Lala Madhur Ram Jauhar Dabistan-e-Lakhnau ke ek aur umda shayar hain, lekin afsos hain ke unke baare mein ziadah logon ko nahi pata. Is se to kuch nahi hota kyun kar is ma-bad jadidiyat ke daur mein to aam taur par log apni ilm ki kami par naaz karte hain…..lekin kya kiya ja sakta hai. Khair is par charch kabhi aur abhi ke liye to aap logon se yeh hi iltija hain ke aap Jauhar-shanaasi karen. Unka taaruf ek ghazal aur kuch qata’at se main karta hoon. Umeed hain is se aap unke fan se vaqif honge… unka lehza, unka khayal, unka tasavvur aur unka lafzon ka istemaal sab andaaz se Lakhnavi hi hain….

Haram mein muddaton dhundta shivalon mein phira barson
Talaash yaar mein bhatka kya main bar ha barson

Mahinon haath jorh ke ki khushamad barha barson
Unhe jhagdon mein mujhko ho gayi ae bevafa barson

Madhallah aisi azurdagi ka kya thikana hai
Jo puch yaar se kab tak na bologe kaha barson

Ghanimat jaan jo din zindagi ke aish mein guzaaron
Kisi ka nahi rahta zamaana ek sa barson

Vahi khonn-e-shaheed naaz ab barbaad hota hai
Raha ban kar jo tere haath mein rang hina barson

Hamari beqaraari ka zara tum ko na dhyan aaya
Mahinon muntazir rakha dikhaya raasta barson

Zamaane mein hamesha har mahine chaand hota hai
Tera jalwah nazar aata nahi ae ma laqa barson

Vahi par le chali betaabi dil-o-ahri qismat
Phira ke sar patakti jis jagah meri dua barson

Ada ho shukr kyon kar bekasi o na umeedi ka
Rahi hai saath furqat mein yahi do aashna barson

Na aaya ek din bhi voh but berahm ae ‘Jauhar’
Utha ke haath Kaabe ki taraf maangi dua barson

Aur iske baad do qata’at

Tasavvur zulf ka hai aur main hoon
Bala ka samna hain aur main hoon’

Likhi hai aapki tasveer dil par
Yehi naqsh-e-wafa hai aur main hoon

Bazang Nasikh ae Jauhar shab-e-roz
Dar-e-daulat sehra hai aur main hoon

Aur yeh bhi….

Apni soorat dekh kar aashiq na ho jaayun kahi
Is liye ham aaene ko ru-ba-ru karte nahi

Aa gaya Jauhar ajeeb ulta zamaana kya kahen
Dost woh baatein karte hai jo adu karte nahi

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Sending gifts of flowers and cakes on special occasions to your close ones and intimate contacts in Lucknow India can make the relationship more endearing and everlasting.  You can create memorable moments in your association or relationship by just the simple act of sending custom-made and specially packed floral gifts and cakes.  There many occasions in your life on which you can send these gift items.  Now sending them to Lucknow India is very much easy with online shopping.   In the past it could give you hassles and concerns especially if you are under tight schedules.  Suppose you are a busy professional mostly on the move and you want to send a cake on the eve of Diwali to your niece in  Lucknow India Or, you want to send specially cut and packed floral gifts on the 20th birthday of your fiancé, but you are too busy to attend to the arrangement of the gift and its dispatch.  If you entrust it with someone, you may be apprehensive whether it is done properly or not.

Now sending any gifts, be it flowers, cakes, designer garments, or gadgets of your preferred choice to Lucknow India you can engage the service of online service providers.You need only to sign up in their website and place order with them and give the dispatch address.  Payment can be done though online banking or through your credit card.You need not be concerned as to the quality or promptness of the gift or its dispatch and delivery.  As they are professionals in the field with years of standing, quality will be good and you can be confident that the gift will reach your kith or kin in Lucknow India by the expected time. Now there are several establishments which deal in online sale of flowers, cakes and other gifts in all prominent centers.

Sometimes history throws up surprising episodes as this particular case proves. I was told this particular episode many times and sometimes I was reminded of it by so many people who I never thought knew about it but it was really interesting to find it in various places – a good account is in Partap Sharma’s Days of the Turban which is a must read for anyone who wants to know the genesis of terrorism in Punjab in the early 1980s and how it impacted on the people- but okay, this later and so many web references - and I thought I will share it with the wider world. Read it for yourself, the interesting parts are italicised.

One of the most important events in early Muslim history was the battle of Karbala fought in 680 AD in which Imam Hussain, grandson of the Prophet (PBUH) through his daughter Fatima and her husband Imam Ali, was slaughtered along with a small band of disciples in a bloody battle against the reigning Caliph, Yazid ibn Muawiyah – a battle which eventually led to the great schism in Islam between the Sunnis and the Shias. This event occurred in the Islamic month of Muharram, which – specially the first ten days culminating in Ashu’ra – is observed with mourning in many parts of the Muslim world.

What is particularly striking about the observances of the month of Muharram in large parts of India is the prominent participation of Hindus in the ritual mourning. In several towns and villages, Hindus join Muslims in lamenting the death of Imam Hussain, by sponsoring or taking part in lamentation rituals and tazia processions. In Lucknow, seat of the Shia nawabs of Awadh, prominent Hindu noblemen like Raja Tikait Rai and Raja Bilas Rai built Imambaras to house alams, standards representing the Karbala battle. (Lucknow has to figure in acoounts of all interesting incidents…but then) The Hindu Lambadi community in Andhra Pradesh have their own genre of Muharram lamentation songs in Telugu. Among certain Hindu castes in Rajasthan, the Karbala battle is recounted by staging plays in which the death of Imam Hussain is enacted, after which the women of the village come out in a procession, crying and cursing Yazid for his cruelty.

Perhaps the most intriguing case of Hindu veneration of Imam Hussain is to be found among the small Hussaini Brahmin sect, also called Dutts or Datts and are a subsect of the Mohyal Brahmins, who are found mainly in Punjab. The Hussaini Brahmins have had a long martial tradition, which they trace back to Karbala. They believe that an ancestor named Rahab traveled all the way from Punjab to Arabia, where he became a disciple of Imam Hussain. In the battle of Karbala, Rahab fought in the army of the Imam against Yazid. His sons, too, joined him, and most of them were killed. The Imam, seeing Rahab’s love for him, bestowed upon him the title of Sultan or king, and told him to go back to India. It is because from this close bond between Rahab and Imam Hussain that the Hussaini Brahmins derive their name.

