@ bi annual peer reviewed international anew English literary studies and creative ING Cotee Ves’ ADAB: The Literature Foundation 7Niteeve neEditorial Board ‘THETEAM Tabish Khair (Denmark) Kalpana Singh Chitnis (U.S.A) A.S, Dasan (Mysore) Goutam Ghosal (Santinikeean)) Quaiser Khalid (Mumbai) Azmir Pasaribu (Malaysia) _ Sahar Rahman (Patna) Sanjay Yadav (Jamshedpur) Khursheed Ahmad Qazi (Kashmir) __Shabina N. Omar (K Amit Purushottam (Hazaribagh) ‘Varsha Singh ( Saif Hyder Hasan (Mumbai) ‘Sunij Sharma Vijay Sharma (Jamshedpur) Basudhara Roy Summana Ahmad Vibha Sharma Manisha Titus Khushwant Kaur Advisory Board Moiz Ashraf Syed Badre Ahmad Assistant EdiCONTENTS 1, THEPATRON PROFESSES . 2 SPEAK: the lips are fre... IQUE a ore sal in Flames (On Tianslating Ghalib) 4. Impact of Virtual Reality of TV Shows in India: Culture or Vulture? 5, Aye Husn-e-Lala Faam. ‘of Ghazal Singing 6, Concept of Marriage in the Major ‘of Manju Kapur 7. Gender Inequities and the Search for an Authentic Selfin Shashi’ Deshpande’s The Dark: Holds No Terrors 8 ReformationVs Entertainment : Pygmalion to My Fair Lady 9, The Dialectics of Love and Loss inVikram Seth's Novels 10. Inumigrant’s Dilemma in Jhumpa Lahiri’ Interpreter of Maladies 11. Revisiting Umrao Jan :A Collative Comparison of the (con)text of the Great Literary Classic and its CeljuloidVersions 12. Riveting the Detective Spectrum: PD. James Concentrating on Feminine Stereotypes 13, Anton Chekhov: A Marriage Proposal is a Humor for a Reason INTREVISTA 14 Interview with Arundhati Roy: A Voice for the Voiceless PENCRAFT 15, House (Makan)/Kaifi Azmi Translated by. 16. Red Lilies 17. Poetry for Me Never Dwelt in the Things/Kathak /You 18. The Hero 19. ‘The Revolving Swastika 20. | On Re-courting the Muse / In Partin; 21. Diary from the Land of Buddha 2% Rhapsody on a Rainy Afternoon/ Baggage Inventory/ Amour sans Frontieres = Thread Art/The question Mark/ When She Cries The Fiery The Paradise Beyond The Isle Within/Snake Another Fall / Seller Undo/Stau Capturing the Tradition eskin/A Butterfly Laments of Dreams ighter/The Player/The Hunter Cries of Relics/Emptiness : 20. City of Hope/l Am Tang 31. April Heat e 2 An Answer 33. APhagiarised Poem BRSRRLD Arshad Masood Hashim; Vibha Sharma S.MYahiya Ibrahim. Ma. Sadique Afrinul Haque Khan Manisha Titus Deblina Sarkar Shakibur Rehman Khan Syed Badre Ahmad Ajit Kumar Mehar Fatima Zeenath Mohamed Kuni Sunij Sharma Madhumita Ghosh A.V. Koshy S.K. Sinha Hisham M Nazer Basudhara Roy Summana Ahmad Shyam Sunder Sharma Mary Annie Ashok Kumar Dash Nida Zakaria Reena Prasad Varsha Singh Payal Pasha Khushwant Kaur Manoj K Pathak Hasmina Habeeb Shubham Ashok Gandhi S.MYahiya Ibrahim eaexranTHE SOUL IN FLAMES (On Translating Ghalib) Arshad Masood Hashmi As the 19% century ad India witnessed the collapse of a millennia old composite culture, and as the pace of change accelerated the age of vicissitudes, turmoil, turbulence, transition and uncertainty produced an unusual literary figure in the language that was loathed by the gentries. Mirza Asadullah Beg Khan (1797-1869), known to the world by his pseudonym, Ghalib (or Asad) was soon to be acclaimed as the most important, and by far the most widely appreciated and admired poet of Urdu-language. Though ahead of his time, Ghalib is. himself a metaphor of the city he lived in, and a symbol of the age in which he breathed his last. His poetic genius, apparendly a thoroughly emotional and intellectual response to the world around him, is marked by his indifference to and artistic detachment from. the world and its critics. He enriched his poetry with shocking paradoxical conceits, sublime imagery, and emotional, intellectual and dramatic intensity. His creativity is attributed to a strong sense of irresolution, mellifluous expression and grandeur of style. Besides an aesthetic urge and mystical diffusion he employed a remarkably candid, all- encompassing self-portrayal to illustrate the concepts that he wrote about. His poetry, renowned for its utter originality, intellectual paradoxes, strikingly stupefying metaphors, cognitive brilliance, and for being essentially untranslatable, enthralls its readers with its abstractions and obscure expressiveness even in its subtlest forms, It has been years since Ghalib produced his body of work expressing his views on the social, cultural, moral, and political situations, on love, surrender, beauty, and mystic and spiritual experiences, but, remarkably, the extent to which his writing is applicable and appealing today is shocking and