not so important.

Rupinder Ji, Try here http://www.pu.edu.pk/

I once emailed someone at the University of Punjab out of curiosity, i got this email in reply:

From: puarshad@wol.net.pk

To:HiTMaN9497@aol.com

Sent from the Internet (Details)

Sir,  

Your e-mail dated 21-04-2003 on the above subject, refers.  

You are hereby informed that M.A. Punjabi class are held at this University levels. For which proper admission required by the candidate to attend classes regularly.  Basic qualification for admission to M.A. class is Graduation with the subject of Punjabi.  

Faithfully,  

P.A. to Vice-Chancellor

Hope they can help you!

head_punjabi@pbi.ac.in

Please can someone find out who to contact in Punjab University Pakistan?

I wrote the poem as a test of my Punjabi ability. I also consider myself unpaar in Punjabi, but as I am self taught, and as my website demonstates can write simple stuff to teach others like me. But I now want to write stories in Punjabi
I started off writing in English, and have had soem poems published and am presently half way through a novel in English.

I would like to do the same in Punjabi. So please let me honestly know the standard of my poem Piaar.
I am british born, and probably amongst the first generation that will be influenced by English styles of imagery, which will be different from tradtional Punjabi literature, and possibly an exciting style to introduce to it.
I am reading a book called Shareek, in Punjabi, and so far have not found any of the techniques I woould use in English. However being British born, my writings will be about the experinces of Punjabees born in a culture outside of India or Pakistan, and not writtern by an NRI or NRP, and therefore may be of interest to Punjabi readers.
But to begin this journey I must now be confident in Punjabi writing. AT my level I find Bullah Shah and Waris too sophiticated
But perhaps I can start by writing simple stuff
Anyway, Can some one give me critical feedback about Piaar? It is influenced by my English learning, and I can see it is very different from Sukhi's entry

dhoondhte aaye haiN maNzar
kaarvaaN dil ke lutaa
door tak saaye khicheN haiN
kin charaaghoN ke khudaa
hain nishaaN se benishaaN
hum ho ke aaye khastaajaaN
ai mere maulaa dikhaa de
raah koi laamakaaN
maahroo ai mere khwaajaa
ek bas teraa jahaaN

bekhudi kaa aisaa aalam
hum rahe naa hum khudaa
saaye me rehmat ke teri
hosh kisko kya pataa
gum huye hum gum huye hum
sehar chhaayaa prem kaa
teri hi galiyoN me maulaa
tumko paayaa laapataa

rahiyo khwaajaa more saNg saNg
more aNg more piyaa
khwaajaa basiyo more har raNg
roohi kalbi tum sadaa
tuMhi baatin tuMhi zaahir
tum pe ye tan man fidaa
tuMhi andar tuMhi baahar
zikr har su ho rahaa
sehar bhi tum tuMhi saahir
kaisaa jalwaa kyaa adaa

As they say: boojho to jaane! Sukhbir

the above is a quote from an article in APNA and proves my point. I am not powerful enough on my own, and need support here
Rupe