After Rahab and those of his sons who survived the battle of Karbala reached India, they settled down in the western Punjab and gradually a community grew around them. The Hussaini Brahmins practised an intriguing blend of Islamic and Hindu traditions. A popular saying refers to the Hussaini Brahmins or Dutts as:

Wah Re Dutt Sultan,
Hindu ka Dharm, Musalman ka Iman

(Well Done! Dutt, the king
[Who follows] the religion of the Hindu and the faith of the Muslim)

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After Coming home, I spent two weeks in complete relaxation. There were no tensions and for the first time, no studies. I was rid of my Engineering textbooks and I had nothing but time on my mind. I spent a good six hours watching movies, programming and playing FIFA 09. After that, I spent quality time with my parents. This is the only time I am going to be able to relax for quite some time as the new term starts in January, and already time is flying. Our results came out a few days back, and I got a decent 8.73 GPA, which is good, but I have to improve a lot to become a Nine Pointer.

After some enjoyment in Greater Noida, I made a trip to Lucknow, my birthplace. It was nice, returning after a long time. I am currently at my paternal grandparents place, and am having a blast. I am being pampered with great food, something which I couldnt enjoy in the last few months. Coming to Lucknow is always a great feeling and I always feel at home. In some time, I will be off to my maternal grandparents home, also in Lucknow, and have some great fun there. By the time I return I would have gained 5 kilos and would have shed my image of a skinny guy…So far, the holidays have been complete with enjoyment and relaxation, something I would have to yearn for in the future…

Bahut din se mujhe Mirza Shauq Lakhnavi pe likhna ka shauq tha lekin is iraade ko main anjaam na de paya. Main is taakhir ke liye behad pasheman hoon.

Nawab Mirza Tassaduq Hussain Shauq Dabistan-e-Lakhnau ke ek alambardar the. Peshe se hakim, yeh Jaan-e-Aalam Nawab Wajid Ali Shah ke darbar se vabasta the. Ghazal-goi ke siva, Mirza Shauq vasokhta-nigaari ke liye mashoor the aur Sharar ne bhi aapni kitaab Lakhnau: Mashriqi Tamaddun ka Aakhri Namoona, jise aam taur pe Guzashta-e-Lakhnau kaha jaata hai, mein bhi unke tareef ke pul baandhe hain.  Is pehlu par main baad mein aaunga. Abhi ke liye main Mirza Shauq ki ek behtareen ghazal aur kuch mukhtalif asha’ar pesh karunga. Jaise maine Amanat Lakhnavi ke liye kaha tha, qaafiya-radif par gaur farmaye…

Kehne mein nahi hai woh hamare kayi din se
Phirte hain inhen ghair ubhare kayi din se

Jalve nahi dekhe jo tumhare kayi din se
Andher hai nazdeek hamare kayi din se

Aashiq se woh kuche mashooq mein bola
Raaste nahi hain bheed ke maare kayi din se

Be subah nikalta mahi woh raat ko ghar se
Khurshid ke andaaz hai saare kayi din se

Ham jaan gavayi aankh milao na milao
Bigde huye hain tevar tumhare kayi din se

Aakhir meri aahon ne asr apna dikhaya
Ghabraye huye phirte ho pyaare kayi din se

Kis kisht ka kal rakha sog meri jaan
Gesu nahi kyun tumne saavare kayi din se

Kis chaak gareban ka kiya aapne maatam
Kapde bhi nahi tum ne utaare kayi din se

Deewana hai, saudai hai farmaate hai aksar
In naamon se jaate hain pukaare kayi din se

Dil phans gaya hai aapki zulfon mein hamara
Hai bandah bedam tumhaare kayi din se

Ek shab mere ghar aan ke mehmaan rahe the
Aaye nahi is sharam ke maare kayi din se

Munh gaal pe rakh dete hai sote mein chimat kar
Kuch kuch to haya kam hui baare kayi din se

Mehndi bhi ha misi bhi hai lakha bhi hai lab par
Kuch rang hai berang tumhaare kayi din se

Dar se tere ka kal ke nahi chalte hai raaste
Dam band hai is saanp ke maare kayi din se

Phir Shauq se kya is but ayyar se bigaadi
Hote nahi bahm jo ishaare kayi din se

Ab ek ghair-mukammal ghazal ke kuch asha’ar:

Aap ki gar mehrbaani ho chuki
To hamaari zindagani ho chuki

Baith kar uthe na kue yaar se
Inteha-e-naatvani ho chuki

Hans diye rone pe woh ae chashm tar
Aabru askhkon ki paani ho chuki…….

Kuch asha’ar:

Gayi jo aish ke din mein shabaab kya karta
Laga ke jaan ko apni azaab kya karta

Chaman mein shab ko ghira abr naubahaar raha
Huzoor aapka kya kya na intezaar raha

Shab vasal this chandni ka samaan tha
Baghal mein sanam tha Khuda mehrbaan tha

(yeh aakhri waala to mujhe lagta hai kuch khush-naseeb ke liye hi hain….)

Sir Auckland Colvin, KCSI KCMG CIE (1838–1908), was a British administrator in India and Egypt, who made his reputation while working in Turkey where he was regarded almost as powerful as the Caliph. He is also credited with having started the Colvin Taluqdars’ College in Lucknow which developed into one of the most prestigious public schools in India. (See there is a Lucknow link after all. Not only is the college next to where our current home is, it aslso happens to the one of those where my father studied). However, lets return to Sir Auckland.

When Lord Cromer became British agent in Egypt, Colvin succeeded him as financial member of the Viceroy’s council in India in Aug 1883. Financial difficulties faced him. The war in Upper Burma and the danger of hostilities with Russia, consequent upon the Panjdeh incident, were not only costly in themselves, but were followed by great capital outlay on improving the strategic position on the north-west frontier, and by increases of the British and native armies. With Sir Courtenay Ilbert, then legal member, Colvin minuted against this increase, and after retirement he complained that the military element in the council was disproportionately strong. The finances were also disturbed by the continued decline in the sterling value of the rupee, while suggestions made by the Governor-General in council, at Colvin’s instance, for seeking an international acceptance of bimetallism were treated by the cabinet at home with scant respect, or as Colvin thought

Although he caused a committee to be appointed under Sir Charles Elliott to recommend economies, he was compelled not only to suspend the Famine Insurance Fund, and to take toll of the provincial governments, but to increase taxation. In January 1886 he converted some annual licence duties in certain provinces into a general tax on non-agricultural incomes in excess of Rs. 500 per annum. This unpopular proceeding was immortalised by that indefatigible chronicler of all facets of the British Raj in India – Rudyard Kipling.

The Rupaiyat of Omar Kalvin, in Kipling’s Departmental Ditties, is a clever parody of Omar Khayyam’s immortal Rubaiyat, which represents  Colvin as plying the begging-bowl among his European countrymen.  Parody is not an easy art, since it calls for a capacity for dextrous improvisation which is not an easy task, not easy at all.

