CVR (03-03-1954 / chembra)

Fruits, Shehanai, Romance -An Ode To The Celebrity Late Mr Bismillah Khan

tastes cooked in
some anonymous agonies.
sorrows void of causes are
terrible baneful dictresses.
it was not from a void,
yet, not signed by any name.

my bosom babe,
when i am distressed with romance,
i remember the absurd maturity
of those
relishing sweet fruits,
boiled in the
warm water of entity,
which i sent to you
for taking during
that insane voyage.

when your fingers kissed the strings,

the shehanai began to sing
from an unconscious mind-
a dhun, as if a tune of prieries flowing,
or may be a khamaj,
or malkauns?
rills running to the sea,
the whispering of octaves-
all five tones
effuses and effuses from your shehanai;

or a lullaby
to make you sleep
in peace?

the madrigals
sung by the shepherds?

on the canvas of poesy
braced around,
a vigour,
may be from your own
pictures of virulent life,
expressions changing,
talents changing,
is experienced.
so early the dawn
you play the miya ki thodi
in the loneliness!
your sweetheart
hasn't appeared yet.

singing about gunakali,
the buddy of malkauns?
it was only for you
nayyara noor and anvar maksood
wrote this verse
"i am fearless
all of them wish
they could marry me.
the strong hurricane
the freezing chill,
blistering warmth,
nothing is a fetter to us.
want you

to come this way,
know: you are not alone."

then in malkauns
"aaye soor ke panchi aaye…"*
sitting in the blistering sunshine of
connaught place
the wings of that bird is melted.
then the colours of the sky
began to pervade itself
slowly into the vanishing sun
and into night spread with black velvet.
some song in kajri*
flowed from the pitchblende darkness

it is full moon
when the drops of moonshine rain
change and change like life.

the waves swapping
on the sand spreads and rocks!
sometimes the sprawling lake
sleeping weary and silent
after a ten-knot gale!
the babbling streams!
a marwa? a thatt*
some agonies are read here!
the solicitude sunk in compassion
is strongly imprinted here!

is it not that anonymous pain
that raises the waves of love
in shehanai?

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Comments (3)

A refined poetic imagination, Chayamsu. You may like to read my poem, Love And. Thank you.
A very entertaining read. Thanks, chayamsu
*aaye sur ki panchi aaye – a song from the film sur sangam released in 1985 connaught place officially rajiv chowk is one of the largest financial, commercial and business centres in new there’s no place for’s interpreted once bismillah likhan in the blistering heat of new delhi sang in connaught place *kajri: derived from the hindi word kajra, or kohl, is a genre of semi-classical singing, popular in uttar pradesh and is often used to describe the longing of a maiden for her lover as the black monsoon cloud come hanging in the summer skies, and the style is notably sung during the rainy season. it comes in the series of season songs, like chaiti, hori and sawani, and is traditionally sung in the villages and towns of uttar pradesh: around banaras, mirzapur, mathura, allahabad and the bhojpur regions of Bihar. some noted exponents of kajari are pandit channulal mishra, shobha gurtu, siddheshwari devi, girija devi, ustad bismillah khan and rajan and sajan mishra. *marwa is an hexatonic indian raga; pa (the fifth tone) is omitted. marwa is also the name of the thaat. *a thāt (hindi: ठाट; marathi: थाट; bengali: ঠাট; urdu: ٹھاٹھ‎; also transliterated as thaat) is a mode in northern indian or hindustani music.that’s always have seven different pitches (called swara) and are a basis for the organization and classification of ragas in north indian classical music.