آگم ڪيو اچن...

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ڀٽائي پيڊيا جو واٽس ائپ چئنل فالو ڪريو

- سُر سورٺ جَي حاضر آھي سِر جو بيت

جاجِڪُ جُهونا ڳَڙَه ۾، ڪو عَطائِي آيو،
ڪَڍِي تَنھِن ڪِينِرو، ويھِي وَڄايو،
شَھَرُ سَڄو ئِي سُرودَ سين، تَندنِ تَپايو،
دايُون دَرماندِيُون ٿِيُون، ٻائِنِ ٻاڏايو،
چارَڻُ تَنھِن چايو، جَو مارِي آيو مَڱِڻو.

رسالن ۾ موجودگي: 91 سيڪڙو

In Junagadh, a musician of humble origin, akin to a wandering musician, arrived** With finesse, he unveiled his violin, weaving melodies so exquisitely that the entire town reverberated with the magic of his music** As a result, both slave girls and queens alike were captivated, enraptured by his enchanting performance** Even the general public proclaimed the musician capable of stealing hearts with his harmonious prowess**

گنج ۾، سرود سورٺ، بيت نمبر : 2028

جَاجِڪُ جُوْنَاکَرَ م﮼ ڪُوْ عَطَائِيْ اٰئِيُوْ﮶
ڪَڊِيْ تَهِ ڪِيْنِرُوْ وٖيْھِيْ وَڃَائِيُوْ﮶
شَھْرُ سَڃُوْ ئِيْ سُرَ س﮼ تَندُّنِ تَپَائِيُوْ﮶
دَايٌ دَرْمَاندِيٌ ٿِيٌ ٻَانِنِ ٻَاڎَايُوْ﮶
چَارَنُ تَهِ چَائِيُوْ جُوْ مَارِيْ آَئِيُوْ مَکَّنُوْ﮶

TRANSLITERATION
सिन्धी देवनागिरी

जाजिकु झूनाग॒ड़ह में। को अताई आयो।
कढी तंहिं कीनिरो। वेही वजा॒यो।
शहरु सजो॒ ई सुरोद सें। तंदुनि तपायो।
दायूं दर्मान्दियूं थियूं। बा॒इनि बा॒डा॒यो।
चारणु तंहिं चायो। जो मारी आयो मङणू।

ROMAN SINDHI

Jajik'u Jhunaggarrh'a me, ko atayi Aayo,
KaDhhi tehn keeniro, wehi waJhhayo,
Shahar'u saJhho ee surod'a seen, tandun tapayo,
Dayoon darmandiyoon thiyoon, Baeen BaDayo,
Charann'u tehn chayo, jo maree Aayo manganno.

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  • Some minstrel - a sort of mendicant - came to Junagadh. He took out his violin and played it so perfectly well that the whole town resounded with his music. Consequently all the slave girls and even the queens felt very much enthralled. Even the general public expressed that the minstrel was virtually a killer.
    Note: The poet has used the word ماري in this verse. Normally it means the huntsman who uses a trap or a snare to catch birds and animals. When this word is used in connection with a minstrel, his instrumental music is implied to serve as the snare.
    During the days of Emperor Akbar a particular type of music and dance was evolved and almost perfected. It was used for Shikar-i-Kamrugha. According to its plan a troupe of proficient musicians and dancers used to precede the hunting party to the site of sport. They used to start there a revelry of fascinating music and dance. Slowly and gradually the deer of the locality would turn up from all directions and assemble there. They would be so much entranced and dazed by the music and dance, that they would stand there spell bound. The huntsman, who would then appear on the site, could shoot or catch them easily. Once when such a function was successfully held for the entertainment of Emperor Jehangir and his Queen Nur Jehan, the latter recited the following couplet of Amir Khusro:
    ہمہ آہوان صحرا سر خود نہادہ در کف
    بامید آنکہ روزی بشکار خواہی آمد
    All deer of the desert have kept themselves ready in the expectation that you would one day come for their shoot.
    Emperor Jehangir was so piqued by it that he abandoned the idea of the shoot.
    The poet seems to have used the word ماري to bracket Bijal with the above class of proficient musicians.
    با زخم چو آتش میزد ترانۂ خوش
    مست و خراب و دلکش ازبادۂ شبانہ
    (Roomi)
    With a touch like fire he was playing a sweet melody, drunken and distraught and bewitching from the night's carouse.

    An inspired bard came to Jhunagarh,
    He took his harp and played on it,
    All the people of the city were with music enthralled,
    Palace maids were perplexed, the queen did cry,
    The harp's strain was, " this bard's aim is the head of the king.

    Some gifted bard came in Junagarh,
    The perfect musician took out his fiddle and played it,
    The whole city was charged by strings,
    Maidservants were moved, mistresses bewailed,
    The strings vibrated, "This supplicant is a killer."


    المطرب المتسوّل المتجول وصل فى جوناكره هو كان مكرما من ربه .
    هذا الفنان الماهر أخرج آلة طربة المزهر وضرب عليه ولعب.
    هزّت البلاد وانتشر لحن فى بلاد بعيدة تحيرت الجاريات وبكت واضطربت الملكات راعي الغنم ملحن أخرج كلمات الصوت من مزهره هكذا: المطرب المتجول الصيلا القاتل.


    جونا گڑہ وچ منگتا راگی کامل قصبی آیا
    کڈھ سرندا سُر کر تاراں اوس نے بیٹھ وجایا
    جادو بھریا نغمہ سُن کے، شہر گیا مستایا
    گؤلی باندی رانی کامن، سبھ دا دل پگھرایا
    منگن ہارا لگے ناہیں اے تاں کوئی شکاری


    دور سے ’جونا گڑھ‘ میں آیا ہے
    اک عجیب و غریب موسیقار
    مضطرب شہر ہوگیا سارا
    سن کے اس کے رباب کی جھنکار
    ہوگئی سب پہ بیخودی طاری
    نغمے کی لے سے ہوگئے سرشار
    کون جانے وہ ایک قاتل ہے
    صرف راجا کے سر کا سائل ہے

    جھونا گڑھ کے شہر میں پھر اک، آیا موسیقار،
    آن کے اس گائک نے سائیں، ایسے چھیڑے تار،
    سُر کی آنچ سے سلگ اُٹھا پر، سب کا سب گرنار،
    تڑپ اُٹھے سب شہر کے باسی، تار کی سن جھنکار،
    کہیں یوں سُر اور تار، کہ قاتل ہے یہ منگتا۔