The Rupaiyat will be best enjoyed by those who have read the Rubaiyat….. and to those who have not, well, all I can say is “My sincerest condolences”…….. It is the mark of its relevance that it transcends from being an account of a hapless Victorian era administrator scrabbling around for funds to being something anyone who has to juggle around to make budgets – personal, household or official – will well appreciate….

Well here it is…..

Now the New Year, reviving last Year’s Debt,
The Thoughtful Fisher casteth wide his Net;
  So I with begging Dish and ready Tongue
Assail all Men for all that I can get.

Imports indeed are gone with all their Dues –
Lo! Salt a Lever that I dare not use,
  Nor may I ask the Tillers in Bengal –
Surely my Kith and Kin will not refuse!

Pay — and I promise by the Dust of Spring,
Retrenchment.  If my promises can bring
  Comfort, Ye have Them now a thousandfold –
By Allah! I will promise Anything!

Indeed, indeed, Retrenchment oft before
I sore — but did I mean it when I swore?
  And then, and then, We wandered to the Hills,
And so the Little Less became Much More.

Whether a Boileaugunge or Babylon,
I know not how the wretched Thing is done,
  The Items of Receipt grow surely small;
The Items of Expense mount one by one.

I cannot help it. What have I to do
With One and Five, or Four, or Three, or Two?
  Let Scribes spit Blood and Sulphur as they please,
Or Statesmen call me foolish — Heed not you.

Behold, I promise — Anything You will.
Behold, I greet you with an empty Till –
  Ah! Fellow-Sinners, of your Charity
Seek not the Reason of the Dearth, but fill.

For if I sinned and fell, where lies the Gain
Of Knowledge? Would it ease you of your Pain
  To know the tangled Threads of Revenue,
I ravel deeper in a hopeless Skein?

“Who hath not Prudence” — what was it I said,
Of Her who paints her Eyes and tires Her Head,
  And gibes and mocks and People in the Street,
And fawns upon them for Her thriftless Bread?

Accursed is She of Eve’s daughters — She
Hath cast off Prudence, and Her End shall be
  Destruction . . . Brethren, of your Bounty
Some portion of your daily Bread to Me.

Amanat Laknavi ki Indar Sabha se kuch ghazlon ka silsila jaari rakhte hain….

Aakhri baar maine  Pukhraj, Nilam and Lal Paris (the Topaz, Sapphire and the Ruby or in simpler terms, the Yellow, Blue and Red Fairies) ki mukhatib ghazlen pesh ki thi. Waqt na hone ke wajeh main Sabz Pari ko aap ke samne na la paaya. Is khata ke liye mazrat mangte huye main uski mukhatib do ghazlen pesh kar raha hoon.

Main phir aap ka tawajju radif pe chahunga…..

Bhula hoon main aalam ko sarshar ise kehte hai
Masti se nahi ghaafil hoshiyar ise kehte hai

Dam le ke mera chorha azar ise kehte hai
Achcha na raha ek din beemar ise kehte hai

Kal ghar se jo woh nikla ek hashr hua barpa
Dil pis gaye aalam ke raftaar ise kehte hai

Is maah ka hain jalwah aashiq ki mehfil mein
Yusuf ise kehte hai bazaar ise kehte hai

Tasveer ko sakta hai kehte hain ise naqaasha
Aaine ko hairat hai rukhsaar ise kehte hai

Ek rishta hai ulfat mein gardan hai hazaaron ki
Tasbeeh ise kehte hai zinnar ise kehte hai

Mashahr ka kya vaada yan shakl na dikhlayi
Iqraar ise kehte hai inkaar ise kehte hai

Dil ne shab-e-furqat mein kya saath diya mera
Moonis ise kehte hai ghamkhavar ise kehte hai

Shab guzri sehr aayi bak bak ke thaka aashiq
Bosa na diya us ne takraar ise kehte hai

Misrgan ne kiya bedam kehte hai ise khanjar
Abru ne mujhe maara talwaar ise kehte hai

Khamosh ‘Amanat’ hai kuch uff bhi nahi karta
Kya kya nahi pyaare aghiyaar ise kehte hai

Ek aur…. Phir se radif par gaur farmayen.

Paida huye hain chahne waale naye naye
Andaaz yaar ne hai nikaale naye naye

Gesu badha ke roz diya karte hai woh baal
Dasne ko mere saanp hain paale naye naye

Ghere hai us ko ghair kabhi aashna kabhi
Hain gird mere chaand ke haale naye naye

Gardoon ke daur mein unhen kambal nahi naseeb
Jo log aurhte the doshaala naye naye

Midaad nazar hai aashiq-e-margaun ki in ko maut
Lete hai mahaul dekh ke bhaale naye naye

Kaanton se ittefaq hai sabz se hain gurez
Dete hai paaon ke chaale naye naye

Margaun ki hai safeen fars-e-naaz par sawar
Sarkar-e-husn mein hai risaale naye naye

Zulfon ki woh laton ko banaate hai naaz se
Hai gore gore haath mein kaale naye naye

Hai ibtidayi ishq  ‘Amanat’ Khuda bachaye
Jallaad ke huye hain hawaale naye naye

Maine ne pichle do post mein Syed Agha Hasan Amanat Lakhnavi aur unke maqbool drame Indar Sabha ke baare mein baat ki thi. Ab pesh hain unki kuch ghazlen isi se, tartib mein.

Aghaz Pukhraj Pari se.

Takra ke sar ko jaan na doon main to kya karun
Kab tak firaaq-e-yaar ke sadme saha karun

Andher hain lagaun jo is shama ro se lau
Parwana ghair-parda rahe main jala karun

Ji chahta hai sanaat-e-sanaa pe hoon nisar
But ko bitha ke saamne yaad Khuda karun

Har chand chata hoon ke bolun na yaar se
Qabu mein apne dil ko na paaon to kya karun

Ae but! Tere siwa nahi konain ke hosh
Allah se kare to tere se iltija karun

Insaaf ho buton se na mera jo haathon haath
Aage Khuda ke hashr mein mashahr bapa karun

Mein mar gaya to ro ke yeh kehne laga woh shokh
Kis ko sunayunga galiyan kis par jafa karun

Ghamze se aa gayi mujhe ek aan mein qaza
Shukr yeh tere naaz ka kyunkar ada karun

Aese maze uthaye jhain aazar-e-ishq mein
Aaye masiha bhi to na aapni dawa karun

Kooche mein uske baith ke ji hai yeh chahta
Auqat yan basr safat-e-naqsh-e-pa karun

Woh but ada se saamne aakar jo baith gaya
Kaabe mein bhi namaaz ko apni qaza karun

Loon bosa zulf ka to dabaye gala Ajal
Phaansi mile mujhe jo Khatan mein khata karun

Be-ishq mujhe kuch jahan mein nahi zeesht ka maza
Dil yaar ko na doon mein ‘Amanat’ to kya karun

Is ke baad Neelam Pari. Khwatin-o-hazraat, apse is ghazal ke mushqil radif ke saath yeh dekhen ke kis qabiliyat aur khoobsoorti se Amanat ne qaafiya ko baandha hain. Subhanallah! 