undoubtedly accounts for his ever growing popularity: His Poetry appeals both to those who adore life and its beauty, love and its madness, and to those who are broken. Ghalib’s poetry paints life with such vibrant colors that even the gloomy side of life has its own beauty in his distiches. It gives tongue to the feclings and emotions of all and sundry, to the jubilant and elated and to the grieving, afllicted, and dejected. Reading his poetry today we find that despite the passage5 freee 4 DAS LITERARISCH Vol. 1 # Issue: in qrtime and the successive. Maes of changes he way in which so. many subjects are view foday as compared co the period during whi Ghalib wrote, he still manages to strike a cars ity readers. We cannot fall CO recognize the in atic differences in terms of social, cultural, dram and political, concepts and conditions, nd yet Ghalib’s expressions sxll couch the hearts of his readers with an intensity that makes ght of the passage of years and the changes they have wrought. ‘ ‘one grandiose of his metaphors and images ig derived from the roots he belonged to. The 3 eetors of Ghalib migrated to India from ances oniana.That Achaerenian past bad alays rang matter of great pride for this Turk who, tren on hiis death bed, relished hhis inheritance Of traits and traditions of the Oxus. Born it ‘Agra, Ghalib migrated to Delhi in 1812/13, and prought with him that old age heritage of Turke-Persian culture. He was soon received asa respectable member of the aristocracy and was privileged to enjoy frequent private Jesemblies with the erstwhile Mughal emperor, Bahadur Shah Zafar. Ghalib always nurtured high self-esteem and regarded himself as superior to the gentry exeept when he needed favors to support his passion for wine and gambling. Undeniably a lifelong egoist, rather parcissist, he was nevertheless an excellent conversationist,—witty, charming, and even generous when enjoying himself socially. Farugi remarks that true to his Central Asian descent and Turkish seed, Ghalib was always vacillating between tearful piety and excessive pride, between mysticism and materialism, between. convention and liberalism, between despondency and hope (K. A. Faruqi, 1992, p14). The genre of poetry thar achieved its sublimity and artistic brilliance by the creativity Ce a eee en ence classical and rigid form of poetry that was introduced in the Urdu language through tena, Gia: the voice of a passionate lover, of four to eight or more semantically siJuly-December 2015 2: ISSN : 2454-404 independent distiches (two-line ver game meter that have varying style, and mood. These di ‘eectibed by Sir William Jones as “Orie, pearls at random strung” Ghazal, having cl Pralogies to Arabic poetry, is consid Christopher Shackle as one of the most sr examples of those “successful cultural at consisting of a seemingly infinitely adapr. combination of essentially simple which are so characteristic of the Pe Civilization of the eastern Islamic world” (Ghackle, para.1). Ghalib’s ghazals are reper with concrete and kinesthetic imagery, maj : thythm, and diffusion of vital, ber cultures ve tran and Central Asia. The startling fombination of words and perfectly chisel jdiomatic expressions of chaste Persian 2 Urdu besides the traits and traditions of Turko- Persian civilization, have carved an exquisi and serene beauty of thought and expr. in the distiches of this Goethe of Delhi temolded the conceptual elasticity of this g: and revived its “eternal music of the ero mystic to imbue it with an all-embrac content” (Zaidi, 1993, p.185) that manife unprecedented panoramic thought cont philosophical, social and cultural sweep of emotions and values. Noted Urdu critic, literary theorist and of the translators of Ghalib, Shamsur Rabi Faruqi (1981) remarks that Mirza Asadul Khin Ghilib’s poetry is “the product of amid which is in full possession of its reason; Ghalb is an intellectual but one who does not alow himself to become lost to the phenomena of the intellect.” He is the metaphysical romantt whose intellectual dissatisfaction took the form ofa revolt in his poetry. “The difficulty son encounter in understanding Ghalib does 1¢t stem from his use of intricate phraseology Bt ig rather the final link in a process of thous in which intuitive madness is subordinated ® 2 six-dimensional mind” Farugi (1981), 7% difficulty that Ghalib mentions in his eeDAS LITERAR and to which Farugi fi Despite being, diffi complex ideas, Gh and intense lyric HSSN : 2454-4687 15, W, Pritchett (2010a), has iat, “the commentators are tonishingly unhelpful. Their imited, often in ways that tat all suffice to elucidate for what Ghilib is actually doing.” 