Poetic Renditions

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Translation from Punjabi to English

ٹبہ ٹویا اک برابر ۔ تجمل کلیم

by Jasdeep Singh and Ayesha Waheed

Introduction by Mahin Zia

A rendition of a work focuses on conveying its essence while a translation of it focuses on accurately conveying the originally intended meaning. There’s a fine line between the two, and you may find a bit of both as you read each piece in this section, where different poets from around the world offer their version of the same poem in a new language. Together, they are a celebration of the original work.

ٹبہ ٹویا اک برابر


‏ٹبہ ٹویا اک برابر
گڈیا بویا اک برابر

راتی اَکھ تے بدّل برسے
رویا چویا اک برابر

قسمےسُن کے نیندر اڈ گئی
سُتا مویا اک برابر

ماڑے گھر نوں بوھا کاہدا
کھلّا ڈھویا اک برابر

سورج ٹُردا نال برابر
دن کیوں لگن سال برابر‏

وِتھ تے سجنا وِتھ ہوندی اے
بھاونویں ہووے وال برابر

اکھ دا چانن مر جاوے تے
نیلا پیلا لال برابر

جُلی منجی بھین نوں دے کے
ونڈ لئے ویراں مال برابر

مرشد جے نہ راضی ہووے
مجرا ناچ دھمال برابر

اُتوں اُتوں پردے پاون
وچوں سب دا حال برابر

Mahin Zia

Growing up, I was taught in school that Punjabi is a language of ignorant people and of the layman. This instilled in me a deep-seated disdain for the language, which persisted until I began studying English literature.

Literature as a universal expression of human experiences breaks ideals and bias. I began to see beauty in all cultures, thoughts and perspectives. When I reached Urdu literature I experienced a sense of ownership and connection.

This feeling intensified when I began reading Punjabi literature. It was an extraordinary experience, as if all along I had been wandering in a Museum of the World, gazing at and admiring all these objects from everywhere else, and had finally come to stand still in front of a mirror where I recognized my forgotten self. I gazed at it for a long time, seeing my own pain, my own ancestry.

My father often shares Punjabi texts with me. Through these, I discovered this poem by Tajjamul Kaleem, written in the Gojri dialect, which, despite being different from my native Pahari dialect, resonated with me deeply. I found myself reading the poem multiple times, and with each reading, I felt a sense of depth and connection that I had never experienced with world literature. The reason for this lies in the fact that Punjabi literature speaks directly to my culture, society, traditions, and experiences in a way that no other literature can. 

The poem’s verse about brothers distributing inherited wealth among themselves, leaving sisters empty-handed, is a stark reflection of my own society. Our pain, our struggles, and our experiences are all expressed in our mother tongue. Punjabi literature has a unique ability to envelop you in its world, a world that is inherently yours.

I was concerned that translating the poem, written in a classical style, would be a daunting task. However, Jasdeep’s translation has done justice to the original, capturing its essence perfectly. This fills me with delight, knowing that there are individuals and platforms dedicated to promoting Punjabi literature.

As a teacher, I’ve encountered students who complain about their peers speaking Punjabi. My response is always, “Let them speak; Punjabi is ours.” This reply often surprises them, as they expect me to react with annoyance. Instead, I persevere, hoping that one day they will understand the value of their mother tongue and embrace it with pride.