Ishq ka khanjar laga hain dil pe kaari in dinon
Zakhm ki soorat hai khoon ankhon se jaari in dinon

Baagh mein jaati hai us gul ki sawaari in dinon
Dam churaye phirti hain baad-e-bahaar in dinon

De ke qasmein kuche-e-qatl mein le jaata hai dil
Dushman apna kar raha hai dost daari in dinon

Bholi bholi shakl par dil tadpa jata hain Sanam
Kya hi soorat ho gayi hain pyari pyari in dinon

Muddatton ham ne nikala wasl mein dil ka bukhaar
Furqat-e-dildaar mein hain tap ki baarish in dinon

Ishq ke azaar ne laghr kiya hain is qadr
Shakl pehchani nahi jaati hamari in dinon

Qatl karta hai arq aludah abru khalq ko
Kya teri talwar par hai aabdari in dinon

Sar uthaya hai junoon ne aashiq-e-zulf-e-yaar mein
Paaon ko darkar hain zanjeer bhaari in dinon

Raag gaa kar bazm mein aashiq bura karte hain haal
Cherhiye la-Allah parde mein sitaari in dinon

Palkein jhapkhaane ka qaatil ko hua hain taza shauq
Chal rahi hai dil pe aashiq ke kataari in dinon

Thandi sansein bharte ho har dam ‘Amanat’ kis liye
Jaan jaati hai kaho kis par tumhaari in dinon

Ab Laal Pari: Is mein bhi mein aap sab ki tawaaju chahunga qaafiye par. Maqta par bhi gaur farmaye…….

Khayal aata hai dil ko shikwah bedaad kya kijiye?
Khuda se ase but-e-kaafir teri faryaad kya kijiye?

Bahar aayi hain gulshan mein ghuta jaata hai dam mera
Qafas ke dar ko va karta nahi saiyaad kya kijiye?

Abas karta hai tu ham se khayal-e-yaar ka shikwa
Jo bhule aapko ae dil use phir yaad kya kijiye?

Muqabil sarv ko pa kar gulistan mein woh gul bola
Ghulam apna jo ho dil se use azaad kya kijiye?

Kisi mehboob ka bota sa qad aankhon mein phirta hai
Chaman mein dekh kar ae dil siwaye shamsaad kya kijiye?

Junnon ka josh khota hai raghon ko chookar nashtar se
Na tujh ko gaaliyan deejiye to ae Fasaad kya kijiye?

Lahu behta hai ghairon ka hamaara dam nikalta hai
Gale pe phirta khanjar nahi jallaad ka kya kijiye?

Hamaari qabr ko thokar laga kar yaar kehta hai
Mila ho jo khaak mein jo khud use barbaad kya kijiye?

‘Amanat’ koh par pahuncha to yun Farhad chillaya
Laabon par jaan Shirin hai ab ae Ustaad kya kijiye?

Bachti hai Sabz Pari. Yeh agli post mein.

Silsila jaari rahega…..

However, as the plot suggests is just the tip of the iceberg. It is easy to dismiss Indar Sabha as the forerunner of the kitsch and pseudo-angst filled Hindi films that have plagued generations but that will be an extremely superficial observation. As a renowned scholar has pointed out that the play has a wealth of deeper meanings and significance.

Afroz Taj persuasively argues that Amanat Lakhnavi used the musical fantasy as a “sweet outer coating for the bitter lament for the expanding colonial hegemony”. Anyone with some idea of Indian history during the mid-19th century knows the prevailing situation. Indar Sabha was first performed in 1854, and by then the British designs were clear to almost all and would be vindicated by the deposition of Awadh’s Nawab in a couple of years and the kingdom’s annexation. Seen in this light, several couplets of the ghazals and other lyrics recited by fairies in Amanat’s play,  turn to have a marked political connotation, making them revolutionaries – in a literary sense at least.

Reading between the lines, the play can be regarded as an allegory of colonialism and a manifesto of resistance and that can help explain its sweeping success after 1857 as theatre troupes all over South Asia made a part of the repertory. How it does that… well I am afraid I will not be of any help to you here. You have respect Prof Taj’s efforts and read the 
The Court of Indar and the Rebirth of North Indian Drama (536 pp) yourself. Those interested can purchase a copy from the offices of the Anjuman Taraqqi Urdu (Hind)  at Rouse Avenue, or whatever name they have given it now, near the ITO. Priced at Rs.300 for a hardback edition, it is a steal as it not only gives a wealth of information and analysis about Indar Sabha (Dont get worried….. its all in English) but also the text of the play (I told you not to worry…. the Urdu text is on the left hand side page and an English translation and exhaustive footnotes on the right hand side). Furthermore, you can be assured of a handsome discount on the purchase when the bill is made out on the Anjuman’s office on the second floor of the building. (I told you not to worry…. there is a lift).

However, that is not the only significance of the play. As you will read (if you get the book), Amanat also constructed a multi-layered and multi-cultural text drawing extensively from five distinct and rich traditions — the Urdu literary traditions (masnavis, ghazal, dastans); the North Indian folk theatre tradition (nautankis and the like); Hindu devotional theatre and dance (the Ramlila, Raaslila); classical Sanskrit drama; and last but not the least, Wajid Ali Shah’s court pageants — to encapsulate the many different segments of19th century society in north India – in one of its best manifestations – the sparkling life of Awadh.

One more point I must make – Amanat’s skills in ghazal-goi. Given that the entire spoken text of the Indar Sabha is in verse and most of the significant dialogues are in the form of ghazals, the intricate construction of these – particularly the radif and qaafiya - is a marvel and something that only someone from the Dabistan-e-Lakhnau can accomplish with such elan and panache. Were Amanat only known for these ghazals, his perpetual fame as a master of this genre would have been secure.  In the next post, I will cite some of these ghazals and you can judge on your own.

Indar Sabha had one more impact – good or bad… well that can be your lookout. The Indian film industry has deep roots in Urdu operas of the later half of the 19th century – and all of them are directly descended from Amanat’s play. It is no coincidence that one of the earliest and well known Hindi films – boasting an astonishing 71 songs (leave alone surpassing this  record,  no one has even come close and I fervently pray, given the dissonant cacophony that passes for Hindi film music in these days, that no one even attempts now).