1 Farugi’s method of textual ed on Empsonian technique, itive approach in her online ib, A Desertful of Roses. She al translation and presents many rings on the basis of their textual is at her best by far when she ent layers of meanings inherent als. It is interesting to observe ideate the possible connotations inherent in them. She rightly fer translations of the ghazals “are fe can never deny that too literal ring is as much devoid of the flavor of ¢ original as the word-by-word or unit-by- unit translation is when. studying a poct like : cae in the cases of Russell, Mujeeb and five great translators cu id Khurshidul Islam, M. Aijaz. Ahmad and Pritchett are quite diffe and the result in many cases that fails 0 convey certain grandeu ity: Mujeeb ets intellectual and aestheti Russell considers these aspectsVerse-3 erally everyone hates one’s rival, but with the ien of Eeypt ilaikha is pleased that they too fell in love with suf the Moon of Canaan,re devoidDAS LITERARISCH # Vol. 1 # fssue-t Disti ‘Not all but just few revealed and the poppy What beauties they must J themselves in the rose have been that lie beneath Distieh His is a sound sleep, are the night On whose arms have rolled your waving (Zaidi, 1993, p.194) 4 profound composure, and his locks. In this gloomy background Pritchett’s translations appear as the first ever honest renderings that convey, in most cases, the exact textual meaning of the original, while allowing for the multiplicity of meanings in the syntactic and pragmatic context. She often makes the readers’ task easier by offering more than one translation of a verse. This attitude, though helpfull in understanding a given verse, makes the aesthetic grandeur lost in translation. Distich-1 Ja. not by any means all— some became manifest in tulip and rose where [did they] all [becomes me manifest]? some becamemanifest in tulip and rose what faces/aspects there will be, that became hidden in the dust! will there be faces aspects that became hidden in the dust? what faces/aspects will there be, that became Inidden in thedust? in the dust, what faces and aspects there will be, that\ became hidden! in the dust, will there be faces/aspects that became hidden? in the dust, what faces /aspects will there be, that became hidden Distich-2 even also we remembered colorful party-adornings but now they have become ornaments in the niche of forgetfulness i 1b. 2a. 2b. 2c. 2d. 2e. 2f Distich-3 all [lovers] may be unhappy with Rivals, but with the women of Eeypt July-December 2015 8 ISSN 2455. Aulaiksha is happy, in that they becany oj in the Moon of Canaan [Joseph | Distich-4 sleep is his, spivit/pride/*head” is his, the» ison whose shoulder your curls becani tangle (Pritchett, 2010d) Although the translations of Sarfaraz K Sarvat Rahman, and Frances W. Pritchex brilliant examples of scholarship, a numt their renderings are unable to show, i words of Ezra Pound, where the teisur notwithstanding that Pritchett, as interpretive translator, has played the 10 guide. [ prefer meditating on all the aforesaid aspec ‘of the Master’s poetry when it comes translating him into English Distich-1 not all withered= some became visible as tly rose! what a myriad of faces would be there, that bec concealed in the dust! Distich-2 T could also thence recall those colorful foi assemblies, but they are now mere decorative in the niche of oblivion. Distich-3 fet all fovers be unhappy with their rival bo with the women of Egypt Potiphar's wife is well-pleased for they got el by the Moon of Canaan! Distich-4 his are the states of sleep, his are the though the nights, ‘on whose shoulders your locks of har dish There is a vast world of Ghalib’ ims" embodied in his condensed thoushs. * replete with ambiguous words ans «! Fessions, epigrammatic phrases 4 vision that can hardly be accurately into English if one doesn’t considerJeol July Di cember 2015 :: ISSN : 2454-4647 23 given by Russell: that great poets ana ae that somehow this cross.’ Not Ghalib’s sincerity or or political correctness, but his - powerful, complex, compelling, uble and triple) meanings in his , read” (Pritchett, 1996, p.201). 1, ‘pc es in our minds, would agin, while reviewing The Lightning lave Fallen on GI ‘elected poems of translated by Robert Bly and Sunil (1999), beautifully describes Ghalib as a a multicheaded hydra of ‘ ompeting traditions: the devout Muslim who Praises Allah, the debauched modern w ho