ਇਕ ਬਰਾਬਰ

ਟਿੱਬਾ ਟੋਇਆ − ਇਕ ਬਰਾਬਰ
ਗੱਡਿਆ ਬੋਇਆ − ਇਕ ਬਰਾਬਰ
ਕੀਤਿਆਂ ਹੋਇਆ − ਇਕ ਬਰਾਬਰ

ਰਾਤੀਂ ਅੱਖ ਤੇ ਬੱਦਲ ਵੱਸੇ
ਚੋਇਆ ਰੋਇਆ − ਇਕ ਬਰਾਬਰ

ਕਸਮੇਂ ਸੁਣ ਕੇ ਨੀਂਦਰ ਉੱਡ ਗਈ
ਸੁੱਤਾ ਮੋਇਆ − ਇਕ ਬਰਾਬਰ

ਮਾੜੇ ਘਰ ਨੂੰ ਬੂਹਾ ਕਾਹਦਾ
ਖੁੱਲਾ ਢੋਇਆ − ਇਕ ਬਰਾਬਰ

ਸੂਰਜ ਤੁਰਦਾ ਨਾਲ਼ ਬਰਾਬਰ
ਦਿਨ ਕਿਓਂ ਲੱਗਣ ਸਾਲ ਬਰਾਬਰ

ਵਿੱਥ ਤੇ ਸੱਜਣਾ ਵਿੱਥ ਹੁੰਦੀ ਏ
ਭਾਵੇਂ ਹੋਵੇ ਵਾਲ ਬਰਾਬਰ

ਅੱਖ ਦਾ ਚਾਨਣ ਮਰ ਜਾਵੇ ਤੇ
ਨੀਲਾ, ਪੀਲਾ, ਲਾਲ ਬਰਾਬਰ

ਜੁੱਲੀ ਮੰਜੀ ਭੈਣ ਨੂੰ ਦੇ ਕੇ
ਵੰਡ ਲਏ ਵੀਰਾਂ ਮਾਲ ਬਰਾਬਰ

ਮੁਰਸ਼ਿਦ ਜੇ ਨਾ ਰਾਜ਼ੀ ਹੋਵੇ
ਮੁਜਰਾ ਨਾਚ ਧਮਾਲ ਬਰਾਬਰ

ਉੱਤੋਂ ਉੱਤੋਂ ਪਰਦੇ ਪਾਵਣ
ਵਿੱਚੋਂ ਸਭ ਦਾ ਹਾਲ ਬਰਾਬਰ

Ik Barabar

Tibba, Toya — ik barabar
Gaddeya, boyea — ik barabar
Keeteyan, hoyea — ik barabar

Raatin, akh tey baddal vassey
Choyea, royea — ik barabar

Qasmen, sun ke neendar udd gayi
Sutta, moyea — ik barabar

Maarhe ghar nu booha kaahda
Khulla, dhoyea — ik barabar

Yaar Kaleeman, Jogi Aggey
Sapp Gandoyea — ik barabar

Sooraj turda naal barabar
Din kiyon laggan saal barabar

Vith tey sajjna vith hundi ae
Bhaanve hovey waal barabar

Akh da chanan mar jaavey tey
Neela, peela laal barabar

Julli manji bhain nu dey key
Wandd laye veeran maal barabar

Murshid je na raazi hovey
Mujra, naach, dhamal barabar

Utton Utton pardey pawan
Vichon sabh da haal barabar

One and the same

A mound, a ditch one and the same
To dig, to sow — one and the same
Did, happened — one and the same

Last night, the clouds, and my eye
Rained, cried — one and the same

I swear, I lost my sleep when I heard
To sleep, to die — one and the same

Why a door on a destitute house
Opened, closed — one and the same

My friend Kaleem, for the wandering yogi
Snake, earthworm — one and the same

The sun walks beside me
Why do days feel like years?

Distance is distance, my love
Even when it’s hairline-thin.

If the light in your eyes fades away,
Blue, yellow, red — one and the same

They gave a cot and bedding to the sister
The brothers distributed wealth between them the same

If the Murshid is not pleased
Sufi whirling, dance like a courtesan — one and the same

They try to hide it on their face
their desolation inside — one and the same

– Translated from Punjabi by Jasdeep Singh with support from Sangeet Toor and Hemant Brar.

§

Farida man maidan kar, toye tibbe lash
Agge mool na aavsi, dozakh sandi bhah1

Farid, smoothen the mounds and the ditches of your (egoistical) mind.
The hell’s fire won’t bother you.

I did not know of Tajammal Kaleem until a Patiala-based independent publisher published his book of poetry titled Kamaal Karde o Badshaho (You are quite amusing, boss). A master reciter, Kaleem is the pride of mushairs in West Panjab. His rhymed verse is joyous when heard in his mellow voice. Thanks to YouTube and Indo-Pak Panjabi conferences, his popularity is equally soaring in East Panjab. Many young poets mimic his style, and rhymed verse poetry is most sold at book fairs across East Panjab.

This poem starts with a reference to Farid’s couplet2 to smoothen the mounds and ditches. Kaleem takes its word play of ik barabar (one and the same) and weaves couplets with this refrain. In another couplet, Kaleem references Bulle Shah’s3 dance like a courtesan4 to please his beloved murshid. He addresses Sajjan (beloved), Murshid (spiritual master), and Yogi (wandering ascetic) and evokes desolation, destitution and commitment with a nonchalant playfulness. Kaleem taps into recurrent patterns and themes of Panjabi poetry and recreates the elemental (ditch, mound, clouds, sun, rain); personal (eyes, crying, desolation); animalistic (snake, earthworm); societal (destitute house, brothers, property distribution); and the spiritual (wandering yogi, spiritual master, death) worlds.