Syed Agha Hasan Amanat Lakhnavi (1815-1859) is another one of those geniuses of recent Indian history, who have sadly not got their due for the influence they had on subsequent developments and are unfortunately only known among scholars of a particular discipline. It will be a fair measure of the ignorance about him that most people who read this will be left uncomprehending, some will try to think and try to place him and fail, and a few will continue to read in the hope of gleaning a clue or two in the subsequent paragraphs.

I must confess that sometime ago, I also had a hazy idea only about him,  but my curiousity was sparked off by a small reference to him in a book of essays on various topics by a quite iconolastic academician (I won’t mention the book, in case I set off at a tangent as is generally my habit save one fact – the book is one I have bought five times and always gifted to those I thought friends…. the semantics and the slight ambiguity here are intended). Back to Amanat now.

Amanat Lakhnavi, it must be told, was the author of Indar Sabha (c.early 1850s), which was virtually the first Urdu drama. It is a failing of literary critics that popular literature of the early modern era is often ignored in their studies. But a recent pioneering work makes a strong case for revising the traditional approach that dismisses Indar Sabha as an “insubstantial fairy-tale romance decorated with songs and dances.” I will come tho this thought later, but to place all arguments in context, I must speak about its plot.

The plot of Indar Sabha is quite simple, but in a way, not in consonance with the rules of a conventional drama. It starts with King Indar (Indra) entering his celestial court and calling on the dancers ordering the entertainment to begin. In order come the Pukhraj, Nilam and Lal Paris (the Topaz, Sapphire and the Ruby or in simpler terms, the Yellow, Blue and Red Fairies) and sing a variety of ghazals, thumris and even folk songs to the King. They are followed by the Sabz Pari (Emerald or rather the Green Fairy) who begins the same routine but is put out to find the King has gone of too sleep (at the risk of being labelled insensitive and flippant not to mention downright facetious, I will say I can understand Indar’s condition….. well you can have too much of a good time. Sorry). However, the fairy goes out  in a huff (well you know what they say  about Hell having no fury like a woman scorned….. Hey I said I was sorry) and tells a waiting demi-god that she has become enamoured of a young prince she caught a glimpse of on the way. As expected, she asks him to help her and get the youth here. As quite expected, he leaves on the mission right away without a qualm. He gets the youth, who is first disconcerted to find himself in a strange place and when the Sabz Pari appears and tells him all, is not entirely grateful for the situation he is in and WANTS MORE… he wants to catch a glimpse of the celestial court despite her warning him it is DANGEROUS for mortals  (Some men really like to push their luck and can never heed advice…. Hey I said I was sorry. Oh this threat is from the opposite side. Oh silly me, I should have realised….) and she gives in (Stupid woman…. Hey, I already told you I was sorry).

Anyway, back to the plot. As most of you must have realised what would have happend. As Sabz Pari heads back to court and begins entertaining the awake (and I hope refreshed) Indar, the hiding prince is discovered by an alert guard, brought into the presence of an angry king and THE GAME IS UP. Giving up all entertainment, he orders the prince imprisoned in a deep well in the Qaf mountains and Sabz Pari has her wings clipped and is thrown out of the court. Those habituated to Hindi films will know what happens next. In the garb of an asetic, she wanders the world in search of her beloved (Wait a minute, something does not seem right with this scenario. She wanders? Let me check again. Jim Dandy Doo, its she only…… well will wonders never cease. Feminists please note this occurrence and others do too and cite it whenever someone tries to raise the misogynostic nature of 19th century literature in India. Hey but wait another minute …. She is supposed to be a fairy, a supernatural creature…. Ohhh that explains it).

However, as she continues on her quest singing in the most heart-rendering way, a talent scout, I mean, a passsing demi-god reports the occurrence to King Indar, who summons her to the royal presence and after hearing her, is so happy that he promises to fulfil any wish. (You Got It…..) There is nothing surprising in what she askes for and though Indar, briefly, has second thoughts, he assents to her demand and the prince is freed, the lovers are reunited, all is forgiven, another round of celebrations and revels follow and they live happily ever after……

To be continued…..

By Ashwin Salin (c) Futuristic Media Network

Do you know that German super model Claudia Ciesla has probably worn and modelled in more Indian saris or to be specific style of draping the Indian saree than any other Indian model residing in India?

According to Claudia Ciesla’s spokesperson Flynn Remedios, CC as she is known to her friends has worn and posed for photo sessions, print catalogues and the like in the Benarasi, Rajasthani, Marwari, Maharashtrain (koli), Bengali, Kashmiri, Lucknowi and you name it sarees.

Says Flynn Remedios showing us about 100-odd photos of Claudia Ciesla draped in varying styles,”Claudia Ciesla loves wearing the saree. She has modelled and worn more than ten different saree types or forms in the last 4-6 months alone – probably more than any other Indian model has. Her favourite is the Benarsi saree. Claudia owns about 20 varieties of sarees and loves to wear them to parties in Germany, shocking her friends when they stumble upon the fully-clad stunner.”

Claudia Ciesla adds oomph and value to the saree and can put to shame any other Indian model or actress when it comes to carrying off a saree at a fashion pageant, explains her publicist.

NB: ALL PHOTOS ARE (C) FLYNN REMEDIOS / FUTURISTIC MEDIA NETWORK AND (C) CLAUDIA CIESLA. USE OF THESE PICS WITHOUT DUE CREDITS IS A CRIMINAL OFFENCE.

Lucknow is the capital city of Uttar Pradesh, the most populous state of India. Lucknow is situated on the northern part of India in the state of Uttar Pradesh.

It is a city is surrounded by its rural towns and villages like the orchard town of Malihabad historic Kakori, Mohanlalganj, Gosainganj, Chinhat, and Itaunja. On its eastern side lies Barabanki District, on the western side is Unnao District, on the southern side Raebareli District, and on the northern side the Sitapur and Hardoi districts. It straddles both banks of the Gomti River.

It is neglected by most tourists and is certainly worth a visit. Modem Lucknow is largely the creation of the nawabs of Oudh and parts of the city still retain an 18th century flavour. Lucknow and turned the city into a centre of Urdu poetry, courtly diction, music and dance. At the beginning of the 19th century the court blossomed. The continued emphasis on the building of palaces and mosques. The city is still famous for its cultivated manners and refined urbane culture.

It remains the home of light classical North Indian music and the Kathak School of dance. Each February, the two week festival continues the traditions of music and dance made famous by the Oudh court.

The city is a marketplace for agricultural products and its industries include food processing, manufacturing, handicrafts, and railroad shops.