Note: I have translated the refrain in English, barring two instances, as the essence of what he is trying to convey may have been compromised by forcing the rhyme on all couplets. The text version I received is longer and varied, so I have added two couplets from the recited version to the translated text.

1 Sri Guru Granth Sahib, Salok, Farid, 74:1 (P: 1381) https://www.searchgurbani.com/guru-granth-sahib/shabad/5415/line/6
2 Farīduddīn Masūd Ganjshakar (c. 4 April 1188 – 7 May 1266), commonly known as Bābā Farīd or Sheikh Farīd, was a 13th-century Punjabi Muslim[3] mystic, poet and preacher. Revered by Muslims, Hindus and Sikhs alike, he remains one of the most revered Muslim mystics of South Asia during the Islamic Golden Age. – Wikipedia
3 Sayyid Abdullāh Shāh Qādrī(c. 1680–1757), popularly known as Baba Bulleh Shahwas a Punjabi revolutionary philosopher, reformer and Chishti Sufi poet, regarded the ‘Father of Punjabi Enlightenment’; and one of the greatest poets of the Punjabi language. He criticised powerful religious, political, and social institutions; and is revered as the ‘Poet of the People’ amongst Punjabis
4 Tere Ishq nachaiyaan kar key thaiyaa thaiyaa
Your love has made me dance like mad
https://sufipoetry.wordpress.com/2009/11/19/tere-ishq-nachaya-bulleh-shah/
Also see: Sufi Lyrics, Bullhe Shah Translated by Christopher Shackle

Ayesha Waheed

A mound or a pit—all the same,
Buried or sown—all the same.

At night, clouds rained over eyes,
Cried or dripped—all the same.

Swearing upon it stole my sleep away,
Asleep or dead—all the same.

What’s the use of a door in a poor man’s house?
Open or shut—all the same.

The sun keeps moving along,
Then why do days feel like years?

Beloved, distance is distance,
Even if it’s just a strand of hair.

If the light of the eye fades,
Then blue, yellow, and red—all the same.

Giving a worn-out bed to the sister,
Brothers split the wealth equally.

If the master isn’t pleased,
A bow, a dance, a dhamal—all the same.

Covering up from the outside,
But within, everyone’s state is the same.

§

While translating this poem, I was deeply moved by its message that many perceived differences are merely surface-level, ultimately leading to the same reality. The poet uses powerful contrasts to reinforce this idea.

A mound and a pit seem like opposites, yet both are simply formations of earth. ‘To bury’ and ‘to sow’ may appear different, but both involve placing something into the ground. ‘Sleep’ and ‘death’ may not seem alike, yet both represent a state of stillness and unawareness. ‘Crying’ and ‘dripping’ may appear unrelated, but both signify an outpouring, whether of emotions or rain.

The poem beautifully challenges human perception through these contrasting images.
What stands out most to me is its final thought: people may look different on the outside, but deep down, their inner struggles and realities are the same. This leaves a lasting impression, making the poem both thought-provoking and profound.

Tajammul Kaleem, born in Chuniyan, District Qasoor, Pakistan, is a contemporary Punjabi poet. He is renowned for his significant contributions, particularly in the realm of Punjabi ghazals. His poetic world, woven from a rich imagination, encapsulates not only his own experiences but also those of his surroundings, capturing social, economic, human, and moral aspects that set him distinct from his contemporaries.

His notable works include ‘Tibba Toya Ik Barabar’ and ‘Kamal Karde O Badshaho’. Among his published books are Wehray Da Rukh, Cheekhda Manzar, and Han Do Suli. Through his poetry, Tajjamul Kaleem speaks in a language that embodies the customs and history of the Punjab region, establishing him as a rare voice of Punjabi culture.

Mahin Zia comes from Domeli, Pakistan. A recent graduate in Linguistics, she is currently teaching at a school. She serves as a reader for Querencia Press, as a columnist for Spiritus Mundi Review, and is currently an intern at Lakeer.
In addition to being published in several magazines, Shade of Love is her first published solo chapbook.

Jasdeep Singh is a film writer, translator, and software programmer based in Mohali, Panjab. He has written dialogues for award-winning Punjabi films, essays on Punjabi qissas, the digital literary sphere and artists; and contributed translations of Punjabi poetry and fiction.  He co-founded Kirrt, an arts platform, and was an editor for the Panjabi section of the farmers’ protest newsletter Trolley Times.

Ayesha Waheed is a reader and writer with a deep love for words. She has a special interest in culture and heritage, which often inspire her work. In her free time, she enjoys visiting historic sites, exploring new places, and trying new things.

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