Lucknow is the heart of the art, cuisine, dance, culture and music of Northern India.
Even after witnessing tremendous modernization it has managed to retain its age old charm and glory. The warmth, the hospitality and the formality of the city have still not been lost.

The climatic conditions vary in different seasons and there is much difference in summer and winter temperature. Lucknow has a warm subtropical climate with cool dry winters from December to February and dry hot summers from April to June. The rainy season is from June to September. The most pleasant weather is between October and February. Fog is quite common in December. Summers are quite hot with temperature in the 40s.

Lucknow tourism brings one closer to the glorious days city, through a visit to its numerous monuments and ruins.

However there was defence there by the British to be one of the key episodes in the unsuccessful rebellion. Mainly there were issues of prestige and morale involved, but Lucknow also became the point at which the main forces of both the British and rebels were concentrated.

I do apologise for a mistake I made in the post about Nawab Asif-ud-Daula and an anecdote of his reign, which I did a couple of days ago. The mistake I made was in the qawaali i quoted.  However, I must claim not only was I distraught and intensely dismayed – rather devastated – over events of that sad day – a veritable bolt from the blue (how can people act that way I will never be able to understand) but I guess it is on par for this benighted world…. Apart for that, was the usual flak I face on a quotidian basis. However, getting back to the theme. What I wrote was:

Puch le Shaddad ki woh jannat kya hui
Puch le Numrud ki woh hukumat kya hui
Puch le Qaarun ki woh kaamai kay hui
Puch le Phiraun ki woh Khudai kya hui
Rustam-o-Sohrab ki woh pehlwani kya hui……

Even this took me a lot of time to recall, as regard the order and all and worse still, I completely forgot the subject of the second line and it was only after a few desperate minutes, which I hummed and re-hummed the lines (keeping hard not to be audible out and scaring the other people around) and wistfully thinking whether my magnificent brain had finally given up the struggle, did they luckily come back to me.

However, the next day, when I getting ready, did the entire qawaali come back to my mind, in full clarity, and I realised I had made a mistake. Unfortunately, with everything yesterday, I did not get time or opportunity to rectify the lapse. I do so now, and as a bonus, throw in a word or two or explanation (as I promised that day) for those not well-conversed with the mythology of the Semitic religions or of ancient Arabia or Iran, for that matter. But first, the correct version:

Puch le Shaddad ki woh teri jannat kya hui
Puch le Numrud ki woh teri hukumat kya hui
Puch le Qaarun ki woh teri kaamai kay hui
Puch le Phiraun ki woh teri Khudai kya hui
Rustam-o-Sohrab ki woh pehlwani kya hui……

As you see, it was only a word dropped but it affected the ‘behr’ (metre).

Now to explain the references.

Shaddād  (Arabic شدّاد) was a mythical and perhaps historical king of lost Arabian city of Iram of the Pillars. Those who have read a good edition of The Arabian Nights (The Book of One Thousand and One Nights), will find  his story on the 277th night, and carrying on till the 279th night. As it happend, he built a garden, on the pattern of Paradise and he was suitably proud and boastful about it. However, he never even got a chance to put a foot inside once it was ready as he was struck dead when trying to do so. The city also perished, destoyed in a terrible thunderstorm that drove it deep beneath the sands of Arabia. Omar Khayyam refers to it:

“Iram is gone with all its rose……..”

Numrud, actually Nimrod (Hebrew: נִמְרוֹד,; Arabic: نمرود‎)  is a Mesopotamian monarch mentioned in the Book of Genesis, who also figures in many legends and folktales. He is depicted in the Bible as a mighty ruler and nation builder who founded many cities, including the great Babel or Babylon. Despite his stance as a powerful leader, his reputation was tarnished by his traditional association with the construction of the Tower of Babel. He is described as the son of Cush, grandson of Ham, great-grandson of Noah; and as “a mighty one on the earth” and “a mighty hunter before the Lord” (whence the Victorian use of his name as a synonym for hunter, which still survives in the name of a British fighter employed in detection of submarines). However, the Jewish tradition (and from that, the Islamic) depict him as opponent of the patriarch Abraham, bringing the two of them together in a cataclysmic collision, a potent symbol of the cosmic confrontation between Good and Evil, and specifically of monotheism against paganism and idolatry. This is despite a gap of seven generations between them, Nimrod being Noah’s great grandson while Abraham was ten generations removed from Noah.

Qaarun was a plutocrat according to Persian mythology, akin to the mythical King Croesus,  or King Midas (for those who would prefer a Greek equivalent) as a superlatively rich man but dying penniless when forsaken by God.

Phiraun is the Arabic for Pharoah, particularly the one arrayed against Musa, I mean Moses… (See The Ten Commandments for further details), who would not even listen to the command of Moses’ God to “Let my people go” , defiantly saying “I know not the Lord, nor will I let Israel go”. Those who have see the picture know what happend to him, those who haven’t see it to know. I have already said a lot.

Finally, Rustom-0-Sohrab. Read Firdausi’s Shahnama, or if you are South Asian, catch the Hindustani film with the same name as rendered here, which apart from telling all on the subject, marks the last time the equally legendary Surraiya was seen and more tragically, heard onscreen.

Tamam Shud!

Nawab Wazir al-Mamalik Muhammad Yahya Mirza Amani Asif-ud-Daulah Khan Bahadur was the fourth nawab of Awadh (January 26, 1775 to September 21, 1797) but the first to leave enduring symbols of his reign. This was due to him not emulating his illustrious forebears -  Mir Muhammad Amin Musawi Saadat Ali Khan Nishapuri Burhan ul-Mulk, who coming to India from Nishapur in Khurasan, entered Mughal service and in the early 1720s was made the subedar of Awadh, eventually making it a family post, his successor and son-in-law, Abul Mansur Mirza Muhammad Muqim Ali Khan Safdarjung, who was not only effective in keeping control of Oudh, but also managed to render valuable assistance to the weakened emperor, Muhammad Shah. He was …. Oops, I guess I am digressing again. This post was supposed to be about Asif-ud-Daula but has suddenly turned into a  history of the Nawab-Wazirs of Awadh. I will return to them later I promise but lets get back to the point.

Ascending to the throne, one of Asif-ud-Daula’s first decisions was to shift his court from Faizabad to Lucknow. Who can blame him, with his illustrious father, Jalal-ud-din Haider Abul Mansur Khan Shuja-ud-Daula’s widow, the Bahu Begum, AND his grandmother ensconced in the city. In Lucknow, the Nawab Sahab spared no effort to make his court the cynosure of all eyes, and well succeeded. Soon “freed” from the cares of securing his realm or further expansion by the “helpful” British, Asif ud-Daula was free to devote all his energies to his pet projects – the most enduring of which is the Asafi Imambara or as known colloquially, the Bara Imambara. I will refrain from speaking about it much as this majestic edifice deserves a post to itself. It is still going strong over 200 years after it was built and in spite of the  depredations it suffered during the terrible summer and autumn of 1857 and even later at the hand of the victor, until even the conqueror acknowledged its grandeur and took steps for its preservation. It and the Rumi Darwaza, built by the Nawab sahab’s trusted minister, Raja Tikait Rai, are part of history and ever since I came to know their importance, I can never shake off that feeling of being in touch with the past, no matter how intangibly when I used to pass by and under the one of these edifices. Khudaya, main phir baaton mein uljah gaya aur mudde se door aa gaya….. Mazrat chahunga, izzat-maab khwatin-o-hazraat.

Nawab Asif-ud-Daula‘s generosity was legendary and the building of the Imambara was part of it (details in a post on the Imambara coming soon). It was so widespread that the common people coined a slogan….

“Jis ko na de Maula, usko de Asif-ud-Daula” (To whom God does not give, Asif-ud-Daula provides). This is the slogan, that in a few words, encapsulates the life and times of the Nawab. However, it is just the half of the story.

When courtiers brought this to the notice of Asif-ud-Daula, he was not very happy about it. As the guides at his Imambara used to recount, the Nawab was extremely put out at it.

“Aap mujhe mere Maula se upar kaise darja de sakte hain. Yeh ghalat hai. Karta to sab Khuda hai aur insaan to sirf ek zariya hain. Gar kehna hi hai, to kahiye ‘Jis ko de Maula, usi ko de Asif-ud-Daula’ (To whom God gives, to him only Asif-ud-Daula provides),” is what he is supposed to have said.

Unfortunately, this part is not that well known, and I hope I can be successful in redressing the situation and clarifying that he was not so proud that he considered himself capable of outstripping the Almighty’s bounty. As a famous qawaali holds, such pride is not welcome in the eyes of God.

Puch le Shaddad ki woh jannat kya hui
Puch le Numrud ki woh hukumat kya hui
Puch le Qaarun ki woh kaamai kay hui
Puch le Phiraun ki woh Khudai kya hui
Rustam-o-Sohrab ki woh pehlwani kya hui……

I can hear the clamour to explain these mythological references but today (the “wonderful” Dec 1, 2009) I am too dispirited, disillusioned, dejected and tired to comply. Some time later for sure……

As we say in our country, Da Khudae pa aman……

The 15^th anniversary of INDEX, IIM-Lucknow’s premier management event kicked off on the 27th of Novemberat Colvin Talukdar grounds to much anticipation and excitement. Crowds thronged the event early in the morning with the number touching thousands before the evening set in. IIM Lucknow’s premier event – INDEX’s features 12 new, exciting and innovative game stalls by students amongst others. The crowd was fascinated with the entire approach and expressed their delight at the costumes and props used by the IIM-Lucknow students.

Aside from these , INDEX offered a lot more for the general public. Crowd was especially appreciative of the socially relevant AIDS related games and events which were conducted with UP Aids Control Society (UPSACS). Several other stage events were conducted including Antakshari, musical chairs, housie and a kids’ talent show sponsored by Lilliput. The first day boasted of events like Sufi Night, Mr and Ms Index whereas the second day showcased the ever popular Salsa and rock shows for the Lucknow audience. The number of attendants touched five figures by the 28th evening.

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1000+ kms covered all alone..!!

Hey guys, i’m back again with a yet another roadtrip from Delhi to Lucknow n back. After loosing it at the Castrol Power1 Passion Hunt Delhi City Event on 8th March, i decided to give it another shot in Lucknow on 14th. Parents disagreed, but this was my last chance to showcase n discover the true biking substance inside me. And that’s how, I accomplished the soring 1000+ kms roadtrip with my best pal, my HUNK.

ABOUT THE DESTINATION:

Lucknow is the capital city of Uttar Pradesh, the most populous state of India. Lucknow is also the administrative headquarters of Lucknow District and Lucknow Division. Located in what was historically known as the Awadh region, Lucknow has always been a multicultural city. Courtly manners, beautiful gardens, poetry, music, and fine cuisine patronized by the Persian-loving Shia Nawabs of the city are well known amongst Indians and students of South Asian culture and history.

Lucknow is popularly known as the The City of Nawabs. It is also known as the Golden City of the East, Shiraz-i-Hind and The Constantinople of India.

MY JOURNEY:

A day before the ride had to start, i got my bike serviced on 12th March as it crossed 7000kms. N bought a new OGK full-face helmet the same day. I decided to launch at 5 in the morning of 13th but due to my ever-lasting laziness, i managed to leave home at 05:45AM. Setting the tripmeter to 0000, i was expecting a mileage of around 50 or more from my machine as during the last roadtrip to Agra in January 2009, my bike snored fuel @ 50 kmpl. I was a bit aware of road conditions on NH-24 coz everyday i had to travel a piece of the highway to my college. But i never knew, roads were a real mess after one crosses moradabad n reaches bareilly n shahjahanpur.

The route looked like:
DELHI—-60—-HAPUR—-100—-MORADABAD—-91—-BAREILLY—-160—-SITAPUR—-90—-LUCKNOW

At 07:35AM, i stopped at Sambhavli to make a phone call to dad n that jotted down 76kms on my tripmeter.

I left sambhavli at 07:45AM n drove along the under-construction sites on NH-24 to reach a dhaba at 08:15AM in Gajraula, 109.5kms from home. I was starving so i jumped up onto the menu n ordered an omlette with a coffee. Having gulped the stuff, i clicked a few shots of my ride on the same site & soon i went off leaving 5 bucks for tip(lol..)

I crossed Moradabad through the smooth roads & reached Bareilly at 12:00PM having rode 251kms already.. Bareilly is a crowded city mann, full of rickshaw drivers & street hawkers, so definitely not a stoppage for me for i hate crowd.. I again stopped at 01:15PM (307kms) somewhere near Bareilly district to freshen up n give rest to my companion. It was a Hanuman temple on the other side of the road, so i decided to hop in n clicked some pics of my bike with the temple in the background. I even called up my cousin here in Delhi n confirmed him my well-being. It was around 200 more kms to go, so i decided to start off afresh n riding through the messed out, pot holed roads of sitapur, i landed in Lucknow at 05:15PM. My ride went upto 501kms.

Now i was in the Passion Hunt city itself, so i drove directly off to the venue of the hunt in Hazratganj. It was a college ground on the Rana Pratap Marg where the next mega city hunt was going to be held the next day. I felt low standing in front of the entrance gate of the venue, as it was a mixed feeling of confidence n fear. Afterall coming 500kms down the line for a competition wasn’t worth it, atleast as far as for my family is concerned. But this was what i chose for myself, so i cheered myself up & called up my friend in Delhi to give me the contact details of his uncle in Lucknow. Having got the details, i landed up at the place at 06:45PM, parked my bike inside the house n stretched myself as soon as i hit the bed there.. I was dead tired, so no more theories now, i had dinner n fell asleep at 09:30PM with the alarm clock set to ring at 7 in the morning.

Alright, it’s 14th March, the day itself. I was pretty confident regarding the hunt. I packed myselves up for the competetion & reached the venue at hazratganj at 09:45AM. I found only 1 person standing near the parking with his bike which was by the side of the registration counter. I parked there n went to fill the registration form n check out the rules n all.. I met the rider from Lucknow itself, named SAM, was studying as well as working in Lucknow only. It was nice meeting a passionate biker in the first place after entering the strange city..!! I registered myself n got inside with my machine with a hope that may be this time i might get what i missed in delhi..

Hunt was on!!! 1st round, the figure of 8 round.. I managed to create 8 figures of 8 in 90 seconds (which was the allotted time..), it was same as much as i did in delhi..!! Then i was forwarded to round 2 which was a slow race n the rider had to finish in the maximum time the distance of 50 feet in a prescribed area..!! I finished the slow race in 47 second which was pretty less than the highest which was 1min22sec.. But i still didnt loose hope coz i knew i’m gona kick this one in the quiz.. N so what happened, i answered 10 out of 10 correct.. I was delighted to hear my name in the top 11 bikers in Lucknow Event.. Now it was the stage round in which every biker out of the final 11 had to speak for 2 minutes on the stage about his passion for bikes n the reason for which he was the most passionate one in India..!! People spoke a lot, so did i.. I spoke my heart out in front of the judges.. I’m glad i got a chance to speak what i really felt for biking n how strongly i was connected to biking!! Everyone was impressed by my speech n applauded me gracefully..

Now came the time when final 4 bikers had to be declared..!! I had my fingers crossed n guess what i made it to the final 4.. I jumped again coz coming so far n getting selected in the final 4 was much of an achievement..!! Now it was the slow slalom round in which each biker had to complete a slalom race in the maximum time.. I completed it in 67seconds but there’s always someone better than we are n so what happened.. The winner guy, Asheesh pandey, did it in 2min or so.. He won n i ended up as a runner up.. But i was still glad that i did what i wished!! As a reward, i got a Castrol Power1 official jacket n two cans of Castrol Power1 Engine Oil.. The jacket is super-sexy, i must tell u..!!

It was 7 in the evening, so i headed straight to my room n took rest, informed my parents in delhi about what happened that day n fell asleep at 9..

This one above, is a pic with the Founder of the xBHP Biking Community, Sundeep Gajjar. He’s a man of substance & true biker indeed!

Early morning on 15th March, i started afresh from Lucknow at 05:30AM n delhi was roughly 498 kms away..

The moment i looked at the km-stone of 498kms, i felt tired n at the same time i was excited to go home n share my experience with my parents n relatives.. So i kick started myself n ofcourse my bike n went around for not-so-giant roadtrip back home 500 kms which i completed in 12hrs down the road..!!

When i reached home, i was dead tired coz i drove slowly but continously for 12 hrs the whole day n i felt like hitting the bed as soon as possible.. But the moment i met my parents n friends at home, an aura of ease n delight pinged inside me & i was fine.. Truly, it was amazing coming back home after a short-in-time but long roadtrip..

SOME POINTS TO MENTION:
Total distance covered – 1082 kms
Total fuel burnt – 22.54 litres
Total cash spent – 1100 for fuel & around 200 bucks xtra
Total time taken – 11.5 hrs forth n 12 hrs back

I lost my bike keys during the course of the hunt, but luckily i had spare keys with me which i took as per the checklist i prepared a day before going for the roadtrip..

I didn’t win the title in Lucknow though, however i still feel like a winner coz i won in the eyes of my parents & i discovered a real biker inside me who could follow his passion as far as it could take him..!!

In Lucknow, there was a marriage procession, where all men were dressed as groom with handcuffs….. and many women who were accompanying them were also handcuffed. India is great !

http://in.jagran.yahoo.com/epaper/index.php?location=37&edition=2009-11-20&pageno=6

लखनऊ, 19
नवम्बर, (जागरण संवाददाता) : शहर में आज एक ऐसी बारात निकली जिसमें पकड़ी व सेहरा बांधे अधिकांश दुल्हे थे और उनकी हाथों में लगी थी हथकड़ी। साथ में
महिलाएं भी थीं। इनमें से भी कुछ के हाथ में हथकड़ी थी।
चौकिये नहीं! महिलाओं द्वारा कानूनी प्राविधानों का किये जा रहे दुरुपयोग
की बढ़ती संख्या के प्रति सरकार का ध्यान आकर्षित करने के लिए पति-परिवार
कल्याण समिति के बैनर तले निकली अनोखी बारात का यह दृश्य था। कलेक्ट्रेट से निकली यह बारात परिवारिक न्यायालय होते हुए विधान भवन धरना स्थल पर
पहुंचा। इस मौके पर पति-परिवार कल्याण समिति ने पुरूष आयोग, पुरूष विकास
मंत्रालय तथा पुरूषों की सुरक्षा व न्याय प्राप्ति के लिए कोई कानून बनाने
की मांग की। समिति के सचिव बृजेश अवस्थी का कहना है कि महिलाओं के लिए
बनाये गये कई कानून ऐसे हैं, जो पूर्णतया एकतरफा हैं। उन्होंने कहा कि
नेशनल क्राइम ब्यूरो के आंकड़े पर नजर डालें तो प्रत्येक वर्ष विवाहित
महिलाओं की तुलना में पुरुषों की अप्राकृतिक मृत्यु दोगुने से भी ज्यादा
हुई है।

Lucknow: The Uttar Pradesh government has decided to increase property registration fee from exisiting Rs 5000 to Rs 10,000. The decision to hike property registration fee will earn the department an additional revenue of Rs 75 crore annually.

At present Rs 5,000 is the maximum fee charged for registration for executing sale deed of a property. UP government has decided to increase property registration fee to a maximum of Rs 10,000 from this december 1.

Principal Secretary Tax and Registration Desh Deepak Varma told news agency “Fee being charged at the time of registration of properties will be hiked from existing Rs 5,000 to Rs 10,000 from December 1,”. He said now one per cent fee would be charged for the registration of a property up to Rs 2.5 lakh and two per cent for properties above Rs 2.5 lakh.However, this fee will not be more than Rs 10,000.It will also provide relief to those who own property of value less than Rs 2.5 lakh.